‘I love too to study his feelings and moods and transitions, the variety with which he combats weariness, his resumptions after digression, the charm of his opportune illustrations, and the never-failing native purity of his style.

‘It has often struck me about Demosthenes—for I will tell the whole truth out—that that looser of the bonds of speech rebukes Athenian slackness with a dignity that is lacking in the “ Greekesses” used by Homer of the Greeks; and again he maintains the tragic intensity proper to the great Hellenic drama moreconsistently than the poet who inserts speeches at the very crisis of battle and allows energy to evaporate in words.

‘As often as I read Demosthenes, the balanced clauses, the rhythmic movement and cadence, make me forget that this is not my beloved poetry; for Homer too abounds in contrast and parallel, in figures startling or simple. It is a provision of nature, I suppose, that each faculty should have its proper equipment attached to it. How should I scorn your Muse? I know her powers too well.

‘None the less, I consider my task of a Homeric encomium twice as difficult as your praise of Demosthenes; not because it must be in verse, but from the nature of the material; I cannot lay down a foundation of fact to build the edifice of praise upon; there is nothing but the poems themselves. Everything else is uncertain—his country, his family, his time. If there had been any uncertainty about them, Debate and strife had not divided men; but as it is, they give him for a country Ios or Colophon or. Cumae, Chios, Smyrna, or Egyptian Thebes, or half a hundred other places; his father may be Maeon the Lydian, or he may be a river; his mother is now Melanope, and now in default of satisfactory human descent a dryad; his time is the Heroic Age, or else perhaps it is the Ionic. There is no knowing for certain whether he was before or after Hesiod, even; and no wonder, considering that some object to his very name, and will have him Melesigenes instead. So too with his poverty, and his blindness. However, all these questions are best left alone. So you see the arena open to my panegyric is extremely limited; my theme is a poet and not a man of action; I can infer and collect his wisdom only from his verses.

‘Your work, now, can be reeled smoothly off out of hand; you have your definite known facts; the butcher’s meat is there, only needing to be garnished with the sauce of your words, History supplies you with the greatness and distinction of Demosthenes; it is all known; his country was Athens, the splendid, the famous, the bulwark of Hellas. Now df I could have laid hands on Athens, I might have used the poet’s right to introduce the loves and judgements and sojourns there of the Gods, the gifts they lavished on it, the tale of Eleusis. As for its laws and courts and festivals, its Piraeus and its colonies, the memorials set up in it of victory by land and sea, Demosthenes himself is the authority for saying that no words could do justice to them. My material would have been inexhaustible; and I could not have been accused of hanging up my true theme; the formula of panegyric includes the arraying of the man in the splendours of his country. So too Isocrates ekes out his Helen by introducing Theseus. It is true that poets have their privileges; and perhaps you have to be more careful about your proportions; there must not be too much sack to the proverbial halfpennyworth of bread.