Les Enfants Terribles
- This article is about the novel. For the film based on the novel, see Les Enfants Terribles (film). For other uses, see Les Enfants Terribles (disambiguation).
|The Holy Terrors (Les Enfants Terribles)|
|Original title||Les Enfants Terribles|
|Cover artist||Jean Cocteau|
|Published in English||1930|
Les Enfants Terribles is a 1929 novel by Jean Cocteau, published by Editions Bernard Grasset. It concerns two siblings, Elisabeth and Paul, who isolate themselves from the world as they grow up; this isolation is shattered by the stresses of their adolescence. It was first translated into English by Samuel Putnam in 1930 and published by Brewer & Warren Inc. A later English translation was made by Rosamond Lehmann in 1955, and published by New Directions (ISBN 0811200213) in the U.S., and Mclelland & Stewart in Canada in 1966, with the title translated as The Holy Terrors. The book is illustrated by the author's own drawings. It was made into a film of the same name, a collaboration between Cocteau and director Jean-Pierre Melville in 1950, and inspired the opera of the same name by Philip Glass.
This story concerns the siblings Paul and Elisabeth who start this story without a father and with a bed-ridden mother, whom Elisabeth looks after. At school Paul is obsessed with the feminine looking Dargelos, while Paul’s school friend Gerard is enthralled by the siblings. However after Paul becomes ill when Dargelos throws a snowball with a stone inside at him, Elisabeth cares for both him and their mother. While nursing Paul it is revealed that the siblings enjoy a relationship characterised by a psychodrama known in the book as " The Game", which can only be played in their shared bedroom, elevated by the Game-play into "The Room". The game devised by Paul and Elisabeth often involves the siblings trying to annoy or irritate each other, by histrionic behaviour on the part of Elisabeth and by a taciturn refusal to be affected by Paul, where the winner is the one that leaves the contest with the last word, a sense of superiority and ideally having caused a display of angry frustration from the other. This game continues after Paul recovers and their mother has died.
Elisabeth soon takes up a job as a model, where she meets Agathe, a girl who was orphaned at a young age after her drug-addicted parents committed suicide. Agathe, characterised by her strong resemblance to Dargelos, soon moves in with Paul and Elisabeth.
Elisabeth is first to get married to a wealthy young man who dies on his way to a business meeting before the married couple can even enjoy a honeymoon. The result of the marriage is that the siblings inherit a large house which they move into. Paul soon finds himself in love with Agathe. Elisabeth cannot stand to see her brother happy, and knows she must draw him back into their shared private world. Writing of his love to Agathe, Paul stakes his life on her reciprocation. Elisabeth intercepts the letter and prevents it from reaching Agathe. She tells her that Gerard is in love with her. Elisabeth then manages to bully Gerard, who is in love with her, into marrying Agathe and as a result helps break her brother’s heart. She feels herself condemned and pursued by Furies thereafter, for the crime of having destroyed Paul and Agathe's happiness through deceit.
After Agathe and Gerard's marriage, Gerard meets with Dargelos, now a collector of poisons, who sends one of these poisons to Paul, also an enthusiast, as a gift. The poison is opium, to which Cocteau himself was addicted. Paul takes most of the opium in despair. As Paul lies dying he is attended by Agathe, who reviving Paul temporarily, confesses her love to him, and the plot is laid bare. At this moment, knowing that Paul is dying, Elisabeth senses that this is yet another twist in the game and by dying he has beaten her to the final move. She then shoots herself and by a matter of seconds beats Paul, leaving a frightened Agathe with two dead bodies.
- Joshua, Rosenblum (August 1, 2005). "GLASS: Les Enfants Terribles". Opera News (Metropolitan Opera Guild, Inc.) 70 (2): 58–59.