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By Mike Mitchell, Georges Rodenbach

Bruges-la-Morte, which first seemed in 1892, issues the destiny of Hugues Viane, a widower who has became to the depression, decaying urban of Bruges because the excellent situation during which to mourn his spouse and as an appropriate haven for the narcissistic perambulations of his inexorably disturbed spirit. Bruges, the 'dead city', turns into similar to his useless spouse and hence permits him to suffer, to control the insufferable loss via systematically following its mournful labyrinth of streets and canals in a cyclical prom of mirrored image and allusion. the tale itself centres round Hugues' obsession with a tender dancer whom he believes is the double of his cherished spouse. the ensuing drama leads Hugues onto a plank stroll of mental torment and humiliation, culminating in a deranged homicide. it is a poet's novel and is for that reason metaphorically dense and visionary common. it's the final evocation of Rodenbach's lifelong love affair with the long-lasting secret and haunting mortuary surroundings of Bruges.

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Compare, for example, Faust's outburst as he concludes his pact with Mephisto-~'I£ ever flattering you should wile me/That in myself I find delight'/If with enjoyment you beguile me,! "') MIDNIGHT.. ) 453 LARGE OUTER COURT OF THE PALACE. ) 463 ENTOM:BMENT. ~') 471 MOUNTAIN GORGES.

Only a few lines correspond to the famous"J ewel Song~ln Gaunod's opera, btlt Goethe himself wrote the short ballad-"In Thuletllerewas a king • . "-which, in Gennan, has the simplicity of a folk song. 263 PROMENADE. (Mephisto tells Faust what happened to the jewels. ) 273 THE NEIGHBOR'S HOUSE. ) 277 STREET. ) 29 1 GARDEN. ) A GARDEN BOWER. (The first kiss. ) WOOD AND CAVE. (Faust has fled lest he ntin Margaret's life. His opening monologue differs from all the rest of Part One by being in heroic blank verse.

10 Translations. No translation of ,a world-historic poem equals the original. Those who sing FitzGerald's praises do it, in effect, by insisting that the original of Omar Kbayyam 'was no major work; and that FitzGerald's quatrains are really not translations at all. When we tupl to poems with which Faust invites comparison, the case is clear. No translation of Dante's Commedia rivals the orig.. inal Italian, and while August Wilhelm Schlegel's German Shakespeare and Johann Heinrich Voss's German Homer, in dactylic hexameters, represent astonishing Introduction 47 , achievements which may well surpass all kindred English efforts, they do not attain the quality of the originals.

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