There we find expression strained to a point to which the thought has not attained. In other words, we find rhetoric. Weight and resonance of verse do but drag down and deafen that which they should uplift and sound abroad, when, instead of being attendants upon greatness, they attempt to replace it. EMIL VERHAEREN The poetry of Emile Verhaeren, more than that of any other modern poet, is made directly out of the complaining voices of the nerves. Other writers, certainly, have been indirectly indebted to the effect of nerves on temperament, but Verhaeren seems to express only so much of a temperament as finds its expression through their immediate medium. In his early books _Les Flamandes, Les Moines_ (reprinted, with _Les Bords de la Route_, containing earlier and later work, in the first of his two volumes of collected poems), he began by a solid, heavily colored, exterior manner of painting genre pictures in the Flemish style. Such poems as "Les Paysans," with its fury of description, are like a Teniers in verse; not Breughel has painted a kermesse with hotter colors, a more complete abandonment to the sunlight, wine and gross passions of those Flemish feasts. This first book, _Les Flamandes_, belongs to the Naturalistic movement; but it has already as in the similar commencements of Huysmans so ardent a love of color for its own sake, color becoming lyrical, that one realizes how soon this absorption in the daily life of farms, kitchens, stables, will give place to another kind of interest. And in _Les Moines_, while there is still for the most part the painting of exteriorities, a new sentiment, by no means the religious sentiment, but an artistic interest in what is less material, less assertive in things, finds for itself an entirely new scheme of color. Here, for instance, was "Cuisson de Pain," in the first book: _Dehors, les grands fournils chauffaient leurs braises rouges, Et deux par deux, du bout d'une planche, les gouges Dans le ventre des fours engouffraient les pains mous. Et les flammes, par les gueules s'ouvrant passage, Comme une meute énorme et chaude de chiens roux, Sautaient en rugissant leur mordre le visage._ But it is not until _Les Soirs_ that we find what was to be the really individual style developing itself. It develops itself at first with a certain heaviness. Here is a poet who writes in images: good; but the images are larger than the ideas. Wishing to say that the hour was struck, he says: "_Seul un beffroi, Immensément vêtu de nuit, cassait les heures._"