Yet even the Latin was giving way to a younger rival. France united at that time almost every species of ascendency. Her military glory was at the height. She had vanquished mighty coalitions. She had dictated treaties. She had subjugated great cities and provinces. She had forced the Castilian pride to yield her the precedence. She had summoned Italian princes to prostrate themselves at her footstool. Her authority was supreme in all matters of good breeding, from a duel to a minuet. She determined how a gentleman's coat must be cut, how long his peruke must be, whether his heels must be high or low, and whether the lace on his hat must be broad or narrow. In literature she gave law to the world. The fame of her great writers filled Europe. No other country could produce a tragic poet equal to Racine, a comic poet equal to Moliere, a trifler so agreeable as La Fontaine, a rhetorician so skilful as Bossuet. The literary glory of Italy and of Spain had set; that of Germany had not yet dawned. The genius, therefore, of the eminent men who adorned Paris shone forth with a splendour which was set off to full advantage by contrast. France, indeed, had at that time an empire over mankind, such as even the Roman Republic never attained. For, when Rome was politically dominant, she was in arts and letters the humble pupil of Greece. France had, over the surrounding countries, at once the ascendency which Rome had over Greece, and the ascendency which Greece had over Rome. French was fast becoming the universal language, the language of fashionable society, the language of diplomacy. At several courts princes and nobles spoke it more accurately and politely than their mother tongue. In our island there was less of this servility than on the Continent. Neither our good nor our bad qualities were those of imitators. Yet even here homage was paid, awkwardly indeed and sullenly, to the literary supremacy of our neighbours. The melodious Tuscan, so familiar to the gallants and ladies of the court of Elizabeth, sank into contempt. A gentleman who quoted Horace or Terence was considered in good company as a pompous pedant. But to garnish his conversation with scraps of French was the best proof which he could give of his parts and attainments. [172] New canons of criticism, new models of style came into fashion. The quaint ingenuity which had deformed the verses of Donne, and had been a blemish on those of Cowley, disappeared from our poetry. Our prose became less majestic, less artfully involved, less variously musical than that of an earlier age, but more lucid, more easy, and better fitted for controversy and narrative. In these changes it is impossible not to recognise the influence of French precept and of French example. Great masters of our language, in their most dignified compositions, affected to use French words, when English words, quite as expressive and sonorous, were at hand: [173] and from France was imported