Cyrano De Bergerac: A Play

By Edmond Rostand

The classic tragicomic play about a hero whose insecurity about his oversized nose keeps him from the woman he loves.

From the time it was written at the end of the nineteenth century by French playwright Edmond Rostand, Cyrano de Bergerac has remained one of the most enduring works of our era—through countless stage and film adaptations as well as homages in popular culture.

Our hero is a nobleman, a brave duelist, a talented poet—but one thing holds him back: his nose. Convinced the beautiful Roxane could never love him, Cyrano agrees to help a friend woo her instead. The story that follows has kept readers and audiences laughing and crying for over a century.

This is the original play, introducing the incomparable character whom actors yearn to play, and generations of readers have fallen in love with.

• Language: English
• Publisher: Open Road Media
• Release date: Mar 10, 2020
• ISBN: 9781504061773

Edmond Rostand

Born in 1869, Edmond Eugène Alexis Rostand was a French poet and dramatist. He is associated with neo-romanticism, and is best known for his play Cyrano de Bergerac. Rostand’s romantic plays provided an alternative to the naturalistic theatre popular during the late nineteenth century. Another of Rostand’s works, Les Romanesques, was adapted to the musical comedy, The Fantasticks.

Book preview

Contents

Dramatis Personae

Act I.

Scene 1. I.

Scene 1. II.

Scene 1. III.

Scene 1. IV.

Scene 1. V.

Scene 1. VI.

Scene 1. VII.

Act II.

Scene 2. I.

Scene 2. II.

Scene 2. III.

Scene 2. IV.

Scene 2. V.

Scene 2. VI.

Scene 2. VII.

Scene 2. VIII.

Scene 2. IX.

Scene 2. X.

Scene 2. XI.

Act III.

Scene 3. I.

Scene 3. II.

Scene 3. III.

Scene 3. IV.

Scene 3. V.

Scene 3. VI.

Scene 3. VII.

Scene 3. VIII.

Scene 3. IX.

Scene 3. X.

Scene 3. XI.

Scene 3. XII.

Act IV

Scene 4. I.

Scene 4. II.

Scene 4. III.

Scene 4. IV.

Scene 4. V.

Scene 4. VI.

Scene 4. VII.

Scene 4. VIII.

Scene 4. IX.

Scene 4. X.

Act V.

Scene 5. I.

Scene 5. II.

Scene 5. III.

Scene 5. IV.

Scene 5. V.

Scene 5. VI.

Dramatis Personae

CYRANO DE BERGERAC 

CHRISTIAN DE NEUVILLETTE 

COUNT DE GUICHE 

RAGUENEAU 

LE BRET 

CARBON DE CASTEL-JALOUX 

THE CADETS 

LIGNIERE 

DE VALVERT 

A MARQUIS 

SECOND MARQUIS 

THIRD MARQUIS 

MONTFLEURY 

BELLEROSE 

JODELET 

CUIGY 

BRISSAILLE 

THE DOORKEEPER 

A LACKEY 

A SECOND LACKEY 

A BORE 

A MUSKETEER 

ANOTHER 

A SPANISH OFFICER 

A PORTER 

A BURGHER 

HIS SON 

A PICKPOCKET 

A SPECTATOR 

A GUARDSMAN 

BERTRAND THE FIFER 

A MONK 

TWO MUSICIANS 

THE POETS 

THE PASTRY COOKS 

ROXANE 

SISTER MARTHA 

LISE 

THE BUFFET-GIRL 

MOTHER MARGUERITE 

THE DUENNA 

SISTER CLAIRE 

AN ACTRESS 

THE PAGES 

THE SHOP-GIRL

The crowd, troopers, burghers (male and female), marquises, musketeers, pickpockets, pastry-cooks, poets, Gascons cadets, actors (male and female), violinists, pages, children, soldiers, Spaniards, spectators (male and female), precieuses, nuns, etc.

Act I

The hall of the Hotel de Bourgogne, in 1640. A sort of tennis-court arranged and decorated for a theatrical performance.

The hall is oblong and seen obliquely, so that one of its sides forms the back of the right foreground, and meeting the left background makes an angle with the stage, which is partly visible.

On both sides of the stage are benches. The curtain is composed of two tapestries which can be drawn aside. Above a harlequin’s mantle are the royal arms. There are broad steps from the stage to the hall; on either side of these steps are the places for the violinists. Footlights.

Two rows, one over the other, of side galleries: the highest divided into boxes. No seats in the pit of the hall, which is the real stage of the theater; at the back of the pit, i.e., on the right foreground, some benches forming steps, and underneath, a staircase which leads to the upper seats. An improvised buffet ornamented with little lusters, vases, glasses, plates of tarts, cakes, bottles, etc.

The entrance to the theater is in the center of the background, under the gallery of the boxes. A large door, half open to let in the spectators. On the panels of this door, in different corners, and over the buffet, red placards bearing the words, ‘La Clorise.’

At the rising of the curtain the hall is in semi-darkness, and still empty. The lusters are lowered in the middle of the pit ready to be lighted.

Scene 1.I.

The public, arriving by degrees. Troopers, burghers, lackeys, pages, a pickpocket, the doorkeeper, etc., followed by the marquises. Cuigy, Brissaille, the buffet-girl, the violinists, etc. 

(A confusion of loud voices is heard outside the door. A trooper enters hastily.)

THE DOORKEEPER (following him): Hollo! You there! Your money! 

THE TROOPER: I enter gratis.

THE DOORKEEPER: Why?

THE TROOPER: Why? I am of the King’s Household Cavalry, ‘faith!

THE DOORKEEPER (to another trooper who enters): And you?

SECOND TROOPER: I pay nothing.

THE DOORKEEPER: How so?

SECOND TROOPER: I am a musketeer.

FIRST TROOPER (to the second): The play will not begin till two. The pit is empty. Come, a bout with the foils to pass the time.

(They fence with the foils they have brought.)

A LACKEY (entering): Pst… Flanquin…!

ANOTHER (already there): Champagne?…

THE FIRST (showing him cards and dice which he takes from his doublet): See, here be cards and dice.

(He seats himself on the floor): Let’s play.

THE SECOND (doing the same): Good; I am with you, villain!

FIRST LACKEY (taking from his pocket a candle-end, which he lights, and sticks on the floor): I made free to provide myself with light at my master’s expense!

A GUARDSMAN (to a shop-girl who advances): ‘Twas prettily done to come before the lights were lit!

(He takes her round the waist.)

ONE OF THE FENCERS (receiving a thrust): A hit!

ONE OF THE CARD-PLAYERS: Clubs!

THE GUARDSMAN (following the girl): A kiss!

THE SHOP-GIRL (struggling to free herself): They’re looking!

THE GUARDSMAN (drawing her to a dark corner): No fear! No one can see!

A MAN (sitting on the ground with others, who have brought their provisions): By coming early, one can eat in comfort.

A BURGHER (conducting his son): Let us sit here, son.

A CARD-PLAYER: Triple ace!

A MAN (taking a bottle from under his cloak, and also seating himself on the floor): A tippler may well quaff his Burgundy

(he drinks): in the Burgundy Hotel!

THE BURGHER (to his son): ‘Faith! A man might think he had fallen in a bad house here!

(He points with his cane to the drunkard): What with topers!

(One of the fencers in breaking off, jostles him): brawlers!

(He stumbles into the midst of the card-players): gamblers!

THE GUARDSMAN (behind him, still teasing the shop-girl): Come, one kiss!

THE BURGHER (hurriedly pulling his son away): By all the holies! And this, my boy, is the theater where they played Rotrou erewhile.

THE YOUNG MAN: Ay, and Corneille!

A TROOP OF PAGES (hand-in-hand, enter dancing the farandole, and singing): Tra’ a la, la, la, la, la, la, la, lere…

THE DOORKEEPER (sternly, to the pages): You pages there, none of your tricks!…

FIRST PAGE (with an air of wounded dignity): Oh, sir!—such a suspicion! …

(Briskly, to the second page, the moment the doorkeeper’s back is turned): Have you string?

THE SECOND: Ay, and a fish-hook with it.

FIRST PAGE: We can angle for wigs, then, up there i’ th’ gallery.

A PICKPOCKET (gathering about him some evil-looking youths): Hark ye, young cut-purses, lend an ear, while I give you your first lesson in thieving.

SECOND PAGE (calling up to others in the top galleries): You there! Have you peashooters?

THIRD PAGE (from above): Ay, have we, and peas withal!

(He blows, and peppers them with peas.)

THE YOUNG MAN (to his father): What piece do they give us?

THE BURGHER: ‘Clorise.’

THE YOUNG MAN: Who may the author be?

THE BURGHER: Master Balthazar Baro. It is a play!…

(He goes arm-in-arm with his son.)

THE PICKPOCKET (to his pupils): Have a care, above all, of the lace knee-ruffles—cut them off!

A SPECTATOR (to another, showing him a corner in the gallery): I was up there, the first night of the ‘Cid.’

THE PICKPOCKET (making with his fingers the gesture of filching): Thus for watches—

THE BURGHER (coming down again with his son): Ah! You shall presently see some renowned actors…

THE PICKPOCKET (making the gestures of one who pulls something stealthily, with little jerks): Thus for handkerchiefs—

THE BURGHER: Montfleury…

SOME ONE (shouting from the upper gallery): Light up, below there!

THE BURGHER: … Bellerose, L’Epy, La Beaupre, Jodelet!

A PAGE (in the pit): Here comes the buffet-girl!

THE BUFFET-GIRL (taking her place behind the buffet): Oranges, milk, raspberry-water, cedar bitters!

(A hubbub outside the door is heard.)

A FALSETTO VOICE: Make place, brutes!

A LACKEY (astonished): The Marquises!—in the pit?…

ANOTHER LACKEY: Oh! only for a minute or two!

(Enter a band of young marquises.)

A MARQUIS (seeing that the hall is half empty): What now! So we make our entrance like a pack of woolen-drapers! Peaceably, without disturbing the folk, or treading on their toes!—Oh, fie! Fie!

(Recognizing some other gentlemen who have entered a little before him): Cuigy! Brissaille!

(Greetings and embraces.)

CUIGY: True to our word!… Troth, we are here before the candles are lit.

THE MARQUIS: Ay, indeed! Enough! I am of an ill humor.

ANOTHER: Nay, nay, Marquis! see, for your consolation, they are coming to light up!

ALL THE AUDIENCE (welcoming the entrance of the lighter): Ah!…

(They form in groups round the lusters as they are lit. Some people have taken their seats in the galleries. Ligniere, a distinguished-looking roue, with disordered shirt-front arm-in-arm with christian de Neuvillette. Christian, who is dressed elegantly, but rather behind the fashion, seems preoccupied, and keeps looking at the boxes.)

Scene 1.II.

The same. Christian, Ligniere, then Ragueneau and Le Bret. 

CUIGY Ligniere!

BRISSAILLE (laughing): Not drunk as yet?

LIGNIERE (aside to Christian): I may introduce you?

(Christian nods in assent): Baron de Neuvillette.

(Bows.)

THE AUDIENCE (applauding as the first luster is lighted and drawn up): Ah!

CUIGY (to Brissaille, looking at Christian): ‘Tis a pretty fellow!

FIRST MARQUIS (who has overheard): Pooh!

LIGNIERE (introducing them to Christian): My lords De Cuigy. De Brissaille…

CHRISTIAN (bowing): Delighted!…

FIRST MARQUIS (to second): He is not ill to look at, but certes, he is not costumed in the latest mode.

LIGNIERE (to Cuigy): This gentleman comes from Touraine.

CHRISTIAN: Yes, I have scarce been twenty days in Paris; tomorrow I join the Guards, in the Cadets.

FIRST MARQUIS (watching the people who are coming into the boxes): There is the wife of the Chief-Justice.

THE BUFFET-GIRL: Oranges, milk…

THE VIOLINISTS (tuning up): La—la—

CUIGY (to Christian, pointing to the hall, which is filling fast): ‘Tis crowded.

CHRISTIAN: Yes, indeed.

FIRST MARQUIS: All the great world!

(They recognize and name the different elegantly dressed ladies who enter the boxes, bowing low to them. The ladies send smiles in answer.)

SECOND MARQUIS: Madame de Guemenee. 

CUIGY: Madame de Bois-Dauphin.

FIRST MARQUIS: Adored by us all!

BRISSAILLE: Madame de Chavigny…

SECOND MARQUIS: Who sports with our poor hearts!…

LIGNIERE: Ha! so Monsieur de Corneille has come back from Rouen!

THE YOUNG MAN (to his father): Is the Academy here?

THE BURGHER: Oh, ay, I see several of them. There is Boudu, Boissat, and Cureau de la Chambre, Porcheres, Colomby, Bourzeys, Bourdon, Arbaud… all names that will live! ‘Tis fine!

FIRST MARQUIS: Attention! Here come our precieuses; Barthenoide, Urimedonte, Cassandace, Felixerie…

SECOND MARQUIS: Ah! How exquisite their fancy names are! Do you know them all, Marquis?

FIRST MARQUIS: Ay, Marquis, I do, every one!

LIGNIERE (drawing Christian aside): Friend, I but came here to give you pleasure. The lady comes not. I will betake me again to my pet vice.

CHRISTIAN (persuasively): No, no! You, who are ballad-maker

Reviews for Cyrano De Bergerac

[stbalbach_1 · Rating: 5 out of 5 stars]

This is a review of two full-cast audio productions: Caedmon 1965, and LA Theatre Works 2015. Cyrano de Bergerac is an 1897 neo-romantic heroic-comedy by a 29-year-old French playwright, characterized by witty dialogue and the concept of panache. It is based on two real people from the 17th century. Cyrano de Bergerac actually existed sans the big nose, but was indeed a poetic warrior and charmer. Roxane was also a lover of poetry and Chivalric love. The era when the play was released, realism was making inroads and most plays were heavy, dark, somewhat depressing. Into this atmosphere stepped a lighthearted and witty story that made no sacrifice to realism. It was an immediate and stunning success striking a chord with the French people who appreciated the glory of French Chivalry framed in a way that was acceptable (humor) and admirable. It is also a classic love story ensuring enduring appeal. The 3-record Caedmon production stars Sir Ralph Richardson and was produced by The Theatre Recording Society with a translation by Brian Hooker. It is a faithful translation of the original French text, and therein is the problem - it is hard to follow, at least in audio and for a first-timer to the story. This is not the best introduction, but it is close to the original.The LA Theatre Works radio play is based on the translation and adaption by Anthony Burgess which was then adapted for radio. This is an excellent introduction, there is no problem following the plot, characters and dialogue. The radio adaptation is about half the length of the Hooker version so a lot has been dropped but all the scenes are there and it retains the same spirit of the original.

[bayardus-1 · Rating: 3 out of 5 stars]

What Rostand gives you with this play can, I think, be boiled down to two things: the language he uses and the titular character of Cyrano de Bergerac. No other characters are given much depth, and the plot of the play is a love triangle of the type you've seen a thousand times before. However, with the language of the play and the character of Cyrano, Rostand was not just adhering to old ideas. Even in translation (Hooker for my edition), the language holds up, not impressing in every instance but impressing often enough to establish that Rostand was a masterful writer. Unfortunately, the character of Cyrano left me wanting.

Cyrano struck me, repeatedly, as a calculated attempt by Rostand to make as popular a character as possible, meaning that, despite his historical roots, there's never an attempt to make him a flesh and blood character. Instead, Cyrano is over-the-top and theatrical. There's nothing wrong with having a theatrical character (this was written for the theater, after all), and there's nothing wrong with having it be your goal for the character to be popular, but if you notice that is occurring then the author has failed- coming off as trying too hard is never a good thing in this context. Cyrano is the finest swordsman in Paris, and he's likewise got not only a rapier wit but formidable poetic chops as well. He's also adored by all the good people of France, who cheer him on and consider him a hero in the first act of this play, even after he ruined a night out at the theater for all of them. De Guiche even complements Cyrano for distracting him long enough for the target of his affections to elope. The only people who don't like Cyrano are obvious villains and people never seen on-stage. The only flaw that our protagonist has is his lack of self-confidence concerning members of the fairer sex. It's a flaw tailor-made to make him as likable a character as possible, since who hasn't lacked confidence at least once, especially in matters of the heart? And with Cyrano, there's no question that this lack of self-confidence is unfounded. With Cyrano, Rostand can give us a character who's the bravest, smartest, funniest, most romantic of everyone, but who isn't absolutely without flaw and therefore not boring in his perfection. I get why this character is popular with many people. But he didn't resonate with me. I found him lacking in depth, and the only insight you can take from his character are platitudes. Be brave! Be smart! Stand up for what you believe in! Don't hide your feelings, be honest about them! There's no real insight here, because there's no real struggle- the only struggle that plays out on stage is Cyrano's romantic struggle (we never see his descent into poverty), and the solution to that struggle is an obvious one. Rostand gives us a character who is brave, but who never has to fight a fight he can't win. He's a romantic, but he never has to deal with an actual relationship. There's none of the mess of real life here, it's all clean melodrama, and that's fine as theatrical entertainment, but as a work of literature it can't rise above mediocrity for me.

I expect that I shall forever think of bottles of red wine as flasks of ruby, and bottles of white as flasks of topaz. That's more of an effect than many books have had on me. When I remember Cyrano, though, I expect I shall remember him as a failed attempt, at least in my experience.

[trilliams · Rating: 5 out of 5 stars]

I should get a bigger nose.

[rennerra · Rating: 5 out of 5 stars]

Absolutely loved this as a teenager, it was probably my favorite book of all time until sometime well into my late 20s

[yesssman_1 · Rating: 3 out of 5 stars]

While the play is well written and features some very memorable scenes, I just can't bring myself to enjoy it. I don't see anything to be admired in Cyrano's character; he may have many talents both martial and societal, but at heart he is a weak man hiding behind extreme conceptions of honor. Not only does this weakness bring suffering on himself, but everyone around him. I don't appreciate when fiction extols harmful character traits as something to be emulated.I do however appreciate beautiful language and the poetic moments such as the balcony scene, so I can still give this work 3 stars.

[belsornia · Rating: 4 out of 5 stars]

'Cyrano de Bergerac' is a masterful character study of a man who lets one feature shape his life. Complex and mercurial, Cyrano may be remembered as gallant and honourable, a talanted poet and unsurpassed swordsman, but he is also brash and arrogant and yet so afraid of rejection that he hides behind the identity of his handsome friend. He presents himself as a series of characters, and even at the end of his life will not admit the realities of his situation to those who care about him. He will not compromise in anything except the realisation of his own desires.I read a fairly pedestrian prose translation, and as such feel that I missed the flair and pace of the play. However, there remained glimpses of Rostand's mastery of language, most notably in some of Cyrano's soliloquies and the balcony scene with Roxane which, in a work touched by hyperbole - the duel with one hundred men at the Porte de Nesle, and the feast disguised in Roxane's carriage especially spring to mind - crystalises the deep emotion at the heart of the drama. The narrative may sometimes be ridiculous, but Rostand effectively conveys the vividness and reality of a complicated character, as well as some expert creation of atmosphere in ensemble scenes, the opening at the theatre of the Hôtel de Bourgogne and the military encampment at Arras.The final act serves as a kind of epilogue and, I feel, is the weak point of the play. I am generally not fond of the device and often prefer when something is left to the imagination and the author does not feel the need to tie up all loose ends, but here it seems especially gratuitous, ratcheting up the melodrama to demostrate the tragedy of love, devotion and obstinacy. The construction of the rest of the play was skilful enough to show that there was no way this could have a comforting resolution.

[savageknight_1 · Rating: 4 out of 5 stars]

I've always enjoyed the character of Cyrano. Braggart, lover, arrogant, powerful. His flair for the romance and devotion to the arts makes every early scene one of great fun. The idea of being the true soul of another man's voice is also entertaining, if the drama weren't so pathetic. Here is a man so true to himself and his nature that he can brave anything... except the fact that there could be a woman who can love him despite his enormous nose. Therein lies the tragedy which concludes the tale on a very sour note. I don't believe it is noble to suffer love in silence. I believe love should be shouted from the rooftops. A fatal flaw in the charm of the book, but one I can easily ignore.

[folkeb_2 · Rating: 5 out of 5 stars]

In Cyrano de Bergerac, Edmond Rostand creates a tale of unconquerable love, and unquenchable pride in the form of a living, vibrant poem running within the play. Cyrano de Bergerac is a philosopher, knight errand, poet, playwright and above all, a gentleman from Gascony, which means he owns enormous pride and vanity along with undying bravery. The play follows his star-crossed love, Roxanne, and comrade-in-arms Christian. Rostand crafts Cyrano as the perfect knight of ages past, as skilled with poetry and philosophy as he is with his sword. For example, in the first act Cyrano duels an opponent and composes a ballad as he duels, to commemorate the duel and as he promises before he even draws his sword, in the last verse strikes home and covers himself in glory before all in the crowded playhouse. It is this dashing nerve, and Cyrano’s, or rather, Rostand’s eloquence that makes this play a classic. Cyrano is too proud to function in modern society though, to use his triumph at arms to gain favor with superiors is against his nature. The soul of Cyrano is that of fire and passion, imagination and pride that will never surrender to his old foes “falsehood, prejudice, compromise, cowardice, and vanity” Cyrano de Bergerac has a slightly rocky start, as Cyrano is not immediately introduced, but when Cyrano is the play takes on a whole new dimension. The play flies by on the wings of lyrical genius and philosophy of what it means to be noble, brave and pure of spirit, along with the folly of pride. I would highly recommend this to everyone out of high school and anyone is not forced to read it. Dan

[aznstarlette · Rating: 5 out of 5 stars]

One of my absolute favourites! A beautiful romantic story set in one of my favourite time periods and told in one of my favourite languages - I mean, really, what's NOT to love?? It is truly exquisite.

[stouthearted_1 · Rating: 5 out of 5 stars]

Amazing story written in gorgeous verse -- it was all worth muddling through irregular verbs in French class to be able to read this drama in Rostand's language! The heartstopping climax of Cyrano's words to Roxane on the balcony are the epitome of romance expressed so beautifully and sincere. His definition of a kiss is one of the most memorable scenes in theater. The drama is cleverly written, with flowing tempo and rhyme that doesn't feel forced. As for the story, many have imitated it since: Ugly, but intelligent, Cyrano is in love with his cousin, Roxane, but is too ashamed of his long nose to tell her. In every other area of his life his is confident and is excellent at swordplay and wit (and can perform both at once!). Also enamoured with the lady is Christian, a handsome man with little brain to match. Roxane is a "Precieuse," a woman who values poetry and beautiful words, and Christian knows that his looks alone won't win her over. He enlists the help of Cyrano, and together, with Christian's looks and Cyrano's words, Roxane is led to believe that Christian is her dream man. Yet, Cyrano must suffer until his secret is revealed years later, too late: Roxane has holed herself up in a nunnery after Christian died in war, and Cyrano suffers a fatal head wound. The tragedy of the revelation is a true tearjerker. For romantics, this is a must-read. But like Cyrano's words, the drama offers much more than romance. The theme of bravery and spirit, the "panache" that Cyrano holds dear, is important to the story. If only Cyrano had his famous courage when it came to confessing his love, he would have surely had his Roxane for himself. But then, we wouldn't have such a beautiful tragedy.

[wvlibrarydude · Rating: 4 out of 5 stars]

Fell in love with the play and Jose Ferrer's BW version. Over the top romanticism, but truly a lot of fun.

[unreachableshelf · Rating: 5 out of 5 stars]

Cyrano de Bergerac is as amazing a character study as it is a romance. Brian Hooker's translation is classic, and was the basis of the screenplay of the version starring Jose Ferrer, who is surely as much Cyrano for English-speaking audiences since then as Coquelin was for Rostand when it was written (note that the screenplay was cut somewhat from the original).

[urhockey22 · Rating: 4 out of 5 stars]

Great play, but there were parts of this translation that maybe could have been better. Then again, I do not speak French, so who am I to judge.

[wonderlandgrrl · Rating: 5 out of 5 stars]

One of my favorite plays of of all time which has turned into the basis for innumerable current "romantic comedies". A fable to prove that appearances can be decieving

[addictedtomorphemes · Rating: 5 out of 5 stars]

Cyrano de Bergerac by Edmond RostandTranslated into English by Brian HookerBittersweet tale of unrequited love, nobility and honor. This play is set in France in 1640, during the reign of Louis XIII. Cyrano de Bergerac is known as the best swordsman in France, and is equally revered as a wordsmith and a quick wit. His pride comes out in displays of courage and bravado and is only diminished by his insecurity about his appearance. He hides his insecurity using his sword and when necessary, in witty verbal sparring where he beats others to the punch in mocking his large nose. Cyrano denies his own happiness by refusing to admit his love for his distant cousin, Madeleine Robin, the lovely Roxane, and admits his reason for doing so to his good friend, Le Bret, who encourages him to speak to Roxane and give her the benefit of the doubt. When Roxane requests Cyrano's presence in a private meeting, his hopes are raised but then dashed when he learns that the purpose of the meeting is that Roxane wants Cyrano's help in romancing another. She admits to loving Baron Christian de Neuvillette, a soldier in Cyrano's regiment, a man she doesn't really know but is enamored by partly because of his physical good looks and partly by the fact that she has heard that he is besotted with her as well. Through his stunned disappointment, Cyrano agrees to befriend Christian and keep him from harm.Their first meeting proves Christian to be rather unlikable as he uses every opportunity to make rude references to Cyrano's nose. Normally this would be the cause of a duel, but because of Cyrano's promise to Roxane, he must rein in his temper and befriend the lout instead. He makes Christian aware of Roxane's feelings and agrees to help Christian when he admits that he wouldn't be able to impress her with his inept writing skills if he sent her a letter. Christian wishes for Cyrano's wit; and Cyrano laments that he doesn't have Christian's good looks. He ponders the fact that if the two men could be combined, they would make 'one hero of romance'. He agrees to write the letters for Christian and feed him flowery and poetic phrases to use in conversation. This is how their deception begins.After they are ordered to join up with their regiment in the Siege of Arras against the Cardinal Prince of Spain, Roxane arranges a hasty marriage to Christian. They are separated by necessity before there is a wedding night (which Cyrano admits to himself doesn't bother him much). As they are rushing off to war, Roxane begs Cyrano to watch over her new husband and to encourage Christian to write her every day. Cyrano promises that she will receive letters every day, although he cannot promise the rest. This promise is kept in a very heart-tugging way.The rest of the play deals with that war and the aftermath, and how both Christian and Cyrano prove their integrity and mutual love for Roxane, even after she discovers their perfidy. Wonderful.

[lisamaria_c · Rating: 5 out of 5 stars]

I love this play beyond the telling. It's one of the few single plays I own. The plays I keep on my shelves are complete plays of Shakespeare, Marlowe and Oscar Wilde, some Moliere, a collection of Spanish classics such as de Barca's La Vida Es Un Sueno and this--one of the few French plays that Americans are likely to see in production or film. Even Steve Martin did a modernized adaptation of it in Roxanne. The thing is that I do agree with the LibraryThing reviewer that counts Cyrano as not someone to admire, rather than the other reviewer on LibraryThing who saw this as a beautiful "unselfish" love. Indeed, Cyrano causes misery all around him because he's unselfish--or too cowardly--to woo his love in his own right. That's the tragedy. But, at least in the translation by Anthony Burgess, so much delights. The back cover says that what this translation has that so many lack is "panache." And yes, this is so witty and sparkling and funny for so much of its length--and poignant and heartbreaking. I have to count as great a playwright who can make me laugh and then cry within the same play.

[mickyfine · Rating: 3 out of 5 stars]

The classic play that follows the adventures of the titular credit as he fights to defend his strong sense of honour, succumbs to love, and takes on anyone who makes even the slightest disparaging comment about his large nose.I think my first exposure to this play was probably in an episode of Star Trek: The Next Generation and while I've always known the outline of the plot, I had never read it. I've now fixed that and while the play was enjoyable, I don't think it's one I'll revisit. That said, the complex stage descriptions leave me in awe of how it would have been staged in the 19th century.

[gbill_7 · Rating: 5 out of 5 stars]

Brilliant. Well crafted, intelligent, and romantic. Rostand’s stage instructions, larger than life characters, and tale of panache and heartbreak must have made for an incredible theater experience when it premiered in 1897, and perhaps it still does today. The main story that most are probably aware of has memorable scenes – Cyrano in the bushes feeding lines to Christian as he stands below Roxane’s balcony of course, and also Cyrano pointing out just how banal someone’s attempts at humor are, by rattling off a long string of clever jokes about a big nose. “How darling of you to have built a little perch for little birds to rest their tiny claws,” he says, among many others. However, there is so much more to this play than that: the universality of insecurity, the depth and sacrifice of true love, the transience of life, and having a certain brio while alive. I was surprised by how many of the characters and their actions were historically accurate, outside the love story anyway, including Cyrano himself talking about creative ways of getting to the moon in a wonderful passage that reflects the real de Bergerac’s writing in 1657. Definitely recommended.Quotes:On death, perhaps a fantastic epitaph:Excuse me, friends, I mustn’t keep her waiting:The moon has come to fetch me.On a kiss:Cyrano: A kiss! What is a kiss? A confessionMade from a little closer at hand, a promiseDelivered as soon as it’s made,A secret whispered close, with a mouth to hear it:Eternity held in a moment that stings like a bee.Passed like communion, a host with the scent of flowers,A way to breathe the breath of the heart of anotherAnd with one’s lips to sip the beloved one’s soul.On love:Roxane: What words will you use to tell it?Cyrano: All of them.Each word that comes to me. I’ll throw them allIn sheaves at your feet, no time to make a bouquet:I love you, I’m stifling, I love you, I’m crazy, it’s moreThan I can bear. Your name’s like a bell in my heart,Dearest, a little bell, and as I keep trembling,The bell keeps ringing and ringing and saying your name.The tiniest things about you live in my memory.I’ve loved them all, always. Last year, I remember,On the twelfth of May, you changed the style of your hair!You know what you look too long at the sun, the discOf fire that floats on everything afterwards? Well,Your hair was my sunlight, and after I looked awayThere were patches of blonde light all over the world.On success in life:De Guiche: There’s such a thing as too complete success,And even when one has done nothing wrong – Not really wrong – a certain slight uneaseThat isn’t quite remorse will come to haunt oneWhen rising to great office. As one climbs,The ducal ermine trails along a wakeOf rustling dead illusions and regrets,Just as these autumn leaves catch in your train.

[bruneau_1 · Rating: 5 out of 5 stars]

Best enjoyed in its superior French version, Cyrano is as “classy” as it gets. Simple, yet most effective, full of humor yet very sad. It is both a touching love story, and the horrible testimony of a flawed human nature constantly fooled by appearances.

[cmbohn · Rating: 3 out of 5 stars]

I will admit that my choice of this book was influenced by my daughter. She got to see this play performed at the Utah Shakepeare Festival and just loved it. She said all the girls thought it was great. Since I had a play category, I chose to read this one.I am not quite as crazy about the play as she was, but I did enjoy it. I loved the first part of the play. Cyrano is a great character. What I didn't enjoy as much was the whole selfless adoration involved. I don't want to spoil it, but let me say that I felt Cyrano should have spoken up sooner.

[terris-7 · Rating: 4 out of 5 stars]

I really enjoyed this! It was funny, but poor Cyrano :'(

[danielstj · Rating: 3 out of 5 stars]

3.5

This play has an electrifying final act that brings the play to a satisfying conclusion.

[jwhenderson_1 · Rating: 5 out of 5 stars]

I consider this among my favorite plays for both its romantic air of the grand opera and the poetic monologues of its eponymous hero. An unconventional love story, it is more a fable for the importance of virtue, loyalty and friendship. What more magnanimous man in literature is there than Cyrano de Bergerac? I am sure that I will return to this play again and again as it reminds me of the best that is possible for man and mankind.