Download Free The Blue Bird For Children The Wonderful Adventures Of Tyltyl And Mytyl In Search Of Happiness Book in PDF and EPUB Free Download. You can read online The Blue Bird For Children The Wonderful Adventures Of Tyltyl And Mytyl In Search Of Happiness and write the review.

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 title "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 illustrate 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.
As Luc Froment walked on at random after emerging from Beauclair, he went up the Brias road, following the gorge in which the Mionne torrent flows between the two promontories of the Bleuse Mountains. And when he found himself before the Abyss, as the Qurignon steel-works are called in the region, he perceived two dark and puny creatures shrinking timidly against the parapet at the corner of the wooden bridge. His heart contracted. One was a woman looking very young, poorly clad, her head half hidden by some ragged woollen stuff; and the other, nestling amidst her skirts, was a white-faced child, about six years old, and scarcely clothed at all. Both had their eyes fixed on the door of the works, and were waiting, motionless, with the mournful patience of despairing beings. Luc paused and also looked. It would soon be six o'clock, and the light of that wretched, muggy, mid-September evening was already waning. It was a Saturday, and since Thursday the rain had scarcely ceased to fall. It was no longer coming down at present, but across the sky an impetuous wind was still driving a number of clouds, sooty ragged clouds, athwart which filtered a dirty, yellowish twilight, full of mortal sadness. Along the road over which stretched lines of rails, and where big paving-stones were disjointed by continuous traffic, there flowed a river of black mud, all the gathered moistened dust of the neighbouring coal-works of Brias, whose tumbrels were for ever going by. And that coal-dust had cast a blackness as of mourning over the entire gorge; it fell in patches over the leprous pile of factory buildings, and seemed even to besmirch those dark clouds which passed on interminably like smoke. An ominous melancholy swept by with the wind; one might have thought that the murky quivering twilight was bringing the end of the world in its train.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.