say they, "could not have existed before art. In all times men have known how to speak for themselves and against others, but masters of rhetoric have been only of a late date, first known about the time of Tisias and Corax; therefore oratorical speech was prior to art, consequently it could not be the result of art, and therefore, rhetoric is not an art." We shall not endeavor to enquire into the time when rhetoric began to be taught, but this we may say, that it is certain Homer makes mention not only of Phœnix, who was a master, skilled in both speaking and fighting, but also of many other orators. We may observe likewise from Homer, that all the parts of a discourse are found in the speech of the three captains deputed to Achilles, that several young men dispute for the prize of eloquence, and that among other ornaments of sculpture on the buckler of Achilles, Vulcan did not forget law-causes and the pleaders of them.

It will be sufficient, however, to answer that "Everything perfected by art has its source in nature." If it were not so, we should exclude medicine from the catalog of arts, the discovery of which was owing to observations made on things conducive or harmful to public health, and in the opinion of some it is wholly grounded on experiments. Before it was reduced to an art, tents and bandages were applied to wounds, rest and abstinence cured fever; not that the reason of all this was then known, but the nature of the ailment indicated such curative methods and forced men to this regimen. In like manner architecture can not be an art, the first men having built their cottages without its direction. Music must undergo the same charge, as every nation has its own peculiarities in dancing and singing. Now, if by rhetoric be meant any kind of speech, I must own it prior to art; but if not everyone who speaks is an orator, and if in the primitive ages of the world men did not speak orator-like, the orator, consequently, must have been made so by art, and therefore could not exist before it.

RHETORIC AND MISREPRESENTATION

The next objection is not one so much in reality as it is a mere cavil; that "Art never assents to false opinions, because it can not be constituted as such without precepts, which are always true; but rhetoric assents to what is false, therefore it is not an art." I admit that sometimes rhetoric says false things instead of true, but it does not follow that it assents to what is false. There is a wide difference between assenting to a falsehood, and making others assent to it. So it is that a general of an army often has recourse to stratagems. When Hannibal perceived himself to be blocked up by Fabius, he ordered faggots of brush-wood to be fastened about the horns of some oxen, and fire being set to the faggots, had the cattle driven up the mountains in the night, in order to make the enemy believe he was about to decamp. But this was only a false alarm, for he himself very well knew what his scheme was. When Theopompus the Spartan, by changing clothes with his wife, made his escape out of prison, the deception was not imposed upon himself, but upon his guards. Thus, when an orator speaks falsehood instead of truth, he knows what he is about; he does not yield to it himself, his intention being to deceive others. When Cicero boasted that he threw darkness on the minds of the judges, in the cause of Cluentius, could it be said that he himself was unacquainted with all the intricacies of his method of confusing their understanding of the facts? Or shall a painter who so disposes his objects that some seem to project from the canvas, others to sink in, be supposed not to know that they are all drawn on a plain surface?

THE OBJECT OF A SPEECH

It is again objected that "Every art proposes to itself an end; but rhetoric has no end, or does not put into execution the end it proposes to itself." This is false, as is shown from what already has been said concerning the end of rhetoric and in what it consists. The orator will never fail to obtain this end, for he always will speak well. This objection, therefore, can affect only those who make persuasion the end of rhetoric; but our orator, and our definition of art, are not restricted to events. An orator, indeed, strives to gain his cause; but suppose he loses it, as long as he has pleaded well he fulfils the injunctions of his art. A pilot desires to come safe into port, but if a storm sweeps away his ship, is he, on that account, a less experienced pilot? His keeping constantly to the helm is sufficient proof that he was not neglecting his duty. A physician tries to cure a sick person, but if his remedies are hindered in their operation by either the violence of the disease, the intemperance of the patient, or some unforeseen accident, he is not to be blamed, because he has satisfied all the directions of his art. So it is with the orator, whose end is to speak well; for it is in the act, and not in the effect, that art consists, as I shall soon make clear. Therefore, it is false to say that "Art knows when it has obtained its end, but rhetoric knows nothing of the matter," as if an orator could be ignorant of his speaking well and to the purpose.

But it is said, further, that rhetoric, contrary to the custom of all other arts, adopts vice, because it countenances falsehood and moves the passions. Neither of these are bad practises, and consequently not vicious, when grounded on substantial reasons. To disguise truth is sometimes allowable even in the sage, and if a judge can not be brought to do justice except by means of the passions, the orator must necessarily have recourse to them. Very often the judges appointed to decide are ignorant, and there is necessity for changing their wrongly conceived opinions, to keep them from error. Should there be a bench, a tribunal, an assembly of wise and learned judges whose hearts are inaccessible to hatred, envy, hope, fear, prejudice, and the impositions of false witnesses, there would be little occasion for the exertions of eloquence and all that might seem requisite would be only to amuse the ear with the harmony of cadence. But if the orator has to deal with light, inconstant, prejudiced, and corrupt judges, and if many embarrassments must be removed in order to throw light upon truth, then artful stratagem must fight the battle, and set all its engines to work, for he who is beaten out of the straight road can not get into it again except by another turnabout.

ELOQUENCE ACQUIRED BY STUDY AND PRACTISE

These are the principal objections which have been made against rhetoric. There are others of less moment but derived from the same source. That rhetoric is an art is thus briefly demonstrated. If art, as Cleanthes thinks, is a power which prepares a way and establishes an order, can it be doubted that we must keep to a certain way and a certain order for speaking well? And if, according to the most generally accepted opinion, we ought to call art, everything which by a combination of agreeing and co-exercised principles conducts to a useful end, have we not already shown that nothing of all this is lacking in rhetoric? Has it not, likewise, the two constituent parts of other arts, theory and practise? Again, if dialect be an art, as it is granted, for the same reason; so is rhetoric an art, the chief difference lying not so much in the genus as in the species. But we must not forget this observation, that art must be where a thing is done according to rule, and