Читать книгу Life and Writings of Maurice Maeterlinck - Jethro Bithell - Страница 5

On his return to Belgium, Maeterlinck spent his winters in Ghent, in the house of his parents; his summers in the family villa at the village of Oostacker.

He now (1887) became, acquainted with Georges Rodenbach, who introduced him to the directors of La Jeune Belgique. He was in no hurry to write, however; in three years the magazine only published three poems, still in regular verse, from his pen. These were included later in Serres Chaudes, as also were the few poems in regular verse which appeared in the anthology of Belgian verse, Le Parnasse de la Jeune Belgique, published in 1887 under the auspices of La Jeune Belgique.

The fact that by 1887 it was possible to compile such an anthology is remarkable; for before 1880 Belgium, from the point of view of literature, was a desert. But in 1879 certain noisy students at the University of Louvain (Verhaeren, Gilkin, Giraud, Ernest van Dyck,22 Edmond Deman,23 and others) put their heads together and founded a bantam magazine, La Semaine des Etudiants.24 This magazine was the beginning of the modern movement in Belgian literature. In October of the "following year, another student, who, when his identity was disclosed, turned out to be Max Waller, brought out a hostile magazine, Le Type; and the fight between the rivals became so merciless that the University authorities suppressed them both. Max Waller, however, nothing daunted, went to Brussels, and acquired La Jeune Belgique, a review that had been founded by students of Brussels University, made friends with his antagonists of La Semaine, and associated them with himself in the editing of his review. Georges Eekhoud, Georges Rodenbach, and other writers joined them; and La Jeune Belgique went on with its task of fighting the Philistine. Max Waller died in 1889; and when Gilkin became editor in 1891, it became the organ of the Parnassians in Belgium, while the symbolists (French as well as Belgian) enriched the pages of La Wallonie, which Albert Mockel had founded in Liège in 1886.

We have seen, from Charles van Lerberghe's letter to Adolphe van Bever, that Maeterlinck began by writing "short stories something like Maupassant's." The Massacre of the Innocents is realistic. Verhaeren, too, had discovered himself when, a student at Louvain, he read Maupassant's poems. His first book, Les Flamandes, made a critic say that the poet had burst on the world like an abcess. And the Belgians had in Camille Lemonnier a realist whose novels are as uncompromising as those of Zola. At the time when Maeterlinck began to write Lemonnier was, as they called him, the field-marshal of Belgian literature. In the spring of 1883, the jury whose duty it was to award a prize for the best work published during the last five years decided that no book had been published which was sufficiently meritorious. It was felt that this was an official insult to Belgian letters, and particularly to Camille Lemonnier, who had published various works of striking merit in the five years concerned. A banquet de guerre to Lemonnier was arranged by La Jeune Belgique, and there were two hundred and twelve subscribers. The banquet took place on the 27th May, 1883, and this event may be said to mark, not only the triumph of naturalism in Belgium, but also the fact that the élite of the Belgians were now conscious of the renaissance of their literature.25 It will be Maeterlinck's task, after his return to Belgium, to react against this naturalism, and to write works which precipitate the decay of naturalism, not in Belgium only, but in the whole world; he and other Belgians, until Belgian literature becomes, as it was in the time of chivalry, "when the muse was the august sister of the sword, and stanzas were like bright staircases climbed, in pomp and epic fires, by verses casqued with silver like knights,"26 the most discussed, the most suggestive literature in Europe.27

In this reaction against naturalism in Belgium, Maeterlinck's work was hardly more effective than the dreamy poetry of Georges Rodenbach. It was not till 1887 that Rodenbach definitely left Belgium for Paris, and by that time he was a force in Belgian literature. No doubt he influenced Maeterlinck;28 he too was a mystic and a poet of silence. Rodenbach compares his soul with half-transparent water, with the water shut up in an aquarium: "he stands in silent fear before the riddle of this 'âme sous-marine,' surmising a deep and mysterious abyss, at the bottom of which a priceless treasure of dreams is lying buried, under the shimmering surface that quietly reflects images of the world. He complains that the poor immensurable soul knows itself so little, knows no more of its life than the water-lily knows of the surface it floats on:

"Then he would fain descend into this unknown world, seek through the dark deeps, dive for the treasures which slumber there perhaps… But it remains a longing, a wish, a dream:

"And so Rodenbach remains standing on the surface, staring at the deeps, but without seeing anything in them other than the trembling reflection of the things around him."29

Maeterlinck, as we shall see, is also the poet of the soul; he sees it under a bell-jar as Rodenbach saw it in an aquarium; but Maeterlinck does not stand gazing at the unknown waters: he dives into the deeps, and brings back the treasures which Rodenbach surmised.