"Monna, Vanna"
In his earlier plays Maeterlinck invented a world of his own, which was a sort of projection into space of the world of nursery legends and of childish romances. It was at once very abstract and very local. There was a castle by the sea, a "well at the world‘s end," a pool in a forest； princesses with names out of the "Morte d‘Arthur" lost crowns of gold； and blind beggars without a name wandered in the darkness of eternal terror. Death was always the scene-shifter of the play, and destiny the stage-manager. The people who came and went had the blind gestures of marionettes, and one pitied their helplessness. Pity and terror had indeed gone to the making of this drama, in a sense much more literal than Aristotle‘s.
In all these plays there were few words and many silences, and the words were ambiguous, hesitating, often repeated, like the words of peasants or children. They were rarely beautiful in themselves, rarely even significant, but they suggested a singular

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