The Thirty Six Dramatic Situations

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"Gozzi maintained that there can be but 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 Lucille Ray

WRITER'S DIGEST

Cincinnati, Ohio

1931

COPYRIGHT, 1916, 1917
THE EDITOR COMPANY

COPYRIGHT, 1921
JAMES KNAPP REEVE

COPYRIGHT, 1931

WRITER'S DIGEST

CINCINNATI, OHIO

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 find 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 dramatic
system, and the Arabesque spirit, through him trans-
fused, has given us the work of Hoffmann, Jean-Paul
Richter and Poe.

The Venetian's exuberance would have made me
doubtful of him, since, having once launched at us this
number 36, he kept silence. But Schiller, rigid and
ardent Kantian, prince of modern aestheticians, master
of true historic drama, had he not in turn, before
accepting this rule, "taken great 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
taste for the abstract, Goethe, who throughout his
life seems 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 Sourness "J ane 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 theatre, he found, he
tells us, twenty-four. His basis, however, is far from
satisfactory. Falling back upon the outworn classifica-
tion 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 , f I rediscovered the thirty-six situa-
tions, as Gozzi doubtless possessed them, and as the
reader will find them in the following pages ; for there
were indeed, as he had indicated, thirty-six categories
which I had to formulate in order to distribute fitly
among them the innumerable dramas awaiting classi-
fication. There is, I hasten to say, nothing mystic or
cabalistic about this particular number; it might per-
haps be possible to choose one a trifle higher or lower,
but this one I consider the most accurate.

Now, to this declared fact that there are no more
than thirty-six dramatic* situations, is attached a singu-
lar corollary, the discovery that there are in life but
thirty-six emotions. A maximum of thirty-six emotions,
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 human-
ity itself, in the shades of African forests as Unter den
Linden or beneath the electric lights of the Boulevards;
as it was in the ages of man's hand-to-hand struggle
with the wild beasts of wood and mountain, and as it
will be, indubitably, in the most infinitely distant future,
since it is with these thirty-six emotions no more
that we color, nay, we comprehend, cosmic mechan-
ism, 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 situations,
thirty-six emotions, and no more.

It is then, comprehensible that in viewing upon the
stage the ceaseless mingling of these thirty-six emotions,
a race or nation arrives at the beginning of its definite
self-consciousness ; the Greeks, indeed, began their towns
by laying the foundations of a theater. It is equally nat-

*I have replaced the word "tragic," used in the quotation, ^ with
"dramatic." Those familiar with Goethe know that for mm
one of the "classic" Germans the two terms were synonymous
in this passage.

10 THIRTY-SIX DRAMATIC SITUATIONS

ural that only the greatest and most complete civilizations
should have evolved their own particular conception of
the drama, and that one of these new conceptions should
be revealed by each new evolution of society, whence
arises the dim but faithful expectation of our own age,
waiting for the manifestation of its own dramatic ideals,
before the cenotaphs of an art which has long been, ap-
parently 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 gal-
lants playing their mandores, nude heroes of Hellas, leg-
endary 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 disguise,
lisping Tartaglias, garrulous Graciosos, Shakespearean
clowns, Hugoesque buffoons, magistrates, immobile
Buddhist ascetics, white-robed sacrificers, martyrs with
shining aureoles, too-crafty Ulysses, frightful Rakchasas,
messengers dispersing calamitous tidings to the winds
of heaven, pure-hearted youths, blood-stained madmen,
yes, here it assembles, our humanity, here it moves
through its periods of greatest intensity but presenting
always one of the facets of the prism possessed by Gozzi.

These thirty-six facets, which I have undertaken to
recover, should obviously be simple and 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 dis-
similar and the most celebrated, nearly all others being
but mosaics of these. There will here be found the prin-
cipal dramas of China, of India, of Judea, and, needless
to say, of the Greek theater. However, instead of con-

INTRODUCTION 11

fining ourselves to the thirty-two classic tragedies we
shall make use of those works of Hellenism which, un-
fortunately 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 ex-
ception 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 dra-
matic literature. And it seems to me we shall have final-
ly proved this theory of the Thirty-six Situations, when
we shall thus have brought it into contact with the dra-
matic production of the last thirty years.

Two hundred of the examples cited have been taken
from other literary genres akin to the dramatic: romance,
epic, history, and from reality. For this investigation
can and should be pursued in human nature, by which
I mean in politics, in courts of justice, in daily life. Amid
these explorations the present study will soon seem but
an introduction to a marvelous, an inexhaustible stream,
the Stream of Existence, where meet momentarily, in
their primordial unity, history, mystic poetry, moralist
(and amoralist) writings, humor, psychology, law, epic,
romance, fable, myth, proverb and prophecy.

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

Which are the dramatic situations neglected by our
own epoch, so faithful in repeating the few most familiar?
Which, on the other hand, are most in use today? Which
are the most neglected, and which the most used, in each
epoch, genre, school, author? What are the reasons for
these preferences? The same questions may be asked
before the classes and sub-classes of the situations.

Such an examination, which requires only patience,

12 THIRTY-SIX DRAMATIC SITUATIONS

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 real-
ities, when viewed in the clear light of the ancient writ-
ings revealed to us only their reflections, so long as we
had not, for our guidance, the precious thread which van-
ished with Gozzi.

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

FIRST SITUATION

SUPPLICATION

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

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

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

A (1) Fugitives Imploring the Powerful for Help
Against Their Enemies. Complete examples: "The
Suppliants" and "The Heraclidse" of Aeschylus; "The
Heraclidse" of Euripides; the "Minos" of Sophocles.
Cases in which the fugitives are guilty : the "Oicles" and
"Chryses" of Sophocles ; "The Eurnenides" of Aeschylus.
A partial example : Act II of Shakespeare's "King John."
Familiar instances: scenes from colonial protectorates.

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14 THIRTY-SIX DRAMATIC SITUATIONS

(2) Assistance Implored for the Performance of a
Pious Duty Which Has Been Forbidden. Complete
examples: "The Eleusinians" of Aeschylus and "The
Suppliants" of Euripides. A historical example : the
burial of 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. Com-
plete example: "(Edipus at Colonus." Partial example:
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 Enfants-Assistes. Special instance of
a child received into a home : the beginning of "Le Reve,"
by Zola.

(3) 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.

(4) The Surrender of a Corpse, or of a Relic, So-
licited: "The Phrygians" of Aeschylus. Historical ex-
amples: the Crusaders' embassies to the Moslems. Fa-
miliar instances : the reclaiming of the remains of a great
man buried in a foreign land ; of the body of an executed
person, or of a relative dead in a hospital. It should be
noted that the "Phrygians," and the Twenty-fourth Book
of the Iliad, which inspired the play, form a transition
toward the Twelfth Situation (A Refusal Overcome).

C (1) Supplication of the Powerful for Those Dear

FIRST SITUATION 15

to the Suppliant. Complete example : Esther. Partial
example: Margaret in the denouement of "Faust" His-
torical 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 V Amour" (Bataille,
1911).

It is apparent that, in the modern theater, very little
use has been made of this First Situation. If we except
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 elab-
orated it with those external complexities demanded by
our modern taste, their successors have found the First
Situation too bare and simple a subject for this epoch.
As if one idea were necessarily more simple than an-
other ! as if all those which have since launched upon
our stage their countless ramifications had not 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
(in essence, unfortunately, a somewhat parasitic and mo-
notonous 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-
work of diplomacy, or revealing himself beneath the for-
midable pomp of the greatest contemporary powers ; the
Suppliant, artless or eloquent, virtuous or guilty, hum-
ble or great ; and the Power, neutral or partial to one
side or the other, perhaps inferior in strength to the Per-
secutor and surrounded by his own kindred who fear

16 THIRTY-SIX DRAMATIC SITUATIONS

danger, perhaps deceived by a semblance of right and
justice, perhaps obliged to sacrifice a high ideal; some-
iimjes^seirerel^Jo^kaj^^&oinetinre^ eihotiolialTy suscep-
tible, or even overcome by a conversion a la Dostoievsky,
and, as a final thunderbolt, abandoning the errors which
he believed to be truth, if not indeed the truth which he
believed to be error!

Nowhere, certainly, can the vicissitudes of power, be
it arbitral, tyrannical, or overthrown, the superstitions
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, de-
spairs and their resulting blasphemies, hope surviving
to the last breath, the blind brutality of fate, no-
where 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 fraction
of revolutionary France; the worship of the dead, that
first, last, most primitive and most indestructible form
of religious sentiment; the agony which awaits us all,
agony dragging itself toward the darkness like a spent
beast; the profoundly humble longing of one whom a
murder has deprived of all that wasMearest 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 "Andrornedas" of Sophocles, of Euripides and of
Corneille ; "Le Jeu de Saint Nicolas" (Jean Bodel). Par-
tial 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 unfor-
tunate at stake: Daniel and Susanna, and various ex-
ploits of chivalry. A parody: "Don Quixote." A famil-
iar 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; Eu-
ripides' "Antiope." Cases in which the children have
previously been abandoned are "Athamas I" and also the
"Tyro" of Sophocles. (The taste of the future author
of "GEdipus at Colonus" for stories in which the Child
plays the role of deliverer and dispenser of justice, forms

17

18 THIRTY-SIX DRAMATIC SITUATIONS

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

We see, by a glance over these subdivisions, what our
writers might have drawn from the second of the Situa-
tions. For us, indeed, it should possess some little at-
traction, 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 flash-
ing 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 in-
toxicating vengeance, as does the characteristic Oriental
legend of the Pandavas ; while to the Latin and Spanish
races the most satisfying of spectacles is still that of an
individual capable of executing a legitimate, although
illegal, justice. So much goes to prove that even twenty
centuries of Christianity, following five centuries of So-
cratic philosophy, have not sufficed to remove Vengeance
from its pedestal of honor, and to substitute thereon
Pardon. And Pardon itself, even though sincere, what
is it but the subtile quintessence of vengeance upon
earth, and at the same time the claiming of a sort of
wergild from Heaven?

A (1) The Avenging of a Slain Parent or Ances-
tor: "The Singer/'" an anonymous Chinese drama;
"The Tunic Confronted" (of the courtesan Tchangkoue-
pin) ; "The Argives" and "The Epigones" of Aeschylus ;
Sophocles' "Aletes and Erigone;" "The Two Foscari,"
by Byron ; Werner's "Attila ;" "Le Crime de Maison-
Alfort" (Coedes, 1881) ; "Le Maquignon" (Josz and
Dumur, 1903). In the last three cases, as well as in the
following one, the vengeance is accomplished not by a
son, but by a daughter. Example from fiction: Meri-
mee's "Colomba." Familiar instances : the majority of

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20 THIRTY-SIX DRAMATIC SITUATIONS

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 Descendant:
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;" "LTdiot" (de Lorde, 1903). Con-
temporary 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: "Venisam-
hara," by Bhatta Narayana ; "The Sons of Pandou," by
Rajasekhara. Familiar instances: a large number of
duels.

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

(7) Vengeance for a Slain or Injured Friend:
"The Nereids" of Aeschylus. A contemporary instance :
Ravachol. Case in which the vengeance is perpetrated
upon the mistress of the avenger: "La Casserole"
(Metenier, 1889).

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

g (1) Vengeance for Intentional Injury or Spolia-

THIRD SITUATION 21

tion : Shakespeare's "Tempest." Contemporary in-
stance: Bismarck in his retirement at Varan.

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

(3) _ Revenge for an Attempted Slaying: "The
Anger of Te-oun-go," by Kouan-han-king. A similar
case involving at the same time the saving of a loved
one by a judicial error: "La Cellule No. T (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 Bil-
haud, 1908) ; "The Cenci," by Shelley (parricide as the
punishment of incest).

(6) Vengeance for Having Been Robbed of One's
Own : "The Merchant of Venice/' and partly "William
Tell."

(7) Revenge Upon a Whole Sex for a Deception
by One: "Jack the Ripper" (Bertrand and Clairian,
1889) ; the fatal heroines of the typical plays of the Sec-
ond Empire, "L'Etrangere," etc. A case appertaining
also to Class A : the motive (an improbable one) of the
corruptress in "Possede," 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 might evoke him at every step, this
villain and his profound schemes which not infrequently
make us smile. Don Salluste in "Ruy-Blas," lago in
"Othello," Guanhumara in "Burgraves," Homodei in
"Angelo," Mahomet in the tragedy of that name, Leon-
tine in "Heraclius," Maxime in "La Tragedie de Valen-
tinien," Emire in "Siroes," Ulysses in "Palamedes."

C Professional Pursuit of Criminals (the counter-
part of which will be found in the Fifth Situation, Class
A) : "Sherlock Holmes" (Conan Doyle); "Vidocq"

22 THIRTY-SIX DRAMATIC SITUATIONS

(Bergerat, 1910); "Nick Carter" (Busson and Livet,
1910).

Frequently used though this situation has been in our
day, many an ancient case awaits its rejuvenescence,
many a gap is yet to be filled. Indeed, among the bonds
which may unite avenger and victim, more than one de-
gree of relationship has been omitted, as well as the ma-
jority of social and business ties. The list of wrongs
which might provoke reprisal is far from being exhaust-
ed, as we may assure ourselves by enumerating the kinds
of offenses possible against persons or property, the
varying shades of opinion of opposing parties, the differ-
ent 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 fig-
ures, each pursuing his own aims, as in life, intercross-
ing each other and crossing the drama and I have suf-
ficient 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 One's 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 house.

Neither, it seems, do our dramatists dare intervene
to modify the Greek tragedy, such as it is after thirty
appalling centuries.

For us it is easy to compute, from the height of our
"platform" to use Gozzi's word the infinite varia-
tions possible to this theme, by multiplying the combi-
nations which we have just found in the Third Situation,
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 ac-
tion. These may be a spontaneous desire on his own
part (the simplest motive) ; the wish of the dying victim,
or of the spirit of the dead mysteriously appearing 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

23

24 THIRTY-SIX DRAMATIC SITUATIONS

avenge the Dantonists) or even fellow-citizens; igno-
rance of the kinship which exists between Avenger and
Criminal. There yet remains that case in which the
Avenger strikes without having recognized 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 sup-
posedly 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, Crebillon, Rochefort, Chenier, and of Guillard's
opera; the "Orestes" of Voltaire and of Alfieri; Soph-
ocles* "Epigones;" the "Eriphyles" of Sophocles and of
Voltaire; and lastly "amlet," in which we recognize so
clearly the method by which the poet rejuvenates his
subjects, by an almost antithetic change of characters
and of milieu.

(2) A Mother Avenged Upon a Father: "Zoe
Chien-Chien" (Matthey, 1881), in which the parricide is
counterbalanced by an incestuous passion, and is com-
mitted 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 alto-
gether. Let us, for the moment, amuse ourselves by
counting some of those which have been forgotten.

A father's death avenged upon the brother of the
avenger. Upon his sister. Upon his mistress (or, in the
case of a feminine avenger, upon her lover, for each of
the cases enumerated has its double, according to the

FOURTH SITUATION 25

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 grand-
father; his paternal or maternal grandmother. Upon
half-brother or half-sister. Upon a person allied by mar-
riage (brother-in-law, sister-in-law, etc.) or a cousin.
These numerous variations may of course be successive-
ly 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 in-
animate 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 innocent, always
excusable, for the fault if there was one appears to
have been inevitable, ordained ; we do not inquire into it
or blame it, which would be idle, but 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 cer-
tain circumstances. In this Situation we feel ourselves,
so to speak, accomplices in even the worst of slayings.
Which may be explained by the reflection that along our
various lines of heredity many such crimes might be
found, and our present virtuottsness may mean simply an
immunity from criminal tendencies which we have
gained by the experience of our ancestors. If this be
the case, heredity and environment, far from being op-
pressive fatalities, become the germs of wisdom, which,

26

FIFTH SITUATION 27

satiety being reached, will triumph. This is why genius
(not that of neurosis, but of the more uncommon mas-
tery 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 ex-
perience 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 Brigandage,
Political Offenses, Etc.: "Louis Perez of Galicia" and
"Devotion to the Cross," both by Calderon; the begin-
ning of the mediaeval Miracle "Robert-le-Diable ;" "The
Brigands" by Schiller; "Raffles" (Hornung, 1907). His-
torical examples : the proscription of the Conventionnels ;
the Duchesse de Berry. Examples from fiction: "Rocam-
bole" by Gaboriau; "Arsene Lupin" (Leblanc). Familiar
instances: police news. Example in comedy: "Compere
le Renard" (Polti, 1905).

B Pursued for a Fault of Love: Unjustly, "In-
digne!" (Barbier, 1884); more justly, Moliere's "Don
Juan" and Corneille's "Festin de Pierre," (not to speak
of various works of Tirso de Molina, Tellez, Villiers,
Sadwell, Zamora, Goldoni, Grabbe, Zorilla, Dumas pere) ;
very justly, "Ajax of Locris," by Sophocles. Familiar
instances run all the way from the forced marriage of
seducers to arrests for sidewalk flirtations.

C A Hero Struggling Against a Power : Aeschy-
lus' "Prometheus Bound;" Sophocles' "Laocoon;" the
role of Porus in Racine's and also in Metastasio's "Alex-
andre;" Corneille's "Nicomede;" Goethe's "Goetz von
Berlichingen" and a part of "Egmont;" Metastasio's

28 THIRTY-SIX DRAMATIC SITUATIONS

"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 Bouhelier, 1909).

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

SIXTH SITUATION

DISASTER

(Elements: a Vanquished Power; a Victorious Enemy
or a Messenger)

Fear, catastrophe, the unforeseen ; a great reversal of
roles; the powerful are overthrown, the weak exalted.
Here is the oft-recurring refrain of the Biblical books,
here the immortal echoes of the fail 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 Soph-
ocles. Example from fiction: "La Debacle/ 7 by Zola.
History is made up of repetitions of this story.

(2) A Fatherland Destroyed : T h e "X o a n e-
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 great Invasions. From romance : "The War
of the Worlds" (Wells).

(3) The Fall of Humanity : The Mystery of
"Adam" (twelfth century).

(4) A Natural Catastrophe : "T e r r e d'Epou-
vante" (de Lorde and Morel, 1907).

B A Monarch Overthrown (the converse of the
Eighth) : Shakespeare's "Henry VI" and "Richard
II." Historic instances: Charles I, Louis XVI, Napo-
leon, etc. ; and, substituting other authorities than kings,
Colomb, de Lesseps- and all disgraced ministers. Ex-

29

30 THIRTY-SIX DRAMATIC SITUATIONS

aniples from fiction : the end of "Tartarin," "L'Argent,"
"Cesar Birotteau."

C (1) Ingratitude Suffered (of all the blows of
misfortune, this is perhaps the most poignant) : Eu-
ripides' "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 dis-
missal 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 glo-
rious of deaths shine against this dark background ; Soc-
rates and the Passion are but the most celebrated ex-
amples. "Le Reformateur" (Rod, 1906).

(2) _ The Suffering of Unjust Punishment or En-
mity (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 present-
ed at one stroke that conception of human events, sub-
lime, 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 Victim of Ambitious
Intrigue: "The Princess Maleine" (Maeterlinck);
"The Natural Daughter," by Goethe; "Les Deux
Jumeaux," by Hugo.

B The Innocent Despoiled by Those Who Should
Protect: "The Guests" and the beginning of the
"Joueurs d'Osselets," by Aeschylus (at the first vibra-
tion of the great bow in the hands of the unknown Beg-
gar, what a breath of hope we draw !) ; "Les Corbeaux/'
by Becque; "Le Roi de Rome" (Pouvillon) ; "L'Aiglon"
(Rostand) ; "La Croisade des Enfantelets Francs"
Ernault).

C (1) The Powerful Dispossessed and Wretched :
The beginning of Sophocles' and of Euripides'
"Peleus ;" of "Prometheus Bound ;" of "Job." Laertes in
his garden. Example from comedy: "Le Jeu de la
Feuillee" (Adam de la Halle).

(2) A Favorite or an Intimate Finds Himself
Forgotten : "En Detresse" (Fevre, 1890).

31

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 vicis-
situdes, a few surprises all too easily foreseen and ex-
tending uniformly to all the personages of the play, and
there we have the conditions which have almost invari-
ably been attached to this action, so propitious, never-
theless, to doubts, to equivocation, to a twilight whose
vague incertitude prepares the dawn of revolt and of
liberty.

A (1) A Conspiracy Chiefly of One Individual :
"The Conspiracy of Fiesco/' by Schiller; Corneille's
"Cinna;" to some extent the "Catilina" of Voltaire (this
tragedy belongs rather to the Thirtieth Situation, "Am-
bition") ; "Thermidor f "The Conspiracy of General
Malet" (Auge de Lassus, 1889); "Le Grand Soir"
(Kampf) ; "Le Roi sans Royaume" (Decourcelle, 1909) :
"Lorenzaccio" (Musset).

(2) A Conspiracy of Several: "The Conspiracy
of the Pazzi" by Alfieri ;" Le Roman d'une Conspiration"
(by Fournier and Carre, after the story of Ranc) ;
"Madame Margot" (Moreau and Clairville, 1909) ; and,

33

34 THIRTY-SIX DRAMATIC SITUATIONS

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'Armee
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 character in the
two first countries, of a youthful enthusiastic type in the
two last. France, most certainly, would seem of all
countries the most likely to understand 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 displeas-
ing to Communists; Zola's "Germinal" and "L'Automne"
by Adam and Mourey (two works painted in widely
different colors, as the titles sufficiently indicate) were
stopped "for fear" of the objections of a few conserva-
tives ; "Other People's Money" by Hennique, "for fear"
of shocking certain financiers who have since been put
behind bars; "Lohengrin" (although the subject is
Celtic) was long forbidden "for fear" of irritating a half-
dozen illiterate French chauvinists; an infinite number
of other plays "for fear" of annoying Germany (or our

EIGHTH SITUATION 35

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 ex-
cluding 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 crim-
inals or crimes, excepting (and pray why this excep-
tion?) 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 an-
ciently Created, the action stops before the denouement,
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
"Parsifal;" the retaking 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 7 and 'Eurip-
ides' "QEnomaiis." 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 enumer-
ating, 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 mas-
ters, the ways in which revolt may arise, the alternatives
of the struggle in a "daring enterprise," certainly would
appear to be more complex today than in earlier ages;
moreover, upon these themes parts borrowed from other
situations may be engrafted with remarkable ease. Even
if we desire to preserve to the said themes their archaic
severity, how much may yet be drawn from them ! In
how many ways, to cite but one example, might an
Adventurous Expedition be changed by varying the
motives or the object of the enterprise, the nature of
the obstacles, the qualities of the hero, and the previous
bearings of the three indispensable elements of the
drama! "Adventurous Travels" have hardly been
touched upon. And how many other classes are there
which have not been !

TENTH SITUATION

ABDUCTION
(The Abductor; the Abducted; the Guardian)

Or, the Great Bourgeois Romance! Was it not
thus that Moliere used to put an end to his comedies,
when he judged that the moment had arrived for send-
ing his audience home satisfied? Sometimes he substi-
tuted a treasure-box for a girl, as in "Tartuffe," or ar-
ranged 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, al-
though 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 de-
tailed analysis, that love is not necessarily the motive
of Abduction (in Class D will be found friendship, faith,
etc.) nor the reason of the obstacles raised by the
guardian.

A Abduction of an Unwilling Woman : Aeschy-
lus' 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 legendary:
the Sabine women ; Cassandra. There appears to me to

38

TENTH SITUATION 39

be tragic material in cases of extreme eroticism, of pre-
meditated violation preceded by a mania of passion 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 dismember-
ment or concealment of the body ; then by a disgust for
life and by successive blunders which lead to the dis-
covery of the criminal.

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

C (1) Recapture of the Woman Without the Slay-
ing 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 Rav-
isher : "Mahaviracharita," by Bhavabhuti ; "Hanou-
man" (a collaborative work) ; "Anarghara-ghava" (anon-
ymous) ; "The Message of Angada," by Soubhata ; "Ab-
hirama Mani," by Soundara Misra; "Hermione" by
Sophocles.

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

(2) Of a Child: "L'Homme de Proie" (Lefevre
and Laporte, 1908).

(3) Of a Soul in Captivity to Error: "Barlaam
and Josaphat," a fourteenth-century Miracle. The deeds
of the Apostles, of missionaries, etc.

ELEVENTH SITUATION

THE ENIGMA
(Interrogator, Seeker and Problem)

This situation possesses theatrical interest par 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 in-
telligence with opposing wills, the Eleventh Situation
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 per-
son, 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 their
third power by the introduction of the terrible, as in the

40

ELEVENTH SITUATION 41

one complete and pure example which we have, the
"Turandot" of the incomparable Gozzi ; a work passion-
ately 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.

(2) Temptations Offered With the Object of As-
certaining the Sex: "The Scyrian Women" of Soph-
ocles and of Euripides.

(3) Tests for the Purpose of Ascertaining the
Mental Condition: "Ulysses Furens" of Sophocles;
"The Palamedes" of Aeschylus and of Euripides (ac-
cording to the themes attributed to these lost works).
Examinations of criminals by alienists.

TWELFTH SITUATION

OBTAINING

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

Diplomacy and eloquence here come into play. An
end is to be attained, an object to be gained. What
interests may not be put at stake, what weighty 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 "QEdipus
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 adver-
sary is here the Defiant; the solicitor, now the Tempt-
er, has undertaken an unusual negotiation, one for the
obtaining of an object which nothing can persuade the
ower 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 constitiited 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 sym-
metrical of schemes in these contrasting emotions.
"Hatred of one who should be loved," of which the
worthy pendant is the Twenty-Ninth, "Love of one who
should be hated." Such confluents necessarily give rise
to stormy action.

It is easy to foresee the following laws :

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

Second: When the hatred is mutual, it will better
characterize our Situation than when it exists upon one
side only, in which case one of the relatives becomes
Tvrant 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.

A Hatred of Brothers : (1) One Brother Hated
by Several (the hatred not malignant) : "The Heliades"

44

THIRTEENTH SITUATION 45

of Aeschylus (motive, envy) ; "The Labors of Jacob," by
Lope de Vega (motive, filial jealousy). Hated by a sin-
gle brother: The "Phoenissae" of Euripides and of Sen-
eca ; "Polynices" by Alfieri (motive, tyrannical avarice) ;
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 supple-
mentary character is added in this Theban legend, the
Mother, torn between the sons; "Thyestes II" of Soph-
ocles; "Thyestes" of Seneca; the "Pelopides" by Vol-
taire; "Atreus and Thyestes" by Crebillon (motive,
greed for power, the important role being that of the
perfidious instigator).

(3) 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 :(!) Of the Son
for the Father: "Three Punishments in One," by
Calderon. Historic example: Louis XI and Charles
VII. A part of "La Terre" by Zola and of "Le Maitre"
by Jean Jullien.

(2) Mutual Hatred : "Life is a Dream," by
Calderon. Historic instance: Jerome and Victor Bona-
parte (a reduction of hatred to simple disagreement).
This nuance appears to me to be one of the finest, al-
though one of the least regarded by our writers.

(3) Hatred .of Daughter for Father: "The
Cenci," by Shelley (parricide as a means of escape from
incest).

C Hatred of Grandfather for Grandson: Metas-
tasio's "Cyrus;" the story of Amulius in the beginning
of Titus Livius (motive, tyrannical avarice). Hatred of
uncle for nephew: "The Death of Cansa," by Crichna
Cavi. One of the facets of "Hamlet."

jj Hatred of Father-in-law for Son-in-law: Al-
fieri's "Agis and Saul" (motive, tyrannical avarice).
Historical example : Caesar and Pompey. Hatred of two

46 THIRTY-SIX DRAMATIC SITUATION^

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 for-
ever 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 'Tower of Darkness."

I will not repeat the list of degrees of relationship
into which this situation might be successively trans-
ferred. The case of hatred between sisters, one frequent
enough, will offer, even after "Le Carnaval des En-
fants" (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 neo-classicism.

The character of the common parent, torn by affec-
tion for both adversaries in these struggles, has been
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 Beau-
mont and Fletcher who has drawn vigorously the insti-

THIRTEENTH SITUATION 47

gators of such impious struggles; characters whose in-
famy is sufficient to be well worthy of attention, never-
theless.

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
perplexities are hers; what fears of avowing a prefer-
ence, lest pitiless rage be unchained!

Yes, the Beloved one, the "Object" to use the
philosophic name applied to her in the seventeenth cen-
tury will here be added to our list of characters. But
. . . the Common Parent, even if he does not disappear,
must lose the greater part of his importance ; the Insti-
gators 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 dra-
matic purist may raise his brows, and find perhaps
these turtle-dove interludes a trifle colorless when set in
the crimson frame-work of fratricide.

^ Furthermore, there persists in the psychologist's
mind the idea that Rivalry, in such a struggle, is no
more than a pretext, the mask of a darker, more ancient
hatred, a physiological antipathy, one might say, derived
from the parents. Two brothers, two near relatives, do
not proceed, on account of a woman, to kill each other,
unless predisposed. Now, if we thus reduce the motive

48

FOURTEENTH SITUATION 49

to a mere pretext, the Object at once pales and dimin-
ishes in importance, and we find ourselves returning to
the Thirteenth Situation.

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

A (1) Malicious Rivalry of a Brother: "Britan-
nicus ;" "Les Maucroix" by Delpit (the Common Parent
here gives place to a pair of ex-rivals, who become al-
most 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 o Two Brothers:
"Agathocle," "Don Pedre," Adleaide du Guesclin" and
"Amelie," all by Voltaire, who dreamed of carving a
kingdom all his own, from this sub-class of a single
situation.

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

(4) Rivalry of Sisters: "La Souris" (Pailleron,
1887); "L'Enchantment" (Bataille, 1900); "Le Demon
du Foyer" (G. Sand). Of aunt and niece: "Le Risque"
(Coolus, 1909).

B (1) Rivalry of Father and Son, for an Unmar-
ried Woman: Metastasio's "Antigone ;" "Les Fossiles"
(F. de Curel); "La Massiere" (Lemaitre, 1905); "La
Dette" (Trarieux, 1909); "Papa" (de Flers and de
Caillavet, 1911) ; Racine's "Mithridate," in which the
rivalry is triple, between the father and each of the sons,
and between the two sons. Partial example: the begin-
ning of Dumas 7 "Pere Prodigue."

(2) Rivalry of Father and Son, for a Married
Woman: "Le Vieil Homme" (Porto-Riche, 1911).

50 THIRTY-SIX DRAMATIC SITUATIONS

(3) Case Similar to the Two Foregoing, But in
Which the Object is Already the Wife of the Father.

(This goes beyond adultery, and tends to result in incest,
but the purity of the passion preserves, for dramatic
effect, a fine distinction between this sub-class and Sit-
uation XXVI) : Euripides' "Phenix ;" (a concubine
is here the object of rivalry); Schiller's "Don Carlos;"
Alfieri's "Philip II."

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

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

D Rivalry of Friends : Shakespeare's "Two Gen-
tlemen of Verona;" "Aimer sans Savoir Qui" by Lope
de Vega; Lessing's "Damon;" "Le Coeur a ses Raisons"
(de Flers and de Caillavet, 190-2) ; "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 housebreaking, the less heroic in that
the Object of theft is an accomplice, and that the house-
hold door, already thrown open by treachery, requires
not even a push of the shoulder? Whereas this treach-
ery become 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 Slaymg of a Husband by, or for, a
Paramour : The k< Agamemnons" of Aeschylus, of Sen-
eca and of Alfieri ; Webster's "Vittoria Corombona;"
"Pierre Pascal ;" "Les Emigrants" (Hirsch, 1909) ;
"L'Impasse" (Fread Amy, 1909) ; "Partage de Midi"
(Paul Claudel) ; "Amour" (Leon Hennique, 1890) ; the
beginning of the "Power of Darkness." Historic exam-
ple, with pride and shame as motives for the crime : the
legend of Gyges and Candaules. From fiction: the first
part of "Therese Raquin,"

(2) The Slaying of a Trusting Lover : "Samson
et Dalila" (opera by Saint-Saens, 1890).

B Slaying of a Wife for a Paramour, and in Self-
Si

52 THIRTY-SIX-DRAMATIC SITUATIONS

Interest: Seneca's "Octavia" and also Alfieri's; "La
Lutte pour la Vie" by Daudet (in which cupidity domi-
nates adultery) ; "The Schism of England" by Calderon ;
"Zobeide" by Gozzi. Narrative example: Bluebeard.
Historic: the murder of Galeswinthe.

Hints for varying and modifying this situation:

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

Between the victim and the intruder, ties of affection,
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, doubtless, the
object of an old rancor, either on the part of the consort
or of the intruder; the origin of this rancor may be in
any one of the imaginable offenses by which a human
being is wounded in his family affections, his loves, his
ideals, etc., or in his pride of birth, of name, of achieve-
ment; in his interests, (money, property, power, free-
dom) ; 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

FIFTEENTH SITUTION 53

choice among the numberless circumstances which the
Law has foreseen, with divers details such as court trials
suggest.

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

SIXTEENTH SITUATION

MADNESS
(Elements : Madman and Victim)

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

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.

54

SIXTEENTH SITUATION 55

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

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

C Loss of Loved Ones Brought About by 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 powerful
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 that all ties, all interests, all

56 THIRTY-SIX DRAMATIC SITUATIONS

human desires, may be represented crossed and illumi-
nated by the light of dementia?

For the rest, this situation of Madness is far from
having been neglected in our theater. Shakespeare, in
his most personal dramas, has made use of insanity in
the leading roles. Lady Macbeth is a somnambulist and
dies in hysteria, her husband is a victim of hallucina-
tions; the same may be said of Hamlet, who is a lype-
maniac besides; of Timon also; Othello is an epileptic
and King Lear completely deranged. It is on this ac-
count 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 be-
come any less pathetic. "QEdipus" alone shows, in de-
fault of abnormality in the hero's psychologic constitu-
tion, 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 wisdom, who opposes the imprudence, "The
Instigator," wicked, selfish or thoughtless, and the usual
string of Witnesses, secondary Victims, Instruments/
and so forth.

A (1) Imprudence the Cause of One's Own Mis-
fortune : Sophocles' "Eurnele;" Euripides' "Phaeton"
(here the Counsellor is blended with the Instrumental
character, in which, bound by a too-hasty oath, he finds
himself in Situation XXIII, A (2), obliged to sacrifice
a kinsman to keep a vow) ; 'The Master Builder," by
Ibsen. From comedy: "L'Indiscret" (See, 1903).

(2) Imprudence the Cause of One's Own Dis-
honor: "La Banque de FUnivers" (Grenet-Dancourt,
1886). From fiction: "L'Argent" by Zola. Historic:
Ferdinand de Lesseps.

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

(2) Loss of the Possession of a Loved One,
Through Curiosity: "Psyche" (borrowed from the ac-
count which La Fontaine drew from Apuleius, himself
the debtor of Lucius of Patras, and dramatized by Cor-
neille, Moliere and Quinault) ; "Esclarmonde" (Mas-
senet, 1889). Legendary example: Orpheus bringing*
back Eurydice. This nuance tends toward Situations

57

58 THIRTY-SIX DRAMATIC SITUATIONS

XXXII and XXXIII, "Mistaken Jealousy" and "Judicial

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

(2) Imprudence the Cause of a Relative's Death:
"La Mere Meurtriere de son Enfant" (a fourteenth-
century Miracle of Notre-Dame) ; "On ne Badine pas
avec 1 J Amour" (de Musset) ; "Renee Mauperm," 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)_l m prudence 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 Euripides.
From fiction (credulity the cause of misfortune to fel-
low-citizens) : "Port-Tarascon."

Establish in each of the preceding sub-classes equiva-
lents to those cases which are presented in single in-
stances in one class only, and we have the following sub-
jects ; By Imprudence (meaning imprudence pure and
simple, unconnected with curiosity or credulity) to cause
misfortune 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 kin-
ship 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 loyal-
ty) ; to cause the dishonor of a loved one; to cause one's
own dishonor. To cause these dishonors by pure Cred-
ulity (unmixed with imprudence or curiosity). An ex-
amination of the Twelfth Situation will give us a pri-
mary idea of the way in which Ruse may be used to
gain this credulity. By Credulity also to cause one's
own misfortune, or lose possession of a loved one, or

SEVENTEENTH SITUATION 59

cause misfortune to others, or cause the death of a loved
one.

Let us now pass to the causes which may precipitate

as readily as curiosity, credulity, or pure imprudence

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 in-
stance, 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, child-
ish simplicity. As to the final disaster, it may assume
many aspects, since it may fall in turn upon physical,
moral or social well-being, whether by the destruction
of happiness or honor, of property or 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 aspect
in which the 'Villain'' can be presented; imagine, for in-
stance, an lago becoming the principal character of a
play (as Satan is of the world) ! The difficulty will be
to find a sufficient motive for him ; ambition (partly the
case in Richard III) is not always a convincing one, be-
cause of its "a priori" way of proceeding; jealousy and
vengeance seem a trifle sentimental for this demoniac
figure ; misanthropy is too philosophic and honorable ;
self-interest (the case of Pelias) is more appropriate.
But envy, envy, which in the presence of friendly
solicitude feels but the more keenly the smart of its
wounds, envy studied in its dark and base endeavors,
in the shame of defeat, in its cowardice, and ending final-
ly in crime, here, it seems to me, is the ideal motive.

EIGHTEENTH SITUATION

INVOLUNTARY CRIMES OF LOVE
(The Lover; the Beloved; the Reveal er)

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 them-
selves, quite admissible, and at least not rarer today than
they were in heroic times, through adultery and prosti-
tution, which never flourished more generally than at
present. It is merely the disclosure which is less fre-
quent. Yet many of us have seen certain marriages,
apparently suitable, planned and arranged, as it were,
by relatives or friends of the families, yet obstinately
opposed, avoided and broken off by the parents, seem-
ingly 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
eclat, 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 ara-
besques 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

60

EIGHTEENTH SITUATION 61

here the state of mind strongly recalls the Sixteenth. In
the second, the spectator, informed of the truth, sees the
character walk unconsciously toward the crime, as
though in a sinister sort of blindman's-buff, as in Classes
B, C and D.

A (1) Discovery That One Has Married One's
Mother: The "CEdipus" 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 Prevpst, Nicolas de Sainte-
Marthe, Lamothe, Ducis, J. Chenier, etc. The greatest
praise of Sophocles consists in the astonishment 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 unnatural or unconvincing.

(2) Discovery That One Has Had a Sister as Mis-
tress: Tasso's "Torrismond ;" "The Bride of Messina"
by Schiller. This case, obviously a more frequent one,
becomes unconvincing in the latter drama, when com-
bined with the Nineteenth Situation. Example from fic-
tion : "L'Enfant Naturel," by Sue.

B (1) Discovery That One Has Married One's
Sister: "Le Manage d' Andre" (Lemaire and de
Rotivre, 1882). This being a comedy, the error is dis-
covered in time to be remedied, and the play "ends hap-
pily." "Abufar" by Ducis, which also falls under a pre-
ceding classification.

(2) The Same Case, in Which the Crime Has Been
Villainously Planned by a Third Person : "Heraclius"
(this gives, despite its genius, rather the feeling of a
nightmare than of a terrible reality).

(3) _ Being Upon the Point of Taking a Sister, Un-
knowingly, as Mistress: Ibsen's "Ghosts." The moth-
er, a knowing witness, hesitates to reveal the danger,
for fear of subjecting the son to a fatal shock.

C Being Upon the Point of Violating, Unknow-

62 THIRTY-SIX DRAMATIC SITUATIONS

a Daughter : Partial example : "La Dame aux
Domino Rose" (Bouvier, 1882).

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

(2) Adultery Committed Unknowingly : P r o b-
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 forbid-
den 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 es-
pecially likely to be made by that one of the two adult-
erers who is unmarried ; what is more common, for ex-
ample, in the life of "pleasure," than to discover a
little tardily that one's 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 sur-
vive, and the horror of it lies chiefly in the conse-
quences), the Nineteenth, on the contrary, in which a
victim is to perish and in which the interest increases by
reason of the blind premeditation, becomes more pathetic
in the preparations for the crime than in the results.
This permits a happy ending, without the necessity of
recourse, as in the Eighteenth, to a comedy-process of
error. A simple recognition of one 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 sister of her fiance. This linking of three or
four mistakes (unknown kinship, in the special light of
the situation we are now studying, a supposed danger of
incest, as in B (2) of the preceding, and finally a mis-
leading ambiguity of words, as in the majority of com-
edies) suffices to constitute what is called "stirrittf" ac-

63

64 THIRTY-SIX DRAMATIC SITUATIONS

tion, characteristic of the intrigues brought back ^ into
vogue by the Second Empire, and over whose^ intricate
entanglements our chroniclers waxed so naively en-
thusiastic. ^

(2) _ Through Political Necessity : ' Les Guebres
and "Les Lois de Minos" by Voltaire.

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

(4) _ Through Hatred of the Lover of the Unrecog-
nized Daughter: -"LeRoi s'amuse" (in which the dis-
covery takes place after the slaying).

B (1) Being Upon the Point of Killing a Son Un-
knowingly : The "Telephus" of Aeschylus and of
Sophocles (with incest as the alternative of this crime) ;
Euripides' "Cresphontes ;" the "Meropes" of Maffei, of
Voltaire and of Alfieri ; Sophocles' "Creusa ;" Euripides'
'Ion." In Metastasio's "Olympiad" this subject is com-
plicated by a "Rivalry of Friends." A Son Slain With-
out Being" Recognized: Partial example: the third act
of "Lucrece Borgia;" "The 24th of February/ 1 by
Werner.

(2) The Same Case as B (1), Strengthened by
Machiavellian Instigations : Sophocles' "E u r y a 1 e ;"
Euripides' "JEgeus."

(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 Un-
knowingly: (1) Brothers Slaying in Anger: The
"Alexanders" of Sophocles and of Euripides. (2) A
Sister Slaying Through Professional Duty: "The
Priestesses" of Aeschylus; "Iphigenia in Tauris," ^by
Euripides and by Goethe, and that projected by Racine.

D Slaying "of a Mother Unrecognized : Voltaire's
"Semiramis ;" a partial example: the denouement of
"Lucrece Borgia. 5 '

E A Father Slain Unknowingly, Through Machia-
vellian Advice: (see XVII) : Sophocles' "Pelias" and
Euripides' "Peliades;" Voltaire's "Mahomet" (in which
the hero is also upon the point of marrying his sister un-

NINETEENTH SITUATION 65

knowingly). The Simple Slaying of a Father Unrecog-
nized: Legendary example: Laius. From romance:
"The Legend of Saint Julian the Hospitaller." The
Same Case Reduced From Murder to Simple Insult :
"Le Pain d'Autrui" (after Turgenieff, by Ephraim and
Schutz, 1890). Being Upon the Point of Slaying a Fa-
ther Unknowingly: "Israel" (Bernstein, 1908).

F (1) A Grandfather Slain Unknowingly, in Ven-
geance and Through Instigation : "Les Burgraves"
(Hugo).

(2) Slain Involuntarily : Aeschylus' "Poly
dectes."

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

G (1) Involuntary Killing of a Loved Woman :
Sophocles' "Procris." Epic example: Tancred and Clo-
rinda, in "Jerusalem Delivered." Legendary example
(with change of the sex of the person loved) : Hya-
cinthus.

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

(3) Failure to Rescue an Unrecognized Son :
"Saint Alexis" (a XIV Century Miracle of Notre-
Dame;) "La Voix du Sang" (Rachilde).

Remarkable is the liking of Hugo (and consequently
of his imitators) for this somewhat rare situation. Each
of the ten dramas of the old Romanticist contains it; in
two of them, "Hernani" and "Torquemada," it is in a
manner accessory to the Seventeenth (Imprudence) fatal
to the hero also ; in four ("Marion Delorme," "Angelo,"
"La Esmerelda," "Ruy Bias") this case of involuntary
injury to a loved one supplies all the action and furnish-
es the best episodes ; in four others ("Le Roi s'amuse,"
"Marie Tudor," "Lucrece Borgia," "Les Burgraves"). it
serves furthermore as denouement. It would seem, in-
deed, that drama, for Hugo, consists in this : the causing,
directly or indirectly, of the death of a loved one; and,
in the work wherein he has accumulated the greatest
number of theatrical effects in "Lucrece Borgia"
we see the same situation returning no less than five

66 THIRTY-SIX DRAMATIC SITUATIONS

times. Near the first part of Act I, Gennaro permits his
unrecognized mother to be insulted; in the second part,
he himself insults her, 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 in-
stance employed this Nineteenth Situation, an altogether
accidental 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)

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

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

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

(2) Life Sacrificed for the Success of One's Peo-
ple: "The Waiting-Women" by Aeschylus; "Protesi-
las" by Euripides ; "Themistocles" by Metastasio. Par-
tial examples : "Iphigenia in Aulis," by Euripides and by

67

68 THIRTY-SIX DRAMATIC SITUATIONS

Racine. Historic examples: Cordus; Curtius; Latour
d'Auvergne. For the Happiness of One's People: The
"Suffering Christ 5 ' 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 One's 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 One's King:
"L'Enfant du Temple" (de Ponies).

B (1) _ Both Love and Life Sacrificed for One's
Faith: "Polyeucte." In fiction "L'Evangeliste" (sac-
rifice of family and future for one's 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 ; Metasta-
sio's "Achilles in Scyro" and his "Dido;" Berlioz'
"Troyons" (the best tragedy of his century) ; "Llmpera-
trice" (Mendes). The "Creditor" in this sub-class, re-
maining abstract, is easily confounded with the Ideal and
the Hero ; the "Persons Sacrificed," on the contrary, be-
come visible; these are Plautine, Viriate, Syphax and
Massinisse, Berenice, Deidamie. In comedy: "S. A. R."
(Chancel, 1908),

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

D The Ideal of "Honor" Sacrificed to the Ideal of
"Faith" : Two powerful examples, which for secondary
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 example:
the good hermit Abraham in Hroswitha.

TWENTY-FIRST SITUATION

SELF-SACRIFICE FOR KINDRED

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

A (1) Life Sacrificed for that of a Relative or a
Loved One: The "Alcestes" of Sophocles, of Eurip-
ides, of Buchanan, of Hardy, of Racine (projected) of
Quinault, of Lagrange-Chancel, of Boissy, of Coypel, of
Saint-Foix, of Dorat, of Gluck, of H. Lucas, of Vau-
zelles, etc.

(2) Life Sacrificed for the Happiness of a Relative
or a Loved One: "L'Ancien" by Richepin. Two sym-
metrical works are "Smilis" (Aicard, 1884), in which the
husband sacrifices himself, and "Le Divorce de Sarah
Moore" (Rozier, Paton and Dumas fils), in which the
wife sacrifices herself. Examples from fiction and anal-
ogous to these two dramas are "Great Expectations" by
Dickens and "La Joie de Vivre" by Zola. Common ex-
amples: workmen in dangerous occupations.

B (1) Ambition Sacrificed for the Happiness of a
Parent: "Les Freres Zemganno" by Edmond de Gon-
court. This ends with a denouement the opposite of that
of "L'QEuvre."

(2) Ambition Sacrificed for the Life of a Parent:
"Madame de Maintenon" (Coppee, 1881).

C (1) Love Sacrificed for the Sake of a Parent's
Life: "Diana" by Augier; "Martyre" (Dennery, 1886).

(2) For the Happiness of One's Child : "Le
Reveil" (Hervieu, 1905); "La Fugitive" (Picard, 1911).

70 THIRTY-SIX DRAMATIC SITUATIONS

For the Happiness of a Loved One : "Cyrano de Ber-
gerac" by Rostand; "Le Droit au Bonheur" (C. Lemon-
nier, 1907).

(3) The Same Sacrifice as 2, But Caused by Un-
just Laws: "La Loi de THomme" by Hervieu.

D (1) Life and Honor Sacrificed for the Life of a
Parent or Loved One: "Le Petit Jacques/' Case in
which the loved one is guilty: "La 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'.; BaSsion;
the Person or Thing Sacrificed)" 1 '*

A (1) Religious Vows of Chastity Broken for a
Passion: "Jocelyn" by Godard. From fiction: "La
Faute de 1'Abbe 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 Daudet; "La Griffe" (Bernstein,
1906) ; the works of Louys in general.

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

(5) _ Ruin of Mind, Health and Life: "La Glu"
(Richepin, 1883) ; "L'Arlesienne" (Daudet and Bizet) ;
"La Furie" (Bois, 1909). From fiction (see C) : "Le
Possede" by Lemmonnier. Passion Gratified at the
Price of Life: "Une Nuit de Cleopatre" (Gautier and
Masse).

(6) Ruin of Fortunes, Lives and Honors:
"Nana;" in part "La Route d'Emeraude" (Richepin,
after Demolder, 1909).

B Temptations (see XII) Destroying the Sense of
Duty, of Pity, etc. : "Salome" (Oscar Wilde). From
fiction": "Herodias," and the attempts (repulsed) in "The
Temptation of Saint Anthony."

71

72 THIRTY-SIX DRAMATIC SITUATIONS

C (1) Destruction of Honor, Fortune and Life by
Erotic Vice: "Germinie Lacerteux" by de Goncourt;
"Rolande" (Gramont, 1888) ; "Maman Colibri" (Bataille,
1904). From fiction: "La Cousine Bette;" "Le Capi-
taine 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 erot-
icism, 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 feel-
ings which we here encounter in the protagonist are, it
is true, of a nature altogether different. But through the
intrusion of the element of Necessity, the end toward
which he must proceed is precisely the same.

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

(2) Duty of Sacrificing Her in Fulfillment of a Vow
to God: The "Idomenees" of Crebillon, Lemierre, and
Cienfuegos; the "Jepthes" of Buchanan and of Boyer.
This nuance tends at first toward Situation XVII, "Im-
prudence/' but the psychologic struggles soon give it a
very different turn.

(3) Duty of Sacrificing Benefactors or Loved Ones
to One's Faith: "Torquemada ;" "Ninety-Three;" "Les
Mouettes" (Paul Adam, 1906) ; "La Fille a Guillotin"
(Fleischmann, 1910). Historic instances: Philip II;
Abraham and Isaac.

B (1)' Duty of Sacrificing One's Child, Unknown

73

74 THIRTY-SIX DRAMATIC SITUATIONS

to Others, Under the Pressure of Necessity: Eurip-
ides 7 "Melanippe ;" "Lucrece Borgia" (II, 5).

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

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

(4) Duty of Sacrificing a Son-in-Law for the Pub-
lic Good: "Un Patriote" (Dartois, 1881). For the
Sake of Reputation : "Guibor" (a XIV Century Mir-
acle of Notre- Dame).

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

(6) Duty of Contending with a Friend : "Jarnac"
(Hennique and Gravier, 1909).

Nuance B (B 1 for example) lends itself to a fine in-
terlacing of motifs. Melanippe finds herself (1st) forced
to slay her son, an order which she would have resisted
at the risk of her own life, but she is at the same time
(2nd) obliged to conceal her interest in the child for fear
of revealing his identity and thereby causing his certain
death. Similar dilemmas may be evolved with equal
success in all cases in which a character receives an in-
junction which he is unwilling to obey ; it will suffice to
let him fall, by his refusal, into a second situation lead-
ing to a result equally repugnant or, better yet, identical.
This dilemma of action is again found in what "is called
blackmail; we have also seen its cruel alternatives out-
lined in Class D of Situation XX ("Theodore/ 5 "The Vir-
gin Martyr/' etc.), and clearly manifested in Class D
(especially D 2) of Situation XXII ("Measure for Meas-
ure," "Le Huron," etc.) but it is -there presented most
crudely, by a single character or event, of a nature tyran-
nical and ocjious. Whereas in "Melanippe" it result^ so

TWENTY-THIRD SITUATION 75

logically and pitilessly 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.

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, benefac-
tors, and particularly devotion to their honor, their hap-
piness, 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 (truthful-
ness, 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 over-
coming natural affection (the plotter denying or sacri-
ficing- his father, mother or friend offers a fine study) ; a
conflict between personal honor and reasons of state
(Judith in the arms of Holofernes; Bismarck falsifying
the despatch of his master). Then oppose the various
nuances to each other (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 fic-
tion, 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 fol-
lowing (Adultery) a single situation. The difference lies
in a contract or a ceremony, of variable importance ac-
cording 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 im-
perceptible 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 cat-
egories, for the two which we are now to analyze con-
tain 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 "Rival-
ry of Kinsmen," and nowhere does a more favorable op-

76

TWENTY-FOURTH SITUATION 77

portunity present itself to the dramatic poet for portray-
ing 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.

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

(2) Of a Magician and an Ordinary Man : "Tanfs
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." Ot 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 ; "Agesilas and Surena" by 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-Jean" (Erckmann-Chat-
rian and Lacome) ; "En Greve" (Hirsch, 1885); "Sur-
couf" (Planquette, 1887) ; "L'Attentat" (Capus and Des-
caves, 1906); "La Barricade" (Bourget, 1910); "La
Petite Milliardaire" (Dumay and Forest, 1905). In fic-
tion : part of "Toilers of the Sea." Relative inequality :
"Mon Ami Teddy" (Rivoire and Besnard, 1910).

(8) Of an Honored Man and a Suspected One :
"L'Obstacle" (Daudet, 1890); "Le Drapeau" (Moreau,
1879) ; "Devant 1'Ennemi" (Charton, 1890) ; "Jack Tem-
pete" (Elzear, 1882) ; "La Bucheronne" (C. Edmond,

78 THIRTY-SIX DRAMATIC SITUATIONS

1889). In comedy: "Le Mariage de Mile. Boulemans"
(Fonson and Wicheler, 1911).

(9) Rivalry of Two Who Are Almost Equal:
"Dhourtta Samagana," the rivals here being master and
disciple, as is also the case in "Maitres Chanteurs," but
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 Rustique"
(Verga, 1888).

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

(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 5
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 Cleapatre"
(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 amorous "grande dame").

(6) Of a Lady and a Woman of Humbler Position :

TWENTY-FOURTH SITUATION 79

"Francois-les-bas-bleus" (M e s s a g e r, 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).

(7) Rivalry of Two Who Are Almost Equals,
Complicated by the Abandonment of One (this tends to-
ward 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 Riconsciuta" by Metastasio; "Madame la
Mort" by Rachilde (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 Croisset, 1909) ; "L' Article
301" (Duval, 1909). It is permissible to extend the rival-
ry to three, four, etc,, which will make it less common-
place, but will not greatly vary the effects, although
sometimes the chain will end in a complete circle (that
is to say, D will love A), or a partial one (D returning
the love of C).

D Oriental Rivalries : We are beginning to take
account of the fact that the divorce law was obtained
chiefly through the efforts of our dramatic writers, less
because they were convinced of its righteousness than
because they felt the need of a renewal and 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

80 THIRTY-SIX DRAMATIC SITUATIONS

and increase of vice), Maurice Barres ("UEnnemi des
Lois") seem to have felt something of the sort. We
could wish that the misunderstandings of the modern
home, in which archaic fidelity and genuine monogamy
have almost ceased to exist, on one side especially, might
be settled with a modicum of this spirit of tolerance.

(1) Rivalry of Two Immortals : "The Loves of
Krishna" by Roupa.

(2) Of Two Mortals : "Agnimitra and Malav-
ika," 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 re-
spect 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 succeed-
ed, 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 fact 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, the thing which is here
vaunted is simply the breach of the Word of Honor of
a contract that word, that promise which was obeyed
by the Homeric gods and by the knights of Chivalry no
less than by ourselves ; that base of every social agglom-
eration ; that which savages and which convicts respect

81

82 THIRTY-SIX DRAMATIC SITUATIONS

between themselves ; that primary source of order in the
world of action and of thought. The spectators* atten-
tion may, of course, be momentarily turned from a point
of view so strict, and quite naturally; through the her-
esies 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 like-
wise 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 pocketbook 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 ob-
tained, our attention is turned from him and directed to-
ward 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 adult-
erous wife appears but a fool to have preferred him.
Then (with that childishness which most of us retain
beneath our sophistication), scenting a foregone conclu-
sion 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 pre-
sented for our entertainment, 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
Situation except by treating it in a broadly human spirit,
without dolefulness and without austerity. It will not

TWENTY-FIFTH SITUATION 83

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 to comprehend oneself, to have pity upon oneself,
and to explain oneself this is the real work to be ac-
complished.

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, symmetri-
cal 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 Soph-
ocles; "Hercules on CEta" 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 Kins-
men").

(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 Morat" (Tarbe, 1887) ; "Les Menages de
Paris" (Raymond, 1886) ; "Le Depute Leveau" (Le-
maitre).

(4) with the Intention of Bigamy: The
"Almseons" of Sophocles and of Euripides.

(5) For a Young Girl, Who Does Not Love in
Return: Shakespeare's "Henry VIII," and that of
Saint-Saens; Alfieri's "Rosamonde" (a combination of
the present and the preceding situations, for it is also a
simple Rivalry of King and Subject).

(6) A Wife Envied by a Young Girl Who is in

84 THIRTY-SIX DRAMATIC SITUATIONS

Love with Her Husband : "Stella" by Goethe; "Dern-
ier Amour" (Ohnet, 1890).

(7) By a Courtesan : "Miss Fanfare" (Ganderax,
1881, see B 2); "Proserpine" (Vacquerie and Saint-
Saens, 1887) ; "La Comtesse Fredegonde" (Amigues,
1887) ; "Myrane" (Bergeat, 1890).

(8) Rivalry Between a Lawful Wife Who is Anti-
pathetic and a Mistress Who is Congenial: "Cest la
Loi" (Cliquet, 1882) ; "Les AfTranchis" (Madame Len-
eru, 1911).

(9) Between a Generous Wife and an Impassioned
Girl: "La Vierge Folle" (Bataille, 1910) ; "La Fernme
de Demain" (Arthur Lefebvre, 1909).

C (1) An Antagonistic Husband Sacrificed for a
Congenial Lover: "Angelo;" "Le Nouveau Monde" by
Villiers de lisle Adam; "Un Drole" (Yves Guyot, 1889) ;
"Le Mari" (Nus and Arnould, 1889) ; "Les Tenailles"
(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 Crebillon ;
"Jacques Damour" by Zola. The "Zenobie" of Metasta-
sio, by the faithful love retained for her husband, forms
a case unique ( !) among the innumerable dramas upon
adulterous passions. Compare "Le Dedale" (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 Jul-
lien, 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).

(4) A Good Husband Betrayed for an Inferior
Rival: "L'Aveu" (Sarah Bernhard, 1888); "Revoltee"
(Lemaitre, 1889); "La Maison des Deux Barbeaux"
(Theuriet, 1885) ; "Andre del Sarte" (Alfred de Musset) ;

TWENTY-FIFTH SITUATION 85

"La Petite Paroisse" (Daudet, 1911); "Le Mannequin
d'Osier" (France, 1904) ; "La Rencontre" (Berton, 1909).
Cases of preference without adultery: "Smilis" by
Aicard; "Les Jacobines" by Hermant (1907).

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

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

(7) For a Commonplace Rival, By a Perverse
Wife: "La Femme de Claude" by Dumas; "Pot-
Bouille" by Zola; "Rivoli" (Fauchois, 1911) ; "Les Male-
filatre" (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" (Roinarrd) ; "The Enig-
ma" by Hervieu (which borrows something from Situa-
tion 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
Jacobites" (Coppee, 1885) ; "Patrie" (Paladilhe, 1886).
Sacrificed Out of Pity: "La Famille d'Armelles"
(Marras, 1883).

E A Husband Persecuted by a Rejected Rival:
"Raoul de Crequi" (Delayrac, 1889). This case is sym-
metrical to B 7, and both proceed in the direction of
"Murderous Adultery."

TWENTY-SIXTH SITUATION

CRIMES OF LOVE
(The Lover; the Beloved)

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

Eight species of erotic crimes may be pointed out:

First: Onanism, that "solitary vice" which does not
lead to action, can furnish only melancholy silhouettes
such as the legend of Narcissus and "Chariot s'amuse,"
or certain grotesqueries of Aristophanes, unless it be
made the basis for a study of the weakening and 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, gener-
ally a brief one and not a situation ; at most it approach-
es "Abduction." Even the consequences to the perpe-
trator, 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 se-
cured, 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

86

TWENTY-SIXTH SITUATION 87

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.

A (1) A Mother in Love with Her Son : "Sem-
iramis" 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: AI-
fieri'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 (inten-
tion only).

B (1) A Woman Enamored of Her Stepson:
"lobates" and "Phaedra" by Sophocles; the "Hippo-
lytus" of Euripides and of Seneca ; "Phedre" by Racine.
In comedy: "Madame 1'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, heretofore solitary, is shared, and the crime, un-
conscious 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") and similar to the quasi-incestuous passion of
"Dr. Pascal." The love is platonic in Alfieri's "Philip
II," and Schiller's "Don Carlos."

(3) A Woman Being the Mistress, at the Same
Time, of a Father and Son, Both of Whom Accept the
Situation: "L'Ecole des Veufs" (Ancey, 1889).

C (1) A Man Becomes the Lover of His Sitter-in-
Law: "La Sang-Brule" (Bouvier, 1885); "Le Con-
science de 1' Enfant" (Devore, 1889). The Man Alone
Enamored: "Le Sculpteur de Masques" (Cromelynck,
1911).

(2) A Brother and Sister in Love with Each
Other: Euripides' "^Eolus;" "Canace" by Speroni;

88 THIRTY-SIX DRAMATIC SITUATIONS

"Tis Pity She's a Whore/' Ford's masterpiece; "La
Citta Morta" by (TAnnunzio.

Even after these works, there remains much more
than a gleaning; an ample harvest is still before us. We
may extend Class A to include the complicity of both
parties (Nero and Agrippina furnish an example, accord-
ing to Suetonius) ; a similar example, although fragmen-
tary, exists for A 2, in the beginning of Shakespeare's
"Pericles." B 1 may be reversed, the stepson's passion
being unrequited by his father's wife, a case which is
certainly not uncommon. We may also suppress the
complicity in B 3, in C 1, and in C 2, allowing the infat-
uation 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 cha'p-
ters in the psychologies of Seventeenth Century grande
dames, such as Victor Cousin took delight in.

Finally, we may interlace the threads of each of these
species of incest with one of the seven other classes of
Crimes of Love; under the form of ignorance, the fifth
and sixth classes are mingled in one of the episodes of
"Daphnis and Chloe/' Add the usual incidental rival-
ries, adulteries, murders, etc.

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

D (1) A Man Enamored of Another Man, Who
Yields: Example from fiction: "Vautrin." Dramatic
examples: the "Laius" of Aeschylus; the "Chrysippus"
of Euripides. The latter tragedy appears to have been
one of the finest, and perhaps the most moving, of all
antiquity. Three situations were there superposed with
rare success. Laius having conceived a passion, unnat-
ural and, furthermore, adulterous, for the young Chrysip-
pus, 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 ex-
press and gratify them, and in his words lay the expla-
nation of the wavering and fall of Chrysippus. Then
followed the most indignant and pitiless jealousy on the
part of Jocaste, wife of Laius. Against Chrysippus she

TWENTY-SIXTH SITUATION 89

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

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

Seventh : Bestiality, or passion for a creature 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
perversion. Better than anywhere else, evidently, the
illogical and mysterious character of the life of the
senses, the perversion of a normal instinct, and the feel-
ing of fatalism which its victims communicate, could
here be presented in sad and awful nudity.

Eighth: The Abuse of Minor Children borrows some-
thing from each of the seven preceding varieties. That
such a subject so modern, so English may in skill-
ful hands become most pathetic, is readily apparent to
those of us who read, a few years ago, the "Pall Mall
Gazette."

TWENTY-SEVENTH SITUATION

DISCOVERY OF THE DISHONOR OF A
LOVED ONE

(The Discoverer; the Guilty One)

From this Situation there results, almost immediate-
ly, a psychologic struggle similar to that of the Twenty-
Third "Sacrifice of Loved Ones/ 7 but without the attrac-
tion of a high Ideal ; this is replaced, in the present
action, by the lash of shame.

A (1) Discovery of a Mother's Shame: "Mad-
ame Caverlet" by Augier ; "Odette" and "Georgette" 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 reverence is
colored, in these works, by the terrors of the mother, by
her blushes, by her remorse before the consequences of
the past ; through this last point the action ends in the
Thirty-Fourth (Remorse). It remains unconnected in
the second part of the "Marquis de Priola" (Lavedan,
1901).

(2) Discovery of a Father's Shame : "Vieille
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"
(Nepoty, 1908).

B (1) Discovery of a Dishonor in the Family of

90

TWENTY-SEVENTH SITUATION 91

One's Fiancee: "L'Absente" (Villemer, 1889). Refine-
ments of romance, whose mild tragedy consists in retard-
ing the signature of a contract, and which corresponds
also to the pseudo-Situation XXX (Forbidden Loves).
Something of their dullness has already emanated from
A 1 and A 2.

(2) Discovery that One's 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
agencies.

(4) Discovery that One's Wife Has Formerly
Been a Prostitute: "Lena" (Berton and Mine, van
Velde, 1886). That one's mistress has been a prostitute:
"Marion Delorme." The same situation, from the point
of view of "Remorse' 7 (XXXIV), is encountered in
Zola's "Madeleine."

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

(6) Discovery that One's Mistress, Formerly a
Prostitute, Has Returned to Her Old Life (with exten-
uating circumstances): "La Dame aux Camellias"
(Dumas) ; "La Courtisane" (Arnyvelde, 1905) ; part of
"Manon Lescaut" But for feminine cunning, would not
this be the normal course of all "bonnes fortunes?"

(7) Discovery that One's Lover is a Scoundrel, or
that One's Mistress is a Woman of Bad Character:
"Monsieur Alphonse" by Dumas; "Mensonges" by
Emile Michelet. Since (as Palice remarks) liaisons
would last forever if they were never broken off, and
since the two lovers, who certainly know each other
well, always give as the reason of their rupture the title
of the present sub-class, the conclusion is as easy to
draw as it is unflattering to the human species. The
Same Discovery Concerning a So-Called King : "Sire"
(Lavedan, 1909).

92 THIRTY-SIX DRAMATIC SITUATIONS

(g) _The Same Discovery Concerning One's Wife:

"Le Manage d'Olympe" by Augier.

C Discovery that One's 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 punish-
ment as well. This situation might serve as an ^inter-
mediary between the Twenty-Third, "Duty of Sacrificing
Kinsmen/ 7 and the Twenty-Seventh, which we are now
studying, and which would thus end with Class C.

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

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

(3) _ Duty of Punishing a Son Believed to be
Guilty : L'Re*iment" (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 imprudent
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 D5.

(6) Duty of Punishing One's Mother to Avenge
One's 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 :

"Nitetis" and "The Chinese Hero" by Metastasio:
"Le Prince Soleil" (Vasseur, 1889) ; second act of "La
Vie Publique" (Fabre, 1901) ; "Ramuntcho" (Pierre Loti,
1908) ; "L'Emigre" (Bourget, 1908). This is the senti-
mental-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
George Sand, on the contrary, it is always a lady who is
in love with a man of inferior rank ; a sort of literature
which at least has inspired many gallant adventures of
our own time. The addition of one more little obstacle

the marriage bond furnishes the pretext for the real
intrigue of "Ruy Bias."

(2) Inequality of Fortune an Impediment to Mar-
riage : "Myrtille" and in part "Friend Fritz" by Erck-
mann-Chatrian ; "L'Abbe Constantin" by Halevy; "La
Petite Amie" (Brieux, 1902) ; "La Plus Faible" (Prevost,
1904) ; "La Veuve Joyeuse" (Meilhac, Leon and Stein,
1909) ; "Le Danseur Inconnu" (Bernard, 1909) ; "La
Petite Chocolatiere" (Gavault, 1909); "Prime ro s e ;" "Le
Reve" (from Zola's story by Bruneau) ; in fiction : "Le
Bonheur des Dames" to mention only the more es-
timable works, leaving aside the endless number of
trivial plays imitative of Scribe, and the Romances of
Poor Young Men, Dames Blanches, etc., which make

94 THIRTY-SIX DRAMATIC SITUATIONS

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 1

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 sin-
cerity, 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 begin-
ning life again together. If, istead 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 1
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 emo-
tional life (thirty years), addresses itself, audacity hav-
ing 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 Contingent
Obtacles: "Sieba" (Manzotti, 1883); "Et Ma-Soeur?"
(Rabier, 1911) ; "Le Peche de Marthe" (Rochard, 1910) ;
all fairy-plays, since the "Zeim" of Gozzi. In fine, a sort
of steeplechase 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
,Yoting Woman's Previous Betrothal to Another: "II

TWENTY-EIGHTH SITUATION 05

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
hypochondriacs of this sort cannot but offer some inter-
est not, however, for long.

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

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

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

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

F Love but enough of this ! What are we doing,
co-spectators in this hall, before this pretended situation?
Upon the stage are our two young people, locked in
close embraces or conventionally attitudinizing in purely
theatrical poses. What is there in all this worth remain-
ing 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?" But his sweetheart there beside him have
you forgotten that it is she whom he desires, or are the
two of them playing so badly, is their dialogue so little
natural that you forget the story enacted and fondly im-
agine 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, my good man, another will be beforfc you! Be
consistent, at 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 halls
like lupanars, which the clergy Is not altogether unrea-
sonable 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?

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

But why disturb ourselves? Turning our eyes from
these summits to the scene before us, we do not feel de-
pression; 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 impor-
tance, as in this XXVIII) returned logically and nat-
urally to an indulgence of smiles? "Le Cid," which is
the classic type of this sort, is a tragi-comedy, and all
the characters surrounding Romeo and Juliet are frankly
comic.

Nevertheless, our blind dramaturgy, with continued
obstinacy, still breathes forth its solemnities in this
equivocal rhythm. Whether the piece treats of sociol-
ogy, of politics, of religion, of questions of art, of the
title to a succession, of the exploitation of mines, of the
invention of a gun, of the discovery of a chemical prod-
uct, of it matters 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 imme-
diately to love-making or match-making-. ^ It becomes a
mania. And we are asked to take these tiresome repeti-
tions seriously!

This, then, is the actual stage of today. .In my opin-

TWENTY-EIGHTH SITUATION 97

ion, de Chirac alone has shown himself its courageously
logical son although a rejected one, society, like an
aged coquette, reserving always some secret sins, and
fearing nothing so much as nudity, which would destroy
the legend of her imaginary wicked charms, veiled, she
willingly lets it be supposed, under her hypocrisy.

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

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 ab-
sorbed 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 Be-
loved: "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 Marmere" (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 Therese" by
Erckmann-Chatrian ; "Lydie" (Miral, 1882) ; "Les Ama-
zones" (Mazel); "Les Oberle" (Bazin, 1905); "Les
Noces Corinthiennes" (France) ; "FExode" (Fauchois,
1904).

B (1) The Lover is the Slayer of the Father of His

TWENTY-NINTH SITUATION 99

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 Previously
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 XXXVI, "Loss of
Loved Ones ;" the first time mistakenly, the second time
simply and actually, the third time doubly and simul-
taneously to both the families of the principal charac-
ters ; "FAncetre" (Saint-Saens and Lassus) : "Fortune
and Misfortune of a Name" and "His Own Gaoler" by
Calderon.

(7) The Beloved is the Daughter of the Slayer of
Her Lover's Father: "Le Crime de Jean Morel"
(Samson, 1890) ; "La Marchande de Sourires" (Judith
Gautier, 1888).

The chief emotional element thus remains the same
as in the Fifth (Pursuit), and Love here serves espe-
cially to present the pursued man under various favor-
able lights which have a certain unity. She whom he
loves here plays, to some small 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 V, with all its
terrors, will still remain. Attempt, on the contrary, to
curtail the other interest, the enmity to soften the
vengeance and to substitute any other element of dif-
ference or leave their place unfilled, and what will re-
main of tragic emotion? Nothing.

We have, then, reason to conclude that love an

100 THIRTY-SIX DRAMATIC SITUATIONS

excellent motif for comedy, better still for farce sweet
or poignant as it may be in stories read in solitude, of
which we can fancy ourselves hero or heroine, love is
not, in reality, tragic, despite the virtuosity which has
sometimes succeeded in making it appear so, and despite
the prevalent opinion of this age of erotomania, which is
now approaching its end.

THIRTIETH SITUATION

AMBITION

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

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

A Ambition Watched and Guarded Against by a
Kinsman or a Patriot Friend: (1) By a Brother:
"Timoleon" by Alfieri. Historic instance (comic, that is
to say, feigned), Lucien and Napoleon Bonaparte.

(2) By a Relative or Person Under Obligation :
"Julius Caesar" by Shakespeare, "La Mort de Caesar"
by Voltaire; "Brutus II" by Alfieri. In "La Mort de
Caesar" there is a reappearance of the Nineteenth (Slay-
ing of a Kinsman Unrecognized), so strong was the de-
sire to recall the works of antiquity!

(3)_By Partisans: "Wallenstein" by Schiller;
"Cromwell" by Hugo; "Marius Vaincu" (Mortier, 1911).

B Rebellious Ambition (akin to VIII, A 1) :
"Sir Thomas Wyat" by Webster ; "Perkin Warbeck" by
Ford; "Catilina" by Voltaire; Cade's insurrection in the
second part of Shakespeare's "Henry IV."

C (1) Ambition and Covetousness Heaping Crime
Upon Crime : "Macbeth" and "Richard III;" "Ez-
zelino" (A. Mussato) ; part of the "Cinq Doigts de
Birouk" (Decourcelle, 1883); "La-Bete Feroce" (Jules
Mary and Emile Rochard, 1908); "La Vie Publique"

101

102 THIRTY-SIX DRAMATIC SITUATIONS

(Fabre, 1901). In comedy: "Ubu-roi" (Jarry). In fic-
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
Rubempre ; 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 af-
fect 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 inheri-
tance, marriage, robbery, etc.), the conservation of riches
(avarice), glory (political, scientific, literary, inventive,
artistic), celebrity, distinction.

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

Here is one way among many to intensify the fury
of C: mingle with it the sincerity of a faith, of a con-
viction ; 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 strug-
gle. Into its Babel of dramatic construction all or nearly
all of the others may easily enter. For this is the strife
supreme; it is also the supreme folly and the supreme
imprudence. It offers the most unprecedented aims of
ambitions, audacious enterprises, titanesque conspiracies,
Ixionian abductions; the most fascinating of enigmas;
the Ideal here undergoes a rare assault of passions ; pro-
digious rivalries develop. As for the surrounding wit-
nesses, does not their sympathy often go to him whom
they should hate? learning of his crime, is it not some-
times 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
bound to misfortune, crushed before those whom he
loves, unless, acme of horror he has, in a transport
of blind delirium, dishonored or massacred them un-
knowingly. Suppliants, seeking the lost loved one, ad-
vance sad theories and endeavor to disarm rancor,
but the divine vengeance has been unchained !

This remarkable grouping has been in our day almost
entirely ignored. Byronists as we still are, "bon gre mal
gre," we might yet dream of this superb onslaught on
the heavens. But no! we treat even the evangelical

103

104 THIRTY-SIX DRAMATIC SITUATIONS

subject of the Passion, while we pass by, like owls in
broad daylight, this genuinely dramatic situation, and
content ourselves with sanctimoniously intoning the
idyllo-didactic phrases which preceded the sacred trag-
edy, itself left unseen.

A (1) Struggle Against a Deity: "The ydon-
ians" and "The Bassarides," "Pentheus" and "The
Wool-Carders" by Aeschylus; "The Bacchantes" of
Euripides; the "Christ Suffering" of Saint Gregory Na-
zianzen. 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 Martyrs."

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 hypoth-
esis) ; 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: Sophocles'
"Eumele;" in part "Phaeton" by Euripides.

May it not be possible that we shall one day see
treated from the point of view of this Situation, the pa-
thetic 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 (CX.

A (i) 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 THermite; "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 sym-
metrical to that of L'Avare?"

(2) Mistaken Jealousy Aroused by a Fatal Chance:

Voltaire's "Zaire" and the opera of that name by de
la Nux; part of "Lucrece Borgia." In comedy: "La
Divorcee" (Fall and Leon, 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"
(Valnay, 1881, in which it is more particularly the re-
spectful admirer who is wrongly suspected). Of a Flirt:

"Suzette" (Brieux, 1908); "Four Times Seven are
Twenty-Eight" (Cooltis, 1909).

106

THIRTY-SECOND SITUATION 107

(4) Baseless Jealousy Aroused by Malicious
Rumors: "Le Pere Prodigue" by Dumas; "le Maltre
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 Riconos-
ciuta" by Metastasio presents the fully developed de-
nouement of it.

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

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

C (1) Reciprocal Jealousy Suggested to Husband
and Wife by a Rival: "The Portrait" by Massinger.

(2) Jealousy Suggested to the Husband by a Dis-
missed Suitor: Voltaire's "Artemire;" "Le Chevalier
Jean" (Joncieres, 1885).

(3) Jealousy Suggested to the Husband by a
Woman Who is in Love with Him: "Malheur aux
Pauvres" (Bouvier, 1881).

(4) 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, 1888).

The number of dramatic elements brought into play
already enables us to foresee many combinations for this
Situation, whose improbabilities the public is always dis-
posed to accept, however great they may be. Without
abusing this indulgence, we may remark, even at first
glance, that almost all the dramas above cited treat of
jealousy on the part of a man, whereas experience teach-
es us that woman is quite as ready as man to let herself
be the envious, by a rival, or by a suitor bent upon se-
curing for himself, through the anger aroused, a pleasure
otherwise out of his reach. Transference to the fem-
inine of the cases already considered will thus furnish a
series of new situations. Besides pride, self-interest,

108 THIRTY-SIX DRAMATIC SITUATIONS

love, spite and rivalry, many other motives present them-
selves for the traitor or traitress; the motives mentioned
may also be painted in colors yet unused. The denoue-
ment (usually a murder, in some cases a suicide, in
others a divorce) may be varied, subtilized or strength-
ened 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 Necessary:
"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 real
character by the witnesses of his disorders. Dumas pere
has represented Henri de Navarre as misunderstood in
the same way by his entourage.

(2) False Suspicion (in which the jealousy is not
without reason) of a Mistress: Part of "Diane" by
Augier ; "Marie Stuart" by Alfieri.

(3) False Suspicions Aroused by a Misunderstood
Attitude of a Loved One: "The Raven" by Gozzi;
"Hypsipile" by Metastasio ; "Theodora" (Sardou, 1884) ;
part of "La Reine Fiammetta;" "Le Voleur" (Bernstein,
1906) ; "Les Grands" (Weber and Basset, 1909) ; "Coeur
Maternel" (Franck, 1911).

(4) By Indifference : "Crainquebille" (France,
1909) ; "le Vierge" (Vallette).

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

109

110 THIRTY-SIX DRAMATIC SITUATIONS

(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 Husband of* the
Guilty One: "La Criminelle" (Delacour, 1882).

(3) The Same Case as 2, but in Which the Inno-
cent had a Guilty Intention: "Jean Cevenol" (Fraisse,
1883). In Which the Innocent Believes Himself Guilty:
"Le Roi de 1' Argent" (Milliet, 1885) ; 'Toupees Elec-
triques" (Marinetti).

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

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

(2) The Error is Provoked by an Enemy: "The
Palamedes" of Sophocles and of Euripides; "LeVentre
de Paris" (Zola, 1887) ; "Le Roi Soleil" (Bernede, 1911) ;
"L'Homme a Deux Tetes" (Forest, 1910). This nuance
alone, it will be observed, attracted the Greek tragedians,
who were, so to speak, tormented by a vague conception
of the lago of a later 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 malig-
nant smile, to begin such a piece of work!

(3) The Mistake is Directed Against the Victim
by Her Brother: (here is included, also, the Twelfth,
"Hatred of Kinsmen") : "The Brigands" by Schiller;
"Don Garzia" by Alfieri.

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

THIRTY-THIRD SITUATION 111

(2) Thrown by the Real Culprit Upon the Second
Victim Against Whom He Has Plotted from the Begin-
ning: "Le Crime d'un Autre" (Arnold and Renauld,
1908), This is pure Machiavellianism, obtaining the
death of the second victim through an unjust punish-
ment for the murder of the first. Add to this the closest
relationship between the two victims and the deceived
judge, and we have all these emotions assembled : dis-
covery 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 condemning a loved one
believed to be guilty. This plot, then, is a masterly one
since it groups, under the impulsion of an ambition or a
vengeance, four other Situations. As for the "Machia-
vellianism" which has set it all in motion, it consists,
for him who employs it, precisely in the method which
is habitual to writers, a method here transferred to a
single character; he abstracts himself, so to speak, from
the drama, and, like the author, inspires in other char-
acters the necessary feelings, unrolls before their steps
the indispensable circumstances, in order that they may
mechanically move toward the denouement he desires.
Thus is developed the "Artaxerce" of Metastasio.

Suppress the part of the villain, and suppose for a
moment that the author has planned the denouement de-
sired by this traitor; the bringing about of the most
cruel results from a "supposed fratricide" and the "duty
of condemning a son." The author cannot otherwise
combine his means to produce it. The type of the Vil-
lain (who has successively appeared in many guises) is
nothing else than the author himself, masked in black,
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 Nar-
rator of the monodramas. Nothing could be more naif,

112 THIRTY-SIX DRAMATIC SITUATIONS

consequently, than this creature, whose unconvincing
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 Beau-
mont 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 : "Man-
fred" 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.

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

(3) Remorse for an Assassination: "Crime and
Punishment" (Dostoievsky, 1888) ; "Le Coeur Revela-
teur" (after Poe, by Aumann, 1889). For a Judicial
Murder: "L'Eclaboussure" (Geraldy, 1910).

(4) Remorse for the Murder of Husband or Wife :
"Therese Raquin" by Zola; "Pierrot, Assassin de sa
Femme" (Paul Margueritte, 1888).

B (1) Remorse for a Fault of Love: "Made-
leine" (Zola, 1889).

(2) Remorse for an Adultery : "Count Witold"
(Rzewuski, 1889); "Le Scandale" (Bataille, 1909).

With B (1) there are connected, in one respect, the
plays classed in A (1) of Situation XXVII.

Need I call attention to the small number, but the
terrible beauty, of the above works? Is it necessary to

113

114 THIRTY-SIX DRAMATIC SITUATIONS

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 imaginary, com-
mitted 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, subtlety, or what not) ;
2nd, the nature, more or less impressionable and nervous,
of the culprit; 3rd, the surroundings, the circumstances,
the morals which prepare the way for the appearance of
Remorse that figure 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 accord-
ing 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/ 7 remorse the
more keen in that the incessantly reviving desire nour-
ishes 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 Revelateur" 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 Shake-
speare; 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 Mir-
acle; it is the Situation of "Thyestes in Sicyon" by
Sophocles and of "Alcmeon in Corinth" by Euripides. It
is the denouement of "Pere Chasselas" (Athis, 1886) ;
"Foulards Rouges" (Dornay, 1882); "La Gardienne"
(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-de-
Lion" down to recent tales of sane persons confined as
lunatics. It is the point from which bursts forth so fre-
quently that double explosion of the principal scene:
"My daughter ! My mother 1"

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

In other cases it is the part of the child to discover
his father, his kinsman, and to make himself known;
thus it is in the "Enfances Roland;" in "Les Enfants du
Capitaine Grant" by Jules Verne and "les Aventures de
Gavroche" (Darlay and Marot, 1909).

115

116 THIRTY-SIX DRAMATIC SITUATIONS

To the invariably happy and epithalamic ending to
our plays built upon this Situation, and to the fortuitous
coincidences with which it has been too generously in-
terlarded, 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 Nine-
teenth, whose charm and tempting variety is all pos-
sessed 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 Aeschylus ; "Polyxena" and "The Captives" of Soph-
ocles ; a part of his "Laocoon ;" "The Troades" of Eurip-
ides and of Seneca.

(2) Helping to Bring Misfortune Upon One's Peo-
ple Through Professional Secrecy: "Les Baillonnes"
(Mme. Terni, 1909).

B Divining the Death of a Loved One: "The In-
truder" and "The Seven Princesses" by Maeterlinck, the
one modern master of the Thirty-Sixth, and how power-
ful a one !

C Learning of the Death of a Kinsman or Ally:
Part of the "Rhesus" attributed to Euripides ; "Pen-
thesilea," "Psychostase" and "The Death of Achilles" by
Aeschylus; "The Ethiopians" of Sophocles. Here is
added the difficult role of the messenger of misfortune
he who bends beneath the imprecations of Cleopatra, in

117

118 THIRTY-SIX DRAMATIC SITUATIONS

Shakespeare, From comedy: "Cent Lignes Emues"
by Torquet.

D Relapse into Primitive Baseness, through De-
spair 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 sardonic
silhouette of the Executioner dominates the scene, in-
tensifying the keenness of the grief by his cynical pleas-
ure in it. ... Dante has conceived of no sharper sor-
row 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 dis-
cernment in one of the two adversaries, the introduction
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 intel-
lectual. Thus, clear perception being in the one case
excessively diminished, it is, in the other, proportion-
ately increased. Another element 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 injustice, a destruc-
tion 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, but at one dear to him.
Finally, the murder may be multiple and aggravated by

119

120 THIRTY-SIX DRAMATIC SITUATIONS

circumstances which the law has foreseen. A third
method of varying the situations : for this or that one of
the two adversaries whose struggle constitutes our
drama, there may be substituted 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 them-
selves in a dilemma,, in the midst of which hesitates the
distracted hero ; in the third case, each one of them will
appertain to a particular group or a particular role; in
the fourth, fifth, sixth cases, etc., they are 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 there-
from into a position not less critical, which may even
offer but a choice between two courses equally painful ;
after finding a way between this Scylla and Charybdis,
the very leap by which they 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 thou-
sand, 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 Situa-
tions and at the same time of the episodes and char-
acters introduced may be deduced in a manner some-
what 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 van-
quished), we shall have to choose, at the rising of the

CONCLUSION 121

curtain, between two beginnings; we must decide which
of the two adversaries pre-exists. This leads us infal-
libly to make of the second the cause (innocent or re-
sponsible) of the drama, since it is his appearance which
will be the signal for the struggle. The first, who espe-
cially enlists our attention, is the Protagonist, already
present in the earliest Thespian tragedy, altogether lyric,
descriptive and analytic ; the second the obstacle aris-
ing or supervening is the Antagonist, that principle
of the action which we owe to the objective and Homeric
genius of Aeschylus. One of two strongly opposing
colors will thus dominate the entire work, according 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 "sim-
ple" tragedy (in which the superiority remains upon the
same side until the end, and in which, consequently,
there is no sudden change of fortune, no surprise) and
"complex" tragedy (the tragedy of surprise, of vicissi-
tude), 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 compli-
cated, they double the change of fortune, thus leading
ingeniously to the return of the opposed powers, at the
moment of the spectator's departure, to the exact posi-
tions which they occupied when he entered the hall; in
their plays of complicated plot, they triple, quadruple,
quintuple the surprise, so long as their imaginations and
the patience of the public will permit. We thus see, in
these vicissitudes of struggle, the first means of varying
a subject. It will not go very far, however, since we
cannot, however great our simplicity, receive from the
drama, or from life, more than one thousand three hun-
dred 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 multiplica-
tion ; result, one thousand, three hundred and thirty-two.

122 THIRTY-SIX DRAMATIC SITUATIONS

Shall we now inquire whence arise these vicissitudes,
these unexpected displacements of equilibrium? Clearly
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 recogniz-
able. Some of his fragments become "Instruments,"
some, ''Disputed Objects/' some, "Impelling Forces; 7 '
they range themselves sometimes beside the Protagonist,
sometimes near the Antagonist, or, moving here and
there, they provoke that downfall the incessant avoid-
ance 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 Aeschylean 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 powerfully
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 apparent in
regard to the characters who surround him, in some dra-
matic 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 necessary to take into ac-
count his first and his last possessor, the diverse rela-

CONCLUSION 123

tions which he has successively had with them, and his
own preferences. If he appear as Inspirer or Instigator,
we must consider (aside from his degree of conscious-
ness or unconsciousness, of frankness or dissimulation,
and of Will proper) the perseverance which he brings
to his undertaking; if he be unconscious, the discovery
which he may make of his own unconsciousness; if he
be a deceiver, the discoveries which others may make of
his dissimulation ("others" here meaning perhaps a sin-
gle character, perhaps the spectator). These remarks
also apply to the "Instrumental" role; and not alone
these remarks, but those also which concern the "Ob-
ject," are applicable to the Role-Lien.

I have already observed that this last role, and the
triple hypostasis of the Third Actor, may be reproduced
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, In-
strument-Li en-Object, etc.), combinations which present
themselves, like the combinations of the Situations, al-
ready considered, in varied array. Sometimes the hero
who unites in himself these divers roles plays them si-
multaneously perhaps all of them toward an individ-
ual 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.

But it is not possible to detail m these pages, even
if I so desired, the second part of the Art of Combina-
tion; that which we in France call by the somewhat
feeble term (as Goethe remarked) "composition." All
that I have here undertaken to show is, first, that a
single study must create, at the same time, the episodes
or actions of the characters, and the characters them-
selves : for upon the stage, what the latter are may be
known only by what they do; next, how invention and
composition, those two modes of the Art of Combination

124 THIRTY-SIX DRAMATIC SITUATIONS

(not Imagination, empty word!) will, in our works to
come, spring easily and naturally from the theory of the
Thirty-Six Situations.

Thus, from the first edition of this little book, I might
offer (speaking not ironically but seriously) to dramatic
authors and theatrical managers, ten 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 ef-
fective 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 1'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 "Imagina-
tion." Certainly no one in classic times thought of prid-
ing 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 charlatanesque "faculty,"
analysis of which is, it would seem, eternally interdicted.
The results of this new regime were not slow in appear-
ing, and they may be seen, in their final decay, among
the last successors of ultra-romantic Romanticism. Mys-
terious crime, judicial error, followed by the inevitable
love affair between the children of slayer and victim ; a
pure and delicate working-girl in her tiny room, a hand-
some young engineer who passes by; a kind-hearted
criminal, two police spies, the episode of the stolen
child ; and in conclusion, for the satisfaction of sentimen-
tal souls, a double love-match at the very least, and a
suicide imposed upon the villain this, one year with
another, is the product of the Imagination. For the rest,
in the whole field of dramatic romanticism (which cor-

CONCLUSION 125

responds so well to the Carrache school of painting)
Hugo alone has created, thanks to what? to a tech-
nical 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 as-
serted 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 interesting and
least personal repeating themselves a thousand times
in our minds, returning mercilessly in all manner of
methodless combinations. These souvenirs of innumer-
able readings of the products of imitation in our neo-
classic and Romantic past, envelop and overwhelm us
unless we turn to that observation of nature which was
pointed out by the Naturalists' initiative as an element
of renovation. Even the Naturalists themselves have
too often viewed reality athwart their bookish recollec-
tions ; they have estimated too highly the power of the
artistic temperament, however vigorous it may be, in as-
suming that it could interpose itself, alone and stripped
of all convention, by a simple effort of will, between Na-
ture and the literary product to be engendered. Thus
"La Bete Humaine" has repeated the "judicial error" in
that special form which is as common in books as it is
rare in life; thus the starting-point of "L/QEuvre" is
merely the converse of the "thesis" of the Goncourts,
and Daudet; thus reminiscences of "Madame Bovary"
appear in many a study of similar cases, which should,
nevertheless, remain quite distinct ; and thus has ap-
peared, in the second generation of "naturalists," a new
school of imitators and traditionalists.

And all the old marionettes have reappeared, inflated
with philosophic and poetic amplifications, but too often
empty of symbolism, as of naturalism and humanism.

As to the methods of the Art of Combining, the truth
may be grasped by one bold look, one triumphant glance

126 THIRTY-SIX DRAMATIC SITUATIONS

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 observation
and creation, outside the world of paper and print, a
starting-point personal to himself, original in short/
which does not in the least mean improbable or uncon-
vincing, since many situations which have today an ap-
pearance of improbability 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 comparison, step by step,
with each of his predecessors, so that even the least crit-
ical 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 rendered originality
more difficult. By a study of the Thirty-Six Situations
and their results, the same advantage may be obtained
without^ its accompanying inconvenience. Thenceforth
Proportion alone will assume significance.

By proportion I mean, not a collection of measured
formulae which evoke familiar memories, but the
bringing ^ into battle, under command of the writer, of
the infinite army of possible combinations, ranged ac-
cording to their probabilities. Thus, to make 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 view the field before him, and to choose
such of the situations and such of the details as are most
appropriate to his purpose. This method or, if you
will, this freedom and this power he will use, not only
in the choice^ the limitation and fertilization of his sub-
ject, but in his observation and meditation. And he will

CONCLUSION 127

no more run the risk of falsifying, through pre-conceived
ideas, the vision of reality than does the painter, for ex-
ample, in his application of laws equally general, and
likewise controlled by constant experimentation, the
divine laws of perspective !

Proportion, finally realizable in the calm bestowed by
complete possession of the art of combining, and 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 skillful selec-
tion of material from nature, but the skillful and exact
representation with no groping, no uncertainty, no re-
tention 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 num-
ber of the arts, and but one side of them ; that small
number to which imitation is open (painting, literature
of character, and, in a limited way, sculpture), and that
side of them which is purely imitative. What signifi-
cance have these two definitions (both of which rest
upon the reproduction of reality, the one exalting and
the other belittling it) if they be confronted with Music,
with the didactic poetry of a Hesiod, with the Vedic in-
cantations, with true statuary, simplified and significant,
from the mighty chisel-strokes of Phidias or of the XIII
Century, with purely ornamental or decorative art,
the "beauty" of a demonstration in geometry, or final-
ly with Architecture, now reviving in silence and ob-
scurity, that art which comes periodically to reunite and,
like an ark, to rescue the others, that art which shall
once more return to lead us away from the prematurely
senile follies of our delettanti and sectarians.

Upon a like height stands a principle greater than
Naturalism with its experimental method, or Idealism
which gives battle to it, Logic.

It is by methods of logic that Viollet-le-Duc has en-
abled us to estimate truly the marvels of our "grand
siecle," the XIII Century, substituting (to cite only

128 THIRTY-SIX DRAMATIC SITUATIONS

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 satis-
faction 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 metrop-
olis, an identical movement, that this understanding,
which would be so useful to us, should have been hor-
ribly compromised in the Romantic 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 f our ^ centuries.
And, down to the very moment at which I write, the lit-
erary productions upon the subject of this most incom-
parable 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 1'Acrople") ; the
very Catholic Huysmans, in his "En Route," was mak-
ing the most astounding salad of Roman vaulting, Primi-
tive painting, Gregorian plain-chant, a salad whose
recipe is "the Faith" and which is called, naturally, the
"Moy en-age," that age which embraces ten centuries
of humanity, plus one-third of humanity's authentic his-
tory, three epochs strongly antagonistic to each other,
peoples widely diverse and opposed; a something equiv-
alent to a marriage between Alcibiades and Saint
Genevieve.

The "Moyen-age," or, to speak. more accurately, the

CONCLUSION 129

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 centuries grew, stone
by stone, plan by plan, out of the most practical of rea-
sons. 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, persist-
ing in the contrary opinion, we cling to the weird forms
of the gargoyles, it may be said that, born of a symbol-
ism akin to those of Egypt and Greece, they represent
analogies equally ingenious and profound. In this pe-
riod 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,
those rhythms which through Ronsard we still hear, that
Rhyme which we gave to all Europe, and, at the same
time, thy groined vaultings, O little 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 our own age
already turns, since, having drunk of that antiquity by
whose forces we ruled Europe a second time in the
XVII Century; having drunk of the latest of great for-
eign influences, the Germanic, we are returning to reality
and to the future. Thus, when each Greek city had ab-
sorbed the neighboring local cults (its "foreign influ-
ences") and the Oriental cults (the "antiquity" of that
day), the most beautiful of mythologies were formed.
It is, at least, toward an art purely logical, purely tech-
nical, and of infinitely varied creations, that all our lit-
erary tendencies seem to me to be converging. In that
direction proceed Flaubert and Zola, those rugged pio-
neers, Ibsen, Strindberg, and all writers deliberately un-
mindful of their libraries, as the Hellenes were of bar-

130 THIRTY-SIX DRAMATIC SITUATIONS

barian literature; there moves Maeterlinck, ^ having re-
duced action to the development of a single idea;
Verlaine, delivering from conventional rules true
rhythm, which makes for itself its own rules ; Mallarme,
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 Re-
naissance ; 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 aboli-
tion 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 har-
mony ; in brief, an artists' art.

In literature, in dramatic literature which is the spe-
cial subject of our consideration, the investigation of
Proportion of which I have above spoken will show us
the various "general methods" of presenting any situa-
tion 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 sys-
tems, in their turn, will come together under certain
rubrics yet more general, comparisons of which will fur-
nish us many a subject for reflection. In that which we
might call Enchantment, there meet, oddly enough, sys-
tems 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, "Pro-
metheus," the book of "Job," the stage of the tragic
Ezekiel, of Saint Gregory Nazianzen, of Hroswitha, the
Jeux and Miracles of our XIII Century, the Autos ; here,
Greek tragedy and the psychologists' imitations of it;
there, English, German and French drama of 1830 ; still
nearer, the type of piece which from the background of

CONCLUSION 131

China, through Lope and Calderon, Diderot and Goethe,
has come to cover our stage today.

It will be remembered that, when we were cata-
loguing 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 unforeseen 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 resemblances
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 ob-
scurest 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 tem-
ples, before these peoples who gathered of yore around
Herodotus and Pindar; she will speak the new language
the Dramatic a language too lofty for the compre-
hension of the single soul, however great it be, a lan-
guage not of words but of thrills, such as that spoken to
armies, a language in truth addressed to thee, O Bac-
chus, dispenser of glory, soul of crowds, delirium of
races, abstract, but One and Eternal ! Not in one of our
parlor-like pasteboard reductions of the Roman demi-
circus will this come to pass, but upon a sort of moun-
tain, flooded with light and air, raised, thanks to our
conquest of iron added to the constructive experience of
the Middle Ages; offered to the nation by those who
have still held to the vanity of riches, a greater thing
than the theatre of Dionysos where gathered thirty thou-

132 THIRTY-SIX DRAMATIC SITUATIONS

sand people, greater than that of Ephesus wherein sat,
joyous, a hundred and fifty thousand spectators, an im-
mense orifice-like crater in which the earth seems to en-
compass the very heavens.

ALPHABETICAL INDEX

Of the Plays, Novels, Etc., Classified in the
Situations of this Work

A

Abbe Constantin (The), by L. Haievy

Abduction of Helen (The), by Lope de Vega

Abduction of Helen (The), by Sophocles

Abhirama mani, by Soundara Misra

Abraham, by the Abbess Hroswitha

Absente (L'), by Villemer

Abufar, by Ducis

Achilles in Scyros, by Metastasio

Adelaide Duguesclin, by Voltaire

Adelghis, by Manzoni

Adrien, by Metastasio

Aedonians (The), by Aeschylus

Aegeus, by Euripides

Aetius, by Metastasio

Affaire Clemenceau (L') f -by Dumas fils

Affaire de la rue de Lourcine (L*), by Labiche

Affaire des Poissons (L') f by Sardou

Affaires sont le Affaires (Les), by Mirbeau

Agamemnon, by Aeschylus

Agathocle, by Voltaire

Agave, by Stace

Age Critique (U), by Byl

Agesilas, by Corneille

Agis, by Alfieri

Agnimitra and Malavika, by Kalidasa

Aiglon (L*), by Rostand

Aimer sans savoir qui, by Lope de Vega

and

Ajax, by Sophocles
Ajax Locrian, by Aeschylus

133

XXVIII

A

2

X

B

X

B

X

c

2

XX

D

XXVII

B

1

XVIII

B

1

XX

B

3

XIV

A

2

V

C

XXIV

C

XXXI

A

1

XIX

B

2

XXXIII

D

4

XXV

D

1

XVI

A

3

XXXIII

B

2

XXVII

A

3

XV

A

1

XIV

A

2

XXXI

A

1

XXV

C

3

XXIV

A

5

XIII

D

XXIV

D

2

VII

B

XIV

D

XXXIII

B

1

XVI

B

XXXI

B

3

134

THIRTY-SIX DRAMATIC SITUATIONS

Ajax Locrain, by Sophocles XVI B

Alcalde of Zalamea (The), by Calderon III A 2

Alceste, by Sophocles XXI A 1

" by Euripides XXI A 1

" by Buchanan XXI A 1

by Hardy XXI A 1

by Quinault XXI A 1

by Racine (projected) XXI A 1

" by Lagrange-Chancel . XXI A 1

by Boissy XXI A 1

by Sainte-Foix XXI A 1

by Coypel XXI A 1

by Dorat XXI A 1

by Gluck XXI A 1

by H. Lucas XXI A 1

by de Vauzelles XXI A 1

Alcmene, by Aeschylus XVIII D 2

Alcmeon, by Sophocles XXV B 4

Alcmeon, by Euripides XXV B 4

Aletes and Erigone, by Sophocles HI A 1

Alexander, by Sophocles XIX C 1

Alexander, by Euripides XIX 1

Alexander, by Metastasio V C

Alexander, -by Racine XXIX A 4

Almanzor, by Heine I B 2

Alope, by Euripides XXIV A 3

Alzire, by Voltaire HI A 6

Amazones (Les), by Mazel XXIX A 4

Amelie, by Voltaire XIV A 2

Amhra, by Grangeneuve III A 6

Ami Fritz (U), Erckmann-Chatrian XXVIII A 2

Amour, by Hennique XV A 1

Amphitryon, by Sophocles XIX F 3

Anarghara-ghava (Hindu, anonymous) X C 2

Ancetre (U), by Saint-Saens XXIX B 6

Andre del Sarte, by Musset XXV C 4

Ancien (I/), by Richepin XXI A 2

Andromache, by Euripides XXI D 2

Andromaque, by Racine XXV B 1

Andromeda, by Euripides II A

Andromeda, by Sophocles II A

Andromeda, by P. Corneille II A

Ane de Buridan (L J ), by de Flers and

de Caillavet XXIV B 6

Angelo, by Hugo XXV C 1

Angles du Divorce (Les), by Biollay XXVIII E

Antigone, by Metastasio XIV B 1

by Sophocles XX A3

by Euripides XX A3

by Alamanni XX A3

by Alfieri XX A3

INDEX OF PLAYS, NOVELS, ETC.

135

Antiope, by Euripides II

Antoinette Sabrier, by Coolus XXV

Antony and Cleopatra, by Shakespeare XXII

Aphrodite, by Louys XXI

Apotre (U), by Loyson XXVII

Appius and Virginia, by Webster XXIV

Apprentie (L'), by Geffroy XX

Apres moi, by Bernstein XXV

Archelaus, by Euripides VI

Argent (L'), by Zola VI

Argives (The), by Aeschylus III

Ariane, by T. Corneille VI

Arlesienne (L'), by Daudet and Bizet XXII
Armee dans la Ville (L J ), by Jules Romains VIII

Arsene Lupin, by Leblanc V

Artaxerxes, by Metastasio XXXIII

Artemire, by Voltaire XXXII

Article 301, by Duval XXIV

Ascanio, by Saint-Saens XXIV

As de trefle (L'), by Decourcelle XXVII

Assommoir (L*), by Zola XXII

Atalanta, by Aeschylus IV

Athalie, by Racine XXXI

Athamas, by Aeschylus XVI

Atree et Thyeste, by Crebillon XIII

Attentat (L'), by Capus and Descaves XXIV

Attila, by P. Corneille XXIV

Attila, by Werner III

Augeus, by Euripides I

Automne (L'), by Adam and Mourey VIII

Autre Danger (L'), by Donnay XIV
Aventures de Gavroche (Les), by Darlay

and Marot XXXV

Aveu (L'), by Sarah Bernhardt XXV

B

Bacchantes (The), by Euripides XXXI

Baillonnes (Les), by Mme. Terni XXXVI

Bajazet, by Racine XXIV
Banque de TUnivers (La), by Grenet-

Dancourt XVII
Barlaam et Josaphat, Miracle of Notre-Dame X

Barricade (La), by Bourget XXIV

Bassarides (The), by Aeschylus XXXI

Beethoven, by Fauchois VII
Belle aux cheveux d T pr (La), by Arnould XVII

Bellerophon, by Euripides XXXI

Benvenuto, by Diaz XXIV

Bercail (Le), by Bernstein XXV

Berenice, by Racine XX

1

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

A 2

A 7

A 4

A 1

B 2

B 2

B 4

C 4

A 1

A 2

B 4

A 2

D 3

A 7

A 1
D

C 3

B 3

B 7

C 4

B 3

136

THIRTY-SIX DRAMATIC SITUATIONS

Berenice, by Poe

Berthe au grand pied, Miracle of Notre-

Dame

Berthequine, Miracle of Notre-Dame
Bete feroce (La), by Jules Mary and Rochard
Bete humaine (La), by Zola
Bleus de I'amour (Les), by Coolus
Blind (The), by Maeterlinck
Bluebeard, by Perrault
Blue Bird (The), by Maeterlinck
Blue Monster (The), by Gozzi
Bohemos, by Zamacois
Boislaurier, by Richard

Bondman (The), by Massinger

Bon roi Dagobert (Le), by Rivoire

Boscotte (La), by Mme. Maldagne

Bouchers (Les), by Icres

Bride of Messina (The), by Schiller

Brigands (The), by Schiller

Britannicus, by Racine

Broken Heart (The), by Ford

Brutus, by Voltaire

Brutus II, by Alfieri

Bucheronne (La), by C. E'dmond

Burgraves (Les), by Hugo

By Fire and Sword, by Sienkiewicz

and

XXXIV

XXXV
XXXV
XXX

XVI

XXVIII

VII

II

IX

XIX

XXXIV

XIV

II

XXXII

XVIII

XXXIII

III

XVIII

XXXIII

XIV

XXIX

XXVII

XXX

XXIV

XIX

XXVI

1

C 1

A 2

C 2
D
A

D 3

G 2
A
A
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

Cain, by Byron XIII A 1

Canace, by Speroni XXVI C 2

Capitaine Burle (Le), by Zola XXII C 1

Captives (The), by Sophocles XXXVI A 1

Carbonari (Les), by No XXIX A 4

Carians (The), by Aeschylus X A

Casquette au pere Bugeaud (La), by Marot III A 8

Casse-museau, by Marot XXVII D 5

Casserole (La), by Metenier III A 7

Catherine la Batarde, by Bell XXXIII D 1

Catilina, by Voltaire VIII A 1

and XXX B

Cato, by Metastasio V C

Cellule No. 7 (La), by Zaccone III B 3

Cenci (The), by Shelley III B 5

XIII B 3 and XXVI A 3

Cent lignes emues, by Torquet XXXVI C

Cesar Birotteau, by Balzac XX A 4

and VI B

Cest la loi, by Cliquet XXV B 8

INDEX OF PLAYS, NOVELS, ETC.

137

Chamillac, by Feuillet XXVI

Champairol (Les), by Fraisse I

Chantecler, by Rostand VIII

Charbonniere (La), by Cremieux XXI

Chevalerie Rustique, by Verga XXIV

Chevalier Jean (Le), by de Joncieres XXXII

Chien de garde (Le), by Richepin XXI

Chinese Hero (The), by Metastasio XXVIII

Choephores (The), by Aeschylus IV

Christ Suffering, by St. Gregory Nazianzen XX

Chryses, by Sophocles I

Chrysippus, by Euripides XXVI

Cid (Le), by P. Corneille XXIX

Cinna, by P. Corneille VIII
Cinq doigts de Birouk (Les), by

De Courcelle XXX

Circuit (Le), by Feydeau and de Croisset XXIV

Citta morta (La), by d'Annunzio XXVI

Clavijo, by Goethe III

Cleopatre, By Sardou XXII

Clitandre, by P. Corneille XXXIII

Cloitre (Le), by Verhaeren XXXIV

Coeur a coeur, by Coolus XXV
Coeur a ses raisons (Le), by de Flers

and de Caillavet XIV

Coeur de Se-hor, by Michaud d'Humiac XXVII

Coeur material, by Franck XXXIII
Coeur revelateur (Le), by Laumann, after

Poe XXXIV
Colomba, by Merimee III
Comedy of Errors, by Shakespeare XXXII
Compagnon de voyage (Le), by Anderson XI
Compere le Renard, by Polti V
Comte d'Essex, by T. Corneille XXIV
Comtesse Sarah, by Ohnet XXV
Connais-toi, by Hervieu XXII
Conquete de la Toison d'or (La), by P. Cor-
neille XXIV
Conquete de Plassans (La), by Zola XXII
Conspiration du general Malet (La), by de

Lassus VIII

Constant Prince (The), by Calderon XX

Conte de Noel, by Linant XIII

Corbeau (Le), by Gozzi XXXIII

Corbeaux (Les), by Becque VII

Cor fleuri (Le), by Mikhael and Herold XXIV

Coriolanus, by Shakespeare VI

Cornette (La), by M. and Mile. Ferrier XXI

Count of Carmagnola (The), by Manzoni V

and VI

Count Witold, by Rzewuski XXXIV

B 5

B 3

A 2

D 1

A 10

C 2

D 1

A 1

A 1

A 2

A 1

D 1

B 1

A 1

C 1
C

C 2

A 8

A 4

D 1

A 2

D

D 6

A 3

A 3

A 1

A 1

B 2
A

B 2

C 3

A 2

B 1

A 2

A 1

A 4
F

A 3
B

B 3

C 1

D 1
C

C 1

B 2

138

THIRTY-SIX DRAMATIC SITUATIONS

Countess Fredegonde (The), by Amigues XXV B 7

Course du flambeau (La), by Hervieu XXI E

Courtisane (La), by Arnyvelde XXVII B 6
Courtisane de Corinth (La), by Carre and

Bilhaud III C

Cousine Bette (La), by Balzac XXII C 1

Crainquebille, by France XXXIII A 3

Cresphontes, by Euripides XIX B 1

Cretans (The), by Euripides XXVI E

Creusa, by Sophocles XIX B 1

Crime.de Jean Morel (Le), by Samson f XXIX B 7

Crime de Maisons-Alfort (Le), by Coedes III A 1
Crime d'un autre (Le), by Arnold and Ren-

auld XXXIII D 2

Crime and Punishment, by Dostoievsky XXXIV A 3

Criminelle (La), by Delacour XXXIII B 2

Crocodile (Le), by Sardou XXVII B 5
Croisade des Enfantelets francs (La), by

Ernault VII B

Cromwell, by Hugo XXX A 3

Cuirs de Boeuf (Les), by Polti XXVI A 1

Cymbeline, by Shakespeare XXXII B 2

Cyrano de Bergerac, by Rostand XXI C 2

Cyrus, by Metastasio XIII C

and XIX B 3

D

Damaged Goods, -by Brieux XVII C 2

Dame a la faulx (La), by Saint-Pol Roux XXIV B 9

Dame aux Camelias (La), by Dumas fils XXVII B 6

Dame au domino rose (La), by Bouvier XVIII C

Damon, by Lessjng XIV D

Danae, by Euripides I B 2

Danae, by Aeschylus B 2

Danaides (The), by Aeschylus XXIII B 3

by Gombaud XXIII B 3

by Phrynichus XXIII B 3

" by Salieri XXIII B 3

" by Spontini XXIII B 3

Danseur inconnu (Le), by Bernard XXVIII A 2

Dante, by Godard , XXIV A 3

Death of Achilles (The), by Aeschylus XXXVI C

Death of Cansa (The), by Crichna Cavi XIII C

Debacle (La), by Zola VI A 1

Decadence, by Guinon XXV C 1

Declassed (La), by Delahaye III B 4

Dedale (Le), by Hervieu XXIV A 1

Deformed Transformed (The), by Byron IX D 3

Degringolade (La), by Desnard XXXIII D 6

Demetrius, by Metastasio XXIV A 5

INDEX OF PLAYS, NOVELS, ETC.

139

Demon du foyer (Le), by George Sand XIV A 4

Demophon, by Metastasio XIX A 1

Denise, by Dumas fils XXVII B 3

Depute Leveau (Le), by Lemaitre XXV B 3

Dernier Amour, by Ohnet XXV B 6

Desert Isle (The), by Metastasio XII B

Dette (La), by Trarieux XIV B 1

Deux Jumeaux (Les), by Hugo VII A

Devant I'ennemi, by Charton XXIV A 8

Devotion to the Cross, by Calderon V A

Dhourtta narttaka XXII A 1

Dhourtta samagama XXIV A 9

Diana, by Paladilhe XXXIII D 3

Diane, by Augier XXI C 1

Diane de Lys, by Dumas fils XXV C 3

Dictys, by Euripides II B 2

Dido, by Metastasio XX B 3

Dieu ou pas Dieu, by Beaubourg XXIX A 3

Disciple (Le), by Bourget III A
Discovery of the New World, by Lope de

Vega IX D J

Divorce (Le), by Bourget XXVIII D 1
Divorce de Sarah Moore (Le), by Rozier

and Paton XXI A 2

Divorcee (La), by Fall and Leon XXXII A 2

Docteur Pascal, by Zola XXVI B 2

Don Carlos, by Schiller XXVI B 2

Don Garzia, by Alfieri XXXIII C 3

Don Juan, by Dumas pere V B

" by Goldoni V B

" by Grabbe V B

" " by Moliere V B

" by Sadwell V B

" by Tellez V B

" by Tirso de Molina V B

" by Zamora V B

" by Zorilla V B

Don Pedre, by Voltaire XIV A 2

Don Quixote, by Cervantes II A

Don Sanche, by Corneille XXIV A 6

Drapeau (Le), by Moreau ^ XXIV A 8

Droit au bonheur (Le), by Lemonnier XXI C 2

Duchess of Malfi (The), by Webster XXIX A 1

Duel (Le), by Lavedan XIII A 1

Earthen Toy-cart (The), by Sudraka XXIV A 5

Echeance (U), by Jullien XXV- C 8

Ecla-boussure (I/), by Geraldy XXXIV A 3

Ecole des veufs (U), by Ancey XXVI B 3

140

THIRTY-SIX DRAMATIC SITUATIONS

Edith, by Bois
Egmont, by Goethe
1812, by Nigond
Electra, by Sophocles
" by Euripides
" by Attilius

by Q. Cicero

by Pradon

by Longepierre

by Crebillon

by Rochefort

by Chenier

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

Dame

Enchantement (U), by Bataille
En detresse, by Fevre
Enemy of the People (An), by Ibsen
Enigma (The), by Hervieu
Enfant du Temple (L 1 ), 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
Eriphyle, by Sophocles
Eriphyle, by Voltaire
Esclarmonde, by Massenet
Esclave du devoir (L 1 ), by Valnay
Esmeralda (La), by Hugo
Esther, by Racine
Etau (U), 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

Eumenides (The), by Aeschylus

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

and
and

V

V

XIV

IV

IV

IV

IV

IV

IV

IV

IV

IV

IV

IV

XV

XXVIII

XXIV

XXXI

XIV

VII

V

XXV

XX

XXXV

XVIII

XXIV

XXVI

III

IV

XXIII

IV

IV

XVII

XXXII

XXIV

I

XVI

XXXVI

XXVIII

III

XXXIII

XXVII

XVII

XXXI

XXXIV

I

X

XIX

I

XX

c
c

A 1

A 1

A 1

A 1

A 1

A 1

A 1

A 1

A 1

A 1

A 1

A 2

A 1

A 1
C

A 2

A 4

C 2
C

D 1

A 4

A 2

A 7

C 2

A 1

A 1

A 1

A 1

A 1

B 2

A 3

A 11

C 1
D
C
B

B 7

A 1

D 1

A 1

B 5

A 2

A 1
A

B 2

C 2

B 1

INDEX OF PLAYS, NOVELS, ETC. 141

Exode (L 1 ), by Fauchois XXIX A 4

Exodus of the Hebrews (The), by Ezekiel XXXI A 2

Ezzelino, by A. Mussato XXX C 1

Famille d'Armelles (La), by Marras XXV D 2

Faust, by Goethe VI D 1

Fantasio, by Musset II B 2

Fatal Dowry (The), by Massinger XXV C 5

Faute de 1'abbe Mouret (La), by Zola XXII A 1

Feast of the Achaians, by Sophocles III B 2

Fedora, by Sardou XXIX B 5

Femme de Claude (La), by Dumas fils XXV C 7

Femme de demain (La), by Lefebvre XXV B 9

Femme X (La), by Bisson XXVII A 1

Fermiere (La), by d'Artois XXIV C

Festin de Pierre (Le), by T. Corneille XXXI B 2

Fiacre No. 13, by Dornay XXXIII D 6

Filie a Guillotin (La), by Fleischmann XXIII A 3

Fille du depute (La), by Morel XXVII A 3
Fille du roi d'Espagne (La), Miracle of

Notre-Dame XXXII B 2

Fille Elisa (L), by E. de Goncourt XVI A 2

Fille sativage (La), by de Curel XXXVI D

Fils de Jahel (Les), by Mme. Armand XX B 2

Fils de Porthos (Le), by Blavet XXIV A 5

Fils naturel (Le), by Dumas fils XII B

Flore de Frileuse, by Bergerat XXVII B 2

Fontovejune, by Lope de Vega VIII B 2

Fortune des Rougon (La), by Zola XXX C 1
Fortune and Misfortune of a Name, by

Calderon XXIX B 6

Fossiles (Les), by de Curel XIV B 1

Foulards rouges (Les), by Dornay XXXV

Francillon, by Dumas fils XXV B 2

Frangois les bas bleus, by Messager XXIV B 6

Franchise de Rimini, by A. Thomas XXV C 3

Frere d'armes (Le), by Garaud XXI D 1

Freres ennemis (Les), by Racine XIII A 2

Freres Zemganno (Les), by E. de Goncourt XXI B 1

Friquet (Le), by Willy and Gyp XXIV B 6

Fugitive (La), by Picard XXI C 2

Furie (La), by Bois XXII A 5

Gardener's Dog (The), by Lope de Vega XXIV B 5

Gardienne (La), by de Regnier XXXV

Gavroche, by Dornay XXXIII B 2

Georgette, >by Sardou XXVII A 1

10

142 THIRTY-SIX DRAMATIC SITUATIONS

Gerfaut, by C. de Bernard XXV C 6

Germinal, by Zola VIII B 2

Germinie Lacerteux, by the Goncourts XXII C 1

Ghosts, by Ibsen XVIII B 3

Glatigny, by Mendes XXIV A 9

Glaucus Pontius, by Aeschylus IX B 2

Glu (La), by Richepin XXII A 5

Gold Bug (The), by Poe XI B 1

Goetz de Berlichingen, by Goethe V C

Grande Iza (La), by Bouvier XXXIII B 2

Grande Marniere (La), by Ohnet XXIX A 2

Grand soir (Le), by Kampf VIII A 1

Grands (Les), by Veber and Basset XXXIII A 3

Great Expectations, by Dickens XXI A 2

Griffe (La), by Bernstein XXII

Guebres (Les), by Voltaire XIX A 2

Guests (The), by Aeschylus VII B

Guibor, Miracle of Notre-Dame XXIII B 4

H

'Hamlet, by Shakespeare IV A 1

and XIII C

Hanouman, Hindu drama X C 2

Heaven and Earth, by Byron XXIV A 1

Hecuba, by Euripides III A 2

Hedda Gabler, by Ibsen XVI A 3

Helen, by Euripides X C 1

Helen Reclaimed, by Sophocles XII C

Heliades (The), by Aeschylus XIII A 1

Henry IV, by Shakespeare XXX B

Henry V, by Shakespeare IX B 1

and XXXIII A 1

Henry VI, by Shakespeare VI B

Henry VIII, by Shakespeare XXV B 5

Henri VIII, by Saint-Saens XXV B 5

Heraclides (The), by Aeschylus I A 1

" by Euripides I A 1

Heraclius, by Corneille XVIII B 2

Heracles Mainomenos, by Euripides XVI A 1

Hercules Furens, by Seneca XVI A 1

Hercules on CEta, by Seneca XXV B 1

Hermione, Sophocles X C 2

Hernani, Hugo XXIV A 3

XIX and XX A 1

Herodias, by Flaubert XXII B

Hero and the Nvmph (The), by Kalidasa XXXV

Hippolyte, by Euripides XXVI B 1

by Seneca XXVI B 1

His Own Gaoler, by Calderon XXIX B 2

Honrnie a deux tetes (U), by Forest XXXIII C 6

INDEX OF PLAYS, NOVELS, ETC.

143

Homme de proie (U), by Lefevre and

Laporte X D 2

Horace, by 1'Aretin XXIII B 5

" by Corneille XXIII B 5

Huron (Le), by Voltaire XXI D 2

Hypermnestre, by Metastasio XXIII B 3

by Riupeiroux XXIII B 3

by Lernierre, etc. XXIII B 3

Hypsipyle, by Aeschylus XXIII B 2

by Euripides XXIII B 2

by Metastasio XXIII B 2

Idiot (U), by de Lorde III A 4

Idomenee, by Crebillon XXIII A 2

by Lemiere XXIII A 2

by Cienfuegos XXIII A 2

Illusions perdues (Les), by Balzac XXX C 1

Image (U), by Beauborg XXIV B 8

Impasse (L'), by Fread Amy XV A 1

Indigne, by Barbier V B

Indiscret (I/), by See XVII A 1

Inflexible (I/), by Parodi XXVII D 2

Ino, by Euripides XVI A 1

Insociale (U), by Mme. Aurel XXXVI B

Intruder (The), by Maeterlinck XXXVI B

lobates, by Sophocles XXVI B 1

Mas, by Sophocles II B 2

Ion, by Euripides XIX B 1

Iphigenia, by Aeschylus XXIII A 1

" ^ by Sophocles XXIII A 1

Iphjgenia in Aulis, by Euripides XXIII A 1

Iphigenie a Aulis, by Racine XXIII A 1

Iphigenia in Tauris, by Euripides XIX C 2

" f by Goethe ^ XIX C 2

Iphigenie en Tuaride, projected, by Racine XIX C 2

Irene, by Voltaire XXIX B 4

Israel, by Bernstein XIX E

Ixion, by Aeschylus III A 5

" by Sophocles III A 5

" by Euripides III A 5

J

Jack the Ripper, by Bertran and Gairian III B 7

Jack Tempete, by Elzear XXIV A 8

Jacobines (Les), by Hermant XXV C 4

Jacobites (Les), by Coppee XXV D 2

Jacques Bonhomme, by Maujan VIII B 1

Jacques Damour, by Zola XXV C 2

144 THIRTY-SIX DRAMATIC SITUATIONS

Jalousie, by Vacquirie ^ XXXII C 5

Jarnac, by Hennique and Gravier XXIII B 6

Jean Cevenol, by Fraisse XXXIII B 3

Jephthe, by Buchanan XXIII A 2

by Boyer XXIII A 2

Jerusalem Delivered, by Tasso XIX G 1

Jeu de la Feuillee (Le), by Adam de la Halle VII C 1
Jeu de Robin et de Marion (Le), by Adam

de la Halle X A

Jeu de Saint-Nicholas (Le), by Jean Bodel II A

Job, by Moses (?) XXXI B 1

Jocelyn, by Lamartine XXII A 1

by Godard XXII A 1

Joie de vivre (La), by Zola XXIV B 7

and XXI A 2

Joueurs d'osselets (Les), by Aeschylus III B 2

and VII B

Judgment of Arms (The), by Aeschylus XII C

Julius Caesar, by Shakespeare XXX A 2

Jumeaux (Les), by Hugo XXXV

K

Kermesse rouge, by Eekhoud III A 8

King John, by Shakespeare I A 1

and VI C 1

Kreutzer Sonata (The), by Tolstoi XXV D 1

Labors of Jacob, by Lope de Vega XIII A 1

Laconian Women (The), by Sophocles IX C 1

Lady from the Sea (The), by Ibsen XXIV B 8

Lakme, by Delibes XXIX A 4

Laocoon, by Sophocles V C

and XXXVI A 1

Later Life of Rama (The), by Bhavabuti XXXV

Lawn-tennis, by Mourey XXVI D 2

Legende du Coeur (La), by Aicard XXV D 1

Lelie, by Willy XXII C 2

Lemnian Women (The), by Sophocles XXIII B 2

Lena, by Berton and Mme. van Velde XXVII B 4

Life is a Dream, by Calderon XIII B 2

Lohengrin, by Wagner II A

Loi de Fhomme (La), by Hervieu XXI C 3

Lois de Minos, by Voltaire XIX A 2

Lorenzaccio, by Musset VIII A 1

Louis Perez of Galicia, by Calderon V A

Louis Leclercq, by Verlaine XVII C 2

INDEX OF PLAYS, NOVELS, ETC. 145

Love and Intrigue, by Schiller XXXII B 3

Love's Sacrifice, -by Ford XXXII A 3

Loves of Krishna (The), by Roupa XXIV D 1

Loves of the Three Oranges (The), by Gozzi XVIII D 1

Lucienne, by Gramont XXV A 1

Lucrece Borgia, by Hugo VI C 3

XXIII B 1, XXXII A 2, XIX B 1 and XIX D

Luther, by Werner XX A 4

Lutte pour la vie (La), by Daudet XV B

Lydie, by Miral XXIX A 4

Lyncee, by Theodecte XXIII B 3

byAbeille XXIII B 3

Lys (Les), by Wolf and Leroux XXVIII D 1

M

Macbeth, by Shakespeare XXX C 1

Madame Bovary, by Flaubert XXV C 7

Madame Caverlet, by Augier XXVII A 1

Madame de Maintenon, by Coppee XXI B 2

Madame TAmirale, by Mars and Lyon XXVI B

Madame la Mort, by Mme. Rachilde XXIV B 8

Madame Margot, by Moreau and Clairville VIII A 2

Madame Therese, by Erckmann-Chatrian XXIX A 4

Madeleine, by Zola XXXIV B 1

Mile, de Bressier, by Delpit XXIX B 2

Mile, de Maupin, Gautier m XVIII

Madhouranirouddha, by Vira XXIX A 4

Mahaviracharita, by Bhavabuti X C 2

Mahomet, by Voltaire XIX E

Maidens of Trachis, by Sophocles XXV B 1

Maison d'argile (La), by Fabre XII A 3
Maison des deux Barbeaux (La), by

Theuriet XXV C 4

Maitre (Le), by J. Jullien XIII B 1

Maitre Ambros, by Widor XXXIII B 1

Malatia and Madhava, by Bhavabuti X C 1

and XXIV C 1

Malefilatre (Les), by Porto-Riche XXV C 7

Malheur aux pauvres, by A. Bouvier XXXII C 3

Maman Colibri, by Bataille XXII C 1

Manfred, by Byron XXXIV A 1

Mangeront-ils, by Hugo XXIV A 3

and I A3

Mannequin d'osier (Le), by France XXV C 4

Manon Lescaut, by Prevost XXVII B 6

Maquignon (Le), by Josz and Dumur III A 1
Marchande de sourires (La), by Judith

Gautier XXIX B 7

Mari (Le), by Nus and Arnould XXV C 1

146

THIRTY-SIX DRAMATIC SITUATIONS

Mariage d* Andre (Le), by Letnaire and de

Rouvre
Mariage de Mile. Beulemans (Le), by

Fonson and Wicheler
Manage d'Olympe (Le), by Augier
Marianne, by Dolce
Marianne, by Tristan 1'Hermite
Marianne, by Voltaire
Marie Stuart, by Alfieri
Marie Stuart, by Schiller
Marie Stuart, by Samson
Marie Tudor, by Hugo

and

Mahino Faliero, by Byron
Marion Delorme, by Hugo

and

Marius yaincu, 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 Euripedes
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-Darne
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 B 7

Miss Sara Sampson, by Lessing XXV A 1

Mission de Jeanne d'Arc (La), by DalHere VIII B 1

Mithridate, by Racine m XIX B 1

Mon ami Teddy, by Rivoire and Bernard XXIV A 7

Mon frere, by Mercereau XIII A 2

Monna Vanna, by Maeterlinck XXXII A 1

Monsieur Alphonse, by Dumas fils XXVII B 7

Monsieur Bute, by Biollay XVI A 3

Monsieur de Morat, by Tarbe XXV B 3
Montansier (La), by Jeoffrin, de Flers and

de Caiilavet ^ XXV C 3

Monte Christo, by Dumas pere III B 4

Montmartre, by Frondaie XXVIII E

Morte de Cesar (La), by Voltaire XXX A 2

Morte (La), by Barlatier XXIV B 8

Mouettes (Les), by P. Adam XXIII A 3

Mrigancalclcha, by Viswanatha XXIV A 1

Mrs. Warren's Profession, by Shaw XXVII A 1

Much Ado About Nothing, by Shakespeare XXXII B 1

Myrane, by Bergerat XXV B 7

Myrmidons (The), -by Aeschylus VI A 1

Myrrha, by Alfieri XXVI A 2

Myrtille, by Erckmann-Chatrian XXVIII A 2

Mysians (The), by Aeschylus I B 3

Mystery of Adam (The), XII Century VI A3

N

Nana, by Zola ^ XXII A 6

Nana-Sahib, by Richepin V C

Nanine, by Voltaire XXVIII A 1

Natural Daughter (The), by Goethe VII A

Nauplius, by Sophocles III A 2

Nauskaa, by Sophocles I B 1

Necklace (The), by Sri Harshadeva XXIV D 3

Nemea, by Aeschylus IX A *

Nereides (The), by Aeschylus III A 7

Nick Carter, by Livet and Bisson III C

Nicotnede, by Corneille V C

Niebelung (The), by Wagner V C

Nina de Plata (La), by Lope de Vega XXIV A 5

Ninety-Three, by Hugo XXIII A 3

Niobe, by Aeschylus XXVI A 1

Niobe, by Sophocles XXXI B 4

Nitetis, by Metastasio XXVIII A 1

Noces Corinthiennes (Les), by France XXIX A 4

Nurses (The), by Aeschylus XXXI B 4
Nouveau Monde (Le), by Villiers de Tlsle

Adam XXV C 1

148

THIRTY-SIX DRAMATIC SITUATIONS

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

Chatrian XXIV

Numa Roumestan, by Daudet XXV

o

Obstacle (U), by Daudet
Octavia, by Seneca
Odette, by Sardou
CEdipus, by Aeschylus

by Sophocles

by Corneille

by Seneca

by Voltaire, etc.
CEdipus at Colonus, by Sophocles

CEnee, by Sophocles
QEnomaus, by Sophocles
" by Euripides
CEuvre (U), by Zola
Ogre (I/), by Marthold
Oicles, by Sophocles
Olympiade, by Metastasio
Olympic, by Voltaire
On ne badine pas avec 1'amour, by
Opium, by Bonnetain
Or (L J ), by Peter and Danceny
Orbecche, by Giraldi
Oreille f endue (U), by Nepoty
Orestes, by Euripides
Oreste, by Alfieri

;' f by Voltaire
Orithyie, by Aeschylus
" by Sophocles
Othello, by Shakespeare
Othon, by Corneille

XXIV
XV

XXVII
XVIII
XVIII
XVIII
XVIII
XVIII
I

and XII
II
IX
IX
XX
XXXIII

I

XIX
XXIX

Musset XVII
XXII
III
IV

XXVII
XXIV
XXXIV
XXXIV
X
X

XXXII
XX

A 7
B 2

A 8
B

A 1

A 1

A 1

A 1

A 1

A 1

A 3
A

B 2

D 2

D 2

A 4

D 3

A 1

1

B 1

B 1

C 2

C 2
A
D

A 3

A 2

A 2

A 2
A
A

B 1

B 1

Page blanche, by Devore

Pain d'autrui (Le), by Ephraim and

Schutz, after Turgeniev
Palamede, by Aeschylus
Palamede, by Euripides

Palamede, by Sophocles
Pandore, by Voltaire

Pandore, by Goethe

Papa, by de Flers and de Caillavet

XXV

XIX

XI

XI
and XXXIII

XXXIII

XXIV
and XVII

XVII

XIV

C 1

E

C 3

C 3

C 2

C 2
A

C 1

C 1

1

B 1

INDEX OF PLAYS, NOVELS, ETC 149

Paraitre, by Donnay XXV D 1

Parsifal, by Wagner IX C 2

Partage de midi, by Claudel XV A 1

Passageres (Les), by Coolus XXIV B 6

Patrie, by Paladilhe and Sardou XXV D 2

Peau d'ane, by Perrault XXVI A 3

Peche de Marthe (Le), by Rochard XXVIII B

Peleus, by Sophocles II B 1

and VII C 1

Peleus, by Euripides VII C 1

Pelerin d'arnour (Le), by Emile-Michelet XXVII B 7

Peliades (The), by Euripides XIX E

Pelias, by Sophocles XVII C 4

and XIX E

Pelleas and Melisande, by Maeterlinck XIV A 3

Pelopides (The), by Voltaire XIII A 2

Penelope, by Aeschylus III B 2

Pentheus, by Aeschylus XXXI A 1

Penthesilea, by Aeschylus XXXVI C

Pere Chasselas (Le), by Athis XXXV

Pere prodigue (Le), by Dumas fils XIV B 1

Pericles, by Shakespeare XI B 2

and XXXV

Perkin Warbeck, by Ford XXX B

Perrhoebides (The) , by Aeschylus HI A 5

Persians (The), by Aeschylus VI A 1

Pertharite, by Corneille XXI D 2

Petit ami (Le), by Leautaud XXVI A 1

Petite amie (La), by Brieux XXVIII A 2
Petite Caporale (La), by Darlay and

Gorsse IX D 2

Petite chocolatiere (La), by Gavault XXVIII A 2

Petite Hpllande, by Guitry XXIV B 6
Petite milliardaire (La), by Dumay and

Forest XXIV A 7

Petite Mionne (La), by Richebourg XIX A 3

Petite paroisse (La), by Daudet XXV C 4

Petit Jacques (Le), by Dennery XXI D 1

Petit Poucet (Le), by Perrault VI D 2

Phaedra, by Sophocles XXVI B 1

Phaeton, by Euripides XVII A 1

and XXXI B 5

Pheacians (The), by Sophocles I B 1

Phedre, by Racine XXVI B I

Philippe II, by Alfieri XIV B 3

and XXVI B 2

Philoctetes, by Aeschylus XII A

by Sophocles XII A

by Euripides XII A

Philoctetes in Troy, by Sophocles I B 3

Phineus, by Aeschylus IX B 2

150

THIRTY-SIX DRAMATIC SITUATIONS

Phineus, by Sophocles
Phoenissae (The), by Aeschylus
" by Euripides
" 9 m by Seneca
Phoenix, by Euripides
Phorcides (The), by Aeschylus
Phrixus, by Sophocles
Phrixus, by Euripides
Phrygians (The), by Aeschylus
Phtiqtides (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 Al fieri
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
Power of Darkness (The), by Tolstoi

and

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

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

and

II

B

2

XX

A

3

XIII

A

1

XIII

A

1

XIV

B

3

IX

B

2

III

B

4

III

B

4

I

B

4

XXXII

c

4

XXV

D

1

XIV

A

1

XXVII

A

2

XV

A

1

XXI

D

1

XXXIV

A

4

XXXIII

B

2

XXXIII

C

1

XXVIII

A

2

XXVII

C

XIX

F

2

XX

B

1

XI

A

XI

A

XIII

A

1

XXIV

A

1

XXXVI

A

1

III

A

4

XVII

C

4

XXXII

C

1

XXII

A

5

XXV

C

7

XXXIII

B

3

XXVIII

D

2

XIII

E

XV

A

1

III

A

1

XIX

C

2

XXXII

A

1

XXV

B

3

VII

A

XXVII

B

3

XIX

G

1

IX

C

1

VII

C

1

V

C

IX

D

1

I

C

1

XXV

B

7

XX

A

2

INDEX OF PLAYS, NOVELS, ETC

15J

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

XVII
XXXVI
XX
XI

Q

Quarts d'heure (Les), by Guiches and

Lavedan XXVII

and XXV

14 jufflet (Le), by Holland VIII

4x7 epuals 28, by Coolus XXXII

Question d'argent (La), by Dumas fils XXIV

B 2
C

B 3
A

A 1

C 4

B 2

A 3

A 7

R

Raffles, by Hornung

Rama, by Bhavabuti

Ramuntcho, by Loti

Rantzau (Les), by Erckmann-Chatrian

Raoul de Crequi, by Dalayrac

Reformateur (Le), by Rod

Regiment (Le), by J. Mary

Regulus, by Pradon

Regulus, by Metastasio

Reine aux trois fils (La), Miracle of Notre-

Dame
Reine Fiammette (La), by Mendes

Rembrandt, by Dumur and Josz

Rencontre (La), by Bert on

Rene, by Chateaubriand

Renee, by Zola

Renee Mauperin, by the Goncourts

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

Kouan-han-king
Resurrection, by Tolstoi
Reve (Le), by Zola
Re veil (Le), by Hervieu
Reuoltee, by Lemaitre
Re voltes (Les), by Cain and Adenis
Rhadamiste et Zenobie, by Crebillon
Rhesus, by Euripides

Richard Coeur-de-lion, by Sedaine

Richard II, by Shakespeare
Richard III, by Shakespeare
Risque (Le), by Coolus
Rivoli, by Fauchois

and

and
and

V

X

XXVIII

XXIX

XXV

VI

XXVII

XX

XX

XXXV

XXXIII

XXIX

VII

XXV

XXXIV

XXVI

XVII

III

XX

I

XXI
XXV

III

XXV

IX

XXXVI

X

XXXV

XI

XXX

XIV

XXV

A

C 2

A 1

A 3
E

C 1

D 3

A

A

A 3

B 3
D

C 4
B

B 2

C 2

B 3
C

B 2

C 2

C 4

A 5

C 2

D 1
C

D 1

B

C 1

A 4

C 7

152 THIRTY-SIX DRAMATIC SITUATIONS

Robert-le-Diable, Miracle of Notre-Dame V A

Rodogune, by Corneille XIII E

Roger-la-honte, by J. Mary XXXIII D 5

and III B 4

Roi Cerf (Le), by Gozzi XVIII D 1

Roi de 1'argent (Le), by Milliet XXXIII B 3

Roi de Rome (Le), by Pouvillon VII B

Roi s'amuse (Le), by Hugo XIX A 4
Roi sans couronne (Le), by St. Georges

de Bouhelier VIII A 1

Roi sans royaume (Le), by Decourcelle VIII A 1

Roi Soleil (Le), by Bernede XXXIII C 2

Rolande, by de Gramont XXII C 1

Roman d'Elise (Le), by Richard XXVIII D 2
Roman d'une Conspiration (Le), by

Fournier and Carre VIII A 2

Romeo and Juliet, by Shakespeare XXIX B 6

Rosemonde, by Rucellai IV C

Rosse, tant at plus, by Mustiere VIII A 2
Route d'Emeraude (La), by Demolder and

Richepin XXII A 6

Ruy-Blas, by Hugo XIX

S

Saint-Alexis, Miracle of Notre-Dame XIX G 3
Sainte-Helene, by Mme. Severine III A 2
Saint-Ignace d'Antioch, Miracle of Notre-
Dame XX A 4
Saint Julien 1'hospitalier, by Flaubert XIX E
Sais (Le),by Mme. Ollognier XXIV A 3
Sakuntala, by Kalidasa XVI C

and XXXV

Salammbo, by Flaubert VIII B 1

Salaminians (The), by Aeschylus VI C 2

Salome, by Oscar Wilde XXII B

Samson, by Voltaire XVII C 3

Samson, by Bernstein XXV D 1

Samson et Dalila, by Saint-Saens XV A 2

Sang-brule (La), by Bouvier XXVI C 1

Sapho, by Gounod XXXIII D 1

Sapho, by Daudet XXII A 3

S. A. R., by Chancel XX; B 3

Sardanapalus, by Byron VI A 2

Saul, by Alfieri XIII D

Saul, by Gide XVI B

Scandale (Le), by Bataille XXXIV B 2

Schism of England (The), by Calderon XV B

Sculpteur de Masques (Le), by Cromelynck XXVI C 1

Scythes (Les), by Voltaire XXIX A 4

Second Faust (The), by Goethe IX D 3

e;, by uo
(Le), by

Secret de Gilberte (Le). by Massiac XXVII B 2

INDEX OF PLAYS, NOVELS, ETC. 153

Secret de la Terretise (Le), by Busnach XXXIII B 4
Secret Vengeance for Secret Outrage, by

Calderon XXV D 1

Semele, by Aeschylus XIII B 1

Semiramis, by Manfredi XXVI A 1

Semiramis, by Crebillon XXVI A 1

Semiramis, by Voltaire XIX D

Semiramide riconosciuta, by Metastasio XXIV B 8

and XXXII B 1

Serenade (La), by J. Jullien XXV C 3

Serge Panine, by Ohnet XXV B 2

Serpent Woman (The), by Gozzi XXXIII A 1

Sertorius, by Corneille XX B 3

Seven Against Thebes, by Aeschylus XIII A 2

Seven Princesses (The), by Maeterlinck XXXVI B

Severo Torelli, by Coppee XXVII D 4

Shepherd King (The), by Metastasio XXVIII C 1

Sherlock Holmes, by Conan Doyle III C

Shepherds (The), by Sophocles VI A 1

Sieba, by Mansotti XXVIII B

Sigurd, by Reyer XXV C 3

Simone, by Brieux XXVII D 6

Simon, 1' enfant trouve, by Jonathan III A 6

Singer (The), anonymous Chinese drama III A 1

Sinon, by Sophocles IX D 1

Sire, by Lavedan XXVII B 7

Siroes, by Metastasio XXXIII B 2

Sir Thomas Wyat, by Webster XXX B

Smilis, by Aicard XXI A 2

and XXV C 4

Soeurette, by Borteau-Loti XXV C 7

Son Excellence Eugene, by Zola XXX C 1

Sons of Pandou (The), by Radjasekhara III A 5

Sophonisbe, by Trissino XX B 3

by Mairet XX B 3

by Alfieri XX B 3

Sorciere (La), by Sardou XXIV B 1

Souris (La), by Pailleron XIV A 4

Sphinx (The), by Aeschylus XI B 1

Statue (The), by Radjasekhara XXIV D 3

Stella, by Goethe XXV B 6

Story of Yayati (The), by Roudradeva XXIX A 2

Suppliants (The), by Aeschylus I A 1

Suppliants (The), by Euripides I A 2

Suzette, by Brieux XXIV A 7

Surcouf, by Planquette XXIV A 5

Surena, by Corneille XXXII A 3

T

Tancrede, by Voltaire XXXII A 1

and II A

154 THIRTY-SIX DRAMATIC SITUATIONS

Tanis et Zelide, by Voltaire XXIV A 2

Tannhaeuser, -by Wagner XXII A 2

Tartarin, by Daudet VI B
Taverne des Trabans (La), by Erckmann-

Chatrian XXIX A 3
Tchitra Yadjgna, by Vedanyatha

Vatchespati ^ _ XXXI B 1

Telephus, by Euripides I B 3

Telephus, by Aeschylus XIX B 1

Telephus, by Sophocles XIX B 1

Tempest (The), by Shakespeare III B 1

Tenailles (Les), by Hervieu XXV C 1

Temptation of Saint Anthony (The), by

Flaubert XXII B

Tereus, by Sophocles III B 5

Terre (La), by Zola XXX C 1

and XIII B 1

Terre d'epouvante, by Morel and de Lorde VI A 4

Teucer, by Sophocles VI C 2

Thamiras, by Sophocles XXXI B 3

Themistocles, by Metastasio XX A 2

Theodora, by Sardou XXXIII A 3

Theodore, by Corneille XX D

Therese Raquin, by Zola XXXIV A 4

and XV A 1

Thermidor, by Sardou VIII A 1

Theseus, by Euripides IX D 1

Thracians (The), by Aeschylus XVI B

Three Punishments in One, by Calderon XIII B 1

Thyestes, by Seneca XIII A 2

Thyestes in Sicyon, by Sophocles XXXV

Thyestes II, by Sophocles XIII A 2

Timoleon, by Alfieri XXX A 1

Timon of Athens, by Shakespeare VI C 1

'Tis Pity She's a Whore, by Ford XXVI C 2

Titan, by Jean-Paul Richer XVIII D 2

Tite et Berenice, by Corneille XX B 3

Toilers of the Sea, by Hugo XXIV A 7

and IX D 2

Torquemada, by Hugo XXIII and XIX A 3

Torrent (Le), by Donnay XXV C 1

Torrismond, by Tasso XVIII A 2

Tosca (La), by Sardou XXI D 2

Trains de luxe (Les), by Hermant XXIV B 6
Trente ans ou la vie d'un joueur, by

Ducange XXII C 2

Tiubun (Le), by Bourget XXVII D 2

Tribut de Zamora (Le), by Gounod XXIV A 3

Tristan and Isolde, by Wagner XXV C 3

Triumvirat (Le), by Voltaire XXIV A 3

Troilus, by Aeschylus XXXVI A 1

INDEX OF PLAYS, NOVELS, ETC 155

Troilus and Cressida, by Shakespeare V C

Troades (The), by Euripides XXXVI A 1

by Seneca XXXVI A 1

Troyens (Les), by Berlioz I B 1

and XX B 3

Tullia, by Martelli XXX C 2
Tunic Confronted (The), by Tchang-koue-

pin III A 1

Turandot, by Gozzi XI C 1
Twenty-fourth of February (The), by

Werner XIX B 1

Two foscari (The), by Byron III A 1

Two Gentlemen of Verona, by Shakespeare XIV D
Two Noble Kinsmen (The), by Beaumont

and Fletcher XIV C

u

Ubu-Roi, by Jarry XXX C

Ulysses Furens, by Sophocles XI C B

Un ange, by Capus XXII C 2

Un divorce, by Moreau XXXII A 1

Un drole, by Yves Guyot XXV C 1
Une famille au temps de Luther, -by

Delavigne XIII A 1

Une femme passa, by Coolus XIV D
Une nuit de Cleopatre, by Gautier and

V. Masse XXII A 5

and XXIV B 4

Un patriote, by Dartois XXIII B 4

Un voyage de noces, by Tiercelin XXV A 2

V

Valentinian, by Beaumont and Fletcher XXXIII D 4

Varennes, by Lenotre and Lavedan XXIV B 3

Vautrin, by Balzac XXVI D 1

Veine (La), by Capus XXV A 3

Venisamhara, by Bhatta Narayana III A 5

Ventre de Paris (Le), by Zola XXXIII C 2
Veuve joyeuse (La), by Meilhac, Leon and

Stein XXVIII A 2

Vicomtesse Alice (La), by Second V D

Vidocq, by Bergerat III C
Victory of Arjuna (The), by Chantchana

Atcharya IX C 2
Victory of Pradyoumna (The), by Samara

Dikchita XXIX A 2

Vieil homme (Le), by Porte-Rkhe XIV B 2

Viclle histoire, by J. Jullien XXVII A 2

Vie publique (La), by Fabre XXX C I

156 THIRTY-SIX DRAMATIC SITUATIONS

Vierge (La), by Vallette XXXII A 4

Vierge folk (La), by Bataille XXV B 9

Virgin Martyr (The), by Massinger XX D

Vittoria Corombona, by Webster XV A 1

Vive le roil by Ryner XX A 4

Voix de sang (La), by Mme. Rachilde XIX G 3

Voleur (Le), by Bernstein XXXIII A 3

W

Waiting- Women (The), by Aeschylus XX A 2

Wallenstein, by Schiller XXX A 3

War of the Worlds (The), by Wells VI A 2

Weavers of Nets (The), by Aeschylus XVI A 1

Weavers of Silesia (The), by Hauptmann VIII B 2

Werner, by Byron XXVII C

Werther, by Goethe XXXIV B

Wild Duck (The), by Ibsen XVII C 1

William Tell, by Schiller VIII B 2

and III B 6

Winter's Tale (A), by Shakespeare XXV

Women of Colchis, by Sophocles XXV A 1

Women of Scyros, by Sophocles XI C 2

Wool-Carders (The), by Aeschylus XXXI A 1
Worst is not Always Certain (The), by

Calderon XXXII A 1

X

Xoanephores (The), by Sophocles VI A 2

Zaire, by Voltaire XXXII A 2

Zeim, by Gozzi XXVIII B

Zenobia, by Metastasio XXV C 2

Zoe Chien-chien, by Mathey IV A 2

Zulime, by Voltaire XXIV B 4

ALPHABETICAL INDEX OF AUTHORS

Abeille: Lyncee

Achaeus: (Edipus

Adam (Paul) : L/Automne

" Les Mouettes

Adam de la Halle: Le Jeu de la Feuille

" Le Jeu de Robin et de

Marion

Adenis: Les Revoltes
Aeschylus: The Suppliants
The Heraclidae
" The Eumenides

" The Eleusinians

" Danae

" The Mysians

The Phrygians
The Prppompes
" The Epigones

" The Argives

The Perrhoebides
Ixion

The Nereids
Penelope
" Les Joueurs d'osselets

The Choephores
Atalanta
Prometheus Bound

The Persians
The Myrmidons
The Salaminians
The Guests

Nemea.

and

and

XXIII

XVIII

VIII

XXIII

VII

X

III

I

I

I

I

I

I

I

I

III

III

III

III

III

III

III

VII

IV

IV

V

VII

VI

VI

VI

VII

XI

B 3

A 1

B 2

A 3

C 1

A

A 5

A 1

A 1

A 1

A 2

B 2

B 3

B 4

C 1

A 1

A 1

A 5

A 5

A 7

B 2

B 2
B

A 1
B
C

C 1

A 1

A 1

C 2
B
A

157

11

158

THIRTY-SIX DRAMATIC SITUATIONS

Aeschylus : The Phorcides IX B 2

Phineus IX B 2

Memnon IX B 2

" Glattcus Pontius IX B 2

Prometheus IX C 1

" Prometheus Unbound IX D 1

Orithyie X A

" Europa X A

The Carians X A

The Sphinx XI B 1

Palamede XI C 3

Philoctetes XII A

The Judgment of Arms XII C

The Heliades XIII A 1

Seven Against Thebes XIII A 2

" Agamemnon XV A 1

The Weavers of Nets XVI A 1

Athamas XVI A 1

The Thracians XVI B

Sernele XVII B 1

CEdipus XVIII A 1

Alcmene XVIII D 2

Telephus XIX B 1

The Priestesses XIX C 2

Polydectes XIX F 2

The Waiting-Women XX A 2

The Phoenissae XX A3

Iphigenia XXIII A 1

Hypsipyle XXIII B 2

The Danaides XXIII B 3

Laius XXVI D 1

TheAedonians XXXI A 1

Pentheus XXXI A 1

The Bassarides XXXI A 1

The Wool-Carders XXXI A 1

" Ajax Locrian XXXI B 3

The Nurses XXXI B 4

The Eumenides XXXIV A 2

Niobe XXXVI A 1

Troilus XXXVI A 1

Penthesilea XXXVI C

The Death of Achilles XXXVI C

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

Polynke XIII A 1

" Saul XIII D

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 Cpmpagnon de voyage
Anguillara: QEdipus
Annunzio (d*) : La Citta morta
Aretin (1 J ) : Horace
Armand (Mme) : Les Fils de Jahel
Arnold : Le rime d'un autre
Arnould: Le Mari

" La Belle aux cheveux d'or
Arnyvelde: La Courtisane
ArtoSs (d') : La Fermiere
Athis : Le pere Chasselas
Attilius: Electra

Auge de Lassus : La Conspiration de gen-
eral Malet
Augier: Diane

" Madame Caverlet
" Le Mariage d'Olympe
Aurel: L'Insociale

B

Balzac: Cesar Birotteau
" La cousine Bette
" Vautrin

Balzac: Les Illusions perdues
Barbier: Indigne
Barlatier: La Morte
Basset: Les Grands
Bataille : L'Enchantement
" Manian Colibri
La Vierge folle
Le Scandale
Beaubourg: L'Image

" Dieti on pas Dieu

XIV

and XXVI
XV
XIX
XX
XX
XXV
XXVI
XXX
XXX
XXXIII
XXXIII
XXXIV
XXV
XXVI
XI

XVIII
XXVI
XXIII
XX

XXXIII
XXV
XVII
XXVII
XXIV
XXXV
IV

VIII
XXI

and XXXIII
XXVII
XXVII
XXXVI

VI

XXII

XXVI

XXX

V

XXIV

XXXIII

XIV

XXII

XXV

XXXIV

XXIV

XXIX

B 3

B 2
B

B 1

A 3

B 3

B 5

A 2

A 1

A 2

A 2

C 3

A 2

B 7

B 3

B 2

A 1

C 2

B 5

B 2

D 2

C 1

C 3

B 6
C

A 1

A 1

C 1

A 2

A 1

B 8
B

1

B
C

D 1
C
B

B 8

A 3

A 4

C 1

B 9

B 2

B 8

A 3

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 inconnu

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.) : La Furie
Boissy: Alceste
Bannetain: L'Opitim
Borteau-Lotti : Soeurette
Bourget: Le Disciple

La Barricade
*' Mensonges
Le Tribun
L'Einigre
" 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

XXIX

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

xxvui

E

in

C

XXVII

A

1

XXII

A

5

XXIV

A

5

II

A

V

C

XXII

A

5

XXI

A

I

XXII

C

2

XXV

C

7

III

A

8

XXIV

A

7

xxvii

B

7

XXVII '

D

2

xxvin

A

1

XXVIII

D

1

XVIII

C

XXVI

C

1

XXXII

C

3

' XXXHI

B

2

XXIII

A

2

INDEX OF AUTHORS

161

Brieux: Maternite VI D 1

LesAvaire XVII C 2

Simone XXVII D 6

La Petite Amie XXVIII A 2

Suzette XXXII A 3

Buchanan: Alceste XXI A 1

Jephtha XXIII A 2

Buet: Le Pretre III A 1

Busnach : Le Secret de la Terreuse XXXIII B 4

Byl: L'Age Critique XXV C 3

Byron : The Two Foscari HI A 1

Sardanapalus VI A 2

Marino Faliero VI C 1

The Deformed Transformed IX D 3

Cain XIII A 1

Heaven and Earth XXIV A I

Werner XXVII C

Manfred XXXIV A 1

Caillavet (de) : Papa XIV B 1

" Le Coeur a ses raisons XIV D

L'Ane de Buridan XXIV B 6

La Montansier XXV C 3

Cain: Les Revoltes III A 5

Caideron: The Alcalde of Zalamea III A 3

Love After Death III A 6

" Devotion to the Cross V A

" Louis Perez of Galicia V A

Caideron: Three Punishments in One XIII B 1

The Schism of England XV B

The Constant Prince XX A 4
" Secret Vengeance for Secret

Outrage XXV D 1

" The Physician of His Honor XXV D 1

His Own Gaoler XXIX B 6
" Fortune and Misfortune of a

Name XXIX B 6
" The Worst is Not Always Cer-
tain XXXII A 1
Life is a Dream XIII B 2
Cantchana Atcharya: The Victory of

Arjuna IX C 2

Capus: Un Ange XXII C 2

" L'Attentat XXIV A 7

" La Veine XXV A 3

Carcinus: CEdipus _ XVIII A 1

Carre : La Courtisane de Corinth III B 5

" La Roman d'une Conspiration VIII A 2

162

THIRTY-SIX DRAMATIC SITUATIONS

Cervantes: Don Quixote
Caesar: CEdipus

Chabrihan (Comtesse de) : Pierre Pascal
Chancel: S. A. R.
Charton: Devant Tennemi
Chatrian : La Nuit de Saint- Jean
Myrtille
L'Ami Fritz
Les Rantzau

La Taverne des Trabans
Madame Therese
Chateaubriand: Les Martyrs

Rene

Chenier (M. J.) : Electre
" CEdipus

Cicero (Q.) : Electra
Cienfuegos: Idomenee
Calirian: Jack the Ripper
Clairville: Madame Margot
Claretie: Le Prince Zilah
Claudel: Partage de midi
Cliquet : Cest la loi
Coedes : Le Crime de Maisons-Alfort
Coolus : Le Risque

" Une femme passa
Coolus : Les Passageres

Antoinette Sabrier
Coeur a Coeur
Les Bleus de Tamour
4x7 28
Coppee : Madame de Maintenon
Les Jacobites
Severo Torelli
Corneille (P.) : Androniede

Pompee

" Nicomede

" Cinna

" Rodogune

Psyche
GEdipe
Heraclius

" Polyeucte

Othon
Pulcherie

" Tite et Berenice

" Sertorius

Theodore
Pertharite
Horace
Attila
Agesilas

II

A

XVIII

A

1

XV

A

1

XX

B

3

XXIV

A

8

XXIV

A

7

XXVIII

A

2

XXVIII

A

2

XXIX

A

3

XXIX

A

3

XXIX

A

4

XXXI

A

2

XXXIV

B

IV

A

1

XVIII

A

1

IV

A

1

XXIII

A

2

III

B

7

VIII

A

2

XXVII

B

3

XV

A

1

XXV

B

8

III

A

1

XIV

A

4

XIV

D

XXIV

B

6

XXIV

C

3

XXV

C

6

XXVIII

C

2

XXXII

A

3

XXI

B

2

XXV

D

2

XXVII

D

1

II

A

III

A

4

V

C

VIII

A

1

XIII

E

XVII

B

1

XVIII

A

1

XVIII

B

2

XX

B

1

XX

B

3

XX

. B

3

XX

B

3

XX

B

3

XX

D

XXI

D

2

XXIII

B

5

XXIV

A

4

XXIV

A

5

INDEX OF AUTHORS

163

Corneille (P.) : Surena

" Don Sanche

" La Conquete de la Toison .

d'or
Medee
Le Cid

Corneille: Clitandre
Corneille (T.) : Ariane

and

" Le Comte d'Essex

" Le Festin de Pierre

Coypel: Alceste
Crebillon: Electre

Atree et Thyeste
" Idomenee
" Rhadamiste et Zenobie
" Semiramis
Cremieux : La Charbonniere
Crichna Cavi: JThe Death of Cansa
Croisset: Le Circuit
Cromelynck: Le Sculpteur de Masques
Curel (de) : Les Fossiles

" La Fille sauvage

D

Dalayrac : Raoul de Crequi

Dalliere : La Mission de Jeanne d'Arc

Danceny: L'Or

Darlay: La Petite Caporale

" Les A ventures de Gavroche
Dartois: Un Patriote
Daudet: Tartarin

" La Lutte pour la vie

" Port-Tarascon

" L'Evangeliste
Sapho

" L'Arlesienne

" UObstacle

" Numa Roumestan

" La Petite Paroisse
Decourcelle: Le Roi sans royaume

L'As de trefle

" Les cinq doigts de Birouk

Delahaye: La Declassee
Delacour: La Criminelle
Delavigne: Une famille au temps de Luther
Delibes: Lakme
Delpit: Les Maucroix

Mile, de Bressier
Demolder: La Route d'emeraude

XXIV
XXIV

XXIV

XXV

XXIX

XXXIII

VI

XXIV

XXIV

XXXI

XXI

IV

XIII

XXIII

XXV

XXVI

XXI

XIII

XXIV

XXVI

XIV

XXXVI

XXV
VIII

III

IX

XXXV

XXIII

VI

XV

XVII

XX

XXII

XXII

XXIV

XXV

XXV

VIII

XXVII

XXX

III

XXXIII

XIII

XXIX

XIV

XXIX

XXII

A 5

A 6

B 1

A 1

B 1

D 1

D 1

B 7

B 2

B 2

A
A

A 2

A 2

C 2

A 1

D 1
C
C

C 1

B 1
D

E

B 1

A 1

D 4

B 4
B
B

C 4

B 1

A 8

A 5

A 8

B 2

C 4

A 1

D 3

C 1

B 4

B 2

A 1

A 4

A 1

B 2

A 6

164

THIRTY-SIX DRAMATIC SITUATIONS

Dennery: Martyre

" Le petit Jacques
Descaves: L'Attentat
Desnard: La Degringolade
Devore: Page blanche

" La Conscience de 1' enfant
Diaz: Benvenuto
Dickens: Great Expectations
Diognes: CEdipus
Dolce: Marianne
Donnay: L'Autre Danger

" Le Torrent

" Paraitre
Dorat: 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: CEdipe
" Abufar
Dumas pere: Monte-Cristo

" Don Juan

Dumas fils: L'E'trangere

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: Pa petite MilHardaire
Dumur: Le Maquignon

" Rembrandt
Duval : L' Article 301

E

Edmond (C) : La Bucheronne
Eekhoud: Kermesse rouge
Elzear: Jack Tempete
Emile-Michelet : Le Pererin d*amour

and

XXI

C

1

XXI

C

I

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

3

XXV

C

7

XXV

D

1

XXVII

B

3

XXVII

B

6

XXVII

B

7

XXXII

A

1

XXIV

A

7

III

A

1

VII

D

XXIV

C

XXIV

III

XXIV
XXVII

A 8

A 8

A 8

B 7

INDEX OF AUTHORS 165

Erckmann : La Nuit de Saint-Jean XXIV A 7

L'Ami Fritz XXVIII A 2

Myrtiile XXVIII A 2

" 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 Heraclidae I A 1

Euripides: The Suppliants I A 2

Danae I B 2

The Cretans I B 2

Augeus I B 2

Alope I B 2

Telephus I B 3

" Andromeda II A

Antiope II B 1

Dictys II B 2

Hecuba III A 2

Ixion III A 5

Phrixus III B 4

Electra IV A 1

Archelaus VI C 1

Peleus VII C 1

Theseus IX D 1

CEnomaus IX D 2

Rhesus IX D 1

and XXXVI C

Helen X C 1

Polyidus XI A

Women of Scyros XI C 2

Palamede XI C 3

and XXXIII C 2

Philoctetes XII A

The Phcenissse XIII A 1

Phoenix XIV B 3

" t Heracles Mainomenos XVI A 1

Phaeton XVII A 1

The Peliades XVII C 4

and XIX E

Ion XIX B 1

Cresphontes XIX B 1

Aegeus XIX B 2

Alexander XIX C 1

" Iphigenia in Tauris XIX C 2

Protesilas XX A 2

Antigone XX A3

Alceste XXI A 1

Andromache XXI D 1

166 THIRTY-SIX DRAMATIC SITUATIONS

Euripides : Iphigenia in Aulis XXIII A 1

Erechtheus XXIII A 1

Melanippe XXIII B 1

Hypsipyle XXIII B 2

Euripedes: Medea XXV A 1

Andromache XXV B 1

Alcmeon XXV B 4

Hippolyte XXVI B 2

Eole XXVI C 1

Chiysippus XXVI D 1

The Cretans XXVI E

The Bacchantes XXXI A 1

Bellerophon XXXI B 3

Phaeton XXXI B 5

Orestes XXXIV A 2

Troades (The) XXXVI A 1

Ezekiel : The Exodus of the Hebrews XXXI A 2

Fabre: La Maison d'argile XIII A 3

Cesar Birotteau XX A 4

La Vie publique XXVIII A 1

and XXX C 1

Fall: La Divorcee XXXII A 2

Fauchois: Beethoven VII D

Rivoli XXV C 7

L'Exode XXIX A 4

Ferrier: La Cornette XXI D 1

Feuillet: Chamillac XXVII B 5

Fevre: En Detresse VII C 2

Feydeau: Le Circuit XXIV C

Flaubert: Salammbo VIII B 1

Saint Julien 1'hospitallier XIX E

Herodias XXII B

" The Temptation of St. Anthony XXII B

" Madame Bovary XXV C 7

Fleischmann: La Fille a Guillotin XXIII A 3

Flers (de) : Papa XIV B 1

" La Coeur a ses raisons XIV D

" UAne de Buridan XXIV B 6

La Montansier XXV C 3

Fletcher : Two Noble Kinsmen XIV C

Valentinian XXXIII D 4

Fonson : Le Mariage de Mile. Beulemans XXIV A 8

Ford: 'Tis Pity She's a Whore XXVI C 2

" The Broken Heart XXIX A 1

" Perkin Warbeck XXX B

" Love's Sacrifice XXXII A 3

Forest: La petite niilliardaire XXXIV A 7

INDEX OF AUTHORS

167

Forest: L'Homme a deux tetes XXXIII C 2

Fournier: Le Roman d'une conspiration VIII A 2

Fraisse: Les Champairol I B 3

" Jean Cevenol XXXIII B 3

France: Le Mannequin d'osier XXV C 4

" Les Noces corinthiennes XXIX A 4

Crainquebille XXXIII A 3

Franck: Cceur maternal XXXIII A 3

Fread Amy: L'Impasse XV A 1

Frondaie: Montmartre XXVIII E

and

Ganderax: Miss Fanfare
Garaud: Le Frere d'armes
Gautier: Mademoiselle de Maupin
" Une nuit de Cleopatre

Gautier (Judith) : La Marchande re

sourires

Gavault: La petite Chocolatiere
Geffroy: L'Apprentie
Geraldy : L'Eclaboussure
Gide: Saul

Gilkin: Etudiants russes
Giraldi: Orbecche
Gluck: Alceste
Godard: Jocelyn

" Dante
Goethe: Faust

" Clavijo

" Goetz de Berlichingen

" Egmont

" The Natural Daughter
" The Second Faust

Pandora
" Iphigenia in Tauris

Stella

" Werther
Goldoni: Don Juan
Gombaud: Les Danaides
Goncourt (E. and J. de) : Renee Mauperin
" " Germinie Lacer-

teux

Goncourt (E. de) : Les Freres Zemganno
Goncourt (E. de) : La Fille Elisa
Gorsee (de) : La Petite Caporale
Gounod : Le Tribut de Zamora
Sapho

and

and

XXV

B

7

XXI

D

1

XVIII

XXII

A

5

XXIV

B

4

XXIX

B

7

XXVIII

A

2

XX

C

XXXIV

A

3

XVI

B

XXVII

D

1

IV

D

XXI

A

1

XXII

A

1

XXIV

A

3

I

C

1

VI

D

1

III

A

8

V

C

V

C

VIII

B

1

VII

A

IX

D

3

XVII

C

1

XIX

C

2

XXV

B

6

XXXIV

B

V

B

XXIII

B

3

XVII

C

2

XXII

C

1

XXI

B

1

XVI

A

2

IX

D

2

XXIV

A

3

XXXIII

D

1

168

THIRTY-SIX DRAMATIC SITUATIONS

Gozzi: Turandot

" Zobeide

" Loves of the Three Oranges

" The Blue Monster

" Zeim

" The Serpent Woman

" Le Corbeau

" Le Roi Cerf
Grabbe : Don Juan
Gramont (de) : Rolande
" Lucienne

Grangeneuve: Amhra
Gravier: Jarnac

Gregory Nazianzen (Saint) : Christ
Suffering

Grenet-Dancourt : La Banque de FUnivers
Gretry: Richard Coeur-de-Lion

and

Grillet: Les Pierrots
Guiches: Les Quarts d'heure

Guillard: Electra
Guinon: Decadense
Guiraud: Le Poussin
Guitry (S.) : Petite Hollande
Guyot (Yves) : Un drole
Gyp: Le Friquet

and

and

H

Halevy: L'Abbe Constantin

Harshadeva (Sri) : The Necklace

Hardy: Alceste

Hauptmann: The Weavers of Silesia

Heine: Almanzor

Hennique: Amour

" Jarnac
Hermant: Trains de luxe

" Les Jacobines
Herold: Le Cor fleuri
Hervieu: Le Reveil

" La Loi de Thomme
Hervieu: Le Course du flambeau
Le Dedale

Les Tenailles
" Connais-toi

L'Enigme
Hirsch: En greve
Hornung: Raffles

XI

XV

XVIII

XIX

XXVIII

XXXIII

XXXIII

XVIII

V

XXII

XXV

III

XXIII

XX

XXXI

XVII

X

XXXV

XXXIII

XXV

XXVII

IV

XXV

XXVIII

XXIV

XXV

XXIV

XXVIII
XXIV
XXI
VIII
XXIX
XV
XXIII
XXIV
XXV
XXIV
XXI
XXI
XXI
XXIV
and XXV
XXV
XXV
XXV
XXIV
V

B

1

C 1
B

D 1
G 2
B
A
A 3
D 1
B

C 1
A 1
A 6
B 6
A 2
A
A
D

1

B 2

C 4

A 1

A 1

C 1

D 2

B 6

C 1

B 6

A 2

D 3

A 1

B 2

A 4

A 1

B 6

B 6

C 4
3

C 2

C 3
E

A 12

C 2

C 1

C 3

D 1

A 7
A

INDEX OF AUTHORS

160

Hroswitha: Abraham

XX

Hugo:

Mangeront-ils ?

I

and XXIV

a

Lucrece Borgia

VI

XIX B 1, XIX

D, XXIII B 1 and XXXII

"

Les Jumeaux

VII

and XXXV

(i

Toilers of the Sea

IX

u

Ruy-Blas

XXIV

u

Hernani

XIX

XX A 1 and XXIV

(t

Torqtiemada

XIX

and XXIII

it

La Esmeralda

XIX

and XXIV

tc

Marie Tudor

XIX

and XXIV

It

Marion Delorme

XIX

and XXVII

11

Le Roi s'amuse

XIX

11

Les Burgraves

XIX

tt

Ninety-Three

XXIII

it

Angelo

XXV

tt

Cromwell

XXX

D

A 3

A 3

C 3

A 2

D 2

A 7

A 3

A 3

A 11

B 3

B 4

A 4

F 1

A 3

C 1

A 3

Ibsen: An Enemy of the People

" Hedda Gabler

" The Master Builder

" The Wild Duck

" Ghosts

" Rosmersholm

The Lady From the Sea
Icres: Les Bouchers

V

XVI

XVII

XVII

XVIII

XXXIV

XXIV

III

C

A 3
A 1
C 1
B 3
B

B 8
A "8

Jarry: Ubu-roi
Jeoffrin: La Montansier
Jonathan: Simon 1'enfant trouve

" Pierre Vaux

Joncieres (de) : Le Chevalier Jean
Josz: Le Maquignon

" Rembrandt
Jullien: Le Maitre

" La Her

" La Serenade

" L'Echeance .

<? Vielle histoife : " -

XXX

XXV

III

XXI
XXXII

III

'VII

,xni;

XIII-
XXV
XXV-

"

C

C 3
A 6
D" 1
C
A I
D*
B 1
D

C 3
C 8
A 2

170

THIRTY-SIX DRAMATIC SITUATIONS

K

Kalidasa: Sakuntala

" Agnimitra and Malavika

The Hero and the Nymph
Kampf : Le Grand Soir
Kouan-han-king : The Resentment of
Teoun-go

L

Labiche: L* Affaire de la rue de Lourcine
Lagrange-Chancel : Alceste
Larnothe: CEdipus
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
Lef ebvre : La Femme de demain
Lefevre: L'Homme de proie
Lemaire: Le Manage d' Andre
Lemaitre: La Massiere

" Le Depute Leveau

R<voltee
Lemierre: Idomencee

" Hypermnestre
Lemonnier: Le Droit au bonheur

Le Possede

LeneYu (Mme.) : Les Affranchis
Leon: La Veuve joyeuse

" La Divorcee
Lenotre: Varennes
Leroux: Les Lys
Lessing: Damon

" Emilia Galotti
" Miss Sara Sampson
Linant: Conte de Noel
Livet: Nick Carter
Longepierre: Electrc
Lope de Vega: The Labors of Jacob

" El mejor alcalde el Rey

" Fontovejune

" Discovery of the New

World
The Abduction of Helen

XVI

and XXXV
XXIV
XXXV
VIII

III

XVI
XXI
XVIII
X

XXXIV
XIII
XXIV
XXV

and XXVII
XXVII
XXVII
XXVI
V

XXV
X

XVIII
XIV
XXV
XXV
XXIII
XXIII
XXI
XXII
XXV
XXVIII
XXXII
XXIV
XXVIII
XIV
XXIV
XXV

xm
III

IV
XIII

III

VIII

IX
X

c

D 2

A 1

B 3

A 3

A 1

A 1

D 2

A 3

A 1

B 3

C 4

A 1

A 1

B 7

A I
A

B 9

D 2

B 1

B 1

B 3

C 4

A 2

B 3

C 2

A 5

B 8

A 2

A 2

B 3

D 1
D
C

B 7
F
C

A 1

A 1

A 3

B 2

D
B

1

INDEX OF AUTHORS

171

Lope de Vega : Aimer Sans savior qui

Nina de Plata
The Mill

" The Gardener's Dog

Lorde (de) : I/Idiot

" Terre d'epouvante

Loti : Ramuntchq
Louys: Aphrodite
Loyson: L/Apotre
Lucas: Alceste
Lyon: Madame TAmirale

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
Manfredj: Semiramis
Manzoni: Adelghis
Manzoni : The Count of Carmagnola

Manzotti: Sieba

Margueritte : Pierrot assassin de sa f emrne

Marinetti: Poupees electriques

Marot : La Casquette au pere Bugeaud

" Casse-museau

" Les A ventures de Gavroche
Marras: La Famille d'Armelles
Mars: Mme. TAmirale
Marthold: L'Ogre
Martelli: Tullia
Mary (J.) : Roger-la-honte

" Le Regiment

La Bete feroce
Masse: Une nuit de Qeopatre

Massenet: Esclarmonde

" Manon

Massiac: Le secret de Gilbertc
Massinger: The Virgin Martyr
The Fatal Dowry

XIX

and XXXIII
XXIV
XXIV
XXIV
III
VI

XXVIII
XXII
XXVII
XXI
XXVI

VII

VII

IX

XIV

XXXII

XXXVI

XXXVI

XIX

XX

XXXIII

XXVI

V

V

VI

XXVIII

XXXIV

XXXIII

III

XXVII
XXXV
XXV
XXVI

xxxm

XXX

III

XXXIII

XXVII

XXX

XXII

XXIV

XVII

XXII

XXVII

XX

XXV

and

and

and

D

B 1

A 5

A 5

B 5

A 4

A 4

A 1

A 3

D 2

A 1

B 1

A
D

D 3
A 3
A 1
B
B
B
B 3
D 3
A
C
C
C
B
A 4

1

1

1

B 3

A 8

D 5

D 2

B 1

D 3

C 2

B 4

D 5

D 3

C 1

A 5

B 4

B 2

A 3

B 2
D

C 5

172 THIRTY-SIX DRAMATIC SITUATIONS

Massinger: The Bondman XXXII A 1

The Portrait XXXII C 1

Mathey: Zoe Chien-Chien IV A 2

Maujan: Jacques Bonhomme VIII B 1

Maupassant: Pierre et Jean XIV A 1

Mazel: Les Amazones XXIX A 4

Meilhac: La Veuve joyeuse XXVIII A 2

Melitus: CEdipus XVIII A 1

Mendes: Glatigny XXIV A 9

" Les Meres ennemies XXV B 2

" La Reine Fiammette XXIX B 3

and XXXIII A 3

Mercereau: Mon frere XIII A 2

Merimee: Colomba III A 1

Messager: Francois les bas-bleus XXIV B 6

Metastasio: Cato V C

and XXIX A 2

Alexander V C

The Desert Isle XII B

Cyrus XIII C

and XIX B 3

Antigone XIV B 1

Demophon XIX A 1

** Olympiade XIX B 1

Regulus XX A 1

Themistocles XX A 2

Dido XX B 3

Achilles in Scyros XX B 3

Hypsip le XXIII B 2

Hylermnestre XXIII B 3

Demetrius ^ XXIV A 5

" Semiramide riconosciuta XXIV B 8

and XXXII B 1

Adrien XXIV C

Zenobia XXV C 2

Nitetis XXVIII A 1

The Chinese Hero XXVIII A 1

The Shepherd King XXVIII C 1

Siroes XXXIII B 2

Artaxerxes XXXIII D 2

Mtius. XXXIII D 4

Metenier: La Casserole III A 7

Michaud d'Humiac': Le Coeur de Se-hor XXVII D 6

Mil&ael: Le Cor fletiri XXIV B 3

Milliet: Le Roi de Targent XXXIII B 3

Milloecker: L'Etudiant pauvre XXXIII A 1

Miral: Lydie ' ' - XXIX A 4

Mirbeau: Les Affaires sont les affaires. XX VII A 3

Moses (?): Job , . - XXX . B 1

Motiere: Don Juan V B

Montepin: La Policiere XXVII C

INDEX OF AUTHORS 173

Moreau: Madame Margot VIII A 2

Le Drapeau XXIV A 8

Gerfatit . XXV C 6

Un divorce XXXII A 1

Morel: Terre d'epouvante VI A 4

La Fille du depute XXVII A 3

La Pieuvre XXXIII C 1

Mortier: Marius vaincu XXX A 3

Mourey: L'Automne VIII B 2

Lawn-tennis XXVI D 2

Mussato: Ezzelino XXX C 1

Musset: Fantasio II B 2

" Lorenzaccip VIII A 1

" On ne badine pas avec 1'amour XVII C 2

Andre del Sarte XXV C 4

Mustiere; Rosse, tant et plus VIII A 2

N

Nepoty: L'Oreille fendue XXVII A 3

Nicomaque: CEdipus XVIII A 1

NIgond: 1812 XIV A 1

No: Les Carbonari XXIX A 4

Nus: Le Man XXV C 1

o

Ohnet: Serge Panine XXV B 2

Dernier amour XXV B 6

La Comtesse Sarah XXV C 3

La Grande Marniere XXIX A 2

Ollognier (Mme.) : Le Sais XXIV A 3

Pailleron: La Souris XIV A 4

Paladilhe: Patrie XXV D 2

Diana XXXIII D 3

Parodi: L'lnflexible XXVII D 2

Paton: Le Divorce de Sarah Moore XXI A 2

Perrault: Bluebeard II A

Le Petit Poucet VI D 2

Peau d'ane XXVI A 3

Peter: L'Or III A 1

Phrynichus : The Danaides XXIII B 3

Picard: La Fugitive XXI C 2

Planquette: Surcouf XXIV A 7

Poe: The Purloined Letter XI A

" The Gold Bug XI B 1

" Berenice XXXIV B

174 THIRTY-SIX DRAMATIC SITUATIONS

Pohles (de) : L'Enfant du Temple XX A 4

Polti: Compere le Renard V A

" Les Cuirs de boeuf XXVI A 1

Porto-Riche : 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 Lescaut XXVII B 6

Prevost (Jean) : GEdipus XVIII A 1

Prevost (M) : Pierre et Therese XXVII A 2

La plus faible XXVIII A 2

Q

Quinault: Alceste XXI A 1

R

Rabier: Et ma sceur? XXVIII B

Racine: Esther I C 1

Alexandre V C

Les Frere ennemis XIII A 2

Britannicus XIV "A 1

Mithridate XIV B 1

" Iphigenie en Tauride (projected) XIX C 2

Berenice XX B 3

Alceste (projected) XXI A 1

Andromaque XXI D 2

and XXV B 1

Iphigenie a Aulis XXIII A 1

Bajazet XXIV B 4

Phedre XXVI B 1

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 Gardienne XXXV

Renauld : Le Crime d'un autre XXXIII D 2

Reyer: Sigurd XXV C 3

Richard: Boislaurier II 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: Lebon roi Dagobert

" Mon ami Teddy
Rochard : Le peche de Marthe

La Bete feroce
Rochefort: Electre
Rod: Le Reformateur
Roinard: Les Miroirs
Rolland: Le 14 juillet
Remains : L'Armee dans la Ville
Rostand: L'Aiglon

" Chantecler

" Cyrano

Roudradeva: The Story of Yayati
Roupa: The Loves of Krishna
Rouvre (de) : Le Mariage d' Andre
Rozier: Le Divorce de Sarah Moore
Rticellai: Rosemonde
Ryner: Vive le roi!
Rzewuski: Count Witold

XXII

A

6

XXIV

A

XVIII

D

2

XXIII

B

3

XVIII

D

2

XXIV

A

7

XXVIII

B

XXX

C

I

IV

A

1

VI

C

1

XXV

D

1

VIII

B

2

VIII

B

2

VII

B

VIII

A

2

XXI

C

2

XXIX

A

2

XXIV

D

1

XVIII

B

1

XXI

A

2

IV

C

XX

A

4

XXXIV

B

2

Sadwell : Don Juan V B

Sainte-Foix: Alceste XXI A 1

Sainte-Marthe: CEdipus XVIII A 1
Saint-Georges de Bouhelier: Le Roi sans

couronne V C

Saint-Pol Roux: La Dame a la faubc XXIV B 9

Saint-Saens: Samson et Dalila XV A 2

Ascanio XXIV C

Henri VIII XXV B 5

Proserpine XXV B 7

L'Ancetre XXIX B 6

Salieri: The Danaides XXIII B 3

Samain: Polypheme XXIV A 1
Samara Dikchita : The Victory of Prad-

yotimna XXIX A 2

Samson: Marie Stuart XXIV B 2

Le Crime de Jean Moret XXIX B 7

Sand: Le Demon du foyer XXIV A 4

Sardou: ThermMor VIII A 1

LaTosca XXI D 2

Cleopatra XXII A 4

La Sorciere XXIV B 1

Odette XXVII A 1

Georgette XXVIII A 1

Le Crocodile XXVII B 5

176 THIRTY-SIX DRAMATIC SITUATIONS

Sardou: Fedora XXIX B 5

" Theodora XXXIII A 2

I/Affaire des Poissons XXXIII B 2

Sardou (Andre) : UE'tau XVI D

Schiller : William Tell III B 6

and VIII 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 Viscomtesse Alice V D

Sedaine: Richard Coeur-de-Lion X D 1

and XXXV

See: L'Indiscret XVII A 1

Seneca: The Phoenissse XIII A 1

" Thyestes XIII A 2

Octavia XV B

Hercules Furens XVI A 1

CEdipus XVIII A 1

Medea XXV A 1

Hercules on CEta XXV B 1

Hippolyte XXVI B 1

The Trojan Women XXXVI A 1

Severine: Sainte-Helene 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 II 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 OF AUTHORS

17?

Shakespeare: Julius Csesar
Henry IV
Macbeth
Richard III
Comedy of Errors
Much Ado About Nothing
Othello
Cymbeline
A Winter's Tale
Shaw: Mrs. Warren's Profession
Shelley: The Cenci

XIII B 3

Sienkiewicz: By Fire and Sword
Sophocles: Chyses
Minos
Oicles
" CEdipus at Colonus

" Nausicaa

The Pheacians

Acrisius

" Philoctetes at Troy

" Eurysaces

" Andromeda

Peleus

Mas

CEnee

" Phineus

" Aletes and Erigone

Nauplius

Ixion

The Feast of the Achaeans

Phrixus

Tereus

The Epigones

Electra

Eriphyle

Meleager

AjaxLocrian
" Laocoon

The Shepherds

The Xoanephores

Teucer

Sophocles: The Council of the Argives
" Laconian Women

Sinon

CEnomaus

Orithyie

The Abduction o Helen

XXX

XXX

XXX

XXX

XXXII

XXXII

XXXII

XXXII

XXXV

XXVII

III
and XXVI

X

I

I

I

I
and XII

I

I

I

I

I

II

II

II
and VII

II

II

II

III

III

III

III

III

III

IV

IV

IV

IV

V

V

VI

VI

VI

IX

IX

IX

IX

X

X

A 2
B

C 1
C 1

A 1

B
B

B 2

A 1

B 5

A 3
A

A 1

A 1

A 1

B
B
C

B
B

A3

B 1

B 1

B 2

B 3

C 2
A

B 2

A 1

A 2

A 5

B 2

B 4

B 5

A
A 1
A 1
B
B
C

A 1
A 2*
C 2
A

C 1
D 1
D 2
A
B

178

THIRTY-SIX DRAMATIC SITUATIONS

Sophocles: Hermione 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 C 4

and XIX E

GEdipus the King XVIII A 1

" Creusa XIX B 1

Telephus XIX B 1

Euryale XI X B 2

Alexander XIX C 1

Procns X1X G 1

Amphitryon XIX F 3

.Alceste XXI A 1

Iphigenia XXIII A 1

lobate 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

Phadra 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 I

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 ipyeuse XXVIII A 2

Sue : Les Enfants naturels XVIII A 2

Tarbe: Monsieur de Morat
Tasso: Torrismond

" Jerusalem Delivered

XXV

XVIII

XIX

B 3
A 2
G 1

INDEX OF AUTHORS 179

Tchang-Koue-pin: The Tunic Confronted III A 1

Tellez: Don Juan V B

Terni (Mme.) : Les Baillinnes XXXVI A 2

Theodecte: CEdipus XVIII A 1

Lyncee XXIII B 3

Theuriet : La Maison des deux Barzeaux XXV C 4

Thomas : Francoise de Rimini XXV C 3

Tiercelin : Un voyage de noces XXV A 2

Tirso de Molina: Don Juan V B

Tolstoi : The Power of Darkness XIII F

and XV A 1

Resurrection XX C

The Kreutzer Sonata XXV D 1

Torquet: Cent lignes emues XXXVI C

Trarieux: La Dette XIV B 1

Trissino: Sophonisbe XX B 3

Tristan 1'Herrnite : Marianne XXXII A 1

V

Vacquerie: Proserpine XXV B 7

Jalousie XXXII C 5

Valletta: Le Vierge XXXIII B 3

Valnay: L'Esclave du Sevoin XXXII A 3

Van Velde (Mme.) : Lena XXVII B 4

Vauzelles (de) : Alceste XXI A 1

Veber: Les Grands XXXIII A 3

Vedanyatha Vatchespati: Tchitra Yadjgna XXXI B 2

Verga: Chevalerie rustique XXII A 10

Verhaeren: Le Goitre XXIV A 2

Verlaine: Louise Leclercq XVII C 2

Verne: Le Tour du monde en 80 jours IX D 1

Les Enfants du capitaine Grant XXXV

Villemer: L'Absente XXVII B I

Villiers: Don Juan V B

Villiers de I'lsle Adam: Le Nouveau-Monde XXV C 1

Vira: Madhouranirouddha XIX A 4

Vishakadatta: The Minister's Ring XII A

Viswanatha: Mrigancalckha XXIV A 1

Voltaire: Eriphyle IV A 1

Adelaide Duguesclin XIV A 2

Agathocle XIV A 2

Amelie XIV A 2

Don Pedre XIV A 2

Samson XVII C 3

Pandore XVII C 1

and XXIV A 1

Les Pelopides XIII A 2

" CEdipe XVIII A 1

Les Guebres XIX A 2

" Les Lois de Minos XIX A 2

180

THIRTY-SIX DRAMATIC SITUATIONS

Voltaire: Merppe
" Semiramis
" Mahomet
" Le Huron

Tanis et Zelide

Alzire^

Le Triumvirat

Zulime

Brutus

Nanine

Les Scythes

Olympic

Irene

Catilina

La Mort de Caesar

Marianne

Tancrede

Zaire

Artemire

Oreste

and

and

w

Wagner: Lohengrin

" The Ring of the Nibelungs
Parsifal

" Die Meister singer

" 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. Beulemans
Widor: Maitre Ambros
Wilde: Salome
Willy: Le Frequet

" Lelie
Wolf: Les Lys

Xenocles: CEdipus

X

XIX

XIX

XIX

XXI

XXIV

XXIV

XXIV

XXIV

XXVII

XXVIII

XXIX

XXIX

XXIX

XXX

VIII

XXX

XXXII

XXXII

II

XXXII
XXXII
XXXIV

II

V

IX

XXIV

XXII

XXV

XV

XXIV

XXIX

XXX

VI

III

XIX

XX

XXIV

XXXIII

XXII

XXIV

XXII

XXVIII

XVIII

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 2

A
C

C 2

A 9

A 2

C 3

A 1

A 3

A 1
B

A 2

A 1

B 1

A 4

A 8

B 1
B

B 6

C 2

D 1

A 1

Zaccone : La Cellule No. 7
Zamacois: Bohemos
Zamora: Don Juan

III

XXIV

V

B 3
A 9
B

INDEX OF AUTHORS 181

Zola: LeReve I B 2

" La Debacle VI A 1

" I/Argent VI B

and XVII A 2

" Germinal VIII B 2

" La Terre XIII B 1

and XXX C 1

" Therese Raquin XV A 1

and XXXIV A 4

" La Bete humaine XVI A 2

" L'CEuvre XX A 4

" La Joie de vivre XXI A 2

and XXIV B 7

" La Faute de 1'abbe Mouret XXII A 1

" La Conquete de Plassans XXII A 2

" Nana XXII A 6

" L'Assommoir XXII C 2

" Le Capitaine Burle XXII C 1

" Jacques Damour XXV C 2

" Pot-bouille XXV C 7

" Ren6e XXVI B 2

Zola: La Curee XXVI B 2

" Dr. Pascal XXVI B 2

" Son Excellence Eugene XXX C 1

" La Fortune des Rougon XXX C 1

" Le Ventre de Paris XXXIII C 2

" Madeleine XXXIV B 1

Zorilla : Don Juan V B

ANONYMOUS

Chinese: The Singer III A 1

Hindu: Anarghara-ghava X C 2

" Dhourtta Narttaka XXII A I

" Dhourtta Samagama XXIV A 9

" Hanouman X C 2

Mystery: Le Mystere d' Adam VI A3

Miracles: Robert-le-Diable V A

" Barlaam et Josaphat X D 3
" La Mere meutriere de son

enfant XVII C 2

Saint Alexis XIX G 3

Saint Ignace d'Antioche XX A 4

Guibor XXIII B 4

" L'Empereur Julien XXXI A 2

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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