IN bringing out this new edition of Cyrano de Bergerac, the editor has been animated by one domi nant purpose: to develop from the opportunities peculiar to this play the maximum of profit from the points of view both of language and culture. In language, Cyrano is unusually well fitted to serve as an introduction to those proverbs, familiar sayings and verbal associations which are not to be known by the manipulation of dictionaries and which, neverthe less, are indispensable to an understanding of French conversation and contemporary literature (especially the drama). In the matter of culture, it is remarkable for its power to instil a broad and lasting love of French letters: it holds the student's attention better than any other text, while, at the same time, it inter ests him in two widely separated epochs. Its winning, youthful idealism fires him with enthusiasm for the works of a modern writer, almost his contemporary; its subject and use of local color awakens his curiosity in the civilization and writers of the classic age. These linguistic and cultural aspects will be found particularly stressed in the Notes.
