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Updated: June 11, 2025
The task may be much lightened by referring the reader to a play by the bravest and wisest of modern dramatists, M. Brieux, more especially because the reader of "Les Avariés" will be enabled to see the sequence of causation in its entirety. When first our attention is called to these evils, we are apt to blame the individuals concerned.
The consequence is that a great educative influence, like the theatre, where a few playwrights like M. Brieux, and Mr. Bernard Shaw, and Mr. Granville Barker, and Mr. John Galsworthy, might effect the greatest things, is relegated by Mrs. Grundy to the plays produced by Mr. George Edwardes and other earnest upholders of the censorship.
For abundant examples of scenes rendered obligatory by the logic of the theme, we have only to turn to the works of those remorseless dialecticians, MM. Hervieu and Brieux. In such a play as La Course du Flambeau, there is scarcely a scene that may not be called an obligatory deduction from the thesis duly enunciated, with no small parade of erudition, in the first ten minutes of the play. It is that, in handing on the vital lampada, as Plato and "le bon poète Lucrèce" express it, the love of the parent for the child becomes a devouring mania, to which everything else is sacrificed, while the love of the child for the parent is a tame and essentially selfish emotion, absolutely powerless when it comes into competition with the passions which are concerned with the transmission of the vital flame. This theorem having been stated, what is the first obligatory scene? Evidently one in which a mother shall refuse a second marriage, with a man whom she loves, because it would injure the prospects and wound the feelings of her adored daughter. Then, when the adored daughter herself marries, the mother must make every possible sacrifice for her, and the daughter must accept them all with indifference, as mere matters of course. But what is the final, triumphant proof of the theorem? Why, of course, the mother must kill her mother to save the daughter's life! And this ultra-obligatory scene M. Hervieu duly serves up to us. Marie-Jeanne (the daughter) is ordered to the Engadine; Sabine (the mother) is warned that Madame Fontenais (the grandmother) must not go to that altitude on pain of death; but, by a series of violently artificial devices, things are so arranged that Marie-Jeanne cannot go unless Madame Fontenais goes too; and Sabine, rather than endanger her daughter's recovery, does not hesitate to let her mother set forth, unwittingly, to her doom. In the last scene of all, Marie-Jeanne light-heartedly prepares to leave her mother and go off with her husband to the ends of the earth; Sabine learns that the man she loved and rejected for Marie-Jeanne's sake is for ever lost to her; and, to complete the demonstration, Madame Fontenais falls dead at her feet. These scenes are unmistakably scènes
You do not go away from a Brieux play with the feeling that the affair is finished or the problem solved for you by the dramatist.... You come away with a very disquieting sense that you are involved in the affair, and must find the way out of it for yourself and everybody else if civilisation is to be tolerable to your sense of honour. All this is unmistakable. Mr.
Brieux also urges the requirement of health certificates for marriage, such as many clergymen now insist upon and which doubtless will be made compulsory before long in many of our States. Brieux paints in black colors yet is no fanatic; in fact, he will be criticised by many as being too tolerant of human weakness.
I shall always endeavour to follow clever writers like Shaw and Brieux whose plays have, as the former puts it, "a really scientific natural history" for their basis. But I cannot hope to acquire the whole of knowledge or reform the whole of the world, and there are books which contain a great deal of sound knowledge and urgent opinion for which I have no use. Moreover, I deny Mr.
We had been to see Brieux' Damaged Goods in New York a week or so before, and we were in the mood to sympathize with Mr. Carville's doubt of modern tendencies. He stood by the door of the studio, one hand on the jamb, the other under his coat, the plain gold albert stretched across his broad person, the light shining on his smooth pink forehead as he looked down at his crossed legs.
The mixture of spying and propaganda with banking, with export, with manufacture, seems so foreign to Anglo-Saxon ways as to be almost inconceivable. The French and Belgian coalfields are being worked to the utmost, together with the iron mines at Longwy and Brieux. Poland is being deforested to such an extent that the climate is actually altering.
At the present moment MM. Brieux and Paul Hervieux are flogging some of the laws of France, and the German stage has seen a good many pieces which before the word became demonetised one would have called Problem plays.
French writers especially, who regard logic as one of the peculiar faculties of their national genius, are apt to insist upon it in and out of season. But, as we have already seen, logic is a gift which may easily be misapplied. It too often leads such writers as M. Brieux and M. Hervieu to sacrifice the undulant and diverse rhythms of life to a stiff and symmetrical formalism.
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