viewed from the standpoint of a thoroughly instructed historical criticism that his real greatness appears. It is when we look at the poets that came before him and at those who came after him that we see the immense benefit he conferred upon his successors, and upon the language which those successors illustrated. The result of his classical studies was little less than the introduction of an entirely new rhythm into French poetry: let it be observed that a new rhythm, and not merely new metre, is what is spoken of. Since the disuse of the half-inarticulate but sweet rhythmical varieties of the mediaeval pastourelles and romances a great monotony had come upon French poetry. The fault of the artificial forms of the fourteenth, fifteenth, and early sixteenth centuries, the _epiceries_ of Du Bellay's scornful allusion, was that they induced their writers to concentrate their attention on the arrangement of the rhymes and stanzas, to the neglect of the individual line, the rhythm of which was but too frequently lame, stiff, and prosaic in the extreme. With Marot and Saint Gelais the introduction of less formal patterns, dizains, huitains, etc., had had the additional drawback of making the individual verse even more prosaic and pedestrian, though it may be somewhat less stiff. Now the line is, after all, the unit of poetry, and all reform must start with it. It is the great glory of Ronsard that his reform did so start. From his time French poetry reads quite differently. Perhaps this was due to his study of the Horatian quantity-metres, where every syllable has to give its quota to the effect of the line as well as every line its quota to the effect of the stanza. But whether it was this or something else, the effect is indisputable. To this must be added a liberal, though in Ronsard's own case not excessive, importation of new words from Greek and Latin, a bold and striking mode of expression, the retention of many picturesque old words which the senseless folly of the seventeenth-century reformers banished, and, above all, a great indulgence in diminutives, which give a most charming effect to the lighter verse of Ronsard and his friends, and which also were cut off by the indiscriminate and 'desperate hook' of Malherbe and Boileau. So great were the formal changes and improvements thus introduced, that French poetry takes a new colour from the age of Ronsard, a colour which in its moments of health it has ever since displayed. [Sidenote: Du Bellay.]