themselves in the ruin, he concludes with a last rhetorical flourish: "And therefore let all men be advertised, for THE TRUMPET HATH ONCE BLOWN." The capitals are his own. In writing, he probably felt the want of some such reverberation of the pulpit under strong hands as he was wont to emphasise his spoken utterances withal; there would seem to him a want of passion in the orderly lines of type; and I suppose we may take the capitals as a mere substitute for the great voice with which he would have given it forth, had we heard it from his own lips. Indeed, as it is, in this little strain of rhetoric about the trumpet, this current allusion to the fall of Jericho, that alone distinguishes his bitter and hasty production, he was probably right, according to all artistic canon, thus to support and accentuate in conclusion the sustained metaphor of a hostile proclamation. It is curious, by the way, to note how favourite an image the trumpet was with the Reformer. He returns to it again and again; it is the Alpha and Omega of his rhetoric; it is to him what a ship is to the stage sailor; and one would almost fancy he had begun the world as a trumpeter's apprentice. The partiality is surely characteristic. All his life long he was blowing summonses before various Jerichos, some of which fell duly, but not all. Wherever he appears in history his speech is loud, angry, and hostile; there is no peace in his life, and little tenderness; he is always sounding hopefully to the front for some rough enterprise. And as his voice had something of the trumpet's hardness, it had something also of the trumpet's warlike inspiration. So Randolph, possibly fresh from the sound of the Reformer's preaching, writes of him to Cecil: "Where your honour exhorteth us to stoutness, I assure you the voice of one man is able, in an hour, to put more life in us than six hundred trumpets continually blustering in our ears."[66]