Filled with contemporary spirit as Verhaeren's work is, there is one point in which it appears to stray from our epoch, to be remote from the artistic preoccupations of other poets. Verhaeren's poetry is almost entirely free from eroticism. The problem of love is with him far from being, as it is with most poets, the feeling at the root of all feelings; it is hardly ever a motive force in his work; it remains a little arabesque delicately curved above his massive architecture. Verhaeren's enthusiasms spring from other sources. Love is for him almost without a sexual shade of meaning, perfectly identical with enthusiasm, self-surrender, ecstasy; and the difference between the sexes does not seem to be an essential, but only an incidental form among the thousandfold militant forms of life. The love of woman, sexual necessity, is scarcely a force greater than any other in the circle of forces, never the most important or actually the root-force, as it is (for instance) to Dehmel, who derives the consciousness of all great cosmic phases of knowledge from the experience of love. Verhaeren's horizons are illuminated, not by the flame of the erotic, but by the passionate fire of purely intellectual impulses. His first books, those lyric volumes which are nearly always a poet's confessions of love, were devoted to landscapes and then to social phenomena, to monks, and to men who toil with their hands. The strength of his drama pulses in conflicts exclusively masculine. Thus his work, already vastly removed from that of the other lyrists of our time, is seen to be still more isolated. To Verhaeren love is only a single page, not the first and not the last, in the book of the world: this poet has lavished too much glowing passion and ecstatic feeling on all individual things and the universe for the cry of the desire of woman to ring higher than all other voices.