["Whither dost thou run wandering?"--AEneid, v. 166.]

This medley is a little from my theme; I go out of my way; but 'tis
rather by licence than oversight; my fancies follow one another, but
sometimes at a great distance, and look towards one another, but 'tis
with an oblique glance. I have read a dialogue of Plato,--[The
Phaedrus.]--of the like motley and fantastic composition, the beginning
about love, and all the rest to the end about rhetoric; they fear not
these variations, and have a marvellous grace in letting themselves be
carried away at the pleasure of the wind, or at least to seem as if they
were. The titles of my chapters do not always comprehend the whole
matter; they often denote it by some mark only, as these others, Andria,
Eunuchus; or these, Sylla, Cicero, Toyquatus. I love a poetic progress,
by leaps and skips; 'tis an art, as Plato says, light, nimble, demoniac.
There are pieces in Plutarch where he forgets his theme; where the
proposition of his argument is only found by incidence, stuffed and half
stifled in foreign matter. Observe his footsteps in the Daemon of
Socrates. O God! how beautiful are these frolicsome sallies, those
variations and digressions, and all the more when they seem most
fortuitous and careless. 'Tis the indiligent reader who loses my
subject, and not I; there will always be found some word or other in a
corner that is to the purpose, though it lie very close. I ramble
indiscreetly and tumultuously; my style and my wit wander at the same
rate. He must fool it a little who would not be deemed wholly a fool,
say both the precepts, and, still more, the examples of our masters. A
thousand poets flag and languish after a prosaic manner; but the best old
prose (and I strew it here up and down indifferently for verse) shines
throughout with the lustre, vigour, and boldness of poetry, and not
without some air of its fury. And certainly prose ought to have the