action lies deep below the surface of life, down in the inner tabernacle where the mystic looks for the hidden destinies. In his style, Maeterlinck had gradually developed an unprecedented capacity for bringing to light the secret agencies of fate. A portion of the instructed public had already learned to listen in his writings for the finer reverberations that swing in the wake of the uttered phrase, to heed the slightest hints and allusions in the text, to overlook no glance or gesture that might betray the mind of the acting characters. It is true that art to be great must be plain, but that does not mean that the sole test of great art is the response of the simple and apathetic.
In Maeterlinck's first masterpiece, Pélléas et Mélisande, (1892), the motives again are drawn up from the lower regions of consciousness; once more the plot is born of a gloomy fancy, and the darkling mood hovering over scene and action attests the persistence of fatalism in the poet. The theory of old King Arkel, the spokesman of the author's personal philosophy, is that one should not seek to be active; one should ever wait on the threshold of Fate. Even the younger people in the play are infected by the morbid doctrine of an inevitable necessity for all things that happen
[41]
