Besides the extant compositions, twenty-four others, bearing the name of Antiphon, are known by their titles. Among these three deserve especial notice, because their titles have occasioned different inferences as to their contents, and because it is now tolerably certain that they belong, not to Antiphon ¹ the orator, but to Antiphon the sophist ² . These are the ‘speeches’ (or rather essays) On Truth, On Concord, On Statesmanship ³ . As regards the first of these, indeed, the testimony of Hermogenes ⁴ that it was the work of the Sophist has scarcely been questioned. But the treatise On Concord has often been given to the orator on the assumption that it was a speech, enforcing the importance of harmony, which he delivered in some political crisis, perhaps at the moment when the Four Hundred were threatened with ruin by internal dissensions ⁵ . The treatise on Statesmanship, again, might, as far as the title witnesses, have been a practical exposition of oligarchical principles by the eloquent colleague of Peisandros. An examination of the fragments leads, however, to the almost certain conclusion that all these three works must be ascribed to the Sophist. The essay On Truth was a physical treatise, in which cosmic phenomena were explained mechanically in the fashion of the Ionic School ⁶ . The essay On Concord was an ethical treatise, exhorting all men to live in harmony and friendship, instead of embittering their short lives by strife ⁷ . The essay on Statesmanship was no party-pamphlet, but a discussion of the training required to produce a capable citizen ⁸ . Besides the speeches known to the ancients, a work on the Art ⁹ of Rhetoric ¹⁰ , and a collection of Proems and Epilogues ¹¹ , were current under Antiphon's name. ¹² Sauppe and Spengel ¹³ believe the Tetralogies to be examples taken from the Rhetoric; the latter, however, is expressly condemned as spurious by Pollux ¹⁴ . The collection of Proems and Epilogues may, as Blass ¹⁵ suggests, have furnished the opening and concluding passages of the Speech On the Murder of Herodes, and the opening passage of that On the Choreutes. In the latter case the difference of style between the proem and all that follows it is certainly striking.