e term "florid" will not apply to what is everywhere pervaded by
an exquisite harmony and taste. Simplicity of expression, energy of
tone, would be out of place, where the thought is so subtile and
refined, the glow of feeling so soft and restrained, the mind so
absorbed in the effort to catch every echo, every reflection, floating
across the field of its survey. Difficult as it is to convey any
adequate notion of such a style by mere description, it would be at
least as difficult to do justice to its peculiarities in a translation.
Our impressions of it may perhaps be best summed up by saying that it
is the farthest remove from oratory, and the nearest approach to poetry,
of any prose not professedly idyllic or lyric with which we are
acquainted.

It has been stated by the author himself, as one defect in his criticism
at this period, that it was not "conclusive." It was perfectly sincere,
but not equally frank. In fact, it was not full-grown. A mind like that
of M. Sainte-Beuve is slow in arriving at maturity. It is quick to
comprehend; but the very breadth of its comprehension and the variety of
its researches make it tardy in attaining that completeness and
decision, that air of mastery, which less capacious minds assume through
the mere instinct, and as the outward sign, of virility. He has himself
indicated the distinction in his notice of M. Taine, whom he describes
as "entering the arena fully armed and equipped, taking his place with a
precision, a vigor of expression, a concentration and absoluteness of
thought, which he applies in turn to the most opposite subjects, without
ever forgetting his own identity or losing faith in his system." There
were, however, in the case of M. Sainte-Beuve, further impediments to
the assumption of an explicit and confident tone. Among the authors whom
he was called upon to criticise were his acknowledged leaders, those by
whom he had been initiated into the mysteries of modern art. Though he
was fast outgrowing their influence, he was in no haste to proclaim his
independence. An indefatigable student, he was accumulating stores of
material without as yet drawing upon them to any proportionate extent,
or putting forth all the strength with which they supplied him. Besides
the "Portraits," his only other work during this period was his "History
of Port Royal," the five volumes of which were published at long
intervals. Social relations, too, exerted a restraining influence. His