this constellation of poets more carefully you may find there a great number of minor stars.
The first note of this literary revolution was struck by Joachim du Bellay in a pamphlet written at the early age of twenty-four, which coming to us through three centuries seems of yesterday, so full is it of those delicate critical distinctions which are sometimes supposed peculiar to modern writers. The book has for its title La Deffense et Illustration de la Langue Françoyse; and its problem is how to illustrate or ennoble the French language, to give it lustre. We are accustomed to speak of the varied critical and creative movement of the fifteenth and sixteenth centuries as the Renaissance, and because we have a single name for it we may sometimes fancy that there was more unity in the thing itself than there really was. Even the Reformation, that other great movement of the fifteenth and sixteenth centuries, had far less unity, far less of combined action, than is at first sight supposed; and the Renaissance was infinitely less united, less conscious of combined action, than the Reformation. But if anywhere the Renaissance became conscious, as a German philosopher might say, if ever it was understood as a systematic movement by those who took part in it, it is in this little book of Joachim du Bellay's, which it is impossible to read without feeling
