The poetic conquest of life represents, as it were, a process of combustion. Every poet feeds the flame of his inner being, his artistic passion, with the things of the world around him, transmutes them into flame, and himself shoots on high and dies down with them. The more the flame cools with the feebler circulation of the blood, the weaker grows this fire, and gradually the pure crystals, the residue from this battle of the inner flame with the things of reality, are separated from this process of combustion. Verhaeren's work was in his youth and prime a flame exceedingly hot, lawless, free, and flaring like the very years of his youth and prime. Now, however, in the work of his fifties, now that passion has cooled, the yearning is revealed to find the goal of this passion, the inherent lawfulness of this unrest. Enthusiasm for the present, poetic consumption of the world in visions without the residue of philosophy and logical knowledge, no longer suffice him. For all deeper contemplation of the present is unthinkable without an exceeding of its limits: all that is, is at the same time something that has been and something that will be. Nothing is so entirely the present that it is not intimately connected with the past and the future. The eternal and the permanent is the inward side of all phenomena. And the more the poet turns his visions from the exterior, from the pictorial, to the inner world, to psychology, the more he descends from external phenomena to the roots of forces, the more he must apprehend the permanent behind the transitoriness of things. No perception of a contemporary state is fertile unless it is impregnated with the perception of laws that are independent of time, unless the changing phenomena are recognised as transformations of the unchangeable primordial phenomenon. This transition from maturity to age, from contemplation to knowledge, corresponds to a new artistic transition in the incomparably organic development of this poet. A transition: no longer a re-formation, but a formation which moves both forwards and backwards, which is at the same time an evolution and a retrogression, just as the poetic form of Verhaeren's poetry no longer undergoes a transformation, but is petrified. What a man has acquired in the years of his prime is an inalienable possession; its value can be further increased only by knowledge, by the appraising of the possession. It may be said that a man who has passed his prime experiences nothing new: the static equilibrium is realised; what has been experienced is only the better understood. The experience is no longer a struggle, no longer a state of unrest, something that slips away; it is a possession. What passion has fought for and won with a leap is now set in order and appraised at its true value, by calm. This transition from youth to age is in Verhaeren, to use Nietzsche's phrase, a transition from the Dionysiac to the Apollinarian, from a plethora to harmony.