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discourse has its own place； no omission or transposition is
permitted； as was done in the sixteenth century＇20＇。 All parts must be
included； each in its definite place： at first the subject of the
sentence with its appendices； then the verb； then the object direct；
and； finally； the indirect connections。 In this way the sentence forms
a graduated scaffolding； the substance coming foremost； then the
quality； then the modes and varieties of the quality； just as a good
architect in the first place poses his foundation； then the building；
then the accessories； economically and prudently； with a view to adapt
each section of the edifice to the support of the section following
after it。 No sentence demands any less attention than another； nor is
there any in which one may not at every step verify the connection or
incoherence of the parts。＇21＇ … The procedure used in arranging a
simple sentence also governs that of the period； the paragraph and the
series of paragraphs； it forms the style as it forms the syntax。 Each
small edifice occupies a distinct position； and but one； in the great
total edifice。 As the discourse advances； each section must in turn
file in； never before； never after； no parasitic member being allowed
to intrude； and no regular member being allowed to encroach on its
neighbor； while all these members bound together by their very
positions must move onward； combining all their forces on one single
point。 Finally； we have for the first time in a writing； natural and
distinct groups； complete and compact harmonies； none of which
infringe on the others or allow others to infringe on them。 It is no
longer allowable to write haphazard； according to the caprice of one's
inspiration； to discharge one's ideas in bulk； to let oneself be
interrupted by parentheses； to string along interminable rows of
citations and enumerations。 An end is proposed； some truth is to be
demonstrated； some definition to be ascertained； some conviction to be
brought about； to do this we must march； and ever directly onward。
Order； sequence； progress； proper transitions； constant development
constitute the characteristics of this style。 To such an extent is
this pushed； that from the very first； personal correspondence；
romances； humorous pieces； and all ironical and gallant effusions；
consist of morsels of systematic eloquence。＇22＇ At the H？tel
Rambouillet； the explanatory period is displayed with as much fullness
and as rigorously as with Descartes himself。 One of the words most
frequently occurring with Mme。 de Scudéry is the conjunction for （in
French car）。 Passion is worked out through close…knit arguments。
Drawing room compliments stretch along in sentences as finished as
those of an academical dissertation。 Scarcely completed； the
instrument already discloses its aptitudes。 We are aware of its being
made to explain； to demonstrate； to persuade and to popularize。
Condillac； a century later； is justified in saying that it is in
itself a systematic means of decomposition and of recomposition； a
scientific method analogous to arithmetic and algebra。 At the very
least it possesses the incontestable advantage of starting with a few
ordinary terms； and of leading the reader along with facility and
promptness； by a series of simple combinations； up to the
loftiest。＇23＇ By virtue of this； in 1789； the French tongue ranks
above every other。 The Berlin Academy promises a prize to for anyone
who best can explain its pre…eminence。 It is spoken throughout Europe。
No other language is used in diplomacy。 As formerly with Latin； it is
international； and appears that； from now on； it is to be the
preferred tool whenever men are to reason。
It is the organ only of a certain kind of reasoning； la raison
raisonnante； that requiring the least preparation for thought； giving
itself as little trouble as possible； content with its acquisitions；
taking no pains to increase or renew them； incapable of； or unwilling
to embrace the plenitude and complexity of the facts of real life。 In
its purism； in its disdain of terms suited to the occasion； in its
avoidance of lively sallies； in the extreme regularity of its
developments； the classic style is powerless to fully portray or to
record the infinite and varied details of experience。 It rejects any
description of the outward appearance of reality； the immediate
impressions of the eyewitness； the heights and depths of passion； the
physiognomy； at once so composite yet absolute personal； of the
breathing individual； in short； that unique harmony of countless
traits； blended together and animated； which compose not human
character in general but one particular personality； and which a
Saint…Simon； a Balzac； or a Shakespeare himself could not render if
the rich language they used； and which was enhanced by their
temerities； did not contribute its subtleties to the multiplied
details of their observation。＇24＇ Neither the Bible； nor Homer； nor
Dante； nor Shakespeare＇25＇ could be translated with this style。 Read
Hamlet's monologue in Voltaire and see what remains of it； an abstract
piece of declamation； with about as much of the original in it as
there is of Othello in his Orosmane。 Look at Homer and then at Fenelon
in the island of Calypso； the wild； rocky island； where 〃gulls and
other sea…birds with long wings；〃 build their nests； becomes in pure
French prose an orderly park arranged 〃for the pleasure of the eye。〃
In the eighteenth century； contemporary novelists； themselves
belonging to the classic epoch； Fielding； Swift； Defoe； Sterne and
Richardson； are admitted into France only after excisions and much
weakening； their expressions are too free and their scenes are to
impressive； their freedom； their coarseness； their peculiarities；
would form blemishes； the translator abbreviates； softens； and
sometimes； in his preface； apologizes for what he retains。 Room is
found； in this language； only for a partial lifelikeness； for some of
the truth； a scanty portion； and which constant refining daily renders
still more scanty。 Considered in itself； the classic style is always
tempted to accept slight； insubstantial commonplaces for its subject
materials。 It spins them out； mingles and weaves them together； only a
fragile filigree； however； issues from its logical apparatus； we may
admire the elegant workmanship； but in practice； the work is of
little； none； or negative service。
From these characteristics of style we divine those of the mind for
which it serves as a tool。 … Two principal operations constitute the
activity of the human understanding。 Observing things and events； it
receives a more or less complete； profound and exact impression of
these； and after this； turning away from them； it analyses its
impressions； and classifies； distributes； and more or less skillfully
expresses the ideas derived from them。 … In the second of these
operations the classicist is superior。 Obliged