One would have thought Chénier was more moving than all Racine and all Corneille.
When Chénier lent his annotated “Malherbe,” the borrower spilt a bottle of ink over it.
Like Keats, Chénier was cut off when he had hardly more than given promise of what his achievement might have been.
Gérard condemns Chénier to death, but is melted by Madeleine's pleading, and rescinds the order for his execution.
The lines upon which the Romantic Movement was to develop had no connexion whatever with Chénier's exquisite art.