A book is only a very partial expression of its author. The writer is greater than his work; and there is in him the substance, not of one, or a few, but of many books, were they only written out.
CAUSE AND EFFECT.
Small circumstances illustrate great principles. To-day my dinner cost me sixpence less than usual. This is an incident not quite so important as some others recorded in history, but the causes of it originated more than two thousand years ago. It will also serve to explain the principle, that causes are primary and secondary, remote and immediate,—and that historians, when they speak of certain effects as produced by certain causes. Socrates one day had a conversation with Aristippus, in which he threw out certain remarks on the subject of temperance. Being overheard by Xenophon, they were subsequently committed to writing and published by him. These, falling in my way last evening, made such an impression on my mind, that I was induced to-day to forego my customary piece of pudding after dinner, to the loss of the eating-house proprietor, whose receipts were thus diminished, first, by a few observations of an ancient Greek, secondly, by a report given of them by a bystander, and, thirdly, by the accidental perusal of them, after twenty centuries, by one of his customers.
CHEERFULNESS.
Sullen and good, morbid and wise, are impossible conditions. The best test, both of a man's wisdom and goodness, is his cheerfulness. When one is not cheerful, he is almost invariably stupid. A sad face seldom gets into much credit with the world, and rarely deserves to. "Sorrow," says old Montaigne, "is a base passion."
"The quarrel between Gray and me," said Horace Walpole, "arose from his being too serious a companion." In my opinion, this was a good ground for cutting the connection. What right has any one to be "too serious a companion?"
COWARDS.
In desperate straits the fears of the timid aggravate the dangers that imperil the brave. For cowards the road of desertion to the enemy should be left open; they will carry over to them nothing but their fears. The poltroon, like the scabbard, is an incumbrance when once the sword is drawn.
CRITICISM.
No work deserves to be criticized which has not much in it that deserves to be applauded. The legitimate aim of criticism is to direct attention to what is excellent The bad will dig its own grave, and the imperfect may be safely left to that final neglect from which no amount of present undeserved popularity can rescue it.