The customs of students and artists, those customs so free, so beautiful, so full of youth, began to experience the universal change. Men in taking leave of women whispered the word which wounds to the death: contempt. They plunged into the dissipation of wine and courtesans. Students and artists did the same; love was treated as were glory and religion: it was an old illusion. The grisette, that woman so dreamy, so romantic, so tender, and so sweet in love, abandoned herself to the counting-house and to the shop. She was poor and no one loved her; she needed gowns and hats and she sold herself. Oh! misery! the young man who ought to love her, whom she loved, who used to take her to the woods of Verrieres and Romainville, to the dances on the lawn, to the suppers under the trees; he who used to talk with her as she sat near the lamp in the rear of the shop on the long winter evenings; he who shared her crust of bread moistened with the sweat of her brow, and her love at once sublime and poor; he, that same man, after abandoning her, finds her after a night of orgy, pale and leaden, forever lost, with hunger on her lips and prostitution in her heart. About this time two poets, whose genius was second only to that of Napoleon, consecrated their lives to the work of collecting the elements of anguish and of grief scattered over the universe. Goethe, the patriarch of a new literature, after painting in his Weyther the passion which leads to suicide, traced in his Faust the most sombre human character which has ever represented evil and unhappiness. His writings began to pass from Germany into France. From his studio, surrounded by pictures and statues, rich, happy, and at ease, he watched with a paternal smile his gloomy creations marching in dismal procession across the frontiers of France. Byron replied to him in a cry of grief which made Greece tremble, and hung Manfred over the abyss, as if oblivion were the solution of the hideous enigma with which he enveloped him.