so restricted as to compel a man with anything to say not to express himself in verse.[3218] On the other hand the more you prune the more you thin out. Reduced to a select vocabulary the Frenchman deals with fewer subjects, but he describes them more agreeably and more clearly. "Courtesy, accuracy", (Urbanité, exactitude!), these two words, born at the same time with the French Academy, describes in a nutshell the reform of which it is the tool, and which the drawing-room, by it, and alongside of it, imposes on the public. Grand seigniors in retirement, and unoccupied fine ladies, enjoy the examination of the subtleties of words for the purpose of composing maxims, definitions and characters. With admirable scrupulousness and infinitely delicate tact, writers and people society apply themselves to weighing each word and each phrase in order to fix its sense, to measure its force and bearing, to determine its affinities, use and connections This work of precision is carried on from the earliest academicians, Vaugelas, Chapelain and Conrart, to the end of the classic epoch, in the Synonymes by Bauzée and by Girard, in the Remarque by Duclos, in the Commentaire by Voltaire on Corneille, in the Lycée by la Harpe,[3219] in the efforts, the example, the practice and the authority of the great and the inferior writers of which all are correct. Never did architects, obliged to use ordinary broken highway stones in building, better understand each piece, its dimensions, its shape, its resistance, its possible connections and suitable position.--Once this was learned, the task was to construct with the least trouble and with the utmost solidity; the grammar was consequently changed at the same time and in the same way as the dictionary. Hence no longer permitting the words to reflect the way impressions and emotions were felt; they now had to be regularly and rigorously assigned according to the invariable hierarchy of concepts. The writer may no longer begin his text with the leading figure or the main purpose of his story; the setting is given and the places assigned beforehand. Each part of the discourse has its own place; no omission or transposition is permitted, as was done in the sixteenth century[3220]. 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