Sec. XXVII. In the next place, let us clear away as it were and remove all insolence, and jeering, and mocking, and ribaldry, which are the evil seasonings of freedom of speech. For as, when the surgeon performs an operation, a certain neatness and delicacy of touch ought to accompany his use of the knife, but all pantomimic and venturesome and fashionable suppleness and over-finicalness ought to be far away from his hand, so freedom of speech admits of dexterity and politeness, provided that a pleasant way of putting it does not destroy the power of the rebuke, for impudence and coarseness and insolence, if added to freedom of speech, entirely mar and ruin the effect. And so the harper plausibly and elegantly silenced Philip, who ventured to dispute with him about proper playing on the harp, by answering him, "God forbid that you should be so unfortunate, O king, as to understand harping better than me." But that was not a right answer of Epicharmus, when Hiero a few days after putting to death some of his friends invited him to supper, "You did not invite me," he said, "the other day, when you sacrificed your friends." Bad also was that answer of Antiphon, who, when Dionysius asked him "which was the best kind of bronze," answered, "That of which the Athenians made statues of Harmodius and Aristogiton." For this unpleasant and bitter kind of language profits not those that use it, nor does scurrility and puerile jesting please, but such kind of speeches are indications of an incontinent tongue inspired by hate, and full of malignity and insolence, and those who use such language do but ruin themselves, recklessly dancing on the verge of a well.[452] For Antiphon was put to death by Dionysius, and Timagenes lost the friendship of Augustus, not by using on any occasion too free a tongue, but at supper-parties and walks always declining to talk seriously, "only saying what he knew would make the Argives laugh,"[453] and thus virtually charging friendship with being only a cloak for abuse. For even the comic poets have introduced on the stage many grave sentiments well adapted to public life, but joking and ribaldry being mixed with them, like insipid sauces with food, destroy their effect and make them lose their nourishing power, so that the comic poets only get a reputation for malignity and coarseness, and the audience get no benefit from what is said. We may on other occasions jest and laugh with our friends, but let our outspokenness be coupled with seriousness and gravity, and if it be on important matters, let our speech be trustworthy and moving from its pathos, and animation, and tone of voice. And on all occasions to let an opportunity slip by is very injurious, but especially does it destroy the usefulness of freedom of speech. It is plain therefore that we must abstain from freedom of speech when men are in their cups. For he disturbs the harmony of a social gathering[454] who, in the midst of mirth and jollity, introduces