This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...iron grasp. There is nothing of the improvisatore in him; he has not the romantic passion of George Sand nor Ibsen's spirit of revolt; nor is he a vindicator of social wrongs like M. Brieux. He is a dramatist, perhaps, fathered by the unique Henry Becque, with a vision not unlike Stendhal's. The intensity of ...
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This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1905 edition. Excerpt: ...iron grasp. There is nothing of the improvisatore in him; he has not the romantic passion of George Sand nor Ibsen's spirit of revolt; nor is he a vindicator of social wrongs like M. Brieux. He is a dramatist, perhaps, fathered by the unique Henry Becque, with a vision not unlike Stendhal's. The intensity of this vision, the sincerity of the man, and the utter absence in him of the theatrical wonder-worker have endeared him to M. Brunetiere. Every big play has at least one act that evokes violent discussion. Le Dedale is no exception. Its fifth act is a strain upon our credulity, though sober second thought compels one to accept the denouement, violent as it is. A duel is inevitable between the two men; the death of either one would be banal; Marianne cannot without violating the proprieties be thrust into the arms of either man; besides, the woman, horrified by her error, an error seemingly thrust upon her by malignant fate, has now conceived an aversion to both Max and Guil-laume. Max persecutes her, follows her to her country home, while Guillaume silently tracks him. She meets the latter in an arbour and refuses to live with him again. The injured man encounters Max as that seducer gayly proceeds through the garden. Their meeting is a stirring moment. After a few bitter words Guillaume drags Max over a cliff into a raging stream, where their bodies are swept irrecoverably away. Unconscious of this double tragedy, Marianne is heard calling: " Louis, Louis! " and as the little boy runs in the curtain falls on a mute, touching display of maternal love. The reading of the play gives the impression of a melodramatic touch in this catastrophe. It seems at first as if the author in despair had solved his problem by a hasty theatrical stroke. As...
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