about which I would merely say that it is one of those accidental romantic verses which occur here and there in all the great classical poets. There are several in Pope, where they are no more characteristic of his general style than is this of Malherbe's. So far from being the chief line in the poem, it is, in spite of its beauty, the least important to us in our present inquiry. The "Consolation" consists of twenty-one stanzas, written long after the sad event of the death of the young lady, whose name, by the way, was not Rose, but Marguerite. The advice which the poet gives to the stricken father is stoical and Roman. Weary yourself no more with these useless and prolonged lamentations; but henceforth be wise, and love a shadow as a shadow, and extinguish the memory of extinguished ashes. The instances of Priam and Alcides may seem to have little in them to cheer Du Périer, but we must remember that antiquity was held a more sacred authority three hundred years ago than it is now. Malherbe, with great decorum, recalls to Du Périer the fact that he himself has lost two beloved children. The poor man under his thatched roof is subject to the laws of death, nor can the guard on watch at the gates of the Louvre protect our kings against it. To complain of the inevitable sacrifice, and to lose patience with Providence, is to lack wisdom. The only philosophy which can bring repose to a heart bereaved is implicit submission to the will of God. All this may not seem very original, but it is exquisitely phrased, and it is sensible, dignified, and wholesome. There is in it a complete absence of the ornament and circumstance of death which had taken so preposterous a place in the abundant elegiac poetry of the sixteenth century. We are familiar with the grotesque and sumptuous appeals to the _macabre_ which we meet with in Raleigh, in Donne, in Quarles, all the dismal trappings of the tomb and embroideries of the winding-sheet. They are wholly set aside by Malherbe, whose sonnet on the death of his son is worthy of special study. This young man, who was the pride of the poet's life, was killed in a duel, or, as the father vociferously insisted, murdered by a treacherous ruffian. Malherbe made the courts ring with his appeals, but he also composed a sonnet, which is a typical example of his work. It is not what we should call "poetical," but in clearness, in force, in full capacity to express exactly what the author had in mind to say, it is perfect. We seem to hear the very cry of the fierce old man shrieking for revenge on the slayer of his son. The sonnet was composed some time after the event, for the whole art of Malherbe was the opposite of improvisation. One amusing instance of his deliberate method is to be found in the history of his ode to console President Nicolas de Verdun on the death of his wife. Malherbe composed his poem so slowly, that while he was writing it the President widower not merely married a second time, but died.