Departure Times From Pier Head To Manchester

New on Edgar Until ...

There are more than a year, I put in this place the name very unknown to both Edgar , Belgian poet whose main genius was to recognize in Saint-Pol-Roux a master. We may recall the two signings he had printed at the top of Rhythm of Life and Wisdom of the Poet : SAINT-POL ROUX / THE WONDERFUL / Grand like Shakespeare / Great as mankind, / as Grand Pan "and" A Saint-Pol-Roux the Magnificent / The Michelangelo of Poetry. " It would hardly be less subtle admission of admiration.

I have since acquired two new pads both. The first EXODUS - October 1914 (J. Lebègue & Co., Booksellers, publishers in Brussels and Paris, 1919) is a story most likely autobiographical, the author presents a few lines:

"In these pages we want to track the impressions of a Belgian poet exiled and the vicissitudes brought about by the difficulties of a language scarcely heard.

During the German invasion, he went off to Bruges to Breskens passes the southern mouth of the Scheldt and pursues in Veere Vlissingen, where he believes he can stay. "

In summary, the story of a poet Walloon love of French and Francophone literature, seeking refuge in Flanders, or, for him, right in foreign domain. The most interesting passage of this story is when, at Middelburg, after we have learned that a cousin of the late Georges Rodenbach, he meets the Francophile director of the library, which opened the reservation. He finds himself in familiar country:

"He put his hand on Women, by Paul Verlaine, belonging to the Flesh trilogy : women, men, girlfriends, licentious poetry series that delivered him on his insistence and primarily as the author a collection of poems Sex: Love band. He took the album Masks Andre Gill, admirable portraits load-engraved etchings, prefaced by Jean Richepin the Month, by Francois Coppe, large quarto, illustrated by a special method of reproduction, Saints Paradise and , short poems Remi (sic ) of wood with Gourmont Felix Vallotton (sic ). "

It is not, to my knowledge, in the bibliography of Edgar Both of collection entitled Love band, but this title may be hiding another. The author also mentions an error when wood Vallotton Gourmont illustrating the wafer, the illustrator of Sacred Paradise was Georges d'Espagnat. The extract does not tell us less about the literary tastes of the Belgian poet, between Parnassus and symbolism. Another figure, older, appear a little later, we had already encountered, that of La Fontaine: "Mr. Sw. [The librarian] installs comfortable exile in the reading room and shows him a beautiful old edition complete works of La Fontaine, illustrated with fine engravings and malicious admirably appropriate to the text printed in Van Gelder on antique wide margin. The writer manipulates religious elite and the book delights the saving of souls a ray convalescence art illuminates again !..."

De Saint-Pol-Roux, there is no question in the story of his exile. His name is no more in the next pack: RUBAIYAT (Editions of Literary and Artistic Revue, Paris, 1923), printed on soft paper to 250 in-8 crown. The quatrain Decidedly, was the poetic form that had long elected. We will not find metric of revolution, innovations rimiques, but the same momentum lyrical-philosophical already pointed out in The Rhythm of Life .

I said the name of Saint-Pol-Roux not appear there, his tutelary presence, however, is not unlikely in this quatrain:

At the edge of the ocean, far from the crowd
Simple human hearts still know Paradise
which the angelic peace still seems far
To those that rumor has too stunned!

and evident in the epigraph that opens the book:

"He who has respect, writing, that taste of his age, thinks to himself more than his writings: we must always strive for perfection, and then the justice, which is sometimes denied us by our contemporaries, posterity knows we make. "

In effect, this quote from the Characters of La Bruyere epigraphy all volumes Repository of Procession of Saint-Pol-Roux, first published in 1893 to the last published in 1907. The finding here , the leading RUBAIYAT Both of Egar, reinforces the idea that our Belgian poet had chosen the Magnificent as the ideal model.