Institutio Oratoria

Such language may be compared to the bodies of athletes, which although they develop their strength by exercise and diet, are of unnatural growth and abnormal in appearance. For what, say these critics, is the good of expressing a thing by periphrasis or metaphor (that is, either by a number of words or by words which have no connexion with the thing), when everything has been allotted a name of its own?

Finally, they urge that all the earliest orators spoke according to the dictates of nature, but that subsequently there arose a class of speakers resembling poets rather than orators, who regarded false and artificial methods of expression as positive merits; they were, it is true, more sparing than the poets in their use of such expressions, but none the less worked on similar lines. There is some truth in this contention, and we should therefore be careful not to depart from the more exact usage of ordinary speech to the extent that is done by certain orators.

On the other hand, that is no reason for thus calumniating the man who, as I said in dealing with the subject of artistic structure, [*](x. ch. 4.) succeeds in improving upon the bare necessaries of style. For the common language of every day seems to me to be of a different character from the style of an eloquent speaker. If all that was required of the latter was merely to indicate the facts, he might rest content with literalness of language, without

It is, in fact, as natural to do this as to harden the muscles, increase our strength and improve our complexion by means of exercise. It is for this reason that among all nations one man is regarded as more eloquent and more attractive in his style than another (since if this were not the case, all speakers would be equal); but the same men speak differently on different subjects and observe distinctions of character. Consequently the more effective a man's speaking, the more in accordance with the nature of eloquence will it be.

I have, therefore, no strong objection even to the views expressed by those who think that some concession should be made to the circumstances under which we speak and to the ears of the audience which require something more polished and emotional than ordinary speech. For this reason I consider that it would be absurd to restrict an orator to the style of the predecessors of Cato and the Gracchi, or even of those orators themselves. And I note that it was the practice of Cicero, while devoting himself in the main to the interests of his case, to take into account the delectation of his audience as well, since, as he pointed out, his own interests were concerned as well as those of his client, although of course the latter were of paramount importance. For his very charm was a valuable asset.

I do not know what can be added by way of improvement to the charms of his style, except perhaps the introduction of

I am ready to go so far along the path of concession, but let no man press me further. I concur in the fashion of the day to the extent of agreeing that the toga should not be long in the nap, but not to the extent of insisting that it should be of silk: I agree that the hair should be cut, but not that it should be dressed in tiers and ringlets, since we must always remember that ornaments, unless they be judged from the standpoint of the fop and the debauchee, are always effective in proportion to their seemliness.

But with regard to those passages to which we give the name of reflexions, [*]( For this ever-recurring technical term there is no adequate translation. It means a reflexion coached in aphoristic or epigrammatic form. ) a form of ornament which was not employed by the ancients and, above all, not by the Greeks, although I do find it in Cicero, who can deny their usefulness, provided they are relevant to the case, are not too diffuse and contribute to our success? For they strike the mind and often produce a decisive effect by one single blow, while their very brevity makes them cling to the memory, and the pleasure which they produce has the force of persuasion.

There are, however, some who, while allowing the actual delivery of such specially brilliant forms of ornament, think that they should be excluded from the written speech. Consequently I must not dismiss even this topic without a word of discussion. For a number of learned authorities

and, further, that actual pleading is characterised by a greater energy and by the employment, almost verging on license, of every artifice designed to please, since the minds of an uneducated audience require to be moved and led. On the other hand, the written speech with is published as a model of style must be polished and filed and brought into conformity with the accepted rules and standards of artistic construction, since it will come into the hands of learned men and its art will be judged by artists.

These subtle teachers (for such they have persuaded themselves and others that they are) have laid it down that the παράδειγμα [*](Sec v. xi. 1. Parallels and especially historical ones.) is best suited for actual speech and the ἐνθύμημα [*]( See v. xiv. 1 sqq. A form of syllogism. ) for writing. My own view is that there is absolutely no difference between writing well and speaking well, and that a written speech is merely a record of one that has actually been delivered. Consequently it must in my opinion possess every kind of merit, and note that I say merit, not fault. For I know that faults do sometimes meet with the approval of the uneducated.

What, then, will be the difference between what is written and what is spoken? If I were given a jury of wise men, I should cut down a large number of passages from the speeches not only of Cicero, but even of Demosthenes, who is much more concise.

Since, however, our judges are the people, or drawn from the people, and since those who are appointed to give sentence are frequently ill-educated and sometimes mere rustics, it becomes necessary to employ every method that we think likely to assist our case, and these artifices must not merely be produced in speech, but exhibited in the written version as well, at least if in writing it our design is to show how it should be spoken.

If Demosthenes or Cicero had spoken the words as they wrote them, would either have spoken ill And is our acquaintance with either of those two great orators based on anything save their writings? Did they speak better, then, or worse than they wrote? If they spoke worse, all that can be said is that they should have spoken as they wrote, while, if they spoke better, they should have written as they spoke.

Well, you ask, is an orator then always to speak as he writes? If possible, always. If, however, the time allowed by the judge is too short for this to be possible, he will have to cut out much that he should have said, but the published speech will contain the omitted passages. On the other hand, such passages as were uttered merely to suit the character of the judges will not be published for the benefit of posterity, for fear that they should seem to indicate

For it is most important that we should know how the judge is disposed to listen, and his face will often (as Cicero [*](Not in any extant work.) reminds us) serve as a guide to the speaker. Consequently we must press the points that we see commend themselves to him, and draw back from those which are ill-received, while our actual language must be so modified that he will find our arguments as intelligible as possible. That this should be necessary is scarcely surprising, when we consider the alterations that are frequently necessary to suit the characters of the different witnesses.

He was a shrewd man who, when he asked a rustic witness whether he knew Amphion, and the witness replied that he did not, dropped the aspirate and shortened the second syllable, [*]( The witness did not recognise the name correctly pronounced Amphion, but recognised it when pronounced Amphion. ) whereupon the witness recognised him at once. Such situations, when it is impossible to speak as we write, will sometimes make it necessary to speak in language other than that which we use in writing.

There is another threefold division, whereby, it is held, we may differentiate three styles of speaking, all of them correct. The first is termed the plain [*](subtilis ( lit. = finely woven) applied to style has three meanings: (a) refined, (b) precise, (c) plain. See Sandys on Cic. Or. vi. 20. ) (or ἰσχνόν ), the second grand and forcible (or ἁδρόν ), and the third either intermediate or florid, the latter being a translation of ἀνθηρόν.

The nature of these three styles is, broadly speaking, as follows. The first would seem best adapted for instructing, the second for moving, and the third (by whichever name we call it) for charming or, as others would have it, conciliating the audience; for instruction the quality most

The intermediate style will have more frequent recourse to metaphor and will make a more attractive use of figures, while it will introduce alluring digressions, will be neat in rhythm and pleasing in its reflexions: its flow, however, will be gentle, like that of a river whose waters are clear, but overshadowed by the green banks on either side.