Car il ne reste rien que l'art sur cette terre Pour tenter un cerveau puissant et solitaire Et le griser de rouge et tonique liqueur. In this great hymn to the future Verhaeren first turns away from the past and seeks the path to the future. For the poetic idea is here understood with new and greater feelings than in the beginning of his career. Poetry is for Verhaeren a confession not only as applied to an individual in Goethe's phrase, but in a religious sense as well: as the highest moral confession. Much as these two books are marked by the effort to describe Flanders as it actually is, stronger than this effort is the yearning at the heart of them to escape from the present to the past. Every temperament exceeds reality. Flanders was here described in the sense of an ideal; but the ideal in both cases was projected on the past. Beauty young Verhaeren had sought in the monks, the symbols of the past; strength and the fire of life he had sought in the old Flemish masters. He still needed the costume of the past to discover the heroic and the beautiful in the present, just like many of our poets, who, when they would paint strong men, must perforce place their dramas in the Florentine renaissance, and who, if they would fashion beauty, deck their characters with Greek costumes. To find strength and beauty, or in one word poetry, in the real things that surround us, is here still denied to Verhaeren; and therefore he has disowned his second book as well as his first. In the distance between the old and the new works the long road may be seen, and seen with pride, which leads from the traditional poet to the truly contemporary poet.