_Le Trésor des Humbles_ is in some respects the most important, as it is certainly the most purely beautiful, of Maeterlinck's works. Limiting himself as he did in his plays to the rendering of certain sensations, and to the rendering of these in the most disembodied way possible, he did not permit himself to indulge either in the weight of wisdom or the adornment of beauty, each of which would have seemed to him (perhaps wrongly) as an intrusion. Those web-like plays, a very spider's work of filminess, allowed you to divine behind them one who was after all a philosopher rather than a playwright. The philosopher could but be divined, he was never seen. In these essays he has dropped the disguise of his many masks. Speaking without intermediary, he speaks more directly, with a more absolute abandonment of every convention of human reserve, except the reserve of an extreme fastidiousness in the choice of words simple enough and sincere enough to convey exactly his meaning, more spontaneously, it would seem, than any writer since Emerson. From Emerson he has certainly learned much; he has found, for instance, the precise form in which to say what he has to say, in little essays, not, indeed, so disconnected as Emerson's, but with a like care to say something very definite in every sentence, so that that sentence might stand by itself, without its context, as something more than a mere part of a paragraph. But his philosophical system, though it has its essential links with the great mystical system, which has developed itself through many manifestations, from Plotinus and Porphyry downward, is very much his own, and owes little to anything but his own meditation; and whether his subject is _La Beauté Intérieure_ or _Les Femmes, Les Avertis_ or _Le Tragique Quotidien_, it is with the same wisdom, certainty and beauty that he speaks. The book might well become the favorite reading of those persons to whom beauty must come with a certain dogmatism, if it is to be accepted for what it is. It reveals the inner life, with a simplicity which would seem the most obvious if it were not the rarest of qualities. It denies nothing, but it asserts many things, and it asserts nothing which has not been really seen.