Institutio Oratoria

Quintilian

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

VII. I will begin with the class of causes which are concerned with praise and blame. This class appears to have been entirely divorced by Aristotle, [*](Rhet. 1358 b. 2. ) and following him by Theophrastus, from the practical side of oratory (which they call πραγματικῇ, ) and to have been reserved solely for the delectation of audiences, which indeed is shown to be its peculiar function by its name, which implies display. [*](sc.ἐπιδεικτική.)

Roman usage on the other hand has given it a place in the practical tasks of life. For funeral orations are often imposed as a duty on persons holding public office, or entrusted to magistrates by decree of the senate. Again the award of praise or blame to a witness may carry weight in the courts, while it is also a recognised practice to produce persons to praise the character of the accused. Further the published speeches of Cicero directed against his rivals in the election to the consulship, [*]( The speech was known as in Toga Candida. Only fragments survive. ) and against Lucius Piso, Clodius and Curio, [*]( The in Pisonem survives, the in Clodium et Curionem, to which he refers again (v. x. 92), is lost. ) are full of denunciation, and were notwithstanding delivered in the senate as formal expressions of opinion in the course of debate.

I do not deny that some compositions of this kind are composed solely with a view to display, as, for instance, panegyrics of gods and heroes of the past, a consideration which provides the solution of a question which I discussed a little while back, [*](III. v. 3.) and proves that those are wrong who hold that an orator will never speak on a subject unless it involves some problem.

But what problem is involved by the praise of Jupiter Capitolinus, a stock theme of the sacred Capitoline contest, [*]( The quinquennial contest in honour of Jupiter Capitolinus, founded by Domitian in 86. ) which is undoubtedly treated in regular rhetorical form?

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However, just as panegyric applied to practical matters requires proof, so too a certain semblance of proof is at times required by speeches composed entirely for display.

For instance, a speaker who tells how Romulus was the son of Mars and reared by the she-wolf, will offer as proofs of his divine origin the facts that when thrown into a running stream he escaped drowning, that all his achievements were such as to make it credible that he was the offspring of the god of battles, and that his contemporaries unquestionably believed that he was translated to heaven.

Some arguments will even wear a certain semblance of defence: for example, if the orator is speaking in praise of Hercules, he will find excuses for his hero having changed raiment with the Queen of Lydia and submitted to the tasks which legend tells us she imposed upon him. The proper function however of panegyric is to amplify and embellish its themes. This form of oratory is directed in the main to the praise of gods and men, but may occasionally be applied to the praise of animals or even of inanimate objects.

In praising the gods our first step will be to express our veneration of the majesty of their nature in general terms. next we shall proceed to praise the special power of the individual god and the discoveries whereby he has benefited the human race.

For example, in the case of Jupiter, we shall extol his power as manifested in the governance of all things, with Mars we shall praise his power in war, with Neptune his power over the sea; as regards inventions we shall celebrate Minerva's discovery of the arts, Mercury's discovery of letters, Apollo's of medicine, Ceres' of the fruits of the earth, Bacchus'

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of wine. Next we must record their exploits as handed down from antiquity. Even gods may derive honour from their descent, as for instance is the case with the sons of Jupiter, or from their antiquity, as in the case of the children of Chaos, or from their offspring, as in the case of Latona, the mother of Apollo and Diana.

Some again may be praised because they were born immortal, others because they won immortality by their valour, a theme which the piety of our sovereign has made the glory even of these present times. [*](sc. by Donitian's deification of his father Vespasian and his brother Titus. )

There is greater variety required in the praise of men. In the first place there is a distinction to be made as regards time between the period in which the objects of our praise lived and the time preceding their birth; and further, in the case of the dead, we must also distinguish the period following their death. With regard to things preceding a man's birth, there are his country, his parents and his ancestors, a theme which may be handled in two ways. For either it will be creditable to the objects of our praise not to have fallen short of the fair fame of their country and of their sires or to have ennobled a humble origin by the glory of their achievements.