As compared with other contemporary works on algebra, Oughtred’s distinguishes itself for the amount of symbolism used, particularly in the treatment of geometric problems. Extraordinary emphasis was placed upon what he called in the Clavis the “analytical art.”[24] By that term he did not mean our modern analysis or analytical geometry, but the art “in which by taking the thing sought as knowne, we finde out that we seeke.”[25] He meant to express by it condensed processes of rigid, logical deduction expressed by appropriate symbols, as contrasted with mere description or elucidation by passages fraught with verbosity. In the preface to the first edition (1631) he says: In this little book I make known . . . . the rules relating to fundamentals, collected together, just like a bundle, and adapted to the explanation of as many problems as possible. As stated in this preface, one of his reasons for publishing the book, is . . . . that like Ariadne I might offer a thread to mathematical study by which the mysteries of this science might be revealed, and direction given to the best authors of antiquity, Euclid, Archimedes, the great geometrician Apollonius of Perga, and others, so as to be easily and thoroughly understood, their theorems being added, not only because to many they are the height and depth of mathematical science (I ignore the would-be mathematicians who occupy themselves only with the so-called practice, which is in reality mere juggler’s tricks with instruments, the surface so to speak, pursued with a disregard of the great art, a contemptible picture), but also to show with what keenness they have penetrated, with what mass of equations, comparisons, reductions, conversions and disquisitions these heroes have ornamented, increased and invented this most beautiful science.