A somewhat similar instance is afforded by La Rochefoucauld, who asked Madame de Sablé to review his _Pensées_ in the _Journal des Savants_. The lady thoughtfully submitted the manuscript of her article to the author, and the result is recorded by Hippolyte Cocheris, _Table méthodique et analytique des articles du Journal des Savants depuis sa réorganisation en 1816 jusqu'en 1858 inclusivement précédée d'une notice historique sur ce journal depuis sa fondation jusqu'à nos jours_ (Paris, 1860), pp. vi.-vii. "Larochefoucauld prit au mot Mme de Sablé; il usa très-librement de son article, il supprima les critiques, garda les éloges, et le fit insérer dans le _Journal des Savants_ (1665, p. 116 et suiv.), ainsi amendé et pur de toute prétention à l'impartialité." [101] The full title of d'Urfé's book is _L'Astrée, où par plusieurs histoires et sous personnes de bergers et d'autres sont déduits les divers effects de l'Honneste Amitié_. The date of publication has long been doubtful; it is now, apparently, established that the First Part, consisting of twelve books, was originally issued in 1607. Only one copy of this edition is known to exist. For a description of this unique volume, discovered by M. Edwin Trossat at Augsburg in 1869, see the _Catalogue des livres du baron James de Rothschild_ (Paris, 1887), vol. ii. p. 197, no. 1527. D'Urfé had been preceded by Nicolas de Montreux who, under the anagrammatic pseudonym of Olenix du Mont-Sacré, had published the five volumes entitled _Les Bergeries de Juliette_ at Paris between 1585 and 1598: see Heinrich Koerting, _Geschichte des französichen Romans im XVII. Jahrhundert_ (Oppeln und Leipzig), vol. i., pp. 66-68. But, though Jean-Louis Guez de Balzac declares (_Œuvres complètes_, Paris, 1665, vol. ii. p. 634) that _Les Bergeries de Juliette_ was long preferred to _Astrée_ by French provincials during the seventeenth century, Montreux found so little favour in Paris, that he abandoned pastoralism, and took to writing a history of the Turks instead: see Émile Roy, _La Vie et les œuvres de Charles Sorel, sieur de Souvigny, 1602-1674_ (Paris, 1891), pp. 115-116. It was d'Urfé who made the pastoral fashionable. Part of his immediate vogue may be attributed to the fact that his Euric, Galatée, Alcidon and Daphnide were supposed to represent Henri IV., Marguerite de Valois, the Duc de Bellegarde, and the Princesse de Conti. These dubious identifications, however, would not explain the enthusiasm of readers so different in taste and character, and so far apart in point of time, as St. François de Sales, Madame de Sévigné, Prévost (the author of _Manon Lescaut_), and Rousseau. There is no accounting for tastes, and perhaps Márquez Torres's polite Frenchman sincerely admired the _Galatea_; but indeed he had left a far better pastoral at home. _Astrée_ greatly exceeds the _Galatea_ in achievement, importance, and significance. M. Paul Morillot is within the mark in saying: "_L'Astrée_ de d'Urfé est