Pascal's Pensées. Blaise Pascal
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When we see a natural style, we are astonished and delighted; for we expected to see an author, and we find a man. Whereas those who have good taste, and who seeing a book expect to find a man, are quite surprised to find an author. Plus poetice quam humane locutus es. Those honour Nature well, who teach that she can speak on everything, even on theology.
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We only consult the ear because the heart is wanting. The rule is uprightness.
Beauty of omission, of judgment.
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All the false beauties which we blame in Cicero have their admirers, and in great number.
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There is a certain standard of grace and beauty which consists in a certain relation between our nature, such as it is, weak or strong, and the thing which pleases us.
Whatever is formed according to this standard pleases us, be it house, song, discourse, verse, prose, woman, birds, rivers, trees, rooms, dress, etc. Whatever is not made according to this standard displeases those who have good taste.
And as there is a perfect relation between a song and a house which are made after a good model, because they are like this good model, though each after its kind; even so there is a perfect relation between things made after a bad model. Not that the bad model is unique, for there are many; but each bad sonnet, for example, on whatever false model it is formed, is just like a woman dressed after that model.
Nothing makes us understand better the ridiculousness of a false sonnet than to consider nature and the standard, and then to imagine a woman or a house made according to that standard.
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Poetical beauty.—As we speak of poetical beauty, so ought we to speak of mathematical beauty and medical beauty. But we do not do so; and the reason is that we know well what is the object of mathematics, and that it consists in proofs, and what is the object of medicine, and that it consists in healing. But we do not know in what grace consists, which is the object of poetry. We do not know the natural model which we ought to imitate; and through lack of this knowledge, we have coined fantastic terms, "The golden age," "The wonder of our times," "Fatal," etc., and call this jargon poetical beauty.[13]
But whoever imagines a woman after this model, which consists in saying little things in big words, will see a pretty girl adorned with mirrors and chains, at whom he will smile; because we know better wherein consists the charm of woman than the charm of verse. But those who are ignorant would admire her in this dress, and there are many villages in which she would be taken for the queen; hence we call sonnets made after this model "Village Queens."
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No one passes in the world as skilled in verse unless he has put up the sign of a poet, a mathematician, etc. But educated people do not want a sign, and draw little distinction between the trade of a poet and that of an embroiderer.
People of education are not called poets or mathematicians, etc.; but they are all these, and judges of all these. No one guesses what they are. When they come into society, they talk on matters about which the rest are talking. We do not observe in them one quality rather than another, save when they have to make use of it. But then we remember it, for it is characteristic of such persons that we do not say of them that they are fine speakers, when it is not a question of oratory, and that we say of them that they are fine speakers, when it is such a question.
It is therefore false praise to give a man when we say of him, on his entry, that he is a very clever poet; and it is a bad sign when a man is not asked to give his judgment on some verses.
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We should not be able to say of a man, "He is a mathematician," or "a preacher," or "eloquent"; but that he is "a gentleman." That universal quality alone pleases me. It is a bad sign when, on seeing a person, you remember his book. I would prefer you to see no quality till you meet it and have occasion to use it (Ne quid nimis[14]), for fear some one quality prevail and designate the man. Let none think him a fine speaker, unless oratory be in question, and then let them think it.
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Man is full of wants: he loves only those who can satisfy them all. "This one is a good mathematician," one will say. But I have nothing to do with mathematics; he would take me for a proposition. "That one is a good soldier." He would take me for a besieged town. I need, then, an upright man who can accommodate himself generally to all my wants.
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[Since we cannot be universal and know all that is to be known of everything, we ought to know a little about everything. For it is far better to know something about everything than to know all about one thing. This universality is the best. If we can have both, still better; but if we must choose, we ought to choose the former. And the world feels this and does so; for the world is often a good judge.]
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A poet and not an honest man.
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If lightning fell on low places, etc., poets, and those who can only reason about things of that kind, would lack proofs.
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If we wished to prove the examples which we take to prove other things, we should have to take those other things to be examples; for, as we always believe the difficulty is in what we wish to prove, we find the examples clearer and a help to demonstration.
Thus when we wish to demonstrate a general theorem, we must give the rule as applied to a particular case; but if we wish to demonstrate a particular case, we must begin with the general rule. For we always find the thing obscure which we wish to prove, and that clear which we use for the proof; for, when a thing is put forward to be proved, we first fill ourselves with the imagination that it is therefore obscure, and on the contrary that what is to prove it is clear, and so we understand it easily.
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Epigrams of Martial.—Man loves malice, but not against one-eyed men nor the unfortunate, but against the fortunate and proud. People are mistaken in thinking otherwise.
For lust is the source of all our actions, and humanity, etc. We must please those who have humane and tender feelings. That epigram about two one-eyed people is worthless,[15] for it does not console them, and only gives a point to the author's glory. All that is only for the sake of the author is worthless. Ambitiosa recident ornamenta.[16]
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To call a king "Prince" is pleasing, because it diminishes his rank.
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Certain authors, speaking of their works, say, "My book," "My commentary," "My history," etc. They resemble middle-class people who have a house of their own, and always have "My house" on their tongue. They would do better to say, "Our book," "Our commentary," "Our history," etc., because there is in them usually more of other people's than their own.
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Do you wish people to believe good of you? Don't speak.
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Languages are ciphers, wherein letters are not changed into letters, but words into words, so that an unknown language is decipherable.
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