readers to think; and if (as many apprehend) the prevalent fashion for cheap reprints should end by deteriorating literature and lowering the popular taste, there will be some comfort in reflecting that it has occasionally rescued from unmerited neglect the name and writings of a man of thought, observation and sensibility, like Beyle. 372 PIERRE DUPONT. (FROM THE MORNING CHRONICLE, MAY 1851.) AN imprudent and (it is to be hoped) abortive attempt has recently been made in France to frighten the higher classes and the bourgeoisie into a belief that the Jacquerie of the fourteenth century will be renewed, unless every manifestation of popular feeling is instantly suppressed by force. "Our only hope is in bayonets and grape-shot"-l'artillerie contre l'imprimerie," exclaims M. Romieu, the author of the "Spectre Rouge," in which every topic or argument that can excite alarm, or provoke recrimination, has been unsparingly employed. employed. The ghost has been pretty effectually laid for some time to come by a temperate, well-reasoned, and high-toned article from the pen of M. Lamartine, in a recent number of "Le Pays." But if any of our readers have been led to suppose that the French peasantry have retrograded in civilisation, or are at all likely to repeat in 1852 the atrocities of 1358, we recommend them to procure, and study attentively, a little volume entitled "Muse Populaire-Pierre Dupont-Chants et Poësies." These "Chants et Poësies" are now selling by hundreds of thousands amongst the French workpeople, particularly in the rural districts. Dupont's popularity with the lower order of his countrymen undoubtedly exceeds that of Béranger in the full height and freshness of his fame. Why is this? Is the younger poet rougher, coarser, less refined? Does he address himself more directly to their passions and prejudices? Does he deal more in local and ephemeral feelings and associations? Is he more essentially or conventionally French? Does he flatter their national vanity more adroitly? The reverse of all this is the fact. Dupont (though inferior in wit) deals more in general nature than his distinguished predecessor in the same line. His politics are merged and forgotten in his poetry. There is not a shade of bitterness in his bursts of patriotic indignation; and we think no more of what are termed his socialist tendencies, when reading or listening to his songs, than we think of the "Whiteboyism" and "Captain Rockism" which pervade so many of the most popular of Moore's Irish melodies. Moreover, it should always be kept in mind that "Socialism" has gradually become a generic term for all shades of democratic opinion. It has no necessary connection with Communism, nor is it irreconcilable with the most unflinching attachment to social order and the principle of property. The whole of Dupont's Socialism consists in conceiving a popular Republic best suited to France, and in a conviction that a well-constituted Government might effectually intervene at all times for the relief of distressed branches of industry. He is a believer in the "remunerative-price" doctrine, and in the possibility of ensuring to every man "a fair day's pay for a fair day's work." In other words, he is merely Socialist in the sense in which our English Protectionists may be so described; the chief difference being that he would legislate with the view of elevating the condition of the poor, whilst they are prepared to reverse every sound principle of commerce and finance to swell the incomes of the landed aristocracy. So much for the rising poet's politics. Let us now turn to the far more important and interesting chapter of his life. Pierre Dupont was born at Lyons, on the 23rd of April, 1821. His father was a forgeron, for which "blacksmith" is the nearest, although incorrect, translation. His mother, an Italian by race, died when he was only four years and a half old; and his early training was undertaken by his uncle, a priest, with whom he remained until he had attained his ninth year. He was then removed to a college or school of some note in the neighbourhood, the same in which many eminent living members of the Gallic Church, and at least one politician of note (Jules Favre), received their elementary education. At fourteen he was taken from school, and placed as clerk in a banking-house at Lyons, where he continued seven years. This was the critical and (so to speak) forming period of his career. His passion for rural life—for woods, streams, meadows, and flowers - was rather stimulated than repressed by his compelled residence in a town; and two events occurred during his clerkship which each in its peculiar way contributed to call out his latent powers and susceptibilities. He fell in love, and he became an unremitting student of Balzac. The object of his passion was of a rank far superior to his own, and may probably be detected under the disguise of "Eusèbe," in the song so entitled: "A sa fenêtre il l'a surprise Se regardant à son miroir; Il erre, du parc à l'église, Dans les taillis pour l'entrevoir : Et lui n'est rien qu'un écolier." She so far smiled upon him as to receive some occasional verses — from which (it is whispered) she inferred his future fame- and to permit latterly the daily presentation of a bouquet, which he purchased with his scanty savings when he was not able to go into the woods to pluck wild flowers for her. In an autograph note of his life which now lies before us, the words pur et platonique indicate the nature of this his first love; to which we can hardly err in attributing the exquisitely refined character of all his amatory songs, which (unlike Béranger's, or even Moore's) do not contain a single allusion offensive to the nicest delicacy. The constant perusal of Balzac, also, must have aided largely in teaching him the (for: poet of sentiment) indispensable anatomy of the heart. He came to Paris in 1842, with vague and halfformed hopes of winning fame and fortune by his pen. An incident which bade fair to crush his expectations at starting, became strangely and unexpectedly the means of realising them. He was drawn a conscript, and compelled to join a regiment of Chasseurs at Huninguen, where he remained three months without doing any kind of duty, or even wearing the uniform-the officers, it appears, having had quicker eyes for genius, or a juster appreciation of its claims, than those of the regiment in which Coleridge enlisted as a common soldier, in his youth. Prior to Dupont's departure for Huninguen, he had finished his first work, entitled "Les Deux Anges," now out of print. This is a collection of poetical impressions rather than a regular poem, and bears about the same relation to the "Muse Populaire" which the "Hours of Idleness" bears to "Childe Harold" or "Don Juan." The true string yet remained to be touched; or Dupont partially resembled the object of his earliest admiration, Balzac, who published (under the name of Horace Raison) more than thirty volumes of novels without attracting public favour. But the promise of future excellence in "Les Deux Anges" did not escape one excellent judge of literary merit. M. Lebrun (the author of "Marie Stuart") was struck by the work, and prevailed upon his brother academicians to subscribe to it. The proceeds proved sufficient to pay a remplaçant, and Dupont returned to Paris a free man. |