We repute physicians fortunate when they hit upon a lucky cure, as if there was no other art but theirs that could not stand upon its own legs, and whose foundations are too weak to support itself upon its own basis; as if no other art stood in need of Fortune's hand to help it. For my part, I think of physic as much good or ill as any one would have me: for, thanks be to God, we have no traffic together. I am of a quite contrary humour to other men, for I always despise it; but when I am sick, instead of recanting, or entering into composition with it, I begin, moreover, to hate and fear it, telling them who importune me to take physic, that at all events they must give me time to recover my strength and health, that I may be the better able to support and encounter the violence and danger of their potions. I let nature work, supposing her to be sufficiently armed with teeth and claws to defend herself from the assaults of infirmity, and to uphold that contexture, the dissolution of which she flies and abhors. I am afraid, lest, instead of assisting her when close grappled and struggling with disease, I should assist her adversary, and burden her still more with work to do. Now, I say, that not in physic only, but in other more certain arts, fortune has a very great part. The poetic raptures, the flights of fancy, that ravish and transport the author out of himself, why should we not attribute them to his good fortune, since he himself confesses that they exceed his sufficiency and force, and acknowledges them to proceed from something else than himself, and that he has them no more in his power than the orators say they have those extraordinary motions and agitations that sometimes push them beyond their design. It is the same in painting, where touches shall sometimes slip from the hand of the painter, so surpassing both his conception and his art, as to beget his own admiration and astonishment. But Fortune does yet more evidently manifest the share she has in all things of this kind, by the graces and elegances we find in them, not only beyond the intention, but even without the knowledge of the workman: a competent reader often discovers in other men's writings other perfections than the author himself either intended or perceived, a richer sense and more quaint expression.