interlocutor is merely a man of straw, to the _Hermotimus_, where he
has life enough to give us ever fresh hopes of a change in fortune, or
to the _Anacharsis_, where we are not quite sure, even when all is
over, which has had the best. Then if we consider conversation and
narrative, there are all kinds. _Nigrinus_ has narrative in a setting
of dialogue, _Demosthenes_ vice versa, _The Liar_ reported dialogue
inside dialogue; _Icaromenippus_ is almost a narrative, while _The
Runaways_ is almost a play. Lastly, the form serves in the _Toxaris_
as a vehicle for stories, in the _Hermotimus_ for real discussion, in
_Menippus_ as relief for narrative, in the _Portrait-study_ for
description, in _The Cock_ to convey moralizing, in _The double
Indictment_ autobiography, in the _Lexiphanes_ satire, and in the
short series it enshrines prose idylls.

These are considerations of a mechanical order, perhaps; it may be
admitted that technical skill of this sort is only valuable in giving
a proper chance to more essential gifts; but when those exist, it is
of the highest value. And Lucian's versatility in technique is only a
symbol of his versatile powers in general. He is equally at home in
heaven and earth and hell, with philosophers and cobblers, telling a
story, criticizing a book, describing a picture, elaborating an
allegory, personifying an abstraction, parodying a poet or a
historian, flattering an emperor's mistress, putting an audience into
good temper with him and itself, unveiling an imposture, destroying a
religion or a reputation, drawing a character. The last is perhaps the
most disputable of the catalogue. How many of his personages are
realities to us when we have read, and not mere labels for certain
modes of thought or conduct? Well, characterization is not the first,
but only the second thing with him; what is said matters rather more
than who says it; he is more desirous that the argument should advance