PART III (continued 2)

But Verhaeren is no longer a primitive spirit. He is attached by too many bonds to his contemporaries, too much in contact with all modern striving and creation, to be able to confine himself wholly to a rural existence. There is in him that wonderful double harmony of modern men which lives in brotherly communion with Nature and yet clings to Nature's supreme flower of culture. During the winter Verhaeren lives in Paris, the most alive of all cities; for, though quiet is an inner need of his, he looks on the unrest and noise of great cities as a precious stimulant. Here he receives those impressions of noisy life which, remembered in tranquillity, become poems. He loves to drift in the many-voiced confusion of teeming streets, to receive inspiration from pictures, books, and men. For years, in intimate cohesion with all that is coming into existence and growing in strength, he has followed the most delicate stirrings of the evolution of art, here too in the happiest manner combining detachment with sympathy. For he does not live really in Paris itself, but in Saint-Cloud, in a little flat which is full of pictures and books, and usually of good friends as well. For friendship, living, cheerful comradeship, has always been a necessity of life to him, to him who has the faculty of giving himself so whole-heartedly in friendship; and there is hardly one among the poets of to-day who has so many friends, and so many of the best. Rodin, Maeterlinck, Gide, Mockel, Vielé-Griffin, Signac, Rysselberghe, Rilke, Romain Rolland, all these, who have done great things for our time, are his close friends. With associates of this stamp he passes his life at Paris, carefully avoiding what is called society, aloof from the salons where fame is cultured and the transactions of art are negotiated. His innermost being is simplicity. And all his life long this modesty has made him indifferent to financial success, because he has never desired to rise above the primitive necessities of his life, never known the longing to dazzle and to be envied. While others, goaded by the success of their acquaintances, have been thrown off their balance and have worked themselves to death in fever, he has gone on his way calm and unheeding. He has worked, and let his work grow slowly and organically. And thus fame, which slowly but with irresistible sureness has grown to his stature, has not disturbed him. It is a pleasure to see how he has stood this last and greatest test, how he shoulders his fame stoutly, with joy but without pride. To-day Belgium celebrates in him her greatest poet. In France, where he was held an alien, he has forced esteem. The greatest good has been done, however, by the fact that from foreign races, from the whole of Europe and beyond it, from America, an answer has come to his great reputation, that the little enmities of the nations have called a halt before his work, and above all that it is the younger generation who are to-day enlisted under the banner of his enthusiasm. Inexhaustible has been his interest in young men; perhaps he has welcomed and encouraged every beginner with only too much kindness. For his delight in the art of others is inexhaustible; his infinite feeling of identity makes him in the highest sense impartial and enthusiastic, and it is a delight to see him stand in front of great works and to learn enthusiasm from him.

This apparent contrast between the art of his poetry and the art of his life is at first strange and surprising. For behind so passionate a poet one would never suspect so quiet and kind a man. Only his face—which has already allured so many painters and sculptors—speaks of passions and ecstasies; that brow across which, under locks growing grey, the deep lines graven by the crisis of his youth run like the furrows of a field. The pendent moustache (like that of Nietzsche) lends his face power and earnestness. The salient cheek-bones and sharply chiselled lines betray his peasant extraction, which is perhaps still more strongly accentuated by his gait, that hard, strikingly rhythmical, bowed gait which reminds one of the plougher treading in hard toil and in a bent posture over newly turned turf, his gait whose rhythm reminds one again and again of his poetry. But goodness shines in his eyes, which—couleur de mer—as though new-born after all the lassitude of the years of fever, are bright and fresh with life; there is goodness, too, in the hearty spontaneity of his gestures. In his face the first impression is strength; the second, that this strength is tempered with kindness. Like every noble face, it is, when translated into sculpture, the idea of his life.

Some day many people will speak of Verhaeren's art; many love it to-day already. But I believe that nobody will be able to love the poet in the same degree as many to-day love the art of his life, this unique personality, as people love something that can be lost and never restored. If one at first seems to find a discord between the modesty, gentleness, and heartiness of his humanity, and the wildness, heroism, and hardness of his art, one at last discovers their unity in experience, in feeling. When one closes the door after a conversation with him, or one of his books after the last page, the prevailing impression is the same: enhanced joy in life, enthusiasm, confidence in the world, an intensified feeling of pleasure which shows life in purer, kindlier, and more magnificent forms. This idealising effect of life goes out equally strong from his person and from his work; every sort of contact with him, with the poet, with the man, seems to enrich life, and teaches one to apply to him in his turn the appreciation he always so readily had for all the gifts of life—gratitude ever renewed and boundlessly intensified in passion.

FOOTNOTES:

THE EUROPEAN IMPORTANCE OF HIS WORK

Futur, vous m'exaltez comme autrefois mon Dieu! É.V., 'La Prière.'

The last force of everybody, the force which finally decides the effect, which alone and first of all is able to strain his work or his activity to the highest possibility, is the feeling of responsibility. To be responsible, and to feel that one is responsible, is equivalent to looking at one's whole life as a vast debt, which one is bound to strive with all one's strength to pay off; is equivalent to surveying one's momentary task on earth in the whole range of its significance, importance, and periphery, in order then to raise one's own inherent possibilities and capacities to their most complete mastery. For most people this earthly task is outwardly restricted in an office, in a profession, in the fixed round of some activity. With an artist, on the other hand, it is what one might call an infinite dimension which can never be attained; his task is therefore an unlimited, an eternal longing, a longing that never weakens. Since his duty can really only be to express himself with the greatest possible perfection, this responsibility coincides with the demand that he should bring his life, and with his life his talent, to the highest perfection, that he should, in Goethe's sense, 'expand his narrow existence to eternity.' The artist is responsible for his talent, because it is his task to express it. Now the higher the idea of art is understood, the more art feels its task to be the task of bringing the life of the universe into harmony, so much the more must the feeling of responsibility be intensified in a creative mind.

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:

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

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

POÈMES (2^e 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 (3^e 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. 'Truandailles,' 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.