Dean S. Fansler - "Filipino Popular Tales"

W. D. Howells - "A Traveler from Altruria: Romance"

G. A. Henty - "With Moore At Corunna"

Therese de Dillmont - "Encyclopedia of Needlework"

Annual Bibliography of Commonwealth Literature 2007
This paper argues that discourses of love in Ghanaian market literature for youth offer a view into complex negotiations of agency and empowerment. Drawing on Deborah Durham's notion of youth as "social `shifters'" and Francis Nyamnjoh's conception of the "interconnectedness" of agency, I take Ghanaian market literature as one specific case of how African literature for youth foregrounds questions of continuity and change as African societies enter into increasingly complex global relations. In this literature for youth, received notions of love, often constructed out of impressions from American pop and hip hop music, carry new notions of agency that compete with existing "domesticated" forms. Authors like Ike Tandoh and Evelyn Tay employ discourses of love to offer youth alternative avenues for empowerment in a context of socio-economic disenfranchizement. In a creative process of "straddling", this writing both reveals and reproduces the contradictions that obtain in youth configurations of agency.

French Lyrics

A >> Arthur Graves Canfield >> French Lyrics




124. LUNA. July, 1853. 23. L'AN QUATRE-VINGT-ONZE, 1791, the beginning
of the French Revolution.

126. LE CHASSEUR NOIR. September, 1853. 27. SAINT ANTOINE; Saint
Anthony (250-356) was a native of Upper Egypt, withdrew to the desert,
and gave his life up to ascetic devotion in solitude and voluntary
poverty. Legend represents him as beset by tempting demons.

128. LUX. December, 1853. 9. Capets; the kings of France from the
accession of Hugh Capet in 987 to that of the house of Valois with
Philip VI. in 1328 were Capets.

129. ULTIMA VERBA. December, 1853. 4. Mandrin, a notorious bandit,
executed in 1755.

130. 3. Louvre, see note p. 318. 22. Sylla, see note p. 319. CHANSON.
"_Proscrit, regarde les roses_." May, 1854; from _les Quatre Vents de
l'esprit_, livre lyrique. Concerning the inexact rhyme _semai_: _mai_,
rare with Hugo, see _Revue politique et litteraire_, July 16, 1881.

132. EXIL. Between 1868 and 1881; from _les Quatre Vents de l'esprit_,
_livre lyrique_. 5. COLOMBE, his daughter Leopoldine. 6. ET TOI, MERE;
Mme Victor Hugo died in 1868. SAISON DES SEMAILLES. LE SOIR. From les_
Chansons des rues et des bois_. The poem is not dated; the volume
appeared in 1865.

133. 2. LABOURS, _plowed fields_. This seems almost to have been
written for the well-known painting of "The Sower" by Millet,
exhibited in 1850. However, Millet's sower is a young man. UN HYMNE
HARMONIEUX. From _les Quatre Vents de l'esprit_, the poem bears no
date.

134. PROMENADE DANS LES ROCHERS. From _les Quatre Vents de l'esprit_;
not dated.


AUGUSTE BRIZEUX.

1803-1858.

He is remembered for his simple and touching poems, full of the
landscape and of the rural life of his native Brittany. He also
translated Dante's Divine Comedy.

Works: _Marie_, 1835; _les Ternaires_, 1841 (the title of this
collection was later changed to _la Fleur d'or_); _les Bretons_, 1845;
_Histoires poetiques_, 1855; _Oeuvres completes_, 1861, 2 vols.;
_Oeuvres_, 4 vols., 1879-84.

For reference: Sainte-Beuve, _Portraits contemporains_, vols, ii and
iii; Lecigne, _Brizeux, sa vie et ses oeuvres_, Lille, 1898.


AUGUSTE BARBIER.

1805-1880.

He secured immediate fame by the vigorous satire of his first work,
_Iambes_, and he is probably still best remembered for this, though
later volumes, especially _Il Pianto_, contain work of more perfect
finish.

Works: _Iambes_, 1831; _La Popularite_, 1831; _Lazare_, 1833; _Il
Pianto_, 1833 (these are now included in one volume, _Iambes et
poemes_); Nouvelles Satires, 1837; _Chants civils et religieux_, 1841;
_Rimes heroiques_, 1843; _Sylves_, 1865.

For reference: Sainte-Beuve, _Portraits contemporains_, vol. ii.

138. L'IDOLE. May, 1831. The whole poem consists of five parts.


2. MESSIDOR, one of the months of the revolutionary calender,
beginning with the nineteenth of June. It was the first of the summer
months.


MADAME D'AGOULT.

1806-1876.

Marie-Sophie Catherine de Flavigny, comtesse d'Agoult, wrote under
the pseudonym Daniel Stern. Her work is mainly in prose, in history,
criticism and fiction, but she wrote a few lyrics marked by deep and
true sentiment. A biographical notice by L. de Ronchand will be found
in the second edition of her _Esquisses morales_, 1880.


FELIX ARVERS.

1806-1851.

He wrote mainly for the stage, and left but one volume of poems, _Mes
Heures perdues_, which are all forgotten save this famous sonnet. The
lady who inspired it is said to have been the daughter of Charles
Nodier, afterwards Mme. Mennessier-Nodier. _Mes Heures perdues_ was
reprinted in 1878, with a notice of Arvers by Th. de Banville.


GERARD DE NERVAL.

1808-1855.

Gerard Labrunie, known in letters as Gerard de Nerval, was one of the
group of young Romanticists who gathered around Hugo. Symptoms of
insanity developed early, and at different times he was an inmate
of an asylum. He finally committed suicide. He felt profoundly the
influence of German literature, and his lyrics show something of this
in the spiritual quality of their sentiment.

Works: _Elegies nationales et satires politiques_, 1827; translation
of Goethe's _Faust_, 1828; _la Boheme galante_, 1856; _Oeuvres
completes_, 5 vols., 1868.

For reference: Th. Gautier, _Histoire du romantisme_; _Portraits et
souvenirs litteraires_; Arvede Barine, _Nevroses_, 1898.

140. FANTAISIE. Gioacchino Antonio ROSSINI (1792-1868), one of the
foremost Italian composers of the century, author of William Tell
(1829), and other well-known operas. Wolfgang Amadeus MOZART was a
native of Austria, and one of the greatest musical geniuses that ever
lived. Among his works are the operas _Le Nozze di Figaro_ (1786),
_Don Giovanni_ (1787), _Die Zauberfloete_ (1791); the famous _Requiem_;
the _symphony in G minor_, etc. Karl Maria von WEBER (1786-1826),
one of the founders of German as opposed to Italian opera. _Der
Freischuetz_ is his most famous work.


HEGESIPPE MOREAU.

1810-1838.

In his short and unhappy struggle with poverty and illness he produced
a few graceful short stories and a thin volume of verse, _le Myosotis_
(1838), that reveals a genuine, though not remarkable, lyric gift.
See Sainte-Beuve, _Causeries du lundi_, vol. iv. The poems of _le
Myosotis_, and some others, now make vol. ii. of his _Oeuvres
completes_, 2 vols., 1890-91.

141. LA FERMIERE. This poem was sent as a New Year's gift to Madame
Guerard, who had taken the poet in and entertained him when ill.

142. 31. FILS DE LA VIERGE, "debris de toiles d'araignee que le vent
emporte"; air-thread, gossamer.


ALFRED DE MUSSET.

1810-1857.

A lyric poet of a comparatively narrow range, but within it
surpassingly genuine and spontaneous. Almost his only theme was the
passion of love, in some form or degree. But what he lacked in breadth
he made up in the directness and intensity of his accent, and these
eminently lyric qualities give his lyrics a distinction among those of
his country. He began as a Romanticist, but soon grew away from the
school of Hugo as it developed. With his negligence of form and his
surrender to the passion of the moment, he is the opposite of Gautier;
and the poets of the later school which derives from Gautier have
neglected and depreciated him.

Works: _Contes d'Espagne et d'Italie_, 1830; _le Spectacle dans un
fauteuil_, 1833; after this most of his poems appeared in the _Revue
des Deux Mondes_; they are now collected in _Premieres poesies_, 1
vol., containing the poems of the first two volumes and a few others,
and _Poesies nouvelles_, 1 vol., containing the _Nuits_, and the later
poems.

For reference: P. de Musset, _Biographie d'Alfred de Musset_ 1877
(naturally partial); A. Barine, _Alfred de Musset_, 1893; Spoelberch
de Lovenjoul, _la Veritable histoire de "Elle et Lui"_ 1897;
Sainte-Beuve, _Portraits contemporains, vol. ii; _Causeries du lundi_,
vols, i and xiii; E. Montegut, _Nos Morts contemporains_, 1883; E.
Faguet, _le Dix-neuvieme siecle_, 1887; F. Brunetiere, _Evolution
de la poesie lyrique_, vol. i, 1894; M. Clouard, _Bibliographie des
oeuvres d'Alfred de Musset_, 1883; O. L. Kuhns, _Selections from
de Musset_, Boston, 1895, for the sympathetic and interesting
introduction.

143. Au LECTEUR. This sonnet was prefixed in 1840 to a new edition of
his poems.

145. STANCES. 1828; from _Contes d'Espagne et d'Italie_.
3. VESPREES; see note on 7, 10. LA NUIT DE MAI. May 1835. The
poet's _liaison_ with the novelist George Sand, begun in 1833, and
culminating in the Italian journey of 1834, with its successions of
passion, violent ruptures, and penitent reconciliations, was the
profoundest experience of his life, and the inspiration of many of
his poems, including the famous _Nuits_ of May, August, October and
December.

146. 21. PARESSEUX ENFANT; the charge of indolence had often already
been brought against Musset; cf. _ton oisivete_, 150. 3.

147. 29. ARGOS, the capital of Argolis, in the Peloponnesus. PTELEON,
Pteleum, an ancient town of Thessaly (Iliad ii, 697.) 30. MESSA, city
and harbor of Laconia (Iliad ii, 582); Homer's epithet is "abounding
in doves." 31. PELION, a mountain in Thessaly ; Homer (Iliad ii, 757)
calls it "quivering with leaves."

148. 1. TITARESE, a river in Thessaly. Homer's epithet (Iliad ii, 751)
is "lovely". 3. OLOOSSONE, a city in Thessaly, called "white" also by
Homer (Iliad ii, 739). Camyre, no doubt Homer's Kameiros (Iliad ii,
656), which he calls "shining." It was situated on the island of
Rhodes; Musset neglects the geographical fact in bringing it into
connection with Oloossone.

149. 6. SON TERTRE VERT, St. Helena.

150. 13. LORSQUE LE PELICAN; this passage is one of the most famous of
French poetry. Compare Ronsard's reference to the pelican, p. 8,
1. 19. With this view of the poet's lot and mission compare that
expressed in _les Montreurs_ of Leconte de Lisle, p. 199, and in
_l'Art_ of Gautier, p. 190. The fable of the pelican giving his blood
to his young is current in the literature of the middle ages.

152. LA NUIT DE DECEMBRE. November, 1835. 18. EGLANTINE; a wild rose
was one of the prizes given the victors in the poetical contests
called the _Jeux Floraux_ held at Toulouse; it symbolizes distinction
in poetry.

153. 11. UN HAILLON DE OURPRE EN LAMBEAU symbolizes the power of youth
wasted in debauchery. 12. MYRTE; the myrtle was sacred to Venus.

154. 10. PISE, Pisa. 14. BRIGUES, a small town in the Rhone valley in
Switzerland, at the foot of the Simplon pass. 16. GENES, Genoa. 17.
VEVAY, a town on Lake Geneva. 19. LIDO, an island between Venice and
the sea, a favorite resort of the inhabitants of the city. Musset
calls it _affreux_, because with it he associated his quarrel with
George Sand.

159. STANCES A LA MALIBRAN. October, 1836. 11. MARIA FELICITA,
daughter and pupil of Manuel Garcia, afterwards Madame Malibran, by
which name she is remembered, was a remarkable singer (1808-1836).

24. PARTHENON: the Parthenon, completed in 438 B.C., was built under
the direction of Phidias, who was also the sculptor of the colossal
statue of Athena within the temple. The most famous work of Praxiteles
Was the statue of Aphrodite of Cnidus, not extant, but represented in
the Venus of the Capitol and the Venus de Medicis.

160. 26. CORILLA, a character in one of Rossini's operas. 27. ROSINA,
heroine of Rossini's _Il Barbiere di Seviglia_ (1816). 29. LE SAULE,
the song of "The Willow" in Rossini's _Otello_ (1816); cf. Shakspere's
_Othello_, iv, 3.

161. 9. LONDRE, usually spelled _Londres_; the _s_ is omitted here for
the metre. 21. GERICAULT, an important French painter (1790-1824); his
most famous picture is _Le Radeau de la Meduse_, now in the Louvre.
CUVIER, a great

French naturalist (1769-1852).

162. 3. ROBERT, Leopold (1794-1835), a French painter of merit.
BELLINI, Vincenzo (1802-1835), an Italian composer of operas; among
his works are _La Somnambula_ (1831), _Norma_ (1831), and _I Puritani_
(1835). 5. CARREL, Armand (1800-1836), a French publicist, fatally
wounded in a duel with Emile de Girardin.

163. 18. LA PASTA; Giuditta Pasta (1798-1865) was one of the famous
sopranos of her day; for her Bellini wrote _La Somnambula_ and
_Norma_.

164. CHANSON DE BARBERINE. From the comedy _Barberine_ (1836).

165. CHANSON DE FORTUNIO. From _le Chandelier_ ( 1836), where it is
sung by a character named Fortunio. 25. MA MIE, instead of _m'amie_;
this is a remnant of what was the regular practice in the earliest
period of French, the use of the feminine forms, ma, ta, sa, with
elision of the vowel, before nouns beginning with a vowel; the
substitution of the masculine forms in such cases begins in the
twelfth century.

166. 167. TRISTESSE. June 14, 1840. "RAPPELLE-TOI." 1842. SOUVENIR.
February, 1841. This poem is of the same order of thought as _le Lac_
of Lamartine and the _Tristesse d'Olympia_ of Victor Hugo; see note on
the latter poem.

169. 17. DANTE, POURQUOI DIS-TU; the passage referred to is in the
_Inferno_, canto v, 1. 121 ; Francesca da Rimini (in French Francoise)
begins the short and immortal story of her love for Paolo with these
words :

"There is no greater sorrow
Than to be mindful of the happy time
In misery."

170. 24. PIE, an old spelling of _pied_, used here to satisfy the
rules of rhyme. Cf. following page, 1. 26.

172.17. MA SEULE AMIE. George Sand. The latest revelations from the
correspondence of George Sand and Musset give us a more favorable view
of her part in their unhappy affair and fail to justify the terms in
which he refers to her here. See the volume of Vicomte de Spoelberch
de Lovenjoul cited among the works for reference.

174. SUR UNE MORTE. October, 1842; the lady referred to was the
Princess Belgiojoso (1808-1871), who after the unsuccessful movement
for Italian liberty in 1831 left Italy and resided in Paris, where
Musset came often to her salon, i. LA NUIT, one of the famous
allegorical statues made by Michaelangelo for the tombs of Giuliano
and Lorenzo de Medici.

175 A M. VICTOR HUGO. April. 26, 1843. CHANSON. "ADIEU, SUZON." 1844.


THEOPHILE GAUTIER.

1811-1872.

One of the most important poets of the century, though he can not be
called in any large sense one of the greatest. His importance is due
to the emphasis that he placed on the element of form both by his
precept and by his practice. The directness and sincerity of the
emotional cry are lost sight of in the pursuit of exquisite and
perfect workmanship in the representation of outward beauty. _L'Art_,
p. 190, sums up his poetic art. Later poetry has been profoundly
influenced by this doctrine. His natural gifts adapted him perfectly
to the role that he played, for, while he was without great
intellectual depth or emotional intensity, he had a rare power of
seeing the forms and colors of things.

Works: _Poesies_, 1830; _Albertus_, 1833; _la Comedie de la mort_,
1838; the preceding were republished in one volume with additions
in 1845; _Emaux et Camees_, 1852; _Poesies nouvelles_, 1863; in the
edition of his _Oeuvres completes_ the _Poesies completes_ make two
volumes, _Emaux et Camees_, one.

For reference : E. Bergerat, _Theophile Gautier_, 1879; M. Du Camp,
_Theophile Gautier_, 1890; Vicomte Spoelberch de Lovenjoul, _Histoire
des oeuvres de Th. Gautier_, 2 vols., 1887; Sainte-Beuve, _Premiers
lundis_, ii; _Portraits contemporains_, ii, v; _Nouveaux lundis_, vi;
E, Faguet, _XIXe siecle_, 1887; Brunetiere, _Evolution de la poesie
lyrique_, vol. ii.

177. VOYAGE. From the _Poesies_ of 1830. The line of the motto from La
Fontaine is from the one-act comedy _Clymene_, line 35. Catullus 87-47
B.c.) was a Latin poet whose lyrics show intensity of feeling and rare
grace of expression. The lines here quoted are from the _Carmina_,
xlvi. The idea of the poem is quite characteristic of Gautier, who
delighted especially in the picturesque aspects of travel, as his
famous descriptions of foreign lands show (_Voyage en Espagne, Voyage
en Russie, Voyage en Italie,_ etc.).

178. 17. ENRAYE, puts on the brakes. Of the other poems of Gautier
here given all but CHOC DE CAVALIERS, LES COLOMBES, LAMENTO,
TRISTESSE, and LA CARAVANE are from _Emaux et Camees_; these five will
be found in vol. i of the _Poesies completes_ under the title _Poesies
diverses_.

186. PREMIER SOURIRE DU PRINTEMPS. 15. HOUPPE DE CYGNE, powder puff.

188. L'AVEUGLE, i. LES PUITS DE VENISE; the dungeons of Venice are
famous.

189. LE MERLE. 18. The Arve joins the Rhone just after the latter
issues from Lake Geneva. The water of the Rhone is very clear and
blue, while that of the Arve, especially when swollen by rain and
melted snow, is muddy and grayish-yellow.

19O. 4. _mettre en demeure_, to summon by legal process.

191. L'ART, i. CARRARE, PAROS, marbles especially fine and white and
adapted for statuary, the former from Carrara, Italy, the latter from
Paros, an island in the Aegean Sea. 21. NIMBE TRILOBE; the Virgin was
often represented in early paintings with a halo of three rounded
lobes, in the shape of a trefoil, symbolizing the Trinity.


VICTOR DE LAPRADE.

1812-1883.

A poet of elevation and purity, whose worth is rather greater than his
reputation, which has been somewhat eclipsed by that of his greater
contemporaries.

Works: _Psyche_, 1840; _Odes et Poemes_, 1844; _Pointes evangeliques_,
1852; _Symphonies_, 1855; _Idylles heroiques_, 1858; _Pernette_,
1868; _Poemes civiques_, 1873; _le Livre d'un pere_, 1878; collected
edition, _Oeuvres poetiques_, 4 vols., 1886-89.

For reference: E. Bire, _Victor de Laprade, sa vie et ses oeuvres_,
1886; Sainte-Beuve, _Nouveaux lundis_, vol. i; E. Caro, _Poetes et
romanciers_, 1888.

193. A UN GRAND ARBRE. 1840; from _Odes et Poemes_. 5. CYBELE, or
Rhea, goddess of the earth. LE DROIT D'AINESSE. 1875; from _le Livre
d'un pere_. 15. ECHERRA, from _echoir_.


MME. ACKERMANN.

1813-1890.

Louise-Victorine Choquet, who became Mme. Paul Ackermann by her
marriage in 1844 and was left a widow

in 1846, lived a life of great retirement and seclusion. Her work,
the fruit of long solitude, bears the impress of a strong, reflective
mind. It is deeply linged with pessimism.

Works: _Contes et poesies_, 1863; _Poesies philosophiques_, 1874;
collected in one volume, _Poesies_, 1877.

For reference: Comte d'Haussonville, _Mme. Ackermann, d'apres des
lettres et des papiers inedits_, 1891.


CHARLES-MARIE LECONTE DE LISLE.

1818-1894.

Born on the island of Bourbon, the tropical landscape that was
familiar to his boyhood recurs constantly in his poems. Coming to
France to complete his studies and to reside, he became the master
spirit among the poets of the middle of the century and the recognized
leader of the Parnassiens. From the beginning he protested vigorously
against the Romanticists of 1830, not only as making an immodest and
on the whole vulgar display of self (cf. _les Montreurs_, p. 199), but
also as inevitably falling short of artistic perfection because, being
possessed, or at least moved, by the emotion they were expressing,
they could not be wholly masters of the instrument of expression. To
be thus wholly master of the resources of poetic art one must be quite
untroubled by one's own personal joys and sorrows, have the brain
clear and free. This call to the poet to rid himself of the personal
element was emphasized by the reflection that individual emotions are
of little importance or interest, being dwarfed by the collective life
of humanity in general, which in turn is overshadowed by the vast
phenomenon of life as a whole, while this again is but a transient
vapor on the face of the immense universe. So the poetic creed of
an impersonal and impassive art was more or less blended with a
materialism pervaded with a buddhistic pessimism that is vexed and
wearied with the vain motions of this human world, and longs for the
rest of Nirvana; and this vexation and weariness frequently rise to a
poignant intensity. However far he may then be thought to be from the
impassive impersonality of his doctrine, there is but one opinion as
to his rare command of form and the exquisite perfection of his art,
which have won for him the epithet _impeccable_.

Works: _Poemes antiques_, 1853; _Poemes et poesies_, 1855; _Poesies
completes_, 1858 (contains the two previous collections); _Poemes
barbares_, 1862; _Poemes tragiques_, 1884; _Derniers poemes_, 1894. He
was also an industrious translator of the Greek poets and of Horace.

For reference: P. Bourget, _Nouveaux essais de psychologie
contemporaine_, 1885; J. Lemaitre, _les Contemporains_, vol. ii, 1887;
F. Brunetiere, _Evolution de la poesie lyrique_, vol. ii, 1894; also
in Contemporary Review, vol. lxvi.

199. LES MONTREURS. From _Poemes barbares_. MIDI and NOX are from the
_Poemes antiques_. The poems from L'ECCLESIASTE to REQUIES inclusive,
and also LE MANCHY, are from the _Poemes barbares_. The rest, except
the last, are from the _Poemes tragiques_.

203. LA VERANDAH, I. HUKA, oriental pipe.

215. SI L'AURORE. 10. PITONS, mountain peaks; the word is used in the
French colonies. 21. VARANGUE, a kind of porch, cf. verandah.

LE MANCHY. A _manchy_ is a kind of sedan-chair, or litter.

217. LE FRAIS MATIN DORAIT. 28. LETCHIS, a tropical plant.

218. TRE FILA D'ORO. The words of the title, which is Italian, are
found in the final line of each stanza, _trois fils d'or_.


CHARLES BAUDELAIRE.

1821-1867.

His was a perverse nature, endowed with rare gifts which he
persistently abused. Pure physical sensation supplied a large part of
the material for his poetry, and among the senses it was especially
the one that has the remotest association with ideas that he drew upon
most constantly--the sense of smell. In his desperate search for new
and strange sensations he went the round of violent and exhausting
dissipations, and as his senses flagged he spurred them with all sorts
of stimulants. Meanwhile he observed himself curiously ; the result
in his poems is an impression of peculiarly wilful depravity. They
reflect his physical and mental experience, are always without
sobriety, often lacking in sanity. The title, _les Fleurs du mal_, is
both appropriate and suggestive; they invite no epithets so much as
"unhealthy" and "unwholesome."

He was extremely fond of Edgar A. Poe, and translated his works.

Works: _les Fleurs du mal_, 1857, new edition, 1861; _Oeuvres
posthumes_, 1887.

For reference : Gautier, _Portraits et souvenirs litteraires_;
E. Crepet, _Oeuvres posthumes et correspondance inedite de Ch.
Baudelaire, precedees d'une etude biographique_, 1887; Bourget,
_Essais de psychologie contemporaine_, 1883, F. Brunetiere in _Revue
des Deux Mondes_, Sept. 1st, 1892; Henry James, _French Poets and
Novelists_, London, 1884; George Saintsbury, _Miscellaneous Essays_,
London, 1892.

The poems given here are all from _les Fleurs du mal_.

221. 19. BOUCHER; Francois Boucher (1703-1770) was a painter of
pastoral and genre subjects.


PIERRE DUPONT.

1821-1870.

He enjoyed a moment of great popularity about 1848, paid for since by
being too much forgotten. His chansons are simple, sincere, and sweet,
breathing a delight in rural life and sympathy with the lot of the
poor. Works: Chansons, 1860; _Chansons et poesies_ is the title of the
current edition of his poems.

For reference: Sainte-Beuve, _Causeries du lundi_, vol. iv.


ANDRE LEMOYNE.

1822.


Has achieved especial success by his poetic descriptions of nature,
which proceed from a close and loving observation and a quick
responsiveness to her moods. Works: _Stella Maris.--Ecce Homo_, etc.,
1860; _les Roses d'Antan_, 1865; _les Charmeuses_, 1867; _Legendes des
Bois et Chansons marines_, 1871; _Fleurs des ruines_, 1888; _Fleurs du
soir_, 1893.

232. 12. CHANSON MARINE. CAP FREHEL, on the north coast of Brittany,
just south of the Channel Islands. 24. GRANVILLE and AVRANCHES are
small towns on the Channel coast, between St. Malo and Cherbourg. 26.
The ORNE and VIRE are small streams flowing northward into the Channel
in the same region.


THEODORE DE BANVILLE.

1823-1891.

A precocious and voluminous writer, who delighted in playing with the
technical difficulties of lyric forms. His devotion to form was his
chief excellence and gave him a considerable influence on the group of
_Parnassiens_. He was especially responsible for the revival of the
fixed forms of the older French poetry. He took up and developed the
dictum of Saint-Beuve that rhyme is "_l'unique harmonie du vers_" and
his _Odes funambulesques_ sought even to make it a main means of comic
effect. His work is deficient in substance.

Works : _Les Cariatides_, 1842; _les Stalactites_, 1846; _Odelettes_,
1856; _Odes funambulesques_, 1857; _les Exiles_, 1860; _Idylles
prussiennes_, 1871; _les Princesses_, 1874; _Sonnailles et
Clochettes_, 1890; _Dans la fournaise. Dernieres poesies_, 1892.

For reference: Sainte-Beuve, _Causeries du lundi_, vol. xiv; J.
Lemaitre, _les Contemporains_, vol. i, 1886; A. Lang, _Essays in
Little_, London, 1891.

234. LA CHANSON DE MA MIE. MA MIE, see note on 165, 25.

235. BALLADE DES PENDUS. From the comedy _Gringoire_ (1866). 20.
FLORE, the Roman goddess of fruits and flowers. 26. _du roi Louis_
; Louis XI. (1461-1487), whose measures to break down feudalism and
establish the power of the monarchy are notorious.


HENRI DE BORNIER.

1825.

Primarily a dramatic poet, he obtained one of the striking successes
of the latter half of the century by his drama _la Fille de Roland_
(1875) which, evoking memories of recent disaster and the dearest
hopes of France, deeply touched the patriotic sentiment of his
country. His lyric poems make but one volume.

Works: _Les Premieres Feuilles, 1845_; the volume _Poesiescompletes,
1881_, contains, besides the poems of the first volume, a number
that appeared at intervals, several of which received prizes from
the Academy, as _l'Isthme de Suez_, 1861, and _la France dans
l'extreme Orient_, 1863; _Poesies completes,_ new edition, 1894.


ANDRE THEURIET.

1833.

Though now best known as a novelist, he began as a poet, and it is not
certain that he will not finally be best remembered for his verse.
His eyes and his sympathies are for the woods and fields and for the
simple toilers whose lives lie close to them. He has instilled into
his poems something of the odors of the forest and of the soil.

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