[KALKI]

Maurice Polydore Marie Bernard Maeterlinck (also called Comte (Count) Maeterlinck from 1932; French pronunciation: [mo.ʁis ma.tɛʁ.lɛ̃ːk] in Belgium, [mɛ.teʁ.lɛ̃ːk] in France; 29 August 1862 – 6 May 1949) was a Belgian playwright, poet, and essayist who was a Fleming, but wrote in French. He was awarded the Nobel Prize in Literature in 1911. The main themes in his work are death and the meaning of life. His plays form an important part of the Symbolist movement.

Maeterlinck was born in Ghent, Belgium, to a wealthy, French-speaking family. His mother, Mathilde Colette Francoise (née Van den Bossche), came from a wealthy family. His father, Polydore, was a notary who enjoyed tending the greenhouses on their property.

In September 1874 he was sent to the Jesuit College of Sainte-Barbe, where works of the French Romantics were scorned and only plays on religious subjects were permitted. His experiences at this school influenced his distaste for the Catholic Church and organized religion.

He had written poems and short novels during his studies, but his father wanted him to go into law. After finishing his law studies at the University of Ghent in 1885, he spent a few months in Paris, France. He met some members of the new Symbolism movement, Villiers de l'Isle Adam in particular, who would have a great influence on Maeterlinck's subsequent work.


Alleged plagiarism

In 1926 Maeterlinck published La Vie des Termites (translated into English as The Life of Termites or The Life of White Ants), an entomological book that plagiarised the book The Soul of the (White) Ant, researched and written by the Afrikaner poet and scientist Eugene Marais,[16] in what has been called "a classic example of academic plagiarism" by University of London's professor of biology, David Bignell.

Marais accused Maeterlinck of having used his concept of the "organic unity" of the termitary in his book.[18] Marais had published his ideas on the termitary in the South African Afrikaans-language press, both in Die Burger in January 1923 and in Huisgenoot, which featured a series of articles on termites under the title "Die Siel van die Mier" (The Soul of the (White) Ant) from 1925 to 1926. Maeterlinck's book, with almost identical content, was published in 1926. It is alleged that Maeterlinck had come across Eugene Marais' series of articles which had appeared in the Afrikaans magazine Die Huisgenoot from 1925-1926, and that it would have been easy for Maeterlinck to translate from Afrikaans to French, since Maeterlinck knew Dutch and had already made several translations from Dutch into French before. It was common at the time for worthy articles published in Afrikaans to be reproduced in Flemish and Dutch magazines and journals.

Marais wrote in a letter to Dr. Winifred de Kock in London about Maeterlinck that "The famous author had paid me the left-handed compliment of cribbing the most important part of my work... He clearly desired his readers to infer that he had arrived at certain of my theories (the result of ten years of hard labour in the veld) by his own unaided reason, although he admits that he never saw a termite in his life. You must understand that it was not merely plagiarism of the spirit of a thing, so to speak. He has copied page after page verbally".

Supported by a coterie of Afrikaner Nationalist friends, Marais sought justice through the South African press and attempted an international lawsuit. This was to prove financially impossible and the case was not pursued. However, Marais gained a measure of renown as the aggrieved party and as an Afrikaner researcher who had opened himself up to plagiarism because he published in Afrikaans out of nationalistic loyalty. Marais brooded at the time of the scandal: "I wonder whether Maeterlinck blushes when he reads such things [critical acclaim], and whether he gives a thought to the injustice he does to the unknown Boer worker?"

Maeterlinck's own words in The Life of Termites indicate that the possible discovery or accusation of plagiarism worried him:


It would have been easy, in regard to every statement, to allow the text to bristle with footnotes and references. In some chapters there is not a sentence but would have clamoured for these; and the letterpress would have been swallowed up by vast masses of comment, like one of those dreadful books we hated so much at school. There is a short bibliography at the end of the volume which will no doubt serve the same purpose.

Despite these misgivings, there is no reference to Eugene Marais in the bibliography. Maeterlinck's other works on entomology include The Glass Spider (1923) and The Life of the Ant (1930).

Professor VE d'Assonville wrote about Maeterlinck as "the Nobel Prize winner who had never seen a termite in his whole life and had never put a foot on the soil of Africa, least of all in the Waterberg.".

Robert Ardrey, an admirer of Eugene Marais's, attributed Marais' later suicide to this act of plagiarism and theft of intellectual property by Maeterlinck, although Marais' biographer, Leon Rousseau, speculated that Marais enjoyed and thrived on the controversy and attention generated by the controversy.

Another case of alleged plagiarism was that of Maeterlinck's play Monna Vanna which was alleged to have been based on Robert Browning's little-known play Luria.

Later life

In 1930 he bought a château in Nice, France, and named it Orlamonde, a name occurring in his work Quinze Chansons.

He was made a count by Albert I, King of the Belgians in 1932.

According to an article published in the New York Times in 1940, he arrived in the United States from Lisbon on the Greek Liner Nea Hellas. He had fled to Lisbon in order to escape the Nazi invasion of both Belgium and France. The Times quoted him as saying, "I knew that if I was captured by the Germans I would be shot at once, since I have always been counted as an enemy of Germany because of my play, The Mayor of Stilmonde, which dealt with the conditions in Belgium during the German Occupation of 1918." As with his earlier visit to America, he still found Americans too casual, friendly and Francophilic for his taste.

He returned to Nice after the war on 10 August 1947. He was President of PEN International, the worldwide association of writers, from 1947 until 1949. In 1948, the French Academy awarded him the Medal for the French Language. He died in Nice on 6 May 1949 after suffering a heart attack. There was no priest at his funeral.