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 imaginative and childlike sympathy with the traditional king of beasts which inspired him long after to write L'Épopée du Lion for the benefit of his grandchildren. Insomnie, a record of the tribute exacted by the spirit from the body, when the impulse to work and to create will not let the weary workman take his rest, but enforces him, reluctant and recalcitrant, to rise and gird up his loins for labour in the field of imaginative thought, is itself a piece of work well worth the sacrifice even of the happiness of sleep. The verses on music, suggested by the figure of a flute-playing shepherd on a bas-relief; the splendid and finished picture of spring, softened rather than shadowed by the quiet thought of death; the deep and tender fancy of the dead child's return to its mother through the gateway of a second birth; the grave sweetness and gentle fervour of the verses on the outcast and detested things of the animal and the vegetable world; and, last, the nobly thoughtful and eloquent poem on the greatness of such little things as the fire on the shepherd's hearth confronting the star at sunset, which may be compared with the Prayer for all men in the Feuilles d'Automne; these at least demand a rapid word of thankful recognition before we close the first volume of the Contemplations.

The fourth book, as most readers will probably remember, contains the poems written in memory of Victor Hugo's daughter, drowned by the accidental capsizing of a pleasure-boat, just six months and seventeen days after her marriage with the young husband who chose rather to share her death than to save himself alone. These immortal songs of mourning are almost too sacred for critical appreciation of even the most reverent and subdued order. There are numberless touches in them of such thrilling beauty, so