treated on by others, I throw together my reflections on it without any order or method, so that they may appear rather in the looseness and freedom of an essay, than in the regularity of a set discourse."
THE ANTIQUITY OF THE ESSAY
"The thing is ancient"; there is no doubt of that. Analogies to the mood of the modern essay and to its urbane, free, flexible methods of discussion, may be found in the "Dialogues" of Plato,[1] in the "Lives"[2] and "Morals" of Plutarch, in the letters of Cicero,[3] Horace, and the younger Pliny,[4] in the gossipy "Attic Nights" of Aulus Gellius, in the talks of Epictetus,[5] and the Meditations of Marcus Aurelius.[6] There is nothing new under the sun; and there were Greek and Roman gentlemen quite as capable as Montaigne of writing with frankness, ease, quaintness, and an open-minded attitude of skeptical inquiry. But though they often revealed the spirit of the modern essayist, they were groping uncertainly after the appropriate literary form. Montaigne's great achievement was to hazard his fortunes in an unsurpassed series of "sallies," "assaults," "assays" upon a hundred entrenched topics, and always to come bravely off—so that his tactics became the model for all literary skirmishes. To think and feel and write like Montaigne was to produce the modern essay. Without his example, it is doubtful if we should have had the essays of Lamb, of Emerson, and of Stevenson.
EFFECT OF THE RENAISSANCE ON THE ESSAY
Supporting the whole theory and practice of Montaigne, undoubtedly, stood the Renaissance itself. This "re-birth" of the human mind, this new awakening of vital energies and intellectual powers, involved a new way of looking at the world. Nothing seemed quite the same as it had been. Church and empire and feudal system were apparently weakening; new nationalities, new languages were to be reckoned with; new continents were explored, new inventions altered the face of daily life; a new intellectual confidence, inquiry, criticism, supplanted the mediæval obedience to authority. There
