the understanding of his character; his carefully-tended curls were a due object of admiration; he enjoyed driving about Paris, a regal figure behind two small Shetland ponies. No hours were held lost which had been spent in sitting for a portrait or a medallion, or even in posing before Nadar for one of his many photographs. The same type of personal interest is shown in his self-expression in literature, in his choice of his own personality (quite in the usual Romantic fashion) as prototype for d'Albert or Albertus. As Gérard wrote:

'Est-il plus modeste de se peindre dans un roman sous le nom de Lélio, d'Octave ou d'Arthur ou de trahir ses plus intimes émotions dans un volume de poésies? Qu'on nous pardonne ces élans de personnalité à nous qui vivons sous le regard de tous, et qui, glorieux ou perdus, ne pouvons plus atteindre au bénéfice de l'obscurité!" (34)

Gautier was not lacking in personal ambition, although its specific form underwent various transformations in the course of his life; he felt superiority keenly and was readily stimulated to elation.

Still another strong tendency to emotion in the life of the author is that to fear. He manifested this positively in his desire to escape certain things, negatively in certain inhibitions to action, and its influence in the upbuilding of his major sentiments is of importance. In daily events, it was shown particularly in Gautier's superstitions and in his obsession with death. The memoirs of Judith Gautier and of Bergerat, of Feydeau and other friends, are full of references to the master's superstitions, which took most varied forms and which in many instances noticeably modified his actions. In his correspondence there are several letters which refer to his folly in braving the bad omens which accompanied his setting sail for Egypt; this temerity was the cause of the fracture of his arm; he should, in accordance with his usual practice, have refrained from the ill-augured action, for, by disregarding his fear of the warning, he only added discomfort and danger to the frustration of his desires: in one way or another, he was effectively prevented from seeing Egypt. Fear, again, was manifested in Gautier's constant preoccupation with death. A variety of causes entered into his feelings here, but the element of fear was always present, and the thought of an

inevitable end was an obsession with him from the time of the Comédie de la Mort to the date of his last writings (35).

In marked contrast to the strength of these emotions stands the weakness of others. Gautier was in general moved only with. difficulty to anger and disgust. Indeed, there is very little evidence of angry responses to the successive situations of his life, either in passionate or in cold and vengeful form (36). It is true. that there are, in the writings of his early years, certain attacks on critics and journalists, on utilitarianism in literature, etc., which seem to denote a deep feeling on the part of the author. It is a question, however, as to whether the cause of this reaction is not a profound desire to support certain positive doctrines, rather than a true dislike of the various abuses as such, whether tender and protective feelings do not play a larger part in the emotional response than does anger. In the Collier des jours, and again in the Second rang du collier, Judith Gautier writes of her father's dislike for all acrimonious discussion and of his habit of giving evasive answers instead of the direct reply which would express his displeasure (37); he showed no anger. When Mohsin wished to marry her, Gautier was irritated by his attentions to Judith, and "faillit se fâcher tout à fait. Cependant, avant le départ pour la Perse, il accueillit aimablement la visite d'adieu (38). He received with constant courtesy the many importunate callers who came to claim aid or protection from him, and the letters by which he answered many requests for favours show no trace of anger at their frequency and magnitude (39). Gautier's correspondence shows disappointment quite frequently he suffers keenly at a revelation of misplaced interest or trust-but he is seldom angry with those who put obstacles in his path. Here again tender emotion, rather than anger, seems at the foundation of his reactions. The case is similar for disgust. The author rarely expresses a feeling of repulsion, and, indeed, his tolerance is marked. He writes occasionally of an aversion to certain colour-combinations, of distress at the English sulphur-yellow, etc., but even here it is perhaps not a true disgust at the sight which he expresses, but rather his response to certain

unpleasant visual stimuli. The two basic emotions of anger and disgust, with their control of forceful action, seem largely absent from Gautier's disposition.

Finally, in a review of Théophile Gautier's primary emotional tendencies, curiosity and creativeness must be considered. In regard to the latter, it is evident from the relatively meager information at hand as to the author's early childhood that he had a rather strong instinct for construction. There are accounts of his interest in theatre-building, in the making and management of marionettes; he tells of his attempts to make boats and to reconstruct for himself the various pieces of rigging of which the very names had fascinated him (40). Most indicative of all, his two choices of vocation were constructive professions—he was to be either painter or writer. It is necessary, in the case of such 2 person, to presume a certain strength in the impulse to creation. On the other hand, this emotional tendency, in whatever strength present, is so closely bound up with actual production that it is difficult, and perhaps fruitless, to attempt to follow its manifestations in the life of Gautier before his work and the sentiments determining it are considered. It is enough for the present to have noted that the author's childhood presents evidence for a moderately keen emotional response of this particular kind.

The emotion of curiosity is in a somewhat different category. It, like that of productivity, has great bearing on Gautier's literary composition, but unlike this other feeling, it is manifested on various occasions which do not bear directly on his work, and in these instances it is seen as one of his strong impulses. Early in his life, Gautier read indiscriminately and voraciously; he was always interested in word-games, in the reading of the dictionary, in more or less unorganized research. He enjoyed traveling: the sight of the new, as well as of the beautiful, had certain attractions; various new sensations experienced under the influence of opium or of haschich interested him. It is true that the author showed little desire of learning for its own sake, and that he could be absorbed principally in investigations which favoured other interests. Nevertheless, curiosity is characteristic of his

disposition, and to its presence there certain traits of his creative imagination are due.

"J'admire comment un homme dont l'esprit est un immense kaleidoscope peut encore s'intéresser à des œuvres relativement inférieures, garder une inépuisable curiosité, sans jamais laisser s'émousser son désir. Le tableau, la statue, l'émail, le pli, la couleur, le son le fascinent, et il y a une espèce de curiosité enfantine, un appétit qui se trahit dans le geste involontaire de cette main qui se tend vers vous pour saisir le livre que vous laissez à son approche . . ."(41).

Théophile Gautier's primary emotions, their appearance as constituents of various minor sentiments, their relative force, have been indicated. There remains for consideration the part which they play in the formation of his major sentiments. To determine just what are these main tendencies to action in the author's life, and what are their inter-relations and hierarchy, is to make plain a part of his individual creative imagination. In the study of his emotions, Gautier's occasional sentiments of love for certain individuals, of pride in personal appearance, of respect for various beliefs, have been touched upon. These, while indicative of the man, are but a small part of his organization: the chief characteristic groups of emotional tendencies organized about certain objects may be designated as his sentiment of self-regard, his philosophical sentiment, and his æsthetic sentiment. These, in turn, are formed from various sentiments of less magnitude and, into all, the author's emotional tendencies enter in different proportions.

The sentiment of self-regard in the organization of which selffeeling, curiosity, sexual and tender emotions, and the feeling of creativeness form the main constituents, which is characterized, moreover, by a noticeable absence of anger, has four principal manifestations with bearing on Gautier's literary production: a desire for protection, a desire for glory and for originality, a desire for creation, and a desire for self-perpetuation. These last three expressions, although closely linked, are possible of differentiation. In general they favour his work, while the first, on the contrary, has a negative influence upon it which is not without its importance. In so far as Gautier's desire for protection has an effect on the organization of his life and work, it is evident especially in

his family relationships. His sisters, Ernesta Grisi, his children, are a part of him, are in some sense his possessions; that which hurts them hurts him: their loss, their trouble, is also his; to protect himself he must see that they are protected and cared for. All through his life this preoccupation recurs. It is at the basis of his many journalistic activities: he must in some way be able to feed and clothe his dependents; any luxuries he can give them are in a large measure self-enhancements. He is acting in accordance with his sentiment of self-regard when he works for their good or pleasure.

With their aristocratic

The desire for glory is, indeed, of minor importance when set beside this fundamental manifestation of the sentiment. Its presence, nevertheless, can be distinguished among Gautier's characteristics. In his early poetry he meditates upon glory: he wishes it, and yet he doubts whether it be really worth working for; it is fleeting at best, and it may be that its desirability is simply a tradition among men. His Romantic comrades, like all artists, appreciate it in a certain measure. tendencies, however, they scorn it in so far as it is based on popular opinion, and to Gautier also it is then no longer true selfenhancement. He revolts in the Jeunes-France against the notoriety which the extravagances of the school bring upon it. However, he sometimes envies the popular hero who receives the applause and approbation of his generation. Of Romero, the toreador, he writes:

"Alors, il s'éleva des tendidos, des galeries, des balcons, des entablements, des toits, un hourra d'acclamation, immense, universel, prodigieux: une seule voix jaillissant de trente mille poitrines! Quel torrent de volupté doit inonder le cœur d'un homme qui se sent applaudir ainsi! . . .

“Quelle sensation puissante devait étreindre en ce moment l'âme du héros, objet du tant d'enthousiasme! Ah! de tels applaudissements ne seraient pas payés trop cher au prix de vingt existences ..."(42).

To this desire for glory Gautier's desire for originality is closely connected. The young author, supporter of Hernani in his red waistcoat, member of the circle of the rue du Doyenné, whose delight was to terrify the bourgeois, who was a propagandist of the frénétique and the macabre in much of his early writing, did not scorn to satisfy his self-regarding sentiment by acquiring a