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- Herausgeber: Booksell-Verlag
- Kategorie: Für Kinder und Jugendliche
- Sprache: Englisch
- Veröffentlichungsjahr: 2019
Maurice Maeterlinck's "The Blue Bird" is a poignant allegorical play first published in 1908 that explores the themes of happiness, fulfillment, and the quest for knowledge. Set against a dreamlike backdrop, the story follows two children, Tyltyl and Mytyl, on their quest for the elusive Blue Bird, a symbol of true happiness. Maeterlinck employs a lyrical and symbolic literary style that weaves together elements of mysticism and existential inquiry, creating a rich tapestry of metaphor that invites readers to ponder the deeper meanings of life. The play aligns with the Symbolist movement, characterized by its emphasis on emotional experience and inner truths, as well as an exploration of the metaphysical realms that lie beyond the material world. Maurice Maeterlinck, a Belgian playwright and poet, was deeply influenced by the Symbolist philosophy, which sought to transcend conventional reality through metaphoric language and imaginative exploration. Born into a privileged family in 1862, Maeterlinck's literary career was shaped by his interests in philosophy, nature, and the human condition, as evidenced in his earlier works. His pursuit of understanding happiness and the human experience culminated in "The Blue Bird," a quest that resonates with universal human themes. This enchanting play is recommended for readers seeking a profound exploration of happiness and the human spirit. "The Blue Bird" serves as both a work of art and a philosophical treatise, making it essential reading for those interested in the convergence of literature and existential thought.
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The Blue Bird
Table of Contents
TRANSLATOR'S NOTE
A new act appears for the first time in this edition and is inserted as Act IV—Palace of Happiness. It has been specially written for the Christmas revival of The Blue Bird at the Haymarket Theatre, where it will take the place of the Forest Scene (Act III., Scene 2). In the printed version, however, the Forest Scene is retained; and in this and all later editions the play will consist of six acts instead of five.
ALEXANDER TEIXEIRA DE MATTOS. CHELSEA, 14 November, 1910.
COSTUMES
TYLTYL wears the dress of Hop o' my Thumb in Perrault's Tales. Scarlet knickerbockers, pale-blue jacket, white stockings, tan shoes.
MYTYL is dressed like Gretel or Little Red Riding-hood.
LIGHT.—The "moon-coloured" dress in Perrault's Peau d'âne; that is to say, pale gold shot with silver, shimmering gauzes, forming a sort of rays, etc. Neo-Grecian or Anglo-Grecian (à la Walter Crane) or even more or less Empire style: a high waist, bare arms, etc. Head-dress: a sort of diadem or even a light crown.
THE FAIRY BÉRYLUNE and NEIGHBOUR BERLINGOT.—The traditional dress of the poor women in fairy-tales. If desired, the transformation of the Fairy into a princess in Act I may be omitted.
DADDY TYL, MUMMY TYL, GAFFER TYL and GRANNY TYL.—The traditional costume of the German wood-cutters and peasants in Grimm's Tales.
TYLTYL'S BROTHERS AND SISTERS.—Different forms of the Hop-o'-my-Thumb costume.
TIME.—Traditional dress of Time: a wide black or dark-blue cloak, a streaming white beard, scythe and hour-glass.
NIGHT.—Ample black garments, covered with mysterious stars and "shot" with reddish-brown reflections. Veils, dark poppies, etc.
THE NEIGHBOUR'S LITTLE GIRL.—Bright fair hair; a long white frock.
THE DOG,—Red dress-coat, white breeches, top-boots, a shiny hat. The costume suggests that of John Bull.
THE CAT.—The costume of Puss In Boots: powdered wig, three-cornered hat, violet or sky-blue coat, dress-sword, etc.
N.B.—The heads of the DOG and the CAT should be only discreetly animalised.
THE LUXURIES.—Before the transformation: wide, heavy mantles in red and yellow brocade; enormous fat jewels, etc. After the transformation: chocolate or coffee-coloured tights, giving the impression of unadorned dancing-jacks.
THE HAPPINESSES OF THE HOME.—Dresses of various colours, or, if preferred, costumes of peasants, shepherds, wood-cutters and so on, but idealised and interpreted fairy-fashion.
THE GREAT JOYS.—As stated in the text, shimmering dresses in soft and subtle shades: rose-awakening, water's-smile, amber-dew, blue-of-dawn, etc.
MATERNAL LOVE.—Dress very similar to the dress worn by Light, that is to say, supple and almost transparent veils, as of a Greek statue, and, in so far as possible, white. Pearls and other stones as rich and numerous as may be desired, provided that they do not break the pure and candid harmony of the whole.
BREAD.—A rich pasha's dress. An ample crimson silk or velvet gown. A huge turban. A scimitar. An enormous stomach, red and puffed-out cheeks.
SUGAR.—A silk gown, cut like that of a eunuch in a seraglio, half blue and half white, to suggest the paper wrapper of a sugar-loaf. Eunuch's headdress.
FIRE.—Red tights, a vermilion cloak, with changing reflections, lined with gold. An aigrette of iridescent flames.
WATER.—A pale-blue or bluish-green dress, with transparent reflections and effects of rippling or trickling gauze, Neo-Grecian or Anglo-Grecian style. but fuller and more voluminous than that of LIGHT. Head-dress of aquatic flowers and seaweed.
THE ANIMALS.—Popular or peasant costumes.
THE TREES.—Dresses of different shades of green or the colour of the trunks of trees. Distinctive attributes in the shape of leaves or branches by which they can be recognised.
SCENES
THE BLUE BIRD
ACT I. The Wood-cutter's Cottage
The stage represents the interior of a wood-cutter's cottage, simple and rustic in appearance, but in no way poverty-stricken. A recessed fireplace containing the dying embers of a wood-fire. Kitchen utensils, a cupboard, a bread-pan, a grandfather's clock, a spinning-wheel, a water-tap, etc. On a table, a lighted lamp. At the foot of the cupboard, on either side, a DOG and a CAT lie sleeping, rolled up, each with his nose in his tail. Between them stands a large blue-and-white sugar-loaf. On the wall hangs a round cage containing a turtle-dove. At the back, two windows, with closed inside shutters. Under one of the windows, a stool. On the left is the front door, with a big latch to it. On the right, another door. A ladder leads up to a loft. On the right also are two little children's cots, at the head of which are two chains, with clothes carefully folded on them. When the curtain rises, TYLTYL and MYTYL are sound asleep in their cots, MUMMY TYL tucks them in, leans over them, watches them for a moment as they sleep and beckons to DADDY TYL, who thrusts his head through the half-open door. MUMMY TYL lays a finger on her lips, to impose silence upon him, and then goes out to the right, on tiptoe, after first putting out the lamp. The scene remains in darkness for a moment. Then a light, gradually increasing in intensity, filters in through the shutters. The lamp on the table lights again of itself, but its light is of a different colour than when MUMMY TYL extinguished it. The two CHILDREN appear to wake and sit up in bed.
TYLTYL Mytyl?
MYTYL Tyltyl?
TYLTYL Are you asleep?
MYTYL Are you?...
TYLTYL No; how can I be asleep when I'm talking to you?
MYTYL Say, is this Christmas Day?...
TYLTYL Not yet; not till to-morrow. But Father Christmas won't bring us anything this year....
MYTYL Why not?
TYLTYL I heard mummy say that she couldn't go to town to tell him ... But he will come next year....
MYTYL Is next year far off?...
TYLTYL A good long while.... But he will come to the rich children to-night....
MYTYL Really?...
TYLTYL Hullo!... Mummy's forgotten to put out the lamp!... I've an idea!...
MYTYL What?...
TYLTYL Let's get up....
MYTYL But we mustn't....
TYLTYL Why, there's no one about.... Do you see the shutters?...
MYTYL Oh, how bright they are!...
TYLTYL It's the lights of the party.
MYTYL What party?...
TYLTYL The rich children opposite. It's the Christmas-tree. Let's open the shutters....
MYTYL Can we?...
TYLTYL Of course; there's no one to stop us.... Do you hear the music?... Let us get up....
(The two CHILDREN get up, run to one of the windows, climb on to the stool and throw back the shutters. A bright light fills the room. The CHILDREN look out greedily.)
TYLTYL We can see everything!...
MYTYL (who can hardly find room on the stool) I can't....
TYLTYL It's snowing!... There's two carriages, with six horses each!...
MYTYL There are twelve little boys getting out!...
TYLTYL How silly you are!... They're little girls....
MYTYL They've got knickerbockers....
TYLTYL What do you know?... Don't push so!...
MYTYL I never touched you.
TYLTYL (who is taking up the whole stool) You're taking up all the room...
MYTYL Why, I have no room at all!...
TYLTYL Do be quiet! I see the tree!...
MYTYL What tree?...
TYLTYL Why, the Christmas-tree!... You're looking at the wall!...
MYTYL I'm looking at the wall because I've got no room....
TYLTYL (giving her a miserly little place on the stool) There!... Will that do?... Now you're better off than I!... I say, what lots and lots of lights!...
MYTYL What are those people doing who are making such a noise?...
TYLTYL They're the musicians.
MYTYL Are they angry?...
TYLTYL No; but it's hard work.
MYTYL Another carriage with white horses!...
TYLTYL Be quiet!... And look!...
MYTYL What are those gold things there, hanging from the branches?
TYLTYL Why, toys, to be sure!... Swords, guns, soldiers, cannons....
MYTYL And dolls; say, are there any dolls?...
TYLTYL Dolls?... That's too silly; there's no fun in dolls....
MYTYL And what's that all round the table?....
TYLTYL Cakes and fruit and tarts....
MYTYL I had some once when I was little....
TYLTYL So did I; it's nicer than bread, but they don't give you enough....
MYTYL They've got plenty over there.... The whole table's full.... Are they going to eat them?...
TYLTYL Of course; what else would they do with them?...
MYTYL Why don't they eat them at once?...
TYLTYL Because they're not hungry....
MYTYL (stupefied with astonishment) Not hungry?... Why not?...
TYLTYL Well, they eat whenever they want to....
MYTYL (incredulously) Every day?...
TYLTYL They say so....
MYTYL Will they eat them all?... Will they give any away?...
TYLTYL To whom?...
MYTYL To us....
TYLTYL They don't know us....
MYTYL Suppose we asked them....
TYLTYL We mustn't.
MYTYL Why not?...
TYLTYL Because it's not right.
MYTYL (clapping her hands) Oh, how pretty they are!...
TYLTYL (rapturously) And how they're laughing and laughing!...
MYTYL And the little ones dancing!...
TYLTYL Yes, yes; let's dance too!... (They stamp their feet for joy on the stool.)
MYTYL Oh, what fun!...
TYLTYL They're getting the cakes!... They can touch them!... They're eating, they're eating, they're eating!...
MYTYL The tiny ones, too!... They've got two, three, four apiece!...
TYLTYL (drunk with delight) Oh, how lovely!... Oh, how lovely, how lovely!...
MYTYL (counting imaginary cakes) I've got twelve!...
TYLTYL And I four times twelve!... But I'll give you some....
(A knock at the door of the cottage.)
TYLTYL (suddenly quieted and frightened) What's that?...
MYTYL (scared) It's Daddy!...
(As they hesitate before opening the door, the big latch is seen to rise of itself, with a grating noise; the door half opens to admit a little old woman dressed in green with a red hood on her head. She is humpbacked and lame and near-sighted; her nose and chin meet; and she walks bent on a stick. She is obviously a fairy.)
THE FAIRY Have you the grass here that sings or the bird that is blue?...
TYLTYL We have some grass, but it can't sing....
MYTYL Tyltyl has a bird.
TYLTYL But I can't give it away....
THE FAIRY Why not?...
