Maurice Maeterlinck

Maurice Polydore Marie Bernard Maeterlinck (29 August 1862 – 6 May 1949), also known as Count/Comte Maeterlinck from 1932, 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. He was a leading member of the group La Jeune Belgique, and his plays form an important part of the Symbolist movement. In later life, Maeterlinck faced credible accusations of plagiarism.

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. 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. 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.

Maeterlinck had written poems and short novels while still studying, but his father wanted him to go into law. After gaining a law 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'Isle Adam in particular, who would have a great influence on Maeterlinck's subsequent work.

Maeterlinck 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 (1896) Maeterlinck began to create characters, especially female characters, who were more in control of their destinies. Leblanc performed these female characters on stage. Even though mysticism and metaphysics influenced his work throughout his career, Maeterlinck slowly replaced his Symbolism with a more existential style.

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. 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).

In 1903, Maeterlinck received the Triennial Prize for Dramatic Literature from the Belgian government. During this period, and up until the Great War of 1914–1918, 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 in the south of France. 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. Leblanc would often walk around in the garb of an abbess; he would wear roller skates as he moved about the house. During this time, he wrote his essay "The Intelligence of Flowers" (published in 1907), 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).

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, by the Afrikaner poet and scientist Eugène Marais. David Bignell, in his inaugural address as Professor of Zoology at the University of London (2003), called Maeterlinck's work "a classic example of academic plagiarism".

Marais accused Maeterlinck of having appropriated Marais' concept of the "organic unity" of the termite nest in his book. Marais had published his ideas on termite nests in the South African Afrikaans-language press, in Die Burger (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, was published in 1926. It is conjectured that Maeterlinck had come across Marais' articles while writing his book, and that it would have been easy for him to translate Afrikaans into French, since Maeterlinck knew Dutch and had already made several translations from Dutch into French. It 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 about Maeterlinck that

The famous author had paid me the left-handed compliment of cribbing the most important part of my work ... He clearly desired his readers to infer that he had arrived at certain of my theories (the result of ten years of hard labour in the veld) by his own unaided reason, although he admits that he never saw a termite in his life. You must understand that it was not merely plagiarism of the spirit of a thing, so to speak. He has copied page after page verbally.

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. All the same, he 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?"

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

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

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. While in Portugal, he stayed in Monte Estoril, at the Grande Hotel, between 27 July and 17 August 1939. 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.

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.

1932: Admitted by Royal Decree to start the procedure to join the Belgian nobility with the title of count. However, he never fulfilled the obligations to raise the letters patent (including the obligation to create a coat of arms). Since the necessary registrations and tax payments were never fulfilled, he as well as his family were never incorporated into the Belgian nobility.

Maeterlinck'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. That the characters stumble into tragedy without realizing where they are going may suggest that Maeterlinck thought of man as powerless against the forces of fate, but the kinship is not with ancient Greek tragedy but with modern dramatists such as Beckett and Pinter who bring out human vulnerability in a world beyond our comprehension.

Maeterlinck 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.

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. Maeterlinck once wrote that "the stage is a place where works of art are extinguished. ... Poems die when living people get into them."

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".

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:

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)

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)

Le Trésor des humbles (The Treasure of the Humble) (1896)

La sagesse et la destinée (Wisdom and Destiny) (1898)

Maeterlinck, Maurice (2006) [1901]. La Vie des abeilles [The Life of the Bee]. Translated by Sutro, Alfred. Introduction by Edwin Way Teale. Mineola, NY: Dover Publications. ISBN 978-0-486-45143-5.

Le temple enseveli (The Buried Temple) (1902)

Le Double Jardin (The Double Garden, a collection of sixteen essays) (1904)

Le 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)