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It would be superfluous to redraw the picture of the great systems of floral fertilization: the play of stamens and pistil, the seductiveness of scents, the appeal of harmonious and striking colors, the development of nectar, totally useless to the flower, and which it manufactures only to attract and hold the foreign liberator, the messenger of love, bee, bumblebee, fly, butterfly, moth, which must bring it the kiss of the distant, invisible, motionless lover...
We could truly say that ideas come to flowers in the same way they come to us. Flowers grope in the same darkness, encounter the same obstacles and the same ill will, in the same unknown. They know the same laws, same disappointments, same slow and difficult triumphs. It seems they have our patience, our perseverance, our self-love; the same finely tuned and diversified intelligence, almost the same hopes and the same ideals. Like ourselves, they struggle against a vast indifferent force that ends by helping them. -- from "The Intelligence of Flowers"
The Belgian author Maurice Maeterlinck (1862-1949) is remembered best as a pioneer of Symbolist drama in the 1890s. Recipient of the Nobel Prize for Literature in 1911, Maeterlinck was also a prolific and accomplished essayist.
The Belgian author Maurice Maeterlinck (1862–1949) is remembered best as a pioneer of Symbolist drama in the 1890s. Recipient of the Nobel Prize for Literature in 1911, Maeterlinck was also a prolific and accomplished essayist.
Philip Mosley is Professor of English, Communications, and Comparative Literature at Penn State University.
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