MAETERLINCK, MAURICE

born Aug. 29, 1862, Ghent, Belg. died May 6, 1949, Nice, France byname of Maurice Polydore-Marie-Bernard Maeterlinck, also called (from 1932) Comte Maeterlinck Belgian Symbolist poet, playwright, and essayist whose dramas are the outstanding works of the Symbolist theatre. Maeterlinck was awarded the Nobel Prize for Literature in 1911. He wrote in French and looked mainly to French literary movements for inspiration. Maeterlinck studied law at the University of Ghent and was admitted to the bar in that city in 1886. In Paris in 188586 he met Auguste Villiers de L'Isle-Adam and the leaders of the Symbolist movement, and he soon abandoned law for literature. His first verse collection, Serres chaudes (Hothouses), and his first play, La Princesse Maleine, were published in 1889. Maeterlinck made a dramatic breakthrough in 1890 with two one-act plays, L'Intruse (The Intruder) and Les Aveugles (The Blind). His Pellas et Mlisande (1892), produced in Paris at the avant-garde Thtre de l'Oeuvre by the director Aurlien Lugn-Po, is the unquestioned masterpiece of Symbolist drama and provided the basis for an opera (1902) by Claude Debussy. Set in a nebulous, fairy-tale past, the play conveys a mood of hopeless melancholy and doom in its story of the destructive passion of Princess Mlisande, who falls in love with her husband's younger brother, Pellas. Though written in prose, Pellas et Mlisande may be considered the most accomplished of all 19th-century attempts at poetic drama. Maeterlinck wrote many other plays, including historical dramas such as Monna Vanna (1902). Gradually, he tempered the influence of Symbolism by his interest in English drama, especially William Shakespeare and the Jacobeans. Only L'Oiseau bleu (1908; The Blue Bird) rivaled Pellas et Mlisande in popularity. An allegorical fantasy conceived as a play for children, it portrays a search for happiness in the world. First performed by the Moscow Art Theatre (1908), this somewhat sentimental dramatic parable was highly regarded for a time, but its charm has evaporated, and the optimism of the play now seems facile. Maeterlinck's Le Bourgmestre de Stilmonde (1917; The Burgomaster of Stilmonde), a patriotic play in which he explores the problems of Flanders under the wartime rule of an unprincipled German officer, briefly enjoyed a great reputation. In his Symbolist plays Maeterlinck uses poetic speech, gesture, lighting, setting, and ritual to create symbolic images that exteriorize his protagonists' moods and dilemmas. Often the protagonists are waiting for something mysterious and fearful that will destroy them. The profound and moving atmosphere of the plays, though lacking in intellectual complexity, is served by dialogue that is tentative, based on half-formed suggestions, at times naively repetitious, and occasionally sentimental, but sometimes possessed of great subtlety and power. As a dramatist, Maeterlinck influenced Hugo von Hofmannsthal, W.B. Yeats, John Millington Synge, and Eugene O'Neill. Maeterlinck's plays have been widely translated, and no Belgian dramatist had greater effect on worldwide audiences. Maeterlinck's prose writings are remarkable blends of mysticism, occultism, and interest in the world of nature. They represent the common Symbolist reaction against materialism, science, and mechanization and are concerned with such questions as the immortality of the soul, the nature of death, and the attainment of wisdom. Maeterlinck presented his mystical speculations in Le Trsor des humbles (1896; The Treasure of the Humble) and La Sagesse et la destine (1898; Wisdom and Destiny). His most widely read prose writings, however, are two nature books, La Vie des abeilles (1901; The Life of the Bee) and L'Intelligence des fleurs (1907; The Intelligence of Flowers). These are not rigorous works of science or natural history but are instead extended essays in which Maeterlinck sets out his philosophy of the human condition. Maeterlinck was made a count by the Belgian king in 1932.