The tenth satire, with its title 'Le souper ridicule,' seems to return to Horace, but in reality the scene described has little in common with the _Coena_ of Nasidienus. It affords Regnier an excellent opportunity for displaying his talent for Dutch painting, but is in this respect inferior to the sequel 'Le mauvais gite.' The subject of this is sufficiently unsavoury, and the satire is almost the only one which in the least deserves Boileau's strictures on the author's 'rimes cyniques,' but the vigour and skill of the treatment are most remarkable. The twelfth is short, and once more apologetically personal. But the thirteenth is the longest, one of the most famous, and unquestionably on the whole the best work of the author. It is entitled 'Macette,' and describes an old woman who hides vice under a hypocritical mask and corrupts youth with her evil philosophy of the world and its ways. Indebted in some measure to the _Roman de la Rose_ for the idea of his central character, Regnier is entirely original in his method of treatment. Nowhere are his verses more vigorous-- Son oeil tout penitent ne pleure qu'eau beniste. L'honneur est un vieux saint que l'on ne chomme plus. La sage se sait vendre ou la sotte se donne. Nowhere is Regnier so uniformly free from technical defects and from colloquialisms in which he sometimes indulges. The fourteenth returns to general and somewhat vague satire, dealing with the vanity of human reason and conduct, while the fifteenth is once more personal, 'Le Poete malgre soi.' Lastly, the sixteenth sums up the author's theoretical philosophy in the opening line, 'N'avoir crainte de rien et ne rien esperer.' The satires are in bulk and in importance so much the larger part of the work of Regnier, and represent such an important innovation in French literature, that it has seemed well to describe them with some minuteness. The miscellaneous poems may be reviewed more rapidly, though the best of them add very considerably to the poet's reputation, because they show him in an entirely different light. Not a few of the elegies are imitated from Ovid, and some of them might perhaps have been left unwritten with advantage. Indeed, Regnier is here much more open to Boileau's censure than in his more famous verse. But some lyrical pieces exhibit his command of other measures besides the Alexandrine, and afford occasion for the expression of a melancholy and genuine sensibility which is not common in French poetry. The poem called 'Plainte' is very beautiful, and is written in a lyric stanza of much more elaboration than any which was to be used in France for two centuries. One of its peculiarities is a hemistich replacing the expected fourth line of the stanza, which is of eight verses, with singularly musical effect. A so-called 'Ode' is almost better, and ends thus:--