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tration on Les Contemplations, accounting for 36 pieces. The quality of any poetic translation will necessarily be varied, but these poems often combine a startling accuracy with appropriately poetic expression. As one reads the texts that have been most familiar in French, the English renditions produce very closely the same effects. In his introduction, Steven Monte discusses his decision to attempt the use of rhyme and regular rhythm in his translation. He rejects prose and free verse as not in harmony with the originals, but also diverges from those who would substitute English heroic couplets for the French alexandrine. Monte prefers to use English alexandrines, loosely adapted, finding this a more flexible form. The introduction begins with a brief but well detailed summary of Hugo's life followed by a discussion of his poetic style. In attempting to present Hugo to an English speaking audience, Monte at first warns of Hugo's lengthy passages and romantic themes. His own sensitivity to Hugo's style is evident, however, in an excellent introduction to the uses of the alexandrine, with examples from Hugo's poems, and an analysis of how innovative Hugo's use of the traditional line was. A section of notes on the
Nineteenth Century French Studies – University of Nebraska Press
Published: May 12, 2003
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