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This narrative is from the pen of Monsieur Maleine, the Registrar, who, like the examining magistrate, had spent some of his leisure time in the pursuit of literature. The piece was to have made part of a book which, however, has never been published, and which was to have been entitled: "My Examinations."
It was preceded by La Princesse Maleine ; L'Intruse, Les Aveugles ; and Les sept Princesses . Since its appearance Maeterlinck has published these plays: Alladine et Palomides; Intérieur; La Mort de Tintagiles: Trois petits drames pour Marionnettes ; Aglavaine et Selysette ; Ariane et Barbe-Bleue; Soeur Béatrice ; Monna Vanna ; Joyzelle . Pelléas et Mélisande, dedicated to Octave Mirbeau "in token of deep friendship, admiration, and gratitude," was first performed at the Bouffes-Parisiens, Paris, on May 17, 1893, with this cast: Pelléas, Mlle.
Monsieur de Marquet looked at him. "Ah, sir," Rouletabille began, "You must not be angry with Monsieur de Maleine. It is not with Monsieur de Marquet that I desire to have the honour of speaking, but with Monsieur 'Castigat Ridendo. Permit me to congratulate you personally, as well as the writer for the 'Epoque." And Rouletabille, having first introduced me, introduced himself.
So that, at the moment of meeting him, I heard Monsieur de Marquet say to the Registrar with a sigh: "I hope, my dear Monsieur Maleine, this builder with his pickaxe will not destroy so fine a mystery." "Have no fear," replied Monsieur Maleine, "his pickaxe may demolish the pavilion, perhaps, but it will leave our case intact.
It is strange to turn from this essay to Serres Chaudes and La Princesse Maleine, M. Maeterlinck's earliest efforts the one a collection of vague images woven into poetical form, charming, dreamy, and almost meaningless; the other a youthful and very remarkable effort at imitation.
I have sounded the walls and examined the ceiling and floor and I know all about it. I am not to be deceived." Having thus reassured his chief, Monsieur Maleine, with a discreet movement of the head, drew Monsieur de Marquet's attention to us.
The face of that gentleman clouded, and, as he saw Rouletabille approaching, hat in hand, he sprang into one of the empty carriages saying, half aloud to his Registrar, as he did so, "Above all, no journalists!" Monsieur Maleine replied in the same tone, "I understand!" and then tried to prevent Rouletabille from entering the same compartment with the examining magistrate.
In the plays that followed the Princesse Maleine there was the same curious, wandering sense of, and search for, a vague and mystic beauty: "That fair beauty which no eye can see, Of that sweet music which no ear can measure."
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