tendencies in verse; the second (_La Greve des forgerons_, 1869, _Les Humbles_, 1872, _Contes et vers_, 1881-1887, &c.) a dealer with more generally popular subjects in a more sentimental manner; and the third (_Sagesse_, 1881, _Parallelement_, 1889, _Poemes saturniens_, including early work, 1867-1890), by far the most original and remarkable poet of the three, starting with Baudelaire and pushing farther the fancy for forbidden subjects, but treating both these and others with wonderful command of sound and image-suggestion. Verlaine in fact (he was actually well acquainted with English) endeavoured, and to a small extent succeeded in the endeavour, to communicate to French the vague suggestion of visual and audible appeal which has characterized English poetry from Blake through Coleridge. Others of the original Parnassiens who deserve mention are Albert Glatigny (1839-1873), a Bohemian poet of great talent who died young; Stephane Mallarme (1842-1898), afterwards chief of the Symbolists, also a true poet in his way, but somewhat barren, and the victim of pose and trick; Jose Maria de Heredia (1842-1905), a very exquisite practitioner of the sonnet but with perhaps more art than matter in him; Henri Cazalis (1840-1909), who long afterwards, under his name of Jean Lahor, appeared as a Symbolist pessimist; A. Villiers de l'Isle-Adam, another eccentric but with a spark of genius; Emmanuel des Essarts; Auguste de Chatillon (1810-1882); Leon Dierx (b. 1838) who, after producing even less than Mallarme, succeeded him as Symbolist chief; Jean Aicard (b. 1848), a southern bard of merit; and lastly Catulle Mendes himself, who has been a brilliant writer in verse and prose ever since, and whose _Mouvement poetique francais de 1867 a 1900_ (1903), an official report largely amplified so that it is in fact a history and dictionary of French poetry during the century, forms an almost unique work of reference on the subject. Among the later recruits the most specially noticeable was Armand Silvestre (1837-1901), whose verse (_La Chanson des heures_, 1878, _Ailes d'or_, 1880, _La Chanson des etoiles_, 1885), of an ethereal beauty, was contrasted with prose admirably written and sometimes most amusing, but "Pantagruelist," and more, in manners and morals. This declension from poetry to prose fiction was also noticeable in Guy de Maupassant, Andre Theuriet, Anatole France and even Alphonse Daudet.