_17th-Century Poetry._--It is not always easy or possible to make the end or the beginning of a literary epoch synchronize exactly with historical dates. It happens, however, that for once the beginning of the 17th century coincides almost exactly with an entire revolution in French literature. The change of direction and of critical standard given by Francois de Malherbe (1556-1628) to poetry was to last for two whole centuries, and to determine, not merely the language and complexion, but also the form of French verse during the whole of that time. Accidentally, or as a matter of logical consequence (it would not be proper here to attempt to decide the question), poetry became almost synonymous with drama. It is true, as we shall have to point out, that there were, in the early part of the 17th century at least, poets, properly so called, of no contemptible merit. But their merit, in itself respectable, sank in comparison with the far greater merit of their dramatic rivals. Theophile de Viau and Racan, Voiture and Saint-Amant cannot for a moment be mentioned in the same rank with Corneille. It is certainly curious, if it is not something more than curious, that this decline in poetry proper should have coincided with the so-called reforms of Malherbe. The tradition of respect for this elder and more gifted Boileau was at one time all-powerful in France, and, notwithstanding the Romantic movement, is still strong. In rejecting a large number of the importations of the Ronsardists, he certainly did good service. But it is difficult to avoid ascribing in great measure to his influence the origin of the chief faults of modern French poetry, and modern French in general, as compared with the older language. He pronounced against "poetic diction" as such, forbade the overlapping (_enjambement_) of verse, insisted that the middle pause should be of sense as well as sound, and that rhyme must satisfy eye as well as ear. Like Pope, he sacrificed everything to "correctness," and, unluckily for French, the sacrifice was made at a time when no writer of an absolutely supreme order had yet appeared in the language. With Shakespeare and Milton, not to mention scores of writers only inferior to them, safely garnered, Pope and his followers could do us little harm. Corneille and Moliere unfortunately came after Malherbe. Yet it would be unfair to this writer, however badly we may think of his influence, to deny him talent, and even a certain amount of poetical inspiration. He had not felt his own influence, and the very influences which he despised and proscribed produced in him much tolerable and some admirable verse, though he is not to be named as a poet with Regnier, who had the courage, the sense and the good taste to oppose and ridicule his innovations. Of Malherbe's school, Honorat de Bueil, marquis de Racan (1589-1670), and Francois de Maynard (1582-1646) were the most remarkable. The former was a true poet, though not a very strong one.