On the other side, Abbé Millamour, who is writing a book of observations on the English nation, is Murphy's response to Jean Bernard Le Blanc, a French Abbé whose published comments on the English did not endear him to that people.[7] Though the Abbé is made an object of laughter, he is allowed to come to an understanding of the English virtues, and he praises them at the end of the play. [7] Jean Bernard Le Blanc, _Lettres d'un François_ (Hague, 1745). See George R. Havens, "The Abbé Le Blanc and English Literature," _MP_, XVIII (1920), 79-97. Florid's role in the play is more ambiguous than that of the other characters. As a false philosopher who spouts nonsense, he represents an affectation that is universal rather than national. Murphy, by placing him in Jack's entourage as a tutor and by having Florid claim that his theories are partly French, does put him on the French side. But it is also clear from references made to "characteristics," "plastic nature," "systems of harmony," and the like that he is a Shaftesburian. Furthermore, Florid's "gay contempt" as a reaction to "the motley Livery of incongruous Appearances" is a paraphrase of some lines of _The Pleasures of the Imagination_ by Mark Akenside, the Shaftesburian poet.[8] Florid's incomprehensible spoutings can be seen as mocking Akenside's turgid and abstract style, but I do not think that Murphy meant to be taken seriously in this caricature of the poet. A few years earlier in his _Gray's Inn Journal_, Murphy had shown himself appreciative of the works of Akenside and Shaftesbury;[9] and Murphy does not lampoon Akenside's personality as Smollett had done in _Peregrine Pickle_ (1751). Furthermore, though Murphy mocks the concept that ridicule is the test of truth by Florid's defense, this Shaftesburian idea that Akenside vigorously upheld is approved of in another play by Murphy, _Know Your Own Mind_. This time the hypocrite Malvil, when exposed by ridicule, insists that it is no fair test of truth. Perhaps, because of Murphy's recent familiarity with the poet and the philosopher, he saw a possibility of raising a laugh through parody, but he never meant to indicate his disapproval of either man. [8] Mark Akenside, _Pleasures of the Imagination_ (London, 1744), pp. 105-107. [9] _Gray's Inn Journal_ (London, 1756), Nos. 10, 44, 45, 46, 57, 90, 96, 98. In 45 and 90 Murphy quotes passages from Akenside with great approval, including one that is later parodied by Florid.