154. 10. PISE, Pisa. 14. BRIGUES, a small town in the Rhone valley in Switzerland, at the foot of the Simplon pass. 16. GÊNES, Genoa. 17. VEVAY, a town on Lake Geneva. 19. LIDO, an island between Venice and the sea, a favorite resort of the inhabitants of the city. Musset calls it _affreux_, because with it he associated his quarrel with George Sand. 159. STANCES À LA MALIBRAN. October, 1836. 11. MARIA FELICITÀ, daughter and pupil of Manuel Garcia, afterwards Madame Malibran, by which name she is remembered, was a remarkable singer (1808-1836). 24. PARTHÉNON: the Parthenon, completed in 438 B.C., was built under the direction of Phidias, who was also the sculptor of the colossal statue of Athena within the temple. The most famous work of Praxiteles Was the statue of Aphrodite of Cnidus, not extant, but represented in the Venus of the Capitol and the Venus de Medicis. 160. 26. CORILLA, a character in one of Rossini's operas. 27. ROSINA, heroine of Rossini's _Il Barbiere di Seviglia_ (1816). 29. LE SAULE, the song of "The Willow" in Rossini's _Otello_ (1816); cf. Shakspere's _Othello_, iv, 3. 161. 9. LONDRE, usually spelled _Londres_; the _s_ is omitted here for the metre. 21. GÊRICAULT, an important French painter (1790-1824); his most famous picture is _Le Radeau de la Méduse_, now in the Louvre. CUVIER, a great French naturalist (1769-1852). 162. 3. ROBERT, Léopold (1794-1835), a French painter of merit. BELLINI, Vincenzo (1802-1835), an Italian composer of operas; among his works are _La Somnambula_ (1831), _Norma_ (1831), and _I Puritani_ (1835). 5. CARREL, Armand (1800-1836), a French publicist, fatally wounded in a duel with Émile de Girardin. 163. 18. LA PASTA; Giuditta Pasta (1798-1865) was one of the famous sopranos of her day; for her Bellini wrote _La Somnambula_ and _Norma_. 164. CHANSON DE BARBERINE. From the comedy _Barberine_ (1836). 165. CHANSON DE FORTUNIO. From _le Chandelier_ ( 1836), where it is sung by a character named Fortunio. 25. MA MIE, instead of _m'amie_; this is a remnant of what was the regular practice in the earliest period of French, the use of the feminine forms, ma, ta, sa, with elision of the vowel, before nouns beginning with a vowel; the substitution of the masculine forms in such cases begins in the twelfth century. 166. 167. TRISTESSE. June 14, 1840. "RAPPELLE-TOI." 1842. SOUVENIR. February, 1841. This poem is of the same order of thought as _le Lac_ of Lamartine and the _Tristesse d'Olympia_ of Victor Hugo; see note on the latter poem. 169. 17. DANTE, POURQUOI DIS-TU; the passage referred to is in the _Inferno_, canto v, 1. 121 ; Francesca da Rimini (in French Françoise) begins the short and immortal story of her love for Paolo with these words : "There is no greater sorrow Than to be mindful of the happy time In misery." 170. 24. PIÉ, an old spelling of _pied_, used here to satisfy the rules of rhyme. Cf. following page, 1. 26.