Although in Charles the Second's reign the age of chivalry was totally at an end, yet the sentiments, which had ceased to be motives of action, were not so obsolete as to sound totally strange to the public ear. The French romances of the lower class, such as "Cassandra," "Cleopatra," etc., were the favourite pastime of the ladies, and retained all the extravagancies of chivalrous sentiment, with a double portion of tedious form and metaphysical subtlety. There were occasionally individuals romantic enough to manage their correspondence and amours on this exploded system. The admired Mrs. Philips carried on an extensive correspondence with ingenious persons of both sexes, in which she called herself _Orinda_, and her husband, Mr. Wogan, by the title of _Antenor_. Shadwell, an acute observer of nature, in one of his comedies describes a formal coxcomb of this class, who courts his mistress out of the "Grand Cyrus," and rejoices in an opportunity of showing, that his passion could subsist in despite of her scorn.[4] It is probable he had met with such an original in the course of his observation. The _Précieuses_ of Molière, who affected a strange mixture of the romantic heroine and modern fine lady, belong to the same class of oddities, and had their prototypes under the observation of the satirist. But even those who were above such foppery had been early taught to read and admire the conceits of Donne, and the metaphysical love-poems of Cowley. They could not object to the quaint and argumentative dialogues which we have described; for the course of their studies had formed their taste upon a model equally artificial and fantastic: and thus, what between real excellence, and false brilliancy, the age had been accustomed not only to admit, but to admire heroic plays.