Word: maeterlinck
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Dates: during 1960-1969
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Eugene Marais was an Afrikaner best remembered by his countrymen as one of their early poets, but he was also a journalist, self-taught naturalist and morphine addict. Such fame as he enjoyed outside Africa came mainly from the scandal caused when famous Belgian Writer Maurice Maeterlinck stole a lengthy excerpt of Marais's Afrikaans text. The Soul of the White Ant, and published it under his own name. Marais shot himself in 1936. Shortly after, his complete study of white ants, i.e., termites, and a slim, chatty book of reminiscences about baboons were published in Europe. Marais...
...treats the quietness of horror and not its gaudiness. Maeterlinsk's play expresses desolation which knows not its own emptiness, the psychology of inexpressible terrors and inexplicable sickness, or as the revenging husband Golaud says, "We cannot see the other side of fate nor the sins of our own." Maeterlinck portrays these largely lifeless souls consumed by irresistible fate with his personal idiom of bare symbolism and rhythm, taking us to the edge of enervation as we begin to feel our own strength and moral consciousness become fluid, then dissolute, and finally desiccated...
...beetle-shaped Carol 360, made by Toyo Kogyo, to Nissan's squat, six-passenger, $3,750 Cedric, named after a character in the novel Little Lord Fauntleroy. The bestseller: Nissan's $1,566 Bluebird, named for "the bluebird of happiness" m the Maurice Maeterlinck play. Though these cars are rugged, functional and economical, they cannot compete in styling and roominess with most U.S. and European makes, which will be nearer to the Japanese prices when the tariffs are reduced...
...sharp contrast to Scarlatti's simplicity were the shifting moods of Gabriel Faure's Pellas and Melisande, composed as incidental music to the Maeterlinck dramatic poem. Biss achieved a good variety of sonorities in the four richly orchestrated movements. In the Prelude the orchestra sounded rich and as one unit; at other times, as in the second movement, subdued violins contrasted sharply with pizzicati in the celli and wood-wind solos. The dance-like quality attained in the third movement was excellent. The music lost direction, however, in the Marche Funebre, when Biss had to struggle to keep the dotted...