Background
Verhaeren was born on May 21, 1855 in Sint-Amands, Belgium, to a Flemish French-speaking, middle-class family.
(Cette scène sest passée chez Ernest Vinckx, à Anvers. V...)
Cette scène sest passée chez Ernest Vinckx, à Anvers. Vinckx habitait au fond dun vieux quartier une vieille maison récemment modernisée, ouverte à lair et au soleil, où la lumière frappait crue et cinglante de grandes verandahs vertes et dénormes corridors, plaqués de marbres pâles...
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(Emile Verhaeren (1855 - 1916), a Belgian poet who wrote i...)
Emile Verhaeren (1855 - 1916), a Belgian poet who wrote in the French language, was one of the chief founders of the school of Symbolism. This selection from his work was translated by Alma Strettell and published in 1915.
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(Dubbed the 'European Walt Whitman' Emile Verhaeren is a p...)
Dubbed the 'European Walt Whitman' Emile Verhaeren is a pro-European idealist, whose poetry explores his overriding notion of mankind advancing to a promised land where vital creative energies and new technology could combine to produce a more progressive human strain, a hope ignominiously swept away by the industrial brutality of the First World War. And yet, to return to the poetry of Verhaeren now is to reappraise a master poet who consistently exhibits sublime visionary gift as well as his all too contemporary human vulnerability in some of the most tender and beautiful love poems ever written.
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Verhaeren was born on May 21, 1855 in Sint-Amands, Belgium, to a Flemish French-speaking, middle-class family.
Verhaeren studied law and was admitted to the bar in 1881, but soon began to devote himself to literature.
Verhaeren saw the world in its energy and its movement, and his subjects were the modern scenery of work and industry. His first verse had a Parnassian regularity although it did not paint Classical subjects, interpreting instead the intensity of Flemish rustic scenes (Les Flamandes, 1883), or the religious fervor of medieval souls (Les Moines, 1886). In 1900, Le CloîtreCloitre, a drama, modernized the ideal of medieval monastries. Les Soirs (1887), Les Débâcles (1888), and Les Flambeaux noirs (1890) are a violent trilogy of the tragedy of existence. Les Apparus dans mes chemins (1891) has an optimistic conclusion, which is an appeal to courage, St. George and four other saints becoming symbols of a future of joyful acceptance. Les Campagnes hallucinées (1893), Les Villages illusoires (1894), and Les Villes tentaculaires (1895) form a socialist trilogy that exalts human energy. In Les Heures claires (1891) (The Sunlit Hours, 1916), Les Heures d'après-midi (1905) (Afternoon, 1917), and Les Heures du soir (1911) (The Evening Hours, 1917) are love poems that have a poignancy equal to that found in his earlier verse. Les Visages de la vie (1899), Les Forces tumultueuses (1902), La multiple splendeur (1906), and Les Rythmes souverains (1910) are more widely didactic and reflect confidence in the outcome of human efforts. During World War I, the vision of the destruction wrought on his native Belgium inspired Verhaeren to write Les Ailes rouges de la guerre (1916), and he placed his eloquence at the service of the Allied cause. Verhaeren died on November 27, 1916, in a train accident at Rouen.
(Dubbed the 'European Walt Whitman' Emile Verhaeren is a p...)
(Emile Verhaeren (1855 - 1916), a Belgian poet who wrote i...)
( This work has been selected by scholars as being cultur...)
(Cette scène sest passée chez Ernest Vinckx, à Anvers. V...)
On 24 August 1891 Verhaeren married Marthe Massin, a talented artist from Liège.