In Ruysbroeck, as in these others, a strong poetic inspiration mingled with and sometimes controlled the purely mystical side of his genius. Often his love and enthusiasm break out and express themselves, sometimes in rough, irregular verse, sometimes in rhymed and rhythmic prose: a kind of wild spontaneous chant, which may be related to the ‘ghostly song’ that ‘boiled up’ within the heart of Richard Rolle. It is well-known that automatic composition—and we have seen that the evidence of those who knew him suggests the presence of an automatic element in Ruysbroeck’s creative methods—tends to assume a rhythmic character; being indeed closely related to that strange chanted speech in which religious excitement frequently expresses itself. Released from the control of the surface-intellect, the deeper mind which is involved in these mysterious processes tends to present its intuitions and concepts in measured waves of words; which sometimes, as in Rolle’s ‘ghostly song’ and perhaps too in Ruysbroeck’s ‘Song of Joy,’ are actually given a musical form. In such rhythm the mystic seems to catch something of the cadences of that far-off music of which he is writing, and to receive and transmit a message which exceeds the possibilities of speech. Ruysbroeck was no expert poet. Often his verse is bad; halting in cadence, violent and uncouth in imagery, like the stammering utterance of one possessed. But its presence and quality, its mingled simplicity and violence, assure us of the strong excitement that fulfilled him, and tend to corroborate the account of his mental processes which we have deduced from the statements in Pomerius’ _Life_. Eleven admittedly authentic books and tracts survive in numerous MS. collections,[5] and from these come all that we know of his vision and teaching. _The Twelve Virtues_, and the two Canticles often attributed to him, are probably spurious; and the tracts against the Brethren of the Free Spirit, which are known to have been written during his Brussels period, have all disappeared. I give here a short account of the authentic works, their names and general contents; putting first in order those of unknown date, some of which may possibly have been composed before the foundation of Groenendael. In each case the first title is a translation of that used in the best Flemish texts; the second, that employed in the great Latin version of Surius. Ruysbroeck himself never gave any titles to his writings.