It is under the guise of naïveté that The Blue Bird makes its sophisticated points. Indeed, the play’s value for young audiences may well be that Maurice Maeterlinck presents some of life’s hardest questions in a form usually reserved for escapist literature. When Mytyl and Tyltyl begin their search for the Blue Bird of Happiness, there is never any doubt that they will find the creature right in their own backyard. It is the search, not the discovery, that is Maeterlinck’s point. Specifically, the playwright wishes the young audience, in the midst of an incredible adventure, to come upon the fundamental problems of growing up, problems that cannot be blinked away even in fairy tales.
In the Land of Memory, for example, the children must deal immediately with the first, and most inescapable, fact of life: death. While there is nothing gruesome about the presentation, the children do meet their dead grandparents and, sadly, a good number of dead brothers and sisters. Young people expect that adults might die, especially older adults such as grandparents, but brothers and sisters are another matter. Young audiences are thus brought without compromise to a confrontation with death. Death is humankind’s fate and constant companion, promising an end to the future just as it fills the past with memories. Maeterlinck starts his emotional journey through life by bringing his audience to the contemplation of death. Until one accepts death, there can be no happiness in the present.
Facing unnamed fears is also a burden of every human, and thus the next stop for Mytyl and Tyltyl is the Palace of Night, where ghosts,...
(The entire section is 674 words.)