BOILEAU-DESPREAUX, Nicolas, was born at Paris on the 1st November 1636. Crone, not far from the capital, ha3 been frequently stated to be his birthplace, but the matter seems to be pretty nearly settled by the researches of M. Labat ^Recherches historiques sur V Hotel de la Préfecture de Police), who has discovered the very house in the Rue de Jérusalem where the poet was born. He was educated at the College of Beauvais, and was at first destined for the legal profession. From this, however, after a short trial, he recoiled in disgust, complaining bitterly of the amount of chicanery which passed under the name of law and justice. To escape such a course of life he began to study for the church, and actually received a priory of a small annual value, but his wishes soon turned in another direction. He gave up his clerical profession, and, his father having left him a small provision suffi - cient for his wants, thenceforward devoted himself to letters. Such of his early poems as have been preserved hardly contain the promise of what he ultimately became. The first piece in which his peculiar powers were displayed was a satirical poem, Adieus of a Poet to the City of Pams, published in 1660. This was quickly followed by eight others, and the number was at a later period increased to twelve. A twofold interest attaches to the satires. In the first place the author skilfully parodies and attacks writers who at the time were placed in the very first rank, such as Chapelain, Cotin, Quinault, and Scudéri; he openly raised the standard of revolt against the older poets. But in the second place he showed, both by precept and practice, what were the poetical capabilities of the French language. Prose, in the hands of such writers as Descartes and Pascal, had proved itself a ...flexible and powerful instrument of expression, with a distinct mechanism and form. But except with Malherbe, there had been no attempt to fashion French versification according to rule or method. In Boileau for the first time appeared terseness and vigour of expression, with perfect regularity of verse structure. His fame was quickly established; he received a pension, and was made historiographer along with his friend Racine. In 1664 he composed his prose Dialogue des heros de roman, which is a refined satire on the elaborate romances of the time. It may be said to have once for all abolished them. From 1669 onwards appeared the Epistles, graver in tone than the satires, maturer in thought, more exquisite and polished in style. In 1674 his two master-pieces, L'Art Poetique and Le Lutrin, were published. The first, in imitation of the Ars Poetica of Horace, lays down the code for all future French verse, and may be said to fill in French literature a parallel place to that held by its prototype in Latin. On our own literature the maxims of Boileau, through the translation revised by Dryden, and through the magnificent imitation of them in Pope’s Art of Criticism, have exercised no slight influence. Boileau does not merely lay down rules for the language of poetry, but analyses carefully the various kinds of verse composition, and enunciates the principles peculiar to each. Of the four books of the Art Poetique, the first and last consist of general precepts, inculcating mainly the great rule of bon sens; the second treats of the pastoral, the elegy, the ode, the epigram, and satire; and the third of tragic and epic poetry. Though the rules laid down are of value, their tendency is rather to hamper and render too mechanical the efforts of poetry. Boileau himself, though a great critic in verse, cannot be considered a great poet. The Lutrin, a mock heroic poem, of which four cantos appeared in 1674 is by French critics considered the best of Boileau’s works. It has furnished the model for the Rape of the Lock, but the English poem is superior in richness of imagination aud subtilty of invention. The fifth and sixth cautos, afterwards added by Boileau, rather detract from the beauty of the poem; the last canto in particular is quite unworthy of his genius. In the same year which saw the Art Poetique and the Lutrin was published his translation of Longinus On the Sublime, to which were afterwards added certain critical reflections. His later publications were chiefly occasional poems, in which his better powers did not shine. He died 13th March 1711. Boileau was extremely delicate in youth, and his constitution seems never to have been very strong. He was a man of warm aud kindly feelings, honest, outspoken, and benevolent Many anecdotes are told of his frankness of speech at court, and of his generous actions. He holds a weU-defined place in French literature, as the first who reduced its versification to rule and who taught the value of workmanship for its own sake. His influence on English literature, through Pope and his contemporaries, was not less strong, though less durable. Editions of Boileau's works are very numerous. Perhaps the best is that published by Garnier in 1860, Oeuvres complètes, with copious notes, an essay by Sainte-Beuve, and Boloeana.
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