Only in his last drama, _Hélène de Sparte_, has Verhaeren come nearer to the accepted conception of the dramatic. That is characteristic of his organic development. For now that he is in the years when passion of necessity cools, harmony grows dear to him; and he who through all the years of his youth and prime was a revolutionary, now recognises the necessity of inner laws. By its mere intellectual substance this tragedy expresses the veering round: it is nothing else than the longing from passion to harmony, Helen's flight from adventures to repose. And the return is to be found again in the verse, for Verhaeren here for the first time takes up the traditional French metre; his form, though yet free, approaches the Alexandrine. The tragedy of Helen is the tragedy of beauty. Helen is one of those antique characters who in Greek literature were only sketched in fleeting lines, characters whom a modern poet is now entitled to fill in with his own fate. For from the Greek sources we really knew nothing about her personal fate; we only knew the effect she exercised, only the reflection of her personality on others, not that of others on her. She was the queen who inflamed all men; who was the cause of great wars; the woman for whose sake murder on murder was committed; who was snatched from one bed to another; for love of whom Achilles arose from the dead; who passed her life circled by disastrous passion. But whether she herself shared these passions, whether she grew by them or suffered by them, the poets tell us nothing. Verhaeren in his drama has now attempted to depict the tragedy of the woman who endures fearful suffering because she is always desired in lust and no more; who is consumed by the torture of being ever robbed from lover by lover; of never knowing the look of pure eyes, calm converse, quiet breathing; who is cursed always to stand at the pyre of passion, with the flames of men always blazing round her. Whoever looks at her at once desires her, snatches her; none waits and asks whether he serves her will; she is robbed like a chattel; she glides from hand to hand. In Verhaeren's drama Helen has returned home, a woman tired, tired of all unrest, of all her triumphs, tired of love; a woman hating her own beauty because it creates unrest, longing for nothing but old age, when none shall desire her more and her days shall be calm. Menelaus has brought her home, rescued her from all that stifling steam of criminal passion; now she would breathe quietly, live calm days, and be faithful to him. She desires no more than this. No passion can tempt her more. 'I have seen the flaring of so many flames that now I love only the hearth's glow and the lamp' is the expression of her poignant resignation. But fate will not yet let her go. Verhaeren has here seized on the great idea of the Greeks that everything that is superhuman on earth, every excessive gift, even that of beauty, is pursued as a hybrid by the envy of the