POEMS. By MAURICE MAETERLINCK --Done into English Verse-- by BERNARD MIALL Methuen & Co. Ltd. 36 Essex Street W.C. London 1915 TRANSLATOR'S PREFACE I Once in a generation an author surpasses the bounds of nationality. Of such cosmopolitan artists Maurice Maeterlinck is perhaps the most shining example. Twenty years ago I was vainly endeavouring to interest English publishers in his plays. To-day I am asked to produce a version of one of his earlier and less familiar works, because the time is approaching for that monument to his fame which so few writers enjoy in their lifetime--namely, the complete edition. He is not a Belgian writer merely or chiefly; above all he is an English, an American author. His readers in England and the United States far outnumber those who read the original French. His books are published in England and America almost as soon as they appear in France and Belgium, and in at least one case the English publication was the earlier. More and more do his lovers demand every word that his pen has formed. Sooner or later, therefore, it was inevitable that these "Poems" should appear in translation. II The poems contained in this volume form part of a movement long defunct--the Belgian Symbolist movement, an offshoot of that Belgian renascence which produced so remarkable a body of great and noble poetry. I cannot say, however, that perusal of the other poets of the period will assist the reader to appreciate the volume in hand. Eekhoud, Elskamp, Gilkin, Rodenbach, Verhaeren--none of these wrote verse which could possibly be confounded with that of Maeterlinck; twenty years ago the latter was no less original than he is to-day. Many poets of the late nineteenth century were, without being symbolists, affected by the Symbolist movement--a movement very loosely named, since the actual symbolists connected with it could be counted on the fingers of one hand. More particularly were they influenced by the tendency to put music before matter, beauty before sense, which is expressed by the so familiar lines of Verlaine: De la musique avant toute chose, Et pour cela préfère l'Impair, Plus vague et plus soluble dans l'air, Sans rien en lui qui pèse ou pose... De la musique encor et toujours! But musical as Maeterlinck's verses are, and rich in sheer beauty, we are very seldom in doubt as to what the poet says, however little we may in some cases understand what he means. His statements are concrete and lucid; it is the inner meaning, the soul of his verse, that sometimes threatens to elude us. Had this volume been cast upon the late Victorian world this preface would perhaps have been longer. But I cannot believe that these poems will present any difficulties to a generation which has degustated such phenomena as Cubism and its kindred manifestations. III