See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

MAURICE See also:

• MAURICE MAETERLINCK (1862— )

MAETERLINCK (1862— )  , Belgian-See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French dramatist and poet, of Flemish extraction, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent on the 29th of See also:

• AUGUST (originally Sextilis)

August 1862 . He was educated at the See also:

• COLLEGE (Collegium)

College Sainte-Barbe, and then at the university - of his native See also:

• CITY (through Fr. cite, from Lat. civitas)

city, where, at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of twenty-four, he was enrolled as a See also:

• BARRISTER

barrister . In 1887 he settled in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, where he immediately became acquainted with See also:

• VILLIERS, CHARLES PELHAM (1802-1898)

Villiers de l'Isle-See also:

• ADAM
• ADAM (or ADAN) DE LE HALE (died c. 1288)
• ADAM, ALEXANDER (1741–1809)
• ADAM, JULIETTE (1836– )
• ADAM, LAMBERT SIGISBERT (1700-1759)
• ADAM, MELCHIOR (d. 1622)
• ADAM, PAUL (1862– )
• ADAM, ROBERT (1728—1792)
• ADAM, SIR FREDERICK (1781-1853)
• ADAM, WILLIAM (1751-1839)

Adam and the leaders of the symbolist school of French See also:

• POETRY

poetry . At the See also:

• DEATH

death of his See also:

• FATHER

father, See also:

• MAETERLINCK, MAURICE (1862— )

Maeterlinck returned to See also:

• BELGIUM
• BELGIUM (Fr. Belgique; Flem. Belgic)

Belgium, where he thenceforth mainly resided: in the See also:

• WINTER, JOHN STRANGE
• WINTER, PETER (c. 1755-1825)

winter at Ghent, in the summer on an See also:

• ESTATE (through O. Fr. estat, mod. flat, from Lat. status, state, condition, position, stare, to stand)

estate at Oostacker . He had by this See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time determined to devote his whole See also:

• LIFE

life to poetry, a See also:

• DEDICATION (Lat. dedicatio, from dedicare, to proclaim, to announce)

dedication which his See also:

• FORTUNE, ROBERT (1813-188o)

fortune permitted . His career as an author began in 1889, when he published a See also:

• VOLUME

volume of See also:

• VERSE (from Lat. versus, literally a line or furrow drawn by turning the plough, from vertere, and afterwards signifying an arrangement of syllables into feet)

verse, See also:

• SERRES, OLIVIA (1772-1834)

Serres chaudes, and a See also:

• PLAY

play, La Princesse Maleine, the latter originally composed in See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre, but afterwards carefully rewritten in See also:

• PROSE

prose, the vehicle which the author continued to use for his dramatic See also:

• WORK

work . Maeterlinck was at this time totally unknown, but he became famous through an See also:

• ARTICLE (from Lat. articulus, a joint)

article by See also:

• OCTAVE (from Lat. octavus, eighth, octo, eight)

Octave See also:

• MIRBEAU, OCTAVE HENRI MARIE (1850- )

Mirbeau, prominently published in the Paris See also:

• FIGARO

Figaro, entitled " A Belgian See also:

• SHAKESPEARE, WILLIAM (1564-1616)

Shakespeare." The See also:

• ENTHUSIASM

enthusiasm of this See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

review and the excellence of the passages quoted combined to make Maeterlinck the talk of the See also:

• TOWN

town . Maeterlinck, among his Belgian See also:

• ROSES, WARS OF THE

roses, continued to work with extreme deliberation . In 1890 he published, in See also:

• BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, two more plays, L'Intruse and See also:

• LES

Les Aveugles; followed in 1891 by Les See also:

• SEPT

Sept princesses . His strong leaning to See also:

• MYSTICISM (from Or. µuety, to shut the eyes; µuorrts, one initiated into the mysteries)

mysticism was now explained, or defined, by a See also:

• TRANSLATION

translation of the Flemish• See also:

• MEDIEVAL

medieval visionary, the Admirable Ruysbroeck, which Maeterlinck brought out in 1891 . In 1892 appeared what has been perhaps the most successful of all his plays on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage, Pellet's et Melisande, followed in 1894 by those very curious and powerful little dramas written to be performed by See also:

• MARIONETTES (probably from Ital. morio, a fool or buffoon, but also said to be derived from the mariolettes, or little figures of the Virgin Mary), FANTOCCINI (from fantino, a child)

marionettes: Alladine et Palomides, Interieur and La Mort de Tintagi.les . In 1895 Maeterlinck brought out, under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of Annabella, a translation of See also:

• FORD, EDWARD ONSLOW
• FORD, JOHN (r586–c.1640)
• FORD, RICHARD (1796-1858)
• FORD, THOMAS (b. c. 158o)

Ford's 'Tis Pity She's a TV See also:

• BORE

bore, with a See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface .

Two philosophical See also:

• WORKS

works followed, a study on See also:

• NOVALIS

Novalis (1895) and Le Tresor See also:

• DES

des humbles (1896) . In 1896 he returned to See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama with Aglavaine et Selysette and to lyric verse with Douze chansons . A monograph on the See also:

• ETHICS
• ETHICS, SHAFTESBURY, HOBBES

ethics of mysticism, entitled La Sagesse et la destinee, was issued, as a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of commentary on his own dramas, in 1898; and in 1901 Maeterlinck produced a fascinating volume of prose, founded upon observations made in his apiaries at Oostacker, in which See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy, See also:

• FANCY (a shortened form, dating from the 15th century, of " fantasy," which is derived through the O. Fr. fantasie, modern fantaisie. from the Latinized form of the Gr. cbavraoia, Oavrai'ecv, Oat Pais, to show)

fancy and natural See also:

• HISTORY

history were surprisingly mingled—La See also:

• VIE

Vie des abeilles . In 1902 he published Le See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple enseveli and See also:

• MOLINA, LUIS (1535-1600)

Molina Vanna; in 1903 Joyzelle . In 1901 he began to issue, in Brussels, an edition of his See also:

• COMPLETE

complete dramatic works . The nature of Maeterlinck's writings, whether in prose or verse, has been strictly homogeneous . Few poets have kept so rigorously to a certain defined direction in the practice of their See also:

• ART

art . Whether in philosophy, or drama, or lyric, Maeterlinck is exclusively occupied in revealing, or indicating, the See also:

• MYSTERY (Gr. µw(Trilpcov, from tcuvrm, an initiate, µfew, to shut the mouth)

mystery which lies, only just out of sight, beneath the See also:

• SURFACE

surface of See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary life . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to produce this effect of the mysterious he'aims at an extreme simplicity of diction, and a symbolism so realistic as to be almost See also:

• BARE

bare . He allows life itself to astonish us by its strangeness, by its inexplicable elements . Many of his plays are really highly pathetic records of unseen emotion; they are occupied with the spiritual adventures of souls, and the ordinary facts of time and space have no See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence upon the movements of the characters . We know not who these See also:

• ORPHAN

orphan princesses, these See also:

• BLIND, MATHILDE (1841—1896)

blind persons, these See also:

• PALE (through Fr. pal, from Lat. palms, a stake, for paglus, from the stem pag- of pangere, to fix; " pole " is from the same original source)

pale Arthurian knights, these aged guardians of desolate castles, may be; we are not informed whence they come, nor whither they go; there is nothing See also:

• CONCRETE
• CONCRETE (Lat. concretes, participle of concrescere, to grow together)

concrete or circumstantial about them .

Their life is intense and consistent, but it is wholly of a spiritual See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character; they are mysterious with the mystery of the movements of a soul . These characteristics, which make the dramatic work of Maeterlinck so curious and unique, are See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to most readers in Pelleas et Melisande, but are carried, perhaps, to their farthest intensity in Aglavaine et Sel ysette, which seems to be written for a phantom stage and to be acted by disembodied See also:

• SPIRITS

spirits . In spite of the violence of his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early admirers, and of the fact that the See also:

• FORM (Lat. forma)

form of his dramas easily See also:

• LENT (0. Eng. lenclen, " spring," M. Eng. lenten, lente, lent; cf. Dut. lente, Ger. Lenz, " spring," 0. H. Ger. lenzin, lengizin, lenzo, probably from the same root as " long " and referring to " the lengthening days ")

lent itself to the cheap ridicule of parodists, the See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent of Maeterlinck has hardly met with opposition from the See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism of his time . It has been universally See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt that his spirit is one of See also:

• GRAVE

grave and disinterested See also:

• ATTACHMENT

attachment to the highest moral beauty, and his seriousness, his serenity and his extreme originality have impressed even those who are bewildered by his diaphanous See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

graces and offended at his nebulous mysticism . While the crude enthusiasm which compared him with Shakespeare has been shown to be ridiculous, the best See also:

• JUDGES, THE BOOK OF

judges combine with Camille Mauclair when he says: " See also:

• MAURICE (1521–1553)
• MAURICE (MAURICIUS FLAVIUS TIBERIUS) (c. 539–602)
• MAURICE [or MAURITIUS], ST (d. c. 286)
• MAURICE, JOHN FREDERICK DENISON (1805-1872)

Maurice Maeterlinck est un homme de genie authentique, un tres See also:

• GRAND

grand phenomene de puissance mentale a la fin du xixe siecle." In spite of the shadowy See also:

• ACTION

action of Maeterlinck's plays, which indeed require some See also:

• SPECIAL

special conditions and contrivances for their performance, they are frequently produced with remarkable success before audiences who cannot be suspected of mysticism, in most of the countries of See also:

• EUROPE

Europe . In his philosophical writings Maeterlinck shows himself a See also:

• DISCIPLE

disciple of Novalis, of See also:

• EMERSON, RALPH WALDO (1803-1882)
• EMERSON, WILLIAM (1701-1782)

Emerson, of Hello, of the Flemish See also:

• CATHOLIC (Gr. KcaBoXuK6s, general, universal)

Catholic mystics, and he evolves from the teachings of those thinkers a See also:

• SYSTEM

system of See also:

• AESTHETICS

aesthetics applicable to the See also:

• THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre as he conceives it . (E .