Institutio Oratoria

Quintilian

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

while their opponents would be best suited by another. For these rules have not the formal authority of laws or decrees of the plebs, but are, with all they contain, the children of expediency.

I will not deny that it is generally expedient to conform to such rules, otherwise I should not be writing now; but if our friend expediency suggests some other course to us, why, we shall disregard the authority of the professors and follow her.

For my part above all things

  1. This I enjoin and urge and urge anew
Verg. Aen. iii. 436.
that in all his pleadings the orator should keep two things constantly in view, what is becoming and what is expedient. But it is often expedient and occasionally becoming to make some modification in the time-honoured order. We see the same thing in pictures and statues. Dress, expression and attitude are frequently varied.

The body when held bolt upright has but little grace, for the face looks straight forward, the arms hang by the side, the feet are joined and the whole figure is stiff from top to toe. But that curve, I might almost call it motion, with which we are so familiar, gives an impression of action and animation. So, too, the hands will not always be represented in the same position, and the variety given to the expression will be infinite.

Some figures are represented as running or rushing forward, others sit or recline, some are nude, others clothed, while some again are half-dressed, half-naked. Where can we find a more violent and elaborate attitude than that of the Discobolus of Myron? Yet the critic who

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disapproved of the figure because it was not upright, would merely show his utter failure to understand the sculptor's art, in which the very novelty and difficulty of execution is what most deserves our praise.

A similar impression of grace and charm is produced by rhetorical figures, whether they be figures of thought or figures of speech. For they involve a certain departure from the straight line and have the merit of variation from the ordinary usage.