[3] Mme Georgette Leblanc, Morceaux choisis, Introduction.
[4] Anselma Heine, Maeterlinck, pp. 7-8.
[5] Serres Chaudes, "Hôpital."
[6] "The literary history of modern Belgium, by the freaks of chance, was born in one single house. In Ghent, the favourite city of the Emperor Charles V., in the old Flemish city heavy with fortifications, rises remote, far from noisy streets, Sainte-Barbe, the grey-walled Jesuit monastery. Its thick, defensive walls, its silent corridors and refectories, remind one somewhat of Oxford's beautiful colleges; here, however, there is no ivy softening the walls, there are no flowers to lay their variegated carpet over the green courts."—Stefan Zweig, Emile Verhaeren (Mercure de France, 1910), pp. 39-40.
[7] Mme Georgette Leblanc, Morceaux choisis, Introduction.
[8] Anselma Heine, Maeterlinck, p. 9. But cf. Léon Bazalgette, Emile Verhaeren, p. 14.
[9] Gérard Harry, Maeterlinck, p. 9, note.
[10] Gérard Harry, Maeterlinck, p. 26; Heine, Maeterlinck, p. 9.
[11] Cf., for instance, Barbey's "Réfléchir sur son bonheur n'est-ce pas le doubler?" with the opening chapters of Sagesse et Destinée.
[12] The review of the same name which was published at Brussels, by Lacomblez, beginning three years later, and in which Maeterlinck's criticism of Iwan Gilkin's Damnation de l'Artiste appeared, was a third-rate periodical.