In 1673 a decree of the parlement against Cartesian and other unlicensed theories was on the point of being issued, and was only checked in[time by the appearance of a burlesque mandamus against the intruder Reason, composed by Boileau and some of his brother-poets.
La Fontaine dedicated to her his novel Belphegor, and Boileau immortalized her in verse.
She was well versed in mathematics, which she studied at the university of Moscow, and in general literature her favourite authors were Bayle, Montesquieu, Boileau, Voltaire and Helvetius.
In 1691 he was received into the French Academy in spite of the determined efforts of the partisans of the ancients in this quarrel, especially of Racine and Boileau, who on four previous occasions had secured his rejection.
Fontenelle forms a link between two very widely different periods of French literature, that of Corneille, Racine and Boileau on the one hand, and that of Voltaire, D'Alembert and Diderot on the other.
That they had to be replaced by others, the work of Racine and Boileau, both enemies of his.
P. P. Boileau (1811-1891) discussed their results and added experiments of his own (Traite de la mesure des eaux courantes, Paris, 1854).
The criticism of Malherbe, followed by the establishment of the Academy, the minute grammatical censures of Claude Favre Vaugelas, and the severe literary censorship of Boileau, turned French in less than three-quarters of a century from one of the freest languages in Europe to one of the most restricted.
To this, which seems authentic, is usually added the tradition (due to the abbe Boileau) that afterwards he used at times to see an imaginary precipice by his bedside, or at the foot of the chair on which he was sitting.
They were also ridiculed in witty verses by Moliere, Boileau and La Fontaine, and gradually the name Escobar came to be used in France as a synonym for a person who is adroit in making the rules of morality harmonize with his own interests.
1292 to 1300 no fewer than 448 names of crafts occur, while the Livre des métiers written in 1268 by Etienne de Boileau, then prevot de Paris, enumerates ioi organized bodies of tradesmen or women and artisans.
He gave many pensions to men of letters, among whom we find Moliere, Corneille, Racine, Boileau, P. D.
He was the first Swedish satirist, and introduced Boileau to his countrymen.
We pass the witty epistles of Scarron and Voiture, to reach those of Boileau, whose epistles, twelve in number, are the classic examples of this form of verse in French literature; they were composed at different dates between 1668 and 1695.
Fenelon was feeling his way away from the rigid standards of Boileau to "a Sublime so simple and familiar that all may understand it."
He came just at a time when the characteristic ideas of the 17th century - the ideas of Louis XIV., of Bossuet and Boileau - had lost their savour, and before another creed could arise to take their place.
He took holy orders in 1676, and two years later the king gave him the abbey of Aulnay, where he wrote his Questiones Aletuanae (Caen, 1690), his Censura philosophiae Cartesianae (Paris, 1689), his Nouveau memoire pour servir a l'histoire du Cantesianisme (1692), and his discussion with Boileau on the Sublime.
Othon (1664), Agesilas (1666), Attila (1667), and Tite et Berenice (1670),(1670), were generally considered as proofs of failing powers, - the cruel quatrain of Boileau "Apres l'Age'silas Helas!
It used to be said that he was in great straits, and the story went (though, as far as Boileau is concerned, it has been invalidated), that at last Boileau, hearing of this, went to the king and offered to resign his own pension if there were not money enough for Corneille, and that Louis sent the aged poet two hundred pistoles.
When it was thought sufficient to say with Boileau that Corneille excited, not pity or terror, but admiration which was not a tragic passion; or that "D'un seul nom quelquefois le son dur ou bizarre Rend un poeme entier ou burlesque ou barbare;" when Voltaire could think it crushing to add to his exposure of the "infamies" of Theodore - " apres cela comment osons-nous condamner les pieces de Lope de Vega et de Shakespeare?"
This piece, written in the extravagant SpanishItalian manner, which was fashionable in the interval between the Pleiade model and the innovations of Corneille, was ridiculed by Boileau (Preface to his Ouvres, 1701).