Institutio Oratoria
Quintilian
Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.
One of the poets [*](Cat. 93.) says that he does not care whether Caesar be white or black. That is madness. But reverse the case. Suppose that Caesar said it of the poet? That would be arrogance. The tragic and comic poets pay special attention to character, since they introduce a great number and variety of persons. Those who wrote speeches [*](Cp. II. xv. 30; viii. 51. ) for others paid a like attention to these points, and so do the declaimers; for we do not always speak as advocates, but frequently as actual parties to the suit.
But even in these cases in which we appear as advocates, differences of character require careful observation. For we introduce fictitious personages and speak through other's lips, and we must therefore allot the appropriate character to those to whom we lend a voice. For example, Publius Clodius will be represented in one way, Appius Caecus [*]( Clodius, the unscrupulous enemy of Cicero. Appins Caccus, his ancestor, the great senator, who secured the rejection of the terms of Pyrrhus. ) in another, while Caecilius [*](SeePro Cael. xvi. ) makes the father in his comedy speak in quite a different manner from the father in the comedy of Terence.
What can be more brutal than the words of Verres' lictor,
To see him you will pay so much? [*](I.e. to visit a relative in prison, Verr. v. xlv. 118; cp. Quint. IX. iv. 71. ) or braver than those of the man from whom the scourge could wring but one cry,
I am a Roman citizen Again, read the words which Cicero places in the mouth of Milo in his peroration: are they not worthy of the man who to save the state had so oft repressed a seditious citizen, and had triumphed by his valour over the ambush that was laid for him? [*](Cp. ii. 25; VI. v. 10. )
Further, it is not merely true that the variety required in impersonation will be in