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ALFRED DE MUSSET

(1810-1857)

BY ALCÉE FORTIER

HE three greatest French poets of the nineteenth century are
Lamartine, Hugo, and Musset. The first one touches us

deeply by his harmonious and simple verses; the second impresses us with the force of his genius; and the third is sometimes light and gay, and sometimes intensely passionate and sad. Musset wrote several poems which cannot be surpassed by any in the French language. He was highly nervous and sensitive, and lacked Lamartine's spirit of patriotism and Hugo's well-balanced mind. He was unfortunate, and led a reckless life, committing excesses which nearly destroyed his genius, and rendered it sterile for the last ten years of his existence. It is, however, to his nervous temperament to the fact that he felt so deeply the misfortunes of love that we owe his finest works. In the beginning of his career -in 1828, when he was eighteen years old — we see him admitted at Hugo's house, and considered by the poets of the famous Cénacle, by the disciples of the Master, as their favorite child, as a Romantic poet of great promise. He published at that time in a newspaper at Dijon a poem, 'The Dream,' which was warmly received by his brother poets and protectors. In 1830 appeared his first volume, 'Tales of Spain and Italy,' which are rather immoral in tone, and somewhat ironical. The author followed still the precepts of the Romantic school; but one may see already that he is not a true disciple of Hugo, not an idolater like Gautier. His famous 'Ballad to the Moon' was intended as a huge joke, and is indeed wonderful in its eccentricity. Musset speaks with great irreverence of the celestial body which shone on Lamartine's immortal Lake.'

The 'Ballad to the Moon' created a great sensation; and to this day, Musset is better known to many people by his earliest poems than by his magnificent Nights.' It is true that his 'Tales of Spain and Italy' are entrancing, in spite of their immorality, and contain some beautiful verses. The last lines of Don Poez' are full of passion; but most of these poems are ironical. Portia is white-armed like Andromache, but she is not faithful to her husband like Hector's wife. The Chestnuts out of the Fire' is, without doubt, a parody

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