Institutio Oratoria

Quintilian

Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.

Consequently if the bounding line to which we have referred form a circle, the most perfect of all plane figures, it will contain a greater space than if the same length of line took the form of a square, while a square contains a greater space than a triangle having the same total perimeter, and an equilateral triangle than a scalene triangle.

But there are other points which perhaps present greater

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difficulty. I will take an example which is easy even for those who have no knowledge of geometry. There is scarcely anyone who does not know that the Roman acre is 240 feet long and 120 feet broad, and its total perimeter and the area enclosed can easily be calculated.

But a square of 180 feet gives the same perimeter, yet contains a much larger area within its four sides. If the calculation prove irksome to any of my readers, he can learn the same truth by employing smaller numbers. Take a ten foot square: its perimeter is forty feet and it contains 100 square feet. But if the dimensions be fifteen feet by five, while the perimeter is the same, the area enclosed is less by a quarter.

On the other hand if we draw a parallelogram measuring nineteen feet by one, the number of square feet enclosed will be no greater than the number of linear feet making the actual length of the parallelogram, though the perimeter will be exactly as that of the figure which encloses an area of 100 square feet. Consequently the area enclosed by four lines will decrease in proportion as we depart from the form of a square.

It further follows that it is perfectly possible for the space enclosed to be less, though the perimeter be greater. This applies to plane figures only: for even one who is no mathematician can see that, when we have to consider hills or valleys, the extent of ground enclosed is greater than the sky over it.

But geometry soars still higher to the consideration of the system of the universe: for by its calculations it demonstrates the fixed and ordained courses of the stars, and thereby we acquire the knowledge that all things are ruled by order and destiny, a consideration which may at times be of value to an orator.

When

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Pericles dispelled the panic caused at Athens by the eclipse of the sun by explaining the causes of the phenomenon, or Sulpicius Gallus discoursed on the eclipse of the moon to the army of Lucius Paulus to prevent the soldiers being seized with terror at what they regarded as a portent sent by heaven, did not they discharge the function of an orator?

If Nicias had known this when he commanded in Sicily, he would not have shared the terror of his men nor lost the finest army that Athens ever placed in the field. Dion for instance when he came to Syracuse to overthrow the tyranny of Dionysius, was not frightened away by the occurrence of a similar phenomenon. However we are not concerned with the uses of geometry in war and need not dwell upon the fact that Archimedes singlehanded succeeded in appreciably prolonging the resistance of Syracuse when it was besieged.

It will suffice for our purpose that there are a number of problems which it is difficult to solve in any other way, which are as a rule solved by these linear demonstrations, such as the method of division, section to infinity, [*]( Quintilian is perhaps referring to the measurement of the area of an irregular figure by dividing it into a number of small equal and regular figures the size of which was calculable. ) and the ratio of increase in velocity. From this we may conclude that, if as we shall show in the next book an orator has to speak on every kind of subject, he can under no circumstances dispense with a knowledge of geometry.

XI. The comic actor will also claim a certain amount of our attention, but only in so far as our future orator must be a master of the art of delivery. For I do not of course wish the boy, whom we are training to this end, to talk with the shrillness of a woman or in the tremulous accents of old age.

Nor for that matter must he ape the vices of the

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drunkard, or copy the cringing manners of a slave, or learn to express the emotions of love, avarice or fear. Such accomplishments are not necessary to an orator and corrupt the mind, especially while it is still pliable and unformed. For repeated imitation passes into habit.

Nor yet again must we adopt all the gestures and movements of the actor. Within certain limits the orator must be a master of both, but he must rigorously avoid staginess and all extravagance of facial expression, gesture and gait. For if an orator does command a certain art in such matters, its highest expression will be in the concealment of its existence. What then is the duty of the teacher whom we have borrowed from the stage?

In the first place he must correct all faults of pronunciation, and see that the utterance is distinct, and that each letter has its proper sound. There is an unfortunate tendency in the case of some letters to pronounce them either too thinly or too fully, while some we find too harsh and fail to pronounce sufficiently, substituting others whose sound is similar but somewhat duller.

For instance, lambda is substituted for rho, a letter which was always a stumbling-block to Demosthenes; our l and r have of course the same value. [*]( The mis-spelling of flagro as fraglo exemplifies the confusion to which Quintilian refers. A similar, though correct, substitution is found in lavacrum for lavaclum, etc. See Lindsay, Lat. Langu., pp. 92 ff. ) Similarly when c and g are not given their full value, they are softened into t and d.

Again our teacher must not tolerate the affected pronunciation of s [*]( Quintilian perhaps alludes to the habit of prefixing i to initial st, sp, sc found in inscriptions of the later Empire. See Lindsay, op. cit. p. 102. ) with which we are painfully familiar, nor suffer words to be uttered from the depths of the throat or

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rolled out hollow-mouthed, or permit the natural sound of the voice to be over-laid with a fuller sound, a fault fatal to purity of speech; the Greeks give this peculiarity the name καταπεπλασμένον (plastered over), a term applied to the tone produced by a pipe,

when the stops which produce the treble notes are closed, and a bass note is produced through the main aperture only.

He will also see that final syllables are not clipped, that the quality of speech is continuously maintained, that when the voice is raised, the strain falls upon the lungs and not the mouth, and that gesture and voice are mutually appropriate.

He will also insist that the speaker faces his audience, that the lips are not distorted nor the jaws parted to a grin, that the face is not thrown back, nor the eyes fixed on the ground, nor the neck slanted to left or right. For there are a variety of faults of facial expression. I have seen many, who raised their brows whenever the voice was called upon for an effort,

others who wore a perpetual frown, and yet others who could not keep their eyebrows level, but raised one towards the top of the head and depressed the other till it almost closed the eye.

These are details, but as I shall shortly show, they are of enormous importance, for nothing that is unbecoming can have a pleasing effect.