HKB
be classed among the Uneducated Poets. But what poet is not uneducated at the beginning of his career? The essential education of the poet is not taught in the schools.
The lowly man, against whom the asperities of his lot have closed the doors of worldly academies, may nevertheless have some special vocation for the poetic life. Academies cannot shut him out from the odour of the violet or the song of the nightingale. He hears the lark's song filling the heavens, as the happy bird fans the milk-white cloud with its wings. He listens to the purling of the brook, the bleating of the lamb, the song of the milkmaid, and the joyous cry of the reaper. Thus his mind is daily fed with the choicest influences of nature. He cannot but appreciate the joy, the glory, the unconscious delight of living. "The beautiful is master of a star." This feeling of beauty is the nurse of civilisation and true refinement. Have we not our Burns, who
"in glory and in joy Followed his plough along the mountain side;"
Clare, the peasant boy; Bloomfield, the farmer's lad; Tannahill, the weaver; Allan Ramsay, the peruke-maker; Cooper, the shoemaker; and Critchley Prince, the factory-worker; but greater than these was Shakespeare,--though all were of humble origin.
France too has had its uneducated poets. Though the ancient song-writers of France were noble; Henry IV., author of Charmante Gabrielle; Thibault, Count of Champagne; Lusignan, Count de la Marche; Raval, Blondel, and Basselin de la Vive, whose songs were as joyous as the juice of his grapes; yet some of the best French poets of modem times have been of humble origin--Marmontel, Moliere, Rousseau, and Beranger. There were also Reboul, the baker; Hibley, the working-tailor; Gonzetta, the shoemaker; Durand, the joiner; Marchand, the lacemaker; Voileau, the sail-maker;
Magu, the weaver; Poucy, the mason; Germiny, the cooper;{5} and finally, Jasmin the barber and hair dresser, who was not the least of the Uneducated Poets.
The first poem which Jasmin composed in the Gascon dialect was written in 1822, when he was only twenty-four years old. It was entitled La fidelitat Agenoso, which he subsequently altered to Me cal Mouri (Il me fait mourir), or "Let me die." It is a languishing romantic poem, after the manner of Florian, Jasmin's first master in poetry. It was printed at Agen in a quarto form, and sold for a franc. Jasmin did not attach his name to the poem, but only his initials.
Sainte-Beuve, in his notice of the poem, says, "It is a pretty, sentimental romance, showing that Jasmin possessed the brightness and sensibility of the Troubadours. As one may say, he had not yet quitted the guitar for the flageolet; and Marot, who spoke of his flageolet, had not, in the midst of his playful spirit, those tender accents which contrasted so well with his previous compositions. And did not Henry IV., in the midst of his Gascon gaieties and sallies, compose his sweet song of Charmante Gabrielle? Jasmin indeed is the poet who is nearest the region of Henry IV."{6} Me cal Mouri was set to music by Fourgons, and obtained great popularity in the south. It was known by heart, and sung everywhere; in Agen, Toulouse, and throughout Provence. It was not until the publication of the first volume of his poems that it was known to be the work of Jasmin.
Miss Louisa Stuart Costello, when making her pilgrimage in the South of France, relates that, in the course of her journey," A friend repeated to me two charming ballads picked up in Languedoc, where there is a variety in the patois. I cannot resist giving them here, that my readers may compare the difference of dialect. I wrote them clown, however, merely by ear, and am not aware that they have ever been printed. The mixture of French, Spanish, and Italian is very curious."{7}
As the words of Jasmin's romance were written down by Miss Costello from memory, they are not quite accurate; but her translation into English sufficiently renders the poet's meaning. The following is the first verse of Jasmin's poem in Gascon--