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250 in a negative way, helping with other influences to extinguish the lyric spirit that had inspired the poetry of the Pleiad, despite its pedantries and extravagances. But his creed of purity, correctness, dignity, and harmony did not receive whole-hearted allegiance until, from the ferment of the first half of the century, the classical ideal took shape in the work of Corneille and the poets and dramatists who belong to the next volume of this series. It was opposed from two sides. Mademoiselle de Gournay, the devoted friend and editor of Montaigne, and the vigorous and poetic satirist Mathurin Régnier, who has been discussed by Mr Hannay, denounced him vigorously from the standpoint of the Pleiad. Malherbe's doctrine and practice consisted, they declared, in

"proser de la rime, et rimer de la prose."

On the other hand, even in the circles which accepted Malherbe's condemnation of the Pleiad, the influence of Marie de Médicis and the prevalent admiration of Tasso, Guarini, Marino, and Italian poetry and criticism generally, made fashionable a taste for conceit and confectionery alien to the purer style of Malherbe.

Nevertheless, the influences which were to bring in time the triumph of classicism were either actually at work or rapidly taking shape. First and foremost of these is the social. The close of the civil wars made Paris the centre of a