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Various

"English literary criticism"

] which certainly is
as absurd a surfeit to the ears as is possible: for the force of a
similitude, not being to prove anything to a contrary disputer, but
only to explain to a willing hearer, when that is done, the rest is
a most tedious prattling: rather over-swaying the memory from the
purpose whereto they were applied, than any whit informing the judgment,
already either satisfied, or by similitudes not to be satisfied. For
my part, I do not doubt, when Antonius and Crassus, the great
forefathers of Cicero in eloquence, the one (as Cicero testifieth of
them) pretended not to know art, the other, not to set by it: because
with a plain sensibleness they might win credit of popular ears; which
credit is the nearest step to persuasion: which persuasion is the chief
mark of oratory; I do not doubt (I say) but that they used these tracks
very sparingly, which who doth generally use, any man may see doth
dance to his own music: and so be noted by the audience more careful
to speak curiously, than to speak truly.
Undoubtedly (at least to my opinion undoubtedly), I have found in
divers smally learned courtiers a more sound style, than in some
professors of learning: of which I can guess no other cause, but that
the courtier, following that which by practice he findeth fittest to
nature, therein (though he know it not) doth according to art, though
not by art: where the other, using art to show art, and not to hide
art (as in these cases he should do), flyeth from nature, and indeed
abuseth art.


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