I do not regard these as the sole merits of the orators of whom I have spoken, but have selected what seemed to me their chief excellences, while those whom I have passed over in silence were far from being indifferent. In fact, I will readily admit that the famous Demetrius of Phalerum, Governed Athens as Cassander's vicegerent 317–307: then tied to Egypt, where he died in 283. who is said to have been the first to set oratory on the downward path, was a man of great talent and eloquence and deserves to be remembered, if only for the fact that he is almost the last of the Attic school who can be called an orator: indeed Cicero de Or. ii. 95. Orat. 92. The intermediate style is that which lies between the grand and the plain styles. prefers him to all other orators of the intermediate school.

Proceeding to the philosophers, from whom Cicero acknowledges that he derived such a large portion of his eloquence, we shall all admit that Plato is supreme whether in acuteness or perception or in virtue of his divine gift of style, which is worthy of Homer. For he soars high above the levels of ordinary prose or, as the Greeks call it, pedestrian language, and seems to me to be inspired not by mere human genius, but, as it were, by the oracles of the god of Delphi.

Why should I speak of the unaffected charm of Xenophon, so far beyond the power of affectation to attain? The Graces themselves seem to have moulded his style, and we may with the utmost justice say of him, what the writer of the old comedy Eupolis, πειθώ τις ἐπεκάθιζεν ἐπὶ τοῖς χείλεσιν. said of Pericles, that the goddess of persuasion sat enthroned upon his lips.

Why should I dwell on the elegance of the rest of the Socratics? or on Aristotle, Sweet is the last epithet to be applied to the surviving works of Aristotle. But Dionysius of Halicarnassus and Cicero praise him no less warmly, referring, no doubt, to works that are lost. with regard to whom I hesitate whether to praise him more for his knowledge, for the multitude of his writings, the sweetness of his style, the penetration revealed by his discoveries or the variety of the tasks which he essayed? In Theophrastus Theophrastus, Aristotle's successor as head of his school (322–287). Diogenes Laertius (v. 38) says that his real name was Tyrtamus, but that Aristotle called him Theophrastus because of the divine qualities of his style ( φράσις ). we find such a superhuman brilliance of style that his name is said to be derived therefrom.

The ancient Stoics indulged their eloquence comparatively little. Still, they pleaded the cause of virtue, and the rules which they laid down for argument and proof have been of the utmost value. But they showed themselves shrewd thinkers rather than striking orators, which indeed they never aimed at being.

I now come to Roman authors, and shall follow the same order in dealing with them. As among Greek authors Homer provided us with the most auspicious opening, so will Virgil among our own. For of all epic poets, Greek or Roman, he, without doubt, most nearly approaches to Homer.

I will repeat the words which I heard Domitius Afer use in my young days. I asked what poet in his opinion came nearest to Homer, and he replied, Virgil comes second, but is nearer first than third. And in truth, although we must needs bow before the immortal and superhuman genius of Homer, there is greater diligence and exactness in the work of Virgil just because his task was harder. And perhaps the superior uniformity of the Roman's excellence balances Homer's pre-eminence in his outstanding passages.

All our other poets follow a long way in the rear. Macer and Lucretius are, it is true, worth reading, but not for the purpose of forming style, that is to say, the body of eloquence: both deal elegantly with their themes, but the former is tame and the latter difficult. The poems by which Varro of Atax Varro of Atax in Gaul (82–37 B.C. ) was specially famous for his translation of the Argontautica of Apollonius Rhodius. he also wrote didactic poetry and historical epic. gained his reputation were translations, but he is by no means to be despised, although his diction is not sufficiently rich to be of much service in developing the resources of eloquence.

Ennius deserves our reverence, but only as those groves whose age has made them sacred, but whose huge and ancient trunks inspire us with religious awe rather than with admiration for their beauty. There are other poets who are nearer in point of time and more useful for our present purpose. Ovid has a lack of seriousness even when he writes epic and is unduly enamoured of his own gifts, but portions of his work merit our praise.

On the other hand, although Cornelius Severus Friend and contemporary of Ovid. A considerable fragment is preserved by Sen. Suas. vi. 26. The Sicilian War was the war with Sextus Pompeius (38–36) and perhaps formed a portion of a larger work on the Civil War. The surviving fragment deals with the death of Cicero. The priunus liber may therefore perhaps be the first book of this larger work. is a better versifier than poet, yet if, as has been said, he had written his poem on the Sicilian war in the same style throughout as his first book, he would have had a just claim to the second place. A premature death prevented the powers of Serranus Nothing is known of this poet except the name. from ripening to perfection, but his youthful works reveal the highest talent and a devotion to the true ideal of poetry, which is remarkable in one so young.

We have suffered serious loss in the recent death of Valerius Flaccus. Saleius Bassus Nothing is known of this poet save that he is highly praised by Tacitus in his Diblogues, and was patronized by Vespasian. The unfinished Argonautica of Valerius Flaccus survives. showed an ardent and genuinely poetic genius, but, like that of Serranus, it was not mellowed by years. Rabirius A contemporary of Ovid, believed to be the author of a fragment on the battle of Actium, found at Hereulaneum. and Pedo C. Albinovanns Pedo wrote a poem on the voyage of Germanicus to the north of Germany. A fragment is preserved by Sen. Suas. i. 14. deserve to be studied by those who have the time. Lucan is fiery and passionate and remarkable for the grandeur of his general reflexions, but, to be frank, I consider that he is more suitable for imitation by the orator than by the poet.

I have restricted my list of poets to these names, because Germanicus Augustus Domitian. has been distracted from the study of poetry on which he had embarked by his care for the governance of the world, and the gods have thought it scarce worthy of his powers that he should be the greatest of poets. But what can be more sublime, more learned, more perfect in every detail than those works to which he devoted himself in the seclusion to which he retired after conferring the supreme power upon his father and his brother? Who could sing of war better than he who wages it with such skill? To whom would the goddesses that preside over literature sooner lend an ear? To whom would Minerva, his familiar deity, He claimed to be the son of Minerva. It is doubtful if he ever wrote any poetry. Cp. Tac Hist. iv. 86, Suet. Dom. 2 and 20. more readily reveal her secrets?

Future ages shall tell of these things more fully; to-day his glory as a poet is dimmed by the splendour of his other virtues. But you will forgive us, Caesar, who worship at the shrine of literature, if we refuse to pass by your achievements in silence and insist on testifying at least that, as Virgil sings, The ivy creeps amid your victor baysEcl. viii. 13.

We also challenge the supremacy of the Greeks in elegy. Of our elegiac poets Tibullus seems to me to be the most terse and elegant. There are, however, some who prefer Propertius. Ovid is more sportive than either, while Gallus Cornelius (Gallus, the friend of Virgil, and the first distinguished writer of elegy at Rome. is more severe. Satire, on the other hand, is all our own. The first of our poets to win renown in this connexion was Lucilius, some of whose devotees are so enthusiastic that they do not hesitate to prefer him not merely to all other satirists, but even to all other poets. I disagree with them as much as I do with Horace, Sat. I. iv. 11.

who holds that Lucilius' verse has a muddy flow, and that there is always something in him that might well be dispensed with. For his learning is as remarkable as his freedom of speech, and it is this latter quality that gives so sharp an edge and such abundance of wit to his satire. Horace is far terser and purer in style, and must be awarded the first place, unless my judgment is led astray by my affection for his work. Persius also, although he wrote but one book, has acquired a high and well-deserved reputation, while there are other distinguished satirists still living whose praises will be sung by posterity.

There is, however, another and even older type of satire which derives its variety not merely from verse, but from an admixture of prose as well. Such were the satires composed by Terentius Varro, His Menippean Satires, of which only fragments survive. Although ostensibly an imitation of the work of the Greek Menippus of Gadara, they can still be said to belong to the older type of satire, the medley or hotch-potch. the most learned of all Romans. He composed a vast number of erudite works, and possessed an extraordinary knowledge of the Latin language, of all antiquity and of the history of Greece and Rome. But he is an author likely to contribute more to the knowledge of the student than to his eloquence.

The iambic has not been popular with Roman poets as a separate form of composition, but is found mixed up with other forms of verse. The meaning is not clear. The words may mean (i that these writers did not confine themselves to the iambus, or (iii that the iambus alternates with other metres, cp. epodos below. It may be found in all its bitterness in Catullus, Bibaculus M. Furius Bibaculus, contemporary of Catullus, and writer of similar invective against the Caesareans. and Horace, although in the last-named the iambic is interrupted by the epode. i. e. the short iambic line interposed between the trimeters. Of our lyric writers Horace is almost the sole poet worth reading: for he rises at times to a lofty grandeur and is full of sprightliness and charm, while there is great variety in his figures, and his boldness in the choice of words is only equalled by his felicity. If any other lyric poet is to be mentioned, it will be Caesius Bassus, who has but lately passed from us. But he is far surpassed in talent by poets still living.

Among writers of tragedy Accius and Pacuvius Accius (170 90), Pacuvius (220–132). are most remarkable for the force of their general reflexions, the weight of their words and the dignity of their characters. But they lack polish, and filed to put the finishing touches on their works, although the fault was perhaps rather that of the times in which they lived than of themselves. Accius is generally regarded as the most vigorous, while those who lay claim to learning regard Pacuvius as the more learned of the two.

The Thyestes of Varius L. Varius Rufus, friend of Virgil and Horace, editor of the Aeneid; wrote epic and a single tragedy. is a match for any Greek tragedy, and the Medea of Ovid shows, in my opinion, to what heights that poet might have risen if he had been ready to curb his talents instead of indulging them. Of the tragic writers whom I myself have seen, Pomponius Secundus Pomponius Secundus, died 60 A.D.; wrote a tragedy entitled Aeneas. is by far the best: his older critics thought him insufficiently tragic, but admitted his eminence as far as learning and polish were concerned.

Comedy is our weakest point. Although Varro quotes Aelius Stilo The first Roman philologist (141–70 B.C.). as saying that if the Muses wished to speak Latin, they would use the language of Plautus, although the ancients extol Caecilius, Caecilils (219–166), Terence (194159), Afranius (flor. circ. 150). Only fragments of Caecilius and Afranius remain. and although Scipio Africanus is credited with the works of Terence (which are the most elegant of their kind, and would be still more graceful if the poet had confined himself to the iambic trimeter),