to having read him. Ariosto is a story-teller only by the way, but then he is worthy of all imitation. The Heptameron is a collection of stories the chief value of which consists in a sensibility and charming grace that never fail. Tallemant tells a tale of gallantry between two daintily worded sentiments. Voltaire in this as in all departments shows an incontestable superiority of wit and verve. There is nothing new in La Fontaine; 'tis always the same wondrous charm, so simple in appearance, so deep in reality. As to Bussy, a man of the world and a gentleman, but vicious, spiteful and envious, his Histoire amoureuse is his revenge on mankind, a deliberate publication of extravagant personalities flavoured with wit.
Boccaccio, to say nothing of his striking originality, possesses other merits of the very highest order. The sorrows of unhappy love are told with genuine pathos, while lovers' wiles and the punishments they meet with at once raise a smile and provoke a resolve to profit by such valuable lessons. True Dioneo's quaint narratives are not precisely fit for ladies' ears; yet so daintily are they recounted, the most risqué episodes so cleverly sketched in, it is impossible to accuse them of indelicacy. An entire absence of bitterness, a genial indulgence for human weakness, a hearty admiration of women and a doctrine of genial complaisance as the only possible philosophy of life, these are the qualities that make the Decameron the masterpiece of this kind of composition.
Brantôme has not the same preponderating influence in literature that Boccaccio possesses, but he comes next after him. The "Lives of Gallant Ladies" are not, any more than the Novelli, inventions pure and simple; they
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