Let none hear the lecture from you again, then; see to it that no copy of it comes under the eyes of any one aware of your present life; ask Hermes to bring Lethe-water from below, enough to drug your former hearers; else you will remind us of the Corinthian tale, and your writing, like Bellerophon's, be your own condemnation. I assure you I see no decent defence you can make, at least if your detractors have the humour to commend the independence of the writings while the writer is a slave and a voluntary beast of burden before their eyes. They will say with some plausibility: Either the book is some other good man's work, and you a jackdaw strutting in borrowed, plumes; or, if it is really yours, you are a second Salaethus; the Crotoniate legislator made most severe laws against adultery, was much looked up to on the strength of it, and was shortly after taken in adultery with his brother's wife. You are an exact reproduction of Salaethus, they will say; or rather he was not half so bad as you, seeing that he was mastered by passion, as he pleaded in court, and moreover preferred to leap into the flames, like a brave man, when the Crotoniates were moved to compassion and gave him the alternative of exile. The difference between _your_ precept and practice is infinitely more ridiculous; you draw a realistic word-picture of that servile life; you pour contempt on the man who runs into the trap of a rich man's house, where a thousand degradations, half of them self-inflicted, await him; and then in extreme old age, when you are on the border between life and death, you take this miserable servitude upon you and make a sort of circus exhibition of your chains. The conspicuousness of your position will only make the more ridiculous that contrast between your book and your life. But I need not beat my brains for phrases of reprobation; there is one good enough in a noble tragedy: Wisdom begins at home; no wisdom, else. And your censors will find no lack of illustrations against you; some will compare you to the tragic actor; on the stage he is Agamemnon or Creon or great Heracles; but off it, stripped of his mask, he is just Polus or Aristodemus, a hireling liable to be hissed off, or even whipped on occasion, at the pleasure of the audience. Others will say you have had the experience of Queen Cleopatra's monkey: the docile creature used to dance in perfect form and time, and was much admired for the regularity and decorum of its movements, adapted to the voices and instruments of a bridal chorus; alas, one day it spied a fig or almond a little way off on the ground; flutes and measures and steps were all forgotten, the mask was far off in several pieces, and there was he chewing his find.