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 false principles of taste which distinguished the French Pleiades of the sixteenth century, and the more ancient compositions of their Provençal ancestors. Dictionaries were compiled, and treatises written illustrative of this precious vocabulary; all were desirous of being initiated into the mysteries of so elegant a science: even such men as Corneille and Bossuet did not disdain to frequent the saloons where it was studied; the spirit of imitation, more active in France than in other countries, took possession of the provinces; every village had its coterie of précieuses after the fashion of the capital, and a false taste and criticism threatened to infect the very sources of pure and healthful literature.

It was against this fashionable corruption that Molière aimed his wit in the little satire of the "Précieuses Ridicules," in which the valets of two noblemen are represented as aping their masters' tone of conversation for the purpose of imposing on two young ladies fresh from the provinces, and great admirers of the new style. The absurdity of these affectations is still more strongly relieved by the contemptuous incredulity of the father and servant, who do not comprehend a word of them. By this process Molière succeeded both in exposing and degrading these absurd pretensions, as he showed how opposite they were to common sense, and how easily they were to be acquired by the most vulgar minds, 'The success was such as might have been anticipated on an appeal to popular feeling, where nature must always triumph over the arts of