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 created, to the lips whose life is breathed into them from his own. By the Homeric stature of the soul he measures the heroic capacity of the sword. And indeed it is hardly in our century that men who do not wish to provoke laughter should venture to mock at a poet who puts a horde to flight before a hero, or strikes down strongholds by the lightning of a single will. No right and no power to disbelieve in the arm of Hercules or the voice of Jesus can rationally remain with those who have seen Garibaldi take a kingdom into the hollow of his hand, and not one man but a whole nation arise from the dead at the sound of the word of Mazzini.

Two out of the five heroic poems which compose the fourth book of the first series will always remain types of what the genius of Hugo could achieve in two opposite lines. All the music of morning, all the sunshine of romance, all the sweetness and charm of chivalry, will come back upon all readers at the gracious and radiant name of Aymerillot; all the blackness of darkness rank with fumes of blood and loud with cries of torment, which covers in so many quarters the history, not romantic but actual, of the ages called ages of faith, will close in upon the memory which reverts to the direful Day of Kings. The sound of the final note struck in the latter poem remains in the mind as the echo of a crowning peal of thunder in the ear of one entranced and spell-stricken by the magnetism of storm. The Pyrenees belong to Hugo as the western coasts of Italy, Neapolitan or Tuscan, belong to Shelley; they can never again be done into words and translated into music as for once they have been by these. It can hardly be said that he who knows the Pyrenees has read Victor Hugo;