The judgment is an utensil proper for all subjects, and will have an oar in everything: which is the reason, that in these Essays I take hold of all occasions where, though it happen to be a subject I do not very well understand, I try, however, sounding it at a distance, and finding it too deep for my stature, I keep me on the shore; and this knowledge that a man can proceed no further, is one effect of its virtue, yes, one of those of which it is most proud. One while in an idle and frivolous subject, I try to find out matter whereof to compose a body, and then to prop and support it; another while, I employ it in a noble subject, one that has been tossed and tumbled by a thousand hands, wherein a man can scarce possibly introduce anything of his own, the way being so beaten on every side that he must of necessity walk in the steps of another: in such a case, ’tis the work of the judgment to take the way that seems best, and of a thousand paths, to determine that this or that is the best. I leave the choice of my arguments to fortune, and take that she first presents to me; they are all alike to me, I never design to go through any of them; for I never see all of anything: neither do they who so largely promise to show it others. Of a hundred members and faces that everything has, I take one, onewhile to look it over only, another while to ripple up the skin, and sometimes to pinch it to the bones: I give a stab, not so wide but as deep as I can, and am for the most part tempted to take it in hand by some new light I discover in it. Did I know myself less, I might perhaps venture to handle something or other to the bottom, and to be deceived in my own inability; but sprinkling here one word and there another, patterns cut from several pieces and scattered without design and without engaging myself too far, I am not responsible for them, or obliged to keep close to my subject, without varying at my own liberty and pleasure, and giving up myself to doubt and uncertainty, and to my own governing method, ignorance.
All motion discovers us: the very same soul of Caesar, that made itself so conspicuous in marshalling and commanding the battle of Pharsalia, was also seen as solicitous and busy in the softer affairs of love and leisure. A man makes a judgment of a horse, not only by seeing him when he is showing off his paces, but by his very walk, nay, and by seeing him stand in the stable.
Amongst the functions of the soul, there are some of a lower and meaner form; he who does not see her in those inferior offices as well as in those of nobler note, never fully discovers her; and, peradventure, she is best shown where she moves her simpler pace. The winds of passions take most hold of her in her highest flights; and the rather by reason that she wholly applies herself to, and exercises her whole virtue upon, every particular subject, and never handles more than one thing at a time, and that not according to it, but according to herself. Things in respect to themselves have, peradventure, their weight, measures, and conditions; but when we once take them into us, the soul forms them as she pleases. Death is terrible to Cicero, coveted by Cato, indifferent to Socrates. Health, conscience, authority, knowledge, riches, beauty, and their contraries, all strip themselves at their entering into us, and receive a new robe, and of another fashion, from the soul; and of what colour, brown, bright, green, dark, and of what quality, sharp, sweet, deep, or superficial, as best pleases each of them, for they are not agreed upon any common standard of forms, rules, or proceedings; every one is a queen in her own dominions. Let us, therefore, no more excuse ourselves upon the external qualities of things; it belongs to us to give ourselves an account of them. Our good or ill has no other dependence but on ourselves. ‘Tis there that our offerings and our vows are due, and not to fortune she has no power over our manners; on the contrary, they draw and make her follow in their train, and cast her in their own mould. Why should not I judge of Alexander at table, ranting and drinking at the prodigious rate he sometimes used to do?
Or, if he played at chess? what string of his soul was not touched by this idle and childish game? I hate and avoid it, because it is not play enough, that it is too grave and serious a diversion, and I am ashamed to lay out as much thought and study upon it as would serve to much better uses. He did not more pump his brains about his glorious expedition into the Indies, nor than another in unravelling a passage upon which depends the safety of mankind. To what a degree does this ridiculous diversion molest the soul, when all her faculties are summoned together upon this trivial account! and how fair an opportunity she herein gives every one to know and to make a right judgment of himself? I do not more thoroughly sift myself in any other posture than this: what passion are we exempted from in it? Anger, spite, malice, impatience, and a vehement desire of getting the better in a concern wherein it were more excusable to be ambitious of being overcome; for to be eminent, to excel above the common rate in frivolous things, nowise befits a man of honour. What I say in this example may be said in all others. Every particle, every employment of man manifests him equally with any other.
Democritus and Heraclitus were two philosophers, of whom the first, finding human condition ridiculous and vain, never appeared abroad but with a jeering and laughing countenance; whereas Heraclitus commiserating that same condition of ours, appeared always with a sorrowful look, and tears in his eyes:
“Alter ridebat, quoties a limine moverat unum Protuleratque pedem; flebat contrarius alter.”
[“The one always, as often as he had stepped one pace from his threshold, laughed, the other always wept.”—Juvenal, Sat., x. 28.]
[Or, as Voltaire: “Life is a comedy to those who think; a tragedy to those who feel.” D.W.]
Among my many iPad apps is a simple one called ‘Ampersands.’ All it does is display, in large format, numerous ampersands from different typefaces. A brief introduction tells the viewer it was the designer’s intent to show how the character had become art in it its own right. It accomplished that to some degree, but it is also limited; showcasing only a very small handful of ampersands out of tens of thousands, all simply shown alone on the screen. And it does it without explanation why that particular character was chosen.
Here are some translations from Latin quotations I took from a few books of mine, notably The Anchor Book of Latin Quotations, compiled by Norbert Guterman (Anchor-Doubleday, New York, 1966 and reprinted 1990) and Cave Canem: A Miscellany of Latin Words & Phrases, by Lorna Robinson (Walker & Co., New York, 2008).
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