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Christian eloquence has become a spectacle. That gospel sadness, which is its soul, is no longer to be observed in it; its place is supplied by advantages of facial expression, by inflexions of the voice, by regularity of gesticulation, by choice of words, and by long categories. The sacred word is no longer listened to seriously; it is a kind of amusement, one among many; it is a game in which there is rivalry, and in which there are those who lay wagers. Profane eloquence has been transferred, so to speak, from the bar,... where it is no longer employed, to the pulpit, where it ought not to be found. Matches of eloquence are made at the very foot of the altar, and in the presence of the mysteries. He who listens sits in judgment on him who preaches, to condemn or to applaud, and is no more converted by the discourse which he praises than by that which he pronounces against. The orator pleases some, displeases others, and has an understanding with all in one thing,--that as he does not seek to render them better, so they do not think of becoming better. The almost cynical acerbity of the preceding is ostensibly relieved of an obvious application to certain illustrious contemporary examples among preachers by the following open allusion to Bossuet and Bourdaloue:-- The Bishop of Meaux [Bossuet] and Father Bourdaloue make me think of Demosthenes and Cicero. Both of them, masters of pulpit eloquence, have had the fortune of great models; the one has made bad critics, the other, bad imitators. Here is a happy instance of La Bruyere's successful pains in redeeming a commonplace sentiment by means of a striking form of expression; the writer is disapproving the use of oaths in support of one's testimony:-- An honest man who says, Yes, or No, deserves to be believed; his character swears for him. Highly satiric in his quiet way, La Bruyere knew how to be. Witness the following thrust at a contemporary author, not named by the satirist, but, no doubt, recognized by the public of the time:-- He maintains that the ancients, however unequal and negligent they may be, have fine traits; he points these out; and they are so fine that they make his criticism readable. How painstakingly, how self-consciously, La Bruyere did his literary work, is evidenced by the following:--
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