The discomfiture of Eumolpus should have closed this book but not the entire work, as the exit of the two principal characters is not fixed at the time our fragments come to an end.

The original work, then, would probably have exceeded Tom Jones in length.
II THE AUTHOR.
a--"Not often," says Studer (Rheinisches Museum, 1843), "has there been so much dispute about the author, the times, the character and the purpose of a writing of antiquity as about the fragments of the Satyricon of Petronius." The discovery and publication of the Trau manuscript brought about a literary controversy which has had few parallels, and which has not entirely died out to this day, although the best authorities ascribe the work to Caius Petronius, the Arbiter Elegantiarum at the court of Nero.

"The question as to the date of the narrative of the adventures of Encolpius and his boon companions must be regarded as settled," says Theodor Mommsen (Hermes, 1878); "this narrative is unsurpassed in originality and mastery of treatment among the writings of Roman literature.

Nor does anyone doubt the identity of its author and the Arbiter Elegantiarum of Nero, whose end Tacitus relates." In any case, the author of this work, if it be the work of one brain, must have been a profound psychologist, a master of realism, a natural-born story teller, and a gentleman.
b--His principal object in writing the work was to amuse but, in amusing, he also intended to pillory the aristocracy and his wit is as keen as the point of a rapier; but, when we bear in mind the fact that he was an ancient, we will find that his cynicism is not cruel, in him there is none of the malignity of Aristophanes; there is rather the attitude of the refined patrician who is always under the necessity of facing those things which he holds most in contempt, the supreme artist who suffers from the multitude of bill-boards, so to speak, who lashes the posters but holds in pitying contempt those who know so little of true art that they mistake those posters for the genuine article.

Niebuhr's estimate of his character is so just and free from prejudice, and proceeds from a mind which, in itself, was so pure and wholesome, that I will quote it: "All great dramatic poets are endowed with the power of creating beings who seem to act and speak with perfect independence, so that the poet is nothing more than the relator of what takes place.