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Since Klingner's dissertation it has generally been accepted by Ciceronian scholars that Molon's influence upon Cicero's prose style consisted in his imparting to his pupil no new stylistic ideal but rather moderation in both language and style. According to Cicero (Brutus 325), Molon's style had developed under the teaching of Menecles of Alabanda who, though himself an Asianist, aimed rather at crebrae venustaeque sententiae, a more elegant and concise form of antithesis, parallelism, and stylistic balance.
As is well known, the Amores of Ovid appeared in two different editions, of which only the second survives. Hence, scholars being what they are, it is hardly surprising that almost as much has been written about the first as the second. If I have ventured to add yet another contribution to the already over-long bibliography of the subject
The story of Dion of Syracuse was told by ancient writers, and is still being told by modern historians, in the main as a story of ‘freedom versus tyranny’. The liberation of the greatest state in the Hellenic world from the rule of the most powerful tyrants' house in Greek experience fired the imagination and aroused the admiration of contemporary and later writers. There is, however, another side to the story of Dion.