At the end of a revolution which has had periods so ensanguined, _Romance_, (romantic poetry) must have been cultivated and held in request. It has been so, especially by sentimental minds, and not a little too through the spirit of party; this was likely to be the case, since its most affecting characteristic is to mourn over tombs. _Lyric poetry_ has been carried by LEBRUN, CHÉNIER, &c. to a height worthy of JEAN BAPTISTE ROUSSEAU. The former, above all, will stand his ground, by his weight, to the latest posterity; while hitherto the lyric productions of CHÉNIER have not been able to dispense with the charm of musical harmony. FONTANES, CUBIÈRES, PONS DE VERDUN, BAOUR-LORNIAN, and DESPAZE are secondary geniuses, who do not make us forget that DELISLE and the Chevalier BERTIN are still living; but whose fugitive pieces sometimes display many charms. When you shall be made acquainted that Paris, of all the cities in the world, is that where the rage for dancing is the most _nationalized_, where, from the gilded apartments of the most fashionable quarters to the smoky chambers of the most obscure suburbs, there are executed more capers in cadence, than in any other place on earth, you will not be surprised if I reserve a special article for one of the kinds of literature that bears the most affinity to this distinctive diversion of the Parisian belles, which has led MERCIER to say, that their city was the _guingette_ of Europe; I mean _Song_. Perhaps, a subject new and curious to treat on, would be the influence of vocal music on the French revolution. Every one knows that this people marched to battle singing; but, independently of the subject being above my abilities, it would carry me too far beyond the limited plan which I have prescribed to myself. Let it suffice for you to know, that there has existed in Paris a sort of lyric manufactory, which, under the name of "_Diners du vaudeville_" scrupulously performed, for several years, an engagement to furnish, every month, a collection of songs very agreeable and very captivating. These productions are pretty often full of allusions, more or less veiled, to the political events of the moment; seldom, however, have they been handled as very offensive weapons against persons or institutions. The friends of mirth and wine are seldom dark and dangerous politicians. This country possesses a great number of them, who combine the talents required by the gravest magistracy with all the levity of the most witty and most cheerful _bon vivant_. I shall quote at random FRANÇOIS DE NEUFCHÂTEAU, the two SÉGURS, PIIS, &c. &c. Others, such as BARRÉ, DESFONTAINES, and RADET, confine themselves to their exclusive functions of professed song-makers, and write only for the little musical theatres, or for the leisure of their countrymen and their evening-amusements.