Page images
PDF
EPUB

Gorgias of Leontium was formed into short sentences, composed generally of two members balanced against each other. The Style of Isocrates, on the contrary, is swelling and full; and he is said to be the first who introduced the method of composing in regular periods, which had a studied music and harmonious cadence; a manner which he has carried to a vicious excess. What shall we think of an orator, who employed ten years in composing one discourse, still extant, intitled the Panegyric? How much frivolous care must have been bestowed on all the minute elegance of words and sentences? Dionysius of Halicarnassus has given us upon the orations of Isocrates, as also upon those of some other Greek orators, a full and regular treatise, which is in my opinion, one of the most judicious pieces of ancient criticism extant, and very worthy of being consulted. He commends the splendour of Isocrates's Style, and the morality of his sentiments; but severely censures his affectation, and the uniform regular cadence of all his sentences. He holds him to be a florid declaimer; not a natural persuasive speaker. Cicero in his critical works, though he admits his failings, yet discovers a propensity to be very favourable to that "plena ac numerosa oratio," that swelling and musical style which Isocrates introduced; and with the love of which, Cicero himself was, perhaps, somewhat infected. In one of his treatises (Orat. ad M. Brut.) he informs us, that his friend Brutus and he differed in this particular, and that Brutus found fault with his partiality to Isocrates. The manner of Isocrates generally catches young people, when they begin to attend to composition; and it is very natural that it should do so. It gives them an idea of that regularity, cadence, and magnificence of style, which fills the ear; but when they come to write or speak for the world, they will find this ostentatious manner unfit, either for carrying on business, or commanding attention. It is said, that the high reputation of Isocrates prompted Aristotle, who was nearly his contemporary, or lived but a little after him, to write his Institutions of Rhetoric; which are indeed formed upon a plan of Eloquence very different from that of Isocrates, and the Rhetoricians of that time. He seems to have had it in view to direct the attention of orators much more towards convincing and affecting their hearers, than towards the musical cadence of periods.

Isæus and Lysias, some of whose orations are preserved, belong also to this period. Lysias was somewhat earlier than Isocrates, and is the model of that manner which the Ancients call the "Tenuis vel " Subtilis." He has none of Isocrates's pomp. He is every where pure and attic in the highest degree; simple and unaffected; but wants force, and is sometimes frigid in his compositions.* Isæus is chiefly remarkable for being the master of the great Demosthenes, in whom, it must be acknowledged, Eloquence shone forth with higher splendor, than perhaps in any that ever bore the name of an Orator, and whose manner and character, therefore, must deserve our particular attention.

* In the judicious comparison, which Dionysius of Halicarnassus makes of the merits of Lysias and Isocrates, he ascribes to Lysias, as the distinguishing character of his manner, a certain grace or elegance arising from simplicity ; “ πεφοκε γαρ ἡ Λυσις λεξις εχειν το Χαριεν· ἡ δ' Ισοκρατες, βελεται.” "The Style of Lysias has graceful"ness for its nature; that of Isocrates seeks to have it." In the art of narration, as distinct, probable, and persuasive, he holds Lysias to be superior to all Orators: at the same time, he admits that his composition is more adapted to private litigation than to great subjects. He convinces, but he does not elevate nor animate. The magnificence and splendor of Isocrates is more suited to great occasions. He is more agreeable than Lysias;

I shall not spend any time upon the circumstances of Demosthenes's life; they are well known. The

and, in dignity of sentiment, far excels him. With regard to the affectation which is visible in Isocrates's manner, he concludes what he says of it with the following excellent observations, which should never be forgotten by any who aspire to be true Orators: “ Τῆς μεντοι ἀγωγῆς των περιοδων το κυκλιον, και των σχηματισμων της λεξεως το μειρακιῶδές, εκ έδοκιμαζον· δελευι γαρ ή διανοια πολλακις τω ρυθμω της λεξεως, και τε κομψε λεπεται τα ἀληθινον. κρατιςον τ' επιτηδευμα εν διαλεκτω πολιτικη, και ἐγαγωνεω, το ὁμοιοτατον τω κατα φυσιν, βέλεται δε ή φυσις τοις νοιημασιν επεσθαι την λεξιν, ἐ τη λεξει τα νοηματα· συμβελω δε δη περι πολεμε και ειρηνης λεγονλι και ιδιωτη τον περι ψυχης τρεχοντι κινδυνον εν δικασαις, τα κομψα, και θεατρικα, και μερα κιωδη ταυτι ἐκ οιδα ήτινα δυναιτ' αν παρασχειν ωφέλειαν· μαλλον δ' οιδα ότι και βλαβης ἀν αιτια γενοιτο. χαριεντισμος γαρ πᾶς εν σπεδη, και καλως γινομενος, ἀωρον πραγμα και πολεμωτα τον ἐλεω.” Judic. de Isocrate, p. 558. "His studied circumflexion of periods, " and juvenile affectation of the flowers of speech, I do not approve. "The thought is frequently made subservient to the music of the "sentence; and elegance is preferred to reason. Whereas, in

66

every discourse, where business and affairs are concerned, "nature ought to be followed: and nature certainly dictates that "the expression should be an object subordinate to the sense, not "the sense to the expression. When one rises to give public "council concerning war and peace, or takes the charge of a " private man, who is standing at the bar to be tried for his life, " those studied decorations, those theatrical graces and juvenile " flowers, are out of place. Instead of being of service, they are " detrimental to the cause we espouse. When the contest is of a "serious kind, ornaments, which at another time would have "beauty, then lose their effect, and prove hostile to the affections " which we wish to raise in our hearers."

strong ambition which he discovered to excel in the art of Speaking; the unsuccessfulness of his first attempts; his unwearied perseverance in surmounting all the disadvantages that arose from his person and address; his shutting himself up in a cave, that he might study with less distraction; his declaiming by the sea shore, that he might accustom himself to the noise of a tumultuous assembly, and with pebbles in his mouth, that he might correct a defect in his speech; his practising at home with a naked sword hanging over his shoulder, that he might check an ungraceful motion, to which he was subject; all those circumstances, which we learn from Plutarch, are very encouraging to such as study Eloquence, as they show how far art and application may avail, for acquiring an excellence which nature seemed unwilling to grant us.

Despising the affected and florid manner which the Rhetoricians of that age followed, Demosthenes returned to the forcible and manly Eloquence of Pericles; and strength and vehemence form the principal characteristics of his Style. Never had orator a finer field than Demosthenes in his Olynthiacs and Philippics, which are his capital Orations; and, no doubt, to the nobleness of the subject, and to that integrity and public spirit which eminently breathe in them, they are indebted for much of their merit. The subject is, to rouse the indignation of his countrymen against Philip of Macedon, the public enemy of the liberties of Greece; and to guard them against the insidious measures, by which that crafty prince endeavoured to lay them asleep to danger. In the prosecution of this end, we see him taking every

[blocks in formation]

1

proper method to animate a people, renowned for justice, humanity, and valour, but in many instances become corrupt and degenerate. He boldly taxes them with their venality, their indolence, and indifference to the public cause; while at the same time, with all the Art of an Orator, he recalls the glory of their ancestors to their thoughts, shews them that they are still a flourishing and a powerful people, the natural protectors of the liberty of Greece, and who wanted only the inclination to exert themselves, in order to make Philip tremble. With his contemporary orators, who were in Philip's interest, and who persuaded the people to peace, he keeps no measures, but plainly reproaches them as the betrayers of their country. He not only prompts to vigorous conduct, but he lays down the plan of that conduct; he enters into particulars; and points out with great exactness, the measures of execution. This is the strain of these Orations. They are strongly animated; and full of the impetuosity and fire of public spirit. They proceed in a continued train of inductions, consequences, and demonstrations, founded on sound reason. The figures which he uses, are never sought after; but always rise from the subject. He employs them sparingly indeed; for splendour and ornament are not the distinctions of this Orator's composition. It is an energy of thought peculiar to himself, which forms his character, and sets him above all others. He appears to attend much more to things than to words. We forget the orator, and think of the business. He warms the mind, and impels to action. He has no parade and ostentation; no methods of insinuation; no laboured introductions; but is like a man full of his subject, who, after preparing his audience by a

« PreviousContinue »