For example, I have observed that the "inclemency" of the weather is ridiculous in history, because that term has its origin in the anger of heaven, which is supposed to be manifested by the intemperateness, irregularities, and rigors of the seasons, by the violence of the cold, the disorder of the atmosphere, by tempests, storms, and pestilential exhalations. Thus then inclemency, being a metaphor, is consecrated to poetry. I have given to the word "impotence" all the acceptations which it receives. I showed the correctness of the historian, who speaks of the impotence of King Alphonso, without explaining whether he referred to that of resisting his brother, or that with which he was charged by his wife. I have endeavored to show that the epithets "irresistible" and "incurable" require very delicate management. The first who used the expression, "the irresistible impulse of genius," made a very fortunate hit; because, in fact, the question was in relation to a great genius throwing itself upon its own resources in spite of all difficulties. Those imitators who have employed the expression in reference to very inferior men are plagiarists who know not how to dispose of what they steal. As soon as the man of genius has made a new application of any word in the language, copyists are not wanting to apply it, very malapropos, in twenty places, without giving the inventor any credit. I do not know that a single one of these words, termed by Boileau "foundlings" (_des mots trouvés_) a single new expression of genius, is to be found in any tragic author since Racine, until within the last few years. These words are generally lax, ineffective, stale, and so ill placed as to produce a barbarous style. To the disgrace of the nation, these Visigothic and Vandal productions were for a certain time extolled, panegyrized, and admired in the journals, especially as they came out under the protection of a certain lady of distinction, who knew nothing at all about the subject. We have recovered from all this now; and, with one or two exceptions, the whole race of such productions is extinct forever. I did not in the first instance intend to make all these reflections, but to put the reader in a situation to make them. I have shown at the letter E that our _e_ mute, with which we are reproached by an Italian, is precisely what occasions the delicious harmony of our language:--_empire, couronne, diadème, épouvantable, sensible_. This _e_ mute, which we make perceptible without articulating it, leaves in the ear a melodious sound like that of a bell which still resounds although it is no longer struck. This we have already stated in respect to an Italian, a man of letters, who came to Paris to teach his own language, and who, while there, ought not to decry ours. He does not perceive the beauty or necessity of our feminine rhymes; they are only _e_'s mute. This interweaving of masculine and feminine rhymes constitutes the charm of our verse.