Institutio Oratoria

Quintilian

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

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.