preparing by an exordium, informing by a narration, proving by
arguments, and moving by passions. They were deficient in all these
particulars, and not in composition only; and if they were not allowed
to make any alterations for the better, of course they would not have
exchanged their cottages for houses, nor their coverings of skins for
more decent apparel, nor the mountains and forests in which they ranged
for the abode of cities in which they enjoy the comforts of social
intercourse. And, indeed, what art do we find coeval with the world, and
what is there of which the value is not enhanced by improvement? Why do
we restrain the luxuriance of our vines? Why do we dig about them? Why
do we grub up the bramble-bushes in our fields? Yet the earth produces
them. Why do we tame animals? Yet are they born with intractable
dispositions. Rather let us say that that is very natural which nature
permits us to meliorate in her handiwork.


THE POWER OF SKILFUL COMPOSITION

How can a jumble of uncouth words be more manly than a manner of
expression which is well joined and properly placed? If some authors
weaken the subjects of which they treat, by straining them into certain
soft and lascivious measures, we must not on that account judge that
this is the fault of composition. As the current of rivers is swifter
and more impetuous in a free and open channel than amidst an obstruction
of rocks breaking and struggling against the flow of their waters, an
oration that is properly connected flows with its whole might, and is
far preferable to one that is craggy and desultory by reason of frequent
interruptions. Why, then, should it be thought that strength and beauty
are incompatible, when, on the contrary, nothing has its just value
without art, and embellishment always attends on it? Do not we observe