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Updated: June 28, 2025
M. Debussy's Pelléas et Mélisande, in 1902, seemed to mark more truly the emancipation of French music. From this time on, French music felt that it had left school, and claimed to have founded a new art, which reflected the spirit of the race, and was freer and suppler than the Wagnerian art.
Pelléas enters, and there is an impassioned declaration of his theme, scored, f, for wood-wind, horns, and strings, as he observes that he is about to depart, "crying out for joy and woe like a blind man fleeing from his burning house." We hear the Fate motive when Mélisande warns Pelléas that it is late, that they must take care, as the gates of the castle will soon be closed for the night.
The child is brought, and put into her arms. Mélisande can scarcely lift her arms to take her. "She does not laugh, she is little," says Mélisande; "she, too, will weep I pity her." Gradually the room has filled with the women-servants of the castle, who range themselves in silence along the walls and wait. "She is going to sleep," observes Arkël; "her eyes are full of tears.
He falls in love with her and carries her back to the castle as his wife. At the castle dwells also Pelléas, Golaud's brother, whose growing love for Mélisande is traced through a succession of interviews.
And he himself preaches by example in his Pelléas et Mélisande, and breaks with all the principles of the Bayreuth drama, and gives us the model of the new art of his dreams.
In speaking of the moral reasons of the success of Pelléas et Mélisande, I would like to draw your attention to a form of thought which is not confined to France, but which is common nowadays in a section of the more distinguished members of European society, and which has found expression in Pelléas et Mélisande.
It is too late!" "So much the better!" cries Mélisande, in passionate abandonment. "Do you say that?" exclaims her lover. "See, it is no longer we who will it so! Come, come!" They embrace. "Listen! my heart is almost strangling me! Ah! how beautiful it is in the shadows!" "There is some one behind us!" whispers Mélisande. Pelléas has heard nothing. "I hear only your heart in the darkness."
"Melisande, that crackling of tissue paper is driving me mad! Do leave off! Can't you see that I am waiting to be undressed?" The maid hastened to her side, and with quick light fingers began to undress her. "Mademoiselle va bien dormir ca se voit," she purred. "I shan't," said Zuleika.
Them, however, the Duke cursed as he fell; them again as he raised himself on one elbow, giddy and sore; and when he found that the woman bending over him was not she whom he dreaded, but her innocent maid, it was against them that he almost foamed at the mouth. "Monsieur le Duc has done himself harm no?" panted Melisande. "Here is a letter from Miss Dobson's part.
An interlude, in which are blended the variant of the Mélisande theme, which denotes her grieving, and the shimmering figure in sixteenth-notes heard during the dialogue at the fountain, leads into the scene before the grotto. Over a murmurous accompanying figure given out by violas, 'cellos, harp, and horn, a clarinet sings a variant of the Mélisande theme.
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