24. Philosophers will tell you that the vain and superfluous are of all things on earth the most despicable. For them the object of life is to understand those things that are necessary to their nature. All else is regarded as merely so many external attributes.
However that may be, I cannot use such an argument as an excuse for ingratitude, especially to one who honoured me above my deserts and raised me above my fellows. What I would like, therefore, is either to commemorate him in a panegyric or to pass over in silence those actions in his life which did not spring from worthy motives. If, having set out to eulogize his career, I then rejected those deeds which were the fit object of praise and gave the impression that I had lumped together all that was reprehensible, I would be the worst scoundrel on earth, like the son of Lyxes, who selected the worst deeds of the Greeks for his history.**86
Subjectmatter
25. on the other hand, suppose I set aside this project for the moment and propose to write a history of the lives of the emperors, how, when I leave unsaid things which belong to the province of history, am I to deal with those which are the proper object of eulogy? lit would look as if I had forgotten my purpose, or was caricaturing the art of history, by failing to distinguish its subjectmatter and by confusing the role of two forms of literature whose aims are incompatible. Actually I had composed many panegyrics in honour of Constantine before I undertook this work, not without commendation from the public.
The high praises I lavished on him were not undeserved, but other writers have failed to understand my methods of composition. The truth is, the actions of emperors are a conglomerate patchwork of bad and good, and these other writers find themselves able neither to condemn without reservation nor to commend with sincerity, because they are overmuch impressed by the close conjunction of opposite qualities.
In my own case, I do offer criticisrn, but only for form’s sake or in dramatic passages where the prose is affected. In the composition of a eulogy, in fact, my subject-matter is not chosen usually with complete indifference to good or bad: the latter I reject, the former I set on one side, afterwards putting it in proper order. So a homogenous pattern is worked out, a tapestry of the finest cloth.
Read More about Zoe and Theodora part 19
