how to present such spots vividly to the eye, by means of what he put in juxtaposition, in his immortal writings. He who thinks that all this juxtaposition may be rejected as superfluous, quite forgets that in so doing in order to bring about effects, one would be obliged to go over to the school which, since 1830, has flourished so long in France; though I must say to the honour of that country, that the authors who in this respect have offended the most against good taste have been valued most in foreign countries, and not in France itself. The authors,—I believe that this school is now no more,—thought it easy to dip their hands in pools of blood and throw it in great spots on the picture, in order to be able to see them from a distance. To be sure they are easier to paint, these rough lines of red and black, than the beautiful lines in the calyx of a lily. Therefore that school generally chose kings for the heroes of narratives by preference, from the time when the nations were still in their infancy. You see, the affliction of the king is represented on paper by cries of the people: his anger gives the author an opportunity to kill thousands on the field of battle: his errors give room to paint famine and plague—suchlike things give work to rough pencils. If you are not touched at the sight of the corpse that lies there, there is room in my narrative for another man, convulsed with pain, and still shrieking. Did you not weep for the mother, who sought in vain for her child?—Well, I will
