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Some readers will express a preference for The Building of the Dream, others for Lautrec or Salvestra , and others for the dazzling and mellifluous Prelude to Hafiz. Mr. A. C. Swinburne eulogised the "exquisite and clear cut Intaglios." D. G. Rossetti revelled in the Sonnets; Theodore de Banville, "roi des rimes," in the Songs of Life and Death, whose beauties blend like the tints in jewels. Mr.

His hands pass over the keys, and he produces Chopin-like music. It is now well known that French verse is not seventy years old. If it was Hugo who invented French rhyme it was Banville who broke up the couplet.

Banville is not the poet, he is the bard. The great questions that agitate the mind of man have not troubled him, life, death, and love he only perceives as stalks whereon he may weave his glittering web of living words. Whatever his moods may be, he is lyrical.

Bad news. Orleans has been captured from us again. No matter. Let us persist. December 7. I had Gautier, Banville and Francois Coppee to dinner. After dinner Asselineau came. I read Floreal and L'Egout de Rome to them. December 8. The "Patrie en Danger" has ceased to appear. In the absence of readers, says Blanqui. M. Maurice Lachatre, publisher, came to make me an offer for my next book.

His hands pass over the keys and he produces Chopin-like fluidities. It is now well known that French verse is not seventy years old. If it was Hugo who invented French rhyme it was Banville who broke up the couplet.

With the ballade this seemed natural enough; for in connection with ballades the mind recurs to Villon, and Villon was almost more of a modern than de Banville himself. But in the case of the rondel, a comparison is challenged with Charles of Orleans, and the difference between two ages and two literatures is illustrated in a few poems of thirteen lines.

As we sat resting in the shade, my companion, who had been one of Sainte-Beuve’s pupils, fell to talking of his master, his memory refreshed by the familiar surroundings. “Can anything be sadder,” he said, “than finding a face one has loved turned into stone, or names that were the watchwords of one’s youth serving as signs at street cornersla rue Flaubert or Théodore de Banville?

I recalled several things to his mind. Rey me serra la main et dit: Baudin est mort... * Representative Baudin was killed on the barricade in the Faubourg Saint Antoine on December 2, 1852, during Louis Bonaparte's coup d'Etat. He burst into tears. September 7. Louis Blanc, d'Alton-Shee, Banville and others came to see me. The women of the Markets brought me a bouquet. September 8.

It took years before Baudelaire could persuade the Parisians that Poe did not spell his name "Edgard Poë." And we remember the fate of Liszt and Whistler, who were until recently known in Paris as "Litz" and "Whistler." With the aid of Champfleury and Banville, Baudelaire tried to bring Meryon's art to the cognisance of the Minister of Beaux-Arts, but to no avail. Why?

With the ballade this seemed natural enough; for in connection with ballades the mind recurs to Villon, and Villon was almost more of a modern than de Banville himself. But in the case of the rondel, a comparison is challenged with Charles of Orleans, and the difference between two ages and two literatures is illustrated in a few poems of thirteen lines.