Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
which consists in the diversion of our address from the judge, is wonderfully stirring, whether we attack our adversary as in the passage,
What was that sword of yours doing, Tubero, in the field of Pharsalus?[*](pro Lig. iii. 9. ) or turn to make some invocation such as,
For I appeal to you, hills and groves of Alba,[*](pro Mil. xxxi. 85. ) or to entreaty that will bring odium on our opponents, as in the cry,
O Porcian and Sempronian laws.[*](Verr. V. lxiii. 163. Laws protecting the person of a Roman citizen, and disregarded by Verres. )
But the term apostrophe is also applied to utterances that divert the attention of the hearer from the question before them, as in the following passage:
There are a number of different figures by which this effect may be produced. We may, for instance, pretend that we expected something different or feared some greater disaster, or that the judges in their ignorance of the facts may regard some point as of more importance than it really is: an example of this latter device is to be found in the exordium to Cicero's defence of Caelius.Aen. iv. 425. Dido is urging Anna to approach Aeneas and induce Aeneas to postpone his departure. Dido is no enemy from whom he need fly.
- I swore not with the Greeks
- At Aulis to uproot the race of Troy.
With regard to the figure which Cicero [*](de Or. liii. 202. ) calls ocular denonstration, this comes into play when we do not restrict ourselves to mentioning that something was done, but proceed to show how it was done, and do so not merely on broad general lines, but in full detail. In the last book [*]( VIII. Iii. 61 sqq. ) I classified this figure under the head of vivid illustration, while Celsus actually terms it by this name. Others give the name of ὑποτύπωσις to any representation of facts which is made in such vivid language that they appeal to the eye rather than the ear. The
He came into the forum on fire with criminal madness: his eyes blazed and cruelty was written in every feature of his countenance.[*](Verr. v. lxii. 161. )
Nor is it only past or present actions which we may imagine: we may equally well present a picture of what is likely to happen or might have happened. This is done with extraordinary skill by Cicero in his defence of Milo, [*](Ch. 32.) where he shows what Clodius would have done, had he succeeded in securing the praetorship. But this transference of time, which is technically called μετάστασις was more modestly used in vivid description by the old orators. For they would preface it by words such as
Imagine that you see: take, for example, the words of Cicero [*](Not found in extant works of Cicero.) :
Though you cannot see this with your bodily eyes, you can see it with the mind's eye.
Modern authors, however, more especially the declaimers, are bolder, indeed they show the utmost animation in giving rein to their imagination; witness the following passages from Seneca's treatment of the controversial theme in which a father, guided by one of his sons, finds another son in the act of adultery with his stepmother and kills both culprits.
Lead me, I follow, take this old hand of mine and direct it where you will.
And a little later,
See, he says, what for so long you refused to believe. As for myself, I cannot see, night and thick darkness veil my eyes.This figure is too dramatic: for the story seems to be acted, not narrated.
Some include the clear and vivid description of places under the same heading, while others call it topography. I have found some who speak of irony as dissimulation, but, in view of the fact that this latter name