and I have almost always found these sentiments in such unison with my own thoughts that they have formed the rule of my conduct in the part which I have been called upon to perform in the public movement of my time. The people that is my muse. It is this muse which has made me resist the pretended sages, whose counsels, based on chimerical hopes, many times pursued me. The two publications which have brought down upon me the prosecutions of the law, at the same time stripped me of many of my political friends. Í ran all risks of this. The approbation of the masses remained faithful to me, and the friends returned." In 1821, Beranger's friends induced him to publish his second collection of songs: 10,000 copies were subscribed for, and the impression was immediately bought up. This collection contained numerous biting political satires, and the writer was immediately pounced upon by the Government, who had long waited for such an opportunity. His political songs had, until then, been floating about amongst the peoplepassed from hand to hand-sung in the streets-and everywhere exercising a great influence among the mass. Still the Government could not lay hold of him until he had owned his paternity to the songs, which he now openly did by publishing them in a collected form. He was accordingly pounced upon, prosecuted, and laid up in prison for three months. the satire to the Bourbon dynasty will be obvious. Beranger thus begins: The The "Frenchmen! In Rheims assemble all, The monarch's brow with pleasure beams, people cry: Poor birds! dream not our foolish dreams Preserve preserve your liberty! Bedizened with their fripperies, made But millions are not shower'd in vain, Preserve preserve your liberty! Now gold-laced prelates bent before, They clothe him-kiss him-oil him—and And his confessor bids him-'Swear! The people cry-Poor birds! thus government we The Preserve preserve your liberty! So-aping Charlemagne-when placed This king miraculous, poor birds! A series of political satires and lampoons, still more stinging than the past, was the fruit of his confinement in Saint Pelagie. These were published so as to defy the censorship-they were passed from hand to hand, and sung as the former had been. Charles X. and his court became absolutely frantic under the infliction of these satires; and the priest party publicly denounced him from their altars as everything that was hideous. But he eluded their attempts to seize and prosecute him further, until the year 1828, when his third collection of songs was published. One of the pieces in this collection that gave the most grievous offence to the Court, was that on "The Coronation of Charles the Simple." Charles, Turlupin; or Master Merryman," also one of the successors of Charlemagne, had gave no small offence to the powers that been driven from his kingdom by the Count of Paris, and after wandering through England and Germany, was replaced on his throne mainly by the efforts of the French lords and the bishops. The applicability of The people cry-Poor birds! we envy you your wings Preserve preserve your liberty!" were: "Come let us go 'the King' to see- If I for somebody must cry, Then, Here's for him that makes my bread! And men will answer, "I-I-I— Say what just master merryman has said!" who am one of these believers, have never gone so far as that, but have been contented to make folks laugh at the mere flunkey livery of catholicism. Is this impiety?" But Les Infiniment Petits, ou La GérontoThe greatest of Beranger's songs-those cratie "The Infinitely little; or, The in which he rises into the regions of true Greybeard Dynasty," was the most atro-poetry-are those of a more serious cast, cious of all Beranger's songs in the eyes of such as "The God of the Good," (Le his political judges. The burden of the Dieu des Bonnes Gens). "The Holy Alsong is-Mais les Barbons Regnent Tou-liance of the People," (La Sainte Alliance jours," But still the Greybeards Reign!" des Peuples). "The Bohemians," "The The French word for Greybeards, Barbons, Contrabandists," "The Imaginary Voyso obviously meaning as well as sounding age," "The Old Beggar," "The RecolBourbons, that the wit, irony, and force of lections (souvenirs) of the People," "Poor the song, is as it were, concentrated in the Jacques," and others of the same class. refrain. He thus paints the dwarfish lit- Beranger hesitated much before entering tleness to which France is reduced :: "What little things, scarce visible! 'Tis petty all-in palace, shop, upon the serious vein-he was not so sure of his ground as in his gayer and more impulsive songs; and it was long before he could prevail upon himself to publish these serious compositions. Indeed he himself has said of his songs, "Each of my publications has been the result of a painful effort; and these last (the more serious) have caused me more pain than all the others put together." Sainte-Beauve gives an interesting account of his first singing of Le Dieu des Bonnes Gens before a party of his friends. Like Tom Moore, he sang his own compositions in an exquisite manner. At a numerous and intelligent party at the house of M. Etienne, Berauger, during the dessert, was called upon for a song Another song entitled La mort du diable according to custom. Unlike himself, he gave mortal offence to the Jesuits; and commenced this time in a trembling voice, poor Beranger was condemned to pay for "Il est un Dieu, etc," but the applause bethis and the rest of his sins, a further sum of came great as he proceeded; and the poet 10,000 francs, and to suffer nine months' felt, at the instant, as he trembled with imprisonment in La Force. The fine was emotion, that he could contentedly remain chiefly raised by the political association a simple song writer, and aspire to no called, the Aide-toi le ciel t'aidera; and the higher honor. "This song," says Saintedeficit was supplied by the generous trea- Beauve, was his great master-stroke-a surer to the subscription, M. Bérard. hymn of humanity, pacific, unalterable; it La mort du diable (the death of the de- shows us how at the same time, amidst the vil) was denounced by the priest party as smoke of the battle for freedom, the horiirreligious, blasphemous, and its author as zon of Beranger was the same, as vast and an enemy to religion. Beranger observes of as clear as it is now. And around and this," Some of my songs have been treat- above his grand pervading idea of humanity, ed as impious, poor things! by the King's how many others of meaning more circumattorney-generals and their substitutes, who scribed, but not less penetrating-the are all very religious people in their way. plaint of country; the heavy sadness, the I can only here repeat what has been said a stubborn hope of the old army; the lighter hundred times. When, as in our day, re- hope, the impatience and giddy flights of ligion is made a political instrument of, youth; sadness in pleasure; all illustrated its sacred character is apt to be disallowed. with a wit by turns piquant, brilliant, and For it the most tolerant become intolerant. tender, such as we have not known since Believers, whose faith is not in what the the days of Voltaire; sweetness and grace church' teaches, are sometimes driven, out clothed in art of such antique purity, that of revenge, to attack it in its sanctuary. I, we are reminded with delight, of SimonVol. XIV. No. II. 18 ides, Esclepiades, and the tender love songs of the old anthology.' Yet weeks and weeks, in dungeons laid The aged wretch was nourished by their hand. Due labor for the common weal! The worm and ant had learned to grow,- In the "Contrabandists," and "The Old Beggar," Beranger has done more than write beautiful verses, he has broached great social questions, and sounded their depths, though with the plummet of song. We remember the former song being quoted with high approbation in the League newspaper, during the period of our recent great national agitation; like the French poet, the English economist recognised in the smuggler and contraband dealer between countries, the advanced sentinel, the great practical teacher, amidst paths the most arduous, of free and unfettered intercourse between nation and nation. In "The Old Beggar," he has dared boldly to look in the face the great social question in all its enor- With the revolution of July, 1830, the mity-a question which mere political revo- mission of Beranger, as a song writer, was lutions have not yet dealt with-and an accomplished. The triumph of his politievil which mere political economy has cal friends paved the way for his own adhitherto been powerless to remedy. This vancement; and pension and place were poem of Beranger's is a much less pictures- now offered to him. Ail such offers were, que and poetical composition than that of however, refused: he preferred remaining Wordsworth on a similar subject; but how poor but independent. "Unfortunately," much more true to nature ! It has all the says he, "I have no love for sinecures, and stern truthfulness of Crabbe, and exhibits all forced labor has become insupportable at the same time, a profound insight into a to me, unless perhaps it were that of my old great social evil, which is peculiarly Be- occupation of copying clerk. I could not ranger's ownbear to have it said, that I was the pensioner of so and so, of Peter or of Paul, of James or of Philip. Besides, I would give no man nor party, to whom I might thus place myself under obligations, the right to say to me- -do this, or do that-go forwards, but you must only go thus far." In short, Beranger was content with his position and his fame as the unpensioned, untitled poet of the people; and he would not stoop to hire himself out, as some of our English poets have done, to write royal odes to order, at so many pounds sterling per annum. The people had remained faithful to him, and it was his pride to remain faithful to the people. '. THE OLD BEGGAR. Here, in this ditch my bones I'll lay; Weak, wearied, old, the world I leave. 'He's drunk,' the passing crowd will say: 'Tis well, for none will need to grieve. Some turn their scornful heads away, Some fling an alms in hurrying by ;Haste 'tis the village holiday! The aged beggar needs no help to die. Yes! here, alone, of sheer old age Alas! my cradle was the street! As he was born the aged wretch must die. Beranger's last collection of songs was published in 1833; and he then avowed his intention of writing, or at least publishing no more. In the midst of his triumphs, he gracefully withdrew from the field. tire from the lists," he said, "while I have still the strength to leave it. Often to "I re We are indebted for this translation to Tait's Magazine for May, 1833, in which some admirable translations form Beranger are given. The previous translations in this article are from an article by Colonel Thompson in the Westminster Review of January, 1829. wards the evening of life we allow our- his peace and went onwards. This lighted selves to be surprised by sleep in the arm- spark, this pure spirit, scarce come to light, chair, in which we are fixed. Better go this cell in a hermetical bubble of crystal wait its visit in bed, where it is so much which Queen Mab had blown, is all his needed. I haste to betake me to mine, song, it is the reflex of it in one word, the even though it be a rather hard one." brilliant monad, if we may use the language years. At the same time, he avows his intention of philosophy to explain an operation of of devoting the remaining years of his life the mind which certainly yields to none to the composition of a kind of historical other in profundity. The poet then set to dictionary, in which he intends to record work at such times as he found the most his recollections of all the men he has suitable, to the exterior dressing, to the known, who have moved prominently in the rhyme, to the measure; it mattered little; eventful life of France during the last forty he turned it over in his mind, for two "Who knows," he says, "but that months or for two years, that it might be as through this work of my old age, my name living as on the first day; for yet again, as may yet survive me? It would be pleasant he has said, he held his peace. for posterity to speak of The judicious, The character of Beranger as a man is no the grave Beranger!' And why not?" less high than his genius as a poet. His Our space is too limited too allow us to sense of probity and honor is of the highest. enter upon a critical examination of the In all his writings the spirit of generosity peculiar qualities of Beranger as a song- is apparent. He has attacked systems and writer. His extraordinary success is proof individuals only as they represented the missufficient of his mastery of the art. In chiefs of those systems. With all his keen strength, dramatic power, concentration, power of sarcasm, he has avoided persontact, great knowledge of the human alities. When asked to compose a satire heart, command and choice of felicitous against a distinguished political character language, he is quite unrivalled. These then in disgrace, the reply of the noble qualities have made his songs familiar hearted bard was,-"In good time, my throughout all the homes, workshops, bar- friend; wait till he is minister." He would racks, and guinguettes of France. He is not strike the man because he was down. alike popular in the hall and the cottage-Nor, on the other hand, his he ever bon thoroughly popular. His songs are the a flatterer of the rich, or of men in pownational voice: they are the echo of the er. His sturdy sense of independence prethoughts, feelings, and experiences of his served him from this. I have flattered only the unfortunate," was his own remark. fellow citizens. Let no one suppose that Beranger acquir- His sympathies were altogether, with the ed his extraordinary power without labor. poor and the down-trodden. But the best The best of his songs cost him long and character of the man is to be found in his intense study-much "painful effort "as he songs, of which he has said," My songs has himself expressed it. He was not a they are myself (mes chansons, c'est moi)." ready writer, but a very slow and careful His conversation is said to be of the most writer at all times. Hence the complete- interesting kind-quick, lively, penetratness and the exquisite finish of his verses, of ing, discursive. He is well informed on all which no translation can give any adequate subjects, a keen observer, a copious reader, idea. Even his apparent carelessness and an independent thinker. Living in a period levity, generally so thoroughly in keeping full of incident-a great historic drama with his subjects, were carefully studied. performing before his eyes-mingling in soHis friend Saint-Beauve has said that ciety with the leaders of thought and action Beranger rarely produced a poem at a heat.-a contemporary of the Empire, of the "He had the abstract subject in his head, Restoration, and of two Revolutions, his the chaotic and enveloped material; he mind is full of experiences of men and turned it over, he studied it, he waited; events of the most interesting character; the wings of gold were not yet given to it. which he does well now to record in the It was after an incubation more or less evening of his days, for the instruction and long, that, often in a moment, he scarcely edification of his successors. know how, mostly in the night, in some short Beranger is now an old man, close upon dream, a word unnoticed till then, took three score years and ten. He lives in a fir, and determined the life of the song. very humble style at Passy, a village on Then, to adopt his own expression, he held the Seine, about four miles from Paris. His house is small and his friends are select. | love of liberty and of country which has He enjoys his "chimney corner," in peace, distinguished him throughout his entire cheered by friendly intercourse with a few career. gifted minds, and still cherishing that ardent From Hogg's Weekly Instructor. ANIMOSITIES OF LITERARY MEN. THE literary wars of former days were the human figure, a bloodless being, comfrequently carried on with a personal ani- posed of nothing but skin and bone; a mosity which would now be considered contemptible pedagogue, fit only to flog his disgraceful. The accidental or ignorant boys," &c., &c. To all this nonsense Milmistakes, and even the personal defects of ton thought it necessary to furnish a formal an opponent were held up to ridicule, while refutation; and accordingly, with as much his name was distorted or dismembered, anxiety that he should stand well with that it might become the vehicle of some posterity on account of the comeliness of ghastly attempt at a pun. In the contro- his person as he has displayed in doing versy between the learned Augustus Pfeiffer justice to his great literary powers, he seriand Peter Poiretus, a mystical religionist, ously proceeds to remark that he does not the latter had stated that, the sun of ortho- think any one ever considered him as undoxy being in danger of an eclipse, the beautiful; that his size rather approaches university of Heidelberg, in imitation of the mediocrity than the diminutive; that his Chinese on such an occasion, had sent forth face, far from being pale, emaciated, and a drumming and trumpeting array of divines wrinkled, was sufficiently creditable to him; with the great Pfeiffer (piper) at their head, for though he had passed his fortieth year, to frighten away the monster that was de- he was in all other respects ten years vo ring their sun. Pfeiffer, in reply, after younger;" and very pathetically he adds, correcting the spelling and grammar of his" that even my eyes, blind as they are, are antagonist, alludes indignantly to the play unblemished in their appearance; in this upon his name, and fiercely declares that, instance alone, and much against my inclibefore he has done with him, he will be nation, I am a deceiver !" able to say, "I have piped unto thee, and thou hast not danced." Notwithstanding his wrath at Poiretus's trifling with his name, however, he cannot eonclude the paragraph in which he reproves it without a pitiful attempt to point out the analogy between Poiretus and poirette, a little pear, of which the merit is nearly equal to the execution. It is amusing to observe that, in the classified index of authors at the end of his works, while one is pointed out as Historicus, and another as Exegeticus, to poor Poiretus's name the terrible letter is affixed that brands him as Fanaticus. Another example of extreme virulence was displayed in the celebrated dispute between Milton and Morus named the "Salmasius controversy," from the nom de guerre assumed by Morus. The continental writer attacked Milton and his principles in a work called "Defensio Regia" (Defence of Kings), in which he reproaches our great poet as "being but a puny piece of man; an homunculus, a dwarf deprived of Morus next compares Milton to a hangman, his disordered vision to the blindness of his soul, and vomits forth his venom. When Milton first proposed to answer Salmasius, he had lost the use of one of his eyes, and his physicians declared that if he applied himself to the controversy, the other would likewise close for ever! Unhappily, the prediction of his physicians took place. Thus a learned man in the occupations of study falls blind, a circumstance even now not read without sympathy. Salmasius considers it as one from which he may draw caustic ridicule and satiric severity. masius glories that Milton lost his health and his eyes in answering his apology for King Charles. Sal |