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Updated: June 6, 2025
The facade which looks on the Piazzetta is very nearly like this to the Sea, but the greater part of it was built in the fifteenth century, when people had become studious of their symmetries. Its side windows are all on the same level.
He thought the first principles to be numbers, and those symmetries in them which he styles harmonies; and the composition of both he terms elements, called geometrical. Again, he places unity and the indefinite binary number amongst the principles.
It came, with its fogs, and dripping boughs, and sodden paths, and rotting leaves, and rains, and skies of weary gray; but also with its fierce red suns, shining aslant upon sheets of manna-like hoarfrost, and delicate ice-films over prisoned waters, and those white falling chaoses of perfect forms called snow-storms those confusions confounded of infinite symmetries.
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
The stream of zeal sparkles with real fire, and not with reflex rays of sun and moon. Nature may be as selfishly studied as trade. It publishes itself in creatures, reaching from particles and spiculae through transformation on transformation to the highest symmetries, arriving at consummate results without a shock or a leap.
Those who were curious to trace the symmetries of chance or destiny felt now quite secure in observing that, of nine French kings of the name, every third Charles had been a madman.
Brilliant women turned to him in vague emotion, but his response scarce committed him more than if he had been the person employed to see that, after the invading wave was spent, the cabinets were all locked and the symmetries all restored. There was a morning when, during the hour before luncheon and shortly after the arrival of a neighbourly contingent neighbourly from ten miles off whom Mrs.
For its proposed scale the little idea seemed happy happy, that is, above all in having come very straight; but its proposed scale was the limit of a small square canvas. When I think indeed of those of my many false measurements that have resulted, after much anguish, in decent symmetries, I find the whole case, I profess, a theme for the philosopher.
Its connections with the past, however, still hung thickly on; its majesties and symmetries, comparatively vague and general, were subject to the happy accident, the charming lapse and the odd extrusion, a bonhomie of chance composition and colour now quite purged away.
Though he himself never wrote verses, he had some qualities which his friend the poet may have undervalued in comparison with the talent of modelling the symmetries of verse and adjusting the correspondences of rhyme. He had kept in a singular degree all the sensibilities of childhood, its simplicity, its reverence.
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