Émile Verhaeren

PART II

CONTEMPORARY FEELING

To realities, and particularly to the realities of our day, lyric poets had previously felt themselves alien. It had long been a commonplace to speak of the danger to art of industrialism, of democracy, of this age of machinery which makes pur life uniform, kills individuality, and drowns romance in actualities. All these poets have looked upon the new creations, machines, railways, monster cities, the telegraph, the telephone, all the triumphs of engineering, as a drag on the soaring of poetry. Ruskin preached that workshops should be demolished and chimneys razed to the ground; Tolstoy pointed to primitive man, who produces all his requirements from his own resources independently of any community, and saw in him the moral and æsthetic ideal of the future. In poetry, the past had gradually come to be identified with the poetical. People were enamoured of the glory that was Greece, of mail-coaches and narrow, crooked streets; they were filled with enthusiasm for all foreign cultures, and decried that of our own time as a phase of degeneration. Democracy, levelling all ranks and confining even the poet to the middle-class profession of author, seemed, as a social order, to be the correlation of machinery which, by the constructive skill of workshops, renders all manual dexterity unnecessary. All the poets, who were glad to avail themselves of the practical advantages provided by technical science, who had no objection to covering immense distances in the minimum time, who accepted the comfort of the modern house, the luxury of modern conditions of life, increased pecuniary rewards and social independence, refused obstinately to discover in these advantages a single poetic motive, a single object of inspiration, the least stimulus or ecstasy. Poetry had by degrees come to be something which was the very opposite of what-, ever is useful; all evolution seemed to these poets to be, from the point of view of culture, retrogression.

Now it is Verhaeren's great exploit that he effected a transmutation poetic values. He discovered the sublime in the far-spread serried ranks of democracy; beauty he found not only where it adapts itself to traditional ideas, but also where, still hidden by the cotyledon of the new, it is just beginning to unfold. By rejecting no phenomenon, in so far as an inward sense and a necessity dwelt in it, he infinitely extended the boundaries of the lyric art. He found a fruitful soil in the very places where all other poets despaired of poetic seed. He and he alone, who had for so long been eating his heart out in fierce isolation, feels the strength and fulness of society, the poetical element in the massed strength of great cities and in great inventions. His deepest longing, his most sublime exploit is the lyric discovery of the new beauty in new things.

The only way to this feat lay for him through the conviction that beauty does not express anything absolute, but something that changes with circumstances and with men; that beauty, like everything that is subject to evolution, is constantly changing. Yesterday's beauty is not to-day's beauty. Beauty is no more opposed than anything else to that tendency to spiritualisation which is the most characteristic symptom ind result of all culture. Physiologists have proved that the physical strength of modern man is inferior to that of his ancestors, but that his nervous system is more developed, so that strength is more and more concentrated in the intellect. The Hellenic hero was the wrestler, the expression of a body harmoniously developed in every limb, the perfection of strength and skill; the hero of our time is the thinker, the ideal of intellectual strength and suppleness. And since our only way of estimating the perfection of things is by the ideal of our personal feeling, the form of beauty likewise has been transformed and become intellectual. And even when we seek it in the body, as, for instance, in the ideal woman's figure, we have grown accustomed to seeing perfection not so much in robustness and plumpness as in a noble, slender play of lines which mysteriously expresses the soul. Beauty is turning away more and more from the outer surface, from the physical, to the interior aspects, to the psychic. In proportion as motive forces hide themselves and as harmony becomes less obvious, beauty intellectualises itself. It is becoming for us not so much a beauty of appearance as a beauty of; aim. If we are to admire the telegraph or the telephone, we shall not be satisfied with considering the exterior forms, the network of wires, the keys, the receivers; we shall be impressed rather by the ideal beauty, by the idea of a vibrating spark leaping over countries and whole continents. A machine is not wonderful on, account of its rattling, rusty, iron framework, but by the idea, deep-seated in its body, which is the principle of its magical activity. A modern idea of beauty must be adapted not only to the idea of beauty of the past, but also to that of the future. And the future of æsthetics is a kind of ideology, or, as Renan expresses it, an identity with the sciences. We shall lose the habit of understanding things only by our senses, of seeing their harmony only on their exterior surface, and we shall have to learn how to conceive their intellectual aims, their inner form, their psychic organisation, as beauty.

For these new things are only ugly when they are regarded with the eyes of a past century, when our contemporaries, jealously guarding a reverent over-estimation, valuing the rust and not the gold, despise modern works of art, and pay a thousand times too dear for the indifferent productions of a past age. Only in this state of feeling is it possible to esteem mail-coaches poetical and locomotives ugly; only thus is it possible for poets, who have not learned to see with emancipated and independent eyes, to assume such a hostile attitude, or at the best an indifferent attitude, to our realities. Let us remember Nietzsche's beautiful words: 'My formula for grandeur in man is amor fati: that a man should ask for nothing else, either in the past or in the future, in all eternity. We must not only endure what is necessary, still less conceal it—all idealism is lying in necessity's face—but we must love it.'[1] And in this sense some few in our days have loved what is new, first as a necessity, and then as beauty. A generation ago now, Carlyle was the first to preach the heroism of everyday life, and exhorted the poets of his day not to describe the greatness they found in mouldy chronicles, but to look for it where it was nearest to them, in the realities around them. Constantin Meunier has found the idea of a new sculpture in democracy, Whistler and Monet have discovered in the smoky breath of this age of machinery a new tone of colour which is not less beautiful than Italy's eternal azure and the halcyon sky of Greece. It is only from the vast agglomerations, the immense dimensions of the new world that Walt Whitman has derived the strength and power of his voice. The whole difficulty which thus far has permitted only a few to serve the new beauty in the new things lies in the fact that our age is not yet a period of decided conviction, but only one of transition. The victory of machinery is not yet complete; handiwork still subsists, little towns still flourish, it is still possible to take refuge in an idyll, to find the old beauty in some sequestered corner. Not till the poet is shut off from all flight to inherited ideals will he be forced to change himself into a new man. For the new things have not yet organically developed their beauty. Every new thing on its first appearance is blended with something repellent, brutal, and ugly; it is only gradually that its inherent form shapes itself æsthetically. The first steamers, the first locomotives, the first automobiles, were ugly. But the slender, agile torpedo-boats of to-day, the bright-coloured, noiselessly—gliding automobiles with their hidden mechanism, the great, broad-chested Pacific Railway engines of to-day, are impressive by their outward form alone. Our huge shops, such as those which Messel built in Berlin, display a beauty in iron and glass which is hardly less than that of the cathedrals and palaces of old time. Certain great things, such as the Eiffel Tower, the Forth Bridge, modern men-of-war, furnaces belching flame, the Paris boulevards, have a new beauty beyond anything which past ages had to show. These new things compel a new enhancement of value, on the one hand by the idea that moves them, on the other hand by their democratic grandeur and their vast dimensions—equalled by none but the very greatest works of antiquity. But whatever is beautiful must, sooner or later, be conceived of as poetry. And thus, it is quite sure, Verhaeren has only been one of the first to build bridges from the old to the new time; others will come who will celebrate the new beauties in the new things—gigantic cities, engines, industrialism, democracy, this fiery striving for new standards of greatness—and they will not only be compelled to find the new beauties, they will also have to establish new laws for this new order, a different morality, a different religion, a different synthesis for this new conditionality. the poetic transmutation of the beautiful is only a first beginning of the poetic transmutation of the feeling of life.

But a poet never finds anything in things save his own temperament. If he is melancholy, the world in his books is void of sense, all lights are extinguished, laughter dies; if he is passionate, all feelings seethe in a fiery froth as though in a cauldron, and foam up in angry happenings. Whereas the real world is manifold, and contains the elixirs of pleasure and pain, confidence and despair, love and hate, only as elements so to speak, the world of great poets is the world of one single feeling. And so Verhaeren too sees all things in their new beauty with the feelings of his own life only, only with energy. In these the fiery years of his prime it is not harmony that he seeks, but energy, power. For him a thing is the more beautiful the more purpose, will, power, energy it contains. And since the whole world of to-day is over-heated with effort and energy; since our great towns are nothing but centres of multiplied energy; since machinery expresses nothing save force tanied and organised; since innumerable crowds are yoked in harmonious action—to him the world is full of beauty. He loves the new age because it does not isolate effort but condenses it, because it is not scattered but concentrated for action. And of a sudden everything he sees appears to be filled with soul. All that has will, all that has an aim in view—man, machine, crowd, city, money; all that vibrates, works, hammers, travels, exults; all that propagates itself and is multiplied, all that strives to be creation; all that bears in itself fire, impulse, electricity, feeling—all this rings again in his verse. All that of old had acted upon him as being cold and dead and hostile is now inspired with will and energy, and lives its minute; in this multiple gear there is nothing that is merely dust or useless ornamentation; everything is creation, everything is working its way towards the future. The town, this piled-up Babylon of stones and men, is of a sudden a living being, a vampire sucking the strength of the land; the factories, that had seemed to him nothing but an unsightly mass of masonry, now become the creators of a thousand things, which in their turn create new things out of themselves. All at once Verhaeren is the socialist poet, the poet of the age of machinery, of democracy, and of the European race. And energy fills his poetry too: it is strength let loose, enthusiasm, paroxysm, ecstasy, whatever you like to call it; but always active, glowing, moving strength; never rest, always activity. His poem is no longer declamation, no longer the marmoreal monument of a mood, but a crying aloud, a fight, a convulsive starting, a stooping down and a springing up again; it is a battle materialised. For him all values have been transmuted. It is just what had repelled him most—London, monster cities, railway stations, Exchanges, which now lure him most of all as poetic problems. The more a thing seems to resist beauty—the more he has first to discover its beauty by fighting it and wrestling with it in torment—with so much the greater ecstasy does he now extol it. The strength which had murderously raged against itself now, in creative ecstasy, breaks into the world. To tear down resistance, to snatch beauty from its most hidden corner, is now for him a tenfold strength and joy of creation. Verhaeren now creates the poem of the great city in the dionysiac sense; the hymn to our own time, to Europe; creates ecstasy, renewed and renewed again, in life.

TOWNS ('LES VILLES TENTACULAIRES')

When a man just recovered from illness steps for the first time with arms outspread, and as though climbing up from a dungeon, into the light of day, he is filled with a bliss beyond measure by the open air caressing him on all sides, by the orgies of the sunlight, the cataracts of deafening din: with a cry of infinite exultation he takes into himself the symphony of life. And from this first moment of his recovery Verhaeren was seized by a limitless thirst for the intoxication of life, as though with one single leap he would make good the lost years of his loneliness, of his illness, and of his crisis. His eyes, his ears, his nerves, all his senses, which had been a-hungered, now pounce on things with a pleasure that is almost murderous, and snatch everything to themselves in a frenzy of greed. At this time Verhaeren travelled from country to country, as though he would take possession of all Europe. He was in Germany, in Berlin, in Vienna, and in Prague; always a lonely wanderer; quite alone; ignorant of the language, and listening only to the voice of the town itself, to the strange, sombre murmuring, to the surge of the European metropolises. In Bayreuth he paid his devotions at the tomb of Wagner, whose music of ecstasy and passion he absorbed in Munich; in Colmar he learned to understand his beloved painter Mathias Grünewald; he saw and loved the tragic landscapes of northern Spain, those gloomy, treeless mountains, whose threatening silhouettes afterwards became the background of the fiery happenings in his drama of Philip II.; in Hamburg he was an excited spectator, day by day, of the stupendous traffic, the coming and going of the ships, the unloading and the loading of cargoes. Everywhere where life was intensive, expressive, and animated with a new energy, he passionately loved it. It is characteristic of his temperament that the harmonious beauty of peaceful and empty, of sleeping and dreaming cities appealed to him less than modern cities in their pall of soot and smoke. Almost intentionally his affection turns from the traditional ideal to one yet unknown. Florence, for many centuries the symbol of all poets, disappointed him: the Italian air was too mild, these contours were too meagre, too dreamy the streets. But London, this piled-up conglomeration of dwellings and workshops; this town that might have been cast in bronze; this teeming labyrinth of dingy streets; this ever-beating, restless heart of the world's trade with its smoke of toil threatening to eclipse the sun; this was to him a revelation. Just the industrial towns, which had thus far tempted no poet; those towns which roll up the vault of their leaden sky with their own fog and smoke, which confine their inhabitants in leagues and leagues of congested masonry, these attract him. He, who revels in colour, grew fond of Paris, to which, since then, he has returned every year for the winter months. Just what is restless and busy, confused and breathless, hunted, eager, feverish, hot with an ardour as of rut, all this Babylonian medley lures him. He loves this pell-mell multiplicity and its strange music. Often he would travel for hours on the top of heavy omnibuses, to have a bird's-eye view of the bustling throng, and here he would close his eyes the better to feel the dull rumour, this surging sound which, in its ceaselessness, is not unlike the rustling of a forest, beating against his body. No longer as in his earlier books does he follow the existence of simple callings; he loves the ascension of handiwork to mechanical labour, in which the aim is invisible, and only the grandiose organisation is revealed. And gradually this interest became the motive interest of his life. Socialism, which in those years was becoming strong and active, fell like a red drop into the morbid paleness of his poetic work. Vandervelde, the leader of the Labour Party, became his friend. And when, at this stage, the party founded the Maison du Peuple at Brussels, he readily helped, gave lectures at the Université Libre, took part in all the projects, and afterwards, wards, in the most beautiful vision of his poetical work, lifted them far above the political and actual into the great events of all humanity. His life, now inwardly established, henceforth beats with a strong and regular rhythm. He had in the meantime, by his marriage, attained a personal appeasement, a counterpoise for his unbridled restlessness. Now his wild ecstasies have their fixed point, from which they can survey the fiery vortex of the new phenomena. The morbid pictures, the feverish hallucinations, now become clear visions; not by flashes of lightning, but in a steady, beaming light are the horizons of our time now illuminated for him.

Now that he steps boldly into life, his first problem is to come to an understanding with the world around him, with his fellow-men, with the city itself. But it is not the city he lives in which interests him in a provincial sense, but the ideal, modern city, the monster city in general, this strange and uncanny thing that like a vampire has snatched to herself all the strength of the soil and of men to form a new residuum of power. She crowds together the contrasts of life; grades, in unexpected layers, immense riches over the most wretched poverty; strengthens opposing forces, and goads them to hostility, goads them to that desperate battle in which Verhaeren loves to see all things involved. The grandeur of this new organism is beyond the æsthetics of the past; and new and strange before Nature stand men also, with another rhythm, a hotter breath, quicker movements, wilder desires than were known to any association of men, to any calling or caste, of a previous time. It is a new outlook which not only sweeps the distance, but has also to reckon with height, with the piled tiers of houses, with new velocities and new conditions of space. A new blood, money, feeds these cities, a new energy fires them; they are driven to procreate a new faith, a new God, and a new art. Their dimensions, terrific, and of a beauty hitherto unknown, defy measurement; the order that rules is hidden in the earth behind a pathless wilderness.

Quel océan, ses cœurs? ...
Quels nœuds de volonté serrés en son mystère![1]

cries out the poet in wonderment as he strides through the city and is overpowered by her grandeur:

Toujours en son triomphe ou ses défaites,
Elle apparaît géante, et son cri sonne et son nom luit.[2]

He feels that an enormous energy proceeds from her; he is conscious that her atmosphere rests with a new pressure on his body, that his blood quickens to keep pace with her rhythm. Merely to be near her starts the thrill of a new delight.

En ces villes ...
* * * * * * * * * * * * * * * * * *
Je sens grandir et s'exalter en moi,
Et fermenter, soudain, mon cœur multiplié.[3]

Involuntarily he feels himself becoming dependent on her, feels this grandiose coupling of energy producing a similar concentration of all his forces in himself too, feels his fever becoming infectious like her own, and feels—with an intensity unknown to any other poet of our days—the identity of his personality with the soul of the city. He knows she is dangerous, knows she will fill him with all restlessness, overheat him and excite him, confuse him with her hostile contrasts.

Voici la ville en or des rouges alchimies,
Où te fondre le cœur en un creuset nouveau
Et t'affoler d'un orage d'antinomies
Si fort qu'il foudroiera tes nerfs jusqu'au cerveau.[4]

But he knows that she will impregnate him as well, give him power from her strength. There will never be a great man again who will pass her by, who will not be thrilled by her sensation, who will not live with her, and by her grow. Henceforth all new and strong men will stand in reciprocal action with her.

This great recognition of a fact is, as we have seen, not spontaneous, but painfully acquired. For in the sense of the old beauty the aspect of a modern city is frightful. She is a sleepless, an ever wakeful woman; she does not, like Nature, sometimes rest; she is never silent. Restlessly she sucks men into her whirlpool; ceaselessly she pricks their nerves; day and night her life pulses. By day she is as grey as lead; a sultry shuttle of passions; a dark mine in which men, buried in the mines of her streets, are forced to unresting toil. How dense are these virgin forests of bronze and stone; and of all these thousands of streets 'à poumons lourds et haletants, vers on ne sait quels buts inquiétants,'[5] not one seems to lead into the open, into the light of day. Monotonous, like dull eyes, glare the millions of windows; and the darksome caverns in which men, themselves like machines, sit by machines, thunder in the unseizable rhythm of petrified exertion. Not a ray is reflected on them from the eternal; hostile, repulsive, and grey the town pants in the puffed smoke of her daily labour. But night, softening all harsh lines, fierily welds the lumbering limbs together into something new. By night the town is turned into one great seduction. Passion, fettered in the day-time, breaks its chains:

... Pourtant, lorsque les soirs
Sculptent le firmament de leurs marteaux d'ébène,
La ville au loin s'étale et domine la plaine
Comme unnocturne et colossal espoir;
Elle surgit: désir, splendeur, hantise;
Sa clarté se projette en lueurs jusqu'aux cieux,
Son gaz myriadaire en buissons d'or s'attise,
Ses rails sont des chemins audacieux
Vers le bonheur fallacieux
Que la fortune et la force accompagnent;
Ses murs se dessinent pareils à une armée
Et ce qui vient d'elle encor de brume et de fumée
Arrive en appels clairs vers les campagnes.[6]

These fiery eruptions Verhaeren shapes in grandiose visions. There is the vision of the music halls: wheels of fire revolve round a house, blazing letters climb up façades and lure the crowds to sit in front of the brilliant footlights. I Here the people's hunger for sensation is fed full, and art is cruelly murdered day by day. Here tedium is tamed for an hour or so, and whipped up with colour, flame, and music for another pleasure that is waiting outside, as soon as the illusion here sinks into the night:

Et minuit sonne et la foule s'écoule
—Le hall fermé—parmi les trottoirs noirs;
Et sous les lanternes qui pendent,
Rouges, dans la brume, ainsi que des viandes,
Ce sont les filles qui attendent....[7]

they the harlots, 'les promeneuses,' 'les veuves d'elles-mêmes,'[8] who live on the sensual hunger of the masses. For sensual pleasure too is organised in cities, is guided into canals, like all instincts. But the primordial instinct is the same. The hunger which out in the fields and in the country was still pleasure in healthy food, in frothing beer, has here been converted into the idea of money. Money is what everybody hungers for here; money is the meaning of the town. 'Boire et manger de l'or'[9] is the hot dream of the crowd. Everything is expressed by money, 'tout se définit par des monnaies';[10] all values are subordinate to this new value, monetary value. Superb is the vision of the bazaar, where, on all the counters, in the many stories, everything is sold, not only as in reality objects in common use, but, in a loftier symbolism, ethical values as well: convictions and opinions, fame and name, honour and power, all the laws of life. But all this fiery blood of money flows together in the great heart of the city, flows into the Exchange, that greedy maw that swallows all the gold and spits it out again, which smelts all this hectic fever and then pours it flaming into all the veins of the city. Everything can be bought, even pleasure: in back streets, in l'étal, in the haunts where debauch lies in wait, women sell themselves as goods are sold in the bazaar. But this energy is not always regulated, not always made to flow between dikes. Here too, as in Nature, there are sudden catastrophes. Sometimes revolt is kindled, flashes up instantaneously, and this stream of money blazes itself a new trail. The masses pour out of their dismal caverns, greed takes possession of men, and the myriad-headed monster fights and bleeds for this one thing, this red-burning, relucent gold.

But the great and powerful thing in these towns is not passion; it is the hidden strength behind these passions, the noble order that keeps them in their proper limits, and holds them in check. This rumbling chaos, this inundation of things doomed to die, is dominated in the Villes Tentaculaires by three or four figures standing like statues—the tamers of passions. They are what kings and priests were of old, they who have the power of bridling ebullient energies and turning them to use. With hands of iron they hold down this wild and dangerous animal, they, the new rulers, statesmen, generals, demagogues, organisers. For the town is an animal in its movements, a beast in its passions, a brute in its instincts, a monster in its strength. It is ugly, like all rut. It cannot be contemplated with a pure pleasure, like a landscape gently and harmoniously fading in forest verdure; it rather evokes, at first, loathing, hatred, caution, and hostility. But that is the great thing in Verhaeren, that he always overcomes whatever is hostile, pain and torment, by a great vista, that in this panting steam of the unæsthetic he already sees the flame of the new beauty. Here for the first time is, seen the beauty of factories, les usines rectangulaires, the fascination of a railway station, the new beauty in the new things. If the town is indeed ugly in its denseness, ugly in the sense of all classical ideals; if the picture of it is indeed I cruel and frightful; it is yet not unfertile. 'Le siècle et son horreur se condensent en elle, mais son âme contient la minute éternelle.' And this I feeling, that in her the minute of eternity is contained, that she is the new thing risen above all the pasts, a new thing that one must perforce come to terms with, this feeling makes her momentous and beautiful to the poet. If her form is loathsome, grey, and sombre, her idea, her organisation, are grandiose and admirable. And here, as always, where admiration finds a pivot, it can give the whole world the swing from negation to assent.

But Verhaeren is by this time too little of an artist, too much interested in all the problems of life, to be able to contemplate the idea of the modern city from the æsthetic side alone. It is for him a still more important symbol for the expression of contemporary feeling.

Not only the problem of the new social stratification is poetically digested in his trilogy, but also one of the most burning and pressing questions of political economy as of politics, the struggle between the centrifugal and the centripetal power, the struggle between agrarianism and industrialism. Town and country purchase their prosperity, the one by the impoverishment of the other. Production and trade, however much one is the condition of the other, at their extreme points are hostile forces. And how, in our days in Europe, the victory between town and country is being decided in favour of the town; how, gradually, the town is absorbing the best strength of the provinces—the problem of the déracinés—this has for the first time in poetry been described by Verhaeren in his magnificent vision of Les Villes Tentaculaires. The cities have sprung up like mushrooms. Millions have conglomerated. But where have they come from? From what sources have these immense masses suddenly streamed into the mighty reservoirs? The answer is quick to come. The heart of the city is fed with the oozing blood of the country. The country is impoverished. As though they were hallucinated, the peasants migrate to where gold is minted, to the town that in the evenings flames across the horizon; to where alone riches lies, and power. They march away with their carts, to sell their last stick of furniture, their last rags; they march away with their daughter, to deliver her up to lust; they march away with their son, to let him perish in the factories; they march away to dip their hands, they also, in this roaring river of gold. The fields are deserted. Only the fantastic figures of idiots stagger along lonely paths; the abandoned flour-mills are empty, and only turn when the wind smites against them. Fever rises from the marshes, where the water, no longer gathered into dikes, spreads putrefaction and pestilence. Beggars drag themselves from door to door, with the country's barrenness reflected in their eyes; to the last lingering cultivators come, sinuously, their worst enemies, les donneurs de mauvais conseils. The emigration agent entices them to wander to the lands of gold, and they squander what they have inherited from their ancestors, to seek a far-distant hope:

Avec leur chat, avec leur chien,
Avec, pour vivre, quel moyen?
S'en vont, le soir, par la grand'route.[11]

And they who are not enticed away by emigration are evicted from hearth and home by usurers. Villages in which the dance of the kermesse has long been silent are of a sudden cut in two by a network of railways. There is no fairness in the fight. The country is conquered because the blood of its inhabitants has been sucked out of it. 'La plaine est morte et ne se défend plus.'[12] Everything streams to Oppidomagnum. This is the name given by Verhaeren in his symbolical drama Les Aubes—which, with the Campagnes Hallucinées and the Villes Tentaculaires forms the trilogy of the social revolution—to the monster city. This, with its arms as of a polypus, pitilessly sucks all the strength of the district round it. From all sides strength streams in upon it. 'Tous les chemins se rythment vers elle.' Not only from the country does she drink the strength of men, all the ocean seems to be pouring its waters only to her port. 'Toute la mer va vers la ville.'[13] The whole sea streams to the city; all the rolling waves seem only to exist that they may bring to her this wandering forest of ships. And she absorbs everything, digests it in the 'noire immensité des usines rectangulaires,'[14] greedily devours it, to spit it out again as gold.

But this immense social struggle between the country and the town expresses, like the other new phases, something yet higher. It is only a momentary symbol of an eternal schism. The country is the symbol of the Conservatives. In the country the forms of labour are petrified, calm, and regular; there life is without haste, and only regulated by the rotation of the seasons. All sensations, all forms are pure and simple. These men stand nearer to the freaks of chance: a flash of lightning, a hailstorm can destroy their labour; and so they fear God, and do not dare to doubt in Him. The town, however, symbolises progress. In the thunder of the streets of to-day no Madonna's voice is heard; the life of the individual is protected from chance by prearranged order; the fever of the new creates also a yearning for new conditions of life, new circumstances, for a new God.

L'esprit des campagnes était l'esprit de Dieu;
Il eut la peur de la recherche et des révoltes,
Il chut; et le voici qui meurt, sous les essieux
Et sous les chars en feu des récoltes.[15]

If the country was the past, the town is the future. The country only seeks to keep what it has, to preserve: its character, its beauty, its God. But the town must first of all create, must make itself the new beauty, the new faith, and the new God.

Le rêve ancien est mort et le nouveau se forge.
Il est fumant dans la pensée et la sueur
Des bras fiers de travail, des fronts fiers de lueurs,
Et la ville l'entend monter du fond des gorges
De ceux qui le portent en eux
Et le veulent crier et sangloter aux cieux.[16]

But we, Verhaeren thinks, must not belong to this world of the past, this moribund world; no, we who live in towns must think with them, must live with the new age, create in league with it, and find a new language for its dumb yearning. A return to nature is no longer possible for us: evolution cannot be screwed back again. If we have lost great values, we must replace them by new; if our religious feeling for the old God is cold and dead, we must create new ideals. We must find new aims that our ancestors knew not of; in the new forms of the city we must find a new beauty, in her noises a new rhythm, in her confusion an order, in her energy an object, in her stammering a language.

If the towns have destroyed much, they will perhaps create still more. In their melting-pot professions, races, religions, nations, languages are blended:

...les Babels enfin réalisées
Et les peuples fondus et la cité commune
Et les langues se dissolvant en une.[17]

'The old order changeth, giving place to new'; and we must not ask whether the new is better than the old; we must trust that it is so. The feverish convulsions of the great cities, this unrest, this screaming torment, cannot be in vain. For they, these pains and convulsions, are only the birth-throes of the new. But he who has been the first to feel, with a glad presentiment, this pain of the masses, this fermentation, as joy, this unrest as hope, must himself be an authentic new man, one of those who are called to give a poetic answer to all the complaints and questions of our time.

THE MULTITUDE

That great event which is the modern city was at bottom only possible by the organisation of the mighty multitudes of the people and the distribution of their forces. To organise is to weld unlike forces economically into an organism, to imitate something that has life and soul, in which nothing is superfluous and everything is necessary; it is to give a material its uniform strength, to give an idea the flesh and bones of its shape and of its possibility. Now the town has smelted the scattered forces of the country into a new material—into the multitude; it has converted much that used to be individually active force into mechanical force; it has humbled man to the condition of a handle, a rolling wheel; it has everywhere tied up the individuality of the single man in order to produce a new individuality, that of the crowd. For the multitude as a fact is a new thing. For centuries it was only a symbol, an idea. The inhabitants of whole countries were logically epitomised in a number, but with no suggestion of thus comprehending their immediate unity. Of course, in times past great armies have been known, hordes of fighting men and nomad tribes; but these only represented a volatile concentration, too unsettled, too inconstant to procreate an individuality, an æsthetic and moral value. And even those armies whose legendary greatness echoes down the centuries, the hordes of Tamerlaine, the hosts of the Persians, the legions of Rome, how poor is their number in comparison with the masses of human beings daily herded together in New York or London or Paris! Only in our own days, only in Oppidomagnum, has the multitude been welded together finally and for all time, been hooked together with bands of steel like the wheels of an immense machine; only recently has the crowd become a living being that grows and multiplies like a forest. Democracy has given it new intellectual forms, set a brain in the body, by making the multitude determinate, subject only to itself. It is a creation of the nineteenth century; it is a new value in our lives, and one that we must come to terms with; no less a value for our evolution than the highest values of the past. Walt Whitman, to whom one must constantly refer in dealing with Verhaeren's work, although—let it be expressly stated here—Verhaeren quite independently and unconsciously arrived at the same goal from the same starting-point, once said: 'Modern science and democracy seemed to be throwing out their challenge to poetry to put them in its statements in contradistinction to the songs and myths of the past.'[1] And every modern poet will have to come to terms with the masses of democracy, will have to contemplate them synthetically as an individual living being, as a man, or as a God. In his Utopian drama Les Aubes Verhaeren has ranged them among the dramatis personæ, and, to express his inner vision, he has added this stage direction: 'Les groupes agissent comme un seul personnage à faces multiples et antinomiques.' For, like the images of Indian gods, they have a hundred arms, but their cry is in unison; their will is simple; their energy is uniform; one and the same is their heart, 'le cœur myriadaire et rouge de la foule.'[2] A hundred years of life in communion, a hundred years of distress in common, of hope in common, have welded them together into one unity, into one new feeling. Sleepless and restless like a dangerous animal lies the multitude in the monster cities; all the passions of individual man are hers, vanity, hunger, anger; she has all vices and crimes in common with her smallest member, man; only, everything in her is intensified to unknown magnitudes. Everything in her passions is stupendously superdimensional, beyond calculation, and, in a new sense, divine. For just as the gods of old were formed after the image of man, save that they represented man's strength and intelligence magnified to the hundredth degree, the multitude is the synthesis of individual forces, the most prolific accumulation of passion.

With the multitude the individual comes into being, and without her he perishes. Consciously or unconsciously, every man is subject to her power. For the modern man is no longer free from the influence of others, as the tiller of the fields was in olden days, or the shepherd, or the hunter, each of whom was dependent only on the anger of heaven, the whims of the earth, on weather and hailstorms, on chance, which he clad in the august image of his god. The modern man is in all his feelings determined by the world around him, set in his place in the ranks, and moved with the ranks like a shuttle to and fro; he is a dependent in his instincts. We all feel socially; we cannot think away the others who are round us and in front of us any more than we can think away the air that nourishes us. We can flee from them, but we cannot flee away from what has penetrated us from them. For the multitude rules us like a force of nature, nourishes us with its feelings. The unsocial man is a fiction. Just as little as in a great city one can shut off one's room entirely from the noise, the rhythm of the street, just so little can one think isolatedly, just so little can the soul keep itself at a distance from the great intellectual excitements of the multitude. Verhaeren himself made the attempt in the days when he wrote the verses:

Mon rêve, enfermons-nous dans ces choses lointaines
Comme en de tragiques tombeaux.[3]

But the life of reality claimed him again; for society destroys him who turns away from her, as one is destroyed who shuts himself out from the fresh air. The poet, too, must involuntarily think with the multitude and of the multitude. For to the same extent as democracy has exercised its levelling influence, to the same extent as it has limited individualities, enrolled the poet among the class of citizens, diminished the contrasts of chance, it has at the same time matured new forces in their multiplicity. In democracy the modern poet can find everything for which the ancients felt constrained to discover gods, those incalculable forces which bind the individual like enchantment. The town, the multitude feeds his energy with its exhaustless abundance; it multiplies his own strength. For everything the individual has lost is stored in it, great heroism and ecstatic enthusiasm. It is the great source of the unexpected and the incalculable in our days, the new thing concerning which no one knows how great it will grow. To have seen in it an enrichment, instead of a restriction, of the poetic instinct, is one of the great merits of Verhaeren. For while the majority of contemporary poets still maintain the fiction of the recluse in his wistful loneliness, while they recoil from before the multitude as though from men stricken with the plague, while they create for themselves an artificial seclusion, and heedlessly go their way past locomotives and telegraphs, banks and workshops, Verhaeren drinks greedily from these sources of new strength.

Comme une vague en des fleuves perdue,
Comme une aile effacée, au fond de l'étendue,
Engouffre-toi,
Mon cœur, en ces foules battant les capitales!
Réunis tous ces courants
Et prends
Si large part à ces brusques métamorphoses
D'hommes et de choses,
Que tu sentes l'obscure et formidable loi
Qui les domine et les opprime
Soudainement, à coups d'éclairs, s'inscrire en toi.[4]

For she, 'la foule,' the multitude, is the great transposer of values in our day. She takes into her bosom and transforms the men who come to her from the country, from the four winds of heaven; none of us escapes her levelling power. The most distant races are blended in the city's huge melting-pot, are adapted to one another, and forthwith become a new thing, a different thing, a new race, the new race of contemporary man, who has made his peace with the atmosphere of the great city, who not only painfully feels the depression of her walls and his divorce from Nature, but creates himself a new strength and a new feeling of the universe in this manifold human presence. The great feat of the multitude is that it accelerates the process of changing values. The individual elements perish in favour of this individuality of a new community. Old communities lose their unity, new communities must arise. America is the first example: here, in a hundred years, one single great brotherhood, a new type, has been developed from the forces of a thousand peoples; and in our capitals, in Paris, Berlin, and London, people are already growing up who are not Frenchmen and not Germans, but in the first place only Parisians and Berliners, who have a different accent, a different way of thinking, whose native land is the great city, the multitude. The inhabitant of the great city, the democratic man of the multitude, is a sharply defined character. If he is a poet, his poetry must be social; if he is a thinker, the intelligence of the masses, the instinct of the many, must be his also. To have attempted the psychology of this multitude for the first time in poetry is one of the great feats of audacity for which we must be grateful to Verhaeren.

But these individual accumulations of men into a multitude, these combinations of millions into towns, are not isolated. One bond holds them all together: modern traffic. The distances of reality have disappeared, and with them national divisions as well. By the side of the problem of individual conglomerations which only slowly are transformed into organisms, by the side of the individual races, the individual masses, now arises a greater synthesis, the synthesis of the European race. For the men of our continent are no longer so distant, so strange to one another as they formerly were. Social democracy with its organisation encompasses the masses from one end of Europe to the other. To-day the same desires fire the men of Paris, London, St. Petersburg, Vienna, and Rome. And already one common formula directs their exertions: money.

Races des vieux pays, forces désaccordées,
Vous nouez vos destins épars, depuis le temps
Que l'or met sous vos fronts le même espoir battant.[5]

Independently of the frontiers of countries, on a broad-based foundation, a unified race, a new community, the European, is in process of formation. Here desire and reality are near touching. Verhaeren sees Europe already united by one great common energy. Europe is for him the land of consciousness. While other continents, distant as though in a dream, are still living a vegetative life, while Africa and India are still dreaming as they dreamt in the darkness of primitive times, Europe is 'la forge où se frappe l'idée,'[6] the great smithy in which all differences, all individual observations, all results, are hammered and moulded into a new intellectuality, into European consciousness. The union is not yet inwardly complete; states are still hostile and ignorant of their community; but already 'le monde entier est repensé par leurs cervelles.'[7] Already they are working at the transvaluation of all feeling in the European sense. For a new system of ethics, a new system of æsthetics, will be required by the European, who, rich by the past, strong in the feeling of the multitude, is now conscious of drawing his strength from new masses. Here it is that Verhaeren's work sings over into Utopia; and in Les Aubes, the epilogue to Les Villes Tentaculaires, this glittering rainbow rises over the visions of reality to the new ideal; the prophetic dream of a better future rises over the still struggling present.

This yearning for the European has been expressed for the first time in poetry by Verhaeren, almost contemporaneously with Walt Whitman's hailing of the American and Friedrich Nietzsche's prophecy of the superman. It would be a tempting task, and full of interest, to set up the Pan-European in antithesis to the Pan-American. But to say that Verhaeren was the first of lyric poets to feel as consciously European as Walt Whitman felt American, is to establish his rank among the most considerable men of our time. Verhaeren is possibly the only lyric poet who has felt in accordance with contemporary feeling. That epitomises his whole claim to gratitude, for it sufficiently expresses the fact that he has taken to his heart the problem of the multitude; the energy of social innovations; the æsthetics of organisation; the grandeur of mechanical production; in a word, the poetry of material things. It is our own time, the new age, that speaks in his verse; and it speaks in its new language. This rhythm which he has discovered is no literary abstraction, but beats in perfect unison with the heart-beat of the crowd; it is an echo of the panting of our monster cities, of the clanking of trains, of the cry of the people; his language is new, because it is no longer the voice of one man, but unites in itself the many voices of the multitude. He has penetrated deeper than any other man into the feeling of the masses, and their surf echoes more strongly in his verse. The hollow rumbling, the bestial and tameless strength of their voice, the surf of the multitude, has here become shape and music, the highest identity. With pride one can say of Verhaeren what he himself vaunts in his 'Captain': 'Il est la foule,'[8] he himself is the multitude.