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Updated: May 19, 2025
Nodier stood up for Shakespeare, whom he could read in English, and I for the Romancero, which I could read in Spanish. We brought face to face, he the bastard Faulconbridge, I the bastard Mudarra. And little by little in contradicting we convinced each other, and Nodier became filled with enthusiasm for the Romancero, and I with admiration for Shakespeare. Listeners arrived.
At Soissons, while I was exploring Saint Jean-des-Vignes, he had discovered, in a suburb, a ragpicker. The ragpicker's basket is the hyphen between rags and paper, and the ragpicker is the hyphen between the beggar and the philosopher. Nodier who gave to the poor, and sometimes to philosophers, had entered the ragpicker's abode. The ragpicker turned out to be a book dealer.
By the purity of its handling, by its relation with LA FEE AUX MIETTES and LES LUTINS D'ARGAIL, by its rencounters with the SERAPHINS and DIANES, who murmur in his ear their most confidential complaints, their most secret dreams, the style and the manner of conception of Chopin remind us of Nodier.
Perhaps to a foreigner, however, no salon was more amusing than that of Charles Nodier; but this was of an utterly different description, and all but strictly confined to the world of Literature and Art.
On November 28th, 1843, soon after his return to Paris, a vacancy was left in the Academy by the death of M. Vincent Campenon; and Charles Nodier and Victor Hugo proposed Balzac as a candidate for the empty seat.
The men most highly placed in literature at the time when I came to Paris were MM. de Chateaubriand, Jouy, Lemercier, Arnault, Etienne, Baour-Lormian, Béranger, Charles Nodier, Viennet Scribe, Théaulon, Soumet, Casimir Delavigne, Lucien Arnault, Ancelot, Lamartine, Victor Hugo, Désaugiers, and Alfred de Vigny.
Nodier took it and glanced over it. "What is it?" I whispered. "Nothing very precious," he replied. "An odd volume of Shakespeare, Glasgow edition." One of the tapestries from the treasure of the church hanging exactly opposite to us represented a not very historical interview between John Lackland and Philip Augustus.
During the three days of the coronation there were great crowds in the streets of Rheims, at the Archbishop's palace, and on the promenades along the Vesdre, eager to catch a glimpse of Charles X. I said to Charles Nodier: "Let us go and see his majesty the cathedral." Rheims is a proverb in Gothic Christian art.
That is possible, and, for my part, I am of those who, like Brunet and Nodier, are inclined to think that the Chronique, in spite of its inferiority, is really a first attempt, condemned as soon as the idea was conceived in another form. As its earlier date is incontestable, we must conclude that if the Chronique is not by him, his Gargantua and its continuation would not have existed without it.
Then we passed to the details of the drama, situations, scenes, and personages. Nodier pointed out that Faulconbridge is the same person spoken of by Mathieu Paris as Falcasius de Trente, bastard of Richard Coeur de Lion.
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