Style (Theory and History), written by Ernest Hello, and published in 1861, is a collection of essays on the subject of. .

. style; it is page after page of keen psychological insight into men, minds, God, art, life, and other things.

Helloʼs style itself, - contrary to what one might think from the rather boring title - runs the gamut from trenchant, mocking, playful, masterly, to brilliant. He takes a particular pleasure in laying into not a few of Franceʼs eighteenth century great luminaries - such as Voltaire, Rousseau and Bernardin de Saint-Pierre - like a man with a pitchfork rushing at a pig.

No one escapes the pen unscathed. They all scamper away bruised, bloodied, with their tails between their legs.

His critical assessments of Greek poetry, prose, and drama are brilliant, invigorating, novel and worth the charge of admission on their own: ". .

. in order to penetrate Greek tragedy, one must seize it at its source, in Homer.

Greek tragedy is a comment on the Iliad. .

. " From the Greeks he proceeds to Rome eventually: "Virgil was actually incapable of imitating Homer; he wrote a parody.

. .

" and "Tacitus is not only the greatest writer of the Latin language, he is the greatest writer of classical antiquity. "Bloyians will see in Ernest Hello a germ that sprouted in his brain; he had a huge influence on Léon Bloyʼs style and thought, particularly as a critic, but also as an artist and as a Catholic writer.

Take this for instance: "What does not kneel before God kneels before the devil. " Sound like anyone we know? After you read Style (Theory and History) by Hello, go back and re-read Bloyʼs Je MʼAccuse and see if you canʼt hear the echoes from this book bouncing off its pages, as from a source.

. .