Institutio Oratoria

Quintilian

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

For there are many speeches composed by Greek and Latin orators for others to deliver, the words of which had to be adapted to suit the position and character of those for whom they were

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written. Do you suppose that Cicero thought in the same way or assumed the same character when he wrote for Gnaeus Pompeius and when he wrote for Titus Ampius and the rest? [*]( Nothing is known of these speeches. ) Did he not rather bear in mind the fortune, rank and achievements of each single individual and represent the character of all to whom he gave a voice so that though they spoke better than they could by nature, they still might seem to speak in their own persons?

For a speech which is out of keeping with the man who delivers it is just as faulty as the speech which fails to suit the subject to which it should conform. It is for this reason that Lysias is regarded as having shown the highest art in the speeches which he wrote for uneducated persons, on account of their extraordinary realism. In the case of declaimers indeed it is of the first importance that they should consider what best suits each character: for they rarely play the role of advocates in their declamations. As a rule they impersonate sons, parents, rich men, old men, gentle or harsh of temper, misers, superstitious persons, cowards and mockers, so that hardly even comic actors have to assume more numerous roles in their performances on the stage than these in their declamations.

All these rôles may be regarded as forming part of impersonation, which I have included under delibertive themes, from which it differs merely in that it involves the assumption of a role. It is sometimes introduced even with controversial themes, which are drawn from history and involve the appearance of definite historical characters as pleaders.

I am aware also that historical and poetical themes are often set for the sake of practice, such as Priam's speech to

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Achilles or Sulla's address to the people on his resignation of the dictatorship. But these will fall under one or other of the three classes into which I have divided causes. For entreaty, statement, and argument, with other themes already mentioned, are all of frequent occurrence in forensic, deliberative or demonstrative subjects, according as circumstances demand,

and we often introduce fictitious speeches of historical persons, whom we select ourselves. Cicero for instance in the pro Caelio [*]( xiv. sqq ) makes both Appius Caecus and her brother Clodius address Clodia, the former rebuking her for her immorality, the latter exhorting her thereto.

In scholastic declamations the fictitious themes for deliberative speeches are often not unlike those of controversial speeches and are a compromise between the two forms, as for instance when the theme set is a discussion in the presence of Gaius Caesar of the punishment to be meted out to Theodotus; for it consists of accusation and defence, both of them peculiar to forensic oratory.

But the topic of expediency also enters into the case, in such questions as whether it was to Caesar's advantage that Pompeius should be slain; whether the execution of Theodotus would involve the risk of a war with the king of Egypt; whether such a war would be highly inopportune at such a critical moment, would prove dangerous and be certain to last a long time.

There is also a question of honour. Does it befit Caesar to avenge Pompeius' death? or is it to be feared that an admission that Pompeius did not deserve death will injure the cause of the Caesarian party?