BOOK II. XIII. 15-21
artist cares about pleasing one who has no knowledge of his art.
Do I care to please you? What do I gain thereby? For do you know the standards according to which man is judged by man? Have you been concerned to know what a good man is, and what an evil man, and how each becomes what he is? Why, then, are you not a good man yourself?—How do you make out, he answers, that I am not a good man?—Why, because no good man grieves or groans, no good man laments, no good man turns pale and trembles, or asks, "How will he receive me? How will he listen to me?" You slave! He will receive you and listen to you as seems best to him. Why, then, are you concerned about things that are not your own? Now is it not his own fault if he gives a bad reception to what you have to say?—Of course.—Is it possible for one man to make the mistake and yet another suffer the harm?—No.—Why, then, are you anxious over what is not your own?—That is all very well, but I am anxious over how I shall speak to him.—What, are you not privileged to speak to him as you please?—Yes, but I am afraid that I shall be disconcerted.20—You are not afraid of being disconcerted when you are about to write the name Dio, are you?—No, not at all.—What is the reason? Is it not that you have practised writing?—Yes, of course.—What then? If you were about to read something, would you not feel the same way about it?—Quite the same.—What is the reason? Why, because every art has an element of strength and confidence inside its own field. Have you, then, not practised speaking? And what else did you practise in your school?—Syllogisms and arguments involving equivocal
