Library of the World's Best Literature, Ancient and Modern — Volume 04

by Unknown

(1780-1857)

BY ALCÉE FORTIER

éranger, like Hugo, has commemorated the date of his birth, but their verses are very different. Hugo's poem is lofty in style, beginning--

"Ce siècle avait deux ans! Rome remplaçait Sparte,
Déjà Napoléon perçait sous Bonaparte,
Et du premier consul déjà, par maint endroit,
Le front de l'empereur brisait le masque étroit."
(This century was two years old; Rome displaced Sparta,
Napoleon already was visible in Bonaparte,
And the narrow mask of the First Consul, in many places,
Was already pierced by the forehead of the Emperor.)

Béranger's verses have less force, but are charming in their simplicity:--

"Dans ce Paris plein d'or et de misère,
En l'an du Christ mil sept cent quatre-vingt,
Chez un tailleur, mon pauvre et vieux grand-père,
Moi, nouveau-né, sachais ce qui m'advint."
(In this Paris full of gold and misery,
In the year of Christ one thousand seven hundred and eighty,
At the house of a tailor, my grandfather poor and old,
I, a new-born child, knew what happened to me.)

Authors of the eighteenth and the nineteenth centuries are more subjective in their writings than those of the seventeenth, whose characters can rarely be known from their works. A glance at the life and surroundings of Béranger will show their influence on his genius.

Béranger's mother was abandoned by her husband shortly after her marriage, and her child was born at the house of her father, the old tailor referred to in the song 'The Tailor and the Fairy.' She troubled herself little about the boy, and he was forsaken in his childhood. Béranger tells us that he does not know how he learned to read. In the beginning of the year 1789 he was sent to a school in the Faubourg Saint-Antoine, and there, mounted on the roof of a house, he saw the capture of the Bastille on the 14th of July. This event made a great impression on him, and may have laid the foundations of his republican principles. When he was nine and a half his father sent him to one of his sisters, an innkeeper at Péronne, that town in the north of France famous for the interview in 1468 between Louis XI. and Charles the Bold, when the fox put himself in the power of the lion, as related so vividly in 'Quentin Durward.'

Béranger's aunt was very kind to him. At Péronne he went to a free primary school founded by Ballue de Bellenglise, where the students governed themselves, electing their mayor, their judges, and their justices of the peace. Béranger was president of a republican club of boys, and was called upon several times to address members of the Convention who passed through Péronne. His aunt was an ardent republican, and he was deeply moved by the invasion of France in 1792. He heard with delight of the capture of Toulon in 1793 and of Bonaparte's exploits, conceiving a great admiration for the extraordinary man who was just beginning his military career. At the age of fifteen Béranger returned to Paris, where his father had established a kind of banking house. The boy had previously followed different trades, and had been for two years with a publishing house as a printer's apprentice. There he learned spelling and the rules of French prosody. He began to write verse when he was twelve or thirteen, but he had a strange idea of prosody. In order to get lines of the same length he wrote his words between two parallel lines traced from the top to the bottom of the page. His system of versification seemed to be correct when applied to the Alexandrine verse of Racine; but when he saw the fables of La Fontaine, in which the lines are very irregular, he began to distrust his prosody.

Béranger became a skillful financier, and was very useful to his father in his business. When the banker failed the young man was thrown into great distress. He now had ample opportunity to become familiar with the garret, of which he has sung so well. In 1804 he applied for help to Lucien Bonaparte, and received from Napoleon's brother his own fee as member of the Institute. He obtained shortly afterwards a position in a bureau of the University. Having a weak constitution and defective sight, he avoided the conscription. He was however all his life a true patriot, with republican instincts; and he says that he never liked Voltaire, because that celebrated writer unjustly preferred foreigners and vilified Joan of Arc, "the true patriotic divinity, who from my childhood was the object of my worship." He had approved of the eighteenth of Brumaire: for "my soul," says he, "has always vibrated with that of the people as when I was nineteen years old;" and the great majority of the French people in 1799 wished to see Bonaparte assume power and govern with a firm hand. In 1813 Béranger wrote 'The King of Yvetot,' a pleasing and amusing satire on Napoleon's reign. What a contrast between the despotic emperor and ruthless warrior, and the simple king whose crown is a nightcap and whose chief delight is his bottle of wine! The song circulated widely in manuscript form, and the author soon became popular. He made the acquaintance of Désaugiers and became a member of the Caveau. Concerning this joyous literary society M. Anatole France says, in his 'Vie Littéraire,' that the first Caveau was founded in 1729 by Gallet, Piron, Crébillon fils, Collé, and Panard. They used to meet at Laudelle the tavern-keeper's. The second Caveau was inaugurated in 1759 by Marmontel, Suard, Lanoue, and Brissy, and lasted until the Revolution. In 1806 Armand Gouffé and Capelle established the modern Caveau, of which Désaugiers was president. The members met at Balaine's restaurant. In 1834 the society was reorganized at Champlanc's restaurant. The members wrote and published songs and sang them after dinner. "The Caveau," says M. France, "is the French Academy of song," and as such has some dignity. The same is true of the Lice, while the Chat Noir is most fin de siècle.

To understand Béranger's songs and to excuse them somewhat, we must remember that the French always delighted in witty songs and tales, and pardoned the immorality of the works on account of the wit and humor. This is what is called l'esprit gaulois, and is seen principally in old French poetry, in the fabliaux, the farces, and 'Le Roman de Renart.' Molière had much of this, as also had La Fontaine and Voltaire, and Béranger's wildest songs appear mild and innocent when compared with those of the Chat Noir. In his joyous songs he continues the traditions of the farces and fabliaux of the Middle Ages, and in his political songs he uses wit and satire just as in the sottises of the time of Louis XII.

Béranger's first volume of songs appeared at the beginning of the second Restoration; and although it was hostile to the Bourbons, the author was not prosecuted. In 1821, when his second volume was published, he resigned his position as clerk at the University, and was brought to trial for having written immoral and seditious songs. He was condemned, after exciting scenes in court, to three months' imprisonment and a fine of five hundred francs, and in 1828 to nine months' imprisonment and a fine of ten thousand francs, which was paid by public subscription.

No doubt he contributed to the Revolution of July, 1830; but although he was a republican, he favored the monarchy of Louis Philippe, saying that "it was a plank to cross over the gutter, a preparation for the republic." The king wished to see him and thank him, but Béranger replied that "he was too old to make new acquaintances." He was invited to apply for a seat in the French Academy, and refused that honor as he had refused political honors and positions. He said that he "wished to be nothing"; and when in 1848 he was elected to the Constitutional Assembly, he resigned his seat almost immediately. He has been accused of affectation, and of exaggeration in his disinterestedness; but he was naturally timid in public, and preferred to exert an influence over his countrymen by his songs rather than by his voice in public assemblies.

Béranger was kind and generous, and ever ready to help all who applied to him. He had a pension given to Rouget de l'Isle, the famous author of the 'Marseillaise,' who was reduced to poverty, and in 1835 he took into his house his good aunt from Péronne, and gave hospitality also to his friend Mlle. Judith Frère. In 1834 he sold all his works to his publisher, Perrotin, for an annuity of eight hundred francs, which was increased to four thousand by the publisher. On this small income Béranger lived content till his death on July 16th, 1857. The government of Napoleon III. took charge of his funeral, which was solemnized with great pomp. Although Béranger was essentially the poet of the middle classes, and was extremely popular, care was taken to exclude the people from the funeral procession. While he never denied that he was the grandson of a tailor, he signed de Béranger, to be distinguished from other writers of the same name. The de, however, had always been claimed by his father, who had left him nothing but that pretense of nobility.

For forty years, from 1815 to his death, Béranger was perhaps the most popular French writer of his time, and he was ranked amongst the greatest French poets. There has been a reaction against that enthusiasm, and he is now severely judged by the critics. They say that he lacked inspiration, and was vulgar, bombastic, and grandiloquent. Little attention is paid to him, therefore, in general histories of French literature. But if he is not entitled to stand on the high pedestal given to him by his contemporaries, we yet cannot deny genius to the man who for more than a generation swayed the hearts of the people at his will, and exerted on his countrymen and on his epoch an immense influence.

Many of his songs are coarse and even immoral; but his muse was often inspired by patriotic subjects, and in his poems on Napoleon he sings of the exploits of the great general defending French soil from foreign invasion, or he delights in the victories of the Emperor as reflecting glory upon France. Victor Hugo shared this feeling when he wrote his inspiring verses in praise of the conqueror. Both poets, Béranger and Hugo, contributed to create the Napoleonic legend which facilitated the election of Louis Napoleon to the presidency in 1848, and brought about the Second Empire. What is more touching than 'The Reminiscences of the People'? Are we not inclined to cry out, like the little children listening to the old grandmother who speaks of Napoleon: "He spoke to you, grandmother! He sat down there, grandmother! You have yet his glass, grandmother!" The whole song is poetic, natural, and simple. François Coppée, the great poet, said of it: "Ah! if I had only written 'The Reminiscences of the People,' I should not feel concerned about the judgment of posterity."

Other works of Béranger's are on serious subjects, as 'Mary Stuart's Farewell to France,' 'The Holy Alliance,' 'The Swallows,' and 'The Old Banner,' All his songs have a charm. His wit is not of the highest order, and he lacks the finesse of La Fontaine, but he is often quaint and always amusing in his songs devoted to love and Lisette, to youth and to wine. He is not one of the greatest French lyric poets, and cannot be compared with Lamartine, Hugo, Musset, and Vigny; nevertheless he has much originality, and is without doubt the greatest song-writer that France has produced. He elevated the song and made it both a poem and a drama, full of action and interest.

Béranger wrote slowly and with great care, and many of his songs cost him much labor. He was filled with compassion for the weak, for the poor and unfortunate; he loved humanity, and above all he dearly loved France. Posterity will do him justice and will preserve at least a great part of his work. M. Ernest Legouvé in his interesting work, 'La Lecture en Action,' relates that one day, while walking with Béranger in the Bois de Boulogne, the latter stopped in the middle of an alley, and taking hold of M. Legouvé's hand, said with emotion, "My dear friend, my ambition would be that one hundred of my lines should remain." M. Legouvé adds, "There will remain more than that," and his words have been confirmed. If we read aloud, if we sing them, we too shall share the enthusiasm of our fathers, who were carried away by the pathos, the grandeur, the wit, the inexpressible charm of the unrivaled chansonnier.

FROM 'THE GIPSIES'
(LES BOHÉMIENS)
To see is to have. Come, hurry anew!
Life on the wing
Is a rapturous thing.
To see is to have. Come, hurry anew!
For to see the world is to conquer it too.

---

THE GAD-FLY
(LA MOUCHE)
In the midst of our laughter and singing,
'Mid the clink of our glasses so gay,
What gad-fly is over us winging,
That returns when we drive him away?
'Tis some god. Yes, I have a suspicion
Of our happiness jealous, he's come:
Let us drive him away to perdition,
That he bore us no more with his hum.
Transformed to a gad-fly unseemly,
I am certain that we must have here
Old Reason, the grumbler, extremely
Annoyed by our joy and our cheer.
He tells us in tones of monition
Of the clouds and the tempests to come:
Let us drive him away to perdition,
That he bore us no more with his hum.
It is Reason who comes to me, quaffing,
And says, "It is time to retire:
At your age one stops drinking and laughing,
Stops loving, nor sings with such fire;"--
An alarm that sounds ever its mission
When the sweetest of flames overcome:
Let us drive him away to perdition,
That he bore us no more with his hum.
It is Reason! Look out there for Lizzie!
His dart is a menace alway.
He has touched her, she swoons--she is dizzy:
Come, Cupid, and drive him away.
Pursue him; compel his submission,
Until under your strokes he succumb.
Let us drive him away to perdition,
That he bore us no more with his hum.
Hurrah, Victory! See, he is drowning
In the wine that Lizzetta has poured.
Come, the head of Joy let us be crowning,
That again he may reign at our board.
He was threatened just now with dismission,
And a fly made us all rather glum:
But we've sent him away to perdition;
He will bore us no more with his hum.
Translation of Walter Learned.

DRAW IT MILD
(LES PETITS COUPS)
Let's learn to temper our desires,
Not harshly to constrain;
And since excess makes pleasure less,
Why, so much more refrain.
Small table--cozy corner--here
We well may be beguiled;
Our worthy host old wine can boast:
Drink, drink--but draw it mild!
He who would many an evil shun
Will find my plan the best--
To trim the sail as shifts the gale,
And half-seas over rest.
Enjoyment is an art--disgust
Is bred of joy run wild;
Too deep a drain upsets the brain:
Drink, drink--but draw it mild!
Our indigence--let's cheer it up;
'Tis nonsense to repine;
To give to Hope the fullest scope
Needs but one draught of wine.
And oh! be temperate, to enjoy,
Ye on whom Fate hath smiled;
If deep the bowl, your thirst control:
Drink, drink--but draw it mild!
What, Phyllis, dost thou fear? at this
My lesson dost thou scoff?
Or would'st thou say, light draughts betray
The toper falling off?
Keen taste, eyes keen--whate'er be seen
Of joy in thine, fair child,
Love's philtre use, but don't abuse:
Drink, drink--but draw it mild!
Yes, without hurrying, let us roam
From feast to feast of gladness;
And reach old age, if not quite sage,
With method in our madness!
Our health is sound, good wines abound;
Friends, these are riches piled.
To use with thrift the twofold gift:
Drink, drink--but draw it mild!
Translation of William Young.

THE KING OF YVETOT
There was a king of Yvetot,
Of whom renown hath little said,
Who let all thoughts of glory go,
And dawdled half his days a-bed;
And every night, as night came round,
By Jenny with a nightcap crowned,
Slept very sound:
Sing ho, ho, ho! and he, he, he!
That's the kind of king for me.
And every day it came to pass,
That four lusty meals made he;
And step by step, upon an ass,
Rode abroad, his realms to see;
And wherever he did stir,
What think you was his escort, sir?
Why, an old cur.
Sing ho, ho, ho! and he, he, he!
That's the kind of king for me.
If e'er he went into excess,
'Twas from a somewhat lively thirst;
But he who would his subjects bless,
Odd's fish!--must wet his whistle first;
And so from every cask they got,
Our king did to himself allot
At least a pot.
Sing ho, ho, ho! and he, he, he!
That's the kind of king for me.
To all the ladies of the land
A courteous king, and kind, was he--
The reason why, you'll understand,
They named him Pater Patriae.
Each year he called his fighting men,
And marched a league from home, and then
Marched back again.
Sing ho, ho, ho! and he, he, he!
That's the kind of king for me.
Neither by force nor false pretense,
He sought to make his kingdom great,
And made (O princes, learn from hence)
"Live and let live" his rule of state.
'Twas only when he came to die,
That his people who stood by
Were known to cry.
Sing ho, ho, ho! and he, he, he!
That's the kind of king for me.
The portrait of this best of kings
Is extant still, upon a sign
That on a village tavern swings,
Famed in the country for good wine.
The people in their Sunday trim,
Filling their glasses to the brim,
Look up to him,
Singing "ha, ha, ha!" and "he, he, he!
That's the sort of king for me."
Version of W.M. Thackeray.

FORTUNE
Rap! rap!--Is that my lass--
Rap! rap!--is rapping there?
It is Fortune. Let her pass!
I'll not open the door to her.
Rap! rap!--
All of my friends are making gay
My little room, with lips wine-wet:
We only wait for you, Lisette!
Fortune! you may go your way.
Rap! rap!--
If we might credit half her boast,
What wonders gold has in its gift!
Well, we have twenty bottles left
And still some credit with our host.
Rap! rap!--
Her pearls, and rubies too, she quotes,
And mantles more than sumptuous:
Lord! but the purple's naught to us,--
We're just now taking off our coats.
Rap! rap!--
She treats us as the rawest youths,
With talk of genius and of fame:
Thank calumny, alas, for shame!
Our faith is spoiled in laurel growths.
Rap! rap!--
Far from our pleasures, we care not
Her highest heavens to attain;
She fills her big balloons in vain
Till we have swamped our little boat.
Rap! rap!--
Yet all our neighbors crowd to be
Within her ring of promises,
Ah! surely, friends! our mistresses
Will cheat us more agreeably.
Rap! rap!--

THE PEOPLE'S REMINISCENCES
(LES SOUVENIRS DU PEUPLE)
Ay, many a day the straw-thatched cot
Shall echo with his glory!
The humblest shed, these fifty years,
Shall know no other story.
There shall the idle villagers
To some old dame resort,
And beg her with those good old tales
To make their evenings short.
"What though they say he did us harm?
Our love this cannot dim;
Come, granny, talk of him to us;
Come, granny, talk of him."
"Well, children--with a train of kings,
Once he passed by this spot;
'Twas long ago; I had but just
Begun to boil the pot.
On foot he climbed the hill, whereon
I watched him on his way:
He wore a small three-cornered hat;
His overcoat was gray.
I was half frightened till he said
'Good day, my dear!' to me."
"O granny, granny, did he speak?
What, granny! you and he?"
"Next year, as I, poor soul, by chance
Through Paris strolled one day,
I saw him taking, with his court,
To Notre Dame his way.
The crowd were charmed with such a show;
Their hearts were filled with pride:
'What splendid weather for the fête!
Heaven favors him!' they cried.
Softly he smiled, for God had given
To his fond arms a boy."
"Oh, how much joy you must have felt!
O granny, how much joy!"
"But when at length our poor Champagne
By foes was overrun,
He seemed alone to hold his ground;
Nor dangers would he shun.
One night--as might be now--I heard
A knock--the door unbarred--
And saw--good God! 'twas he, himself,
With but a scanty guard.
'Oh, what a war is this!' he cried,
Taking this very chair."
"What! granny, granny, there he sat?
What! granny, he sat there?"
"'I'm hungry,' said he: quick I served
Thin wine and hard brown bread;
He dried his clothes, and by the fire
In sleep dropped down his head.
Waking, he saw my tears--'Cheer up,
Good dame!' says he, 'I go
'Neath Paris' walls to strike for France
One last avenging blow.'
He went; but on the cup he used
Such value did I set--
It has been treasured."--"What! till now?
You have it, granny, yet?"
"Here 'tis: but 'twas the hero's fate
To ruin to be led;
He whom a Pope had crowned, alas!
In a lone isle lies dead.
'Twas long denied: 'No, no,' said they,
'Soon shall he reappear!
O'er ocean comes he, and the foe
Shall find his master here.'
Ah, what a bitter pang I felt,
When forced to own 'twas true!"
"Poor granny! Heaven for this will look--
Will kindly look on you."
Translation of William Young.

THE OLD TRAMP
(LE VIEUX VAGABOND)
Here in this gutter let me die:
Weary and sick and old, I've done.
"He's drunk," will say the passers-by:
All right, I want no pity--none.
I see the heads that turn away,
While others glance and toss me sous:
"Off to your junket! go!" I say:
Old tramp,--to die I need no help from you.
Yes, of old age I'm dying now:
Of hunger people never die.
I hoped some almshouse might allow
A shelter when my end was nigh;
But all retreats are overflowed,
Such crowds are suffering and forlorn.
My nurse, alas! has been the road:
Old tramp,--here let me die where I was born.
When young, it used to be my prayer
To craftsmen, "Let me learn your trade."
"Clear out--we've got no work to spare;
Go beg," was all reply they made.
You rich, who bade me work, I've fed
With relish on the bones you threw;
Made of your straw an easy bed:
Old tramp,--I have no curse to vent on you.
Poor wretch, I had the choice to steal;
But no, I'd rather beg my bread.
At most I thieved a wayside meal
Of apples ripening overhead.
Yet twenty times have I been thrown
In prison--'twas the King's decree;
Robbed of the only thing I own:
Old tramp,--at least the sun belongs to me.
The poor man--is a country his?
What are to me your corn and wine,
Your glory and your industries,
Your orators? They are not mine.
And when a foreign foe waxed fat
Within your undefended walls,
I shed my tears, poor fool, at that:
Old tramp,--his hand was open to my calls.
Why, like the hateful bug you kill,
Did you not crush me when you could?
Or better, teach me ways and skill
To labor for the common good?
The ugly grub an ant may end,
If sheltered from the cold and fed.
You might have had me for a friend:
Old tramp,--I die your enemy instead.
Translated for the 'World's Best Literature.'

FIFTY YEARS
(ClNQUANTE ANS)
Wherefore these flowers? floral applause?
Ah, no, these blossoms came to say
That I am growing old, because
I number fifty years to-day.
O rapid, ever-fleeting day!
O moments lost, I know not how!
O wrinkled cheek and hair grown gray!
Alas, for I am fifty now!
Sad age, when we pursue no more--
Fruit dies upon the withering tree:
Hark! some one rapped upon my door.
Nay, open not. 'Tis not for me--
Or else the doctor calls. Not yet
Must I expect his studious bow.
Once I'd have called, "Come in, Lizzette"--
Alas, for I am fifty now!
In age what aches and pains abound.
The torturing gout racks us awhile;
Blindness, a prison dark, profound;
Or deafness that provokes a smile.
Then Reason's lamp grows faint and dim
With flickering ray. Children, allow
Old Age the honor due to him--
Alas, for I am fifty now!
Ah, heaven! the voice of Death I know,
Who rubs his hands in joyous mood;
The sexton knocks and I must go--
Farewell, my friends the human brood!
Below are famine, plague, and strife;
Above, new heavens my soul endow:
Since God remains, begin, new life!
Alas, for I am fifty now!
But no, 'tis you, sweetheart, whose youth,
Tempting my soul with dainty ways,
Shall hide from it the sombre truth,
This incubus of evil days.
Springtime is yours, and flowers; come then,
Scatter your roses on my brow,
And let me dream of youth again--
Alas, for I am fifty now!
Translation of Walter Learned.

THE GARRET
With pensive eyes the little room I view,
Where in my youth I weathered it so long,
With a wild mistress, a stanch friend or two,
And a light heart still breaking into song;
Making a mock of life, and all its cares,
Rich in the glory of my rising sun:
Lightly I vaulted up four pair of stairs,
In the brave days when I was twenty-one.
Yes; 'tis a garret--let him know't who will---
There was my bed--full hard it was and small;
My table there--and I decipher still
Half a lame couplet charcoaled on the wall.
Ye joys, that Time hath swept with him away,
Come to mine eyes, ye dreams of love and fun:
For you I pawned my watch how many a day,
In the brave days when I was twenty-one!
And see my little Jessy, first of all;
She comes with pouting lips and sparkling eyes:
Behold, how roguishly she pins her shawl
Across the narrow casement, curtain-wise:
Now by the bed her petticoat glides down,
And when did women look the worse in none?
I have heard since who paid for many a gown,
In the brave days when I was twenty-one.
One jolly evening, when my friends and I
Made happy music with our songs and cheers,
A shout of triumph mounted up thus high,
And distant cannon opened on our ears;
We rise,--we join in the triumphant strain,--
Napoleon conquers--Austerlitz is won--
Tyrants shall never tread us down again,
In the brave days when I was twenty-one.
Let us begone--the place is sad and strange--
How far, far off, these happy times appear!
All that I have to live I'd gladly change
For one such month as I have wasted here--
To draw long dreams of beauty, love, and power,
From founts of hope that never will outrun,
And drink all life's quintessence in an hour:
Give me the days when I was twenty-one.
Version of W.M. Thackeray.

MY TOMB
(MON TOMBEAU)
What! whilst I'm well, beforehand you design,
At vast expense, for me to build a shrine?
Friends, 'tis absurd! to no such outlay go;
Leave to the great the pomp and pride of woe.
Take what for marble or for brass would pay--
For a dead beggar garb by far too gay--
And buy life-stirring wine on my behalf:
The money for my tomb right gayly let us quaff!
A mausoleum worthy of my thanks
At least would cost you twenty thousand francs:
Come, for six months, rich vale and balmy sky,
As gay recluses, be it ours to try.
Concerts and balls, where Beauty's self invites,
Shall furnish us our castle of delights;
I'll run the risk of finding life too sweet:
The money for my tomb right gayly let us eat!
But old I grow, and Lizzy's youthful yet:
Costly attire, then, she expects to get;
For to long fast a show of wealth resigns--
Bear witness Longchamps, where all Paris shines!
You to my fair one something surely owe;
A Cashmere shawl she's looking for, I know:
'Twere well for life on such a faithful breast
The money for my tomb right gayly to invest!
No box of state, good friends, would I engage,
For mine own use, where spectres tread the stage:
What poor wan man with haggard eyes is this?
Soon must he die--ah, let him taste of bliss!
The veteran first should the raised curtain see--
There in the pit to keep a place for me,
(Tired of his wallet, long he cannot live)--
The money for my tomb to him let's gayly give!
What doth it boot me, that some learned eye
May spell my name on gravestone, by and by?
As to the flowers they promise for my bier,
I'd rather, living, scent their perfume here.
And thou, posterity!--that ne'er mayst be--
Waste not thy torch in seeking signs of me!
Like a wise man, I deemed that I was bound
The money for my tomb to scatter gayly round!
Translation of William Young.

FROM HIS PREFACE TO HIS COLLECTED POEMS

I have treated it [the revolution of 1830] as a power which might have whims one should be in a position to resist. All or nearly all my friends have taken office. I have still one or two who are hanging from the greased pole. I am pleased to believe that they are caught by the coat-tails, in spite of their efforts to come down. I might therefore have had a share in the distribution of offices. Unluckily I have no love for sinecures, and all compulsory labor has grown intolerable to me, except perhaps that of a copying clerk. Slanderers have pretended that I acted from virtue. Pshaw! I acted from laziness. That defect has served me in place of merits; wherefore I recommend it to many of our honest men. It exposes one, however, to curious reproaches. It is to that placid indolence that severe critics have laid the distance I have kept myself from those of my honorable friends who have attained power. Giving too much honor to what they choose to call my fine intellect, and forgetting too much how far it is from simple good sense to the science of great affairs, these critics maintain that my counsels might have enlightened more than one minister. If one believes them, I, crouching behind our statesmen's velvet chairs, would have conjured down the winds, dispelled the storms, and enabled France to swim in an ocean of delights. We should all have had liberty to sell, or rather to give away, but we are still rather ignorant of the price. Ah! my two or three friends who take a song-writer for a magician, have you never heard, then, that power is a bell which prevents those who set it ringing from hearing anything else? Doubtless ministers sometimes consult those at hand: consultation is a means of talking about one's self which is rarely neglected. But it will not be enough even to consult in good faith those who will advise in the same way. One must still act: that is the duty of the position. The purest intentions, the most enlightened patriotism, do not always confer it. Who has not seen high officials leave a counselor with brave intentions, and an instant after return to him, from I know not what fascination, with a perplexity that gave the lie to the wisest resolutions? "Oh!" they say, "we will not be caught there again! what drudgery!" The more shamefaced add, "I'd like to see you in my place!" When a minister says that, be sure he has no longer a head. There is indeed one of them, but only one, who, without having lost his head, has often used this phrase with the utmost sincerity; he has therefore never used it to a friend.

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