The Feeble.

Weakness of the heart is not that of the mind, nor weakness of the soul that of the heart. A feeble soul is without resource in action, and abandons itself to those who govern it. The heart which is weak or feeble is easily softened, changes its inclinations with facility, resists not the seduction or the ascendency required, and may subsist with a strong mind; for we may think strongly and act weakly. The weak mind receives impressions without resistance, embraces opinions without examination, is alarmed without cause, and tends naturally to superstition.

A work may be feeble either in its matter or its style; by the thoughts, when too common, or when, being correct, they are not sufficiently profound; and by the style, when it is destitute of images, or turns of expression, and of figures which rouse attention. Compared with those of Bossuet, the funeral orations of Mascaron are weak, and his style is lifeless.

Every speech is feeble when it is not relieved by ingenious turns, and by energetic expressions; but a pleader is weak, when, with all the aid of eloquence, and all the earnestness of action, he fails in ratiocination. No philosophical work is feeble, notwithstanding the deficiency of its style, if the reasoning be correct and profound. A tragedy is weak, although the style be otherwise, when the interest is not sustained. The best-written comedy is feeble if it fails in that which the Latins call the “vis comica,” which is the defect pointed out by C?sar in Terence: “Lenibus atque utinam scriptis adjuncta foret vis comica!”

This is above all the sin of the weeping or sentimental comedy (larmoyante). Feeble verses are not those which sin against rules, but against genius; which in their mechanism are without variety, without choice expression, or felicitous inversions; and which retain in poetry the simplicity and homeliness of prose. The distinction cannot be better comprehended than by a reference to the similar passages of Racine and Campistron, his imitator.
Flowery Style.

“Flowery,” that which is in blossom; a tree in blossom, a rose-bush in blossom: people do not say, flowers which blossom. Of flowery bloom, the carnation seems a mixture of white and rose-color. We sometimes say a flowery mind, to signify a person possessing a lighter species of literature, and whose imagination is lively.

A flowery discourse is more replete with agreeable than with strong thoughts, with images more sparkling than sublime, and terms more curious than forcible. This metaphor is correctly taken from flowers, which are showy without strength or stability.

The flowery style is not unsuitable to public speeches or addresses which amount only to compliment. The lighter beauties are in their place when there is nothing more solid to say; but the flowery style should be banished from a pleading, a sermon, or a didactic work.

While banishing the flowery style, we are not to reject the soft and lively images which enter naturally into the subject; a few flowers are even admissible; but the flowery style cannot be made suitable to a serious subject.

This style belongs to productions of mere amusement; to idyls, eclogues, and descriptions of the seasons, or of gardens. It may gracefully occupy a portion of the most sublime ode, provided it be duly relieved by stanzas of more masculine beauty. It has little to do with comedy, which, as it ought to possess a resemblance to common life, requires more of the style of ordinary conversation. It is still less admissible in tragedy, which is the province of strong passions and momentous interests; and when occasionally employed in tragedy or comedy, it is in certain descriptions in which the heart takes no part, and which amuse the imagination without moving or occupying the soul.

The flowery style detracts from the interest of tragedy, and weakens ridicule in comedy. It is in its place in the French opera, which rather flourishes on the passions than exhibits them. The flowery is not to be confounded with the easy style, which rejects this class of embellishment.
Coldness of Style.

It is said that a piece of poetry, of eloquence, of music, and even of painting, is cold, when we look for an animated expression in it, which we find not. Other arts are not so susceptible of this defect; for instance, architecture, geometry, logic, metaphysics, all the principal merit of which is correctness, cannot properly be called warm or cold. The picture of the family of Darius, by Mignard, is very cold in comparison with that of Lebrun, because we do not discover in the personages of Mignard the same affliction which Lebrun has so animatedly expressed in the attitudes and countenances of the Persian princesses. Even a statue may be cold; we ought to perceive fear and horror in the features of an Andromeda, the effect of a writhing of the muscles; and anger mingled with courageous boldness in the attitude and on the brow of Hercules, who suspends and strangles Ant?us.

In poetry and eloquence the great movements of the soul become cold, when they are expressed in common terms, and are unaided by imagination. It is this latter which makes love so animated in Racine, and so languid in his imitator, Campistron.

The sentiments which escape from a soul which seeks concealment, on the contrary, require the most simple expression. Nothing is more animated than those verses in “The Cid”: “Go; I hate thee not — thou knowest it; I cannot.” This feeling would become cold, if conveyed in studied phrases.

For this reason, nothing is so cold as the timid............