The main reason of this decided advantage on the
4
part of Greek practical oratory—and the epideictic oratory has a corresponding excellence relatively to that of the French Pulpit—is the business-like character already noticed. If everything is not logical, everything is at least relevant. Cicero, with all his ingenuity, brilliancy and wit, is so apt to wander into mere display, and this display is so openly artificial, that, as Brougham says, ‘nothing can be less adapted to the genius of modern elocution’. The style of modern debate comes far nearer to the Greek than to the Latin. But there are two other causes which should be remarked, one especially influential in Deliberative, the other in Forensic, oratory. The first is that, in the days of
5
the great Roman eloquence, Rome had no political rival. Her discipline and her manners contributed with her civic security to exempt her citizens from sudden or violent emotion. What Claudian
6
afterwards happily called the
vitae Romana quies already prevailed. If the paradox of Quintilian (
X. 1 § 106
) be true, that Demosthenes has
plus curae, Cicero
plus naturae, it is true in this sense alone, that Cicero is an inferior artist, and indulges more freely the taste of the natural man for ornament. But that Roman oratory should be on the whole more artificial than the Greek, and more limited in its range of subjects, was inevitable. Athens, the antagonist of Sparta or
Thebes, Athens vigilant against Persia or threatened by Macedon, was a city in which the inspirations of eloquence were not only personal but national.
7
Secondly: the Roman
patronus, who pleaded his client's cause gratuitously, rewarded by the fact that all the higher paths of ambition opened directly from the forum, had, doubtless, an incentive to eloquent declamation which his Attic brother, the professional
logographos, did not possess. But he had not anything like the same inducement to handle his case scientifically. He was a political aspirant, not a man settled to a calling; and, from a forensic point of view, the element of unreality in his position had a strong tendency to vitiate his performance by making it, before all things, a display.