From this cause, those very strains which afford deep and unspeakable mental delight to those who have skilfully penetrated into the mysteries of the art, fatigue rather than gratify the ears of others, who seeing, do not perceive, and hearing, do not understand; and by whom the finest music is esteemed no better than a confused and disorderly noise, and will be heard with unwillingness and disgust. They make use of three instruments, the harp, the pipe, and the crwth or crowd (_chorus_). {172} They omit no part of natural rhetoric in the management of civil actions, in quickness of invention, disposition, refutation, and confirmation. In their rhymed songs and set speeches they are so subtle and ingenious, that they produce, in their native tongue, ornaments of wonderful and exquisite invention both in the words and sentences. Hence arise those poets whom they call Bards, of whom you will find many in this nation, endowed with the above faculty, according to the poet’s observation: “Plurima concreti fuderunt carmina Bardi.” But they make use of alliteration (_anominatione_) in preference to all other ornaments of rhetoric, and that particular kind which joins by consonancy the first letters or syllables of words. So much do the English and Welsh nations employ this ornament of words in all exquisite composition, that no sentence is esteemed to be elegantly spoken, no oration to be otherwise than uncouth and unrefined, unless it be fully polished with the file of this figure. Thus in the British tongue: “Digawn Duw da i unic.” “Wrth bob crybwyll rhaïd pwyll parawd.” {173} And in English, “God is together gammen and wisedom.” The same ornament of speech is also frequent in the Latin language. Virgil says, “Tales casus Cassandra canebat.” And again, in his address to Augustus, “Dum dubitet natura marem, faceretve puellam, Natus es, o pulcher, pene puella, puer.” This ornament occurs not in any language we know so frequently as in the two first; it is, indeed, surprising that the French, in other respects so ornamented, should be entirely ignorant of this verbal elegance so much adopted in other languages. Nor can I believe that the English and Welsh, so different and adverse to each other, could designedly have agreed in the usage of this figure; but I should rather suppose that it had grown habitual to both by long custom, as it pleases the ear by a transition from similar to similar sounds. Cicero, in his book “On Elocution,” observes of such who know the practice, not the art, “Other persons when they read good orations or poems, approve of the orators or poets, not understanding the reason why, being affected, they approve; because they cannot know in what place, of what nature, nor how that effect is caused which so highly delights them.” CHAPTER XIII OF THEIR SYMPHONIES AND SONGS