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His "Scherzo fantastique," inspired by Maeterlinck's Life of the Bee, which was produced in 1908, attracted the attention of Sergei Diaghilew to the young composer, and secured him a commission to write a ballet for Diaghilew's organization. The immediate result was "L'Oiseau de feu," which was composed and produced in 1910.
There was sleet that evening, with a whopping wind, but neither this storm nor that other which so imminently threatened him held place in the consciousness of Bibbs Sheridan when he came once more to the presence of Mary. All was right in his world as he sat with her, reading Maurice Maeterlinck's Alladine and Palomides.
He chose the most unexpected, the most subtle, and wedded it to sounds which invariably expressed the full meaning. He breathed the breath of life into these vague, shadowy poems, just as he made Maeterlinck's "Pélleas" live again. As the years passed, Claude Debussy won more and more distinction as a unique composer, but also gained the reputation of being a very unsociable man.
But, however it may come to be ranked, there are few, I think, who will not recognize here an accent that is personal and unique, a peculiar ecstasy, a pervading and influential magic. Maurice Maeterlinck's Pelléas et Mélisande, published in 1892, stands fifth in the chronological order of his dramatic works.
This is immediately followed by one of the most important themes in the opera, that which seems to typify the veiled and overshadowing destiny which is very close to the central thought of Maeterlinck's play. This latter theme, with the motive of Fate, underscores the earlier portions of the dialogue between Golaud and Mélisande.
There is an unwritten constitution, a spirit that governs, like Maeterlinck's "spirit of the hive." The traditions of the body are handed down from mother cell to daughter cell, though just what that means in terms of physiology or metabolism I do not know.
There were parrots in Kentucky, and there were in Ohio pigeons and birds of prey, eagles and buzzards, but the birds we know to-day and the bees were later immigrants from lands that remembered Aristophanes or the hills of Hymettus, or that knew Shelley's skylark or Keats's nightingale or Rostand's tamer fowls or Maeterlinck's bees.
This is a score rich in beauty and strangeness, yet the music has often a deceptive naïveté, a naïveté that is so extreme that it reveals itself, finally, as the quintessence of subtlety and reticence in which respect, again, we are reminded of its perfect, its well-nigh uncanny, correspondence with the quality of Maeterlinck's drama.
The dog starts with a fund of knowledge, which man acquires slowly and painfully. But all this does not trouble one in reading of Maeterlinck's dog. Our interest is awakened, and our sympathies are moved, by seeing the world presented to the dog as it presents itself to us, or by putting ourselves in the dog's place.
'Pelléas et Mélisande' is founded upon Maeterlinck's play of that name, the action of which it follows closely, but not closely enough, it seems, to please the poet, who publicly dissociated himself from the production of Debussy's opera and, metaphorically speaking, cursed it root and branch. Golaud, the son of King Arkel, wandering in the wood finds the damsel Mélisande sitting by a fountain.
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