The thirty-six dramatic situations

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SIX

AT IONS

"Gozzi maintained that there can he hut thirty-six tragic
situations. Schiller took great pains to find more, but he was
unable to find even so many as Gozzi." — Goethe.

The

Thirty-Six Dramatic

Situations

GEORGES POLTI

Translated by Lucile Ray

Franklin) ohin
JAMES KNAIT REEVE

COPYRIGHT, 1916, 1917
THE EDITOR COMPANY

COPYRIGHT, 1921
JAMES KNAPP REEVE

52g36&

Theatre Arts
library

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THE THIRTY-SIX DRAMATIC SITUATIONS

INTRODUCTION

"Gozzi maintained that there can be but thirty-six tragic
situations. Schiller took great pains to find more, but he
was unable to rind even so many as Gozzi."

Thirty-six situations only! There is, to me, some-
thing tantalizing about the assertion, unaccompanied
as it is by any explanation either from Gozzi, or from
Goethe or Schiller, and presenting a problem which it
does not solve. For I remembered that he who declared
by this limited number so strongly synthetic a law,
had himself the most fantastic of imaginations. He was
the author, this Gozzi, of "Turandot," and of the "Roi
Cerf," two works almost without .analogue, the one
upon the situation of the "Enigma, ' the other upon
phases of metempsychosis; he was the creator of a dra-
matic system, and the Arabesque spirit, through him
transfused, has given us the work of Hoffmann, Jean-
Paul Richter and Poe.

The Venetian's exuberance would have mack' me
doubtful of him, since, having once launched at us this
number 36, he kept silence. Put Schiller, rigid and
ardent Kantian, prince of modern aest het icians, master
of true historic drama, had he not in turn, before
epting this rule, "taken greal pains" to verify it and
the pains of a Schiller!) thereby giving it the additional
authority of his powerful criticism and his rich memory?
And Goethe, his opposite in all things save a strong
te for the abstract, Goethe, who throughout his
life Beems to have considered the .subject, adds his testi-
mony years after the death of Schiller, years after their

8 THIRTY-SIX DRAMATIC SITUATIONS

fruitful conversations, at the very time when he was
completing "Faust," that supreme combination of con-
trasting elements.

In France, Gerard de Nerval alone had grasped and
presented briefly the ensemble of all dramatic produc-
tion, in an article upon Soumet's "Jane Grey," in
"L'Artiste," written, unfortunately, with what dandy-
ism of style! Having early desired to know the exact
number of actions possible to the theater, he found, he
tells us, twenty-four. His basis, however, is far from
satisfactory. Falling back upon the outworn classifi-
cation of the seven capital sins, he finds himself obliged
at the outset to eliminate two of them, gluttony and
sloth, and very nearly a third, lust (this would be Don
Juan, perhaps). It is not apparent what manner of
tragic energy has ever been furnished by avarice, and
the divergence between pride (presumably the spirit of
tyranny) and danger, does not promise well for the con-
texture of drama, the manifestations of the latter being
too easily confounded with those of envy. Furthermore,
murder or homicide, which he indicates as a factor for
obtaining several new situations, by uniting it in turn
with each of the others, cannot be accepted as such,
since it is but an accident common to all of them, pos-
sible in all, and one most frequently produced by all.
And finally, the sole title mentioned by Nerval, "Rivalry
of Queen and Subject," corresponds, it will be observed,
only to a sub-class of one, not of his twenty-four, but of
Gozzi's Thirty-six Situations.

Since Nerval, no one has treated, in Gozzi's genuinely
technical manner, of the secrets of invention, unless it
be relevant to mention in this connection Sarcey's cele-
brated theory of the "scene-a-faire," a theory in general
but ill comprehended by an age which dreads didacti-
cism, - - that is to say, dreads any serious reflection upon
art; some intimate notes of Dumas fils which were pub-
lished against his wishes, if my youthful memories are
correct, in the "Temps" some years ago, and which set
forth that double plot of Corneille and Racine, a heroine
disputed by two heroes, and a hero disputed by two

INTRODUCTION 9

heroines; and, lastly, some works here and there by
Valin, upon composition. And that is all, absolutely all.

Finally, in brief, I rediscovered the thirty-six situa-
tions, as Gozzi doubtless possessed them, and as the
reader will find them in the following pages; for there
were indeed, as he had indicated, thirty-six categories
which I had to formulate in order to distribute fitly
among them the innumerable dramas awaiting classi-
fication. There is, I hasten to say, nothing mystic or
cabalistic about this particular number; it might per-
haps be possible to choose one a trifle higher or lower,
but this one I consider the most accurate.

Xow, to this declared fact that there are no more
than thirty-six dramatic* situations, is attached a singu-
lar corollary, the discovery that there are in life but
thirty-six emotions. A maximum of thirty-six emo-
tions, --and therein we have all the savor of existence;
there we have the unceasing ebb and flow which fills
human history like tides of the sea; which is, indeed, the
very substance of history, since it is the substance of
humanity itself, in the shades of African forests as Unter
den Linden or beneath the electric lights of the Boule-
vards; as it was in the ages of man's hand-to-hand
Btruggle with the wild beasts of wood and mountain,
and as it will be, indubitably, in the most infinitely dis-
tant future, since it is with these thirty-six emotions
no more that we color, nay, we comprehend, cosmic
mechanism, and since it is from them that our theogonies
and our metaphysics are, and ever will be, constructed;
all our dear and fanciful "beyonds;" -thirty-six situ-
ations, thirty-six emotions, and no more

It is, then, comprehensible thai in viewing upon the
stage the ceaseless mingling of these thirty-six emo-
tions, a race or nation arrives at the beginning of its
definite Belf -consciousness; the Greeks, indeed, began
their towns by laying the foundations of a theater. It
is equally natural thai only the greatest ami most com-

•I have replaced tin' word "tragic," used in tin- quotation, with
"dramatic." Those familiar with Goethe know that for him

one of the "classic" (icrmans the two terms wrrc synonymous

m this passage,

10 THIRTY-SIX DRAMATIC SITUATIONS

plete civilizations should have evolved t*heir own partic-
ular conception of the drama, and that one of these
new conceptions should be revealed by each new evolu-
tion of society, whence arises the dim but faithful expec-
tation of our own age, waiting for the manifestation of
its own dramatic ideals, before the cenotaphs of an art
which has long been, apparently for commercial reasons,
almost non-existent.

In fine, after having brought together all these dra-
matic "points of view," we shall see, as in a panorama,
the great procession of our race, in characteristic motley
costumes:- Hindu kings in their chariots, Chinese
gallants playing their mandores, nude heroes of Hellas,
legendary knights, adventurers of sword and cape,
golden-tressed princesses, nymphs sparkling with gems,
shy maids with drooping eyelashes, famed courtesans,
chaste Athenian virgins, priestly confessors, chattering
gossips, gurus expounding religious ideas, satyrs leaping
upon goats' feet, ugly slaves, peris, horned devils in dis-
guise, lisping Tartaglias, garrulous Graciosos, Shake-
spearean clowns, Hugoesque buffoons, magistrates, immo-
bile Buddhist ascetics, white-robed sacrificers, martyrs
with shining aureoles, too-crafty Ulysses, frightful
Rakchasas, messengers dispersing calamitous tidings to
the winds of heaven, pure-hearted youths, blood-stained
madmen, - yes, here it assembles, our humanity, here
it moves through its periods of greatest intensity — but
presenting always one of the facets of the prism pos-
sessed by Gozzi.

These thirty-six facets, which I have undertaken to
recover, should obviously be simple and clean, and of
no far-fetched character; of this we shall be convinced
after seeing them repeated, with unfailing distinctness,
in all epochs and in all genres. The reader will find, in
my brief exposition, but twelve hundred examples cited,
of which about a thousand are taken from the stage;
but in this number I have included works the most
dissimilar and the most celebrated, nearly all others
being but mosaics of these. There will here be found
the principal dramas of China, of India, of Judea, and,
rued less to say, of the Greek theater. However, instead

INTRODUCTION 11

of confining ourselves to the thirty-two classic tragedies
we shall make use of those works of Hellenism which,
unfortunately for the indolent public of today, still lie
buried in Latin; works from whose great lines might be
reconstructed hundreds of masterpieces, and all offering
us, from the shades to which we have relegated them, the
freshness of unfamiliar beauty. Leaving aside, for the
present, any detailed consideration of the Persian and
mediaeval Mysteries, which depend almost without
exception upon two or three situations, and which await
a special study, we shall glance over, --after the Jeux
and Miracles of the thirteenth and fourteenth centuries,
- the Spanish authors, the French classics, the Italians,
the Germans of the Romantic revival, and our modern
dramatic literature. And it seems to me we shall have
finally proved this theory of the Thirty-six Situations,
when we shall thus have brought it into contact with
the dramatic production of the last thirty years.

Two hundred of the examples cited have been taken
from other literary genres akin to the dramatic: romance,
• ■pic, history, -and from reality. For this investiga-
tion can and should be pursued in human nature, by which

I mean in politics, in courts of justice, in daily life. Amid
these explorations the present study will soon seem lint
an introduction to a marvelous, an inexhaustible stream,
the Stream of Existence, where meet momentarily,
in their primordial unity, history, mystic poetry, moralist

and amoralisl writings, humor, psychology, law, epic,
romance, table, myth, proverb and prophecy.

It may here be allowable to ask, with our theory in
mind, a number of questions which to us are of primary

importance.

Which are the dramatic situations neglected by our
n epoch, so faithful in repeating the few most familiar?
Which, on the other hand, are mosl in use today? Which
are the mo I neglected, and which the most used, in each
epoch, genre, Bchool, author? Whal are the reasons
for these preference The same questions may be
asked before the classes :m<l sub-cl; if the situations.

12 THIRTY-SIX DRAMATIC SITUATIONS

Such an examination, which requires only patience,
will show first the list of combinations (situations and
their classes and sub-classes) at present ignored, and
which remain to be exploited in contemporaneous art,
second, how these may be adapted. On the way it may
chance that we shall discern, hidden within this or that
one of our thirty-six categories, a unique case, - - one
without analogue among the other thirty-five, with no
immediate relationship to any other, the product of a
vigorous inspiration. But, in carefully determining the
exact position of this case among the sub-classes of the
situation to which it belongs, we shall be able to form,
in each of the thirty-five others, a sub-class correspond-
ing to it; thus will be created thirty-five absolutely new
plots. These will give, when developed according to
the taste of this or that school or period, a series of
thirty-five "original imitations," thirty-five new scenarios,
of a more unforeseen character, certainly, than the
majority of our dramas, which, whether inspired by
books or realities, when viewed in the clear light of the
ancient writings revealed to us only their reflections, so
long as we had not, for our guidance, the precious thread
which vanished with Gozzi.

Since we now hold this thread, let us unwind it.

FIRST SITUATION

SUPPLICATION

(The dynamic elements technically necessary are: —
a Persecutor, a Suppliant and a Power in authority,
whose decision is doubtful.)

Among the examples here offered will be found those
of three slightly differing classes. In the first, the power
whose decision is awaited is a distinct personage, who is
deliberating; shall he yield, from motives of prudence or
from apprehension for those he loves, to the menaces
of the persecutor, or rather, from generosity, to the
appeal of the persecuted? In the second, by means of
a contraction analogous to that which abbreviates a
syllogism* to an enthymeme,* this undecided power is
but an attribute of the persecutor himself,- a weapon
suspended in his hand; shall anger or pity determine his
course? In the third tfroup, on the contrary, the sup-
pliant element is divided between two persons, the
Persecuted and the Intercessor, thus increasing the
number of principal characters to four.

These three groups (A, B, C) may be subdivided as
follow

A 1 Fugitives Imploring the Powerful for Help

Against Their Enemies. Complete examples: "The

Suppliants" and "The Heraclidae*' of Aeschylus; "The

rleraclidae" of Euripides; the "Minos" of Sophocles.

les in which the fugitives are guilty: the "Oicles"

•Syllogism: A reckoning all together, a reasoning; to bring
at 'Mice before the mind; to infer; conclude. As "Every virtue
i- laudable; kindness is a virtue; therefore kindness is laudable."

Enthymeme An argument consisting of only two propositions;
an antecedent and its consequent; a syllogism with one premise
omitted; a "W< are dependent, therefore we should be humble."

18

11 THIRTY-SIX DRAMATIC SITUATIONS

and "Chryses" of Sophocles; "The Eumenides" of
Aeschylus. A partial example: Act II of Shakespeare's
"King John." Familiar instances: scenes from colonial
protectorates.

(2) -Assistance Implored for the Performance of
a Pious Duty Which Has Been Forbidden. -- Com-
plete examples: 'The Eleusinians" of Aeschylus and

'The Suppliants" of Euripides. A historical example:
the burial of Moliere. A familiar instance: a family
divided in its religious belief, wherein a child, in order
to worship according to his conscience, appeals to the
parent who is his co-religionist.

(3) - - Appeals for a Refuge in Which to Die. -

Complete example: "(Edipus at Colonus." Partial ex-
ample: the death of Zineb, in Hugo's "Mangeront-ils?"

B (1) - - Hospitality Besought by the Shipwrecked.

-Complete example: "Nausicaa" and "The Pheacians"
of Sophocles. Partial example: Act I of Berlioz'
"Trojans."

(2) -Charity Entreated by Those Cast off by
Their Own People, Whom They Have Disgraced. -

Examples: the "Danae" of Aeschylus and the "Danae"
of Euripides; the "Alope," "Auge" and "The Cretans"
of Euripides. Familiar instances: a large part of the
fifteen or twenty thousand adventures which, each
year, come to an end in the Bureau des Enf ants- Assisted.
Special instance of a child received into a home: the
beginning of "Le Reve," by Zola.

-Expiation: The Seeking of Pardon, Healing
or Deliverance. -- Examples: Sophocles' "Philoctetes;"
Aeschylus' "Mysians;" Euripides' "Telephus;" "Les
Champairol" (Rraisse, 1884). Historical example: the
penitence of Barbarossa. Familiar instances: petitions
for pardon, confession of Catholics, etc.

The Surrender of a Corpse, or of a Relic,
Solicited : - "The Phrygians" of Aeschylus. Histori-
cal examples: the Crusaders' embassies to the Moslems.
Familiar instances: the reclaiming of the remains of
a great man buried in a foreign land; of the body of
an executed person, or of a relative dead in a hospital.

FIRST SITUATION 15

It should be noted that the "Phrygians," and the Twenty-
fourth Book of the Iliad, which inspired the play, form
a transition toward the Twelfth Situation (A Refusal
Overcome I .

C (1) — Supplication of the Powerful for Those
Dear to the Suppliant. -Complete example: Esther.
Partial example: Margaret in the denouement of "Faust."
Historical example: Franklin at the court of Louis XVI.
Example corresponding also to A (3): the "Propompes"
of Aeschylus.

(2) -Supplication To a Relative in Behalf of
Another Relative. -- Example: the "Eurysaces" of
Sophocles.

(3) - - Supplication to a Mother's Lover, in Her
Behalf. -Example: "L'Enfant de l'Amour" (Bataille,
1911).

It is apparent that, in the modern theater, very little
use has been made of this First Situation. If we ex-
cept subdivisions C (1), which is akin to the poetic
cult of the Virgin and the Saints, and C (3), there is
not a single pure example, doubtless for the reason that
the antique models have disappeared or have become
unfamiliar, and more particularly because, Shakespeare,
Lope and Corneille not having transformed this theme
or elaborated it with those external complexities de-
manded by our modern taste, their successors have
found ih<- First Situation too bare and simple a subject
for this epoch. As if one idea were necessarily more
simple than another! as if all those which have since
launched upon our stage their countless ramifications
had noi in the beginning shown the same vigorous
simplicity!

It is, however, our modern predilection for the com-
plex which, to my mind, explains the favor now accorded
to group C alone, wherein by easy means a fourth figure
i in essence, unfortunately, a somewhat parasitic and

monotonous one , the Intercessor, is added to the trinity

of Persecutor, Suppliant and Power.

Of what variety, nevertheless, is this trinity capable!

The Persecutor, one or many, voluntary or uncon-
scious, greedy or revengeful, spreading the subtle net-

16 THIRTY-SIX DRAMATIC SITUATIONS

work of diplomacy, or revealing himself beneath the
formidable pomp of the greatest contemporary powers;
the Suppliant, artless or eloquent, virtuous or guilty,
humble or great; and the Power, neutral or partial to
one side or the other, perhaps inferior in strength to
the Persecutor and surrounded by his own kindred who
fear danger, perhaps deceived by a semblance of right
and justice, perhaps obliged to sacrifice a high ideal;
sometimes severely logical, sometimes emotionally sus-
ceptible, or even overcome by a conversion a la Dos-
toievsky, and, as a final thunderbolt, abandoning the
errors which he believed to be truth, if not indeed the
truth which he believed to be error!

Nowhere, certainly, can the vicissitudes of power, be
it arbitral, tyrannical, or overthrown, -- the supersti-
tions which may accompany doubt and indecision, — on
the one side the sudden turns of popular opinion, on
the other the anxiety with which they are awaited, -
despairs and their resulting blasphemies, - - hope sur-
viving to the last breath, - - the blind brutality of fate, -
nowhere can they become so condensed and burst forth
with such power as in this First Situation, in our day
ignored.

France's enthusiastic sympathy for Poland, revived
during the last half-century; the same sympathy which
on so many historic occasions she has manifested for
Scotland and for Ireland, might here find tragic expres-
sion; that cry of humanity with which a single priest, at
the massacre of Fourmies, rallied to the Church a frac-
tion of revolutionary France; the worship of the dead,
that first, last, most primitive and most indestructible
form of religious sentiment; the agony which awaits us
all, agony dragging itself toward the darkness like a
spent beast; the profoundly humble longing of one whom
a murder has deprived of all that was dearest to him,
that pitiable entreaty, on bended knees, which melted
into tears the savage rancor of Achilles and caused him
to forget his vow; -- all are here in this First Situation,
all these strong emotions, and yet others; nowhere else,
indeed, can they be found in such completeness, — and
our modern world of art has forgotten this situation!

SECOND SITUATION

DELIVERANCE

(Elements: an Unfortunate, a Threatener, a Rescuer)

This is, in a way, the converse of the First Situation,
in which the unfortunate appeals to an undecided power,
whereas here an unexpected protector, of his own accord,
comes suddenly to the rescue of the distressed and
despairing.

A - - Appearance of a Rescuer to the Condemned:

The 'Andromedas" of Sophocles, of Euripides and of
Corneille; "Le Jeu de Saint Nicolas" (Jean Bodel).
Partial examples: the first act of "Lohengrin;" the third
act of Voltaire's "Tancred;" the role of the generous
patron in "Boislaurier" (Richard, 1884). The last
example and the following show particularly the honor
of the unfortunate at stake: Daniel and Susanna, and
various exploits of chivalry. A parody: "Don Quixote."
A familiar instance: judicial assistance. The denouement
of "Bluebeard" (here the element of kinship enters, in
the defense by brothers of their sister, and increases the
pathos by the most simple of means, forgotten, however,
by our playwrights).

B (1) - A Parent Replaced Upon a Throne by his
Children: "Aegeus" and "Peleus," by Sophocles;
Euripides' "Antiope." Cases in which the children have
previously been abandoned arc "Athamas I" and also
the "Tyro" of Sophocles. (The taste of the future
author of "(Edipufl at Colonus" for stories in which
the Child plays the role of deliverer and dispenser of
justice, forma a bitter enough contrast to the fate which
awaited the poet himself in his old age.)

(2) Rescue by Friends, or by Strangers Grateful
for Benefits or Hospitality: Sophocles' "(Eneus,"

17

18 THIRTY-SIX DRAMATIC SITUATIONS

"Iolas" and "Phineus." A partial example: the second
part of Euripides' "Alceste." Example in comedy:
Musset's "Fantasio." Example in which protection is
accorded by the host who has granted asylum: Euripides'
"Dictys." '

We see, by a glance over these subdivisions, what our
writers might have drawn from the second of the Situ-
ations. For us, indeed, it should possess some little
attraction, if only for the reason that two thousand
years ago humanity once more listened to this story
of the Deliverer, and since then has so suffered, loved
and wept for the sake of it. This situation is also the
basis of Chivalry, that original and individual heroism
of the Middle Ages; and, in a national sense, of the
French Revolution. Despite all this, in art, — if we
except the burlesque of Cervantes, and the transplendent
light flashing from the silver armor of Lohengrin, — in
art, as yet, it is hardly dreamed of.

THIRD SITUATION
CRIME PURSUED BY VENGEANCE

(Elements: an Avenger and a Criminal)

Vengeance is a joy divine, says the Arab; and such
indeed it seems to have frequently been, to the God of
Israel. The two Homeric poems both end with an
intoxicating vengeance, as does the characteristic Orien-
tal legend of the Pandavas; while to the Latin and
Spanish races the most satisfying of spectacles is still
that of an individual capable of executing a legitimate,
although illegal, justice. So much goes to prove that
even twenty centuries of Christianity, following five
centuries of Socratic philosophy, have not sufficed to
remove Vengeance from its pedestal of honor, and to sub-
stitute thereon Pardon. And Pardon itself, even though
sincere, - what is it but the subtile quintessence of
vengeance upon earth, and at the same time the claim-
ing of a Borl of wergild from Heaven?

A 1 The Avenging of a Slain Parent or Ances-
tor: "The Singer," an anonymous Chinese drama;
'The Tunic Confronted" (of the courtesan Tchang-
koue-pin); 'The Arrives" and "The Epigones" of

Aeschylus; Sophocles' "Aletes and Krigone;" "The
Two Foscari," by Byron; Werner's "Attila;" "Le Crime
de Maison-Alfort" (Coedes, L881); "Le Maquignon"
(Josz and Dumur, l!»o:{i. in the last three cases, as

well as in the following one, the vengeance is accom-
plished not by a son, but by a daughter. Example

20 THIRTY-SIX DRAMATIC SITUATIONS

from fiction: Merimee's "Colomba." Familiar instances:
the majority of vendettas. "Le Pretre" (Buet, 1881)
presents especially the psychologic struggle between
pardon and vengeance. Example of the avenging of
a father driven to suicide: "L'Or" (Peter and Danceny,
1908).

(2) The Avenging of a Slain Child or Descen-
dant: -- Sophocles' "Nauplius;" a part of "Sainte-
Helene" (Mme. Severine, 1902); the end of Euripides'
"Hecuba." Epic example: Neptune's pursuit of Ulysses
because of the blinding of Polyphemus.

(3) - Vengeance for a Child Dishonored: — "El

Mejor Alcalde el Rey," by Lope de Vega; "The Alcalde of
Zalamea," by Calderon. Historic example: the death
of Lucrece.

(4) - The Avenging of a Slain Wife or Husband:
-Carneille's "Pompee;" "L'Idiot" (de Lorde, 1903).

Contemporary instance: the trials of Mme. Veuve
Barreme.

(5) — Vengeance for the Dishonor, or Attempted
Dishonoring, of a Wife: The "Ixion " of Aeschylus,
of Sophocles and of Euripides; "The Perrhoebides" of
Aeschylus; "Les Revolted" (Cain and Adenis, 1908).
Historic example: the priest of Ephraim. Similar cases,
in which the wife has only been insulted: "Venisamhara,"
by Bhatta Narayana; "The Sons of Pandou," by Rajasek-
hara. Familiar instances: a large number of duels.

(6) - Vengeance for a Mistress Slain:- "Love
after Death," by Caleron; "Amhra" (Grangeneuve,
1882); "Simon the Foundling" (Jonathan, 1882).

(7) - Vengeance for a Slain or Injured Friend: -

"The Nereids" of Aeschylus. A contemporary instance:
Ravachol. Case in which the vengeance is perpetrated
upon the mistress of the avenger: "La Casserole"
(M&enier, 1889).

(8) - Vengeance for a Sister Seduced: -- Goethe's
"Clavijo;" "Les Bouchers" (Icres, 1888); "La Casquette
au Pere Bugeaud" (Marot, 1886). Examples from
fiction: "La Kermesse Rouge," in Eekhoud's collec-
tion, and the end of Bourget's "Disciple."

THIRD SITUATION 21

B (1) - - Vengeance for Intentional Injury or Spo-
liation: — Shakespeare's "Tempest." Contemporary in-
stance: Bismarck in his retirement at Varzin.

(2) - - Vengeance for Having Been Despoiled Dur-
ing Absence: -- "Les Joueurs d'Osselets" and "Pene-
lope," by Aeschylus; "The Feast of the Achaeans," by
Sophocles.

(3) Revenge for an Attempted Slaying: --"The
Anger of Te-oun-go," by Kouan-han-king. A similar
case involving at the same time the saving of a loved
one by a judicial error: "La Cellule No. 7" (Zaccone,
1881).

(4) - - Revenge for a False Accusation: The
"Phrixus" of Sophocles and of Euripides; Dumas'
"Monte-Cristo;" "La Declassee" (Delahaye, 1883);
"Roger-la-Honte" (Mary, 1881).

(5) - Vengeance for Violation: — Sophocles'
"Tereus;" "The Courtesan of Corinth" (Carre" and
Bilhaud, 1908); "The Cenci," by Shelley (parricide as
the punishment of incest).

(6) Vengeance for Having Been Robbed of Ones
Own : - "The Merchant of Venice," and partly "William
Tell."

i Revenge Upon a Whole Sex for a Deception

by One:- ".luck the Ripper" (Bertrand and Clairian,

the fatal heroines of the typical plays of the

tond Empire, "L'Etrangere," etc. A ease appertain-
ing also to class A: the motive (an improbable one) of
the corruptress in "Poss^de*," by Lemonnier.

We here encounter for the first time that grimacing
personage who forms the keystone of all drama dark
and mysterious, the "villain." About the beginning
of our Third Situation we mighl evoke him at every
Btep, this villain and his profound schemes which not
infrequently make us smile. Don Salluste in "liuy-

I'.la.-," [ago in "Othello," Guanhumara in "Burgraves,"
Homodei in "Angelo," Mahomet in the tragedy of thai
name. Leontine in "Heraclius," Maxime in "La Tragedie
de Yalentinien," Emire in "Siroes," Ulysses in "Pala-

medes."

22 THIRTY-SIX DRAMATIC SITUATIONS

C — Professional Pursuit of Criminals (the coun-
terpart of which will be found in the Fifth Situation,
Class A): - - "Sherlock Holmes" (Conan Doyle); "Vidocq"
(Bergerat, 1910); "Nick Carter" (Busson and Livet,
1910).

Frequently used though this situation has been in
our day, many an ancient case awaits its rejuvenes-
cence, many a gap is yet to be filled. Indeed, among
the bonds which may unite avenger and victim, more
than one degree of relationship has been omitted, as
well as the majority of social and business ties. The
list of wrongs which might provoke reprisal is far from
being exhausted, as we may assure ourselves by enum-
erating the kinds of offenses possible against persons
or property, the varying shades of opinion of opposing
parties, the different ways in which an insult may take
effect, and how many and what sort of relationships
may exist between Avenger and Criminal. And these
questions concern merely the premises of the action.

To this we may add all the turns and bearings, slow
or instantaneous, direct or tortuous, frantic or sure,
which punishment can take, the thousand resources
which it offers, the points at which it may aim in its
deadly course, the obstacles which chance or the defen-
dant may present. Next introduce various secondary
figures, each pursuing his own aims, as in life, intercross-
ing each other and crossing the drama -and I have
sufficient esteem for the reader's capabilities to develop
the subject no further.

FOURTH SITUATION

VENGEANCE TAKEN FOR KINDRED UPON

KINDRED

(Elements: Avenging Kinsman; Guilty Kinsman;
Remembrance of the Victim, a Relative of Both.)

Augmenting the horror of Situation XXVII ("Dis-
covery of the Dishonor of Ones Kindred") by the rough
vigor of Situation III, we create the present action,
which confines itself to family life, making of it a worse
hell than the dungeon of Poe's "Pit and the Pendulum."
The horror of it is such that the terrified spectators
dare not intervene; they seem to be witnessing at a
distance some demoniac scene silhouetted in a flaming
hou

Neither, it seems, do our dramatists dare intervene

to modify the Greek tragedy, - sueh as it is after thirty
appalling centuries.

For us it is easy to compute, from the height of our
"platform' to use (lozxi's word the infinite varia-
tions possible to this theme, by multiplying the com-
binations which we have just found in the Third Situa-
tion, by those which the Twenty-seventh will give us.

Other germs of fertility will be found in turn in the

circumstances which have determined the avenger's

action. These may be a spontaneous desire on his
own part the simplest motive i; the wish of the dying

victim, or of the spirit of the dead mysteriously appear-

23

24 THIRTY-SIX DRAMATIC SITUATIONS

ing to the living; an imprudent promise; a professional
duty (as when the avenger is a magistrate, etc.); the
necessity of saving other relatives or a beloved one
(thus did Talien avenge the Dantonists) or even fellow-
citizens; ignorance of the kinship which exists between
Avenger and Criminal. There yet remains that case
in which the Avenger strikes without having recog-
nized the Criminal (in a dark room, I suppose); the
case in which the act of intended vengeance is but the
result of an error, the supposedly guilty kinsman being
found innocent, and his pseudo-executioner discovering
that he has but made of himself a detestable criminal.

A (1) — A Father's Death Avenged Upon a Mother;

-"The Choephores" of Aeschylus; the "Electras" of
Sophocles, Euripides, Attilius, Q. Cicero, Pradon, Longe-
pierre, Cr£billon, Rochefort, Ch£nier, and of Guillard's
opera; the "Orestes" of Voltaire and of Alfieri; Sophocles'
"Epigones;" the "Eriphyles" of Sophocles and of Vol-
taire; and lastly "Hamlet," in which we recognize so
clearly the method by which the poet rejuvenates his
subjects, — by an almost antithetic change of char-
acters and of milieu.

(2) — A Mother Avenged Upon a Father: — "Zoe
Chien-Chien" (Matthey, 1881), in which the parricide
is counterbalanced by an incestuous passion, and is
committed by the daughter, not by the son.

B — A Brother's Death Avenged Upon a Son (but
without premeditation, this accordingly falling almost
into the situation "Imprudence"): — Aeschylus' "Ata-
lanta" and Sophocles' "Meleager."

C -- A Father's Death Avenged Upon a Husband:

— "Rosmunde" (Rucellai).

D — A Husband's Death Avenged Upon a Father:

— "Orbecche" by Giraldi.

Thus, of twenty-two works, eighteen are in the same
class, seventeen in the same sub-class, thirteen upon
the same subject; — four classes and one sub-class
altogether. Let us, for the moment, amuse ourselves
by counting some of those which have been forgotten.

FOURTH SITUATION 25

A father's death avenged upon the brother of the
avenger. Upon his sister. Upon his mistress (or, in the
case of a feminine avenger, upon her lover, for each of
the cases enumerated has its double, according to the
sex of the avenger). Upon his wife. Upon his son.
Upon his daughter. Upon his paternal uncle. Upon
his maternal uncle. Upon his paternal or maternal
grandfather; his paternal or maternal grandmother.
Upon half-brother or half-sister. Upon a person allied
by marriage (brother-in-law, sister-in-law, etc.) or a
cousin. These numerous variations may of course be
successively repeated for each case : - - the avenging of a
brother, a sister, a husband, a son, a grandfather, and
so on.

By way of variety, the vengeance may be carried out,
not upon the person of the criminal himself, but upon
some one dear to him (thus Medea and Atreus struck
Jason and Thyestes through their children), and even
inanimate objects may take the place of victims.

FIFTH SITUATION

PURSUIT

(Elements: Punishment and Fugitive)

As the Second Situation was the converse of the First,
so this situation of Pursuit represents a transition into
the passive of the Third and Fourth, and, in fact, of all
those in which danger pursues a character. There
remains, however, a distinction; in Pursuit the avenging
elements hold second place, or perhaps not even that;
it may be, indeed, quite invisible and abstract. Our
interest is held by the fugitive alone; sometimes inno-
cent, always excusable, for the fault — if there was
one --appears to have been inevitable, ordained; we
do not inquire into it or blame it, which would be idle,
but sympathetically suffer the consequences with our
hero, who, whatever he may once have been, is now but
a fellow-man in danger. We recall that truth which
Goethe once flung in the face of hypocrisy; that, each
one of us having within him the potentiality for all the
crimes, there is not one which it is impossible to imagine
ourselves committing, under certain circumstances. In
this Situation we feel ourselves, so to speak, accom-
plices in even the worst of slayings. Which may be
explained by the reflection that along our various lines
of heredity many such crimes might be found, and our
present virtuousness may mean simply an immunity
from criminal tendencies which we have gained by the
experience of our ancestors. If this be the case, heredity

26

FIFTH SITUATION 27

and environment, far from being oppressive fatalities,
become the germs of wisdom, which, satiety being reached,
will triumph. This is why genius (not that of neurosis,
but of the more uncommon mastery of neurosis) appears
especially in families which have transmitted to it a
wide experience of folly.

Through drama, then, we are enabled to gain our
experience of error and catastrophe in a less costly way;
by means of it we evoke vividly the innumerable memo-
ries which are sleeping in our blood, that we may purify
ourselves of them by force of repetition, and accustom
our dark souls to their own reflections. Like music,
it will in the end "refine our manners" and dower us
with the power of self-control, basis of all virtue.
Nothing is more moral in effect than immorality in
literature.

The sense of isolation which characterizes Situation
V gives a singular unity to the action, and a clear field
for psychologic observation, which need not be lessened
by diversity of scenes and events.

A Fugitives From Justice Pursued For Brigan-
dage, Political Offenses, Etc.:- "Louis Perez of
Galicia" and "Devotion to the Cross," both by Calderon;
the beginning of the mediaeval Miracle "Robert-le-
Diable;" "The Brigands" by Schiller; "Raffles" (Hornung,
L907). Historical examples: the proscription of the
Conventionnels; the Duchesse de Berry. Examples
from fiction: "Rocambole" by Gaboriau; "Arsene Lupin"
Leblanc). Familiar instances: police news. Example
in comedy: "Compere le Renard" Polti, L905 ■

B Pursued For a Fault of love: Unjustly.
"Indigne!" Barbier, L884); more justly, Moliere's "Don

Juan" and Comeille's "Festin de Pierre," (nol to speak
of various works of Tirso de Molina, Telle/., Yilliers,
Sadwell, Zamora, Goldoni, Grabbe, Zorilla, Dumas
pei«- ; -. ery justly, "Ajax of Locris," by Sophocles.
Familiar instances run all the way from the forced
marriage of seducers to arrests for sidewalk flirtations.

C \ Hero Struggling V&ainsl .1 Power: ^eschy-
"Prometheus Bound;" Sophoclt "Laocoon;" the

28 THIRTY-SIX DRAMATIC SITUATIONS

role of Porus in Racine's and also in Metastasio's "Alex-
andre;" Corneille's "Nicomede;" Goethe's "Goetz von
Berlichingen" and a part of "Egmont;" Metastasio's
"Cato;" Manzoni's "Adelghis" and a part of his "Count
of Carmagnola;" the death of Hector in Shakespeare's
"Troilus and Cressida;" "Nana-Sahib" (Richepin, 1883);
"Edith" (Bois, 1885); the tetralogy of the "Nibelungen;"
"An Enemy of the People" (Ibsen); "Le Roi sans
Couronne" (de Bouhtfier, 1909).

D--A Pseudo-Madman Struggling Against an
Iago-Like Alienist: -- "La Vicomtesse Alice" (Second
1882).

SIXTH SITUATION

DISASTER

(Elements: a Vanquished Power; a Victorious Enemy

or a Messenger)

Fear, catastrophe, the unforeseen; a great reversal of
roles; the powerful are overthrown, the weak exalted.
Here is the oft-recurring refrain of the Biblical books,
here the immortal echoes of .the fall of Troy, at which
we still pale as though with a presentiment.

A (1)- Defeat Suffered: -"The Myrmidons" and
"The Persians" of Aeschylus; "The Shepherds" of
Sophocles. Example from fiction: "La Debacle," by
Zola. History is made up of repetitions of this story.

2 A Fatherland Destroyed: The "Xoane-
phores" of Sophocles; Byron's "Sardanapalus" (this
corresponds also to Class B, and toward the denouement
recalls the Fifth Situation). Examples from history:
Poland; the greal Invasions. Prom romance: "The
War of the Worlds" (Wells).

3 The Fall of Humanity: The Mystery of
"Adam" twelfth century ■

1 \ Natural Catastrophe: 'Terre d'Epou-

vante" de Lorde and Morel, L907).

B A Monarch Overthrown (the converse of the
Eighth): Shakespeare's "Henry VI" and "Richard

II." Historic instances: Charle8 I, Louis XVI, Napo-
leon, etc.; and, substituting other authorities than kings,

Colomb, de Lesseps, and all disgraced ministers. Ex-
amples from fiction: the end of "Tart;irin." "l/Ar^ent."

"Cesar Birotteau."

29

30 THIRTY-SIX DRAMATIC SITUATIONS

C (1) Ingratitude Suffered (of all the blows of
misfortune, this is perhaps the most poignant):-
Euripides' "Archelaus" (excepting the denouement, in
which the action is reversed); Shakespeare's "Timon
of Athens" and "King Lear," and the beginning of his
"Coriolanus;" Byron's "Marino Faliero;" a part of
'The Count of Carmagnola," by Manzoni. Bismarck's
dismissal by the young Emperor William. The martyrs,
the many instances of devotion and sacrifice unappre-
ciated by those who have benefited by it, the most
glorious of deaths shine against this dark background;
Socrates and the Passion are but the most celebrated
examples. "Le Reformateur" (Rod, 1906).

2 The Suffering of Unjust Punishment or
Enmity (this corresponds in some degree to the
"Judicial Errors") :-- Sophocles' "Teucer;" Aeschylus'
"Salaminiae."

(3) -An Outrage Suff ered : - - the first act of "The
Cid;" the first act of "Lucrece Borgia." The "point of
honor" offers better material than these simple episodes.
We may imagine some more sensitive Voltaire, reduced
by his persecutions to helplessness and to the point
of dying in despair.

D (1) - - Abandonment by a Lover or a Husband:
- "Faust;" Corneille's "Ariane;" the beginning of the
"Medeas;" "Maternite" (Brieux, 1903).

(2) - - Children Lost by Their Parents: - "Le Petit
Poucet."

If classes B, C and D, which are concerned with the
fate of individuals, have been so much less developed
than they might easily have been, what shall be said
of the case of social disasters, such as Class A? Shake-
speare did not tread far enough upon that majestic way.
Only among the Greeks has a work of this kind pre-
sented at one stroke that conception of human events,
sublime, fatalistic and poetic, of which Herodotus was
one day to create history.

SEVENTH SITUATION
FALLING PREY TO CRUELTY OR MISFORTUNE

(Elements: an Unfortunate; a Master or a
Misfortune)

To infinite sorrow there is no limit. Beneath that
which seems the final depth of misfortune, there may
open another yet more frightful. A ferocious and
deliberate dissection of the heart it seems, this Seventh
Situation, - that of pessimism par excellence.

A The Innocent Made the Yictum of Ambitious
Intrigue: "The Princess Maleine" (Maeterlinck i ;
"The Natural Daughter," by Goethe; "Les Deux
Jumeaux," by Huk<>-

B - The Innocent Despoiled by Those Who Should
Protect: "The Guests and the beginning of the
"Joueurs d'Osselets," by Aeschylus (al the firel vibra-
tion of the great bow in the hands of the unknown Beg-
gar, what a breath of hope we drawl); "Lea Corbeaux"
by Becque; "Le Roi de Rome" (Pouvillom; "L'Aijjlon"

Rostand ; "La Croisade des Enfanteleta Francs"

ErnauH .

C 1 The Powerful Dispossessed and Wretched:

The beginning of Sophocles' and of Euripides' "Peleus;"
of "Prometheus Bound;" of "Job." Laertes in his
garden. Example iron, comedy: "Le Jeu de la Feuillee"
Adam de la Halle .

\ Favorite or an Intimate Finds Himself
Forgotten : "En I >&re e" Fevre, L890

81

32 THIRTY-SIX DRAMATIC SITUATIONS

D - The Unfortunate Robbed of Their Only
Hope: "The Blind" by Maeterlinck; "Beethoven"
(Fauchois, 1909); "Rembrandt" (Dumur and Josz).

And how many cases yet remain! The Jews in cap-
tivity, slavery in America, the horrors of the Hundred
Years' War, invaded ghettos, scenes such as draw the
crowd to any reproduction of prison life or of Inquisition,
the attraction of Dante's Inferno, of Pellico's "Prisons,"
the transporting bitterness of Gautama, of Ecclesiastes,
of Schopenhauer!

EIGHTH SITUATION
REVOLT

(Elements: Tyrant and Conspirator)

As already observed, this situation is, in a measure,
the converse of Class B of Situation VI.

Intrigue, so dear to the public of the past three cen-
turies, is obviously supplied by the very nature of the
subject we are now to consider. But, by some strange
chance, it has, on the contrary, always been treated
with the most open candor and simplicity. One or two
vicissitudes, a few surprises all too easily foreseen and
extending uniformly to all the personages of the play,
and there we have the conditions which have almost
invariably been attached to this action, so propitious,
nevertheless, to doubts, to equivocation, to a twilight
whose vague incertitude prepares the dawn of revolt
and of liberty.

A 1 A Conspiracy Chiefly of One Individual:

'The Conspiracy "i Fiesco," by Schiller; Corneille's
"Cinna;" to some extent the "Catilina" of Voltaire
this tragedy belongs father to the Thirtieth Situa-
tion. "Ambition" ; "Thermidor;" "The Conspiracy of
General Malet" Auri de Lassus, L889) ; "Le Grand
Soir" Kampf); "Le Etoi sans Royaume (Decourcelle,
L909 : "Lorenzaccio" Mussel .

_: \ Conspiracy of Several: The Conspiracy

of the Pazzi" by Alfieri;" Le Roman* d'une Conspiration1

by Fournier and Carre*, after the story of Kan. ;

34 THIRTY-SIX DRAMATIC SITUATIONS

"Madame Margot" (Moreau and Clairville, 1909); and,
in comedy, "Chantecler" (Rostand, 1910) with its
parody "Rosse, tant et plus" (Mustiere, 1910).

B (1) - ■ Revolt of One Individual, Who Influences
and Involves Others: -- Goethe's "Egmont;" "Jacques
Bonhomme" (Maujan, 1886); "La Mission de Jeanne
d'Arc" (Dalliere, 1888). Example from fiction: "Sal-
ammbo." From history: Solon feigning madness.

(2) - - A Revolt of Many: - - "Fontovejune," by Lope
de Vega; Schiller's "William Tell;" Zola's "Germinal;"
"The Weavers of Silesia," by Hauptmann (forbidden in
1893 with the approval of a Parliament soon afterward
dissolved); "L'Automne," by Paul Adam and Gabriel
Mourey (forbidden in 1893 with the approval of another
Parliament shortly before its dissolution); "L'Arm^e
dans la Ville" (Jules Romain, 1911): "The Fourteenth
of July" (Roland, 1902). From fiction: a part of the
"Fortunes des Rougon" by Zola. From history; the
taking of the Bastile, and numerous disturbances of the
same period.

This species of action, particularly in modern scenes,
has given fine virile dramas to England, Spain, Italy
and Germany; of a forceful and authoritative char-
acter in the two first countries, of a youthful enthusi-
astic type in the two last. France, most certainly,
would seem of all countries the most likely to under-
stand and express such emotions.

But. . "Thermidor" was prohibited "for fear"

it might offend the friends (centenarians apparently)
of Maximilian; "Le Pater" "for fear" it might be dis-
pleasing to Communists; Zola's "Germinal" and
"L'Automne" by Adam and Mourey (two works painted
in widely different colors, as the titles sufficiently indi-
cate) were stopped "for fear" of the objections of a few
conservatives; "Other People's Money" by Hennique,
"for fear" of shocking certain financiers who have since
been put behind bars; "Lohengrin " (although the sub-
ject is Celtic) was long forbidden "for fear" of irritating
a half-dozen illiterate French chauvinists; an infinite
number of other plays "for fear" of annoying Germany

EIGHTH SITUATION 35

(or our parlor diplomats who talk of it) . . . . Yet
others "for fear" of vexing the Grand Turk!

Is it possible, notwithstanding all this, to find a single
instance in which a dramatic production has brought
about a national calamity such as our censors fear?
The pretext is no more sincere than are those urged for
excluding from the theater any frank and truthful repre-
sentations of love. A rule against admitting children
should be sufficient to satisfy modesty on this point;
even that is little needed, since children unaccompanied
by their elders rarely apply for admission.

Our sentimental bourgeoisie apparently holds to the
eighteenth-century opinion that it is more dangerous
to listen to these things in public than to read of them
in private. For our dramatic art --which, be it noted,
has remained, despite its decline, the one great unrivalled
means of propagating French thought throughout
Europe has been forbidden, little by little, to touch
directly upon theology, politics, sociology, upon criminals
or crimes, excepting (and pray why this exception?)
adultery, upon which subject our theater, to its great
misfortune, now lives, at least two days out of three.

The ancients had a saying that a man enslaved loses
half his soul. A dramatist is a man.

NINTH SITUATION

DARING ENTERPRISE
(A Bold Leader; an Object; an Adversary)

The Conflict, which forms the framework of all dra-
matic situations, is, in the Ninth, clearly drawn, undis-
guised. A clever plan, a bold attempt, sangfroid, -
and victory!

A - Preparations For War:- (In this class, as
anciently treated, the action stops before the denoue-
ment, which it leaves to be imagined, in the perspective
of enthusiastic prediction). Examples: — Aeschylus'
"Nemea;" "The Council of the Argives" by Sophocles.
Historic examples: the call to the Crusades; the Vol.
unteers of '92.

B (1) - - War: --Shakespeare's "Henry V."

(2)-- A Combat: - "Glaucus Pontius," "Memnon,"
"Phineus" and "The Phorcides" of Aeschylus.

C (1) --Carrying Off a Desired Person or Object:

-the "Prometheus" of Aeschylus; the "Laconian

Women," by Sophocles. From fiction: the taking of

the Zaimph in "Salammbo." Epic example: the second

Homeric hymn (to Hermes).

(2) - Recapture of a Desired Object: - "The Vic-
tory of Arjuna," by Cantchana Atcharya; Wagner's "Par-
sifal;" the re-taking of the Zaimph.

D (1) - - Adventurous Expeditions: Lope's "Dis-
covery of the New World;" Aeschylus' "Prometheus
Unbound;" Euripides' "Theseus;" Sophocles' "Sinon;"

36

NINTH SITUATION 37

the "Rhesus" attributed to Euripides. Examples from
romance: the usual exploits of the heroes of fairy tales;
the Labors of Hercules; the majority of Jules Verne's
stories.

(2) - Adventure Undertaken for the Purpose of
Obtaining a Beloved Woman: -- Sophocles' and Euri-
pides' "(Enomaus." From fiction: "Toilers of the Sea."
For the purpose of saving the honor of a lover: "La
Petite Caporale" (Darlay and de Gorsse, 1909).

The Ninth Situation thus summarizes the poetry of
war, of robbery, of surprise, of desperate chance, - - the
poetry of the clear-eyed adventurer, of man beyond the
restraints of artificial civilizations, of Man in the origi-
nal acceptation of the term. We find, nevertheless,
hardly a single French work in this class!

Lest the reader be wearied, I refrain from enumerat-
ing, under these classes so lightly touched upon, many
of the plots and complications which might be evolved
from them. Methods of tracking the human game -
bandit or hero, the forces conspiring for his disaster,
the conditions which make him the victim of his masters,
the ways in which revoll may arise, the alternatives of
the struggle in a "daring enterprise," certainly would
appear to be mure complex today than in earlier ages;
moreover, upon these themes parts borrowed from other
situation.- may be engrafted with remarkable ease. Even
if we desire to preserve to the said themes their archaic

severity, how much may yet be drawn from them! In
how many waj . to cite hut one example, might an
Adventurous Expedition be changed by varying the
motives or the object of the enterprise, the nature of
ihe obstacles, the qualities of the hero, and the previous
bearings Of the three indispensable elements of the
drama! "Adventurous Tra have hardly been

touched up<.n. And how man} other classes are there

which have not been!

TENTH SITUATION

ABDUCTION

(The Abductor; the Abducted; the Guardian)

Or, the Great Bourgeois Romance! Was it not thus
that Moliere used to put an end to his comedies, when
he judged that the moment had arrived for sending
his audience home satisfied? Sometimes he substi-
tuted a treasure-box for a girl, as in "Tartuffe," or
arranged an exchange of the one for the other, as in
"L'Avare."

We find in ABDUCTION one of the situations bear-
ing upon Rivalry, and in which Jealousy appears,
although not painted with so superb a coloring as in the
Twenty-fourth.

In two of the following classes (B and C) we may
remark the intrusion of the situations 'Adultery" and
"Recovery of a Lost Loved One." The same usage is
quite possible in almost all the other situations. I
would point out to those who may be interested in a
more detailed analysis, that love is not necessarily the
motive of Abduction (in Class D will be found friend-
ship, faith, etc.) nor the reason of the obstacles raised
by the guardian.

A — Abduction of an Unwilling Woman: —
Aeschylus' and Sophocles' "Orithyies;" Aeschylus'
"Europa" and "The Carians." "With Fire and Sword"
(after Sienkiewicz, 1904). Comedy: "Le Jeu de Robin
et de Marion" (Adam de la Halle). Historic and legen-
dary : the Sabine women ; Cassandra. There appears to
me to be tragic material in cases of extreme eroticism, of
premeditated violation preceded by a mania of passion

38

TENTH SITUATION 39

and its resulting state of overexcitation, and followed
by the murder of the outraged victim, by regrets before
the beautiful corpse, by the repugnant work of dis-
memberment or concealment of the body; then by a
disgust for life and by successive blunders which lead
to the discovery of the criminal.

B - Abduction of a Consenting Woman: — "The
Abduction of Helen" by Sophocles, and the comedy of
the same mane but not upon the same subject, by Lope.
Numberless other comedies and romances.

C (1) - - Recapture of the Woman Without the
Slaying of the Abductor: Euripides' "Helen;"
"Malati and Madhava," by Bhavabhuti (the poet "of
voice divine"). Rescue of a sister: "Iphigenia in Tauris."

(2) -The Same Case, With the Slaying of the
Ravisher: - - "Mahaviraeharita," by Bhavabhuti; "Han-
ouman" a collaborative work); "Anarghara-ghava"
(anonymous); "The Message of Angada," by Soubhata;
"Abhirama Mani," by Soundara Misra; "Hermione" by
Sophocles.

D (1)- Rescue of a Captive Friend:- "Richard
Coeur-ae-Lion," by Sedaine and (Iretry. A great num-
ber of escapes, historic and fictitious.

2 -Of a Child:- "L'Homme de Proie" (Lefevre
and Laporte, L908).

Of a Soul in Captivity to Krror: T.arlaam
and Josaphat," a fourteenth-century Miracle. The deeds
of the Apostles, of missionaries, etc.

ELEVENTH SITUATION
THE ENIGMA

(Interrogator, Seeker and Problem)

This situation possesses theatrical interest par excel-
lence, since the spectator, his curiosity aroused by the
problem, easily becomes so absorbed as to fancy it is
himself who is actually solving it. A combat of the
intelligence with opposing wills, the Eleventh Situa-
tion may be fitly symbolized by an interrogation point.

A - Search for a Person Who Must be Found on
Pain of Death: - Sophocles' and Euripides' "Polyidus."
Case without this danger, in which an object, not a
person, is sought: Poe's "Purloined Letter."

B (1) - - A Riddle to be Solved on Pain of Death:

- "The Sphinx" of Aeschylus. Example from fiction
(without the danger): "The Gold Bug" by Poe.

(2) The Same Case, in Which the Riddle is Pro-
posed by the Coveted Woman: - - Partial example: the
beginning of Shakespeare's "Pericles." Example from
fiction: "The Travelling Companion," by Andersen.
Epic example (but without the danger): the Queen of
Sheba and Solomon. Partial example: Portia's coffers,
in "The Merchant of Venice."

The sort of contest, preliminary to the possession of
a desired one, which is vaguely sketched in this episode,
is singularly alluring in its suggestive analogues. But
how many fibres, ready to thrill, will the perplexities
of the love contest find in us, when they are raised to

40

ELEVENTH SITUATION 41

their third power by the introduction of the terrible,
as in the one complete and pure example which we
have, --the "Turandot" of the incomparable Gozzi; a
work passionately admired, translated, produced and
rendered famous in Germany by Schiller; a work which
has for a century been regarded as a classic by all the
world, although it remains little known in France.

The effect of B (2) is strengthened and augmented
in cases in which the hero is subjected to the following:

C (1 Temptations Offered With the Object of
Discovering His Name.

Temptations Offered With the Object of
Ascertaining the Sex: "The Scyrian Women" of
Sophocles and of Euripides.

Tests For the Purpose of Ascertaining the
Mental Condition: "Ulysses Purens" of Sophocles;
"The Palamedes" of Aeschylus and of Euripides (accord-
ing to the themes attributed i<> these lost works). Exam-
inations of criminals by alienists.

TWELFTH SITUATION

OBTAINING

(A Solicitor and an Adversary Who Is Refusing, or
an Arbitrator and Opposing Parties)

Diplomacy and eloquence here come into play. An
end is to be attained, an object to be gained. What
interests may not be put at stake, what weighty argu-
ments or influences removed, what intermediaries or
disguises may be used to transform anger into benevo-
lence, rancor into renouncement; to put the Despoiler
in the place of the Despoiled? What mines may be
sprung, what counter-mines discovered ! - - what unex-
pected revolts of submissive instruments! This dialectic
contest which arises between reason and passion, some-
times subtile and persuasive, sometimes forceful and
violent, provides a fine situation, as natural as it is
original.

A Efforts to Obtain an Object by Ruse or Force:

- the "Philoctetes" of Aeschylus, of Sophocles and of
Euripides; the reclamation of the Thebans in "CEdipus
at Colonus;" "The Minister's Ring," by Vishakadatta.

B - Endeavor by Means of Persuasive Eloquence
Alone: - - "The Desert Isle," by Metastasio; the father's
attitude in "Le Fils Naturel" (Dumas), to which Ruse
is soon afterward added; Scene 2 of Act V of Shake-
speare's "Coriolanus."

C Eloquence With an Arbitrator: — "The Judg-
ment of Arms," by Aeschylus; "Helen Reclaimed," by
Sophocles.

42

TWELFTH SITUATION 43

One of the cases unused in the theater, notwithstand-
ing its frequency, is Temptation, already introduced
as a part of the preceding situation. The irritated
adversary is here the Defiant; the solicitor, now the
Tempter, has undertaken an unusual negotiation, one
for the obtaining of an object which nothing can per-
suade the owner to part with; consequently the aim
must be, gently, little by little, to bewilder, charm or
stupefy him. Eternal role of woman toward man!
— and of how many things toward the project of being
a man! Does it not call to mind the hieratic attitude
of the Christian toward Satan, as Flaubert has illuminated
it, with a thousand sparkling lights, in his "Temptation
of Saint Anthony?"

THIRTEENTH SITUATION

ENMITY OF KINSMEN

(Elements: a Malevolent Kinsman; a Hated or
Reciprocally Hating Kinsman)

Antithesis,* which constituted for Hugo the gener-
ative principle of art, - dramatic art in particular,-
and which naturally results from the idea of Conflict
which is the basis of drama, offers one of the most symme-
trical of schemes in these contrasting emotions. "Hatred
of one who should be loved," of which the worthy pen-
dant is the Twenty-Ninth, "Love of one who should
be hated." Such confluents necessarily give rise to
stormy action.

It is easy to foresee the following laws:

First: The more closely are drawn the bonds which
unite kinsmen at enmity, the more savage and danger-
ous their outbursts of hate are rendered.

Second: When the hatred is mutual, it will better
characterize our Situation than when it exists upon
one side only, in which case one of the relatives becomes
Tyrant and the other Victim, the ensemble resulting
in Situations V, VII, VIII, XXX, etc.

Third: The great difficulty will be to find and to
represent convincingly an element of discord powerful
enough to cause the breaking of the strongest human
ties.

*Antithesis: An opposition or contrast of words or ideas espe-
cially one emphasized by the positions of contrasting words, as
when placed at the beginning or end of a single sentence or clause,
or, in corresponding positions in two or more sentences or clauses.
(Measures, not men. The prodigal robs his heir; the miser robs
himself.) Here the reference, of course, is to ideas.

44

THIRTEENTH SITUATION 45

A - - Hatred of Brothers: (1) - - One Brother Hated
by Several (the hatred not malignant': "The Heliades"
of Aeschylus (motive, envy); "The Labors of Jacob," by
Lope de Vega (motive, filial jealousy). Hated by a
single brother: The "Phoenissae" of Euripides and of
Seneca; "Polynices" by Alfieri (motive, tyrannical ava-
rice); Byron's "Cain" (motive, religious jealousy); "Une
Famille au Temps de Luther" by Delavigne (motive,
religious dissent : "Le Duel" (Lavedan, 1905).

(2) - Reciprocal Hatred : The "Seven Against
Thebes," by Aeschylus, and "Les Freres Ennemis"
by Racine (motive, greed for power); an admirable
supplementary character is added in this Theban legend,
the Mother, torn between the sons; "Thyestes II" of
Sophocles; "Thyestes" of Seneca; the "Pelopides" by
Voltaire; "Atreus and Thyestes" by CreT>illon (motive,
greed for power, the important role being that of the
perfidious instigator).

Hatred Between Relatives for Reasons of
Self-interest: "La Maison d'Argile" Fabre, 1907).
Example from fiction: "Mon Frere" (Mercereau).

B Hatred of Father and Son: 1 Of the

Son for the Father: 'Three Punishments in One,"
by Calderon. Historic example: Louis XI and Charles
VII. A part of "La Terre" by Zola and of "Le Maitre"

lean .(allien.

•1 Mutual Hatred: "Life is a Dream," by
('alderon. Historic instance: Jerome and Victor Bona-
parte .'i reduction of hatred to simple disagreement).
This nuance appears to me to In- our of the finest,
although one of the least regarded by our writers.

Hatred of Daughter for lather: "The
Cenci," by Shelley parricide 8 a means of escape from

inc.-

Hatred of Grandfather for Grandson:

Mc o' "Cym the story of Amulius in the

of Titus Li', in- motive, tyrannical avarice .
Hatred of uncle for nephew: "The Death oi I an .<." by
Crichna ( !a> i. One of the facet of "Hamlet."

D Hatred of I a t her-in-law for Son-in-law :

Aifieri's "Agis and Saul" motive, tyrannical avari©

46 THIRTY-SIX DRAMATIC SITUATIONS

Historical example: Caesar and Pompey. Hatred of
two brothers-in-law, ex-rivals: "La Mer" (Jean Jullien,
1891) -the only modern drama, I may note in passing,
in which one finds emotion increasing after the death
of the principal character. In this respect it conforms
to reality, in which we may experience shock or alarm,
or cry out in dread, but in which we do not weep, nor
feel sorrow to the full, until afterward, all hope being
forever ended.

E - - Hatred of Mother-in-law for Daughter-in-
law: -- Corneille's "Rodogune" (motive, tyrannical
avarice).

F -Infanticide: -"Conte de Noel" (Linant, 1899).
A part of the "Powers of Darkness."

I will not repeat the list of degrees of relationship
into which this situation might be successively trans-
ferred. The case of hatred between sisters, one fre-
quent enough, will offer, --even after "Le Carnaval
des Enfants" (de Bouhelier) - - an excellent opportunity
for a study of feminine enmities, so lasting and so cruel;
hatred of mother and daughter, of brother and sister,
will be not less interesting; the same may be said for
the converse of each class which has furnished our ex-
amples. May there not be an especially fine dramatic
study in the deep subject, - - heretofore so vulgar be-
cause treated by vulgar hands, - - the antipathy of the
mother and the husband of a young woman? Does
it not represent the natural conflict between the ideal,
childhood, purity, on the one hand, and on the other
Life, vigorous and fertile, deceptive but irresistibly
alluring?

Next the motive of hatred, changing a little, may
vary from the everlasting "love of power" alleged in
nearly all extant examples, and, what is worse, invari-
ably painted in the strained attitudes of noe-classicism.*

The character of the common parent, torn by affec-
tion for both adversaries in these struggles, has been

*Neo-Classicism: Belonging to or designating the revival of
classical taste and style in art.

THIRTEENTH SITUATION 47

little modified since the day when Aeschylus led forth,
from the tomb to which tradition had consigned her,
his majestic Jocaste. The roles of two parents at enmity
could well be revived also. And I find no one but
Beaumont and Fletcher who has drawn vigorously the
instigators of such impious struggles; characters whose
infamy is sufficient to be well worthy of attention,
nevertheless.

With the enmities of kinsmen are naturally connected
the enmities which spring up between friends. This
nuance will be found in the following situation.

FOURTEENTH SITUATION

RIVALRY OF KINSMEN

(The Preferred Kinsman; the Rejected Kinsman; the

Object)

This situation seems, at first glance, to present ten
times the attraction of the preceding. Does not Love,
as well as Jealousy, augment its effect? Here the charms
of the Beloved shine amid the blood of battles fought
for her sake. What startled hesitancies, what per-
plexities are hers; what fears of avowing a preference,
lest pitiless rage be unchained !

Yes, the Beloved one, the "Object" - to use the philo-
sophic name applied to her in the seventeenth century
- will here be added to our list of characters. But
. the Common Parent, even if he does not dis-
appear, must lose the greater part of his importance;
the Instigators will pale and vanish in the central radiance
of the fair Object. Doubtless the "love scenes" will
please, by their contrast to the violence of the play; but
the dramatic purist may raise his brows, and find per-
haps - - these turtle-dove interludes a trifle colorless
when set in the crimson frame-work of fratricide.

Furthermore, there persists in the psychologist's
mind the idea that Rivalry, in such a struggle, is no
more than a pretext, the mask of a darker, more ancient
hatred, a physiological antipathy, one might say, derived
from the parents. Two brothers, two near relatives,
do not proceed, on account of a woman, to kill each
other, unless predisposed. Now, if we thus reduce the
motive to a mere pretext, the Object at once pales and
diminishes in importance, and we find ourselves return-
ing to the Thirteenth Situation.

48

FOURTEENTH SITUATION 49

Is the Fourteenth, then, limited to but one class, a
mere derivative of the preceding? No; it possesses,
fortunately, some germs of savagery which permit of
its development in several directions. Through them
it may trend upon "Murderous Adultery," "Adultery
Threatened," and especially upon "Crimes of Love"
(incests, etc.). Its true form and value may be ascer-
tained by throwing these new tendencies into relief.

A (1) - Malicious Rivalry of a Brother: - - "Britan-
nicus;" "Les Maucroix" by Delpit (the Common Parent
here gives place to a pair of ex-rivals, who become almost
the Instigators); "Boislaurier" (Richard, 1884). From
fiction: "Pierre et Jean," by de Maupassant. Case in
which rivalry is without hatred: "1812" (Nigond, 1910).

(2) Malicious Rivalry of Two Brothers:
"Agathocle," "Don Pedre," Adleaide du Guesclin" and
"Amelie," all by Voltaire, who dreamed of carving a
kindgom all his own, from this sub-class of a single
situation.

Rivalry of Two Brothers, With Adultery on
the Part of One: "Pellets et Melisande" by Maeter-
linck.

1 Rivalry of Sisters: "La Souris" (Pailleron,

7 : "L'Enchantement" (Bataille, L900); "Le Demon
du Foyer" <•. Sand). Of aunt and niece: "I^e Risque"
Coolus, L909 .

I'. 1 Rivalry of I at her and Son, for an Unmar-

ried Woman: Metastasis "Antigone;" "Les Fos-
siles" !•'. de Curel ; "La Massiere" Lemaitre, L905);
"La Dette" Trarieux. L909); "Papa" de Flera and de
Caillavet, 191] ; Racine's "Mithridate," in which the
rivalry is triple, between the father and each of the
ons, and between the two sons. Partial example: the
beginning of Dumas' "Pere Prodigue."

Rivalry <>f Father and Son, for a Married

Woman: "Le Vieil Homme" Porto-Riche, L911).

Case Similar to the Two Foregoing, Bill in

Which the Object is Already the Wife of the Father.

(This goes beyond adultery, and tea. Is to result in incest.

but the purity of the passion preserves, Tor dramatic
effect, a fine distinction between this sub-class and

50 THIRTY-SIX DRAMATIC SITUATIONS

Situation XXVI) :-- Euripides' "Phenix;" (a concu-
bine is here the object of rivalry) ; Schiller's "Don Carlos;"
Alfieri's "Philip II."

(4) - - Rivalry of Mother and Daughter: — "L' Autre
Danger" (Donnay, 1902).

C Rivalry of Cousins: (which in reality falls into
the following class) :-- "The Two Noble Kinsmen,"
by Beaumont and Fletcher.

D — Rivalry of Friends: — Shakespeare's "Two Gen-
tlemen of Verona;" "Aimer sans Savoir Qui" by Lope
de Vega; Lessing's "Damon;" "Le Coeur a ses Raisons"
(de Flers and de Caillavet, 1902); "Une Femme Passa"
(Coolus, 1910).

FIFTEENTH SITUATION
MURDEROUS ADULTERY

(Elements: Two Adulterers; a Betrayed Husband or

Wife)

This, to my mind, is the only strongly appealing
form in which adultery can be presented; otherwise is
it not a mere species of house-breaking, the less heroic
in that the Object of theft is an accomplice, and that
the household door, already thrown open by treach-
ery, requires not even a push of the shoulder? Whereas
this treachery becomes at least logical and endurable
in so far as it is a genuinely sincere folly, impassioned
enough to prefer assassination to dissimulation and a
base sharing of love.

A 1 The Slaying of a Husband by, or for, a
Paramour: The "Agamemnons" of Aeschylus, of
Seneca and of Allien; Webster's "Vittoria ( 'orombona;"
"Pierre Pascal;" "Les Emigrants" (Hirsch, L909);
"I/Impasse" Fread Amy, L909); "Partage de Midi"
Paul Claude] ; "Amour (Leon rlennique, 1890}; the
mning of the "Powers of Darkness." Historic

tnple, with pride and shame as motives for the crime:

the legend <>f Gyges and Candaules. From fiction: the

first part <>f "Therese Raquin."

J The Slaying of a Trusting I. over: "Samson
et Dalila" opera by Saint-Saens, L890 ,

B Slaying of a Wife for a Paramour, and in

Self-interest: Seneca's "Octavia" and also Alfieri's;
"La Lutte pour la Vie" by Daudei (in which cupidity

51

52 THIRTY-SIX DRAMATIC SITUATIONS

dominates adultery); "The Schism of Kngland" by
Calderon; "Zobeide" by Gozzi. Narrative example:
Bluebeard. Historic: the murder of Galeswinthe.

Hints for varying and modifying this situation:

The betrayed husband or wife may be either more or
less powerful, more or less sympathetic in character,
than the slayer. The blindness of the intended victim
may be more or less complete at various moments of
the action; if it be dispelled, partly or fully, it may be
by chance, by some imprudent act of the guilty ones,
by a warning, etc.

Between the victim and the intruder, ties of affec-
tion, of duty, of gratitude, may have previously existed;
ties very real to one or the other of the two. They
may be relatives; they may find themselves united
by some work or responsibility in common. The Victim,
whether he be pursued openly or secretly, will be, doubt-
less, the object of an old rancor, either on the part of
the consort or of the intruder; the origin of this rancor
may be in any one of the imaginable offenses by which
a human being is wounded in his family affections, his
loves, his ideals, etc., or in his pride of birth, of name,
of achievement; in his interests, (money, property,
power, freedom); in any one of the external radiations
of life.

Of the two adulterers, one may be but an instrument
impassioned or resigned, unconscious or involuntary
- of the other, and may later be rejected, the end being
attained; the blow may be struck by one of the two
traitors alone, or it may be that neither of them has
stained his own hands with the crime, which has been
committed by a new character, perhaps unintentionally,
or perhaps from love of one of the two Adulterers, who
has utilized and directed this passion, or has let it move
of its own accord toward the desired and criminal end.

A multitude of other characters will be, in varying
degrees, the means employed, the obstacles, secondary
victims, and accomplices in the sinister deed; the deed
itself may be brought about according to the author's
choice among the numberless circumstances which the

FIFTEENTH SITUATION 53

Law has foreseen, with divers details such as court
trials suggest .

If a more complicated action is desired, interweave
as Hennique has done) a rivalry of Kinsmen, an un-
natural love (see Euripides' Chrysippe), an ambitious
purpose and a conspiracy.

SIXTEENTH SITUATION

MADNESS
(Elements: Madman and Victim)

The origin of certain human actions lies hidden in
fearful mystery; a mystery wherein the ancients believed
they discerned the cruel smile of a god, and wherein
our scientists, like the Chinese philosophers believe,
they recognize the desires, prolonged and hereditary, of
an ancestor. A startling awakening it is for Reason,
when she finds on all sides her destiny strewn with
corpses or with dishonors, which the Other, the unknown,
has scattered at his pleasure. At this calamity, greater
than death, how our kindred must weep and tremble;
what terror and suspense must arise in their minds!
And the victims, whose cries are lost in the mute heavens;
the beloved ones pursued in unreasoning rage which they
cannot comprehend! What variations of the incon-
scient are here: folly, possession, divine blindness, hypno-
sis, intoxication, f orgetf ulness !

A (1) - Kinsmen Slain in Madness: - - "Athamas"
and the "Weavers of Nets" by Aeschylus; "Hercules
Furens" by Euripides and by Seneca; "Ion" by
Euripides.

(2) - - A Lover Slain in Madness: - - "La Fille Eliza,"
by Edmond de Goncourt; "La Tentation de Vivre"
(Louis Ernault). A lover on the point of slaying his
mistress in madness: Example from fiction: "La Bete
Humaine." Familiar instances: Jack the Ripper; the
Spaniard of Montmartre, etc.

(3) -- Slaying or Injuring of a Person not Hated:
- "Monsieur Bute" (Biollay, 1890). Destruction of a

work: "Hedda Gabler."

54

SIXTEENTH SITUATION 55

B — Disgrace Brought Upon Oneself Through
Madness: --Aeschylus' "Thracians;" Sophocles' "Ajax;"
to some extent "Saul" (Gide).

C - Loss of Loved Ones Brought About by Mad-
ness:— "Sakuntala" by Kalidasa, (form, amnesia).
The philtre of Hagen, in Wagner.

D - - Madness Brought on by Fear of Hereditary
Insanity: - "L'Etau" (Andre" Sardou, 1909).

The case of A (3), transferred to the past and treated
according to a quid-pro-quo process, is that of one of the
merriest comedies of the nineteenth century, "L' Affaire
de la rue de Lourcine" by Labiche.

Numberless examples of this Sixteenth Situation
have filled the disquieting pages of alienists' journals.
Mental diseases, manias of various types, offer power-
ful dramatic effects which have not yet been exploited.
These furnish, doubtless, but points of departure toward
the Situation whose real investiture takes place at the
moment of the hero's restoration to reason, -■- which
is to say, to suffering. But if it ever happens that these
three phases — the etiology of delirium, its access, and
the return to a normal condition - are treated with
equal strength and vigor, what an admirable work will
result!

The first of the three stages, which bears upon the
explanations of insanity, has been variously held to be
divine (by the Greeks), demoniac (by the Church), and,
in our own times, hereditary and pathological. Hypno-
tism has recently created another nuance; the hypnotist
here forms a substitute, -a sorry one it is true,- for
divinity or demon. Drunkenness furnishes us a nuance
unfamiliar to Greece; what is today more commonplace,
and at the same time more terrible, than the disclosure
of an important secret or the committing of a criminal
act, while under the influence of drink?

Is it necessary to say thai all ties, all interests, all
human desires, may he represented crossed and illumin-
ated by the lighl of dementia?

For the rest, this situation of Madness is far from
having been neglected in our theater. Shakespeare,
in his most personal dramas, has made use of insanity

56 THIRTY-SIX DRAMATIC SITUATIONS

in the leading roles. Lady Macbeth is a somnambu-
list and dies in hysteria, her husband is a victim of hal-
lucinations; the same may be said of Hamlet, who is
a lypemaniac besides; of Timon also; Othello is an
epileptic and King Lear completely deranged. It is on
this account that the great William is so dangerous a
model (Goethe would not read him more than once a
year). He has played, to some extent, the same role
as Michael-Angelo, - - he has exaggerated the springs of
action to the farthest limits of reality, beyond which
his disciples fall immediately into mere ridiculous
affectation.

On the other hand, if we except the pretext of study-
ing insanity in itself, which "Ajax" has furnished from
Astydamus to Ennius, and from Ennius to Emperor
Augustus, I find nothing "Shakespearean" in the drama
of antiquity except "Orestes." All other characters
are in the enjoyment of their senses, and do not thereby
become any less pathetic. "CEdipus" alone shows, in
default of abnormality in the hero's psychologic con-
stitution, external events of an extraordinary character
(a resource since so largely used by the Romanticists
of 1830 and later). But the rest of the antique dramatic
types are evolved in accordance with normal passions,
and under objective conditions relatively common.

SEVENTEENTH SITUATION
FATAL IMPRUDENCE

(The Imprudent; the Victim or the Object Lost)

To which are sometimes added "The Counsellor," a
person of widsom, who opposes the imprudence, "The
Instigator," wicked, selfish or thoughtless, and the
usual string of Witnesses, secondary Victims, Instru-
ments, etc.

A (1) - - Imprudence the Cause of Ones Own Mis-
fortune: -- Sophocles' "Eumele;" Euripides' "Phaeton"
(here the Counsellor is blended with the Instrumental
character, in which, bound by a too-hasty oath, he finds
himself in Situation XXIII, A (2), --obliged to sacrifice
a kinsman to keep a vow : "The Master Builder," by
Ibsen. From comedy: "L'Indiseret" See, L903).

(2) Imprudence the Cause of Ones Own Dis-
honor: "La Banque de I'Univers" (Grenet-Dancourt,
L886). From fiction: "L'Argent" by Zola. Historic:
Ferdinand de Lesseps.

B (1) Curiosity the Cause of Ones Own Misfor-
tune: - Aeschylus' "Semele." Historic examples (which
rise to the Twentieth Situation, "Sacrifices to I he [deal"):
the deaths of many scholars and scientists.

(2) Loss of the Possession of a loved One,

Through Curiosity: "Psyche" (borrowed from the
account which La Fontaine drew from Apuleius, himself
the debt of of Lucius of Patras, and dramatized by Cor-
neille, Moliere and Quinault ; "Esclarmonde" (Mas-
senet, L889). Legendary example: Orpheus bringing
hack Eurydice. This nuance tends toward Situations
XXXII and XXXIII. "Mistaken Jealousy" and "Judi-
cial Error."

...

58 THIRTY-SIX DRAMATIC SITUATIONS

C (1) - - Curiosity the Cause of Death or Misfor-
tune to Others: -- Goethe's "Pandora" and also Vol-
taire's; "The Wild Duck" by Ibsen. Legendary example:
Eve.

(2) - - Imprudence the Cause of a Relative's Death:
"La Mere Meurtriere de son Enfant" (a fourteenth-
century Miracle of Notre-Dame); "On ne Badine pas
avec 1' Amour" (de Musset); "Renee Mauperin," by the
Goncourts. Familiar instances: blunders in the care of
sick persons. "Louise Leclerq," by Verlaine. The
cause of another's misfortune: "Damaged Goods"
(Brieux, 1905).

(3) - - Imprudence the Cause of a Lover's Death:

- "Samson" by Voltaire; "La Belle aux Cheveux d'Or"
(Arnould, 1882).

(4) -- Credulity the Cause of Kinsmen's Deaths:

- "Pelias" by Sophocles and "The Peliades" by Euri-
pides. From fiction (credulity the cause of misfortune
to fellow-citizens): "Port-Tarascon."

Establish in each of the preceding sub-classes equiva-
lents to those cases which are presented in single instances
in one class only, and we have the following subjects:
— By Imprudence (meaning imprudence pure and simple,
unconnected with curiosity or credulity) to cause mis-
fortune to others; to lose possession of a loved one (lover,
wife or husband, friend, benefactor, protege, etc.); to
cause the death of a relative (any degree of kinship may
be chosen); to cause the death of a loved one. By
Curiosity (unmixed with imprudence or credulity) to
cause the dishonor of a relative (the various kinds of
dishonor are numerous enough, touching as they do
upon probity, upon courage, upon modesty, upon loy-
alty); to cause the dishonor of a loved one; to cause
ones own dishonor. To cause these dishonors by pure
Credulity (unmixed with imprudence or curiosity).
An examination of the Twelfth Situation will give us a
primary idea of the way in which Ruse may be used to
gain this credulity. By Credulity also to cause ones
own misfortune, or lose possession of a loved one, or
cause misfortune to others, or cause the death of a loved
one.

SEVENTEENTH SITUATION 59

Let us now pass to the causes which may precipitate

— as readily as curiosity, credulity, or pure impru-
dence — an overhanging catastrophe. These causes are:

— the infraction of a prohibition or law previously made
by a divinity; the deadly effect of the act upon him who
commits it (an effect due to causes perhaps mechanical,
perhaps biological, perhaps judicial, perhaps martial,
etc.); the deadly consequences of the act for the kindred
or the beloved of him who commits it; a sin previously
committed, consciously or unconsciously, and which
is about to be revealed and punished.

Besides curiosity and credulity, other motives may
determine the imprudence; in "The Trachiniae," for
instance, it is jealousy. The same role might be given
to any one of the passions, the emotions, the desires,
the needs, the tastes, the human weaknesses; --sleep,
hunger, muscular activity, gluttony, lust, coquetry,
childish simplicity. As to the final disaster, it may
assume many aspects, since it may fall in turn upon
physical, moral or social well-being, whether by tin-
destruction of happiness or honor, of property or power.

In the present situation, the Instigator, --who never-
theless is not essential, -- may become worthy of figur-
ing even as the protagonist ; such is the case of Medea
in "Pelias." This is perhaps the most favorable aspeel
in which the "villain" can be presented; imagine, for
instance, an Iago becoming the principal character of
a play (as Satan is of the world)! The difficulty will
be to find a sufficient motive for him; ambition, (partly
the case in Richard 111; is not always a convincing one,
because of its "a priori" way of proceeding; jealousy
and vengeance seem a i rifle sentimental tor this dem-
oniac figure; misanthropy is too philosophic and honor-
able; self-interest (the case of Pelias) is more appropri-
ate. But envy, - envy, which in the presence of friendly

solicitude feels hill the more keenly the sin;irl of its

wounds, envy studied in its dark and base endeavors,

in the shame of defeat, in its cowardice, and end
finally in crime, here, it seems to me, is the ideal
motive.

EIGHTEENTH SITUATION

INVOLUNTARY CRIMES OF LOVE

(The Lover; the Beloved; the Revealer)

This and the following situation stand out as the
most fantastic and improbable of all the silhouettes
upon our dramatic horizon. Nevertheless they are, in
themselves, quite admissible, and at least not rarer
today than they were in heroic times, through adultery
and prostitution, which never flourished more generally
than at present. It is merely the disclosure which is
less frequent. Yet many of us have seen certain mar-
riages, apparently suitable, planned and arranged, as
it were, by relatives or friends of the families, yet obsti-
nately opposed, avoided and broken off by the parents,
seemingly unreasonable, but in reality only too certain
of the consanguinity of the lovers. Such revelations,
then, still take place, although without their antique
and startling £clat, thanks to modern custom and our
prudent prudery.

Its reputation for fabulous monstrosity was in reality
attached to our Eighteenth Situation by the unequalled
celebrity of the theme of "CEdipus," which Sophocles
treated in a style almost romantic, and which his imi-
tators have ever since overloaded with fanciful arabesques,
more and more chimerical and extraordinary.

This situation and the following --as indeed to some
extent all thirty-six -- may be represented, as the author
chooses, in one of two lights. In the first, the fatal
error is revealed, simultaneously to the spectator and
to the character, only after it is irreparable, as in Class
A; and here the state of mind strongly recalls the Six-
teenth. In the second, the spectator, informed of the

60

EIGHTEENTH SITUATION 61

truth, sees the character walk unconsciously toward the
crime, as though in a sinister sort of blindman's-bufT,
as in Classes B, C and D.

A (1) - - Discovery That One Has Married Ones
Mother:- The "GEdipus" of Aeschylus, of Sophocles,
of Seneca, of Anguillara, of Corneille, of Voltaire, not
to speak of those of Achaeus, Philocles, Melitus,
Xenocles, Nicomachus, Carcinus, Diogenes, Theodecte,
Julius Caesar; nor of those of Jean Provost, Nicolas de
Sainte-Marthe, Lamothe, Ducis, J. Chenier, etc. The
greatest praise of Sophocles consists in the astonish-
ment we feel that neither the many imitations, nor
the too well-known legend of the abandonment on
Cithaeron, nor the old familiar myth of the Sphinx,
nor the difference in the ages of the wedded pair, that
none of these things has made his work appear un-
natural or unconvincing.

(2) - Discovery That One Has Had a Sister as Mis-
tress: Tasso's "Torrismond; rhe Bride of Messina"

by Schiller. This case, obviously a more frequenl one.
becomes unconvincing in the latter drama, when com-
bined with the Nineteenth Situation. Example from
fiction: "L'Enfant Naturel," by Sue

B (1) Discovery That One Has Married Ones
Sister: - "Le Mariage d' Andre*' (Lemaire and de
Rouvre, 1882). This being a comedy, the error is dis-
covered in time to be remedied, and the play "ends
happily." "Abufar" by Ducis, which also falls under
;i preceding classification.

(2) The Same Case, in Which the Crime Has
Been Villainously Planned by a Third Person:

"Heraclius" i his gives, despite its genius, nil her the

feeling of a nightmare than of ,-i terrible reality ,

:; Being Upon the Point of Taking a Sister,

I nknowingly, as Mistress: Ibsen's "Ghosts." The
mother, ;i knowing witness, hesitates to reveal the dan-
ger, l'»r fear <»f subjecting the son to ;i fatal shock.

C Being l pon the Point of Violating, Un-
knowingly, a Daughter: Partial example: "I, a Dame
:<\r< | )ommo Rose" Bouvier, L882 .

THIRTY-SIX DRAMATIC SITUATIONS

D (1) Being Upon the Point of Committing an
Adultery Unknowingly (the only cases I have found in
all drama): --"Le Roi Cerf" and "L'Amour des Trois
Oranges," both by Gozzi.

(2) - Adultery Committed Unknowingly: — Prob-
ably the "Alcmene" of Aeschylus; "Le Bon Roi Dago-
bert" (Rivoire, 1908). From fiction: the end of "The
Titan," by Jean-Paul Richter.

The various modifications of incest and other for-
bidden loves, which will be found in Situation XXVI,
may be adapted in the same manner as those here
classified.

We have seen above instances of adultery committed
through a mistake on the part of the wife; it might also
be through a mistake by the husband. This error is
especially likely to be made by that one of the two
adulterers who is unmarried; what is more common,
for example, in the life of "pleasure," than to discover
- a little tardily - - that ones mistress is a married
woman?

Ignorance of the sex of the beloved is the point upon
which "Mademoiselle de Maupin" turns; there is in the
first place a mistake (comedy), upon which are built
the obsidional struggles of a soul (tragi-comedy), from
which there finally results, when the truth is disclosed
a brief tragic denouement.

NINETEENTH SITUATION
SLAYING OF A KINSMAN UNRECOGNIZED

(The Slayer; the Unrecognized Victim)

Whereas the Eighteenth Situation attains its highest
degree of emotion after the accomplishment of the act,
(doubtless because all the persons concerned in it survive,
and the horror of it lies chiefly in the consequences), the
Nineteenth, on the contrary, in which a victim is to perish
and in which the interest increases by reason of the blind
premeditation, becomes more pathetic in the preparations
for the crime than in the results. This permits a happy
ending, without the necessity of recourse, as in the Eigh-
teenth, to a comedy-process of error. A simple recogni-
tion of one character by another will suffice, --of which
our Situation XIX is, in effect, but a development.

A (1) Being Upon the Point of Slaying a Daugh-
ter Unknowingly, by Command of a Divinity or an
Oracle: -- Metastasio's "Demophon." The ignorance
of the kinship springs from a substitution of infants; the
interpretation of the oracle's words is erroneous; the
"jeune premiere," at one point in the action, believes
herself the Bister of her fiance. This linking of three or
four mistakes 'unknown kinship, in the special lighl of the
situation we are now studying, a supposed danger of incest ,
as in B 2 of the preceding, and finally a misleading ambig-
uity of words, as in the majority of comedies) suffices to
constitute what is called "stirring'' action, characteristic
of the intrigues brought back into vogue by the Second
Empire, and over whose intricate entanglements our
chroniclers waxed so naively enthusiastic.

68

64 THIRTY-SIX DRAMATIC SITUATIONS

(2) - Through Political Necessity: - "Les Guebrcs
and "Lcs Lois de Minos" by Voltaire.

(3) - Through a Rivalry in Love: -"La Petite
Mionne" (Richebourg, 1890).

(4) - Through Hatred of the Lover of the Unrec-
ognized Daughter: - "LeRoi s'amuse" (in which the
discovery takes place after the slaying).

B (1) Being Upon the Point of Killing a Son
Unknowingly: The "Telephus" of Aeschylus and of
Sophocles (with incest as the alternative of this crime);
Euripides' "Cresphontes;" the "Meropes" of Maffei, of
Voltaire and of Alfleri; Sophocles' "Creusa;" Euripides'
"Ion." In Metastasio's "Olympiad" this subject is
complicated by a "Rivalry of Friends." A Son Slain
Without Being Recognized :-- Partial example: the
third act of "Lucrece Borgia;" "The 24th of February,"
by Werner.

(2)- The Same Case as B (1), Strengthened by
Machiavellian Instigations: - Sophocles' "Euryale;"
Euripides' ".Egeus."

(3)- The Same Case as B (2), Intermixed With
Hatred of Kinsmen (that of grandfather for grandson) :
— Metastasio's "Cyrus."

C Being Upon the Point of Slaying a Brother
Unknowingly: (1) Brothers Slaying in Anger: -

The "Alexanders" of Sophocles and of Euripides. (2) —
A Sister Slaying Through Professional Duty: - - "The
Priestesses" of Aeschylus; "Iphigenia in Tauris," by
Euripides and by Goethe, and that projected by Racine.
D-~ Slaying of a Mother Unrecognized: - Vol-
taire's "Semiramis;" a partial example: the denouement
of "Lucrece Borgia."

E - A Father Slain Unknowingly, Through Mach-
iavellian Advice: (see XVII): -- Sophocles' "Pelias" and
Euripides' "Peliades;" Voltaire's "Mahomet" (in which
the hero is also upon the point of marrying his sister
unknowingly). The Simple Slaying of a Father
Unrecognized: -- Legendary example: Laius. From
romance: "The Legend of Saint Julian the Hospitaller."

NINETEENTH SITUATION 65

The Same Case Reduced From Murder to Simple
Insult: - - "Le Pain d'Autrui" (after Turgenieff, by Eph-
raim and Schutz, 1890). Being Upon the Point of Slay-
ing a Father Unknowingly: - "Israel" (Bernstein,
1908).

F (1) - - A Grandfather Slain Unknowingly, in
Vengeance and Through Instigation:- "Les Bur-
graves" (Hugoi.

(2) - - Slain Involuntarily: -- Aeschylus' "Polydec-
tes."

(3) - - A Father-in-Law Killed Involuntarily: —
Sophocles' "Amphitryon."

G (1) Involuntary Killing of a Loved Woman:

-Sophocles' "Procris." Epic example: Tancred and
Clorinda, in "Jerusalem Delivered." legendary example
(with change of the sex of the person loved): Hyacinthus.

(2) Being Upon the Point of Killing a Lover
Unrecognized: "The Blue Monster" by Gozzi.

(3) Failure to Rescue an Unrecognized Son:

"Saint Alexis" (a XIV Century Miracle of Notre-Dame;)
"La Voix du Sang" (Rachilde).

Remarkable is the liking of Hugo (and consequently
of his imitators) for this somewhat rare situation. Each
of the ten dramas of the old Romanticisl contains it; in
two of them, "Hernani" and "Torquemada," it is in a
manner accessory to the Seventeenth (Imprudence) fatal
to the hero also: in four ("Marion Delorme," "Angelo."
"La Esmeralda," "Ruy Bias") this case of involuntary in-
jury to a loved one supplies all the action and furnishes
the best episodes; in four others i "Le Roi s'amuse," "Marie
Tudor," "LuenVe Borgia," "Les Burgraves") it serves
furthermore as denouement . It would seem, indeed, that
drama, for Hugo, consists in this: the causing, directly or
indirectly, of the death of ;i loved one; and, in the work
wherein he has accumulated the greatesl number of the-
atrical effects in "Lucrece Borgia" we see the same
situation returning no less than five times. Near the first
part of Act I, Gennaro permits his unrecognized mother
to be insulted; in the second part, he himself insulta her.

66 THIRTY-SIX DRAMATIC SITUATIONS

not knowing her for his mother; in Act II she demands,
and is granted, the death of her unrecognized son, then
finds she has no recourse but to kill him herself, then is
again insulted by him; finally, in Act III, she poisons him,
and, still unknown, is insulted, threatened and slain by
him.

Be it noted that Shakespeare has not in a single instance
employed this Nineteenth Situation, an altogether acci-
dental one, having no bearing upon his powerful studies
of the will.

TWENTIETH SITUATION

SELF-SACRIFICING FOR AN IDEAL

(The Hero; the Ideal; the "Creditor" or the Person or

Thing Sacrificed I

The four themes of Immolation, of which this is the
first, bring before us three corteges :-- Gods (XX and
XXIII), Kindred (XXI and XXIII), and Desires (XXII).
The field of conflict is no longer the visible world, but the
Soul.

Of these four subjects, none is nobler than this of our
Twentieth Situation, - all for an ideal! What the ideal
may be, whether political or religious, whether it be called
Honor or Piety, is of little importance. It exacts the
sacrifice of all tics, of interest, passion, life itself, far
better, however, under one of the three following forms,
if it be tarnished with the slightest, even although the
most sublime, egoism.

A (1) Sacrifice of Life for the Sake of Ones
Word: -The "Regulus" of Pradon and also of Metas-
io; the end of 'Hernani" Carthage and Don Ruy
(iomez are the "Creditors"). Is it not surprising that
a greater number of examples do not at once present
themselves to us'.' This fatality, the work of the victim
himself, and in which the victory is won over Self, is it
n< >t worthy to illuminate the stage with its sacrificial
flames? There is, nevertheless, no necessity for choosing
a hero of an almot I too-perfed type, such as Regulus.

(2) Life Sacrificed for t he SlICCeM of Ones People:

"The Waiting-Women" bj \< chylu ; "Protesilas'1 by
Euripides; "Themistocles" by Meta Partial ezam-

68 THIRTY-SIX DRAMATIC SITUATIONS

pies: "Iphigenia in Aulis," by Euripides and by Racine.
Historic examples: Cordus; Curtius; Latour d'Auvergne.
For the Happiness of Ones People: - The "Suffering
Christ" of St. Gregory Nazianzen.

(3)- Life Sacrificed in Filial Piety: --"The Phoe-
nician Women" by Aeschylus; the "Antigones" of Soph-
ocles and Euripides; of Alamanni and Alfieri.

(4) - Life Sacrificed for the Sake of Ones Faith: -
"The Miracle of St. Ignace of Antioch" (XIV Century;)
"Vive le Roi" (Han Rymer, 1911;) "Cesar Birotteau"
(Fabre, after Balzac, 1911); "The Constant Prince" by
Calderon; "Luther" by Werner. Familiar instances:
all martyrs, whether to religion or science. In fiction:
"L'CEuvre" by Zola. For the Sake of Ones King:
"L'Enfant du Temple" (de Pohles).

B (1) - - Both Love and Life Sacrificed for Ones
Faith: - "Polyeucte." In fiction "L' Evangel iste") sac-
rifice of family and future for ones faith).

(2) --Both Love and Life Sacrificed to a Cause: -
"Les Fils de Jahel" (Mme. Armand, 1886).

(3) - Love Sacrificed to Interests of State: - This
is the favorite motif of Corneille, as in "Othon," "Sertor-
ius," "Sophonisbe," "Pulcherie," "Tite et Berenice." Add
to these the "Berenice" of Racine and the "Sophonisbe"
of Trissino, that of Alfieri and that of Mairet; Metastasio's
"Achilles in Scyro" and his "Dido;" Berlioz' "Troyons"
(the best tragedy of his century;) "L'Imperatrice" (Men-
des). The "Creditor" in this sub-class, remaining abstract,
is easily confounded with the Ideal and the Hero; the
"Persons Sacrificed," on the contrary, become visible;
these are Plautine, Viriate, Syphax and Massinisse, Bere-
nice, D&damie. In comedy: "S. A. R." (Chancel, 1908).

C - Sacrifice of Weil-Being to Duty: "Resurrec-
tion" by Tolstoi; "L'Apprentie" (Geffroy, 1908).

D - The Ideal of "Honor" Sacrificed to the Ideal
of "Faith;" - Two powerful examples, which for secon-
dary reasons did not attain success (because the public
ear was incapable of perceiving a harmony pitched so
high in the scale of sentiment): "Theodore" by Corneille
and "The Virgin Martyr" by Massinger. Partial exam-
ple: the good hermit Abraham in Hroswitha.

TWENTY-FIRST SITUATION

SELF-SACRIFICE FOR KINDRED

(The Hero; the Kinsman; the "Creditor" or
the Person or Thing Sacrificed

A (1) - - Life Sacrificed for that of a Relative or a
Loved One: - The "Alcestes" of Sophocles, of Euripides,
of Buchanan, of Hardy, of Racine (projected,) of Quinault,
of I^agrange-Chancel, of Boissy, of Coypel, of Saint-Foix,
of Dorat, of Cluck, of H. Lucas, of Vauzelles, etc.

(2) Life Sacrificed for the Happiness of a Relative
or a Loved One: "L'Ancien" by Richepin. Two sym-
metrical works are "Smilis" Aicard. L884), in which the
husband sacrifices himself, and "Le Divorce de Sarah
Moore" (Rozier, Paton and Dumas fils), in which the wife
sacrifices herself. Examples from fiction and analogous
to these two dramas are "Greal Expectations" by Dickens
and "La Joie de VTvre" by Zola. Common examples:
workmen in dangerous occupations.

B (1) - Ambition Sacrificed tor (be Happiness of a
Parent: "Les FYeres Zemganno" by Edmond de (inn-
court. This ends with a d£nouemen1 the opposite of
thai of "L'CEuvre."

2 \mbition Sacrificed tor (be Life of a Parent :

"Madame de Maintenon" Copp£e, L881).

C 1 Love Sacrificed for (lie Sake of a Parent's

I. iff : "1 >iane" 1> jjier; "Mi 1 1 j re" I tennery, I S

2 lor (be Happiness of Ones Child: I •

Reveil" Hervieu, L905 ; "La lie itive" Picard, l'.M l
for die Happiness of a Loved One: "Cyrano <\>' Ber
i ■' ' b Rostand; "1 .•■ I h"oil au I lonheur" I '. I <emon-

nier, l!»<»'i

69

TO THIRTY-SIX DRAMATIC SITUATIONS

(3) - The Same Sacrifice as 2, But Caused by
Unjust Laws: - "La Loi de l'Homme" by Hervieu.

D (1) -Life and Honor Sacrificed for the Life of
a Parent or Loved One: "Le Petit Jacques." Case
in which the loved one is guilty: "La Charbonniere" (Cre-
mieux, 1884); "Le Frere d'Armes" (Garaud, 1887); "Le
Chien de Garde" (Richepin, 1889). The Same Sacrifice
Made for the Honor of a Loved One: "Pierre Vaux"
(Jonathan, 1882). A similar sacrifice, but of reputation
only: "La Cornette" (Mile, and M. Ferrier, 1909).

(2) - - Modesty Sacrificed for the Life of a Relative
or a Loved One: -Shakespeare's "Measure for Meas-
ure;" Euripides' "Andromache" and also Racine's; "Per-
tharite" by Corneille; "La Tosca" (Sardou, 1889). In
fiction: "Le Huron" by Voltaire.

TWENTY-SECOND SITUATION

ALL SACRIFICED FOR A PASSION

(The Lover; the Object of the Fatal Passion;
the Person or Thing Sacrificed i

A (1) - - Religious Vows of Chastity Broken for a
Passion:- "Jocelyn" by Godard. From fiction: "La
Faute de TAbbe Mouret." In comedy: "Dhourtta
Narttaka."

(2)--A Vow of Purity Broken :-- "Tannhauser."
Respect for a Priest Destroyed: -One aspect of "La
Conquete de Plassans."

(3) -A Future Ruined by a Passion: - "Manon"
by Massenet; "Sapho" by Daudel : "La Griffe" | Bernstein,
L906); the works of Louys in general.

(4) Power Ruined by Passion: Shakespeare's
"Antony and Cleopatra;" "Cleopatre" by Sardou.

Ruin of Mind, Health and Life: la Glu"

(Richepin, 1883); "L'Arlesienne" (Daudel and Bizel ;
"La Furie" (Bois, L909). From fiction see C): "Le
Possecl£" by Lemonnier. Passion Gratified at the Price
of Life: "Lne Xuii de Cleopatre" (Gautierand Masse).

5 Ruin of fortunes, Lives ami Honors:

"Nana;" in pari "La Route d'Emeraude" Richepin, after
Demolder, L909 .

B Temptations see XII Destroying the Sense

of Duty, of Pity, etc: "Salome*" Oscar Wild.
From fiction: "Herodias," and the attempts (repulsed) in
"The Temptation of Saint Anthony."

C 1 Destruction of Honor, Fortune and Life,

by Erotic Vice: "Germinie Lacerteux" l»y de Gon-

. i

72 THIRTY-SIX DRAMATIC SITUATIONS

court; "Rolande" (Gramont, 1888); "Maman Colibri"
(Bataille, 1904). From fiction: La Cousine Bette;"
"I^ Capitaine Burle."

(2) - The Same Effect Produced by Any Other
Vice: - - "Trente Ans ou la Vie d'un Joueur;" "L'Assom-
moir." From fiction "L'Opium" by Bonnetain; "Lelie"
by Willy. In real life: our race-courses, our wine-shops,
our cafes, our clubs, etc. In comedy: "Un Ange"
(Capus, 1909).

Few situations, obviously, have received better and
more constant treatment during our own century — to
whose vices the Twenty-Second offers, in truth, a most
appropriate mirror, in its amalgam of gloom and eroticism,
at the same time presenting the most interesting studies
of nervous pathology.

TWENTY-THIRD SITUATION
NECESSITY OF SACRIFICING LOVED ONES

(The Hero; the Beloved Victim; the Necessity for

the Sacrifice)

Although similar to the three situations we have just
considered, the Twenty-Third recalls, in one of its aspects,
that destruction of natural affection which marked the
Thirteenth, "Hatred of Kinsmen." The feelings which
we here encounter in the protagonist are, it is true, of a
nature altogether different. But through the intrusion
of the element of Necessity, the end toward which he must
proceed is precisely the same.

A (1) - - Necessity for Sacrificing a Daughter in the
Public Interest: - "The Iphigenias" of Aeschylus and
of Sophocles; "Iphigenia in Aulis," by Euripides and by
Racine; "Erechtheus" by Euripides

(2) Duty of Sacrificing Her in Fulfillment of a
Vow to God: The "Idomenees" of Crebillon, Lemierre,
and Cienfuegos; the "Jephthes" of Buchanan and of
Boyer. This nuance tends al fust toward Situation
XVII, "Imprudence," but the psychologic struggles soon
give it a very different turn.

:; Duty of Sacrificing Benefactors or Loved
Ones to Ones Faith: "Torquemada:" "Ninety-Three:"
"I>es Mouettes" Paul Adam, L906);"La Fille aGuillotin"
(Fleischmann, L910). Historic instances; Philip [I; Abra-
ham and Isaac

B I Duty of Sacrificing Ones Child, Unknown

to Others, Under the Pressure of Necessity: Euripi-
des' "Melanippe;" "Lucrece Borgia," II, 5

7:t

74 THIRTY-SIX DRAMATIC SITUATIONS

(2) - - Duty of Sacrificing, Under the Same Circum-
stances, Ones Father: The "Hypsipyles" of Aeschy-
lus, and of Metastasio; "The Lemnian Women" by
Sophocles.

(3) Duty of Sacrificing, Under the Same Circum-
stances, Ones Husband:- The "Danaides" of Phryn-
ichus, of Aeschylus, of Gombaud, of Salieri, of Spontini;
the "Lynceus" of Theodectes and of Abeille; the Hyperm-
nestres" of Metastasio, Riupeiroux, Lemierre, etc.

1 - Duty of Sacrificing a Son-In-Law for the
Public Good: - - "Un Patriote" (Dartois, 1881). For
the Sake of Reputation: - "Guibor" (a XIV Century
Miracle of Notre-Dame).

(5) - Duty of Contending with a Brother-In-Law
for the Public Good: - - Corneille's "Horace," and that
of Ar&in. The loyalty and affection subsisting between
the adversaries remove all resemblance to the Thirtieth.

(6) - Duty of Contending With a Friend: - "Jar-
nac" (Hennique and Gravier, 1909).

Nuance B, (B 1 for example), lends itself to a fine inter-
lacing of motifs. Melanippe finds herself (1st) forced to
slay her son, an order which she would have resisted at the
risk of her own life, but she is at the same time (2nd)
obliged to conceal her interest in the child, for fear of
revealing his identity and thereby causing his certain
death. Similar dilemmas may be evolved with equal
success in all cases in which a character receives an injunc-
tion which he is unwilling to obey; it will suffice to let him
fall, by his refusal, into a second situation leading to a
result equally repugnant or, better yet, identical. This
dilemma of action is again found in what is called black-
mail; we have also seen its cruel alternatives outlined in
Class D of Situation XX ("Theodore," "The Virgin Mar-
tyr," etc.), and clearly manifested in Class D (especially
D 2) of Situation XXII ("Measure for Measure," "Le
Huron," etc.) but it is there presented most crudely, by a
single character or event, of a nature tyrannical and odious.
Whereas in "Melanippe" it results so logically and piti-
lessly from the action that it does not occur to us to rebel
against it; we accept it without question, so natural does
it appear, so overwhelming.

TWENTY-THIRD SITUATION 75

Before leaving these four symmetrical situations, I
would suggest a way of disposing their elements with a
view to seeking states of mind and soul less familiar. We
have just seen these forces marshalled : - Passion (vice,
etc.) ; pure affection (for parents, friends, benefactors, and
particularly devotion to their honor, their happiness, their
interests) ; reasons of state (the success of a compatriot, of
a cause, of a work) ; egoism (will to live, cupidity, ambition,
avarice, vanity); honor (truthfulness, feminine chastity,
promises to God, filial piety). Oppose these to each other,
two by two, and study the ensuing conflicts.

The first cases produced will be those already cited.
Here follow other and newer ones: - a passion or vice
destroying interests of state (for in "Antony and Cleo-
patra" it is only the royal pomp of the two lovers which is
impressive; one does not reflect upon the peril of their
peoples); egoism (in the form of ambition, for example)
struggling with faith in the soul of man, a frequent case
in religious wars; egoism in this ambitious guise overcom-
ing natural affection (the plotter denying or sacrificing his
father, mother or friend offers a fine study); a conflict
between personal honor and reasons of stale (Judith in the
arms of Holof ernes; Bismarck falsifying the despatch of
his master). Then oppose the various nuances to each
oilier (the hero torn between his faith and the honor of his
people, and so on). Subjects will spring up in myriads.
Special notice -the neo-classic tragedy having proved
itself dead, - to psychological lid ion. its legatee).

TWENTY-FOURTH SITUATION

RIVALRY OF SUPERIOR AND INFERIOR

(The Superior Rival; the Inferior Rival; the Object)

I would have preferred to make of this and the following
(Adultery) a single situation. The difference lies in a
contract or a ceremony, of variable importance according
to the milieu, and which in any case does not materially
change the dramatic emotions springing from the love
contest; even this difference becomes quite imperceptible
in polygamous societies (Hindu drama). Thus I would
rather have created but one independent situation, of
which the other should be a nuance. But I fear I should
be accused of purposely compressing modern works into
the smallest possible number of categories, for the two
which we are now to analyze contain the major part of
them.

We have already remarked that between "Hatred of
Kinsmen" and "Rivalry of Kinsmen" the sole difference
lies in the fact that in the latter there is embodied in
human form the Object of dispute, the "casus belli." For
the same reason we may bring together the situations
"Rivalry of Superior and Inferior," "Adultery," and even
"Murderous Adultery," and distinguish them from all the
situations which portray struggle pure and simple (V,
VII, VIII, IX, X, XI, XXX, XXXI). However, the
beloved Object will more naturally appear in the present
cases of sentimental rivalry than she could in the "Rivalry
of Kinsmen," and nowhere does a more favorable oppor-
tunity present itself to the dramatic poet for portraying
his ideals of love.

These cases are divided first according to sexes, then
according to the degrees of difference in the rank of the
rivals.

76

TWENTY-FOURTH SITUATION 77

A — Masculine Rivalries (1) — Of a Mortal and an
Immortal : "Mrigancalckha" by Yiswanatha; "Heaven
and Earth" by Byron; "Polypheme" (Samain). Of Two
Divinities of Unequal Power: "Pandore" by Vol-
taire.

(2) - Of a Magician and an Ordinary Man:-
"Tanis et Zelide," by Voltaire.

(3) - - Of Conqueror and Conquered: - - "Malati and
Madhava" by Bhavabuti; "Le Tribut de Zamora"
(Gounod, 1881); "LeSais" (Mme. Ollognier, 1881). Of
Victor and Vanquished: -Voltaire's "Alzire." Of a
Master and a Banished Man: - "Appius and Virginia"
by Webster; "Hernani" and "Mangeront-Ils?" by Hugo;
"Dante" (Godard, 1890). Of Usurper and Subject: -
"Le Triumvirat" by Voltaire.

(4) -Of Suzerain King and Vassal Kings: - Cor-
neille's "Attila."

(5) - - Of a King and a Noble: - "The Earthen Toy-
Cart" by Sudraka; "The Mill" and "Nina de Plata" by
Lope; "Ag&silas and Surena" bv Corneille; "Demetrius" by
Metastasio; "Le Fils de Porthos" (Blavet 1886).

(6) Of a Powerful Person and an Upstart:
"Don Sanche" by Corneille; "La Marjolaine" (Richepin
fils. 1907).

(7)- Of Rich and Poor: "La Question d'Argent"
by Dumas; "La Nuit de Saint -.lean" i Erckmann-Chatrian
and Lacome); "En Greve" (Hirseh, 1885); "Surcouf"
(Planquette, 1887); "L' Attentat." (Capus and Descaves,
1906) "La Barricade" (Bourget, l910);"La Petite Milliar-
daire" (Dumay and Forest, L905). In fiction: pari of
"Toilers of the Sea." Relative inequality: "Mon Ami
Teddy" (Rivoire and Besnard, L910 .

(8) of an Honored Man and a Suspected One:
"I/Obstacle" (Daudet, L890); "Le Drapeau" (Moreau,
1879); "Devanl I'Ennemi" (Charton, L890); ".lack Tem-
pgte" (Elzear, L882); "La Bucheronne" (C. Edmond,
1889). In comedy: "Le Manage de Mile. Boulemans"
Fonson and Wicheler, L9U .

9 Rivalry of Two who Are Almost Equal:
"Dhourtta Samagana," the rivals here being master and
disciple, as is also the case in "Maitres Chanteurs," but

7s THIRTY-SIX DRAMATIC SITUATIONS

not in "Glatigny" (Mendes, 1906), nor in "Bohemos"
Zamacois, 1907).

(10) - Rivalry of Equals, One of Whom Has in the
Past Been Guilty of Adultery: -- "Chevalerie Rusti-
que" (Verga, 1888).

(11) - Of a Man Who is Loved and One Who Has
Not the Right to Love: -- "La Esmeralda."

(12) -Of the Two Successive Husbands of a
Divorcee - - "Le Dedale" (Hervieu, 1903). By multiply-
ing the number of husbands good comic effects might be
secured.

B - Feminine Rivalries, (1) - - Of a Sorceress and
an Ordinary Woman: "La Conquete de la Toison
d'Or" by Corneille: "La Sorciere" (Sardou, 1903).

(2) --Of Victor and Prisoner: -"Le Comte d'
Essex" by Thomas Corneille; the "Marie Stuart" of
Schiller and also of Samson.

(3) - - Of Queen and Subject: - - "Marie Tudor" and
"Amy Robsart" by Hugo; "Le Cor Fleuri" (Mikhael
and Herold); "Varennes" (Lenotre and Lavedan, 1904).
The title of this sub-class is, it will be remembered, the
only one cited of the so-called "Twenty-Four Situations"
of Gerard de Nerval; we might indeed include under this
denomination the examples of B 1, 2 and 4. But at most
it can constitute only a half of one of the four classes of
"Rivalry of Superior and Inferior," which itself has but
the importance of one situation in a series of thirty-six.

(4) --Of a Queen and a Slave: - - "Bajazet" by
Racine; "Zulime;" part of "Une Nuit de Cteopatre" (from
Gautier, by V. Masse, 1885).

(5) -Of Lady and Servant: -- "The Gardener's
Dog" by Lope de Vega (wherein may be found what is
perhaps the most successful of the many attempted por-
traits of an amoroiLs "grande dame").

(6) - - Of a Lady and a Woman of Humbler Posi-
tion: -- "Francois-les-bas-bleus" (Messager, 1883); "Le
Friquet" (Willy and Gyp, 1904); "Petite Hollande" (S.
Guitry, 1908); "L'Ane de Buridan" (de Fleurs and de
Caillavet, 1909); "Trains de Luxe" (Hermant, 1909).
Of a Lady and Two Women of Humbler Class: —
"Les Passageres" (Coolus, 1906).

TWENTY-FOURTH SITUATION 79

(7) Rivalry of Two Who Are Almost Equals,
Complicated by the Abandoment of One (this tends
toward A (1) of Situation XXV): -- Corneille's "Ari-
ane;" "Benvenuto" (Diaz, 1890). In fiction: "La Joie
de Vivre."

(8) - Rivalry Between a Memory or an Ideal (That
of a Superior Woman) and a Vassal of Her Own: -
"Semiramide Riconosciuta" by Metastasio; "Madame
laMort"byRachilde (in which the field of struggle is sub-
jective); "La Morte" by Barlatier; "L'Image" by Beau-
bourg. Symmetrical case in the masculine: "The Lady
from the Sea," by Ibsen.

(9) - Rivalry of Mortal and Immortal: -"La
Dame a la Faulx" (Saint-Pol Roux).

C - Double Rivalry (A loves B, who loves C, who
loves D): - - Metastasio's "Adrien;" Lessing's "Emilia
Galotti;" "La Fermiere" (d'Artois, 1889); "Ascanio"
(Saint-Saens, 1890); "Les Deux Homines" (Capus, 1908);
"Le Circuit" (Feydeau and de Croissel . L909); "L' Article
301" (Duval, 1909). It is permissible to extend the rivalry
to three, four, etc., which will make it less commonplace,
but will not greatly vary the effects, although sometimes
the chain will end in a complete circle (that is to say, D
will love A), or a partial one (D returning the love of ( ' .

D Oriental Rivalries: We are beginning to take
account of the fact that the divorce law was obtained
chiefly through the efforts of our dramatic writers, less
because they were convinced of its righteousness than
because they fell the need of a renewal and increase of
their limited combinations. They might, indeed, have
breathed a fresher and purer air by turning toward Hindu
polygamy! Goethe, Theophile Gautier who foresaw the
decadence of woman through the extension and increase
of vice), Maurice Barres "l/Knnemi des Lois" seem to
have felt something of the sort. We could wish that the
misunderstandings of the modem home, in winch archaic
fidelity and genuine monogamy have almost ceased to
exist, on one side especially, might be settled with a
modicum of this spirit of tolerance.

dj Rivalry of Two Immortals: "The Loves of
Krishna" by Roupa.

80 THIRTY-SIX DRAMATIC SITUATIONS

(2) - Of Two Mortals: - - "Agnimitra and Malavika,"
by Kalidasa.

(3) Of Two Lawful Wives: - "The Necklace," by

Sri Harshadeva; "The Statue" by Rajasekhara.

To the relative rank of the two rivals there is added,
as a means of varying the theme, the position, with
respect to them, of the beloved Object. The aspects of
the struggle will depend, in fact, upon how near the prize
may be to one of the adversaries, or how distant; upon
whether the Object be of a rank inferior to both rivals,
or midway between the two, or even superior to both.

TWENTY-FIFTH SITUATION

ADULTERY
(A Deceived Husband or Wife; Two Adulterers)

Without deserving to constitute a situation of itself
alone, Adultery yet presents an interesting aspect of Theft
(action from without) combined with Treason (action
within ). Schiller, following the example of Lope, was
pleased to idealize brigandage; Hugo and the elder Dumas
undertook for adultery a similar paradox; and, developing
the process of antithesis by which were created "Triboulet"
and "Lucrece Borgia," they succeeded, once for all
and quite legitimately. The folly lies in the belief of the
unthinking crowd in the excellence of the subject thus
presented; in the public's admiration for the "Antonys"
- but the public has ended by preferring the moving
pictures to them.

First Case: - The author portrays the Adulterer, the
stranger in the house, as much more agreeable, hand-
somer, more loving, bolder or stronger than the deceived
husband . . . Whatever arabesques may cover the
simple and fundamental fad of Larceny, whatever com-
plaisance may be shown by a tired public, there remains
nevertheless, beneath it all, a basis of granite the old-
fashioned conscience; to it , I he thing which is here vaunted
is simply 1 he breach of t he Word of Honor of a cont ract
that word, that promise which was obeyed by the Homeric
gods and by the knights of Chivalry no less than by our-
selves; that base of every social agglomeration; that which
savages and which convicts resped between themselves;
thai primary source of order in the world of action and of
thought. The spectators' attention may of course be

-I

82 THIRTY-SIX DRAMATIC SITUATIONS

momentarily turned from a point of view so strict, and
quite naturally; through the heresies of the imagination
almost anything may evoke a laugh. Do we not laugh
heartily at the sight of a fat man tumbling ridiculously
down a flight of steps, at the bottom of which he may
break his neck? Anything, likewise may evoke our pity;
we have pity for the perjuries of the gambler and the
drunkard, but it is mingled with contempt. Now, is it
this sort of sad contempt which our dramatists wish to
claim for their attractive young adulterers, as the reward
of so much care and effort? If not, the effort has been a
mistaken one.

Second Case : - - The Adulterer is represented as less
attractive and sympathetic than the unappreciated hus-
band. This forms the sort of play known as "whole-
some," which as a matter of fact is merely tiresome. A
man whose pocket-book has been stolen does not on that
account grow greater in our eyes, and when the informa-
tion which he is in a position to furnish us is once obtained,
our attention is turned from him and directed toward the
thief. But if the latter, already far from heroic in his
exploit, is in turn portrayed as still less interesting than
his dupe, he merely disgusts us - - and the adulterous wife
appears but a fool to have preferred him. Then (with that
childishness which most of us retain beneath our sophisti-
cation), scenting a foregone conclusion in the lesson which
the author intends for us, and suspecting falsehood at the
bottom of it, we grimace with irritation, disappointed to
perceive, behind the story presented for our entertain-
ment, the vinegarish smile of the school-teacher.

Third Case: - The deceived Husband or Wife is
Avenged. Here, at last, something happens! But this
vengeance, unfortunately, is merely one of the cases of
the Third Situation.

Thus we shall not succeed with our Twenty-fifth Situa-
tion except by treating it in a broadly human spirit, with-
out dolefulness and without austerity. It will not be
necessary to defend the thief nor the traitor, nor to take
the part of their dupe. To comprehend them all, to have
compassion upon all, to explain them all — which is to say

TWENTY-FIFTH SITUATION 83

to comprehend oneself, to have pity upon oneself, and to
explain oneself - - this is the real work to be accomplished.
A -A Mistress Betrayed; (1) - - For a Young
Woman: Sophocles' "Women of Colchis;" the
"Medeas" of Seneca and of Corneille; "Miss Sara Samp-
son" by Lessing; "Lucienne" (Gramont, 1890). These
examples are, because of the final vengeance, symmetrical
to the masculine of Class B.

(2) - - For a Young Wife (the marriage preceding the
opening of the play):--"Un Voyage de Noces" (Tier-
celin, 1881).

(3) - - For a Girl: - "La Veine" (Capus, 1901).
(B)--A Wife Betrayed: (1) - -For a Slave, Who

Does Not Love in Return: - "Maidens of Trachis" by
Sophocles; "Hercules on (Eta" by Seneca (the first part;
as to the rest, see "Imprudence;") the "Andromache" of
Euripides and that of Racine (in which this is one side of
the drama; for the other, see "Sacrifices for Kinsmen").

(2) - - For Debauchery:- "Numa Roumestan" by
Daudet; "Francillon" by Dumas; "Serge Panine" by
Ohnet; the opening part of "Meres Ennemies," which
afterward turns to "Hatred of Kinsmen."

(3) For a Married Woman (a double adultery): -
"La Princesse Georges" and "L'Etrangere" by Dumas;
"Monsieur de Moral" (Tarbe, L887); "Pes Menages de
Paris" (Raymond, 1886); "Le Depute Leveau" (Lemai-
tre .

(4) With the Intention of Bigamy: The
"AJmaeons" of Sophocles and of Euripides.

- For a Young Girl, Who Does Not Love in
Return: Shakespeare's "Henry VIII," and that of
Sainl-Saens; Allieri's "liosamonde" ;i combination of the

presenl and the preceding situations, for it is also a simple
Rivalry of King and Subjecl i.

6 \ Wife Envied by a Young Girl Who is in
Love With Her Husband:* "Stella" by Goethe; "Dern-
ier Amour" ( Ihnei . 1890 ,

7 By a Courtesan: "Miss Fanfare" (Ganderax,

PSSl, see p, 'J ; "Proserpine" \ a<(|iK fie ;i in I Saint -Sa< 1 1 .

1887 : "La Comtesse FYedegonde" (Amigues, L881
"Myrane" (Bergeat, L890 ,

84 THIRTY-SIX DRAMATIC SITUATIONS

Rivalry Between a I/awful Wife Who is Anti-
pathetic and a Mistress Who is Congenial: "C'est
la Loi" (Cliquet, 1882); "Les Affranchis" (Madame Len-
e>u, 1911).

(9) -Between a Generous Wife and an Impas-
sioned Girl: — "La Vierge Folle" (Bataille, 1910); "La
Femme de Demain" (Arthur Lefebvre, 1909).

C (1) - - An Antagonistic Husband Sacrificed for a
Congenial Lover :-- "Angelo ;" "Le Nouveau Monde"
by Villiers de l'Isle Adam; "Un Drole" (Yves Guyot,
1889); "Le Mari" (Nus and Arnould, 1889); "Les Ten-
ailles" (Hervieu); "Le Torrent" (Donnay); "Decadence"
(Guinon, 1901); "Page Blanche" (Devore, 1909).

(2) - - A Husband, Believed to be Lost, Forgotten
for a Rival: -- "Rhadamiste et Zenobie" by Cr^billon;
"Jacques Damour" by Zola. The "Zenobie" of Metas-
tasio, by the faithful love retained for her husband, forms
a case unique (!) among the innumerable dramas upon
adulterous passions. Compare "Le Declale" (see XXIV,
A 12).

(3) - A Commonplace Husband Sacrificed for a
Sympathetic Lover: "Diane de Lys" by Dumas;
"Tristan and Isolde" by Wagner (with the addition of
"Madness," produced by a love-potion); "Francoise de
Rimini" (A. Thomas, 1882); "La Serenade" (Jean Jullien,
1887); "L' Age Critique" (Byl, 1890) ; "Antoinette Sabrier"
(Coolus, 1903); "La Montansier" (Jeofrin, de Flers and de
Caillavet, 1904); "Connais-toi" (Hervieu, 1909). The
same case without adultery: "Sigurd" (Reyer, 1885);
"La Comtesse Sarah" (1886).

(4j -A Good Husband Betrayed for an Inferior
Rival:- "L'Aveu" (Sarah Bernhard, 1888); "RevolteV'
(Lemaitre, 1889); "La Maison des Deux Barbeaux"
(Theuriet, 1885; ; "Andre" del Sarte" (Alfred de Musset);
"La Petite Paroisse" (Daudet, 1911); "Le Mannequin
d'Osier" (France, 1904); "La Rencontre" (Berton,
1909). Cases of preference without adultery: "Smilis"
by Aicard; "Les Jacobines" by Hermant (1907).

(5) - For a Grotesque Rival : - - "The Fatal Dowry"
by Massinger.

TWENTY-FIFTH SITUATION 85

(6) - - For an Odious Rival: - - "Gerfaut" (from C. de
Bernard, by Moreau, 1886); "Cceur a Cceur" (Coolus,
1907).

(7) - - For a Commonplace Rival, By a Perverse
Wife: — "La Femme de Claude" by Dumas; "Pot-
Bouille" by Zola; "Rivoli" (Fauehois. 1911): "Les
Malefiiatre" (Porto-Riche, 1904); "Soeurette" (Borteau-
Loti). In fiction: "Madame Bovary."

(8) For a Rival Less Handsome, but Useful (with
comic false suspicions; that is, suspicions afterward
thought to have been false):- "L'Echeance" (Jean
Jullien, 1889).

D (1) - - Vengeance of a Deceived Husband (dramas
built upon a crescendo of suspicion):- "The Physician
of His Own Honor" and "Secret Vengeance for Secret
Outrage" by Calderon; "L'Affaire Clemenceau" by
Dumas; "The Kreutzer Sonata" (after Tolstoi, 1910);
"La Legende du Coeur" (Aicard, 1903); "Paraitre"
(Donnay, 1906) ; "Les Miroirs" I Roinarrd ) ; "The Enigma"
by Hervieu 'which borrows something from Situation XI
of this name. A vengeance purely moral: "Apres Moi"
(Bernstein, 1911); financial: "Samson," by the same
author, (1907 .

(2) Jealousy Sacrificed for the Sake of a Cause:
tending toward Sacrifices for an Ideal"): "Les Jacob-
ites" Coppee, L885); "Patrie" (Paladilhe, L886). Sac-
rificed out of Pity: "La Famille d'Armelles" (Mamas,
L88I

E3 A Husband Persecuted by a Rejected Rival:
"Raoul de Crequi" Delayrac, L889). This case is sym-
metrical to B V, and > >< * i J 1 proceed in the direction <>i
"Murderou i Adulterj

TWENTY-SIXTH SITUATION

CRIMES OF LOVE

(The Lover; the Beloved)

This is the only tragic situation of all those built upon
Love, that subject being one essentially belonging to
comedy (see XXVIII and XXIX).

Eight species of erotic crimes may be pointed out: —

First: Onanism, that "solitary vice" which does not
lead to action, can furnish only melancholy silhouettes
such as the legend of Narcissus and "Chariot s'amuse,"
or certain grotesqueries of Aristophanes, unless it be made
the basis for a study of the weakening and collapse of the
Will, in which case it might be grouped with drunkenness,
gambling, etc., in Situation XXII.

Second: Violation, like murder, is but an act, generally
a brief one and not a situation; at most it approaches
"Abduction." Even the consequences to the perpetrator,
like those of the

Third: Prostitution and its succeedant gallantry and
Juanism (repetition of acts), do not become dramatic
unless pursued by punishment, in which case they belong
to the Fifth Situation. Nevertheless, if impunity be
secured, the taste for violation and for prostitution tends
toward the Twenty-Second.

Fourth: Adultery, whose character of theft has given
rise to special situations already studied.

Fifth : Incest is divided in two principal directions. It
may be committed in an ascendant-descendant line, in
which case it implies either filial impiety or an abuse of
authority analogous to that which we shall find in the
Eighth variety of criminal love. It may also occur upon
what may be called a horizontal line; that is, between
consanguines or persons related by marriage.

86

TWENTY-SIXTH SITUATION 87

A (l)--A Mother in Love With Her Son:-

"Semiramis" by Manfredi, and by Crebillon; to explain
and extenuate this case, the latter author has first used
the Eighteenth (Involuntary Crimes of Love); "Les Cuirs
de Boeuf" (Polti, 1898). Inverse case: "Le Petit Ami"
by Leautaud.

(2) - - A Daughter in Love With Her Father: -
Alfieri's "Myrrha," whose psychology is drawn from that
of "Phedre."

(3) - - Violation of a Daughter by a Father: - - "The
Cenci" by Shelley; the story of the Peau d'ane (intention
only).

B (1) - - A Woman Enamored of Her Stepson: -
"Iobates" and "Phaedra" by Sophocles; the "Hippolytus"
of Euripides and of Seneca; "Phedre" by Racine. In
comedy: "Madame l'Amirale" (Mars and Lyon, 1911).
In almost none of the foregoing cases, it will be observed,
is there a reciprocity of desire, whereas the passion, here-
tofore solitary, is shared, and the crime, unconscious at
least on one side in "Myrrha," is boldly committed in

(2) - - A Woman and Her Stepson Enamored of
Each Other: - Zola's "Renee" (drawn from his story
"Curee,"j and similar to the quasi-incestuous passion of
"Dr. Pascal." The love is platonic in Alfieri's "Philip
II," and Schiller's "Don Carlos."

(3) -A Woman Being the Mistress, at the Same
Time, of a Father and Son, Both of Whom Accept
the Situation: "L'Ecole des Veufs" (Ancey, L889 ,

C (1) - A Man Becomes the I. over of Mis Sister-in-
Law: "La Sang-Brule" (Bouvier, 1885); "Le Con-
science de I'Enfant" (Devore, L889 . The Man Alone
Enamored: "Le Sculpteur de Masques" (Cromelynck,
L911 .

2 A Brother and Sister in love With Each
other: Euripides "TIoIum" "Canace" by Speroni;
•• "li Pity She's a Whore," Ford's masterpiece; "La
Citta Morta" 1>.\- d'Annunzio.

Even after these works, there remains much more than

a Kl(,aninj_'; an ample ham-si is still before us. We may
extend Class A to include the complicity of both parties
(Nero and Agrippina furnish an example, according to

88 THIRTY-SIX DRAMATIC SITUATIONS

Suetonius); a similar example, although fragmentary,
exists for A 2, in the beginning of Shakespeare's "Pericles."
B 1 may be reversed, the stepson's passion being unre-
quited by his father's wife, a case which is certainly not
uncommon. We may also suppress the complicity in B 3,
in C 1, and in C 2, allowing the infatuation to subsist upon
one side only. Without going so far as the criminal act,
a study of mere temptations or desires, well or ill controlled,
has furnished subtile chapters in the psychologies of
Seventeenth Century grandes dames, such as Victor
Cousin took delight in.

Finally, we may interlace the threads of each of these
species of incest with one of the seven other classess of
Crimes of Love ; under the form of ignorance, the fifth and
sixth classes are mingled in one of the episodes of "Daph-
nis and Chloe." Add the usual incidental rivalries, adul-
teries, murders, etc.

Sixth: Homosexuality in its two senses, the branches
of pederasty and tribadism:

D (1) - - A Man Enamored of Another Man, Who
Yields: -- Example from fiction: "Vautrin." Dramatic
examples: the "Laius" of Aeschylus; the "Chrysippus"
of Euripides. The latter tragedy appears to have been
one of the finest, and perhaps the most moving, of
all antiquity. Three situations were there superposed
with rare success. Laius having conceived a passion,
unnatural and furthermore adulterous, for the young
Chrysippus, an epithalamium as terrible as that of Ford
must have resulted, for here appeared and spoke the first
man who had ever experienced such desires and dared to
express and gratify them, and in his words lay the explana-
tion of the wavering and fall of Chrysippus. Then fol-
lowed the most indignant and pitiless jealousy on the part
of Jocaste, wife of Laius. Against Chrysippus she roused
the old envy of the young man's two brothers, an envy
of the same type as that which armed the sons of Jacob
against Joseph, but an envy which shows itself strangely
menacing at the mere announcement of the names of these
two brothers, -- Atreus and Thyestes! The fratricide is
accomplished, to the fierce joy of the queen; Laius learns
the details from the lips of the dying Chrysippus himself.

TWENTY-SIXTH SITUATION 89

And, in some prediction -- doubtless that of Tiresias,
young at the time and not yet deprived of sight - there
dawns the destiny of the two great families of tragedy par
excellence, the Labdaeides and the Atrides, beginning in
these crimes and running through all Greek legend.

The tribadic or sapphic branch has not been used upon
the stage; Mourey alone has attempted it, but in vain in
his "Lawn Tennis." The objection which might be
urged against it (and which probably explains why the
drama, in the ages of its liberty, has made no use of it) is
that this vice has not the horrible grandeur of its con-
gener. Weak and colorless, the last evil habit of worn-
out or unattractive women, it does not offer to the tragic
poet that madness, brutal and preposterous, but springing
from wild youth and strength, which we find in the crim-
inal passion of the heroic ages.

Seventh: Bestiality, or passion for a creature outside
the human species. Classed in general as a vice, it is of
no use theatrically. Nevertheless, in

E - - A Woman Enamored of a Bull: - "The Cre-
tans" of Euripides seems to have revealed the emotions,
after all conceivable, of this "Ultima Thule" of sexual per-
version. Better than anywhere else, evidently, the illogi-
cal and mysterious character of the life of the senses, the
perversion of a normal instinct, and the feeling of fatalism
which its victims communicate, could here be presented
in sad and awful nudity.

Eighth: The Abuse of Minor Children borrows some-
thing from each of the seven preceding varieties. That

LCh a subject so modern, so English may in skilful
hands become must pathetic, is readily apparent to those

of us who rvad, a few years ago, the "Pall Mall Gazette."

TWENTY-SEVENTH SITUATION

DISCOVERY OF THE DISHONOR OF A LOVED ONE

(The Discoverer; the Guilty One)

From this Situation there results, almost immediately,
a psychologic struggle similar to that of the Twenty-Third
"Sacrifice of Loved Ones," but without the attraction of a
high Ideal; this is replaced, in the present action, by the
lash of shame.

A (1) - Discovery of a Mother's Shame: -
"Madame Caverlet" by Augier; "Odette" and "Georg-
ette" by Sardou; "Madame X" (Bisson, 1908); "Mrs.
Warren's Profession" (Bernard Shaw); "Les Quarts
d'Heure" (second part; Guiches and Lavedan, 1888).
This sad destruction of a child's deepest respect and rev-
erence is colored, in these works, by the terrors of the
mother, by her blushes, by her remorse before the conse-
quences of the past; through this last point the action ends
in the Thirty-Fourth (Remorse). It remains unconnected
in the second part of the "Marquis de Priola" (Lavedan,
1901).

(2) - Discovery of a Father's Shame: — "Vieille
Histoire" (Jean Jullien, 1891); the denouement of "Pierre
et Therese" (Prevost, 1909).

(3) - Discovery of a Daughter's Dishonor: - - Part
of "La Fille du Depute" (Morel, 1881); of "Les Affaires
sont les Affaires" (Mirbeau, 1902); "L'Oreille Fendue"

Xepoty, 1908).

B (1) - - Discovery of a Dishonor in the Family of
Ones Fiancee: - - "L'Absente" (Villemer, 1889). Refine-
ments of romance, whose mild tragedy consists in retard-

90

TWENTY-SEVENTH SITUATION 91

ing the signature of a contract, and which corresponds also
to the pseudo-Situation XXX (Forbidden Loves). Some-
thing of their dullness has already emanated from A 1
and A 2.

(2) — Discovery that Ones Wife Has Been Violated
Before Marriage: -- "Le Secret de Gilberte" (Massiac,
1890). Since the Marriage: -- "Flore de Frileuse" by
Bergerat, with comic denouement thanks to a "quid-pro-
quo."

(3) — That She Has Previously Committed a Fault:

— "Le Prince Zilah" (Claretie, 1885); part of Dumas'
"Denise." Common instances: Marriages through agen-
cies.

(4) - - Discovery that Ones Wife Has Formerly
Been a Prostitute: - "Lena" (Berton and Mme. van
Velde, 1886). That ones mistress has been a prostitute:

— "Marion Delorme." The same situation, from the
{joint of view of "Remorse" (XXXIV), is encountered in
Zola's "Madeleine."

(5) - Discovery of Dishonor on the Part of a Lover
(this also borders upon XXXIV:- "Chamillae" (Feuil-
let, 1886); "Le Crocodile" (Sardou, L886 .

(6) Discovery that Ones Mistress, formerly a
Prostitute, Has Returned to Her Old Life with exten-
uating circumstances): "La Dame aux Camellias"
Dumas); "La Courtisane" (Arnyyelde, L905); pari of
"Manon Lescaut." Bui for feminine cunning, would
qoI this be the normal course of all "bonnes fortunes?"

(7) Discovery that Ones lover is a Scoundrel, or
that Ones Mistress is a Woman of Bad Character:
"Monsieur Alphonse" by Dumas; "Mensonges" by Emile
Michelet. Since as Palice remarks) liaisons would lasl
forever if they were never broken nil', and since the two
lovers, who certainly know cadi <>t her well, always give as
the reason of their rupture the title of the present sub-
class, 1 he conclusion is as easy to draw as it is initial tering

to the human specie:-,. The Same Discovery Concern-
ing a So-Called Kinji: "Sire" Lavclan. L909).

The Same Discovery Concerning Ones Wile:
"Le Manage d'Olympe" by Augier.

92 THIRTY-SIX DRAMATIC SITUATIONS

C Discovery that Ones Son is an Assassin: —

"Werner" by Byron; "La Policiere" (Montepin, 1889).
The surprise is intensified in cases of parricide. Nuance
C is capable of infinite development.

D -- Might constitute a distinct situation; there is not
only the discovery, but the duty of imposing punishment
as well. This situation might serve as an intermediary
between the Twenty-Third, "Duty of Sacrificing Kins-
men," and the Twenty-Seventh, which we are now study-
ing, and which would thus end with Class C.

(1) - - Duty of Punishing a Son Who is a Traitor to
Country: -- The "Brutus" of Voltaire, and of Alfieri.
A Brother Who is a Traitor to His Party: "Etu-
diants Russes" by Gilkin.

(2) - - Duty of Punishing a Son Condemned Under
a Law Which the Father has Made:- "L'Inflexible"
(Parodi, 1884); "Le Tribun" (Bourget, 1910); "L'Apotre"
(Loyson, 1911).

(3) - - Duty of Punishing a Son Believed to be
Guilty: - - "Le Regiment" (Mary, 1890) ; "L'As de Trefle"
( Decourcelle, 1883). This approaches XXXIII (Judicial
Error).

(4) - Duty of Sacrificing, to Fulfill a Vow of Tyran-
nicide, a Father Until then Unknown. This impru-
dent vow carries us back, at one point, to the Seventeenth
(Imprudence), and at another point the striking of an
unknown parent recalls also the Nineteenth. - - "Severo
Torelli" (Coppee, 1883).

(5) - - Duty of Punishing a Brother Who is an
Assassin : - "Casse-Museau" (Marot, 1881). From this
situation the kinsman-judge escapes for a moment, only
to fall into D 3, from which he returns with resignation
to D 5.

(6) - - Duty of Punishing Ones Mother to Avenge
Ones Father: -- (Situation IV arrested prematurely):

- "Le Coeur de Se-hor" (Michaud d'Humiac). The
Fourth is less in evidence in "Simone" (Brieux, 1908).

TWENTY-EIGHTH SITUATION
OBSTACLES TO LOVE
(Two Lovers; an Obstacle)

A (1) - Marriage Prevented by Inequality of

Rank: - "NiteW and "The Chinese Hero" by Metas-
tasio: "Le Prince Soleil" (Vasseur, 1889); second act of
"La Vie Publique" (Fabre, 1901); "Ramuntcho" (Pierre
Loti, 1908); "L'EmigrS" (Bourget, 1908). This is the
sentimental-philosophical Situation of a great number of
eighteenth century works ("Nanine," etc. ), in which a lord
invariably falls in love with a peasant girl. In ( leorge
Sand, on the contrary, it is always a lady who is in love
with a man of inferior rank; a sort of literature which at
least has inspired many gallanl adventures of our own
time. The addition of one more little obstacle the
marriage bond furnishes the pretexl for the real intrigue
of "Ruy Bias."

2 Inequality of Fortune an Impediment to
Marriage: "Myrtille" and in part "Friend Fritz" by
Erckmann-Chatrian; "L'Abbe Constantin" by Halevy;
"La Petite Amir" Brieux, L902); "La Plus Faible"
(Prevost, L904 ; "La Veuve Joyeuse" (Meilhac, Leon and
Stein. L909 : "!-<• Danseur Inconnu'* Bernard, L909):
"La Petite Chocolatiere" Gavault, L909); "Primeroser

"Le Kevc" from Zola's story by Bruneau); in fiction;

"Le Bonheur <\<-> Lames" to mention only the more
estimable works, leaving ;Lside the endless number of
trivial plays imitative of Scribe, and the Romances of

9a

94 THIRTY-SIX DRAMATIC SITUATIONS

Poor Young Men, Dames Blanches, etc., which make our
ears ring with confusing additions and subtractions, until
the unexpected final multiplication - "deus ex machina"
- which suddenly equalizes the two terms of the problem,
the two fortunes of the lovers, with the most admirably
symmetrical alignment of parallel zeros -- preceded, oh
joy! oh bliss! on one side as on the other, by two identical
figures !

It must of course be recognized that these social and
conventional inequalities are mere puerile details, and that
the lovers, if they have but a little courage and sincerity,
will overcome them without difficulty; they can do so by
simply leaving behind them titles and money, and in a
new country, under other names, bravely beginning life
again together. If, instead of such bagatelles, we might
only be sometimes shown the more serious obstacles of
inequality of ages, of characters, of tastes — which are at
the same time so much more common !

They are, indeed, so frequent that a general theory
might be established with regard to them. The first love
(twenty years) seeks in its object equality of rank and
superiority of age (this is a fact well known to those who
have studied the cases of girl-mothers); the second love,
and in general the second period of emotional life (thirty
years), addresses itself, audacity having been acquired, to
superiors in rank but equals in age; finally, the third love,
or in a more general way the third epoch of sentimental
life, inclines by preference to those who are younger and
socially inferior. Naturally, subdivision is here possible.

B - - Marriage Prevented by Enemies and Contin-
gent Obstacles: --"Sieba" (Manzotti, 1883); "Et Ma-
Soeur?" (Rabier, 1911); "Le Peche* de Marthe" (Roch-
ard, 1910); all fairy-plays, since the "Zeam" of Gozzi. In
fine, a sort of steeple-chase process adapts itself to this
situation, but the chase is not one in which several rival
steeds and riders engage; throughout its course but a
single couple enters upon it, to end at the shining goal with
the usual somersault.

C (1) - - Marriage Forbidden on Account of the
Young Woman's Previous Betrothal to Another: —

TWENTY-EIGHTH SITUATION 95

"II Re Pastore" by Metastasio; and other pieces without
number. The lovers will die if separated, so they assure
us. We see them make no preparations to do so, but the
spectator is good enough to take their word for it; the
ardors, the "braises" - to use the exact language of the
"grand siecle" -and other nervous phenomena in hypo-
chondriacs of this sort cannot but offer some interest —
not, however, for long.

(2) The Same Case, Complicated by an Imagi-
nary Marriage of the Beloved Object: - - "Les Bleus de
l'Amour" (Coolus, 1911).

D (1) -A Free Union Impeded by the Opposition
of Relatives:--"^ Divorce" (Bourget, 1908); "Les
Lys" (Wolf and Leroux, 1908).

(2) - Family Affection Disturbed by the Parents-
in-Law: - "Le Roman d'Elise" (Richard, 1885); "Le
Poussin" (Guiraud, 1908).

E - By the Incompatibility of Temper of the
Lovers: "Montmartre" (Frondaie, 1911). "Les Angles
du Divorce" (Biollay) belongs both to E and to D 2.

F Love- bui enough of this! What are we doing,
co-spectators in this hall, before this pretended situation?
Upon the stage are our two young people, locked in close
embraces or conventionally attitudinizing in purely theat-
rical poses. Wha1 is there in all this worth remaining for?
Let us leave it . . . What, Madame, you straighten
yourself in your chair and crane your neck in excitement
over the gesticulations of the "jeune premier?" Bui his
sweetheart there beside him have you forgotten that
il is she whom he desires, or are the two of them playing
so badly, is their dialogue so little natural that you forget
the Story enacted and fondly imagine yourself listening to

a monologue a declaration addressed to you alone? And

Monsieur there, With mouth open, eyes starting from his
head, following with avidity every movement of the

actress's lithe figure! Quick, nrj good man, another will
be before you 1 Be consistent, a1 least! Spring upon the
stage, break the insipid dandy's bones, and take his place!

96 THIRTY-SIX DRAMATIC SITUATIONS

Sorry return to promiscuity, in our overheated halts
like lupanars, which the clergy is not altogether unreason-
able in condemning! Do people gather here simply to
study amatory manifestations? In that case, why not
freely open training schools for courtesans? Is it for the
benefit of the sidewalk traffic, later in the evening, that
the public is here being prepared?

0 fresh and stormy winds of Dionysian drama! Aeschy-
lus where art thou who wouldst have blushed to represent
aught of amorous passion but its crimes and infamies?
Do we not, even yet, perceive the heights to which rise
those chaste pinnacles of modern art, "Macbeth" and
"Athalie?"

But why disturb ourselves? Turning our eyes from
these summits to the scene before us, we do not feel
depression; indeed, we indulge in a hearty laugh. These
characters here before us? Why, they are but puppets
of comedy, nothing more. And the effort of their mis-
guided authors to make them serious and tragic despite
their nature has resulted in mere caricature. In more
intelligent hands, have not the best of our dramas wherein
love is important (but not of the first importance, as in
this XXVIII) returned logically and naturally to an indul-
gence of smiles? "he Cid," which is the classic type of
this sort, is a tragi-comedy, and all the characters sur-
rounding Romeo and Juliet are frankly comic.

Nevertheless, our blind dramaturgy, with continued
obstinacy, still breathes forth its solemnities in this equivo-
cal rhythm. Whether the piece treats of sociology, of
politics, of religion, of questions of art, of the title to a
succession, of the exploitation of mines, of the invention
of a gun, of the discovery of a chemical product, of it mat-
ters not what --a love story it must have; there is no
escape. Savants, revolutionists, poets, priests or generals
present themselves to us only to fall immediately to love-
making or match-making. It becomes a mania. And we
are asked to take these tiresome repetitions seriously!

This, then, is the actual stage of today. In my opinion,
de Chirac alone has shown himself its courageously logical

TWENTY-EIGHTH SITUATION 97

son - - although a rejected one, - - society, like an aged
coquette, reserving always some secret sins, and fearing
nothing so much as nudity, which would destroy the legend
of her imaginary wicked charms, veiled, she willingly lets
it be supposed, under her hypocrisy.

How grotesque an aspect will our ithyphallic obsession
present, once it is crystallized in history, when we shall
finally have returned to antique common sense!

TWENTY-NINTH SITUATION
AN ENEMY LOVED

(The Beloved Enemy; the Lover; the Hater)

A - The Loved One Hated by Kinsmen of the
Lover. The preceding Situation might very well be
absorbed into this.

(1) - The Lover Pursued by the Brothers of His
Beloved : - "The Duchess of Main" by Webster; "The
Broken Heart" by Ford.

(2) -The Lover Hated by the Family of His
Beloved: -- "The Story of Yayati" by Roudradeva (with
the characteristic color of these Hindu rivalries, wherein
jealousy is hardly perceptible); "The Victory of Prady-
oumna" by Samara Dikchita; Metastasio's "Cato;" "La
Grande Marniere" (Ohnet, 1888).

(3) The Lover is the Son of a Man Hated by the
Kinsmen of His Beloved: - "La Taverne des Trabans"
and "Les Rantzau" by Erckmann-Chatrian. In comic
vein: "Dieu ou pas Dieu," a romance by Beaubourg.

(4) - The Beloved is an Enemy of the Party of the
Woman Who Loves Him: "Madhouranirouddha" by
Vira, the contemporary of Corneille; "Les Scythes" by
Voltaire; "Almanzor" by Heine; "Lakme"' by Delibes;
"Les Carbonari" (No. 1882); "Madame The>ese" by
Erckmann-Chatrian; "Lydie" (Miral, 1882); "Les Ama-
zones" (Mazel); "Les Oberle" (Bazin, 1905); "Les Noces
Corinthiennes" (France); "l'Exode" (Fauchois, 1904).

98

TWENTY-NINTH SITUATION 99

B ( 1 ) The Lover is the Slayer of the Father of
His Beloved : - - "Le Cid" (and the opera drawn from it) ;
"Olympie" by Voltaire.

(2) - The Beloved is the Slayer of the Father of her

Lover: --"Mademoiselle de Bressier" (Delpit, 1887).

(3) - The Beloved is the Slayer of the Brother of
Her Lover: - "La Reine Fiammette" (Mendes, 1889).

(4) - The Beloved is the Slayer of the Husband of
the Woman Who Loves Him, But Who Has Pre-
viously Sworn to Avenge that Husband:- "Irene"
by Voltaire.

(5) - The Same Case, Except that a Lover, Instead
of a Husband, Has Been Slain: "Fedora" (Sardou,

1882).

(6) The Beloved is the Slayer of a Kinsman of the
Woman Who Loves Him: "Romeo and Juliet," this
situation being modified by that of "Abduction" (elope-
ment), then, with triple effect by XXX VI, "Loss of Loved
Ones;" the firsl time mistakenly, the second time simply
and actually, the third time doubly and simultaneously
to both the families of the principal characters; "l'Ancetre"
I Saint -Saens and Lassus > : "Fortune and Misfortune of a
Name" and "His Own Gaoler" by Calderon.

The Beloved is the Daughter of the Slayer of
Iler Lover's Father: "Le Crime de .lean Morel"
imson, L890 ; "La Marchande de Sourires" (.Judith
Gautier, L888 .

The chief emotional elemenl thus remains the same as
in the Fifth (Pursuit i, and Love here serves especially to
presenl the pursued man under various favorable lights

which have a certain unity. She whom he loves here

plays, to some Bmall extent, the role of the Greek chorus.

Suppress the love interest, replace it with any other tie,

however weak, or even leave nothing in its place, and a

play of the type of Situation Y, with all its terrors, will
still remain. Attempt, oil the contrary, to curtail the

other interest, the enmity to soften the vengeance

100 THIRTY-SIX DRAMATIC SITUATIONS

and to substitute any other element of difference or leave
their place unfilled, and what will remain of tragic emo-
tion? Nothing.

We have, then, reason to conclude that love --an excel-
lent motif for comedy, better still for farce - - sweet or
poignant as it may be in stories read in solitude, of which
we can fancy ourselves hero or heroine, love is not, in real-
ity, tragic, despite the virtuosity which has sometimes
succeeded in making it appear so, and despite the preva-
lent opinion of this age of erotomania, which is now
approaching its end.

THIRTIETH SITUATION
AMBITION

(An Ambitious Person; a Thing Coveted; an
Adversary)

A highly intellectual type of action is here presented,
for which there is no antique model, and from which
mediocrity usually keeps a respectful distance.

A -- Ambition Watched and Guarded Against by a
Kinsman or a Patriot Friend: (1) - By a Brother:

Timoleon" by Alfieri. Historic instance (comic, that
is to say, feigned), Lucien and Napoleon Bonaparte.

2 By a Relative or Person Under Obligation:

"Julius Caesar" by Shakespeare, "La Mort de Caesar"
by Voltaire; "Brutus II" by Allien. In "La Mort de
( laesar" there is a reappearance of I he Nineteenth (Slaying
of a Kinsman Unrecognized), so strong was the desire to
recall the works of antiquity!

:: By Partisans: "\\ allenslein" by Schiller;

"Cromwell" by Hugo; "Marius Vaincu" (Mortier, 1!)11).

B Rebellious Ambition (akin to VIII, A I):

"Sir Thomas Wyat " by Webster; "I'erkin Warbeck" by
Ford; "Catilina" by Voltaire; Cade's insurrection in the

second part of Shakespeare's *' Henry IV."

(' 1 Ambition and Covetousness Heaping

Crime l pon Crime: "Macbeth" and "Richard III;"
"Ezzelino A. Mussato); pari of the "Cinq Doigts de
Birouk" (Decourcelle, 1883); "La-Bete Feroce" (Jules
Mary and Emile Rochard, L908); "La Vie Publique"
(Fabre, L901). In comedy: "Ubu-roi" (Jarry). In ftc-

101

102 THIRTY-SIX DRAMATIC SITUATIONS

tion: "La Fortune des Rougon" (with criminality atten-
uated to simple want of dignity) ; "Son Excellence Eugene"
(sacrifice of morality); the story of Lucien de Rubempr£;
a case of greed: "La Terre."

(2) -- Parricidal Ambition: -- "Tullia" by Martelli.

Ambition, one of the most powerful of passions, if it
be not indeed the passion par excellence will always affect
the spectator strongly, for he feels and knows that, once
awakened in a man, it will cease only with his death. And
how many are the objects of its desire ! Tyrannical power,
high rank, honors, fortune (by inheritance, marriage, rob-
bery, etc.), the conservation of riches (avarice), glory
(political, scientific, literary, inventive, artistic), celeb-
rity, distinction.

We have seen in Class A the ties which may unite the
ambitious one and his adversary and the Situations which
may result from them (XIX, XXIII, XXIV).

Here is one way among many to intensify the fury of
C: mingle w th it the sincerity of a faith, of a conviction;
such a combination is found in the case of the Spaniards
in Peru and in Flanders, and in the case of our own "gentle
and intellectual" race under- the League and under the
Terror; in the case of Calvin, and of the Inquisition.

THIRTY-FIRST SITUATION
CONFLICT WITH A GOD

(A Mortal; an Immortal)

Most anciently treated of all Situations is this struggle.
Into its Babel of dramatic construction all or nearly all of
the others may easily enter. For this is the strife supreme;
it is also the supreme folly and the supreme imprudence.
It offers the most unprecedented aims of ambitions, auda-
cious enterprises, titanesque conspiracies, Ixionian abduc-
tions; the most fascinating of enigmas; the Ideal here
undergoes a rare assault of passions; prodigious rivalries
develop. As for the surrounding witnesses, does not their
sympathy often go to him whom they should hate?
learning of his crime, it is not sometimes their duty to
punish him themselves, to sacrifice him to their faith, or
to sacrifice themselves for him? Between the dearest of
kindred, hatreds will break forth. Then comes the storm
of disaster, the vanquished one hound to misfortune,
crushed before those whom he loves, unless, acme of
horror he has, in a transport of blind delirium, dis-
honored or massacred them unknowingly. Suppliants.

seeking the lost loved one, advance sad theories and

endeavor t<» disarm rancor, hut the divine vengeance

lias been unchained!

108

104 THIRTY-SIX DRAMATIC SITUATIONS

This remarkable grouping has been in our day almost
entirely ignored. Byronists as we still are, "bon gre" mal
gre\" we might yet dream of this superb onslaught on the
heavens. But no! - - we treat even the evangelical sub-
ject of the Passion, while we pass by, like owls in broad
daylight, this genuinely dramatic situation, and content
ourselves with sanctimoniously intoning the idyllo-didac-
tic phrases which preceded the sacred tragedy, - - itself
left unseen.

A (1) -Struggle Against a Deity: --"The ^don-
ians" and "The Bassarides," "Pentheus" and "The Wool-
Carders" by Aeschylus; "The Bacchantes" of Euripides;
the "Christ Suffering" of Saint Gregory Nazianzen. Epic:
the sixth Homeric hymn (to Dionysos); the dream of
Jacob.

(2) - - Strife with the Believers in a God: -- "The
Exodus of the Hebrews" by Ezekiel; "L'Empereur Julien"
(Miracle of Notre-Dame, XIV Century); "Athalie."
Historic instances: various persecutions. Epic: "Les Mar-
tyrs."

B (1) - Controversy With a Deity: --"The Book

of Job." I cannot give, it is true, the date nor the place
of the "premier" of "Job." But the fact of actual repre-
sentation by Messieurs A, B and C and Misses X, Y and Z
is no more an indispensable condition to the existence of
true drama than it is an all-sufficient one. We may hold
that the "premier" was given in that great Theatre of
which Brahmanic legend tells; a Theatre inaugurated long
before that of man, and thanks to which the gods may
occupy the leisures of their eternity.

(2) - Punishment for Contempt of a God: —

"Tchitra Yadjgna" by Vedyantha Vatchespati; "Le
Festin de Pierre" (meaning the real action, which from
the beginning leads toward the denouement).

(3) -Punishment for Pride Before a God:-

Aeschylus' "Ajax Locrian" (according to one hypothesis);
Sophocles' "Thamiras;" Euripides' "Bellerophon." A
Christian example: Simon the Magician.

THIRTY-FIRST SITUATION 105

(4) - - Presumptuous Rivalry with a God: - "The
Nurses" by Aeschylus; "Niobe" by Sophocles; "La Mere
du Pape" (Miracle of Notre-Dame, XIV Century).

(5) - Imprudent Rivalry with a Deity: - Sopho-
cles' "Eumele;" in part "Phaeton" by Euripides.

May it not be possible that we shall one day see treated
from the point of view of this Situation, the pathetic death
of Guyot-Dessaigne, Minister of Justice?

THIRTY-SECOND SITUATION

MISTAKEN JEALOUSY

(The Jealous One; The Object of Whose Possession He

Is Jealous; the Supposed Accomplice; the Cause

or the Author of the Mistake)

The last element is either not personified (A), or per-
sonified in a traitor (B), who is sometimes the true rival
of the Jealous One (C).

A (1) - The Mistake Originates in the Suspicious
Mind of the Jealous One: - "The Worst is not Always
Certain" by Calderon; Shakespeare's "Comedy of Errors;"
"The Bondman" by Massinger; the "Marianne" of Dolse
and of Tristan l'Hermite; "Tancrede" and "Marianne"
by Voltaire; "la Princesse de Bagdad" by Dumas; "Un
Divorce" (Moreau, 1884); "Monna Vanna" (Maeterlinck,
1902). How is it that Moliere has not written a comedy
of jealousy upon this Situation symmetrical to that of
"LAvare?"

(2) - - Mistaken Jealousy Aroused by a Fatal
Chance - - Voltaire's "Zaire" and the opera of that name
by de la Nux; part of "Lucrece Borgia." In comedy: "La
Divorcee" (Fall and L6on, 1911).

(3) - - Mistaken Jealousy of a Love Which is Purely
Platonic: - "Love's Sacrifice" by Ford (in which the
wife is unjustly suspected). "L'Esclave du Sevoin"

Yalnay, 1881, in which it is more particularly the respect-

10G

THIRTY-SECOND SITUATION 107

ful admirer who is wrongly suspected). Of a Flirt: —
"Suzette" (Brieux, 1908) ; "Four Times Seven are Twenty-
Eight" (Coolus, 1909).

(4) — Baseless Jealousy Aroused by Malicious
Rumors: -- "Le Pere Prodigue" by Dumas; "le Maitre
de Forges" (Ohnet, 1883).

B (1) — Jealousy Suggested by a Traitor Who is
Moved by Hatred: Shakespeare's "Othello" and
"Much Ado about Nothing;" "Semiramide Riconosciuta"
by Metastasio presents the fully -developed denouement
of it.

(2) - - The Same Case, in Which the Traitor is
Moved by Self-interest: - - Shakespeare's "Cymbeline;"
"La Fille du Roi d'Espagne" (Miracle of Notre-Dame,
XIV Century).

(3) The Same Case, in Which the Traitor is
Moved by Jealousy and Self-interest: "Love and
Intrigue" by Schiller.

C 1 Reciprocal Jealousy Suggested to Hus-
band and Wife by a Rival: -"The Portrait" by Mas-
singer.

(2) - Jealousy Suggested to the Husband by a Dis-
missed Suitor: Voltaire's "Artemire;" "Le Chevalier
.I.-un" (Joncieres, L885 .

3 Jealousy Suggested to the Husband by a
Woman Who is in l.ove with llim: "Malheur au\

Pauvres" ( Bouvier, L881 1.

1 Jealousy Suggested to the Wife by a Scorned
Rival: "The Phtiotides" of Sophocles.

5 Jealousy Suggested to a Happy lover by the
Deceived Husband: "Jalousie" (Vacquerie, L888).

The number of dramatic elements brought into play
already enables us to foresee many combinations for this
Situation, whose improbabilities the public is always dis-
posed to accept, however greal they may be. Withoul

abusing this indulgence, we may remark, even at fir I
glance, thai almost all t In • dramas above cited treal of

108 THIRTY-SIX DRAMATIC SITUATIONS

jealousy on the part of a man, whereas experience teaches
us that woman is quite as ready as man to let herself be
the envious, by a rival, or by a suitor bent upon securing
for himself, through the anger aroused, a pleasure other-
wise out of his reach. Transference to the feminine of the
cases already considered will thus furnish a series of new
situations. Besides pride, self-interest, love, spite and
rivalry, many other motives present themselves for the
traitor or traitress; the motives mentioned may also be
painted in colors yet unused. The denouement (usually
a murder, in some cases a suicide, in others a divorce) may
be varied, subtilized or strengthened by secondary and
instrumental characters. The same may be said for the
various knots of the intrigue, for those false proofs, those
diabolic suggestions from which the jealousy springs.

Under the form of "jealous spite" this situation has
been used by Moliere and other writers of comedy for the
purpose of filling in - - through the agitations it causes
the principal lovers - - the vacancies of the picture with
minor characters.

THIRTY-THIRD SITUATION

ERRONEOUS JUDGMENT

(The Mistaken One; the Victim of the Mistake; the
Cause or Author of the Mistake; the Guilty Person.)

(Any sort of mistaken judgment may here be under-
stood, even though committed only in the thought
of one person to the detriment of another.)

A (1) False Suspicion Where Faith is Neces-
sary: "The Serpent Woman" by Gozzi; "L'Etudiant
Pauvre" Milloecker, 1889). One of the facets of
"Henry V" is connected somewhat remotely with this
situation, the incomprehension of the young prince's
peal character by the witnesses of his disorders. Dumas
pen- has represented Henri de Navarre as misunder-
stood in the same way by his entourage.

(2 False Suspicion in which the je;d<»usy is not
without reason) Of a Mistress: Pari of "Diane" by
Augier; "Marie Stuart" by Allien.

3 False Suspicions Aroused by a Misunder-

stood \ 1 1 i t licit- Of B Loved One: "The Kaven" by

Gozzi; "Hypsipile" by Metastasio; "Theodora" (Sardou,
i ; pari of "La Reine Fiammetta;" "Le Voleur"
Bernstein, L906 : "Les Grands" (Weber and Basset,
L909 : "Coeur Maternel" (Franck, L91 1 ,

1 Bj indifTerence: "Crainquebille" Prance,
L909 : "le Vierge" Valletta ,

109

110 THIRTY-SIX DRAMATIC SITUATIONS

B 1 -False Suspicions Drawn Upon Oneself to
Save a Friend: "Aimer Sans Savoir Qui" by Lope;
"Mme. Ambros" (Widor, 1885).

(2) - They Fall Upon the Innocent: - - "Siroes" by
Metastasio; "La Grande Iza" (Bouvier, 1882); "Le
Fiacre No. 13" and "Gavroche" (Dornay, 1887 and
1888); "L'Affaire des Poisons" (Sardou, 1907); "Les
Pierrots" (Grillet, 1908). Upon the Innocent Hus-
band of the Guilty One: - - "La Criminelle" (Delacour,
1882).

(3) - The Same Case as 2, but in Which the Inno-
cent had a Guilty Intention: -- "Jean C£venol"
(Fraisse, 1883). In Which the Innocent Believes
Himself Guilty: - "Le Roi de l'Argent" (Milliet, 1885);
"Poupees Electriques" (Marinetti).

(4) - - A Witness to the Crime, in the Interest of
a Loved One, Lets Accusation Fall Upon the Inno-
cent: -"Le Secret de la Terreuse" (Busnach, 1889).

C (1) - - The Accusation is Allowed to Fall Upon
an Enemy: "La Pieuvre" (Morel, 1885).

(2) - The Error is Provoked by an Enemy: - - "The
Palamedes" of Sophocles and of Euripides; "Le Ventre
de Paris" (Zola, 1887); "Le Roi Soleil" (Bernese, 1911);
"L'Homme a Deux Tetes" (Forest, 1910). This nuance
alone, it will be observed, attracted the Greek trage-
dians, who were, so to speak, tormented by a vague
conception of the Iago of a later age and who tried,
in a succession of distorted types, to produce it; we
seem, in these works, to be assisting at the birth of the
future Devil; of the evangelic Judas -~ and at that of
the type of Jesus in Prometheus and Dionysos. This
nuance C 2 seems to me a singularly fine one; it is, for
instance, that of the "anonymous letter," and it will be
admitted that a more admirably repugnant gargoyle
cannot be imagined than the creature who crouches
with pen in claw and malignant smile, to begin such a
piece of work!

The Mistake is Directed Against the Victim
by Her Brother: (here is included also the Twelfth,

THIRTY-THIRD SITUATION 111

"Hatred of Kinsmen") :-- "The Brigands" by Schiller;
"Don Garzia" by Alfieri.

D (1) - - False Suspicion Thrown by the Real
Culprit Upon One of His Enemies: -- Corneille's
"Clitandre," and "Sapho" (Gounod, 1884); "Catharine
la Batarde" (Bell, 1881).

(2) -Thrown by the Real Culprit Upon the
Second Victim Against Whom He Has Plotted from
the Beginning: - "Le Crime d'un Autre" (Arnold and
Renauld, 1908). This is pure Machiavellianism, obtain-
ing the death of the second victim through an unjust
punishment for the murder of the first. Add to this the
closest relationship between the two victims and the
deceived judge, and we have all these emotions assem-
bled: discovery of the death of a relative; supposed
discovery of an impious hatred between two relatives;
belief even in a second case of crime, aggravated this
time by a scheme of revolt; finally the duty of con-
demning a loved one believed in be guilty. This plot
then, is a masterly one, since it groups, under the im-
pulsion of an ambition or a vengeance, four other Sit-
uations. As for the "Machiavellianism" which has
set it all in motion, it consists, for him who employs it,
precisely in the method which is habitual to writers, a
method here transferred to a single character; lie ab-
stracts himself, SO to speak, from the drama, and, like
the author, inspires in other characters the necessan
feelings, unrolls before their steps the indispensable
circumstances, in order thai they may mechanically
move toward the denouement be desires. Thus is de-
veloped the "Artaxerce" of Metastasio.

Suppress the pari of the villain, and suppose for s
moment thai the author has planned the denouemenl
desired by this traitor; the bringing about of the most
cruel results from a "supposed fratricide" and the "duty
of condemning a son." The author cannol otherwise
combine his means to produce it. The type of the
Villain who has successively appeared in many guises)
is nothing else than the author himself, masked in black,

112 THIRTY-SIX DRAMATIC SITUATIONS

and knotting together two or three ' dramatic situations.
He belongs, this type, to the family of the poetic Pro-
logue, of the "Deus ex machina" (although more admis-
sible) of the Orator of the parabases, of the Molieresque
Valet, and of the Theorist (the good doctor, clergyman,
journalist, "family friend"). He is in short the old
Narrator of the monodramas. Nothing could be more
naif, consequently, than this creature, whose uncon-
vincing artificiality has spoiled many a scene.

(3) - - False Suspicion Thrown Upon a Rival-

"Diana" (Paladilhe, 1885); "L'Ogre" (Marthold, 1890);
"La Boscotte" (Mme. Maldagne, 1908).

(4) - Thrown Upon One Innocent, Because He
Has Refused to be an Accomplice:- "Valentinian"
by Beaumont and Fletcher; "Aetius" by Metastasio.

(5) - Thrown by a Deserted Mistress Upon a
Lover Who Left Her Because He Would Not Deceive
Her Husband: -- "Roger-la-Honte" (Mary, 1888).

(6) - - Struggle to Rehabilitate Oneself and to
Avenge a Judicial Error Purposely Caused:- "La

Degringolade" (Desnard, 1881); the end of "Fiacre
No. 13."

THIRTY-FOURTH SITUATION

REMORSE

(The Culprit; the Victim or the Sin; the Interrogator)

A 1 Remorse for an Unknown Crime:
"Manfred" and other creations of Byron; the last of
the great English dramatists, he was likewise the last
adversary of Cant, which, having killed art in Spain
under the name of the Inquisition, in England the first
time under the name of Puritanism and in Germany
under the name of Pietism, today presents itself in
France, in the guise of ... Monsieur Berenger.

Remorse for a Parricide: "The Eumenides"
of Aeschylus; the "Orestes*' of Euripides, of Voltaire
and of Alfieri; "Le Goitre" (Verhaeren).

3 Remorse for an Assassination: "(rime ami
Punishment" Dostoievsky, L888); "Le CoeUT Ivevela-

teur" after Poe, by Aumann, 1889). For a .Judicial
Murder: "L'Eclaboussure" Geraldy, L910).

(A) Remorse for the Murder of Husband or
Wife: 'Therese Raquin" by Zola; "Pierrot, Assassin

de sa l-'emme" pan] Marguentte, 18B8 .

B l Remorse for a Fault of Love: "Made-
leine" Zola, L889 ,

2 Remorse for an Adultery: "Count Witold"
Rzewuski, L889 ; "Le Scandale" Bataille, L909).

With P> l there are connected, in one respect, the
plays classed in A l of Situation XXVII.

LIS

114 THIRTY-SIX DRAMATIC SITUATIONS

Need I call attention to the small number, but the
terrible beauty, of the above works? Is it necessary
to indicate the infinite varieties of Remorse, according
to; 1st, the fault committed (for this, enumerate all
crimes and misdemeanors included in the legal code,
plus those which do not fall under any law; the fault,
moreover, may at the writer's pleasure be real or imag-
inary, committed without intention, or intended but
not committed - - which permits a "happy ending" -
or both intended and committed; premeditated or not,
with or without complicity, outside influences, sub-
tlety, or what not); 2nd, the nature, more or less im-
pressionable and nervous, of the culprit; 3rd, the sur-
roundings, the circumstances, the morals which pre-
pare the way for the appearance of Remorse - - that fig-
ure plastic, firm and religious among the Greeks, the
beneficially enervating phantasmagoria of our Middle
Ages; the pious dread of a future life in recent centuries;
the disturbance of the equilibrium of the social instincts
and consequently of the mind according to the inferences
of Zola, etc.

With Remorse is connected the Fixed Idea; through
its perpetual action it recalls Madness or Criminal Pas-
sion. Often it is but "remorse for a desire," remorse
the more keen in that the incessantly reviving desire
nourishes it, mingles with it, and, growing like a sort
of moral cancer, saps the soul's vitality to the point of
suicide, which is itself but the most desperate of duels.
"Rene," Werther," the maniac of the "Coeur Re>61a-
teur" and of Berenice" (I refer to that of Edgar Poe)
and especially Ibsen's "Rosmersholm," offer significant
portraits of it.

THIRTY-FIFTH SITUATION

RECOVERY OF A LOST ONE

(The Seeker; the One Found)

This is the Situation of "The Hero and the Nymph"
by Kalidasa; the second part of his "Sakuntala," and
the "Later Life of Rama" by Bhavabuti; the second
part also of "A Winter's Tale" and "Pericles" by Shakes-
peare; likewise of "Berthequine" and of "Bertha au
Grand Pied" Miracles of Notre- Dame, XIV Century);
of almost all of "La Reine Aux Trois Fils," another
Miracle; it is the Situation of "Thyestes in Sicyon"
by Sophocles and of "Alcmeon in Corinth" by Suri-
pides. It is the denouement of "Pere Chasselas" (Athis,
1886); "Foulards Rouges" (Dornay, 1882); "La Gar-
dienne" (Henri de Regnier); it is the old familiar plot
of the "stolen child" and of stories of foundlings; of
arbitrary imprisonments, from the Man in the Iron
Mask upon whom Hugo began a drama) and "Richard
Coeur-dc-Lion" down to recent tales of sane persons
confined as lunatics. It is the point from which bursts
forth so frequently thai double explosion of the prin-
cipal Bcene; My daughter I My mother!"

Classes A and C Of Situation XI move toward the
same end.

In other cases il is the part of the child to discover

his father, his kinsman, and to make himself known;
thus i' is in the "Enfances Roland;" in "Lea Bnfants
du Capitaine Grant" by Jules Verne and "lea Aventures
de Gavroche" Darlay and Marot, L909 .

115

116 THIRTY-SIX DRAMATIC SITUATIONS

To the invariably happy and epithalamic ending to
our plays built upon this Situation, and to the fortuit-
ous coincidences with which it has been too generously
interlarded, I attribute the public's final weariness of
it. For does not this Situation retain more naturalness
than the Nineteenth, and how fecund has been that
Nineteenth, whose charm and tempting variety is all
possessed by our Thirty-Fifth!

THIRTY-SIXTH SITUATION

LOSS OF LOVED ONES

(A Kinsman Slain; a Kinsman Spectator; an
Executioner )

Here all is mourning. In long funeral processions we
see them pass, the heroes of this Situation; they move
from the dark home to the dark church, and from there
to the cemetery, returning only to weep by the hearth
until they leave it on the departure of another from
among them.

A (1) - Witnessing the Slaying of Kinsmen,
While Powerless to Prevent It: The "Niobe" and
"Troilus" of .Ks.-hylus; "Polyxena" and "The Captives"
of Sophocles; a part of his "Laocoon;" "The Troades" of
Euripides and of Seneca.

(2) Helping to Bring Misfortune Upon Ones
People Through Professional Secrecy: "Les B9.il-
lonnes" Mine. Terni, lw.i .

I'. Divining the Death of a Loved One: The

Intruder" and 'The Seven Princesses" by Maeterlinck.
the one modern master of the Thirty-Sixth, and how
powerful a one!

(' Learning of the Death of a Kinsman or Ally:
Pari of the 'Tlhesus" attributed i<> Euripides; "Pen-
thesilea," "Pyschostase" and "The Death of Achilles"
by Eschylus; "The Ethiopians" of Sophocles. Here
added the difficull role of the messenger of misfor-
tune li" who bends beneath the imprecations of
Cleopatra, in Shakespeare. From comedy: "Cen1
1 .1 : . Emue " by Torquel .

117

118 THIRTY-SIX DRAMATIC SITUATIONS

D - Relapse into Primitive Baseness, through
Despair on Learning of the Death of a Loved One:

- "La Fille Sauvage" (Curel, 1902).

But embody, in a human figure, the wrong, the mur-
der, which is abstract in most of these examples. Still
bound by his helplessness, how the unfortunate who is
made a spectator of the agony will struggle, appeal,
and vainly implore the heavens - the Victim, meantime,
humbly beseeching him who thus looks on in despair,
as though he had power to save. The haughty sar-
donic silhouette of the Executioner dominates the scene,
intensifying the keenness of the grief by his cynical
pleasure in it . Dante has conceived of no

sharper sorrow in the circles of his Inferno.

CONCLUSION

To obtain the nuances of the Thirty-Six Situations,
I have had recourse almost constantly to the same
method of procedure; for example, I would enumerate
the ties of friendship or kinship possible between the
characters; I would determine also their degree of con-
sciousness, of free-will and knowledge of the real end
toward which they were moving. And we have seen
that when it is desired to alter the normal degree of
discernment in one of the two adversaries, the intro-
duction of a second character is necessary, the first
becoming the blind instrument of the second, who is at
the same time invested with a Machiavellian 'subtlety,
to such an extent does his part in the action become
purely intellectual. Thus, clear perception being in the
one case excessively diminished, it is, in the other, pro-
portionately increased. Another elemenl for modifying
all the situations is the energy of the acts which must
result from them. Murder, for instance, may be
reduced to a wound, a blow, an attempt, an outrage, an

intimidation, a threat, a too-hasty word, an intention
not carried out, a temptation, a thought, a wish, an in-
justice, a destruction of a cherished object , a refusal,

a want of pity, an abandonment, a falsehood. If the

author so desires, this blow (murder or its diminutives)
may be aimed, not at the object of hatred in person,
bui at one dear to him. Finally, the murder may be
multiple and aggravated by circumstances which th<

law has foreseen. A third method of varying the sit-
uations: for this or that one of the two adversaries whose

itruggle constitutes our drama, there may he tubsti-

119

120 THIRTY-SIX DRAMATIC SITUATIONS

tuted a group of characters animated by a single desire,
each member of the group reflecting that desire under
a different light. There is, moreover (as I have already
shown), no Situation which may not be combined with
any one of its neighbors, nay, with two, three, four,
five, six of them and more! Now, these combinations
may be of many sorts; in" the first case, the situations
develop successively and logically one from another;
in the second case they dispose themselves in a dilemma,
in the midst of which hesitates the distracted hero; in
the third case, each one of them will appertain to a
particular group or a particular role; in the fourth, fifth,
sixth cases, etc., they are represented according to two,
or according to all three of the cases already brought
together in one situation, and together they escape from
it, but the majority of them fall therefrom into a posi-
tion not less critical, which may even offer but a choice
between two courses equally painful; after finding a
way between this Scylla and Charybdis, the very leap
by which they escape precipitates them into a final
Situation resulting from the preceding ones, and which
sweeps them all away together. . . This, be it

understood, is but one combination among a thousand,
for I cannot here elaborate the system by which this
study of the Thirty-Six Situations may be continued,
and by means of which they may be endlessly multi-
plied; that is a subject for a separate work upon the
"Laws of Literary Invention."

The composition or arrangement of the chosen Sit-
uations--and at the same time of the episodes and
characters introduced - - may be deduced in a manner
somewhat novel and interesting, from the same theory
of the "Thirty-Six." Considering, in effect, that "every dra-
matic situation springs from a conflict between two prin-
cipal directions of effort" (whence at the same time comes
our dread of the victor and our pity for the vanquished),
we shall have to choose, at the rising of the curtain,
between two beginnings; we must decide which of the
two adversaries pre-exists. This leads us infallibly to
make of the second the cause (innocent or responsible)

CONCLUSION 121

of the drama, since it is his appearance which will be the
signal for the struggle. The first, who especially enlists
our attention, is the Protagonist, already present in the
earliest Thespian tragedy, altogether lyric, descriptive
and analytic ; the second - - the obstacle arising or super-
vening - - is the Antagonist, that principle of the action
which we owe to the objective and Homeric genius of
iEschylus. One of two strongly opposing colors will
thus dominate the entire work, acording as we shall
choose, near the beginning, which of the two parties
shall possess the greater power, the greater chance of
victory.

Aristotle has taught us to distinguish between
"simple" tragedy (in which the superiority remains
upon the same side until the end, and in which, conse-
quently, there is no sudden change of fortune, no sur-
prise) and "complex" tragedy (the tragedy of surprise,
of vicissitude), wherein this superiority passes from
one camp to the other. Our dramatists have since
refined upon the latter; in those of their pieces which are
least complicated, they double the change of fortune,
thus leading ingeniously to the return of the opposed
powers, at the moment of the specta or's departure, to
the exact positions which they occupied when he entered
the hall; in their plays of complicated plot, they triple.
quadruple, quintuple the surprise, so long as their imag-
inations and the patience of the public will permit. We
thus see, in these vicissitudes of struggle, the first means
of varying a subject. It will not go very far, however,
since we cannot, however great our simplicity, receive

from the drama, or from life, more than one thousand
three hundred and thirty-two surprises. One thousand
three hundred and thirty-two? Obviously; what is
any keen surprise if not the passing from a state of
calm into a Dramatic Situation, or from one Situation

into another, or again into a state of calm? Perform
the multiplication; result, one thousand, three hundred
and thirty-two.

Shall we now inquire whence arise these vicissitudes,
these unexpected displacement ol equilibrium? Clearly

122 THIRTY-SIX DRAMATIC SITUATIONS

in some influence, proceeding from a material object,
a circumstance, or a third personage. Upon this Third
Actor - whose introduction into the drama was the
triumph of Sophocles -- must rest what is called the
Plot. He is the unforeseen element, the ideal striven
for by the two parties and the surrounding characters;
he is fantastically divided and multiplied, by two, by
three, by ten, by even more, to the point of encumbering
the scene; but he is always himself, always easily recog-
nizable. Some of his fragments become "Instruments,"
some, "Disputed Objects," some, "Impelling Forces;"
they range themselves sometimes beside the Protagonist,
sometimes near the Antagonist, or, moving here and there,
they provoke that downfall the incessant avoidance of
which is called - - for events as for mankind - - Progress.
In this way they clearly show their origin - that "Role-
Lien" (Jocaste in "Seven Against Thebes," Sabine in
"Horace") under which the Third Actor was germinating
in iEschylean tragedy, without yet taking a positive
part in the action.

It will be seen that the appearance of these figures
of the second plan, these Choruses, Confidants, Crowds,
Clowns, even Figurants re-enforced by those of the
original groundwork, precursors whose importance
ranges from Tiresias to the Messenger of "Oedipus the
King," from prophet to porter, modifies most power-
fully the effect of the ensemble, especially if we reflect
that each one of these, considered separately, has his
own especial motives for action, motives soon appar-
ent in regard to the characters who surround him, in
some dramatic situation subordinate to the dominant
one, but none the less real; the turns and changes of
the general action will affect him in some particular
way, and the consequences, to him, of each vicissitude,
of each effort, of each act and denouement, contribute
to the spectator's final impression. If the Third Actor,
for instance, be a Disputed Object, it becomes neces-
sary to take into account his first and his last posses-
sor, the diverse relations which he has successively had
with them, and his own preferences. If he appear as
Inspirer or Instigator, we must consider (aside from

CONCLUSION 123

his degree of consciousness or unconsciousness, of frank-
ness or dissimulation, and of Will proper) the persever-
ance which he brings to his undertaking; if he be uncon-
scious, the discovery which he may make of his own
unconsciousness; if he be a deceiver, the discoveries
which others may make of his dissimulation ("others"
here meaning perhaps a single character, perhaps the
spectator). These remarks also apply to the "Instru-
mental" role; and not alone these remarks, but those
also which concern the "Object," are applicable to the
Role-Lien.

I have already observed that this last role, and the
triple hypostasis of the Third Actor, may be repro-
duced in numerous exemplars within one play. On the
other hand, two, three, or all four of them may be fused
in a single figure, (Lien- Instrumental, Object-Instigator,
Instrument-Lien-Object, etc.), combinations which pre-
sent themselves, like the combinations of the Situations,
already considered, in varied array. Sometimes the
hero who unites in himself these divers roles plays them
simultaneously -- perhaps all of them toward an indi-
vidual or group, perhaps one or several of them toward
an individual or group, and another role wherein these
roles mingle, toward some other individual or group;
sometimes these various roles will be successively played
toward the same individual or group, or toward several;
sometimes, finally, the hero plays these roles now simul-
taneously, and again successively.

Bui it is not possible to detail in these pages, even
if I so desired, the second pari of the An of Combina-
tion; thai which we in Prance call by the Bomewhal
feeble term as Goethe remarked) "composition." All
that I have here undertaken to show is, first, thai :i
single study must create, al the same time, the epi-
sodes or actions of the characters, and the charactei
themselves: for upon the stage, what the latter are
may be known only by what tney do; next, how inven-
tion and composition, those two modes of the Ait ot
Combination not Imagination, empty word! will,

124 THIRTY-SIX DRAMATIC SITUATIONS

in our works to come, spring easily and naturally from
the theory of the Thirty-Six Situations.

Thus, from the first edition of this little book, I might
offer (speaking not ironically but seriously) to dramatic
authors and theatrical managers, ten thousand scen-
arios, totally different from those used repeatedly upon
our stage in the last fifty years ******
"The scenarios will be, needless to say, of a realistic
and effective character. I will contract to deliver a
thousand in eight days. For the production of a single
gross, but twenty-four hours are required. Prices
quoted on single dozens. Write or call, No. 19, Passage
de l'Elysee des Beaux-Arts. The Situations will be
detailed act by act, and, if desired, scene by scene"

But I hear myself accused, with much violence, of an
intent to "kill imagination." "Enemy of fancy!" "De-
stroyer of wonders!" "Assassin of prodigy!" * * *
These and similar titles cause me not a blush.

A singular history, in truth, is that of the "Imagi-
nation." Certainly no one in classic times thought of
priding himself upon it. Far from it! Every novelty
on its first appearance, hastened to support itself by
appeal to some antique authority. From 1830 dates
the accession to the literary throne of this charlatan-
esque "faculty," analysis of which is, it would seem,
eternally interdicted. The results of this new regime
were not slow in appearing, and they may be seen, in
their final decay, among the last successors of ultra-
romantic Romanticism. Mysterious crime, judicial error,
followed by the inevitable love affair between the chil-
dren of slayer and victim; a pure and delicate work-
ing-girl in her tiny room, a handsome young engineer
who passes by; a kind-hearted criminal, two police
spies, the episode of the stolen child; and in conclu-
sion, for the satisfaction of sentimental souls, a double
love-match at the very least, and a suicide imposed
upon the villain - this, one year with another, is the
product of the Imagination. For the rest, in the whole

CONCLUSION 125

field of dramatic romanticism (which corresponds so
well to the Carrache school of painting) Hugo alone has
created, thanks to what? - - to a technical process
patiently applied to the smallest details, - - the antithesis
of Being and of Seeming.

One vigorous blow was, for the moment, given to
this legend of the Imagination by Positivism, which
asserted that this so-called creative faculty was merely
the kaleidoscope of our memories, stirred by chance.
But it did not sufficiently insist upon the inevitably
banal and monotonous results of these chance stirrings,
some of our memories - - precisely those least interest-
ing and least personal -- repeat ing themselves a thou-
sand times in our minds, returning mercilessly in all
manner of methodless combinations. These souvenirs
of innumerable readings of the products of imitation
in our neo-classic and Romantic past, envelope and
overwhelm us unless we turn to that observation of
nature which was pointed out by the Naturalists' initia-
tive as an element of renovation. Even the Naturalists
themselves have too often viewed reality athwart their
bookish recollections; they have estimated too highly
the power of the artistic temperament, however vig-
orous it may be, in assuming that it could interpose
itself, alone and stripped of all convention, by a simple
effort of will, between Nature and the literary product
to be engendered. Thus "La Bfite Humaine" has
repeated the "judicial error" in thai special form which
is as common in books as il is rare in life; thus the starting-
point of "L'CEuvre" is merely the converse of the "thesis"

of the GonCOUllS and l);uie|et; thus reminiscences of

"Madame Bovary" appear in many a study of similar
which should, nevertheless, remain quite distinct;
and thus has appeared, in the Becond generation
of "nat uralisti ." ;i new school of imitators and tradi-
tional!

And all the old marionettes have reappeared, inflated

with philosophic and poetic amplifications, but too

often empty of symbolism, as of naturalism and
humanism.

L26 THIRTY-SIX DRAMATIC SITUATIONS

As to the methods of the Art of Combining, the truth
may be grasped by one bold look, one triumphant glance
at all these phantoms of trite thought, as they stand
in their respective places in the foregoing categories.
Any writer may have here a starting-point for observa-
tion and creation, outside the world of paper and print,
a starting-point personal to himself, original in short, —
which does not in the least mean improbable or uncon-
vincing, since many stituations which have today an
appearance of improbablity have merely been disfigured
by persons who, not knowing how to create new ones,
have complicated the old, entangling themselves in
their own threads.

Especially will the invention of an unusual story,
the discovery of a "virgin field," (to use the naturalists'
term) be made so easy as to be almost valueless. We
are not unaware of the importance, in the perfecting of
Greek art, of the fact that it was circumscribed and
restricted to a small number of legends (CEdipus,
Agamemnon, Phaedra, etc.,), which each poet had in
his turn to treat, thus being unable to escape compari-
son, step by step, with each of his predecessors, so that
even the least critical of spectators could see what part
his personality and taste had in the new work. The
worst which may be said of this tradition is that it ren-
dered originality more difficult. By a study of the
Thirty-Six Situations and their results, the same advan-
tage may be obtained without its accompanying incon-
venience. Thenceforth Proportion alone will assume
significance.

By proportion I mean, not a collection of measured
formulae which evoke familiar memories, but the
bringing into battle, under command of the writer, of
the infinite army of possible combinations, ranged accord-
ing to their probabilities. Thus, to make manifest
the truth or the impression which, until now, has been
perceptible to him alone, the author will have to over-
look in a rapid review the field before him, and to choose
such of the situations and such of the details as are
most appropriate to his purpose. This method — or,

CONCLUSION 127

if you will, this freedom and this power - - he will use,
not only in the choice, the limitation and fertilization
of his subject, but in his observation and meditation.
And he will no more run the risk of falsifying, through
pre-conceived ideas, the vision of reality than does the
painter, for example, in his application of laws equally
general, and likewise controlled by constant experi-
mentation,— the divine laws of perspective!

Proportion, finally realizable in the calm bestowed by
complete possession of the art of combining, and recov-
ering the supreme power long ago usurped by "good
taste" and by "imagination," will bring about the recog-
nition of that quality more or less forgotten in modern
art, - "beauty." By this I mean, not the skilful
selection of material from nature, but the skilful and
exact representation -with no groping, no uncertainly,
no retention of superfluities -of the particular bit of
nature under observation.

But it is more than this, for these two definitions,
the eclectic and the naturalist, concern but a limited
number of the arts, and but one side of them; thai
small number to which imitation is open (painting,
literature of character, and, in a limited way, sculp-
ture), and that side of them which is purely imitative.
What sijmificanee have these two definitions (both of
which real upon the reproduction of reality, the one
exalting and the other belittling it) if they be eon-
fronted with Music, with the didactic poetry of a Hesiod,
with the Vedic incantations, with true statuary, simpli-
fied and significant , from the mighty chisel-strokes of
Phidias or of the XIII Century, With purely ornamental

or decorative art, 'he "beauty" of ;i demonstration

in geometry, or finally with Architecture, now reviv-
ing in silence and obscurity, that arl which comes periodi-
cally i" reunite and, like an ark, to rescue the others,

that art which shall once more return to lead us away

from the prematurely senile follies of our delettanti
and sectarians.

Upon ;i like heighl stands a principle greater than

Naturalism with its experimental method, or Ideal-
ism which gives battle to it, Logic.

128 THIRTY-SIX DRAMATIC SITUATIONS

It is by methods of logic that Viollet-le-Duc has
enabled us to estimate truly the marvels of our "grand
siecle," the XIII Century, substituting (to cite only
this) for the simple admiration of 1830 before each
stone saint so "picturesquely" perched upon the point
of an ogive, the builders' explanation: that a stone of
the exact weight and dimensions of the saint was there
absolutely necessary, to prevent the breaking of the
ogive under a double lateral pressure, - - whence the
instinctive satisfaction it gives our eyes. It is a great
misfortune that the understanding of that magnificent
age in which a Saint Louis presided over the multiple
communal life, an age whose only equal in the world's
history is that in which Pericles directed, from the
Athenian metropolis, an identical movement, - - that
this understanding, which would be so useful to us,
should have been horribly compromised in the Roman-
tic carnival. Hugo's "Notre-Dame de Paris," wherein
the public believed it beheld a portrait of our
"Moyen-age" (a most absurd appellation, by the way),
represents it, by a singular choice, as already long dead,

after the Hundred Years' War which bled us to the
point where we fell, passive and defenseless, under the
domination of the Florentine national art called
"renaissant," and then of various other influences,
ancient and foreign, during four centuries. And, down
to the very moment at which I write, the literary pro-
ductions upon the subject of this most incomparable
period of our past have been but pitiable affairs. But
yesterday, a Renan was writing of ogival art as an
effort which had been impotent ("Souvenirs d'Enfance
et de Jeunesse") or which at most had fathered works
of no enduring character ("Priere sur l'Acrople"); the
very Catholic Huysmans, in his "En Route," was mak-
ing the most astounding salad of Roman vaulting,
Primitive painting, Gregorian plain-chant, - - a salad
whose recipe is "the Faith" and which is called, natur-
ally, the "Moyen-age," that age which embraces ten
centuries of humanity, plus one-third of humanity's
authentic history, three epochs strongly antagonistic
to each other, peoples widely diverse and opposed; a

CONCLUSION 129

something equivalent to a marriage between Alcibiades
and Saint Genevieve.

The "Moyen-age," or, to speak more accurately, the
XII, XIII, and XIV Centuries, were not in the least
fantastic and freakish; this is the character merely of
an occasional generation, such as that of Louis-
Philippe. Neither were they mystic, in the present
sense of that word. The architecture of those cen-
turies grew, stone by stone, plan by plan, out of the
most practical of reasons. In their sculpture there
was nothing "naive" -the naivete is ours, when we so
estimate that sculpture, which is far more realistic than
our own; and if, persisting in the contrary opinion, we
cling to the weird forms of the gargoyles, it may be
said that, born of a symbolism akin to those of Egypt
and Greece, they represent analogies equally ingen-
ious and profound. In this period arose Thomism,
lately called back into a position of honor to combat
Positivism, and which realized so happy a harmony
between Aristotelianism and Christian faith, between
science and theology. In this period, too, were born
the natural sciences, and, in the minds of its poets,
evolved the laws by which our poetry lives today, tho.se
rhythms which through Ronsard we still hear, that
Rhyme which we gave to all Europe, and, ;it the
same lime, thy groined vaultings, () Utile town of Saint -
Denis, suzerain oriflamme, pilot-barque of France! All
these were born, and grew, beneath the grave gaze of

the same wisdom which, on the Ionian shores, was called
Athene.

Toward a new aspect of the same logic OUT own age
already turns, since, having drunk of that antiquity by

whose forces We ruleol KiU'ope a second time in the
XVII Century; having drunk of the laiest of great

foreign influence-, the Germanic, we .ire returning to
reality and to 'he future. Thus, when each Greek

city had absorbed the neighboring local cults its "foreign

influences") and the Oriental cults the antiquity"
of that day , the most beautiful of mythologies were
formed. It i . al least, toward an art purely logical,

L30 THIRTY-SIX DRAMATIC SITUATIONS

purely technical, and of infinitely varied creations,
that all our literary tendencies seem to me to be con-
verging. In that direction proceed Flaubert and Zola,
those rugged pinoeers, Ibsen, Strindberg, and all writers
deliberately unmindful of their libraries, as the Hellenes
were of barbarian literature; there moves Maeterlinck,
having reduced action to the development of a single
idea; Verlaine, delivering from conventional rules true
rhythm, which makes for itself its own rules; Mallarm£,
prince of ellipse, clarifying syntax and expelling clouds
of our little parasite words and tattered formulae; in
that direction Moreas calls us, but without freeing
himself, unfortunately, from the Italianism of our so-
called Renaissance; all these, and others not less glorious,
a whole new generation springing up, futurists, "loups,"
cubists, seem to me to be seeking the same goal, the
final abolition of all absolute authority, even that of
Nature and of our sciences her interpreters; and the
erection upon its debris of simple logic, of an art solely
technical, and thus capable of revealing an unknown
system of harmony; in brief, an artists' art.

In literature, in dramatic literature which is the
special subject of our consideration, the investigation
of Proportion of which I have above spoken will show
us the various "general methods" of presenting any
situation whatever. Each one of these "general
methods," containing a sort of canon applicable to all
situations, will constitute for us an "order" analogous
to the orders of architecture, and which, like them,
will take its place with other orders, in a dramatic
"system." But the systems, in their turn, will come
together under certain rubrics yet more general, com-
parisons of which will furnish us many a subject for
reflection. In that which we might call Enchantment,
there meet, oddly enough, systems as far apart in origin
as Indian drama; certain comedies of Shakespeare ("A
Midsummer Night's Dream;" "The Tempest"), the
"fiabesque" genre of Gozzi, and "Faust;" the Mystery
brings together the works of Persia, Thespis and the
pre-Aeschyleans, "Prometheus," the book of "Job,"

CONCLUSION 131

the stage of the tragic Ezekiel, of Saint Gregory Nazian-
zen, of Hroswitha, the Jeux and Miracles of our XIII
Century, the Autos; here, Greek tragedy and the psy-
chologists' imitations of it; there, English, German and
French drama of 1830; still nearer, the type of piece
which from the background of China, through Lope and
Calderon, Diderot and Geothe, has come to cover our
stage today.

It will be remembered that, when we were catalogu-
ing dramatic production in its thirty-six classes, an
assiduous effort to establish, for every exceptional case
found in one of them, symmetrical cases in the other
thirty-five caused unforseen subjects to spring up under
our very feet. Likewise, when we shall have analyzed
these orders, systems and groups of systems, when
we shall have measured with precision their resem-
blances and their differences, and classified them, or,
one by one, according to the questions considered, shall
have brought them together or separated them, - we
shall necessarily remark that numerous combinations
have been forgotten. Among these the New Art will
choose.

Would that I might be able to place the first, the
obscurest foundation-stone of its gigantic citadel!
There, drawing about her the souls of the poets, the
Muse shall rise before this audience re-assembled from
ancient temples, before these peoples who gathered of
yore around Herodotus and Pindar; she will speak the
new language 'he Dramatic ;i language too lofty
for the comprehension of the single soul, however great
it be, a language not of words but of thrills, such as
that spoken to armies, a language in truth addressed

to thee, 0 BaCChU . dispenser of glory, soul of crowds,

delirium of races, ab tract, but One and Eternal! Not
in one of our parlor-like pasteboard reductions of the
Roman demi-circua will this come to pass, but upon b
sort of mountain, Hooded with light and air, raised,
thanks to our conquest of iron added t<> the construe-
tive experience of tne Middle Ages; offered to the nation
by those who have -till held to the vanity of riches,

132 THIRTY-SIX DRAMATIC SITUATIONS

- a greater thing than the theatre of Dionysos where
gathered thirty thousand people, greater than that of
Ephesus wherein sat, joyous, a hundred and fifty thou-
sand spectators, an immense orifice-like crater in which
the earth seems to encompass the very heavens.

ALPHABETICAL INDEX

Of the Plays, Novels, Etc., Classified in the Situations

of this Work

Abbe Constantin (The), by L. Halevy WYIII
Abduction of Helen (The), by Lope de Vega X

Abduction of Helen (The), by Sophocles X

Abhirama mani, by Soundara Misra X

Abraham, by the Abbess Hroswitha XX

Absente (L'), by Yillemer XXVII

Abufar, by Ducis XVIII

Achilles in Scyros, by Metastasio XX

Adelaide Duguesclin, by Voltaire XIV

Adelghis, by Manzoni \

Adrien, by Metastasio XXIV

Aedonians The by Aeschylus \XX1

Aegeus, by Guripidi X 1 \

Aetius, by Metai tasio XXXIII

Affaire Clernenceau 1/ , by Duma- lils XXV
Allaire de La rue de Lourcine L1 . by LabicheXVl

Affaire dei Poit oi l.' , by Sardou XX XI II

Affaires sonl le Affaires Les . by Mirbeau XXVII

Agamemnon, by Aeschj \ V

Agathocle, by Voltaire \I\'

A nave, by Si XXXI

Age Critique L . bj I XXV

ili . by ' lorneille X X IV

by \ilieri Mil

Agnimitra and Malavika, by Kale! \\l\

Aiglon I.' . by Rostand \ 1 1

Aiu • oir qui, by Lope de \ • XIV

and XXXIII

Ajaa iphocle X \ I

Ajax Locrian, bj XXXI

1 : ;

A

2

B

B

C

2

D

B

1

B

1

i;

3

A

2

C

C

A

1

B

•J

1)

4

I)

1

A

a

H

•<

A

a

A

i

A

•>

A

I

C

a

\

5

134

THIRTY-SIX DRAMATIC SITUATIONS

Ajax Locrian, by Sophocles

Alcalde of Zalamea (The), by Calderon

Alceste, by Sophocles

by Euripides
" by Buchanan

by Hardy
" by Quinault

by Racine (projected)

by Lagrange-Chancel

by Boissy

by Sainte-Foix

by Coypel

by Dorat

by Cluck

by H. Lucas

by de Vauzelles
Alcmene, by Aeschylus
Alcmeon, by Sophocles
Alcmeon, by Euripides
Aletes and Erigone, by Sophocles
Alexander, by Sophocles
Alexander, by Euripides
Alexander, by Metastasio
Alexander, by Racine
Almanzor, by Heine
Alope, by Euripides
Alzire, by Voltaire
Amazones (Les), by Mazel
Amelie, by Voltaire
Amhra, by Grangeneuve
Ami Fritz (L'j by Erckmann-Chatrian
Amour, by Hennique
Amphitryon, by Sophocles
Anarghara-ghava (Hindu, anonymous)
Ancetre (I/), by Saint-Saens
Andre del Sarte, by Musset
Ancien (L1) by Richepin
Andromache, by Euripides
Andromaque, by Racine
Andromeda, by Euripides
Andromeda, by Sophocles
Andromede, by P. Corneille
Ane de Buridan (L'j, by de Flers and

de Caillavet
Angelo, by Hugo

Angles du Divorce (Lesj, by Biollay
Antigone, by Metastasio
by Sophocles
by Euripides
by Alamanni
by Alfieri

V

B

III

A 2

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

\X1

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XXI

A 1

XVIII

D 2

XXV

B 4

XXV

B 4

III

A 1

XIX

C 1

XIX

1

V

C

XXIX

A 4

I

B 2

XXIV

A 3

III

A 6

XXIX

A 4

XIV

A 2

III

A 6

XXVIII

A 2

XV

A 1

XIX

F 3

X

C 2

XXIX

B 6

XXV

C 4

XXI

A 2

XXI

D 2

XXV

B 1

II

A

II

A

II

A

XXIV

B 6

XXV

C 1

XXVIII

E

XIV

B 1

XX

A 3

XX

A 3

XX

A 3

XX

A 3

INDEX OF PLAYS, NOVELS, ETC.

135

Antiope, by Euripides

Antoinette Sabrier, by Coolus

Antony and Cleopatra, by Shakespeare

Aphrodite, by Louys

Apotre (L'i by Loyson

Appius and Virginia, by Webster

Apprentie (L') by Geffroy

Apres moi, by Bernstein

Archelaus, by Euripides

Argent (L'), by Zola

Argives (Thei, by Aeschylus

Ariane, by T. Corneille

Arlesienne iL'i, by Daudet and Bizet

Armee dans la Ville (L*), by Jules Romains

Arsene Lupin, by Leblanc

Artaxerxes, by Metastasio

Artemire, by Voltaire

Article 301, by Duval

Ascanio, by Saint-Saens

As de trefle (L'), by Decourcelle

Assommoir (L'), by Zola

Atalanta, by Aeschylus

Athalie, by Racine

Athamas, by Aeschylus

Atree et Thyeste, by Crebillon

Attentat (L')t by Capua and Descavea

Attila, by P. Corneille

Attila, by Werner

Augeus, by Euripii

•\utomne iL' . by Adam and Mourey

Autre Danger L' , by Donnay

Aventuree de Gavroche La . by Darlay

and Marol
Avi-u 1/ , by Sarah l'.crnhardt

II
XXV

XXII

XXI

XXVII

XXIV

XX

XXV

VI

VI

III

VI

XXII
VIII
V
XXXIII

XXXII

XXIV

XXIV

XXVII

XXII

IV

XXXI

XVI

XI II

XX l\

XX1\

111

1

VIII

\l\

XXXV
XXV

B

1

C

3

A

4

A

3

D

2

A

3

C

D

1

C

1

B

A

1

D

1

A

5

B

5

A

D

2

C

2

C

C

D

3

C

2

B

A

2

A

1

A

2

A

7

A

4

A

1

B

■1

B

2

B i

C i

B

Bacchante The . by Euripidi
Baillonne" Le , by Mme. Term

tzet, by Racine
Banque de I'Univera La . by Grenet-

I >ancourl
Barlaam el Jo aphat, Miracle oi Notre-Dame
Barricade La . by Bourgel
Ba aride The bj \.( cl j
Beethoven, bj Paw hois
Belle aux cheveua d'or La . by Arnould
Bellerophon, by Euripii
Benvi nuto, by Diaz

ail Le . bj Bel ■
Berenice, by Racine

XXXI
XXXVI

\\ II

\

XXIV
XXXI

\ II

XVII

\\X1

l\
\\\
\\

\

1

\

2

B

1

\

• >

1)

8

A

7

\

1

1)

C

8

B

3

B

r-

i

c

1

1!

8

136

THIRTY-SIX DRAMATIC SITUATIONS

Berenice, by Poe XXXIV
Berthe an grand pied, Miracle of Notre-

Dame XXXV

Berthequine, Miracle of Notre-Dame XXXV
Bete feroce (La), by Jules Mary and RochardXXX

Bete humaine (La), by Zola XVI

Bleus de l'amour (Les), by Coolus XXVIII

Blind (The), by Maeterlinck VII

Bluebeard, by Perrault II

Blue Bird (The), by Maeterlinck IX

Blue Monster (The), by Gozzi XIX

Bohemos, by Zamacois XXXIV

Boislaurier, by Richard XIV

and II

Bondman (The), by Massinger XXXII

Bon roi Dagobert (Le), by Rivoire XVIII

Boscotte (La), by Mme. Maldagne XXXIII

Bouchers (Les), by Icres III

Bride of Messina (The), by Schiller XVIII

Brigands (The), by Schiller XXXIII

Britannicus, by Racine XIV

Broken Heart (The), by Ford XXIX

Brutus, by Voltaire XXVII

Brutus II, by Alfieri XXX

Bucheronne (La), by C. Edmond XXIV

Burgraves (Les), by Hugo XIX

By Fire and Sword, by Sienkiewicz XXVI

P.

Cain, by Byron

Canace, by Speroni

Capitaine Burle (Le), by Zola

Captives (The), by Sophocles

Carbonari (Les), by No

Carians (The), by Aeschylus

Casquette au pere Bugeaud (La), by Marot

Casse-museau, by Marot

Casserole (La), by Metenier

Catherine la Batarde, by Bell

Catilina, by Voltaire

XIII

XXVI

XXII

XXXVI

XXIX

X

III

XXVII

III

XXXIII

cm

and XXX
V
III
III

Cato, by Metastasio

Cellule No. 7 (La), by Zaccone

Cenci (The), by Shelley

XIII B 3 and XXVI
Cent lignes emues, by Torquet XXXVI

Cesar Birotteau, by Balzac

C'est la loi, by Cliquet

XX

and VI
XXV

c

1

A

2

C

2

D

A

I)

3

G

2

A

9

A

1

A

A

1

D

2

A

8

A

2

C

3

A

1

A

1

D

1

A

2

A

8

F

1

C

2

A

1

C

2

c

1

A

1

A

4

A

A

8

D

5

A

7

D

1

A

1

B

C

B

3

B

5

A

3

C

A

4

B

B

8

INDEX OF PLAYS, NOVELS, ETC.

13'

Chamillac, by Feuillet

Champairol (Les), by Fraisse

Chantecler, by Rostand

Charbonniere (La), by Cremieux

Chevalerie Rustique, by Yerga

Chevalier Jean (Le), by de Joncieres

Chien de garde (Le>, by Richepin

Chinese Hero (The), by Metastasio

Choephores (The . by Aeschylus

Christ Suffering, by St. Gregory Nazianzen

Chryses, by Sohpocles

Chrysippus, by Euripides

Cid (Lei, by P. Corneille

Cinna, by P. Corneille

Cinq doigts de Birouk (Les), by

De Courcelle
Circuit (Le), by Feydeau and de Croissel
Citta morta (La), by d'Annunzio
Clavijo, by Goethe
Cleopatre, by Sardou
Clitandre, by P. Corneille
Cloltre (Le), by Verhaeren
Coeur a coeur, by Coolus
Coeur a ses raisons (Le), l>y de Flers

and de Cailluvet
Coeur de Se-hor, by Michaud d'Humiac
Coeur material, by Franck
Coeur revelateur (Le), by Laumann, after

Poe
Colomba, by Merimee
Comedy of Errors, by Shakespeare
Compagnon de voyage Le . by Andei

Compere le Kenanl, Ity I'olti

Comte d' Essex, by T. Corneille
Comtesse Sarah, by Ohnel
Connais-toi, by Hervieu
Conqudte de la Toison d'or La), by P. Cor-
neille
Conqudte de Plassans La . by Zola
Conspiration du general Malel La . by de

I ... sus

Constant Prince The , by Calderon

:e de Noel, by Linant
Corbeau Le , by Gozzi
( !orbeaiu Le . bj Becque
Cor fleuri !<<• , by Mikhael and Herold
Coriolanus, by Shakespeare
Cornette La), by M. and Mile. Ferrier
( ounl of Carmagnola The . by Manconl

and
I ounl Witold, by iski

XXYI

B

5

I

B

3

VIII

A

2

XXI

D

1

xxrv

A

10

XXXII

C

2

XXI

D

1

XXVIII

A

1

IV

A

1

XX

A

2

I

A

1

XXVI

D

1

XXIX

B

1

VIII

A

1

XXX

C

1

x x i v

C

XXVI

c

2

III

A

8

XXII

A

4

XXXIII

D

1

x x x i v

A

■2

xxv

C

ti

XIV

D

xxvu

D

6

XXXIII

A

3

X X X 1 V

A

■A

111

A

1

XXXII

\

1

XI

B

^>

\

\

XXIV

B

•>

xxv

C

8

xxu

A

2

XXI\

B

1

XXII

\

• >

VIII

A

1

\\

\

•I

Mil

F

XXXIII

\

3

VII

B

WIN

1!

3

\ 1

C

1

\ \l

1)

1

V

C

VI

1

1

\\ \l\

1!

13s

THIRTY-SIX DRAMATIC SITUATIONS

Countess Fredegonde (The), by Amigues
Course du flambeau (La), by Hervieu
Courtisane (La), by Arnyvelde
Courtisane de Corinth (La), by Carre and

Bilhaud
Cousine Bette (La), by Balzac
Crainquebille, by France
Cresphontes, by Euripides
Cretans (The), by Euripides
Creusa, by Sophocles
Crime de Jean Morel (Le), by Samson
Crime de Maisons-Alfort (Le), by Coedes
Crime d'un autre (Le), by Arnold and Ren-

auld
Crime and Punishment, by Dostoievsky
Criminelle (La), by Delacour
Crocodile (Le), by Sardou
Croisade des Enfantelets francs (La), by

Ernault
Cromwell, by Hugo
Cuirs de Boeuf (Les), by Polti
Cymbeline, by Shakespeare
Cyrano de Bergerac, by Rostand
Cyrus, by Metastasio

and

D

Damaged Goods, by Brieux

Dame a la faulx (La), by Saint-Pol Roux

Dame aux Camelias (La), by Dumas fils

Dame au domino rose (La), by Bouvier

Damon, by Lessing

Danae, by Euripides

Danae, by Aeschylus

Danaides (The), by Aeschylus

by Combaud

by Phrynichus

by Salieri

by Spontini
Danseur inconnu (Le), by Bernard
Dante, by Godard

Death of Achilles (The), by Aeschylus
Death of Cansa (The;, by Crichna Cavi
Debacle (La), by Zola
Decadence, by Guinon
Declassee (Laj, by Delahaye
Dedale (Le), by Hervieu
Deformed Transformed (The), by Byron
Degringolade (Laj, by Desnard
1 lemetrius, by Metastasio

XXV

B

7

XXI

E

XXVII

B

6

III

C

XXII

C

1

XXXIII

A

3

XIX

B

1

XXVI

E

XIX

B

1

XXIX

B

7

III

A

1

XXXIII

D

2

XXXIV

A

3

XXXIII

B

2

XXVII

B

5

VII

B

XXX

A

3

XXVI

A

1

XXXII

B

2

XXI

C

2

XIII

C

XIX

B

3

XVII

C

2

XXIV

B

9

XXVII

B

G

XVIII

C

XIV

D

I

B

2

B

2

XXIII

B

3

XXIII

B

3

XXIII

B

3

XXIII

B

3

XXIII

B

3

XXVIII

A

2

XXIV

A

3

XXXVI

C

XIII

C

VI

A

1

XXV

C

1

111

B

4

XXIV

A

1

IX

D

3

XXXIII

D

6

XXIV

A

5

INDEX OF PLAYS, NOVELS, ETC.

139

Demon du foyer (Le), by George Sand

Demophon, by Metastasio

Denise, by Dumas fils

Depute Leveau (Le), by Lemaitre

Dernier Amour, by Ohnet

Desert Isle (The), by Metastasio

Dette (La), by Trarieux

Duex Jumeaux (Lest, by Hugo

Devant l'ennemi, by Charton

Devotion to the Cross, by Calderon

Dhourtta narttaka

Dhourtta samagama

Diana, by Paladilhe

Diane, by Augier

Diane de Lys, by Dumas fils

Dictys, by Euripides

Dido, by Metastasio

Dieu ou pas Dieu, by Beaubourg

Disciple (Le), by Bourget

Discovery of the New World, by Lope de

Vega
Divorce (Le), by Bourget
Divorce de Sarah Moon- Le), by Rozier

and Paton
Divorcee (La), by Fall and Leon
Docteur Pascal, by Zola
Don Carlos, by Schiller
Don Garzia, by Alfieri
Don Juan, by Dumas pere
by Goldoni

" by Gral.l.e

" by Moliere

" by Sadwell

" by Tellez

by Tirso de Molina
" " by Zamora

" by Zorilla

Don l'i-'ire, i>y Voltaire
Don Quixote, by ' lerva

1 )on Sanclie, by ' onieille

Drapeau L Moreau

I >roi1 an bonheur Le . !•:■' Lemonnier
I >u< Malii The . by Websti

l >uel !-<• . by Lavedan

!■:

Earthen Toy-carl The . by Sudraka
Echeance I. . by Jullii

Eclabou ore I . . bj I U I -lily
Ecole 'I' . eul I . b) \ i

XIV

A

4

XIX

A

1

XXVII

B

3

X X v

B

3

XX Y

B

6

XII

B

XIV

B

1

VII

A

XXIV

A

8

V

A

XXII

A

1

X X 1 V

A

9

XXXIII

1)

3

XXI

C

1

\\\

('

3

II

B

2

XX

B

3

XXIX

A

3

III

A

IX

D

1

XXVIII

D

1

XXI

A

• >

\\\ll

\

2

X X Y 1

B

2

XXVI

B

•>

XXXIII

c

M

Y

B

\

B

\

B

Y

B

Y

B

Y

B

\

r.

Y

1!

Y

B

XI Y

\

•j

11

\

WIY

\

<;

X X 1 \

\

S

XXI

c

•j

\\l\

\

!

XIII

\

i

XXIV

\

:■

\\\

l

.s

\\\l\

\

:i

\\\ 1

i

A

140

THIRTY-SIX DRAMATIC SITUATIONS

Edith, by Bois
Egmont, by Goethe
L812, by Nigond
Klectra, by Sophocles

by Euripides

by Attilius

by Q. Cicero

by Pradon

l)y Longepierre

by Crebillon

by Rochefort
" by Chenier

by Guillard
Eleusinians, by Aeschylus
Emigrants (Les), by Hirsch
Emigre (L'), by Bourget
Emilia Galotti, by Lessing
Empereur Julien (L') Miracle of Notre-

Dame
Enchantement (L'), by Bataille
En detresse, by Fevre
Enemy of the People (An), by Ibsen
Enigma (The), by Hervieu
Enfant du Temple (L'), by de Polhes
Enfants du Capitaine Grant (Les), by Verne
Enfants naturels (Les), by Sue
En greve, by Hirsch
Eole, by Euripides
Epigones (The), by Aeschylus
Epigones (The), by Sophocles
Erechtheus, by Euripides
p]riphyle, by Sophocles
Kriphyle, by Voltaire
Esclarmonde, by Massenet
Esclave du devoir (L'), by Valnay
Esmeralda (La), by Hugo
Esther, by Racine
Etau (L'j, by A. Sardou
Ethiopians (The), by Sophocles
Et ma soeur? by Rabier
Etrangere (L'), by Dumas fils
Etudiant pauvre (L'), by Milloecker
Etudiants russes, by Gilkin
Eumele, by Sophocles

and
Eumenides (The), by Aeschylus

and
Europa, by Aeschylus
Euryale, by Sophocles
Eurysaces, by Sophocles
Evangeliste (L'), by Daudet

V

c

V

c

XIV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

1

IV

A

2

XV

A

1

XXVIII

A

1

XXIV

C

XXXI

A

2

XIV

A

4

VII

C

2

V

C

XXV

D

1

XX

A

4

XXXV

XVIII

A

2

XXIV

A

7

XXVI

C

2

III

A

1

IV

A

1

XXIII

A

1

IV

A

1

IV

A

1

XVII

B

2

XXXII

A

3

XXIV

A

11

I

C

1

XVI

D

XXXVI

C

XX VII I

B

III

B

7

XXXIII

A

1

XXVII

D

1

XVII

A

1

XXXI

B

5

XXXIV

A

2

I

A

1

X

A

XIX

B

2

I

C

2

XX

B

1

INDEX OF PLAYS, NOVELS, ETC. 141

Exode (L'), by Fauchois

Exodus of the Hebrews (The), by Ezekiel

Ezzelino, by A. Mussato

Famille d'Armelles (La), by Marras

Faust, by Goethe

Fantasio, by Musset

Fatal Dowry (The), by Massinger

Faute de l'abbe Mouret (La . by Zola

Feast of the Achaians, by Sophocles

Fedora, by Sardou

Femme de Claude (Las, by Dumas tils

Femme de demain (La), by Lefebvre

Femme X <La), by Bisson

Fermiere (La), by d'Artois

Festin de Pierre (Le), by T. Corneille

Fiacre No. 13, by Dornay

Fille a Guillotin La . by Fleischmann

Fille du depute (La), by Morel

Fille du roi d'Espagne (La , Miracle of

Notre-Dame
Fille Elisa (Lai, by E. de Goncourt
Faille sauvage (La), by de Cure!
Fils de Jahel (Les), by Mme. Armand
Fils de Porthos (Le), by Blavet
Fils naturel (Le), by Dumas tils
Flore de Frileuse, by Bergerat
Fontovejune, by Lope de Vega
Fortune des Rougon (La), by Zola
Fortune and Misfortune of a Maine, by

Calderon
Fossilcs | Lea), by de (urel
Foulards rouges Lee . by Dornay
Francillon, by Dumas fija
Francois lea bus bleus, by Measager
Francoisc de Rimini, l>y A. Thomi
Prere d'arme Le . by Garaud
Freres ennemia Lea . by Racine
Frerea Zemganno Le . by B. <l«' Goncourl
Friquel (Le , by Willy and Gyp
Fugil ive La . by Picard
Furie (La , by B<

G

Gardener's Dog The . by I. ope de Vega
Gardienne La . by 'l<- Regnier
Gavroche, by 1 >on
Georgette, by Sardou

XXIX

A

4

XXXI

A

2

XXX

c

1

XXV

D

o

VI

D

1

II

B

2

XXV

c

5

XXII

A

1

111

B

2

XXIX

B

5

X X V

C

7

XXV

B

9

XXVII

A

1

XXIV

C

XXXI

B

■2

XXXIII

D

6

XXIII

A

:?

XXVII

A

;;

XX XII

B

•J

XVI

A

2

XXXVI

D

XX

B

2

XXIV

A

5

XII

B

XXVII

B

2

\ Ml

B

2

XXX

C

1

XXIX

B

6

XIV

B

1

X X X V

xx\

B

•>

XXI\

B

(i

\\\

c

:i

XXI

D

l

XIII

A

• >

\\1

B

1

X\l\

B

6

\\l

1

■2

XXII

\

:.

XXIV

B

XV

\ \ Mil

B

•

x xvii

\

I

142

THIRTY-SIX DRAMATIC SITUATIONS

Gerfaut, by C. de Bernard

Germinal, by Zola

Germinie Lacerteux, by the Goncourts

Ghosts, by Ibsen

Glatigny, by Mendes

Glaucus Pontius, by Aeschylus

Glu (La), by Richepin

Gold Bug (The), by Poe

Goetz de Berlichingen, by Goethe

Grande Iza (La), by Bouvier

Grande Marniere (La), by Ohnet

Grand soir (Le), by Kampf

Grands (Les), by Veber and Basset

Great Expectations, by Dickens

Griffe (La), by Bernstein

Guebres (Les), by Voltaire

Guests (The), by Aeschylus

Giubor, Miracle of Notre-Dame

H

Hamlet, by Shakespeare

Hanouman, Hindu drama
Heaven and Earth, by Byron
Hecuba, by Euripides
Hedda Gabler, by Ibsen
Helen, by Euripides
Helen Reclaimed, by Sophocles
Heliades (The), by Aeschylus
Henry IV, by Shakespeare
Henry V, by Shakespeare

and

and

Henry VI, by Shakespeare
Henry VIII, by Shakespeare
Henri VIII, by Saint-Saens
Heraclides (The), by Aeschylus
by Euripides
Heraclius, by Corneille
Heracles Mainomenos, by Euripides
Hercules Furens, by Seneca
Hercules on (Eta, by Seneca
Hermione, Sophocles
Hernani, Hugo

XIX and
Herodias, by Flaubert
Hero and the Nymph (The), by Kalidasa
Hippolyte, by Euripides

by Seneca
His Own Gaoler, by Calderon
Homme a deux tetes (L'j, by Forest

XXV

c

6

VIII

B

2

XXII

c

1

XVIII

B

3

XXIV

A

9

IX

B

2

XXII

A

5

XI

B

1

V

c

XXXIII

B

2

XXIX

A

2

VIII

A

1

XXXIII

A

3

XXI

A

2

XXII

XIX

A

2

VII

B

XXIII

B

4

IV

A

1

XIII

C

X

C

2

XXIV

A

1

III

A

2

XVI

A

3

X

C

1

XII

C

XIII

A

1

XXX

B

IX

B

1

XXXIII

A

1

VI

B

XXV

B

5

XXV

B

5

I

A

1

I

A

1

XVIII

B

2

XVI

A

1

XVI

A

1

XXV

B

1

X

C

2

XXIV

A

3

XX

A

1

XXII

B

XXXV

XXVI

B

1

XXVI

B

1

XXIX

B

2

XXXIII

C

6

INDEX OF PLAYS, NOVELS, ETC.

143

Homme de proie (L'j, by Lefevre and

Laporte
Horace, by l'Aretin

by Corneille
Huron (Le), by Voltaire
Hypermnestre, by Metastasio
by Riupeiroux
by Lemierre, etc.
Hypsipyle, by Aeschylus
by Euripides
by Metastasio

Idiot iL'i, by de Lorde
Idomenee, by Crebillon

by Lemiere

by Cienfuegos
Illusions perdues (Les), by Balzac
Image (L), by Beauborg
Impasse (L'), by Fread Amy
Indigne, by Barbier
Indiscret (L'), by See
Inflexible L . by Parodi
Ino, by Euripides
[nsociale (L'), by Mme. Aurel
Intruder (The), by Maeterlinck
Iobates, by Sophocles
Iolas, by Sophocles
Ion, by Kuripides
[phlgenia, by Aeschylus

by Sophocles
Iphigenia in Aulis, by Kuripides

Iphigenie ;'i Aulis, by Racine

Iphigenia in Tauris, by Buripidt

by Ooel he

Iphigenie en Tuaride, projected, by Racine
Irene, by Voltaire
■ l, by Bernstein

Ixion, by Aeschylu

" by Sophoc
by Buripide

3

.lack the Ripper, by Bertran and Clairian
Jack Tempfitl . by Elzear
Jacobine Le , by ] iermanl
Jacobite Le . by ' loppee
Jacques Bonhomme, by Maujan
Jacques I 'amour, by Zola

X

D

2

XXIII

B

5

XXIII

B

5

XXI

D

2

XXIII

B

3

XXIII

B

3

XXIII

B

3

XXIII

B

2

XXIII

B

2

XXIII

B

2

III

A

4

XX III

A

2

XXIII

A

2

XXIII

A

2

XXX

C

1

X X 1 V

B

8

XV

A

1

V

B

XVII

A

1

XXVII

D

■2

XVI

A

1

XXXVI

B

XX XVI

B

XXVI

B

1

II

B

2

XIX

B

1

X XIII

\

1

win

A

1

X X 1 1 1

\

1

XXIII

A

1

XIX

c

2

XIX

c

2

XIX

1

2

XXIX

B

I

XIX

i

111

\

:>

Ml

\

5

III

\

5

III

B

7

XXIV

\

8

xx\

c

i

XXV

D

j

\ III

I'.

1

xx\

c

•>

144

THIRTY-SIX DRAMATIC SITUATIONS

Jalousie, by Yacquerie

Jarnac, by Hennique and Gravier

Joan Cevenol, by Fraisse
Jephthe, by Buchanan

" by Boyer
Jerusalem Delivered, by Tasso
Jeu de la Feuillee (Le), by Adam de la Halle
Jeu de Robin et de Marion (Le), by Adam

de la Halle
Jeu de Saint-Nicholas (Le), by Jean Bodel
Job, by Moses (?)
Jocelyn, by Lamartine

" by Godard
Joie de vivre (La), by Zola

Joueurs d'osselets (Les), by Aeschylus

Judgment of Arms (The), by Aeschylus
Julius Caesar, by Shakespeare
Jumeaux (Les), by Hugo

K

Kermesse rouge, by Eekhoud
King John, by Shakespeare

Kreutzer Sonata (The), by Tolstoi

XXXII

c

5

XXIII

B

6

XXXIII

B

3

XXIII

A

2

XXIII

A

2

XIX

G

1

alle VII

C

1

n

X

A

jl II

A

XXXI

B

1

XXII

A

1

XXII

A

1

XXIV

B

7

and XXI

A

2

III

B

2

and VII

B

XII

C

XXX

A

2

XXXV

III

A

8

I

A

1

and VI

C

1

XXV

D

1

Labors of Jacob, by Lope de Vega
Laconian Women (The), by Sophocles
Lady from the Sea (The), by Ibsen
Lakme, by Delibes
Laocoon, by Sophocles

Later Life of Rama (The), by Bhavabuti

Lawn-tennis, by Mourey

Legende du Coeur (La), by Aicard

Lelie, by Willy

Lemnian Women (The), by Sophocles

Lena, by Berton and Mme. van Velde

Life is a Dream, by Calderon

Lohengrin, by Wagner

Loi de l'homme (La), by Hervieu

Lois de Minos, by Voltaire

Lorenzaccio, by Musset

Louis Perez of Galicia, by Calderon

Louis Leclercq, by Verlainc

and

XIII

A

1

IX

c

1

XXIV

B

8

XXIX

A

4

V

c

XXXVI

A

1

XXXV

XXVI

D

2

XXV

D

1

XXII

C

2

XXIII

B

2

XXVII

B

4

XIII

B

2

II

A

XXI

C

3

XIX

A

2

VIII

A

1

V

A

XVII

C

2

INDEX OF PLAYS, NOVELS, ETC.

145

Love and Intrigue, by Schiller

Love's Sacrifice, by Ford

Loves of Krishna The), by Roupa

Loves of the Three Oranges (The), by Gozzi

Lucienne, by Gramont

Lucrece Borgia, by Hugo

XXIII B 1, XXXII A 2, XIX B 1 and
Luther, by Werner
Lutte pour la vie (La), by Daudet
Lydie, by Miral
Lyncee, by Theodecte

by Abeille
Lys (Les>, by Wolf and Leroux

XXXII

B

3

XX XI I

A

3

XXIV

D

1

XVIII

D

1

XXV

A

1

VI

C

3

XIX

D

XX

A

4

XV

B

XXIX

A

4

XXIII

B

3

XXIII

B

3

xxvm

D

1

M

Macbeth, by Shakespeare

Madame Bovary, by Flaubert

Madame Caverlet, by Augier

Madame de Maintenon, by Coppee

Madame 1 Amirale, by Mars and Lyon

Madame la Mort, by Mme. Rachilde

Madame Margot, by Moreau and Clairville

Madame Thexese, by Erckmann-Chatrian

Madeleine, by Zola

Mile, de Bressier, by Delpit

Mile, de Maupin, Gautier

Madhouranirouddha, by Vira

Mahaviracharita, by Bhavabuti

Mahomet, by Voltaire

Maidens of Trachis, by Sophocles

Maison d'argile La . by Fabre

Maison dee deux Barbeaux I. a , by

Theuriet
Maitrc Le , by J. Jullien
Maltre Aml)ros. by Widor
Malatia and Madhava, by Bhavabuti

Malefilatre Le . bj Porto Riche

Malheur aux paut ■■ \. Bouvier

Mauian Colibri, by Bataille
Manfred, by Byron
niangeront-ils, by Hugo

Manr,ei|inn ■] I .■ . bj I r uki-

Manon l.i- r;uit, by PreVOSl

Maquignon l.< . by i" z and Dumur
M archande de • ourii r I ■■•■ . by Judil h

Gautier
Marl Le), by Nu and Arnould

and

and

XXX

c

1

x\\

c

7

XXVII

A

1

XXI

B

12

XXVI

B

XXIV

B

s

VII]

A

li

X X 1 X

A

1

XXXI V

B

1

XXIX

B

2

\\ III

XXIX

A

4

\

c

■2

XIX

E

xx\

B

1

XII

\

3

\\\

c

4

XIII

B

1

XXXIII

B

1

X

c

1

X X 1 \

('

1

\ \\

1

XXXI]

C

:t

XXII

c

1

XXXI V

\

1

\XI\

\

:{

1

\

3

XXV

("

I

X\\ II

B

i.

III

\

l

XXIX

H

7

\x\

1

1

146

THIRTY-SIX DRAMATIC SITUATIONS

Manage d'Andre (Le), by Lemaire and de

Rouvre
Manage de Mile. Beulemans (Le), by

Fonson and Wicheler
Manage d'Olympe (Le), by Augier
Marianne, by Dolce.
Marianne, by Tristan l'Hermite
Marianne, by Voltaire
Marie Stuart, by Alfieri
Marie Stuart, by Schiller
Marie Stuart, by Samson
Marie Tudor, by Hugo

and

Marino Faliero, by Byron
Marion Delorme, by Hugo

and

Marius vaincu, by Mortier

Marjolaine (La), by Richepin fils

Marquis de Priola (Le), by Lavedan

Martyre, by Dennery

Martyrs (Les), by Chateaubriand

Massiere (La), by Lemaitre

Master Builder (The), by Ibsen

Maternite, by Brieux

Maucroix (Les), by Delpit

Measure for Measure, by Shakespeare

Medea, by Euripides

" by Corneille

" by Seneca
Mejor Alcalde el Rey (El), by Lope de Vega
Meistersinger (Die), by Wagner
Melanippe, by Euripides
Meleager, by Sophocles
Memnon, by Aeschylus
Menages de Paris (Les), by Raymond
Mensonges, by Bourget
Mer (La), by J. Jullien
Merchant of Venice (The), by Shakespeare
Mere du Pape (La), Miracle of Notre-Dame
Mere meurtrier de son enfant (La), Miracle

of Notre-Dame
Meres ennemies (Les), by Mendes
Merope, by Maffei
by Voltaire

" by Alfieri
Message of Angada (The), by Soubatha
Mill (The), by Lope de Vega
Minister's Ring (The), by Vishakadatta
Minos, by Sophocles
Miroirs (Les,), by Roinard

XVIII

B 1

XXIV

A

3

XXVII

B

8

XXXII

A

1

XXXII

A

1

XXXII

A

1

XXXIII

A

2

XXIV

B

2

XXIV

B

2

XXIV

B

3

XIX

VI

c

1

XXVII

B

4

XIX

XXX

A

3

XXIV

A

6

XXVII

A

1

XXI

C

1

XXXI

A

2

XIV

B

1

XVII

A

1

VI

D

1

XIV

A

1

XXI

D

2

XXV

A

1

XXV

A

1

XXV

A

1

III

A

3

XXIV

A

9

XXIII

B

1

IV

B

IX

B

2

XXV

B

3

XXVII

B

7

XIII

D

III

B

6

XXXI

B

4

XVII

C

2

XXV

B

2

XIX

B

1

XIX

B

1

XIX

B

1

X

C

2

XXIV

A

5

XII

A

I

A

1

XXV

D

1

INDEX OF PLAYS, NOVELS, ETC.

147

Miss Fanfare, by Ganderax XXV

Miss Sara Sampson, by Lessing XXV
Mission de Jeanne d'Arc (La), by Dalliere VIII

Mithridate, by Racine XIX
Mon ami Teddy, by Rivoire and Bernard XXIV

Mon frere, by Mercereau XIII

Monna Vanna, by Maeterlinck XXXII

Monsieur Alphonse, by Dumas fils X XVII

Monsieur Bute, by Biollay ■ XVI

Monsieur de Morat, by Tarbe XXV
Montansier (La;, by Jeoffrin, de Flers and

de Caillavet XXV

Monte Cristo, by Dumas pere ill

Montmartre, by Frondaie \ XVIII

Morte de Cesar (La), by Voltaire XXX

Morte (La), by Barlatier XXIV

Mouettes (Lesj, by P. Adam X XIII

Mrigancalckha, by Viswanatha \ XIV

Mrs. Warren's Profession, by Shaw XXVII
Much Ado About Nothing, by Shakespeare X X X 1 1

Myrane, by Bergerat XXV

Myrmidons (The), by Aeschylus VI

Myrrha, by Alfieri XXV]

Myrtille, by Hrckmann-Chatrian XXVIII

Mysians (The), by Aeschylus 1

Mystery of Adam (The), XII Century VI

B

7

A

1

B

1

B

1

A

7

A

o

A

1

B

7

A

3

B

3

C

3

B

4

E

A

o

id

B

8

A

3

A

1

A

1

B

1

B

7

A

1

A

2

A

•■>

B

~{

A :\

N

Nana, by Zola

Nana-Sahih, by Richepin

Naninc, by Voltaire

Natural Daughter The), by < loethe

Nauplius, by Sophocles

Nausicaa, by Sophocle

Necklace The , by Sn Harshadeva

N'emea, by \& chylufl
Nereides (The , by Aeschylus

Nick Tarter, by Livel ami I'.i son

Nicomede, by < lorneille

Niebelung Tin- , bj \\ agner

Nina de Plata (La . by Lope de \ ega

Ninety-Three, bj 1 1

Nioiie, by Aeschj It

Niohe, by Sophocle

Nitet is, by MetaSta ,,,

Noces Corinl hienne I * . by Fra

Nurse- The , by Aeschylus

Nouveau Monde I i

Adam

XXII

\

6

V

(•

X X \ III

A

1

\ II

\

III

\

•>

1

B

1

XXIV

1)

:i

IX

\

III

\

7

III

C

\

c

\

c

\.\l\

\

6

Will

\

a

\\\ 1

\

i

\.\\l

1',

i

XXVIII

A

i

XXIX

\

i

■•. 1

B

i

\ x \

(' 1

US

THIRTY-SIX DRAMATIC SITUATIONS

Nuit de Saint-Jean (La), by Erekmann-

Chatrian XXIV

Numa Roumestan, by Daudet XXV

A 7
B 2

O

Obstacle (L'), by Daudet
Octavia, by Seneca
Odette, by Sardou
OZdipus, by Aeschylus

by Sophocles

by Corneille

by Seneca

by Voltaire, etc.
CEdipus at Colonus, by Sophocles

CBnee, by Sophocles
GEnomaus, by Sophocles
by Euripides
OZuvre (L'), by Zola
Ogre (L'), by Marthold
Oicles, by Sophocles
Olympiade, by Metastasio
Olympie, by Voltaire

On ne badine pas avec l'amour, by Musset
Opium, by Bonnetain
Or (L'), by Peter and Danceny
Orbeeehe, by Giraldi
Oreille fendue (L ), by Nepoty
Orestes, by Euripides
Oreste, by Alfieri

by Voltaire
Orithyie, by Aeschylus

" by Sophocles
Othello, by Shakespeare
Othon, by Corneille

XXIV

A

8

XV

B

XXVII

A

1

XVIII

A

1

XVIII

A

1

XVIII

A

1

XVIII

A

1

XVIII

A

1

I

A

3

and XII

A

II

B

2

IX

D

2

IX

D

2

XX

A

4

XXXIII

D

3

I

A

1

XIX

B

1

XXIX

B

1

>t XVII

C

2

XXII

C

2

III

A

1

IV

D

XXVII

A

3

XXIV

A

2

XXXIV

A

2

XXXIV

A

2

X

A

X

A

XXXII

B

1

XX

B

1

Page blanche, by Devore

Pain d'autrui (Le), by Ephraim and

Schutz, after Turgeniev
Palamede, by Aechylus
Palamede, by Euripides

Palamede, by Sophocles
Pandore, by Voltaire

Pandore, by Goethe

Papa, by de Flers and de Caillavet

XXV

C 1

XIX

E

XI

C

3

XI

C

3

and XXXIII

C

2

XXXIII

C

2

XXIV

A

1

and XVII

C

1

XVII

C

1

XIV

B

1

INDEX OF PLAYS, NOVELS, ETC. 149

Paraitre, by Donnay
Parsifal, by Wagner
Partage de midi, by Claudel
Passageres (Les), by Coolus
Patrie, by Paladilhe and Sardou
Peau d'ane, by Perrault
Peche de Marthe (Le), by Rochard
Peleus, by Sophocles

Peleus, by Euripides

Pelerin d'amour (Le), by Emile-Michelet

Peliades (The), by Euripides

Pelias, by Sophocles

Pelleas and Melisande, by Maeterlinck
Pelopides (The), by Voltaire
Penelope, by Aeschylus
Pentheus, by Aeschylus
Penthesilea, by Aeschylus
Pere Chasselas (Le), by Athis
Pere prodigue (Le), by Dumas fils
Pericles, by Shakespeare

Perkin Warbeck, by Ford
Perrhoebides (The), by Aeschylus
Persians (The), by Aeschylus
Pertharite, by Corneille
Petit ami (Le), by Leautaud
Petite amie (La), by Brieux
Petite Caporale (La), by Darlay and

Gorssc
Petite chocolatiere (La), by Gavaull
Petite Hollande, by (iuitry
Petite milliardaire (La), by Dumay and

Fori

Pet ite Mionne La , liy RicheboUTg

Pel ite paroisse (La , by I >aude1
Petit Jacques i Le i, by I tannery
Pel ii Poucel Le . by Perraull

Phaedra, liy Sophocles

Phaeton, by Euripide

Pheaciana (The , by Sophocle
Phedre, by Racine

Philippe 1 1, hy Allien

PhilOCteteS, hy Aeschylus
by Sophocles

by Euripide
Philoctete in Troy, by Sophocle
Phineu . by Ae chylua

XXV

D

1

IX

C

2

XV

A

1

XXIV

B

6

XXV

D

2

XXVI

A

3

XXVIII

B

II

B

1

and VII

C

1

VII

C

1

XXVII

B

7

XIX

E

XVII

C

4

and XIX

E

XIV

A

3

XIII

A

2

III

B

2

XXXI

A

1

XXXVI

C

X X X Y

XIV

B

1

XI

B

2

and XXXV

X X X

B

111

A

5

VI

A

1

XXI

D

2

XXVI

A

1

XXVIU

A

v)

IX

1)

• )

xxvin

A

• >

X X 1 Y

B

(i

X X 1 Y

A

7

XIX

A

:t

XXV

c

•1

XXI

1)

l

VI

1)

o

XXVI

B

1

XVII

\

1

and XXXI

l'.

6

1

K

l

\\\ 1

1'.

l

\1\

B

3

and XXV]

H

• >

XII

A

\ll

\

Ml

\

1

K

:i

l\

B

•>

150

THIRTY-SIX DRAMATIC SITUATIONS

Phineus, by Sophocles
Phoenissae (The), by Aeschylus
" by Euripides
" " by Seneca

Phoenix, by Euripides
Phorcides (The), by Aeschylus
Phrixus, by Sophocles
Phrixus, by Euripides
Phrygians (The), by Aeschylus
Phtiotides (The), by Sophocles
Physician of his Honor (The), by Calderon
Pierre et Jean, by Maupassant
Pierre et Therese, by Prevost
Pierre Pascal, by Mme. de Chabrihan
Pierre Vaux, by Jonathan
Pierrot assassin de sa femme, by
Margueritte

Pierrots (Les), by Grillet

Pieuvre (La), by Morel

Plus faible (La), by Prevost

Policiere (La), by Montepin

Polydectes, by Aeschylus

Polyeucte, by Corneille

Polyidus, by Sophocles
" by Euripides

Polynice, by Alfieri

Polyheme, by Samain

Polyxena, by Sophocles

Pompee, by Corneille

Port-Tarascon, by Daudet

Portrait (The), by Massinger

Possede (Le), by Lemonnier

Pot-Bouille, by Zola

Poupees electriques, by Marinetti

Poussin (Le), by Guiraud

Powers of Darkness (The), by Tolstoi

and

Pretre (Le), by Buet
Priestesses (The), by Aeschylus
Princesse de Bagdad (La), by Dumas fila
Princesse Georges (La), by Dumas fila
Princess Maleine (The), by Maeterlinck
Prince Zilah (The), by Claretie
Procris, by Sophocles
Prometheus, by Aeschylus
Prometheus Bound, by Aeschylus

II

XX

XIII

XIII

XIV

IX

III
III
I

XXXII

XXV

XIV

XXVII

XV

XXI

and

Prometheus Unbound, by Aeschylus
Propompes (The), by Aeschylus
Proserpine, by Vacquerie and Saint-Saens
Protesilas, by Euripides

XXXIV

XXXIII

XXXIII

XXVIII

XXVII

XIX

XX

XI

XI

XIII

XXIV

XXXVI

III

XVII

XXXII

XXII

XXV

XXXIII

XXVIII

XIII

XV

III

XIX

XXXII

XXV

VII

XXVII

XIX

IX

VII

V

IX

I

XXV
XX

B

2

A

3

A

1

A

1

B

3

B

2

B

4

B

4

B

4

C

4

D

1

A

1

A

2

A

1

D

1

A

4

B

2

C

1

A

2

C

F

2

B

1

A

A

A

1

A

1

A

1

A

4

C

4

C

1

A

5

C

7

B

3

D

2

E

A

1

A

1

C

2

A

1

B

3

A

B

3

G

1

C

1

C

1

C

D

1

C

1

B

7

A

2

INDEX OF PLAYS, NOVELS, ETC.

151

Psyche, by Corneille
Psychostase, by Aeschylus
Pulcherie, by Corneille
Purloined Letter (The), by Poe

XVII

B

2

XXXVI

c

XX

B

3

XI

A

Q

Quarts d'heure (Les), by Quiches and
Lavedan

14 juillet (Le), by Rolland
4x7 equals 28, by Coolus
Question d'argent (La), by Uumas tits

R

XXVII
and XXV
\ III

x xxu

XXIV

Raffles, by Hornung

Rama, by Bhavabuti

Ramuntcho, by Loti

Rantzau (Les), by Erckman-Chatrian

Raoul de Crequi, by Dalayrac

Reformateur (Le), by Rod

Regiment (Le), by J. Mary

Regulus, by Pradon

Regulus, by Metastasio

Reine aux trois fils (Laj, Miracle of Notre-

Dame
Reine Fiammette (La), by Mendt^

Rembrandt, by Dumur and Josz

Rencontre (La), by Berton

Rene, by Chateaubriand

Renee, by Zola

Renee Mauperin, by the Goncourta

Resentment of Te-oun-Ko (The), by

Kouan-han-khiK
Resurrection, by Tolstoi
Rfive (Le), by Zola

Reveil (Lej, by Hervieu
Revoltee, t>;,' Lemaltre
Revoltee (Lea . by fain and Adenia
Rhadarniste ft Zenobie, by Creoillon
Rhesus, by Euripides

Richard Coeur-de-lion, by Sedaine

Richard 1 1, by Shakespeare
Richard III, by shai.< peare
Risque (Le . by Coo
Rivoli, by raucl

and

and

and

V

X

XXVIII

XXIX

XXV

VI

XXVI]

XX

XX

X X X V
XXXIII
X X 1 X
VII
XXV
XXXI v
XXVI
XVII

III

XX

I

XX]

III

XXV

l\

WW 1

\

XXXV

\l

\\\
\I\
\\\

A

l

('

4

B

2

A

3

A

7

A

C

2

A

1

A

3

H

C

1

D

3

A

1

A

1

A

3

B

3

D

C

4

B

B

o

c

o

B

c

B

L'

C

2

C

4

\

6

I

•1

n

1

c

l>

1

B

l

1

\

4

l

7

152

THIRTY-SIX DRAMATIC SITUATIONS

Robert-le-Diable, Miracle of Notre-Dame
Rodogune, by Corneille
Roger-la-honte, by J. Mary

and

Roi Cerf (Le), by Gozzi

Roi de l'argent (Le), by Milliet

Roi de Rome (Lei, by Pouvillon

Roi s'amuse (Le), by Hugo

Roi sans couronne (Le), by St. Georges

de Bouhelier
Roi sans royaume (Le), by Decourcelle
Roi Soleil (Le), by Bernede
Rolande, by de Gramont
Roman d'Elise (Le), by Richard
Roman d'une Conspiration (Le), by

Fournier and Carre
Romeo and Juliet, by Shakespeare
Rosemonde, by Rucellai
Rosse, tant at plus, by Mustiere
Route d'Emeraude (La), by Demolder and

Richepin
Ruy-Blas, by Hugo

Saint-Alexis, Miracle of Notre-Dame
Suinte-Helene, by Mme. Severine
Saint-Ignace d'Antioch, Miracle of Notre-
Dame
Saint Julien l'hospitalier, by Flaubert

Sais (Le), by Mme. Ollognier
Sakuntala, by Kalidasa

and
Salammbo, by Flaubert
Salaminians (The), by Aeschylus
Salome, by Oscar Wilde
Samson, by Voltaire
Samson, by Bernstein
Samson et Dalila, by Saint-Saens
Sang-brule (La), by Bouvier
Sapho, by Gounod
Sapho, by Daudet
S. A. R., by Chancel
Sardanapalus, by Byron
Saul, by Alfieri
Saul, by Gide
Srundale (Le), by Bataille
Schism of England (The), by Calderon
Sculpteur de Masques (Le), by Cromelynck
Scythes (Lea), by Voltaire
Second Faust (The), by Goethe
Secret de Gilberte (Le), by Massiac

V

A

XIII

E

XXXIII

D

5

III

B

4

XVIII

D

1

XXXIII

B

3

VII

B

XIX

A

4

VIII

A

1

VIII

A

1

XXXIII

C

2

XXII

c

1

XXVIII

D

2

VIII

A

2

XXIX

B

6

IV

C

VIII

A

2

XXII

A

6

XIX

XIX

G

3

III

A

2

XX

A

4

XIX

E

XXIV

A

3

XVI

C

XXXV

VIII

B

1

VI

C

2

XXII

B

XVII

C

3

XXV

D

1

XV

A

2

XXVI

C

1

XXXIII

D

1

XXII

A

3

XX

B

3

VI

A

2

XIII

D

XVI

B

XXXIV

B

2

XV

B

XXVI

C

1

XXIX

A

4

IX

D

3

XXVII

B

2

INDEX OF PLAYS, NOVELS, ETC.

153

Secret de la Terreuse (Lej, by Busnaeh
Secret Vengeance for Secret Outrage, by

Calderon
Semele, by Aeschylus
Semiramis, by Manfredi
Semiramis, by Crebillon
Semiramis, by Voltaire
Semiramide riconosciuta, by Metastasio

Serenade tLa), by J. Jullien

Serge Panine, by Ohnet

Serpent Woman (The), by Gozzi

Sertorius, by Corneille

Seven Against Thebes, by Aeschylus

Seven Princesses (The), by Maeterlinck

St'vero Torelli, by Coppee

Shepherd King (The), by Metastasio

Sherlock Holmes, by Conan Doyle

Shepherds (The), by Sophocles

Sieba, by Manzotti

Sigurd, by Reyer

Simone, by Brieux

Simon, l'enfant trouve, by Jonathan

Singer (The), anonymous Chinese drama

Sinon, by SophoHi a

Sire, by Lavedan

Siroes, by Metastasio

Sir Thomas Wyat, by Webster

Smilis, by Aicard

Soeurette, by Borteau-Lm i
Son Excellence Eugene, by Zola
Sons of Pandou The , by Radjasekhara
Sophonisbe, by Trissino

by Mairel

by Alfieri
Sorciere (Lai, by Sardou
Souris I. a , by Pailleron
Sphinx The , by A.(

Statue (The), by Radjasekhara

Stella, by Goethe

Story of Yayati (The , by Roudradeva

Suppliants The . by 4<

Suppliants (The , by Euripide

Suzette, by Brieux

Surcoui, by Planquette

Surena, by Corneille

and

and

Tancrede, by Voltaire

:il,i|

XXXIII

B

4

XXV

D

1

XIII

B

1

XXVI

A

1

XXVI

A

1

XIX

D

XXIV

B

8

XXXII

B

1

XXV

c

3

XXV

B

2

XXXIII

A

1

XX

B

3

XIII

A

2

XXXVI

B

XXVII

D

4

XXVIII

('

1

III

c

VI

A

1

XXVIII

B

xx\

C

3

XXVI I

D

6

III

A

(i

III

A

1

IX

1)

1

XXVII

B

7

XXXIII

B

•>

XXX

B

XXI

A

•>

\\\

C

4

XXV

C

7

X X X

C

1

III

\

6

XX

B

a

XX

B

a

XX

B

a

XXIV

1!

i

XIV

\

i

\l

li

i

XXIV

D

a

\\\

B

6

XXIX

\

•>

1

\

I

1

\

•>

XX1\

\

i

XX IN

\

6

\\XII

\

a

X X X 1 1

A

i

II

A

154

THIRTY-SIX DRAMATIC SITUATIONS

Tanis et Zelide, by Voltaire

Tannhaeuser, by Wagner

Tartarin, by Daudet

Taverne des Trabans (La), by Erckmann

Chatrian
Tchitra Yadjgna, by Vedanyatha

Yatehespati
Telephus, by Euripides
Telephus, by Aeschylus
Telephus, by Sophocles
Tempest (The), by Shakespeare
Tenailles (Les), by Hervieu
Temptation of Saint Anthony (The), by

Flaubert
Tereus, by Sophocles
Terre (La), by Zola

and

Terre d'epouvante, by Morel and de Lorde

Teucer, by Sophocles

Thamiras, by Sophocles

Themistocles, by Metastasio

Theodora, by Sardou

Theodore, by Corneille

Therese Raquin, by Zola

and

Thermidor, by Sardou

Theseus, by Euripides

Thracians (The), by Aeschylus

Three Punishments in One, by Calderon

Thyestes, by Seneca

Thyestes in Sicyon, by Sophocles

Thyestes II, by Sophocles

Timoleon, by Alfieri

Timon of Athens, by Shakespeare

'Tis Pity She's a Whore, by Ford

Titan, by Jean-Paul Richer

Tite et Berenice, by Corneille

Toilers of the Sea, by Hugo

Torquemada, by Hugo

Torrent (Le), by Donnay

Torrismond, by Tasso

Tosca (La), by Sardou

Trains de luxe (Les), by Hermant

Trente ans ou la vie d'un joueur, by

Ducange
Tribun (he), by Bourget
Tribut de Zamora (Le), by Gounod
Trisan and Isolde, by Wagner
Triumvirat (Le), by Voltaire
Troilus, by Aeschylus

and
XXIII and

XXIV

XXII

VI

XXIX

XXXI

I

XIX
XIX

III

XXV
XXII

III

XXX

XIII

VI

VI

XXXI

XX

XXXIII

XX

XXXIV

XV

VIII

IX

XVI

XIII

XIII

XXXV

XIII

XXX

VI

XXVI

XVIII

XX

XXIV

IX

XIX

XXV

XVIII

XXI

XXIV

XXII

XXVII

XXIV

XXV

XXIV

XXXVI

A 2

A 2
B

A 3

B 1

B 3

B

1

B

1

B

1

C

1

B

B

5

C

1

B

1

A

4

C

2

B

3

A

2

A

3

D

A

4

A

1

A

1

D

1

B

B

1

A

2

A

2

A

1

C

1

C

2

D

2

B

3

A

7

D

2

A

3

C

1

A

2

D

2

B

6

C

2

D

2

A

3

C

3

A

3

A

1

INDEX OF PLAYS, NOVELS, ETC.

155

Troilus and Cressida, by Shakespeare
Troades (The), by Euripides

" . " by Seneca
Troyens (Les), by Berlioz

and

Tullia, by Martelli

Tunic Confronted (The), by Tchang-koue-

pin
Turandot, by Gozzi
Twenty-fourth of February (The), by

Werner
Two foscari (The), by Byron
Two Gentlemen of Verona, by Shakespeare
Two Noble Kinsmen (The), by Beaumont

and Fletcher

V

c

XXXVI

A

1

XXXVI

A

1

I

B

1

XX

B

3

XXX

C

2

III

A

1

XI

C

1

XIX

B

1

III

A

1

XIV

D

XIV

u

Ubu-Roi, by Jarry

Ulysses Furens, by Sophocles

Un ange, by Capus

Un divorce, by Moreau

Un drole, by Yves Guyot

Une famille au temps de Luther, by

Delavigne
Une femme passa, by Coolus
Une nuit de Cleopatre, by Gautier and

V. Masse

Un patriote, by Dartois

Un voyage de noces, by Tiercelin

XXX

XI

XXII
XXXII
X X V

XIII
XIV

XXII
and XXIV
XXIII

XXV

Valentinian, by Beaumont and Fletcher

Varennea, by Lenotre and Lavedan

Vautrin, by Balzac

Veine (La;, by Capus

Venisamhara, by Bhatta \arayana

Ventre de Paria (Le), by Zola

Veuve joyeu e I.:. . by Meilhac, Leon and

St*;in
Vicomtee e Alice I. a , by Second
Vidocq, by Bergeral
Victory of Arjuna (The , by Cantchana

Atcharya
Victory of Pradyoumna (The), by Samara

Dikchita
Vieil homme (Le . by Porte Riche
Vielle hiatoire, by .1. Jullien
Vie publique I. a , by Fabre

XXX111
XXIV

XXVI

xxv
III

X X X 1 1 1

\\\ 111
III

IX

XXIX
Xl\
\X\ II
XXX

c

c

:{

C

•2

A

1

C

1

A

1

1)

A

5

B

•1

B

1

A

o

1)

1

B

:i

1)

l

\

■A

\

•

c

• )

\

•)

D

C

C

L'

\

• >

I'.

■ '

\

• >

c

I

156

THIRTY-SIX DRAMATIC SITUATIONS

Vierge (La), by Vallette

Vierge folle (La), by Bataille

Virgin Martyr (The), by Massinger

Vittoria Corombona, by Webster

Vive le roi! by Ryner

Voix de sang (La), by Mme. Rachilde

Voleur (Le), by Bernstein

W

Waiting-Women (The), by Aeschylus

\\ allenstein, by Schiller

War of the Worlds (The), by Wells

Weavers of Nets (The), by Aeschylus

Weavers of Silesia (The), by Hauptmann

Werner, by Byron

Werther, by Goethe

Wild Duck (The), by Ibsen

William Tell, by Schiller

Winter's Tale (A), by Shakespeare
Women of Colchis, by Sophocles
Women of Scyros, by Sophocles
Wool-Carders (The), by Aeschylus
Worst is not Always Certain (The), by
Calderon

and

XXXII

A

4

XXV

B

9

XX

D

XV

A

1

XX

A

4

XIX

G

3

XXXIII

A

3

XX

A

2

XXX

A

3

VI

A

2

XVI

A

1

VIII

B

2

XXVII

C

XXXIV

B

XVII

C

1

VIII

B

2

III

B

6

XXV

XXV

A

1

XI

C

2

XXXI

A

1

XXXII

A 1

X

Xoanephores (The), by Sophocles

VI

A 2

Zaire, by Voltaire
Zeim, by Gozzi
Zenobia, by Metastasio
Zoe Chien-chien, by Mathey
Zulime, by Voltaire

XXXII

A

2

XXVIII

B

XXV

C

2

IV

A

2

XXIV

B

4

ALPHABETICAL INDEX OF AUTHORS

Abeille: Lyncee XXIII

Arhaeus: (Edipus XVIII

Adam (Paul): L'Automne VIII

Les Mouctli XXIII

Adam de la Halle: Le Jeu <!<• la Feuillee \'I1
Le Jeu de Robin et de

Marion X

Adonis: Les Revolt es III

Aeschylus: The Suppliants 1

The Heraclidae I

The Eumenides I

The Eleusinians I

Danae I

The Mysians I

The Phrygians I

The Propom I

The Epigones 1 1 1

The Argives III

The Perrhoebide 1 1 1

Ixion III

The Nereids III

Penelope ill

Les Joueura d'osselel III

and VII

The ( !hoephoree I \

Atalanta l\

Prometheui Bound \

and VII

The Persian \ I

The Myrmidoi VI

The Salaminiai \ I

TheGui VII

Nemea \ I

1 1
t i

B

3

A

1

B

•i

A

S

C

1

A

A

5

A

1

A

1

A

1

\

•>

B

•>

B

3

B

I

('

1

A

1

\

1

A

5

\

6

\

7

B

• >

1?

• >

B

A

1

B

C

c

1

\

1

\

1

1

2

B

\

1 58

THIRTY-SIX DRAMATIC SITUATIONS

\.eschyl

us: The Phorcides

IX

B

2

ii

Phineus

IX

B

2

ii

Memnon

IX

B

2

■ I

Glaucus Pontius

IX

B

2

ii

Prometheus

IX

C

1

ii

Prometheus Unbound

IX

D

1

■ i

Orithyie

X

A

ii

Europa

X

A

ii

The Carians

X

A

ii

The Sphinx

XI

B

1

ii

Palamede

XI

C

3

ii

Philoctetes

XII

A

■ I

The Judgment of Arms

XII

C

ii

The Heliades

XIII

A

1

ii

Seven Against Thebes

XIII

A

2

ii

Agamemnon

XV

A

1

• I

The Weavers of Nets

XVI

A

1

ii

Athamas

XVI

A

1

ii

The Thracians

XVI

B

ii

Semele

XVII

B

1

ii

CEdipus

XVIII

A

1

ii

Alcmene

XVIII

D

2

ii

Telephus

XIX

B

1

ii

The Priestesses

XIX

C

2

ii

Polydectes

XIX

F

2

ii

The Waiting-Women

XX

A

2

■ I

The Phoenissae

XX

A

3

ii

Iphigenia

XXIII

A

1

ii

Hypsipyle

XXIII

B

2

ii

The Danaides

XXIII

B

3

ii

Laius

XXVI

D

1

ii

The Aedonians

XXXI

A

1

ii

Pentheus

XXXI

A

1

ii

The Bassarides

XXXI

A

1

ii

The Wool-Carders

XXXI

A

1

ii

Ajax Locrian

XXXI

B

3

n

The Nurses

XXXI

B

4

ii

The Eumenides

XXXIV

A

2

ii

Niobe

XXXVI

A

1

■ I

Troilus

XXXVI

A

1

ii

Penthesilea

XXXVI

C

1 1

The Death of Achilles

XXXVI

C

ii

Psychostase

XXXVI

C

Aicard

Smilis

XXI

A

2

and XXV

C

4

Aicard

: La Legende du Coeur

XXV

D

1

Alamanni: Antigone

XX

A

3

Alfieri:

The Conspiracy of the Pazzi

VIII

A

2

1 1

Polynice

XIII

A

1

1 1

Saul

XIII

D

• i

Agis

XIII

D

INDEX OF AUTHORS

159

Alfieri: Philippe II

Octavia
Merope
" Antigone
" Sophonisbe
" Rosemonde
Myrrha
Timoleon
Brutus II
Marie Stuart
" Don Garzia
Orestes
Amigues: La Comtesse Fredegonde
Ancey: L'Ecole des veufs
Andersen: Le Compagnon de voyage
Anguillara: OZdipus
Annunzio (d'): La Citta morta
Aretin d'j : Horace
Armand iMme): Les Fils de Jahel
Arnold: Le rime d'un autre
Arnould: Le Mari

La Belle aux cheveux d'or
Arnyvelde: La Courtisane
Artois (d'j: La Fermiore
Athis: Le pere Chasselas
Attilius: Klectra

Auge de Lassus: La Conspiration de gen-
eral Malet
Augier: Diane

Madame Caverlet
Le Manage d'Olympe

Aurcl: L'lnsociale

and

and

XIV

B

3

XXVI

B

2

XV

B

XIX

B

1

XX

A

3

XX

B

3

XXV

B

5

XXVI

A

2

XXX

A

1

XXX

A

2

XXXIII

A

2

XXXIII

C

3

XXXIV

A

2

XXV

B

7

XXVI

B

3

XI

B

2

XVIII

A

1

XXVI

C

2

XXIII

B

5

XX

B

2

XXXIII

D

9

it

XXV

C

1

XVII

C

3

XXVII

B

6

X X 1 V

C

XXXV

IV

A

1

VIII

A

1

XXI

C

1

XXXIII

A

2

XXVI]

\

1

XXVII

B

8

XXXVI

B

H

Balzac: < Jeaar Birotteau
La cousine Bette

\ autrin
Balzac Lee [llu lona perdu
Barliif-r: [ndigne

Marlatier: La Mortf
Hassci : Lea ( Irand
Hatailli-: 1/ I!iu'hantemen1

Martian f lolibri

La Vierge folle
Lr> Scandale
Beauliourg: L'Image

I > i • ■ 1 1 mi pa I lieu

\l

B

XXII

c

l

XX\ 1

D

1

XXX

c

l

V

B

XXI\

B

8

XXXIII

\

8

XIV

\

■1

XXII

c

1

x\\

B

9

X X \l\

It

2

XXI\

B

8

XXIX

\

8

160

THIRTY-SIX DRAMATIC SITUATIONS

Beaumont : The Two Noble Kinsmen

Valentinian
Becque: Les Corbeaux
Bell: Catharine la Batarde
Bergerat: Vidocq
" Myrane

Flore de Frileuse
Berlioz: Les Troyens

Bernard: Mon ami Teddy

Bernard (Tristan): Le Danseur ineonnu

Bernard (C. de): Gerfaut

Bernede: Le Roi Soleil

Bernhardt (Sarah): L'Aveu

Bernstein: Israel

La Griffe
" Le Bercail

" Apres moi

Le Voleur
Berton: La Rencontre

Lena
Bertrand: Jack the Ripper
Bhatta Narayana: Venisamhara
Bhavabuti: Malati and Madhava

Mahaviracharita
Later Life of Rama
Bilhaud: La Courtisane de Corinth
Biollay: M. Bute

Les Angles du divorce
Bisson: Nick Carter

La Femme X
Bizet: L'Arlesienne
Blavet: Les Fils de Porthos
Bodel (Jean): Le Jeu de Saint-Nicholas
Bois (G.): Edith
Bois (J.j: La Furie
Boissy: Alceste
Bannetain: L'Opium
Borteau-Lotti: Soeurette
Bourget: Le Disciple
La Barricade
" Mensonges

Le Tribun
L'Emigre
" Le Divorce

Bouvier: La Dame au Domino rose
La Sang-brule
Malheur aux pauvres
La grande Iza
Boyer: Jephtha

XIV

c

XXXIII

D

4

VII

B

XXXIII

D

1

III

c

XXV

B

7

XXVII

B

2

I

B

1

and XX

B

3

XXIV

A

7

XXVIII

A

2

XXV

c

6

XXXIII

c

2

XXV

c

4

XIX

E

XXII

A

3

XXV

c

4

XXV

D

1

XXXIII

A

3

XXV

C

4

XXVII

B

4

III

B

7

III

A

5

X

C

1

and XXIV

A

3

X

C

2

XXXV

III

B

5

XVI

A

3

XXVIII

E

III

C

XXVII

A

1

XXII

A

5

XXIV

A

5

II

A

V

C

XXII

A

5

XXI

A

1

XXII

C

2

XXV

C

7

III

A

8

XXIV

A

7

XXVII

B

7

XXVII

D

2

XXVIII

A

1

XXVIII

D

1

XVIII

C

XXVI

C

1

XXXII

C

3

XXXIII

B

2

XXIII

A

2

INDEX OF AUTHORS

161

Brieux: Maternite

Les A varies

Simone

La Petite Amie
Suzette
Buchanan: Alceste
Jephtha
Buet : Le Pretre

Busnach: Le Secret de la Terreuse
Byl: L'Age Critique
Byron: The Two Foscari

Sardanapalus

Marino Faliero

The Deformed Transformed

Cain

Heaven and Earth
" Werner

Manfred

VI

D

1

XVII

c

2

XXVII

D

6

XXVIII

A

2

XXXII

A

3

XXI

A

1

XXIII

A

2

III

A

1

XXXIII

B

4

XXV

C

3

III

A

1

VI

A

2

VI

C

1

IX

D

3

XIII

A

1

XXIV

A

1

XXVII

C

XXXIV

A

1

Caillavet (de): Papa

Le Coeur a ses raisons
L'Ane de Buridan
La Montansier
Cain: Les Revokes
Calderon: The Alcalde of Zalamea
Love After Death
Devotion to the Cross
Louis Perez of Galieia
Calderon: Three Punishments in One
The Schism of England
The Constant Prince
Secret Vengeance for Secret

Outrage
The Physician of His Honor
His Own Gaoler
Fortune and Misfortune of a

Name
The \\<>r-t is Nut Always Cer-
tain

Life is a Dream
Cantchana Atcharya: The Victory of

Arjuna
CaptU : Un Ang»-

I, Attentat

La Veine
Carcinus: (Edi]
Carre: La < ourt isane de Corinth

La Roman d'ui i piral [on

XIV

B

1

XIV

D

XXIV

B

fi

x\\

c

3

III

A

5

III

A

3

III

A

6

V

A

V

A

XIII

B

1

XV

B

XX

A

4

X X V

I)

1

x x v

D

1

XXIX

B

6

XXIX

B

r>

XXXII

\

l

XIII

B

■2

IX

C

-'

Wil

C

2

XXIV

A

7

xx\

A

••{

X\ III

\

1

III

B

:.

VIII

A

■>

162

THIRTY-SIX DRAMATIC SITUATIONS

Cervantes: Don Quixote

II

A

Caesar: (Edipus

XVIII

A

1

Chabrihan iComtesse de): Pierre Pascal

XV

A

1

Chancel: S. A. R.

XX

B

3

Charton: Devant l'ennenii

XXIV

A

8

Chatrian: La Nuit de Saint-Jean

XXIV

A

7

Myrtille

XXVIII

A

2

L'Ami Fritz

XXVIII

A

2

Les Rantzau

XXIX

A

3

La Taverne des Trabans

XXIX

A

3

Madame Therese

XXIX

A

4

Chateaubriand: Les Martyrs

XXXI

A

2

Rene

XXXIV

B

Chenier (M. J.): Electre

IV

A

1

(Edipus

XVIII

A

1

Cicero (Q.): Electra

IV

A

1

Cienfuegos: Idomenee

XXIII

A

2

Clairian: Jack the Ripper

III

B

7

Clairville: Madame Margot

VIII

A

2

Claretie: Le Prince Zilah

XXVII

B

3

Claudel: Partage de midi

XV

A

\

Cliquet: C'est la loi

XXV

B

8

Coedes: Le Crime de Maisons-Alfort

III

A

1

Coolus: Le Risque

XIV

A

4

Une femme passa

XIV

D

Coolus: Les Passageres

XXIV

B

6

Antoinette Sabrier

XXIV

C

3

Coeur a Coeur

XXV

C

6

Les Bleus de 1 'amour

XXVIII

C

2

" 4x7 — 28

XXXII

A

3

Coppee: Madame de Maintenon

XXI

B

2

Les Jacobites

XXV

D

2

Severo Torelli

XXVII

D

1

Corneille (P.): Andromede

II

A

Pompee

III

A

4

Nicomede

V

C

Cinna

VIII

A

1

Rodogune

XIII

E

Psyche

XVII

B

1

(Edipe

XVIII

A

1

Heraclius

XVIII

B

2

Polyeucte

XX

B

1

Othon

XX

B

3

Pulcherie

XX

B

3

Tite et Berenice

XX

B

3

Sertorius

XX

B

3

Theodore

XX

D

Pertharite

XXI

D

2

Horace

XXIII

B

5

Attila

XXIV

A

4

Agesilas

XXIV

A

5

A

5

A

6

B

1

A

1

B

1

D

1

D

1

B

7

B

2

B

2

A

1

A

1

A

2

A

2

C

2

A

T

D

1

C

C

c

1

B

1

D

INDEX OF AUTHORS 163

Corneille iP.i: Surena XXIV

Don Sanche XXIV
La Conquete de la Toison

dor XXIV

Medee XXV

LeCid XXIX

Corneille: Clitandre XXXIII

Corneille (T.): Ariane VI

and XXI Y

Le Comte d' Essex X XIV

Le Festin de Pierre XXXI

Coypel: Alceste XXI

Crebillon: Electre IV

Atree et Thyeste XIII

Idomenee XXIII

Rhadamiste et Zenobie XXV

Semiramis XXVI

Cremieux: La Charbonniere XXI

Crichna Cavi: The Death of Cansa XIII

Croisset : Le Circuit XXIV

Cromelynck: Le Sculpteur de Masques XXVI

Curel (de): Les Fossiles XIV

La Fille sauvage XXXVI

D

Dalayrac: Raoul de Crequi
Dallif-re: La Mission de Jeanne d'Arc
Danceny: L'Or
Darlay: La Petite Caporale

Les Aventures de Gavroche
Dartois: Un Patriote
Daudet: Tartarin

La Lutte pour la vie

Port-Tarascon

L'Evangeli

Sapho

L'Arlesienne
L'Obstacle
Numa Rounifstaii
La Pel it'' Paro

Dorourcfllf: Le Roi sans rri\aurn<-

L'Aa de trefle

Lee <,in<i doigti de Birouk
Delahayt- I. a I lecll
Delacour: La ( Iriminelle
Delavigne: Une famille au temp de Lutber
Delibes: Lai
Delpit : Lea Maucroix

Mile. '!<• Bre lier

I )<ninl(lcr: La Route d'emeraude

\\\

E

VIII

B

1

III

A

1

l\

D

4

\ \ X \

XXIII

B

4

\ I

B

XV

B

XVII

C

4

XX

B

1

XXII

A

:t

XXII

A

6

XXIV

\

B

\x\

B

• i

\\\

c

"i

\ 111

A

l

XXVII

I>

:t

\\\

C

1

III

B

i

XXXIII

B

• t

XIII

A

I

\XI\

\

i

\l\

\

1

XXIX

B

• >

\ X 1 1

\

i.

1(54

THIRTY-SIX DRAMATIC SITUATIONS

Dennery: Martyre

Le petit Jacques
Descaves: L'Attentat
Desnard: La Degringolade
Devore: Page blanche

La Conscience de l'enfant
Diaz: Benvenuto
Dickens: Great Expectations
Diogenes: OEdipus
Dolce: Marianne
Donnay: L'Autre Danger
Le Torrent
Paraitre
Dor at: Alceste
Dornay: Gavroche

Fiacre No. 13
Les Foulards-rouges
Dostoievsky: Crime and Punishment
Doyle: Sherlock Holmes
Ducange: Trente ans ou la vie d'un joueur
Ducis: Gildipe
Abufar
Dumas pere: Monte-Cristo

" Don Juan

Dumas fils: L'Etrangere

and
Le Fils naturel
Le Pere prodigue
Le Divorce de Sarah Moore
La Question d'argent
Francillon

La Princesse Georges
Diane de Lys
La Femme de Claude
L'Affaire Clemenceau
" Denise

La Dame aux camelias
" M. Alphonse

La Princesse de Bagdad
Dumay: La petite Milliardaire
Dumur: Le Maquignon

Rembrandt
Duval: L'Article 301

XXI

c

1

XXI

D

1

XXIV

A

7

XXXIII

D

6

XXV

c

1

XXVI

c

1

XXIV

B

7

XXI

A

2

XVIII

A

1

XXXII

A

1

XIV

B

4

XXV

c

1

XXV

D

1

XXI

A

1

XXXIII

B

2

XXXIII

B

2

XXXV

XXXIV

A

3

III

C

XXII

C

2

XVIII

A

1

XVIII

B

1

III

B

4

V

B

III

B

7

XXV

B

3

XII

B

XIV

B

1

XXI

A

2

XXIV

A

7

XXV

B

2

XXV

B

3

XXV

C

:]

XXV

C

7

XXV

D

1

XXVII

B

3

XXVII

B

«

XXVII

B

7

XXXII

A

1

XXIV

A

7

III

A

1

VII

D

XXIV

C

E

Edmond (Cf. La Bucheronne
Eekhoud: Kermesse rouge
Elzear: Jack Tempete
Emile-Michelet: Le Pererin d'amour

XXIV

A

8

III

A

8

XXIV

A

8

XXVII

B

7

INDEX OF AUTHORS

165

Erckmann: La Nuit de Saint-Jean

XXIV

A

7

L'Ami Fritz

XXVIII

A

2

Myrtille

XXVIII

A

o

—

Les Rantzau

XXIX

A

3

La Taverne des Trabans

XXIX

A

3

Madame Therese

XXIX

A

4

Ernault:

La Croisade des enfanteles

francs

VII

B

"

La tentation de vivre

XVI

A

2

Euripides

: The Heraclida?

I

A

1

Euripides

: The Suppliants

1

A

2

**

Danae

I

B

2

ii

The Cretans

I

B

2

ii

Augeus

I

B

2

ii

Alope

1

B

2

• t

Telephus

1

B

3

ii

Andromeda

II

A

ii

Antiope

II

B

1

14

Dictya

II

B

2

11

Hecuba

III

A

2

11

Ixion

III

A

5

11

Phrixus

III

B

4

11

Elect ra

l\

A

1

1 1

Archelaus

VI

C

1

11

Peleus

VII

C

1

• 1

Theseus

IX

D

1

11

(Enomaua

IX

D

2

11

Rhesus

1\

and XX XVI

D
C

1

11

Helen

X

C

1

11

Polyidus

\1

A

11

Women of Scyroa

XI

c

2

11

Palamede

XI

(•

S

and XXXIII

(•

• >

•1 •

Philoctetee

Ml

A

11

The Phoeni

XIII

\

l

• t

Phoenix

\1V

B

8

11

Heracles Mainomenoe

X\ 1

\

1

■ 1

I no

\\ 1

\

1

11

Phaeton

XVII

\

1

11

The Peliadee

XVII

and XIX

C
E

•1

11

Ion

XIX

l<

1

11

( Iresphonfc

XIX

B

1

l 1

Aeg<

XIX

B

• i

11

Alexander

XIX

c

1

It

[phigenia In Ta

XIX

C

2

t •

Protesilaa

XX

\

9

1 t

Antigone

XX

\

8

1 •

Air.

\l

\

l

• 1

Andromache

XXI

I)

l

166

THIRTY-SIX DRAMATIC SITUATIONS

Euripides:

Iphigenia in Aulis

XXIII

A

1

« •

Erechtheus

XXIII

A

1

• i

Melanippe

XXIII

B

1

"

Hypsipyle

XXIII

B

2

Euripedes

: Medea

XXV

A

1

ii

Andromache

XXV

B

1

ii

Alcmeon

XXV

B

4

ii

Hippolyte

XXVI

B

2

ii

Eole

XXVI

C

1

ii

Chrysippus

XXVI

D

1

ii

The Cretans

XXVI

E

ii

The Bacchantes

XXXI

A

1

• i

Bellerophon

XXXI

B

3

ii

Phaeton

XXXI

B

5

ii

Orestes

XXXIV

A

2

ii

Troades (The)

XXXVI

A

1

Ezekiel: The Exodus of the Hebrews

XXXI

A

2

Fabre: La Maison d'argile
Cesar Birotteau
La Vie publique

and

Fall: La Divorcee
Fauchois: Beethoven
Rivoli
L'Exode
Ferrier: La Cornette
Feuillet: Chamillac
Fevre: En Detresse
Feydeau: Le Circuit
Flaubert: Salammbo

Saint Julien l'hospitallier
" Herodias

The Temptation of St. Anthony
Madame Bovary
Fleischmann: La Fille a Guillotin
Flers (dej: Papa

La Coeur a ses raisons
L'Ane de Buridan
La Montansier
Fletcher: The Two Noble Kinsmen

Valentinian
Fonson: Le Mariage de Mile. Beulemans
Ford: Tis Pity She's a Whore
" The Broken Heart
" Perkin Warbeck
" Love's Sacrifice
Forest: La petite milliardaire

XIII

A

3

XX

A

4

XXVIII

A

1

XXX

c

1

XXXII

A

2

VII

D

XXV

c

7

XXIX

A

4

XXI

D

1

XXVII

B

5

VII

c

2

XXIV

c

VIII

B

1

XIX

. E

XXII

B

XXII

B

XXV

C

7

XXIII

A

3

XIV

B

1

XIV

D

XXIV

B

6

XXV

C

3

XIV

C

XXXIII

D

4

XXIV

A

8

XXVI

C

2

XXIX

A

1

XXX

B

XXXII

A

3

XXXIV

A

7

INDEX OF AUTHORS

167

Forest: L'Homme a deux tetes
Fournier: Le Roman d'une conspiration
Fraisse: Les Champairol

Jean Cevenol
France: Le Mannequin d'osier

Les Noces corinthiennes

Crainquebille
Franck: Cceur maternel
Fread Amy: L'Impa
Frondaie: Montmartre

XXXIII

c

2

VIII

A

2

I

B

3

XXXIII

B

3

XXV

c

4

XXIX

A

4

XXXIII

A

3

XXXIII

A

:s

XV

A

1

XXVIII

E

G

Ganderax: Miss Fanfare
Garaud: Le Frere d'armes
Gautier: Mademoiselle de Maupin
Une nuit de Cleopatre

(iautier ■ .1 udith i : I. a Marchande re

sourires
Gavault: La petite Chocolatiere
Geffroy: L'Apprentie
(ieraldy: L'Eclabaussure
Gide: Saul

Gilkin : Etudiants russe
Giraldi: Orbecche

ck: Alceste
Godard: Jocelyn

haul.'
Goethe: Faust

Clavijo

( ioetz de Berlichingen

Egmonl

The Natural 1 laughter

The Second Faui I

Pandora

[phigenia in Ta

Stella

\\ fit her
Goldoni I )on Juan
Gombaud Le Dai

( ioi court E. and J. de Renee Maupt

< ierminie l m

teu\

i ourt I Les Frere Zemgann

( oi i ourl E. de La Fille Eliia
doreei i La Petite I aporale

' oui •■■! I e Trlbul d( 7 mora
pho

XXV

B

7

XXI

D

1

XVIII

XXII

A

5

and XXIV

B

4

XXIX

B

7

XXVIII

A

•>

XX

C

X X X 1 Y

A

3

XVI

B

\\\ 11

D

1

IV

D

XXI

A

1

XXII

\

1

X X 1 V

A

:{

1

c

1

and VI

D

l

III

A

8

Y

C

Y

('

and VIII

B

1

VII

A

IX

l»

:\

X\ II

C

l

Xl\

('

■ 1

\\\

1'.

ti

XXXIY

B

\

B

XXIII

B

::

•ru, XVII

c

^

■

XXII

i

1

(. \l

l'.

1

\\ 1

\

• •

IX

D

•i

\\l\

\

8

.Mil

h

1

l(i>

THIRTY-SIX DRAMATIC SITUATIONS

Gozzi: Turandot

XI

c

1

Zobeide

XV

B

Loves of the Three Oranges

XVIII

D

1

The Blue Monster

XIX

G

2

Zeim

XXVIII

B

The Serpent Woman

XXXIII

A

1

Le Corbeau

XXXIII

A

3

Le Roi Cerf

XVIII

D

1

Grabbe: Don Juan

V

B

Gramont (de): Rolande

XXII

C

1

Lucienne

XXV

A

1

Grangeneuve: Amhra

III

A

6

Gravier: Jarnac

XXIII

B

6

Gregory Nazianzen (Saint): Christ

XX

A

2

Suffering

and XXXI

A

1

Grenet-Dancourt: La Banque de l'Univers XVI

A

2

Gretry: Richard Cceur-de-Lion

X
and XXXV

D

1

Grillet: Les Pierrots

XXXIII

B

2

Guiches: Les Quarts d'heure

XXV

C

4

and XXVII

A

1

Guillard: Electra

IV

A

1

Guinon: Decadense

XXV

C

1

Guiraud: Le Poussin

XXVIII

D

2

Guitry (S.): Petite Hollande

XXIV

B

6

Guyot (Yves): Un drole

XXV

C

1

Gyp: Le Friquet

H
Halevy: L'Abbe Constantin

XXIV

B

6

XXVIII

A

2

Harshadeva (Sri): The Necklace

XXIV

D

3

Hardy: Alceste

XXI

A

1

Hauptmann: The Weavers of Silesia

VIII

B

2

Heine: Almanzor

XXIX

A

4

Hennique: Amour

XV

A

1

" Jarnac

XXIII

B

6

Hermant: Trains de luxe

XXIV

B

6

Les Jacobines

XXV

C

4

Herold : Le Cor fleuri

XXIV

B

3

Hervieu: Le Reveil

XXI

C

2

La Loi de l'homme

XXI

C

3

Hervieu: Le Course du flambeau

XXI

E

Le Dedale

XXIV

A

12

and XXV

C

2

Les Tenailles

XXV

C

1

Connais-toi

XXV

C

3

L'Enigme

XXV

D

1

Hirsch: En greve

XXIV

A

7

Hornung: Raffles

V

A

Hroswitha: Abraham

XX

D

INDEX OF AUTHORS 169

Hugo: Mangeront-ils?

Lucrece Borgia

XIX B 1, XIX D, XXIII B 1
Les Jumeaux

Toilers of the Sea

Ruy-Blas

Hernani

XX A 1
Torquemada

La Esmeralda

Marie Tudor

Marion Delorme

Le Roi s'amuse
Les Burgraves
Ninety-Three
Angelo
Cromwell

Ibsen:

I

A

3

and XXIV

A

3

VI

C

3

and XXXII

A

2

VII

A

and XXXV

IX

D

2

XXIV

A

7

XIX

and XXIV

A

3

XIX

and XXIII

A

3

and XXIII

A

3

XIX

and XXIV

A

11

XIX

and XXIV

B

3

XIX

and XX VI I

B

4

XIX

A

4

XIX

F

1

XXIII

A

3

X X V

C

1

XXX

A

3

lores :

An Enemy of the People

V

c

Hedda Gabler

XVI

A

:}

The Master Builder

XVII

A

l

The Wild Dud:

XV11

C

1

Ghosts

win

B

3

Roemersholm

X X \ 1 V

B

'1'Im' Lady Krom the

Sea

X \ 1 V

B

8

I .. Bouchers

III

\

8

.larry: Uhu-roi

XXX

c

Jeoffrin : La Montan

\x\

c

8

Jonathan: Simon I'enfanl trouve

III

\

t.

Pierre Vaux

\\1

1)

1

Joncierea (de) !/•■ ( Ihevalier Jean

XXXII

('

I

Josz: Le klaquignon

III

\

1

Rembrandt

\ II

1)

Jullien: L<- Maitre

XIII

1!

1

La Mer

XIII

1)

La Serenade

XXV

(•

a

L'Echeance

\ w

('

B

Vielle In itoira

XXVI]

\

•'

170

THIRTY-SIX DRAMATIC SITUATIONS

Kalidasa: Sakuntala

K

Agnimitra and Malavika
The Hero and the Nymph

Kampf: Le Grand Soir

Kouan-han-king: The Resentment of
Teoun-go

Labiche: L'Affaire de la rue de Lourcine
Lagrange-Chancel: Alceste
Lamothe: GEdipus
Laporte: L'Homme de proie
Laumann: Le Coeur revelateur
Lavedan: Le Duel

Varennes

Les Quarts d'heure

Le Marquis de Priola
Sire
Leautaud: Le Petit Ami
Leblanc: Arsene Lupin
Lefebvre: La Femme de demain
Lefevre: L'Homme de proie
Lemaire: Le Mariage d'Andre
Lemaitre: La Massiere

Le Depute Leveau
" Revoltee

Lemierre: Idomencee

Hypermnestre
Lemonnier: Le Droit au bonheur

Le Possede
Leneru (Mme.): Les Affranchis
Leon : La Veuve joyeu: e

" La Divorcee
Lenotre: Varennes
I.eroux: Les Lys
Lessing: Damon

Emilia Galotti
Miss Sara Sampson
Linant: Conte de Noel
Livet: Nick Carter
Longepierre: Electre
Lope de Vega: The Labors of Jacob

El mejor alcalde el Rc-y
Fontovejune
Discovery of the New

World
The Abduction of Helen

XVI

c

and XXXV

XXIV

D

2

XXXV

VIII

A

1

III

B

3

XVI

A

3

XXI

A

1

XVIII

A

1

X

D

2

XXXIV

A

3

XIII

A

1

XXIV

B

3

XXV

C

4

and XXVII

A

1

XXVII

A

1

XXVII

B

7

XXVI

A

1

V

A

XXV

B

9

X

D

2

XVIII

B

1

XIV

B

1

XXV

B

3

XXV

C

4

XXIII

A

2

XXIII

B

3

XXI

C

2

XXII

A

5

XXV

B

8

XXVIII

A

2

XXXII

A

2

XX IV

B

3

XXVIII

D

1

XIV

D

XXIV

C

XXV

B

7

XIII

F

III

C

IV

A

1

XIII

A

1

II

A

3

VIII

B

2

IX

D

1

X

B

INDEX OF AUTHORS

171

Lope de Vega: Aimer Sans savoir qui

Nina de Plata

The Mill

The Gardener's Dog
Lorde (de): L'Idiot

Terre d'epouvante
Loti: Ramuntcho
Louys: Aphrodite
Loyson: L'Apotre
Lucas: Alcesie
Lyon: Madame l'Amirale

and

XIX

D

XXXIII

B

1

XXIV

A

5

XXIV

A

5

XXIV

B

5

III

A

4

VI

A

4

XXVIII

A

1

XXII

A

3

XXVII

D

2

XXI

A

I

XXVI

B

1

M

Maeterlinck: The Princess Maleine
The Blind
The Blue Bird
Pelleas and Melisande
Monna Vanna
The Seven Princesses
The Intruder

Maffei: Merope

Mairet: Sophonisbe

Maldagne Mine : La Boscotte

Manfredi: Semiramis

Manzoni: Adelghis

Manzoni: The Count of Carmagnola

and

Manzotti: Sieba

Margueritte: Pierrot assassin de Ba femme

Marim-ui: Poupeee electriques

Marot: La Casquette au pere Bugeaud

( 'assc-museau

Lee Aventuree de ( lavroche
Marras: La Famille d'Armelles
Mars: Mme. l'Amirale

MarthoM: L'Ogre
Martclli: 'I'ullia

Mary ). Roger-la-honte

I.'' Regimenl
La !'.-•"■ feroce
Massf: I'm- nuit de Cleop&tre

e 1 1 E clarmonde

.\Lr

\l a ic l a • crel de < .ill-
M.i lingei Tli'' Virgin Martyr
Tin- Fatal i'"

ami

and

VII

A

VII

D

IX

D

3

XIV

A

3

XXXII

A

1

XXXVI

B

X X X V 1

B

XIX

B

1

XX

B

:i

XXX11I

D

■■i

XXVI

A

1

Y

('

\

C

VI

c

1

XXVIII

B

X X X 1 \

A

I

XXXII]

B

:;

111

A

8

XXVI]

1)

.')

X X X V

XXV

I)

• >

XXV]

B

1

X X X 1 1 1

1)

8

X X X

c

•>

III

l'.

i

XXXIII

D

.".

XXVII

I)

:i

XXX

c

l

xxu

\

5

WIV

B

A

XVII

B

XXII

\

8

\X\ II

1!

•>

XX

D

X x\

<

:.

172

THIRTY-SIX DRAMAT C SITUATIONS

Massinger: The Bondman
The Portrait

Mat hey: Zoe Chien-Chien

Maujan: Jacques Bonhomme

Maupassant: Pierre et Jean

Mazel: Les Amazones

Meilhac: La Veuve joyeuse

Melitus: CEdipus

Mendes: Glatigny

Les Meres ennemies
La Reine Fiammette

Mercereau: Mon frere
Merimee: Colomba
Messager: Francois les bas-bleus
Metastasio: Cato

Alexander
The Desert Isle
Cyrus

Antigone

Demophon

Olympiade

Regulus

Themistocles

Dido

Achilles in Scyros

Hypsip le

Hylermnestre

Demetrius

Semiramide riconosciuta

Adrien

Zenobia

Nitetis

The Chinese Hero

The Shepherd King
" Siroes

Artaxerxes

^tius
Metenier: La Casserole
Michaud d'Humiac: Le Cceur de Se-hor
Mikhael: Le Cor fleuri
Milliet: Le Roi de l'argent
Milloecker: L'Etudiant pauvre
Miral: Lydie

Mirbeau: Les Affaires sont les. affaires
Moses (?): Job
Moliere: Don Juan
Montepin: La Policiere

XXXII

XXXII

IV

VIII

XIV

XXIX

XXVIII

XVIII

XXIV

XXV

XXIX

and XXXIII
XIII
III

XXIV
V

and XXIX
V

XII
XIII

and XIX
XIV
XIX
XIX
XX
XX
XX
XX
XXIII
XXIII
XXIV
XXIV

and XXXII
XXIV
XXV
XXVIII
XXVIII
XXVIII
XXXIII
XXXIII
XXXIII

III

XXVII

XXIV

XXXIII

XXXIII

XXIX

XXVII

XXX

V

XXVII

A

1

C

1

A

2

B

1

A

1

A

4

A

2

A

1

A

9

B

2

B

3

A

3

A

2

A

1

B

6

C

A

2

C

B

C

B

3

B

1

A

1

B

1

A

1

A

2

B

3

B

3

B

2

B

3

A

5

B

8

B

1

C

C

2

A

1

A

1

C

1

B

2

D

2

D

4

A

7

D

6

B

3

B

3

A

1

A

4

A

3

B

1

B

C

INDEX OF AUTHORS

173

Moreau: Madame Margot
Le Drapeau
Gerfaut
" Un divorce
Morel: Terre d'epouvante
La Fille du depute
La Pieuvre
Mortier: Marius vaincu
Mourey: L'Automne
Lawn-tennis
Mussato: Ezzelino
Musset: Fantasio

Lorenzaccio

On ne badine pas avec l'amour
Andre del Sarte
Mustiere: Rosse, tant et plus

VIII

A

2

XXIV

A

8

XXV

c

6

XXXII

A

1

VI

A

4

XXVII

A

3

XXXIII

C

1

XXX

A

3

VIII

B

2

XXVI

D

2

XXX

C

1

II

B

2

VIII

A

1

XVII

C

2

XXV

c

4

VIII

A

2

N

Nepoty: L'Oreille fendue
Nicomaque: (Edipus
Nigond: 1812
No: Les Carbonari
Nus: Le Mari

XXVII

XVIII

XIV

XXIX

XXV

A

3

A

1

A

1

A

4

C

1

o

Ohnet: Serge Panine
Dernier amour
La Comtease Sarah
La Grande Marniere

Ollognier 'Mmo. ; Le Saifi

XXV

B

2

XXV

B

6

XXV

C

3

XXIX

A

2

X X I V

A

8

Pailleron : La Souris

XIV

A

4

Paladilhe: Patrie

XXV

I)

• >

Diana

X X XIII

I)

8

Parodi: L'Inflexible

XXVII

I)

• >

Paton Le Divorce de Sarah Moore

XXI

A

■ >

Perrault: Bluebeard

II

A

Lf Pel 11 Pouct :

\ 1

l>

• >

" Peau d'&ne

XXVI

A

"{

Peter: L'Or

III

\

1

Phrynichus: The I tanaide

Will

B

:t

Picard La Fugitive

\XI

c

■ >

Planquette: Surcouf

XXIV

A

7

Poe The Purloined Letter

XI

\

•' The Gold Bug

\l

B

1

Berenice

\ X \ 1 \

1!

174

THIRTY-SIX DRAMATIC SITUATIONS

Follies ido>: L'Enfant du Temple

XX

A

4

Polti: Compere le Renard

V

A

Les Cuirs de boeuf

XXVI

A

1

Porto-Riehe: Le Vieil Homme

XIV

B

2

Les Malefilatre

XXV

C

7

Pouvillon: Le Roi de Rome

VII

B

Pradon: Electre

IV

A

1

Regulus

XX

A

1

Prevost: Manon Leseaut

XXVII

B

6

Prevost (Jean): CEdipus

XVIII

A

1

Prevost (M): Pierre et There e

XXVII

A

2

La plus faibL

XXVIII

A

2

Q

Quinault: Alceste

XXI

A 1

R

Rahier: Et ma soeur?

XXViII

B

Racine: Esther

I

C

1

Alexandre

V

C

Les Frere ennemis

X II

A

2

Britannicus

XIV

A

1

Mithridate

XIV

B

1

Ii higenie en Tauride (projected)

XIX

C

2

Berenice

XX

B

3

Alceste (projected)

XXI

A

1

Andromaque

XXI

D

2

; nd XXV

B

1

Iphigenie a Aulis

XXIII

A

1

" Bajazet

XXIV

B

4

Phedre

XXVI

B

1

" m Athalie

XXXI

A

2

Rachilde: La Voix du sang

XIX

G

3

Madame la Mort

XXIV

B

8

Rajasekhara: The Sons of Pandou

III

A

5

The Statue

XXIV

D

3

Raymond: Les Menages de Paris

XXV

B

3

Regnier (de): La Gardienn-?

XXXV

Renauld: Le Crime d'un autre

XXXIII

D

2

Reyer: Sigurd

XXV

C

3

Richard: Boislaurier

11

A

and XIV

A

1

Le Roman d'Elise

XXVIII

D

2

Richebourg: La petite Mionne

XIX

A

3

Richepin: Nana-Sahib

V

C

L'Ancien

XXI

A

2

Le Chien de garde

XXI

D

1

La Glu

XXII

A

5

INDEX OF AUTHORS

175

Richepin: La Route d'emeraude
Richepin fils: La Marjolaine
Richter (J. P.): Titan
Riupeiroux: Hypermnestre
Rivoire: Le b n roi Dagobcrt

Mon ami Teddy
Rochard: Le peche de Marthe

La Bete feroce
Rochefort: Electre
Rod: Le Reformateur
Roinard Les Miroirs
Rolland: Le 14 juillet
Romains: L'Armee dans la \'ille
Rostand: L'Aiglon

Chantecler
" Cyrano
Roudradeva: The Story of Yayati
Roupa: The Loves of Krishna
Rouvre: ide) Le Mariage d Andre
Rozier: Le Divorce de Sarah Moore
Rucellai: Rosemonde
Ryner: Vive le roi!
Rzewuski: Count Witold

XXII

XX1\

XVIII

XXIII

XVII I

XXIV

XXVIII

XXX

IV

VI

XXV
VIII

\ 111

VII
VIII

XXI

XXIX

XXIV

win

XXI
IV
XX
XXXIV

A

6

A

6

D

2

B

3

D

2

A

7

B

C

1

A

1

C

1

D

1

B

2

B

2

B

A

2

C

2

A

2

D

1

B

1

A

2

C

A

4

B

2

Sadwfll: Don Juan V

Sainte-Fobt ; Alceste \ \ I

Sainte-Marthe: (EdipUB XXIII

SaimVGeorges de Boubilier: Le Roi sans

couronne Y

Saint-P. 1 Roux: La Dame a la faulx XX 1\

Saint-Saens: Samson ft Dalila X\

inio \\1\

Henri VIII \\\

ProBerpine \\\

L'Ancitre XXIX

Salieri: The Danaii Will

Samain : Polypht \ X I \

Samara Dikchila: The \ ictory of I'rad-

youmna XXIX

on Marie Stuart \ \ I \

Le Crime de -ban Morel XXIX

Sai d: I-'- Dimon du f( yet \ \l\

Sardou: Thermidor \ ill

I, a To. a \\|

Cleopatra wii

La Soreii re \\i\

Odette XXVII

Georgette . \ ,11

Le Crocodile N XV11

B

A

l

A

1

C

B

9

A

•>

C

B

5

B

7

B

(i

B

8

A

1

\

•)

B

•>

B

7

\

I

\

1

l)

'J

\

1

B

1

\

1

\

1

B

176

THIRTY-SIX DRAMATIC SITUATIONS

Sardou : Fedora

XXIX

B

5

Theodora

XXXIII

A

2

L'Affaire des Poissons

XXXIII

B

2

Sardou (Andre): L'Etau

XVI

D

Schiller: William Tell

III

B

6

and VI I

B

2

Schiller: The Brigands

V

A

and XXXIII

C

3

" Fiesco

VIII

A

1

Don Carlos

XIV

B

3

and XXVI

B

2

The Bride of Messina

XVIII

A

2

Marie Stuart

XXIV

B

2

Wallenstein

XXX

A

3

Love and Intrigue

XXXII

B

3

Second: La Vicomtesse Alice

V

D

Sedaine: Richard Cceur-de-Lion

X
and XXXV

D

1

See: L'Indiscret

XVII

A

1

Seneca: The Phcenissse

XIII

A

1

" Thyestes

XIII

A

2

" Octavia

XV

B

Hercules Furens

XVI

A

1

(Edipus

XVIII

A

1

" Medea

XXV

A

1

Hercules on (Eta

XXV

B

1

" Hippolyte

XXVI

B

1

i he Trojan Women

XXXVI

A

1

Severine: Sainte-Hel ne

III

A

2

Shakespeare: King John

I

A

1

The Tempest

III

B

1

The Merchant of Venice

III

B

6

and XI

B

2

Hamlet

IV

A

1

and XIII

C

Troilus and Cressida

V

C

Richard H

VI

B

" Timon of Athens

VI

C

1

Coriolanus

VI

c

1

and XII

B

King Lear

VI

C

1

Henry VI

VI

B

Henry V

IX

B

1

and XXXIII

A

1

Pericles

XXXV

and XI

B

2

Two Gentlemen of Verona

XIV

D

Measure for Measure

XXI

D

2

Antony and Cleopatra

XXII

A

4

Henry VIII

XXV

B

5

Romeo and Juliet

XXIX

B

6

INDEX O:-' AUTHORS

177

Shakespeare: Julius Caesar

XXX

A

2

Henry IV

XXX

B

Macbeth

XXX

C

1

Richard III

XXX

C

1

" Comedy of Errors

XXXII

A

1

Much Ado About Nothing

XXXII

B

1

Othello

XXXII

B

1

" Cymbeline

XXXII

B

2

A Winter's Tale

XXXV

Shaw: Mrs. Warren's Profession

XXVII

A

1

Shelley: The Cenci

III

B

5

XIII B 3 and XXVI

A

3

Sienkiewicz: By Fire and Sword

X

A

Sophocles: Chyses

I

A

1

" Minos

I

A

1

" Oicles

I

A

1

" OZdipus at Colonus

I

and XII

A

3

" Nausicaa

I

B

1

The Pheacians

I

B

1

Acrisius

I

B

2

Philoctetes at Troy

I

B

3

" Eurysaces

I

C

0

" Andromeda

II

A

iEgeus

11

B

1

Peleus

I!

B

1

and VII

C

1

" Iolas

II

B

2

" 'Enee

II

B

2

Phineus

11

B

2

Aletes and Krigone

III

A

1

Nauplhu

III

A

o

Ixion

III

\

5

The Feast of the Achaean

III

B

• >

Phrixuf

III

B

1

Tfr>

III

B

5

The Epigoni\s

IV

A

1

Elect r;i

IV

A

1

Eriphyle

IV

\

1

Meleager

IV

H

Ajax Locrian

V

B

Laocoon

\

c

The Shepherd

VI

\

1

The Xoanephorei

\ 1

\

•j

Teucer

VI

c

2

Sophoclei The Council of the Argive

IX

A

Laconian Women

l.\

c

l

Sinon

IX

1)

l

CEnom

l\

D

o

( (rithyie

\

\

Th< ' it tion of Helen

B

ITS

THIRTY-SIX DRAMATIC SITUATIONS

Soph

3cles: Hermion^

X

c

2

Polyidus

XI

A

Women of Scyros

XI

c

2

' Ulysses

XI

c

3

Philoctetes

XII

A

Helen Reclaimed

XII

c

Thyestes II

XIII

A

2

' Ajax

XVI

B

' Eumele

XVII

A

1

' Pelias

XVII
and XIX

c

E

4

(Edipus the King

XVIII

A

1

' Creusa

XIX

B

1

Telephus

XIX

B

1

Euryale

XIX

B

2

Alexander

XIX

c

1

Procris

XIX

G

1

Amphitryon

XIX

F

3

Alceste

XXI

A

1

Iphigenia

XXIII

A

1

' Iobate

XXVI

B

1

Lemnian Women

XXIII

B

2

Women of Colchis

XXV

A

1

Antigone

XX

A

3

The Maidens of Trachis

XXV

B

1

Alcmeon

XXV

B

4

' Phaedra

XXVI

B

1

Thamiras

XXXI

B

3

Niobe

XXXI

B

4

Eumele

XXXI

B

5

The Phtiotides

XXXII

C

4

Palamede

XXXIII

C

2

Thyestes at Sicyon

XXXV

The Captives

XXXVI

A

1

Laocoon

XXXVI

A

1

Polyxena

XXXVI

A

1

The Ethiopians

XXXVI

C

Soubhata: The Message of Angada

X

C

2

Soudraka: The Earthen Toy-cart

XXIV

A

5

Soundara Misra: Abhirama mani

X

C

2

Speroni: Canace

XXVI

C

2

Spontini: The Danaides

XXIII

B

3

Stace: Agave

XXXI

A

1

Stein: La Veuve joyeuse

XXVIII

A

2

Sue: Les Enfants naturels

XVIII

A

2

T
Tarb6: Monsieur de Morat

XXV

B

3

Tasso: Torrismond

XVIII

A

2

( i

Jerusalem Delivered

XIX

G

1

INDEX OF AUTHORS

179

Tchang-Koue-pin: The Tunic Confronted
Tellez: Don Juan
Terni iMme.i: Les Baillinnes
Theodecte: CEdipus
" Lyncee

Theuriet: La Maison des deux Barzeaux
Thomas: Francoise de Rimini
Tiercel in: Un voyage de noces
Tirso de Molina: Don Juan
Tolstoi: The Powers of Darkness

Resurrection

The Kreutzer Sonata
Torquet: Cent lignes emues
Trarieux: La Dette
Trissino: Sophonisbe
Tristan 1' Hermite: Marianne

and

III

V

XXXVI

XVIII

XXIII

XXV

XXV

XXV

V

XIII

XV

XX

XXV

XXXVI

XIV

XX

XXXII

A

1

B

A

2

A

1

B

3

C

4

C

3

A

2

B

F

A

1

C

D

1

C

B

1

B

3

A

1

Vacquerie: Proserpine

Jalousie
Vallette: Le Viergp
Valnay: L'Esclave du Sevoin
Van Velde (Mme.): Lena
Vauzelles de): Alceste
Veber: Lee Grands

Vedanyatha Vatchespati: Tchitra Yadjgna
\'erga: Chevalerie rustique
Verhaeren: Le Cloltre
Verlaine: Louise Leclen-q
Verne: Le Tour du monde en 80 jours

Les Enfants du capitaine (irant
Villemer: L'Abaente
Villiere: Don Juan
Villien de ['Iale Adam: Le Nouveau-Monde

Vira: Madhouranirouddha
Viahakadatta: The Minister's Ring
Viswanatha: Mrigancalckha
Voltaire: Briphyle

Adelaide I >ugue iclin

Aga1 bode

Anu'lic

Don Pedre

Samson

Pandora

and

Le ivi,,;.
<]., •

La Gudbref

Le I. "i de Minos

XXV

B

7

XXXII

c

5

XXXIII

B

3

XX XI I

A

3

XXVIl

B

4

XXI

A

1

XXXIII

A

:{

XXXI

B

2

XXII

A

10

X X X 1 V

A

• >

XVII

('

■>

IX

I)

1

XXXV

XXVII

B

1

\

B

X X V

C

1

XIX

A

4

XII

\

XXIV

A

1

l\

\

1

XIV

\

XIV

\

•>

XIV

\

•»

XIV

\

•J

XVII

c

:{

XVII

(•

l

X \ 1 \

A

l

XIII

\

•>

Will

\

1

\l\

A

■>

XIX

\

•>

M

180

THIRTY-SIX DRAMATIC SITUATIONS

Voltaire:

Merope

it

Semiramis

ii

Mahomet

• i

Le Huron

ii

Tanis et Zelide

ii

Alzire

ii

Le Triumvirat

ii

Zulime

ii

Brutus

ii

Nanine

ii

Les Scythes

ii

Olympie

1 1

Irene

ii

Catilina

i<

La Mort de Caesar

ii

Marianne

ii

Tancrede

it

Zaire

ii

Art6mire

ii

Oreste

XIX

XIX

XIX

XXI

XXIV

XXIV

XXIV

XXIV

XXVII

XXVIII

XXIX

XXIX

XXIX

XXX

and VIII
XXX
XXXII
XXXII

and II

XXXII
XXXII
XXXIV

B

1

D

E

D

2

A

2

A

3

A

3

B

4

D

1

A

1

A

4

B

1

B

4

B

A

1

A

2

A

1

A

1

A

A

2

C

2

A

■1

w

Wagner: Lohengrin

The Ring of the Nibelungs

Parsifal

Die Meistersinger
" Tannhauser
Wagner: Tristan and Isolde
Webster: Vittoria Corombona

Appius and Virginia

The Duchess of Main

Sir Thomas Wyat
Wells: The War of the Worlds
Werner: Attila

The Twenty-fourth of February
Luther
Wicheler: Le Mariage de Mile. Beuleman.s
Widor: Maitre Ambros
Wilde: Salome
Willy: Le Frequet

Lelie
Wolf: Les Lys

II

A

V

c

IX

c

2

XXIV

A

9

XXII

A

2

XXV

c

3

XV

A

1

XXIV

A

3

XXIX

A

1

XXX

B

VI

A

2

III

A

1

XIX

B

1

XX

A

4

XXIV

A

8

XXXIII

B

1

XXII

B

XXIV

B

6

XXII

C

2

XXVIII

D

1

Xenocles: CEdipus

XVIII

A 1

INDEX OF AUTHORS 181

Zaccone: La Cellule No. 7
Zamacois: Bohemos
Zamora: Don Juan
Zola: Le Reve
" La Debacle
" L'Argent

and
Germinal
" La Terre

and
Therese Raquin

and
La Bete humaine
" L'CEuvre

La Joie de vivre

and
" La Faute de l'ubbe Mouret

La Conquete de Hassans
" Nana

L'Assommoir
Le Capitaine Burle
" Jacques Damour
" Pot-bouille
Renee
Zola: La ' uree
" Dr. Pascal

Son Excellence Kugene
La Fortune des Rougon
Le Ven1 re de Paris
Madeleine
Zorilla: Don Juan

ANONYMOUS

III

B

3

XXIV

A

9

V

B

I

B

2

VI

A

1

VI

B

XVII

A

2

VIII

B

2

XIII

B

1

XXX

c

1

XV

A

1

XXXIV

A

4

XVI

A

2

XX

A

4

XXI

A

2

XXIV

B

7

XXII

A

1

XXII

A

2

XXII

A

6

XXII

C

2

XX11

C

1

X X V

C

2

XXV

('

7

XXVI

B

2

XXVI

B

■ >

XXVI

B

•)

XXX

('

1

\\\

C

1

\ win

c

2

X X X 1 V

B

1

V

B

( !hineae: The Sin^t r

ill

\

1

Hindu

\ narghara-ffhava

\

('

•>

i *

l >hour1 1 a Narl taka

XXII

\

I

t •

DhoUTl la Sainav;aina

\\l\

\

l.i

• •

I [anouman

\

('

■>

My '■

i ■. Le M.. tere d'Adam

VI

A

a

Mirac

l«- Eloberl le-Diable

\

\

• «

Barlaarn el Jo laphal

\

1)

8

"

La Mere meutriere de

enfanl

XVII

C

•J

» i

Saint Al<-xis

Xl\

0

8

"

Saint [gnace d'Anl ioche

\\

\

4

••

Guibor

Will

1!

I

• *

L'Empereur Julien

XXXI

\

• •

182 THIRTY-SIX DRAMATIC SITUATIONS

Miracles:

La Mere du Pape

XXXI

B

4

La Fille du roi d'Espagne

XXXII

B

2

Berthe-au-grand-pied

XXXV

La Reine aux trois fils

XXXV

Berthequine

XXXV

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