Now the poet fires this still vision with his own passionateness. You see the crowd moving more and more restlessly, the waves surging more and more passionately; and ecstasy breaks out the moment the poet surrenders himself to these things, places himself among the crowd, sinks his feeling, his body in the sea. Then in the finale bursts forth the great cry of identity, in the one case the yearning to be all the crowd, in both that ecstatic gesture of the individual yearning for infinity. The first picture, which was only sensuously seen, grows at the end of the poem into a great ethic inspiration; from the vision is unfolded an unconquerable moral and metaphysical need. This form of intensification from individual feeling to universal feeling is the basic form of Verhaeren's poem. It might be best, in order to convey a clear idea of its form, to use a geometrical term and say that these poems are, to a certain extent, _poems in the form of a parabola._ While the lyric in the current sense mostly represents a symmetrical and harmonious form, a return to itself, a circle, Verhaeren's poem has the form of a parabola, apparently irregular but really equally governed by a law. His poems soar in a swift sustained flight, soar from the earth up into the clouds, from the real to the unreal, and then from a sudden zenith fling themselves back to the earth. The inspiration drives the feeling away from the pictorial, from passionless contemplation to this utmost height of possibility, far away from all sensuous perceptions high into the metaphysical, in order then, suddenly and unexpectedly, to bring it back to the _terra firma_ of reality. And indeed, in the music of these poems there is something as of a darting upwards, something of the hissing and whizzing of a stone well thrown and of its sudden falling down. In their rhythm too is this increasing velocity, this catching of the breath and this return to the starting-point, this bethinking itself of gravity when it returns to the earth.