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She was easily disconcerted, and took everything 'au serieux', and her wits became paralyzed by an embarrassment that was new to her. And, pained by the sort of sarcasm which Marien kept up in all their intercourse, she was often ready to burst into tears after talking to him. Yet she was never quite satisfied unless he was present.
They would be happier if he were dead. 'We are all employed in commerce during the day; but in the evening, VOYEZ-VOUS, NOUS SOMMES SERIEUX. These were the words. They were all employed over the frivolous mercantile concerns of Belgium during the day; but in the evening they found some hours for the serious concerns of life.
It gave him courage also to play out the tragi-comedy to the end, to make a brave jest, to lie convincingly. "We needn't make each other eternal adieux, mon enfant. You must not take all I said about Siberian dungeons au serieux. Russia isn't quite as dangerous as it's made out to be.
Only one thing grieves me, and that is, that I have, perhaps, unwittingly, in some thoughtless way, given you pain; is it so, Helen?" She rose quickly, and with a quiet dignity held out her hand. "No, Monsieur Gervase," she said, "it is not so. I am not one of those women who take every little idle word said by men in jest au grand serieux!
I am reminded of the day when, already with that air of seemly thought, le bel serieux, he was found sketching, with so much truth to the inmost mind in them, those picturesque mountebanks at the Fair in the Grande Place; and I find, throughout his course of life, something of the essential melancholy of the comedian.
She was quite the person to take 'au grand serieux' the monstrous imaginations of Lady Byron's jealousy and to feel it on her conscience to make public report of them when she conceived that the time had come to do so. In Francis Parkman I knew much later than in some others a differentiation of the New England type which was not less characteristic.
The reader who seeks to realise the nullity of the genre sérieux in Diderot's hands, should turn from The Natural Son to Goldoni's play of The True Friend, from which Diderot borrowed the structure of his play, following it as narrowly as possible to the end of the third act. Seldom has transfusion turned a sparkling draught into anything so flat and vapid.
"Oh," I said, interrupting his prosings with a light laugh, "you mustn't take the matter au serieux." "I take it so because it is serious." The Judge's eyes and his tone were very grave. "Forgive me if I remind you that these obiter dicta have grown out of a discussion of your money affairs, wherein you are bankrupt.
But the strength of the romantic element in them would have been as little satisfactory to Diderot's love of realistic moralising as the conventional tragedy of the court of Lewis XIV. The Fable of most of them turns on adultery, and this is not within the method of the genre sérieux as expounded by Diderot.
The cause why this condition has never come to pass is simply that its whole structure and its regulations repel the faculties of dramatic genius. Besides the perfection of the genre sérieux, Diderot insisted that the following tasks were also to be achieved before the stage could be said to have attained the full glory of the other arts. First, a domestic or bourgeois tragedy must be created.
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