G o zz i m a in t in e d t h t t h e r e a n b e b ut t h i rt y ix tr a g i c

a a c -
s
s i tu t i o n
a s . S c h i ll e r t o o k gr e t p a in " t o fi n d m o r e b ut h e was
a s ,

u n a b l e t o fi n d ev e n so m a n y as G o zz i . G o et h e
.

Th e
Th ir t y Six D r a m at ic
-

Sit u at ion s

GE OR GE S P OL TI
T r a nsl a te d by L u cil e R a y

F r nk l in O h i
a , o

J A M ES K NAPP H E R V E
1 92 4
 C O PY R I G H T 1 9 1 6 1 9 1 7
, ,

T H E E D I TO R C O M P A N Y

C O PY R I G H T , 1 92 1
J A M E S K N A PP R E E VE

2 8 39 6
T H E T H I R T Y SI X D R A M A T I C S I T U A T I ON S
-
 I NT R OD U C T I ON

G o zz i m a in t a in e d t h a t t h er e ca n b e b ut t h i rt y s ix tr a g i c -

s i tu a t i o n S c h i ll e r t o o k gr ea t p in t o fin d m o r e b ut h e
s . a s ,

w as u n a b l e t o fi n d e v e n o m a n y G o zz i s as .

T h i rt y six situat i ons onl y ! Th ere is to me some

-
, ,

th i ng ta ntal iz ing a b out t h e assertion unaccompan ied ,

as it is b y an y explanat i on e i t h er from G ozz i or from ,

G oethe or Sch i l ler and presenting a pro b lem w h ic h i t

,

does not solve For I remem b ere d t h at he w h o d eclare d

.

b y th is l i mited num b er so strongl y s ynthetic a law ,

h a d h i ms elf the most f antas tic of i maginations H e was .

t h e aut h or t h is G ozzi o f
, ,
of "t h e R oi
”
Cerf two works al most wit h out én a l o g u e 7 t h e o ne
”
, ,
“
u po n t h e si tuation of t h e E n ig m a / t h e other U p on
"

p h as e s o f m e tem p s y c h osis ; h e was t h e cre ator o f a d ra

matic s y st e m an d t h e A ra b e s q u e spirit t h rough h i m
, ,

tra ns f us e d has giv e n us t h e work o f H offmann Jean

, ,

Paul R ich ter an d Poe .

T h e V e n e ti a n s e xu b e rance woul d h a v e m a d e me
’

d ou b tful of h im sinc e h a v ing on ce l a unc h e d at us t h i s

, ,

num b e r 36 h e k e p t s i l e nc e
, B u t S c h i l l e r rigi d a n d
.
,

a rd e nt K anti a n princ e o f mo d e rn a e st h e tic i a ns m a ster

o f tru e h istoric d ra m a — h a d h e not in turn b e f ore
, ,

, ,

a ccepting t h i s ru l e ta k e n g r ea t p a in s t o v e r i f y i t (a n d
,
“

t h e pains o f a S c h i ll e r ! ) t h e r e by giving it t h e a d d i tion a l

a ut h ori t y of h is p ow e r f ul critici s m a n d h is ric h m e m o r y ?
A nd G o e t h e h is o pp osit e i n a l l t h ings s a v e a s tron g
,

t a st e f or t h e a b stra ct w h o t h roug h out h is

,

l i f e s e e ms t o h a v e con si d e re d t h e s u b j e ct a d d s h is t es ti ,

mon y y ea rs a f te r t h e d e a t h o f S c h il l e r y e a rs a f t e r t h e i r ,
8 T H I RT Y -
SI X D RA M AT I C S I T U AT I O N S

f r uitful conversat i ons at the ver y t i me when he was ,

“
completing Faust that supreme com b inat i on of con ,

t ras t in g elements .

I n Fr ance G é rard de N e r val alone had grasped and

,

pres ented b riefl y th e ensem b le of a l l dramatic produc

”
tion in an art icle upon S oumet s
, Jane Gre y in ’
,

written unf ortunatel y w i t h what dand y , ,

ism of st y le ! H av ing earl y des i red to know the exact

num b er of actions poss i b le to the theater he found h e , ,

tel ls us twent y four , H i s b as is h owever i s far from

-
.
, ,

sat i sfactor y Fal l i ng b ack upon the outworn cl ass ifi

.

cation o f the seven ca p ital sins he finds h i mself o b l i ged ,

at the outset to el i minate two of them glutton y an d ,

sloth and ver y nearl y a th ird lust (th is woul d b e D on

, ,

Juan perhaps )
, I t i s not apparent what manner of
.

trag i c energ y has ever b een furn i shed by avar i ce and ,

the d ivergence b etween pr i de (presuma b l y the sp i r i t of

t yr ann y ) an d danger does not prom i se wel l for the con ,

texture of drama the manifesta t i ons of the latter b eing ,

too eas i l y confounded with th ose of env y Furth ermore .

,

murder or h om i ci de wh ich he i nd i cates as a factor for ,

o b ta in i ng several new s i tuat i ons b y unit i ng i t i n turn ,

w i th each of the others cannot b e accepted as such , ,

s i nce it i s b ut an acc i dent common to a l l of them pos ,

s ib le i n al l an d one most frequentl y produced by al l

,
.

A nd fin all y the sole t i tle ment i oned by N erval Ri valr y

, ,

of Q ueen and S u b j ect corresponds i t w i l l b e o b served , , ,

onl y to a su b class of one not of h i s twent y four b ut of

-
,
-
,

G o z z i s T h irt y s i x Si tuat i ons

’
-
.

S ince N erval no one h as treated i n G o z z i s genu i nel y

, ,
’

tech n i ca l manner of the secrets of i nvent i on unless i t, ,

b e relevant to ment i on i n th i s connect i on Sa rcey s cele ’

“
b r a t ed theor y of the sc e ne a fa i re a theor y i n general - -
,

b ut il l comprehended b y an age wh i ch dreads d id act i

1

c is m , that is to sa y dreads an y seri ous reflect i on upon ,

art ; some inti mate notes of D umas fit: w h i ch were pu b

l ish e d agains t h is w i shes i f m y y out h ful memor i es are ,
“ ”
correct in t h e T emps some y ears ago an d wh i ch set
, ,

forth that d ou b la pl ot of C orn ei l le and R ac i ne a hero i ne ,

d isputed b y two h eroes an d a hero d i sput e d by two ,

 I N T RO D U C T I O N 9

hero i nes ; and las tl y some works here and there by , ,

V al in upon compos i tion A n d that is al l a b sol utel y al l

,
.
, .

Final l y i n b rief I red i scovere d the th irt y s i x s i tua

, ,
-

t i ons as Gozz i d ou b tless possessed t h em and as the

, ,

reader wi l l fin d t h em in the fol lowing pages ; for there

were indeed as he had ind ica ted t h irt y s i x ca tegories
, ,
-

wh i ch I had to formu la t e in order to d i stri b ute fi tl y

among them the innumera b le dramas awa i ting classi
fica t io n T h ere is I h asten to sa y noth i ng m y stic or
.
, ,

ca b al istic a b out t h is part i cular num b er ; i t might per

h aps b e poss i b le to choose one a tri fle h ig h er or lower ,

b ut th i s one I co ns ider t h e most accurate .

N ow to t h i s declared fact that t h ere are no more

,

than th irt y si x dramatic situations is attac h ed a s i ngu

* -
,

lar corol lar y t h e d iscover y that t h ere are i n l ife b ut

,

th i rt y six emotio ns A maxi mu m of th irt y si x emo

tio ns — an d therein we have al l t h e savor of existence ;
- -
.

there we h ave t h e unceas ing e bb and flow wh ich fil ls

h uman h istor y l i k e t i d e s of the sea ; wh ic h is indee d the , ,

very su b sta nce o f h istor y since it is t h e su b sta nce of ,

h umanit y its e l f in t h e s h a d es o f A frica n forests as U nter

,

d e n L in d e n or b eneath t h e electric l ig h ts of t h e Boule

v a r d s ; as it was in t h e ages of man s hand to h and
’
- -

struggl e wit h t h e wi ld b eas ts of wood and mounta in ,

an d as it wil l b e in d u b ita b l y in t h e most infi n itel y d is

, ,

ta nt f uture sinc e it is wit h t h ese th irt y si x emoti ons -

no more — t h at we color na y we compre h end cosm i c

,

, , ,

m e c h a n ism a n d sinc e it is f rom t h e m t h at our t h eogon ies

,

and ou r m e ta p h y s ics a re a nd e v e r wi l l b e constructed ;

—
, ,
“
al l our d ea r a nd f a nci ful b e y on d s ; t h irt y si x s itu -

a t io ns th i rt y s i x e motions a nd no more
,
-
, .

I t is t h e n com p re h e ns i b l e t h a t i n v i e w i ng u p on the
, ,

sta ge t h e c ea s e l e ss m ingl ing o f t h e s e t h irt y s i x e m o -

tions a ra c e or n a ti o n a rr iv e s a t t h e b e ginning of its

,

d e finit e s e l f co nsciou s n es s ; t h e G re e k s in d e e d b e gan

-
, ,

th e i r towns by l a y ing t h e f o un d a ti on s o f a t h e at e r It .

is e q u a l l y natur a l t h a t o nl y t h e gr e a te s t and most com

‘
Ih v r pl c d t h w r d tr g i c u d i n t h q u t t i o n w i t h
a e e a e e o a ,
se e o a ,

dr m t ic
a T h " f m i l i r w i t h G t h kn w t h t f r h i m
a . o se a a oe e o a o

o ne f th
o cl i c ( i m e th tw t rm w r y n n y m u
a ss e r a ns e o e s e e s o o s
i n th i p s g ass a e.
10 T H I RTY S I X -
D RA M AT I C S I TUAT I O N S

pl e t e c iv i l i zations s h ou l d have evolved th e i r own part i e

ular conception of the drama and that one of these ,

new conce p ti ons shoul d b e revealed b y each new ev o l u

t ion of societ y whence arises the d i m b ut fait h ful expec
,

t a t i o n of our own a ge waiting for the man i festation of ,

its own dramati c ideals b efore the cenotaphs of an art ,

w h ich h as long b een apparentl y for commercial reasons , ,

al most non existent -

.

I n fine after hav ing b rough t together al l these dra

,
“
matic p oints of v i ew we shal l see as i n a panorama
, , ,

t h e great procession of our race i n character i st i c motle y ,

costumes : H indu k i n gs i n t h eir char i ots Ch inese ,

gal lants pla yi ng t h e i r man dores nude heroes of H el las , ,

legendary kn ig h ts adventurers of sword an d cape , ,

golden tressed p rincesses n y mphs spar k l ing w i th gems

-
, ,

s h y mai ds wit h droop ing e y elas h es famed courtesans , ,

chaste A t h en ian virgins pri estl y confessors chatter i ng , ,

gossips gurus expound ing rel igi ous i deas sat yr s leaping
, ,

upon goats feet ugl y slaves peris h orned dev i ls i n d i s

’

, , ,

guise l isping T artagl ias garr ul ous Grac i osos S hake

, , ,

spea r ea n clowns H ugoes q ue b uffoons magistrates i mmo

, , ,

b i le B uddh i st ascetics w h i te ro b ed sacrifi cers mart y rs ,

-
,

with sh in ing aureoles too craft y U l y sses frightfu l,

-
,

R a k ch a sa s messengers d i spersing calamitous tid ings to

,

th e w i nds of h eaven pure hearted y out h s b lood stained ,

-
,
-

mad men — y es h ere i t assem b les our h uman it y here

—
, , , ,

it moves through i ts per i ods of greatest intens i t y b ut

presenting alwa y s one of the facets of t h e pr i sm pos
sessed b y G ozz i .

T hese t h i rt y si x facets w h ich I h ave undertaken to

-
,

recover s h ould o b v iousl y b e si mp le and clean and of

, ,

no far fetched ch a racter ; of t h is we sh al l b e conv i nced

-

after seeing th em repeated wit h un f ai l ing d i stinctness , ,

i n al l e p oc h s and in al l ge nres T h e reader wi l l find i n .

,

m y b rief exposit i on b ut twelve hundred examples c i ted , ,

of wh ic h a b out a t h ousand are taken from the stage ;

b ut in t h is num b er I h ave included works the most
d issi mi lar and t h e most cele b rated nearl y al l ot h ers ,

b eing b ut mosaics of t h ese T here wi l l here b e found .

t h e p rincipal d ramas o f C h ina of I nd ia of Judea and , , , ,

n e e d l ess to sa y of t h e Gr e e k t h e ater H owever instea d

,
.
,
 I N T RO D U C T I O N 11

of confin ing o u rselves to t h e t h i rt y two classic traged ies -

we s h al l ma k e use of th ose wor ks of H ellenism w h ic h

u nfortunatel y for th e indolent pu b l ic of to d a y sti l l l ie ,

b ur i ed i n Latin ; wor k s from wh ose gre at l ines m ig h t b e

reconstructed h un d r e ds of m as terpieces an d al l offering ,

us from t h e s h ades to w h ich we h ave releg a ted the m t h e

, ,

fresh ness of unfamil iar b eaut y Le a ving asi de for t h e .

,

present an y d e tai le d consi d e ration of t h e P e rsian an d

,

med iaeval My steries wh ich d e p en d al most wit h out ,

excepti on upon two or t h ree situations an d w h ich await

a special stu d y we s h al l glance over — after t h e J e ux
,

, ,

an d M iracles of t h e t h irteent h and fourteent h centuri e s ,

the S pan is h auth ors t h e Frenc h classics t h e I t a l ians

, , ,

t h e Germans of t h e R omantic r e vival an d our mo d ern ,

d ramatic l itera ture A n d it se e ms to m e we s h a l l h ave

.

final l y p roved t h is th e or y of t h e Th irt y six S ituati ons -

,

w h en we s h al l t h us have b roug h t it into contact wit h

t h e d ramati c production of t h e last t h irt y y e ars .

T w o h un d r e d of t h e ex a mpl e s cite d h av e b ee n ta k e n
f rom ot h e r l it e r a r y ge nres a k i n to t h e d ram a tic : rom a nce ,

epic ,
h istor y — a n d f rom re a l it y F or t h is inv e stiga
,
.

t ion ca n an d s h ou l d b e p ursu e d i n h uman n a ture b y w h ic h ,

I m e a n in p ol itics i n cou rts o f j u s tic e in d a il y l i f e A mi d

, ,
.

t h es e e x p lora ti ons t h e p res e nt stu d y wi l l soon s e em b ut

a n i ntro d ucti on to a m a rv e lou s a n in e x h a u s ti b le stre a m
— t h e S tre am o f E xi s te nce w h e re m e e t mom e nt a ri l y
, ,

, ,

in t h e i r pri m o r d ial unit y h i s t o r y m y s ti c p o e tr y m o ra l i s t:

, , ,

(a n d a mora l ist ) wri tings h um o r p s y c h o log y l a w e p ic , , , , ,

rom a nc e f a b l e m y t h p ro v e r b a nd p ro p h e c y
, , ,
.

I t m a y h e re b e a l l ow a b l e t o a s k wi t h o u r t h e o r y i n ,

m i n d a num b e r o f q u e s ti o n s w h i c h t o u s a re o f p r i m a r y
,

i m p o rta nc e .

Wh ich a re t h e d ra m a ti c s i t u a t i o n s n e g l e c t e d by o u r
o wn e po ch s o f a i t h f u l i n re pe a tin g t h e f e w m o s t f a mi l i a r ?
,
.

Wh i c h o n t h e o t h e r h a n d a re m o s t i n u s e t o d a y ? W h i c h
, ,

a re t h e m o st n e gl e ct e d a n d w h i c h t h e m o s t u s e d
,
in e a c h ,

e p o ch ge nre s c h o o l a ut h o r ? Wh a t a re t h e re a s o n s
, , ,
.

fo r t h ese T he s a m e q u e s t i o ns m a y be
a s k e d b e f o re t h e cl a s s e s a n d s u b c l a s s e s o f t h e s i t u at i o ns -
.
12 T H I RT Y S I X
-
D RA M AT I C S I TUAT I O N S

S uch an examination wh i ch requ i res onl y pat i ence

, ,

w i l l sh ow fi rs t the l ist of com bi nati ons (situations an d

t h eir classes and su b classes ) at present i gnored and
-
,

wh ich rema i n to b e explo i ted in contemporaneous art ,

second h ow these ma y b e adapted

, O n the wa y i t ma y .

chance that we shal l d iscern h i dden with in th i s or that

one of our t h irt y s ix ca tegories a un i que case — one
,

, ,

w i thout analogue among t h e ot h er th i rt y fi v e w i th no -

,

i mmed i ate relat i onsh i p to an y ot h er t h e product of a ,

v i gorous i nsp i rat i on But i n careful l y determin i ng the

.
,

exact pos i t i on of th is case among the su b classes of the -

s i tuation to wh i ch i t b elongs we s h al l b e a b le to form

, ,

in eac h of the th i rt y fi v e others a su b c lass correspond

-
,
-

i ng to i t ; th us wil l b e created th i rt y fi v e ab solutel y new -

pl ots. T hese wi l l g i ve when developed accord ing to

,

the taste of th i s or that sch ool or per i od a ser i es of ,

“ ”
th i rt y fi ve original i m i tat i ons th i rt y fi v e new scenar i os
-
,
-
,

of a more unforeseen character certa i nl y than the , ,

maj orit y of our dramas wh ich w h ether i nspired by

, ,

b ooks or real ities when v i ewed i n the clear l ight of the

,

ancient wr i t i ngs revealed to us onl y the i r reflections so ,

long as we had not for our gu i dance the precious thread

, ,

wh i ch van ish ed w i th Gozz i .

Si nce we now h old th is th read let us unw i nd it ,

.
 F I R S T SI T U A T I O N

SU PPL I C A T I O N

(T he d yn amic elements techn ical l y necessar y are :

a Persecutor a S uppliant an d a Power i n author i t y
, ,

whose decision is d ou b tful ) .

A mong the examples here offered w i l l b e found th ose

of t h ree sl ig h tl y d i ff er i ng classes I n the first th e power
.
,

wh ose decision i s awa i ted is a d i st i nct personage wh o i s ,

del i b erating ; shal l h e y ield from mot i ves of prudence or

,

from apprehension for th ose he l oves to the menaces ,

of th e persecutor or rat h er from generos i t y to the

, , ,

appeal of t h e p e rsecute d ? I n t h e second b y means of ,

a contracti on analogous to that wh ich ab b rev i ates a

s y l logism to an ent hy mem e th is undecided power i s
* *

b ut an attri b ut e of t h e pers e cutor h imself — a weapon

,

suspen d ed i n h is hand ; s h al l anger or p i t y determine h i s

course ? I n t h e t h ird grou p on t h e contrary the sup, ,

p l iant element is d ivi d ed b etween two persons the ,

Pers e cut e d an d t h e i ntercessor t hus i ncreas i ng the ,

num b er of pr i nci p a l c h a racters to four .

T hes e th ree grou p s (A B C ) ma y b e su b d i v i ded as

, ,

fol l o ws :
A (1 ) F u g i t iv e s i m pl o r i n g t h e P o w e r f u l f o r H e l p
“
Aga i n s t T h e i r En e m i es . C om p l e te ex a mpl e s : T he
” ”
Su p pl i a nts a nd Th e H e ra cl id a e of A e sch y lus ; T he
”
H e r a cl i d a e of E ur i pides ; t h e M i ne s of S op h ocles .

“
C as e s i n w h ic h t h e fugitiv e s are gu i l t y : t h e O ie l es
‘
Sy ll o g i s m : A r e c k o nin g a l l t o g e t h e r a r e a o nin g ; t o b r in g
,
s

a t o n c e b e f o r e t h e m in d ; t o in f e r ; c o n clu d e E v e r y v i rtu e
“
As .

is l a u d a b l e ; kin d n e s s is a v i rtu e ; t h e r e f o r e kin d n e ss is l a u d a b l e .

E n t h y m e m e : A n a rgum e n t c o n s i s t in g o f o n l y t w o p r o p o s i t i o n s ;
a n a n t ec e d e n t a n d i ts c o n s e q u e n t : a s y ll o g i s m w i t h o n e p r e m i s e
"
o m i tt e d ; as W e a re d e p e n d e n t t h e r e f o r e w e s h o ul d b e h um b l e
“
, .

13
14 T H I RT Y -
S I X D RA M AT I C S IT UA T I O N S

a nd C h r y ses of S op h ocles ; T h e E u men i des of

A e sc h y lus A partial examp le : A ct I I of S hakespeare s ’
.

“
K ing J o h n . Fami l iar i nstances : scenes from colon ial
p rotectorates .

(2 ) A s s i s ta n c e I m p l o r e d f o r t h e P e r f o r m a n c e o f
a P i o u s D u t y W h i c h H a s B e e n F o r b i d d e n — Com .

“
pl et e examples : Th e E leusinians of A esch y lus and
Th e S uppl iants of E ur i pi des A h istorical example : .

t h e b urial of M o h ere A fami l iar instance : a famil y.

d i vi ded i n its rel igious b el ief where i n a c h i l d in order , ,

to wors h ip a ccord ing to h is conscience appeals to the ,

parent w h o is h is co rel ig i on i st -
.

8
( ) — A p p ea l s f o r a R e f u g e i n W h i c h t o D i e .

”
Complete example : (E d ipu s at Col onus Part i al ex .

“ ”
ample : the d eath o f Z ine b i n H ugo s M angeront i ls ,
? ’
-

B (1 ) H o s p i ta l i t y B e s o u g h t b y t h e S h i pw r e ck e d .

” “ ”
C omplete e xample : N aus i caa an d T he Ph ea cia ns
of S o p h ocles Part i al example : A ct I of Berl i oz
.
’

”
T roj ans .

2
( ) — C h a r i t y E n tr ea t e d b y T h o s e C a s t o ff b y
T h e i r O w n P e o p l e W h o m T h e y H ave D i s g r a c e d
, .

” “
E xamples : the D anae of A esch y lus and the D anae
” “ ”
of E urip i d es ; th e A lope A uge an d Th e Cretans
,

of E uri p ides Fami l iar instances : a large part of t h e

.

fif teen or twent y t h ousan d adventures wh ich each ,

y ear come to an end i n t h e Bureau des E nfants A ss ist és

,
-
.

S peci a l instance of a c h i l d received i nto a home : the

”
b eginn ing of Le R e ve by Z ola ,
.

(3) E x p i a t i o n : T h e S e e k i n g o f P a r d o n H ea l i n g ,
“
o r D e l ivera n c e E xamples : S oph ocles Ph i l octetes ;
.
’

“ ” “ ” “
A esc h y lus ’
M y sians ; E uripi des T elep h us ; Les ’

C h a m pa i ro l (R r a isse H istorical example : the

,

p en itence of Bar b arossa Fami l iar in stances : pet i t i ons

.

for p a r d on confessi on of Cat h ol ics etc

, ,
.

(4 ) -
T h e S u r r e n d er o f a C o r ps e o r o f a R e l i c , ,
— “ ”
S o l i ci t ed z Th e Ph r y gians of A esc h y lus H ist o r i .
!

ca l e x a mpl e s : t h e C r usaders em b assies to t h e M oslems ’

.

F am i l i a r i nstances : t h e reclaiming of t h e remains of

a great m a n b uried in a forei gn lan d ; of the b od y of
a n execut e d p erson or of a relat i ve dead i n a hosp i tal
,
.
 F I RST S ITUAT I O N 15

I t s h oul d b e noted t h at t h e Ph ry gia ns and th e T went y ,

fo u rth B ook of t h e I l iad w h ic h ins p ired the p la y form , ,

a trans i t i on toward t h e T welft h S ituation (A R efusal

O vercome )
C (1 ) — S u p p l i c a t i o n o f t h e P o w er f u l f o r T h o s e
.

D ea r t o t h e Su pp ian tl — Complete examp le : E sther . .

”
Pa r tial example : M argaret i n the denouement of Fa u st .

H istori ca l example : Frankl in at the court of L ouis X V I .

”
E xa mple correspond ing also to A the P ro po m pes
of A esc hy l us
—
.

2
( ) S u p p l i ca t i o n T o 9 R e l a t ive i n B e h a l f o f
—
.

”
A n o t h e r R e l a t ive E xample : t h e E ury saces
. of
S op h ocles
—
.

(3) S u p p l i c a t i o n t o a M o t h er s L ove r i n H e r ’
,
“ ”
B eh al f .E xample : L E n f a n t de l A m o u r
’

(Batai lle
’

I t is apparent t h at in the mo d ern theater ver y l ittle , ,

us e h as b een m a de of th is First S ituation I f we ex .

ce p t su b d ivisions C w h ich i s akin to t h e p oet i c

cu lt of t h e V irgin and t h e S aints an d C th e re is ,

not a single p ure ex a mple dou b tless for t h e reason that ,

t h e anti q ue mo d e ls h a ve d i sa p peare d or h a ve b ecome

unf a mi li a r an d more particularl y b ec a use Sh a k espeare
, , ,

Lo pe a n d C o m e il l e n ot h a ving transformed th is theme

or e l a b ora te d it wit h t h os e external complex ities d e
m a n d e d by our mo d e r n tas t e t h eir succ e ssors h a ve ,

foun d t h e F i rs t S itu a ti on too b are an d sim p le a su b j ect

for t h is e p oc h A s i f o ne i d ea were nec ess a ri l y more
si m p l e th a n a not h e r ! —as i f al l t h ose w h ich h ave sinc e
.

l a unc h e d u p on our sta ge t h e ir countless ra mifi cations

h a d not i n t h e b e ginning s h own t h e s a me vigorous
si m p l icit y !
I t is h ow e v e r our m o d e rn pre d i l e ction f or t h e com
, ,

p l e x w h ich to m y m in d e x p l a ins t h e f a vor now a ccor d e d

,

to grou p ( a l o n e w h e re in by e a s y m ea ns a f ou rt h fi gure
I ,

(in es s e nc e un f ort un a te l y a s o m e w h a t p a ra s itic a n d

, ,

mon otonou s o n e ) t h e i n te rc e s s o r is a d d e d t o t h e trinit y

, ,

of P e rs e cutor S u pp l i a nt a n d P o w e r
, .

O f w h a t v a ri e t y n e v e rt h e l e ss is t h i s trin it y c a p a b l e !
T h e Pers e cut o r — o n e o r m a n y v o lunt a r y o r u n co n
, ,

, ,

sci ous gr ee d y or r e venge f ul s prea d i ng t h e su b tl e net

, ,
16 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

work of d i plomac y or reveal i ng h i mself b eneath the

,

form i da b le pomp of the greatest contemporary powers ;

the S uppl i ant artless or eloquent v i rt uous or gu i lt y
, , ,

hum b le or great ; and the Power neutral or part i al to ,

one s i de or the other perhaps i nfer i or i n strengt h to ,

t h e Persecutor and surrounded b y h i s own k i ndred wh o

fear danger perhaps dece i ved b y a sem b lance of r i ght
,

and j ust i ce perhaps o b l i ged to sacr i fice a h i gh i deal ;

,

somet i mes severel y l og i cal sometimes emot i onal l y sus ,

ce pt ib l e or even overcome by a convers i on a la D os

,

t o iev sk y and as a fin al thunderb olt a b andon i ng the

, , ,

errors wh i ch he b el i eved t o b e trut h i f not i ndeed the ,

truth wh i ch he b el i eved to b e error !

N owhere certa i nl y ca n the v i c i ss i tudes of power b e
, , ,

i t arbi tral t yrann ical or overthro wn

, the su perst i
, ,

t i ons wh i ch ma y accompan y dou b t and i ndec i s i on on ,

the one s i de the sudden tu rns of popular opin i on on ,

the other the anx i et y with wh i ch the y are awa i ted

despa i rs and the i r result i ng b lasphem i es —hope sur
,

v iv in g to the last b reath th e b l i n d b rutal i t y of fate

, ,

nowhere can the y b ecome so condensed and b urst forth

w i th such power as i n th i s First Si tuation i n our da y ,

i gnored .

France s enthus i ast i c s y mpath y for Poland rev i ved

’

dur i ng the last h alf century ; the same s y mpath y wh i ch

-

on so man y h istor i c occas ions she h as man i fested for

S cotland an d for I reland might here fi nd tragi c expres ,

s i on ; that cry of human i t y with wh i ch a s i ngle pr i est at ,

the massacre of Fou r m ies ral l ied to th e Church a frac ,

t i on of revolut i onary France ; the worsh i p of the dead ,

that first l ast most pr i m i t i ve and most i ndestruct ib le

, ,

form of rel ig i ous sent i ment ; the agon y wh ich awa i ts us

al l agon y dragg i ng i ts elf toward the darkness l i ke a
,

spent b eas t ; the profound l y hu m b le long i ng of one wh om

a mur der h as depr i ved of al l that was dearest to h i m ,

that p i t i a b le entreat y on b ended knees wh i ch melted

, ,

i nto tears the savage rancor of A ch i lles and ca used h i m

to forget h is vow ; al l are h ere in th i s First Si tuat i on ,

al l th ese strong emotions an d y et others ; nowhere e l se

i ndeed can the y b e found i n such completeness —and
, ,

, ,

our mode rn world of art has forgotten th i s s i tuat i on !

 SE C O N D S I T U A T I ON
D E LI V E RAN C E
(E lements : an U nfortunate , a T hreatener , a R escuer )
T h is i s i n a wa y the converse of the F i rst Si tuat i on
, , ,

i n wh i ch the unfortunate appe als to an undec i ded power ,

whereas here an unexpected protector of h i s own accord , ,

comes suddenl y to the rescue of the d i stressed and

despa i r i ng .

A A ppea r a n c e o f a R e s cu e r t o t h e C o n d e m n e d
”
T he A ndromedas
“
of S oph ocles of E ur i p i des and of
,

C o r nei l le ; Le Jeu de S a i nt Ni colas ( Jean B odel ) .

“ ”
Pa rtial examp les : the first act of Loh engr i n ; the th i rd
“ ”
act of V oltai re s T ancred ; the role of th e generous
’

“ ”
patron i n B o isl a u r ier (Ri chard , T he last
example and the fol low i ng sh ow part i cularl y the honor
of the un fortunate at stake : D an iel and S usanna and ,
“
vari o u s exploi ts of ch i val ry A parod y : D on Q u i xote
. .

A fami l iar i nstance : j ud i c i al ass i stance T he d e nouement

.

”
of B lue b eard (h ere the element of k i nsh i p enters i n ,

the defens e by b rothers of the i r sister and i ncreases th e ,

ath os by the most s i mple of means forgotten h owever , , ,

y our pla y wr i gh ts ) .

B (1 ) A Pa ren t R e p l a c e d U p on a T h r on e b y h is
”
C h il d r en A egeus an d P e l e us by S oph ocles ;
,
“ ”
E uri p i des A nt iope
’
. Cas e s i n wh i c h the ch i ldren h ave
“ ”
previousl y b een a b andoned are A t h amas I and also
“
th e T yr o of S oph o c les (T h e taste of the future
.

”
auth or of (E d ipu s at C olonus for stor i es i n wh i ch
the Ch i l d p l a y s t h e role of d el iv e rer an d d ispenser of
j u sti ce form s a b itter e nough contras t to the fate wh i ch
,

awaited t h e p oet h imsel f i n h is ol d a ge ) .

(2 ) R e s c u e b y F r i e n d s o r b y S tra n g e r s G ra t e f u l
,

f o r B e n e fi t s o r H o s pi ta l i t y : S oph ocl es ’

17
18 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

I olas and Ph ineus A part

”
i al example : the secon d
.

part of E ur i pides A lceste E xample i n comed y

’ '
.

“
M usset s Fantas i o
’
E xample i n w h i ch protect i on i s
.

o r d e d by the h ost wh o has granted as y lum : E ur i p i des

’

ci t y
a
c s .

We see by a glance over these su b d i visions what our

, ,

wr i ters might have d ra wn from the secon d of the Si tu

a t io n s For us i ndeed i t sh ou l d possess some l i ttle
.
, ,

attract i on i f onl y for the reason that two th ousan d

,

y ears ago human i t y once more l istened to th i s stor y

of t h e D el iverer an d s i nce then has so suff ered l oved
, ,

and we p t for t h e sake of i t T h is situati on i s also the .

b as i s of Ch i valr y that original an d ind i v i dual hero i sm

,

of the M id dle A ges ; and in a nati onal sense of the

D esp i te al l th is in art — i f we
, ,

French R evolut i on .
, ,

except the b url esque of Cervantes and the transplendent

—
,

light flash i ng from the s i lver armor of L ohengr i n in ,

art as y et it i s hard l y dreamed of

, ,
.
20 T H I RT Y SI X D RA M AT I C S I T UAT I O N S
-

“
from fict i on : M ér im ée s Col om b a Fam i l i a r i nstances :
’
.

“ ”
the maj or i t y of vendettas Le Pr e tre (Buet 1 881 ) .
,

pres e n ts espec i al l y t h e ps y ch olog i c struggle b etween

p a rd on and vengeance E xample of the avenging of .

“ ”
a father dr i ven to suic i de : L O r (Peter and D a n cen y
’

2
( ) — Th e A ve n g i n g o f a S l a i n C h i l d o r D e se e n
d an t : — S op h ocles ”
N aupl i us ; a part of Sa i nte
’

H elene (M me Se verine the end of E ur i p i des

’
.
,
“
H ecu b a E p i c example : N eptune s pursu i t of U l y sses
.
’

b eca use of the b l ind i ng of Pol yph emus .

(3) — V e n g e a n c e f o r a C h i l d D i sh o n o r e d E1
“
M ej or A lca lde e l R e y by L ope de V ega ; T he A lcalde of
,
”
Z alamea , b y Calderon H istor i c example : the death .

of Lucrece .

(4 ) T h e A ve n g i n g o f a S l a i n W i f e o r H u s b a n d
— C a rn e ill e s “ Pomp é e ” “ L I d io t ” de L orde
’ ’

; ( ,

C ontemporar y i nstance : the tr i als of M me V euve .

Barr e m e .

(5 ) V e n g e a n c e f o r t h e D i s h o n o r o r A t t e m pt e d ,
“
D i sh o n o r i n g o f a W i f e : ,T he I x i on of A esch y”lus ,

of S oph ocles and of E ur i p i des ; T he P err h o eb id es of

“ ”
A es ch y lus ; Les Ré volt é s (Ca i n and Ad en is ,

H istor i c example : the pr i est of E phra i m Si mi lar cases

”
.
,

in wh ich th e wife has onl y b een insu lted : V en isa m h ara ,

“ ”
by B h atta N ara y ana ; T he S ons of Pandou by R aj asek ,

hara Fam i l iar i nstances : a large nu m b er of duels

. .

6
( ) — V e n g ea n c e f o r a M i s t r e s s S 1a i n : L ove
” “
afte r D e a t h b y C a l er o n ; A m b ra
, (Grangeneuve ,

Si mon the Foundl i ng (Jonathan ,

(7 ) V e n g e a n c e f o r a S l a i n o r I n j u r e d Fr i e n d
”
T h e N ere i ds of A esch y lus A contemporary i nstance : .

R a v a ch o l Case in wh ich the vengeance is perpetrated

.

“
upon the mistress of the avenger : La Casserole
(M ét én ier ,

(8) V e n g ea n c e f o r a S i s t e r S e d u c e“d : Goethe s

’

” “ ”
C lavij o ; Le s Bouc h ers (I cr es , La C as quette
”
au Pere Bugeaud (M arot E xamples from ,

fict i on : La K ermesse R ouge i n E ekh o u d s col le e ’

”
,
“
tion and the end of Bourget s Di sciple
’
.
,
 T H I R D S IT UAT I O N 21

B (1 ) V e n g ea n c e f o r I n t e n t i o n a l I n j u r y o r S po
“ ”
l ia t i o n : S hakespeare s T empest ’
C ontemporary in .

stance : B is marck i n h is retir e ment at V arz in .

(2 ) V e n g ea n c“e f o r H av i n g B e e n D e”s po i l e d D u r
i n g A b s en c e — Les J oueurs d O sse l ets and Pene ’

“ ”
10 pe , b y A esch y lus ; T h e Feast of t h e A chaeans by ,

S oph oc les .

(3) R eve n g e f o r a n A t t e m p t e d S l a y i n g : T he
”
A nger of T e oun go -
by K ouan h an king A s i mi lar
-
,
- -
.

case i nvolving at the sa me ti me t h e sav ing of a loved

“ ”
one by a j ud ic i al error : La Cel lule N o 7 (Z acco n e .
,

(4 ) —R eve n g e f o r a F a l s e A c cu sa t i o n z — T he
P h ri xu s of S op h ocles and of E uri p i des ; D umas ’

“ ”
M on te Cr isto ; -
La D eclassee (D e l a h a y e ,

R oger la H onte (M ar y
- -
,

5
( ) — V e n g e a n c e f o r V i o l a t i o n z — So ph o cl es ’

“
T ereus ; T he C ou rtesan of C orinth ( Carr é and
“ ”
B il h a u d Th e Cenci b y S hel le y (parricide as
, ,

the pun ish m e nt of i ncest ) .

(6 ) V“e n g ea n c e f o r H av i n g B e e n R o b b e d o f O n e s
” “
v rn T he M erch ant of V en ice and partl y Will iam ,

T ei
(7 ) R eve n g e U p o n a W h o l e S ex f o r a D e c e pt i o n
”
by O n e J a ck t h e R ip p er (Bertran d and C l a ir ia n ,

t h e fata l h e roin e s of the t yp i cal p la y s of the

“
Secon d E mpi re L E t ra n gere e t c A case ap p e rta in
,
’

, .

ing also to cl a s s A : t h e motive (an i mpro b ab le o n e ) of

”
t h e corru p tr e ss in Poss éd é by Lemonn ier , .

W e h e re e ncount e r for t h e fi rst ti m e t h at gri mac ing

pe rson a g e w h o f orms t h e k e y s ton e o f al l d ra ma d ar k
a n d m y s t e rious — t h e vi l l a in
, A b out t h e b e ginn ing .

o f ou r T h i r d S i tu a tion w e m ig h t e vok e h i m at e v e r y
s te p th is v i ll a in a nd h is p ro f o un d sc h e m e s w h ic h not
,

in f re q u e ntl y m a k e us smi l e D on S a l lu s te i n R u y .
“

” “
B l as I a go in O t h e l l o G u a n h u m a ra i n B urgra v e s
,
“
, ,

H o m o d e i in A ngelo
“
M a h om e t in t h e trag e d y o f th a t
,
”
n a m e Le ontin e in H e ra cl iu s M axi me i n La T ra ge d i e
,
“ “
,
”
d e Va l e n t i n ie n E mi re in
, S i re e s U l y s s es in Pa l a
“ “

”
,

me d es .
 T H I RTY S I X D RA M AT I C S IT UAT I O N S
-

C P r o f e ss i o n a l P u r s u i t o f C r i m i n a l s (the coun
t e r part of wh ich wi l l b e foun d i n the F i fth Si tuat i on
”
,
“ “ ”
C lass A ) : S herlock H olmes (C onan D o y le ) ; V idocq
“ ”
(B er gera t , N ick Carter (Busson an d L ivet ,

Fr equentl y used th ough th i s s i tuat i on has b een in

our da y man y an ancien t case awa i ts its r ej u v enes
,

cence man y a gap i s y et to b e fil led

, I ndeed among .
,

the b onds wh ich ma y un ite avenger an d v i ct i m more ,

than one deg ree of relations h ip h as b een om i tted as ,

wel l as the maj or i t y of social and b us i ness t i es T he .

l is t of wr ongs wh i ch m i ght provoke reprisal is far from

b e i ng exhausted as we ma y assure ourselves by enum
,

crating the k i nds of offenses poss i b le aga i nst persons

or propert y the varyi ng shades of opin ion of opposing
,

parties th e different wa y s i n wh ich an i nsult ma y take

,

e ff ect an d h ow man y an d what so r t of relat i ons h i ps

,

ma y ex i st b etween A venger and Cr i minal A n d these .

quest i ons concern merel y the prem i ses of th e action .

T o th is we ma y add a l l the turns and b earings slow ,

or i nstantaneous d i rect or tortuous frant i c or sure

, , ,

wh i ch pun is h ment can take th e th ous an d resources,

wh i ch i t offers the po i nts at wh ich i t ma y a i m i n i ts

,

deadl y course th e o b stacles wh ich chance or the d ef en

,

dant ma y present N ext i ntroduce var i ous secondar y

.

figures each pursu i ng h i s own ai ms as i n l ife intercross

ing each ot h er and cross i ng the drama — and I have
, , ,

su ffi c i ent esteem for t h e reader s capa b i l ities to develop

’

t h e su b j ect no fu rther .
 F O U RT H S I T U A T I ON

V E N G E AN C E T A K E N F O R K I N D R E D U PO N
KINDRED

(E lements : A venging Ki ns man ; Gui lt y K i nsman ;

R emem b rance of t h e V icti m a R elat i ve of B oth )
, .

A u gmenting the h orror of S ituation X X V I I D is

”
co v e r y of t h e D is h onor of O n e s K indred ) b y t h e roug h
vi gor of S ituation I I I we create t h e p resent acti on
, ,

w h ic h con fin es i tself to fami l y l ife mak i ng of i t a worse

,
“ ”
h e ! ! t h an t h e d ungeon of Po e s Pit and t h e Pendulum
’
.

T h e h orror of it is suc h t h at t h e terrified s p ecta tors

d are not i nt e rv e n e ; t h e y seem to b e witness ing at a
d istanc e some d e mon iac scen e si l h ouette d i n a flami ng
h ouse .

N e ith e r i t s e ems d o our d ramatists dare intervene

to mo d i f y t h e G re e k tra ge d y —
, ,

, suc h as i t i s aft e r t h i rt y
a p p a l l ing c e nturi es
.

For us i t is e a s y to com p ute from t h e heigh t of our

— to use G o z z i s wor d — t h e in fi nite v a ri a
,

p l a tform ’ ’

tions possi b l e to t h is t h e m e by mul ti p l y i ng t h e com

,

b i na t io ns w h ic h w e h a v e j ust f ound in t h e Th i r d S itua

ti on by th o se wh ic h t h e T w e nt y s e v e nt h wi l l giv e us
,
-
.

O th e r g e rms of fe rti l it y wi l l b e foun d in turn in t h e

circumsta nc es w h ic h h a v e d e t e rmine d t h e a v e nge r s '

a cti on . Th e s e m a y b e a s p ont a n eo u s d es i re on h is
o wn p a rt (t h e si m p l e s t motiv e ) ; t h e wis h of t h e d y ing
vi cti m o r o f t h e spi ri t o f t h e d e a d m y s te r i o usl y a pp e a r
,
24 T H I RT Y S I X D R A M AT I C S I T UAT I O N S
-

i ng to the l i v i ng ; an i mpru dent prom ise ; a profess i onal

dut y (as when t h e avenger i s a mag is trate th e ,

necess i t y of sav i ng other relat i ves or a b eloved one

(thus d i d T al ien avenge the D anton ists ) or even fel low
c i t i zens ; i gnorance of the k i nsh i p wh i ch ex i sts b etween
A venger an d Cr i m i nal T here y et rema i ns that case .

in wh ich the A venger str i kes w i th out hav i ng recog

n i z e d the Cr i minal (in a dark room I suppose ) ; th e ,

case i n wh i ch the act of i nten ded vengeance i s b ut the

result of an error the supposed l y gu i lt y k i nsman b e i ng
,

found i nnocent an d h i s pseudo execut i oner d is cover i ng

,
-

that he h as b ut made of h i mself a detesta b le cr i m i nal .

A (1 ) A F a t h e r s D e a t h A ve n g e d U po n a M o t h e r ;
’

” “
T he C h oeph o res of A esc h y lus ; the E lectras of
S ophocles E ur i p i des At t il ius Q C icero Pradon Longe
, , , .
, ,

p ierr e C r éb il l o n R ochefort C h e n i er an d of G a i l lard s

’

”
, , , ,
“
opera ; th e O restes of V oltaire and of A l fier i ; S oph ocles
’

“ “ ”
E p i gones ; the E riph y les of S oph ocles an d of Vo l
“ ”
ta i re ; and lastl y H amlet i n wh i ch we recogn i ze so ,

clearl y the method by wh ich the poet rej uvenates h i s

su b j ects —b y an al most ant i thet i c change of char
,

a ct ers and of m i l i eu .

( )2 — A M o t h er A ve n g e d U po n a F a t h e r Z oe :

”
C h i en Ch i en (M atth e y
- in wh i ch the parr i c i de
,

i s counterb alanced by an i n cestuous pass i on and i s ,

c omm i tted by the daughter not by the son , .

B — A B r o t h e r s D e a t h A v e n g e d U po n a S o n (b ut
’

w i th out premed i tat i on th i s accord i ngl y fal l ing almost

—
,
“
i nto the s i tuat i on A esch y lus A ta ’

“
lanta an d S oph oc les M eleager ’
.

C A F a t h e r s D e a t h A ve n g e d U po n a H u sb a n d
’

”
R o sm u n d e (R u cel l a i ) .

D A H u sb a n d s D e a t h A v e n g e d U po n
’
a Fa t h er
”
O rb ecch e byG ir a l d i .

T h us of twent y t wo works , eighteen aré i n the same

‘
:

-
,

class seventeen i n th e same su b class th irteen upon

,
-
,

th e same su b j ect ; four classes and one su b class -

altogether Le t us for the moment amuse ourse lves

.
, ,

by count i ng some of those wh ich have b een forgotten .

 F O U RT H S IT UAT I O N 25

A father s death avenge d upon the b rother of the

’

avenger U pon h i s s ister

. U pon h is m istress (or i n the
.
,

cas e of a femin i ne avenger upon her lover for each of

, ,

the cases enumerated h as i ts dou b le accord ing to the ,

se x of the avenger ) U pon h is wife U pon h is son

. . .

U pon h i s daughter U pon h is paternal uncle U pon

. .

h is maternal uncle U pon h i s paternal or maternal

.

gr andfather ; h is paternal or maternal grandmother .

U pon half b rother or h alf -s i ster U pon a person al l ied

-
.

b y marr i age (b rother in law s ister in law etc ) or a

- -
,
- -
, .

cous i n .T hese numerous var iations ma y of course b e

success i vel y repeated for eac h ca se : the aveng i ng of a
b rother a s is ter a hus b and a son a grandfat h er and
, , , , ,

so on .

B y wa y of var i et y the vengeance ma y b e carr i ed out

, ,

not upon th e pers on of th e criminal h imself b ut upon ,

some one dear t o h i m (thus M edea and A treus struck

Jason an d T h y est es throug h their c h i ldren ) and even ,

i nan i mate o b j ects ma y take t h e place of v icti ms .

 F I F T H S I T UA T I O N

P U RS U I T

(E lements : Pun i s h ment and Fu g i t i ve )

As the S econd S ituati on was the converse of the F i rst ,

so t h is s ituation of Pursu i t represents a trans i t i on i nto

t h e pass i ve of th e T h i rd and Fourth and i n fact of a l l
, , ,

those i n wh i ch danger pursues a character T here .

rema i ns h owever a d ist i nct i on ; i n Pursu i t the aveng i ng

, ,

elements h ol d second place or perhaps not even that ;

,

it ma y b e i n deed q u ite invis ib le an d a b stract O ur

, , .

interest is hel d by the fug i t i ve al one ; sometimes i nno

cent alwa y s excusa b le for th e fault — if there was
, ,

one appears to h ave b een i nev i tab le ordained ; we ,

d o not in qu ire i nto i t or b lame i t wh i ch woul d b e i d le

, ,

b ut s y mpathetica l l y suffer the cons equences w i th our

h ero wh o whatever he ma y once have b een i s now b ut
, , ,

a fel low man in danger

-
We recal l that truth wh i ch
.

Goeth e once flung i n th e face of h y pocris y ; that each ,

one of us having w i th i n h i m the potent i al it y for a l l th e

cri mes there is n ot one wh ich i t i s i mpossi b le to i magine
,

ourselves committ i ng un d er certain c i rcumstances

,
In .

t h is S ituation we feel ourselves so to spea k aecom , ,

pl ices in even t h e worst of sla y i ngs Wh i ch ma y b e.

explained by th e reflection that along our var i ous l ines

of hered it y man y such crim e s m igh t b e found an d our ,

pres e nt vi rtu ousness ma y mea n si mpl y an i mmun i t y

from criminal ten d encies wh ich we have gained by the
ex p er i e nc e of our ancestors I f th is b e th e case h ered i t y ,
28 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

“
role of Porus i n R ac i ne s and also i n M etastas io s A lex
’ ’

“ ” “
andre ; Cornei lle s N icomede ; Goethe s G oetz von
’ ’

” ”
Berl ich i ngen an d a part of E gmont ; M etastasi o s ’

“ ” “ ” “
Cato ; M a n z o n i s Ad el gh is an d a part of h i s Count
’

”
of Carm a gnola ; the deat h of H ector in S hakespeare s ’

“ ”“ ”
T ro i lus
”
an d Cress ida ; N ana S ah i b (R ich e pin 1 883)
-

“
,

E d i th (B ois the tetralog y of th e Nib elungen ;

”
,

A n E nem y of th e People (I b sen ) ; Le R oi sans

”
C ouronne (de B o u h él ier
D — A P s e u d o M a d m a n S t r u gg l i n g A g a i n s t a n
,

“ ”
I a go Li k e Al i en i st :
-
La V icomtesse A l i ce (S econd
 S I X T H S I T U A T I ON

D I SAS T E R

(E lem e nts : a Va n q u ished Power ; a V ictor i ous E nem y

or a M essenger )

Fe a r catas trophe the unforeseen ; a great reversal of

, ,

r eles ; the powe rful are ove r thrown the weak exalted ,
.

H ere is t h e oft recurring refrain of the B i b l ica l b ooks

-
,

here t h e i mmortal ec h oes of the fal l of T ro y at wh i ch .

,

we sti l l pale as though wit h a presentiment

— —
.

“
A (1 ) D e f e a t S u ff er e d Th e M y rm i dons and
Th e Pers i ans of A esc h y l us ; Th e S hep h erds of
”
S o p h ocles E xample from fiction : La D e b a cle
. by ,

Z ola H istory is made up of repet i tions of th is stor y

—
. .

“
(2 ) A F a t h er l a n d D e s t r o y e d : T he X o a ne
ph o res of S op h ocl es ; B y ron s S ardanapalus ’
(th i s
corr es p on d s a lso to C las s B an d towa rd the d e nouement
,

r e ca l ls t h e Fi f t h S itu a tion ) E xamples from h istor y :

.

Polan d ; t h e gr e a t I nva s ions

”
From rom a nc e : . T he
W a r of t h e W o rl d s (We l ls )
— —
.

3
( ) T h e F a l l o f H u m a n i t y : T h e My st e r y of
Ad am (tw e l f t h c e ntur y )
—
.

“
A N a t u ra l Ca t a s tr o p h e T e rr c d E po u
'

(4 )
v a n t e (d e Lo r d e a n d M o re l
B — A M o n a r c h O v e r t h r o w n (t h e conv e rs e of th e
,

E ig h t h ) : Sh a k e s p e a re s H e nr y V I a n d
-
’
R ic h a rd
I! . H ist o ric in s ta nc es : C h a rl es I Loui s X V I N a po , ,

l e on e t c ; a n d s u b stituting o t h e r a ut h oriti es than kings

, .
, ,

C olom b d e Le ss e p s a n d a l l d i s g ra c e d min i s te rs
, , Ex .

”
a m p l e s f r o m fic t io n T
“
t h e e nd o f a r t a rin
'

,
“
C e sa r B iro t t e a u .
30 T H I RT Y S I X D RA M AT I C S IT UAT I ON S
-

C (1 ) — I n g ra t i t u d e S u ff er e d (of al l the b lows of

m is fortune th is is perhaps the most po i gnant ) :
,
“ ”
E uri p ides A rchelaus (excepting the d enouement i n
’

,
“
wh ich t h e action is reversed ) ; S hakespeare s T imon ’

” “ ”
of A th ens an d K ing Lear and th e b eginn i ng of h i s
,
” “ ”
Coriolanus ; B y ron s M arino Fal iero ; a part of
’

”
Th e C ount of Carmagn ola b y M anzon i B i smarck s , .
’

d ismissal b y th e y oung E mperor W i l l i am T he mart yrs .

,

t h e man y instances of devoti on an d sacr i fice u n a ppre

c ia t e d by t h ose wh o have b enefited b y i t t h e most ,

glorious of deaths sh ine against th i s dark b ackground ;

S ocrates an d the Passion are b ut t h e most cele b rated
”
examples . L e R ef o r m a t eu r (R od
—
,

2
( ) T h e S u ff e r i n g o f U n j u s t P u n i s h m e n t o r
E n m i t y (th is corr esponds i n some degree to the
“ “
Ju d icial S oph ocles
”
T eucer ; A esch y lus
-
’ ’

Sa l a m in ia e
—
.

(3) An O u t r a g e S u ff e r e d : the first act of T he

“
C id ; t h e first act of L ucrece B orgia T he po i nt of .

h onor offers b etter material than t h ese si mple ep i sodes .

We ma y i magine some more sens i t i ve V oltaire reduced ,

b y h is persecutions to h elplessness an d to the point

of d y i ng in despa i r .

D (1 ) A b a n d o n m e n t b y a L ove r o r a H u s b a n d :

Faust " ’ “
C ornei l le s A riane ; t h e b eginning of the
’

”
M e d eas ; M a t em it e (Br i eux
(2 ) C h i l d r en L o s t b y T h ei r P a r en t s Le Pet i t
Poucet .

I f cl asses B C an d D w h ich are concerned with th e

, ,

fate of i nd iv i d uals have b een so muc h less developed

,

than t h e y might eas il y h ave b een w h at shal l b e sai d ,

of t h e case of social d isasters suc h as Class A ? S ha k e ,

sp e are d i d not tread far enoug h upon that maj estic wa y .

O nl y among t h e Greeks h as a work of t h is kin d pre

sent e d at one stro k e th at concepti on of h uman events ,

su b l i me fatal isti c an d poetic of w h ich H erodotus was

, ,

one d a y to create h istor y .

 SE V E N T H S I T U A T I ON

F A LL I N G P R E Y T O C R U E L T Y O R M I S F O RT U N E

(E lements : an U nfortunate ; a M a st er ~

or a
M isfortune )

T o i nfin i te sorrow t h ere is no l imit Beneat h t h at .

wh ich seems the final d ept h of m isfortune t h ere ma y ,

open anot h er y et m o r e frightful A ferocious a n d .

d el i b e rate d issection of t h e h eart i t seems t h is S eventh ,

S ituation , that of p e ssi mism pa r excellenc e .

A T h e I n n o c en t M a d e t h e Vict u m o f A m b i t i o u s
“ ”
I“n t r i g u e : Th e Princess M a l e in e (M aeterl inck ) ;
” “
Th e N atura l D a ug h t e r by G o e t h e ; Les D eux
”
,

J ume a ux b y H ugo
, .

B T h e I n n o c e n t D e s p o i l e d by T h o s e W h o S h o u l d
“ ”
P r o te c t : Th e G u ests an d t h e b e ginning of t h e
“ ”
J ou e urs d Oss e l e t s b y A esc h y lus (at t h e fi rs t vi b ra
’

ti on o f t h e gr e a t b o w in t h e h a n d s o f t h e un k n o wn B e g
"
ga r w h a t a b re a t h o f h o p e w e
, Le s Cor b ea ux
” “
by B ec q u e ; Le R o i d e R o m e L A ig l o n
’

“
( R ost a n d ) ; La C r o i s a d e d es lCn f a n t e l e t s F r a ncs
( E r na u l t ) .

C ( 1 ) —T h e P o w e r f u l D i s p o ss e s s e d a n d W r e t c h e d
“ ”
T h e b e g i nnin g o f S o p h o cl e s a n d o f E u ri p i d e s P e l eus ;
’ ’

“ ” ”
of P ro m e t h eus i o u n d ; o f J o b “
La e rt e s i n h is
.

”
g a rd e n. E x a m p l e f r o m c o m e d y : Le J e u d e l a Fe u i ll é e
(Ad a m d e l a H a l l e ) .

2
( ) — A F a vo r i t e o r a n I n t i m a t e F i n d s l l i m s e l f
F o rg o t te n “
E n Détr es s e ( c re ,
32 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

D The
“
U n fo r t u n a t e
”
R o b b ed of Th eir O n l y
H o pe T he B l i n d by M aeterl i nck ; Beethoven
“ ”
(Fa u ch o is , R em b randt (D umur and J osz ) .

A n d how man y cas es y et rema i n ! T h e Jews i n cap

t iv it y slaver y i n A mer i ca the horrors of the H undred
, ,

Y ea rs War i nvaded ghettos scenes such as draw the

’
, ,

crowd to an y reproduct i on of pr i son l i fe or of I n qu is i t i on

”
,
“
the attract i on of D ante s I nfern o of P el l ico s Pr i sons
’ ’
, ,

th e transport i ng bi tterness of Gautama of E ccles i astes

, ,

of Sch openh auer !

 E I G H T H S I T U A T I ON

R E VO LT

(E lements : Tyr ant and Conspirator )

As alread y o b serv e d th is situation i s in a measure

, , ,

the converse of C las s B o f S ituation V I .

I ntri gue so dear to t h e pu b l ic of t h e past three cen

,

t a ries is o b v iousl y suppl ied b y t h e ver y nature of the

,

su b j ect we are now to consi d e r But b y some strange .

,

chance i t h as on t h e contrary al wa y s b een treated

, , ,

wit h t h e most o p en candor and si mp licit y O ne or two .

vicissitu d e s a f e w su rpri s es al l too easi l y foreseen an d

,

e xten d in g uni f orml y to al l t h e p ers on a ges of t h e p la y ,

and t h e re we h av e t h e condi tions wh ic h h ave al most

i nvari a b l y b een a ttac h e d to t h is a cti on so pro p itious , ,

nev e rt h e l e ss t o d ou b ts to e q u ivocation to a twil ig h t

, , ,

w h os e v a gue inc e rt itu d e pr e p are s the d awn of revolt

a n d of l i b ert y
A ( 1 ) — A C o n s pi r a c y C h i c fl y o f O n e I n d ivi d u a l
.

”
Th e C ons p i ra c y o f F i esco by S ch il l e r ; Corn e il l e s
,
’

”
o f V olta ire
“
C inn a ; to som e e xt e nt t h e C a til in a
(th is tra g e d y b e long s ra t h e r to t h e Th ir t i e t h S itu a
tion ,
“
A m b ition Th e rmid o r ;
“
T h e C ons pi ra c y of
“

”
G e n e ra l M a l e t (A ug e d e L a ss us Le G ra nd
,
”
S oi r ( K a m p f ) ; Le R o i s a n s R o y a um e (D e co u rce l l e
“
,
”
Lo r e n za cc io (M uss e t )
“
.

(2 ) A C o n s p i r a c y o f S e ve r a l : T h e C o ns p ira c y
”
of t h e P a zz i by A l fi e ri ; Le R o m a n d u ne ( o ns p ira ti o n
' ‘

(by Fou rn i er a n d ( a rr e a f t e r t h e stor y o f R a nc ) ;

‘

,
34 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

M adame M argot (M oreau and C la irv i l le an d

”
, ,
“
i n comed “
y , Chantecler (R ostand 1 9 1 0 ) w i th i ts
,

parod y R osse tant et p lus (M u st iere

, ,

B (1 ) R ev o l t o f O n e I n d i v i d u a l W h o I n fl u e n c e s
,
“ ”“
a n d I n vo l ve s O t h e r s : Goethe s E gmont ; ’
Jacques
” “
Bonhomme (M auj an , L a M i ss i on de Jeanne
” “
d Arc
’

(D a l l ie r e E xample from fi ct i on : Sa l
”
,

ammbo . From h i stor y : S olon fe i gn i ng madness .

“ ”
(2 ) A R evo l t o f M a n y F o nt ovej un e by L ope
”
,
“ ”
de V ega ; S ch i l ler s W i l l i am T ell ; Z ola s Germ i nal ;
’ ’

”
T he Weavers of Si les i a by H auptmann (forb i dden i n
,

1 893 w i th the approval of a Parl iament soon afterward

d i ss olved ) ; by Paul A dam and Ga b r i el
M o ur ey (forbi dden i n 1 89 3 w i th the approval of another
“
Parl i ament sh ortl y b efore i ts d i ssoluti on ) ; L Arm ée
’

” “
dans la V i l le (Jules R oma i n , T he Fourteenth
of Jul y (R oland , From fi ct i on : a part of the
“ ”
Fortunes des R ougon by Z ola From h i story ; the
.

ta k i ng of th e Bast i le and nu merous d i sturb ances of the

,

same per i od .

T h is spec i es of act i on part i cularl y i n modern scenes

, ,

h as g i ven fi ne v i r i le dramas to E ngland S pa i n I tal y , ,

and German y ; of a forcefu l an d auth or i tat i ve char

acter i n the two fi rst countries of a y outhful ent h us i ,

ast i o t y pe i n the two l ast France most cert a i n l y

.
, ,

wou ld seem of a l l countr i es the most l i kel y to under

stand and express such emot i o ns .

“ ”
But . T herm i dor was proh i b i ted for fear
i t might offend the fr i en ds (centenar i ans apparentl y )
” “ ”
of M ax i m i l i an ; Le Pater for fear i t m i ght b e d i s
pleas ing to C ommun i sts ; Z ola s Germ i nal
’
and
“
L Au t o m n e by A dam and M o u r ey (two works pa i nted
’

i n w i del y d i ff erent colors as the t it l es suffi cientl y i nd i

”
,
“
ca t e ) were stopped for fear of the o b j ect i ons of a few
”
conservat i ves ; O ther Peop le s M one y by H en n ique
’
,
“ ”
for fear of sh ocking certain fi nanc i ers wh o have s i nce
“
b een put b eh i nd b ars ; L ohengr i n“ (although ”
the su b
j ect is Celtic ) was l ong forbi dden for fear of i rr i tat i ng
a hal f d ozen i l l i terate French chauv i n i sts ; an i nfin i te
-

“ ”
num b er of other pla y s for fear of ann o yi ng German y
 N I N T H S I T U A T I ON

DA R I N G E N T E R P R I S E

(A B ol d Leader ; an Ob j ect ; an A dversar y )

Th e Confl i ct wh ich forms the framework of al l dra

,

matic situations i s in the N inth clearl y drawn undis

, , , ,

gu i sed .A clever pl a n a b ol d attempt sangfro i d , , ,

an d v i ctor y !
A P r e pa r a t i o n s F o r W a r : (I n th is class as ,

anc i entl y treated the act i o n stops b efore the d é noue

,

ment wh i ch i t leaves to b e i mag i ned i n the perspect i ve

, ,

of enthus iast i c p r e d i c t i o n ) —
E x a m pl es z A esch y lus .
’

“ ” “ ”
N emea ; T he Counci l of the A rgives by S ophocles .

H istoric examples : th e cal l to the Crusades ; the V ol .

’
u n t eers of 9 2 .

“
B (1 ) War : Sh akespeare s H enr y V ’

—
.

“ ” “
(2 ) A Com bat G laucus Pont i us M emnon ,
”
,
” “
Ph ineus and T h e Ph o rci d es of A esch y lus .

C (1 ) C a r r y i n g O ff a D e s i r e d P er s o n o r O b j e c t
“
the Prometheus of A esch y lus ; t h e La conian
Women by S o p h ocles From fiction : the tak i ng of
, .

“ ”
th e Z a im ph in Sa l a m m b d E p i c example : the second
.

H omer i c h y mn (to H ermes ) .

(2 ) R e c a p t u r e o f a D es i r e d O b j e c t T he V i c
” “
tor y of A rj u n a b y C a n t ch a n a A t ch a ry a ; Wagner s Par
,
’

sifal ; t h e re taking of the Z a im ph

-
.

D (1 ) A d ve n t u r o u s E x p e d i t i o n s : L o p e s D is ’

“
co v e ry of t h e N ew Worl d ; A esch y lus Prometheus ’

“ ” “ ”
U n b ound ; E ur i p i des T hese u s ; S oph ocles
’
S inon ; ’

36
 N I N T H S ITUAT I O N 37

th e R hesus attri b uted to E uripides E xam p les from .

romance : t h e usual exp loits o f th e heroes of fair y tales ;

the La b ors of H ercu les ; the maj orit y of J ules V e r ne s
’

stori es .

2
( ) — A d ve n t u r e U n d er ta k e n f o r t h e P u r p o s e o f
O b t a i n i n g a B e l ove d W o m a n : S op h ocl e s an d E uri” ’

“
p ides ’
From fiction : T oi l e rs of t h e S ea
“
.

For t h e purpose of sav ing t h e h onor of a lover : La

”
P etite Caporal e (D a r l a y an d d e G orsse ,

Th e N int h S ituation t h us summari zes t h e poetr y of

war of ro bb er y of sur p rise of desperate c h ance — t h e
, , , ,

po e try of t h e clear e y e d a d venturer o f man b e y on d t h e

-
,

restraints o f artificial c ivi l izations of M an in t h e origi ,

na l acce p t a tion of t h e term We fin d nevert h el e ss

.
, ,

h ar d l y a single Frenc h wor k in t h is class !

Lest t h e r e a d er b e we a ried I re f rain from en u m e r a t
,

ing und e r t h ese clas ses so l ig h tl y touc h e d upon man y

, ,

of t h e plots an d com p l ic a tions w h ic h mig h t b e evolve d

from t h em M et h o d s o f tra c k ing t h e h um a n game
—
.

b an d it or h e ro t h e f orc e s conspiring for h is d isaster

, ,

t h e con d itions w h ic h m a k e h i m t h e v ictim of h is mas ters ,

t h e wa y s i n w h ic h r e volt m a y arise t h e a lternativ e s o f ,

t h e struggl e in a
“
d aring e nt e r p ris e cert a inl y woul d ,

a pp e ar to b e more compl e x to d a y t h an i n earl i e r age s ;

more ov e r u p o n t h e s e t h e m e s p a rt s b orrowe d from ot h er
,

situ a ti o ns m a y b e e ngra f t e d wit h re m a r k a b l e e a s e E ven .

i f we d e sire t o p re s e rv e t o t h e s a i d t h e m e s t h e ir arc h aic

se v e rit y h o w m u c h m a y y e t b e d r a wn f rom t h em ! I n
,

h o w m a n y w a y s t o cit e b ut o ne e x a m p l e mig h t an
, ,

Ad v e nturo us E x p e d i ti o n b e c h a nge d by v a r y ing t h e

m o tiv e s o r t h e o b j e ct o f t h e e nt e r p ri s e t h e n a ture o f ,

t h e o b st a c l e s t h e q u a l i ti e s o f t h e h e r o a n d t h e p r e v iou s
, ,

b e a rings o f t h e t h re e in d i s p e n”s a b l e e l e m e n t s o f t h e
d ra m a ! Ad v e ntur o u s T ra v e l s h a v e h a r d l y b ee n
t o uc h e d u p o n A n d h o w m a n y o t h e r c l a ss e s a re t h e re
.

w h i c h h a v e no t b e e n !
 T E N T H S I T UAT I O N

AB DUCTION

(T h e Ab ductor ; the Ab ducted ; th e Guard i an )

O r th e G reat B ourgeo i s R omance ! Was i t not thus

,

that M ol ie re used to put an end to h i s comed i es when ,

he j udged that the moment had arr i ved for send i ng

h i s aud i ence h ome sat i s fi ed ? S omet i mes he su b st i
“ ”
t u t e d a treasure b ox for a g i rl-
as i n T art uffe, or ,

arranged an exchange of th e one for th e other as i n ,

We find i n A B D U C T I O N one of the s i tuat i ons b ear

i ng upon Ri valry an d i n wh i ch Jealous y appears
, ,

alth ough not pa i nted w i th so superb a color i ng as i n th e

T went y fou r th
-
.

I n two of the fol low i ng classes (B an d C ) we ma y

“ ”
remark the i ntrus i on of th e s i tuat i ons A dultery and
“ ”
R ec over y of a L ost L oved O ne T he same usage i s
.

qu i te p oss i b le i n almost al l the other s i tuat i ons I .

wou ld po i nt out to th ose wh o ma y b e i nterested i n a

more deta i led anal y s i s that l ove i s not necessari l y th e
,

mot i ve of Ab duct i on (i n C lass D w il l b e foun d fr i end

sh ip fa i th etc ) nor th e reason of the o b stacles ra i sed
, , .

by th e guard i an
A — A b d u ct i o n
.

of an U n w i l l i n g Wo m a n
“
A esch y lus and S o p h o c l e s
’
O r it h y ies ; A esch y lus ’

“ ” “ ”
E uropa and T he Car i ans With F i re an d S word
.

(after Si enk i ew ”
i cz C omed y : L e Jeu de R o bi n
,

e t de M ar i on (A dam de la H al le ) H istor i c an d legen

.

dary : th e Sa b i ne women ; Cassan dra T here appears to .

me to b e trag i c mater i al i n ca ses of extreme erot i c i sm of ,

premed i tated v iolati on preceded by a man i a of pass i on

38
 T E N T H S IT UAT I O N 39

and i ts result i ng sta te of o v erex cita t io n and fol lowed ,

by th e mur d er of the outraged v ict i m b y regrets b efore ,

th e b eaut i fu l corpse b y t h e repu g nant work of d is

,

mem b erment or concea lment of the b od y ; then b y a

d is gus t for l ife and b y success ive b lunders wh ich lead
to the d iscovery of t h e cri m i nal .

B A b d u c ti o n o f a C o n s e n t i n g W o m a n T he
”
Ab duct i on of H elen by S op h ocles and th e comed y of ,

th e sa me mane b ut not upon t h e same su b j ect b y Lope ,

.

N u m b erless other comed i es an d romances

—
.

C (1 ) R ecap t u r e o f t h e W o m an W i t h ou t t h e
S l a yi n g o f t h e A b d u c t o r : E urip ides H elen ; ’

“ ”
M alati and M a d h a v a b y Bhava b h uti (the poet of”
,
“
voice R escue of a sister : I p h igenia i n T auris
—
.

2
( ) T h e S a m e C a s e W i th t h e Sl a in g o f t h e
R av i s h er : — “
,

M a h a v ira ch a r ita by B h ava hut i ; H an

” ”
,
“
ouman (a col la b orative work ) ; A n a rgh a r a gh a v a -

“ ”
(anon y mous ) ; T h e M essage of A n ga d a b y So u bh a ta ; ,
“ ” ”
A b h ir a m a M an i b y S oundara M isra ; H ermione by
,

Soph ocl es
D (1 ) —R e sc u e o f a C a p t i ve Fr i e n d
.

R ichard
C oeur d e Lion
- -
b y Se d a in e and G retr y A gre at num
, .

b e r of e sc a pes h istoric an d fictitious

—
.
,
“
Of a Child L H o m m e d e Proi e (Lefe vre
’
(2 ) :

an d La po rt e ,

(3) O f a S o u l i n Ca pt ivi t y t o E rr o r Ba r l aa m
and J osa p h a t a f ourt ee nt h c e ntur y M ira cl e T h e d e e ds
,
-
.

o f t h e A p o stl es o f mi s sion a ri e s e t c
, ,
.
 E L E V E N T H S I T U A T I ON

T H E E N I G MA

(I nterrogator S eeker and Pro b lem )

,

T h is s i tuat i on possesses theatr i cal i nterest par excel

lence s i nce the spectator h i s cur i os i t y arouse d b y the
, ,

pro b lem easi l y b ecomes so a b sorb ed as to fanc y i t i s

,

h i mself wh o is actual l y solv i ng it A com b at of the .

i ntell igence w i th oppos i ng w i lls th e E leventh S itua ,

ti on ma y b e fi t l y s y m b ol i zed by an interrogation point .

A S ea r c h f o r a P e r s o n W h o M u s t b e F o u n d o n
“ ”
P a i n o f D ea t h : S op h ocles an d E ur i p i des Pol yi d u s
’ ’
.

Case with out th i s danger i n w h ich an o b j ect not a

”
, ,
“
person i s sought : Poe s Purlo i ned Le tter
,
’
.

B (1 ) A R i d d l e t o b e S o l ve d o n P a i n o f D e a t h
”
T he S ph i nx of A esc hy l us E xample from fict i on .

”
(w i th out t h e danger ) : T h e Gol d B ug by Poe .

(2 ) T h e S a m e C a s e i n W h i ch t h e R i d d l e i s Pr o
,

p o s e d b y t h e C ove t e d W o m a n : Part i al example : the

“ ”
b eginn ing of Sh akespeare s Per i cles ’
E xample from .

fiction : T he T ravel l ing C ompan ion by A ndersen ,

.

E p ic examp le (b ut with out t h e danger ) : the Q ueen of

Sh e b a an d S olomon Partial examp le : Portia s coffers
.
’
,
“ ”
in T h e M erc h ant of V en ice .

Th e s o rt of contest prel iminar y to the possess i on of

,

a desired one wh ic h is vaguel y sketched in th is ep isode

, ,

is s ingularl y al luring in its suggestive analogues But .

h ow man y fi b res read y to th ri l l wi l l t h e pe rplexities

, ,

of t h e l ove cont e st fin d in us when the y are raised to ,

40
 E L EV E N T H S IT UAT I O N 41

their th ird power b y the intro d uction of the terr i b le ,

as in t h e one com p lete an d p u re example wh ich we

h ave — the T urandot of t h e incom p ara b le Gozz i ; a
,
“ ”

work pas s ionatel y a d mire d translate d produced and

, ,

rendered famous i n German y b y S c h i l ler ; a work w h i ch

h as for a centur y b een regar d ed as a classic b y a l l the
worl d alth oug h it remains l ittle k nown in France
, .

Th e effect o f B (2 ) is strengt h ened an d au gmented

i n cases in w h ic h t h e h ero is su b j ected to t h e fol lowing :
C ( ) 1 — T e m p ta t i o n s O ff e r e d W i t h t h e O b j e c t o f
D i s c ove r i n g H i s N a m e .

2
( ) — T e m p ta t i o n s O ff er“e d W i t h t h e O b j e c t o f
A sc e r t a i n i n g t h e S ex : Th e Sc y r ia n Women of
S op h oc l es an d of E uri p i d es .

3
( ) — T e s t s F o r t h e “P u r p o s e o f A s c e r ta i n i n g t h e
M
“
en t al C on d i t i on :
”
U l y sses F ure ns o f S o p h ocl e s ;
Th e P a l a me d es o f A e sc h y lus an d of E uripid e s (accor d
ing to t h e t h e m es attri b ut e d to t h es e lost works ) . E xam
i na t io ns o f cri min a ls b y al i e n ist s
.
 T WE L F T H S I T U A T I ON

O B TA I N I N G

(A S ol i citor an d an A dversary Wh o I s R efus i ng or ,

an A rbi trator and O pposing Parties )

D i plomac y and eloquence here come i nto pla y A n .

end i s to b e attained an o b j ect to b e ga i ned

, What .

interests ma y not b e put at stake what we i ght y argu ,

ments or i nfluences removed what i ntermed i ar i es or

,

d i sgu i ses ma y b e used to trans form anger i nto b ene v o

lence rancor i nto renouncement ; to put th e D espoi ler
,

i n th e place of the D espo i led ? W hat m i nes ma y b e

sprung what counter m i nes d i scovered !
,
-
what u n ex
pect e d revolts of su b m i ss i ve i nstruments ! T h i s d i alect i c
contest wh i ch ar i ses b etween reason an d pass i on some ,

t i mes su b ti le an d persu as i ve somet i mes forcefu l and

,

V i olent , prov i des a fine s i tuat i on as natural as i t i s

,

original .

A O b t a i n a n O b j e c t b y R u se o r F o r ce
E ff o r t s t o
“ ”
the Ph i loctetes of A esch y l u s of S ophocles and of
,
“
E urip i des ; th e reclamation of the T he b ans i n (E d ipus
” “ ”
at C olonus ; T he M i n i ster s Ri ng by V ish a k a d a t ta
’

,
.

B E n d eavo r b y M e a n s o f P e r su a s i ve E l o q u e n ce
”
Al o n e T he D ese r t I sle by M etastas io ; the father s
,
’

“
att i tude i n Le F i ls N ature ! (D umas ) to wh i ch R u se ,

is soon after ward added ; S cene 2 of A ct V of S hake

“
speare s C or i olanus .

C E l o q u e n c e W i t h a n Ar b i t r a t o r T h e Judg
“ ”
ment of A rms by A esch y lus ; H elen R ecla i med by
, ,

S oph oc l e s .
 T H I R T E E N T H S I T UAT I O N

E N M I TY O F K I NSM E N

(E lements : a M alev olent K i nsman ; a H ated or

R eciprocal l y H at i ng Kinsman )

A ntith es is wh i ch const i tuted for H ugo t h e gener

,
*

ative pr in c ipl e of art d ramatic art in particu lar

, ,

and wh ic h natural l y resu lts from the i d ea of Conflict

wh i c h is th e b asis of d rama offers one of th e most sy m m e ,
“
t r ica l of sch emes in these contrasting emotions H atred .

”
of one w h o s h oul d b e love d of wh ich the worth y pen ,

dant is the T went y N inth Love of one w h o s h oul d

-

”
,

b e h ated S uc h co n flu en t s necessari l y give rise to

.

storm y act ion .

I t is eas y t o for esee th e fol lowing laws :

First : T he more closel y are d rawn the b onds w h i ch
u n ite k insmen at enmit y t h e more savage and danger ,

ous their out b ursts of h ate are ren dered .

S econd : W h en t h e hatred is mutual i t wi l l b etter ,

ch aracteri ze our S ituati on than w h en it exists upon

one s ide on l y in wh ic h cas e one of th e relat ives b ecomes
,

T y rant and t h e other V icti m the ensem b l e resulti ng ,

in S ituations V V I I V I I I X X X et c , , , ,
.

T h ird : Th e great d i fficult y wil l b e to fi nd and to

represent convi ncingl y an element of d iscor d p owerful
enough to cause the b reaking of t h e strongest h uman
t i es .

*
A n t i t h es i s : A n O pp o s i t i o n o r c o n tr as t o f w o r d s o r i d ea s e s p e
ci a l l y o n e e m p h as i z e d b y t h e p o s i t i o n s o f c o n tr as t in g w o r d s as ,

w h e n pl a c e d a t t h e b e g inni n g o r e n d o f a s in gl e s e n t e n c e o r cl a u se ,

or, in c rr e p o nd in g p o i t i o n i n t w o
o s m o r e n t e n c o r cl u
s s or se es a ses .

(M a ure n o t m en
s es , T h e p ro d i g l r b h i h e i r ; t h e m i se r r b s
. a o s s o
h i m e l f ) H r e t h e r f r e n c o f c o ur i t o id as
s . e e e e, se , s e .

44
 T H I RT E E N T H S IT UAT I O N 45

A H a tr e d o f B r o t h er s : (1 ) O n e B r o t h er H a te d
b y S evera l (t h e h atre d not m a l ignant ) : T he H el iad e s
“ ”
of A esc h y lus (motive env y ) ; Th e La b ors of Jaco b b y , ,

Lo pe d e V ega (mot ive fil ial j ealous y ) H ated b y a

, .

“ ”
single b rot h er : Th e Ph o en issa e of E uripi des an d of
“ ”
S eneca ; Pol yn“ic e s by A l fier i (motive t y rann i cal ava ,
“
rice ) ; B yron s ain (motive rel igi ous j eal ous y ) ; U ne
’
C ,

Fami l le au T emps de Lut h er by D elavi gne (motive

”
,
“
rel igi ous d issent ) ; Le D u e l (La v ed a n
—
,
“
(2 ) R e c i p r o ca l H a t r e d : Th e S e ven A gainst
”
Th e b es b y A esch y lus an d Le s Fr e res E nnemis
, ,

b y R a cine (motiv e gr e e d for power ) ; an admira b le ,

supp lementar y character is a d d ed in t h is Th e b a n legen d ,

“ ”
t h e M ot h er torn b e tw e en t h e sons ; Th y estes I I of
” “
S o p h ocl e s Th y estes o f S eneca ; t h e P e l o pid es b y
:

”
V olt a ire ; A tre us and T h y est es b y C r éb il l o n (motive ,

gree d for p ower t h e im p ortant r o l e b eing that of the

,

pe rfi d i o u s instigator ) .

(3) — H a t r e d B e t w e e n R e l a t iv e s f”o r R ea s o n s o f
S e l f l n t er e st : La M a ison d A rg i l e (F a b re
’
-
,
”
E x a m p l e f rom fiction : M on Fr e re
“
(M er ce r e a u )
B — Ha t re d o f Fa t h er a n d S o n : — Of th e
.

So n f o r t h e Fa t h e r z — “
Th ree P un is h m en ts i n O ne ”
,

by C a l d eron H“i s tori c e x a”m p l e : Lou i s X I a n d C h arl es

.

”
V I I A p a rt o f La T e rr e by Z ol a a n d o f Le M a itre
.
“

by J ea n J ul l i e n .

(2 ) M u t u a l Ha t red :
-
Li f e is a D re a m by ,

C a l d e ro n H i s t o ric in s t a n c e : J e ro m e a n d V ict o r Bona

.

p a rte (a re d ucti o n o f h a tre d t o s i m p l e d i s a gre e m e nt ) .

Th is n u a nc e a pp e a rs t o m e t o b e o n e o f t h e fi n e s t ,

a lt h o ug h o n e o f t h e l e a s t r e g a rd e d b y o u r wri t e rs .

(3) l l a t r ed of Da u g h t e r f o r Fa t h e r : l he
’

C e nci b y Sh e l l e y (p a rrici d e a s a m ea ns o f e s c a p e fro m

,

inc est ) .

C l l a tred o f G ra n d fa t h e r f o r G ra n d s o n :
M eta sta s i o s '

t h e s t o r y o f A mul iu s i n t h e
be gi nn ing o f T i t u s Liviu s ( m o t i v e t y ra nni c a l a v a ric e ) , .

”
H a tre d o f un c l e f o r n e p h e w : T h e D e a t h o f a n s a by “
,

O n e o f t h e f a c e t s o f H a ml e t
'

( fri c h n a ( a v i . .

D l l a t r e d o f Fa t h e r i n l a w f o r S o n l n l a w
- - - - -

A l fie r i s
“'

A gis a n d S a u l ( m o tiv e t y ra nn ic a l a v a ric e ) , .

4G T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

H i stor i ca l example : Caesar an d Pompe y H atred of .

“ ”
two b rothers in law ex rivals : L a M er (Jean Jul l i en
- -
,
-
,

1 89 1 ) the onl y modern drama I ma y note i n pass i ng , ,

in wh ic h one finds emot i on increasing after the death

of the pr i ncipal character I n th i s respect i t conforms .

to real it y i n wh ich we ma y experience shock or alarm

, ,

or cry out i n dread b ut i n wh i ch we do n ot weep nor , ,

feel sorrow to th e ful l unt i l afterward al l h e pe b e i ng , ,

forever en ded .

E — H a tr e d o f M o t h e r i n l a w f o r D a u g h t e r i n - - -

l a w z — Corn e i l le s
“
(m o t i v e t y rann i cal
’
R o d o gu n e ,

avar i ce ) .

F I n f a n t i ci d e C onte de N oel (Li nant ,

“
A part of the Powers of D arkness .

I wi l l not repeat the l i st of degrees of relat i onsh i p

i nto wh ich th i s situat i on m i ght b e success i vel y trans
ferred T he case of hatred b etween sisters one f re
—
.
,
“
q uent enough wil l offer , even after Le C a m a v a l
,

des E nfants (de B o u h él ier ) — a n excel lent opportun i t y

for a stud y of fem i n i ne enm i t i es so last i ng an d so cr uel ; ,

hatred of mother an d daughter of b rother and sister , ,

w i l l b e not less interesting ; the same ma y b e sa i d for

the converse of each class wh i ch has furn ished our ex
amples M a y there n ot b e an especiall y fi ne dramat i c
stud y i n the deep su b j ect — heretofore so vu lgar b e
.

ca use treated b y vulgar han ds the ant i path y of the ,

mother an d the hus b an d of a y oung woman ? D oes ,

i t not represent the natural confl i ct b etween the i deal ,

ch i l dh ood pur i t y on the one han d an d on the other

, , ,

Li fe v i gorous an d fert i le decept i ve b ut i rres ist ib l y

, ,

al lur i ng ?
N ext the mot i ve of hatred chang i ng a” l i ttle ma y , ,
“
vary from the everlast i ng love of power alleged i n
nearl y al l extant examples and what i s worse in v a ri , , ,

a b l y painted in th e strained att i tudes of noe class i c i sm

* - .

T he character of the common parent torn by a ff ec ,

t i on for b oth adversaries i n these struggles has b een ,

*
N eoC l i c i m B e l o n g in g
-
ass s : to or d es i g n a t in g the re v i val of
cl s i c l t t e a nd t y l e i n art
as a as s .
 T H I RT E E N T H S IT UAT I O N 47

l ittle mod ified s i nce the da y when A esch y lus led forth ,

from t h e tom b to wh i ch tradit i on had cons i gned her ,

h is maj est i c J ocas t e T he r o les of two parents at enm i t y

.

coul d we l l b e r e v i ved also A nd I fi n d no one b ut

.

B eaumont an d Fletcher wh o has drawn v i gorous l y the

i nst i gators of such i mp ious struggles ; characters whose
in fam y i s su ffi c i ent to b e wel l wort hy of attention ,

neve rthel ess.

W i t h the enm i ties of kinsmen are natural l y connected

the enmities wh i ch spr i ng u p b etween friends . T h is
nuance w i l l b e found i n the fol lowing s i tuat i on
.
 F O U RT E E N T H S I T U A T I O N

R I VA LR Y O F K I NSM E N

(T he Preferred K i nsman ; the R ej ected K i nsman ; the

O b j ect )

T h i s s i tuat i on seems at first glance to present ten

, ,

ti mes the attraction of the preced in g D oes n ot Love .

,

as wel l as Jealous y augment its eff e ct ? H ere the c h arms

,

of the Beloved sh ine am i d t h e b lood of b attles fough t

for her sake . W h at startled h esitanc i es what per ,

pl ex it ies are h ers ; what fears of avowi ng a preference ,

lest pit i less rage b e unchained !

Y es the Belov e d one t h e O b j ect
, , to use t h e ph i lo
soph i c name appl ied to h er in t h e seventeent h centur y
—wi l l here b e a dded to our l ist of characters B ut .

the Common Parent even i f h e does not d i s ,

appear mus t l os e th e greater part of h i s i mportance ;

,
.

the I nstigators wi l l pale an d van ish in the central rad iance

“
of t h e fair Ob j ect D ou b tless t h e love scenes wi l l
.

please b y their contrast to the v iolence of the p la y ; b ut

,

the dramati c pur i st ma y raise h is b rows and find p er ,

haps — t h ese turt le d ove interludes a tri fle colorless

-

when set in the cr i mson frame wor k of fratrici de -

.

Furt h ermore there p ersists i n the ps y cho logist s

,
’

mind t h e i dea that R ivalr y in such a struggle is n o , ,

more t h an a pretext t h e mas k of a darker more ancient

“

, ,

hatred a p h y s i ol og i cal anti p a t hy one might sa y der i ved

, , ,

from t h e parents T wo b rothers two near relatives

.
, ,

do not proceed on a ccount of a woman to ki l l each

, ,

other unless p red ispos e d

,
N ow i f we thus reduce the
.
,

motive to a m e re p retext t h e O b j ect at once pales an d

,

d imin is h es i n i m p ortance an d we find oursel ves return

,

i ng to t h e Th i rteenth Si tuat ion .

48
 F O URT E E N T H S IT UAT I O N 49

I s t h e Fourteenth t h en l i mit e d to b ut o ne cl ass a

, , ,

m e re d e rivative of the prece d ing ? N o ; it possesses ,

fort unatel y some germs of s a vage r y wh ich permit of

,

its devel opment in several d irecti ons T h roug h t h e m .

“ ” “
i t ma y trend upon M u rderous A dulter y Ad ulter y ,
” “
T hreatene d an d especial l y upon
, Crimes of Love
(incests , I ts true form and value ma y b e a sce r
f aine d by throwing th ese new tendencies i nto rel ief .

“
A (1 ) M a l i c i o u s R i va l r y o f a B r o t h er B rit a n
” “ ”
n iens ; Le s M a u cr o i x by D elpit (t h e Common Parent
here gives place to a pair of ex rivals w h o b ecome almost -
,
“ ”
the I nstigators ) ; B o isl a u r ie r (R ic h ard From ,
“ ”
fiction : Pierre et Jean b y de M au p assant Case in
,
.

wh ich rival r y is with out hatred : 1 81 2 (N igo n d

—
,

(2 ) M a l i c i o u s R iva l r y o f T w o B r o t h er s
”“ ” ”
A g a t h o cl e D on P e d re A d l éa i d e d u G u escl in and
, ,
.

”
A m e lie a l l b y V oltai re w h o dreamed of carv i ng a
, ,

k in d g o m al l h is o wn from t h is su b class of a singl e

,
-

situation .

(3) R iv a l r y o f T w o B r o t h e r s W i t h A d u l t e r y o n ,
“
t h e Pa r t o f O n e P e l l e as et M e l isande by M aeter
:

l inc k
( )
4 — R iva l r y o f S i s t e r s : La S ouris (Pa il l e r o n ,
“ ”
’
L E n ch a n t e m e n t
”
( B a ta i l l e Le D emon
”
,

d u F o y e r (G S a n d ) . O f a unt a n d n iece : Le R is q ue
.

(C oolus ,

B (l ) R iv a l r y o f F a t h e r a n“d S o n f o r a n“ U n m a r ,
”
ried Wom a n : M e t a s t a s i o s A ntigon e ;
-
Le s F o s
’

si l e s ( F d e Cure l ) ; La M a s s i e re (Le m a itre

.
“
,

La D e tt e Pa p a (d c F l e rs a n d d e
“ “
(T ra r ie u x ,
”
Ca i l la vet ,
R a cin e s M i t h ri d a t e ’

i n w h ic h t h e ,

riv a l ry is tri p l e b e t w e e n t h e f a t h e r a n d e a c h o f t h e
,

s o ns a n d be t w e e n t h e t w o s o n s
,
l a rt ia l e x a m p l e : t h e .
’

be ginning o f D um a s Pe re I ro d ig ue
“ ’ ’
.

(2 ) R iv a l r y o f F a t h e r a n d S o n f o r a M a r r i e d ,

Wo m a n : Le V i e i l H o mm e ( l o rt o R ic h e
’ -
,

(3 ) ( Ja s c S i m i l a r t o t h e T w o F o r e g o i n g B u t i n
-
,

W h i c h t h e O b j e c t i s Al re a d y t h e W i f e o f t h e Fa t h e r .

(T h i s g o e s b e y on d a d u lt e ry a n d t e n d s t o re s ul t i n inc e s t
, ,

b ut t h e p uri t y o f t h e p a s si o n p re s e rv e s f o r d ra m a t i c ,

c fl e ct ,a fi ne d istincti on b e t w e e n t h is su b cl as s a n d -
50 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

“
Si tuat i on X X V I ) : E ur i p i des
’
Phen i x ; (a co ncu
“ ”
bi ne is her e the o b j ect of r i valr y ) ; S ch i l ler s D on Carl os ;
’

“ ”
Al fi er i s Ph i l i p I I
’
.

“
(4 ) R i va l r y o f M o t h e r a n d D a u g h t e r ’
L Au tre
D a nger
C R i va l r y o f C o u s i n s : (wh i ch i n real i t y fal ls i nto
“ ”
the fol low i ng cl as s ) : T he T wo N o b le K i nsmen ,

by Beaumont and Fletch er .

“
D R i va l r y o f F r“i e n d s : S hakespeare s T wo Gen
’

”
t l e m en of V erona ; Ai mer sans S avo i r Q u i by Lope
“ “ ”
de V ega ; Lessing s D amon
’
Le C oeur a ses R a i sons
“
(de Flers an d de Ca i l lavet , U ne Femme Pas sa
(Coolus ,
52 T H I RT Y S I X D RA M AT I C S IT UAT IO N S
-

domin a te s adulte r y ) ; T h e S ch ism of E ngl a nd by

“ ”
Calderon ; Z o b e i d e b y G ozz i N arrative e xample : .

B lue b eard H i storic : t h e murder of G a l eswin t h e

. .

H ints for var yi ng an d mod if y ing th is s ituation :

T he b etra y ed h us b an d or wife ma y b e either more or
less powerfu l more or less s y mpat h eti c i n c h aracter
, ,

t h an the sla y er Th e b l indness of the i ntended v i cti m

.

ma y b e more or less comp lete at various moments of

the action ; i f i t b e d ispel led partl y or ful l y i t ma y b e , ,

b y chance b y some i mprudent act of t h e gui lt y one s

, ,

b y a warning etc ,
.

Between t h e v icti m an d t h e i ntruder t i es of a ff ec ,

ti on of dut y of gratitude ma y have prev i ousl y ex i sted ;

, , ,

ties ver y real to one or the other of the two T he y .

ma y b e relatives ; the y ma y find themselves un ited

by some work or responsi b i l it y in common T he V ictim .
,

whether h e b e pursued open l y or secretl y wi l l b e dou b t , ,

less the o b j ect of an old rancor eit h e r on the part of

, ,

the consort or of the intru der ; t h e origin of th is ranco r

ma y b e in an y one of t h e i mag i nab le off enses b y wh ich
a human b eing is woun ded in h is fam i l y affect i ons h i s ,

l oves h is i deals etc or in h is pr i de of bi rth of name

, , .
, , ,

of ach ievement ; i n h is interests (mone y propert y , , ,

power freedom ) ; in an y one of the ext ernal rad iat i ons

,

of l ife .

O f the two adulterers one ma y b e b ut an i nstrument ,

i m p assioned or resigned unconsci ous or i nvoluntar y ,

of the ot h er an d ma y later b e rej ected the en d b eing

, ,

a ttained ; t h e b l ow m a y b e struck b y one of the two

traitors al one or i t ma y b e th a t neit h er of them has

,

stained h is own han ds wit h t h e cr i me wh ich h as b een ,

committed b y a new character per h aps unintenti onal l y , ,

or p erh a ps from l ove of one of t h e two A du lterers wh o ,

h as uti l ized and d irected th is passi on or has let it move ,

o f its own accord toward the desire d an d cr i minal end .

A multitude of ot h er characters w i l l b e in varyi ng ,

degrees t h e means emp lo y ed the o b stacles secondar y

, , ,

v ictims an d accom p l ices i n t h e sin ister deed ; the deed

,

i tself ma y b e b rought ab out accord ing to th e author s ’

cho i ce among the num b erless circumstances wh ich the

 F I F T E E N T H S I TUAT IO N 53

Law h as foreseen wit h d ivers detai ls such as court

,

tri als suggest

.

I f a more com pl i cated acti on is des ir e d i nterweav e

,

(as H en n i q u e h as d one ) a rivalr y of Ki ns men an u n

,

natural love (see E urip i d es C h r y si ppe ) an am b itious

’
,

purp ose and a cons pi rac y .

 S I X T E E N T H S I T UA T I O N

MA D NE SS

(E lements : M ad man an d V i ct i m ) -

T h e or i g i n of certa i n human actions l i es h i dden i n

fe a rful m y stery ; a m y ster y wherein the ancients b el ieved
t he y d iscern ed t h e cruel smi le of a god and where i n ,

our sc i entists l ike the Ch inese ph i losophers b el ieve

, ,

the y recogn i ze the des i res prolonged and hered i tary of

, ,

an ancestor A startl ing awaken i ng i t i s for R eason

.
,

when she finds on al l s i des h er dest i n y strewn w i th

corpses or w i th d i s h onors wh i ch the O ther the unknown
, , ,

has scattered at h i s p leasure A t th i s ca lam i t y greater .

,

than death h ow our ki ndred must weep an d trem b le ;

,

wh at terror and suspense must arise i n their m i nds !

A n d th e v i ct i ms wh ose cr i es are lost i n the mute heavens ;
,

the b eloved ones pursued i n unreasoning rage wh ich the y

cannot comprehend ! Wh at var i ations of th e in co n
sc i ent are h ere : fol l y possess i on d i v i ne b l i ndness h ypn o
, , ,

sis i ntox i ca tion forgetfulness !

, ,

A (1 ) K i n s m e n S l a i n i n M a d n e ss A thamas
”
an d the Weavers of N ets by A esch y lus ; H ercu les
” ”
Fu rens by E ur i p i des and b y S eneca ; I on by
E uri pi des .

(2 ) A L ove r S l a i n i n M a d n e ss La F i lle E l i za ,
“
b y E dmond de G oncourt ; L a T entat i on de V ivre
(Lou is E rn a u l t ) A lover on t h e point of sla yi ng h i s
.

“
m istress in madness : E xample from fiction : L a B e te
”
H umaine . Fami l iar instances : Jack th e Ri pper ; th e
S pan iard of M ontmartre etc , .

(3) S l ayin g o r I n j u r in g o f a P e r s o n n o t H a t ed °

”
M onsieur Bute (B io l l a y D estruction of a
,
“
work : H e dda Ga b ler .
 S I XT E E N T H S IT UAT I O N 55

B D i sgr a c e B r o u g h t U po n O n e s e l f T h r o u gh
“ ” “
M a d n e ss : A“esch y l us T hracians ; S ophocles A j ax ;
”
’ ’

to some extent S au l (G i d e ) .

C L o s s o f L ove d O n e s B r o u g h t A b o u t b y M a d
“
n es s S ak u ntala by Kal idasa (form amnesia ) , , .

T he ph i ltre of H agen i n Wa gner

D —M a d n “e s s B r o u g h t o n b y F ea r o f H er e d i t a r y
.
,

”
I n sa n i t y : L E t a u (A n d r e S ardou
’

T he cas e of A trans ferred to t h e past and treated

accord i ng to a qu i d pro quo p rocess is t h at of one of th e
- -
,
“
merr i est comedies of the n ineteenth centur y L Aff a ire ,
’

de la rue de Lo u r cin e by La b ic h e .

N um b erless examp les of th is S ixt eenth S ituation

’
have fil led the d is quieting pages of al ien ists j ourn als .

M enta l d iseases man i as of various t ypes offer power

, ,

fu l d ramatic effects w h ich have not y et b een explo i te d .

T hes e furn ish dou b t less b ut points of d eparture toward

, ,

the Si tuat i on wh ose real i nvest i ture ta k es pl a ce at t h e

moment of th e hero s restorat i on to reason ’
— w h ich ,

is to sa y to suffering But i f i t ever happens that t h es e

three ph as es — the et i olog y of del irium its access an d
.
,

the retur n to a normal con dition — are treate d w i th

, ,

eq u a l stren gth an d v igor w h at an ad mirab le wor k wi l l ,

resu lt !
T he fi rst of the t h ree stages wh ich b ears upon the ,

explanati ons of i nsan it y h as b een var i ousl y h e l d to b e

,

d i vine (b y the G ree ks ) demon iac (b y t h e Churc h ) an d

, , ,

i n our o wn ti mes h ere d it a ry an d p a t h ologi cal H y pn o

,
.

t is m h as recentl y created anot h er nu a nc e ; t h e h yp notist

here forms a su b stitut e — a sorr y o ne it is tru e ,
f or , ,

d i v i n i t y or demon D run k enn e ss furnis h es us a nuanc e

.

unfami l iar to G ree ce ; w h a t is tod a y more common p l a c e ,

and at the sam e ti me more t e rri b l e t h a n t h e d i s cl o s ure ,

of an i m p ortant s e cre t or t h e committing o f a cri min a l

act wh i le un d e r th e in f l uenc e of d rink
,
?

I s i t necess a ry to sa y t h a t a l l ti e s a l l inte re s ts a l l , ,

hu m an desi re s m a y b e re p re s e nt e d cr o s s e d a n d il l u m i n
,

ated b y t h e l ig h t o f d e m e nti a ?

For t h e rest t h is situ a t i on o f M a dn e ss is f a r from

,

hav i ng b ee n n e gl e cte d i n o u r t h e a te r Sh a k e s pe a re .
,

in h is most p e rs on a l d ra m a s h a s m a d e use o f in s a nit y

,
56 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

in the lead ing r o les Lad y M acb eth i s a so m n a mb u

.

l ist an d d ies in h y steria her hus b an d i s a v i cti m of hal

,

l u cin a t i o n s ; the sam e ma y b e sa i d of H amlet wh o i s ,

a l ypem a n ia c b esi des ; of T i mon also ; O thel lo i s an

epi leptic and K i ng Le ar completel y deranged I t is on
.

t h is account that th e great Wi l l iam i s so dangerous a

model (Goet h e woul d not read h i m more than once a
y ear ) H e h as p la y ed to some extent the same r o le
as M i c h ael A ngelo — h e has exaggerated the spr i ngs of
.
, ,

-
,

act i on to the farth est l i mits of real it y b e y on d wh i ch

,

h is d iscip les fal l i mmed iatel y i n t o m e r e r i d i cul ous

affectat i on .

O n th e other h an d i f we except t h e pretext of stud y

,
“
i ng i nsan it y in itself w h i c h A j ax h as furn i shed from
,

Ast y d a m u s to E nn ius an d from E nn ius to E mperor

”
,
“
A u gustus I fi nd n oth ing S hakespearean i n the dram a
,
“ ”
of ant iq u i t y except O restes A l l other characters
.

are i n t h e enj o y ment of t h eir senses an d do not t h ere b y

”
,
“
b ecome an y less pat h et i c (E d ipus
. alone shows in ,

d efault of a b n ormal it y i n t h e hero s ps y c h ologic con

’

s t it u t io n
,
external events of an extraord inar y character
(a resource s i nce so largel y used by t h e R omanti cists
of 1 830 an d later ) .B ut t h e rest of t h e ant i que dramatic
t y pes are evolved i n accordance wit h n ormal p assions ,

an d under o b j ect ive cond iti ons relat ivel y common .

 SE V E N T E E N T H S I T U A T I O N

F ATA L I M P R U D E N C E

(T he I mprudent ; the V icti m or the O b j ect L ost )

T o w h ich are som e times a d de d T h e C ounsel lor a ,

“
person of wid so m w h o opposes t h e im p rudence Th e
”
, ,

I nstigator wic k ed sel fis h or t h oug h tless and th e

, , ,

usual string of W itnesses secondar y V ictims I nst r u , ,

ments etc , .

A (1 ) I m p r u d e n c e t h e C a u se o f O n e s O w n M i s
— “ “ ”
fort u n e : S op h ocles E u m e l e ; E uri p i d es P h aeton
’
.
’

(here the C ounsel l or is b l e n d e d wit h the I nstrum e ntal

c h aracter i n w h ich b oun d by a too h ast y oat h h e fi n d s
, ,
-
,

h i ms el f in S itu a ti on X X I I I A o b l ige d to sacrific e

,
”
a k i nsman to kee p a vow ) ; Th e M aster Bu ild e r b y ,
“
I b sen From comed y : L I n d is cr et (S ee ’

—
.
,

(2 ) I m p ru d en c e t h e C au s e o f O n e s O w n D i s
“ ”
h on or La Ban q u e d e l U n iv e r s G renet D a ncourt
’

”
( -
,
“
From fiction : L A r ge n t by Z ol a H i s toric :
’
.

Ferd inand d e Less e p s .

B (1 ) C u r i o s i t y t h e C a u s e o f O n e s O w n M isf o r
tu n e : A esc h y lu s S e m e l e
“ ’

“
H i s t o ric e x a m p les (w h ic h
.

ri s e to th e T wenti e t h S ituation S a cri fi c e s to t h e ,

the d eat h s of m a n y sc h ol a rs a n d s ci e nti s t s

—
.

2
( ) L o s s o f t h e P o s s e ss i o n o f a L ove d O n e ,
”
T h r o u gh C u r i o s i t y : “
P s y c h e (b o rr o w e d f ro m t h e
account w h ic h La F o nt a i n e d re w f r o m A p ul e i u s h i m s e l f ,

t h e de b tor o f Lucius o f l a tra s a n d d r a m a ti z e d by C o r

’
,
”
n e i l le M o l iére a nd ! uin a u lt ) ;
,
l l sc l a r m o nd e (M a s
‘

senet ,
Le g e n d a ry e x a m p l e : O r p h e us b ringing
b a ck E ur y d ic e Th is n u a nc e t e n d s t o w a r d S itu a ti o ns
.

X X X l l an d X x x l l l M i s ta k e n J e a l o us y a n d J u d i
"
,

c ia l E rror .
58 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

C (1 ) C u r i o s i t y t h e C a u s e o f D e a t h o r M i sf o r
t u n e t o O t h er s z — “ ”
G oet h e s Pandora and also V ol ’

”
a ire s ; T h e Wi ld D uck by Ib sen Le gendary example :
’

E
.

ve .

(2 ) I m pr u d e n c e t h e C a u s e o f a R e l a t i v e s D e a t h ’

”
La M e re M eurtr i ere de son E nfant (a fourtee nth
“
century M iracle of N otre D ame ) ; O n ne Bad i ne pas -

” “ ”
avec l A m o u r (de M usset ) ; R én ee M a u per in by the
’

G o n co u r ts Fam i l i ar i nstances : b lunders i n the ca re of

.

“
s i ck persons Lou i se Le cl er q
. by V erla i ne T he .

”
,
“
cause of another s m i sfortune : ’
D amaged G oods
(B rieux ,

(3) I m pr u d e n ce t h e C a u se o f a L o ver s D e a t h ’

” “ ”
S ams on by V olta i re ; L a Bel le aux Cheveu x d Or ’

(A rnould ,

(“4 ) C r e d u l i t y t h e C a u s e o f K i n sm e n s D ea t h s ’

” “ ”
Pel i as by S oph ocles and T he P el ia d es by E ur i
p ides From fi ction (credul i t y the cause of m is fortune
.

“ ”
to fel low c i ti zens ) : Port T arascon
- -
.

E stab l i sh i n each of the preced ing su b classes e qu iva -

lents to th ose cases wh i ch are presented i n s i ngle i nstances

i n one class on l y an d we have the fol lowi ng su b j ects :
,

B y I mprudence (mean i ng i mp rudence pur e an d s i mple ,

unconnected w i th cur i os i t y or credul i t y ) to ca use m i s

fortune to others ; to lose possess i on of a loved one (lover ,

wife or husb and fr i en d b enefactor protege

, ,
to , ,

ca us e th e death of a relat i ve (an y degree of k i nsh i p ma y

b e chosen ) ; to cause the death of a loved one B y .

Cur i os i t y (unm i xed w i th i mp r u dence or credul i t y ) to

cause the d ish onor of a relat i ve (the var i ous k i n ds of
d ish onor are numero u s enough touch ing as the y d o ,

upon pro bi t y upon courage upon modest y upon lo y

, , ,

alt y ) ; to cause t h e d ish onor of a loved one ; to cause

ones own d ish onor T o cause these d i sh onors by pure
.

Credul i t y (unmi xed w i th i mpru dence or cur i os i t y ) .

An exam i nati on of th e T welfth S ituat i on wi l l g i ve us a

prima r y i dea of th e wa y i n wh ich R use ma y b e us ed to
gain th is credul it y B y Credul it y also to ca us e ones
.
,

o wn m isfortune or l ose possess i on of a loved one or

, ,

ca use misfort une to others or ca use th e death of a loved

,

one .
 E I G H T E E N T H S I T U A T I ON

I N V O L U N T AR Y C R I M E S O F L O V E

(T he L over ; the Beloved ; the R evealer )

T h i s an d the fol low i ng situat i on stan d out as the

most fantast i c an d i mpro b a b le of al l t h e silh ouettes
upon our dramat i c h or i zon N evertheless t h e y are i n
.
,

th ems elves qu ite admiss i b le and at least not rarer

, ,

toda y t h an the y were i n heroic t i mes throug h adulter y ,

an d prostitut i on wh ich never flourished more general l y

,

th an at present I t is merel y th e d iscl osure wh i ch i s

.

l ess frequent Y et man y of us h ave seen certain mar

.

r ia ges ,
apparentl y su i ta b le planned and arranged as
, ,

i t w e re by relatives or fr i ends of t h e fami l ies y et o b st i

, ,

n a t e l y opposed avoided and b roken off by the parents

, ,

seem ingl y unreasona b le b ut i n real it y on l y too cer tain

,

of th e cons an gu i n it y of t h e l overs S uch revelat i ons .

,

th en sti l l take place alt h oug h with out t h eir ant i que
, ,

an d start l ing é clat t h an ks to modern custom and our

,

pru dent pru der y .

I t s reputation f o r fa b ulous monstros i t y was i n real it y

attac h ed to our E ighteenth S ituat i on b y the unequal led
cele b rit y of the th e me of (E d ipus wh ich S ophocles ,

treated i n a st y le al most romantic and wh ich h is i m i ,

t a t o rs h ave ever since overlo a d ed wit h fanc i fu l ara b esques ,

mor e and more c h i meri cal and extraord inar y

T h is situat ion an d t h e fol lowing — as in d eed to some
.

e xtent al l t h irt y si x ma y b e represented as t h e aut h or

-
,

c h ooses i n one of two l ig h ts

,
I n t h e first th e fatal
.
,

error is revealed s imultaneousl y to t h e spectator an d

,

to t h e character onl y a fter i t is i rrepara b le as i n C lass

, ,

A ; an d h ere t h e state of m ind strongl y recal ls th e S ix

t ee nt h .I n t h e second t h e sp e ctator informe d of t h e
, ,

60
 E I G H T E E N T H S IT UAT I O N 61

truth sees t h e character wa lk unconsc i ousl y toward the

,

cri me as t h oug h in a s i n ister so r t of b l in d m a n s b u ff

,
’
-
,

as i n C lasses B C a n d D , .

A (1 ) — D i s c over y T h a t O n e H a s M a r r i e d O n e s
M o t h er z — “
Th e (E d ipu s of A esc h y lus of S o p hocles , ,

of S eneca o f A n gui l lara of Cornei l le of V oltaire not

, , , ,

to spea k of th ose of A c h aeus P h il o cl es M e l it u s , , ,

X en o cl es N ico m a ch us Carcinus D iogenes T h eo d ect e

, , , , ,

J ul ius Caesar ; nor of t h os e of J ean P r e vost N icolas d e

" ,

S a inte M art h e Lamot h e D ucis J C h en ier etc

-
, , he ,
.
, .

greatest pra ise of S op h ocles consists in t h e aston is h

ment we feel t h at neit h er t h e man y i mitations nor ,

t h e too wel l kn own legen d o f t h e a b an d on ment on

-

C ithaeron nor t h e ol d f ami l iar m yt h of t h e S p h inx

, ,

nor t h e d ifference in t h e ages o f the we d d ed p air that ,

none of t h ese t h ings h as ma d e h is wor k appear u n

natural o r unconvinc i ng .

(2 ) D i sc ove r y T h a t O n e H a“s H a d a S i s t e r a s M i s”
“ ”
tr e s s : T asso s T o rr ism o n d ; ’
Th e B ri d e of M essin a
by Sch il ler Th is case o b v iousl y a more f re q uent one
.
, ,

b ecomes unconv inc ing in t h e l a tter d ram a w h e n com ,

b in e d wit h t h e N in e teent h S itu a tion E x a m p l e from .

“
fiction : L E n f a n t N a ture ! by S u e
’

,
.

B (1 ) — D i s c ov e r y T h a t O n e H a s M a r r i e d O n e s
“
S i s te r : Le M a ri a ge d A n d r é (Le m a ire a n d d e ’

R ouvre ,
Th is b eing a c o m e d y t h e e rror is“ d is ,

cover e d i h ti m e t o b e re m e d i e d a n d t h e p l a y e n d s ,
” “
happi l y . Ab u f a r by D uci s w h i c h a l s o f a l l s un d e r ,

a pr e c e d ing cl a ssifi cati o n .

2
( ) — T h e Sam e Case in W h i c h t h e C ri m e H a s ,

Been V i l l a i n o u s l y Pl a n n e d b y a T h i rd Pe rs o n :
” ”
H e racl ius (t h is gi v e s d es p it e i t s g e ni u s ra t h e r t h e
, ,

f ee l ing o f a n ig h tm a r e t h a n o f a t e rri b l e re a l i t y ) .

3
( ) — Be i n g U p o n t h e Po i n t o f Ta k i n g a S i s t e r ,

Un k n ow i n gl y as M i s t re ss ,
l i)S ( n s ( h o s ts l he . .
'

mot h er a k n o win g w i tn e s s h e s i t a t e s t o n v r a ! t h e d a n
, ,

g e r
,
for f e a r o f s u b j e c t in g t h e s o n t o a fa t a l s h o e k .

C B e i n g U p o n t h e P o i n t o f V i o l a t “i n g U n ,

k n o w i n gl y a Da u g h t e r ,
l a r t ia l e x a m p l e : La D a m e ’

a u x D om ino R os e
62 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

D (1 ) B e i n g U po n t h e P o i n t o f C o m m i t t i n g a n
A d u l t e r y U n k “n o w i n g l y (th e onl y cases I have foun d i n
a l l d rama ) : — Le R o i C erf
” “
an d L A m o u r des T ro i s
’

”
O ranges b oth by Gozz i
—
.
,

2
( ) — A d u l te r y C o m m i t t e d U n k n w
o i n gl y z Pro b
“ ” “
a b l y the A lcmene of A esch y lus ; Le Bon R o i D ago
” “
b ert (Ri voire , From fi ct i on : the end of T he
Ti tan by J ean Pau l Ri chter
,
-
.

T h e var i ous mod ificat i ons of i ncest and other for

b i dden l oves wh i ch wi l l b e foun d i n Si tuat i on X X V I
, ,

ma y b e adapted i n the same manner as th ose here

class ified .

We have seen a b ove instances of adulter y comm i tted

th rough a m i stake on the part of the w i fe ; i t m i ght also
b e through a m i stake by the husb an d T h i s error i s .

espec i al l y l i kel y to b e made by that one of the two

adulterers w h o i s un marr i ed ; what i s more common
”
,
“
for examp le i n the l i fe of p leasure
, than to d i scover
,

a l ittle tard i l y that ones m i stress i s a marr i ed

woman ?
I gnorance of the sex of the b eloved i s th e po i nt upon
“ ”
wh ich M ademoisel le de M aup i n turns ; there i s i n the
first p lace a mistake (comed y ) upon wh i ch are b u i lt
,

t h e o b si d ional st r uggles of a sou l (trag i c omed y ) from -

,

wh i ch there final l y results when the truth i s d isclosed

,

a b rief trag i c d e nouement .

 N I N E T E E N T H S I T UAT I O N

SLA Y I N G O F A K I NSMAN U N RE C O G N I Z E D

(T he S la y er ; the U nrecogn i zed V i c ti m )

Whereas the Ei ghteenth Si tuat i on attains i ts h i ghest

degree of emot i on after t h e accompl ishment of the act ,

(dou b tless b ecaus e al l the persons concerned i n i t sur v i ve ,

and the h orror of i t l i es c h i efl y i n t h e consequences ) the ,

Ni neteenth on the contrar y i n wh ich a v icti m is to per i sh

, ,

an d i n wh i c h the i nterest i ncreas es b y reason of the b l in d

premed i tat ion b ecomes more pathetic in the preparations
,

for the cri me than i n the results T h is permits a ha p p y .

end i ng w i thout the necessit y of recou rse as in the E igh

, ,

t ee n t h to a comed y process of error

,
-
A simple re co gn i
.

t i on of one character b y anot h er wil l su ffi c e of wh i ch ,

our S ituation X I X is in effect b ut a d evelopment

, ,
.

A (1 ) B e i n g U po n t h e P o i n t o f S l a y i n g a D a u gh
t er U n k n o w i n g l y b y C o m m a n d o f a D ivi n i t y o r a n
,
”
O ra cl e : M et as tas io s D e mo p h on Th e i gnorance
’
.

of t h e k i n s h i p springs from a su b stitution of in f a nts ; t h e

i n te rpretat i on of t h e ora cle s wor d s is e rroneous ; the
’

“
j eune premi e re ,
at one point in t h e act i on b e li e v e s ,

herself the sister of h e r fianc e Th is l in k ing of t h ree or

.

four m i stak e s (unknown k insh i p in t h e s p e ci a l l ig h t of t h e

,

s i tuat i on we a re n ow stu d y ing a su pp o s e d d a nge r o f inc e s t

, ,

as i n B 2 of t h e pre c e d ing a n d fi n a l l y a m i s l e a d ing a m b ig

,

u it y of wor d s a s i n t h e m a j orit y o f com e d i e s ) suffi c e s to

”
,

cons titute w h a t is ca l l e d sti rring a ct ion c h a r a cte ri s tic ,

of th e intr i gues b roug h t b a c k into v o gu e by t h e Se con d

E mpire a n d over w h os e intric a te e nt a ngl e ments our
,

ch ron i clers w a x e d so n a i v e l y e nth u si a st i c .

63
64 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

(2 ) T h r o u g h P o l i t i ca l N e c e s s i t y Les G u eb res
”
and Le s L o i s de M inos b y V ol taire .

(3) — T h r o u g h a R i v a l r y i n L ove L a Pe t i te
M io n ne (R iche b ourg ,

(4 ) T h r o u g h H a t r e d o f t h e L ove r o f t h e U n r e c
o gn i z e d D a u gh t e r : — “
Le R o i s a m u se
’ ”
(i n wh i ch th e
discover y takes place after t h e sla y ing ) .

B ( ) 1 — B e i n g U po n t h e P o i n t o f K i l l i n g a S o n
U n k n o w i n gl y z m — “ ”
T h e T elephus of A esch y lus an d of
S oph ocles (with inc e st as the alternat i ve of th i s cr i me ) ;
“ ” “ ”
E ur i p i des Cresph ontes ; the M ero p es of M affei of
’
,
“ ”
V olta i re an d of Al fi er i ; S o p h ocles Creusa ; E ur i p i des
’ ’

“ ” ”
I on . I n M etas tas io s O l y mpiad t h i s su b j ect i s
’

“
compl ica ted by a Ri valr y of Friends A So n Sl a in
W i t h o u t B e i n g R e c o gn i z e d z — Part i al example : t h e
.

“ ” “ ”
th i rd act of L ucr e ce B org i a ; T he 24 t h of Fe b ruar y ,

by Werner .

(2 ) — T h e S a m e C a s e a s B (l ) S t r e n g t h e n e d b y
,
—
M a c h i a ve l “l i a n I n s t i ga t i o n s z S op h ocles “
E ur y ale ;
’

”
E ur i p i des ZE geu s
’
.

3
( ) — T h e S a m e Ca se a s B I n t er m i xe d W i t h
H a t r e d o f K i n s m e n (t h at of gran dfather for gran dson ) :
“
M etastas io s C y rus
’
.

C B e i n g U po n t h e P o i n t o f S l a y i n g a B r o t h e r
U n k n“ o w i n g l y : (1 ) B r o t h e r s S l a y i n g i n An g er
T h e A lexan ders of S ophocles and of E ur i pi des (“2 ) .

A S i s t e r S l a y i n g T h r o u g h P r o f e ss i o n a l D u t y T he
” “
Priestesses of A esch y lus ; I p h igenia i n T aur i s by ,

E uripides an d b y Goet h e an d that proj ected b y R ac i ne

, .

D — S l a y i n g o f a M o t h e r U n r e co gn i z e d z — V ol
“
ta i re s S emira mis , a parti a l example : the d e nouement
of Lucr e ce Borgi a .

E A F a t h er S l a i n U n k n o w i n g l y T h r o u g h M a c h
,
“ ”
i a v e l l i a n A d v i c e : (see X V I I ) : S op h ocles Pel ias and ’

“ ” “
E uri pi des
’
P el ia d es ; V oltaire s M ah omet (i n wh i c h
’

t h e h ero i s also upon t h e p o i nt of marr y ing h is sister

unkn owingl y ) T h e S i m pl e S l a y i n g o f a F a t h er
—
.

U r e c o g n“ z e d :
n i Legendar y example : La i us From .

”
roman ce : T he Le gend of S aint Jul ian the H ospi tal ler .
 N I N E T E E N T H S IT UAT I O N 65

Th e S a m e C a s e R e d u c e d F r o m M u r d e r t o S i m pl e
I n su l t Le Pa i n d A u t ru i (a f ter T u r ge n ie ff b y E ph
’

rai m and Schutz B ein g U p on t h e P oin t o f Sl ay

,
“ ”
a F a t h er U n k n o w i n g l y I srael (Bernste i n
$ 58 ,

F (1 ) — A G ra n d f a t h e r S l a i n U n k n o w i n g l y i n ,
“
V e n g ea ”
n ce an d T h r o u gh I n s t iga t i o n : L es Bur
g raves (H ugo ) .

(2 ) — S l a i n I n vo l u n ta r i l y : A esch y l u s “ ’
P o l y d ec
tes
— A F a t h er i n La w K i l l e d I n vo l u n ta r i l y
(3) “
-

”
-

S ophocles A m p h itr y on
’
.

G (1 ) I n vo l u n ta r y K i l l i n g o f a L ove d W o m a n
“
S oph ocles Procr i s E pic example : T ancre d an d
.

”
C lori nda i n Jerusalem D el ivered
, Legendar y examp le
.

(w i th change of t h e sex of t h e pe rson loved ) : H y acint h us .

(2 ) — B e i n g U p o n t h e P o i n t o f K i l l i n g a L ove r
”
U n r e c o gn i z e d Th e B lue M onster b y G ozzi .

(3) Fa i l u r e t o R e s cu e a n U n r e c o gn i z e d S o n
Saint A lexis (a X I V Centur y M i racle o f N otre D ame ; ) -

”
La V o i x d u S ang (R a ch il d e ) .

R emarka b le is t h e l i king of H ugo (an d consequentl y

of h is i mitators ) for t h is som e w h at rare situation E ac h .

of the ten dram a s of t h e old R om a nticist contains i t ; i n

“ “ ”
two of them ,
H e rnan i and T or q uema d a it is in a ,

manner acc e ssory to t h e S e v e ntee nt h (I m p rudence ) fatal

“ ”“
to the hero also ; in four ( M ari on D elorme A ngel o
, ,
”“ ”
“
La E sm e ral d a ,
R u y B l a s ) th is ca se of involuntar y in
j ury to a l oved o ne s u pp l i e s a l l t h e acti on a n d furn is h e s
“ "“
the b est epi s o d es ; in f our ot h e rs ( Le R oi s a m u se M
'
a rie ,
” “ ” “ ”
T ud or ,
Lucr ec e B orgi a Les B urgra v e s ) i t s e rv e s
,

fu rtherm ore as d e nou e m e nt i t woul d s ee m in d e e d t h a t

.
, ,

d ram a for H u g o c o nsist s in t h is : t h e c a usi ng d i re ctl y or

, , ,

ind irectl y of t h e d e a th of a l o v e d one ; a n d i n t h e w o r k

, ,

wh e re i n h e h a s a ccumul a t e d t h e grea t e st num b e r o f t h e

”
a t r i ca l e ff e c t s in Lucr e c e B o rgi a
“
we s e e t h e s a m e
situ a ti on r e tu rn in g n o l es s t h a n fi v e ti m e s N e a r t h e f i rs t
. .

p a rt of A ct I G e nn a ro p e rmits h is un re c o g ni z e d m o t h e r
,

to b e insu lte d ; i n t h e s e c o nd p a rt h e h i ms e l f i ns u l ts h e r
, ,
66 T H I RT Y S I X D RA M AT I C S IT UAT I ON S
-

not know i ng her for h i s mother ; i n A ct I I she demands ,

and is granted the death of her unrecogn i zed son then

, ,

finds sh e has no recourse b ut to k i l l h i m herself then is

,

again insulted by h i m ; fi nal l y i n A ct I I I she poisons h i m

, , ,

and st i l l unkn own i s insulted threatened and sla i n by

, , ,

h im .

B e i t noted th at S hakespeare h as not i n a s i ngle i nstance

empl o y ed th is N ineteenth S ituation an altogether acc i
,

dental one hav i ng no b ear i ng upon h i s powerful stud i es

,

of the w i l l
.
68 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

pie s : I ph igenia i n A ul is b y E ur i p ides an d by R ac i ne

, .

H istoric e xam p les : C o r d u s ; Curtius ; Latour d A u v ergne ’

.

“
F o r t h e H a p p i n e s s o f O n e s P e O pl e : T he S uff er i ng
”
C h rist of S t Gregor y N a z ian zen
—
. .

3
( ) L i f e S a cr i fi c e d i n F i l i a l P i e t y T he Ph oe
” “ ”
n icia n Women b y A esch y lus ; t h e A ntigones of S oph
o cl e s an d E urip i des ; of A lamann i and A l fi er i .

(4 ) L i f e S a cr i fi c e d f o r t h e S a k e o f O n e s F a i t h
”
T he M iracle of S t I gnace of A nt i oc h (X I V Centur y ; )
.

” ”
V ive l e R oi (H an R y mer Cesar B ir o tt ea u
”
,

(Fa b re after
,
“
Bal zac
”
, Th e C onstant Prince by
Cal deron ; Lut h e r by Wern er Fami l iar instances : .

al l mart yrs whet h er to rel igi on or science

,
I n fict i on : .

“ ”
L CE u vr e b y Z ola F o r t h e Sa k e o f On e s Kin g
’
.

“
L E n f a n t d u T emple (de P o h l es )
’

B (1 ) — B o t h L ove a n d L i f e S“ a cr i fi ce d f o r O n e s
.

“ ”
Fa it h P o l y e u ct e I n fiction L E va n gel ist e sac
.
’

r ifi ce of fami l y an d future for ones faith ) .

2 — B o t h L ove a n d L i f e S a cr i fi c e d t o a C a u s e
( ) ”
Le s Fi ls d e J a h el (M me A rmand .
,

(3) L ove S a c r i fi c e d t o I n t e r e s t s o f S t a t e : T h is
“ ”“
i s t h e favorite moti f of C ornei l le as in O t h on Sert o r ,
”“
,
”“ ”“
i us So ph o n isb e P u l ch er ie T i te et B e “r e nice A dd .

”
, , ,
“
to these the B e r e n ice of R ac i n e an d the SO ph o n isb e
of T rissino that of Al fi er i an d that of M a iret ; M etastas i o s ’

” ”
,
“ “ “
A c h i lles in Scyr o an d h is D i do ; Berl ioz T ro y ons ’

“ ”
(the b e st traged y of h is centur y L I m pér a t r i ce (M en
’

“
des ) Th e Cre d itor in th is su b c lass remain i ng a b stract
.
-
, ,

is easi l y confoun d ed with t h e I deal an d the H ero ; th e

“
Persons Sa cr ifi ce d on the contrar y b ecome visi b le ;
, ,

these are Plautine V iri a te Syphax an d M a ss in isse Bér é

”
, , ,
“
nice D éi d a m ie I n comed y : S A R (C h an“cel
C — S a cr i fi c e o f W e l l B e i n g t o D u t y : R es u rr ec
. . . .
, ,

“ ”
tion b y T olstoi ; L A ppr en t ie (Geffro y ’

,
“ ”
D T h e I d ea l o f H o n o r S a cr i fi ce d t o t h e I d e a l
”
o f F a i th ; T wo powerful exampl e s wh ich for secon ,

dary reasons d i d not attain success (b ecause the pu b l ic

e a r was incapa b le of p erce iving a harmon y p itched so
”
h igh in t h e scale of sentiment ) : Th eodore by C ornei l le
“ ”
and Th e V irgin M a rt y r by M assinger Part i al exam .

pl e : th e good hermit Ab rah a m i n H r o swit h a .

 T WE N T Y F I R S T S I T U A T I O N
-
'

S E L F SA C R I F I C E F O R K I N D R E D
-

(T h e H ero ; t h e K insman ; t h e Cr e d itor or

t h e Person or Th ing S acri fice d )

A (1 ) L i f e S a c r i fi c e d f o r t h a t o f a R e l a t ive o r a
L ove d O n e T h e A l cest es o f S o p h ocl es of E uripi d es
:

, ,

of Buchanan of H ard y o f R a cine

, ,

of La g range C h anc e l of Boiss y o f C o ype l o f S aint Foix

-
, , ,
-
,

of D orat of G luc k of H Luc a s o f V auz e l l e s e t c

, ,
.
, ,
.

(2 ) L i f e S a c r i fi c e d f o r t h e H a p pi n e ss o f a R e l a t ive
“
o r a L ove d O n e : L A n c ie n by R ic h e pin T wo s y m
'

metri cal wor ks are S m il is (A ica r d in w h ic h t h e ,

h us b an d s a cri fic es h im s el f a n d Le D ivorc e d e S ara h ,

”
M oore (R oz i e r Pa ton a n d D um a s fi ls ) in w h ic h t h e wi f e
, ,

sacrific e s h ersel f E x a m p l e s f r o m fi cti o n a n d an a logou s

.

”
to these two d ra ma s a r e G re a t E x p e cta tions by D ic k ens
“

“
a nd La Joie d e V ivre b y Z o l a C o mm o n e x a m p l e s : .

workm e n i n d ange r o u s occu p a ti o n s .

B (1 ) A m b i t i o n S a c r i fi c e d f o r t h e H a p pi n es s o f a
Pa re n t Le s F r e re s Z e m g a n n o b y E d m o n d d e ( i o n
court Th i s en d s wit h a d e n o u e m e n t t h e o pp o s it e o f
.

that o f
(2 ) A m b i t i o n S a c r i fi c e d f o r t h e Li f e o f a P a r e n t :
M a d a m e d e M a in t e n o n t ( o ppee
'

Lov e S a c r i fi c e d f o r t h e S a”k e o f a P a r e n t s
’
C (1 )
Li fe : D i a n e by A u g i e r ; M a r t y r
“
( I l e n ne r y e ,

(2 ) F o r t h e H a p pi n e ss o f O n e s C h i l d : Le
{ e v e il ( H e r v ie u ,
La F u gi t i v e ( l ie a r d
’
.
”
F o r t h e H a p p i n e ss o f a Lo ve d O n e : C y ra n o d c I te r
”
by R o s ta n d ; nh e u r Le m o n
'

ge r a c Le l ) r o i t a u l i o tf .

ni e r ,
70 T H I RT Y S I X D RA M AT I C S IT U AT I O N S
-

(3) Th e Sa m e S a c r i fi c e a s 2 B u t C au s ed b y
,
“ ”
U n j u s t La w s La Loi d e l H o m m e by H er v ieu
’
.

D (1 ) L i f e a n d H o n o r S a cr i fi c e d f o r t h e L i f e o f
“
a P a r e n t o r L ove d O n e Le Petit Jac q u es . Case
“
i n w h ic h t h e l oved one is gui lt y : L a C h arb o n m e r e (C re
“ ” “
Le Fr e re d A r m es G a rau d Le
’
mieux ( ,
”
,

C h ien de Garde (R ich e pin ,

T h e Sa m e S a cr ifi c e
“ ”
M a d e f o r t h e H o n o r o f a L ove d O n e : P i erre V au x
(Jonath an,
A s imi lar sacrifice b ut of reputat i on
,
“
on l y : L a Cornette (M i le an d M Ferrier
. .
,

(2 ) M o d e s t y S a cr i fi ce d f o r t h e“ L i f e o f a R e l a t i ve
o r a L ove d O n e : Sh akespeare s M easure for M eas
’

“ ” “
ure ; E ur ip ides A ndromac h e and also R acine s ; Per
’ ’

” “ ”
t h a r it e b y Cornei lle ; La T osca (S ardou ,
In
”
fiction : Le H uron by V oltaire .
 T WE N T Y SE C ON D S I T U A T I ON
-

A LL SA C R I F I C E D F O R A P ASSI O N

(T h e Lover ; the O b j ect of t h e Fatal Passion ;

t h e Person or T h i ng Sa cr ifi ce d )

A (1 ) R e l i g i o u s V o w s o f C h a s t i ty B r o k en f o r a
“ ” “
Pa s s i o n Jocel yn b y G odard From fiction : La
.

” “
Faute de l Abb e M oure t I n come d y :
’
. D h o u r tt a
”
N a rt ta k a
— A V o w o f P u r i ty B r o k e n :
.

(2 ) T ann h auser .

R e s p e c t f o r a P r i e s t D e s t r oye d : O ne aspect of La
C o n q u ét e de Flassans
—
.

3
( ) A Fu tu r e R u i n e d b y a “P a s s i o n : M anon
“ ”
by M as senet ; S ap h o b y D au d e t ; La G ri ffe (B e rnst e in ,

th e works of Lou y s in general .

(4 ) P o w e r R u i n e d b y P a s s i o”n : Sh a k esp e are s ’

” “
A nton y and C leo p atra ; C l e op a tr e b y S a r d ou .

“
(5 ) R u i n o f M i n d H ea l t h ”a n d L i f e :
, La G l u
(D a u d e t a n d B iz e t ) ;
“
(“R ic h e pin L A r l es ie n n e
’

La Furi e (Bois ,
F rom fi ction (s ee C ) : Le
”
Po ss éd é b y Le monni e r P a s s i o n G ra t i fi e d a t t h e P r i c e
.

o f Lif e : U n e N u i t d e C l e o p a tre ( G a u ti e r an d M a s s e )
(5 ) R u i n o f F o r t u n e s L iv e s a n d H o n o r s ,
“
N a na ; in p a rt La R o ut e d E m e ra u d e ( R ic h e pi n a f te r
’

D em o l d er,
3— Te m p t a t i o n s (s e e X H ) D e s t r”o y i n g t h e S e n s e
o f D u ty O f P i t y e t c (O s c a r W i l d e )
“
, ,
Sa l o m e. .

From ficti on : H e ro d i a s a n d t h e a tte m p ts (re p ul s e d ) in

,

T h e T e m p t a ti on o f S a in t A nt h o n y
“
.

C (l ) D e s t r u c t i o n o f H o n o r F o r t u"n e a n d L i f e , ,

by E r o t i c Vice z “
C e r m in i La c e r t e u x by d e C o n
e
72 T H I RT Y -
SI X D RA M AT I C S ITUAT I O N S

court ; R olande (Gramont M aman Col i b ri

,

(Batai l le From fict i on : La C ous i ne Bette ;

”
,
“
Le Cap i ta ine Burle .

2
( ) — T h e S a m e E ff e c t P r o d u c e d b y A n y O t h e r
”“
Vice T rente A ns ou la V i e d un Joueur ; ’
L Asso m
’

“ ” “ ”
From fiction L O piu m by B o nn et a in ; Lel ie
—
’
moir .

b y Wi l l y I n real l ife : our race c ourses our w i ne shops

.
,
-

”
,
“
our cafe s our clu b s etc
, I n comed y
,
. U n A nge :

(G apus ,

Few s i tuat i ons o b v i ousl y have rece i ved b etter and

.
,

more consta nt treatment dur i ng our own centur y to -

whose v ices the T went y S econd offers in truth a most

-
, ,

appropr i ate mi rror i n i ts amalgam of gloom and erot i cism

, ,

at the same t i me present i ng the most interest i ng stud i es

of nervous path ol og y .
 T WE N T Y T H I R D S I T U A T I O N
-

N E C E SS I T Y O F SA C R I F I C I N G LO V E D ON E S

(T he H ero ; the Beloved V icti m ; t h e N ecessit y for

the S acr i fice )

A lt h oug h si m i lar to the three s i tuations we have j ust

cons idered the T went y Th ird recal ls in one of its aspects
,
-
, ,

that destruction of natural affecti on wh ich marked the

“ ”
T h i rteenth H atred of K insmen
,
.T he feel ings wh ich
we here encounter in t h e protagonist are it is true of a , ,

nature altogether d i fferent . But th roug h t h e intrus i on

of the element of N ecessit y the end toward wh ich he must
,

pr o c eed is precisel y the same .

A (1 ) N e c e s s i ty f o r S a c r i fi c i n g a D a u g h t e r i n t h e
“ ”
P u b l i c I n t er es t : Th e I p h igenias of A esc hy lus and
“ ”
of S oph ocles ; I p h igen ia in A ul is by E uripides and b y
,
”
Racine ; E recht h eus b y E uri p ides
(2 ) D u ty o f S a c r i fi c i n g H e r i n F u l fi l l m e n t o f a
“ ”
Vo w to G od : T h e I d o m én ée s o f C r éb il l o n Lemierre , ,
”
and C ienfu e gos ; t h e J e ph t h e s of B uc h an a n and of
“

Bo y er .Th is nu a nc e t e nds at first toward S itu a tion

”
X V I I I m p ru d e nc e b ut t h e p s y c h ologic struggl es soon
, ,

giv e it a v e ry d i ff e re nt tu rn
—
.

( 3 ) D u t y o f S a c r i fi c i n g B e n e fa
"“
c t o r s o r Love d
“
O n e s t o O n e s F a i t h : T or q u e m a d“a ; N in e t y Th re e : "
-

”
Le s M ou e tt es ( Pa ul Ad am
“
,
La Fi ll e a G ui llotin
( F l e isc h m a nn ,
H i s to ric in s ta nc es ; P h i l i p H ; A b ra
ham a n d I s aa c .

B (l ) D u t y o f Sa cr i fic i n g O n es C h i l d U n k n own ,

t o O t h e r s U n d e r t h e Pr e s s u r e o f Ne c e s s i t y : E uri p i
"“
,

d es
' “
M e l a ni pp e ; Lucr e c e i o rg ia (H , ,

73
74 T H I RTY —
S I X D RA M AT I C S I T UAT I O N S

(2 ) D u t y o f S a c r i fi c i n g U n“d e r t h e S a m e C i r c u m,
”
s ta n c e s O n e s F a t h e r :
, Th e H ypsip y les of A esch y
“ ”
lus an d o f M etast a sio ;
,
Th e Lemn ian Women by
S ophocles .

(3) D u t y o f S a c r i fi c i n g U n d er t h e Sam e Circu m ,

“ ”
s ta n c e s O n e s H u s b a n d :
, T he D anai des of Ph r yn
i ch u s of A esch y lus of G o m b au d of S al ier i of S pontin i ;
, , , ,
“ ”
the Ly n ceu s o f T h eo d ect es and of Ab ei l le ; the H yper m
”
n e st r es of M etastas i o R iu pe ir o u x L em ierre etc
—
.
, , ,

( )
4 D u t y o f “S a c r i fi c i n g a S o n I n L a w f o r t h e - -

”
Pu b l i c G o od U n Patri ote (D artois F or ,
“ ”
t h e S a k e o f R ep u t a ti on G u ib o r (a X I V Centur y
°

M i racle of N otre D ame ) -

.

(5 ) D u t y o f C o n t e n d i n g w i t h a B r o t h er I n La w - -

”
f or t h e Pu bl ic G o o d : C orn ei lle s H orace an d that ’

of A r ét in Th e lo y alt y and affection su b sisting b etween

.

the a d versaries remove al l resem b lance to the T h i r tieth .

“
(6 ) D u ty o f C o n t e n d i n g W i t h a F r i e n d Jar
”
nac (H enn i qu e and Grav ier ,

N uance B (B 1 for example ) len d s itself to a fine inter

, ,

lacing o f motifs M elanippe finds herself (l st ) forced to

.

sla y h er son an or d er wh i ch s h e wou ld h ave resisted at the

,

ris k of h er o wn l ife b ut she is at the same t i me (2 n d )

,

o b liged to conceal h er interest in the c h i ld for fear of ,

reveal ing h is i dentit y and t h ere by causing h is certain

d eat h S i m ilar d i lemmas ma y b e evolve d with e q ual
.

succ e ss i n al l cases in wh ic h a c h aracter receives an inj une

tion wh ich h e 1 8 unwi l l ing to o b e y ; it wi l l su ff ice to let h i m
fal l b y h is refusal into a s e cond situation lead ing to a
, ,

resu l t equal l y repugnant or b etter y et i d ent i cal T h is

, , .

d i lemma of act ion is again foun d i n what is cal le d b lack

mai l ; we h ave also seen its cruel alternatives outl ined i n
“
C l as s D of Si tuation X X T h e V i rgin M ar
”
t yr and clearl y man ifested in C lass D (espec i al l y
” “
,
“
D 2 ) of S i tuati on X X I I ( M easure for M easure Le ,
”
H uron etc ) b ut it is t h ere presented most cru del y by a
,
.
,

single c h aracter or event of a nature t y rann ical and od i o u s .

“
Whereas in M elan ippe it results so logical l y an d p iti
lessl y from th e action t h at it does not occur to us to re b el
a gains t it ; we accept i t w i th out question so natural d oes ,

it a p pear so overwh e l ming

,
.
 T WE N T Y F O U RT H S I T U A T I O N
-

R I V A L R Y O F S U P E R I OR A N D I N F E R I O R

(T he S uperi or R ival ; th e I nfer i or R i val ; th e Ob j ect )

I would h ave preferred to make of th is and the fol lowing

(A du lter y ) a single s i tuat i on T he d i fference l i es in a
.

contract or a ceremon y of varia b le i mportance according

,

to t h e mi l i eu and w h ic h i n an y case does not material l y

,

change th e dramatic emotions spring i ng from t h e love

contest ; even t h is d i fference b ecomes qu ite i mpercepti b le
i n pol y gamous societies (H indu drama ) T hus I would .

rath er h ave created b ut one independent situat i on of ,

wh ich the other sh ould b e a nuance But I fear I sh oul d .

b e accus ed of purp osel y compressing modern works into

the smal lest possi b le num b er of categories for t h e two

w
,

i ch we are now to anal y ze contain the maj or part of

th
em .

We h ave alread y remarked t h at b etween H atred of

” “ ”
K ins men and R ivalr y of K i nsmen the sole d i ff erence
l i es in t h e fact t h at i n t h e latter there i s emb od ied in
hu man form the O b j ect of d ispute t h e casus b el l i
“
For ,
.

the same reason we ma y b ring toget h er the s i tuat i ons

“ ”“
Ri val ry of S uperior an d I nferior A dulter y and even
, ,
”
M urderous Ad u lter y and d istingu is h t h em from al l t h e
,

s ituat i ons w h ic h p ortra y struggle pure and simple (V ,

V I I V I I I I X X X I X X X X X X I ) H owever t h e
, , , , , , .
,

b eloved O b j ect wi l l more natural l y appear in t h e“ present

cases of senti mental rivalr y than s h e coul d in th e R ivalr y
”
of K i ns men an d nowhere d oes a more favora b le o ppo r
,

t u n it y p resent i tself to t h e d ramati c poet for portra y ing

h is i deals of love .

T hese cases are d iv i ded first acc ord i ng to sexes then ,

a cco r d i n g to t h e d egr e es of d i ffere nce in the ran k of the

r i va l s
o

.
 T W E N T Y F O U RT H S IT UAT I O N
-
77

A M a s c u l “i n e O f a M o r ta l a n d a n
R i va l r i e s (l )
I m m or t al M r iga n ca l ck h a b y
V isw a n a t h a ; H eaven
“
and E art h b y B yr on ; Pol yph e me (S amain ) O f Two .

D i v i n i t i e s o f U n e q u a l P o w er Pan d ore by V ol °

taire .

— O f a M a gi c i an a n d a n O r d in a ry M an
(2 ) ”
T anis et Z el i de b y V oltaire , .

(3) O”f C o n q u er o r a n d C o n q u er e d M alati and

M ad h ava b y B h a v a b u t i ; Le T ri b ut de Z amora
”
(G ounod Le sais (M me O l l o gn ier Of
—
.
, ,
“
V i c tor a n d Van q u i sh e d : V oltaire s A l z ir e O f a
’
.

“ ”
M a s t e r a n d a B a n i s h e d M a n“ : A ppius and V irgin ia
” ”
by We b ster ; H ernan i and M angeront I ls b y H ugo ; ? -

”
D ante (G odard O f U su r p e r a n d S u bj e c t
,
”
Le T rium v irat b y V olta i re .

(4 ) “ O f S u ” z er a i n K i n g a n d V a s sa l K i n g s : C or
ne i l le s A tti la
’
.

(5 )” O f a K i n g “a n d a N o b l e T h e E arthen T o y
Cart b y Su d r a k a ; Th e M i l l an d N ina d e Plata b y
“ ”
Lo pe ; A g és il as an d S ur e na b y C orne i lle ; D emetrius by
“

“ ”
M etas tas i o ; Le Fils de Port h os (B l a v et
6
( ) — O f a P o w e r f u l P er s o n a n d a n U p s ta r t
” “ ”
D on S anche b y C ornei l l e ; La M arj ol a ine (R ich e pin
fil s,

(7 ) Of Ri ch an d Poor La Q u e stion d A r g e n t
”
’

“
b y D umas ; La N u it d e S aint J ean (E rc k m a nn C h a t r ia n - -

“ ” "
and Lac o me ) ; E n G r e ve (H irsc h S urcouf ,
”
(Plan q uett e
“
L At t e n t a t (C a pu s a n d D e s ca v es
’

, ,

1 9 0 6 ) La Ba r ricade ( B ourget
“ “
La P e tit e M i l l ia r
,
”
d aire (D um a y a n d Forest I n fiction : p a rt of
,
“
T oi lers of t h e Se a R e l a tiv e in e q u a l i t y : M on A m i
"
.

T e dd y (R ivoi re a n d Be sn a r d ,

(8 ) O f a n H o n o r e d M a n a “n d a S u s pe c t”e d O n e
“ ”
L O bs t a c l e (D au d et Le D ra p ea u ( M o rea u
’

, ,
“
D ev a nt l E n ne m i (C h a rt o n
’

”
Jac k Tem ,
”
p e te (E l z e a r La B u c h e ro n ne E d mon d ,
”
,

I n com e d y : Le M a ri a g e d e M l l e B o u l e m a ns
. .

(Fo n s o n W ic h c l e r
a nd ,

(9 ) R i v a l ry o f T w o W h o Ar e A l m o s t Eq u a l
”
D h o u rt t a S a m a g a n a t h e ri v a l s h c re b e in g m a st e r a n d
,
"
d isci p l e a s i s a ls o t h e c a s e 1 11 M a i tre s C h a nte u rs
,
but ,
78 T H I RT Y -
SI X D RA M AT I C S I T UAT I O N S

not i n G latign y (M en des nor i n B o h ém o s

,

(Z amaco is 1 90 7 ,

(1 0 ) R i va l r y o f E q u a l s O n e o f W h o m H a s i n t h e
,

Pa s t B e e n G u i l t y o f A d u l t e r y : “
C hevaler i e R u st i
”
que (V erga ,

(1 1 ) O f a M a n W h o i s L ove d a n d O n e W h o H a s
“ ”
N o t t h e R i g h t t o L ove : La E smeralda .

(1 2 ) O f t h e T w o S u c c e ss i ve H u s b a n d s o f a
D i vo r c é e Le D é dale (H erv ie u B y mult i pl y
,

ing t h e nu m b er of h us b an d s good comic effects m i ght b e

secured .

B F e m i n i n e R i va l r i e s (1 ) O f a S o r c e r e ss a n d
,

a n O r d i n a ry W o m an — “
La C o n qu et e de la T o i son
” “
d O r by C ornei l le : L a So r ci er e (S ardou
’

,
“
(2 ) O f Vi c to r a n d Pri s on e r Le C omte d ’

”
E ssex by T homas Corn ei l le ; t h e M arie S tuart of
S ch i l ler a n d also of S a mson .

(3) O f ! u e en a n d Su b j e c t M ar i e T udor and

” “ ”
A m y R o b sart b y H ugo ; Le C or Fleur i (M i khael
”
and H erold ) ; V are nnes (Len o tre and Lavedan ,

Th e t i tle of t h is su b class i s it wi l l b e remem b ered th e

—
-
, ,
”
onl y one cite d of the so cal led T went y Four Si tuati ons -

of G é rard de N erval ; we mig h t indeed inclu de under th is

denomination t h e examp les of B 1 2 and 4 But at most
, .

it can constitute on l y a h a lf of one of the four classes of

“ ”
R ivalr y of S uperi or an d I nferi or wh ich itself has b ut ,

the i mportance of one s i tu a tion i n a series of th irt y six -

”
.

(4 ) O f a ! u e e n a n d a S l ave B a j a ze t by
“ ” “ ”
R acine ; Z u l i m e ; par t of U ne N uit de C l e op a tre (from
Gautier b y V M asse
, .
,

(5 ) O f La d y a n d S e rva n t T he Gardener s ’

D og by Lope de V ega (w h erein ma y b e found what i s

perhaps the most successful of the man y attempted por
“
trai ts of a n amoro u s grande
(6 ) O f a La d y a n d a W o m a n o f H u m b l er P o s i
" " “
ti on Francois les b as b leus (M essager
- - -
Le ,
“
F ri q uet (Will y a n d G yp Petite H ol lan de (S
,
.

“
Guitry , L A n e d e B uri da h
’

(de Fleurs an d de
“
Cai l lavet , T rains d e Lux e (H e r m a n t ,

O f a La d y a n d T w o W o m e n o f H u m b l e r C l a s s
“ ”
Les P ass a gére s (Coolus ,
 T W E N T Y F O URT H S IT UAT I O N
-
79

7
( ) — R iva l r y o f T w o W h o A r e A l m os t E q u a l s ,
C o m pl i ca t e d b y t h e A b a n d o m e n t o f O n e (th is ten d s
“
toward A (1 ) of S ituation X X V ) : Cornei l l e s Ari
’

” “ “
ane ; Benvenuto (D iaz , I n fiction : L a Jo i e
”
de V i vre .

(8) R i va l r y B e t w e e n a M e m o r y o r a n I d e a l (T h a t
o f a S u p er i o r W o m a n ) a n d a V a ssa l o f H e r O w n :
“ ” “
S emirami d e R iconosciuta b y M etastas io ; M adame
”
la M o rt b y R a ch il d e (i n w h i ch t h e field of struggle is su b
“ “ ”
j ect iv e ) ; La M ort e b y B a r l a t ie r ; L I m a ge by B eau
’

b ourg S y mmetrical case in the mascul ine : T h e Lad y

.

”
from the S ea b y I b sen ,
.

(9 ) R iva l r y o f M o r ta l a n d I m m o r ta l
D ame a la Faul x (S aint Pol R oux ) -

—
.

C D o u b l e R iva l r y (A l oves B” wh o loves “C wh o , ,

loves D ) : M etastas io s A drien ; Lessing s E mi l ia ’

” “ ” “
G a l o tt i ; La F e r m l er e (d A rt o is A scan io
’

,
“ ”
( S aint S aens
-
, Les D eux H omm e s (C a pu s ,
“ ” “
Le C ircu it (F e y d eau and de Croisset L A rt icl e
’

,
”
30 1 (D uval ,
I t i s permissi b l e to exten d the rival r y
to t h ree four etc w h i ch wi l l ma k e it l e ss common p l a ce
, , .
, ,

b ut wi l l not greatl y v a r y t h e effects a lt h oug h sometimes ,

the c h ain wi l l en d in a complet e circl e (t h at is to s a y D ,

wi l l l ove A ) or a p artial o n e (D return ing t h e l ove of C )

,
.

D O r i e n ta l R iva l r i e s : W e are b e ginning to ta k e

a ccount of th e fact t h at t h e d ivorc e l a w w a s o b t a ine d
ch iefl y t h roug h t h e e fforts o f our d ram a tic writ e rs le s s ,

b ecause t h e y wer e conv inc e d of it s rig h t e ou s n es s t h a n

b ecau s e t h e y felt t h e ne e d of a re n e w a l a n d incr ea s e of
t h ei r l i mited com b inati ons Th e y mig h t in d e e d h a v e
.
, ,

b rea t h e d a fr e s h er a n d p ure r a ir by turning t o w a r d H in d u

pol y gam y ! G o e t h e Th e o p h il e G a uti e r (w h o f o r e s a w t h e
,

deca d e nc e of wom a n t h roug h t h e e xt e nsi o n a n d increa s e

”
of vice ) M auric e Ba rr es ( I / E n ne m i d e s Lo i s ) s e e m t o
,
“

h ave f e l t som e t h ing o f t h e s o rt W e ( o ul d wi s h t h a t t h e

.

misun d e rst a n d ings o f t h e m o d e m h o m e in w h ic h a rc h a ic ,

fid e l it y a n d g e nu i n e m o n o g a m y h a v e a lm o s t c e a s e d to
e xist ,
on o ne si d e e s p e ci a l l y mig h t b e s e ttl e d wit h a
,

mo d icum o f t h is s p i ri t o f t o l e r a nc e “
.

(1 ) R i va l r y o f T w o I m m o r t a l s : T h e Lov e s of
”
K r i s h na by R ou pa .
80 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

(2 ) O f Two M or t al s A gn im it r a and M a l a v ik a ,
by K al i dasa .

(3) O f T w o “L a w f u l W i ve s
”
T he N ecklace by ,

S r i H a rs h a d ev a ; T he S tatue by R a j a sek h a ra .

T o the relative ran k of th e two rivals there i s added ,

as a means of varyi ng th e theme t h e pos i t i on w i th

, ,

respect to them of the b eloved Ob j ect

, .T h e aspects of
the stru ggle w i l l depend i n fact upon h ow near the pr i ze
, ,

ma y b e to one of the adversar i es or how d i stant ; upon

,

wheth er th e O b j ect b e of a ran k i nfer i or to b oth r i vals ,

or mid wa y b etween t h e two or even super i or to b oth

, .
 T WE N T Y F I F T H S I T U A T I ON
-

A D U LT E R Y

(A D ece i ved H us b and or Wife ; T wo A dulterers )

W i thout deserv i ng to const i tute a s i tuat i on of i tsel f

al one A dultery y et presents an i nteresting as pect of T heft
,

(act i on from without ) com b ine d w i th T re as on (act i on

w i th in ) S ch i l ler fol lowing the example of Lo pe was
.
, ,

p l eas ed to i deal ize b r i gandage ; H ugo an d t h e elder D umas

undert oo k for a d ultery a s imi lar parad ox ; an d devel op i ng
the process of ant i thesis b y wh ich were created T ri b oulet
“
a nd Lucr e ce Borgia the y succeeded once for al l
, ,

and qu i te legi timatel y T he fol l y l ies i n the b el ief of th e

.

unth in king crowd i n the excel lence of t h e su b j ect thus

“ ”
presen t ed ; i n the pu b l ic s admirati on f or th e A nton y s
’

— b ut th e p u b l ic h as en ded by preferr i ng th e mov i ng

p i ctures to them .

Fi rst Case : Th e aut h or po rtra y s the A dulterer the ,

stranger i n th e h ouse as muc h more agreea b le h and

, ,

somer more l oving b ol d er or stronger than the d ece i ved

, ,

h us b an d Wh a t e ver ara b e s q ues ma y cover the

s i mple an d fun damen ta l fact o f La rcen y wh a tever com ,

pl aisanc e m a y b e s h own by a tire d pu b l ic t h ere rema ins ,

neve rth e l e ss b en ea t h i t a l l a b a s is of gra n it e

, , th e ol d
f a sh ione d consci e nc e ; to i t t h e th ing wh ic h is h e re v a unted
,

is simpl y t h e b re ac h o f t h e Wor d of H onor o f a contra ct

that word th a t p rom i s e w h i c h w a s o b e y e d by t h e H omer i c
,

gods a n d by t h e knigh t s of C h iv a l r y n o l e ss t h a n by our

selves ; th a t b a s e o f e v e ry soci a l a ggl omera tion ; t h at wh ich
s a vag e s a n d wh ic h convicts re s p e ct b e twe e n th e mselves ;
t h at p ri m a ry sourc e of or d e r i n t h e world of act i on an d of
th oug h t T h e sp e ctators a tt e ntion m a y of cours e b e
'
.

81
82 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

momentar i l y tu rned from a po i nt of v i ew so str i ct and ,

quit e natural l y ; t h rough t h e heres ies of the i mag i nat i on

al most an y t h ing ma y evoke a laugh D o we not laugh .

heartil y at the sig h t of a fat man tum b l ing r i d i culousl y

do wn a fl ight of steps at t h e b ottom of wh ich he ma y ,

b rea k h i s neck ? A n yth ing l i kewise ma y evoke our p i t y ; ,

we have p it y for the perj ur i es of the gam b ler an d the

drun kard b ut it i s m i ngled with contempt
, N ow i s i t .
,

th is sort of sad contempt wh i ch our dramat i sts w i sh to

clai m for the i r attract ive y oung adulterers as the reward ,

of so much ca re an d effort ? I f n ot t h e effort has b een a ,

mistaken one .

S econ d Case T he A dulterer i s represented as less

‘

attract i ve an d s y mpathet i c than the unapprec i ated hus

“
b and T h is forms the sort of pla y known as wh ole
.

some w h ich as a matter of fact is merel y tiresome A

, .

man w h ose pocket b ook has b een stolen does n ot on that

-

account grow g reater i n our e y es an d when the i nforma ,

ti on wh i c h he is i n a positi on to furn ish us i s on ce o b ta i ned ,

our attent ion i s turned from h i m an d d irected toward the

th ief. B ut i f t h e latte r alread y far from hero i c i n h i s
,

expl oit i s i n tu rn portra y ed as sti l l less interesting than

,

h is dupe h e merel y d i s g usts us

, an d the adulterous wi fe
appears b ut a fool to have preferred h i m T hen (w i th that .

ch i l d i s h ness wh ich most of us retain b eneath our so ph ist i

ca t i on ) scenting a foregone conclus i on in the lesson wh i ch
,

the author i ntends for us and suspect i ng falsehood at the ,

b ottom of it we grimace wit h i rrita tion d i sappo i nted t o

, ,

perce ive b eh i n d the sto r y presented for our enterta i n

,

ment the vinegarish smi le of the sch ool teacher

,
-
.

T h ird Case : — T he dece i ved H usb an d or W i fe i s

A venged H ere at last someth ing happens ! But th i s
.
, ,

vengeance unfortunatel y i s merel y one of the cases of

, ,

the T h ird S ituat i on .

T h u s we s h al l n ot succeed with our T went y fif t h Si tua -

ti on exce p t b y treating it i n a b roadl y human s p ir i t w i th ,

out d olefulness an d without austerit y I t wi l l not b e .

necessa r y to defen d t h e th ief nor t h e traitor nor to take ,

t h e part of t h eir dupe T o com p rehend them all to have

.
,

compass i on upon al l to exp lain the m all ,

wh i ch i s to sa y
84 T H I RT Y -
SI X D RA M AT I C S I T UAT I O N S

(8) R iv a l r y B e t w e e n a L a w f u l W i f e W h o i s A n t i
p a t h e t i c a n d a M i s t r e s s W h o i s C o n g en ia l : — “
C est ’

” “ ”
la Lo i (C l i quet Les A ffranch is (M adame Len
,

eru ,

(9 )— B e t w e e n a G e n e r o u s W i f e a n d a n I m pa s
“ ” “
sio n ed G i r l La V ierge Fol le (Bata i l le La ,
”
Femme de D emain (A rthur Lefe b vre ,

C (1 ) A n A n t a g o n i s t i c H u s b a n d S a c r i fi ce d f o r a
“ ”
C o n g e n i a l L ove r Le N ouveau M on de
“ ”
by V i l l iers de l I sl e A dam ; U m D r o le (Y ves Gu y ot
’

,
“ ” “
Le M ar i (N us an d A rnoul d Le s T en
”
,
” “ “ ”
ai l les (H erv ieu ) ; Le T orrent (D onna y ) ; D ecadence
“
(G u i n on , Page B lanc h e (D e vore ,

(2 ) A H u s b a n d B e l i eve d t o b e L o s t F o r g o t t e n
, ,
“ ”
f o r a R i va l : R h a d a m ist e et Z én o b ie b y C r éb i l l o n ;
“ ” “
Jacques D amour b y Z ola T h e Z én o b ie of M etas .

t as io by t h e faithful l ove retained for h er hus b and forms

, ,

a case un i q ue ( I) among t h e i nnu mera b le dramas upon

“
dulterous passions C ompare Le Dé dale (see X X I V
a
.
,

( )
3 — A C om m on pl a ce Hu sban d S a cr i fi c e d f o r a
“
Sy m pa t h e t i c L ove r : D iane de L y s by D umas ;
”
T r i stan an d I sol de by Wa g ner (with the add ition of
” “
M adness produced b y a “love pot ion ) ; Fran co i se de -

”
,

R i min i (A T h omas 1 882 ) La S e r e nade (Jean Jull i en

.

”
, ,
“ “
L A ge Cr i ti q ue (B y l A nto inette Sab r ier
’
1 887
”
,
“
(Coolus , L a M o n t a n s ier (J e o f r in de Flers an d de ,

Cai l lavet , Conna i s to i (H erv” ieu T he

-
,

same case w i th out adulter y : S i gu rd (R e y er ,

“ ”
La C omtesse S arah
4
( ) — A G o o d H u s b a n d B e tr a y e d f o r a n I n f e r i o r
“ ” “ ”
R iva l L A v eu
“
(S arah Bern h ard
’
Ré volt é e ,

(Le ma i tr e L a M aison des D eux Barb eaux

”
,

(T h eu r iet ,A ndr é del S art e (A lfre d de M usset ) ;

“ ”
La Petite P a roisse (D audet 1 9 1 1 ) Le M annequ i n ,
” “
d Os ier
’

(France L a R encontre (Be r ton

”
, ,
“
Cases of preference wit h out adulter y : Sm il is
“ ”
by A icar d ; Le s Jaco b ines b y H erm a n t (1 9 07
“
(5 ) F o r a G r o t es q u e R i va l : T he Fatal D owry
by M assinger .
 T W E N T Y F I F T H S IT UAT I O N
-
85

(6 ) F o r a n O d i o u s R i va l Gerfaut (from C d e .

”
Bern ard b y M oreau
, , C oeur a C oeur (Coolus ,

7 — For a C o m m o n p l a c e R i va l B y a P erve r s e
( ) ”
,

Wife — “
La Femme d e C laude by “
D umas ; Pot
“ ” “
B oui l l e by Z ola ; R ivol i ( F a u ch o is Les .

” ”
M a l efi l at re (Porto R ic h e -
“
S oeurette (B e rteau
,
“ ”
Lo ti ) I n fict ion : M adame Bovar y
. .

(8) F o r a R iva l L e s s H a n d s o m e b u t U s e f u l (w i th,

comic false s u sp icions ; t h at is susp icions afterward ,

“
th oug h t to h ave b een false ) : L E ch éa n ce (Jean
’

Jul l ien ,

D (1 ) V e n g ea n c e o f a D e c e ive d H u s b a n d (dramas
“
b ui lt upon a crescen d o o f “susp icion ) : Th e Ph y sician
”
of H is O wn H onor and S ecret V engeance for S ecret
” “ ”
O utrage b y Cal deron ; ’
L A ff a ir e C lemenceau by
”
D umas ; T he K reutzer S onata (after T olsto i ,
“ “ ”
La Legen d e d u Coeur (A ica r d Pa r a it r e
,
“ ”
(D onna y , Les M iroirs (R o in a rr d ) ; Th e E n igma
b y H e rv ie u (w h i c h b orrows somet h ing from “S ituation X I
of th is name A venge ance purel y mora l :
. A pr e s M o i
(Bernstein , financi a l : S amson b y t h e same ,

(2 ) J e a l o u s y Sa cr i fi ce d f o r t h e S a k e o f a C a u s e
(t e n”d ing towar d S a crific e s for”an I d e a l Le s J aco b
“ f ‘

“
ites (C o ppée , Pa t r ic (Pa l a d i l h e Sa c ,
“ ”
r ifi ce d o u t o f P i t y La Fami l l e d A r m e l l es (M arra s
’

E — A H u s b a n d P e r s e c u te d a R e j e c t e d R iv a l :
by
R a o u l d e C rcq u i ( D e l a y ra c Th is c a s e is s y m
,

m e tri c a l to B 7 a n d b o t h p ro c e e d in t h e d ire cti o n o f

,
“
M ur d e rous Ad ul te r y .
 T WE N T Y S I X T H S I T U A T I O N
-

C R I M E S O F LOVE

(T he L over ; the Beloved )

T h i s i s the onl y tragic situat i on of al l th ose b u i lt upon

L ove that su b j ect b eing one essent i al l y b elong i ng to
,

comed y (see X X V I I I an d X X I X ) .

E igh t species of erotic crimes ma y b e po i nted out :

“ ”
Fi rst : O nan ism that sol itar y vice wh i ch does not
,

lead to action ca n furn is h onl y melanch ol y s ilhouettes

,
“ ”
such as the legend of N arcissus an d Charlot s a m u se ’
,

or certa i n grotes quer i es of Ar istophanes unless i t b e made ,

the b as i s for a stu d y of the weakening an d col lapse of the

Wi l l in wh i ch case i t m i ght b e grouped with d r unkenness
, ,

gam b l ing etc i n S ituat i on X X I I

, .
, .

S econ d : V i olation l ike murder i s b ut an act general l y

, , ,

a b rief one an d not a s ituation ; at most it approaches

”
A b duct ion .E ven the consequences to th e perpetrator ,

l ike those of th e
T h ird : Prostitut ion and its su ccee d an t gal lantry and
Juan ism (repetition of acts ) d o not b ecome d ramat i c ,

un less pursued by pun ish ment i n w h ich cas e the y b elong,

to th e Fifth S ituation N evertheless if i mpun it y b e

.
,

secured t h e taste for v iolation an d for prost i tut i on tends

,

toward the T went y S econ d -

.

Fou rth : A dultery wh ose c h aracter of theft has given

,

rise to s p ecial situations al read y stu d ie d .

Fift h : I n cest is d ivided in two principal d irections It .

ma y b e committed in an ascen d ant d escendant l ine i n -

,

w h ich case it i mpl ies either fil ial i mp iet y or an a b use of

aut h orit y anal ogous to t h at w h ic h we shal l fin d in t h e
E ig h th vari e t y of criminal love I t ma y also occur u p on
.

what ma y b e cal le d a h ori zontal l ine ; that is b etween ,

consa n g uines or p e rsons related b y marriage .

86
 T W E N T Y S I XT H S IT UAT I O N
-
87

A ( )1 — A M o t h er i n L ove W i t h H e r S o n
Se m i ram is b y M anfred i an d by C r éb il l o n ; to exp lain ,

and extenuate th is case the latter aut h or h as first use d ,

“
t h e Ei ghteenth (I nvoluntary Crimes of Love ) ; Le s Cui rs
” “ ”
de B oeuf (Polt i I nverse case : Le Petit A mi
,

by Le a u t a u d
—
.

2
( ) A D a u g h t e r i n L ove W i t h H e r F a t h e r
“
Al fi er i s My rr h a wh ose ps y c h ol ogy is dra wn from t h at
’

”
,
“
of Ph e dre .

(3) V i o l a t i o n o f a D a u g h t e r b y a Fa t h er The
C en ci by Sh elle y ; th e stor y of the Peau d a ne (intent i on
’

on l y )
B (1 ) — A W o m a n E n a m o r e d o f H e r S t e p s o n
.

“
I o b ates an d P h aedra b y S op h ocles t h e H ippol ytus °

“
of E ur i p i des an d of S eneca ; Ph e dre b y R acine In .

“
comed y : M adame l Am ira l e (M ars an d L y on ’

I n al most none of th e foregoing cases it wi l l b e o b served , ,

is there a rec i proc i t y of d es ire whereas the pass ion here , ,

tofore sol i tar y i s s h ared an d t h e crim e unconscious at

, , ,
“
leas t on one side i n M y rr h a is b oldl y committed in
—
,

2
( ) A W o m an a n d H er S te p s on En a m o re d o f
E a c h O t h e r z — Z ola s R enee (d rawn from h is stor y
’

and s i mi lar to t h e q u as i ince stuous p a ssion o f -

” “
D r Pas ca l
. T h “e l ov e is p laton
. ic in Al fi e r i s P h i l i p
’

” ”
I I and S ch il ler s D on Carlos ’

—
.
,

( )
3 A W o m a n B e i n g t h e M i s tr e s s a t t h e S a m e ,

T i m e o f a F a t h e r“ a n d S o n B o t h ”
,
o f Wh o m Ac c ep t ,

t h e S i tu a ti o n : L E co l e d es V e ufs (A nc e y
’
,

C (1 ) A M a n B e c o m e s t h e L ove r o f H i s S i s te r i n -

”
La w La S ang B ru l é (B ouv i e r -
L Con ,
e

sc i e n ce de l E n f a n t (D e vore
’
T h e M an Al on e ,
“ ”
E n a m ored Le S cul p teur d e M a s q u e s (C ro m e l yn c k ,

(2 ) —A Bro t h er and S i s te r i n L ov e W i t h Ea c h
“ “ ”
O th er : E uri p i d e s ZE o l u s ; C a n a ce by S p e ron i;
” “
’
T is Pit y Sh e s a Wh ore
’

,
F or d s m a st e r p i ec e ; La
’

C itt a M orta by d A n n u n z io
’
.

E ven fte r t h es e w o rks t h e re re m a ins much more th a n

a ,

a gle a ning ; a n a m p l e h a rv e st is stil l b e f ore us W e ma y .

e xt e nd C l as s A to incl u d e t h e com p l icit y of b o t h p a rt i e s

( N e ro a n d A gri pp in a fu rn is h a n e x a m p l e a ccord ing to ,

88 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

S ueton i us ) ; a s i m i lar example although fragmenta r y ,

”
,
“
exists for A 2 in the b eg i nn ing of S hakespeare s Per i cles
,
’
.

B 1 ma y b e r e versed t h e stepson s pass i on b e i ng u nre ,

’

qu ited b y h i s father s w i fe a case wh i ch i s certainl y not

’

uncommon We ma y also suppress th e compl i c i t y in B 3

.
,

i n C 1 an d i n C 2 al low i ng t h e i nfatuat i on to su b sist upon

, ,

one s ide onl y W i thout going so far as the cr i minal act

.
,

a stud y of mere temptations or des ires wel l or i l l control led , ,

has furn i shed su b ti le c h ap ters in the ps y ch ol ogies of

S eventeenth Century gr an des dames such as V i ctor ,

Cous i n too k del i ght i n .

Final l y we ma y i nterlace the th reads of each of these

,

species of i ncest w i th one of th e seven other cl assess o f

Cr i mes of Love ; un der the form of i gnorance the fifth an d ,
“
sixth class es are m i ngled in one of th e episodes of D aph
”
n is an d Ch loe A dd th e usual i nci dental r i valr i es adul
.
,

t e r ies ,murders etc , .

Si xth : H omosexual i t y i n i ts two senses the b ranch es ,

of pederast y an d tr ib adism :
D (1 ) A M a n E n a m or ed o f An o t h er M a n W h o ,
“ ”
Yi el d s : E xample from fict i on : V autr i n D ramatic .

“ ” ”
examples : the La ius of A esc hy l us ; th e Ch ry s i ppus
of E ur ip i des T he latter traged y appears to h ave b ee n
.

one of the fi nest an d perhaps th e most mov i ng of , ,

al l ant i qu it y T h ree situations were t h ere superposed

.

w i th rare success La i us h av i ng conce i ved a passion

.
,

unnatural an d furthermore adulterous for th e y oung ,

Ch rysippus an epit h alam i u m as terr i b le as that of Ford

,

must have resul ted for h ere appeared an d spoke t h e fi rst

,

man wh o had ever experienced such desires an d dared to

express an d grat i f y them and i n h i s words la y the explana ,

ti on of the waver ing an d fal l of Ch ry sippus T hen fo l .

l owed th e most ind i gnant an d pit i less j ea lous y on the part

of J oca ste w ife of La i u s A gainst C h rys ipp u s s h e roused
,
.

th e ol d env y of th e y oun g man s two b rothers an env y

’
,

of t h e sa me t y pe as that wh i ch armed the sons of Jaco b

against Joseph b ut an env y wh ich s h ows i tself strangel y
,

menac i ng at the mere announcement of the names of th ese

two b rot h e rs — A treus an d T h y estes ! T h e fratricide i s
,

accom p l ish e d to th e fierce j o y of the queen ; La i us learns

,

t h e d e ta ils fro m the l i ps of t h e d y ing Ch ry s i ppus h i ms elf .

 T W E N T Y S I X T H S IT UAT I O N
-
89

A n d in some pred i ct i on
, d ou b tless t h at of T i resias ,

y oung at t h e ti me and not y et depr i ved of s ig h t there

dawns the destin y of t h e two great fami l ies of traged y par
excel lence the La b d a cid es an d the A t r i d es b eg i nn i ng i n
, ,

t h ese cr i mes an d runn ing t h roug h al l Greek legend .

T h e tr ib ad ic or sapph ic b ranch has not b een us ed upon

the sta ge ; M o u r ey alone h as attempted i t b ut i n vain i n ,
“
h is La wn T enn is T h e o b j ect i on w h i ch mig h t b e
.

urged against it (an d wh ich pro b a b l y explains w h y the

d rama in t h e ages of its l i b ert y h as ma d e no use of it ) i s
, ,

that th is v ice h as not the h orri b le grandeur of its con

gener Weak an d col orless th e last ev i l ha b it of worn
.
,

out or un attract ive women it does not o ff er to t h e tragic

,

poet that madness b ruta l an d preposterous b ut spr i nging

, ,

from w i l d y out h an d stren gt h wh ic h we fin d in t h e crim ,

inal pass ion of t h e h eroic ages .

Seventh : Bestial it y or passion for a creature outs ide

,

th e h uman species C lasse d i n general as a v ice i t i s of

.
,

no u s e theatrica l l y N evert h eless in

E —A W o m a n E n a m o r e d o f a B u l l
.
,

Th e Cre
tans of E uripi des seems to have revealed the emotions ,
”
after al l conce ivab le of t h is U lti ma T h ule of sexual per
,

vers ion Better t h an an y where e lse e v i d entl y t h e il l o g i

.
, ,

ca l an d m y sterious c h a racter o f t h e l ife of t h e senses t h e ,

pe rvers ion of a norm a l instinct a n d t h e feel ing of fatal ism ,

wh ic h i ts v icti ms comm u n ic a te could h e re b e p re s e nted ,

i n sa d a n d awful n ud it y .

E ig h t h : Th e A b us e of M i nor C h i l d re n b orrows som e

t h ing from ea ch o f t h e s e v e n prec e d ing v a rieti e s Th a t .

such a su b j ect so mo d e rn so E ngl is h m a y in skil ful

,

h a n d s b e com e m ost p a th e ti c is r e a d il y a pp a re nt to th o s e
,
”
o f us w h o rea d a f e w y e a rs a go t h e P a l l M a l l G a z e tt e
, ,
.
 T WE N T Y SE V E N T H S I T U A T I O N
-

D I S C O V E R Y O F T H E D I SHO NO R O F A LO V E D O N E

(T h e D iscoverer ; th e Gu i lt y O ne )

From th is S ituation there results al most i mmed i atel y , ,

a ps y ch ologic struggle s i milar to t h at of the T went y T h i rd -

”
S acrifice of Loved O nes b ut with out the attraction of a
,

h igh I d eal ; th is is replaced i n the present act ion by th e

, ,

las h of shame .

A (1 ) D i s c over y o f a M o t h e r s S h a m e ’

” “ ” “
M adame C a v er l et by A ugi er ; O dette an d Georg
” ” “
ette by S ardou ; M adame X (B isson M rs .

”
,
“
’
Warren s Profession (Bernard S h aw ) ; Le s Q uarts
’ ”
d H eu re (secon d part ; Gu iches an d Lavedan ,

T h i s sad destructi on of a ch i l d s deepest respect an d rev

’

erence i s col ored i n these works by the terrors of the

, ,

mother b y her b lus h es by her remorse b efore the co n se

, ,

qu en ces of the past ; through th i s last po i nt the act i on en ds

in the T h irt y Fo u rth (R emorse )
-
I t re mai ns unconnected.

“ ”
i n t e secon d part of the M arqu i s de Pr i ola (Lavedan
1 9( h ,

(2 ) D i s c over y o f a F a t h er s S h a m e : V i e i l le
’

” “
H isto i re (Jean J u l l ien 1 89 1 ) th e d e nouement of P i erre
,
”
e t Th e r e se (Prevost ,

(3) D i s c ove r y o f a D a u g h t e r s D i s h o“n o r : Part ’

”
of La Fil le d u D epute (M orel of Le s A ffaires
” ”
,
“
sont les A ffaires (M irb ea u L O r e il l e Fen due
,
’

(N e po t y ,

B (1 ) D i s c over y o f a D i s h o n o r i n t h e F a m i l y o f
“ ”
O n es F i an c ee : L Ab sen t e (V i llemer R efi n e
’

ments o f romance w h ose m ild trage dy consists i n reta rd

,

90
92 T H I RT Y —
S I X D RA M AT I C S IT UAT I O N S

C —D i s c over y t h a t O n e s S o n i s a n A ssa s s i n
” ”
Werner by B yr on ; La Po l iciere (M on t epin ,

T he su rp rise i s i ntens ified i n cases of parr i cide N uance .

C is ca pa b le of i nfin i te devel opment .

D M i ght const i tute a d istinct situat i on ; there i s not

on l y th e d i scover y b ut the dut y of i mposing pun ish ment
,

as wel l T h i s situation m i ght serve as an intermed iar y

.

b etween th e T went y T h i rd D ut y of Sacr i ficing K ins

-

”
,

men an d the T went y S event h wh ich we are now stud y

,
-
,

i ng an d wh ich woul d thus en d w i th Class C

, .

(1 ) D u t y o f P“u n i s h i n g a S o n W h o i s a T r a i t o r t o
C ou n try : — ”
T h e B r u tus of V olta i re an d of A“l fier i
A B r o t h e r W h o i s a T r a i t o r t o H i s P a r t y — E tu
.
,

”
d ia n ts R usses by G i l k i n .

(2 ) D u t y o f P u n i sh i n g a S o n C o n d e m “
n ed Un d er
”
a La w W h i ch t h e F a t h e r h a s M a d e L I n fi e x ib l e
’

“ ” “
Le T r ib un (B ourget 1 9 1 0 ) L Apot re
’
(Parod i , ,

(Lo y s o n ,

(3) D u t y o f P u n i s h i n g a S o n B e l i eve d t o b e
“ ” “ ”
G u il ty Le R egim en t (M ar y L As de T r éfl e ,
’

(D e co u rce l l e ,
T h i s approaches X X X I I I (Jud i c i al
IBrr o r ) .

(4 ) D u t y o f S a cr i fi c i n g t o F u l fi l l a V o w o f Ty r a n
,

n icid e a F a t h e r U n t i l t h en U n k n o wn
, T h i s i m pr u .

dent v ow ca rr i es us b ack at one point to the S eventeenth , ,

(I mprudence ) an d at anot h er point the stri king of an

,

un kn own parent reca l ls also the N ineteent h S evero .

”
T orell i (C 0 ppée ,

(5 ) Du t y o f Pu n i s h i n g a B r o th e r W h o i s a n
A s sa s s i n : Casse M useau (M arot -
From t h is ,

s i tuat ion the k i nsman j udge escapes for a moment onl y

-
,

to fal l into D 3 from wh ich h e returns w i th res i gnation

,

to D 5 .

6
( ) D u t y o f P u n i s h i n g O n e s M o t h e r t o A ve n ge
O n e s F a t h er : (S ituation I V arrested prematurel y ) :
“ ”
Le C oeur de S e h or (M ichaud d H u m ia c ) The ’
-
.

“ ”
Fourt h is l e ss in ev idence i n S imone (Brieux ,
 T WE N T Y E I G H T H S I T U A T I ON
-

O B STA C L E S T O LO V E

(T wo Lovers ; an Ob stacle )

A (1 ) — M a r r i a”g e P r eve n t e d b y I n e q u a l i t y o f
“ ”
Ran k N it ét is a n d Th e Ch inese H e ro b y M etas
ta s io : L e Prince S olei l (V as seur s e con d act of
,
“ ”
La V ie Pu b l i que (Fa b re , R amuntch o (Pierr e
“ ”
L E m igr é (B ourget T h is is the
’
Loti , ,

senti menta l ph i losop h ical S ituati on of a great nu m b er of

-

”
eig h tee nth centur y works N an ine in wh ich a lord
,

i nvaria b l y falls in l ove wi t h a p eas a nt girl I n George .

Sand on t h e contrar y it is a l wa y s a la d y wh o is i n lov e

, ,

wit h a man of in f e rior ra nk ; a s ort of l it e rature wh ich at

le as t h as inspire d m a n y ga l l a nt a d v e nture s of our own
ti me Th e a d d i t ion o f o n e more l ittl e o b sta cl e — the
.

marriage b on d furni s h e s t h e pre te xt f or t h e re a l intrigue

“
of R u y B l a s .

2
( ) — I n e q u a l i t y o f F o r t u n e a n l m pe d i m e n t t o
M a rr i a g e M y rti l l e a n d in p a rt Fri ”
-
“
e n d Fri tz by
by Ha lev y ;
“
L A bb e C on s t a n t in
’
E rc k m a nn ( Jh a t r ia n ;
-

” “ "
La P e tit e A mi e La P lus Fa i b l e
“
( B ri e ux ,

La V e uv e J o y e u s e ( M e il h a e Leo n a n d
“
(Pre vost , ,

S tein Le D a n s e ur l nc o nnu ( B e rn a r d 1 909 )

"
, ,
“
La P e tit e C h o c o l a ti e re (( i a v a u l t Pri m e r o s e ;
,

(from Z o l a s s t o r y by B run e a u ) ; in ficti o n ;

'
Le R év e
”
Le B o nh e ur d es D a m e s t o m e ntion on l y t h e more
e sti m a b l e w o r k s l e a v in g a s i d e t h e e n d l es s num b e r o f
,

triv i a l p l a y s i mit a tiv e o f S cri b e a n d t h e R om a nces of

,
94 T H I RTY S I X D RA M AT I C S IT UAT I O N S
-

Poor Y oung M e n D ames B lanches e t c wh i ch make our

, , .
,

e a rs r i ng with confusing add i ti ons and su b tract i ons u nt i l ,

“ ”
th e unexpecte d final mult i pl i cation deus ex mach i na
wh i ch su d denl y equal izes the two terms of the pro b lem ,

the two fortunes of t h e l overs with th e most adm i ra b l y

—
,

s y mmetrica l al i g nment of paral lel zeros preceded oh ,

j o y ! oh b l iss ! on one s ide as on the other b y two i dent i cal ,

figures !
I t must of course b e recogn i zed that these soc i al an d
convent i onal inequal i ties are mere puer i le deta i ls and that ,

th e lovers i f the y have b ut a l i ttle courage an d s i ncer i t y

, ,

wi l l overcome them wit h out d ifficult y ; the y ca n do so by

s i mp l y leav i ng b eh in d them titles an d mone y an d i n a ,

new country under other names b ravel y b eginn i ng l ife

, ,

again together I f i nstead of such b agatel les we might

.
, ,

on l y b e sometimes sh o w n the more serious o b stacles of

inequal it y of ages of ch aracters of tastes,
wh ich are at ,

t h e sam e t i me so much more common !

T h e y are i ndeed so frequent t h at a general theor y
, ,

m ig h t b e esta b l is h ed wit h regard to t h em T he first love .

(twent y y ears ) seeks i n its o b j ect equal it y of rank an d

su p eri orit y of age (t h is is a f a ct wel l kn own to t h ose wh o
h ave stu d ie d t h e cases of girl mot h ers ) the secon d love -
,

an d in genera l t h e second period of emoti onal l ife (th i rt y

y ears ) a d d resses itself au d ac i t y having b een acquired t o
, , ,

su p eri ors in rank b ut equals in age ; final l y the th ird l ove , ,

or i n a more general wa y th e t h i rd epoch of sent i mental

l ife incl ines b y preference to t h ose wh o are y ounger and
,

social l y i nfer i or N aturall y su b d i v i s i on is here poss ib le

.
,
.

B M a r r i a g e Pr eve n te d by E n em ie s an d C on t in
“ ” “
gen t O b st a cl e s S ie b a (M a n z o t t i Et Ma ,
” “
S o e ur ?
(R a b ier Le P é ch é de M art h e (R och
,
”
ard , al l fairy pla y s s ince t h e Z éi m of Gozz i
-
,
In .

fine a so r t of steeple c h ase process adapts i tself to th i s

,
-

situation b ut t h e c h ase is not one i n wh ic h several r i val

,

steed s and riders engage ; t h rough out i ts course b ut a

single cou p le enters upon i t to en d at the sh in ing goal w i th ,

the usu a l somersau lt .

C (1 ) — M ar r i a g e F o r b i d d e n o n A c c o u n t o f t h e
Y o u n g W o m a n s P r ev i o u s B e tr o t h a l t o A n o t h e r
’
 TW E N T Y E I G H T H
-
S I T U AT I O N 95

R e Pastore by M etas tas i o ; and other p i eces w i thout

I1
num b er Th e lovers w i ll d i e if separa ted so the y assure
.
,

us .We see them make no p re p arations to d o so b ut t h e ,

spectator is good enoug h to ta k e their word for it ; the

“ ”
ardors t h e b raises , to use the exact language of t h e
“
g rand s ie cle an d other nervous p h enomena in h y po
ch o n d r ia cs of th is sort cannot b ut offer some interest
not h owever for long
, , .

(2 ) T h e S a m e C a s e C o m p l i ca t e d b y a n I m a g i ,

n a r y M ar r i a g e o f t h e B e l ove d O b j e c t : Le s B leus de
”
l A m o u r (Coolus
’

D (1 ) A Free Un i on I m p ed ed by t h e O p p osi ti on
“ ”
o f R e l a t ive s : Le D ivorce (Bourget Ms ,

Ly s (Wolf an d Le roux ,

(2 )F a m i l y A ff e c t i o n D i s t u r b e d b y t h e P a r e n ts
i h La w — Le R om a n d E l ise
“ “
-
(R ic h ard Le ’

,
”
Pouss i n (Gu irau d ,

E B y t h e I n c o m pa t i b i l i t y o f T e m p“er o f t h e
“ ”
L over s M ontmartre (F ro n d a ie Les A ngl e s ,

d u D ivorce (B io l l a y ) b e l ongs b ot h to E and to D 2 .

F L ove b ut e noug h o f t h is ! Wh at are we d oing ,

co spect a tors in t h is h al l b e f or t h is p reten d ed situation

-
e ?
,

U pon t h e sta ge a re ou r two y oung p eo p le l oc k e d in close ,

em b races or conv e ntion a l l y a ttitu d in i zing in p ur e l y t h eat

r ica l poses Wh a t is t h e re in a l l t h i wort h r e m ining for
. s a ?

Let us leave it Wh a t M a d a m e y ou stra ig h ten , ,

y ours e l f i n y our c h a i r a n d cra n e y our n e c k in ” e xc ite m e n t

“
over t h e ge sticul a tion s o f t h e j c u n e p remi e r ?
B ut h is
sw e et h e a rt t h e r e b e s i d e h i m h a v e y o u f o rgotte n t h a t -

it is s h e w h om h e d e s ire s or a re t h e two o f t h e m p l a y ing,

so b a d l y is t h e i r d i a l o g u e s o l ittl e n a tura l t h a t y o u fo rg e t
,

t h e stor y e n a cte d a n d f o n d l y i m a gin e y o urs e l f l iste ning to

a monol o u
g e a d e cl r
a a ti o n a d d r e s s e d t o y ou a l o n e ?
And
M onsi eur t h e re wit h mo u t h o p e n e y e s s t a rting f ro m h is
, ,

h ea d fol low i n g wi t h a vi d it y e v e r y m o v e m e n t o f t h e
,
.

a ctres s s l i t h e fi g u r e ! ! uic k m y g o o d m a n a n o t h e r wi l l
’

, ,

b e b e fore y o u ! B e c o ns is t e n t a t l e a s t S p rin g u p o n t h e ,
.

st a g e b re a k t h e insi pi d d a n d y s b o n e s a nd t a k e h is pl a ce !
'

, ,
96 T H I RT Y S I X D R A M AT I C S I T UAT I O N S
-

S orr y return to promiscu i t y i n our overheated hal ls ,

l i ke lupanars wh i ch th e clerg y is n ot altogether unreason

,

a b le ia con demn i ng ! D o people gather here s i mp l y to

stud y amatory man i festat i ons ? I n that case wh y not ,

freel y open train i ng sch ools for cou r tesans ? I s it for the
b enefit of the si dewal k traff i c later i n the even i ng that , ,

the pu b l i c i s here b e i ng prepared ?

0 fresh an d storm y w i nds of D ion ys i an drama ! Aes ch y
l us where art th ou wh o wou ldst have b l ushed to represent
aught of amorous pass i on b ut i ts cr i mes an d i nfam i es ?
D o we n ot even y et perce i ve the he i g h ts to wh i ch r i se
, ,
“ ”
th ose chaste p i nnacles of mode r n art M acb eth an d
“ ” ,

A thal i e ?

B ut wh y d i sturb ourselves ? T u rn i ng our e y es from

these summ i ts to the scene b efore us we d o not feel ,

depress i on ; i ndeed we i ndulge i n a heart y laugh , T hese .

characte rs here b efore us ? Wh y the y are b ut puppets ,

of comed y noth ing more A n d the eff ort of the i r mis

, .

gui ded auth ors to make them ser i ous an d tragi c desp i te
the i r nature h as resulted in mere car i cature I n more .

i ntel l i gent hands have n ot the b est of our dramas where i n

,

love i s i mpo r tant (b ut n ot of the first i mportance as i n ,

th is X X V I I I ) returned log i cal l y an d naturall y to an ind u l

“ ”
gence of sm i les ? Le C id wh i ch is the class i c t ype of ,

th is sort i s a trag i comed y an d al l the characters sur

,
-
,

round i ng R omeo an d Jul i et are fran kl y com i c .

N evertheless our b l in d dramaturgy w i th cont i nued

, ,

o b st i nac y st i l l b reathes forth i ts solemn it i es in th i s e qu iv o

,

ca l rh yth m Wh ether the piece treats o f soc i olog y of

.
,

pol i t i cs of rel i g i on of questi ons of art of the t i tle to a

, , ,

success i on of the exploitat i on of mines of the i nvent i on

, ,

of a gu n of the d i scover y of a chem i cal product of i t mat

, ,

te rs not what — a l ove stor y i t must have ; there is n o

esca pe . S avants revolution i sts poe t s priests or generals
, , ,

present thems elves to us on l y to fal l i mmediatel y to love

ma k i ng or matc h making I t b ecomes a man i a A n d we
-
. .

are as k ed to take t h ese t i resome repet i t i ons seriousl y !

T h i s t h en i s the actual stage of toda y I n m y op i n i on
, ,
.
,

de Ch i rac alone h as sh own h imself i ts courageous l y logi cal

 T W E N T Y E I G H T H S IT UAT I O N
-
97

son —a lt h ough a rej ected one ,

societ y l i ke an aged
,

coquette reserv i ng alwa y s some secret sins a n d fear i ng

, ,

not h ing so much as nud it y wh ich woul d d estro y t h e lege n d

,

of h er i maginar y wi cked ch a rms vei led s h e wi ll ingl y lets

, ,

it b e supposed un der her h y pocris y

,
.

H ow grotes q ue an aspect wi l l our i th yphall ic o b session

present once i t i s cr y stal l ized i n h i stor y w h en we s h al l
, ,

finall y have returned to anti que common sense !

 T WE N T Y N I N T H S I T U A T I ON
-

A N E N E M Y LO V E D

(T he Beloved E nem y ; the L over ; the H ater )

A — T h e L ove d O n e H a t e d b y K i n s m e n o f t h e
L ove r . T he preced ing S ituation m i ght ver y wel l b e
a b sorb ed into t h is .

(1 ) — T h e L ove r P u r su e d b y t h e B r o t h e r s o f H i s
“
B e l ove d “
Th e D uchess of M a l fi by We b ster ; T he
”
Broken H eart b y Ford .

(2 ) T h e L ove r H a t e d b y t h e F a m i l y o f H i s
-

B e l ove d T he S tor y of Ya y a t i b y R o u d ra d e v a (w i th
the character i st ic color of these H i ndu r i val r i es where i n ,
“
j ealous y i s hardl y percepti b le ) ; T he V i ctor y of Prad y
“ ”“
ou mn a b y S amara D ik ch it a ; M etas tasio s Cato ; ’
La
”
Grande M arni e re (O h n et ,

(3) T h e L ove r i s t h e S o n o f a M a n H a t e d b y t h e
“ ”
K i n s m e n o f H i s B e l ove d La T ave rne d es T ra b a ns
“ ”
an d Le s R antzau b y E rck m a nn C h a t r ia n -
I n com i c
.

“
vein : D ieu ou pas D ieu a romance b y Beau b ourg
, .

(4 ) T h e B e l ove d i s a n E n e m y o f t h e P a r t y o f t h e
“ ”
W o m a n W h o L ove s H i m : M a d h o u ra n iro u d d h a by
“ ”
V ira the contemporary of C ornei l le ; Le s S c yt hes by
” ”
,
“
V olta ire ; Al m a n zo r by H e i ne ; Lakm e by D el ib es ;
“ ” “ ”
Le s Car b onari (N 6“ . M adame T h“e r e se by
E r ck m a n n C h at r ia n ;
-
L y d ie (M iral ,
Les A ma
” “
zones (M azel ) ; Le s Ob erle (Baz i n Le s N o ces
”
,
“
C ori nth iennes (France ) ; l E x o d e (F a u ch o is
’

98
1 00 T H I RT Y S I X D RA M AT I C S IT UAT I ON S
-

and to su b st i tute an y other element of d i fference or leave

t h e i r place unfil led an d wh a t w i l l rema i n of trag i c emo
,

tion ? N oth ing .

We h ave then reason to conclude that love an excel

lent mot i f for comed y b etter sti l l for farce — sweet or
, ,

po i gnant as it ma y b e i n stories read in sol i tude of wh i ch

,

we can fanc y ourselves hero or hero i ne l ove is not in real

, ,

it y tragic despite the v i rtuosit y wh i c h h as somet i mes

, ,

succeeded i n mak i ng it appear so an d desp i te the pre v a

,

lent op i n ion o f t h is age of erotoman i a wh i ch i s n ow

,

approach ing i ts end .

 T H I RT I E T H S I T U A T I ON

AM B I T I O N

(A n A m b i tious Pe rson ; a T h i ng Coveted ; an

A dversar y )

A h ig h l y intel lectual t ype of action is h ere presente d ,

for wh ic h there is no anti que mo d el and from wh ich ,

med iocrit y usual l y keeps a respectfu l d istance .

A Am b i t i o n W a t c h e d a n d G u a r d e d Aga i n st b y a
K i n s m a n o r a P a t r i o t F r i e n d : (1 ) By a Bro th er :
“ ”
T i moleon b y A l fie r i H istoric instance (comic t h at
.
,

is to sa y fe i gne d ) Luc i en and N apoleon Bonaparte

, ,
.

(2 ) B y a R e l a t ive o r P e r s o n U n d e r O b l i g a t i o n
”
Jul i us Caesar by Sh a k es p eare La M ort d e Caesar
,
”
by V ol tai re ; B rutus I I by A l fie r i I n La M ort d e .

”
C a e sar t h e r e is a rea pp earance of t h e N in e teenth (S la y ing
o f a K insman U nre co gn iz e d ) s o strong was t h e d e sire to
,

re ca l l t h e wor ks o f anti q u it y !
(3) By P a r t i sa n s . Wal l e nste i n b y Sc h i l l e r ;
” ”
Cromw e l l b y H ugo ; M a rius Va incu (M orti e r ,

(B ) R e b e l l i o u s A m b i t i o n (a k i n t o V l l l A 1 ) ,
” “
S i r Th om a s W y a t b y We b s t e r ; Pe r k in W a r b e c k by
“ ”
For d ; C a ti l in a by V o lta ire C a d e s in s urre ction in t h e
'
’

"
se cond p a rt o f Sh a k e s p ea re s H e n r y I V
’
.

C (1 ) —A m b i t i o n a n d C ov e t o u s n e s s ! l e a pi n g
“ “
C r i m e U po n C r i m e : M a c b e t h a n d R ic h a r d 1 1 1 ;
(A M u s s a t o ) ; p a rt o f t h e C in q D oi g ts d e
“
E zz e l in o
"
.

”
B iro u k ( D e e o u rc e l l e
,
La I i éte F é ro c e
-
(Jul e s
”
M a ry a n d E mi l e R o c h a rd , La V ie Pu b l i q u e
“

(Fa b re ,
I n co me d y : l l b u ro i-
(J a rr y ) I n f ic .

101
1 02 T H I RTY S I X D RA M AT I C S IT UAT I O N S
-

tion : La Fortune des R ougon (w i th cr i m i nal i t y atten

”
u a t e d to si mple want of di gn i t y ) ; S on E xcel lence E ug e ne
(sacrifice of moral“it y ) ; the S” tor y of L uc i en de R u b empr e ;
a ca se of greed : La T erre .

(2 ) P a rr i c i d a l A m b i t i o n T ul l i a by M ar tel l i .

A mb it i on one of the most powerfu l of pass i ons i f i t

, ,

b e not i ndeed the pass ion par excel lence w i l l alwa y s aff ect
the spectator strongl y for h e feels and k nows that once
, ,

awakened in a man it w i l l cease on l y w i th h is death

, An d .

h ow man y are the o b j ects of its des ire ! T yr ann ica l power ,

h igh rank h onors fortune (b y in h eritance marr i age ro b

, , , ,

b er y , the conse r vat i on o f r i ches (avar i ce ) glo r y ,

(pol i tica l scient ifi c l iterary invent i ve art i st i c ) cele b

, , , , ,

r i t y d ist i nct i on
, .

We have seen in C l as s A the t i es wh i ch ma y un i te th e

am bi t i ous one an d h is adversary an d t h e S ituat i ons wh i ch
ma y resu lt from them (X I X X X I I I X X I V ) , , .

H ere is one wa y among man y to intens i f y the fury of

C : m ingle w t h i t the sincer i t y of a fa i th of a conv i ct i on ;
.
,

such a co m b ination i s foun d in the ca se of the S pan i ards

“
i n Peru an d i n Flan ders and i n the cas e of our own gentle
”
,

an d i ntel lectual race under the L eague an d un der th e

T err or ; i n the case of Calv i n an d of the I n qu is i tion , .
1 04 T H I RT Y S I X D RA M AT I C S ITUAT IO N S
-

T h is remarkab le group i ng h as b een i n our da y al most

“
entire l y i gnored B yr on ists as we sti l l are b on gr é mal
.

”
,

gr é we mig h t y et dream of th i s superb onslaugh t on the

,

heavens B ut n o !
. we treat even the evangel ical su b
j ect of t h e Passion wh ile we pass b y l ike owls in b road
, ,

d a y l ig h t th is genu i nel y dramatic situation and content

, ,

ourselv e s with sanct i mon iousl y inton ing t h e i d y l l o d id a c -

t ic p h rases wh i ch preceded the sacred traged y i tsel f ,

left unseen .

A (1 ) — S t r u gg 1 e A g a i n s t a D e i t y T h e ! E do u
”“ ” “
ians and T h e B assa r id es Pentheus an d T he Wool
,
” “ ”
Carders by A esc h y lus ; T he Bacchantes of E ur i p i des ;
“ ”
the Chr i st S uffer i ng of S aint Gregor y N a z ia n zen E p i c : .

th e s ixth H omer i c h y mn (to Di on ysos ) ; t h e dream of

Jaco b .

(2 ) S t r i f e Wi t h t h e B e l i eve r s i n a G o d T he
” “ ”
E xodus of the H e b rews b y E zekiel ; L E m per eu r J u l ie n
’

“
(Mi racle of N otre D ame X I V Centur y ) ; -
, A thal ie .

H istor i c i nstances : var i ous persecutions E p ic : L es M ar .

”
t yrs .

B (1 ) C o n t r ove r s y W i t h a D e i t y T he B ook
”
of Jo b .I cannot g i ve i t is true t h e date nor th e p lace
,
”
,
” “
of th e premier of Jo b B ut th e fact of actual re pre
.

se n t at io n by M ess i eurs A B an d C an d M i sses X Y an d Z

, ,

is no more an i nd i spensa b le cond it i on to th e existence of

true drama than i t is an al l su ffi cient one We ma y h old
-
.

“ ”
t h at the prem i er was given i n that great T h eatre of
wh ich B rah man i c l egend tel ls ; a T heatre i nau gurated l ong
b efore that of man and than ks to wh ich the gods ma y
,

occup y th e le i sures of t h eir etern it y .

2
( ) — P u n i s h m e n t f o r C o n t e m pt o f a G o d
”
T ch it ra Y a d j gn a b y Ve d y a n t h a Va t ch espa t i ; L e
”
Festin de P i erre (mean ing t h e real acti on wh ich from ,

t h e b e gi nn i ng leads toward the d e nouement ) .

3
( ) — P u n i s h m e n t f o r Pr i d e B ef or e a G o d
“ ”
A esch y lus Aj ax Locr i an (accord i ng to one h y pothes
’

”
i s) ;
“ ” “
S oph ocles T h a m ir a s ;
’
E uripi d es Belleroph on ’
A .

C h r i stian exampl e : S i mon th e M agician .

 T H I RT Y F I RST S IT UAT I O N
-
1 05

(4 ) P r e s u m p t u o u s R iva l r y w i t h a G o d T he
”
N urses b y A esc h y lus ; N io b e b y S op h ocles ; La M e re
d u Pape (M iracle of N otre D ame X I V Cent u r y )
-
,
.

(5 )“ I m pr u d e n t R“iva l r y w ” i th a D e i ty : So ph o
cles E u m el e ; i n part P h aeton b y E urip ides
’
.

M a y it not b e possi b le t h at we shal l one da y see treate d

from t h e point of v iew o f th is S ituat ion t h e pat h etic death
,

o f Gu y ot D essa igne M in ister of J ustice ?

-
,
 T H I R T Y SE C O N D S I T U A T I ON
-

M I S T A K E N J EALO U S Y

(T he Jeal ous O ne ; Th e Ob j ect of Wh ose Possess i on H e

I s Jeal ous ; the S upposed A ccompl i ce ; the Cause
or the A uth or of th e M i stake )

T he last element i s e i ther not person ifi ed (A ) or per ,

s o n ifi e d i n a tra i tor (B ) wh o i s someti mes the true r i val

,

of the Jealous O ne (C ) .

A (1 ) T h e M i s t a k e O r i g i n a t e s i n t h e S u S pi c i o u s
“
M i n d o f t h e J ea l o u s O n e : T he Worst is n ot A l wa y s
” “ ”
Certain b y Cal deron ; S hakespeare s C omed y of E rrors ;
’

“ ”
T he B on dman b y M ass i nger ; the M arianne of D olse
“ ” “ ”
an d of T ristan l H erm it e ; T ancr e de an d M ar i anne
’

“ “
b y V oltaire ; Ia Pr i ncesse de Bagdad by D um as ; U h
” “
Di vorce (M oreau , M onna V anna (M aeterl i nck ,

H ow i s i t th at M ol ie re has n ot wr i tten a comed y

of j ea lous y upon th i s Si tuation s y mmetr i cal to that of

(2 ) M i s t a k e n J ea l o u s y A r o u s e d b y a F a t a l
“ ”
Ch an c e V oltaire s Z aire an d t h e opera of that name
’

” “
by de la N ux ; part of Lucr e ce B orgia I n comed y : La
.

”
D ivorc ée (F a l l an d L é on ,

(3) M i s ta k e n J ea l o u s y o f a L ove W h i ch i s P u r e l y
“ ”
P l a ton ic : L ove s S acr i fice b y Ford (in wh ich th”
’
e
“
wif e is unj ustl y sus p ected ) L E scl av e d u Se v o in
.
’

(Va l n a y 1 881 in wh ich i t is mor e particularl y th e respect

, ,

1 06
1 08 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

j ealous y on th e part of a man where as exper i ence teaches

,

us that woman is qu i te as read y as man to let herself b e

the env i ous b y a r i val or b y a su itor b ent upon securing
, ,

for h i mself through the anger aro u sed a pleasure other

, ,

w i se out of h is reac h T ransference to the femin ine of t h e

.

cases alread y consi dered wi l l th u s fur n is h a series of new

situations . Besi des pr i de self interest l ove spite an d
,
-
, ,

rivalr y man y other mot i ves present t h emselves for t h e

,

tra i tor or tra i tress ; the motives mentioned ma y also b e

painted in colors y et unus ed T h e d e nouement (usual l y
.

a murder in some cases a suic i de in others a d ivorce ) ma y

‘

, ,

b e varied su b ti li zed or strengt h ened by secondary and

,

i nstru mental characters T he same ma y b e sai d for the

.

var i o u s knots of t h e i ntr i gue for those false proofs th ose

, ,

d ia b ol i c suggestio n s from w h ich th e j ealous y springs .

U n der th e form of j ealous sp i te t h is s i tuation has

b een used b y M ol i e re an d ot h er wr i ters of comed y for the
pu rpose of fil l ing in —t h rough t h e agitati ons it caus es
the princ i p al lovers the vacancies o f the p icture with
min or c h aracters .
 T H I RT Y T H I R D S I T U A T I O N
-

E RRON E O U S J U DGME NT

(Th e M i staken O ne ; the V ict i m of the M istake ; the

C a u se or A ut h or of the M istake ; the G u i lt y Person ) .

(A n y sort of mista k en j udgm e nt ma y here b e under

stood even th oug h committe d onl y in t h e th ough t
,

of one person to t h e d etri ment of anot h er ) .

A (1 ) — F a l s e S u s p i c i o n W h er e F a i t h i s N e c e s
” “
sa r y : Th e S erp e nt W oman by Gozzi ; L E t u d ia n t
’

Pauvre (M il l o ec k e r
,
O n e o f t h e fac e ts of
“ ”
H enr y V is connecte d somew h a t remot e l y with th is
situation t h e incom p re h ension of t h e y oung prince s
’

re a l c h aract e r by t h e witn e sses of h is d i s or d e rs . D umas

p e re h a s r e p res ent e d H enri d e N avarre as m is u n d er
stood in t h e s a m e wa y b y h is e ntoura ge .

(2 ) F a l s e S u s p i c i o n (i n w h ic h t h e j e a l ous y i s not
“ "
wit h out re a son ) o f a M i s t r e ss : Pa rt of D i a n e by
“ ”
A ug i er ; M a ri e S tu a rt by Al fie r i .

(3) -
F a l s e S u s p i c i o n s A r o u s e d by a M i s u n" d er
s t o o d A t t i t u d e o f a Lov e d O n e — T h e R a v e n by
“

G ozzi ; H y ps i pil e by (S a r d ou
" "
,
“
p a rt o f La R e i n e Fi a mm e tt a ; Le V ol e ur
(B e rnst e in Le s G ra n d s (W e b e r a n d B a s s e t
,
" ,

C o e ur M a t e rn e l ( Fra nc k
“
,

(4 ) — B y I n d i ff e r e n c e :
“
C ra in q u e b il l e (Fra nce ,
”
l o V i e rge (V a l l e tt e )
.
 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

B (1 ) F a l s e S u“s p i c i o n s D r a w n U po n O n e s e l f t o
S ave a F r i e n d — Ai mer S ans S avoir Q u i by L ope ;
”
M me A m b ros (W i dor
.
,

”
(2 ) T h e y F a l l U po n t h e I n n o c e n t Si ro cs by
”
M etastas io ; La Grande I za (B ouv ier Le ,
”
Fiacre N o 1 3 an d . Gavroche (D orna y 1 887 and
”
,
“ “
L A ff a ir e d es Po i sons (S ardou
’
Le s ,

P i errots (Gri llet U po n t h e I n n o c e n t H u s

”
,

b a n d o f t h e G u i l ty O n e La Cri m i nel le (D el a cou r

:

(3) T h e S a m e C a se a s 2 , b u t i n W h i ch t h e I n n o
“ ”
c en t h a d a G u il t y I n ten t i on Jean C e venol
(Fra isse , I n W h i c h t h e I n n o c e n t B e l i eve s
”
H i m s el f G u il t y Le R o i de l A r gen t (Mi l l i et ,
:
’

”
Poup é es E l e ct r i qu es (M arinett i )
‘
.

(4 ) A W i tn e s s t o t h e C r i m e i n t h e I n t er e st o f ,

a L ove d O n e L e t s A c c u s a t i o n F a l l U po n t h e I n n o
,
“ ”
c en t °
Le S ecret de la T erreuse (B u sn ach ,

C (1 ) T h e A c c u sa t i o n i s A l l o w e d t o F a l l U po n
-

“ ”
an En em y : La Pieuvre (M orel ,

(2 ) T h e E r r o r i s P r ovo k e d b y a n E n e m y Th e
Palame d es of S oph ocles an d of E urip i des ; Le Vent re
” “ ”
de Paris (Z ola ,Le R o i S olei l (Bern e de ,
“ ”
L H o m m e a D eux Te tes T h is nuance
’

(Forest ,

al one it wi l l b e o b served attracted t h e Greek trage

, ,

d i a ns wh o were so to speak tormented b y a vague

, , ,

conception of the I ago of a later age an d wh o tr i ed ,

in a succession of d istorted t y pes to produce i t ; we ,

seem in th e se works to b e assist i ng a t the b i rth of the

future D evi l ; of t h e evangel ic Judas — an d at that of
, ,

t h e t y pe of J esus i n Prometheus an d D i on ysos Th is .

nu a nce C 2 seems to me a singul a rl y fine one ; i t i s for ,

“ ”
ins tance t h at of the an on y mous letter and i t w i l l b e
, ,

a dmitte d that a more admirab l y repu gnant gargo y le

cannot b e i magine d t h an t h e creature w h o crouches
wit h p en in claw and mal ignant smi le to b egin such a ,

piece o f work !
(3) T h e M i s ta k e i s D i r e c t e d A g a i n s t t h e V i c t i m
b y H e r B r o t h e r : (here i s included also the T welfth ,
1 12 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

an d knotting together two or t h ree d ra m a t ic s i tuat i ons ’

.

H e b elongs th is t y pe to the fami l y of t h e poet i c Pro

, ,
“ ”
logue of the D eus ex mach ina (alth ough more ad mis
,

s i b le ) of the O rator of th e para b ases of the M ol ié resque ,

V alet an d of ,
“
the T h eorist (th e good doctor clerg y man , ,

j ournal ist , fami l y H e is i n s h ort the ol d

N arrator of t h e monodramas N ot h ing coul d b e more .

na i f consequentl y than th is creature wh ose u n co n

, , ,

v in cin g a rt ifi cia l it y h as spoiled man y a scene .

(3) — F a 1 s e S u spi c i o n T h r o w n U po n a R i v a l
“
D iana (Pa l a d il h e M a rt h o l d
’
, L O g re ( ,
”
La B oscotte (M me M a l d a gn e .
,

4
( ) — T h r o w n U po n O n e I n n o c e n t “B e ca u s e H e ,
— ”
H a s R e f u s e d t o b e a n A cco m pl i c e : V alent i n i an
“ ”
by Beaumont an d Fletcher ; Aet iu s by M etastas i o .

(5 ) T h r o w n b y a D e s e r t e d M i s t r e s s U po n a
L ove r W h o L e f t H e r B e ca u s e H e W o u l d N o t D e c e i ve
“
H er H u sb a n d R oger l a H onte (M ar y - -
,

(6 )— S t r u gg l e t o R e h a b i l i t a t e O n e s e l f a n d t o
A ve n g e a J u d i c i a l E r r o r P u r po s e l y C a u se d La
”
Dé gringolade (D esn a r d the en d of
,
F i acre
No .
 T H I RT Y F O U R T H S I T U A T I O N
-

R E M ORS E

(T he Culprit ; t h e V icti m or t h e S in ; th e I nterroga tor )

A (1 ) — R e m o r s e f o r a n U n k n o w n C r i m e
M anfred an d ot h er creations of B y ron ; t h e last of
the great E ngl is h d ram a tists he was l i k ewise t h e last
,

a d versar y of Cant wh ic h h a v ing k i l led art in S pai n

, ,

under t h e name of t h e I n q uisition i n E ngl a n d t h e first

,

t i me under t h e n a me o f Puritan ism and in G e rman y

un d er t h e n a me of Pietism to d a y p resents i tself in
,

France in t h e guis e of
,
M o ns ieur B e renger
(2 ) R e m o r s e f o r a P a rr”i c i d e Th e E um e n i d es
of A e sc h y lus ; t h e O re s te s o f E uri p i d es of V oltair e ,
“ ”
and o f A l fie r i ; Le C loitre (Ve r h a e re n ) .

(3) R e m o rs e f o r a n A s sa s s i n a t i o n C ri m e a n d
Pun ish ment ( D o s t o ie v s k y, Le C o e u r I t ev él a
”
te u r (a f t e r Po e by A u m a nn
, ,
F o r a J u d icia l
M u rd er (G e ra l d y ,

4
( ) — R e m o rs e f o r t h " e M u r d e r “o f H u s b a n d o r
W i fe “
Th e r es e R a q u i n by Z o l a ; Pi e rro t A ss a ss in ,

d e s a F e mm e ( Pa ul M a rg u e rit te ,

B (1 ) R e m o r s e f o r a F a u l t o f Lov e : Made
l e in e (Z o l a ,

R e m o rs e f o r a n A d u l t e r y : C o u nt W i to l d
“
(2 ) .

(R z e wu s k i , Le S c a n d a l e ( B a t a i l l e ,

Wit h B ( I ) t h e re a re c o nn e ct e d in o ne res p e c t t h e
, ,

pl a y s cl a ss e d i n A ( 1 ) o f S i t u a t i on X x V l l .

1 1 3!
1 14 T H I RT Y —
S I X D RA M AT I C S IT UAT I ON S

N eed I cal l attent i on to the smal l nu m b er b ut the ,

terr i b le b eaut y of the a b ove works ? I s i t necessar y

,

to i nd i cate the i nfin i te var i et i es of R emorse accord i ng ,

to ; l st the fault comm i tted (for th i s enu merate a l l

, ,

cr i mes an d misdemeanors i ncluded i n the legal code ,

plus th ose wh i ch do not f a l l under an y law ; the fault ,

moreover ma y at the wr i ter s p leasure b e real or i m a g

’

in a ry committed with out i ntent i on or i ntended b ut

—
,

not committed w h i c h perm i ts a happ y end i ng

or b oth i nten ded and committed ; premedi tated or not ,

w i th or w i th out comp l icit y outs i de i nfluences su b , ,

t l et y ,or what not ) ; 2 n d th e nature more or less i m

, ,

press io n ab l e an d nervous of the culprit ; 3r d the sur

, ,

round i ngs th e circu mstances the morals wh i ch pre

, ,

pare th e wa y for the appearance of R emorse th at fig

ure plast i c fi rm an d rel igious among the Greeks the
, ,

b ene fi cial l y enervat i ng phantasmagor i a of our Mi ddle

A ges ; the p i ous dread of a future l i fe i n recent centur i es ;
the d i stur b ance of th e equ i l i b r i um of the soc i al i nst i ncts
and consequentl y of th e m i n d accord i ng to the i nferences
of Z ola etc , .

W i th R emorse i s connected the F i xed I dea ; th rough

i ts pe r petual action it recal ls M adness or Cr i minal Pas
“ ”
s i on . O ften i t is b ut remorse for a des i re remorse ,

the more keen i n t h at the i ncessan tl y rev i v i ng des i re

no u ris h es it mingles w i t h it and growing l i ke a sort
, , ,

of moral cancer saps t h e sou l s v i tal it y to th e po i nt of

,
’

su i ci de wh ich is i tself b ut the most des p erate of duels

, .

“ ”
R ene Werther th e man i ac of the C oeur Ré v é la
”
,
”
te a r an d of B e renice (I refer to that of E dgar Poe )
”
and especial l y Ib sen s R os m ersh o l m offer s i gn i fi cant
’
,

portrai ts of it .
116 T H I RT Y S I X D RA M AT I C S ITUAT I O N S
-

T o t h e i nvariab l y happ y and ep i thalam i c end i ng t o

our pla y s b u i lt upon t h is S ituat i on an d to the fortu i t
,

o us coinc i dences with wh ich it h as b een too generousl y

i nterlarded I attri b ute the pu b l ic s fi nal wearin ess of
,
’

i t For does not th is S ituation reta i n more naturalness

.

than the N ineteenth an d h ow fecun d has b een that

,

Ni netee nth wh ose charm an d tempt i ng var i et y i s a l l

,

possessed by our T h i rt y F i fth !

-
 T H I R T Y S I X T H S I T U A T I ON
-

LOSS O F L O V E D O N E S

(A K insman S lain ; a K insman S pectator ; an

E xecutioner )

H ere al l is mourn ing I n long funera l processions we

.

s e e them pass t h e h eroes of t h is S ituation ; t h e y move

,

from t h e dark h ome to t h e d ark c h urch and from th e r e ,

to t h e cemeter y returning onl y to weep b y the heart h

,

unti l the y leave it on t h e d eparture o f anot h e r from

among t h em .

A (I ) W i t n e ss i n g t h e S l a y i n g o f K i n s”m e n
—
,

W h i l e P o w e r l es s t o P r eve n t t : I Th“e N io b e an d
“ ” “
T roilus of ZE s ch y l us ; Pol y xen a an d T h e Ca p tiv”e s
” “
of S op h ocl e s ; a p a rt o f h is L a ocoon ; Th e T roa d es of
E uripi d es and o f S en e c a .

2
( ) — H e l pi n g t o B r i n g M i s f o r t u n e U p“o n O n e s
Pe o p l e T h r o u gh Pr o f ess i o n a l Sec recy : Le s B a i l
lonn e s (M me T e rn i .
,

“
B D ivi n i n g t h e D e a t h o f a Lov e d O n e Th e
”
I ntru d e r a n d T h e S e v e n P rinc e s s e s by M a e t e rl inc k
“
,

t h e o n e m o d e rn m a s t e r o f t h e l b ir t y S ix t h a n d h ow
’ ‘
-
,

p o w e r f ul a o n e !
(I Lea r n i n g o f t h e l ) e a t h o f a K i n s m a n o r A l l y :
”
R h es us a t t ri b u t e d t o E u ri p i d e s ;
“
Pa rt o f t h e I en
’

” ”
T he De a t h o f A ch i l les
“ “
t h es i l e a I y sc h o s t a s e a nd
’
,

by A Is c h y l us ; T h e E t h i o p i a ns o f S o p h o cl e s H e re
‘
“
.

is a d d e d t h e d i ffi ul t ro l e o f t h e m e s s e nge r o f m is f o r
c

tun — h e w h o b e n d s b e n e a t h t h e im p re c a ti o ns o f
e

Cl e o p a tra i n Sh a k e s p e a r e c o me d y :
“
,
. F ro m C e nt
Li gn e s E m ues b y T o rq u e t
1 18 T H I RT Y —
S I X D RA M AT I C S IT UAT IO N S

D R e l a ps e in t o P r i m i t i ve B a s e n e ss t h r o u g h
,

D e s pa i r o n L ea r n in g o f t h e D e a t h o f a L ove d O n e :
“ ”
La Fi l le S auvage (Curel ,

But em b od y i n a h uman figure th e wr ong th e mur

, , ,

der w h ich is a b stract i n most of t h ese examples

, Sti l l .

b oun d b y h is help lessness h ow t h e unfortunate wh o is

,

made a spectator of the agon y wi l l struggle appeal , ,

an d va i n l y i mp lore th e h eavens t h e V i ct i m meantime

, ,

h u m b l y b eseech ing h i m w h o t h us looks on i n despa i r ,

as t h ough h e ha d power to save T h e haught y sar

.

don i c s i lhouette of t h e E xecutioner dominates the scene ,

i ntens i f y ing t h e keenness of th e grief by h i s c y n i cal

pl easure i n i t D ante h as conce i ved of n o
sh arper sorrow i n th e circles of h is I nfern o .
1 20 T H I RTY S I X D R A M AT I C S IT UAT I O N S
-

t u t ed a group of c h aracters an i mated b y a s ingle desire ,

each mem b er of the group re flecting t h at desire under

a d i fferent l ig h t T here is moreover (as I have alread y
.
,

s h own ) no S ituation wh ic h ma y not b e com b ined w i th

,

an y one of its neigh b ors na y with two three four , , , , ,

five six of them an d more ! N ow these com b inations

, ,

ma y b e of man y sorts ; in t h e first case the situations

’

develop successivel y an d logical l y one from an other ;

i n t h e secon d case t h e y d ispose t h ems elves in a d i lemma ,

in t h e m i d st of wh ic h hesitates t h e distracted hero ; in

t h e t h ird case each one of t h em wi l l appertain to a
,

particular group or a part icu lar r o le ; in the fourth fi fth , ,

si xth cases etc the y are represented accord ing to two

, .
, ,

or accord ing to al l th ree of th e cases alread y b rought

together in one situation an d together the y escape from
,

i t b ut t h e maj orit y of t h em f a l l t h erefrom i nto a pos i

,

tion not less cr i tical wh ich ma y even offer b ut a ch o i ce

,

b etween two courses e q ual l y painful ; after find ing a

wa y b etween th is Sc y l la an d Charyb d is the ver y leap ,

by wh ich the y escape prec i pitates them i nto a final

Sit u a t io n r esu l t in g from the preced ing ones and wh i ch
, ,

sweeps t h em al l awa y together T h is b e i t .

,

un derstood is b ut one com bi nation among a t h ousan d

, ,

for I cannot here elab orate th e s y stem b y wh i ch this

stud y of th e T h i rt y S ix S ituations ma y b e continued
-
,

and by means of wh ich t h e y ma y b e end lessl y multi

pl ied ; t h at is a su b j ect for a separate work upon th e
”
La ws of L iterary I nvention .

Th e comp os i ti on or arrangement of the c h osen Si t

u a t io n s — and at th e same t i me of the ep i so d es and
characters introduced ma y b e deduced i n a manner
-

somew h at novel and interesting from the same theor y ,

“ ” “
of t h e T h irt y S ix -
Consi dering in e ff ect t h a t every dra
.
, ,

matic si tuation springs from a confl ict b etween two prin

”
ci pa l d irections of effort (whence at t h e same t i me comes
our dread of t h e victor and our p it y for the vanqu i shed ) ,

we s h al l h ave to ch oose at the rising of t h e curta i n

, ,

b e tween two b egi nn ings ; we must decide wh i c h of t h e

two adversaries pre exists T h is leads us i nfal l i b l y to
-
.

m a k e o f t h e secon d t h e caus e (innocent or responsi b le )

 C O N C L US I O N 121

of the drama since it is h is appearance wh ich w i l l b e the

,

si gnal for t h e struggle Th e first w h o especial l y enl i sts

.
,

our att ention is t h e Protagon ist alrea d y p re sent in t h e

, ,

earl iest Th esp ian trage d y altogether l y ric d e scriptive , ,

and anal y t ic ; t h e secon d t h e o b st a cle arising or super

v e n in g is the A ntagonist t h at principle o f the acti on ,

w h ic h we owe to t h e o b j ective and H omeric gen i u s of

ZE sch y l us O ne of two strongl y opposing colors wi l l
.

t h us dominate t h e ent ire wor k aco r d in g as we s h al l ,

choose near t h e b eginning w h ic h of t h e two parties

, ,

s h al l p o ssess t h e greater power t h e greater chance of ,

v ictor y .

A ris totle h as taught us to d istinguish b etween

”
simple trage d y (in wh ich t h e su p eriorit y remains
upon t h e same si de unti l t h e en d an d in w h ic h couse , ,

quentl y t h ere is no su d d en c h ange of f ortune no sur

, ,
”
prise ) and complex trage d y (t h e traged y of surprise ,

of v icissitude ) w h e rein t h is superiorit y passes from

,

one camp to t h e ot h e r O ur dr matists have sinc e . a

refine d upon t h e latter ; in t h ose of t h eir p i e ces w h ic h a re

least compl icated t h e y dou b le the ch a nge of fortun e
, ,

thus l ea d ing ingen iousl y to t h e return o f t h e opposed

powers at the mom e nt o f t h e s pect a e r s d eparture to ' ’

, ,

th e exact p ositions w h ic h t h e y occup i e d w h en he entere d

th e h al l ; in t h eir p l a y s o f compl icat e d p lot t h e y tri p le , ,

q u a d ru p le q u intu p l e t h e sur p ris e ; so long a s t h e ir i m a g

,

in a t io n s a n d t h e p a ti e nc e o f t h e pu b l ic wi l l p e rmi t We .

t h us s e e in t h e s e vici ss itu d e s of struggl e t h e first m e ans

, ,

o f v a r y ing a s u b j e ct I t wi l l n o t g o v e r y f a r h owe v e r
.
, ,

since we c a nnot h ow e ver g re a t our si m p l icit y re c e iv e

, ,

f rom t h e d r a m a o r f rom l i f e more t h a n o n e t h o u s an d

, ,

t h re e h un d re d a n d t h i rt y t w o sur p ri s e s -
O ne t h o u s a n d .

t h ree hun d re d a n d t h i rt y t w o ? O b vi o u s l y ; w h a t is -

a n y k e e n sur p ri s e i f n o t t h e p a ss ing f ro m a s t a t e o f
c a l m int o a D ra m a tic S itu a ti o n o r f ro m o ne S itu a ti o n ,

i nto a n t h e r or a g a in int o a t a
o ,
s t e o f c a lm ?
Pe r f orm
t h e multi p l i c a ti o n ; r es ult o ne t h o u s a n d t h r e e h un d re d
, ,

a n d t h i rt y t w o -
.

S h a l l w e n o w in q u i re w h e n c e a ri s e t h e s e v i c i s s i tu d e s ,

t h e s e u n e x pe c te d l e q u 1 I 1b r 1 u m ( le a r l y
'
?
'

o
122 T H I RT Y S I X -
D R A M AT I C S I T UAT I ON S

i n some i n fluence proceed ing from a mater i al o b j ect

, ,

a circumstance or a th ird personage , U pon th i s T h ird .

A ctor wh ose introduction i nto t h e drama was th e

triumph o f S oph ocles — mus t rest what i s cal led the
Plot H e is t h e unf oreseen element t h e i deal str i ven
.
,

for b y the two p art ies an d t h e surroun d ing characters ;

he is fantast icall y div i ded and mu ltipl ied by two by , ,

th ree b y ten by even more to th e point of encu m b er i ng

, , ,

t h e scene ; b ut h e i s alwa y s h i mself al wa y s eas i l y recog ,

“
n iza b l e S ome of h is fragments b ecome I nstru ments
.

”
,
“
some D isputed O b j ects
,
some I mpel l ing Forces ; , ,

t h e y range the mselves somet i mes b es i de th e Protagon ist

someti mes near t h e A ntagon i st or moving h ere an d there , , ,

the y provoke t h at downfal l the incessant avoidance of

w h ic h is called for events as for mank i n d Pro gress .

“
I n th is wa y th e y clearl y sh ow their origin t h at R ole
” “
L i en (J o ca st e in S even A gainst T h e b es S ab ine i n ,
“ ”
H orace ) under wh ich the T h ird A ctor was germ inating
in ZE s ch y l ea n traged y with out y et taki ng a pos i t i ve ,

part in the action .

I t wi l l b e seen that the appearance of these fi gures

of t h e secon d plan these C h oru ses C o n fid a n t s Crowds
, , , ,

C lowns even Figurants r e enforced b y t h ose of the

,
-

ori g i nal groun dwork p r e c u r s o r s wh ose i mportance ,

ranges from T iresias to the M essenger of O ed i pus the

”
K i ng from prop h et to porter mod ifies most power
, ,

ful l y the effect o f the ensem b le especial l y i f we reflect ,

that each one of t h ese consi d ered separatel y has h i s , ,

own espec i al mot i ves for action motives soon appar ,

ent in regard to the characters wh o surround h i m i n ,

some dramatic s i tuat ion su b ordinate to the dominant

one b ut none the less real ; the turns and changes of
,

the general action w i l l affect h i m i n some par ticular

wa y and the consequences to h i m of eac h vicissitude
, , , ,

of each effort of each act an d d e nouement contri b ute

, ,

to t h e spectator s final impression I f t h e T h i rd A ctor

’
.
,

for i nstance b e a D isputed O b j ect it b ecomes n eces

, ,
.

sar y to t a ke into account h is first an d h is last posses

sor the d iverse relations wh i c h h e h as success i vel y had
,

with t h em an d h i s o wn preferences
, I f h e appear as .

I ns p irer or I nstigator we must consi der (as i de from ,

124 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

i n our works to come spr i ng eas i l y an d natural l y from

,

the theor y of the Th irt y S ix S ituat i ons -

.

T h us from t h e fi rst ed it i on of th is l ittle b ook I m i ght

, ,

offer (s p eaking not ironical l y b ut seriousl y ) to dramatic

aut h ors an d t h eatrical managers ten th ousand seen ,

ari os total l y d i fferent from th ose used repeated l y pon

,

our stage i n the last fift y y ears u

“
T h e scenarios wi l l b e need less to sa y of a real istic
, ,

and effect i ve character I wi l l contract to del iver a.

th ousand in eight da y s For the product ion of a s i ngle

.

gross b ut twent y four h o u r s a r e required

,
-
Pr i ces .

qu oted on s i ngle dozens Wr i te or cal l N o 1 9 Passage.

, .
,

d e l E l y see d es B eaux A rts T he S ituations wi l l b e

’
-
.

”
detai led act b y act and i f desired scene by scene
, , ,

But I h ear m y self accused with much v iolence of an

” “
, ,
“ ” “
i ntent to k il l i magination E nem y of fanc y ! De .

” “ ”
stro y er of wonders ! A ssass in of prod ig y !
Th ese and s i mi lar titles cause me not a b lush .

A singular h istor y in truth is t h at of t h e I mag i

, ,
”
nation Certain l y no one in classic t i mes thoug h t of
.

prid ing h i ms elf upon it Far from it ! E very n ovelt y .

on its first appearance h astened to sup p ort itself b y ,

appeal to some ant iq ue aut h orit y From 1 830 dates .

t h e access ion to the l iterar y th rone of th is charlatan

“ ”
esque facult y anal y sis of wh ich is it woul d seem
, , ,

eternal l y interd i cted T he results of th is new r egim e

.

were not slow in appearing an d the y ma y b e seen in , ,

t h eir final deca y among t h e last successors of u ltra

,

romanti c R omanticism M y sterious cri me j ud icial error

.
, ,

fol lowed b y th e inev itab l e love affair b etween t h e ch i l

dren of sla y er and victi m ; a pure an d del icate wor k
ing girl in her tin y room a h an d som e y oung engineer
-
,

wh o passes b y ; a kind hearted cri minal two pol ic e -

,

s p ies th e episode of t h e stolen ch i ld ; an d in conclu

,

si on for the satisfaction of senti mental souls a dou b le

, ,

love match at t h e ver y least an d a su ici d e imposed

-
,

upon t h e vi llain t h is o n e y ear wit h anoth er is the

-
, ,

product of t h e I magination For t h e r est in the w h ole .

,
 C O N C L US I O N 125

fi e l d of dra matic romant i c is m (w h ic h corres p onds so

well to the C arra ch e sc h ool of p ainting ) H ugo alone h as
created than ks to what ?
, to a techn ical process
pat ientl y ap p l ied to t h e smal lest deta i ls the antithesis ,

of Being an d of S eem ing .

O ne vigoro u s b low was for t h e moment given to , ,

th i s legen d of t h e I magination b y Positivism w h ich ,

asserte d t h at th is s o cal led creative facu lt y was merel y

-

t h e kale i dosco p e of our memories sti rre d b y c h ance , .

But it d i d not suffi ci e ntl y insist u p on t h e inevita b l y

b anal an d monotonous r esults of t h ese chance stirrings
some of our memories — precisel y t h ose l e ast interest
,

i ng an d least personal — repeating t h emselves a t h ou

sand t i mes i n our minds return ing merci lessl y i n al l ,

manner of met h odless com b inations Th es e souven irs .

of i nnum e ra b le read ings o f t h e pro d ucts of imitation

i n our n e o classic an d R omantic p a st envelope and
-
,

overwhel m us unless we turn to t h a t o b servation of

nature w h ic h was point e d out by t h e N a tura l ists in itia ’

t ive as an e lement of re nov a tion E ven t h e N a tura l ists .

th ems elv e s h ave too oft e n v i e w e d real it y a t h w ar t t h eir

b oo k ish recol lections ; t h e y h a ve esti mate d too h ig h l y
th e pow e r o f t h e a rtistic t e m p e rament h owev e r vig ,

o ro u s it ma y b e in a ssuming t h at i t could inter p os e

,

i tsel f al one an d stri pp e d o f a l l conv e ntion b y a sim p l e

, ,

effort of wi ll b etw ee n N a ture a n d t h e l it e ra r y p ro d uct

,
“ ”
to b e eng en d e re d l h us ét e H um a in e
' ’
’
. La h as i
“
rep ea t e d t h e j u d ici a l e rror i n t h a t s p e ci a l form w h ic h
is as common in b o o ks a s i t is ra re i n l i f e ; t h u s t h e s t a rting
”
is m e r e l y t h e co nv e rs e o f t h e t h e si s
“
point of
of t h e ( i o n co u rt s a n d D a u d e t ; t h u s re minisc e nc e s o f
M a d a m e B o v a r y a pp e a r i n m a n y a stu d y o f si mi l a r
ca s e s w h ic h s h o ul d n e v e rt h e l e ss re m a in q ui t e d i s tinct ;
, , ,

-
a nd t h u s h a s a pp ea re d in t h e s e c o n d g e n e ra t i o n
,
”
a n e w s c h o o l o f imi t a t o rs a n d tra d i
“
of n a tura l is t s ,

t io n a l is t s .

A n d a l l t h e o l d m a rion e tt e s h a v e r e a pp e a re d in fl a t e d ,

wit h p h i l o so p h ic a n d p o e tic a m p l i fi c a t i o n s b u t too ,

o f t e n e mpt y o f s y m b o l ism a s o f n a tura l ism a nd ,

hum a n ism .
1 36 T H I RT Y S I X D RA M AT I C S IT UAT IO N S
-

A s to t h e met h ods of the A rt of Com b in ing the truth ,

ma y b e gr as pe d b y one b ol d look one triump h ant glance ,

a t all t h ese phantoms of trite th oug h t as the y stan d ,

i n their res p e ctive places in t h e foregoing categor i es .

A n y writer ma y have here a starting point for o b serva -

t i on and creat i on outs ide the worl d of paper an d pr i nt

, ,

a starting point pers on a l to h i mself or i ginal i n sh ort

-
, ,

wh ich does n ot i n t h e least mean i mpro b a b le or u ncon

v in c i n g s ince man y st it u at io ns wh i c h have toda y an
,

appeara nce of im pr ob ab l it y have merel y b een d isfigured

by persons wh o not know i ng h ow to create new ones
, ,

have com p l icated the old entangl ing themselves in ,

their o wn threads .

E speciall y wil l the inventi on of an unus ual stor y

“ ”
t h e d iscover y of a virgin fiel d (to use the natural ists ,

term ) b e ma d e so eas y as to b e al most val ueless We .

are not unaware of t h e i mportance in th e perfect i ng of ,

Gre e k art of the fact that it was c i rcumscri b ed an d

,

r e str i cted to a smal l num b er of legends ((E d ipus ,

A gamemnon Phaedra , wh i ch eac h poet had in

,

h is turn to treat th us b eing unab le to escape compar i

,

son step b y step with each o f h is predec e ssors so that

, , ,

e ven the least critical of spectators coul d see w h at part

h is personalit y an d taste had in th e new work T he .

worst wh ich ma y b e said of th is tra d ition i s that it ren

dered origi nal it y more d ifficult B y a stud y of the .

Th i rt y S ix S ituations an d t h eir results the same a d v an

-
,

tage ma y b e o b tained with out its accomp a n y ing in co n

v e n ie n c e Th enceforth Proport i on alone wi l l assume
.

s i gnific a nce .

B y proportion I mean not a col lection of measur e d ,

formulae w h ic h evoke fami l i ar memories — b ut the ,

b ringi ng into b attle un der comman d of t h e wr i ter of

, ,

t h e infin ite arm y of poss i b le com b inat i ons range d accord ,

ing to their pro b a b i l ities Th us to make man i fest .

,

t h e trut h or t h e i mpressi on w h ich unti l now h as b een , ,

perce p ti b le to h i m alone the a uth or wil l h ave to over

,

look in a ra p i d review the field b efor e h im an d to choose ,

suc h of the situ a ti ons and suc h of the deta i ls as are

most appropriate to h is purpose T h i s metho d — or .
,
128 T H I RT Y S I X D R A M AT I C S IT UAT I O N S
-

I t i s by meth ods of log i c that V io l l et l e D uc has - -

“
ena b led us to esti mate tru l y the marvels of our gran d
”
si ecle ,
the X I I I Centur y su b stituting (to c i te onl y ,

th i s ) for the s imple a d miration of 1 830 b efore each

“ ”
stone sa i nt so p i ctures q uel y perc h ed upon the po i nt
of an ogive t h e b ui lders explanat i on : that a stone of
,
’

the exact weight an d d i mensions of the saint was there

a b solutel y necessar y to prevent the b reaking of the
—
,

og i ve under a dou b le lateral pressure whence the ,

i ns t i nct i ve sat i sfact i on it gives our e y es I t i s a great .

m i sfortune that the un derstan d i ng of that magn ificent

age i n wh i ch a S aint L ouis presi d ed over the mult i ple
communal l ife a n age wh ose on l y e q ual in the worl d s
,
’

h i stor y i s that in wh ich Pericles d irected from th e ,

A th en ian metro p ol is an i dent i cal movement ,

th at ,

th i s understand ing w h ich woul d b e so useful to us

, ,

s h oul d have b een h orri b l y comprom i sed in th e R oman

“ ”
t i c carn ival H ugo s N otre D ame de Par i s wherei n
.
’
-
,

the pu b l ic b el i eved it b e h eld a portra i t of our

“
M o y en a ge (a most ab surd appel lation b y the wa y )
-
, ,

represents i t b y a singular ch oice as alread y long dead

, , ,

— after the H un dre d Y ears War wh ich b led us to t h e ’

po i nt where we fel l pass i ve and defenseless un der th e

, ,

domination of the Florentine national art cal led

renaissant ,
and then of various ot h er i nfluences ,

an cient and forei gn during four centuries A nd down

,
.
,

to the ver y moment at w h ic h I write t h e l i terar y pro ,

d u ct io ns upon th e su b j ect of th is most i ncompara b le

per i od of our past h ave b een b ut p itia b le affairs B ut .

y esterda y a R en a n was writing of ogival art as an

,
“
eff ort w h ic h had b een i mpotent ( S ouven irs d E nf a n ce
’

”
e t de Jeunesse ) or w h ic h at most had fathered works
“
of no endur i ng character ( Pr ie re sur the
“ ”
very Cath ol i c H u y sm a ns in h i s E n R oute was mak , ,

ing the most astounding s a la d of R oman vault i ng

Primitive painting Gregor i an plain chant — a sal ad
,
-
,
”
,
“
w h ose reci p e is the Fait h a n d w h ic h is cal led natur ,
“
all y the M o y en a ge
,
that age w h ich em b races ten
-
,
-

centur i es of h uman it y plus one th ird of h uman i t y s

,
-
’

aut h ent i c h istory t h ree epochs strongl y antagon i st i c

,

to each other peoples w i del y d i verse an d opposed ; a

,
 C O N C L US IO N 129

someth ing e q u iv a lent to a marriage b etween A lci b i ades

and S aint Genevieve
T he M o y en a ge or to speak more acc u ratel y the
-
, , ,

X I I X I I I and X I V Centuries were not i n t h e least

, , ,

fantas tic an d freakis h ; t h is is t h e c h a racter merel y of

an occas ional generation such as that of Louis ,

P h i l ippe . N eit h er were t h e y m y stic in the present ,

sense of t h at wor d T he arc h itecture of t h ose cen .

t u r ies grew ston e by stone plan b y plan out of t h e

, , ,

most practical of r e as ons I n t h eir sculpture there .

was noth ing naive t h e naivete is ou rs w h en we so ,

estimate t h at scul p ture w h ic h is far more real istic t h a n ,

our o wn ; an d if pers isting in the contrar y o p in ion we

, ,

cl ing to t h e weir d forms of t h e ga rgo y les it m a y b e ,

s a i d that b orn of a s ym b ol ism a kin to t h ose of E g y pt

,

an d Greece t h e y represent analogies e q uall y ingen

,

ious and p rofound I n t h is p erio d aros e Th omism.

, .

l a tel y cal l e d b ac k into a positi on of h onor to com b at

Positivism and w h ic h real i ze d so h a pp y a h a rmon y
,

b etween A ristotel ian ism a n d C h ristian faith b etween ,

science an d t h eolog y I n t h is p erio d too w e re b orn .

, ,

t h e natura l sci e nce s an d in t h e min d s of i ts p oets , , ,

evolv e d t h e laws by w h ic h our po e tr y l iv e s toda y t h ose ,

r h yt h ms w h ic h t h ro u g h R on s a r d w e s t ill h ea r t h a t
R h y m e w h ic h we ga v e t o al l E uro p e —a n d at t h e
,

, ,

same time t h y groin e d v a ultings 0 l ittl e to w n o f S a in t

, ,

D e n is su zera in o ri fl a mm e p i lot b a r q u e o f Fra nc e ! A l l

, ,
-

t h es e w e r e b orn a n d gre w b e n e a t h t h e gra v e ga z e o f

, ,

the s a m e wis d om w h ic h o n t h e I o n i a n s h o res w a s c a l l e d , ,

A th en e .

T ow a r d a n e w a s p e c t o f t h e s a m e l o gic o u r o w n a g e
a l r ea d y turns sinc e h a vin g d run k o f t h a t a n t i q ui t y b y
, ,

w h os e f orc e s w e ru l e d E u ro p e a s e c o n d t im e in t h e
X V I I C ent u ry ; h a vin g d run k o f t h e l a t es t o f gre a t .

fore i gn in fl u e nc e s t h e G e rm a nic w e a re re t u rni ng t o

, ,

re a l it y a n d t o t h e f uture Th u s w h e n e a c h G re e k .
,

cit y h a d a b s o r b e d t h e n e i g h b o rin g l o c a l c u l ts ( its f o re i gn

” ”
in fl uenc e s ) a n d t h e O ri e nt a l c ul ts ( t h e a n t i q u it y

of t h a t d a y ) t h e m o s t b e a u t i f ul o f m y t h o l o g i e s w e re
,
. .

form e d I t is a t l e a s t t ow a rd a n a r t p ure l y l o gic a l

‘

. ,
.
, ,
1 30 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

purel y techn ical an d of infin itel y varied creat i ons

, ,

t h at a l l our l iterar y ten d encies seem to me to b e con

verging I n t h at d irect i on proceed Flau b ert an d Z ola
.
,

t h ose rugged pin o ee rs I b sen S trind b erg an d al l wr i ters, , ,

del i b eratel y unmindfu l of t h e i r l i b raries as the H el lenes ,

were of b arb arian l iterature ; there moves M aeterl inck ,

having reduced action to t h e d evelopment of a single

i dea ; V erlaine del ivering from conventional rules true
,

r h y t h m wh ic h makes for itself its own rules ; M al larm e

, ,

pr i nce of el l ipse clarif y ing s yntax an d expel l ing clouds

,

of our l ittle parasite words an d ta ttered formulae ; i n

that d irection M or e as cal ls us b ut without free i ng ,

h i mself unfortunatel y from t h e I tal ian ism of our s o

, ,

ca l led R enaissanc e ; all t h ese an d others not less glor i ous

”
, ,

a wh ole new generati on s p ringing up futurists loups , , ,

cu b ists seem to me to b e seek i ng the same goal the

, ,

final a b ol ition of al l a b solute author i t y even that of ,

N ature an d of our sciences her i nterpreters ; and t h e

erection upon i ts d eb r is of s i mple log i c of an art solel y ,

techn ical an d thus capa b le of reveal i ng an unknown

,

s ystem of harmon y ; i n b r i ef an art i sts art ,

’
.

I n l iterature in dramat i c l i terature wh ich i s th e

,

special su b j ect of our considerat i on the invest i gat i on ,

of Proport ion of wh i c h I have a b ove spoken w i l l show

“ ”
us th e various general meth ods of present i ng an y
“
situation whatever E ach one of t h ese general.

meth ods conta i n ing a sort of canon appl icab le to al l

”
,
“
s ituati ons wi ll constitute for us an order analogous
,

to the orders of a rch itecture and w h ich l ike them , , ,

wil l take its p lace w i th ot h er orders i n a dramat i c ,

“ ”
s ystem B u t the s y stems in t h eir turn wi ll come
.
, ,

toget h er under certain ru b rics y et more general com ,

p a risons o f wh ich wil l furn ish us man y a su b j ect for

reflection I n t h at w h ic h we m i ght cal l E nchantment
.
,

t h ere meet odd l y enough s y stems as far a p art in or i g i n

, ,
“
as I nd ian d rama ; certain come d ies of S hakespeare ( A
” “
M idsummer N ight s D ream ; Th e ’
the
“ ” “ ”
fi a b e s q u e genre of G ozz i and Faust ; t h e M y ster y ,

b rings toget h er the works of Pers ia Th espis and “

the
”
,
“
pre A esch y l ea n s
-
Prometheus , the bo ok of Jo b , ,
1 32 T H I RT Y —
S I X D RA M AT I C S IT UAT I O N S

a greater th ing than the theatre of D i on y sos where

gat h ered th i rt y th ousand people greater than that of
,

E p h esus w h ere i n sat j o y ous a hundred and fi ft y th ou

, ,

san d spectators an i mmense o r ifi ce l ike crater i n wh i ch

,
-

the earth seems to encompass the ver y heavens .

 ALP H AB E T I C A L I N D E X

O f t h e Pla y s N ov e ls , ,
E tc .
,
C lassifi e d in th e S ituations
o f t h is Work

A bb é C o n s t a n t in (T h e ) by L H a l e v y X X VI I I
, .

Ab d uct i o n o f H e l e n (T h e ) b y L o p e d e V e g a X ,

A b d uct i o n o f H e l e n (T h e ) b y S o p h o cl es X ,

A b h i r a m a m a ni by S o u nd a r a M i s r a , X
Ab r a h a m by t h e Abb ess H ro s w i t h a
, XX
Ab se n t e by V i ll e m e r X XVI I
A b a f a r b y D uc i s
, XVIII
A c h i ll e s in S c y r o s b y M e t a s t a s i o , XX
A d él a i d e D u g u esc l i n b y V o lt a i r e ,X IV
A d e l g h is by M a n z o ni
, V
A d r i e n b y M e t a s t as i o
, XXIV
A e d o n i a ns (T h e ) b y A es c h y l u s XXXI
A e ge us by E ur i p i d es
, XI X
A c t i ns b y M e t a s t a i o
,
s XXXIII
A ff a i r e C l em e n c e a u (I f ) b y D um a s fi l s XXV ,

A ff a i r e d e l a r u e d e L o u r i n e b y L a b ic b e X V I c

A fl a ire d e s P o i ss o n s ( I f ) by S a r d o u XXXIII ,

A ff a i r e s s o n t l e A ff a i r e s (Le s ) b y M ir b e a u X XVI ! ,

A g a m e m n o n b y A es c h y l u s , XV
A ga t h o c l e b y V o lt a i r e
, XIV
A ga v é b y S t a c e
, X XXI
A ge C r i t iq u e b y B yl XXV
A gés il as b y ( o r e i l l e XXIV
'

, n

A g is b y A l fi e r i
, Xl l l
A g n i m i t r a a n d M a l a v ik a b y K a l i d a s a XXIV ,

A i gl o n ( I f ) b y R o s t a n d , Vl l
A i m e r sa ns sa vo i r q u i b y L p d e V g a XIV,
o e e

a nd X X X I I I

A j a x b y S o p h o cl es
, XV I
A j a x L r i a n b y A es c h y lu s
oc ,
XXXI
1 34 T H I RT Y —
S I X D RA M AT I C S I T UAT I O N S

A j a x L o cr i a n by S o p h o cl es ,

A lc a l d e o f Z a l a m e a (T h e ) by C a l d e r o n ,

A lc est e b y S o p h o cl es
,

by E ur i p id e s
by B uc h a n a n
by H a r d y
b y Q u in a ult
b y R a c in e (pr o j e ct e d )
by L a gr a n g e C h a n c e l -

by B o i ss y
b y S a in t e F o i x -

b y C o y pel
b y D orat
b y G l uc k
by H L uc as .

b y d e V a uz e ll es
A lcm e n e by A esc h y lu s
,

A l cm eo n b y S o p h o cl e s
,

A l cm e o n by E ur i p i d es
,

A l e t es a n d E r i g o n e b y S o p h o cl es ,

A l e x a n d e r by S o p h o cl es
,

A l e x a n d e r b y E ur i p id es
,

A l ex a n d e r b y M e t as t as i o
,

A l e x a n d e r by R a c in e
,

A l m a n z o r b y H e in e
,

A l o p e by E ur i p id es
,

A l z i r e by V o lt a i r e
,

A m a z o n es (L es ) by M a z e l ,

A m el i e b y V o lt a i r e
,

A m h r a by G r a n g e n e uv e
,

A m i F r i tz (L ) by E r ck m a nn C h a t r ia n
’
-

A m o ur b y H en n i q u e
,

A m p h i tr y o n b y S o p h o cl es
A n a r gh a r a —
,

gh a v a (H in d u a n o n y m o u s ) ,

A n c ét r e by S a in t S a e n s -

A n d r é d e l S a rt e b y M u sse t ,

A n c i e n (L ) by R i ch e pi n
’

A nd r o m a c h e b y E ur i p id es ,

A nd r o m a q u e b y R a c in e ,

A n d r o m e d a b y E ur i p i d e s
,

A n d r o m e d a b y S o p h o cl es
,

A n d r o m e d e by P C o r n e i ll e
, .

A ne d e B u r i d a n by d e F l e r s a n d
de C a i ll v et a
A n g e l o b y H ug o
,

A n gl e d a D i v o rc e (L e ) b y
s s , B io l l a y
A n t i g o n e by M t t a i o
, e as s
by S o p h o cl es
b y E ur i p i d s e
by A l a m a nni
by A l fie r i
1 36 T H I RT Y S I X D RA M AT I C S IT UAT I O N S -

B er eni c b y P o e e, X XXIV
B rt h e gr a nd p i e d M i r cl e o f N o tr e
e au , a
D ame XXXV
B e t h e q i n e M i r a cl e o f N o tr e D a m e
r u , X X XV -

B et e f é r o c e (L ) b y J ul e M r y a n d R o ch a rd X X X
a , s a
B et e h um a in e (L a ) b y Z o l a XVI ,

B l u d e l a m o ur (L e ) b y C o o lu s
e s
’
X XVII I s ,

Bl in d (T h e ) b y M ae te rl in c k , VII
B lu b a r d b y P e rr a ult
e e , II
B lu e B i r d (T h e ) by M a e t e rl in c k IX ,

B lu e M o n t e r (T h e ) b y G o zz i
s XIX ,

B o h ém o s b y Z a m c o i s , XXXIV a
B o i l a u r i er b y R i c h a r d
s , X IV
and II
B o nd m a n b y M ass in ge r(T h e ) , XXXII
B o n r o i D a g o b e rt (L e ) b y R i v o i r e , X VI I I
B o sc o tt e (L a ) by M m e M al d a gne , . X XXI II
B o uc h e r s (L es ) by I cres , III
B r id e o f M ess in a (T h e ) b y S c h i ll e r , X VI I I
Br i g a n d s (T h e ) b y S c h i ll er , XXXII I
B r i t a nni cu s b y R a c in e , X IV
B r o k e n H ea rt (T h e ) b y F o r d , XXIX
Brutu s b y V o lt a i r e
, X XVI I
Brutus I I b y Al fieri , XXX
B u ch ero n n e (L a ) b y C E d m o nd , . X X IV
B urgr a v es (L es ) by H ugo , XIX
B y Fi r e a n d S w o r d b y S i e nki ew i cz , X X VI

C a in by B yr o n
, XIII
C a n c e b y S p r o ni
a e
, X XVI
C a p i t a in e B url e (L e ) by Z o l a XXII ,

C a pt i v e (T h e ) b y S o p h o cl e
s s X X X VI
,

C a r b o n a r i (L e ) b y N o
s XXIX ,

C a r i a n s (T h e ) b y A esc h y lu s , X
C as q u ett a u p er e B ugea u d (L a ) by M a r o t
e III ,

C a se mu a u by M a r o t
s se-
, X X VI I
C as e r o l e (L a ) b y M ét éni er
s , III
C a t h e r in e I B at r d e by B ell
a a XXXIII ,

C at i l in a b y V o lt i r e
a
, CIII
a nd X X X
C a t o b y M et a s t as i o
, V
C e llul e N o 7 (L a ) b y Z acco ne . III ,

C e n c i (T h e ) b y S h e ll e y , III
X I I I B 3 a n d X X VI
C e n t l i g n es é m u e s b y T o r q u e t X X X VI ,

C es a r B iro t t e a u by B a lz a c XX ,

and V I
C es t l a 10 1 by Cl i q u e t
’

, X XV
 I N D E X O F PL A YS N OVE L S ET C , , . 1 37

C h a m il l ac b y e F u i ll e t ,

C h a m pa i r o l (L e s ) b y F r a i sse ,

C h a n t e cl r by R o t nd e , s a
C h a r b o nni ere (L ) b y Cr em i e ux a ,

C h e v a l e r i e R us t i q u e by V e rg , a
C h e v a l i e r J ea n (L e ) b y d J o nc ie , e re s
C hi e n d g r d (L e ) b y R ich e pi n
e a e ,

C h in e e H r o (T h e ) b y M t a t a i o
s e , e s s
C h o e ph o s (T h e ) b y A c h y lu
re , es s
C h r i t S uf f e r in g b y S t G r g r y N a i n e n
s , . e o z a z
C h r y e b y S h p cl
s s, o o es
C h r y i p p us by E ur i p id e
s ,
s
C id (L ) b y P C r n i ll e
e , . o e
C i nn by P C o r n e i ll e
a, .

C in q d i gts d e B iro k (L ) b y
o u es ,

D e C o urc e ll e
C i rcu i t (L e ) by F e y d e u a n d d Cr i t ,
XXIV a e o s se
C i tt m o rt a (L a ) b y d A n n n i
a X XVI ,
’
u z o
C l a v ij o by G t h e ,
III
oe
C l eo p atr e b y S r d o u , X XI I a
C l i t a n d e b y P C o r n e i ll e
r , XXXIII .

C l o i tr e (L e ) by V e r h e n , XXX IV a re
C o e ur a c e ur by C o o lu o XXV
,
s

C o e ur a es r i o n (L e ) by d F l r
s a s s ,
e e s

a nd d C i ll a ve t e a
C o ur d e Se h o b y M i c h u d d H m i c
e -
r, a
’
u a
C o ur m a t e r i a l b y F r n c k
e , a
C ur r v e l t e u (L ) by L um nn f t r
oe e a r e , a a , a e

Poe XXXIV
C o l o m b by M r i m ee a, III e
C o m e d y f E rr r by S h k p r o XXXI I o s, a es ea e
C m p g n o n d v y g (L ) b y A n d r n
o a XI
e o a e e ,
e so

C o m p er e l R n r d b y P lt i e V
e a , o
C o mt e d E b y T C r n i ll
'

sse x , XXIV . o e e
C mte e S r h b y O h n t
o ss a a ,
e

C nn i t o i b y H i
o a s- ,
XXII e rv e u
C n q et d l T i n d (L ) b y P ( I
'

o u e e a o so or a , . or

n e il l e
C o nq u ete d e P l a s s a n s (L a ) , by Z l o a

C n pir ti n
o s a o d u g en er a l M a ) by d l t (L e a ,
e

Ls u a s s
C o n t n t P r in c (T h ) b y ( l d n
s a e e ,
‘

a e ro

C n t d N l b y Lin n t
o e e oe ,
a

C r b u (L ) b y G zz i
o ea e ,
o

C r b ux ( L ) b y B c q u
o ea ea ,
e e

C fl or i ( L ) b y M ikh l
eur d H r ld e ,
ae an e o

C ri l n u by Sh k p r
o o a s, a es ea e

C r n tt ( L ) by M nd M ll F rr i r
o e e a , . a e . e e

C u n t f C rm g n l ( T h ) b y M n z ni
VI
o o a a o a e ,
a o

a n: 1
(
‘
o u nt W it ld by o , l t ze wus h i X XXI V
1 38 T H I RT Y S I X D RA M AT I C S IT UA T I O N S
-

C o u n t e F re d e go n d e (T h e ) b y A m i gu e
ss , s
C o ur e d a fl a m b e a u (L a ) b y H e v ie u
s , r
C o urt i a n e (L ) by A n yv el d e
s a , r
C o urt i n e d e C o r in t h (L a ) b y C a rr é a n d
sa ,

B il h a u d
C o u in e B e tt e
s (L a ) , b y B a lz a c
by F r a n c e
C r a i n q u e b il l e ,

Cr e s p h o n t es b y E ur i p id es ,

C r e t a n s (T h e ) by E ur i p i d es ,

Cr e u sa b y S o p h o cl es
,

Cr i m e d e J ea n M o r e l (L e ) b y S a m s o n ,

Cr i m e d e M a i so n s A l f o rt (L e ) b y C oe d és -
,

Cr i m e d 11 n a utr e (L e ) b y A r n o l d a n d R e n
’

au1 d
Cr i m e a n d P u n i h m e n t b y D o st o ievsk y s ,

Cr i m in e ll e (L a ) by D el aco u r ,

C r o c o di l (L e ) b y S r d o u
e , a
Cr o i a d e d e E n f an t el et f r a n c (L a ) by
s s s s ,

E rna u l t
Cr o mwe ll b y H ug o ,

C u i rs d e B o e u f (L es ) by P o lt i ,

C y m b e l in e b y S h a k e p ea r e
, s
C y r a n o d B erg r a c b y R o st a nd
e e ,

C yr u b y M et a t a i o
s, s s

D a m a ge d G o o d s b y Br i e ux ,

D a m e a l a f a ulx (L a ) b y S a in t P o l R o ux ,
-

D a m e a u x C a m é l i a s (L a ) by D um a s fi l s ,

D a m e a u d o m in o r o se (La ) b y B o uv i e r ,

D a m o n b y L ess in g,

D a n a e b y E ur i p i d es
,

D a n a e by A es c h y lu s
,

D a n a id es (T h e ) by A esc h y lu s ,

b y G om b au d
b y P h r y n ich u s
b y S a l i er i
b y S p o n t ini
D a n se ur i n c o n n u (L e ) b y B e r n a r d ,

D a n te b y G o dar d
,

D e a t h o f A c h i ll es (T h e ) b y A esc h y lu s ,

D ea t h o f C a n sa (T h e ) by C r ic h n a C a v i ,

D eb acl e (L a ) b y Z o l a ,

D eca d e n ce by G u in o n ,

D é cl as s é e (L a ) b y D e l ah a y e ,

D é d a l e (L e ) by H er v ieu ,

D e f o rm e d T r a n s f o rm e d (T h e ) b y B yr o n ,

D é gr in g o l a d e (L a ) by D es na rd ,

D e m e tr i u s by M e t as t as i o
,
1 40 T H I RT Y S I X D RA M AT I C S I TUAT I O N S
-

E d i t h b y B o is
,

E gm o n t b y G o e t h e
,

1 8 1 2 b y N i go n d
,

E l e ctr a b y S o p h o cl es
,

b y E ur i p id es
by A t t il i u s
by Q C i c e r o .

by P r a d o n
b y L o n ge p i e rr e
by C r éb i l l o n
by R o c h e f o rt
b y C h én ie r
b y G u i ll a r d
E l e u s i ni a n s b y A esc h y l u s
,

E m i gr a n t s (L es ) b y H i r sc h ,

E m i gr é b y B o urge t
E m i l i a G a l o t t i by L ess i n g ,

E m p e r e ur J ul i e n (L ) M i r a cl e o f N o tr e ’

Dame XXXI
E n c h a n tem e n t b y B a t a i ll e XIV
E n d é tr esse b y F evr e , VII
E n e m y o f t h e P e o p l e (A n ) by Ib se n , V
E ni gm a (T h e ) b y H e r v ieu , X XV
E nf a n t d a T e m p l e b y d e Fo l h es XX
E nf a n t s d u C a p i t a in e G r a n t (L e s ) b y V e r n e , X X XV
E nf a n t s n a tur e l s (L es ) b y S u e , X VI I I
E n gr ev e by H i rs c h , X X IV
E o l e b y E ur i p id es
, X XV I
E p i g o n e s (T h e ) b y A esc h y lu s , III
E p i g o n es (T h e ) b y S o p h o cl es , IV
E r e c h t h e us by E ur i p id es , X XI II
E r i p h y l e by S o p h o cl es
, IV
E r i p h y l e by V o lt a i r e
, IV
E s cl ar m o n d e b y M a ss e n e t , X VI I
E scl a v e d a d e v o i r by V a l n a y XXXII
E s m er a l d a (L a ) b y H ug o , X XIV
E s t h e r by R a c in e
, I
E tau b y A S ar d o u . XVI
E t h i o p i a ns (T h e ) by S o p h o cl es , X X X VI
E t m a s o e ur ? b y R a b i e r X X VI I I
E tr a n ger e by D um a s f i l s III
E t u d i a n t p a u vr e b y M il l o eck er XXXIII
E t u d i a n t s ru ss es b y G i l kin , X X VI I
E u m e l e by S o p h o cl es
, X VI I
and XXXI
E um e nid es by A es c h y lu s X XIV
(T h e ) ,

an d X
E ur o p a by A es c h y lu s
, X
E ur y a l e b y S o p h o cl e s
, XIX
E ur y sa c es by S o p h o cl es , I
E v a n g el i s t e b y D a u d et XX
 I N D E X O F PL AYS N OVE L S ET C , , . 141

E xo de by F a u ch o is X XI X
E x o d us o f t h e H e b r e ws (T h e ) by E z e ki e l , XXXI
E zz e l in o by A M uss a t o, . XXX

F m i ll e d Arm el l es (L ) b y M rr
a
’
a , a as
F u t by G o e t h e
a s ,

F a n t as i o b y M u t , ss e
F t a l D o w r y (T h ) b y M as in ge r
a e , s
F a ute d l a bb e M ur t (L ) by Z l a
e
’
o e a , o
F eas t o f t h e A c h a i n by S o p h cl e a s, o s

F éd o b y S rdou
ra , a
F e mm e d e Cl a u d e (L ) by D um fil a , as s
F emm e d e d e m a in (L ) by L e f e b vr e a ,

F mm e X (L ) by B i ss o n
e a ,

F erm iere (L a ) , by d A r t o is
'

F t in Pi rr
es de e b C o r n e i ll e e (L e ) , y T .

Fi cr
a e No 1 3 by D o r n y .
, a
F i ll e a G u i ll o t in (L a ) b y F l i c h m nn , e s a
F i ll d a d é put é (L ) by M o r l
e a , e
F i ll e d ro i d E pag ne (L ) M i r cl e o f
u
'
s a , a
N o tr e D m e -
a
Fi ll e E l i a (L a ) by E d G o n c o urt
s , . e
F i ll e uv a ge (L ) by d C ur l
sa a ,
e e
Fi l d J h e l (Les ) by M m e A rm nd
s e a ,
. a
Fi l d e P o rt h (L ) by B l t
s os e ,
ave
Fi ls n a tur l (L ) b y D um fi l e e ,
as s

F l o r e d e F r i l us e by B g t e , er era

F o n t o éj n v b y Lo p d V eg
u e, e e a
F o rtu n e d R ugo n (L ) b y Z l es o a , o a
F o rtu n n d M i f o rtu n f N m b y
e a s e o a a e,

C l d ro n
a e XXIX
F o i l (L ) by d C ur l
ss es es , e e

F o ul r d r ug (L e ) b y D o r n y
a s o es s , a

F r n c i ll o n b y D um fi l
a ,
as s

F r n co i l h b l u b y M e g r
a s es as e s, ss a e

F r n c i d R i m ini b y A T h m
a o se e ,
. o as

F r er e d rm (L ) b y G r n d
'

a es e , a a

F r er e nn e m i (L ) b y R c i n
s e s es ,
a e
F r er es Z m g n (L ) b y E d G n c urt
e an o es ,
. c o o

F r i q u t (L e ) b y W i ll y d ( i y p
e ,
an X XIV
F ug i t i v (L ) b y Pi c r d
e a ,
a

F ur i (L ) by B i
e a ,
o s XXII
(1

G r d e n r D g (T h ) b y L p d c V g
a e
'
s o e ,
o e e a

G r d i nn ( L ) b y d R g ni r
a e e a , e e e

G vr c h b y D r n y
a o e, o a

G eo rg tt b y S r d u
e e, a o
1 12 T H I RT Y -
SI X D RA M AT I C S IT U AT I O N S

G e r f ut by C d e B e r n a r d
a , .

G e rm i n a l by Z l a ,
o

G e r m i n ie L a cer t eu x , by t h e G o nco u r t s
G h o t b y Ib n
s s, se
G l t i g n y by M e nd es
a ,

G l ucu P o n t i u by A esc h y lu s
a s s,
G lu (L a ) by R i h epi n , c
G o l d B g (T h e ) b y P e
a , o
G o e tz d e B e rl i c hi n ge n by G o e t h e ,

G r n d e I a (L a ) by B o uv i e r
a z ,

G r nd e M a r ni er e (L ) b y O h net
a a ,

G r nd so i r (L e ) b y K a m p f
a ,

G r n d s (L es ) b y V eb er an d B e t
a , a ss
G r e t E xp e ct t i o n s b y D i c k e n s
a a ,

G r i ff e (L ) by B e r n st e i n
a ,

G u eb r e (L e ) b y V o lt i r e
s s , a
G u st s (T h e ) by A es c h y lu s
G i b o r M i r cl o f N o tr e—
e ,

u , D ame a e

H a ml e t by S h a k es p e a r e
, IV
a nd X I I I
H a n o u m a n H ind u d r a m a , X
H e a ve n a n d E a rt h by B y r o n X X IV ,

H e cu b a b y E ur i p id es
, III
H e d d a G a b l e r b y Ib se n , X VI
H e l e n b y E ur i p i d e s
, X
H e l e n R e cl a i m e d by S o p h o cl e s XII ,

H e l i a d es (T h e ) b y A esc h y lu s , XIII
H e n r y I V b y S h a k es p e a r e
, XXX
H e n r y V b y S h a k es p e a r e
, IX
and X X X I I I
H e n r y V I by S h a k es p ea r e, VI
H e n r y V I I I b y S h a k e s p ea r e , X XV
H e n r i VI I I by S a i n t S ae n s , X XV
H er a cl i d es (T h e ) b y A es c h y lu s I ,

by E ur i p id es I
H e r a cl i u s b y C o r n e i ll e
, X VI I I
H e r a cl es M a i n o m en o s by E ur i p id es XVI ,

H e rcul es F ur e n s b y S e n e c a XVI,

H e rcul es o n (E t a by S e n e c a X XV ,

H e rm i o n e S o p h o cl es , X
H e r n a ni H ug o , X XIV
X I X and X X
H e r o d i as b y F l a u b e rt
, XXII
H e r o a n d t h e N ym p h (T h e ) by K a l id asa XXXV ,

H i pp o l y t e by E ur i p i d es , X XVI
by S e n e c a X X VI
H is O w n G a o l e r by C a l d e r o n ,XXIX
H o mm e a d eux t et es by F o res t XXXIII
1 44 T H I RT Y —
S I X D RA M AT I C S IT UAT I O N S

J l o u i e by V c q u e r i e
a s , a
J r n a c by H e n n i qu e a nd G r a v i e r
a ,

J e n C ev e n o l by F r a i e
a , ss XXXIII
J e ph t h e by B uc h a n a n
, XXIII
by B o y e r XXIII
J e ru l e m D e l i v e r e d by T asso
sa , XIX
J e u d e l a F e u i ll ee (L e ) by A d m d e l a H ll e , a a VI I
J e u d e R o b in e t d e M a r i o n (L e ) by A d m , a
d e l a H ll e a X
J e u d e S in t N i c h o l as (L e ) by J e n B o d e l
a -
, a II
J ob , by M o ses XXXI
J o c e l y n by L a m a rt in e
, XXII
by G o d a r d XXII
J o i e d e V i vr e (L a ) by Z o l a , XXIV
and XXI
J o ue u rs d
’
o ss e l e t s (L es ) , by A es c h y l u s III
a nd VII
J u d gm e n t o f A rm (T h e ) by A e c h y l u s , s s XII
J ul i u C a e r by S h a k e p ea r e
s sa , s XXX
J um e ux (L e ) by H ug o
a s , X X XV

K e rm e e r o ug by E ek h o u d
ss e,
K in g J o hn by S h a k e p e r e , s a

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

La b o rs o f J a c o b b y Lo p e d e V eg a , XIII
L a c o n i n W o m e n (T h ) b y S p h o cl
a e , o es IX
L d y f r o m t h e Se a (T h e ) b y I b e n
a , s X XIV
L k m é by D l ibe
a , e s XXIX
L o c o o n b y S o p h o cl es
a , V
a nd X XXVI
L t e r Lif e o f R m (T h e ) b y B h av ab u t i
a a a , X X XV
L w n t e nni b y M o u ey
a -
s, r X XV I
L e g e n d e d u C o e ur (L ) b y Aica r d a , X XV
L él i e by W i ll y
, XXII
L e m ni a n W o m e n (T h e ) b y S o p h o cl e , s XXIII
L e n by B e rt o n a n d M m e a n V e l d e
a, . v X XVI I
Lif e i a D r e a m b y C a l d e r o n
s , XIII
L o h e n gr in by W a g n e r , II
L o i d l h o mm e (L ) by H e i eu XXI
'
e a , rv
L o i s d e M in o b y V o lt i r e s, a XIX
L o e n eci o by M u e t
r za , ss VIII
L o u i P é r e z o f G l i c i by C l d e r o n
s a a, a V
L o u i L ecl ercq by V e rl in e
s , a X VI I
 I N D E X O F PL AYS N O V E L S E T C , , . 145

L v nd I n tr i gu e by S c h i ll e r
o e a XXXII ,

L ve S a cr i fi c e b y F o r d
o
’
s XXXII
,

L ves o f Kr i hn a (T h e ) by R o u p
o s XXIV , a
Lo v e o f t h e T h r ee O r a n ge (T h e ) by G zz i X V I I I
s s , o
L uc i e nn e by G r am o n t
, X XV
L ucr ec e B o rg i by H ugo VI
a,
X X I I I B 1 X X X I I A 2 X I X B 1 nd X I X , , a
L ut h e r by W e r n e r
, XX
L utte p o ur l a ie (L ) by D a u d e t vXV a ,

L y di e b y M i r a l
, XXIX
L y n cée , by T h eo d e ct e X XII I
by Ab e i ll e XXIII
Ly s (L es ) by W o l f a n d L e r o ux
, X XVI I I

M a c b e t h by S h a k es p e a r e
,

M a d a m e B o v a r y b y F l a u b e rt ,

M a d a m e C a v er l e t by A ug i e r , X XVI I
M a d a m e d e M a in t e n o n by C o ppée ,

M a d a m e l A m i ra l e b y M a rs a n d L y o n
’

M a d a m e l a M o rt b y M m e R a ch il d e , .

M a d a m e M a rg o t b y M o re a u a n d C l a i rv i ll e ,

M a d a m e T h er es e b y E re k m a nn C h a t r ia n ,
-

M a d e l e in e by Z o l a ,

M ll e d e B r e ss ie r by D e lp i t
.
,

M ll e d e M a up in G a ut i e r
.
,

M a d h o u ra n i r o u d d h a b y V i r a ,

M a h a v i r a ch a r i t a b y B h a v a b u t i ,

M a h o m e t by V o lt a i re ,

M a i d e n s o f T r a c h is b y S o p h o cl es ,

M a i so n d a rg i l e (L a ) b y F a b r e
’

M a i s o n d es d e ux B a r b e a ux (L a ) b y ,

T h e u r ie t
M a i tr b y J J ull i n
e (L e ) , . e

M lt e Ambr
a r by Wid r os , o

M al t i nd M d h
a a a by B h but i a a va , a va

M l fi l at r (L e ) b y P rt R i h
a e e s ,
o o- e v

M l h ur
a e p uvr b y A B uv i r
a ux a es , . o e

M m n C l i b r i b y B t i ll
a a o , a a e

M n fr d b y Byr n
a e ,
o

M n g r n t i l b y H ug
a e o -
s, o

M nn e q u in d i r (L ) b y F r n c
a
'

os e e , a e
M n n Le c u t b y P r v t
a o s a , e os

M q u i gn n ( L ) b y J
a o n d D umur e ,
o sz a
M h nd (l
a rc aur i r ( L ) b y J u d i t h
e e so es a ,

G ut i r a e

M r i (L ) b y N
a e nd A r n u l l
, us a o t
1 46 T H I RT Y S I X D RA M A T I C S IT UAT I ON S
-

M a r i a ge d A nd ré (L e ) by L e m a i r e a nd
’

R o uvr e X VI I I
M r i ge d e M ll e B eu l em a ns (L e ) b y
a a .
,

F o n s o n a n d W i ch el er X X IV
M ar i ga e d O l y m pe (L e ) , by
’

A ug i e r XXVII
M a r i a nn e by , D o lc e . XXXII
M a r i a nn e by , T r i s t a n l H e rm i t e ’
XXXII
M a r i a nn e b y , V o lt a i r e XXXII
M a r i e S tu a rt , by A l fi er i XXXIII
M a r i e S tu a rt , by S c h i ll e r X XIV
M a r i e S tu a rt , b y S a m so n X XIV
M ar ie T u dor , by H ugo X X IV
an d XIX
M a r in o F a l i er o b y B y r o n , VI
M a r i o n D el o rm e b y H ug o , X XVI I
and XIX
M a r i u s v a in cu by M o rt i e r , XXX
M a r j o l a in e (L a ) by R ich epi n fi l s , X XIV
M a r q u i s d e P r i o l a (L e ) by L a v e d n ,
a X XVII
M a rt y r e by D e nn e r y
, XXI
M a rt y r s (L es ) b y C h a t ea u b r i a nd , XXXI
M ass i er e (L a ) by L e m a i tr e , XIV
M a st er B u i l d e r (T h e ) b y I b se n , XVI I
M a t er ni t é by B r i e ux , VI
M au cro ix (L ) by D e lp i t es , X IV
M eas ur e f o r M eas ur e by S h a k esp e a r e ,
XXI
M e d ea by E ur i p id es
, XXV
by C o r n e i ll e X XV
by S e n e c a X XV
M e j o r A lc a l d e e l R ey (E l ) b y L o p e d e V e g a , III
M e i t e rs in ge r (D ie ) b y W a g n e r
s , XXIV
M e l ni pp e b y E ur i p id es
a , XXIII
M e l ea ge r b y S o p h o cl es
, IV
M e m n o n b y A es c h y lu, s IX
M é n a ge d e P a r i (L e ) by R a ym o nd
s s s , X XV
M e n o n g e by B o urg e t
s s, X XVII
M er (L ) by J J ull i e n
a , . XIII
M e rc h a n t o f V e ni c e (T h e ) by S h a k e s p ea r e , III
M er e d u P p e (L ) M i r a cl e o f N o tr e D a m e
a a ,
-
XXXI
M er e m e urtr i e r d e o n e nf a n t (L a ) M i r cl e s , a
o f N o tr e D a m e -

M er e e nn m i e (L ) by M e nd e
s e s es ,
s
M er o p e by M a fi e i
,
‘6
by V o lt a i r e
Al fi er i by
g
M ess a e o f A n ga d a (T h e ) , by So u b a t h a
i ll L p
M (T h e ) , by o e d e e a V g
i ni t r
M se sR in g
(T h e ) , by V is h ak a d a t t a
’

M in o b y S o p h o cl e
s, s
M i r o i r (L e ) b y R o i n rd
s s , a
148 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

N uit d e Sa ea in t J n
(L a ) , by E rek m a nn
-

C h a t ria n
N um a R o u m e s t a n , by D a e ud t

O b s t a cl e by D a u d e t X XIV
O ct a v i a by S e n e c a , XV
O d e tt e by S a r d o u
, X XVI I
OEd i pu s b y A e s c h y lu s
, XVI I I
b y S o p h o cl es X VI I I
by C o r n e i ll e XVIII
b y Senec a XVI I I
b y V o lt a i r e et c , . X VI I I
(E d i pus a t C o l o n u s b y S o p h o cl es , I
a nd XII
CE n ee , b y S o p h o cl es II
(E n o m a u s , b y S o p h o cl es IX
b y E ur i p id e s IX
(E u v re by Z o l a XX
O gr e b y M art h o l d XXXIII
O i cl es b y S o p h o cl es
, I
O l y m p i a d e by M et as t as i o , XIX
O l ym p i e b y V o lt a i r e , XXI X
O n n e b a d in e pa s a v e c l a m o ur by M u sse t '

, XVII
O p i um b y B o n n e t a in
, XXII
Or b y P e t e r a n d D a n ce n y III
O r b e cch e by G i r a l d i , IV
O r e i ll e f e nd u e by N e po t y X XVI I
O r es t es by E ur i p id es
, XXIV
O r es t e by A l fier i
, XXXIV
b y V o lt a i r e X X XIV
O r 1 t h y ie by A es c h y lu s , X
by S o p h o cl es X
O t h e ll o b y S h a k es p e a r e
, XXXII
O t h o n by C o r n e i ll e
, XX

P a g b l n c h e by D e v r e
e a , o X XV
P a in d a u t ru i (L e ) b y E p h r i m
’

, a and
S c h utz a f t e r T urg ni e v , e
P a a l m e d e b y A ech y l u ,
s
P a l a m e d e by E ur i p i d es ,

P a l a m e d e by S o p h o cl es ,

P a nd o r e by V o lt i r e , a

P nd o r b y G o e t h e
a e,
P p by d e F l e r n d d e C i ll v e t
a a, s a a a
 I N D E X O F PL A YS N OVE L S E T C , , . 149

b y D o nn a y
P ar a i t r e ,
P a r if a l b y W a g n e r
s
,

P a rt a ge d e m id i b y C l a u d e l ,

P ass a gere s (L e s ) b y C o o l us ,

P a tr i e b y P al a d il h e a n d S a r d o u
,

P e a u d an e b y P e rr a ult
’

P éc h é d e M a rt h e (L e ) b y R o c h a r d ,

P el e us by S o p h o cl es
,

P e l e us b y E ur i p id e
, s
P el e r in d a m o ur (L ) by E m i l e M i c h l t
'
e ,
-
e e
P e l i a d es (T h e ) b y E ur i p id e ,
s
P e l i a by S o p h o cl
s, es

P e ll eas a n d M e l i a nd e by M a t rl in c k s , e e
P e l o pi d es (T h e ) by V o lt a i r , e
P e n e l o p e b y A c h y lu
, es s
P e n t h e us by A es c h y lu , s
P e n t h i l ea b y A es c h y lu
es , s
P er e C h asse l as (L e ) by A t h i ,
s
P er e p r o d i gu e (L e ) by D um a nl ,
s s

P er i cl b y S h a k e p ea r e
es , s

P e r ki n W r b e c k by F r d a ,
o
P rr h o b id e (T h e ) b y A e c h y lu
e e s ,
s s

P r i n (T h ) b y A c h y lu
e s a s e , es s

P er t h i t e b y C o r n i ll
ar , e e
P e t i t m i (L e ) by L t d
a , eau au
P t i t e a m i e (L a ) by Br i e ux
e ,

P e t i te C a p o r a l e (L ) b y D rl y a n d a , a a

Go e rss
P et i te c h o o l t e (L ) b y G c lt a 1er a , a va u

P t i t H o ll n d by G u i tr y
e e a e,
P t i t m i ll i r d i r (L ) b y D um y d
e e a a e a ,
a an

For t es X Xl V
P t i t M i n n (L ) by R i c h b urg
e e o e a ,
e o
P t i te p r o i (L ) b y D u d t
e a s se a , a e

P t i t J c q u (L ) b y D nn r y
e a es e , e e

P t i t P o uc t (L ) b y P rr ul t
e e e ,
e a

Ph d r b y S p h cl
ae a, o o es
Ph t n b y E ur i p i d
ae o ,
es

Ph i n (T h ) b y S p h cl
e ac a s e ,
o o es

Ph ed r b y R c in
e, a e

Phi l i p p I I by A l fi i
e cr
XX VI
,

a nd

P h i l ct t b y A h y l
o e es , es < us
b y S Dh l O OP i S

b y E ur i p i d es

Ph i l ct t in T r y b y S p h cl
o e es o ,
o o es

Ph i b y A c h y lu
ne a s , es s
1 50 T H I RT Y S I X D RA M AT I C S IT UAT I O N S -

Ph in e u b y S o p h o cl es
s,
P h o e n i ss ae (T h e ) , by A es c h y lu s
by E ur i p id es
by S e n ec a
P h o e ni x by E ur i p id e
, s
P h o r cid es (T h e ) , b y A esc h y lu s
P h r i xu s by S o p h o cl e
, s
Ph r i x u by E ur i p id es
s,
Ph r y g i n s (T h e ) by A esc h y lu
a ,
s
Ph t i o t i d es (T h e ) b y S o p h o cl e , s
P h ys i c i a n o f h i H o n o r (T h e ) by C a l d e r o n s ,

P i e rr e e t J e n b y M a u p a a n t a , ss
P i e rr e et T h érése by P r e v o t ,
s
P i e rr e P a c a l b y M m e d e C h ab r ih a n
s , .

P i e rr e V a ux by J o n a t h a n ,

Pi e rr o t a sas i n d e a f e m m e by
s s s ,

M a rgu e r i tt e X X XIV
P i e rr o t s (L e ) b y G r i ll e t s , XXXIII
P i e uvr e (L a ) by M o r e l , XXXIII
P lu f a i b l e (L a ) b y P r e v os t
s , X XVI I I
P o l i ci ere (L a ) , b y M o n t e pin X XVI I
P o l y d ect es , b y A es c h y lu s XIX
P o l y eu ct e , b y C o r n e i ll e XX
P o l y i d u b y S o p h o cl e
s, s XI
by E ur i p id es XI
P o l y n i c e b y A l fi er i
, XIII
P o l y h ém e by S m a in , a X XIV
P o l y x e n a b y S o p h o cl e
, s X X X VI
P o m p é e b y C o r n e i ll
P o rt—
, e III
T a r a c o n by D a u d e t
s , X VI I
P o rtr a i t (T h e ) b y M a in ge r , ss XXXII
P o s é d é (L e ) b y L e m o nni e r
s , XXII
P o t B o u i ll e b y Z o l a
-
, X XV
P o u p é es el ect i q e by M a r in e tt i r u s, XXXI II
P o u s in (L e ) by G u i r u d
s , a X XVI I I
P o we r o f D a r kn e s (T h e ) b y T o l t o i
s s , s XIII
an d XV
P r etr e (L ) by B u e t e , III
P r i est s es (T h e ) b y A c h y lu
e s , es s XIX
P r in c e e d B g d d (L a ) b y D um a fil
ss e a a ,
s s XXXII
P r i n c e e G eo rg (L a ) by D um fil
ss es , as s X XV
P r in c e M al e ine (T h e ) by M ae t e rl in c k
ss , VI I
P r in c e Z i l a h (T h e ) by C l are t ie , XXVI I
P r o cr i s b y S o p h o cl es
, XIX
P r o m e t h us by A c h y lu s
e , es IX
P r o m e t h u s B o u nd b y A e c h y lu
e ,
s s VI I
a nd V
P r o m e t h e u U n b o u nd b y A e c h y lu
s ,
s s IX
P o po m pe s (T h ) by A c h y lu
r e , es s I
P r e rp in e b y V a c q u r i e a nd S a i n t S ae n
os , e -
s X XV
P ro t i l a by E ur i p i d
es s, es XX
1 52 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

R o b e rt D i ab l e M i r a cl e o f N o tr e D a m e
-
le -
,
-
V
R o d o gu n e b y C o r n e i ll e , XIII
R o g e r l a h o n t e by J M a r y
- -
, . XXXIII
an d III
R oi e C rf
(L e ) by o , G zz i X VI I I
R oi d e a e l rg n t (L e ) , by M
'
e i ll i t XXXIII
m
R o i d e R o e (L e ) b y P o u v il l o n , VI I
R o i s a m u se (L e ) by H
’
o , ug XIX
R o i sa s o o n c ur nn
e (L e ) , b y S eo es t G rg
.

d e B o u h él ie r
n r um
R o i sa s o y a e (L e ) , b y D e co u rce l l e
l il B rn d
R o i S o e (L e ) , b y e e e
l nd
Ro a e b y d e a o Gr m n t,

m n
R o a d E l ise (L e ) , b y R a ich rd ’

Ro am n d un C n p ir t i n
e o s a o (L e ) , b y
'

F ur ni r
o e and C rr
a é
m
R o eo a n d J ul i t h k p r
e , b y S a es ea e
m nd
R o se o e , b y R u ce l l a i
R o ss e t a n t a t p l u b y M us t e r e
,
s, 1
R o ut e d E m er a u d e (L a ) by D em o l d
’

,
e r an d

R u y—
R ich e pi n
B l as b y H ug o ,

S
S a in t A l e x i s M i r a cl e o f N o tr e D a m e
-
,
-

S a in t e H el en e b y M m e S ev e r in e
-
, .

S a in t I g n a c e d A n t i o ch M i r a cl e o f N o tr e
-
'

D ame XX
S a i n t J u l ie n l h o spi t a l ie r b y F l a u b e rt’

, XIX
Sa1 s (L e ) by M m e O l l o g n ie r , . X X IV
S a k u n t a l a b y K a l i d a sa , X VI
an d XX XV
S a l a mm b o b y F l a u b e rt , VIII
S a l a m ini a n s (T h e ) b y A e sc h y lu s , VI
S a l o m e b y O sc a r W i l d e
, XXII
S a m so n b y V o lt a i r e
, XVI I
S a m s o n b y B e r n s t e in
, X XV
S a m so n e t D a l i l a by S a in t S ae n s ,
-
XV
S a n g b r ul é (L a ) b y B o uv i e r
-
, X X VI
Sa p h o b y G o u no d
, XXXIII
S a p h o b y D a u d et
, XXII
S A R b y C h a n cel
. . .
, XX
S a r d a n a p a l us b y B y r o n , VI
S a ul b y A l fi er i
,
XIII
S a ul b y G i d e
,
XVI
S c a n d a l e (L e ) b y B a t a i ll e , X X X IV
S c h i s m o f E n gl a nd (T h e ) by C a l d er o n , XV
S cul pt e ur d e M a s q u e s (L e ) by C r o m e l y nck , X X VI
S c y t h es (L e s ) by V o lt a i r e , XXIX
S e c o nd F a u s t (T h e ) b y G o e t h e , IX
S e cr e t d e G i l b e rt e (L e ) by M ass i a c , X XVI I
 I N D E X O F P L AYS N O V E L S ET C , , . 1 53

S e cr e t d e l a T err e us e (L e ) b y B u sn ach , XXXIII B

S e cr e t V e n ge a n c e f o r S e cr e t O utr a g e by ,

C l d ro na e
S m e l e b y A e c h y lu
e ,
s s

S e m i r a m i b y M nf r e d i s, a
S e m i r a m i b y C eb il l o n s, r
S e m i r a m i b y V o lt a i r e s,
S e m i r a m id r i c o n o c i ut a by M t a t i
e s , e s as o

Sé r é n a d e (L a ) b y J J ull i e n , .

S e rge P a n i ne by O h ne t ,

S e r p e n t W o m a n (T h e ) by G o zz i ,

S e rt o r i us b y C o r n e i ll e ,

S e v e n A g a in s t T h e b es by A es c h y lu s ,

S e v e n P r in c e sses (T h e ) b y M a e t e rl in c k ,

S e v e r o T o r e ll i by C o ppée ,

S h e p h e r d K in g (T h e ) b y M e t as t as i o ,

S h e rl o c k H o lm es b y C o n a n D o y l e ,

S h e p h e r d s (T h e ) by S o p h o cl es ,

S i e b a b y M an z o t t i
,

S i gur d b y R e y e r
,

S i m o n e b y Br i e ux,

S i m o n l e nf a n t tr o uv e by J o n a t h a n
,
'

S in g e r (T h e ) a n o n ym o u s C h in e se d r a m a
,

S in o n b y S o p h o cl es
,

S i re b y L a ve d a n
,

S i r o és by M e t as t as i o
,

S i r T h o m as W y a t b y W e b st e r ,

S m il is by A i ca r d
,

S o e ur e tt e by B o r t e a u L o t i ,
-

S o n E xc e ll e n c e E ug en e b y Z o l a ,

S o n s o f P a n d o u (T h e ) b y R a d j a se k h a r a ,

S o ph o n is b e b y T r i ss in o ,

b y M a i re t
b y A l fie r i
S o rc i er e (L a ) b y S a r d o u ,

S o ur i s (L a ) b y P a il l e ro n ,

S p hin x (T h e ) b y A e sc h y lu s
XXIV
,

S t a tu e (T h e ) b y R a d j a s e k h a r a ,

S t e ll a b y G o e t h e
,

S to r y o f Y a y a t i (T h e ) b y R o u d r a d v a ,
e

S uppl i a n ts (T h e ) by A e s c h y lu s ,

S uppl i a n ts (T h e ) b y E ur i p i d s ,
e

S uz e tt e b y Br i e ux ,

S urc o u f b y P l a nq u e t t
,
e

S ur en a b y C o r n e i ll
,
e

T a n c r ed c by V l t ir o a e XXXII
d ll
,

1 11
1 54 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

T a ni s Z el id e b y V o lt a i r e
et ,

T a n n h a eu s er by W a g n e r ,

T a rt a r in b y D a u d e t
,

T a v e r n e d es T ra b ans (L a ) b y , E r ek m a n n
C h a t ri an XXIX
T ch i t r a Y a d j gn a , by V e d a n y at h a
V a t ch e spa t i
T e l e p h u s by E ur i p id es
,

T e l e p h u s b y A es c h y l u s
,

T e l e p h u s by S o p h o cl es
,

T e m p es t (T h e ) b y S h a k es p e a r e ,

T e n a i ll es (L es ) b y H e rv ieu ,

T e m p t a t i o n o f S a in t A n t h o n y (T h e ) by ,

F l a u b e rt XXII
T e r e u s by S o p h o cl es
, III
T e rr e (L a ) b y Z o l a , XXX
a nd X I I I
T e rr e d e po u v an t e b y M o r e l an d d e L o r d e V I ,

T e uc e r b y S o p h o cl es
, VI
T h a m i ras b y S o p h o cl es
, XXXI
T h e m i st o cl es b y M e t as t as i o , XX
T h eo d o r a b y S a r d o u , XXXIII
T h éo d o re b y C o r n e i ll e
, XX
T h er ese R a qu in b y Z o l a , X X XIV
a n d XV
T h e rm id o r b y S a r d o u , VI I I
T h es e u s b y E u r i p id es
, IX
T h r a c i a ns (T h e ) b y A esc h y lu s , X VI
T h r ee P u ni s h m e n ts i n O ne by C a l d er o n XIII ,

T h y es t es by S e n ec a
, XIII
T h y es t es i n S i c y o n b y S o p h o cl es X X XV ,

T h y es t es I I b y S o p h o cl es , XIII
T i m o l e o n b y A l fi er i , XXX
T i m o n o f A t h e ns b y S h a k esp ea r e VI,

T i s Pi t y S h e s a W h o r e b y F o r d X XVI
’ ’
,

T i t a n b y J e a n P a ul R i c h e r
,
-
X VI I I
T i t e e t B er eni c e b y C o r n e i ll e , XX
T o i l e r s o f t h e Se a b y H ugo X X IV,

and I X
T o r q u em a d a b y H ug o , X X I I I an d X I X
T o rr e n t (L e ) b y D o nn a y , X XV
T o r r ism o n d b y T as s o , X VI I I
T o sc a (L a ) by S a r d o u , XXI
T r a i ns d e lux e (L es ) by H er m a n t X X IV ,

T r e n te a ns o u l a vi e d u n j o u e ur by ’
,

D uca n ge
T b ri un (L e ) , by o e B urg t
r i ut
T b d e Z a o a (L e ) , by m r G ounod
T r is an a n d I s o e , by W a ld gn e r
T r i umv i r t
a (L e ) , by V o a lt i r e
T r i lu b y A esc h y l u
o s, s
1 56 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

V i e rg e (L a ) by V a ll e tte
,

V i erg e f o ll e (L a ) by B a t a i ll e,

V i rg in M a rt y r (T h e ) b y M as in g r ,
s e
V i tt o r i a C o r o m b o n a by W e b t e r ,
s
V i ve l e r o i ! b y R y n er
V o i x d a n g (L a ) b y M m e R ach il d e
e s , .

V o l e ur (L e ) b y B e r ns t e in
,

W a i t in g W o m e n (T h e ) by A es c h y lu s
-
, XX
W a ll e n s t e in b y S c h i ll e r
, XXX
W ar o f t h e W o rl d s (T h e ) b y W e ll s , VI
W e a v e r s o f N et s (T h e ) by A es c h y lu s , XVI
W e a v e rs of S i l es i a (T h e ) by H a u p tm a nn , VIII
W e r n e r by B y r o n
, X X VI I
W e rt h e r b y G o e t h e
, X X X IV
W i l d D uc k (T h e ) b y Ib s e n , XVI I
W i ll i a m T e ll by S c h i ll e r
, VI I I
a nd III
W in t e r s T a l e (A ) b y S h a k es p ea r e
’

, X XV
W o m e n o f C o lc h i s b y S o p h o cl es , X XV
W o m e n o f S c y r o s b y S o p h o cl es , XI
W o o l C a r d e r s (T h e ) b y A es c h y l u s
-
, XXXI
W o rs t is n o t A lw a y s C e rt a in (T h e ) b y ,

C al dero n XXXII

X o a n e ph o res (T h e ) , b y S o p h o cl es 2

Z a i r e by V o lt a i r e
,

Z éim by G o zz i
,

Z e n o b i a by M e t as t as i o
,

Z o e C h i e n C h i e n by M a t h e y
-
,

Z u l i m e by V o lt a i r e
,
 A L P HA B E T I C A L I N D E X O F A U T H O R S

Ab e i ll e : L y n cée
A c h ae u s : (E d i pu s
A d a m (P a ul ) : L A u t o m n e
'

L es M o u e tt e s
A d a m d e l a H a ll e : L e J e u d e laF u i ll é
e e

L e J eu d e R bi n t d e
o e
M ar i o n
Ad e n is : L es Ré v o lt é s

c h lu
A es y s : T h e S uppl i n t a s
T he H e r cl i d a ae
T he E um ni d e es
T he E l e u ini n s a s
D n a ae
T he M y i n s a s

T h e Ph r y g i n a s

T h e P r o po m pes
T he E o es pig n
T he A es rg i v
T h e P e r r h o e b id e s
I xion
T h e N e re i d s
P n l p
e e o e

L e J u ur l
'

s o e s d o ss e e t s

T h e C h o e ph o re s
t l nt
A a a a

Pr m th u
o e e s R o u nd

T he e s a P ri n s

T he M y rm i d n o s

T he S a a l m ini n a s

T h e G es s u t
N em ea
1 58 T H I RTY S I X D RA M AT I C S IT UAT I O N S
-

A esc h y lu s : T h e P h o rci d e s
P hin e u s
M em n o n
G l a ucu s P o n t i u s
P r o m e t h e us
P r o m e t h e u s U n b o u nd
O r i t h y ie
E ur o p a
T he C a r i ns
a
T he S p hin x
P al am ed e
P h i l o ct e t es
T h e J u d gm e n t o f A rm s
T h e H e l i d esa
S e v e n A g a in t T h eb e
s s
A ga m em n o n
T h e W ea v er s o f N e t s
A t h a m as
T he T h rac i an s
S em ele
(E d i pu s
A lcm e n e
T e l ep h us
The Pri tes ess es
P o l y d e ct es
T he Wa i t in g
Wo -
men
T h e P h o e n iss ae
I p h i ge ni a
H yp s i p y l e
T h e D a n a id es
L i us
a
T h e A ed o n i a ns
P e n t h e us
T h e B assa r i d e s
T h e Woo l C r ders
a -

A j a x L o cr i a n
T h e N urses
T h e E um e nid es
N i ob e
T r o i lu s
P e n t h es i l ea
T h e D e t h o f A c h i ll e
a s
P sy ch o st as e
A i ca r d ; S m il is

A i ca r d ;L é g e n d e d u C o eur
La
A l m nn i A n t i g o n e
a a :

A l fi e r i T h e C o n s p i r a c y o f t h e P a zz i
:
P o l yn i c e
S a ul
A g is
1 60 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

B e um o n t
a : T h e T wo N o b l e K in s m e n
V a l en t ini a n
B ec q u e L es C o r b e a ux
:
B e ll C t h r in e l a B a t a r d e
: a a
B e rge ra t V id o c q :
M yran e
F l o r e d e F r i l e u se
B e rl i o z L es T r o y e n
: s

B e r n r d M o n a m i T e dd y
a :
B e r n r d (T r i t a n ) L e D a n e ur i n c o nn u
a s : s
B e r n a r d (C d e ) G r f a ut . : e
B e r n e de L e R o i S o l e i l
:
B e r nh a r d t (S a r h ) L A v e u a :
’

B er n s t e in I r a e l : s
L a G r ifi e
B rc i l Le e a
pr A es m o i
l ur Le Vo e
B e rt o n L a R e n c o n tr e
:

Le n a
B e rtr n d J a c k t h e R i p p e r
a :

B h a tt N a r a y a n V e n i m h ara
a a ; sa
B h v a b u t i M a l t i a n d M a d h av a
a : a

M a h a v i ra ch ar i t a
L a t e r Lif e o f R m a a
B i l h u d L a C o urt i a n e d e C o r in t h
a : s
B i o l l a y M B ut e : .

L e A n gl es d u d i v o rc e s
B i s o n N i c k C rt e r
s : a
L a F e mm e X
B i z et L A rl és ien n e
:
’

B l av e t L e F i l s d e P o rt h o
: s s
B o d e l (J ea n ) L e J eu d e S in t N i c h o l as
: a -

Boi s E dith
Boi s L a F ur i e
B o i y A lc e t e
ss : s
B a n n e t a i n : L O pi u m
’

L tt i
B o r te a u o ur tt e
: S oe -
e
B urg t
o i c i pl
e : Le D s e
B rr i c d
La a a e
M e n o n g es s
Le Tr ib u n
L E m i gr é
’

i v rc Le D o e
B o uv i e r m :m in o r o La D a e au D o se
ng La Sa brul é -

M l h e ur u x p uvr a a a es
L gr nd I z a a e a
B o ye r J e ph t h a
:
 I N D E X O F AUT H O RS 161

B r i e ux M ter n i t é
: a
L es A v a r i és
S i mo ne
L a P e t i t e A rn i e
S uz e tt e
B uc h a n a n A lc es te :
J e ph t h a
B u et :Le P r tr
e e
B u s n ach : cr t
Le Se e d e l a T e rr e u se
B l
y : L A ge '
e C r it i qu
B r n
y o : T h e T w o F o sca r i
S a r d a n a p a lus
M a r in o F a l i e r o
T h e D e f o rm e d T r a n s f o rm e d
Cain
H e a v e n a n d E a rt h
W e r n er
M a nf r e d

C a i ll v e t
a (d e ) : Pap a
L e C o e ur a s es r i on a s s
L Ane d e
'
B a r fd a n
L a M o n t a ns i e r
C a in L e Ré v o ltes
: s
C a l d e r o n T h e A lc a l d e o f Z a l a m
: ea
L o v e A f ter D t h ea
D e vo t i o n t o t h e C ro ss

L o u i P erez o f G al i c i
s a
C a l d e r o n T h r ee P u ni h m n t i n O ne
: s e s
T h S c h i m o f E n gl n d
e s a

T h C o n t n t P r in c
e s a e
S e cr e t V e n g n c f o S cr t ea e r e e

O utr g a e
T h e Ph y i c i n f H i H o n o r s a o s

H i Own G ol r s a e
F o rtu n e n d M i f o rtu n f a s e o a

N me a XXIX
T h e W o r t i N o t A lw y C s s a s er

t in a

Lif i D r m e s a ea

C n t ch n A t h y
a a a T h V i ct r y f
c ar a: e o o

A rj u n a

C pu
a s : Un Ang e
L A t te n t a t
'

La e eV in
C rc in u
a s : ( E d i pu s
C rr
a e: La o C urt i n d C r in t h
sa e e o

La R o a m n d u ne C on p i r t i n
'

s a o
 1 62 T H I RTY S I X D RA M AT I C S IT UAT I ON S
-

C e rv n t e D o n Q u i x o te
a s:

C e r (E d ipu
a sa : s
C h b ih n (C o mt e e d e ) P i e rr P a c a l
a r a ss : e s

C h n c el S A R
a : . . .

C h a rt o n D e v a n t l e n nem i
’
'

C h t r i an L a N u i t d e S a in t J e n
a : -
a
M yrt i ll e
L A m i F r i tz
’

L es R n tz a u a
La T v rn e d e T r b n a e s a a s
M a d a m e T h er ese
C h a t ea u b r i a nd L es M a rt y rs :
Ren é
C h e ni e r (M E l e ctr e
.

(E d i pu s
C i c e ro E l e ctr a
C i e nf u eg o s I d o m e nee ;

C l i r i n J c k t h e R i pp e r
a a : a
Cl i rv i ll e M a d m e M a rg o t
a : a
C l et i e L e P r in c e Z i l a h
ar :
Cl a u d e l P rt a ge d e m id i
: a
Cl i q u e t C es t l a l o i
:
'

C o e d é L e Cr i m e d e M i o n A l f o rt
s: a s s-
C o o lu L e R i q u e
s: s

U n e f mm e p e ass a
C o o lus L es P a a géres
: ss
A n t o in e t te S b ie r a r
C o e ur a C o eur
L es Bl u s d e l a m o ur
’
e
4 x 7 28
C o ppee M a d m e d e M in t e n o n
: a a
L e J a co b i t e ss
S e v e r o T o r ell i
C o r n e i ll e A nd r o m ed e
P o m p ée
N i c o m ed e
C inn a
R o d o gu n e
P sy c h é
( E di p e
H er cl i u s
a
P o l y e u et e
Othon
P u l ch ér i e
it
T e e t B érén ice
S e rt o r i us
T h eo d o re
P ert h a r i t e
I I o ra ce
A tt i l a
A gés il as
1 64 T H I RT Y S I X D RA M AT I C S IT UAT I O N S
-

D e nn e r y : M a rt y r e XXI
Le e a p t i t J c q ue s XXI
D es ca v es : L A t t en t a t
’
X X IV
D esn a r d : L a D e gr in g l a d e
o XXXIII
D e v o r e P a ge b l a n c h e
: X XV
L a C o n c i e n c e d e l e nf a n t XXVI
’
s
D i a z B e n v e n ut o
: X XIV
D i c k e n s G r e t E x p e ct a t i o n s
: a XXI
D i o ge n es (E d i pu s : X VI I I
D o lc e M a r i a nn e
: XXXII
D o nn a y L A utr e D a n ge r
:
’
XIV
L e T o rr e n t X XV
P ar a i t re X XV
D o r a t : A lc es t e XXI
D o r n a y : G a vr o c h e XXXIII
F i a cr e N o 1 3 . XXXIII
L e F o ul a r d r o ug ess s- X X XV
D o st o iev k y Cr i m e n d P u ni h m e n t
s : a s X X XIV
D o y l S h e rl o c k H o lm es
e: III
D u n ge T r e n t e a n s o u l a v ie d u n j o u e ur XXII
’
ca :
D uc i (E di p e
s: XVII I
Ab u f ar XVI I I
D um as p r e e : Mo e s n t Cr i t o
-
III
D on a Ju n V
D um as fil s : L
E t r an gére
’
III
an d X XV
F i l n a tur e l Le s XII
P er e p r o di gu e
Le X IV
D i v o rc e d e S a r a h M o o r e
Le XXI
Q u es t i o n d a rg e n t
La
’
XXIV
F r a n c i ll o n XXV
L a P r in c e e G e o rg es ss XXV
D i an e d e Lys XXV
L F e mm e d e C l a u d e a X XV
L A ff i re C l em e n c e a u X XV
’
a
D e ni se XXVII
L D m e au x c a m él i a a a s X X VI I
M A lp h o n se . X XVI I
L a P r in c esse d e B a g d a d XXXII
D um a y L p e t i t e M i ll i a r d i r e
: a a X X IV
D um ur L e M a q u i g n o n
: III
R em b r a n d t VII
D uv a l L A r t icl e 30 1
:
’
X XIV

E d m o nd (G ) : L a B u ch e ro nn e
E ek h o u d K erm ess r o uge
: e
J c k T e m p ete
E l z éa r : a
E m i l e M i c h e l e t L e Perer in d m o ur
-
:
’
a
 I N D E X O F AUT H O R S 1 65

E re k m a n n : L a N u i t d e S a in t J ea n -

L Am i
’
F ri tz
M yrt i ll e
L es R a n tz u a
L a T a v r n d es T rab a n e e s
M a d a m e T h er e s e
E r n a u l t L a Cr o i a d e d e e n f n t l
: s s a e es
f ra n c s
L a t e n t a t i o n d e V i vr e
E ur i p id es T h e H e r a cl i d ae
:

E ur i p i d e T h e S u pp l i a n t
s: s

D n aea
T h e Cr e t a n s
A u ge us
A lo pe
T e l e p h us
A nd r o m e d a
A nt io pe
D i ct y s
H e cu b a
I x io n
Ph r i xus
E l ctr a
e
A rc h l a u e s
P l e us
e
T h ese u s

(E n o m a u s
R h es us
H el en
P o l y i d us
Wo m n f Scyr e o os

P a l am d e e

Ph i l cte te
o s

T h e P h oe n is s ae
Ph ni x oe
H r cl e
e a s M a i no m e n o s
I no
Ph t o nae

T h e P e l i a d es

Ion
C r ph nt
es o es

A g us
e e

Al x nd r
e a e

I p h i g ni in T ur i
e a a s

P r o t es i l a s
A n t i go n e
A lc e t e s

A n d ro m a he c
1 66 T H I RT Y S I X D RA M AT I C S I T UA T I O N S
-

E u r 1 p1 d es : I p h i g e ni a in A ul i s
E rec h t h e u s
M e l a ni pp e
H y ps i p y l e
E u r 1 pe d es : M e d ea
A n d ro m ac h e
Al cm e o n
H i p p o l yte
Eole
C h r ys i pp u s
Cr e t a n T he s
B acc h a n t es T he
B ll e r o p h o n e
P h aet o n
O r es t es
T r o a d es (T h e )
E z e ki e l T h e E x o d u s o f t h e H eb r ews
:

F ab r e : La M a i so n d a rg i l e '
XIII
C és ar B i ro t t e a u XX
L a Vie p ub l i q ue X XVII I
a nd XXX
F a ll La D
: i v o rc é e XXXII
F au ch o is : B ee t h o v e n VI I
R i vol i X XV
L E xod e
’
XXIX
F e rr i e r L a C o r n e tte
: XXI
Fe u i ll e t C h am i l l a c
: X X VI I
F evr e E n D et r esse
: VI I
F ey d ea u : L e C i rcu i t X XIV
F l a u b e rt S a l a mm b o : VIII
S a in t J u l ien l h o pit al l ie r ’
s XIX
H er o di as XXII
T h e Tem p t at i o n o f S t A n t h o n y . XXII
M ad a m e B o v a r y XXV
F l e i c h m a n n L a Fi ll e a G u i ll o t in
s : XXIII
F l e r (d e ) P a p a
s : XIV
L a C oe ur a se r a i o n s s s XIV
L A ne d e B u r i d a n
’
X XIV
L a M o n t a ns ier X XV
F l etc h e r N l K in m e n
: T h e T wo ob e s X IV
V a l n t ini a n e XXXIII
F o nso n L e M a r i a g e d e M ll e B e u l e m a ns
: . XXIV
F o r d T is P i t y S h e a W h o r e
:
’ ’
s X X VI
T h e B r o k e n H ea rt XXIX
P e r ki n W a r b e c k XXX
L o ve S a cr ifi c e ’
s XXXII
F o r e t L a p et i t e m i ll i a r d a i r e
s : X X XIV
1 68 T H I RT Y S I X D RA M AT I C S I TUAT I O N S
-

G o zz i T ur a nd o t
: XI
Zo be i d e XV
L o v e o f t h e T h r ee O r a n g es
s XV I I I
T h e Blu e M o n t e r s XIX
Z ei m XXVI II
T h e Se e rp n t Wo m an XXXIII
Le C r u
o b ea XXXIII
Le R oi C rf
e X VI I I
Gr a bb e : D o n Ju n
a V
G r m nt
a o (d e ) : R ol a nd e XXII
L uc i e nn e X XV
G r a n g en e uv e A m b r a : III
G r av i er J ar n a c
: XXIII
Gr e g o r y N a i a n n (S a in t ) C h r i st
z ze : XX
S u ff r in g e a nd XXXI
G r e n et D a n c o urt L a B a n q u e d e l U n ivers
-
:
’
X VI I
G ét ry R i c h a r d C oeur d e L i o n
r : - -
X
an d X X XV
Gr i ll e t : L es P i e rr o ts XXXIII
G u ic he s : L es Q u a rt s d h e u re
’
X XV
an d X XVI I
G u i ll ar d E l e ctr a
: IV
G u in o n D ecad ense
: X XV
G u i r a u d L e P o u ss in
: XXVII I
G u i tr y P e t i t e H o ll a nd e XXIV
G u y o t (Y v es ) U n d r ol e : X XV
G y p Le F r i q u et
: X XIV

H a l év y : L A bb e
’
C o n st a n t in
H a rs h a d ev a (S ) r i T h e N c k l ace
: e
H a r d y : A lc es t e
H a u p tm a nn : T h e W e a v e r s of S i l es i a
H e in e : A l m a n zo r
H e n n i q u e : A m o ur
J ar nac
H erm a n t : T r a in s d e lux e
L J aco b i n e
es s
H ér o l d : L e C o r fl e u r i
H er v ie u : L e R e e v il
La Lo i d e o e l h mm
’

C ur
H erv i e u : L e o se d u fl a m b e a u
Le D é a e d l
L es T e n a i ll es
C o nn a i s—
toi
L E n i gm e
’

i r c h n gr v
H s : E e e
Ho rn un g f
: R a fl es

br h m
H r o s wi t h a : A a a
 I N D E X O F A UT H O RS 1 69

H ug o : M a n ge r o n t -
il s ? I
a nd X X IV
L ucr ec e B o rg i a VI
XIX B 1 XIX D XXIII B , , 1 an d XXXII
L es J um ea u x VII
and XX XV
T o i l e rs o f t h e Se a IX
R u y B l as
-
X XIV
H e r n a ni XIX
XX A 1 a nd X XIV
T o r q u em a d a XIX
and XXIII
a nd XXIII
La E sm er a l d a XIX
an d X XIV A 11
M ar ie T u d o r XIX
a nd X XIV B 3
M a r i o n D e l o rm e XIX
a nd X XVI I
Le R o i s a m u se
’
XIX
L es B urgr a v e s XIX
N in e t y T h re -
e XXIII
A ng lo e X XV
Cr mw ll
o e XXX

I b se n : A n E n e m y o f t h e P e o p l e
H e d d a G ab l e r
T h e M as t e r B u i l d e r
T h e W i l d D uc k
G h o ts s

R o s m e rs h o l m
T he L d Fr m
a y o t he S ea
I cres : Le s o B uc h
e rs

J rr y U b u
a : -
ro i
J e o fl r i n : L a M o n t a ns ie r
J n th n
o a a im n
: S o tr uv
l enl a nt
’ '

o e

Pi rr V ux e e a

J o nc ie (d ) L C h v l i r J n
r es e : e e a e ea

J o sz : Le M q u i g n n a o

R mbr ndt
e a

L e M i tr
J u l l 1e n : a e
L M a er
L Sé r é n d
a a e

L E hé
'
c a nce
V i ll h i t i r
e e s o e
1 70 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

K al id a sa : S ak u n tal a
A g n i m i t r a a n d M a l av ik a o N
r T he H e o and the N y mph
K a m p f L e G r a nd S o i r
: > H
K o u a n h an k i n g T h R
- -
: e es e n tm e n t of
T e o u n go -
w O
G

L ab i c h e L Aff a i re d e l a r u e d e
:
’
L o u rci n e
L a gr a n ge C h a nc e l A lc st e
-
: e
L a m o t h e (E d i pu : s
L a p o rt e L H o m m e d e p r o i e
:
’

L a um a nn L e C oeur r v e l at e u r
: e
L aved an Le D uel :
V a r e nn e s
L e Q u a rt s d h e u re
’
s

Le M ar q u i s de Pr iola
S i re
L éau t a u d Le e : A P tit mi
L eb l a n c : A se e r n L u p in
L e f eb vr e : La e e deF mm
e a d m in
L e f evr e : L H om m e d e
’
o e pr i
L em a i r e : Le M a ri g
a e d A n d ré
’

L e m a i tr e : L a M a ss e e i r
Le D e e e ea p ut L v u
Rév o lt ée
L e m i e rr e
I d o m én cée:
H y perm n es t re
L m nni r
e o e : Le D o au b o r it nh e ur
L e o ss é é P d
L e n éru (M m e ) : L e s A a ff r n c h i s
L n uv
é o : L a V e e j o y eu ze
i v rc
L a D o ée
L e n otr e V a r e nn e
: s
L e r o ux L e L y s
: s
L ess in g D a m o n :
E m i l i a G al o t t i
M i s S a r a S a m p so n s
L in a n t C o n t d e N o e l
: e
L i v e t N i c k C rt er
: a
L o n ge p i err e E l ectr e :
L p d e V e g a T h L ab o r s o f J a c o b
o e : e
E l m j o r a lc a l d e e l R ey e
F o n t o e j u ne v
D i c o ver y o f t h e N w s e
W o rl d
T h e Ab d uct i o n o f H e l n e
1 72 T H I RT Y S I X -
D R A M AT S I TUA T I O N S

M a ss in g er : B o nd m a n T he
P o rtr a i tT he
M at h ey Z o e C h i e n C h i e n
: -

M a u j a n J a c q u e B o nh o mm e
: s
M a u p a a n t P i e rr e e t J e a n
ss :
M a z e l L es A m a z o n e
: s
M e i l h a c L a V e uv e j o y e u e
: s
M el it u s : (E d i pu s
M e nd es : G l a t i g n y
L es M er es e nn e m i es
L a R e in e F i amm e tt e

M er cerea u : M o n f r er e
M e r i m ee C o l o m b a
:
M es a ge r F r a n c o i s l es b a b l e u
s : s- s

M e t a t as i o C a t o
s :

A l e x a nd e r
T h e D e e rt I l e s s

C y ru s

A n t i go n e
D em o p h o n
O l ym p i a de
R e gulu s
T h e m i t o cl es s
D id o
A c h i ll es i n S c y r o s
H y ps i p l e
H y l er m n es t re
D e m e tr i us
S e m i r am id e r i c o n o s c i ut a
A dr ien
Z enob i a
N i t e t is
T he C h in e e H e r o
s
T he S e h p h e r d K in g
S i r o es
A rt ax e rx es
ZE t i us
M ét én ie r : L a C asse r o l e
M i c h a u d d H u m i a c : L e G m ur
’
d e Se h o r
-

M ikh ae l : L e C o r fl e ur i
M i ll i e t : L e R o i d e l a rge n t ’

p a uvr e
M il l oeck er : L E t u d ian t ’

M i ra l Ly d ie
:
M i r b a u L es A ff a i r s o n t l e af1 a i res
e : es s.
M o ses J ob
M o l i er e :
Don a Ju n
M o n t épin : L a P o l ic1 e re
 I N D E X O F AU T H O R S 1 73

M o r ea u : M a d a m e M a rgo t
Le D r a p ea u
G e r f ut a
U n d i v o rc e
M o r e l T e rr e d épo u an t e
:
’
v

L a Fi ll e d u d é put é
L a P i e uvr e
M o rt i e r M r i us v in cu : a a
M o u r ey : L A u t o m ne
'

L aw n t e nn i -
s
M u ss a t o E zz e l i n o :

M u et Fa n t i o
ss : as
L o re n zacc io
O n ne b a din e pas a v e c l a m o ur ’

A nd r é d e l S a rte
M u st 1 e r e : R o sse t a n t e t p l u s ,

N épo t y : L O re i l l e e
’
f n d ue
N i co m a q u e : (E d i pus
N i go n d : 1 8 1 2
N o : L es a o a C rb n r i
N us : L e M a ri

O h ne t : S e rg e P a n i ne
D e r ni e r a m o ur
L a C o mt es s e S a r a h
L a G r a n d e M a r n i er e
O l l o gn ie r ( M m e ) : Le S a i s

P a i l l e ro n : L a S o ur i s
P tr i
P a l a d il h e : a e
Di n a a

P r o d i L I n fl ib l
a :
’
ex e
P t o n Le D i v rc d S r h M r
a : o e e a a oo e

P rr ult Blu b r d
e a : e ea

Le P t i t P uc t e o e

P u d an ea
'
e

P ter L O
e :
'

P h ry n i h u T h D n id
c s : e a a es

Pi c r d L F ug i t i v
a : a e

P l n q u tte S urc u f
a e : o

P oe : T h P url in d L tt r e o e e e

T h G l d Bug e o
B r ni c e e e
1 74 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

P b l es (d e) L E n l n t d u T e m p l e
o :
’ '

a
P o lt i C o m p er e l e R e n a r d
:

Les C u i rs d e b w u f
P o rt o R i c h e L e V i e i l H o mm e
-
:
L es M a l e fi l at re
Po u v il l o n : Le R o i d e R o e m
P r d o n E l ectr e
a :

R e gulu s
P r ev o s t M n o n L e c a ut
: a s
P r ev o s t (J e a n ) (E d i pu : s
P r e v o t (M ) P i e rr e e t T h er e e
s :
L a p lu s f i bl a :

Q u in a ult : A lc es t e

R a b i e r : E t m a sm ur ? X XVI I I
R a c i n e : E st h e r
A l ex a n d re
L es F r er e e nn e m i s X II
B r i t a nn i c u s XIV
M i t h r id a t e XIV
I ph i geni e e n T ur id e (p r o j e ct e d ) a XIX
B érén i ce XX
A lc es t e (p r o j e ct e d ) XXI
A nd r o m a q u e XXI
11 d XXV
I p h i g eni e a A ul i s XXIII
B a j a z et XXIV
Ph d r
e e X X VI
A t h l ie a XXXI
R ach 1 l d e : L a ng Vo i x da sa XIX
M d am M o rt a e la X X IV
R a j as e k h ar T h e S o n o f P nd o u
a : s a III
T h e S t a tu e X XIV
R a y m o n d L e M en a ge d e P a r i s
: s s XXV
R e gni e r (d e ) L G r d i e nn e : a a XXXV
R e n a l d L e Cr i m e d u n a utr e XXXIII
’
u :

R e y e r S i gur d
: X XV
R i c h r d B o i l au r ier
a : s II
a nd XIV
Le Ro m an d E l i e
’
s XXVIII
R i c h eb o urg L p e t i t e M io n n e
: a XIX
R i h e pi n N n a S a h i b
c : a -

L A n ci e n
’
XXI
Le e de Chi n g rde
a XXI
La G lu X XI I
1 76 T H I RTY S I X D RA M AT I C S IT UAT I O N S
-

S a rdo u : Fed o r a
T h eo d o r a
L A ff a i re d e s o
’
P i ss o n s
S a r d o u nd r (A é ) : L E t au ’

S c h i ll e r : W i ll i a m T e ll
S c h i ll e r : The Br i g a nd s

Br id e o f M ess in a
The
M a r i e S tu a rt
W a ll e n t e in s
L o ve a n d I n tr i gu e
S e c o nd L a V i c o mt ess e A l i c e
:

Se d a i n e R i c h a r d C oeur d e L i o n
: - -

S ee : L I nd i scr e t
’

S e n e c Th e P h oen issa
a:
T h y es t es
O ct a v i a
H e rcul e F ur e n s s
(E d ipu s
hd e d ea
H e rcul es o n (E t a
H i pp o l y te
l h e T ro j a n Wo me n
'

S év e r i n e : S a i n t e H él n e -

S h a k es p e a r e K in g J o h n
.

T h e T e mp e s t
T h e M e rc h a n t of V e ni c e
H a ml et
T r o i lu s a n d Cr ess id a
R i c h ard H
T i m o n o f A t h e ns
C o r iol a n us

P r i cl es
e

T w o G e n tl e m e n o f V e r o n a
M eas ur e f o r M e ur e as
A n t o n y a n d C l eo p tr a a
H en r y V I I I
R o m e o a nd J u l i e t
 INDEX OF AUT H O RS 1 77

S h ak es p e a r e : J ul i u s C ae s a r
H en r y I V
M ac b et h
R ic hard I I I
C o m e d y o f E rr o r s
M uc h A d o Ab o ut N o t h in g
O t h e ll o
C ym b e l in e
A W in t e r s T a l e ’

S h a w : M rs W a rr e n s P r o f ess i o n
.
'

S h e ll e y : T h e C e n c i
XIII B 3
S i e n ki ew i cz : B y F i r e a n d S wo r d
S o p h o cl es : C h ys es
M in o s
O icl es
(E d i pus at Colo n u s

N a us i c aa
T h e P h ea ci a ns
A cr i s i us
Ph i l o ct e t es a t T r o y
E u y ac er s s

A n d ro m ed a
! Eg u e s

P el u e s

I l as
o
(E n e e
Ph in u e s
A l t es n d E r i g o n e
e a

N u p l i us
a
Ixi n o
Th F e t f th Ach n
e as o e ae a s
Ph r i xu s

T r u e e s

T h Epig n e o es

E l ctr e a

E i hy l e

rg r
r
ea e

A j x L cr i n
a o a

L c nao oo

T h S h p h rd
e e e s

Th X e n ph oa e o res

T uc r
e e
S o p h o cl es : T h C u n c i l f t h A rg i v
e o o e es

L c ni n W m n
a o a o e

S in n o
(E no m a u s
O r i t h y ie
T he A b d uct i o n o f Hel en
1 78 T H I RT Y S I X D RA M AT I C S I T UA T I O N S
-

S o p h o cl es : H e rm i o n e
P o l y id u s
W o m en of S c yro s
Uly e ss s
Ph i l o ct e t es
H e l e n R e cl i m e d a
T h y e t es I I
s
Aj ax
E u m el e
P e l i as
(E d ipu s t h e K in g
Cr e u sa
T e l ep h u s

E ur y a l e
A l e x nd e r
a
P r o cr i s
A m p h i tr y o n
A lc es t e
I p h i ge ni a
I ob at e
L e m ni a n W o m e n
W o m e n o f C o lc h i s
A n t i go n e
T h e M id e n o f T r ach i
a s s
Al cm eo n
Ph a d ra
T h a m i r as
N i ob e
E u m el e
T h e Ph t io t i d e s
P l amede a
T h y es t es a t S i c y o n
T h e C a p t i v es
L ao c o o n
P o l yxen a
T he E t h i o p i a ns
So ub h t a T h e M e
a ; g e o f A n ga d a
ss a

So u d ak r T h e E a rt h e n T o y c a rt
a : -

S o u nd a r a M i r a Ab h i ra m a m a ni
s :
S p e r o ni C n a c e
: a
S p o n t ini T h e D a n a id es
:

S t c e A ga ve
a :
S t e in L a V e uv e j o y e u se
:

S u e L es E nf a n ts n a tur e l s
:

T a rb é: M o n s i e ur de M o ra t
T ass o : T o rr ism o n d
J e rus l e m D e l i v e r e d
a
1 80 T H I RT Y S I X D RA M AT I C S I T UAT I O N S
-

V o lt a i r e : M ero p e
S em i ra m i s
M ah om et
L e H ur o n
T a ni s et Z él i d e
A l z ir e
Le T r i umv i r at
Z ul im e
B rutu s
N a nin e
L es S c y t h e s

O l ym p i e
I r en e
C at i l in a
La M o rt d e C aesa r
M a r i a nn e
T a n cr ed e

W a g n e r : L o h e n gr in
The R in g of th e N i b e lu n gs
P a r if a l
s
D ie M e i s t e rs in ge r
T a nnh a u se r
W a g n e r : T r i st a n a n d I so l d e
W e b s t er : V i tt o r i a C o r o m b o n a
A pp i us a n d V i rg ini a
T h e D uc h e ss o f M a l fi
S i r T h o m as W y a t
W e ll s : T h e W ar o f t h e W o rl d s
W e r n e r : A tt i l a
T h e T w e n t y f o urt h o f F eb ru a r y
-

L ut h e r
W i ch el er : L e M a r i a ge d e M ll e . B e u l e m ans
W i d o r : M a i tr e A m b r o s
W i l de : S alo m e
W i ll y : L e F re q ue t
L el i e
Wol f : L es L y s

X e no cl es : (E d i pu s X VI II
 I N D E X O F A UT H O RS 1 81

Z a cco ne : L a e e No 7 C ll ul .

m c i
Z a a o s : B o h ém o s
m r
Za o a : D on a Ju n
l
Z o a : Le Re e v
L a D éb a e cl
L A r ge n t
’

T h er es e R aqu in

La ee B t h um a in e
L CE u v r e
'

La Joie de v 1 v re

F ut
L a a e d e a bb e M o l ’
ur et
L a C o n q u ét e d e ass a Fl ns

N an a
L A ss o m m o i r
’

Le a C p i t in B url e
a e
J c q u D a m o ur
a es
P o t b o u i ll
-
e
R en é e
Z o l a L C ur ée
: a
Dr P c l
. as a
So n E xc ll n c e E ug n e e e e
L F o rtu n d
a R ug n e es o o
L e V n tr d P r i e e e a s

M d l in
a e e e
Z o r i ll a D n J u n
: o a

A N O N Y M O US
C h in e T he S
se : e in g r
H in d u
: A n a rg h a r a g h a v a -

D h o u rt t a N a r t t a k a
D ho u r t t a S a m ag a m a
H a no u m a n
t r
M ys e y : L e M ys e e d A d a m t r '

i r cl
M a es : R o b e l e- I ) i a b l e rt -

B a rl a a m e t o s a a J ph t
r
L a M e e m e u t r iere d e so n

nf nt e a
S in t A l x i
a e s
S in t I g n c
a a e (I
'
A n t io e h e
G u ib o r
L E m pe re u r
’
J ul i n e
1 82 T H I RT Y S I X D RA M AT I C S IT UA T I O N S
-

M i r a cl es : La M e re du a e P p
B e rt h e—
La F i ll e d u ro i d E s
'
pa gne
au gr a nd p i e d
L a R e in e a u x tr o i s fi l s
B er t h e q u in e