Читать книгу Dramatis Personæ онлайн

21 страница из 44

He is not entirely the initiator of this impressionistic drama; first in order of talent, he is second in order of time to another Belgian, Charles van Lerberghe, to whom Les Aveugles is dedicated. It was Van Lerberghe (in Les Flaireurs, for example) who discovered the effect which might be obtained on the stage by certain appeals to the sense of hearing and of sight, newly directed and with new intentions. But what is crude and even distracting in Les Flaireurs becomes an exquisite subtlety in L'Intruse. In La Princesse Maleine, in L'Intruse, in Les Aveugles, in Les Sept Princesses, Maeterlinck has but one note, that of fear—the "vague spiritual fear" of imaginative childhood, of excited nerves, of morbid apprehension. In La Princesse Maleine there is a certain amount of action—action which is certainly meant to reinvest the terrors of Macbeth and of Lear. In L'Intruse and Les Aveugles the scene is stationary, the action but reflected upon the stage, as if from some other plane. In Les Sept Princesses the action, such as it is, is "such stuff as dreams are made of," and is literally, in great part, seen through a window. From first to last it is not the play, but the atmosphere of the play, that is "the thing." In the creation of this atmosphere Maeterlinck shows his particular skill; it is here that he communicates to us the nouveau frisson, here that he does what no one has done before.