write French, I dare to prophecy a true
success in the further publication of your works.--BERANGER."{3}

Notwithstanding this advice of Beranger and other critics, Jasmin
continued to write his poems in the Gascon dialect. He had very little
time to spare for the study of classical French; he was occupied
with the trade by which he earned his living, and his business was
increasing. His customers were always happy to hear him recite his
poetry while he shaved their beards or dressed their hair.

He was equally unfortunate with M. Minier of Bordeaux. Jasmin addressed
him in a Gascon letter full of bright poetry, not unlike Burns's Vision,
when he dreamt of becoming a song-writer. The only consolation that
Jasmin received from M. Minier was a poetical letter, in which the poet
was implored to retain his position and not to frequent the society of
distinguished persons.

Perhaps the finest work which Jasmin composed at this period of his life
was that which he entitled Mous Soubenis, or 'My Recollections.' In none
of his poems did he display more of the characteristic qualities of his
mind, his candour, his pathos, and his humour, than in these verses.
He used the rustic dialect, from which he never afterwards departed. He
showed that the Gascon was not yet a dead language; and he lifted it to
the level of the most serious themes. His verses have all the greater
charm because of their artless gaiety, their delicate taste, and the
sweetness of their cadence.

Jasmin began to compose his 'Recollections' in 1830, but the two first
cantos were not completed until two years later. The third canto was
added in 1835, when the poem was published in the first volume of his
'Curl-Papers' (Papillotes). These recollections, in fact, constitute
Jasmin's autobiography, and we are indebted to them for the description
we have already given of the poet's early life.

Many years later Jasmin wrote his Mous noubels Soubenis--'My New
Recollections'; but in that work he returned to the trials and the
enjoyments of his youth, and described few of the events of his later
life. "What a pity," says M. Rodiere, "that Jasmin did not continue to
write his impressions until the end of his life! What trouble he would
have saved his biographers! For how can one speak when Jasmin ceases to
sing?"

It is unnecessary to return to the autobiography and repeat the
confessions of Jasmin's youth. His joys and sorrows are all described
there--his birth