Words, words! Doubtless, but well selected and artistically blended. Kahn is before everything else an artist: sometimes he is more. PAUL VERLAINE Gaston Boissier, in crowning (touching custom) a fifty-year-old poet, congratulated him for never having innovated, for having expressed ordinary ideas in a facile style, for having scrupulously conformed to the traditional laws of French poetics. Might not a history of our literature be written by neglecting the innovators? Ronsard would be replaced by Ponthus de Thyard, Corneille by his brother, Racine by Campistron, Lamartine by de Laprade, Victor Hugo by Ponsard, and Verlaine by Aicard; it would be more encouraging, more academic and perhaps more fashionable, for genius in France always seems slightly ridiculous. Verlaine is a nature and as such undefinable. Like his life, the rhythms he loves are of broken or rolling lines; he ended by disjoining romantic verse, and having destroyed its form, having bored and ripped it so as to permit too many things to be introduced, all the effervescences that issued from his crazy skull, he unwittingly became one of the instigators of vers libre. Verlainian verse with its shoots, its incidences, its parentheses, naturally evolved into vers libre; in becoming "libre," it did no more than reflect a condition. When the gift of expression forsakes him, and when at the same time the gift of tears is removed, he either becomes the blustering rough iambic writer of _Invectives_, or the humble awkward elegist of _Chansons pour Elle_. Poet by these very gifts, consecrated to talk felicitously only of love, all loves; and he whose lips press as in a dream upon the stars of the purifactory robe, he who wrote the _Amies_ composed those Canticles of the month of Mary. And from the same heart, the same hand, the same genius,--but who shall chant them, O hypocrites! if not those very white-veiled Friends. To confess one's sins of action or dreams is not sinful; no public confession can bring disrepute to a man, for all men are equal and equally tempted; no one commits a crime his brother is not capable of. That is why the pious journals or the Academy vainly took upon themselves the shame of having abused Verlaine, still under the flowers; the kick of the sacristan and scoundrel broke on a pedestal already of granite, while in his marble beard, Verlaine was everlastingly smiling, with the look of a faun hearkening while the bells peal. TRANSLATIONS FROM THE TEXT (Tr. 1) Magnificent, but who without hopes delivers himself for not having praised the country in which to live when ennui has grown resplendent out of the sterile winter. (Tr. 2) His neck will shake off this white agony. (Tr. 3) As if he were fashioning the steel of souls, hammers with great full strokes, the immense plates of patience and silence. (Tr. 4) The savage wind of November, the wind, have you met it, the wind at the crossroads of three hundred paths...? (Tr. 5)