n said, the work of Pithou, and which occupies something
like half the book, the tone is entirely altered. In this remarkable
discourse the whole political situation is treated seriously, and with a
mixture of practical vigour and literary skill of which there had hardly
been any precedent instance. D'Aubray denounces the condition of Paris
first, and the condition of the kingdom afterwards. The foreign
garrisons, the sufferings of private persons by the war, the deprivation
or suspension of privileges, are all commented upon. A remarkable
historical sketch of the religious wars follows, and then turn by turn
the speaker attacks those who have spoken before him, and exposes their
conduct. A vigorous sketch of 'Le Roy que nous voulons et que nous
aurons,' leads up to the announcement that this king is no other than
'Notre vray Roy legitime, naturel et souverain, Seigneur Henry de
Bourbon, cy-devant Roy de Navarre.' After this discomposing harangue the
assembly breaks up in some confusion.

The _Satyre Menippee_ had an immense effect, and may, perhaps, be justly
described as the first example, in modern politics, of a literary work
the effect of which was really great and lasting. It is not surprising
that such should have been its fortune. For it is a remarkably happy
mixture of the older style of _gaulois_ jocularity (in which
exaggeration, personal attack, insinuations of a more or less scandalous
character and the like, furnished the attraction) and the newer style of
chastened and comparatively polished prose. The greater part of the
first six speeches are of a more antique cast than Montaigne; and though
the speech of D'Aubray exhibits a more elaborate and less familiar
style, it too is definitely plain and popular in manner. Although there
are the allusions usual at the time to classical subjects, the Pleiade
pedantry, with which at least two of the contributors, Passerat and
Rapin, were sufficiently imbued, is conspicuously absent. Rabelais is
frequently alluded to; and when the style of the book and the obvious
intention of appealing to the general, which it exhibits, are
considered, no better testimony to the popularity of _Gargantua_ and
_Pantagruel_ could be produced. The descriptions, too, have a
Rabelaisian minuteness and richness about them; and in the burlesque
parts the influence of that master is equally perceptible. But the
strictly practical point of view is always maintained; and the
temptation, alway