balance, was left wavering in a kind of equipoise between the one and the other. But our preliminary sketch already reaches the limit within which our choice of authors for representation is necessarily confined. With first a few remarks, naturally suggested, that may be useful, on the general subject thus rather touched merely than handled, the present writer gives way to let now the representative authors themselves, selected for the purpose, supply to the reader a just and lively idea of French literature. The first thing, perhaps, to strike the thoughtful mind in a comprehensive view of the subject is not so much the length--though this is remarkable--as the long _continuity_ of French literary history. From its beginning down to the actual moment, French literature has suffered no serious break in the course of its development. There have been periods of greater and periods of less prosperity and fruit; but wastes of marked suspension and barrenness there have been none. The second thing noticeable is, that French literature has, to a singular degree, lived an independent life of its own. It has found copious springs of health and growth within its own bosom. But then a third thing to be also observed is that, on the other hand, the touch of foreign influence, felt and acknowledged by this most proudly and self-sufficiently national of literatures, has proved to it, at various epochs, a sovereign force of revival and elastic expansion. Thus, the great renascence in the sixteenth century of ancient Greek and Latin letters was new life to French literature. So, again, Spanish literature, brought into contact with French through Corneille and Moliere, with others, gave to the national mind of France a new literary launch. But the most recent and perhaps the most remarkable example of foreign influence quickening French literature to make it freshly fruitful is supplied in the great romanticizing movement under the lead of Victor Hugo. English literature--especially Shakespeare--was largely the pregnant cause of this attempted emancipation of the French literary mind from the bondage of classicism. A fourth very salient trait in French literary history consists in the self-conscious, elaborate, persistent efforts put forth from time to time by individuals, and by organizations, both public and private, in France, to improve the language and to elevate the literature of the nation. We know of nothing altogether comparable to this anywhere else in the literature of the world.