violence of the Romantic controversy over questions of the smallest detail. When Victor Hugo, in the opening lines of _Hernani_, ventured to refer to an 'escalier dérobé', and to put 'escalier' at the end of one line, and 'dérobé' at the beginning of the next, he was assailed with the kind of virulence which is usually reserved for the vilest of criminals. And the abuse had a meaning in it: it was abuse of a revolutionary. For in truth, by the disposition of those two words, Victor Hugo had inaugurated a revolution. The whole theory of 'rules' in literature--the whole conception that there were certain definite traditional forms in existence which were, absolutely and inevitably, the best--was shattered for ever. The new doctrine was triumphantly vindicated--that the form of expression must depend ultimately, not upon tradition nor yet upon _a priori_ reasonings, but simply and solely on the thing expressed. The most startling and the most complete of the Romantic innovations related to the poetic Vocabulary. The number of words considered permissible in French poetry had been steadily diminishing since the days of Racine. A distinction had grown up between words that were 'noble' and words that were 'bas'; and only those in the former class were admitted into poetry. No word could be 'noble' if it was one ordinarily used by common people, or if it was a technical term, or if, in short, it was peculiarly expressive; for any such word would inevitably produce a shock, introduce mean associations, and destroy the unity of the verse. If the sense demanded the use of such a word, a periphrasis of 'noble' words must be employed instead. Racine had not been afraid to use the word 'chien' in the most exalted of his tragedies; but his degenerate successors quailed before such an audacity. If you must refer to such a creature as a dog, you had better call it 'de la fidélité respectable soutien'; the phrase actually occurs in a tragedy of the eighteenth century. It is clear that, with such a convention to struggle against, no poetry could survive. Everything bold, everything vigorous, everything surprising became an impossibility with a diction limited to the vaguest, most general, and most feebly pompous terms. The Romantics, in the face of violent opposition, threw the doors of poetry wide open to every word in the language. How great the change was, and what was the nature of the public opinion against which the Romantics had to fight, may be judged from the fact that the use of the word 'mouchoir' during a performance of _Othello_ a few years before 1830 produced a riot in the theatre. To such a condition of narrowness and futility had the great Classical tradition sunk at last!