After sketching the poetry we cannot do less than give the profile of the poet. Canalis is a short, spare man, with an air of good-breeding, a dark-complexioned, moon-shaped face, and a rather mean head like that of a man who has more vanity than pride. He loves luxury, rank, and splendor. Money is of more importance to him than to most men. Proud of his birth, even more than of his talent, he destroys the value of his ancestors by making too much of them in the present day,--after all, the Canalis are not Navarreins, nor Cadignans, nor Grandlieus. Nature, however, helps him out in his pretensions. He has those eyes of Eastern effulgence which we demand in a poet, a delicate charm of manner, and a vibrant voice; yet a taint of natural charlatanism destroys the effect of nearly all these advantages; he is a born comedian. If he puts forward his well-shaped foot, it is because the attitude has become a habit; if he uses exclamatory terms they are part of himself; if he poses with high dramatic action he has made that deportment his second nature. Such defects as these are not incompatible with a general benevolence and a certain quality of errant and purely ideal chivalry, which distinguishes the paladin from the knight. Canalis has not devotion enough for a Don Quixote, but he has too much elevation of thought not to put himself on the nobler side of questions and things. His poetry, which takes the town by storm on all profitable occasions, really injures the man as a poet; for he is not without mind, but his talent prevents him from developing it; he is overweighted by his reputation, and is always aiming to make himself appear greater than he has the credit of being. Thus, as often happens, the man is entirely out of keeping with the products of his thought. The author of these naive, caressing, tender little lyrics, these calm idylls pure and cold as the surface of a lake, these verses so essentially feminine, is an ambitious little creature in a tightly buttoned frock-coat, with the air of a diplomat seeking political influence, smelling of the musk of aristocracy, full of pretension, thirsting for money, already spoiled by success in two directions, and wearing the double wreath of myrtle and of laurel. A government situation worth eight thousand francs, three thousand francs’ annuity from the literary fund, two thousand from the Academy, three thousand more from the paternal estate (less the taxes and the cost of keeping it in order),--a total fixed income of fifteen thousand francs, plus the ten thousand bought in, one year with another, by his poetry; in all twenty-five thousand francs,--this for Modeste’s hero was so precarious and insufficient an income that he usually spent five or six thousand francs more every year; but the king’s privy purse and the secret funds of the foreign office had hitherto supplied the deficit. He wrote a hymn for the king’s coronation which earned him a