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Updated: June 4, 2025
We pause an instant to describe them, because, under a tyranny, whether despotic or popular, the character of the hangman becomes a subject of grave importance. These functionaries were essentially different in their appearance and manners. Louis used to call them Democritus and Heraclitus, and their master, the Provost, termed them Jean qui pleure and Jean qui rit.
His resort to Gregorian principles is, it has been observed, far from being a matter of recent history with him. Almost twenty years ago we find him writing in the spirit of the old modes. Examine the opening phrases of his song, Harmonie du Soir (composed in 1889-1890), and note the felicitous adaptation to modern use of the "authentic" mode known as the Lydian, which corresponds to a C-major scale with F-sharp. Observe the use of the same mode in the introductory measures, and elsewhere, of his setting of Verlaine's Il pleure dans mon coeur , the second of the "Ariettes." Five years later, in Pelléas et Mélisande, the trait is omnipresent too extensive and obvious, indeed, to require detailed indication. One might point out, at random, the derivation from the seventh of the ecclesiastical modes (the Mixolydian) of the phrase in the accompaniment to Arkël's words in the final scene, "L'âme humaine aime
It was the bitter-sweet of love; for it was destined to bring them the deepest joy and sorrow in the years to come. Many days passed before the lovers reached Cornwall, and strange adventures met them by the way, of which we have but little space to speak. For chance brought them to land near a castle named Pleure, or the weeping castle.
Such heartless indifference to the sufferings of the people on the part of the King and his Court evoked the following couplet, which was put into the mouth of Louis by a contemporary pamphleteer: "Si la France est en deuil, qu'elle pleure et soupire; Pour moi, je veux chasser, galantiser et rire." But we are somewhat anticipating events, and therefore return to them in the order of time.
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