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    Baudelaire

    Copyright:

    © All Rights Reserved
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    12 views15 pages

    Baudelaire

    Uploaded by

    Melanie Shi
    Baudelaire

    Copyright:

    © All Rights Reserved
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    of 15
    THE PALNTER ".: F MODERN LIFE AND. “translated and sited ‘hi a Ares Lasers “Edouaed Manet, Peo Chater Baueaie The Painter of Modern Life,’ 1 Bonu, Fashion and Happiness 6 4 "The world and even the wodld of ast is fl of people who cin go ehe Louvre, walk rapidly, without so much ab @ lance, past rows of very interesting, though secondary, pic! tures, to come to a raptirous halt in ont ofa Titian OF a Raphsel~ one of those that have been most popularized by dhe ‘engraver’ at den they-wll go home happy, not afew sing to themacives, ‘Tknow my Museum.’ Jost ay there are people ‘who, having once read Bossuet and Racine, fancy. that hey Ihave mastered the history offterture. us Tereunately from time w time there come forward rgites of ‘wrong, critics, amateurs, curious enguirers,t0 declare that Raphael of Racine, docs not contain the whole secret and chat the miner poets too have something good, solid.and delight to offer, and finally that however much we may love general ‘beau, at itis expressed by clascal poet and ass, we areno Jess wrong to neglect parialar heat, the beauty of excuse stance and the sketch of manners. 1) Gatton Te must be admitted that for some years now te wood as bbeon mending its ways litle, The vale whieh collector today atzach to the delightful coloured engravings of the last century proves thats reaction has sein in the direction whereit vas equized; Debucouse the Saint-Aubins and many-othets ave fun theie places in the dietionary of rast who are worthy of study, Bur hese represent the past smy concer today is withthe Painting of manners ofthe present, ‘The pat is interesting Mot ‘only by-xeason of the beauty which could be distilled from ieby, those atsss for whom it was the present, but also precisely ‘because sis the past, for is historical yale. eis the sme ovith ths presents The pleasure which we desve from the reprsee tion of the present is de not only tothe beauty with which ie can be invested, butaso to its esendal ualiey of being present. T have before me a series of fhion plates! dating form the Revolution atl fnighing more or" less with the Goneulste> ‘These costames, which seem ughable to many thought people ~ people who are grave without tue gravity — have a Gouble-natured charm, one both artiste and historical They are fffen very beustfaland drawn with wit, but whatto meis every bicsimportant, and what Farichappy to find Wall, or ams al ofthem, isthe moraland aesthetic feeling oftheir tine, The idea fof beauty Which man'erester for hie mpeins lise on his, ‘whole atte, cramples or stiffen his dress rotinds off or squates Ins gesture, and in thelonggrun-even ends by subtly penetrating the very features ofhisface..Man’endls by looking bike his ideal self These engravings canbe translated either into beauty of ‘uglinessin one direction; they berdime earcatuie antique statues, wn varia “The women who wore these cdséumes were themselves more or les lke one or the ther type, accotdiig co the'degree of poetry ér vulgarity with whieh they were stanped Diving flesh imparted a lowing movement 10 whatseems tous t00 si leis still possible today forthe spectator’ isaginationt0 give 4 stit-andarasti €o this: “tunighe’ or that ‘schall.? ‘One day perhaps someone will pat ona pay in whicHlave shall see co2 Lrrection of those costumes in which oul fathers found them! selves every bit as fascinating 2¢ we do outselves yout ‘pooe garments (which also have a grace of dati wn) sbamast bE 2dmitted, bucracher ofa moral and sptiteal type). And thes if they are wot anld given life by intelligent sears ani actresses) swe shill be istovished at everhaving been ible to mock then so stupidly. Without losing anything of ts ghostly attrition, the posrwilrecoverheligtand movemencofieand val become [fan impartial student were to look through the hole rage of French costume; foth the origin of our county mnths presentday, he would find nothing toshoékenokeven co sup him. The trinstions would be as elaborately articulated as they sein the animal kingdom! There would not be a single gap:and thus;notia single surprise: And io the fishin plate represent? ing eaclraiehe were to add th philosophic thoaghtwih which! that age was:most preoccupied oF woncerhed = the thought boing inevitably suggested by dhe fasion plate =e would fee * able’element asits body. "That is why' Stendhal a ‘ute panne OF MODERN Lame 3 ‘what: a: profound: harmony ‘control ‘all: he components" of history, and that even in those centuries which selin torus the ‘moi monstrousand the maddest) the immortal thirst for beaity ‘has always found its satisfaction.’ veal on sol This iin fact an excellent oppottunity to-establilira tational and“historical theory of beautyi'in covteast to the'adadenté theory of an unique and absolute Beauty| to show thas beauty always and inevitably of a-double compositloi-althouigh the ipression that it produces is single — for che fact thae-iis difficult to discern the variable elements of beauty within the Unity of the impression invalidates in no way the necessity of variety in its composition, Beauty is mide uj of aa-eibrnal, invariable clement, whose quantity iis excessively dificult to determine; and of relative, circumstintialeleienit-which will be, if you likey whether severally or alla once, the ages fash= fons, is morals, its emotions. Without this! second clement ‘which might be described as the amusing, ehtieing appetizing icing on the divine cake, the istelésnent would be beyond out powers of digestion or appreciation; neither/Adapted nor suite able to human nature. I defy anyone to paint ro a single serap of beauty which does not vontain theve two elemehis? "7" etme instince tivo opposite extremes ia hiatory: In yeligiods are'the duaity-is evident.at the fist glances the'inggedient of ‘eternal beauty reveals itself only with the petinission aind inker the discipline of the religion to which the artist Belotgs?Ia the ‘most fiavolous work ofa sophisticated artist beloniging to oneof those ages whichiyinvour vanity, we characterize 4 evilized, the duality is no less to'be seen; atthe same time the elerial pate of beauty will be veiled and expressed ifnot by fashions, atleast by the particular temperament of the artist "The duality oF art ia fatal:consequence of the duality of man: Cotsidery {yo will, the eternally subsisting portion as the soul of'art; and the vari! pertinent, ‘casing, even a disagreeable critic buvone whose impertinences are oftca useful spur to reflection approached the ceuth mone. ‘iosely thin many another when he said that ‘Beauty is motliig else buta promise ofhappiness." This definition doubtless overs shoots the mnark; it makes Beauty far too subject to the infiicely variable ideal of Happiness; i strips Beauty tool neathy-of is 4 “Te Pinar of Modern Lif ely ofits aristocratic quality’: but it has he grea mere of making a decided break with the academies err, Tnve explained these things mote than once before And these few sinc wil arent have sid trough onthe subject for those who have w ‘ante for the diversions of bait thought. know, howere, tha the Insjrity of my ova counteymca et least bave but fie inclination for these, nd 1 myself am impatient to embstle wpon the postive and con crept of my subject Il, THE SKETCH OF MANNERS Fon the sketch of manzes, the depiction of bourgeois ie and the Pest of fihon te wea ee tate os pedis a the lee conly wil abou be the est The tere icity he fst can pint he more vale wl be he werk bi ri iti the daly mete of exe tgs, tne bn py a movers which ele ors ego sped of excaton fom he ane “The ealouced engesngs of toe cgaecth cntty hate ee ais von the pli of Gio, as wat tying t moment ago, Pree ching ad aqui have ne by one conte te get at ‘st cia of modem ie whove lene are deste rough the Tiras the pont of callers ad inthe widows ofthe mete ‘of print shops, dAnd thea lithography sppeared, at once to reveal itself 4 libfed forts enormons, thong appaeny so volo tuk Welave ome eae mons edn, The work of Gavaon’ sad Damir hee bee uty deve as complements to he Cis Hanes Tae min tht Dae i Weald et have been ves from accepting thie, which al he moe ju ia ie Sp oft te Oman ied ab we tne thet conttins «strong iss clement. Obseres, loop, ‘incl i what you bt Winteerwosds ou sea rg ‘ode his nd fat, yon wl ceri be edt benonrapo i tome adjtve which you cold not apply tote punt of alo ‘inate ings, of heroic ligonsebees.Sometines 2g a he on “ed Mad” on he x tm 2g he a on al aa i the Ein at SE iw, “Thy Pair of Maden Le ; hn isa poet; more oftet he comes closes tothe novelist or the moras be ie the painter ofthe passing moment and ofall the suggestions of céemity that i contains. Bvery couatey, to its plessue and glory, bas jotsesed a few men ofthis stamp. Ta the preset age, to Daumiet and Gavasni Che fast names which occur to the memory) we may add Devésia, Mauris, Numa, historians of the more wanton charms of the Restoration; Water, Tassie, Bugtne Lami—the last of these almost a Englishman in vstue of his love for sistocmatc elegance; and even “Trimolet and Tavis, chose cheoncless of poverty and the humble lie. IIL. THE ARTIST, MAN OF THE WORLD, MAN OF THE CROWD, AND CHILD ‘Tomar I want to discoure othe public about a stange man, a man of 40 powedil and eo decided an orgialy that iis sucent wao isle ‘and does not even sek approval, Nota single one of his drawings is Signed, fby sigaztareyou sean that ring of eal forgeablechasactess ‘which sea name and which so many othec arise af ostentationsly 8 the foot of thlt eatimpoztat ties. Yer al his works are sigaed— ‘wit is araling rn andl act lovers who have ssn aad appreciated them swll edit secopnize tae from the description that am about to give. ‘A pasnate lover of crowds and incognito, Monsieur C. Go eases coxiginlay to the point of shyness. Mi. Thackeray, who, a6 i well, Jknowa, i deeply interested in matters of at, 2nd who himself executes the istrstions to his novels, spoke one day of Monsieur G. in the columns of London review. The inter wat fiona though at aa futrage to his vitue. Recently again, when he lest that I had ie in ‘ind 0 wite an appreciation of his mind zed his talent, be begged me— ‘ery imperionsly, Lmustadmit—to eaporess his ame, and if Teaust speak of hie wotks to speak of them a if they were those of an ancaymous ‘ass, wil humbly comply with this singular request. "The reader and il preerve the fiction that Monsieur G. does not ext, and we shall concern ounelves with his danwings and his watercolous (or which |e profere a piticlan scorn) a8 though we were scholars who tad (0 proaauace upon peecous historical documents, thrown up by chance, Conan Gaye (eons). | Theses ha ot heen teed "The Painter of Moder Life ew men ate gifted withthe eapschy of sings there are fewer all “who ponent the power of expresion, So now, ata vane when others ae aleep, MossicutG. is bending ove his table, dating on toa sheet fof pape the same glance that 2 moment ago he was directing towade ‘extemal chings, skirmishing with his penel le pen, his brush, splashing his las of water up to the eeling, wiping his pen on his shit, in a format of violent activity, as thowgh snd eat the image might escape hrm, cantankerous hough alone, elbowing himself on, And the external ‘world i zeboen upon his pape, natural and moe tao natal, beautiful tnd more thin beautiful, range and endowed with an impulsive if like the soul of is erator. The phantssmagoria has been distilled from ‘nacre. All the saw mera with which the metouy his loaded islf are put in order, singed and harmonized, and undergo that forced Idealiation which isthe result of 2 chidike pereetivenese—that isto say, perceptiveness acute aed magical by reson of IV. MODERNITY AnD vo away he goes, hurrying, searching, Bu searching for what? Be very sure that this mun, och ae Ihave depicted bitn—thissolay, - gifted with sa active. imagination, ceascesly journeying actors the gett human deseer—hus an aim lfter than tha of « mere fry a aim ‘more general something other than the fugitive pleasure of cteum- stance, He is looking for thar quality which you mast allow me eo call ‘modernity’; for I know of no better word to express the ie Ihave fn ming. He makes it his business to exeact from fashion whatever clement ie may contain of poet within histoey, to distil the etcenal fom the transitory. Casting an eye over our exhibitions of modern pices, we are sirock by a general tendeney among actite to dees all thet subjets in the gamentsof the pis Almost al of them make use of ‘the costumes and farnishings ofthe Renaissance, jot David employed ‘he costumes and fornishings of Rome, Thee is however this diference, that David, by choosing subjects which were specifically Gresk oF Roman, had no alternative bee to dees them in antique garb, whereas ‘he painters of today, though choosing subjects of «general astute sad applicable to all ages nevertheless peice in rigging them out in the ‘Ty Pair of Mode Lie » sosrames of the Middle Ages, the Renaissance or the Osiea! ‘This is ‘early symptomatic of a pret degree of zines; fori is much eaiet to decide outright that everything about the path of an age is absoutely ‘gly dan wo devote onesel to the tatk of disiling from fete myetétious element of beauty that it may contain, however light or minimal that cement may be. By ‘moderity’ I mean the ephemesa, the fugitive the contingent, the half of art whose other half isthe eternal and the finmucable, Every old master has had hi own modernity; the gzeat majority of fine poraaits that have come down to us ftom formet genertions are lthed in the eostume oftheir own petiod, They ate pevfectly harmonious, becruseevesything—From casime and coifuce down (0 gesture, glance and smile (foreach age ius « deportuent, a ‘lance and a smile of its ows)—everything, I sty, combines to form & Campletcly viable whole, ‘This transitory, fogitve element, whose rmetamoiphoses are s0 spi, mst on ao account be despised or di ‘pensed with. By neglecting it, you canaoe fl to eb into the abyss ‘of an abstract and indeterminate beauty, ke that ofthe fist wean ‘efor the fll of man, If forthe necetaty al inevitable costume ofthe ‘ge you subsite acothes, you willbe guilty of « misttanslation only to be excused in the ete of t masquerade peeserbed by fashion. (Thus, the gorkesses, nymphs and sultans ofthe eighteenth exntary ae stil cenvincing poses, morally speaking.) ‘Hei doubiess an excalleat thing to study the old masters cide ~~ ‘eam how to paint but it can be no more than a waste of labour if your aim fs to understand the special nature of present-day eau. he dlaperesof Rubens o= Veronese will iano way tach yo how to depict mcr antiga, satin & a rine ox any other fabric of rmodenn ranutacse, ‘which we sce supported and huag over exnoline or starched muslin [etticot, In texture and weave thete ate quite diferent fzom the farce ‘of ancient Venice or those worn athe cour of Catherine, Futhetmore ‘the cut of skit and bodies by a0 means sina; the pens ate atanged according 10 a new system, Vialy the gettare and the bearing of the ‘woman of today give to her des life and 2 apecial character which are ‘oe those ofthe woman ofthe pas. Tn shor, for any‘madeniy’ to be ‘worthy of one day taking is place as “antiquity, ie necessary for the siysterious beauty which human life acidentally pats into it to be "The nar develope In the ah etn the Sao 4 ‘Vb Raitrof Modern Life tiled fkom i And ft isto thle task that Monsieur G. patculasly shoseshimsele, ‘have remarked at every age bad ie own git, lane and sere, ‘Tae eases way to veiy this proposition would be to betake onese to some vst portatpley, sacha the one at Vets, Bait has an ven wider applcstion. With that unity which we call» Neos the ‘axons professions and clases andthe passing cents all introduce ‘ley, not only in menses and gesture, but even inthe actual form of ‘the face, esti type ofnose, mouth and brow wil be found o domi stethe scene fora petod whose extet Thavenolatetion of attempting to determine here, but which could ceraaly be ubjected toa fen CF cileltca, Considetions of this Kind ae nt silently familiar fo ‘ut portnltpainters the gree filing of NE. Inges, in parva, toe hn sees to impose pon every type of ster more oles cers ‘by which I mean ainoe ot les deapoti, form of pefeaion, bortowed ‘om the repertory ofclaieal ies, ‘In a mutter of this kind He would be easy, and indeed legitinae, to ‘gue a rir. The pespetsalcotzelaton between whats elled the ‘oul snd whte lle the ‘body’ explains quite cely how everything that 1s ‘materi’, ot in other words an emanation ofthe spisits!, metors, 4nd will always miso, the spttual realy ftom which ie detives, Ir faiawaking, sezupolon, but feebly imaginative att has to pat ovstesen of today and ees his “spcncon’ (ft i the accepted word) ‘om a cotstn by Tian or Raphael itis only to ily that he ll Droduce a work which ie filse, ambiguous and obecace. From he sly Of a masterpiece ofthat time and type fe wl arn nothing of the beating, che glans, he se othe living ‘yl’ of oe of thveeetutes whom the dsionty of fashion has successively classed wader the couse or plafl tts of ‘done’, ‘kept women, dae, o bar ‘The same etc may be sty applied tothe study of the san and the dandy, and even to tat of nina, whether horses or dogs, in shor, of everyting that goes to make wp the exer life of tisage, ‘Woeto him who studies the antique For anything els but pure a Jose and general method By steping himself too thoroughly ini be will lose all memory ofthe presen; he wil renounce the rights aed pivi= legesofited by crcumstance—for almost ll ou oxginality comes Fem the sea which Time imprint on ou sensutions. I need dy ell ou ‘that could easly support my assertions with reference to many abjpes The Painter of Moder Life ay ‘other than women, What would you say, for exmpley af matine- painter (Lam delibersely going to exteme) who, having t deplt the Sober and clegantberuty of « modern veese,wese to tie out his eyes bY -erudyng the overcharge involved forms and the monumental poop ‘of galleon, of the complicated rigging ofthe vxteenth century? Again, ‘what would you think if you had commissioned an ait to pint the ~ port of thoroughbred, fed in the annals ofthe ttf and he then proceeded to confine his researches to the Museums and contated himself with study ofthe hore in te alles ofthe par, n Van Dek, sganne ox Van der Meslen? ‘Under the direction of ature and the tyzenay of cicumstance, ‘Monsieur G. bas pursued an sltogether diferent path, He began by being an observer of le, and only Iter et himself the as of sequling the means of expressing it, This has resulted inating iginalisy in ‘which any reoining vestiges of batharousness or mabe appest only a8 new proofs of his fitalnes to the imprestion tceived, or 48 & ‘actering compliment paid to truth, For most of w, aod patil for men of aftr, for whom aztue has no existence tave by reference (0 tli the fantastic reality of life has become singulaldllute, Monsieur G. neve ceases to dene ein his eyes and his memory ate full of i <= VoMNEMONIC. ART. ‘Tux woud ‘butbarousnes’, which may seem to have slipped sather too ‘often fom my pea, mighe perhaps lead some few people to suppose that we are here concerned with defective drawings, oly to be tanfoemed nto pee things with the aid of che spectators imagination. ‘hit ‘would be to misundesstind me, What T rein is an inevitable, synths, childlike barbarousness, which is ofen sil to be dicemed in a pet- ‘ected ast, such as that of Mexico, Fgypt or Niaeveh, and which comer ‘from a need to see things broadly and to coasides them above all ia thee tua efit. Te is by no means out of place hete to emind my readers that all those painters whose vision i sytheszing and abbrev ative have been accused of barbatousnest—A, Corot, for example, ‘whose inital concer is alvays to trace the principal lines ofa lance —its bony structure, ts physiognomy, vo to spetk, Likewise Monseus 6 Tie Pair of Nod Life {hey have jut completed along zouteach along th snd of Loin by Tete cr Whac owt kane on ie of Lom old reste charac cre incor fal tie ees faces ee sun, the na the wind Hee we ci ht fli of expression which crated by sofcing and obedens endured in common ae seugecd Se ouzige which hasbeen ptt the test by logy ear EDT on {ht lookout fr this nd of bemty, and whe Beavcat found i, he would have been singaisly stack by IX, THE DANDY x= man who is tich and idle, and who, even if bla, has no oiter Aappines; the'man who has ‘Ege Mechs ecnd Cn Sonetrench Cate ey jolt Nose ly Dc og wan Cae Prgms may boner se nae 9» Guvst A Turi Wow wh Part en ad water-cou.Pah Pe Pa, Ti Panter of Modern Life s wo, ke M. de Casting! have made a specialty of lovestoses, have ‘nies immediate aad very proper cate to endow theie characters wich Dxcnes ample enoagh to Pay without thlnklag for al this exes and they have gone onto dispense shemof ay profession, These {ngs have no other ean bt to caltvate tho iden of beset in ait peso, say eel pusions, oS and to tink, They thus possess {vas abundance both of ime and money, without which fantey, duced oa state of pissing revere, ca hadly be tenlated ito action {ede sud but only toot thet without the money andthe eve, love leinespable of ting above a grocer ogy o the accomplishment ofa conjugal duty, Instead of being a pasionute ot poeta cpt, it comes a repulsive uly. If speak of love in connection with dandyem, this because lore fs theaataleecpatonof the ile, The dandy does aa, however, ead Tove a a special rge to be aimed at. IT have spoktn of money, this Js beomse money is indispensible to those who tnake s cult of theie ‘motions; but the dandy does not aspte to money as to somthing ‘ered this crude pasion he lerves fo valgae morals; he would be ‘prety content wit a limitess cede athe bank. Dandy doesnot fen coesst, a8 many choughlem people seem to hire, a an in moderate taste forthe toile and meri elegance, For the pesiet dindy thse things ae no more than sybols of aristocratic supsion- ty of mind, Forhermore to his eyes which ae in lve with dition above al things, the pefection of his tole wll consi in sbvclure Simply? which isthe bee way, in ft of achving the dese ‘gaaity, What then i his passion, whic, becoming doctin, has pro- uczd sucha school of tyrants? what ths unoficlal intation which Js formed so haughty and exlasive see? I ist and foremot the ming eed to czat for oneself peonal ogni, bounded only by the limits of che proprive. Is & kindof cult of che self which can serertheless survive the puri ofa happiness tobe found in someone dlae—in woman for examples which ca even srvive ll that goes yin “uate ad pu aioe forte wk of Ape de Cae eyo~ seed loess ty sbng wh CoatcndPeal Nola eke Aber inhi ale Dn moaned en bteeer compe). | 1GGt enna tr of Cosy ass of Bose clang ara ‘pls one we Semel wih stew aie gt ef csrn ea bead tone. Anata nc has i glares bs oa Si erat nee as ‘Dy Painter of Modern Life the name of iasions. Ie is the joy of astonishing other, and the proud satisfaction of sever oneself being abeonished. A dandy maybe Ds, he ‘nay even safer; bat in thin cae, he wil ailelike the Sparen boy onder the fons tooth. “rca be seen how, a cetan points, dandyism borders upon the spiritual and stole, Buta dandy can aever bea vueacan, Fhe commited {Ferine, it would perhaps aoe ruin him; but i hie eime rerlted from fome evil ease, his dngrace would be erepasbe, Lee not the render be seandlized by thie gravity ami the fvolour lee him rather cea that there je a geundeur in all fllic, an enesgy in all exces. A weed | kindof sical, ie muse be admitied! For those who ase at once ite iets and its vit all the compliemed material eandtion to which they submit, from an impeccable tilt at every hour ofthe day andthe sight ro the mose perilous feats ofthe sporting eld, ae no maze thanx system of gymastce designed to fof dhe wil and discipline the soul, 1a rath Twas not altogether wrong to consider dandyism a8 a kind of religion, The strictest monastic rl, the inexomble order ofthe Assassins according to which che penalty for dzunkenness was enforced suicide, ‘were no more despocc, and no more obeyed, than this doctrine of elegance 2nd originality, which also imposes upon its humble and smbitious disples—men offen fell of Sts, patson, coarsge ad te steained enesgy-the tere forma Poin arcade! ‘Whether these men are nicknamed exquisite, reyes, beau, lons ‘or dandies, they all pring from the same wom they all partake of the same characteristic quality of opposition and eevol; they are all epre- Sentatves oF what net in barsan pride, oF ha compelling need ls only too rare todsy, of combating and destroying tivality. Ie is from this thatthe dandies obtain that haughty exlesirenses, provociive ia its very coldness. Dandyisen appents above all in periods of teaaon, when denocray is aot yet all-powerful, and aritocacy is only just Deginaing to totter and fl. Tn the disorder of these times, certain men who aze socially, politely and financially il tease, ba az ll ich fa native enezgy, may conceive the idx of establishing a new kind of aristocracy, ll he more dial to shar asi wll be base on the most precious, the most enduting fueutes, and on the divine gifts which ‘work and money are ale to bestow, Dandiiam i the lst spa of hesoism ami decedence; and the type of dandy. discovered by our taaveller in North America does aothing to invalidate this ide for ‘The Painter of Moda Life ea ow can we be eae cat thoge tibes which we eal ‘savage may notin Tat be the dgtte mania of grea extinct civilizations? Dandyism i a onset the declining daystr, itis losious, without hose and fll of Jaclancholy. Bat alas, the sing tide of democzaey, which invades and evel everything, i daly overwhelming thse late representatives of ynuman pride and pouting foods of oblivion upan the footprints of these stupendous wartioss, Dandie are becoming sure and sater in for couatey, wheneas amongst ous neighbours ia Haglasd the socal sn and the constitution (the eve coasttetion, I meant the conrti= tution which expresses itself dough behavious) wil for a long time se alow a place forthe descendants of Sheiden, Bratnmel sad Byron, irantad 2 lest that men aze born who are wos of such a heritage. ‘What eo the reader may have seemed a digression is aot so in truth ‘The moral selections and considerations. provoked by an ati's deawings are in many cats the best trmslation of them thaeertcsm ‘om make; such suggestions form pare of an underlying idea which begins to emerge a8 they ae see out one ater the other. Tt is hardly aecesary to say that when Monsieur G. sketches one of his dandes on the paper, he never fils to give him his histori pertonality—his Iegenduy personality, Twould venture to say, we were not speaking ‘of the preent time ind of things geneclly considered a8 feivlous, [Nothing is missed his ligheness of ep, his socal aplomb, ee siplicey fa his air of authorey, his way of weasing a coat or siding a horse, fs ody atiades which ae always rlaued but heway an jer energy, $0 that wien your ee lights upon one of those privileged beings in whom the gracefl and the formidable are so mysteriously blended, you think: "rich man perhaps, but more likely an out-of-work Hercules? “The distinguishing characteristic of the dandy’ beauty. consists shove all in an ar of coldness which comes fom an unsakeable deter ‘mination not ¢o be moved; you might cll ta Intent fire which hits at Jsef, snd which ena, bat chooses not to burst neo Game, Tei this

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