Letter I.— To Flavian .

 Letter II. Translation absent.

 Letter III.— To Eustathia, Ambrosia, and Basilissa . To the most discreet and devout Sisters, Eustathia and Ambrosia, and to the most discreet and nob

 Letter IV.— To Eusebius .

 Letter V.— To the City of Sebasteia .

 Letter VI.— To Ablabius .

 Letter VII.— To Cynegius .

 Letter VIII.— A Testimonial .

 Letter IX.— To Stagirius .

 Letter X.— To a Friend .

 Letter XI. To a Student of the Classics .

 Letter XII.— An Invitation .

 Letter XIII. To Libanius .

 Letter XIV.— To Libanius .

 Letter XV.— On his work against Eunomius .

 Letter XVI. Translation absent.

 Letter XVII.— To the Church at Nicomedia .

 Letter XVIII.— To the Bishop of Melitene .

 Letter XIX. Translation absent.

 Letter XX.— To Adelphius the Lawyer .

 Letter XXI. Translation absent.

 Letter XXII. Translation absent.

 Letter XXIII. Translation absent.

 Letter XXIV. Translation absent.

 Letter XXV.— To Amphilochius .

 Letter XXVI. Translation absent.

 Letter XXVII. Translation absent.

 Letter XXVIII. Translation absent.

 Letter XXIX.

 Letter XXX.

Letter IX.—To Stagirius.

They say that conjurors51    θαυματοποιοῦντας…θαυματοποιΐας; something more than ordinary mime playing, or than the optical illusion of tableaux-vivants, but less than what we should call conjuring seems to be meant (H. C. O.). in theatres contrive some such marvel as this which I am going to describe. Having taken some historical narrative, or some old story as the ground-plot of their sleight of hand, they relate the story to the spectators in action. And it is in this way that they make their representations of the narrative52    τὰ κατάλληλα τῶν ἱστορουμένων. They put on their dresses and masks, and rig up something to resemble a town on the stage with hangings, and then so associate the bare scene with their life-like imitation of action that they are a marvel to the spectators—both the actors themselves of the incidents of the play, and the hangings, or rather their imaginary city. What do I mean, do you think, by this allegory? Since we must needs show to those who are coming together that which is not a city as though it were one, do you let yourself be persuaded to become for the nonce the founder of our city53    οἰκίστης αὐτοσχέδιος, by just putting in an appearance there; I will make the desert-place seem to be a city; now it is no great distance for you, and the favour which you will confer is very great; for we wish to show ourselves more splendid to our companions here, which we shall do if, in place of any other ornament, we are adorned with the splendour of your party.

[9] Σταγειρίῳ Τοιοῦτόν τι θέαμά φασιν ἐν τοῖς θεάτροις τοὺς θαυματοποιοῦντας τεχνάζεσθαι: μῦθον ἐξ ἱστορίας ἤ τινα τῶν ἀρχαίων διηγημάτων ὑπόθεσιν τῆς θαυματοποιΐας λαβόντες ἔργῳ τοῖς θεαταῖς διηγοῦνται τὴν ἱστορίαν. διηγοῦνται δὲ οὕτως τὰ κατάλληλα τῶν ἱστορουμένων: ὑποδύντες σχήματά τε καὶ πρόσωπα καὶ πόλιν ἐκ παραπετασμάτων ἐπὶ τῆς ὀρχήστρας δι' ὁμοιότητός τινος σχηματίσαντες καὶ τὸν τέως ψιλὸν τόπον τῇ ἐναργεῖ μιμήσει τῶν πραγμάτων οἰκειώσαντες, θαῦμα τοῖς θεωμένοις γίνονται αὐτοί τε οἱ μιμηταὶ τῶν ἐν τῇ ἱστορίᾳ πραγμάτων καὶ τὰ παραπετάσματα, ἡ πόλις δή. τί οὖν μοι τὸ διήγημα βούλεται; ἐπειδὴ χρεία ἡμῖν τὴν μὴ οὖσαν πόλιν ὡς οὖσαν δεῖξαι τοῖς συνιοῦσι, παρακλήθητι γενέσθαι τῆς πόλεως ἡμῶν οἰκιστὴς αὐτοσχέδιος, αὐτῷ τῷ φανῆναι μόνον τὸ πόλιν εἶναι δοκεῖν τὸν ἔρημον χῶρον παρασκευάσας. ἔστι δέ σοι καὶ ἡ ὁδὸς οὐ πολλὴ καὶ ἡ χάρις, ἣν δώσεις, σφόδρα πολλή: βουλόμεθα γὰρ σεμνοτέρους ἑαυτοὺς δεῖξαι τοῖς συνιοῦσιν, ἀντ' ἄλλου τινὸς κόσμου τῇ φαιδρότητι ὑμῶν καλλωπιζόμενοι.