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Until Jocelyn appeared, in 1836, the form of poetic expression was confined chiefly to the ode, the ballad, and the elegy; and no poet, with the exception of the author of 'Moise' and 'Eloa', ever dreamed that abstract ideas and themes dealing with the moralities could be expressed in the melody of verse. To this priority, of which he knew the full value, Alfred de Vigny laid insistent claim.
"But with Alfred de Vigny," he says, "we seek in vain for a resemblance to any French poetry preceding his work. For example, where can we find anything resembling 'Moise, Eloa, Doloeida'? Where did he find his inspiration for style and composition in these poems?
Thy God shall teach thee to repent! From th' abyss he'll give ear to my moan." Felton stood before this strange apparition like one petrified. "Who art thou? Who art thou?" cried he, clasping his hands. "Art thou a messenger from God; art thou a minister from hell; art thou an angel or a demon; callest thou thyself Eloa or Astarte?" "Do you not know me, Felton?
In 1816 Emile Deschamps preluded to the after-triumphs of the Romantic School with his play the Tour de faveur, the latter being followed in 1820 by Lebrun's Marie Stuart. Alfred de Vigny was preparing his Eloa; Nodier was delighting everybody by his talents as a philologian, novelist, poet, and chemist. Beranger was continuing his songs, and paying for his boldness with imprisonment.
"Let Franche-Comte boast of giving the light to Victor Hugo, to Charles Nodier, and Cuvier," ran the article, "Brittany of producing a Chateaubriand and a Lammenais, Normandy of Casimir Delavigne, and Touraine of the author of Eloa; Angoumois that gave birth, in the days of Louis XIII., to our illustrious fellow-countryman Guez, better known under the name of Balzac, our Angoumois need no longer envy Limousin her Dupuytren, nor Auvergne, the country of Montlosier, nor Bordeaux, birthplace of so many great men; for we too have our poet!
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