was the purified cognomen of the Duchess de Tremouille. But out of such childishness resulted great good, notwithstanding that Molière laughed, and that the Academie derided Corneille and all others of the innovating coterie. The times were coarse; things, whatever they might be, were called by their names; ears polite experienced offence, and at Rambouillet periphrasis was called upon to express what the language otherwise conveyed offensively by the medium of a single word. The idea was good, although it was abused. Of its quality some conjecture may be formed by one or two brief examples; and I may add, by the way, that the French Academy ended by adopting many of the terms which it at first refused to acknowledge. Popularity had been given to much of the remainder, and thus a great portion of the vocabulary of Rambouillet has become idiomatic French. “Modeste,” “friponne,” and “secrète,” were names given to the under-garments of ladies, which we now should not be afraid to specify. The sun was the “amiable illuminator;” to “fulfil the desire which the chair had to embrace you,” was simply to “sit down.” Horses were “plushed coursers;” a carriage was “four cornices,” and chairmen were “baptized mules.” A bed was the “old dreamer;” a hat, the “buckler against weather;” to laugh was to “lose your gravity;” dinner was the “meridional necessity;” the ear was the “organ, or the gate of hearing;” and the “throne of modesty” was the polished phrase for a fair young cheek. There is nothing very edifying in all this, it is true; but the fashion set people thinking, and good ensued. Old indelicacies disappeared, and the general, spoken language was refined. If any greater mental purity ensued from the change, I can scarcely give the credit of it to the party at Rambouillet, for, with all their proclaimed refinement, their nicety was of the kind described in the well-known maxim of the Dean of St. Patrick.