FRANCOIS COPPEE

Francois Edouard Joachim Coppee was born in Paris, January 12, 1842.  His father was a minor ‘employe’ in the French War Office; and, as the family consisted of six the parents, three daughters, and a son (the subject of this essay)—­the early years of the poet were not spent in great luxury.  After the father’s death, the young man himself entered the governmental office with its monotonous work.  In the evening he studied hard at St. Genevieve Library.  He made rhymes, had them even printed (Le Reliquaire, 1866); but the public remained indifferent until 1869, when his comedy in verse, ‘Le Passant’, appeared.  From this period dates the reputation of Coppee—­he woke up one morning a “celebrated man.”

Like many of his countrymen, he is a poet, a dramatist, a novelist, and a writer of fiction.  He was elected to the French Academy in 1884.  Smooth shaven, of placid figure, with pensive eyes, the hair brushed back regularly, the head of an artist, Coppee can be seen any day looking over the display of the Parisian secondhand booksellers on the Quai Malaquais; at home on the writing-desk, a page of carefully prepared manuscript, yet sometimes covered by cigarette-ashes; upon the wall, sketches by Jules Lefebvre and Jules Breton; a little in the distance, the gaunt form of his attentive sister and companion, Annette, occupied with household cares, ever fearful of disturbing him.  Within this tranquil domicile can be heard the noise of the Parisian faubourg with its thousand different dins; the bustle of the street; the clatter of a factory; the voice of the workshop; the cries of the pedlers intermingled with the chimes of the bells of a near-by convent-a confusing buzzing noise, which the author, however, seems to enjoy; for Coppee is Parisian by birth, Parisian by education, a Parisian of the Parisians.

If as a poet we contemplate him, Coppee belongs to the group commonly called “Parnassiens”—­not the Romantic School, the sentimental lyric effusion of Lamartine, Hugo, or De Musset!  When the poetical lute was laid aside by the triad of 1830, it was taken up by men of quite different stamp, of even opposed tendencies.  Observation of exterior matters was now greatly adhered to in poetry; it became especially descriptive and scientific; the aim of every poet was now to render most exactly, even minutely, the impressions received, or faithfully to translate into artistic language a thesis of philosophy, a discovery of science.  With such a poetical doctrine, you will easily understand the importance which the “naturalistic form” henceforth assumed.

Coppee, however, is not only a maker of verses, he is an artist and a poet.  Every poem seems to have sprung from a genuine inspiration.  When he sings, it is because he has something to sing about, and the result is that his poetry is nearly always interesting.  Moreover, he respects the limits of his art; for while his friend and contemporary, M. Sully-Prudhomme, goes astray habitually into philosophical speculation, and his immortal senior, Victor Hugo, often declaims, if one may venture to say so, in a manner which is tedious, Coppee sticks rigorously to what may be called the proper regions of poetry.