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But all the orators of Greece–and Greece was the land of orators–gave way to Demosthenes, born 385 B.C. He received a good education, and is said to have been instructed in philosophy by Plato and in eloquence by Isocrates; but it is more probable that he privately prepared himself for his brilliant career. As soon as he attained his majority, he brought suits against the men whom his father had appointed his guardians, for their waste of property, and after two years was successful, conducting the prosecution himself. It was not until the age of thirty that he appeared as a speaker in the public assembly on political matters, where he rapidly attained universal respect, and became one of the leading statesmen of Athens. Henceforth he took an active part in every question that concerned the State. He especially distinguished himself in his speeches against Macedonian aggrandizements, and his Philippics are perhaps the most brilliant of his orations. But the cause which he advocated was unfortunate; the battle of Cheronaea, 338 B.C., put an end to the independence of Greece, and Philip of Macedon was all-powerful. For this catastrophe Demosthenes was somewhat responsible, but as his motives were conceded to be pure and his patriotism lofty, he retained the confidence of his countrymen. Accused by Aeschines, he delivered his famous Oration on the Crown. Afterward, during the supremacy of Alexander, Demosthenes was again accused, and suffered exile. Recalled from exile on the death of Alexander, he roused himself for the deliverance of Greece, without success; and hunted by his enemies he took poison in the sixty-third year of his age, having vainly contended for the freedom of his country,–one of the noblest spirits of antiquity, and lofty in his private life.

As an orator Demosthenes has not probably been equalled by any man of any country. By his contemporaries he was regarded as faultless in this respect; and when it is remembered that he struggled against physical difficulties which in the early part of his career would have utterly discouraged any ordinary man, we feel that he deserves the highest commendation. He never spoke without preparation, and most of his orations were severely elaborated. He never trusted to the impulse of the occasion; he did not believe in extemporary eloquence any more than Daniel Webster, who said there is no such thing. All the orations of Demosthenes exhibit him as a pure and noble patriot, and are full of the loftiest sentiments. He was a great artist, and his oratorical successes were greatly owing to the arrangement of his speeches and the application of the strongest arguments in their proper places. Added to this moral and intellectual superiority was the "magic power of his language, majestic and simple at the same time, rich yet not bombastic, strange and yet familiar, solemn and not too ornate, grave and yet pleasing, concise and yet fluent, sweet and yet impressive, which altogether carried away the minds of his hearers." His orations were most highly prized by the ancients, who wrote innumerable commentaries on them, most of which are lost. Sixty of the great productions of his genius have come down to us.

Demosthenes, like other orators, first became known as the composer of speeches for litigants; but his fame was based on the orations he pronounced in great political emergencies. His rival was Aeschines, who was vastly inferior to Demosthenes, although bold, vigorous, and brilliant. Indeed, the opinions of mankind for two thousand years have been unanimous in ascribing to Demosthenes the highest position as an orator among all the men of ancient and modern times. David Hume says of him that "could his manner be copied, its success would be infallible over a modern audience." Says Lord Brougham, "It is rapid harmony exactly adjusted to the sense. It is vehement reasoning, without any appearance of art. It is disdain, anger, boldness, freedom involved in a continual stream of argument; so that of all human productions his orations present to us the models which approach the nearest to perfection."

It is probable that the Romans were behind the Athenians in all the arts of rhetoric; yet in the days of the republic celebrated orators arose among the lawyers and politicians. It was in forensic eloquence that Latin prose first appeared as a cultivated language; for the forum was to the Romans what libraries are to us. The art of public speaking in Rome was early developed. Cato, Laelius, Carbo, and the Gracchi are said to have been majestic and harmonious in speech, yet excelled by Antonius, Crassus, Cotta, Sulpitius, and Hortensius. The last had a very brilliant career as an orator, though his orations were too florid to be read. Caesar was also distinguished for his eloquence, its characteristics being force and purity. "Coelius was noted for lofty sentiment, Brutus for philosophical wisdom, Calidius for a delicate and harmonious style, and Calvus for sententious force."

But all the Roman orators yielded to Cicero, as the Greeks did to Demosthenes. These two men are always coupled together when allusion is made to eloquence. They were pre-eminent in the ancient world, and have never been equalled in the modern.

Cicero, 106 B.C., was probably not equal to his great Grecian rival in vehemence, in force, in fiery argument which swept everything away before him, nor generally in original genius; but he was his superior in learning, in culture, and in breadth. Cicero distinguished himself very early as an advocate, but his first great public effort was made in the prosecution of Verres for corruption. Although Verres was defended by Hortensius and backed by the whole influence of the Metelli and other powerful families, Cicero gained his cause,–more fortunate than Burke in his prosecution of Warren Hastings, who also was sustained by powerful interests and families. The speech on the Manilian Law, when Cicero appeared as a political orator, greatly contributed to his popularity. I need not describe his memorable career,–his successive elections to all the highest offices of state, his detection of Catiline's conspiracy, his opposition to turbulent and ambitious partisans, his alienations and friendships, his brilliant career as a statesman, his misfortunes and sorrows, his exile and recall, his splendid services to the State, his greatness and his defects, his virtues and weaknesses, his triumphs and martyrdom. These are foreign to my purpose. No man of heathen antiquity is better known to us, and no man by pure genius ever won more glorious laurels. His life and labors are immortal. His virtues and services are embalmed in the heart of the world. Few men ever performed greater literary labors, and in so many of its departments. Next to Aristotle and Varro, Cicero was the most learned man of antiquity, but performed more varied labors than either, since he was not only great as a writer and speaker, but also as a statesman, being the most conspicuous man in Rome after Pompey and Caesar. He may not have had the moral greatness of Socrates, nor the philosophical genius of Plato, nor the overpowering eloquence of Demosthenes, but he was a master of all the wisdom of antiquity. Even civil law, the great science of the Romans, became interesting in his hands, and was divested of its dryness and technicality. He popularized history, and paid honor to all art, even to the stage; he made the Romans conversant with the philosophy of Greece, and systematized the various speculations. He may not have added to philosophy, but no Roman after him understood so well the practical bearing of all its various systems. His glory is purely intellectual, and it was by sheer genius that he rose to his exalted position and influence.

But it was in forensic eloquence that Cicero was pre-eminent, in which he had but one equal in ancient times. Roman eloquence culminated in him. He composed about eighty orations, of which fifty-nine are preserved. Some were delivered from the rostrum to the people, and some in the senate; some were mere philippics, as severe in denunciation as those of Demosthenes; some were laudatory; some were judicial; but all were severely logical, full of historical allusion, profound in philosophical wisdom, and pervaded with the spirit of patriotism. Francis W. Newman, in his "Regal Rome," thus describes Cicero's eloquence:–

"He goes round and round his object, surveys it in every light, examines it in all its parts, retires and then advances, compares and contrasts it, illustrates, confirms, and enforces it, till the hearer feels ashamed of doubting a position which seems built on a foundation so strictly argumentative. And having established his case, he opens upon his opponent a discharge of raillery so delicate and good-natured that it is impossible for the latter to maintain his ground against it; or, when the subject is too grave, he colors his exaggerations with all the bitterness of irony and vehemence of passion."

Critics have uniformly admired Cicero's style as peculiarly suited to the Latin language, which, being scanty and unmusical, requires more redundancy than the Greek. The simplicity of the Attic writers would make Latin composition bald and tame. To be perspicuous, the Latin must be full. Thus Arnold thinks that what Tacitus gained in energy he lost in elegance and perspicuity. But Cicero, dealing with a barren and unphilosophical language, enriched it with circumlocutions and metaphors, while he freed it of harsh and uncouth expressions, and thus became the greatest master of composition the world has seen. He was a great artist, making use of his scanty materials to the best effect; he had absolute control over the resources of his vernacular tongue, and not only unrivalled skill in composition, but tact and judgment. Thus he was generally successful, in spite of the venality and corruption of the times. The courts of justice were the scenes of his earliest triumphs; nor until he was praetor did he speak from the rostrum on mere political questions, as in reference to the Manilian and Agrarian laws. It is in his political discourses that Cicero rises to the highest ranks. In his speeches against Verres, Catiline, and Antony he kindles in his countrymen lofty feelings for the honor of his country, and abhorrence of tyranny and corruption. Indeed, he hated bloodshed, injustice, and strife, and beheld the downfall of liberty with indescribable sorrow.

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 Molière. 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.

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.