Writer 1879: Solitary Journey in France

Chapter 186 The core of drama is tragedy
Lionel stood up and walked to the center of the living room, like a professor about to give a speech.

"First, regarding Dean Lazi's 'strictness'. I believe that true light only appears more precious and dazzling when set against a backdrop of deep darkness."

Dean Lazi was not a 'bad person'. He simply firmly believed that 'strict discipline and punishment' were the only effective way to save these 'lost sheep'.

He represents a certain... well... the idea of ​​'rules above all else.' This idea is often seen as a sign of 'responsibility' in reality.

He paused for a moment, observing the expressions of the review panel members. He noticed that although they remained serious, they seemed to be thinking.

"The arrival of Teacher Mathieu was precisely to break Dean Lazzi's stubbornness and prove that 'love, tolerance and beauty' also have a more powerful influence."

Without Dean Lazie's resistance, how could the preciousness of Teacher Mathieu have been highlighted?

Only when the audience sees the light of redemption pierce through the 'harsh' barriers will they be truly moved!

The three members of the review panel exchanged glances. Monsignor Valette tapped his fingers lightly on the armrest of the sofa, seemingly weighing Lionel's explanation.

Monsignor Valette finally spoke slowly: "Your analysis makes some sense, Mr. Sorel. From the perspective of dramatic construction, such an opposite is indeed necessary."

However, we are still concerned that viewers might focus too much on Dean Lazi's strictness and stubbornness, rather than understanding the underlying... well... some kind of 'responsible' intention?

After all, he was a clergyman, and his image was, to some extent, linked to the church's reputation.

Clearly, his doubts were not completely dispelled.

Lionel smiled slightly: "Monssigne, your concerns are very valid. So, why don't we try to experience it from a different perspective?"
Words are silent, but drama is vibrant. Only through performance can characters be imbued with entirely different colors.

He walked over to Father Lafogger and pointed to another line from the script spoken by Dean Razzi—a monologue in the first act when Dean Razzi first introduces the reformatory to Mathieu:
Act I, Scene II

Dean Lazi: Here, order, discipline, and punishment are the only ways to cleanse souls and guide them towards the light. Any weakness or indulgence is a concession to the devil and a further harm to their souls.

Lionel's smile was sincere: "Father Lafogg, could you please read this passage aloud in your own words, as if you were 'Dean Lazi'?"
There's no need to act deliberately; just read it in the tone that feels most natural and appropriate for the person's identity.

Father Lafogg paused for a moment, then looked at Monsignor Valette with some confusion.

A hint of curiosity flashed in Monsignor Valette's eyes, and he nodded to indicate that he could give it a try.

Father Lafogger cleared his throat, picked up the script, and after several pauses, he began to read aloud in a calm, resolute, and even weighty tone:
"Here, order, discipline, and punishment are the only ways to cleanse souls and guide them toward the light. Any weakness or indulgence is a concession to the devil and a further harm to their souls."

His voice was not loud, but it was full of firmness and persuasiveness, sounding more like a strict father stating a harsh but necessary truth than a cold-blooded oppressor.

Lionel immediately clapped: “Very good! Father, you read it wonderfully! Did you feel that this line didn’t sound so ‘harsh’?”
Instead, it was filled with a certain... um... 'sacred sense of responsibility'?

Father Lafogg seemed somewhat surprised himself and nodded subconsciously.

Lionel then looked at Brother Duclos: "Brother Duclos, why don't you give it a try? For example, another passage—what Dean Lazi said when he rejected the choir."

He turned to another page:
(Act III, Scene I)
Dean Lazi: Music? Singing? Those are nothing but useless decorations, a haven for weak souls! What we need here is an iron will and absolute obedience to the rules, not these decadent tunes! They only distract, breed laziness and delusion!

Brother Duclos hesitated for a moment, then tried to read it in a tone of earnest persuasion, even a touch of heartache, as if he were correcting a brother who had gone astray:

"Music? Singing? Those are nothing but useless decorations, a haven for weak souls! What we need here is an iron will and absolute obedience to the rules, not these decadent tunes! They only distract us and breed laziness and delusion!"

His portrayal is like that of a conservative elder who, due to excessive worry, resorts to extreme methods, but whose initial intention is to prevent the child from "going astray."

Lionel affirmed again, “Excellent! Monk, your performance was equally brilliant! What do you think, Monsignor Valette?”

Monsignor Valette paused for a moment, carefully considering the readings of his two subordinates and Lionel's explanation, and found that Lionel's words did indeed make sense.

Words are cold, but when read aloud, they become full of emotion.

The character of Dean Razzie is indeed not purely negative; he can even evoke complex emotions in the audience. Monsignor Valette's doubts dissipated considerably: "I must admit, Mr. Sorel, your understanding of dramatic expression is very unique and profound."

That's certainly an interesting perspective. Perhaps... we've been focusing too much on the literal meaning of the words.

The atmosphere in the prayer room was noticeably eased by the "reading of lines".

Debussy quietly breathed a sigh of relief and continued to sit quietly at the piano, as if he were an exquisite musical instrument decoration.

However, Monsignor Valette had one last concern: "We can put aside our doubts about how Dean Razzie is portrayed for the time being."

But why did the script have to end with Dean Lazie expelling Teacher Mathieu?

Why couldn't the dean, after witnessing the choir's success and the miraculous changes music brought about, have a change of heart and keep Matthew?

Father Lafogger immediately chimed in, “Yes, Mr. Sorel! Wouldn’t such a ‘happy ending’ be better?”

Brother Duclos nodded repeatedly: "From a dramatic perspective, the conflict is resolved and good and evil move toward the light together, which seems to be more in line with traditional morality."

Lionel listened quietly until they finished speaking, then gently shook his head.

He began: "First, the dramatic structure needs to be complete. Mr. Mathieu's arrival is a 'beginning,' and his departure is an 'end.'"

This constitutes a complete narrative. He has sown the seeds of music and hope in the hearts of every child.

His departure proves precisely that even though the sower is gone, hope still exists and blossoms.

If he were allowed to stay, the story would lose its symbolic elevation and become just a children's fairy tale.

The three, including Monsignor Valette, exchanged glances, then looked at Lionel, waiting for the second reason.

Lionel's tone remained calm: "Secondly, a truly good comedy carries both laughter and sorrow; flawless brilliance only appears false."

The fact that Mr. Mathieu was forced to leave, this slight 'imperfection' and 'regret', is precisely what resonates most with the audience!

It teaches us that enlightenment comes at a price. This is far more powerful than a forced, cobbled-together "happy ending"!

Finally, Lionel's voice even took on a hint of "allure": "Imagine, when Teacher Mathieu walked out of the reformatory gates, forlorn and alone..."

Suddenly, from behind the tall windows, countless small hands reached out, and paper flowers fell like snowflakes. At that moment—

The melody of "Night" plays again... How will the audience in Paris react to this?

Silence fell again in the living room. Monsignor Valette tapped his fingers lightly on the table, while Father Lafogue and Brother Duclos awaited his decision.

Lionel's depiction of the "farewell with paper flowers" scene is indeed highly vivid and emotionally impactful; they had already envisioned that moving moment in their minds.

After a long silence, Monsignor Valette finally let out a long sigh, looking at Lionel with a complex expression—admiration, helplessness, and determination.

"Mr. Sorel, although we still have doubts, we must admit that this ending may indeed be more likely to guarantee the work a wide impact."

"The core plot of the script, including the ending, can be retained according to your vision. We will report the preliminary opinions after review to Archbishop Gibo."

"However, Brother Duclos will come to check on things from time to time before the rehearsals and the final performance."

Lionel stood up and bowed slightly: "As you wish!"

(End of this chapter)