“Les Piaoulats d’un Reipetit” is one of the rare productions of the written literature of Auvergne, so rich in antique legends and original popular songs.  The author, at the Archaeological Concourse of Beziers, in 1838, obtained deserved encomium for his “Ode to Riquet,” the creator of the great Southern French Canal, linking the Atlantic and Mediterranean.  He has written in the Romanic dialect in use in Auvergne, which, if it lacks the finish and polish of the Provencal, is not wanting in grace and ingenuousness.  It is characterized by a rude energy, a sombre harmony, that tallies well with the wild and rural character of the country.

At first sight, the dialect seems to have a marked affinity with that made use of by Jasmin in his “Papillotos.”  It is, however, easily distinguishable by the frequent use of peculiar gutturals, the almost constant change of a into o, and a greater number of radicals of Celtic origin.  In a recent work on Auvergne, it is argued that these Celtic words form the basis of the language.  The history of the region itself would tend to corroborate this theory.

Sheltered by rocky mountain-ranges, the Domes, the Dores, and Cantal, (Mons Celtorum) the Arverni obstinately repulsed every attempt towards the naturalization of the Roman tongue, and battled for six centuries with the same energy displayed by them, when, under Vercingetorix, they fought for their nationality and the independence of Gaul against Caesar.  The Latin could exercise, therefore, but slight influence on the idiom of these regions, which has preserved since then in its vocabulary, and even in syntactical forms, a marked relationship with the Celtic, which, according to Sidonius Apollinaris, was still spoken there in the sixth century.

The actual dialect of Auvergne is peculiarly adapted to recitals of a legendary nature, owing to its vivacity of articulation, coupled with a kind of gloom in the quality of the sounds. Naif and touching in popular song and Christmas carol, it is not divested of a certain grandeur for subjects deserving of a higher style.

The works of M. Veyre comprise the various styles of shorter poems.  His “Ode to Riquet,” and that in honor of Gerbert, (Pope Silvester II., a native of Auvergne,) show what the language can do in the hands of a master.  In the latter he describes the career of that predestined child whom legend accompanied from his cradle to the grave.

“La Fiero de St. Urbo,” curious picture of the manners of the country, is written in that ironical and gay vein of which the older French writers possessed the secret; but that is now fast dying away.  “Repopiado” and “Lou Boun Sens del Payson” show that the language of Auvergne is no less adapted to moral teachings than to the touching inspirations and free jovial songs of the country Muse.

The work of M. Veyre is the first tending to give his native province a share in the literary revival of the Romanic idioms, which is so universally felt in Southern France, and has of late produced so much.