Harleian MS. 2664. 149 v.
(See Introd. p. lxiv.)
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Institutiones Oratoriae, Liber Decimus: text only
Contents, with explanation of e-text arrangement
This volume has grown in my hands during the last eighteen months. If I had contented myself with a short commentary, it might have appeared sooner and in a slighter form. But in addition to the full and careful illustration required for the matter of Quintilian’s Tenth Book, the criticism of the text has become so important as to call for separate treatment. It has engaged, within recent years, a large share of the attention of some of the foremost scholars on the Continent. Even while this volume was passing through the press, fresh evidence of their continued activity was received in the shape of two valuable papers—an article by Moriz Kiderlin in one of the current numbers of the Rheinisches Museum, and Becher’s ‘Zum zehnten Buch des Quintilianus’ in the Programm des Königlichen Gymnasiums zu Aurich for Easter, 1891. The latter I have found especially interesting, as confirming many of the conclusions at which, with the help of one of the manuscripts in the British Museum (Harl. 4995), I had arrived in regard to textual difficulties.
The importance ascribed to another English codex (Harl. 2664) will, I venture to think, be held to be justified by the account of it given in the Introduction. After I had examined it for myself, a collation of it was kindly put at my disposal by Mr. L. C. Purser, of Trinity College, Dublin, to whom I take this opportunity of rendering my best thanks. I am indebted also to M. Ch. Fierville, Censeur des études au Lycée Charlemagne, for sending me his collation of four important Paris manuscripts (Pratensis, Puteanus, 7231 and 7696), and also of the Spanish Salmantinus. As to the other codices which I have been at the trouble of collating personally, it will not be imagined that any mistaken estimate has been formed of their value. If some of them throw little fresh light on existing difficulties, they have each a bearing on the history of the constitution of the text; and it seemed desirable to complete, by some account of them, the elaborate description of the Manuscripts of Quintilian given by M. Fierville in his latest volume.
A reference to the list of authorities consulted will show the extent of the obligations incurred to other editors and critics. Kruger’s third edition has been especially useful. And though Professor Mayor’s commentary extends only to the fifty-sixth section of the first chapter, I trust I have profited by the example of scholarly thoroughness which he set me in the part of the work which he was able to overtake. His Analysis has also been largely followed.
For convenience of reference, a table of places has been added in which the text of this edition differs from that of Halm and of Meister. Special attention has been paid to the matter of punctuation, in regard to which German methods have not been adopted.
One or two of my own conjectural emendations I have presumed to insert in the text, and others are suggested in the Critical Notes. Perhaps the most important is sic dicere for the MS. inicere at 7 §29.
If my volume should strike any student as having been prepared on too elaborate a scale, I trust it will be remembered that Quintilian is a neglected author, for whom nothing has been done in this country (with the exception of Professor Mayor’s incomplete edition of the Tenth Book) since the beginning of the present century. Perhaps its publication may help to clear the way for a final issue of the whole text of the Institutio.
W. P.
Dundee, 26th June, 1891.
The Table of Contents shows the original arrangement of the book. Entries in italics were added by the transcriber. Note that the Introduction begins again at page i, duplicating the Preface page numbers.
| PAGE | ||
| Preface | v | |
| Introduction— | ||
| I. |
Life of Quintilian |
i |
| II. |
The Institutio Oratoria |
xiii |
| III. |
Quintilian’s Literary Criticism |
xxii |
| IV. |
Style and Language |
xxxix |
| V. |
Manuscripts |
lxviii |
|
Analysis of the Argument |
1 | |
| Text | 11 | |
| Chapter I | 11 | |
| Chapters II-VII | 122 | |
|
Critical Notes |
185 | |
|
Index of Names |
223 | |
|
Index of Matters |
225 | |
For this e-text some changes have been made; in all cases, the original page numbers will be seen in the right margin.
The “Analysis of the Argument,” originally printed between the Introduction and the Text, is given below, with links to the named sections.
The two Indexes, originally printed at the end of the book, follow the “Analysis” in this file. In addition, the files for Chapter I and Chapters II-VII each have their own Index, containing only internal references. All links lead to chapters and sections; page numbers are not used except for Index links to the Introduction.
Harleian MS. 2664. 149 v.
(See Introd. p. lxiv.)
§§ 1-4. The question whether a ready command of speech is best acquired by writing, or by reading, or by speaking, is of little practical importance, all three being indispensable. But what is theoretically most indispensable does not necessarily take first rank for the purpose of practical oratory. Speaking comes first: then imitation (§8 and ch. ii), including reading and hearing: lastly, writing (chs. iii-v). That is the order of development—not necessarily the order of importance. The early training of the orator has been overtaken in the first two books. We have now to deal, not with the theory of rhetoric, but with the best methods of applying theory to practice.
§§ 5-15. The necessary store of things and words can be obtained only by reading and hearing. We ought to read the best writings and hear the best orators. And much reading and hearing will not only furnish a stock of words: it will stimulate independent thought, and will show the student actual examples of the theoretical principles taught in the schools.
§§ 16-19. The comparative advantages of hearing and reading: the former more ‘catching,’ the latter more independent.
§§ 20-26. The best writers should be read first. Reading ought to be slow and searching, with careful attention (especially in the case of speeches) to details, followed by a review of the whole. We should also acquaint ourselves with the facts of the cases to which the speeches relate, and read those delivered on both sides. Other speeches on the same side should be read, if accessible. But even in studying a masterpiece our admiration must always be tempered with judgment: we cannot assume the perfection of every part. It is safer, however, to err on the side of appreciation: uncritical approbation is preferable to continual fault-finding.
§§ 27-30. The study of Poetry is important for the orator, as conferring a greater elevation of spirit and diction, besides serving as a pleasurable recreation. But poetry is not restrained by the practical aims of the orator, whose stage is a battle-field where he must ever strive for the mastery.
§§ 31-34. History, too, will furnish a rich and genial aliment, which should be used, however, with caution: its very excellences are often defects in the orator. It tells its story, and recalls the past; whereas the orator must address himself to immediate proof. Considered as a mine of ancient precedents, history is very useful; but this point of view is rather outside the scope of the present chapter.
§§ 35-36. Philosophy will give familiarity with the principles of ethics and dialectics, as well as skill in controversy. But here also we must bear in mind that the atmosphere of the lecture-room differs from that of the law-court.
§§ 37-42. In laying down a plan of reading it would be impossible to notice individually all the writers in both languages, though it may be said generally that almost all, whether old or new, are worth reading,—at least in part. There may be much that is valuable in relation to some branch of knowledge, but outside my present object, which is to recommend what is profitable for the formation of style.
§§ 43-46. Before proceeding to give a list of typical authors, a word must be said about the different opinions and tastes of orators and critics regarding the various schools and styles of eloquence. Some are prejudiced in favour of the old writers; others admire the affectation and refinement which characterise those of our own day. And even those who desire to follow the true standard of style differ among each other. The list now to be given contains only a selection of the best models: it does not profess to be exhaustive.
§§ 46-84. GREEK LITERATURE.
§§ 46-72. Greek Poetry.
§§ 46-61. Epic, didactic, pastoral, elegiac, iambic, and lyric poetry proper.
The praise of Homer, §§46-51: ‘it is much to understand, impossible to rival, his greatness.’ Hesiod is rich in moral maxims, and a master of the ‘middle style’: Antimachus, Panyasis, Apollonius, Aratus, Theocritus, and others, §§52-57. A word in passing about the elegiac poets, represented by Callimachus and Philetas, §58. Of iambographi the typical writer is Archilochus, §§59-60. The chief lyric poets are Pindar (§61), Stesichorus (§62), Alcaeus (§63), and Simonides (§64).
§§ 65-72. Dramatic poetry.
The Old Comedy (§§65-66) with its pure Attic diction and freedom of political criticism is more akin to oratory and more fitted to form the orator than any other class of poetry,—always excepting Homer.
Tragedy (§§67-68) is represented by Aeschylus, Sophocles, and Euripides: of the latter two Euripides is more useful for the orator. He was imitated by Menander (§§69-72), the ‘mirror of life,’ who might alone suffice to form the orator. Menander’s superiority to all other comic dramatists.
§§ 73-75. Greek Historians.
The pregnant brevity of Thucydides, the charm and transparency of Herodotus. Theopompus: Philistus (‘the little Thucydides’): Ephorus, and others.
§§ 76-80. Greek Orators.
Demosthenes the standard of eloquence, in whom there is nothing either too much or too little. Aeschines more diffuse: ‘more flesh, less muscle.’ Hyperides is pleasing, but more at home in less important causes. Lysias resembles a clear spring rather than a full river. Isocrates belongs to the gymnasium rather than to the field of battle: in arrangement punctilious to a fault. Demetrius of Phalerum the last Athenian worthy of the name of orator.
§§ 81-84. Greek Philosophers.
Both in respect of reasoning power and for beauty of style, Plato holds the first place. Of Xenophon’s artless charm it might be said that ‘Persuasion herself perched upon his lips.’ Aristotle is famous alike for knowledge, productiveness, grace of style, invention, and versatility. Theophrastus owed even his name to the divine splendour of his language. The Stoics were the champions of virtue, and showed their strength in defending their tenets: the grand style they did not affect.
§§85-131. ROMAN LITERATURE.
§§ 85-100. Roman Poetry.
§§ 85-92. Epic Poets.
Vergil must head the list, ranking nearer to Homer than any third poet does to him. For consistent and uniform excellence he may surpass even Homer, however little he may rival Homer’s best passages. Macer and Lucretius are worth reading, but not for style. Varro Atacinus has some merit as a translator, but will not add to an orator’s resources. Ennius is like some venerable grove, whose trees have more sanctity than beauty: there are others nearer our own day, and more useful for our special purpose. Ovid is uncontrolled even in his hexameters, and lets his fancy run away with him: yet admirable in parts. Cornelius Severus fell away from the standard of his first book. The youthful works of Serranus display great talent and a correct taste in style. We lately lost much in Valerius Flaccus. The inspiration of Saleius Bassus also failed to take on the mellowness of age. Rabirius and Pedo are worth reading in spare moments. Lucan has fire and point, and is a model for orators rather than for poets. Domitian I would name had not the care of the world prevented him from becoming our greatest poet. Even the compositions of his earlier days, after he had handed over the empire, are lofty, learned, and of surpassing excellence: ‘the poet’s ivy is entwined with the conquering bay.’
§§ 93-96. Elegy, Satire, iambic and lyric poetry.
In Elegy we can challenge the Greeks. The most polished and refined is, in my opinion, Tibullus; some prefer Propertius. Ovid is more uncontrolled than either, Gallus harsher. Satire is all our own. Lucilius is by some still preferred to all poets whatsoever. I deprecate such extravagant eulogy, as I disagree with the censure of Horace. Lucilius has learning, boldness, causticity, wit. Horace is the prince of satirists. Persius earned renown by a single book. Others still alive will have a name hereafter. Terentius Varro wrote saturae of the earlier kind. A profound scholar, antiquarian, and historian, he has made greater contributions to knowledge than to oratory. As a separate form of composition, iambic poetry is not much in vogue. Horace is our great lyric poet,—everywhere pleasing and graceful, and very happy in his language. Caesius Bassus too may be added: but there are living authors of greater merit.
§§ 97-100. Dramatic Poetry.
Of Tragedians, Attius and Pacuvius are most renowned for weight of thought and style, and for the dignity of their characters; but they lack finish. Attius has more strength, Pacuvius more learning. Varius’s Thyestes may be set beside any Greek play. Ovid’s Medea shows what he might have done if he could have kept within bounds. Pomponius Secundus is by far the greatest of all whom I have myself seen. Comedy is not our strong point. Notwithstanding Plautus, Caecilius, and Terence, we scarcely reproduce a faint shadow of our originals: perhaps our language is incapable of the grace and charm which, even in Greek, is peculiar to the Attic. Afranius is the best writer of togatae, but his is not a pure art.
§§ 101-104. Roman Historians.
In history we hold our own. Sallust may be pitted against Thucydides, Livy against Herodotus. Livy is remarkable for the charm and transparency of his narrative style, as well as for the eloquence and appropriateness of his speeches; and in the presentation of passion, especially on its softer side, he is unsurpassed. Sallust is different but not inferior. Servilius Nonianus wants conciseness. Aufidius Bassus did more to maintain the dignity of history. There is also the glory of our own age, the historian who is still with us, and whom I do not mention by name. Cremutius Cordus is appreciated for his independent spirit, which still survives in his works in spite of the revision and expurgation they have been subjected to. There are others, but I am only giving samples of classes, not ransacking libraries.
§§ 105-122. Roman Orators.
Cicero can stand against Demosthenes. I do not propose, however, to make a detailed comparison between them, and I admit that Demosthenes is worthy of being learnt by heart. In invention they resemble each other: in style they differ, Demosthenes being more concise, Cicero more diffuse; the one always pierces with the point of his weapon, the other often lets you feel the weight of it; the one has more art, the other a greater natural gift. In wit and pathos Cicero excels. Demosthenes was perhaps debarred from glowing perorations; but on the other hand the genius of the Latin language denies to us a full measure of the peculiar ‘Attic charm.’ Still Demosthenes came first, and Cicero owes much to him. He is however no mere imitator,—‘no cistern of rain-water, but a living source.’ Instructive, affecting, pleasing, he carries his audience away with him. He wins conviction not by the zeal of a partisan, but by the impartiality of a judge: everything he does is natural and easy. He was king of the bar in his own day, and with us his name is a synonym for eloquence: it is a mark of progress to have a high appreciation of Cicero. Pollio, with all his good points, is so far behind Cicero in charm and polish that it might be thought he lived a century earlier. Messalla is lucid and distinguished, but wants force. Caesar might have disputed the palm with Cicero; his speeches breathe his warlike ardour, and yet he is above all things ‘elegans.’ Caelius has genius and wit: he deserved a longer life. Calvus is by some preferred to all others; but Cicero thought that by too rigorous self-criticism he lost the very life-blood of style. He is moral, weighty, chastened, and often vigorous withal. He was a strict Atticist; and it is a pity that he died so young, if there was a likelihood of his enriching his style. Servius Sulpicius made a name by three speeches. Cassius Severus wants tone and dignity: he has genius, causticity, and wit; but his anger outruns his judgment. Of those whom I have seen, Afer and Africanus rank highest: the former might be classed with the orators of former days, the latter is more vigorous, but careless, wordy, and over-bold in metaphor. Trachalus has elevation; he had great personal advantages as well. Vibius Crispus is delightful, but more fitted for private than for public cases. Iulius Secundus did not live long enough to secure his due share of fame. He is too much of an artist and too little of a fighting-man: yet he has fluency, lucidity, and other good qualities. Our own era will furnish the future historian with many subjects of eulogy.
§§ 123-131. Roman Philosophers.
Though we are not strong in philosophy, yet here the universal Tully is a match for Plato. Brutus, too, is greater here than in oratory: he speaks from the heart. Celsus has written a considerable number of works. Among the Stoics, Plautus will be of service to the inquirer. Catius the Epicurean has no great weight, but is pleasant withal. I might have mentioned Seneca before, and in every department, but have purposely kept him waiting: I am accused of disliking him. The fact is that at a time when he alone was studied I strove to introduce a purer taste. He disparaged the ‘ancients,’ and his imitators aggravated his defects. He possessed wide learning, though on special subjects he was sometimes misled by others. His versatility is shown in oratory, poetry, letters, and dialogues. A stern moralist, but a vicious, yet seductive, stylist. His defects endear him to the young, but rob him of the praise of those of riper years. Yet these too may find profit in him, if they use their judgment. Would that he had had nobler aims! Yet he realised the aims he had.
§§ 1-3. While the command of words, figures, and arrangement is to be acquired by the study of the best authors, as recommended in the foregoing chapter, the mind must also be exercised in the imitation of all the good qualities which such authors exemplify. The place of imitation in art: a natural and universal instinct. The very ease of imitation has its dangers.
§§ 4-13. Only a dull and sluggish spirit will be content to do nothing but imitate, without inventing anything new. With our advantages of training, we are even more bound than our predecessors to progress. We ought even to surpass our models: if we confine ourselves to imitation alone, shall we ever realise the ideal in oratory? Nature herself does not achieve exact resemblance in reproduction. Moreover, there is much in oratory that is characteristic of individual speakers, and due to natural gifts: this cannot be made matter of imitation. You may imitate the language and rhythmical arrangement of a great speech; but the fashion of words changes, and as for arrangement, there must always be an adaptation of sound to sense.
§§ 14-18. Imitation is therefore a part of study in regard to which great circumspection must be used,—first in the choice of models, and, secondly, in determining the good points we would seek to reproduce; for even good authors have their defects. Again, we must know the difference between superficial imitation and that in which the inner spirit is represented. In cases where only the outward manner is caught elevation becomes bombast, and simplicity carelessness; roughness of form and insipidity in substance pass for antique plainness; want of polish and point, for Attic restraint; artificial obscurity claims to rank above Sallust and Thucydides; the dull and spiritless challenge comparison with Pollio; easy-going drawlers call their diffuse periods Ciceronian, delighted if they can finish off a sentence with Esse videatur.
§§ 19-21. The student must consider which models his own gifts qualify him to imitate. A bold rugged style, for example, is appropriate to the form of genius which would make shipwreck by an excessive affectation of refinement. It is of course within the province of the teacher to supply the natural defects of his pupils; but it is a far harder matter to mould and form one’s own nature. Even the teacher will not keep up a prolonged struggle against obstacles of natural disposition.
§§ 21-26. In oratory we ought not to imitate the characteristic qualities of poets and historians, and vice versa: each kind of composition has its own appropriate laws. Let us imitate what is common to eloquence in all its manifestations. We must adapt our style to the topic and occasion: even different parts of one and the same speech call for different treatment. And we should not blindly follow any one model exclusively.
§§ 27-28. Imitation must not be confined to words only: we should study also propriety, arrangement, exordium, narrative, argument, pathos, &c. The perfect orator, whom our age may hope to see, will be he who shall unite all the good qualities of his predecessors and reject all the bad.
§§ 1-4. Introductory to the three chapters on Writing: chs. iii. and iv. treating of the manner of writing (quomodo), and ch. v. of the matter and form of writing (quae maxime scribi oporteat §4). The pen is the best teacher: write much and carefully. Writing is a fundamental part of the orator’s training.
§§ 5-18. As to the manner of writing, it should at first be deliberate and slow, with careful attention alike to subject-matter, language, and the arrangement of words and phrases. And the whole must be subjected to careful revision, especially if it is written in a glow, as it were, of inspiration. ‘Write quickly, and you will never write well; write well, and in time you will write quickly.’ In the case of the orator it is advisable gradually to accelerate the pace: he will never be able to overtake his professional duties unless he gets rid of the habit of carping self-criticism. Story of Iulius Florus. Judgment is also necessary, as well as practice, if we are to write naturally and clearly in any given circumstances. The evil results of hasty composition can seldom be undone even by much verbal correction. Your work should be done with so much care from the first that it may need only to be filed and chiselled, not recast.
§§ 19-27. Condemnation of the fashionable practice of dictating to an amanuensis. He who writes for himself, no matter how rapidly, takes time to think; but your scribe hurries you on, while shame forbids you to pause. Such compositions reflect neither a writer’s care nor a speaker’s animation: your one idea is to ‘keep going.’ Besides, an awkward scribe will check the current of your thoughts. And how absurd it is to have him looking on at the gestures which often accompany and stimulate the process of cogitation! On the other hand, while silence and solitude are helpful, rural seclusion and attractive scenery cannot be said to favour concentration: closed doors are better. Night hours are the best, but only in moderation.
§§ 28-30. But solitude cannot always be secured: those who cannot command it must habituate themselves to rise superior to every distraction. They who only study when in the humour will never want an excuse for idleness. It is possible to think, and to prepare for debate, in a crowd, on a jury, and even amid the noise and confusion of the law-courts.
§§ 31-33. The proper writing materials: wax-tablets to be preferred to parchment. Write on one side only, and leave the other for additions and corrections.
§§ 1-2. The three parts of revision are addition, excision, and alteration. It is best to lay aside for a time what has been written: an interval after each new birth will furnish the best safeguard against excessive parental fondness.
§§ 3-4. But time is not always at command. There must obviously be some limit to revision, especially on the part of the orator, who has to meet the needs of the moment. Not all changes are improvements: let the file polish the work, instead of rubbing it all away.
§§ 1-8. The question now, as distinguished from the preliminary courses laid down in Books i. and ii., is what form of composition we should practise in order to acquire copiousness and readiness. First, translation from the Greek: this exercise leaves the writer free to choose the best terms in his own language. Second, reproduction (or paraphrase) of Latin poets and orators: here, however, we often have to borrow from our models. Prose renderings of the poets are especially useful for the formation of an elevated style. And even in reproducing orations, we are stimulated to a kind of rivalry with our author, which may result in our surpassing him: in any case, the difficulty of competing with masterpieces forces us to study them minutely.
§§ 9-11. It will be of advantage also to put our own ideas into various forms of expression, and to cultivate the faculty of amplifying: power is shown in making much of little.
§§ 11-16. Here the writing of theses (or discussions of abstract questions) forms a valuable exercise: also judicial decisions and commonplaces. The writing of declamations, or school speeches on fictitious cases, is also to be recommended, even for those who are already making a name at the bar. History, dialogue, and poetry are all valuable by way of variety and recreation: a many-sided culture is the best safeguard against such intellectual narrowness as would otherwise result from the daily battles of the law-courts.
§§ 17-20. Young students must not be kept too long at these preparatory exercises, lest by indulging the fancy overmuch they unfit themselves for practice. After a youth has been well schooled in inventio and elocutio, and has had also some moderate amount of practice, he should attach himself to some eminent public speaker, and accompany him to the courts: he should write speeches, too, at home on the causes he has heard. He has no longer to fence with foils.
§§ 21-23. Declamations should resemble real speeches: the subject should be treated naturally and thoroughly. Large classes and the custom of public speech-days tend to encourage a specious showiness, in which only the most popular and attractive parts of a subject are dealt with, and crowded together without regard to logical connection. One subject, thoroughly handled, is worth twenty superficially treated.
§§ 1-4. Meditation occupies the middle ground between writing and improvisation, and is perhaps more frequently employed than either. After we have formed our style by the constant practice of writing, meditation can be cultivated by progressive exercise to such a degree that an entire discourse may be prepared and arranged without the use of the pen.
§§ 5-7. But the orator is not to adhere so scrupulously to what he has thought out as to reject new ideas which may flash upon him during the actual delivery of a speech. Meditation should secure us, on the one hand, from ever being at a loss: on the other it ought not to prevent us from improving the opportunity afforded by some incidental occurrence. If we are to hesitate, painfully recollecting what we have formulated in thought, it were better to trust wholly to improvisation. While we are at a loss to recall our prepared thoughts, we miss others suggested by the subject itself, which always offers a wider field than can possibly be covered by previous meditation.
§§ 1-4. The richest fruit of study is the ability to speak effectively on the spur of the moment: this is in fact absolutely indispensable. ‘An advocate who proffers help, and fails at the pinch, is a harbour accessible only in calm weather.’ Cases may take unforeseen turns: like ship-pilots we must change our tack with each shifting breeze. Unless the faculty of improvisation can be attained by practice, our years of labour will have been wasted.
§§ 5-7. (1) The student must arrange his matter in appropriate order,—not only the order of the regular partes or divisions (i.e. introduction, narrative, proof, refutation, conclusion), and the order of the principal points, but also the order of the matter and thought in all its detail, under every head and in every passage (quoque loco). The sequence of events will be our guide. Knowing what to look for at each point of our discourse, we shall not be found skipping from one topic to another; and in the end we shall reach the goal.
§§ 7-10. (2) Reading, writing, and speaking must receive unremitting attention, and be made the subjects of scientific exercise. The conscientious practice of writing will give even our extemporary speeches something of the deliberate character of written compositions. It is practice that makes the ready speaker. A certain natural quickness of mind is necessary to look beyond what we are saying at the moment; but neither nature nor art will enable the mind to keep before itself at one time the whole of a speech, with all its arguments, arrangement, expression, &c. As our tongue advances, our thoughts must still outstrip it.
§§ 11-14. (3) Hence the necessity of a mechanical and unscientific habit or ‘knack,’ such as that by which the hand moves in writing, the eye in reading, and the juggler in his legerdemain. But this knack, though mechanical, should have a basis of scientific method: otherwise it will be mere ranting, such as you may hear in abundance from female scolds. A sudden outburst is often, however, more effective than the result of study and premeditation.
§§ 15-17. (4) The extemporary speaker must cultivate a lively imagination, that his mind may be deeply impressed by all the facts of a particular case. It is the heart that makes the orator. He must also have distinctly in view not only the end at which he aims but the whole pathway that leads to it: he will derive incitement even from the presence of his audience.
§§ 18-23. (5) Extemporary facility can only be attained by the same gradual and patient course as has been referred to in connection with meditation. The orator is often debarred from preparation; but as a rule he should not presume so far on his ability as not to take a moment to glance mentally at the heads of his discourse,—which is generally possible in a court of law. Some declaimers will argue at once on any topic, and will even ask for a word to begin with: this is foolishness. If on any occasion we are under the necessity of speaking offhand, we should pay more attention to our subject-matter than to our language, and we may gain time by deliberate articulation. Gradually we shall be able to trim our sails, and pray for a favouring breeze.
§§ 24-29. Continual practice is essential for improvisation. We should speak daily before an audience whose good opinion we respect; but alone, rather than not at all. If we do not speak to others, we can always at least go over our subject-matter in silent thought. This fosters exactness in composition even more than speaking aloud does; for there we hurry onward from fear of wearying the audience. On the other hand speaking exercises the voice and gives the opportunity of practising delivery. Our language should always be careful and correct, but it is constant writing that will add most weight to our words, especially if we are obliged to speak much extempore. In fact, writing gives exactness to speech, speech readiness to writing. If we cannot write, we can meditate: if we can do neither, we must still contrive to make a creditable appearance.
§§ 30-33. A common habit with barristers in large practice is to write the exordium and most essential parts, formulate the rest in thought, and meet any unforeseen turns as they arise. The note-books of Cicero and Servius Sulpicius. It is advisable to refresh one’s memory by consulting notes. To prepare an abstract, arranged by heads, of a speech which we have written out entire, leads us to rely too little on the memory, and makes the speech broken and awkward in delivery. We ought not to write a speech out at length unless we intend to commit it to memory. But of memory more in the following book (XI. ch. ii.).
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Aelius (Lucius) Stilo, i. 99. Aeschylus, i. 66. Afranius, i. 100. Alcaeus, i. 63. Antimachus, i. 53. Antipater Sidonius, vii. 19. Apollonius, i. 54. Aratus, i. 55. Archias, Aul. Licinius, vii. 19. Archilochus, i. 59. Aristophanes, i. 66. Aristophanes of Byzantium, i. 54. Aristotle, i. 83. Asinius Pollio, i. 22, 24, 113: ii. 17, 25. Asprenas, C. Nonius, i. 22. Attici—Attic Orators, i. 76-80: cp. ii. 17; i. 115. Attius (Accius), i. 97. Aufidia, i. 22. Aufidius Bassus, i. 103. Bibaculus, M. Furius, i. 96. Brutus, M. Iunius, i. 123, 23: v. 20: vii. 27. Caecilius Statius, i. 99. Caelius, M. Rufus, i. 115: ii. 25. Caesar, C. Iulius, i. 114: ii. 25. Caesius Bassus, i. 96. Calidius M., i. 23. Callimachus, i. 58. Calvus, i, 115: ii. 25. Carbo, vii. 27. Catius, i. 124. Cato, v. 13. Catullus, i. 96. Cestius, v. 20. Charisius, i. 70. Cicero, i. 33, 40, 80, 81, 105-112, 123: ii. 18: iii. 1: v. 2, 11, 16: vii. 19, 27, 30. Cinna, C. Helvius, iv. 4. Clitarchus, i. 75. Clodius, v. 13. Cornelius, C., v. 13. Cornelius Gallus, i. 93. Cornelius Severus, i. 89. Cratinus, i. 63. Cremutius, i. 104. Crispus, i. 23. Demetrius of Phalerum, i. 33, 80. Demosthenes, i. 22, 24, 39, 76, 105: ii. 24: iii. 25, 30. Domitian, i. 91. Domitius Afer, i. 23, 86, 118. Empylus Rhodius, vi. 4. Ennius, i. 88. Ephorus, i. 75. Euphorion, i. 56. Eupolis, i. 65. Euripides, i. 67. Gallus (Cornelius), i. 93. Helvius (C. Cinna), iv. 4. Hercules, i. 56. Hesiod, i. 52. Hipponax, see on i. 59. Homer, i. 24, 48 sqq., 57, 62, 81, 85. Horace, i. 24, 56, 61, 94, 96. Hortensius, v. 13: vi. 4: cp. i. 23. Iulius Africanus, i. 118. Iulius Florus, iii. 13. |
Laelius, Decimus, i. 23. Laenas Popilius, vii. 32. Ligarius, i. 23. Livius Andronicus, ii. 7. Lucan, i. 90. Lucilius, i. 93 sqq. Lucretius, i. 87. Lysias, i. 78. Marcellus, i. 38. Marcia, v. 13. Menander, i. 69 sqq. Messalla, i. 22, 24, 113: v. 2. Metrodorus Scepsius, vi. 4. Minerva, i. 91. Nicander, i. 56. Pacuvius, i. 97. Panyasis, i. 54. Patroclus, i. 49. Pedo Albinovanus, i. 90. Pericles, i. 82. Philemon, i. 72. Philetas, i. 50. Philistus, i. 74. Phryne, v. 2. Pindar, i. 109. Pisandros, i. 56. Plato, i. 81. Plautus, i. 99. Plautus (Stoicus), i. 124. Pomponius Secundus, i. 98. Porcius Latro, v. 18. Priam, i. 50. Propertius, i. 93. Quintilian: Life, Introd. pp. i-xiii. The Institutio Oratorio, pp. xiii-xxii. Literary Criticism, pp. xxii-xxxix. Style and Language, pp. xxxix-lvii. Manuscripts, pp. lviii-lxxv. Rabirius, i. 90. Saleius Bassus, i. 90. Sallust, i. 31, 101, 102: ii. 17: iii. 8. Scipio, i. 99. Seneca, i. 125-131. Introd. p. xxiv. sqq. Serranus, i. 89. Servilius Nonianus, i. 101. Sextii (father and son), i. 124. Simonides, i. 64. Simonides of Amorgos, see on i. 59. Sophocles, i. 67 sqq. Stesichorus, i. 62. Sulpicius, i. 22, 116: v. 4: vii. 30. Terence, i. 99. Theocritus, i. 55. Theopompus, i. 74. Thucydides, i. 33, 73, 101: ii. 17. Thyestes, i. 98. Tibullus, i. 93. Timagenes, i. 75. Tiro, vii. 31. Trachalus, i. 119. Tubero, i. 23. Tyrtaeus, i. 56. Valerius Flaccus, i. 90. Varro (M. Terentius), i. 95. Varro Atacinus, i. 87. Verres, i. 23. Vibius Crispus, i. 119. Volusenus Catulus, i. 23. |
The above paragraph was in the original text. For this e-text, only the section numbers are linked; sections are generally very short, and notes adjoin the text.
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abruptus, ii. 19: 131b. abunde, i. 94: 91a. abusio, i. 12: 21b. accedere, i. 86: 83a. actio, i. 17: 24b. actus rei, i. 31: 35a. acutus, i. 77: 73b. acumen, i. 106: 107b. adde quod, Introd. p. liii. adducere frontem, iii. 13: 142a. adfectus, i. 27: 31b.: and i. 48: 49a. adhuc, Introd. pp. l-li. Adjectives, use of: Introd. p. xlvi. sqq. advocatus, i. 111: 110a. alioqui, Introd. p. li. ἄλογος τριβή, vii. 11: 174a. altercatio, i. 35: 39b. ambitio, Introd. p. xliv. ambitus rerum, i. 16: 24a. amplificationes, i. 49: 50b. Annales Pontificum, ii. 7: 126a. ante omnia, Introd. p. liii. antiqui, ii. 17: 130b. argumenta et signa rerum, i. 49: 50b. artes, i. 15: 23b. atticus, i. 44: 45b. auctor, i. 24: 30a. auditorium, i. 36: 40a. aureum plectrum, i. 63: 60a. auspicatus, i. 85: 82a. basilica, v. 18: 164b. beatus, i. 61: 59a. bellicum canere, i. 33: 36b. bona fide, iii. 23: 146b. calumnia, i. 115: 113b. calcaribus egere, i. 74: 70a. candidus, i. 73: 68a. candor, i. 101: 100b. caro, i. 77: 73a. cerae, iii. 30: 149a. certe scio, ii. 5: 124b. circa, i. 52: 52a. circulatorius, i. 8: 18b. citra, i. 2: 12b. civilia officia, iii. 11: 140a. classis, v. 18: 166a. claudicare, i. 99: 97a. cogitatio, vi. 1: 167a. color, i. 116: 114b. Comedy, Greek, i. 65: 61a. „Latin, i. 99: 97a. commendare, i. 101: 101a. communes loci, v. 12: 159b. compositio, i. 52: 52b. and i. 79: 77b. compositus, i. 119: 117a. concludere, i. 106: 107a. conferre, i. 1: 12a. confirmatio sententiarum, v. 12: 159a. contorta vis, vii. 14: 176a. conrogati, i. 18: 26b. cothurnus (Sophocli), i. 68: 64a: and ii. 22: 133a. cultus, Introd. p. xliv. cum interim, i. 18: 26b. cum praesertim, i. 105: 105a. cum eo quod, vii. 13: 175a. declinata figura oratio, v. 8: 157a. decor, i. 27: 32a. decretoria (arma), v. 20: 165b. demum, Introd. p. li. densus, i. 68and 73. destructio sententiarum, v. 12: 159a. dicendi veneres, i. 79: 76a. dicendi ex tempore facultas, iii. 2: vii. 1, 5, 24. declamatores, i. 71: 65b. dictare, iii. 19: 144a. digerere cibum, i. 19: inordinata, iv. 1: commentarios, vii. 30. digressiones, i. 33: 36b. dilectus, iii. 5: 138a. disertus, i. 118: 115b. Dramatic Poetry, Greek, i. 65: Latin, i. 97. dubitare, i. 73: 67a. ducere (colorem), i. 59: 57a. ducere opus, iii. 18: 144a. dulcis, i. 73: 68a. dum non, iii. 7: 138b. efferre se, iii. 10: 140a. elegans, i. 65: 62a. Elegy, Greek, i. 58: Latin, i. 93. Epic Poetry, Greek, i. 46 sqq.: Latin, i. 85 sqq. epilogus, i. 50: 51b: and i. 107: 108b. epodos, i. 96: 94a. exactus, ii. 14: 128a. exempla, i. 49: 50b. exilis, ii. 16: 129b. expositus, Introd. p. xlv. extemporalis color, vi. 5: 168b. extemporalis actio, vii. 18: temeritas, vi. 6. exultare, ii. 16: 130a. facere (bene) ad aliquid, i. 33: 38a. facilitas, i. 1: ii. 12: iii. 7: vii. 19. fas erat, v. 7: 157a. favorabilis, v. 21: 166a. figurae, i. 12: 22a. Figures (military, &c.), Introd. pp. lvi-vii. forsitan, ii. 10: 126b. frequenter, i. 17: 25b. frugalitas, iii. 26: 147b. genera dicendi, i. 44: 44-5. genera lectionum, i. 45: 46b. grammatici, i. 53: 53a. grandis, i. 65: 62a. habere laudem, i. 53: 53a. ἕξις, i. 1: 12a. History, i. 31: 34a; Greek, i. 73: 66a; Latin, i. 101: 100a. hodieque, i. 94: 91b. horride, ii. 17: 130a. |
Iambic Poetry, Greek, i. 59: 57b; Latin, i. 96. ideoque, i. 21: 28b. igitur, i. 4: 15a. index, i. 57: 56b. indiscretus, i. 2: 12a. infelicitas, ii. 8: 126a. infinitae questiones, iii. 11: 158a. interim, i. 9: 19b. inventio, i. 106: 106b. ipse, Introd. p. xlix. iucundus, i. 46: 48a. lacerti, i. 33: 37a. lactea (ubertas), i. 32: 36a. laetus, i. 46: 48a. lascivia (recens haec), i. 43: 43b. lascivus, i. 88: 84b. lene dicendi genus, i. 121: 117b. lima, iv. 4: 152a. loci communes, v. 12: 159b. lucrativa opera, vii. 27: 180b. Lyric Poetry, Greek, i. 61: 58b; Latin, i. 96. medium dicendi genus, i. 52: 52b; i. 80: 78b. membranae, iii. 31: 150a. memoria posteritatis, i. 31: 35b. mensurae verborum, i. 10: 20a. merere, i. 72: 66b. nam (elliptical), i. 9: 19a. nescio an ulla, i. 65. nisi forte, i. 70: 65a. nitidus, i. 9: 19b; i. 79: 75b. non sit, ii. 27: 135a. numeri, i. 4: 15a; i. 70: 65b. obiurgare, iii. 20: 145a. offensator, iii. 20: 145a. olim, i. 104: 103a. opinio, v. 18: 164a. opus, i. 9: 19b. Oratory, Greek, i. 76: Latin, i. 105. Orators, Canon of the Ten, i. 76: 71a. ostentatio, i. 28: 32b. otiosus, i. 76: 72b. palaestra, i. 79: 76a. paraphrasis, v. 5: 155b. parem facere, i. 105: 103b. parum (non), i. 124: 119a. pedestris oratio, i. 81: 79b. periculum, i. 36: 42b. Philosophy, i. 35: 38b: Greek, i. 81: 78b; Latin, i. 123: 118a. φράσις, i. 42: 43a. pilarii, vii. 11: 174b. Poetry, the study of, i. 27 sqq. pontificum annales, ii. 7: 126a. praescriptum, ii. 2: 123b. praesertim (cum), i. 105: 105a. praestringere, i. 30: 33b. praesumere, v. 4: 155a. pressus, i. 44: 44b. procinctu (in), i. 2: 13a. profectus, iii. 2: 136b. professor, v. 18: 164a. propria, i. 6: 16a. proprietas, i. 46: 48a. prosa (oratio), i. 81: 79b. protinus, i. 3: 14a. proximus—secundus, i. 53: 53b. quia, Introd. p. liv. quicunque, i. 12: 22a. quisque, i. 2: 12b. quoque (etiam), i. 20: 28a; i. 125: 120b. quotas quisque, i. 41: 42b. rarum est ut, vii. 24: 179b. ratio c. gerund, iii. 31: 149b. ratio constat, ii. 1: 123a. ratio (in scribendo), iii. 15: 143a. rectum (dicendi genus), i. 44: 44a. repraesentare, vii. 2: 170b. ridiculus, i. 117: 115a. sales, i. 107: 108a. sanguis, i. 60: 58a. Satire, i. 93: 89b. sententiae, i. 50, 52, 68, 90, 102, 129, 130: ii. 17: v. 4. signa rerum et argumenta, i. 49: 50b. silva, iii. 17: 143b. similitudines, i. 49: 50b. sine dubio, Introd. p. liii. Socratici, i. 35: 39b. solum (non, sed), i. 6: 17a. sordidus, i. 9: 19b. spiritus, i. 27: 31b. stilus, i. 2: 12b; iii. 1, 32; vii. 16. Stoici, i. 84: 81b. subtilis, i. 78: 74a. summus, Introd. p. xlvi. supinus, ii. 17: 131a. supplosio pedis, vii. 26: 180b. tacitus, i. 19: 26a. tenuis, i. 44: 45a. tenuitas, ii. 23: 133b. theses, v. 11: 158a. togatae, i. 100: 99b. tori athletarum, i. 33: 37a. Tragedy, Latin, i. 97: 94b; Greek, i. 66. transversus, i. 110: 110a. τριβὴ ἄλογος, vii. 11: 174a. τροπικῶς, i. 11: 21a. ubicumque, Introd. p. liii. urbanitas, i. 115: 112b. utinam non, i. 100: 99b. utique: i. 20: 28a. utrimque, i. 131: 122b. valetudo, Introd. p. liv. validius, iii. 12: 140b. velocitatem (Sallusti), i. 102: 101a. veneres dicendi, i. 79: 76a. ventilator, vii. 11: 174b. verbum—vox, i. 11: 21a. versificator, i. 89: 85b. vibrantes sententiae, i. 60: 58a. vis dicendi, i. 1: 11b. voluntas recti generis, i. 89: 86b. vox—verbum, i. 11: 21a. |