ic poets of the first
order, we frequently have passages of real eloquence, with the
difference which Quintilian mentions: the poet, he says, is a slave to
the measure of his verse; and, not being able at all times to make use
of the true and proper word, he is obliged to quit the natural and
easy way of expression, and avail himself of new modes and turns of
phraseology, such as tropes, and metaphors, with the liberty of
transposing words, and lengthening or shortening syllables as he sees
occasion. _Quod alligati ad certam pedum necessitatem non semper
propriis uti possint, sed depulsi a recta via, necessario ad quaedam
diverticula confugiant; nec mutare quaedam modo verba, sed extendere,
corripere, convertere, dividere cogantur._ Quint, lib. x. cap. 1. The
speaker in the Dialogue is aware of this distinction, and, subject to
it, the various branches of poetry are with him so many different
modes of eloquence.

[d] The original has, the citadel of eloquence, which calls to mind an
admired passage in Lucretius:

Sed nil dulcius est bene quam munita tenere
Edita doctrina sapientum templa serena,
Despicere unde queas alios, passimque videre
Errare, atque viam pallantes quaerere vitae.
Lib. ii. ver. 7.

[e] It is a fact well known, that in Greece the most illustrious of
both sexes thought it honourable to exercise themselves in the
exhibitions of the theatre, and even to appear in the athletic games.
Plutarch, it is true, will have it, that all scenic arts were
prohibited at Sparta by the laws of Lycurgus; and yet Cornelius Nepos
assures us, that no Lacedaemonian matron, however high her quality, was
ashamed to act for hire on the public stage. He adds, that throughout
Greece, it was deemed the highest honour to obtain the prize in the
Olympic games, and no man blushed to be a performer in plays and
pantomimes, and give himself a spectacle to the people. _Nulla
Lacedaemoni tam est nobilis vidua, quae non in scenam eat mercede
conducta. Magnis in laudibus tota fuit Graecia, victorem Olympiae
citari. In scenam vero prodire, et populo esse spectaculo nemini in
iisdem gentibus fuit turpitudini._ Cor. Nep. _in Praefat._ It appears,
however, from a story told by AElian and cited by Shaftesbury, _Advice
to an Author_, part ii. s. 3, that the Greek women were by law
excluded from the Olympic games. Whoever was found to transgress, or
even to cross the river Alpheus, during