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 soars to the highest summits of philosophy and idealism. In fact, to be obscure, confused, unintelligible, is not a rare quality, nor one difficult to acquire; and the first fool you may fell in with can easily attain to it. In this magnificent poem which has just appeared—as, for that matter, in all his other poems—what Victor Hugo does is just to dispel and scatter to the winds of heaven those lessons, those fogs, those rubbish-heaps, those clouds of dark bewildered words with which the sham wise men of all ages have overlaid the plain evidence of truth.'

'The words of Mercury are harsh after the songs of Apollo'; and I, who cannot pretend even to the gift of eloquence proper to the son of Maia, will not presume to add a word of less valuable homage to the choicer tribute of Banville. The three poems last mentioned were respectively published in three successive years: and in the same year with Religions et Religion Victor Hugo published a fourth volume, L'Âne, in which the questions of human learning and of human training were handled with pathetic ardour and sympathetic irony. It would be superfluous if not insolent to add that the might of hand, the magic of utterance, the sovereign charm of sound, and the superb expression of sense, are equal and incomparable in all.

And next year Victor Hugo gave us Les Quatre Vents de l'Esprit. In the first division, the book of satire, every page bears witness that the hand which wrote the Châtiments had neither lost its strength nor forgotten its cunning; it is full of keen sense, of wise wrath, of brilliant reason and of merciful equity, The double drama which follows is one of the deepest and sweetest and richest in various effect among the masterpieces of its author. In Margarita we breathe again the same fresh air of heroic mountain-ranges and woodlands inviolable, of winds and flowers and all fair