it forms the style as it forms the syntax.  Each small edifice occupies a distinct position, and but one, in the great total edifice.  As the discourse advances, each section must in turn file in, never before, never after, no parasitic member being allowed to intrude, and no regular member being allowed to encroach on its neighbor, while all these members bound together by their very positions must move onward, combining all their forces on one single point.  Finally, we have for the first time in a writing, natural and distinct groups, complete and compact harmonies, none of which infringe on the others or allow others to infringe on them.  It is no longer allowable to write haphazard, according to the caprice of one’s inspiration, to discharge one’s ideas in bulk, to let oneself be interrupted by parentheses, to string along interminable rows of citations and enumerations.  An end is proposed; some truth is to be demonstrated, some definition to be ascertained, some conviction to be brought about; to do this we must march, and ever directly onward.  Order, sequence, progress, proper transitions, constant development constitute the characteristics of this style.  To such an extent is this pushed, that from the very first, personal correspondence, romances, humorous pieces, and all ironical and gallant effusions, consist of morsels of systematic eloquence.[22] At the Hôtel Rambouillet, the explanatory period is displayed with as much fullness and as rigorously as with Descartes himself.  One of the words most frequently occurring with Mme. de Scudéry is the conjunction for (in French car).  Passion is worked out through close-knit arguments.  Drawing room compliments stretch along in sentences as finished as those of an academical dissertation.  Scarcely completed, the instrument already discloses its aptitudes.  We are aware of its being made to explain, to demonstrate, to persuade and to popularize.  Condillac, a century later, is justified in saying that it is in itself a systematic means of decomposition and of recomposition, a scientific method analogous to arithmetic and algebra.  At the very least it possesses the incontestable advantage of starting with a few ordinary terms, and of leading the reader along with facility and promptness, by a series of simple combinations, up to the loftiest.[23] By virtue of this, in 1789, the French tongue ranks above every other.  The Berlin Academy promises a prize to for anyone who best can explain its pre-eminence.  It is spoken throughout Europe.  No other language is used in diplomacy.  As formerly with Latin, it is international, and appears that, from now on, it is to be the preferred tool whenever men are to reason.