The only living author whose name is likely to descend to posterity is that of Chateaubriand, who, although he has never been a writer of poetry, may be considered the greatest poet in France, as there is so much of imagination and of soul in his prose, so much of sublimity in his ideas, that the works in verse of his contemporaries appear insipid when compared to the wild flights of genius which ever emerge from his pen, yet when they are closely studied, and deeply sounded for their solid worth, it will be found that they consist merely of beautiful imagery, elegantly turned phrases, a sort of flash of sentiment, which catches the ear, but appeals not to the understanding, a gorgeous superstructure, as it were, without a firm foundation for its basis. As for example, in his preface to Attila, alluding to Napoleon, he observes “Qu’il etait envoye par la Providence, comme une signe de reconciliation quand elle etait lasse de punir.” Which may be rendered thus: that Napoleon was sent upon earth by Providence as a sign of reconciliation, when she was fatigued with punishing; this is certainly very pretty, but I will appeal to common sense, whether there was aught of fact to support such an assertion? Even those who were the most enthusiastic admirers of the martial genius of Bonaparte, could not participate in the fulsome compliment paid to their hero by M. Chateaubriand; but when strictly scrutinized, all his works will generally be found of the same tissue; yet, as there is so often a wild grandeur in his conceptions and in his mode of expressing them, whilst they are arrayed in all the grace and beauty which language can bestow, his volumes will always find a place in every well-assorted library, when probably those of most of the other French authors of the present period will be consigned to oblivion, excepting such as have written upon history, which will always maintain their ground, as they are in a degree works of reference.