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Pas vraiment la valise Rimowa Le secret de ce chef Voici,qui devrait vous faire voir Johannesburg et l'Afrique du Sud, sous un autre jour. Le polo a une face bleu The piece, which abounds in moving crises, will scarcely bear analysis as to motives and morals. Especially is this the case with the gambler and the cousin. The former, who is little better than the latter, assumes in regard to him a pose of virtue hard to reconcile with his career. As for Helene, she is supposed to be worthy of admiration because a single love determines all her actions. Although she holds our interest in her quick transition from raging to tearful intercession, she is distinctly a woman of the theatre.
If the subject and the personages in La Rafale be un- pleasant, what shall be said of the folk and theme of La Griff e , which displays the malign power of an evil woman to ruin her husband, originally honest and talented? With the pessimism of a Strindberg, Bernstein anatomizes the character of an adventuress who jilts two lovers in order to accept the proposal of a third, a journal- ist three decades her senior.
PDF Lenvolée sauvage - tome 1 - La dame blanche (Angle de vue) (French Edition)
So much is shown in the first act. Each of the others affords a view of Antoinette's progress in villainy after long intervals. Thus, in the second act, wearied by two years of marriage, she incites her journalist husband to cease opposing the renewal of a. She refuses to save her hus- band from disaster threatened by a compromising letter ; and, as crowds in the street clamor against him, and he is summoned to defend himself in the Chamber, his mind gives way. Corruption and depravity, unrelieved by a single noble impulse, violence and in- humanity, lust without joy, — such are the elements from which the dramatist shapes his production.
Even the anti-heroine's victim can enlist little pity, he is so ready a tool in her hands. The Parisian public, excited at first by the play, soon ceased to relish its bitter flavor, and Bernstein, perceiving his error, sought to repair it by composing in Le Voleur a work as thrilling but more agreeable. As usual, Le Voleur affords no criticism of life; it is even highly improbable.
But, as a bit of clever drama- turgy, it has rarely been excelled. A boy of eighteen falls in love with the wife of a guest in his father's chateau. Amused at his devotion, she meets him by stealth, and conceals in a drawer the letters he writes her. When a detective, seeking the thief of missing funds, denounces Fernand in public, the youth confesses.
But his state- ment is false ; for the thief is no other than the lady. By the deftest means, the husband is gradually acquainted with his wife's perfidy, first out of curiosity opening a drawer with a knife as Fernand has professed to have opened one, then, at the sight of the money hidden there, eliciting his wife's confession, next, assailing her as a thief who has transgressed every law of hospitality, presently softened by her plea of having done the deed merely to make herself beautiful for his sake, and finally fired with jealousy when he asks why Fernand has under- taken to confess the crime of another.
After so tense a dialogue, the last act comes as an anti-climax. The host forgives his dangerous guest, and sends his too-susceptible son out of harm's way to Brazil. It is the earmark of the Bernstein play that its action should be governed by dramatic necessity rather than by the logic of character. Thus the whitewashing of Marie Louise is absurd, and the detective's accusation of Fer- nand before the whole household is but weakly excused by his father's insistence.
The dramatist wanted a scene, and he made it without consulting probability. More plausible in characterization, and, for once, accentuating an abstract idea, Bernstein's Israel exposes the dilemma of a Catholic prince, leader of the anti-Semitic party, who publicly insults at his club a Jewish banker and prepares to duel with him. His mother's endeavors to dissuade him from the duel arouse his suspicions, confirmed when, as he tries to sally forth in rage to lay hands upon his adversary, she bars his way, crying, "You cannot fight that man!
What shall he do? His kindly confessor would dissuade him from suicide, but he cannot face the friends of his party. He shivers with repugnance when Gutlieb, proving their relationship, congratulates him upon being a Jew. Turned by Gutlieb's reasoning from his earlier thought of entering a cloister, Thibault takes his life.
To the priest who reproaches him, Gutlieb affirms : " It is not I who killed my child ; it is your God. Power- ful as is the scene between son and mother leading up to her enforced confession of Gutlieb's paternity, it is by no means novel, having already been used to even better advantage by Oscar Wilde, in A Woman of No Importance , by Francois Coppee in Severo Torelli , and by Albert Delpit, in Le Pere de Martial Moreover, the piece is monotonous, lacking the varieties of tone of Le Voleur.
The Jewish banker in Israel, portrayed with no great sympathy, gives place, in Bernstein's Samson , to a Jew as protagonist developing under adversity and even- tually winning the admiration of his wife. She, who had married him for his money, had once, out of resentment at this choice of her father, allied herself for an evening with a wretched lover. Her husband, instead of meeting his rival in a duel, invites him to dinner, and announces over the dessert that he has forced down the shares of Egyptian copper, in which both are interested.
The ruin he has thus imposed upon his enemy will become his own disaster.
Jacques, in order that we may share his wife's early distaste for him, is made disagreeable at first, but is later accorded suflfi- cient imagination to render likely his wife's return. As the critic Benoist has pointed out, we fail to think of this inconsistency until after the curtain has fallen, since it is the situation alone that absorbs our attention. As for Jacques, he is the old romantic hero revived, a cousin of Hugo's noble convict and of Dumas' virtuous courtesan. Three years after the appearance of Samson, Bernstein returned to the theatre with his ill-fated Apres MoiJ , resembling its predecessor in so far as it introduces a forceful hero confronted with disaster, learning that his wife has betrayed him, but growing stronger by the very obstacles he must surmount, and finally winning her esteem.
Bourgade is a captain of industry who has stooped to forgery. He can be saved only if his ward, the son of a former associate, will marry a certain heiress. The youth refuses, for he is in love with his guardian's wife. At the close of the first act, we see their meeting, her attempt to resist, and her impulsive yielding. In the second act, Bourgade refuses the concession of the minister of justice which would allow him time to escape to America. As he prepares to commit suicide, he is interrupted by the appearance of his wife, stealing back from her guilty meeting with her lover.
Bourgade, though his commercial disaster be thus capped by domestic affliction, stiffens with sudden resistance to the blows of Fate. He will live and insists upon knowing the name of his rival. By the third act, however, calm has been restored. The youth con- fesses his fault, and Bourgade bids his wife choose be- tween them. The lover's plea in his own behalf proves vain.
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