Infinite enthusiasm, le lyrisme universel, a rapt visionary sensation of the earth rolling as it were in an eternal vibration through the cosmos, is the aim of Verhaeren's work. Not to describe the world in isolated poems, not to break it up in impressions, but to feel it as itself a flaring, flaming poem, not to be one who contemplates the world, but one who feels it, this is his highest yearning. A lyric art can only grow to such intentions as these from emotions not felt by other lyrists. It is not, as with most poets, from gentle crepuscular feelings, from vague states of melancholy, that such an impulse is crystallised to lyrical expression; here it is an overflowing fulness of feeling, a bright joy in life, that engenders his poem; an explosion which in the days of his debility was a paroxysm, which as time went on changed to a pure enthusiasm, but which was always an eruption of strength. Lyric art is here a discharge of the whole feeling of life. With Verhaeren the excitement does not sting the individual nerve; it spreads electrically, inflames the blood, contracts the muscles, produces an immense pressure, and then discharges the whole energy of a body saturated with health and strength. The will to discharge strength is the basic form of Verhaeren's lyric emotion. His aim is to instil inspiration—first of all into himself (since inspiration always represents a higher state of ecstasy), and then into others. His lyric art is above all a launching of himself into exaltation, 'le pouvoir magique de s'hypnotiser soi-même.'[1] He talks himself into passion, gives himself that impulsion which then bears others along with him. It is not a lack, a privation, not a complaint or a wish that his work expresses; it is a plethora, a superfluity of riches, a pressure. It is not a warding off of life but an eternal leaping at it. His poetry has not the modest longing of music to lure to reveries; it does not, like painting, seek to represent something: it would act like fiery wine; it would make all feelings strong and glowing, sink all hindrances, produce that sensation of lightness, of blessedness, that quivering intoxication which conquers all the heaviness of earth. His intention is to produce this state of drunkenness, 'non seulement la glorification de la nature mais la glorification même d'une vision intérieure.' And his attitude is not plaintive or defensive, it is the great spirited attitude of a hand raised and pointing out, 'regardez!' the adjuring attitude, 'dites!' or one that fires and animates, 'en avant!' but it is always a gesture from the poet's self towards something, always a swinging of his arms away from himself into the universe, always a pressing forward, a snatching away of himself from matter. And any one who really feels these poems feels, when the last line is read, that his blood is beating faster, feels that his body calls for exercise, feels the inspiration impelling him to action. And this is the highest intention of Verhaeren's lyrical poetry, to animate, to quicken the blood, to fire the heart, to intensify vitality, to increase tenfold the sensation of life.
But not only in this basic emotion is Verhaeren sundered from all those other poets who fashion their verses from sadness, sickly longing, amorousness, and melancholy. Verhaeren's lyric poetry breathes in other realms, in another atmosphere. Verhaeren is what I should like to call a poet of the daylight, of the open air. If you peruse the lyric works of contemporary poets you will find that their moods mostly arise from states of dusk and darkness. Since they have only the power of reproducing blurred outlines, they are fond of landscapes softened by twilight; of night, when there is no hardness in things, when what they see meets them half-way, already shaping itself into verse. Like Tristan, they hate the day as the destroyer of poetry, and swathe themselves in the trembling chiaroscuro of twilight. But the really great lyric poets have always been poets of the daylight; poets of the day and of the light, as the Greeks were, to whom all things that were bathed in sun spoke of beauty and cheerfulness; poets of the day, as Walt Whitman was, the American; as all strong men have been who were filled with the zest of life. In Germany we have Dehmel to love, one of the few who have the courage to look right into the shining face of things without the fear of being blinded. But Verhaeren loves things the more the more intensive and decided they are, the more dazzling they are, the more their glaring colours clash. He does not surprise things when they are asleep, when they are resting and are helpless and at the mercy of poetry; he pounces on them when they are wideawake and can defend themselves with all their hardness from the attacks of their lyric lover. He loves the day, which places things side by side in harsh contrast; he loves the light, because it stimulates the blood; the rain that lashes the body; the wind that whips the skin; cold, noise, he loves everything that really and vehemently forces in upon him, everything that forces him to fight. He loves hard things more than soft and rounded things; loves that characteristic, black, and gloomy city Toledo more than golden, dreamy Florence; he loves the wind and the weather of frowning, tragic landscapes; he even loves noisy and thunderous cities pregnant with smoke and choking air. His nerves are not so morbidly sensitive that they respond to the least suggestion, the feeblest touch, and then stand impotent, fainting, when they are faced by the impetuous stimulants of robust life; his nerves are—not dull, but healthy. They respond strongly to whatever lays hold of them strongly. If the other poets are like supersensitive beings who are excited by every trifle and lose their self-control when really great demands are made upon them, Verhaeren is like one who is hard to irritate, but who, if he is really stung, strikes out with his fists. And Verhaeren does not love the poetical things that come to meet one already clothed in beauty; he loves those that have first to be wrestled with and overcome. Herein lies the exceeding masculinity of his art. No one could ever surmise, in reading a poem of Verhaeren's, that it was the work of a woman. And as a matter of fact Verhaeren has not yet found an audience among women. For he is not one who moans and begs for pity; he is no passive poet, but a fighter, one who wrestles with all strong, wild, and living things until they yield up to him their innermost beauty.
And this struggle for the lyric mastery of individual sensations gradually becomes a struggle for all things, for the whole world. For Verhaeren does not wish to conceive of anything as unlyrical; does not wish to blow lyric fragments off the immense mass of reality; he wishes to sculpture it into a new shape; wishes to chisel the whole world into a lyric. And this is the secret of his lyric work; this is his work, his task. Of a sudden we feel the distance between him and the majority of lyric poets. They have the feelings of people who receive gifts; they regard the sensations which come fluttering towards them as so many gay butterflies, capture them, and pin them down. Verhaeren, however, is the fighter, the worker, who is constrained to conquer everything, to shape the whole world anew, to rebuild it nearer to his heart's enthusiasm. He is the lyric poet pictured by Carducci in an imperishable poem—not the idler gazing into empty space; not the gardener decking the paths that his lady's feet must tread, and gathering frail violets for her bosom.
Il poeta è un grande artiere,
Che al mestiere
Fece i muscoli d'acciaio,
Capo ha fier, collo robusto,
Nudo il busto,
Duro il braccio, e l'occhio gaio.
And that 'picchia, picchia,' that rhythm of Carducci's, that beat of the bronze hammer of toil, rings in the measure of his verses. All his poems have been toiled for, fought for; they are a trophy, a meed of victory; nothing is a lucky gift. Verhaeren's manuscripts look like a battlefield. For he is not a poet who, in Goethe's sense, composes poems for particular occasions; he is never overpowered by a sudden chance idea: he transforms a problem of life, an actuality, or an intellectual phase into a lyric mood. After he has molten the poetic idea in his passion to a white heat, he hammers it into a poem by his rhythm. His works are complexes: individual ideas attract him; he sets a hedge round their poetical field, ploughs it, scatters the seed in it, and never returns to the scene. What he has once achieved has no longer any attraction for him. To him poetry is always a fight, always work, always a plan. The layman who would fain look upon a lyric poem as a gift fallen from heaven will perhaps have no liking for this conscious method; an artist, on the other hand, will recognise in it the strength of a wise restraint, concentration on one aim, the will to compose not a lyric poem but a lyric work. A poetic work like that of Verhaeren, the work of a life, is not created by chance feeling alone, and not by enthusiasm. Such a work of art has, like a drama, its intellectual laws, the conquering and distributing powers of the intelligence, instinct, and above all that unifying will which suffers no dead points, no gaps, no stains in the work. And it is from such a vast lyric will that this work has arisen. Verhaeren is no favoured child of fortune, dowered with art in his cradle; his blood is heavy, Teutonic blood; and, fortunately, that ease and suppleness of the artisan which in all departments of labour produces a ready mediocrity was as much wanting in him as all physical skill. Verhaeren's poetic work, his form, his rhythm, his idea, his philosophy, his architectonics, all this is something he has acquired by labour, something he has painfully produced by passion and an obstinate will; but for that very reason it is something organic. For Verhaeren is one of those who learn slowly, persistently, and surely, only from their own experience and never from others, but who never forget and lose what they have once acquired; one of those who grow as the things of Nature do, as trees grow into their strength ring by ring, and rise year by year higher above the earth to gaze farther and farther out beyond the horizons and nearer and nearer into the heavens.
And just for this reason, because this evolution was so persistent, because it was so wholly based upon experience, is the ascending line in his work so harmonious and so organic. No other lyric work of our days is so much a symbol of the seasons, so much a mirror of human periodicity. The revolt of spring, the sultriness of summer, the fruitage of autumn, and the cool clearness of winter gently merge in it, the one into the other. In his first books, at an age when many precocious poets have finished their development, he was still wrestling for his new form, for his expression. Nor did he at that time soon arrive at the heart of things; he remained for a long time absorbed in the purely picturesque contemplation of their external aspects. Then he attempted experiments, and freed himself in revolution. But in his beginnings he was always a student, an experimenter. In his second period, having really penetrated below the surface, he found his own form, like every master, and subdued the internal with the external. But now that material is conquered, he that was a student and is now a master will of necessity be a teacher, and feel impelled to deduce forces from phenomena, laws from forces, the eternal from the earthly. From vacant contemplation he had risen to passionate creation, to active creation of art. The supreme creation of art has ever been the converting of the unconscious into consciousness, the recognition and knowledge of the laws of art; from the real the path proceeds to that which transcends reality, to faith and to religion. Like every really organic poet, Verhaeren has had to repeat the ascent of universal history in his own evolution.
FOOTNOTES:
[1] Albert Mockel, Emile Verhaeren.