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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
Then he come back once again in the night when Little Hammer was away, and before morning he go; but when Little Hammer return, there lay his bride only an Injin girl, but his bride-dead! You see? Eh? No? Well, the Captain at the Post he says it was the same as Lucrece. I say it was like hell.
A veil was drawn, as it were, from before his eyes, and he looked on other women and found them beautiful. It was in 1833, soon after Hugo's play "Lucrece Borgia" had been accepted for production, that a lady called one morning at Hugo's house in the Place Royale.
I do not mean merely as regards that direct literary expression of art by which, from the little red-and-black cruse of oil or wine, a Greek boy could learn of the lionlike splendour of Achilles, of the strength of Hector and the beauty of Paris and the wonder of Helen, long before he stood and listened in crowded market-place or in theatre of marble; or by which an Italian child of the fifteenth century could know of the chastity of Lucrece and the death of Camilla from carven doorway and from painted chest.
Did Richard leave you as big a pile of money as folks say? It must have been a heavy slam on you, Evaleen, when he dropped off. Lucky, too, in another pint of view; he's better off, and so are you lots better off." Danvers and Lucrèce, wishing to prevent posthumous comments on Uncle Richard, came to Evaleen's rescue. "You are a frequent comer to this island. You know its products and topography?"
I long to be at the Louvre again, to see a play by Moliere's company, as only they can act, instead of the loathsome translations we get here, in which all that there is of wit and charm in the original is transmuted to coarseness and vulgarity. When I leave this bed, Lucrece, it will be for Paris." "Why, it will be ages before you are strong enough for such a journey." "Oh, I will risk that.
"Some believe it was captured by pirates, who carried Theodosia away to a foreign port." "That's an absurd theory!" declared Danvers. "But not impossible, my dear," put in Lucrèce. "I hope the poor lady was not carried away; drowning is preferable," said Evaleen. "You two wouldn't drown when you had a chance at Cypress Bayou," laughed the husband.
"Are you tired of me already," she playfully chided, "and curious to make a new friend? They are French people from Gallipolis." "French? Is she French?" asked Danvers, gazing toward Lucrèce. "French? Is she French?" tenderly mocked Evaleen. "I told you they were French. Now I am jealous. Do you know any French girl in Gallipolis?" "Nonsense, Evaleen! I am not a woman's man.
The specific symptoms of poetic power elucidated in a critical analysis of Shakespeare's VENUS AND ADONIS, and RAPE of LUCRECE.
Wessel yawned sleepily and, glancing at the scrawled, uncertain first page, he began reading aloud very softly: The Rape of Lucrece "From the besieged Ardea all in post, Borne by the trustless wings of false desire, Lust-breathing Tarquin leaves the Roman host " The Moonlight Quill is, or rather was, a very romantic little store, considered radical and admitted dark.
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