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Updated: May 6, 2025
He was a man of the new style, but he experienced now the spiritual condition of his great-grandfather, which affected him so that, like Maeterlinck's Hjalmar, he wished to throw handfuls of earth at night-owls. The death of that little one, and all that was happening and going on in the house, had made his soul pale from weakness.
It is a subtle and characteristic saying, and it might have been used by the dramatist as a motto for his Pelléas et Mélisande; for not only does it embody the central thought of this poignant masque of passion and destiny, but it summarizes Maeterlinck's attitude as a writer of drama.
The books were: Diana of the Crossways, Richard Feverel, Henri Lavedan's Le Duel, Maeterlinck's Pelleas et Mélisande, Don Quixote de la Mancha, in Spanish, a volume of Virgil's Eclogues, and the Life of the Chevalier Bayard, by the Loyal Servitor. Ste. Marie stared at her. "Do you read Spanish," he demanded, "and Latin, as well as French and English?" "My mother was Spanish," said she.
Colonel de Rochas did not think it wise to carry the hypnosis further, because the subject appeared exhausted and her paroxysms were painful to watch. He obtained analogous and even more surprising results with other subjects. Maeterlinck's comments upon all this are of negligible value. He pays a fine tribute to the theory of reincarnation.
"Pelléas and Mélisande" is the most beautiful of Maeterlinck's plays, and to say this is to say that it is the most beautiful contemporary play.
According to Montégut, Caliban stands for Marlowe, Ariel for the English Genius which Shakespeare frees from its barbaric prison. Is 'The Tempest' an allegory? Is it in any sense an autobiographical play? Does its symbolism have much in common with that of modern symbolistic plays, such as Maeterlinck's 'Joyzelle, for example?
And somewhere, perhaps, stood the farmer, smiling complacently for should there not be somewhere a farmer in this universal barnyard? But then, the laughter died; for he thought of Maeterlinck's "Life of the Bee", and shuddered at the fate of the male-creature. He was a mere accident in the scheme of Nature she wasted all his splendors to accomplish the purpose of an hour.
Maeterlinck's theory, which is, I think, the theory of the ancients the theory on which the Greeks built their plays that invisible powers of good and evil, operating in regions that are above and beyond man's control, are working out his destiny in this monstrous drama of the war. * The Daily Chronicle. And what a drama it has been already!
"Maeterlinck's man," says S.C. de Soissons in a penetrating study of the Belgian's dramatic methods, "is a being whose sensuous life is only a concrete symbol of his infinite transcendental side; and, further, is only a link in an endless change of innumerable existences, a link that remains in continual communication, in mutual union with all the other links.... In Maeterlinck's dramas the whole of nature vibrates with man, either warning him of coming catastrophes or taking on a mournful attitude after they have happened.
The atmosphere in which Maeterlinck's drama moves makes one feel the melancholy resignation of the will to Fate. We are shown that nothing can change the order of events; that, despite our proud illusions, we are not master of ourselves, but the servant of unknown and irresistible forces, which direct the whole tragicomedy of our lives.
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