Of all these writers, Georges Eekhoud, whom Mr. Sharp calls "the Maupassant of the Low Countries," is the one who has made the greatest effort to model his work upon the style of the contemporary French authors. He was born in Antwerp, May 27th 1854. His literary career was begun as an editor of the Precursor, in Antwerp, but he soon became associated with L'Étoile Beige as literary editor. In 1877 he published his first volume, entitled 'Myrtes et Cyprès.' This was succeeded by a second book of poetry, 'Zigzags Poetiqués et Pittoresques,' which appeared in 1879. Among the most admired of these poems are 'La Mare aux Sangues,' 'Nina,' 'Raymonne,' and the strong 'La Guigne.'
French critics say that his diction lacks polish, but that he has strength, color, and a talent for description. His novels are—'Kees Doorik' (1884), 'Les Kermesses' (1884), 'Les Milices de Saint-Frangois' (1886), 'Les Nouvelles Kermesses' (1887), and 'La Nouvelle Carthage' (1888). The latter is considered his most brilliant novel, and won for him the quinquennial prize of 5,000 francs given for French literature in Belgium. It is a vivid picture of Antwerp, with vigorous and highly colored descriptions of its middle-class citizens, enriched by centuries of continued prosperity. In general, Eekhoud is naturalistic, and intent only on painting life as he sees and feels it. His other books include—'Cycle Patibulaire' (1892); 'Au Siecle de Shakespeare,' a valuable book on the English literature of the Elizabethan period (1893); and 'Mes Communions' (1895).
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From 'The Massacre of the Innocents, and Other Tales by Belgian Writers': copyright 1895, by Stone & Kimball
The country I know and love best does not exist for the tourist, and neither guide nor doctor ever dreams of recommending it. This reassures me, for I love my country selfishly, exclusively. The land is ancient, flat, the home of fogs. With the exception of the Polder schorres, the district fertilized by the overflowing of the river, few districts are cultivated. A single canal from the Scheldt irrigates its fields and plains, and occasional railways connect its unfrequented towns.
The politician execrates it, the merchant despises it, it intimidates and baffles legions of bad painters.
Poets of the boudoir! virtuosi! This flat country will always elude your descriptions! For you, landscape painters, there is no inspiration to be gained here. O chosen land, neither thou nor thy secret can be seen at a glance! The degenerate folk who pass through this country feel nothing of its healthy, intoxicating charm, or are only wearied in the midst of this gray peaceful nature, unrelieved by hill or torrent; and still less sympathy have they with the country louts who stare at them with placid bovine eyes.
The people remain robust, uncouth, obstinate, and ignorant. No music stirs me like the Flemish from their lips. They mouth it, drawl it, linger lovingly over the guttural syllables, while the harsh consonants fall heavily as their fists. They move slowly, swingingly, bent-shouldered and heavy-jawed; like bulls, they are at once fierce and taciturn. Never shall I meet more comely, firm-bosomed lassies, never see eyes more appealing, than those of this dear land of mine. Under their blue kiel the brawny lads swagger well content; though when in drink, if dispute arises, rivalry may drive them into fatal conflicts. The tierendar ends many a quarrel without further ado; and as the combatants cut and hack, their faces preserve that dogged smile of the old Germans who fought in the Roman arenas. During the kermesses they over-eat themselves, they get drunk, dance with a kind of gauche solemnity, embrace their sweethearts without much ceremony, and when the dance is over, gratify themselves with all manner of excesses.
One and all, they are slow to give themselves away; but once gained, their affection is unalterable.