Our last critic, before we come to those who in a way stand for both Empires, is a curious contrast both to the critic of the type of Geoffroy and to the critic of the type of Lemercier. Charles Marie Dorimont, Abbé de Feletz,[235] who died in the very middle of the nineteenth century at the age of eighty-three, was with Geoffroy himself, Dussault, and Hoffman, one of the _Débats_ Four, and like them was something of an anti-Romantic. But he was a man of amiable temper, of many friends and of much addiction to society, so that he rather flicked than lashed. His information as to the foreign subjects which he often affected was not exhaustive, and the praise, as well as the blame, of his not quite novel remark that in the _pièces difformes et barbares_ of Shakespeare there are _beautés veritables_, are both weakened by the fact that he thinks Falstaff is hanged on the Stage in the _Merry Wives_. But he reviews novels obviously by preference, can like _Joseph Andrews_, and can enjoy Miss Edgeworth. In which things a door, great and effectual, is opened, though Feletz doubtless knew it not.[236] [Sidenote: _Cousin._] Of the remarkable pair[237]—united in their lives, their careers and their reputation—who, being first known under the first Empire, died in the same year a little before the close of the second, Cousin concerns us less than may be generally thought. He touched not a few literary subjects,[238] but always preferably, and for the most part exclusively, from the philosophical, social, or some other non-literary side. [Sidenote: _Villemain_:] With Villemain it is different. He, too, was a politician, a historian, and what not, but he was a man of letters, and a man of critical letters, first of all. His second Academic prize, as a very young man, was gained by a paper on “The Advantages and Disadvantages of Criticism;” of the fifteen volumes of his collected works[239] the greater part consists of literary history or estimate; he was Professor of “Eloquence Française,” that is to say French Literature; he was for a long period of years almost autocratic in the distribution of prizes and promotions at the Academy, of which he was “Secrétaire Perpetuel;” and it has long been, and to some extent still is, the correct and orthodox thing to speak of him as having initiated the modern critical movement in France, and shared with the Schlegels the credit of initiating that of Europe generally. [Sidenote: _his claims_:]