WISDOM AND DESTINY

By

MAURICE MAETERLINCK

Translated by ALFRED SUTRO

TO
GEORGETTE LEBLANC
I OFFER THIS BOOK, WHEREIN HER THOUGHT BLENDS WITH MINE

INTRODUCTION

This essay on Wisdom and Destiny was to have been a thing of some twenty pages, the work of a fortnight; but the idea took root, others flocked to it, and the volume has occupied M. Maeterlinck continuously for more than two years. It has much essential kinship with the "Treasure of the Humble," though it differs therefrom in treatment; for whereas the earlier work might perhaps be described as the eager speculation of a poet athirst for beauty, we have here rather the endeavour of an earnest thinker to discover the abode of truth. And if the result of his thought be that truth and happiness are one, this was by no means the object wherewith he set forth. Here he is no longer content with exquisite visions, alluring or haunting images; he probes into the soul of man and lays bare all his joys and his sorrows. It is as though he had forsaken the canals he loves so well—the green, calm, motionless canals that faithfully mirror the silent trees and moss-covered roofs—and had adventured boldly, unhesitatingly, on the broad river of life.

He describes this book himself, in a kind of introduction that is almost an apology, as "a few interrupted thoughts that entwine themselves, with more or less system, around two or three subjects." He declares that there is nothing it undertakes to prove; that there are none whose mission it is to convince. And so true is this, so absolutely honest and sincere is the writer, that he does not shrink from attacking, qualifying, modifying, his own propositions; from advancing, and insisting on, every objection that flits across his brain; and if such proposition survive the onslaught of its adversaries, it is only because, in the deepest of him, he holds it for absolute truth. For this book is indeed a confession, a naive, outspoken, unflinching description of all that passes in his mind; and even those who like not his theories still must admit that this mind is strangely beautiful.

There have been many columns filled—and doubtless will be again—with ingenious and scholarly attempts to place a definitive label on M. Maeterlinck, and his talent; to trace his thoughts to their origin, clearly denoting the authors by whom he has been influenced; in a measure to predict his future, and accurately to establish the place that he fills in the hierarchy of genius. With all this I feel that I have no concern. Such speculations doubtless have their use and serve their purpose. I shall be content if I can impress upon those who may read these lines, that in this book the man is himself, of untrammelled thought; a man possessed of the rare faculty of seeing beauty in all things, and, above all, in truth; of the still rarer faculty of loving all things, and, above all, life.

Nor is this merely a vague and, at bottom, a more or less meaningless statement. For, indeed, considering this essay only, that deals with wisdom and destiny, at the root of it—its fundamental principle, its guiding, inspiring thought—is love. "Nothing is contemptible in this world save only scorn," he says; and for the humble, the foolish, nay, even the wicked, he has the same love, almost the same admiration, as for the sage, the saint, or the hero. Everything that exists fills him with wonder, because of its existence, and of the mysterious force that is in it; and to him love and wisdom are one, "joining hands in a circle of light." For the wisdom that holds aloof from mankind, that deems itself a thing apart, select, superior, he has scant sympathy—it has "wandered too far from the watchfires of the tribe." But the wisdom that is human, that feeds constantly on the desires, the feelings, the hopes and the fears of man, must needs have love ever by its side; and these two, marching together, must inevitably find themselves, sooner or later, on the ways that lead to goodness. "There comes a moment in life," he says, "when moral beauty seems more urgent, more penetrating, than intellectual beauty; when all that the mind has treasured must be bathed in the greatness of soul, lest it perish in the sandy desert, forlorn as the river that seeks in vain for the sea." But for unnecessary self-sacrifice, renouncement, abandonment of earthly joys, and all such "parasitic virtues," he has no commendation or approval; feeling that man was created to be happy, and that he is not wise who voluntarily discards a happiness to-day for fear lest it be taken from him on the morrow. "Let us wait till the hour of sacrifice sounds—till then, each man to his work. The hour will sound at last—let us not waste our time in seeking it on the dial of life."

In this book, morality, conduct, life are Surveyed from every point of the compass, but from an eminence always. Austerity holds no place in his philosophy; he finds room even "for the hours that babble aloud in their wantonness." But all those who follow him are led by smiling wisdom to the heights where happiness sits enthroned between goodness and love, where virtue rewards itself in the "silence that is the walled garden of its happiness."

It is strange to turn from this essay to Serres Chaudes and La Princesse Maleine, M. Maeterlinck's earliest efforts—the one a collection of vague images woven into poetical form, charming, dreamy, and almost meaningless; the other a youthful and very remarkable effort at imitation. In the plays that followed the Princesse Maleine there was the same curious, wandering sense of, and search for, a vague and mystic beauty: "That fair beauty which no eye can see, Of that sweet music which no ear can measure." In a little poem of his, Et s'il revenait, the last words of a dying girl, forsaken by her lover, who is asked by her sister what shall be told to the faithless one, should he ever seek to know of her last hours:

"Et s'il m'interroge encore
Sur la derniere heure?—
Dites lui que j'ai souri
De peur qu'il ne pleure ..."

touch, perhaps, the very high-water mark of exquisite simplicity and tenderness blent with matchless beauty of expression. Pelleas et Melisande was the culminating point of this, his first, period—a simple, pathetic love-story of boy and girl—love that was pure and almost passionless. It was followed by three little plays—"for marionettes," he describes them on the title-page; among them being La Mort de Tintagiles, the play he himself prefers of all that he has written. And then came a curious change: he wrote Aglavaine et Selysette. The setting is familiar to us; the sea-shore, the ruined tower, the seat by the well; no less than the old grandmother and little Yssaline. But Aglavaine herself is strange: this woman who has lived and suffered; this queenly, majestic creature, calmly conscious of her beauty and her power; she whose overpowering, overwhelming love is yet deliberate and thoughtful. The complexities of real life are vaguely hinted at here: instead of Golaud, the mediaeval, tyrannous husband, we have Selysette, the meek, self-sacrificing wife; instead of the instinctive, unconscious love of Pelleas and Melisande, we have great burning passion. But this play, too, was only a stepping-stone—a link between the old method and the new that is to follow. For there will probably be no more plays like Pelleas et Melisande, or even like Aglavaine et Selysette. Real men and women, real problems and disturbance of life—it is these that absorb him now. His next play will doubtless deal with a psychology more actual, in an atmosphere less romantic; and the old familiar scene of wood, and garden, and palace corridor will be exchanged for the habitual abode of