Institutio Oratoria

Quintilian

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

For since the case turns on the propounding and refutation of arguments, it is always possible to write out what we propose to advance on our own behalf, and similar preparation is also possible with regard to the refutation of such replies as are absolutely certain to be made by our adversary: for there are times when we have this certainty. But with regard to all other portions of our speech, the only preparation that is possible in advance consists in a thorough knowledge of our case, while there is a second precaution which may be taken in court, consisting in giving our best attention to our opponent's speech.

On the other hand, there is much that may be thought out in advance and we may forearm our mind against all possible emergencies, a course which is far safer than writing, since a train of thought can easily be

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abandoned or diverted in a new direction. But whether we have to improvise a reply, or are obliged to speak extempore by some other reason, the orator on whom training, study and practice have conferred the gift of facility, will never regard himself as lost or taken at hopeless disadvantage.

He stands armed for battle, ever ready for the fray, and his eloquence will no more fail him in the courts than speech will fail him in domestic affairs and the daily concerns of life: and he will never shirk his burden for fear of failing to find words, provided he has time to study his case: for all other knowledge will always be his at command.

The question of the

kind of style

to be adopted remains to be discussed. This was described in my original division [*](II. xiv. 5.) of my subject as forming its third portion: for I promised that I would speak of the art, the artist and the work. But since oratory is the work both of rhetoric and of the orator, and since it has many forms, as I shall show, the art and the artist are involved in the consideration of all these forms. But they differ greatly from one another, and not merely in species, as statue differs from statue, picture from picture and speech from speech, but in genus as well, as, for example, Etruscan statues differ from Greek and Asiatic orators from Attic.