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Updated: May 12, 2025
After dinner De Musset tried to restore it to her, but she refused to take it back: he urged and insisted, when she, suddenly falling on her knee with that sovereign charm of seduction for which she was as renowned as for her tragic power, entreated him to keep it as a pledge for the piece he was to write for her.
In our chastest moments we enter a concert-hall or gallery with the deliberate intention of being moved; in our most abandoned we pick up Browning or Alfred de Musset and allow our egotism to bask in their oblique flattery. Now, when we come to art with a mood of which we expect it to make something brilliant or touching there can be no question of being possessed by absolute beauty.
Their common bitterness united them. And Michel received Labanoff, despite his resolution to receive no one, because he was certain that he should find in him the same suffering as that expressed by De Musset and Petoefi. Labanoff, to-day, appeared to him more enigmatical and gloomy than ever. From the lips of the Russian fell only words of almost tragical mystery.
Louis Fréchette is a worthy successor of Crémazie and has won the distinction of having his best work crowned by the French Academy. French Canadian poetry, however, has been often purely imitative of French models like Musset and Gautier, both in style and sentiment, and consequently lacks strength and originality.
Here, in spite of what De Musset wrote somewhat affectedly about the peasant girls Ischia! c'est l
How is it possible that he cannot understand that people brought up on such corrupted bread and drinking, such bad water, not only will be unable to resist the storm, but even they will not have an inclination to do so! Musset has written in his time this famous verse: "We had already your German Rhine."
While Byron is out of fashion in his own country, the rage for Musset, which for a long time made him appear not so much the favorite modern poet of France as the only one, has subsided into a steady admiration and affection, a permanent preference.
For example, the enjoyment of Madame Sand is in no way dependent upon a knowledge of the books of that authoress, De Musset, and Heine, nor yet upon an acquaintance with the music of Liszt and Chopin. Such matters are pleasantly and lightly referred to when they seem pertinent, but no insistence is laid upon them.
For that reason the choice of subjects is extended from the Middle Ages in France to the Middle Ages in other countries, for instance, Germany, whence Victor Hugo derives his drama Les Burgraves. The poets select foreign matter, Alfred de Vigny treats Chatterton and Musset Italian and Spanish themes. Romanticism becomes ethnographical. Its second distinguishing mark is tempestuous violence.
He was a dabbler now, with as Heine said of de Musset a fine future behind him, and none but an artist can tell the bitterness of that self-knowledge.
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