In 1571, on the death of his father, Montaigne, then thirty-eight years old, retired from the prac tice of law at Bordeaux, and settled himself on his estate. Though he had been a man of pleasure and sometimes a courtier, his studious habits now grew on him, and he loved the compass, staidness and independence of the country gentleman's life. He took up his economy in good earnest, and made his farms yield the most. Downright and plaindealing, and abhorring to be deceived or to deceive, he was esteemed in the country for his sense and probity. In the civil wars of the League, which converted every house into a fort, Montaigne kept his gates open and his house without defence. All parties freely came and went, his courage and honor being universally esteemed. The neighboring lords and gentry brought jewels and papers to him for safe-keeping. Gibbon reckons, in these bigoted times, but two men of liberality in France, -Henry IV. and Montaigne.

Montaigne is the frankest and honestest of all writers. His French freedom runs into grossness; but he has anticipated all censure by the bounty of his own confessions. In his times, books were written to one sex only, and almost all were written in Latin; so that in a humorist a certain nakedness of statement was permitted, which our manners, of a literature addressed equally to both

sexes, do not allow. But though a biblical plainness coupled with a most uncanonical levity may shut his pages to many sensitive readers, yet the offence is superficial. He parades it: he makes the most of it: nobody can think or say worse of him than he does. He pretends to most of the vices; and, if there be any virtue in him, he says, it got in by stealth. There is no man, in his opinion, who has not deserved hanging five or six times; and he pretends no exception in his own behalf. "Five or six as ridiculous stories," too, he says,

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can be told of me, as of any man living." But, with all this really superfluous frankness, the opinion of an invincible probity grows into every reader's mind. "When I the most strictly and relig iously confess myself, I find that the best virtue I have has in it some tincture of vice; and I, who am as sincere and perfect a lover of virtue of that stamp as any other whatever, am afraid that Plato, in his purest virtue, if he had listened and laid his ear close to himself, would have heard some jarring sound of human mixture; but faint and remote and only to be perceived by himself."

Here is an impatience and fastidiousness at color or pretence of any kind. He has been in courts so long as to have conceived a furious disgust at appearances; he will indulge himself with a little cursing and swearing; he will talk with sailors and

gipsies, use flash and street ballads; he has stayed in-doors till he is deadly sick; he will to the open air, though it rain bullets. He has seen too much of gentlemen of the long robe, until he wishes for cannibals; and is so nervous, by factitious life, that he thinks the more barbarous man is, the better he is. He likes his saddle. You may read theology, and grammar, and metaphysics elsewhere. Whatever you get here shall smack of the earth and of real life, sweet, or smart, or stinging. He makes no hesitation to entertain you with the records of his disease, and his journey to Italy is quite full of that matter. He took and kept this position of equilibrium. Over his name he drew an emblematic pair of scales, and wrote Que sçais je? under it. As I look at his effigy opposite the title-page, I seem to hear him say, You may play old Poz, if you will; you may rail and exaggerate, I stand here for truth, and will not, for all the states and churches and revenues and personal reputations of Europe, overstate the dry fact, as I see it; I will rather mumble and prose about what I certainly know, my house and barns; my father, my wife and my tenants; my old lean bald pate ; my knives and forks; what meats I eat and what drinks I prefer, and a hundred straws just as ridiculous, — than I will write, with a fine crow-quill, a fine romance.

I like gray days, and autumn and

winter weather. I am gray and autumnal myself, and think an undress and old shoes that do not pinch my feet, and old friends who do not constrain me, and plain topics where I do not need to strain myself and pump my brains, the most suitable. Our condition as men is risky and ticklish enough. One cannot be sure of himself and his fortune an hour, but he may be whisked off into some pitiable or ridiculous plight. Why should I vapor and play the philosopher, instead of ballasting, the best I can, this dancing balloon? So, at least, I live within compass, keep myself ready for action, and can shoot the gulf at last with decency. If there be any thing farcical in such a life, the blame is not mine: let it lie at fate's and nature's door.'

The Essays, therefore, are an entertaining soliloquy on every random topic that comes into his head; treating every thing without ceremony, yet with masculine sense. There have been men with deeper insight; but, one would say, never a man with such abundance of thoughts: he is never dull, never insincere, and has the genius to make the reader care for all that he cares for.

The sincerity and marrow of the man reaches to his sentences. I know not anywhere the book that seems less written. It is the language of conversation transferred to a book. Cut these words, and

they would bleed; they are vascular and alive. One has the same pleasure in it that he feels in listening to the necessary speech of men about their work, when any unusual circumstance gives momentary importance to the dialogue. For blacksmiths and teamsters do not trip in their speech; it is a shower of bullets. It is Cambridge men who correct themselves and begin again at every half sentence, and, moreover, will pun, and refine too much, and swerve from the matter to the expression. Montaigne talks with shrewdness, knows the world and books and himself, and uses the positive degree: never shrieks, or protests, or prays: no weakness, no convulsion, no superlative: does not wish to jump out of his skin, or play any antics, or annihilate space or time, but is stout and solid; tastes every moment of the day; likes pain because it makes him feel himself and realize things; as we pinch ourselves to know that we are awake. He keeps the plain; he rarely mounts or sinks; likes to feel solid ground and the stones underneath. His writing has no enthusiasms, no aspiration; contented, self-respecting and keeping the middle of the road. There is but one exception, in his love for Socrates. In speaking of him, for once his cheek flushes and his style rises to passion.

Montaigne died of a quinsy, at the age of sixty, in 1592. When he came to die he caused the mass