at the same time patriots and cosmopolitans: Belgium was to them not only the place where all roads meet, but also that whence all roads start. Each of these had shaped his native land from his own angle of vision; a whole phalanx of artists had added picture to picture. Till then this great one came, Verhaeren, who saw, felt, and loved everything in Flanders, 'toute la Flandre.' Only in his work did it become a unity; for he has sung everything, land and sea, towns and workshops, cities dead and cities at their birth. He has not conceived of this Flanders of his as a separate phase, as a province, but as the heart of Europe, with the strength of its blood pulsing inwards from outside and outside from inwards; he has opened out horizons beyond the frontiers, and heightened and connected them; and with the same inspiration he has molten and welded the individual together with the whole until out of his work a life-work grew--the lyric epic of Flanders. What de Coster half a century before had not dared to fashion from the present, in which he despaired of finding pride, power, and the heroism of life, Verhaeren has realised; and thus he has become the 'carillonneur de la Flandre,' the bell-ringer who, as in olden days from the watch-tower, has summoned the whole land to the defence of its will to live, and the nation to the pride and consciousness of its power. This Verhaeren could only do, because he in himself represents all the contrasts, all the advantages of the Belgian race. He too is a ferment of contrasts, a new man made of split and divergent forces now victoriously harmonised. From the French he has his language and his form; from the Germans his instinctive seeking of God, his earnestness, his gravity, his need of metaphysics, and his impulse to pantheism. Political instincts, religious instincts, Catholicism and socialism, have struggled in him; he is at once a dweller in great cities and a cottager in the open country; and the deepest impulse of his people, their lack of moderation and their greed of life, is in the last instance the maxim of his poetic art. Only that their pleasure in intoxication has in him become joy in a noble drunkenness, in ecstasy; only that their carnal joy has become a delight in colour; that their mad raging is now in him a pleasure in a rhythm that roars and thunders and bursts in foam. The deepest thing in his race, an inflexible vitality which is not to be shaken by crises or catastrophes, has in him become universal law, a conscious, intensified zest in life. For when a country has become strong and rejoices in its strength, it needs, like every plethora, a cry, an exultation. Just as Walt Whitman was the exultation of America in its new strength, Verhaeren is the triumph of the Belgian race, and of the European race too. For this glad confession of life is so strong, so glowing, so virile that it cannot be thought of as breaking forth from the heart of one individual, but is evidently the