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Ibsen turned his back on all such vexatious themes, and set himself to the collecting and polishing of a series of lyrical poems, the Digte of 1871, the earliest, and, indeed, the only such collection that he published. We may recollect that, at the very same moment, with far less cause to isolate himself from the horrors of war, Théophile Gautier was giving the last touches to Emaux et Camées.
Flaubert was rather a victim of what Théophile Gautier, in his well-known Emaux et Camées, calls by the singularly happy name of "the Luminous Spleen of the Orient." To tell the truth, what Flaubert could not pardon in humanity was that it did not make enough of art, and so his pessimism was a consequence of his æstheticism. "As lovers of the beautiful," he tells us, "we are all outlaws!
We would fain have had a picture of that circle of which Dickens was one of the most prominent figures; but though his own personality is revealed in the fullest light, the group in the background is left indistinct, most of its members being barely visible, and none of them adequately portrayed. Émaux et Camées. Par Théophile Gautier. Nombre définitif.
Raising his eyes, the parson read through the titles: Browning's works; Tennyson in a cheap seven-and-six edition; Swinburne, Pater, Rossetti, Morris, two novels by Rhoda Broughton, Dickens, Thackeray, Fielding, and Smollett; the complete works of Balzac, Gautier's Emaux et Camees, Salammbo, L'Assommoir; Carlyle, Newman, Byron, Shelley, Keats, and the dramatists of the Restoration.
He was determined that he would not think about what had happened, till it became absolutely necessary to do so. When he had stretched himself on the sofa, he looked at the title- page of the book. It was Gautier's "Emaux et Camees," Charpentier's Japanese-paper edition, with the Jacquemart etching. The binding was of citron-green leather with a design of gilt trellis-work and dotted pomegranates.
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