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Updated: May 6, 2025
Maeterlinck's aim is to show that contrary to the usual idea, what we call Fate, Destiny, is not something apart from ourselves, which exercises power over us, but is the product of our own souls. He takes many examples to prove this, of which Hamlet is one. Man, said Maeterlinck, is his own Fate in an inner sense; he is superior to all circumstances, when he refuses to be conquered by them.
He has never sought to dominate Maeterlinck's poem, or to swallow it up in a torrent of music; he has made it so much a part of himself that at the present time no Frenchman is able to think of a passage in the play without Debussy's music singing at the same time within him.
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."
For the credit of human nature we feel compelled, in sight of such enormities, to go back to Mr. Maeterlinck's theory that invisible powers of evil are using man for the execution of devilish designs. But if so, they have had no mercy on their creatures.
In effect this doctrine comes very near Maeterlinck's plea of comfort. Annihilation, he says, is impossible, because nothing is destructible. But when confronted with the eternal antinomy of death, that both the end and the survival of personality are equally inconceivable, he hesitates.
That would have been like the odor of ether on a sunny day in Maeterlinck's hot-houses. Naturally, I represent the ether, and Panna Irene the sunny day." The smile with which he said this grew ever more jeering and malicious. "But I know not how they will succeed in the retreat.
The materialist who complacently defines the soul as the "intellect plus the emotions," will doubtless turn away in disgust from M. Maeterlinck's constant references to it as the seat of something mighty, mysterious, inexhaustible in life.
The orchestral poem after Maeterlinck's "Pelléas" is also ultra-romantic and post-Wagnerian. The trumpet theme, the "Pelléas" theme, for instance, is lineally descended from the "Walter von Stolzing" and "Parisfal" motives. The work reveals Schoenberg striving to emulate Strauss in the field of the symphonic poem; striving, however, in vain.
Silver, never having seen a dog do such a thing before, for more than a yard or so, and then only under the pressure of many inducements, was unfavourably impressed. In fact, she had definitely a symptom of M. Maeterlinck's awed feeling when he found himself left alone with the talking horses: "With whom was she?" "Look-a-here, dog!" she said breathlessly. "Who you tryin' to skeer?
I suppose I have not been a great reader of the drama, and I do not know that I have ever greatly relished any plays but those of Shakespeare and Goldoni, and two or three of Beaumont and Fletcher, and one or so of Marlow's, and all of Ibsen's and Maeterlinck's. The taste for the old English dramatists I believe I have never formed.
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