Page:The Golden verses of Pythagoras (IA cu31924026681076).pdf/92

 verses subjected to rhyme are incapable in any tongue of attaining the sublime heights of Eumolpœia or of Epopœia.

The French poets soon proved it, when coming to understand the works of Homer and Vergil, they thought themselves able to imitate them by making use of the same poetic forms by which the authors of Perceval or Berthe-au-grand-*pied had profited. It was all to no purpose that they worked these forms, striking them upon the anvil, polishing them, they remained inflexible. Ronsard was the first who made the fatal experiment; and after him a crowd of careless persons came to run aground upon the same reef. These forms always called up the spirit with which they were born; the melancholy and unceasing sound, sonorous with their rhymes in couplets or alternate, had something soporific which caused the soul to dream and which allured it in spite of itself, not into the sublime regions of allegory where the genius of Eumolpœia was nourished, but into vague spaces of fictions, where, under a thousand whimsical forms the romantic mind evaporates. Doubtless one would have been able, in France, to limit the Italian poets, as had been done in Spain and Portugal; but besides, as it would have been necessary to confine itself to the second inspiration in a style already secondary, the spirit of the nation, sufficiently well represented by that of Ronsard, foreseeing from afar its high destinies, wished to command the summit of Parnassus, before having discovered the first paths.

The disasters of the first epic poets did not discourage their successors; vying with each other they sought to make amends; but instead of seeing the obstacle where it really was, that is to say, in the incompatible alliance of the essence of Epopœia with the form of romance, they imagined that lack of talent alone had been prejudicial to the success of their predecessors. Consequently they devoted themselves to work with an indefatigable ardour, polishing and repolishing the rhyme, tearing to pieces and revising twenty times their works, and finally bringing the form to