incite him to a war against the tyrant Polycrates; who, after he had heard their harangue with great gravity and patience, gave them this answer: “As to the exordium, I remember it not, nor consequently the middle of your speech; and for what concerns your conclusion, I will not do what you desire:" [Plutarch, Apothegms of the Lacedaemonians.] a very pretty answer this, methinks, and a pack of learned orators most sweetly gravelled. And what did the other man say? The Athenians were to choose one of two architects for a very great building they had designed; of these, the first, a pert affected fellow, offered his service in a long premeditated discourse upon the subject of the work in hand, and by his oratory inclined the voices of the people in his favour; but the other in three words: “O Athenians, what this man says, I will do.” [Plutarch, Instructions to Statesmen, c. 4.] When Cicero was in the height and heat of an eloquent harangue, many were struck with admiration; but Cato only laughed, saying, “We have a pleasant (mirth-making) consul.” Let it go before, or come after, a good sentence or a thing well said, is always in season; if it neither suit well with what went before, nor has much coherence with what follows after, it is good in itself. I am none of those who think that good rhyme makes a good poem. Let him make short long, and long short if he will, ’tis no great matter; if there be invention, and that the wit and judgment have well performed their offices, I will say, here’s a good poet, but an ill rhymer.
“Emunctae naris, durus componere versus.”
[“Of delicate humour, but of rugged versification.”
—Horace, Sat, iv. 8.]
Let a man, says Horace, divest his work of all method and measure,
“Tempora certa modosque, et, quod prius ordine verbum est,
Posterius facias, praeponens ultima primis
Invenias etiam disjecti membra poetae.”
[“Take away certain rhythms and measures, and make the word which
was first in order come later, putting that which should be last
first, you will still find the scattered remains of the poet.”
—Horace, Sat., i. 4, 58.]
he will never the more lose himself for that; the very pieces will be fine by themselves. Menander’s answer had this meaning, who being reproved by a friend, the time drawing on at which he had promised a comedy, that he had not yet fallen in hand with it; “It is made, and ready,” said he, “all but the verses.” [Plutarch, Whether the Athenians more excelled in Arms or in Letters.] Having contrived the subject, and disposed the scenes in his fancy, he took little care for the rest. Since Ronsard and Du Bellay have given reputation to our French poesy, every little dabbler, for aught I see, swells his words as high, and makes his cadences very near as harmonious as they:
“Plus sonat, quam valet.”
[“More sound than sense”—Seneca, Ep., 40.]
For the vulgar, there were never so many poetasters as now; but though they find it no hard matter to imitate their rhyme, they yet fall infinitely short of imitating the rich descriptions of the one, and the delicate invention of the other of these masters.
But what will become of our young gentleman, if he be attacked with the sophistic subtlety of some syllogism? “A Westfalia ham makes a man drink; drink quenches thirst: ergo a Westfalia ham quenches thirst.” Why, let him laugh at it; it will be more discretion to do so, than to go about to answer it; or let him borrow this pleasant evasion from Aristippus: “Why should I trouble myself to untie that, which bound as it is, gives me so much trouble?” [Diogenes Laertius, ii. 70.] One offering at this dialectic juggling against Cleanthes, Chrysippus took him short, saying, “Reserve these baubles to play with children, and do not by such fooleries divert the serious thoughts of a man of years.” If these ridiculous subtleties,
“Contorta et aculeata sophismata,”
as Cicero calls them, are designed to possess him with an untruth, they are dangerous; but if they signify no more than only to make him laugh, I do not see why a man need to be fortified against them. There are some so ridiculous, as to go a mile out of their way to hook in a fine word:
“Aut qui non verba rebus aptant, sed res extrinsecus
arcessunt, quibus verba conveniant.”
[“Who do not fit words to the subject, but seek out for things
quite from the purpose to fit the words.”—Quintilian, viii. 3.]
And as another says,
“Qui, alicujus verbi decore placentis, vocentur ad id,
quod non proposuerant scribere.”
[“Who by their fondness of some fine sounding word, are tempted to
something they had no intention to treat of.”—Seneca, Ep., 59.]
I for my part rather bring in a fine sentence by head and shoulders to fit my purpose, than divert my designs to hunt after a sentence. On the contrary, words are to serve, and to follow a man’s purpose; and let Gascon come in play where French will not do. I would have things so excelling, and so wholly possessing the imagination of him that hears, that he should have something else to do, than to think of words. The way of speaking that I love, is natural and plain, the same in writing as in speaking, and a sinewy and muscular way of expressing a man’s self, short and pithy, not so elegant and artificial as prompt and vehement;
“Haec demum sapiet dictio, qux feriet;”
[“That has most weight and wisdom which pierces the ear.” (“That
utterance indeed will have a taste which shall strike the ear.”)
—Epitaph on Lucan, in Fabricius, Biblioth. Lat., ii. 10.]
rather hard than wearisome; free from affectation; irregular, incontinuous, and bold; where every piece makes up an entire body; not like a pedant, a preacher, or a pleader, but rather a soldier-like style, as Suetonius calls that of Julius Caesar; and yet I see no reason why he should call it so. I have ever been ready to imitate the negligent garb, which is yet observable amongst the young men of our time, to wear my cloak on one shoulder, my cap on one side, a stocking in disorder, which seems to express a kind of haughty disdain of these exotic ornaments, and a contempt of the artificial; but I find this negligence of much better use in the form of speaking. All affectation, particularly in the French gaiety and freedom, is ungraceful in a courtier, and in a monarchy every gentleman ought to be fashioned according to the court model; for which reason, an easy and natural negligence does well. I no more like a web where the knots and seams are to be seen, than a fine figure, so delicate, that a man may tell all the bones and veins:
“Quae veritati operam dat oratio, incomposita sit et simplex.”
[“Let the language that is dedicated to truth be plain and
unaffected.—Seneca, Ep. 40.]
“Quis accurat loquitur, nisi qui vult putide loqui?”
[“For who studies to speak accurately, that does not at the same
time wish to perplex his auditory?”—Idem, Ep., 75.]
That eloquence prejudices the subject it would advance, that wholly attracts us to itself. And as in our outward
