Mist en l'esprit ses semences encloses,
Son nom des Dieux prist l'immortalité.'
That he is thus a characteristic specimen of the poetical taste of that age, is indeed Du Bellay's chief interest. But if his work is to have the highest sort of interest, if it is to do something more than satisfy curiosity, if it is to have an æsthetic as distinct from an historic value, it is not enough for a poet to have been the true child of his age, to have conformed to its æsthetic conditions, and by so conforming to have charmed and stimulated that age; it is necessary that there should be perceptible in his work something individual, inventive, unique, the impress there of the writer's own temper and personality. This impress M. Sainte-Beuve thought he found in the 'Antiquités de Rome' and the 'Regrets,' which he ranks as what has been called poésie intime, that intensely modern sort of poetry in which the writer has for his aim the portrayal of his own most intimate moods, to take the reader into his confidence. That generation had other instances of this intimacy of sentiment: Montaigne's Essays are full of it, the carvings of the church of Brou are full of it. M. Sainte-Beuve has perhaps exaggerated the influence of this quality in Du Bellay's 'Regrets'; but the very name of the book has a touch of Rousseau
