quality of Guido's affection, with which quality his tyrannous unbelief in Prinzivalle's magnanimity fully accords. But Maeterlinck here goes a step beyond Ibsen. In her married life with Guido, Vanna was meekly contented, "at least as happy as one can be when one has renounced the vague and extravagant dreams which seem beyond human life." When the crisis arrives she realizes that "it is never too late for one who has found a love that can fill a life." Her final rebellion is sanctioned by the author, who unmistakably endorses the venerable Marco's profession of faith that life is always in the right.
"Joyzelle," (1903), inferior to "Monna Vanna" dramaturgically, and in form the most distinctly fantastic of all Maeterlinck's productions, is still farther removed from the fatalistic atmosphere. This play sounds, as the author himself has stated, "the triumph of will and love over destiny or fatality," as against the converse lesson of Monna Vanna. The idea is symbolically expressed in the temptations of Lanceor and in the liberation of Joyzelle and her lover from the power of Merlin and his familiar, Arielle, who impersonates the secret forces of the heart.
Aglavaine et Selysette, Monna Vanna, and
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