Iconoclasts: A Book of Dramatists: Ibsen, Strindberg, Becque, Hauptmann, Sudermann, Hervieu, Gorky, Duse and D'Annunzio, Maeterlinck and Bernard ShawHuneker, James
History
Iconoclasts: A Book of Dramatists: Ibsen, Strindberg, Becque, Hauptmann, Sudermann, Hervieu, Gorky, Duse and D'Annunzio, Maeterlinck and Bernard Shaw
Huneker, James
Dramatists; European drama -- 19th century -- History and criticism; European drama -- 20th century -- History and criticism
"There seems to be a watch set for the approach of the slightest
happiness," laments Ygraine as she holds Tintagiles by the hand. They
live in a tower that stands in an amphitheatre of shadows. It is in
the valley. The air does not seem to go down so low. The walls of the
tower are cracking. "You would say it was dissolving in the shadows."
There the grandmother Queen resides. "They say she is not beautiful and
that she is growing huge." There is something monstrous in this hint of
her size--as though a black, dropsical spider sat in the dark weaving
the murderous webs for passing flies. Only the fly in this case is her
grandson. Into the "sickening castle" go the "little sad King" and his
sisters. Bellangère relates that smothered voices reached her in one
of the strange corridors. They spoke of a child and a crown of gold.
She did not understand, "for it was hard to hear, and their voices were
sweet." Enough, however, to put the sisters on their guard.
In their sleeping room they bar the doors. An old retainer is with
them. At the end of the act a door is slowly pushed open. They exert
all their force to keep it closed. The old man puts his sword through
the opening; it snaps. The room grows colder as the door, worked by
unseen means, opens. Then Tintagiles utters a piercing cry. The door
closes. They are saved--for a time. Act IV gives us the corridor in
front of the room wherein hide the boy and his sisters. The handmaids
of the vile old Queen chatter. It is near midnight. Sleep has overtaken
the hapless victims. The handmaids steal Tintagiles, and the scene
ends in screams. But the last act gives us sensations of the direst
sort, because its terrors are felt and not seen. It is nearly all
monologue. Only an actress of superior tragic power could do justice
to this intense episode. A great iron door is seen. Ygraine, haggard,
dishevelled, enters, lamp in hand. She has tracked her darling to this
awful spot. "I found all these golden curls along the steps and along
the walls; and I followed them. I picked them up.... Oh! oh! They are
very beautiful.... They say the shadows poison.... Ah! Still more
golden curls shut in the door.... Tintagiles!"
Then a tiny knock is heard--the bruised fists of Tintagiles on the
other side of the massive door. "Sister Ygraine, sister Ygraine," he
calls. He tells her he escaped from the monster. He struck her--struck
her! Poe-like he exclaims, "Open quickly ... for the love of dear
God, sister Ygraine." You feel the hideous woman approaching. "She
is breathing behind me," moans the child as the fat, panting devil
reaches him, an obscene shape of terror. "She ... is taking me by the
throat...." Ygraine, frantic, without, hears the fall of a little body
and bursts into despairing invectives. "Let me be punished some other
way.... There are so many things that could give me more pain ... if
thou lovest to give pain."
Public-domain text, read in full here on John Shaqi.
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