As a moral writer, Seneca stands deservedly high. Though infected with the rhetorical vices of the age, his treatises are full of striking and often gorgeous eloquence, and in their combination of high thought with deep feeling, have rarely, if at all, been surpassed. The rhetorical manner was so essentially part of Seneca's nature, that the warm colouring and perpetual mannerism of his language does not imply any insincerity or want of earnestness. In spite of the laboured style, there is no failure either in lucidity or in force, and even where the rhetoric is most profuse, it seldom is without a solid basis of thought. "It would not be easy," says a modern scholar, who was himself averse to all ornament of diction, and deeply penetrated with the spirit of Stoicism, "to name any modern writer who has treated on morality and has said so much that is practically good and true, or has treated the matter in so attractive a way." In the moral writings we have the picture of Seneca the philosopher; Seneca the courtier is less attractively presented in the curious pamphlet called the _Apocolocyntosis_, a silly and spiteful attack on the memory of the Emperor Claudius, written to make the laughter of an afternoon at the court of Nero. The gross bad taste of this satire is hardly relieved by any great wit in the treatment, and the reputation of the author would stand higher if it had not survived the occasion for which it was written. Among Seneca's extant works are also included nine tragedies, composed in imitation of the Greek, upon the well-worn subjects of the epic cycle. At what period of his life they were written cannot be ascertained. As a rule, only young authors had courage enough to attempt the discredited task of flogging this dead horse; but it is not improbable that these dramas were written by Seneca in mature life, in deference to his imperial pupil's craze for the stage. All the rhetorical vices of his prose are here exaggerated. The tragedies are totally without dramatic life, consisting merely of a series of declamatory speeches, in correct but monotonous versification, interspersed with choruses, which only differ from the speeches by being written in lyric metres instead of the iambic. To say that the tragedies are without merit would be an overstatement, for Seneca, though no poet, remained even in his poetry an extremely able man of letters and an accomplished rhetorician. His declamation comes in the same tones from all his puppets; but it is often grandiose, and sometimes really fine. The lines with which the curtain falls in his _Medea_ remind one, by their startling audacity, of Victor Hugo in his most Titanic vein. As the only extant Latin tragedies, these pieces had a great effect upon the early drama of the sixteenth century in England and elsewhere. In the well-known verses prefixed to the first folio Shakespeare, Jonson calls on "him of Cordova dead," in the same