Institutio Oratoria

I am however haunted by the thought that some readers will regard what I have said as trivial details which are only likely to prove a hindrance to those who are intent upon a greater task; and I myself do not think that we should go so far as to lose our sleep of nights or quibble like fools over such minutiae; for such studies make mincemeat of the mind. But it is only the superfluities of grammar that do any harm.

I ask you, is Cicero a less great orator for having given this science his diligent attention or for having, as his letters show, demanded rigid correctness of speech from his son? Or was the vigour of Gaius Caesar's eloquence impaired by the publication of a treatise on Analogy?

Or the polish

Reading remains for consideration. In this connexion there is much that can only be taught in actual practice, as for instance when the boy should take breath, at what point he should introduce a pause into a line, where the sense ends or begins, when the voice should be raised or lowered, what modulation should be given to each phrase, and when he should increase or slacken speed, or speak with greater or less energy.

In this portion of my work I will give but one golden rule: to do all these things, he must understand what he reads. But above all his reading must be manly, combining dignity and charm; it must be different from the reading of prose, for poetry is song and poets claim to be singers. But this fact does not justify degeneration into sing-song or the effeminate modulations now in vogue: there is an excellent saying on this point attributed to Gaius Caesar while he was still a boy:

If you are singing, you sing badly: if you are reading, you sing.

Again I do not, like some teachers, wish character as revealed by speeches to be indicated as it is by the comic actor, though I think that there should be some modulation of the voice to distinguish such passages from those where the poet is speaking in person.

There are other points where there is much need of instruction: above all, unformed minds which are liable to be all the more deeply impressed by what they learn in their days of childish

It is therefore an admirable practice which now prevails, to begin by reading Homer and Vergil, although the intelligence needs to be further developed for the full appreciation of their merits: but there is plenty of time for that since the boy will read them more than once. In the meantime let his mind be lifted by the sublimity of heroic verse, inspired by the greatness of its theme and imbued with the loftiest sentiments.

The reading of tragedy also is useful, and lyric poets will provide nourishment for the mind, provided not merely the authors be carefully selected, but also the passages from their works which are to be read. For the Greek lyric poets are often licentious and even in Horace there are passages which I should be unwilling to explain to a class. Elegiacs, however, more especially erotic elegy, and hendecasyllables, which are merely sections of Sotadean verse [*]( One form of Sotadean is ZZZ The Hendecasyllable runs ZZZ,= the Sotadean minus the first three syllables. Both metres were frequently used for indecent lampoons. For Sotades see index. ) (concerning which latter I need give no admonitions), should be entirely banished, if possible; if not absolutely banished, they should be reserved for pupils of a less impressionable age. As to comedy, whose contribution to eloquence may be of no small importance,

since it is concerned with every kind of character and emotion, I will shortly point out in its due places what use can in my opinion be made of it in the education of boys. As soon as we have no fear of contaminating their morals, it should take its place among the subjects which it is specially desirable to read. I speak of Menander, though I would not exclude others. For Latin authors will also be of some service.

But the

They are, too, more careful about dramatic structure than the majority of moderns, who regard epigram as the sole merit of every kind of literary work. For purity at any rate and manliness, if I may say so, we must certainly go to these writers, since to-day even our style of speaking is infected with all the faults of modern decadence.

Finally we may derive confidence from the practice of the greatest orators of drawing upon the early poets to support their arguments or adorn their eloquence.