which no romanticist--if any such is left--has forgotten."
A greater name than Monpon was Hector Berlioz, the composer of "Romeo and
Juliette" and "The Damnation of Faust." Gautier says that Berlioz
represented the romantic idea in music, by virtue of his horror of common
formulas, his breaking away from old models, the complex richness of his
orchestration, his fidelity to local colour (whatever that may mean in
music), his desire to make his art express what it had never expressed
before, "the tumultuous and Shaksperian depth of the passions, reveries
amorous or melancholy, the longings and demands of the soul, the
indefinite and mysterious feelings which words cannot render." Berlioz
was a passionate lover of German music and of the writings of Shakspere,
Goethe, and Scott. He composed overtures to "Waverley," "King Lear," and
"Rob Roy"; a cantata on "Sardanapalus," and music for the ghost scene in
"Hamlet" and for Goethe's ballad, "The Fisher." He married an English
actress whom he had seen in the parts of Ophelia, Portia, and Cordelia.
Berlioz _en revanche_ was better appreciated in Germany than in France,
where he was generally considered mad; where his "Symphonic fantastique"
produced an effect analogous to that of the first pieces of Richard
Wagner; and where "the symphonies of Beethoven were still thought
barbarous, and pronounced by the classicists not to be music, any more
than the verses of Victor Hugo were poetry, or the pictures of Delacroix
painting." And finally there were actors and actresses who came to fill
their roles in the new romantic dramas, of whom I need mention only
Madame Dorval, who took the part of Hugo's Marion Delorme. What Gautier
tells us of her is significant of the art that she interpreted, that her
acting was by sympathy, rather than calculation; that it was intensely
emotional; that she owed nothing to tradition; her tradition was
essentially modern, dramatic rather than tragic.[10]

Romanticism in France was, in a more special sense than in Germany and
England, an effort for freedom, passion, originality, as against rule,
authority, convention. "Romanticism," says Victor Hugo,[11] "so many
times poorly defined, is nothing else than _liberalism_ in
literature. . . . Literary liberty is the child of political
liberty. . . . After so many great things which our fathers have done
and which we have witnessed, here we are, issued forth from old forms of
society; why should we not