[10] La Paix des Dieux.
[11] For this and the other verse-translations the writer is responsible.
[12] Even the 'music' was far removed from the simplicity of pure song. The song of these poets was an incantation. Nay, painting itself witnessed a corresponding revolt against the 'eloquence' of the pseudo-realists—the 'far away dirty reasonableness', as Manet dubbed it, which missed the essential vision by using the worn-down accepted phrases of the public.
[13] Au jardin de l'Infante: Veillée.
[14] To some types of Irish imagination French Naturalism, it is true, was no less congenial; hence the rift between the realist and the spiritual Irishmen delightfully played on in Max Beerbaum's cartoon of Yeats presenting the Faery Queene to George Moore.
[15] Aliotta, The Idealistic Revolt, p. 116. Cf. the account of the analogous views of Boutroux and Renouvier in the same chapter.
[16] Keats, no doubt, also aspired to the life of action. But in him the two moods were disparate, even in conflict; in Brooke they were seemingly fused.
[17] Eighteenth-century observation, in the person of Goldsmith, had found no worthier epithet for the great Flemish river than 'lazy', and the modern tourist is likely to find this by far the more 'characteristic'. But which had the best chance of seeing truly, the life-long companion and lover, or the stranger, sad, lonely, and longing for home?
[18] Les Saintes du Paradis.
[19] Cf. for instance the situation of Signe, in the grip of the brutal préfet, with that of Beatrice, in The Changeling, in the hands of De Flores.