The Blue Bird Maurice Maeterlinck of Moscow Art Theatre 1908

Belgian playwright and essayist (1862–1949)

Maurice Maeterlinck
Born	Maurice Polydore Marie Bernard Maeterlinck (1862-08-29)29 August 1862 Ghent, Belgium
Died	6 May 1949(1949-05-06) (anile 86) Nice, France
Occupation	Playwright· Poet· Essayist
Language	French
Nationality	Belgian
Alma mater	University of Ghent
Literary motion	Symbolism
Notable works	Intruder (1890) The Blind (1890) Pelléas et Mélisande (1893) Interior (1895) The Bluish Bird (1908)
Notable awards	Nobel Prize in Literature 1911 Triennial Prize for Dramatic Literature 1903
Spouse	Renée Dahon
Partner	Georgette Leblanc
Signature

Maurice Polydore Marie Bernard Maeterlinck ^{[1] [a]} (29 August 1862 – 6 May 1949), also known as Count (or Comte) Maeterlinck from 1932,^[6] 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 peculiarly of his dramatic works, which are distinguished by a wealth of imagination and past 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 chief themes in his piece of work are death and the pregnant of life. He was a leading member of La Jeune Belgique group^[7] and his plays form an of import function of the Symbolist movement. In later life, Maeterlinck faced apparent accusations of plagiarism.

Biography [edit]

Early life [edit]

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.^{[8] [9]} His father, Polydore, was a notary who enjoyed tending the greenhouses on their belongings.

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.^[x] One of his companions at that time was the writer Charles van Lerberghe, the poems and plays of whom went on to act as mutual influences on each other at the start of the Symbolist period.^[xi]

Maeterlinck had written poems and brusk novels while still studying, but his begetter wanted him to go into constabulary. Subsequently gaining a police degree at the University of Ghent in 1885, he spent a few months in Paris, France. He met members of the new Symbolist movement; Villiers de l'Island Adam in particular, who would have a smashing influence on Maeterlinck's subsequent piece of work.

Career [edit]

Maeterlinck early in his career

Maeterlinck instantly became a public effigy 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 past 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 piece of work for the following two decades. With the play Aglavaine and Sélysette (1896) Maeterlinck began to create characters, especially female person characters, who were more than in control of their destinies. Leblanc performed these female characters on phase. Even though mysticism and metaphysics influenced his work throughout his career, Maeterlinck slowly replaced his Symbolism with a more than existential style.^[12]

In 1895, with his parents frowning upon his open human 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 Castilian husband. The couple 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).^[12]

In 1903 Maeterlinck received the Triennial Prize for Dramatic Literature from the Belgian government.^[13] During this period, and up until the Dandy State of war of 1914-1918, he was widely looked up to, throughout Europe, every bit a great sage, and the embodiment of the higher thought of the fourth dimension.

In 1906 Maeterlinck and Leblanc moved to a villa in Grasse in the south of France. He spent his hours meditating and walking. As he emotionally pulled abroad from Leblanc, he entered a state of low. 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 every bit a chemic factory and thus he received a blessing from the Pope.^[14] Leblanc would oftentimes walk around in the garb of an abbess; he would wear roller skates as he moved about the house.^[xv] During this time, he wrote his essay "The Intelligence of Flowers" (1906), in which he expressed sympathy with socialist ideas. He donated coin to many workers' unions and socialist groups. At this fourth dimension he conceived his greatest contemporary success: the fairy play The Blueish Bird (1908, but largely written in 1906). Subsequently the writing "The Intelligence of Flowers", he suffered from a period of low and writer's cake. Although he recovered from this after a yr or two, he never became so inventive every bit a writer over again. His subsequently plays, such as Marie-Victoire (1907) and Mary Magdalene (1910), provided with pb roles for Leblanc,^[xvi] 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.^[17]

In 1910 he met the 18-year-old actress Renée Dahon during a rehearsal of The Blue Bird. She became his lighthearted companion. Later having been nominated by Carl Bildt, a fellow member of the Swedish Academy, he received the Nobel Prize for Literature in 1911,^[xviii] which also served to lighten his spirits. By 1913 he had become more openly socialist and sided with the Belgian trade unions against the Catholic party during a strike.^[19] He began to study mysticism and lambasted the Catholic Church in his essays for misconstruing the history of the universe.^[twenty] By a decree of 26 January 1914, the Roman Catholic Church building placed his opera omnia on the Alphabetize Librorum Prohibitorum.

When Frg invaded Belgium in 1914, Maeterlinck wished to bring together the French Foreign Legion, just his application was denied due to his age. He and Leblanc decided to get out 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 the blame upon all Germans for the war. Although his patriotism and his indifference to the harm he was doing to his standing in Federal republic of germany do him credit, his reputation as a great sage who stood above current affairs was damaged past his political involvement. While in Nice he wrote The Mayor of Stilmonde (1918), which the American press rapidly labeled a "Great War Play", and which became a British flick in 1929. He also wrote The Betrothal (French: Les Fiançailles, 1922), a sequel to The Blue Bird, in which the heroine of the play is clearly not a Leblanc archetype.^[21]

On 15 February 1919 Maeterlinck married Dahon. He accepted an invitation to the United States, where Samuel Goldwyn asked him to produce a few scenarios for movie. Only two of Maeterlinck's submissions notwithstanding be; Goldwyn didn't utilize any of them. Maeterlinck had prepared i based on his The Life of the Bee. Afterwards reading the first few pages Goldwyn flare-up out of his role, exclaiming: "My God! The hero is a bee!"

Later on 1920 Maeterlinck ceased to contribute significantly to the theatre, just continued to produce essays on his favourite themes of occultism, ethics and natural history. The international demand for these barbarous off sharply later on the early 1920s, but his sales in French republic remained substantial until the belatedly 1930s. Dahon gave birth to a stillborn child in 1925.

Plagiarism [edit]

In 1926 Maeterlinck published La Vie des Termites (translated into English language equally The Life of Termites or The Life of White Ants), an entomological book that plagiarised the volume The Soul of the (White) Ant, by the Afrikaner poet and scientist Eugène Marais,^[22] David Bignell, in his inaugural accost as Professor of Zoology at the University of London (2003), called Maeterlinck'south work "a classic example of bookish plagiarism".^[23] Marais accused Maeterlinck of having appropriated Marais' concept of the "organic unity" of the termite nest in his book.^[24] Marais had published his ideas on termite nests in the Due south African Afrikaans-language press, in Die Burger (Jan 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'south book, with nigh identical content,^[23] was published in 1926. It is conjectured that Maeterlinck had come beyond Marais' articles while writing his book, and that information technology would have been piece of cake for him to translate Afrikaans into French, since Maeterlinck knew Dutch and had already made several translations from Dutch into French. ^[25] Information technology was common at the time, moreover, 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 well-nigh Maeterlinck that

The famous author had paid me the left-handed compliment of appropriation the almost important role of my work ... He clearly desired his readers to infer that he had arrived at certain of my theories (the consequence of ten years of hard labour in the veld) past his own unaided reason, although he admits that he never saw a termite in his life. You lot must understand that information technology was non only plagiarism of the spirit of a thing, and so to speak. He has copied page afterwards folio verbally.^{[26] [25]}

Supported by a coterie of Afrikaner Nationalist friends, Marais sought justice through the Due south African press and attempted an international lawsuit. This was to prove financially impossible and the case was not pursued. Notwithstanding, he gained a measure of renown as the aggrieved party and as an Afrikaner researcher who had opened himself upward to plagiarism considering 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?"^[24]

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

Information technology would have been easy, in regard to every argument, to allow the text to bristle with footnotes and references. In some chapters there is not a sentence but would have clamoured for these; and the letterpress would have been swallowed up by vast masses of comment, similar one of those dreadful books nosotros hated and so much at school. There is a curt bibliography at the cease of the volume which volition no doubt serve the same purpose.

Any Maeterlinck's misgivings at the fourth dimension of writing, the bibliography he refers to does not include Eugène Marais.

Professor V. E. d'Assonville referred to Maeterlinck every bit "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".^[25]

Robert Ardrey, an gentleman of Eugène Marais, attributed Marais' later suicide to this act of plagiarism and theft of intellectual property by Maeterlinck,^[27] although Marais' biographer, Leon Rousseau, suggested that Marais had enjoyed and fifty-fifty thrived on the controversy the attending it generated.^[28]

Some other accusation of plagiarism concerned Maeterlinck's play Monna Vanna, which was said to have been based on Robert Browning's little-known play Luria.^[29]

Later life [edit]

In 1930 he bought a château in Squeamish, French republic, and named it Orlamonde, a proper name occurring in his work Quinze Chansons.^[thirty]

He was made a count by Albert I, Male monarch of the Belgians in 1932.^[31]

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 gild to escape the Nazi invasion of both Belgium and France. While in Portugal, he stayed in Monte Estoril, at the Grande Hotel, betwixt 27 July and 17 August 1939.^[32] The Times quoted him equally 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 weather condition in Belgium during the German language Occupation of 1918." Equally with his earlier visit to America, he however found Americans likewise casual, friendly and Francophilic for his gustatory modality.^[33]

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 center assail.

Honours [edit]

• 1920: Grand Cordon of the Order of Leopold.^[34]
• 1932: Created Count Maeterlinck, past Majestic Decree. All the same, he neglected fulfilling the necessary paper work for registration and the creation was not implemented.

Static drama [edit]

Maeterlinck's posthumous reputation depends entirely^{[ dubious – discuss ]} on his early on plays (published between 1889 and 1894), which created a new style of dialogue, extremely lean and spare, where what is suggested is more of import than what is said. The characters take no foresight, and only a limited understanding of themselves or the world effectually them. That the characters stumble into tragedy without realizing where they are going may suggest that Maeterlinck thought of human equally powerless confronting the forces of fate, but the kinship is not with ancient Greek tragedy merely with modern dramatists such as Beckett and Pinter who bring out human vulnerability in a globe across our comprehension.

Maeterlinck believed that any thespian, due to the hindrance of physical mannerisms and expressions, would inadequately portray the symbolic figures of his plays. He concluded that marionettes were an fantabulous alternative. Guided by strings operated by a puppeteer, Maeterlinck considered marionettes an excellent representation of fate'southward complete control over man. He wrote Interior, The Death of Tintagiles, and Alladine and Palomides for marionette theatre.^[35]

From this, he gradually developed his notion of the "static drama." He felt that information technology was the artist's responsibility to create something that did not limited man emotions but rather the external forces that compel people.^[36] Maeterlinck once wrote that "the stage is a place where works of art are extinguished. ... Poems dice when living people get into them."^[37]

He explained his ideas on the static drama in his essay "The Tragic in Daily Life" (1896), which appeared in The Treasure of the Apprehensive. The actors were to speak and move as if pushed and pulled past an external force, fate equally puppeteer. They were not to allow the stress of their inner emotions to hogtie their movements. Maeterlinck would often continue to refer to his cast of characters equally "marionettes."^[38]

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

Othello is admirably jealous. Merely is it non perhaps an ancient fault to imagine that information technology is at the moments when this passion, or others of equal violence, possesses u.s., that we live our truest lives? I have grown to believe that an old man, seated in his armchair, waiting patiently, with his lamp abreast him; giving unconscious ear to all the eternal laws that reign about his house, interpreting, without comprehending, the silence of doors and windows and the quivering voice of the light, submitting with bent head to the presence of his soul and his destiny—an old man, who conceives non that all the powers of this world, like so many heedful servants, are mingling and keeping vigil in his room, who suspects non that the very sun itself is supporting in space the piddling table confronting which he leans, or that every star in heaven and every fiber of the soul are direct concerned in the movement of an eyelid that closes, or a thought that springs to birth—I accept grown to believe that he, motionless as he is, does yet alive in reality a deeper, more than human being, and more than universal life than the lover who strangles his mistress, the helm who conquers in battle, or "the husband who avenges his laurels."^[39]

He cites a number of classical Athenian tragedies—which, he argues, are near motionless and which diminish psychological action to pursue an interest in "the private, face to face up 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.^[xl] With these plays, he claims:

It is no longer a violent, exceptional moment of life that passes before our optics—information technology is life itself. Thousands and thousands of laws in that location are, mightier and more than venerable than those of passion; but these laws are silent, and unimposing, and wearisome-moving; and hence it is only in the twilight that they tin can be seen and heard, in the meditation that comes to us at the tranquil moments of life.^[41]

Maeterlinck in music [edit]

Pelléas and Mélisande inspired several musical compositions at the plough 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 Encounter: Pelléas et Mélisande (Fauré) (Op. lxxx)
• 1893–1902: an opera by Claude Debussy (L. 88, Paris), see Pelléas et Mélisande (opera)
• 1902–1903: a symphonic verse form 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 Sélysette
  • orchestral prelude past Arthur Honegger
  • orchestral overture by Cyril Scott
• Aladina and Palomid
  • opera by Burghauser
  • opera by Osvald Chlubna
  • opera by Emil František Burian
• Ariane et Barbe-bleue
  • opera in three acts by Paul Dukas
  • incidental music by Anatoly Nikolayevich Alexandrov
• The Betrothal
  • incidental music by Armstrong Gibbs
• The Bullheaded
  • opera past Beat Furrer
  • chamber opera Ślepcy by Polish composer January Astriab after Maeterlinck'south Les aveugles
  • opera by Lera Auerbach
• The Death of Tintagiles
  • symphonic poem by Charles Martin Loeffler
  • incidental music past 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 Middle)
  • Lied for soprano with small ensemble by Arnold Schoenberg
• Monna Vanna
  • opera in three acts by Emil Ábrányi
  • Monna Vanna, opera in 4 acts by Henry Février
  • Monna Vanna, unfinished opera past Sergei Rachmaninoff
  • opera in 4 acts by Nicolae Brânzeu
• L'oiseau bleu
  • opera by Albert Wolff
  • 13 scenes for orchestra past Fritz Hart
  • incidental music past Leslie Heward
  • incidental music by Engelbert Humperdinck
  • overture by Kricka
  • incidental music by Norman O'Neill
  • incidental music past Szeligowski
• Princess Maleine
  • overture by Pierre de Bréville
  • overture by Cyril Scott
  • unfinished opera (or incidental music) by Lili Boulanger
  • incidental music by Maximilian Steinberg
• The Vii Princesses
  • incidental music by Pierre de Bréville
  • opera by Vassili Vassilievitch Netchaïev
• Sœur Beatrice
  • opera by Alexander Grechaninov
  • chorus by Anatoly Liadov
  • opera Sor Beatriz by Marquez Puig
  • opera past Dmitri Mitropoulos
  • opera by Rasse (composer)
• Intérieur
  • opera by Giedrius Kuprevičius

Works [edit]

Poetry [edit]

• Serres chaudes (1889)
• Douze chansons (1896)
• Quinze chansons (expanded version of Douze chansons) (1900)

Drama [edit]

• La Princesse Maleine (Princess Maleine) (published 1889)
• L'Intruse (Intruder) (published 1890; outset performed 21 May 1891)
• Les Aveugles (The Blind) (published 1890; first performed 7 December 1891)
• Les Sept Princesses (The Vii Princesses) (published 1891)
• Pelléas and Mélisande (published 1892; first performed 17 May 1893)
• Alladine et Palomides (published 1894)
• Intérieur (Interior) (published 1894; outset 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 language translation, 1899)
• Soeur Béatrice (Sister Beatrice) (published 1901)
• Monna Vanna (commencement 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 xxx September 1908)
• Marie-Magdeleine (Mary Magdalene) (first performed in German translation, Feb 1910; staged and published in French, 1913)
• Le Bourgmestre de Stilmonde (first performed in Buenos Aires, 1918; an English translation was performed in Edinburgh in 1918; published 1919)
• Les Fiançailles (published 1922)
• 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)
• L'Abbé Sétubal (published 1959)
• Les Trois Justiciers (published 1959)
• Le Jugement dernier (published 1959)
• Le Miracle des mères (offset published in volume course 2006)

Essays [edit]

• 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, a collection of 16 essays) (1904)
• L'Intelligence des fleurs (The Intelligence of Flowers) (1907)
• La Mort (Our Eternity ,first published in English language, incomplete version entitled Expiry ,1911; in enlarged and complete version in original French, 1913)
• L'Hôte inconnu (start published in English language 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) Plagiarized version of Die Siel van die Mier (The Soul of the White Pismire) past Eugene Marais (1925)
• La Vie de l'espace (The Life of Space) (1928)
• La Grande Féerie (1929)
• La Vie des fourmis (The Life of the Ant) (1930)
• Fifty'Araignée de verre (1932)
• Avant le grand silence (Earlier the Swell Silence) (1934)
• L'Ombre des ailes (The Shadow of Wings) (1936)
• Devant Dieu (1937)
• 50'Autre Monde ou le cadran stellaire (The Other World, or The Star Organization) (1941)

Memoirs [edit]

• Bulles bleues (1948)

Translations [edit]

• Le Livre des XII béguines and 50'Ornement des noces spirituelles, translated from the Flemish of Ruusbroec (1885)
• L'Ornement des noces spirituelles de Ruysbroeck fifty'admirable (1891)
• Annabella, an accommodation 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 High german Romanticism (1895)
• Translation and adaptation of Shakespeare's Macbeth (performed 1909)

Run into as well [edit]

• The 100th ceremony of Maurice Maeterlinck's greatest contemporary success, his play The Blue Bird, was selected as the master motif of a high-value collectors' coin: the Belgian 50 euro Maurice Maeterlinck commemorative coin, minted in 2008.
• Belgian literature
• Le Bourgmestre de Stilmonde (The Burgomaster of Stilemond) was translated by Alexander Teixeira de Mattos and performed several times in Great britain betwixt 1918–1927.^[42]

Notes [edit]

1. ^ Pronunciation: MAYT-ər-link,^[two] MET-, MAT-,^{[3] [4]} French: [mɔʁis matɛʁlɛ̃k] in Kingdom of belgium, [- mɛteʁ-] in France.^[5]

References [edit]

1. ^ Spelled Maurice (Mooris) Polidore Marie Bernhard Maeterlinck on the official Nobel Prize page.
2. ^ "Maeterlinck, Count Maurice". Lexico U.k. English language Dictionary. Oxford University Press. n.d. Retrieved 18 August 2019.
3. ^ "Maeterlinck". Collins English Dictionary. HarperCollins. Retrieved eighteen August 2019.
4. ^ "Maeterlinck". Merriam-Webster Dictionary . Retrieved xviii August 2019.
5. ^ Jean-Marie Pierret (1994). Phonétique historique du français et notions de phonétique générale (in French). ISBN9789068316087.
6. ^ "Maeterlinck, Maurice". Encyclopædia Britannica.
7. ^ Michael Shaw (2019), The Fin-de-Siècle Scottish Revival: Romance, Decadence and Celtic Identity, Edinburgh Academy Press, p. 98
8. ^ Bettina Knapp, Maurice Maeterlinck, Boston: Thackery Publishers, 1975, p. 18.
9. ^ Gale, Thomson (1 March 2007). Dictionary of Literary Biography, Volume 331: Nobel Prize Laureates in Literature, Part 3: Lagerkvist-Pontoppidan. Gale / Cengage Learning. ISBN9780787681494 – via Google Books.
10. ^ Knapp, 22–23.
11. ^ Jethro Bithell, Life And Writings Of Maurice Maeterlinck, › Freeditorial pp.7-eight
12. ^ ^{a b} Knapp, 87–92.
13. ^ Knapp, 111.
14. ^ "The Banning of Bergson". The Contained. 20 July 1914. Retrieved 21 Baronial 2012.
15. ^ Knapp, 129.
16. ^ Knapp, 127–28.
17. ^ Knapp, 133–34.
18. ^ "The official website of the Nobel Prize - NobelPrize.org". NobelPrize.org.
19. ^ Knapp, 133–36.
20. ^ Knapp, 136–38.
21. ^ Knapp, 147–l.
22. ^ "Die Huisgenoot", Nasionale Pers, 6 January 1928, cover story
23. ^ ^{a b} David E. Bignell. "Termites: 3000 Variations On A Unmarried Theme". Archived from the original on 27 August 2007. Retrieved 28 July 2009.
24. ^ ^{a b} Sandra Swart (2004). "The Construction of Eugène Marais equally an Afrikaner Hero". Journal of Southern African Studies. December (30.4). Archived from the original on 8 March 2010.
25. ^ ^{a b c} 5. E. d'Assonville, Eugene Marais and the Waterberg, Marnix, 2008, pp. 53–54.
26. ^ L. Rousseau, 1974, Die Groot Verlange, Capetown: Human & Rousseau, p. 398.
27. ^ Robert Ardrey, The Territorial Imperative: A Personal Inquiry into the Animal Origins of Property and Nations (1966).
28. ^ Leon Rousseau, The Dark Stream, (Jonathan Ball Publishers:Cape Town, 1982).
29. ^ William Lyon Phelps, PhD, "Maeterlinck and Browning", Vol.55 No.2831 (5 March 1903) The Independent, New York.
30. ^ Maurice Maeterlinck. Quinze Chansons, 1896–1900 (Seven):
    

    "Les sept filles d'Orlamonde,
    Quand la fée fut morte,
    Les sept filles d'Orlamonde,
    Ont cherché les portes."

31. ^ Joris Casselman, Etienne De Greeff (1898–1961): Psychiatre, criminologue et romancier.ix. "Maurice Maeterlinck (1862–1949). 9.1 Sa vie et son oeuvre" . Bruxelles : Larcier, DL 2015 ISBN 9782804462819 Primento Digital Publishing , 2015 e ISBN 9782804479831.
32. ^ Exiles Memorial Centre.
33. ^ Knapp, 157-58.
34. ^ RD 12 Jan 1920.^{[ commendation needed ]}
35. ^ Knapp, 77–78.
36. ^ Knapp, 78.
37. ^ "Drama—Static and Anarchistic", New York Times, 27 December 1903.
38. ^ Peter Laki, Bartók and His World, Princeton Academy Press, 1995, pp. 130–31.
39. ^ Cole 1960, 30–31.^{[ citation needed ]}
40. ^ Cole 1960, 31–32.
41. ^ Cole 1960, 32.
42. ^ "Maurice Maeterlinck". Bang-up State of war Theatre . Retrieved 25 September 2019.

Further reading [edit]

• W. L. Courtney, The Development of K. Maeterlinck (London, 1904)
• M. J. Moses, Maurice Maeterlinck: A Study (New York, 1911)
• E. Thomas, Maurice Maeterlinck, (New York, 1911)
• J. Bethell, The life and Works of Maurice Maeterlinck (New York, 1913)
• Archibald Henderson, European Dramatists (Cincinnati, 1913)
• E. E. Slosson, Major Prophets of To-Day (Boston, 1914)
• Chiliad. F. Sturgis, The Psychology of Maeterlinck as Shown in his Dramas (Boston, 1914)
• P. McGuinness, "Maeterlinck and the making of Mod Theatre" (Oxford, 2000)

External links [edit]

Non-profit organization positions
Preceded by Hu Shih	International President of PEN International 1947–1949	Succeeded by Benedetto Croce

fritschbassiderae1964.blogspot.com

Source: https://en.wikipedia.org/wiki/Maurice_Maeterlinck

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