The Project Gutenberg EBook of A Dialogue Concerning Oratory, Or The
Causes Of Corrupt Eloquence, by Cornelius Tacitus
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.
Causes Of Corrupt Eloquence, by Cornelius Tacitus
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever.
Tacitus
General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf. org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www. gutenberg. org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
The Project Gutenberg EBook of A Dialogue Concerning Oratory, Or The
Causes Of Corrupt Eloquence, by Cornelius Tacitus
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
Title: A Dialogue Concerning Oratory, Or The Causes Of Corrupt Eloquence
The Works Of Cornelius Tacitus, Volume 8 (of 8); With An Essay On
His Life And Genius, Notes, Supplements
Author: Cornelius Tacitus
Release Date: February 11, 2005 [EBook #15017]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK CONCERNING ORATORY ***
Produced by Ted Garvin, Tom Martin and the PG Online Distributed
Proofreading Team
THE WORKS OF CORNELIUS TACITUS;
WITH
AN ESSAY ON HIS LIFE AND GENIUS,
NOTES, SUPPLEMENTS, &c.
BY
ARTHUR MURPHY, ESQ.
Præcipuum munus annalium reor, ne virtutes sileantur, utque pravis
dictis factisque ex posteritate et infamiâ metus sit.
TACITUS, Annales, iii. s. 65.
A NEW EDITION,
WITH THE AUTHOR'S LAST CORRECTIONS.
IN EIGHT VOLUMES.
VOL. VIII.
LONDON: PRINTED FOR JOHN STOCKDALE; F. C. AND J. RIVINGTON; J. WALKER;
R. LEA; LONGMAN, HURST, REES, ORME, AND BROWN; CADELL AND DAVIES; J.
MAWMAN; J. MURRAY; J. RICHARDSON; R. BALDWIN; AND J. FAULDER.
1811.
A DIALOGUE CONCERNING ORATORY,
OR THE CAUSES OF CORRUPT ELOQUENCE.
VOL. VIII.
CONTENTS.
I. General introduction, with the reasons for writing an account of
the following discourse.
II. The persons engaged in the dialogue; at first, Curiatius Maternus,
Julius Secundus, and Marcus Aper.
III. Secundus endeavours to dissuade Maternus from thinking any more
of dramatic composition.
IV. Maternus gives his reasons for persisting.
V. Aper condemns his resolution, and, in point of utility, real
happiness, fame and dignity, contends that the oratorical profession
is preferable to the poetical.
VIII. He cites the example of Eprius Marcellus and Crispus Vibius, who
raised themselves by their eloquence to the highest honours.
IX. Poetical fame brings with it no advantage.
X. He exhorts Maternus to relinquish the muses, and devote his whole
to eloquence and the business of the bar.
XI. Maternus defends his favourite studies; the pleasures arising from
poetry are in their nature innocent and sublime; the fame is extensive
and immortal. The poet enjoys the most delightful intercourse with his
friends, whereas the life of the public orator is a state of warfare
and anxiety.
XIV. Vipstanius Messala enters the room. He finds his friends engaged
in a controversy, and being an admirer of ancient eloquence, he
advises Aper to adopt the model of the ancients in preference to the
plan of the modern rhetoricians.
XV. Hence a difference of opinion concerning the merit of the ancients
and the moderns. Messala, Secundus, and Maternus, profess themselves
admirers of the oratory that flourished in the time of the republic.
Aper launches out against the ancients, and gives the preference to
the advocates of his own time. He desires to know who are to be
accounted ancients.
XVIII. Eloquence has various modes, all changing with the conjuncture
of the times. But it is the nature of men to praise the past, and
censure the present. The period when Cassius Severus flourished, is
stated to be the point of time at which men cease to be ancients;
Cassius with good reason deviated from the ancient manner.
XX. Defects of ancient eloquence: the modern style more refined and
elegant.
XXI. The character of Calvus, Cælius, Cæsar and Brutus, and also of
Asinius Pollio, and Messala Corvinus.
XXII. The praise and censure of Cicero.
XXIII. The true rhetorical art consists in blending the virtues of
ancient oratory with the beauties of the modern style.
XXIV. Maternus observes that there can be no dispute about the
superior reputation of the ancient orators: he therefore calls upon
Messala to take that point for granted, and proceed to an enquiry into
the causes that produced so great an alteration.
XXV. After some observations on the eloquence of Calvus, Asinius
Pollio, Cæsar, Cicero, and others, Messala praises Gracchus and Lucius
Crassus, but censures Mæcenas, Gallio, and Cassius Severus.
XXVII. Maternus reminds Messala of the true point in question; Messala
proceeds to assign the causes which occasioned the decay of eloquence,
such as the dissipation of the young men, the inattention of their
parents, the ignorance of rhetorical professors, and the total neglect
of ancient discipline.
XXXIV. He proceeds to explain the plan of study, and the institutions,
customs, and various arts, by which orators were formed in the time of
the republic.
XXXV. The defects and vices in the new system of education. In this
part of the dialogue, the sequel of Messala's discourse is lost, with
the whole of what was said by Secundus, and the beginning of Maternus:
the supplement goes on from this place, distinguished by inverted
commas [transcriber's note: not used], and the sections marked with
numerical figures.
1. Messala describes the presumption of the young advocates on their
first appearance at the bar; their want of legal knowledge, and the
absurd habits which they contracted in the schools of the
rhetoricians.
2. Eloquence totally ruined by the preceptors. Messala concludes with
desiring Secundus and Maternus to assign the reasons which have
occurred to them.
4. Secundus gives his opinion. The change of government produced a new
mode of eloquence. The orators under the emperors endeavoured to be
ingenious rather than natural. Seneca the first who introduced a false
taste, which still prevailed in the reign of Vespasian.
8. Licinius Largus taught the advocates of his time the disgraceful
art of hiring applauders by profession. This was the bane of all true
oratory, and, for that reason, Maternus was right in renouncing the
forum altogether.
10. Maternus acknowledges that he was disgusted by the shameful
practices that prevailed at the bar, and therefore resolved to devote
the rest of his time to poetry and the muses.
11. An apology for the rhetoricians. The praise of Quintilian. True
eloquence died with Cicero.
13. The loss of liberty was the ruin of genuine oratory. Demosthenes
flourished under a free government. The original goes on from this
place to the end of the dialogue.
XXXVI. Eloquence flourishes most in times of public tumult. The crimes
of turbulent citizens supply the orator with his best materials.
XXXVII. In the time of the republic, oratorical talents were necessary
qualifications, and without them no man was deemed worthy of being
advanced to the magistracy.
XXXVIII. The Roman orators were not confined in point of time; they
might extend their speeches to what length they thought proper, and
could even adjourn. Pompey abridged the liberty of speech, and limited
the time.
XXXIX. The very dress of the advocates under the emperors was
prejudicial to eloquence.
XL. True eloquence springs from the vices of men, and never was known
to exist under a calm and settled government.
XLI. Eloquence changes with the times. Every age has its own peculiar
advantages, and invidious comparisons are unnecessary.
XLII. Conclusion of the dialogue.
The time of this dialogue was the sixth of Vespasian's reign.
Year of Rome--Of Christ Consuls.
828 75 Vespasian, 6th time; Titus his son,
4th time.
A DIALOGUE CONCERNING ORATORY, OR THE CAUSES OF CORRUPT ELOQUENCE.
I. You have often enquired of me, my good friend, Justus Fabius [a],
how and from what causes it has proceeded, that while ancient times
display a race of great and splendid orators, the present age,
dispirited, and without any claim to the praise of eloquence, has
scarcely retained the name of an orator. By that appellation we now
distinguish none but those who flourished in a former period. To the
eminent of the present day, we give the title of speakers, pleaders,
advocates, patrons, in short, every thing but orators.
The enquiry is in its nature delicate; tending, if we are not able to
contend with antiquity, to impeach our genius, and if we are not
willing, to arraign our judgement. An answer to so nice a question is
more than I should venture to undertake, were I to rely altogether
upon myself: but it happens, that I am able to state the sentiments of
men distinguished by their eloquence, such as it is in modern times;
having, in the early part of my life, been present at their
conversation on the very subject now before us. What I have to offer,
will not be the result of my own thinking: it is the work of memory
only; a mere recital of what fell from the most celebrated orators of
their time: a set of men, who thought with subtilty, and expressed
themselves with energy and precision; each, in his turn, assigning
different but probable causes, at times insisting on the same, and, in
the course of the debate, maintaining his own proper character, and
the peculiar cast of his mind. What they said upon the occasion, I
shall relate, as nearly as may be, in the style and manner of the
several speakers, observing always the regular course and order of the
controversy. For a controversy it certainly was, where the speakers of
the present age did not want an advocate, who supported their cause
with zeal, and, after treating antiquity with sufficient freedom, and
even derision, assigned the palm of eloquence to the practisers of
modern times.
II. Curiatius Maternus [a] gave a public reading of his tragedy of
Cato. On the following day a report prevailed, that the piece had
given umbrage to the men in power. The author, it was said, had
laboured to display his favourite character in the brightest colours;
anxious for the fame of his hero, but regardless of himself. This soon
became the topic of public conversation. Maternus received a visit
from Marcus Aper [b] and Julius Secundus [c], both men of genius, and
the first ornaments of the forum. I was, at that time, a constant
attendant on those eminent men. I heard them, not only in their scenes
of public business, but, feeling an inclination to the same studies, I
followed them with all the ardour of youthful emulation. I was
admitted to their private parties; I heard their debates, and the
amusement of their social hours: I treasured up their wit, and their
sentiments on the various topics which they had discussed in
conversation. Respected as they were, it must, however, be
acknowledged that they did not escape the malignity of criticism. It
was objected to Secundus, that he had no command of words, no flow of
language; and to Aper, that he was indebted for his fame, not to art
or literature, but to the natural powers of a vigorous understanding.
The truth is, the style of the former was remarkable for its purity;
concise, yet free and copious; and the latter was sufficiently versed
in all branches of general erudition. It might be said of him, that he
despised literature, not that he wanted it. He thought, perhaps, that,
by scorning the aid of letters, and by drawing altogether from his own
fund, his fame would stand on a more solid foundation.
III. We went together to pay our visit to Maternus. Upon entering his
study, we found him with the tragedy, which he had read on the
preceding day, lying before him. Secundus began: And are you then so
little affected by the censure of malignant critics, as to persist in
cherishing a tragedy which has given so much offence? Perhaps you are
revising the piece, and, after retrenching certain passages, intend to
send your Cato into the world, I will not say improved, but certainly
less obnoxious. There lies the poem, said Maternus; you may, if you
think proper, peruse it with all its imperfections on its head. If
Cato has omitted any thing, Thyestes [a], at my next reading, shall
atone for all deficiencies. I have formed the fable of a tragedy on
that subject: the plan is warm in my imagination, and, that I may give
my whole time to it, I now am eager to dispatch an edition of Cato.
Marcus Aper interposed: And are you, indeed, so enamoured of your
dramatic muse, as to renounce your oratorical character, and the
honours of your profession, in order to sacrifice your time, I think
it was lately to Medea, and now to Thyestes? Your friends, in the mean
time, expect your patronage; the colonies [b] invoke your aid, and the
municipal cities invite you to the bar. And surely the weight of so
many causes may be deemed sufficient, without this new solicitude
imposed upon you by Domitius [c] or Cato. And must you thus waste all
your time, amusing yourself for ever with scenes of fictitious
distress, and still labouring to add to the fables of Greece the
incidents and characters of the Roman story?
IV. The sharpness of that reproof, replied Maternus, would, perhaps,
have disconcerted me, if, by frequent repetition, it had not lost its
sting. To differ on this subject is grown familiar to us both. Poetry,
it seems, is to expect no quarter: you wage an incessant war against
the followers of that pleasing art; and I, who am charged with
deserting my clients, have yet every day the cause of poetry to
defend. But we have now a fair opportunity, and I embrace it with
pleasure, since we have a person present, of ability to decide between
us; a judge, who will either lay me under an injunction to write no
more verses, or, as I rather hope, encourage me, by his authority, to
renounce for ever the dry employment of forensic causes (in which I
have had my share of drudgery), that I may, for the future, be at
leisure to cultivate the sublime and sacred eloquence of the tragic
muse.
V. Secundus desired to be heard: I am aware, he said, that Aper may
refuse me as an umpire. Before he states his objections, let me follow
the example of all fair and upright judges, who, in particular cases,
when they feel a partiality for one of the contending parties, desire
to be excused from hearing the cause. The friendship and habitual
intercourse, which I have ever cultivated with Saleius Bassus [a],
that excellent man, and no less excellent poet, are well known: and
let me add, if poetry is to be arraigned, I know no client that can
offer such handsome bribes.
My business, replied Aper, is not with Saleius Bassus: let him, and
all of his description, who, without talents for the bar, devote their
time to the muses, pursue their favourite amusement without
interruption. But Maternus must not think to escape in the crowd. I
single him out from the rest, and since we are now before a competent
judge, I call upon him to answer, how it happens, that a man of his
talents, formed by nature to reach the heights of manly eloquence, can
think of renouncing a profession, which not only serves to multiply
friendships, but to support them with reputation: a profession, which
enables us to conciliate the esteem of foreign nations, and (if we
regard our own interest) lays open the road to the first honours of
the state; a profession, which, besides the celebrity that it gives
within the walls of Rome, spreads an illustrious name throughout this
wide extent of the empire.
If it be wisdom to make the ornament and happiness of life the end and
aim of our actions, what can be more advisable than to embrace an art,
by which we are enabled to protect our friends; to defend the cause of
strangers; and succour the distressed? Nor is this all: the eminent
orator is a terror to his enemies: envy and malice tremble, while they
hate him. Secure in his own strength, he knows how to ward off every
danger. His own genius is his protection; a perpetual guard, that
watches him; an invincible power, that shields him from his enemies.
In the calm seasons of life, the true use of oratory consists in the
assistance which it affords to our fellow-citizens. We then behold the
triumph of eloquence. Have we reason to be alarmed for ourselves, the
sword and breast-plate are not a better defence in the heat of battle.
It is at once a buckler to cover yourself [b] and a weapon to brandish
against your enemy. Armed with this, you may appear with courage
before the tribunals of justice, in the senate, and even in the
presence of the prince. We lately saw [c] Eprius Marcellus arraigned
before the fathers: in that moment, when the minds of the whole
assembly were inflamed against him, what had he to oppose to the
vehemence of his enemies, but that nervous eloquence which he
possessed in so eminent a degree? Collected in himself, and looking
terror to his enemies, he was more than a match for Helvidius Priscus;
a man, no doubt, of consummate wisdom, but without that flow of
eloquence, which springs from practice, and that skill in argument,
which is necessary to manage a public debate. Such is the advantage of
oratory: to enlarge upon it were superfluous. My friend Maternus will
not dispute the point.
VI. I proceed to the pleasure arising from the exercise of eloquence;
a pleasure which does not consist in the mere sensation of the moment,
but is felt through life, repeated every day, and almost every hour.
For let me ask, to a man of an ingenuous and liberal mind, who knows
the relish of elegant enjoyments, what can yield such true delight, as
a concourse of the most respectable characters crowding to his levee?
How must it enhance his pleasure, when he reflects, that the visit is
not paid to him because he is rich, and wants an heir [a], or is in
possession of a public office, but purely as a compliment to superior
talents, a mark of respect to a great and accomplished orator! The
rich who have no issue, and the men in high rank and power, are his
followers. Though he is still young, and probably destitute of
fortune, all concur in paying their court to solicit his patronage for
themselves, or to recommend their friends to his protection. In the
most splendid fortune, in all the dignity and pride of power, is there
any thing that can equal the heartfelt satisfaction of the able
advocate, when he sees the most illustrious citizens, men respected
for their years, and flourishing in the opinion of the public, yet
paying their court to a rising genius, and, in the midst of wealth and
grandeur, fairly owning, that they still want something superior to
all their possessions? What shall be said of the attendants, that
follow the young orator from the bar, and watch his motions to his own
house? With what importance does he appear to the multitude! in the
courts of judicature, with what veneration! When he rises to speak,
the audience is hushed in mute attention; every eye is fixed on him
alone; the crowd presses round him; he is master of their passions;
they are swayed, impelled, directed, as he thinks proper. These are
the fruits of eloquence, well known to all, and palpable to every
common observer.
There are other pleasures more refined and secret, felt only by the
initiated. When the orator, upon some great occasion, comes with a
well-digested speech, conscious of his matter, and animated by his
subject, his breast expands, and heaves with emotions unfelt before.
In his joy there is a dignity suited to the weight and energy of the
composition which he has prepared. Does he rise to hazard himself [b]
in a sudden debate; he is alarmed for himself, but in that very alarm
there is a mingle of pleasure, which predominates, till distress
itself becomes delightful. The mind exults in the prompt exertion of
its powers, and even glories in its rashness. The productions of
genius, and those of the field, have this resemblance: many things are
sown, and brought to maturity with toil and care; yet that, which
grows from the wild vigour of nature, has the most grateful flavour.
electronic works
1. A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1. E. 8.
1. B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1. C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1. E below.
1. C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1. D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1. E. Unless you have removed all references to Project Gutenberg:
1. E. 1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
1. E. 2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1. E. 1
through 1. E. 7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1. E. 8 or
1. E. 9.
1. E. 3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1. E. 1 through 1. E. 7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1. E. 4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1. E. 5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1. E. 1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1. E. 6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www. gutenberg. org),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1. E. 1.
1. E. 7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1. E. 8 or 1. E. 9.
1. E. 8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation. "
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1. F. 3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1. E. 9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1. F.
1. F. 1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1. F. 2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1. F. 3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH 1. F. 3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1. F. 3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1. F. 4. Except for the limited right of replacement or refund set forth
in paragraph 1. F. 3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1. F. 5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1. F. 6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers
including obsolete, old, middle-aged and new computers. It exists
because of the efforts of hundreds of volunteers and donations from
people in all walks of life.
Volunteers and financial support to provide volunteers with the
assistance they need, are critical to reaching Project Gutenberg-tm's
goals and ensuring that the Project Gutenberg-tm collection will
remain freely available for generations to come. In 2001, the Project
Gutenberg Literary Archive Foundation was created to provide a secure
and permanent future for Project Gutenberg-tm and future generations.
To learn more about the Project Gutenberg Literary Archive Foundation
and how your efforts and donations can help, see Sections 3 and 4
and the Foundation web page at http://www. pglaf. org.
Section 3. Information about the Project Gutenberg Literary Archive
Foundation
The Project Gutenberg Literary Archive Foundation is a non profit
501(c)(3) educational corporation organized under the laws of the
state of Mississippi and granted tax exempt status by the Internal
Revenue Service. The Foundation's EIN or federal tax identification
number is 64-6221541. Its 501(c)(3) letter is posted at
http://pglaf. org/fundraising. Contributions to the Project Gutenberg
Literary Archive Foundation are tax deductible to the full extent
permitted by U. S. federal laws and your state's laws.
The Foundation's principal office is located at 4557 Melan Dr. S.
Fairbanks, AK, 99712. , but its volunteers and employees are scattered
throughout numerous locations. Its business office is located at
809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
business@pglaf. org. Email contact links and up to date contact
information can be found at the Foundation's web site and official
page at http://pglaf. org
For additional contact information:
Dr. Gregory B. Newby
Chief Executive and Director
gbnewby@pglaf. org
Section 4. Information about Donations to the Project Gutenberg
Literary Archive Foundation
Project Gutenberg-tm depends upon and cannot survive without wide
spread public support and donations to carry out its mission of
increasing the number of public domain and licensed works that can be
freely distributed in machine readable form accessible by the widest
array of equipment including outdated equipment. Many small donations
($1 to $5,000) are particularly important to maintaining tax exempt
status with the IRS.
The Foundation is committed to complying with the laws regulating
charities and charitable donations in all 50 states of the United
States. Compliance requirements are not uniform and it takes a
considerable effort, much paperwork and many fees to meet and keep up
with these requirements. We do not solicit donations in locations
where we have not received written confirmation of compliance. To
SEND DONATIONS or determine the status of compliance for any
particular state visit http://pglaf. org
While we cannot and do not solicit contributions from states where we
have not met the solicitation requirements, we know of no prohibition
against accepting unsolicited donations from donors in such states who
approach us with offers to donate.
International donations are gratefully accepted, but we cannot make
any statements concerning tax treatment of donations received from
outside the United States. U. S. laws alone swamp our small staff.
Please check the Project Gutenberg Web pages for current donation
methods and addresses. Donations are accepted in a number of other
ways including checks, online payments and credit card donations.
To donate, please visit: http://pglaf. org/donate
Section 5. General Information About Project Gutenberg-tm electronic
works.
Professor Michael S. Hart is the originator of the Project Gutenberg-tm
concept of a library of electronic works that could be freely shared
with anyone. For thirty years, he produced and distributed Project
Gutenberg-tm eBooks with only a loose network of volunteer support.
Project Gutenberg-tm eBooks are often created from several printed
editions, all of which are confirmed as Public Domain in the U. S.
unless a copyright notice is included. Thus, we do not necessarily
keep eBooks in compliance with any particular paper edition.
Most people start at our Web site which has the main PG search facility:
http://www. gutenberg. org
This Web site includes information about Project Gutenberg-tm,
including how to make donations to the Project Gutenberg Literary
Archive Foundation, how to help produce our new eBooks, and how to
subscribe to our email newsletter to hear about new eBooks.
The Project Gutenberg EBook of A Dialogue Concerning Oratory, Or The
Causes Of Corrupt Eloquence, by Cornelius Tacitus
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www. gutenberg. org
Title: A Dialogue Concerning Oratory, Or The Causes Of Corrupt Eloquence
The Works Of Cornelius Tacitus, Volume 8 (of 8); With An Essay On
His Life And Genius, Notes, Supplements
Author: Cornelius Tacitus
Release Date: February 11, 2005 [EBook #15017]
Language: English
Character set encoding: UTF-8
*** START OF THIS PROJECT GUTENBERG EBOOK CONCERNING ORATORY ***
Produced by Ted Garvin, Tom Martin and the PG Online Distributed
Proofreading Team
THE WORKS OF CORNELIUS TACITUS;
WITH
AN ESSAY ON HIS LIFE AND GENIUS,
NOTES, SUPPLEMENTS, &c.
BY
ARTHUR MURPHY, ESQ.
Præcipuum munus annalium reor, ne virtutes sileantur, utque pravis
dictis factisque ex posteritate et infamiâ metus sit.
TACITUS, Annales, iii. s. 65.
A NEW EDITION,
WITH THE AUTHOR'S LAST CORRECTIONS.
IN EIGHT VOLUMES.
VOL. VIII.
LONDON: PRINTED FOR JOHN STOCKDALE; F. C. AND J. RIVINGTON; J. WALKER;
R. LEA; LONGMAN, HURST, REES, ORME, AND BROWN; CADELL AND DAVIES; J.
MAWMAN; J. MURRAY; J. RICHARDSON; R. BALDWIN; AND J. FAULDER.
1811.
A DIALOGUE CONCERNING ORATORY,
OR THE CAUSES OF CORRUPT ELOQUENCE.
VOL. VIII.
CONTENTS.
I. General introduction, with the reasons for writing an account of
the following discourse.
II. The persons engaged in the dialogue; at first, Curiatius Maternus,
Julius Secundus, and Marcus Aper.
III. Secundus endeavours to dissuade Maternus from thinking any more
of dramatic composition.
IV. Maternus gives his reasons for persisting.
V. Aper condemns his resolution, and, in point of utility, real
happiness, fame and dignity, contends that the oratorical profession
is preferable to the poetical.
VIII. He cites the example of Eprius Marcellus and Crispus Vibius, who
raised themselves by their eloquence to the highest honours.
IX. Poetical fame brings with it no advantage.
X. He exhorts Maternus to relinquish the muses, and devote his whole
to eloquence and the business of the bar.
XI. Maternus defends his favourite studies; the pleasures arising from
poetry are in their nature innocent and sublime; the fame is extensive
and immortal. The poet enjoys the most delightful intercourse with his
friends, whereas the life of the public orator is a state of warfare
and anxiety.
XIV. Vipstanius Messala enters the room. He finds his friends engaged
in a controversy, and being an admirer of ancient eloquence, he
advises Aper to adopt the model of the ancients in preference to the
plan of the modern rhetoricians.
XV. Hence a difference of opinion concerning the merit of the ancients
and the moderns. Messala, Secundus, and Maternus, profess themselves
admirers of the oratory that flourished in the time of the republic.
Aper launches out against the ancients, and gives the preference to
the advocates of his own time. He desires to know who are to be
accounted ancients.
XVIII. Eloquence has various modes, all changing with the conjuncture
of the times. But it is the nature of men to praise the past, and
censure the present. The period when Cassius Severus flourished, is
stated to be the point of time at which men cease to be ancients;
Cassius with good reason deviated from the ancient manner.
XX. Defects of ancient eloquence: the modern style more refined and
elegant.
XXI. The character of Calvus, Cælius, Cæsar and Brutus, and also of
Asinius Pollio, and Messala Corvinus.
XXII. The praise and censure of Cicero.
XXIII. The true rhetorical art consists in blending the virtues of
ancient oratory with the beauties of the modern style.
XXIV. Maternus observes that there can be no dispute about the
superior reputation of the ancient orators: he therefore calls upon
Messala to take that point for granted, and proceed to an enquiry into
the causes that produced so great an alteration.
XXV. After some observations on the eloquence of Calvus, Asinius
Pollio, Cæsar, Cicero, and others, Messala praises Gracchus and Lucius
Crassus, but censures Mæcenas, Gallio, and Cassius Severus.
XXVII. Maternus reminds Messala of the true point in question; Messala
proceeds to assign the causes which occasioned the decay of eloquence,
such as the dissipation of the young men, the inattention of their
parents, the ignorance of rhetorical professors, and the total neglect
of ancient discipline.
XXXIV. He proceeds to explain the plan of study, and the institutions,
customs, and various arts, by which orators were formed in the time of
the republic.
XXXV. The defects and vices in the new system of education. In this
part of the dialogue, the sequel of Messala's discourse is lost, with
the whole of what was said by Secundus, and the beginning of Maternus:
the supplement goes on from this place, distinguished by inverted
commas [transcriber's note: not used], and the sections marked with
numerical figures.
1. Messala describes the presumption of the young advocates on their
first appearance at the bar; their want of legal knowledge, and the
absurd habits which they contracted in the schools of the
rhetoricians.
2. Eloquence totally ruined by the preceptors. Messala concludes with
desiring Secundus and Maternus to assign the reasons which have
occurred to them.
4. Secundus gives his opinion. The change of government produced a new
mode of eloquence. The orators under the emperors endeavoured to be
ingenious rather than natural. Seneca the first who introduced a false
taste, which still prevailed in the reign of Vespasian.
8. Licinius Largus taught the advocates of his time the disgraceful
art of hiring applauders by profession. This was the bane of all true
oratory, and, for that reason, Maternus was right in renouncing the
forum altogether.
10. Maternus acknowledges that he was disgusted by the shameful
practices that prevailed at the bar, and therefore resolved to devote
the rest of his time to poetry and the muses.
11. An apology for the rhetoricians. The praise of Quintilian. True
eloquence died with Cicero.
13. The loss of liberty was the ruin of genuine oratory. Demosthenes
flourished under a free government. The original goes on from this
place to the end of the dialogue.
XXXVI. Eloquence flourishes most in times of public tumult. The crimes
of turbulent citizens supply the orator with his best materials.
XXXVII. In the time of the republic, oratorical talents were necessary
qualifications, and without them no man was deemed worthy of being
advanced to the magistracy.
XXXVIII. The Roman orators were not confined in point of time; they
might extend their speeches to what length they thought proper, and
could even adjourn. Pompey abridged the liberty of speech, and limited
the time.
XXXIX. The very dress of the advocates under the emperors was
prejudicial to eloquence.
XL. True eloquence springs from the vices of men, and never was known
to exist under a calm and settled government.
XLI. Eloquence changes with the times. Every age has its own peculiar
advantages, and invidious comparisons are unnecessary.
XLII. Conclusion of the dialogue.
The time of this dialogue was the sixth of Vespasian's reign.
Year of Rome--Of Christ Consuls.
828 75 Vespasian, 6th time; Titus his son,
4th time.
A DIALOGUE CONCERNING ORATORY, OR THE CAUSES OF CORRUPT ELOQUENCE.
I. You have often enquired of me, my good friend, Justus Fabius [a],
how and from what causes it has proceeded, that while ancient times
display a race of great and splendid orators, the present age,
dispirited, and without any claim to the praise of eloquence, has
scarcely retained the name of an orator. By that appellation we now
distinguish none but those who flourished in a former period. To the
eminent of the present day, we give the title of speakers, pleaders,
advocates, patrons, in short, every thing but orators.
The enquiry is in its nature delicate; tending, if we are not able to
contend with antiquity, to impeach our genius, and if we are not
willing, to arraign our judgement. An answer to so nice a question is
more than I should venture to undertake, were I to rely altogether
upon myself: but it happens, that I am able to state the sentiments of
men distinguished by their eloquence, such as it is in modern times;
having, in the early part of my life, been present at their
conversation on the very subject now before us. What I have to offer,
will not be the result of my own thinking: it is the work of memory
only; a mere recital of what fell from the most celebrated orators of
their time: a set of men, who thought with subtilty, and expressed
themselves with energy and precision; each, in his turn, assigning
different but probable causes, at times insisting on the same, and, in
the course of the debate, maintaining his own proper character, and
the peculiar cast of his mind. What they said upon the occasion, I
shall relate, as nearly as may be, in the style and manner of the
several speakers, observing always the regular course and order of the
controversy. For a controversy it certainly was, where the speakers of
the present age did not want an advocate, who supported their cause
with zeal, and, after treating antiquity with sufficient freedom, and
even derision, assigned the palm of eloquence to the practisers of
modern times.
II. Curiatius Maternus [a] gave a public reading of his tragedy of
Cato. On the following day a report prevailed, that the piece had
given umbrage to the men in power. The author, it was said, had
laboured to display his favourite character in the brightest colours;
anxious for the fame of his hero, but regardless of himself. This soon
became the topic of public conversation. Maternus received a visit
from Marcus Aper [b] and Julius Secundus [c], both men of genius, and
the first ornaments of the forum. I was, at that time, a constant
attendant on those eminent men. I heard them, not only in their scenes
of public business, but, feeling an inclination to the same studies, I
followed them with all the ardour of youthful emulation. I was
admitted to their private parties; I heard their debates, and the
amusement of their social hours: I treasured up their wit, and their
sentiments on the various topics which they had discussed in
conversation. Respected as they were, it must, however, be
acknowledged that they did not escape the malignity of criticism. It
was objected to Secundus, that he had no command of words, no flow of
language; and to Aper, that he was indebted for his fame, not to art
or literature, but to the natural powers of a vigorous understanding.
The truth is, the style of the former was remarkable for its purity;
concise, yet free and copious; and the latter was sufficiently versed
in all branches of general erudition. It might be said of him, that he
despised literature, not that he wanted it. He thought, perhaps, that,
by scorning the aid of letters, and by drawing altogether from his own
fund, his fame would stand on a more solid foundation.
III. We went together to pay our visit to Maternus. Upon entering his
study, we found him with the tragedy, which he had read on the
preceding day, lying before him. Secundus began: And are you then so
little affected by the censure of malignant critics, as to persist in
cherishing a tragedy which has given so much offence? Perhaps you are
revising the piece, and, after retrenching certain passages, intend to
send your Cato into the world, I will not say improved, but certainly
less obnoxious. There lies the poem, said Maternus; you may, if you
think proper, peruse it with all its imperfections on its head. If
Cato has omitted any thing, Thyestes [a], at my next reading, shall
atone for all deficiencies. I have formed the fable of a tragedy on
that subject: the plan is warm in my imagination, and, that I may give
my whole time to it, I now am eager to dispatch an edition of Cato.
Marcus Aper interposed: And are you, indeed, so enamoured of your
dramatic muse, as to renounce your oratorical character, and the
honours of your profession, in order to sacrifice your time, I think
it was lately to Medea, and now to Thyestes? Your friends, in the mean
time, expect your patronage; the colonies [b] invoke your aid, and the
municipal cities invite you to the bar. And surely the weight of so
many causes may be deemed sufficient, without this new solicitude
imposed upon you by Domitius [c] or Cato. And must you thus waste all
your time, amusing yourself for ever with scenes of fictitious
distress, and still labouring to add to the fables of Greece the
incidents and characters of the Roman story?
IV. The sharpness of that reproof, replied Maternus, would, perhaps,
have disconcerted me, if, by frequent repetition, it had not lost its
sting. To differ on this subject is grown familiar to us both. Poetry,
it seems, is to expect no quarter: you wage an incessant war against
the followers of that pleasing art; and I, who am charged with
deserting my clients, have yet every day the cause of poetry to
defend. But we have now a fair opportunity, and I embrace it with
pleasure, since we have a person present, of ability to decide between
us; a judge, who will either lay me under an injunction to write no
more verses, or, as I rather hope, encourage me, by his authority, to
renounce for ever the dry employment of forensic causes (in which I
have had my share of drudgery), that I may, for the future, be at
leisure to cultivate the sublime and sacred eloquence of the tragic
muse.
V. Secundus desired to be heard: I am aware, he said, that Aper may
refuse me as an umpire. Before he states his objections, let me follow
the example of all fair and upright judges, who, in particular cases,
when they feel a partiality for one of the contending parties, desire
to be excused from hearing the cause. The friendship and habitual
intercourse, which I have ever cultivated with Saleius Bassus [a],
that excellent man, and no less excellent poet, are well known: and
let me add, if poetry is to be arraigned, I know no client that can
offer such handsome bribes.
My business, replied Aper, is not with Saleius Bassus: let him, and
all of his description, who, without talents for the bar, devote their
time to the muses, pursue their favourite amusement without
interruption. But Maternus must not think to escape in the crowd. I
single him out from the rest, and since we are now before a competent
judge, I call upon him to answer, how it happens, that a man of his
talents, formed by nature to reach the heights of manly eloquence, can
think of renouncing a profession, which not only serves to multiply
friendships, but to support them with reputation: a profession, which
enables us to conciliate the esteem of foreign nations, and (if we
regard our own interest) lays open the road to the first honours of
the state; a profession, which, besides the celebrity that it gives
within the walls of Rome, spreads an illustrious name throughout this
wide extent of the empire.
If it be wisdom to make the ornament and happiness of life the end and
aim of our actions, what can be more advisable than to embrace an art,
by which we are enabled to protect our friends; to defend the cause of
strangers; and succour the distressed? Nor is this all: the eminent
orator is a terror to his enemies: envy and malice tremble, while they
hate him. Secure in his own strength, he knows how to ward off every
danger. His own genius is his protection; a perpetual guard, that
watches him; an invincible power, that shields him from his enemies.
In the calm seasons of life, the true use of oratory consists in the
assistance which it affords to our fellow-citizens. We then behold the
triumph of eloquence. Have we reason to be alarmed for ourselves, the
sword and breast-plate are not a better defence in the heat of battle.
It is at once a buckler to cover yourself [b] and a weapon to brandish
against your enemy. Armed with this, you may appear with courage
before the tribunals of justice, in the senate, and even in the
presence of the prince. We lately saw [c] Eprius Marcellus arraigned
before the fathers: in that moment, when the minds of the whole
assembly were inflamed against him, what had he to oppose to the
vehemence of his enemies, but that nervous eloquence which he
possessed in so eminent a degree? Collected in himself, and looking
terror to his enemies, he was more than a match for Helvidius Priscus;
a man, no doubt, of consummate wisdom, but without that flow of
eloquence, which springs from practice, and that skill in argument,
which is necessary to manage a public debate. Such is the advantage of
oratory: to enlarge upon it were superfluous. My friend Maternus will
not dispute the point.
VI. I proceed to the pleasure arising from the exercise of eloquence;
a pleasure which does not consist in the mere sensation of the moment,
but is felt through life, repeated every day, and almost every hour.
For let me ask, to a man of an ingenuous and liberal mind, who knows
the relish of elegant enjoyments, what can yield such true delight, as
a concourse of the most respectable characters crowding to his levee?
How must it enhance his pleasure, when he reflects, that the visit is
not paid to him because he is rich, and wants an heir [a], or is in
possession of a public office, but purely as a compliment to superior
talents, a mark of respect to a great and accomplished orator! The
rich who have no issue, and the men in high rank and power, are his
followers. Though he is still young, and probably destitute of
fortune, all concur in paying their court to solicit his patronage for
themselves, or to recommend their friends to his protection. In the
most splendid fortune, in all the dignity and pride of power, is there
any thing that can equal the heartfelt satisfaction of the able
advocate, when he sees the most illustrious citizens, men respected
for their years, and flourishing in the opinion of the public, yet
paying their court to a rising genius, and, in the midst of wealth and
grandeur, fairly owning, that they still want something superior to
all their possessions? What shall be said of the attendants, that
follow the young orator from the bar, and watch his motions to his own
house? With what importance does he appear to the multitude! in the
courts of judicature, with what veneration! When he rises to speak,
the audience is hushed in mute attention; every eye is fixed on him
alone; the crowd presses round him; he is master of their passions;
they are swayed, impelled, directed, as he thinks proper. These are
the fruits of eloquence, well known to all, and palpable to every
common observer.
There are other pleasures more refined and secret, felt only by the
initiated. When the orator, upon some great occasion, comes with a
well-digested speech, conscious of his matter, and animated by his
subject, his breast expands, and heaves with emotions unfelt before.
In his joy there is a dignity suited to the weight and energy of the
composition which he has prepared. Does he rise to hazard himself [b]
in a sudden debate; he is alarmed for himself, but in that very alarm
there is a mingle of pleasure, which predominates, till distress
itself becomes delightful. The mind exults in the prompt exertion of
its powers, and even glories in its rashness. The productions of
genius, and those of the field, have this resemblance: many things are
sown, and brought to maturity with toil and care; yet that, which
grows from the wild vigour of nature, has the most grateful flavour.
