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A dreary overstuffed catalogue of bygone orators or a magnificent intellectual achievement? A swan song for public speech or an apology for the art of eloquence? A timid retreat into academic leisure or a brazen challenge to civil war and Caesar? Despite the divergent viewpoints of these questions, it is hard to come away from Cicero’s Brutus without seeing merit in each of them. There is some of almost everything in Cicero’s stunning dialogue, and for that reason its seeming hodgepodge of intellectual curiosity, political statement, and documentary diligence has spurred modern observers to widely differing interpretations.
The Introduction outlines crucial intellectual contexts and frameworks for thinking about how Cicero's Brutus is a crucial intervention in the the civic crisis and the writing of literary history. It also surveys the scholarship to date and examines how Cicero's project reflects general trends in academic inquiry and civic government.
We saw in the last chapter how the Heronian tradition fragmented and flourished in the Byzantine and medieval Islamic worlds. Yet in the Latin west, Hero’s trail went quite cold during this period. A few references suggest that he continued to be characterized as he was in Pappus, as a mechanical author and pneumatic wonder-worker. In the Summa Philosophia of the Pseudo-Grosseteste, Hero is named as an egregius philosophus who strove to demonstrate the void “through clepsydras and siphons and other instruments.”1 Henricus Aristippus recommends in the preface to his 1156 translation of the Phaedo that his pseudonymous addressee elect to stay in Sicily, where he has access to a rich library of philosophical and scientific texts, including “the mechanica of the philosopher Hero … who argues so subtly about the void.”2
Chapter 7 considers stylistic imitation and appropriation in the debate over Atticism and Asianism, with a special focus on how Cicero distorts the aims and positions of his detractors in the diatribe against the Atticists (285–91). He trades on various meanings of Atticus/Attici in order to make a rhetorical – rather than strictly logical – case. He downplays Atticism as outdated and relegates its stylistic virtues to the plain style (genus tenue). Rejecting Atticism does not entail rejecting the plain style. Instead he acknowledges it as one of many oratorical virtues to be subsumed under the capable orator’s broad stylistic repertoire. Cicero promotes a model of stylistic diversity, examples of which are found in the long histories of Greek and, especially, Roman oratory.