Institutio Oratoria

Quintilian

Quintilian. Institutio Oratoria, Volume 1-4. Butler, Harold Edgeworth, translator. Cambridge, Mass; London: Harvard University Press, William Heinemann Ltd., 1920-1922.

Argument, being as a rule of a livelier, more energetic and aggressive character, demands a type of gesture adapted to its style, that is to say, it should be bold and rapid. There are certain portions of our arguments that require to be pressed home with energy, and in these our style must be compact and concentrated. Digressions, as a rule, are characterised by gentleness, calm and placidity, as, for example, in Cicero's description of the Rape of Proserpine, [*](cp. IV. iii. 13. ) his picture of Sicily, [*](cp. IV. iii. 13. ) or his panegyric of Pompey. [*]( In the lost pro Cornelio: cp. IV. iii. 13. ) For naturally passages which deal with subjects lying outside the main question in dispute demand a less combative tone.

There are occasions on which we may adopt a gentle manner in depreciating our opponents by giving a picture of their character, as in the following passage: [*]( From the lost pro Galio. )

I seemed to see some persons entering the room and others leaving it, while others were staggering to and fro under the influence of wine.

Under such circumstances we may even allow the gesture to match the voice, and may employ a gentle movement from side to side: but this motion should be confined to the hands, and there should be no movement of the flanks.

There are a number of gradations of tone which may be

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employed to kindle the feeling of the judges. The most vehement tones that an orator is ever called upon to use will be employed in passages such as the following: [*](pro Liq. iii. 7 and 6. )

When the war was begun, Caesar, and was, in fact, well on its way to a conclusion.

For he has just said:

I will use my voice to its fullest power, that all the Roman people may hear me.

On the other hand, a lower tone, not devoid of a certain charm, should be employed in passages such as: [*](pro Liq. iii. 9. )

What was that sword of yours doing, 'Tubero, that sword that was drawn on the field of Pharsalus?

But the utterance must be fuller, slower, and consequently sweeter, when the orator says, [*](Phil. ii. xxv. 63. )

But in an assembly of the Homan people, and when he was performing his official functions.

In this passage every sound should e drawn out, we should dwell upon the vowel-sounds and speak fill-throated. Still fuller should be the stream of our voice in the invocation, [*](pro Mil. xxxi. 85. )

You, hills and groves of Alba

; while a tone not far removed from chanting, and dying away to a cadence, should be employed in delivering the phrase, [*](pro Arch. viii. 19. )

Rocks and solitudes answer to the voice.

These are the modulations denounced by Demosthenes [*](de Cor. 90.) and Aeschines, [*](In Ctes. 72. ) but they do not necessarily for that reason merit our disapprobation. For as each of these orators taunts the other with making use of them, it is clear that they were employed by both. We may be sure that Demosthenes did not restrict himself to his ordinary simplicity of tone when he swore by those that fought for their country at Marathon, Plataea and Salamis, [*](De Cor. 60. ) nor did Aeschines employ a colloquial utterance when he lamented for the fate of Thebes. [*](In Ctes. 49. )