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INTRODUCTION
1
My Essay on Death[1] led me to make a conscientious enquiry into the present position of the great mystery, an enquiry which I have endeavoured to render as complete as possible. I had hoped that a single volume would be able to contain the result of these investigations, which, I may say at once, will teach nothing to those who have been over the same ground and which have nothing to recommend them except their sincerity, their impartiality and a certain scrupulous accuracy. But, as I proceeded, I saw the field widening under my feet, so much so that I have been obliged to divide my work into two almost equal parts. The first is now published and is a brief study of veridical apparitions and hallucinations and haunted houses, or, if you will, the phantasms of the living and the dead; of those manifestations which have been oddly and not very appropriately described as "psychometric"; of the knowledge of the future: presentiments, omens, premonitions, precognitions and the rest; and lastly of the Elberfeld horses. In the second, which will be published later, I shall treat of the miracles of Lourdes and other places, the phenomena of so called materialization, of the divining-rod and of fluidic asepsis, not unmindful withal of a diamond dust of the miraculous that hangs over the greater marvels in that strange atmosphere into which we are about to pass.
[1] Published in English, in an enlarged form, under the title of Our Eternity (London and New York, 1913)—Translator's Note.
2
When I speak of the present position of the mystery, I of course do not mean the mystery of life, its end and its beginnings, nor yet the great riddle of the universe which lies about us. In this sense, all is mystery, and, as I have said elsewhere, is likely always to remain so; nor is it probable that we shall ever touch any point of even the utmost borders of knowledge or certainty. It is here a question of that which, in the midst of this recognized and usual mystery, the familiar mystery of which we are almost oblivious, suddenly disturbs the regular course of our general ignorance. In themselves, these facts which strike us as supernatural are no more so than the others; possibly they are rarer, or, to be more accurate, less frequently or less easily observed. In any case, their deep-seated cause, while being probably neither more remote nor more difficult access, seem to lie hidden in an unknown region less often visited by our science, which after all is but a reassuring and conciliatory espression of our ignorance. Today, thanks to the labours of the Society for Psychical Research and a host of other seekers, we are able to approach these phenomena as a whole with a certain confidence. Leaving the realm of legend, of after-dinner stories, old wives' tales, illusions and exaggerations, we find ourselves at last on circumscribed but fairly safe ground. This does not mean that there are no other supernatural phenomena besides those collected in the publications of the society in question and in a few of the more weighty reviews which have adopted the same methods. Notwithstanding all their diligence, which for over thirty years has been ransacking the obscure corners of our planet, it is inevitable that a good many things escape their notice, besides which the rigour of their investigations makes them reject three fourths of those which are brought before them. But we may say that the twenty-six volumes of the society is Proceedings and the fifteen or sixteen volumes of its Journal, together with the twenty-three annuals of the Annales des Sciences Psychiques, to mention only this one periodical of signal excellence, embrace for the moment the whole field of the extraordinary and offer some instances of all the abnormal manifestations of the inexplicable. We are henceforth able to classify them, to divide and subdivide them into general, species and varieties. This is not much, you may say; but it is thus that every science begins and furthermore that many a one ends. We have therefore sufficient evidence, facts that can scarcely be disputed, to enable us to consult them profitably, to recognize whither they lead, to form some idea of their general character and perhaps to trace their sole source by gradually removing the weeds and rubbish which for so many hundreds and thousands of years have hidden it from our eyes.
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About the author
Maurice Polydore Marie Bernard Maeterlinck was a Belgian playwright, poet, and essayist who was a Fleming, but wrote in French. He was awarded the Nobel Prize in Literature in 1911 "in appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers' own feelings and stimulate their imaginations". The main themes in his work are death and the meaning of life. His plays form an important part of the Symbolist movement.
Maeterlinck instantly became a public figure when his first play, Princess Maleine, received enthusiastic praise from Octave Mirbeau, the literary critic of Le Figaro in August 1890. In the following years, he wrote a series of symbolist plays characterized by fatalism and mysticism, most importantly Intruder (1890), The Blind (1890) and Pelléas and Mélisande (1892).
He had a relationship with the singer and actress Georgette Leblanc from 1895 until 1918. Leblanc influenced his work for the following two decades. With the play Aglavaine and Sélysette Maeterlinck began to create characters, especially female characters, more in control of their destinies. Leblanc performed these female characters on stage. Even though mysticism and metaphysics influenced his work throughout his career, he slowly replaced his Symbolism with a more existential style.
In 1895, with his parents frowning upon his open relationship with an actress, Maeterlinck and Leblanc moved to the district of Passy in Paris. The Catholic Church was unwilling to grant her a divorce from her Spanish husband. They frequently entertained guests, including Mirbeau, Jean Lorrain, and Paul Fort. They spent their summers in Normandy. During this period, Maeterlinck published his Twelve Songs (1896), The Treasure of the Humble (1896), The Life of the Bee (1901), and Ariadne and Bluebeard (1902).
In 1903, Maeterlinck received the Triennial Prize for Dramatic Literature from the Belgian government. During this period, and down to the Great War, he was widely looked up to, throughout Europe, as a great sage, and the embodiment of the higher thought of the time.
In 1906, Maeterlinck and Leblanc moved to a villa in Grasse. He spent his hours meditating and walking. As he emotionally pulled away from Leblanc, he entered a state of depression. Diagnosed with neurasthenia, he rented the Benedictine Abbey of St. Wandrille in Normandy to help him relax. By renting the abbey he rescued it from the desecration of being sold and used as a chemical factory and thus he received a blessing from the Pope. Leblanc would often walk around in the garb of an abbess; he would wear roller skates as he moved about the house. During this time, he wrote his essay "The Intelligence of Flowers" (1906), in which he expressed sympathy with socialist ideas. He donated money to many workers' unions and socialist groups. At this time he conceived his greatest contemporary success: the fairy play The Blue Bird (1908, but largely written in 1906). After the writing "The Intelligence of Flowers", he suffered from a period of depression and writer's block. Although he recovered from this after a year or two, he was never so inventive as a writer again. His later plays, such as Marie-Victoire (1907) and Mary Magdalene (1910), provided with lead roles for Leblanc, were notably inferior to their predecessors, and sometimes merely repeat an earlier formula. Leblanc, clearly, was no longer an inspiration to the playwright. Even though alfresco performances of some of his plays at St. Wandrille had been successful, Maeterlinck felt that he was losing his privacy. The death of his mother on 11 June 1910 added to his depression.
In 1910 he met the 18-year-old actress Renée Dahon during a rehearsal of The Blue Bird. She became his lighthearted companion. After having been nominated by Carl Bildt, member of the Swedish Academy, he won the Nobel Prize for Literature in 1911, which also served to lighten his spirits. By 1913, he was more openly socialist and sided with the Belgian trade unions against the Catholic party during a strike. He began to study mysticism and lambasted the Catholic Church in his essays for misconstruing the history of the universe. By a decree of 26 January 1914, his opera omnia were placed on the Index Librorum Prohibitorum by the Roman Catholic Church.
When Germany invaded Belgium in 1914, Maeterlink wished to join the French Foreign Legion, but his application was denied due to his age. He and Leblanc decided to leave Grasse for a villa near Nice, where he spent the next decade of his life. He gave speeches on the bravery of the Belgian people and placed guilt upon all Germans for the war. Although his patriotism, and his indifference to the harm he was doing to his standing in Germany, do him credit, it severely damaged his reputation as a great sage who stood above current affairs. While in Nice he wrote The Mayor of Stilmonde, which was quickly labeled by the American press as a "Great War Play" and would be made into a British film in 1929. He also wrote The Betrothal, a sequel to The Blue Bird, in which the heroine of the play is clearly not a Leblanc archetype.
On 15 February 1919 Maeterlinck married Dahon. He accepted an invitation to the United States. Samuel Goldwyn asked him to produce a few scenarios for film. Only two of Maeterlinck's submissions still exist; Goldwyn didn't use any of them. Maeterlinck had prepared one based on his The Life of the Bee. After reading the first few pages Goldwyn burst out of his office, exclaiming: "My God! The hero is a bee!"
After 1920 Maeterlinck ceased to contribute significantly to the theatre, but continued to produce essays on his favourite themes of occultism, ethics and natural history. The international demand for these fell off sharply after the early 1920s, but his sales in France remained substantial until the late 1930s. Dahon gave birth to a stillborn child in 1925.
