Note on the Translation

There have been at least three translations into English of the Voyage to the Moon: that alluded to on page 1; the present translation; and one made in the eighteenth century by Samuel Derrick. The last is dedicated to the Earl of Orrery, author of "Remarks on the Life and Writings of Jonathan Swift," and attributes its "call from obscurity" to "your Lordship's mentioning it in your Life of Swift" as having served for inspiration to Gulliver's Travels.

There have been at least three English translations of Voyage to the Moon: the one mentioned on page 1, the present translation, and one made by Samuel Derrick in the eighteenth century. Derrick dedicated his translation to the Earl of Orrery, author of "Remarks on the Life and Writings of Jonathan Swift." Derrick credits its "call from obscurity" to "your Lordship's mentioning it in your Life of Swift" as an inspiration for Gulliver's Travels.

Samuel Derrick's translation, however, is not so good as that of A. Lovell. The seventeenth century translation is more flowery and fanciful, and by that very fact closer to the original. For though the Voyage to the Moon is the most sober in style of Cyrano's works, yet there are still many touches of the "high fantastical" in its manner as well as in its substance. The eighteenth century translator has toned down the style to make it more acceptable to that age of reason and regularity. It is still another case of the irony of Fate pursuing Cyrano; the regularity of seventeenth century literature in France, against whom he struggled so swashbucklerly, had completely triumphed and spread their influence over Europe; so that even in the land where liberty and individuality are native, his work had to suffer correction in all its most fanciful passages. There are constant omissions of phrases or sentences in the eighteenth century translation, and there are also numerous mistakes, as well as many points missed. The seventeenth century translation, on the other hand, is faithful throughout to its original, and accurate as well as vivid.

Samuel Derrick's translation, however, is not as good as A. Lovell's. The seventeenth century translation is more elaborate and fanciful, which makes it closer to the original. Voyage to the Moon is the most restrained in style of Cyrano's works. Yet its style and content still have many touches of the "high fantastical." The eighteenth century translator toned down the style to make it more acceptable to an age of reason and order. This is another example of the irony of Fate pursuing Cyrano. He had fought so boldly against the rigid conventions of seventeenth century French literature. Yet those conventions had completely triumphed and spread their influence across Europe. As a result, his work had to be corrected in all its most fanciful passages, even in the land where liberty and individuality come naturally. The eighteenth century translation constantly leaves out phrases or sentences. It also contains numerous mistakes and misses many points. The seventeenth century translation, on the other hand, is faithful to the original throughout, as well as accurate and vivid.

The translation has been compared throughout with the French of the edition of 1661, and the two or three slight corrections needed have been made in footnotes. Except for the breaking up of some very long paragraphs, and slight changes in punctuation when necessary for clearness, the text has been reprinted as exactly as possible. All changes or additions, except the correction of evident misprints, have been bracketed.

The translation has been checked throughout against the 1661 French edition. The two or three minor corrections needed have been made in footnotes. Some very long paragraphs have been broken up, and punctuation has been changed slightly where needed for clarity. Otherwise, the text has been reprinted as accurately as possible. All changes or additions have been placed in brackets, except for the correction of obvious misprints.

C. H. P.

C. H. P.