Chapter XII

I have reported little of the gossip concerning Maeterlinck. Everybody knows that he smokes denicotinised tobacco; that he resides in the summer at Saint Wandrille and in the winter at his house "Villa des Abeilles" at Nice (having now left his villa aux Quatre Chemins, near Grasse in the south of France); and so forth. One little picture I would like to contribute; I have it from a friend and admirer of his, and it concerns a visit to the Villa Dupont, the house in the Rue Pergolèse where Maeterlinck lived when he first settled in Paris:

"His study was like a monk's cell, but very original in style. It
was simply lime-washed; and this lime-wash was of a hard, raw blue
in colour, approaching indigo. For furniture, a little
looking-glass, a table of rough wood, and three chairs. No books at
all. But the walls were covered with little white butterflies in
flight. These were _thoughts_, and every one was fastened to the
wall simply by a pin. The effect was singular, violently original
at all events, but with nothing that gave you the idea of a pose.
Maeterlinck at this period received no visitors, saw none of his
friends. He had installed himself in surroundings as bare as
possible, so that he might meditate; and to these surroundings he
had given the colour he desired.

"This room was empty when I was brought into it; and I beguiled the
tedium of waiting for Maeterlinck by reading some of the thoughts
on the slips of white paper pinned to the wall. Some of them were
nothing very particular; others were obscure or appeared rather
childish--isolated, as I read them;--but some were very beautiful.
Maeterlinck coming into the room and finding me thus occupied,
laughed heartily. But severely I pointed to the butterflies on the
wall, and inquired about the name of each species. The names, I was
told, were very great names indeed. I tried to guess one or two,
but luck was against me, and I felt it a puzzle to set the right
name to each bit of paper.

"Maeterlinck, reading with me, smiled as he saw me attack a new
battalion of thoughts. These were placed somewhat apart from the
others. 'Are they yours?' I asked. 'Yes,' he answered modestly;
'nothing more than studies for a book I am working at. But take
notice of this one, please, and of this one, and of this one too.
Are they not most beautiful?' Then, in a tone of jubilant
admiration, he pronounced the name of their author--the name of a
French lady who, some years afterwards, was to be Melisanda, Monna
Vanna, and Ardiane on the stage. Several of these thoughts, I must
say, seemed really worth attention; and I felt particularly
surprised that a woman should have been able to compress them into
three short lines, or even into five or six words."

As to Maeterlinck's personal appearance at the present time, the following is the impression he made recently on Mr Frank Harris:

"Maeterlinck is easily described: a man of about five feet nine in
height, inclined to be stout; silver hair lends distinction to the
large round head and boyish fresh complexion; blue-grey eyes, now
thoughtful, now merry, and an unaffected off-hand manner. The
features are not cut, left rather "in the rough" as sculptors say,
even the heavy jaw and chin are drowned in fat; the forehead bulges
and the eyes lose colour in the light and seem hard; still, an
interesting and attractive personality."[1]

A few words must be devoted to the present position of Maeterlinck in critical estimation. Since the award of the Nobel prize imposed him on the public consciousness as one of the foremost of living writers, voices have been raised in protest. The attack of the Abbé Dimnet in _The Nineteenth Century and After_ for January, 1912, may be dismissed as Jesuitical. Various opinions, mostly favourable, by celebrities, were collected in the Brussels review _Le Thyrse_ for January, 1912, under the heading, "Maeterlinck et le prix Nobel." One of these letters is from Alfred Fouillée, who suggests that Maeterlinck's philosophy owes much to that of Jean Marie Guyau. The old complaint that the dramas are "childish" is rarely heard nowadays; but there is a vague feeling in the air that the substance of the essays is a potpourri from earlier writers. It is the easiest thing in the world to make such a charge; it is far more difficult to substantiate it. Not one critic has given us the exhaustive list of parallel passages which would be required to shake our credit in Maeterlinck's essential originality. Typical is the attitude of Mr Frank Harris in his too inaccurate and loosely written but not negligible articles in the _Academy_: he finds nothing in the essays which is not already contained in "Moralis" (does he mean Novalis?) and the other somewhat recondite writers in whom he (Mr Frank Harris) is obviously so deeply read. But even if it were proved that Maeterlinck, like Molière, has taken his wealth where he found it, there would be no more reason to think the less of him than there is to think the less of any artist for melting old metal and re-casting it, or of any thinker for sifting, rejecting, and re-stating old conclusions. It is an effort of profound originality to take whatever is good from a vast, and in some cases buried literature, and from this stock to polish and set in currency ideas which have an immediate effect on the spiritual or mental life of to-day, which fortify character, give us confidence in the future, make us better men and force us to make our children better men than we are ourselves.

By far the most scathing of Maeterlinck's detractors is a Belgian critic born in Ghent, Louis Dumont-Wilden, a critic who, as he confesses, was in his youth enchanted by the "morning charm" of _The Treasure of the Humble_ with "its violent and sustained effort to soar to a kind of philosophical lyrism," who has still a good word to say for the early dramas, but who condemns "the adulterated æstheticism of _Monna Vanna_, the cold allegory, the elementary philosophy of _Joyzelle_ and _The Blue Bird_." Already in _La Nouvelle Revue Française_ for February, 1910, Dumont-Wilden attempted to shatter the idol in the following terms:

"Le succès permet toujours aux hommes de lettres le supporter très
bien l'angoisse métaphysique, et Maeterlinck, grâce à ses
admirateurs et à ses amis, était devenu un homme de lettres.
Prisonnier de ses premiers livres, et de son premier public, il
trouva l'art subtil d'accomoder les balbutiements effarés de
Mélisande, le naturisme ingénu qui fait le fonds de sa sensibilité
de flamand, et ce vague optimisme 'humanitaire,' ce socialisme
esthétique et scientifard, qui règne aujourd'hui parmi ceux que
Nietzsche appelle 'les philistins de la culture.' Il est vrai qu'un
peu de mysticisme arrange tout; mais tout de même, quel
chef-d'œuvre de 'literature': faire croire à Monsieur Homais
qu'il appartient à l'élite, et à l'élite qu'elle peut se permettre
les sentiments de M. Homais!

"D'abord la prose de Maeterlinck, sauce merveilleusement onctueuse,
fit passer ce singulier ragoût intellectuel, que le grand public
international, le public des liseurs de magazines et des
institutrices polyglottes continue à prendre pour le
chef-d'œuvre de la cuisine française."

As to the last item in this fierce diatribe, it would appear to be true that Maeterlinck's greatest public is composed of "the philistines of culture." Maeterlinck is an antagonist of Christianity; and yet perhaps the majority of his admirers are those who love him because he has such beautiful things to tell them about their immortal souls. Like Voltaire, he fights 'l'infâme'; and yet to many a Christian virgin his works are an edifice which he might have inscribed with the device: _Deo erexit Maeterlinck_. Again, he has prophesied the inevitable victory of socialism; but has he helped the socialists? Is he counted one of the paladins of socialism? It might be argued that he has not the zest in hard fighting which alone can help a fighting cause: he stands apart from the mêlée with a wise face imperturbable: he would persuade, not fight, and he is too persuasive to persuade. Those who waver or resist must be shattered into conviction, the fanatic might urge. In short, Maeterlinck is a socialist much as Goethe was a patriot.

Well, probably the fact is that Maeterlinck is no more a "socialist" than Goethe was a "patriot." All such terms may be interpreted variously. Goethe _was_ a patriot if you consider that his fatherland was the world. Maeterlinck _is_ a socialist if you look away from the din of the mere present to the future his writings undoubtedly prepare. Maeterlinck is first and foremost a _futurist_, a seer of the future. Even as a dramatist (apart from his later dramas, which must, on the whole, be rejected) he is a futurist. And in this sense he has his public among the élite. M. Dumont-Wilden would not call Johannes Schlaf a philistine of culture? And to Johannes Schlaf, as to me, Maeterlinck's importance lies in the fact that he is _the_ perfect type of Nietzsche's _New European_, in himself a prophecy of the race our descendants will be when patriotism is: to be a citizen of the whole world, and religion is: to be noble for nobility's sake. As for his Christian readers, why should they not, if they can, find confirmation of their own creed in the teaching of an enemy of it? The fact of Maeterlinck's vogue with Christian readers only proves that Christianity has much in common with the religion of the future.

In an article, which created a sensation, in La _Nouvelle Revue Française_ for September, 1912, M. Dumont-Wilden compares Maeterlinck's popularity with that of Bernardin de Saint-Pierre three generations ago. He says:

"La gloire de Bernardin n'est point négligeable, et la comparaison
s'impose d'elle-même entre Maeterlinck et lui. En écrivant _Les
Etudes de la Nature_, cet auteur vieilli dont on ne lit plus guère
qu'une bluette charmante qu'il composa en se jouant, apportait une
nourriture salutaire au public de son temps, à ce public moyen que
Jean-Jacques dépassait. Son finalisme ingénu calmait les
inquiétudes de ceux que la sécheresse d'une morale utilitaire et
d'un matérialisme sans grandeur avait déçus et qui, pourtant, se
refusaient à faire, même avec Chateaubriand, le voyage du pénitent
vers les autels délaissés."

Now, if Jean-Jacques was to Bernardin de Saint-Pierre what Nietzsche is to Maeterlinck, it would not be difficult to prove that Maeterlinck appeals to Nietzscheans, and that his teaching has points of contact with that of Nietzsche. To be quite short, Maeterlinck's man of the future is essentially the superman. And even if it were true that Maeterlinck's writings will be no more read in the future than are those of Bernardin de Saint-Pierre to-day, that would not reduce him to the rank of a minor writer. Voltaire's writings, which prepared a revolution, are now little read; and yet how much of Voltaire's thinking, or abstract of thinking (was Voltaire "original"?) is woven into the fabric of the mental life of to-day? We cannot, it is true, draw a close comparison between Voltaire and Maeterlinck, for Maeterlinck has no venom, and no disposition to thrust himself forward into the forefront of public interest; but it would be possible to compare his present position with that of Goethe (another writer the great mass of whose writings, as far as the non-German reading public is concerned, is dead). What Goethe was to the élite of Europe in the opening decades of the nineteenth century, Maeterlinck is to-day. His position, too, was assailed by a younger school of authors; but they could not shake it. Goethe, by the final moral of _Faust_, taught his generation to channel their activities and, confident of the result, to pour their strength into unselfish work; Maeterlinck teaches the same doctrine, and it may be said again of him, as he has said of Goethe, that he has brought us to the shores of the sea of serenity.

So much for Maeterlinck's philosophy. But his critics, especially M. Dumont-Wilden, are apt to forget one thing--his poetry. It is possible, of course, to state even his dramas in terms of philosophy; but when you have interpreted the symbols, there still remains something that cannot be set down in equations--the poetry. Granted that Maleine = the human soul: does she not still remain a beautiful dream, a Sadist's dream of a girl?[2] Against M. Dumont-Wilden's criticism

Albert Mockel, _La Wallonie_,
June and July, 1890.

it must be urged that Maeterlinck, besides being a thinker, is also a poet--not a lyric poet, of course (his rank is low here), but a creator of new things, a master of atmosphere and suggestion--in short, when all deductions are made, a great writer. The philosophy will be absorbed by everyday life and become commonplace; but _Interior_ and _The Sightless_ will always be the first-fruits of a new poetry and deathless works of art.

There is one other thing to be said. There have been thinkers whose private life did not bear comparison with the ideals proclaimed in their writings. Of Maeterlinck the man nothing but good is known. The man he is would stand unshaken if all his literary works withered like bindweed round a tree at the first breath of winter. A eulogy of his character based on the long list of his good deeds is impossible; for these are unknown--suspected merely, or secrets of his friends and not to be revealed without offending him. But the sage needs no approbation save his own; and Maeterlinck's good deeds were done, not for praise, but because he was Maeterlinck.

[1] _Academy_; 22nd June, 1912.

[2] "C'est une fillette de van Lerberghe si inconsciemment venue dans les _Serres Chaudes_, et qui s'y meurt; étouffée en ce palais empoisonné, elle s'y meurt, elle s'y meurt! Elle est claire, elle est pure, d'une chasteté d'étrangère apparue,--et pourtant son haleine est d'une malade, il sourd de sa poitrine des effluves angéliques et pervers; elle est équivoque et triste, et nul ne saurait affirmer avec certitude que tout cela existe, ni qu'elle-même _est_ bien là, devant nous. C'est la Princesse, la Princesse ... Elle, ses paupières vagues et toutes ses boucles en lianes; ses cheveux qui s'enrouleraient de caresses vivantes, étrangement tièdes sinon de glace, un col irréel où s'enlaceraient des malheurs,--un san Giovannino de Donatello parmi des terreurs ambiguës, un Botticelli dans la Malaria."

INDEX

A.

"Academy, The," xiv. Acting, present-day style of. Action. Adam, Paul. Adultery. Æschylus. "Aglavaine et Selysette." Ajalbert, Jean. Alcohol. "Alladine et Palomides." Altruism, 111, 128, 131. Andersen, Hans Christian. "Anima vagula." Animals. "Annabella." Anti-asceticism. "Ardiane and Bluebeard," _see_ "Ariane et Barbe-Bleue." "Ariane et Barbe-Bleue." Art. Artist. Asceticism. Aspiration. Atmosphere. Aurelius, Marcus. Authority. Avebury, Lord. "Avertis, Les." "Aveugles, Les."

B.

Barbey d'Aurevilly, Jules. "Basoche, La." Baudelaire, Charles, 44, 84, (doctrine of correspondences). Bazalgette, Léon. Beaunier, André. Beauty. Bees. Bernard, Charles. Bernardin de Saint-Pierre. Bever, Adolphe van. "Blue Bird, The," _see_ "Oiseau Bleu, L'." Blue-stockings. Boehme, Jakob. Boswell. James. Botticelli, Sandro. Bourget, Paul. Boxing. Brain, the. Breughels, The. Bridges, Robert. Brisson, Adolphe. Brotherhood of the Common Life. Browning, Robert. Bruges. Buddhism. "Buried Temple, The," _see_ "Temple Enseveli, Le." Burne-Jones, Sir Edward.

C.

Caine. Calm. Carlyle, Thomas. Carpentier, Georges. Cassius. Cats. Censor, the. "Chance, La."

Character, 104, 110. Characterisation, 37, 125, 142. Chastity, 65, 94, 106-107, 108, 111, 162. Chateaubriand, François-René de, 161. Chaucer, Geoffrey, 21. Children. Christ. Christianity. Chrysanthemums. Closed door, the. Collectivism. Communism. Conscious, the. Contradictions. Convent life. Correspondences, doctrine of,. Crane, Walter "Cravache, La." Crime. Crusoe, Robinson, 113.

D.

Darzens, Rodolphe. Davidson. "Death," _see_ "Mort. Death. "Death of a Little Dog, On the." "Death of Tintagiles, The," _see_ "Mort de Tintagiles, La." Debauch. Decadents, the. Defoe, Daniel. Dehmel, Richard. Delia Rocca de Vergalo. Deman, Edmond. Destiny, _see_ Fate. Destiny, exterior and moral. Development. Development of Maeterlinck. Diderot, Denis. Dijk, Is. van. Dimnet, the Abbé. "Disciples à Saïs, Les, et les Fragments de Novalis." Doctors, the. Dogs, 136-138. Donatello, 163. "Double Garden, The," _see_ "Double Jardin, Le." "Double Jardin, Le." Doudelet, Charles. Doumic, René. "Douze Chansons." Drama, Maeterlinck's theories of. Dramaturgy. Dreyfus affair. Dryden, John. "Duchess of Main, The." Dumont-Wilden, Louis. Dupont, Villa. Dyck, Ernest van.

E.

Eekhoud, Georges. Egoism, 108, in. "Einsame Menschen." Elective affinities. Elizabethans, the. Elskamp, Max. Emancipation. Emerson, Ralph Waldo. Everyday life, gospel of. Evolution. "Evolution du Mystère, L'." Evolution of Maeterlinck.

F.

Family life. Fatalism. Fate. "Faust". Feminism. "Figaro." "Fitzebutze." "Flaireurs, Les." Flaubert, Gustave. Flemish features. Flesh, the. Fletcher, John. Flowers. Ford, John. Fort, Paul. Fouillée, Alfred. Francesca da Rimini. "Frog Prince, The." Future, the. Futurism. Futurists, the.

G.

Gauguin, Paul. Genius. Genoveva, story of. _Genres_, mixing of, 84-85.. Ghent. Ghil, René. Gilkin, Iwan. Giraud, Albert. God, 37. Goethe, Johann Wolfgang. Goodness. Grasse. Grillparzer, Franz. Grimm's Fairy Tales. Groote, Geert. Gruchet-Saint-Siméon. Grundy, Mrs. Guyau, Jean Marie.

H.

Hamel, Gustav van. "Hamlet." Hannon, Théodore. Happiness. Harlotry. Harris, Frank. Harry, Gérard. Hartmann, Eduard von. Hauptmann, Gerhart. "Haymarket Theatre." Hebbel, Friedrich. Heine, Anselma. Heredia, José Maria de. Heredity. Heyse, Paul. Historical drama. Hoffmansthal, Hugo von. "Honour." Horace. Horses. Housman, Laurence. Hugo, Victor. Hulsman, G. Humility. Humour, 142. Huret, Jules.

I

Ibsen, Henrik. Identity, doctrine of. Immortality. Individualism. Injustice. "Inquiétude de notre Morale, L'." Instinct. Intellect, the, _see_ Brain. "Intelligence des Fleurs, L'." "Intérieur, L'." "Interior," _see_ "Intérieur, L'." Interior beauty, the. Interior dialogue. "Intruder, The," _see_ "Intruse, L'." "Intruse, L'." Irony.

J.

Jacobs, Monty. Jealousy, 71, 86-87, 94, 133.. Jean Paul [Richter]. Jesuits. "Jeune Belgique, La." Johnson, Dr Samuel. Jonson, Ben. "Joyzelle." "Julius Cæsar." Justice.

K.

Kahn, Gustave. Keller, Gottfried. Kryzinska, Marie.

L.

Lacomblez, Paul. Laforgue, Jules. Leblanc, Mme Georgette. Lemaître, Jules. Lemonnier, Camille. Lerberghe, Charles van. Le Roy, Grégoire. Lessing, Gotthold Ephraïm. Liberty. Libretti. "Life and Flowers," _see_ "Intelligence des Fleurs, L'." Life, contrasted with death. "Life of the Bee, The," _see_ "Vie des Abeilles, La." Logic. Lombroso, Cesare. "Lonely Lives," _see_ "Einsame Menschen." Louis XVI.. Love. Lubbock, Sir John, _see_ Avebury, Lord. "Luria." Luxury.

M.

"Macbeth," Maeterlinck's translation of.
Madness.
Maeterlinck, Maurice, his hatred of interviews, ix;
birth and family, pronunciation of name;
education at the Collège de Sainte-Barb;
first poem printed;
wishes to study medicine;
studies law at the University of Ghent;
practises as _avocat_;
stay in Paris;
introduced to the founders of "La Pléiade,";
"Le Massacre des Innocents" read to the circle;
printed in "La Pléiade;
as he appeared about 1886-7, and his first attempts at writing;
meets Mallarmé;
meets Rodenbach and the directors of "La Jeune Belgique";
"Serres Chaudes";
his robust mental and physical health;
"La Princesse Maleine";
"Les Aveugles";
"L'Intruse" and "Les Aveugles" performed at Paris;
"L'Ornement des Noces Spirituelles";
"Les Sept Princesses";
"Pelléas et Mélisande";
"Alladine and Palomides," "Interior," and "The Intruder";
"Annabella";
"Les Disciples à Saïs et les Fragments de Novalis";
"Le Trésor des Humbles";
"Aglavaine and Selysette";
"Douze Chansons";
settles in Paris;
"Sagesse et Destinée," dedicated to Georgette Leblanc;
"La Vie des Abeilles";
"Ariane et Barbe-Bleu" and "Sœur Béatrice";
"Le Temple Enseveli";
"Monna Vanna";
"Joyzelle";
"Le Miracle de St Antoine";
"Le Double Jardin";
"L'Intelligence des Fleurs";
"L'Oiseau Bleu";
translation of "Macbeth";
"Mary Magdalene";
settles at St Wandrille;
quarrel with Paul Heyse;
"La Mort";
awarded Nobel prize for literature;
founds Maeterlinck prize.
Magnificisme, Le.
Mallarmé, Stéphane.
Malthusianism.
Man, purpose of his life.
Man shall be God.
"Manchester Guardian".
Marcus Aurelius.
"Maria von Magdala".
Marionettes, plays for.
Marriage.
"Mary Magdalene."
Masefield, John.
"Masque, Le."
"Massacre des Innocents, Le."
Maternity, _see_ Motherhood.
Matter, reign of.
Maupassant, Guy de.
Maurier, George du.
Medical science.
Melodrama.
Mendès, Catulle.
"Mercure de France, Le."
Merrill, Stuart.
Mieszner, W.
Mikhaël, Ephraïm.
Minnesingers, The.
"Miracle, The."
"Miracle de St Antoine, Le."
Mirbeau, Octave.
Misery.
Mockel, Albert.
Molière, Jean Poquehn.
"Monna Vanna."
"Morale Mystique, La."
Morality.
Moréas.
"Mort, La."
"Mort de Tintagiles, La."
Motherhood.
Mystery.
Mysticism.
Mystics.

N.

Naturalism. Nature. Neidhart von Reuental, Sir. Nerves, the. Nietzsche, Friedrich W. "Nineteenth Century and After." Nobel prize for literature. Nobility, the. Nordau, Max (by inference). "Nouvelle Revue Française, La." Novalis.

O.

"Oiseau Bleu, L'." "Olive Boughs, The." Oostacker. Oppeln von Bronikowski, Friedrich Freiherr von. Optimism. "Ornement des Noces Spirituelles, L'." "Othello."

P.

"Pageant, The." Pantomime. Parasitic virtues. "Parnasse de la Jeune Belgique, Le." Parnassians, the. Paroxysm. Pascal, Blaise. Passion. Passivity. Past, the. "Pelléas et Mélisande." Penitence. Pessimism. Phelps, Professor William Lyon. Philistine, the. Plagiarism, unjust charge of. Plato. "Pléiade, La" (Parisian review). "Pléiade, La" (Brussels review). "Plume, La,". "Portrait de Femme" Positivism. Poverty. Predestination. Pre-Raphaelites, The. Present, the. Pride. Primogenitureship. "Princesse Maleine, La." Procter, Adelaide Anne. Prosody, Maeterlinck's. Psychology. Purity.

Q.

Quatre Chemins, aux. Quietism. Quillard, Pierre.

R.

Realism. Reality. Reason. "Recollections of Immortality from Childhood." Régnier, Henri de. Remhardt, Professor Max. Religion. Rembrandt. Renunciation. "Réveil de l'Ame, Le." "Revue Blanche, La." "Revue des deux Mondes." "Revue Indépendante, La." Richter, Jean Paul. Riddle of existence, the. Rimbaud, Arthur. Rimini, Francesca da. Rinder, Edith Wingate. Rodenbach, Georges. Rodrigue, G.M. Roman Catholicism. "Romeo and Juliet." Rossetti, William M. Rousseau, Jean-Jacques. Roux, Paul, _see_ Saint-Pol-Roux le Magnifique. Ruysbroeck, Jan.

S.

Sacrifice. "Sagesse et Destinée." Sainte-Barbe, Collège de. Saint-Pol-Roux le Magnifique. Saints, the. Saint Wandrille. Salvation, 108. Scenery of dramas. Schlaf, Johannes. Schopenhauer, Artur. Schrijver, J.. Science. Scorn. Self-sacrifice. Sélincourt, Basil de. "Semaine des Etudiants, La." Senses, the. Sensuality. "Sept Princesses, Les." Serenity. "Serres Chaudes." "Seven Princesses, The," _see_ "Sept Princesses, Les." Sex questions. Shakespeare. "Sightless, The," _see_ "Aveugles, Les." Silence. Silence, active and passive. Simons, L. Simplicity. "Sin." "Sister Beatrice," _see_ "Sœur Béatrice." Socialism. Sodomy. "Sœur Béatrice." Song of Solomon. Sophocles. Soul, the. Spirit, the. Spirit of the hive, the. Stoicism. Strindberg, August, viii. Style of Maeterlinck. Subconscious, the. Sudermann, Hermann. Suffering. Suicide. Superman, the. Superstition. Sutro, Alfred. Svengali. Swedenborg. Symbolism. "Symboliste, Le." Symbolists, the. Symons, Arthur. Syphilis.

T.

Tacitus. Tauler, Johannes. "Tempest, The" "Temple Enseveli, Le." Tennyson, Alfred. Theatre, the contemporary. "Théâtre d'Art." "Théâtre de l'Œuvre." "Théâtre des Arts," Moscow. "Théâtre des Bouffes-Parisiens." "Théâtre du Gymnase." Thinkers, the. Thought, contrasted with action. "Thyrse, Le." "'Tis Pity She's a Whore." Tolstoy, Count Leo. Tourneur, Cyril. "Treasure of the Humble," _see_ "Trésor des Humbles." "Tragique Quotidien, Le." Trench, Herbert. "Trésor des Humbles, Le.". Truth. "Type, Le."

U.

Unconscious, the. Unhappiness. _Unio mystica_. Unknown, the.

V.

Vegetarianism. Vergalo, Delia Rocca de. Verhaeren, Emile. Verlaine, Paul. _Vers libres_. Vices. Victorian, the. "Vie des Abeilles, La." Vielé-Griffin, Francis. Villa Dupont. Villiers de L'Isle-Adam. Virgin Mary. Virginity. Virtues. Visan, Tancrède de. "Vogue, La." Vollmoeller, Karl Gustav. Voltaire, François Marie Arouet de.

W.

Waller, Max. "Wallonie, La." War. Watson, William. Webster, John. Whitman, Walt. Will, I.. Will-power. Wisdom. "Wisdom and Destiny," _see_ "Sagesse et Destinée." Woman, the new. Women. Wordless plays. Wordsworth, William.

Y.

Yeats, W.B., 27.

Z.

Zola, Emile, 20. Zweig, Stefan, 3, 108.

BIBLIOGRAPHY

I. WORKS. II. SELECTIONS. III. PREFACES. IV. APPENDIX.

Biography, Criticism, Works set to Music, etc., Newspaper Articles.

V. CHRONOLOGICAL LIST OF WORKS.

WORKS.

_Serres Chaudes._ Poèmes, frontispice et culs-de-lampe de Georges Minne. Paris: Vanier, 1889, 155 copies.

----Another Edition. Brussels: P. Lacomblez, 1890 and 1895.

----Suivies de quinze chansons, nouvelle édition. Brussels: P. Lacomblez, 1900.

_La Princesse Maleine_. Twenty-five copies on vellum and five on Holland, printed on a hand-press by Maeterlinck for private circulation.

----Drame en cinq actes (couverture et fig. de Georges Minne). Ghent: Imprimerie Louis van Melle, 1889.

----Second Edition. Ghent: Imprimerie Louis van Melle, 1889, 155 copies.

_La Princesse Maleine._ Third Edition. Brussels: P. Lacomblez, 1890.

_The Princess Maleine._ Translated by Gérard Harry. London: Heinemann, 1890.

_Les Aveugles_ ["L'Intruse" (1). "Les Aveugles" (2).] Brussels: P. Lacomblez, 1890, 150 copies.

----Second Edition. Brussels: P. Lacomblez, 1891.

_L'Ornement des Noces spirituelles de Ruysbroeck l'Admirable._ Traduit du flamand et accompagné d'une introduction. Brussels: P. Lacomblez, 1891.

----Second Edition. Brussels: P. Lacomblez, 1900.

_Les sept Princesses._ Brussels: P. Lacomblez, 1891.

_Blind._ _The Intruder._ Translated from the French of Maurice Maeterlinck by Mary Vielé.[1] Washington: W.H. Morrison, 1891.

_The Princess Maleine_ and _The Intruder_. With an Introduction by Hall Caine. London: Heinemann, 1892. (_The Princess Maleine_, translated by Gérard Harry; _The Intruder_, "based upon a rough sketch of a translation by Mr Wm. Wilson.")

_Pelléas et Mélisande._ Brussels: P. Lacomblez, 1892.

----Nouvelle édition, modifiée conformément aux représentations de l'Opéra-Comique. Brussels: P. Lacomblez, 1902.

_Pelleas and Melisanda_ and _The Sightless_. Translated by Laurence Alma Tadema. London: Walter Scott (1892). The Scott Library.

_Alladine et Palomides_, _Intérieur_, et _La Mort de Tintagiles_. Trois petits drames pour marionettes, et culs-de-lampe par Georges Minne. Brussels: Collection du "Réveil," chez Ed. Deman, 1894.

_Ruysbroeck and the Mystics_, with selections from Ruysbroeck by Maurice Maeterlinck. Translated by Jane T. Stoddart. London: Hodder & Stoughton, 1894.

_Pelléas et Mélisande_. Translated by Ewing Winslow. New York: Thomas Y. Crowell & Co., 1894.

_Annabella_ ("'Tis Pity she's a Whore"). Drame en cinq actes de John Ford. Traduit et adapté pour le Théâtre de l'Œuvre. Paris: Ollendorff, 1895.

_Les Disciples à Saïs et les Fragments de Novalis._ Traduits de l'allemand et précédés d'une introduction. Bruxelles: P. Lacomblez, 1895.

_The Massacre of the Innocents and other Tales by Belgian Writers._ Translated by Edith Wingate Rinder. Chicago: Stone & Kimball, 1895.

_Le Trésor des Humbles._ Paris: Société du Mercure de France, 1896.

_Douze Chansons._ Illustrées par Charles Doudelet. Paris: P.V. Stock, 1896. Tirage 600 exemplaires sur papier Ingres. (Reprinted with alterations at the end of _Serres Chaudes_. Brussels: P. Lacomblez, 1900.)

_Aglavaine et Selysette._ Paris: Société du Mercure de France, 1896.

_Aglavaine and Selysette._ A drama in five acts, translated by Alfred Sutro, with an Introduction by J.W. Mackail. First Edition published by Grant Richards (1897); all subsequent Editions by George Allen & Sons, London.

_The Treasure of the Humble._ Translated by A. Sutro. With an Introduction by A.B. Walkley. London: Geo. Allen, 1897.

----(Reprinted from the translation of Mr Alfred Sutro.) London: Arthur L. Humphreys, 1905.

_Aglavaine and Selysette._ Acting Version. London: George Allen, 1904.

_Aglavaine and Selysette._ Pocket Edition, 1908.

_La Sagesse et la Destinée._ Paris: Fasquelle, 1898. Wisdom and Destiny. Translated by A. Sutro. London: George Allen, 1898.

----Pocket Edition. London: George Allen, 1908.

_Alladine and Palomides._ _Interior._ _The Death of Tintagiles._ Three little dramas for marionettes. London: Duckworth & Co., 1899. (Modern Plays, edited by R. Brimley Johnson and N. Erichsen.) (_Alladine and Palomides_ and _The Death of Tintagiles_, translated by Alfred Sutro. _Interior_ by Wm. Archer. _Interior_ had appeared in the _New Review_ for Nov., 1894; _The Death of Tintagiles_ in _The Pageant_ for Dec, 1896.)

_Schwester Béatrix._ Translated from the manuscript by Fr. von Oppeln-Bronikowski. Berlin and Leipzig, 1900.

_La Vie des Abeilles._ Paris: Fasquelle, 1901.

_The Life of the Bee._ Translated by A. Sutro. London: George Allen, 1901.

----Illustrated by E.J. Detmold. London: George Allen, 1911.

_Sister Beatrice_ and _Ardiane and Barbe-Bleue_. Two plays translated into English verse from the manuscript of Maurice Maeterlinck by Bernard Miall. London: George Allen, 1901.

----American Edition. New York: Dodd, Mead & Co., 1902.

_Théâtre I._ _La Princesse Maleine._ _L'Intruse._ _Les Aveugles._ _Aglavaine et Selysette._ _Ariane et Barbe-Bleue._ _Sœur Béatrice._ Bruxelles: P. Lacomblez, 1901, 2 vols. _Théâtre II._ _Pelléas et Mélisande._ _Alladine et Palomides._ _Intérieur._ _La Mort de Tintagiles._ Bruxelles: P. Lacomblez, 1902.

_Le Temple Enseveli._ Paris: Fasquelle, 1902.

_The Buried Temple._ Translated by A. Sutro. With portrait. London: George Allen, 1902.

_Monna Vanna._ Pièce en trois actes, représentée pour la première fois sur la scène du Théâtre de l'Œuvre, le 17 mai 1902. Paris: Fasquelle, 1902.

_Théâtre_ de Maurice Maeterlinck (_La Princesse Maleine._ _L'Intruse._ _Les Aveugles._ _Pelléas et Mélisande._ _Alladine et Palomides._ _Intérieur._ _La Mort de Tintagiles._ _Aglavaine et Selysette._ _Ariane et Barbe-Bleue._ _Sœur Béatrice_), avec une préface inédite de l'auteur, illustré de 10 compositions originales lithographiées par Auguste Donnay. Bruxelles: Ed. Deman, 1902, 3 vols., 8vo. [100 copies printed.]

_Joyzelle._ Pièce en trois actes représentée pour la première fois au Théâtre du Gymnase, le 20 mai 1903. Paris: Fasquelle, 1903.

_Monna Vanna._ Translated by A. Sutro. London: George Allen, 1904.

_Le double Jardin._ Paris: Fasquelle, 1904, in 18--. (Twenty copies in 8vo were printed for the Société des XX, and signed by the author.)

_The Double Garden._ Translated by A. Teixeira de Mattos. London: George Allen, 1904.

_Das Wunder des Heiligen Antonius._ Uebersetzt von Fr. von Oppeln-Bronikowski, Leipzig, 1904.

_My Dog._ Translated by A. Teixeira de Mattos. Illustrated by G. Vernon Stokes. London: George Allen, 1906.

_Old-fashioned Flowers and Other Open-air Essays._ Translated by A. Teixeira de Mattos. With illustrations by G.S. Elgood. London: Geo. Allen, 1906.

_Joyzelle._ Translated by A. Teixeira de Mattos. London: George Allen, 1907 [1906].

_L'Intelligence des Fleurs._ Paris: Fasquelle, 1907.

_Life and Flowers._ Translated by A. Teixeira de Mattos. London: George Allen, 1907.

_Interior._ A play. Translated by Wm. Archer. (Gowans's International Library, No. 20.) London: Gowans and Gray, 1908.

_The Death of Tintagiles._ A play. Translated by Alfred Sutro. (Gowans's International Library, No. 26.) London: Gowans and Gray, 1909.

_L'Oiseau bleu._ Féerie en cinq actes et dix tableaux. Paris: Fasquelle, 1909.

_The Blue Bird._ A fairy play in six acts. Translated by A. Teixeira de Mattos. London: Methuen, 1909.

----Eighteenth Edition. With an additional act. London: Methuen, 1910.

----With twenty-five illustrations in colour, by F. Cayley Robinson. London: Methuen, 1911.

----London: Methuen (Methuen's Shilling Books), 1911.

_The Seven Princesses._ A Play. Translated by Wm. Metcalfe. (Gowans's International Library, No. 28.) London: Gowans & Gray, 1909.

_Macbeth_, par W. Shakespeare. Traduction nouvelle de Maurice Maeterlinck. L'Illustration Théâtrale. Paris: 28th August, 1909. (Contains interesting photographs of the Abbey of Saint Wandrille.)

William Shakespeare. _La Tragédie de Macbeth._ Traduction nouvelle, avec une introduction et des notes, par Maurice Maeterlinck. Paris: Fasquelle, 1910.

_Mary Magdalene._ A play in three acts. Translated by A. Teixeira de Mattos. Methuen: 1910. New York: Dodd, Mead & Co., 1910.

_Mary Magdalene._ Shilling Edition. Methuen, 1912.

_Alladine and Palomides._ _Interior._ _The Death of Tintagiles._ Three plays by Maurice Maeterlinck, with Introduction by H. Granville Barker. London and Glasgow: Gowans & Gray, Ltd., 1911. (Gowans's Copyright Series, No. 2.)

_La Mort._ _Figaro_, 1911.

_Death._ Translated by Alexander Teixeira de Mattos. London: Methuen, 1911.

_La Mort._ Paris: Fasquelle, 1913.

[1] Sister of Francis Vielé-Griffin.

SELECTIONS.

_Thoughts from Maeterlinck._ Chosen and arranged by E.S.S. London: George Allen, 1903.

_The Inner Beauty._ London: Arthur L. Humphreys, 1910. (Reprint of _The Inner Beauty, Silence, and The Invisible Goodness._)

_Morceaux choisis._ Par Maurice Maeterlinck. Induction par Mme Georgette Leblanc. Paris, Londres, Edinbourg, et New York: Nelson (1910).

_Hours of Gladness._ By M. Maeterlinck. London: Allen, 1912.

Selections from Maeterlinck's works have appeared in the following anthologies, etc.:

_Parnasse de la Jeune Belgique._ Paris: Léon Vanier, 1887. (Twelve poems reprinted in Serres Chaudes.)

_Poètes belges d'expression française, par Pol-de-Mont._ Almelo: W. Hilarius, 1899. (Twenty-one poems selected from _Serres Chaudes_ and _Douze Chansons_).

_Poètes d'aujourd'hui_, morceaux choisis accompagnés de Notices biographiques et d'un essai de Bibliographie, par Ad. van Bever et Paul Léautaud. Paris: Société du Mercure de France, 1900. (Eight poems from _Serres Chaudes_ and _Douze Chansons_.)

_Anthologie des Poètes français contemporains_, par G. Walch, Vol. ii. Paris: Ch. Delagrave [no date]. (Eight poems from _Serres Chaudes_ and _Douze Chansons_.)

_Die belgische Lyrik, von 1880-1900._ Eine Studie und Uebersetzungen von Otto Hauser. Groszenhain: Baumert und Ronge, 1902. (Thirteen poems from _Serres Chaudes_.)

_Anthologie des Poètes lyriques français de France et de l'etranger depuis le moyen âge jusqu'à nos jours_, par T. Fonsny et J. van Dooren. Verviers: Alb. Hermann, 1903. (Two poems from _Serres Chaudes_ and _Douze Chansons_.)

_Die Lyrik des Auslandes in neuerer Zeit_, herausgegeben von Hans Bethge. Leipzig: Max Hesses Verlag [no date]. (Seven poems translated from _Serres Chaudes_ and _Douze Chansons_.)

_Contemporary Belgian Poetry._ Selected and translated by Jethro Bithell. London: The Walter Scott Publishing Co., Ltd., 1911. (Twenty-five poems from _Serres Chaudes_ and _Douze Chansons_.)

_Toutes les Lyres._ Anthologie-Critique ornée de dessins et de portraits (nouvelle série). By Florian-Parmentier. Paris: Gastein-Serge (1911). [Contains: Masque, par Djinn, criticism, etc., of nine pages, and three poems from _Serres Chaudes_.]

Drey, Agnes E. _Poems after Verlaine, Maeterlinck and Others._ London: St Catherine Press, 1911.

PREFACES.

_Sept essais d'Emerson._ Traduits par I. Will avec une préface de Maurice Maeterlinck. Bruxelles: P. Lacomblez, 1894 and 1899.

_Expositions des Œuvres_ de M. Franz, M. Melchers, chez le Bare de Boutteville, 47 Rue Le Peletier (ouverture le vendredi 15 novembre 1895), préface de Maurice Maeterlinck. Paris: Edm. Girard [no date].

_Jules Laforgue_, par Camille Mauclair, avec une introduction de Maurice Maeterlinck. Paris: Mercure de France, 1896.

_The Cave of Illusion._ A play in four acts by Alfred Sutro. With an Introduction by Maurice Maeterlinck. London: Grant Richards, 1900.

_Martin Harvey._ Some pages of his life. By George Edgar. With a foreword by M. Maeterlinck. London: Grant Richards, 1912.