Institutio Oratoria

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