It is certain that the authority of the Church exercised in France a much smaller influence over literature than either in Spain or in Italy. In fact, under Louis XIV, the Church found it necessary to resort to raillery rather than to discipline in the cases in which it found ground for criticism. The learned historian of the Benedictines, Mabillon, brought himself into criticism on the part of the Papacy through proving that the bones taken from the catacombs, which were being distributed as relics for the faithful, had belonged neither to saints nor to martyrs. Dejob is of opinion that the acknowledged superiority of the theological writers of France during the 17th century over those of Italy and Spain was chiefly due to the greater freedom possessed by the French scholars in carrying on their investigations and in bringing their books into print.[139] The intellectual work of the orthodox clergy owes not a little to the feeling of obligation that rested upon them to offset the influence of the Huguenot controversialists and to secure for orthodox literature a prestige to balance that of Arnaud and of Pascal. It may fairly be claimed that the Church of France showed itself equal to the task. Any nation may have been proud to produce within the term of a century five writers or scholars whose names could be compared with those of Bossuet, Fénelon, Bourdaloue, Malebranche, and Mabillon. No religion has counted among its ministers during any one generation men superior to these in intellectual force. Catholicism can refer to this group as an evidence that orthodoxy does not stifle originality of talent. It can claim further that the acceptance of dogma does not of necessity involve the renunciation of scientific and philosophical investigation. The lay writers of this famous century were hardly less influenced by the spirit of religion. It is this that inspired Corneille and Racine, not only in such creations as _Polyeucte_ and _Athalie_, but in the moral conception with which they handle the subject of love; it is this which retains within wholesome limits the satirical verse of Boileau and of La Bruyère and which keeps within bounds even the bitter personalities of St.-Simon; it is this which raises far beyond the level of feminine curiosity and maternal egoism the writings of Mme. de Sévigné, and which imbues with eloquence the work of Mme. de Motteville.[140] The religious spirit may be said to have influenced also the work of Molière, who uses his trenchant pen to emphasise our obligations to morality. Save in an occasional instance where the manners of the comedian get control of the pen of the poet, these obligations are set forth with the certainty of an infallible moralist, while the dramatist succeeds in securing for his readers (or hearers) full sympathy for those of his characters which show themselves faithful to wholesome ideals.