and, in order that others may perceive, this I have seldom placed it
with the sequence of the Song, so long as it is in the rhythm which is
necessary to the measure. But I have used it when it was requisite to
express something independent of the meaning of the Song, and which
was needful for its embellishment, as it will be possible to perceive
in this and in the other Songs.

And, therefore, I say at present, that the goodness and the beauty of
each discourse are parted and divided; for the goodness is in the
meaning, and the beauty in the ornament of the words. And the one and
the other are with delight, although the goodness is especially
delightful. Wherefore, since the goodness of this Song might be
difficult to perceive, because of the various persons who are led to
speak in it, where so many distinctions are required; and the beauty
would be easy to see, it seemed to me, of the nature of the Song that
by some men more attention might be paid to the beauty of the words
than to the goodness of matter. And this is what I say in that part.

But, because it often happens that to admonish seems presumptuous in
certain conditions, it is usual for the Rhetorician to speak
indirectly to others, directing his words, not to him for whom he
speaks, but towards another. And truly this method is maintained here;
for to the Song the words go, and to the men the meaning of them. I
say then: "My Song, I do believe there will be few Who toil to
understand thy reasoning." And I state the cause, which is double.
First, because thou speakest with fatigue--with fatigue, I say, for
the reason which is stated; and then because thou speakest with
difficulty--with difficulty, I say, as to the novelty of the meaning.
Now afterwards I admonish it, and say: