[50] See the section on Ovid in Chapter VII below. Bornecque sums up the tendency acutely as “pénétration réciproque de la poésie et de la déclamation,” _Déclam._ 115. [51] The development of this history is reserved to a later volume. CHAPTER V THE LITERARY CRITICISM OF RHETORIC Criticism is inevitably a part of teaching. The teacher’s holding up of models involves both analysis of them and appreciation. The differentiation of the critic from the teacher is roughly that his judgments are not applied immediately to tasks of composition, that he rather defines or extends theory than promotes practise. His estimate of the professional writer is not directly brought to bear on the advancement of the amateur. He stops with appreciation; the teacher tries to carry this over into imitation. But the differentiation of the two functions has never been complete; and in classical times it went only a little way. Quintilian, who was typically the teacher, is included with respect in histories of criticism. Dionysius of Halicarnassus classifies his acute appreciations of orators and poets under text-book headings, and puts forth his treatise on style, as does the great unknown “On the Sublime,” for instruction. Both are what we now call critics. The classification of Dionysius does not hinder his critical appreciation; the classification of the great unknown merges into a kindling enthusiasm. Probably most of the literary criticism current in the last years of the Republic and the first centuries of the Roman Empire came from grammarians and rhetoricians.[1] It is worth while, nevertheless, to consider separately from the manuals and methods of instruction those treatises which were written rather to educate appreciation than to further the tasks of the schools. Outstanding among these are the _Brutus_ of Cicero and the _Dialogus_ of Tacitus; but the two most specific and significant in doctrine are the ones mentioned above: Dionysius of Halicarnassus on Sentences (_De Compositione Verborum_), and the unknown author on the Heightening of Language (_De Sublimitate_). In some respects complementary, the two together offer a clear view of style in the classical conception. A. DIONYSIUS OF HALICARNASSUS ON SENTENCES The most specific and systematic rhetorical treatise of Dionysius[1a] deals with sentence movement, or _compositio_[2] (see pages 25, 53, 67, 79). This, he makes bold to say in his second paragraph,[3] is the aspect of composition most profitable for the study of youth.