She's a Whore," one of the coarsest works ever written for the stage, but to which he was attracted by the intrinsic human interest that far outweighs its offensiveness. As for any real kinship of Maeterlinck with Shakespeare, the resemblance between the two is slight. They differ philosophically in the fundamental frame of mind, ethically in the outlook upon life, dramaturgically in the value attached to external action, and humanly, — much to the disadvantage of the Belgian,—in their sense of humor. For unfortunately it has to be confessed that this supreme gift of the gods has been very sparingly dispensed to Maeterlinck. Altogether, whether or no he is to be counted among the disciples of Shakespeare, his works show no great dependence on the master. With far better reason might he be called a debtor to Germanic folklore, especially in its fantastic elements.
A German fairy world it is to which we are transported by Maeterlinck's first dramatic attempt, "Princess Maleine," (1889), a play refashioned after Grimm's tale of the Maid Maleen; only that in the play all the principals come to a harrowing end and that in it an esoteric meaning lies concealed underneath the primitive plot. The action, symbolically interpreted, illustrates the fa-
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