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 harmonies with hardly less depth and change and strength of music, with no less living force and with no less passionate unity, than the waters on whose shores they were written. Two poems, the third and the sixth, in the first of the seven books into which the collection is divided, may be taken as immediate and sufficient instances of the two different keys in which the entire book is written; of the two styles, one bitterly and keenly realistic, keeping scornfully close to shameful fact—one higher in flight and wider in range of outlook, soaring strongly to the very summits of lyric passion—which alternate in terrible and sublime antiphony throughout the living pages of this imperishable record. A second Juvenal might have drawn for us with not less of angry fidelity and superb disgust the ludicrous and loathsome inmates of the den infested by holy hirelings of the clerical press; no Roman satirist could have sung, no Roman lyrist could have thundered, such a poem as that which has blasted for ever the name and the memory of the prostitute archbishop Sibour. The poniard of the priest who struck him dead at the altar he had desecrated struck a blow less deep and deadly than had been dealt already on the renegade pander of a far more infamous assassin. The next poem is a notable and remarkable example of the fusion sometimes accomplished—or, if this be thought a phrase too strong for accuracy, of the middle note sometimes touched, of the middle way sometimes taken—between the purely lyric and the purely satiric style or method. But it would be necessary to dwell on every poem, to pause at every page, if adequate justice were to be done to this or indeed to any of the volumes of verse published from this time forth by Victor Hugo. I will therefore, not without