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Book Reviews261 shoot-em-ups and action, and that he should leave out all the symbols and social concerns and other such "literary" devices. Fortunately, De Voto influenced Walter Van Tilburg Clark not at all. THOMAS L. CLARK University of Nevada, Las Vegas KENDALL E. LAPPIN. Baudelaire Revisited: Forty-one Poems. Revised edition. Fort Lauderdale: Wake-House, 1983. 204 p. In hisforeward, Kendall E. Lappin statesthathe has consulted no fewerthan nineteen previous translators of Baudelaire's Les Fleurs du mal into English. One name missing is the most recent translator prior to Lappin, namely Richard Howard (Les Fleurs du mal [Boston: David R. Godine, 1982]). Interestingly enough, Howard, similar to Lappin, eschews rhyme in favor of internal poetic effect. In order to render Baudelaire's alexandrines, moreover, Lappin has deliberately chosen "a flexible, not-too-insistent anapestic tetrameter" in order to approximate "the fluid movement of Baudelaire's French" (6). Baudelaire Revisited consists of a short introduction or biography of Baudelaire, a foreward in which Lappin expounds his method, followed by the texts in the original with the translation on the facing page, a blank page (or a drawing by Susan Gregg Pheiffer), short notes on each poem (mostly comparisons with a few other translations), and an index of titles and first lines. For reasons that he has not explained, Lappin has restricted himself to forty-one poems (including only the eighth part or the last two quatrains of"Le Voyage"). Thus, less than half of Baudelaire's poems are translated in this edition. Lappin maintains that his important contribution is his rigid, strict fidelity to the original meaning. In many instances in the notes, he cites one or two of the rhymed verse translations of his predecessors in order to prove his point. For "monstre délicat," "monster effete" is quite effective in the prefatory "Au Lecteur" (13); "brunette" is a closer meaning for "brune enchanteresse" in "A une Dame créole" (59). In general, then, he seems to have made a contribution by adhering to the original meanings. In some instances, however, questions arise as to the most valid rendering of the original. One might, for example, question the insertion of the adjective "meek" before "genuflections" for the terrible wife of the poet in "Bénédiction" (21); the "mellow yellow glow" (55) for "Ie rayon jaune et doux" (54) might seem closer to doggerel than to the musical effect ofsymbolist poetry (somewhat the same effect as Poe's "tintinnabulation"?); the last verse of "Une Cloche fêlée": "Who dies without moving, every muscle-a-strain" (83) for "Et qui meurt, sans bouger, dans d'immenses efforts" is too physical (it is more applicable to the Laocoön statue than to Baudelaire's poem). Lappin seems to make a strong case for his Angel "flinging the doors wide" (173) for "entr'ouvrant les portes" at the end of "La Mort des amants." He argues that Baudelaire cannot have his joyful Angel make a "stealthy, surreptitious entrance" (175). In order to substantiate his contention, Lappin cites Francis Duke's rendition ("And then an Angel shall slip through the door") as being far wide of the mark. If, however, the Angel is non-corporeal 262Rocky Mountain Review (as Baudelaire certainly believed), he would naturally (or, supernaturally) "slip through" a door without having to open it wide. Again, Lappin remains on the physical level in his rendition. On the positive side, Lappin offers a service to the literal-minded translators as an intermediary between the original and the verse-rhymed versions (some of which are, admittedly, quite literary and distant from the original), it is a question of the literal meaning versus an aesthetic one, and it evolves finally into an individual choice. De gustibus non disputanduml FRANCIS S. HECK University of Wyoming ALAN MALEY and ALAN DUFF. Drama Techniques in Language Learning: A Resource Book of Communication Activities for Language Teachers, new edition. New York: Cambridge University Press, 1983. 234 p. This second edition of a very popular book of activities for the foreign language classroom has been greatly expanded to include four new categories of exercises: Introductory exercises to prepare students for dramatic interaction , Creation and Invention activities...

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