Page:The Golden verses of Pythagoras (IA cu31924026681076).pdf/93

 the highest perfection that they were able to attain. The century of Louis XIV., so fertile in able versifiers, in profound rhymers, saw, however, the dawn of Epic poems only as a signal of their failure. Chapelain had, nevertheless, shown talent before his catastrophe; wishing to interest the French nation, he had chosen in its history the sole epic subject which he found there. Why had he not succeeded? This point was considered, and the truth still lacking, they went on to imagine that the fault was inherent in the French tongue, and that it was no longer capable of rising to the heights of Epopœia: deplorable error, which for a long time has been harmful to the development of a tongue destined to become universal and to carry to future centuries the discoveries of past ones.

Ronsard had felt the difficulty most. Accustomed as he was to read Greek and Latin works in the original, he had seen clearly that what prevented the French tongue from following their poetic movement was particularly the restraint of the rhyme; he had even sought to free it from this servitude, endeavouring to make the French verses scan according to the ancient rhythm; but, in another way he had not appreciated the genius of that tongue which refused to follow this rhythm. Jodelle, Baïf, Passerat, Desportes, Henri-Etienne, and certain other savants, have made at different times the same attempt, and always without results. Each tongue has its own character which it is necessary to know; ours has not at all the musical prosody of the Greek and Latin; its syllables are not determined, long and short, by the simple duration of time, but by the different accentuation and inflection of the voice. Among our writers the one who has best understood the nature of this prosody is certainly the abbé d'Olivet: he declared firstly that he did not believe it possible to make French verses