form man; I only report him: and represent a particular one, ill
fashioned enough, and whom, if I had to model him anew, I should
certainly make something else than what he is but that's past recalling.
Now, though the features of my picture alter and change, 'tis not,
however, unlike: the world eternally turns round; all things therein are
incessantly moving, the earth, the rocks of Caucasus, and the pyramids of
Egypt, both by the public motion and their own. Even constancy itself is
no other but a slower and more languishing motion. I cannot fix my
object; 'tis always tottering and reeling by a natural giddiness; I take
it as it is at the instant I consider it; I do not paint its being, I
paint its passage; not a passing from one age to another, or, as the
people say, from seven to seven years, but from day to day, from minute
to minute, I must accommodate my history to the hour: I may presently
change, not only by fortune, but also by intention. 'Tis a counterpart
of various and changeable accidents, and of irresolute imaginations, and,
as it falls out, sometimes contrary: whether it be that I am then another
self, or that I take subjects by other circumstances and considerations:
so it is that I may peradventure contradict myself, but, as Demades said,
I never contradict the truth. Could my soul once take footing, I would
not essay but resolve: but it is always learning and making trial.

I propose a life ordinary and without lustre: 'tis all one; all moral
philosophy may as well be applied to a common and private life, as to one
of richer composition: every man carries the entire form of human
condition. Authors communicate themselves to the people by some especial
and extrinsic mark; I, the first of any, by my universal being; as Michel
de Montaigne, not as a grammarian, a poet, or a lawyer. If the world
find fault that I speak too much of myself, I find fault that they do not
so much as think of themselves. But is it reason that, being so
particular in my way of living, I should pretend to recommend myself to
the public knowledge? And is it also reason that I should produce to the
world, where art and handling have so much credit and authority, crude
and simple effects of nature, and of a weak nature to boot? Is it not to
build a wall without stone or brick, or some such thing, to write books
without learning and without art? The fancies of music are carried on by
art; mine by chance. I have this, at lea