She had left the king to die alone. He was in the agonies; the prayers in extremity were being repeated around him; the ceremonial recalled him to consciousness. He joined his voice with the voices of those present, repeating the prayers with them. Already the court was hurrying to the duke of Orleans; some of the more confident had repaired to the duke of Maine’s; the king’s servants were left almost alone around his bed; the tones of the dying man were distinctly heard above the great number of priests. He several times repeated: “_Nunc et in hora mortis_.” Then he said quite loud: “O my God, come thou to help me, haste thee to succor me.” Those were his last words. He expired on Sunday, the 1st of September, 1715, at eight a. m. Next day he would have been seventy-seven years of age, and he had reigned seventy-two of them. In spite of his faults and his numerous and culpable errors, Louis XIV. had lived and died like a king. The slow and grievous agony of olden France was about to begin. VIII.—FRENCH LITERATURE. For volume and merit taken together the product of these eight centuries of literature excels that of any European nation, though for individual works of the supremest excellence, they may perhaps be asked in vain. No French writer is lifted by the suffrages of other nations—the only criterion when sufficient time has elapsed—to the level of Homer, of Shakspere, or of Dante, who reign alone. Of those of the authors of France who are indeed of the thirty, but attain not to the first three, Rabelais and Molière alone unite the general suffrage, and this fact roughly but surely points to the real excellence of the literature which these men are chosen to represent. It is great in all ways, but it is greatest on the lighter side. The house of mirth is more suited to it than the house of mourning. To the latter, indeed, the language of the unknown marvel who told Roland’s death, of him who gave utterance to Camilla’s wrath and despair, and of the living poet who sings how the mountain wind makes mad the lover who can not forget, has amply made good its title of entrance. But for one Frenchman who can write admirably in this strain, there are a hundred who can tell the most admirable story, formulate the most pregnant reflection, point the acutest jest. There is thus no really great epic in French, few great tragedies, and those imperfect and in a faulty kind, little prose like Milton’s, or like Jeremy Taylor’s, little verse (though more than is generally thought) like Shelley’s, or like Spenser’s. But there are the most delightful short tales, both in prose and in verse, that the world has ever seen, the most polished jewelry of reflection that has ever been wrought, songs of incomparable grace, comedies that must make men laugh as long as they are laughing animals, and above all, such a body of narrative fiction, old and new, prose and verse, as no other nation can show for art and