Le vent emile verhaeren biography
| Portrait of Emile Verhaeren by Theo van Rysselberghe (1862 - 1926) |
The outbreak of the First World War had a devastating effect on Emile’s deep pacifist feelings. He sought refuge in England, where he received honorary degrees from various universities. During his time in England, Emile published a collection of poems entitled "Les Ailes rouges de la Guerre".
Emile Verhaeren died on 27th November 1916 at Rouen station - he fell under a moving train while trying to board it. Marthe Verhaeren was informed of the death of her husband by the artist Théo van Rysselberghe and his friend, the famous French writer (and later Nobel Prize winner) André Gide.
In 1920 Emile was awarded the Grand Cordon of the Order of Leopold.
A poem by Emile Verhaeren in the WW1 work edited by Edith Wharton and sold in aid of the Belgian refugees https://www.gutenberg.org/files/57584/57584-h/57584-h.htm
Portrait of Emile Verhaeren by Theo van Ryselberghe
to accompany the poem in Edith's book
“LE PRINTEMPS DE 1915"
Tu me disais de ta voix douce,
Tu me disais en insistant:
—Y a-t-il e"ncore un Printemps
Et les feuilles repoussent-elles?
La guerre accapare le ciel
Les eaux, les monts, les bois, la terre:
Où sont les fleurs couleur de miel
Pour les abeilles volontaires?
Où sont les pousses des roncerois
Et les boutons des anémones?
Où sont les flûtes dans les bois
Des oiseaux sombres aux becs jaunes?
—Hélas! plus n’est de floraison
Que celle des feux dans l’espace:
Bouquet de rage et de menace
S’éparpillant sur l’horizon.
Plus n’est, hélas! de splendeur rouge
Que celle, hélas! des boulets fous
Éclaboussant de larges coups
Clochers, hameaux, fermes et bouges.
C’est le printemps de ce
Émile Verhaeren
[Auszug]
Text
Editionsbericht
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Literatur: Verhaeren
Literatur: Verhaeren-Rezeption
Literatur: The Fortnightly Review
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Texte zur Baudelaire-Rezeption
Texte zur Verlaine-Rezeption
Texte zur Mallarmé-Rezeption
Texte zur Theorie und Rezeption des Symbolismus
All these reforms, from Hugo to Verlaine, bore after all upon side issues only. They led to modifications rather than transformations; but they cleared the way, by their slow but ceaseless advance, for a deeper and more thorough reform. This was accomplished by the later modern schools, writers of blank verse, symbolists and decadents. Never were so many different names given to artistic groups. But what matter the labels, they will all be carried away when the work of these innovaters has melted into the general growth of literature. Their action was a collective one, as if poetry already shared in the new mode of human activity, which depends not upon the single effort of one man, leading others, but upon the co-operation of many such agents all working towards a common end.
I will quote a few names: Rimbaud, Laforgue, Kahn, Moréas, Maeterlinck, <Régnier>, <Vielé-Griffin>, Stuart Merrill, André Gide, Retté, Francis Jammes, Henry Bataille, Charles Van Lerberghe, Max Elskamp, André Fontainas, Albert Mockel, Henri Ghéon. Each [731] different from the rest – some with an individuality the more clearly defined according as their talent expands and asserts itself, they all concur in guiding in the direction of a wider freedom of form and a more truthful synthesis of matter, that crystallisation begun at the dawn of the ninteenth century, and of which their own work is the ultimate consequence.
The present school critics explain and justify in the name of logic, the convulsion that has shaken prosody to its very depths. Granted that they have reason on their side,
Émile Verhaeren
Emile VERHAEREN [emIL verHARen] (naskiĝis en Sint-Amands, Belgio la 21-an de majo 1855, mortis en Rouen, Francio la 27-an de novembro 1916) estis franclingvaflandra belga poeto.
Li ankaŭ parolis la lokan lingvon, ĉar tiutempe la nederlanda ankoraŭ ne estis la oficiala lingvo por edukado en flandra bazaj lernejoj. Li tute franclingviĝis pere de la antaŭa eduksistemo kiu estis en la franca tiutempe.
Lia poezio per versoj, ofte "liberaj", t. e. neregulaj, iniciatis urban lirismon kantante pri la unua industria revolucio, sed ankaŭ pri la mizeroj de la simplaj homoj. Li estis sesfoje nomumita por la Nobel-premio pri literaturo kiun li preskaŭ atingis sed en 1911 estis altribuita al lia amiko Maurice Maeterlinck.
Verhaeren estis unu el la fondintoj de la literatura skolo de simbolismo, kaj li estas konsiderita unu el la plej elstaraj reprezentantoj de simbolismo en eŭropa poezio, malgraŭ ke komence li estis influita ankaŭ de naturalismo. Liaj tekstoj, kun speciala muzikeco, estas dediĉitaj, interalie, al Flandrio, al la moderna urbo en ĝia enkarniĝo, al la heroaj aspiroj de homo al ŝanĝo kaj al lia amo por lia edzino, Marta.
La artkritikistoRemy de Gourmont recenzis pri lia verkado tiele:
"Ĉio en liaj kantoj havas novan, strangan kaj mirindan aspekton. La floroj similas al la suno, la herboj fariĝas arboj, la arboj kreskas preter siaj mezuroj ĉielen (...). Ĉi tiu terura homo ankaŭ skribis delikatajn aferojn, ĉar ekzistas ankaŭ senkulpa animo, sentema al amo inter homoj. Kaj al la belaj sociaj revoj. Ni do povas argumenti, ke almenaŭ koncerne unu el liaj virtoj, li estas la sola poeto, kiu povas konkurenci kun Victor Hugo. Se Verlaine reprezentas francan poezion eksterlande, tiam li, Verhaeren, fariĝas simbolo de ĉi tiu poezio ĉiel, kiel ĝi estas pli pura kaj tradicia.
Lia verkaro estis tradukita en 28 lingvoj, interalie en la angla, ĉina, germana, japana kaj rusa.
St. Amands, la naskiĝurbeto dediĉis
Emile Verhaeren
Emile Verhaeren was a Belgian poet, art critic and wrote short stories and verse plays.
Biography
He was born in a Flemish French-speaking, middle-class family in Sint-Amands. Nevertheless Emile Verhaeren also spoke the local dialect (Dutch was not taught at school at that time). At the age of eleven, he was sent to a strict boarding school in Ghent run by Jesuits - The Jesuit College of Sainte Barbe, where he became completely Frenchified. He then went to study law at the University of Leuven. Here he produced his first literary efforts in a student paper. During those years, he became acquainted with like-minded students. They later became his collaborators on the revolutionary artistic magazine "La Jeune Belgique".
He studied law at the University of Louvain and while there started a journal, La Semaine, which was suppressed by the authorities as well as the following work Le Type. He was admitted to the bar at Brussels in 1881 but soon began devoting his time to literature, writing in French. He was soon one of the leading figures of the Belgian literary renaissance.
Poetry
He was one of the most prolific poets of his era. His first collection of poems "Les Flamandes" was published in 1883. Inspired by the paintings of Jacob Jordaens, David Teniers and Jan Steen, Verhaeren described in a direct and often provocative, naturalistic way his country and the Flemish people. It was an immediate success in avant-garde milieus, but caused a great deal of controversy in Catholic circles. His next book "Les Moines" (1886) was not the success he had hoped for. This, and his health problems, led to a deep crisis. In this period he published Les Soirs (1888), Les Débâcles (1888) and Les Flambeaux noirs (1891).
On 24 August 1891 he married Marthe Massin, a talented artist from Liège. His new-found happiness found expression in three poetry books : Les Heures Claires (1896), Les Heures d’Après-midi (1905) and Les Heures du Soir (1911).
In 18