of hope for its future. Its allegory, its learned literary allusions,
its delving into obscure historic events, preclude any hope of popular
success.

Like _Mirèio_, the poem is divided into twelve cantos, and the form of
stanza employed is the same. The heroic tone of the poem might be
thought to have required verse of greater stateliness; the recurrence of
the three feminine rhymes in the shorter verses often seems too pretty.
Like _Mirèio_, the poem has the outward marks of an epic. Unlike
_Mirèio_, it reminds us frequently of the _Chansons de geste_, and we
see that the author has been living in the world of the Old Provençal
poets. This is apparent not merely in the constant allusions, in the
reproductions of episodes, but in the manner in which the narrative
moves along. Lamartine would not have been reminded of the ancient Greek
poets had _Calendau_ preceded _Mirèio_. The conception of courtly love,
the guiding, elevating inspiration of Beatrice, leading Dante on to
greater, higher, more spiritual things, are the sources of the chief
ideas contained in _Calendau_. Vincèn and Mirèio remain throughout the
simple youth and maiden they were, but Calendau, "the simple fisherman
of Cassis," develops into a great hero, performing Herculean tasks, like
a knight of the days of chivalry, and rises higher and higher until he
wins "the empire of pure love"--his lady's hand.

Very beautiful is the invocation addressed to the "soul of his country
that radiates, manifest in its language and in its history--that through
the greatness of its memories saves hope for him." It is the spirit
that inspired the sweet Troubadours, and set the voice of Mirabeau
thundering like the mistral. The poet proclaims his belief in his race.
"For the waves of the ages and their storms and horrors mingle the
nations and wipe out frontiers in vain. Mother Earth, Nature, ever feeds