Only two poems, the _Jeu de Paume_ and the _Hymne aux Suisses_, were published by Chenier; after his death appeared in journals the _Jeune Captive_ and the _Jeune Tarentine_; his collected poems, already known in manuscript to lovers of literature, many of them fragmentary, were issued in 1819. The romantic school had come into existence without his aid; but under Sainte-Beuve's influence it chose to regard him as a predecessor, and during the years about 1830 he was studied and imitated as a master. He belongs, however, essentially to the eighteenth century, to its graceful sensuality, its revival of antiquity, its faith in human reason, its comprehensive science of nature and of society. In certain of his poems suggested by public occasions he is little more than a disciple of Lebrun. His _Elegies_ are rather Franco-Roman than Greek; these, together with beauties of their own, have the characteristic rhetoric, the conventional graces, the mundane voluptuousness of their age. His philosophical poem _Hermes_, of which we have designs and fragments, would have been the _De Rerum Natura_ of an admiring student of Buffon. In his _Eglogues_ and his epic fragments he is a Greek or a demi-Greek, who has learnt directly from Homer, from the pastoral and idyllic poets of antiquity, and from the Anthology. The Greece of Chenier's imagination is the ideal Greece of his time, more finely outlined, more delicately coloured, more exquisitely felt by him than was possible with his contemporaries in an age of prose. "It is the landscape-painter's Greece," writes M. Faguet, "the Greece of fair river-banks, of gracious hill-slopes, of comely groups around a well-head or a stream, of harmonious theories beside the voiceful sea, of dancing choirs upon the luminous heights, under the blue heavens, which lift to ecstasy his spirit, light as the light breathing of the Cyclades." In the _Iambes_, inspired by the emotions of the Revolution during his months of imprisonment, Chenier united modern passion with the beauty of classic form; satire in these loses its critical temper, and becomes truly lyrical. In his versification he attained new and alluring harmonies; he escaped from the rhythmical uniformity of eighteenth-century verse, gliding sinuously from line to line and from strophe to strophe. He did over again for French poetry the work of the Pleiade, but he did this as one who was a careful student and a critic of Malherbe. BOOK THE FIFTH 1789-1850 CHAPTER I THE REVOLUTION AND THE EMPIRE--MADAME DE STAEL--CHATEAUBRIAND I