plain that unless one thinks of this idea, and of this idea only, the expression is not in the least unsuccessful pathos, – it is very broad and highly successful farce!"
And so the atmosphere of Maeterlinck's plays is impregnated throughout with oppressive mysteries, and until the key of these mysteries is found there is very little meaning to the plays. Moreover, these mysteries, be they never so stern and awe-inspiring, are irresistibly alluring. The reason is, they are our own mysteries that have somehow escaped our grasp, and that we fain would recapture, because there dwells in every human breast a vague assent to the immortal truth of Goethe's assertion: "The thrill of awe is man's best heritage."[1]
The imaginative equipment of Maeterlinck's dramaturgy is rather limited and, on its face value, trite. In particular are his dramatis personae creatures by no means calculated to overawe by some extraordinary weirdness or power. And yet we feel ourselves touched by an elemental dread and by an overwhelming sense of our human impotence in the presence of these figures who, without seeming supernatural, are certainly not of common
[17]
- ↑ "Das Schaudern ist der Menschheit bestes Teil."
