Arrived in Paris like any other Wallachian or Eastern student, and already full of love for the French language, Moréas betook himself to the school of the old poets and frequented the society of Jacot de Forest and Benoit de Sainte-Maure. He wished to take the road to which every clever youth should vow himself who is ambitious to become a good harper; he swore to accomplish the complete pilgrimage: At this hour, having set out from the _Chanson de Saint-Léger_, he has, it is said, reached the seventeenth century, and this in less than ten years. It is not as discouraging as one supposes. And now that texts are more familiar, the road shortens: from now on less halts. Moréas will camp under the old Hugo oak, and, if he perseveres, we shall see him achieve the aim of his voyage, which doubtless is to catch up with himself. Then, casting aside the staff, often changed and cut from such diverse copses, he will lean on his own genius and we will be able to judge him, if that be our whim, with a certain security. All that today can be said is that Moréas passionately loves the French language and poetry, and that the two proud-hearted sisters have smiled upon him more than once, satisfied to see near their steps a pilgrim so patient, a cavalier armed with such good-will. Cavalcando l'altrjer per un cammino, Pensoso dell andar che mi sgradia, Trovai Amor in mezzo della via In abito legger di pellegrino. (Tr. 50) Thus Moréas goes, quite attentive, quite in love, and in the light robe of a pilgrim. When he called one of his poems _le Pèlerin passionné_, he gave an excellent idea and a very sane symbolism of himself, his role and his playings among us. There are fine things in that _Pèlerin_, and also in _les Syrtes_; there are admirable and delicious touches and which (for my part) I shall always joyfully reread, in _les Cantilènes,_ but inasmuch as Moréas, having changed his manner, repudiates these primitive works, I shall not insist. There remains _Ériphyle_, a delicate collection formed of a poem of four "sylvae", all in the taste of the Renaissance and destined to be the book of examples where the young "Romans", spurred on by the somewhat intemperate invectives of Charles Maurras, must study the classic art of composing facile verses laboriously. Here is a page: