Though not yet divided with a master hand, though not yet in the light of reality, the inner contrast of the country, the conflict between body and soul, between the joy of life and the longing for death, between pleasure and renunciation, the alternative between 'yes' and 'no,' was yet already contained in the contrast of these two books. And in a really emotional poet this contrast could not remain one that was purely external; it was bound to condense to an inner problem, to a personal decision between past and present. Two conceptions of the world, both inherited and in the blood, have here attained consciousness in one man; and though in life they may act independently in juxtaposition, in the individual the conflict must be fought out, the victory of the one or the other must be decided by force, or else by something higher, by an internal reconciliation. This conflict for a conception of the world pierces through the constant contrast between the acceptance and the denial of life in the poet, a conflict that for ten long years undermined his artistic and human experiences with terrific crises, and brought him to the verge of annihilation. The hostility which divides his country into two camps seems to have taken refuge in his soul to fight it out in a desperate and mortal duel: past and future seem to be fighting for a new synthesis. But only from such crises, from such pitiless struggles with the forces of one's own soul, do the vast conceptions of the universe and their new creative reconciliation grow. FOOTNOTES: [1] Albert Mockel, _Émile Verhaeren_. [2] 'Aux Moines.' [3] 'Aux Moines.' THE BREAK-DOWN Nous sommes tous des Christs qui embrassons nos croix. É. V.,'La Joie,'