Название: Life and Writings of Maurice Maeterlinck
Автор: Jethro Bithell
Издательство: Bookwire
Жанр: Языкознание
isbn: 4064066157838
isbn:
It would seem that Gustave Kahn has the greatest claim to priority. But it was Vielé-Griffin who popularised the new medium. Albert Mockel, too, must be mentioned. Kahn's Palais Nomades appeared in April, 1887; Mockel's first vers libres appeared in La Wallonie in July, 1887. But these poems of Mockel had been written earlier, tentative verse by a young man not so confident in himself as Kahn, and who was only induced to publish by Kahn's audacious book.
Mallarmé's attitude should be decisive. He studied the question, and reflected for a long time when he was invited to preside at a banquet offered to Gustave Kahn, in honour of the latter's book, La Pluie et le beau Temps. But, having weighed the arguments for and against, Mallarmé not only agreed to preside at the banquet, but actually to bear witness in favour of Kahn as the innovator of the vers libre—which he did in a toast reproduced in La Revue blanche.
Catulle Mendès, in his half-serious manner, suggested that the first advocacy of the vers libre was to be found in a book called Poésie nouvelle, which Lemerre brought out in 1880. The author, a certain Della Rocca de Vergalo, was a Peruvian exile living in Paris; his ideas were that lines of poetry should begin with small letters, and that the alternance of masculine and feminine rhymes should be discarded. But the founders of the vers libre, I am told, had never heard of this book. Mallarmé, it is true, had been interested in finding a publisher for it; but merely because he wished to help the author to earn money enough to take him back to Peru.
These questions of symbolism and free verse must have been discussed in the cénacle which Maeterlinck joined. Not one of the group adopted the vers libre at this time; more than one, though all had the greatest regard for Mallarmé, may be said to have remained tolerably faithful to the Parnassian prosody in after years. The symbolist element among them was represented really by Saint-Pol-Roux and Maeterlinck.
[1] The Flemish pronunciation is Màh-ter-lee-nk; but Frenchmen pronounce it as though it were a French name.
[2] It was by this canal, no doubt, that Maeterlinck as a young man would skate "into Holland." See Huret's Enquête. And it inspired the scenery of The Seven Princesses.
[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.
[13] The Massacre of the Innocents and other Tales by Belgian Writers.
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