orks of Homer produced a controversy, both long and virulent,
amongst the wits of France. This literary quarrel is of some note in
the annals of literature, since it has produced two valuable books; La
Motte's "Reflexions sur la Critique," and Madame Dacier's "Des Causes de
la Corruption du Gout." La Motte wrote with feminine delicacy, and
Madame Dacier like a University pedant. "At length, by the efforts of
Valincour, the friend of art, of artists, and of peace, the contest was
terminated." Both parties were formidable in number, and to each he made
remonstrances, and applied reproaches. La Motte and Madame Dacier, the
opposite leaders, were convinced by his arguments, made reciprocal
concessions, and concluded a peace. The treaty was formally ratified at
a dinner, given on the occasion by a Madame De Stael, who represented
"Neutrality." Libations were poured to the memory of old Homer, and the
parties were reconciled.

FOOTNOTES:

[Footnote 88: Caricaturists were employed on both sides of the question,
and by pictures as well as words the war of polemics was vigorously
carried on. In one instance, the head of Luther is represented as the
Devil's Bagpipe; he blows into his ear, and uses his nose as a chanter.
Cocleus, in one of his tracts, represents Luther as a monster with seven
heads, indicative of his follies; the first is that of a disputatious
doctor, the last that of Barabbas! Luther replied in other pamphlets,
adorned with equally gross delineations levelled at his opponents.]

[Footnote 89: Bishop Percy's _Reliques of Ancient English Poetry_ will
furnish an example of the coarseness of invective used by both parties
during the era of the Reformation; in such rhymes as "Plain Truth and
Blind Ignorance"--"A Ballad of Luther and the Pope," &c. The old
interlude of "Newe Custome," printed in Dodsley's _Old Plays_; and that
of "Lusty Juventus," in Hawkins's _English Drama_, are choice specimens
of the vulgarest abuse. Bishop Bale in his play of _King John_
(published in 1838 by the Camden Society), indulges in a levity and
coarseness that would not now be tolerated in an alehouse--"stynkyng
heretic" on one side, and "vile popysh swyne" on the other, are among
the mildest epithets used in these religious satires. One of the most
curious is a dialogue between John Bon, a husbandman, and "Master
Parson" of his parish, on the subject of transubstantiation; it was so
violent in its style as to threaten great trouble