11
All great amusements are dangerous to the Christian life; but among all those which the world has invented there is none more to be feared than the theatre. It is a representation of the passions so natural and so delicate that it excites them and gives birth to them in our hearts, and, above all, to that of love, principally when it is represented as very chaste and virtuous. For the more innocent it appears to innocent souls, the more they are likely to be touched by it. Its violence pleases our self-love, which immediately forms a desire to produce the same effects which are seen so well represented; and, at the same time, we make ourselves a conscience founded on the propriety of the feelings which we see there, by which the fear of pure souls is removed, since they imagine that it cannot hurt their purity to love with a love which seems to them so reasonable.
So we depart from the theatre with our heart so filled with all the beauty and tenderness of love, the soul and the mind so persuaded of its innocence, that we are quite ready to receive its first impressions, or rather to seek an opportunity of awakening them in the heart of another, in order that we may receive the same pleasures and the same sacrifices which we have seen so well represented in the theatre.
12
Scaramouch,[5] who only thinks of one thing.
The doctor,[6] who speaks for a quarter of an hour after he has said everything, so full is he of the desire of talking.
13
One likes to see the error, the passion of Cleobuline,[7] because she is unconscious of it. She would be displeasing, if she were not deceived.
14
When a natural discourse paints a passion or an effect, one feels within oneself the truth of what one reads, which was there before, although one did not know it. Hence one is inclined to love him who makes us feel it, for he has not shown us his own riches, but ours. And thus this benefit renders him pleasing to us, besides that such community of intellect as we have with him necessarily inclines the heart to love.
15
Eloquence, which persuades by sweetness, not by authority; as a tyrant, not as a king.
16
Eloquence is an art of saying things in such a way—(1) that those to whom we speak may listen to them without pain and with pleasure; (2) that they feel themselves interested, so that self-love leads them more willingly to reflection upon it.
It consists, then, in a correspondence which we seek to establish between the head and the heart of those to whom we speak on the one hand, and, on the other, between the thoughts and the expressions which we employ. This assumes that we have studied well the heart of man so as to know all its powers, and then to find the just proportions of the discourse which we wish to adapt to them. We must put ourselves in the place of those who are to hear us, and make trial on our own heart of the turn which we give to our discourse in order to see whether one is made for the other, and whether we can assure ourselves that the hearer will be, as it were, forced to surrender. We ought to restrict ourselves, so far as possible, to the simple and natural, and not to magnify that which is little, or belittle that which is great. It is not enough that a thing be beautiful; it must be suitable to the subject, and there must be in it nothing of excess or defect.
17
Rivers are roads which move,[8] and which carry us whither we desire to go.
18
When we do not know the truth of a thing, it is of advantage that there should exist a common error which determines the mind of man, as, for example, the moon, to which is attributed the change of seasons, the progress of diseases, etc. For the chief malady of man is restless curiosity about things which he cannot understand; and it is not so bad for him to be in error as to be curious to no purpose.
The manner in which Epictetus, Montaigne, and Salomon de Tultie[9] wrote, is the most usual, the most suggestive, the most remembered, and the oftenest quoted; because it is entirely composed of thoughts born from the common talk of life. As when we speak of the common error which exists among men that the moon is the cause of everything, we never fail to say that Salomon de Tultie says that when we do not know the truth of a thing, it is of advantage that there should exist a common error, etc.; which is the thought above.
19
The last thing one settles in writing a book is what one should put in first.
20
Order.—Why should I undertake to divide my virtues into four rather than into six? Why should I rather establish virtue in four, in two, in one? Why into Abstine et sustine[10] rather than into "Follow Nature,"[11] or, "Conduct your private affairs without injustice," as Plato,[12] or anything else? But there, you will say, everything is contained in one word. Yes, but it is useless without explanation, and when we come to explain it, as soon as we unfold this maxim which contains all the rest, they emerge in that first confusion which you desired to avoid. So, when they are all included in one, they are hidden and useless, as in a chest, and never appear save in their natural confusion. Nature has established them all without including one in the other.
21
Nature has made all her truths independent of one another. Our art makes one dependent on the other. But this is not natural. Each keeps its own place.
22
Let no one say that I have said nothing new; the arrangement of the subject is new. When we play tennis, we both play with the same ball, but one of us places it better.
I had as soon it said that I used words employed before. And in the same way if the same thoughts in a different arrangement do not form a different discourse, no more do the same words in their different arrangement form different thoughts!
23
Words differently arranged have a different meaning, and meanings differently arranged have different effects.
24
Language.—We should not turn the mind from one thing to another, except for relaxation, and that when it is necessary and the time suitable, and not otherwise. For he that relaxes out of season wearies, and he who wearies us out of season makes us languid, since we turn quite away. So much does our perverse lust like to do the contrary of what those wish to obtain from us without giving us pleasure, the coin for which we will do whatever is wanted.
25
Eloquence.—It requires the pleasant and the real; but the pleasant must itself be drawn from the true.
26
Eloquence is a painting of thought; and thus those who, after having painted it, add something more, make a picture instead of a portrait.
27
Miscellaneous. Language.—Those who make antitheses by forcing words are like those who make false windows for symmetry. Their rule is not to speak accurately, but to make apt figures of speech.
28
Symmetry is what we see at a glance; based on the fact that there is no reason for any difference, and based also on the face of man; whence it happens that symmetry is only wanted in breadth, not in height or depth.
29