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Pelléas and Mélisande CORNELL UNIVERSITY LIBRARY CORNELL UNIVERSITY LIBRARY 3 1924 083 503 866 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924083503866 Pelleas and Melisande and Other Plays THE WORKS OF MAURICE MAETERLINCK ESSAYS The Treasure of the Humble Wisdom and DESTiNy The Life of the Bee The Buried Temple The Double Garden The Measure of the Hours Death On Emerson, and Other Essays Our Eternity The Unknown Guest PLAYS Sister Beatrice and Ardiane and Barbe Bleue JOYZELLE AND MONNA VANNA The Blue Bird, a Fairy Play Mary^ Magdalene Pe'lle'as and Melisande, and Other Plays Princess Maleine The Intruder, and Other Plays Aglavaine and Selysette HOLIDAY EDITIONS Our Friend the Dog The Swarm The Intelligence of the Flowers Chrysanthemums The Leaf of Olive Thoughts from Maeterlinck The Blue Bird The Life of the Bee News of Spring and Other Nature Studies Poems Pelleas and Melisande BY MAURICE MAETERLI^fCK Translated by Richard Hovey t NEW YORK DODD, MEAD AND COMPANY 1915 J^ Olv'l V COPYRIGHT, 1896, BT STONE AND EIHBALL Contents Preface. /^N m'a demand^ plus d'une fois si mes ^-^ drames, de £a Pruicesse Maleine k La Mortde Tintagiles, avaient 6td r^ellement Merits pour un theatre de marionettes, ainsi que je I'avais affirm^ dans I'6dition originale de cette sauvage petite l^gende des malheurs de Maleine. En v6rit6, ils ne furent pas Merits pour des acteurs ordinaires. II n'y avail la nul d^sir ironique et pas la moindre humility non plus. Je croyais sincferement et je crois encore au- jourd'hui, que les po^mes meurent lorsque des etres vivants s'y introduisent. Un jour, dans un 6crit dont je ne retrouve plus que quelques fragments mutil^s, j'ai essayS d'expliquer ces choses qui dorment, sans doute, au fond de notre instinct et qu'il est bien diificile de xt- veiller compl^tement. J'y constatais d'abord, qu'une inquifetude nous attendait a tout spec- tacle auquel nous assistions et qu'une deception a peu prfes ineffable accompagnait toujours la chute du rideau. N'est-il pas Evident que le Macbeth ou I'Hamlet que nous voyons sur la scfene ne ressemble pas au Macbeth ou k : 8 Preface. r Hamlet du livre? Qu'il a visiblement retro- grade dans le sublime? Qu'une grande partie des efforts du pofete qui voulait crder avant tout una vie sup^rieure, una vie plus proche de notre ama, a 6t& annul^e par une force ennemie qui ne peut se manifaster qu'en ramenant cette vie sup^rieure au niveau da la vie ordinaire? II y a peut-etre, me disais-je, aux sources de ce malaise, un trfes ancien malentendu, a la suite duquel le theatre ne fut jamais exactement ce qu'il est dans I'instinct de la foule, a savoir /<? temple du Rive. II faut admettre, ajoutai-je, que le theatre, du moins en ses tendances, est un art. Mais ja n'y trouve pas la marque des autres arts. L'art use toujours d'un detour et n'agit pas directemant. II a pour mission supreme la revelation de I'infini et de la gran- deur ainsi que la beauts secrete, da I'homme. Mais montrer au doigt k I'enfant qui nous ac- compagne, las ^toiles d'une nuit de Juillet, ce n'est pas faire une oeuvre d'art. II faut que l'art agisse comme les abeilles. EUes n'ap- portent pas aux larves de la ruche les fleurs des champs qui renferment leur avenir et leur vie. Les larves mourraient sous ces fleurs sans se douter de rien. II faut que les abeilles nour- rici^res apportent k ces nymphes aveugles I'ame meme de ces fleurs, et c'est alors seulement qu'elles trouveront sans le savoir en ce miel mys- Preface. 9 tdrieux la substance des ailes qui un jour les emporteront k leur tour dans I'espace. Or, le pofeme 6tait nne oeuvre d'art et portait ces obliques et admirables marques. Mais la repre- sentation vient le contredire. Elle chasse vrai- ment les cygues du grand lac, et elle rejette les perles dans I'abime. Elle remet les choses exactement au point ou elles 6taient avant la venue du po^te. La density mystique de I'oeuvre d'art a disparue. Elle verse dans la meme erreur que celui qui aprfes avoir vant6 a ses auditeurs I'admirable Annonciation de Vinci, par exemple, s'imaginerait qu'il a fait p6n6trer dans leurs ames la beauts surnaturelle de oette ptinture en reproduisant, en un tableau vivant, tous les details du grand chef-d'oeuvre florentin. Qui salt si ce n'est pas pour ces raisons cach^es aue Ton est oblige de s'avouer que la plupart des grands pofemes de Thumanit^ ne sont pas sc6niques ? Lear, Hamlet, . Othello, Macbeth, Antoine et CUopdtre, ne peuvent etre repr^sent^s, et il est dangereux de les voir sur la scfene. Quelque chose d' Hamlet est mort pour nous du jour ou nous I'avons vu mourir sous ijos yeux. Le spyectre d'un acteur I'a ddtrond, et nous ne pouvons plus ^carter I'usur- pateur de nos rSves. Ouvrez les portes, ouvrez le livre, le prince ant^rieur ne revient plus. II lo Preface. a perdu la faculty de vivre selon la beaut6 la plus secrete de notre ame. Parfois son ombre passe encore en tremblant sur le seuil, mais d^sormais il n'ose plus, il ne peut plus entrer ; et bien des voix sont mortes qui I'acclamaient en nous. Je me souviens de cette mort de I'Hamlet de mes reves. Un soir j'ouvris la porte a I'usur- pateur du pofeme. L'acteur 6tait illustre. II entra. Un seul de ses regards me montra qu'il n'6tait pas Hamlet. II ne le fut pas un seul instant pour moi. Je le vis s'agiter durant trois heures dans le mensonge. Je voyais claire- ment qu'il avail ses propres destinies ; et celles qu'il voulait repr^senter m'^taient indi- ciblement indifKrentes a c6t6 des siennes. Je voyais sa sant^ et ses habitudes, ses passions et ses tristesses, ses pens6es et ses ceuvres, et il essayait vainement de m'int^resser a une vie qui n'^tait pas la sienne et que sa seule pre- sence avait rendue factice. Depuis je le revois lorsque j'ouvre le livre et Elsinore n'est plus le palais d'autrefois. " La v6rit6," dit quelque part Charles Lamb, " la v6rit6 est que les caractferes de Shakespeare sont tellement des objets de meditation plutot que d'intdrSt ou de curiosity relativement a leurs actes, que, tandis que nous lisons I'un de ses grands caractferes criminals, — Mac- beth, Richard, lago meme, — nous ne songeons 1 Preface. 1 pas tant aux crimes qu'ils commettent, qu'i I'arabition, k I'esprit d'aspiration, a I'activitd intellectuelle qui les poussent k franchir ces barriferes morales. Les actions nous affectent si peu, que, tandis que les impulsions, I'esprit int^rieur en toute sa perverse grandeur, pa- raissent seuls r^els et appellant seuls I'attention, le crime n'est comparativement rien. Mais lorsque nous voyons repr^senter ces choses, les actes sont comparativement tout, et les mobiles ne sont plus rien. L'^motion sublime oh nous sommes entratn^s par ces images de nuit et d'horreur qu'exprime Macbeth ; ce solennel prelude oil il s'oublie jusqu'i ce que I'horloge Sonne I'heure qui doit I'appeler au meurtre de Duncan ; lorsque nous ne lisons plus cela dans un livre, lorsque nous avons abandonn^ ce poste avantageux de I'abstraction d'oii la lecture domine la vision, et lorsque nous voyons sous nos yeux, un homme en sa forme corporelle se preparer actuellement au meurtre ; si le jeu de I'acteur est vrai et puissant, la pdnible anxidt^ au sujet de I'acte, le naturel d^sir de le prdvenir tout qu'il ne semble pas accompli, la trop puis- sante apparence de r^alit^, provoquent un mal- aise et une inquietude qui d^truisent totalement le plaisir que les mots apportent dans le livre, oi I'acte ne nous oppresse jamais de la p^nible sensation de sa presence, et semble plut6t appar- 2 1 Preface. tenir k I'histoire ; k quelque chose de passd et d'in^vitable." Charles Lamb a raison, et pour mille raisons bien plus profondes encore que celles qu'il nous donne. Le theatre est le lieu oCi meurent la plu- part des chefs-d'oeuvre, parce que la represen- tation d'un chef-d'oeuvre k I'aide d'616ments accidentels et humains est antinomique. Tout chef-d'oeuvre est un symbole, et le symbole ne supporte pas la presence active de Thomme. II suffit que le coq chante, dit Hamlet, pour que les spectres de la nuit s'^vanouissent. Et de meme, le pofeme perd sa vie " de la seconde sphfere " lorsqu'un etre de la sphere inf^rieure s'y introduit. L'accident ramfene le symbole a I'accident ; et le chef-d'oeuvre, en son essence, est mort durant le temps de cette presence et de ses traces. Les Grecs n'ignorferent pas cette antinomie, et leurs masques que nous ne comprenons plus ne servaient probablement qn'k att^nuei la presence de I'homme et k soulager le symbole.
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