Heine came to Paris in 1831, and saw all the sights and found everything "charming." His wit is a little cheap, perhaps, when he calls the Senate Chamber at the Luxembourg "the necropolis in which the mummies of perjury are embalmed;" at least it becomes tiresome to hear his constant disparagement of the politics which he chose to live under, and which protected him so agreeably; but he is his own keen self where he observes that the signs of the revolution of 1830, what he calls the legend of _liberté, egalité, fraternité_ at the street-corners, had "already been wiped away." Victor Hugo, for his part, did not find it so: he says that the years 1831 and 1832 have, in relation to the revolution of July, the aspect of two mountains, where you can distinguish precipices, and that they embody "la grandeur révolutionnaire." The cooler spectator from Hamburg inspects at Paris "the giraffe, the three-legged goat, the kangaroos," without much of the vertigo of precipices, and he sees "M. de La Fayette and his white locks--at different places, however," for the latter were in a locket and the hero was in his brown wig. Elsewhere he associates "the virtuous La Fayette and James Watt the cotton-spinner." The age of industry, commerce and the Citizen-King, in fact, was not quite suited to the poet who celebrated Napoleon; yet was Heine's admiration of Napoleon not such as an epic hero would be comfortable under: "Cromwell never sank so low as to suffer a priest to anoint him emperor," he says in allusion to the coronation. He respects Napoleon as the last great aristocrat, and says the combined powers ought to have supported instead of overturned him, for his defeat precipitated the coming in of modern ideas. The prospect for the world after his death was "at the best to be bored to death by the monotony of a republic." Ardent patriots in this country need not go for sympathy to the king-scorner Heine. For the theory of a commonwealth he had small love: "That which oppresses me is the artist's and the scholar's secret dread, lest our modern civilization, the laboriously achieved result of so many centuries of effort, will be endangered I by the triumph of Communism." We have drifted into the citation of these sentiments because many conservatives think of Heine only as an irreconcilable destroyer and revolutionist, and do not care to welcome in him the basis of attachment to order which must underlie every artist's or author's love of freedom. "Soldier in the liberation of humanity" as he was, that liberation was to be the result of growth, not of destruction. As for Communism, it talks but "hunger, _envy_ and death." It has but one faith, happiness on this earth; and the millennium it foresees is "a single shepherd and a single flock, all shorn after the same pattern, and bleating alike." Such passages are the true reflection of Heine's keen but not great mind, miserably bandied between the hopes of a republican future, that was to be the