Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
I know that some speakers make a practice of learning lists of synonyms by heart, in order that one word out of the several available may at once present itself to them, and that if, after using one word, they find that it is wanted again after a brief interval, they may be able to select another word with the same meaning and so avoid the necessity of repetition. But this practice is childish and involves thankless labour, while it is really of very little use, as it merely results in the assembly of a disorderly crowd of words, for the speaker to snatch the first that comes to hand.
On the contrary, discrimination is necessary in the acquisition of our stock of words; for we are aiming at true oratory, not at the fluency of a cheapjack. And we shall attain our aim by reading and listening to the best writers and orators, since we shall thus learn not merely the words by which things are to be called, but when each particular word is most appropriate.
For there is a place in oratory for almost every word, with the exception only of a very few, which are not sufficiently seemly. Such words are indeed often praised when they occur in writers of iambics [*](See §§ 59 and 96.) or of the old comedy,
Now to acquire a knowledge of these words and to be acquainted not merely with their meaning, but with their forms and rhythmical values, so that they may seem appropriate wherever employed, we shall need to read and listen diligently, since all language is received first through the ear. It was owing to this fact that the children who, by order of a king, were brought up by a dumb nurse in a desert place, although they are said to have uttered certain words, lacked the power of speech. [*]( See Herodot. ii. 2. The children were alleged to have cried bekos, Phrygian for bread. )
There are, however, some words of such a nature that they express the same sense by different sounds, so that it makes no difference to the meaning which we use, as, for instance, gladius and ensis, which may be used indifferently when we have to speak of a sword. Others, again, although properly applied to specific objects, are used by means of a trope to express the same sense, as, for example, ferrum (steel) and muro (point), which are both used in the sense of sword.
Thus, by the figure known as abuse, [*]( or catachresis. See viii. ii. 5 and vi. 34. ) we call all those who commit a murder with any weapon whatsoever sicarii (poniarders). In other cases we express our meaning periphrastically, as, for instance, when Virgil [*](Ecl. i. 81. ) describes cheese as
Abundance of pressed milk.
I know,we say
I am not ignorant,or
the fact does not escape me,or
I have not forgotten,or
who does not know?or
it can be doubted by none.
But we may also borrow from a word of cognate meaning. For
I understand,or
I feelor
I seeare often equivalent to
I know.Reading will provide us with a rich store of expressions such as these, and will enable us not merely to use them when they occur to us, but also in the appropriate manner. For they are not always interchangeable:
for example, though I may be perfectly correct in saying,
I seefor
I understand,it does not follow that I can say
I understandfor
my eyes have seen,and though mucro may be employed to describe a sword, a sword does not necessarily mean the same as mucro (point).
But, although a store of words may be acquired by these means, we must not read or listen to orators merely for the sake of acquiring words. For in everything which we teach examples are more effective even than the rules which are taught in the schools, so long as the student has reached a stage when he can appreciate such examples without the assistance of a teacher, and can rely on his own powers to imitate them. And the reason is this, that the professor of rhetoric lays down rules, while the orator gives a practical demonstration.
But the advantages conferred by reading and listening are not identical. The speaker stimulates us by the animation of his delivery, and kindles the imagination, not by presenting us with an elaborate
Moreover his voice, the grace of his gestures, the adaptation of his delivery (which is of supreme importance in oratory), and, in a word, all his excellences in combination, have their educative effect. In reading, on the other hand, the critical faculty is a surer guide, inasmuch as the listener's judgment is often swept away by his preference for a particular speaker, or by the applause of an enthusiastic audience.
For we are ashamed to disagree with them, and an unconscious modesty prevents us from ranking our own opinion above theirs, though all the time the taste of the majority is vicious, and the claque may praise even what does not really deserve approval.
On the other hand, it will sometimes also happen that an audience whose taste is bad will fail to award the praise which is due to the most admirable utterances. Reading, however, is free, and does not hurry past us with the speed of oral delivery; we can reread a passage again and again if we are in doubt about it or wish to fix it in the memory. We must return to what we have read and reconsider it with care, while, just as we do not swallow our food till we have chewed it and reduced it almost to a state of liquefaction to assist the process of digestion, so what we read must not be committed to the memory for subsequent imitation while it is still in a crude state, but must be softened and, if I may use the phrase, reduced to a pulp by frequent re-perusal.
For a long time also we should read none save the best authors and such as are least likely to betray our trust in then, while our reading must be almost as thorough as if we were actually transcribing what we read. Nor must we study it merely in parts, but must read through the whole work from cover to cover and then read it afresh, a precept which applies more especially to speeches, whose merits are often deliberately disguised.
For the orator frequently prepares his audience for what is to come, dissembles and sets a trap for them and makes remarks at the opening of his speech which will not have their full force till the conclusion. Consequently what he says will often seem comparatively ineffective where it actually occurs, since we do not realise his motive and it will be necessary to re-read the speech after we have acquainted ourselves with all that it contains.
Above all, it is most desirable that we should familiarise ourselves with the facts of the case with which the speech deals, and it will be well also, wherever possible, to read the speeches delivered on both sides, such as those of Aeschines and Demosthenes in the case of Ctesiphon, of Servius Sulpicius and Messala for and against Aufidia, [*](See iv. ii. 106 and VI i. 20.) of Pollio [*](See § 113.) and Cassius [*](See § 116.) in the case of Asprenas, [*]( C. Nonius Asprenas, a friend of Augustus, accused by Cassius and defended by Pollio on a charge of poisoning. ) and many others.
And even if such speeches seem unequal in point of merit, we shall still do well to study them carefully with a view to understanding the problems raised by the cases with which they deal: for example, we should compare the speeches delivered by Tubero against Ligarius and by Hortensius in defence of Verres with those of Cicero for the opposite side, while it will also be useful to know how different orators pleaded the same case. For example,
The reader must not, however, jump to the conclusion that all that was uttered by the best authors is necessarily perfect. At times they lapse and stagger beneath the weight of their task, indulge their bent or relax their efforts. Sometimes, again, they give the impression of weariness: for example, Cicero [*]( In a lost letter: cp. Plut. Cic. 24. ) thinks that Demosthenes sometimes nods, and Horace [*](A. P. 359. ) says the same of Homer himself.
For despite their greatness they are still but mortal men, and it will sometimes happen that their reader assumes that anything which he finds in them may be taken as a canon of style, with the result that he imitates their defects (and it is always easier to do this than to imitate their excellences) and thinks himself a perfect replica if he succeeds in copying the blemishes of great men.
But modesty and circumspection are required in pronouncing judgment on such great men, since there is always the risk of falling into the common fault of condemning what one does not understand. And, if it is necessary to err on one side or the other, I should prefer that the reader should approve of everything than that he should disapprove of much.