highest tribute to his genius, saying in the Brutus: "Of the loftiest talent, of the most burning enthusiasm, carefully taught from boyhood, he yields to no man in richness and exuberance of diction." To which Brutus assents, adding, "Of all our predecessors he is the only one whose works I read." Cicero replies, "You do right in reading him; Latin literature has lost irreparably by his early death. I know not whether he would not have stood above every other name. His language is noble, his sentiments profound, his whole style grave. His works lack the finishing touch; many are admirably begun, few are thoroughly complete. He of all speakers is the one that should be read by the young, for not only is he fit to sharpen talent, but also to feed and nourish a natural gift." [27] One of the great peculiarities of ancient eloquence was the frequent opportunity afforded for self-recommendation or self-praise. That good taste or modesty which shrinks from mentioning its own merits was far less cultivated in antiquity than now. Men accepted the principle not only of acting but of speaking for their own advantage. This gave greater zest to a debate on public questions, and certainly sharpened the orator's powers. If a man had benefited the state he was not ashamed to blazon it forth; if another in injuring the state had injured him, he did not altogether sacrifice personal invective to patriotic indignation. [28] The frequency of accusations made this "art of self-defence" a necessity--and there can be no doubt the Roman people listened with admiration to one who was at once bold and skilful enough to sound his own praises well. Cicero's excessive vanity led him to overdo his part, and to nauseate at times even well-disposed hearers. From the fragments of Gracchus' speeches that remain (unhappily very few) we should gather that in asserting himself he was without a rival. The mixture of simplicity and art removes him at once from Cato's bald literalism and Cicero's egotism. It was, however, in impassioned attack that Gracchus rose to his highest tones. The terms _Gracchi impetum_, [29] _tumultuator Gracchus_, [30] among the Latin critics, and similar ones from Plutarch and Dio among the Greeks, attest the main character of his eloquence. His very outward form paralleled the restlessness of his soul. He moved up and down, bared his arm, stamped violently, made fierce gestures of defiance, and acted through real emotion as the trained rhetoricians of a later age strove to act by rules of art. His accusation of Piso is said to have contained more maledictions than charges; and we can believe that a temperament so fervid, when once it gave the reins to passion, lost all self-command. It is possible we might think less highly of Gracchus's eloquence than did the ancients, if his speeches remained. Their lack of finish and repose may have been unnoticed by critics who could hurl themselves in thought not merely into