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 the javelin which has been cleverly whirled about, dart through the air with the best effect; and in managing a bow and arrow, is not the beauty of the attitude as much more graceful as the aim is more unerring? In feats of arms, and in all the exercises of the palæstra, is not his attitude best calculated for defense or offense, who uses a certain art in all his motions, and keeps to a certain position of the feet? Composition, therefore, in my opinion, is to thoughts and words what the dexterous management of a bow or string may be for directing the aim of missive weapons; and I may say that the most learned are convinced that it is greatly conducive not only to pleasure, but also to making a good impression on others. First, because it is scarcely possible that anything should affect the heart, which begins by grating on the ear. Secondly, because we are naturally affected by harmony, otherwise the sounds of musical instruments, tho they express no words, would not excite in us so great a variety of pleasing emotions. In sacred canticles, some airs are for elating the heart into raptures, others to restore the mind to its former tranquillity. The sound of a trumpet is not the same when it is the signal for a general engagement, and when on defeat it implores the conqueror's mercy; neither is it the same when an army marches up to give battle, and when it is intent on retreating. It was a common practise with the Pythagoric philosophers, on arising in the morning, to awake their minds by an air on the lyre, in order to make them more alert for action; and they had recourse to the same musical entertainment for disposing them to sleep, believing it to be a means for allaying all tumultuous thoughts which might in any way have ruffled them in the course of the day.
If, then, so great a power lies in musical strains and modulations, what must it be with eloquence, the music of which is a speaking harmony? As much, indeed, as it is essential for a thought to be exprest in suitable words, it is equally necessary for the same words to be disposed in proper order by composition, that they may flow and end harmoniously. Some things of little consequence in their import, and requiring but a moderate degree of elocution, are commendable only by this perfection; and there are others which appear exprest with so much force, beauty, and sweetness, that if the order in which they stand should be changed or disturbed, all force, beauty, and sweetness would vanish from them.