Such is the story of Seneca. Even in bare outline it shows something of his character--his kindliness and sensibility, his weakness and vanity; but there are other features revealed in his books and his many long letters to Lucilius. No Roman, perhaps, ever laid more stress on the duty of gentleness and forgiveness.[47] "Look at the City of Rome," he says, "and the {48} crowds unceasingly pouring through its broad streets--what a solitude, what a wilderness it would be, were none left but whom a strict judge would acquit. We have all done wrong (_peccavimus_), some in greater measure, some in less, some on purpose, some by accident, some by the fault of others; we have not stood bravely enough by our good resolutions; despite our will and our resistance, we have lost our innocence. Nor is it only that we have acted amiss; we shall do so to the end."[48] He is anxious to make Stoicism available for his friends; he tones down its gratuitous harshness, accommodates, conciliates. He knows what conscience is; he is recognized as a master in dealing with the mind at variance with itself, so skilfully does he analyse and lay bare its mischiefs. Perhaps he analyses too much--the angel, who bade Hermas cease to ask concerning sins and ask of righteousness, might well have given him a word. But he is always tender with the man to whom he is writing. If he was, as Quintilian suggests, a "splendid assailant of the faults of men," it is the faults of the unnamed that he assails; his friends' faults suggest his own, and he pleads and sympathizes. His style corresponds with the spirit in which he thinks. "You complain," he writes to Lucilius, "that my letters are not very finished in style. Who talks in a finished style unless he wishes to be affected? What my talk would be, if we were sitting or walking together, unlaboured and easy, that is what I wish my letters to be, without anything precious or artificial in them."[49] And he has in measure succeeded in giving the air of talk to his writing--its ease, its gaiety, even its rambling and discursiveness. He always sees the friend to whom he writes, and talks to him--sometimes at him--and not without some suggestion of gesticulation. He must have talked well--though one imagines that, like Coleridge on Highgate Hill, he probably preferred the listener who sat "like a passive bucket to be pumped into." Happily the reader is not obliged to be quite so passive.