161. 9. LONDRE, usually spelled Londres; the s is omitted here for the metre. 21. GÊRICAULT, an important French painter (1790-1824); his most famous picture is Le Radeau de la Méduse, now in the Louvre. CUVIER, a great
French naturalist (1769-1852).
162. 3. ROBERT, Léopold (1794-1835), a French painter of merit. BELLINI, Vincenzo (1802-1835), an Italian composer of operas; among his works are La Somnambula (1831), Norma (1831), and I Puritani (1835). 5. CARREL, Armand (1800-1836), a French publicist, fatally wounded in a duel with Émile de Girardin.
163. 18. LA PASTA; Giuditta Pasta (1798-1865) was one of the famous sopranos of her day; for her Bellini wrote La Somnambula and Norma.
164. CHANSON DE BARBERINE. From the comedy Barberine (1836).
165. CHANSON DE FORTUNIO. From le Chandelier ( 1836), where it is sung by a character named Fortunio. 25. MA MIE, instead of m'amie; this is a remnant of what was the regular practice in the earliest period of French, the use of the feminine forms, ma, ta, sa, with elision of the vowel, before nouns beginning with a vowel; the substitution of the masculine forms in such cases begins in the twelfth century.
166. 167. TRISTESSE. June 14, 1840. "RAPPELLE-TOI." 1842. SOUVENIR. February, 1841. This poem is of the same order of thought as le Lac of Lamartine and the Tristesse d'Olympia of Victor Hugo; see note on the latter poem.
169. 17. DANTE, POURQUOI DIS-TU; the passage referred to is in the Inferno, canto v, 1. 121 ; Francesca da Rimini (in French Françoise) begins the short and immortal story of her love for Paolo with these words :
"There is no greater sorrow
Than to be mindful of the happy time
In misery."
170. 24. PIÉ, an old spelling of pied, used here to satisfy the rules of rhyme. Cf. following page, 1. 26.