Institutio Oratoria

But the

They are, too, more careful about dramatic structure than the majority of moderns, who regard epigram as the sole merit of every kind of literary work. For purity at any rate and manliness, if I may say so, we must certainly go to these writers, since to-day even our style of speaking is infected with all the faults of modern decadence.

Finally we may derive confidence from the practice of the greatest orators of drawing upon the early poets to support their arguments or adorn their eloquence.

For we find, more especially in the pages of Cicero, but frequently in Asinius and other orators of that period, quotations from Ennius, Accius, Pacuvius, Lucilius, Terence, Caecilius and others, inserted not merely to show the speaker's learning, but to please his hearers as well, since the charms of poetry provide a pleasant relief from the severity of forensic eloquence.

Such quotations have the additional advantage of helping the speaker's case, for the orator makes use of the sentiments expressed by the poet as evidence in support of his own statements. But while my earlier remarks have special application to the education of boys, those which I have just made

In lecturing the teacher of literature must give attention to minor points as well: he will ask his class after analysing a verse to give him the parts of speech and the peculiar features of the feet which it contains: these latter should be so familiar in poetry as to make their presence desired even in the prose of oratory. He will point out what words are barbarous, what improperly used, and what are contrary to the laws of language.

He will not do this by way of censuring the poets for such peculiarities, for poets are usually the servants of their metres and are allowed such licence that faults are given other names when they occur in poetry: for we style them metaplasms, [*]( The formation of cases of nouns and tenses of verbs from a non-existent nom. or pres.: or more generally any change in the forms of a word. ) schematisms and schemata, [*](schematismus and schemata both seem to mean the same, sc. figures. ) as I have said, and make a virtue of necessity. Their aim will rather be to familiarise the pupil with the artifices of style and to stimulate his memory.

Further in the elementary stages of such instruction it will not be unprofitable to show the different meanings which may be given to each word. With regard to glossemala, that is to say words not in common use, the teacher must exercise no ordinary diligence,

while still greater care is required in teaching all the tropes [*](See Book VIII. chap. vi.) which are employed for the adornment more especially of poetry, but of oratory as well, and in making his class acquainted with the two sorts of schemata or figures known as figures of speech and figures of thought. [*]( See Book chaps. i. and ii. A trope is an expression used in a sense which it cannot strictly bear. A figure is a form of speech differing from the ordinary method of expression; see IX i. 4. ) I shall however

Above all he will impress upon their minds the value of proper arrangement, and of graceful treatment of the matter in hand: he will show what is appropriate to the various characters, what is praiseworthy in the thoughts or words, where copious diction is to be commended and where restraint.

In addition to this he will explain the various stories that occur: this must be done with care, but should not be encumbered with superfluous detail. For it is sufficient to set forth the version which is generally received or at any rate rests upon good authority. But to ferret out everything that has ever been said on the subject even by the most worthless of writers is a sign of tiresome pedantry or empty ostentation, and results in delaying and swamping the mind when it would be better employed on other themes.

The man who pores over every page even though it be wholly unworthy of reading, is capable of devoting his attention to the investigation of old wives' tales. And yet the commentaries of teachers of literature are full of such encumbrances to learning and strangely unfamiliar to their own authors.

It is, for instance, recorded that Didymus, who was unsurpassed for the number of books which he wrote, on one occasion objected to some story as being absurd, whereupon one of his own books was produced which contained the story in question.

Such abuses occur chiefly in connexion with fabulous stories and are sometimes carried to ludicrous or even scandalous extremes: for in such cases the more unscrupulous commentator has such full scope for invention, that he can tell lies

IX. I have now finished with two of the departments, with which teachers of literature profess to deal, namely the art of speaking correctly and the interpretation of authors; the former they call nethodicē, the latter historiē We must however add to their activities instruction in certain rudiments of oratory for the benefit of those who are not yet ripe for the schools of rhetoric.

Their pupils should learn to paraphrase Aesop's fables, the natural successors of the fairy stories of the nursery, in simple and restrained language and subsequently to set down this paraphrase in writing with the same simplicity of style: they should begin by analysing each verse, then give its meaning in different language, and finally proceed to a freer paraphrase in which they will be permitted now to abridge and now to embellish the original, so far as this may be done without losing the poet's meaning.

This is no easy task even for the expert instructor, and the pupil who handles it successfully will be capable of learning everything. He should also be set to write aphorisms, moral essays (chriae ) and delineations of character (ethologiae ), [*]( The meaning of ethologia is doubtful, but probably means a simple character-sketch of some famous man. ) of which the teacher will first give the general scheme, since such themes will be drawn from their reading. In all of these exercises the general idea is the same, but the form differs: aphorisms are general propositions, while ethologiae

. Of moral essays there are various forms: some are akin to aphorisms and commence with a simple statement

he said

he used to say

on being asked

in answer to this he replied,

when someone has said or done something.

take for example the statement

Crates on seeing an ill-educated boy, beat his paedagogus,

Milo, having accustomed himself to carrying a calf every day, ended by carrying it when grown to a bull.

Short stories from the poets should in my opinion be handled not with a view to style but as a means of increasing knowledge. Other more serious and ambitious tasks have been also imposed on teachers of literature by the fact that Latin rhetoricians will have nothing to do with them: Greek rhetoricians have a better comprehension of the extent and nature of the tasks placed on their shoulders.