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Updated: May 11, 2025
One of the reasons we give against it is that it leads to toy gardening, and toy gardening is of all sorts the most pitiful and ridiculous. "No true art," we say, "can tolerate any make-believe which is not in some way finer than the reality it simulates. In other words, imitation should always be in the nature of an amiable condescension.
A suggestion which may naturally enough present itself is, that these curious bodies are the result of some process of aggregation which has taken place in the carbonate of lime; that, just as in winter, the rime on our windows simulates the most delicate and elegantly arborescent foliage proving that the mere mineral water may, under certain conditions, assume the outward form of organic bodies so this mineral substance, carbonate of lime, hidden away in the bowels of the earth, has taken the shape of these chambered bodies.
M. Brieux in some of his plays (not in all) is no less logic-ridden than M. Hervieu. Take, for instance, Les Trois Filles de M. Dupont: every character is a term in a syllogism, every scene is dictated by an imperious craving for symmetry. The main theorem may be stated in some such terms as these: "The French marriage system is immoral and abominable; yet the married woman is, on the whole, less pitiable than her unmarried sisters." In order to prove this thesis in due form, we begin at the beginning, and show how the marriage of Antonin Mairaut and Julie Dupont is brought about by the dishonest cupidity of the parents on both sides. The Duponts flatter themselves that they have cheated the Mairauts, the Mairauts that they have swindled the Duponts; while Antonin deliberately simulates artistic tastes to deceive Julie, and Julie as deliberately makes a show of business capacity in order to take in Antonin. Every scene between father and daughter is balanced by a corresponding scene between mother and son. Every touch of hypocrisy on the one side is scrupulously set off against a trait of dishonesty on the other. Julie's passion for children is emphasized, Antonin's aversion from them is underlined. But lest he should be accused of seeing everything in black, M. Brieux will not make the parents altogether detestable. Still holding the balance true, he lets M. Mairaut on the one side, and Madame Dupont on the other, develop amiable impulses, and protest, at a given moment, against the infamies committed and countenanced by their respective spouses. And in the second and third acts, the edifice of deception symmetrically built up in the first act is no less symmetrically demolished. The parents expose and denounce each other's villainies; Julie and Antonin, in a great scene of conjugal recrimination, lay bare the hypocrisies of allurement that have brought them together. Julie then determines to escape from the loathsome prison-house of her marriage; and this brings us to the second part of the theorem. The title shows that Julie has two sisters; but hitherto they have remained in the background. Why do they exist at all? Why has Providence blessed M. Dupont with "three fair daughters and no more"? Because Providence foresaw exactly the number M. Brieux would require for his demonstration. Are there not three courses open to a penniless woman in our social system marriage, wage-earning industry, and wage-earning profligacy? Well, M. Dupont must have one daughter to represent each of these contingencies. Julie has illustrated the miseries of marriage; Caroline and Angèle shall illustrate respectively the still greater miseries of unmarried virtue and unmarried vice. When Julie declares her intention of breaking away from the house of bondage, her sisters rise up symmetrically, one on either hand, and implore her rather to bear the ills she has than to fly to others that she knows not of. "Symmetry of symmetries, all is symmetry" in the poetics of M. Brieux. But life does not fall into such obvious patterns. The obligatory scene which is imposed upon us, not by the logic of life, but by the logic of demonstration, is not a scène
She quivered with intensity of feeling, or with that excitement of the nerves which simulates intense feeling in certain natures. A flush stole to her cheek; her eyes were once more full of light. Sibyl regarded her observantly and with admiration. 'You never thought of the stage, Alma? 'The stage? Acting? 'No; I see you never did. And it wouldn't do of course it wouldn't do.
Indeed, I live upon the essays of Elia, as Hazlitt did upon "Tristram Shandy," as a sort of food that simulates with my natural disposition. And yet, despite all my love and admiration of Charles Lamb, nay, rather in consequence of it, I must blame him of what Mr. Barron Field was please to eulogize him for, writing so little. Undoubtedly in most authors suppression in writing would be a virtue.
From a cold abscess it is diagnosed by the history and progress of the swelling and by the absence of fluctuation. When situated over one of the hernial openings, it closely simulates a hernia; and when it occurs in the middle line of the face, head, or back, it may be mistaken for such other congenital conditions as meningocele or spina bifida.
"This semicircular end, this apsidal shell, with the chapels that surround the choir, simulates the Crown of Thorns on the Head of Christ.
The conception that growth and progress are just approximations to a final unchanging goal is the last infirmity of the mind in its transition from a static to a dynamic understanding of life. It simulates the style of the latter. It pays the tribute of speaking much of development, process, progress.
These letters, however, have a certain critical interest in their bearing upon those sensibilities which Sterne afterwards learned to cultivate in a forcing-frame, with a view to the application of their produce to the purposes of an art of pathetic writing which simulates nature with such admirable fidelity at its best, and descends to such singular bathos at its worst.
It is a regrouping of elements which simulates the form of a suggestion by experience, but is, in reality, the outcome of the individual mind's extra-intellectual impulses. We see, then, that, in spite of obvious differences in the form, the process in all kinds of immediate cognition is fundamentally identical.
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