Chapter X: Part III: Completing Forces (3)

Now, of all the poets of our day Verhaeren is the one who has felt this feeling of responsibility most strongly. To write poetry is for him to express not himself only, but the striving and straining of the whole period as well, the fearful torment and the happiness that are in the birth of the new things. Just because his work comprises all the present and aims at expressing it in its entity, he feels himself responsible to the future. For him a true poet must visualise the whole psychic care of his time. For when later generations--in the same manner as they will question monuments concerning our art, pictures concerning our painters, social forms concerning our philosophers--ask of the verses and the works of our contemporaries the question, What was your hope, your feeling, the sum of your interpretation? how did you feel cities and men, things and gods?--shall we be able to answer them? This is the inner question of Verhaeren's artistic responsibility. _And this feeling of responsibility has made his work great_. Most of the poets of our day have been unconcerned with reality. Some of them strike up a dancing measure, rouse and amuse people lounging in theatres; others again tell of their own sorrow, ask for pity and compassion, they who have never felt for others. Verhaeren, however, heedless of the approval or disapproval of our time, turns his face towards the generations to be:

Celui qui me lira dans les siècles, un soir,
Troublant mes vers, sous leur sommeil ou sous leur cendre,
Et ranimant leur sens lointain pour mieux comprendre
Comment ceux d'aujourd'hui s'étaient armés d'espoir,
Qu'il sache, avec quel violent élan, ma joie
S'est, à travers les cris, les révoltes, les pleurs,
Ruée au combat fier et mâle des douleurs,
Pour en tirer l'amour, comme on conquiert sa proie.[1]

It was, in the last instance, this magnificent feeling of responsibility which did not permit him to pass by any manifestation of our present time without observing and appreciating it, for he knows that later generations will ask the question how we sensed the new thing, which to them is a possession and a matter of course, when it was still strange and almost hostile. His work is the answer. The true poet of to-day, in Verhaeren's eyes, must show forth the torment and the trouble of the whole psychic transition, the painful discovery of the new beauty in the new things, the revolt, the crisis, the struggles it costs to understand all this, to adapt ourselves to it, and in the end to love it. Verhaeren has attempted to express our whole time in its earthly, its material, its psychic form. His verses lyrically represent Europe at the turning of the century, us and our time; they consciously contemplate the whole circuit of the things of life: _they write a lyric encyclopædia of our time, the intellectual atmosphere of Europe at the turning of the twentieth century._

The whole of Europe speaks with his voice, speaks with a voice that reaches beyond our time; and already from the whole of Europe comes the answer. In Belgium Verhaeren is above all the national poet, the poet of heaths, cities, dunes, and of the Flemish past, the great renewer of the national pride. But he stands too near his fellow-countrymen to be measured at his full height there. And in France, too, very few appreciate him at his true value. Most people regard him there in his literary aspect only and as a symbolist and decadent, an innovator of verse, an audacious and gifted revolutionary. But very few perceive the new and important work that is built up in his verses, very few comprehend the entity and the logical character of his cosmic philosophy. Nevertheless, his influence is already tangible. The new rhythm he has created can be recognised in many poets; and such a gifted disciple as Jules Romains has even brought his idea of the feeling of cities to new impressiveness. Best of all, however, he is understood by those Frenchmen who stand in a mystic communion with all that is great and urgent abroad; who feel an ethical need, a longing for an inner transmutation of values, for a re-moulding of races, for cosmopolitanism and a union of the nations; so, above all, Léon Bazalgette, who revealed Walt Whitman, the prophet of all strong and conscious reality in art, to France. Most joyfully of all, however, the answer rings from those countries which are themselves involved in deep-seated social and ethical crises, those countries where the need of religion is a vital instinct, which are eternally hungry for God, above all from Russia and Germany. In Russia the poet of _Les Villes Tentaculaires_ is celebrated as he is nowhere else. As the poet of social innovations he is read in the Russian universities, and in the circles of the intellectuals he is regarded as the spiritual pioneer of our time. Brjussow, the distinguished young poet, has translated him, and afforded him the possibility of popularity. In other Slavonic countries, too, his work is beginning to spread.

Verhaeren's success, one may well say triumph, has been strongest and most impressive in Germany; here it has been unexpectedly intensive even to us who have worked for it. A few years have sufficed to make him as popular here I as any native poet, and the most beautiful feature of his success is this, that people are already forgetting to look upon him as a foreigner. Verhaeren is to-day part and parcel of German culture; and much of our contemporary lyric poetry, its welcome turning to optimism for example, would be unthinkable but for his work and influence. Countless are the essays devoted to him, the recitations in which our best elocutionists--Kainz, Moissi, Kayssler, Heine, Wiecke, Durieux, Rosen, Gregori--have taken part; none of these interpreters, however, were as enthusiastically applauded as was Verhaeren himself on his _tournée_ in Germany, which was a great experience no less for him than for our public, because he gladly felt that his work was now rooted for ever in German soil. In Scandinavia, where Johannes V. Jensen in his essays unconsciously transcribed Verhaeren's lyric work, Ellen Key, the inspired prophetess of the feeling of life, has hailed him as she has hailed no other, and Georg Brandes, who crowns poets, has welcomed him with loud acclaim. Incessantly, in an irresistible, sure ascent, Verhaeren's fame grows. And above all, his poetry is no longer regarded as an individual thing, but as a work, as a cosmic philosophy, as an answer to the questions of our time, as the strongest and most beautiful enrichment of our vital feeling. Wherever people are tired of pessimism, tired of confused mysticism, and tired of monistic shallowness; wherever a longing stirs for a pure idealistic form of contemplation, for a new reconciliation between our new realities and the old reverence for eternal secrets, for the secularisation of the divine, his name stands in the front rank. An answer comes from every direction, not because his work was a question, but because it was in itself an answer to the unconscious demand for a new community, a demand which is being made by men of all nations everywhere to-day.

But all this is only a beginning. Works like his, which are not paradoxical enough, not dazzling enough, to produce sudden ecstasies and literary fashions; which, by the mere fact that they have themselves grown organically into existence, can only grow organically, but for that reason irresistibly, in their influence; only lay hold of the masses slowly. Only later generations will enjoy the fruit which we, with renewed admiration, have seen ripening from the most modest of blossoms. But already a ring of men of all nations are joining hands, a ring of men who perceive a new centre of spirituality in Verhaeren. And we, the few who have wholly surrendered ourselves to his work, must appreciate it with that feeling only which he himself has taught us as the highest feeling of life--with enthusiasm, with gratitude ever renewed, and with joyful admiration. For to whom in our days should one offer more abundantly and stormily this new vital doctrine of enthusiasm as the happiest feeling than to Verhaeren, to him who was the first to wrest it in the bitterest struggles from the depths of our time, who was the first to shape it in the material of art, the first to raise it to the eternal law of life?

FOOTNOTES:

[1] 'Un Soir' (_Les Forces Tumultueuses_).

BIBLIOGRAPHY

I. LES FLAMANDES, poèmes. Bruxelles, Hochsteyn, 1883. LES CONTES DE MINUIT, prose. Bruxelles (Collection de la 'Jeune Belgique'), Franck, 1885.

JOSEPH HEYMANS, PEINTRE, critique. Bruxelles (_Société Nouvelle_), 1885.

II. LES MOINES, poèmes. Paris, Lemerre, 1886.

FERNAND KHNOPFF, critique. Bruxelles (_Société Nouvelle_), 1886.

III. Au BORD DE LA ROUTE, poèmes. Liège (_La Wallonie_), 1891.

IV. LES SOIRS, poèmes. Bruxelles, Deman, 1887.

V. LES DÉBÂCLES, poèmes. Bruxelles, Deman, 1888.

VI. LES FLAMBEAUX NOIRS, poèmes. Bruxelles, Deman, 1890.

VII. LES VILLAGES ILLUSOIRES, poèmes, illustrés par Georges Minne. Bruxelles, Deman, 1895.

VIII. LES APPARUS DANS MES CHEMINS, poèmes. Bruxelles, Lacomblez, 1891.

LES CAMPAGNES HALLUCINÉES, poèmes, ornementés par T. van Rysselberghe. Bruxelles, Deman, 1893.

ALMANACH, poèmes, illustrés par T. van Rysselberghe. Bruxelles, Dietrich, 1895.

POÈMES (1e série, i., ii., iii.). Paris, Mercure de France, 1895.

LES VILLES TENTACULAIRES, poèmes, couverture et ornementation par T. van Rysselberghe. Bruxelles, Deman, 1896.

POÈMES (2e série, iv., v., vi.). Paris, Mercure de France, 1896.

LES HEURES CLAIRES, poèmes, ornementés par T. van Rysselberghe. Bruxelles, Deman, 1896.

ÉMILE VERHAEREN, 1883-1896, portrait par T. van Rysselberghe. [Bruxelles, Deman, 1896.] (An anthology, 'pour les amis du poète,')

LES AUBES, drame lyrique en 4 actes, ornementé par T. van Rysselberghe. Bruxelles, Deman, 1898.

ESPAÇA NEGRA, NOTAS DE VIAJE. Barcelona, Pedro Ortega, 1899.

LES VISAGES DE LA VIE, poèmes, ornementés par T. van Rysselberghe. Bruxelles, Deman, 1899.

POÈMES (3e série, vii., viii., _Les Vignes de ma Muraille_). Paris, Mercure de France, 1899.

LE CLOÎTRE, drame en 4 actes, prose et vers, ornementé par T. van Rysselberghe. Bruxelles, Deman, 1900.

PETITES LÉGENDES, poèmes. Bruxelles, Deman, 1900.

LES PETITS VIEUX. London, Hacon & Ricketts, 1901.

PHILIPPE H., tragédie en 3 actes, vers et prose. Paris, Mercure de France, 1901.

LES FORCES TUMULTUEUSES, poèmes. Paris, Mercure de France, 1902.

LES VILLES TENTACULAIRES, précédées des _Campagnes Hallucinées,_ poèmes. Paris, Mercure de France, 1904.

TOUTE LA FLANDRE: _Les Tendresses Premières_, poèmes. Bruxelles, Deman, 1904.

LES HEURES D'APRÈS-MIDI, poèmes. Bruxelles, Deman, 1905.

REMBRANDT, étude. Paris, Henri Laurens [1905].

IMAGES JAPONAISES, texte d'É. V ..., illustrations de Kwassou. Tokio, 1906.

LA MULTIPLE SPLENDEUR, poèmes. Paris, Mercure de France, 1906.

TOUTE LA FLANDRE: _La Guirlande des Dunes_, poèmes. Bruxelles, Deman, 1907.

LES LETTRES FRANÇAISES EN BELGIQUE. Bruxelles, Lamertin, 1907.

LES VISAGES DE LA VIE (_Les Visages de la Vie, Les douze Mois_), poèmes, nouvelle édition. Paris, Mercure de France, 1908.

TOUTE LA FLANDRE: _Les Héros_. Bruxelles, Deman, 1908.

JAMES ENSOR, étude. Bruxelles, E. van Oest, 1908.

TOUTE LA FLANDRE: _Les Villes à Pignons_. Bruxelles, Deman, 1909.

HELENAS HEIMKEHR. Leipzig, Insel-Verlag, 1909. (Translation by Stefan Zweig of _Hélène de Sparte_.)

DEUX DRAMES: LE CLOÎTRE, PHILIPPE II. Paris, Mercure de France, 1909.

LES RYTHMES SOUVERAINS, poèmes. Paris, Mercure de France, 1910.

PIERRE-PAUL RUBENS. Brussels, G. van Oest & Cie., 1910.

LES HEURES DU SOIR. Leipzig, Insel-Verlag, 1911.

HÉLÈNE DE SPARTE, tragédie en 4 actes. Paris, 'Nouvelle Revue Française,' 1912.

TOUTE LA FLANDRE: _Les Plaines_. Bruxelles, Deman, 1911.

LES BLÉS MOUVANTS, poèmes. Paris, Crès, 1912.

LES VILLAGES ILLUSOIRES, avec 15 gravures à l'eau forte par Henry Ramah. Leipzig, Insel-Verlag, 1913.

RUBENS. Leipzig, Insel-Verlag, 1913.

LES BLÉS MOUVANTS, poèmes. Paris, Mercure de France, 1913.

ŒUVRES D'ÉMILE VERHAEREN (IV., V., VI., VII., VIII., _Les Vignes de ma Muraille_). Paris, Mercure de France, 1914.

TRANSLATIONS INTO ENGLISH

THE DAWN (_Les Aubes_), by Émile Verhaeren, translated by Arthur Symons. London, Duckworth, 1898.

POEMS BY ÉMILE VERHAEREN, selected and rendered into English by Alma Strettel. London, John Lane, 1899.

CONTEMPORARY BELGIAN POETRY, selected and translated by Jethro Bithell. ('Canterbury Poets' series.) London, Walter Scott, 1911. (60 pp. are translations of Verhaeren's poems.)

CRITICISMS

BOOKS

Bazalgette, Léon: ÉMILE VERHAEREN. Paris, Sansot, 1907. (One of the series 'Les Célébrités d'aujourd'hui.')

Beaunier, André: LA POÉSIE NOUVELLE. Paris, Mercure de France, 1902.

Bersaucourt, Albert de: CONFÉRENCE SUR ÉMILE VERHAEREN. Paris, Jouve, 1908.

Bever, Ad. van, et Paul Léautaud: POÈTES D'AUJOURD'HUI, nouvelle édition, tome 2. Paris, Mercure de France, 1909.

Boer, Julius de: ÉMILE VERHAEREN. [1907.] (One of the series 'Mannen en Vrouwen van beteekenis in onze dagen.')

Bosch, Firmin van den: IMPRESSIONS DE LITTÉRATURE CONTEMPORAINE. Bruxelles, Vromant et Cie., 1905.

Buisseret, Georges: L'ÉVOLUTION IDÉOLOGIQUE D'ÉMILE VERHAEREN. Paris, Mercure de France, 1910. (One of the series 'Les Hommes et les Idées.')

Casier, Jean: LES 'MOINES' D'ÉMILE VERHAEREN. Gand, Leliaert et Siffer, 1887.

Crawford, Virginia M.: STUDIES IN FOREIGN LITERATURE. London, Duckworth, 1899.

Florian-Parmentier: TOUTES LES LYRES. Anthologie Critique ornée de dessins et de portraits, nouvelle série. Paris, Gastein-Serge, [1911].

Gauchez, Maurice: ÉMILE VERHAEREN. Bruxelles, éditions du 'Thyrse,' 1908.

Gilbert, Eugène: FRANCE ET BELGIQUE. Paris, Pion, Nourrit et Cie, 1905.

Gosse, Edmund: FRENCH PROFILES. London, Heinemann, 1905.

Gourmont, Remy de: LE LIVRE DES MASQUES. Paris, Mercure de France, 1896.

Gourmont, Remy de: PROMENADES LITTÉRAIRES. Paris, Mercure de France, 1904.

Guilbeaux, Henri: É. VERHAEREN. Verviers, Wauthy, 1908.

Hamel, A. G. van: HET LETTERKUNDIG LEVEN VAN FRANKRIJK. Amsterdam, van Kampen & Zoon [1907].

Hauser, Otto: DIE BELGISCHE LYRIK VON 1880-1900. Grossenhain, Baumert und Ronge, 1902.

Heumann, Albert: LE MOUVEMENT LITTÉRAIRE BELGE D'EXPRESSION FRANÇAISE DEPUIS 1880. Paris, Mercure de France, 1913.

Horrent, Désiré: ÉCRIVAINS BELGES D'AUJOURD'HUI. Bruxelles, Lacomblez, 1904.

Key, Ellen: SEELEN UND WERKE. Berlin, S. Fischer, 1911.

Kinon, Victor: PORTRAITS D'AUTEURS. Bruxelles, Dechenne, 1910.

Le Cardonnel, Georges, et Charles Vellay: LA LITTÉRATURE CONTEMPORAINE, 1905. Paris, Mercure de France, 1906.

Lemonnier, Camille: LA VIE BELGE. Paris, Fasquelle, 1905.

Mercereau, Alexandre: LA LITTÉRATURE ET LES IDÉES NOUVELLES. Paris, Figuière, and London, Stephen Swift, 1912.

Mockel, Albert: ÉMILE VERHAEREN, avec une note biographique par F. Vielé-Griffin. Paris, Mercure de France, 1895.

Nouhuys, W.G. van: VAN OVER DE GRENSEN, STUDIËN EN CRITIEKEN. Baarn, Hollandia Drukkerij, 1906.

Oppeln-Bronikowski, F. von: DAS JUNGE FRANKREICH. Berlin, Oesterheld und Co., 1908.

Ramaekers, Georges: É. VERHAEREN. Bruxelles, éditions de 'La Lutte,' 1900.

Rency, Georges: PHYSIONOMIES LITTÉRAIRES. Bruxelles, Dechenne et Cie, 1907.

Rimestad, Christian: FRANSK POESI I DET NITTENDE AARHUNDREDE. Kjøbenhavn, Det Schubotheske, 1906.

Schellenberg, E.A.: ÉMILE VERHAEREN. Leipzig, Xenien-Verlag, 1911.

Schlaf, Johannes: ÉMILE VERHAEREN. Berlin, Schuster und Loeffler, [1905].

Smet, Abbé Jos. de: ÉMILE VERHAEREN, SA VIE ET SES ŒUVRES. Malines, 1909.

Tellier, Jules: Nos POÈTES. Paris, Despret, 1888.

Thompson, Vance: FRENCH PORTRAITS. Boston, Badger & Co., 1900.

Vigié-Lecoq, E.: LA POÉSIE CONTEMPORAINE, 1884-1896. Paris, Mercure de France, 1897.

Visan, Tancrède de: L'ATTITUDE DU LYRISME CONTEMPORAIN. Paris, Mercure de France, 1911.

Zweig, Stefan: PREFACE TO ÉMILE VERHAERENS AUSGEWÄHLTE GEDICHTE IN NACHDICHTUNG. Berlin, Schuster und Loeffler, 1903.

PERIODICALS

Brandes, Georg: ÉMILE VERHAEREN. _Politiken_, Copenhagen, 8th June 1903.

Brandes, Georg: ÉMILE VERHAEREN ALS DRAMATIKER. _Die Schaubühne_, Berlin, 5th April 1906.

Edwards, Osman: ÉMILE VERHAEREN. _The Savoy_, November 1897.

Fontainas, André: ÉMILE VERHAEREN. _L'Art Moderne_, Brussels, 23rd February 1902.

Fresnois, André du: LETTRE DE PARIS, HÉLÈNE DE SPARTE. _La Vie Intellectuelle_, Brussels, May 1912.

Gosse, Edmund: M. VERHAEREN'S NEW POEMS (_Les Forces Tumultueuses_). _Daily Chronicle_, 17th February 1902.

Gosse, Edmund: M. VERHAEREN'S NEW POEMS (_Les Blés Mouvants_). _New Weekly_,18th April 1914.

Gourmont, Jean de: ÉMILE VERHAEREN. _Les Marges_, Paris, March 1914.

Krains, Hubert: ÉMILE VERHAEREN. _Société Nouvelle_, Brussels, June 1895.

Mauclair, Camille: TROIS POÈTES. _Revue Encyclopédique_, Paris, 25th April 1896.

Maurras, Charles: LITTÉRATURE. _Revue Encyclopédique_, Paris, 23rd January 1897.

Polak, Emile: ÉMILE VERHAEREN EN RUSSIE. _La Vie Intellectuelle,_ Brussels, January 1914.

Reboul, Jacques: ÉMILE VERHAEREN. _L'Olivier_, Paris, 15th February 1914.

Régnier, Henri de: ÉMILE VERHAEREN. _Revue Blanche_, Paris, March 1895.

Rodrigue, G.M.: HÉLÈNE DE SPARTE. _Le Thyrse_, Brussels, July 1912.

Sadler, Michael T.H.: ÉMILE VERHAEREN: AN APPRECIATION. _Poetry and Drama_, June 1913.

Sautreau, Georges: L'ŒUVRE LYRIQUE D'ÉMILE VERHAEREN. _Revue Scandinave_, Paris, December 1911--January 1912.

Speth, William: L'INSPIRATION DE VERHAEREN ET LES COLORISTES FLAMANDS. _La Vie des Lettres_, Paris, January 1914.

Vielé-Griffin, Francis: ÉMILE VERHAEREN. _La Plume_, Paris,

25th April 1896. Vielé-Griffin, Francis: ÉMILE VERHAEREN. _Mercure de France_, Paris, 15th March 1914.

INDEX

ACTORS, 131, 133, 174-175.
Admiration, 12, 29, 30, 46, 50,
101, 172, 183, 217 ff., 259.
Aeroplanes, 4, 164, 209.
Æsthetics, 10, 85, 94, 115, 116,
151, 205.
Africa, 114.
Agrarianism, 9, 101, 187.
'À la Gloire du Vent,' 200.
Alcohol, 15.
Alexandrine, the, 32, 41, 48, 74,
144, 147 ff., 163, 170.
_Almanack_, 197.
_Also Sprach Zarathustra_,134.
America, 15, 24, 108, 113, 115,
120, 131-132, 135, 231, 250.
Artisans, 16, 131, 194, 211, 235,
247.
Asceticism, 16, 43, 162, 168.
_Au Bord de la Route_, 57-60, 62,
63, 68, 111, 149, 236.
'Au Bord du Quai,' 202.
Auerbach, Berthold, 38.
'Aujourd'hui,' 4.
'Autour de ma Maison,' 217, 226.
'Aux Moines,' 43, 49, 51.

BAKST, LÉON, 174.
Ballads, old German, 146, 159.
Balzac, Honoré de, 246.
Banville, Théodore de, 143.
Baudelaire, Charles, 59, 120, 142.
Bayreuth, 92.
Bazalgette, Léon, 232, 238, 257.
Beauty, 37-38, 45, 49-52, 83,
96 ff., 104, 199, 206, 207, 221,
230, 231, 240.
--, the new, 6, 7, 9, 10, 12, 83,
96 ff., 100, 104, 105, 170-172,
222, 255.
_Béguinages_, 22, 44.
Belfries, 39, 50, 157.
Belgian art, 21-22, 45.
--life, 45.
--literature, 19, 25-26, 37-38.
--race, the, 17 ff., 23-24.
Belgium, 13 ff., 256.
Berlin, 87, 91, 113.
Bersaucourt, Albert de, 135.
Bornhem, 45.
Brandes, Georg, 258.
Breughel, 40.
Brezina, Otokar, 207.
Brjussow, Valerius, 257.
Brownings, the, 243.
Bruges, 21, 39, 43.
Brussels, 14, 32, 93.

CAILLOU-QUI-BIQUE, 30, 246.
Carducci, Giosuè, 187, 193.
Carlyle, Thomas, 86.
'Celle des Voyages,' 141.
'Celui de la Fatigue,' 66.
'Celui du Savoir,' 76.
Chance, 104, 110, 111, 204, 212.
'Charles le Téméraire,' 13.
Charles v., 25.
Chiaroscuro, 46, 190.
Chimay, 46.
Christ, 68, 70, 184, 211.
Christianity, 49, 51.
Cities, 3, 4, 6, 9, 13-14, 29-30,
55, 75-77, 83, 89 ff., 94 ff.,
101 ff., 107, 109, 111-113, 116-118,
125-126, 131, 140, 165-167,
181, 191, 197, 222, 231, 238,
247, 249, 257.
Classicism, 7, 52, 82, 84, 100,
160, 162, 172, 190.
Claus, Émile, 22.
Cloisters, 9, 22, 25, 26, 43-46, 147,
165-166.
Colmar, 92.
Comédie Française, the, 149.
Concentration, 188, 194.
Congo, the, 17.
Conservatives, the, 104.
Contemporary feeling, 5 ff., 81-90,
101 ff., 112, 115, 118, 148,
182, 234, 248, 254 ff.
Coppée, François, 143.
_Cosmic Enthusiasm_, 220.
Cosmic feeling, 8, 69-70, 74-75,
81 ff., 112-113, 126, 134, 152,
179-185, 186, 188, 192, 198 ff.,
219, 226, 228, 231, 256, 258.
--law, 198, 202-203.
--pain, 68.
Cosmopolitanism, 22, 257.
Cosmos, the, 8.
Coster, Charles de, 19, 23, 167,
168.
Country, the, 9, 15, 26, 29, 30,
101 ff., 107, 245, 247, 248.
Courtrai, 21.
Criticism, 33-34, 187, 218.
Crommelynck, Fernand, 22.
Crowd, the, 104 ff., 117, 118, 121,
122, 125-127, 129, 130, 132,
134-136, 139, 140, 148, 152.

DAVID, GERHARD, 43.
Death, 60, 61, 63, 65, 69, 242.
Decadence, 18.
Decadents, the, 143, 256.
Declamation (_see_ Recitation).
Defregger, Franz, 38.
Dehmel, Richard, 75-76, 187, 191,
229, 234.
Deman, Edmond, 32.
Democracy, 9, 77, 81 ff., 108, 109,
111, 114, 197, 206.
Demolder, Eugène, 22.
Déroulède, Paul, 135.
Deutsches Volkstheater, Vienna, 174.
Dialogue, 129.

Disease, 55 ff., 102, 204, 209.
Dithyramb, the, 73, 161.
Divinity (_see_ God).
Dixmude, 44.
Dostoieffsky, F.M., 63, 166.
Drama, the, 150, 151, 161 ff.,
194, 235.
Dyck, Ernest van, 32.

_Ecce Homo!_ 63, 66, 85-86, 119,
218.

Ecstasy, 24, 61, 66, 75, 76, 82,
89, 90, 92, 94, 121, 128, 133,
136, 137, 139, 152, 165-167,
169, 173, 183, 184, 187, 189,
209, 213, 216, 217, 220, 221,
223, 225-229, 231, 232, 234,
235, 237-239, 241, 243, 248,
251, 259.
Edwards, Osman, 174.
Eekhoud, Georges, 22.
Egoism (_see_ Selfishness).
Emerson, Ralph Waldo, 140.
Emigrants, 9, 102-103, 187.
Energy, 50, 88 ff., 92, 95, 96, 99,
105, 111, 114, 116, 117, 121,
132, 182, 198, 199, 218, 221,
223.
Engineering, 4, 5, 9, 82.
England, 13, 55, 63, 64, 90, 92,
108, 113, 114.
Enthusiasm, 12, 30, 89, 111, 132,
138, 153, 161-164, 168, 172-174,
179, 183, 184, 187, 188, 193,
194, 198, 207, 209, 210, 215 ff,
220-222, 225-227, 232, 234,
250, 252, 259.
Epic, the, 19, 23, 150, 151, 161.
Eroticism, 167,172-173, 234, 235,
237, 240.
Ethics, 6, 115, 182, 183, 187,
206, 215 ff., 216.
Europe, 9, 13, 20, 23, 101, 114,
201, 231, 250, 253 ff.
European consciousness, 114.
--feeling, 22.
--race, the, 114-115.
--the New, 9.
Evolution, 3 ff., 10, 82, 105, 142,
180, 195-197, 213, 216, 218,
229, 249.
Excess, 15, 16, 24, 31, 40-41, 44,
61, 121, 139, 232, 245.
Exchanges, 90, 98, 99, 155.
Exultation, 24, 44, 91, 130, 133.
Eycks, van, the, 43.

FACTORIES, 89, 97, 100, 102, 155.
Faith, 31, 44, 46, 50, 67, 69, 95,
104, 167, 184, 196, 208-210,
212, 227.
Fate, 62, 203, 212, 213.
Faust, 72, 209.
Fellowship, 73, 76, 94, 223, 227, 249.
Fervour (_see_ Enthusiasm).
Flanders, 15, 19, 22, 23, 27, 30,
33, 36, 39, 40, 43, 44, 46, 51,
168, 197, 246, 246, 256.
Flemings, the, 14, 15, 43.
Flemish language, the, 154, 155.
'Fleur Fatale,' 63, 65.
Florence, 52, 92, 191.
Force, 232, 253.
Forth Bridge, the, 87.
France, 13, 22, 134, 250, 256.
Future, the, 8, 10, 14, 36, 51, 53,
89, 104, 115, 167, 180, 182, 201,
204, 211, 227, 231, 232, 244,
246, 253-255.

GAIETY THEATRE, Manchester, 174.
Gauchez, Maurice, 154.
Genius, men of, 18.
Genre-pictures, 40.
George, Stefan, 187.
Germany, 19, 55, 91, 92, 174, 257, 258.
Ghent, 25, 213.
Gide, Andre', 249.
Glesener, Edmond, 22.
God, 6, 7, 47-48, 68, 95, 104, 105,
109-111, 165, 182, 184, 185,
199, 203-205, 208, 210, 212-215,
222, 259.
Goethe, Johann Wolfgang, 70,
71, 72,139, 158, 160, 193, 197,
254.
Goodness, 72, 251.
Gothic art, 45.
Greece, 82, 86, 165.
Greeks, the, 52, 84, 172, 190.
Grünewald, Mathias, 92.
Gueux, the, 20,
'Guillaume de Juliers,' 228.
Guyau, Jean-Marie, 8.

HAMBURG, 92.
Handiwork, 28, 82, 86, 93, 211.
Harmony, 23, 36, 70, 84, 85, 118,
125, 127, 130, 146, 149, 160,
167, 169, 170, 181, 183, 184,
213, 216, 245, 254.
Hay fever, 29, 247-248.
Health, 16-18, 67, 72, 73, 231,
245, 246, 251.
_Hélène de Sparte_,162, 165, 169-172,
174-175.
Heymans, Joseph, 22.
Holland, 13.
Homer, 128.
'Hommage,' 236.
Horniman, Miss, 174.
Hugo, Victor, 10-11, 32, 120, 134-135,
138, 142-143, 145, 147, 160.

Humility, 221, 233, 240.
Huysmans, Joris Karl, 22.

IDENTITY, 8, 77, 96, 126, 184, 205,
223, 225, 228, 230, 248, 250.
Iliad, the, 19.
Impressionists, the, 9, 86, 222, 249.
India, 109, 114.
Individual, the, 110, 111, 118.
Industrialism, 9, 77, 81 ff., 101,
125, 131, 187, 205-206.
Inquisition, the, 16, 169.
'Insatiablement,' 61.
Instinct, 98, 100, 113, 229, 236.
Intemperance (_see_ Excess).
Intensification, 20, 24, 30, 49, 64,
66, 131, 137, 152, 162, 164, 190,
200-202, 207, 220, 225, 229,
241, 252, 254.
Intoxication, 20, 22, 24, 64, 91,
189, 199, 232.
Italy, 13, 86, 92, 108, 114, 191.

JENSEN, JOHANNES V., 258.
Jesuits, the, 25-26.
Jesus, 68, 70.
Jordaens, Jakob, 15, 40, 41.
Joy, 61, 66, 74, 106, 133, 184, 214,
217, 228, 230-233, 240.

KAHN, GUSTAVE, 144.
Kainz, Josef, 258.
Kermesses, 15, 31, 40, 43.
Key, Ellen, 258.
Khnopff, Fernand, 21, 45.
Klinger, Max, 128.
Knowledge, 179, 180, 216, 220-222,
225, 227, 229, 232-234, 236, 245.
Künstlertheater, Munich, 174.

'LA BARQUE,' 58.
'Là-has,' 62.
Labour Party, Belgian, 93.
'La Bourse,' 98.
'La Conquête' (_La Multiple Splendeur_),
109, 114, 199.
'La Conquête' (_Les Forces Tumultueuses_),
115, 203, 206.
'L'Action,' 128, 209, 220.
'La Ferveur,' 204, 208, 219, 224-225, 232.
'La Folie,' 212.
'La Forêt,' 77.
Laforgue, Jules, 144.
'La Foule,' 3, 76, 95, 107, 112,
152, 185.
_La Guirlande des Dunes_, 246.
'La Joie,' 55, 66, 226, 231.
'La Louange du Corps humain,' 227.
Lamartine, A.M.L. de, 32, 145.
'L'Âme de la Ville,' 95, 97, 105.
'La Mort,' 211.
'La Morte,' 64.
'L'Amour,' 68.
_La Multiple Splendeur_, 109, 114,
122, 126, 182, 183, 199, 200,
204, 208, 209, 210, 211, 217,
219, 221, 223, 224-225, 226,
227, 228, 231, 232, 233.
'La Plaine,' 103.
'La Pluie,' 71.
'La Prière,' 253.
'La Recherche,' 207, 211.
'L'Art,' 11.
'La Science,' 209, 210.
Latin races, the, 19.
'L'Attente,' 197, 211, 212.
'L'Aventurier,' 71.
'La Vie,' 215, 219, 228.
'La Ville,' 97.
'L'Eau,' 201-202.
'Le Bazar,' 98, 99.
'Le Capitaine,' 116.
Le Cardonnel, Georges, 215-216.
_Le Cloître_, 49, 162, 165-166, 168,
172, 174.
'Le Départ,' 103.
'Le Forgeron,' 70, 73.
'Le Gel,' 58.
Lemonnier, Camille, 20-21, 33, 37, 244.
'Le Mont,' 81.
'L'En-Avant,' 125, 226.
'Le Paradis,' 213, 236.
'Le Passeur d'Eau,' 71.
'Le Port,' 103.
Lerberghe, Charles van, 15, 22, 25, 26.
'Le Roc,' 61, 64, 65.
'L'Erreur,' 208.
_Les Apparus dans mes Chemins_, 66, 72, 73, 76.
_Les Aubes_, 103, 109, 115, 162, 166-167.
_Les Blés Mouvants_, 36, 229.
'Les Cultes,' 203.
_Les Débâcles_, 57, 60, 61, 63, 65.
_Les Campagnes Hallucinées_, 97,
101 ff., 162, 197.
_Les Flamandes_, 33, 36 ff., 49, 45,
197, 229.
_Les Flambeaux Noirs_, 67, 61, 64, 65.
_Les Forces Tumultueuses_, 11, 17,
115, 116, 123, 125, 132, 137,
161, 182, 183, 186, 203, 204,
206, 208, 209, 210, 212, 220,
222, 226, 229, 233, 255.
_Les Héros_, 4, 228.
_Les Heures Claires_, 237.
_Les Heures d'Après-midi_, 234, 237,
239, 240, 241, 241, 242.
_Les Heures du Soir_, 237, 242.
'Les Heures où l'on crée,' 123.
'Les Mages,' 233.
_Les Moines_, 43 ff., 55, 58, 145,
162, 165, 197, 208.
'Les Nombres,' 65.
'Le Sonneur,' 71, 187.
'Les Pêcheurs,' 71.
'Les Penseurs,' 209, 210.
_Les Petites Légendes_, 197.
'Les Promeneuses,' 98.
'Les Rêves,' 215, 221.
_Les Rythmes Souverains_, 182, 183,
213, 229, 236, 253.
'Les Saintes,' 72, 73.
_Les Soirs_,57, 58, 60, 61.
'Les Spectacles,' 98, 179.
_Les Tendresses Premières_, 4, 25, 27.
_Les Vignes de ma Muraille_, 141.
'Les Vieux Maîtres,' 39.
_Les Villages Illusoires_, 70-71, 73, 162, 187.
'Les Villes,' 91, 204.
_Les Villes Tentaculaires_, 91 ff.,
103, 104, 105, 115, 158, 162,
166, 197, 205, 207, 211, 257.
_Les Visages de la Vie_ ,3, 55, 66,
76, 77, 95, 107, 112, 152, 182,
183, 185, 199, 201-202, 209,
211, 212, 220.
'L'Étal,' 99.
'Le Tribun,' 132.
'Le Verbe,' 117, 122, 126.
'L'Heure Mauvaise,' 57, 59, 149.
'L'Impossible,' 137, 220, 222.
Locomotives, 124, 125.
London, 55, 63, 90, 92, 108, 113, 114.
Louvain, 31.
Love, 7, 29, 66, 72, 86, 170-173,
197, 221, 223-224, 230, 234 ff.

MACHINERY, 74, 81-82, 84 ff.,
155, 206, 211.
Madness, 57, 63 ff., 69, 102.
Maeterlinck, Maurice, 15, 22, 25,
26, 45, 143, 213, 249.
_Maison du Peuple, La_, 93.
Mallarmé, Stéphane, 144.
Manchester, 174.
'Ma Race,' 17, 35.
Marriage, 94, 197, 237 ff., 243.
Martyrs, 19, 207.
'Méditation,' 208.
Mendès, Catulle, 143.
Merrill, Stuart, 143.
Messel, Alfred, 87.
Metaphors, 46, 136, 137, 141,
156, 157, 160.
Metaphysics, 24, 184, 199, 203,
215, 216, 220, 236.
Meunier, Constantin, 17, 22, 86.
Minne, Georges, 21, 45.
Mockel, Albert, 22, 48, 139, 143,
157, 189, 246, 249.
Monasteries (_see_ Cloisters).
Monastery of Bornhem, 45.
--of Forges, 46.
Monet, Claude, 86.
Money, 95, 98-99, 102, 103, 114 201.
Monistic philosophy, 202, 258.
Monks, 44, 45 ff., 235.
Mont, Pol de, 14.
Morality, 6, 16, 40, 51, 88, 167,
182, 205, 216, 217, 219, 224.
Moréas, Jean, 143.
Motion, 121, 141, 217.
Motor-cars, 14, 87, 124.
'Mourir,' 60.
Multitude (_see_ Crowd).
Munich, 19, 92, 174.
Music halls, 98.
Mysticism, 214, 258.
Mystics, the, 18, 207.
Mythology, 51, 172, 182, 184.

NATURALISM, 37-38, 41.
Nature, 3, 20, 28, 29, 55, 94, 96,
99, 105, 112, 123, 125, 158, 172,
195, 200-205, 212, 213, 239,
246, 247, 248.
Necessary, the, is the beautiful,
7, 9, 10, 86, 218.
Neologisms, 154, 160.
Neurasthenia, 56 ff., 118.
New age, the, 3 ff., 105, 206-207, 211.
--European, the, 9.
New York, 108.
Nietzsche, Friedrich, 10, 68, 66,
85-86, 115, 119, 133, 134, 181,
218, 229, 251.

OMBIAUX, MAURICE DES, 22.
Onomatopœia, 149.
Oppidomagnum, 103, 108, 166-167,
Optimism, 184, 207, 208, 210, 258.
Organisation, 6, 88, 93, 98, 101,
107, 114, 116, 118-119.
Orgies, 15, 39, 40, 41.
Oxford, 25.

PAN, 51, 184.
Pan-American, the, 115.
Pan-European, the, 115.
Pantheism, 24, 77, 215, 225, 226.
Paradise, 212-213.
Paris, 55, 87, 93, 108, 113, 114,
174, 248-249.
Parnassian poetry, 48, 145, 146.
Paroxysm, 63, 64, 89, 188.
_Parsival_,37.
Passion, 48, 67, 77, 92, 97, 99,
109, 110, 117, 118, 120-123,
128-131, 133, 135, 136, 147,
159, 163-165, 168-170, 173, 174,
179, 181, 189, 194, 212, 215,
217, 227-229, 231, 232, 235,
238, 241, 245, 251, 252.
Past, the, 7, 10, 14, 26, 36, 46,
50-53, 69, 82, 85 ff., 94, 100,
104, 105, 109, 167, 180, 182,
207, 231, 246.
Peasants, 16, 20-21, 29, 102-103,
146-147, 247, 251.
Pessimism, 43, 68, 258.
Petöfi, Alexander, 132.
Philip II., 16, 19,167-169.
_Philippe II._, 92,162, 165, 167-169, 174.
Philosophy, 9, 10, 151, 179, 182,
184, 187, 194, 216, 236, 256, 258.
Picard, Edmond, 33.
Poetry, the new, 6, 7, 8, 73, 77,
83 ff., 109, 111-113, 116, 119,
126, 132, 133, 137, 139, 155,
205-206, 216, 222.
Poets, the, 50-51, 82, 208-209.
--of the old school, 6, 7, 12,
51-52, 81 ff., 109, 111-112, 125,
129-131, 188, 190, 192, 193,
206, 255.
Pol de Mont, 14.
Poverty, 14, 16, 94, 102-103.
Prague, 91.
Present, the, 3 ff., 10, 51, 52,
105, 115, 167, 179-180, 182,
201, 246, 254, 255, 256.
Pride, 23, 70, 72, 219, 221, 224,
230, 231, 256.
Progress, 3-5, 7, 104, 209.
Prostitutes, 98, 99, 102.
Protestantism, 14.
Pseudoanæsthesia, 156.
Psychology, 47, 113, 180.
Puritanism, 16.

RABELAIS, FRANÇOIS, 40.
Realism, 37-38, 199.
Reality, 6, 7, 37-38, 50-52, 70,
81, 85-86, 111, 114, 115, 131,
153, 155, 167, 179, 183, 185,
192, 196, 198, 199, 201, 204,
206, 255, 259.
Recitation, 122-123, 128 ff., 136,
139, 149, 157.
Reinhardt, Max, 174.
Religion, 6, 9, 24, 44, 47, 50, 64,
67, 105, 182-184, 196, 205, 208,
211, 238, 240, 257.
--, a new, 6, 20, 50, 88, 104.
Rembrandt, 11, 43, 46, 187.
_Rembrandt_, 2, 11.
Renan, Ernest, 85.
Renunciation, 19, 27, 44, 52.
Responsibility, 253 ff.
Revolt, 16, 30, 42, 62, 99, 117,
122, 142-146, 160, 169, 195,
229, 256.
Rhapsodists, 128 ff.
Rhetoricians, 134.
Rhyme, 144, 153, 155.
Rhythm, 24, 41, 74, 94, 95, 97,
105, 116, 118 ff., 137, 141,
146 ff., 153, 157, 163, 173, 174,
193, 194, 201, 238, 247, 251, 256.
--of life, the, 5, 7, 8, 11, 117 ff.
Rilke, Rainer Maria, 154, 187, 249.
_Ring, The_, 37.
Rodenbach, Georges, 21, 25, 26, 39.
Rodin, Auguste, 135, 249.
Rolland, Romain, 249,
Romains, Jules, 256-257.
Roman Catholicism, 14, 16, 24,
26, 31, 44, 46, 67, 69, 162, 165-166,
168-169, 184.
Romanticism, 46.
Romanticists, the, 50, 147.
Rome, 108, 114.
Rops, Félicien, 22.
Rubens, Peter Paul, 20, 40, 41,
43, 58.
Rubinstein, Ida, 174.
Ruskin, John, 82.
Russia, 257.
Russians, the, 43.
Rysselberghe, Théo van, 22, 249.

ST. AMAND, 27-
Saint-Cloud, 249.
'Saint Georges,' 72, 73.
Sainte-Barbe, College of, 25-26, 30, 213.
St. Petersburg, 114.
Saints, 19, 210, 212.
'S'amoindrir,' 60.
Scandinavia, 18, 258.
Scheldt, the, 27, 28.
Schiller, Friedrich, 134,158, 160, 168.
Schlaf, Johannes, 65.
Scholars, 209, 210.
Science, 6, 9, 18, 64, 77, 82, 85,
108, 155, 205-209, 222.
Sea, the, 13, 15, 30, 103, 201,
202, 247, 248.
Selfishness, 72, 223.
Sensations, 6-9, 65,104, 120, 125,
130, 164, 188, 189, 190, 192,
202, 203, 225, 240.
Sensuality, 15, 16, 24, 40, 41, 44,
98, 162, 170-172, 241, 245.
Sex, 234 ff.
Shakespeare, William, 10, 163.
Signac, Paul, 249.
Silence, 44-46, 117, 122, 130, 214, 239
'Si Morne,' 61.
Social feeling, 83, 110.
--problem, the, 8, 9, 101 ff., 187.
Socialism, 9, 24, 89, 93, 224.
Society, 249.
Solitude, 44, 55, 57, 69, 70, 76,
81, 83, 86, 91, 112, 237.
Sonnets, 41, 46.
Soul, 43, 89, 141, 182, 225, 237.
'Sous les Prétoriens,' 111.
Spain, 16, 55, 92, 162, 165, 191.
Spaniards, the, 16.
Stappen, van der, 22.
Stevens, Alfred, 22.
Strauss, David, 50.
Suicide, 62, 64, 65.
Superman, the, 115.
Symbolism, 71, 99, 143 ff.
Symbolists, the, 143 ff., 256.
Symbols, 7, 19,21, 45, 47, 51, 70,
71, 72, 92, 104, 107, 144, 163,
165, 168, 195, 201, 202, 213,
218, 237, 247, 248.
Swinburne, Algernon Charles, 160.

TAMERLAINE, 108.
_Tannhäuser_,37.
Teutonic elements, 14, 18, 24, 39,
146, 159, 194, 225.
Thames, the, 64.
_Thyl Ulenspiegel_, 19, 167, 168.
Toledo, 191.
Tolstoy, Leo, 82.
Torpedo-boats, 87.
_Toute la Flandre_, 4, 23, 25, 27,
168, 197, 244, 246.
Town (_see_ City).
Tradition, 26, 27, 85, 92, 145, 146, 243.
Travel, 55, 91-92, 124, 201.
'Truandailies,' 40.
Truth, 37-38.
Turner, J.M.W., 152.

UNITY, 23, 108, 113, 114, 199,
202, 203, 211, 215 ff., 225, 252.
Université Libre, Brussels, 93.
Unknown, the, 3, 6, 69, 204, 207,
212, 220, 224.
'Un Matin,' 229.
'Un Soir ' (_Au Bord de la Route_), 63, 68.
'Un Soir' (_Les Forces Tumultueuses_), 183, 186, 255.
Utopia, 109, 115, 167, 199.

VANDERVELDE, EMIL, 93.
Vellay, Charles, 215-216.
Venice, 13.

Verhaeren, Émile, born at St. Amand on the
Scheldt, 1855, 27; his boyhood, 27-28; educated at
the College of Sainte-Barbe in Ghent, 25-26;
studies jurisprudence at Louvain, 31; called to the
bar in Brussels, 32; his first verses, 32, 33, 145
ff.; publication of _Les Flamandes,_ 33 ff.;
resides for three weeks in the monastery of
Forges, 46; publication of _Les Moines_, 45 ff.;
his health breaks down, 55 ff., 237; his illness
is described in _Les Soirs, Les Débâcles, Les
Flambeaux Noirs,_ and _Au Bord de la Route_, 57
ff.; his travels, 55, 91-92, 124; he is obsessed
by the atmosphere of London, 55; his recovery is
symbolised in some of the poems of _Les Villages
Illusoires_, 70-71; his marriage, 94, 237 ff., 243;
his connection with the Labour Party and
Socialism, 89, 93-94; the Flemish element in his
style, 154-155; his technique, 141 ff.; stage
performances of his dramas, 164, 174-175; how he
recites his poetry, 122-123; he resides at
Caillou-qui-bique and Saint-Cloud, 30, 93, 246,
248-249; his personal appearance, 67, 251; his
personality, 244 ff.

Verlaine, Paul, 69, 120, 142, 144, 243.
'Vers,' 60.
'Vers la Mer,' 152.
'Vers le Cloître,' 63.
'Vers le Futur,' 104, 205, 207.
_Vers libre_, the, 74, 144 ff., 163.
_Vers ternaire, le_, 147.
Vielé-Griffin, Francis, 143, 246, 249.
Vienna, 91, 114, 174.
Vitality, 12, 15, 16, 19, 24, 32,
33, 40, 43, 119, 131, 190, 200-202,
206, 229, 248, 258.

WAGNER, RICHARD, 37, 92.
Walloons, the, 14, 22.
Weyden, Roger van der, 43.
Whistler, J. M'Neill, 86.
Whitman, Walt, 24, 86, 108-109,
115, 132, 134, 187, 190-191,
227 257.
Will, the, 23, 60-62, 73-74, 133,
181, 194-195, 198, 203, 212,
223.
_Wisdom and Destiny_, 213.
Woman, 172-173, 192, 234 ff.
Women, Belgian, 17.

YPRES, 21, 43.

ZOLA, ÉMILE, 37.

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