such as the Eiffel Tower, the Forth Bridge, modern men-of-war, furnaces belching flame, the Paris boulevards, have a new beauty beyond anything which past ages had to show. These new things compel a new enhancement of value, on the one hand by the idea that moves them, on the other hand by their democratic grandeur and their vast dimensions--equalled by none but the very greatest works of antiquity. But whatever is beautiful must, sooner or later, be conceived of as poetry. And thus, it is quite sure, Verhaeren has only been one of the first to build bridges from the old to the new time; others will come who will celebrate the new beauties in the new things--gigantic cities, engines, industrialism, democracy, this fiery striving for new standards of greatness--and they will not only be compelled to find the new beauties, they will also have to establish new laws for this new order, a different morality, a different religion, a different synthesis for this new conditionality. the poetic transmutation of the beautiful is only a first beginning of the poetic transmutation of the feeling of life. But a poet never finds anything in things save his own temperament. If he is melancholy, the world in his books is void of sense, all lights are extinguished, laughter dies; if he is passionate, all feelings seethe in a fiery froth as though in a cauldron, and foam up in angry happenings. Whereas the real world is manifold, and contains the elixirs of pleasure and pain, confidence and despair, love and hate, only as elements so to speak, the world of great poets is the world of one single feeling. And so Verhaeren too sees all things in their new beauty with the feelings of his own life only, only with energy. In these the fiery years of his prime it is not harmony that he seeks, but energy, power. For him a thing is the more beautiful the more purpose, will, power, energy it contains. And since the whole world of to-day is over-heated with effort and energy; since our great towns are nothing but centres of multiplied energy; since machinery expresses nothing save force tanied and organised; since innumerable crowds are yoked in harmonious action--to him the world is full of beauty. He loves the new age because it does not isolate effort but condenses it, because it is not scattered but concentrated for action. And of a sudden everything he sees appears to be filled with soul. All that has will, all that has an aim in view--man, machine, crowd, city, money; all that vibrates, works, hammers, travels, exults; all that propagates itself and is multiplied, all that strives to be creation; all that bears in itself fire, impulse, electricity, feeling--all this rings again in his verse. All that of old had acted upon him as being cold and dead and hostile is now inspired with will and energy, and lives its minute; in this multiple gear there is nothing that is merely dust or useless ornamentation; everything is creation, everything is working its way