The poet Beranger, too, who seems to Hiller the songfullest of song-writers, charmed him by the gravity, and sweetness, and nobility of his character. Beranger received him quietly at Passy, near Paris, where he resides, a hale old man of more than seventy years. His hair is white, but his face has the freshness of blooming health. In his features there is a remarkable blending of geniality and intelligent sharpness. They are largely moulded, and their general expression is as generous, fine, and graceful as his verses. The perfect simplicity of his household is very striking. The only hints of any luxury are some medallion portraits, among which Hiller observed Napoleon and Lamartine. Yet this severity is so evidently the result of taste and not of poverty, that it has no unpleasant effect. The beauty and richness of his conversation filled his visitor with the greatest regret that he could not record it all. His first great remembrance is the destruction of the Bastille. His essay in literature was by the songs which circulated universally in manuscript before they were printed. But his literary ambition was toward works of great scope and extent, and it was not until after thirty years of age that he felt distinctly what he could do best. Of his songs he said, "I present to myself a song, as a great composition—I sketch a complete plan, beginning, middle, and end, and make the refrain the quintessence of the whole."
While Beranger was finding a letter, he opened a drawer, in which Hiller saw scraps of song and sketches of poems, which he longed to seize, as a wistful boy would grab at the money piles in a banker's window. The following is the letter in which Beranger speaks of the Marseillaise:
"I thank you, Madame, for the pleasant letter which you addressed to me. It has revealed to me a noble heart, and although I do not believe such hearts as rare as many say, it is always a fair fortune to meet them.
"What you say of the Marseillaise is entirely just. But remember, Madame, that it is the people itself, which always selects its songs, words, and melodies, uninfluenced by any one in the world. Once made, this choice endures, with authority even among the later generations, whose experience would not have made it.
"I have often enough thought about a new song of the kind, but I am too old now, and the circumstances of the time have robbed my voice of power. You, Madame, saw the true thought of the song which should be now sung, and I lament that you find the poetical harness not flexible enough for it.
"As to your remarks upon my new songs, I must say that I trouble myself as little about the destiny of my younger daughters as about that of their elder sisters. And I am surprised that you speak to me of a Lierman, who should have known me. Excuse, Madame, my delay in acknowledging and thanking you for your letter, and believe me your devoted,
Beranger."
A recent Italian translation of the Diplomats and Diplomacy of Italy, which first appeared in Professor Von Raumer's Pocket Book for 1841, contains three hitherto unprinted MSS. from the Venetian archives. They are curious and interesting, as indicating the strict surveillance which the republic maintained, by means of its ambassadors, over the whole world of the period.