The Thirty-Six Dramatic Situations

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Sarah Bernhardt: The Art Within the Legend - Page 199 https://books.google.be/books?isbn=1400871360

Gerda Taranow - 2015 - ‎Preview - ‎More editions Acutely aware of the importance of chaste sensuality, Sarah Bernhardt stressed this characteristic in the heroines of three of her own four plays: L'Aveu (1888), Adrienne Lecouvreur (1907), and Un Coeur d'homme (1909).

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The Thirty-Six Dramatic Situations

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-“Thus from the first edition of this little book, I might offer (speaking not ironically but seriously) to dramatic authors and theatrical managers, 10,000 scenarios, totally different from those used repeatedly upon our stage in the last 50 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 24 hours are required. Prices quoted on single dozens...
+Sarah Bernhardt: The Art Within the Legend - Page 199
+https://books.google.be/books?isbn=1400871360
-“But I hear myself accused, with much violence, of an intent to ‘kill imagination! Enemy of fancy! Destroyer of wonders! Assassin of prodigy!’ These and similar titles cause me not a blush.” — George Polti, ''36 Dramatic Situations''
+Gerda Taranow - 2015 - ‎Preview - ‎More editions
-<hr>
+Acutely aware of the importance of chaste sensuality, Sarah Bernhardt stressed this characteristic in the heroines of three of her own four plays: ''[[L'Aveu]]'' (1888), Adrienne Lecouvreur (1907), and Un Coeur d'homme (1909).
-"The German poet Friedrich Schiller and the Romantics were interested in the idea that there might be a manageably finite number of plots for fictions, and the nineteenth century French writer [[Georges Polti]], inspired by a remark made by Goethe, listed plot types to describe “[[The Thirty-Six Dramatic Situations|the Thirty-six Dramatic Situations]].”" --Denis Dutton, ''[[The Art Instinct]]''
 |}
 {{Template}}
-'''''The Thirty-Six Dramatic Situations''''' is a descriptive list which was created by [[Georges Polti]] to categorize every dramatic situation that might occur in a [[story]] or [[performance]]. To do this Polti analyzed classical Greek texts, plus classical and contemporaneous French works. He also analyzed a handful of non-French authors. In his introduction, Polti claimed to be continuing the work of the Italian [[Carlo Gozzi]], who also identified 36 situations, as well as the work of German [[Johann Wolfgang von Goethe]].
-This list was published in a book of the same name, which contains extended explanations and examples.  The original French-language text ''36 situations dramatiques'' was published in the ''[[Mercure de France]]'' in [[1894]] and subsequently as a separate volume. An [[English language|English]] translation was published in 1917 and continues to be reprinted to this day.
-The list is popularized as an aid for [[writer]]s, but it is also used by dramatists, [[storyteller]]s and many others.  Other similar lists have since been made, some more attuned to modern sensibilities, but Polti's guide remains one of the most popular and enduring.
-== The 36 Situations ==
-# [[Supplication]]
-#* a Persecutor; a Supplicant; a Power in authority, whose decision is doubtful.
-# [[Deliverance]]
-#* an Unfortunate; a Threatener; a Rescuer
-# [[Crime pursued by vengeance]]
-#* an Avenger; a Criminal
-# [[Vengeance]] taken for kin upon kin
-#* an Avenging Kinsman; Guilty Kinsman; remembrance of the Victim, a relative of both
-# [[Pursuit]]
-#* Punishment; a Fugitive
-# [[Disaster]]
-#* a Vanquished Power; a Victorious Enemy ''or'' a Messenger
-# [[Falling prey]] to cruelty/misfortune
-#* an Unfortunate; a Master ''or'' a Misfortune
-# [[Revolt]]
-#* a Tyrant; a Conspirator
-# [[Daring enterprise]]
-#* a Bold Leader; an Object; an Adversary
-# [[Abduction]]
-#* an Abductor; the Abducted; a Guardian
-# The [[enigma]]
-#* an Interrogator; a Seeker; a Problem
-# [[Obtaining]]
-#* (a Solicitor & an Adversary who is refusing) ''or'' (an Arbitrator & Opposing Parties)
-# [[Enmity of kin]]
-#* a Malevolent Kinsman; a Hatred ''or'' a reciprocally-hating Kinsman
-# [[Rivalry of kin]]
-#* the Preferred Kinsman; the Rejected Kinsman; the Object of Rivalry
-# [[Murderous adultery]]
-#* two Adulterers; a Betrayed Spouse
-# [[Madness]]
-#* a Madman; a Victim
-# [[Fatal imprudence]]
-#* the Imprudent; a Victim ''or'' an Object Lost
-# [[Involuntary crimes of love]]
-#* a Lover; a Beloved; a Revealer
-# [[Slaying of kin unrecognized]]
-#* the Slayer; an Unrecognized Victim
-# [[Self-sacrifice]] for an ideal
-#* a Hero; an Ideal; a Creditor ''or'' a Person/Thing sacrificed
-# [[Self-sacrifice]] for kin
-#* a Hero; a Kinsman; a Creditor ''or'' a Person/Thing sacrificed
-# All sacrificed for [[passion]]
-#* a Lover; an Object of fatal Passion; the Person/Thing sacrificed
-# [[Necessity of sacrificing loved ones]]
-#* a Hero; a Beloved Victim; the Necessity for the Sacrifice
-# [[Rivalry]] of superior v. inferior
-#* a Superior Rival; an Inferior Rival; the Object of Rivalry
-# [[Adultery]]
-#* two Adulterers; a Deceived Spouse
-# [[Crimes of love]]
-#* a Lover; the Beloved
-# [[Discovery of the dishonour of a loved one]]
-#* a Discoverer; the Guilty One
-# [[Obstacles to love]]
-#* two Lovers; an Obstacle
-# [[An enemy loved]]
-#* a Lover; the Beloved Enemy; the Hater
-# [[Ambition]]
-#* an Ambitious Person; a Thing Coveted; an Adversary
-# [[Conflict with a god]]
-#* a Mortal; an Immortal
-# [[Mistaken jealousy]]
-#* a Jealous One; an Object of whose Possession He is Jealous; a Supposed Accomplice; a Cause ''or'' an Author of the Mistake
-# [[Erroneous judgement]]
-#* a Mistaken One; a Victim of the Mistake; a Cause ''or'' Author of the Mistake; the Guilty One
-# [[Remorse]]
-#* a Culprit; a Victim ''or'' the Sin; an Interrogator
-# [[Recovery]] of a lost one
-#* a Seeker; the One Found
-# [[Loss]] of loved ones
-#* a Kinsman  Slain; a Kinsman Spectator; an Executioner
-==See also==
-*[[Dramatic structure]]
-*[[Plot device]]
-*[[Plot hole]]
-*[[Morphology (folkloristics)]]
-==Full text==
-FOREWORD
-The prefaces of many books are more enduring than the
-letter-press they introduce. It is as if an author's after-thoughts
-more nearly express his real thoughts than his well-considered,
-neatly planned succession of chapters. The reason for this,
-though a natural one, came to me only as I read and re-read the
-proofs of "The Thirty-six Dramatic Situations": as an author's
-work is unrolled before him in the type of the gtlUey-proofs,
-the first sight of the printed words induces a freshness -of mind
-that is near relative to the fine frenzy of first conception; added
-to this mental freshness there is a maturity — ^for are not months
-of thought behind the chapters of the work ? — ^that makes the au-
-thor's thoughts as grandparents with the enthusiasms of youth.
-In the prefaces, then, the authors find outlets to express their
-own reactions to their own thoughts.
-I have been step-father to Miss Lucile Ray's translation of
-George Polti's book. My own vague notions of the text,
-gained by awkward concentration and persistent use of Spiers
-and Surenne, became clear ideas as I read page after page of
-Miss Ray's manuscript. As my understanding of Polti's analy-
-ses and classifications grew I thought I perceived the need for
-an introduction that might help to convince authors, and those
-other readers, not authors, who are likely to find Polti's work
-suggestive, of the practical value of the work, and the need to
-read it slowly, and contemplatively; if Situation is compared
-with Situation, as the reading progresses, I thought, the real
-value of the work will become evident. I had not finished the
-first reading of Miss Ray's translation, however, before I real-
-ized that Polti's book would need no recommendation. I must
-add, then, that I write this Foreword merely because these two
-pages, in the last section of the book to go to press, would look
-unseemly if not clothed in print!
-Certain of my thoughts, as I read proof after proof of the
-book, may prove stimulating. Polti nowhere tells what he
-means by a Dramatic Situation. In the Conclusion of the book
-he makes it very clear, however, that he believes in the inven-
-tion of plot, the building up of incident upon incident, to make
-a story, which, likely as not, serves only to enable the author
-to use his plot; Polti seems to scorn the artistic use of plot
-to interest readers in the expression of the author's outlook on
-or opinion of a certain aspect of a moral issue. I have tried to
-find words to express what I understand as a dramatic or story
-situation. Tentatively I offer it that a situation results, in the
-course of action of a story or a play, when the characters are
-brought together, as a logical outcome of preceding incidents of
-the story, so that their contrasting qualities are proved to
-readers, and the central character is faced with a decision to
-be made, or a change to be suffered, or an obstacle to be over-
-come, and an end that the reader or spectator desires, or antici-
-pates, or dreads, is made imminent.
-It also came to me as I pondered some of Polti's sub-classi-
-fications, that often the business of the story maker, and some-
-times the* art of the story artist, consists in making the inex-
-plicable seem explicable! As a corollary I wondered if art in
-story writing and play writing does not consist in the arrange-
-ment of facts or incidents, which may or may not have any
-basis in actuality, in order to convey to readers a notion of
-the author's that either changes or emphasizes the moral atti-
-tude of the reader toward the universe.
-I must offer a word of sympathy to the few readers who
-expect to find in this book a list of plots — such a list as would
-make needless the use of one's power of invention or one's im-
-agination. Polti's work is more than the list of plots you hoped
-to find: it is a thought engine, an engine that even Goethe and
-Crozzi would have used to burnish their conceptions of life, and
-the possible complexities of human existence. If you came to
-"The Thirty-Six Dramatic Situations" to find a story ready-
-made, I beg you stay to have your wits sharpened and your
-power of invention stimulated.
-The work to which Polti refers in the Conclusion, "The Laws
-of Literary Invention," has not yet been published. I hope that
-when France has served civilization to the full, Polti may be
-living to finish this other book.
-WILLIAM R. KANE.
-Ridgewood, New Jersey,
-December 1st, 1916.
-INTRODUCTION
-"Gozzi maintained that
-there can be but thirty-
-s i X tragic situations.
-Schiller took great pains
-to find more, but he was
-unable to find even so
-many as Gozzi."
-Thirty-six situations only! There is, to me, some-
-thing tantalizing about the assertion, unaccompanied
-as it is t>y 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, had himself the most fantastic of imaginations.
-He was the author, this Gozzi, of "Turandot," and of the
-"Roi Cerf," two works almost without analogue, the
-one upon the situation of the "Enigma," the other
-upon phases of metempsychosis; he was the creator
-of a dramatic system, and the Arabesque spirit, through
-him transfused, has given us the work of Hoffmann,
-Jean-Paul Richter and Poe.
-The Venetian's exuberance would have made me
-doubtful of him, since, having once launched at us this
-number 36, he kept silence. But Schiller, rigid and
-ardent Kantian, prince of modern aestheticians, master
-of true historic drama, — had he not in turn, before ac-
-THIRTY-SIX DRAMATIC SITUATIONS
-cepting this rule, "taken g^^eat pains" to verify it (and
-the pains of a Schiller!) thereby giving it the addition-
-al authority of his powerful criticism and his rich
-memory? And Goethe, his opposite in all things save
-a strong taste for the abstract, — Goethe, who through-
-out his life seems to have considered the subject, adds
-his testimony years after the death of Schiller, years
-after their fruitful conversations, at the very time
-when he was completing "Faust," that supreme combi-
-nation of contrasting elements.
-In France, Gérard de Nerval alone had grasped and
-presented briefly the ensemble of all dramatic 4)roduc-
-tion, in an article upon Soumet's "Jane Grey," in
-"L'Artiste," — ^written, unfortunately, with what dandy-
-ism of style ! Having early desired to know the exact
-number of actions possible to the theater, he found, he
-tells us, twenty-four. His basis, however, is far from
-satisfactory. Falling back upon the outworn classifi-
-cation of the seven capital 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 man-
-ner of tragic energy has ever been furnished by ava-
-rice, and the divergence between pride (presumably the
-spirit of tyranny) and anger, does not promise well
-for the contexture of drama, the manifestations of
-the latter being too easily confounded with those of
-envy. Furthermore, murder or homicide, which he
-indicates as a factor for obtaining several new situa-
-tions, by uniting it in turn with each of the others,
-cannot be accepted as such, since it is but an accident
-common to all of them, possible in all, and one most
-frequently produced by all. And finally, the sole title
-mentioned by Nerval, "Rivah-y of Queen and Subject,"
-corresponds, it will be observed, only to a sub-class of
-one, not of his twenty-four, but of Gozzi's Thirty-six
-Situations.
-INTRODUCTION 11
-Since Nerval, no one has treated, in Gozzi's genuine-
-ly technical manner, of the secrets of invention, unless
-it be relevant to mention in this connection Sarcey's
-celebrated theory of the "scène-â-faire," a theory
-in general but ill comprehended by an age which dreads
-didacticism, — that is to say, dreads any serious reflec-
-tion upon art ; some intimate notes of Dumas fils which
-were published against his wishes, if my youthful
-memories are correct, in the "Temps" some years ago,
-and which set forth that double plot of Corneille and
-Racine, a heroine disputed by two heroes, and a hero
-disputed by two heroines ; and, lastly, some works here
-and there by Valin, upon composition. And that is all,
-absolutely all.
-Finally, in brief, I rediscovered the thirty-six situa-
-tions, as Gozzi doubtless possessed them, and as the
-reader will find them in the following pages ; for there
-were indeed, as he had indicated, thirty-six categories
-which I had to formulate in order to distribute fitly
-among them the innumerable dramas awaiting classi-
-fication. There is, I hasten to say, nothing mystic or
-cabalistic about this 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
-than thirty-six dramatic* situations, is attached a
-singular corollary, the discovery that there are in life
-but thirty-six emotions. A maximun of thirty-six emo-
-tions, — and therein we have all the savor of existence ;
-there we have the unceasing ebb and flow which fills
-human history like tides of the sea; which is, indeed, the
-very substance of history, since it is the substance of
-humanity itself, in the shades of African forests as
-*I have replaced the word "tragic**, used in the quotation,
-with "dramatic". Those familiar with Goethe know that for
-him — one of the "classic** Germans — the two terms were synony-
-mous in this passage.
-THIRTY-SIX DRAMATIC SITUATIONS
-Unter den Linden- or beneath the electric lights of the
-Boulevards; as it was in the ages of man's hand-to-
-hand struggle with the wild beasts of wood and moun-
-tain, and as it will be, indubitably, in the most infinite-
-ly distant future, since it is with these thirty-six emo-
-tions — ^no more — that we color, nay, we comprehend,
-cosnaic mechanism, and since it is from them that our
-théogonies and our metaphysics are, and ever will be,
-constructed; all our dear and fanciful "beyonds;" —
-thirty-six situations, thirty-six emotions, and no more.
-It is, then, comprehensible that in viewing upon the
-stage the ceaseless mingling of these thirty-six emo-
-tions, a race or nation arrives at the beginning of its
-definite self -consciousness ; the Greeks, indeed, began
-their towns by laying the foundations of a theater. It
-is equally natural that only the greatest and most com-
-plete civilizations should have evolved their own partic-
-ular conception of the drama, and that one of these
-new conceptions should be revealed by each new evolu-
-tion of society, whence arises the dim but faithful ex-
-pectation of our own age, waiting for the manifestation
-of its own dramatic ideals, before the cenotaphs of an
-art which has 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: — Hindu kings in their chariots,
-Chinese gallants playing their mandores, nude heroes
-of Hellas, legendary knights, adventurers of sword and
-cape, golden-tressed princesses, nymphs sparkling with
-gems, shy maids with drooping eyelashes, famed
-courtesans, chaste Athenian virgins, priestly confes-
-sors, chattering gossips, gurus expounding religious
-ideas, satyrs leaping upon goats' feet, ugly slaves,
-peris, horned devils in disguise, lisping Tartaglias, gar-
-rulous Graciosos, Shakespearian clowns, Hugoesque
-INTRODUCTION là
-buffoons, magistrates, immobile Buddhist, ascetics,
-white-robed sacrificers, martyrs with shining aureoles,
-too-crafty Ulysses, frightful Rakchasas, 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 possessed by Gozzi.
-These thirty-six facets, which I have undertaken to
-recover, should obviously be simple and clear, and of
-no far-fetched character ; of this we shall be convinced
-after seeing them repeated, with unfailing distinctness,
-in all epochs 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
-dissimilar 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,
-needless to say, of the Greek theater. However, in-
-stead of confining ourselves to the thirty-two classic
-tragedies we shall make use of those works of Hellen-
-ism which, unfortunately for the indolent public of
-today, still lie buried in Latin ; works from whose great
-lines might be reconstructed hundreds of masterpieces,
-and all offering us, from the shades to which we have
-relegated them, the freshness of unfamiliar beauty.
-Leaving aside, for the present, any detailed considera-
-tion of the Persian and mediaeval Mysteries, which
-depend almost without exception upon two or three
-situations, and which await a special study, we shall
-glance over, — after the Jeux and Miracles of the
-thirteenth and fourteenth centuries, — the Spanish
-authors, the French classics, the Italians, the Germans
-of the Romantic revival, and our modern dramatic
-literature. And it seems to me we shall have finally
-proved this theory of the Thirty-six Situations, when
-l4 THIRTY-SIX DRAMATIC SITUATIONS
-we shall thi^s have brought it into contact with the
-dramatic production of the last thirty years.
-Two hundred of the examples cited have been taken
-from other literary genres akin to the dramatic:
-romance, epic, history, — and from reality. For this
-investigation can and should be pursued in human
-nature, by which I mean in politics, in courts of
-justice, in daily life. Amid these explorations
-tne present study will soon seem but an introduc-
-tion to a marvellous, an inexhaustible stream,
-— ^the Stream of Existence, where meet momen-
-tarily, in their primordial unity, history, mystic poetry,
-moralist (and amoralist) writings, humor, psychology,
-law, epic, romance, fable, myth, proverb and prophecy.
-It may here be allowable to ask. with our theory in
-mind, a number of questions which to us are of primary
-importance.
-Which are the dramatic situations neglected by our
-own epoch, so faithful in repeating the few most
-familiar? Which, on the other hand, are most in use
-today? Which are the most neglected, and which the
-most used, in each epoch, genre, school, author?
-What are the reasons for these preferences? The
-same questions may be asked before the classes and
-sub-classes of the 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
-which 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 one of our thirty-six categories, a unique case,
-— one without analogue among the other thirty-five,
-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
-gub-classes of the situation to which it belongs, we
-INTRODUCTION 16
-shall be able to form, in each of the thirty-five others,
-a sub-class corresponding 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 thirty-five "original imitations,"
-thirty-five new scenarios, of a more unforeseen char-
-acter, certainly, than the majority of our dramas,
-which, whether inspired by books or realities, when
-viewed in the clear light of the ancient writings re-
-vealed to us only their reflections, so long as we had
-not, for our guidance, the precious thread which van-
-ished with Gozzi.
-Since we now hold this thread, let us unwind it.
-===FIRST SITUATION ===
-SUPPLICATION
-(The dynamic 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 of three slightly differing 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 appeal of the persecuted? In
-the second, by means of a contraction analogous to
-that which abbreviates a syllogism* to an enthymeme,*
-this undecided power is but an attribute of the persecu-
-tor himself, — a weapon suspended in his hand; shall
-anger or pity determine his course? In the third
-group, on the contrary, the suppliant element is divided
-between two persons, the Persecuted and the Interces-
-sor, thus increasing the number of principal char-
-acters to four.
-These three groups (A, B, C) may be subdivided as
-follows :
-A (1) — Fugitives Imploring the Powerful for Help
-♦Syllogism: A reckoning all together, a reasoning; to bring
-at once before the mind; to infer; conclude. As "Every virtue
-is laudable; kindness is a virtue; therefore kindness is laudable.*'
-Enthymeme : An argument consisting of only two propositions ;
-an antecedent and its consequent; a syllogism with one premise
-omitted; as "We are dependent, therefore we should be humble,"
-FIRST SITUATION 17
-Against Their Enemies. — Complete examples: "The Suppliants" and "[[The Heraclidae]]" of Aeschylus ; "The
-Heraclidae" of Euripides; the "Minos" of Sophodes. Cases in which the fugitives are guilty: the "Oïcles" and "Chryses" of Sophocles; "The Eumenides" of Aeschylus. A partial example : Act II of Shakespeare's "[[King John]]." Familiar instances: scenes from colonial protectorates.
-(2) — Assistance Implored for the Performance of a
-Pious Duty Which Has Been Forbidden. — Complete
-examples: 'The Eleusinians" of Aeschylus and "The
-Suppliants" of Euripides. A historical example: the
-burial of Molière. A familiar instance : a family
-divided in its religious belief, wherein a child, in order
-to worship according to his conscience, appeals to the
-parent who is his co-religionist.
-(3) — Appeals for a Refuge in Which to Die. — Com-
-plete example: "Œdipus at Colonus." Partial ex-
-ample: the death of [[Zineb]], in Hugo's "[[Mangeront-ils ?]]"
-B (1) — Hospitality Besought by the Shipwrecked. —
-Complete example: "Nauéicaa" and "The Pheacians"
-of Sophocles. Partial example: Act I of Berlioz'
-"Trojans."
-(2)— Charity Entreated by Those Cast off by Their
-Own People, Whom They Have Disgraced. — Examples :
-the "Danae" of Aeschylus and the "Danae" of
-Euripides ; the "Alope," "Auge" and "The Cretans" of
-Euripides. Familiar instancesK. a large part of the
-fifteen or twenty thousand adventures which, each
-year, come to an end in the Bureau des Enfants-
-Assistés. Special instance of a child received into a
-home : the beginning of "Le Rêvej" by Zola.
-(3) — Expiation: The Seeking of Pardon, Healing or
-Deliyerance. — Examples : Sophocles' "Philoctetes ;"
-Aeschylus' "Mysians;" Euripides' "Telephus;" "Les
-Champairol" (Rraisse, 1884). Historical è^Cample : the
-THIRTY-SIX DRAMATIC SITUATIONS
-penitence of Barbarossa. Familiar instances : petitions
-for pardon, confession of Catholics, etc.
-(4) — ^The Surrender of a Corpse, or of a Relic, So-
-licited: — "The Phrygians" of Aeschylus. Historical
-examples: the Crusaders' embassies to the Moslems.
-Familiar instances: the reclaiming of the remains of
-a great man buried in a foreign land; of the body of
-an executed person, or of a relative dead in a hospital.
-It should be noted that the "Phrygians," and the
-Twenty-fourth Book of the Iliad, which inspired the
-play, form a transition toward the Twelfth Situation
-(A Refusal Overcome).
-C (1) — Supplication of the Powerful for Those Dear
-y/ to the Suppliant. — Complete example : Esther. Partial
-example: Margaret in the denouement of "Faust."
-Historical example: Franklin at the court of Louis
-XVI. Example corresponding also to A (3) : the
-"Propompes" of Aeschylus.
-(2) — Supplication To a Relative in Behalf of Another
-Relative. — Example: the "Eurysaces" of Sophocles.
-(3) — Supplication to a Mother's Lover, in Her Be-
-half — Example: "L'Enfant de l'Amour," (Bataille,
-).
-It is apparent that, in the modem theater, very little
-use has been made of this First Situation. If we ex-
-cept subdivisions C (1), which is akin to the poetic
-cult of the Virgin and the Saints, and C (3), there is
-not a single pure example, doubtless for the reason that
-the antique models have disappeared or have become
-unfamiliar, and more particularly because, Shake-
-speare, Lope and Corneille not having transformed this
-theme or elaborated it with those external complexi-
-ties demanded by our modem taste, their successors
-have found the First Situation too bare and simple a
-subject for this epoch. As if one idea were necessarily
-more simple than another ! — as if all those which have
-since launched upon our stage their countless ramifica-
-FIRST SITUATION 19
-tions had not in the beginning shown the same vigor-
-ous simplicity !
-It is, however, our modem predilection for the com-
-plex which, to my mind, explains the favor now
-accorded to group C alone, wherein by easy means a
-fourth figure (in essence, unfortunately, a somewhat
-parasitic and monotonous one), the Intercessor, is
-added to the trinity of Persecutor, Suppliant and
-Power.
-Of what variety, nevertheless, is this trinity capable !
-The Persecutor, — one or many, voluntary or unconsci-
-ous, greedy or revengeful, spreading the subtle net-
-work of diplomacy, or revealing himself beneath the
-formidable pomp of the greatest contemporary powers ;
-the Suppliant, artless or eloquent, virtuous or guilty,
-humble or great; and the Power, neutral or partial to
-one side or the otner, perhaps inferior in strength to
-the Persecutor and surrounded by his own kindred who
-fear danger, perhaps deceived by a semblance of right
-and justice, perhaps obliged to sacrifice a high ideal;
-sometimes severely logical, sometimes emotionally
-susceptible, or even overcome by a conversion a la
-Dostoievsky, and, as a final thunderbolt, abandoning the
-errors which he believed to be truth, if not indeed the
-truth which he believed to be error!
-Nowhere, certainly, can the vicissitudes of power, be
-it arbitral, tyrannical, or overthrown, — the supersti-
-tions which may accompany doubt and indecision,— in
-the one side the sudden turns of popular opinion, on
-the other the anxiety with which they are awaited, —
-despairs and their resulting blasphemies, — hope sur-
-viving to the last breath, — ^the blind brutality of f ate,—
-nowhere can they become so condensed and burst forth
-with such power as in this First Situation, in our day
-ignored.
-France's enthusiastic sympathy for Poland, re-
-vived during the last half -century ; the same sympathy
-THIRTY-SIX DRAMATIC SITUATIONS
-which on so many historic occasions she has mani-
-fested for Scotland and for Ireland, might here find
-tragic expression; that cry of humanity with which
-a single priest, at the massacre of Fourmies, rallied to
-the Ghurch sl fraction of revolutionary France ; the
-worship of the dead, that first, last, most primitive
-and most indestructible form of religious sentiment ;
-the agony which awaits us all, agony dragging itself
-toward the darkness like a spent beast ; the profoundly
-humble longing of one whom a murder has deprived
-of all that was dearest to him, that pitiable entreaty,
-on bended knees, which melted into tears the savage
-rancor of Achilles and caused him to forget his vow; —
-all are here in this First Situation, all these strong
-«notions, and yet others ; nowhere else, indeed, can
-they be found in such completeness, — and our modern
-world of art has forgotten this situation!
-===SECOND SITUATION ===
-DELIVERANCE
-(Elements: an Unfortunate, a Threatener, a Rescuer)
-This is, in a way, the converse of the First Situation,
-in which the unfortunate appeals to an undecided
-power, whereas here an unexpected protector, of his
-own accord, comes suddenly to the rescue of the dis-
-tressed and despairing.
-A— Appearance of a Rescuer to the Condemned:-^
-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 patron in "Boislaurier" (Richard, 1884). The
-last example and the following show particularly the
-honor of the unfortunate at stake : Daniel and Susanna,
-and various exploits of chivalry. A parody: "Don
-Quixote." A familiar instance: judicial assistance.
-The denouement of "Bluebeard" (here the element of
-kinship enters, in the defense by brothers of their
-sister, and increases the pathos by the most simple of
-means, forgotten, however, by our playwrights).
-B (1) — A Parent Replaced Upon a Throne by his
-Children: — "Aegeus" and "Peleus," by Sophocles;
-Euripides' "Antiope." Cases in which the children have
-previously been abandoned are "Athamas I" and also
-the "Tyro" of Sophocles. (The taste of the future
-author of "Œdipus at Colonus" for stories in which
-THIRTY-SIX DRAMATIC SITUATIONS
-the Child plays the role of deliverer and dispenser of
-justice, forms a bitter enough contrast to the fate
-which awaited the poet himself in his old age.)
-(2) — Rescue by Friends» or by Strangers Grateful
-for Benefits or Hospitality: — Sophocles' "Œneus,"
-"lolas" and "Phineus." A partial example: the
-second part of Euripides' "Alceste." Example in
-comedy: Musset's "Fantasio." Example in which
-protection is accorded by the host who has granted
-asylum: Euripides' "Dictys."
-We see, by a glance over these subdivisions, what our
-writers might have drawn from the second of the Situ-
-ations. For us, indeed, it should possess some Uttle
-attraction, if only for the reason that two thousand
-years ago humanity once more listened to this story
-of the Deliverer, and since then has so suffered, loved
-and weî>t 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
-French Revolution. Despite all this, in art, — ^if we
-except the burlesque of Cervantes, and the transplend-
-ent light flashing from the silver armor of
-Lohengrin, — ^in art, as yet, it is hardly dreamed of.
-===THIRD SITUATION ===
-CRIME PURSUED BY VENGEANCE
-(Elements: an Avenger and a Criminal)
-Vengeance is a joy divine, says the Arab; and such
-indeed it seems to have frequently been, to the God
-of Israel. The two Homeric poems both end with an
-intoxicating vengeance, as does the characteristic
-Oriental legend of the Pandavas ; while to the Latin and
-Spanish races the most satisfying of spectacles is still
-that of an individual capable of executing a legitimate,
-although illegal, justice. So much goes to prove that
-even twenty centuries of Christianity, following five
-centuries of Socratic philosophy, have not sufficed to re-
-move Vengeance from its pedestal of honor, and to sub-
-stitute thereon Pardon. And Pardon itself, even
-though sincere, — ^what is it but the subtile quintessence
-of vengeance upon earth, and at the same time the
-claiming of a sort of wergild from Heaven?
-A (1) — ^The Avenging of a Slain Parent or Ances-
-tor: — "The Singer," an anonsrmous Chinese drama;
-"The Tunic Confronted" (of the courtesan Tchang-
-koue-pin) ; 'The Argives" and "The Epigones" of
-Aeschylus; Sophocles' "Aletes and Erigone;" "The
-Two Foscari," by Byron ; Werner's "Attila ;" "Le Crime
-de Maison-Alfort" (Coedes, 1881) ; "Le Maquignon"
-(Josz and Dumur, 1903). In the last three cases, as
-well as in the following one, the vengeance is accom-
-plished not by a son, but by a daughter. Example
-THIRTY-SIX DRAMATIC SITUATIONS
-from fiction: Mérimée's "Colomba." Familiar in-
-stances: the majority of vendettas. "Le Prêtre" (Buet,
-) presents especially the psychologic struggle be-
-tween pardon and vengeance. Example of the aveng-
-ing of a father driven to suicide: "L'Or" (Peter and
-Danceny, 1908).
-(2) — ^The Avenging of a Slain Child or Descendant:
-— Sophocles' "Nauplius;" a part of "Sainte-Helene"
-(Mme. Séverine, 1902) ; the end of Euripides'
-"Hecuba." Epic example: Neptune's pursuit of
-Ulysses because of the blinding of Polyphemus.
-(3) — Vengeance for a Child Dishonored: — "El Mejor
-Alcalde el Rey," by Lope de Vega; "The Alcalde of
-Zalamea," by Calderon. Historic example: the death
-of Lucrèce.
-(4) — ^The Avenging of a Slain Wife or Husband: —
-Carneille's "Pompée;" "L'Idiot" (de Lorde, 1903).
-Contemporary instance: the trials of Mme. Veuve
-Barrême.
-(5) — Vengeance for the Dishonor, or Attempted
-Dishonoring, of a Wife: — ^The "Ixions" of Aeschylus,
-of Sophocles and of Euripides; "The Perrhoebides" of
-Aeschylus; "Les Révoltés" (Cain and Adenis, 1908).
-Historic example: the priest of Ephraim. Similar
-cases, in which the wife has only been insulted:
-"Venisamhâra," by Bhatta Narayana; "The Sons of
-Pajndou," by Rajasekhara. Familiar instances:
-a large number of duels.
-(6> — Vengeance for a Mistress Slain: — "Love after
-Death," by Caleron; "Amhra" (Grangeneuve, 1882);
-"Simon the Foundling" (Jonathan, 1882.
-(7) — Vengeance for a Slain or Injured Friend: —
-"The Nereids" of Aeschylus. A contemporary instance :
-Ravachol. Case in which the vengeance is perpetrated
-upon the mistress of the avenger: "La Casserole"
-(Méténier,1889).
-THIRD SITUATION 25
-(8) — Vengeance for a Sister Seduced: — Goethe's
-"Clavijo;" "Les Bouchers" (Teres, 1888); "La
-Casquette au Père Bugeaud" (Marot, 1886). Examples
-from fiction: "La KerTYi Q5=;sft Ron^ e/' in Eekhoud's col-
-lection, and the end of Bourget's "Disciple."
-B (1) — Vengeance for Intentional Injury or Spolia-
-tion: — Shakespeare's "Tempest." Contemporary in-
-stance : Bismarck in his retirement at Varzin.
-(2) — Vengeance for Having Been Despoiled During
-Absence: — "Les Joueurs d'Osselets" and "Penelope,"
-by Aeschylus; "The Feast of the Achaeans," by
-Sophocles.
-(3) — Revenge for an Attempted Slaying: — "The
-Anger of Te-oun-go," by Kouan-han-king. A similar
-case involving at the same time the saving of a loved
-one by a judicial error: "La Cellule No. 7," (Zaccone,
-).
-(4) — Revenge for a False Accusation: — The
-"Phrixus" of Sophocles and of Euripides; Dumas'
-"Monte-Cristo;" "La Déclassée" (Delahaye, 1883);
-"Roger-la-Honte" (Mary, 1881).
-(5) — Vengeance for Violation : — S o p h o c 1 e s'
-"Tereus;" "The Courtesan of Corinth" (Carré and
-Bilhaud, 1908) ; "The Cenci," by Shelley (parricide as
-the punishment of incest) .
-(6) — Vengeance for Having Been Robbed of Ones
-Own: — "The Merchant of Venice," and partly "William
-Tell."
-(7) — Revenge Upon a Whole Sex for a Deception by
-One: — "Jack the Ripper" (Bertrand and Clairian,
-) ; the fatal heroines of the typical plays of the
-Second Empire, "L'Etrangère," etc. A case appertain-
-ing also to class A : the motive (an improbable one) of
-the corruptress in "Possédé," by Lemonnier.
-We here encounter for the first time that grimacing
-personage who forms the keystone of all drama dark
-and mysterious, — the "villain." About the beginning-
-THIRTY-SIX DRAMATIC SITUATIONS
-of our Third Situation we might evoke him at every
-step, this villain and his profound schemes which not
-infrequently make us smile. Don Salluste in "Ruy-
-Blas," lago in "Othello," Guanhumara in "Burgraves,"
-Homodei in "Angelo," Mahomet in the tragedy of that
-name, Leontine in "Heraclius," Maxime in "La Tragédie
-de Valentinien," Emire in "Siroès," Ulysses in
-"Palamedes."
-C — ^Professional Pursuit of Criminals (the coun-
-terpart of which will be found in the Fifth Situation,
-n/ Class A) :— "Sherlock... iiolmes'' (Conan Doyle);
-"Vidocq" (Bergerat, 1910) ; "Nick Carter" (Busson
-and Livet, 1910).
-Frequently used though this situation has been in
-our day, many an ancient case awaits its rejuvenes-
-cence, many a gap is yet to be filled. Indeed, among
-the bonds which may unite avenger and victim, more
-than one degree of relationship has been omitted, as
-well as the majority of social and business ties. The
-list of wrongs which might provoke reprisal is far from
-being exhausted, as we may assure ourselves by enum-
-erating 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
-effect, and how many and what sort of relationships
-may exist between Avenger and Criminal. And these
-questions concern merely the premises of the action.
-To this we may add all the turns and bearings, slow
-or instantaneous, direct or tortuous, frantic or sure,
-which punishment can take, the thousand resources
-which it offers, the points at which it may aim in its
-deadly course, the obstacles which chance or the
-defendant may present. Next introduce various
-secondary figures, each pursuing his own aims, as in
-life, intercrossing each other and crossing the drama —
-and I have sufficient esteem for the reader's capabili-
-ties to develop the subject no further.
-===FOURTH SITUATION ===
-VENGEANCE TAKEN FOR KINDRED UPON
-KINDRED
-(Elements: Avenging Kinsman; Guilty Kinsman;
-Remembrance of the Victim, a Relative of Both.)
-Augmenting the horror of .Situation XXVII ("Dis-
-covery of the Dishonor of Ones Kindred") by the
-rough vigor of Situation III, we create the present
-action, which confines itself to family life, making of
-it a worse hell than the dungeon of Poe's "Pit and the
-Pendulum." The horror of it is such that the terrified
-spectators dare not intervene ; they seem to be witness-
-ing at a distance some demoniac scene silhouetted in
-a flaming house.
-Neither, it seems, do our dramatists dare intervene
-to modify the Greek tragedy, — such as it is after
-thirty appalling centuries.
-For us it is easy to compute, from the height of our
-"platform" — to use Gozzi's word — the infinite varia-
-tions possible to this theme, by multiplying the com-
-binations which we have just found in the Third Situa-
-tion, by those which the Twenty-seventh will give us.
-Other germs of fertility will be found in turn in the
-circumstances which have deternuned the avenger's
-action. These may be a spontaneous desire on his
-own part (the simplest motive) ; the wish of the dying
-victim, or of the spirit of the dead mysteriously appear-
-THIRTY-SIX DRAMATIC SITUATIONS
-ing to the living ; an imprudent promise ; a profession-
-al duty (as when the avenger is a magistrate, etc.) ;
-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-
-nized 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 has but made of himself a detestable criminal.
-A (1) — A Father's Death Avenged Upon a Mother:
-— "The Choephores" of Aeschylus; the "Electras" of
-Sophocles, Euripides, Attilius, Q. Cicero, Pradon, Longe-
-pierre, Crébillon, Rochefort, Chénier, and of Guillard's
-opera ; the "Orestes" of Voltaire and of Alfieri ;
-Sophocles' "Epigones;" the "Eriphyles" of Sophocles
-and of Voltaire ; and lastly "Hamlet," in which we recog-
-nize so clearly the method by which the poet rejuven-
-ates his subjects, — by an almost antithetic change of
-characters and of milieu.
-(2) — A Mother Avenged Upon a Father: — "Zoe
-Chien-Chien" (Matthey, 1881) in which the parricide
-is counter-balanced by an incestuous passion, and is
-committed by the daughter, not by the son.
-B — A Brother^s Death Avenged Upon a Son (but
-without premeditation, this accordingly falling almost
-mto the situation "Imprudence") : — Aeschylus' "Ata-
-lanta" and Sophocles' "Meleager."
-C — A Father's Death Avenged Upon a Husband: —
-"Rosmunde" (Rucellai) .
-D — A Husband's Death Avenged Upon a Father: —
-"Orbecche" by Giraldi.
-Thus, of twenty-two works, eighteen are in the same
-class, seventeen in the same sub-class, thirteen upon
-the same subject; — four classes and one sub-class
-FOURTH SITUATION 20
-altogether. Let us, for the moment, amuse ourselves
-by counting some of those which have been forgotten.
-A father's death avenged upon the brother of the
-avenger. Upon his sister. Upon his mistress (or, in
-the case of a feminine avenger, upon her lover, for
-each of the cases enumerated has its double;, according
-to the sex of the avenger) . Upon his wife. Upon his
-son. Upon his daughter. Upon his paternal uncle.
-Upon his maternal uncle. Upon his paternal or mater-
-nal grandfather; his paternal or maternal grand-
-mother. Upon half-brother or half-sister. Upon a
-person allied by marriage (brother-in-law, sister-in-
-law, etc.) or a cousin. 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 person of the criminal himself, but upon
-some one dear to him (thus Medea and Atreus struck
-Jason, and Thyestes through their children) , and even
-inanimate objects may take the place of victims.
-?.*
-===FIFTH SITUATION ===
-PURSUIT
-(Elements: Punishment and Fugitive)
-As the Second Situation was the converse of the
-First, so this situation of Pursuit represents a transi-
-tion into the passive of the Third aiid Fourth, and, in
-fact, of all those in which danger pursues a character.
-There remains, however, a distinction; in Pursuit the
-avenging element holds second place, or perhaps not
-even that; it may be, indeed, quite invisible and
-abstract. Our interest is held by the fugitive alone;
-sometimes innocent, always excusable, for the fault —
-if there was one — appears to have been inevitable,
-ordained ; we do not inquire into it or blame it, which
-would be idle, but ssrmpathetically suffer the conse-
-quences 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 all the crimes, there is not one which
-it is impossible to imagine ourselves committng, under
-certain circumstances. In this Situation we feel our-
-selves, so to speak, accomplices in even the worst of
-slayings. Which may be explained by the reflection
-that along our various lines of heredity many such
-crimes might be found, and our present virtuousness
-may mean simply an immunity from criminal tend-
-encies which we have gained by the experience of our
-FIFTH SITUATION 31
-ancestors. If this be the case, heredity and environ-
-ment, far from being oppressive fatalities, become the
-germs of wisdom, which, satiety being reached, will
-triumph. This is why genius (not that of neurosis,
-but of the more uncommon mastery of neurosis) ap-
-pears especially in families which have transmitted to
-it a wide experience of folly.
-Through drama, then, we are enabled to gain our
-experience of error and catastrophe in a less costly
-way; by means of it we evoke vividly the innumer-
-able memories which are sleeping in our blood, that
-we may purify ourselves of them by force of repetition,
-and accustom our dark souls to their own reflections.
-Like music, it will in the end "refine our manners" and
-dower us with the power of self-control, basis of all
-virtue. Nothing is more moral in effect than im-
-morality in literature.
-The sense of isolation which characterizes Situation
-V gives a singular unity to the action, and a clear
-field for psychologic observation, which need not be
-lessened by diversity of scenes and events.
-A — Fugitives From Justice Pursued For Brigandage,
-Political Offenses, Etc.: — "Louis Perez of Galicia" and
-"Devotion to the Cross," both by Calderon ; the begin-
-ning of the mediaeval Miracle "Robert-le-Diable" ;
-"The Brigands" by Schiller; "Raffles" (Homung,
-). Historical examples: the proscription of the
-Conventionnels; the Duchesse de Berry. Examples
-from fiction: "Rocambole" by Gaboriau; "Arsène Lupin"
-(Leblanc). Familiar instances: police news. Ex-
-ample in comedy : "Compère le Renard" (Polti, 1905) .
-B — Pursued For a Fault of Love: — unjustly,
-"Indigne!" (Barbier, 1884); more justly, Molière's
-"Don Juan" and Corneille's "Festin de Pierre," (not to
-speak of various works of Tirso de Molina, Tellez,
-Villiers, Sadwell, Zamora, Goldoni, Grabbe, Zorilla,
-Dumas père) ; very justly, "Ajax of Locris," by
-â2 THIRTY-SIX DRAMATIC SITUATIONS
-Sophocles. Familiar instances run all the way from
-the forced marriage of seducers to arrests for side-
-walk flirtations.
-C — A Hero Struggling Against a Power: — Aeschy-
-lus' "Prometheus Bound"; Sophocles' ''Laocoon"; the
-role of Porus in Racine's and also in Metastasio's
-"Alexandre" ; Corneille's "Nicomede" ; Goethe's "Goetz
-von Berlichingen" and a part of "Egmont" ; Metastasio's
-"Cato" ; Manzoni's "Adelghis" and a part of his "Count
-of Carmagnola" ; the death of Hector in Shakespeare's
-"Troilus and Cressida" ;"Nana-Sahib" (Richepin, 1883) ;
-"Edith" (Bois, 1885); the tetralogy of the "Nibe-
-lungen' ; "An Enemy of the People" (Ibsen) ; "Le Roi
-sans Couronne" (de Bouhélier, 1909).
-D — A Pseudo-Madman Struggling Against an lago-
-Like Alienist: — "La Vicomtesse Alice" (Second, 1882).
-===Sixth situation ===
-DISASTER
-(Elements : a Vanquished Power ; a Victorious Enemy
-or a Messenger)
-Fear, catastrophe, the unforeseen ; a great reversal of
-roles; the powerful are overthrown, the weak exalted.
-Here is the oft-recurring refrain of the Biblical books,
-here the immortal echoes of the fall of Troy, at which
-we still pale as though with a presentiment.
-A (1)— Defeat SuflFered :— "The Myrmidons" and
-"The Persians" of Aeschylus; "The Shepherds" of
-Sophocles. Example from fiction; "La Debacle," by
-Zola. History is made up of repetitions of this story.
-(2) — A Fatherland Destroyed: — "The Xoanephores"
-of Sophocles; Byron's "Sardanapalus" (this corresponds
-also to Class B, and toward the dénouement, recalls the
-Fifth Situation). Examples from history: I^oland;
-the great Invasions. From romance : "The War of the
-Worlds" (Wells).
-(3)— The Fall of Humanity :— the Mystery of
-"Adam" (twelfth century).
-(4) — A Natural Catastrope: — "Terre d'Epouvante"
-(de Lorde and Morel, 1907).
-B — A Monarch Overthrown (the converse of the
-Eighth) :— Shakespeare's "Henry VI" and "Richard
-II." Historic instances: Charles I, Louis XVI, Napo-
-leon, etc.; and, substituting other authorities than
-kings, Colomb, de Lesseps, and all disgraced ministers.
-Examples from fiction: the end of "Tartarin,"
-"L'Argent," "Cesar Birotteau."
-88
-THIRTY-SIX DRAMATIC SITUATIONS
-C (1) — Ingratitude Suffered (of all the blows of
-misfortune, this is perhaps the most poignant) : —
-Euripides' "Archelaus" (excepting the dénouement, 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
-unappreciated by those who have benefited by it, the
-most glorious of deaths shine against this dark back-
-ground ; Socrates and the Passion are but the most
-celebrated examples. "Le Reformateur" (Rod, 1906).
-(2) — ^The Suffering of Unjust Punishment or
-Enmity (this corresponds in some degree to the
-"Judicial Errors") : — Sophocles' "Teucer" ; Aeschylus'
-"Salaminiae."
-(3)— An Outrage Suffered:— the first act of "The
-Cid"; the first act of "Lucrèce 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) — Abandonment by a Lover or a Husband: —
-"Faust"; Corneille's "Ariane"; the beginning of the
-"Medeas"; "Maternité" (Brieux, 1903). .
-(2)— Children Lost by Their Parents:— "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?
-Shakespeare did not tread far enough upon that
-majestic way. Only among the Greeks has a work of
-this kind presented at one stroke that conception of
-human events, sublime, fatalistic and poetic, of which
-Herodotus was one day to create history.
-,v
-===SEVENTH SITUATION ===
-FALLING PREY TO CRUELTY OR MISFORTUNE
-(Elements: an Unfortunate; a Master or a Misfortune)
-To infinite sorrow there is no limit. Beneath that which seems the final depth of misfortune, there may open another yet more frightful. A ferocious and deliberate dissection of the heart it seems, this Seventh Situation, — ^that of pessimism par excellence.
-A — ^The Innocent Made the Victim of Ambitious
-Intrigue: — "The Princess Maleine" (Maeterlinck) ;
-"The Natural Daughter," by Goethe; "Les Deux
-Jumeaux," by Hugo.
-B — ^The Innocent Despoiled by Those Who Should
-Protect: — "The Guests" and the beginning of the
-"Joueurs d'Osselets," by Aeschylus (at the first vibra-
-tion of the great bow in the hands of the unknown
-Beggar, what a breath of hope we draw!) ; "Les Corbeaux" by Becque; "Le Roî de Rome" (Pouvillon) ;
-"L'Aiglon" (Rostand) ; "La Croisade des Enfantelets
-Francs" (Ernault).
-C (1) — The Powerful Dispossessed and Wretched:
-— ^The beginning of Sophocles' and of Euripides'
-"Peleus" ; of "Prometheus Bound" ; of "Job." Laertes
-in his garden. Example from comedy : "Le Jeu de la
-Feuillée" (Adam de la Halle).
-(2) — A Favorite or an Intimate Finds Himself Forgotten:— "En Détresse" (Fevre, 1890).
-D— The Unfortunate Robbed of Their Only Hope:
-'The Blind" by Maeterlinck; "Beethoven" (Fauchois,
-) ; "Rembrandt" (Dumur and Josz).
-And how many cases yet remain! The Jews in
-captivity, slavery in America, the horrors of the
-Hundred Years' War, invaded ghettos, scenes such as
-draw the crowd to any reproduction of prison life or of
-Inquisition, the attraction of Dante's Inferno, of Pel-
-lico's "Prisons," the transporting bitterness of Gau-
-tama, of Ecclesiastes, of Schopenhauer!
-===EIGHTH SITUATION ===
-REVOLT
-(Elements: Tyrant and Conspirator)
-As already observed, this situation is, in a measure,
-the converse of Class B of Situation VI.
-Intrigue, so dear to the public of the past three cen-
-turies, is obviously supplied by the very nature of the
-subject we are now to consider. But, by some strange
-chance, it has, on the contrary, always been treated
-with the most open candor and simplicity. One or two
-vicissitudes, a few surprises all too easily foreseen and
-extending uniformly to all the personages of the play,
-and there we have the conditions which have almost
-invariably been attached to this action, so propitious,
-nevertheless, to doubts, to equivocation, to a twilight
-whose vague incertitude prepares the dawn of revolt
-and of liberty.
-A (1) — A Conspiracy Chiefly of One Individual: —
-"The Conspiracy of Fiesco," by Schiller; Corneille's
-"Cinna"; to some extent the "Catilina" of Voltaire
-(this tragedy belongs rather to the Thirtieth Situa-
-tion, "Ambition"); "Thermidor"; 'The Conspiracy of
-General Malet" (Auge de Lassus, 1889) ; "Le (îrand
-Soir" (Kampf ) ; "Le Roi sans Royaume" (Decourcelle,
-) : "Lorenzaccio" (Musset) .
-(2) — A Conspiracy of Several: — "The Conspiracy of
-the Pazzi" by Alfieri ; "Le Roman d'une Conspiration"
-(by Foumier and Carré, after the story of Ranc) ;
-THIRTY-SIX DRAMATIC SITUATIONS
-"Madame Margot" (Moreau and Clairville, 1909) ; and,
-in comedy, "Chantecler" (Rostand, 1910) with its
-parody "Rosse, tant et plus*' (Mustière, 1910).
-B (1)— Revolt of One Individual, Who Influences
-and Involves Others: — Goethe's "Egmont"; "Jacques
-Bonhomme" (Maujan, 1886) ; "La Mission de Jeanne
-d'Arc" (Dallierè, 1888). Example from fiction: "Sal-
-ammbô." From history: Solon feigning madness.
-(2) — A Revolt of Many: — "Fontovejune," by Lope
-de Vega; Schiller's "WilUam Tell"; Zola's "Germinal";
-"The Weavers of Silesia," by Hauptmann (forbidden in
-with the approval of a Parliament soon afterward
-dissolved) ; "L'Automne," by Paul Adam and Gabriel
-Mourey (forbidden in 1893 with the approval of another
-Parliament shortly before its dissolution) ; "L'Armée
-dans la Ville" (Jules Romain, 1911) : "The Fourteenth
-of July" (Roland, 1902). From fiction: a part of the
-"Fortunes des Rougon" by Zola. From history; the
-taking of the Bastile, and numerous disturbances of the
-same period.
-This species of action, particularly in modern scenes,
-has given fine virile dramas to England, Spain, Italy
-and Germany; of a forceful and authoritative char-
-acter in the two first countries, of a youthful enthusi-
-astic type in the two last. France, most certainly,
-would seem of all countries the most Ukely 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'Automne" by Adam and Mourey (two works
-oainted in widely different colors, as the titles sufficient-
-ly indicate) were stopped "for fear" of the objections
-of a few conservatives; "Other People's Money" by
-Hennique, "for fear" of shocking certain financiers
-who have since been put behind bars ; "Lohengrin" (al-
-EIGHTH SITUATION 39
-thougn the subject is Celtic) was long forbidden "for
-fear" of irritating a half-dozen illiterate French
-chauvinists; an infinite number of other plays "for
-fear" ol annoying Germany (or our parlor diplomats
-who talk of it) . . . . Yet others "for fear" of vexing
-the Grand Turk !
-Is it possible, notwithstanding all this, to find a
-single instance in which a dramatic production has
-brought about a national calamity such as our censors
-fear? The pretext is no more sincere than are those
-urged for excluding from the theater any frank and
-truthful representations of love. A rule against
-admitting children should be sufficient to satisfy
-modesty on this point ; even that is little needed, since
-children unaccompanied by their elders rarely apply for
-admission.
-Our sentimental bourgeoisie apparently holds to the
-eighteenth-century opinion that it is more dangerous
-to listen to these things in public than to read of them
-in private. For our dramatic art — which, be it noted,
-has remained, despite its decline, the one great un-
-rivalled means of propagating French thought
-throughout Europe — has been forbidden, little by little,
-to touch directly upon theology, politics, sociology,
-upon criminals or crimes, excepting (and pray why
-this exception?) adultery, upon which subject our
-theater, to its great misfortune, now lives, at least two
-days out of three.
-The ancients had a saying that a man enslaved loses
-half his soul. A dramatist is a man.
-===NINTH SITUATION ===
-DARING ENTERPRISE
-(A Bold Leader; an Object; an Adversary)
-The Conflict, which forms the framework of all
-dramatic situations, is, in the Ninth, clearly drawn,
-undis^ised. A clever plan, a bold attempt, sang-
-froid, — and victory!
-A— Preparations For War: — (In this class, as
-anciently treated, the action stops before the dénoue-
-ment, which it leaves to be imagined, in the perspective
-of enthusiastic prediction). Examples: — Aeschylus'
-"Nemea" ; "The Council of the Argives" by Sophocles.
-Historic examples : the call to the Crusades ; the
-Volunteers of '92.
-B (1)— War:— Shakespeare's "Henry V."
-(2) — A Combat: — "Glaucus Pontius," Memnon,"
-"Phineus" and "The Phorcides" of Aeschylus.
-C (1) — Carrying OflF a Desired Person or Object:
-— ^the "Prometheus" of Aeschylus; the "Laconian
-Women," by Sophocles. From fiction: the taking of
-the Zaimph in "Salammbô." Epic example : the second
-Homeric hymn (to Hermes).
-(2) — ^Recapture of a Desired Object: — "The Victory
-of Arjuna," by Cantchana Atcharya; Wagner's "Parsi-
-fal" ; the re-taking of the Zaimph.
-D ( 1 ) — Adventurous Expeditions : — Lope's "Dis-
-covery of the New World"; Aeschylus' "Prometheus
-Unbound" ; Euripides' "Theseus" ; Sophocles' "Sinon" ;
-NINTH SITUATION 41
-the "Rhesus" attributed to Euripides. Examples from
-romance : the usual exploits of the heroes of fairy tales ;
-the Labors of Hercules; the majority of Jules Verne's
-stories.
-(2) — Adventure Undertaken for the Purpose of
-Obtaining a Beloved Woman: — Sophocles' and Euri-
-pides' "Œnomaiis." From fiction : "Toilers of the Sea."
-For the purpose of saving the honor of a lover: "La
-Petite Caporale" (Darlay and de Gorsse, 1909).
-The Ninth Situation thus summarizes the poetry of
-war, of robbery, of surprise, of desperate chance, — the
-poetry of the clear-eyed adventurer, of man beyond the
-restraints of artificial civilizations, of Man in the
-original acceptation of the term. We find, neverthe-
-less, hardly a single French work in this class !
-Lest the reader be wearieci, I refrain from enumerat-
-ing, under these classes so lightly touched upon, many
-of the plots and complications which might be evolved
-from them. Methods of tracking the human game —
-bandit or hero, — ^the forces conspiring for his disaster,
-the conditions which make him the victim of his
-masters, the ways in which revolt may arise, the al-
-ternatives of the struggle in a "daring enterprise,"
-certainly would appear to be more complex today than
-in earlier ages ; moreover, upon these themes parts
-borrowed from other situations may be engrafted with
-remarkable ease. Even if we desire to preserve to the
-said themes their archaic severity, how much may yet
-be drawn from them ! In how many ways, to cite but
-one example, might an Adventurous Expedition be
-changed by varying the motives or the object of the
-enterprise, the nature of the obstacles, the qualities
-of the hero, and the previous bearings of the three
-indispensable elements of the drama ! "Adventurous
-Travels" have hardly been touched upon. And how
-many other classes are there which have not been !
-===TENTH SITUATION ===
-ABDUCTION
-(The Abductor ; the Abducted ; the Guardian)
-Or, the Great Bourgeois Romance ! Was it not thus
-that Molière used to put an end to his comedies, when
-he judged that the moment had arrived for sending
-his audience home satisfied? Sometimes he substi-
-tuted a treasure-box for a girl, as in "Tartuffe," or
-arranged an exchange of the one for the other, as in
-"L'Avare."
-We find in ABDUCTION one of the situations bear-
-ing upon Rivalry, and in which Jealousy appears,
-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
-more detailed 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 the guardian.
-A — Abduction of an Unwilling Woman : — Aeschylus'
-and Sophocles' "Orithyies"; Aeschylus' "Europa" and
-"the Carians." "With Fire and Sword" (after Sien-
-kiewicz, 1904). Comedy: "Le Jeu de Robin et de
-Marion" (Adam de la Halle) . Historic and legendary :
-TENTH SITUATION 43
-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
-and its resulting state of overexcitation, and followed
-by the murder of the outraged victim, by regret»
-before the beautiful corpse, by the repugnant
-work of dismemberment or concealment of the body;
-then by a disgust for life and by successive blunders
-which lead to the discovery of the criminal.
-B — Abduction of a Consenting Womaa: — "The
-Abduction of Helen" by Sophocles, and the comedy of
-the same name but not upon the same subject, by Lope.
-Numberless other comedies and romances.
-C (1) — Recapture of the Woman Without the
-Slaying of the Abductor: — Euripides' "Helen"; "Malati
-and Madhava," by Bhavabhuti (the poet "of voice
-divine"). Rescue of a sister: "Iphigenia in Tauris."
-(2)— The Same Case, With the Slaying of the
-Ravisher: — "Mahaviracharita," by Bhavabhuti; "Han-
-ouman" (a collaborative work) ; "Anarghara-ghava"
-(anonymous) ; "The Message of Angada," by Soubhata;
-" Abhirama Mani," by Soundara Misra ; "Hermione" by
-Sophocles.
-D (1) — ^Rescue of a Captive Friend: — "Richard
-Coeur-de-Lion," by Sedaine and Gretry. A great
-number of escapes, historic and fictitious.
-(2)_0t a Child:— "L'Homme de Proie" (Lefevre
-and Laporte, 1908).
-(3) — Of a Soul in Captivity to Error: — "Barlaam
-and Josaphat," a fourteenth-century Miracle. The
-deeds of the Apostles, of missionaries, etc.
-===ELEVENTH SITUATION ===
-THE ENIGMA
-(Interrogator, Seeker and Problem)
-This situation possesses theatrical interest par
-excellence, since the spectator, his curiosity aroused
-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 fitly symbolized by an interrogation point.
-A— -Search for a Person Who Must be Found on Pain
-of Death : — Sophocles' and Euripides' "Polyidus.**
-Case without this danger, in which an object, not a
-person, is sought: Poe's "Purloined Letter."
-B (1)— A Riddle to be Solved on Pain of Death:—
-"The Sphinx" of Aeschylus. Example from fiction
-(without the danger) : "The Gold Bug" by Poe.
-(2)— The Same Case, in Which the Riddle is Pro-
-posed by the Coveted Woman: — Partial example: the
-beginning of Shakespeare's "Pericles." Example from
-fiction : "The Travelling Companion," by Andersen. Epic
-example (but without the danger) : the Queen of Sheba
-and Solomon. Partial example: Portia's coffers, in
-"The Merchant of Venice."
-The sort of contest, preliminary to the possession of
-a desired one, which is vaguely sketched in this episode,
-is singularly alluring in its suggestive analogues. But
-how many fibres, ready to thrill, will the perplexities
-of the love contest find in us, when they are raised to
-ELEVENTH SITÙATiÔN 46
-their third power by the introduction of the terrible,
-as in the one complete and pure example which we
-have, — the "Turandot" of the incomparable Gozzi; a
-work passionately admired, translated, produced and
-rendered famous in Germany by Schiller ; a work which
-has for a century been regarded as a classic by all the
-world, although it remains little known in France.
-The effect of B (2) is strengthened and augmented
-in cases in which the hero is subjected to the following:
-C (1)— Temptations OflFered With the Object of
-Discoyering His Name.
-(2)— Temptations OflFered With the Object of Ascer-
-taining the Sex: — "The Scyrian Women" of Sophocles
-and of Euripides.
-(3) — ^Tests For the Purpose of Ascertaining the
-Mental Çonditi(m: — "Ulysses Furens" of Sophocles;
-"The Palamedes" of Aeschylus and of Euripides (ac-
-cording to the themes attributed to these lost works) .
-Examinations of criminals by alienists.
-===TWELFTH SITUATION ===
-OBTAINING
-(A Solicitor and an Adversary Who Is Refusing, or
-an Arbitrator and Opposing Parties.)
-Diplomacy and eloquence here come into play. An
-end is to be attained, an object to be gained. What
-interests may not be put at stake, what weighty
-arguments or influences removed, what intermediaries
-or disguises may be used to transform anger into
-benevolence, rancor into renouncement; to put the
-Despoiler in the place of the Despoiled ? What mines
-may be sprung, what counter-mines discovered ! — what
-unexpected revolts of submissive instruments! This
-dialectic contest which arises between reason and
-passion, sometimes subtile and persuasive, sometimes
-forceful and violent, provides a fine situation, as natural
-as it is original.
-A — Efforts to Obtain an Object by Ruse or Force : —
-the "Philoctetes" of Aeschylus, of Sophocles and of
-Euripides ; the reclamation of the Thebans in "Œdipus
-at Colonus"; "The Minister's Ring," by Vishakadatta.
-B — Endeavor by Means of Persuasive Eloquence
-Alone : — "The Desert Isle," by Metastasio ; the father's
-attitude in "Le Fils Naturel" (Dumas), to which Ruse
-is soon afterward added; Scene 2 of Act V of Shake-
-speare's "Coriolanus."
-C — Eloquence With an Arbitrator: — "The Judgment
-of Arms," by Aeschylus; "Helen Reclaimed," by
-Sophocles.
-TWELFTH SITUATION 47
-One of the cases unused in the theater, notwith-
-standing its frequency, is Temptation, already intro-
-duced as a part of the preceding situation. The
-irritated adversary is here the Defiant; the solicitor,
-now the Tempter, has undertaken an unusual negotia-
-tion, one for the obtaining of an object which nothing
-can persuade the owner to part with ; consequently the
-aim must be, gently, little by little, to bewilder, charm
-or stupefy him. Eternal role of woman toward man !
-— and of how many things toward the project of
-being a man! Does it not call to mind the hieratic
-attitude of the Christian toward Satan, as Flaubert
-has illuminated it, with a thousand sparkling lights, in
-his "Temptation of Saint Anthony?"
-/
-===THIRTEENTH SITUATION ===
-ENMITY OF KINSMEN
-(Elements: a Malevolent Kinsman; a Hated or
-Reciprocally Hating Kinsman)
-Antithesis,* which constituted for Hugo the gener-
-ative principle of art, — dramatic art in particular, —
-and which naturally results from the idea of Conflict
-which is the basis of drama, offers one of the most
-symmetrical of schemes in these contrasting emotions .
-"Hatred of one who should be loved," of which the
-worthy pendant is the Twenty-Ninth, "Love of one
-who should be hated." Such confluents necessarily
-give rise to stormy action.
-It is easy to foresee the following laws :
-First : The more closely are drawn the bonds which
-unite kinsmen at enmity, the more savage 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
-one side only, in which case one of the relatives be-
-comes Tyrant and the other Victim, the ensemble
-resultmg in Situations V, VH, VHI, XXX, etc.
-Third: The great difficulty will be to find and to
-♦Antithesis: An opposition or contrast of words or ideas
-especially one emphasized by the positions of contrasting words,
-as when placed at the beginning or end of a single sentence or
-clause, or, in corresponding positions in two or more sentences
-or clauses. (Measures, not men. The prodigal robs his heir;
-the miser robs himself.) Here the reference, of course, is to
-ideas.
-S
-THIRTEENTH SITUATION 49
-represent convincingly an element of discord powerful
-enough to cause the breaking of the strongest human
-ties.
-A — Hatred of Brothers: (1) — One Brother Hated by
-Several (the hatred not malignant) : "The Heliades" of
-Aeschylus (motive, envy) ; *The Labors of Jacob," by
-Lope de Vega (motive, filial jealousy). Hated by a
-single brother: The "Phoenissae'* of Euripides and of
-Seneca ; "Polynices" by Alfieri (motive, tyrannical ava-
-rice) ; Byron's "Cain" (motive, religious jealousy) ;
-"Une Famille au Temps de Luther" by Delavigne
-(motive, religious dissent) ; "Le Duel" (Lavedan,
-).
-(2) — ^Reciprocal Hatred: — ^The "Seven Against
-Thebes," by Aeschylus, and "Les Frères Ennemis"
-by Racine (motive, greed for power) ; an admirable
-supplementary character is added in this Theban
-legend, the Mother, torn between the sons; "Thyestes
-II" of Sophocles ; "Thyestes" of Seneca ; the "Pelopides"
-by Voltaire; "Atreus and Thyestes" by Crébillon
-(motive, greed for power, the important role b2ing
-that of the perfidious instigator) .
-(3)— -Hatred Between Relatives for Reasons of
-Self-interest:— "La Maison d'Argile" (Fabre, 1907).
-Example from fiction: "Mon Frère" (Mercereau).
-B — Hatred of Father and Son:— (1)— Of the Son
-for the Father: — "Three Punishments in One," by
-Calderon. Historic example: Louis XI and Charles
-VII. A part of "La Terre" by Zola and of "Le Maitre"
-by Jean Jullien.
-(2;— Mutual Hatred :— "Life is a Dream," by
-Calderon. Historic instance: Jerome and Victor
-Bonaparte (a reduction of hatred to simple disagree-
-ment). This nuance appears to me to be one of the
-finest, although one of the least regarded by our
-writers.
-(3)— Hatred of Daughter for Father:— "The Cenci,"
-HaïRTY^SlX DRAMATIC SITUATIONS
-by Shelley, (parricide as a means of escape from
-incest) .
-C— Hatred of Grandfather for Grandsoil l«-*
-Métastasions "Cyrus"; the story of Amulius iii the
-beginning of Titus Livius (motive, tyrannical avarice).
-Hatred of uncle for nephew : "The Death of Cansa," by
-Crichna Cavi. One of the facets of "Hamlet."
-I> — Hatred of Father-in-law for Son in-law:—
-Alfiferi's "Agis and Saul" (motive, tyrannical avarice).
-Historical example: Caesar and Pompey. Hatred of
-two brothers-in-law, ex-rivals: "La Mer" (Jean
-JuUien, 1891) — the only modern drama, I may note in
-passing, in which one finds emotion increasing after
-the death of the principal character. In 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 feel sorrow to the full, until after-
-ward, all hope being forever ended.
-E — Hatred of Mother in-law for Daughter-in-law : —
-Corneille* s "Rodogune" (motive, tyrannical avarice).
-F— Infanticide:— "Conte de Noël" (Linant, 1899). A
-part of the "Powers of Darkness."
-I will not repeat the list of degrees of relationship
-into which this situation might be successively trans-
-ferred. The case of hatred between sisters, one
-frequent enough, will offer, — even after "Le Carnaval
-des Enfants" (de Bouhélier) — ^an excellent opportunity
-for a study of feminine enmities, so lasting and so
-cruel; hatred of mother and daughter, of brother and
-sister, will be not less interesting; the same may be
-said for the converse of each class which has furnished
-our examples. May there not be an especially fine
-dramatic study in the deep subject, — heretofore so
-vulgar because treated by vulgar hands, — the antip-
-athy 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.
-THIRTEENTH SITUATION 51
-and on the other, Life, vigorous and fertile, deceptive
-but irresistibly alluring ?
-Next the motive of hatred, changing a little, ma 5
-vary from the everlasting "love of power" alleged in
-nearly all extant examples, and, what is worse, invari-
-ably painted in the strained attitudes of noe-classicism.*
-The character of the common parent, torn by
-affection for both adversaries in these struggles, has
-been little modified since the day when Aeschylus led
-forth, from the tomb to which tradition had con-
-signed her, his majestic Jocaste. The roles of two
-parents at enmity could well be revived also. And I
-find no one but Beaumont and Fletcher who has drawn
-vijgorously the instigators of such impious struggle?-;
-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
-*Neo-Classicism : Belonging to or designating the revival of
-classical taste and style in art.
-===FOURTEENTH SITUATION ===
-RIVALRY OF KINSMEN
-(The Preferred Kinsman; the Rejected Kinsman; the
-Object)
-This situation seems, at first glance, to present ten
-times the attraction of the preceding. Does not Love,
-as well as Jealousy, augment its effect? Here the
-charms of the Beloved shine amid the blood of battles
-fought for her sake. What startled hesitancies, what
-perplexities are hers ; what fears of avowing a prefer-
-ence, lest pitiless rage be unchained!
-Yes, the Beloved one, the "Object" — to use the philo-
-sophic name applied to her in the seventeenth century
-— will here be added to our list of characters. But
-. . . the Comiïion Parent, even if he does not dis-
-appear, must lose the greater part of his importance;
-the Instigators will pale and vanish in the central
-radiance of the fair Object. Doubtless the "love
-scenes" will please, by their contrast to the violence of
-the play ; but the dramatic purist may raise his brows,
-and find — perhaps — 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 hatred, a physiological antipathy, one might
-say, derived from the parents. Two brothers, two
-near relatives, do not proceed, on account of a woman,
-FOURTEENTH SttUATION 53
-to kill each other, unless predisposed. Now, if we
-thus reduce the motive to a mere pretext, the Object
-at once pales and diminishes in importance, and we
-find ourselves returning to the Thirteenth Situation.
-Is the Fourteenth, then, limited to but one class, a
-mere derivative of the preceding? No; it possesses,
-fortunately, some germs of savagery which permit of
-its development in several directions. Through them
-it may trend upon "Murderous Adultery," "Adultery
-Threatened," and especially upon "Crimes of Love"
-(incests, etc). Its true form and value may be ascer-
-tained by throwing these new tendencies into relief.
-A (1) — Malicious Rivalry of a Brother: — "Britan-
-nicus"; "Les Maucroix" by Delpit (the Common
-Parent here gives place to a pair of ex-rivals, who be-
-come almost the Instigators) ; "Boislaurier" (Richard,
-). From fiction: "Pierre et Jean," by de
-Maupassant. Case in which the rivalry is without
-hatred: "1812" (Nigond, 1910).
-(2) — Malicious Rivalry of Two Brothers: —
-"Agathocle," "Don Pèdre," Adélaïde du Guesclin" and
-"Amélie," all by Voltaire, who dreamed of carving a
-kingdom all his own, from this sub-class of a single
-situation.
-(3) — Rivalry of Two Brothers, With Adultery on the
-Part of One: — "Pélléas et Mélisande" by Maeterlinck.
-(4) — Rivalry of Sisters: — "La Souris" (Pailleron,
-) ; "L'Enchantement" (Bataille, 1900) ; "Le Demon
-du Foyer" (G. Sand). Of aunt and niece: "Le Risque"
-(Coolus, 1909).
-B (1) — Rivalry of Father and Son, for an Unmar-
-ried Woman: — Métastasions "Antigone"; "Les Fos-
-siles" (F. de Curel) ; "La Massière" (Lemaitre, 1905) ;
-"La Dette" (Trarieux, 1909; "Papa" (de Fiers and de
-Caillavet, 1911) ; Racine's "Mithridate," in which the
-rivalry is triple, between the father and each of the
-THIRTY-SIX DRAMATIC SITUATIONS
-sons, and between the two sons. Partial example : the
-beginning of Dumas' "Père Prodigue."
-(2) — Rivalry of Father and Son, for a Married
-Woman:— "Le Vieil Homme" (Porto-Riche, 1911).
-(3) — Case Similar to the Two Foregoing, But in
-Which the Object is Already the Wife of the Father,
-(This goes beyond adultery, and tends to result in
-incest, but the purity of the passion preserves, for
-dramatic effect, a fine distinction between this sub-
-class and Situation XXVI) : — Euripides' "Phénix" ; (a
-concubine is here the object of rivalry) ; Schiller's
-"Don Carlos" ; Alfieri's "Philip II."
-(4) — Rivalry of Mother and Daughter: — "L'Autre
-Danger" (Donnay, 1902).
-C — Rivalry of Cousins: (which in reality falls into
-the following class) : — "The Two Noble Kinsmen,"
-by Beaumont and Fletcher.
-D^ — ^Rivalry of Friends: — Shakespeare's "Two Gen-
-tlemen of Verona" ; "Aimer sans Savoir Qui" by Lope
-de Vega; Lessing's "Damon"; "Le Coeur a ses Raisons
-(de Fiers and de Caillavet, 1902) ; "Une Femme Passa
-(Coolus, 1910)
-n*
-===FIFTEENTH SITUATION ===
-MURDEROUS ADULTERY
-(Elements: Two Adulterers; a Betrayed Husband or
-Wife)
-This, to my mind, is the only strongly appealing
-form in which adultery can be presented ; otherwise is
-it not a mere species of house-breaking, the less heroic
-in that the Object of theft is an accomplice, and that
-the household door, already thrown open by treach-
-ery, requires not even a push of the shoulder? Whereas
-this treachery becomes at least logical and endurable
-in so far as it is a genuinely sincere folly, impassioned
-enough to prefer assassination to dissimulation and a
-base sharing of love.
-A (1) — ^The Slaying of a Husband by, or for, a
-Paramour: — ^the "Agamemnons" of Aeschylus, of
-Seneca and of Alfieri ; Webster's "Vittoria Corombona" ;
-"Pierje Pascal"; ''Les Emigrants'' (Hirsch, 1909);
-"L'Impasse" (Fread Amy, 1909) ; "Partage de Midi'^
-(Paul Claudel) ; "Amour" (Leon Hennique, 1890) ; the
-beginning of the "Powers of Darkness." Historic
-example, with pride and shame as motives for the
-crime: the legend of Gyges and Candaules. From
-fiction : the first part of "Thérèse Raquin."
-(2) — ^The Slaying of a Trusting Lover: — "Samson
-et Dalila" (opera by Saint-Saëns, 1890.)
-B — Slaying of a Wife for a Paramour, and in Self-
-interest: — Seneca's "Octavia" and also Alfieri's; "La
-Lutte pour la Vie" by Daudet (in which cupidity
-THIRTY-SIX DRAMATIC SITUATIONS
-dominates adultery) ; "The Schism of England " by
-Calderon ; "Zobeide " by Gozzi. Narrative example :
-Bluebeard. Historic: the murder of Galeswinthe.
-Hints 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
-the action ; if it be dispelled, partly or fully, it may be
-by chance, by some imprudent act of the guilty ones,
-by a warning, etc.
-Between the victim and the intruder, ties of affec-
-tion, of duty, of gratitude, may 1 ave previously ex-
-isted; 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, doubtless, the object of an old rancor, either on the
-part of the consort or of the intruder ; the origin of this
-rancor may be in any one of the imaginable offenses
-by which a human being is wounded in his family affec-
-tions, his loves, his ideals, etc., or in his pride of birth,
-of name, of achievement; in his interests, (money,
-property, power, freedom) ; in any one of the external
-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
-attained; the blow may be struck by one of the two
-traitors alone, or it may be that neither of them has
-stained his own hands with the crime, which has been
-committed by a new character, perhaps unintentionally,
-or perhaps from love of one of the two Adulterers, who
-has 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
-FIFTEENTH SITUATION 57
-victims, and accomplices in the sinister deed ; the deed
-itself may be brought about according to the author's
-choice among the numberless circumstances which the
-Law has foreseen, with divers details such as court
-trials suggest.
-If a more complicated action is desired, interweave
-(as Hennique has done) a rivalry of Kinsmen, an un-
-natural love (see Euripides' Chrysippe), an ambitious
-purpose and a conspiracy.
-===SIXTEENTH SITUATION ===
-MADNESS
-(Elements: Madman and Victim)
-The origin of certain human actions lies hidden in
-fearful mystery ; a mystery wherein the ancients
-believed they discerned the cruel smile of a god, and
-wherein our scientists, like the Chinese philosophers,
-believe they recognize 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 corpses or with dishonors, which the
-Other, the unknown, has scattered at his pleasure.
-At this calamity, greater than death, how our kindred
-must weep and tremble ; what terror and suspense must
-arise in their minds ! And the victims, whose cries
-are lost in the mute heavens ; the beloved ones pursued
-in unreasoning rage which they cannot comprehend!
-What variations of the inconscient are here : folly, pos-
-session, divine blindness, hypnosis, intoxication, for-
-getf ulness !
-A (1) — Kinsmen Slain in Madness: — "Athamas"
-and the ''Weavers of Nets" by Aeschylus; "Hercules
-Furens" by Euripides and by Seneca; "Ion" by
-Euripides.
-(2)— A Lover Slain in Madness:— "La Fille Eliza,
-by Edmond de Concourt; "La Tentation de Vivre
-(Louis Ernault). A lover on the point of slaying his
-mistress in madness: Example from fiction: "La Bête
-SIXTEENTH SITUATION 59
-Humaine." Familiar instances: Jack the Ripper; the
-Spaniard of Montmartre, etc.
-(3) — Slaying or Injuring of a Person not Hated: —
-"Monsieur Bute" (BioUay, 1890). Destruction of a
-work : "Hedda Gabier."
-B — Disgrace Brought Upon Oneself Through Mad-
-ness: — Aeschylus' "Thracians"; Sophocles' "Ajax";to
-some extent "Saul" (Gide).
-C — Loss of Loved Ones Brought About by Madness:
-— "Sakuntala" by Kalidasa, (form, amnesia). The
-philtre of Hagen, in Wagner.
-D — ^Madness Brought on by Fear of Hereditary
-Insanity:— "L'Etau" (André Sardou, 1909).
-The case of A (3), transferred to the past and
-treated according to a quid-pro-quo process, is that of
-one of the merriest comedies of the nineteenth century,
-"L'Affaire de la rue de Lourcine" by Labiche.
-Numberless examples of this Sixteenth Situation
-have filled the disquieting pages of alienists' journals.
-Mental diseases, manias of various types, offer power-
-ful dramatic effects which have not yet been exploited.
-These furnish, doubtless, but points of departure
-coward the Situation whose real investiture takes place
-at the moment of the hero's restoration to reason, —
-which i3 to say, to suffering. But if it ever happens
-that these three phases — the etiology of delirium, its
-access, and the return to a normal condition — are
-treated with equal strength and vigor, what an admir-
-able work will result !
-The first of the three stages, which bears upon the
-explanations of insanity, has been variously held to be
-divine (by the Greeks), demoniac (by the Church), and,
-in our own times, hereditary and pathological.
-Hypnotism has recently created another nuance; the
-hypnotist here forms a substitute, — a. sorry one, it is
-true, — ^for divinity or demon. Drunkenness furnishes
-us a nuance equally unfamiliar to Greece; what is to-
-THIRTY-SIX DRAMATIC SITUATIONS
-day more commonplace, and at the same time more ter-
-rible, than the disclosure of an important secret or
-the committing of a criminal act, while under the in-
-fluence of drink ?
-Is it necessary to say that all ties, all interests, all
-human desires, may be represented crossed and illumin-
-ated by the light of dementia ?
-For the rest, this situation of Madness is far from
-having been neglected in our theater. Shakespeare,
-in his most personal dramas, has made use of insanity
-in the leading roles. Lady Macbeth is a somnambu-
-list and dies in hysteria, her husband is a victim of
-hallucinations ; the same may be said of Hamlet, who is
-a lypemaniac besides; of Timon also; Othello is an
-epileptic and King Lear completely deranged. It is on
-this 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
-as Michael- Angelo, — he has exaggerated the springs of
-action to the farthest limits of reality, beyond which
-his disciples fall immediately into mere ridiculous
-affectation.
-On the other hand, if we except the pretext of study-
-ing insanity in itself, which "Ajax" has furnished
-from Astydamus to Ennius, and from Ennius to
-Emperor Augustus, I find nothing "Shakespearian" in
-the drama of antiquity except "Orestes." All other
-characters are in the enjoyment of their senses, and
-do not thereby become any less pathetic. "Œdipus"
-alone shows, in default of abnormality in the hero's
-psychologic constitution, external events of an extra-
-ordinary character (a resource since so largely used
-by the Romanticists of 1830 and later) . But the rest
-of the antique dramatic types are evolved in accordance
-with normal passions, and under objective conditions
-relatively common.
-===SEVENTEENTH SITUATION ===
-FATAL IMPRUDENCE
-(The Imprudent; the Victim or the Object Lost)
-To which are sometimes added "The Counsellor," a
-person of wisdom, who opposes the imprudence, "The
-Instigator," wicked, selfish or thoughtless, and the
-usual string of Witnesses, secondary Victims, Instru-
-ments, etc.
-A (1) — Imprudence the Cause of Ones Own Mis-
-fortune: — Sophocles' "Eumele"; Euripides' "Phaeton"
-(here the Counsellor is blended with the Instrumental
-character, in which, bound by a too-hasty oath, he finds
-himself in Situation XXIII, A (2), — obliged to sacrifice
-a kinsman to keep a vow) ; "The Master Builder," by
-Ibsen. From comedy: "L'Indiscret" (See, 1903).
-(2) — ^Imprudence the Cause of Ones Own Dishonor:
-— "La Banque de l'Univers" (Grenet-Dancôurt, 1886).
-From fiction : "L'Argent" by Zola. Historic : Ferdinand
-de Lesseps.
-B (1) — Curiosity the Cause of Ones Own Misfor-
-tune : — ^Aeschylus' "Semele." Historic examples
-(which rise to the Twentieth Situation, "Sacrifices to
-the Ideal")*: the deaths of many scholars and scientists.
-(2) — Loss of the Possession of a Loved One, Through
-«Curiosity: — " Psyche" (borrowed from the account
-which La Fontaine drew from Apuleius, himself the
-•debtor of Lucius of Patras, and dramatized by Cor-
-neille, Molière and Quinault) ; "Esclarmonde" (Mas-
-senet, 1889). Legendary example: Orpheus bringing
-v^
-THIRTY-SIX DRAMATIC SITUATIONS
-back Eurydice. This nuance tends toward Situations
-XXXII and XXXIII, "Mistaken Jealousy" and "Judi-
-cial Error."
-C (1) — Curiosity the Cause of Death or Misfortune'
-to Others: — Goethe's "Pandora" and also Voltaire's;
-"The Wild Duck" by Ibsen. Legendary example: Eve.
-(2) — Imprudence the Cause of a Relative's Death: —
-"La Mère Meurtrière de son Enfant" (a fourteenth-
-century Miracle of Notre-Dame) ; "On ne Badine pas
-avec l'Amour" (de Musset) ; "Renée Mauperin," by the
-Goncourts. Familiar instances : blunders in the care of
-sick persons. "Louise Leclerq," by Verlaine. The
-cause of another's misfortune: "Damaged Goods"
-(Brieux, 1905).
-(3) — Imprudence the Cause of a Lover's Death: —
-"^iami^ojti" by Voltaire; "La Belle aux Cheveux d'Or"
-(Arnould, 1882).
-(4) — Credulity the Cause of Kinsmen's Deaths:—
-"l^elias" by Sophocles and "The Peliades" by Euripides.
-From fiction (credulity the cause of misfortune to
-fellow-citizens) : "Port-Tarascon."
-Establish in each of the preceding sub-classes equiva-
-lents to those cases which are presented in single
-instances in one class only, and we have the following
-subjects: — By Imprudence (meaning imprudence pure
-and simple, unconnected with curiosity or credulity) to
-cause irisf ortune to others ; to Jose possession of a lovea
-one (lover, wife or husband, friend, benefactor, protege,
-etc.) ; to cause the death of a relative (any degree of
-kinship may be chosen) ; to cause the death of a loved
-one,. By Curiosity (unmixed with imprudence or
-crejdujity) lo cause the dishonor of a relative (the vari-
-ous kinds of dishonor are numerous enough, tpuchiiig
-as they do upon probity, upon courage, upon modesty,
-upon loyalty) ; to cause the dishonor of a loved one ; to
-cause ones own dishonor. To cause these dishonors by
-pure Credulity (unmixed with imprudence or curios-
-ÈÈVÈNTEÉNta StTXJATÎON 83
-ity). An examination of the Twelfth Situation will
-give us a primary idea of the way in which Ruse may
-be used to gain this credulity. By Credulity also to
-cause ones own misfortune, or lose possession of a loved
-one, or cause misfortune to others, or cause the death
-of a loved one.
-Let us npw pass to the causes which may çrêdpîtate
-— as readily as curiosity, credulity, or pure imprud-
-ence — an overhanging catastrophe. These caused are :
-— the infraction of a prohibition or law previously made
-by a divinity ; the deadly effect of the act upon him who
-commits it (an effect due to causes perhaps mechanical,
-perhaps biological, perhaps judicial, perhaps martial
-etc.) ; the deadly consequences of the act for the
-kindred or the beloved of him who commits it; a sin
-previously committed, consciously or unconsciously
-and which is about to be revealed and punished.
-Besides curiosity and credulity, other motives may
-determine the imprudence; in "The Trachiniae," for
-instance, it is jealousy. The same role might be given
-to any one of the passions, the emotions, the desires,
-the needs, the tastes, the human weaknesses; — sleep,
-hunger, muscular activity, gluttony, lust, coquetry,
-childish simplicity. As to the final disaster, it may
-assume many aspects, since it may fall in turn upon
-physical, moral or social well-being, whether by the
-destruction of happiness or honor, of property or
-po\yer.
-In the present situation, the Instigator, — who never-
-theless is not essential, — ^may become worthy of figur-
-ing even as the protagonist ; such is the case of Medea
-in "Pelias." This is perhaps the most favorable aspect
-in which the "villain" can be presented; imagine, for
-instance, an lago becoming the principal character of
-a play (as Satan is of the world) ! The difficulty will
-be to find a sufficient motive for him ; ambition, (partly
-the case in Richard III) is not always a convincing one,
-THIRTY-SIX DRAMATIC SITUATIONS
-because of its "a priori" way of proceeding; jealousy
-and vengeance seem a trifle sentimental for this dem-
-oniac figure ; misanthropy is too philosophic and honor-
-able; self-interest (the case of Pelias) is more appropri-
-ate. But envy, — envy, which in the presence of friend-
-ly solicitude feels but the more keenly the smart of its
-wounds, — envy studied in its dark and base endeavors,
-in the shame of defeat, in its cowardice, and ending
-finally in crime, — ^here, it seems to me, is the ideal
-motive.
-===EIGHTEENTH SITUATION ===
-INVOLUNTARY CRIMES 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
-themselves, quite admissible, and at least not rarer
-today than they were in heroic times, through adultery
-and prostitution, which never flourished more general-
-ly than at present. It is merely the disclosure which
-is less frequent. Yet many of us have seen certain
-marriages, apparently suitable, planned and arranged,
-as it were, by relatives or friends of the families, yet
-obstinately opposed, avoided and broken off by the
-parents, seemingly unreasonable, but in reality only too
-certain of the consanguinity of the lovers. Such revel-
-ations, then, still take place, although without their
-antique and startling éclat, thanks to modern custom
-and our prudent prudery.
-Its reputation for fabulous monstrosity was in
-reality attached to our Eighteenth Situation by the
-unequalled celebrity of the theme of "Œdipus," which
-Sophocles treated in a style almost romantic, and which
-his imitators have ever since overloaded with fanciful
-arabesques, more and more chimerical and extra-
-ordinary.
-This situation and the following — as indeed to some
-extent all thirty-six — ^may be represented, as the
-author chooses, in 'one of two lights. In the first, the
-65
-THIRTY-SIX DRAMATIC SITUATIONS
-fatal error is revealed, simultaneously to the spectator
-and to the character, only after it is irreparable, as in
-Class A ; and here the state of mind strongly recalls the
-Sixteenth. In the second, the spectator, informed of
-the truth, sees the character walk unconsciously to-
-ward the crime, as though in a sinister sort of blind-
-man's-buff, as in Classes B, C and D.
-A (1) — ^Discovery That One Has Married Ones
-Mother: — the "Œdipus" of Aeschylus, of Sophocles,
-of Seneca, of Anguillara, of Corneille, of Voltaire; not
-to speak of those of Achaeus, Philocles, Melitus,
-Xenocles, Nicomachus, Carcinus, Diogenes, Theodecte,
-Julius Caesar ; nor of those of Jean Prévost, Nicolas de
-Sainte-Marthe, Lamothe, Ducis, J. Chenier, etc. The
-greatest praise of Sophocles consists in the astonish-
-ment we feel that neither the many imitations, nor
-the too well-known legend of the abandonment on
-Cithaeron, nor the old familiar myth of the Sphinx,
-nor the difference in the ages of the wedded pair, — that
-none of these things has made his work appear un-
-natural or unconvincing.
-(2) — Discovery That One Has Had a Sister as Mis-
-tress: — ^Tasso's "Torrismond" ; "The Bride of Messina"
-by Schiller. This case, obviously a more frequent one,
-becomes unconvincing in the latter drama, when com-
-bined v/ith the Nineteenth Situation. Example from
-fiction : "L'Enfant Naturel," by Sue.
-B (1) — Discovery That One Has Married Ones
-Sister: — "Le Manage d' André" (Lemaire and de
-Rouvre, 1882). This being a comedy, the error is dis-
-covered in time to oe remedied, and the play "ends
-happily." "Abufar" by Ducis, which also falls under
-a preceding classification.
-(2) — ^The Same Case, in Which the Crime Has Been
-Villainously Planned by a Third Person: — "Heraclius"
-(this gives, despite its genius, rather the feeling of a
-nightmare than of a terrible rçality ) ,
-EIGHTEENTH SITUATION 67
-(3) — Being Upon the Point of Taking a Sister, Un-
-knowingly, as Mistress: — Ibsen's "Ghosts." The
-mother, a knowing witness, hesitates to reveal the
-danger, for fear of subjecting the son to a fatal shock.
-C — Being Upon the Point of Violating, Unknowingly,
-a Daughter: — Partial example: "La Dame aux Domino
-Rose" (Bouvier, 1882).
-D (1)— Being Upon the Point of Committing an
-Adultery Unknowingly (the only cases I have found in
-all drama) : — "Le Roi Cerf" and "L'Amour des Trois
-Oranges," both by Gozzi.
-(2) — Adultery Committed Unknowingly: — ^probably
-the "Alcmene" of Aeschylus; "Le Bon Roi Dagobert"
-(Rivoire, 1908) . From fiction : the end of "The Titan,''
-by Jean-Paul Richtér.
-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 ?
-Ignorance 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 dénouement.
-===NINETEENTH SITUATION ===
-SLAYING OF A KINSMAN UNRECOGNISED
-t
-(The Slayer ; the Unrecognized Victim) •
-Whereas the Eighteenth Situation attains its highest
-degree of emotion after the accomplishment of: the
-act, (doubtless because all the persons conceme(| in it
-survive, and the horror of it lies chiefly in the conse-
-quences), 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 ending, without the
-necessity of recourse, as in the Eighteenth, to a comedy-
-process of error. A simple recognition of one char-
-acter by another will suffice, — of which our Situation
-XIX is, in effect, but a development.
-A (1) — Being Upon the Point of Slaying a
-Daughter Unknowingly, by Command of a Divinity or
-an Oracle: — Metastasio's "Demophon." The ignorance
-of the kinship springs from a substitution of infants ;
-the interpretation of the oracle's words is erroneous;
-the "jeune première," at one point in the action, be
-lieves herself the sister of her fiancé. This linking of
-three or four mistakes (unknown kinship, in the
-special light of the situation we are now studying, a
-supposed danger of incest, as in B 2 of the preceding,
-and finally a misleading ambiguity of words, as in the
-majority of comedies) suffices to constitute what is
-called '^stirring" action, characteristic of the intrigues
-NIJJETEENTH SITUATION 69
-brought back into vogue by the Second Empire, and
-over whose intricate entanglements our chroniclers
-waxed so naively enthusiastic.
-(2) — ^Through Political Necessity: — "Les Guèbres
-and"Les Lois de Minos" by Voltaire.
-(3) —Through a Rivalry in Love: — 'fLa Petite
-Mionne" (Richebourg, 1890).
-(4) —Through Hatred of the Lover of the Un.
-recognized Daughter: — '*Le Roi s'amuse" (in which
-the discovery takes place after the slaying) .
-B (1)— Being Upon the Point of Killing a Son Un-
-knowingly: — ^The "Telephus" of Aeschylus and of
-Sophocles (with incest as the alternative of this
-crime) ; Euripides' "Cresphontes" ; the "Meropes" of
-Maff ei, of Voltaire and of Alfieri ; Sophocles' "Creusa" ;
-Euripides' "Ion." In Metastasio's "Olympiad" this
-subject IS complicated by a "Rivalry of Friends".
-A Son Slain Without Being Recognized: — Partial ex-
-ample: the third act of "Lucrèce Borgia"; 'The 24th of
-February," by Werner.
-(2)— The Same Case as B (1), Strengthened by
-Machiavellian Instigations: — Sophocles' "Euryale" ;
-Euripides' "^geus."
-(3)— The Same Case as B (2), Intermixed With
-Hatred of Kinsmen (that of grandfather for grand-
-son) :— Metastasio's "Cyrus."
-C — Being Upon the Point of Slaying a Brother Un-
-knowingly: (1) — Brothers Slaying in Anger: — The
-"Alexanders" of Sophocles and of Euripides. (2) —
-A Sister Slaying Through Professional Duty: — "The
-Priestesses" of Aeschylus; "Iphigenia in Tauris," by
-Euripides and by Goethe, and that projected by
-Racine.
-D — Slaying of a Mother Unrecognized: — Voltaire's
-"Semiramis"; a partial example: the dénouement of
-"Lucrèce Borgia."
-Father Slain Unknowingly, Through Machin-
-THIRTY-SIX DRAMATIC SITUATIONS
-vcUian Advice: (see XVII): — Sophocles' "Pelias" and
-Euripides' "Peliades" ; Voltaire's "Mahomet" (in which
-the hero is also upon the point of marrying his sister
-unknowingly). The Simple Slaying of a Father Un-
-recognized: — Legendary example: Laius. From ro-
-mance: "The Legend of Saint Julian the Hospitaller."
-The Same Case Reduced From Murder to Simple Insult :
-— "Le Pain d' Autrui" (after Turgenieff, by Ephraim
-and Schutz, 1890). Being Upon the Point of Slaying
-a Father Unknowingly: — "Israel" (Bernstein, 1908).
-F (1) — A Grandfather Slain Unknowingly, in
-Vengeance .and Through Instigation: — "Les Bur-
-graves" (Hugo).
-(2) — Slain Involuntarily: — Aeschylus' "Polydectes."
-(3) — A Father-In-Law liilled Involuntarily: —
-Sophocles' "Amphitryon."
-G (1) — Involuntary Killing of a Loved Woman: —
-Sophocles' "Procris." Epic example: Tancred and
-Clorinda, in "Jerusalem Delivered." Legendary ex-
-ample (with change of the sex of the person loved) :
-Hyacinthus.
-(2) — Being Upon the Point of Killing a Lover Un-
-recognized: — *The Blue Monster" by Gozzi.
-(3) — Failure to Rescue an Unrecognized Son: —
-"Saint Alexis" (a XIV Century Miracle of Notre-
-Dame) ; "La Voix du Sang" (Rachilde).
-Remarkable is the liking of Hugo (and consequently
-of his imitators) for. this somewhat rare situation.
-Each of the ten dramas of the old Romanticist contains
-it ; in two of them, "Hernani" and "Torquemada," it is,
-in a manner accessory to the Seventeenth (Imprud-
-ence), fatal to the hero also; in four ("Marion Del-
-orme," "Angelo," "La Esmeralda," "Ruy Bias") this
-case of involuntary injury to a loved one suppUes all the
-action and furnishes the best episodes; in four others
-("Le Roi s'amuse," "Marie Tudor," "Lucrèce Borgia''
-"Les Burgraves") it serves furthermore as dénoue-
-NINETEENTH SITUATION 71
-ment. It would seem, indeed, that drama, for Hugo,
-consists in this: the causing, directly or indirectly, of
-the death of a loved one ; and, in the work wherein he
-has accumulated the greatest number of theatrical
-effects — in "Lucrèce Borgia" — we see the same situa-
-tion returning no less than five times. Near the first
-part of Act I, Gennaro permits his unrecognized
-motiier to be insulted ; in the second part, he himself in-
-sults her, i\ot knowing her for his mother ; in Act II she
-demands, and is granted, the death of her unrecognized
-son, then finds she has no recourse but to kill him her-
-self, then is again insulted by him; finally, in Act III,
-she poisons him, and, still unknown, is insulted,
-threatened and slain by him.
-Be it noted that Shakespeare has not in a single in-
-stance employed this Nineteenth Situation, an alto-
-gether accidental one, having no bearing upon his
-powerful studies of the will.
-===TWENTIETH SITUATION ===
-SELF-SACRIFICE FOR AN IDEAL
-(The Hero ; the Ideal ; the "Creditor" or the Person or
-Thing Sacrificed)
-The four themes of Immolation, of which this is the
-first, bring before us three corteges: — Gods (XX and
-XXIII), Kindred (XXI and XXIII), and Desires
-(XXII). The field of conflict is no longer the visible
-world, but the Soul.
-Of these four subjects, none is nobler than this of
-our Twentieth Situation, — all for an ideal! What the
-ideal may be, whether political or religious, whether it
-be called Honor or Piety, is of little importance. It
-exacts the sacrifice of all ties, of interest, passion, life
-itself, — far better, however, under one of the three
-following forms, if it be tarnished with the slightest,
-even although the most sublime, egoism.
-A (1) — Sacrifice of Life for the Sake of Ones
-Word: — The "Regulus^* of Pradon and also of Metas-
-tasio; the end of "Hernani" (Carthage and Don Ruy
-Gomez are the "Creditors"). Is it not surprising that
-a greater number of examples do not at once present
-themselves to us? This fatality, the work of the
-victim himself, and in which the victory is won over
-Self, — ^is it not worthy to illuminate the stage with its
-sacrificial flames ? There is, nevertheless, no necessity
-for choosing a hero of an almost too-perfect type, such
-as Regulus.
-(2) — Life Sacrificed for the Success of Ones People:
-TWENTIETH SITUATION 73
-— *The Waiting-Women" by Aeschylus; "Protesilas"
-by Euripides; "Themistocles" by Metastasis Partial
-examples: "Iphigenia in Aulis," by Euripides and by
-Racine. Historic examples: Codrus; Curtius; Latour
-d'Auvergne. For the Happiness of Ones People: —
-The "Suffering Christ" of St. Gregory Nazianzen.
-(3)— Life Sacrificed in Filial Piety:— "The Phoenic-
-ian Women" by Aeschylus; the "Antigones" of
-Sophocles and Euripides; of Alamanni and Alfieri.
-(4) — Life Sacrificed for the Sake of Ones Faith: —
-"The Miracle of St. Ignace of Antioch" (XIV Century) ;
-"Vive le Roi" (Han Rymer, 1911) ; *'Cesar Birotteau"
-(Fabre, after Balzac, 1911) ; "The Constant Prince" by
-Cîalderon; "Luther" by Werner. Familiar instances:
-all martyrs, whether to religion or science. In fiction:
-"L'Œuvre" by Zola. For the Sake of Ones King:—
-"L'Enfant dû Temple" (de Pohles) .
-B (1) — Both Love and Life Sacrificed for Ones
-Faith: — "Polyeucte." In fiction "L'Evangeliste"
-(sacrifice of family and future for ones faith).
-(2) — ^Both Love and Life Sacrificed to a Cause: —
-"Les Fils de Jahel" (Mme. Armand, 1886) .
-(3) — Love Sacrificed to Interests of State: — This is
-the favorite motif of Corneille, as in "Othon," "Ser-
-torius," "Sophonisbe," "Pulcherie," "Tite et Bérénice.^'
-Add to these the "Bérénice" of Racine and the "Sophon-
-isbe" of Trissino, that of Alfieri and that of Mairet;
-Metastasio's "Achilles in Scyro" and his "Dido;" Ber-
-lioz' "Troyons" (the best tragedy of his century) ;
-"L'Impératrice" (Mendes). The "Creditor" in this
-sub-class, remaining abstract, is easily confounded
-with the Ideal and the Hero ; the "Persons Sacrificed,"
-on the contrary, become visible; these are Plautine,
-Viriate, Syphax and Massinisse, Bérénice, Déidamie.
-In comedy: "S. A. R." (Chancel, 1908).
-C — Sacrifice of Weil-Being -"o Duty: "Resurrection"
-by Tolstoi; "L'Apprentie" (Geffroy, 1908).
-THIRTY-SIX DRAMATIC SITUATIONS
-D— The Ideal of "Honor" Sacrificed to the Ideal of
-"Faith"; — Two powerful examples, 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 Cor-
-neille and "The Virgin Martyr" by Massinger. Partial
-example : the good hermit Abraham in Hroswitha.
-===TWENTY-FIRST SITUATION ===
-SELF-SACRIFICE FOR KINDRED
-(The Hero; the Kinsman; the "Creditor" or
-the Person or Thing Sacrificed)
-A (1) — Life Sacrificed for that of a Relative or a
-Loved One: — The "Alcestes" of Sophocles, of Euri-
-pides, of Buchanan, of Hardy, of Racine (projected), of
-Quinault, of Lagrange-€hancel, of Boissy, of Coypel,
-of Saint-Foix, of Dorat, of Gluck, of H. Lucas, of
-Vauzelles, etc.
-(2) — Life Sacrificed for the Happiness of a Relative
-or a Loved One: — "L'Ancien" by Richepin. Two sym-
-metrical works are **Smilis" (Aicard, 1884), in which
-the husband sacrifices himself, and "Le Divorce de
-Sarah Moore" (Rozier, Paton and Dumas fils), in which
-the wife sacrifices herself. Examples from fiction and
-analogous to these two dramas are **Great Expecta-
-tions" by Dickens and "La Joie de Vivre" by Zola. Com-
-mon examples : workmen in dangerous occupations.
-B ( 1 ) -^Ambition Sacrificed for the Happiness of a
-Parent: — "Les Frères Zemganno" by Edmond de Gon-
-courty. This ends with a dénounement the opposite of
-tliat of "L'Œuvre."
-(2) — Ambition Sacrificed for the Life of a Parent: —
-"Madame de Maintenon" (Coppée, 1881).
-C (1) — Love Sacrificed for the Sake of a Parent's
-Life: — "Diane" by Augier; "Martyre" (Dennery,
-).
-(2)— For the Happiness of Ones Child:— "Le Re-
-THIRTY-SIX DRAMATIC SITUATIONS
-veil" (Hervieu, 1905); "La Fugitive" (Picard, 1911).
-For the Happiness of a Loved One : — "Cyrano de Ber-
-gerac" by Rostand ; "Le Droit au Bonheur" (C. Lemon-
-nier, 1907).
-(3) — The Same Sacrifice as 2, But Caused by Unjust
-Laws: — "La Loi de THomme" by Hervieu.
-D (1) — Life and Honor Sacrificed for the Life of
-a Parent or Loved One : — "Le Petit Jacques." Case in
-which the loved one is guilty : "La Charbonnière" (Cre-
-mieux, 1884) ; "Le Frère d'Armes" (Garaud, 1887) ; "Le
-Chien de Garde" (Richepin, 1889). The Same Sacrifice
-Made for the Honor of a Loved One: — "Pierre Vaux"
-(Jonathan, 1882). A similar sacrifice, but of repu-
-tation only : "La Cornette" (Mlle, and M. Ferrier,
-).
-(2) — Modesty Sacrificed for the Life of a Relative or
-a Loved One: — Shakespeare's "Measure for Measure;"
-Euripides' "Andromache" and also Racine's; "Per-
-tharite" by Corneille; "La Tosca" (Sardou, 1889). In
-fiction : "Le Huron" by Voltaire.
-===TWENTY-SECOND SITUATION ===
-ALL SACRIFICED FOR A PASSION
-(The Lover; the Object of the Fatal Passion;
-the Person or Thing Sacrificed)
-A (1) — Religious Vows of Chastity Broken for a
-Passion: — "Joceljoi" by Godard. From fiction: "La
-Faute de TAbbe Mouret." In comedy: "Dhourtta
-Narttaka."
-(2)— A Vow of Purity Broken .-—"Tannhauser." Re-
-spect for a Priest Destroyed :^-one aspect of "La Con-
-quête de Plassans.'*
-(3) — A Future Ruined by a Passion: — "Manon" by
-Massenet ; "Sapho" by Daudet ; "La Griffe" (Bernstein,
-) ; the works of Louys in general.
-• (4) — Power Ruined by Passion : — Shakespeare's
-"Antony and Cleopatra ;" "Cléopâtre" by Sardou.
-(5)_Ruiii of Mind, Health and Life:— "La Glu"
-(Richepin, 1883) ; "L'Arlesienne" (Daudet and Bizet) ;
-"La Furie" (Bois, 1909). From fiction (see C) : "Le
-Possédé" by Lemonnier. Passion Gratified at the Price
-of Life: — "Une Nuit de Cléopâtre" (Gautier and
-Masse) .
-(5) — Ruin of Fortunes, Lives and Honors: — "Nana" ;
-in part "La Route d'Emeraude" (Richepin, after De-
-molder, 1909).
-B — Temptations (see XII) Destroying the Sense of
-Duty, of Pity, etc :— "Salome" (Oscar Wilde). From
-fiction: "Herodias," and the attempts (repulsed) in
-"The Temptation of Saint Anthony."
-^8 THIRTY-SIX DRAMATIC SITUATIONS'^-^
-C (1) — Destruction of Honor » Fortune and Life,
-by Erotic Vice: — "Germinie Lacerteux" by de Gon-
-court; "Rolande" (Gramont, 1888) ; '*Maman Colibri
-(Bataille, 1904). From fiction: "La Cousine Bette
-"Le Capitaine Burle/
-(2)— The Same Effect Produced by Any Other Vice:
-— "Trente Ans ou la Vie d'un Joueur" ; "L'Assommoir."
-From fiction "L'Opium" by Bonnetain; "Lelie" by
-Willy. In real life: our race-courses, our wine-shops,
-our cafes, our clubs, etc. In comedy : "Un Ange"
-(Capus, 1909)
-Few situations, obviously, have received better and
-more constant treatment during our own century — to
-whose vices the Twenty-Second offers, in truth, a most
-appropriate mirror, in its amalgam of gloom and erotic-
-ism, at the same time presenting the most interesting
-studies ot nervous pathology.
-===TWENTY-THIRD SITUATION ===
-NECESSITY OF SACRIFICING LOVED ONES
-(The Hero ; the Beloved Victim ; the Necessity for
-the Sacrifice)
-Although similar to the three situations we have
-just considered, the Twenty-Third recalls, in one of its
-aspects, that destruction of natural affection which
-marked the Thirteenth, "Hatred of Kinsmen." The feel-
-ings 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) — Necessity for Sacrificing a Daughter in
-the Public Interest: — "The Iphigenias" of Aeschylus
-and of Sophocles; "Iphigenia in Aulis," by Euripides
-and by Racine; "Erechtheus" by Euripides.
-(2) — Duty of Sacrificing Her in Fulfillment of a Vow
-to God: — The "Idoménées" of Crébillon, Lemierre, and
-Cienf uegos ; the "Jephthes" of Buchanan and of Boyer.
-This nuance tends at first toward Situation XVII, "Im-
-prudence," but the psychologic struggles soon give it
-a very different turn.
-(3) — Duty of Sacrificing Benefactors or Loved Ones
-to Ones Faith: "Torquemada :" "Ninety-Three:"
-"Les Mouettes" (Paul Adam, 1906) ; "La Fille à Guil-
-lotin" (Fleischmann, 1910). Historic instances; Philip
-II ; Abraham and Isaac.
-B (1) — Duty of Sacrificing Ones Child, Unknown
-THIRTY-SIX DRAMATIC SITUATIONS
-to Others, Under the Pressure of Necessity: — ^Euripi-
-des' "Melanippe"; ''Lucrèce Borgia,'' (II, 5).
-(2) — ^Duty of Sacrificing, Under the Same Circum-
-stances, Ones Father: — ^The "Hypsipyles" of Aeschy-
-lus, and of Metastasio ; "The Lemnian Women" by
-Sophocles.
-(3) — Duty of Sacrificing, Under the Same Circum-
-stances, Ones Husband: — The "Danaïdes" of Phryn-
-ichus,, of Aeschylus, of Gombaud, of Salieri, of Spontini ;
-the "Lynceus" of Theodectes and of Abeille ; the **Hy-
-permnestres" of Metastasio, Riupeiroux, Lemierre, etc.
-(4) — Duty of Sacrificing a Son-In-Law for the PubKc
-Good:— "Un Patriote" (Dartois, 1881). For the Sake
-of Reputation: — "Guibor" (a XIV Century Miracle of
-Notre-Dame) .
-(5) — ^Duty of Contending with a Brother-In-Law for
-the Public Good: — Corneille's "Horace," and that of
-Arétin. The loyalty and affection subsisting between
-the adversaries remove all resemblance to the Thir-
-tieth.
-(6) — Duty of Contending With a Friend: — "Jarnac"
-(Hennique and Gravier, 1909).
-Nuance B, (B 1 for example), lends itself to a fine in-
-terlacing of motifs. Melanippe finds herself (1st)
-forced to slay her son, an order which she would have
-resisted at the risk of her own life, but she is at the
-same time (2nd) obliged to conceal her interest in the
-child, for fear of revealing his identity and thereby
-causing his certain death. Similar dilemmas may be
-evolved with equal success in all cases in which a char-
-acter receives an injunction which he is unwilling to
-obey ; it will suffice to let him fall, by his refusal, into
-a second situation leading to a result equally repugnant
-or, better yet, identical. This dilemma of action is
-again found in what is called blackmail ; we have also
-seen its cruel alternatives outlined in Class D of Situa-
-tion XX ("Theodore," "The Virgin Martyr," etc.), and
-TWENTY-THIRD SITUATION 81
-clearly manifested in Class D (especially D 2) of Sit-
-uation XXII ("Measure for Measure," "Le Huron,"
-etc.) but it is therj 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 against it ; we accept it without question, so nat-
-ural does it appear, so overwhelming.
-Before leaving these four sjFmmetrical situations, I
-would suggest a way of disposing their elements with a
-view to seeking states of mind and soul less familiar.
-We have just seen these forces marshalled: — Passion
-(vice, etc.) ; pure affection (for parents, friends, bene-
-factors, and particularly devotion to their honor, their
-happiness, their interests) ; reasons of state (the suc-
-cess of a compatriot, of a cause, of a work) ; egoism
-(will to live, cupidity, ambition, avarice, vanity) ;
-honor (truthfulness, feminine chastity, promises to
-God, filial piety). Oppose these to each other, two By
-two, and study and the ensuing conflicts.
-The first cases produced will be those already cited.
-Here follow other and newer ones: — a passion or vice
-destroying interests of state (for in "Antony and
-Cleopatra" it is only the royal pomp of the two lovers
-which is impressive; one does not reflect upon the
-peril of their peoples) ; egoism (in the form of ambi-
-tion, for example) struggling with faith in the soul of
-man, a frequent case in religious wars ; egoism in this
-ambitious guise overcoming natural affection (the
-plotter denying or sacrificing his father, mother or
-friend offers a fine study) ; a conflict between personal
-honor and reasons of state (Judith in the arms of Holo-
-femss; Bismarck falsifying the despatch of his mas-
-ter). Then oppose the various nuances to each other
-(the hero torn between his faith and the honor of his
-THIRTY-SIX DRAMATIC SITUATIONS
-people, and so on). Subjects will spring up in myriads.
-(Special notice— the neo-classic tragedy having
-proved itselt dead, — to psychological fiction, its
-legatee).
-===TWENTY-FOURTH SITUATION ===
-RIVALRY OF SUPERIOR AND INFERIOR
-(The Superior Rival; the Inferior Rival; the Object)
-I would have preferred to make of this and tHê
-following (Adultery) a single situation. The differ-
-ence lies in a contract or a ceremony, of variable im-
-portance according to the milieu, and which in any case
-does not materially change the dramatic emotions
-springing from the love contest; even this difference
-becomes quite imperceptible in polygamous societies
-(Hindu 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 accused of purpose-
-ly compressing modem works into the smallest pos-
-sible number of categories, for the two which we are
-now to analyze contain the major part of them.
-We have already remarked that between "Hatred of
-Kinsmen" and "Rivalry of Kinsmen" the sole difference
-lies in the fact that in the latter there is embodied in
-human form the Object of dispute, the "casus belli."
-For the same reason we may bring together the sit-
-uations "Rivalry of Superior and Inferior," "Adultery,"
-and even "Murderous Adultery," and distinguish them
-from all the situations which portray struggle pure
-and-simple, (V, VII, VIII, IX, X, XI, XXX, XXXI).
-However, the beloved Object will more naturally
-appear in the present cases of sentimental rivalry than
-she could in the "Rivalry of Kinsmen," and nowhere
-does a more favorable opportunity present itself to the
-dramatic poet for portraying his ideals of love.
-M THIRTY-SIX DRAMATIC SITUATIONS
-•
-These cases are divided first according to sexes, then
-according to the degrees of difference in the rank of
-the rivals.
-A — Masculine Rivalries, (1) — Of a Mortal and an Im*
-mortal: — "Mrigancalckha" by Viswanatha; "Heaven
-and Earth" by Byron; "Polyphème" (Samain). Of
-Two Divinities of Unequal Power : — "Pandore" by Vol-
-taire.
-(2) — Of a Magician and an Ordinary Man: — ^"Tanis
-et Zelide," by Voltaire.
-(3) — Of Conqueror and Conquered: — "Malati and
-Madhava" by Bhavabuti ; "Le Tribut de Zamora'*
-(Gounod, 1881) ; "Le Sais" (Mme. Ollognier, 1881). Of
-Victor and Vanquished: — ^Voltaire's "Alzire." Of a
-Master and a Banished Man: — "Appius and Virginia"
-by Webster; "Hernani" and "Mangeront-Ils ?" by
-Hugo; "Dante" (Godard, 1890). Of Usurper and Sub-
-ject: — "Le Triumvirat" by Voltaire.
-(4) — Of Suzerain King and Vassal Kings: — Cor-
-neille's "Attila."
-(5)_0f a King and a Noble:— "The Earthen Toy-
-Cart" by Sudraka ; "The Mill" and "Nina de Plata" by
-Lope; "Agésilas and Suréna" by Corneille; "Demet-
-rius" by Metastasio; "Le Fils de Porthos" (Blavet
-) .
-(6) — Of a Powerful Person and an Upstart: — "Don
-Sanche" by Corneille; "La Marjolaine" (Richepin fils,
-).
-(7)_0f Rich and Poor:— "La Question d'Argent"
-by Dumas; "La Nuit de Saint-Jean" (Erckmann-
-Chatrian and Lacome) ; "En Grève" (Hirsch, 1885) ;
-"Surcouf" (Planquette, 1887) ; 'L'Attentat" (Capus
-and Descaves, 1906) "La Barricade" (Bourget, 1910) ;
-"La Petite Milliardaire" (Dumay and Forest, 1905).
-In fiction: part of "Toilers of the Sea." Relative in-
-TWENTY-FOURTH SITUATION 86
-equality: "Mon Ami Teddy" (Rivoire and Besnard,
-).
-(8) — Of an Honored Man and a Suspected One: —
-"L'Obstacle" (Daudet, 1890) ; "Le Drapeau" (Moreau,
-) ; "Devant l'Ennemi" (Charton, 1890) ; "Jack
-Tempête" (Elzear, 1882) ; "La Bûcheronne" (C. Ed-
-mond, 1889) . In comedy : "Le Mariage de Mlle. Boule*
-mans" (Fonson and Wicheler, 1911).
-(9) — Rivalry of Two Who Are Almost Equal: —
-"Dhourtta Samagana," the rivals here being master
-and disciple, as is also the case in "Maîtres Chanteurs,"
-but not in "Glatigny" (Mendes, 1906) , nor in "Bohé-
-mos" (Zamacois, 1907).
-(10) — Rivalry of Equals, One of Whom Has in the
-Past Been Guilty of Adultery: — "Chevalerie Rustique"
-(Verga, 1888).
-(11)— Of a Man Who is Loved and One Who Has
-Not the Right to Love: — "La Esmeralda."
-(12) — Of the Two Successive Husbands of a
-Divorcée— "Le Dédale" (Hervieu, 1903). By multiply-
-ing the number of husbands good comic effects might
-be secured.
-B-^Feminine Rivalries, (1) — Of a Sorceress and an
-Ordinary Woman: — "La Conquête de la Toison d'Or"
-by Corneille: "La Sorcière" (Sardou, 1903).
-(2)— Of Victor and Prisoner :— "Le Comte d'Essex"
-by Thomas Corneille; the "Marie Stuart" of Schiller
-and also of Samson.
-(3)— Of Queen and Sub ject :— "Marie Tudor" and
-"Amy Robsart" by Hugo; "Le Cor Fleuri" (Mikhael
-and Herold) ; "Varennes" (Lenotre and Lavedan,
-) . The title of this sub-class is, it v/ill be remem-
-bered, the only one cited of the so-called "Twenty-
-Four Situations" of Gérard de Nerval ; we might indeed
-include under this denomination the examples of B 1,
-and 4. But at most it can constitute only a half of
-one of the four classes of "Rivalry of SNx^OT^^st '«xsà.
-THIRTY-SIX DRAMATIC SITUATIONS
-Inferior," which itself has but the importance of one
-situation in a series of thirty-six.
-(4) — Of a Queen and a Slave: — "Bajazet" by Racine;
-"ZuUme;" part of "Une Nuit de Cléopâtre" (from
-Gautier, by V. Masse, 1885).
-(5)_0f Lady and Servant :— "The Gardener's Dog"
-by Lope de Vega (wherein may be found what is per-
-haps the most successful of the many attempted
-portraits of an amorous "grande dame").
-(6) — Of a Lady and a Woman of Humbler Position:
-— "Francois-les-bas-bleus" (Messager, 1883) ; "Le Fri-
-quet" (Willy and Gyp, 1904) ; "Petite Hollande" (S
-Guitry, 1908) ; '*L'Ane de Buridan" (de Fleurs and de
-Caillavet, 1909) ; "Trains de Luxe" (Hermant, 1909).
-Of a Lady and Two Women of Humbler Class: — "Les
-Passagères" (Coolus, 1906).
-(7) — Rivalry of Two Who Are Almost Equals, Com-
-plicated by the Abandonment of One (this tends
-toward A (1) of Situation XXV) :— Corneille's "Ari-
-ane;" "Benvenuto" (Diaz, 1890). In fiction: "La Joie
-de Vivre."
-(8) — Rivalry Between a Memory or an Ideal (That
-of a Superior Woman) and a Vassal of Her Own: —
-"Semiramide Riconosciuta" by Metastasio; "'Madame
-la Mort" by Rachilde (in which the field of struggle is
-subjective); "La Morte" by Barlatier; "L'Image" by
-Beaubourg. Symmetrical case in the masculine: "The
-Lady from the Sea," by Ibsen.
-(9) — ^Rivalry of Mortal and Immortal: — "La Dame
-àlaFaulx" (Saint-Pol Roux).
-C; — Double Rivalry (A loves B, who loves C, who
-loves D) : — ^Metastasio's "Adrien;" Lessing's "Emilia
-Galotti ;" "La Fermière" (d'Artois, 1889) ; "Ascanio'*
-(Saint-Saëns, 1890) ; "Les Deux Hommes" (Capus,
-) ; "Le Circuit" (Feydeau and de Croisset, 1909) ;
-"L'Article 301" (Duval, 1909). It is permissible to
-extend the rivalry to three, four, etc., which will make
-TWENTY-FOURTH SITUATION 87
-it less commonplace, but will not greatly vary the
-effects, although sometimes the chain will end in a
-complete circle (that is to say, D will love A), or a
-partial one (D returning the love of C).
-D — Oriental Rivalries: — ^We are beginning to take
-account of the fact that the divorce law was obtained
-chiefly through the efforts of our dramatic writers,
-less because they were convinced of its righteousness
-than because they felt the need of a renewal and in-
-crease of their limited combinations. They might, in-
-deed, have breathed a fresher and purer air by turn-
-ing toward Hindu polygamy! Goethe, Théophile
-Gautier (who foresaw the decadence of woman
-through the extension and increase of vice), Maurice
-Barrés ("L'Ennemi des Lois") seem to have felt
-something of the sort. We could wish that the mis-
-understandings of the modern home, in which archaic
-fidelity and genuine monogamy have almost ceased to
-exist, on one side especially, might be settled with a
-modicum of this spirit of tolerance.
-(1) — Rivalry of Two Immortals: — "The Loves of
-Krishna" by Roupa.
-(2) — Of Two Mortals: — "Agnimitra and Malavika,"
-by Kalidasa.
-(3)— Of Two Lawful Wives:— "The Necklace," by
-Sri Harshadeva ; 'The Statue" by Rajasekhara.
-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 struggle 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, or midway between the two, or even superior
-to both.
-===TWENTY-FIFTH SITUATION ===
-ADULTERY
-(A Deceived Husband or Wife ; Two Adulterers)
-Without deserving to constitute a situation of itself
-alone, Adultery yet presents an interesting aspect of
-Theft (action from without) combined with Treason
-(action within). Schiller, following the example of
-Lope, was pleased 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" and "Lucrèce Borgia," they suc-
-ceeded, once for all — and quite legitimately. The folly
-lies in the belief of the unthinking crowd in the ex-
-cellence of the subject thus presented; in the public's
-admiration for the "Antonys" — but the public 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 de-
-ceived husband . . . Whatever arabesques may
-cover the simple and fundamental fact of Larceny,
-whatever complaisance may be shown by a tired public,
-there remains nevertheless, beneath it all, a basis of
-granite — the old-fashioned conscience; to it, the thing
-which is here vaunted is simply the breach of the Word
-of ÇEonor of a contract — that word, that promise which
-was obeyed by the Homeric gods and by the knights
-of Chivalry no less than by ourselves; that base of
-every social agglomeration; that which savages and
-TWENTY-FIFTH SITUATION 89
-which convicts respect between themselves; that pri-
-mary source of order in the world of action and of
-thought. The spectators' attention may of course be
-momentarily turned from a point of view so strict,
-and quite naturally; through the heresies of the im-
-agination almost anything may evoke a laugh. Do we
-not laugh heartily at the sight of a fat man tumbling
-ridiculously down a flight of steps, at the bottom of
-which he may break his neck? Anything, likewise,
-may evoke our pity; we have pity for the perjuries 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 of so much care 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
-husband. This forms the sort of play known as
-"wholesome," which as a matter of fact is merely tire-
-some. A man whose pocket-book has been stolen does
-not on that account grow greater in our eyes, and when
-the information which he is in a position to furnish us
-is once obtained, our attention is turned from him and
-directed toward the thief. But if the latter, 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 sophistication) , scenting
-a foregone conclusion in the lesson which the author
-intends for us, and suspecting falsehood at the bottom
-of it, we grimace with irritation, disappointed to per-
-ceive, behind the story presented for our entertain-
-ment, the vinegarish smile of the school-teacher.
-Third Case: — The deceived Husband or Wife is
-Avenged. Here, at last, something happens ! But this
-THIRTY-SIX DRAMATIC SITUATIONS
-vengeance, unfortunately, is merely one of the cases
-of the Third Situation. )'\
-Thus we shall not succeed with our TWenty-fifth
-Situation except by treating it in a broadly human
-spirit, without 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 com-
-prehend them all, to have compassion upon all, to ex-
-plain them all — which is to say to comprehend one-
-self, to have pity upon oneself, and to explain oneself —
-this is the real work to be accomplished.
-A — A Mistress Betrayed; (1) — For a Yomig Worn-
-an : — Sophocles' "Women of Colchis" ; the "Medeas" of
-Seneca and of Corneille ; "Miss Sara Sampson" by Les-
-sing; "Lucienne" (Gramont, 1890). These examples
-are, because of the final vengeance, symmetrical to the
-masculine of Class B.
-(2) — For a Young Wife (the marriage preceding the
-opening of the play) : — "Un Voyage de Noces" (Tier-
-celin, 1881).
-(3)_For a Girl:— "La Veine" (Capus, 1901).
-(B)— A Wife Betrayed: (1)— For a Slave, Who
-Does Not Love in Return: — "Maidens of Trachis" by
-Sophocles; "Hercules on CEta" by Seneca (the first
-part; as to the rest, see "Imprudence") ; the "Andro-
-mache" of Euripides and that of Racine (in which this
-is one side of the drama ; for the other, see "Sacrifices
-for Kinsmen").
-( 2 ) — For Debauchery : — "Numa Roumestan" by
-Daudet; "Francillon" by Dumas; "Serge Panine" by
-Ohnet ; the opening part of "Mères Ennemies," which
-afterward turns to "Hatred of Kinsmen."
-(3) — For a Married Woman (a double adultery) : —
-"La Princesse Georges" and "L'Etrangère" by Dumas ;
-"Monsieur de Morat" (Tarbe, 1887) ; "Les Ménages de
-TWENTY-FIFTH SITUATION 91
-Paris" (Raymond, 1886); "Le Depute Leveau" (Le-
-maïtre) .
-(4)— With the Intention of Bigamy:— The "Al-
-mseons of Sophocles and of Euripides.
-(5) — For a Young Girl, Who Does Not Love in Re-
-tuni : — Shakespeare's "Henry VIII," and that of Saint-
-Saëns; Alfieri's "Rosamonde" (a combination of the
-present and the preceding situations, for it is also a
-simple Rivalry of King and Subject).
-(6) — ^A Wife Envied by a Young Girl Who is in Love
-With Her Husband :— "Stella" by Goethe; "Dernier
-Amour" (Ohnet, 1890)..
-(7) — ^By a Courtesan: — "Miss Fanfare" (Ganderax,
-, see B 2) ; "Proserpine" (Vacquerie and Saint-
-Saëns, 1887) ; "La Comtesse Fredegonde" (Amigues,
-); "Myrane" (Bergeat, 1890).
-(8) — Rivalry Between a Lawful Wife Who is Anti-
-pathetic and a Mistress Who is Congenial: — "C'est la
-Loi" (Cliquet, 1882) ; "Les Affranchis" (Madame Len-
-éru, 1911).
-(9) — Between a Generous Wife and an Impassioned
-Girl:-^"La Vierge Folle" (Bataille, 1910) ; "La Femme
-de Demain" (Arthur Lef ebvre, 1909) .
-C (1) — An Antagonistic Husband Sacrificed for a
-Congenial Lover: — "Angelo;" "Le Nouveau Monde" by
-Villiers de I'Isle Adam; "Un Drôle" (Yves Guyot,
-) ; "Le Mari" (Nus and Arnould, 1889) ; "Les Ten--
-ailles" (Hervieu) ; "Le Torrent" (Donnay) ; "Decad-
-ence" (Guinon, 1901) ; "Page Blanche" (Dévore, 1909).
-(2) — A Husband, Believed to be Lost, Forgotten for
-a Rival: — "Rhadamiste et Zénobie" by Crébillon;
-"Jacques Damour" by Zola. The "Zénobie" of
-Metastasio, by the faithful love retained for her
-husband, forms a case unique ( !) among the innumer-
-able dramas upon adulterous passions. Compare "Le
-Dédale" (see XXIV, A 12).
-(3) — ^A Commonplace Husband Sacrificed for a
-J9
-THIRTY-SIX DRAMATIC SITUATIONS
-Sympathetic Lover: — "Diane de Lys" by Dumas;
-"Tristan and Isolde" by Wagner (with the addition of
-"Madness," produced by a love-potion) ; "Françoise de
-Rimini" (A. Thomas, 1882) ; "La Sérénade" (Jean Jul-
-lien, 1887) ; "L'Age Critique" (Byl, 1890) ; "Antoinette
-Sabrier" (Cîoolus, 1903) ; "La Montansier" (Jeofrin, de
-Fiers and de Caillavet, 1904) ; "Connais-toi" (Hervieu,
-). The same case without adultery: "Sigurd"
-(Reyer, 1885) ; "La Comtesse Sarah" (1886).
-(4) — A Good Husband Betrayed for an Inferior Rival:— "[[L'Aveu]]" ([[Sarah Bernhard]], 1888) ; "Révoltée^ (Lemaîtrè, 1889) ; "La Maison des Deux Barbeaux' (Theuriet, 1885) ; "André del Sarte" (Alfred de Musset) ; "La Petite Paroisse" (Daudet, 1911) ; "Le Mannequin d'Osier" (France, 1904) ; "La Rencontre" (Berton, 1909). Cases of preference without adultery: "Smilis" by Aicard; "Les Jacobines" by Hermant (1907).
-(5)_For a Grotesque Rival:— "The Fatal Dowry"
-by Massinger.
-(6)— For an Odious Rival :— "Gerfaut" (from G. de
-Bernard, by Moreau, 1886) ; "Cœur à Cœur" (Coolus,
-).
-(7) — For a Commonplace Rival, By a Perverse
-Wife: — "La Femme de Claude" by Dumas; "Pot-
-Bouille" by Zola; "Rivoli" (Fauchois. 1911): "Les
-Malefilâtre'* (Porto-Riche, 1904) ; "Soeurette"
-(Borteau-Loti). In fiction: "Madame Bovary."
-(8) — For a Rival Less Handsome, but Useful (with
-comic false suspicions; that is, suspicions afterward
-thought to have been false) : — "L'Echéance" ' (Jean
-JuUien, 1889) .
-D (1) — Vengeance of a Deceived Husband (dramas built upon a crescendo of suspicion) : — "The Physician of His Own Honor'* and "Secret Vengeance for Secret Outrage" by Calderon; "L'Affaire Clemenceau" by Dumas ; "[[The Kreutzer Sonata]]" (after Tolstoi, 1910) ; '*La Légende du Cœur" (Aicard, 1903) ; "Paraître"
-(Donnay, 1906;; "Les Miroirs" (Roinarrd) ; "The Enigma" by Hervieu (which borrows something from Situation XI of this name. A vengeance purely moral : "Après Moi" (Bernstein, 1911) ; financial: "Samson," by the same author, (1907).
-(2) — Jealousy Sacrificed for the Sake of a Cause:
-(tending toward "Sacrifices for an Ideal") : — "Les
-Jacobites" (Coppée, 1885) ; "Patrie" (Paladilhe, 1886).
-Sacrificed out of Pity: — "La Famille d'Armelles''
-(Marras, 1883).
-E — A Husband Persecuted by a Rejected Rival:—
-"Raoul de Crequi" (Delayrac, 1889). This case is
-symmetrical to B 7, and both proceed in the direction
-of "Murderous Adultery."
-===TWENTY-SIXTH SITUATION ===
-CRIMES OF LOVE
-(The Lover; the Beloved)
-This is the only tragic situation of all those built
-upon Love, that subject being one essentially belonging
-to comedy (see XXVIII and XXIX).
-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
-such as the legend of Narcissus and "Chariot s'amuse,"
-or certain grotesqueries of Aristophanes," unless it be
-made the basis for a study of the weakening and col-
-lapse of the Will, in which case it might be grouped
-with drunkenness, gambling, etc., in Situation XXII.
-Second: Violation, like murder, is but an act,
-generally a brief one and not a situation; at most it
-approaches "Abduction." Even the consequences to
-the perpetrator, like those of the
-Thii d : Prostitution and its succeedant gallantry and
-Juanism (repetition of acts), do not become dramatic
-unless pursued by punishment, in which case they
-belong to the Fifth Situation. Nevertheless, if impun-
-ity be secured, the taste for violation and for prostitu-
-tion tends toward the Twenty-Second.
-Fourth: Adultery, whose character of theft has
-given rise to special situations already studied.
-Fifth: Incest is divided in two principal directions.
-It may be committed in an ascendant-descendant line,
-in which case it implies either filial impiety or an abuse
-of authority analogous to that which we shall find in
-TWENTY-SIXTH SITUATION 95
-the Eighth variety of criminal love. It may also occur-
-upon what may be called a horizontal line; that is,
-between consanguines or persons related by marriage.
-A (1)— A Mother in Loive With Her Son:— "Semi-
-ramis" by Manfredi, and by Crébillon; to explain and
-extenuate this case, the latter author has first used
-the Eighteenth (Involuntary Crimes of Love) ; "Les
-Cuirs de Boeuf" (Polti, 1898). Inverse case: "Le
-Petit Ami" by Leautaud.
-(2)— A Daughter in Love With Her Father:—
-Alfieri's "Myrrha," whose psychology is drawn from
-that of "Phèdre."
-(3) —Violation of a Daughter by a Father:— "The
-Cenci" by Shelley ; the story of the Peau d'âne (inten-
-tion only) .
-B (l)-rA Woman Enamored of Her Stepson: —
-"lobates" and "Phaedra" by Sophocles; the Hippoly-
-tus" of Euripides and of Seneca; "Phèdre" by Racine.
-In comedy: "Madame TAmirale" (Mars and Lyon,
-). In almost none of the foregoing cases, it will
-be observed, is there a reciprocity of desire, whereas
-the passion, heretofore solitary, is shared, and the
-crime, unconscious at least on one side in "Myrrha,"
-is boldly committed in
-(2) — A Woman and Her Stepson Enamored of Each
-Other: — Zola's "Reneè" (drawn from his story
-"Curée,") and similar to the quasi-incestuous passion of
-"Dr. Pascal." The love is platonic in Alfieri's "Philip
-II," and Schiller's "Don Carlos."
-(3) — A Woman Being the Mistress, at the Same
-Time, of a Father and Son, Both of Whom Accept the
-Situation:— "L'Ecole des Veufs" (Ancey, 1889).
-C (1) — A Man Becomes the Lover of His Sister-in-
-Law:— "La Sang-Brulé" (Bouvier, 1885) ; "Le Con-
-science de l'Enfant" (Dévore, 1889). The Man Alone
-THIRTY-SIX DRAMATIC SITUATIONS
-Enamored: — "Le Sculpteur de Masques" (Cromelynck.
-).
-(2)— A Brother and Sister in Love With Each
-Other: — Euripides "iEoliis"; "Canace" by Speroni;
-"'Tis Pity She's a Whore," Ford's masterpiece; "La
-Città Morta" by d'Aimunzio.
-Even after these works, there remains much more
-than a gleaning; an ample harvest is still before us.
-We may extend Class A to include the complicity of
-both parties (Nero and Agrippina furnish an example,
-according to Suetonius) ; a similar example, although
-fragmentary, exists for A 2, in the beginning of Shake-
-speare's "Pericles." B 1 may be reversed, the step-
-son's passion being unrequited by his father's wife, a
-case which is certainly not uncommon. We may also
-suppress the complicity in B 3, in C I, and in C 2, allow-
-ing 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
-classes of Crimes of Love ; under the form of ignorance,
-the fifth and sixth classes are mingled in one of the
-episodes of "Daphnis and Chloe." Add the usual in-
-cidental rivalries, adulteries, murders, etc.
-Sixth : Homosexuality in its two senses, the branches
-of pederasty and tribadism:
-D (1) — A Man Enamored of Another Man, Who
-Yields: — Example from fiction: "Vautrin." Dramatic
-examples : the "Laius" of Aeschylus ; the "Chrysippus"
-of Euripides. 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.
-TWENTY-SIXTH SITUATION 97
-unnatural and furthermore adulterous, for the young
-Chrysippus, an epithalamium as 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 th^em, and in his
-words lay the explanation of the wavering and fall of
-Chrysippus. Then followed the most indignant and
-pitiless jealousy on the part of Jocaste, wife of Laius.
-Against Chrysippus she roused the old envy of the
-young 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
-brotners, — ^Atreus and Thyestes ! The fratricide is ac-
-complished, to the fierce joy of the queen; Laius learns
-the details from the lips of the dying Chrysippus him-
-self. 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 excellence, the Labdacides
-and the Atrides, beginning in these crimes and running
-through all Greek legend.
-The tribadic or sapphic branch has not been used
-upon the stage ; Mourey 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 congener. Weak and colorless, the last evil habit
-of worn-out or unattractive women, it does not offer to
-the tragic poet that madness, brutal and preposterous,
-but springing from wild youth and strength, which we
-find in the criminal passion of the heroic ages.
-Seventh: Bestiality, or passion for a creature out-
-side the human species. Classed in general as a vice,
-it is of no use theatrically. Nevertheless, in
-E— A Woman Enamored of a Bull; — "The Cretans"
-THIRTY-SIX DRAMATIC SITUATIONS
-Df Euripides seems to have revealed the emotions, after
-all conceivable, of this "Ultima Thule" of sexual per-
-version. Better than anywhere else, evidently, the
-illogical and mysterious character of the life of the
-senses, the perversion of a normal instinct, and the
-feeling of fatalism which its victims communicate,
-could here be presented in sad and awful nudity.
-Eighth : The Abuse of Minor Children borrows some-
-thing from each of the seven preceding varieties. That
-such a subject — so modern, so English — ^may in skilful
-hands become most pathetic, is readily apparent to
-those of us who read, a few years ago, the "Pall Mall
-Gazette."
--"'--
-===TWENTY-SEVENTH SITUATION ===
-DISCOVERY OF THE DISHONOR OF A LOVED ONE
-(The Discoverer ; the Guilty One)
-From this Situation there results, almost immediate-
-ly, a psychologic struggle similar to that of the
-Twenty-Third, "Sacrifice of Loved Ones," but with-
-out the attraction of a high Ideal ; this is replaced, in
-the present action, by the lash of shame.
-A (1) — ^Discovery of a Mother's Shame:—
-"Madame Caverlet" by Augier; "Odette" and
-"Georgette" by Sardou ; "Madame X" (Bisson, 1908) ;
-"Mrs. Warren's Profession" (Bernard Shaw) ; "Lea
-Quarts d'Heure" (second part; Guiches and Lavedan,
-). This sad destruction of a child's deepest re-
-spect and reverence is colored, in these works, by the
-terrors of the mother, by her blushes, by her remorse
-before the consequences of the past ; through this last
-point the action ends in the Thirty-Fourth (Remorse),
-It remains unconnected in the second part of the
-"Marquis de Priola" (Lavedan, 1901).
-(2) — Discovery of a Father's Shame: — "Vieille His-
-toire" (Jean Jullien, 1891) ; the dénouement of "Pierre
-et Thérèse" (Prévost, 1909) .
-(3) — ^Discovery of a Daughter's Dishonor: — ^Part of
-"La Fille du Depute" (Morel, 1881) ; of "Les Affaires
-sont les Affaires" (Mirbeau, 1902) ; "L'Oreille Fendue
-(Nepoty, 1908).
-B (1) — ^Discovery of a Dishonor in the Family of
-Ones Fiancée:— "L'Absente" (Villemer, 1889). Re-
-finements of romance, whose mild tragedy consists in
-lOÔ THIRTY-SIX DRAMATIC SITtJATiÔlîâ
-retarding the signature of a contract, and which cor-
-responds also to the pseudo-Situation XXX (Forbid-
-den Loves). Something of their dullness has already
-emanated from A 1 and A 2.
-(2.) — Discovery that Ones Wife Has Been Violated
-Before Marriage: — *^Le Secret de Gilbertè" (Massiacv ^
-). Since the Marriage: — "Flore de Frileuse" by
-Bergerat, with coinic denouement thanks to a "quid-
-pro-quo."
-(3) — ^That She Has Previously Committed a Fault:.
-—"Le Prince Zilah" (Claretie, 1885) ; part of Dumas'
-"Denise." Common instances: Marriages through
-agencies. ^ . ,
-(4) — Discovery that Ones Wife Has Formerly Qeen
-a Prostitute : — "Lena" (Berton and Mme. van Velde,
-) i That ones mistress has been a prostitute: —
-"Marion Delorme." The same situation, from the
-point of view of "Remorse" (XXXIV), is encountered
-in Zola's "Madeleine." ...
-(5)— Discovery of Dishonor on the Part of a Lovei
-(this also borders upon XXXIV:— "Chamillac" (Feuil-
-let, 1886) ; "Le Crocodile" (Sardou, 1886) .
-(6) — Discovery that Ones Mistress, f ormerly , a
-Prostitute/ Has Returned to Her Old Life (with extenu-
-ating circumstances) : — "La Dame aux Caniellias
-Dumas) ; "La Courtisane" (Amyvelde, 1905) ; part of-
-"Maiion Lescaut." But for feminine cunning ; would
-not this be the normal course of all "bonnes fortunes ?"
-(7) — Discovery that Ones Lover is a Scoundrel, or
-that Ones Mistress is a Woman of Bad Character: —
-"Monsieur Alphonse" by Dumas ; "Mensonges" by
-Emile Michelet. Since (as Palice remarks) liaisons
-lATould last forever if they were never broken off, and
-since the two lovers, who certainly know eaph other
-well, always give as the reason of their rupture the ,
-title of the present sub-class, the conclusion is as easy
-to draw as it is unflattering to the human species. The
-ÏWÊNTY-SEVENTH SITUATION lOl
-Same Discovery Concerning a So-Called King: — "Sire"
-(Lavedan, 1909),
-(8) — ^The Same Discovery Concerning Ones Wife: —
-"Le Manage d'Olympe." by Augier»
-C — Discovery that Ones Son is an Assassin:—^
-"Werner" by Byron; "La PoHcière" (Montepin, 1889).
-The surprise is intensified in cases of parricide. Nuance
-C is capable of infinite development.
-D- — Might constitute a distinct situation; there is
-not only the discovery, but the duty of imposing pun-
-ishment as well. This situation might serve as an in-
-termediary between the Twenty-Third, "Duty of Sac-
-rificing Kinsmen," and the Twenty-Seventh, which we
-are now studying, and which would thus end with
-Class C.
-(1) — ^Duty of Punishing a Son Who is a Traitor to
-Country: — ^The "Brutus" of Voltaire, and of Alfieri.
-A Brother Who is a Traitor to His Party: — "Etudiants
-Russes" by Gilkin.
-(2) — ^Duty of Punishing a Son Condemned Under a
-Law Which the Father has Made :— "L'Inflexible"
-(Parodi, 1884) ; "Le Tribun" (Bourget, 1910) ; "UApo-
-tre" (Loyson, 1911).
-(3) — ^Duty of Punishing a Son Believed to be Guilty:
-—"Le Régiment" (Mary, 1890); "L'As de Trèfle"
-(Decourcelle, 1883). This approaches XXXIII (Judicial
-Error) .
-(4)_Duty of Sacrificing, to Fulfill a Vow of Tyran-
-nicide, a Father Until then Unknown. This impru-
-dent vow carries us back, at one point, to the Seven-
-teenth (Imprudence) , and at another point the striking
-of an unknown parent recalls also the Nineteenth. —
-"Severo Torelli (Coppée, 1883).
-(5) — ^Duty of Punishing a Brother Who is an
-Assassin : — "Casse-Museau" (Marot, 1881 ) . From
-THIRTY-SIX DRAMATIC SITUATIONS
-this situation the kinsman- judge escapes for a mo-
-ment, only to fall into D 3, from which he returns
-with resignation to D 5.
-(6) — Duty of Punishing Ones Mother to Avenge
-Ones Father: — (Situation IV arrested prematurely) :
-— "Le Cœur de Se-hor (Michaud d'Humiac). The
-Fourth is less in evidence in "Simone" (Brieux, 1908).
-===TWENTY-EIGHTH SITUATION ===
-OBSTACLES TO LOVE
-(Two Lovers; an Obstacle)
-A (1) — Marriage Prevented by Inequality of
-Rank:— "Nitétis" and "The Chinese Hero" by Metas-
-tasio ; "Le Prince Soleil" (Vasseur, 1889) ; second act
-of "La Vie Publique''' (Fabre, 1901); "Ramuntcho"
-(Pierre Loti, 1908) ; "L'Emigré" (Bourget, 1908). This
-is the sentimental-philosophical Situation of a great
-number of eighteenth century works ("Nanine," etc.)»
-in which a lord mvariably falls in love with a peasant
-girl. In George Sand, on the contrary, it is always a
-lady who is in love with a man of inferior rank ; a sort
-of literature which at least has inspired many gallant
-adventures of our own time. The addition of one more
-little obstacle — the marriage bond — ^furnishes the pre-
-text for the real intrigue of "Ruy Bias."
-(2) — Inequality of Fortune an Impediment to Mar-
-riage : — "Myrtille" and in part "Friend Fritz" by Erck-
-mann-Chatrian ; "L'Abbe Constantin" by Halevy; "La
-Petite Amie" (Brieux, 1902) ; "La Plus Faible" (Pré-
-vost, 1904) ; "La Veuve Joyeuse" (Meilhac, Léon and
-Stein, 1909) ; "Le Danseur Inconnu" (Bernard, 1909)
-"La Petite Chocolatière" (Gavault, 1909) ; "Primerose"
-"Le Rêve" (from Zola's story by Bruneau) ; in fiction
-"Le Bonheur des Dames" — to mention only the more
-estimable works, leaving aside the endless number of
-trivial plays imitative of Scribe, and the Romances of
-Poor Young Men, Dames Blanches, etc., which make
-THIRTY-SIX DRAMATIC SITUATIONS
-our ears ring witn confusing additions and subtrac-
-tions, until the unexpected final multiplication — "deus
-ex machina" — which suddenly equalizes the two terms
-of the problem, the two fortunes of the lovers, with
-the most admirably sjonmetrical ahgnment of parallel
-zeros — preceded, oh joy! 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 coui*age
-and sincerity, will overcome them without difficulty;
-they can do so. by simply leaving behind 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 i
-They are, indeed, so frequent that a general theory
-might be established with regard to thein. The first
-love (twenty years) seeks in its object equality of
-rank and superiority of age (this is a fact well known
-to those who have studied the cases of girl-mothers) ;
-the second love, and in general 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 prefer-
-ence to those who are younger anl socially inferior.
-Naturally, subdivision is here possible.
-B — ^Marriage Prevented by Enemies and Contingent
-Obstacles:— "Sieba" (Manzotti, 1883); "Et Ma-
-Soeur?" (Rabier, 19X1) ; "Le Péché de Marthe" (Roch-
-ard, 1910) ; ail fairy-plays, since the "Zéim" of Gozzi.
-In fine, a sort of steeple-chase process adapts itself to
-this situation, but the chase is not one in which several
-rival steeds and riders engage; throughout it3 CQur3ç
-TWENTY-EIGHTH SITUATION 105
-but a single couple enters upon it, to end at the shin-
-ing goal with the usual somersault.
-C (1) — Marriage Forbidden on Account of the
-Young Woman's Previous Betrothal to Another: — "11
-Re Pastore" by Metastasio ; and other pieces without
-number. The lovers will die if separated, 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"-^tp use the exact
-language of the **grand siècle" — and other nervous
-phenomena in hypochondriacs of this sort cannot but
-offer some interest — not, however, for long.
-(2) — ^The Same Case, Complicated by an Imaginary
-Marriage of the Beloved Object: — "Les Bleus de
-l'Amour" (Coolus, 1911).
-D (1) — A Free Union Impeded by the Opposition
-of Relatives:— "Le Divorce" (Bourget, 1908) ; "Les
-Lys" (Wolf and Leroux, 1908).
-(2) — Family Affection Disturbed by the Parents-in-
-Law:— "Le Roman d'EUse" (Richard, 1885) ; "Le Pous-
-sin" (Guiraud, 1908). -
-E — By the Incompatibility of Temper of the Lovers*
-— "Montmartre" (Frondaie, 1911). "Les Angles du
-Divorce" (BioUay) belongs both to E and to D 2.
-F — Love — ^but enough of this ! What are we doing, co-
-spectators in this hall, before this pretended situation ?
-Upon the stage are our two young people, locked in
-close embraces or conventionally attitudinizing in pure-»
-ly theatrical poses. What is there in all this worth
-remaining for? Let us leave it . . , What,
-Madame, you straighten yourself in your chair and
-crane your neck in excitement over the gesticulationa
-of the "jeune premier?" But his sweetheart there be-*
-side him — have you forgotten that it is she whom he
-desires, or are the two of them playing so badly, is
-their dialogue so little natural that you forget the
-§tory enacteçl and fondly imagine yourself lii^tening tQ
-THIRTY-SIX DRAMATIC SITUATIONS
-a monologue, a declaration addressed to you alone ?
-And Monsieur there, with mouth open, eyes starting
-from his head, following with avidity every movement
-of the actress's lithe figure ! Quick, my good man,
-another will be before you! Be consistent, at least!
-Spring upon the stage, break the insipid dandy's bones,
-and take his place !
-Sorry return to promiscuity, in our overheated halls
-like lupanars, which the clergy is not altogether un-
-reasonable in condemning! Do people gather here
-simply to study amatory manifestations ? In that case,
-why not freely open training schools for courtesans ? Is
-it for the benefit of the sidewalk traffic, later in the
-evening, that the public is here being prepared ?
-fresh and stormy winds of Dionysian drama!
-Aeschylus, 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 modem
-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
-characters here before us ? Why, they are but puppets
-of comedy, nothing more. And the effort of their mis-
-guided authors to make them serious and tragic de-
-spite 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 XXVIII) returned logically and
-naturally to an indulgence of smiles ? "Le Cid," which
-is the classic type of this sort, is a tragi-comedy, and
-all the characters surrounding Romeo and Juliet
-are frankly comic.
-Nevertheless, our blind dramaturgy, with continued
-obstinacy, still breathes forth its solemnities in this
-TWENTY-EIGHTH SITUATION 107
-equivocal rhythm. Whether the piece treats of sociol-
-ogy, of politics, of religion, of questions of art, of the
-title to a succession, of the exploitation of mines, of
-the invention of a gun, of the discovery of a chemical
-product, of it matters not what — s, love story it must
-have; there is no escape. Savants, revolutionists,
-poets, priests or generals present themselves to us only
-to fall immediately to love-making or match-making.
-It becomes a mania. And we are asked to take these
-tiresome repetitions seriously!
-This, then, is the actual stage of today. In my opin-
-ion, de Chirac alone has shown himself its courageously
-logical son — although a rejected one, — society, like an
-aged coquette, reserving always some secret sins, and
-fearing nothing so much as nudity, which would
-destroy the legend of her imaginary wicked charms»
-veiled, she willingly lets it be supposed, under her
-hypocrisy.
-How grotesque an aspect will our ithyphallic obses-
-sion present, once it is crystallized in history, when
-we shall finally have returned to antique common
-sense !
-\j
-===TWENTy-ninth situation ===
-AN ENEMY LOVED
-(The Beloved Enemy ; the Lover ; the Hater)
-- ♦ *
-A— ^Thè Loved One Hated by Kinsmen of the Lover.
-The preceding Situation might very well be absorbed
-into this» ^
-(1) — ^The* Lover Pursued by the Brothers of His Be-
-loved :— "The Duchess of Malfi" by Webster ; "The
-Broken Heart" by Ford.
-(2)— The Lover Hated by the Family of his Be-
-loved: — "The Story of Yayati" by Roudradeva (with
-the characteristic color of these Hindu rivalries,
-wherein jealousy is hardly perceptible) ; "The Victory
-of Pradyoumna" by Samara Dikchita; Metastasio's
-"Cato"; "La Grande Marnière" (Ohnet, 1888).
-(3) — ^The Lover is the Son of a Man Rated by the
-Kinsmen of His Beloved: — "La Taverne des Trabans"
-and "Les Rantzau" by Erckmann-Chatrian. In comic
-vein : "Dieu ou pas Dieu," a romance by Beaubourg.
-(4) — The Beloved is an Enemy of the Party of the
-Woman Who Loves Him: — "Madhouranirouddha" by
-Vira, the contemporary of Corneille ; "Les Scythes" by
-Voltaire ; "Almanzor" by Heine ; ; "Lakmé" by Delibes ;
-"Les Carbonari" (No, 1882) ; "Madame Thérèse" by
-Erckmann-Chatrian; "Lydie" (Mirai, 1882) ; "Les Ama-
-zones" (Mazel); "Les Oberle" (Bazin, 1905); Les
-Noces Corinthiennes" (France) ; "l'Exode" (Fauchois,
-).
-B (1)— The Lover îs the Slayer of the Father of
-His Beloved: — "Le Cid" (and the opera drawn from
-it) ; "Olympie" by Voltaire.
-Twenty-ninth situation 109
-(2)— The Beloved is the Slayer of the Father of her
-Lover: — "Mademoiselle de Bressier" (Delpit, 1887).
-(3)_The Beloved is the Slayer of the Brother of
-Her Lover: — "La Reine Fiammette" (Mendès, 1889).
-(4)-r-The Beloved is the Slayer of the Husband of
-the Woman Who Loves Him, But Who Has Previously
-Sworn to Avenge that Husband: — "Irène" by Voltaire.
-(5) — The Same Case, Except that a Lover, Instead
-of a Husband, Has Been Slain: — "Fedora" (Sardou,
-).
-(6) — The Beloved is the Slayer of a Kinsman of the
-Woman Who Loves Him: — "Romeo and Juliet," this
-situation being modified by that of "Abduction"
-(elopement) , then, with triple effect by XXXYI, "Loss
-of Loved Ones ;" the first time mistakenly, the second
-time simply and actually, the third time doubly and
-simultaneously to both the families of the principal
-characters ; "l'Ancêtre" (Saint-Saëns and Lassus) :
-"Fortune and Misfortune of a Name" and "His Own
-Gaoler" by Calderon.
-(7) — ^The Beloved is the Daughter of the Slayer of
-Her Lover's Father: — "Le Crime de Jean Morel"
-(Samson, 1890) ; "La Marchande de Sourires" (Judith
-Gautier, 1888).
-The chief emotional element thus remains the same
-as in the Fifth (Pursuit), and Love here serves espec-
-ially to present the pursued man under various fav-
-orable lights which have a certain unity. She whom
-he loves here plays, to some small extent, the rôle of
-the Greek chorus. Suppress the love interest, replace
-it with any other tie, however weak, or even leave
-nothing in its place, and a play of the type of Situation
-V, with all its terrors, will still remain. Attempt, on
-the contrary, to curtail the other interest, the enmity
-— to soften the vengeance — and to substitute any other
-ilO THÎRTY-Six DRAMATIC SÎTUATÏQNë
-element of difference or leave their place unfilled,^ and
-what will remain of tragic emotion ? Nothing.
-We have, then, reason to conclude that love — ^an ex-
-cellent motif for comedy, better still for farce — sweet
-or poignant as it may be in stories read in solitude,
-of which we can fancy ourselves hero or heroine, love
-is not, in reality, tragic, despite the virtuosity which
-has sometimes succeeded in making it appear so, and
-despite the prevalent opinion of this age of erotomania,
-which is now approaching its end.
-===THIRTIETH SITUATION ===
-AMBITION
-(An Ambitious Person ; a Thing Coveted ; an
-Adversary)
-A highly intellectual type of action is here presented,
-for which there is no antique model, and from which
-mediocrity usually keeps a respectful distance.
-A — Ambition Watched and Guarded Against by a
-Kinsman or a Patriot Friend: (1) — By a Brother: —
-"Timoleon" by Alfieri. Historic instance (comic, that
-is to say, feigned) , Lucien and Napoleon Bonaparte.
-(2) — By a Relative or a Person Under Obligation: —
-"Julius Caesar" by Shakespeare, "La Mort de Caesar"
-by Voltaire ; "Brutus 11" by Alfieri. In "La Mort de
-Caesar" there is a reappearance of the Nineteenth
-(Slaying of a Kinsman Unrecognized), so strong was
-the desire to recall the works of antiquity !
-( 3 ) _By Partisans :— " Wallenstein" by Schiller ;
-"Cromwell" by Hugo; "Marius Vaincu" (Mortier,
-).
-(B) — ^Rebellious Ambition (akin to VIII, A 1): —
-"Sir Thomas Wyat" by Webster; "Perkin Warbeck" by
-Ford ; "Catilina" by Voltaire ; Cade's insurrection in the
-second part of Shakespeare's "Henry IV."
-C (1) — Ambition and Covetousness Heaping Crime
-Upon Crime:— "Macbeth" and "Richard III"; "Ezzel-
-ino" (A. Mussato) ; part of the "Cinq Doigts de Birouk"
-(Decourcelle, 1883) ; "La-Bête Féroce" (Jules Mary and
-Emile Rochard, 1908) ; "La Vie Publique" (Fabre,
-). In comedy: "Ubu-roi" (Jarry). In fiction: "La
-Fortune des Rougon" (with criminality attenuated to
-THIRTY-SIX DRAMATIC SITUATIONS
-simple want of dignity) ; "Son Excellence Eugene"
-(sacrifice of morality) ; the story of Lucien de Rubem-
-pré ; a case of greed : "La Terre."
-(2)— Parricidal Ambition :—"Tullia" by Martelli..
-Ambition, one of the most powerful of passions, if it
-be not indeed the passion par excellence will always
-affect the spectator strongly, for he feels and knows
-^^hat, once awakened in a man, it will cease only
-with his death. And how many are the objects of its
-desire! Tyrannical power, high rank, honors, fortune
-(by inheritance, marriage, robbery, etc.), the conserva-
-tion of riches (avarice), glory (political, scientific, lit-
-erary, inventive, artistic), celebrity, distinction.
-We have seen in Class A the ties which may unite
-•the ambitious one and his adversary and the Situations
-which may result from them (XIX, XXIII, XXIV).
-Here is one way among many to intensify the fury of
-C: mingle with it the sincerity of a f^ith, of a convic-
-tion; such a combination is found in the case of the
-Spaniards in Peru and in Flanders, and in the case of
-our own "gentle and intellectual" rs^ce under the
-League and under the Terror; in the case of Calvin,
-and of the Inquisition.
-===THIRTY-FIRST SITUATION ===
-CONFLICT WITH A GOD
-(A Mortal; an Immortal)
-Most anciently treated of all Situations is this strug-
-gle. Into its Babel of dramatic construction all or
-nearly all of the others may easily enter. For this is
-the strife supreme; it is also the supreme folly
-and the supreme imprudence. It offers the most
-unprecedented aims of ambitions, audacious enter-
-prises, titanesque conspiracies, Ixionian abductions;
-the most fascinating of enigmas; the Ideal here
-undergoes a rare assault of passions; prodigious
-rivalries develop. As for the surrounding witnesses,
-does not their sympathy often go to him whom
-they should hate? — learning of his crime, is it
-not sometimes their duty to punish him them-
-selves, to sacrifice him to their faith, or to sacri-
-fice themselves for him? Between the dearest of
-kindred, hatreds will break forth. Then comes the
-storm of disaster, the vanquished one bound to mis-
-fortune, crushed before those whom he loves, unless,
-— ^acme of horror — ^he has, in a transport Of blind de-
-lirium, dishonored or massacred them unknowingly.
-Suppliants, seeking the lost loved one, advance sad
-theories and ^deavor to disarm rancor,— but the
-divine vengeance has been unchained !
-This remarkable grouping has been in our day almost
-entirely ignored. Byronists 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 evangel-
-ical subject of the Passion, while we pass by, like owls
-in broad daylight, this genuinely dramatic situation,
-8
-THIRTY-SIX DRAMATIC SITUATIONS
-and content ourselves with sanctimoniously intoning
-the idyllo-di^ffcctic phrases which preceded the sacred
-tragedy, — -itsetf^IeK uiîséen.
-A (1) — Struggle Against a Deity: — "The -^don-
-ians" and "The Bassarides," "Pentheus" and "The
-Wool-Carders" .by Aeschylus; "The Bacchantes" of
-Euripides; the ''Clirist Suffering" of Saint Gregory
-Nazianzen. ^ Epic : ^ the sixth Honfieric hymn (to
-lîîonysos) ; tlië dream of Jacob.
-(2)— Stiife with the JfcKev^rç in a God:— ^The
-^îçodus ofcthe Hebrews" by, Ezekiel; "L'Empereur
-Julien" i(MHTf^le of Npt^^Danie, XIV Century) ;
-"Athalie." ...îftstçf te instances: vwious persecutions
-I^ic: "lies Martyrs."
-B (l)i^ConteoTerajr With^Dcitî^:— "THeBu^
-Job." I cannot give^ it is ttUe, the date nor the place
-of the '^emîér" trf "Job." But the tàtt of àcftuâl
-reprtoentalîon by Messieurs A, B and C aiid Misses X,
-Y and Z is no nîoî:e an indispeilsable condition to the
-esistëncê of true drama than it is ah all-suflteient oiie.
-We may hold that the "prehiier" was given in that
-great Theatre of which Bràhmànic legend tells ; a Thea-
-tre inaugurated long before that of man, 'arid thank's to
-i^ich the godfe may occupy th« leisures of their
-eterîiity.
-(2^^WWshMfèîft frfr COÎitêlhtf éf a Gôfl :— ''TéSîfea
-Y^djgtta" fciy Vecfyânathà Viitëh^aii; "lié Fèstîn aè
-fietre" (ftïéjàning thè i^Ml àé^idto, ^Mch ftoitt thfe Wè-
-gîAhiria: leads tcfWàrd thé dénôtim'èîit) .
-(3)— Punishmeift M "Pmë lÈémà î ^WStïi^
-éàbhylus' "A^^jî tbéi-fâh" '{kèfedfffing ta tjtiè îi^bth-
-iis); Sophocles' "fh^frâs"; Euri^ïdêfe' 'T^ifei^-
-li^u^h A Ç^ïrîstito ex'amiâé : Simott Ihè Mkgicfeh;
-. ,^i^fé^féî>ÎÛ(itiâ RîvàEy, ^iik à Ùo^d:— '^Kë
-Nutàeé" bjr Aeschylus : '^liibW' t)y SbpJ^octeS; 'ta
-ésis)
-oiJKbn
-THIRTY-FIRST SITUATION 115
-(5) — ^Imprudent Rivalry With a Deity: — Sophocles'
-"Eumele" ; in part "Phaeton" by Euripides.
-May it not be possible that we shall one day see
-treated from the point of view of this Situation, the
-pathetie death oi Guyot-Dessalgiie, «Mimsitai; of Justice 7
-===TfflRTY-SECOND SITUATION ===
-MISTAKEN JEALOUSY
-(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) — The Mistake Originates in the Suspicious
-Mind of the Jealous One: — "The Worst is not Always
-Certain" by Calaeron; Shakespeare's "Comedy of
-Errors"; "The Bondman" by Massinger; the "Mari-
-anne" of Dolse and of Tristan I'Hermite; "Tancrède"
-and "Marianne" by Voltaire ; "la Princesse de Bagdad"
-by Dumas ; "Un Divorce" (Moreau, 1884) ; "Monna
-Vanna" (Maeterlinck, 1902). How is it that Molière
-has not written a comedy of jealousy, upon this Situa-
-tion symmetrical to that of "L'Avare" ?
-(2) — Mistaken Jealousy Aroused by a Fatal Chance:
-— ^Voltaire's "Zaire" and the opera of that name by de
-la Nux; part of "Lucrèce Borgia." In comedy: "La
-Divorcée" (Fall and Léon, 1911).
-(3) — Mistaken Jealousy of a Love Which is Purely
-Platonic: — "Love's Sacrifice" by Ford (in which the
-wife is unjustly suspected) "L'Esclave due Sevoin"
-(Valnay, 1881, in which it is more particularly the re-
-spectful admirer who is wrongly suspected). Of a
-Flirt:— "Suzette" (Brieux, 1908) ; "Four Times Seven
-are Twenty-Eight" (Coolus, 1909).
-THIRTY-SECOND SITUATION 117
-(4) — Baseless Jeasousy Aroused by Malicious
-Rumors: — "Le Père Prodigue" by Dumas; "le Maître
-de Forges" (Ohnet, 1883).
-B (1) — Jealousy Suggested by a Traitor Who is
-Moved by Hatred: — Shakespeare's "Othello" and
-"Much Ado about Nothing"; "Semiramide Riconosci-
-uta" by Metastasio presents the fully developed
-dénouement of it.
-(2)— The Same Case, in Which the Traitor is Moved
-by Self -Interest : — Shakespeare's "Cymbeline" ; "La
-Fille du Roi d'Espagne" (Miracle of Notre-Dame, XIV
-Century) .
-(3)_The Same Case, in Which the Traitor is Moved
-by Jealousy and Self -Interest : — "Love and Intrigue"
-by Schiller.
-C (1) — Reciprocal Jealousy Suggested to Husband
-and Wife by a Rival: — "The Portrait" by Massinger.
-(2) — Jealousy Suggested to the Husband by a Dis-
-missed Suitor: — Voltaire's "Artemire"; "Le Chevalier
-Jean" (Joncières, 1885).
-(3) — Jealousy Suggested to the Husband by a Wom-
-an Who is in Love With Him: — "Malheur aux Pauvres"
-(Bouvier, 1881).
-(4) — Jealously Suggested to the Wife by a Scorned
-Rival:— "The Phtiotides" of Sophocles.
-(5) — Jealousy Suggested to a Happy Lover by the
-Deceived Husband: — "Jalousie" (Vacquerie, 1888).
-The number of dramatic elements brought into play
-already enables us to foresee many combinations for
-this Situation, whose improbabilities the public is
-always disposed to accept, however great they may be.
-Without abusing this indulgence, we may remark^
-even at first glance, that almost all the dramas above
-cited treat of jealousy on the part of a man, whereas
-experience teaches us that woman is quite as ready as
-man to let herself be misled by the envious, by a rival,
-or by a suitor bent upon securing for himself, through
-THIRTY-SIX DRAMATIC -SITIJ^TIONS
-tjie.ai^er aroused, a pleasure otherwiay Qiït <>f hia
-rea«jï. .Transfeç^nce to the feminine of the cases al-
-ready considered mil thus furnish a series of new sit-
-u^tJiSDS. Efçi^fles Gl^dej self-interest, love, spite and
-tiyalry,maj?jt.otheï motives present themselves for the
-^trftïtw or traitress; the motives mentioned may also be
-pï^iïlted in colwa yst unused. The dénoufiment (usual-
-ly a murder, in some cases a suicide, in others a
-diyuro^) :iaajr be vw»ed,'^^Hl?ed or a^Wfithewd by
-.^ôn^aiy «id.ii^sïrwnefltal ohsracters. The a^ia^ ni^y
-flp^said £m- tlje vafioHs kifwitg of theiaiaFigue, for ^feose
-false proofs, those diabolic suggestions from.\rbich t^e
-, jefltenay aw^ipgs.
-Ujvlffl* the form of "jealous spite" this situation h^s
-been used by Mohère and other writers of cQp>^dy. fpr
-the purpose of filling in — through the agit^iiions it
-causes the principal lovers — the vacancies Q£:tbe pic-
-ture with minor, characters.
-TH5HTYJF.HHtD SITUATION
-«mtii'MEAtt^n '0iic; IKe VitstiiH of ^e Mistake; \iié
-Cause or Author of the Itistàfce ; thfe Guilty Person.)
-. (Any^.sort of mîâ^k«i jud|:ment may iierebè un*
-derstood, eyeii^ thçu'g^ cf>niinitt«d 0TÙy_ in the thous:ht
-■ of one person to tee detriment of another.)
-A (1)— False Sospicion Where Faith is NeCes^fâ^J'î
-—"The Sei^ent Woman" by Gozzi; "h'EtaSint
-Pativre" (Milloeéker, 1889). One of the faceti of
-"Heïity V" is connected sotnewhat remotely with Ihîi
-sitaatiori, the incortipfehenslon of the young prirfc^'d
-real character by the witnesses of his disorders. DiiinitS
-père has represented Henri de Navarre as misundft"-
-étood in the same way by his entourage,
-<2) — Falsfe Stisikirion (in which the jealousy is Sttt
-vrithout reason) of a Mistress: — Part of "Diane" By
-Aajfier; "Marie Stnart" by Alfieri,
-(3)L_T'alâe Siisplcioiis Aroused by a Misdnder^im^
-Atiittide 0Ï a Loved One :— "The Raven" by Gij^;
-"Hypsipile" by Metastasio; "Theodora" (Sai*dion.
-) ; part of "La Reine Fiamraetta" ; "Le VoldSr"
-(Bernstein, 1906) ; "Les Grands" (Weber and BaSSèt;;'
-); "Coeur Maternel" (Franck, 1911).
-(4)— By Indifference:— "Crainquebilfë" '(K-âfttiè,
-m-, "à ykrt^" (Vafetfe).
-Sa^ à' î^nd:^*^AÎfteT SaSs éaVofr Qui" V W^;
-"Mme. Ambres" (Widor, 1885)-.
-Bfl^âl^sio; '^'l?ïterdê-îg^'^SfE<fli^ei>, 1^; "Gè
-THIRTY-SIX DRAMATIC SITUATIONS
-Fiacre No. 13'' and "Gavroche" (Domay, 1887 and
-); "L'Affaire des Poisons "(Sardou, 1907); "Las
-Pierrots" (Grillet, 1908) . Upon the Innocent Husband
-of the Guilty One:— "La Criminelle" (Delacour, 1882).
-(3)— The Same Case as 2, But in Which the Inno-
-cent had a Guilty Intention: — "Jean Cévenol" (Fraisse*
-). In Which the Innocent Believes Himself
-Guilty:— "Le Roi de l'Argent" (MilUet, 1885); "Pou-
-pées Electriques" (Marinetti) .
-(4) — ^A Witness to the Crime, in the Interest of a
-Loved One, Lets Accusation Fall Upon the Innocent : —
-"Le Secret de la Terreuse" (Busnach, 1889) .
-C (1) — ^The Accusation is Allowed to Fall Upon an
-Enemy:— "La Pieuvre" (Morel, 1885).
-(2)— The Error is Wovoked by an Enemy:— "The
-Palamedes" of Sophocles and of Euripides ; "LeVentre
-de Paris" (Zola, 1887; "Le Roi Soleil" (Beméde,
-) ; "L'Homme a Deux Têtes" (Forest, 1910). This
-nuance alone, it will be observed, attracted the Greek
-tragedians, who were, so to speak, tormented by a
-vague conception of the lago of a later âge and who
-tried, in a succession of distorted types, to produce it;
-we seem, in these works, to be assisting at the birth of
-the future Devil; of the evangelic Judas— and at that
-of the type of Jesus in Prometheus and Dionysos. This
-nuance C 2 seems to me a singularly fine one ; it is, for
-instance, that of the "anonymous letter," and it will be
-admitted 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) — ^The Mistake is Directed Against the Victim by
-Her Brother: (here is included also the Twelfth,
-"Hatred of Kinsmen") :— "The Brigands" by Schiller;
-"Don Garzia" by Alfieri.
-D (1) — False Suspicion Thrown by the Real Cul-
-prit Upon One of His Enemies: — Comeille's "Clitan-
-===THIRTY-THIRD SITUATION ===
-dre/' and "Sapho" (Gounod, 1884) ; "Catharine la
-Bâtarde" (Bell, 1881).
-(2) — ^Thrown by the Real Culprit Upon the Second
-Victim Against Whom He Has Plotted from the Begin-
-ning:— "Le Crime d'un Autre" (^nold and Renauld,
-). This is pure Machiavellianism, obtaining the
-death of the second victim through an unjust punish-
-ment for the murder of the first. Add to this the
-closest relationship between the two victims and the
-deceived judge, and we have all these emotions assem-
-bled: discovery of the death of a relative; supposed
-discovery of an impious hatred between two relatives ;
-belief even in a second case of crime, aggravated this
-time by a scheme of revolt; finally the duty of con-
-demning a loved one believed to be guilty. This plot
-then, is a masterly one, since it groups, under the im-
-pulsion of an ambition or a vengeance, four other
-Situations. As for the "Machiavellianism" which has
-set it all in motion, it consists, for him who employs it,
-precisely in the method which is habitual to writers, a
-method here transferred to a single character; he ab-
-stracts himself, so to speak, from the drama, and, like
-the author, inspires in other characters the necessary
-feelings, unrolls before their steps the indispensable
-circumstances, in order that they may mechanically
-move toward the dénouement he desires. Thus is de-
-veloped the "Artaxerce" of Metastasio.
-Suppress the part of the villain, and suppose for a
-moment that the author has planned the denouement
-desired by this traitor ; the bringing about of the most
-cruel results from a ''suppo^'^^d fratricide" and the
-"duty of condemning a son.*' The author cannot
-otherwise combine his means to produce it. The type
-of the Villain (who has successively appeared in many
-guises) is nothing else than the author himself, masked
-in black, and knotting together two or three dramatic
-m THIRftlsi* DÉÀM^-C sWùiÊf ions
-èfcuîtëJfts; ^lïe he\6iigé, tHfii ti^; to tKé fâmily t)f ftlfe
-poetic Prologue, of the "Deus ex machitti'* (although
-facxre àdmisstbte) of tfa6 Oiiator ùf the pârâl)ases, of the
-Mi&èresque Vâlét/ânâ of thè Theorist (the goèd
-^tdtixxt, tlesrgyidan^ iàutnBiist, 'family frigid"). He
-ifi fin jlbOirt the old Narrator of the moliôdràina&
-Nbfihing coçld be itiore naif ^ consequently, than this
-orëaturè^ whose ùncoiMiicing artificiality has spoiled
-many a scene.
-. (3) — -^Fftlse Suspicion Thrown Upon a Rival: —
-rDiaça" (Patedilhe, 1885) ; "L'Ogre" (Marthold, 1890) ;
-"ImBoscptte" (Mme. Maldagne, 1908).
-i^)-^Throwpi Upcm One Innocent, Because He Has
-Refused to^be. an Acco^pUce : — " Valentinian" by Beau-
-mont ani^ Fletcher ; "Aetius" by Metastasio.
-(5)-— TfaûTPwn, by a Desierted Mistress Upon a Lover
-W^0 Left Her JSécausç He Would Not Deceive Her
-Hupbimd:— "ROger-la-Honte" (Mary, 1888).
-.Ô&)r^truggle to Rehabilitate Oneself and to Avenge
-a Judicial Error Purposely Caused: — "La Dégringo-
-lade" (Desnard, 1881) ; the end of "Fiacre No. 13."
-===THHÎTY-FOURTH SITUATION ===
-BEMOftSE
-(The Culprit; the Victim or the Sm ; tte IntèWgtktur)
-A (1)— Remorse for an Unlpiowii Grimeft—
-"Manfred" and other creations of Byron^; the^ liftt^ <)f
-the srreat English dramatists, he was likewise the last
-adversary of Cant, which, having kiHed art iii StMi^n
-utider the name of the Inquisition, in Englaivi tl^e ^fe^t
-time under the name of Puritanism and iii ^ettnttjpy
-under the name of Pietism, today presents îtséî^ în
-France, in the guise of . . . Monsieur Bfeir-
-enger.
-(2)— Remorse for a Parricide :—*The B\wnei4aés"
-of Aeschylus; the "Orfestes" of Euripides, of Vbftaire
-and of Alfieri ; "Le Cloitre" ( Ver^aJBïôn) .
-(3) — ^Remorse for an Assassiinaiiott : — "Crime and
-Punishment" (Dostoievsky, 188^) ; ^'Le Coetir feêvéja-
-teur" (after Poe, by Aumann, 1889) . tist a J'nttt^
-Murder:— "L'Eclaboussure" (G^raldy, 1910).
-(4) — ^Remorse for tbe Murdlpr of Hu$)^d or WIft:
-— "Thérèse Raquin" by Zola ; 'Pierrot, Assasdn de ?a
-Femme" (Paul Margueritte, 1888) .
-B ( 1 ) — Remorse for a Fau^ of Love : — ^'Madeleîjaè'*
-(Zola, 1889).
-(2)— Remorse for an Adultery :— "Count Witold"
-(Rzewuski, 1889) ; "Le Scandale" (Bataille, 1909).
-With B (1) there are connected, in one respect, the
-plays classed in A (1) of Situation XX VIL
-Need I call attention to the small number, but the
-terrible beauty, of the above works? Is it necessary
-to indicate the infinite varieties of Remorse, according
-THIRTY-SIX DRAMATIC SITUATIONS
-to: 1st, the fault committed (for this, enumerate all
-crimes and misdemeanors included in the legal code,
-plus those which do not fall under any law ; the fault,
-moreover, may at the writer's pleasure be real or
-imaginary, 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-
-lety, or what not) ; 2nd, the nature, more or less im-
-pressionable and nervous, of the culprit; 3rd, 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 cen-
-turies ; 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 Idea ; through
-its perpetual action it recalls Madness or Criminal
-Passion. Often it is but "remorse for a desire," re-
-morse the more keen in that the incessantly reviving
-desire nourishes 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. "René," "Werther," the maniac of the
-"Coeur Révélateur" and of Bérénice" (I refer to that ot
-Edgar Poe) and especially Ibsen's "Rosmersholm,"
-ofi:er significant portraits of it.
-^-jk
-===THIRTY-FIFTH SITUATION ===
-RECOVERY OF A LOST ONE
-(The Seeker ; the One Found)
-This is the Situation of "The Hero and the Nymph"
-by Kalidasa; the second part of his "Sakuntala/' and
-the "Later Life of Rama" by Bhavabuti; the second
-part also of "A Winter's Tale" and 'Tericles" by
-Shakespeare; likewise of "Berthequine" and of
-"Bertha au Grand Pied" (Miracles of Notre-Dame, XIV
-Century) ; of almost all of "La Reine Aux Trois Fils,"
-another Miracle; it is the Situation of "Thyestes in
-Sicyon" by Sophocles and of "Alcmeon in Corinth" by
-Suripides. It is the dénouement of "Père Chasselas"
-(Athis, 1886) ; "Foulards Rouges" (Domay, 1882) ; "La
-Gardienne" (Henri de Régnier) ; it is the old familiar
-plot of the "stolen child" and of stories of found-
-lings ; of arbitrary imprisonments, from the Man in the
-Iron Mask (upon whom Hugo began a drama) and
-"Richard Coeur-de-Lion" down to recent tales of sane
-persons confined as lunatics. It is the point from
-which bursts forth so frequently that double explosion
-of the principal scene: "My daughter! — ^My mother!"
-Classes A and C of Situation XI move toward the
-same end.
-In other cases it is the part of the child to discover
-his father, his kinsman, and to make himself known;
-thus it is in the "Enfances Roland;" in "Les Enfants
-du capitaine Grant" by Jules Verne and "les Aventures
-de Gavroche" (Darlay and Marot, 1909) .
-To the invariably happy and epithalamic ending to
-our plays built upon this Situation, and to the f ortuit-
-THIRTY-SIX DRAMATIC SITUATIONS
-ous coincidences with which it has been too generous-
-ly interlarded, I attribute the public's final weariness
-of it. For does not this Situation retain more natural-
-ness than the Nineteenth, and how fecund has been
-that Nineteenth, whose charm and tempting variety is
-all possessed by our Thirty-Fff4Si !
-THIRTY-^ÎXTH SII^UATION
-fcoéis ôî^ LQVÉb' dî^Éfe
-(Â I^àÂidh iSfefit; à î^iisMii Sï^^fctatôi-; an
-Executioner)
-âei'e ail is mqurmng. In long f uinefal processions we
-see ^Kem pass, the heroes oif this Situation; they move
-from the otark ^ome to the âàrk church, and from
-there to the cemetery, returning only to weep by the
-hearth until they leave it on the departure of another
-from among them.
-A (1) — ^Witnessing the Slaying of Kinsmen, While
-Powerless to Prevent it:— The "Niobe" and "Troilus"
-of ^schylus ; "Polyxena" and "The Captives" of Soph-
-ocles ; a part of his "Laocoon ;" "The Troades" of Euri-
-pides and of Seneca.
-(2) — Helping to Bring Misfortune Upon Ones People
-Through Professional Secrecy : — "Les Bâillonnés"
-(Mme. Terni, 1909) .
-B — ^Divining the Death of a Loved One: — "The In-
-truder" and "The Seven Princesses" by MaeterUnck,
-the one modem master of the Thirty-Sixth, and how
-powerful a one!
-C — Learning of the Death of a Kinsman or Ally: —
-Part of the "Rhesus" attributed to Euripides ; "Pen-
-thesilea," "Psychostase" and "The Death of Achilles"
-by -ffischylus; "The Ethiopians" of Sophocles. Here
-is added the difficult role of the messenger of misfor-
-tune — he who bends beneath the imprecations of
-Cleopatra, in Shakespeare. From comedy: — "Cent
-Lignes Emues" by Torquet.
-===THIRTY-SIXTH SITUATION ===
-D — Relapse into Primitive Baseness, through Des-
-pair on Learning of the Death ot a Loved One: — ''La
-Fille Sauvage" (Curel, 1902) .
-But embody, ii^ a human figure, the wrong, the mur-
-der, which is abstract, in most of these examples. Still
-bound by his helplessness, how the unfortunate who is
-made a spectator of thç agony will struggle, appeal,
-and vainly implore the heavens — the Victim, meantime,
-humbly beseeching him who thus looks on in despair,
-as though he had power to save. The haughty sar-
-donic silhouette of the Executioner dominates the
-scene, intensifying the keenness olÇ the grief by his
-cynical pleasure in it . . . Dante has conceived
-of no sharper sorrow in the circles of his Inferno.
-CONCLUSION
-To obtain the nuances of the Thirty-Six Situations,
-I have had recourse ahnost constantly to the same
-method of procedure; for example, I would enumerate
-the ties of friendship or kinship possible between the
-characters; I would determine also their degree of con^
-sciousness, of free-will and knowledge of the real end
-toward which they were moving. And we have seen
-that when it is desired to alter the normal degree of
-discernment in one of the two adversaries, the intro-
-duction of a second character is necessary, the first
-becoming the blind instrument of the second, who is at
-the same time invested with a Machiavellian subtlety,
-to such an extent does his part iii the action become
-purely intellectual. Thus, clear perception being in the
-one case excessively diminished, it is, in the other,
-proportionately increased. Another element for modi-
-fying all the situations is the energy of the acts which
-must result from them. Murder, for instance, may bé
-reduced to a wound, a blow, an attempt, an outrage, an
-intimidation, a threat, a too-hasty word, an intention
-not carried out, a temptation, a thought, a wish, an in-
-justice, a destruction of a cherished object, a refusal
-a want of pity, an abandonment, a falsehood. If the
-author so desires, this blow (murder or its diminu-
-tives) may be aimed, not at the object of hatred in per-
-son, but at one dear to him. Finally, the murder may
-be multiple and aggravated by circumstances which
-the law has foreseen. A third method of varying the
-situations : for this or that one of the two adversaries
-whose struggle constitutes our drama, there may be
-129
-THIRTY-SIX DRAMATIC SITUATIONS
-substituted a group of characters animated by a single
-desire, each member of the group reflecting that de-
-sire under a different light. There is, moreover (as 1
-have already shown), no Situation which 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 them-
-selves in a dilemma, in the midst of which hesitates
-the distracted hero ; in the third case, each one of them
-will appertain to a particular group or a particular role ;
-in the fourth, fifth, sixth cases, etc., they are repre-
-sented according to two, or according to all three of
-the cases already brought together in one situation,
-and together they escape from it, but the majority of
-them fall therefrom into a position not less critical,
-which 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 es-
-cape precipitates them into a final Situation resulting
-from the preceding ones, and which sweeps them all
-away together. . . . This, 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 multiplied; that 'is a
-subject for a separate work upon the "Laws of Liter-
-ary Invention."
-The composition or arrangement of the chosen Sit-
-uations — ^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
-of the "Thirty-Six." Considering, in effect, that
-I "every dramatic situation springs from a conflict
-I between two principal directions of effort" (whence at
-' the same time comes our dre^d of the victor and our
-CONCLUSION 131
-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.
-This leads us infallibly to make of the second the cause
-(innocent or responsible) of the drama, since it is his
-appearance which will be the signal for the struggle.
-The first, who especially enlists our attention, is the
-Protagonist, already present in the earliest Thespian
-tragedy, altogether lyric, descriptive and analytic ; the
-second — the obstacle arising or supervening— is the
-Antagonist, that principle of the action which we owe
-to the objective and Homeric genius of -ffischylus. One
-of two strongly opposing colors will thus dominate the
-entire work, according as we shall choose, near the be-
-ginning, which of the two parties shall possess the
-greater power, the greater chance of victory.
-Aristotle has taught us to distinguish between
-"irimple" tragedy (in which the superiority remains
-upon the same side until the end, and in which, conse-
-quently, there is no sudden change of fortune, no sur-
-prise) and "complex" tragedy (the tragedy of surprise,
-of vicissitude) , wherein this superiority passes from
-one camp to the other. Our dramatists have since re-
-fined upon the latter ; in those of their pieces which are
-least complicated, they double the change of fortune,
-thus leading ingeniously to the return of the opposed
-powers, at the moment of the spectator's departure, to
-the exact positions which they occupied when he en-
-tered the hall ; in their plays of complicated plot, they
-triple, quadruple, quintuple the surprise, so long as
-their imaginations and the patience of the public will
-permit. We thus see, in these vicissitudes of struggle,
-the first means of varying a subject. It will not go
-very far, however, since we cannot, however great our
-simplicity, receive from the drama, or from life, more
-than one thousand three hundred and thirty-two sur-
-prises. — One thousand three hundred and thirty-two?
-i32 THIRTY-SIX DRAMÀTÎG SITUATIONS
-— Obviously; what is any keen surprise if not the
-passing from a state of cahn into a Dramatic Situation,
-or from one Situation into another, or again into a
-state of cahn ? Perform the multipUcation ; result, one
-thousand, three hundred and thirty-two.
-Shall we now inquire whence arise these vicissitudes,
-these unexpected displacements of equilibrium? Clear-
-ly in some influence, proceeding from a material object,
-a circumstance, or a third personage. Upon this Third
-Actor — ^whose introduction into the drama was the tri-
-umph of Sophocles — ^must rest what is called the Plot.
-He is the unforeseen 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 recogniz-
-able. Some of his fragments become "Instruments,"
-some, "Disputed Objects," some, "Impelling Forces;"
-they range themselves sometimes beside the Protagon-
-ist, sometimes near the Antagonist, or, moving here
-and there, they provoke that downfall the incessant
-avoidance of which is called— for events as for man-
-kind — ^Progress. In this way they clearly show their
-origin — that "Role-Lien" (Jocaste in "Seven Against
-Thebes," Sabine in "Horace") under which the Third
-Actor was germinating in ^schylean tragedy, without
-yet taking a positive part in the action.
-It will be seen that the appearance of these figures
-of the second plan, these Choruses, Confidants, Crowds,
-Clowns, even Figurants re-enforced by those of the
-original groundwork, precursors whose importance
-ranges from Tiresias to the Messenger of "Oedipus the
-King," from prophet to porter, modifies most power-
-fully the effect of 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
-CÔi^CLUSION i33
-some dramatic situation subordinate to the dominant
-one, but none the less real; the turns and changes of
-the general action will affect him in some particular
-way, and the consequences, to him, of each vicissitude,
-of each effort, of each act and dénouement, contribute
-to the spectator's final impression. If the Third Actor,
-for instance, be a Disputed Object, it becomes neces-
-sary to take into account his first and his last posses-
-sor, the diverse relations which he has successively had
-with them, and his own preferences. If he appear as
-Inspirer or Instigator, we must consider (aside from
-his degree of consciousness or unconsciousness, ot
-frankness or dissimulation, and of Will proper) the
-perseverance which he brings to his undertaking ; if he
-be unconscious, the discovery which he may make of
-his own unconsciousness; if he be a deceiver,
-the discoveries which others may make of his dis-
-simulation ("others" here meaning perhaps a single
-character, perhaps the spectator). These re-
-marks also apply to the "Instrumental" role; and
-not alone these remarks, but those also which concern
-the "Object," are applicable to the Eole-Lien.
-I have already observed that this last role, and the
-triple hypostasis of the Third Actor, may be repro-
-duced in numerous exemplars within one play. On the
-other hand, two, three, or all four of them may be
-fused in a single figure, (Lien-Instrumental, Object-
-Instigator, Instrument-Lien-Object, etc), combinations
-which present themselves, like the combinations of the
-Situations, already considered, in varied array. Some-
-times the hero who unites in himself these divers roles
-plays them simultaneously — perhaps all of them
-toward an individual or group, perhaps one or
-several of them toward an individual or group, and
-another role wherein these roles mingle, toward
-some other individual or group; sometimes these var-
-ious roles will be successively played toward the
-THIRTY-SIX DRAMATIC SITUATIONS
-same individual or group, or toward several ; some-
-times, finally, the hero plays these roles now simul-
-taneously, and again successively.
-But it is not possible to detail in these pages, even
-if I so desired, the second part of the Art of Combina-
-tion; that which we in France call by the somewhat
-feeble term (as Goethe remarked) "composition." All
-that I have here undertaken to show is, first, that a
-single study must create, at the same time^ the epi-
-sodes or actions of the characters, and the characters
-themselves; for uppon the stoge, what the latter are
-may be known only by what they do; next, how in-
-vention and composition, those two modes of the Art of
-Combination (not Imagination, empty word!) will,
-in our works to come, spring easily and naturally from
-the theory of the Thirty-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 thou-
-sand scenarios, totally different from those used re-
-peatedly upon our stage in the last fifty years * * *
-* * * "The scenarios will be, needless to say, of a
-realistic and effective character. I will contract to de-
-liver a thousand in eight days. For the production of
-a single gross, but twenty-four hours are required.
-Prices quoted on single dozens. Write or call. No. 19,
-Passage de I'Elysee des 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." "Enemy of fancy!" "De-
-stroyer of wonders !" "Assassin of prodigy t" * * *
-These and similar titles cause me not a blush.
-A singular history, in truth, is that of the "Imagin-
-ation." Certainly no one in classic times thought of
-priding himself upon it. Far from it! Every novelty,
-on its first appearance, hastened to support itself by
-CONCLUSION 135
-appeal to some antique atithority. From 1830 dates
-the accession to the literary throne of this charlatan-
-esque "faculty," analysis of which is, it would seem,
-eternally interdicted. The results of this new régime
-were not slow in appearing, and they may be seen, in
-their final decay, among the last successors of ultra-
-romantic Romanticism. Mysterious crime, judicial
-error, followed by the inevitable love affair between the
-children of slayer and victim ; a pure and delicate work-
-ing-girl in her tiny room, a handsome young engineer
-who passes by; a kind-hearted criminal, two police
-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
-upon the villain — this, one year with another, is the
-product of the Imagination. For the rest, in the whole
-field of dramatic romanticism (which corresponds so
-well to the Carrache school of painting) Hugo alone has
-created, thanks to what? — to a technical process
-patiently applied to the smallest details, — the antithesis
-of Being and of Seeming.
-Ore vigorous blow was, for the moment, given to
-this legend of the Imagination by Positivism, which
-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 ih-
-ôViLably banal and monotonous results of these chance
-stirrings, some of our memories — ^precisely those least
-interesting and least personal — ^repeating themselves
-a thousand times in our minds, returning mercilessly
-in all manner of methodless combinations. These
-souvenirs of innumerable readings of the products of
-imitation in our neo-classic and Romantic past, envel-
-ope and overwhelm us unless we turn to that observa-
-tion of nature which was pointed out by the
-Naturalists' initiative as an element of renovation.
-Even the Naturalists themselves have too often viewed
-THIRTY-SIX DRAMATIC SITUATIONS
-reality athwart their bookish recollections; they have
-estimated too highly the power of the artistic temper-
-ament, however vigorous it may be, in assuming that
-it could interpose itself, alone and '^stripped of all con-
-vention, by a simple effort of will, between Nature
-and the Uterary product to be engendered. Thus "La
-Bête Humaine" has repeated the "judicial error*' in that
-special form which is as common in books as it is rare
-in life ; thus the starting-point of '*LŒuvre" is merely
-the converse of the "thesis" of the Goncourts and
-Daudet; thus reminiscences of "Madame Bovary" ap-
-pear in many a study of similar cases, which should»
-nevertheless, remain quite distinct; — ^and thus has
-appeared, in the second generation of "naturalists," a
-new school of imitators and traditionalists.
-And all the old marionettes have reappeared, inflated
-with philosophic and poetic amplifications, but too
-often empty of symbolism, as of naturalism and
-humanism.
-As to the methods of the Art of Combining, the
-truth may be grasped by one bold look, one triumphant
-glance at all these phantoms of trite thought, as they
-stand in their respective places in the foregoing cate-
-gories. Any writer may have here a starting-point
-for observation and creation, outside the world of paper
-and print, a starting-point personal to himself, original
-in short, — ^which does not in the least mean improb-
-able or unconvincing, since many situations which have
-today an appearance of improbablitiy have merely
-been disfigured by persons who, not knowing how to
-create new ones, have complicated the old, entangling
-themselves in their own threads.
-Especially will the invention of an unusual story,
-the discovery 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
-Greek art, of the fact that it was circumscribed and
-CONCLUSION 137
-restricted to a small number of legends (ŒdipuSj
-Agamenmon^ Phaedra, etc.,), which each poet had in
-his turn to treat, thus being unable to escape compari-
-son,_step by step, with each of his predecessors, so that
-even the least critical of spectators could see what
-part his personality and taste had in the n:ew work.
-The worst which may be said of this tradition is that
-it rendered originality more difficult. By a study of
-the Thirty-Six Situations and their results, the same
-advantage may be obtained without its accompanying
-inconvenience. Thenceforth Proportion alone will
-assume significance. *
-By proportion I mean, not a collection of measured
-formulae which evoke familiar memories, — but the
-bringing into battle, under command of the writer, of
-the infinite army of possible combinations, ranged ac-
-cording to their probabilities. Thus, to make mani-
-fest the truth or the impression which, until now, has
-been perceptible to him alone, the author will have
-to overlook in a rapid review the field before him, and
-to choose such of the situations and such of the details
-as are most appropriate to his purpose. This method
-— or, if you will, this freedom and this power — ^he will
-use, not only in the choice, the limitation and fertiliza-
-tion of his subject, but in his observation and médita-
-tion. And he will no more run the risk of falsifying,
-through pre-conceived ideas, the vision of reality than
-does the painter, for example, in his application of laws
-equally general, and likewise controlled by constant
-experimentation, — the divine laws of perspective !
-Proportion, finally realizable in the calm bestowed by
-complete possession of the art of combining, and re-
-covering the supreme power long ago usurped by
-"good taste" and by "imagination," will bring about the
-recognition of that quality more or less forgotten in
-modem art, — "beauty." By this I mean, not the skil-
-ful selection of material from nature, but the skilful
-THIRTY-SIX DRAMATIC SITUATIONS
-and exact representation — with no groping, no un-
-certainty, no retention of superfluities — of the partic-
-ular bit of nature under observation
-But it is more than this, for these two definitions,
-the eclectic and the naturalist, concern but a limited
-number of the arts, and but one side of them; that
-small number to which imitation is open (painting,
-literature of character, and, in a limited way, sculp-
-ture) , and tnat side of them which is purely imitative.
-What significance have these two definitions (both of
-which rest upon the reproduction of reality, the one
-exalting and the» other belittling it) if they be con-
-fronted with Music, with the didactic poetry of a
-Hesiod, with the Vedic incantations, with true statu-
-ary, simplified and significant, from the mighty chisel-
-strokes of Phidias or of the XIII Century, with purely
-ornamental or decorative art, — the "beauty" of a
-demonstration in geometry, — or finally with Architec-
-ture, now reviving in silence and obscurity, that art
-which comes periodically to reunite and, like an ark, to
-rescue the others, that art which shall once more
-return to lead us away from the prematurely senile
-follies of our delettanti and sectarians.
-Upon a like height stands a principle greater than
-Naturalism with its experimental method, or Ideal-
-ism which gives battle to it, — Logic.
-It is by methods of logic that VioUet-le-Duc has en-
-abled us to estimate truly the marvels of our "grand
-siècle," the XIII Century, substituting (to cite only
-this) for the simple admiration of 1830 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 in-
-stinctive satisfaction it gives our eyes. It is a great
-misfortune that the understanding of that magnificent
-CONCLUSION 189
-age in which a Saint Louis presided over the multiple
-communal life, an age whose only equal in the world's
-history is that in which Pericles directed, from the
-Athenian metropolis, an identical movement, — ^that
-this understanding, which would be so useful to us,
-should have been horribly compromised in the Ro-
-mantic carnival. Hugo's "Notre-Dame de Paris,"
-wherein the public believed it beheld a portrait of our
-"moyen-âge" (a most absurd appellation, by the way) ,
-represents it, by a singular choice, as already long
-dead, — after the Hundred Years' War which bled us to
-the point where we fell, passive and defenseless, under
-the domination of the Florentine national art called
-"renaissant," and then of vaiîous other influences, an-
-cient and foreign, during four centuries. And, down
-to the very moment at which I write, the literary pro-
-ductions upon the subject of this most incomparable
-period of our past have been but pitiable affairs. But
-yesterday, a Renan was writing of ogival art as an
-effort which had been impotent ("Souvenirs d'Enfance
-et de Jeunesse") or which at most had fathered works
-of no enduring character ("Prière sur I'Acropie") ; the
-very Catholic Huysmans, in his "En Route," was
-maldng the most astounding salad of Roman vaulting.
-Primitive painting, Gregorian plain-chant, — sl salad
-whose recipe is "the Faith" and which is called, natur-
-ally, the "Moyen-âge," — that age which embraces ten
-centuries of humanity, plus one-third of humanity's
-authentic history, three epochs strongly antagonistic
-to each other, peoples widely diverse and opposed; a
-something equivalent to a marriage between Alcibiades
-and Saint Genevieve.
-The "Moyen-âge," or, to speak more accurately, the
-XII, XIII, and XIV Centuries, were not in the least
-fantastic and freakish ; this is the character merely of
-an occasional generation, such as that of Louis-
-Philippe. Neither were they mystic, in the present
-THIRTY-SIX DRAMATIC SITUATIONS
-sense of that word. The architecture of those cen-
-turies grew, stone by stone, plan by plan, out of the
-most practical of reasons. In their sculpture there
-was nothing "naïve" — ^the naivete is ours, when we so
-estimate that sculpture, which is far more realistic
-than our own; and if, persisting in the contrary
-opinion, we cling to the weird forms of the gargoyles,
-it may be said that^ born of a symbolism akin to those
-of Egypt and Greece, they represent analogies equally
-ingenious and profound. In this period arose Thom-
-ism, lately called back into a position of honor to
-combat Positivism, and which realized so happy a
-harmony between Aristotelianism and Christian faith,
-between science and theology. In this period, toO;
-were bom the natural sciences, and, in the minds of its
-poets, evolved the laws by which our poetry lives today,
-those rhythms which through Ronsard we still hear,
-that Rhyme which we gave to all Europe, — ^and, at the
-same time, thy groined vaultings, little town of
-aint-Denis, suzerain oriflamme, pilot-barque of France !
-All these were bom, and grew, beneath the grave gaze
-of the same wisdom which, on the Ionian shores, was
-called Athene.
-Toward a new aspect of the same logic our own age
-already turns, since, having drunk of that antiquity by
-whose forces we ruled Europe a second time in the
-XVII Century; having drunk of the latest of great
-foreign influences, the Germanic, we are returning to
-reality and to the future. Thus, when each Greek
-city had absorbed the neighboring local cults (its
-foreign influences") and the Oriental cults (the
-antiquity" of that day), the most beautiful of
-mythologies were formed. It is, at least, toward an
-art purely logical, purely technical, and of infinitely
-varied creations, that all our literary tendencies seem
-to me to be converging. In that direction proceed
-Flaubert and Zola, those rugged pioneers, Ibsen,
-it
-côNcLtJsiôN m
-Strindberg, and ail writers deliberately unmindful of
-their libraries, as the Hellenes were of barbarian litera-
-ture; there moves Maeterlinck, having reduced action
-to the development of a single idea; Verlaine, deliver-
-ing from conventional rules true rhythm, which makes
-for itself its own rules; Mallarmé, prince of ellipse,
-clarifying syntax and expelling clouds of our little
-parasite words and tattered formulae ; in that direction
-Moréas calls us, but without freeing himself, unfortun-
-ately, from the Italianism of our so-called Renaissance ;
-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 erection
-upon its débris 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 jnethods" 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
-to the orders of architecture, and which, like them,
-will take its place with other orders, in a dramatic
-••system." But the systems, in their turn, will come
-together under certain rubrics yet more general, com-
-parisons of which will furnish us many a subject for
-reflection. In that which we might call Enchantment,
-there meet, oddly enough, systems as far apart
-in origin as Indian drama; certain comedies
-of Shakespeare ("A Midsummer Night's Dream";
-"The Tempest"), the "fiabesque" genre of Gozzi,
-and "Faust ;" the Mystery brings together the
-works of Persia, Thespis and the pre-Aeschyleans,
-U2 THIRTY-SIX DKAMATÎC SlTtJATlONS
-"Prometheus," the book of "Job," the stage of the
-tragic Ezekiel, of Saint Gregory Nazianzen, of
-Hroswitha, the Jeux and Miracles of our XIII Century,
-the Autos ; here, Greek tragedy and the psychologists'
-imitations of it; there, English, German and French
-drama of 1830; still nearer, the type of piece which
-from the background of China, through Lope and
-Calderon, Diderot and Goethe, has come to cover oui
-stage toaay ....
-It will be remembered that, when we were catalogu-
-ing dramatic production in its thirty-six classes, an
-assiduous effort to establish, for every exceptional case
-found in one of them, symmetrical cases in the other
-thirty-five caused unforseen subjects to spring up un-
-der our very feet. Likewise, when we shall have analyz-
-ed these orders, systems and groups of systems, when
-we shall have measured with precision their resem-
-blances and their differences, and classified them, or,
-one by one, according to the questions considered, shall
-have brought them together or separated them, — we
-shall necessarily remark that numerous combinations
-have been forgotten. Among these the New Art will
-choose.
-Would that I might be able to place the first, the
-obscurest foundation-stone of its gigantic citadel!
-There, drawing- about her the souls of the poets, the
-Muse shall rise before this audience re-assembled from
-ancient temples, before these peoples who gathered of
-yore around Herodotus and Pindar; she will speak the
-new language — the Dramatic — a language too lofty
-for the comprehension of the single soul, however great
-it be, — a language not of words but of thrills, such as
-that spoken to armies, — a language in truth addressed
-to thee, Bacchus, dispenser of glory, soul of crowds,
-delirium of racés, abstract, but One and Eternal ! Not
-in one of our parlor-like pasteboard reductions of the
-Roman demi-circus will this come to pass, but upon a
-CONCLUSION 143
-sort of mountain, flooded with light and air, — ^raised,
-thanks to our conquest of iron added to the construc-
-tive experience of the Middle Ages; offered to the na-
-tion by those who have still held to the vanity of riches,
-— a greater thing than the theater of Dionysos where
-gathered thirty thousand people, greater than that of
-Ephesus wherein sat, joyous, a hundred and fifty
-thousand spectators, an immense orifice-like crater in
-which the earth seems to encompass the verv
-heavens ;
-===ALPHABETICAL INDEX ===
-Of the Plays, Novels, Etc., Classified in the Situations
-of this Work
-Abbé Constantin (The), by L. Halevy XXVIII A 2
-Abduction of Helen (The), by Lope de VegaX B
-Abduction of Helen (The) by Sophocles X B
-Abhirama mani, by Soundara Misra X C 2
-Abraham, by the Abbess Hroswitha XX D
-Absente (L'), by Villemer XXVII » B 1
-Abuf ar, by Ducis XVIII B 1
-Achilles in Scjnros, by Metastasio XX B 8
-Adelaide Duguesclin, by Voltaire XIV A 2
-Adelghis. by Manzoni V C
-Adrien, by Metastasio XXIV C
-Aedonians (The) by Aeschylus XXXI A 1
-Ae^eus. by Euripides XIX • B 2
-Aetius. by Metastasio- XXXIII D 4
-Affaire Clemenceau (L'), by Dumas fils XXV D 1
-Affaire de la rue de Lourcine (L') by LabicheXVI A 3
-Affaire des Poissons (L'), by Sardou XXXIII B 2
-Affaires sont le- Affaires (Les), by MirbeauxXVII A 3
-Agamemnon, by Aeschylus XV A 1
-Agathocle, by Voltaire XIV A 2
-Agave, by Stace XXXI A 1
-Age Critique (L'), by Byl XXV C 3
-Agésilas, by Corneille XXIV A 5
-Agis, by Alfieri XIII D
-Agnimitra and Malavika, by Kalidasa XXIV D 2
-Aiglon (L'), by Rostand, VII B
-Aimer sans savoir qui, by Lope de Vega XIV D
-andXXXIII B 1
-Ajax, by Sophocles XVI B
-10
-THIRTY-SIX DRAMATIC SITUATIONS
-<<
-M
-«
-«
-«
-«
-M
-«
-M
-M
-«
-«
-M
-Ajax Locrian, by Aeschylus
-Ajax Locrian, by Sophocles
-Alcalde of Zalamea (The), by Calderon
-Alceste, by Sophocles
-by Euripides
-by Buchanan
-by Hardy
-by Quinault
-by Racine (projected)
-by Lagrange-Chancel
-by Boissy
-by Sainte-Foix
-by Coypel
-by Dorat
-by Gluck
-by H. Lucas
-by de Vauzelles
-Alcmene, by Aeschylus
-Alcmeon, by Sophocles
-Alcmeon, by Euripides
-Aletes and Erigone, by Sophocles
-Alexander, by Sophocles
-Alexander, by Euripides
-Alexander, by Metastasio
-Alexander, by Racine
-Almanzor, by Heine
-Alope, by Euripides
-Alzire, by Voltaire
-Amazones (Les), by Mazel
-Amélie, by Voltaire
-Amhra, by Grangeneuve
-Ami Fritz (L') by Erckmann-Chatrian
-Amour, by Hennique
-Amphitryon, by Sophocles
-Anarghara-ghava (Hindu, anonymous)
-Ancêtre (L'), by Saint-Saens
-André del Sarte, by Musset
-Ancien (L') by Richepin
-Andromache, by Euripides
-Andromaque, by Racine
-Andromeda, by Euripides
-Andromeda, by Sophocles
-Andromède, by P. Corneille
-Ane de Buridan (L'), by de Fiers and
-de Caillavet
--XXXI
-B
-s
-^
-B
-i
-•ilî
-A
-xxr
-A
-•XXI
-A
-XXI
-A
-XXI
-A
-XXT
-A
-XXI
-A
-XXI
-A
-XXI
-A
-XXI
-A
-XXI
-A
-XXI •
-A
-XXI
-A
-XXI
-A
-XXI
-A
-XVIU
-D
-XXV
-B
-XXV
-B
-m
-A
-XIX
-C
-XIX
-V
-C
-V
-C
-XXTX
-A
-I
-B
-yjxw
-A
-Ht
-A
-XXIX
-A
-XIV
-A
-TTI
-A
-»
-XXATIII
-A
-XV .
-A
-XTX
-F
-X
-C
-XXIX
-B
-XXV
-C
-XXI
-A
-XXI
-D
-XXV
-B
-TI
-A
-A
-II
-A
-XXIV
-B 6
-INDEX OF PLAYS, NOVELS, ETC.
-«
-«
-Angelo, by Hugo
-Angles du Divorce (Les), by Biollay
-Antigone, by Metastasio
-by Sophocles
-byEuripidefi
-by Alamanni
-by Alfieri
-Antiope, by Eiàripides
-A^'toinette Sabrier, by Coolus
-Antony and Cleopatra, by Shakespeare
-Aphrodite, by Louys
-Apôtre (L'), by Loyson
-Appius and Virginia, by Webster
-Apprentie (L') by Geffroy
-Après moi, by Bernstein
-Archelaus, by Euripides
-Argent (L'), by Zola
-Argives (The), by Aeschylus
-Ariane, by T. Corneille
-Arlésienne (V), by Daudet and Bizet
-Armée dans la Ville (L')» by Jules Romains VIII
-Arsène Lupin, by Leblanc
-Artaxerxes, by Metastasio
-Artemire, by Voltaire
-Article 301, by Duval
-Ascanio, by Saint-Saens
-Aa de trèfle (L'), by Decourcelle
-Assommoir (L'), by Zola
-Atalanta, by Aeschylus
-Athalie, by Racine
-Athamas, by Aeschylus
-Atrée et Thyeste, by Crébillon
-Attentat (V), by Capus and Descaves
-Attila, by P. Corneille
-Attila, by Werner
-Augeus by Euripides
-Automne (L')» by Adam and Mourey
-Autre Danger (L'), by Donnay
-Aventures de Gavroche (Les), by Darlay
-and Mârot
-Aveu (L')» by Sarah Bernhardt
-B
-XXV
-c
-XXVIII
-E
-XIV
-B
-XX
-A
-XX
-A
-XX
-A
-XX
-A
-IT
-B
-XXV
-c
-XXII
-A
-XXII
-A
-XXVTT
-D
-XXIV
-A
-XX
-c
-XXV
-D
-VI
-C
-VI
-B
-m
-A
-VI
-D
-XXII
-A
-iVIII
-B
-V
-A
-XXXTII
-D
-XXXII
-, C
-XXTV
-C
-XXIV
-c
-XXVII
-D
-XXII
-c
-ÎV
-B
-XXXI
-A
-XVI
-A
-XIII
-A
-XXIV
-A
-XXIV
-A
-III
-A
-I
-B
-vin
-B
-XIV
-B
-XXXV
-XXV
-C
-Bacchantes (The), by Euripides
-XXXI
-A 1
-THIRTY-SIX DRAMATIC SITUATIONS
-Bâillonnés (Les), by Mme. Terni XXXVI
-Bajazety by Racine XXiV
-Banque de l'Univers (La), by Grenet-
-Dancourt XVÏI
-Barlaam et Josaphat, Miracle of Notre-DameX
-Barricade (La), by Bourget X^I V
-Bassarides (The), by Aeschylus "XXXI
-Beethoven, by Fauchois VII
-Belle aux cheveux d'or (La), by Amould XVII
-Bellerophon, by Euripides XXXI
-Benvenuto, by Diaz XXIV
-Bercail (Le), by Bernstein XXV
-Bérénice, by Racine ' ^£X
-Berenice, by Poe XXXIV
-Berthe au grand pied, Miracle of Notre-
-Dame XXXV
-Berthequine, Jliracle of Notre-Dame XXXV
-Bête féroce (La), by Jules Mary and RochardxXX
-Bête humaine (La), by Zola
-Bleus de l'amour (Les), by Coolus
-Blind (The), by Maeterlinck
-Bluebeard, by Perrault
-Blue Bird (The), by Maeterlinck
-Blue Monster (The), by Gozzi
-Bohémos, by Zamacois
-Boislaurier, by Richard
-Bondman (The), by Massinger
-Bon roi Dagobert (Le), by Rivoire
-Boscotte (La), by Mme. Maldagne
-Bouchers (Les), by Icres
-Bride of Messina (The), by Schiller
-Brigands (The), by Schiller
-Britannicus, by Racine
-Broken Heart (The), by Ford
-Brutus, by Voltaire
-Brutus II, by Alfieri
-Bûcheronne (La), by C. Edmond
-Burgraves (Les), by Hugo
-By Fire and Sword, by Sienkiewicz
-^VI
-XXVIll
-VII
-II
-IX
-XIX
-XXXIV
-XIV
-andll
-XXXII
-XVIII
-XXXIII
-•III
-XVIII
-XXXIII
-XIV
-XXIX
-XXVII
-XXX
-XXfV
-XIX
-XXVI
-A 2
-B 4
-A 2
-D 3
-A
-A
-D
-C
-B
-B
-C
-B
-B
-C
-A
-C
-D
-A
-D
-G
-A
-A
-A
-A
-D
-D
-A
-A
-C
-A
-A
-D
-A
-A
-F
-C
-Cain, by Byron
-Cahace, by Speroni
-XIII
-XXVI
-A 1
-C 2
-INDEX OF PLAYS, NOVELS, ETC.
-Capitaine Burle (Le), by Zola XXII
-Captives (The), by Sophocles XXXVI
-Carbonari (Les)> by N6 XXIX
-Carians (The), by Aeschylus X-
-Casquette au père Bugeaud (La), by Marotlll
-Casse-museau, by Marot XXVII
-Casserole (La), by Méténier III
-Catherine la Bâtarde, by Bell XXXIII
-Catilina, by Voltaire VIH \
-and XXX
-Cato, by Metastasio V
-Cellule No. 7 (La), by Zaccone III
-Cenci (The), by Shelley III
-XIII B 3 andXXVI
-Cent lignes émues, by Torquet
-Cesar Birotteau, by Balzac
-C'est la loi, by Cliquet
-Chamillac, by Feuillet
-Champairol (Les), by Fraisse
-Chantecler, by Rostand
-Charbonnière (La), by Crémieux
-Chevalerie Rustique, by Verga
-Chevalier Jean (Le), by de Jondères
-Chien de garde (Le), by Richepin
-Chinese Hero (The), by Metastasio
-Choephores (The), by Aeschylus
-XXXVI
-XX
-and VI
-XXV
-XXVI
-I
-VIII
-XXI
-XXIV
-XXXII
-XXI
-XXVIII
-IV
-Christ Suffering, by St. Gregory Nazianzen XX
-Chryses, by Sophocles I
-Chrysippus, by Euripides XXVI
-Cid (Le), by P. Corneille XXIX
-Cinna, by P. Corneille Vtll
-Cinq doigts de Birouk (Les), by
-De Courcelle XXX
-Circuit (Le), by Feydeau and de Croisset XXIV
-Citta morta (La), by d'Annunzio XXVI
-Clavijo, by Goethe ill
-Cléopâtre, by Sardou XXII
-Clitandre, by P. Corneille XXXIII
-Cloître (Le), by Verhaeren XXXIV
-Coeur a coeur, by Coolus XXV
-Coeur a ses raisons (Le), by de Fiers
-and de Caillavet XIV
-Coeur de Se-hor, by . Michaud d'Humiac XXVII
-C
-A
-A
-A
-A
-D
-A
-D
-A
-B
-C
-B
-B
-A
-C
-A 4
-B
-B 8
-B 5
-B
-A
-D
-I
-o
-A 10
-C 2
-D
-A
-A
-A
-A
-D
-B
-A
-C
-C
-C
-A
-A
-D
-A
-C
-D
-D 6
-, THIRTY-SIX DRAMATIC SITUATIONS
-Coeur material, by Franck XXXIII A 3
-Coeur révélateur (Le), by Laumann, after
-Poe JCXXIV A3
-Colomba, by Mérimée III- A 1
-Comedy of Errors, by Shakespeare XXXII A 1
-Compagnon de voyage (Le), by Anderson XI B 2
-Compère le Renard, by Polti v A
-Comte d'Essex, by T. Corneille TXIV B 2
-Comtesse Sarah, by Ohnet XXV C 3
-Connais-toi, by Hervieu XXII A 2
-Conquête de la Toison d'or (La), by P. Cor-
-neille XXIV B 1
-Conquête de Plassans (La), by Zola XXII A 2
-Conspiration du général Malet (La), by de
-Lassus VIII A 1
-Constant Prince (The), by Calderon XX A4
-Conte de Noël, by Linant Xiil F
-Corbeau (Le), by Gozad XXXIII A 3
-Corbeaux (Les), by Becque VII B
-Cor fleuri (Le), by Mikhael and Herold XXIV B 3
-Coriolanus, by Shakespeare VI Cl
-Cornette (La), by M. and Mlle. Ferrier XXI D 1
-Count of Carmag' ola (The), by Manzoni v C
-and VI CI
-Count Witold, by Rzewuski XXXIV B 2
-Countess Fredegonde (The), by Amigueg XXV B 7
-Course du flambeau (La), by Hervieu ' 5CXI Ê
-Courtisane (La), by Amyvelde XXVII B 6
-Courtisane de Corinth (La), by Carré and
-Bilhaud -III C
-Cousine Bette (La), by Balzac "KKU C 1
-Crainquebille, by France XXXIII A 3
-Cresphontes, by Euripides XIX- B 1
-Cretans (The), by Euripides XXVI E
-Creusa, by Sophocles XIX B 1
-Crime de Jean Morel (Le), by Samson XXIX B 7
-Crime de Maisons- Alfort (Le), by Coedés 111 A 1
-Crime d'un autre (Le), by Arnold and Ren-
-auld XXXIII D 2
-Crime and Punishment, by Dostoievsky XXXIV A 3
-Criminelle (La), by Delacour XXXIII B 2:
-Crocodile (Le), by Sardou XXVII B 6
-Croisade des Enfantelets francs (La)', by
-Emault ¥if B
-Cromwell, by Hugo XXX A 8
-INDEX OF PLAYS, NOVELS, ETC.
-.Cuirs de Boeuf (Les), by Polti
-Cymbeline, by Shakespeare
-Cyrano de Bergerac, by Rostand
-Cyrus, by Metastasio
-D
-XXVI.
-XXXII
-XXI
-XIII
-andXIX
-«
-«
-«
-«
-tt
-«
-«
-«
-Damaged Goods, by Brieux
-Dame a la faulx (La), by Saint-Pol Roux
-Dame aux Camélias (La), by Dumas fils
-Dame au domino rose (La), by Bouvier
-Damon, by Lessing
-Danae, by Euripides
-Danae, by Aeschylus
-Danaides (The), by Aeschylus
-by Gombaud
-by Phrynichus
-by Salieri
-by Spontini
-Danseur inconnu (Le), by Bernard
-Dante, by Godard
-Death of Achilles (The), by Aeschylus
-Death of Cansa (The), by Crichna Cavi
-Débâcle (La), by Zola
-Décadence, by Guinon
-Déclassée (La), by Delahaye
-Dédale (Le), by Hervieu
-Deformed Transformed (The), by Byron
-Dégringolade (La), by Desnard
-Demetrius, by Metastasio
-Demon du foyer (Le), by Gîeorge Sand
-bemophon, by Metastasio
-Denise, by Dumas fils
-Député Leveau (Le), by Lemaitre
-Dernier Amour, by Ohnet
-Desert Isle (The), by Metastasio ^
-Dette (La), by Trarieux
-Deux Jumeaux (Les), by Hugo
-Devant l'ennemi, by Charton
-Devotion to the Cross, by Calderon
-Dhourtta narttaka
-Dhourtta samagama
-Diana, by Paladilhe
-Diane, by Augier
-xvir
-XXIV
-XXVII
-XVIII
-XIV
-I
--f
-XXHÎ
-XXlif
-XXÎH
-XXIII
-XXIII
-XXVIII
-XXIV
-XXXVI
-xiir
-VI
-xxv'
-III
-xxiv
-ix
-XXXIII
-XXIV
-XIV
-XIX
-XXVII
-XXV
-XXV
-XH
-XIV
-VII
-XXIV
-V
-xxu
-XXIV
-XXXIII
-XXI
-A
-B
-c
-c
-B
-B
-B
-JB
-B
-A
-A
-c
-c
-A
-C
-D
-D
-A
-A
-A
-B
-B
-B
-B
-B
-A
-A
-A
-A
-A
-C
-B
-B
-C
-D
-B 2
-B
-B 3,
-a
-B 4
-A 1
-"
-D 3
-C 1
-THIRTY-SIX DRAMATIC SITUATIONS
-Diane de Lys» by Dumas fils
-Dictys, by Euripides
-Dido, by Metastasio
-Dieu ou pas Dieu, by Beaubourg
-Disciple (Le), by Bourget
-Discovery of the New World, by Lope de
-Vega
-Divorce (Le), by Bourget
-Divorce de Sarah Moore (Le), by Rozier
-and Paton
-Divorcée (La), by Fall and Leon
-Docteur Pascal, by Zola
-Don Carlos, by Schiller
-Don Garzia, by Alfieri
-Don Juan, by Dumas père
-" " by Goldoni
-" " by Grabbe
-" " by Molière
-" " by Sadwell
-" " by Tellez
-" " by Tirso de Molina
-" " by Zamora
-" " by Zorilla
-Don Pèdre, by Voltaire
-Don Quixote, by Cervantes
-Don Sanche, by Corneille
-Drapeau (Le), by Moreau
-Droit au bonheur (Le), by Lemonnier
-Duchess of Malfi (The), by Webster
-Duel (Le), by Lavedan
-E
-Earthen Toy-cart (The), by Sudraka
-Echéance (L'), by JuUien
-Eclaboussure (L'), by Geraldy
-Ecole des veufs (L'), by Ancey
-Edith, by Bois
-Egmont, by Groethe
-, by Nigond
-Electra, by Sophocles
-by Euripides
-by Attilius
-by Q. Cicero
-by Pradon
-«
-it
-it
-u
-xxv
-C
-dl:
-B
-XX-
-B
-XXIX
-A
-ra
-A
-IX
-D
-xxvm
-D
-XXi
-A
-XXXII
-A
-XXVI
-B
-XXVI
-B
--XXXIII
-C
-V
-B
-V
-B
-V
-B
-V
-B
-V
-B
-V
-B
-V
-B
-V
-B
-V
-B
-XIV
-A
-A
-XXIV
-A
-XXIV
-A
-XXI
-C
-XXIX
-A
-xm
-A
-XXIV
-A
-XXV
-C
-XXXIV
-A
-XXVI
-B
-V
-C
-V
-C
-XIV
-A
-IV
-A
-IV
-A
-IV
-A
-IV
-A
-IV
-A
-INDEX OF PLAYS, NOVELS, ETC.
-«
-u
-tt
-u
-Electra, by Longepierre
-by Crébillon
-by Rochef ort
-by Chénier
-by Guillard
-Eleusinians, by Aeschylus
-Emigrants (Les), by Hirsch
-Emigré (L*), by Bourget
-Emilia Galotti,by by Lessing
-Empereur Julien (L*) Miracle of Notre-
-Dame
-Enchantement (L'), by Bataille
-En détresse, by Fèvre
-Enemy of the People (An), by Ibsen
-Enigma (The), by Hervieu
-Enfant du Temple (L*), by de Polhes
-Enfants du Capitaine Grant (Les), by VemeXXXV
-Enfa^ts naturels (Les), by Sue
-En grève, by Hirsch
-Eole, by Euripides
-Epigones (The), by Aeschylus
-Epigones (The), by Sophocles
-Erechtheu^, by Euripides
-Eriphyle, by Sophocles
-Eriphyle, by Voltaire
-Esclarmonde, by Massenet
-Esclave du devoir (L'), by Valnay
-Esmeralda (La), by Hugo
-Esther, by Racine
-Etau (L*), by A. Sardou
-Ethiopians (The)^ by Sophocles
-Et ma soeur ? by Rabier
-Etrangère (L'), by Dumas fils
-Etudiant pauvre (L*), by Milloecker
-Etudiants russes, by Gilkin
-Eumele, by Sophocles
-Eumenides (The), by Aeschylus
-Europa, by Aeschylus
-Euryale, by Sophocles
-Eurysaces, by Sophocles
-Evangéliste fL'), by Daudet
-Exode (L'), by Fauchoi»
-iV
-A
-V
-A
-IV
-A
-IV^
-A
-IV
-A
-IV
-A
-XV
-A
-XXVIII
-A
-XXIV
-C
-XXXI
-A
-XIV
-A
-VII
-C
-V
-C
-XXV
-D
-XX
-A
-ime AAA V
-XVIII
-A
-XXIV
-A
-XXVI
-C
-ill
-A
-IV .
-A
-XXIII
-A
-IV
-A
-IV
-A
-XVII
-B
-XXXII
-A
-XXIV
-A
-I
-C
-XVI
-D
-XXXVI
-C
-XXVIIL
-B
-III
-B
-XXXIII
-A
-XXVII
-D
-XVII
-A
-andXXXI
-B
-XXXIV
-A
-andl
-A
-X
-A
-XIX
-B
-I
-C
-XX
-B
-XXIX
-A
-THIRTY-SIX DRAMATIC SITUATIONS
-Exodus of the Hebrews (The), by Ezekiel
-Ezzelino, by A. Mussato
-Famille d'Armelles (La), by Marras
-Faust, by Groethe
-Fantasio, by Musset
-Fatal Dowry (The), by Massinger
-Faute de Tabbe Mouret (La), by Zola
-Feast of the Achaians, by Sophocles
-Fedora, by Sardou
-Femme de Claude (La), by Dumas fils
-Femme de demain (La), by Lefebvre
-Femme X (La), by Bisson
-Fermière (La), by d'Artois
-Festin de Pierre (Le), by T. Corneille
-Fiacre No. 13, by Domay
-Fille a Guillotin (La), by Fleischmann
-Fille du député (La), by Morel
-Fille du roi d'Espan^ne (La), Miracle of
-Notre-Dame
-Fille Elisa (La), by E. de Groncourt
-Fille sauvage (La), by de Curel
-Fils de Jahel (Les), by Mme. Armand
-Fils de Porthos (Le)» by Blavet
-Fils naturel (Le), by Dumas fils
-Flore de Frileuse, by Bergerat
-Fontovéjune, by Lope de Vega
-Fortune des Rougon (La), by Zola
-Fortune and Misfortune of a Name, by
-Calderon
-Fossiles (Les), by de Curel
-Foulards rouges (Les), by Domay
-Francillon, by Dumas fils
-François les bas bleus, by Messager
-Françoise de Rimini, by A. Thomas
-Frère d'armes (Le), by Graraud
-Frères ennomis (Les), by Racine
-Frères Zemganno (Les), by E. de GoncourtXXI
-Friquet (Le), by Willy and Gyp
-Fugitive (La), by Picard
-Furie (La), by Bois
-XXXI
-A
-XXX
-c
-XXV
-D
-VI
-D
-B
-XXV
-c
-XXII
-A
-m*
-B
-XXIX
-B
-XXV
-c
-XXV
-B
-XXV 11
-A
-XXIV
-c
-XXXI
-B
-xxxni
-D
-xxm
-A
-XXVII
-A
-XXXll
-B
-XVI
-A
-XXXVI
-D
-XX
-B
-XXIV
-A
-XII
-B
-XXVII >
-B
-VIII
-B
-XXX
-c
-XXIX
-B
-XIV
-B
-XXXV
-XXV
-B
-XXIV -
-B
-XXV
-c
-KXl
-D
-«III
-A
-:XXI
-B
-XXIV
-B
-XXI
-c
-XXII -
-A
-INDEX OF PLAYS, NOVELS, ETC.
-Gardener's Dog (The), by Lope de Vega
-Gardienne (La), by de Hegnier
-Gavroche, by Domay
-Georgette, by Sardou
-Gerfaut, by C. de Bernard
-Germlmd, by Zola
-Germinie Lacerteux, by the Goncourts
-Ghosts, by Ibsen
-Glatigny, by Mendes
-Glaucus Pontius, by Aeschylus
-Glu (La), by Richepin
-Gold Bug (The), by Poe
-Goetz de Berlichingen, by Goethe
-Grande Iza (La), by Bouvier
-Grande Mamière (La), by Ohnet
-Grand soir (Le), b'*' Kampf
-Grands (Les), by Veber and Basset
-Great Expectations, by Dickens
-Griffe (La), by Bernstein
-Guèbres (Les), by Voltaire
-Guests (The), by Aeschylus
-Giubor, Miracle of Notre-Dame
-XXIV
-XXXV
-XXXIII
-XXVII
-XXV
-VIII
-XXII
-XVÎII
-XXIV
-IX
-XXII
-•XI
-"V
-XXXIII
-XXiX
-VIIÎ
-XXXIII
-«XI
-XXII
-XIX
-VII -
-XXIII
-B 5
-B
-A
-C
-B
-C
-B
-A
-B
-A
-B
-C
-B
-A
-A
-A
-A
-A 2
-B
-B 4
-Hamlet, by Shakespeare
-Hanouman, Hindu drama
-Heaven and Earth, by Byron
-Hecuba, by Euripides
-Hedda Gabier, by Ibsen
-Helen, by Euripides
-Helen Reclaimed, by Sophocles
-Heliades (The), by Aschylus
-Henry IV, by Shakespeare
-Henry V, by Shakespeare
-Henry VI, by Shakespeare
-Henry VIII, by Shakespeare
-Henri VIII, by Saint-Saens
-Heraclides (The), by Aeschylus
-by Euripides
-Heraclius, by Corneille
-iV
-and XIII
-X
-, XXIV-
-III
-XVI
-X
-XII
-XIII
--XXX
-IX
-and -XXXIII
-VI
-XXV
-XXV
-I
-f
-xvm
-A
-c
-c
-A
-A
-A
-C
-C
-A
-B
-B
-A
-B
-B
-B
-A
-A
-B
-o
-THIRTY-SIX DRAMATIC SITUATIONS
-Heracles Mainomenos, by Euripides
-Hercules Furens, by Seneca
-Hercules on (Eta, by Seneca
-Hermione, by Sophocles
-Hemani, by Hugo
-XIX and
-Herodias, by Flaubert
-Hero and the Nymph (The), by Kalidasa
-Hippolyte, by Euripides
-," by Seneca
-His Own Gaoler, by Calderon
-Homme â deux têtes (L'), by Forest
-Homme de proie (L'), by Lefèvre and
-Laporte
-Horace, by I'Aretin
-" by Corneille
-Huron (Le), by Voltaire
-Hypermnestre, by Metastasio
-by Riupeiroux
-by Lemierre, etc.
-Hypsipyle, by Aeschylus
-by Euripides
-by Metastasio
-ft
-ft
-tt
-it
-u
-u
-Idiot (L'), by de Lorde
-Idoménée, by Crébillon
-by Lemiere
-by Cienfuegos
-Illusions perdues (Les), by Balzac
-Image (L'), by Beauborg
-Impasse (L'), by Fread Amy
-Indigne, by Barbier
-Indiscret (L'), by See
-Inflexible (L'), by P^rodi
-Ino, by Euripides
-Insociale (L'), by Mme Aurel
-Intruder (The), by Maeterlinck
-lobates, by Sophocles
-lolas, by Sophocles
-Ion, by Euripides
-Iphigenia, by Aeschylus
-" by Sophocles
-Iphigenia in Aulis, by Euripides
-XVI
-A
-XVI
-A
-XXV
-B
-X
-C
-XXIV
-A
-XX
-A
-XXll
-B
-XXXV
-XXVI
-B
-XXVI
-B
-XXIX
-B
-xxxiir
-C
-X
-D
-XXIII
-B
-XXIII
-B
-XXI
-D
-XXIII
-B
-XXIII
-B
-XXIII
-B
-XXIIF
-B
-XXIII
-B
-XXIIÏ
-B
-III
-A
-xxm
-A
-xxm
-A
-XXIII
-A
-XXX
-C
-XXIV
-B
-XV
-A
-V
-B
-XVII
-A
-XXVII
-D
-XVI
-A
-XXXVI
-B
-XXXVl
-B
-XXVI
-B
-il
-B
-XIX
-B
-XXIII
-A
-XXIII
-A
-xxm
-A
-INDEX PF PLAYS, NOVELS, ETC. 157
-Iphigénie à Aulis, by Racine XXIII A 1
-Iphigenia in Tauris, by Euripides XIX C 2
-" by Goethe XIX C 2
-Iphigénie en Tauride, projected by Racine XIX C 2
-Irène, by Voltaire XXIX B 4
-Israel, by Bernstein XIX E
-Ixion, by Aeschylus III A 5
-" by Sophocles III A 5
-" by Euripides ' III A 5
-Jack the Ripper, by Bertran and Clairian ill B 7
-Jack Tempête, by Elzéar XXIV A 8
-Jacobines (Les), by Hermant XXV C 4
-Jacobites (Les), by Coppee XXV D 2
-Jacques Bonhomme, by Maujan VIII B 1
-Jacques Damour, by Zola XXV C 2
-Jalousie, by Vacquerie XXXII C 5
-Jamac, by Hennique and Gravier XXIII B 6
-Jean Céveno\ by Fraisse XXXIII B 3
-Jephthe, by Buchanan XXIII A 2
-by Boyer XXIII A 2
-Jerusalem Delivered, by Tasso XIX G 1
-Jeu de la Feuillee (Le), by Adam de la Halle VII C 1
-Jeu de Robin et de Marion (Le), by Adam
-de la Halle X A
-Jeu de Saint-Nicholas (Le), by Jean Bodel-II A
-Job,byMoses(?) -XXXI B J
-Jocelyn, by Lamartine XXII A 1
-by Godard XXII A 1
-Joie de vivre (La), by Zola XXIV B 7
-and- XXI A 2
-Joueurs d'osselets (Les), by Aeschylus HI B 2
-and VII B
-Judgment of Arms (The), by Aeschylus XII C
-Julius Caesar, by Shakespeare XXX A 2
-Jumeaux (Les), by Hugo XXXV
-K
-Kermesse rouge, by Eekhoud III A 8
-King John, by Shakespeare I A 1
-and VI CI
-Kreutzer Sonata (The), by Tolstoi XXV D 1
-THIRTY-SIX DRAMATIC SITUATIONS
-Labors of Jacob, by Lope de Vega
-Laconian Women (The, by Sophocles
-Lady from the Sea (The), by Ibsen
-Lakmé, by Delibes
-Laocoon, by Sophocles
-and
-Later life of Rama (The), by Bhavabuti
-Lawn-tennis, by Mourey
-Légende du Coeur (La), by Aicard
-Lélie, by Willy
-Lemnian Women (The), by Sophocles
-Lena, by Berton and Mme. van Velde
-Life is a Dream, by Calderon
-Lohengrin, by Wagner
-Loi de l'homme (La), by Hervieu
-Lois de Minos, by Voltaire
-Lorenzaccio, by Musset
-Louis Pérez of Galicia, by Calderon
-Louis Leclercq, by Verlaine
-Love and Intrigue, by Schiller
-Love's Sacrifice, by Ford
-Loves of Krishna (The), by Roupa
-Loves of the Three Oranges (The), by Grozzi
-Lucienne, by Gramont
-Lucrèce Borgia, by Hugo
-XXIII B 1, XXXII A 2, XIX B 1 and
-Luther, by Werner
-Lutte pour la vie (La), by Daudet
-Lydie, by Mirai
-Lyncée, by Theodecte
-by Abeille
-Lys (Les), by Wolf and Leroux
-Macbeth,
-Madame
-Madame
-Madame
-Madame
-Madame
-Madame
-Madame
-M
-by Shakespeare
-Bovary, by Flaubert
-Caverlet, by Augier
-de Maintenon, by Copi>ée
-I'Amirale, by Mars and Lyon
-la Mort, by Mme. Rachilde
-Margot, by Moreau and ClairvilleVIII
-Thérèse, by Erckmann-Chatrian XXIX
-XIII
-A
-X
-c
-XXIV
-B
-XXIX
-A
-V
-C
-XXXVI
-A
-XXXV
-XXVI
-D
-XXV
-D
-XXII
-c
-XXIII
-B
-XXVII
-B
-XIII
-B
-II
-A
-XXI
-C
-XIX
-A
-VIII
-A
-V
-A
-XVII
-C
-XXXII
-B
-XXXII
-A
-XXIV
-D
-XVIII
-D
-XXV
-A
-VI
-C
-XIX
-D
-XX
-A
-XV
-B
-XXIX
-A
-XXIII
-B
-XXIII
-B
-XXVIII
-D
-XXX
-C
-XXV
-C
-XXVII
-A
-XXI
-B
-XXVI
-B
-XXIV
-B
-VIII
-A
-A 4
-INDEX OF PLAYS, NOVELS, ETC.
-Madeleine, by Zola
-Mile, de Bressier, by Delpit
-Mile de Maupin, by Gautier
-Madhouranirouddha, by Vira
-Mahaviracharita, by Bhavabuti
-Mahomet, by Voltaire
-Maidens of Trachis, by Sophocles
-Maison d'argile (La), by Fabre
-Maison des deux Barbeaux (La), by
-Theuriet
-Maître (Le), by J. Jullien
-Maître Ambros, by Widor
-Malatia and Madhava, by Bhavabuti
-Malefilâtre (Les), by Porto-Riche
-Malheur aux pauvres, by A. Bouvier
-Maman Colibri, by Bataille
-Manfred, by Byron
-Mangeront-ils by Hugo
-and
-and
-Mannequin d'osier (Le), by France
-Manon Lescaut, by Prévost
-Maquignon (Le), by Josz and Dumur
-Marchande de sourires (La), by Judith
-Gautier
-Mari (Le), by Nus and Amould
-Mariage d'André (Le), by Lemaire and de
-Rouvre
-Mariage de Mlle Beulemans (Le), l
-Fonson and Wicheler
-Mariage d'Olympe (Le), by Augier
-Marianne, by Dolce,
-Marianne, by Tristan l'Hcrmite
-Marianne, by Voltaire
-Marie Stuart, by Alfieri
-Marie Stuart, by Schiller
-Marie Stuart, by Samson
-Marie Tudor, by Hugo
-Marino Faliero, by Byron
-Marion Delorme, by Hugo
-Marius vaincu, by Mortier
-Marjolaine (La), by Richepîn fils
-and
-and
-XXXIV
-B
-XXIX
-B
-XVIII
-XXIX
-A
-X
-c
-XIX
-E
-XXV
-B
-XII
-A
-XXV
-c
-XIII
-B
-XXXIII
-B
-X
-C
-XXIV
-A
-XXV
-C
-XXXII
-C
-XXTI
-C
-XXXIV
-A
-XXIV
-A
-i
-A
-XXV
-C
-XXVH
-B
-vi
--Hi
-A
-XXIX
-B
-^xv
-C
-XVIII
-IT
-B
-XXIV
-A
-XXVII
-B
-XXXII
-A
-XXXÎI
-A
-XXXII
-A
-XXXIII
-A
-XXIV
-B
-XXIV
-B
-XXIV
-B
-XIX
-VI
-C
-XXVH
-B
-XIX
-XXX
-A
-XXIV
-A
-"N
-THIRTY-SIX DRAMATIC SITUATIONS
-Marquis de Priola (Le), by Lavedan KXVII
-Martyre» by Dennery XXI
-Martyrs (Les), by Chateaubriand XXXI *
-Massière (La), by Lemaître jLW
-Master Builder (The), by Ibsen XVir
-Matemité, by Brieux VI
-Maucroix (Les), by Delpit Xiy
-Measure for Measure, by Shakespeare XX't
-Medea, by Euripides XXV
-" by Cor^eille XXV
-*' by Seneca X^V
-Mejor Alcalde el Key (El), by Lope de Vegaill
-Meistersinger (Die), by Wagner XXIV-
-Melanippe, by Euripides JCXIH
-Meleager, by Sophocles I'C
-Memnon, by Aeschylus -IX f
-Ménages de Paris (Les), by Raymond XXV
-Mensonges, by Bourget XXVII
-Mer (La), by J. Jullien -XlII
-Merchant of Venice (The), by Shakespearelll •
-Mère du Pape (La), Miracle of Notre-Dame XXXI
-Mère meurtrier de son enfant (La), Miracle
-of Notre-Dame XVH
-Mères ennemies (Les), by Mendes XXV
-Mérope, by Maffei XÏX
-" by Voltaire XIX
-" byAlfieri XIX
-Message of Angada*(The), by Soubatha X
-Mill (The), by Lope de Vega XXIV
-Minister's Ring (The), by Vishakadatta XII
-Minos, by Sophocles I
-Miroirs (Les), by Roinard ' XXV
-Miss Fanfare, by Grjiderax XXV
-Miss Sara Sampson, by Lessing XXV
-Mission de Jeanne d'Arc (La), by Dallière VIII
-Mithridate, by Racine XIX
-Mon ami Teddy, by Rivoire and Bernard XXIV
-Mon frère, by Mercereau XIII
-Monna Vanna, by Maeterlinck XXXII
-Monsieur Alphonse, by Dumas fils XXVII
-Monsieur Bute, by Biollay ^XVI
-Monsieur de Morat, by Tarbe XXV
-Montansier (La), by Jeoffrin, de Fiers and
-de Caillavet XXV
-Monte Cristo, by Dumas père III
-A
-C
-A
-B
-A
-D
-A
-D
-A
-A
-A
-A
-A
-B
-B
-B
-B
-B
-D
-B
-B
-C
-B
-B
-B
-B
-C
-A
-A
-A
-D
-B
-A
-B
-B
-A
-A
-A
-B
-A
-B
-C
-B
-INDEX OF PLAYS, NOVELS, ETC.
-Montmartre, by Frondaie
-Morte de Cesar (La), by Voltaire
-Morte (La), by Barlatier
-Mouettes (Les), by P. Adam
-Mrigancalckha, by Viswanatha
-Mrs. Warren's Profession, by Shaw
-Much Ado About Nothing, by Shakespeare
-Myrane, by Bergerat
-Myrmidons (The), by Aeschylus
-Myrrha, by Alfieri
-Myrtille, by Erckmann-Ghatrian
-Mysians (The), by Aeschylus
-Mystery of Adam (The), XII Century
-N
-Nana, by Zola
-Nana-Sahib, by Richepin
-Nanine, by Voltaire
-Natural Daughter (The), by Goethe
-Nauplius, by Sophocles
-Nausicaa, by Sophocles
-Necklace (The), by Sri Harshadeva
-Nemea, by Aeschylus
-Nereides (The), by Aeschylus
-Nick Carter, by Livet and Bisson
-Nicomède, by Corneille
-Niebelung (The), by Wagner
-Nina de Plata (La), by Lope de Vega
-Ninety-Three, by Hugo
-Niobe, by Aeschylus
-Niobe, by Sophocles
-Nitetis, by Metastasio
-Noces Corinthiennes (Les), by France
-Nurses (The), by Aeschylus
-Nouveau Monde (Le), by Villiers de Tlsle
-Adam
-Nuit de Saint- Jean (La), by Erckmann-
-Chatrian
-Numa Roumestan, by Daudet
-Obstacle (L'), by Daudet
-Octavia, by Seneca
-Odette, by Sardou
-XXVIII
-E
-XXX
-A
-XXIV
-B
-XXIII
-A
-XXIV
-A
-XXVII
-A
-XXXII
-B
-XXV
-B
-VI
-A
-XXVI
-A
-XXVIII
-A
-I
-B
-VI
-A
-XXII
-A
-V
-C
-XXVIII
-A
-VII
-A
-III
-A
-I
-B
-XXIV
-D
-IX
-A
-III
-A
-HI
-C
-V
-C
-V
-C
-XXIV
-A
--XXIIl
-A
-XXVI
-A
-XXXI
-B
-XXVIII
-A
-XXIX
-• A
-XXXI
-B
-■
-XXV
-C
-XXIV
-A
-XXV
-B
-XXIV
-A
-XV
-B
-XXVII
-A
-I
-THIRTY-SIX DRAMATIC SITUATIONS
-Œdipus, by Aeschylus
-" . by Sophocles
-" by Corneille
-" by Seneca
-** by Voltaire, etc.
-Œdipus at Colonus, by Sophocles
-Œnee, by Sophocles
-Œnomaus, by Sophocles
-" by Euripides
-Œuvre (L'), by Zlola
-Ogre (L'), by Marthold
-Oïclesy. by Sophoéles
-Olympiade, by Metastasio
-Olympic, by Voltaire
-On ne badine pas avec l'amour, by
-Opium, by Bohnetain
-Or (L*), by Peter and Danceiiy
-Orbecchç, by Giraldi
-Oreille fendue (L*), by Nepoty
-Orestes, by Euripides
-Oreste, by Alfieri
-" by Voltaire
-Orithyie, by Aeschylus
-" by Sophocles -
-Othello, by Shakespeare
-Othon, by Corneille —
-JLVIII
-A 1
-XVIII
-A 1
-XVIII
-A 1
-XVIII
-A 1
-XVIII
-A 1
-I
-A 3
-and Xli
-A
-' 11
-B 2
-'IX
-D 2
-IX
-D 2
-nXX
-A 4
-xxxm
-D 3
-I
-A 1
-XIX
-B 1
-•XXIX
-B 1
-ilussetXVII
-C 2
-XXIf
-C 2
-III
-A 1
-IV
-D
-XXVII-
-A 3
-XXXIV
-A 2
-XXXIV
-V A 2
-XXXIV
-A 2
-X
-A
-X
-A
-XTÔCII
-B 1
-XX-
-B 1
-Page blanche, by Dévore
-Pain d'autrui (Le), by Ephraim and
-Schutz, after Turgeniev
-Palamede, by Aechylus
-Palamede, by Euripides
-Palamede, by Sophocles
-Pandore, by Voltaire
-Pandore, by Goethe
-Papa, by de Fiers and de Caillavet
-Paraître, by Donnay
-Parsifal, by Wagner
-Partage de midi, by Claudel
-Passagères (Les), by Coolus
-XXV
-C 1
-and
-and
-XIX
-£
-XI
-c
-XI
-c
-XXXIII
-c
-XXXIII »
-c
-XXIV
-A
-XVII
-c
-XVII
-c
-XIV
-B
-XXV
-D
-IX
-c
-XV
-A
-XXIV
-B
-INDEX OP PLAYS, NOVELS. ETC.
-lôâ
-k^atrie, by Paladilhe and Sardou
-Peau d'âne, by Perrault
-Péché de Marthe (Le), by Rochard
-Peleus, by Sophocles
-and
-Peleus, by Euripides
-Pèlerin d'amoiir (Le), by Emile-^Michelet
-Peliades (The), by Euripides
-Pelias, by Sophocles
-and
-Pelléas and Melisande, by Maeterlinck
-Pelopides (The), by Voltaire
-Penelope, by Aeschylus
-Pentheus, by Aeschylus
-Penthesilea, by Aeschylus
-Père Chasselas (Le), by Athis
-Père prodigue (Le), by Dumas fils
-Pericles, by Shakespeare
-and
-Perkin Warbeck, by Ford
-Perrhoebides (The), by Aeschylus
-Persians (The), by Aeschylus
-Pertharite, by Corneille
-Petit ami (Le), by Leautaud
-Petite amie (La), by Brieux
-Petite Caporale (La), by Darlay and
-Grorsse
-Petite chocolatière (La), by Gavault
-Petite Hollande, by Guitry
-Petite milliardaire (La), by Dumay and
-Forest
-Petite Mionne (La), by Richebourg
-Petite paroisse (La), by Daudet
-Petit Jacques (Le), by Dennery
-Petit Poucet (Le), by Perrault
-Phaedra, by Sophocles
-Phaeton, by Euripides
-and
-Pheacians (The), by Sophocles
-Phèdre, by Racine
-Philippe II, by Alfieri
-and
-Philoctetes, by Aeschylus
-by Sophocles
-by Euripides
-u
-it
-XXV
-D
-XXVI
-A
-XîÇVIII
-B
-u
-B
-VII
-c
-VH
-c
-XXV^I
-B
-XDt
-E
--
-XVH
-c
-XIX
-E
-XIV
-A
-XIII '
-A
-III
-B
-XXXI
-A
-XXXVI
-C
-XXXV
-XIV
-B
-XI*
-B
-XXXV
-XXX
-B
-III
-A
-VI
-A
-XXI
-D
-XXVI
-A
-XXVIII
-A
-IX \
-D
-XXVIII
-A
-XXIV
-•
-- B
-xxrv
-A
-XTX
-A
-XXV ^
-C
-XXÏ
-D
-VI
-D
-XXVI '
-B
-XVII
-A
-XXXI
-B
-I
-B
-XXVÏ
-B
-XIV
-B
-XXVI
-B
-XII
-A
-XII
-A
-XII
-A
-THIRTY-SIX DRAMATIC SITUATIONS
-«
-it
-It
-u
-Philoctetes in Troy, by Sophocles
-Phineus, by Aeschylus
-Phineus, by Sophocles
-Phoenissae (The), by Aeschylus
-by Euripides
-by Seneca
-Phoenix, by Euripides
-Phorcides (The), by Aeschylus
-Phrixus, by Sophocles
-Phrixus, by Euripides
-Phrygians (The), by Aeschylus
-Phtiotides (The), by Sophocles
-I
-IX
-II
-XX
-Xill
-XIII
-XIV
-IX
-III
-[II
-I
-XXXII
-B 2
-Physician of his Honor (The), by Calderon XXV
-Pierre et Jean, by Maupassant XIV
-Pierre et Thérèse, by Prévost XXVII
-Pierre Pascal, by Mme. de Chabrihan XV
-Pierre Vaux, by Jonathan * XXI
-Pierrot assassin de sa femme, by
-Margueritte XXXIV
-Pierrots (Les), by Grillet XXXIII
-Pieuvre (La), by Morel XXXIII
-Plus faible (La), by Prévost XXVIII
-Policière (La), by Montepin XXVII
-Polydectes, by Aeschylus XIX
-Polyeucte, by Corneille XX
-Polyidus, by Sophocles XI
-" by Euripides XI
-Polynice, by Alfieri XITI
-Polyhème, by Samain XXIV
-Polyxena, by Sophocles XXXVI
-Pompée, by Corneille 111
-Port-Tarascon, by Daudet XVII
-Portrait (The), by Massinger XXXII
-Possédé (Le), by Lemonnier XXII
-Pot-Bouille, by Zola XXV
-Poupées électriques, by Marinetti XXXIII
-Poussin (Le), by Guiraud XXVIII
-Powers of Darkness (The), by Tolstoi
-XIII E andXV
-Prêtre (Le), by Buet III
-Priestesses (The), by Aeschylus XIX
-Princesse de Bagdad (La), by Dumas fils XXXII
-Princesse Georges (La), by Dumas fils XXV
-Princess Maleine (The), by Maeterlinck VII
-B
-A
-A
-A
-B
-B
-B
-B
-B
-C
-D
-A
-A
-A
-D
-A
-B
-C
-A
-C
-F
-B
-A
-A
-A
-A
-A
-A
-C
-C
-A
-C
-B
-D
-A
-A
-C
-A
-]
-B 3
-A
-INDEX OF PLAYS, NOVELS, ETC.
-l>rince Zilah (The), by Claretie
-Procris, by Sophocles
-Prometheus, by Aeschylus
-Prometheus Bound, by Aeschylus
-and
-Prometheus Unbound, by Aeschplus
-Propompes (The), by Aeschylus
-Proserpine,' by Vacquer e and Saint-Saens
-Protesilas, by Euripides
-Psyche, by Corneille
-Psychostase, by Aeschylus
-Pulchérie, by Corneille
-Purloined Letter (The), by poe
-Q
-Quarts d'heure (Les), by. Guiches and
-Lavedan
-and
-juillet (Le), by Rolland
-x7 equals 28, by Coolus
-Question d'argent (La), by Dumas fils
-R
-Raffles, by Homung
-Rama, by Bhavabuti
-Ramuntcho, by Loti
-Rantzau (Les), by Erckman-Chatrian
-Raoul de Crequi, by Dalayrac
-Reformateur (Le), by Rod
-Regiment (Le), by J. Mary
-Regulus, by Pradon
-Regulus, by Metastasio
-Reine aux trois fils (La), Miracle of Notre-
-Dame
-Reine Fiammette (La), by Mendes
-XXVII
-B
-XIX
-G
-IX
-c
-VII
-c
-V
-c
-IX
-D
-I
-C
-XXV
-B
-XX
-A
-XVII
-B
-XXXVI
-C
-XX
-B
-XI
-A
-and
-Rembrandt, by Dumur and Josz
-Rencontre (La), by Berton
-René, by Chateaubriand
-Renée, by Zola
-Renée Mauperin, by the Goncourts
-Resentment of Te-oun-go (The), by
-Kouan-han-king
-XXVII
-A
-XXV
-c
-VIII
-B
-XXXII
-A
-XXIV
-A
-V
-A
-X
-c
-XXVIII
-A
-XXIX
-A
-«5
-XXV
-E
-VI
-C
-XXVII
-D
-XX
-A
-XX
-A
-XXXV
-XXXIII
-A
-XXIX
-B
-VII
-D
-XXV
-C
-XXXIV
-B
-XXVI
-B
-XVII
-C
-III
-B 3
-THIRTY-SIX DRAMATIC SITUATIONS
-Résurrection, by Tolstoi
-Rêve (Le), by Zola ^
-Réveil (Le), by Hervieu
-Révoltée, by Lemaître
-Révoltés (Les), by Cain and Adenis
-Rhadamiste et Zénobie, by Crébillon
-Rhesus, by Euripides
-Richard Coeur-de-lion, by Sedaine
-and
-and
-Richard II, by Shakespeare
-Richard III, by Shakespeare
-Risque (Le), by Coolus
-Rivoli, by Fauchois
-Robert-le-Diable, Miracle of Notre-Dame
-Rodogune, by Corneille
-Roger-la-honte, by J. Mary
-and
-Roi Cerf (Le), by Gozzi
-Roi de l'argent (Le), by Milliet
-Roi de Rome (Le), by Pouvillon
-Roi s'amuse (Le), by Hugo
-Roi sans couronne (Le), by St. Georges
-de Bouhélier
-Roi sans royaume (Le), by Decourcelle
-Roi Soleil (Le), by Bemède
-Rolande, by de Gramont
-Roman d'Elise (Le), by Richard
-Roman d'une Conspiration (Le), by
-Founder and Carré
-Romeo and Juliet, by Shakespeare
-Rosemonde, by Rucellaï
-Rosse, tant at plus, by Mustière
-Route d'Emeraude (La), by Demolder and
-Richepin XXII
-Ruy-Blas, by Hugo XIX
-XX
-c
-I
-B
-XXT
-c
-XXV
-c
-III
-A
-XXV
-c
-IX
-D
-XXXVI
-c
-X
-D
-XXXV
-VI
-B
-XXX
-c
-XIV
-A
-XXV
-C
-V
-A
-XIII
-E
-XXXÎII
-D
-III
-B
-XVIII
-D
-XXXIII
-B
-VII
-B
-XIX
-A
-VIII
-A
-VIII
-A
-XXXIII
-C
-XXII
-C
-XXVIII
-D
-VIII
-A
-XXIX
-B
-CÏV
-C
-VIII
-A
-A 6
-Saint-Alexis, Miracle of Notre-Dame XIX
-Sainte-Hélène, by Mme. Séverine III
-Saint-Ignace d'Antioch, Miracle of Notre-
-Dame XX
-Saint Julien l'hospitalier, by Flaubert XIX
-Saïs (Le), by Mme OUognier XXIV
-G
-A
-A
-E
-A
-INDEX OF PLAYS, NOVELS, ETC.
-?
-Sakuntala, by Kalidasa
-and
-Salammbô, by Flaubert
-Salaminians (The), by Aeschylus
-Salome, by Oscar Wilde
-Samson, by Voltaire
-Samson, by Bernstein
-Samson et Dalila, by Saint-Saens
-Sang-brûlé (La), by Bouvier
-Sapho, by (^unod
-Sapho, by Daudet
-S. A. R., by Chancel
-SardanapaluB, by Byron
-Saul, by Alfieri
-Saul, by Gide
-Scandale (Le), by Bataille
-Schism of England (The), by Calderon
-Sculpteur de Masques (Le), by Cromelynck
-Scythes (Les), by Voltaire
-Second Faust (The), by Goethe
-Secret de Gilberte (Le), by Massiac
-Secret de la Terreuse (Le), by Busnach
-Secret Vengeance for Secret Outrage, by
-Calderon
-Semele, by Aeschylus
-Semiramis, by Manfredi
-Semiramis, by Crebillon
-Semiramis, by Voltaire
-Semiramide riconosciuta, by Metastasio
-and
-Sérénade (La), by J. Jullien
-Serge Panine, by Ohnet
-Serpent Woman (The), by Grozzi
-Sertorius, by Corneille
-Seven Against Thebes, by Aeschylus
-Seven Princesses (The), by Maeterlinck
-Severo Torelli, by Coppée
-Shepherd King (Tho), by MeUstasio
-Sherlock Holmes, by Conan Doyle
-Shepherds (The), by Sophocles
-Sieba, by Manzotti
-Sigurd, by Reyer
-Simone, by Brieux
-Simon, I'caifant trouve, by Jonathan
-Singer (The), anonymous Chinese drama
-XVI
-c
-XXXV
-vm
-B
-VI
-c
-XXII
-B
-XVII
-c
-XXV
-D
-XV
-A
-XXVI
-c
-XXXIII
-D
-XXII
-A
-XX
-B
-VI
-A
-Xlll
-D
-XVI
-B
-XXXIV
-B
-XV
-B
-XXVI
-C
-XXIX
-A
-IX
-D
-XXVII
-B
-XXXIII
-B
-XXV
-D
-XIII
-B
-XXVI
-A
-XXVI
-A
-XIX
-D
-XXIV
-B
-XXXII
-B
-XXV
-C
-XXV
-B
-XXXIlI
-A
-XX
-B
-XIII
-A
-XXXVI
-B
-XXVII
-D
-XXVIII
-C
-IK
-C
-VI
-A
-XXVIII
-B
-XXV
-C
-XXVII
-D
-III
-A
-III
-A
-THIRTY-SIX DRAMATIC SITUATIONS
-Sinon, by Sophocles
-Sire, by Lavedan
-Siroès, by Metastasio
-Sir Thomas Wyat, by Webster
-Smilis, by Aicard
-and
-«
-«
-Soeurette, by Borteau-Loti
-Son Excellence Eugène, by Zola
-Sons of Pandou (The), by Radjasekhara
-Sophonisbe, by Trissino
-by Mairet
-by Alfieri
-Sorcière (La), by Sardou
-Souris (La), by Pailleron
-Sphinx (The), by Aeschylus
-Statue (The), by Radjasekhara
-Stella, by Goethe
-Story of Yayati (The), by Roudradeva
-Suppliants (The), by Aeschylus
-Suppliants (The), by Euripides
-Suzette, by Brieux
-Surcouf , by Planquette
-Suréna, by Corneille
-Tancrède, by Voltaire
-and
-Tanis et Zélide, by Voltaire
-Tannhaeuser, by Wagner
-Tartarin, by Daudet
-Taverne des Trabans (La), by Erckmann-
-Chatrian
-Tchitra Yadjgna, by Vedanyatha
-Vatchespati
-Telephus, by Euripides
-Telephus, by Aeschylus
-Telephus, by Sophocles
-Tempest (The), by Shakespeare
-Tenailles (Les), by Hervieu
-Temptation of Saint Anthony (The), by
-Flaubert
-Tereus, by Sophocles
-Terre (La), by Zolj^
-W<1
-IX
-D
-XXVII
-B
-XXXIII
-B
-XXX
-B
-XXI
-A
-XXV
-c
-XXV
-c
-XXX
-c
-III
-A
-XX
-B
-XX
-B
-XX
-B
-XXIV
-B
-XIV
-A
-XI
-B
-XXIV
-T)
-XXV
-B
-XXIX
-A
-I
-A
-I
-A
-XXIV
-A
-'7
-XXIV
-A
-XXXII
-A
-XXXII
-A
-A
-XXIV
-A
-XXII
-A
-VI
-B
-XXIX
-A
-.3
-XXXI
-B
-I
-B
-XIX
-B
-XIX
-B
-III
-B
-XXV
-C
-XXII
-B
-III
-B
-XXX
-C
-XIII
-I
-INDEX OF PLAYS, NOVELS, ETC.
-Terre d'épouvante, by Morel and de Lorde
-Teucer, by Sophocles
-Thamiras, by Sophocles
-Themistocles, by Metastasio
-Theodora, by Sardou
-Théodore, by Corneille
-Thérèse Raquin, by Zola
-and
-Thermidor, by Sardou
-Theseus, by Euripides
-Thr acians (The), by Aeschylus
-Three Punishments in One, by Calderon
-Thyestes, by Seneca
-Thvestes in Sicyon, by Sophocles
-Thyestes II, by Sophocles
-Timoleon, by Alfieri
-Timon of Athens, by Shakespeare
-'Tis Pity She's a Whore, by Ford
-Titan, by Jean-Paul Richer
-Tite et Bérénice, by Corneille
-Toilers of the Sea, by Hugo
-and
-and
-Torquemada, by Hugo
-Torrent (Le), by Donnay
-Torrismond, by Tasso
-Tosca (La), by Sardou
-Trains de luxe (Les), by Hermant
-Trente ans ou la vie d'un joueur, by
-Ducange
-Tribun (Le), by Bourget
-Tribut de Zamora (Le), by Gounod
-Trisan and Isolde, by Wagner
-Triumvirat (Le), by Voltaire
-Troilus, by Aeschylus
-Troilus and Cressida, by Shakespeare
-Troades (The), by Euripides
-" " by Seneca
-Troyens (Les), by Berlioz
-and
-Tullia, by Martelli
-Tunic Confronted (The), by Tchang-koue-
-pin
-Turandot, by Gozzi
-VI
-A
-VI
-c
-XXXI
-B
-XX
-A
-XXXIII
-A
-XX
-D
-XXXIV
-A
-XV
-A
-VIII
-A
-IX
-D
-XVI
-B
-XIII
-B
-XIII
-A
-XXXV
-XIII
-A
-XXX
-A
-m
-C
-XXVI
-c
-XVIII
-D
-XX
-B
-XXIV
-A
-'IX
-D
-XXIII
-A
-XIX
-XXV
-C
-XVIII
-A
-XXI
-D
-XXIV
-B
-XXII
-C
-XXVII
-D
-XXIV
-A
-XXV
-C
-XXTV
-A
-XXXVI
-A
-V
-C
-XXXVI
-A
-XXXVI
-A
-I
-I
-B
-XX
-B
-XXX
-C
-III
-A
-XI
-C X
-THIRTY-SIX DRAMATIC SITUATIONS
-Twenty-fourth of February KThe), by
-Werner XIX B 1
-Two foscari (The), by Byron ^ III ^ A 1
-Two Gentlemen of Verona, by ShakespeV® XIV D
-Two Noble Kinsmen The), by Beaumont
-and Fletcher XIV ' , C
-U
-Ubu-Roi, by Jarry
-Ulysses Furens, by Sophocles
-Un ange, by Capus
-Un divorce, by Moreau
-Un drôle, by Yves Guyot
-Une famille au temps de Luther, by
-Delavigne
-Une femme passa, by Coo^us
-Une nuit de Cléopâtre, by Gautier and V.
-Masse
-an<
-Un patriote, by Dartois
-Un voyage de noces, by Tiercelin
-Valentinian, by Beaumont and Fletcher
-Varennes, by Lenotre and Lavedan
-Vautrin, by Balzac
-Veine (La), by Capus
-Venisamhara, by Bhatta Narayana
-Ventre de Paris (Le), by Zola
-Veuve joyeuse (La), by Meilhac, Leon and
-Stein
-Vicomtesse Alice (La), by Se ond
-Vidocq, by Bergerat
-Victory of Arjuna (The), by Cantchana
-Atcharya
-Victory of Pradyoumna (The), by Samara
-Dikchita
-Vieil homme (Le), by Porto-Riche
-Vielle histoire, by J. Jullien
-Vie publique (La), by Fabre
-Vierge (La), by Vallette
-Vierge folle (La), by Bataille
-Virgin Martyr (The), by Massinger
-Vittoria Corombona, by Webster
-XXX
-C
-XI
-c
-XXII
-c
-XXXII
-A
-XXV
-c
-XIII
-A
-XTV
-r
-D
-•
-XXII
-A
-XXIV
-B
-XXIII
-B
-XXV
-A
-*
-XXXIII
-D
-XXIV
-B^
-XXVÎ
-D
-XXV
-A
-III
-A
-XXXIII
-C
-XXVIII
-A
-V
-D
-III
-C
-IX
-C
-XXIX
-A
-XIV
-B
-XXVII
-A
-XXX
-C
-XXXII
-A
-XXV
-B
-XX
-D
-XV
-A
-INDEX OF PLAYS, NOVELS, ETC.
-Vive le roi! by Ryner
-Voix de sang (La), by Mme Rachilde
-Voleur (Le), by Bernstein
-W
-«
-Waiting- Women (The), by Aeschylus
-Wallenstein, by Schiller
-War of the Worlds (The), by Wells
-Weavers of Nets (The), by Aeschylus
-Weavers of Silesia (The), by Hauptmann
-Werner, by Byron
-Werther, by Goethe
-Wild Duck (The), by Ibsen
-William Tell, by Schiller
-and
-Winter's Tale (A), by Shakespeare
-Women of Colchis, by Sophocles
-Women of Scyros, by Sophocles
-Wool-Carders (The), by Aeschylus
-Worst is not Always Certain (The), by
-Calderon
-XX ^
-A
-XIX
-G
-XXXIH
-A
-XX
-A
-XXX
-A
-VI
-A
-XVI
-A
-VIII
-B
-XXVII
-C
-XXXIV
-B
-XVII
-C
-VIII
-B
-III
-B
-XXV
-XXV
-A
-XI
-C
-XXXT
-A
-XXXII
-A t
-Xoanephores (The), by Sophocles
-Z
-VJ
-A 2
-Zaïre, by Voltaire
-XXXII
-A
-Zéim, by Gozzi
-XXVIII
-B
-Zenobia, by Metastasio
-XXV
-C
-Zoe Chien-chien, by Mathey
-IV
-A
-Zulime, by Voltaire
-XXIV.
-B
-ALPHABETICAL ÏNDEX OF AtJTHOËâ
-A
-Abeille:
-Lyncée
-XXIII
-B
-Achaeus
-: Œdîpus
-XVIII
-A
-Adam (Paul): L'Automne
-VIII
-B
-'/
-«
-Les Mouettes
-XXIII
-A
-Adam de la Halle: Le Jeu de la Feuillée
-VII
-c
-" . Le Jeu de
-Robin
-et de
-Marion
-X
-A
-Adenis:
-Les Révoltés
-III
-A
-Aeschylus: The Suppliants
-I
-A
-The Heraclidae
-I
-A
-The Eumenides
-I
-A
-The Eleusinians
-I
-A
-Danae
-I
-B
-The Mysians
-I
-B
-The Phryfi^ians
-I
-B
-The Propompes
-I
-C
-The Epigones
-III
-A
-The Arrives
-III
-A
-The Perrhoebides
-III
-A
-Ixion
-III
-A
-The Nereids
-III
-A
-Penelope
-III
-B
-Les Joueurs d'osselets
-III
-B
-and
-VII
-B
-The Choephoree
-IV
-A
-Atalanta
-IV
-B
-Prometheus Bound
-V
-C
-and
-VII
-C
-The Persians
-VI
-A
-The Myrmidons
-VI
-A
-The Salaminians
-VI
-C
-The Guests
-VII
-B
-Nemea
-IX
-K
-v\%
-i74
-tmRTY-SlX DÊAMATÎC SÎTtîATlôNS
-Aeschyli
-ils: The Phorcides
-IX
-B
-Phineus
-IX
-B
-Memnon
-IX
-B
-Glaucus Pontius
-IX
-B
-Prometheus
-IX
-C
-Prometheus Unbound
-IX
-D
-Orithyie
-X
-A
-Europa
-X
-A
-The Carians
-X
-A
-The Sphinx
-XI
-B
-Palamede
-XI
-C
-Philoctetes
-XII
-A
-The Judgment of Arms
-XTT
-C
-The Heliades
-XIII
-A
-Seven Against Thebes
-XIII
-A
-Agamemnon
-XV
-A
-The Weavers of Nets
-XVI
-A
-Athamas
-XVI
-A
-The Thracians
-XVI
-B
-Semele
-XVII
-B
-Œdipus
-XVIII
-A
-Alcmenc
-XVIII
-D
-Telephus
-XIX
-B
-The Priestesses
-XIX
-C
-Polydectes
-XIX
-F
-The Waiting- Women
-XX
-A
-The Phoenissae
-XX
-A
-Iphigenia
-XXIII
-A
-Hypsipyle
-XXIII
-B
-The Danaides
-XXIII
-B
-Laius
-XXVI
-D
-The Aedonians
-XXXI
-A
-Pentheus
-XXXI
-A
-The Bassarides
-XXXI
-A
-The Wool-Carders
-XXXI
-A
-Ajax Locrian
-XXXI
-B
-The Nurses
-XXXI
-B
-The Eumenides
-XXXIV
-A
-Niobe
-XXXVI
-A
-Troilus
-XXXVI
-A
-Penthesilea
-XXXVl
-C
-The Death of Achilles
-XXXVl
-C
-Psychostase
-XXXVI
-C
-Alcard:
-Smilis
-XXI
-A
-and XXV
-C
-INDEX OF AUTHORS
-Aicard: La Légende du Cœur
-Alamanni: Antijrone
-Alfieri: The Conspiracy of the Pazzi
-Polynice
-Saul
-Agis
-Philippe II
-it
-«
-«
-«
-and
-«
-«
-•<
-«
-«
-«
-«
-«
-«
-«
-«
-Octavia
-Merope
-Antigone
-Sophonisbe
-Rosemonde
-Myrrha
-Timoleon
-Brutus II
-Marie Stuart
-Don Garzia
-Orostes
-Amigues: La Comtesse Frédégonde
-Ancey: L'Ecole des veufs
-Andersen: Le Compagnon de voyage
-Anguillara: Œdipus
-Annunzio (d'): La Citta morta
-Arétin (1*): Horace
-Armand (Mme): Les Fils de Jahel
-Arnold: Le rime d'un autre
-Amould: Le Mari
-" La Belle aux cheveux d'or
-Amyvelde: La Courtisane
-Artois (d') : La Fermière
-Athis: Le père Chasselas
-Attilius: Electra
-Auge de Lassus: La Conspiration de gén-
-éral Malet
-Augier: Diane
-and
-Madame Caverlet
-Le Mariage d'Olympe
-Aurel: Llnsociale
-«
-«
-B
-Balzac: Cesar Birotteau
-" La cousine Bette
-*' Vautrin
-XXV
-D
-XX
-A
-VIII
-A
-XIII
-A
-XTII
-D
-XIII
-D
-XIV
-B
-XXVI
-B
-XV
-B
-XIX
-B
-XX
-A
-XX
-B
-XXV
-B
-XXVI
-A
-XXX
-A
-XXX
-A
-XXXIII
-A
-XXXIII
-C
-XXXIV
-A
-XXV
-B
-XXVI
-B
-XI
-B
-XVIII
-A
-XXVI
-C
-XXIII
-B
-XX
-B
-XXXIII
-D
-XXV
-C
-XVII
-C
-xxvn
-B
-XXIV
-C
-XXXV
-IV
-A
-VIII
-A
-XXI
-C
-XXXIII
-A
-XXVII
-A
-XXVII
-B
-XXXVI
-B
-VI
-B
-XXII
-C
-XXVI
-D
-t
-THIRTY-SIX DRAMATIC SITUATIONS
-«
-tt
-«
-Balsac: Les Illusions perdues
-Barbier: Indigne
-Barlatier; La Morte
-Basset: Les Grands
-Bataille: L'Enchantement
-Maman Colibri
-La Vierge folle
-Le Scandale
-Beaubourg: Ulmage
-" Dieu ou pas Dieu
-Beaumont: The Two Noble Kinsmen
-" Valentinian
-Becque: Les Corbeaux
-Bell : Catharine la Bâtarde
-Bergerat: Vidocq
-Myrane
-Flore de Frileuse
-Berlioz: Les Troyens
-tt
-ft
-and
-tt
-tt
-tt
-tt
-Bernard: Mon ami Teaay
-Bernard (Tristan): Le Danseur inconnu
-Bernard (C. de): Gerfaut
-Bemede: Le Roi Soleil
-Pernharat (Sarah): L'Aveu
-Bernstein: Israel
-La Griffe
-Le Bercail
-Après moi
-Le Voleur
-Berton: La Rencontre
-" Lena
-Bertrand: Jack the Ripper
-Bhatta Narayana: Venisamhara
-Bhavabuti: Malati and Madhava
-and
-M ahavir achari ta
-Later Life of Rama
-Bilhaud: La Courtisane de Corinth
-Biollay: M. Bute
-" Les Angles du divorce
-Bisson: Nick Carter
-" La Femme X
-Bizet: L'Arlésienne
-Blavet: Les Fils de Porthos
-Bodel (Jean): Le Jeu de Saint-Nicholas
-((
-tt
-XXX
-c
-V
-B
-XXIV
-B
-XXXIII
-A
-XIV
-A
-XXII
-c
-XXV
-B
-XXXIV
-B
-XXIV
-B
-XXlX
-A
-XIV
-c
-XXXIII
-D
-VII
-B
-XXXIII
-D
-III
-c
-XXV
-B
-XXVII
-B
-I
-B
-XX
-B
-XXIV
-.A
-XXVIII
-A
-.2
-XXV-
-C
-XXXIII
-C
-XXV
-C
-XIX
-E
-XXII
-A
-XXV
-C
-XXV
-D
-XXXIII
-A
-XXV
-C
-XXVII
-B
-III
-B
-III
-A
-X
-C
-XXIV
-A
-X
-C
-XXXV
-III
-B
-XVI
-A
-XXVIII
-E
-III
-C
-XXVII
-A
-XXII
-A
-XXIV
-A
-II
-A
-INDEX OF AUTHORS
-Bois (G.): Edith
-V
-Boia (J.): La Furie
-xxn
-Boissy Alceste
-XXI
-Bannetain: L'Opium
-XXII
-Borteau-Lotti Soeurette
-XXV
-Bovirfret: Le Disciple
-III
-La Barricade
-XXIV
-MensongeB
-xxvn
-Le Tribun
-XXVII
-" L'Emigré
-XXVIII
-" Le Divorce
-XXVIII
-Bouvier: La Dame au DoraiBo rose
-XVIII
-" La Sang-brulé
-XXVI
-Malheur aux pauvrca
-XXXII
-" La grande Iza
-xxxra
-Boyer: Jephtha
-xxni
-Brieux: Maternité
-VI
-" Les Avariée
-XVIl
-Simone
-XXVII
-I* Petite Amie
-XXVIII
-Suzette
-XXXII
-Buchanan: Alceste
-XXI
-Jephtha
-XXIII
-Buet: Le Prêtre
-III
-Busnach: Le Secret de la Terreuse
-XXXIII
-Byl: L'Age Critique
-XXV
-Byron: The Two Foscari
-III
-" Sardanapalus
-VI
-'■' Marino Faliero
-VI
-The Deformed Transformed
-IX
-" Cain
-xin
-" Heaven and Earth
-XXIV
-WMTier
-XXVII
-" Manfred
-C
-Caillavet (de): Papa
-XXXIV
-XIV
-" Le Coeur a sea raisons
-xrv
-" L'Ane de Buridan
-xxrv
-xxv
-Cain: Les Mvoltés
-III
-Calderon: The Alcaide of Zalamea
-UI
-Love After Death
-III
-" Devotion to the Cross
-V
-" Louis Perez of Galicia
-V
-THIRTY-SIX DRAMATIC SITUATIONS
-\
-«
-«
-u
-it
-tt
-it
-tt
-tt
-tt
-tt
-Calderon: Three Punishments in One
-The Schism of England
-The Constant Prince
-Secret Vengeance for Secret
-Outrage
-The Physician of His Honor
-His Own Gaoler
-Fortune and Misfortune of a
-Name
-The Worst is Not Always Cer-
-tain
-Life is a Dream
-Cantchana Atcharya: The Victory of Ar-
-juna
-Capus: Un Ange
-L'Attentat
-La Veine
-Carcinus: Œdipus
-Carre: La Courtisane de Corinth
-" La Roman d'une Conspiration
-Cervantes: Don Quixote
-Caesar: Œdipus
-Chabrihan (Comtesse de): Pierre Pascal
-Chancel: S. A. R.
-Charton: Devant l'ennemi
-Chatrian: La Nuit de Saint- Jean
-Myrtille
-L'Ami Fritz
-Les Rantzau
-La Taverne des Trabans
-Madame Thérèse
-Chateaubriand: Les Martyrs
-René
-Chenier (M. J.): Electre
-" Œdipus
-Cicero (Q.)- Electra
-Cienfuegos: Idomenee
-Clairian: Jack the Ripper
-Clairville: Madame Margot
-Claretie: Le Prince Zilah
-Claudel: Partage de midi
-Cliquet: C'est la loi
-Coedès: Le Crime de Maisons- Alfort
-Coolus: Le Risque
-Une femme passa
-«
-tt
-tt
-tt
-tt
-tt
-XIII
-B
-XV
-B
-XX
-A
-XXV
-D
-XXV
-D
-XXIX
-B
-XXIX
-B
-XXXII
-A
-XIII
-B
-IX
-c
-XXII
-c
-XXIV
-A
-XXV
-A
-XVIII
-A
-III
-B
-VIII
-A
-II
-A
-XVIII
-A
-XV
-A
-XX
-B
-XXIV
-A
-XXIV
-A
-XXVIII
-A
-XXVIII
-A
-XXIX
-A
-XXIX
-A
-XXIX
-A
-XXXI
-A
-XXXIV
-B
-IV
-A
-XVIII
-A
-IV
-A
-XXIII
-A
-III
-B
-VIII
-A
-XXVII
-B
-XV
-A
-XXV
-B
-III
-A
-XIV
-A
-XIV
-D
-INDEX OF AUTHORS
-Coolus: Lee Passagères
-XXIV
-Antoinette Sabrier
-XXIV
-CoGur a Coeur
-XXV
-Les Bleus de l'amour
-XXVIII
-" 4 X 7 — 28
-XXXIl
-Coppée: Madame de Maintenon
-XXI
-" Les Jacobites
-XXV
-Severo Torelli
-XXVII
-Corneille (P.): Andromède
-II
-Pompée
-III
-Nicomède
-V
-" Cinna
-VIll
-" Rodogune
-XIII
-Psyché
-XVII
-Œdipe
-XVIII
-HéracliuB
-XVIII
-Polyeucte
-XX
-Othon
-XX
-Pulchérie
-XX
-Tite et Bérénice
-XX
-Sertoriua
-XX
-Théodore
-XX
-Pertharite
-XXI
-" Horace
-XXIII
-Attila
-XXIV
-Agésilae
-xxrv- .
-" Suréna
-XXIV
-Don Sanche
-XXIV
-La Conquête de la Toison
-d'or
-XXIV
-Médée
-XXV
-Le Cid
-XXIX
-Corneille: Clitandre
-XXXIII
-Corneille <T.): Ariane
-VI
-and
-XXIV
-Le Comte d'Essex
-XXIV
-Le Festin de Pierre
-XXXI
-Coypel: Alceete
-XXI
-Crébillon; Electre
-IV
-" Atrée et Thyeste
-XIII
-Idoménée
-XXIII
-Ehadamiste et Zénobie
-XXV
-" Semiramis
-XXVI
-Crémieux: La Charbonnière
-XXI
-Crichna Cavi: The Death of i^ansa
-XIII
-THIRTY-SIX DRAMATIC SITUATIONS
-Croisset: Le Circuit
-Cromelynck: Le Sculpteur de Masques
-Curel (de): Les Fossiles
-" La Fille sauvage
-D
-Dalayrac: Raoul de Créqui
-Dallière: La Mission de Jeanne d'Arc
-Danceny: L'Or
-Darlay: La Petite Caporale
-** Les Aventures de Gavroche
-Dartois: Un Patriote
-Daudet: Tartarin
-" La Lutte pour la vie
-" Port-Tarascon
-" L'Evangeliste
-" Sapho
-" L'Arlésienne
-" L'Obstacle
-** Numa Roumestan
-" La Petite Paroisse
-Decourcelle: Le Roy sans royaume
-L'As de trèfle
-Les cinq doigts de Birouk
-Delahaye: La Déclassée
-Delacour: La Criminelle
-Delavigne: Une farille au temps de Luther
-Delibes: Lakmé
-Delpit: Les Maucroix
-" Mlle, de Bressier
-Demolder: La Route d'emeraude
-Dennery: Martyre
-" Le petit Jacques
-Descaves: L'Attentat
-Desnard: La Dégringolade
-Dévore: Page blanche
-" La Sonscience de l'enfant
-Diaz: Benvenuto
-Dickens: Great Expectations
-Diogenes: Œdipus
-Dolce: Marianne
-Donnay: L'Autre Danger
-Le Torrent
-Paraître
-Dorât: Alceste -.
-it
-a
-il
-u
-XXIV
-c
-XXVI
-c
-XIV
-XXXVl
-B
-D
-XXV
-E
-VIII
-B
-III
-A
-IX
-D
-z
-XXXV
-XXIII
-B
-VI
-B
-XV
-B
-XVII
-c
-XX
-B
-XXII
-A
-XXII
-A
-XXIV
-A
-XXV
-B
-XXV
-c
-Vill
-A
-XXVII
-D
-XXX
-C
-III
-B
-XXXIII
-B
-XIII
-A
-XXIX
-A
-XIV
-A
-XXIX
-B
-XXII
-A
-XXI
-C
-XXI
-D
-XXIV
-A
-XXXIII
-D
-XXV
-C
-XXVI
-C
-XXIV
-B
-XXI
-A
-XVIII
-A
-XXXII
-A
-XIV
-B
-XXV
-C
-XXV
-D
-XXI
-A
-INDEX OP AUTHORS
-«
-tt
-Domay: Gavroche
-Fiacre No. 13.
-Les Foulards-rouges
-Dostoievsky: Crime and Punishment
-Doyle: Sherlock Holmes
-Ducange: Trente ans ou la vie d'un joueur
-Ducis: Œdipe
-" Abufar
-Dttmas père: Monte-Cristo
-** Don Juan
-Dumas fils: L'Etrangère
-and
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-Le Fils naturel
-Le Père prodig^ue
-Le Divorce de Sarah Moore
-La Question d'argent
-Francillon
-La Princesse Georges
-Diane de Lys
-La Femme de Claude
-L'Affaire Clemenceau
-Denise
-La Dame aux camélias
-M. Alphonse
-La Princesse de Bagdad
-Dumay: La petite Milliardaire
-Dumur: Le Maquignon
-" Rembrandt
-Duval: L'Article 801
-E
-Edmond (C): La Bûcheronne
-Eekhoud: Kermesse rouge
-Elzéar: Jack Tempête
-Emile-Michelet: Le Pèlerin d'amour
-Erckmann: La Nuit de Saint- Jean
-L'Ami Fritz
-Myrtille
-Les Rantzau
-La Taverne des Trabans
-Madame Thérèse
-Emault: La Croisade des enfantelets
-francs
-" La tentation de vivre
-E^ripides: The Heraclid»
-tt
-tt
-tt
-tt
-tt
-XXXIII
-B
-XXXIII
-B
-XXXV
-XXXIV
-A
-III
-C
-XXII
-C
-XVIII
-A
-XVIII
-B
-III
-B
-V
-B
-III
-B
-XXV
-B
-XII
-B
-XIV
-B
-XXI
-A
-XXIV
-A
-XXV
-B
-XXV
-B
-XXV
-C
-XXV
-C
-XXV
-D
-XXVII
-B
-XXVII
-B
-XXVII
-B
-XXXII
-A
-XXIV
-A
-III
-A
-VII
-D
-XXTV
-C
-XXIV
-A
-III
-A
-XXIV
-A
-XXVII
-B
-XXIV
-A
-XXVIII
-A
-XXVIII
-A
-XXIX
-A
-XXIX
-A
-XXIX
-A
-VII
-B
-XVI
-A
-I
-A
-THIRTY-SIX DRAMATIC SITUATIONS
-Euripides
-: The Suppliants
-I
-A
-u
-Danae
-I
-B
-«
-The Cretans
-I
-B
-(t
-Augei|f
-I
-B
-u
-Alope
-I
-B
-u
-Telephus
-I
-B
-ii
-Andromeda
-II
-A
-«
-Antiope
-II
-B
-u
-Dictys
-II
-B
-u
-Hecuba
-III
-A
-it
-Ixion
-III
-A
-tt
-Phrixus
-III
-B
-(t
-Electra
-IV
-A
-tl
-Archelaus
-VI
-C
-u
-Peleus
-VII
-C
-ti
-Theseus
-IX
-D
-tt
-Œnomaus
-IX
-D
-tt
-Rhesus
-IX
-and XXXVI
-D
-C
-tt
-Helen
-X
-C
-tt
-Polyidus
-XI
-A
-tt
-Women of Scyros
-XI
-C
-tt
-Palamede
-XI
-C
-and XXXIII
-C
-tt
-Philoctetes
-XII
-A
-tt
-The Phœniss»
-XIII
-A
-tt
-Phœnix
-XIV
-B
-tt
-Heracles Mainomenos
-XVI
-A
-tt
-Ino
-XVI
-A
-tt
-Phaeton
-XVII
-A
-tt
-The Peliades
-XVII
-and XIX
-C
-E
-tt
-Ion
-XIX
-B
-tt
-Cresphontes
-XIX
-B
-tt
-Aegeus
-XIX
-B
-tt
-Alexander
-XIX
-C
-tt
-Iphigenia in Tauris
-XIX
-C
-tt
-Protesilas
-XX
-A
-tt
-Antigone
-XX
-A
-tt
-Alceste
-XXI
-A
-tt
-Andromache
-XXI
-D
-tt
-Iphigenia in Aulis
-XXIII
-A
-tt
-Erechtheus
-XXIII
-A
-i
-tt
-Melanippe
-XXIII
-B
-tt
-Hypsipyle
-XXIII
-B
-INDEX OF AUTHORS
-Euripedes: Medea
-XXV
-A
-" Andromache
-XXV
-B
-" Alcmeon
-XXV
-B
-Hippolyte
-XXVI
-B
-" Eole
-XXVI
-C
-" Chrysippus
-XXVI
-D
-" The Cretans
-XXVI
-E
-" The Bacchantes
-XXXI
-A
-" Bellerophon
-XXXI
-B
-" Phaeton
-XXXI
-B
-" Orestes
-XXXIV
-A
-" Troades (The)
-XXXVI
-A
-Ezekiel: The Exodus of the Hebrews
-XXXI
-A
-F
-Fabre: La Maison d'argile
-xni
-A
-" César Birotteau
-XX
-A
-" La Vie publiqiie
-XXVIII
-A
-and XXX
-C
-Fall: La Divorcée
-XXXII
-A
-Fauchois: Beethoven
-VB
-D
-Rivoli
-XXV
-c
-L'Exode
-XXIX
-A
-Ferrier: La Cornette
-XXI
-D
-Feuillet: Chamillac
-XXVII
-B
-Fèvre: En Détresse
-VII
-c
-Feydeau: Le Circuit
-XXIV
-C
-Flaubert: Salammbô
-vni
-B
-" Saint Julien l'hospitallier
-XIX
-E
-Hérodias
-XXII
-B
-" The Temptation of St. Anthony
-XXII
-B
-" Madame Bovary
-XXV
-C
-Fleischmann: La Fille a Guillotin
-XXIII
-A
-Fiers (de): Papa
-XIV
-B
-" La Cœur a ses raisons
-XIV
-D
-L'Ane de Buridan
-XXIV
-B
-" La Montansier
-XXV
-C
-Fletcher: The Two Noble Kinsmen
-XIV
-C
-" Valentinian
-XXXIII
-D
-Fonson: Le Mariage de Mlle. Beulemans
-XXIV
-A
-Ford: 'Tis Pity She's a Whore
-XXVI
-C
-" The Broken Heart
-XXIX
-A
-" Perkin Warbeck
-XXX
-B
-" Love's Sacrifice
-XXXII
-A
-Forest: La petite milliardaire
-XXXIV
-A
-THIRTY-SIX DRAMATIC SITUATIONS
-(t
-«
-Forest: L'Homme a deux têtes
-Foumier: Le Roman d'une conspiration
-Fraisse: Les Champairol
-" Jean Cévenol
-France: Le Mannequin d'osier
-Les Noces corinthiennes
-Crainquebille
-Franck: Cœur maternel-
-Fread Amy: L'Impasse
-Frondaie: Montmartre
-G
-Ganderax: Miss Fanfare
-Garaud: Le Frère d'armes
-Gautier: Mademoiselle de Maupin
-" Une nuit de Cléopâtre
-and
-Gautier (Judith): La Marchande re sou-
-rires
-Gavault: La petite Chocolatière
-Geffroy: L'Apprentie
-Géraldy: L'£clabQ^ssure
-Gide: Saul
-Gilkin: Etudiants russes
-Giraldi: Orbecche
-Gluck: Alceste
-Godard: Jocelyn
-Dante
-Goethe: Faust
-and
-Clavijo
-Goetz de Berlichingen
-Egmont
-and
-The Natural Daughter
-The Second Faust
-Pandora
-Iphigenia in Tauris
-Stella
-Werther
-Goldoni: Don Juan
-Gombaud: Les Danaides
-Concourt (E. and J. de): Renée Mauperin
-" " Germinie Lacer-
-teux
-Concourt (E. de) : Les Frères Zemganno
-tt
-ti
-«
-u
-it
-tt
-tt
-t(
-tt
-XXXIII
-VIII
-A
-I
-B
-XXXIII
-B
-XXV
-c
-XXIX
-A
-xxxin
-A
-XXXIII
-A
-XV
-A
-XXVTTI
-£
-XXV
-B
-XXI
-D
-XVIII
-xxn
-A
-XXIV
-B
-XXIX
-B
-XXVIII
-A
-XX
-C
-XXXIV
-A
-XVI
-B
-XXVII
-D
-IV
-D
-XXI
-A
-XXII
-A
-XXIV
-A
-I
-C
-VI
-D
-III
-A
-V
-C
-V
-C
-vm
-B
-VII
-A
-IX
-D
-XVII
-C
-XIX
-C
-XXV
-B
-XXXIV
-B
-V
-B
-XXIII
-B
-XVII
-C
-XXII
-C
-XXI
-B
-l
-INDEX OF AUTHORS
-Concourt (E. de): La Fille Elisa
-Gorsee (de) : La Petite Caporale
-Gounod: Le Tribut de Zamora
-" Sapho
-Gozzi: Turandot
-" Zobeide
-" Loves of the Three Oranges
-^' The Blue Monster
-"** Zeim
-" The Serpent Woman
-" Le Corbeau
-" Le Roi Cerf
-Grabbe: Don Juan
-Gramont (de): Rolande
-" Lucienne
-Grangeneuve: Amhra
-Gravier: Jamac
-Gregory Nazianzen (Saint): Christ Suf-
-fering and
-Grenet-Dancourt: La Banque de l'Univers
-Grétry: Richard Cœur-de-Lion
-and
-Grillet: Les Pierrots
-Guiches: Les Quarts d'heure
-and
-Guillard: Electra
-Guinon: Decadence
-Guiraud: Le Poussin
-Guitry (S.): Petite Hollande
-Guyot (Yves): Un drôle
-Gyp: Le Friquet
-H
-Halévy: L'Abbe Constantin
-tiarshadeva (Sri): The Necklace
-Hardy: Alceste
-Hauptmann: The Weavers of Silesia
-Heine: Almanzor
-Hennique: Amour
-" Jarnac
-Hermant: Trains de luxe
-" Les Jacobines
-Hérold: Le Cor fleuri
-Hervieu: Le Réveil
-** La Loi de Thonime
-XVI
-A
-IX
-D
-XXIV
-A
-XXXÎII
-D
-XI
-c
-XV
-B
-XVIII
-D
-XIX
-G
-X5:vin
-B
-XXXIII
-A
-XXXIII
-A
-XVIII
-D
-V
-B
-XXII
-C
-XXV
-A
-ITT
-A
-XXIII
-B
-XX
-A
-XXXT
-A
-XVII
-A
-X
-D
-XXXV
-XXXIII
-B
-XXV
-C
-XXVII
-A
-IV
-A
-XXV
-C
-XXVIII
-D
-XXIV
-B
-XXV
-C
-XXIV
-B
-XXVIII
-A
-XXIV
-D
-XXI
-A
-VIII
-B
-XXIX
-A
-XV
-A
-XXIII
-B
-XXIV
-B
-XXV
-C
-XXIV
-B
-XXI
-C
-XXI
-C
-THIRTY-SIX DRAMATIC SITUATIONS
-Hervi<
-u: Le Course du flambeau XXI
-E
-«
-Le Dédale
-XXIV
-A
-and XXV
-C
-«
-Les Tenailles
-XXV
-C
-<i
-Connais-toi
-XXV
-C
-((
-L'Enigme
-XXV
-D
-Hirsch: En grève
-XXIV
-A
-Homung: Raffles
-V
-A
-UrosYi
-dtha: Abraham
-XX
-D
-Hugo:
-: Mangeront-ils?
-I
-A
-and XXIV
-A
-«
-Lucrèce Borgia
-VI
-C
-XIX B 1, XIX D,
-XXIII B 1 and XXXII
-A
-u
-Les lïûmeaùx
-VII
-and XXXV
-A
-it
-Toilers of the Sea
-IX
-D
-(t
-Ruy-Blas
-XXIV
-A
-a
-Hernani
-XIX
-XX A 1 and XXIV -
-A
-it
-Torquemada
-XIXi
-and XXIII
-XIX '
-A
-«
-La Esmeralda
-and XXIV
-A
-«
-Marie Tudor
-XIX
-and XXIV
-B
-<i
-Marion Delorme
-XIX
-and XXVII
-B
-«
-Le Roi s'amuse
-XIX
-A
-«
-Les Burgraves
-XIX
-F
-«
-Ninety-Three
-XXIII
-A
-i<
-Angelo
-XXV
-C
-«
-Cromwell
-XXX
-A
-Ibsen:
-An Enemy of the People
-V
-C
-Hedda Gabier
--XVI
-A
-The Master Builder
-XVII
-A
-The Wild Duck
-XVII
-C
-Ghosts
-XVIII
-B
-Rosmersholm
-XXXIV
-B
-The Lady From the Sea
-XXIV
-B
-lores:
-Les Bouchers
-III
-A
-INDEX OF AUTHORS
-Jarry: Ubu-roi
-Jeoffrin: La Montansier
-Jonathan: Simon l'enfant trouve
-" Pierre Vaux
-Joncières (de) : Le Chevalier Jean
-Josz: Le Maquignon
-" Rembrandt
-Jullien: Le Maitre
-La Mer
-La Sérénade
-L'Echéance
-Vielle histoire
-((
-(t
-«
-((
-K
-Kalidasa: Sakuntala
-n
-tt
-Agnimitra and Malavika
-The Hero and the Nymph
-Kampf : Le Grand Soir
-Kouan-han-king: The Resentment of Te-
-oun-go
-L
-Labiche: L'Affaire de la rue de Lourcine
-Lagrange-Chancel : Alceste
-Lamothe: Œdipus
-Laporte: L'Homme de proie
-Laumann: Le Cœur révélateur
-Lavedan: Le Duel
-Varennes
-Les Quarts d'heure
-«
-(t
-and
-tt
-tt
-Le Marquis de Priola
-Sire
-Léautaud: Le Petit Ami
-Leblanc: Arsène Lupin
-Lefebvre: La Femme de demain
-Lefèvre: L'Homme de proie
-Lemaire: Le Mariage d'André
-Lemaitre: La Massière
-Le Depute Leveau
-Révoltée
-Lemierre: Idoméncée
-Hypermnestre
-«
-tt
-tt
-XXX
-c
-XXV
-c
-III
-A
-XXI
-D
-XXXÎI
-c
-III
-A
-VII
-D
-XIII
-B
-XIII .
-D
-XXV
-c
-XXV
-c
-XXVII
-A
-XVI
-c
-XXXV
-XXIV
-D
-XXXV
-VIII
-A
-III
-B
-XVI
-A
-XXI
-A
-XVIII
-A
-X
-D
-XXXIV
-A
-XIII
-A
-XXIV
-B
-XXV
-c
-XXVII
-A
-XXVII
-A
-XXVII
-B
-XXVI
-A
-V
-A
-XXV
-B
-X
-D
-XVIII
-B
-XIV
-B
-XXV
-B
-XXV ^
-C
-XXIII
-A
-XXIII
-B
-THIRTY-SIX DRAMATIC SITUATIONS
-«
-«
-Lemonnier: Le Droit au bonheur
-Le Possédé
-Lenéru (Mme.): Les Affranchis
-Léon: La Veuve joyeuse
-" La Divorcée
-Lenôtre: Varennes
-Leroux: Les Lys
-Lessing: Damon
-Emilia Galotti
-Miss Sara Sampson
-Linant: Conte de Noël
-Livet: Nick Carter
-Longepierre: Electre
-Lope de Vega: The Labors of Jacob
-El mejor alcalde el Rey
-Fontovejune
-Discovery of the New
-World
-The Abduction of Helen
-Aimer sans savoir qui
-and
-Nina de Plata
-The Mill
-The Gardener's Dog
-Lorde (de): L'Idiot
-" Terre d'épouvante
-Loti: Ramuntcho
-Louys: Aphrodite
-Loyson: L'Apôtre
-Lucas: Alceste
-Lyon: Madame l'Amirale
-M
-u
-«
-«
-«
-l<
-<l
-«
-«
-Maeterlinck: The Princess Maleine
-The Blind
-The Blue Bird
-Pelleas and Melisande
-Monna Vanna
-The Seven Princesses
-The Intruder
-Mafféi: Merope
-Mairet: Sophonisbe
-Maldagne (Mme.) : La Boscotte
-Manfredi: Semiramis
-Manzoni: Adelghis
-«
-«
-«
-«
-«
-«
-XXI
-c
-XXII
-A
-XXV
-B
-XXVIII
-A
-XXXII
-A
-XXIV
-B
-XXVIII
-D
-XIV
-D
-XXIV
-C
-XXV
-B
-XIII
-F
-III
-C
-IV
-A
-XIII
-A
-III
-A
-VIII
-B
-JX
-D
-X
-B
-XIX
-D
-XXXIII
-B
-XXIV
-A
-XXIV
-A
-:o:iv
-B
-III
-A
-VI
-A
-XXVIII
-A
-XXII
-A
-XXVII
-D
-XXI
-A
-XXVI
-B
-VII
-A
-VII
-D
-IX
-D
-XIV
-A
-XXXII
-A
-XXXVI
-B
-XXXVI
-B
-XIX
-B
-XX
-B
-XXXIII
-D
-XXVI
-A
-V
-C
-INDEX OF AUTHORS
-Manzoni: The Count of Carmagnola
-and
-Manzotti: Sieba
-Marg^ueritte: Pierrot assassin de sa femme
-Marinetti: Poupées électriques
-Marot: La Casquette au père Bugeaud
-Casse-museau
-Les Aventures de Gavroche
-Marras: La Famille d'Armelles
-Mars: Mme. TAmirale
-Marthold: L'Ogre
-Martelli: Tullia
-Mary (J.): Roger-la-honte
-tt
-«
-and
-«
-«
-Le Regiment
-La Bête féroce
-Masse: Une nuit de Cléopâtre
-and
-«
-«
-«
-Massenet: Esclarmonde
-'' Manon
-Massiac: Le secret de Gilberte
-Massinger: The Virgin Martyr
-The Fatal Dowry
-. The Bondman
-The Portrait
-Mathey: Zoe Chien-Chien
-Maujan: Jacques Bonhomme
-Maupassant: Pierre et Jean
-Mazel: Les Amazones
-Meilhac: La Veuve joyeuse
-Melitus: Œdipus
-Mendès: Glatigny
-Les Mères ennemies
-La Reine Fiammette
-«
-((
-and
-Mercereau: Mon frère
-Mérimée: Colomba
-Messager: Francois les bas-bleus
-Metastasio: Cato
-and
-M
-«
-M
-Alexander
-The Desert Isle
-Cyrus
-Antigone
-and
-V
-c
-VI
-c
-XXVIII
-B
-XXXIV
-A
-xxxin
-B
-H
-III
-A
-XXVII
-D
-XXXV
-XXV
-D
-XXVI
-B
-XXXIII
-D
-XXX
-c
-III
-B
-XXXJII
-D
-XXVII
-D
-XXX
-C
-XXII
-A
-XXTV
-B
-XVII
-B
-XXII
-A
-XXVII
-B
-XX
-D
-XXV
-C
-XXXII
-A
-XXXII
-C
-IV
-A
-VIII
-B
-XIV
-A
-XXTX
-A
-XXVIII
-A
-XVIII
-A
-XXIV
-A
-XXV
-B
-XXIX
-B
-XXXIII
-A
-XIII
-A
-III
-A
-XXIV
-B
-V
-C
-XXIX
-A
-V
-C
-XTI
-B
-XIII
-C
-XIX
-B
-XIV
-B
-THIRTY-SIX DRAMATIC SITUATIONS
-Metastasio: Demophon
-XIX
-A
-" Olympiade
-XIX
-B
-Regulus
-XX
-A
-" Themistocles
-XX
-A
-Dido
-XX
-B
-" Achilles in Scyros
-XX
-B
-" Hypsipyle
-XXIII
-B
-" Hylermnestre
-XXIII
-B
-" Demetrius
-XXIV
-A
-" Semiramide riconosciuta
-XXIV
-B
-and
-XXXII
-B
-" Adrien
-XXIV
-c
-Zenobia
-XXV
-c
-Nitetis
-XXVIII
-A
-" The Chinese Hero
-XXVIII
-A
-The Shepherd King
-XXVIII
-C
-" Siroes
-XXXIII
-B
-" Artaxerxes
-XXXIII
-D
-^tius
-XXXIII
-D
-Méténier: lia Casserole
-III
-A
-Michaud d'Humiac: Le Cœur de Se-hor
-XXVII
-D
-Mikhael: Le Cor fleuri
-XXIV
-B
-Milliet: Le Roi de l'argent
-XXXIII
-B
-Milloecker: L'Etudiant pauvre
-XXXIII
-A
-Mirai: Lydie
-XXIX
-A
-Mirbeau: Les Affaires sont les affaires
-XXVII
-A
-Moses (?) : Job
-XXX
-B
-Molière: Don Juan
-V
-B
-Montépin: La Policière
-XXVII
-C
-Moreau: Madame Margot
-VIII
-A
-" Le Drapeau
-XXIV
-A
-Gerfaut
-XXV
-C
-" Un divorce
-XXXII
-A
-Morel: Terre d'épouvante
-VI
-A
-" La Fille du député
-XXVII
-A
-" La Pieuvre
-XXXIII
-C
-Mortier: Marins vaincu
-XXX
-A
-Mourey: L'Automne
-VIII
-B
-" Lawn-tennis
-XXVI
-D
-Mussato: Ezzelino
-XXX
-C
-Musset: Fantasio
-II
-B
-" Lorenzaccio
-VIII
-A
-" On ne badine pas avec l'amour
-XVII
-C
-" André del Sarte
-XXV
-C
-Mustière: Rosse, tant et plus
-vni
-A
-INDEX OF AUTHORS
-N
-Népoty: L'Oreille fendue
-Nicomaque: Œdipus
-Nigond: 1812
-Nô: Les Carbonari
-Nus: Le Mari
-tt
-u
-u
-tt
-tt
-Ohnet: Serge Panine
-Dernier amour
-La Comtesse Sarah
-La Grande Marnière
-Ollognier (Mme.): Le Saïs
-Pailleron: La Souris
-Paladilhe: Patrie
-Diana
-Parodi: L'Inflexible
-Paton: Le Divorce de Sarah Moore
-Perrault: Bluebeard
-Le Petit Poucet
-Peau d'âne
-Peter: L'Or
-Phrynichus: The Danaides
-Picard: La Fugitive
-Planquette: Surcouf
-Poe: The Purloined Letter
-The Gold Bug
-Berenice
-Pohles (de): L'Enfant du Temple
-Polti: Compère le Renard
-" Les Cuirs de bœuf
-Porto-Riche: Le Vieil Homme
-" Les Malefilâtre
-Pouvillon: Le Roi de Rome
-Pradon: Electre
-" Regulus
-Prévost: Manon Lescaut
-Prévost (Jean): Œdipus
-Prévost (M.): Pierre et Thérèse
-La plus faible
-((
-tt
-tt
-Q
-XXVII
-A
-XVIII
-A
-XIV
-A
-XXIX
-A
-XXV
-c
-XXV
-B
->
-XXV
-B
-XXV
-c
-XXIX
-A^
-XXIV
-A
-XIV
-A
-XXV
-D
-XXXIII
-D
-XXVII
-D
-XXI
-A
-II
-A
-VI
-D
-XXVI
-A
-III
-A
-XXTII
-B
-XXI
-C
-XXIV
-A
-XI
-A
-XI
-B
-XXXIV
-B
-XX
-A
-V
-A
-XXVI
-A
-XIV
-B
-XXV
-C
-VII
-B
-IV
-A
-XX
-A
-XXVII
-B
-XVIII
-A
-XXVII
-A
-XXVIII
-A
-Quinault: Alceste
-XXI
-A 1
-THIRTY-SIX DRAMATIC SITUATIONS
-R
-Rabier: £t ma sœur?
-Racine: Esther
-Alexandre
-Les Frères ennemis
-Britannicus
-Mithridate
-Iphigénie en Tauride (projected)
-Bérénice
-Alceste (projected)
-Andromaque
-and
-Iphigénie a Aulis
-Bajazet
-Phèdre
-Athalie
-Rachilde: La Voix du sang
-" Madame la Mort
-Rajasekhara: The Sons of Pandou
-The Statue
-Raymond: Le<s Ménages de Paris
-Régnier (de): La Gardienne
-Renauld: Le Crime d'un autre
-Reyer: Sig^urd
-Richard: Boislaurier
-tt
-<(
-it
-tt
-(t
-tt
-tt
-tt
-tt
-tt
-tt
-tt
-and
-tt
-tt
-tt
-tt
-tt
-Le Roman d'Elîse
-Richebourg: La petite Mionne
-Richepin: Nana-Sahib
-L'Ancien
-Le Chien de garde
-La Glu
-La Route d'émeraude
-Richepin fils: La Marjolaine
-Richter (J. P.): Titan
-Riupeiroux: Hypermnestre
-Rivoire: Le bon roi Dagobert
-" Mon ami Teddy
-Rochard: Le péché de Marthe
-" La Bête féroce
-Rochefort: Electre
-Rod: Le Réformateur
-Roînard: Les Miroirs
-Rolland: Le 14 juillet
-XXVIII
-B
-I
-V
-C
-XIII
-A
-XIV
-A
-XIV
-B
-XIX
-c
-XX
-B
-XXI •
-A
-XXI
-D
-XXV
-B
-xiciii
-A
-XXIV
-B
-XXVI
-B
-XXXI
-A
-XIX
-XXIV
-B
-III
-A
-XXIV
-D
-XXV
-B
-XXXV
-XXXIII
-D
-XXV
-C
-II
-A
-XIV
-A
-XXVIII
-D-
-XIX
-A
-V
-C
-XXI
-A
-XXI
-D
-XXII
-A
-XXII
-A
-XXIV
-A
-XVIII
-D
-XXIII
-B
-XVIII
-D
-XXIV
-A
-XXVIII
-B
-XXX
-C
-IV
-A
-VI
-C
-XXV
-D
-vin
-B
-INDEX OF AUTHORS
-«
-ft
-Romains: L'Armée dans la Ville
-Rostand: L'Aiglon
-Chantecler
-Cyrano
-Roudradeva: The Story of Yayati
-Roupa: The Loves of Krishna
-Rouvre (de): Le Mariage d'André
-Rozier: Le Divorce de Sarah Moore
-Rucellaï: Rosemonde
-Ryner: Vive le roi!
-Rzewuski: Count Witold
-Sadwell: Don Juan
-Sainte-Foix: Alceste
-Sainte-Marthe: Œdipus
-Saint-Georges de Bouhélier: Le Roi sans
-couronne
-Saint-Pol Roux: La Dame ?. la faulx
-Saint-Saens: Samson et Dalila
-Ascanio
-Henri VIII
-Proserpine
-L'Ancêtre
-Salieri: The Danaides
-Samain: Polypheme
-Samara Dikchita: The Victory of Prad-
-youmna
-Samson: Marie Stuart
-" Le Crime de Jean Moret
-Sand: Le Démon du foyer
-Sardou: Thermidor
-La Tosca
-Cleopatra
-La Sorcière
-Odette
-Georgette
-Le Crocodile
-Fedora
-Theodora
-L'Affaire des Poisons
-Sardou (André): L'Etau
-Schiller: William Tell
-and
-«
-«
-«
-«
-tt
-«
-(t
-tt
-tt
-tt
-tt
-tt
-tt
-VIII
-B
-VII
-B
-VIII
-A
-XXI
-C
-XXIX
-A
-XXIV
-D
-XVIII
-B
-XXI
-A
-IV
-c
-XX
-A
-KXXIV
-B
-V
-B
-XXI
-A
-XVIII
-A
-V
-C
-XXIV
-B
-XV
-A
-XXIV
-C
-XXV
-B
-XXV
-B
-XXIX
-B
-xxni
-B
-XXIV
-A
-XXIX
-A
-XXIV
-B
-XXIX
-B
-XXIV
-A
-VIII
-A
-XXI
-D
-XXII
-A
-XXIV
-B
-XXVII
-A
-XXVIII
-A
-XXVII
-B
-XXJX
-B
-XXXIM
-A
-XXXIIl
-B
-XVI
-D
-III
-B
-VIII
-B
-THIRTY-SIX DRAMATIC SITUATIONS
-Schiller:
-: The Brigands
-V
-A
-and XXXIII
-C
-«
-Fiesco
-VIII
-A
-«
-Don Carlos
-XIV
-B
-and XXVI
-B
-t*
-The Bride of Messina
-XVIII
-A
-«
-Marie Stuart
-XXIV
-«
-Wallenstein
-XXX
-A
-«
-Love and Intrigue
-XXXII
-B
-Second:
-La Vicomtesse Alice
-V
-D
-Sedaiae;
-: Richard Cœur-de-Lion
-X
-and XXXV
-D
-See: Llndiscret
-XVII
-A
-Seneca:
-The Phœniss»
-XIII
-A
-u
-Thy estes ^ ,
-XIII
-A
-«
-Octavia
-XV
-B
-«
-Hercules Furens ,
-XVI
-A
-it
-Œdipus
-XVIII
-A
-u
-Medea
-XXV
-A
-«
-Hercules on (Eta
-XXV
-B
-u
-Hippolyte
-XXVI
-B
-«
-The Trojan Women
-XXXVI
-A
-Séverine: Sainte-Hélène
-III
-A
-Shakespeare: King John
-I
-A
-«
-The Tempest
-HI
-B
-«
-The Merchant of Venice
-III
-B
-and XI
-M
-Hamlet
-IV
-and XIII
-A
-C
-M
-Troilus and Cressida
-V
-C
-«<
-Richard II
-VI
-B
-«
-Timon of Athens
-VI
-C
-tt
-Coriolanus
-VI
-and XII
-C
-B
-U
-King Lear
-VI
-C
-«
-Henry VI
-VI
-B
-M
-Henry V
-IX
-B
-and XXXIII
-A
-«
-Pericles
-XXXV
-and XI
-B
-«
-Two Gentlemen of Verona XIV
-D
-«
-Measure for Measure
-XXI
-D
-«
-Antony and Cleopatra
-XXII
-A
-«
-Henry VIII
-XXV
-B
-«<
-Romeo and Juliet
-XXIX
-B
-INDEX OF AUTHORS 195
-Shakespeare: Julius Cœsar XXX
-" Henry IV XXX
-" Macbeth XXX
-Richard III XXX
-" Comedy of Errors XXXII
-Much Ado About Nothing XXXII
-" Othello XXXII
-Cymbeline XXXII
-A Winter's Tale XXXV
-Shaw: Mrs. Warren's Profession XXVII
-Shelley: The Cenci III
-XIII B 3 and XXVI
-Sienkiewicz: By Fire and Sword
-X
-Sophocles:
-: Chyses
-I
-M
-Minos
-I
-«
-Oicles
-I
-«
-Œdipus at Colonus
-I
-and XII
-«
-Nausicaa
-I
-«
-The Pheacians
-T
-«
-Acrisius
-I
-«
-Philoctetes at Troy
-I
-«
-Eurysaces
-r
-«
-Andromeda
-II
-«
-i^geus
-II
-tt
-Peleus
-II
-and VII
-«
-lolas
-II
-«
-Œnee
-II
-«
-Phineus
-II
-«
-Aletes and Erigone
-III
-M
-Nauplius
-III
-U
-Ixion
-III
-tt
-The Feast of the Achaeans
-III
-tt
-Phrixus
-III
-tt
-Tereus
-III
-tt
-The Epigones
-IV
-tt
-Electra
-IV
-tt
-Eriphyle
-IV
-tt
-Meleager
-IV
-tt
-Ajax Locrian
-V
-tt
-Laocoon
-V
-tt
-The Shepherds
-VI
-tt
-The Xoanephores
-VI
-tt
-Teucer
-VI
-A
-B
-*
-C
-J
-C
-A
-B
-B
-B
-?.
-A
-B
-A
-A
-A
-A
-A
-A
-B
-B
-B
-B
-C
-A
-B
-B
-C
-B
-B
-B
-A
-A
-A
-B
-B
-B
-A
-A
-A
-B
-B
-C
-A
-A
-C
-THIRTY-SIX DRAMATIC SITUATIONS
-Sophocles
-: The Councile of the Argives IX
-A
-it
-Laconian Women
-IX
-c
-it
-binon
-IX
-D
-u
-vKnomaus
-IX
-D
-n
-Orithyie
-X
-A
-u
-Ihe Abduction of Helen
-X
-B
-u
-Hermione
-X
-c
-«{
-Polyidus .
-XI
-A
-u
-Women of Scyros
-XI
-C
-i*
-Ulysses
-XI
-c
-tt
-Philoctetes
-XII
-A
-it
-Helen Reclaimed
-XII
-c
-{(
-Thyestes II
-îCIII
-A
-«
-Ajax
-XVI
-B
-tt
-Eumele '
-XVII
-A
-• tt
-Pelias
-XVII
-and XIX
-C
-E
-tt
-Œdipus the King
-XVIII
-A
-it
-Creusa
-XIX
-B
-tt
-Telephus
-XIX
-B
-tt
-Euryale
-XIX
-B
-tt
-Alexander
-XIX
-C
-tt
-Procris
-XIX
-G
-tt
-Amphitryon
-XIX
-F
-tt
-Alceste
-XXI
-A
-tt
-Iphigenia
-XXIII
-A
-tt
-lobate
-XXVI
-B
-tt
-Lemnian Women
-XXIII
-B
-tt
-Women of Colchis
-XXV
-A
-tt
-Antigone
-XX
-A
-tt
-The Maidens of Trachis
-XXV
-B
-tt
-Alcmeon
-XXV
-B
-tt
-Phaedra
-XXVI
-B
-tt
-Thamiras
-XXXL
-B
-tt
-Niobe
-XXXI
-B
-tt
-Eumele
-XXXI
-B
-tt
-The Phtiotides
-XXXII
-C
-tt
-Palamede
-XXXIII
-C
-tt
-Thyestes at Sicyon
-XXXV
-tt
-The Captives
-XXXVI
-A
-tt
-Laocoon
-XXXVI
-A
-tt
-Polyxena
-XXXVI
-A
-tt
-The Ethiopians
-XXXVI
-C
-Soubhata:
-The Message of Angada
-X
-C
-Soudraka:
-The Earthen Toy-cart
-XXIV
-A
-INDEX OF AUTHORS
-Soundara Misra: Abhirama mani
-Speroni: Canace
-Spontini: The Uanaides
-Stace: Agave
-Stein: La Veuve joyeuse
-Sue: Les Enfants naturels
-Tarbé: Monsieur de Morat
-Tasso: Torrismond
-" Jerusalem Delivered
-Tchang-Koue-pin: The Tunic Sonfronted
-Tellez: Don Juan
-Terni (Mme.): Les Bâillinnés
-Theodecte: Œdipus
-" Lyncee
-Theuriet: La Maison des deux Barzeaux
-Thomas: Françoise de Rimini
-Tiercelin: Un voyage de noces
-Tirso de Molina: Don Juan
-Tolstoi: The Powers of Darkness
-and
-«
-«
-Resurrection
-The Kreutzer Sonata
-Torquet: Cent lignes émues
-Trarieux: La Dette
-Trissino: Sophonisbe
-Tristan V Hermite: Marianne
-Vacquerie: Proserpine
-" Jalousie
-Vallette: Le Vierge
-Valnay: L'Esclase du devoir
-Van Velde (Mme.): Lena
-Vauzelles (de): Alceste
-Veber: Les Grands
-Vedanyatha Vatchespati: Tchitra Yadjgna
-Verga: Chevalerie rustique
-Verhaeren: Le Cloître
-Verlaine: Louise Leclercq
-Verne: Le Tour du monde en 80 jours
-'* Les Enfants du capitaine Grant
-Villemer: L'Absente
-Villiers: Don Juan
-X
-G
-XXVI
-G
-XXIII
-B
-XXXI
-A
-^.XVIII
-A
-XVIII
-A
-XXV
-B
-XVIII
-A
-XIX
-G
-III
-A
-V
-B
-XXXVI
-A
-XVIII
-A
-XXIII
-B
-XXV
-C
-XXV
-G
-XXV
-A
-V
-B
-XIII
-F
-XV
-A
-XX
-C
-XXV
-D
-XXXVI
-C
-XIV
-B
-XX
-B
-XXXII
-A
-XXV
-B
-XXXII
-C
-XXXIII
-B
-XXXII
-A
-XXVII
-B
-XXI
-A
-XXXIII
-A
-XXXI
-B
-XXII
-A 10
-XXXIV
-A
-XVII
-G
-IX
-D
-XXXV
-XXVII
-B
-V
-B
-THIRTY-SIX DRAMATIC SITUATIONS
-Villiers de lisle Adam: Le Nouveau-Monde
-Vira: Madhouranirouddha
-Vishakadatta: The Minister's Ring
-Viswanatha: Mrigancalckha
-Voltaire: Eriphyle
-«
-Adélaïde Duguescli
-u
-Agathocle
-«<
-Amélie
-«
-Don Pèdre
-«
-Samson
-«
-Pandore
-(i
-Les Pélopides
-«
-Œdipe
-«
-Les Guèbres
-«
-Les Lois de Minos
-«
-Mérope
-«
-"ISemiramis
-«
-Mahomet
-«
-Le Huron
-«
-Tanis et Zélide
-«
-Alzire
-«
-Le Triumvirat
-M
-Zulime
-«
-Brutus
-«
-Nanine
-«
-Les Scythes
-«
-Oljnnpie
-«
-Irène
-«
-Catilina
-«
-La Mort de Cœsar
-«
-Marianne
-«
-Tancrède
-«
-Zaïre
-«
-Artémire
-«
-Oreste
-and
-and
-and
-W
-Wagner: Lohengrin
-The Ring of the Nibelungs
-Parsifal
-** Die Meistersinger
-Tannhauser
-«
-«
-«
-XXV
-c
-XIX
-A
-XII
-A
-XXIV
-A
-IV
-A
-XIV
-A
-XIV
-A
-XIV
-A
-XTV
-A
-XVII
-c
-XVII
-c
-XXIV
-. A
-XIII
-A
-XVIII
-A
-XIX
-A
-XIX
-A
-XIX
-B
-XIX
-D
-XIX
-E
-XXI
-D
-xxrv
-A
-XXIV
-A
-XXIV
-A
-XXIV
-B
-XXVII
-D
-XXVIII
-A
-XXIX
-A
-XXTX
-B
-XXIX
-B
-XXX
-B
-VIII
-A
-XXX
-A
-XXXII
-A
-KXXII
-A
-II
-A
-XXXII
-A
-XXXII
-C
-XXXIV
-A
-II
-A
-V
-C
-IX
-C
-XXIV
-A
-XXII
-A
-INDEX OF AUTHORS
-«
-«
-Wagner: l'rîstan and Isolde
-Webster: Vittoria Corombona
-Appius and Virginia
-The Duchess of Malfi
-•* Sir Thomas Wyat
-Wells: The War of the Worlds
-Werner: Attila
-The Twenty-fourth of February
-Luther
-Wicheler: Le Mariage de Mlle. Beulemans
-Widor: Maître Ambros
-Wilde: Salome
-Willy: Le Friquet
-« Lélie
-Wolf: Les Lys
-«
-é*
-XXV
-c
-XV
-A
-XXIV
-A
-XXIX
-A
-XXX
-B
-VI
-A
-III
-A
-XTX
-B
-XX
-A
-XXIV
-A
-S
-XXXIII
-B
-XXII
-B
-XXIV
-B
-XXII
-C
-XXVIII
-D
-X
-Xenocles: Œdipus
-XVIII
-A 1
-Zaccone: La Cellule No. 7
-III
-B
-Zamacois: Bohémos
-XXIV
-A
-Zamora: Don Juan
-V
-B
-Zola:
-; Le Rêve
-I
-B
-«
-La Débâcle
-VI
-A
-M
-L'Argent
-VI
-B
-' . > '■ • .
-and XVII
-A
-«
-Germinal
-VIII
-B
-«
-La Terre
-XlII
-B
-I
-and XXX
-C
-l
-«
-Thérèse Raquin
-XV
-A
-and XXXÎV
-A
-»<
-La Bête humaine
-XVI
-A
-M
-L'Œuvre
-XX
-A
-M
-T#a Joie de vivre
-XXI
-A
-and XXIV
-B
-«
-La Faute de l'abbe Mouret
-XXII
-A
-H
-La Conquête de Plassans
-XXII
-A
-M
-Nana
-XXII
-A
-M
-L'Assommoir
-XXII
-C
-M
-Le Capitaine Burle
-XXII
-C
-M
-Jacques Damour
-XXV
-C
-«
-Pot-bouille
-XXV
-C
-«
-Renée
-XXVI
-B
-THIRTY-SIX DRAMATIC SITUATIONS
-Zola: La Curée
-XXVI
-B
-" Dr. Pascal
-XXVI
-B
-" Son Excellence Eugene
-XXX
-C
-" La Fortune des Rougon
-XXX
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