For genius is of all stations and ranks of life.

He is but a hairdresser at Agen, and more than that, he wishes to remain so.

His ambition is to unite the razor to the poet's pen." At Paris the work was welcomed with applause, first by his poetic sponsor, Charles Nodier, in the Temps, where he congratulated Jasmin on using the Gascon patois, though still under the ban of literature.

"It is a veritable Saint Bartholomew of innocent and beautiful idioms, which can scarcely be employed even in the hours of recreation." He pronounced Jasmin to be a Gascon Beranger, and quoted several of his lines from the Charivari, but apologised for their translation into French, fearing that they might lose much of their rustic artlessness and soft harmony.
What was a still greater honour, Jasmin was reviewed by the first critic of France--Sainte-Beuve in the leading critical journal, the Revue des deux Mondes.

The article was afterwards republished in his Contemporary Portraits.{5} He there gives a general account of his poems; compares him with the English and Scotch poets of the working class; and contrasts him with Reboul, the baker of Nimes, who writes in classical French, after the manner of the 'Meditations of Lamartine.' He proceeds to give a brief account of Jasmin's life, taken from the Souvenirs, which he regards as a beautiful work, written with much artlessness and simplicity.
Various other reviews of Jasmin's poems appeared, in Agen, Bordeaux, Toulouse, and Paris, by men of literary mark--by Leonce de Lavergne, and De Mazude in the Revue des deux Mondes--by Charles Labitte, M.Ducuing, and M.de Pontmartin.