forces them to cry out. Whole scenes seem to be only awaiting for the moment when some one shall rise and turn to the crowd, wrestle with it and overthrow it, or be himself dashed to pieces. The style of Verhaeren's dramas is purely lyrical; the pace is throughout passionate and feverish; and this method, which runs counter to all dramatic canons, was bound organically to create a new technique. The French drama had hitherto known only the rhymed Alexandrine or prose. In Verhaeren's dramas--for the first time to my knowledge--prose and verse (verse which is 'free' both as regards rhythm and rhyme) are throughout promiscuously mixed. Mixed, but not as in Shakespeare, in whose plays verse and prose alternate in individual scenes and establish, so to speak, a social stratification, serving-men speaking in prose and their masters in verse: in Verhaeren the prose passages are the broad, resting foundations of the action; the curved bowls, so to speak, from which the holy fire of the exaltation flames. His characters express their calm in prose, pass from calm to excitement, and in this intensification speak a language which imperceptibly merges into a poem. Not till their passion breaks out do they speak in verse, in those seconds, as it were, when their soul begins to vibrate; and in these passages one cannot help thinking of an aeroplane which is first driven along the ground and moves with ever greater speed till suddenly it soars aloft. In Verhaeren's drama the characters speak an ever purer language the more poetical they become; music breaks with their passion from their souls; just as many people who behave coarsely and awkwardly in ordinary life, in great moments suddenly achieve a bearing of heroic beauty. This embodies the idea that in enthusiasm a man discovers in himself another and a purer language; that passion and the yearning to free oneself from an immeasurable and intolerable earthly burden make a poet of any man. This idea is in harmony with Verhaeren's whole conception of the universe, his idea that the man swept away by passion and enthusiasm is on a higher plane than the critic with his lack of hot feeling; that receptivity for great sensations constitutes, so to speak, a scale of moral values. And the stage performances have shown that this new style is justified, that the transition from prose to verse, occurring as it does contemporaneously with the ascension from calm to passion, passes practically unnoticed by the audience, which is equivalent to saying that when put to the test the method was recognised as necessary.