a rock.
Blood makes life; it furnishes the viscera, the limbs, the skin, the very extremities of the hairs and nails with the fluids, the humors proper for them.
This blood, by which the animal has life, is formed by the chyle. During pregnancy this chyle is transmitted from the uterus to the child, and, after the child is born, the milk of the nurse produces this same chyle. The greater diversity of aliments it afterwards receives, the more the chyle is liable to be soured. This alone forming the blood, and this blood, composed of so many different humors so subject to corruption, circulating through the whole human body more than five hundred and fifty times in twenty-four hours, with the rapidity of a torrent, it is not only astonishing that fever is not more frequent, it is astonishing that man lives. In every articulation, in every gland, in every passage, there is danger of death; but there are also as many succors as there are dangers. Almost every membrane extends or contracts as occasion requires. All the veins have sluices which open and shut, giving passage to the blood and preventing a return, by which the machine would be destroyed. The blood, rushing through all these canals, purifies itself. It is a river that carries with it a thousand impurities; it discharges itself by perspiration, by transpiration, by all the secretions. Fever is itself a succor; it is a rectification when it does not kill.
Man, by his reason, accelerates the cure by administering bitters, and, above all, by regimen. This reason is an oar with which he may row for some time on the sea of the world when disease does not swallow him up.
It is asked: How is it that nature has abandoned the animals, her work, to so many horrible diseases, almost always accompanied by fever? How and why is it that so many disorders exist with so much order, formation, and destruction everywhere, side by side? This is a difficulty that often gives me a fever, but I beg you will read the letters of Memmius. Then, perhaps, you will be inclined to suspect that the incomprehensible artificer of vegetables, animals, and worlds, having made all for the best, could not have made anything better.
FICTION
Is not a fiction, which teaches new and interesting truths, a fine thing? Do you not admire the Arabian story of the sultan who would not believe that a little time could appear long, and who disputed with his dervish on the nature of duration? The latter to convince him of it, begged him only to plunge his head for a moment into the basin in which he was washing. Immediately the sultan finds himself transported into a frightful desert; he is obliged to labor to get a livelihood; he marries, and has children who grow up and ill treat him; finally he returns to his country and his palace and he there finds the dervish who has caused him to suffer so many evils for five and twenty years. He is about to kill him, and is only appeased when he is assured that all passed in the moment in which, with his eyes shut, he put his head into the water.
You still more admire the fiction of the loves of Dido and Æneas, which caused the mortal hatred between Carthage and Rome, as also that which exhibits in Elysium the destinies of the great men of the Roman Empire.
You also like that of Alcina, in Ariosto, who possesses the dignity of Minerva with the beauty of Venus, who is so charming to the eyes of her lovers, who intoxicates them with voluptuous delights, and unites all the loves and graces, but who, when she is at last reduced to her true self and the enchantment has passed away, is nothing more than a little shrivelled, disgusting, old woman.
As to fictions which represent nothing, teach nothing, and from which nothing results, are they anything more than falsities? And if they are incoherent and heaped together without choice, are they anything better than dreams?
You will possibly tell me that there are ancient fictions which are very incoherent, without ingenuity, and even absurd, which are still admired; but is it not rather owing to the fine images which are scattered over these fictions than to the inventions which introduce them? I will not dispute the point, but if you would be hissed at by all Europe, and afterwards forgotten forever, write fictions similar to those which you admire.
FIERTÉ
Fierté is one of those expressions, which, having been originally employed in an offensive sense, are afterwards used in a favorable one. It is censure when this word signifies high-flown, proud, haughty, and disdainful. It is almost praise when it means the loftiness of a noble mind.
It is a just eulogium on a general who marches towards the enemy with fierté. Writers have praised the fierté of the gait of Louis XIV.; they should have contented themselves with remarking its nobleness.
Fierté, without dignity, is a merit incompatible with modesty. It is only fierté in air and manners which offends; it then displeases, even in kings.
Fierté of manner in society is the expression of pride; fierté of soul is greatness. The distinctions are so nice that a proud spirit is deemed blamable, while a proud soul is a theme of praise. By the former is understood one who thinks advantageously of himself while the latter denotes one who entertains elevated sentiments.
Fierté, announced by the exterior, is so great a fault that the weak, who abjectly praise it in the great are obliged to soften it, or rather to extol it, by speaking of "this noble fierté." It is not simply vanity, which consists in setting a value upon little things; it is not presumption, which believes itself capable of great ones; it is not disdain, which adds contempt of others to a great opinion of self; but it is intimately allied to all these faults.
This word is used in romances, poetry, and above all, in operas, to express the severity of female modesty. We meet with vain fierté, vigorous fierté, etc. Poets are, perhaps, more in the right than they imagine. The fierté of a woman is not only rigid modesty and love of duty, but the high value which she sets upon her beauty. The fierté of the pencil is sometimes spoken of to signify free and fearless touches.
FIGURE
Every one desirous of instruction should read with attention all the articles in the "Dictionnaire Encyclopédique," under the head "Figure," viz.:
"Figure of the Earth," by M. d'Alembert – a work both clear and profound, in which we find all that can be known on the subject.
"Figure of Rhetoric," by César Dumarsais – a piece of instruction which teaches at once to think and to write; and, like many other articles, make us regret that young people in general have not a convenient opportunity of reading things so useful.
"Human Figure," as relating to painting and sculpture – an excellent lesson given to every artist, by M. Watelet.
"Figure," in physiology – a very ingenious article, by M. de Caberoles.
"Figure," in arithmetic and in algebra – by M. Mallet.
"Figure," in logic, in metaphysics, and in polite literature, by M. le Chevalier de Jaucourt – a man superior to the philosophers of antiquity, inasmuch as he has preferred retirement, real philosophy, and indefatigable labor, to all the advantages that his birth might have procured him, in a country where birth is set above all beside, excepting money.
Figure or Form of the Earth.
Plato, Aristotle, Eratosthenes, Posidonius, and all the geometricians of Asia, of Egypt, and of Greece, having acknowledged the sphericity of our globe, how did it happen that we, for so long a time, imagined that the earth was a third longer than it was broad, and thence derived the terms "longitude" and "latitude," which continually bear testimony to our ancient ignorance?
The reverence due to the "Bible," which teaches us so many truths more necessary and more sublime, was the cause of this, our almost universal error. It had been found, in Psalm ciii, that God had stretched the heavens over the earth like a skin; and as a skin is commonly longer than it is wide, the same was concluded of the earth.
St. Athanasius expresses himself as warmly against good astronomers as against the partisans of Arius and Eusebius. "Let us," says he, "stop the mouths of those barbarians, who, speaking without proof, dare to assert that the heavens also extend under the earth." The fathers considered the earth as a great ship, surrounded by water, with the prow to the east, and the stern to the west. We still find, in "Cosmos," a work of the fourth century,