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 to allude in some way to the desertion of Labienus, in the first Commentary, had Labienus left him and joined Pompey while the first Commentary was still in his hands.

His style was at once recognised by the great literary critic of the day as being excellent for its intended purpose. Cæsar is manifestly not ambitious of literary distinction, but is very anxious to convey to his readers a narrative of his own doings, which shall be graphic, succinct, intelligible, and sufficiently well expressed to insure the attention of readers. Cicero, the great critic, thus speaks of the Commentaries; "Valde quidam, inquam, probandos; nudi enim sunt, recti, et venusti, omni ornatu orationis, tanquam veste, detracto." The passage is easily understood, but not perhaps very easily translated into English. "I pronounce them, indeed, to be very commendable, for they are simple, straightforward, agreeable, with all rhetorical ornament stripped from them, as a garment is stripped." This was written by Cicero while Cæsar was yet living, as the context shows. And Cicero does not mean to imply that Cæsar's writings are bald or uncouth: the word "venusti" is evidence of this. And again, speaking of Cæsar's language, Cicero says that Cæsar spoke with more finished choice of words than almost any other orator of the day. And if he so spoke, he certainly so wrote, for the great speeches of the Romans were all written compositions. Montaigne says of Cæsar: "I read this author with somewhat more reverence and respect than is usually allowed to human writings, one while considering him in his person, by his actions and miracu-