Thus in oratory as in history the ancients can boast of most illustrious examples, never even equalled. Still, we cannot tell the comparative merits of the great classical orators of antiquity with the more distinguished of our times; indeed only Mirabeau, Pitt, Fox, Burke, Brougham, Webster, and Clay can even be compared with them. In power of moving the people, some of our modern reformers and agitators may be mentioned favorably; but their harangues are comparatively tame when read.

In philosophy the Greeks and Romans distinguished themselves more even than in poetry, or history, or eloquence. Their speculations pertained to the loftiest subjects that ever tasked the intellect of man. But this great department has already been presented. There were respectable writers in various other departments of literature, but no very great names whose writings have descended to us. Contemporaries had an exalted opinion of Varro, who was considered the most learned of the Romans, as well as their most voluminous author. He was born ten years before Cicero, and is highly commended by Augustine. He was entirely devoted to literature, took no interest in passing events, and lived to a good old age. Saint Augustine says of him that "he wrote so much that one wonders how he had time to read; and he read so much, we are astonished how he found time to write." He composed four hundred and ninety books. Of these only one has descended to us entire,—"De Re Rustica," written at the age of eighty; but it is the best treatise which has come down from antiquity on ancient agriculture. We have parts of his other books, and we know of still others that have entirely perished which for their information would be invaluable, especially his "Divine Antiquities," in sixteen books,—his great work, from which Saint Augustine drew materials for his "City of God." Varro wrote treatises on language, on the poets, on philosophy, on geography, and on various other subjects; he also wrote satire and criticism. But although his writings were learned, his style was so bad that the ages have failed to preserve him. The truly immortal books are most valued for their artistic excellences. No man, however great his genius, can afford to be dull. Style is to written composition what delivery is to a public speaker. The multitude do not go to hear the man of thoughts, but to hear the man of words, being repelled or attracted by manner.

Seneca was another great writer among the Romans, but he belongs to the domain of philosophy, although it is his ethical works which have given him immortality,—as may be truly said of Socrates and Epictetus, although they are usually classed among the philosophers. Seneca was a Spaniard, born but a few years before the Christian era; he was a lawyer and a rhetorician, also a teacher and minister of Nero. It was his misfortune to know one of the most detestable princes that ever scandalized humanity, and it is not to his credit to have accumulated in four years one of the largest fortunes in Rome while serving such a master; but since he lived to experience Nero's ingratitude, Seneca is more commonly regarded as a martyr. Had he lived in the republican period, he would have been a great orator. He wrote voluminously, on many subjects, and was devoted to a literary life. He rejected the superstitions of his country, and looked upon the ritualism of religion as a mere fashion. In his own belief he was a deist; but though he wrote fine ethical treatises, he dishonored his own virtues by a compliance with the vices of others. He saw much of life, and died at fifty-three. What is remarkable in Seneca's writings, which are clear but labored, is that under Pagan influences and imperial tyranny he should have presented such lofty moral truth; and it is a mark of almost transcendent talent that he should, unaided by Christianity, have soared so high in the realm of ethical inquiry. Nor is it easy to find any modern author who has treated great questions in so attractive a way.

Quintilian is a Latin classic, and belongs to the class of rhetoricians. He should have been mentioned among the orators, yet, like Lysias the Greek, Quintilian was a teacher of eloquence rather than an orator. He was born 40 A.D., and taught the younger Pliny, also two nephews of Domitian, receiving a regular salary from the imperial treasury. His great work is a complete system of rhetoric. "Institutiones Oratoriae" is one of the clearest and fullest of all rhetorical manuals ever written in any language, although, as a literary production, it is inferior to the "De Oratore" of Cicero. It is very practical and sensible, and a complete compendium of every topic likely to be useful in the education of an aspirant for the honors of eloquence. In systematic arrangement it falls short of a similar work by Aristotle; but it is celebrated for its sound judgment and keen discrimination, showing great reading and reflection. Quintilian should be viewed as a critic rather than as a rhetorician, since he entered into the merits and defects of the great masters of Greek and Roman literature. In his peculiar province he has had no superior. Like Cicero or Demosthenes or Plato or Thucydides or Tacitus, Quintilian would be a great man if he lived in our times, and could proudly challenge the modern world to produce a better teacher than he in the art of public speaking.

There were other classical writers of immense fame, but they do not represent any particular class in the field of literature which can be compared with the modern. I can only draw attention to Lucian,—a witty and voluminous Greek author, who lived in the reign of Commodus, and who wrote rhetorical, critical, and biographical works, and even romances which have given hints to modern authors. His fame rests on his "Dialogues," intended to ridicule the heathen philosophy and religion, and which show him to have been one of the great masters of ancient satire and mockery. His style of dialogue—a combination of Plato and Aristophanes—is not much used by modern writers, and his peculiar kind of ridicule is reserved now for the stage. Yet he cannot be called a writer of comedy, like Moliere. He resembles Rabelais and Swift more than any other modern writers, having their indignant wit, indecent jokes, and pungent sarcasms. Like Juvenal, Lucian paints the vices and follies of his time, and exposes the hypocrisy that reigns in the high places of fashion and power. His dialogues have been imitated by Fontanelle and Lord Lyttleton, but these authors do not possess his humor or pungency. Lucian does not grapple with great truths, but contents himself with ridiculing those who have proclaimed them, and in his cold cynicism depreciates human knowledge and all the great moral teachers of mankind. He is even shallow and flippant upon Socrates; but he was well read in human nature, and superficially acquainted with all the learning of antiquity. In wit and sarcasm he may be compared with Voltaire, and his object was the same,—to demolish and pull down without substituting anything instead. His scepticism was universal, and extended to religion, to philosophy, and to everything venerated and ancient. His purity of style was admired by Erasmus, and his works have been translated into most European languages. In strong contrast to the "Dialogues" of Lucian is the "City of God" by Saint Augustine, in which he demolishes with keener ridicule all the gods of antiquity, but substitutes instead the knowledge of the true God.

Thus the Romans, as well as Greeks, produced works in all departments of literature that will bear comparison with the masterpieces of modern times. And where would have been the literature of the early Church, or of the age of the Reformation, or of modern nations, had not the great original writers of Athens and Rome been our school-masters? When we further remember that their glorious literature was created by native genius, without the aid of Christianity, we are filled with amazement, and may almost be excused if we deify the reason of man. Nor, indeed, have greater triumphs of intellect been witnessed in these our Christian times than are produced among that class which is the least influenced by Christian ideas. Some of the proudest trophies of genius have been won by infidels, or by men stigmatized as such. Witness Voltaire, Rousseau, Diderot, Hegel, Fichte, Gibbon, Hume, Buckle. May there not be the greatest practical infidelity with the most artistic beauty and native reach of thought? Milton ascribes the most sublime intelligence to Satan and his angels on the point of rebellion against the majesty of Heaven. A great genius may be kindled even by the fires of discontent and ambition, which may quicken the intellectual faculties while consuming the soul, and spread their devastating influence on the homes and hopes of man.

Since, then, we are assured that literature as well as art may flourish under Pagan influences, it seems certain that Christianity has a higher mission than the culture of the mind. Religious scepticism cannot be disarmed if we appeal to Christianity as the test of intellectual culture. The realm of reason has no fairer fields than those that are adorned by Pagan achievements.

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AUTHORITIES.

There are no better authorities than the classical authors themselves, and their works must be studied in order to comprehend the spirit of ancient literature. Modern historians of Roman literature are merely critics, like Dalhmann, Schlegel, Niebuhr, Muller, Mommsen, Mure, Arnold, Dunlap, and Thompson. Nor do I know of an exhaustive history of Roman literature in the English language; yet nearly every great writer has occasional criticisms upon the subject which are entitled to respect. The Germans, in this department, have no equals.

THE END