A Philosophical Dictionary, Volume 10

by Voltaire

The flowery style detracts from the interest of tragedy, and weakens ridicule in comedy. It is in its place in the French opera, which rather flourishes on the passions than exhibits them. The flowery is not to be confounded with the easy style, which rejects this class of embellishment.

Coldness of Style.

It is said that a piece of poetry, of eloquence, of music, and even of painting, is cold, when we look for an animated expression in it, which we find not. Other arts are not so susceptible of this defect; for instance, architecture, geometry, logic, metaphysics, all the principal merit of which is correctness, cannot properly be called warm or cold. The picture of the family of Darius, by Mignard, is very cold in comparison with that of Lebrun, because we do not discover in the personages of Mignard the same affliction which Lebrun has so animatedly expressed in the attitudes and countenances of the Persian princesses. Even a statue may be cold; we ought to perceive fear and horror in the features of an Andromeda, the effect of a writhing of the muscles; and anger mingled with courageous boldness in the attitude and on the brow of Hercules, who suspends and strangles Antæus.

In poetry and eloquence the great movements of the soul become cold, when they are expressed in common terms, and are unaided by imagination. It is this latter which makes love so animated in Racine, and so languid in his imitator, Campistron.

The sentiments which escape from a soul which seeks concealment, on the contrary, require the most simple expression. Nothing is more animated than those verses in "The Cid": "Go; I hate thee not—thou knowest it; I cannot." This feeling would become cold, if conveyed in studied phrases.

For this reason, nothing is so cold as the timid style. A hero in a poem says, that he has encountered a tempest, and that he has beheld his friend perish in the storm. He touches and affects, if he speaks with profound grief of his loss—that is, if he is more occupied with his friend than with all the rest; but he becomes cold, and ceases to affect us, if he amuses us with a description of the tempest; if he speaks of the source of "the fire which was boiling up the waters, and of the thunder which roars and which redoubles the furrows of the earth and of the waves." Coldness of style, therefore, often arises from a sterility of ideas; often from a deficiency in the power of governing them; frequently from a too common diction, and sometimes from one that is too far-fetched.

The author who is cold only in consequence of being animated out of time and place, may correct this defect of a too fruitful imagination; but he who is cold from a deficiency of soul is incapable of self-correction. We may allay a fire which is too intense, but cannot acquire heat if we have none.

On Corruption of Style.

A general complaint is made, that eloquence is corrupted, although we have models of almost all kinds. One of the greatest defects of the day, which contributes most to this defect, is the mixture of style. It appears to me, that we authors do not sufficiently imitate the painters, who never introduce the attitudes of Calot with the figures of Raphael. I perceive in histories, otherwise tolerably well written, and in good doctrinal works, the familiar style of conversation. Some one has formerly said, that we must write as we speak; the sense of which law is, that we should write naturally. We tolerate irregularity in a letter, freedom as to style, incorrectness, and bold pleasantries, because letters, written spontaneously, without particular object or act, are negligent conversations; but when we speak or treat of a subject formally, some attention is due to decorum; and to whom ought we to pay more respect than to the public?

Is it allowable to write in a mathematical work, that "a geometrician who would pay his devotions, ought to ascend to heaven in a right line; that evanescent quantities turn up their noses at the earth for having too much elevated them; that a seed sown in the ground takes an opportunity to release and amuse itself; that if Saturn should perish, it would be his fifth and not his first satellite that would take his place, because kings always keep their heirs at a distance; that there is no void except in the purse of a ruined man; that when Hercules treats of physics, no one is able to resist a philosopher of his degree of power?" etc.