The Poets of Modern France

The ‘ P O E T S of M O D E R N F R A N C E

L U D W I G L E W I S O H N ‘

M . iI T . . T D . A , pno m sson AT TH E OHIO STATE UN IVERSITY

Y B HUEB S‘CH MCMXIX W. N EW O RK . C O P Y R I G HT , 1 9 1 8 . B Y W HUE B B . . S C H

Fir s t r in tin r il 1 9 1 8 p g, A p , n in r S ec o d pr tmg, Fe b r ua y , 1 9 19

D A P R N TE . S . I I N U . PREFACE

IT e the which we is tim that art of translation , of h e e e e h av many b autiful xampl s in English , s ould b h e e strictly distinguished from t e trade . Lik

the e acting or playing of music, it is an art of int r

r etation e fﬁ e he h e e p , mor di cult than it r in t is r sp ct that you must interpret your original in a medium

e e e e h . e e n v r cont mplat d by its aut or It r quir s , at

e an e a n e h h its b st, x cti g and imaginativ sc olars ip, for you must understand your text in its fullest and most livin g sense ; it requires a power over the instrument of your own language no less com

’ l ete the e the e h p than virtuoso s ov r pianofort , t an

’ the actor s over the expression of his voice or the

e e e g stur s of his body . Its aim , too, is id ntical with the aims of th ose sister arts of interpretation to give a clear voice to beauty that would else b e

e fﬂe e e e e dumb or quit mu d . For v n to int llig nt lo vers of the arts a subtl e or intricate poem in a lan guage not their own is as lifeless as a

page of Beethoven which th ey have not h eard

e play d . What now should b e th e aim of th e translator of poetry ? For it is with poetry that I am here

e b e . e cl earl conc rn d It should ,

h e pr po m. e has not don

h he h e e e the e n t at may av s rv d caus of i formation ,

n e he h as e of la guag study . In art committ d a

e e he h as e e plain in ptitud . If produc d a b autiful

e h ho be i e him h po m , muc s uld forg v n , alt ough a

e e n o t n e e b e e b autiful po m may , c ssarily, a b au

b e h cer tiful translation . To t at it must sustain

n e . e tai r lations to its original It must, to b gin

h b e h — n o t e n e e wit , fait ful p da tically, but ss n

tiall n o t n th e e e n e the o r y, o ly to g n ral co t nt of igin al poem but to its speciﬁc means of embodying

he b e that con ten t . T re should e as littl e deﬁnit

e n e . In alt ratio , addition or omission as possibl

the translations in this volume there will not b e

h n e h e h found, I t i k, mor t an a doz n words t at

e e in the e e h n h en w r not t xts , or mor t a alf a doz

he e actual verbal substitution s . T associativ

e ffe e n e h valu s of two di r nt li guistic m dia s ould , vi be e e e m e . n e of cours , s nsitiv ly born in ind O idiom must b e made not only to copy but rightly to

h h e h n e e t e e . e e e i t rpr t ot r It is b tt r, ow v r, to risk a slight obscurity which time an d the growth of

n ew artistic insights may remove than to s ub sti

’ tute an easy meanin g for your author s trouble

n some o e . The secon d relation which the tran slated poem must sustain to its original con cerns the far more

ffi n he l an di cult a d exacting matter of form . T

e n e o f the h guag i volv d will , m c arac

’ he e n t er of the tran slato r s probl em . If is d ali g

with lan guages that have practically the same pr o

e an e n u e in sodic syst m , y two G rmanic la g ag s for

n e he e e e th e sta c , must scrupulously pr s rv music,

he n he n t exact cadences o f his origi al . If is tra s

latin g from a language that h as a quite different

h th e en h h e n e e prosody, suc as Fr c , must i t rpr t h h t e origin al forms by analogous forms . T us I

have ren dered all poems written wholly in al ex

an d rin es n h he e e h e into E glis roic v rs , but I av

sought to make that verse as ﬂuid an d as various

in movement as the types of al exan drin e in my

hen h e . t e originals W prosodic contour of a po m , vii h e e e e e e e n he ow v r, d p nd d d ﬁnit ly upo t contrast of

e n e h e h e e e h e al xandri s wit long r or s ort r v rs s , I av

e e e the e e h pr s rv d xact syllabic l ngt s . In lyrical

e e the b e e he the m asur s aim must , of cours , to ar

h e e h c aract ristic music, to transf r t is and to follow its modulations from line to line and stanza to stanza .

But these ar e only the external properties of

h e e e e . e e form What c aract ris s a po t, abov all ls , is the wi w W e and uni lue method o f mo uldmg his lan guage— ia t e spit bo th f diction and rh thm— for the expres

18 he e h sion of his personal sense of life . It r t at

he e h e k t translator com s upon his ard st tas . For he h h e e h ee us e his s ould try, op l ss as t at may s m , to medium of Speech in a given translation even as

he e the original poet used his own . T translat d

e e h be the e po m, in bri f, s ould such as original po t

’ would have written if the translator s language h a ee e on e d b n his nativ .

e e h the e I am quit awar t at, in sixty translat d

e e e n o t e e a po ms in this volum , I hav always v n p pro ached my own ideal of what a translation of

viii h be h e e e he poetry s ould . But to av att mpt d t task

h e e n o t be h upon suc principl s may, of its lf, wit out

h he service to t e practice of t art . For my critical introduction on the poets of

e h e e modern Franc I av no such apology to mak . Critics of power and place have told me repeatedly

- e h Let how wrong headed my critical m t od is . me e n he who so h e e h r mi d t m , know it muc b tt r t an

the e e . I, of history of lit ratur and of criticism For if that history makes but o n e thing admirably and in disputably cle ar it is this : In every age the

d the N ew in so far as the r o duced celle t work accord xx p y p “ “ ' y g W w M r W M W W fi fi-fl ' M ‘ W

e e a e the e mo mmaims , In v ry g critical cons r

‘ v atives have protested in the name of eternal prin ci l h es ar e e e . p whic , alas , not t rnal at all And

e e e the g n rally, for such is human natur , innova

in h o n e e e o n e tors art and thoug t of g n ration, of

e e e h e e e he e e d cad at tim s , av b com t cons rvativ s of the next . In another ten or ﬁfteen years I may

e be e e mys lf frowning upon a still n w r criticism , a

e e . od the still n w r art But t ay I am in right,

ix e e h h the not of my own d s rt, but t roug ways of the World Spirit . W G LUD I LE WISOH N .

N ew C York ity,

1 1 January, 9 8 . CONTENTS

P F C RE A E , v INTRODUCTION

I TH E S OF TH E N EW T 1 OURCES POE RY ,

II OU N D ERS O F S 1 . FORERUNNERS AND F YMBOLISM , 0 Cha rles Baudel air er r Pa ul Verla in e ' Stephan e Mall a rme Gu s ta v e Kahn

T O F S S 28 RIUMPH YMBOLI M , 0 ) Hen ri de Régn ier ' — ) < c) J ean Mo reas Fran ci s Vielé - Gr ifﬁ n — Stuart M errill — Albert Samain — Remy de Go ur mo n M 's- 9 t d) The Min o rs

IV TH E T H P T LA ER FORCES IN FRENC OE RY , 53 a ) Fran cis J ammes Paul Fo rt 6 ) La te Ro man tics a n d N aturali s ts d) The Y o un ges t Gro up e)

THE POETS OF MODERN FRANCE

’ STEPHAN E MALLARM E: 1 T APPARI ION , 73 [xi] PAUL VERLAINE 1 1 F MY AMILIAR DREAM , 74 1 11 T T SEN IMEN AL DIALOGUE , 75 TH E Iv GOODLY SONG . 77 T T 8 V A SONG WI HOU WORDS , 7 T SO N G T T VI ANO HER WI HOU WORDS , 79 T 8 0 VII LA E WISDOM ,

ARTHUR RIMBAUD TH E TH E 8 1 VIII SLEEPER IN VALLEY ,

GEORGES RODEN EAC H T 82 IX IN SMALL OWNS ,

EMILE VERHA EREN TH E 8 X MILL , 3 8 XI NOVEMBER , 5 . TH E 88 XII POOR , F 0 XIII LI E , 9 JEAN MOREAS XIV o LI TTLE FAIRIES xv A YOUNG GIRL SPEAKS , 93 T Z XVI S AN AS , 94 JULES LA FORGUE XVII ANOTHER BOOK HENRI DE REGNIER THE F XVIII AIR HANDS , 97 AT XIX SCENE DUSK , 99 1 0 1 XX A LESSER ODE , ’ T FOR T T O F XXI INSCRIP ION A CI Y S GA E WARRIORS , 1 03 TH E 1 0 XXII ON SHORE , 5 TH E F T 1 06 XXIII ORES , C H RYSI LLA 1 08 XXIV ,

FRANCIS VIELE- GRI FFIN T 1 0 XXV O HERS WILL COME , 9 ’ TI S T FOR To T 1 1 0 XXVI IME US SAY GOOD NIGH , [xii] GUS TAVE KAHN 1 1 1 XXVII SONG , N 1 1 2 XXVIII PROVE CE ,

STUART MERRILL XXIX AGAINST THY KNEES 1 1 4 TH E O F TH E 1 1 6 XXX PROMISE YEAR ,

MAURICE MAETERLINCK TH E T O F ORLAMON DE 1 XXXI SEVEN DAUGH ERS , XXXII I HAVE SOUGHT 1 1 9

REMY D E GOURMON T TH E 1 20 XXXIII SNOW , TH E O F T 1 2 1 XXXIV EXILE BEAU Y ,

ALB ERT SAMAIN xxx 1 2 v EVENING , 3 PAN N YRE O F TH E H 1 2 XXXVI GOLDEN EELS , 4

ﬁE D MO N D ROSTAND TH E 1 2 XXXVII DRUMMER , 5 FRANCIS JAMMES XXXVIII THAT THOU ART POOR 1 2 7 X TH E T XXIX RAINED ASS , TH E 1 0 XL CHILD READS AN ALMANAC , 3 I N T 1 1 XLI AU UMN , 3 CHARLES GU ERIN T 1 XLII BRIGH HAIR , 33

HENRY BATAILLE TH E W ET T 1 XLIII MON H , 34

PAUL FORT THE 1 XLIV DEAD GIRL , 35 I M S O F 1 6 XLV AGEL OUR DREAMS , 3 ’ D 1 XLVI I YLL , 37 O F 1 XLVII BELL DAWN , 39 H Z 1 1 XLVIII ORI ONS , 4 [XIII] PIERRE LOUYS 1 2 XLIX PEGASUS , 4

CAMILLE MAU C LAIR 1 L PRESENCES , 43 TH E T 1 LI MINU E , 44 HENRI BARBUSSE TH E TT 1 LII LE ER , 45

FERNAND GREGH T 1 6 LIII DOUB , 4

PAUL SO U C HO N AT 1 8 LIV ELEGY NOON , 4

HENRY Sp I Es s

I . v 1 HANDS , 49

’ W N D I IAU RI C E MAGRE TH E T O F 1 1 LVI COQUE RY MEN , 5

LEO LARGUI ER LVII WHEN I AM OLD

CHARLES V I LDRAC LVIII I F ONE WERE To KEEP GEORGES DUHAMEL T 1 8 LIX ANNUNCIA ION , 5

EMILE D ESPAX Lx T 1 UL IMA , 59

1 6 GENERAL BIBLIOGRAPHY , 3

BIOGRAPHICAL AND BIBLIOGRAPHICAL NOTES ON TH E T T T 1 6 HIR Y POE S , 9

I X O F T CH E NDE FIRS LINES IN FREN AND NGLISH , 1 95 INTRODUCTION

INTRODUCTION

T H E SOURC ES O F T H E N E W PO ET RY

Le Po ete do it é tr e l e maitre

a s o des f o mes de l a Vie et n o n b lu r ,

’ en ét r e l es cl a ve co mme l es Ré alis tes

et l es tiii'alis te N a s .

STUART MERRILL

TH E e e e struggl of man , how v r blind and stum

h e e e e e bling, ow v r ch ck d by tribal rag and tribal

e - h e e h . h t rror, is toward s lf ood T is trut is sup r

ﬁciall e e h as e e y ass nt d to, it b com a glib common place to the sociologist : it h as really penetrated

n he few e e . T o ly a rar and lon ly minds maj ority,

e e e simpl and l arn d, talks of individualism and cries o ut upon the plainest implications of its own

e e . Y et doctrin . Not only in lif , but also in art the h Of e e e e O f e istory lit ratur , and sp cially po try, illustrates nothing in th e history O f the mind more [ l l ' '

ear than . fiaiis : t e an e e e cl ly, h p g of b aut th xalta

n r h the the e e e tio in t ut , Vision of trag dy of lif aris ,

the e e e e th e n in full st s ns , only wh n i d fividual lib a m W. “ l H “ a n tl er ates himself from the tribe and faces the un i “

V CISF3165 6 i e Tr bal lays , still larg ly communal

‘ ‘ di aﬁ d e e e e e - in th e e in ction m tr , r c iv as Odyss y

or th e N ib elun gen liedm an immortal accent from the voice of a namel ess personal redactor an d the

rude l egends of the Latian tribe from the melan

’ ho he e r o c ly beauty of Vergil s soul . T m trical

man ces the e e th e n are of Middl Ag s , on co trary,

e u h e o n e th he scarc ly disting is abl from e ot r, and even so cultivated an age as the Ren aissance illus

trates in its faded sonn et - cycl es th e domin ance of

h e e e e e a tribal convention . Suc v rs b com s strang ly

h e We hushed an d inarticulate in t e course of tim . listen for the3 9 19 9 pf man and 1122523murmur

of the tribe .

e h e e It is , in po try, c i ﬂy a matt r of form , of

he e e- h in h music . T tribal v rs c ant is rigid c arac

t er the e ar e e n e e he and minstr ls mor tha nam l ss , t y

h e e e e e The h ar e t e . , in p rsonal s ns , voic l ss p ilo

’ l o gis t s speculation s in regard to authorship r e main mere speculations There is very littl e of

e e— e e h s ns plays . Th c oes of this critic ar e all

“ ’ ’ ” : e oe ! about us It s b autiful , but it isn t p try

“ ’ ’ ” — u ﬁ er b ut it is n t r a l a l h h It s pow ful , p y As t oug ,

e e e e e e he e e e in som quit transc nd ntal s ns , t r w r a

e n - e e r o f divin , Plato ic, arch typal id a of po t y,

a m h h the the ee dr a, w ic it is duty of artist to s k, at

e h . I ar t a as l ast, to approac n , s in morals, in

e- the n his stat craft, timorous Absolutist cli gs to

e his the e e n Id a, formula, as p rman nt and abidi g e e e he e e h e e l m nt in t ﬂux of concr t t ings . H do s not s ee that th e abiding is in the trend to ﬁner

e ee e e o f e typ s , to fr r and mor p rsonal kinds s lf

e n h e his r alisatio , is, in fact, in t at dark ang l of

’ n h n e dreams , ma s will to c a g . l The last stage in the developmen t of poetic form

e he n e the e s th e e com s W n , u d r str s of mod rn world,

’ the poet s struggl e toward the realisation of his s elf- hood becomes so keen th at he can no t us e the

e traditional forms any more at all . H must ﬁnd his own form : his impulse is so n ew and strange

e e b e e that it must cr at its own music or sil nt . Not because he does not love and revere the forms o f

e he n e e h e th e mast rs . But can ot xpr ss ims lf

h h he he e e t roug t m ; cannot , to sp ak in a hom ly [4] he d em. e way, turn aroun in th T y com trailing

7 the e so much£19 13 . And glory is ali n to his very

n e e e he e urge t and imm diat busin ss . T v ry splen

he as soc1at10n s the h the o f dor of t ir , t rob of music

h e e e ar a t ousand voic s , nobl r, p rhaps, than his , p

e alyse him. H is like

in the broc Y et he

be h e o r he must ims lf is nothing or, at most , an e h e e e cho . Such is t e sound and l gitimat r ason _ _ 5

e e e e ee e e h for thos xp rim nts in fr v rs , in rhyt mic

e e e e e e and rim d pros , which hav aris n in v ry fully equippe d modern literature within the past twen

t - ﬁve e h h n ew y y ars . I must not say t at t us a and personal kind of truth in beauty h as yet been quite

e e the e h n eces achi v d . But impuls is rig t and

the the on e e the e sary, and aim only l ft to mod rn

e e ce wh e ffi e e po t . H n il o cial criticism sits, as v ry

he e the e e Of w r and always , amid wr ckag its c m e h e e the e the om andm nts and its prop ci s , po ts of modern world have gone forth in search o f a n ew

e n e fr edom and a w music .

I e e the e e c the abso hav spok n of pr c ptist ritic, lutist in criticism with his laws and fo rmulze ante

ceden t to experience an d to art which grows out of [5] e e e e he n xp ri nc . But anot r ki d of critic has ap

ea e h as ee he he r d . o n e h t p and b n ard And suc ,

e e de . h as lat M R my Gourmont, admirably

“ summed up th e whole matter : The o n l excuse W W ym that a man h as for WI Itm is that h e express his - W g h w - x 'u ” aw3 m m W M w w u m m m . M W N W M g s e that he re veal to others the kind of world

not said before and say them In a form n o t fo rmu

e e h e . He e e is ae h e lat d b for must cr at own st tic,

— an d we must admit as many aesthetics as there ar e origin al minds and judge them according to what they are an d not according to what th ey are

3 , not .

I e e e e e the n ew e the n Franc , as ls wh r , po try and n ew criticism sprang from very deep sources in the life of the mind and corresponded with the larger

h n a e the e h e tendencies of t e ew g . For poc sinc the Revolution may almost be divided— if every formula were not insufﬁci ent a littl e empty “ and into three periods of struggl e for the three kin ds

e h we : in tell ec of lib rty t at must attain political ,

the h e e tual , moral . And in istory of Fr nch po try [6] three schools interpret closely and in right succes

n the e h ee h es T o the sio s t r p as , Romantics of

e the e e Franc , as to Romantics of England ( xc pt

he e ee w r i ar i an e h n S ll y) fr dom m lym out r t i g a p in . i w concerned with votes and governmental action : to

th e P the it was 3 9, n M “

reason draw its own sombre conclusions from hat a s . w . m I the e e vision ; to Symbolists , mod rns , it is mor ;

’ it is the right to complete realisation of one s self

hoo d— which inm m ﬁ

e— in h n ew e tic action and in art . It is t at id alism

“ h h e e n th e ee w ic , to quot Gourmont again , m a s fr an d personal development of the intellectual in ” dividual in the intell ectual series .

n These movements ar e general and Europea .

On e need adduce no extern al in ﬂuen ce to accoun t for their appearance in an y of the great literary

n e th e e - n n e e ations , l ast of all in s lf co tai d and s lf

n et ee sufﬁcient intellectual life of Fra ce . Y it s ms

very certain that the modern movement in Fren ch

poetry drew a good deal of its deeper guidan ce

from the on e literature in which Roman ticism had b

h e e e in e s own littl if any int r st political lib rty, but [7] e h h e e v ry muc in t at of p rsonal conduct, of sp cula

e l et e n . e d tion and of art H r I may M . Gourmo t

“ e e e : e the h n sp ak onc mor In r lation to man, t inki g

e the h e e the subj ct, world, all t at is xt rnal to

1 e n t e e o f h h he , xists only accordi g to h id a it w ic

h e h e W e n e s ap s for ims lf . know o ly h nom na, l p e ? . ﬁ n” T. we reason only concern in g appearances : all truth m W w mw w w m “ in e itself escapes us : the essen ce is unapproachabl . It Is this fact which Schopen h auer h as popularised in his very cl ear and simpl e formula : the world is ” e e e n The en h my r pr s ntatio . Fr c Symbolists , in o he e he e O f ee in e t r words , dr w t ir doctrin fr dom lif an d ea the e the art partly, at l st, from doctrin of

- he H. . . ha o e . T M p st Kantian id alists M LE E t t proj ects the Vision of the universe stands above I t m fl w m ‘ f m os v w fl w fi fl a w - E m and need not b e bound by the Shadows I t has itself “ I J a w evoked The Inner realities became th w e

‘ realities Maeterlin ck translated the Fmgmems of

“ Novalis ; Verh aer en declared that the immediate ” h e e e h e he e en d of t e po t is to xpr ss ims lf . T m

phasis placed upon the un ique and creative self might possibly b e attributed to the Flemish and

e e O f he e hence Germanic t mp r t Belgian po ts .

But during the crucial years of the Symbolist [8 ] movement the same View was shared by the most

e L e who e the e h e pur ly atin po ts us d Fr nc tongu .

In his e e e e de e e xc ll nt monograph on H nri R gni r,

e de e e M . J an Gourmont sp aks of this matt r

e e : in unmistakabl t rms Symbolism was not, at

e e e ﬁrst, a r volution, but an volution call d forth

th e n e h o by inﬁltration of w p ilos phical ideas .

The he e h en e e e t ori s of Kant, of Sc op hau r, of H g l an d Hartmann began to spread in France : the

e e e e he po ts w r fairly intoxicat d by t m . It is cu r io us e h e the O f to not , in t is conn ction, omission

’ ichte s e he men e h ee F nam . But t young of ig t n hundred and eighty - ﬁve were not exact students

h the hilo so and thinkers . T ey simply found in p phy of a deﬁnite School and age a vision which ac corded with their o wn innermost feeling concern ing the n ew freedom that must b e won for life and

for its close and intimate express IOn In the art of

e po try .

[9] II

FORERU N N ERS AND FOUNDERS OF SY MBOLISM

’ En Vérité il n y a pas de pro s e : il y a ’ l al habet et s des e s o u o in p , pui v r plus m s

s e s s ou mo n s rré , plu i diff us . STEPHANE MALLARME

Le e s e au e e e o mme v r libr , li u d tr , c ’ l an en e s des n es de o s e o es ci v r , li pr c upé

ar des mes r é ul ié r es o t e s e p ri g , d i xi t r

en l ui- méme pa r des allitératio n s de

o e es et de o n s on es e e v y ll c n par n t s .

T K HN GUS AVE mA

TH E young men of eighteen hundred and eighty

ﬁve e n e e e e e b ga , as was natural , by an n rg tic r b l

h o In an h lion against t e d m t school of poetry . T at

h the e e as e e e sc ool , Parnassi n , cultivat d, v ryon

k e V e e nows, obj ctivity of ision, sculptur squ full e e e e el er n ss and p rf ction of form, a compl t y imp

e ee n o sonal attitud . It had b n practically if t ofﬁcially founded When Gautier published his [ 1 0]

e e e h e e young r g n ration t at want d intimat , con

e e h e e e en cr t trut , subtl and p rsonal , not larg and g e h e n Ot t ral , t at want d, in a word, g gggge p i ﬁ h W lyricism in evit ably arose against him and his fel , ‘ lows— again st the rather timid naturalism of

Co ée the e e e Francois pp , against glitt ring d xt rity

Téodo re de e the e n e In r ac of Banvill , xpou d r p tice an d criticism of the Parnassien techn ique .

The e the e e the young po ts of tim turn d , among men e n ee h o n e e of th ir own la d and sp c , to d ad an e h e e e d two living writ rs : to C arl s Baud lair ,

e n e é h e e Paul V rlai and St p an Mallarm . ' e th Les Fl ew ; a u Mal 1 8 It is tru at in ” W ( 57 ) W W “ ’ Baudelaire s verse is as ﬁrmly and precisely

’ e e his e ar e s o mould d as any Parnassi n s, rim s as

h s e e n i . I noro s , stanzaic structur as xact Only n the sweep and passionate spe ed of perhaps two

' e e Le Bal co n Ha r mo n ie d a s ozr : pi c s , and

‘ Voici v en ir l es temps O II vibr an t s ur s a tige

’ ’ Chaque ﬂeur s évapo r e ain s i qu n n en c en s oir

e e fl e e the is there a n ew cad nc . His in u nc upon

1 Lord Alfred D on at s tran s l ates h appily if freely

“ T s is th e o w en s w in n in h e eeze hi h ur h gi g t br , Each ﬂow er like a cen s o r s heds its sw eet [ 1 2 ] f r

e his h strang and morbid soul , Marsh summons to Others to cast aside their masks of moral idealism an d confess themselves n d his kin

“ o t e e — mo em a e— mo n f r ér e Hyp cri e l ct ur n s bl bl .

It was due to his belie f in the u explo r ed wealth q M “ ﬁ u'M ' of beauty and horror of the s ub ective self : m ” 4 m m : in o f m " m u

' ' " ' " ‘ " ‘ - ' ‘ - fi o 9 l - ' N i l f- Z r f w , l z h fi fi t fl f ( Q v m . e . - ~ fa - d - a w n 1 i:f m m w Wu . 1 w n : a. n m u » E r m . _

An d h e e e e the S mbo t at is, in a v ry r al s ns , what y

h . n o e t e dem set Out . lists , mo s, to do Fi ally, by s m

e e e e e strang pr vision , or ls in a mom nt of imagina

e e he Off n e n e Co r tiv capric , struck in a si gl son t , r espo n da n ces (which h as been quoted again an d

th e e e O f the : again , ) subtl st doctrin Symbolists

“ La n ature es t un temple 0 11 de Vivan ts pilier s Lais s en t pa rfo is s o rtir des co n fuses pa ro les ;

’ L ho mme y pas s e £1 traver s des fo r éts de s ymbo les ’ 3 Qui l ob s er v en t a v ec des rega rds f amiliers

1 “ ” Hypocritica l reader— my fello w — my brother ! 2 “ u 9 n o o n e h as s oun ded the 9 9 f 3 Nature is a templ e w erem livi n g co lmun s so metimes let co n fused w o rds es c ape ; man w an d er s there acros s forests o f s ymbo l s ” w c O se hi m a l an s hi h b rve m w ith fa ili r g ce . [ 1 3] To capture these obscure but revealing hints

t the e . hat, too, was part of symbolist programm But the in ﬂuen ce Of Baudelaire upon th e living poets of France was slight compared to that ex

er ted by o n e far stranger and far greater than him

e e e 1 8 Ver s lf, by Paul V rlain ( 44 For laine was not only almost their contemporary

th e w a r c l l m aJ CI eatur e , giving ﬂ m h dl a m N i i ii i ‘ d‘ , he e e h e e e t m , as on a m morabl occasion did to G org

e e e e e in b ed Moor , som divin sonn t scribbl d In a fetid slum : he was also the pp res t lyricm W W W 1 ha he 43 rance d ever known . T most musical u i ' ’ son gs o f tliemo man tics have a touch of self- con

s c sn s e e io u e s an d eloquence compar d to his . P r haps an infusion of Northern blood ( he was born at Metz) gave him the soul of a minstrel and a child ; w

un r es

n e e h e e e the a even l ear d t c nician . H mast r d F r

nas sien method in his youth and used it exquis

el e e the e e Po émes it y . But v n in arly and corr ct

' s a tumzem ( 1 866) there is the unforgettable

’ a s o n d Aul o mﬂ e h e h h Ch n wit its strang sob , wit t at

e the eff e the e not of in abl , b yond in human longing [ 1 4] ie cin he n e e e r . v r, at l ast and l ard

Eight years later had come the R o man ces s a ns

’ Par o l es the h he e e , ig st point, probably, in V rlain s

e e e e e e e lyrical achi v m nt, and again s v n y ars lat r

ess e e the h s e n Sag e . But v n in days of i d clini g

e int he e he he the pow r, coll ctions publis d w n mod ern movement was fully under way— Amo ur

‘ Par al l el emem ( 1 889 ) — he kept the mar v ellon s gift of ft In the hearer of his _ I L.

“ Mon a e en fan t a o x dan s l e Bo s de Bo u p uvr t , v i i ” 1 l o gn e or of imaginative splendor W

“ ’

Et 6 ces o x d en fan ts han an t dan s l a o o e . , , v i c t c up l

I In that word lies the secret

e e o f ffe e e the of V rlain , his di r nc from all past of

e e e e e e Fr nch po try, of his pow r ov r its pr s nt and

e e e e e h the futur . H do s not xhaust his subj ct wit glowing but appeasable passion of the Romantics ; he e his the do s not paint vision in hard, luminous

1 “ M oo c ild oice in the Bois de Bo l o ne y p r h , thy v u g 2 “ ’ An d 0 os e c ild en o ices s in i n in the o l a . , th h r s v g g cup [ 1 5] colors of the Parnassiens ; h e strikes a discreet an d

t l eav es its Vibrations in the W M W MW M M W he d the VFS e h an n er To r ver . e e art in His po try, as

’ ‘ f flfl v - 9 - fi m d —t t r fl s “ 9 M m fi fl 34 " 4 wa ‘ d WES el re i h e e i e e w l awa , w t dr w d l b rat ly from any relation to the plastic arts ; it is full of images ad

“ I \ W W W W dressed to the c ar ; It seeks magIC rath r than beauty ; it asks o ur tears rather than our admira W

i n h h th n e e t o . Words w ic e Parnassie s h ad us d lik th e brilliant stone fragments of an Italian enam eller were to Verlaine notes in the musm of thought an d pas sion ; it is in this sense that he called his

n e e o o o s h ﬁ st volum : S ngs With ut W r d . All t is

e e e h e e l r i is , of cours , m r ly saying t at V rlain Is a y cal poet of the type of Shell ey or Heine . But as such his achievement was quite n ew and r evo l u

“ h ~ an ce t ion ary in t e liter atur e Of Fr .

Less revolutionary was his inﬂuence upon form .

He was bitter against the wrongs done by the Far ” M M n s i the e e he e e a ams t enﬁ wm ; s M nam of rim prot st d g g “ -1 M umm 3 their sonorousness as he did a ainst th eir brilliance pgm w m m w w 8: v m uw m w _ m ﬁ 1 “ f w ‘ r as d e co ul eur men ue l a n uan ce — h e e p , q us d

' N “ c c ‘ 1 ) e r zkmes zm azr s e e 0 f e en e1e e t y p , v rs s s v , v n and thirteen syllabl es ; h e strove to make the music of

e e e e e e e n . He v rs subtl r, mor ductil , mor quiv ri g gw m m ﬁ u j’ g [ 1 6] can n ot be said to have introduced any fun damen

h e e h e n he e n tal c an ge . Y t ev ryw re amo g t mod r

e is h e the h e e e his po ts ard music of t os pal vow ls of ,

ho e e e e in the n e e Men t s tr mbling v rs s , as li s call d

‘ a ez hi h e the e n M e n w c mad r putatio of . F rna d

’ G r egh because they were mistaken for Verlaine s :

han s o n f r él e du a e n C cl v ci ,

N o es r él es f an es s a m t g , uy t i ’ ” 1 Qui s éfIace

The e e th e em h e e dir ct mast r of mod s , ow v r, and the acknowl edged founder of the Symbolist School was Stéphane Mall ar é ( 1 84 2 a man Of yﬁ a very thin though very ﬁn e vein of auth en tic gen

e e h men his ius . His pow r ov r t e younger of day

due n o t h e en his was w olly, not v primarily, to

he u n e e e s af of a d u dulating v rs . H had M W W ” n- e n ee he e r ﬂected c l o s ely . a d d ply upon t sourc s of poetry an d upon the n ature of the po etic imagina tion ; he commun icated th e results of his thought n o t on ly in his critical fragments but in exquisite mon ologues durin g those famous Tuesday eve n in gs of his in the Rue de Rome which became an

1 “ a e so n o f th e a s o d a e s a n o es a ﬂeein Fr gil g h rp ich r , p l , h rp t , g s w arm th at fades aw ay n the e e h he e h institution i middl ig ties . T r gat

“ ered to b e with him in th at drawing room fain tly lit to which the shadowy corn ers gave the aspect

” “ e e an d h e his s e of a t mpl an oratory, and to ar ” ductive and lofty doctrine on poetry an d art

hn h an d L e V n an d Ka and G il aforgu , M

Ré ie r M an d L Maucl air , , Stuart a ggi! ouys and John Payn e and Arthur Symon s an d a group of

e e en W e e n e e h l ss r tal ts . pass d u forg ttabl ours

“ he e kel the e e M. e Mo c t r , writ s Alb rt , b st, doubt

e h e h e e An d he who w . l ss , t at s all v r know made us welcome there was the absolute type of

e the he han e the h po t, art t can lov , brow t at can

n e n n e h n et n n u d rsta d , i f rior to not i g, y disdai i g

n he e e e h h n e e nothi g, for disc rn d in ac t i a s cr t ”M M ‘ M W g m teachin or an image of Beauty The tributes g - M u i u of the yo dn ger mea t liezr d him thus form a small body of very beautiful writing an d in clude nobl e verses of memorial or praise by Vielé - G r if

ﬁn L h e e . e , by ouys and by R gni r T e latt r de

' ’ scribes in th e ﬁn e dedicatory sonnet to La Czl é a es

Ea ux the extern al aims Of other poets an d then turns to Mallarme their rej ection (in th e heat of the reaction again st the Parnassien s of th e obj ective

n e h e en e e e he of Sig iﬁcanc , of trut , v of xist nc , t ir

e h the n e e th e n h s arc for stra g and myst rious , u o se rved and un heard Of in th e shiftin g vision s of the But I shall l et Mallarme speak

“ e for h e : e e s bri fly ims lf To nam an obj ct is toW pp M M W press three- fourths of th 6 by lit m fl w m w w m n m wm ez r m m w y w r mw gr w flw z tl e ; poet 1c v is IOn an ses fro m Suggestion ( l e s ug

’ ' er er Ue zl l e IS the er e use O f h y a e r v e ) . It p f ct t is

e h h n e th e e e myst ry w ic co stitut s symbol , to vok little by little an obj ec t in o rde r to Sho w a state of

‘ e e en e e soul , or, inv rs ly, to dis gag from it a stat of soul by a seri es of To this may b e added a passage from the famo us man ifesto which

e n e in his i he J a Mor as , symbolist days , publ s d in

' ‘ Le z r o e e e 1 8 1 886 V S mb o lis t F ga ( S pt mb r , ) y poetry seeks to clothe the idea in a sen sibl e form

h h e e e e h n o t b e n en d w ic , n v rth l ss, s all its ﬁ al and

h e e e e e e the e aim , but s all m r ly s rv to xpr ss id a ” n e ve n h e e e a which remai s subj cti . I t is s nt nc p [ 20 ] e e e e e e e p ars v ry cl arly, so cl arly as p rhaps nowh r

’ e e the e ls , Symbolist s r action against naturalism

“ in h h n the he the bot art and thoug t, agai st avy and ” e e h b e e w ary w ig t of an o j ctiv world , its insist en e the ee the e c upon fr dom of cr ative soul .

’ Mall armé s e e h e p rsonal t ac ing and practic was , of

e e e e . He e e e e cours , mor sot ric dr am d , lik Wagn r,

e e the o e whom V rlain and all Symb lists ador d , of a s s e e W ajg . A po m was to partak of h IO h h the s i SO ic h . music, of pla tic arts , of p p t oug t

e h his e e the e e en e e To ac of v rs s , in xc ll t int rpr ta

“ d zé a he h . Téo do r e e W w at tion of M y , soug t to tach several superimpos ed sen ses Each was to

ment of that large an d mystic harmony in which

was e en I e e e It all ss tially , r p at, a lib ration from

th e e the e i e the e en e e sci ntiﬁc, obj ct v , r l tl ss r ality

of earth to which— in the doctrine of the Natural is ts — our souls ar e in bondage ; it WW

e the ee e th e p rsonality, of fr dom and spl ndor of

w n u 4 m W W “ o W in n e e I s a1d 1n s ta r t1n the r s lf it was , as g, m a “ W

s t r ivi to w a e - r d h . n s~ lf ood “ ? gw pu t W m u ” m l a mp. [ 2 1 ] The n ew Spirit of poetry demanded a n ew form .

To th e discovery of this n ew form Mallarme h ad

n e he e e h co tribut d rat r less th an even V rlain . Bot

e h h e e n ew e e h n the e e us d, wit w at v r cad nc s wit i v rs , with whatever n ew lightness and brightn ess of

e the e h en h rim , traditional m t ods of Fr c prosody an iden tical number of syllables in th e corre s o n din n e e e the i i e n p g li s of a giv n po m , r g d alt r a

n e femin e e he . tion of masculi and rim s , a rat r strict limitation in the number an d character of stan

h e h zaic forms . From t is descr ipt1on it is cl ar t at

' the ver y Zzbr e inven ted and cultivated by the Sym b olis ts did not mean any extraordinary liberty of ver siﬁcation from the point of view of an y pros o d h e the e En y but t at of Franc . To po ts of g land and German y an arbitrary or person al varia

e en h the C e tion of lin l gt , as in Pindarics from owl y

e e ee the on , ntir fr dom of riming, building of qua train s o n a sin gl e rime h ad been immemorial po s

e he ha in h n n e e . d s ssions T y , trut , lo g go b yond the earliest in novations of the Symbolists . For

e he hn L e e e- ffin e e n it r Ka , aforgu nor Vi l Gri v r dis

e e h B h h ad ee n e t o card d rim w olly . ut t at b n do ,

n o he he an d he e go back fart r, by Sout y S ll y, by [ 2 2 ] e he an d e n e he Go t Novalis , by H i and Matt w Ar

1‘ he e o l ibr e he . T er : nold arly , t n, was simply a

ﬂexible and rather undulating form of lyric or odic

e e e e the e e en v rs , following in its cad nc s d v lopm t,

’ the e an d th e e h n ris fall , of po t s mood, furnis i g in its swayin g harmonies an orchestration to

h n n If e e h h thoug t a d passio . Lyrical pi c s of t is c ar

’ ’ e are Verh aer en s N o o ember x1 e n e act r ( ) , R g i r s

’ cen e a t D us k xrx hn Pr o ven o S ( ) , Ka s g

’ xxvm an d Go urmon t s The Exil e o Bea ut ( ) , f y ,

1 ( xxx v) .

“ To h hen e e . d w om , t , asks M R my Gourmont,

? ” “ do w e o we o er ; l ibr e And he an swers : To

Rimbaud who se Il l umina tion s appeared in La

Vo ue 1 886 e L e who the e g in , to Jul s aforgu at sam period an d in the same precious littl e review

’ hn e n — which M . Ka was diti g printed Légen a e an d

o l o ale L a n e n h h e S M. . , and, ﬁ ally, to Ka n ims lf

ee e h th e n n It would s m , as a matt r of fact, t at i o

v ation s of Rimbaud were slight an d that Laforgue

’ e M h he e e he kn w of . Ka n s t ori s for many y ars . T

’ ’

e Les a lais . N o maa er 1 88 latt r s P ( 7 ) was , in addi / n the h e e ver r f tio , ﬁrst actually publis d volum of n

it made a great stir in both France an d Bel [ 23 ] gium and was directly responsible for the prosodic

’ development that continued with Viele- G r iﬂin s

J ozes th e e Ré n wi its signiﬁcant pr fac , g

’ ier s Po é nzes a n ciens el r o man es ques

’ and Verhaer en s Au b ar d de l a r o ute No furth er innovations in French ver s iﬁcation were

e e e e e e de e e mad until quit r c ntly, xc pt by M . R gni r when he almost though not quite aban doned rime

‘ in the charmin g Odel el zes of his volume Les J eux ms l iga es el divins

e e e e e en evi Th r is availabl , at l ast at pr s t, no dence of any direct foreign in ﬂuence upon th e rise

ee e e e h e e e he e of fr v rs in Fr nc po try . Nor, w r t r

h e e e I b e n h suc vid nc , would willi g to attac any sig n iﬁcan ce e h e ee to it . A gr at many sins av b n com

e e e mitted by the scholarly s arch for inﬂu nc s . A saner and more philosophic vi ew of th e history of literature regards th e appearance of n ew sources o f inspiration and n ew forms of expression as out gro wths o f those larger spiritual forces that ar e

wont to affect at the same time or almost at the same time groups of people that have reached a

n he e n e e like stage of developme t . T mod r m r gence of the free personality from the merely po [24] litical individual— the voter who in his day suc ceeded the tribesman and th e slave— accounts for th e change in th e passions an d the forms of poetry

e h e an d he e an d e e in Go t in S ll y, in Whitman H nl y,

h ehmel e de é n ier in Ric ard D and in H nri R g .

h e e he h T us , too , it is int r sting rat r t an important

“ he M h n e . : e e a d w n Ka n says I am p rsuad d c rtain,

I e e h the en e mu as far as am conc rn d, t at influ c of 3 Wsic l ed us to the perception ofW e mo r e u1d e e h the 51 onc r cis , and t at mu cal y fl fl m g

M r dith iio t n n e y g o ly Wag r, but Beethoven an d Schubert) had their i n ﬂuence upon my con ception of verse when I was capabl e of ut

” “ ’ e n e e n t ri g a p rsonal song . A p rso al song that ambition is the secret of the age an d the move

“ e The e h e his e m nt . po t s all ob y p rsonal

“ ’ h - ﬂi e h h e eGr i n e . T e e r yt m , M . Vi l r p ats po t s

on ly guide is rhythm ; not a rhythm that h as been

e n e h e h n e h l ar d, t at is crippl d by a t ousa d rul s w ich

he h e e e e n h h h ot rs av inv nt d, but a p rso al r yt m t at h h e must ﬁnd Within himself T us M. Adolph

Retté summed up the matter so early as 1 893 in

h c h n n e t e Mer onr e d e Fr a n e . o T us o ly, may add,

“ did these poets hope to achieve that personal £25] h h the art w ic , according to Gourmont , is only art .

In the works of the earli est practitioners of free

e e e e he ar e the n ew v rs , gift d po ts as t y all , form had e timbr e h e e n , at tim s , a t at was m r ly quai t

en e he e n or an air of con scious viol c . T p rso al

h h e e l in the e the r yt m , sp cial y structur of stanza

he e e- h— a t in the or, rat r, v rs paragrap was p , days

e an d e b e e e h of prot st pol mic, to mor p rsonal t an

h h he h n h e e e the r yt mic . In t a ds of t os m mb rs of

h h e e who e e e e sc ool , ow v r, w r capabl of a notabl

n e e e e the n ew ver s l ibr e e e in r d v lopm nt, b cam an i n strument of poetic expression that gave not on ly a n ew freedom but an ampl er an d more Spiritual

h e music to Frenc v rse : an i n strumen t at on ce plan:

e an d e h e e g nt sonorous , capabl of bot subtl grac

h as e the e n and large maj esty . It surviv d r actio s and n ew experiments to b e chron icl ed later ; it is

e e e er n an d G r e used by so r c nt a po t as M . F gh as the eh e h e h e v icl of w at is , p r aps, his most admirabl sin gl e poem J e vis .

’ M ai s 51 mo n to ur j a u r a i co nn u l e go ut chaud de l a vie

’ a a m an s ma n e e J ur i iré d pru ll ,

Pe e m n e lo e tit i ut éb ui ,

[ 26]

III

T H E T RIU MPH O F SY MBOLIS M

La n ature parai t s culpter Uh vis age n o uv eau a s o n éte rn ité ;

’ — a he To ut bo uge et l o n dirait l es ho rizo n s en m rc . EMILE VERHAEREN

Elle me dit ; Sculpte l a pierre

Se o n l a f o me de mo n o s en t es en s es l r c rp p é ,

3 , Et f a is s o urire au blo c ma fa ce cl aire HENRI DE Ré o N rER

THE movement was foun ded ; the in strumen t of e e e he e e xpr ssion was forg d . T r aros from it two

e h h an d e e h e the po ts of ig m morabl c aract r, two I have already named : Emile Verh aeren ( 1 855

1 e e e n e h h 1 9 5) and H nri d R g i r (b . T oug

Verhaer en e e e th e e M . di d but , as it w r , oth r day,

e e e n the e and M. d R gni r is j ust arrivi g at rip st

e his e he e b e n o e o p riod of own g nius, t r can r as n

e h he e at e the e h abl doubt t at t s two , l ast, of Fr nc [ 28] poets Who started as Symbolists h ave permanently en he the e e the ric d lit ratur of world .

They resembl e each other in noth in but in the W M m language th ey us e an d in certain n ew l iber ties o f “ ﬂ " b w a n w w " . ’ f’ “ M u " ﬂ — M s -M ‘ o W a n t u M l any m m e e n men xt r al form . As and as artists th ey ar e

Verh e en ee e . a r th e h d ply divid d is a man of Nort ,

ild e n s i o o of w m s a drn t c ar , u al t atio n s a s he h g gg gonie . e e e ﬂ T r is a touc of f v r in his vision s both of his Fl emish coun try - side and

he en e n e h he e of t turbul t mod r citi s t at loved . H sought ﬁnally to rele as e his tortured soul from the

e e n e n it— n o t e bondag of s lf by si king it , m rgi g lik the e n in n e bu t G rma ic mystics of old God or atur ,

b ear the f h a t a hem at i . M t eo al zal et e n e He M. L n B t o was, as g ,

“ o f his e e h e most int llig nt biograp rs , says , a bar barian whom fate doomed to pain t his vision s by the help of a lan guage made rath er to tran slate the delicate and reﬁn ed sen sations of extreme civ

” “ ” “ He had e e o f e e tr a ilisation . no s ns m asur ,

” “ ” n e He h his e ditio , good tast . is wit po tical

e the h C ar pow rs a man of Nort , j ust as truly as

e h e e n ut . lyl . T at is w ll and t lli gly p [ 29] ’ Verh aer en s he e h p From work t r arises ﬁn ally t e yi;

o n n e e in n o t ho ee f o si of a u iv rs tumult, w lly fr r m

h o mi w e een m e e an d c a s , d ay b tw for l ssn ss form ; i again s t a black an d desolate backgro un d ﬂare the

( silver vision s of th e soul an d the scarl et ﬁres of

ee f n h n st l ur aces . In t is un iverse the poet wa ders

ee n e n o n n n it in an s ki g r st , u i , ﬁ di g at last act of

co m - l e te cce n e e n en e h the a , of utt r o ss wit r w ‘ fo rces that shape the world,

His e n e e h o en to the styl is , c ssarily , w lly ali tra

o n f h e n he e is o n n in o t L . diti ati s T r a c sta Mt Wstra

in t o e e the in e e e v n e o f o n

g ’ x r ssibl ast i ss visi p t w M a m m ﬂ . n m p M w w w q m i g a m ” x r ss an d o n to u t in o ee h h hi h n passi , p t sp c t at w c tra

h mo h o h h is o hene en . sc ds it T us , al st t r ug out w rk, t

an n n e e me to o e an n is abu da c , som ti s gr at abu

“ n e o f o n o hin s ar e him en o da c , str g w rds T g to r

“ ” “ ” “ o i e n h e mous f rm dabl , mad , a guis d, bru

” “ ” “ ” e e e e he s e . T e tal , f rocious , bitt r, f v r d titl

of some of his books ar e in s truct1 ve 1n this respect

a ck Tor ches L es Fl a mbea ux n o ir s The The Bl ( ) ,

’ ’ Ha ll ucin a tea Co un tr y Sia es ( L es Ca mpagn es ha

’ l a cin ees The Tumul tuo us Fo r ces L es Fo r ces ) , (

t ma l tn ea s es The Ma l t l e S l en d o r La Ma l o 2, p p tipl e Spl en cl ea r Everywh ere on e shares his own [so ] n e e e the n e o f n e impassio d s ns of i ad quacy la guag ,

of the weakn ess of imagery which he strives to

overcome by the use of sharp contrasts an d of di

rect an d force ful verbs

“ ’ ’ ’ o o e Vi s ages d en cr e et d o r tr uan t l mbre et l a brum .

In he o n e e e e h Ver ot r words , n v r los s sig t of

’

h aer en s hi . He is e n de racial kins p a Fl mi g, a

s cen dan t of the men whom Rembran dt pain ted

— - a ie n e e . He full bod d , i satiabl , G rmanic folk was profoundly conscious of this fact and gloried in it

“ e s s l e ﬁl s de e te a e J ui c t r c , Do n t l es cervea ux plus que l es den ts So n t s o lides et s o n t a rden ts

E o o t s n t v ra ces . J e s ui s l e ﬁl s de cette r a ce

Ten a e c ,

e a es a o o Qui v ut , pr v ir v ulu 2 En o e en o e et en o e s c r , c r c r plu

On e feels in such verses almost the march and ac

e o f e vers iﬁc atio An d Ver h aer en c nt G rmanic n .

1 “ Faces o f in k a n d go ld bo ri n g the s h ad e an d fo g am a so n o f t a ace w o s e a in s mo e an e h t r h br , r th th ir tee ar e So l l a n r f d d a e a d en a n d v o ac o us . am a sbn o th , r t r i I a en ac o us ace a des es a e a n d es i ed th e mo e th t t i r th t ir , ft r h vi g r r , ” more yet an d ever mo re ! raises this impulse o f his blood an d race i n to a phil 0 50 phic vision an d a principl e of conduct

‘ V Et e a s : La fo e es t s a n e j cri i rc i t .

’ Il f aut que l ho mme 1mpr 1me s o n emprein te

o emmen s u r s es es s e n s h a s Vi l t , d i rdi Elle es t c elle qui tien t l es clefs des pa ra dis

Et o n l e a e o n en f a o n e l es o es . ‘ d t l rg p i g it t ur r p rt

It is eviden t that the style an d rhythm of such a

e i n o t e e po t w ll seek, ﬁrst of all , aft r b auty but

e e h i e 1 t h s aft r pow r, t at in its fa lur will touc Egg

l h is in its success s ﬂl mg y . And t at lit 199- 95 u ’ erall e Verh aer en s e y tru of styl . The developmen t of his min d and art is im

e e s portan t not only for th stud nt of hi verse . Its

a e h th t he e e e al n tur is suc a b com s, by virtu of it, mos t symbolical of his early volumes ( Les Fl a mma

Mo ines fhe e en in the a ) , works vid tly tr dition of Ruben s : he sets down a l ar gems tr o n

' IW thin gs ; On ly in that vision ther e is e e e he h an d d e m alr ady, d spit all alt vigor, a 3en g

“ ‘ 1 n i A n d I cri ed o ut : Fo rce its elf is s acred . Ma must v o l ently stamp his imprin t upo n his bo ld d es ign s : it is fo rce th at ho ld s the k eys o f a ll p aradi ses an d w hos e l a rge h an d makes ’ their gates s wi n g Open . [32] e i mlancholy , a myst cal There followed a period of acute mental an d phys ical distress ( 1 887 borderi n g at times upon

the h h h he e in i e pat ological , in w ic xalts pa ts lf

h he e wit an almost savage note . Gradually t

e L e he e him en e e e cover d . ov lp d and g tl m mori s

an d i e e i e i n h h , at t m s , xqu sit vis o s suc as t at of Saint

e e th e him G org , symbol to of spiritual valor

“ ’ ai mis en s a a e ma n ﬁer e J , p l i ,

Les ﬂeu r s s es e tri t d ma do uleur .

the e n e e en e n e he But lib rati g xp ri c , si c could ﬁnd

e e n o e n e i e p ac in form of p rso al id al sm , r ligious or

h h e him b 1 8 2 h h p ilosop ic , cam to a out 9 t roug his

iden t 1ﬁc atio n h the e en wit Socialist mov m t . It

e n e him h n h n n h e m a t far mor to t a a uma itaria op ,

h h h : e the t oug it was t at, too it m ant now possi b il it e in the o e n 1n l tS en e y of acc pt g m d r world tir ty,

en n h e h n o ff the e id tifyi g ims lf wit it , casti g burd n h e . In a n n e e e his of s lf t t i r urg ncy lay , of cours ,

e e . B the e e his w akn ss ut proc ss , too, clariﬁ d

thinki n g magn iﬁcently an d freed him from many

of the common an d futile causes of moral pain :

1 “ ‘ l a d n o his o d a e an d the s ad ﬂo w e s of m I i i t pr u , p l h r y

[33] ‘ Les dro it s et l es dev o irs ? Rev es divers que fa it 1 e an t ha e es o n e f l a e n es s e d u mo n e D v c qu p ir u , j u d

He now established in his visions and his verse that contrast between the past and future of civili

e him the an d the sation , symbolis d for by country

’ city and the latter s encroachment on the former :

“ ’ ’ L es pr it de campagn es était l eSpr it de Dieu

’ s n e o e a o i1 s e s a en l es h am s L u i r ug écl t ul brill i t c p , ’ ” 2 o o d lis e La fumée a ﬂo ts n irs r as e l es t its ég .

the et e Again and again , as in turbidly y gr atly

’ a n e Les Cor n ier s h e e the im gi ativ , compar s long ago with the burning present :

“ ’ a s — c était l a vie a en e o a o e J di rd t , év c t ir ;

’ La o an he de e l a o o e en fe Cr ix bl c ci l , Cr ix r ug d r

a ha en a l a a d es a m es de fer M rc i t , cl rté r ur ,

ha n e a a e s s an e s s o n c1el de o e C cu tr v r g, v r vict ir

’ Vo ici— c es t un e us in e ; et l a mat1ere in ten s e

Et o e o e et e en des a ea r ug y r ul vibr , c v ux ,

’ O i1 s e fo rgen t d ah an l es mir acl es n o uv eaux

a so en t l a n l e em s et l e s an e . Qui b rb uit , t p di t c

1 “ Rights an d d uties ? T hey ar e v ari ed dreams th at the ’ ” o r s o ut e am i f o w ld y h dr s n the f ace o each n ew h p e . 2 “ - T h e s pirit o f th e co untry s id es w as th e s pirit o f G o d . T h e f acto ry ﬂares w h ere once th e l o n ely ﬁe ld s s ho n e ; the s mo ke ” in bl ack w aves gr azes the ro o fs o f th e church . “ s 3 O nce o n a time— life w as all ardo r an d full o f vi s i on s : The [34] wherein man ascends towards the summits of an

h e h he e n e e in the ot r fait , w r mad ss its lf, storms , ” fo rges a n ew truth ! With this blin d commun al birth of n ew truth and n ew law he strove to be at o n e :

En o ff e- to i g u r ,

Mo n oe en ces fo es c ur , ul

His passion an d his vision grew in apocalyptic

e h e a n mo n he e . o t f rvor on t is not l a ; - r at r . mo der o ets e e h e u tterl the ex a d d: icat d ims lf M m ﬁ g t w - 3 9 ‘ w y prophetic an d creative power of the mere mass

“ M et s en a cco rd t a fo rces a v ec l es des tin ées

ue l a fo e s a n s l e s a o Q ul , v ir

’

o m e en e e n d an o is s e m n e . Pr ulgu , c tt uit g illu i é

C e ue s e a ema n l e o et l e q r d i , dr it

’ ’ Et l un iver s to t al s attell e et co ll abo re

’ Av ec s es milliers de c aus es qu o n 1gno r e

’ A ha e effo e s l e f e e a o e c qu rt v r utur , qu ll él b r , ’ ” 2 Ro e et a e a ho on . ug tr giqu , l riz

1 “ En q se m ea in ese o w ds g thy lf, y h rt, th cr “ 2 P ace s en in a mo n w o s e d es n es w c l thy tr gth h r y ith th ti i hi h, w o u k n o w n the o w d o mu a es in s n ith t i g it, cr pr lg t thi ight lit by f o o a go n ies . O w h at the m rr w u h o n as e ee s n n d th n d ty t e cr w e d p i n ti ct. A e who le u i [36] e e e e e . 4 Y et That is v ry f rv nt and v ry nobl writing , o n e ee h n h h h e e e f ls, I t i k, t roug out suc passag s, a s ns

not of the highest stren gth— nothin g of quiet

e e ﬂed his e pow r . H from too troubl d and in

sistent self to this extreme faith because he could not clarify that self or calm it ; because W

be the ee e e e e e e the e to , in d p r and s r n r s ns , mast r

I e lmo s bu 1 NS . A a t t 1 of soul man and a po t ‘ 5 m h e l . w olly gr at .

Verhaer en e e e To pass from to R gni r is to r call ,

’ n n n e he the effe i volu tarily, Tai s old t ory of ct of

e o n i e e can an o n e b e e climat l t ratur . For y , mor

h Verh aer en th e e e - t an , cr atur of a fog bound coast,

- e en n n - e e ? a storm b at plai , a group of rai sw pt citi s

An d then that golden - win ged Muse ( La Mus e a ux

’ a il es d o r ) of Henri de Regn ier— does she not

move in lumin ous garden s un der a temperate but

e sh e n o t he the e radiant sky , do s ar murmur of cl ar

e o n the e e e she n her wat rs wood d slop s , do s not si g

austere dream of beauty in a calm an d starry even

‘ fall Z No on e could b e more Lati n than

verse puts itself in h arn es s an d w ith its thous an d caus es o f w hich w e kn o w n othi n g l abo rs at each effo rt to w ard th e future ” w c the mass d aw s o ad r ed an d a U o n the o zo n . hi h r br ly, tr gic, p h ri [37 ] e he Re e . e e e gni r Mod rn as is , xquisit practition r

ee e e b e he h as th e of fr v rs ,

d1v1n e e o e i th e e s ua vztas m cgm m lov ly , j mx g z vlﬁ the discreet but piercing melancholy? He attain s

e e e e the e e an d th s qualiti s , of cours , at pric of larg

ﬁn e e h h e the e . The d it xclusions ars cri s, tragic

e the e e e e qu stions of mod rn world, n v r br ak in upon

h e e t e e e his . H wall d gard n of imaginings liv s , as

. e de has M J an Gourmont said, in royal land

e e e h h re h scap s , palac s of gold and marbl w ic a not ing in reality but the setting in which the poet has chosen to place his dream I woul d not have

he he e he him ot rwise . T world s ts our arts and

e e fir e . e e the e brains on H r , in po try of R gni r, is a lace of ease and rest and nobl e solitude like that W W —{W k fl 3 pW fi fi u y 'fi Nb 0 w e w m Q : n 3 “ ” ’ e e e e he e gr at, good plac in H nry Jam s story, r

e h h n ew e e h b auty, t oug with so a grac , go s t rough her eternal gesture an d lays her han d upon the

e h e him fever of our ey s . I would av always in

that attitude of his D is co ur s en Fa ce de In

N uit

‘ J e a e a e o t et du fo n de mo n s o n e. l p rl r i , d b u d g

1 “ I s h all speak stan din g erect an d from the d epth of my ” dream. [38] And I would have his liquid voice die on th e ear

“ ’ e a e a ux a mes des fo n a n es Av c l ub qui rit l r t i , ” 1 o e e aux es des s s ea Avec l e s ir qui pl ur rir rui ux .

1 t e e h His s yl is uniqu , bot in its diction and its

e e n e imag ry , for an xtraordi ary bl nding of mod ern sensitiveness with classic clearn ess and frugal

his e e . C e ity onstantly, aft r arli st symbolist

e he e the e e h po ms, mploys traditional H ll nic myt s and l egends to body forth his vision ; he does so even in the freest of modern verse and so adds to

those myths and l egends a n ew fresh n ess and a

e The L im n con more troubling grac . atin in h is u

uer able the e e him q , imm morial tradition absorb d ,

n e e e e e . e u til quit r c ntly, mor and mor As arly as 1 89 6 he wrote lin es which would startl e no o n e if found on some page of the Greek An thology or of h . e e t e e f l e Tibullus Th r is sam g r straint, uga -iv “ wor m

e sadness and in b auty .

’ ’ ’ Et mes yeux qui t on t v u s o n t l as d a voir pleure

’ ’ L in exo r abl e ab s en ce o il tu t es retiré Loin de mes bra s pieux et de ma bo uche tri s te

1 “ W d aw n a l a s w i the ea s o f the o n a n s w ith th t ugh th t r f u t i , ith ” e en n a w ee s to th a e o f h v i g th t p e l ught r t e rivul ets . 2 “ A n d my eyes which h ave s een thee a r e w eary o f h avi n g [39] On e e h n h e e e e — e e r calls, I t i k, t os oth r v rs s as t nd r and as full o f longing— o f the Roman el egist

“ Te s ectem s ema m h cum v en er it ho a p upr i i r , ” 1 T e ten eam mo rien s deﬁcien te man u .

His growin g preoccupation with beauty in its antique forms may be studied in the admirabl e ti tl es of h is later volumes : Ga mes R us tic a nd D i vin e L es J eux r us ti ues c divins The Meda l s ( q l ) ,

’ o Cl a L es Medaill es d Ar il e The Win ed f y ( g ) , g

’ Sa n da l La a n dal e ail ee be n ( S . ) It would doi g him e h e e n e h he a grav wrong, ow v r, to imagi t at takes up again any N eo - classic tradition ; h 1s 1n s p1 ration and its sources are as alien as possibl e t o either the method of the e Ren aiss an ce or of th e Sev en e n h t e t Cen . He h e the i g f tury has c os n“ “ ‘ ‘ ? s 1 g Q ﬁ ﬁ ( i “ JPJ L 51 6 7 g W N W f w ar 9 7 0 g g ryf the en e e h e has ee e e anci ts b caus s n and f lt it an w ,

ultra - mode rn verse of h is

Un o en co r j ur , ,

’ ’ En tre l es f euilles d o cre et d o r w e o e the nexo a e a sen ce to w i o as w i d awn pt v r i r bl b h ch th u h t th r , ” far om m o us a ms n m fr y pi r a d y s ad mo uth . 1 “ Ma see ee w en m s u eme o u s all a e ome ma y I th h y pr h r h h v c , y ” d i n o d ee w m f a n an d . I , y g, h l th ith y ili g h [40 ] o s e vis a e s es am es de o l a n e Du b i , j , v c j b p i j u , ” 1 e Dan s er uh f a un .

He ﬁnds the timel essness of beauty best inter h “ ” h “ r eted . e e e h as n ei p t us For Po try , writ s ,

e e e - - th r y st rday nor to morrow , nor to day . It is

h e e e e he e h e e s ee t sam v ryw r . W at it d sir s is to

e e an d n ffe en e its lf b autiful is i di r t , if only its b auty b e e e e he he the the n r ﬂ ct d , w t r glass is natural spri g of the forest or some mirror in which a subtl e ar tifice shows unto it its divin e countenan ce in the crystal limpidness of a ﬁctive an d imagin ary w a

$ 7 e en th he o n e ter . On may ass t to at t ory or may

the h h h h not . It is by lig t of suc t oug t, at all

de Ré n ier h as e he e e . t v nts , that M g writt n most

‘ He e e en his o e n his do s not, of cours , d y m d r ity, origin in time He was a pupil of Verlaine an d heard Mallarme in his youth and wrote

“ e n o o e es s o uﬁ n es h es II n ige da s m n c ur d r a c cac é .

’ with its obvious reminiscence of Verlaine s fa mous

1 “ ’ A ain o ne d a amid the o es s ea es o f oc e a nd o f g , y , f r t l v hr ” o d I s aw a a n d an e w i his o d s g l f u c th yell w h aire l eg . 2 “ It s now s in my heart w ith hidden s n ﬁer in gs [4 1 ] II pleure dan s mon co eur

omme il l e t s ur l a e C p u vill .

He wrote

0 mo n ame l e s o es t t s te s ur , ir ri hier .

An d he proclaimed in those years

“ La Te e o o e s e a l e s an es Re e rr d ul ur u bu g d v s .

And his v er s iﬁcation is as waverin g and as un tr a

dition al in h s he his last volume as in i ﬁrst . T truth is tht e took refuge in th e anti ue vision of beauty from the W s epsitiven ess of his e e e el ca his , them d i c own t mp r from r z h M of own W y

e e h a e prid . Lif d too r eat a pow r to wound him g ‘ M M M M “ M a m a-G M W he t um oet to e e and so m p rym thos obj cts of con g those t the pang of beauty :

’ Car l a fo me o en t et l a ea des chos es a r , l d b uté ” ‘ 4 o o So n t l e s eul SOUV CIIII d n t on n e s ufire pas .

1 “ It w eep s in my heart as it r ai ns on the town “ 2 O m so th e e en n is s ad o e es e d a y ul , v i g v r y t r y 3 “ The an guis hed earth h as drun k the bl oo d o f dreams . 4 “ Fo r the o m the a an e an d the e a o f in s ar e the f r , fr gr c b uty th g ” o n ly memory from w hich o ne does n ot suffer. [42 ] metal that sounds cle ar as joy or deep as glory or ” e e An he a e the e e lov or d ath . d h s mad lov li st

“ ” e e men h e of lov ly clay , fragil and dry . And av come to him and smiled and counted the medals

“ ” He k h e e and said is s ilful , and av pass d on smiling

’ Aucun de vo us n a do n c v u

ue mes ma n s em a en de en es s e Q i tr bl i t t dr , Que to ut l e gran d s o n ge terres tre Viv a it en mo i po ur vivre en eux Que je gra v ais aux métaux pieux

Mes e Di ux ,

’ Et qu il s étaien t l e vi s age viv an t

D e ce ue n o s a o n s s en des o ses q u v ti r ,

’ D e l ea du en u , v t ,

D e l a fo et et d e l a mer r , D e to utes cho s es En n o tre ch air ’ ” 1 Et u il s s o n t n o s n emen t q u divi .

That passage compl etes th e statement of the phil

’ o so hic al e n e e p background of R g i r s po try . It

“ 1 Did n ot but o n e o f you then s ee th at my h an d s trembled w en de n es s a all the ea e es a d eam ed in me ith t r , th t gr t t rr tri l r liv to live a g ain in them w hom I en graved o n pious metal s — tho se od s o f m n e — an d a e w e e th e liv m o un en ance o f a ll g i , th t th y r g c t a w e a e e o f os es o f w a e an d the w n d o f th e o es th t h v f lt r , t r i , f r t a n d the s ea o f all n s in o ur ﬂes an d a in so me d ine , thi g h, th t, iv ” w a e ar e o s el es . y, th y ur v [44] e e e the e the ex may also s rv to illustrat ﬂ xibility,

r ess iven es s n e his ee e e e e p and ra g of fr v rs music, v n

h h h as the e e e Le Vas e t oug it not ampl r cad nc s of . e ’ f n ee . de e e But i d d, M R gni r s v rsi ication is always

’ — - a e e e ear e e e e t l ast to a for ign r s m r p rf ction .

H suall ea ra ue w and é low dee is music is _ _ “ g a g ~m w and ug

e e e e e ee e e e rar ly v ry n rg tic, but of a sw tn ss that n v r

e h a e h h . H s e e e as cloys us d rim and assonanc , en e e e e ee e d i d hims lf no m asur of fr dom and vari ty, but he h as also taken the al exandrine an d drawn

e e mor inn r music .

It is difﬁcult to choose among the other poets

h e who proceeded from Symbolism . T ey ar many

and there is hardly on e of them who h as not writ

e h o t h ten memorably at tim s . But t is is n a istory

of the modern poetry of France an d it will suffice

e e e n e MM to sp ak bri ﬂy of J a Mor as , of . Francis

e e- Gr iﬂin e th e e Vi l and Stuart M rrill , of lat A];

e S in e de n b rt gg a and R my Gourmo t and, still

e e s e e men wh o the mor bri ﬂy, of tho young r carry

symbolist inspiration and m ethod into the imme

e e e diat pr s nt . [45] Jean Mor é as ( 1 856- 1 9 1 0 ) a notably gifted and ﬂexible Greek threw himself early and ar d n l e t th e e e . y into Symbolist mov m nt But, by

1 1 Le Pel er zn he e e 89 , in his att mpt d

e e e n ew h the to cr at a div rsion , to found a sc ool ,

e Eco l e r o man e He e e bri ﬂy famous . was conc rn d

e the e e larg ly with qu stion of po tic diction and,

h e i es e n vis on . c I I d , e , t , t rough it of po tic d, to bri g - ir_ “ about a communion of the French Middle Ages

and Renaissance with the principle of the modern

e e th e soul , by using a s l ction from archaic words

’ ’ ’ of the Pl ezaa e and even of the R o man d e l a R os e.

e e e e e him the H nc M . Anatol Franc promptly call d

the he Ronsard of Symbolism . And lyrics of t

' Pel er zn ass io n e h e e p av , no doubt, a c rtain old world sweetness wherever the obvious archaisms

do not give them a somewhat obscure and artiﬁcial

e e e e e h h he grac . His arli r symbolist v rs , in w ic too k some very quain t and charming liberties of

v er s iﬁcatio n an d poetic manner

Pa m l es ma r r o n ier s a m l es r i , p r i

as an s l es as o e s . Lil bl c , lil vi l t

“ 1 Amon the es n ees amo n the w i e l l a s the iole g ch t ut tr , g h t i c , v t lil acs [46] — are of the stuff o f dreams and have a dreamy t a dence

“ - e en ez e ez no s e e s es o . Vo ix qui r v , b rc u , b rc u v ix

Finally he left behind him both Symbolism and

“ o o e e h n e his own Ec l e r mane . Th s t ings co c rn ” me e he e e his e a e no long r, conf ss d in middl g and ,

h e he e his wit drawing into solitud , wrot last work

Les Sl an ees ( 1 9 0 1 - 1 9 0 5 In these poems he

e the e e the r turns to traditional v rs , to traditional

e e e u stanzaic forms . Th y hav an xtraordinary p

e e e ee rity of po tic outlin , a notabl dignity of sp ch

ima in a n e uo e n . and g , a just and proud p rf ctio It

the e en o n e e was H ll ic soul in him, must suppos , that made his last work so memorable an exampl e

the e of classical Spirit in modern po try . His changes of mood and manner an d theory were not without their inﬂuence upon the younger poets and

e h h s no l ss a man t at M . Paul Fort a written :

Ce ue e do s a Mo r éas n e e ét a es q j i p ut r e dit en p rol .

The e - ffi . Vielé . Am rican , Francis Gri n (b ‘ M 1 864 ) was on e of the very active founders of the

1 “ o ces a et n c adle us a dl n o ces O v i th t r ur , r , cr i g v i 2 “ What I ow e to Moreas c ann ot b e expressed in wo rds . [47 ] Symbolist school and has remained true to it ev er

e . e e h e h as sinc A po t of rar lyrical gift, always

“ ” been concerned with his interior vision an duhas

“ e h h continu d to old t at conviction, common to

he e e an d ‘ M e h e S ll y, Wagn r allarm , t at r ality is a

‘ W w e w he e r . th h 1m Wl th t t on l , as so many of po ts

e e— e h ee e h An of mod rn Franc J wis , Gr k, Fl mis ,

- n c e — o n e e e glo Saxo , Al mani Swiss is t mpt d,

n e h e e e wro gly p r aps , to attribut c rtain qualiti s of h h e . t oug t and sty l to racial origin It is a fact, at

e en h e e- G iﬂﬂn e . r all v ts , t at M Vi l is oft n haunt in gly lyrical in a sense that is not characteristic ally Latin and that in his mingling of verses of s even and eight syllabl es o n e seems to detect the introduction of an English cadence :

’ N es t - il un e ho s e au o n e c M d ,

he e a l a fa e d u e C r , c ci l

— Un e un e e un e o n e rir , r v , r d ,

’ Um r ayo n d aur o r e o u de miel .

He e who re e the a n is a po t ra ly touch s im ginw aas ”tio

h t h e e he . wit out also touching “ art, whos music

1 “ Is e e a in in the w o ld d ea in th e a e o f the sk th r th g r , r, f c y ” a l a a d eam a s o n a eam o f the d aw n o r o f o ne . ugh, r , g, b h y [48 ] ranges from a lyrical lift to the fullness and gr ave

h e ness of t e el gy .

The other American who has become a modern

e h e e Fr nc po t is M . Stuart M rrill (b . His general character as a man an d an artist is at once e vident from a correct in terpretation of his own

“ words : Modern society is a badly written poem

h h n b e o e e e . e w ic must activ in corr cting A po t,

the e e e e n e e er in tymological s ns , r mai s a po t v y where and it is his duty to brin g back some love h ” lin ess t e e . M. e upon arth Accordingly, M rrill ,

a . e h as e r volutionary Socialist, giv n unstintingly both of himsel f an d of his fortune to his chosen

he h e h h e h as ee e e. t r caus In art, on ot r and, b n p woven u on the loom of dreams have a pw m

‘ ’ l n ce e Les Po zn s a l a o r l e he gold, O at l ast in g P

h as e has come near sublimity . His music oft n a w lin er in ualit he h as us edm with s‘ low and g y and k m w e e e — s o e 1 1 e h— h are notabl succ ss , lin s rar 1 Fr nc t at lon ger than the alexandrine :

’ L Amo ur en trera to uj o urs comme un ami dan s n o tre

ma son i , [49] ' T ai- e r e o n du o an l e t des fe l es to m j p , éc ut t brui ui l qui ” 1 ben t .

In turning to Albert Samain ( 1 858— 1 9 0 0 ) we come once more uM kably Latin tem

er amen The fi his e e e p t . rst of two c l brat d vol

' ’ ’ umes Au J ar clzn a e L Infa n l e ( 1 893 ) is purely symbolist in in spiration an d quality ; in the s econd Aux Fl an es d a Vas e ( 1 89 8) he turns again

th e e the e o r ld s o f the immo r to b auty of visibl w ,

e e he as the t h h tal g stur ld fast in plastic ar s w ic is ,

e e h th e h e e h aft r all , p r aps most c aract ristic m t od

of Fren ch poetry s His verse here is still free and

ﬂowing and trembling ; the pictures are sculptured

e an d n o thin h or paint d , M g to t is art ‘ ﬂ ' ' except the el ement of motion bef ore e n al aﬁd memo r

poems follow this M 621 an d so he attains the

’ ‘ e e X a n zlzzs th e whit , sculptural b auty of , ruddy,

’ ﬂame- like glow of Pan nyr e a ux Tal o ns d Or

xx v ( x r ) .

he e e The chi ef quality of t lat M . Remy d Gour

’ mon t s ( 1 858— 1 9 1 5 ) character was an extreme

1 “ o e w en e alw a s k e a en d n o o ur o use an L v ill t r y li fri i t h , I ‘ ” s w er ed e w e s en n to h n o s f s th e hil li t i g t e i e o le ave th at fa ll . [so ] has contributed his personal vision and his per

he e he e sonal note . But has contribut d t s to a kind of poetry now ﬁrmly established and well

th e h ee the t e dusk of mind , t at s s its visions in s at sa w s -ma! w as « m ; M “ m ? r eve r its w h the e s o y and pj cts u n g s adows upon izk p mi face of the world— whose voice is a wavering

the e e the ee e . music, not s of a ﬂut upon br z IV

T H E LAT ER FORC ES I N FRE N C H POET RY

e e a s o de s e bo n et ur . Il dit j n s i qu i tri t , p FRANCIS JAMMES

L e e e t l e s o e l en mo i s on t en a en e a t rr i l i c d c , ' ” o et to ute l a n a ture es t en tree dan s m n coeur .

PAU L Fo n 'r

TH EPLE has been no reaction against Symbolism in

h e France. I am n o t at all sure t at the v ry young es t With e e e group, som xagg rations in prosodic

e e e e e th e e e matt rs , has not m r ly r turn d to ss ntial taste and method of the early eighteen hundred

e e h e e . t e e e o e e h and nin ti s In m antim , h w v r, t r

e e e e e who e hav app ar d two pow rful tal nts , a rar

e e e e e thing in Franc , stand asid and alon , m mb rs h ’ cenacl e : . of no group, no sc ool , no MM Francis

m e b . ' 1 8 2 Ja s " s (b and Paul F 7 ) up J an' SILQ

Ch e Gué r in s et e e e arl s , in a of v ry pur and v ry

h e e e e me h touc ing v rs s addr ss d to M . Jam s calls t at [53] ” he n e poet a son of Vergil . T sayi g has b en r e h eated e e . e n e t e e e p b caus M Jamm s , u lik av rag

en h ma e e e in th e n Fr c n of l tt rs , liv s cou try ( at

Orthez in the Hautes - Pyren ees) an d writes about

e h h h e n coun tr y matt rs w ic u derstands admirably .

h he e e the e T us r calls, in a sup rﬁcial way, po t of

’ he o e o n e n h t Ge r z s . g But quotatio , and a ack n e ed o n e h e e e an d o n e y , from t os magniﬁc nt po ms

e e M e h the bri f conf ssion from . Jamm s will s ow absurdity of the comparison an d also deﬁn e the

’ e n e the French poet s character . Ev ryo knows

Vergilian lines

“ e o tui e o s F lix qui p t r rum c gn o s cere c a u s a .

e e M . Jamm s pr faced his ﬁrst coll ection of poems

h he e h e e me wit t s words My God , you av call d

n men ff n e . . e e a amo g H re I am . I su r d I lov I have spoken with th e voice which you have given

e e h h o u m . I have writt n with the words w ic y taught my father an d my mothe r who tran smitted

h e e o n he e en e t m to m . I pass al g t road lik a burd d ass at whom children laugh and who droops his

1 “ H appy he who h as b een able to un d erstan d the causes o f ” n thi gs .

[54] h h h h e . I en e me ad s all go w you would av ,

h he he n e w it r you would have me go . T a g lus

’ n he h he e ri gs . T re is n othin g ere of t sad int l

e h the e l ctual valor of t e Augustans . It is not of

n i the h e he th e Saint Fra c s , umbl brot r of birds

e . In M. e and b asts a word, Jamm s is a

C h h h h o n e ee at olic . So w olly a Cat olic t at n d

n his e W M intellectual submission i cas .

He was born with the light of faith as his on ly

guide an d s ees life with the wide - eyed reverential W W W

n e e h r e t in t . He h as wo d r of a littl c ild or a, g a v sa W . W W

’ ’ the child s and the sain t s simpl e - hearted fa miliar ity with divine thin gs :

’ Ce n es a s o s mo n e t p v u , Di u ,

s ur l es o es en o s es o s e l a mo le e . qui , j u r , p z rt b u

an d the tender an d vivid sen se of the human el e

ments in his divmities :

“ ’ Ra e e - o s mo n e e an t en fan me pp l z v u , Di u , d v l t qui urt , ” 2 ue o s e o o s au r é s de o e r q v u viv z t uj ur p v tr Mé e.

too he e the e e So, , as an artist , is lik nam l ss sculp

1 “ is n ot ou m Go d w h o o n the o s eek s w l l a th e It y , y , r y ch i l y ” bl ue o f d eath . 2 “ Rec a m Go d e o e the d n c d a o u e a w a s ll , y , b f r yi g hil , th t y liv l y ” n e a o u o r y r w n mother . 0 [55] e the e ae he tors who adorn d M di val cat drals , an

’ h e the de umbl craftsman in light of God s glory, siring nothing for himself

Et omme un a o t o e , c dr i uvri r

t en t s a t e e a o e de mo e i ru ll l urdi rti r ,

’ e x d un o a ha e fo s o e je v u , c up, c qu i p rt r h e da bo n o uvrage au mur de ma c aumi re.

he e his a e He e e t . is awar , of cours , of lif of own g

He e he e e e e has r ad, as says, nov ls and v rs s mad in Paris by men of tal ent But these men and

he ee e e t ir works s m v ry forlorn and sad to him . H

would have them come to his own country - s ide ; for it is in the stillness of the ﬁelds and farms that the peace of God is to be found

o s il s s o o n t en f man t dan s eu e Al r urir u l r pip , ’ ’ et s s s o uﬂ r en t en o e car l es ho mmes s o n t t stes , il c r , ri ,

' il s guériro n t bea uco up en eco utan t l es cris ” 2 e o n e des épervi rs p i tus s ur qu lque méta irie.

h e u e s ubmis His own appin ss is ntroubl d, his own

he e e e L e sion to t divin will compl t . ik Saint

“ 1 An d as a s k l l w o kman o ds his ow el eav w i fu r h l tr , h y ith mo a I w o d at o n e ea ime add some oodl wo k to rt r, ul , c , ch t g y r ” the w all o f my cottage. “ 2 T en e w ill smile w ile s mo ki n ei i es an d i h th y , h g th r p p , , f e s e s fo r men ar e s ad e w l be ea l u ed b th y uff r till , , th y il gr t y c r y ” o - o hearin g the cries o f the s lim sp arr w hawks ver the farml an ds . [56] Francis he has grasped the uttermost mean ing of the Christian virtue of humility and prays to pass into Paradise with the asses

et fa es ue en h an s cc SC OUI' des ames it q , p c é d J

’ s ur vo s divin eS eaux es u s iir eil a x an s , j i p u .“ qu1 m1r er on t leur humble et do uce pauvreté ’ 1 o te n e a l a limpidité de l am ur é r l .

he e e an d e e T s quotations , fragm ntary bri f as th y are e e e e e of the , will alr ady hav mad cl ar som

e h he qualiti s of t is extraordinary poet . T saint

e o f his h as e the lik simplicity vision r ally, oWn

e e e e e him . pur ly d scriptiv sid , mad a naturalist ' 4 m i ' - 112: is ﬁ 6a hn the 0 1 o 16 . F n mystic, no St Jo of

C R h C h h e ross or ic ard ras aw, but a umbl child of the Church who sees the immediate things of this world very soberly and cl early as they appear in their obj ectiVe n ature :

11 y a aus s i l e chien mal ade

e a an s emen o h an s l es s a a es r g rd t tri t t , c uc é d l d

’ o v en ir l a gran de m rt qu il n e co mpren dra pas .

1 “ Lean in g over your divin e w aters in th at s ojourn i n g pl ace o f s o s a se me to b e k e to the as ses w ho w ll m o e ul , c u li i irr r th ir ” um an d en h bl e g tl e poverty in the limpidity o f the etern al lo ve. “ 2 T e e is al s o the s k do s ad w a c n w e e h e es h r ic g ly t hi g, h r li a m d the e e ea dea a o a w i he w il not n de i l ttuc , gr t th ppr ch h ch l u r ” stand . [57] But he is always conscious of the relations which

he e h n n his h n the t s t i gs , accordi g to fait , sustai to

n e . An d he his e he ex divi so, w n own dog di s , claims

Ah ! f a es mo n e s i o s me o n n e l a a e it , Di u , v u d z gr c

’ de o s o f a e a a e aux o s d Eter n ité V u v ir c F c j ur , 5 ’ f a1tes qu un pa uvre chien co n temple f ace a face ’ i n ] e fu o m c lui qui t s n dieu parmi l huma te.

e e h a acte e As b com s his spiritual c r mM. Jamm s has discarded all the vain pomp an d spl endor of

e e e e the e e e e the v rs , v n subtl r and qui t r grac s of 1s 8 1 . 1s e & sts conv rsational , almost

s ca m iliis sen tences have the str ucture of prose .

He uses rime or assonance or sudden ly fails to

He ee e e e e n th e rime at all . s ms m r ly b nt on t lli g s imple and beautiful things in his heart as quietly

n e his e . h e e e as possibl W at constitut s his mi nc ,

e h h e n e e the th his v ry ig mi nc , as an artist is fact at

n e his i e e - of prosaic simplicity of man r, na v matt r factn es s his en en , appar tly (but only appar tly) slovenly technique ar e so used as to make for a

“ 1 A m G o d o u an me th e a e o f s ee n ou a e to h , y , if y gr t gr c i g y f c a e in the d a s o f E e n en let a oor do co n em a e f c y t r ity, th p g t pl t ” i o face to face him w h o w as h s go d am n g men .

[58 ] will seem merely curious as a Writer : to the in t ell ectual world of the presen t an d th e future he will seem a little curious— however admirably

h e — man and hig ly gift d as a .

The e o f he . h as t fam M Paul Fort at ac d, so

n the n ew o f tin h h he far, mai ly to kind wri g w ic

h e e e H h e h as is said to av inv nt d . e ims lf pro

e e h an d n h he t st d against t is , it is but atural t at

e e should . It is qually natural for th public to ﬁx its attention upon the startlin g inn ovation s of

‘ h h e the h h en a d w ic h is aut or . But I must ast to d that th e revolutionary character of these in n ova

e n tion s h as been greatly exagg rated . I matters

e e strictly prosodic M . Fort mploys , as a rul , a principl e which is conservative enough in its n a

e An d et his e n n ew an d tur . y styl of writi g is , not only n ew but charmin gly successful an d he him self o n e o f the most remarkable an d delightful

e poets of our tim .

He writes an d prints his v erse as prose . In

e o f the e e en h st ad stanzas , y is giv paragrap s , now

h e h e the n n o w . I lo g, s ort But must mp asis fact that the l ength and rhythmic character of the [60 ] h in an en e n e paragrap s y giv po m is , arly always ,

h the o n e e en h e the same . T us ss tial c aract ristic o f e e in the e en e th e e e e v rs ( narrow r s s ) , r curr nc of

h h - th ar e e to b e e e r yt m groups at f lt qual in tim , is

e e e o n e . b e 1n s n e he e pr s rv d . If now g to a alys t s

h be n h h e e paragrap s it will fou d t at, wit d ﬁnit but

e e e e he e e he not v ry num rous xc ptions, t y r solv t m

- - selves in to l esser equal rhythm groups o r lines .

An d he e n e ar e n n e e t s li s , granti g ma y xc ptions

e e e h ten e e e . again , v rs s of ig t, or tw lv syllabl s Here is an exampl e of two octosyllabic verses prin ted as prose

’ ’ Po urquo i ren o uer l amo urette ? C es t - y bien l a pein e ’ 1 d aimer

An d here of two deccasyll abic verses

“ Ah ! ue de o e 1a ﬂﬁte et l a m s e e o en t n o s q j i , u tt tr ubl 2 cceur s de e s a o l ur cc rds ch a rman ts .

the use the e e - e e e It is in of tw lv syllabl d v rs , of the e n e h al xa drin , t at M . Fort is most original .

The rhythmic unit that h e uses is in reality the

1 “ Why kn o t again o ur bro ken l ove ? Is the sorrow o f love ” w o rth w hil e ? 2 “ A w a deli the ﬂ e an d the a i e o le o ur h , h t ght, ut b gp p tr ub hearts w ith their ch armi n g h armon ies [61 ] he h e h ho w mistic or stav of six syllables wit out , e e e n th e e en th e e n n e v r, l tti g full mov m t of al xa dri

e e h h e c an co n ev r escape th e ear en tir ly . T us s tan tly us e in ternal rime or asson an ce an d also un

e n e e h m n e rim d e d syllabl s . To illustrat t is an r of his fully I shall quo te a rathe r lon g verse- para

h i n the e h h e n n e grap , italic si g syllabl s t at av asso a c h e An d I us e h in h . or rim . a paragrap w ic M Fort , who he e n e in h e e is rat r irr spo sibl t is r sp ct , allows

’ h e e the e e s t ir full , traditional valu to all mut but

’ 0 a e au s e e e o il mo n e ame des ier r es ’et gr v , t r plui , t l p t

o te en o s un e f o e m er e a e mo n rime en qui p r z v u r id lu i , gl c z f eu en e mo n oe s e er e m o s e l a f a heur a ux , r d z c ur v , i p z r ic ’ ’ main s que je v o u s ten a s / L a ve r s e to mb e un peu

’ ‘ elle to mb e j a tten ds Quo i ! l a lun e s e lev e ?

’ Quo i ! l o ra ge es t pa s s é ? Quo i ! to ut l e ciel en ﬂeur s ? et

’ ’ a sen a r o f ées l o eill et l a eus e l a o s e et l ir t , p b u f , , tubér , r

’ ’ l a po us s ier e ? Un e éto il e d amo ur s u r l e Lo uvr e a gli ss e ?

’ s o et ! o ! e s s n s en s é 2 Et e r is J achete de b uqu s qu i j ui i . j

de mo n oe et e o s he an o n des o s es e n l es c ur , j c ur c z M , r pl i ” 1 a s m o e mo n a o n ? br , i pl r r p rd

“ 1 a e aus e e a n n o w h as s en th e s o u o f O . gr v , t r r i i t hich ri l ew e s an d w ho a in o u s e a o d o s o e j l c rry y r lf c l light, fr t v r m s o u o n ﬁr e mak e m ea s e e e l a es n es s o n y l , y h rt v r , y fr h f r a the h an d s th at I stretch o ut to yo u ! T he s h o w er fa ll s o

“ littl e it fall s I w ait Wh at ! does th e moon ar ise ? [62 ] h e ee in e h e T is xc d gly b autiful paragrap , clos ly

e be een o n in e e v e studi d, will s to c sist r ality of tw l

he al exan drin e verses . But t middle czes u r a is so

sharp that the 1n div idual music of the hemistich

n n e e h e e is co sta tly str ss d . Of t se tw lve al exan

d r in es the e h e h h n o t ﬁrst, s cond and t ird rim (t oug

e e e h the h an d h the quit pur ly, p r aps) , fourt ﬁft ,

h n en h e e h sixt a d s ev t . Th ig th is blan k though

he e h M e n ee I am rat r sur t at . Fort m a s us to f l

’ po a ss zér e as echoi n g the earlier s ever e an d l a

' nzzer e ; the n in th rimes with both th e ﬁrst an d

e h em1s tich the en h e e h h ac s cond of t t , a d vic w ic

cel er ates the e e th e e e an d th e e e mov m nt of v rs , l v

en th and twelfth rime again quite regularly . In

n he e I e e h additio t r is, am qually sur , a not w olly

uncon scious elemen t of assonance in the stave en d

l s a bé e e : ea r a fc zea r ea ea r l r as . ings f , f , p , ﬂ ,

If this verse - paragraph b e accepted as fairly

’ e M n e n an d e e e . r pr s ntativ of Fort s man r of writi g,

n b e e if my a alysis of it corr ct , it is obviously

Wh at ! h as the sto rm go n e by ? Wh at ? D o es the s ky burst n o ﬂo w e s ? a n d the air s me s us s o f th e a n a o n an d i t r ll , by g t , c r ti th e u e o s e o f os es an d o f d us ? Ha s a s a o f o e ded t b r , r t t r l v gli o ver the Louvre ? I b uy p o s i es ! Ho w ! a m I bes ide myself ? A n d au o m m ea an d r un to Man on m a ms ll I l gh fr y h rt, I , y r fu ” o f os es to m o e m o en ess ? r , i pl r y f rgiv [63 ] wron g to regard him as primarily a writer of ve ry free verse or of mere po etic prose with an occa sio n al he e e : h s rime . And so t qu stion aris s Is i

h e h e ? typograp ical form a mer crotc t It is not .

O n e n eed but read once more the paragraph I have quoted - read it quite naturally an d simply now without an y thought of its prosodic method— to

ee h he e n ew e e in e in f l t at r is a po tic styl Fr nch,

e in e e e comparabl its as , its grac , its ﬂuidity , fol

n e e e e the e lowi g and n v r doing viol nc to motion, modulated to the very tones of the human voice .

’

e e . e Or, mor sp ciﬁcally , M Fort s mann r of writing an d prin tin g gives him th ese advantages : The s en ten ces a r e not broken by prosodic divisions but

e et he e e e e . ﬂow on fr ely . Y t v rs music is n v r lost

The o be n n e dicti n can as atural , as u po tical ( in

he e et e e t older sense ) as he pl eas s . Y it is n v r felt to j ar through its contrast with the associa

i n e e e t o s of traditional vers . H can r strict or mul tiply his rimes at will and un obtrusively and hence us e them to express the color an d tone of the im

e e e n d n he m diat po tic mood a mome t . So

h e e use the e e cas e ac i v s , I must words onc mor , an , [64] e et e en h h a re a grac , a ﬂuidity of po ic mov m t w ic

n ew he a r e e as as t y b autiful .

His mann er of writing grew naturally from his

h e man he he n c aract r as a and a po et . W t r upo h h o e e n e e M. s m r aso d p ilosop ic vi w or not, Fort is

e h h e s he satisﬁ d wit t e a an . T M W pp e t he h the n e the h an d b auty, c arm, quaint ss, lig t sh ade of the visibl e world— whether in nature or

’ in the gestures o f present and historic man or in the colorful and signiﬁcan t even ts in his o wn life

— he e fﬁ h e h h e be e im. H th Wstt a aut : t s su c t rilMls. _ y 4

in ter e a an j o ldn es of e w t and th ﬂ y dm mgg f sm w h gsi, “

e He ee h e e e the visibl . k ps ims lf passiv and l ts beau y of the world strike endless music from _ _

e he e h e an d e him . H sitat s to cut and s ap patt rn

’ the the e h h e the music of world s b auty w ic , lik h e n e e en d . m lody of Wag r, is wit out paus or

’ ’ L n his e e Bal l aa es r an a zs es he o g ago, in arli r f g wrote

a s s e o o n n e l e e a t es e s an s o m en e L i rd r ci l y ux , c pr dr , ” 1 o e et crée de t n s ilen ce l a mus ique d s n uits .

1 “ Let the sk o de n s fo r n e e es w o n de y r r (thi g ) thi y , ith ut u r s an d n em a n d ea e w s l en e the m s o f the t i g th , cr t ith thy i c u ic ” s n ight . [65] An d more recently and directly i n ‘ the really mag

' ' ’ n iﬁcen t Vzs zo n bar manzeas e de l a Ter r e of his

’ Hymn s a e Fea

“ Et n e o s o e as ue l es ho mmes s e a en e v u v y z p q r i t di ux ,

’ ’ s s o a en m éco uter a s s e e e s s en s a n s l e il v ul i t , l i r vivr l ur , d

’ ’ en s ur l a e e en e n el et o n e ! Ah ue n v t , t rr , pl i ci , l i d ux , q y

’ metten t il s un peu de co mpla is an ce ! T o ut l un iver s alo rs

r eco m en s e a o a e ! s e a e ame a s e e oe ( p d r bl ) r it l ur ép r , l ur c ur

‘ ’ n s e Et ue dis - e 2 Us o n t o s l e mo en et e i épui abl . q j t u y d r

‘ e o he e . Lg se o n s en s , ho mme, t es t n ur ux ig p enmu g tu ’ 1 e Di u .

If there is danger in so compl ete a surrender to the

e e the e h n e h as n o t s nsibl and visibl , t at da g r h h hi e M e the he s . touc d . Fort or troubl d alt of soul

He is the serenest and most j oyous of modern

h h b e e he e e e e e . po ts , t oug can d ply grav and t nd r

His verse h as somethin g of the bl o w mg of the

‘ n the e an d the winds of spri g, of rippl ﬂow of

’ n e e earth s waters . It commu icat s to us a s nse of the n e h h his e undyi g d lig t t at is in own h art .

1 “ A n d do ou n o t s ee a men w ould b e o ds e would y th t g , if th y b ut ea me w o u d b ut let e s en s es l e in the w n d u o n h r , l th ir iv i , p ea in th e u sk an d fa r o m em? A w h d o e rth , f ll y, fr th h , y th y n o t strive to yi eld a littl e th ere ! All the un iverse ( a do rable t e a d o d b t d s e s ed o u e n ex a s e a w w u e e s e . r ) l h ir i p r l , th ir i h u tibl h rt A n d w a d o s a ? T e all av e the mean s o f e n a , h t I y h y h b i g h ppy. ‘ ’ Le s en s es nk fo r ee 0 man a n d o u ar t t God. thy thi th , , th thy [66] b e] Rén é e n Ch e Vildr ac , Arcos , Jul s Romai s , arl s h an d e e D e . e e h e n G org s u am l S v ral of t m , otably

MM e an d D h e ar e n . ee Spir u am l , cultivati g fr verse n o t in the symbolist sen se but in the co n temporary American s ense o f Miss Amy Lowell

Mr . Lee M e h effe and Edgar ast rs . W at cts of permanent importance or beauty can b e thus achieved in the v ery ﬂuid medium of Fren ch r e

b e e n he n e e he e . T t mains to s lo g r lin s , as in

’ h h uh mel s n u cia io n t ird paragrap of M. D a A n n t

( LIX ) ten d to approach the al exan drin e rhythm ; the h e e the h the s ort r lin s , as in last paragrap of

e o e ee e l e sam p m, s m oft n about to fal into som

’ verse pattern dimly pres ent 1n the poet s min d .

he he h e n he e W t r using any suc patt r or not, all t s poets have thrown o ff the last restraints of the

e en h an d e e e old r Fr c prosody striv aft r a larg r, h e e n e e . e e subtl r, mor i t ll ctual music T ir und r standin g o f this whol e matter h as been s et down

e an e Vildr ac u very cl arly d acut ly by MM . and D hamel in their N o tes s a r l a Techn ique po étique According to this littl e treatise a ten

“ abl e theory of v er s iﬁcatio n must b e based upon the inner (subj ective) metric and phonetic rela [68] e e e ee e n e e tions . Th s r lations s m to d ma d, in v ry

e e n e e e e h h n v rs or li , a constant l m nt or r yt mic u it

— e t e the e e h i h r ﬁrst or s cond stav . If bot parts

e the e s the or stav s of lin conform to thi norm,

e e e n the h h v rs is r gular or traditio al . If r yt mic

be e e e e e e e unit r pr s nt d but onc in ach lin , if, in

he e n e n h h ot r words , ach li co sist of a r yt mic con h h n e the e e ee . sta t plus a r yt mic variabl , v rs is fr Some close observation of modern v erse of dif fer en t e h n n e e typ s will , I t i k, convi c any comp ten t reader that this theory is far more s en sibl e and helpful than such statements of prosodic prin

i l be n c e ar e a t to . e p p It is too soo of cours , to

ffe e e n e et n he e the o r a d ﬁnit critical i t rpr atio of t s ,

n e e a e o n e h you g st po ts of Fr nc . But may say t at ,

e the h h h e en e e lik Symbolists , t oug wit v larg r lib r

e o f he e h he e e ti s form, t y d al wit t ir subj ctiv vision

h h he e e en h of t ings, t at t y, too, hav a t nd cy to wit

I ! 0 l Q he USL eat 0 C r aCe In to the . ‘ '‘ - .s G’ 4 ‘ 1 6» ﬁ -sr t- vs n xr ﬁn1 333 an I amsiis a s r ” 3 J a “ M U A ‘ . y a gi g w d , “ , a s ‘ l U . v g 3 1 S 'v “ a t 1 ‘ Vj . l p d p 4 , \v ‘ g

h h h e e h e e n T at wit drawal c aract ris s , wit xc ptio s

e e th e a l th e e e n mor appar nt an r al , l po ts of mod r

h e e n e . Ver aer n ee an e e w Fra c s ms xc ption, but [69] must remember that he was not a Fren chman at

e ee he he h as h all ; M . Jamm s s ms anot r, but wit drawn from the life of thought as truly as th e

h e h the ot rs ave from life of fact . In practically all the modern poetry of France the substance of literature h as been transmuted into th e stuff of h e e t e e n e e . dr ams , transpos d into r gio s of r v ry The subjectivity of this poetry is so high that it W W "“)1 M

e m l f . e cen has absorb d w rl mmw tsg Aft r tu r ies e e h the the of a lit rary lif in whic social ,

e e the the e e e e the » g n ral , typical , obj ctiv mploy d all

e e e e e e he e e n o t cr ativ n rgi s of Franc , t s po ts could

e the e he h the go b yond discov ry of t world wit in ,

e n - h e e h as simpl ﬁ din g of their self hood . But t r been among them hith erto no personality so bal an ced e - h e e e h , so fully s lf ac i v d as to grappl wit

“ e e e n the r ality, int rpr ting or transformi g it by

e the e e e e the e e pow r of cr ativ int ll ct, of cr ativ

I e b e the e imagination . That, tak it, should n xt

e the e e e e the e e. st p, n xt d v lopm nt in po try of Franc

A movement that brought forth such personalities would give to French literature a poetry more

e e e n e bracing, v n though l ss charmi g, not quit so

e e e e b autiful but more valorous and s v r . [76 ] THE POETS OF MODERN FRANCE ’ Ar t o n l w hen al l s d us t y,

Thr o ugh en dl ess year s s hal l

The bus t

Outl as s e i a del t th c t .

The a us ter e coin tha t l ies

’ Ben ea th a digger s heel

Shall r is e

A Ca s a r o r ev t eal .

The go ds ha ve ﬂed their fan és

Eter n al a r t al o n e

R emains

Str o n er tha b ass o r s o e g n r t n .

TH EO P HI L E GAU TI ER STEPHANE MALLARME

A PPARIT ION

he e - e e TH E moon grew sad . T t ar stain d s raphim

Adream drew with their bows amid the dim

Mist of calm ﬂowers from failing Viol - strin gs

“ 0 h e r ej th at m h e e n . A W it g mi m i i azur p tal cli gs

e e You h ad ﬁrst kissed me on that bl ss d day .

h h in n e e - e n t oug t its stra g , s lf torm nti g way

all the subtle melan choly stin g

ch e e h e e the he n , v n wit out r gr t, gat ri g

’ y dream l eaves in the dreamer s heart .

ey es ﬁxed on the ston es I walked apart

h en h n h in th at ~ o ld ee W , wit your su ny air, str t

An d the e h h e ee in gloom you cam wit laug t r sw t,

L e h ik to t at a ft / 1 4 us e “ w

Who o n e in e he c , dr ams touc d my ” ' “ w t-w e “ M M m n p m “ a : g u m- f a w n - sr

soul ,

“ And 5 116 from half- closed han ds would ever throw

. 1 Clusters of fragrantstars likﬁ gl eamin g sn ow . . w PAUL VERLAIN E

MY FAMILIAR DREAM

O FT E N a strange and po ignant dream is mine Of an unknown lady whom I love and who

L e me e e on e et e to o ov s , for v r y oth r, ,

e And constant only in her love divin .

’ her he h e Only for my art s confusions s in ,

her who e h h Only for , alas , can gaz t roug

e who e the dew My nigmatic soul , h als

h e e e On my pale fore ead with h r t ars b nign .

‘ s he e e ? Her e ! Is dark, russ t, blond nam knows ?

Sweet and sonorous as the name of those

h e Beloved ones w om life to exil drove .

Her e e ar e e e e y s with a marbl calmn ss ﬁll d, And her grave voice holds the faint echo of

The cadence of dear voices that ar e stilled .

[74]

How blue was heaven and ho w our hope ou t ” spread ! ” To a black sky those perished hopes have ﬂed !

e e e e Th y walk r calling a wild, grac l ss day,

c e And only night an hear the words th y say . T H E GOODLY SON G

‘ SA D and lo s t I walked where wide

e he the ar e And tr ac rous roadways .

Y e e , our d ar hand was still my guid .

Pale on the horizon far

h e he A frail op of day was s d .

e - Your glanc was my morning star .

No sound but his own echoing tread

’ n e e e h h Brighte d the poor wand r r s t oug t .

Yo ur voice spoke of hope ahead .

My heart with gloom and terror fraught

Wept at the melan choly sight Love the exquisite victor brought

e e Us to each oth r in d light .

[77] A SON G W IT HOU T W ORDS

TH E keyboard which frail ﬁngers gently stir

e e e- e e e n n e e Gl ams in th ros gr y v ni g i compl t ,

While with a shadowy and wing- like whir

An e e e ee old tun , v ry faint and v ry sw t,

Flutters e ee and falt rs, timid and discr t,

e e he H r w re so lon g the perfume spoke of her .

Can be e c an b e it gai ty, it pain That sways and teases my poor heart at it ?

e me n What would you hav of , soft, mocki g strain

h 0 e e W at did you want, quav ring r frain

That through the open window soon will ﬂit

And in the littl e garden die again ? A NO T H ER SON G W IT HOU T WORDS

To o r ed r ed the e e e , too ros s w r , ll Too black the ivy on the tree

De the e ar, at tr mbling of your hair

All my despair comes back to me .

e e e the Too blu and t nd r was sky,

The sea ee the ee too gr n , air too sw t

I always fear — why should not I ?

The e ee cru l ﬂ ing of your feet .

e e e I am w ary of l av s bright and dim,

e ew Of shining box and sombr y ,

e dle s s rim ,

And of all things but you but you . LA T E WISDOM

B V E the the sk e A O roof, y xpands

e So blu , so calm ;

Above the roof a tall tree stands

An d o r cks its palm .

The bell that in the sky you

C e ee n him s sw t and fai t, A bird in th e familiar tree

Sings its low plaint .

De e e e e e ar God , d ar God, lif glid s on th r

n e I tranquil wis . That peaceful murmur comes from where

The city lies .

0 u who ARTHUR RIMBAUD

VIII

T H E SLEEP ER O F T H E VALLEY

’ TH ERE S a green hollow where a river sings

- - ' e th e . n l itter 1n ﬁi h t Silv ring torn ass its ’ _ An d where the sun from the proud mountain ﬂings

— h Fire and the littl e vall ey brims with lig t .

e h e h e e A soldi r young, wit op n mout , bar h ad,

ee h e e e e Sl ps wit his n ck in d wy wat r cr ss ,

e the o n the his b ed Und r sky and grass ,

’ Pal e in the deep green and the light s excess .

He sl eeps amid the iris and his smil e

’ h e h e Is like a sick c ild s slumb ring for a w il .

e th l a his h e h e ! Natur , in y warm p c ill d limbs id

h e o e h T e p rfume d s not t rill him from his rest .

He ee n h n e h n his ea sl ps in su s i , and upo br st,

— h t o ed e his h Tranquil wit w r hol s in rig t side .

[8 1 ] GEORGES RODENBACH

IN S MALL T O W NS

I N the mo m small towns, in languid and frail

Ch e the e h e 1n the ee e im s far b ll , c im s sw tn ss of

’ D h e hee h e e awn t at r gards t wit a sist r s lov ,

Chimes the far bell - and th en its music pale

e n the e e Falt rs upo roofs like ﬂow r on ﬂow r,

the e ee And on stairs of gabl s , dark and d p

e Moist blossoms gathered by the winds that swe p.

The e m th e e morning music ﬂutt rs fro tow r,

e e From far away in garlands dry and s r ,

’ Like unseen lilies from an hour that s gone

The e an d e o n o n p tals , cold pal , drift and

“w a s . ’ ’ e e e e As from th d ad brow of a p rish d year .

And in the empty vast of plain and skies

e e o he e he e Th s p or, pinc d hov ls ﬁx t ir glanc s vain W W W From under l 1ds of broken m iow - pane

. e On W E E] that turns and turns and di s .

[84] J OM

NOVE MB ER

TH E highways run in ﬁgure o f the roo

In ﬁn itely beyond the wood .

And far away beyond th e plains cross - w1se

i he the in ﬁn T y run into ite skies .

Crosses they trace even as th ey fare On through the cold and livid air

Where wildly streaming the win d voyages

Th e ee e ar e tr s and winds lik unto pilgrims ,

Sad trees and mad through which the tempests roll

T es e e rg lik long lin s of saints coming from far, a w m m m w Like the long lines of all th e dead h For whom t e dark bells toll .

e t r ees 5 tr ain e O north rn 3 for lif , , W u

e he e h th s And winds shatt ring art , W W g g gg \ W O a W t

e e e “ h arts and v r burrowing

[85] e e he the ee e he th Nov mb r crouc s by f bl ar ,

An d warms his bon y ﬁn gers at th e ﬂame ;

0 h en e h h e n e idd d ad wit out a om or am ,

0 win ds batterin g the stubborn walls of

Ever hurled back from them and thrown

e e Out into vastn ss s unknown .

’ 0 n e e e e all saints am s scatt r d in litani s,

0 all ye trees below

0 nam es of sain ts whose vague monotony is

In ﬁn itely drawn out in memory ;

0 prayin g arms that be Mgﬁly gs miven h rgsl gg outstretched wide

SO e To W ris on he horizon cruciﬁ d .

November here in greyish cloak doth hide

e e th e n e e His strick n t rror by i gl sid ,

n his e e e And tur s sombr , sudd n glanc

’ Across the tran sept s broken panes of glass 0 the tormented trees an d win ds that pass

ver the n n e e e e bli d a d t rribl xpans .

The the e the ee the saints , d ad , tr s and wild wind,

The identical and dread procession s go [86]

XII v

T H E

WIT H hearts of poor men it is so

h e ar e e h That t y full of t ars t at ﬂow,

That they ar e pal e as head - stones white

e In th moon light .

’ And so with poor men s backs it is

More bent with heavy miseries

Th an saggin g roofs of brown huts b e

Be e he s ea sid t .

’ so h e h And it is wit poor m n s ands ,

e e e n s Lik l av s along autumnal la d ,

Le aves that l ie sere and dead and late

e e Besid the gat .

’ d h e e e An it is so wit poor m n s y s ,

e e Humbl and in all sorrow wis ,

’ e the e And lik cattl s , sad and dumb,

s e When the storm com . ‘ Oh h the , it is so wit poor folk

Have gestures weary and resigned

’ e o f On arth s far plains sun and wind .

[39] LIFE

h e e e e ee To exalt t ys lf all lif xalt d d m , Lofty above their lives who dare aspire

Never from sin - wrought wo e and quenched desire

me Distils a liquorst ngenough and r ed . ro m g su e e w r p r d h ad .

Clean wheat from which all tares the tempest

blew ! Flame chosen from a thousand once so bright

With l egendary splendor sunk in night !

Man s et th the e e , y foot upon r al and tru , h That arduous pat unto a distant goal , Unarmed but for thy lucid pride of soul !

“ ‘ March boldly in thy conﬁdence and s tr aight i “ At hostile circumstance with stubborn hope?

h h e l et e e e And wit its arshn ss thy t ns will cop ,

th th e Or y swift wisdom, or y pow r to wait, And deep within thee mark the feeling grow

e e h e e Of pow r incr asing as t bl ak days go . [96 ]

J EAN MOREAS

O LITT LE FAIRIE S

TT e u e r O LI LE fairi s, nd r your long, long hai

e me so ee ee N sang to sw tly in my sl p,

0 e e e littl fairi s , und r your long, long hair,

I the h e e n c arm d for st o f enchantment deep.

’ the e e e e Mid charm d for st s rit s of myst ry,

C e n e h e ee e e ompassionat g om s , w il I was sl ping th r ,

Offered with kind and hon est h ands to me

e W e I s e e e . Ev n . hil l pt, a sc ptr gold and fair 51

have l earned since that all is false and

he e e e the e gold n sc ptr and for st lay,

e e e I lik a fr tful , cr dulous child fain

Would in that forest sl eep my life away .

What matter that I know it false and vain XV

A YOUN G GIRL‘ SPEA K S

H E e n e : s o his e T f n l says mad lov ,

e c e e e ,Your h art it rav s th m rcy of .

’ e s ! e ! H coming Oh, your hands b stir W e e a ﬂ e e The f nn l Is att r r .

De e ar God, hav pity on my soul .

the t And why, oh why, daisy sai h Put all your faith in his light faith ? His heart is hard with lies and hate !

D e e aisy, your warning com s too lat .

De e . ar God, hav pity on my soul

The sage- plan t says : await him not !

h e s he In ot r arm has forgot .

’ e e I e O m lancholy sag , d w ar

Y e e e , our sad l av s braid d in my hair .

De e o n ar God, hav pity my soul . ST A N Z A S

SA Y not : Life is o n e j oyous festival

An d a base soul an d foolish min d betray

et e en d an d Nor y , Black mis ry is its all ,

Through courage ﬂagging on an evil way .

Laugh as in Spring the boughs that shake and h t rill ,

ee e the e e h h e e W p lik driv n wav s t at s or ward str am ,

e e e e e ffe e e Tast v ry pl asur , su r v ry ill ,

’ An d : h h h h e say Twas muc , t oug but a s ad and

When the heaviness and void

c e we Of all tragi lif ﬁnd, Then the stricken soul is cloyed

e h Even with tend r t ings and kind . [94]

JULES LAFORGUE

XVII

K A NOT H ER BOO .

A NOT HER book ! How my heart ﬂees

he e e e n h e en are From w r th s pi c b ck g try ,

he e an d n e From t ir salut s mo y far, And all our phraseologies !

Another of my Pierrots gone !

Too lonely in this world was he ;

Full of an elegance lunary

e The soul that through his quaintness shon .

he h e T gods depart ; t e fools endur .

Ah e , it grows wors from day to day

e u e My tim is p, I tak my way

the e e Toward Inclusiv Sin cure.

[96] HENRI D E REGNIER

XVIII

T H E F AIR H A NDS

SHO WIN G the whiteness of ﬂesh faint and fai r

The h n the ee h n hah e n e e a ds , sw t a ds t t av v r spun,

I Reveal their j ewelled beauty to the sun

And ﬁngers slim that braid the heavy hair .

0 h n the e e the e m a ds , you ga r b sid wat rs cal

e e th e e e ee Gr at lili s of riv r, tr mbling r d,

And from the ne ighbouring mountain choose at

need h e e t e e the . P ac of oliv , glory of palm

0 the ee e hands , on st p riv r bank you draw

he the e s in e To al brow by anci nt dismay d,

Ho ly baptismal waters that persuade

- n ew e e ee awe . Fair forms , garm nt d, to kn l in

0 hands of fragran t ﬂesh whos e gesture slow

D h the n ﬁn er - i raws t e warm blood to fai t g t ps,

’ The weary brows o er which your beauty slips

e e he n F el heavenly freshn ess fall lik ali g snow . [97] An d e he r ed an d e po ts in t ir scarl t girt,

n n the he e e e Si gi g sorrow of t ir dr am xil d,

e h e un deﬁl ed Kiss you , d ar ands , for b ing

e s h . By sordid toil , by barr n ta ks un urt

[98]

An d he we met the n e t n da c rs on our way,

After their laughin g an d their tambourines we

wen t astray

To los e them in the sombre dusk at a turning of the way

We go back to the city of the singing street

To seek our sweethearts un der trees an d drooping

e ﬂow rs ,

Where in the sil ent square the happy chimes are

ee sw t,

And even like blossoms shake the belfry towers .

L ter in ter ﬂies h o uts a i s ut ,w n ﬂ , w d g in g gw ggg wit prq “ W W W ” a mis s

’ An d with the swallows ﬂight

Who s o e soar low and lat ,

Weary o f having crossed so many times the s ea

And toward dark corners an d on bright pavements

w e

h l et e h S all our hop s , glad s adows , ﬂoat in air Like ﬂowe r etals mar vell o usl fair g w p

Shed by an April evenin g upon lovely hair . A LESSER OD E M OW at A LI TT LE reed has been cnon g

e he h h e ill To mak t igh grass s ak and thr ,

he T willows tall ,

The e e m adow wid ,

The brooklet and the song thereof ;

A littl e reed has been enough

To make the forest musical .

The passers - by have heard the song

I the ee e en he h ts n d p v ing, in t ir t ough

e he e e Wh t r in sil nc or in storm ,

Or faint or strong,

e Or n ar or far .

The pass ers - by in their own thoughts

e n he ee e H ari g it, in t ir d p st souls Will hear it now forevermore

ee A singing r d .

It was enough

This littl e reed once gathered of [ 1 0 1 ] R e s h t é fo t‘ n e e one e d f . un . j jiih , ai wh r day Love came to stay An d see his grave Face sorrowing To make th e passing people cry And grass and water tremble so ; And I w ho on this reed could blow

Have made the very forest sing .

ee h e h e h n S t at upon my marbl t r s old bur ,

’ When beneath Victory s wings has passed your

e tr ad ,

o f e d . Stains cl ar blood fromWsan als W

[ 1 64] XXII

ON T H E SHORE l " E T the h e e R S on s or and tak in your two hands,

l et he n n the And t m slip out grai by grai , sands

Whose paler hue the sun turn s into gold ;

he ere e e e e e eh T n , you clos your y s , onc mor b old

e e Harmonious oc an and transpar nt sky,

e ee n And wh n you f l most fai tly, by and by,

h h e e h r T at in your lig t n d and is not a g ain,

Consider ere you lift your lids again

That 1ife 0 e

o he l e Our ﬂeeting sands t t a shor . H EROic forest of l egend and nﬁdm M w e — - e w m e M r s w a If ifuth e th e e ee no mor y fabl d li s I d m, And if upon thy paths I meet no more

The ee e e met e w ping princ ss s I of yor ,

the ea e h he Nor gr t, armor d knig ts upon t ir way

e he e en h e e Toward cav s w re som c ant d b auty lay,

e e e e Against whos coming op n d, as by fat ,

’ The Keep of Sadness or Love s Orchard - gate

e ? th e s e What matt rs it Hast thou not, Wi out c a ,

By turn thy silences and harmonies

Th e e n h e t e y g ntl Spri gs , ric Summ rs and in h m Thy ripeness with its cloak and diadem ?

h e e Hast thou not, appy for st, Autumns roll d In purpl e vestiture and crowned with gold ?

e e e e - ee Hast thou not pin s r n and oak tr strong,

And frailer trun ks that chant a Wind- swept song ?

0 e the s ea for st multitudinous as ,

e e e he s e be Whos p rfum s , in t ir turn , as bitt r ,

ee e as e . As sw t as lif , strong, as full of fr t I came to thee to live and to forget

[ 1 06]

XXIV y

C HRYSI L LA

P R E me ee e b ed S A from s ing, godd ss, by my

he e the h h e w W n com s dark our of t ﬁnal blo ,

Tardy Time cut without regret or wo e

’ n e l g g uim A lo g lif s g n omw ug ggg w w

he L e ho n e e me e Arm rat r ov w lo g d sir d d ad ,

An d his e e h me would stab supr m mig t wound so,

That from the heart he hated forth would ﬂow

h e My mortal blood stain in g t e earth with r d .

But no ! At eve l et me have vision there

he h e an d Of my blit yout , nak d still and fair

And letting rose- l eaves upon water drift !

’ Then I shall hear the fountain s farewell sighs “ M

0 0 An d Without need of sword or arrow swift

e Close unto everlasting night min eyes . FRAN CIS VIELIiI- GRIFFIN

’ XXV v

OT H ERS W I L L C O M E

OT H ERS will come across the plain ﬂ

e e e the e N ar you b sid gat to sit,

And you will smile at all your train

e n e e Of lov rs , you g and xquisit .

e flee Th y will follow, follow, t

Your springtime an d its radian t glow

Why so v er y swift their feet ?

e e I was tw nty onc I know .

e are he All your smil s now t ir own , All your magic youth and strong

Wh at matter they ? For I alon e

e Pour d your sweetness into son g .

[ 1 09] T IS T I ME F O R US TO SAY GOOD NIGH T

’ e - h Trs tim for us to say good nig t ,

th e e h Fair hours wi dr ams and ros s brig t, h ow ﬂed forever with all lost delig t .

ee e on e e For th I wait d as waits for lov ,

e e e e we ee K pt my soul whit to dr am of wh n m t,

Guarded my pureness for thy shoulder sweet

That was to trembl e with the kiss thereof .

he e e e ne e e W n v r from afar I rais d mi y s ,

I the e th h e n young grass rustl d y s adowy shap ,

Th n the e the e y ha d did pluck b rry of grap ,

h e e And t y st p ﬂuttered like a bird that ﬂi s .

e Thou wert my hope . Y t now that thou hast

ee b n ,

e e e e e So fragil in thy b auty and s r n ,

h e h e et e Wit lov and laug t r girt, y gon away

’ e e e ee - Twixt past and futur th r s ms no to day,

I e ee I e ee . And hav known th not, sw ar, nor s n

XXVIII

PRO V EN cE

HERS is a ﬁn e and buoyant face ;

Yet the small features have a nobl e trace ;

’ Her ﬂesh s clear grace

Evokes no ﬂoral image of delight

’ ’ the ﬂesh s e e e e Tis grac , v n as through spac

he e o f - h T silv r star lig t .

B her road is brow, White as the templ e where but now Has prayed a faithful worshipper ;

ee e r ed the her Of d p st lips of ,

e as . the e Not purpl baubl of a king,

B e h e h as ut lik a bay w os savor a sting, A savor with a hint of pain

e he e i e Which b ing gat r d l v s again,

e e e Und r our kiss s liv s again,

mb e Sy ol of all faint hop and longing vain .

Soft are her eyes seeing naught save

e er e the ve S as of a silv y blue and gard ns by wa . [ 1 1 2] They keep a wide attentive air Wounded by the music fair Of sweet songs that rise and fall

ee o f In soft sp ch that litoral ,

Ardent and fragrant by the free

e e e sea Divin M diterran an .

e she e And wh n smil s,

e e is e e the e Th r cl arn ss on isl s,

he e e T far, whit isl s from which is When awakens the fresh morn

R e o f e e e her adianc gold n sh av s to ,

o f s ‘ And tall gr a s made ten derer . STUART MERRILL

XXIX

A G T T HY K JAINS N EES f ’ A AGAINST thy kn ees my pallid brow Amid the fading roses th ere ;

0 e me lady of Autumn , lov now

he Before the black days chill t air .

And move thy gentl e hands that seem

cas e e h e the ! To my h art, to al sting

Of e e my anc stral kings I dr am ,

B u e e e . ut thou , lift p thin y s , and sing

he me e Soot with haunting ditti s old,

has ee And songs of valor that b n, Of kings who in their ruddy gold

e he ee e Di d at t f t of maid and qu en .

And when thy liquid voice shall rise

e ep e R calling ic and romanc ,

And cry even as the bugle cries

’ e the e Abov harsh swords ﬂash and danc , [ 1 1 4]

XXX

T H E PRO MISE O F TH E YEA R

e h o f e O H , com wit crowns primros s that in your

h ar e e ands born ,

e ee e e e Maid ns w ping for a sist r, for a sist r d ad at

dawn,

’ The bells of all th e valley ring out for her that s

e gon ,

And o n e sees the shovels ﬂashing in the sunlight

the mo of m.

h e e e e e e Wit bask ts of blu viol ts , com y maid ns all

Who waver at the beech - trees that your sunny

road runs by,

e e the e e e e B caus sol mn , pri stly words hav mad your

he ee sh arts f l y .

C e see he ! om , for with un n swallows t sky is musical

For this is the feast of death and it seems a sabbath day ; Many bells are sounding sweet in all the valleys wide ; An d in the shadows o f the lanes the lads have gone

to e hid ,

e t o a ne u o her w e e Whil you mus g lo nt . hit , whit

tomb to pray .

But in some n ew year the lads who to - day s lip out of sight Will come and tell to all o f you the lovely grief

o f e lov ,

And around the merry May - pole o ne will hear your singing of The roundelays o f childhoo d to salute the s tarry

n ight . MAURICE MAETERLIN CK

XXXI

T H E SEV E N DAUGH T ERS O F O RLA MO N D E

TH E seven daughters of O rl amon de

he the e W n Fay was d ad,

The seven daughters of O rl amo nde

To seek a doorway ﬂed .

Lit their seven lamps and opened

the e h All tow rs of nig t,

Oh e e e e s , th y op n d four hundr d hall

An d found no light .

e e And cam unto sonorous cav s,

e e e n Ent r d falt ri gly, An d beside a closed door

e Found a golden k y .

Saw the ocean through the chinks

e e Strang and inﬁnit , And knocked against that closed

e e And dar d not op n it .

[ 1 1 8]

REMY D E GOURMONT W

XXXIII

TH E SNOW

e as the w I see SIMON E , whit thy throat sno ,

e he W e th n ee . Simon , t snow is hit as is y k

e n e e the w Simon , thy ha d is cold v n as sno ,

e th e e e as the w . Simon , y h art is cold v n sno

’ h heart The kiss o f ﬁre will melt t e snow s cold ,

But thine melts only when we kiss to part .

The s o n the e- e e e now is sad pin branch s th r ,

Thy brow is sad under its chestnut hair .

I the c th e ee s now n ourtyard y sist r snow sl p ,

M s e n w n a d all l e art hou. y no , Simo , my ov t XXXIV

‘ « M - - t ~ w t T H E EX ILE O F B EA UTYw M u-" M W w - v

the e old in human for st A b , 4M

r et

tremble so when evening damps oppress thy veins with cold Think that the withered ﬂesh no Springtime can

e e b guil , And keep about thy pallid lips the shadow of a

s e mil .

e h h ff th Tak t ou bot sta and scrip upon y ways ,

And over the ﬁelds follow thou still the trace

the e he h he Of tall ox n w n to ploug t y go,

h e ee he e n ew e the e Or c ildr n s king w r ﬂow rs, ﬂow rs

of p assion grow .

e d e th e d PW rhaps thou wilt ﬁn lov in at lon lan e h men s e h h t e Or d at , or poor who tr tc fort h ir hand Toward thy heart and wish thee dead ;

e e e And thou wilt giv th m What thou hast, a littl barley bread ; But they will speak in hos tile wise

[ 1 2 1 ] And at their impure words the tears will start into

thine eyes .

ee ! The h he W p not gods wit lofty ad,

h h e e e e e e T oug into xil driv n th ﬂoor of heav n tr ad .

Th e e e ee h e y divin bar n ss k p from ypocrit s apart,

’ Be e he h B e h e . uglin ss to t m , thoug auty s s lf t ou art

[ 1 22 ]

O N th e loud room falls silence like a trance

e Pan n yr e with golden heels comes forth to danc .

e A thousan d folded veil covers her quit . h With a long trill t e silver ﬂutes invite .

She e her e h starts , cross s st ps, and wit a slow

Movement and sinuous her lithe arms throw

The e e h h z e quiv ring gauz into a r yt m bi arr , Which spreads and un dulates and floats afar And like a glittering whirlwind pass es by And she is flower and flame and butterfly !

he e e h T rapt y s follow ; t ere is not a stir .

Th e he e en e he fury of t danc kindl s r .

She h e she an turns and w irls , swift r whirls d wheels !

f k ’ f he mad ﬂame in the torches reels !

e sh e Sudd nly, in all , stops

The e v il , but now a ﬂying spiral , drops

e e e- e h n e Susp nd d, marbl calm ac lo g fold li s

C e e he t linging to point d br asts and polis d highs,

’ An d h n e e e as t rough ﬂowi g wat r s silk n shin ,

Pan n re ﬂashes— e e y now nak d and divin . [ 1 24] EDMOND ROSTAND

XXXVII

T H E DRU MMER

EARLY before the unseen cricket - choir

Be n e e ats its small cymbal , twa gs its littl lyr ,

’ he - e th e n e W n rosy gre n daw ing sky s unblurr d,

O ver the e the whit road of mountain fair, l e e h e Wand r t slowly, playing an old n air,

The e s e n e e . drumm r, hand om as an a tiqu h rd

Under the pines which sprinkle on the ways

The e e he glitt ring d ws of dawn , trills and plays

e fe e e e h ﬁ . On his cl ar , v n lik a w istling bird

n h ee His drum swi gs wit its ribands gr n and long. He goes to sing a gallant mornin g song

the h his ar e e To lady by w om all songs h ard .

He e e e e br ath s into his pip a m rry air,

Be ating the time upon his drum from where

The e e e a e e cad nc s of dull r sound r s nt .

The e ﬁfe o f littl ivory trills and rings , [ 1 25] And the drum follows the bright song it sings

h e . Wit a monotonous , sad accompanim nt

D r umme o f e ho w e ee ! lov , lo, our fat agr s _ _

e e melod es I , too, bl nd sad and m rry

e — h e e It is my h art t at sombr ton of ill ,

e e r h ! H avi r to car y t an your drum , my lad

’ o er e e But always , its plaintiv not s and sad,

o e s e ! That m cking pip , my spirit, whi tl s still

[ 1 26]

Roses and mulberr ies

An d e the ﬂow rs of plain,

h h the e e n Of w ic po ts f ig ,

ees And boughs of rustling tr .

Yes h see , t ou art poor, I

h e e So plain t y littl dr ss .

De he en en e ar art of g tl ss,

e f e e My gri f I o f r the .

[ 1 28] XXXIX

T H E T RA INED A SS

’ the n e the e who I M trai d ass, v ry ass can

e the e e e . Startl l arn d, counting lik a man

With whip in han d my master makes me climb

An e n e e . old, crack d tub and bala c for a tim

he his e en h T plaudits of the crowd z al ance.

e n e e e So down I st p a d n xt am forc d to danc .

“ ’ ” h e e e e e W r s Paris ? som on asks . My foot I plac

’ O er the h h n rig t spot upon t e map of Fra ce .

“ Ne : e the e e e xt Ass , surv y circl , fac by fac ,

And stop and with your nodding head po int out

the e Among audi nce the most stupid lout .

e e e th e n o e I ob y, quit sur at I mak mistak

e e he e h me My mind, ach tim wants to t ac , knows

the h e How man daily in is ignoranc grows .

n h the e h At ig t, in old t nt t at ﬂaps and j ars

ee e Sadly I sl p und r the windy sky .

The e e obs ssion of knowl edge haun ts m . And I try

e h e In my nightmar to count t e v ry stars .

[ 1 29] T H E C HILD READS A N A L MA NA C

TH E child reads o n ; her basket of eggs stands by .

She ee the e h e th e n h awe s s w at r signs , Sai ts wit ,

An d watches the fair houses of the sky

The o he Bul he m e e e G a t t l t Ra t . , , , c t ra

An d so th e little peasant maiden knows

h the n e n w e eh T at in co st llatio s b old,

Ar e markets l ike / th e o n e to which sh e goes

Where go ats and bulls and rams ar e bought

sold .

he e S r ads about that market in the sky .

She turns a page and sees the Scal es and then

h e e the ce Says t at in H av n , as at gro ry,

e h ffee he me e t n . Th y w ig salt, co and souls of

e the e Ev n thus soul , wrung by so many wo s,

Er e on diviner s eas it ﬁnd its track

e he e en the e e And r ac s H av of Et rnal Ros ,

e e e e ee e . Tri s, falt rs and, b for it ﬂ s , com s back

[ 1 32] CHARLES GUERIN

XLII

BRIGH T HAIR

AM B ER e r e h e h , ri y , or on y full of lig t , I p

' ’ Fr om combs like Fingal s grotto glitterin g

’ Ar e dull beside my lovely friend s delight

e And prid of radiant hair .

e she ee e me h e ie Wh n sl ps n ar , appily w ar d,

Beside her sleep in vigil I behold

Her e her e hair und r pallid body Spr ad,

h e Cradling its w it in gold .

When with her folded arm s he combs and makes

’ e h the h e n e e h Pati ntly smoot brig t sk in s ta gl d m s ,

She throws her head back lightly and she shakes

e he e e Gl ams on r glimm ring ﬂ sh .

Her h e e e bosom s iv rs und r its car ss .

Her slim form stands before the glass and

The rippling softness o f its longest tress

n her ee Agai st rosy h ls .

[ 1 33] - the the ed HERE in laundry, through blurr window n pane

I have seen the nigh t of Autumn falling grey

L) A wanderer passes the ditches full of rain

e e e e who e Trav ll r, trav ll r from of old go st away

he he h e he he h e e Now w n t s p rds from t ills d sc nd, Haste thee ! The ﬁres ar e quenched upon that

way, And th e doors clos ed in the land which is thine

en d

The road is empty and th e rustle of grass Comes from so far it frightens us Haste thee ;

The lights ar e out on the old carts that pass

’ Tis Autumn sitting in coldn ess dreamily

On the straw chair in the kitchen hid away Autumn that in the dead vines chants his lay

h the en h e n e men T is is mom t w n u buri d ,

h e e he e ween the e ee W it bodi s was d b t wav s in sl p, Fgel the ﬁrst chill of shuddering again a. ~M u m a ” O M M “ 5 m m m a : “ , And ﬂo t for shelter into vases deep. [ 1 34]

I MA GES OF OUR DREA MS

TH E wooded hill slopes down even unto the stream ; its mirrored image in the tran quil water lies ; rocked in the darker half the deep green

n he ee an d n the e h the e bra c s s m , i azur alf spac s of

he e t Ski s .

e e e e e en e h e H r lik a ski y p arl a sl d r s allop glid s ,

n he e n e a raft of bra c s rid s o t v ry far away .

Un der my very eyes the mist that blin ds me hides

n e an d n h he and mi gl s raft sail i to t e w lming wave .

Images of our dreams gone down in to the

ee e an d h e d ps , O aiml ss raft sail wit wat ry ports

h e e e an d h h n th e a ad , blu dr am dark w ic dow e cru l

e ee the e n e an d riv r sw ps , lost in wand ri g wav

n e he n e mi gl d t re a d d ad .

The wooded hill slopes down e ven unto the

e - str am . A ﬁeld of butter cups sh akes on the

h e h e h e h ot r s or . In t sky overcast t e pallid ﬂashes

e h gl am . A for our dreams that rise and perish everrn o re ! [ 1 36] XLVI

IDYLL

C e h Eve ee he EA H tim t at and Adam m t , builds

e h h n e of dre ams a Paradis . T is time t at la dscap strange and sweet was built by her to pl ease his

e e y s .

So for her Adam of thirteen an Eve of twelve bright Sprin gs did mould a world en chante d

an d serene— and durin g th is time I was told

h he e her e een h she t at mot rl ss y ars had b , t at

“ e r ed an d e h in her e she lov d tulips rip , t at cottag ” h h e e ee her e . was qu n, and t at fat r smok d a pip

But on a hidden forest ground the an cient Mys

ter w e an d the e - ee e the y found, God Ev r s ing kn w

e e e e in t mpl v il was r nt two . [ 1 37 ] We e h e th e e th e an br at d fragranc of land, d to our ﬁn gers ‘ clun g th e hin t of perfume which the

e e h e e e th e h l av s of mint in gat ring l av on and .

’ The e e e e p rfum of our soul s d sir . How

’ ” heady ! Here s the storm at last ! She said

ee an d so sw t wild . Then passed through the tree

the ﬁ e tops forks of r .

’ The thunder s peal ! Against my side the ter

e n h e ee ror made h r cling a d id . And on our kn s

“ behold us two saying togeth er : I love you 3 ,

Her tenderness comes back and all her dear

e e e an d her e en e e e car ss s I r call , blu , ard t y s adr am,

e e h er throat and should r white as cr am .

e h n wh h e e Fr s air of Spri g, y av you mad a soul ﬂit back in to the shade of these far memories of youth ? An d of these scenes that fade and fade

e et ee e e e So simpl y so sw t as , ov r m adows born ,

this littl e tune that thrills all the fresh heart of morn ?

[ 1 40] XLVIII

HORIZ ONS

O N the e the way to Paris, but toward N mours

h e bu llﬁn ch th e e n h w it , a in branch s sa g throug

n n - h the mor i g lig t .

On the e e ee way to Orl ans, to N mours ﬂying ﬂ t, a swallow in the heart of day san g above the h w eat .

’ the e in h an d On way to Fland rs , twilig t s gold

e e the e e e gr y, far from N mours magpi its tr asur hid away .

Eastward on to Germany and Russia with h h h the ars cry, far away from t is land crows of

n eveni g ﬂy .

’ e e e he But in my lov ly gard n, in N mours s l

ter ed e h the h h val , all t rough starry ours of nig t

h e h c ant d t e nightingale . PIERRE LOUYS

XLIX

P E GASU S

HI S e ee h e pur f t striking sparks of ﬂint t at ris ,

The mythic beast whose limbs in vi o late ar e

e e n H ld by no god or man in r i or bar,

Unto the vast mysteriously ﬂies .

’ The l essening horse s mane in aureole wise

e e e n an B com s, far str ami g, immortal star, Lustrous in th e nocturnal gold like far

e e Orion glitt ring in the frosty ski s .

And as in days when fair souls and aloof Drank from the springs struck by his sacred hoof

e e h e e Th ir dr am of ﬂig t into sid r al lands ,

Poe ts who for the reverence lost them weep

’ Still s ee In fancy neath th eir feebl e han ds

h e e e T e white beast in forbidden h av ns l ap.

T H E MINU T E

0 M Y e e the e ! daught r, op n gat ” Someon e knocks loud and late !

n n en he e I ca ot go and op t r ,

he he For at t mirror I smoot my hair .

D h e e the e aug t r, op n gat , I say, ” A man fain ts upon th e way !

“ him et I cannot go and look for y ,

se Ribands upon my waist I t .

e h e ee ! Op n , O daug t r sw t

h e n ee . I am old , I av draggi g f t

n an d h him I can ot go watc for now,

’ ” n e e I m claspi g j w ls on my brow .

Perchance the traveller is dead ” Out in th e cold and wind and dread !

“ If he h ad been fair I should have guessed ” h e e No t rill has shak n my br ast .

[ 1 44] HENRI BARBUSSE

T H E LETT ER

TH E c the e clo k ticks slow minut s out,

the And lamp listens as I write .

e e e e Soon I shall clos min y s , no doubt,

- And sl eep and dre am of us to night .

’ The o er e e soft glow my for h ad slips, Thy voice sounds in my fevered ear

Th n e y smili g nam is on my lips ,

And on my hand thy ﬁngers dear .

I feel the charm o f yesterday ; Thy poor heart sobs within me now ;

An d e who h , in this dr aming, s all say

’

e e I e . Wh th r tis who writ , or thou FERNAN D GREGH

DOU BT

UPON the topmost branches dies

A last ray of the s etting sun ;

A glimmer of strange gilding lies

’ the e e e Upon l av s v rmilion .

the e the e From pal sky colours fad ,

’ Tis grey even as grey waters ar e ; There glide like sudden shafts of shade

The n livi g wings of birds afar .

h e h ee From all t ings com s a c arm so d p,

ee e So sw t and glad, so void of Strif Calm as the peacefuln ess of sleep

e the e e Spr ads divin ly cosmic lif .

The sounds of the far city roll

n e On ﬁtful wi ds to my retr at .

Why falls there s udden on my soul A feeling beyond speaking sweet ?

[ 146]

PAUL SOUCHON

E L EGY A T NOON

WH E N in th e street at noon the human tide

ee e h e h e me e Sw ps from ac hous and urri s asid ,

When bars and restaurants with hubbub teem An d from hot plates the vapors heaven ward

e st am , And in th e sultry an d tumultuous str eet

Paris sits down at tabl e and to eat

I think how far in some gold landscape deep

The e e e ee s the e ee qui t r ap r s k shad for sl p, Drives in his dream the buzzing ﬂy away

’ h o er his e e T at op n lips has com to stray,

ee e e e And s s on waking, but with y s clos d tight ,

Through all his blood roll the resplendent light . HENRY SPIESS

HANDS

HA NDS that in my dream I s ee Beckon ing me like a star The brief rose have promised

he And t lily far .

Hands tha t I have longed to hold

e e e For th ir g stur s magical , Rings have worn O f ancient gold

e e On th ir ﬁn g rs small .

Hands which so I need to bl ess

h n e e e e e T robbi g mouth and f v r d y s, Sweeter than soft lips caress

e e e And in g ntl r wis .

When I thought I watched them

e e the h as ee Ev r lif doubt s n,

An d e e e th y hav , p rhaps , alas,

e e ee N v r truly b n .

[ 1 49] Y et becaus e I dreamed of them

n e Lo g ago and lat , Faithful I have been to them

And I wait an d wait .

With outs t tched arms we wander in the shade

e e h e e h Which we ours lv s av wov n with our mig t .

She e the e e e the e mak s y mor dark, throat mor

h e w it ,

s h h be e I ca t my t oug t in forms unknown for .

s the he e Each paint with vigor or art or fac ,

’ On e h o n e th e wit fair words , wi a p ncil s grace

e e e e l ss h arts for v rmore.

[ 1 52] LEO LARGUIER

W H EN I A M OLD

e e WH EN I am old and po t of r nown , And walk with tottering steps and brow bent down And think of nothing but my verses spread

Like swarms of sin ging bees about my h ead

e e b e e e Old ? Wh r will you , O my d ar lov of

he e he e e eh T r in t dusk of lif and fam , b old,

h be h the e h I s all sad , watc ing lat ours ﬂy,

’ And follow with an old man s desolate eye

e e e h Som lass of tw nty trip on footst ps lig t,

e h at h e h e W aring a pastoral wit ﬂow rs of w it ,

he a h Just like t h t you wore In ot er days .

’ s ee the e e the the I ll inn onc mor , wood, ways ,

And all our Autumn j ourney take again !

’ I ll people with regret and longin g vain

V e e ! 0 e Our illag of d ad days m mory,

h e e h et e die So ric in d athl ss t ings , y doom d to

Although the roses bloom forevermore !

De e e e e e e ar lov , d ar lov , b sid my clos d door

[ 1 53 ] ’ Alone I ll sit and watch in gatherin g damp

’ e even m e e Life s barr n g ﬂick r lik a lamp.

Upon the garden bench wh ere Autumn sees

The the e the ee ﬁrst rain spray , ﬁrst l af in br ze

e e n th e Fall lik a strick n bird upo way,

I shall t e- live that Autumn day by day

’ All ! Y et to s ee in very truth what s gone

The bracel et on your roun d arm in the dawn When you pushed back the small green shutters

where

The e e h e the d wy vin s s on in limpid air,

’ s ee e ehe e To again your smil , your for ad s whit ,

The brown tress hiding it in full moon - light

e o e e e Old and r n wn d , in my dull v nfall , I would give up my portion in that fame

h h h he e W ic istory grants to arts mad musical ,

e e And this poor laur l of a glorious nam .

[ 1 54]

on e e e ee e If w r to k p for many y ars and days ,

If o n e were to keep the lithe and fragrant grace

the h e who are e Of all air of wom n d ad,

the h the h h e All blond air and all air of w it ,

e e the hue h Tr ss s of gold and coils of nig t,

’ h e e e e And air of bronz lik Autumn s foliag d ad,

on e e e e e If k pt th s for many y ars and days ,

e e o f r ed And twist d rop s dark and gold and ,

And tethered then

’ h s e men To t e great links all earth s impri on d , And bade the prisoners go forth again Far as the lithe rope l ed

The ropes would stretch so far on hill and plain From all dark thresholds out through sun and

rain,

h e he e t T at if all prison rs in t world w nt for h,

h e h h Eac , wand ring Sout or Nort ,

e h Would r ach his ome again .

If Clotho on her busy distaff spun

’ Instead of my brief life s soon en ded thread

The n h th he e e lo g air and e avy of wom n d ad,

h the Hair dark as rust, air radiant as sun ,

’ the e Hair as rav n s wing, [ 1 56] e the he ar e Or arg nt as birc s in Spring, If Clotho on her busy distaff Spun

e e e are e All tr ss s of all wom n who d ad,

I be e e should lon , so w ary and so old , In a high tower with no thing to behold

e s ee And no hop any coming thing to ,

And so bowed down with heavy memory

die Of all who had to , That I would call for Death— with a gr eat cry '

[ 1 57 ] GEORGES DUHAMEL

A N N U N C IAT IO N

’ FROM the tall mountain s brow

A broken mass of rock

Rolls do wn the wrinkl es of the deep ravine

h h e e he e e As t oug it w r a avy t ar of granit .

If it seems t o stop for a space

It is but to roll on with a ﬁercc r l eap;

s e ee e A stag t fr will not more swiftly r ach its cave .

It boun ds fo rth mightily

An d plucks out at th eir very roots

h n n n e T e pi es a d j u iper tr es .

Al so the wood - cutters toiling upon the

Feel a disquietude upon their backs ;

e ee e he en And t rror fr z s t ir trails ,

While this Scourge approaches

e Which no man has yet se n .

But I among the heather sunk in deepest peace

’ e he h e Hav a art as calm as is a ood d falcon s,

[ 1 58]

EMILE D ESPAX

ULT I MA

MU SING I seem upon the glistening space Among th e trees to s ee h A w ite bust glimmer on a marble base.

’ h e he My brot r says : Tis .

B e e e roth r, though thou lov farth st island ways ,

e e Strang sky and ultimat main ,

I e e e e e a books and p rf ct v rs and qui t d ys, W b e sh all e o n e through pain .

[ 1 60] GENERAL BIBLIOGRAPHY

S Z R T E ET OU A , OBER DE LA PO SIE POPULAIRE LE LYRISME

SEN TIMENTAL . 1 899 .

S T TH E T T L IT YMONS , AR HUR SYMBOLIS MOVEMEN IN

E E. 1 RATUR 899 .

Bo RD EAUx H : ECRIVAIN S ET (E . , ENRY LES LES M URS

T V F T T . 1 00 . HOMPSON , ANCE RENCH POR RAI S 9

D E: LA CULTURE DES IDEEs .

- 1 900 .

’

MA . 1 U C LAIR T 00 . , CAMILLE L AR EN SILENCE 9

G R EGH : F ET T . 1 0 1 . , FERNAND LA EN RE OUVER E 9

B : SAM L ED E SKRI FTER . FRAN SK . RANDES , GEORG LYRIK

. 1 1 . VOL VII . 90

— H R O TT 1 88 0 1 00 . AUSE , O DIE BELGISCHE LYRIK VON 9

1 902 .

’ ’

. E T LITTERATURE D AU O URD H U I . CHARLES , J RNES LA J

1 902 .

' ‘ T SYM BO L ISI ES ET E T . 1 0 2 . KAHN , GUS AVE D CADEN S 9

E F F . 1 0 2 . GOSSE , DMUND RENCH PRO ILES 9

B EAU N I ER E E . 1 02 , ANDR LA PO SIE NOUVE LLE 9 .

E CATU LLE T T Po ET MEND S , RAPPOR SUR LE MOUVEMEN

F AN AI 1 1 . 2 IQUE R g S DE 867 A 900 1 90 .

D OU M I C RE E: ET ID EEs . 1 0 . , N HOMMES 9 3

R TTE H . T ET s o u E , ADOLP LE SYMBOLISME ANECDO ES

V EN IRS. 1 903 .

D AX H ELET T LITTERAIRE , AR HUR UNE CRISE SYMBOL

I 1 SM E ET SYMBOLISTES . 904 .

B LITTERATURE OSCH , FIRMIN VAN DEN IMPRESSIONS DE

1 . CONTEMPORAINE . 905

[ 1 64] ET L ITTERATURE ET PELISSIER , GEORGES UDES DE DE

T 1 MORAL CON EMPORAINE . 905 .

Z I L LIA C U S E : N YAREN FRAN SKA POESIN H , MIL DEN OC

1 0 . AN TIKEN . 9 5

T RE E LITTE GOURMON , MY DE PROM NADES RAIRES. (4

o L s . 1 V ) 905 ff.

LE CARDON EL ET V EL LAY , GEORGES , CHARLES LA LIT

ERA U E T T R T . 1 CON EMPORAINE 905 .

ET T E CASELLA , GEORGES GAUBER , RNEST LA NOUVELLE

L I E — TT RATURE. 1 8 1 0 . 1 95 9 5 906.

RI MESTAD T , CHRIS IAN FRAN SK POESI I D ET N ITTEN DE

- H U N DRED E. 1 AAR 906.

B EF T . LUM , LEON EN LISAN T. R LEXIONS CRI IQUES

1 906.

H . G . H ET LETT ERKUN DIG AMEL , A VAN LEVEN VAN

’

FRA N RI . 1 G J K 90 7 .

OP - F PELN BRONIKOWSKI , F . VON DAS J UNGE RANK

1 0 . REICH . 9 8

GRAUTO F F O TT E , O UND RNA DIE LYRISCHE BEWEGUNG

1 1 1 . I M GEGEN W ARTIGEN F RANKREICH . 9

’ T E : L ATTITUDE VISAN , ANCR DE DE DU LYRISME CON

TEM P 1 1 1 . ORAIN . 9 K EY E : . 1 1 1 . , LLEN SEELEN UND WERKE 9

MERC EREAU LITTERATURE ET E , ALEXANDRE LA LES ID ES 1 2 NOUVELLES . 9 1 .

B E 1 1 2 . ARRE , ANDR LE SYMBOLISME . 9

H T T L ITTERAIRE EUMANN , ALBER LE MOUVEMEN

’

D N AI 1 1 . BELGE EX PRESSION FRA g SE DEPUIS 1 88 0 . 9 3

AMY : SIx F T . 1 1 . LOWELL , RENCH POE S 9 5

[ 1 65]

THE THIRTY POETS

STEPHANE MALLARME ( 1 842 — 1 898 ) w as bo rn at Pa ris o f a f amil y o f public s erv an t s in who m a tas te fo r letters h a d b een tra ditio n al f o r s ev er al gen e ra

o n s e o m e e his e m n a s es a t a o s ti . H c pl t d pr li i ry tudi v ri u l cées an d h a n a ea e n the s o f En s h y , vi g lr dy b gu tudy gli in o e to ea Po e a s s e s o me me in En an n rd r r d , p d ti gl d duri g

is e h e The es as a mo es in de en d h twen ti t y a r . r ult w d t p en ce gain ed by th e tea chin g o f En gli s h at c o lle ges a n d

Z cées s t in the So h o f an e hen in a s f o m y ﬁr ut Fr c , t P ri r

1 2 — 1 2 a n o n e e b is 86 89 . Alre dy k w to men o f l tt rs y h

e s es an d an s a on s o f Po e he w as e ea e to the v r tr l ti , r v l d yo un ger gen eratio n by the s kilful quo tatio n s an d pr ais e o f

. . s man i i o o w J K Huy s n h s n v el A Rebo ur s in 1 884 . N

’ b egan the perio d o f Mall ar mé s true f ame an d w ide in ﬂu

o n o en ce. Un f rtu a tely he s urvived his retiremen t fr m a e ea h n fo r o n i ea s is o f ctiv t c i g ly s x y r . But it d ubt ul whether full er bo died w o rks wo uld h av e co me f ro m his m s fa e Hi a m a o o h a s a y tic al s tidio us n s s . s d ir bl e w rk b t

o e an a n n s e o o e s o n e p t d i pir r f p try w a d . [ 1 69] CRI TICISM AND BIOGRAPHY m ucl a r a e : S h an e all ar mé . n . Ma i M . , C ill tép ( d )

Mo ckel e : S h an e Mal l ar mé : Un He o s . , Alb rt tép r

1 899 .

zéw a Téo do r e e No es u a ll ar mé . 1 W d : s r M 886. y , t

TH E POETICAL WORKS

o o l e m e es . 1 o e r i . s es o 88 . e s et s ﬂ e P é i C pl t 7 V r Pr , g

1 . o s e o m e es . 1 893 P é i s C pl t 899 .

PAUL VERLAINE ( 1 844 — 1 896) was o n at e the s o n o f a a a n in the en h b r M tz , C pt i Fr c

’ a m The o e e e o s r y . p et s ea rlies t y a rs w re pa s s d in v a ri u

a s o o In 1 a e a n e ef he s e g rri n t wn s . 85 1 C pta in V rl i l t t rv ice an d s e e n a s f e s om e a a o n a en ttl d i P ri . A t r e pr p r ti P ul ter ed the o ld L cée Bo n a ar te w a s ma e backelzer es y p , d l ettr es in 1 862 o a n e em o men t s o s , bt i d pl y ﬁr t , curi u ly en o h w h an n s an e o m an hen in s e e a ub ug , it i ur c c p y, t v r l p

o fﬁ es . s o o n es e a af e the ea h o f his lic c But , p ci lly t r d t f a he he n e e e his es as s o a e w h men o f l et t r , gl ct d duti , ci t d it

e s an d s he his s tw o o mes wh h we e r ac t r , publi d ﬁr t v lu ic r p

a n n o e . In 1 8 0 he ma e e ame n o e tic lly u tic d 7 rri d , b c i v lv d in the Co mmun e ef a s a l ea at o s w h his w fe , l t P ri , r dy dd it i an d en to n n an d fo me the fa a f en s h giv dri ki g, r d t l ri d ip

w h h R m a . The mo ﬂed in 1 8 2 it Art ur i b ud July, 7 , pas s ed to gether man y mo n th s o f s tran ge w an derin g in

En an an d e m whe e in a o f ea o s Ver gl d B lgiu r , ﬁt j l u y,

Th o l ain e s ho t an d w o un ded Rimb aud . e c urt at Brus s els con demn ed the po et to tw o yea rs impris o n men t dur [ 1 70 ]

m o 8 . em es 1 . n e 1 0 h . 8 1 . ho 1 89 F . 89 B ur 9 C ix de

o s e 1 1 han o o . s . 8 . s n s e 1 1 P é i 9 C p ur Ell 89 . Li

’

n es 1 2 . E e es . 1 . t ur gies i tim . 89 l gi 893 Odes en

s o n ho n n e . 1 8 . l es an s m es . 1 ur 93 D li b 894 . i E r ammes . 1 . a 8 h . 1 8 . I p g 94 C ir 96 n v ectiv es .

- 1 e om le es . o . e s 1 1 . 896 O uvr C p t 5 V ls . 899 900

o s h m 1 Oeuvres p t u es . 903 . _

ARTHUR RIMBAUD ( 1 854— 1 89 1 )

a T o o w s bo rn at Cha rleville in the Arden n es . h ugh al s thes on o f an a rmy o fﬁcer he pa s s ed his childho od in a s he e e ho me e s hoo he e o o s l ad r an lt r d . Fr s h fro m c l t pr c ci u a wa w as o ht a es a e a s e o n a n d a h y, br ug b ck , c p d c d t ird

me fo me the o n n e o n w h e a n e an d h a n ti , r d c cti it V rl i , vi g

e o e e f o m his w o n s a e e in En a n Ger r c v r d r u d , tr v ll d gl d , man I a o n ee e w h the a l s t a m in S a n y, t ly, v lu t r d it C r i r y p i , w h the o o n a o s o f H o an es e e an d w an it c l i l tr up ll d , d rt d

e e h o h a a . He e n e to E o e a e e d r d t r ug J v r tur d ur p , tr v ll d w h a s n a he e b his f am e a e it circu but ﬁ lly, lp d y ily, d p rt d

e n e fo r th e O en o o s o f the fe o f e e s d ﬁ it ly ri t , blivi u li l tt r ,

n his e a e me han t in s an e an s e o livi g lit r tur , rc tr g l d , purv y r o f w ea o n s to the N e s o f s s n a n o f a mo p gu Aby i i , dyi g tu r o f the kn ee in M a rs eilles whither he h ad go n e to Vis it his

f am ily.

CRITICISM AND BIOGRAPHY

fa Z we mme . E n e e e v o n S e n A r , K L . ( i g l it t t ig)

h m e en un d h n . 1 0 . Art ur Ri b aud . L b Dic tu g 9 7

[ 1 72 ] Be ho n a e n e : L a Vie d ea - h rric , P t r e J n Art ur Rim

a . 1 b ud 897 .

D el aha e E n es : R m a . 1 y , r t i b ud 906.

R m a ean - h : e e d s e . i b ud , J Art ur L ttr 1 899 .

e a n e a l : Les Po étes a s 1 V rl i , P u M udit . 884 .

TH E POETICAL WORKS

Po es Ies o m e s - 1 . c pl te . 895 Oeuvres de Jcan Arthur

R m a . 1 i b ud 898 .

GEORGES RODENBACH ( 1 855- 4898) was bo rn at T o urn ai in Belgium o f a cultiv ated family

o f e em s h o in . Ea ho we e his f am pur ly Fl i rig rly, v r , ily m0ved to Ghen t Where he a tten ded the co ll ege o f S ain te

a e an d the n e s a n in due me his o o B rb u iv r ity, t ki g, ti , d ct r i h ate in l aw . In 1 8 6 h e w en to a s en a e n t e 7 t P ri , g g d

fe o f e e s es a s he h ms e f a t th e s s e s b ar in li l tt r , t bli d i l Bru l

e 1 885 but r eturn ed deﬁ n itely to P a ri s two yea rs l at r .

“ “ He w a e his an w o e V er haer en amo n s ho s e ill t k r k , r t , g t t who s e s a n es s en en es s s e s en men an d a en fed d , g tl , ubtl ti t t l t

o n memo 1es en e n es s a n d s len e wea e a o wn o f up r , t d r i c v cr ” pale vio lets ab o ut th e bro w o f Flan ders .

CRITICISM AND BIOGRAPHY

’ as e L Oeuvr e o e de eo es Roden C i r , J p étiqu G rg

b ach . 1 888 .

x l o en a h . 1 8 . D a h e et A . : eo es R , G rg d b c 99

Gué r in ha es : eo es Ro en a h . 1 8 . , C rl G rg d b c 94

[ 1 73 ] TH E POETICAL WORKS

Le o e et l es h m . a s 1 Le s es s . F y r C p 877 . s Tri t s e

1 8 . Ode a l a e 1 e . L l 79 B lgiqu 88 0 . a Mer é é

’

an e . 1 88 1 L Hiv o . er m L n n n . 1 a e g t d ai 884 . J u

es s e a n he . 1 S n e Le e . 1 bl c 88 6. Du il c 888 .

Re n e du S en e . 1 8 1 . Les e n o 8 s e es 1 . g il c 9 Vi cl s . 96

Le o du e n a a . 1 Mir ir ci l t l 898 .

EMILE VERHAEREN ( 1 855- 1 9 1 5) was bo rn at Sain t - Ama n d n ea r An twerp o f a family o f

s o em s h o eo s o a o f h es en . lid Fl i b urg i , pr b bly Dutc d c t

Fro m the vill age s cho ol at S ain t - Aman d he pro ceeded ﬁr s t t o s s e s hen to th e o e e o f S a n e- a e in hen Bru l , t C ll g i t B rb G t where Ro den bach had preceded a n d M aeterlin ck w a s to

o e s f llo w him. His f amily des tin ed him to s ucc ed hi

’ n e in th e e e w o e a ea in u cl e l att r s o il r ﬁ n ery . H rk d y r it s o ffi e hen wen t o the Un e s o f o a n co m c , t t iv r ity L uv i ,

l etin his s es in th e l aw fo m n e e e f en p g tudi , r i g l tt r d ri d

h s o i He s n n n the fo n n o f La J ea n e Bel i ue. ip , j i i g u di g g q

a s e his o fes s o n en a e f o r a s a e f o m pr cti d pr i t t tiv ly p c , but r

o o e His a ee 1 883 n dev t ed hims elf w ho lly t o lit r ature . c r r n o w beco mes the s to ry o f tho s e in n er ch an ges an d a d v en tures an alys ed in th e text a n d o f the gro w th o f his f ame s in e m an d an e a e in e man ﬁr t B lgiu Fr c , l t r G r y ,

He e f om n es ﬁ n a lly in En gl a n d a n d Americ a . di d r i j uri

n n s u s t ai ed in a n a ccide t .

CRITICISM AND BIOGRAPHY

B a a e e o n : Em e V er h aer en . 1 0 . z lg tt , Lé il 9 7 [ 1 74]

J EAN MOREAS ( 1 856— 1 9 1 0 ) w as o n at hen s a es en an o f two ee b r At , d c d t Gr k f amilies

s o s in ea e an d w a r . His eal n ame too c illu tri u p c r , um b er s ome fo r a en h man o f e e s w as Pa ad Fr c l tt r , p iaman t0 o ul o His e a o n h p s . duc ti at At en s w as who lly Fren ch a n d a s a e o n man h e o o u his es en e in , v ry y u g , t k p r id c

a s His fe a e o e ho P ri . li w s d v t d w lly to liter ature . Hav in s e a o s e man es a s w e l as ' I a he g vi it d v ri u G r citi , l t ly ,

e i i o m ma d h s l as t vi s it to his n ativ e co un try n 1 897 . Fr

o o o m e e then n his preo ccupatio n with p etry w as c pl t .

CRITICISM AND BIOGRAPHY

o mo n ean d e : ean o eas . 1 0 . G ur t , J J M r 9 5

a as ha es . ean o ea s . 1 8 1 . M urr , C rl J M r 9

’

an e n a o e. La Vie litter air e. c e. Fr c , A t l ( 4 Séri )

2 1 89 .

T H E POETICAL WORKS

Le S 1 . Les an en es . Les yrtes . 884 C til '

e e n a s s o n e. 1 8 1 . E h e o éme s de P l ri p i 9 rip yl , p uivi

Les an e I e IIe S s 1 8 . S s er t Qua tre ylve . 94 t c (

es . 1 8 . Les S an es . IIIe IVe Ve et livr ) 99 t c ( , , ,

VI e 1 1 . e livr s ) . 90

JULES LAFORGUE ( 1 860— 1 88 7)

o w as bo rn at Mon tevideo where his f a ther w as tut r . The b o y w as pla ced ea rly in th e lycée a t T a rb es where he r ema in ed un til the f amily return ed to Euro pe an d s ettl ed

s o m e e o in 1 a fo e in Pa ri . C pl tin g his ducati n 879 L rgu [ 1 76] fo me his momen to s s a e ah n . r d us frien d hip with M . Gu t v K There fo llowed yea rs o f s evere litera ry po verty un til in

1 88 1 a o e o a o e th h the nﬂ n e f . , p rtly r ug i u c M P ul B urg t , Lafo rgue was appo in ted reader to the Empres s Augu s ta

at e n . In 1 886 he ef h s o s ma e a o n B rli l t t i p t , rri d y u g

En shwo man who m he had met in e n a ea gli B rli , but lr dy fallen in to co n s umptio n s urvived this even t o n ly o n e yea r .

CRITICISM AND BIOGRAPHY

’ fo Médé r ic : L Es théti ue de es afo ue. Du ur , q Jul L rg

1 905 .

Maucl air am e : es a fo e Es a . e , C ill Jul L rgu , s i Av c

1 un e In tro ductio n de M aeterlin ck . 896.

TH E POETICAL WORKS ’

e 1 . L Imitatio n de o e Les Compl ain t s . 885 N tr

’ me e a l n 1 88 . e o n e fee e. D a Lu . 6 L C cil riqu

m l es . e n e s Ver S . 1 8 . o s es o e 1 886. D r i r 90 P é i C p t

1 894 .

HENRI D E REGNIER ( bo rn is des cen ded fro m a f amily distin guish ed even amid the o e n o o f an o n a e a e Ho n ld r bility Fr ce. Fr m his tiv pl c

ﬂe the fam mo e to Pa s in 1 8 an d Ré n ier ur , ily v d ri 74 g pas s ed thro ugh the C o llege Stan is l as where he had a ea e s e e an sh lr dy writt n . He tudi d l aw but b g publi in e s e a mo s mm He o o a a a g v r l t i ediately. t k vit l p rt in the fo n n o f the S m o s t mo emen s o ht o ut u di g y b li v t , ug

’ Verlain e an d was Mall a r mé s clo s es t i n timate amo n g the '

o n In 1 he ma e e. a e de He e y u ger men . 896 rri d Mll M ri r [ 1 77 ] ’ dia s e o n a h e o f the a ho o f Les Tr o kees an d , c d d ug t r ut r p

h e s e f a o e o f s n o n . . de Re n e a mo s a s r l p t di ti cti M g i r , l t

e e a e to - da in o s e tio n as in e s e h as n e e c l br t d y pr ﬁc v r , v r

h ad to a o e o n on It ame to hi w it f r r c g iti . c m ea rly : it

a e him the o n o f n e e o o g v Opp rtu ity u divid d d v ti n t o a r t . He is by common acco rd the repres en tative Fren ch po et o f

is h time.

CRITICISM AND BIOGRAPHY

o mon ean de : Hen de Re n e et s o n G ur t , J ri g i r

o e e 1 uvr . 908 .

L a 1 é utau a He Re n e . d P . n de . 0 , ul ri g i r 9 4

Ma l e n e 1 uc air am e : Hen de R . 8 . , C ill ri g i r 94

TH E POETICAL WORKS

en a s emen . 1 8 . es . L d ema in s . 1 885 . Ap i t 86 Sit

1 88 . o s o e 1 . P m s a n en s e o 7 Epis de . 888 e ci t r

’

en So n e . 1 2 . Ar e m n e ues 1 8 0 . Tel 8 a s q . 9 qu g 9

1 8 . Les e s es et n s . 1 8 . th us e. 95 J ux ru tiqu divi 9 7

’

d e Ea . i 1 . La s Les Méd a illes d Ar g l e . 900 Cité ux

2 La S an a e a e. 1 06. Le o des 1 90 . d l ilé 9 Mir ir

H 1 1 1 . eures . 9

FRA NCIS VIELE- GRIFFIN (bo rn 1 864)

He as a en to is a n a e o f No fo V n a . w tiv r lk , irgi i t k

an e in his o ho o e e e a who en h edu Fr c b y d , r c iv d lly Fr c ca tio n a n d prin ted v ers e in his a dopted to n gue a s ea rly a s 1 e o n o f he s o n es heo e a s 885 . H was e t tr g t t r tic l Spirit in th e S m o s mo emen e e o n e o f its ea r e y , y M b li t v t dit d rl 0 o c o

iews fo h fo r It an d h a s emai n e e to It e e Sin e . v , ug t r d tru v r c [ 1 78 ]

expres s ion thro ugh him an d he gav e it its co mpl ete criti cal

heo . U to 1 8 he e o e h m e o e S n e t ry p 97 d v t d i s lf to p try . i c he h as w ritten ﬁctio n but chieﬂy criticis m o f a very s ubtle

a n d en e a n n p tr ti g ki d .

CRITICISM AND BIOGRAPHY

’ ’ Fén éo n : ahn . Le H u o , Félix K ( s ommes d a j ur d

h ui. n . ) d .

Ran on G. : s a e Ka n d , Gu t v h .

THE POETICAL WORKS

’ Les a a s oma N es . 1 88 . han so n s aman P l i d 7 C d t .

1 8 1 . oma n de e e s 1 . 9 D i Fé . 895 La Pluie et l e

ea em B T s . 1 8 . m es m e de e 1 . u p 95 Li b Lu i r . 895 ’ L ma 1 e e d I es . Livr g 897 .

STUART MERRILL (bo rn 1 863 )

m s ea on Is a h l is a n a e o f He n . His d tiv p t d , L g l d c i ho o d an d boyhoo d were pa s s ed in Pa ris a n d at the

' Lycee Con dor cet he h ad as fello w - s tuden ts h alf a do zen

m o s In 1 he e n e o e o f the future Sy b li s t . 885 r tur d t N w

Y o e l aw at o m a an d in 1 8 0 s he rk , Studi d C lu bi , 9 , publi d thro ugh Ha rper Bro thers a s eries o f tran s l atio n s f ro m con tempo rary Fren ch liter a tur e c all ed Pas tels m

r o He e n e to an e e o e h ms e f to o e P s e. r tur d Fr c , d v t d i l p try a n d So ci ali s tic w o rk an d wro te a rticles o n Fren ch litera

d i os t ture f o r the N ew Y o rk Times an Ev en ng P . N either as a s o cial refo rmer — o ften thro ugh the medium o f the a rts — n o r as a po et o f ever deeper an d riper po wer

[ 1 80] — o i a fo e n o n — ha th ugh n r ig t gue s M . Merrill ev er r e ceiv ed the reco gn ition in his n ative co un try which is his

due.

TH E POETICAL WORKS

mes . 1 m 88 . Les as Les a tes . 1 8 e s G 7 F 97 . P tit

’ m tom o e es d Au n e. 1 8 . Le S P 95 s Quatre ai son s .

1 900 .

MAURICE MAETERLINCK (bo rn 1 862 )

It w o uld be s uperﬂuo us to give a s ketch o f M aeter

n Fo r s o o hi a li ck here. a full di s cus i n f s dram tic wo rks with biblio graphica l ma teri al the reader is refer red

1 . to : Lew is ohn : The Moder n D r a ma ( 2 n d Ed . ) 1 9 7

ae e n a a n e e ea Wha he w e M t rli ck b n do d po try rly . t did rit in v er s e is in ter es tin g a s co n tributin g the peculia r M aeter lin ckian n o te a ls o to mo der n Fren ch po etry;

TH E POETICAL WORKS

es a es 1 . o e ha s o n s . Serr ch ud . 889 D uz C n

REMY D E GOURMONT ( 1 858- 1 9 1 5) w a s bo rn a t the chatea u de l a Mo tte a t Ba zo ches - en

’ o m n is f a he a me o f f a m o f H ul e . O h t r s s ide he c a ily f amo u s prin ters a n d en gra vers o f the Fifteen th an d Six

’ teen th en es o u - his mo he s S e he wa s a o a e a C turi , t r id c ll t r l

s en n o e e s a o h he w a s an em o de c da t f M alh rb . A y ut pl yé

B n a e o f his in the o f the ibliotheque n ation a l e. A rticl Mer cur e de Fr a nce o ffen ded o fficial patrio tis m an d he [ 1 8 1 ] w as di s mis s ed . He n o w gav e hims elf up to his vas t in

t ell ectu al a o s as o e ama s h o so he l b r p t , critic , dr ti t , p il p r ,

o o s n o e s amma an et c. on n to bi l gi t , v li t , gr ri , , c tributi g

en h e man s an No h an d So h me an t e Fr c , G r , Au tri , rt ut A ric

' vi ews an d publi s hin g do zen s o f v olumes o f an ext r ao r di

n a n e e a hn es s s e an d s s h a m. ry i t ll ctu l ric , ubtl ty tyli tic c r

eat man o f e e s if a o et o f but s e on a A gr l tt r , p c d ry

r an k .

CRI TICISM AND BIOGRAPHY

uer lo n e e de : Rem de o mon . 1 0 . Q , Pi rr y G ur t 9 3

Vo r l un i s e e : Rem de o mo n t . 1 0 1 . , Giu pp y G ur 9

TH E POETICAL WORKS

o hes 1 e 8 . Les a du s . Hiér glyp . 94 S in t s Pa r adi

1 . a o es m 8 O s n a a s 1 . S e o s m . 0 0 mo n e e 99 r i uv i 9 i , p

e emen s e h m e . 1 1 . s s n c a p tr 90 Diverti t . ( A r pri t o f the co n ten ts o f the ea rlier vo lumes to gether w ith

a s a es s e s Le e o ff et an d La a n . P y g piritu l , Vi ux C r M i

1 9 1 4 .

ALBERT SAMA IN ( 1 858 - 1 900 ) w e on o f a am o f s a o eo o Lo s as th s f ily m ll b urg is f Lille . in g his fa ther at fo urteen he had to lea ve s choo l an d

ffi a The o e n men pas s ed di cult ye rs in co mmerce . g v r t s e e s at ho me a e 1 880 in Pa s o h e ef rvic ﬁr t , l t r ( ) ri br ug t r li

s e e s e is s h an d f a en s ame an d in cr ea d l i ur . H y rug l g iu c to a a he a e ma an d when at a s a meas e o f r t r l t turity, l t ur

f ame w as his e ea emen an d ill hea h had a ead , b r v t lt lr y

o e im br k n h . [ 182]

a n e am n o f hes e a a e the a t c lly pri t d p phlets . O e t ttr ct d

t en o n o f the Mer cur e de Fr a n ce in 1 8 . The e ewe ti 93 r vi r , o s e n a e a o n to H e C r ackan tho r e ea s o n e b rvi g d dic ti ub rt p , r d

’ ha a o es So t t J mmes mu s t be a prin ter s erro r f r J am . h umble were the begin n i n gs o f a po et who s oo n co n quered

a e s n e His er v ry di ti ct an d s ecure fa me fo r hims lf . p so n al beli efs an d t as tes an d his to ry n eed h ardly an y co m

men a e o n his e e t ry b y d v rs s .

TH E POETICAL WORKS

o am h e s o f e s e al l n e a t O he b e F ur p p l t v r , pri t d rt z

w een 1 8 1 a n d 1 8 . Un o o eme a o . t 9 94 J ur , p di l gué

’ 1 8 6. La N a is s an ce o e du e . 1 9 P t 897 . D e l An ge ’ ’ l us de l Aub e a l An el u s du So 1 g ir . 898 . Le Deuil

mev er es . 1 des Pr i 0 1 . Le T o m he e 9 ri p de l a Vi .

’

1 0 2 . L E li e a l s h e de fe es . 1 a 9 g bil é uill 906. Cl ir

i an l e . er e s e 1 . en s e s d Ci l 906 P é deS J a rdin s .

1 06. Po emes mes s . 1 08 . Les Géo r i ues 9 . uré 9 g q

e . 1 1 2 Chréti n n es 9 .

CHARLES GUERIN ( 1 8 73 - 1 90 7 )

was bo rn o f a f amily o f w ealthy man ufa ctur ers o f Lun e

e . He s e at N an e a e n a e at n e vill tudi d cy, liv d lt r t ly Lu ville an d Pa ri s a n d Spen t much time in German y a n d

I a Hi a es ta s he e a s s . s e a o n w s a t ly r put ti bli d rly, but cri i o f the s o ul which made him a Ca tho lic s eemed to r ob him

o f a o w a s aw a e o f h s fa t wh h lyric l Sp n tan eity. He r t i c ic

en s a s e s s l d p thos to s o me o f his l a t v r e . TH E POETICAL WORKS

o es s es . 1 8 . Son n e s et u Po e n ém 1 . J i gri 94 t . 897

Le o e So a e. 1 8 8 . Le Seme des en s C ur lit ir 9 ur C dre .

’ '

1 0 1 . L Ho mme In te e 9 ri ur . 1 905 .

HENRY BATAILLE ( 1 872 ) is n a ative o f Nimes . His Sin gle vo lume o f v ers e is o f extrao rdin a ry o rigin ality a n d ea rn ed fo r him a place in ’ ’ Go ur mo n t s Livr e a es u It is n fo n a e hat Mas q es . u rtu t t the w ritin g o f his vigo ro us but by n o mean s ﬁrs t rate pl ays has permitted him to a dd but a few n ew poems in the s e o n ed on o o c d iti f his o rigin al co llecti n .

TH E POETICAL WORKS

La ham e a h . 1 8 . o a C br Bl n c e 95 Le Bea u V y ge.

1 904 .

PAUL FORT (bo rn 1 872 )

a e o e o o is a n tiv f Rh ims . O f his rigin r family little

o o f in fo rma tio n is a v ail able a t pres en t . As a y uth

’ eighteen he fo un ded the Theatr e (Z Ar t in o ppo s itio n to the do min an ce o f N a turalis m an d pres en ted The Cen ci

an d e es b e a n e ae e n o mo n etc . In pi c y V rl i , M t rli ck , G ur t ,

o t n e 1 893 the thea trical v en ture co ll aps ed an d M . F r tur d

is o n e hen has een d eﬁn itely to po etry . H pr ductivity Si c t b

n e an d w e the s een o mes o f the e o rmo us . To liv rit ixt v lu

B a ades a in en ea s is in s e f a s uﬂicien t ll fr a ng is es tw ty y r , it l ,

o a h bi gr p y.

[ 1 85] T H E POETICAL WORKS

a a es f r an ais es o B s . 1 n a n e. a a e B ll d c 897 . M t g ll d

f r an ais es . IIe m n o s S e 1 8 8 . Le Ro a de c éri . 9 L ui

X I . a a es f r an ais e S es s . III e 1 . L B ll d c e éri . 899

e a a e f r is s . IV e e . Idyll s An tiques . B ll d s an ca e Séri

’

1 . L o u n a a es r an ais es . Ve 900 Am r mari . B ll d f c

e . 1 a s en m a o man de n o s Séri 900 . P ri S ti en t l o u l e R

n s s f r an is es Ie S e . 1 0 2 . a a e a . vi n gt a . B ll d c V éri 9

a a es f r a n a is es . VIIe Les Hymn es de feu . B ll d c

’ o mme o n u o m S e 1 0 . o m o u ho éri . 9 3 C xc b l t ut t bé 6 s a a s es V I Ie S e . 1 0 a a e f r n i . I . d u Pa radi s . B ll d c éri 9

e n e a a es f r n ais es . IX e S e. 1 08 . Il e d Fra c . B ll d a c éri 9

o l a e f a n ais es . X e e . 1 0 . M n tcerf . Bal d s r c Séri 9 9

’ f r an a s es o me a a es i . La Tri s tes s e de l h m . B ll d c

’ e e L v en Et r e 1 1 . A t ur e e n ll e . al X I Séri . 9 0 B

Io l e X IIe e . 1 1 1 . h n tlhé r l ades f r an ca s s . Séri 9 y

- i e . I e a a es f r an a s s X I Ie e . La B at a ill . B ll d c Séri

e a a e f r a n ais e X e en . s s . IVe 1 9 1 2 . Vivr Di u B ll d c

’ S s o n s o s e on s o e d t r e e 1 1 2 . han E éri . 9 C P ur c l r

e r an ais es . V e 1 f X . 1 H . a a s S eureux B ll d c e éri 9 3 .

e a l a es f r an ais es . XVIe e. Les No cturn s . B l d c Séri

1 9 1 4 .

HENRI BARBUSSE (bo rn 1 874)

is a n a e o f s n e es . He is a ama i 1t1 a dis tiv A i r dr t c cr c ,

tin uis hed o n a s an d n o e s . His ea o ems g j ur li t v li t rly p ,

h a m n in h ems e es a e o n an a e n e es t n o w a s c r i g t lv , t k dd d i t r

ho o f F co min g f ro m the a ut r Le ea .

[ 1 86]

CRITICISM AND BIOGRAPHY

- ea m G . n : a l e Mauc air . 1 Aubry , J C ill 905 .

TH E POETICAL WORKS '

’ o n n om s e 1 8 . Le an S a ti s d Aut n e. 95 g

1 904 .

FERNAND GREGH (bo rn 1 873) is a n a e o is s o fa e e a s e o n e o tiv f Pa ris . H ri e t m b c u f

’ his po ems w a s mis taken by go o d j udges fo r Verl ain e s w a s s e as n o n o w o s s a n i n d udden . But h h k w h t u t i t a his wo r o mmen s s e f mo e ha n ha o f mo s o f k c d it l , r t t t t t he o n e men t o the a n o w e e h efs o f en h y u g r , ck l dg d c i Fr c

s m a et an d an s o n . critici , F gu L

TH E POETICAL WORKS

’

a o de l En n . 1 a Be de L M ai s n fa ce 897 . L auté

’

ma n e 1 . L r e. . L a 0 O vivr 1 900 a Cl rté hu i . 9 4

s n es . 1 . La a n e ne 1 1 0 . de Mi ut 905 Ch i e ét r lle. 9

PAUL SOUCHON (bo rn 1 874) is a n a e o f a o the R in He is a l tiv L udun n h e. pr ctical y the o n ly mo dern Fren ch poet o f immedi a te peas an t de s en w h h ma a o n fo r the ea n es s the s o e c t , ic y cc u t cl r , bri ty,

a o f — o n the re li s m his w o rk . He has written an un c mmo

n in h s e— o s e thi g t i ag n ly ver .

TH E POETICAL WORKS

Le o es . o a s Elevati n s po étiqu 1 898 . N uvelles Elev [ 1 88 ] Ele e e o 1 1 . s n es . 2. tio n s p étiques . 90 gi s Pari i n 1 90

s 1 0 . La Beauté de Pari . 9 4

HENRY SPIESS ( 1 876) is a n ative o f Gen eva an d an in teres tin g r epres en tative o f

e e the Fren ch litera ry mo v men t in Wes t Switzerlan d . H is a l awyer an d s tarted o ut with a whims ical but poetical

n e e at on o f his o fes s on i t rpr t i pr i .

THE POETICAL WORKS :

’

R es d Audien ce. 1 0 . Le S e e H e im 9 3 il n c des eur s .

1 0 . han s on s a es . 1 1 9 4 C c ptiv 9 0 .

MAURICE MAGRE ( bo rn 1 877 ) is a n at e o f To o s e an d s o e fo r a me to ma e iv ul u tr v , ti , k

i e h s n a tive city a cen tre o f litera ture an d critici s m. H then aban do n ed it fo r Pa ris where his pro ductivity in l ater yea rs h as been la rgely in th e direction o f poetic m a a . dr ( Les Belles de n uit.

THE POETICAL WORKS

Eveil s 1 La han so de Ho mmes . 1 8 8 . 8 . n s . 95 C 9

l e 1 . Les Lé vr es et Le Po éme d e l a J eun es s e. 1 90

e e 1 . S cr t . 90 6

LEO LARGUIER (bo rn 1 878 )

’ l is a n ative o f La Gran d Co mbe in the Ceven n es . A mo s t alo n e a mo n g the yo un ger po et s he h as kept clea r o f Symbolis m an d c arri es on co n s cio us ly an d with an [ 1 89 ] air o f magn iﬁcen ce the tradition o f Lamartin e an d

H o . o e a a en n o s e e a s o s o f s e o ug F rc d , pp r tly , i t v r l rt up ri r h a ck - wo rk ( Les Gr a n ds Ecr ivains a tr aver s l es Gr a n ds

Vzll es he h as n o t l e man o f his on em o a es ) , ik y c t p r ri ,

a an o n e IS e e b d d h a dmirabl po tic wo rk .

TH E POETICAL WORKS

La s o o e I o emen a n du e . 1 0 . Les s ts M i P t 9 3 l .

1 a e me. 1 . O hes es . 1 1 . 06. s o é 0 9 J cqu , p 9 7 rc tr 9 4

CHARLES VILD RAC (bo rn 1 882 )

a n a e o f a s is o n e o f the ea e s o f the a es mo e tiv P ri , l d r l t t v

men t— a s e h n e a ema a e e e men e in ubtl t i k r , r rk bl xp ri t r

e s v r e.

THE POETICAL WORKS

Ima es et a es . 1 08 . Le 1 0 . POEmes . 9 5 g Mir g 9

’

o 1 1 0 . o e es . 1 1 2 . Livre d Am ur . 9 Déc uv rt 9

GEORGES DUHAMEL ( 1 882 )

is e his o he - in - l aw Vildr ac a Pa s an an d an , lik br t r , ri i

n s en an d o a o a e w h him in the mo s e n e i urg t , c ll b r t d it t d ﬁ it Statemen t o f the achievemen t an d prin ciples o f the n ew

s o 1 1 . choo l : Les Poetes et La P és ie. 9 4

TH E POETICAL WORKS : ’ L Homme en D es en es des a a es . 1 0 . Lég d , B t ill 9 7

L m e e. Te e 1 Se on ma Lo i. 1 1 0 . a u t . 909 . l 9 L i r

1 9 1 1 .

INDEX OF THE FIRST LINES IN FRENCH AND ENGLISH

’ D autr es en d on t ar l a r é 1 0 vi r p p , 9 Other s will co me acr os s the plain

D e s es a e e s s f a s an feu s ur l e s ol 1 2 qu tr pi d pur i t , 4 His pur e feet s tr iking s par /es of ﬂi n t that r is e

o de a s 1 1 Du c té P ri , 4 On the way to Par is

f on t de l a mo n a n e 1 8 Du r t g , 5

’ Fr o m the tall mo un tain s br ow

’ En a an t e s l a V e o u l on han e aux ter as s es ll v r ill c t , 99 On o ur way to the city of the s inging s tr eet

En co re un livre : 6 n o s talgi es, 96 An other book! Ho w my hear t ﬂees

En o n e an s l a an e ma n a e 8 2 pr vi c , d l gu ur tuti l ,

I n s ma ll towns i n the l an uid mo r n a nd r ail , g f

Hé r o i ue fo r ét de en e et de s on e 1 06 q lég d g , Her oic for es t of l egen d a n d of dr eam

Il es t a n s de a es o e s 88 i i p uvr c ur , With hear ts o f poo r men it is s o ’ Il fa a m e o o s exal ter s oi- méme ut d ir r t ut p ur , 90 To exa lt thys elf a ll life exal ted d eem

Il me s ur l es s ha es an h es 1 6 urt plu ut br c , 4 Upon the topmos t br a n ches dies

11 e . e e e. Et e o s o en e l es a es pl ut J r v j cr i v ir tr rbr ,

Mus in I s eem u on he lis tenin s ace g, p t g g p

’ ai he h en te an s mes s o e s 1 1 J c rc é tr , ur , 9

I have s o u ht thir t ear s m s is ter s g y y , y [ 1 96] ’ vu l es femmes S en on 1 J 3 1 qui v t , 43 I have s een gen tl e l adies fade

’ a a s ar des hem n s er ﬁdes J ll i p c i p , 77

Sad and l os t I walked wher e wide

e fa s s o en t ce e e an e et n an t J i uv r v étr g pé étr , 74 Often this s tr ange a nd poignant dr ea m is mine

e s a s ue es a e 1 2 J i q tu p uvr , 7 Tha t thou ar t poor I s ee

’ e s s l an e s a an t e méme to nn e 1 2 J ui v , c lui qui é , 9

’ I m the tr ain ed as s the ver as s who , y can

’ ' Ct ecr is et l a am e o e 1 J l p éc ut , 45

The clock tichs the s low min utes o ut

' La o n e bois ee en t o de l a 1e e 1 6 c lli vi b r r riv r , 3 The woo ded hill s l opes down even un to the s tr ea m

’ am e e s e e mur l e m e e n de l umié r e 1 L br , l igl , i l pl i , 33

Amber r i e r e or ho n e u o i ht , p y y f ll f l g

’

La n e S attr is tait . D es s e a h n s en e s lu r p i pl ur , 73

T o Th t a - n s er a him he mo n gr ew s ad . e e r s tai ed p

Le e es t ar - es s s l e o 8 0 ci l , p d u t it , Above the r oof the s hy expa nds

’ ’ ’ en fan lit l alman ach és de s o n an e d oeufs 1 0 L t pr p i r , 3

T ch e n Its bas ket o e s s tan ds b he ild r ads o . f gg y

Le mo n o n e au fo n d u s o t r és en emen t 8 uli t ur d ir , l t , 3 I n deep gr ey d us h the mill tur ns falter ing

Le an o ue a s e un e ma n fr él e 8 pi q b i i , 7

The hey - boar d which fr ail ﬁnger s gen tly s tir

’ Les r an d r outes a en t des o 8 g tr c cr ix , 5 The highways r un in ﬁgur e of the r oad [ 1 97 ] ’ ’ Les f en o s m o n : Il a me s i uil t dit t i , 93 The fenel s ays : s o mad his l ove

Les ma n s ue e o s en r éve 1 i q j v i , 49 Ha n ds that in my dr eams I s ee

Les o s es e a en o es o es r t i t t ut r ug , 79

To o r ed, too r ed the r os es wer e

’ Les s e ﬁll es d O r l amo n de 1 1 8 pt , The s even da ughter s of Or l amo n de

Le Se a h n des s o s as s e l e o n des ﬂeur s 1 2 r p i ir p l g , 3

’ The evening s a ngel pas s es wher e ﬂo wer s glow

’ ‘ o s e e s e a e et u ill us t r e o éte 1 L r qu j r i vi ux q p , 53 When I a m o ld a n d po et of r en ow n

’ o s e he e en a de l a o e em e 1 08 L r qu l ur vi dr c up r pli ,

S ar e me r o m s eein oddes s b m bed p f g, g , y y

’ a s es a u o e de l a fo r ét 1 M i c t c ur , 37 B a t o n a hidden for es t gr o un d

o n f o n t a e es t s ur tes en o 1 1 M r p l g ux , 4 Agains t thy kn ees my pa llid br ow

N e es as : l a vie es t un o e fes n dit p j y ux ti , 94 Say n o t : Life is a joyo us fes tiva l

No s a o n s n o s a s s n o s f a s n o s a r tiﬁces 1 1 u v , u u i , rd , , 5

We too n o l es s have a ll o ur little ar ts , , ,

0 b el an o 1 1 1 Avril ép ui ,

O o vel A r il r ich a n d br i ht l y p , g

0 ma ﬁll e o e l a o e 1 , uvr p rt , 44

O m da u hter o en the a te y g , p g [ 1 98 ]