eul_wid: pmi-ac

Fronto the Rhetorician To Marcus Caesar and Each Other in Greek

To Marcus Caesar and Each Other is a collection of five rhetorical exercises and model speeches composed in Greek and Latin by the Roman orator Marcus Cornelius Fronto. Written between approximately 139 and 161 CE, these pieces adopt an epistolary form but function primarily as oratorical demonstrations. They were crafted as educational tools for Fronto’s pupil, the future emperor Marcus Aurelius, and for intellectual exchange within the imperial court. The work showcases deliberative and demonstrative orations on themes central to Roman elite life, such as leadership, public duty, and the cultivation of friendship, seamlessly blending personal mentorship with formal instruction in persuasive speech.

Modern scholarship interprets these exercises as exemplars of the advanced rhetorical training essential for Roman statesmen, designed to teach the construction of sophisticated arguments, stylistic elegance, and the art of eloquence considered vital for effective governance. The collection also reflects a significant intellectual dialogue of the period, subtly exploring the comparative value of rhetorical training against the philosophical studies increasingly favored by Marcus Aurelius himself. The text survives as part of Fronto’s larger corpus of letters, which was lost after antiquity and rediscovered in the 19th century. Its primary sources are palimpsest manuscripts, where Fronto’s original text was erased in the 7th century to be written over with other works, resulting in a fragmentary and challenging recovery process. Consequently, only portions of the original collection exist today, with the five passages in this grouping having been painstakingly reconstructed by editors from these damaged manuscripts.

12.1 / ΜΗΤΡΙ ΚΑΙΣΑΡΟΣ .
12.1 Ἑκὼν ἑκὼν νὴ τοὺς θεοὺς καὶ πάνυ γε προθυμούμενος τὴν ἐμὴν Κρατίαν ἐξέπεμψα συνεορτάσουσάν σοι τὰ γενέθλια καὶ αὐτὸς ἂν ἀφικόμενος εἰ ἐξῆν. ἀλλὰ ἐμοὶ μὲν ἐνποδών ἐστιν ἡ ἀρχὴ πρὸς τῷ ποδὶ ἤδη οὖσα. ὀλίγαι γὰρ ἡμέραι λοιπαὶ τῆς ἀρχῆς περιλείπονται καὶ μᾶλλόν τε ἄσχολοι διὰ τὰς λειτουργίας· ὧν ἀπαλλαγεὶς ἔοικα δραμεῖσθαι πρὸς ὑμᾶς τῶν τὸν στάδιον τρεχόντων πολὺ προθυμότερον· ὡς ἐκεῖνοί γε βραχύτατον χρόνον ἐπὶ τῆς ὕσπληγος ἐπιστάντες, ἔπειτα ἀφεῖνται τρέχειν, ἐγὼ δὲ τοῦτον ἤδη μῆνα δεύτερον εἴργομαι τοῦ πρὸ ὑμᾶς δρόμου.
12.2 Ἐχρῆν δὲ ἄρα πάσας τὰς πανταχόθεν γυναῖκας ἐπὶ ταύτην τὴν ἡμέραν ἁθροίζεσθαι καὶ ἑορτάζειν τὰ σὰ γενέθλια, πρώτας μὲν τῶν γυναικῶν τὰς φιλάνδρους καὶ φιλοτέκνους καὶ σώφρονας, δευτέρας δὲ ὅσαι ἄπλαστοι καὶ ἀψευδεῖς εἰσίν, τρίτας δὲ ἑορτάζειν τὰς εὐγνώμονας καὶ εὐπροσίτους καὶ / εὐπροσηγόρους καὶ ἀτύφους. πολλαὶ δ’ ἂν καὶ ἄλλαι γυναικῶν τάξεις γένοιντο τῶν σοὶ μέρους τινὸς ἐπαίνου καὶ ἀρετῆς μετεχ〈ουσ〉ῶν, σοῦ μὲν ἁπάσας τὰς γυναικὶ πρεπούσας ἀρετὰς καὶ ἐπιστήμας κεκτημένης καὶ ἐπισταμένης, ὥσπερ ἡ Ἀθηνᾶ τέχνας ἁπάσας κέκτηταί τε καὶ ἐπίσταται, τῶν ἄλλων δὲ γυναικῶν ἐπὶ τῆς ἀρετῆς μέρος ἑκάστης ἐπισταμένης καὶ κατὰ τοῦτο ἐπαινουμένης, οἷος ὁ τῶν Μουσῶν ἔπαινος ἐκ μιᾶς τέχνης καὶ καθ’ ἑκάστην διῃρημένος.
12.3 Εἰ δ’ ἦν ἐγὼ πρὸ θύρας εἰσαγωγεύς τις εἶναι λαχὼν τῶν τῆς ἑορτῆς ἀξίων, πρώτας ἂν Ὁμήρῳ πειθόμενος ἀπέκλεισα τὰς τὴν εὔνοιαν ψευδομένας καὶ πλαττομένας καὶ “ἕτερον μέν τι κευθούσας ἐνὶ φρεσίν, ἄλλο δὲ λεγούσας”, ἅπαντα δὲ τὰ ἀπὸ γέλωτος μέχρι δακρύων προσποιουμένας.
12.3 ὅ τοι γέλως οὕτως τὸ πρὶν ἄδολος εἶναι πεφυκὼς ὡς καὶ τοὺς ὀδόντας τῶν γελώντων ἐπιδεικνύειν εἰς τοσοῦτον ἤδη περιέστηκε κακομηχανίας καὶ ἐνέδρας, ὡς καὶ τὰ χείλη κρύπτειν τῶν ἐξ ἐπιβουλῆς προσγελώντων. γυναικεία δή τις αὕτη θεὸς παρὰ ταῖς πλείσταις τῶν γυναικῶν θρησκεύεται ἡ Ἀπάτη· τίς γοῦν Ἀφροδίτης τόκ〈οσ〉 ἐκ πολλῶν τινων καὶ ποικίλων θηλειῶν κατασκευασαμένης / ++++++++++++++++++++++++ ++++++++++++++++/+++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++