Hamlet: Lost in Translation and Citation

I recently re-read Madeleine L'Engle's Walking on Water: Reflections on Faith and Art (Wheaton, Illinois: Harold Shaw Publishers, 1980).  On page 29, she explains why she provides no more than the author (if known) for her quotations:

most of the writers I want to quote in this book are writers whose words I've copied down in [...] a commonplace book.  I copy down words and thoughts on which I want to meditate, and footnoting is not my purpose; this is a devotional, not a scholarly notebook. [...] I am only now beginning to see the usefulness of noting book title and page, rather than simply jotting down [the author's name].

On page 41, L'Engle refers to "a French translation of Hamlet, in which the famous words Hamlet utters when he first sees the ghost of his father, 'Angels and ministers of grace defend us,' are rendered, 'Tiens, qu'est[-ce] que c'est que ça?'" 

I found this intriguing, but she did not name the translator or her source.

In my initial google searches for French translations of Hamlet, I came up with:

• "Anges du ciel, à moi! le voilà! le voilà!" (1847 verse adaptation by Alexandre Dumas père and Paul Meurice) 
• "Anges, ministres de grâce, défendez-nous!" (1862 translation by Guizot and François-Victor Hugo) 
• "Anges du ciel, à moi dans cet instant suprême!" (1876 verse translation by Alcide Cayrou)

All perfectly defensible, but of course I was really looking for a far less satisfactory translation.  

So I re-instated the grammatical fault and searched for "Tiens, qu'est que c'est que ça" -- and hit pay dirt.  It appears in an unsigned review/article called "Mme. Sarah Bernhardt's Lady Macbeth," published in 1884:*

Here we come to a dead end, as the author does not further identify "the gentleman who undertook to transfer 'Hamlet' into French vernacular prose." (My google searches on Partridge did not suggest any noted Shakespearean scholar or translator by that name; instead, they led me to Tom Jones, in which Benjamin Partridge goes to see Hamlet and has all the wrong reactions.)  

Now, we might ask, why is L'Engle quoting and criticizing a non-standard translation of Hamlet into 19th century French vernacular prose, which (even assuming it exists) she probably never read for herself but only encountered in this article (given that she faithfully reproduced the article's ungrammatical French)?

Well, she's talking about what has been lost in updating or modernizing the 1928 Book of Common Prayer.  She acknowledges that the older book "needed changing," but fears "[w]hat has been gained in strength of structure has been lost in poverty of language" -- and also, in theological imprecisions that can encourage certain heresies.  

So I'm inclined to agree that even an apocryphal vernacular translation of Hamlet can be used as an illustration in this context.  But I'd actually still love to read the whole thing, as it sounds hilarious -- whether or not so intended.

FN* I found it on p 8  of The Critic: A Literary Weekly, Critical and Eclectic, Vol. II (New Series), July to December 1884, edited by Jeannette Leonard Gilder and Joseph Benson Gilder (New York: The Critic Company, 1884).  Volume II appears to be devoted to "The Critic and Good Literature." The review/article appears in the first section of the volume, denominated No. 27 (July 5, 1884).  It seems to have been published originally in The Saturday Review of Politics, Literature, Science and Art, Vol. 57 (June 14, 1884) at 777.