"Un supplice d'arbres écorchés vifs Se tord, bras convulsifs, En façade, sur le bois proche."

And cannot you feel a gnashing of teeth in this counsel of an obstinate sufferer agonized to frenzy?

"Exaspere sinistrement ta toute exsangue Carcasse, et pousse au vent en des sols noirs, rougis De sang, ta course, et flaire et léche avec ta langue Ta plaie et lutte et butte et tombe—et ressurgis !"

It is impossible, however, to convey by excerpt any idea of those poems, and they form the majority, which hammer, hammer, hammer, or drip, drip, drip, through a hundred lines or more of a metre, elaborately yet inevitably adapted to the repercussion of a single note, the representation of a single scene. One would suppose that an effect, based so largely on metrical artifice and protracted by however masterly skill, must repel and tire. And, in fact, to read through "Les Débâcles" or "Les Villes Tentaculaires" is like sitting out the "Meistersinger" or "Götterdämmerung." But the reward is great for those who have the patience to follow and the intelligence to apprehend. Each poem is so enriched with gorgeous colouring, the mind is stimulated by such fine and pregnant images, that one is carried at a rush from start to finish without having occasion or desire to elude its overmastering spell.

The potency and complexity of this rather cryptic art has passed through three stages of marked development both in chosen subject and means employed. When a political and forensic disciple of the eminent Brussels barrister, M. Edmond Picard, published "Les Flamandes" in 1883, and "Les Moines" in 1886, the critics were forced to ransack the vocabulary of the studio to appraise those pictorial revelations of Flemish peasant and monastic life. A painter with as avid an eye for colour and shape as Gautier, a realist

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with as keen a sense of the dismal and horrific as Zola, had co-operated, it would seem, to depict the bestialities of the kermesse, the beatitudes of the cloister. But sonnet succeeded alexandrine and four-lined stanza succeeded sonnet with academic regularity. Nor was docility of form atoned for by depth of vision. The figures were painted in with extraordinary vigour and truth ; not a pose was omitted, not a possible light or shade wanting ; but one felt that it was all superficial, external. It was the work of a strong and haughty colourist, whose heart and brain were all in his task, absorbed by and concentrated on execution, more concerned with efficient workmanship than moved by that intimate, humane sympathy, from which the most living art springs. More particularly was this the case with the second volume, in which the exterior aspects of the trappist life—its labour, its legend, its ceremonial—were celebrated without a pang or throb of spiritual sympathy. Neither the brutal vigour of the labourer's struggle for life nor the ascetic rigour of a life withdrawn from struggle, struck deep enough root in the seed- plot of a soul, destined to bring forth more rare and splendid flowers in due season. The eye had been caught and the fancy fired, but that was all. Perhaps at this time "La Jeune Belgique" and "l'Art Moderne" gained what the poems lacked, the whole-hearted enthusiasm which championed and expounded with lucid force the art of Manet, Moreau, Fernand Khnopff, Odilon Redon, Van Rysselberghe. In the midst of ardent battle for his ideals, the young poet was prostrated by a shattering illness, which seems to have torn away the veils, concealing his inmost "ego" from himself. The pains were birth-pains, setting free a psychologist of relentless daring and patience, a seer of unexampled gravity and grandeur. If the psychology stopped at self-analysis, if the visions came through a gate of ebony, they are none the less authentic. Of the sombre trilogy, which appeared between 1887 and 1891, the author has been anxious to describe "Les Soirs" as "les decors du cri," "Les Débâcles" as "le cri," and "Les Flambeaux Noirs," as the echoes of the cry in the thinking-chamber of his brain. What is more important for us —since the terse distinction compresses with Procrustean violence the quiver- ing bodies of live poems—is that now Emile Verhaeren had found himself, had found the necessity and the faculty of declaring his bitterest and bravest thoughts ; had found, above all, a novel instrument of surprising delicacy and strength in the warmly-abused and warmly-defended vers libre.

The quarrels which rend foreign coteries on questions of .technique must always seem a little wasteful to English spectators. Instinct prompts the skilled craftsman in selecting his tool ; if he so wield it as to satisfy his

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judgment and accomplish his design, no amount of theoretic disputation will arrest or affect him. Baudelaire had appropriated the sonnet, Hugo had exhausted the thousand and one variations of the alexandrine, Banville had reduced rhyming to a juggler's trick of deftly manipulated balls : it was felt that the time-honoured stricture of regular sound-recurrence and equivalent feet fettered the writer and reminded the reader too persistently of an art which lacked art to hide itself. More difficult, perhaps, but more supple, more free to catch and render the actual rhythms of life, would be the " free verse " in a master's hand, for only a master could supply the balance, the lilt, that gratification of the ear, associated with old metres. In a letter of congratulation on the appearance of "Les Soirs," M. Mallarmé wrote in praise of its metrical innovations, "l'ouvrier disparaît, le vers agît ;" and it is not too much to say that, at its best, the verse moves with apt, active spontaneity, leaps or sinks, exalts or moans, rushes or drags, in accordance with its theme. An excellent object-lesson, consisting of two poems from the same pen on the same subject, "Les Plaines," enables one to compare the two methods and gauge their relative value. The first poem begins thus :

"Partout, d'herbes en Mai, d'orges in Juillet pleines, De lieue et lieue, au loin, depuis le sable ardent Et les marais sur la Campine s'étendant, Des plaines, jusqu' aux mers du Nord, partout des plaines !     *    *    *    *    * Partout, soit champ d'avoine, où sont les marjolaines, Coins de seigle, carrés de lins, arpents de prés, Partout, bien au-delà des horizons pourprés, La verte immensité des plaines et des plaines !"

The second, written ten years later, thus :

"Sous la tristesse et l'angoisse des cieux Les lieues S'en vont autour des plaines ; Sous les cieux bas Dont les nuages trâinent, Immensement les lieues Marchent, là-bas.     *    *    *    *    * C'est la plaine, la plaine blême, Interminablement toujours la même."

The intrinsic importance, however, of the poet's "cry," for those who had ears to hear, outweighed its extrinsic variety of modulation. It was the cry of a violent fighter, of an iron will, grappling with Death. The sick bed, which

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generally silences or softens the voice of a singer, braced and inspired its prisoner with an obstinate, victorious song, half dirge and half pæan, re- cording every incident of the long fight, every change of mood through the whole gamut of suffering, doubt, defiance, ennui, pride, dizziness, and delirium. The only other instance that occurs to me of malady so successfully trans- muted to melody is furnished by James Thomson's "In the Room," and "To our Ladies of Death," apart from exercises in hymnology, which seldom rise to the level of literature. The resultant emotion, in one reader, at least, of this melancholy and sometimes maniacal verse, is not compassion with the racked body, though the flesh ache and the nerves tingle to read, but rather exultant sympathy with a valorous spirit, which, scorning the cheap virtues of humility and faith, meets and beats the leagued mysteries of dissolution and eternity, as though conscious of an immortality, equal to theirs. It must be noted, too, that not only had proximity to destruction evoked its utmost ounce of energy from an adamantine will, but the conditions and the field of battle were exactly suited to the peculiar bent of racial imagination. The greatest art of the Netherlands has ever been haunted by the sombre, the saturnine, the macabre ; if we cannot read Van Vondel's "Lucifer" we have all observed this trait in certain pictures of Rubens, Jordaens, Gerard David, Jan Bosch, Jan Luijken, and Wiertz. Small wonder, then, that a black- wanded Prospero, in temporary servitude to powers of darkness, turned their very terrors to artistic account and twisted their sharpest thorns into a crown. To characterize concisely the three phases of disorder, the three facets of a gem, bearing the carver's portrait, which diversify and justify the triune design of the whole, one might hazard the assertion, that in "Les Soirs" a sick poet draws from nature the evening-coloured pictures which are in keeping with his state, desolate country, decadent town, the fall of the year ; that, in "Les Debâcles," a sick hero draws from disease its sting ; that, in 'Flambeaux Noirs," a sick thinker draws from pitifully naked premisses his negative conclusions about the universe. It is always a sick man who speaks, a détraqué ; but this détraqué has a strange power of clothing general ideas, abstractions, with vivid, plausible words, so that his ebbing philosophy wakes in us as much concern as his ebbing life. And this brings me to the last stage of development in the writer, whose line of work I am endeavouring to trace.

The highest quality, perceptible in "Les Flamandes," and brought to greater perfection in each subsequent volume, is the result of inner, not outer, vision, betokening less the painter's eye for difference than the seer's eye for analogy ; indeed, for as keen a sense of the applicability of symbol, for such

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striking co-ordination of pictorial and psychical terms one must go back to Shelley, perhaps to Plato. Not that Verhaeren ever uses verse as a vehicle for philosophic or political doctrine ; he tries to translate the sacred works, which we call by the names of Nature, Mind, Society, without editorial inter- polation. Above all, when striking the stars, he is careful not to lose his head in, the clouds. To quote his own wise words : "You can never dispense entirely with the real for the same reason that you can never escape entirely from what lies beyond. Art is a two-faced unity ; as the catholic divinity consists of three persons, art consists of two. You must feel your footing from time to time, and use the ground as a spring-board. The vague is as dangerous as the terre-à-terre is lugubrious." Disregard of this danger has swamped many a French poet's fragile barque in floods of incomprehensible metaphor, and brought discredit on the Symbolist movement.

This is not the place to assign respective measures of merit to the first Symbolists, to Mallarmé, to Arthur Rimbaud, or to Gustave Kahn ; but I cannot refrain from quoting at some length the clear statement of what Symbolism seeks to achieve, on the testimony of its most gifted exponent. Speaking of the Naturalism, which preceded it, M. Verhaeren writes : "This was descriptive decomposition, a microscopic and minute analysis, without résumé, without an attempt to concentrate or generalize. You studied a corner, an anecdote, an individual, and the whole school was based on the science of the day, and, consequently, on positive philosophy. Symbolism will do the opposite. It follows the German philosophy of Kant and Fichte, as Naturalism followed the French philosophy of Comte and Littré. And this is perfectly logical. With us, the fact and the world serve simply as pretext for the idea ; they are treated as phenomena, condemned to perpetual variation, and they appear to be, in fine, merely the figments of our brain. It is the idea which determines them by adaptation or evocation. If Naturalism accorded so much space to objectivity in art, Symbolism will restore as much and more to subjectivity. We enthrone the idea in absolute sovereignty. Our art, then, is one of thought, reflection, combination, will. In it is no place for improvisation, for that sort of literary fever, which carried the pen across enormous and inextricable subjects. Every word, every sound must be weighed, examined, willed. Every phrase must be regarded as a thing, endowed with life of its own, independent, owing its existence to the words, its movement to their subtle, artful, sensitive juxtaposition." Elsewhere he contrasts modern with Greek Symbolism. The Greek sought to materialize the abstract, to incarnate force in Zeus, love in Aphrodite, wisdom in Athene ;

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the modern aims at abstracting the idea from matter, at evoking the soul and suggesting the whole by electric, quintessential phrase. Here there is a warning of what we shall find in the poet's mature work : not "a substitute for a glass of wine and a cigarette," not an excuse for sentimental reverie, not empty rhetoric or "sensual caterwauling," but a strenuous attempt to make the empire of poetry conterminous with the empire of modern thought, to turn the lyric muse from a mistress to a priestess.

Ambitious as it is, this scheme of establishing platonic friendship between platonic foes, mimicry and philosophy, has enriched French literature with at least three noteworthy books, "Les Campagnes Hallucinées," "Les Villes Tentaculaires," and "Les Villages Illusoires." I might describe the first two as the obverse and reverse sides of a gold coin, that being the fittest token of a money-making age, of the capitalistic era. In no country has the crushing pressure of industrial competition been felt so severely as in Belgium, whose manufacturing centres absorb the densest population in Europe to the detri- ment and ruin of agriculture. On the one side, then, the tumultuous, teeming town, and on the other, desolate, spell-stricken country offered congenial matter to the insurgent idealist, burning to reinstate other than commercial ideals, to depict and defeat the insidious strangulation by commerce of beauty, nobility, happiness. "The absolute sovereignty of the idea" is patent in every line, but not at the expense of verisimilitude : if anything, the real is made to seem more real, the tyranny of matter more heavy and more obvious. The "Campagnes Hallucinées " are as realistically painted as a panorama by M. Philippotaux : between the stagnant marshes and waste heaths, past fireless hearths, neglected Madonnas, and mouldering mill, tramp beggars, thieves, and migratory families of homeless poor. But more ghostly and ghastly habitants than these infest the sterile acres ; Fever, in gauze woven of swampy mists, the Giver of Bad Counsel, who comes at sunset in his green cart and whispers of suicide to the sullen yokel, of prostitution to the despairing wench, and Mother Death, a tipsy crone on a spavined white horse, whom neither the Blessed Virgin nor Jesus himself can propitiate. Insanity, which waits on famished body and mind, and is rendered more familiar by the Belgian custom of boarding out lunatics in cottage-homes, inspires six Chansons de Fou, almost worthy of Shakespeare. That this is not exaggerated praise, the reader may judge from the following specimen :

"Le crapaud noir sur le sol blanc Me fixe indubitablement Avec des yeux plus grands que n'est grande sa tête ; 72THE SAVOY Ce sont les yeux qu'on m'a volés, Quand mes regards s'en sont allés Un soir, que je tournai la tête. "Mon frère il est quelqu'un qui ment, Avec de la farine entre ses dents ; C'est lui, jambes et bras en croix, Qui tourne au loin, là-bas, Qui tourne au vent Sur ce moulin de bois. "Et celui-ci, c'est mon cousin, Qui fut curé et but si fort du vin Qui le soleil en devient rouge, J'ai su qu'il habitait un bouge Avec des morts dans ses armoires. "Car nous avons pour génitoires Deux Cailloux Et pour monnaie un sac de poux, Nous, les trois fous, Qui épousons, au clair de lune, Trois folles dames sur la dune."

It is in the "Villes Tentaculaires," however, that the Symbolist poet may most directly challenge comparison with the Naturalistic novelist, for Zola alone among great writers has caught and wielded the spell of great modern institutions, of the factory, the exchange, the mine. Or take, for instance, the crowd of business men in a city street. Seven pages of Rougon-Macquart enumeration would not convey more than these seven lines :