always. The additions to Boileau’s preface (Paris, 1772) contain abundance of examples of faults from Voiture, Mascaron, Bossuet, selected by M. de St. Marc, who no doubt found abundance of entertainment in the chastising of these obvious affectations. It hardly seems the proper work for an author like him who wrote the Treatise on the Sublime. But it is tempting, even now, to give contemporary instances of skill in the Art of Sinking—modern cases of bombast, triviality, false rhetoric. “Speaking generally, it would seem that bombast is one of the hardest things to avoid in writing,” says an author who himself avoids it so well. Bombast is the voice of sham passion, the shadow of an insincere attitude. “Even the wretched phantom who still bore the imperial title stooped to pay this ignominious blackmail,” cries bombast in Macaulay’s Lord Clive. The picture of a phantom who is not only a phantom but wretched, stooping to pay blackmail which is not only blackmail but ignominious, may divert the reader and remind him that the faults of the past are the faults of the present. Again, “The desolate islands along the seacoast, overgrown by noxious vegetation, and swarming with deer and tigers”—do, what does any one suppose, perform what forlorn part in the economy of the world? Why, they “supply the cultivated districts with abundance of salt.” It is as comic as—
