Books with author Maurice 1862-1949 Maeterlinck

Excerpt from The Intruder: The Blind; The Seven Princesses; The Death of Tintagiles[A gloomy room in an old chateau. A door on the right, a door on the left, and a small secret door in one corner. At the back, stained-glass windows, in which green is the dominant color, and a glass door opening upon a terrace. A big Dutch clock in a corner. A lighted lamp.]The Three Daughters.Come here, grandfather. Sit under the lamp.The Grandfather.It seems to me it is not very light here.The Father.Shall we go out on the terrace, or shall we stay in the room?The Uncle.Would n'tit be better to stay here? It has rained all the week, and the nights are damp and cold.The Eldest Daughter.The stars are out, though.About the PublisherForgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.comThis book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

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This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface.We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This dog-lover's book was published in 1913 and tells the story of a French bull-dog named Pelleas. A 4-Star Review: Reviewer: Rietto - - September 10, 2009 Subject: Lovely bulldog illustrations A short book with some very nice paintings of bulldogs ............................................................................. An excerpt from the book: I have lost, withing these last few days, a little bull-dog. He had just completed the sixth month of his brief existence. He had no history. His intelligent eyes opened to look out upon the world, to love mankind, then closed again on the cruel secrets of death. The friend who presented me with him had given him, perhaps by antiphrasis, the somewhat unexpected name of Pelleas. Why re-christen him? For how can a poor dog, loving, devoted, faithful, disgrace the name of a man or an imaginary hero? Pelleas had a great, bulging, powerful forehead, like that of Socrates or Verlaine; and, under a little black nose, blunt as a churlish assent, a pair of large, hanging and symmetrical chops, which made his head a sort of massive, obstinate, pensive and three-cornered menace. He was beautiful after the manner of a beautiful natural monster that has complied strictly with the laws of its species. And what a smile of attentive obligingness, of incorruptible innocence, of affectionate submission, of bound- less gratitude and total self-abondonment lit up, at the least caress, that adorable mask of ugliness! Whence exactly did that smile emanate? From the ingenuous and melting eyes? From the ears pricked up to catch the words of man? From the forehead that un-wrinkled to appreciate and love, from the four tiny, white, projecting teeth that shone with gladness against the dark lips, or from the stump of a tail that, with its abrupt bend, the mark of his race, wriggled at the other end to testify to the intimate and impassioned joy that filled his small being, happy once more to encounter the hand or the glance of the god to whom he surrendered himself?

This School Edition of The Blue Bird for Children is affectionately dedicated to the School Children of America To The Teacher "The Blue Bird, inhabitant of the Pays Bleu, the fabulous blue country of our dreams is an ancient symbol in the folk lore of Lorraine and stands for happiness." Amidst his Belgian roses he continued to work and dream, and upon his youthful dreams he built his plays. They are all shadowy, brief transcripts of emotion, and illustrate beautifully his unity of purpose, of mood and of thought. Whether in philosophy, drama or poetry, Maeterlinck is exclusively occupied in revealing or indicating the mystery which lies only just out of sight beneath the ordinary life. In order to produce this effect of the mysterious he aims at extreme simplicity of style and a very realistic symbolism. He allows life itself to astonish us by its strangeness, by its inexplicable elements. Many of his plays are really pathetic records of unseen emotions. Of all his writings, it is conceded that "The Blue Bird" makes the strongest appeal to children. Maeterlinck has always had much in common with the young. He has the child’s mysticism and awe of the unknown, the same delight in mechanical inventions, the same gift of "making believe

This School Edition of The Blue Bird for Children is affectionately dedicated to the School Children of America To The Teacher "The Blue Bird, inhabitant of the Pays Bleu, the fabulous blue country of our dreams is an ancient symbol in the folk lore of Lorraine and stands for happiness." Amidst his Belgian roses he continued to work and dream, and upon his youthful dreams he built his plays. They are all shadowy, brief transcripts of emotion, and illustrate beautifully his unity of purpose, of mood and of thought. Whether in philosophy, drama or poetry, Maeterlinck is exclusively occupied in revealing or indicating the mystery which lies only just out of sight beneath the ordinary life. In order to produce this effect of the mysterious he aims at extreme simplicity of style and a very realistic symbolism. He allows life itself to astonish us by its strangeness, by its inexplicable elements. Many of his plays are really pathetic records of unseen emotions. Of all his writings, it is conceded that "The Blue Bird" makes the strongest appeal to children. Maeterlinck has always had much in common with the young. He has the child’s mysticism and awe of the unknown, the same delight in mechanical inventions, the same gift of "making believe