Coming to treat of one's native tongue, Jouvancy lays down these points: "The study of the vernacular consists chiefly in three things. First, since the Latin authors are explained to the boys, and are rendered into the mother-tongue, the version so made should be as elegant as possible. Wherefore, let the master elaborate his version for himself, or, if he draws on any writer in the vernacular, let him compare first the Latin text with the version before him; thus he will find it easy to perceive what is peculiar to either tongue, and what is the respective force and beauty of each. The same method is to be observed in explaining and translating histories in the lower classes. Secondly, all the drafts of compositions, which are dictated in the vernacular, must be in accord with the most exact rules of the mother-tongue, free from every defect of style. [Thirdly,] it will be of use to bring up and discuss, from time to time, whatever has been noticed in the course of one's reading, and whatever others have observed regarding the vicious and excellent qualities of speech. The younger Master should be on his guard against indulging too much in the reading of vernacular authors, especially the poets, to the loss of time, and perhaps to the prejudice of virtue." The interest here manifested in the vicious and excellent qualities of the mother-tongue was a contribution of the schools to the development of modern languages. Nor was the severity, which is here prescribed, with reference to the use of poetry, a barrier to the formation of some good poets among the Jesuits themselves. Friedrich von Spee is considered a distinguished lyric poet of the seventeenth century. Denis, as the translator of Ossian into German, helped to inaugurate the later period of German literature. In Italian prose, Bartoli, Segneri, Pallavicini, have ranked as classics; Tiraboschi, as the historian of literature; Bresciani, in our days, as the popular novelist. As writers of French prose, Bourdaloue and Bouhours appertain to the choicest circle of Louis XIV's golden age; Du Cygne, Brumoy, Tournemine, besides others already mentioned in these pages, took their place as literary critics. And, in their several national literatures, Cahours, Martin, Garucci, have attained their literary eminence as art-critics. Reverting to solidity of thought as the basis of style, Jouvancy eliminates the false ornaments of a subtle and abrupt style, by reducing the conceptions to a dialectical analysis: "What does the thing mean?" And he gives examples.