"Have you seen," said the Perigordian Abbe, "the romance of Sieur Gauchat, doctor of divinity?"[26] "Yes," answered one of the guests, "but I have not been able to finish it. We have a crowd of silly writings, but all together do not approach the impertinence of 'Gauchat, Doctor of Divinity.' I am so satiated with the great number of detestable books with which we are inundated that I am reduced to punting at faro." "And the _Melanges_ of Archdeacon Trublet,[27] what do you say of that?" said the Abbe. "Ah!" said the Marchioness of Parolignac, "the wearisome mortal! How curiously he repeats to you all that the world knows! How heavily he discusses that which is not worth the trouble of lightly remarking upon! How, without wit, he appropriates the wit of others! How he spoils what he steals! How he disgusts me! But he will disgust me no longer--it is enough to have read a few of the Archdeacon's pages." There was at table a wise man of taste, who supported the Marchioness. They spoke afterwards of tragedies; the lady asked why there were tragedies which were sometimes played and which could not be read. The man of taste explained very well how a piece could have some interest, and have almost no merit; he proved in few words that it was not enough to introduce one or two of those situations which one finds in all romances, and which always seduce the spectator, but that it was necessary to be new without being odd, often sublime and always natural, to know the human heart and to make it speak; to be a great poet without allowing any person in the piece to appear to be a poet; to know language perfectly--to speak it with purity, with continuous harmony and without rhythm ever taking anything from sense. "Whoever," added he, "does not observe all these rules can produce one or two tragedies, applauded at a theatre, but he will never be counted in the ranks of good writers. There are very few good tragedies; some are idylls in dialogue, well written and well rhymed, others political reasonings which lull to sleep, or amplifications which repel; others demoniac dreams in barbarous style, interrupted in sequence, with long apostrophes to the gods, because they do not know how to speak to men, with false maxims, with bombastic commonplaces!" Candide listened with attention to this discourse, and conceived a great idea of the speaker, and as the Marchioness had taken care to place him beside her, he leaned towards her and took the liberty of asking who was the man who had spoken so well. "He is a scholar," said the lady, "who does not play, whom the Abbe sometimes brings to supper; he is perfectly at home among tragedies and books, and he has written a tragedy which was hissed, and a book of which nothing has ever been seen outside his bookseller's shop excepting the copy which he dedicated to me." "The great man!" said Candide. "He is another Pangloss!" Then, turning towards him, he said: