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.

INDEX

A. "Academy, The," xiv, 157. Acting, present-day style of, 69. Action, 38, 45, 83, 101, 125, 126, 139. Adam, Paul, 13. Adultery, 60-62, 64-65, 130-131. Æschylus, 132. "Aglavaine et Selysette," 60, 71, 93-98, 116, 125. Ajalbert, Jean, 8. Alcohol, 105, 113, 114, 122-123. "Alladine et Palomides," 60, 68-75, 107, 116, 133, 144. Altruism, 111, 128, 131. Andersen, Hans Christian, 137. "Anima vagula," 61, 62, 70, 73, 78. Animals, 124, 136-137, 143-144. "Annabella," 81-82. Anti-asceticism, 106-108, 111. "Ardiane and Bluebeard," see "Ariane et Barbe-Bleue." "Ariane et Barbe-Bleue," 116-118, 155. Art, 152. Artist, the, 102. Asceticism, 106-108, 111. Aspiration, 29, 140. Atmosphere, 11, 35, 43, 99, 163. Aurelius, Marcus, 83. Authority, 112. Avebury, Lord, 113. "Avertis, Les," 39, 91. "Aveugles, Les," 41, 44, 48-52, 79, 163.

B.

Barbey d'Aurevilly, Jules, 7. "Basoche, La," 8, 61, 62, 143. Baudelaire, Charles, 44, 84, (doctrine of correspondences). Bazalgette, Léon, 4. Beaunier, André, 56. Beauty, 93, 94-95, 103, 117-118, 138, 145. Bees, 110-115. Bernard, Charles. 151. Bernardin de Saint-Pierre, 160, 161. Bever, Adolphe van, 11, 19, "Blue Bird, The," see "Oiseau Bleu, L'." Blue-stockings, 118, 149. Boehme, Jakob, 5. Boswell. James, 81. Botticelli, Sandro, 163. Bourget, Paul, 7, 58-59. Boxing, 141. Brain, the, 26, 112-115, 133-135, 137, 140. Breughels, The, 10. Bridges, Robert, 27. Brisson, Adolphe, 55. Brotherhood of the Common Life, 54. Browning, Robert, 129, 131-132. Bruges, 2. Buddhism, 59. "Buried Temple, The," see "Temple Enseveli, Le." Burne-Jones, Sir Edward, 55, 64, 65, 73.

C.

Caine, Hall, 149. Calm, 109, 141, 162. Carlyle, Thomas, 53, 85, 87, 126. Carpentier, Georges, 141. Cassius, 129. Cats, 143. Censor, the, 125-126, 146. "Chance, La," 123. Character, 104, 110. Characterisation, 37, 125, 142. Chastity, 65, 94, 106-107, 108, 111, 162. Chateaubriand, François-René de, 161. Chaucer, Geoffrey, 21. Children, 106, 121, 142-146. Christ, 120, 146-149. Christianity, 92-93, 108, 121, 150, 159, 160. Chrysanthemums, 138. Closed door, the, 61, 77, 79. Collectivism, 111. Communism, 111, 128. Conscious, the, 101, 152. Contradictions, 101. Convent life, 118-121. Correspondences, doctrine of, 84. Crane, Walter, 31, 64. "Cravache, La," 14. Crime, 60-62, 64-65, 84, 92, 106, 122-123. Crusoe, Robinson, 113.

D.

Darzens, Rodolphe, 8. Davidson, John, 122. "Death," see "Mort, La." Death, 26, 29, 37, 39, 40-48, 60, 77-80, 97, 101, 107, 112, 137, 149-152. "Death of a Little Dog, On the," 136-137, 142. "Death of Tintagiles, The," see "Mort de Tintagiles, La." Debauch, 122. Decadents, the, 24, 26, 27. Defoe, Daniel, 113. Dehmel, Richard, 108, 143. Delia Rocca de Vergalo, 17. Deman, Edmond, 18, 19. Destiny, see Fate. Destiny, exterior and moral, 103. Development, 108, 125, 139. Development of Maeterlinck, 108. Diderot, Denis, 81. Dijk, Is. van, 48, 56-58, 88-89. Dimnet, the Abbé, 146-147, 156. "Disciples à Saïs, Les, et les Fragments de Novalis," 82-85. Doctors, the, 150. Dogs, 136-138, 143-144. Donatello, 163. "Double Garden, The," see "Double Jardin, Le." "Double Jardin, Le," 103, 108, 127, 136-139. Doudelet, Charles, 99. Doumic, René, 33, 57-58. "Douze Chansons," 98-99. Drama, Maeterlinck's theories of, 79, 83, 86-87, 125, 127, 139. Dramaturgy, 39, 63, 121, 131, 148-149. Dreyfus affair, 123. Dryden, John, 98. "Duchess of Main, The," 81. Dumont-Wilden, Louis, 157-158, 160-162. Dupont, Villa, 154. Dyck, Ernest van, 18.

E.

Eekhoud, Georges, 19, 81. Egoism, 108, 111, 128. "Einsame Menschen," 97. Elective affinities, 61. Elizabethans, the, 81-82. Elskamp, Max, 11, 28. Emancipation, 117. Emerson, Ralph Waldo, 85, 86, 87, 97. Everyday life, gospel of, 85-86, 101. Evolution, 111, 114, 138, 140. "Evolution du Mystère, L'," 40, 102, 123. Evolution of Maeterlinck, 108.

F.

Family life, 121. Fatalism, 36, 38, 40, 78, 92, 97, 104, 112. Fate, 36, 37, 40, 60, 63, 66, 102-104, 109, 124, 139, 140. "Faust", 162. Feminism, 71, 94-98, 116-118, 148. "Figaro," 30-31. "Fitzebutze," 143. "Flaireurs, Les," 45-48. Flaubert, Gustave, 158. Flemish features, 11, 33, 53, 158. Flesh, the, 106-107, 117-121. Fletcher, John, 81. Flowers, 136, 138, 140. Ford, John, 81-82. Fort, Paul, 45, 48. Fouillée, Alfred, 156. Francesca da Rimini, 62. "Frog Prince, The," 64. Future, the, 51, 70-71, 111, 112, 114, 138, 140-142, 157, 159. Futurism, 27, 29, 111, 114, 115, 138, 140-142, 145, 157, 159-160. Futurists, the, 115.

G.

Gauguin, Paul, 48. Genius, 133-135. Genoveva, story of, 62. Genres, mixing of, 84-85. Ghent, 1, 2, 3, 18, 24, 100, 157. Ghil, René, 9, 13. Gilkin, Iwan, 8, 18, 19, 20, 30. Giraud, Albert, 18, 21. God, 37, 54, 88, 108, 113, 115, 138, 139, 140. Goethe, Johann Wolfgang, 5, 109, 140, 159, 161-162. Goodness, 51, 105, 143. Grasse, 154. Grillparzer, Franz, 72, 147. Grimm's Fairy Tales, 31, 37, 64. Groote, Geert, 54. Gruchet-Saint-Siméon, 110. Grundy, Mrs, 125-126. Guyau, Jean Marie, 156.

H.

Hamel, Gustav van, 22, 33, 68, 100-101, 102. "Hamlet," 31, 32, 37, 86, 101. Hannon, Théodore, 25. Happiness, 62, 101, 103, 143-146. Harlotry, 121, 122-123. Harris, Frank, xiv, 155-156, 157. Harry, Gérard, ix, 4, 5, 6, 9, 24. Hartmann, Eduard von, 29. Hauptmann, Gerhart, 53, 97. "Haymarket Theatre," 143. Hebbel, Friedrich, 127, 147. Heine, Anselma, 3, 4, 5, 55, 118. Heredia, José Maria de, 11, 12. Heredity, 123. Heyse, Paul, 147. Historical drama, 127, 139. Hoffmansthal, Hugo von, 27. "Honour," 87, 125-132. Horace, 110. Horses, 124. Housman, Laurence, 121. Hugo, Victor, 4, 44, 77, 125. Hulsman, G., 58. Humility, 107. Humour, 142. Huret, Jules, xiii, 2, 6, 16, 29, 37, 45.

I

Ibsen, Henrik, 34, 127. Identity, doctrine of, 88-89, 94, 107. Immortality, 149, 152. Individualism, 97, 111. Injustice, 123-124, 135. "Inquiétude de notre Morale, L'," 106-107, 140-141. Instinct, 104, 108, 113, 133, 137, 152. Intellect, the, see Brain. "Intelligence des Fleurs, L'," 41, 106-107, 139-142, 149, 152. "Intérieur, L'," 38, 68, 69, 75-77, 163. "Interior," see "Intérieur, L'." Interior beauty, the, 93, 94-95. Interior dialogue, 34, 63, 81, 87-90. "Intruder, The," see "Intruse, L'." "Intruse, L'," 38, 41-48, 68. Irony, 42, 44, 45, 51, 69, 77.

J.

Jacobs, Monty, 26, 55. Jealousy, 71, 86-87, 94, 133. Jean Paul [Richter], 81. Jesuits, 3, 4, 26, 53, 146-147, 156. "Jeune Belgique, La," 4, 5, 18, 19, 20, 30. Johnson, Dr Samuel, 61, 81. Jonson, Ben, 81. "Joyzelle," 132-135, 148, 158. "Julius Cæsar," 33, 129. Justice, 102, 105, 122-124.

K.

Kahn, Gustave, 13, 14, 16. Keller, Gottfried, 118-121. Kryzinska, Marie, 13, 14.

L.

Lacomblez, Paul, 8, 57, 85. Laforgue, Jules, 13, 14. Leblanc, Mme Georgette, x, 2, 4, 100, 102, 116, 126, 135, 146, 155. Lemaître, Jules, 77. Lemonnier, Camille, 20. Lerberghe, Charles van, 4, 6, 9, 11, 12, 19, 24, 28, 45-48, 162. Le Roy, Grégoire, xiv, 4, 6, 8, 64. Lessing, Gotthold Ephraïm, 5, 52. Liberty, 111, 117. Libretti, 116. "Life and Flowers," see "Intelligence des Fleurs, L'." Life, contrasted with death, 38, 101, 150-151. "Life of the Bee, The," see "Vie des Abeilles, La." Logic, 109, 124, 151. Lombroso, Cesare, 26 "Lonely Lives," see "Einsame Menschen." Louis XVI., 109. Love, 39, 40, 60, 62, 71, 75, 83, 97, 99, 105, 108-109, 111, 118-121, 127-131, 133-135. Lubbock, Sir John, see Avebury, Lord. "Luria," 129, 131-132. Luxury, 130, 145.

M.

"Macbeth," Maeterlinck's translation of, xiv, 146. Madness, 26-27, 73. Maeterlinck, Maurice, his hatred of interviews, ix; birth and family, pronunciation of name, 1; education at the Collège de Sainte-Barbe, 3, 4; first poem printed, 4; wishes to study medicine, 5; studies law at the University of Ghent, 5, 6; practises as avocat, 6; stay in Paris, 6; introduced to the founders of "La Pléiade," 8; "Le Massacre des Innocents" read to the circle, 8; printed in "La Pléiade," 9; as he appeared about 1886-7, and his first attempts at writing, 11; meets Mallarmé, 12; meets Rodenbach and the directors of "La Jeune Belgique," 18; "Serres Chaudes," 23; his robust mental and physical health, 26; "La Princesse Maleine," 30; "Les Aveugles," 41; "L'Intruse" and "Les Aveugles" performed at Paris, 48; "L'Ornement des Noces Spirituelles," 53; "Les Sept Princesses," 55; "Pelléas et Mélisande," 59; "Alladine and Palomides," "Interior," and "The Intruder," 68; "Annabella," 81; "Les Disciples à Saïs et les Fragments de Novalis," 82; "Le Trésor des Humbles," 85; "Aglavaine and Selysette," 93; "Douze Chansons," 98; settles in Paris, 100; "Sagesse et Destinée," dedicated to Georgette Leblanc, 100; "La Vie des Abeilles," 110; "Ariane et Barbe-Bleu" and "Sœur Béatrice," 116; "Le Temple Enseveli," 122; "Monna Vanna," 125; "Joyzelle," 132; "Le Miracle de St Antoine," 135; "Le Double Jardin," 136; "L'Intelligence des Fleurs," 138; "L'Oiseau Bleu," 142; translation of "Macbeth," 146; "Mary Magdalene," 146; settles at St Wandrille, 146; quarrel with Paul Heyse, 147; "La Mort," 149; awarded Nobel prize for literature, 152; founds Maeterlinck prize, 152. Magnificisme, Le, 8. Mallarmé, Stéphane, 7, 12, 16, 17. Malthusianism, 106. Man, purpose of his life, 115. Man shall be God, 115, 140. "Manchester Guardian," 151. Marcus Aurelius, 83. "Maria von Magdala," 147. Marionettes, plays for, 37, 45, 60, 68-69. Marriage, 60, 93, 130-131. "Mary Magdalene," 8, 125, 146-149. Masefield, John, 91. "Masque, Le," x, 14, 24, 151. "Massacre des Innocents, Le," 8, 9, 20. Maternity, see Motherhood. Matter, reign of, 124, 138. Maupassant, Guy de, 11, 12, 20. Maurier, George du, 149. Medical science, 5, 150. Melodrama, 35, 38, 65-66, 148-149. Mendès, Catulle, 16. "Mercure de France, Le," 15, 85. Merrill, Stuart, 14, 15. Mieszner, W., 55, 96, 118, 134. Mikhaël, Ephraïm, 8. Minnesingers, The, 91. "Miracle, The," 122. "Miracle de St Antoine, Le," 135. Mirbeau, Octave, 30-31, 32. Misery, 103, 145. Mockel, Albert, 15, 16, 19. Molière, Jean Poquehn, 157. "Monna Vanna," x, 125-132, 134, 146, 148, 155, 158. "Morale Mystique, La," 61, 89, 90-92. Morality, 60, 62, 122, 124. Moréas, Jean, 12, 13. "Mort, La," 149-152. "Mort de Tintagiles, La," 68, 77-80, 116, 122. Motherhood, 99, 121, 145. Mystery, 35, 40, 48, 91, 102, 107, 137. Mysticism, 5, 34, 53, 55, 82-84, 86-92, 107, 125, 137. Mystics, the, 5, 53, 54, 137, 151.

N.

Naturalism, 8, 20, 21, 29. Nature, 111-115, 117, 119-121, 123, 124. Neidhart von Reuental, Sir, 21. Nerves, the, 27, 114, 137. Nietzsche, Friedrich W., 108, 140, 158, 160, 161. "Nineteenth Century and After," 146-147, 156. Nobel prize for literature, 7, 152, 156. Nobility, the, 141. Nordau, Max (by inference); 26. "Nouvelle Revue Française, La," 158, 160. Novalis, 26, 82-85, 157.

O.

"Oiseau Bleu, L'," 138, 142-146, 158. "Olive Boughs, The," 138. Oostacker, 2, 18. Oppeln von Bronikowski, Friedrich Freiherr von, 56. Optimism, 29, 114, 158. "Ornement des Noces Spirituelles, L'," 53-55. "Othello," 86, 125.

P.

"Pageant, The," 121. Pantomime, 70, 75, 88. Parasitic virtues, 106, 108. "Parnasse de la Jeune Belgique, Le," 18, 23. Parnassians, the, 7, 17, 18. Paroxysm, 109. Pascal, Blaise, 83, 110. Passion, 75, 83, 94, 109, 119, 137. Passivity, 37, 70-71, 79-80, 91, 117. Past, the, 70, 141, 142. "Pelléas et Mélisande," 59-67, 68, 78, 116, 125, 155, 158. Penitence, 108, 161. Pessimism, 29, 92. Phelps, Professor William Lyon, 131-133. Philistine, the, 19, 24, 27, 52, 115, 158, 159, 160. Plagiarism, unjust charge of, 44, 46, 131-133, 147, 156-157. Plato, 29-30, 41, 58, 83, 140. "Pléiade, La" (Parisian review), 8, 23. "Pléiade, La" (Brussels review), 8. "Plume, La," 15. "Portrait de Femme," 103, 108. Positivism, 107. Poverty, 123-124. Predestination, 104, 124. Pre-Raphaelites, The, 31, 55, 64, 65, 73. Present, the, 111-112. Pride, 83, 106. Primogenitureship, 141. "Princesse Maleine, La," 16, 30-38, 43, 45, 68, 89, 162. Procter, Adelaide Anne, 122. Prosody, Maeterlinck's, 15, 18, 28, 122, 126, 133. Psychology, 139. Purity, 61, 92-93, 118, 121.

Q.

Quatre Chemins, aux, 154. Quietism, 61, 92-93, 118, 121. Quillard, Pierre, 8.

R.

Realism, 11, 12, 20, 21, 45, 46, 47, 107. Reality, 74-75, 102, 107-108, 126, 139, 140-141, 144. Reason, 83, 104-105, 141. "Recollections of Immortality from Childhood," 145. Régnier, Henri de, 12. Remhardt, Professor Max, 70, 88, 122. Religion, 51, 140-141, 150, 160. Rembrandt, 27. Renunciation, 106. "Réveil de l'Ame, Le," 61, 90-91. "Revue Blanche, La," 16. "Revue des deux Mondes," 14. "Revue Indépendante, La," 14. Richter, Jean Paul, 81. Riddle of existence, the, 137, 138. Rimbaud, Arthur, 13. Rimini, Francesca da, 62. Rinder, Edith Wingate, 9. Rodenbach, Georges, 4, 18, 19, 21, 22, 23, 25. Rodrigue, G.M., 64. Roman Catholicism, 3, 4, 26, 53, 108, 111, 118-121. "Romeo and Juliet," 33. Rossetti, William M., 15. Rousseau, Jean-Jacques, 160, 161. Roux, Paul, see Saint-Pol-Roux le Magnifique. Ruysbroeck, Jan, 5, 53-55, 88.

S.

Sacrifice, 106-108, 111, 112, 114, 115, 128, 134, 135. "Sagesse et Destinée," 7, 70, 85, 100-110, 111, 122, 125. Sainte-Barbe, Collège de, 3, 4. Saint-Pol-Roux le Magnifique, 8, 17. Saints, the, 108, 111, 135. Saint Wandrille, 146, 154. Salvation, 108. Scenery of dramas, 59, 62, 65, 70, 73, 74, 77, 93, 95, 96, 99, 116, 126. Schlaf, Johannes, 26, 35, 60, 160. Schopenhauer, Artur, 29, 83. Schrijver, J., 101. Science, 107, 110, 112, 114, 150. Scorn, 106. Self-sacrifice, 106-108, 128, 134-135. Sélincourt, Basil de, 151. "Semaine des Etudiants, La," 19. Senses, the, 46, 51, 62, 94, 117-118, 134. Sensuality, 134-135. "Sept Princesses, Les," 55-59. Serenity, 109, 141, 162. "Serres Chaudes," 3, 15, 18, 21, 23-28, 162. "Seven Princesses, The," see "Sept Princesses, Les." Sex questions, 62, 94, 106-107, 108, 117-118, 128, 131, 134-135, 147-149. Shakespeare, 31, 32, 33, 36, 37, 45, 125, 129, 132, 133, 146. "Sightless, The," see "Aveugles, Les." Silence, 34, 46, 80, 96. Silence, active and passive, 69-70, 75, 87-90. Simons, L., 121. Simplicity, 93, 102. "Sin," 61, 92, 118, 121. "Sister Beatrice," see "Sœur Béatrice." Socialism, 111, 123-124, 141-142, 158, 159. Sodomy, 92. "Sœur Béatrice," 116, 118-122, 126. Song of Solomon, 28. Sophocles, 132. Soul, the, 21, 22, 23, 58, 59, 60, 61, 62, 63, 71-73, 83-84, 88, 90-92, 95, 98-99, 118, 127, 133, 148, 152, 162. Spirit, the, 106, 152. Spirit of the hive, the, 112. Stoicism, 110. Strindberg, August, viii, 73. Style of Maeterlinck, 85, 136-137, 158. Subconscious, the, 152. Sudermann, Hermann, 62. Suffering, 105. Suicide, 76, 97. Superman, the, 26-27, 161. Superstition, 121, 150. Sutro, Alfred, 121. Svengali, 149. Swedenborg, 5, 34, 54, 82, 108. Symbolism, 47, 51, 63-64, 70, 74, 84, 116, 135, 162. "Symboliste, Le," 13. Symbolists, the, 7, 8, 11, 12, 13, 19, 25, 29, 84. Symons, Arthur, 27. Syphilis, 114, 123.

T.

Tacitus, 91. Tauler, Johannes, 54. "Tempest, The," 133. "Temple Enseveli, Le," 40, 106, 117, 122-125. Tennyson, Alfred, 27. Theatre, the contemporary, 69, 86, 139. "Théâtre d'Art," 45, 48. "Théâtre de l'Œuvre," 75, 82. "Théâtre des Arts," Moscow, 143. "Théâtre des Bouffes-Parisiens," 60. "Théâtre du Gymnase," 135. Thinkers, the, 110-111. Thought, contrasted with action, 101, 110-111. "Thyrse, Le," 64, 151, 156. "'Tis Pity She's a Whore," 81. Tolstoy, Count Leo, 140. Tourneur, Cyril, 81. "Treasure of the Humble," see "Trésor des Humbles." "Tragique Quotidien, Le," 69, 86. Trench, Herbert, 143. "Trésor des Humbles, Le," x, 34. 35, 39, 61, 69, 85-93, 100, 101, 109, 118, 158. Truth, 107, 127, 130-131, 134, 141. "Type, Le," 19.

U.

Unconscious, the, 37, 83, 88-89, 101. Unhappiness, 103, 106, 145. Unio mystica, 54, 95. Unknown, the, 39, 40, 102, 113, 115, 124.

V.

Vegetarianism, 124-125. Vergalo, Delia Rocca de, 17. Verhaeren, Emile, 4, 5, 11, 12, 18, 19, 20, 26, 27, 28, 29, 101, 108, 109, 115, 139. Verlaine, Paul, 7, 48, 137. Vers libres, 13-17, 28, 122, 126, 133. Vices, 106, 108, 111. Victorian, the, 27. "Vie des Abeilles, La," x, 44, 110-115, 124, 139. Vielé-Griffin, Francis, 13, 14, 15, 16, 29. Villa Dupont, 154. Villiers de L'Isle-Adam, 6, 7, 8. Virgin Mary, 47, 119-120. Virginity, 107. Virtues, 106-108. Visan, Tancrède de, 28. "Vogue, La," 13, 14, 15. Vollmoeller, Karl Gustav, 122. Voltaire, François Marie Arouet de, 159, 161.

W.

Waller, Max, 4, 19, 25. "Wallonie, La," 12, 15, 16, 19, 44, 61, 163. War, 113, 127-129. Watson, William, 125. Webster, John, 36, 81. Whitman, Walt, 14, 28. Will, I., 85. Will-power, 101, 103, 107, 112. Wisdom, 51, 70, 93, 97, 103-110, 112, 113, 148. "Wisdom and Destiny," see "Sagesse et Destinée." Woman, the new, 71, 94-98. Women, 91, 97. Wordless plays, 70, 75, 88, 121. Wordsworth, William, 39, 45.

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.

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.

APPENDIX.

BIOGRAPHY, CRITICISM, ETC.

Archer, William. Study and Stage. A year-book of Criticism. London: Grant Richards, 1889.

Bacaloglu-Densuseannu, E. Despre simbolizm si Maeterlinck. Bucuresti, 1903.

Bahr, Hermann. Renaissance: Neue Studien zur Kritik der Moderne. Berlin: S. Fischer, 1897.

Barre, André. Le Symbolisme. Essai historique sur le mouvement symboliste en France de 1885 à 1900, suivi d'une Bibliographie de la Poésie symboliste. Paris: Jouve et Cie, 1912.

Beaunier, André. La Poésie nouvelle. Paris: Société du Mercure de France 1903.

Bever, Adolphe van. Maurice Maeterlinck, biographie précédée d'un portrait-frontispice, illustrée de divers dessins et d'un autogr. suivie d'opinions et d'une bibliographie. Paris: Sansot, 1904.

Bever, Ad. van et Paul Léautaud. Poètes d'aujourd'hui, morceaux choisis accompagnés de notices biographiques et d'un essai de bibliographie. Paris: Mercure de France, 1900. Boer, Julius de. Maurice Maeterlinck—(Mannen en Vrouwen van beteekenis in onze dagen). Haarlem: H.D. Tjeenk Willink en Zoon, 1908.

Brisson, Adolphe. La Comédie littéraire. Paris: A. Colin, 1895.

----Portraits intimes, 3e série. Paris: A. Colin, 1897.

Courtney, W.L. The Development of Maurice Maeterlinck and other Sketches of Foreign Writers. London: Grant Richards, 1904.

Crawford, Virginia M. Studies in Foreign Literature. London: Duckworth, 1899.

Dijk, Dr Is. van, Maurice Maeterlinck. Een Studie. Nijmegen, Firma H. Ten Hoet, 1897.

Doumic, René. Les Jeunes. Etudes et portraits. Paris: Perrin et Cie, 1896.

Gilbert, Eugène. En Marge et quelques Pages. Paris: Plon, 1900.

Gilbert, Eugène. France et Belgique. Etudes littéraires. Paris: Plon, 1905.

Gourmont, Remy de. Le Livre des Masques. Portraits symbolistes, gloses et documents sur les écrivains d'hier et d'aujourd'hui. Les masques, au nombre de xxx, dessinés par F. Vallotton. Paris: Société du Mercure de France, 1897.

Hale, Edward Everett, jun. Dramatists of To-day. London: George Bell & Sons, 1906.

Hamel, A.G. van. Het letterkundig Leven van Frankrijk. Studiën en Schetsen, derde Serie. Amsterdam: P.N. van Kampen en Zoon [1907].

Harry, Gérard. Maurice Maeterlinck. [Annexe: Le Massacre des Innocents.] Bruxelles: Ch. Carrington, 1909.

Harry, Gérard. Maurice Maeterlinck. A biographical study, with two essays by M. Maeterlinck. Translated from the French by Alfred Allinson. With nine illustrations and facsimile. London: George Allen & Sons, 1910.

Heine, Anselma. Maeterlinck. ("Die Dichtung," Bd. 33). Berlin: Schuster and Loeffler, 1905.

Henderson, Archibald. Interpreters of Life and the Modern Spirit. London: Duckworth & Co., 1911.

Heumann, Albert. Le Mouvement littéraire belge d'expression française depuis 1880. With preface by Camille Jullian. Mercure de France, 1913.

Horrent, Désiré. Ecrivains belges d'aujourd'hui, 1re série. Bruxelles. P. Lacomblez, 1904.

Hovey, R. Introduction to the American translation of La Princesse Maleine, L'Intruse, Les Aveugles, Les sept Princesses, Pelléas et Mélisande, Alladine et Palomides, Intérieur, La Mort de Tintagiles. Chicago; Stow & Kimball,

Hulsman, G. Karakters en Ideeën, Haarlem: Vincent Loosjes, 1903.

Huneker, James. Iconoclasts, a Book of Dramatists. New York: Ch. Scribner's, 1905; London: Werner Laurie, [1906].

Huret, Jules. Enquête sur l'Evolution littéraire. Paris: Charpentier, 1891.

Jackson, Holbrook. Romance and Reality. Essays and Studies. London: Grant Richards. 1911.

Jacobs, Dr Monty, Maeterlinck. Eine kritische Studie, zur Einführung in seine Werke. Leipzig: Eugen Diederichs, 1902.

Key, Ellen. Tankebilder, senare delen. Stockholm: Albert Bonniers Forlag, 1898.

----Aufsätze. Fischer, Berlin.

Lazare, Bernard. Figures contemporaines. Paris: Perrin et Cie, 1895.

Leblanc, Georgette (Mme Maurice Maeterlinck). Introduction to Morceaux choisis. Collection Nelson.

Le Cardonnel, Georges, et Charles Vellay. La littérature contemporaine. Paris: Mercure de France, 1905.

Lemaître, Jules. Impressions de Théâtre; 8e série. Paris: Lecène, Oudin et Cie, 1895.

Leneveu, Georges. Ibsen et Maeterlinck. Paris: Ollendorf, 1902.

Lorenz, Max. Die Litteratur am Jahrhundertende. Stuttgart: 1900.

Mainor, Yves. M. Maeterlinck, moraliste. Angers: 1902.

Meyer-Benfey, Heinrich. Moderne Religion. Schleiermacher, Maeterlinck. Leipzig: Eugen Diederichs, 1902.

Mieszner, W. Maeterlinck's Werke. Eine literar-psychologische Studie über die Neuromantik. Berlin: Richard Schroder, 1904.

Mockel, Albert. Quelques Livres. Liège: Vaillant-Carmanne, 1890. (Printed for private circulation.)

Picard, Gaston. Maurice Maeterlinck où le mystère de la porte close. Paris, 1912.

Poppenberg, F. Maeterlinck ("Moderne Essays," 30). Berlin, 1903.

Recolin, Chr. L'Anarchie Littéraire. Paris: Perrin et Cie, 1898.

Reggio, Albert. Au seuil de leur âme. Etudes de psychologie critique. Paris: Perrin & Cie, 1904, in 18—.

Rose, Henry. Maeterlinck's Symbolism: The Blue Bird and other Essays. London: H.C. Fifield, 1910.

Rose, Henry. On Maeterlinck: or Notes on the Study of Symbols, with special reference to "The Blue Bird." To which is added an exposition of The Sightless. London: Fifield, 1911.

Schlaf, Johannes. Maurice Maeterlinck. Berlin: Bard-Marquardt & Co. [1906].

Schrijver, J. Maeterlinck. Een Studie. Amsterdam: Scheltema & Holkema, 1900.

Schuré, Edouard. Précurseurs et Révoltés. Paris: Perrin, 1904.

Souza, Robert de. La poésie populaire et le lyrisme sentimental. Paris: Société du Mercure de France, 1899.

Steiger, E. Das Werden des neuen Dramas, Vol. ii.: Von Hauptmann bis Maeterlinck. Berlin: Fontane & Co., 1898.

Symons, Arthur. The Symbolist Movement in Literature. London: Heinemann, 1899.

----Second Edition, revised. London: Constable, 1908.

----Plays, Acting, and Music. London: Duckworth, 1903.

Thomas, Edward. Maurice Maeterlinck. London: Methuen, 1911.

Thompson, Vance. French Portraits. Boston: Richard G. Badger Co., 1900.

Timmermans, B. L'Evolution de Maeterlinck. Brussels: éditions de la Belgique artistique et littéraire, 1912.

Trench, Herbert. Souvenir of the Blue Bird, containing a short essay on the life and work of Maeterlinck, etc. London: John Long, Ltd., [1910].

Verhaeren, Emile. Les lettres françaises en Belgique. Brussels: Lamertin, 1907.

Visan, Tancrède de. L'Attitude du Lyrisme-contemporain. Paris: Mercure de France, 1911.

Walkley, A.B. Frames of Mind. London: Grant Richards, 1899.

Wilmotte, Maurice. La Culture Française en Belgique. Paris: H. Champion, Dec., 1912.

WORKS SET TO MUSIC,. ETC.

Pellas et Mélisande, drame lyrique de Maurice Maeterlinck, musique de Claude Debussy, représenté pour la première fois au Théâtre National de l'Opéra Comique en mai 1902. Partition piano et chant. Paris: E. Fromont, 1902.

La Mort de Tintagiles. Paroles de Maurice Maeterlinck. Musique de Jean Nouguès. Bruxelles: P. Lacomblez, 1905.

La Mort de Tintagiles, etc., mis en musique par Jean Nouguès, représenté pour la première fois aux "Matinées de Georgette Leblanc" (Théâtre des Mathurins), 28th Dec, 1905.

Gilman, Lawrence. Debussy's Pelléas et Mélisande. A Guide to the Opera with musical examples from the score. New York: G. Schirmer, 1907.

Ariane et Barbe-Bleue. Conte en trois actes tiré du théâtre de Maurice Maeterlinck. Musique de Paul Dukas. Brussels: Lacomblez, 1907.

Ariane et Barbe-Bleue. Conte en trois actes, etc., musique de Paul Dukas, représenté pour la première fois sur la scène de l'Opéra-Comique le 10 mai 1907.

Chansons de Maeterlinck. Dix poèmes précédés d'un prélude, instrum. pour violon, violoncelle et piano, par Gabriel Fabre. Paris: Heugel.

Monna Vanna. Drame lyrique en quatre actes. Musique de Henry Février. Représenté pour la première fois à Paris sur la scène de l'Académie Nationale de Musique le 13 janvier 1909. Paris: Fasquelle, 1909.

Other dramas and songs of Maeterlinck have been set to music by Pierre de Bréville; L. Camilieri; Ernest Chausson; Gabriel Fabre; Gabriel Fauré (see Pelléas et Mélisande, suite d'orchestre tirée de la musique de scène de Gabriel Fauré. Paris: Hamelle, 1901); Henry Février; G. Samazeuilh; Eug. Samuel, etc.

MAGAZINE ARTICLES.

Anonymous [Jean E. Schmitt and the editor].—Pour clore une polémique.—Entretiens politiques et littéraires, Oct., 1890.

Anonymous.—Princess Maleine and The Intruder.—Athenœum, 23rd April, 1892.

Anonymous.—Maeterlinck's Plays.—Spectator, 1892, p. 455.

Anonymous.—Maeterlinck—Poet-Lore (Boston), 1893, p. 151.

Anonymous.—Maurice Maeterlinck.—Academy, 1897, pp. 45, 113.

Anonymous.—Maeterlinck as an Essayist—Academy, 1897, p. 465.

Anonymous—Wisdom and Destiny.—Academy, 1898, p. 147.

Anonymous.—Maeterlinck as a Realist.—Academy, 1899, p. 285.

Anonymous (D.M.J.).—Maurice Maeterlinck.—Westminster Review, 1899, p. 409.

Anonymous—The Life of the Bee.—Academy, 1901, p. 459.

Anonymous—Review of The Life of the Bee.—Blackwood's Magazine, May and June, 1901.

Anonymous—Review of The Life of the Bee—Athenœum, June 15th, 1901.

Anonymous.—Maeterlinck, Moralist and Artist.—Littell's Living Age, July 27th, 1901.

Anonymous.—The Life of The Bee.—Current Literature, Nov., 1901.

Anonymous.—Maeterlinck, Dramatist and Mystic.—Outlook, Nov. 16th, 1901.

Anonymous.—Maeterlinck, Man and Mystic.—Harper's Weekly Bazar, March 22nd, 1902.

Anonymous.—Review of Sister Beatrice and Ariane et Barbe-Bleue.—Athenœum, May 3rd, 1902.

Anonymous.—Review of Théâtre de Maurice Maeterlinck.—Athenœum, May 3rd, 1902.

Anonymous.—The Buried Temple.—Athenœum, Aug. 30th, 1902.

Anonymous.—Maeterlinck as a Philosopher.—Academy, 1902, p. 451.

Anonymous.—Maeterlinck.—Church Quarterly Review (London), 1902, p. 381.

Anonymous.—Maeterlinck.—Pall Mall Magazine, 1902, p. 108.

Anonymous.—Maeterlinck.—Academy, 1903, p. 559.

Anonymous.—Monna Vanna.—Book News (Philadelphia), 1904, p. 145.

Anonymous.—Maeterlinck and the Eternal Womanly.—Harper's Bazar (New York), July, 1904.

Anonymous.—Review of The Blue Bird.—Athenœum, Aug. 7th, 1909.

Anonymous.—Review of performance of The Blue Bird at the Haymarket Theatre.—Athenœum, Dec, 18th, 1909.

Anonymous.—The Land of Unborn Children.—Ladies' Home Journal, Philadelphia, Jan., 1910.

Anonymous.—Maeterlinck's New Type of Heroine.—Current Literature, May, 1910.

Anonymous.—The Insect's Homer.—Forum (New York), Sept., 1910.

Anonymous.—The Blue Bird.—Outlook, Oct. 15th, 1910.

Anonymous.—Review of Mary Magdalene—Athenœum, Nov. 5th, 1910.

Anonymous.—Review of performance of The Blue Bird at the Haymarket Theatre.—Athenœum, Dec. 31st, 1910.

Anonymous.—Maeterlinck's Exit from Shadowland: Mary Magdalene.—Current Literature, Dec, 1910.

Anonymous—The Blue Bird as a féerie.—Scribner's Magazine (New York), Dec, 1910.

Anonymous.—The Woman Question in Grand Opera: Ariane and Bluebeard.—Current Literature, May, 1911.

Anonymous.—Review of Life and Flowers.—Athenœum, June 3rd, 1911.

Anonymous.—Review of Death.—Athenœum, Nov. 11th, 1911.

Anonymous.—La philosophie de Maurice Maeterlinck.—Le xxe Siècle, Brussels, 15th Feb., 1912.

Anonymous.—(? Grégoire Le Roy), Le poète prodigue—Propos de Table, Le Masque, Brussels, Série ii, No. 5. 1912.

Anonymous.—Maurice Maeterlinck.—Everyman, Oct. 25th, 1912.

Archer, W.—A Pessimist Playwright—Fortnightly Review, 1891, p. 346.

Archer, W.—Maurice Maeterlinck and Mystery.—Critic, 1900, p. 220.

Beerbohm, Max—Pelléas and Mélisande.—Saturday Review, 1898, p. 843.

Berg, Leo.—Maeterlinck, Umschau, No. 32 f., 1898.

Bonnier, Gaston.—La Science chez Maeterlinck.—La Revue, 15th Aug., 1907.

Bornstein P.—Maurice Maeterlinck.—Wiener Rundschau, ii., 19, 20, 21 Aug.-Sept., 1897.

Bornstein. P.—Maurice Maeterlinck. Monatschrift fur neue Literatur und Kunst, ii., 8 and 9 May and June, 1898.

Boynton, H.W.—The Double Garden.—Atlantic Monthly (Boston), August 1904.

Bradley, W.A.—Maeterlinck's Mary Magdalene.—Bookman (New York), Dec, 1910.

Bragdon, C.—Maeterlinck.—Critic (New York), 1904, p. 156.

Brunnemann, A.—Maurice Maeterlinck—Pan, Berlin, 3rd year, 4th number, 1898.

Burton, R.—Maurice Maeterlinck.—Atlantic Monthly (Boston), 1894, p. 672.

Buysse, Cyriel.—Maurice Maeterlinck. With bibliography.—Den Gulden-Winckel (Baarn), 15th July, 1902.

Chambers, E.K.—Joyzelle.—Academy, 1903, p. 89.

Chrysale.—La Vie des Abeilles.—Figaro, 14th July, 1901.

Coleman, A.I. du P.—The Buried Temple.—Critic, Jan., 1903.

Cooper, F.T.—The Forbidden Play.—Bookman (New York), Sept., 1902.

Corneau, G.—Maeterlinck and Joyzelle.—Critic, Aug., 1903.

Cornut, Samuel.—Maurice Maeterlinck—La Semaine littéraire, Geneva, 18th and 25th Jan., 1902.

Courtney, W.L.—Development of Maurice Maeterlinck.—Contemporary Review, Sept., 1004.

Crawford, Virginia M.—Maurice Maeterlinck.—Fortnightly Review, 1897, p. 176.

Crawford, Virginia M.—Maeterlinck's Aspirations.—Current Literature, August, 1900.

Daniels, E.D.—Symbolism in The Blind.—Poet-Lore, 1902, p. 554.

Dauriac, Lionel.—Un stoïcien du temps présent.—Revue Latine, 22nd June, 1902.

Deschamps, Gaston.—La Vie littéraire.—Le Temps, 21st April, 1907.

Deschamps, L.—M. Maeterlinck.—La Plume, 15th Nov., 1902.

Dewey, J.—Maeterlinck's Philosophy of Life.—Hibbert Journal, July, 1911.

Deyssel, Lodewijk van.—Het schoone beeld.—Twee-maandelijksch Tijdschrift, Sept., 1897.

Dimnet, Abbé Ernest.—Is M. Maeterlinck critically estimated?—Nineteenth Century and After, Jan., 1912.

Dreux, André.—Maurice Maeterlinck.—Le Correspondent, 25th March, 1897.

Drews, Arthur.—Maurice Maeterlinck als Philosoph.—Preuszische Jahrbücher, Berlin, Jan.-March, 1900, vol. xc., No. 12, pp. 232-262.

Drews, Arthur.—Das Leben der Bienen.—Preuszische Jahrbücher, vol. cvii., No. 3.

Drews, Arthur.—Der begrabene Tempel.—Preuszische Jahrbücher, vol. cx., No. 1.

Dumont-Wilden, L., et Georges Marlow.—L'Oiseau Bleu, Le Masque, Brussels, May, 1910.

Dumont-Wilden, Louis.—Maurice Maeterlinck.—La Nouvelle Revue Française, Sept., 1912.

Dumont-Wilden, Louis.—Correspondence.—La Vie Intellectuelle, Brussels, Nov. 1912.

Ettlinger, Anna.—Maurice Maeterlinck.—Beilage zur Allgemeinen Zeitung, No. 155 f., 1901.

Fidler, Florence G.—Maeterlinck's Blue Bird.—Everyman, Feb. 14th, 1913.

Firkens, O.W.—Dramas of Maeterlinck.—Nation (New York), Sept. 14th, 1911.

Flat, Paul.—Maurice Maeterlinck.—Revue Bleue, Oct., 1903.

Forest, K. de.—A Visit to Maeterlinck's Paris Home. Harper's Bazar, May, 1901.

Fortebus, T.—Maeterlinck as Thinker.—Argosy, 1901, p. 86.

Galtier, Joseph.—Maurice Maeterlinck raconté par lui-même. Le Temps, May 29th, 1903.

Gerothwohl, M.A.—Monna Vanna.—Monthly Review (London), 1902, p. 121.

Gerothwohl, M.A.—Joyzelle. Fortnightly Review, 1903, p. 76.

Gibson, A.E.—Maeterlinck and the Bees.—Arena, 1002, p. 381.

Gilder, J.L.—The American Production of Maeterlinck's Blue Bird.—Review of Reviews (New York), Dec., 1910.

Gilman, L.—Maeterlinck in Music.—Harper's Weekly, Jan. 13th, 1906.

Groth, C.D.—Madame Maeterlinck at Home.—Harper's Bazar, Nov., 1911.

Guthrie, W.N.—The Treasure of the Humble. Study of Death. Sewanee Review (Sewanee, Tenn.), 1898, p. 276.

Hagemann, Dr. Karl.—Maeterlinck und Bölsche.—Die Propyläen, Munich, Nov. 1903.

Hamel, A.G. van.—Maurice Maeterlinck.—De Gids, Jan., 1900.

Harris, Frank.—Maurice Maeterlinck, The Academy, June 15th and 22nd, 1912.

Hartmann, Anna von.—Maurice Maeterlinck.—Deutsche Rundschau, Jan. 1003.

Hassé.—L'âme philosophique de Maeterlinck.—Ermitage, May, 1896.

Hauser, Otto.—Maeterlinck's Dramen.—Nationalzeitung, Aug., 1902.

Heard, J., Jr.—Maurice Maeterlinck.—Critic, 1894, P. 354.

Henderson, A.—Maeterlinck as a Dramatic Artist.—Sewanee Review, 1904, p. 207.

Henderson, A.—Maurice Maeterlinck, Symbolist and Mystic.—Arena (Boston), Feb., 1906.

Hofmiller, Josef.—Maeterlinck (Deutsches Theater, ii).—Monatshefte, Munich and Leipzig, Oct., 1904.

Holländer, Felix.—Criticism of various works.—Literarisches Echo, Oct., 1902.

Hovey, Richard.—Maurice Maeterlinck.—Nineteenth Century, March, 1895.

Hovey, Richard.—Impressions of Maeterlinck and the Théâtre de l'Œuvre.—Poet-Lore, 1895, p. 446.

Hovey, Richard.—Translation from Maeterlinck—Current Literature, Mar., 1901.

Huneker, James.—The Evolution of a Mystic.—The Sun, 12th April, 1903.

Huneker, James.—The Romance of Maeterlinck.—The Sun (New York), 26th April, 1903.

Huneker, James.—Joyzelle.—The Lamp (New York), Jan., 1904.

Jannasch, Lilly.—Monna Vanna im Lichte der sozialen Ethik.—Ethische Kultur, Berlin, 4th April, 1903.

Jervey, H.—Maeterlinck versus the Conventional Drama.—Sewanee Review, 1903, p. 187.

Keller, Adolf von.—Maeterlinck als Philosoph.—Neue Zürcher Zeitung, 28-29th Dec, 1903.

Keymeulen, van.—Maurice Maeterlinck et son Œuvre.—Revue Encyclopédique, 15th Jan., 1893.

Leblanc-Maeterlinck, Georgette.—Macbeth at Saint Wandrille.—Fortnightly Review, Oct., 1909.

Leblanc-Maeterlinck, Georgette.—Later Heroines of Maeterlinck.—Fortnightly Review, Jan., 1910.

Leblanc-Maeterlinck, Georgette.—Maeterlinck's Methods of Life and Work.—Contemporary Review, Nov., 1910.

Lerberghe, Charles van.—Maurice Maeterlinck.—La Wallonie (Liège), 31st July, 1889.

Lord, W.F.—The Reader of Plays to the Rescue.—Nineteenth Century and After, 1902, p. 72. Reply: H.H. Fyfe, p. 282. Rejoinder: W.F. Lord, p. 289.

Lorenz, Max.—Der Naturalismus und seine überwindung. Preuszische Jahrbücher, vol. xcvi., p. 493 ff.

Mattos, A.T. de.—A Notable Genius.—American Magazine (New York), Feb., 1911.

Mauclair, Camille.—Maurice Maeterlinck.—Les Hommes d'aujourd'hui, No. 434, Paris, Vanier.

Mauclair, Camille.—Intérieur.—Revue Encyclopédique, 1st April, 1895.

Mauclair, Camille.—La Belgique par un Français.—Revue Encyclopédique, 24th July, 1897.

Maurras, Charles.—Le Trésor des Humbles—Revue Encyclopédique, 26th Sept., 1896.

Merrill, Stuart.—Commentaires sur une Polémique.—Le Masque (Brussels), Série ii, Nos. 9 et 10.

Mirbeau, Octave.—Maurice Maeterlinck.—Figaro, 24th Aug., 1890.

Mockel, Albert.—Chronique littéraire.—La Wallonie, June and July, 1890.

Mockel, Albert.—Une âme de poète.—Revue Wallonne, Liège, June, 1894.

Mockel, Albert.—Les lettres françaises en Belgique.—Revue Encyclopédique, 24th July, 1897.

Newman, E.—Maeterlinck and Music.—Atlantic Monthly (Boston), 1901, p. 769.

Norat, E.—Maeterlinck moraliste.—Revue Bleue, 11th June, 1904.

Nouhuys, W.G. van.—Maeterlinck.—Nederland, 1897, L, p. 14.

Oppeln-Bronikowski, F. von.—Maurice Maeterlinck.—Die Gesellschaft, 9 and 10, 1898.

Oppeln-Bronikowski, F. von.—Maurice Maeterlinck und der Mysticismus.—Nord und Süd, Dec., 1898.

Oppeln-Bronikowski, F. von.—Maurice Maeterlinck.—Bühne und Welt, 1st and 15th Nov., 1902.

Oppeln-Bronikowski, F. von.—Wie Maeterlinck arbeitet, Berliner Tageblatt, 19th Feb., 1904.

Oppeln-Bronikowski, F. von.—Die Quellen von Monna Vanna—Nationalzeitung, Sonntagsbeilage 44, 1904.

Oppeln-Bronikowski, F. von.—Maeterlinck's neueste Werke—Nationalzeitung, 19th and 21st July, 1904.

Osgood, H.—Maeterlinck and Emerson—Arena—1896, p. 563.

Pastore, Annibale.—L'Evoluzione di M. Maeterlinck.—Nuova Antologia, 16th March, 1903.

Patrick, M.M.—The Belgian Shakespeare.—Chautauquan (Meadville, Pa.), Oct., 1904.

Phelps, William Lyon—Maeterlinck.—Poet-Lore (Boston), 1899, p. 357.

Phelps, William Lyon.—Maeterlinck and Robert Browning.—Academy, 1903, p. 594. Same: Independent (New York), March 5th, 1903.

Phillips, R.—A Talk with Maurice Maeterlinck.—Book Buyer, New York, July, 1902.

Picard, Gaston.—Enquête.—L'Heure qui sonne, April, 1911.

Pidoux, M.—Maeterlinck at home.—Bookman (New York), 1895, p. 104.

Pilon, Edmond.—Maurice Maeterlinck.—Mercure de France, April, 1896.

Pilon, Edmond.—Maurice Maeterlinck, La Plume, 1st May, 1902.

Puttkamer, Alberta von.—Monna Vanna und der künstlerisch —philosophische Werdegang Maeterlincks.—Beilage zur Allgemeinen Zeitung, No. 236 f., 1902.

Rava, Maurice.—Maurice Maeterlinck, Poeta Filosofo.—Nuova Antologia, 1st Feb., 1897.

Rency, Georges.—Maurice Maeterlinck et Louis Dumont-Wilden.—La Vie Intellectuelle (Brussels), 15th Oct., 1912.

Rency, Georges.—Review of La Mort. La Vie Intellectuelle, March, 1913.

Reuter, Gabriele.—Rhodope und Monna Vanna.—Der Tag, Berlin, 5th April, 1903.

Richter, Helene.—Das Urbild der Monna Vanna.—Neue Freie Presse (Vienna), 29th April, 1904.

Rod, E.—Maeterlinck's Essay on The Life of the Bee.—International Monthly (Burlington, Vt.), April, 1902.

Ropes, A.R.—Maurice Maeterlinck.—Contemporary Review, March, 1900.

Rose, G.B.—Monna Vanna.—Sewanee Review (Sewanee, Tenn.), 1902, p. 458.

Ruhl, A.—The Blue Bird.—Collier's National Weekly (New York), Oct. 22nd, 1910.

Sanborn, A.F.—Maeterlinck out of doors.—Harper's Weekly, Oct. 15th, 1910.

Scott-James, R.A.—Review of "Death" and Mr Edward Thomas's "Maurice Maeterlinck." Daily News (London), Oct. 20th, 1911.

Serrano, M.J.—Three Songs of Maeterlinck translated.—Critic, Dec. 1902.

Sharp, W.—Maurice Maeterlinck.—Academy, 1892, p. 270.

Sherwood.—Later Philosophy of Maurice Maeterlinck.—Atlantic Monthly, Sept. 1911.

Sholl, A.M.—Maeterlinck's Philosophy.—Gunton's Magazine (New York), Jan., 1904.

Silver, Ednah C.—Maeterlinck and Swedenborg.—New Church Review (Boston), 1905, p. 416.

Slosson, E.E.—Twelve Major Prophets of To-day.—Independent, May 4th, 1911.

Soissons, Count S.C. de.—Bluebeard and Aryan.—Fortnightly Review, Dec. 1900. Same: Littell's Living Age (Boston), Jan. 1901.

Soissons, Count S.C. de.—Maeterlinck as Reformer of the Drama.—Contemporary Review, Nov. 1904.

Soissons, Count de.—The Modern Belgian Poets.—English Review, Aug. 1911.

Souza, Robert de.—Littérature.—Mercure de France, 1898.

Steiner, E.A.—A visit to Maeterlinck.—Outlook (New York), 1901, p. 701.

Stoddart, J.T.—Maurice Maeterlinck.—Bookman (New York). 1895, p. 246.

Sylvestre, M.—Maeterlinck.—Open Court (Chicago), 1903, p. 116.

Symons, Arthur.—Maeterlinck as a Mystic.—Contemporary Review, 1897, p. 349.

Tadema, L. Alma.—Monna Vanna.—Fortnightly Review, 1902, p. 153.

Thorold, Algar.—Maeterlinck as Moralist.—Independent Review (London), 1906, p. 184.

"Thyrse, Le," Brussels, Jan., 1912.—Maeterlinck et le prix Nobel. Enquête.—(Contains opinions of eminent men of letters on Maeterlinck.)

Uzanne, Octave.—La Thébaïde de Maurice Maeterlinck.—Echo de Paris, 7th Sept., 1900.

Vallete, Alfred.—Pelléas et Mélisande et La Critique Officielle.—Mercure de France, July, 1893.

Weekes, C—Maeterlinck as Artist.—Argosy, 1901, p. 77.

Winter, W.—The Blue Bird.—Harper's Weekly, Oct. 29th, 1910.

Zangwill, Israel—Maurice Maeterlinck.—Critic, 1895, p. 451.

Zieler, Gustav.—Maurice Maeterlinck.—Velhagen und Klasings Monatshefte, Aug., 1902.

CHRONOLOGICAL LIST OF MAETERLINCK'S WORKS

1889 Serres Chaudes La Princesse Maleine 1890 Les Aveugles 1891 L'Ornement des Noces spirituelles de Ruysbroeck l'Admirable Les sept Princesses 1892 Pelléas et Mélisande 1894 Alladine et Palomides Intérieur La Mort de Tintagiles 1895 Annabella Les Disciples à Saïs et les Fragments de Novalis 1896 Le Trésor des Humbles Aglavaine et Selysette Douze Chansons 1898 La Sagesse et la Destinée 1901 La Vie des Abeilles Théâtre I & III 1902 Théâtre II Le Temple Enseveli Monna Vanna Théâtre de Maurice Maeterlinck 1903 Joyzelle 1904 Le double Jardin Das Wunder des Heiligen Antonius 1907 L'Intelligence des Fleurs 1909 L'Oiseau Bleu 1910 Macbeth Mary Magdalene 1911 Death 1913 La Mort