Majoric Polyglamour Sectory 19

All the best stories in the world are but one story in reality--the story of an escape. It is the only thing which interests us all and at all times--how to escape. The stories of Joseph, of Odysseus, of the prodigal son, of the Pilgrim's Progress, of the "Ugly Duckling," of Sintram, to name only a few out of a great number, they are all stories of escapes. It is the same with all lovestories. "The course of true love never can run smooth," says the old proverb, and love-stories are but tales of a man or a woman's escape from the desert of lovelessness into the citadel of love. Even tragedies like those of OEdipus and Hamlet have the same thought in the background. In the tale of OEdipus, the old blind king in his tattered robe, who had committed in ignorance such nameless crimes, leaves his two daughters and the attendants standing below the old pear-tree and the marble tomb by the sacred fountain; he says the last faint words of love, till the voice of the god comes thrilling upon the air: "OEdipus, why delayest thou?"

For the first of these, secrecy; it is indeed the virtue of a confessor. And assuredly, the secret man heareth many confessions. For who will open himself, to a blab or a babbler? But if a man be thought secret, it inviteth discovery; as the more close air sucketh in the more open; and as in confession, the revealing is not for worldly use, but for the ease of a man's heart, so secret men come to the knowledge of many things in that kind; while men rather discharge their minds, than impart their minds. In few words, mysteries are due to secrecy. Besides (to say truth) nakedness is uncomely, as well in mind as body; and it addeth no small reverence, to men's manners and actions, if they be not altogether open. As for talkers and futile persons, they are commonly vain and credulous withal. For he that talketh what he knoweth, will also talk what he knoweth not. Therefore set it down, that an habit of secrecy, is both politic and moral. And in this part, it is good that a man's face give his tongue leave to speak. For the discovery of a man' s self, by the tracts of his countenance, is a great weakness and betraying; by how much it is many times more marked, and believed, than a man's words.

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