Romantic Historians, Of the Romantic historians the reputations of three have lived to our days: Augustin Thierry, whose Mero vingian tales resemble an epic poem, Guizot who collected and condensed the efforts of his pre decessors, and Michelet, the great evocator of the past, the enchanter of revolutionized times. Michelet introduced science into his poesy to the advantage of the latter. He showed us a France personified struggling to be herself, in other words, a nation free and generous, a champion of civilization and justice. He was of the people, of a fanciful dreamy disposition. He set up a standard which overwhelms us by its unparalleled grandeur. No one understood better than he the occult forces of life and the certain emancipation of a struggling humanity.
The After so much ex uberant clamor it was only to be expected that a new generation would arise diametrically opposed to the preceding one, denying what the other had affirmed and searching new formula:: the Parnassians and the Naturalists. They were a class of impressivists and pessi mists, of great probity of style, a scorn for the oratory element and an unique preoccupation for the plastic in the hope of complete realization. Their aim was to discern and to discern clearly, dispel mystery and venture on the unsightly with the idea of discovering, alas! the general law of life. All honor to the Parnassian Poets. Their master was Lecomte de Lisle, a splendid figure — disinterested and lonely. From all is hidden his plaints, none will ever know his passions. He vested them with pompous names borrowed from the legends of the Indian, Biblical, Polynesian, Scandina vian, Celtic, German and Christian. He was an erudite, a thinker, a nihilist, an impassivist, a despairing voice crying in the wilderness. A portrayer greater than Theophile Gautier he was a virtuoso of lyricism on a par with Victor Hugo. His work is beautiful, comparable to the porch of a tabernacle resplendent with transient rays. Sullv-Prudhomme in compari son to him is more gentle, tender. His note rang false when he introduced science and declamatory effects into his peosy. His sad ness alone plays on our emotion, while we re spect his unembittered resignation. Francois Coppee had a liking for the humble. But more than the humble did he love the afflicted. By afflicted is meant in this sense those frail beings more miserable than unfortunate by force of circumstances. His style is limited
and replete with artifice. His work is prosaic. Theodore de Banville is the acrobat of the group. Uncommonly skilful he manipulated rhythm as a juggler plays his puppets. He was more of a versifier than a poet proper but was gifted with great talents and possessed a keen mind. Jose Maria de Heredia's name is incarnate with sonnets. His Trophees) is a mas terpiece of form and precision. Every page is a book in that they contain a wealth of detail which creates the atmosphere, a precision of tone which denounces the soul — an exact com position of impeccable architecture. The merit of Catulle Mendes lay more in his literary proselytism than in the university of his gifts which empoverished them. A con tributor to reviews, poet, dramatist and novel ist, he employed in his works the tone of the different people he admired. His reflections are of a remarkably high order. Jean Richepin was verbose after the style of Hugo. In his 'Chanson des Gueux' he wanted us to believe that he was of an independent school which was, however, far from the case. Charles Morice has summed up in a few well chosen words Richepin's undoubted but limited talent: aVous faites l'icole normale buissonniere . . . normale tout de mime.° (You play the primary school truant . . . primary all the same).
In naming Charles Baudelaire next it must not be supposed that he ranked after the others, on the contrary he merits a place apart. As a matter of fact Baudelaire would appear to rank as the most important author of the group. His genius was exclusive, the influence and brilliancy of which broadened with the ages. An artist powerful and severe his ex aggerated sensibility vibrated through every thing he touched. He expressed himself in nuances and half tones with a precision as bold as it was disturbing. His (Eleurs du Mal) will ever rest immortal as the eternal chant of a body preparing for death. His evocationary prose is one of the most powerful of which we know; his criticism of a calculated and in telligent frigidity. He disconcerted his con temporaries but we to-day know him better— he is part of to-morrow—of all time. Let us conclude with Lion Mirat and Dierx whose (Lazare) is a really beautiful work. Others, whose names have been forgotten, close this August assembly, some of whom govern us to-day.