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Updated: May 3, 2025
Golaud would recover it for her, but she will have no more of it.... "I had rather die at once!" she protests. Golaud prevails upon her to go with him the night is coming on, and she cannot remain alone in the forest. She refuses, at first, in terror, then reluctantly consents. "Where are you going?" she asks. "I do not know.... I, too, am lost," replies Golaud. They leave together.
Marie Aubry; Mélisande, Mlle. Meuris; Arkël, Émile Raymond; Golaud, Lugné-Poë; Geneviève, Mme. Camée; Le petit Yniold, Georgette Loyer. "Take care," warns The Old Man in that most simply touching of Maeterlinck's plays, Intérieur; "we do not know how far the soul extends about men."
"Do you see those great eyes? it is as if they gloried in their power." "I see," responds Arkël, "only a great innocence." "A great innocence!" cries Golaud wildly. "They are more than innocent!... They are purer than the eyes of a lamb. They might teach God lessons in innocence! A great innocence! Listen!
His dogs have left him to follow a false scent. He is about to retrace his steps, when he comes upon a young girl weeping by a spring. She is very beautiful, and very timid. She would flee, but Golaud reassures her. Her dress is that of a princess, though her garments have been torn by the briars. Golaud questions her.
"I heard the crackling of dead leaves," insists Mélisande. "A-a-h! he is behind a tree!" she whispers. "Who?" "Golaud! he has his sword!" "And I have none!" cries Pelléas. "He does not know we have seen him," he cautions. "Do not stir; do not turn your head. He will remain there so long as he thinks we do not know he is watching us. He is still motionless. Go, go at once this way.
'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.
In the end, Golaud kills the lovers after a striking scene in which, as he stands beneath the window of the room in which Pelléas and Mélisande have secretly met, he is told what is passing within by a child whom he holds in his arms.
As Mélisande's doves come from the tower and fly about the heads of the lovers, we hear, tremolo in the strings, a variation of her motive. Golaud enters by the winding stair, and the threatening phrase quoted as Ex. The latter motive sounds, p, as he warns Mélisande that she will fall from the window if she leans so far out. It is followed by the Fate theme as he departs, laughing nervously.
The Fate motive courses ominously through its earlier portions. At the climax of the scene, when Golaud seizes his wife by her long hair and flings her from side to side, the music is as brutal, as "virile," as the most exigent could reasonably demand.
"Is it you, grandfather?" questions Mélisande; "is it true that winter is already coming? it is cold, and there are no more leaves." "Are you cold? Shall I close the windows?" asks Golaud. "No, no, not till the sun has sunk into the sea it sets slowly." Arkël asks her if she wishes to see her child. "What child?" she inquires. Arkël tells her that she is a mother.
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