Maeterlinck


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Maeterlinck

Comte Maurice . 1862--1949, Belgian poet and dramatist, noted particularly for his symbolist plays, such as Pell?as et M?lisande (1892), which served as the basis for an opera by Debussy, and L'Oiseau bleu (1909). Nobel prize for literature 1911
References in periodicals archive ?
this time again, taken back to the origins, to the exaltation of the beautiful virgin instinct, and it is, through a force where the same comical feeling is revealed as that of Maeterlinck in his Saint Antoine, I to mean a mixture of ancient myth and Flemish buffoonery, the praise of the bare and initial soul among the conflict of morals and theologies.
Maeterlinck e continui echi e ripetute citazioni da Dante, Petrarca,
Asimismo, Maeterlinck no para de repetir su fascinacion por la palabra del silencio.
(12) Maurice Maeterlinck (1862-1949), escritor, ensayista y dramaturgo belga, ganador del Nobel de Literatura en 1911.
(6) Recuerdese que Maeterlinck es autor de la pieza dramatica L'intruse (1890) y que, de acuerdo con Irma Zangara (105), bajo el seudonimo de Andres Corthis, Borges publica en 1933 el relato "Hermanos enemigos" (Revista Multicolor de los Sabados, suplemento del diario Critica, Buenos Aires, no 11, 21 de octubre), version juvenil de "La intrusa" (El informe de Brodie, de 1970, cuatro anos antes publicado en la sexta edicion de El aleph) en que se cuenta una historia que es "breve y tragico cristal de los orilleros antiguos" (OC 2:401).
Silence Quand tu chancelles Serviteurs, n'apportez les lampes 1928/La flute de Pan Invention de la flute Don de la flute Le signal de la flute Retour de la flute 1928 Vocalise-Etude 1929 Soir sur la mer 1929/Trois noels La plainte d'Adam La mauvaise Auberge L'adoration des bergers 1932/Trois chansons La rencontre bretonnes L'aveu La mort 1932/Deux chansons Le roi Loudivic etranger Senart Chanson du barde Publication Year/Title Poet 1910/Sept Chansons Rodenbach Rodenbach Verlaine Verlaine Droin Droin Baudelaire 1901-1905/Trois Baudelaire melodies Maeterlinck Maeterlinck 1910/ Elegies Samain 1920/L'offrande lyrique Tagore Gitanjali, trans.
The section devoted to "Aesthetics and Analysis," opens with an essay by Joseph Marc Bailbe that examines the symbolic importance of long hair in the portrayal of female characters in French literature of the late nineteenth century, focusing on two novels by Georges Rodenbach and Maeterlinck's play.
In reality, Albrecht's study goes back to Rousseau and forward to Valery and Gide, encompassing a wide range of poets, from the Belgian Symbolists Maeterlinck and Rodenbach, to the "Francais d'adoption" Krysinska and Merrill, via Banville, Corbiere, Nerval, Rimbaud, and Verlaine among others.
To take but one example among many from Aisthesis, Maurice Maeterlinck, in an article to accompany the Paris premiere of Ibsen's The Master Builder, announces a new idea of theater, "an immobile theater" that breaks from the old Aristotelian model of dramatic action.
That's a rather typical method of sustaining interest in a children's story, but in the hands of book writer, lyricist and director Jaime del Mundo, this adaptation of the Belgian philosopher Maurice Maeterlinck's 20th-century play becomes a hilarious musical adventure brimming with a potpourri of pop culture and religious references.
The inclusion of germane lyrics by authors such as D'Annunzio, Maeterlinck, Eugene Lee-Hamilton, Wratislaw, Flecker, and John Barlas is refreshing.
Other reviews from the blurbs of 'this world famous classic' are worth recuperating as well: "Eugene Marais was a scholar and a man of culture" (The Times Literary Supplement); "His search is for the force that controls and determines the physical actions" (The Scotsman); "Marais is far more convincing that Maeterlinck" (John O' London's Weekly) and more.