3217 ([return])
[ I cite an example haphazard from the "Optimiste" (1788), by Colin d'Harleville. In a certain description, "The scene represents a bosquet filled with odoriferous trees."—The classic spirit rebels against stating the species of tree, whether lilacs, lindens or hawthorns.—In paintings of landscapes of this era we have the same thing, the trees being generalized,—of no known species.]
3218 ([return])
[ This evolution is seen today as well, television having the same effect upon its actors as the 18th century drawing-room. (SR.)]
3219 ([return])
[ See in the "Lycée," by la Harpe, after the analysis of each piece, his remarks on detail in style.]
3220 ([return])
[ The omission of the pronouns, I, he, we, you, they, the article the, and of the verb, especially the verb to be.—Any page of Rabelais, Amyot or Montaigne, suffices to show how numerous and various were the transpositions.]
3221 ([return])
[ Vaugelas, ibid. "No language is more inimical to ambiguities and every species of obscurity.">[