Institutio Oratoria

Quintilian

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

Next to indecency of expression comes meanness, styled ταπείνωσις, when the grandeur or dignity of anything is diminished by the words used, as in the line:

There is a rocky wart upon the mountain's brow.
[*](From an unknown tragedian.)

The opposite fault, which is no less serious, consists

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in calling small things by extravagant names, though such a practice is permissible when deliberately designed to raise a laugh. Consequently we must not call a parricide a scamp, nor a man who keeps a harlot a villain, since the first epithet is too weak and the second too strong.

This fault will result in making our language dull, or coarse, jejune, heavy, unpleasing or slovenly, all of which faults are best realised by reference to the virtues which are their opposites, that is, point, polish, richness, liveliness, charm, and finish.

We must also avoid μείωσις a term applied to meagreness and inadequacy of expression, although it is a fault which characterises an obscure style rather than one which lacks ornament. But meiosis may be deliberately employed, and is then called a figure, as also is tautology, which means the repetition of a word or phrase.

The latter, though not avoided with special care even by the best authors, may sometimes be regarded as a fault: it is, in fact, a blemish into which Cicero not infrequently falls through indifference to such minor details: take, for example, the following passage, [*](Pro Cluent. xxxv. 96. To bring out the effect criticised by Cicero, iudicium must he translated judgment. But trial is required to give the correct sense. ἐπανάληψις = repetition. )

Judges, this judgment was not merely unlike a judgment.

It is sometimes given another name, ἐπανάληψις, under which appellation it is ranked among figures, of which I shall give examples when I come to the discussion of stylistic virtues. [*](IX. ii.)

A worse fault is ὁμοείδεια, or sameness, a term applied to a style which has no variety to relieve its tedium, and which presents a uniform monotony of hue. This is one of the surest signs of lack of art, and produces a uniquely unpleasing effect, not merely on the mind, but on the ear, on account of its

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sameness of thought, the uniformity of its figures, and the monotony of its structure.

We must also avoid macrology, that is, the employment of more words than are necessary, as, for instance, in the sentence of Livy,

The ambassadors, having failed to obtain peace, went back home, whence they had come.

[*](Fr. 62, Hertz. ) On the other hand, periphrasis, which is akin to this blemish, is regarded as a virtue. Another fault is pleonasm, when we overload our style with a superfluity of words, as in the phrase,

I saw it with my eyes,

where

I saw it

would have been sufficient.

Cicero passed a witty comment on a fault of this kind in a declamation of Hirtius when he said that a child had been carried for ten months in his mother's womb.

Oh,

he said,

I suppose other women carry them in their bags.

[*](perulra means a small wallet. But it is noteworthy that in Apul. Met. V. xiv. it is used = uterus, and the doubleentendre was probably current in Cicero's time. ) Sometimes, however, the form of pleonasm, of which I have just given an example, may have a pleasing effect when employed for the sake of emphasis, as in the Virgilian phrase [*](Aen. iv- 359. ) :

With mine own ears his voice I heard.

But whenever the addition is not deliberate,

but merely tame and redundant, it must be regarded as a fault. There is also a fault entitled περιεργία, which I may perhaps translate by superfluous elaboration, which differs from its corresponding virtue much as fussiness differs from industry, and superstition from religion. Finally, every word which neither helps the sense nor the style may be regarded as faulty.