Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
Our actor will also be required to show how a narrative should be delivered, and to indicate the authoritative tone that should be given to advice, the excitement which should mark the rise of anger, and the change of tone that is characteristic of pathos. The best method of so doing is to select special passages from comedy appropriate for the
These are not only most useful in training the delivery, but are admirably adapted to increase a speaker's eloquence.
These are the methods to be employed while the pupil is too young to take in more advanced instruction; but when the time has come for him to read speeches, and as soon as he begins to appreciate their merits, he should have a careful and efficient teacher at his side not merely to form his style of reading aloud, but to make him learn select passages by heart and declaim them standing in the manner which actual pleading would require: thus he will simultaneously train delivery, voice and memory.
I will not blame even those who give a certain amount of time to the teacher of gymnastics. I am not speaking of those, who spend part of their life in rubbing themselves with oil and part in winebibbing, and kill the mind by over-attention to the body: indeed, I would have such as these kept as far as possible from the boy whom we are training.
But we give the same name to those who form gesture and motion so that the arms may be extended in the proper manner, the management of the hands free from all trace of rusticity and inelegance, the attitude becoming, the movements of the feet appropriate and the motions of the head and eyes in keeping with the poise of the body.
No one will deny that such details form a part of the art of delivery, nor divorce delivery from oratory; and there can be no justification for disdaining to learn what has got to be done, especially as chironomy, which, as the name shows, is the law of gesture, originated in heroic times and met with the
We are told that the Spartans even regarded a certain form of dance as a useful element in military training. Nor again did the ancient Romans consider such a practice as disgraceful: this is clear from the fact that priestly and ritual dances have survived to the present day, while Cicero in the third book of his de Oratore [*](lix. 220.) quotes the words of Crassus, in which he lays down the principle that the orator
should learn to move his body in a bold and manly fashion derived not from actors or the stage, but from martial and even from gymnastic exercises.And such a method of training has persisted uncensured to our own time.
In my opinion, however, such training should not extend beyond the years of boyhood, and even boys should not devote too much time to it. For I do not wish the gestures of oratory to be modelled on those of the dance. But I do desire that such boyish exercises should continue to exert a certain influence, and that something of the grace which we acquired as learners should attend us in after life without our being conscious of the fact.
The question is not infrequently asked, as to whether, admitting that these things ought to be learned, it is possible for all of them to be taught and taken in simultaneously. There are some who say that this is impossible on the ground that the mind is confused and tired by application to so many studies of different tendencies: neither the intelligence nor the physique of our pupils, nor
These critics show an insufficient appreciation of the capacities of the human mind, which is so swift and nimble and versatile, that it cannot be restricted to doing one thing only, but insists on devoting its attention to several different subjects not merely in one day, but actually at one and the same time.
Do not harpists simultaneously exert the memory and pay attention to the tone and inflexions of the voice, while the right hand runs over certain strings and the left plucks, stops or releases others, and even the foot is employed in beating time, all these actions being performed at the same moment?
Again, do not we ourselves, when unexpectedly called upon to plead, speak while we are thinking what we are to say next, invention of argument, choice of words, rhythm, gesture, delivery, facial expression and movement all being required simultaneously? If all these things can be done with one effort in spite of their diversity, why should we not divide our hours among different branches of study? We must remember that variety serves to refresh and restore the mind, and that it is really considerably harder to work at one subject without intermission. Consequently we should give the pen a rest by turning to read, and relieve the tedium of reading by changes of subject. However manifold our activities, in a certain sense we come fresh to each new subject.
Who can maintain his attention, if he has to listen for a whole day to one teacher harping on the same subject, be it what it may? Change of studies is
If my critics disagree, let them provide me with an alternative method. Are we first to deliver ourselves up to the sole service of the teacher of literature, and then similarly to the teacher of geometry, neglecting under the latter what was taught us by the former? And then are we to go on to the musician, forgetting all that we learned before? And when we study Latin literature, are we to do so to the exclusion of Greek? In fine, to have done with the matter once and for all, are we to do nothing except that which last comes to our hand?
On this principle, why not advise farmers not to cultivate corn, vines, olives and orchard trees at the same time? or from devoting themselves simultaneously to pastures, cattle, gardens, bees and poultry? Why do we ourselves daily allot some of our time to the business of the courts, some to the demands of our friends, some to our domestic affairs, some to the exercise of the body, and some even to our pleasures? Any one of these occupations, if pursued without interruption, would fatigue us. So much easier is it to do many things than to do one thing for a long time continuously.
We need have no fear at any rate that boys will find their work too exhausting: there is no age more capable of enduring fatigue. The fact may be surprising, but it can be proved by experiment. For the mind is all the easier to teach before it is set.
This may be clearly proved by the fact that within two years after a child has begun to form words correctly, he can speak practically all without any pressure from outside. On the other hand how many years
he started young!Moreover boys stand the strain of work better than young men.
Just as small children suffer less damage from their frequent falls, from their crawling on hands and knees and, a little later, from their incessant play and their running about from morn till eve, because they are so light in weight and have so little to carry, even so their minds are less susceptible of fatigue, because their activity calls for less effort and application to study demands no exertion of their own, since they are merely so much plastic material to be moulded by the teacher.
And further owing to the general pliability of childhood, they follow their instructors with greater simplicity and without attempting to measure their own progress: for as yet they do not even appreciate the nature of their work. Finally, as I have often noticed, the senses are less affected by mere hard work than they are by hard thinking.
Moreover there will never be more time for such studies, since at this age all progress is made through listening to the teacher. Later when the boy has to write by himself, or to produce and compose something out of his own head, he will neither have the time nor the inclination for the exercises which we have been discussing.