Institutio Oratoria

I think I hear my readers on all sides suggesting the names of hosts of other poets. What? Did not Pisandros [*](A Rhodian poet of the seventh century B.C.) tell the story of Hercules in admirable style? Were there not good reasons for Virgil and Macer taking Nicander [*]( Nicander of Colophon (second century B.C.), author of didactic poems, Theriaca and Alexipharmaca and Metamorphoses ( ἑτεροιούμενα ). Virgil imitated him in the Georgics, Aenilius Macer, the friend of Ovid, in his Theriaca. ) as a model? Are we to ignore Euphorion? [*]( Euphorion of Chalcis (220 B.C. ) wrote elaborate short epics. See Ecl. x. 50. The words are, however, put into the mouth of Gallus with reference to his own imitations of Euphorion. ) Unless Virgil had admired him, he would never have mentioned

1. verses written in Chalcidic strain

To which I reply, that there is no one so ignorant of poetic literature that he could not, if he chose, copy a catalogue of such poets from some

But we must wait till our powers have been developed and established to the full before we turn to these poets, just as at banquets we take our fill of the best fare and then turn to other food which, in spite of its comparative inferiority, is still attractive owing to its variety. Not until our taste is formed shall we have leisure to study the elegiac poets as well. Of these, Callimachus is regarded as the best, the second place being, according to the verdict of most critics, occupied by Philetas. [*](Philetas of Cos (290 B.C.).)

But until we have acquired that assured facility of which I spoke, [*](x. i. 1.) we must familiarise ourselves with the best writers only and must form our minds and develop an appropriate tone by reading that is deep rather than wide. Consequently, of the three writers of iambics [*](i.e. invective. The other two writers are Simonides of Amorgos and Hipponax of Ephesus. Archilochus ( fl. 686 B.C.). ) approved by the judgment of Aristarchus, Archilochus will be far the most useful for the formation of the facility in question.

For he has a most forcible style, is full of vigorous, terse and pungent reflexions, and overflowing with life and energy: indeed, some critics think that it is due solely to the nature of his subjects, and not to his genius, that any poets are to be ranked above him.

Of the nine lyric poets [*]( The five not mentioned here are Aleman, Sappho, Ibycus, Anacreon and Bacchylides. ) Pindar is by far the greatest, in virtue of his inspired magnificence, the beauty of his thoughts and figures, the rich exuberance of his language and matter, and his rolling flood of eloquence, characteristics which, as Horace [*](Od. IV. ii. 1. ) rightly held, make him

The greatness of the genius of Stesichorus [*]( Stesichorus of Himera in Sicily ( flor. circ. 600 B.C.), wrote in lyric verse on many legends, more especially on themes connected with the Trojan war. ) is shown by his choice of subject: for he sings of the greatest wars and the most glorious of chieftains, and the music of his lyre is equal to the weighty themes of epic poetry. For both in speech and action he invests his characters with the dignity which is their due, and if he had only been capable of exercising a little more restraint, he might, perhaps, have proved a serious rival to Homer. But he is redundant and diffuse, a fault which, while deserving of censure, is nevertheless a defect springing from the very fullness of his genius.

Alcaeus has deserved the compliment of being said to make music with quill of gold [*]( Hor Od. xiii. 26. Alcaeus of Mitylene ( circa 600 B.C.). ) in that portion of his works in which he attacks the tyrants of his day and shows himself a real moral force. He is, moreover, terse and magnificent in style, while the vigour of his diction resembles that of oratory. But he also wrote poetry of a more sportive nature and stooped to erotic poetry, despite his aptitude for loftier themes.