Date : 1997
Editeur / Publisher : [S.l.] : [s.n.] , 1997
Format : 1 vol., 300 p.
Type : Livre / Book
Type : Thèse / ThesisLangue / Language : français / French
Résumé / Abstract : MAURICE MAETERLINCK A REPRESENTE AVEC HABILETE L'IRREPRESENTABLE. IL N'A PAS TENTE DE LE DEFINIR, MAIS IL A PREFERE LE SUGGERER SANS LE MONTRER. IL A ENTOURE SA PRESENCE INVISIBLE ET SILENCIEUSE DE SENSATIONS IMPRECISES ET OBSCURES, EVOQUES PAR UN LANGAGE PUREMENT AFFECTIF. IL A CHOISI UN DECOR SUGGESTIF QUI PARTICIPE A CREER UNE ATMOSPHERE LUGUBRE, ANGOISSANTE ET MENACANTE. CE SONT DE VIEUX CHATEAUX EN RUINES, DES COULOIRS RETENTISSANTS, DES CHAMBRES TRISTES, DES CAMPAGNES DEVASTEES PAR LA GUERRE, DES FORETS OU REGNE UNE NUIT ETERNELLE, DES JARDINS ENSOMMEILLES, DES GROTTES OU LA MER SE LAMENTE ET DES TOURS ABANDONNEES. LA NATURE ENTIERE, LES OBJETS, EUX AUSSI MALADES ET VENEREUX, COMPLICES, DEGAGENT DES SIGNES ET DES PRESAGES : LES FLEURS SE FANENT, LES JETS D'EAU TARISSENT, LES COLOMBES S'ENFUIENT, LE VENT SE LEVE, LES OMBRES TOURNENT; TOUT EST PLEIN D'ANALOGIES ET DE SYMBOLES. SOUS L'ACTION DE LA MORT, LES PERSONNAGES CESSENT D'AVOIR FOI EN LEUR PROPRE CONVENTION ET, TOURNANT LE DOS A CELUI-CI, ILS CROIENT AVEUGLEMENT EN CELLE QUI EST IMPOSEE ET QUI LES POUSSE. SURS A L'AVANCE DE LEUR DEFAITE, LES PERSONNAGES CONTEMPLENT AVEC EFFROI, SANS SE BATTRE, LES MALHEURS INEVITABLES. LA PROGRESSION DE L'ACTION RESIDE DANS CET ENVAHISSEMENT. ILS VIVENT DANS LA TENEBREUSE ATTENTE DE LA MORT. DRAMES EFFRAYANTS, CHANSONS MONOTONES ET DESESPEREES, PLEINES DE PAUVRES GESTES RESIGNES, DE VAINES PALPITATIONS, DE CRIS SANS REVOLTE OU LA LUTTE N'EST PAS ENTRE LES HOMMES, MAIS ENTRE L'HOMME ET LES FORCES MALVEILLANTES DE L'INCONNU. LE GENIE DE MAETERLINCK A ETE DE CAPTER L'INVISIBLE ET D'OSER SANS DEFAILLANCE, DANS SES PREMIERS DRAMES, LE RENDRE PRESENT AU MILIEU DE NOUS OU AUPRES DE NOUS, HYPOCRITEMENT ACTIF ET MALVEILLANT.
Résumé / Abstract : MAURICE MAETERLINCK REPRESENTED THE UNREPRESENTABLE WITH CONSIDERABLE SKILL. INSTEAD OF ATTEMPTING TO DEFINE IT, HE PREFERRED TO SUGGEST, THOUGH NEVER REVEAL IT. HE SURROUNDED ITS SILENT AND INVISIBLE PRESENCE WITH VAGUE AND OBSCURE SENSATIONS, WHICH HE CONJURED UP USING A TOTALLY EMOTIONAL LANGUAGE. IN ORDER TO CREATE A GLOOMY, FRIGHTENING AND MENACING ATMOSPHERE, HE CHOSE EVOCATIVE SETTINGS SUCH ANCIENT RUINED CASTLES, RESOUNDING CORRIDORS, DREARY ROOMS, LANDSCAPES DEVASTATED BY WAR, FORESTS CLOAKED IN ETERNAL DARKNESS, DORMANT GARDENS, CAVERNS ECHOING TO THE LAMENT OF THE SEA AND ABANDONED TOWERS. BOTH THE NATURAL AND MANMADE WORLDS ARE TURNED INTO CANKERED, POISONOUS ACCOMPLICES, SENDING FORTH SIGNS AND HARBINGERS. FLOWERS WITHER, FOUNTAINS DRY UP, DOVES FLY AWAY, THE WIND RISES AND SHADOWS MOVE. ANALOGIES AND SYMBOLS ARE EVERYWHERE. UNDER THE INFLUENCE OF DEATH, THE CHARACTERS LOSE FAITH IN THEIR OWN CONVENTIONS. TURNING THEIR BACKS ON THEM, THEY START BELIEVING BLINDLY IN THOSE THAT ARE IMPOSED ON THEM, THOSE THAT DRIVE THEM ON. WITHOUT A FIGHT, ALREADY CONVINCED OF THEIR DEFEAT, THE CHARACTERS LOOK IN DREAD UPON THEIR INEVITABLE MISFORTUNES. IT IS THIS GRADUAL INVASION THAT CAUSES THE ACTION TO MOVE FORWARD. THE CHARACTERS WAIT DARKLY FOR DEATH. THESE ARE TERRIFYING DRAMAS, DESPERATE, MONOTONOUS SONGS, FULL OF RESIGNED, PATHETIC GESTURES AND CRIES DEVOID OF REVOLT, WHERETHE BATTLE IS NOT BETWEEN MEN BUT BETWEEN MAN AND THE MALICIOUS FORCES OF THE UNKNOW. MAETERLINCK'S GENIUS LAY IN HIS ABILITY TO CAPTURE THE INVISIBLE AND IN THE BOLDNESS WITH WHICH HE CONSISTENTLY SOUGHT IN HIS EARLY PLAYS TO BRINGS ITS PRESENCE CLOSE TO US OR TO WITHIN OUR MIDST, HYPOCRITICALY ACTIVE AND MALIGN.