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 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. 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: and from France was imported the tragedy in rhyme, an exotic which, in our soil, drooped, and speedily died.

It would have been well if our writers had also copied the decorum which their great French contemporaries, with few exceptions, preserved; for the profligacy of the English plays, satires, songs, and novels of that age is a deep blot on our national fame. The evil may easily be traced to its source. The wits and the Puritans had never been on friendly terms. There was no sympathy between the two classes. They looked