puppet plays, we go to the thirteen essays representing the earlier trend of his philosophy and issued in 1896 under the collective title, "The Treasure of the Humble," we discover easily that his cast of mysticism is very different from that of his philosophic predecessors and teachers in the fourteenth and nineteenth centuries, in particular from the devotional mysticism of the "Admirable" John Ruysbroeck, and Friedrich von HardenbergNovalis. Maeterlinck does not strive after the socalled "spiritual espousals," expounded by the "doctor ecstaticus," Ruysbroeck, in his celebrated treatise where Christ is symbolized as the divine groom and Human Nature as the bride glowing with desire for union with God. Maeterlinck feels too modernly to make use of that ancient sensuous imagery. The main thesis of his mystical belief is that there are divine forces dormant in human nature; how to arouse and release them, constitutes the paramount problem of human life. His doctrine is that a life not thus energized by its own latent divineness is, and must remain, humdrum and worthless. It will at once be noticed that such a doctrine harmonizes thoroughly with the romantic aspiration. Both mystic and romantic teach that, in the last resort, the battlefield
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