Were it necessary, which is quite useless, to express oneself more clearly, it might be said that, according to several persons whose opinion perhaps is worth that of many others, all the literary history, as written by professors according to educational views, is but a mass of judgments nearly all reversed, and that, in particular, the histories of French literature is but the banal cataloguing of the plaudits and crowns fallen to the cleverest or most fortunate. Perhaps it is time to adopt another method and to give, among the celebrated persons, a place to those who could have attained it--if the snow had not fallen on the day they announced the glory of the new spring. Stuart Merrill and Saint-Pol-Roux are of those whom the snow gainsaid. If the public knows their names less than some others, it is not that they have less merit, it is that they had less good fortune. The poet of _Fastes_, by the mere choice of this word, bespeaks the fair frankness of a rich soul and a generous talent. His verses, a little gilded, a little clamorous, truly burst forth and peal for the holidays and gorgeous parades, and when the play of sunshine has passed, behold the torches illumined in the night for the sumptuous procession of supernatural women. Poems or women, they doubtless are bedecked with too many rings and rubies and their robes are embroidered with too much gold; they are royal courtisans rather than princesses, but we love their cruel eyes and russet hair. After such splendid trumpets, the _Petits Poèmes d'Automne_, the noise of the spuming wheel, a sound of a bell, an air of a flute in tone of moonlight: it is the drowsiness and dreaming saddened by the silence of things, the incertitude of the hours: C'est le vent d'automne dans l'allée, Soeur, écoute, et la chute sur l'eau Des feuilles du saule et du bouleau, Et c'est le givre dans la vallée, Dénoue--il est l'heure--tes cheveaux Plus blonds que le chanvre que tu files.... Et viens, pareille à ces châtelaines Dolentes à qui tu fais songer, Dans le silence où meurt ton léger Rouet, ô ma soeur des marjolaines! (Tr. 52) Thus, in Stuart Merrill we discover the contrast and struggle of a spirited temperament and a very gentle heart, and according as one of the two natures prevails, we hear the violence of brasses or the murmurings of viols. Similarly does his technique oscillate from _Gammes_ to his latest poems, from the Parnassian stiffness to the _verso suelto_ of the new schools, which only the senators of art do not recognize. Vers libre, which is favorable to original talent, and which is a reef of danger to others, could not help winning over so gifted a poet, and so intelligent an innovator. This is how he understands it: