reply, no; but that a very slight part of this system was vaguely surmised by heads better organized than the rest. I further answer that it was never received or taught in the schools, and that it never formed a body of doctrine. Attentively peruse this "Face of the Moon" of Plutarch, and you will find, if you look for it, the doctrine of gravitation; but the true author of a system is he who demonstrates it.
We will not take away from Copernicus the honor of this discovery. Three or four words brought to light in an old author, which exhibit some distant glimpse of his system, ought not to deprive him of the glory of the discovery.
Let us admire the great rule of Kepler, that the revolutions of the planets round the sun are in proportion to the cubes of their distances. Let us still more admire the profundity, the justness, and the invention of the great Newton, who alone discovered the fundamental reasons of these laws unknown to all antiquity, which have opened the eyes of mankind to a new heaven.
Petty compilers are always to be found who dare to become the enemies of their age. They string together passages from Plutarch and Athenæus, to prove that we have no obligations to Newton, to Halley, and to Bradley. They trumpet forth the glory of the ancients, whom they pretend have said everything; and they are so imbecile as to think that they divide the glory by publishing it. They twist an expression of Hippocrates, in order to persuade us that the Greeks were acquainted with the circulation of the blood better than Harvey. Why not also assert that the Greeks were possessed of better muskets and field-pieces; that they threw bomb-shells farther, had better printed books, and much finer engravings? That they excelled in oil-paintings, possessed looking-glasses of crystal, telescopes, microscopes, and thermometers? All this may be found out by men, who assure us that Solomon, who possessed not a single seaport, sent fleets to America, and so forth.
One of the greatest detractors of modern times is a person named Dutens, who finished by compiling a libel, as infamous as insipid, against the philosophers of the present day. This libel is entitled the "Tocsin"; but he had better have called it his clock, as no one came to his aid; and he has only tended to increase the number of the Zoilusses, who, being unable to produce anything themselves, spit their venom upon all who by their productions do honor to their country and benefit mankind.
TABOR, OR THABOR
A famous mountain in Judæa, often alluded to in general conversation. It is not true that this mountain is a league and a half high, as mentioned in certain dictionaries. There is no mountain in Judæa so elevated; Tabor is not more than six hundred feet high, but it appears loftier, in consequence of its situation on a vast plain.
The Tabor of Bohemia is still more celebrated by the resistance which the imperial armies encountered from Ziska. It is from thence that they have given the name of Tabor to intrenchments formed with carriages. The Taborites, a sect very similar to the Hussites, also take their name from the latter mountain.
TALISMAN
Talisman, an Arabian word, signifies properly "consecration." The same thing as "telesma," or "philactery," a preservative charm, figure, or character; a superstition which has prevailed at all times and among all people. It is usually a sort of medal, cast and stamped under the ascendency of certain constellations. The famous talisman of Catherine de Medici still exists.
TARTUFFE – TARTUFERIE
Tartuffe, a name invented by Molière, and now adopted in all the languages of Europe to signify hypocrites, who make use of the cloak of religion. "He is a Tartuffe; he is a true Tartuffe." Tartuferie, a new word formed from Tartuffe – the action of a hypocrite, the behavior of a hypocrite, the knavery of a false devotee; it is often used in the disputes concerning the Bull Unigenitus.
TASTE
The taste, the sense by which we distinguish the flavor of our food, has produced, in all known languages, the metaphor expressed by the word "taste" – a feeling of beauty and defects in all the arts. It is a quick perception, like that of the tongue and the palate, and in the same manner anticipates consideration. Like the mere sense, it is sensitive and luxuriant in respect to the good, and rejects the bad spontaneously; in a similar way it is often uncertain, divided, and even ignorant whether it ought to be pleased; lastly, and to conclude the resemblance, it sometimes requires to be formed and corrected by habit and experience.
To constitute taste, it is not sufficient to see and to know the beauty of a work. We must feel and be affected by it. Neither will it suffice to feel and be affected in a confused or ignorant manner; it is necessary to distinguish the different shades; nothing ought to escape the promptitude of its discernment; and this is another instance of the resemblance of taste, the sense, to intellectual taste; for an epicure will quickly feel and detect a mixture of two liquors, as the man of taste and connoisseur will, with a single glance, distinguish the mixture of two styles, or a defect by the side of a beauty. He will be enthusiastically moved with this verse in the Horatii:
Que voulez-vous qu'il fît contre trois? – Qu'il mourût!
What have him do 'gainst three? – Die!
He feels involuntary disgust at the following:
Ou qu'un beau désespoir alors le secourût.
Or, whether aided by a fine despair.
As a physical bad taste consists in being pleased only with high seasoning and curious dishes, so a bad taste in the arts is pleased only with studied ornament, and feels not the pure beauty of nature.
A depraved taste in food is gratified with that which disgusts other people: it is a species of disease. A depraved taste in the arts is to be pleased with subjects which disgust accomplished minds, and to prefer the burlesque to the noble, and the finical and the affected to the simple and natural: it is a mental disease. A taste for the arts is, however, much more a thing of formation than physical taste; for although in the latter we sometimes finish by liking those things to which we had in the first instance a repugnance, nature seldom renders it necessary for men in general to learn what is necessary to them in the way of food, whereas intellectual taste requires time to duly form it. A sensible young man may not, without science, distinguish at once the different parts of a grand choir of music; in a fine picture, his eyes at first sight may not perceive the gradation, the chiaroscuro perspective, agreement of colors, and correctness of design; but by little and little his ears will learn to hear and his eyes to see. He will be affected at the first representation of a fine tragedy, but he will not perceive the merit of the unities, nor the delicate management that allows no one to enter or depart without a sufficient reason, nor that still greater art which concentrates all the interest in a single one; nor, lastly, will he be aware of the difficulties overcome. It is only by habit and reflection, that he arrives spontaneously at that which he was not able to distinguish in the first instance. In a similar way, a national taste is gradually formed where it existed not before, because by degrees the spirit of the best artists is duly imbibed. We accustom ourselves to look at pictures with the eyes of Lebrun, Poussin, and Le Sueur. We listen to musical declamation from the scenes of Quinault with the ears of Lulli, and to the airs and accompaniments with those of Rameau. Finally, books are read in the spirit of the best authors.
If an entire nation is led, during its early culture of the arts, to admire authors abounding in the defects and errors of the age, it is because these authors possess beauties which are admired by everybody, while at the same time readers are not sufficiently instructed to detect the imperfections. Thus, Lucilius was prized by the Romans, until Horace made them forget him; and Regnier was admired by the French, until the appearance of Boileau; and if old authors who stumble at every step have, notwithstanding, attained great reputation, it is because purer writers have not arisen to open the eyes of their national admirers,
