Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
What if you should instruct a general, as often as he marshals his troops for battle, to draw up his front in line, advance his wings to left and right, and station his cavalry to protect his flank? This will perhaps be the best plan, if circumstances allow. But it may have to be modified owing to the nature of the ground, if, for instance, he is confronted by a mountain, if a river bars his advance, or his movements are hampered by hills, woods or broken country.
Or again it may be modified by the character of the enemy or the nature of the crisis by which he is faced. On one occasion he will fight in line, on another in column, on one he will use his auxiliary troops, on another his legionaries; while occasionally a feint of flight may win the day. So, too, with the rules of oratory.
Is the exordium necessary or superfluous? should it be long or short? addressed entirely to the judge or sometimes directed to some other quarter by the employment of some figure of speech? [*](i.e. by the figure known as apostrophe, in which the orator diverts his speech from the judge to some other person: see IX. ii. 38. ) Should the statement of facts be concise or developed at some length? continuous or divided into sections? and should it follow the actual or an artificial order of events? The orator will find the answers to all these questions in the circumstances of the case. So, too, with the order in which questions should be discussed,
while their opponents would be best suited by another. For these rules have not the formal authority of laws or decrees of the plebs, but are, with all they contain, the children of expediency.
I will not deny that it is generally expedient to conform to such rules, otherwise I should not be writing now; but if our friend expediency suggests some other course to us, why, we shall disregard the authority of the professors and follow her.
For my part above all things
that in all his pleadings the orator should keep two things constantly in view, what is becoming and what is expedient. But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied.Verg. Aen. iii. 436.
- This I enjoin and urge and urge anew
The body when held bolt upright has but little grace, for the face looks straight forward, the arms hang by the side, the feet are joined and the whole figure is stiff from top to toe. But that curve, I might almost call it motion, with which we are so familiar, gives an impression of action and animation. So, too, the hands will not always be represented in the same position, and the variety given to the expression will be infinite.
Some figures are represented as running or rushing forward, others sit or recline, some are nude, others clothed, while some again are half-dressed, half-naked. Where can we find a more violent and elaborate attitude than that of the Discobolus of Myron? Yet the critic who
A similar impression of grace and charm is produced by rhetorical figures, whether they be figures of thought or figures of speech. For they involve a certain departure from the straight line and have the merit of variation from the ordinary usage.
In a picture the full face is most attractive. But Apelles painted Antigonus in profile, to conceal the blemish caused by the loss of one eye. So, too, in speaking, there are certain things which have to be concealed, either because they ought not to be disclosed or because they cannot be expressed as they deserve.
Timanthes, who was, I think, a native of Cythnus, provides an example of this in the picture with which he won the victory over Colotes of Teos. It represented the sacrifice of Iphigenia, and the artist had depicted an expression of grief on the face of Calchas and of still greater grief on that of Ulysses, while he had given Menelaus an agony of sorrow beyond which his art could not go. Having exhausted his powers of emotional expression he was at a loss to portray the father's face as it deserved, and solved the problem by veiling his head and leaving his sorrow to the imagination of the spectator.
Sallust [*](Jug. xix. ) did something similar when he wrote
I think it better to say nothing of Carthage rather than say too little.It has always, therefore, been my custom not to tie myself down to universal or general rules (this being the nearest equivalent I can find for the Greek catholic rules ). For rules are rarely of such a kind that their validity cannot be shaken and overthrown in some
But I must reserve each of these points for fuller treatment in its proper place. For the present I will only say that I do not want young men to think their education complete when they have mastered one of the small text-books of which so many are in circulation, or to ascribe a talismanic value to the arbitrary decrees of theorists. the art of speaking can only be attained by hard work and assiduity of study, by a variety of exercises and repeated trial, the highest prudence and unfailing quickness of judgement.
But rules are helpful all the same so long as they indicate the direct road and do not restrict us absolutely to the ruts made by others. For he who thinks it an unpardonable sin to leave the old, old track, must be content to move at much the same speed as a tight-rope walker. Thus, for example, we often leave a paved military road to take a short cut or, finding that the direct route is impossible owing to floods having broken down the bridges, are forced to make a circuit, while if our house is on fire and flames bar the way to the front door, we make our escape by breaking through a party wall.
The orator's task covers a large ground, is extremely varied and develops some new aspect almost every day, so that the last word on the subject will never have been said. I shall however try to set forth the traditional rules and to point out their best features, mentioning the changes, additions and subtractions which seem desirable.
Rhetoric is a Greek term which has been translated into Latin by oratoria or oratrix. I would not for the world deprive the translators of the praise which is their due for attempting to increase the vocabulary of our native tongue; but translations
And the translations in question are fully as harsh as the essentia and queentia [*](sc. essence and possibility. ) of Plautus, [*]( A Stoic. cp. x. i. 124. ) and have not even the merit of being exact. For oratoria is formed like elocutoria and oratrix like elocutrix, whereas the rhetoric with which we are concerned is rather to be identified with eloquentia, and the word is undoubtedly used in two senses by the Greeks.
In the one case it is an adjective i.e. ars rhetorica, the rhetorical art, like piratic in the phrase nauis piratica, in the other it is a noun like philosophy or friendship. It is as a substantive that we require it here; now the correct translation of the Greek grammatice is litteratura not litteratrix or litteratoria, which would be the forms analogous to oratrix and oratoria. But in the case of
rhetoricthere is no similar Latin equivalent.
It is best therefore not to quarrel about it, more especially as we have to use Greek terms in many other cases. For I may at least use the words philosophus, musicus and geometres without outraging them by changing them into clumsy Latin equivalents. Finally, since Cicero gave a Greek title [*](See § 6 of next chapter.) to the earlier works which he wrote on this subject, I may without fear of rashness accept the great orator as sufficient authority for the name of the art which he professed.
To resume, then, rhetoric (for I shall now use the name without fear of captious criticism) is in my opinion best treated under the three following heads, the art, the artist and the work. The art is that which we should acquire by study, and is the art of