HE POETRY of William Wordsworth has generally been reregarded with indifference in France, even during the romantic period when French poets and critics were eagerly looking abroad for new literary models. In a review of Legouis' biography of Wordsworth, one of the few nineteenth-century studies of Wordsworth in French, the critic Joseph Texte mentioned the possibility of un irremediable divorce between le genie de Wordsworth et notre gout frangais: Nous aimons, avouons-le, a retrouver dans les vers d'un poete, l'echo de ses souffrances, du moins intellectuelles, et de ses malheurs, fussent-ils imaginaires.' Texte's polite distaste for what he calls Wordsworth's optimisme ardent echoes at the end of the nineteenth century Madame de Stael's prediction in 1800: A l'epoque ou nous vivons, la melancolie est la veritable inspiration du talent: qui ne se sent pas atteint par ce sentiment, ne peut pretendre a une grande gloire comme ecrivain; c'est a ce prix qu'elle est achetee.2 The comments of Madame de Stael and Texte, taken together, suggest the persistent bias in nineteenth-century France toward a poetry of personal suffering and melancholy. The belief of French poets and critics-particularly strong in the first decade of French romanticismthat poetry should be the confession of melancholy emotion has been traced to the influence of Rousseau and other preromantic prose writers like Bernardin de Saint-Pierre, Chateaubriand, and Madame de Stael. Margaret Gilman cites this influence to explain why the French romantics were so much less interested than their English contemporaries in creative imagination, so uninvolved in Wordsworth's chief poetic concern with the growth and operation of the poetic
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