The work is written in Gipuzkoan Basque but it also includes words from other Basque dialects, several neologisms, and Arana-Goiri's new spelling, thereby achieving a linguistic balance between traditional theatre at the end of the 19 th century and its practical side with another discourse that was unrestrained yet more cultivated. Torbio Altzaga, who put the running of the Euskal Iztundea into the hands of the City Council, had, in Mitxelena's words, a special instinct for theatre: "He had greater good taste, sense of the theatre, dramatic vigour and skill in his casting of the characters than his predecessors ". That was undoubtedly the first version of the renowned English playwright's work ever translated into Basque and was published under the title Irritza. He came up with numerous comedies in that respect and translated several more such as Pierre Loti's Ramuntcho or Shakespeare's Macbeth. Like Soroa, he was born in Donostia-San Sebastian and was the founder of modern Basque theatre and managed to raise the level of the theatre in Gipuzkoa without taking away its folk character. It was in such a situation that Toribio Altzaga came to the fore. Īfter the Carlist War was over, the Old Donostia Theatre came to be to main stage for Basque theatre and it spread to the towns of the province and to theatre-goers who wished to forget about the bloody internecine conflict and wanted to be entertained.
In 1876, the same year Maurice Ravel was born in Ciboure, the bilingual "zarzuela" Iriyarena, by Marcelino Soroa». More prescisely, it was born from the work of a group of donostiarras, refugees in Ciboure, fleeing the dangers and discomforts of the city under siege by the Carlists. Mitxelena admits in his Historia de la Lengua Vasca, Donostia-San Sebastian was the cradle of modern Basque theatre: « The cradle of modern Basque theatre was San Sebastián. On the other hand, the cultural space for Basque expression was quite limited and barely able to look outside of itself, in order to establish links with the great international aesthetic-literary currents and, even when it did so in a superficial way, that was thanks to the pioneering work of those involved in the cultural revival. d'Abbadie were celebrated marks the starting point of modern Basque poetry and literature, strictly speaking. And for quite different reasons other than what the Frenchman Jean-Louis Curtis adduced, since, as professor Ibon Sarasola has stated, the year in which the Floral Games held by M. In the case of Basque, the long wait that the critics above so lament stretched to three centuries before there was a feeble attempt to take on Shakespeare's towering work for the first time (in the second decade of the twentieth century). Why was there such a long wait for him to be translated and known in France? This delay is probably attributable to the universality of the French language in the XVII th century and during the first half of the XVIII th». Jean Louis Curtis laments the same thing about the lateness of the English playwright's works being translated into the language of Molière: «Shakespeare was not translated into French for a long time after his death, not for more than a century after, in fact, and that despite the constant interchanges and the almost uninterrupted relations between the two countries.
Shakespeare had to wait many years before he was to be known and translated in Spain». Not long ago, Esteban Pujals wrote about translations of Shakespeare in Spain: «Cervantes was translated into English not long after the original Don Quixote came out.
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