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Many of those who had been wont to lead the causeries had been removed to the cells of the fortress, and those who had not been arrested trembled for themselves or their friends; for nearly all had of late dabbled more or less in the theory and practice of revolution.
Between the careers of Cavour and Thiers no sound parallel can easily be traced, but in their characters or rather in their diplomatic methods and arts there would seem to be some curious and almost ludicrous points of resemblance, if we may accept as true a sketch of the great Italian statesman made by M. Plattel, the author of "Causeries Franco-Italiennes," fifteen years ago. M. Plattel, who wrote from close personal observation, at that time described Count Cavour as being physically "M. Thiers magnified;" or, if you prefer, M. Thiers is the count viewed through the big end of an opera-glass. The count, says M. Plattel, "has the spectacles, and even a similar expression of finesse. When things take a serious turn, the count puts both hands in his pockets; and if you see him do that, expect to hear this threat: 'If you do not pass this bill, signori deputati, I consider you incapable of longer managing the affairs of the country: I have the honor of bidding you good-evening. For (and this is a strange peculiarity) this first minister is never steadier than when in danger of falling; and his grand oratorical, or rather ministerial, figure of speech is to seize his hat and his cane, whereupon the chamber rises and begs M. de Cavour to sit down. M. de Cavour lets them plead a while, and then he sits down again! Reading his speeches now in Paris, I can fancy the count with his hat by his side and his hand on the door-knob. Heaven knows how many times that comedy-proverb of Musset called 'A door must either be open or shut, has been gravely played by the Sardinian Parliament and the prime minister!" It is with a very droll effect that a French paper has revived this curious description,
If he were present when her bed-time came she refused to sleep until he had consented to an interview. Avice Milbrey had the fortune to witness one of these bed-time causeries. One late afternoon the young man's summons came while he was one of a group that lingered late about Mrs. Akemit's little tea-table, Miss Milbrey being of the number.
In Lady Blennerhassett's enthusiastic and encyclopædic book on Madame de Stael she quotes approvingly Sainte-Beuve's phrase that "with Corinne Madame de Stael ascended the Capitol." I forget in which of his many dealings with an author who, as he remarks in the "Coppet-and-Weimar" causeries, was "an idol of his youth and one that he never renounced," this fancy occurs.
The Mask. Margot Tennant The Mangle. Eve. Dolly Varden. To-morrow. Mr. Webb The Petticoat. Mrs. Horner She. Miss Mary Leslie The Sphinx. Eglantine. Blue Veil. Pinafore. Sir A. West The Spinnet. The Spinning-Wheel. Mr. J. A. Symonds Muses and Graces. Causeries en peignoir. Woman's Wit and Humour. The contributors on our staff were to have been Laurence Oliphant, J. K. Stephen, Mr.
But do not the presence of "vivacity of feeling with susceptibility to impression" imply the imaginative temperament? If not, then we confidently assure M. Sainte-Beuve that had his definition fitted himself, his "Causeries du Lundi" would never have been rescued from the quick oblivion of the feuilleton.
No one can doubt that the Parisian public liked to know that the Causeries de Lundi were by Sainte- Beuve, just as they now like to see the signature of Mr. J. C. Squire at the end of an article. To push the point to extremes, who would care to grope through a nameless Georgian Anthology in which each poem had to be taken on its intrinsic merits?
It is very far indeed from being one of his best critically. You may, on his own principles, "catch him out" in it a score of times. But it is a good piece of special pleading, an excellent piece of writing, and one of the very best and most consummate literary causeries in English.
It is hardly necessary to say much concerning a critic with such pronounced ideas as Anatole France. He gives us, indeed, the full flower of critical Renanism, but so individualized as to become perfection in grace, the extreme flowering of the Latin genius. It is not too much to say that the critical writings of Anatole France recall the Causeries du Lundi, the golden age of Sainte-Beuve!
By very far the most delightful work that I have read for many years is Sainte-Beuve's "Causeries du Lundi," or his weekly feuilletons in the "Constitutionnel." I am sure they would sell if there be any taste for French literature.
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