Alfred de Musset, like Mr. Murray's fastidious correspondent, wrote poetry as an amateur--wrote it, as they say in France, _en gentilhomme_. It is the fashion, I believe, in some circles, to be on one's guard against speaking foreign tongues too well (the precaution is perhaps superfluous) lest a marked proficiency should expose one to be taken for a teacher of languages. It was a feeling of this kind, perhaps, that led Alfred de Musset to a certain affectation of negligence and laxity; though he wrote for the magazines, he could boast a long pedigree, and he had nothing in common with the natives of Grub street. Since his death a new school of poets has sprung up--of which, indeed, his contemporary, Theophile Gautier, may be regarded as the founder. These gentlemen have taught French poetry a multitude of paces of which so sober-footed a damsel was scarcely to have been supposed capable; they have discovered a great many secrets which Musset appears never to have suspected, or (if he did suspect them) to have thought not worth finding out. They have sounded the depths of versification, and beside their refined, consummate _facture_ Musset's simple devices and good-natured prosody seem to belong to a primitive stage of art. It is the difference between a clever performer on the tight rope and a gentleman strolling along on soft turf with his hands in his pockets. If people care supremely for form, Musset will always but half satisfy them. It is very pretty, they will say; but it is confoundedly unbusinesslike. His verse is not chiselled and pondered, and in spite of an ineffable natural grace, it lacks the positive qualities of cunning workmanship--those qualities which are found in such high perfection in Theophile Gautier. To our own sense Musset's exquisite feeling more than makes up for one-half the absence of "chiselling," and the ineffable grace we spoke of just now makes up for the other half. His sweetness of passion, of which the poets who have succeeded him have so little, is a more precious property than their superior science. His grace is often something divine; it is in his grace that we must look for his style. Herr Lindau says that Heine speaks of "truth, harmony, and grace" being his salient qualities. (By the first, we take it, he meant what we have called Musset's passion.) His harmony, from the first, was often admirable; the rhythm of even some of his earliest verses makes them haunt the ear after one has murmured them aloud. Ulric, des mers nul oeil n'a mesure l'abime, Ni les herons plongeurs, ni les vieux matelots; Le soleil vient briser ses rayons sur leur cime, Comme un soldat vaincu brise ses javelots.