La servante parut, fidèle et dévouée;
Elle voulait sa part des joies et des douleurs;—
'Au troupeau la brebis est enfin retournée;
Laissons couler nos larmes et prions le Seigneur.'
'Partie! partie! Mon Dieu,' dit-elle, avec tristesse;
'Et moi, qui, ce matin, longtemps avant le jour,
Ai senti d'un enfant les aimables caresses,
Et ses deux petits bras m'étreindre avec amour!
'Ce baiser doucement posé sur mon visage
C'était bien son baiser d'amour et de candeur;
Un faible crépuscule éclairait les nuages,'—
'Elle nous quittait alors,' réprit la mère en pleurs!
Page 181.
Chinoiserie. These small poems scarcely convey an adequate idea of the poetical genius of M. Théophile Gautier, which is of a very high order. For correctness and chastity of style he has few equals. Never infringing the rules of French versification, as greater poets than himself, notably Victor Hugo, have sometimes done, he has yet been able to add to the power of the language by his majestic and harmonious combinations. His word-painting is exceedingly vivid, and at the same time exceedingly natural; and the only discord that jars in his magnificent utterances is that taint of—shall we call it irreverence or infidelity?—which is unfortunately too common even amongst the best French modern poets. The lines addressed to Gautier by his friend Théodore Banville do not give him more than his due meed of praise.
'Pas de travail commode!
Tu prétends, comme moi,
Que l'Ode
Garde sa vieille loi,
Et que, brillant et ferme,
Le beau Rhythme d'airain
Enferme
L'idée au fiont serein.
••••Et toi, qui nous enseigne
L'amour du vert laurier,
Tu daignes
Etre un bon ouvrier.'
Page 188.
Chanson de Fortunio. Alfred de Musset is a name too well known to require detailed notice in this place. He is one of the most popular poets of France, and his countrymen regard him as their Byron. In truth he possesses the spirit, the power, the wit, the brilliance, and the love of nature sometimes
