Moral letters to Lucilius/Letter 100
C. On the Writings of Fabianus
1. You write me that you have read with the greatest eagerness the work by Fabianus Papirius entitled The Duties of a Citizen, and that it did not come up to your expectations; then, forgetting that you are dealing with a philosopher, you proceed to criticize his style.
Suppose, now, that your statement is true – that he pours forth rather than places his words; let me, however, tell you at the start that this trait of which you speak has a peculiar charm, and that it is a grace appropriate to a smoothly-gliding style. For, I maintain, it matters a great deal whether it tumbles forth, or flows along. Moreover, there is a deal of difference in this regard also – as I shall make clear to you: 2. Fabianus seems to me to have not so much an "efflux" as a "flow" of words: so copious is it, without confusion, and yet not without speed. This is indeed what his style declares and announces – that he has not spent a long time in working his matter over and twisting it into shape. But even supposing the facts are as you would have them; the man was building up character rather than words, and was writing those words for the mind rather than for the ear. 3. Besides, had he been speaking them in his own person, you would not have had time to consider the details – the whole work would have so swept you along. For as a rule that which pleases by its swiftness is of less value when taken in hand for reading.
Nevertheless, this very quality, too, of attracting at first sight is a great advantage, no matter whether careful investigation may discover something to criticize. 4. If you ask me, I should say that he who has forced approval is greater than he who has earned it; and yet I know that the latter is safer, I know that he can give more confident guarantees for the future. A meticulous manner of writing does not suit the philosopher; if he is timid as to words, when will he ever be brave and steadfast, when will he ever really show his worth? 5. Fabianus's style was not careless, it was assured. That is why you will find nothing shoddy in his work: his words are well chosen and yet not hunted for; they are not unnaturally inserted and inverted, according to the present-day fashion; but they possess distinction, even though they are taken from ordinary speech. There you have honourable and splendid ideas, not fettered into aphorisms, but spoken with greater freedom. We shall of course notice passages that are not sufficiently pruned, not constructed with sufficient care, and lacking the polish which is in vogue nowadays; but after regarding the whole, you will see that there are no futile subtleties of argument. 6. There may, doubtless, be no variety of marbles, no water-supply which flows from one apartment to another, no "pauper-rooms," or any other device that luxury adds when ill content with simple charms; but, in the vulgar phrase, it is "a good house to live in."
Furthermore, opinions vary with regard to the style. Some wish it to be polished down from all roughness; and some take so great a pleasure in the abrupt manner that they would intentionally break up any passage which may by chance spread itself out more smoothly, scattering the closing words in such a way that the sentences may result unexpectedly. 7. Read Cicero: his style has unity; it moves with a modulated pace, and is gentle without being degenerate. The style of Asinius Pollio, on the other hand, is "bumpy," jerky, leaving off when you least expect it. And finally, Cicero always stops gradually; while Pollio breaks off, except in the very few cases where he cleaves to a definite rhythm and a single pattern.
8. In addition to this, you say that everything in Fabianus seems to you commonplace and lacking in elevation; but I myself hold that he is free from such a fault. For that style of his is not commonplace, but simply calm and adjusted to his peaceful and well-ordered mind – not on a low level but on an even plane. There is lacking the verve and spur of the orator (for which you are looking), and a sudden shock of epigrams. But look, please, at the whole work, how well-ordered it is: there is a distinction in it. His style does not possess, but will suggest, dignity.
9. Mention someone whom you may rank ahead of Fabianus. Cicero, let us say, whose books on philosophy are almost as numerous as those of Fabianus. I will concede this point; but it is no slight thing to be less than the greatest. Or Asinius Pollio, let us say. I will yield again, and content myself by replying: "It is a distinction to be third in so great a field." You may also include Livy; for Livy wrote both dialogues (which should be ranked as history no less than as philosophy), and works which professedly deal with philosophy. I shall yield in the case of Livy also. But consider how many writers Fabianus outranks, if he is surpassed by three only – and those three the greatest masters of eloquence!
10. But, it may be said, he does not offer everything: though his style is elevated, it is not strong; though it flows forth copiously, it lacks force and sweep; it is not translucent, but it is lucid. "One would fail," you urge, "to find therein any rugged denunciation of vice, any courageous words in the face of danger, any proud defiance of Fortune, any scornful threats against self-seeking. I wish to see luxury rebuked, lust condemned, waywardness crushed out. Let him show us the keenness of oratory, the loftiness of tragedy, the subtlety of comedy." You wish him to rely on that pettiest of things, phraseology; but he has sworn allegiance to the greatness of his subject and draws eloquence after him as a sort of shadow, but not of set purpose.
11. Our author will doubtless not investigate every detail, nor subject it to analysis, nor inspect and emphasize each separate word. This I admit. Many phrases will fall short, or will fail to strike home, and at times the style will slip along indolently; but there will be plenty of light throughout the work; there will be long stretches which will not weary the reader. And, finally, he will offer this quality of making it clear to you that he meant what he wrote. You will understand that his aim was to have you know what pleased him, rather than that he should please you. All his work makes for progress and for sanity, without any search for applause.
12. I do not doubt that his writings are of the kind I have described, although I am harking back to him rather than retaining a sure memory of him, and although the general tone of his writings remains in my mind, not from a careful and recent perusal, but in outline, as is natural after an acquaintance of long ago. But certainly, whenever I heard him lecture, such did his work seem to me – not solid but full, the kind which would inspire young men of promise and rouse their ambition to become like him, without making them hopeless of surpassing him; and this method of encouragement seems to me the most helpful of all. For it is disheartening to inspire in a man the desire, and to take away from him the hope, of emulation. At any rate, his language was fluent, and though one might not approve every detail, the general effect was noble. Farewell.
- i.e., his style is like a river rather than a torrent.
- Concisura: from concido, to "cut into sections," "distribute" (of water-pipes).
- Cf. Ep. xviii. 7, and Martial iii. 48:
Rich men sometimes fitted up in their palaces an imitation "poor man's cabin" by way of contrast to their other rooms or as a gesture towards simple living; Seneca uses the phrase figuratively for certain devices in composition.
Pauperis extruxit cellam, sed vendidit Olus
praedia; nunc cellam pauperis Olus habet.
- Quintilian x. 1. 113 says: multa in Asinio Pollione inventio, summa diligentia, adeo ut quibusdam etiam nimia videatur; et consilii et animi satis; a nitore et iucunditate Ciceronis ita longe abest, ut videri possit saeculo prior.
- The wording here resembles strikingly that of the Elder Seneca, Controv. ii. pr. 2 deerat illi (sc. Fabiano) oratorium robur et ille pugnatorius mucro.