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Cette satyre au délire débonnaire est finalement un vrai conte avec de bonnes fées, quelque peu rêveuses, des marginaux, des originaux, une histoire où les méchants finissent punis. Giraudoux vous emporte peu à peu dans sa divagation poétique avec cette pièce pleine d’humour et de fantaisie. Mais le conte est grinçant car c’est bien deux mondes qui s’y affrontent. L’ancien avec sa variété et son désordre, celui où « les gens que vous rencontriez étaient comme vous. Ils étaient mieux vêtus ou plus sales, contents ou en colère, pingres ou généreux, mais comme vous. » Et le nouveau, celui des hommes à l’expression mortifère, qui n’ont aucun métier si ce n’est de se passer « des billets de cinq mille » et de regarder le travail des autres, des hommes pour lesquels seul compte la puissance et l’or, avides de « ce qu’on fait avec du pétrole. De la misère. De la guerre. De la laideur. Un monde misérable. » Dans la description d’un monde dominé par la finance, Giraudoux a des accents prophétiques. « La seule condition d’un monde vraiment moderne : c’est un type unique du travailleur, le même visage, les mêmes vêtements, les mêmes gestes et paroles pour chaque travailleur » nous renvoie à l’uniformisation des processus dans le monde du travail ainsi que des modes dans notre culture moderne. Ou le contrôle : « Maintenant tout ce qui se mange, tout ce qui se voit, tout ce qui s’entreprend, […] on dirait qu’ils ont un mec, qui les met sur le trottoir, et les surveille, sans rien faire. Alors le monde est plein de mecs. Ils mènent tout, ils gâtent tout. Voyez les commerçants. Ils ne vous sourient plus. Ils n’ont d’attention que pour eux [ …] Vous pouvez tolérer cela, un monde où […] l’on ne soit pas son maître ! » Contre cette « modernité », Giraudoux détient pourtant l’arme absolue : leur « pouvoir expire là où subsiste la pauvreté joyeuse, la domesticité méprisante et frondeuse, la folie respectée et adulée ».\u003C/p>","\u003Cp>Blaga norost, tista norost Nore iz Chaillota in njenih somišljenic, zmoti na terasi Chez Francis, na trgu Alma, nastanek nove družbe, katere cilji so tako temni in grabežljivi kot sumljive finančne spletke njenih delničarjev. Ta satira z dobronamerno norostjo je pravzaprav prava pravljica, s sanjavimi dobrimi vilami, obstranci, posebneži in zgodbo, kjer so zlobneži kaznovani. Giraudoux vas postopoma zapelje v svojo poetično blodnjo s to igro, polno humorja in domišljije.  \u003C/p>\r\n\r\n\u003Cp>A pravljica je grenka, saj prikazuje spopad dveh svetov. Stari svet, pisan in neurejen, kjer »so bili ljudje, ki ste jih srečevali, kot vi. Nekateri bolje oblečeni, drugi umazani, veseli ali jezni, skopuški ali velikodušni, a kot vi.« In novi svet, svet ljudi s smrtno resnimi izrazi, ki nimajo poklica, razen tega, da si podajajo »pet tisočake« in opazujejo delo drugih, ljudi, za katere štejejo le moč in zlato, požrešnih po vsem, »kar se da narediti iz nafte – beda, vojna, grdobija. En beden svet.«  \u003C/p>\r\n\r\n\u003Cp>V opisu sveta, ki ga obvladujejo finance, zveni Giraudoux skoraj preroško. »Edini pogoj za resnično moderen svet: en sam tip delavca, enak obraz, enaka oblačila, enaki gibi in besede za vsakega delavca« – napoved enotnosti delovnih procesov in kulturne uniformnosti. Ali pa nadzor: »Danes vse, kar jemo, vse, kar vidimo, vse, kar se poskuša… kot da imajo nekoga, ki jih postavlja na cesto in nadzira, ne da bi sam karkoli delal. Tako je svet poln takih ljudi. Vodijo vse, uničijo vse. Poglejte trgovce. Ne smehljajo se vam več. Pozorni so le nase […]. Ali lahko sprejmete tak svet, kjer človek ni več gospodar samemu sebi?«\u003C/p>\r\n\r\n\u003Cp>Vendar ima Giraudoux proti tej »modernosti« neprekosljivo orožje: »Njihova moč preneha tam, kjer še obstajajo vesela revščina, uporniška in prezirljiva služinčad, spoštovana in oboževana norost.«\u003C/p>","Une folie douce, celle de la Folle de Chaillot et de ses comparses, perturbe, sur la terrasse de Chez Francis, place de l’Alma, la création d’une nouvelle société aux visées aussi noires et rapaces que les montages véreux de ses actionnaires. Cette satyre au délire débonnaire est finalement un vrai conte avec de bonnes fées, quelque peu rêveuses, des marginaux, des originaux, une histoire où les méchants finissent punis. Giraudoux vous emporte peu à peu dans sa divagation poétique avec cette pièce pleine d’humour et de fantaisie. Mais le conte est grinçant car c’est bien deux mondes qui s’y affrontent. L’ancien avec sa variété et son désordre, celui où « les gens que vous rencontriez étaient comme vous. Ils étaient mieux vêtus ou plus sales, contents ou en colère, pingres ou généreux, mais comme vous. » Et le nouveau, celui des hommes à l’expression mortifère, qui n’ont aucun métier si ce n’est de se passer « des billets de cinq mille » et de regarder le travail des autres, des hommes pour lesquels seul compte la puissance et l’or, avides de « ce qu’on fait avec du pétrole. De la misère. De la guerre. De la laideur. Un monde misérable. » Dans la description d’un monde dominé par la finance, Giraudoux a des accents prophétiques. « La seule condition d’un monde vraiment moderne : c’est un type unique du travailleur, le même visage, les mêmes vêtements, les mêmes gestes et paroles pour chaque travailleur » nous renvoie à l’uniformisation des processus dans le monde du travail ainsi que des modes dans notre culture moderne. 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