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 De Retz? To say nothing of the vast amount of similar contributions in France during the last century, which, in the shape of letters and anecdotes, as well as memoirs, have made us as intimately acquainted with the internal movements of society in Paris, under all its aspects, literary, fashionable, and political, as if they had passed in review before our own eyes.

The French have been remarked for their excellence in narrative ever since the times of the fabliaux and the old Norman romances. Somewhat of their success in this way may be imputed to the structure of their language, whose general currency, and whose peculiar fitness for prose composition, have been noticed from a very early period. Brunetto Latini, the master of Dante, wrote his Tesoro in French, in preference to his own tongue, as far back as the middle of the thirteenth century, on the ground "that its speech was the most universal and most delectable of all the dialects of Europe." And Dante asserts in his treatise "on Vulgar Eloquence," that "the superiority of the French consists in its adaptation, by means of its facility and agreeableness, to narratives in prose." Much of the wild, artless grace, the naiveté, which characterized it in its infancy, has been gradually polished away by fastidious critics, and can scarcely be said to have survived Marot and Montaigne. But the language has gained considerably in perspicuity, precision, and simplicity of construction, to which the jealous labours of the French Academy must be admitted to