Institutio Oratoria

but merely tame and redundant, it must be regarded as a fault. There is also a fault entitled περιεργία, which I may perhaps translate by superfluous elaboration, which differs from its corresponding virtue much as fussiness differs from industry, and superstition from religion. Finally, every word which neither helps the sense nor the style may be regarded as faulty.

Cacozelia, or perverse affectation, is a fault in every kind of style: for it includes all that is turgid, trivial, luscious, redundant, far-fetched or extravagant, while the same name is also applied to virtues

This form of affectation, however, affects style alone. For the employment of arguments which might equally well be advanced by the other side, or are foolish, inconsistent or superfluous, are all faults of matter, whereas corruption of style is revealed in the employment of improper or redundant words, in obscurity of meaning, effeminacy of rhythm, or in the childish search for similar or ambiguous expressions.

Further, it always involves insincerity, even though all insincerity does not imply affectation. For it consists in saying something in an unnatural or unbecoming or superfluous manner. Style may, however, be corrupted in precisely the same number of ways that it may be adorned. But I have discussed this subject at greater length in another work, [*]( The lost De causis corruptae eloquentiae. ) and have frequently called attention to it in this, while I shall have occasion to mention it continually in the remaining books. For in dealing with ornament, I shall occasionally speak of faults which have to be avoided, but which are hard to distinguish from virtues.

To these blemishes may be added faulty arrangement or ἀνοικονόμητον, the faulty use of figures or ἀσχημάτιστον, and the faulty collocation of words or κακοσύνθετον. But, as I have already discussed arrangement, I will confine myself to the consideration of figures and structure. There is also a fault known as Σαρδισμὸς, which consists in the indiscriminate use of several different dialects, as, for instance, would result from mixing Doric, Ionic, and

A similar fault is found amongst ourselves, consisting in the indiscriminate mixture of grand words with mean, old with new, and poetic with colloquial, the result being a monstrous medley like that described by Horace in the opening portion of his Ars poetica, [*](A. P. I.)

1. If a painter choose
2. To place a man's head on a horse's neck,

The ornate is something that goes beyond what is merely lucid and acceptable. It consists firstly in forming a clear conception of what we wish to say, secondly in giving this adequate expression, and thirdly in lending it additional brilliance, a process which may correctly be termed embellishment. Consequently we must place among ornaments that ἐνάργεια which I mentioned in the rules which I laid down for the statement of facts, [*]( ii. 63. ) because vivid illustration, or, as some prefer to call it, representation, is something more than mere clearness, since the latter merely lets itself be seen, whereas the former thrusts itself upon our notice.

It is a great gift to be able to set forth the facts on which we are speaking clearly and vividly. For oratory fails of its full effect, and does not assert itself as it should, if its appeal is merely to the hearing, and if the judge merely feels that the facts on which he has to give his decision are being narrated to him, and not displayed in their living truth to the eyes of the mind.

But since different views have been held with regard to this art of representation, I shall not attempt to divide it into

1. Forthwith each hero tiptoe stood erect. [*](Aen. v. 426. )

Cicero is supreme in this department, as in others. Is there anybody so incapable of forming a mental picture of a scene that, when he reads the following passage from the Verrines, [*](v. xxxiii. 86.) he does not seem not merely to see the actors in the scene, the place itself and their very dress, but even to imagine to himself other details that the orator does not describe?

There on the shore stood the praetor, the representative of the Roman people, with slippered feet, robed in a purple cloak, a tunic streaming to his heels, and leaning on the arm of this worthless woman.

For my own part, I seem to see before my eyes his face, his eyes, the unseemly blandishments of himself and his paramour, the silent loathing and frightened shame of those who viewed the scene.

At times, again, the picture which we endeavour to present is fuller in detail, as, for example, in the following description of a luxurious banquet, which is also from Cicero, [*]( From the lost pro Gallio. ) since he by himself is capable of supplying admirable examples of every kind of oratorical ornament:

I seemed to see some entering, some leaving the room,

v7-9 p.249

some reeling under the influence of the wine, others yawning with yesterday's potations. The floor was foul with wine-smears, covered with wreaths half-withered and littered with fishbones.

What more would any man have seen who had actually entered the room? So, too, we may move our hearers to tears by the picture of a captured town. For the mere statement that the town was stormed, while no doubt it embraces all that such a calamity involves, has all the curtness of a dispatch, and fails to penetrate to the emotions of the hearer.

But if we expand all that the one word

stormed

Then will come the pillage of treasure sacred and profane, the hurrying to and fro of the plunderers as they carry off their booty or return to seek for more, the prisoners driven each before his own inhuman captor, the mother struggling to keep her child, and the victors fighting over the richest of the spoil. For though, as I have already said, the sack of a city includes all these things, it is less effective to tell the whole news at once than to recount it detail by detail.

And we shall secure the vividness we seek, if only our descriptions give the impression of truth, nay, we may even add fictitious incidents of the type which commonly occur. The same vivid impression may be produced

1. Chill shudderings shake my limbs
2. And all my blood is curdled cold with fear;

Aen. iii. 29

1. And trembling mothers clasped
2. Their children to their breast.

Aen. vii. 518.

in my opinion, the highest of all oratorical gifts, it is far from difficult of attainment. Fix your eyes on nature and follow her. All eloquence is concerned with the activities of life, while every man applies to himself what he hears from others, and the mind is always readiest to accept what it recognises to be true to nature.

The invention of similes has also provided an admirable means of illuminating our descriptions. Some of these are designed for insertion among our arguments to help our proof, while others are devised to make our pictures yet more vivid; it is with this latter class of simile that I am now specially concerned. The following are good examples:—

1. Thence like fierce wolves beneath the cloud of night,

Aen. ii. 355.

1. Like the bird that flies
2. Around the shore and the fish-haunted reef,
3. Skimming the deep.

Aen. iv. 254.

In employing this form of ornament we must be especially careful that the subject chosen for our simile is neither obscure nor unfamiliar: for anything that is selected for the purpose of illuminating

1. As when Apollo wintry Lycia leaves,
2. And Xanthus' streams, or visits Delos' isle,
3. His mother's home,

Aen. iv. 143.

But even the type of simile which I discussed in connexion with arguments [*]( xi. 22. ) is an ornament to oratory, and serves to make it sublime, rich, attractive or striking, as the case may be. For the more remote the simile is from the subject to which it is applied, the greater will be the impression of novelty and the unexpected which it produces.