Fleurisse, et que plus bas des vierges lentement
S'avancent deux e deux, d'un pas sur et charmant,
Les bras pendants le long de leurs tuniques droites
Et les cheyeux tresses sur leurs tetes etroites."


In the same volume of the definite series of poems come "Les
Odelettes," charming lyrics, one of which, addressed to Theophile
Gautier, was answered in the well-known verses called "L'Art." If
there had been any rivalry between the writers, M. De Banville would
hardly have cared to print Gautier's "Odelette" beside his own. The
tone of it is infinitely more manly: one seems to hear a deep,
decisive voice replying to tones far less sweet and serious. M. De
Banville revenged himself nobly in later verses addressed to
Gautier, verses which criticise the genius of that workman better,
we think, than anything else that has been written of him in prose
or rhyme.

The less serious poems of De Banville are, perhaps, the better known
in this country. His feats of graceful metrical gymnastics have
been admired by every one who cares for skill pure and simple. "Les
Odes Funambulesques" and "Les Occidentales" are like ornamental
skating. The author moves in many circles and cuts a hundred
fantastic figures with a perfect ease and smoothness. At the same
time, naturally, he does not advance nor carry his readers with him
in any direction. "Les Odes Funambulesques" were at first unsigned.
They appeared in journals and magazines, and, as M. de Banville
applied the utmost lyrical skill to light topics of the moment, they
were the most popular of "Articles de Paris." One must admit that
they bore the English reader, and by this time long scholia are