The Blue Bird for Children Part 1

The Blue Bird for Children.

by Georgette Leblanc.

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."

One of the strongest pieces of imaginative writing for children that the past decade has produced and one of the most delicate and beautiful of all times, is "The Blue Bird," by Maurice Maeterlinck, written as a play, and very successfully produced on the stage.

Georgette Leblanc (Madame Maurice Maeterlinck), has rendered this play in story form for children, under the t.i.tle "The Children's Blue Bird," and in this form it has now been carefully edited and arranged for schools.

Maurice Maeterlinck was born in Ghent, Belgium, August 29, 1862.

Although trained for the practice of the law and moderately successful in it, he very early became dissatisfied with the prospect of a career at the bar. In 1887, the young man moved to Paris and turned his attention to writing. Shortly after, at the death of his father, Maeterlinck returned to Belgium where he has since resided most of the time. His career as an author practically began in 1889, when he published two plays. At this time he was quite unknown, except to a small circle, but soon, because of his remarkable originality, we find him being called "The Belgian Shakespeare," and his reputation firmly established.

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 ill.u.s.trate 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."

In "The Blue Bird" Maeterlinck takes little account of external fact.

All along he has kept the child's capacity for wonder; all along he has preserved youth's freshness of heart. He has, therefore, never lost the key which unlocks the sympathies of childhood; he still possesses the pa.s.sport that makes him free of the kingdom of Fairyland.

This story of "The Blue Bird" may remind one somewhat of "Hansel and Gretel," for here Maeterlinck, like Grimm, shows to us the adventures of two peasant children as they pa.s.s through regions of enchantment where they would be at the mercy of treacherous foes, but for the aid of a supernatural friend. But the originality, the charm and the interest of "The Blue Bird" depend on the way in which the author, while adapting his language and his legends to the intelligence of youthful readers, manages to show them the wonders and romance of Nature. He enlists among his characters a whole series of inanimate objects, such as Bread, Sugar, Milk, Light, Water, Fire and Trees, besides the Cat, the Dog and other animals, investing them all with individuality,--making for instance, with characteristic bias, the Dog the faithful friend of his boy and girl companions and the Cat their stealthy enemy.

We may not understand his characters, we may not be informed whence they came or whither they move; there is nothing concrete or circ.u.mstantial about them; their life is intense and consistent, but it is wholly in a spiritual character. They are mysterious with the mystery of the movements of the soul.

All through the story we are led to feel that Maeterlinck's spirit is one of grave and disinterested attachment to the highest moral beauty, and his seriousness, his serenity and his extreme originality impress even those who are bewildered by his graces and his mysticism.

"The Blue Bird" will forever live among Maeterlinck's greatest works and will linger long in the memory of all children, continuing throughout their lives to symbolize that ideal of ideals, true happiness,--the happiness that comes from right seeking.

CHAPTER I

THE WOODCUTTER'S COTTAGE

Once upon a time, a woodcutter and his wife lived in their cottage on the edge of a large and ancient forest. They had two dear little children who met with a most wonderful adventure.

But, before telling you all about it, I must describe the children to you and let you know something of their character; for, if they had not been so sweet and brave and plucky, the curious story which you are about to hear would never have happened at all.

Tyltyl--that was our hero's name--was ten years old; and Mytyl, his little sister, was only six.

Tyltyl was a fine, tall little fellow, stout and well-set-up, with curly black hair which was often in a tangle, for he was fond of a romp. He was a great favorite because of his smiling and good-tempered face and the bright look in his eyes; but, best of all, he had the ways of a bold and fearless little man, which showed the n.o.ble qualities of his heart. When, early in the morning, he trotted along the forest-road by the side of his daddy, Tyl the woodcutter, for all his shabby clothes he looked so proud and gallant that every beautiful thing on the earth and in the sky seemed to lie in wait for him to smile upon him as he pa.s.sed.

His little sister was very different, but looked ever so sweet and pretty in her long frock, which Mummy Tyl kept neatly patched for her.

She was as fair as her brother was dark; and her large timid eyes were blue as the forget-me-nots in the fields. Anything was enough to frighten her and she would cry at the least thing; but her little child soul already held the highest womanly qualities: she was loving and gentle and so fondly devoted to her brother that, rather than abandon him, she did not hesitate to undertake a long and dangerous journey in his company.

What happened and how our little hero and heroine went off into the world one night in search of happiness: that is the subject of my story.

Daddy Tyl's cottage was the poorest of the countryside; and it seemed even more wretched because it stood opposite a splendid hall in which rich children lived. From the windows of the cottage you could see what went on inside the Hall when the dining-room and drawing-rooms were lit up in the evening. And, in the daytime, you saw the little children playing on the terraces, in the gardens and in the hot-houses which people came all the way from town to visit because they were always filled with the rarest flowers.

Now, one evening which was not like other evenings, for it was Christmas Eve, Mummy Tyl put her little ones to bed and kissed them even more lovingly than usual. She felt a little sad because, owing to the stormy weather, Daddy Tyl was not able to go to work in the forest; and so she had no money to buy presents with which to fill Tyltyl and Mytyl's stockings. The Children soon fell asleep, everything was still and silent and not a sound was heard but the purring of the cat, the snoring of the dog and the ticking of the great grandfather's clock. But suddenly a light as bright as day crept through the shutters, the lamp upon the table lit again of itself and the two Children awoke, yawned, rubbed their eyes, stretched out their arms in bed and Tyltyl, in a cautious voice called:

"Mytyl?"

"Yes, Tyltyl?" was the answer.

"Are you asleep?"

"Are you?"

"No," said Tyltyl. "How can I be asleep, when I'm talking to you?"

"I say, is this Christmas Day?" asked his sister.

"Not yet; not till to-morrow. But Father Christmas won't bring us anything this year."

"Why not?"

"I heard Mummy say that she couldn't go to town to tell him. But he will come next year."

"Is next year far off?"

"A good long while," said the boy. "But he will come to the rich children to-night."

"Really?"

"Hullo!" cried Tyltyl of a sudden. "Mummy's forgotten to put out the lamp!... I've an idea!"

"What?"

"Let's get up."

"But we mustn't," said Mytyl, who always remembered.

"Why, there's no one about!... Do you see the shutters?"

"Oh, how bright they are!..."

"It's the lights of the party," said Tyltyl.

"What party?"

"The rich children opposite. It's the Christmas-tree. Let's open the shutters...."