His character commanded and met with respect. He had long been the eldest member of the academy: on his death his brother was elected to succeed him. Racine contended for the honour of receiving the new academician; on which occasion it was the custom to make a speech in praise of the late member whose place the new one took. Racine's eulogy on Corneille met with great applause, and he recited it a second time before the king. He spoke with enthusiasm of his merits, and, in particular, of "a certain strength, a certain elevation, which transports, and renders his very defects, if he had any, more venerable than the excellence of others." This testimony was honourable to Racine, who had, indeed, so heartfelt an appreciation of his best passages, that, although he interdicted dramas and poetry from his children, he caused them to learn, and taught them to admire, various scenes in Corneille. Many years after Voltaire discovered a descendant of the great poet[19]: he spread the discovery abroad; he invited the young lady to Ferney as to her home; and published for her benefit his two volumes of commentary on her great ancestor's works. This commentary has been found fault with for the degree of blame it contains. Voltaire says himself, he wrote it chiefly to instruct future dramatic poets, and he was sincere in his views, even if he were mistaken. It is chiefly remarkable for the extent of its verbal criticism, and his earnest endeavour to banish all familiar expressions from tragic dialogue, thus rendering French tragedies more factitious than ever. It is strange to remark the different genius of various languages. We endeavour perpetually to bring back ours to the familiar and antique Saxon. We regard our translation of the Bible as a precious treasure, even in this light, being a source to which all good writers resort for true unadulterated English. It has been remarked that the sublimest passages of our greatest poets are written in _short words_, that is, in Anglo-Saxon, or pure English. While Voltaire, on the contrary, tried to substitute words unused in conversation, strangers to the real living expression of passion, and which give a factitious and false air, peculiar to the French buskin, and alien to true elevation of language.