Thirty-Six Dramatic Situations

Home , Agathocle, Gluck (crater), Les Burgraves, Marie Tudor, Nanine

G o zzi m a int a ine d th a t th ere ca n b e but thirty- six tra gic s a o s . e oo ea a s t o ﬁnd o e h e was itu ti n Schill r t k gr t p in " m r , but e e . un abl e t o ﬁnd eve n so m any as G ozzi . G o th

Th e

Thirty - Six Dram atic

Situ ations

GE ORGES POLTI

Transl a ted by Lucil e R ay

a o Fr nklin , Ohi J A M ES K NAPP H E R V E 1 9 2 4 PY H 1 9 1 6 1 9 1 7 CO RI G T , , T H E E D ITO R CO M PAN Y

P H 1 92 1 CO YRI G T , JAM E S KN APP R E E VE

2 839 6 T H E T H I R TY - SI X D R AMAT I C SITUAT I ONS

I NTR OD U CTI ON

G o zzi m a int a in ed th a t th ere can b e but thirty - six tra gic

s a o s . e o o ea a s t o ﬁn o e h e itu ti n Schill r t k gr t p in d m r , but was a e s s un bl t o ﬁnd even o m a ny a G o zzi .

- Th irty six situations only ! There is , to me , some a thing t ntalizing about the assertion , unaccompanied as it is by any explanation either from Gozzi , or from

Goethe or Schiller , and presenting a problem which it does not solve . For I remembered that he who declared by this limited number so strongly synthetic a law , s had him elf the most fantas tic of imaginations . He was th e the author , th is Gozzi , of of Roi ” " na l o ue 7 the o ne Cerf , two works almost without é g , “ ” " upo n t he situation of the E n igma / th e other U pon phas es of metempsychosis ; he was t he creator of a d ra e t he a e e matic syst m , and Ar b squ spirit , through h im a s e e t e tr nsfu d , has giv n us h work of Hoffmann , Jean

Paul Richter and Poe . ’ The Ven e ti a n s e xube rance would h a ve ma d e me e a ce a e s d oubtful of h im , sinc , h ving on l unch d at us thi d e 36 e e s . u t e a n numb r , h k pt il ence B Sch ill r , rigid a e a e e a e e a s a rd nt Kanti n , princ of mod rn sth tici n , m ster e a a — a d e e e of tru h istoric d r m , h h not in turn , b for “ a s e a e ea a s t o v e rif a nd ccepting thi rul , t k n gr t p in y it ( t h e pains of a Schill er !) th e reby giving it th e a dd itiona l ? a uthority of his powe rful critici s m a nd h is rich me mo ry l l a e a s And Goeth e , his opposite in a th ings s v trong a s e t he a wh o h is t t for abstr ct , throughout e se e t o e t e s e a d s es lif ms h a ve consid e r d h ubj ct , d his t ti ea s a e t e e o f e e a a e e mony y r ft r h d ath Sch ill r , y rs ft r th ir 8 T H I RTY - SI X D RA M ATIC SITU ATIONS

r f uitful conversations , at the very time when he was “ completing Faust , that supreme combination of con trasting elements .

r In F ance , Gérard de Nerval alone had grasped and presented briefly the ensemble of al l dramatic produc ’ ” tion , in an article upon Soumet s Jane Grey , in f written , un ortunately , with what dandy ism of style ! Having early desired to know the exact number of actions possible to the theater , he found , he - s tells us , twenty four . His basi , however , is far from s atisfactory . Falling back upon the outworn cl assifi o f cation the seven ca pital sins , he finds himself obliged at the outset to eliminate two of them , gluttony and sloth , and very nearly a third , lust (this would be Don

Juan , perhaps) . It is not apparent what manner of tragic energy has ever been furnished by avarice , and the divergence between pride (presumably the spirit of tyr anny) and danger , does not promise well for the con texture of drama , the manifesta tions of the latter being too easily confounded with those of envy . Furthermore , murder or homicide , which he indicates as a factor for a obt ining several new situations , by uniting it in turn with each of the others , cannot be accepted as such , l l since it is but an accident common to a of them , pos sible in all , and one most frequently produced by all . n And ﬁ ally , the sole title mentioned by Nerval , Rivalry of Queen and Subject , corresponds , it will be observed ,

- - only to a sub class of one , not of his twenty four , but of ’ o z - G zi s Thirty six Situations .

’ G o zzi s Since Nerval , no one has treated , in genuinely technica l manner , of the secrets of invention , unless it ’ be relevant to mention in this connection Sa rcey s cele “ brated - - theory of the scene a faire , a theory in general 1 but il l comprehended by an age which dreads d id acti cism , that is to say , dreads any serious reﬂection upon art ; some intimate notes of Dumas ﬁt: which were pub l ish ed s again t his wishes , if my youthful memories are “ ” correct , in the Temps some years ago , and which set forth that d oub la pl ot of Corn eille and Racine , a heroine i e d sputed by two heroes , and a hero disput d by two I NTRO D U CTION 9

s heroines ; and , la tly , some works here and there by is Valin , upon composition . And that all , absolutely all . I - Finally , in brief , rediscovered the thirty six situa tions , as Gozzi doubtless possessed them , and as the reader will ﬁn d them in the following pages ; for there a - were indeed , as he had indic ted , thirty six ca tegories which I had to formulate in order to distribute fitly among them the innumerable dramas awaiting classi

ca tion . ﬁ There is , I hasten to say , nothing mystic or cabalistic about th is particular number ; it might per haps be possible to choose one a triﬂe higher or lower , but this one I consider the most accurate .

Now , to this declared fact that there are no more * - s than thirty six dramatic situation , is attached a singu

lar corollary , the d iscovery that there are in life but

- - thirty six emotions . A maximum of thirty six emo n — tio s , and therein we have all the savor of existence ; there we have the unceasing ebb and flow which fills e human h istory like tid s of the sea ; which is , indeed , the a very subst nce of history , since it is the substa nce of e humanity its lf , in the shades of Africa n forests as Unter d e n Lind en or beneath the electric lights of the Boule ’ va rd s ; as it was in t h e ages of man s hand - to - hand e t he struggl with wild beasts of wood and mountain , as be i and it will , indubitably , in the most inf nitely dis a e e - t nt futur , sinc it is with these thirty six emotions e — we no mor that we color , nay , comprehend , cosmic e a a nd e e m ch nism , sinc it is from th m that our theogonies e a s s a re a nd e e and our m t phy ic , v r will be , constructed ; “ — all our d ea r a nd fa nciful beyonds ; thirty - six situ io -s e s a t ns r ix a nd e . , thi ty motion , no mor e e e s e a t e It is , th n , compr h n ibl th in vi wing upon the sta ge the cea se l e ss mingling o f th ese thirty - s ix e mo a e a o a e a t t e e tions , a r c or n ti n rriv s h b ginning of its e - s s G re s e d finite self co nsciou ne s ; th e e k , ind e d , began e o s th ir towns by l a ying th e f und a tion of a th eater . It is e qua lly natura l th at o nly th e grea tes t and most com

‘ I a e e a e t h e o a se t he o a o h v r pl c d w rd tr gic , u d in qu t ti n , with

a a . o se a a o e e o a f o r dr m tic Th " f mili r with G th kn w th t him o ne o f t h e cl ass ic (i e rm a ns t h e t wo t e rms w e re syn o nym o us s ss e i n thi p a a g . 1 0 T H I RTY - SI X D RA M ATIC SITUATIONS plete civilizations sh ould have evolved their own partie ular conception of the drama , and that one of these new conceptions should be revealed by each new evo l u e e tion of society , whence arises the dim but faithful xp c t atio a e n of our own g , waiting for the manifestation of its own dramatic ideals , before the cenotaphs of an art h as wh ich long been , apparently for commercial reasons ,

- almost non existent .

In ﬁne , after having brought together all these dra “ matic points of view , we shall see , as in a panorama , the great procession of our race , in characteristic motley costumes : H indu kings in their chariots , Chinese gallants playing their mandores , nude heroes of Hellas , n legendary k ights , adventurers of sword and cape , - s golden tressed princesses , nymphs sparkling with gem , shy maids with drooping eyelashes , famed courtesans , chaste Athenian virgins , priestly confessors , chattering gossips , gurus expounding religious ideas , satyrs leaping ’ upon goats feet , ugly slaves , peris , horned devils in dis guise , lisping Tartaglias , garr ulous Graciosos , Shake s ear an p e clowns , Hugoesque buffoons , magistrates , immo

- bile Buddhist ascetics , white robed sacrificers , martyrs

- with sh ining aureoles , too crafty Ulysses , frightful R ak ch asas , messengers dispersing calamitous tidings to

- - the winds of heaven pure hearted youths , blood stained — , madmen , yes , here it assembles , our humanity , here it moves through its periods of greatest intensity — but presenting always one of the facets of the prism pos sessed by Gozzi . - I These thirty six facets , wh ich have undertaken to recover , should obviously be simple and clean , and of no far- fetched ch a racter ; of th is we shal l be convinced after seeing them repeated , with unfailing distinctness , in all e pochs and in all genres . The reader will ﬁnd , in my brief exposition , but twelve hundred examples cited , of which about a thousand are taken from the stage ; but in this number I have included works the most d issimilar and the most celebrated , nearly all others being but mosaics of these . There will here be found the principal dramas of China , of India , of Judea , and ,

e e ee e . n ed l ss to say , of the Gr k th ater However , instead I N TRO D U CTION 1 1 of conﬁning ou rselves to the thirty - two classic tragedies we shall make use of those works of Hellenism which unfortunately for the indolent public of today , still lie buried in Latin ; works from whose gre at lines might be e as reconstructed hundr ds of m terpieces , and all offering us a , from the shades to wh ich we have releg ted them , the a t e freshness of unfamiliar beauty . Le ving aside , for h e e e present , any d tailed consid ration of the P rsian and mediaeval Mysteries , which depend almost without exception upon two or three situations , and wh ich await — e a special stud y , we shall glance over , after the J ux e and M iracles of the th irteenth and fourteenth centuri s , s a the Spanish authors , the French classic , the It lians , e the Germans of the Romantic r vival , and our modern dramatic l itera ture . And it see ms to m e we sh a ll have e - ﬁnally proved this th ory of the Th irty six Situations , when we shall thus have brought it into contact with the dramatic production of the last th irty years .

Two hundred of the exa mpl es cited have b een taken e e a e a a e from oth r l it r ry g nres akin to the d ram tic : rom nc , — e a n d a . e a pic , history , from re lity For th is inv stig ca n s be e a e tion and hould pursu d in human n tur , by which

e a r s e a . I m n in politics , in cou ts of j u tic , in d ily life Amid th ese explora tions t h e present stud y will soon seem but a n a a e s a n e a s e a introd uction to m rv lou , in xh u tible str m , — t h e e o f E s e e e e m ee e a Str am xi t nc , wh r t mom nt rily , e o s o s e o a s t: in th ir prim rd ial unity , h i t ry , my tic po try , m r li (a nd a a s o s o l a w e mor list ) writing , hum r , p ych logy , , pic ,

a e a e o e a nd o e . rom nc , f bl , myth , pr v rb pr ph cy

m a e e b e a a e t o a s k t o u r t e o It y h r llow bl , wi h h ry in a e o f es o s t o us a re o f a m ind , numb r qu ti n wh ich prim ry o i mp rta nce .

Which a re t h e d ra ma tic s i t u a ti o ns n e g l ecte d by o u r o w n e o so a t u e e a t h e fe w o s t. a a ? p ch , f i h f l in r p ting m f mili r ? c o n th e o e a a re o t u se t o a W c Whi h , th r h nd , m s in d y h i h a re t h e o e e e a nd c t he o s t us e ea c m st n gl ct d , wh i h m d , in h ? e o e e c o o o a t. a re t h e e a so s p ch , g nr , s h l , a uth r Wh r n fo r th ese T h e s a m e q u e s t i o ns m a y be

e - c s e o t t at o a ske d b e fo re t h e cl a ss s a nd s u b l a s s f h e s i u i ns . 1 2 TH I RTY - SI X D RA M ATIC SITUATIONS

Such an examination , which requires only patience , will show ﬁrst the list of combinations (situations and

- their classes and sub classes) at present ignored , and

wh ich remain to be exploited in contemporaneous art , second , how these may be adapted . On the way it may

chance that we shall discern , hidden within this or that thirt s ix a — one of our y c tegories , a unique case , one -ﬁve without analogue among the other thirty , with no

immediate relationship to any other , the product of a

vigorous inspiration . But , in carefully determining the exact position of this case among the sub -classes of the situation to which it belongs , we shall be able to form , -ﬁve - in each of the thirty others , a sub class correspond ing to it ; thus will be created thirty - ﬁve absolutely new

plots . These will give , when developed according to

the taste of this or that school or period , a series of “ ” -ﬁ - v thirty ve original imitations , thirty ﬁ e new scenarios ,

of a more unforeseen character , certainly , than the

maj ority of our dramas , which , whether inspired by s book or realities , when viewed in the clear light of the

ancient writings revealed to us only their reﬂections , so

long as we had not , for our guidance , the precious thread

which vanished with Gozzi .

Since we now hold this thread , let us unwind it . FI RST SI TUATI ON

SUPPLI CAT I ON

(The dyn amic elements technically necessary are : a Persecutor , a Suppliant and a Power in authority , whose decision is doubtful . ) Among the examples here offered will be found those

f . of three slightly dif ering classes In the ﬁrst , the power whose decision is awaited is a distinct personage , who is deliberating ; shall he yield , from motives of prudence or from apprehension for those he loves , to the menaces of the persecutor , or rather , from generosity , to the e ? appeal of the p rsecuted In the second , by means of a contraction analogous to that which abbreviates a * e * syllogism to an enthymem , this undecided power is e the e — a but an attribut of pers cutor h imself , weapon suspended in h is hand ; shall anger or pity determine his ? course In the third group , on the contrary , the sup pliant element is divided between two persons , the e e i t Pers cut d and the ntercessor , hus increas ing the a a number of princip l ch racters to four . e Thes three groups (A , B , C ) may be subdivided as follows : A (1 ) F u gi tive s i m pl ori n g t h e Po w erf u l for H el p “ Agai n s t T h e i r E n e m i es . Compl ete exa mpl es : The ” ” Suppli ants a nd The H era clid a e of Aeschylus ; The ” E i e s H era clid ae of uripides ; the M n of Sophocles . “ C as es in which t he fugitives are guilty : the O iel es

‘ s : e o a l l o e e a e a s o Syll o gi m A r ck ning t g th r , r ning ; to bring “ o e s e a t o nc e b efo re t h e mind ; t inf er ; c o nclud . A Ev ry virtu e ess is a e e e o e ess is a is l a ud a bl e ; kindn virtu ; th r f r kindn l ud a bl e . Enthym em e : A n a rgum e nt c o ns i s ting o f o nly t w o pro positi o ns ; a n a nt ec e d e nt a nd its c o nse que nt : a syll o gi sm with o ne premise “ " as W e a re e e e e e o e we s o b o mitte d ; d p nd nt , th r f r h uld e humbl e . 1 3 1 4 TH I RTY - S I X D RA M ATIC SITUATIONS a nd Chryses of Sophocles ; T h e Eumenides of ’ Aeschylus . A partial example : Act I I of Shakespeare s “ King John . Familiar instances : scenes from colonial protectorates . (2) Ass i sta n ce I m p l ored f o r t h e Perf orm a n c e of — a P i o u s D u ty W h i ch Has B ee n F orb id d e n . Com “ pl et e examples : The E leusinians of Aeschylus and

The Suppliants of E uripides . A historical example : M h the burial of o ere . A familiar instance : a family divided in its religious belief , wherein a ch ild , in order a to worship ccording to h is conscience , appeals to the

- parent who is h is co religionist . — (8) Ap p ea l s for a Ref u ge i n Wh i ch t o D i e . ” i Complete example : (Ed pu s at Colonus . Partial ex ’ “ ” : o f - ? ample the death Zineb , in Hugo s Mangeront ils

B (1 ) H osp i ta l i ty B eso u gh t by t h e S h ipwr eck ed . ” “ ” Complete e xample : Nausicaa and The Ph eacians ’ of Sophocles . Partial example : Act I of Berlioz ” Trojans . — (2 ) C h ar i ty E n tr ea ted b y T h ose Cast o ff b y w i T h e i r O n Peopl e , Wh o m Th ey H ave D sgr a ced . ” “ E xamples : the Danae of Aeschylus and the Danae ” “ ” E of uripides ; the Alope , Auge and The Cretans of E uripides . Familiar instances : a large part of the f ﬁ teen or twenty thousand adventures which , each

- year , come to an end in the Bureau des Enfants Assistés . Specia l instance of a ch ild received into a home : the ” beginning of Le Reve , by Zola .

(3) E xp ia ti o n : T h e S ee k i n g of Pard o n , H eal i n g ’ “ or D el ivera n c e . Examples : Sophocles Philoctetes ; ’ “ ” ’ “ ” “ Aeschylus Mysians ; E uripides Telephus ; Les h a m airo l ra isse : C p (R , Historical example the penitence of Barbarossa . Familiar in stances : petitions

a . for p rdon , confession of Catholics , etc (4 - T l i ) h e S u rre n d er of a C orpse , or of a Re c , — “ ” ! H i i S o l i c i t ed z The Phrygians of Aeschylus . st or ’ cal e xa mpl es : the C rusaders emb assies to the Moslems . Famili a r instances : the reclaiming of the remains of a great m an buried in a foreign land ; of the body of a n e . execut d person , or of a relative dead in a hospital FI RST SITUATION 1 5

n I t should be noted that the Phrygia s , and the Twenty u fo rth Book of the Iliad , which inspired the play , form a transition toward the Twelfth Situation (A Refusal Overcom—e) . C 1 ) S u p pl i ca t i o n of t h e Pow erf u l f or Th ose ( — h e l . D ear t o t S u pp ia n t Complete example : Esther . ” r : Pa tial example Margaret in the denouement of Faust .

Historica l example : Franklin at the court of Louis XVI . ” Exa mple corresponding also to A the Propom pes of Aeschylus . — i i (2) S u p p l i ca t o n T o 9. R el a tive n B eh al f of — ” An o t h er Rel a t ive . E xample : the E urysaces of

Sophocles . — l ’ (3) S u p p i ca t i o n to a M o th er s Lover , i n H er “ ’ ’ ” h l . E : L E nfant l Am ou r Be a f xample de (Bataille ,

It is apparent that , in the modern theater , very little us e h as been ma de of this First Situation . If we ex cept subd ivisions C which is akin to the poetic e cult of the Virgin and the Saints , and C th re is a not a single pure ex mple , doubtless for the reason that the antique mod e ls h ave disa ppeared or h a ve become a a a e unf mili r , and more particularly bec use , Shakespear , Lope a n d C o m eil le not h a ving transformed this theme or e la bora ted it with those external complexities de m a nd ed er s e e by our mod n ta t , their succ ssors h a ve found the First Situa tion too bare and simple a subj ect o for this e poch . As if ne id ea were necessa rily more ! — simple th a n anoth e r as i f all those wh ich have since l aunch ed upon our sta ge th e ir countless ra miﬁ cations h a d not in t he beginning shown the sa me vigorous simplicity ! e e o e e t he It is , how v r , our m d rn pred il ction for com e e a t h e a a pl x which to my mind , xpl ins f vor now ccord e d a o e e e a ea s r i e to group ( I l n , wh r in by e sy m n a fou th f gur es e e t a e a o e a a ra a nd (in s nc , unfor un t ly , s m wh t p sitic s o ne e e s o a e t o t e monotonou ) , the i nt rc s r , is dd d h trinity

e se a a nd e . of P r cutor , Suppli nt Pow r a a e e t e e s a a e ! Of wh t v ri ty , n v er h l ss , is thi trinity c p bl T e e o — o ne o a a o r u nco n h Pers cut r , r m ny , volunt ry ee e e ea the e scious , gr dy or r veng ful , s pr d ing subtl net 1 6 TH I RT Y - SI X D RA MATI C S ITUATIONS

work of diplomacy , or revealing himself beneath the formidable pomp of the greatest contemporary powers ; t the Suppliant , artless or eloquent , vir uous or guilty ,

humble or great ; and the Power , neutral or partial to one side or the other , perhaps inferior in strengt h to the Persecutor and surrounded by his own kindred who fear danger , perhaps deceived by a semblance of right and j ustice , perhaps obliged to sacriﬁce a high ideal ; sometimes severely logical , sometimes emotionally sus e ti l c p b e , or even overcome by a conversion a la Dos t o ievsk n y , and , as a ﬁ al thunderbolt , abandoning the errors which he believed to be truth , if not indeed the truth which he believed to be error ! a ca n Nowhere , cert inly , the vicissitudes of power , be w it arbitral , tyrannical , or overthro n , the supersti tions which may accompany doubt and indecision , on n the one side the sudden tur s of popular opinion , on the other the anxiety with which they are awaited — , despairs and their resulting blasphemies , hope sur v iv in g to the last breath , the blind brutality of fate , nowhere can they become so condensed and burst forth with such power as in this First Situation , in our day ignored . ’ France s enthus iastic sympathy for Poland , revived during the last half -century ; the same sympathy which on so many historic occasions she has manifested for

Scotland and for Ireland , might here ﬁnd tragic expres sion ; that cry of humanity with which a single priest , at the massacre of Fou rmies , rallied to the Church a frac tion of revolutionary France ; the worsh ip of the dead , that ﬁrst , last , most primitive and most indestructible form of religious sentiment ; the agony which awaits us s all , agony dragging it elf toward the darkness like a spent beast ; the profoundly humble longing of one whom a mur der has deprived of all that was dearest to h im , that pitiable entreaty , on bended knees , which melted into tears the savage rancor of Achilles and ca used him to forget his vow ; all are here in this First Situation ,

; else , all these strong emotions , and yet others nowhere— indeed , can they be found in such completeness , and our modern world of art has forgotten this situation ! SECOND SITUAT I ON

DELIVERANCE

(Elements : an Unfortunate , a Threatener , a Rescuer)

Th is is , in a way , the converse of the First Situation , in which the unfortunate appeals to an undecided power , s wherea here an unexpected protector , of his own accord , comes suddenly to the rescue of the distressed and despairing . A Ap ear a n c e of a R escu er t o t h e C o n d em n ed p ” The Andromedas of Sophocles , of Euripides and of “ Corneille ; Le Jeu de Saint Nicolas (Jean Bodel) . “ ” Partial examples : the ﬁrst act of Lohengrin ; the third ’ “ ” act of Voltaire s Tancred ; the role of the generous “ ” Boisl au rier patron in (Richard , The last example and the following show particularly the honor of the unfortunate at stake : Daniel and Susanna , and “ various exploits of chival ry . A parody : Don Quixote .

A familiar instance : j udicial assistance . The denouement ” of Bluebeard (here the element of kinship enters , in s the defen e by brothers of their sister , and increases the

athos by the most simple of means , forgotten , however ,

y our playwrights ) . B (1 ) A Pare n t Rep l aced Up o n a T h ro n e by h i s ” h il d n e e C re Aegeus and P l us , by Sophocles ; ’ “ ” Euripides Antiope . Cas es in which the children have “ ” previously been abandoned are Athamas I and also “ the Tyr o of Soph ocles . (The taste of the future ” author of (E d ipus at Colonus for stories in which the Child pl a ys the role of deliverer and d ispenser of u m e as j stice , for s a bitter nough contr t to the fate which awaited the poet h imself in his old a ge . ) 2 e ( ) R sc u e by Fri e n d s , or by S tra n gers G ra t ef u l ’ for B e n eﬁ t s or H ospi ta l i ty : Sophocles 1 7 1 8 T H I RTY - SI X D RA MATI C SITUATION S

Iolas and Phineus . A partial example : the second ’ ” ' part of Euripides Alceste . Example in comedy ’ “ Musset s Fantasio . Example in which protection is ’ a o rd ed by the host who has granted asylum : Euripides cictys .

We see , by a glance over these subdivisions , what our writers might have d rawn from the second of the Situ ations . For us , indeed , it should possess some little attraction , if only for the reason that two thousand years ago humanity once more listened to this story f of the Deliverer , and since then has so suf ered , loved and wept for the sake of it . This situation is also the basis of Chivalry , that original and individual heroism of the Middle Ages ; and , in a national sense , of the — . i French Revolution Despite all this , in art , f we e except the burl sque of Cervantes , and the transplendent — i light ﬂashing from the silver armor of Lohengrin , n

of . art , as yet , it is hardly dreamed

2 0 TH I RTY - SI X D RA MATI C SITUATIONS

’ “ from ﬁction : M érimée s Colomba . Familia r instances : “ ”

. 1 1 the maj ority of vendettas Le Pretre (Buet , 88 ) presents especially the psychologic struggle between a p rdon and vengeance . E xample of the avenging of “ ’ ” : L n n a father driven to suicide Or (Peter and Da ce y , — (2 ) T h e Ave n gi n g of a Sl a i n C h il d o r D ese e n — ’ ” d a n t : Sophocles Nauplius ; a part of Sainte ’ Helene (M me . Severine , the end of Euripides “ ’ Hecuba . Epic example : Neptune s pursuit of Ulysses beca use of the bl inding of Poly hemus . — p (3) Ve n gea n ce f o r a C h il d Di sh o n or ed E 1 “ el Mej or Alcalde Rey , by Lope de Vega ; The Alcalde of ”

. : Zalamea , by Calderon H istoric example the death of Lucrece . (4 ) T h e Aven gi n g of a Sl a i n Wif e o r H u sb a n d — ’ “ ” “ ’ ” a eill s i C rn e Pompée ; L I d ot (de Lorde ,

Contemporary instance : the trials of Mme . Veuve

Barr eme .

(5) Ve n gea n c e f o r t h e Di sh o n o r , o r At t e m pt ed i i i “ D sh o n o r n g , of a W f e : The Ixion of Aeschylus , ” of Sophocles and of Euripides ; The Perrh oebid es of “ ” Ad enis Aeschylus ; Les Révoltés (Cain and ,

: E . Historic example the priest of phraim Similar cases”, in which the wife has only been insulted : Venisamh ara , “ ” R a asek by Bhatta Narayana ; The Sons of Pandou , by j hara . Familiar instances : a large number of duels . — (6) Ve n gea n ce for a M i st r ess S1a in : Love ” “ e at al eron b aft r De h , by C ; Am ra (Grangeneuve ,

Simon the Foundling (Jonathan , (7 ) Ve n gea n ce f or a Sl ai n or I n j u r ed Fr i en d ” : The Nereids of Aeschylus . A contemporary instance v R a ach ol . Case in which the vengeance is perpetrated “ upon the mistress of the avenger : La Casserole M t n i ( é é er , ’ (8) Ve n gea n ce f or a S i st er Sed u ced : Goethe s ” “ ” “ I s as e Clavij o ; Les Bouchers ( cre , La C quett ” E au Pere Bugeaud (Marot , xamples from ’ : E ekh ou d s e ﬁction La Kermesse Rouge , in colle ’ “ ” tion , and the end of Bourget s Disciple . TH IRD SITUAT ION 2 1

B (1 ) Ve n gea n c e for I n t e n t i o n al I n j u r y or Spo ’ “ ” l i i : a t o n Shakespeare s Tempest . Contemporary in stance : B ismarck in h is retirement at Varzin . (2 ) Ve n gean ce for H avi n g B ee n D espo il ed D u r — “ ’ ” i n g Absen c e Les Joueurs d Ossel ets and Pene “ ” 10 e p , by Aeschylus ; The Feast of the Achaeans , by

Sophocles . (3) Reve n ge for a n A t t em p ted Sl ayi n g : The ” - - - - o . Anger of Te oun g , by Kouan han king A similar case involving at the sa me time the saving of a loved “ ” Z one one by a j udicial error : La Cellule No . 7 ( acc , — — (4 ) R eve n ge f or a Fal se Accu sa t i o n z The ’ Phrixus of Sophocles and of Euripides ; Dumas “ ” - i D elah a e Monte Cr sto ; La Declassee ( y ,

- - Roger la Honte (Mary , — — ’ (5) V e n g e a n c e f o r V i o l a t i o n z S o p h o c l e s “ Tereus ; The Courtesan of Corinth (Carré and “ ” B ilh d au , The Cenci , by Shelley (parricide as

the punishment of incest) . (6 ) Ve n gea n ce for Havi n g Bee n R obb ed o f O n es “ ” “ r v n The Merchant of Venice , and partly William T ei (7 ) Reve n ge Up o n a Wh ol e S ex for a Decept i o n ” O n e a l a irian by J ck the Ripper (Bertrand and C , t he fata l h eroines of the typical plays of the “ ’

E e L E t a n re et . e a Second mpir , r ge , c A case app rt in ing also to cl ass A : t he motive (an improbable o ne ) of ” e u e t h corr ptr ss in Possédé , by Lemonnier . W e h e re encounte r for th e ﬁrst time that grimacing pe rsonage who f—orms th e keyston e of all d ra ma dark a nd s e t he a . t he e my t rious , vill in About b ginning of our Third Situa tion we might evoke h im at eve ry s t a a nd o ep , this vill in his prof und sch emes wh ich not “ e infre qu ntly ma ke us smile . Don Sa llus te in Ruy “ ” “ as a e G ua n h m a r a e Bl , I go in Oth llo , u a in Burgr v s , “ H o mo d e i a e th e e a in Angelo , M hom t in trag dy of th t “ ” “ a e Le e e a s e a e e n m , ontin in H r cliu , Maxim in La Tr g d i “ ” “ d e Va l e ntin ie n E e e s es a a , mir in Sir es , Uly s in P l ” me d es . THI RTY - SI X D RA M ATI C SITUATION S

C Pr of e ssi o n a l P u r su i t o f C r i m in a l s (the coun ter art p of which will be found in the Fifth Situation , “ ” “ ” Class A) : Sherlock Holmes (Conan Doyle) ; Vidocq “ ” Ber erat ( g , Nick Carter (Busson and Livet ,

Fr equently used though this situation has been in our day , many an ancient case awaits its rej uvenes cence , many a gap is yet to be ﬁlled . Indeed , among the bonds which may unite avenger and victim , more s than one degree of relation h ip has been omitted , as well as the maj ority of social and business ties . The lis t of wr ongs which might provoke reprisal is far from being exhausted , as we may assure ourselves by enum crating the kinds of offenses possible against persons or property , the varying shades of opinion of opposing parties , the different ways in which an insult may take r eff ect , and how many and what so t of relationships may exist between Avenger and Criminal . And these questions concern merely the premises of the action . al l To th is we may add the turns and bearings , slow s s or instantaneou , direct or tortuou , frantic or sure , which punishment can take , the thous and resources which it offers , the points at wh ich it may aim in its d efe deadly course , the obstacles which chance or the n dant may present . Next introduce various secondary

ﬁgures , each pursuing his own aims , as in life , intercross ing each other and crossing the drama — and I have sufficient esteem for the reader ’ s capabilities to develop the subject no further . FOURTH SI TUAT I ON

VE NGE ANC E TAKEN FOR KI NDRE D UPON KI NDRED

(Elements : Avenging Kinsman ; Guilty Kinsman ;

Remembrance of the Victim , a Relative of Both . )

Augmenting the horror of Situation X XVI I Dis ” cov ery of th e Dishonor of Ones Kindred ) by the rough vigor of Situation I I I , we create the present action , n which confi es itself to family life , making of it a worse ’ “ ” h e! ! e than the dungeon of Po s Pit and the Pendulum . The horror of it is such that the terrified specta tors dare not inte rven e ; they seem to be witnessing at a d istance some d e moniac scene silhouetted in a flaming

house . e e e N ith r , it s ems , d o our dramatists dare intervene the ee a — to mod ify Gr k tr gedy , such as it is after thi rty a ppa lling centuri es . a t For us it is e sy to compute , from he height of our ’ — ’ — pla tform to use G o zz i s word the infinite va ri a e e e tions possibl to th is th m , by multiplying the com bina t io ns wh ich we h a ve j ust found in t h e Third Situa o th e e - e e tion , by th se wh ich Tw nty s v nth will give us . Oth e r ge rms of fertility will be found in turn in the ' circumsta nc es wh ich h a ve d ete rmined the a venge r s e e o s a ction . Th s ma y be a sponta n e u d es ire on his o wn p a rt (th e simpl es t motive ) ; t h e wish of t he d ying o r th e t e e s e o victim , of spirit of h d a d my t ri usly a ppe a r 2 4 TH I RTY-SI X D RA M ATI C SITUATIONS

ing to the living ; an imprudent promise ; a professional as s duty ( when the avenger is a magi trate , the necessity of saving other relatives or a beloved one (thus did Talien avenge the Dantonists ) or even fellow citizens ; ignorance of the kinship which exists between

Avenger and Criminal . There yet remains that case in which the Avenger strikes without having recog z ni ed the Criminal (in a dark room , I suppose) ; the case in which the act of intended vengeance is but the

result of an error , the supposedly guilty kinsman being - found innocent , and his pseudo executioner discovering

that he h as but made of himself a detestable criminal .

’ A (1 ) A F a t h er s D e a t h Aven ged Upo n a M o t h er ; ” “ The Ch oeph ores of Aeschylus ; the E lectras of A il i tt us . Sophocles , Euripides , , Q Cicero , Pradon , Longe ’ il l on pierre , Créb , Rochefort , Chenier , and of Ga illard s “ ” ’ opera ; the Orestes of Voltaire and of Alﬁeri ; Sophocles “ “ ” Epigones ; the Eriphyles of Sophocles and of Vo l “ ” taire ; and lastly Hamlet , in which we recognize so clearly the method by which the poet rej uvenates his s —b subject , y an almost antithetic change of char

acters and of milieu .

— : 2 A M o t h er Aven ged U o n a Fa t h er Zoe ( ) ” p - Chien Chien (Matthey , in which the parricide c is counterbalanced by an in estuous passion , and is c ommitted by the daughter , not by the son . — ’ B A B r o t h er s Dea t h Aven ged U po n a So n (but

without premeditation , this accordingly falling almost into the situation — Aeschylus ’ “Ata ’ “ lanta and Sophocles Meleager . ’ C A F a t h er s D ea t h Aven ged U o n a H u sb a n d ” p s i R o mund e (R ucel l a ) . ’ u sb a n d s a t h en ed o n a Fa t h er D A H ” D e Av g Up Orbecch e by Gira ld i . ‘ -t : aré i n Thus , of twenty wo works , eighteen the same

- class , seventeen in the same sub class , thirteen upon the same subject ; four classes and one sub -class Le t altogether . us, for the moment , amuse ourselves

by counting some of those wh ich have been forgotten . FOURTH SITUATION 2 5

A father ’ s death avenged upon the brother of the avenger . Upon h is sister . Upon h is mistress (or , in the s ca e of a feminine avenger , upon her lover , for each of the cases enumerated has its double , according to the sex of the avenger) . Upon h is wife . Upon his son .

Upon his daughter . Upon h is paternal uncle . Upon his maternal uncle . Upon his paternal or maternal grandfather ; h is paternal or maternal grandmother . - - Upon half brother or half sister . Upon a person allied

- - - - in i n . by marriage (brother law , s ster i law , etc ) or a cous in . These numerous variations may of course be successively repeated for each case : the avenging of a brother , a sister , a husband , a son , a grandfather , and so on .

By way of variety , the vengeance may be carried out ,

not upon the pers on of the criminal h imself , but upon some one dear to him (thus Medea and Atreus struck s s Jason and Th ye te through their children) , and even

inanimate objects may take the place of victims . F I FTH SITUAT I ON

PURSUIT

(E lements : Punishment and Fu gitive)

ti As the Second Situa on was the converse of the First , so this situation of Pursuit represents a transition into all the passive of the Third and Fourth , and , in fact , of

those in which danger pursues a character . There

remains , however , a distinction ; in Pursuit the avenging

elements hold second place , or perhaps not even that ;

it may be , indeed , quite invisible and abstract . Our interest is held by the fugitive alone ; sometimes inno — if cent , always excusable , for the fault there was

one appears to have been inevitable , ordained ; we

do not inquire into it or blame it , which would be idle , but sympathetica lly suffer the cons equences with our

hero , who , whatever he may once have been , is now but

- a fellow man in danger . We recall that truth which

Goethe once ﬂung in the face of hypocrisy ; that , each one of us having within him the potentiality for al l the crimes , there is not one which it is impossible to imagine ourselves committing , under certain circumstances . In th is Situation we feel ourselves , so to speak , aecom li p ces in even the worst of slayings . Which may be explained by the reﬂection that along our various lines e of heredity many such crim s might be found , and our present virtuousness may mea n simply an immunity from criminal tendencies which we have gained by the e e experi nc of our ancestors If this be the case , heredity

2 8 TH I RTY - SI X D RA M ATI C SITUAT IONS role of Porus in Racine ’ s and also in Metastasio ’ s “ Alex ’ “ ” ’ “ andre ; Corneille s Nicomede ; Goethe s Goetz von ” ” ’ Berlichingen and a part of Egmont ; Metastasio s “ ” ’ “ ” “ Cato ; M an zoni s Ad el ghis and a part of his Count ” ’ of Carm agnola ; the death of Hector in Shakespeare s “ ” “ ” - ich e in 1 83 Troilus and Cress ida ; Nana Sahib (R p , 8 ) ” “ Edith (Bois , the tetralogy of the Nibelungen ; ” An Enemy of the People (Ibsen) ; Le Roi sans ” Bo h l ier Couronne (de u é , — D A P s eu d o - M a d m a n S t r u ggl i n g Aga i n st a n “ ” I a go - Li k e Al i en i st : La Vicomtesse Alice (Second SI X TH SITUAT I ON

D I SAST E R

(Eleme nts : a Va nquished Power ; a Victorious Enemy or a Messenger)

a Fe r , catastrophe , the unforeseen ; a great reversal of e . r les ; the powerful are overthrown , the weak exalted - s Here is the oft recurring refrain of the Biblica l book ,

. here the immortal echoes of the fall of Troy , at which we still pale as though with a presentiment . — —“ A (1 ) Defea t S u ff ered The Myrmidons and The Persians of Aeschylus ; The Shepherds of ”

. E Sophocles xample from ﬁction : La Debacle , by

Zola . H istory is made up of repetitions of this story . — “ (2 ) A Fa t h er la n d D e s t roy e d : The X oa ne ’ ph o res of Sophocl es ; Byron s Sardanapalus (this e a s a corr sponds lso to Cla s B , and tow rd the denouement e r ca lls t he Fifth Situa tion ) . E xamples from history : s Poland ; the grea t I nva ions . From roma nce : The ” Wa r t o o—f h e W rlds (Wells ) . — (3) T h e Fa l l o f H u m a n i ty : The Mystery of

Adam (twelfth century ) . — “ ' (4 ) A Na t u ra l Ca t a stro ph e Te rrc d E po u a t (d e o e a nd o e v n e— L rd M r l , B A M o n a rc h Ove r t h row n (t he conve rs e of the ’ E ighth ) : - Sh a kes pe a re s H e nry V I a nd Rich a rd

I ! . o es a L s a Hist ric insta nc : Ch rl es I , oui XVI , N po

e e t c . a n d s u o e a e l on , ; , bstituting th r uthoriti s than kings ,

d e e s e s a nd l l s a e s e . E x Colomb , L s p , a d i gr c d mini t rs “ ” a es o fict io n ' t h e n o a rta mpl fr m e d f T rin , “ e a o C s r Bir ttea u . 30 TH I RTY - SI X D RA M ATI C SITUATION S — C (1 ) I n gra ti t u d e S u ff ered (of all the blows of s mi fortune , this is perhaps the most poignant) : ’ ” E “ uripides Archelaus (excepting the denouement , in ’ “ which the action is reversed) ; Shakespeare s Timon ” “ ” of Athens and King Lear , and the beginning of his ” ’ “ ” Coriolanus ; Byron s Marino Faliero ; a part of ” ’ The Count of Carmagnola , by Manzoni . Bismarck s dismissal by the young Emperor William . The martyrs , the many instances of devotion and sacrifice u nappre ciat ed by those who have benefited by it , the most glorious of deaths shine against this dark background ; Socrates and the Passion are but the most celebrated ”

. R ef orm at eu r examples Le (Rod , — (2 ) T h e S u ff er i n g o f U n j u s t P u n i sh m en t o r E n m i ty (this corr esponds in some degree to the “ ’ “ ’ Judicial - Sophocles Teucer ; Aeschylus ”

Sa l am in iae . — (3) A n O u t ra ge S u ff ered : the ﬁrst act of The “ C id ; the ﬁrst act of Lucrece Borgia . The point of honor offers better material than these simple episodes .

We may imagine some more sensitive Voltaire , reduced by his persecutions to helplessness and to the point of dying in despair . D (1 ) Aba n d o n m e n t by a Lover o r a H u sb a n d : "’ ’ “ Faust Corneille s Ariane ; the beginning of the ” Medeas ; M at em ite (Brieux (2 ) C h i l d ren Los t by T h e i r Pare n t s Le Petit

Poucet .

If classes B , C and D , which are concerned with the fate of individuals , have been so much less developed than they might easily have been , what shall be said ? of the case of social disasters , such as Class A Shake speare d id not tread far enough upon that majestic way . Only among the Greeks has a work of th is kind pre sente d at one stroke that conception of human events , sublime , fatalistic and poetic , of wh ich Herodotus was one day to create h istory . SEVENTH SITUAT I ON

FALLI NG PREY TO C R U E LTY OR M ISFORT UN E

(Elements : an Unfortunate ; a M aster ~ o r a Misfortune)

To inﬁnite sorrow there is no limit . Beneath that which seems the ﬁnal depth of misfortune , there may a n open another yet m o r e frightful . A ferocious d e th e delib rate dissection of heart it seems , this Seventh

e a r e . Situation , that of p ssimism p excellenc A T h e I n n oc e n t M ad e t h e Vi ct u m of Am b i ti o u s “ ” I n t r i gu e : The Princess M a l eine (Maeterlinck) ; “ ” “ a a e The Natur l D ught r , by G o e t h e ; Les Deux ” a Jume ux , by Hugo . B T h e I n n oc e n t D e s p o i l e d by T h os e W h o S h o u l d “ ” Pro t e c t : The Guests and t h e beginning of the “ ’ ” e d Oss e l ets e t h e t a Jou urs , by A schylus (at ﬁrs vibr t h a b o w t he a o f th e o n Be tion of e gre t in h nds unkn w g" a r a a o we Les ea g , wh t a bre th of h pe Corb ux ” “ ’ by Becque ; Le R o i d e R o me L Aigl o n “ (Rosta nd ) ; La C r o i s a d e d es lCn fa n te l e ts Francs E n ( r a u lt ) . — C (1 ) T h e Pow e r f u l Di s p o ss e ss e d a n d Wr e tc h e d ’ ’ “ ” T h e beginning o f So ph o cl es a nd o f E u ri pid es Pe l eus ; “ ” “ ” o i o o a e s of Pr m e th eus o u n d ; f J b . L e rt in his ” a e a o o : L d l a e g rd n . Ex mpl e fr m c me dy e J e u e F uillée a d (Ad m e l a Ha ll e ) . — (2 ) A F a vor i t e o r a n I n t i m a t e Fi n d s l l i m s e l f “ e E n es e c re Forgo t t n Détr s ( , 32 TH I RTY - SI X D RAMATI C SITUATIONS

D T h e U n fo r t u n a t e R o bb ed o f T h e i r O n l y “ ” H o pe The Blind by Maeterlinck ; Beethoven “ ” Fau o is z ( ch , Rembrandt (Dumur and J os ) . And how many cas es yet remain ! The Jews in cap tiv it y , slavery in America , the horrors of the Hundred ’ Years War , invaded ghettos , scenes such as draw the s crowd to any reproduction of prison life or of Inqui ition”, ’ i ’ “ the attraction of Dante s Infern o , of Pell co s Prisons , the transporting bitterness of Gautama , of Ecclesiastes , of Schopenhauer ! E I GHTH SITUAT I ON

R E VOLT

(Elements : Tyr ant and Conspirator)

e As already observ d , this situation is , in a measure , the converse of Class B of Situation VI . t e Intrigue , so dear to the public of h past three cen a t ries , is obviously supplied by the very nature of the

e . subject we are now to consid r But , by some strange chance , it has , on the contrary , always been treated with the most open candor and simplicity . One or two e ew ses vicissitud s , a f surpri all too easily foreseen and e t h e s a xtend ing uniformly to all per on ges of the play , a n d th ere we have the conditions wh ich have almost a a invari a bly been ttached to th is ction , so propitious , e e e t o e nev rth l ss , d oubts , to quivocation , to a twilight whose va gue ince rtitud e pre pares the dawn of revolt

d . a n of lib—erty A (1 ) A C o n s pi r a cy C h i c ﬂy o f O n e I n d ivi d u a l ” ’ es e e e The Conspira cy of Fi co , by Sch ill r ; Corn ill s “ ” Cinna ; to some e xte nt t h e Ca tilina of Volta ire (this tra ged y be longs ra th e r to the Th irti e th Situa “ “ “ e o T he a tion , Ambition Th rmid r ; Conspir cy of ” d e a ss Le G a G e n era l M a l et (Auge L us , r nd “ ” a R o i a s o a e D e co u r e l le Soir (K mpf ) ; Le s n R y um ( c , “ ” o Lo re n za cc i (M usset ) . (2 ) A C o n s p i r a cy o f S e ve r a l : T h e C o nspira cy ” ' ‘ of th e Pa zzi by Al fi e ri ; Le R o m a n d u ne ( o nspira ti o n ‘ a n d ( a a e t e o f a (by Fourn ier rre , ft r h story R nc) ; 34 TH I RTY - SI X D RA MATIC SITUAT IONS

Madame Margot (Moreau and Clairville , and , “ ” in comedy , Chantecler (Rostand , 1 9 1 0) with its “ et st i parody Rosse , tant plus (M u ere , 1 R l f B ( ) evo t o O n e I n d ivid u a l , W h o I n fl u en ce s ’ “ ” “ a n d I n vol ve s O t h er s : Goethe s Egmont ; Jacques ” “ Bonhomme (Maujan , La Mission de Jeanne ’ ” “ d Arc D al lier ( e, Example from fiction : Sal ” ammbo. From history : Solon feigning madness . “ ” 2 R l t f a Fo t ( ) A evo o M n y n ovej un e , by Lope ’ ” ’ “ ” de Vega ; Schiller s William Tell ; Zola s Germinal ; ” The Weavers of Silesia , by Hauptmann (forbidden in 1 893 with the approval of a Parliament soon afterward dissolved) ; by Paul Adam and Gabriel M our ey (forbidden in 1 893 with the approval of another “ ’ Parliament shortly before its dissolution) ; L Armée ” “ dans la Ville (Jules Romain , The Fourteenth : of July (Roland , From fiction a part of the “ ” Fortunes des Rougon by Zola . From history ; the ta king of the Bastile , and numerous disturbances of the same period .

This species of action , particularly in modern scenes , E has given fine virile dramas to ngland , Spain , Italy and Germany ; of a forceful and authoritative char t acter in the two first countries , of a youthful en husi astio type in the two last . France , most certainly, would seem of all countries the most likely to under stand and express such emotions . “ ” But . Thermidor was prohibited for fear it might offend the friends (centenarians apparently) ” “ ” of Maximilian ; Le Pater for fear it might be dis ’ pleasing to Communists ; Zola s Germinal and “ ’ L Au t o mne by Adam and M ou rey (two works painted ff titl es in widely di erent colors , as the sufficiently indi “ ” cate) were stopped for fear of the objections of a few ’ ” n i conservatives ; Other People s Money by H e n que , “ ” for fear of shocking certain financiers who have since “ been put behind bars ; Lohengrin (although the sub “ ” j ect is Celtic) was long forbidden for fear of irritating a half - dozen illiterate French chauvinists ; an infinite ” number of other plays “for fear of annoying Germany

N INTH SITUAT I ON

DAR I NG ENTERPR ISE

(A Bold Leader ; an Object ; an Adversary)

The Conﬂict , wh ich forms the framework of all dra matic situations , is , in the Ninth , clearly drawn , undis l n guised . A clever p a , a bold attempt , sangfroid , and victory ! t i n F o r a r : A Pr epara o s W (In this class , as n anciently treated , the actio stops before the dénoue ment , which it leaves to be imagined , in the perspective — ’ of enthusiastic p r e d i c t i o n ) . E xampl es z Aeschylus “ ” “ ” Nemea ; The Council of the Argives by Sophocles .

H istoric examples : the call to the Crusades ; the Vol . ’ u nt eers of 92 . ’ “ B (1 ) War : Shakespeare s Henry V . “ ” 2 — A m t “ ( ) C o ba Glaucus Pontius , Memnon , ” “ ” o i Phineus and The Ph rc d es of Aeschylus . C (1 ) Ca r ryi n g O ff a Desi red Perso n or Obj ec t “ the Prometheus of Aeschylus ; t h e La conian

Women , by Sophocles . From ﬁction : the taking of “ ” the Zaimph in Sal am mbd . E pic example : the second

Homeric hymn (to Hermes) . (2 ) R ecap t u re of a D esi red O bj ec t The Vic ” ’ “ n ant h ana At h a a tory of Arju a , by C c c ry ; Wagner s Par

- sifal ; the re taking of the Za im ph . ’ D (1 ) Adve n tu ro u s Exp ed i t i o n s : Lope s Dis ’ “ covery of the New World ; Aeschylus Prometheus ’ “ ” ’ “ ” Unbound ; E uripides Theseus ; Sophocles Sinon ; 36 N INTH SITUATION 37

the Rhesus attributed to Euripides . E xamples from romance : the usual exploits of the heroes of fairy tales ; ’ the Labors of Hercules ; the maj ority of Jules Verne s stories . — (2 ) Adve n tu r e U n d er ta k e n f o r t h e P u rp ose of ’ Ob t ai n i n g a B e l oved W o m a n : Sophocles and E uri ’ “ ” pides From fiction : Toilers of the Sea . “ For the purpose of saving the honor of a lover : La ” e Da rla G orsse Petite Caporal ( y and de , The Ninth Situation thus summarizes th e poetry of — war , of robbery , of surprise , of desperate chance , the e - e the po try of the clear e ye d adventurer , of man b yond restraints of artificial civilizations , of Man in the origi na l a e accept tion of the term . We find , neverthel ss , hardly a single French work in th is class ! e a e enu m erat Lest the r ader be we ried , I r frain from e s ing , und r these cla ses so lightly touched upon , many of the plots and complica tions wh ich might be evolved a from them . Methods of tra cking the hum n game — band it or h ero , the forces conspiring for h is d isaster , s the cond itions wh ich ma ke h im the victim of his ma ters , t he e m a th e a e ways in wh ich r volt y arise , lternativ s of “ t h e e a e e e a struggl in daring nt rpris , cert inly would app ear to be more complex today than in earli er ages ; e e o se e es a s mor ov r , up n the th m p rt borrowed from other E e situa ti o ns ma y b e engra fte d with re ma rka bl e ease . v n i f we d esire t o pres e rve t o th e sa id th emes th e ir archaic e e ho w u m a e t be a ! I n s v rity , m ch y y dr wn from them h o w a a s to e o ne e a e m ny w y , cit but x mpl , might an Adventuro us Expe d iti o n be ch a nge d by va rying th e o e o t h e o e o f t e e se th e a e m tiv s r bj ct he nt rpri , n tur of t h e a c e s t he a e s o f t he e o a nd t h e e s obst l , qu liti h r , pr viou be a rings o f t h e three ind is p e ns a bl e e l e me nts o f th e ” d ra m a ! Ad ve nturo us Tra v e l s h a ve h a r d l y bee n o o o o t e c a e s a re e e t uch e d u p n . And h w ma ny h r l ss th r wh i c h h a ve no t b e e n ! TENTH SI TUATI ON

AB DUCTION

(The Abductor ; the Abducted ; the Guardian)

Or , the Great Bourgeois Romance ! Was it not thus that Moliere used to put an end to his comedies , when he j udged that the moment had arrived for sending his audience home satisﬁed ? Sometimes he substi “ ” tuted - a treasure box for a girl , as in Tart uffe , or arranged an exchange of the one for the other , as in

We ﬁnd in A B DUCTION one of the situations bear s ing upon Rivalry , and in which Jealousy appear , although not painted with so superb a coloring as in the

- Twenty fourth . In two of the following classes B and C ) we may ( ” remark the intrusion of the situations “Adultery and “ ” Recovery of a Lost Loved One . The same usage is quite possible in almost all the other situations . I would point out to those who may be interested in a a more det iled analysis , that love is not necessarily the motive of Abduction (in Class D will be found friend ship , faith , etc . ) nor the reason of the obstacles raised by th—e guardian . A Abd u ct i o n o f a n U n w il l i n g Wo m a n ’ “ ’ Aeschylus and S o p h o c l e s Orithyies ; Aeschylus “ ” “ ” Europa and The Carians . With Fire and Sword

(after Sienkiewicz , Comedy : Le Jeu de Robin ” et de Marion (Adam de la Halle) . Historic and legen dary : the Sabine women ; Cassandra . There appears to me to be tragic material in cases of extreme eroticism , of premeditated violation preceded by a mania of passion 38 TENTH SITUATION 39

i i and its resulting sta te of ov erexc ta t on , and followed by the murder of the outraged victim , by regrets before the beautiful corpse , by the repugnant work of dis memberment or concea lment of the body ; then by a disgus t for life and by successive blunders which lead to the d iscovery of the criminal . B Ab d u c ti o n o f a C o n se n t i n g W o m a n The ” Abduction of Helen by Sophocles , and the comedy of

a . the s me mane but not upon the same subject , by Lope

Numberless other comedies and romances . — C (1 ) Recap t u r e o f t h e Wo m a n W i t h o u t t h e ’ Sl ayi n g o f t h e Abd u c tor : E uripides Helen ; “ ” v Malati and M a dh a a , by Bhavabhuti (the poet of “ ” voice Rescue of a sister : Iphigenia in Tauris . 2 — T i l a i n t h e ( ) h e Sa m e Case , W th t h e S g of “ R i sh — h a v i i av er : M a rachar ta , by Bhava huti ; Han ” “ ” ouman (a collaborative work) ; Anargh ara - gh ava “ ” An d a So ubh ata (anonymous) ; The Message of ga , by ; “ ” ” Abh ir am a Mani , by Soundara Misra ; Hermione by Sophocles .— D (1 ) Resc u e o f a C a p t ive Fr i e n d Richard -d e - Sed a in e C oeur Lion , by e and Gretry . A gr at num

ber e a . of sc pes , h istoric and ﬁctitious “ ’ — : (2 ) O f a C h i l d L H o m me d e Proie (Lefevre e and Laport , (3) O f a S o u l i n Ca pt ivi t y t o E rror Ba rlaa m - T e ee a ee c e a e . and Josa ph t , a fourt nth ntury M ir cl h d ds t e o h e s a e e tc . of Ap stl s , of mi sion ri s , E LEVENTH S I TUAT I ON

THE EN I GMA

(Interrogator , Seeker and Problem)

Th is situation possesses theatrical interest par excel d lence , since the spectator, his curiosity arouse by the problem , easily becomes so absorbed as to fancy it is himself who is actually solving it . A combat of the intelligence with opposing wills , the Eleventh Situa tion may be ﬁtl y symbolized by an interrogation point . A Sea r ch f or a P er s o n W h o M u st b e Fo u n d o n ” i ’ ’ “ Pa n of Dea t h : Sophocles and Euripides Polyidus .

Case without this danger , in which an obj ect , not a ’ “ ” person , is sought : Poe s Purloined Le tter . B (1 ) A R id d l e t o b e S ol ved o n Pa i n o f D ea t h ” The Sphinx of Aeschylus . E xample from ﬁction ” (without the danger) : The Gold Bug by Poe . 2 i r o ( ) T h e Sam e C a se , i n W h ich t h e Rid d l e s P p osed by t h e C ove t ed Wo m a n : Partial example : the ’ “ ” beginning of Shakespeare s Pericles . Example from

: . fiction The Travelling Companion , by Andersen E pic example (but without the danger) : the Queen of ’ Sheba and Solomon . Partial example : Portia s coffers , “ ” in The Merchant of Venice . s The ort of contest , preliminary to the possession of s a desired one , wh ich is vaguely sketched in thi episode , is singularly alluring in its suggestive analogues . But r how many fibres , ready to thrill , will the pe plexities th e e of love cont st find in us , when they are raised to 4 0 ELEVENTH SITUATION 4 1

their third power by the introduction of the terr ible , as in the one complete and p u re example which we — “ ” have , the Turandot of the incomparable Gozzi ; a s work pa sionately admired , translated , produced and rendered famous in Germany by Sch iller ; a work which h as for a centur y been regarded as a classic by al l the

world , although it remains little known in France . The effect of B (2 ) is strengthened and augmented in cases in wh ich the hero is subjected to the following : — C (1 ) Te m p ta t i o n s O ff ere d W i th t h e O b j ec t of

Di scoveri n g H i s Na m e . — (2 ) Te m p ta ti o n s Off ered Wi t h t h e Obj ec t of “ Asc e r t a i n i n g t h e S ex : The Scyrian Women of

Soph oc l es and of E uripid es . — (3) Tes t s For t h e P u rp ose of Ascer ta i n i n g t h e “ M e n t a l C o n d i t i o n : Ulysses Furens of Sophocles ; “ ” The Pa la medes of A eschylus and of Euripides (accord t h e e es e e ing to th m attribut d to thes lost works ) . Exam ina t io ns a s of crimin ls by al ienist . TWE LFTH SITUAT I ON

OBTAIN I N G

(A Solicitor and an Adversary Wh o Is Refusing , or an Arbitrator and Opposing Parties)

Diplomacy and eloquence here come into play . An

i s . end to be attained , an obj ect to be gained What interests may not be put at stake , what weighty argu ments or inﬂuences removed , what intermediaries or disguises may be used to trans form anger into benevo

lence , rancor into renouncement ; to put the Despoiler in the place of the Despoiled ? What mines may be - unex sprung , what counter mines discovered ! what pect ed revolts of submissive instruments ! This dialectic contest which arises between reason and passion , some times subtile and persuasive , sometimes forceful and

V iolent , provides a ﬁne situation , as natural as it is original . A Eff o r t s t o Ob t a in a n O bj ect b y R u se o r Fo r ce “ ” u the Philoctetes of Aeschyl s , of Sophocles and of “ Euripides ; the reclamation of the Thebans in (Ed ipus ” “ ’ ” Vishak ad atta . at Colonus ; The Minister s Ring , by B En d eavor by M ea n s o f Per su a sive El o q u en ce ” ’ l n r A o e The Dese t Isle , by Metastasio ; the father s “ u e attitude in Le Fils Nature! (Dumas) , to which R s is soon after ward added ; Scene 2 of Act V of Shake “ speare s Coriolanus . C E l oq u e n c e W i t h a n Ar b i t r a t o r The Judg “ ” ment of Arms , by Aeschylus ; Helen Reclaimed , by e Soph ocl s .

TH I RTEENTH SITUAT I ON

E NM ITY OF KI NSM E N

(Elements : a Malev olent Kinsman ; a Hated or Reciprocally Hating Kinsman)

* Antithesis , which constituted for Hugo the gener rinci l e ative p p of art , dramatic art in particular , and which naturally results from the idea of Conﬂict s mme which is the basis of drama , offers one of the most y i “ t r cal of schemes in these contrasting emotions . Hatred ” of one who should be loved , of which the worthy pen

- dant is the Twenty Ninth , Love of one who should ” be hated . Such con ﬂu ents necessarily give rise to

stormy action . It is easy to foresee the following laws : First : The more closely are drawn the bonds which e unite kinsmen at enmity , the more savag and danger

ous their outbursts of hate are rendered . : Second When the hatred is mutual , it will better characterize our Situation than when it exists upon e one side only , in which cas one of the relatives becomes

Tyrant and the other Victim , the ensemble resulting

et . in Situations V , VI I , VI I I , XXX , c Third : The great difﬁculty will be to ﬁnd and to represent convincingly an element of discord p owerful enough to cause the breaking of the strongest human ties .

* Antith es i s : An O pp os iti o n o r c o ntrast o f wo rd s o r id eas esp e ci al l o ne e as e h o s o s o f o as o s as y mph iz d by t e p iti n c ntr ting w rd , e a e a t t h e e o r e n o f a s e se e e o r a se wh n pl c d b ginning d ingl nt nc cl u ,

o r o s s s w o r e se es or a ses . , in c rre p o nding p o iti o n in t o m o r nte nc cl u

eas es n ot m en . T h e o a o s h is e t h e se o s (M ur , pr dig l r b h ir ; mi r r b

se . e e t h e e e e e o f o se is t o eas . him lf ) H r r f r nc , c ur , id 4 4 TH IRTE ENTH SITUATION 4 5

A Hatred of Broth ers : (1 ) O n e Br o th er H a ted by S evera l (the hatred not ma lignant) : The Heliades “ ” of Aeschylus (motive , envy) ; The Labors of Jacob , by

o . L pe de Vega (motive , filial jealousy) Hated by a “ ” single brother : The Ph oenissae of E uripides and of “ ” n e Al fier i Seneca ; Poly ic s by (motive , tyrannical ava ’ “ “ rice) ; B yron s C ain (motive , religious jealousy) ; Une au Famille Temps de Luther by Delavigne (motive , “ ” Le e a e a religious dissent) ; Du l (L v d n , — “ (2 ) Rec i proca l Ha t red : The Seven Against ” Les Thebes , by Aeschylus , and Freres E nnemis a e r e by R cine (motiv , g e d for power) ; an admirable a a supplementary character is dded in this Theb n legend , “ ” the Mother torn b etween th e sons ; Thyestes I I of ” “ Sophocl es : Thyestes of Seneca ; the Pel o pid es by ” a e e s e e C r bill o n Volt ir ; Atr u and Thy st s by é (motive , e greed for power , the important rol being that of the perfid io us instigator) . — (3) H a tr e d B e t w e e n R e l a t ive s for Reaso n s o f ’ ” - l n t er e s t : La a d Ar ile Sel f M ison g (Fabre , “ ” : Exampl e from fiction M on Frere M ercerea u ) . — ( — B Ha tred o f F a t h er a n d S o n : O f t h e “ ” S o n Fa t h e r z — ee e for t h e Thr Punishm nts in One , s s by C a lderon . Hi toric e xa mple : Loui X I and Charl es “ ” “ ” a r o f La e e a a nd V I I . A p t T rr by Zol of Le M a itre by J ean Julli en . 2 - a a e : e is a ea ( ) M u t u l H t r d Lif Dr m , by o s o s a ce : e o e nd o Ca ld e r n . Hi t ric in t n J r m a Vict r Bona e o a e t o s e s pa rte (a r ducti n of h tr d impl d i agre e ment ) . ua e a e a s t o m e to be o ne o f t he es Th is n nc pp r fin t , o o o e a s b o a lth ugh n e f t h l e t rega rd e d y u r wri te rs . ’ (3) l l a t r e d o f D a u gh t e r f o r F a t h e r : l he e b e e ( a r e a s a ea s o f esca e o C nci , y Sh ll y p ricid m n p fr m incest ) . C l l a t r e d o f G r a n d f a t h e r f o r G r a n d so n : ' M eta sta s i o s th e s t o ry o f Amulius in t he o f t us s ( o t e t a ca a a be ginning Ti Liviu m iv , yr nni l v rice ) . “ ” a e o f c e fo r e e : T h e De a t o f a s a H tr d un l n ph w h n , by ' ( v O e o t e t o e n s f . ( fri ch na a i . f h fa ce H a ml t D - l l a t r e d o f F a t h e r - i n - l a w f o r S o n - l n - l a w ' “

a nd a ( o e a a a a e . Al ﬁeri s Agis S ul m tiv , tyr nnic l v ric ) 4 G TH I RTY - SI X D RA M ATI C SITUATIONS

Historical example : Caesar and Pompey . Hatred of “ ” - in - - : two brothers law , ex rivals La Mer (Jean Jullien , 1 89 1 ) the only modern drama , I may note in passing , in which one ﬁnds emotion increasing after the death

of the principal character . I n this respect it conforms

to reality , in which we may experience shock or alarm ,

or cry out in dread , but in which we do not weep , nor e feel sorrow to the full , until afterward , all h pe being

forever ended . — E H a tred of M o t h er - i n - l a w f o r D a u gh t er - i n ’ “ w z — n o d o n l a Cor eille s R gu e (m o t i v e , tyrannical

avarice) .

a i i F I n f n t c d e Conte de Noel (Linant , “ A part of the Powers of Darkness . I will not repeat the list of degrees of relationship i nto which this situation might be successively trans fre ferred . The case of hatred between sisters , one “ il l — am aval quent enough , w offer , even after Le C — des E nfants (de B ou h élier ) an excellent opportunity r for a study of feminine enmities , so lasting and so c uel ;

hatred of mother and daughter , of brother and sister , wil l be not less interesting ; the same may be said for the converse of each class which has furn ished our ex

amples . May there not be an especially ﬁne dramatic — be study in the deep subj ect , heretofore so vulgar

ca use treated by vulgar hands , the antipathy of the ?

mother and the , husband of a young woman Does

it not represent the natural conﬂict between the ideal ,

childhood , purity , on the one hand , and on the other

Life , vigorous and fertile , deceptive but irresistibly alluring ?

Next the motive of hatred , changing a little , may “ ” vary from the everlasting love of power alleged in invari nearly all extant examples , and , what is worse , - * a bly painted in the strained attitudes of noe classicism .

aff e The character of the common parent , torn by c tion for both adversaries in these struggles , has been

* N eo - Cl ass ici sm : B el o nging t o o r d es ign ating the revival of ass a as s cl ic l t te a nd tyle in art . TH I RTEENTH SITUATION 4 7

little modified since the day when Aeschylus led forth , from the tomb to which tradition had consigned her , his maj estic Jocaste . The roles of two parents at enmity could wel l be revived also . And I find no one but Beaumont and Fletcher who has drawn vigorously the instigators of such impious struggles ; characters whose infamy is sufficient to be well worthy of attention , nevertheless . With the enmities of kinsmen are naturally connected the enmities which spring up between friends . This nuance will be found in the following situation . FOURTEENTH SI TUAT I ON

R IVA LRY OF KI NSMEN

(The Preferred Kinsman ; the Rej ected Kinsman ; the Object)

This situation seems , at ﬁrst glance , to present ten

times the attraction of the preceding. Does not Love , f e ? as well as Jealousy , augment its ef ct Here the charms of the Beloved shine amid th e blood of battles fought

for her sake . What startled hesitancies , what per l exit ies p are hers ; what fears of avowing a preference , lest pitiless rage be unchained ! e Yes , the Belov d one , the Object to use the philo sophic name applied to her in the seventeenth century — a will here be dded to our list of characters . But

the Common Parent , even if he does not dis

s e . appear , mu t los the greater part of his importance ; the Instigators will pale and vanish in the central radiance “ of the fair Object . Doubtless th e love scenes will

please , by their contrast to the violence of the play ; but the dramatic purist may raise his brows , and ﬁnd per — haps these turtle - dove interludes a triﬂe colorless

- when set in the crimson frame work of fratricide . ’ Furthermore , there persists in the psychologist s mind the idea that Rivalry , in such a struggle , is no

“ more than a pretext , the mask of a darker , more ancient a hatred , a physiological antip thy , one might say , derived from the parents . Two brothers , two near relatives , a do not proceed , on ccount of a woman , to kill each

e . other , unless predispos d Now , if we thus reduce the e motive to a m re pretext , the Object at once pales and diminishes in importance , and we ﬁnd ourselves return ing to the Thirteenth Situation . 4 8 FOURTE ENTH S ITUATION 4 9

e o ne Is the Fourteenth , then , limit d to but class , a e e e ? m r d rivative of the preced ing No ; it possesses , a e fort unately , some germs of s vag ry which permit of its development in several d irections . Through th e m “ ” “ u it may trend upon M rderous Adultery , Adultery ” “ Threatened , and especially upon Crimes of Love as e (incests , I ts true form and value may be c r f ained by throwing these new tendencies into relief . “ A (1 ) M a l i c i o u s R iva l ry o f a Bro th er Brita n ” “ ” niens ; Les M au cro ix by Delpit (the Common Parent

- here gives place to a pair of ex rivals , who become almost “ ” B o isl au rier the I nstigators) ; (Richard , From “ ”

: t . ﬁction Pierre e Jean , by de Maupassant Case in : 2 i nd which rivalry is without hatred 1 81 N o , — ( g (2 ) M a l i c i o u s R iva l ry o f Tw o Bro th ers ” “ ” ” A ath o l e Ad l a id e d u . u es l in g c e , Don Pedr , é G c and ” a l l Amelie , by Voltaire , who dreamed of carving a k ind o m o wn - e g all h is , from this sub class of a singl situation .

(3) R iva l ry of Tw o Br o t h ers , W i th Ad u l tery o n “ t h e Pa r t o f O n e : Pelleas et Melisande by Maeter linck 4 — e : ille ro n ( ) R ival ry o f S i s t rs La Souris (Pa , “ ’ ” L E n h a nt em nt a a e c e (B t ill , Le Demon ” ”

. n d u Foyer (G Sa nd ) . Of a unt a d niece : Le Risque

(Coolus , o B (l ) Riva l ry o f F a t h e r a n d S n , fo r a n U n m a r ’ “ ” “ r i e d Wo m a n : - M eta sta s io s Antigone ; Le s Fo s “ d e e La ss a e e F . a e e sil s ( Cur l ) ; M ier (L m itr , “ “ e e T a ie u x a a d c e s a nd d e La D tt ( r r , P p ( Fl r ’ ” a a e a e s t a e C i ll v t , R cin M i hrid t , in which the a e e ee th e a t e a nd ea o f the riv l ry is tripl , b tw n f h r ch ’ o o ia l e a e : t o s a nd be e e t he t w s s . l a rt he s n , tw n n x mpl ’ “ ’ o be ginning of Duma s Pere I r d ig ue . o n f o r a e (2 ) R iva l ry o f F a t h e r a n d S , M arr i d ’ o e o e l o rt o - R e W m a n : Le Vi il H mm ( ich ,

- w o n B u i n (3) (Ja sc S i m i l a r t o t h e T For e go i g , t

W h i c h t h e O b j e c t i s Al r e a d y t h e Wi f e o f t h e Fa t h e r . s o s e a e a nd e s t o e s es (Thi g e b yond dult ry , t nd r ult in inc t , t o t e a s o ese r e fo r a a t but he purity f h p si n pr v s , d r m ic c ﬂ e t a ﬁne e t e e - as a nd c , d istinction b w n th is sub cl s 50 TH I RTY - SI X D RA M AT I C S ITUAT IONS

’ “ Situation XXVI ) : Euripides Phenix ; (a concu ’ “ ” bine is here the obj ect of rivalry) ; Schiller s Don Carlos ; ’ “ ” Al ﬁeri s Philip I I . “ ’ (4 ) Riva l r y of M o t h er a n d D a u gh t er L Au tre D a nger C R ival ry o f Co u si n s : (which in reality falls into “ ” as : the following cl s) The Two Noble Kinsmen , by Beaumont and Fletcher . ’ “ D R ival r y of Fr i en d s : Shakespeare s Two Gen ” “ tl em en of Verona ; Aimer sans Savoir Qui by Lope ’ “ “ ” de Vega ; Lessing s Damon Le Coeur a ses Raisons “ (de Flers and de Caillavet , Une Femme Passa

(Coolus ,

52 TH I RTY - SI X D RA MATIC S ITUAT IONS

domina tes adulte ry) ; The Sch ism of E ngla nd by “ ” Calderon ; Zobeide by Gozzi . Narrative e xample :

Bluebeard . Historic : th e murder of Ga l eswin th e . H ints for varying and modifying this situation : The betrayed husband or wife may be either more or

less powerful , more or less sympathetic in character ,

than the slayer . The blindness of the intended victim may be more or less complete at various moments of b the action ; if it be dispelled , partly or fully , it may e th e s by chance , by some imprudent act of guilty one ,

by a warning , etc . a ff e Between the victim and the intruder , ties of c

tion , of duty , of gratitude , may have previously existed ;

ties very real to one or the other of the two . They may be relatives ; they may ﬁnd themselves united

by some work or responsibility in common . The Victim ,

whether he be pursued openly or secretly , will be , doubt e less , the object of an old rancor , eith r on the part of the consort or of the intruder ; the origin of this ranco r may be in any one of the imaginable off enses by which

a human being is wounded in his family affections , his

loves , h is ideals , etc . , or in h is pride of birth , of name ,

of achievement ; in his interests , (money , property ,

power , freedom) ; in any one of the ext ernal radiations

of life .

Of the two adulterers , one may be but an instrument

impassioned or resigned , unconscious or involuntary

of the other , and may later be rejected , the end being a ttained ; the blow m ay be struck by one of the two e a traitors alone , or it may b th t neither of them has th e stained his own hands with crime , which has been committed by a new character , perhaps unintentionally , a or perh ps from love of one of the two Adulterers , who h as utilized and directed this passion , or has let it move of its own accord toward the desired and criminal end .

A multitude of other characters will be , in varying degrees , the means employed , the obstacles , secondary s victim , and accomplices in the sinister deed ; the deed ’ itself may b e brought about according to the author s choice among the numberless circumstances which the FIFTE ENT H SITUATION 53

has Law foreseen , with d ivers details such as court trials suggest . c is r e If a more compli ated action desi ed , interweav nn i e s n (as H e qu has done) a rivalry of Kin men , an u ’ se E r si e natural love ( e uripides Ch y pp ) , an ambitious purpose and a cons piracy . SI X TEENTH SITUATI ON

MADNESS

(E lements : Madman and - Victim)

The origin of certain human actions lies hidden in fearful mystery ; a mystery wherein the ancients believed t n hey discer ed the cruel smile of a god , and wherein our scientists , like the Chinese philosophers believe , n they recog ize the desires , prolonged and hereditary , of an ancestor . A startling awakening it is for Reason , when she ﬁnds on all sides her destiny strewn with n corpses or with dishonors , which the Other , the unknow , has scattered at his pleasure . At this ca lamity , greater than death , how our kindred must weep and tremble ; what terror and suspense must arise in their minds ! s And the victim , whose cries are lost in the mute heavens ; the beloved ones pursued in unreasoning rage which they cannot comprehend ! Wh at variations of the incon h no scient are here : folly , possession , divine blindness , yp sis , intoxica tion , forgetfulness ! A (1 ) Ki n sm en Sl a i n i n M a d n e ss Athamas ” and the Weavers of Nets by Aeschylus ; Hercules ” ” Fu rens by Euripides and by Seneca ; I on by

Euripides .

(2 ) A Lover Sl a in i n M ad n ess La Fille Eliza , “ by Edmond de Goncourt ; La Tentation de Vivre

(Louis E rnau lt ) . A lover on the point of slaying his “ mistress in madness : Example from ﬁction : La Bete ” Humaine . Familiar instances : Jack the Ripper ; the

Spaniard of Montmartre , etc . (3) Sl ayi n g or I n j u r i n g of a Perso n n o t H a t ed ° ” io ll Monsieur Bute (B ay , Destruction of a “ work : H e dda Gabler . SI XTE ENTH SITUATION 55

B D i sgr ace B r o u gh t Upo n O n e sel f Th r o u gh ’ “ ” ’ “ M a d n ess : Aeschylus Thracians ; Sophocles Ajax ; “ ” to some extent Saul (Gide) . C Los s of Loved O n es Bro u gh t Ab o u t by M a d “ n es s k u Sa ntala by Kalidasa , (form , amnesia) .

The philtre of Hagen , in Wa ner . — g D M ad n ess Br o u gh t o n b y F ear of H er ed i t ary “ ’ ” n s n i t : L E tau And I a y ( re Sardou , The cas e of A trans ferred to the past and treated

- - according to a quid pro quo process , is that of one of the “ ’ L Aff a i e merriest comedies of the nineteenth century , r de la rue de Lo urcin e by Labiche . Numberless examples of th is Sixt eenth Situation ’ have ﬁlled the d isquieting pages of alienists j ourn als . as Mental diseases , mani of various types , offer power ful dramatic effects wh ich have not yet been exploited . s i The e furn sh , doubt less , but points of departure toward the Situation whose real investiture takes pl ace at the ’ — moment of the hero s restoration to reason , wh ich e is to say , to suffering . But if it ever happens that thes as — three ph es the etiology of delirium , its access , and — the retur n to a normal condition are treated with u eq al strength and vigor , what an admirable work will result !

The ﬁrst of the three stages , wh ich bears upon the h eld explanations of insanity , has been variously to be divine (by the Greeks) , demoniac (by the Church ) , and ,

e a a . H no in our own times , her dit ry and p thological yp t ism has recently created another nua nce ; th e hypnotist e —a o ne e here forms a substitut , sorry , it is tru , for e e e divinity or demon . Drunkenn ss furnish s us a nuanc a e a e unfamiliar to Greece ; wh a t is tod y mor commonpl c , e a th e s o s e and at the same time more te rribl , th n d i cl ur of an important secret or the committing o f a crimina l ? e act , while und er the influenc of d rink a a l l e a l l e e s a l l I s it necessa ry to say th t ti s , int r ts , a b e es e e o se a nd il l u m in human desires , m y repr nt d cr s d ? ated by the light of d e menti a a o f a e s fa r For the rest , this situ tion M dn s is from

o u r ea e . a e e a e having been negle cte d in th t r Sh k sp r , a h a s a e use o f sa in h is most pe rsona l d ra m s , m d in nity 56 TH I RTY- SI X D RA M ATIC S ITUAT IONS

in the leading roles . Lady Macbeth is a somnambu list and dies in hysteria , her husband is a victim of hal l u inat ions e c ; the sam may be said of Hamlet , who is a l ypema n iac besides ; of Timon also ; Othello is an epileptic and King Lear completely deranged . It is on th is account that the great William is so dangerous a model (Goethe would not read him more than once a year) . He has played , to some extent , the same role - — h e as Michael Angelo , has exaggerated the springs of action to the farthest limits of reality , beyond which h is disciples fall immediately i n t o m e r e ridiculous affectation .

On the other hand , if we except the pretext of study “ ing insanity in itself , wh ich Ajax has furnished from E E E Astyd am u s to nnius , and from nnius to mperor “ ” Augustus , I ﬁnd nothing Shakespearean in the drama “ ” of antiquity except Orestes . All other characters are in the enjoyment of their senses , and do not thereby “ ” d i us . (E become any less pathetic p alone shows , in default of abnormal ity in the hero ’ s psychologic con stit u t ion , external events of an extraordinary character (a resource since so largely used by the Romanticists of 1 830 and later) . But the rest of the antique dramatic types are evolved in accordance with normal passions , and under obj ective conditions relatively common . SEVENTEENTH SITUAT I ON

FATAL I MPRUDENC E

(The I mprudent ; the Victim or the Object Lost)

e To wh ich are som times added The Counsellor , a “ wid so m person of , wh o opposes the imprudence , The ” Instigator , wicked , selﬁsh or thoughtless , and the s usual string of Witnesses , secondary Victims , I n t ru

s . ment , etc A (1 ) I m p r u d e n c e t h e C a u se o f O n es O w n M i s — ’ “ ’ “ ” for t u n e : Sophocles E u m el e ; . E uripides Phaeton (here the Counsellor is blended with the Instrumental - h e character , in wh ich , bound by a too hasty oath , finds s a e e him elf in Situ tion XX I I I , A oblig d to sacriﬁc ” e a kinsman to keep a vow) ; The Master Build r , by “ ’ : L I nd iscret Ibsen . From comedy (See , — (2 ) I m pr u d e n c e t h e Ca u se o f O n es O w n D i s “ ’ ” La e l Un ive rs - a h o n or Banqu de (Grenet D ncourt , “ ’ ” s From ﬁction : L Argent by Zola . H i toric :

Ferdinand d e Lesse ps . B (1 ) C u ri osi t y t h e Ca u s e o f O n e s O w n M i sf o r ’ “ s o e a t u n e : Aeschylus Se me l e . H i t ric x mples (wh ich “ s a f es t he ri e to the Twentieth Situation , S cri ic to n d s s s the deaths of ma ny schol a rs a ci enti t . — e n a O n e (2 ) Loss o f t h e P oss ssi o o f Loved , “ ” T h ro u gh C u r i os i ty : Psych e (b o rro we d fro m th e o a e e o e u se account wh ich La F nt in d r w fr m Apul i s , h im lf ’ o f a a s a nd a a e C o r th e debtor of Lucius l tr , d r m tiz d by ” e o l iére a nd a l ‘l sc l a r m o nd e Ma s n ille , M ! uin ult ) ; ( e e e e a e a e : e s s n t , L g nd ry x mpl Orph u bringing u a e e o a a o b ack E uryd ice . Th is n nc t nds t w rd Situ ti ns l l l s a e e a o s a nd X X X l l and X x x , M i t k n J l u y J ud i " c ia l E rror . 58 TH IRTY- SI X D RA MATIC S ITUATIONS

C (1 ) C u r i osi t y t h e C a u s e o f D ea t h o r M i sf o r — ’ “ ” t u n e t o O t h er s z Goethe s Pandora and also Vol ’ ” a ire s E ; The Wild Duck by Ibsen . Le gendary example : ve . ’ (2 ) I m pr u d en ce t h e C a u s e o f a R el a t ive s D e a t h ” La Mere Meurtriere de son Enfant (a fourtee nth “ century Miracle of Notre - Dame) ; On ne Badine pas ’ ” “ ” l Am ou r R nee M au erin avec (de Musset) ; é p , by the G on s co urt . Familiar instances : blunders in the ca re of “

. Lecl er . sick persons Louise q , by Verlaine The ’ “ ” cause of another s misfortune : Damaged Goods

(Brieux , ’ (3) I m pr u d e n ce t h e C a u se o f a L o ver s D ea t h ” “ ’ ” Samson by Voltaire ; La Belle aux Cheveux d Or A ( rnould , ’ (4 ) Cred u l i t y t h e C a u s e o f Ki n sm en s D ea t h s “ ” “ ” Pelias by Sophocles and The Pel iad es by Euri pides . From ﬁction (credulity the cause of misfortune “ ” - - to fellow citizens) : Port Tarascon . Establish in each of the preceding sub -classes equ iva lents to those cases which are presented in single instances : in one class only , and we have the following subjects r By I mprudence (meaning imprudence pu e and simple , unconnected with curiosity or credulity) to ca use mis fortune to others ; to lose possession of a loved one (lover ,

wife or husband , friend , benefactor , protege , to ca us e the death of a relative (any degree of kinship may be chosen) ; to cause the death of a loved one . By Cur iosity (unmixed with impr udence or credulity) to cause the dishonor of a relative (the various kinds of dishonor are numerous enough , touching as they do upon probity , upon courage , upon modesty , upon loy alty) ; to cause the dishonor of a loved one ; to cause ones own dishonor . To cause these dishonors by pure

Credulity (unmixed with imprudence or curiosity) . An examination of the Twelfth Situation will give us a primar y idea of the way in which Ruse may be used to a s gain this credulity . By Credulity also to c u e ones, own m isfortune , or lose possession of a loved one , or a c use misfort une to others , or ca use the death of a loved one .

E I GH TEENTH S I TUAT I ON

I NVOLUNTARY C R I MES OF LOVE

(The Lover ; the Beloved ; the Revealer)

This and the following situation stand out as the most fantastic and improbable of all the silhouettes upon our dramatic horizon . Nevertheless they are , in thems elves , quite admissible , and at least not rarer today than they were in heroic times , through adultery and prostitution , which never ﬂourished more generally than at present . It is merely the disclosure which is less frequent . Yet many of us have seen certain mar i es r ag , apparently suitable , planned and arranged , as e s i it w re , by relatives or friends of the families , yet ob t n at l e y opposed , avoided and broken off by the parents , seemingly unreasonable , but in real ity only too certain

s . of the con anguinity of the l overs Such revelations , then , still take place , although without their antique and startling éclat , thanks to modern custom and our prudent prudery . I ts reputation for fabulous monstrosity was in reality attached to our E ighteenth Situation by the unequalled e (E d i us celebrity of the th me of p , which Sophocles treated in a style almost romantic , and which h is imi t at ors a have ever since overlo ded with fanciful arabesques , more and more ch imerical and extraordinary . This situation and the following — as indeed to some

- e xtent all th irty six may be represented , as the author chooses , in one of two lights . In the ﬁrst , the fatal

error is revealed , simultaneously to the spectator and a to the character , only fter it is irreparable , as in Class A ; and here the state of mind strongly recalls the Six e nth I n t h e th e e t e . second , sp ctator , informed of the 60 E IG HTEEN TH SITUATION 6 1

truth , sees the character wa lk unconsciously toward the ’ as n s - crime , though in a sinister sort of bli d m an buff , a n as in Classes B , C d D . — A (1 ) D i sc overy Th a t O n e Has M arr i ed O n e s “ M o t h er z — (E d i u s The p of Aeschylus , of Sophocles , of Seneca , of Anguillara , of Corneille , of Voltaire , not h il o M el it u s to speak of those of Achaeus , P cl es , , Xenocl es N ico mach us h eod e te , , Carcinus , Diogenes , T c , ; e Julius Caesar nor of thos of Jean Prevost , Nicolas"de - e . h e Sainte Marthe , Lamoth , Ducis , J Chenier , etc . greatest pra ise of Sophocles consists in the astonish ment we feel that neither the many imitations , nor the too well - kn own legend of th e abandonment on

Cithaeron , nor the old familiar myt h of the Sphinx , nor the difference in the ages of the wedded pair , that none of these th ings has made h is work appear u n natural o r unconvinc ing . (2 ) D i sc overy T h a t O n e Has Ha d a S i s t er as M i s ’ “ ” “ ” tress : Tasso s T o rr ism on d ; The Brid e of Messina e by Schiller . Th is case , obviously a more fr quent one , a a e becomes unconvincing in the l tter d ram , wh n com E a bined with the Nineteenth Situ a tion . x mple from “ ’

n f n a ! Sue . ﬁction : L E a t N ture , by — B (1 ) D i scove ry T h a t O n e H a s M a rri ed O n e s “ ’ S i ster : Le M a ria ge d And ré (Le ma ire a n d d e a o e th e e Rouvre , Th is being c m d y , rror is d is “ t o b e e e e a n d t h e a e s covered ih time r m d i d , pl y nd ” “ D s c a s o a s e happily . Ab u fa r by uci , whi h l f ll und r o a preceding cl assifi cati n . — m e i n t h e C m e H a s (2 ) T h e Sa e Cas , W h i c h r i B e e n Vi l l a i n o u sl y Pl a n n e d b y a T h i rd P e rso n : ” ” e es e its e s a t e the H e racl ius (th is gi v s , d pit g niu , r h r feeling of a nightma re th a n o f a te rribl e re a li ty ) .

— n o f a n a e (3) B e i n g Up o n t h e P o i t T k i g S i s t r , ' l i ) S ( n s ( . o s s l he e . U n k n ow i n gl y , as M i s t r ss h t ss e s ta t es t o n v r a ! t h e d a n mother a kn o win w itn e , h i , g

e r ea o f u e t t h e s o n t o a fa ta l s o e . g , for f r s bj c ing h k

o o f o a n n C B e i n g U p o n t h e P i n t Vi l t i g , U ’ “ e l a rt ia l e a e : La a e k n ow i n gl y , a D a u g h t r x mpl D m a u x Domino R os e 6 2 TH I RTY - SI X D RA MATI C SITUATIONS

D (1 ) B ei n g U po n t h e Po in t o f C o m m i t t i n g a n Ad u l t e ry U n k n owi n gl y (the only cases I have found in — “ ” “ ’ a l l drama) : Le Roi Cerf and L Am our des Trois ” Oranges , both by Gozzi . — — (2 ) Ad u l tery C om m i t t ed U n k n o wi n gl y z Prob “ ” “ ably the Alcmene of Aeschylus ; Le Bon Roi Dago ” “ bert (Rivoire , From ﬁction : the end of The

- Titan , by Jean Paul Richter . The various modiﬁcations of incest and other for bidden loves , which will be found in Situation XXVI , may be adapted in the same manner as those here classiﬁed . We have seen above instances of adultery committed through a mistake on the part of the wife ; it might also be through a mistake by the husband . This error is especially likely to be made by that one of the two adulterers who is unmarried ; what is more common , “ ” for example , in the life of pleasure , than to discover a little tardily that ones mistress is a married woman ? I gnorance of the sex of the beloved is the point upon “ ” which Mademoiselle de Maupin turns ; there is in the

ﬁrst place a mistake (comedy) , upon which are built

- the obsidional struggles of a soul (tragi comedy) , from which there ﬁnally results , when the truth is disclosed a brief tragic denouement . N INETEENTH S ITUAT I ON

SLAYING OF A KI NSMAN UNRE COGN IZE D

(The Slayer ; the Unrecognized Vic tim)

Whereas the Eighteenth Situation attains its highest degree of emotion after the accomplishment of the act , s r (doubtless becau e all the persons concerned in it su vive , and the horror of it lies chieﬂy in the consequences) , the

Nineteenth , on the contrary , in which a victim is to perish and in which the interest increases by reason of the blind premeditation , becomes more pathetic in the preparations for the crime than in the results . This permits a happy E ending , without the necessity of recourse , as in the igh

- nth . re o i tee , to a comedy process of error A simple c gn i e tion of one character by another will suff c , of which our Situation X I X is , in effect , but a development . A (1 ) B e i n g U po n t h e P o i n t o f S l ay i n g a D a u gh m m n n t er U n k n ow i n gly , by C o a d of a D ivi i ty o r a n ’ ” Oracl e : Metas tas io s D e mophon . The i gnorance of the kinship springs from a substitution of infa nts ; the ’ inte rpretation of the ora cle s words is e rroneous ; the “ the e e e jeune premiere , at one point in action , b li v s herself the sister of he r ﬁance . This linking of three or t he e a four mistakes (unknown kinship , in sp ci l light of the a se a e es situation we a re now stud ying , suppo d d ng r of inc t , e e an d i a a s e a a as in B 2 of the pr c d ing , f n lly mi l d ing mbig u it of words as in th e m aj ority of come d i es) suffi ces to y , ” a a a e s cons titute wh a t is ca lled sti rring ction , ch r ct ri tic of the intrigues brough t b a ck into vo gu e by t h e Se cond e a e e a e Empire , a nd over whos intric t nt ngl ments our chroniclers wa xed so na ively enth usi astic . 6 3 64 TH I RTY - SI X D RA M ATI C SITUATIONS

(2 ) T h ro u gh P ol i ti ca l Necess i ty Les Guebres ” and Les Lois de Minos by Voltaire . — (3) Th ro u gh a R iva l ry i n Love La Pe tite M ion ne (Richebourg , (4 ) Th ro u gh H a t r ed of t h e Lover of t h e U n r e c — “ ’ ” o gn i z e d Da u gh t er : LeR o i s am u se (in which the

discovery takes place after the slaying) . — B (1 ) B e i n g Upo n t h e Po i n t of K il l i n g a So n — “ ” U n k n o w i n gl y z m The Telephus of Aeschylus and of Sophocles (with incest as the alternative of this crime) ; ’ “ ” “ ” E uripides Cresphontes ; the Meropes of Maffei , of ’ “ ” ’ Volta ire and of Alﬁeri ; Sophocles Creusa ; Euripides “ ” ’ ” Ion . In Metas tasio s Olympiad this subject is “ a complic ted by a Rivalry of Friends . A S o n Sl a in — Wi t h o u t B ei n g R e co gn i z ed z Partial example : th e “ ” “ ” 24 t third act of Lucrece Borgia ; The h of February , by Werner . 2 — T h ( ) e S a m e Ca s e a s B (l ) , S t r e n g t h e n ed b y — ’ “ M a c h i a vel l i a n I n s t iga t i o n s z Sophocles E uryale ; ’ “ ” Euripides ZEgeu s . — (3) T h e Sam e C a s e a s B I n t er m ixe d Wi t h Ha t red of Ki n sm en (that of grandfather for grandson) : ’ “ Metastasio s Cyrus . C B ei n g Upo n t h e P oi n t of S l a yi n g a B r o t h er U n k n ow i n gl y : (1 ) Br o th e r s Sl ayi n g i n An ger “ The Alexanders of Sophocles and of Euripides . (2 ) “ A S is t er Sl ayi n g Th ro u gh P r of e ssi o n a l D u t y The ” “ Priestesses of Aeschylus ; Iphigenia in Tauris , by

Euripides and by Goethe , and that projected by Racine . — — D Sl ayi n g of a M o t h er U n r eco gn i z ed z Vol “ a a : taire s Semir mis , a parti l example the denouement of Lucrece Borgi a . E A Fa t h er Sl a i n U n k n o w i n gl y , Th ro u gh M a ch ’ “ ” i a ve l l ia n Ad vi ce : (see XVI I ) : Sophocles Pelias and ’ “ ” ’ “ E uripides Pel ia d es ; Voltaire s Mahomet (in which the hero is also upon the point of marrying his sister n i l i a h unk owingly) . T h e S m l e S ay n g of Fa t er — p U n rec og n i z e d : Legendary example : Laius . From “ ” romance : The Le gend of Saint Julian the Hospitaller . N IN ETE ENTH SITUATION 65

T h e Sam e Case Red u ce d Fro m M u rd er to S i m pl e ’ n u l Le d Aut i a n i ff I s t Pain ru ( fter T urge e , by Eph i h i n raim and Schutz , B e n g Up o n t e Po t of Sl ay “ ” t h n n l a Fa er U k o w i n g y Israel (Bernstein , $58

1 — A a h F ( ) G ra n d f t er S la i n U n k n ow i n gl y , i n “ Ve n gea n c e a n d T h ro u gh I n s t iga t i o n : Les Bur ” graves (Hugo) . — ’ “ (2 ) S l a i n I n vo l u n tar i l y : Aeschylus Polyd ec tes — (3) A Fa th er - i n - La w K i l l ed I n vo l u n tar il y ’ “ ” Sophocles Amphitryon . G (1 ) I n vol u n tary Ki l l i n g of a Loved Wo m a n “ Sophocles Procris . E pic example : Tancred and ” Clorinda , in Jerusalem Delivered . Legendary example

(with change of the sex of the person loved) : Hyacinthus . — (2 ) Be i n g U p o n t h e Po i n t of K i l l i n g a Lover ” U n rec ogn i z e d The Blue Monster by Gozzi . (3) Fa i l u re t o Resc u e a n U n recogn i z ed S o n Saint Alexis (a X IV Century M iracle of Notre - Dame ; ) ” La Voix d u Sang (R ach ild e ) . Remarka ble is the liking of Hugo (and consequently of his imitators ) for th is some what rare situation . E ach of the ten dramas of th e old Roma nticist contains it ; in “ “ ” r two of them , He nani and Torquemada , it is in a manner accessory to t he Seventeenth (I mprudence ) fatal “ ” “ to the hero also ; in four ( Marion Delorme , Angelo , “ ” “ ” e a a se in La Esm ralda , Ruy Bl s ) this c of involuntary j ury to a loved o ne suppli es a l l the action a nd furnish es “ ' "“ e s a u s a the best epi s odes ; in four oth rs ( Le Roi m e , M rie ” “ ” “ ” e B a Les a e e es Tudor , Lucrec orgi , Burgr v s ) it s rv i t see e a furtherm ore as d enou ement . would m , inde d , th t o s : th e a e drama , for Hugo , c nsist in this c using , d ir ctly or t h e ea a o e a nd th e o indirectly , of d th of l v d one ; , in w rk wh erein he ha s a ccumul a te d the grea te st numb e r o f the “ ” a t rica l eff ects in Lucrece B o rgi a we se e the sa me

s s ea r t he f rs . situa tion retu rning no l es th a n fi v e time . N i t G a e h is e o e o t e pa rt of Act I , enn ro p rmits unr c gniz d m h r t e o a e e ins u l ts he r to be insulted ; in he s c nd p rt , h hims lf , 6 6 TH I RTY - SI X D RA M ATI C S ITUATIONS

not knowing her for his mother ; in Act I I she demands , and is granted , the death of her unrecognized son , then

ﬁnds she has no recourse but to kill him herself , then is again insulted by him ; ﬁnally , in Act I I I , she poisons him , n and , still unknow , is insulted , threatened and slain by him . Be it noted that Shakespeare has not in a single instance employed this Nineteenth Situation , an altogether acci dental one , having no bearing upon his powerful studies of the will .

6 8 T H I RTY - SI X D RA M ATI C SITUAT ION S

: . pies Iph igenia in Aulis , by Euripides and by Racine ’ H istoric e xamples : C o rd us ; Curtius ; Latour d Auvergne . “ For t h e H a p p i n ess of O n es P e O pl e : The Suff ering ”

i n n . Christ of St . Gregory Na z a ze — (3) Li f e S a cr i ﬁ ce d i n F il ial Pi ety The Phoe ” “ ” n ician Women by Aeschylus ; the Antigones of Soph

ocl es and E uripides ; of Alamanni and Al ﬁer i . 4 Li fe S a cr iﬁ ce d for t h e Sak e of O n es F a i t h ( ) ” The Miracle of St . I gnace of Antioch (X IV Century ; ) ” ” Birott a Vive l e Roi (Han Rymer , Cesar e u ” (Fabre , after Balzac , The Constant Prince by “ ” Calderon ; Luth er by Wern er . Familiar instances :

. : all martyrs , whether to religion or science In fiction “ ’ ” L CEu vr e by Zola . F or t h e Sa k e of O n es Kin g “ ’ L E nf ant d u Temple (de Pohl es) . — B (1 ) B o t h Love a n d Li fe Sa cr ifi ce d f or O n e s “ ” “ ’ L E van l i Fa i t h Pol yeu ct e . In fiction ge ste sac rifice of family and future for ones faith) . — (2 ) B o th Love a n d Li f e Sa cr ifi ce d t o a Ca u se ” Les Fils de Jahel (Mme . Armand , (3) Love Sa cr ifi ce d t o I n terests of S t a te : This “ ” “ th e S is favorite motif of Corneille , as in Othon , ertor ” “ ” “ ” “

So h on isb e Pu l h erie et . ius , p , c , Tite Berenice Add “ ” “ to these the Berenice of Racine and the SOph onisbe ’ Alﬁeri airet of Trissino , that of and that of M ; Metastasio s “ “ ” ’ “ ” Achilles in Scyr o and his Dido ; Berlioz Troyons “ ’ ” (the best tragedy of his century L I mpérat rice (Men “ - des) . The Creditor in this sub class , remaining abstract , is easily confounded with th e Ideal and the Hero ; the “ Sacriﬁced Persons , on the contrary , become visible ; a M assin isse Bé these are Plautine , Viri te , Syphax and , ré “ ”

D éid am i . : . nice , e In comedy S . A . R (Chancel , — “ C S a cr i ﬁ ce of Wel l - Bei n g to D u t y : R esurrec “ ’ ” L A r nt i tion by Tolstoi ; pp e e (Geffroy , “ ” D T h e I d eal of H o n or S a cr iﬁ ce d to t h e I d e a l ” h e o f Fa i t ; Two powerful exampl s , which for secon dary reasons did not attain success (because the public ear was incapable of perceiving a harmony pitched so ” high in the scale of sentiment) : Theodore by Corneille “ ” and The Virgin M a rtyr by Massinger . Partial exam l e : p the good hermit Abrah a m in H roswitha . TWENTY - F I RST SITUATI ON '

SE LF - SAC R I F I C E FOR K I NDR E D

(Th e Hero ; th e Kinsman ; th e Cred itor or the Person or Th ing Sacrificed )

A (1 ) Li f e Sacr i fi ced for t h a t o f a Rela t ive or a O n e : Th e Alcest es e E Loved of Sophocl s , of uripides , a of Buchanan , of Hardy , of R cine - e C o el - of Lagrange Chanc l , of Boissy , of yp , of Saint Foix ,

. a es etc . of Dorat , of G luck , of H Luc s , of Vauzell , (2 ) Li f e Sacri fi ced f or t h e Ha p pi n ess o f a R e la t ive “ ' or a Love d O n e : L Ancien by R ich e pin . Two sym Sm il is A ica rd t he metrical works are ( , in wh ich s a e s a nd D e d e a h u band s cri fic s h im elf , Le ivorc Sar h ” e a a nd a s i t he e Moore (Rozi r , P ton Dum f ls ) , in which wif o o nd a s sacriﬁces hersel f . E xa mples fr m ficti n a an logou “ ” to these two dra mas a re G rea t E xp ecta tions by Dickens “ o o o a nd La Joie d e Vivre by Z l a . C mm n exa mpl es : workmen in dangero us occup a ti o ns . B (1 ) A m b i t i o n S a cri fi c e d f or t h e H a p pi n ess o f a Par e n t Le s Frere s Ze mga nn o by Ed m o nd d e ( i o n s s o u e e t t h e o o s e o f court . Th i end with a d en m n pp it that of (2 ) A m bi t i o n S a cri fi c e d f o r t h e Li f e o f a P a r e n t : ' e t e o t( o ee M a d a m d e M a in n n pp . ’ C (1 ) Love S a cri fi c e d f o r t h e S a k e o f a Pa r e n t s “ ” u e a t e ( I l e n ne r Li f e : D i a n e by A g i r ; M r yr y , (2 ) For t h e H a p pi n e ss o f O n e s C h i l d : Le ’ {e ve il H e v ie u La Fu t e ( l ie a rd ( r , gi iv . ” For t h e H a p p i n e s s o f a Lo v e d O n e : C yra no d c I te r ” ' ) o i o e f Le o n ge ra c by R o s tand ; Le l r it a u l nh u r t . m e ni r , 70 T H I RTY - SI X D RA M ATIC SITUATIONS

T a m i 2 B (3) h e S e Sacr fi ce a s , u t Ca u sed b y “ ’ ” U n j u s t La ws La Loi de l H o mm e by H erv ieu . D (1 ) Li fe a n d H o n or S a cr ifi ce d for t h e Li fe o f “ a Pare n t or Love d O n e Le Petit Jacques . Case “ in wh ich the loved one is guilty : La Ch arb onm ere (Cre “ ’ ” “ Le d Arm es G arau d mieux , Frere ( , Le ” R i h e in T h e a m r ifi Ch ien de Garde ( c p , S e Sac c e “ ” M a d e f or t h e H o n or of a Loved O n e : Pierre Vaux a (Jonath n , A similar sacrifice , but of reputation “

: . . only La Cornette (Mile and M Ferrier , (2 ) M od es t y S a cr i ﬁ ced for t h e Li f e of a Rel a t ive ’ “ or a Loved O n e : Shakespeare s Measure for Meas ’ “ ” ’ “ ure ; E ur ipides Andromache and also Racine s ; Per ” “ ” th t ari e by Corneille ; La Tosca (Sardou , In ” ﬁction : Le Huron by Voltaire . TWENTY - SE CON D SITUAT I ON

ALL SAC R I FI CED FOR A PASSION

(Th e Lover ; the Object of the Fatal Passion ; the Person or Thing Sacr iﬁced )

A (1 ) Rel i gi o u s Vo w s o f C h as t i ty B ro k e n for a “ ” “ n Pass i o n Jocely by Godard . From ﬁction : La ’ ” “ Faute de l Abb e M ouret . In comedy : Dh o u rtta ”

Nartta k a .

2 — A u : ( ) Vo w o f P r i ty Br o k e n Tannhauser . Resp ec t for a Pr i est Des t r oyed : One aspect of La

C o n qu éte de Flassans . — (3) A F u tu r e R u i n ed by a Pass i o n : Manon “ ” “ s D e f e e e by Ma senet ; Sapho by aud t ; La Gri f (B rnst in ,

the works of Louys in general . ’ (4 ) Pow er R u i n e d by Passi o n : Shakespeare s ” “ ” Antony and Cleopatra ; Cleopatre by Sa rd ou . “ n d e : (5 ) R u i n o f M i n d , H ea l t h a Li f La Glu “ ’ ” R ich e in L Arles ienne D a e a nd e ( p , ( ud t Biz t) ; “ e fi see : Le La Furi (Bois , From ction ( C ) ” ss G fi e a t t h e e Po éd é by Le monni e r . Passi o n ra t i d Pr i c o f Li f e : U ne Nuit d e Cleopatre (G a u ti e r and M a sse ) e e a n d n (5) R u i n o f For t u n s , Liv s H o ors “ ’ a L o d E me ra u d e ich e in a e N na ; in p a rt a R ute (R p , ft r D e m o ld e r — , 3 T e m p ta t i o n s (s e e X H ) D e s t roy i n g t h e S e n s e “ ”

S o sc a W e . c . a l m e of D u ty , O f Pi ty , e t (O r ild ) e o a s a nd t h e a e ( e se From ﬁction : H r d i , tt mpts r pul d ) in “ o o T h e T e mpta tion f Sa int Anth ny . n e a n d e C (l ) D e s t r u c t i o n o f H o n or , For t u Li f , “ " by E ro t i c Vi c e z C e r m in ie La c e rte u x by d e C o n 72 TH I RTY - SI X D RA M ATIC SITUATIONS

court ; Rolande (Gramont , Maman Colibri s (Bataille , From ﬁction : La Cou ine Bette ; “ ” Le Capita ine Burle . — (2 ) T h e Sam e E ff ect Pr od u ced by An y O t h er ’ ” “ ’ V i ce Trente Ans ou la Vie d un Joueur ; L Asso m “ ’ ” “ ” i moir . From ﬁction L Op u m by B onneta in ; Lelie

— - by Willy . In real life : our race courses , our wine shops , “ ” : e . Un our caf s , our clubs , etc In comedy Ange G ( apus ,

Few situations . obviously , have received better and more consta nt treatment during our own century - to

- whose vices the Twenty Second offers , in truth , a most appropriate mirror , in its amalgam of gloom and eroticism , at the same time presenting the most interesting studies of nervous pathology . TWENTY - TH I RD SITUAT I ON

NECESSITY OF SACR I FI C I NG LOVE D ONE S

(The Hero ; the Beloved Victim ; the Necessity for the Sacriﬁce)

Alth ough similar to the three situations we have j ust

- cons idered , the Twenty Third recalls , in one of its aspects , that destruction of natural affection which marked the “ ” Thirteenth , Hatred of Kinsmen . The feelings which we here encounter in the protagonist are , it is true , of a nature altogether different . But through the intrusion of the element of Necessity , the end toward which he must proceed is precisely the same . A (1 ) Necessi ty f or Sacr i fi c i n g a Da u gh t er i n t h e “ ” P u b l i c I n ter es t : The Iph igenias of Aeschylus and ” “ E of Sophocles ; I ph igenia in Aulis , by uripides and by ” Racine ; Erechtheus by E uripides (2 ) D u ty of Sacr i fi c i n g H er i n F u l fi l l m e n t o f a “ ” d n s C réb ill o n Vo w to G od : Th e I o mé ée of , Lemierre , “ ” and C ienfuegos ; the J eph thes of Buchana n and of a Boyer . This nuance tends at first toward Situ tion ” e XVI I , I mprud ence , but the psychologic struggl s soon give i—t a v ery d i ffe rent turn . (3) D u ty o f Sacr i fi c i n g Be n efactors or Love d “ " “ O n e s to O n es Fa i t h : Torque ma d a ; Ninety - Three : “ ” “ " e a Le s Mou ettes (Pa ul Adam , La Fill Guillotin s o s a e H r (Fle isch ma nn , H i t ric in t nc s ; Phili p ; Ab a ham a nd Isaa c . h n n w n B (l ) D u ty o f Sacr i fic i n g O n es C i l d , U k o h e e e e e t : E t o O t h e rs , U n d e r t Pr ssu r o f N c ssi y uripi ' “ " “ i o r ia H d e s M e l ani pp e ; Lucrece g , ( , 73 74 T HI RTY—SI X D RA M ATI C SITUATION S

i (2 ) D u ty of Sacr ﬁ c i n g , U n d er t h e Sam e C i rcu m “ ” h : s s ta n c e s , O n es Fa t er The Hypsipyles of Ae chy “ ” a lus , and of Metast sio ; The Lemnian Women by

Sophocles . i i n n t h m (3) D u ty of Sacr ﬁc g , U d er e Sa e C irc u m “ ” : s ta n ces , O n es H u sba n d The Danaides of Ph ryn i u s G omb au d ch , of Aeschylus , of , of Sal ieri , of Spontini ; “ ” the Lyn ceu s of Th eo d ect es and of Abeille ; the H yperm ” n st R iu eiro u x . e res of Metastasio , p , Lemierre , etc — (4 ) D u ty of Sacri ﬁ c i n g a So n - I n - La w for t h e “ ” n P u b l i c G o od U Patriote (Dartois , For “ ” t h e Sa k e of R ep u t a ti o n ° G u ibor (a X IV Century

- Miracle of Notre Dame) . (5) D u ty o f C o n te n d i n g w i t h a B r o t h er - I n - La w ’ ” h e l i : n f or t P u b c G oo d Cor eille s Horace , and that

of Ar étin . The loyalty and affection subsisting between

the adversaries remove all resemblance to the Thirtieth . “ (6) D u ty of C o n te n d i n g Wi t h a Fr i e n d Jar ” H nni u e nac ( e q and Gravier , 1 Nuance B , (B for example) , lends itself to a ﬁne inter s lacing o f motifs . Melanippe ﬁnds herself (l t ) forced to slay her son , an order which she would have resisted at the 2nd risk of her own life , but she is at the same time ( ) obliged to conceal her interest in the ch ild , for fear of revealing his identity and thereby causing h is certain death . Similar d ilemmas may be evolved with equal success in all cases in which a character receives an inj une tion which h e 18 unwilling to obey ; it will suffice to let him e fall , by h is refusal , into a s cond situation lead ing to a result equally repugnant or , better yet , identical . This dilemma of action is again found in what is called black mail ; we have also seen its cruel alternatives outl ined in “ Clas s D of Situation XX The Virgin Mar ” t r y , and clearly manifested in Class D (especially “ ” “ D 2 ) of Situation XX I I ( Measure for Measure , Le ” Huron , etc . ) but it is there presented most crudely , by a single character or event of a nature tyrannical and odious . Whereas in “ Melanippe it results so logically and piti lessly from the action that it does not occur to us to rebel a s gain t it ; we accept it without question , so natural does

e . it appear , so overwh lming

TWENTY - FOURTH SITUAT I ON

R IVALRY OF SUPE R I OR AND I NFERI OR

(The Superior Rival ; the Inferior Rival ; the Object)

I would have preferred to make of this and the following

(Adultery) a single situation . The difference lies in a contract or a ceremony , of variable importance according to the milieu , and wh ich in any case does not materially change the dramatic emotions springing from the love contest ; even this difference becomes quite imperceptible in polygamous societies (H indu drama) . Thus I would rather have created but one independent situation , of which the other should be a nuance . But I fear I should be accus ed of purposely compressing modern works into the smallest possible number of categories , for the two ich we are now to analyze contain the maj or part of wt hem . We have already remarked that between Hatred of ” “ ” Kins men and Rivalry of Kinsmen the sole diff erence lies in the fact that in the latter there is embod ied in “ human form the Object of dispute , the casus belli . For the same reason we may bring together the situations “ ” “ Rivalry of Superior and Inferior , Adultery , and even ” Murderous Adultery , and distinguish them from all the situations wh ich portray struggle pure and simple (V ,

VI I , VI I I , I X , X , X I , XXX , XXX I ) . However , the beloved Object will more naturally appear in the present cases of sentimental rivalry than she could in the “ Rivalry ” o o r of Kinsmen , and nowhere does a more favorable pp tu nity present itself to the dramatic poet for portraying h is ideals of love .

These cases are d ivided ﬁrst according to sexes , then acco rd ing to th e degrees of d ifference in the rank of the o

rivals . TWENTY - FOURTH S ITUATION 77

A M asc u l i n e R iva l r i es (l ) O f a M or ta l a n d a n “ I m m or t al M riganca l ckha by Viswanatha ; Heaven “ r and Earth by By on ; Polyph eme (Samain) . O f T w o Divi n i ti es of U n eq u al P ower ° Pandore by Vol taire . — (2 ) O f a M agi c i a n a n d a n Ord i n ary M a n ”

et . Tanis Zelide , by Voltaire (3) Of C o n q u er or a n d C o n q u ere d Malati and ” M ad h ava by Bh avab uti ; Le Tribut de Zamora ”

s . Ol l o nier (Gounod , Le ais (M me g , O f ’ “ a n d n u h : — A i Vi c tor Va q i s ed Voltaire s l z re . O f a “ ” M aster a n d a Ba n i sh ed M a n : Appius and Virginia ” “ ?” by Webster ; Hernani and Mangeront - I ls by Hugo ” ; u Dante (Godard , O f Us rp er a n d S u bj ec t ” Le Triumv irat by Voltaire . (4 ) O f S u z era i n K i n g a n d Vassa l K i n gs : Cor ’ “ ” neille s Attila . (5) O f a K i n g a n d a Nob l e Th e E arthen Toy ” “ Cart by Su d rak a ; The M ill and Nina de Plata by “ ” “ Lo pe ; Agésilas and Surena by Corneille ; Demetrius by “ ” Metas tasio ; Le Fils de Porthos (B l av et — (6 ) O f a P o wer f u l Perso n a n d a n U pstar t ” “ ” Don Sanche by Corneille ; La Marj ola ine (R ichepin

ﬁls , ’ (7 ) O f R i c h a n d Poor La Question d Argen t “ ” by Dumas ; La Nuit d e Saint - Jean (E rck m a nn - C h at rian “ ” " a nd Lacome) ; E n Greve (Hirsch , Surcouf “ ’ ” e L At t ent at C a u s a nd D esca ves (Planquett , ( p , “ “ 0 La e e M ill ia 1 9 6 ) La Barricade (Bourget , P tit r ” a n d I n : a r daire (Duma y Forest , ﬁction p t of “

t h e Sea . e a e e a : Toiler"s of R l tiv in qu lity M on Ami a nd Be a Teddy (Rivoire sn rd , (8) O f a n H o n or e d M a n a n d a S u s pe c t e d O n e “ ’ ” “ ” s l a e Le a ea o ea L Ob tac e (D ud t , Dr p u (M r u , “ ’ i C h a rt o n J a T e Deva nt l E n ne m ( , ck m ” ” La Bu c h e ro nne E pete (E lz ea r d mond , , ” Bo u l a a a e d e M l le . e m ns I n come d y : Le. M ri g ic h cl e r (Fo nso n a nd W , (9) R i v a l ry o f T w o W h o Ar e Al m o s t Eq u a l ” D h o u rt ta Sa m a a na the a s h c re e g a e a nd g , ri v l b in m st "r a s a o th e a e 1 11 M a e a e r b u t disci pl e , is ls c s itr s Ch nt u s , 7 8 T HI RTY - SI X D RA M ATI C SITUATIONS

not in Glatigny (Mendes , nor in Bohémos 1 07 (Zamacois , 9 i (1 0) R val ry o f E q u al s , O n e of Wh o m H a s i n t h e “ Pa s t B ee n G u il ty of Ad u l t e r y : Chevalerie R u sti ” que (Verga , (1 1 ) O f a M a n W h o i s Loved a n d O n e W h o Has “ ” i No t t h e R gh t t o Love : La E smeralda . (1 2 ) O f t h e T wo S u cce ssive H u sb a n d s o f a i H erv ieu D vorc ée Le Dédale ( , By multiply ing the number of husbands good comic effects might be secured . m i i n i l i B Fe n e R va r es , (1 ) Of a So r c ere ss a n d — “ a n Ord i n ary Wo m a n La C onqu ete de la Toison ’ ” “ d Or : Sorci re by Corneille La e (Sardou , “ ’ (2 ) Of Vi c tor a n d P r i so n er Le Comte d ” E ssex by Thomas Corn eille ; the Marie Stuart of

Schiller a n d also of Sa mson . (3) O f ! u ee n a n d S u b j ec t Marie Tudor and ” “ ” Amy Robsart by Hugo ; Le Cor Fleuri (Mikhael ” e and Herold ) ; Var nnes (Lenotre and Lavedan ,

- The title of th is sub class is , it will be remembered , the ” only one cited of the so —called Twenty - Four Situations of Gérard de Nerval ; we might indeed include under this

1 2 4 . denomination the examples of B , and But at most it can constitute only a h a lf of one of the four classes of “ ” Rivalry of Superior and Inferior , which itself has but

- the importance of one situa tion in a series of thirty six . ” (4 ) O f a ! u ee n a n d a Sl ave B aj a zet by “ ” “ ” Racine ; Zu l ime ; part of Une Nuit de Cleopatre (from

Gautier , by V . M asse , ’ (5) O f La d y a n d Serva n t The Gardener s Dog by Lope de Vega (wherein may be found what is perhaps the most successful of the many attempted por “ traits of an amorous grande (6 ) O f a Lad y a n d a Wo m a n of H u m b l er Po si " " “ - - - ti o n Francois les bas bleus (Messager , Le “

an . Friquet (Willy d Gyp , Petite Hollande (S “ ’ An Guitry , L e de Buridah (de Fleurs and de “ e H erm ant Caillavet , Trains de Lux ( , O f a La d y a n d T w o Wo m e n of H u m b l er Cl a ss “ ” Passa res Les gé (Coolus , TWENTY - FOURTH SITUATION 7 9

— 7 W h o l m E ( ) R iva l ry of T w o Are A os t q u a l s , C o m pl i ca ted by t h e Ab a n d o m e n t of O n e (this tends ’ “ toward A (1 ) of Situation XXV) : Corneille s Ari ” “ “ ; : ane B”envenuto (Diaz , In ﬁction La Joie de Vivre . (8) Rival ry B etw ee n a M em ory or a n I d eal (Th a t of a S u p er i or Wo m a n ) a n d a Vassal of H er O wn : “ ” “ Semiramide Riconosciuta by Metastasio ; Madame ” la M ort by R ach ild e (in which the ﬁeld of struggle is sub “ “ ’ ” j ectiv e ) ; La Morte by B arl atier ; L I mage by Beau bourg . Symmetrical case in the masculine : The Lady ” from the Sea , by Ibsen . (9) R ival ry of M or tal a n d I m m or ta l

- Dame a la Faulx (Saint Pol Roux) . — u l C Do b l e R iva ry (A loves B , who loves C , who ” ’ “ loves D ) : Metastasio s Adrien ; Lessing s E milia ” “ ” ’ “ G al ott i La Ferm l re d Art o is ; e ( , Ascanio “ ” - e a us (Saint Saens , Les Deux Homm s (C p , “ ” “ ’ Le e L Art i l e C ircuit (F ydeau and de Croisset , c ” 30 1 e (Duval , It is permissibl to extend the rivalry e e a to three , four , etc . , wh ich will mak it l ss commonpl ce , a but will not greatly va ry the effects , lthough sometimes e e sa the chain will end in a complet circl (that is to y , D

o ne . will love A) , or a partial (D returning the love of C ) D O ri e n ta l R iva l r i e s : W e are beginning to take a ccount of the fact that t h e d ivorce l a w was obta ined a e s chieﬂy through the e fforts of our d ram tic writ rs , le s because they were convince d of its righte ous ness th a n because they felt t h e nee d of a renewa l a nd increase of e ee a e their limited combinations . Th y might , ind d , h v brea thed a fresher a nd pure r a ir by turning to wa rd Hindu e e a e w h o o esa th e polygamy ! Goethe , Th oph il G uti r ( f r w deca d ence of wom a n through t h e e xtensi o n a nd increase “ ” a s I / E n ne m i d es o s e e to of vice) , Maurice B rre ( L i ) s m o W e ( o s a t h e have fe lt some th ing o f t he s rt . uld wi h th t o e m o e a a misunde rsta nd ings of t he m d h m , in wh ich rch ic ﬁd elity a nd genu in e m o n o g a my h a v e a lm o s t ce a s e d to o e e a be se e a exist , on ne sid e sp ci lly , might ttl d with mod icum of th is spirit of t o l e ra nce . “ (1 ) R iva l ry o f Tw o I m m or t a l s : The Loves of ” Krishna by Rou pa . 80 TH I RTY - SI X D RAM ATI C SITUATIONS

Tw o t a l s A n imitra M a l k (2 ) Of M or g and av i a , by Kalidasa . T w o a w u l i s (3) O f L f W ve The Necklace , by “ ” a s k Sri H arsha d ev a ; The Statue by R j a e h a ra .

To the relative rank of the two rivals there is added , as a means of varying the theme , the position , with respect to them , of the beloved Object . The aspects of the stru ggle will depend , in fact , upon how near the prize may be to one of the adversaries , or how distant ; upon whether the Object be of a rank inferior to both rivals , t or midway between h e two , or even superior to both . TWENTY - F I FTH SITUAT I ON

ADULTERY

(A Deceived Husband or Wife ; Two Adulterers)

Without deserving to constitute a situation of itsel f as alone , Adultery yet presents an interesting pect of Theft (action from without) combined with Treas on (action o within) . Schiller , following the example of L pe , was pleas ed to idealize brigandage ; Hugo and the elder Dumas undertook for adultery a similar paradox ; and developing the process of antithesis by which were created Triboulet “ a nd Lucrece Borgia , they succeeded , once for all and quite legitimately . The folly lies in the belief of the unthinking crowd in the excellence of the subj ect thus ’ “ ” presented ; in the public s admiration for the Antonys — but the publ ic has ended by preferring the moving pictures to them .

First Case : The author portrays the Adulterer , the stranger in the house , as much more agreeable , hand somer , more loving , bolder or stronger than the deceived husband Wh a tever arabesques may cover the a a simple and fundamental fact of L rceny , wh tever com n a a plaisance ma y be show by tired public , there rem ins ea a l l a a e neverth el ess , ben th it , a b sis of gr nit the old e e t h e e e a fash ioned consci nc ; to it , th ing which is h r v unted is simply t he breach of the Word of Honor of a contra ct a s wa s e e that word , th t promi e which ob y d by the Homeric gods a n d by the knights of Ch iva lry no l ess th a n by our selves ; th a t b ase o f e ve ry soci a l a gglomera tion ; that wh ich sa vages a nd which convicts respe ct b etween the mselves ; that prima ry source of ord er in t he world of action and of ' thought . T he spectators a ttention ma y of course be 81 82 TH I RTY - SI X D RA M ATI C SITUATIONS

momentarily turned from a point of view so strict , and quite naturally ; through the heresies of the imagination

almost anyth ing may evoke a laugh . Do we not laugh heartily at the sight of a fat man tumbling ridiculously a down ﬂight of steps , at the bottom of which he may a ? bre k his neck Anything , likewise may evoke our pity ; we have pity for the perj uries of the gambler and the

drunkard , but it is mingled with contempt . Now , is it this sort of sad contempt which our dramatists wish to

claim for their attractive young adulterers , as the reward a ? of so much c re and effort If not , the effort has been a

mistaken one . Second Case ‘ The Adulterer is represented as less attractive and sympathetic than the unappreciated hus “ band . This forms the sort of play known as whole some , which as a matter of fact is merely tiresome . A man whose pocket - book has been stolen does not on that account grow greater in our eyes , and when the informa tion which he is in a position to furnish us is once obtained , our attention is turned from him and directed toward the e thief . But if the latt r , already far from heroic in his exploit , is in turn portrayed as still less interesting than

his dupe , he merely disgusts us and the adulterous wife appears but a fool to have preferred him . Then (with that childishness which most of us retain beneath our sophisti ca tion) , scenting a foregone conclusion in the lesson which the author intends for us , and suspecting falsehood at the a bottom of it , we grimace with irrit tion , disappointed t o perceive , behind the story presented for our entertain

- ment , the vinegarish smile of the school teacher . — Third Case : The deceived Husband or Wife is s ! Avenged . Here , at last , something happen But this vengeance , unfortunately , is merely one of the cases of the Third Situation . Th u s we shall not succeed with our Twenty - ﬁf th Situa tion except by treating it in a broadly human spirit , with out dolefulness and without austerity . It will not be necessary to defend the thief nor the traitor , nor to take the part of their dupe . To comprehend them all , to have compassion upon all , to explain them all which is to say

84 TH I RTY - SI X D RA M ATI C SITUATION S

(8) R iva l ry B e twee n a Law f u l Wi fe W h o i s An ti —“ ’ pa t h e t i c a n d a M i s t ress W h o i s C o n gen i a l : C est ” “ ” Lo i Les la (Cliquet , Affranchis (Madame Len eru , — (9) B e tw ee n a G e n er o u s Wi fe a n d a n I m pas “ ” “ s i o n ed i l G r La Vierge Folle (Bataille , La ” Femme de Demain (Arthur Lefebvre , C (1 ) An An t ago n i sti c H u sb a n d Sa cr iﬁ ced f o r a “ ” C o n ge n ia l Lover Le Nouveau Monde ’ “ ” l I sl e m by Villiers de Adam ; U Drole (Yves Guyot , “ ” “ Le s Mari (Nus and Arnould , Le Ten ” “ ” “ ” ailles (H erv ieu ) ; Le Torrent (Donnay) ; Decadence “ e (Guinon , Page Blanche (D vore , 2 i o ( ) A H u sba n d , B el eved t b e Los t , Fo r go t t e n “ ” for a R ival : R ha d amist e et Zén obie by C rébill on ; “ ” “ Jacques Damour by Zola . The Zénobie of Metas tasio , by the faithful love retained for her hus band , forms a case unique (I) among the innumerable dramas upon “ Le adulterous passions . Compare Dédale (see XX IV , — (3) A C o m m o n pl a ce H u sba n d Sa cr iﬁ c ed f o r a “ Sym pa t h eti c Lover : Diane de Lys by Dumas ; ” Tristan and Isolde by Wagner (with the addition of ” “ - Madness , produced by a love potion) ; Francoise de ” “ 1 882 Rimini (A . Thomas , ) La Serenade (Jean Jullien , “ ’ “ ” 1 7 L A e Sab rier 88 g Critique (Byl , Antoinette “ ” s La M ont ansier eo f rin (Coolu , (J , de Flers and de - H erv ieu Caillavet , Connais toi ( , The ” same case without adultery : Sigu rd (Reyer , “ ” La Comtesse Sarah — (4 ) A G oo d H u sba n d B etrayed for a n I n fe r i or “ ’ ” “ ” L A R iva l v eu (Sarah Bernhard , Révoltée “ (Le maitre , La Maison des Deux Barbeaux ” i t t (Th eu r e , André del Sar e (Alfred de Musset) ; “ ” a 1 1 1 La Petite P roisse (Daudet , 9 ) Le Mannequin ’ ” “ i r d Os er (France , La Rencontre (Be ton , “ ” Cases of preference without adultery : Smil is “ ” by Aicard ; Les Jacobines by H erm ant (1 907 “ (5) F or a G r o tesq u e Rival : The Fatal Dowry by Massinger . TWENTY - FIFTH SITUATION 85

6 ( ) For a n O d i o u s R ival Gerfaut (from C . de ” n Ber ard , by Moreau , C oeur a C oeur (Coolus ,

7 — m m n l i ( ) F or a C o o p ac e R val , By a Perver se — “ ” “ W i fe La Femme de Claude by Dumas ; Pot “ ” “ Bouille by Zola ; Rivoli (Fau ch o is . Les ” “ ” M al eﬁl atre - e (Porto Riche , Soeurette (B rteau “ ”

o . L ti ) In ﬁction : Madame Bovary . 8 l n u l ( ) F or a R iva Less Ha d so m e , b u t Usef (with u comic false s spicions ; that is , suspicions afterward “ ’ thought to have been false) : L E ch éance (Jean

Jullien , D (1 ) Ve n gea n c e of a Dece ive d H u sba n d (dramas “ built upon a crescendo of suspicion) : The Physician ” “ of H is Own Honor and Secret Vengeance for Secret ” “ ’ ” Outrage by Calderon ; L Aff a ire Clemenceau by ” Dumas ; The Kreutzer Sonata (after Tolstoi , “ “ ” d u Aicard Para itre La Legende Coeur ( , “ ” o inarrd E (Donnay , Les M iroirs (R ) ; The nigma by H erv ieu (which borrows someth ing from Situation X I “ e a of th is name . A veng ance purely mor l : Apres Moi a : (Bernstein , ﬁnanci l Samson , by the same

(2 ) J e a l o u sy Sa cr ifi ce d for t h e Sa k e o f a Ca u se “ f ‘ (tend ing toward Sa crifices for an I d ea l Les Jacob ” “ ” o e Pa t r ic Pa la d ilhe ites (C ppé , ( , Sac “ ’ ” i La e d Ar m e l l es a r fi ce d o u t o f Pi ty Famill (Marr s , — E A H u s b a n d P e rsec u t e d b y a R e j e c t e d R iva l : i De la ra c a e is s m Ra o u l d e C rcq u ( y , Th is c s y e a 7 a nd o o e e th e e o m tric l to B , b th pr c d in d ir cti n of “ e Murd e rous Ad ult ry . TWENTY - SI X TH SITUAT I ON

C RI MES OF LOVE

(The Lover ; the Beloved)

This is the only tragic situation of all those built upon s Love , that subject being one es entially belonging to comedy (see XXVI I I and XX I X ) . Eight species of erotic crimes may be pointed out : “ ” First : Onanism , that solitary vice which does not lead to action , can furnish only melancholy silhouettes “ ’ ” as s a s such the legend of Narcissus and Charlot mu e , r or certain grotesqueries of A istophanes , unless it be made the basis for a study of the weakening and collapse of the

Will , in which case it might be grouped with d runkenness , gambling , etc . , in Situation XX I I . : Second Violation , like murder , is but an act , generally a brief one and not a situation ; at most it approaches ” E Abduction . ven the consequences to the perpetrator , like those of the Third : Prostitution and its su cceed ant gallantry and

Juanism (repetition of acts) , do not become dramatic as unless pursued by punishment , in wh ich c e they belong to the Fifth Situation . Nevertheless , if impunity be secured , the taste for violation and for prostitution tends

- toward the Twenty Second . : Fourth Adultery , whose character of theft has given rise to special situations already stud ied .

Fifth : Incest is divided in two principal directions . It

- may be committed in an ascendant descendant line , in wh ich case it implies either ﬁl ial impiety or an abuse of authority analogous to that wh ich we shall ﬁnd in the

E ighth vari ety of criminal love . It may also occur upon what may be called a horizontal line ; that is , between consa nguines or persons related by marriage . 86 TWENTY- SI XT H SITUATION 87 — A (1 ) A M o th er i n Love Wi th H er So n e i bil l o S m ramis by Manfredi , and by C ré n ; to explain c and extenuate this ase , the latter author has ﬁrst used “ the Eighteenth (Involuntary Crimes of Love ; Le s Cuirs ” ) f “ ” de Boeu (Polti , Inverse case : Le Petit Ami by Le auta u d . — (2 ) A Da u gh t er i n L ove W i th H er Fath er ’ “ Alﬁeri s Myrr ha , whose psychology is drawn from that “ ” of Phedre . (3) V i ol a ti o n of a Da u gh ter by a Fa t h er The ’ C enci by Shelley ; the story of the Peau d ane (intention onl y) . — n E n m B (1 ) A W o m a a ore d of H er S teps o n . “ Iobates and Phaedra by Sophocles ° the Hippolytus “ of E uripides and of Seneca ; Phedre by Racine . In “ ’ l Am iral e comedy : Madame (Mars and Lyon ,

In almost none of the foregoing cases , it will be observed , s is there a reciprocity of desire , whereas the pa sion , here e tofore solitary , is shared , and the crim , unconscious at “ leas t on one side in Myrrha , is boldly committed in — (2 ) A W o m a n a n d H er S te p so n E n a m ored o f — ’ Ea ch O t h er z Zola s Renee (drawn from his story and similar to the quas i - incestuous passion of ” ’ “ e Alﬁe i s Dr . Pas ca l . The lov is platonic in r Philip ” ’ “ ” I I , and Sch iller s Don Carlos . — n t h e m (3) A W o m a B ei n g M i stress , a t t h e Sa e h a n d S o n h h m T i m e , of a Fa t er , B o t o f W o Accep t “ ’ ” i : L E co l e e e t h e S i t u a t o n des V ufs (Anc y , C 1 A M a n B e c o m es t h e Lover o f H i s S i ster - i n ( ) ” - B ru l é e L e La w La Sang (Bouvi r , Con ’ l E n fa nt e e T h e M a n n e science de (D vor , Al o “ ” e d e a e ro el n ck E n a m or e d L Scul pteur M squ s (C m y , — (2 ) A Bro t h e r a n d S i st e r i n Love W i th E a c h “ “ ” O t h e r : E uripid es ZEo l us ; C a na ce by Spe roni ; ’ ’ ” ’ “ e a h e a e e e La Tis Pity Sh s W or , Ford s m st rpi c ; ’ Ann zi Citta Morta by d u n o . e e o e e e a e a Even a fte r th s w rks , th r r m ins much mor th n e a a glea ning ; a n a mpl e h a rv est is still be fore us . W m y e xt end Class A to incl u d e t h e complicity of bot h pa rti es a nd a a n e a e a (Ne ro Agrippin furnish x mpl , ccord ing to 88 TH I RTY- SI X D RA M ATI C SITUATIONS

s Suetoniu ) ; a similar example , although fragmenta ry , ’ “ ” 2 exists for A , in the beginning of Shakespeare s Pericles . ’ 1 e B may be r versed , the stepson s passion being u nre ’ quited by his father s wife , a case which is certainly not

uncommon . We may also suppress the complicity in B 3, 1 2 in C , and in C , allowing the infatuation to subsist upon

one side only . Without going so far as the criminal act ,

a study of mere temptations or desires , well or ill controlled , has furnished subtile chapters in the psychologies of

Seventeenth Century grandes dames , such as Victor

Cousin took delight in .

Finally , we may interlace the threads of each of these species of incest with one of the seven other cl assess of n Crimes of Love ; u der the form of ignorance , the ﬁfth and “ s sixth clas es ar”e mingled in one of the episodes of Daph nis and Chloe . Add the usual incidental rivalries , adul t r i e es , murders , etc .

Sixth : Homosexuality in its two senses , the branches of pederasty and tribadism : 1 E r f h r M o D ( ) A M a n n a m o ed o An o t e a n , W h “ ” Yi el d s : Example from ﬁction : Vautrin . Dramatic “ ” ” examples : the La ius of Aeschylus ; the Chrysippus

of Eur ipides . The latter tragedy appears to have been one of the ﬁnest , and perhaps the most moving , of all antiquity . Three situations were there superposed

with rare success . Laius having conceived a passion , unnatural and furthermore adulterous , for the young s as Chrysippu , an epithalamium terrible as that of Ford must have resulted , for here appeared and spoke the ﬁrst man who had ever experienced such desires and dared to express and gratify them , and in his words lay the explana tion of the wavering and fall of Chrysippus . Then fol lowed the most indignant and pitiless j ea lousy on the part

oca s i u . u of J te , w fe of Lai s Against Ch rysipp s she roused t ’ h e old envy of the youn g man s two brothers , an envy of the same type as that which armed the sons of Jacob against Joseph , but an envy which shows itself strangely menacing at the mere announcement of the names of these — two broth ers , Atreus and Thyestes ! The fratricide is a s accomplish e d , to the ﬁerce j oy of the queen ; L ius learn th e de ta ils from the lips of t he dying Chrysippus h ims elf . TWENTY - SI XTH SITUATION 89

And , in some prediction doubtless that of Tiresias , young at the time and not yet deprived of sight there dawns the destiny of the two great families of tragedy par Labd a id es At id es i n excellence , the c and the r , beginning

these cri mes and running through all Greek legend . The tribadic or sapphic branch has not been used upon a M ou re the st ge ; y alone has attempted it , but in vain in “ his Lawn Tennis . The objection which might be urged against it (and which probably explains why the

drama , in the ages of its liberty , has made no use of it) is that this vice has not the horrible grandeur of its con

gener . Weak and colorless , the last evil habit of worn ff out or un attractive women , it does not o er to the tragic a poet that madness , brut l and preposterous , but springing d from wild youth and strength , which we ﬁn in the crim

inal passion of the heroic ages .

Seventh : Bestial ity , or passion for a creature outside

the human species . Classed in general as a vice , it is of

use a . no —theatric lly Nevertheless , in E A W o m a n E n a m or e d o f a B u l l The Cre

tans of E uripides seems to have revealed the emotions , ” after all conceivable , of th is Ultima Thule of sexual per e e ill o i version . Better than anywhere lse , vidently , the g a ca l and mysterious ch racter of the l ife of the senses , the a a n d t he perversion of a norm l instinct , feeling of fatalism s u a e be e e which its victim comm nic te , could h re pr s nted

in sad a n d awful nudity . E ighth : The Abuse of Minor Ch ild ren borrows some

th ing from each of t he seven preced ing va rieties . Th a t e E ma such a subject so mod rn , so nglish y in skilful a e e a a a e o se h ands become most p th tic , is r d ily pp r nt to th ”

ea a fe w e a s a o t he a a a e e . of us who r d , y r g , P ll M ll G z tt TWENTY- SEVENTH SITUAT I ON

D ISCOVE RY OF T H E D ISHONOR OF A LOVED ONE

(The Discoverer ; the Guilty One)

From this Situation there results , almost immediately , a psychologic struggle similar to that of the Twenty - Third ” Sacriﬁce of Loved Ones , but without the attraction of a h igh Ideal ; this is replaced , in the present action , by the lash of shame . ’ A (1 ) D i sc overy of a M o th er s S h a m e ” “ ” “ Madame Cav erl et by Augier ; Odette and Georg ” ” “ ette by Sardou ; Madame X (Bisson , Mrs . ’ ” “ Warren s Profession (Bernard Shaw) ; Les Quarts ’ ” d H eu re (second part ; Guiches and Lavedan , This sad destruction of a child ’ s deepest respect and rev erence is colored , in these works , by the terrors of the conse mother , by her blushes , by her remorse before the qu ences of the past ; through this last point the action ends

- in the Thirty Fou rth (Remorse) . It remains unconnected “ ” t e in second part of the Marquis de Priola (Lavedan , 1 9( h ’ (2 ) D i sc overy o f a Fa t h er s Sh a m e : Vieille ” “ u ll ien 1 891 Histoire (Jean J , ) the denouement of Pierre ” et Therese (Prevost , ’ (3) D i scovery o f a Da u gh t er s D i sh o n or : Part ” “ d Les of La Fille u Depute (Morel , of Affaires ” “ ’ ” i u L reill e sont les Affaires (M rb ea , O Fendue ot (Nep y , B (1 ) D i sc overy of a D i sh o n or i n t h e Fam il y o f “ ’ ” eﬁne O n es F i a n cee : L Ab sente (Villemer , R a ments of romance , whose mild tragedy consists in ret rd 90

92 TH I RTY—SIX D RA M AT I C SITUATION S — C D i scovery t h a t O n es So n i s a n Assa ss i n ” ” r Pol iciere M onte in Werner by By on ; La ( p ,

The surprise is intensiﬁed in cases of parricide . Nuance

C is ca pable of inﬁnite development . D Might constitute a distinct situation ; there is not only the discovery , but the duty of imposing punishment as well . This situation might serve as an intermediary

- between the Twenty Third , Duty of Sacrificing Kins ” - men , and the Twenty Seventh , wh ich we are now study ing , and which would thus end with Class C . (1 ) D u t y o f P u n i sh i n g a So n W h o i s a Tr a i t o r t o “ ” u — l i C o n t r y : The B r utus of Voltaire , and of A fier . — “ A B r o t h er W h o i s a T r a i t o r t o H i s P a r t y Etu ” d iants Russes by Gilkin . (2 ) D u t y o f P u n i sh i n g a So n C o n d em n ed U n d e r “ ’ ” a La w Wh i ch t h e Fa t h er h a s M a d e L I nfiexibl e “ ” “ ’ 1 91 0 L A otre (Parodi , Le Tribun (Bourget , ) p Lo son ( y , (3) D u t y o f P u n i sh i n g a So n B el i eved t o b e “ ” “ ’ ” u il t i ent L As Tr fle G y Le R eg m (Mary , de é D eco u l l ( rce e , This approaches XXX I I I (Judicial o IBrr r) . f r a n (4 ) D u t y o f S a cr ifi ci n g , t o F u l fil l a Vo w o Ty i i i ru n c d e , a Fa t h er U n t il t h en U n k n own . This mp dent vow ca rries us back , at one point , to the Seventeenth

(I mprudence) , and at another point the striking of an unknown parent reca lls also the Nineteenth . Severo ” 0 Torelli (C ppée , (5) D u t y of P u n ish i n g a Bro th er W h o i s a n i - Assass n : Casse Museau (Marot , From th is

- situation the kinsman j udge escapes for a moment , only to fall into D 3, from which he returns with resignation to D 5 . (6) D u t y o f P u n i sh i n g O n e s M o t h er t o Ave n ge O n es Fa t h er : (Situation IV arrested prematurely) : “ ” ’ - Le C oeur de Se hor (Michaud d H u miac) . The “ ” Fourt h is less in evidence in Simone (Brieux , TWENTY - E I G HTH SITUAT I ON

O BSTACLE S TO LOVE

(Two Lovers ; an Obstacle)

— A (1 ) M arr i age Preve n t ed by I n eq u al i ty of ” “ ” Ra n k Nitét is a n d The Ch inese H ero by Metas tasio : e as e Le Princ Soleil (V seur , s cond act of “ ” Vie e La Publique (Fabr , Ramuntcho (Pierre “ ’ ” L E m i r Loti , g é (Bourget , This is the sentimenta l - philosoph ical Situation of a great number of ” e eighte nth century works Nanine , in which a lord invariably falls in love with a peas ant girl . In George a a e Sand , on the contrary , it is lw ys a lad y who is in lov with a man of inferior rank ; a s ort of lite rature which at leas t has inspired ma ny ga lla nt a dventures of our own t o ne e e a e — time . The a dd i ion of mor littl obst cl the marriage bond furnis h es t h e pre text for the rea l intrigue “ s of Ruy Bl a . — (2 ) I n eq u al i ty of For t u n e a n l m pe d i m e n t to “ M arr iag e - Myrtille a nd in pa rt Fri end Fritz by “ ’ ” E rck ma nn - (Jh a t ria n ; L Abbe C ons ta n tin by H a l e vy ; “ ” “ " e B e La a e La Pe tite Ami ( ri ux , Plus F ibl “ La e e o e s ( M e il ha e Leo n a nd (Pre vost , V uv J y u e , Le D a se o ( e a 1 9 09 Stein , n ur l nc nnu B rn rd , ) " “ o o a e ( i a v a u lt P e o se La Pe tite Ch c l tier ( , rim r ; ' Le R év e (from Z o l a s s to ry by Brune a u ) ; in ﬁcti o n ; ” Le B o nh e ur d es D a mes to m ention only the more e o s e a a s e th e e ess e o f estimabl w rk , l vin g id nd l numb r o f e a nd the a e trivi a l pl a ys imita tive Scrib , Rom nc s of 94 TH I RTY - SI X D RA M ATI C SITUAT IONS

M en etc . Poor Young , Dames Blanches , , which make our a e rs ring with confusing additions and subtractions , until “ ” the unexpected ﬁnal multiplication deus ex machina

which suddenly equalizes the two terms of the problem , th e the two fortunes of lovers , with the most admirably — symmetrica l alignment of parallel zeros preceded , oh ! ! j oy oh bliss on one side as on the other , by two identical ﬁgures ! It must of course be recognized that these social and

conventional inequalities are mere puerile details , and that

the lovers , if they have but a little courage and sincerity , will overcome them without difﬁculty ; they ca n do so by

simply leaving beh ind them titles and money , and in a

new country , under other names , bravely beginning life

again together . If , instead of such bagatelles , we might only be sometimes shown the more serious obstacles of

inequality of ages , of characters , of tastes which are at the same time so much more common ! l They are , indeed , so frequent that a genera theory

might be established with regard to them . The ﬁrst love (twenty years) seeks in its object equality of rank and superiority of age (th is is a fa ct well known to those who t e - have stud ied h cases of girl mothers) the second love , and in genera l the second period of emotional life (thirty

years) , addresses itself , audacity having been acquired , to

superiors in rank but equals in age ; ﬁnally , the third love , or in a more general way the third epoch of sentimental

life , inclines by preference to those who are younger and

socially inferior . Naturally , subdivision is here possible .

B M arr i age Pr eve n te d by E n em i es a n d Co n t i n “ ” “ t l anzott i Et ge n t Ob s ac es Sieba (M , Ma ” “ e ? So ur (Rabier , Le Péché de Marthe (Roch ” - im . ard , all fairy plays , since the Zé of Gozzi In rt - ﬁne , a so of steeple chase process adapts itself to this

situation , but the chase is not one in wh ich several rival steeds and riders engage ; throughout its course but a

single couple enters upon it , to end at the sh ining goal with a the usu l somersault . — C (1 ) M arr i age Forb id d e n o n Acco u n t of t h e ’ Yo u n g W o m a n s Previ o u s B etr oth al to An o t h er TWENTY - E IG HTH SI TU AT I O N 95

I 1 Re Pastore by Metas tas io ; and other pieces without

. w a number The lovers ill d ie if separ ted , so they assure

us . We see them make no preparations to do so , but the spectator is good enough to take their word for it ; the “ ” ardors , the braises to use the exact language of the “ grand siecle and other nervous phenomena in hypo ch on d riacs of this sort cannot but offer some interest

not , however , for long . 2 T i m i ( ) h e Sa m e Case , C o m pl ca t e d by a n I ag n ary M arri age o f t h e B el oved Obj ec t : Les Bleus de ’ ” l Amou r (Coolus ,

D (1 ) A Free U n i o n I m p ed ed by t h e Op p os i t i o n “ ” l : M s of Re a tives Le Divorce (Bourget , e Lys (Wolf and L roux ,

(2 ) Fa m i l y Aff ec t i o n D i stu rb e d by t h e Pare n ts “ ’ “ i - — a E l ise h Law Le Rom n d (Richard , Le ” s Pous in (Guiraud ,

E By t h e I n co m pa ti b i l i ty of Te m p er o f t h e “ ” “ e F ond a ie e Lover s Montmartr ( r , Les Angl s d u Divorce (B io l l a y ) belongs both to E and to D 2 .

F Love but enough of th is ! Wh at are we doing , ? o - a e c spect tors in th is hall , befor th is pretended situation a e Upon the sta ge r our two young people , locked in close embraces or conv entiona lly a ttitud inizing in pure ly theat ? a ll s e a r ica l poses . Wh a t is th ere in th i worth r m ining for h a a a e a Let us leave it W t , M d m , you str ighten yours elf in your ch a ir a nd crane your neck in e xcite ment “ ?” over th e gesticul ations of th e j c une premi e r But h is sweeth ea rt th e re b es id e h im - h a ve y o u f o rgotte n th a t es e a re th e o f e a it is sh e wh om h e d ir s , or two th m pl ying e a o e so e a a a o u o e so ba dly , is th ir d i l gu littl n tur l th t y f rg t the story e n a cte d a nd f o nd ly im a gine yo urse lf liste ning to ? a monologu e a d e cl a ra ti o n a ddress e d t o you a l o n e And e e u o e e e s a r o M onsieur th r , with mo th p n , y s t ting fr m h is

e t a e e o e e t. o f th e h a d , following wi h vid ity v ry m v m n ’ o o m a n a o e a ctress s lith e ﬁgure ! ! uick , my g d , n th r wil l

e o u ! Be o s te t a t. ea st u o th e be be for y c n is n , l Spring p n ' a a s o es a nd a e a ! sta ge , bre k the insi pid d ndy b n , t k h is pl ce 96 TH I RTY - SI X D RAM ATI C SITUATIONS

Sorry return to promiscuity , in our overheated halls like lupanars , which the clergy is not altogether unreason able ia condemning ! Do people gather here simply to ? study amatory manifestations I n that case , why not freely open training schools for courtesans ? Is it for the f beneﬁt of the sidewalk traf ic , later in the evening , that the public is here being prepared ?

0 fresh and stormy winds of Dionysian drama ! Aesch y l us where art thou who wouldst have blushed to represent aught of amorous passion but its crimes and infamies ?

Do we not , even yet , perceive the heights to which rise “ ” those chaste pinnacles of modern art , Macbeth and “ ” Athalie ? But why disturb ourselves ? Turning our eyes from these summits to the scene before us , we do not feel depression ; indeed , we indulge in a hearty laugh . These e ? charact rs here before us Wh y , they are but puppets f of comedy , nothing more . And the ef ort of their mis guided authors to make them serious and tragic despite their nature has resulted in mere caricature . In more intelligent hands , have not the best of our dramas wherein love is important (but not of the ﬁrst importance , as in this XXVI I I ) returned logically and naturally to an ind ul “ ” ? Le gence of smiles Cid , which is the classic type of i - th s sort , is a tragi comedy , and all the characters sur rounding Romeo and Juliet are frankly comic .

Nevertheless , our blind dramaturgy , with continued u i o obstinacy , still breathes forth its solemnities in this eq v of ca l rhythm . Wh ether the piece treats sociology , of politics , of religion , of questions of art , of the title to a succession , of the exploitation of mines , of the invention n of a gu , of the discovery of a chemical product , of it mat — te rs not what a love story it must have ; there is no t esca pe . Savants , revolutionists , poe s , priests or generals present thems elves to us only to fall immediately to love

- mak ing or matc h making . It becomes a mania . And we are as ked to take these tiresome repetitions seriously !

This , then , is the actual stage of today . In my opinion , de Chirac alone has shown h imself its courageously logical TWENTY - E IG HTH SITUATION 9 7

—a son lthough a rejected one , society , like an aged a n d coquette , reserving always some secret sins , fearing e noth ing so much as nudity , which would destroy the leg nd a of her imaginary wicked ch rms , veiled , she willingly lets

it be supposed , under her hypocrisy . How grotesque an aspect will our ithyphallic obsession present , once it is crystallized in history , when we shall ﬁnally have returned to antique common sense ! TWENTY- N I NTH SITUAT I ON

AN ENEMY LOVE D

(The Beloved Enemy ; the Lover ; the Hater)

— A T h e Loved O n e H a t ed by Ki n sm en o f t h e

Lover . The preceding Situation might very well be absorbed into th is . — (1 ) T h e Love r P u r su ed b y t h e B r o t h er s o f H is “ “ B el oved The Duchess of M alﬁ by Webster ; The ” Broken Heart by Ford .

(2 ) - T h e Lover H a t ed by t h e F a m il y o f H i s B el oved The Story of Yayati by R ou d rad eva (with the characteristic color of these Hindu rivalries , wherein “ jealousy is hardly perceptible) ; The Victory of Prady ’ “ ” “ ou mn a by Samara D ik chita ; Metas tasio s Cato ; La ” n t Grande Marniere (Oh e , (3) T h e Lover i s t h e So n o f a M a n H a t e d by t h e “ ” Ki n sm e n o f H i s B el oved La Taverne d es T rabans “ ” - and Le s Rantzau by E rck mann Chat rian . In comic “

: . vein Dieu ou pas Dieu , a romance by Beaubourg (4 ) T h e B el oved i s a n E n e m y of t h e P a r t y o f t h e “ ” Wo m a n W h o Loves H i m : M ad h o u raniro u d dh a by “ ” Le s Vira , the contemporary of Corneille ; Scyt hes by “ ” ” Volta ire ; Al m an zor by Heine ; Lakme by Del ibes ; “ ” “ ” Le s Carbonari (N6 . Madame Therese by “ “ E rck m ann - h at ian C r ; Lydie (Miral , Les Ama ” “ s Le s c zones (Mazel) ; Le Oberle (Bazin , No es “ ’ ” Fau h ois Corinthiennes (France) ; l E xod e ( c , 98

1 00 TH I RTY - SI X D RA MAT I C SITUAT I ON S and to substitute any other element of difference or leave a their place unﬁlled , and wh t will remain of tragic emo ? tion Nothing .

We have , then , reason to conclude that love an excel — lent motif for comedy , better still for farce sweet or poignant as it may be in stories read in solitude , of which i we can fancy ourselves hero or heroine , love is not , n real ity , tragic , despite the virtuosity which has sometimes va succeeded in making it appear so , and despite the pre lent opinion of th is age of erotomania , which is now approaching its end . TH I RT IETH SITUAT I ON

AM B ITION

(An Ambitious Person ; a Thing Coveted ; an Adversary)

A h igh ly intellectual type of action is here presented , for wh ich there is no antique model , and from which mediocrity usually keeps a respectful distance .

A Am b i t i o n Wa t ch e d a n d G u ard ed Aga i n st b y a K i n sm a n or a Pa t r i o t Fr i e n d : (1 ) By a Bro t h er : “ ”

Al . Timoleon by ﬁeri H istoric instance (comic , that is to say , feigned ) , Lucien and Napoleon Bonaparte . (2 ) By a Rel ative or Perso n U n d er O b l iga t i o n ” s Juliu Caesar by Shakespeare , La Mort de Caesar ” by Voltaire ; Brutus I I by Al ﬁeri . In La Mort de ” C a esar th ere is a reappearance of t h e Nine teenth (Slaying e so e e of a Kinsman Unrecogniz d ) , strong was the d sir to reca ll the works o f antiquity !

(3) By Par t i sa n s . Wallenste in by Sch iller ; ” ” a a e Cromwe l l by Hugo ; M rius V incu (Morti r , e m n n l l l 1 (B ) R eb l l i o u s A b i t i o (a k i to V , A ) ” “ Sir Thomas Wya t by We bste r ; Pe rkin Wa rbeck by “ ” ’ Ford ; Ca tilina by V o lta ire ' C a d e s insurrection in th e ’ " e s se cond pa rt of Sh a k spea re H enry I V . — C (1 ) A m b i t i o n a n d Cove to u s n e ss ! l e a pi n g “ “ Cr i m e U po n Cr i m e : M a cbeth a nd R ich a rd 1 1 1 ; “ ss o th e t d E zz e lino (A . Mu a t ) ; pa rt o f Cinq Doig s e ” " Bi o u k Dee o u rce l le - Ii éte o e e r ( , La Fér c (Jul s “ ” a a nd E e oc a La Vie e M ry mil R h rd , Publ iqu

- a e I n o e : l lb u ro i a . I n (F br , c m dy (J rry ) fic 1 0 1 1 02 TH I RTY - SI X D RA MATI C SITUATIONS tion : La Fortune des Rougon (with criminality atten ” uated to simple want of dignity) ; Son Excellence E ugene (sacriﬁce of morality) ; the Story of Lucien de Rubempre ; “ ” a ca se of greed : La Terre . i i m i i (2 ) P a rr c d a l A b t o n Tullia by Martelli .

Ambition , one of the most powerful of passions , if it be not indeed the passion par excel lence will always aff ect k the spectator strongly , for he feels and nows that , once awakened in a man , it will cease only with h is death . And how many are the obj ects of its desire ! Tyr annica l power , high rank , honors , fortune (by inheritance , marriage , rob r bery , the conse vation of riches (avarice) , glory

(political , scientiﬁc , literary , inventive , artistic) , celeb

i . rity , d stinction We have seen in Clas s A the ties which may unite the ambitious one and h is adversary and the Situations which may result from them (X I X , XX I I I , XX IV) . Here is one way among many to intensify the fury of

: w . th C mingle it the sincerity of a faith , of a conviction ; such a combination is found in the case of the Spaniards “ in Peru and in Flanders , and in the cas e of our own gentle ” and intellectual race under the League and under the r Ter or ; in the case of Calvin , and of the Inquisition .

1 04 TH I RTY- SI X D RA M ATI C SITUAT IONS

Th is remarkable grouping has been in our day almost “

e . r entir ly ignored By onists as we still are , bon gré mal ” gré , we might yet dream of this superb onslaught on the heavens . But no ! we treat even the evangelical sub ect j of the Passion , wh ile we pass by , like owls in broad daylight , th is genuinely dramatic situation , and content ourselves with sanctimoniously intoning the id yl l o - d id ac tic phrases which preceded the sacred tragedy , itself left unseen . — A (1 ) S tr u gg1e Aga i n s t a Dei t y The ! E dou ” “ ” “ Bassarid es ians and The , Pentheus and The Wool ” “ ” Carders by Aeschylus ; The Bacchantes of Euripides ; “ ” ian the Christ Suffering of Saint Gregory Naz zen . Epic : the sixth Homeric hymn (to Dionysos) ; the dream of

Jacob .

(2 ) S t r i f e Wi t h t h e B el i ever s i n a G o d The ” “ ’ ” E xodus of the Hebrews by Ezekiel ; L E mpereu r Ju l ien “ - (Miracle of Notre Dame , X IV Century) ; Athalie .

H istoric instances : various persecutions . Epic : Les Mar ” tyrs .

B (1 ) C o n t rover sy Wi t h a D ei t y The Book ” of Job . I cannot give , it is true , the date nor the place ” “ ” of the premier of Job . But the fact of actual repre sent ation Z by Messieurs A , B and C and Misses X , Y and is no more an indispensable condition to the existence of

- true drama than it is an all sufficient one . We may hold “ ” that the premier was given in that great Theatre of which Brahmanic legend tells ; a Theatre inaugurated long before that of man , and thanks to wh ich the gods may occupy the leisures of their eternity . — (2 ) Pu n i sh m e n t f or C o n tem pt of a G o d ” T ch it ra Ya dj gna by Ved yanth a Vat ch espati ; Le ” Festin de Pierre (meaning the real action , which from the b e ginning leads toward the denouement) . — (3) P u n i sh m e n t f or Pr id e B ef or e a G o d ’ “ ” Aeschylus Ajax Locrian (according to one hypothesis) ; ’ “ ” ’ “ ” Sophocles Th am iras ; E uripides Bellerophon . A

Christian exampl e : Simon the Magician . T H IRTY - FIRST SITUATION 1 05

(4 ) Pr esu m p tu o u s R ival ry wi th a G o d The ” Nurses by Aeschylus ; Niobe by Sophocles ; La Mere

- d u . u Pape (M iracle of Notre Dame , X IV Cent ry) (5) I m pr u d e n t R iva l ry w i th a D ei ty : Soph o ’ “ “ ” cles E u m el e ; in part Phaeton by Euripides . May it not be possible that we shall one day see treate d from the point of view of this Situation , the pathetic death ? - D essa i ne of Guyot g , Minister of Justice TH I RTY -SE CON D SI TUAT I ON

M ISTAKE N JEALO USY

(The Jealous One ; The Object of Whose Possession He

Is Jealous ; the Supposed Accomplice ; the Cause or the Author of the Mistake)

The last element is either not personiﬁed (A) , or per soniﬁed in a traitor (B) , who is sometimes the true rival of the Jealous One (C) . A (1 ) T h e M i st a k e O r i gi n a t e s i n t h e Su Spi ci o u s “ M i n d of t h e J eal o u s O n e : The Worst is not Always ” ’ “ ” Certain by Calderon ; Shakespeare s Comedy of Errors ; “ ” The Bondman by Massinger ; the Marianne of Dolse ’ “ ” “ ” and of Tristan l H ermite ; Tancrede and Marianne “ “ by Voltaire ; Ia Princesse de Bagdad by Dumas ; Uh ” “ Divorce (Moreau , Monna Vanna (Maeterlinck , How is it that Moliere has not written a comedy of jea lousy upon this Situation symmetrical to that of

(2 ) M i s t a k e n J eal o u sy Ar o u sed by a Fa t a l ’ “ ” C h a n c e Voltaire s Zaire and the opera of that name ” “ : by de la Nux ; part of Lucrece Borgia . In comedy La ” F l l Divorcée ( a and Léon , (3) M i sta k e n J eal o u sy of a Love Wh ich i s P u r el y “ ’ ” P l ato n ic : Love s Sacriﬁce by Ford (in which the “ ’ ” e E s l ave d u Sevo in wif is unj ustly suspected) . L c a l na 1 8 e (V y , 81 , in wh ich it is mor particularly the respect 1 06

1 08 TH IRTY - SI X D RA M ATIC SITUATIONS

jealousy on the part of a man , whereas experience teaches us that woman is quite as ready as man to let herself be

the envious , by a rival , or by a suitor bent upon securing u for h imself , through the anger aro sed , a pleasure other

wise out of his reach . Transference to the feminine of the cases already considered will th u s fur nish a series of new

- situations . Besides pride , self interest , love , spite and

rivalry , many other motives present themselves for the traitor or traitress ; the motives mentioned may also be

painted in colors yet unus ed . The denouement (usually

‘ cases a a murder , in some suicide , in others a divorce) may t be varied , subtilized or streng hened by secondary and

i nstrumental characters . The same may be said for the

various knots of the intrigue , for those false proofs , those

diabolic suggestions from wh ich the jealous y springs . Under the form of jealous spite th is situation has been used by Moliere and other writers of comedy for the — purpose of ﬁlling in through th e agitations it caus es the principal lovers the vacancies of the picture with minor characters . TH I RTY - TH I RD SITUATI ON

E RRON E OUS J UDGM E NT

(The M istaken One ; the Victim of the M istake ; the

C a use or Author of the M istake ; the Guilty Person . )

(Any sort of mistaken j udgment may here be under in stood , even though committed only the thought of one person to the detriment of another . )

— A (1 ) Fa l s e S u sp i c i o n W h ere Fa i th i s N e ce s ” “ ’ sary : Th e Serp ent Woman by Gozzi ; L Et u d iant e M il l oeck er e Pauvr ( , O n e o f t h e fac ts of “ ” Henry V is connected somewh at remote ly with this ’ th e situation , the incomprehension of young prince s s rea l character by the witnesses of h is d i ord e rs . Dumas pere h a s represente d Henri d e Navarre as m isund er stood in the sa me wa y by h is entoura ge .

(2 ) F a l s e S u s p i c i o n (in wh ich th e j ea lousy is not “ " without rea son ) o f a M i s t r e ss : Pa rt of Dia ne by “ ” Augier ; M a ri e Stua rt by Al ﬁe ri .

(3) - F a l s e S u s p i ci o n s Aro u s e d by a M i s u n d e r —“ " s t o o d A t t i tu d e o f a Love d O n e T h e R a ve n by i ile a Gozzi ; H y ps p by (S rd ou , " “ " pa rt of La R e ine Fi a mm e tta ; Le Vole ur e Le s G a e e a nd a s e (Be rnst in , r nds (W b r B s t , “ " a e r e F a Coeur M t n l ( r nck , “ — e : ra in uebil le a e (4 ) By I n d i ff e r e n c C q (Fr nc , ” lo Vi erge (Va ll ette ) . TH I RTY - SI X D RAM ATI C SITUATIONS

B (1 ) Fal se S u sp i ci o n s Draw n U po n O n e s el f t o —“ Save a Fri en d Aimer Sans Savoir Qui by Lope ; ” Mme . Ambros (Widor , ” (2 ) Th ey Fal l Upo n t h e I n n oc en t Sirocs by ” Metastasio ; La Grande Iza (Bouvier , Le ”

. 1 3 Fiacre No and Gavroche (Dornay , 1 887 and “ ’ ” “ L Aff a ire d es Poisons (Sardou , Les h e n n n Pierrots (Grillet , U o n t I o ce t H u s p ” n o f t h e u il O n e : D el a ou r ba d G ty La Criminelle ( c ,

3 T ( ) h e Sam e Ca se as 2 , b u t i n Wh ich t h e I n n o “ ” ce n t h a d a G u i l t y I n te n t i o n Jean Cevenol i I n h i h t h e i (Fra sse , W c I n n o c e n t B el eve s ’ ” m l u il t : l Ar ent H i se f G y Le Roi de g (Milliet , ‘ ” Poupées E l ect riqu es (Marinetti) . 4 i ( ) A W tn ess to t h e C r im e , i n t h e I n t er est o f n e u i a l a Love d O , Le ts Ac c sat o n F l Upo n t h e I n n o “ ” n t ° Le B n c e Secret de la Terreuse ( us ach ,

C (1 ) - T h e Acc u sa t i o n i s Al l ow ed t o Fa l l Upo n “ ” a n E n m : e y La Pieuvre (Morel , (2 ) T h e E rr or i s Pr ovo k ed by a n E n em y The Palamedes of Sophocles and of E uripides ; Le Ventre ” “ ” de Paris (Zola , Le Roi Soleil (Bernede , “ ’ ” L H o mm e a Deux Tetes (Forest , This nuance a l one , it will be observed , attracted the Greek trage a di ns , who were , so to speak , tormented by a vague conception of the Iago of a later age and who tried , in a succession of distorted types , to produce it ; we e s at seem , in th se work , to be assisting the birth of the — future Devil ; of the evangelic Judas and at that of the type of Jesus in Prometheus and Dionysos . This a a nu nce C 2 seems to me a singul rly ﬁne one ; it is , for “ ” s in tance , that of the anonymous letter , and it will be a dmitted that a more admirably repugnant gargoyle cannot be imagined than the creature who crouches

with pen in claw and malignant smile , to begin such a piece of work !

(3) T h e M i sta k e i s D i rec ted Aga i n st t h e Vi c t im

by H e r Bro th er : (here is included also the Twelfth ,

1 1 2 TH I RTY - SI X D RA M ATI C SITUATION S

th ’ a and knotting together two or ree d r matic situations .

He belongs , this type , to the family of the poetic Pro “ ” logue , of the Deus ex machina (although more admis sible) of the Orator of the parabases , of the Moliéresque

Valet , and of the Theorist (the good doctor , clergyman , “ j ournalist , family He is in short the old

Narrator of the monodramas . Nothing could be more u n n naif , consequently , than this creature , whose co n n i v i ci g art iﬁc ality h as spoiled many a scene . — (3) Fa 1se S u spi ci o n T h r ow n U po n a R iva l “ ’ Pa l ad ilh L re M a th old Diana ( e , Og ( r , ” al a n La Boscotte (Mme . M d g e, — (4 ) Th r ow n Upo n O n e I n n o cen t , B eca u s e H e — “ ” H a s Ref u s ed t o b e a n Acco m pl i ce : Valentinian “ ” by Beaumont and Fletcher ; Aetius by Metastasio .

(5) Th r o w n by a D e ser t ed M i st r e ss U po n a Lover W h o Lef t H er B eca u s e H e W o u l d No t Deceive “ - - H er H u sb a n d Roger l a Honte (Mary , — (6) S t r u ggl e t o R eh a b il i t a t e O n e sel f a n d t o Aven ge a J u d i c i a l E r r o r P u r o sel y C a u sed La ” p na d Dégringolade (D es r , the end of Fiacre

No . TH I RTY - FOURTH SITUATI ON

R E MORSE

(The Culprit ; the Victi m or the Sin ; th e Interroga tor) — A (1 ) Rem orse for a n U n k n ow n Cr i m e Manfred and other creations of Byron ; the last of E a t the great nglish dram tists , he was likewise he last a adversary of Cant , which , h ving killed art in Spain th e E a under name of the Inquisition , in ngl nd the ﬁrst time under the na me of Puritanism and in G ermany th e a t under n me of Pietism , today presents i self in e n e France , in the guis of M o sieur B renger

(2 ) Re m orse f or a Parr i c i d e The Eumenides ” e t h e es es E of A schylus ; Or t of uri pides , of Voltaire “ ” and of Al ﬁer i ; Le Cloitre (Ve rh ae re n ) .

(3) Re m ors e f or a n Assassi n a t i o n Cri me a nd D o st o ie vs k Le o e It véla Punishment ( y , C ur e ” t u a e Po e a a J u d ic i a l e r ( ft r , by Aum nn , For G e ra ld M u rd er ( y , — (4 ) R e m ors e f o r t h e M u rd e r o f H u s b a n d or “ " “ s e a u in o a P e t a ss Wi f e There R q by Z l ; i rro , Ass in e Pa a e te d e sa Fe mm ( ul M rg u rit ,

B (1 ) R e m or s e f or a F a u l t o f Love : M a d e e e Zo l a l in ( , “ C o (2 ) R e m ors e f or a n Ad u l t e ry : o unt. Wi t ld wu Le c a a e ( Ba ta e (Rze ski , S nd l ill ,

a re o e e o ne es e t th With B (I ) th e re c nn ct d , in r p c , e pl a ys cl a ssed in A (1 ) of Si tua tion X x V l l . 1 1 3! 1 1 4 TH I RTY—S I X D RA M ATI C S ITUAT ION S

Need I call attention to the small number , but the s ? terrible beauty , of the above work Is it necessary to indicate the infinite varieties of Remorse , according l st to ; , the fault committed (for this , enumerate a l l crimes and misdemeanors included in the legal code , fal l plus those which do not under any law ; the fault , ’ moreover , may at the writer s pleasure be real or imag na i ry , committed without intention or intended but not committed —which permits a happy ending or both intended and committed ; premeditated or not , with or without complicity , outside influences , sub t 2nd tle y , or what not) ; , the nature , more or less im sionabl 3rd pres e and nervous , of the culprit ; , the sur roundings , the circumstances , the morals which pre pare the way for the appearance of Remorse that fig ure plastic , firm and religious among the Greeks , the beneficially enervating phantasmagoria of our Middle Ages ; the pious dread of a future life in recent centuries ; the disturbance of the equilibrium of the social instincts and consequently of the mind according to the inferences of Zola , etc . With Remorse is connected the Fixed I dea ; through its perpetual action it recalls Madness or Criminal Pas “ ” sion . Often it is but remorse for a desire , remorse the more keen in that the incessantly reviving desire nou rishes it , mingles with it , and , growing like a sort ’ of moral cancer , saps the soul s vitality to the point of suicide , which is itself but the most desperate of duels . “ ” Rene , Werther the maniac of the Coeur Révéla ” ” tea r and of Berenice (I refer to that of Edgar Poe) ’ ” osm ersh o lm and especially Ibsen s R , offer significant portraits of it .

1 1 6 TH I RTY - SI X D RA MATI C SITUATION S

To the invariably happy and epithalamic ending to our plays built upon th is Situation , and to the fortuit o us coincidences with which it has been too generously ’ interlarded , I attribute the public s ﬁnal weariness of it . For does not this Situation retain more naturalness than the Nineteenth , and how fecund has been that a l Ninetee nth , whose charm and tempting variety is l possessed by our Thirty - Fifth ! TH I RTY - SI X TH SITUAT I ON

LOSS OF LOVE D ONE S

(A Kinsman Slain ; a Kinsman Spectator ; an E xecutioner)

Here all is mourning . In long funera l processions we see them pass , the heroes of this Situation ; they move e e from the dark home to the dark church , and from th r to the cemetery , returning only to weep by the hearth until they leave it on the departure of anoth er from among them . m A (I ) W i t n essi n g t h e S layi n g of Ki n s e n , — ” W h i l e Powerl ess to Preve n t I t : The Niobe and “ ” “ “ Troilus of ZE sch yl us ; Polyxena and The Captives ” “ ” of Sophocles ; a p a rt of h is Laocoon ; The Troades of

E uripides and of Seneca . — (2 ) H el pi n g t o Bri n g M i sfor t u n e U po n O n es “ Peo p l e T h ro u g h Pro f ess i o n a l Secrecy : Les Bail s lonne (Mme . Te rni , “ B Divi n i n g t h e D e a t h o f a Love d O n e Th e ” “ n d T h e e e esses ae e Intrud er a S v n Princ by M t rlinck , ’ ‘ o n o a s e o f t he l birt - t a nd th e e m d ern m t r y Six h , how p o werful a o ne !

(I L e a r n i n g o f t h e l ) e a t h o f a K i n s m a n or Al ly : “ ” ’ Pa rt o f t h e R h es us a t tribu te d to E u ri pid es ; I e n ” “ ’ “ ” t h s ile a I sch os ta s a nd T he D e a o f e s e , y e th Achill “ ‘ s s e E o a o f o o e e e by AI c h yl u ; T h th i pi ns S ph cl s . H r is a d d e d t he d ifﬁ c ult rol e o f t he m ess e nge r o f m is fo r — tune he wh o bends bene a th th e impre ca ti o ns of “

o in a es ea e . F o c o e : e Cl e p a tra , Sh k p r r m m d y C nt Li gn e s E m u e s by T o rq u e t 1 1 8 TH I RTY—SI X D RA MATI C S ITUATIONS

l a i n i m i i a h D Re pse t o Pr t ve B se n ess , t h r o u g D espa ir o n Le a r n i n g o f t h e Dea t h of a L oved O n e : “ ” La Fille Sauvage (Curel ,

But embody , in a human ﬁgure , the wr ong , the mur der , wh ich is abstract in most of these examples . Still is bound by his helplessness , how the unfortunate who made a spectator of the agony will struggle , appeal , and vainly implore the heavens the Victim , meantime , humbly beseeching h im who thus looks on in despair , as though he had power to save . The haughty sar E donic silhouette of the xecutioner dominates the scene , intensifying the keenness of the grief by his cynical pl easure i n it Dante has conceived of no sharper sorrow in the circles of his Infern o .

1 2 0 TH I RTY - SI X DRA MATI C SITUATIONS

tu t ed b a group of characters animated y a single desire , each member of the group reflecting that desire under

a different light . There is , moreover (as I have already

shown) , no Situation wh ich may not be combined with

any one of its neighbors , nay , with two , three , four , ! ﬁve , six of them and more Now , these combinations ’

may be of many sorts ; in the ﬁrst case , the situations develop successively and logically one from another ;

in the second case they dispose thems elves in a dilemma , in the midst of which hesitates the distracted hero ; in the third case , each one of them will appertain to a rt particular group or a pa icular role ; in the fourth , fifth , sixth cases , etc . , they are represented according to two , or according to all three of the cases already brought together in one situation , and together they escape from f all it , but the maj ority of them therefrom into a posi tion not less critical , wh ich may even offer but a choice between two courses equally painful ; after finding a way between this Scylla and Charybdis , the very leap by which they escape precipitates them into a final Situ ation r su ltin e from the preceding ones , and wh ich , g sweeps them all away together . Th is , be it understood , is but one combination among a thousand , for I cannot here elaborate the system by which this

- study of the Thirty Six Situations may be continued , and by means of which they may be endlessly multi plied ; that is a subject for a separate work upon the ” La ws of Literary Invention .

The composition or arrangement of the chosen Sit — u at ions and at the same time of the episodes and characters introduced - may be deduced in a manner somewhat novel and interesting , from the same theory “ ” “ - eff ect th at of the Thirty Six . Considering , in , every dra matic situation springs from a conﬂict between two prin ” cipa l directions of effort (whence at the same time comes our dread of the victor and our pity for the vanquished) , we shall have to choose , at the rising of the curtain , between two beginnings ; we must decide which of the

- two adversaries pre exists . Th is leads us infallibly to ma ke of the second th e cause (innocent or responsible) CONCLUSION 1 2 1

of the drama , since it is h is appearance which will be the signal for the struggle . The ﬁrst , who especially enlists t our at ention , is the Protagonist , already present in the e earliest Thespian tragedy , altogether lyric , d scriptive and analytic ; the second the obsta cle arising or super venin is g the Antagonist , that principle of the action wh ich we owe to the objective and Homeric geni us of

ZE sch yl us . One of two strongly opposing colors wi ll s a o rd in thu dominate the entire work , c g as we shall choose , near the beginning , wh ich of the two parties s shall po sess the greater power , the greater chance of victory .

Aris totle h as taught us to distinguish between ” simple tragedy (in wh ich the superiority remains upon the same side until the end , and in wh ich , couse is quently , there no sudden change of fortune , no sur ” prise) and complex tragedy (the tragedy of surprise , e of vicissitude) , wh rein th is superiority passes from one camp to the oth er . Our dr a matists have since reﬁned upon the latter ; in those of their pieces wh ich are a e least complicated , they double the ch nge of fortun , thus l ea d ing ingeniously to the return of th e opposed ’ e th e s ect a ' e r s e powers , at the mom nt of p departur , to the exact positions wh ich th e y occupie d when he entered a e e the hall ; in their pl ys of complicat d plot , th y triple , a e t he e as e ima qu d ruple , quintupl surpris ; so long th ir g inat io ns a nd t he p atience of th e public will pe rmit . W e s se ese ss es e th e e thu e , in th vici itud of struggl , ﬁrst m ans s I n o o e fa r e e of va rying a ubj ect . t will t g v ry , how v r , w a e ea e e e since e c nnot , how ver gr t our simplicity , r c iv t h e a a o r e e a o ne o us from dr m , from lif , mor th n th and - ses O n o sa three hund re d a nd thi rty two surpri . e th u nd ? three hund re d a n d th i rty - two Obvi o us ly ; wh a t is a ny k een surpris e i f no t t h e p ass ing fro m a s tate o f o a a a a o o r o o ne a o ca lm int Dr m tic Situ ti n , fr m Situ ti n ? a o e a a o a s a t e o f ca e into n th r , or g in int t lm P rform t h e c a o es o ne t o s a e e e multi pli ti n ; r ult , h u nd , thr hund r d

nd - wo a th i rty t .

o e c a s e t e e c ss es Sha l l we n w inq u ire wh n e ri h s vi i itud , ' ? ' th e se u ne xpe c te d o l e q u 1I1b r 1 u m ( le a rly 1 2 2 TH I RTY - SI X D R A M AT I C SITUATIONS

in some influence , proceeding from a material object , a circumstance , or a th ird personage . Upon this Third Actor whose introduction into the drama was the — triumph of Sophocles must rest what is called the f Plot . He is the un oreseen element , the ideal striven for by the two parties and the surrounding characters ; he is fantastically divided and multiplied , by two , by three , by ten , by even more , to the point of encumbering the scene ; but he is always himself , always easily recog “ niza l e . b Some of his fragments become Instruments , ” “ some , Disputed Objects , some , I mpelling Forces ; they range themselves sometimes beside the Protagonist sometimes near the Antagonist , or , moving here and there , they provoke that downfall the incessant avoidance of wh ich is called for events as for mankind Progress . In this way they clearly show their origin that “ Role ” “ ocaste Lien (J in Seven Against Thebes , Sabine in “ ” Horace ) under which the Third Actor was germinating ZE sch l ean in y tragedy , without yet taki ng a positive part in the action . I t will be seen that the appearance of these figures u onfid ants of the second plan , these Chor ses , C , Crowds , ns e - Clow , even Figurants r enforced by those of the original groundwork , p r e c u r s o r s whose importance ranges from Tiresias to the Messenger of Oedipus the ” King , from prophet to porter , modifies most power o f fully the effect the ensemble , especially if we reflect that each one of these , considered separately , has his own especial motives for action , motives soon appar ent in regard to the characters who surround him , in some dramatic situation subordinate to the dominant one , but none the less real ; the turns and changes of the general action will affect h im in some particular way , and the consequences , to him , of each vicissitude , of each effort , of each act and d enouement , contribute ’ to the spectator s final impression . If the Third Actor ,

i . ne es for instance , be a D sputed Object , it becomes c sary to ta ke into account h is ﬁrst and h is last posses sor , the diverse relations which he has successively had

o . as with them , and his wn preferences If he appear e Inspirer or Instigator , w must consider (aside from

1 2 4 TH I RTY - SI X D RA MATI C S ITUATIONS

in our works to come , spring easily and naturally from

- the theory of the Th irty Six Situations .

Thus , from the ﬁrst edition of this little book , I might offer (speaking not ironically but seriously) to dramatic authors and theatrical managers , ten thousand seen arios , totally different from those used repeated ly upon our stage i n the last ﬁfty years “ The scenarios will be , needless to say , of a realistic and effective character . I will contract to deliver a thousand in eight days . For the production of a single

- gross , but twenty four h o u r s a r e required . Prices 1 quoted on single dozens . Write or call , No . 9 , Passage ’ - d e l E l ysee d es Beaux Arts . The Situations will be ” detailed act by act , and , if desired , scene by scene

But I hear myself accused , with much violence , of an “ ” “ ” “ intent to kill imagination . E nemy of fancy ! De ” “ ” stroyer of wonders ! Assassin of prodigy !

These and similar titles cause me not a blush .

A singular h istory , in truth , is that of the I magi ” nation . Certainly no one in classic times thought of priding h ims elf upon it . Far from it ! E very novelty its on ﬁrst appearance , hastened to support itself by appeal to some antique authority . From 1 830 dates the accession to the literary throne of this charlatan “ ” esque faculty , analysis of wh ich is , it would seem , eternally interdicted . The results of this new regim e were not slow in appearing , and they may be seen , in their ﬁnal decay , among the last successors of ultra romantic Romanticism . Mysterious crime , j udicial error , followed by the inevitable love affair between the ch il dren of slayer and victim ; a pure and delicate work - e ing girl in her tiny room , a handsom young engineer - e who passes by ; a kind hearted criminal , two polic spies , the episode of the stolen child ; and in conclu sion , for the satisfaction of sentimental souls , a double

- love match at the very least , and a suicide imposed th e - one upon villain th is , year with another , is the

t h e . e product of Imagination For the r st , in the whole CON CLUSION 1 2 5

ﬁe ld of dra matic romanticism (wh ich corresponds so well to the C arrach e school of painting) Hugo alone has s ? created , thank to what to a technical process th e patiently applied to smallest details , the antithesis of Being and of Seeming .

u One vigoro s blow was , for the moment , given to th is legend of the Imagination by Positivism , wh ich asserted that this so - called creative faculty was merely the kaleidoscope of our memories , stirred by chance . But it did not sufficiently insist upon the inevitably banal and monotonous results of these chance stirrings — , some of our memories precisely those l east interest ing and least personal — repeating themselves a thou in sand times our minds , returning mercilessly in all manner of methodless combinations . Th ese souvenirs of innumerable readings of the products of imitation neo - a in our classic and Romantic p st , envelope and overwhelm us unless we turn to th a t observation of ’ nature wh ich was pointe d out by th e Na tura lists initia tive as an e lement of renovation . E ven the Na tura lists thems elves have too often vi ewe d reality a thwar t their bookish recollections ; th e y h a ve estimated too high ly th e a e e e the power of rtistic t mp rament , howev r vig a o ro u s it may be , in ssuming that it could interpose e a l l e e itself , alone and stripp d of conv ntion , by a simpl ee a e a n d t h e e a effort of will , betw n N tur lit r ry product ' ’ “ ’ ” h us La i te a e s to be engend e red . l é Hum in h a “ repea ted t h e j ud ici a l error in th at s peci a l form wh ich is as common in bo o ks a s it is ra re in li fe ; thus th e s ta rting “ ” point of is m e re ly t he co nve rs e o f th e th esi s of t he ( i o nco u rts a nd Da ud et ; th us re miniscences o f M a d a m e B o v a ry a ppea r in m a ny a stud y o f simila r e s o e e e ess e a te s ca s s , wh ich h uld , n v rth l , r m in qui d i tinct ;

- a ea e t he se co e e a t o a n d th u s h s a pp r d , in nd g n r i n “ ” a a t a ne w s o o o f ta o r a nd a of n tur lis s , ch l imi t s tr d i

t io na l ists .

t o ld a e tt es a e e a e a e l a e And a l l h e m rion h v r pp r d , inf t d o a nd o e a i a t o s b u t with phil sophic p tic mplif c i n , too e o s o a s o f a a a nd often mpty f ymb lism , n tur lism hum anism . 1 36 TH I RT Y - SI X D RA MATI C SIT UATIONS

As to the methods of the Art of Combining , the truth as may be gr ped by one bold look , one triumphant glance a t all these phantoms of trite thought , as they stand e in their resp ctive places in the foregoing categories . Any writer may have here a starting - point for observa tion and creation , outside the world of paper and print , - s a a starting point per on l to himself , original in short , which does not in the least mean improbable or u ncon v incin stit u ations g, since many which have today an appeara nce of improbabl ity have merely been disﬁgured by persons who , not knowing how to create new ones , have complicated the old , entangling themselves in o their wn threads .

E specially will the invention of an unus ual story “ ” the d iscovery of a virgin ﬁeld , (to use the naturalists term) be made so easy as to be almost valueless . We are not unaware of the importance , in the perfecting of e Gr ek art , of the fact that it was circumscribed and e (Ed i r stricted to a small number of legends ( pus,

Agamemnon , Phaedra , which each poet had in his turn to treat , thus being unable to escape compari of e son , step by step , with each h is predec ssors , so that e ven the least critical of spectators could see what part h is personality and taste had in the new work . The worst which may be said of this tradition is that it ren dered originality more difﬁcult . By a study of the - ad van Th irty Six Situations and their results , the same tage may be obtained without its accompanying inco n v enience . Thenceforth Proportion alone will assume a signiﬁc nce .

e By proportion I mean , not a collection of measur d — formulae wh ich evoke familiar memories , but the bringing into battle , under command of the writer , of e the inﬁnite army of possible combinations , rang d accord

. s ing to their probabilities Thu , to make manifest th e truth or the impression wh ich , until now , has been e a perc ptible to h im alone , the uthor will have to over in a e look rapid review the ﬁeld befor h im , and to choose such of the situa tions and such of the details a—s are most appropriate to his purpose . This method or ,

1 2 8 TH I RTY - SI X D RAM AT I C SITUATIONS

I t is by methods of logic that Vio ll et - l e - Duc has enabled us to estimate truly the marvels of our “grand ” si ecle , the X I I I Century , substituting (to cite only this) for the simple admiration of 1 830 before each “ ” stone saint so picturesquely perched upon the point ’ : of an ogive , the builders explanation that a stone of the exact weight and dimensions of the saint was there absolutely necessary , to prevent the breaking of the — ogive under a double lateral pressure , whence the ins tinctive satisfaction it gives our eyes . It is a great misfortune that the understanding of that magniﬁcent age in which a Saint Louis presided over the multiple ’ an communal life , age whose only equal in the world s history is that in which Pericles d irected , from the

Athenian metropolis , an identical movement , that this understanding , which would be so useful to us , should have been horribly compromised in the Roman ’ “ ” - tic carnival . Hugo s Notre Dame de Paris , wherein the public believed it beheld a portrait of our “ - Moyen age (a most absurd appellation , by the way) , represents it , by a singular choice , as already long dead , — after the Hundred Years ’ War wh ich bled us to the point where we fell , passive and defenseless , under the domination of the Florentine national art called

renaissant , and then of various other inﬂuences , ancient and foreign , during four centuries . And , down to the very moment at wh ich I write , the literary pro d uctions upon the subject of this most incomparable period of our past have been but pitiable affairs . But a w yesterday , a Ren n was riting of ogival art as an “ ’ eff ort which had been impotent ( Souvenirs d E nfa nce ” et de Jeunesse ) or wh ich at most had fathered works of no enduring character (“ Priere sur the “ ” a very Catholic Huysm ns , in his En Route , was mak a ing the most astounding s lad of Roman vaulting , — - a Primitive painting , Gregorian plain chant , salad “ ” a n d whose recipe is the Faith wh ich is called , natur “ - - ally , the Moyen age , that age wh ich embraces ten ’ s - centuries of humanity , plu one th ird of humanity s i authentic h story , three epochs strongly antagonistic to each other , peoples widely diverse and opposed ; a CON CLUSION 1 2 9 someth ing equiva lent to a marriage between Alcibiades and Saint Genevieve

- The Moyen age , or , to speak more accu rately , the

X I I , X I I I , and X IV Centuries , were not in the least fantastic and freakish ; this is the ch a racter merely of an occasional generation , such as that of Louis

Philippe . Neither were they mystic , in the present sense of that word . The architecture of those cen tu r ies e grew , ston by stone , plan by plan , out of the most practical of reasons . In their sculpture there th e was noth ing naive naivete is ours , when we so a estimate that sculpture , wh ich is far more realistic th n o wn our ; and if , persisting in the contrary opinion , we a m a cling to the weird forms of the g rgoyles , it y be a a E s id that , born of a sym bolism kin to those of gypt e and Greece , th y represent analogies equally ingen

. e ious and profound In th is period aros Thomism , . la tely calle d back into a position of honor to combat a a Positivism , and which realized so h ppy a h rmony a nd between Aristotelianism Christian faith , between e e science and theology . In this period , too , w r born a e e t he the natur l sci nc s , and , in minds of its poets , e e evolve d the laws by wh ich our po try liv s today , those u R sa we s ea a rh yth ms wh ich thro gh on rd till h r , th t — a e t o E e a nd t h e Rhyme which we g v all urop , , at e a s 0 e o f a t same time , thy groin d v ulting , littl town S in e a o a e - a e a e ! D nis , suzer in rifl mm , pilot b rqu of Fr nc All nd e e ea t h e a e a e these were born , a gr w , b n th gr v g z of o n t h e o a o es wa s a e the sa me wisdom wh ich , I ni n sh r , c ll d

Athen e .

Towa rd a ne w as pe ct o f t h e s a me l o gic o u r o wn age e a o f a a t b a lrea dy turns , sinc , h ving d runk th t n iquity y whose forces we rul e d E u ro pe a se co nd t ime in th e

XVI I C entu ry ; h a ving d runk o f t he l a tes t. o f gre a t u e e t h e G e m a we a re e t t o fore i gn in fl nc s , r nic , r urning G o e e . s e ea c ee rea lity a nd t th futur Thu , wh n h r k city h a d a bs o rbe d th e n e i ghb o ring l o ca l c u l ts (its fo re i gn ” ” influences ) a nd th e Ori ent a l cul ts (th e a n tiq u ity o o d a th e o s t. e a u t o f t e e e. o f th a t y ) , m b i ful my h l gi s w r

‘

a t. ea t a a n a r t e o a formed . I t is , l s , tow rd pur ly l gic l , 1 30 TH I RTY - SI X D RA M ATI C SITUAT IONS

purely technical , and of inﬁnitely varied creations , that a l l our literary tendencies seem to me to be con verging . In that direction proceed Flaubert and Zola , inoeers those rugged p , Ibsen , Strindberg , and all writers deliberately unmindful of their libraries , as the Hellenes were of barbarian literature ; there moves Maeterlinck , having reduced action to the development of a single idea ; Verlaine , delivering from conventional rules true r hythm , wh ich makes for itself its own rules ; Mallarme , prince of ellipse , clarifying syntax and expelling clouds of our little parasite words and ta ttered formulae ; in that direction Moreas calls us , but without freeing so himself , unfortunately , from the Italianism of our e ca lled Renaissanc ; all these , and others not less glorious , ” a whole new generation springing up , futurists , loups , cubists , seem to me to be seeking the same goal , the

ﬁnal abolition of all absolute authority , even that of Nature and of our sciences her interpreters ; and the d bris erection upon its e of simple logic , of an art solely technical , and thus capable of revealing an unknown ’ system of harmony ; in brief , an artists art .

In literature , in dramatic literature which is the special subject of our consideration , the investigation of Proportion of which I have above spoken will show “ ” us the various general methods of presenting any “ situation whatever . Each one of these general methods , containing a sort of canon applicable to all “ ” situations , will constitute for us an order analogous a to the orders of rchitecture , and wh ich , like them , will take its place with other orders , in a dramatic “ ” B t system . u the systems , in their turn , will come together under certain rubrics yet more general , com pa risons of which will furnish us many a subj ect for E reﬂection . In that wh ich we might call nchantment , there meet , oddly enough , systems as far apart in origin “ as Indian drama ; certain comedies of Shakespeare ( A ’ ” “ Midsummer Night s Dream ; The the “ ” “ ” abes u e ﬁ q genre of Gozzi , and Faust ; the Mystery brings together the works of Persia , Thespis and the “ “ ” -Aes h l eans s o pre c y , Prometheu , the b ok of Job ,

1 32 TH I RTY—SI X D RAM ATIC SITUATION S

a greater thing than the theatre of Dionysos where gathered thirty thousand people , greater than that of E phesus wherein sat , j oyous , a hundred and ﬁfty thou oriﬁ e - sand spectators , an immense c like crater in which the earth seems to encompass the very heavens . ALPHABETI CAL I N DE X

e E tc . e th e Of the Plays , Nov ls , , Classiﬁ d in Situations of th is Work

o s a T he . a e Abbé C n t ntin ( ) , by L H l vy X XVI II o o f e e T h e o e d e e a Abducti n H l n ( ) , by L p V g X o o f e e T h e o o es Abducti n H l n ( ) , by S ph cl X Ab hira m a a o a a s a m ni , by S und r M i r X a a t he ess H ro swit h a Abr h m , by Abb X X Ab se nte by Vill e m er X XVI I a a s Ab f r , by Duci XVI II es os e as as o Achill in Scyr , by M t t i X X Ad él a id e D u u escl in o a e g , by V lt ir X IV Ad el his a o g , by M nz ni V e e as as o Adri n , by M t t i X XIV Aed o n ia ns (T h e ) by A es chylu s X XXI e e s es X I X A g u , by Euripid c ns e a s a s o A ti , by M t t i X XX III a e e e e a If as ﬁl s Aff ir Cl m nc u ( ) , by Dum XXV Aff a ire d e l a ru e d e Lo u rc ine by La b ic be X V I A ﬂa ire d es o ss o s If a o P i n ( ) , by S rd u X XXII I f a es so l e a e s Les M irbe a u ! Af ir nt Aff ir ( ) , by X XVI a e o es s Ag m mn n , by A chylu XV a t h o c l e o a X I V A g , by V lt ire a a e Ag vé , by St c X XXI Age Critiqu e by Byl X XV ' A és il as ( o rn e il le g , by X XIV s e X l l l Agi , by Alfi ri A nim it ra a n d M a l a v ik a a asa g , by K lid X XI V o If o s a V l l Aigl n ( ) , by R t nd e sa s sa o o e d e e a X I V Aim r n v ir qui , by L p V g a nd X XX III a o o es XV I Aj x , by S ph cl a o c r a es s Aj x L i n , by A chylu X XX I 1 34 TH I RTY—SI X DRA MAT I C SITUAT IONS

a o a o o s Aj x L cri n , by S ph cl e a e o f a a ea T h e a e o Alc ld Z l m ( ) , by C ld r n es e o o es Alc t , by S ph cl by Euripides by Buch a n a n by H a rdy by Quin a ult by R acin e (proj ecte d ) by L a gr ange- Ch a nc el by B o i ssy by S a inte- Fo ix by C o y pel by D o rat by Gluck s by H . Luc a by d e V a uzell es e e es s Alcm n , by A chylu Al cm eo n o s , by S ph ocle Al cm eon s , by Euripid e e es and o e o o es Al t Erig n , by S ph cl e a e o o es Al x nd r , by S ph cl e a e s Al x nd r , by Euripid e e a e e as s o Al x nd r , by M t ta i e a e a e Al x nd r , by R cin Alm a n zor e e , by H in o e es Al p , by Euripid Al zire o a e , by V lt ir a o es L es a e Am z n ( ) , by M z l e e o a e Am li , by V lt ir Am h ra n e e e , by Gra g n uv ’ Ami Fritz (L ) by E rck m ann- C h atrian o H nn i u e Am ur , by e q o o es Amphitry n , by S ph ocl A na r h a ra—h av a a o o s g g (Hindu , n nym u ) A ncét re by S a int - S aens d el a e sse André S rt , by M u t ’ Anci en (L ) by R ich epin o a e Andr m ch , by Euripides o a e a e Andr m qu , by R cin o e a s Andr m d , by Euripid e o e a o o s Andr m d , by S ph cl e

o e e . o e e Andr m d , by P C rn ill A ne d e B u r id a n by d e Fl ers and d e C a ill a vet e o o Ang l , by H ug es d a o e Les B io l l a Angl D iv rc ( ) , by y o e e as s Antig n , by M t ta i o by S o ph o cl es by Euripid es by Al am anni by A l ﬁer i

1 36 TH IRTY - SI X D RA MATI C SITUATIONS

e e e Po e B r nic , by X XXIV e e a u a e a e o f o e B rth gr nd pi d , M ir cl N tr D am e X X XV B erth e u ine a e f o e- a e q , M ir cl o N tr D m X X XV e e o e L a es a a n o ch a rd X X X B t fér c ( ) , by Jul M ry d R e e a e L a o a B t hum in ( ) , by Z l XVI ’ e s d e a o L es o o s Bl u l m ur ( ) , by C lu X XVII I Th e ae e Blind ( ) , by M t rlinck VI I e ea e a Blu b rd , by P rr ult I I e T h e ae e Blu Bird ( ) , by M t rlinck I X e o s e T h e o Blu M n t r ( ) , by G zzi XI X B o hém os a a o s , by Z m c i X X XIV B o isl a u rier a , by Rich rd XIV and I I o a Th e ass e B ndm n ( ) , by M ing r X XXI I B o n ro i a e Le o e D gob rt ( ) , by Riv ir XVI I I

os o e La M m e . M l a ne B c tt ( ) , by a d g X X XI II o e s Les I res B uch r ( ) , by c I I I e of ess a T h e e Brid M in ( ) , by Schill r XVII I a s Th e e Brig nd ( ) , by Schill r X X XII I a s a e Brit nnicu , by R cin X IV o e ea T h e o Br k n H rt ( ) , by F rd X XI X s o a e Brutu , by V lt ir X XVI I s Al ﬁer Brutu I I , by i X X X B u ch ero nne La o ( ) , by C . Edm nd X X IV a es Les o Burgr v ( ) , by Hug X I X e and o e e By Fir Sw rd , by Si nki wicz X XVI

a r o C in , by By n XI I I a a e e o C n c , by Sp r ni X XVI a a e e Le o a C pit in Burl ( ) , by Z l X XI I a es T h e o o es C ptiv ( ) , by S ph cl X X XVI a o a Les C rb n ri ( ) , by N o XXI X a a s T h e es s C ri n ( ) , by A chylu X as e e a u e e a La a o C qu tt p r Buge ud ( ) , by M r t I II asse- sea a o C mu u , by M r t X XVI I asse o e La M é énier C r l ( ) , by t I I I a e e Ia a a e e C th rin B t rd , by B ll X XXII I a a a C tilin , by V o lt ire C III and XX X a o e as as o C t , by M t t i V

e e N o . 7 La Z acco ne C llul ( ) , by I II e T e e C nci ( h ) , by Sh ell y III XIII B 3 an d X XVI e es es T or uet C nt li gn ému , by q X XXVI esa B iro t teau a a C r , by B lz c X X a n d VI ’ es l a 10 1 e C t , by Cliqu t X XV . 1 7 IN D E X OF PLAYS , N OVELS , ETC 3

C h am il l ac e e , by F uill t C h am air ol Les a sse p ( ) , by Fr i a e e os a Ch nt cl r , by R t nd a o e e L a e e Ch rb nni r ( ) , by Cr mi ux e a e e s e e a Ch v l ri Ru tiqu , by V rg e a e ea Le d e o ncieres Ch v li r J n ( ) , by J e d e a e Le R ich e in Chi n g rd ( ) , by p ese e o T h e e as as o Chin H r ( ) , by M t t i C h o e h o res T h e es s p ( ) , by A chylu

s f e . e o N az ia nze n Chri t Su f ring , by St G r g ry ses So h o cl es Chry , by p s us es Chry ipp , by Euripid

L e . o e e Cid ( ) , by P C rn ill

a . o e e Cinn , by P C rn ill o s e B iro u k Les Cinq d igt d ( ) , by D e C o urcell e L e e ea a nd d e o sse Circuit ( ) , by F yd u Cr i t X XIV ’ a o a La d A n n u nz io Citt m rt ( ) , by X XVI a o o e e I I I Cl vij , by G th eo a e a o Cl p tr , by S rd u X XI I

C l it a nd re . o e e , by P C rn ill X XXII I o e Le V erh aere n Cl itr ( ) , by XXX IV oe a o e o o s C ur c ur , by C lu X XV oe a ses a so s Le d e e s C ur r i n ( ) , by Fl r a nd d e C a ill a ve t ’ oe e e- h o r a d H u miac C ur d S , by M ich ud o e a e a a C ur m t ri l , by Fr nck o e revel a te u r Le a a a e C ur ( ) , by L um nn , ft r Poe X XXI V o o a e ee I I I C l mb , by M rim o e o f o s a es ea e C m dy Err r , by Sh k p r X XXI I o a o e o a e Le e so X I C mp gn n d v y g ( ) , by And r n o e e l e e a o C mp r R n rd , by P lti V '

o e d sse x . o e e C mt E , by T C rn ill X XI V o e ss e a a O h ne t C mt S r h , by o a s- to i H e rv ie u C nn i , by X XII '

o s o r La . ( Io r C o n q u ete d e l a T i o n d ( ) , by P ne il l e C o n u te e Pl a ssa ns (La o a q e d ) , by Z l a e La d e C o ns pir a ti o n d u genera l M l t ( ) , by L as s us ‘ o s a e T h e ( a l d e ro n C n t nt Princ ( ) , by o e d e o e a C nt N l , by Lin nt o ea Le o C rb u ( ) , by G zzi o ea Le a Be e C rb ux ( ) , by cqu C o r ﬂe u r i (Le a e a nd e o ) , by M ikh l H r ld o o a s a es e a e C ri l nu , by Sh k p r

( d e . e e o n e e La . a n C r tt ) , by M M ll F rri r C f a o a (T h e M a o o unt o C a rm gn l ) , by nz ni a n : 1 VI

‘ ( o u n t o l tze wus h i Wit ld , by X X XI V 1 38 TH I RTY - SI X D RA M ATIC SITUATIONS

o ess F red e o nd e T h e es C unt g ( ) , by Amigu o se d a ﬂam b eau L a H erv ieu C ur ( ) , by o sa e L a r n l C urti n ( ) , by A yv e d e o sa e d e o La a and C urti n C rinth ( ) , by C rré B il h au d o s e e e L a a a C u in B tt ( ) , by B lz c C ra in u eb ill e a e q , by Fr nc es o es es Cr ph nt , by Euripid e a s T h e es Cr t n ( ) , by E uripid e sa o o es Cr u , by S ph cl e d e ea o e Le a s Crim J n M r l ( ) , by S m o n e d e a s s- o Le e és Crim M i o n Alf rt ( ) , by C o d ’ e d 11 n a e L en Crim utr ( e) , by Arn old and R a u 1d e an s e ost o ie sk Crim d Puni hm nt , by D v y e e La el aco r Crimin ll ( ) , by D u o o e L e a Cr c dil ( ) , by S rd o u o sa e d es E n f ant el ets a s L Cr i d fr nc ( a ) , by E rna u l t o e o Cr mw ll , by H ug s d e oe L es o Cuir B uf ( ) , by P lti e e a es ea e Cymb lin , by Sh k p r a o d e e e a os a Cyr n B rg r c , by R t nd r s e as as o Cy u , by M t t i

a a e o o s e D m g d G d , by Bri ux a e a l a a La a - ol o D m f ulx ( ) , by S int P R ux a e au x a as L a as ﬁl s D m C méli ( ) , by D um a e a u o o ose La o e D m d min r ( ) , by B uvi r a o ess D m n , by L ing a ae es D n , by Euripid a a e es s D n , by A chylu a a es T h e es s D n id ( ) , by A chylu by G om b au d by Ph ry n ich us by S a li eri by Sp o ntini a se o L e e a D n ur inc nnu ( ) , by B rn rd a e o a D nt , by G d rd e a of es T h e es s D th Achill ( ) , by A chylu ea o f a sa T e r ich na a D th C n ( h ) , by C C vi D ebacl e La o a ( ) , by Z l D eca d ence o , by Guin n ass e L a D el ah a e Décl é ( ) , by y a e Le erv Déd l ( ) , by H ieu e o e a s o e T h e r o D f rm d Tr n f rm d ( ) , by By n o a e L a esnard Dégring l d ( ) , by D e e s e as as o D m triu , by M t t i

1 4 0 TH I RTY - SI X D RA MATI C SITUATIONS

o s E dith , by B i o o e e Egm nt , by G th 1 8 2 N i n 1 , by go d e a o o es El ctr , by S ph cl by Euripides by Attili us by Q . Cicero by Pra do n by Lo ngepierr e by C rébil l o n by R o chefo rt by C hénier by Guill a rd e s a s es s E l u ini n , by A chylu a s Les s Emigr nt ( ) , by Hir ch Emigré by B o urget a al o t t i ss Emili G , by Le ing ’ Emp e reur Juli en (L ) M ir acle of N otre D a m e X XXI Ench a ntem e nt by B ata ill e XIV esse E n détr , by Fevre VI I e of t he eo e se En my P pl (An ) , by Ib n V a T h e erv eu Enigm ( ) , by H i X XV Enf a nt d a T empl e by d e Fo lh es X X a s d u a a e a Les e e Enf nt C pit in Gr nt ( ) , by V rn X X XV a s a e s L es ue Enf nt n tur l ( ) , by S XVI I I e e s E n gr v , by Hir ch X XIV o e es E l , by Euripid X XVI o es T he es s E pig n ( ) , by A chylu II I o es Th e o es Epig n ( ) , by S o ph cl IV e e s es Er chth u , by Euripid X XI I I e o o s Eriphyl , by S ph cle IV e o a e Eriphyl , by V lt ir IV E scl arm o nd e asse e , by M n t XVII E scl a ve d a devo ir by V al nay X X XI I s e a a L a o E m r ld ( ) , by H ug X XIV s e a e E th r , by R cin I a o Eta u by A . S rd u XVI o a s T h e o o es Ethi pi n ( ) , by S ph cl X X XVI E t m a soe ur ? by R abi er X XVII I Etra ngere by D umas fils I I I E t u d iant p a uvre by M il l o eck er X XXII I E t u d ia nts sses ru , by Gilkin X XVI I u m el e o es E , by S o ph cl XVI I and X XX I e es T h e es s Eum nid ( ) , by A chylu X XIV and X o a es s Eur p , by A chylu X a e o o es Eury l , by S ph cl XI X sa es o o es Eury c , by S ph cl I Ev a ngeli ste by D aud et X X IND E X OF PLAYS , N OVELS , ETC . 1 4 1

Exo de by F au ch o is X XI X o s f t he e e s T e Ex du o H br w ( h ) , by Ezeki e l X X XI

e o . ssa o Ezz lin , by A M u t X XX

’ a e d Arm el l es L a a as F mill ( ) , by M rr a s oe e F u t , by G th a as o ss e F nt i , by M u t a a o w T h e ass e F t l D ry ( ) , by M ing r ’ e e o e La o a Fa ute d l abb M ur t ( ) , by Z l eas o f t h e a a s o o es F t Ach i n , by S ph cl Féd o ra a o , by S rd u e d e a e L a as ﬁl s Femm Cl ud ( ) , by D um e d e e a L a e e e Femm d m in ( ) , by L f bvr e e La sso F mm X ( ) , by Bi n ' F erm iere L a d A rt o is ( ) , by

e e e Le . o e e Fes tin d Pi rr ( ) , by T C rn ill

a e N o . 1 3 o a Fi cr , by D rn y a o L a e s a Fille Guill tin ( ) , by Fl i chm nn e d a L a o e Fill député ( ) , by M r l ' d u ro i d s a ne La a e o f Fill e E p g ( ) , M ir cl N o tre- D a me

e sa La . d e o o Fill Eli ( ) , by E G nc urt e s a a e La d e e Fill uv g ( ) , by Cur l

s e a e Les M m e . a Fil d J h l ( ) , by Arm nd s e o o s Le B l a v e t Fil d P rth ( ) , by e Le as ﬁl s Fils n atur l ( ) , by Dum o e d e e se B e r e ra t Fl r Fril u , by g F nt o v é u ne o e d e e a o j , by L p V g s L a o a Fo rtun e d e R o ugo n ( ) , by Z l s e o f a a e Fo rtun e a nd M i fo rtun N m , by C a ld e ro n XXI X ss es Les d e e Fo il ( ) , by Cur l s es Les o a Fo ul a rd ro ug ( ) , by D rn y a o as ﬁls Fr ncill n , by Dum s es h as e s essa e Fr an co i l bl u , by M g r

o se e . o as Fr a n c i d Rimini , by A Th m ' es Le a a Frere d a rm ( ) , by G r nd s Les a e Freres e nn emi ( ) , by R cin

o Les E . d c o o Freres Z e m ga n n ( ) , by G nc urt a nd (i Frique t (Le ) , by Willy y p X XIV e La a Fugitiv ( ) , by Pic rd e La o s Furi ( ) , by B i X XI I

' o T e o e e a G a rd en e r s D g ( h ) , by L p dc V g e (La d e e e G a rdi e nn ) , by R gni r o e D o a G a vr ch , by rn y e e a o G eo rg tt , by S rd u 1 12 TH IRTY - SI X D RA MATI C SIT UATIONS

e a . e e a G rf ut , by C d B rn rd e a o a G rmin l , by Z l erm in ie L acert eu x th e n u r s G , by G o co t o s s se Gh t , by Ib n a e es Gl tigny , by M nd a s o s es s G l ucu P ntiu , by A chylu La R ich e in Glu ( ) , by p o B a T h e P o e G ld g ( ) , by oe d e e e oe e G tz B rliching n , by G th a e I z a L a o e Gr nd ( ) , by B uvi r a e a e e La Oh net Gr nd M rni r ( ) , by a so Le a Gr nd ir ( ) , by K mpf a s L es e e and asse Gr nd ( ) , by V b r B t ea e a o s e s Gr t Exp ct ti n , by Dick n ff e L a e s e Gri ( ) , by B rn t in e s L s o a e G u bre ( e ) , by V lt ir es s T h es s G u t ( e ) , by A chylu iu bor a e o f o e—a e G , M ir cl N tr D m

a e a es ea e H ml t , by Sh k p r IV a nd XII I H a no u man a a , Hindu dr m X ea e a nd a o H v n E rth , by Byr n X XIV e a es H cub , by Euripid II I e a a e se H dd G bl r , by Ib n XVI e e es H l n , by E uripid X e e e a e o o es H l n R cl im d , by S ph cl XI I e a es T h e es s H li d ( ) , by A chylu XI I I e a es ea H nry IV , by Sh k p re X XX e a es ea H nry V , by Sh k p re I X a nd X X XII I e a es ea e H nry VI , by Sh k p r VI e a es ea e H nry VI II , by Sh k p r X XV e e s H nri VI II , by S aint S a n X XV H er acl id es T h e es s ( ) , by A chylu I by E uripides I e a s o e e H r cliu , by C rn ill XVI I I e a es M ainom en os es H r cl , by Euripid XVI e es e s e e a H rcul Fur n , by S n c XVI e es o n (E t a e e a H rcul , by S n c X XV e o s H ermi o n , S o ph cl e X e a o H rn ni , Hug X XIV XI X and X X e o as a e H r di , by Fl ub rt XXI I e o an t h e T h e a asa H r d N ymph ( ) , by K lid X X XV o e es Hipp lyt , by Euripid X XVI by S en ec a X XVI H is a e a e o Own G ol r , by C ld r n X XI X H o mm e a d eux tetes by Fo rest X X XI II

1 4 4 TH I RTY—SI X D RA M ATI C SITUATIONS

a o s e a e e J l u i , by V cqu ri a a H enni u e and a e J rn c , by q Gr vi r

a e e o a sse J e n C v n l , by Fr i X X XI I I J e h th e a a p , by Buch n n XXII I by B oyer X XI I I e sa e e e e asso J ru l m D liv r d , by T X I X d e l a e ee Le a d e l a a J eu F uill ( ) , by Ad m H lle VI I u e et e a o L e a J e d R obin d M ri n ( ) , by Ad m d e l a H a ll e X J eu d e a - o as Le ea o e S int N ich l ( ) , by J n B d l I I J ob oses , by M X XX I o e a a e J c lyn , by L m rtin X XI I by G o d ard XXI I o e V e L a o a J i e d ivr ( ) , by Z l X XIV and X X I ’ o ue u rs d o ssel ets L es es s J ( ) , by A chylu II I a nd VII e o f s The es s Judgm nt Arm ( ) , by A chylu XI I s aesa a es a e Juliu C r , by Sh k pe r X X X a L es o Jum e ux ( ) , by Hug X X XV

e esse o e E ek h o u K rm r ug , by d o a es ea e King J hn , by Sh k p r

e e o a a T h e o s o Kr utz r S n t ( ) , by T l t i

s o f a o o e e a La b or J c b , by L p d V eg XI I I a Wo e T h e o o es L a co ni n m n ( ) , by S ph cl I X a o t he Se a T h e se L dy fr m ( ) , by Ib n X XIV L ak m é e es , by D lib XXI X a o o es L o c o o n , by S ph cl V a nd X XXVI ate e o f a a T h e B h av ab u t i L r Lif R m ( ) , by X X XV a - s M ou re L wn tenni , by y X XVI e d u o e La Aica rd Legend C ur ( ) , by X XV Lél ie , by Willy X XI I a o e T h e o o es Lemni n W m n ( ) , by S ph cl X XI I I M v e a e o and m e . a n e e L n , by B rt n V ld X XVI I is ea a e o Life a Dr m , by C ld r n X II I a e Lo h engr in , by W gn r I I ' e o e L a H erv ieu L o i d l h mm ( ) , by X XI s os o a e L o i d e M in , by V lt ir XI X nz a ecio sse Lo re , by M u t VIII s e o f a a a e o Lo ui Pér z G lici , by C ld r n V s l rc e a e Lo ui Lec e q , by V rl in XVI I . 1 5 IN D E X OF PLAYS , N OVELS , ETC 4

o e a nd e L v Intrigu , by Schiller X XXII ’ o e s a ﬁ e o L v S cri c , by F rd X XXII o es o f s a T h e o a L v Kri hn ( ) , by R up XXIV o es o f t h e ee a es T h e o L v Thr Or ng ( ) , by G zzi XVI II e e a o Luci nn , by Gr m nt X XV e e o a o Lucr c B rgi , by Hug VI 1 2 1 a n XXI II B , X XXI I A , XI X B d XI X e We e Luth r , by rn r X X e o l a v ie L a Lutt p ur ( ) , by D a ude t XV e a Lydi , by M ir l X XI X L n cée T h eo d ect e y , by X XII I by Ab e ille X XII I L s Les W o an e o y ( ) , by lf d L r ux X XVI I I

a e a es ea e M cb th , by Sh k p r a e a a e M a d m B o v ry , by Fl ub rt a a e C a v erl et e M d m , by Augi r XXVI I a e e a e o o ée M a d m d M int n n , by C pp ’ a a e l Am ira l e a s a nd o M d m , by M r Ly n h ild e a a e l a o M m e . R ac M d m M rt , by a a e a o o ea a nd a e M d m M rg t , by M r u Cl irvill a a e e ese E rek m a nn - C h a t ria n M d m Th r , by a e e e o a M d l in , by Z l

e . d e B ress ier e M ll , by D lpit

e . d e a a e M ll M upin , G uti r h u ra nir u d d h a a M ad o o , by Vir a h a v irach a r it a B h a v a b u t i M , by a o e o a e M h m t , by V lt ir a s o f T ra ch is o o es M id en , by S ph cl ’ a so a e L a a e M i n d rgil ( ) , by F br s a ea La M a i o n d es d e ux B rb ux ( ) , by T h e u r iet

a e Le . e M itr ( ) , by J Julli n M a l t re os o Ambr , by Wid r a a a a nd M a d h a v a B h a va bu t i M l ti , by

M a l e l e L s o o - R ie h v ﬁ at r ( e ) , by P rt

a e a u x a es . Bo e M lh ur p uvr , by A uvi r a a o a a e M m n C libri , by B t ill a e o M nfr d , by Byr n a e o - ils o M ng r nt , by H ug

' a o s e Le F a e M nn e quin d i r ( ) , by r nc a o s a e o s M n n Le c ut , by Pr v t a n (Le J o sz a nd D M qui g o n ) , by umur a e s o es (La M rch a nd (l e urir ) , by Judith G a uti e r a Le N us a nd Arno u l t l M ri ( ) , by 1 4 6 TH I RTY - SI X D RA M ATI C SITUATION S

’ a a e d And ré Le e a e a n M ri g ( ) , by L m ir d R o uvre XVI I I

a a e d e e . B eul em ans Le M ri g M ll ( ) , by F o nson and W ichel er X X IV ’ a a e d Ol m e Le e M ri g y p ( ) , by Augi r X XVI I

a a e o e . M ri nn , by D lc X X XI I ’ a a e s a l erm ite M ri nn , by Tri t n H X XXI I a a e o a e M ri nn , by V lt ir X X XI I a e a Al fieri M ri Stu rt , by X X XIII a e a e M ri Stu rt , by Schill r X XIV a e a a so M ri Stu rt , by S m n X XIV a e o o M ri T ud r , by H ug X XIV an d X I X a o a e o o M rin F li r , by Byr n VI a o e o e o M ri n D l rm , by Hug X XVI I and XI X a s a o e M riu v incu , by M rti r X X X a o a e L a R i h e i n fil s M rj l in ( ) , by c p X XIV a s d e o a Le a e a M rqui Pri l ( ) , by L v d n X XVI I a e e e M rtyr , by D nn ry X XI a s L es a ea a M rtyr ( ) , by Ch t ubri nd X X XI ass e e La e a e M i r ( ) , by L m itr X IV as e e T h e se M t r Build r ( ) , by Ib n XVI I a e e M t rnité , by Bri ux VI M au croix Les e ( ) , by D lpit X IV eas e f or eas e a es ea e M ur M ur , by Sh k p r X X I e ea es M d , by Euripid XXV by C o rn e ille X XV by S en eca X XV e o a el R e o e e e a M j r Alc ld e y (El ) , by L p d V g I I I e s e s e D ie W a e M i t r ing r ( ) , by gn r X XIV e a e es M l nipp , by Euripid X XI I I e ea e o o es M l g r , by S ph cl IV e o es s M mn n , by A chylu I X a es d e a s Les a o M én g P ri ( ) , by R ym nd X XV e so es o e M n ng , by B urg t X XVII er L a M ( ) , by J . Julli e n XI II e a o f T a es ea e M rch nt V enice ( h e) , by Sh k p r I II e e d u a e L a a e of o e- a e M r P p ( ) , M ir cl N tr D m X XXI e e e e s a La a e M r m urtri er d on e nf nt ( ) , M ir cl o f N o tre- D ame e es e e es Les e es M r nn mi ( ) , by M nd e o e M afi ei M r p , by ‘6 by V o lta ir e by Al fieri ess a e o f An a a T e o ub ath a M g g d ( h ) , by S T h e o e e e a M ill ( ) , by L p d V g ’ s e s T h e Vish ak ad att a M ini t r Ring ( ) , by os o o es M in , by S ph cl o s Les R oina rd M ir ir ( ) , by

1 4 8 TH I RTY - SI X D RA M ATI C SITUATION S

d e a - a L a rek m a nn N uit S int J e n ( ) , by E C h at rian a R o um est an a e N um , by D ud t

Obs tacl e by D a ud et X XIV a a Oct vi , by Se n ec a XV e e a o Od tt , by S rd u X XVI I OEd i us es s p , by A chylu XVI I I by S o ph o cl es XVI II by C o rn e ille XVI II by S en ec a XVI I I

o a e etc . by V lt ir , XVII I (E d i us at o o s o o es p C l nu , by S ph cl I a nd XII CE nee o es , by S ph o cl I I (E no m aus es , by S o ph ocl I X by Euripides I X (E u v re by Z ol a X X Ogre by M arth ol d X XXII I O icl es o o s , by S ph cle I a e as as o Olympi d , by M et t i X I X e o a e Olympi , by V lt ir X XI X ' ne a e as a e a o sse On b din p v c l m ur , by Mu t XVI I B o nnetain Opium , by XXI I Or by Peter and D anceny I I I rb ecch e iral i O , by G d IV Ore ill e fe ndu e by N epo ty X XVI I es es es Or t , by Euripid X XIV es e Al ﬁeri Or t , by XX XIV by V o lt a ire X X XIV r1th ie es s O y , by A chylu X by So ph o cles X e es a Oth ll o , by Sh ak pe re X X XI I o e Oth n , by C o rn ille X X

a e a e e o e P g bl nch , by D v r X XV ’ a d au t ru i Le a a nd P in ( ) , by Ephr im a e e e Schutz , ft r Turg ni v e h l us P a l a m ed , by Aec y e es P a l am ed , by Euripid

e e o o es P a l am d , by S ph cl a e o a e P nd o r , by V lt ir

a e oe e P nd o r , by G th a a d e e s a nd d e a a e P p , by Fl r C ill v t 1 4 9 IN D E X OF PLAYS , NOVELS , ETC .

P ara it re o a , by D nn y

a s a W a e P r if l , by gn r a a e d e a e P rt g midi , by Cl ud l Passa eres L es o o s g ( ) , by C lu a e P al ad il h e an a o P tri , by d S rd u ’ ea a e e a P u d n , by P rr ult d e a e Le o a Péché M rth ( ) , by R ch rd e e s o es P l u , by S ph ocl

e e s es P l u , by Euripid ' e e a o Le e- e e P l rin d m ur ( ) , by Emil M ich l t Pel iad es T h e es ( ) , by Euripid e as o es P li , by S o ph cl

e eas an d e sa e ae e P ll M li nd , by M t rlinck Pel o id es T h e o a e p ( ) , by V lt ir e e o e es s P n l p , by A chylu e e s es s P nth u , by A chylu e es ea es s P nth il , by A chylu e e asse as Le s P r Ch l ( ) , by Athi e e o e Le as nl s P r pr digu ( ) , by Dum e es a es ea e P ricl , by Sh k p r

e i Wa e o P rk n rb ck , by F rd Pe rrh o eb id es T h e es s ( ) , by A chylu e s a s T h e es s P r i n ( ) , by A chylu Pert h a r it e o e e , by C rn ill e a m i Le L ea u t a u d P tit ( ) , by e e a e La e P tit mi ( ) , by Bri ux e e a o a e La D a rl a a nd P tit C p r l ( ) , by y G o rsse ch co l at 1 e r L a G a va u l t P eti te o e ( ) , by e e o a e P tit H ll nd , by G uitry e e a a e La a a nd P tit milli rd ir ( ) , by Dum y F o res t X X l V e e M io nne La e o P tit ( ) , by Rich b urg e e a o sse L a a e P tit p r i ( ) , by D ud t e a es Le e e P tit J cqu ( ) , by D nn ry e o e Le e a P tit P uc t ( ) , by P rr ult a e a o o es Ph dr , by S ph cl a e o es Ph t n , by Euripid

Phe ac ia ns T he o o e s ( ) , by S ph cl e e a e Ph dr , by R cin e I I Al ﬁc r i Philipp , by a nd XX VI o e es Aes < h l us Phil ct t , by y by S O Dh O P l i S by E uripid es o es o o o e s Phil ctet in Tr y , by S ph cl Ph i ne a s e s s , by A chylu 1 50 TH I RTY - SI X D RA MATI C SITUATIONS

e s o o es Phin u , by S ph cl Ph oen iss ae T h e s s ( ) , by A e chylu by E uripides by S en ec a o e es Ph nix , by E uripid Ph orcid es T h e es s ( ) , by A chylu s o o es Phrixu , by S ph cl s es Phrixu , by E uripid a s T h e es s Phrygi n ( ) , by A chylu Pht iot id es Th e o o es ( ) , by S ph cl s a o f h is o o T h e a e o Phy ici n H n r ( ) , by C ld r n e e et ea a assa Pi rr J n , by M up nt e e et T hérése e os Pi rr , by Pr v t

e e as a M m e . e h abr ih an Pi rr P c l , by d C e e a x o a a Pi rr V u , by J n th n e o assass d e sa e e Pi rr t in f mm , by M argueritte X X XIV e o s Les Pi rr t ( ) , by Grill et X XXI II e e L a o e Pi uvr ( ) , by M r l X XXII I s a e L a s Plu f ibl ( ) , by Prevo t X XVI I I P ol iciere L a M onte in ( ) , by p X XVI I Pol d ect es es s y , by A chylu XI X Pol eu cte o e y , by C rn ille X X o s o s P lyidu , by S ph ocle X I by Euripides X I o e l fi i P lynic , by A er XI I I Pol hém e a a y , by S m in X XIV o e a o o s P lyx n , by S ph cle X X XVI o e o e e P m—pé , by C rn ill I II o a as a e P rt T r c on , by D ud t XVI I o a Th e ass e P rtr it ( ) , by M ing r X X XI I oss Le e o e P édé ( ) , by L m nni r X XI I P ot - o e o a B uill , by Z l X XV o es el ect r i u es a e P upé q , by M rin tti X XXI II o ss Le a P u in ( ) , by Guir ud X XVI II o e s o f a ess T h e o s o P w r D rkn ( ) , by T l t i XI II and XV e e Le e Pr tr ( ) , by Bu t III es esses T h e es s Pri t ( ) , by A chylu XI X esse d e a a La as fil s Princ B gd d ( ) , by D um X X XII esse eo es L a as fil s Princ G rg ( ) , by D um X XV ess M al eine T h e ae e Princ ( ) , by M t rlinck VI I e a T h e l aret ie Princ Zil h ( ) , by C XXVI I o s o o es Pr cri , by S ph cl XI X o e e s es s Pr m th u , by A chylu I X o e e s o es s Pr m th u B und , by A chylu VI I and V o e e s o es s Pr m th u Unb und , by A chylu I X Pro o m es T h e es s p p ( ) , by A chylu I ose e a e e a nd a - ae s Pr rpin , by V cqu ri S int S n X XV P ro t esil as es , by E uripid X X

1 52 TH I RTY - SI X D RA MATI C SITUATIONS

o e - l e- a e a e o f o e- a e R b rt D i bl , M ir cl N tr D m V R o d o u ne o e e g , by C rn ill XI I I

- - o e l a o e . a R g r h nt , by J M ry X XXI I I an d II I R o i e L e o C rf ( ) , by G zzi XVII I ' R o i d e a e Le l rg nt ( ) , by M illi et X X XII I R o i d e o e Le uv il l n R m ( ) , by Po o VI I ’ R oi s am u se L e o ( ) , by Hug XI X

R o i sa s o o e Le . eo es n c ur nn ( ) , by St G rg d e B o u hél ier R o i sa s o a e Le e o u rcel l e n r y um ( ) , by D c R o i o e Le e e S l il ( ) , by B rned o a e d e a R l nd , by Gr m o nt ’ o a E l ise L e a R m n d ( ) , by Rich rd ' o a e s a R m n d un C o n pir tio n (Le) , by F o urnier and C a rré o eo an e a es ea e R m d Juli t , by Sh k p r ose o e ucell a R m nd , by R i osse a a s s 1e e R , t nt t plu , by Mu t r ’ o e m e a e L a em ol d er and R ut d E r u d ( ) , by D R ich epin —as o Ruy Bl , by H ug S

a - e s a e o f o e- a e S int Al xi , M ir cl N tr D m - a e e e e M me . e e e S int H l n , by S v rin ' a - a e nt ioch a e o f o e S int Ign c d A , Mir cl N tr D ame X X ’ a ul ien l h o s ital ier a e S int J p , by Fl ub rt XI X

s Le M m e . Oll o nier Sa1 ( ) , by g X XIV a a a asa S a kunt l , by K lid XVI an d XX XV a S al ammbo, by Fl ub ert VII I s T h e es s S al amini an ( ) , by A chylu VI a o e s a W e S l m , by O c r ild XXI I a so o a e S m n , by V lt ir XVI I a so e s e S m n , by B rn t in X XV so et a a a - ae s S am n D lil , by S int S n XV a - b rul é La o e S ng ( ) , by B uvi r X XVI a o o o S ph , by G un d X XXII I a o a e S ph , by D ud t XXI I

. . R . a e S A , by Ch nc l X X a a s o S a rd a n p lu , by Byr n VI a Al ﬁeri S ul , by XII I a e S ul , by Gid XVI Le a a e Sc a nd al e ( ) , by B t ill X X XIV s f a T h e a e o Schi m o Engl nd ( ) , by C ld r n XV as es L e C rom e l nck Sculpt e ur d e M qu ( ) , by y X XVI es Les o a e Scyth ( ) , by V lt ir X XI X e a s T h e o e e S c o nd F u t ( ) , by G th I X e e d e e e Le ass a S cr t Gilb rt ( ) , by M i c X XVI I 53 IN D E X OF PLAYS , N OVELS , ETC . 1

e e d e l a e e se L e B usnach S cr t T rr u ( ) , by X XXI II B e e e ea e f or e e a e S cr t V ng nc S cr t Outr g , by C a ldero n e e e es s S m l , by A chylu e a s a e S mir mi , by M nfr di e a s C reb il l o n S mir mi , by e a s o a e S mir mi , by V lt ir e a e o os a e as as o S mir mid ric n ciut , by M t t i

a e L a . e Sérén d ( ) , by J Julli n e e P anine O h net S rg , by e e o a T h e o S rp nt W m n ( ) , by G zzi e o s o e e S rt riu , by C rn ill e e a s e es es s S v n Ag in t Th b , by A chylu e e esses T h e ae e S v n Princ ( ) , by M t rlinck e e o o e C o ée S v r T r lli , by pp e e T he e as as o Sh ph rd King ( ) , by M t t i e o o es o a o e Sh rl ck H lm , by C n n D yl e e s T he o o es Sh ph rd ( ) , by S ph cl e a M an z o tt i Si b , by e e Sigurd , by R y r o e e Sim n , by Bri ux ' o e a o e o a a Sim n , l nf nt tr uv , by J n th n e T h e a o o s ese a a Sing r ( ) , n nym u Chin dr m o o o es Sin n , by S ph cl e a e a Sir , by L v d n Siroés e as as o , by M t t i o as a e s e Sir Th m Wy t , by W b t r Sm il is Aica rd , by

o e e e B o rte a u - o S ur tt , by L ti So n e e e e e o a Exc ll nc Eug n , by Z l o s o f a o T he R a d a se k h a ra S n P nd u ( ) , by j h n isb e ss o So p o , by Tri in by M a ire t by Al ﬁe ri So rciere La a o ( ) , by S rd u o s L a P a il l e ro n S uri ( ) , by T h e es s Sphinx ( ) , by A chylu a e (T he R a d a se k h a ra XXIV St tu ) , by j e a o e e St ll , by G th a a t i T h e R o u d ra d e va Sto ry o f Y y ( ) , by a s T h e es s Suppli nt ( ) , by A chylu a s T h e E e s Suppli nt ( ) , by uripid e e e Suz tt , by Bri ux o a e t e Surc uf , by Pl nqu t e a o e e Sur n , by C rn ill

T a nc red c o t a e , by V l ir XXXII 1 11 d l l 1 54 THI RTY - SI X D RA MATI C SITUATIONS

a s et e e T ni Z lid , by Vo lt a ire T annh aeuser Wa , by gn er a a a T rt rin , by D udet a e e d es T rab ans La E rek m ann T v rn ( ) , by C h at rian XXI X T ch it ra Y a na n d j g , by Ved a y ath a V at ch espati e e s es T l phu , by Euripid e e s es s T l phu , by A chylu e e s es T l phu , by S o ph ocl e es T e a s ea T mp t ( h ) , by Sh ke p re e a es Les e T n ill ( ) , by H rv ieu e a o of a o The T mpt ti n S int Anth ny ( ) , by Fl aub ert X XI I e e s s T r u , by S o ph o cl e I I I e e L a T rr ( ) , by Zo l a X X X and X III e e e o u v ante o e and d e o e T rr d p , by M r l L rd VI e e s T uc r , by S oph ocle VI T h amiras es , by S o ph o cl X X XI e s o es e as as o Th mi t cl , by M t t i X X eo o a a Th d r , by S rdo u X X XI I I T héod ore , by C orn e ill e X X e ese a in Th r R qu , by Zo l a X X XIV and XV e o a Th rmid r , by S rdo u VI I I es e s s Th u , by E uripide I X a a s Th s Thr ci n ( e) , by A eschylu XVI ee s e s in O ne a e o Thr Puni hm nt , by C ld r n XI II es es e Thy t , by S n ec a XII I es es o es Thy t in Sicyo n , by S oph cl X X XV es es s Thy t I I , by S oph o cl e XII I o eo Al Tim l n , by ﬁeri X X X o of e s es ea e Tim n Ath n , by Sh ak p r VI ’ ’ T is e s a W o e o Pity Sh h r , by F rd X XVI a ean- a e Tit n , by J P ul Rich r XVII I e et e e Tit B r nice , by C o rn e ille X X o e s of t h e Sea o T il r , by H ug X XIV and I X o e a a X and T rqu m d , by Hugo X II I XI X o e L e T rr nt ( ) , by D o nn ay X XV T orrism on ass d , by T o XVI II os a La a T c ( ) , by S rdo u X XI a s d e e L es H erm ant Tr in lux ( ) , by X XIV ’ e e ans o u l a vi e o e Tr nt d un j u ur , by D ucange Le e Tribun ( ) , by B o urg t d e a o a L e o o Tribut Z m r ( ) , by G un d T r isan and so e Wa e I ld , by gn r a Le o a e Triumvir t ( ) , by V lt ir o s es s Tr ilu , by A chylu

1 56 TH I RTY - SI X D RA M ATI C SITUATIONS

e e L a a e e Vi rg ( ) , by V ll tt e e o e L a a a e Vi rg f ll ( ) , by B t ill a T h e ass e Virgin M rtyr ( ) , by M ing r o a o romb o na We s e Vitt ri C , by b t r Vive l e ro i ! by Ryn er o e s L a M e d a m e . R ach il V ix ng ( ) , by d o e Le e s e V l ur ( ) , by B rn t in

W a - W o e T h e es s iting m n ( ) , by A chylu X X Wa e s e e ll n t in , by Schill r X X X W ar of th e W o s T h e We s rld ( ) , by ll VI Wea e s of e s Th e es s v r N t ( ) , by A chylu XVI We a e s f es a T h e a a v r o Sil i ( ) , by H uptm nn V II I We e o rn r , by B yr n X XVII We e oe e rth r , by G th X XX IV W T h e se ild D uck ( ) , by Ib n XVI I W a e e illi m T ll , by Schill r VI I I and II I ’ W e s a e a es ea e int r T l (A ) , by Sh k p r X XV Wo e o f o s o o es m n C lchi , by S ph cl X XV Wo e o f os o m n Scyr , by S ph o cles X I Wo o - a e s T h e es s l C rd r ( ) , by A chylu X X XI W o s is no t s e a e r t Alway C rt in (T h ) , by C aldero n X XXI I

X o ane h ores Th e o o es 2 p ( ) , by S ph cl

a e a Z ir , by Volt ire Zéim o , by G zzi e o a e as as o Z n bi , by M t t i Z o e e - C e a e Chi n hi n , by M th y Z ul im e o a e , by V lt ir ALPHABETI CAL IN DE X O F AU THOR S

Ab e ill e : Ly ncée Ach aeus : (E d ipus ' Ad a m (P a ul ) : L A u t o m ne L es M o ue ttes Ad a m d e l a H a ll e : L e J eu d e l a Fe uillée Le J eu d e R o bin e t d e M ari o n Ad enis : Les Révo ltés A es chylus : T he Suppli a n ts T h e H er a clid ae T h e Eum e nid es T h e El eu s ini a ns D a n a e T h e Mys i a n s T h e Phrygi a ns T h e Pro po m pes T he Epigo n es T h e Argives T h e Pe rr ho e b id es Ixi o n T h e N e re ids P e n e l o p e ' Les J o u e urs d o ss e l e ts

T h e C h o e ph o res At a l a nt a Pr o m e th e u s R o u nd

T he P e rs i a ns T h e M yrmid o ns T he S a l a mini a ns T h e G u es ts N e m e a 1 58 T HI RTY - SI X D RA MATI C SIT UATIONS

A eschylus : T h e Ph o rcid es Phin e us M emn o n Gl a ucus P o ntius Pro meth e us Pro meth eus Unb o und O rithy ie Europ a T h e C ari a ns T h e Sphinx P al am ed e Philo ctetes T h e Judgm ent o f Arms T he H eli a des Seve n Aga ins t Th eb es Aga m emn o n T he Weavers of N ets Ath a m as T h e Thr aci a n s S em ele (E d ipu s Alcm en e T el ephus T h e Pri estesses Po l y d ect es T h e Wa iting- W o m en T h e Phoeniss ae Iphigeni a H yps ipyle T h e D a n a ides La ius T h e Aed onians P e nth eus T h e B assarid es T h e Woo l - C a rders Aj a x Lo cri a n T he Nurses T h e Eum enid es N i ob e Tro ilus Pe nth es il ea T h e D ea th o f Achill es Psy ch ost ase Aicard ; Smil is

Aica rd ; L a Légend e d u C oeur Al a m a nni : Antigon e Al ﬁeri : T h e C o nspir acy o f t he P a zzi P o lyn ic e S a ul Agis

1 60 THI RTY - SI X D RA MATI C SITUATION S

B e a um o nt : T h e T wo N obl e Kinsmen V al entini an B ecqu e : Les C o rb eaux B ell : C a th a rin e l a B at ard e B ergerat : Vid o cq M yran e Fl ore d e Fril euse B erlio z : L es Troyens

B ern a rd : M o n am i T eddy B ern a rd (Tri stan ) : Le D a nseur inco nnu e a B rn rd (C . d e ) : G erfa ut B e rn ede : L e R o i S o leil ’ B ernh ardt (S ar a h) : L Aveu B ernste in : I srael L a G rifi e Le B erc a il Apres m oi L e V o l eur B erto n : L a R e nco ntre Le n a B ertr a nd : J ack t h e Ripper Bh atta N ar aya n a ; V enisam h ara B h avab u ti : M a l a ti and M ad h av a

M ah av irach arit a L ater Life o f R a m a B il h a u d : L a C o urti sa n e d e C orinth

B io ll ay : M . Bute L es Angl es d u divorce Bi sso n : N ick C a rter L a Femm e X ’ Bizet : L Arl ésienne B l avet : L es Fils d e P orth os B o del (Jean ) : L e J eu d e S a int - N ich o l as B o i s E dith B o is L a Furie B o iss y : Alceste ’ B annet ain : L Opiu m B o rte au - Lo tti : S oeurette B o urget : Le D i sciple La B a rric a d e M enso nges L e Tribun ’ L E migré L e D ivo rce B o uvi er : L a D a m e a u D o min o r ose La S a ng- b r ul é M a lh eur a u x p a uvr es L a gr a nd e I za B o yer : J eph t h a IN D E X OF AUTHO RS 1 6 1

Brieux : M a ternité L es Av a riés Sim o n e L a Petite Arni e Suz ette B uch a n a n : Alc este J eph th a Buet : L e Pretre B u snach : L e S ecret d e l a T erreu se ' Byl : L A ge Critique Byr o n : T h e T wo F oscari S ard an a p alus M arin o F a li ero T h e D efo rm ed Tr an s form ed C a in H eave n and E a rth Wern er M a nfred

C a ill a vet (d e) : P a p a Le C oeur a ses r a i so n s ' L Ane d e B a r fd a n La M o nt ans ier C a in : Les Révo ltes C a ld ero n : T h e Alc a lde o f Z a l am e a Lo ve After D e a th D evo ti o n t o t h e Cross L o uis P erez o f G alici a C aldero n : Three Puni shm e nts in O ne T he Schi sm o f Engl a nd T h e C o n s t a nt Princ e S ecret Ve ngea nc e f o r S ecr e t Outr a ge T h e Phys ici a n o f H is H o n o r H is Own G ao l e r Fo rtun e a nd M is fo rtun e o f a N a m e X X I X T he W o rs t is N o t Alwa ys C e r t a in Life is a Dre a m C a ntch a na At ch a ry a : T he Vict o ry o f Arjun a C a pus : U n A nge ' L A t te n t a t L a Ve in e C a rcinus : (E d ipus C a rre : La C o urtis a n e d e C o rinth ' La R o m a n d un e C on s pira ti o n 1 62 THI RTY - SI X D RA M ATI C SITUATI ONS

C erv a ntes : D o n Quix ote C aesa r : (E d ipus C h abr ih an (C o mt esse d e ) : Pi erre P as c al

Ch a nc el : S . A . R . ’ ' C h art o n : D ev ant l ennem i C h a t rian : L a Nuit d e S a int- J ea n M yrtille L ’Am i Fritz L es R a ntza u La T a ve rn e d es T rab a ns M a d am e Therese Ch atea ubri and : L es M artyrs R ené

Ch eni er (M . El ectre (E d ipus Cicero El ectra Ci enfu egos ; I d om enee C l a irian : J a ck th e Ripper Cl a irville : M ad a m e M argo t Cl a ret ie : Le Prince Zil ah Cl a ud el : P a rta ge d e midi ' Cliqu et : C est l a l o i C oed és : Le Crim e d e M a iso ns- Alfo rt C o o lus : L e Ris qu e U ne fe mme p ass a C oo lus : L es P assagéres Anto inette Sab r ier C oeur a C oeur ’ L es Bl e us d e l a mo ur 4 x 7 2 8 C o ppee : M ad a m e d e M a inten o n L es J acobites S ev ero T o relli C orn e ill e Andromed e P o mpée N ic o med e Cinn a R o d o gune Psyché (Edipe Her a clius Po l y eu ete Oth o n Pu l ch érie Tite et B érénice S ertorius Theo d o re Pert h ar it e I I orace Attil a Agésil as

1 64 TH IRTY - SI X D RA M AT IC SITUATI ON S

D enn ery : M artyre XXI L e petit J acques X XI ’ D escav es : L Attent at XX IV D esn a rd : L a D egringo l ad e X X XI I I D evore : P a ge bl a nch e X XV ’ L a C o nsci enc e d e l e nfa nt X XVI D i az : B envenuto X XIV Dick ens : Grea t Exp ecta ti o ns X X I Di o gen es : (E d ipus XVI II D o lce : M ari ann e X X XI I ’ D o nn ay : L Autre D a nge r XIV Le T o rrent X XV Para it re X XV D o rat : Alceste X XI D o rn a y : G avro ch e X XXI II

Fi acre N o . 1 3 X X XI I I L es F o ul ards- r o uges X X XV D ost o ievsk y : Crim e a nd Puni shm ent X X XIV D o yl e : Sh erl ock H o lmes I I I ’ D u can ge : Trente ans ou l a v ie d un j o ueur X XII D uci s : (E dipe XVII I Ab u f ar XVI I I D um as pere : M o nte- Cri sto I I I D on Ju a n V ’ D um as ﬁl s : L E t rangére I I I and X XV L e Fils n aturel X I I L e Pere pro digue X IV L e D ivo rce d e S ara h M o o re XXI ’ L a Qu esti o n d argent XXIV Fr a ncill o n XXV L a Princesse G eo rges XXV D i an e d e Lys XXV L a Femm e d e Cl a ude X XV ’ L Aff a ire Clem encea u X XV D eni se X XVI I L a D a m e au x c a méli as X XVI I o se M . Alph n X XVI I L a Princesse d e B agd ad X X XI I D um ay : L a petite M illi ard a ire X XIV D umur : L e M a quign o n II I R embrandt VI I ’ D uv al : L Articl e 301 X XIV

Edm o nd (G ) : L a B u ch ero nne E ek h o u d : Kermesse ro uge E l zéar : J a ck T empete ’ Emil e- M ich el et : Le Pererin d a m o ur IN D E X OF AUTHORS 1 6 5

E rek m ann : L a Nuit d e S a int - J ean L ’ Am i Fri tz M yrtille L es R a ntz a u L a T avern e d es T rab ans M a d am e Theres e E rnau l t : L a Cr o i sa d e d es enf a nt el es fra ncs L a t enta ti o n d e V ivre Euripides : T h e H er aclidae Euripid es : T h e Suppli ants D a n ae T h e Cretan s A u geus Al o pe T el e phus Andro me d a Anti o pe D ictys H ecub a Ixi o n Phrixus El e ctr a Arch e l a us P e le us Th ese us (E n om a us Rh es us

H e l en P o lyid us W o me n o f Scyro s P a l am e d e

Phil o cte te s T h e Ph oen issae Ph oenix H e r acl es M a ino m e nos I n o Ph a e to n T h e Pel ia d es

I o n Cr es ph o ntes A e ge us Al e x a nd e r I phige ni a in T a uris Pro t es il as Antigo n e e Alc es t Andr o m ac h e 1 66 TH I RTY - SI X D RA MATI C SITUATIONS

E ur1p1d es : Iphigeni a in Auli s Erechth e us M ela nippe Hyps ipyle E u r1 ped es : M edea Andro m ach e Al cm eon Hipp o lyte E o l e Chrys ippus T h e Cret ans T h e B acch antes B e llero ph o n Ph aeto n Orestes Tro a des (Th e) Ezeki el : T h e Ex o dus of th e H ebrews

' Fabre : La M a i so n d argile XI I I César B iro tteau X X La Vie publique X XVII I a nd X X X Fall : La D iv o rcée X X XI I F au ch o is : B eeth o ven VI I Rivoli X XV ’ L E xod e X XI X Ferri er : L a C o rn ette X XI Fe uillet : C h am il l ac X XVI I Fevre : En D et resse VI I Feyd ea u : L e Circuit X XIV Fl aubert : S al ammbo VI II ’ S a int J ul ien l h ospit al l ier XI X H ero di as X XI I

T h e Tempt ati o n o f St . Anth o ny X XI I M ad a me B o vary X XV Fle i schm ann : L a Fille a Guill o tin XXII I Fl ers (d e) : P ap a XIV L a C oeur a ses r a i so n s X IV ’ L A ne d e B u rid a n X XIV L a M ont ansier X XV Fl etch er : T h e T wo N o bl e Kins men XIV V al e ntini a n X X XII I F ns n e ns o o : Le M ari age d e M lle . B eul m a X XIV ’ ’ Fo rd : T is Pity Sh e s a Wh o re X XVI T h e Brok en H eart X XI X P erkin W arb eck XX X ’ Lo ve s S acrific e X X XI I Fo rest : L a p etite milli a rd a ire X X XIV

1 68 TH I RTY - SI X D RA M ATI C SITUATIONS

G o zzi : Tur and o t X I Zo be id e XV L ov es o f the Three Ora nges XVII I T h e Blue M o n ster XI X Zeim X XVI I I T h e Serp ent Wo m an XX XII I L e C o rb ea u XX XIII L e R o i C erf XVI II Gr abb e : D o n Jua n V Gr am o nt (d e ) : R o l a nd e XXI I Luci enn e X XV Gr angen e uve : Ambr a I II Gr avier : J arn ac X XI I I Gr ego ry N az ianzen (S aint ) : Christ X X Suff ering a nd X X XI ’ G ren et - D anc o urt : L a B a nque d e l U nivers XVI I G rét ry : R ich ard C oeur - d e- Li o n X and X XXV Grill et : Les Pi erro ts X X XI I I ’ Guich es : Les Qu arts d h eure X XV an d X XVI I Guill ard : Electra IV Guin o n : D ecad ense X XV Guir aud : Le P o ussin XXVII I Guitry Petite H o ll ande XXIV G uyo t (Yv es ) : U n drol e X XV G yp : Le Friquet X XIV

’ H al évy : L Abb e C o n stantin H arsh ad ev a (Sri ) : T h e N eckl ace H a rdy : Alc este H a uptm ann : T h e Weav ers of Sil esi a H e in e : Al m anzor H enn iqu e : Am o ur J arn ac H erm ant : Tr a in s d e luxe L es J acobines H érol d : L e C or ﬂeu r i H erv ieu : L e R eve il ’ L a L o i d e l h o mm e H erv ieu : Le C o urse d u ﬂ ambeau L e Déd a le Les T e n—a ill es C o nn a is t o i ’ L E n igm e Hirsch: En greve H o rnung : R affl es H roswit h a : Abr ah am IN D E X OF AUTHORS 1 69

? H ugo : M angero nt- il s I a nd XXIV Lucrec e B o rgi a VI 1 1 and XI X B , XI X D , X XIII B X XXII L es Jum eau x VII and XX XV T o ile rs of th e Sea I X Ruy- Bl as X XIV H ern ani XI X X X A 1 and X XIV T o rqu em ad a X IX a nd XXI II a nd XX III La E smer ald a XI X and X XIV A 1 1 M ari e Tud o r XI X a nd X XIV B 3 M ari o n D el o rme XI X a nd X XVI I ’ Le R o i s am use XI X Les Burgra ves X I X Nin ety - Three X XI II Ange l o X XV Cro mwe ll XX X

Ibsen : An En emy o f t h e Peo ple H edd a G abl e r T he M as t er Build e r T h e Wild Duck Gh os ts R o sm ers h o l m T he L ady Fr o m t he Sea I cres : Le s B o uchers

J a rry : Ubu - ro i J eo fl r in : L a M o n t a ns ie r ’ ' J o n a th a n : Sim o n l e n l a n t tr o uve Pi e rre V a ux J o ncieres (d e ) : L e Ch e v ali e r J e a n J o sz : Le M a quign o n Re mbr a ndt J u l l 1e n : Le M a itre La M er La Sérén a d e ' L E ch éa nce Vi e ll e hist o ire 1 70 TH I RTY - SI X D RA M ATI C SITUATIONS

K alid asa : S a kuntal a

Agnim it ra an d M al av ik a o N T h e H ero a n d th e Nymph K a mpf : Le Gr and S o ir > H K o u a n - h an- king : T h e R esentm ent o f O T eo u n- go w G

’ L abich e : L Aff aire d e l a rue d e L o u rci ne L agr ange- Ch a nc el : Alc este L am oth e : (E d ipu s ’ La po rte : L H om m e d e pro i e L a um a nn : Le C oeur revel at eu r L aved an : Le Duel V arenn es ’ Les Qu arts d heu re

L e M arqui s d e Pri o l a Sire Léau t au d : Le Pe tit Ami L ebl a nc : Arsen e Lupin Le febvr e : L a Femm e d e d em a in ’ L efevre : L H om m e d e pro i e ’ L em a ire : Le M a ri a ge d And ré Lem a itre : L a M assiere L e D e pute Levea u Rév oltée Lemi erre : I d o m éncée H y perm nest re Le m o nni er : L e Dro it a u b o nh e ur Le P ossédé Le néru (M m e ) : L es Affranchis Léo n : L a Veuve j o y euze L a D iv o rcée Lenotre : V arenn es Lero ux : Les Ly s L ess ing : D am o n Emili a G al ott i M i ss S ar a S ampso n Lin ant : C o nt e d e N oel Livet : N ick C a rter Lo ngepi erre : El ectre L o p e d e Veg a : T h e L ab o rs of J aco b El m ej o r alc ald e el R ey F o nt ov ej u ne D i sc o very o f th e N ew W o rld T h e Abducti o n o f H el e n

1 72 TH I RTY - SI X D R A M AT SITUAT IONS

M ass ing er : T h e B o ndm an T h e P o rtr a it M ath ey : Z oe Chi e n - Chi e n M a uj an : J acqu es B o nh o mm e M aup ass a nt : Pi erre et J ean M az el : L es Am a zo nes M e ilh ac : L a Ve uve j oyeuse M el it u s : (E d ipus M endes : Gl atigny Les M eres e nne mies L a R e in e Fi amm ette

M ercereau : M on frere M erim ee : C o l omb a M essager : Franco i s l es b as- bl eus M et as tas i o : C a to

Al ex ander T h e D esert I s le Cyrus

Antigo ne D em o ph o n Olympi a de R egulus Th emi stocl es D ido Achill es in Scyro s H y psip l e H yl erm nestre D emetrius Se mir amid e rico n osciuta

Adri e n Z en obi a N it et is T h e Chin ese H ero T h e Sh eph erd King Siroes Artax erxes ZE tius M ét énier : La C assero l e ’ M ich a ud d H u m iac : Le Gmur d e Se- h or M ikh ael : Le C o r fl euri ’ M illi et : Le R o i d e l a rgent ’ M il l oeck er : L E t u d iant p auvre M ira l : Lydie M irbe au : Les Aff a ir es sont l es . af1 aires M oses J ob M oliere : D o n Ju an M on tépin : La Pol ic1 ere IN D E X OF AU THO RS 1 73

M o rea u : M ad a m e M argo t Le Dr a pea u G erfa ut U n divorce ’ M o re l : T erre d épo uv an te L a Fill e d u député L a Pi e uvre M o rtier : M a rius v a incu ' M o urey : L Au to m ne L awn - te nnis M uss ato : Ezzelino M uss et : Fa nt as i o Lo re nzaccio ’ On ne b a din e pas a ve c l amo ur André d el S arte s 1 e o sse a et s Mu t er : R , t nt plu

’ N épo t y : L Ore ill e fendue N ico m a qu e : (E d ipus N igo nd : 1 81 2 N o: Les C a rb o n ari N us : Le M a ri

Oh net : S erge Panine D erni e r a m o ur L a C o mt es se S a r a h La G r a nd e M a rniere O l l o gn ier (M m e ) : Le S a is

Pa ill e ro n : L a S o uris Pal a d il h e : P a tri e D i a n a ’ P a ro di : L I n ﬂe x ibl e P a to n : Le Divo rc e d e S a r a h M o o re P e rr a ult : Blu e b e a rd Le Pe tit Po uc e t ' Pe a u d an e ' P e ter : L O r Ph ry n ic h us : T h e D a n a id es Pic a rd : L a Fugitive Pl a nqu e tte : Surco uf Poe : T h e Purl o in e d Le tt e r T he G o ld Bug B er enice 1 74 TH I RTY - SI X D RA MATI C SITUATIONS

’ ' Po bles (d e) : L E nl a nt d u T empl e Po lti : C o mpere l e R en ard Les Cuirs d e bw u f Po rto - Rich e : Le Vi e il H o mm e Les M al eﬁlat re Po uv il l o n : Le R o i d e R o me Pr a d o n : El ectre R egulus Prev ost : M a n o n Lesc a ut Prevost (Jea n ) : (E d ipus Prevo st (M ) : Pi err e et There e La plus f a ibl :

Quin a ult : Alc este

? R abi er : E t m a smur XXVI I I R acine : E sth er Al ex a ndre Les Frere e nn emi s X I I Britannicus XIV M ithrid ate XIV I phigeni e en T a urid e (pro j ecte d ) XI X B érénice X X Alceste (proj ected) X XI Andro m a qu e XXI 11 d XXV Iphigeni e a Aulis X XI II B aj azet X XIV Phedre X XVI Ath a lie X XXI R ach 1ld e : L a Vo ix d a sa ng XI X M a d am e l a M o rt X XIV R a j as ek h ara : T h e S o n s o f P a nd o u I II Th e St atu e X XIV R aymo nd : Les M en a ges d e P ari s X XV R egni er (d e) : La G a rdi enn e X XXV ’ R enau l d : Le Crim e d un a utre XX XII I R eyer : Sigurd X XV Rich a rd : B o isl au r ier II a nd XIV ’ Le R o m an d E l ise X XVI II Rich eb o urg : L a petite M io nne XI X R ich epin : N a n a- S ahib ’ L Ancien XXI Le Chi e n d e ga rd e X XI L a Glu X XI I

1 76 THI RTY - SI X D RA M ATI C SITUATIONS

S a rdo u : Fed or a Th eo do r a ’ L Aff ai re d es Po isso ns ’ S a rdo u (André) : L E t au Schiller : Willi a m T ell

Schiller : Th e Briga nds

T h e Bride of M ess in a M ari e Stu a rt W alle nstein Lo ve and Intrigu e S eco nd : L a Vico mtesse Alice Sed aine : Rich ard C oeur - d e- Li o n

’ See : L Indi scret S en ec a : Th e Ph oenissa Thyestes Oct avi a H ercul es Furens (E d ipu s hd ed ea H ercules o n (E t a H ippo lyte ' l h e Tro j a n Wo me n Séverine : S a inte- H él ne s a o Sh ake pe re . King J hn T h e T e mpest T h e M erch ant of Ve nice

H a ml et

Tro ilus and Cress id a Rich ard H Tim on o f Ath e ns C o ri ol a nus

P ericl es

T wo G entl emen o f V ero n a M eas ure f o r M eas ure Anto ny and Cleo p a tr a H enry VII I R om eo and J ulie t IN D E X O F AUTHORS 1 77

Sh ak es p e are : Jul ius C ae sar H enry IV M acb eth Rich a rd II I C o m edy o f Err o rs M uch Ad o Ab o ut N o thing Oth ello Cymb elin e ’ A Winter s T a l e ' a s o o Sh aw : M rs . W rre n Pr f essi n Sh ell ey : T he C enci XII I B 3 Si enki ewicz : By Fire a nd Swo rd S o ph ocl es : C h ys es M in os O icl es (E d ipus at C o l o nus

N a us ic aa T h e Phea cia ns Acris i us Phil o ctetes at Tro y Eu rys ac es Andro m ed a ! Ege us P el e u s

I o l as (E n ee Phin e us Al etes a n d Erigo n e N a uplius Ixi o n T h e Fe as t o f t h e Ach ae a ns Phrixus T e re us T he Epigo n es El e ctr a E r i hy l e re a ge r Aj a x Lo cri a n La o c o o n T h e Sh e ph e rd s T h e X o a ne pho res T e uc e r S o ph o cl es : T h e C o uncil o f t h e Argiv es L a c o ni a n W o m e n Sin o n (E no m a us O r ithy ie T he A bducti o n o f H e l e n 1 78 THI RTY - SI X D RA MATI C SITUATIONS

So ph ocl es : H ermi o n e P o lyidus W o m en of Scyros Ulysses Philo ctetes H el en R ecl a ime d Thyestes I I Aj a x E um el e P eli as

(Ed ipus th e King Creusa T el ephus E uryal e Al ex a nder Pro cris Amphitryo n Alceste Iphige ni a I ob at e L emni a n W o m en W o men o f C o lch is Antigo ne Th e M a id ens of T rach is Al cm eon Ph a d ra T h am iras N i ob e E u m el e T h e Ph t iot id es P a l amede Thyes tes at S icyo n T h e C aptiv es L ao co o n P o lyx en a T h e Ethi o pi a ns So ubh a t a ; T h e M essa ge o f Angad a So u d rak a : T h e E arth e n T o y - c art S o und ara M i sra : Abh irama m a ni Spero ni : C a n ace Spo ntini : T h e D an a ides St a ce : Aga ve Ste in : L a Ve uve j o yeuse Sue : Les Enf ants n a turels

T a rbé: M o ns i eur d e M o r a t T asso : T o rrism o nd J erus a l em D elivered

1 80 THI RTY- SI X D RA MATIC SITUATIONS

Vo lta ir e : M ero pe S emira mis M ah om et L e H uro n T anis et Zél id e Al z ire Le Triumvirat Z ul im e Brutus N anin e Les Scyth es Olym pi e Iren e C atilin a

L a M o rt d e C aesar M ari ann e T ancrede

W a gn er : L o h e ngrin T h e Ring o f th e Nib elungs P ars if al D ie M e isters inger T a nnh auser Wagner : Trist a n and I so lde W ebster : Vittori a C o romb o na Appius and Virgini a T h e D uch ess of M alfi Sir Th o m as Wya t Wells : T h e W ar of th e Wo rlds Wern er : Attil a T h e Twenty- fo urth of Febru ary Luth er i e eu e ns W ch el er : Le M ari a ge d e M ll . B l m a Wid o r : M a itre Ambros Wild e : S al o m e Willy : L e F requet Leli e W o lf : Les Lys

X eno cl es : (Ed ipus XVI II IN D E X OF AUTHORS 1 81

Z a n a e e o cco e : L C llul N . 7 Z am aco is : B o hém o s Z amo ra : D o n Ju an Z o l a : Le Rev e L a Débacl e ’ L Argent

Theres e R aqu in

L a B ete hum a ine ' L CE uv re L a J o i e d e v 1v re

’ L a F aute d e l a bb e M o uret L a C o nquéte d e Fl ass an s N an a ’ L Ass o m m o ir Le C a pit a in e Burl e J a cques D am o ur P o t - b o uill e R enée Z ol a : L a Curée as a Dr . P c l So n Exc ell e nc e Euge n e L a Fo rtun e d es R o ugo n Le V e ntre d e P a ris M a d e le in e Z o rill a : D o n J u a n

ANONYM OUS

Chin es e : T h e Singe r H indu : A n a rgh a ra - gh a v a D h o u rt t a N a rt t a k a D ho u rt t a S a m ag a m a H a no u m a n ' M ys te ry : Le Mys te r e d Ad a m M ir acl es : Ro b e rt- l e- I) ia b l e B a rl a a m e t J o s a ph a t La M ere m e u t riere d e so n e nfa nt S a int Al e xis ' S a int Ign ac e ( I A n t io e h e G u ib o r ’ L E m pe re u r J uli e n 1 82 TH I RTY - SI X D RA M ATI C SITUATIONS

M iracl es : L a M ere d u P a pe ' L a Fill—e d u ro i d E s pa gn e B erth e au gr a nd pi ed L a Re ine aux tro is ﬁl s B erth equ ine