Still greater is the dignity of trebly prime numbers; when the number marking the place of this second number is also prime. The number thirteen fulfils these conditions: it is a prime number, it is the seventh prime number, and seven is the fifth prime number. Accordingly he has an outrageous partiality to the number thirteen. Though one of the most inconvenient of all small numbers, he insists on introducing it everywhere. These strange conceits are connected with a highly characteristic example of M. Comte's frenzy for regulation. He cannot bear that anything should be left unregulated: there ought to be no such thing as hesitation; nothing should remain arbitrary, for _l'arbitraire_ is always favourable to egoism. Submission to artificial prescriptions is as indispensable as to natural laws, and he boasts that under the reign of sentiment, human life may be made equally, and even more, regular than the courses of the stars. But the great instrument of exact regulation for the details of life is numbers: fixed numbers, therefore, should be introduced into all our conduct. M. Comte's first application of this system was to the correction of his own literary style. Complaint had been made, not undeservedly, that in his first great work, especially in the latter part of it, the sentences and paragraphs were long, clumsy, and involved. To correct this fault, of which he was aware, he imposed on himself the following rules. No sentence was to exceed two lines of his manuscript, equivalent to five of print. No paragraph was to consist of more than seven sentences. He further applied to his prose writing the rule of French versification which forbids a _hiatus_(the concourse of two vowels), not allowing it to himself even at the break between two sentences or two paragraphs; nor did he permit himself ever to use the same word twice, either in the same sentence or in two consecutive sentences, though belonging to different paragraphs: with the exception of the monosyllabic auxiliaries.[27] All this is well enough, especially the first two precepts, and a good way of breaking through a bad habit. But M. Comte persuaded himself that any arbitrary restriction, though in no way emanating from, and therefore necessarily disturbing, the natural order and proportion of the thoughts, is a benefit in itself, and tends to improve style. If it renders composition vastly more difficult, he rejoices at it, as tending to confine writing to superior minds. Accordingly, in the Synthese Subjective, he institutes the following "plan for all compositions of importance." "Every volume really capable of forming a distinct treatise" should consist of "seven chapters, besides the introduction and the conclusion; and each of these should be composed of three parts." Each third part of a chapter should be divided into "seven sections, each composed of seven groups of sentences, separated by the usual break of line. Normally formed, the section