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Updated: June 20, 2025


"When he was convinced that he was going to die, he ordered a letter to be written to the superintendent of finances, asking for payment, which was due, of his pension. His son brought him the letter. 'Why, said he, 'did not you ask for payment of Boileau's pension too? We must not be made distinct.

"Which is the winning side?" "The Liberal newspapers have far more subscribers than the Royalist and Ministerial journals; still, though Canalis is for Church and King, and patronized by the Court and the clergy, he reaches other readers. Pshaw! sonnets date back to an epoch before Boileau's time," said Etienne, seeing Lucien's dismay at the prospect of choosing between two banners.

Arbuthnot," which seems to be derived in its first design from Boileau's Address a son Esprit, was published in January, 1735, about a month before the death of him to whom it is inscribed. It is to be regretted that either honour or pleasure should have been missed by Arbuthnot, a man estimable for his learning, amiable for his life, and venerable for his piety.

Nor was Boileau's contempt of modern Latin either injudicious or peevish. He thought, indeed, that no poem of the first order would ever be written in a dead language. And did he think amiss? Has not the experience of centuries confirmed his opinion? Boileau also thought it probable that, in the best modern Latin, a writer of the Augustan age would have detected ludicrous improprieties.

From all this we may infer, that the inclinations of the French public, when they forget the duties they have imbibed from Boileau's Art of Poetry, are not quite so hostile to the dramatic liberties of other nations as might be supposed, and that the old and narrow system is chiefly upheld by a superstitious attachment to traditional opinions.

One rubs his eyes to find Dryden lavishly praised, Spenser excused or patronized, while Shakespeare is not even mentioned. But Addison was writing under Boileau's "classic" rules; and the poet, like the age, was perhaps too artificial to appreciate natural genius.

In attempting to revitalize the materials and methods of the romances Mrs. Haywood was but following the lead of the French romancières, who had successfully invaded the field of prose fiction when the passing of the précieuse fashion and Boileau's influential ridicule had discredited the romance in the eyes of writers with classical predilections. Mme de La Fayette far outshines her rivals, but a host of obscure women, headed by Hortense Desjardins, better known as Mme de Villedieu, hastened to supply the popular demand for romantic stories. In drawing their subjects from the histories of more modern courts than those of Rome, Greece, or Egypt they endeavored to make their "historical" romances of passion more lifelike than the heroic romances, and while they avoided the extravagances, they also shunned the voluminousness of the romans

He heard McTrigger tell how Marette had searched for him those days when he was lost in fever at Andre Boileau's cabin, how she had given him up for dead, and how in those same days Laselle's brigade had floated down, and she had come north with it. Later he would marvel over these things, but now he listened, and his eyes turned toward the door. It was then that McTrigger drove something home.

The word love had been replaced by that of friendship, and to repair this slight fault of prosody, the extra syllable disappeared in a hiatus which would have made Boileau's blond wig stand on end. But the Sacred Heart has a system of versification of its own which, rather than allow the dangerous expression to be used, let ultra- modesty destroy poetry!

"The expression is Boileau's, Mademoiselle, in ridicule of the 'Sot de qualite, who prefers "'Le clinquant du Tasse a tout l'or de Virgile. "But for my part I have as little faith in the last as the first." "I do not know Latin, and have therefore not read Virgil," said Isaura. "Possibly," remarked Graham, "Monsieur does not know Italian, and has therefore not read Tasso."

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