The Works of Lucian of Samosata — Volume 03

by of Samosata Lucian

But you wish to be a rhetorician yourself; well, you could have applied in no better quarter; my dear young friend, you have only to follow my instructions and example, and keep carefully in mind the rules I lay down for your guidance. Indeed you may start this moment without a tremor; never let it disturb you that you have not been through the laborious preliminaries with which the ordinary system besets the path of fools; they are quite unnecessary. Stay not to find your slippers, as the song has it; your naked feet will do as well; writing is a not uncommon accomplishment, but I do not insist upon it; it is one thing, and rhetoric is another.

I will first give you a list of the equipment and supplies for your journey that you must bring with you from home, with a view to making your way rapidly. After that, I will show you as we go along some practical illustrations, add a few verbal precepts, and before set of sun you shall be as superior a rhetorician as myself, the absolute microcosm of your profession. Bring then above all ignorance, to which add confidence, audacity, and effrontery; as for diffidence, equity, moderation, and shame, you will please leave them at home; they are not merely needless, they are encumbrances. The loudest voice you can come by, please, a ready falsetto, and a gait modelled on my own. That exhausts the real necessaries; very often there would be no occasion for anything further. But I recommend bright colours or white for your clothes; the Tarentine stuff that lets the body show through is best; for shoes, wear either the Attic woman’s shape with the open network, or else the Sicyonians that show white lining. Always have a train of attendants, and a book in your hand.

The rest you will take in with your eyes and ears as we go. I will tell you the rules you must observe, if Rhetoric is to recognize and admit you; otherwise she will turn from you and drive you away as an uninitiated intruder upon her mysteries. You must first be exceedingly careful about your appearance; your clothes must be quite the thing. Next, you must scrape up some fifteen old Attic words—say twenty for an outside estimate; and these you must rehearse diligently till you have them at the tip of your tongue; let us say sundry, whereupon, say you so, in some wise, my masters; that is the sort of thing; these are for general garnish, you understand; and you need not concern yourself about any little dissimilarity, repulsion, discord, between them and the rest; so long as your upper garment is fair and bright, what matter if there is coarse serge beneath it?

Next, fill your quiver with queer mysterious words used once or twice by the ancients, ready to be discharged at a moment’s notice in conversation. This will attract the attention of the common herd, who will take you for a wonder, so much better educated than themselves. Put on your clothes? of course not;_ invest yourself. Will you sit in the porch, when there is a parvys to hand? No earnest-money for us; let it be an arles-penny. And no breakfast-time, pray, but undern. You may also do a little word-formation of your own on occasion, and enact that a person good, at exposition shall be known as a clarifier, a sensible one as a cogitant, or a pantomime as a manuactor. _If you commit a blunder or provincialism, you have only to carry it off boldly with an instant reference to the authority of some poet or historian, who need not exist or ever have existed; your phrase has his approval, and he was a wise man and a past master in language. As for your reading, leave the ancients alone; never mind a foolish Isocrates, a tasteless Demosthenes, a frigid Plato; study the works of the last generation; you will find the declamations, as they call them, a plenteous store on which to draw at need.

When the time comes for you to perform, and the audience have proposed subjects and invented cases for discussion, you should get rid of the difficult ones by calling them trivial, and complain that there is nothing in this selection that can really test a man’s powers. When they have chosen, do not hesitate a moment, but start; the tongue is an unruly member; do not attempt to rule it; never care whether your firstly is logics firstly, or your secondly and thirdly in the right order; just say what comes; you may greave your head and helmet your legs, but whatever you do, move, keep going, never pause. If your subject is assault or adultery in Athens, cite the Indians and Medes. Always have your Marathon and your Cynaegirus handy; they are indispensable. Hardly less so are a fleet crossing Mount Athos, an army treading the Hellespont, a sun eclipsed by Persian arrows, a flying Xerxes, an admired Leonidas, an inscriptive Othryades. Salamis, Artemisium, and Plataea, should also be in constant use. All this dressed as usual with our seasoning-garnish aforesaid—that persuasive flavour of sundry and methinks; do not wait till these seem to be called for; they are pretty words, quite apart from their relevancy.

If a fancy for impassioned_ recitative _comes over you, indulge it as long as you will, and air your falsetto. If your matter is not of the right poetic sort, you may consider yourself to have met the requirements if you run over the names of the jury in a rhythmic manner. Appeal constantly to the pathetic instinct, smite your thigh, mouth your words well, punctuate with loud sighs, and let your very back be eloquent as you pace to and fro. If the audience fails to applaud, take offence, and give your offence words; if they get up and prepare to go out in disgust, tell them to sit down again; discipline must be maintained.

It will win you credit for copiousness, if you start with the Trojan War—you may if you like go right back to the nuptials of Deucalion and Pyrrha—and thence trace your subject down to to-day. People of sense, remember, are rare, and they will probably hold their tongues out of charity; or if they do comment, it will be put down to jealousy. The rest are awed by your costume, your voice, gait, motions, falsetto, shoes, and_ sundry_; when they see how you perspire and pant, they cannot admit a moment’s doubt of your being a very fine rhetorical performer. With them, your mere rapidity is a miracle quite sufficient to establish your character. Never prepare notes, then, nor think out a subject beforehand; that shows one up at once.

Your friends’ feet will be loud on the floor, in payment for the dinners you give them; if they observe you in difficulties, they will come to the rescue, and give you a chance, in the relief afforded by rounds of applause, of thinking how to go on. A devoted claque of your own, by the way, is among your requirements. Its use while you are performing I have given; and as you walk home afterwards, discussing the points you made, you should be absolutely surrounded by them as a bodyguard. If you meet acquaintances on the way, talk very big about yourself, put a good value on your merits, and never mind about their feelings. Ask them, Where is Demosthenes now? Or wonder which of the ancients comes nearest you.

But dear me, I had very nearly passed over the most important and effectual of all aids to reputation: the pouring of ridicule upon your rivals. If a man has a fine style, its beauties are borrowed; if a sober one, it is bad altogether. When you go to a recitation, arrive late, which makes you conspicuous; and when all are listening intently, interject some inappropriate commendation that will distract and annoy the audience; they will be so sickened with your offensive words that they cannot listen. And then do not wave your hand too much—warm approval is rather low; and as to jumping up, never do it more than once or twice. A slight smile is your best expression; make it clear that you do not think much of the thing. Only let your ears be critical, and you are sure of finding plenty to condemn. In fact, all the qualities needed are easily come by—audacity, effrontery, ready lying, indifference to perjury, impartial jealousy, hatred, abuse, and skilful slander— that is all you want to win you speedy credit and renown. So much for your visible public life.

And in private you need draw the line at nothing, gambling, drink, fornication, nor adultery; the last you should boast of, whether truly or not; make no secret of it, but exhibit your notes from real or imaginary frail ones. One of your aims should be to pass for a pretty fellow, in much favour with the ladies; the report will be professionally useful to you, your influence with the sex being accounted for by your rhetorical eminence.