of dates and titles, is at best a compendium for convenient reference, and consequently quite unreadable as a book. Professor Dowden, on the other hand, has conquered the dry-as-dust problem with admirable skill, and the charm of his diction and the easy sequence of his ideas lead the reader insensibly on to the close of a delightful volume. Nor is the book lacking in instructive value of a highly reliable kind, for, in addition to an intimate knowledge of French criticism. Professor Dowden is evidently familiar at first hand with all the more important works of which he treats, and not infrequently proffers fertile suggestions upon debated questions.
Having avowed, therefore, a genuine admiration of Professor Dowden's book, will it be thought a graceless task if, with the proverbial perversity of critics, I endeavor to point out here and there questions of importance that may seem to have merited more attention than the author was perhaps able to afford to them within his restricted space?
The mediæval portion of Professor Dowden's book is valuable not for its originality, but rather as the reflection of advanced modern criticism in France. Therefore, in this brief review the mediæval period may be neglected, and turning to the second book, which deals with the sixteenth century, the first writer of capital importance whom we encounter is Clément Marot. The author has justly indicated the decrepit conditions of poetry in Marot's youth in the degenerate hands of the Rhétoriqueurs, and also the powerful attraction which the allegorizing mania exercised on the poet's early work. His later manner is justly emphasized, and his prowess in the lighter familiar forms of verse; but it is only by inference that we apprehend the comparative neglect of his work until the later classical reaction restored him to favor. Professor Dowden, indeed, throughout his book has hardly conveyed a proper idea of the reactionary shocks by which French literature has invariably advanced. Thus the Pléiade, in the enthusiasm of their rupture with middle-age traditions, were blind to the Renaissance elements in Marot's work, and seeking as they did to elevate poetry to nobler themes and a nobler manner, his easy familiar grace was distasteful to them.
Rabelais, of course, is another "colossus on a cherry stone," and the purport of his message is epitomized in a few luminous sentences. The elements of contrast in the man, and his full-blooded joy in living, which was the sign-manual of the Renaissance upon him, are indicated as follows: "Below his laughter lay wisdom; below his orgy of grossness lay a noble ideality; below the extravagances of his imagination lay the equilibrium of a spirit sane and strong. The life that was in him was so abounding and exultant that it broke all dikes and dams; and laughter for him needed no justification, it was a
