ardour, spreads a lustre over all his writings. His brilliant style
charmed by its novelty. Every page sparkles with wit, with gay
allusions, and sentiments of virtue. No wonder that the graceful ease,
and sometimes the dignity of his expression, made their way into the
forum. What pleased universally, soon found a number of imitators. Add
to this the advantages of rank and honours. He mixed in the splendour,
and perhaps in the vices, of the court. The resentment of Caligula,
and the acts of oppression which soon after followed, served only to
adorn his name. To crown all, Nero was his pupil, and his murderer.
Hence the character and genius of the man rose to the highest
eminence. What was admired, was imitated, and true oratory was heard
no more. The love of novelty prevailed, and for the dignified
simplicity of ancient eloquence no taste remained. The art itself, and
all its necessary discipline, became ridiculous. In that black period,
when vice triumphed at large, and virtue had every thing to fear, the
temper of the times was propitious to the corruptors of taste and
liberal science. The dignity of composition was no longer of use. It
had no power to stop the torrent of vice which deluged the city of
Rome, and virtue found it a feeble protection. In such a conjuncture
it was not safe to speak the sentiments of the heart. To be obscure,
abrupt, and dark, was the best expedient. Then it was that the
affected sententious brevity came into vogue. To speak concisely, and
with an air of precipitation, was the general practice. To work the
ruin of a person accused, a single sentence, or a splendid phrase, was
sufficient. Men defended themselves in a short brilliant expression;
and if that did not protect them, they died with a lively apophthegm,
and their last words were wit. This was the fashion introduced by
Seneca. The peculiar, but agreeable vices of his style, wrought the
downfall of eloquence. The solid was exchanged for the brilliant, and
they, who ceased to be orators, studied to be ingenious.