Institutio Oratoria

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?

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.