Maurice Maeterlinck

Maurice Polydore Marie Bernard Maeterlinck[1][a]

(29 August 1862 – 6 May 1949), also known as Maurice Maeterlinck
Count/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 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 Born Maurice Polydore Marie
La Jeune Belgique group,[7] and his plays form an Bernard Maeterlinck
important part of the Symbolist movement. In later 29 August 1862
life, Maeterlinck faced credible accusations of Ghent, Belgium
plagiarism. Died 6 May 1949 (aged 86)
Nice, France
Occupation Playwright · Poet · Essayist
Biography Language French
Nationality Belgian
Alma mater University of Ghent
Early life
Literary Symbolism
Maeterlinck was born in Ghent, Belgium, to a wealthy, movement
French-speaking family. His mother, Mathilde Colette Notable works Intruder (1890)
Françoise (née Van den Bossche), came from a wealthy The Blind (1890)
family.[8][9] His father, Polydore, was a notary who Pelléas et Mélisande (1893)
enjoyed tending the greenhouses on their property. Interior (1895)
The Blue Bird (1908)
In September 1874, he was sent to the Jesuit College of Notable Nobel Prize in Literature
Sainte-Barbe, where works of the French Romantics awards 1911
were scorned and only plays on religious subjects were Triennial Prize for Dramatic
permitted. His experiences at this school influenced his Literature
distaste for the Catholic Church and organized 1903
religion.[10] One of his companions at that time was Spouse Renée Dahon
the writer Charles van Lerberghe, the poems and plays Partner Georgette Leblanc
of whom went on to act as mutual influences on each
Signature
other at the start of the Symbolist period.[11]
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.

Career
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
Maeterlinck early in his
career
throughout his career, Maeterlinck slowly replaced his Symbolism with a
more existential style.[12]

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).[12]

In 1903, Maeterlinck received the Triennial Prize for Dramatic Literature

from the Belgian government.[13] 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.
A 1902 marbled edition
In 1906, Maeterlinck and Leblanc moved to a villa in Grasse in the south of of The Life of the Bee,
France. He spent his hours meditating and walking. As he emotionally pulled Dodd, Mead and
away from Leblanc, he entered a state of depression. Diagnosed with Company, Pub.

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.[14] Leblanc would often walk around in
the garb of an abbess; he would wear roller skates as he moved about the house.[15] 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).
Stanislavsky's 1908 Moscow production, of extraordinary visual beauty, is still over a century later
regularly performed in Moscow, in a shortened version as a children's matinee. After the writing of "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 never became so inventive as a writer again. His later plays,
such as Marie-Victoire (1907) and Mary Magdalene (1910), provided with lead roles for Leblanc,[16]
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. After having been nominated by Carl Bildt, a member of the Swedish Academy,
he received the Nobel Prize for Literature in 1911,[18] which 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.[20] By a decree of 26 January 1914, the Roman Catholic
Church placed his opera omnia on the Index Librorum Prohibitorum.

When Germany invaded Belgium in 1914, Maeterlinck 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 the blame 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, his reputation as a great sage who stood above
current affairs was damaged by his political involvement.

While in Nice, he wrote The Mayor of Stilmonde (1918), which the American press quickly labeled a
"Great War Play", and which became a British film 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 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.

Plagiarism Maeterlinck in 1915

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,[22] 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".[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 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,[23] 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. [25] 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.[26][25]

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?"[24]

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

It would have been easy, in regard to every statement, 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, like
one of those dreadful books we hated so much at school. There is a short bibliography at the
end of the volume which will no doubt serve the same purpose.

Whatever Maeterlinck's misgivings at the time of writing, the bibliography he refers to does not include
Eugène Marais.

Professor V. E. d'Assonville referred to 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".[25]
Robert Ardrey, an admirer 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 even thrived on the controversy and the attention it generated.[28]

Another allegation 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
In 1930, he bought a château in Nice, France, and named it Orlamonde, a name occurring in his work
Quinze Chansons.[30]

He was made a count by Albert I, King 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 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.[32] 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.[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 heart attack.

Honours
1920: Grand Cordon of the Order of Leopold.[34]
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 lift the patent letters (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.

Static drama
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.[35]

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.[36] Maeterlinck once wrote that "the stage is a place where works
of art are extinguished. ... Poems die when living people get into Maeterlinck, before 1905

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 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."[38]

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:

Othello is admirably jealous. But is it not perhaps an ancient error to imagine that it is at the
moments when this passion, or others of equal violence, possesses us, that we live our truest
lives? I have grown to believe that an old man, seated in his armchair, waiting patiently, with
his lamp beside 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 not that all the powers of this world, like so many heedful servants, are mingling
and keeping vigil in his room, who suspects not that the very sun itself is supporting in space
the little table against which he leans, or that every star in heaven and every fiber of the soul are
directly concerned in the movement of an eyelid that closes, or a thought that springs to birth—
I have grown to believe that he, motionless as he is, does yet live in reality a deeper, more
human, and more universal life than the lover who strangles his mistress, the captain who
conquers in battle, or "the husband who avenges his honor."[39]

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.[40] With these plays, he claims:
 It is no longer a violent, exceptional moment of life that passes before our eyes—it is life itself.
Thousands and thousands of laws there are, mightier and more venerable than those of passion;
but these laws are silent, and discreet, and slow-moving; and hence it is only in the twilight that
they can be seen and heard, in the meditation that comes to us at the tranquil moments of
life.[41]

Maeterlinck in music
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 Sélysette

orchestral prelude by 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 3 acts by Paul Dukas
incidental music by Anatoly Nikolayevich Alexandrov
The Betrothal
incidental music by Armstrong Gibbs
The Blind
opera by Beat Furrer
chamber opera Ślepcy by Polish composer Jan Astriab after Maeterlinck's Les aveugles
opera by Lera Auerbach
The Death of Tintagiles
symphonic 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 Vanna
opera 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 bleu
opera 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 Maleine
overture by Pierre de Bréville
overture by Cyril Scott
unfinished opera (or incidental music) by Lili Boulanger
incidental music by Maximilian Steinberg
The Seven Princesses
incidental music by Pierre de Bréville
opera by Vassili Vassilievitch Netchaïev
Sœur Beatrice
opera by Alexander Grechaninov
chorus by Anatoly Liadov
opera Sor Beatriu by Antoni Marquès i Puig
opera by Dmitri Mitropoulos
opera by Rasse (composer)
incidental music by Erkki Melartin
Intérieur
opera by Giedrius Kuprevičius

Works

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

Drama
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 Maeterlinck, c. 1903
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; 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 (first published in book form 2006)

Essays
Le Trésor des humbles (The Treasure of the Humble) (1896)
La sagesse et la destinée (Wisdom and Destiny) (1898)
La Vie des abeilles (https://archive.org/details/laviedesabeille00maet/page/n11/mode/2up).
Paris: Charpentier. 1901.; The Life of the Bee (https://archive.org/details/lifeofbee0000maet
_k0z1/page/n5/mode/2up?view=theater). 1901. 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)
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) Plagiarized version of Die Siel van die Mier
(The Soul of the White Ant) by 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)
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)
La Grande Porte (1938)
L'Autre Monde ou le cadran stellaire (The Other World, or The Star System) (1941)

Memoirs
Bulles bleues (1948)

Translations
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) Maurice Maeterlinck
commemorative coin
 Translation and adaptation of Shakespeare's Macbeth (performed 1909)

See also

Poetry portal

The 100th anniversary of Maurice Maeterlinck's greatest contemporary success, his play
The Blue Bird, was selected as the main 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 Britain between 1918–1927.[42]

Notes
a. Pronunciation: /ˈmeɪtərlɪŋk/ MAYT-ər-link,[2] US also /ˈmɛt-, ˈmæt-/ MET-, MAT-,[3][4] French:
[mɔʁis matɛʁlɛ̃k] in Belgium, [- mɛteʁ-] in France.[5]

References
1. Spelled Maurice (Mooris) Polidore Marie Bernhard Maeterlinck on the official Nobel Prize
page (http://nobelprize.org/nobel_prizes/literature/laureates/1911/maeterlinck.html).
2. "Maeterlinck, Count Maurice" (https://web.archive.org/web/20220320084035/https://www.lex
ico.com/definition/maeterlinck,_count_maurice). Lexico UK English Dictionary. Oxford
University Press. Archived from the original (http://www.lexico.com/definition/Maeterlinck,+C
ount+Maurice) on 20 March 2022.
3. "Maeterlinck" (https://www.collinsdictionary.com/dictionary/english/maeterlinck). Collins
English Dictionary. HarperCollins. Retrieved 18 August 2019.
4. "Maeterlinck" (https://www.merriam-webster.com/dictionary/Maeterlinck). Merriam-
Webster.com Dictionary. Merriam-Webster. Retrieved 18 August 2019.
5. Jean-Marie Pierret (1994). Phonétique historique du français et notions de phonétique
générale (https://books.google.com/books?id=mP4JUXoFLBoC&pg=PA103) (in French).
Peeters Publishers. ISBN 9789068316087.
6. "Maeterlinck, Maurice". Encyclopædia Britannica.
7. Michael Shaw (2019), The Fin-de-Siècle Scottish Revival: Romance, Decadence and Celtic
Identity, Edinburgh University 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 (https://books.google.com/books?id
=fqQjAQAAIAAJ&q=Mathilde+Colette+Maeterlinck). Gale / Cengage Learning.
ISBN 9780787681494 – via Google Books.
10. Knapp, pp. 22–23.
11. Jethro Bithell, Life And Writings Of Maurice Maeterlinck, › Freeditorial pp. 7-8 (https://freedit
orial.com)
12. Knapp, pp. 87–92.
13. Knapp, p. 111.
14. "The Banning of Bergson" (https://archive.org/stream/independen79v80newy#page/n77/mo
de/1up). The Independent. 20 July 1914. Retrieved 21 August 2012.
15. Knapp, 129.
16. Knapp, pp. 127–28.
17. Knapp, pp. 133–34.
18. "The official website of the Nobel Prize - NobelPrize.org" (https://www.nobelprize.org/nomina
tion/archive/show.php?id=2143.). NobelPrize.org. April 2020.
19. Knapp, 133–36.
20. Knapp, pp. 136–38.
21. Knapp, 147–50.
22. "Die Huisgenoot", Nasionale Pers, 6 January 1928, cover story
23. David E. Bignell. "Termites: 3000 Variations On A Single Theme" (https://web.archive.org/we
b/20070827211941/http://www.biology.qmul.ac.uk/research/staff/bignell/Inaugural.htm).
Archived from the original (http://www.biology.qmul.ac.uk/research/staff/bignell/Inaugural.ht
m) on 27 August 2007. Retrieved 28 July 2009.
24. Sandra Swart (2004). "The Construction of Eugène Marais as an Afrikaner Hero" (https://we
b.archive.org/web/20100308014642/http://www.oulitnet.co.za/seminarroom/marais_swart.as
p). Journal of Southern African Studies. December (30.4). Archived from the original (http://
www.oulitnet.co.za/seminarroom/marais_swart.asp) on 8 March 2010.
25. V. E. d'Assonville, Eugene Marais and the Waterberg, Marnix, 2008, pp. 53–54.
26. L. Rousseau, 1974, Die Groot Verlange, Cape Town: 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 (VII) (http://www.kellscraft.com/maeterli
nckbioch8.html):

"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.9.

"Maurice Maeterlinck (1862–1949). 9.1 Sa vie et son oeuvre" (https://books.google.com/boo
ks?id=8_UvBwAAQBAJ&dq=Etienne+De+Greeff++comte++Maeterlinck&pg=PT340).
Bruxelles : Larcier, DL 2015 ISBN 9782804462819 Primento Digital Publishing , 2015 e
ISBN 9782804479831.
32. Exiles Memorial Center.
33. Knapp, 157-58.
34. RD 12 January 1920.
35. Knapp, 77–78.
36. Knapp, 78.
37. "Drama—Static and Anarchistic", The New York Times, 27 December 1903.
38. Peter Laki, Bartók and His World, Princeton University Press, 1995, pp. 130–31.
39. Cole 1960, 30–31.
40. Cole 1960, pp. 31–32.
41. Cole 1960, 32.
42. "Maurice Maeterlinck" (https://www.greatwartheatre.org.uk/db/script/2805/). Great War
Theatre. Retrieved 25 September 2019.

Further reading
W. L. Courtney, The Development of M. Maeterlinck (London, 1904)
M. J. Moses, Maurice Maeterlinck: A Study (New York, 1911)
Gosse, Edmund William (1911). "Maeterlinck, Maurice" (https://en.wikisource.org/wiki/1911
_Encyclop%C3%A6dia_Britannica/Maeterlinck,_Maurice). Encyclopædia Britannica. Vol. 17
(11th ed.). pp. 298–299.
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)
G. F. Sturgis, The Psychology of Maeterlinck as Shown in his Dramas (Boston, 1914)
P. McGuinness, "Maeterlinck and the making of Modern Theatre" (Oxford, 2000)

External links
Works by Maurice Maeterlinck in eBook form (https://standardebooks.org/ebooks/maurice-m
aeterlinck_georgette-leblanc) at Standard Ebooks
Works by Maurice Maeterlinck (https://www.gutenberg.org/ebooks/author/795) at Project
Gutenberg
Works by or about Maurice Maeterlinck (https://archive.org/search.php?query=%28%28subj
ect%3A%22Maeterlinck%2C%20Maurice%22%20OR%20subject%3A%22Maurice%20Mae
terlinck%22%20OR%20creator%3A%22Maeterlinck%2C%20Maurice%22%20OR%20creat
or%3A%22Maurice%20Maeterlinck%22%20OR%20creator%3A%22Maeterlinck%2C%20
M%2E%22%20OR%20title%3A%22Maurice%20Maeterlinck%22%20OR%20description%3
A%22Maeterlinck%2C%20Maurice%22%20OR%20description%3A%22Maurice%20Maeter
linck%22%29%20OR%20%28%221862-1949%22%20AND%20Maeterlinck%29%29%20A
ND%20%28-mediatype:software%29) at the Internet Archive
Works by Maurice Maeterlinck (https://librivox.org/author/2835) at LibriVox (public domain
audiobooks)
Works by Maurice Maeterlinck (http://onlinebooks.library.upenn.edu/webbin/book/search?a
mode=start&author=Maeterlinck%2c%20Maurice) at The Online Books Page
The Social Significance of Modern Drama; Monna Vanna, Analysis of the play by Maurice
Maeterlinck (http://www.theatredatabase.com/19th_century/maurice_maeterlinck_002.html)
Maurice Maeterlinck (https://www.nobelprize.org/laureate/581) on Nobelprize.org
List of Works (http://noblib.internet-box.ch/NLEW.php?authorid=12)
Transcript of the Nobel prize presentation speech (http://www.nobel.se/literature/laureates/1
911/press.html)
Video clips from four different productions of Maeterlinck's works (http://subjectiviste.wordpr
ess.com/2010/06/07/some-productions-maurice-maeterlinck/)
Edward Thomas. Maurice Maeterlinck (biography). Contents Page. (http://www.kellscraft.co
m/maeterlinckbiocontent.html)
PEN International (http://pen-international.org/)
 Newspaper clippings about Maurice Maeterlinck (http://purl.org/pressemappe20/folder/pe/01
9305) in the 20th Century Press Archives of the ZBW
Maurice Maeterlinck (https://lccn.loc.gov/n79018814) at Library of Congress, with 339 library
catalogue records

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