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 with regard to those passages to which we give the name of reflexions, [*]( For this ever-recurring technical term there is no adequate translation. It means a reflexion coached in aphoristic or epigrammatic form. ) a form of ornament which was not employed by the ancients and, above all, not by the Greeks, although I do find it in Cicero, who can deny their usefulness, provided they are relevant to the case, are not too diffuse and contribute to our success? For they strike the mind and often produce a decisive effect by one single blow, while their very brevity makes them cling to the memory, and the pleasure which they produce has the force of persuasion.

There are, however, some who, while allowing the actual delivery of such specially brilliant forms of ornament, think that they should be excluded from the written speech. Consequently I must not dismiss even this topic without a word of discussion. For a number of learned authorities

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have held that the written and the spoken speech stand on different footings, and that consequently some of the most eloquent of speakers have left nothing for posterity to read in durable literary form, as, for example, is the case with Pericles and Decades Again, they urge that there have been authors, like Isocrates, who, while admirable writers, were not well-fitted for actual speaking;

and, further, that actual pleading is characterised by a greater energy and by the employment, almost verging on license, of every artifice designed to please, since the minds of an uneducated audience require to be moved and led. On the other hand, the written speech with is published as a model of style must be polished and filed and brought into conformity with the accepted rules and standards of artistic construction, since it will come into the hands of learned men and its art will be judged by artists.

These subtle teachers (for such they have persuaded themselves and others that they are) have laid it down that the παράδειγμα [*](Sec v. xi. 1. Parallels and especially historical ones.) is best suited for actual speech and the ἐνθύμημα [*]( See v. xiv. 1 sqq. A form of syllogism. ) for writing. My own view is that there is absolutely no difference between writing well and speaking well, and that a written speech is merely a record of one that has actually been delivered. Consequently it must in my opinion possess every kind of merit, and note that I say merit, not fault. For I know that faults do sometimes meet with the approval of the uneducated.

What, then, will be the difference between what is written and what is spoken? If I were given a jury of wise men, I should cut down a large number of passages from the speeches not only of Cicero, but even of Demosthenes, who is much more concise.

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For with such a jury there would be no need to appeal to the emotions nor to charm and soothe the ears, since according to Aristotle [*](Rhet. iii. 13. ) even exordia are superfluous, if addressed to such persons, as they will have no influence upon judges who are truly wise: it will be sufficient to state the facts with precision and significance and to marshal our array of proofs.

Since, however, our judges are the people, or drawn from the people, and since those who are appointed to give sentence are frequently ill-educated and sometimes mere rustics, it becomes necessary to employ every method that we think likely to assist our case, and these artifices must not merely be produced in speech, but exhibited in the written version as well, at least if in writing it our design is to show how it should be spoken.