“As witness to their deeds these dead set up trophies over the foe, offerings to Zeus, offered by themselves. They were not unskilled in natural Ares nor lawful loves nor armèd strife nor beauty-loving Peace; revering the Gods by Justice, honouring their parents by Service, just to their countrymen by Equality, faithful to their friends by Loyalty. Therefore, when they died, love for them died not with them, but deathless in bodies no longer bodies it lives when they live no longer.” In the _Encomium on Helen_ we have “fright exceeding fearful, and pity exceeding tearful, and yearning exceeding painful,” and “productive of pleasure, destructive of pain.” In the _Palamedes_ Gorgias even uses puns. His poetical compounds and those of his pupil _Alkidamas_ were famous. In short, at this time there was no boundary whatever between poetry and prose: prose, if anything, was the more poetical of the two. This strange hothouse Euphuistic style of Gorgias took Hellas by storm, and his influence was enormous: it even half-mastered the austere mind of Thucydides. As reformed by the greater critical faculties of his pupil Isokrates, it became the parent of Ciceronian Latin and so of the prose literature of centuries. The other rhetorical Sophists of the time are less interesting. _Likumnios_ and _Polos_, teacher and pupil, seem to have devoted themselves to questions of rhythm: they employed quaint conceits and affectations, like Gorgias. _Theodoros_ and _Euenos_ divided and subdivided the parts of an oration into “confirmation” and “additional confirmation,” and “by-blames” and “by-panegyrics”: in which work Polos joined them. _Thrasumachos_ of Chalcedon, who seems to have been a bigger man altogether, began to attack the psychological side of rhetoric by studying the questions of pathos and indignation; these studies he embodied in pamphlets, and no doubt his results were imparted to his pupils.