The flag-maker is a man of energy and 156strong vitality7. He likes to imagine that all that surrounds him is as large, as full of sap and as vigorous as he feels himself to be. He pictures the world as a place where the colours are strong and brightly contrasted, where a vigorous chiaroscuro8 leaves no doubt as to the true nature of light and darkness, and where all life pulsates9, quivering and taut10, like a banner in the wind. From the first we find in Verhaeren all the characteristics of the tailor of banners. In his earliest book of verse, Les Flamands, we see him already delighting in such lines as
Already too we find him making copious12 use—or was it abuse?—as Victor Hugo had done before him, of words like “vaste,” “énorme,” “infini,” “infiniment,” “infinité,” “univers.” Thus, in “L’Ame de la Ville,” he talks of an “énorme” viaduct, an “immense” train, a “monstrueux” sun, even of the “énorme” atmosphere. For Verhaeren all roads lead to the infinite, wherever and whatever that may be.
Les grand’routes tracent des croix
A l’infini, à travers bois;
Les grand’routes tracent des croix lointaines
A l’infini, à travers plaines.
157Infinity is one of those notions which are not to be lightly played with. The makers of flags like it because it can be contrasted so effectively with the microscopic14 finitude of man. Writers like Hugo and Verhaeren talk so often and so easily about infinity13 that the idea ceases in their poetry to have any meaning at all.
I have said that, in certain respects, Verhaeren, in his view of life, is not unlike Balzac. This resemblance is most marked in some of the poems of his middle period, especially those in which he deals with aspects of contemporary life. Les Villes tentaculaires contains poems which are wholly Balzacian in conception. Take, for example, Verhaeren’s rhapsody on the Stock Exchange:
Une fureur réenflammée
Monte soudain de l’entonnoir
Et cervelles, qu’en tourbillons les millions traversent,
Echangent là leur peur et leur terreur ...
La mort les paraphe de suicides,
Mais au jour même aux heures blêmes,
Les volontés dans la fièvre revivent,
L’acharnement sournois
Reprend comme autrefois.
158One cannot read these lines without thinking of Balzac’s feverish20 money-makers, of the Baron21 de Nucingen, Du Tillet, the Kellers and all the lesser22 misers23 and usurers, and all their victims. With their worked-up and rather melodramatic excitement, they breathe the very spirit of Balzac’s prodigious24 film-scenario version of life.
Verhaeren’s flag-making instinct led him to take special delight in all that is more than ordinarily large and strenuous25. He extols26 and magnifies the gross violence of the Flemish peasantry, their almost infinite capacity for taking food and drink, their industry, their animalism. In true Rooseveltian style, he admired energy for its own sake. All his romping27 rhythms were dictated28 to him by the need to express this passion for the strenuous. His curious assonances and alliterations—
Luttent et s’entrebuttent en disputes—
It is interesting to compare the violence and energy of Verhaeren with the violence of an earlier poet—Rimbaud, the marvellous boy, if ever there was one. Rimbaud cut the stuff of life into flags, but into flags that 159never fluttered on this earth. His violence penetrated30, in some sort, beyond the bounds of ordinary life. In some of his poems Rimbaud seems actually to have reached the nameless goal towards which he was striving, to have arrived at that world of unheard-of spiritual vigour31 and beauty whose nature he can only describe in an exclamatory metaphor32:
Millions d’oiseaux d’or, ? future vigueur!
But the vigour of Verhaeren is never anything so fine and spiritual as this “million of golden birds.” It is merely the vigour and violence of ordinary life speeded up to cinema intensity33.
It is a noticeable fact that Verhaeren was generally at his best when he took a holiday from the making and waving of flags. His Flemish bucolics and the love poems of Les Heures, written for the most part in traditional form, and for the most part shorter and more concentrated than his poems of violence and energy, remain the most moving portion of his work. Very interesting, too, are the poems belonging to that early phase of doubt and depression which saw the publication of Les Débacles and Les Flambeaux Noirs. The energy and life of the later books is there, 160but in some sort concentrated, preserved and intensified34, because turned inwards upon itself. Of many of the later poems one feels that they were written much too easily. These must have been brought very painfully and laboriously35 to the birth.
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1 expressive | |
adj.表现的,表达…的,富于表情的 | |
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2 subtlety | |
n.微妙,敏锐,精巧;微妙之处,细微的区别 | |
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3 curiously | |
adv.有求知欲地;好问地;奇特地 | |
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4 akin | |
adj.同族的,类似的 | |
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5 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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6 makers | |
n.制造者,制造商(maker的复数形式) | |
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7 vitality | |
n.活力,生命力,效力 | |
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8 chiaroscuro | |
n.明暗对照法 | |
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9 pulsates | |
v.有节奏地舒张及收缩( pulsate的第三人称单数 );跳动;脉动;受(激情)震动 | |
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10 taut | |
adj.拉紧的,绷紧的,紧张的 | |
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11 pate | |
n.头顶;光顶 | |
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12 copious | |
adj.丰富的,大量的 | |
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13 infinity | |
n.无限,无穷,大量 | |
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14 microscopic | |
adj.微小的,细微的,极小的,显微的 | |
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15 mirage | |
n.海市蜃楼,幻景 | |
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16 bruit | |
v.散布;n.(听诊时所听到的)杂音;吵闹 | |
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17 coups | |
n.意外而成功的行动( coup的名词复数 );政变;努力办到难办的事 | |
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18 inverses | |
vt.使倒转(inverse的第三人称单数形式) | |
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19 fins | |
[医]散热片;鱼鳍;飞边;鸭掌 | |
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20 feverish | |
adj.发烧的,狂热的,兴奋的 | |
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21 baron | |
n.男爵;(商业界等)巨头,大王 | |
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22 lesser | |
adj.次要的,较小的;adv.较小地,较少地 | |
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23 misers | |
守财奴,吝啬鬼( miser的名词复数 ) | |
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24 prodigious | |
adj.惊人的,奇妙的;异常的;巨大的;庞大的 | |
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25 strenuous | |
adj.奋发的,使劲的;紧张的;热烈的,狂热的 | |
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26 extols | |
v.赞颂,赞扬,赞美( extol的第三人称单数 ) | |
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27 romping | |
adj.嬉戏喧闹的,乱蹦乱闹的v.嬉笑玩闹( romp的现在分词 );(尤指在赛跑或竞选等中)轻易获胜 | |
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28 dictated | |
v.大声讲或读( dictate的过去式和过去分词 );口授;支配;摆布 | |
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29 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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30 penetrated | |
adj. 击穿的,鞭辟入里的 动词penetrate的过去式和过去分词形式 | |
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31 vigour | |
(=vigor)n.智力,体力,精力 | |
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32 metaphor | |
n.隐喻,暗喻 | |
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33 intensity | |
n.强烈,剧烈;强度;烈度 | |
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34 intensified | |
v.(使)增强, (使)加剧( intensify的过去式和过去分词 ) | |
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35 laboriously | |
adv.艰苦地;费力地;辛勤地;(文体等)佶屈聱牙地 | |
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