ABSTRACT Maeterlinck's early poetry collection, Serres chaudes, draws on many Decadent tropes, particularly glass walls. Both claustrophobic and sumptuous, this poetry inhabits the space between interior and exterior. It is also a poetry in decline. Maeterlinck soon turned away from poetry but his fascination with glass and its associated anxieties resonated throughout his later work. His nature writing returns to themes explored in Serres chaudes, illuminating the young poet's concerns. This article explores the nature writing in the context of Maeterlinck's poetic beginnings, suggesting that Serres chaudes is the first articulation of Maeterlinck's impulse to break free of Decadence.

中文翻译：

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不断增长的痛苦：梅特林克s废自然写作中的内在和外在

摘要Maeterlinck的早期诗歌收藏Serres chaudes借鉴了许多Decadent的比喻，尤其是玻璃墙。这首诗既幽闭恐怖又富于奢华，居住在内外之间。这也是一首衰落的诗。梅特林克很快就放弃了诗歌创作，但他对玻璃的迷恋及其相关的焦虑在后来的作品中引起了共鸣。他的自然写作恢复了Serres chaudes中探索的主题，阐明了这位年轻诗人的担忧。本文在Maeterlinck的诗意开端的背景下探索自然写作，这表明Serres chaudes是Maeterlinck摆脱Dec废的冲动的第一个表达。