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assion or of a passing emotion; the strings of his lyre were not set vibrating by every breeze that blew. The personal emotion from which the lyric springs was with him subjected to the action of an intellectual solvent, was generalized and made almost impersonal before it was given form and expression. For this reason partly the bulk of his poetry is small, not exceeding the limits of one small volume. But there are few poems that one would be content to lose. One should read, besides the two given here, _Moïse, la Maison du Berger_ and _la Mort du loup_. De Vigny's influence on the poetry of the latter half of the century has been considerable.
Works: _Poèmes_, 1822; _Poèmes antiques et modernes_, 1826; _les Destinées_, 1864; in the Oeuvres complètes_, of which several editions have appeared, the _Poésies_ make one volume.
For reference : Sainte-Beuve, Portraits contemporains, vol. II; E. Caro, _Poètes et romanciers_, 1888 ; E. Faguet, _Études littéraires sur le dix-neuvième siècle_, 1887 ; F.Brunetière, _Évolution de la poésie lyrique_, vol. ii ; Dorison, Alfred de Vigny, poète philosophe, 1891 ; M. Paléologue, Alfred de Vigny, 1891.
86. LE COR. 1828. The story of the surprise of the rearguard of Charlemagne by the Moors and of the death of Roland (Orlando in the Italian poems) is told in the Chanson de Roland (end of the eleventh century), the finest of the old French heroic poems. 19. FRAZONA ; this name is not found on ordinary maps or in descriptions of this region. MARBORÉ, a mountain of the Pyrenees. 21. GAVES, name given in the Pyrenees to streams that descend from the mountains.
87. 11. RONCEVAUX, a Spanish village at the entrance to one of the passes of the Pyrenees. 14. OLIVIER, Oli- ver, like Roland and Turpin mentioned later, one of the twelve peers of Charlemagne, standard figures in the old French poems that deal with Charlemagne.
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