It is very unusual in the history of literature to be able to point to a man of genius as the positive founder of a class of work. When we look closely into the matter, we are sure to find that there was an obscure predecessor, a torch-bearer who lighted up the path. Even Shakespeare has Marlowe in front of him, and in front of Marlowe are Greene and Peele. Several poets were inspired by the story of the fall of the rebel angels before Milton took up "Paradise Lost" and seized that province as his own by conquest. In like manner, La Rochefoucauld seems to us in a general view, and seemed indeed to his own Parisian contemporaries, to have invented a new art in the production of his "Maximes." But, in truth, he was not the pioneer, and he seems to have spent months, and even years, in a sort of apprenticeship to two authors who have not survived in French literature as he has. So far as we can make out, the real creator of the maxim in French was Jacques Esprit (1611-1678), the Abbe Esprit as he was called, although he was never a priest, and had a legitimate wife and family. He was a young man from Beziers in Provence, who came to Paris under the protection of Chancellor Seguier, soon became a member of the French Academy, and enjoyed a steady social and literary success. There seems little doubt that Esprit was known early to La Rochefoucauld, for he was familiar in the family of the Duke and Duchess of Longueville, and later the governor of their children. He enjoyed the confidence of the _salons_ from an early date. There is some reason to suppose that Esprit had begun to write maxims before La Rochefoucauld's return from exile, and certainly before Mme de Sable's retreat to Port Royal in 1659. It is very noticeable in La Rochefoucauld's letters to Esprit--most of which belong to the year 1660--that he treats the academician--who was of plebeian birth and not many months older than himself--with extreme deference. The Duke adopts the style of a pupil to a master, and he submits his sketches or experiments in maxim-making to Esprit for a severe criticism, which he accepts, and for advice, which he adopts. The probability seems to be that Esprit introduced the fashion for writing maxims to Mme de Sable, who was fascinated by it, recommended it to La Rochefoucauld, and then pointed Esprit out as the acknowledged master of the art, who could give invaluable technical advice.