manticism meant more than was implied in the definition of Madame de Sta?l, viz., the transference to French literature of 'the poetry originating in the songs of the trouba

sm; it was a corpse that needed galvanizing into life; and it was pr

y and freshness, as well as to their youthful audacity, that was not abashed either by ridicule or insult, belongs the honour of securing to the nineteenth century the triumph of liberty, invaluable for its preciousness in the world of art.' And in enumerating the leaders of the movement, he cites as the most prominent and influential, Chateaubriand, Victor Hugo, Madame de Sta?l, Lam

hem gradually their lost senses. But pleasantries such as these were not likely to affect a man in severe earnest. The literary revolutionaries of the Cénacle Club, whose leading spirit was Victor Hugo, laughed at the denunciations hurled against them, knowing that their opportunity had come. There was only one writer who, having put his hand t

loomy views of the stage, and asserting that his own career had been a failure-had never fulfilled its ends. No one knew what he might have been, he confided to Hugo, but now he expected to die without having really acted once. Nevertheless, from the genius of Hugo he did look for something original, and he had always longed to act Cromwell. In response, the author explained his intentions with regard to the proposed play, and also his views upon the drama generally. These views he afterwards enlarged upon in the preface to the play. He asserted that there were three epochs in poetry, each correspon

e his work at once. Unfortunately the actor died soon afterwards, and the dramatist now went leisurely on with his play. While engaged upon the preface he saw some Shakespearean dramas performed in English at the Odéon, and the representations affected him deeply, and tinged his dramatic views. At the close of 1827 Cromwell was published, and great indeed was the controversy to which it gave rise. The period dealt with was not what would be considered one of the most dramatic in the career of the Protector. It was tha

hose men who had written for the stage from Le Cid down to Cromwell. 'But what would these men be worth in the eyes of him who calls Shakespeare the god of the Theatre? It is necessary to possess some strength to venture to attack giants; and when one undertakes to dethrone writers whom whole generations have united in admiring, it would be advisable to fight them with weapons which, if not equal to theirs, are at least so constructed as to have some chance.' M. de Rémusat in Le Globe endeavour

nd his second wife had been quite reconciled to Victor and his brothers, and the Government had once more recognised the title of the old soldier as General of Division. He was happy in the affection of his sons, his daughter-in-law, and Victor Hugo's two children-Léopoldine and Charle

ds handed over his play to his brother-in-law, Paul Foucher, who produced the piece in his own name at the Odéon. It was loudly hissed. There were passages in it that unmistakably bore the impress of Victor Hugo, and the latter chivalrously wrote to the newspapers to say that those parts which had been

enri Beyle, M. Louis Boulanger, and M. Eugène Delacroix were also to be seen there; and once the venerable Benjamin Constant was a guest. When Béranger was condemned to three months' imprisonment for one of his songs, Victor

ical poems were full of energy and inspiration, and it was clear that the very antithesis of the classical style had now been

been quite overwhelmed by the magnificence of his.' But there was one point upon which Dumas, supported by Sainte-Beuve and Mérimée, pleaded, and pleaded successfully. Not feeling satisfied that Didier should meet his death without forgiving Marion, Hugo yielded to the pressure put upon him, and altered the drama accordingly. The news of a new play by Victor Hugo brought forward the managers at once, but it had already been promised to M. Taylor for the Théatre Fran?ais. However, there was the ordeal of the censors yet to pass through, and fears were entertained as to the fourth act, in which Louis XIII. was described as a hunter, and represented as governed by a priest-points in which everybody would see a resemblance to Charles X. Permission to perform the play was refused. Victor Hugo appealed to the King, who removed from office the Minister of th

often coarse, to which the author has failed to give anything of an elevated character. Yet while we animadvert upon its flagrant faults, we are of opinion that not only is there no harm in sanctioning the representation of the piece, but that it would be inadvisable to curtail it by a single word. It will be for the benefit

ld be no systematic applause. The play excited the liveliest curiosity. Benjamin Constant was amongst those who earnestly begged for seats, and M. Thiers wrote personally to the author for a box. The literary friends of Victor Hugo attended in great numbers, including Gautier, Borel, and Balzac. The theatre was crowded, and the feeling of all parties intense. As the play progressed from act to act, nevertheless, it gained in its hold upon the audience. When the fourth act closed, M. Maine, a publisher, sought out Victor Hugo, and offered him 6,000 francs for the play, but the matter, he said, must be decided at once. The author protested, remarki

ani, but Hugo was more than consoled for this and other attacks by the following letter from Chateaubriand: 'I was present, sir, at the first representation of Hernani. You know how much I admire you. My vanity attaches itself to your lyre, and you know the reason. I am going-you are coming. I commend myself to the

layed with great pecuniary success until the enforced absence of Mademoiselle Mars, when it was withdrawn from the stage, and not acted again for some years. But the play had practically established the