"His dialogues number," says his biographer, "not fewer than a hundred and fifty. Different as these were in themselves, it was not the less the distinguishing mark of their genius to be, both in their conformation and in their mass, almost strangely alike; and it is this unity in their astonishing variety, the fire of an inexpressible genius running through the whole, that gives to his books containing them their place among the books not likely to pass away; there is scarcely a form or function of the human mind, sincere or sprightly, cogitative or imaginative, historical, fanciful, or real, which has not been exercised or brought into play in this extraordinary series of writings. The world, past and present, is reproduced in them, with its variety and uniformity, its continuity and change."
What Landor says of written dialogue, holds in still wider latitude, even, in conversation.
"When a man writes a dialogue, he has it all to himself, the pro and the con, the argument and the reply. Within the shortest given space of time, he may indulge in every possible variety of mood. He may contradict himself every minute. In the same page, without any sort of violence, the most different shades of sentiment may find expression. Extravagance of statement, which in other forms could not be admitted, may be fully put forth. Dogmas of every description may be dealt in, audaciously propounded, or passionately opposed, with a result all the livelier in proportion to the mere vehemence expended on them. In no other style of composition is a writer so free from ordinary restraints upon opinion, or so absolved from self-control. Better far than any other, it adapts itself to eagerness and impatience. Dispensing with preliminaries, the jump in medias res may at once be taken safely. That one thing should be unexpectedly laid aside, and another as capriciously taken up, is quite natural to it; the subjects being few that may not permissively branch off into all the kindred topics connected with them, when the formalities held ordinarily necessary in the higher order of prose composition have disappeared in the freedom of conversation."
[SLEEP AND DREAMS.]
Thursday, 22.
"When sleep hath closed our eyes the mind sees well,
For Fate by daylight is invisible."
Things admirable for the admirable hours. The morning for thought, the afternoon for recreation, the evening for company, the night for rest. Having drank of immortality all night, the genius enters eagerly upon the day's task, impatient of any impertinences jogging the full glass. The best comes when we are at our best; and who so buoyant as to be always rider of the wave? Sleep, and see; wake, and report the nocturnal spectacle. Sleep, like travel, enriches, refreshes, by varying the day's perspective, showing us the night side of the globe we traverse day by day. We make transits too swift for our wakeful senses to follow; pass from solar to lunar consciousness in a twinkling, lapse from forehead and face to occupy our lower parts, and recover, as far as permitted, the keys of genesis and of the foreworlds. "All truth," says Porphyry, "is latent; but this the soul sometimes beholds when she is a little liberated by sleep from the employments of the body. And sometimes she extends her sight, but never perfectly reaches the objects of her vision. Hence, when she beholds, she does not see it with a free and direct light, but through an intervening veil, which the folds of darkening nature draw over her eye. This veil, when in sleep it admits the light to extend as far as truth, is said to be of horn, whose nature is such, from its tenuity, that it is pervious to the light. But when it dulls the sight and repels its vision of truth, it is said to be of ivory, which is a body so naturally dense, that, however thin it may be scraped, it cannot be penetrated by the visual rays."