Lord Chesterfield declared that "a man of fashion never had recourse to proverbs," but after all his opinion is not final. The utterance is often quoted, but proverbs still survive his anathema, and the ban under which he would place them has had no binding force. It is, moreover, a matter quite immaterial what the man of fashion thinks of them at all. They yet remain interesting objects of study for the philosopher, and are for the man of the busy world a storehouse of practical wisdom. The Divine Teacher did not scruple to employ this form of speech. In the synagogue of Nazareth He reminds them of the popular proverb, "Physician, heal thyself," and at the Well of Sychar He declares that saying true, "One soweth, another reapeth." There is reason in all things, and the "happy medium" is one of the most valuable objects one can strive after in almost every direction. A man who was continuously firing off adages and axioms would be as terrible an infliction as the inveterate anecdotist or the everlasting pun-producer. Shakespeare freely introduces this proverb-lore, and the titles of two of his plays, "Measure for Measure," and "All's Well that Ends Well," owe their titles to popular proverbs of the day. Fuller uses it very largely and effectively in his writings. Butler's "Hudibras" is overflowing with proverbial allusions, and so, too, are the writings of Rabelais, Montaigne, Cervantes, and many another who might be instanced. We shall have occasion, however, later on to dwell at length on their introduction into literature. "Apt alliteration's artful aid" is sometimes invoked. Such precepts as "Live and let live," "No silver, no servant," "Like likes like," "Out of debt, out of danger," "Time tryeth troth,"[22:A] and "No cross, no crown," and the Latin, "In vino veritas,"[22:B] are the more easily retained in the memory in consequence.