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 that familiarity with the psychology, the life and the customs of the peasantry which became the essential foundation of so much of his art. In 1881 he once more had recourse to journalism, this time in Brussels, where he became literary and musical critic of L'Etoile Beige. During the period which elapsed between his arrival in Brussels and the foundation of La Jeune Belgique, Eekhoud became acquainted with the group of men who were striving to give Belgium a contemporary national literature. Chief among them were Camille Lemonnier, Theodore Hannon, Max Waller (Maurice Warlomont), the founder of La Jeune Belgique, and the group of contributors to that magazine who have since achieved world-wide recognition: Maeterlinck, Verhaeren, George Rodenbach and Charles Van Lerberghe.

Before 1880 the literary revolt instituted by the younger men centered at the University of Louvain, where the future writers, painters and musicians—among the latter Jan Blockx, the Flemish composer, and Van Dyck, the Wagnerian tenor—were supposed to be studying law, but were, in reality, far more exercised over the future of the arts in Belgium. The movement was a healthy and normal expression of youthful vigor accompanied by the publication of many manifestos, a good deal of unconventional thinking, writing and talking, some humorous escapades which thoroughly shocked the University authorities, and an atmosphere of rousing collegiate life.

From Louvain the headquarters of the movement were transferred to Brussels. La Jeune Belgique, which under the editorial direction of Max Waller had brought the work of Verhaeren, Maeterlinck, Rodenbach, Van Lerberghe and Eekhoud to the attention