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 appeared a year after the book which (so to speak) had grown out of it; and in the same year appeared the Chansons des Rues et des Bois. The miraculous dexterity of touch, the dazzling mastery of metre, the infinite fertility in variations on the same air of frolic and thoughtful fancy, would not apparently allow the judges of the moment to perceive or to appreciate the higher and deeper qualities displayed in this volume of lyric idyls. The prologue is a superb example of the power peculiar to its author above all other poets; the power of seizing on some old symbol or image which may have been in poetic use ever since verse dawned upon the brain of man, and informing it again as with life, and transforming it anew as by fire. Among innumerable exercises and excursions of dainty but indefatigable fancy there are one or two touches of a somewhat deeper note than usual which would hardly be misplaced in the gravest and most ambitious works of imaginative genius. The twelve lines (of four syllables each) addressed À la belle Imperieuse are such, for example, as none but a great poet of passion, a master of imaginative style, could by any stroke of chance or at any cost of toil have written.

L'amour, panique De la raison, Se communique Par le frisson.

Laissez-moi dire, N'accordez rien. Si je soupire, Chantez, c'est bien.

Si je demeure, Triste, à vos pieds, Et si je pleure, C'est bien, riez.