Institutio Oratoria

Quintilian

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

I shall now proceed to indicate what I think should be the first subjects in which the rhetorician should give instruction, and shall postpone for a time our consideration of the art of rhetoric in the narrow sense in which that term is popularly used. For in my opinion it is most desirable that we should commence with something resembling the subjects already acquired under the teacher of literature.

Now there are three forms of narrative, without counting the type used in actual legal cases. First there is the fictitious narrative as we get it in tragedies and poems, which is not merely not true but has little resemblance to truth. [*]( With special reference to the element of the miraculous. Ovid's Metamorphoses would give a good example. ) Secondly, there is the realistic narrative as presented by comedies, which, though not true, has yet a certain verisimilitude. Thirdly there is the historical narrative, which is an exposition of actual fact. Poetic narratives are the property of the teacher of literature. The rhetorician therefore should begin with the historical narrative, whose force is in proportion to its truth.

I will, however, postpone my demonstration of what I regard as the best method of narration till I come to deal with narration as required in the courts. [*](Book IV. chap. ii.) In the meantime, it will be sufficient to urge that it should be neither dry nor jejune (for why spend so much labour over our studies if a bald and naked statement of fact is regarded as sufficiently expressive?); nor on the other hand must it be tortuous or revel in elaborate descriptions, such as those in which so many are led to indulge by a misguided imitation of poetic licence.

Both these extremes are faults; but that which springs from poverty of wit is worse than that which is due

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to imaginative excess. For we cannot demand or expect a perfect style from boys. But there is greater promise in a certain luxuriance of mind, in ambitious effort and an ardour that leads at times to ideas bordering on the extravagant.

I have no objection to a little exuberance in the young learner. Nay, I would urge teachers too like nurses to be careful to provide softer food for still undeveloped minds and to suffer them to take their fill of the milk of the more attractive studies. For the time being the body may be somewhat plump, but maturer years will reduce it to a sparer habit.

Such plumpness gives hope of strength; a child fully formed in every limb is likely to grow up a puny weakling. The young should be more daring and inventive and should rejoice in their inventions, even though correctness and severity are still to be acquired. Exuberance is easily remedied, but barrenness is incurable, be your efforts what they may.

To my mind the boy who gives least promise is one in whom the critical faculty develops in advance of the imagination. I like to see the first fruits of the mind copious to excess and almost extravagant in their profusion. The years as they pass will skim off much of the froth, reason will file away many excrescences, and something too will be removed by what I may perhaps call the wear and tear of life, so long as there is sufficient material to admit of cutting and chiselling away. And there will be sufficient, if only we do not draw the plate too thin to begin with, so that it runs the risk of being broken if the graver cut too deep.

Those of my readers who know their Cicero will not be surprised

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that I take this view: for does he not say
I would have the youthful mind run riot in the luxuriance of its growth
? [*](de Or. i. xxi. 88. ) We must, therefore, take especial care, above all where boys are concerned, to avoid a dry teacher, even as we avoid a dry and arid soil for plants that are still young and tender.

For with such a teacher their growth is stunted and their eyes are turned earthwards, and they are afraid to rise above the level of daily speech. Their leanness is regarded as a sign of health and their weakness as a sign of sound judgment, and while they are content that their work should be devoid of faults they fall into the fault of being devoid of merit. So let not the ripeness of vintage come too soon nor the must turn harsh while yet in the vat; thus it will last for years and mellow with age.

It is worth while too to warn the teacher that undue severity in correcting faults is liable at times to discourage a boy's mind from effort. He loses hope and gives way to vexation, then last of all comes to hate his work and fearing everything attempts nothing.

This phenomenon is familiar to farmers, who hold that the pruning-hook should not be applied while the leaves are yet young, for they seem to

shrink from the steel
[*](cp. Verg. G. ii. 369, ante reformidat ferrum. ) and to be unable as yet to endure a scar.

The instructor therefore should be as kindly as possible at this stage; remedies, which are harsh by nature, must be applied with a gentle hand: some portions of the work must be praised, others tolerated and others altered: the reason for the alterations should however be given, and in some cases the master will illumine an obscure passage by inserting something of his own.

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Occasionally again the teacher will find it useful to dictate whole themes himself that the boy may imitate them and for the time being love them as if they were his own.

But if a boy's composition is so careless as not to admit of correction, I have found it useful to give a fresh exposition of the theme and to tell him to write it again, pointing out that he was capable of doing better: for there is nothing like hope for making study a pleasure.

Different ages however demand different methods: the task set and the standard of correction must be proportioned to the pupil's strength. When boys ventured on something that was too daring or exuberant, I used to say to them that I approved of it for the moment, but that the time would come when I should no longer tolerate such a style. The result was that the consciousness of ability filled them with pleasure, without blinding their judgment.

However, to return to the point from which I had digressed. Written narratives should be composed with the utmost care. It is useful at first, when a child has just begun to speak, to make him repeat what he has heard with a view to improving his powers of speech; and for the same purpose, and with good reason, I would make him tell his story from the end back to the beginning or start in the middle and go backwards or forwards, but only so long as he is at his teacher's knee and while he is incapable of greater effort and is beginning to connect words and things, thereby strengthening the memory. Even so when he is beginning to understand the nature of correct and accurate speech, extempore effusions, improvised without waiting for thought to supply the matter or a moment's

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hesitation before rising to the feet, must not be permitted: they proceed from a passion for display that would do credit to a common mountebank.

Such proceedings fill ignorant parents with senseless pride, while the boys themselves lose all respect for their work, adopt a conceited bearing, and acquire the habit of speaking in the worst style and actually practising their faults, while they develop an arrogant conviction of their own talents which often proves fatal even to the most genuine proficiency.

There will be a special time for acquiring fluency of speech and I shall not pass the subject by unnoticed. For the meantime it will suffice if a boy, by dint of taking pains and working as hard as his age will permit, manages to produce something worthy of approval. Let him get used to this until it becomes a second nature. It is only he who learns to speak correctly before he can speak with rapidity who will reach the heights that are our goal or the levels immediately below them.

To narratives is annexed the task of refuting and confirming them, styled anaskeue and kataskeue, from which no little advantage may be derived. This may be done not merely in connexion with fiction and stories transmitted by the poets, but with the actual records of history as well. For instance we may discuss the credibility of the story that a raven settled on the head of Valerius in the midst of a combat and with its wings and beak struck the eyes of the Gaul who was his adversary, and a quantity of arguments may be produced on either side:

or we may discuss the tradition that Scipio [*](See Aul. Gell. VII. i.) was begotten by a serpent, or that Romulus was suckled by the she-wolf, or the story of Numa and Egeria. As regards Greek history, it allows itself something very like poetic

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licence. Again the time and place of some particular occurrence and sometimes even the persons concerned often provide matter for discussion: Livy for instance is frequently in doubt as to what actually occurred and historians often disagree.

From this our pupil will begin to proceed to more important themes, such as the praise of famous men and the denunciation of the wicked. Such tasks are profitable in more than one respect. The mind is exercised by the variety and multiplicity of the subject matter, while the character is moulded by the contemplation of virtue and vice. Further wide knowledge of facts is thus acquired, from which examples may be drawn if circumstances so demand, such illustrations being of the utmost value in every kind of case.