Institutio Oratoria

Quintilian

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

This phenomenon is familiar to farmers, who hold that the pruning-hook should not be applied while the leaves are yet young, for they seem to

shrink from the steel
[*](cp. Verg. G. ii. 369, ante reformidat ferrum. ) and to be unable as yet to endure a scar.

The instructor therefore should be as kindly as possible at this stage; remedies, which are harsh by nature, must be applied with a gentle hand: some portions of the work must be praised, others tolerated and others altered: the reason for the alterations should however be given, and in some cases the master will illumine an obscure passage by inserting something of his own.

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Occasionally again the teacher will find it useful to dictate whole themes himself that the boy may imitate them and for the time being love them as if they were his own.

But if a boy's composition is so careless as not to admit of correction, I have found it useful to give a fresh exposition of the theme and to tell him to write it again, pointing out that he was capable of doing better: for there is nothing like hope for making study a pleasure.

Different ages however demand different methods: the task set and the standard of correction must be proportioned to the pupil's strength. When boys ventured on something that was too daring or exuberant, I used to say to them that I approved of it for the moment, but that the time would come when I should no longer tolerate such a style. The result was that the consciousness of ability filled them with pleasure, without blinding their judgment.

However, to return to the point from which I had digressed. Written narratives should be composed with the utmost care. It is useful at first, when a child has just begun to speak, to make him repeat what he has heard with a view to improving his powers of speech; and for the same purpose, and with good reason, I would make him tell his story from the end back to the beginning or start in the middle and go backwards or forwards, but only so long as he is at his teacher's knee and while he is incapable of greater effort and is beginning to connect words and things, thereby strengthening the memory. Even so when he is beginning to understand the nature of correct and accurate speech, extempore effusions, improvised without waiting for thought to supply the matter or a moment's

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hesitation before rising to the feet, must not be permitted: they proceed from a passion for display that would do credit to a common mountebank.