NE TOUCHEZ AUX PETITS OISEAUX

' Rien n'est sans but dans la nature, L'existence la plus obscure A son milieu d'utilité;'

"Il serait désirable que chaque fermier du midi fît apprendre par cœur ce joli poème à ses jeunes garçons, aussitôt que ceux-ci sont aptes à en comprendre la moralité. Nous aurions alors nombre de vagabonds de moins; moins de dénicheurs de nids, moins de criminels en herbe qui se font un jeu de tuer les petits oiseaux avant d'assassiner les hommes ; et nos bosquets auraient plus de chanteurs qu'ils n'en possèdent aujourd'hui — nous aurions aussi moins de chenilles ce fléau des vergers.

" Nous recommandons vivement la lecture, ou plutôt l'acquisition de ce frais bouquet d' * Epis et Bluets ' qui contient des légendes d'un intérêt puissant. Ajoutons que les ^ Epis et Bluets' sont dédiés en masse à Madame

Clara de Châtelain, la femme de Tauteur. Voilà du courage civique dans ce siècle où règne la Cocotte, oh elle se faufile partout, et ruine les famiUes ! Après cela le Chevalier de Châtelain vit en Angleterre, oh règne encor le respect de soi-même, et d'im ménage uni ! . . .

" L'ouvrage se trouve aux prix de sf à Londres chez le libraire Rolandi, qui demeure Bemers Street, No. 20. Avis à nos lecteurs."— ^^i/r«a/ de Montpellier^ '^ Janvier^ 1866.

1866. Les Trois Cadavres. Prix is. B. M. Pickering, No. 196, Piccadilly, W.

" The success which has attended the poetic works of the Chevalier de Châtelain has rendered them no less celebrated in England than they are amongst his own countiymen, and this little poem will be found well worthy of a place amongst his most acceptable productions." — The Observer^ ^ist Dec, 1865.

"... The subject is singular, but is ably handled, and will serve to maintain that gentleman's réputation as a true poet, as his translations of the best Ënglish authors hâve long since convinced the public he is the most accomplished writer in that department of literature of his time." — BelPs Weekly Messenger^ Jan, 13, 1866.

". . . . We beg to call attention to this very beautifuUy printed little efïusion. The effusion itself is called *A Mystery,' and not without reason. It is quite elegantly written, and the ease and grâce of the composition, taken in connection with the quaintness and novelty of the ideas, are sure to make it a favourite with readers of French. The notion of an apparition of the dead to the living is common enough, but we do not remember to bave anywhere read that aie living can prolong, as well as shorten, the purgatorial probation which it is fancied the soûls of the dead endure." — The Queenyjan, 13, 1866.

" The Chevalier de Châtelain is still afield, and his last poem, though short, is one of the most impressive he has yet published. It is what its name expresses * A Mystery,* and would once, as the Chevalier states in his

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poetical dedication to W. C. Kent, the author of * Dreamland,' etc, hâve been received as tnith. The story is suggestive, and the versification has ail the Chevalier's well-known variety and power." — Sunday TimeSy Feb, 4,

1867. A Travers Champs.

" The legends are the most important portion of the volume, some of them being exceedingly impressive and weird. * La Partie d'échecs du Diable ' is a thoroughly remarkable poem." — The Sunday Tintes^ March 17, 1867.

" There is one thing to be gratefiil for — throughout this volume there is not a word which could hurt the susceptibilities of the most prudish of readers." — The Day^ April 16, 1867.

" In the first part, among the * Poésies Diverses,* there is a short pièce, entitled * Le Réveil des Bois,' which, did our space permit, we would gladly extract. It évinces a taste for simple, rural beauties, too rarely met with in modem French literature. It must be admitted that the Chevalier is a pleasant companion à travers champs^ and deserves to be favourably noticed, if only for the comparative purity of his muse." — The Leader ^ OcU 19, 1867.

" Nachdem der Chevalier de Châtelain durch seine vortrefiUichen fi:anzôsichen Uebersetzungen englischer(zuletzt auch deutscher) Dichter der Poésie schon seit Jahren die treuesten Ritierdienste geleistet, schickt er dièses mal eine hûbsche Sammlùng eigener Originaldichtungen in die Welt. Es ist dies bereits der 43. Band seiner gesammten Werke, doch verleugnet sich auch in diesen dichterischen Gebilden noch immer nicht das heitere, riihrige Panser Kind, das seiner Zeit seinem Vaterlande entfliehen und in dem edeln Albion Gastfreundschaft suchen musste, um der Môglichkeit zu entgehen durch seinen Freimuth in die unbehagliche Lage zu gerathen, eine gezwungene Reise nach irgend einem Cayenne zu machen. Besser ist es sicherlich fiir ihn selbst und fur seine Léser, dass Châtelain

allerlei Streifereîen im Lande de Phantasie à travers champs untemimmt, wobei er gelegentlich kleine Abstecher in den KyfFhaûsser Berg, in dem Mond, ins Hauptquartier der sieben Todsiinden u. dgl. m. nicht verschmâht In den ersten Abtheilung des Werkes, welche theils sinnîg gemiithliche, theils scherzhafte Gelegenheitsgedichte umfasst, finden wir allerdings das angedeutete wildromantische Elément nur wenig vertreteii, desto mehr aber in der Legendensammlung, die sich in der zweiten Abtheilung voilfindet. Den Stoff zu diesen Legenden hat sich der Ritter aus verschiedener Herren Landem zusammengeholt, wobei denn auch was die deutsche Sage bietet, nicht zu kurz gekommen. Nicht ûberall lâsst sich hier die deutsche Anschauung in ihrer ganzen Tiefe und Bedeutung erkennen, doch sind aile grossen und charakteristischen Ziige mit iiberraschender Intuition erfasst und naturgetreu mit kraftigen Strichen wiedergegeben. Ueberhaupt machen fast aile Dichtungen, die Chatelain's gelàufiger Feder entfliessen, den Eindruck der Improvisation imd wirken demgemàss eigenthiimlich erfrischend und anregend. Freilich muss man an derartige Leistimgen nicht unbedingt mit dem Massstabe voUendeter Klassicitât herantreten. Zu dieser gehôrt unter Umstànden eine griibelnde Pédanterie, welche der energischen Art des Ritters widerspricht, obwohl sein feines Taktgetiihl, namentlich auch fiir melo dischen Versbau, ihn andererseits auch oft im Fluge ûber uniibersteiglich scheinende Schwierigkeiten hinaustrâgt und es ihm gelingen lâsst, den Franzosen auch solche Vorstellungen, die ihrer eigenen Anschauungsweise fem liegen, à la française mundgerecht zu machen. Eigenthiimlich intéressant ist die Austattung des Bûches. Ein aus dem vorigen Jahrhundert stammender grosser Druck mit alterthiimlichen, aber fein und manierlich ausgefÛhrten Verzierungen macht einen hôchst wohlthuenden Eindruck auf das Auge. Im Interesse der Sehorgane des lesenden Publikums môchten wir wiinschen, dass auch bei uns populaire Werke eines ebenso deutlichen Dnickcs

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fur wûrdig erachtet wurden !" — Vossische Zeitung^ Berlin^ Nov, 8, 1867.

1867. — Le Monument d'un Français 1 Shakespeare. Prix is. Rolandi» N** 20, Bemers Street, W.

"To retum one moment to the Chevalier's poems. The best is that on the work of Victor Hugo on Shakespe^e. It is very bold and striking. 'A Rêve Epigramme* has also great poetical merit. This production will increase the number of the Chevalier de Chatelain's admirers."— r^f Sunday Titfus, AprU 28, 1867.

" This is a very amusing and instructive production. We hâve derived much pleasure from its perusal ; and whoever wishes minute information on the spécifie subject of its pages, will hâve his curiosity amply gratified." — The Chester Examiner ^ May 4, 1867.

" The Chevalier de Châtelain collects a number of his poems in honour of our greatest dramatist; and gives, in a singularly outspoken and fearless manner, his opinions conceming the way in which Shakespeare*s memory is treated by his countrymen. With a boundless admiration for the Swan of Avon, the Chevalier is uncommonly sensitive in ail things affecting the honour and glory of the poet for ail time. When he insists, with a mixture of satire, eamestness, and indignation, that Shakespeare ought to hâve the finest monument the country can produce, he but echoes the thought and wish of millions of Englishmen. The Chevalier makes the freest use of that liberty of speech and expression which ail dwellers in England enjoy : and, having a grievance, States it in the boldest of language. He breaks lance after lance in the cause of Shakespeare, and attacks ail things that hâve stood in the way of common justice being done to Shakespeare, with true French impetuosity. The Chevalier tells awkward truths, and despises half measures. Many who read his book will see the absolute justice of his arguments and observations even in the most violent passages. He accuses the English of

' Flunkeyism,' and makes this unpleasant chaîne in such a manner that it cannot be denîed. He complaîns that in England the aristocracy of genius is a thing unrecognised, and déplores the stem fact that statues to the princes and great ones of the land rise with mushroomlike rapidity, while the mighty genius of William Shakespeare is honoiured on the stage and in the homes of his countrymen alone. We do not translate any of the Chevalier de Chatelain's refreshingly honest and independent remarks, but leave our readers to the enjoyment always to be derived from a plain, straightforward expression of opinion, fonned upon just and reasonable grounds. Many persons will, probably, find their own convictions echoed in the Chevalier's incontrovertible words. He is particularly irate to find so many statues and memorials to the late Prince Consort, while no gigantic monumental tribute is lifting its head in honour of the poet for ail âges. Sir Walter Scott and Bums hâve their monuments, argues the Chevalier, when speaking of intellect and genius, but Shakespeare's wrongs cry for redress. So far as we can judge, they are not likely to meet with the proper considération at présent, but for the subject to be ventilated does good. The courageous Chevalier has rauch to say of the Central Hall of Arts and Sciences ; and his remarks are made in véhément language that will astonish most readers, and need not offend any one." — The Era, May 5, 1867.

"This monument is another tribute to the genius of Shakespeare from a French source. Not only has the Chevalier a good knowledge of the works of Shakespeare, but he knows what has been said of them in thèse later days, and he writes with enthusiasm on the lofty genius of the poet who * belongs to the world itself.' " — The Birmingham Daily Post and Journal, April 24, 1869.

1868. Notre Monument.

Voir rOpinion de la Presse, depuis la page 257, jusqu'à la page 277.

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1868. La Folle du Logis. Prix 4s. Londres, Rolandi, 20, Bemers Street, W.

"... There îs a kindly undercurrent of feeling nmning through ail our author's poetical productions which leads us to look upon them with spécial favour, and we can with ail sincerity promise our readers that the luxurious aspect of this well-printed volume is a just indication of the readable nature of its contents." — The Derby shire AdvertiseTy July 10, 1868.

" The Chevalier is prone to satire, and sometimes his satire is keen ; but his topics are so miscellaneous that ail may find something to amuse and something to instruct. Taken as a whole, he is not the most cheerful of poets, perhaps, but stiU he introduces the most agreeable of drolleries. We are not offended when he ridicules the attire of the ladies at church, for example ; we only smile and call him very jocular," — The Queen, July 11,

" The most important and decidedly the most original of the contents is a striking poem, entitled 'Arlequin chez les Peaux Rouges.' This is full of character, and is in a higher vein than the Chevalier often attempts. * Les Brouilleries d'Amants ' are dramatic. The remainder of the book is made up of shorter poems, dedicated very often to the Chevalier's personal friends. Thèse always give proof of generous instincts in the writer, and a thorough hatred of every form of meanness and wrong. They hâve considérable élévation, and display the possession of great command of mètre. Our favourites among thèse are * Simple Histoire,* which is very graphie and telling ; * Une Coureuse,* dedicated to Mr. Longfellow ; and * L'Innocent Maudit' — The volume is altogether worthy of the Chevalier's réputation." — Sunday Times, July 12, 1868.

"... Some of the earlier poems are on our changes of social life, in which * Tout lasse, tout passe, tout casse,' ' Ail wearies, wanes, and wears out ;' there are no more

children — ^they are become prigs and prudes ; no more faithful servants — selfishness gives everywhere the rule of behaviour. * Une Reine Découronnée/ * an uncrowned queen/ is a striking picture of an over-old and fallen

* prima donna ' of tfie orchestra or stage. * Les Trois Bonnets,' * the three caps,* are the babe's cap, the king's crown, and the fool's cap ; and the poem shows that if the * bonnet de roi * is not the happiest, it might be made more happy by a good fatherly govemmenL There are some skilfuUy keen pièces of longer form, in a powerfui and weighty poem headed 'On ne saurait enterrer le Remords,' ' We cannot bury remorse, or conscience.* We would, if we had space, print for those of our readers who know French the whole of it, but can only give ti^'O out of eight verses." — TAe Dorset County Chronicle — Somerset Gazette^/uly i6, r868.

" By way of contrast to the dedication, we might quota

* Les Trois Bonnets,' or in another strain * Quatre Ages de la Vie.' Full of aches and pains is the part called ' Tout lasse, tout passe, tout casse.' Truly it doth. The Chevalier laments over * Feu la Chevalerie ;' tells us * Les Rois s'en vont,' *Les Prêtres s'en vont,' *La Beauté s'éclipse.' Not only ' Plus de grandes dames,' but * Plus de fidèles domestiques,* and worse still, * Plus d'Hospitalité ;' very severe is * Il n'y a plus d'Enfants.' How tender he can be and how caustic has been made out fully, or we might quote * La Goutte d'Eau,' and many others of its kind. None better than he can point a moral, vide ' Le Preux du XIX*™ siècle.' But we might go to great lengths in quoting thus, for we could détail plenty more attractive things. Our main difficulty in short seems to be to know when we could most appropriately leave off. We hâve sometimes remonstrated with him for, as we thought, a little undue acerbity, and we hâve often reproduced some of his tenderest thoughts." — The Straiford-upon Avon Chronide, fuly 17, 1868.

" M. Le Chevalier de Châtelain is perhaps one of the most industrious of French poetical writers. The prin-

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cipal poem in the volume now before us, * Arlequin chez les Peaux-rouges/ contains some very pretty songs. The one on p. 277, commencing ' Vole au loin, gentille hirondelle,' is especially graceful. In a séries of poems with the motto ' Tout lasse, tout passe, tout casse,' the Chevalier, with a regret that is as full of truth as good-hearted humour, moums over the modem détérioration of children, faithfiil servants, grands seigneurs, and grandes dames. The book in its entirety is graceful, well written, and full of a freshness that ensures attention." — The Censor.July 18, 1868.

" If ambiguity attaches to the gênerai title, the rest of the performance is at once lucid and vigorous ; strong and fine thoughts clothed in manly and élégant diction. The articles are mostly complimentary, and addressed to friends ; others sarcastic, and dedicated to parties * qui ne sont pas ses amis.' There are among thèse some exquisite * morceaux ' of finished excellence, both of style and numbers." — The Lad^s own Journal^ Edinhurgh^ July 18, 1868.

"The Chevalier, a thorough master of his own language (as well as a good English scholar), has written the présent work in élégant and choice French, in a lively and sometimes sarcastic style, especially in his treatment of the foibles and follies of the day." — Brighton Examiner y July 21, 1868.

" ' Four Ages of Life,' dedicated to Victor Hugo — Infancy, Youth, Manhood, and Old Age — ^are conceived in a tender and catholic spirit. The poems fancifully titled * Marqueteries ' are, as the name implies, pièces of rare material prettily inlaid. Some dramatic sketches fill up a volume of fugitive poetry which prove the Chevalier de Châtelain to deserve a niche in the temple of the muses of France, as his Shakespearean and Miltonic paraphrases hâve already eamed for him a pedestal in the temple of English poetical literature." — The Morning Adveriiser^ July 27, 1868.

" ' La Folle du Logis ' is marvellously like the other of his works which we hâve hitherto noticed, both in character and arrangement. Its contents are of a miscellaneous description, and comprise various kinds of poems written in the most éloquent and expressive terms that the French language will supply. * Les Brouilleries d'Amants * is full of dramatic power, and * Arlequin chez les Peaux-rouges * is written in a high vein, and is full of life and character. The minor poems are full of gems, and the whole work is worthy of the Chevalier's poetic réputation." — Brighton Observer^ July 31, 1868.

" This collection of French Poems— évinces the best taste, and the purest French that can be written." — BdTs Weekly Messenger^ August i, 1868.

"... A delightful volume of verse under the title of * La Folle du Logis.' " — TTu Newspaper Press^ August i ,

"... The best, to our mind, among thèse poems, is the ' Simple Histoire,' cast in that mould from which our own Owen Meredith has derived many of his plastic impressions." — The Orchestra^ Aug, 8, 1868.

" We do not know a better incitement to the study of French, or more attractive light reading to the adept in that language, than the lively poetizings of the clever Anglo-Frenchman." — Perthshire Advertiser and Strathmore Journal^ Aug. 20, 1868.

" There is a certain pretty, tricky delicacy about some of the slighter pièces in this volume which is not unpleasant" — London Review, Oct. 17, 1868.

" It was old Montaigne who first christened the brain the ' Folle du Logis,' and certainly its wanderings occasionally bear some analogy to the freaks of a 'daft' créature, when roaming at its own sweet will through the vast fields of imagination. The title is eminently suited to the work." — Reynoîd^s Newspaper, Od. 17, 1868.

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" This clever and amusing work is the production of a French gentleman, whose love of the beautiful and the good is manifested in ail that he writes. There is a pervading grâce in his poetry that cannot fail to win admiration, whilst his liveliness and satire, being free from anything like malice or ill-nature, will please the most fastidious of critics. Students of the French language will be assisted by this collection of original and entertaining poems. The ' Brouilleries d*Amants' are very pointed and amusing." — The News of the World^ Oct, 18,

" * La Folle du Logis.' — Under the above title our old friend the Chevalier de Châtelain has just issued one of the most delightful volumes of poetry which even his prolific and charming pen has ever produced. It is perfectly delightful, and breathes such a freshness and such a grandeur in some parts as to make it a great acquisition to literature." — Reliquaryy Oct,, 1868.

" ' La Folle du Logis ' c'est l'imagination ; chez les poètes, elle n'est folle qu'à l'instar des fous du moyen âge ; sa folie est alors un prétexte pour tout dire, pour s'élever aux plus sublimes hauteurs, on pour cingler rudement le fouet de la satire. C'est elle qui inspirait Bocace et Juvénal, bien avant que Montaigne eût découvert son existence en faisant l'autopsie de l'esprit humain; c'est elle qui de nos jours, inspira Victor Hugo, Musset, Lamartine. Donc *La Folle du Logis ' est un très bon titre pour un volume de poésie.

" La nouvelle œuvre du Chevalier de Châtelain procède surtout de la satire ; comme il le dit en épigraphe : ^Fecit indignatio versus/ il flagelle successivement les rois, les nobles, et les prêtres — les méchants, s'entend ; — il regrette les choses disparues : il n'y a plus, à ses yeux de grands seigneurs, de grandes dames (moi, je m'en console), plus de grisettes, plus d'enfans, plus de fidèles domestiques, plus d'hospitalité.

" Mais il n'y a pas seulement de l'indignation, dans le

nouveau volume de vers de M. de Châtelain il y a du sentiment, et nous n'en pourrions citer un meilleur échantillon que les * Quatre Ages de la Vie.'

" Le morceau de résistance de ce volimie est un poëme héroïcomique de 80 pages, intitulé 'Arlequin chez les Peaux-rouges/ et qui contient l'odyssée d'une troupe de saltimbanques voyageant dans le nouveau monde. Tout est raconté avec beaucoup de verve et d'entrain. — E. R." Courrier de r Europe^ Oct, 31, 1868.

" En littérature, la poésie est un puissant moyen d'émancipation et de progrès pour les peuples. Une seule composition bien faite conduit l'auteur à l'immortalité et l'enthousiasme qu'elle excite, en frappant l'esprit et l'imagination, peut avoir une portée immense sur les destinées d'une nation: témoin l'incomparable 'Marseillaise.'

" * Le Bon Dieu et le Dieu des Bonnes Gens ' de Béranger, ont fait plus de mal à la superstition que les pamphlets de Voltaire ou de Paul-Louis. Le peuple occupé des besoins matériels de la vie n'a pas le temps d'approfondir les longs ouvrages en prose, ou l'auteur souvent veut paraître encore plus savant qu'il n'est. Dans la poésie, la structure en vers plaît au peuple, l'harmonie charme son oreille et la concision des pensées obligée par la forme même de la composition, flatte son esprit. I-a cadence et la rime lui permettent de retenir facilement, et à l'occasion dans les réunions publiques ou privées, il chante, cite ou discute et de bouche en bouche sur les ailes de la sympathie, l'idée va frapper majestueusement et énergiquement le but que s'est proposé l'auteur.

" Nous addressons donc nos félicitations les plus empressées à M. le Chevalier de Châtelain pour la forme de publicité qu'il donne à ses pensées. ' La Folle du Logis ' n'est pas folle du tout : elle décèle de prime abord, au contraire, l'homme d'intelligence et de dévouement dont l'âme saigne à l'aspect des souffrances de l'humanité, le lutteur politique dont la vie appartient à une sainte cause, celle du peuple. En somme, * La Folle du Logis ' est un bon Hvre

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écrit pour tous : le lettré y trouvera ce qu'il faut pour charmer ses loisirs, et le peuple les pensées grandes et fortes dont il recherche avec avidité la nourriture intellectuelle." — TTu Glowwarm^ Nov. 4, 1868,

" We trust, for the honour of human nature, that * Les Souhaits Humains,* if granted, would not couvert us ail into such unmitigated scoundrels as the poet hints. But, alas ! ' Quien sabe T Who can answer for what they might do when thoughts become facts ?

" The concluding poem of * Arlequin chez les Peauxrouges,' containing a séries of curions adventures, is likely to become a favourite with ail. We recommend it especially to the whole tribe of actors, whom it must interest. The character of Guido, the harlequin, is charming. In the days of adversity he cornes forth as a hero, and his rebuke to the narrow-minded missionary, who cannot understand that ' a man's a man for a' his motley,' is an excellent lesson of Christian tolérance. We will not spoil our readers* pleasure by entering into the particulars of ' Harlequin's abode amongst the Redskins,' but ad vise them to refer to the book itself." — The Nation^ Dublin.

" As a clever, facile, and fertile versifier, it has often been our pleasure to welcome the Chevalier de Châtelain, and especially to greet him as a Frenchman who has done good suit and service to our insular literature by making the poets of England more familiar to the reading public of Europe, by talented, idiomatic, intelligent, and fluent translations. * La Folle du Logis ' is a title as old as Montaigne, and the Chevalier has made good use of the idea in thèse varions verses in which, treating the brain as * La Folle du Logis ' he carries us through ail sorts of dreams and fancies, making his poetry the handmaid of a pleasant and playful imagination. A!s the Chevalier has done much in making English poetry familiar to Frenchmen, we can now retum the compliment, and advise those Englishmen who would perfect

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their idiomatic French, to read the Chevalier de Chatelain's volume of poems." — Jlu Weddy Dispatch^ Jcin, i6,

Le Chevalier de Châtelain versus the Leader, Public Opinion, and the Morning Star, in r^ La Folle du Logis.

" Thîs is a clever reply by the Chevalier de Châtelain, to criticisms which hâve appeared in the above-named joumals on his work, entitled * La Folle du Logis.' The author cites criticisms of an opposite character pronounced by eminent writers, and gives a list of persons, who în ancient and modem times died in conséquence of hostile criticism. He adds, however, that he is not a person upon whom such a cause could produce so serions an effect." — The Observer ^ Feh, 7, 1869.