Institutio Oratoria

But in the results that the orator obtains by writing speeches or historical narratives, which we may reasonably count as part of the task of oratory, we shall recognise features resembling those of a productive art. Still, if rhetoric is to be regarded as one of these three classes of art, since it is with action that its

I quite realise that there is a further question as to whether eloquence derives most from nature or from education. This question really lies outside the scope of our inquiry, since the ideal orator must necessarily be the result of a blend of both. But I do regard it as of great importance that we should decide how far there is any real question on this point.

For if we make an absolute divorce between the two, nature will still be able to accomplish much without the aid of education, while the latter is valueless without the aid of nature. If, on the other hand, they are blended in equal proportions, I think we shall find that the average orator owes most to nature, while the perfect orator owes more to education. We may take a parallel from agriculture. A thoroughly barren soil will not be improved even by the best cultivation, while good land will yield some useful produce without any cultivation; but in the case of really rich land cultivation will do more for it than its own natural fertility.

Had Praxiteles attempted to carve a statue out of a millstone, I should have preferred a rough block of Parian marble to any such statue. On the other hand, if the same artist had produced a finished statue from such a block of Parian marble, its artistic value would owe more to his skill than to the material. To conclude, nature is the raw material for education: the one forms, the other is formed. Without material art can do nothing, material without art does possess a certain value, while the perfection of art is better than the best material.

More important is the question whether rhetoric is to be regarded as one of the indifferent arts, which in themselves deserve neither praise nor blame, but are useful or the reverse according to the character of the artist; or whether it should, as not a few even among philosophers hold, be considered as a virtue.