ntic school upon English poetry or prose was slight. Like the German
school, it came too late. The first generation of English romantics was
drawing to its close. Scott died two years after "Hernani" stormed the
French theatre. Two years later still died Coleridge, long since fallen
silent--as a poet--and always deaf to Gallic charming. We shall find the
first impress of French romance among younger men and in the latter half
century.

In France itself the movement passed on into other phases. Many early
adherents of Hugo's _cenacle_ and _entourage_ fell away from their
allegiance and, like Sainte-Beuve and Musset, took up a critical or even
antagonistic attitude. Musset's "Lettres de Dupuis et Cotonet" [40]
turns the whole romantic contention into mockery. Yet no work more
fantastically and gracefully romantic, more Shaksperian in quality, was
produced by any member of the school than Musset produced in such dramas
as "Fantasio" and "Lorenzaccio."

[1] It is scarcely necessary to say that no full-length picture of the
French romantic movement is attempted in this chapter, but only such a
sketch as should serve to illustrate its relation to English romanticism.
For the history of the movement, besides the authorities quoted or
referred to in the text, I have relied principally upon the following:
Petit de Julleville: "Histoire de la Litterature Francaise," Tome vii.,
Paris, 1899. Brunetiere: "Manual of the History of French Literature"
(authorized translation), New York, 1898. L. Bertrand; "La Fin du
Classicisme," Paris, 1897. Adolphe Jullien: "Le Romantisme et L'Editeur
Renduel," Paris, 1897. I have also read somewhat widely, though not
exhaustively, in the writings of the French romantics themselves,
including Hugo's early poems and most of his dramas and romances;
Nodier's "Contes en prose et en verse "; nearly all of Musset's works in
prose and verse; ditto of Theophile Gautier's; Stendhal's "La Chartreuse
de Parme," "Le Rouge et le Noir," "Racine et Shakespeare," "Lord Byron en
Italie," etc.; Vigny's "Chatterton," "Cinq-Mars," and many of his
Scriptural poems; Balzac's "Les Chouans"; Merimee's "Chronique de Charles
IX.," and most of his "Nouvelles "; Chateaubriand's "Le Genie du
Christianisme"; some of Lamartine's "Meditations"; most of George Sand's
novels, and a number of Dumas'; many of Sainte-Beuve's critical writings;
and the miscellanies of Gerard de Nerval (Labrunie). Of many of these,
of cou