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Updated: June 20, 2025
With his thick crop of black hair, his fleshy, high-colored, swarthy face, supported by a thick neck, he looked at first sight like one of Boileau's canons: but on a second glance there was that in the lines about the thick lips, in the dimple of the chin, in the turn of the square nostrils, with the broad irregular line of central cleavage, and, above all, in the eyes, with the steady light of an all-absorbing love that burned in them, which revealed the real character of the man the wisdom of the thinker, the strenuous melancholy of a spirit that discerns the horizon on either side, and sees clearly to the end of winding ways, turning the clear light of analysis upon the joys of fruition, known as yet in idea alone, and quick to turn from them in disgust.
He heard McTrigger tell how Marette had searched for him those days when he was lost in fever at André 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.
Molière was acknowledged to be the foremost of comic actors, but only Boileau was sure of his genius as a dramatist; and Boileau's colleagues in the French Academy never recognized Molière's superiority over all his immediate rivals.
Boileau's L'Art Poétique, 1673, inspired by Horace's Ars Poetica, was a treatise in verse upon the rules of correct composition, and it gave the law in criticism for over a century, not only in France, but in Germany and England. It gave English poetry a didactic turn and started the fashion of writing critical essays in riming couplets.
Haywood deserves to be remembered if only because she supplied the one element missing in Defoe's masterpieces. Each writer in his day was considered paramount in his or her particular field. Not included in Boileau's Works until 1713.
The French would as fain monopolize wit, as the wealth and power of Europe; but thanks to the arms and genius of Britain, they have attempted both the one and the other without success. Boileau's pretending not to know Dryden, to use the words of Milton, 'argued himself unknown. But perhaps a reason may be assigned, why the wits of France affected a contempt for Mr. Dryden, which is this.
On the tablet of the recess lay Voltaire's, Shakspeare's, Boileau's, and Rousseau's works complete; Volney's Ruins of Empires; Zimmerman, in the German language; Klopstock's Messiah; Kotzebue's novels; Schiller's play of the Robbers; Milton's Paradise Lost, an Italian edition, printed at Parma in 1810; several small pamphlets from the Greek press at Constantinople, much torn, but no English book of any description.
In front of all the public offices and national establishments, the tri-coloured flag is triumphantly displayed; and almost every person you meet wears in his hat the national cockade. The tumult which, ten or twelve years ago, rendered the streets of Paris so noisy, so dirty, and at the same time so dangerous, is now most sensibly diminished. Boileau's picture of them is no longer just.
MY DEAR FRIEND: Pray give the inclosed to our friend the Abbe; it is to congratulate him upon his 'Canonicat', which I am really very glad of, and I hope it will fatten him up to Boileau's 'Chanoine'; at present he is as meagre as an apostle or a prophet. By the way, has he ever introduced you to la Duchesse d'Aiguillon?
Yet to express "ce que tout le monde pense" which was Boileau's version of Horace's "propria communia dicere" is only part of the function of lyric poetry. To give the body of the time the form and pressure of individual feeling, of individual artistic mastery of the language of one's race and epoch; this, no less than the other, is the task and the opportunity of the lyric poet.
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