expound Hugo's or Zola's last book, thinking as he spoke of the Greek sophists. There were for contrast Mallarmé's Tuesday evenings, a few friends sitting round the hearth, the lamp on the table. I have met none whose conversation was more fruitful, but with the exception of his early verses I cannot say I ever enjoyed his poetry frankly. When I knew him he had published the celebrated "L'Après Midi d'un Faun": the first poem written in accordance with the theory of symbolism. But when it was given to me (this marvellous brochure furnished with strange illustrations and wonderful tassels), I thought it absurdly obscure. Since then, however, it has been rendered by force of contrast with the enigmas the author has since published a marvel of lucidity; I am sure if I were to read it now I should appreciate its many beauties. It bears the same relation to the author's later work as _Rienzi_ to _The Walkyrie_. But what is symbolism? Vulgarly speaking, saying the opposite to what you mean. For example, you want to say that music which is the new art, is replacing the old art, which is poetry. First symbol: a house in which there is a funeral, the pall extends over the furniture. The house is poetry, poetry is dead. Second symbol: "_notre vieux grimoire_," _grimoire_ is the parchment, parchment is used for writing, therefore, _grimoire_ is the symbol for literature, "_d'où s'exaltent les milliers_," thousands of what? of letters of course. We have heard a great deal in England of Browning obscurity. The "Red Cotton Nightcap Country" is a child at play compared to a sonnet by such a determined symbolist as Mallarmé, or better still his disciple Ghil who has added to the infirmities of symbolism those of poetic instrumentation. For according to M. Ghil and his organ _Les Ecrits pour l'Art,_ it would appear that the syllables of the French language evoke in us the sensations of different colours; consequently the timbre of the different instruments. The vowel _u_ corresponds to the colour yellow, and therefore to the sound of flutes. Arthur Rimbaud was, it is true, first in the field with these pleasant and genial theories; but M. Ghil informs us that Rimbaud was mistaken in many things, particularly in coupling the sound of the vowel _u_ with the colour green instead of with the colour yellow. M. Ghil has corrected this very stupid blunder and many others; and his instrumentation in his last volume, "Le Geste Ingénu," may be considered as complete and definitive. The work is dedicated to Mallarmé, "Père et seigneur des ors, des pierreries, et des poisons," and other works are to follow:--the six tomes of "Légendes de Rêves et de Sang," the innumerable tomes of "La Glose," and the single tome of "La Loi."