LEATHER Set; MAETERLINCK! Belgian Shakespeare AUTOGRAPH EDITION! Hinges Cracked

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Seller: merchants-rare-books ✉️ (418) 100%, Location: Moab, Utah, US, Ships to: WORLDWIDE, Item: 283561467643 LEATHER Set; MAETERLINCK! Belgian Shakespeare AUTOGRAPH EDITION! Hinges Cracked. The Complete Works of MAURICE MAETERLINCK! The Rare AUTOGRAPH EDITION. Complete with both subsets. Being 1 of only 150 sets ever made. Known as the 'Belgian Shakespeare'. Essays of Maeterlinck. Plays of Maeterlinck.

Hinges are abraded. Many hinges are starting. Rear cover of volume 8 is cracked, almost detached.

Set has some hinge damage.




——


The Complete Works of MAURICE MAETERLINCK! The Rare AUTOGRAPH EDITION. Complete with both subsets. Complete in 10 volumes + 9 volumes. Complete in 19 volumes, total. Being 1 of only 150 sets ever made.

The Rare AUTOGRAPH EDITION, limited to only 150 sets ever made. EACH SUBSET is Autographed.

The FIRST COLLECTED and the definitive edition of his works. The most  desirable collection of his works.

"One Hundred and Fifty Sets of This Edition Have Been Made Printed on hand-made old Stratford rag paper"

This is an exceedingly rare set.



Printed in English, and the FIRST ENGLISH EDITION, and presumably the FIRST COLLECTED EDITION of his complete works.


Known as the 'Belgian Shakespeare'.Maeterlinck was awarded the Nobel Prize in Literature in 1911, "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations".



This set is complete in 19 volumes.Comprised of two separate subsets.Each with it's own Autograph.

Essays of Maeterlinck.  Complete in 10 volumes.Signed Limited Autograph Edition.

Plays of Maeterlinck.  Complete in 9 volumes, with the final volume containing the Poems.Signed Limited Autograph Edition.


Therefore complete with 19 volumes total, as is standard, and inclusive of all of Maeterlinck's Works.Each set is signed in volume one.There are therefore two signatures.


Maurice Maeterlinck.Translated by Alfred Sutro. Printed in English. Introduction by A. B. Walkley. Published by Dodd, Mead & Company.  New York. No date. Circa 1900-1949.(Maeterlinck lived from 29 August 1862 – 6 May 1949.)

This is the Autograph Edition issued in a limited edition of only 150 sets Printed on hand-made old Stratford rag paper.

The Rare AUTOGRAPH EDITION, limited to only 150 sets ever made. With the author's signature in the first volume of the Essays, and the first volume of the Plays. 


Volumes 1 to 10 are the Essays of Maeterlinck. Volumes 11 to 19 are the Plays (as marked on the Spine, with Volume 19 containing the Poems). 

The Titles: Treasure of the Humble, 

  • Wisdom and Destiny, 
  • The Life of the Bee, 
  • Buried Temple, 
  • Double Garden, 
  • Measure of the Hour, 
  • On Emerson, 
  • Our Eternity, 
  • Unknown Guest, 
  • The Wrack of the Storm, 
  • Sister Beatrice and Ardiane & Barbe Bleue, 
  • Joyzelle and Monna Vanna, 
  • Blue Bird, 
  • Mary Magdalene, 
  • Pelleas & Melisande, 
  • Princess Maleine, 
  • The Intruder, 
  • Aglavaine & Selysette,
  • Poems

Hinges are abraded. Many hinges are starting. Rear cover of volume 8 is cracked, almost detached.

Set has some hinge damage.



This set is complete.




This set is bound in the original, full leather bindings. Extensive gilding. All edges cased in gilt. Raised hubs. Full leather bindings were more expensive to produce and are highly desirable. Printed on hand made rag paper.




Hinges are abraded. Many hinges are starting. Rear cover of volume 8 is cracked, almost detached.

Set has some hinge damage.



CONDITION: This set is exceedingly scarce, let alone to find it complete. Complete with all 19 volumes. In exceptional condition, but with abrasions to the bindings and hinges. Hinges are abraded. Many hinges are starting. Rear cover of volume 8 is cracked, almost detached.

Set has some hinge damage. This set has extremity micro chipping and abrasions. The spine extremities have abrasions and chipping. There is generalized wear to the bindings and extremities. Internally, this set is exceptionally well preserved. Printed on hand made rag paper. A gorgeous set.

Each book will be individually wrapped and well protected for shipping. I have extensive experience shipping antiquarian books.

Note: This set has been protected in storage for 15 years and still requires verification of condition. The pictures are 15 years old, so the condition may have changed during this time. 




Maurice MaeterlinckFrom Wikipedia, the free encyclopediaJump to navigationJump to searchMaurice MaeterlinckBornMaurice Polydore Marie Bernard

29 August 1862

Ghent, BelgiumDied6 May 1949 (aged 86)

Nice, FranceOccupationPlaywright ·  Poet ·  EssayistLanguageFrenchNationalityBelgianAlma materUniversity of GhentLiterary movementSymbolismNotable worksIntruder (1890)

The Blind (1890)

Pelléas et Mélisande (1893)

Interior (1895)

The Blue Bird (1908)Notable awardsNobel Prize in Literature 

1911  

Triennial Prize for Dramatic Literature 

1903  

SpouseRenée DahonPartnerGeorgette LeblancSignatureMaurice Polydore Marie Bernard Maeterlinck [1] (also called Comte (Count) Maeterlinck from 1932;[2] [mo. ʁ is ma.t ɛʁ .l ɛ̃ː k] in Belgium, [m ɛ .te ʁ .l ɛ̃ː k]  in France;[3] 29 August 1862 – 6 May 1949) was a Belgian playwright, poet, and essayist who was Flemish but wrote in French. He was awarded the Nobel Prize in Literature in 1911 "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations". The main themes in his work are death and the meaning of life. His plays form an important part of the Symbolist movement.

Contents1 Biography 1.1 Early life

  • 1.2 Career
  • 1.3 Confirmed plagiarism
  • 1.4 Later life

  • 2 Honours
  • 3 Static drama
  • 4 Maeterlinck in music
  • 5 Works 5.1 Poetry
  • 5.2 Drama
  • 5.3 Essays
  • 5.4 Memoirs
  • 5.5 Translations

  • 6 See also
  • 7 References
  • 8 Further reading
  • 9 External links

Maeterlinck was born in Ghent, Belgium, to a wealthy, French-speaking family. His mother, Mathilde Colette Françoise (née Van den Bossche), came from a wealthy family.[4][5] His father, Polydore, was a notary who enjoyed tending the greenhouses on their property.

In September 1874 he was sent to the Jesuit College of Sainte-Barbe, where works of the French Romantics were scorned and only plays on religious subjects were permitted. His experiences at this school influenced his distaste for the Catholic Church and organized religion.[6]

He had written poems and short novels during his studies, but his father wanted him to go into law. After finishing his law studies at the University of Ghent in 1885, he spent a few months in Paris, France. He met some members of the new Symbolism movement, Villiers de l'Isle Adam in particular, who would have a great influence on Maeterlinck's subsequent work.

Maeterlinck early in his careerMaeterlinck instantly became a public figure when his first play, Princess Maleine, received enthusiastic praise from Octave Mirbeau, the literary critic of Le Figaro in August 1890. In the following years, he wrote a series of symbolist plays characterized by fatalism and mysticism, most importantly Intruder (1890), The Blind (1890) and Pelléas and Mélisande (1892).

He had a relationship with the singer and actress Georgette Leblanc from 1895 until 1918. Leblanc influenced his work for the following two decades. With the play Aglavaine and Sélysette Maeterlinck began to create characters, especially female characters, more in control of their destinies. Leblanc performed these female characters on stage. Even though mysticism and metaphysics influenced his work throughout his career, he slowly replaced his Symbolism with a more existential style.[7]

In 1895, with his parents frowning upon his open relationship with an actress, Maeterlinck and Leblanc moved to the district of Passy in Paris. The Catholic Church was unwilling to grant her a divorce from her Spanish husband. They frequently entertained guests, including Mirbeau, Jean Lorrain, and Paul Fort. They spent their summers in Normandy. During this period, Maeterlinck published his Twelve Songs(1896), The Treasure of the Humble (1896), The Life of the Bee (1901), and Ariadne and Bluebeard (1902).[7]

In 1903, Maeterlinck received the Triennial Prize for Dramatic Literature from the Belgian government.[8] During this period, and down to the Great War, he was widely looked up to, throughout Europe, as a great sage, and the embodiment of the higher thought of the time.

In 1906, Maeterlinck and Leblanc moved to a villa in Grasse. He spent his hours meditating and walking. As he emotionally pulled away from Leblanc, he entered a state of depression. Diagnosed with neurasthenia, he rented the Benedictine Abbey of St. Wandrille in Normandy to help him relax. By renting the abbey he rescued it from the desecration of being sold and used as a chemical factory and thus he received a blessing from the Pope.[9] Leblanc would often walk around in the garb of an abbess; he would wear roller skates as he moved about the house.[10] During this time, he wrote his essay "The Intelligence of Flowers" (1906), in which he expressed sympathy with socialist ideas. He donated money to many workers' unions and socialist groups. At this time he conceived his greatest contemporary success: the fairy play The Blue Bird (1908, but largely written in 1906). After the writing "The Intelligence of Flowers", he suffered from a period of depression and writer's block. Although he recovered from this after a year or two, he was never so inventive as a writer again. His later plays, such as Marie-Victoire (1907) and Mary Magdalene(1910), provided with lead roles for Leblanc,[11] were notably inferior to their predecessors, and sometimes merely repeat an earlier formula. Even though alfresco performances of some of his plays at St. Wandrille had been successful, Maeterlinck felt that he was losing his privacy. The death of his mother on 11 June 1910 added to his depression.[12]

In 1910 he met the 18-year-old actress Renée Dahon during a rehearsal of The Blue Bird. She became his lighthearted companion. After having been nominated by Carl Bildt, member of the Swedish Academy, he won the Nobel Prize for Literature in 1911, which also served to lighten his spirits.[13] By 1913, he was more openly socialist and sided with the Belgian trade unions against the Catholic party during a strike.[14] He began to study mysticism and lambasted the Catholic Church in his essays for misconstruing the history of the universe.[15] By a decree of 26 January 1914, his opera omnia were placed on the Index Librorum Prohibitorum by the Roman Catholic Church.

When Germany invaded Belgium in 1914, Maeterlink wished to join the French Foreign Legion, but his application was denied due to his age. He and Leblanc decided to leave Grasse for a villa near Nice, where he spent the next decade of his life. He gave speeches on the bravery of the Belgian people and placed guilt upon all Germans for the war. Although his patriotism, and his indifference to the harm he was doing to his standing in Germany, do him credit, it severely damaged his reputation as a great sage who stood above current affairs. While in Nice he wrote The Mayor of Stilmonde, which was quickly labeled by the American press as a "Great War Play" and would be made into a British film in 1929. He also wrote The Betrothal, a sequel to The Blue Bird, in which the heroine of the play is clearly not a Leblanc archetype.[16]

On 15 February 1919 Maeterlinck married Dahon. He accepted an invitation to the United States. Samuel Goldwyn asked him to produce a few scenarios for film. Only two of Maeterlinck's submissions still exist; Goldwyn didn't use any of them. Maeterlinck had prepared one based on his The Life of the Bee. After reading the first few pages Goldwyn burst out of his office, exclaiming: "My God! The hero is a bee!"

After 1920 Maeterlinck ceased to contribute significantly to the theatre, but continued to produce essays on his favourite themes of occultism, ethics and natural history. The international demand for these fell off sharply after the early 1920s, but his sales in France remained substantial until the late 1930s. Dahon gave birth to a stillborn child in 1925.

In 1926 Maeterlinck published La Vie des Termites (translated into English as The Life of Termites or The Life of White Ants), an entomological book that plagiarised the book The Soul of the (White) Ant, researched and written by the Afrikaner poet and scientist Eugène Marais,[17] in what has been called "a classic example of academic plagiarism" by University of London's professor of biology, David Bignell.[18]

Marais accused Maeterlinck of having used his concept of the "organic unity" of the termitary in his book.[19] Marais had published his ideas on the termitary in the South African Afrikaans-language press, both in Die Burger in January 1923 and in Huisgenoot, which featured a series of articles on termites under the title "Die Siel van die Mier" (The Soul of the (White) Ant) from 1925 to 1926. Maeterlinck's book, with almost identical content,[18] was published in 1926. It is alleged that Maeterlinck had come across Eugene Marais' series of articles which had appeared in the Afrikaans magazine Die Huisgenoot from 1925 to 1926, and that it would have been easy for Maeterlinck to translate from Afrikaans to French, since Maeterlinck knew Dutch and had already made several translations from Dutch into French before.[20] It was common at the time for worthy articles published in Afrikaans to be reproduced in Flemish and Dutch magazines and journals.

Marais wrote in a letter to Dr. Winifred de Kock in London about Maeterlinck that


Supported by a coterie of Afrikaner Nationalist friends, Marais sought justice through the South African press and attempted an international lawsuit. This was to prove financially impossible and the case was not pursued. However, Marais gained a measure of renown as the aggrieved party and as an Afrikaner researcher who had opened himself up to plagiarism because he published in Afrikaans out of nationalistic loyalty. Marais brooded at the time of the scandal: "I wonder whether Maeterlinck blushes when he reads such things [critical acclaim], and whether he gives a thought to the injustice he does to the unknown Boer worker?"[19]

Maeterlinck's own words in The Life of Termites indicate that the possible discovery or accusation of plagiarism worried him:


Despite these misgivings, there is no reference to Eugène Marais in the bibliography. Maeterlinck's other works on entomology include The Glass Spider (1932) and The Life of the Ant (1930).

Professor V. E. d'Assonville wrote about Maeterlinck as "the Nobel Prize winner who had never seen a termite in his whole life and had never put a foot on the soil of Africa, least of all in the Waterberg".[20]

Robert Ardrey, an admirer of Eugène Marais's, attributed Marais' later suicide to this act of plagiarism and theft of intellectual property by Maeterlinck,[22] although Marais' biographer, Leon Rousseau, speculated that Marais enjoyed and thrived on the controversy the attention it generated.[23]

Another case of alleged plagiarism was that of Maeterlinck's play Monna Vanna, which was alleged to have been based on Robert Browning's little-known play Luria.[24]

In 1930 he bought a château in Nice, France, and named it Orlamonde, a name occurring in his work Quinze Chansons.[25]

He was made a count by Albert I, King of the Belgians in 1932.[26]

According to an article published in the New York Times in 1940, he arrived in the United States from Lisbon on the Greek Liner Nea Hellas. He had fled to Lisbon in order to escape the Nazi invasion of both Belgium and France. The Times quoted him as saying, "I knew that if I was captured by the Germans I would be shot at once, since I have always been counted as an enemy of Germany because of my play, The Mayor of Stilmonde, which dealt with the conditions in Belgium during the German Occupation of 1918." As with his earlier visit to America, he still found Americans too casual, friendly and Francophilic for his taste.[27]

He returned to Nice after the war on 10 August 1947. He was President of PEN International, the worldwide association of writers, from 1947 until 1949. In 1948, the French Academy awarded him the Medal for the French Language. He died in Nice on 6 May 1949 after suffering a heart attack.

  • 1920 : Grand Cordon of the Order of Leopold.[28]
  • 1932 : Created Count Maeterlinck, by Royal Decree. However, he neglected fulfilling the necessary paper work for registration and the creation was not implemented.

Maeterlinck, before 1905Maeterlinck's posthumous reputation depends entirely on his early plays (published between 1889 and 1894), which created a new style of dialogue, extremely lean and spare, where what is suggested is more important than what is said. The characters have no foresight, and only a limited understanding of themselves or the world around them.

Maeterlinck, an avid reader of Arthur Schopenhauer, considered man powerless against the forces of fate. He believed that any actor, due to the hindrance of physical mannerisms and expressions, would inadequately portray the symbolic figures of his plays. He concluded that marionettes were an excellent alternative. Guided by strings operated by a puppeteer, Maeterlinck considered marionettes an excellent representation of fate's complete control over man. He wrote Interior, The Death of Tintagiles, and Alladine and Palomides for marionette theatre.[29]

From this, he gradually developed his notion of the "static drama." He felt that it was the artist's responsibility to create something that did not express human emotions but rather the external forces that compel people.[30] Maeterlinck once wrote that "the stage is a place where works of art are extinguished. ... Poems die when living people get into them."[31]

He explained his ideas on the static drama in his essay "The Tragic in Daily Life" (1896), which appeared in The Treasure of the Humble. The actors were to speak and move as if pushed and pulled by an external force, fate as puppeteer. They were not to allow the stress of their inner emotions to compel their movements. Maeterlinck would often continue to refer to his cast of characters as "marionettes."[32]

Maeterlinck's conception of modern tragedy rejects the intrigue and vivid external action of traditional drama in favour of a dramatisation of different aspects of life:


He cites a number of classical Athenian tragedies—which, he argues, are almost motionless and which diminish psychological action to pursue an interest in "the individual, face to face with the universe"—as precedents for his conception of static drama; these include most of the works of Aeschylus and Sophocles' Ajax, Antigone, Oedipus at Colonus, and Philoctetes.[34] With these plays, he claims:


This section does not cite any sources . Please help  improve this section  by  adding citations to reliable sources . Unsourced material may be challenged and  removed .   (May 2018 ) (Learn how and when to remove this template message)Pelléas and Mélisande inspired several musical compositions at the turn of the 20th century:

  • 1897: a suite for orchestra by William Wallace: Pelleas and Melisande
  • 1898: an orchestral suite (sometimes described as incidental music) by Gabriel Fauré See: Pelléas et Mélisande (Fauré) (Op. 80)
  • 1893–1902: an opera by Claude Debussy (L. 88, Paris), see Pelléas et Mélisande (opera)
  • 1902–1903: a symphonic poem by Arnold Schoenberg (Op. 5)
  • 1905: incidental music by Jean Sibelius (Op. 46), see Pelléas et Mélisande (Sibelius)

Other musical works based on Maeterlinck's plays include:

  • Aglavaine and Sélysetteorchestral prelude by Arthur Honegger
  • orchestral overture by Cyril Scott

  • Aladina and Palomidopera by Burghauser
  • opera by Osvald Chlubna
  • opera by Emil František Burian

  • Ariane et Barbe-bleueopera in 3 acts by Paul Dukas
  • incidental music by Anatoly Nikolayevich Alexandrov

  • The Betrothalincidental music by Armstrong Gibbs

  • The Blindopera by Beat Furrer
  • chamber opera Ślepcy by Polish composer Jan Astriab after Maeterlinck's Les aveugles
  • opera by Lera Auerbach

  • The Death of Tintagilessymphonic poem by Charles Martin Loeffler
  • incidental music by Ralph Vaughan Williams
  • opera by Lawrance Collingwood
  • overture by Carse
  • opera by Nougues
  • symphonic poem by Santoliquido
  • orchestral prelude by Voormolen

  • Herzgewächse (Foliages of the Heart)Lied for soprano with small ensemble by Arnold Schoenberg

  • Monna Vannaopera in 3 acts by Emil Ábrányi
  • Monna Vanna, opera in 4 acts by Henry Février
  • Monna Vanna, unfinished opera by Sergei Rachmaninoff
  • opera in 4 acts by Nicolae Brânzeu

  • L'oiseau bleuopera by Albert Wolff
  • 13 scenes for orchestra by Fritz Hart
  • incidental music by Leslie Heward
  • incidental music by Engelbert Humperdinck
  • overture by Kricka
  • incidental music by Norman O'Neill
  • incidental music by Szeligowski

  • Princess Maleineoverture by Pierre de Bréville
  • overture by Cyril Scott
  • unfinished opera (or incidental music) by Lili Boulanger
  • incidental music by Maximilian Steinberg

  • The Seven Princessesincidental music by Pierre de Bréville
  • opera by Vassili Vassilievitch Netchaïev

  • Sœur Beatriceopera by Alexander Grechaninov
  • chorus by Anatoly Liadov
  • opera Sor Beatriz by Marquez Puig
  • opera by Dmitri Mitropoulos
  • opera by Rasse (composer)

  • Intérieuropera by Giedrius Kuprevičius

  • Serres chaudes (1889)
  • Douze chansons (1896)
  • Quinze chansons (expanded version of Douze chansons) (1900)
  • La Princesse Maleine (Princess Maleine) (published 1889)
  • L'Intruse (Intruder) (published 1890; first performed 21 May 1891)
  • Les Aveugles (The Blind) (published 1890; first performed 7 December 1891)
  • Les Sept Princesses (The Seven Princesses) (published 1891)
  • Pelléas and Mélisande (published 1892; first performed 17 May 1893)
  • Alladine et Palomides (published 1894)
  • Intérieur (Interior) (published 1894; first performed 15 March 1895)
  • La Mort de Tintagiles (The Death of Tintagiles) (published 1894)
  • Aglavaine et Sélysette (first performed December 1896)
  • Ariane et Barbe-bleue (Ariane and Bluebeard) (first published in German translation, 1899)
  • Soeur Béatrice (Sister Beatrice) (published 1901)
  • Monna Vanna (first performed May 1902; published the same year)
  • Joyzelle (first performed 20 May 1903; published the same year)
  • Le Miracle de saint Antoine (The Miracle of Saint Antony) (first performed in German translation, 1904)
  • L'Oiseau bleu (The Blue Bird) (first performed 30 September 1908)
  • Marie-Magdeleine (Mary Magdalene) (first performed in German translation, February 1910; staged and published in French, 1913)
  • Le Bourgmestre de Stilmonde (first performed in Buenos Aires, 1918; published 1919)
  • Les Fiançailles (published 1922)
  • The Cloud That Lifted (published 1923)
  • Le Malheur passe (published 1925)
  • La Puissance des morts (published 1926)
  • Berniquel (published 1926)
  • Marie-Victoire (published 1927)
  • Judas de Kerioth (published 1929)
  • La Princess Isabelle (published 1935)
  • Jeanne d'Arc (Joan of Arc) (published 1948)
  • ‘’Our Friend the Dog’’Dodd,Mead &Company, Reprinted Simon and Schuster 1943.
  • Le Trésor des humbles (The Treasure of the Humble) (1896)
  • La sagesse et la destinée (Wisdom and Destiny) (1898)
  • La Vie des abeilles (The Life of the Bee) (1901)
  • Le temple enseveli (The Buried Temple) (1902)
  • Le Double Jardin (The Double Garden) (1904)
  • L'Intelligence des fleurs (The Intelligence of Flowers) (1907)
  • La Mort (Our Eternity ,first published in English, incomplete version entitled Death ,1911; in enlarged and complete version in original French, 1913)
  • L'Hôte inconnu (first published in English translation, 1914; in original French, 1917)
  • Les Débris de la guerre (1916)
  • Le grand secret (The Great Secret) (Fasquelle, 1921; Bernard Miall trans., 1922)
  • La Vie des termites (The Life of Termites) (1926)
  • La Vie de l'espace (The Life of Space) (1928)
  • La Grande Féerie (1929)
  • La Vie des fourmis (The Life of the Ant) (1930)
  • L'Araignée de verre (1932)
  • Avant le grand silence (Before the Great Silence) (1934)
  • L'Ombre des ailes (The Shadow of Wings) (1936)
  • Devant Dieu (1937)
  • L'Autre Monde ou le cadran stellaire (The Other World, or The Star System) (1941)
  • Bulles bleues (1948)

Maurice Maeterlinck commemorative coinLe Livre des XII béguines and L'Ornement des noces spirituelles, translated from the Flemish of Ruusbroec (1885)

  • L'Ornement des noces spirituelles de Ruysbroeck l'admirable (1891)
  • Annabella, an adaptation of John Ford's 'Tis Pity She's a Whore (performed 1894)
  • Les Disciples à Saïs and Fragments de Novalis from the German of Novalis, together with an Introduction by Maeterlinck on Novalis and German Romanticism (1895)
  • Translation and adaptation of Shakespeare's Macbeth (performed 1909)


EMERSON AND MAETERLINCK Maeterlinck's admiration for Emerson has been frequently remarked upon The dealers in literary intimacies have told of the well worn and abudantly underscored edition of Emerson's essays in the private library of the Belgian author and every reader who has sought a complete acquaintance with Maeterlinck's writings is familiar with the enthusiastic introduction which he contributed to a French translation of seven of Emersons essays published some twenty years ago But in general it has seemed sufficient to the biographers panegyrists interpreters and critics of Maeterlinck merely to list Emerson vaguely among the sages the philosophers mystics transcendentalists and prophets to whom the elegant Flemish visionary and idealist is in some measure beholden for his ideas or with whom he would appear to have some sort of intellectual or temperamental affiliation It is easy to be glib with names and the numerous literary advertisers of Maeterlinck especially in America have exercised no reticence in their rather thinly erudite allusions to Plato Plotinus and Porphyry Marcus Aurelius Ruys broeck the Admirable Boehme Swedenborg Novalis and divers others including Coleridge Ruskin Carlyle and Emerson Whatever correspondence it may be possible to disclose between Maeterlinck and these various eminent sources of spiritual insight it is certain that between him and Emerson in particular there are noteworthy similarities and equally significant differences Both the resemblances and the unlikenesses are probably obvious enough to anyone who finds the time to regard the two men deliberately side by side but it is perhaps not impertinent... et al... 18  (From the 1918 essay on Emerson and Maeterlinck)

  • Binding: Leather
  • Place of Publication: New York
  • Language: English
  • Special Attributes: Signed, Autograph Edition, 1st Edition, Collector's Edition, Limited Edition, Luxury Edition
  • Author: Maurice Maeterlinck
  • Publisher: Dodd Mead and Company
  • Topic: Classics
  • Modified Item: No
  • Subject: Literature & Fiction
  • Original/Facsimile: Original

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