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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:46:06 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:46:06 -0700 |
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diff --git a/old/files/QuintBody1.html b/old/files/QuintBody1.html new file mode 100644 index 0000000..cb65aa1 --- /dev/null +++ b/old/files/QuintBody1.html @@ -0,0 +1,12416 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Quintiliani Institutionis Oratoriae Liber X:1</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + +<link rel = "stylesheet" type = "text/css" href = "quintstyles.css"> + +</head> + +<body> + +<div class = "contents"> +<a name = "toc1" id = "toc1"> </a> + +<p><a href = "../main.html">Preface</a><br> +<i>Analysis of the Argument, Index of Names, +Index of Matters (complete)</i><br> +</p> + +<p> +<a href = "QuintIntro.html">Introduction</a></p> + +<p class = "space"> +<a href = "#chapI">Chapter I</a><br> +<a href = "#arg_chapI_pt1">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapI_sec46">Chapter I</a>: <i>Greek Literature</i><br> +<a href = "#arg_chapI_pt2">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapI_sec85">Chapter I</a>: <i>Roman Literature</i><br> +<a href = "#arg_chapI_pt3">Analysis of the Argument</a> +</p> + +<p><a href = "#index1_names"> +Index of Names</a> (<i>in chapter I only</i>) +</p> + +<p><a href = "#index1_matters"> +Index of Matters</a> (<i>in chapter I only</i>) +</p> + +<p class = "space"> +<a href = "QuintBody2.html">Chapters II-VII</a></p> + +<p> +<a href = "QuintCrit.html">Critical Notes</a></p> + +</div> + +<hr class = "spacer"> + +<span class = "pagenum">11</span> +<h4>M. FABI QUINTILIANI</h4> + +<h3>INSTITUTIONIS ORATORIAE</h3> + +<h4>LIBER DECIMUS</h4> + +<p class = "line"> </p> + + +<div class = "argument"> +<h5>ANALYSIS OF THE ARGUMENT (1-46)</h5> + +<h5><a name = "arg_chapI_pt1" id = "arg_chapI_pt1"> +CHAPTER I.</a><br> +<span class = "subhead"> +How to acquire a command of Diction.</span></h5> + +<p><a href = "#chapI_sec1">§§1-4.</a> The question whether a ready +command of speech is best acquired by writing, or by reading, or by +speaking, is of little practical importance, all three being +indispensable. But what is theoretically most indispensable does not +necessarily take first rank for the purpose of practical oratory. +Speaking comes first: then imitation (§8 and ch. ii), including +reading and hearing: lastly, writing (chs. iii-v). That is the order of +development—not necessarily the order of importance. The early +training of the orator has been overtaken in the first two books. We +have now to deal, not with the theory of rhetoric, but with the best +methods of applying theory to practice.</p> + +<p><a href = "#chapI_sec5">§§5-15.</a> The necessary store of +<i>things</i> and <i>words</i> can be obtained only by reading and +hearing. We ought to read the best writings and hear the best orators. +And much reading and hearing will not only furnish a stock of words: it +will stimulate independent thought, and will show the student actual +examples of the theoretical principles taught in the schools.</p> + +<p><a href = "#chapI_sec16">§§16-19.</a> The comparative advantages of +hearing and reading: the former more ‘catching,’ the latter more +independent.</p> + +<p><a href = "#chapI_sec20">§§20-26.</a> The best writers should be read +first. Reading ought to be slow and searching, with careful attention +(especially in the case of speeches) to details, followed by a review of +the whole. We should also acquaint ourselves with the facts of the cases +to which the speeches relate, and read those delivered on both sides. +Other speeches on the same side should be read, if accessible. But even +in studying a masterpiece our admiration must always be tempered with +judgment: we cannot assume the perfection of every part. It is safer, +however, to err on the side of appreciation: uncritical approbation is +preferable to continual fault-finding.</p> + +<p><a href = "#chapI_sec27">§§27-30.</a> The study of Poetry is +important for the orator, as conferring a greater +<span class = "pagenum">2</span> +elevation of spirit and diction, besides serving as a pleasurable +recreation. But poetry is not restrained by the practical aims of the +orator, whose stage is a battle-field where he must ever strive for the +mastery.</p> + +<p><a href = "#chapI_sec31">§§31-34.</a> History, too, will furnish a +rich and genial aliment, which should be used, however, with caution: +its very excellences are often defects in the orator. It tells its +story, and recalls the past; whereas the orator must address himself to +immediate proof. Considered as a mine of ancient precedents, history is +very useful; but this point of view is rather outside the scope of the +present chapter.</p> + +<p><a href = "#chapI_sec35">§§35-36.</a> Philosophy will give +familiarity with the principles of ethics and dialectics, as well as +skill in controversy. But here also we must bear in mind that the +atmosphere of the lecture-room differs from that of the law-court.</p> + +<p><a href = "#chapI_sec37">§§37-42.</a> In laying down a plan of +reading it would be impossible to notice individually all the writers in +both languages, though it may be said generally that almost all, whether +old or new, are worth reading,—at least in part. There may be much +that is valuable in relation to some branch of knowledge, but outside my +present object, which is to recommend what is profitable for the +formation of style.</p> + +<p><a href = "#chapI_sec43">§§43-46.</a> Before proceeding to give a +list of typical authors, a word must be said about the different +opinions and tastes of orators and critics regarding the various schools +and styles of eloquence. Some are prejudiced in favour of the old +writers; others admire the affectation and refinement which characterise +those of our own day. And even those who desire to follow the true +standard of style differ among each other. The list now to be given +contains only a selection of the best models: it does not profess to be +exhaustive.</p> +</div> + +<div class = "text"> + +<h5><a name = "chapI" id = "chapI"> +De copia verborum.</a></h5> + +<p class = "maintext"> +<a name = "chapI_sec1" id = "chapI_sec1"> </a> +<span class = "secnum">I:1</span> +I. Sed haec eloquendi praecepta, sicut cognitioni sunt necessaria, ita +non satis ad vim dicendi valent, nisi illis firma +<span class = "pagenum">12</span> +quaedam facilitas, quae apud Graecos <span class = "greek" title = +"hexis">ἕξις</span> nominatur; accesserit; ad quam scribendo plus an +legendo an dicendo conferatur, solere quaeri scio. Quod esset +diligentius nobis examinandum, si qualibet earum rerum possemus una esse +contenti:</p> + +<div class = "comm"> +<p><a name = "commI_sec1" id = "commI_sec1"><b>§ 1.</b></a> +<b>haec eloquendi praecepta</b>. The reference is generally to the +theoretical part of the work, which has just been completed, but +specially to the two books immediately preceding, in which Quintilian +deals with <i>elocutio</i> (<span class = "greek" title = +"phrasis">φράσις</span>, ‘style’). In Books III-VII he has treated of +<i>inventio</i> (including <i>dispositio</i>); and the transition to +Books VIII and IX is marked in the words ‘a dispositione ad elocutionis +praecepta labor’ vii. §17 ad fin. He passes now to the exercises +necessary for practice: quo genere exercitationis ad certamina +praeparandus sit (sc. orator) (<a href = "#chapI_sec4">§4</a>.)</p> + +<p><b>sicut ... ita</b> = <span class = "greek" title = "men ... de">μὲν +... δὲ</span>. So <i>quemadmodum ... sic</i> <a href = +"QuintBody2.html#chapV_sec17">5 §17</a>: cp. <a href = +"#chapI_sec14">§14</a> below. More commonly ut ... ita: <a href = +"#chapI_sec4">§§4</a>, <a href = "#chapI_sec15">15</a>, <a href = +"#chapI_sec62">62</a>, <a href = "#chapI_sec72">72</a>, <a href = +"#chapI_sec74">74</a>: <a href = +"QuintBody2.html#chapIII_sec28">3 §§28</a>, <a href = +"QuintBody2.html#chapIII_sec31">31</a>. Frequent in Livy: e.g. xxi. 35, +10 pleraque Alpium ab Italia sicut breviora ita arrectiora sunt: cp. +39, 7.</p> + +<p><b>cognitioni</b>: so most edd. except Halm and Hild (see <a href = +"QuintCrit.html#critI_sec1">Crit. Notes</a>). The word denotes +‘theoretical knowledge,’ and is set over against <i>vis dicendi</i>: for +a similar opposition between theory and practice (scientia ... +exercitatio) see Tac. Dial. 33. The reading may be supported by a +reference to qui sciet <a href = "#chapI_sec2">§2</a>, qui ... sciet ... +perceperit <a href = "#chapI_sec4">§4</a>. Cp. viii. pr. §1 Quam +(rationem inveniendi et inventa disponendi) ut ... penitus cognoscere ad +summam scientiae necessarium est ita, &c.: ib. §28, qui rationem +loquendi primum cognoverit ... deinde haec omnia exercitatione plurima +roborarit. In ii. 18, 1 <i>cognitio</i> is used to distinguish <span +class = "greek" title = "theôrêtikê">θεωρητική</span> from <span class = +"greek" title = "praktikê">πρακτική</span> and <span class = "greek" +title = "poiêtikê">ποιητική</span>. Cp. too iii. 1, 3 ut ... adliceremus +... iuventutem ad cognitionem eorum quae necessaria studiis +arbitrabamur.—The reading <i>cogitatio</i> would have to be +understood in a wider sense than it has in ch. 6, or in <a href = +"QuintBody2.html#chapIII_sec19">3 §19</a>: Hild takes it of ‘toute +la préparation oratoire qui précède le discours proprement dit.’</p> + +<p><b>vim dicendi</b>: ‘true eloquence,’ as in <a href = +"#chapI_sec8">§8</a> vim orandi, <a href = +"QuintBody2.html#chapII_sec16">2 §16</a> vim dicendi atque +inventionis non adsequuntur: <a href = +"QuintBody2.html#chapVI_sec2">6 §2</a> vim cogitandi: xii. 1, 33 +vis ac facultas dicendi expugnat ipsam veritatem. Cp. viii. pr. 30 +praeparata dicendi vis: xii. 10, 64. Bonn. Lex., p. 233.—The +<i>vis</i> of a thing is its essence, that which makes it what it is: +Cic. de Am. §15 id in quo est omnis vis amicitiae. So with the genitive +of a gerund it gives the idea contained in the infinitive when used as a +noun: cp. de Fin. v. §76 percipiendi vis (i.e. <span class = +"greek" title = "to aisthanesthai">τὸ αἰσθάνεσθαι</span>) ita definitur +a Stoicis: ibid. ii. §17 Zenonis est ... hoc Stoici: omnem vim loquendi +(<span class = "greek" title = "pan to phthengesthai">πᾶν τὸ +φθέγγεσθαι</span>) in duas tributam esse partes. See Nägelsbach, Lat. +Stil., (8th ed.) p. 45: and cp. ratio collocandi <a href = +"QuintBody2.html#chapIII_sec5">3 §5</a>, pronuntiandi ratio <a href += "#chapI_sec17">1 §17</a>: ratio delendi <a href = +"QuintBody2.html#chapIII_sec31">3 §31</a>.</p> + +<p><b>non satis ... valent, nisi</b>, &c. For the necessity of +practice in addition to theory cp. <a href = +"QuintBody2.html#chapV_sec19">5 §19</a>: also i. pr. §§18, 23, 27: +ii. 13, 15: vii. 10, 14-15: Cic. de Orat. i. §§109-110: Dion. Hal. de +Comp. Verb. 26 ad fin. <span class = "greek" title = "ou gar autarkê ta parangelmata tôn technôn esti ... dicha meletês te kai gumnasias.">οὐ +γὰρ αὐτάρκη τὰ παραγγέλματα τῶν τεχνῶν ἐστὶ ... δίχα μελέτης τε καὶ +γυμνασίας.</span></p> + +<p><b>firma quaedam facilitas</b>, a ‘sure readiness’: cp. <a href = +"#chapI_sec44">§44</a> qui confirmare facultatem +<span class = "pagenum comm">12</span> +dicendi volent: <a href = "#chapI_sec59">§59</a> dum adsequimur illam +firmam, ut dixi, facilitatem: <a href = +"QuintBody2.html#chapII_sec12">2 §12</a>: <a href = +"QuintBody2.html#chapVII_sec18">7 §18</a> sq.: xii, 9, 21 vires +facilitatis.</p> + +<p><b><span class = "greek" title = "hexis">ἕξις</span></b>: <a href = +"#chapI_sec59">§59</a> and <a href = +"QuintBody2.html#chapV_sec1">5 §1</a>. Pliny, Ep. ii. 3, 4 (of +Isaeus) ad tantam <span class = "greek" title = "hexin">ἕξιν</span> +studio et exercitatione pervenit. See Schäfer on Dion. de Comp. i. +p. 7.—In the sphere of morals the <span class = "greek" title += "hexis">ἕξις</span> is the fixed tendency that results from repeated +acts: <span class = "greek" title = "ek tôn homoiôn energeiôn hai hexeis ginontai">ἐκ τῶν ὁμοίων ἐνεργειῶν αἱ ἕξεις γίνονται</span> Eth. Nic. ii. +1, 1103<sup>a</sup>, 31.—Prof. Mayor compares Cicero’s use of +<i>habitus constans</i>, de Inv. i. §36: ii. §30.</p> + +<p><b>scribendo ... legendo ... dicendo</b>: i. pr. §27 haec ipsa +(natural gifts) sine doctore perito, studio pertinaci, scribendi, +legendi, dicendi multa et continua exercitatione per se nihil prosunt. +So <a href = "#chapI_sec2">§2</a> eloquentia ... stilo ... lectionis. +Reading is covered by chs. i ii: chs. iii-v treat of writing; and +ch. vii. of extemporary declamation.</p> + +<p><b>conferatur</b>: frequent in this sense in Quint. (cp. <span class += "greek" title = "sumpherein">συμφέρειν</span>): (1) with ad, as +here, i. 8, 7: ii. 19, 1: vii. 1, 41: xii. 1, 1 and passim: +(2) with in, <a href = +"QuintBody2.html#chapVII_sec26">7 §26</a>: (3) with dat., <a +href = "#chapI_sec27">§§27</a>, <a href = "#chapI_sec63">63</a>, <a href += "#chapI_sec71">71</a>, <a href = "#chapI_sec95">95</a>: i. 1, +6, &c. Bonn. Lex., p. 155.</p> + +<p><b>solere quaeri (<span class = "greek" title = +"zêteisthai">ζητεῖσθαι</span>)</b>: the subject is treated, e.g., by +Crassus in Cic. de Orat. i. chs. 33-34. For <i>quaeri</i> cp. i. 4, 26: +ib. 12 §1 (quaeri solet): <a href = +"QuintBody2.html#chapV_sec13">x. 5, 13</a>.</p> + +<p><b>qualibet ... una</b>: v. 10, 117, quamdiu quilibet unus +superfuerit. In reverse order i. 12, 7 una res quaelibet: xii. 1, 44 +unum ex iis quodlibet. The collocation does not occur in Cicero.</p> +</div> + +<p class = "maintext"> +<a name = "chapI_sec2" id = "chapI_sec2"> </a> +<span class = "secnum">I:2</span> +verum ita sunt inter se conexa et indiscreta omnia ut, si quid ex his +defuerit, frustra sit in ceteris laboratum. Nam neque solida atque +robusta fuerit umquam eloquentia nisi multo stilo vires acceperit, et +citra lectionis exemplum labor ille carens rectore fluitabit; et qui +sciet quae quoque sint modo dicenda, +<span class = "pagenum">13</span> +nisi tamen in procinctu paratamque ad omnes casus habuerit eloquentiam, +velut clausis thesauris incubabit.</p> + +<div class = "comm"> +<p><a name = "commI_sec2" id = "commI_sec2"><b>§ 2.</b></a> +<b>conexa et indiscreta</b>. <i>Et</i> is intensive: ‘so closely, nay, +inseparably connected.’ So i. 2, 3: iuncta ista atque indiscreta sunt. +<i>Indiscretus</i> in this sense occurs Tac. Hist. iv. 52 and often in +Pliny: not in Cicero. For the use of the perf. part. pass. instead of a +verbal adj., cp. Sall. Iug. 43, §5 invictus: ib. 2 §3 incorruptus: +76 §1 infectum: Livy ii. 1, 4 inviolatum: ib. 55 §3 +contemptius (‘more contemptible’). So intactus, inaccessus, &c.</p> + +<p><b>neque ... et</b> = <span class = "greek" title = "oute ... te">οὔτε ... τε</span>, as <a href = +"QuintBody2.html#chapIII_sec23">3 §23</a>: <a href = +"QuintBody2.html#chapIV_sec3">4 §3</a>: <a href = +"QuintBody2.html#chapV_sec22">5 §22</a>.</p> + +<p><b>solida ... robusta ... vires</b>. Hild notes that the figure is +taken from a living organism which gathers strength from the nourishment +supplied to it: cp. <a href = "#chapI_sec19">§§19</a>, <a href = +"#chapI_sec31">31</a>, &c. Tac. Dial. 21: oratio autem sicut corpus +hominis ea demum pulchra est in qua non eminent venae nec ossa +numerantur, sed temperatus ac bonus sanguis implet membra et exsurgit +toris ipsosque nervos rubor tegit et decor commendat: cp. 23.</p> + +<p><b>multo stilo</b>: ‘by much practice in writing.’ Cic. de Orat. i. +§150 Stilus optimus et praestantissimus dicendi effector ac magister +(where see Wilkins’ note). Quintilian returns to this subject below <a +href = "QuintBody2.html#chapIII_sec1">3 §1</a> sq.: cp. <a href = +"QuintBody2.html#chapVI_sec1">6 §§1</a> and <a href = +"QuintBody2.html#chapVI_sec3">3</a>: <a href = +"QuintBody2.html#chapVII_sec4">7 §§4</a> and <a href = +"QuintBody2.html#chapVII_sec7">7</a>.</p> + +<p><b>citra lectionis exemplum</b>: ‘without the models which reading +supplies.’ <i>Citra</i> is common in this sense (for <i>sine</i>, +sometimes <i>praeter</i>) in Quint. (Bonn. Lex. p. 127) and other +post-Aug. writers. So <a href = +"QuintBody2.html#chapVII_sec7">7 §7</a> citra divisionem: xii. 6, 4 +plusque, si separes, usus sine doctrina quam citra usum doctrina valet. +Cp. Ov. Trist. v. 8, 23 peccavi citra scelus (‘short of’): Plin. Ep. ii. +1, 4 citra dolorem tamen.</p> + +<p><b>labor ille</b>, sc. scribendi.</p> + +<p><b>fluitabit</b>, like a vessel drifting about without a pilot +(carens rectore). The writing will want method, and the definiteness of +aim which models would impose. So vii. pr. §2 sic oratio carens hac +virtute (sc. ordine) tumultuetur necesse est et sine rectore fluitet nec +cohaereat sibi, multa repetat, multa transeat, velut nocte in ignotis +locis errans, nec initio nec fine proposito casum potius quam consilium +sequatur: cp. xii. 2 §20.</p> + +<p><b>quae quoque sint modo</b>. This is the +<span class = "pagenum comm">13</span> +reading of the oldest MSS. (see Crit. Notes), and was adopted by Halm: +cp. <a href = "#chapI_sec8">§8</a> quod quoque loco sit aptissimum: <a +href = "QuintBody2.html#chapVII_sec5">7 §5</a> quid quoque loco +primum sit, and <a href = "#chapI_sec6">§6</a> quid quoque loco +quaerant. So iv. 2, 33 quid quoque loco prosit. <i>Quae</i> covers +<i>inventio</i>: while <i>quoque modo</i> may be taken of the exhaustive +discussion of the various departments of <i>elocutio</i> which has just +been concluded.—Meister has returned to Spalding’s <i>quo quaeque +sint modo</i>, probably from a doubt whether Halm (followed by Mayor) is +right in explaining <i>quae quoque</i> as = <i>quae et quomodo</i>, +‘what is to be said and how’; ‘copulae enim <i>que</i> in coniunctione +talium membrorum relativorum inter se discretorum non aptus est locus,’ +Osann, i. p. 14. But <i>quoque</i> may very well be the abl. +of <i>quisque</i>, though Cicero seems to avoid such a collocation, +unless there is a prep. to make the construction clear: e.g. pro Sulla +§73 quae ex quoque ordine multitudo: pro Domo §33 qui de quaque re +constituti iudices sint: Har<ins class = "correction" title = "missing period">. </ins>Resp. §24 quae de quoque deo ... tradita sunt. Cp. +in Cat. iii. §10 tabellas quae a quoque dicebantur datae. Even in the +exactly parallel passage Sall. Cat. 23, 4 quae quoque modo audierat ... +narravit (where Mommsen suggests <i>quoquo</i>), it is possible to +understand <i>quoque</i> of the various methods Fulvia had employed to +get information from Curius. So quid ubique, ib. 21, 1.</p> + +<p><b>tamen</b>: see <a href = "QuintCrit.html#critI_sec2">Crit. +Notes</a>.</p> + +<p><b>in procinctu</b>: ‘ready for battle.’ So xii. 9, 21 quem armatum +semper ac velut in procinctu stantem non magis umquam in causis oratio +quam in rebus cotidianis ac domesticis sermo deficiet. Similarly in <a +href = "QuintBody2.html#chapVII_sec24">7 §24</a> promptum hoc et in +expedito positum. Examples of the proper use of the phrase occur Tac. +Hist. iii. 2: Ovid Pont. i. 8, 10: Gell. i. 11: Plin. Nat. Hist. +vi. 22. Quintilian expresses a similar idea by another of his +military metaphors, viii pr. 15: eloqui enim hoc est omnia quae mente +conceperis promere atque ad audientes perferre; sine quo supervacua sunt +priora et similia gladio condito atque intra vaginam suam haerenti: cp. +vi. 4, 8. For the explanation of the phrase <i>procingo</i>, ‘I +gird up<ins class = "correction" title = "text has ’) ">’ </ins>see +Mayor’s note on Cic. de N. D. ii. 3 §9: “<i>in procinctu</i> +is used of an army in readiness for battle, Milton’s ‘war in procinct’ +(P. L. vi. 19): cp. Festus, pp. 43 and 225 procincta classis +dicebatur cum exercitus cinctus erat Gabino cinctu confestim pugnaturus. +Vetustius enim fuit multitudinem hominum, quam navium, classem +appellari, also p. 249 procincta toga Romani olim ad pugnam ire +soliti. The <i>cinctus Gabinus</i> was a particular way of wearing the +<i>toga</i>, so as to use part of it as a girdle, tying it in a knot in +front. Servius (Aen. vii. 612) says the ancient Latins, before they were +acquainted with the use of defensive armour, praecinctis togis +bellabant, unde etiam milites <i>in procinctu</i> esse dicuntur.” For +the figurative use cp. Sen. de Benef. i. 1, 4 severitatem abditam +clementiam in procinctu habeo: [Quint.] Decl. 3, 1 neque in militiam +gravissimo asperrimoque bello ita venit, ut nesciret sibi mortem in +procinctu habendam.</p> + +<p><b>paratam</b>: <a href = +"QuintBody2.html#chapV_sec12">5 §12</a>: Cic. ad Fam. vi. 21, 1 ad +omnem eventum paratus sum.</p> + +<p><b>velut cl. thes. incubabit</b>. Unless he adds practice to his +theoretical knowledge, all he knows will be as useless as a miser’s +hoard. The phrase is a reminiscence of Verg. Georg. ii. 507 condit opes +alius, defossoque incubat auro: cp. Aen. vi. 610 aut qui divitiis soli +incubuere repertis. Martial, xii. 53, 3-4 largiris nihil incubasque +gazae, ut magnus draco. Mayor quotes Ecclus. 20, 30 Wisdom that is hid, +and treasure that is hoarded up, what profit is in them both?</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec3" id = "chapI_sec3"> </a> +<span class = "secnum">I:3</span> +Non autem +<span class = "pagenum">14</span> +ut quidquid praecipue necessarium est, sic ad efficiendum oratorem +maximi protinus erit momenti. Nam certe, cum sit in eloquendo positum +oratoris officium, dicere ante omnia est, atque hinc initium eius artis +fuisse manifestum est: proximum deinde imitatio, novissimum scribendi +quoque diligentia.</p> + +<div class = "comm"> +<p><a name = "commI_sec3" id = "commI_sec3"><b>§ 3.</b></a> +The argument here requires elucidation. Quint. has said (<a href = +"#chapI_sec1">§§1</a>, <a href = "#chapI_sec2">2</a>) that for the +<i>firma facilitas</i> or <span class = "greek" title = +"hexis">ἕξις</span> which must be superadded to theory, writing, reading +and speaking are all essential. He now goes on to state that it does not +follow that what is theoretically most indispensable (cp. cognitioni +necessaria <a href = "#chapI_sec1">§1</a> above) is for the practical +training of the orator of greatest consequence. The most essential +element is of course that of speech (<i>dicere</i>)—followed by +imitation and writing. But perfection of speech can only be attained, +like other forms of perfection, by starting from first beginnings +(principia), which become relatively unimportant (minima) as things +progress. This is not however the place for dealing with the methods of +preliminary training in rhetoric: our student has done his theory, and +we must now show him how to apply it to practice. Cp. Analysis, +p. 1.</p> + +<span class = "pagenum comm">14</span> +<p><b>ut quidquid</b>. Properly <i>quisquis</i> is an indefinite +relative: in this usage it has the same force as <i>quisque</i> (Roby, +2283, 2285). It may have been an archaism which became colloquial. +Madvig (on de Fin. v. §24) shows that undoubted instances occur in +Plautus, Terence, Cato (de R. R. 57: uti quidquid operis facient), +Lucretius (with whom it is especially common: e.g. ruit qua quidquid +fluctibus obstat, i. 289, where see Munro), Cicero (Tusc. v. 98), and in +the Agrarian Law (utei quicquid quoieique ante h. l. r. licuit, ita +&c. Mommsen C.I.L. 1 n. 200 v. 27). Cp. vii. 2, 35. So too +Corn. ad. Herenn. ii. §47, where the MSS. almost without exception give +<i>quidquid</i> (quicquid) for <i>quicque</i>. For the spelling here, +cp. i. 7, 6 frigidiora his alia, ut ‘quidquid’ c quartam haberet, ne +interrogare bis videremur.</p> + +<p><b>ad efficiendum oratorem</b>: i. 10, 2.</p> + +<p><b>protinus</b>, of logical consequence, as frequently +<i>continuo</i> in Cicero: generally with a negative, or a question +implying a negative answer. For the form of the sentence cp. viii. 2, 4 +non tamen quidquid non erit proprium protinus et improprii vitio +laborabit: and <a href = "#chapI_sec42">§42</a> below, sed non quidquid +ad aliquam partem scientiae pertinet protinus ad faciendam <span class = +"greek" title = "phrasin">φράσιν</span> ... accommodatum. So <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a> (<a href = +"#chapI_sec5">§§5</a> and 18 are different): ii. 21, 10: v. 10, 102 and +119: vii. 4, 38.</p> + +<p><b>nam certe</b>. This leads up to the next sentence, beginning +<i>sed ut</i>.</p> + +<p><b>in eloquendo</b>: cp. viii. pr. 15 (quoted on in procinctu, <a +href = "#chapI_sec2">§2</a> above): Cic. Or. §61 sed iam illius perfecti +oratoris et summae eloquentiae species exprimenda est; quem hoc uno (sc. +in eloquendo) excellere cetera in eo latere indicat nomen ipsum. Non +enim inventor aut compositor aut actor qui haec complexus est omnia, sed +et Graece ab eloquendo <span class = "greek" title = +"rhêtôr">ῥήτωρ</span> et Latine eloquens dictus est. Ceterarum enim +rerum quae sunt in oratore partem aliquam sibi quisque vindicat; dicendi +autem, id est eloquendi, maxima vis soli huic conceditur. Cp. de Orat. +ii. §38.</p> + +<p><b>ante omnia est</b>. Becher vindicates the traditional reading by +comparing ii. 15, 12 atqui non multum ab hoc fine abest Apollodorus +dicens iudicialis orationis primum et <i>super omnia esse persuadere</i> +iudici et sententiam eius <i>ducere</i> in id quod velit. So too iii. 8, +56 an <i>pro Caesare fuerit occidi</i> Pompeium?—See <a href = +"QuintCrit.html#critI_sec3">Crit. Notes</a>. For <i>ante omnia</i> cp. +Introd. <a href = "QuintIntro.html#intro_pagelii">p. lii</a>.</p> + +<p><b>hinc ... fuisse</b>: cp. viii. 2, 7 proprie tamen unde initium +est: vi. pr. §10 ut prorsus posset hinc esse tanti fulminis metus.</p> + +<p><b>proximum</b>: cp. i. 3, 1 proximum imitatio. As is evident from +ch. ii, <i>imitatio</i> here includes not <i>lectio</i> only but +<i>auditio</i> as well: <a href = "#chapI_sec8">§8</a> optima legendo +atque audiendo. It was in this sense that Dion. Hal. entitled his work +<span class = "greek" title = "peri mimêseôs:">περὶ μιμήσεως:</span> see +Usener, Praef. pp. 1-4: and cp. Cic. de Orat. i. §14 sq. and §149 +sq.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec4" id = "chapI_sec4"> </a> +<span class = "secnum">I:4</span> +Sed ut perveniri ad summa nisi ex principiis non potest, ita procedente +iam opere minima incipiunt esse quae prima sunt. Verum nos non quo modo +sit instituendus orator hoc loco dicimus, +<span class = "pagenum">15</span> +(nam id quidem aut satis aut certe uti potuimus dictum est), sed +athleta, qui omnes iam perdidicerit a praeceptore numeros, quo genere +exercitationis ad certamina praeparandus sit. Igitur eum qui res +invenire et disponere sciet, verba quoque et eligendi et collocandi +rationem perceperit, instruamus qua ratione quod didicerit facere quam +optime, quam facillime possit.</p> + +<div class = "comm"> +<p><a name = "commI_sec4" id = "commI_sec4"><b>§ 4.</b></a> +<b>sed ut perveniri</b>, &c. <a href = +"QuintBody2.html#chapVII_sec18">7 §18</a>. Cp. i. pr. §§4-5 +contemnentes tamquam parva quae prius discimus studia ... ego cum +existimem nihil arti oratoriae alienum sine quo fieri non posse oratorem +fatendum est, nec ad ullius rei summam nisi praecedentibus initiis +perveniri ad minora illa ... demittere me non recusabo.</p> + +<p><b>procedente iam opere</b>: here of the progress of the orator’s +training.</p> + +<p><b>minima</b> in importance: <i>prima</i> in point of time. Krüger +says that <i>dicere</i> alone is meant, being the <i>initium artis</i> +above; but it seems better to understand Quint. to be indicating here +that the order of importance does not correspond with the order of +development as stated above, viz. (1) the faculty of speech, +(2) reading (included under <i>imitatio</i>) and (3) writing. +These are to be taken first as the subsidiary beginnings (principia) +from which we attain to the ultimate object: but as things progress they +will become relatively unimportant (<i>minima</i>), and their +<span class = "pagenum comm">15</span> +place will be taken by systematic training in speaking or declamation, +an exercise which is always essential to success and can therefore never +be left off (<a href = +"QuintBody2.html#chapVII_sec24">7 §24</a>).</p> + +<p><b>aut ... aut</b> in the sense of si minus satis, at certe uti +potuimus: cp. xii. 11, 21.</p> + +<p><b>athleta</b>: a metaphor abruptly introduced: cp. <a href = +"#chapI_sec33">§33</a>: <a href = +"QuintBody2.html#chapIII_sec7">3 §7</a>: <a href = +"QuintBody2.html#chapIV_sec4">4 §4</a>: <a href = +"QuintBody2.html#chapVII_sec1">7 §§1</a> and <a href = +"QuintBody2.html#chapVII_sec23">23</a>. The orator is often compared to +an athlete, gladiator, soldier, &c.: see on <a href = +"#chapI_sec33">§33</a> non athletarum toris sed militum lacertis, and +Introd. <a href = "QuintIntro.html#intro_pagelvi">p. lvi</a>. Cp. +<a href = "#chapI_sec29">§§29</a>, <a href = "#chapI_sec31">31</a>, <a +href = "#chapI_sec79">79</a>: <a href = +"QuintBody2.html#chapIII_sec3">3 §3</a>: <a href = +"QuintBody2.html#chapV_sec15">5 §§15</a>, <a href = +"QuintBody2.html#chapV_sec17">17</a>. Cic. de Orat. i. §73 ut qui pila +ludunt ... sic in orationibus: iii. §83: Or. §§14, 42, 228-9. Tac. Dial. +34 ferro non rudibus dimicantes: cp. end of 37.</p> + +<p><b>numeros</b>: here of rhythmical movements, ‘movements according to +rule, “passes” in fencing, “throws” in wrestling,’ &c.—Mayor. +The use of the word in this sense is probably founded on the analogy +between rhythm (for which see ix. 4, 45) and graceful motion: ix. +4, 8 in omni palaestra quid satis recte cavetur ac petitur cui non +artifex motus et certi quidam pedes adsint? Cp. xii. 2, 12: ut +palaestrici doctores illos quos numeros vocant non idcirco discentibus +tradunt, ut iis omnibus ii qui didicerint in ipso luctandi certamine +utantur ... sed ut subsit copia illa ex qua unum aut alterum cuius se +occasio dederit efficiant: ii. 8, 13 sicut ille ... exercendi corpora +peritus non ... nexus modo atque in iis certos aliquos docebit, sed +omnia quae sunt eius certaminis. Sen. de Benef. vii. 1 §4 magnus +luctator est non qui omnes numeros nexusque perdidicit. So Iuv. vi. 249 +of the lady in the arena, omnes implet numeros: cp. Tac. Dial. 32 per +omnes eloquentiae numeros isse. That this use is based on the notion of +rhythm may be seen from a comparison of these exx. with Hor. Ep. ii. 2, +144 verae numerosque modosque ediscere vitae. For the wider meaning of +<i>numeri</i>, in which it is used of that which is complete and perfect +in all its parts, v. on <a href = "#chapI_sec70">§70</a>.</p> + +<p><b>igitur</b>. As to whether the position of <i>igitur</i> at the +beginning of a sentence is to be considered an instance of +<i>transmutatio</i> (like ‘quoque ego,’ ‘enim hoc voluit’) Quintilian +says (i. 5, 39) there is a doubt: ‘quia maximos auctores in diversa +fuisse opinione video, cum apud alios sit etiam frequens, apud alios +numquam reperiatur.’ Numerous instances from his own work are given in +Bonn. Lex., p. 394. In Tacitus, <i>igitur</i> always stands first +except in the following passages: Dial. 8, 29: 10, 37: 20, 21: Agr. 16, +12: Germ. 45, 22: Hist. iv. 15, 15: Ann. i. 47, 5 (Gerber and Greef). In +Cicero it is very rarely found first: de Leg. Agr. ii. 72: pro Milone +§48: Phil. ii. §94: de Fin. i. §61: de Nat. Deor. i. §80.</p> + +<p><b>res invenire</b>. For the five parts of oratory (which are quite +distinct from the five parts of an oration) cp. <a href = +"QuintBody2.html#chapVII_sec9">7 §9</a>: iii. 3, §§1 and 7. +They are <i>inventio</i> (treated of in Books iii.-vi.), +<i>dispositio</i> (vii.), <i>elocutio</i> (viii.-ix.), <i>memoria</i>, +<i>actio</i> or <i>pronuntiatio</i> (xi.). Cicero has substantially the +same division de Orat. ii. §79, quinque faciunt quasi membra +eloquentiae, invenire quod dicas, inventa disponere, deinde ornare +verbis, post memoriae mandare, tum ad extremum agere ac pronuntiare: cp. +i. §142: and for <i>inventio</i>, de Inv. i. §9, inventio est +excogitatio rerum verarum aut veri similium quae causam probabilem +reddant.—For the antithesis between <i>res</i> and <i>verba</i>, +cp. <a href = "#chapI_sec5">§§5</a> and 6: also <a href = +"#chapI_sec61">§61</a>: <a href = +"QuintBody2.html#chapII_sec27">2 §27</a>: <a href = +"QuintBody2.html#chapIII_sec5">3 §§5</a>, <a href = +"QuintBody2.html#chapIII_sec9">9</a>: <a href = +"QuintBody2.html#chapVI_sec2">6 §2</a>: <a href = +"QuintBody2.html#chapVII_sec9">7 §§9</a>, <a href = +"QuintBody2.html#chapVII_sec22">22</a>.</p> + +<p><b>sciet</b>. Bonnell calls attention to the use of the fut. in +dependent relative sentences as common in manuals of instruction: <a +href = "#chapI_sec5">§§5</a>, <a href = "#chapI_sec10">10</a>, <a href = +"#chapI_sec13">13</a>, <a href = "#chapI_sec17">17</a>, <a href = +"#chapI_sec22">22</a>, <a href = "#chapI_sec25">25</a>, <a href = +"#chapI_sec33">33</a>, <a href = "#chapI_sec112">112</a>, &c. +<i>Instruamus</i> is virtually future.</p> + +<p><b>eligendi</b> <a href = "#chapI_sec6">§6</a>: cp. <b>dilectus</b> +<a href = "QuintBody2.html#chapIII_sec5">3 §5</a>.</p> + +<p><b>collocandi</b>: Cic. de Orat. ii. §307 ordo collocatioque rerum ac +locorum: cp. Or. §50: Brut. §139. For both cp. Brut. §140 in verbis et +eligendis ... et collocandis: de Part. Or. i. §3. Both are parts of +<i>elocutio</i>, for which see viii. 1, 1. For <i>ratio</i> with +gerund cp. <a href = "#chapI_sec17">§§17</a>, <a href = +"#chapI_sec54">54</a>: <a href = +"QuintBody2.html#chapII_sec1">2 §1</a>: <a href = +"QuintBody2.html#chapIII_sec5">3 §§5</a>, <a href = +"QuintBody2.html#chapIII_sec31">31</a>: and see note on <a href = +"QuintBody2.html#chapII_sec3">2 §3</a>.</p> + +<p><b>qua ratione</b>. The recurrence of <i>ratione</i> so soon after +<i>rationem</i> need create no difficulty in Quintilian: for similar +instances of negligence see on <a href = +"QuintBody2.html#chapII_sec23">2 §23</a>. For +<span class = "pagenum comm">16</span> +Kiderlin’s treatment of the whole passage, see <a href = +"QuintCrit.html#critI_sec4">Crit. Notes</a>.</p> + +<p><b>optime ... facillime</b>, xii. 10, 77 neque vero omnia ista de +quibus locuti sumus orator optime tantum sed etiam facillime faciet.</p> +</div> + +<span class = "pagenum">16</span> + +<p class = "maintext space"> +<a name = "chapI_sec5" id = "chapI_sec5"> </a> +<span class = "secnum">I:5</span> +Non ergo dubium est quin ei velut opes sint quaedam parandae, quibus +uti, ubicumque desideratum erit, possit: eae constant copia rerum ac +verborum.</p> + +<div class = "comm space"> +<p><a name = "commI_sec5" id = "commI_sec5"><b>§ 5.</b></a> +<b>velut ... quaedam</b>. So <a href = "#chapI_sec18">§§18</a>, <a href += "#chapI_sec61">61</a>: <a href = +"QuintBody2.html#chapIII_sec3">3 §3</a>: <a href = +"QuintBody2.html#chapV_sec17">5 §17</a>: <a href = +"QuintBody2.html#chapVII_sec1">7 §1</a>, and frequently elsewhere: +e.g. xii. 10, 19 velut sata quaedam: iii. 8, 29 veluti quoddam templum. +Cicero generally uses <i>quasi</i> or <i>tanquam quidam</i>. Indeed +Quintilian seems to have a general preference for <i>velut</i> over +<i>quasi</i> or <i>tanquam</i> in introducing similes: cp. <a href = +"QuintBody2.html#chapVII_sec6">7 §6</a> ducetur ante omnia rerum +ipsa serie velut duce: viii. 5, 29 inaequalia tantum et velut +confragosa: see Bonn. Lex., s.v.</p> + +<p><b>ubicumque</b>, so <a href = "#chapI_sec10">§10</a> below. For a +less classical use (as an indefinite) see <a href = +"QuintBody2.html#chapVII_sec28">7 §28</a> quidquid loquemur +ubicumque.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec6" id = "chapI_sec6"> </a> +<span class = "secnum">I:6</span> +Sed res propriae sunt cuiusque causae aut paucis communes, verba in +universas paranda; quae si rebus singulis essent singula, minorem curam +postularent, nam cuncta sese cum ipsis protinus rebus offerrent. Sed cum +sint aliis alia aut magis propria aut magis ornata aut plus efficientia +<span class = "pagenum">17</span> +aut melius sonantia, debent esse non solum nota omnia, sed in promptu +atque, ut ita dicam, in conspectu, ut, cum se iudicio dicentis +ostenderint, facilis ex his optimorum sit electio.</p> + +<div class = "comm"> +<p><a name = "commI_sec6" id = "commI_sec6"><b>§ 6.</b></a> +<b>sed res ... paranda</b>: an example of the construction so common in +Greek and Latin, by which two contrasted clauses are co-ordinated. In +English we subordinate the one to the other by using ‘while,’ ‘whereas,’ +or some such word. In Greek the use of <span class = "greek" title = +"men">μὲν</span> makes the antithesis plainer.—Here <i>res</i> = +<span class = "greek" title = "noêmata">νοήματα</span>: <i>verba</i> = +<span class = "greek" title = "onomata">ὀνόματα</span>.</p> + +<p><b>paucis communes</b>. For the <i>loci communes</i>, appropriate to +several causae, v. Cic. de Inv. ii. §48 argumenta quae transferri in +multas causas possunt, and compare the Topica.</p> + +<p><b>cum ipsis protinus rebus</b>. For the order of words cp. <a href = +"#chapI_sec33">§33</a> historico nonnumquam nitore. Herbst gives the +following exx. of an adv. inserted between the adj. and the noun: <a +href = "#chapI_sec38">§§38</a>, <a href = "#chapI_sec41">41</a>, <a href += "#chapI_sec104">104</a>, <a href = "#chapI_sec116">116</a>, <a href = +"#chapI_sec120">120</a>: <a href = +"QuintBody2.html#chapII_sec7">2 §§7</a>, <a href = +"QuintBody2.html#chapII_sec8">8</a>: <a href = +"QuintBody2.html#chapIII_sec2">3 §§2</a>, <a href = +"QuintBody2.html#chapIII_sec31">31</a>: <a href = +"QuintBody2.html#chapV_sec7">5 §7</a>: <a href = +"QuintBody2.html#chapVII_sec3">7 §§3</a>, <a href = +"QuintBody2.html#chapVII_sec28">28</a>.—For the thought, cp. Hor. +A. P. 311 verbaque provisam rem non invita sequentur: Cic. de Orat. +ii. §146 ea (sc. res et sententiae) vi sua verba parient: iii. §125 +rerum enim copia verborum copiam gignit. No doubt Quintilian in his +teaching also gave due prominence to Cato’s golden rule, ‘rem tene verba +sequentur.’</p> + +<p><b>propria</b>. The general meaning under which all uses of +<i>proprius</i> and its cognates may be included is that in which it +contrasts with all departures from and innovations on ordinary language. +Sometimes it may mean nothing more than ‘suitable,’ ‘appropriate,’ in +which sense <i>proprie</i> occurs immediately below, in <a href = +"#chapI_sec9">§9</a>: cp. opportune proprieque <a href = +"QuintBody2.html#chapII_sec13">2 §13</a>, and proprie et copiose +(dicere) i. 4, 5. This is the meaning with which it is applied to +the language of Simonides <a href = "#chapI_sec64">§64</a> +below,—‘natural’; cp. Cic. de Orat. i. §154, where <i>verba +propria</i> occurs alongside of <i>ornatissima</i> and corresponds with +<i>idonea</i>, introduced shortly afterwards: cp. <i>id.</i> iii. §31, +where <i>propria</i> is reinforced by <i>apta</i>, and <i>ib.</i> §49 +proprie demonstrantibus (verbis) ea quae significari ac declarari +volemus. The use of <i>proprietas</i> in <a href = +"#chapI_sec46">§46</a> and <a href = "#chapI_sec121">§121</a> below may +be compared with this: cp. also the first of the meanings assigned to +the word in the important passage viii. 2, 1-11: also ix. 2, 18 and xii. +2, 19. The translators here render by ‘suitable’ or ‘significant,’ +but the juxtaposition of <i>ornata</i> seems rather to point to the use +in which <i>verba propria</i> are the antithesis of +<i>translata</i>,—direct, literal, and natural, as opposed to +figurative: i. 5, 71 propria sunt verba cum id significant in quod primo +denominata sunt: translata, cum alium natura intellectum, alium loco +praebent. Cp. i. 5, 3: viii. 3, 24: 6, 5, and 48 (where <i>propria ... +ornata</i> in the passage above may well be illustrated by the words +species ex arcessitis verbis venit et intellectus ex propriis): ix. +1, 4. This is undoubtedly the meaning in which <i>proprius</i> is +used in <a href = "#chapI_sec29">§29</a> below: also in <a href = +"QuintBody2.html#chapV_sec8">5 §8</a> alia translatis virtus alia +propriis. The nearest equivalent in Greek would be <span class = "greek" +title = "oikeia onomata">οἰκεῖα ὀνόματα</span>, rather than <span class += "greek" title = "kuria onomata">κύρια ὀνόματα</span>, which correspond +to ‘usitata verba’ in Quint, (i. 5, 71, and v. 14, 33 verbis quam maxime +propriis et ex usu),—though he may have had in mind here, as Mayor +suggests, <span class = "greek" title = "esti gar allo allou kuriôteron">ἔστι γὰρ ἄλλο ἄλλου κυριώτερον</span>, Arist. Rhet. iii. 2, +p. 1405 b, 11. (For the distinction between <span class = "greek" +title = "onoma oikeion">ὄνομα οἰκεῖον</span> and <span class = "greek" +title = "onoma kurion">ὄνομα κύριον</span> see Cope on Ar. Rhet. iii. 2 +<span class = "pagenum comm">17</span> +§§2 and 6, and Introd. p. 282 note). Many parallels might be cited from +Cicero: e.g. de Or. iii. §149 (verbis eis) quae <i>propria</i> sunt et +certa quasi vocabula rerum, paene una nata cum rebus ipsis: cp. +<i>ib.</i> §150: Brutus §274: Or. §80.</p> + +<p><b>ornata</b>: cp. viii. 3, 15 quamquam enim rectissime traditum est +perspicuitatem propriis, ornatum translatis verbis magis egere, sciamus +nihil ornatum esse quod sit improprium: <i>ib.</i> pr. §26 ut propria +sint (verba) et dilucida et ornata et apte collocentur, and <a href = +"#chapI_sec31">§31</a>: ii. 5, 9 quod verbum proprium, ornatum, sublime: +and especially viii. 1, 1 in singulis (verbis) intuendum est ut sint +Latina, perspicua, ornata, ad id quod efficere volumus accommodata.</p> + +<p><b>plus efficientia</b>, ‘more significant’: ix. 4, §123 membrum +autem est sensus ... per se nihil efficiens. The adj. <i>efficax</i> +occurs only once in Quint. (vi. 1, 41).</p> + +<p><b>melius sonantia</b>. So <i>vocaliora</i> viii. 3, §16 sq.: cp. i. +5, 4 sola est quae notari possit vocalitas, quae <span class = "greek" +title = "euphônia">εὐφωνία</span> dicitur: cuius in eo dilectus est ut +inter duo quae idem significant ac tantundem valent quod melius sonet +malis. Cic. de Or. iii. §150 lectis atque illustribus (verbis) utatur, +in quibus plenum quiddam et sonans inesse videatur: Or. §163 verba ... +legenda sunt potissimum bene sonantia: §149, and §80 (verbum) quod aut +optime sonat aut rem maxime explanat (= plus effic.): Part. Or. §17 +alia (verba) sonantiora, grandiora, leviora: and §53 gravia, plena, +sonantia verba.</p> + +<p><b>non solum ... sed</b> (<span class = "greek" title = "ou monon ... alla">οὐ μόνον ... ἀλλά</span>), a formula used where the second clause +is stronger than or includes and comprehends the first. Cp. <a href = +"#chapI_sec8">§8</a> below: <a href = "#chapI_sec46">§46</a> (nec modo +sed): <a href = "QuintBody2.html#chapVII_sec8">7 §8</a> (non modo +sed): <a href = "QuintBody2.html#chapIII_sec20">3 §20</a> (non +tantum sed): <a href = "QuintBody2.html#chapV_sec5">5 §5</a> (neque +tantum sed): <a href = "QuintBody2.html#chapVII_sec16">7 §16</a> +(non tantum sed). Of the numerous exx. in Cicero’s speeches (Merguet, +pp. 361-2) none are exceptions to the rule thus stated,—not +even the seeming anticlimax of pro Sest. §45 iecissem me potius in +profundum ut ceteros conservarem quam illos mei tam cupidos non modo ad +certam mortem sed in magnum vitae discrimen adducerem: here <i>sed</i> +still introduces the stronger clause, as the sacrifice would be greater +if it were made to avert <i>discrimen</i> than if it were made to avert +<i>certa mors</i>. Becher cps. pro Lege Manil. §66: Div. in Caec. +§27.—There is nothing in the distinction which Herbst (followed by +Dosson) seeks to set up (on the strength of <i>sed etiam</i> in <a href += "#chapI_sec13">§13</a>): ‘pro simplici <i>sed</i>, <span class = +"greek" title = "alla">ἀλλά</span>, infertur <i>sed etiam</i>, <span +class = "greek" title = "alla kai">ἀλλὰ καί</span>, si utrumque +orationis membrum pari vi praeditum est.’ Cp. the following: +(a) non solum sed, vi. 2, 13 and 36: non solum sed (or verum) +etiam, vii. 10, 17: ii. 2, 14: vii. 5, 3: viii. 3, 64: i. 11, 14. +(b) non tantum sed, ix. 3, 28, 78: xi. 1, 7: ii. 17, 2: non tantum +sed etiam (or et), xi. 2, 5: viii. 3, 3: ix. 2, 50. (c) non +modo sed, pr. <a href = "#chapI_sec9">§9</a>: <a href = +"#chapI_sec46">x. 1, 46</a>: ii. 17, 3: iv. 5, 6: non modo sed etiam (or +quoque), ix. 3, 50: xi. 1, 15: i. 10, 9: ii. 2, 12: vi. 3, 57: ix. 3, +47: i. 1, 34: i. 4, 6: i. 11, 13: ix. 4, 9: <a href = "#chapI_sec10">x. +1, 10</a>.</p> + +<p><b>in promptu</b>—in readiness, ‘at one’s fingers’ ends,’ as it +were: i.e. not only must we be able to recognise them when we see or +hear them, but we must always have a stock of them on hand. Cp. ii. 4, +27 ut quidam ... scriptos eos (locos) memoriaeque diligentissime +mandatos in promptu habuerint: vii. 10, 14 non respiciendum ad haec sed +in promptu habenda: viii. pr. 28 ut semper in promptu sint et ante +oculos: xi. 2, 1 exemplorum ... velut quasdam copias quibus abundare +quasque in promptu habere debet orator. In ix. 1, 13 we have simplex +atque in promptu positus dicendi modus. Cp. Demetrius Cynicus ap. Senec. +de Benef. vii. 1 §3: plus prodesse si pauca praecepta sapientiae teneas +sed illa in promptu tibi et in usu sint quam si multa quidem didiceris +sed illa non habeas ad manum.—In Lucr. ii. 149 and 246 (in promptu +manifestumque esse videmus) the phrase rather = in aperto: as often in +Cicero, e.g. de Off. i. §§61, 95, 105, 126.</p> + +<p><b>ut ita dicam, in conspectu</b>. So vii. 1, 4 cum haec (themata s. +proposita) in conspectu quodammodo collocaveram. Cp. viii. 3, 37 quod +idem (‘ut ita dicam’) etiam in iis quae licentius translata erunt +proderit.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec7" id = "chapI_sec7"> </a> +<span class = "secnum">I:7</span> +Et quae idem significarent solitos <i>scio</i> ediscere, quo facilius et +<span class = "pagenum">18</span> +occurreret unum ex pluribus, et, cum essent usi aliquo, si breve intra +spatium rursus desideraretur, effugiendae repetitionis gratia sumerent +aliud quo idem intellegi posset. Quod cum est puerile et cuiusdam +infelicis operae, tum etiam utile parum: turbam tantum modo congregat, +ex qua sine discrimine occupet proximum quodque.</p> + +<div class = "comm"> +<p><a name = "commI_sec7" id = "commI_sec7"><b>§ 7.</b></a> +<b>quae idem significarent</b>: ‘synonyms.’ Cp. i. 5, 4 (quoted above on +<i>melius sonantia</i>): viii. 3, 16.</p> + +<p><b>solitos</b> sc. quosdam. Cp. <a href = "#chapI_sec56">§56</a> +audire videor congerentes. See Crit. Notes.</p> + +<span class = "pagenum comm">18</span> +<p><b>occurreret</b> = in mentem veniret: <a href = +"#chapI_sec13">§13</a>: <a href = +"QuintBody2.html#chapIII_sec33">3 §33</a>.</p> + +<p><b>quo idem intellegi posset</b>. Cp. iii. 11, 27 his plura +intelleguntur. See <a href = "QuintCrit.html#critI_sec7">Crit. +Notes</a>.</p> + +<p><b>cum ... tum etiam</b>. Cp. cum ... tum praecipue <a href = +"QuintBody2.html#chapIII_sec28">3 §28</a>: and, for cum ... tum, <a +href = "#chapI_sec60">§§60</a>, <a href = "#chapI_sec65">65</a>, <a href += "#chapI_sec68">68</a>, <a href = "#chapI_sec84">84</a>, <a href = +"#chapI_sec101">101</a>. Bonn. Lex., s.v. <i>cum</i> p. 195.</p> + +<p><b>cuiusdam</b>. This use of <i>quidam</i> indicates that the word to +which it is attached is being employed in some peculiar sense, or else +that it comes nearest to the idea in the writer’s mind: cp. <a href = +"#chapI_sec76">§§76</a>, <a href = "#chapI_sec81">81</a>.</p> + +<p><b>infelicis operae</b>: of trouble which one gives oneself +unnecessarily (cp. <a href = +"QuintBody2.html#chapIII_sec10">3 §10</a>: <a href = +"QuintBody2.html#chapVII_sec14">7 §14</a>), with the further idea +of unproductiveness, as <a href = +"QuintBody2.html#chapII_sec8">2 §8</a> nostra potissimum tempora +damnamus huius infelicitatis: tr. ‘a thankless task.’ Cp. Hor. Sat. i. +1, 90 infelix operam perdas: A. P. 34 infelix operis summa. With +viii. pr. §§27-8 Mayor compares Plato Phaedr. 229<sup>d</sup> <span +class = "greek" title = "allôs ta toiauta charienta hêgoumai lian de deinou kai epiponou kai ou panu eutuchous andros">ἄλλως τὰ τοιαῦτα +χαρίεντα ἡγοῦμαι λίαν δὲ δεινοῦ καὶ ἐπιπόνου καὶ οὐ πάνυ εὐτυχοῦς +ἀνδρός</span>.</p> + +<p><b>congregat</b>. The subject here is indefinite, and must be +supplied from the context—‘the man who learns by rote.’ Quintilian +often omits such words as discipulus, orator, declamator, lector: cp. <a +href = "QuintBody2.html#chapII_sec24">2 §24</a>: <a href = +"QuintBody2.html#chapVII_sec4">7 §4</a> and <a href = +"QuintBody2.html#chapII_sec24">2 §24</a>: <a href = +"QuintBody2.html#chapVII_sec25">§25</a> est alia exercitatio cogitandi +totasque materias vel silentio (dum tamen quasi dicat intra se ipsum) +persequendi. So Cic. de Off. i. §101 omnis autem actio vacare debet +temeritate et neglegentia nec vero agere quicquam cuius non possit (sc. +is qui agit) causam probabilem reddere: <i>ib.</i> §121 si natura non +feret ut quaedam imitari possit (sc. is qui imitatur): §134: ii. §39: +iii. §107: de Amic. §25 quae non volt: §72 quoad ... possit: de Or. ii. +§62 audeat.—There is thus no need for Gemoll’s conjecture +<i>congregat actor</i>.</p> +</div> + +<div class = "comm space"> +<p><b>§§8-15.</b> The preceding sections (<a href = +"#chapI_sec5">§§5-7</a>) form the transition to what he now seeks to +prove,—the need for <i>multa lectio</i> and <i>auditio</i>. ‘By +reading and hearing the best models we learn to choose appropriate +words, to arrange and pronounce them rightly; to employ the figures of +speech in their proper places.’—Mayor.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec8" id = "chapI_sec8"> </a> +<span class = "secnum">I:8</span> +Nobis autem copia cum iudicio paranda est, vim orandi non circulatoriam +volubilitatem spectantibus. Id autem consequemur +<span class = "pagenum">19</span> +optima legendo atque audiendo; non enim solum nomina ipsa rerum +cognoscemus hac cura, sed quod quoque loco sit aptissimum.</p> + +<div class = "comm space"> +<p><a name = "commI_sec8" id = "commI_sec8"><b>§ 8.</b></a> +<b>cum iudicio</b>, <a href = "#chapI_sec116">§116</a>: <a href = +"QuintBody2.html#chapII_sec3">2 §3</a>. Mayor cites Cic. de Or. +iii. §150 sed in hoc verborum genere propriorum dilectus est habendus +quidem atque is aurium quoque iudicio ponderandus est. The phrase gives +the antithesis of <i>sine discrimine</i> above.</p> + +<p><b>vim orandi</b>: see on <a href = "#chapI_sec1">§1</a> above, vim +dicendi: cp. <a href = "QuintBody2.html#chapV_sec6">5 §6</a>: ii. +16, 9: vi. 2, 2. The words denote ‘true oratory’ as opposed to the +‘fluency of a mountebank’ or charlatan. For the absolute use of +<i>orare</i> (common in the Silver Age) see on <a href = +"#chapI_sec16">§16</a>.</p> + +<p><b>circulatoriam volubilitatem</b>: ii. 4, 15 circulatoriae vere +iactationis est. The <i>circulator</i> was a strolling mountebank who +amused the crowd by his legerdemain: Sen. de Benef. vi. 11, 2. So +of quack philosophers, <i>Id.</i> Epist. 29 §7 circulatores qui +philosophiam honestius neglexissent quam vendunt: 40 §3 sic itaque habe, +istam vim dicendi rapidam atque abundantem aptiorem esse circulanti quam +agenti in rem magnam ac seriam docentique: 52 §8 eligamus non eos qui +verba magna celeritate praecipitant, et communes locos volvunt et in +privato circulantur, sed eos qui vita[m] docent.—For +<i>volubilitas</i> cp. xi. 3, 52: Cic. de Orat. §17 est enim et scientia +comprehendenda rerum plurimarum, sine qua verborum volubilitas inanis +atque inridenda est, et ipsa oratio conformanda non solum electione sed +etiam constructione verborum: so linguae volubilitas, pro Planc. §62 +flumen aliis verborum volubilitasque cordi est: pro Flacc. §48 homo +volubilis praecipiti quadam celeritate dicendi. Pliny Ep. v. 20, 4: est +plerisque Graecorum ut illi pro copia volubilitas. Juvenal’s sermo +promptus et Isaeo torrentior (3, 73-4) indicates the same +feature.</p> + +<p><b>id</b>, of the idea contained in the previous sentence (parare +copiam cum iudicio): <a href = +"QuintBody2.html#chapVI_sec6">6 §6</a>: <a href = +"QuintBody2.html#chapVII_sec4">7 §4</a>.</p> + +<span class = "pagenum comm">19</span> +<p><b>non enim</b>. Herbst cites <a href = "#chapI_sec109">§109</a> and +<a href = "QuintBody2.html#chapV_sec8">5 §8</a> to show that in +this form the negative is either attached to a single word, or is meant +to be more emphatic: so Cic. Orat. §§47, 101. On the other hand <i>neque +enim</i> has less emphasis: <a href = "#chapI_sec105">§105</a>: <a href += "QuintBody2.html#chapII_sec1">2 §1</a>: <a href = +"QuintBody2.html#chapIII_sec10">3 §§10</a>, <a href = +"QuintBody2.html#chapIII_sec23">23</a>: <a href = +"QuintBody2.html#chapIV_sec1">4 §1</a>: <a href = +"QuintBody2.html#chapVI_sec5">6 §5</a>: <a href = +"QuintBody2.html#chapVII_sec5">7 §§5</a>, <a href = +"QuintBody2.html#chapVII_sec18">18</a>, <a href = +"QuintBody2.html#chapVII_sec19">19</a>, <a href = +"QuintBody2.html#chapVII_sec27">27</a>. For <i>enim ... enim ... nam</i> +he compares <a href = "QuintBody2.html#chapIII_sec2">3 §2</a> and, +in Greek, Xen. Anab. iii. 2, 32: v. 6, 4.</p> + +<p><b>quod quoque</b>. See <a href = "QuintCrit.html#critI_sec8">Crit. +Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec9" id = "chapI_sec9"> </a> +<span class = "secnum">I:9</span> +Omnibus enim fere verbis praeter pauca, quae sunt parum verecunda, in +oratione locus est. Nam scriptores quidem iamborum veterisque comoediae +etiam in illis saepe laudantur, sed nobis nostrum opus intueri sat est. +Omnia verba, exceptis de quibus dixi, sunt alicubi optima; nam et +humilibus interim et vulgaribus est opus, et quae nitidiore in parte +videntur +<span class = "pagenum">20</span> +sordida, ubi res poscit, proprie dicuntur.</p> + +<div class = "comm"> +<p><a name = "commI_sec9" id = "commI_sec9"><b>§ 9.</b></a> +<b>parum verecunda</b>. These expressions are characterised in the same +indirect way i. 2, 7 verba ne Alexandrinis quidem permittenda deliciis. +Cp. viii. 3, 38 excepto si obscena nudis nominibus enuntientur: +<i>ib.</i> 2 §1 obscena vitabimus. Cic. ad Fam. ix. 22.</p> + +<p><b>nam</b> is here slightly elliptical (cp. <a href = +"#chapI_sec83">§83</a>), introducing a confirmation of the statement +contained in the words <i>praeter pauca quae sunt parum verecunda</i>: +‘I make exceptions, for though even these may be admired in <span class += "greek" title = "iambographoi">ἰαμβογράφοι</span> (Archilochus §59, +Hipponax, &c.), and in the old Comedy, we must look to our own +department.’ The sentence might have run,—nam, etiamsi scriptores +quidem, &c. etiam in illis saepe laudantur, nobis nostrum opus +intueri sat est. This seems better than, with Mayor, to press <i>in +oratione</i>: ‘<i>in oratione</i> I say, for even these may be +admired, &c.’</p> + +<p><b>scriptores iamborum</b>: <a href = "#chapI_sec59">§59</a> Horace +imitated Archilochus in some of his Epodes: these are ‘parum verecunda.’ +Mayor refers also to the Priapeia. The <i>vetus comoedia</i> +(<i>antiqua</i> in <a href = "#chapI_sec65">§65</a>) is often associated +with <span class = "greek" title = "iambographoi">ἰαμβογράφοι</span>: <a +href = "#chapI_sec59">§§59</a>, <a href = "#chapI_sec65">65</a>, <a href += "#chapI_sec96">96</a>. Hor. Sat. i. 4, 1 sq.: ii. 3, 12.</p> + +<p><b>in illis ... laudantur</b>. In such expressions <i>in</i> with the +abl. denotes the range or scope within which the action of the verb +takes place. Nägelsb. p. 491. Cic. Qu. fr. ii. 6, 5 Pompeius noster +in amicitia P. Lentuli vituperatur. Cp. <a href = +"#chapI_sec54">§§54</a>, <a href = "#chapI_sec63">63</a>, <a href = +"#chapI_sec64">64</a>: v. 12, 22 ut ad peiora iuvenes laude ducuntur ita +laudari in bonis malent.</p> + +<p><b>nostrum opus</b>: not ‘our proper work, the education of an +orator’ (Hild); but ‘what we have to do with here,’ our ‘department’ or +‘branch.’ It thus = opus dicendi Cic. Brut. §214, or oratorium +<i>ib.</i> §200. In the Silver Age <i>opus</i> (like <i>genus</i>) is +often used to denote a special branch. Herbst cites <a href = +"#chapI_sec31">§§31</a>, <a href = "#chapI_sec35">35</a>, <a href = +"#chapI_sec64">64</a>, <a href = "#chapI_sec69">69</a>, <a href = +"#chapI_sec70">70</a>, <a href = "#chapI_sec72">72</a>, <a href = +"#chapI_sec74">74</a>, <a href = "#chapI_sec93">93</a>, <a href = +"#chapI_sec96">96</a>, <a href = "#chapI_sec123">123</a>; <a href = +"QuintBody2.html#chapII_sec21">2 §21</a>. Cp. Introd. <a href = +"QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> + +<p><b>intueri</b>: v. 13, 31 dum locum praesentem non totam causam +intuentur. Cp. <a href = "QuintBody2.html#chapII_sec2">2 §§2</a>, +<a href = "QuintBody2.html#chapII_sec26">26</a>: <a href = +"QuintBody2.html#chapVII_sec16">7 §16</a>.</p> + +<p><b>exceptis ... dixi</b>: sc. <i>iis</i> (parum verecundis). Cp. <a +href = "#chapI_sec104">§104</a> circumcisis quae dixisse ei +nocuerat.</p> + +<p><b>humilibus ... vulgaribus</b>. So xi. 1, 6 humile et cotidianum +sermonis genus. <i>Humilia verba</i> (<span class = "greek" title = +"tapeina onomata">ταπεινά ὀνόματα</span>) are opposed to <i>grandia</i>, +<i>elata verba</i>. By Cicero <i>abiectus</i> is often used to indicate +a still lower depth: Brut. §227 verbis non ille quidem ornatis utebatur, +sed tamen non abiectis. Mayor cites De Orat. iii. §177 non enim sunt +alia sermonis, alia contentionis verba, neque ex alio genere ad usum +cotidianum, alio ad scenam pompamque sumuntur; sed ea nos cum iacentia +sustulimus e medio sicut mollissimam ceram ad nostrum arbitrium formamus +et fingimus. Hor. A. P. 229 ne ... migret in obscuras humili +sermone tabernas.</p> + +<p><b>interim</b> for <i>interdum</i>, as often in Quintilian, Seneca, +and Pliny: cp. <a href = "#chapI_sec24">§24</a>: <a href = +"QuintBody2.html#chapIII_sec7">3 §§7</a>, <a href = +"QuintBody2.html#chapIII_sec19">19</a>, <a href = +"QuintBody2.html#chapIII_sec20">20</a>, <a href = +"QuintBody2.html#chapIII_sec32">32</a>, <a href = +"QuintBody2.html#chapIII_sec33">33</a> (where we have interim ... +interim for modo ... modo): <a href = +"QuintBody2.html#chapVII_sec31">7 §31</a>. See Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>nitidiore ... sordida</b>. There is the same antithesis at viii. +3. 49. Cp. Cic. Brut. §238 non valde nitens non plane horrida oratio. +See note on <a href = "#chapI_sec79">§79</a>: and cp. <a href = +"#chapI_sec33">§§33</a>, <a href = "#chapI_sec44">44</a>, <a href = +"#chapI_sec83">83</a>, <a href = "#chapI_sec97">97</a>, <a href = +"#chapI_sec98">98</a>, <a href = "#chapI_sec113">113</a>, <a href = +"#chapI_sec124">124</a>. Sulp. Vict. inst. or. 15 in Halm rhet. lat. +p. 321, 3 adhibendus est nitor ... ut scilicet verba non sordida et +vulgaria et de trivio, quod dicitur, sumpta sint, sed electa de libris +et hausta de liquido fonte doctrinae.— +<span class = "pagenum comm">20</span> +For <i>sordida</i> cp. Sen. Ep. 100 (of Fabianus) nihil invenies +sordidum ... verba ... splendida ... quamvis sumantur e medio. Quint. +ii. 5, 10: viii. 2, 1.</p> + +<p><b>proprie</b>: v. on <a href = "#chapI_sec6">§6</a> propria. Cp. <a +href = "QuintBody2.html#chapV_sec4">5 §4</a> verba poetica +libertate audaciora non praesumunt eadem proprie dicendi facultatem: +viii. 2, 2 non mediocriter errare quidam solent qui omnia quae sunt in +usu, etiam si causae necessitas postulet, reformidant.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec10" id = "chapI_sec10"> </a> +<span class = "secnum">I:10</span> +Haec ut sciamus atque eorum non significationem modo, sed formas etiam +mensurasque norimus, ut ubicumque erunt posita conveniant, nisi multa +lectione atque auditione adsequi nullo modo possumus, cum omnem sermonem +auribus primum accipiamus. Propter quod infantes a mutis nutricibus +iussu regum in solitudine educati, etiamsi verba quaedam emisisse +traduntur, tamen loquendi facultate caruerunt.</p> + +<div class = "comm"> +<p><a name = "commI_sec10" id = "commI_sec10"><b>§ 10.</b></a> +<b>non ... modo, sed ... etiam</b>: see on <a href = +"#chapI_sec6">§6</a>. Herbst notes that Quint. usually separates these +words by others, as here: cp. <a href = "#chapI_sec55">§55</a> non forum +modo, verum ipsam etiam urbem: <a href = +"QuintBody2.html#chapII_sec23">2 §23</a> non causarum modo inter +ipsas condicio, sed in singulis etiam causis partium. On the other hand +we have <a href = "QuintBody2.html#chapIII_sec15">3 §15</a> non +exercitatio modo ... sed etiam ratio: <a href = +"QuintBody2.html#chapVII_sec19">7 §19</a> non in prosa modo, sed +etiam in carmine.</p> + +<p><b>formas</b>. The <i>forma</i> of a word, in the widest sense, must +mean its <i>shape</i> as determined by the syllables and letters of +which it consists: cp. viii. 3, 16, where he notes the importance of +this in regard to sound. But the reference here is more particularly to +the grammatical forms of inflection, i.e. accidence, <span class = +"greek" title = "tas ptôseis tôn onomatôn kai tas enkliseis tôn rhêmatôn">τὰς πτώσεις τῶν ὀνομάτων καὶ τὰς ἐγκλίσεις τῶν ῥημάτων</span> +(Dion. Hal. Comp. Verbor. 25, p. 402 Schäfer). See i. 6, 15 sq. +Mayor refers to the grammatical discussions in Cic. Orat. §§152-161. +Quint. i. 4 esp. §§22-29: 5-7.</p> + +<p><b>mensuras</b>: the ‘quantities’ of single syllables, i.e. prosody. +Cic. Or. §159: §§162-236: Quint. i. 10 ‘de musice.’ Latin concrete +plurals often correspond to our abstract names of sciences, e.g. +<i>numeri</i> ‘arithmetic,’ <i>tempora</i> ‘chronology.’ Nägelsbach 12 +§2, p. 71.</p> + +<p><b>ut ubicumque</b>. For <i>ut</i> (L) most MSS. (G H S) +give <i>et</i>. Krüger records a conj. by Rowecki, who proposes to read +<i>utque</i>, so as to make both <i>ut sciamus</i> and <i>ut +conveniant</i> depend upon <i>adsequi</i>. But this seems +unnecessary.</p> + +<p><b>auditione</b>. Then, as now, <i>auditio</i> would be specially +valuable in regard to prosody (mensurae). The next clause gives the +reason for putting it alongside of <i>lectio</i>, and also serves to +introduce the reference which follows.</p> + +<p><b>propter quod</b> ( = <span class = "greek" title = "di’ ho">δι᾽ +ὅ</span>), often in Quint. where Cicero would have used <i>quam ob +rem</i>. Cp. <a href = "#chapI_sec66">§66</a>: <a href = +"QuintBody2.html#chapV_sec23">5 §23</a>: <a href = +"QuintBody2.html#chapVII_sec6">7 §6</a>: <i>propter quae</i> +(= <span class = "greek" title = "di’ ha">δι᾽ ἅ</span>) <a href = +"#chapI_sec61">§61</a>: <a href = +"QuintBody2.html#chapIII_sec30">3 §30</a>: ii. 13, 14: xii. +1, 39. At <a href = "#chapI_sec28">§28</a> and <a href = +"QuintBody2.html#chapIII_sec6">3 §6</a> we have <i>praeter id +quod</i> for <i>praeterquam quod</i>.</p> + +<p><b>infantes ... caruerunt</b>. In spite of the vagueness of +<i>regum</i> and <i>a mutis nutricibus</i>, the reference is obviously +to the story told by Herodotus (ii. 2), which Quint. may only have +remembered indistinctly. Psammetichus, king of Egypt, wishing to +discover if there were any people older than the Egyptians, gave two +infants into the charge of a shepherd, who was to keep them out of reach +of all human sounds and bring them up on the milk of goats. After two +years they greeted the shepherd with the cry <span class = "greek" title += "bekos">βεκός</span>, which on inquiry turned out to be the Phrygian +for bread. On the strength of this experiment the sapient king allowed +that the Phrygians were more ancient than the Egyptians. Claudian, in +Eutrop. ii. 252-4 nec rex Aegyptius ultra Restitit, humani postquam puer +uberis expers In Phrygiam primum laxavit murmura vocem. A similar +story is told of James IV of Scotland, with the difference that in his +case Hebrew instead of Phrygian resulted from the experiment.—By +<i>mutis nutr.</i> Quint. probably means the goats of Psammetichus; +<i>mutus</i> having its proper sense, ‘uttering inarticulate sounds’: so +mutae pecudes Lucr. v. 1059: animalia muta Iuv. viii. 56: mutum ac turpe +pecus Hor. Sat. i. 3, 100.</p> + +<p><b>verba emisisse</b>: Lucr. v. 1087-8 ergo si varii sensus animalia +cogunt Muta tamen cum sint, varias emittere voces, &c.</p> + +<p><b>caruerunt</b> is obviously the right reading, not <i>caruerint</i> +(Hild), which would +<span class = "pagenum comm">21</span> +introduce too great an element of uncertainty into the narrative: +caruerunt propter(ea) quod sermonem auribus <i>non</i> acceperunt. Even +though Quint. may have been sceptical about the story its ‘moral’ agreed +entirely with his own conclusions.—Note <i>etiamsi ... +traduntur</i>, <i>etiamsi ... sint</i> <a href = "#chapI_sec11">§11</a> +below.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec11" id = "chapI_sec11"> </a> +<span class = "secnum">I:11</span> +Sunt autem alia huius naturae, ut idem +<span class = "pagenum">21</span> +pluribus vocibus declarent, ita ut nihil significationis, quo potius +utaris, intersit, ut ‘ensis’ et ‘gladius’; alia vero, etiamsi propria +rerum aliquarum sint nomina, <span class = "greek" title = +"tropikôs">τροπικῶς</span> quasi tamen ad eundem intellectum feruntur, +ut ‘ferrum’ et ‘mucro’.</p> + +<div class = "comm"> +<p><a name = "commI_sec11" id = "commI_sec11"><b>§ 11.</b></a> +<b>alia</b>, sc. verba. See <a href = "QuintCrit.html#critI_sec11">Crit. +Notes</a>.</p> + +<p><b>vocibus</b>: ‘sounds,’—words in regard to their sound and +form, while <i>verba</i> are words in regard to their meaning. The +distinction is given Cic. Or. §162 rerum verborumque iudicium prudentiae +est, vocum autem et numerorum aures sunt iudices: de Or. iii. §196 +itaque non solum verbis arte positis moventur omnes, verum etiam numeris +ac vocibus (of musical sounds). Hor. Sat. i. 3, 103 donec verba quibus +voces sensusque notarent, Nominaque invenere—where <i>verba</i> +are the articulate words by which men gave form and meaning to the +primitive inarticulate sounds (<i>voces</i>).</p> + +<p><b>significationis</b>, for the more usual <i>ad significationem</i>, +‘in point of meaning’: vii. 2, 20 nihil interest actionum: ix. 4, 44 +plurimum refert compositionis. So Plin. Ep. ix. 13 §25 verane haec +adfirmare non ausim: interest tamen exempli ut vera videantur. Cicero +has in ad Fam. iv. 10, 5 multum interesse rei familiaris tuae te quam +primum venire: and interesse reipublicae occurs (as a sort of personal +genitive) in Cicero, Caesar, and Livy. But with such a word as that in +the text Cicero would have used ad c. acc.: ad Fam. v. 12, 1 equidem ad +nostram laudem non multum video interesse, sed ad properationem meam +quiddam interest non te exspectare dum ad locum venias.</p> + +<p><b>quo</b>, sc. verbo.</p> + +<p><b>ensis</b> is the poetic word for <i>gladius</i>, though in +Quint.’s time the difference between prose usage and poetical in regard +to such words had begun to disappear. Mayor (following Gesner) notes +that ‘ensis’ occurs over sixty times in Vergil, ‘gladius’ only five +times.</p> + +<p><b><span class = "greek" title = "tropikôs">τροπικῶς</span></b>, by a +‘turn’ or change of application. On metaphor see viii. 2, 6 sq.: Cic. de +Orat. iii. §155: Or. §§81, 82 sq. The meaning is that while some words +are naturally synonymous, others <i>become</i> synonyms (ad eundem +intellectum feruntur) when used figuratively, though in their literal +sense they have each a distinct application (propria rerum aliquarum +sint nomina). In the one case there are several words with the same +meaning: in the other the original meaning is different (e.g. ferrum, +mucro), but the words come to be used synonymously.—For the +position of <i>quasi</i>, after <span class = "greek" title = +"tropikôs">τροπικῶς</span>, cp. Sall. Iug. 48 §3: and see <a href = +"QuintCrit.html#critI_sec11">Crit. Notes</a>.</p> + +<p><b>ad eundem intellectum</b>, viii. 3, 39: feruntur <a href = +"QuintBody2.html#chapIII_sec6">3 §6</a>: lit. ‘pass into the same +meaning.’</p> + +<p><b>ferrum</b>, <b>mucro</b>, viii. 6, 20 (of synecdoche) nam prosa ut +‘mucronem’ pro gladio et ‘tectum’ pro domo recipiet, ita non ‘puppem’ +pro navi nee ‘abietem’ pro tabellis, et rursus ut pro gladio ‘ferrum’ +ita non pro equo ‘quadripedem.’—Mayor compares the use of ‘iron’ +and ‘steel’ for ‘sword’ in Shakespeare.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec12" id = "chapI_sec12"> </a> +<span class = "secnum">I:12</span> +Nam per abusionem +<span class = "pagenum">22</span> +sicarios etiam omnes vocamus qui caedem telo quocumque commiserunt. Alia +circuitu verborum plurium ostendimus, quale est ‘et pressi copia +lactis.’ Plurima vero mutatione figuramus: scio ‘non ignoro’ et ‘non me +fugit’ et ‘non me praeterit’ et ‘quis nescit?’ et ‘nemini dubium +est’.</p> + +<div class = "comm"> +<p><a name = "commI_sec12" id = "commI_sec12"><b>§ 12.</b></a> +<b>Nam</b> is again elliptical, as in <a href = "#chapI_sec9">§9</a>. It +introduces here a proof of what has just been said in the shape of a +reference to something still more striking: ‘and we may go even further, +for,’ &c. It may be translated ‘and indeed,’ or ‘nay more,’ or +‘likewise.’ Cp. <a href = "#chapI_sec23">§§23</a>, <a href = +"#chapI_sec83">83</a>: and with <i>quidem</i> <a href = +"#chapI_sec50">§50</a>. The ellipse may be supplied by the words ‘neque +id mirum’: ‘and no wonder, for.’</p> + +<p><b>per abusionem</b>: by the figure called ‘catachresis,’—the +use of a word of kindred signification for the proper word: Corn. ad +Herenn. 10 §45 abusio est quae verbo simili et propinquo pro certo +et proprio abutitur. Cp. viii. 2, 5 abusio, quae <span class = "greek" +title = "katachrêsis">κατάχρησις</span> dicitur, necessaria: ib. +6 §34 <span class = "greek" title = +"katachrêsis">κατάχρησις</span>, quam recte dicimus abusionem, quae non +habentibus nomen suum accommodat, quod in proximo est, sic: equum divina +Palladis arte Aedificant: iii. 3, 9: ix. 2, 35. Cic. de Orat. iii. +§169: Or. §94. Quint. states the difference between <i>abusio</i> and +<i>translatio</i> viii. 6 §35: discernendumque est <i>ab</i> hoc +totum translationis genus, quod abusio est ubi nomen deficit, translatio +ubi aliud fuit: i.e. <i>abusio</i> is used when a thing has not a name, +and the name of something similar is given to it, <i>translatio</i> when +one name is used instead of another. Mayor cites Serv. Georg. iii. +<span class = "pagenum comm">22</span> +533 donaria proprie loca sunt in quibus dona reponuntur deorum, abusive +templa. Cp. Quint. viii. 6, 35 poetae solent abusive etiam in his rebus +quibus nomina sua sunt vicinis potius uti.</p> + +<p><b>sicarios</b>. The <i>sica</i> among the Romans specially denoted +the assassin’s poniard: Cic. de Off. iii. §36: de Nat. Deor. iii. §74: +pro Rosc. Amer. §103. Hor. Sat. i. 4, 4.</p> + +<p><b>quocumque</b>. Even before Quint.’s time <i>quicumque</i> had +acquired the force of an indefinite pronoun (quivis or quilibet): Cic. +Cat. 2, 5 quae sanare poterunt, quacumque ratione (potero) sanabo. Cp. +<a href = "#chapI_sec105">§105</a>, <a href = +"QuintBody2.html#chapVII_sec2">7 §2</a>: i. 10, 35: ii. 21, 1: and +frequently in Tacitus, Suetonius, and Juvenal (e.g. x. 359). Mayor cites +among other passages from Martial viii. 48, 5 non quicumque capit +saturatas murice vestes.</p> + +<p><b>circuitu verborum plurium</b>, i.e. periphrasis. viii. 6, 59 +pluribus autem verbis cum id quod uno aut paucioribus certe dici potest +explicatur <span class = "greek" title = "periphrasin">περίφρασιν</span> +vocant, circuitum quendam eloquendi: ib. §61 cum in vitium incidit <span +class = "greek" title = "perissologia">περισσολογία</span> dicitur. Cp. +xii. 10, 16: 41: viii. pr. §24: <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>.</p> + +<p><b>ostendimus</b> = declaramus, significamus, as <a href = +"#chapI_sec14">§14</a>.</p> + +<p><b>et pressi copia lactis</b>: Verg. Ecl. 1, 81.</p> + +<p><b>plurima</b>, ‘very many,’ not ‘most’: a common usage in Quint. Cp. +<a href = "#chapI_sec22">§§22</a>, <a href = "#chapI_sec27">27</a>, <a +href = "#chapI_sec40">40</a>, <a href = "#chapI_sec49">49</a>, <a href = +"#chapI_sec58">58</a>, <a href = "#chapI_sec60">60</a>, <a href = +"#chapI_sec65">65</a>, <a href = "#chapI_sec81">81</a>, <a href = +"#chapI_sec95">95</a>, <a href = "#chapI_sec107">107</a>, <a href = +"#chapI_sec109">109</a>, <a href = "#chapI_sec117">117</a>, <a href = +"#chapI_sec128">128</a>: <a href = +"QuintBody2.html#chapII_sec6">2 §§6</a>, <a href = +"QuintBody2.html#chapII_sec14">14</a>, <a href = +"QuintBody2.html#chapII_sec24">24</a>: <a href = +"QuintBody2.html#chapVI_sec1">6 §1</a>: <a href = +"QuintBody2.html#chapVII_sec17">7 §17</a>.</p> + +<p><b>mutatione figuramus</b>. For this use of <i>figurare</i> (<span +class = "greek" title = "schêmatizein">σχηματίζειν</span>) cp. ix. 1, 9 +tam enim translatis verbis quam propriis figuratur oratio: here however +<i>plurima</i> is a cognate accus.,—lit. ‘we very often use a +figure in substituting one form of expression for another.’ The verb is +found in this sense also in Seneca and Pliny. See <a href = +"QuintCrit.html#critI_sec12">Crit. Notes</a>.—<i>Figurae</i> is +Quint.’s favourite word for rendering <span class = "greek" title = +"schêmata">σχήματα</span>. He uses it in more than a hundred places (i. +8, 16 schemata utraque, id est figuras, quaeque <span class = "greek" +title = "lexeôs">λέξεως</span> quaeque <span class = "greek" title = +"dianoias">διανοίας</span> vocantur): and it is to this use of the word +by him and by the later rhetoricians that we owe the modern term +‘figure.’ Cicero has no fixed equivalent for <span class = "greek" title += "schêmata">σχήματα</span>: he uses <i>formae</i>, +<i>conformationes</i>, <i>lumina</i>, <i>gestus</i>, +<i>figurae</i>,—often with the Greek word added; e.g. Brut. §69 +sententiarum orationisque formis quae vocant <span class = "greek" title += "schêmata">σχήματα</span>: cp. Or. §83, and de Opt. Gen. §14 (where +<i>figuris</i> is accompanied by <i>tanquam</i>). Quint. defines +<i>figura</i> ix. 1, 4 as ‘conformatio quaedam orationis remota a +communi et primum se offerente ratione’: <i>ib.</i> §14 arte aliqua +novata forma dicendi. The idea of a divergence from what is usual and +ordinary is always prominent in his treatment of <i>figurae</i>: ii. 13, +11 mutant enim aliquid a recto atque hanc prae se virtutem ferunt quod a +consuetudine vulgari recesserut: ix. 1, 11 in sensu vel sermone aliqua a +vulgari et simplici specie cum ratione mutatio.—That this idea is +not involved in the original meaning of <span class = "greek" title = +"schêmata">σχήματα</span>, but was extended to them from the <span class += "greek" title = "tropoi">τρόποι</span> (a name which indicates +changes or ‘turns of expression’), is shown by Causeret +pp. 170-180.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec13" id = "chapI_sec13"> </a> +<span class = "secnum">I:13</span> +Sed etiam ex proximo mutuari licet. Nam et ‘intellego’ et ‘sentio’ et +‘video’ saepe idem valent quod ‘scio’. Quorum nobis ubertatem +<span class = "pagenum">23</span> +ac divitias dabit lectio, ut non solum quo modo occurrent, sed etiam quo +modo oportet utamur.</p> + +<div class = "comm"> +<p><a name = "commI_sec13" id = "commI_sec13"><b>§ 13.</b></a> +<b>ex proximo mutuari</b>: i.e. borrow a word that is cognate in +meaning, instead of using such negative inversions as the +preceding.—Intellego, sentio, video, scio, are cognate +words,—‘next door’ (in proximo) to each other.—For the +substantival use (in Cicero and Livy) of neuter adjectives in acc. and +abl., with prepositions, in expressions denoting place and the like, see +Nägelsbach §21 pp. 102-109. Exx. are ex integro (<a href = +"#chapI_sec20">§20</a>), in aperto, ex propinquo, in immensum, de +alieno, ad extremum, in praecipiti, in praesenti, in melius, e contrario +(<a href = "#chapI_sec19">§19</a>).</p> + +<p><b>idem valent</b> = <span class = "greek" title = +"tauto">ταὐτό</span> or <span class = "greek" title = "ison dunatai">ἴσον δύναται</span>, as often in Cicero and elsewhere in +Quintilian.</p> + +<p><b>ubertatem ac divitias</b>: hendiadys, ‘a rich store.’ For the use +of two synonymous nouns in Latin instead of a noun and an adjective, see +Nägelsbach, §73 pp. 280-281. Exx. are Cic. de Or. i. §300 +absolutionem perfectionemque ( = summa +<span class = "pagenum comm">23</span> +perfectio, which never occurs): de Off. ii. 5, 16 conspiratione hominum +atque consensu. For this metaphorical use of <i>divitiae</i> cp. de +Orat. i. §161 in oratione Crassi divitias atque ornamenta eius ingenii +per quaedam involucra atque integumenta perspexi.</p> + +<p><b>occurrent</b>: <a href = "#chapI_sec7">§7</a> and frequently +elsewhere in this sense.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec14" id = "chapI_sec14"> </a> +<span class = "secnum">I:14</span> +Non semper enim haec inter se idem faciunt, nec sicut de intellectu +animi recte dixerim ‘video’, ita de visu oculorum ‘intellego’, nec ut +‘mucro’ gladium, sic mucronem ‘gladius’ ostendit.</p> + +<div class = "comm"> +<p><a name = "commI_sec14" id = "commI_sec14"><b>§ 14.</b></a> +<b>non semper enim</b>, etc., ‘they do not always coincide in meaning,’ +are not always identical and interchangeable. Cf. ix. 3, 47 nec verba +modo sed sensus quoque idem facientes acervantur: where <i>facere</i> = +<i>efficere</i>, the words being spoken of as if they were agents in +producing the meaning. <i>Inter se</i> (<span class = "greek" title = +"allêlois">ἀλλήλοις</span>) = ‘reciprocally,’ ‘mutually’: cp. ix. 3, 31: +<i>ib.</i> §49.</p> + +<p><b>intellego</b>: repeat <i>recte dixerim</i>. For the ellipse Herbst +compares v. 11, 26: viii. 6, 20: xii. 11, 27.</p> + +<p><b>mucro</b>: for instance in <a href = +"QuintBody2.html#chapV_sec16">5 §16</a> <i>gladius</i> could not be +substituted for <i>mucro</i> without the point being lost. Cp. viii. 6, +20: vi. 4, 4: ix. 4, 30.</p> + +<p><b>ostendit</b> = indicat, significat. Cp. <a href = +"#chapI_sec12">§12</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec15" id = "chapI_sec15"> </a> +<span class = "secnum">I:15</span> +Sed ut copia verborum sic paratur, ita non verborum tantum gratia +legendum vel audiendum est. Nam omnium, quaecumque docemus, hoc sunt +exempla potentiora etiam ipsis quae traduntur artibus (cum eo qui discit +perductus est, ut intellegere ea sine demonstrante et sequi iam suis +viribus possit), quia quae doctor praecepit orator ostendit.</p> + +<span class = "pagenum">24</span> +<div class = "comm"> +<p><a name = "commI_sec15" id = "commI_sec15"><b>§ 15.</b></a> +<b>ut ... ita</b>: v. on <i>sicut ... ita</i> <a href = +"#chapI_sec1">§1</a>.</p> + +<p><b>sic</b>, multa lectione atque auditione <a href = +"#chapI_sec10">§10</a>. In reading and hearing we are not to aim merely +at increasing our stock of words: many other things may be learned by +the same practical method. Cp. <a href = +"QuintBody2.html#chapII_sec1">2 §1</a>.</p> + +<p><b>hoc</b> = idcirco, ideo, corresponding to <i>quia</i> below. Cp. +<a href = "#chapI_sec34">§34</a> hoc potentiora quod: <a href = +"#chapI_sec129">§129</a> eo perniciosissima quod: v. 11, 37. See <a href += "QuintCrit.html#critI_sec15">Crit. Notes</a>.</p> + +<p><b>etiam ipsis</b>: <a href = "#chapI_sec24">§24</a>. Herbst cites +also Hor. Sat. i. 3, 39 Turpia decipiunt caecum vitia aut etiam ipsa +haec delectant. Cicero uses <i>etiam ipse</i> (with rather more emphasis +than <i>ipse quoque</i>) de Nat. Deor. ii. §46: Rab. Post. §33: pro +Planc. §73: pro Mil. §21—Nägelsbach p. 367.</p> + +<p><b>quae traduntur artibus</b>. <i>Artes</i> is here used, as often in +the plural, for the rules or collections of rules taught in schools. So +ii. 5, 14 hoc diligentiae genus ausim dicere plus collaturum discentibus +quam omnes omnium artes. Pr. <a href = "#chapI_sec26">§26</a> nihil +praecepta atque artes valere nisi adiuvante natura: cp. <a href = +"#chapI_sec47">§47</a> below litium et consiliorum artes: <a href = +"#chapI_sec49">§49</a> qui de artibus scripserunt. This use is derived +from that in which <i>ars</i> stands generally for ‘system’ or ‘theory’: +ii. 14, 5 ars erit quae disciplina percipi debet (cp. Cic. de Or. ii. +§30 ars earum rerum est quae sciuntur): and below <a href = +"QuintBody2.html#chapVII_sec12">7 §12</a> hic usus ita proderit si +ea de qua locuti sumus ars antecesserit. Elsewhere in Quint. it is +frequently used for a technical treatise: ii. 13, 1 a plerisque +scriptoribus artium: 15 §4 si re vera ars quae circumfertur eius +(Isocratis) est: cp. Iuv. 7, 177 artem scindes Theodori. This last use +is found also in Cicero: Brutus §46 ait Aristoteles ... artem et +praecepta Siculos Coracem et Tisiam conscripsisse: de Fin. iii. §4 ipsae +rhetorum artes: iv. §5 non solum praecepta in artibus sed etiam exempla +in orationibus bene dicendi reliquerunt: <i>ib.</i> §7 quamquam scripsit +artem rhetoricam Cleanthes: de Invent. i. §8: ii. +§7.—<i>Traduntur</i> = docentur, just as accipere = discere: cf. +i. 3, 3 quae tradentur non difficulter accipiet: ii. 9, 3: iii. +6, 59.</p> + +<p><b>sine demonstrante</b>: ‘without a guide’ or teacher. For this use +of the participle, cp. i. 2, 12 lectio quoque non omnis nec semper +praeeuntevel interpretante eget.</p> + +<p><b>iam</b> heightens the contrast between the two +stages—pupilage and independent study. There is therefore no need +for Hild’s conjecture <i>viam</i>.</p> + +<p><b>ostendit</b> ‘gives a practical demonstration of.’ We are not +merely to learn the rules (artes) from the <i>doctor</i>, but to observe +<span class = "pagenum comm">24</span> +how they are applied by the best writers and speakers.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec16" id = "chapI_sec16"> </a> +<span class = "secnum">I:16</span> +Alia vero audientes, alia legentes magis adiuvant. Excitat qui dicit +spiritu ipso, nec imagine et ambitu rerum, sed rebus incendit. Vivunt +omnia enim et moventur, excipimusque nova illa velut nascentia cum +favore ac sollicitudine. Nec fortuna modo iudicii, sed etiam ipsorum qui +orant periculo adficimur.</p> + +<div class = "comm space"> +<p><a name = "commI_sec16" id = "commI_sec16"><b>§ 16.</b></a> +<b>alia</b> does not refer to some particular kinds of speeches, as +Watson translates. Literally, it is ‘some things do more good when one +hears them, others when one reads them’: but <i>alia</i> and +<i>adiuvant</i> run into each other, as it were, and the meaning is +‘some benefits are derived from hearing, others from reading,’ i.e. they +have each their special points. In the passive it would stand ‘aliter +audientes adiuvantur aliter legentes.’</p> + +<p><b>spiritu ipso</b>: the ‘living breath’ (vivunt omnia et moventur), +as opposed to the dead letter: the sound of the voice (viva vox) instead +of the ‘cold medium of written symbols’ (Frieze), ii. 2, 8 viva illa, ut +dicitur, vox alit plenius (sc. quam exempla). Plin. Ep. ii. 3, 9 multo +magis, ut vulgo dicitur, viva vox adficit. nam liceat acriora sint quae +legas, altius tamen in animo sedent quae pronuntiatio vultus habitus +gestus etiam dicentis adfigit. Cic. Orat. §130 carent libri spiritu illo +propter quem maiora eadem illa cum aguntur quam cum leguntur videri +solent, where Sandys quotes Isocr. Phil. §26. So Dion. Hal. de Dem. 54 +(p. 112 R) of the speeches of Demosthenes when ill delivered, +<span class = "greek" title = "to kalliston autês">τὸ κάλλιστον +αὐτῆς</span> (sc. <span class = "greek" title = "tês lexeôs">τῆς +λέξεως</span>) <span class = "greek" title = "apoleitai, to pneuma, kai ouden dioisei sômatos kalou men akinêtou de kai nekrou.">ἀπολεῖται, τὸ +πνεῦμα, καὶ οὐδὲν διοίσει σώματος καλοῦ μὲν ἀκινήτου δὲ καὶ +νεκροῦ.</span></p> + +<p><b>ambitu rerum</b>. This phrase has been variously explained. Wolff +thought that it was equivalent <ins class = "correction" title = "text reads ‘so’">to</ins> ‘rerum circumscriptio quam prima lineamenta +ducentes faciunt pictores’; and following him many render by ‘bare +outline,’ ‘rough draft or sketch,’ ‘outline drawing,’ without however +citing any apposite parallel. Others say it = ‘ambitiosa rerum +expositione’: cp. iv. 1, 18 hic ambitus ... pronuntiandi faciendique +iniuste: xii. 10, 3 proprio quodam intellegendi ambitu (‘affectation of +superior judgment’): Declam. IV, sub fin., novo mihi inauditoque opus +est ambitu rerum: ib. I pr. si iuvenis innocentissimus iudices uti +vellet ambitu tristissimae calamitatis. Schöll sees no difficulty if the +phrase is taken in the same sense as ‘ambitus parietis,’ ‘ambitus +aedificiorum.’ If <i>ambitus</i> is not a gloss, may the meaning not be +that the speaker goes straight to the heart of his subject instead of +‘beating about the bush,’ like the more leisurely writer? See <a href = +"QuintCrit.html#critI_sec16">Crit. Notes</a>.</p> + +<p><b>vivunt omnia enim</b>: ‘all is life and movement.’ For the +position of <i>enim</i> cp. non semper enim <a href = +"#chapI_sec14">§14</a>. In Lucr. <i>enim</i> often comes third in the +sentence, and even later. Mayor cites Cic. ad Att. xiv. 6 §1 odiosa +illa enim fuerant: Hor. Sat. ii. 7, 105.</p> + +<p><b>nova illa velut nascentia</b>: the ‘new births’ of his +imagination—of the <i>spoken</i> word which has more of the +impromptu element about it than the written. <a href = +"QuintBody2.html#chapIII_sec7">3 §7</a> omnia enim nostra dum +nascuntur placent. For this use of <i>ille</i> cp. <a href = +"#chapI_sec17">§17</a> ille laudantium clamor: <a href = +"#chapI_sec47">§47</a>: <a href = +"QuintBody2.html#chapIII_sec6">3 §6</a> calor quoque ille +cogitationis: <a href = "QuintBody2.html#chapIII_sec18">3 §§18</a>, +<a href = "QuintBody2.html#chapIII_sec22">22</a>, <a href = +"QuintBody2.html#chapIII_sec31">31</a>: <a href = +"QuintBody2.html#chapV_sec4">5 §§4</a>, <a href = +"QuintBody2.html#chapV_sec12">12</a>: ii 10, 7 tremor ille inanis.</p> + +<p><b>fortuna iudicii</b>: Cic. Or. §98 ancipites dicendi incertosque +casus: de Orat. i. §120 dicendi difficultatem variosque eventus +orationis: pro Marcello §15 incertus exitus et anceps fortuna belli. +This is of the issue of the trial in itself: <i>ipsorum qui orant +periculo</i> is used of the issue as it affects the advocate, who will +have all the credit or discredit of success or failure. For the strain +which this involved cp. Plin. Ep. iv. 19 §3.—For the absolute +use of <i>orare</i> cp. <a href = "#chapI_sec76">§76</a>: <a href = +"QuintBody2.html#chapV_sec6">5 §6</a>. Plin. Ep. vii. 9, 7 studium +orandi: cp. Tac. Hist. i. 90. Tac. Dial. §6 illa secretiora et +tantum ipsis orantibus nota maiora sunt.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec17" id = "chapI_sec17"> </a> +<span class = "secnum">I:17</span> +Praeter haec vox, actio decora, accommodata, ut quisque locus +<span class = "pagenum">25</span> +postulabit, pronuntiandi (vel potentissima in dicendo) ratio et, ut +semel dicam, pariter omnia docent. In lectione certius iudicium, quod +audienti frequenter aut suus cuique favor aut ille laudantium clamor +extorquet.</p> + +<div class = "comm"> +<p><a name = "commI_sec17" id = "commI_sec17"><b>§ 17.</b></a> +<b>vox, actio ... pronuntiandi ratio</b>. Here <i>actio</i> takes the +place of <i>gestus</i> in <a href = +"QuintBody2.html#chapVII_sec9">7 §9</a>, with the same meaning (the +management of the person in speaking): adhibita vocis pronuntiationis +gestus observatione. In a wider sense (<a href = "#chapI_sec19">§19</a>) +it is used of ‘delivery’ generally (<span class = "greek" title = +"hupokrisis">ὑπόκρισις</span>), occurring more commonly in this sense in +previous writers than <i>pronuntiatio</i>, which Quintilian +<span class = "pagenum comm">25</span> +gives as an alternative term in iii. 3, 1: cp. xi. 3, 1 pronuntiatio a +plerisque actio dicitur, sed prius nomen a voce, sequens a gestu videtur +accipere. Namque actionem Cicero alias (de Or. iii. §222) quasi +sermonem, alias (Or. §55) eloquentiam quandam corporis dicit. Idem tamen +duas eius partes facit quae sunt eaedem pronuntiationis, vocem atque +motum: quapropter utraque appellatione indifferenter uti licet. In xi. +3, 14 he goes on to divide <i>actio</i> into <i>vox</i> and +<i>gestus</i>: cp. Dion. Hal. de Dem. 53, where <span class = "greek" +title = "hupokrisis">ὑπόκρισις</span> is divided into <span class = +"greek" title = "ta pathê ta tês phônês">τὰ πάθη τὰ τῆς φωνῆς</span> and +<span class = "greek" title = "ta schêmata tou sômatos">τὰ σχήματα τοῦ +σώματος</span>: Cic. Brut. §§141, 239.—<i>Pronuntiandi ... +ratio</i>. As voice and gesture (together making up <i>actio</i> or +<i>pronuntiatio</i> in the wide sense) have now been mentioned, it is +tempting to take this third item in the narrower meaning of +‘articulation,’ in which it occurs <a href = +"QuintBody2.html#chapVII_sec22">7 §22</a> tardior pronuntiatio: cp. +dilucida pronuntiatio xi. 3, 33: citata ... pressa ib. §111. But the +prominence given to it (see on <i>vel potentissima</i> below) seems to +make it necessary to understand <i>pronunt. ratio</i> in the widest +sense of <i>pronuntiatio</i> (as probably <a href = +"#chapI_sec119">§119</a>), including voice, gesture, and other kindred +elements; cp. ad Herenn. §3 pronuntiatio est vocis vultus gestus +moderatio cum venustate: Cic. de Inv. §7 pronuntiatio est vocis et +corporis moderatio. For <i>accommodata ut</i> see <a href = +"QuintCrit.html#critI_sec17">Crit. Notes</a>.</p> + +<p><b>vel potentissima</b>: <a href = "#chapI_sec15">§15</a> potentiora. +For the supreme importance of ‘delivery’ cp. the well-known story of +Demosthenes xi. 3, 6 Demosth. quid esset in toto dicendi opere primum +interrogatus, pronuntiationi palmam dedit eidemque secundum ac tertium +locum, donec ab eo quaeri desineret, ut eam videri posset non praecipuam +sed solam iudicasse. Cp. Cic. Brut. §142: de Or. iii. §213: Or. §56. +Cicero’s use of <i>actio</i> for <i>pronuntiatio</i> in these passages +is probably the origin of the misunderstanding of this anecdote that +shows itself, e.g. in Bacon’s Essay ‘Of Boldnesse.’ <i>Actio</i> is far +wider than our English word: for its scope and importance cp. de +Orat. i. §18 (Actio) quae motu corporis, quae gestu, quae voltu, +quae vocis conformatione ac varietate moderanda est: quae sola per se +ipsa quanta sit, &c.</p> + +<p><b>semel</b>: ‘once for all’ <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a>, and often; Cic. de Off. +iii. §62 ut sibi ... semel indicaretur.</p> + +<p><b>frequenter</b>, as often in this sense in Quint. The lexx. give no +example from Cicero, but cp. de Nat. Deor. i. 21, 59 Zenonem cum Athenis +essem audiebam frequenter: de Fin. i. 5, 16 eos cum Attico nostro +frequenter audivi: ii. 4, 12 hoc frequenter dici solet a vobis: v. 3, 8 +qui fratrem eius Aristum frequenter audieris: Tusc. Disp. ii. 3, 9 Philo +quem nos frequenter audivimus: Or. §221 non modo non frequenter verum +etiam raro (Wilkins on de Or. ii. §155, 2nd ed.). Cp. Sandys’ note on +Or. §81, where Dr. Reid adds ‘This sense is by no means as uncommon as +it is usually thought to be. There are a good many exx. in the Letters.’ +So Plin. Ep. i. 1, 1: ix. 23, 1.</p> + +<p><b>suus cuique favor</b>: ‘one’s preference for a particular +speaker.’ Instead of the dat., we have ‘est naturalis favor pro +laborantibus’ iv. 1, 9: Tacitus uses <i>in</i> and <i>erga</i> c. acc. +(Hist. i. 53: Germ. 33.)</p> + +<p><b>ille laudantium clamor</b>. <i>Ille</i> again (<a href = +"#chapI_sec16">§16</a>) to denote something notorious: <span class = +"greek" title = "ekeinos">ἐκεῖνος</span>. Ancient audiences were highly +appreciative: Isocrates (Panath. §2) speaks of the antitheses, the +symmetrical clauses, and other figures which lend brilliancy to +oratorical displays, compelling the listeners to give clamorous applause +(<span class = "greek" title = "episêmainesthai kai thorubein">ἐπισημαίνεσθαι καὶ θορυβεῖν</span>). Cp. xi. 3, 126 conveniet +etiam ambulatio quaedam propter immodicas laudationum moras: <a href = +"#chapI_sec131">§131</a>: and see on <a href = "#chapI_sec18">§18</a> +below. The references in Cicero are numerous: Brut. §§164, 326: de Or. +i. §152 haec sunt quae clamores et admirationes in bonis oratoribus +efficiunt: ad Att. i. 14, 4 Quid multa? clamores: Or. §§214, 168. Tac. +Dial. 39 oratori autem clamore plausuque opus est et velut quodam +theatro, with which Andresen compares Brut. §191 poema enim reconditum +paucorum approbationem, oratio popularis assensum vulgi debet movere. +Plin. Ep. ii. 10, 7: iv. 5, 1: ix. 13, 18.</p> + +<p><b>extorquet</b>: iv. 5, 6 cognoscenti iudicium conamur auferre. For +the figure Mayor cps. de Orat. ii. §74 numquam +<span class = "pagenum comm">26</span> +sententias de manibus iudicum vi quadam orationis extorsimus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec18" id = "chapI_sec18"> </a> +<span class = "secnum">I:18</span> +Pudet enim dissentire, et velut +<span class = "pagenum">26</span> +tacita quadam verecundia inhibemur plus nobis credere, cum interim et +vitiosa pluribus placent, et a conrogatis laudantur etiam quae non +placent.</p> + +<div class = "comm"> +<p><a name = "commI_sec18" id = "commI_sec18"><b>§ 18.</b></a> +<b>pudet dissentire</b>: of Cicero <a href = "#chapI_sec111">§111</a> in +omnibus quae dicit tanta auctoritas inest ut dissentire pudeat.</p> + +<p><b>velut tacita quadam verecundia</b>. <i>Tacitus</i> is used +frequently of ‘unexpressed’ thought or feeling: Cic. pro Balb. §2 opinio +tacita vestrorum animorum: Cluent. §63 tacita vestra expectatio. Cp. Or. +§203 (versuum) modum notat ars, sed aures ipsae tacito eum sensu sine +arte definiunt, where Sandys renders ‘by an unconscious intuition’: de +Or. iii. §195 magna quaedam est vis incredibilisque naturae; omnes enim +tacito quodam sensu sine ulla arte aut ratione quae sint in artibus ac +rationibus recta ac prava diiudicant. On these passages Nägelsbach +relies to prove that <i>tacitus sensus</i> (not inscius, insciens, +nescius, imprudens, &c.) is the right equivalent for ‘the +unconscious’—‘das Gefühl, das durch die Sprache nicht zum +Ausdruck, mithin nicht zum Bewusstsein gekommen ist, also gleichsam +stillschweigend in der Seele ruht.’ The correct Latin for Hartmann’s +‘philosophy of the unconscious’ is therefore ‘Hartmanni quae est de +tacito sensu (hominum) philosophia.’ In proof of this the passage in the +text is cited (p. 312) and translated ‘durch unbewusste Scheu,’ +‘owing to a sort of unconscious shyness’: cp. vi. 3, 17 urbanitas qua +quidem significari video sumptam ex conversatione doctorum tacitam +eruditionem, ‘unconsciously acquired’: xi. 2, 17 cum in loca aliqua post +tempus reversi sumus quae in his fecerimus reminiscimur personaeque +subeunt, nonnunquam tacitae quoque cogitationes in mentem revertuntur, +‘unausgesprochene, im Bewusstsein zurückgedrängte, unbewusst gewordene +Gedanken.’</p> + +<p><b>inhibemur ... credere</b>. Cic. pro Rab. Post. §24 cum stultitia +sua impeditus sit, quoquo modo possit se expedire. In classical Latin +the infinitive is common enough after such verbs in the passive, and an +object clause is often met with after <i>prohibere</i> even in the +active: after <i>impedire</i> Cicero uses the infinitive only when there +is a neuter subject: e.g. de Or. i. §163 me impedit pudor haec +exquirere: de Off. ii. 2, 8: de Nat. Deor. i. §87.—For +Quintilian’s preference for the infin. cp. <a href = +"#chapI_sec72">§72</a> meruit credi: <a href = "#chapI_sec96">§96</a> +legi dignus: <a href = "#chapI_sec97">§97</a> esse docti affectant: <a +href = "QuintBody2.html#chapII_sec7">2 §7</a> contentum esse id +consequi: <a href = "QuintBody2.html#chapV_sec5">5 §5</a> qui +vertere orationes Latinas vetant. See Introd. pp. lv, lvi.</p> + +<p><b>cum interim</b>: with indic. as <a href = "#chapI_sec111">§111</a> +below. This is the more common construction in Quintilian: Roby, 1733. +Cp. i. 12, 3: ii. 12, 2: xii. 10, 67. So <i>cum interea</i>: Cic. +Cluent. §82. The subj. occurs iv. 2, 57. Bonnell-Meister strangely +say it = quin etiam here and <a href = "#chapI_sec111">§111</a>. +Translate ‘though all the time’ the taste of the majority is wrong, +while the claqueurs will applaud anything. Cp. Crit. Notes.</p> + +<p><b>vitiosa pluribus placent</b>: i. 6, 44 unde enim tantum boni ut +pluribus quae recta sunt placeant.</p> + +<p><b>a conrogatis</b>. The reference is to the <i>claqueurs</i> who +were often brought together for a fee to applaud the speakers in the +courts: iv. 2, 37 ad clamorem dispositae vel etiam forte circumfusae +multitudinis compositi: Plin. Ep. ii. 14, 4 sequuntur auditores +actoribus similes, conducti et redempti: manceps convenitur: in media +basilica tam palam sportulae quam in triclinio dantur ... heri duo +nomenclatores mei ... ternis denariis ad laudandum trahebantur. tanti +constat ut sis disertissimus. hoc pretio quamlibet numerosa subsellia +implentur, hoc ingens corona colligitur, hoc infiniti clamores +commoventur, cum <span class = "greek" title = +"mesochoros">μεσόχορος</span> dedit signum. opus est enim signo apud non +intellegentes, ne audientes quidem: nam plerique non audiunt, nec ulli +magis laudant.... scito eum pessime dicere qui laudabitur maxime. primus +hunc audiendi morem induxit Largus Licinus, hactenus tamen ut auditores +corrogaret: ita certe ex Quintiliano, praeceptore meo, audisse memini. +Cp. Iuv. vii. 44 with Mayor’s note.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec19" id = "chapI_sec19"> </a> +<span class = "secnum">I:19</span> +Sed e contrario quoque accidit ut optime dictis gratiam prava iudicia +non referant. Lectio libera +<span class = "pagenum">27</span> +est nec actionis impetu transcurrit, sed repetere saepius licet, sive +dubites sive memoriae penitus adfigere velis. Repetamus autem et +tractemus et, ut cibos mansos ac prope liquefactos demittimus, quo +facilius digerantur, ita lectio non cruda, sed multa iteratione mollita +et velut confecta memoriae imitationique tradatur.</p> + +<div class = "comm"> +<p><a name = "commI_sec19" id = "commI_sec19"><b>§ 19.</b></a> +<b>gratiam ... non referunt</b>: ‘a depraved taste will fail to give +proper recognition to what is more than well spoken.’ For <i>prava +iud.</i> cp. <a href = "#chapI_sec125">§125</a> severiora iudicia: so +ii. 5, 10 iudiciorum pravitate: and <a href = "#chapI_sec72">§72</a> +below, e contrario: see on <i>ex proximo</i> <a href = +"#chapI_sec16">§16</a>, and cp. Crit. Notes.</p> + +<span class = "pagenum comm">27</span> +<p><b>nec actionis impetu transcurrit</b>: ‘does not hurry past us with +the rapid swoop of oral delivery.’ For the active use see <a href = +"QuintBody2.html#chapV_sec8">5 §8</a> non enim scripta lectione +secura transcurrimus sed tractamus singula, which gives the same +antithesis as there is between this sentence and the next. For the abl. +cp. <i>diversitate</i> <a href = +"QuintBody2.html#chapV_sec10">5 §10</a>. See Crit. Notes.</p> + +<p><b>sive ... sive</b>: the subj. of the 2nd person represents the +French <i>on</i> or Germ. <i>man</i> with the 3rd person. Cp. ix. 2, 69 +ideoque a quibusdam tota res repudiatur, sive intellegatur sive non +intellegatur.</p> + +<p><b>repetamus et tractemus</b>: subj. of command ‘we must go back on +what we have read and revise (think over) it thoroughly.’ Cp. the +antithesis in <a href = "QuintBody2.html#chapV_sec8">5 §8</a> +quoted above. Cic. Or. §118 habeat omnes philosophiae notos ac tractatos +locos. See <a href = "QuintCrit.html#critI_sec19">Crit. Notes</a>.</p> + +<p><b>cibos</b>. Note the parallelism between <i>mansos</i>, +<i>liquefactos</i>, and <i>demittimus</i> on the one hand, and +<i>mollita</i>, <i>confecta</i>, <i>tradatur</i> on the other.—For +<i>mansos</i> cp. de Or. ii. §162: qui omnes tenuissimas particulas +atque omnia minima mansa ut nutrices infantibus pueris in os inserant. +The word <i>mandere</i> (Eng. mange, manger) means originally ‘moisten,’ +from root mand-, cp. mad-, madeo. Quint. xi. 2, 41 taedium illud et +scripta et lecta saepius revolvendi et quasi eundem cibum +remandendi.</p> + +<p><b>digerantur</b>, late Latin for <i>concoquantur</i>, xi. 2, 35 +digestum cibum. Introd. p. 1.</p> + +<p><b>lectio</b> = ‘what we read.’</p> + +<p><b>mollita</b>. Herbst and Mayor cite Ov. Met. i. 228 atque ita +semineces partim ferventibus artus Mollit aquis; and for <i>confecta</i> +(‘chewed,’ ‘masticated’) Columella vi. 2 §14 (of oxen) multi cibi +edaces verum in eo conficiendo lenti: nam hi melius concoquunt ... qui +ex commodo quam qui festinanter mandunt: Pliny, N. H. xi. §160 (of +the teeth) qui digerunt cibum (the incisors) lati et acuti, qui +conficiunt (the grinders) duplices. Cp. Cic. N. D. ii. §134: Livy +ii. 32, 10. Elsewhere it is used of the action of the stomach on food: +Cic. N. D. ii. §137: Pliny N. H. xi. §180: viii. §72.</p> + +<p><b>memoriae imitationique</b>, ‘to the memory for (subsequent) +imitation.’</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec20" id = "chapI_sec20"> </a> +<span class = "secnum">I:20</span> +Ac diu non nisi optimus quisque et qui credentem sibi minime fallat +legendus est, sed diligenter ac paene ad scribendi sollicitudinem, nec +per partes modo scrutanda omnia, sed perlectus +<span class = "pagenum">28</span> +liber utique ex integro resumendus, praecipueque oratio, cuius virtutes +frequenter ex industria quoque occultantur.</p> + +<div class = "comm space"> +<p><a name = "commI_sec20" id = "commI_sec20"><b>§ 20.</b></a> +<b>non nisi</b> is here practically an adverb (tantum), modifying only +one term of the proposition instead of, as in Ciceronian Latin, +belonging to different clauses, or at least different parts of the same +clause. In the latter case it is almost always separated, the <i>non</i> +preceding or following the <i>nisi</i>: <a href = +"QuintBody2.html#chapIII_sec30">3 §30</a> nisi in solitudine +reperire non possumus: <a href = +"QuintBody2.html#chapV_sec5">5 §5</a>: <a href = +"QuintBody2.html#chapVII_sec1">7 §1</a>. For the text cp. <a href = +"QuintBody2.html#chapIII_sec29">3 §29</a> non nisi refecti, and +Ovid, Tr. iii. 12, 36.</p> + +<p><b>fallat</b>, i.e. as a model of style. For the construction cp. +tenuia et quae minimum ab usu cotidiano recedant: <a href = +"#chapI_sec78">§§78</a>, <a href = "#chapI_sec118">118</a>, <a href = +"#chapI_sec119">119</a>.</p> + +<p><b>sed</b> does not bear an adversative meaning, but is equivalent to +<i>et quidem</i>, <i>immo vero</i>, ‘nay more.’ See Mayor on Iuv. iv. 27 +and v. 147. Holden on de Off. i. §33 quotes ad Att. v. 21 §6 +Q. Volusium, certum hominem, sed mirifice etiam abstinentem, misi +in Cyprum: ad Fam. xiii. §64 apud ipsum praeclarissime posueris sed mihi +etiam gratissimum feceris.</p> + +<p><b>ad</b> (i.e. usque ad) <b>scribendi sollicitudinem</b>, i.e. as +thoroughly and as slowly. Cic. pro Mil. §80 prope ad immortalitatis et +religionem et memoriam consecrantur: ‘bis zur Verehrung der +Unsterblichkeit’ (Hand), i.e. ‘so much venerated as almost to obtain the +religious worship and commemoration proper to an immortal state of +being’ (Purton). For <i>scrib. soll.</i> (of the careful deliberation +one gives to writing) cp. scribentium curam <a href = +"QuintBody2.html#chapIII_sec20">3 §20</a>: Plin. Ep. ii. 5 §2 +his tu rogo intentionem scribentis accommodes.</p> + +<span class = "pagenum comm">28</span> +<p><b>utique</b>, ‘by all means.’ In <a href = "#chapI_sec57">§57</a> we +have nec utique = nullo modo: without the negative it = omni modo, +‘anyhow,’ ‘under any circumstances,’ ‘happen what may.’ (Cp. Cic. ad +Att. xii. 8: xiii. 48, 2.) The difference may be seen in the +following from Seneca (Ep. 85 §31) Sapienti propositum est in vita +agenda non utique quod temptat efficere, sed omnino recte facere: +gubernatori propositum est utique navem in portum perducere. It +frequently occurs with the gerundive, as here: cp. <a href = +"#chapI_sec24">§§24</a>, <a href = "#chapI_sec103">103</a>: <a href = +"QuintBody2.html#chapII_sec10">2 §10</a>: <a href = +"QuintBody2.html#chapV_sec12">5 §12</a>: <a href = +"QuintBody2.html#chapVII_sec14">7 §§14</a>, <a href = +"QuintBody2.html#chapVII_sec19">19</a>, <a href = +"QuintBody2.html#chapVII_sec30">30</a>. For <i>non utique</i> (‘not of +course,’ ‘not necessarily’) cp. xii. 2, 18.</p> + +<p><b>ex integro</b> occurs four times in Quint., here and at <a href = +"QuintBody2.html#chapIII_sec6">3 §§6</a>, <a href = +"QuintBody2.html#chapIII_sec18">18</a>: xi. 3, 156. In such adverbial +expressions <i>de</i> or <i>ab</i> was formerly more common: but cp. +<i>ex improviso</i> Cic. Verr. i. 112. Quintilian has <i>de +integro</i> only once, ii. 4, 13: cp. ix. 3, 37.</p> + +<p><b>praecipue</b> for <i>praesertim</i>: cp. <a href = +"#chapI_sec89">§89</a>: and with <i>cum</i> ix. 2, 85: Hor. Ep. ii. +1, 261.</p> + +<p><b>ex industria</b> (<a href = "#chapI_sec125">§125</a>: <a href = +"QuintBody2.html#chapV_sec9">5 §9</a>) occurs Plaut. Poen. i. 2, 9: +Livy i. 56, 8. Quintilian has <i>de industria</i> ix. +4, 144.</p> + +<p><b>quoque</b>: as often in Quint. for <i>etiam</i>. Cp. on <a href = +"#chapI_sec125">§125</a>: Introd. <a href = +"QuintIntro.html#intro_pageliv">p. liv</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec21" id = "chapI_sec21"> </a> +<span class = "secnum">I:21</span> +Saepe enim praeparat, dissimulat, insidiatur orator, eaque in prima +parte actionis dicit quae sunt in summa profutura. Itaque suo loco minus +placent, adhuc nobis quare dicta sint ignorantibus; ideoque erunt +cognitis omnibus repetenda.</p> + +<div class = "comm"> +<p><a name = "commI_sec21" id = "commI_sec21"><b>§ 21.</b></a> +<b>saepe enim</b>: cp. xii. 9, 4.</p> + +<p><b>praeparat</b>: cp. iv. 2, 55 hoc faciunt et illae praeparationes, +cum reus dicitur robustus, armatus, sollicitus contra infirmos, inermes, +securos: ix. 2, 17.</p> + +<p><b>actionis</b> as below <a href = "#chapI_sec22">§22</a>: <a href = +"QuintBody2.html#chapV_sec20">5 §20</a>. Cp. Prima actio in Verrem, +&c.</p> + +<p><b>in summa</b>: i.e. will not tell till the end is reached. Cp. iv. +2, 112 cur quod in summa parte sum actionis petiturus, non in primo +statim rerum ingressu, si fieri potest, consequar? For summus = +extremus, cp. <a href = "#chapI_sec97">§97</a> summa in excolendis +operibus manus: see Introd. <a href = +"QuintIntro.html#intro_pagexlvi">p. xlvi</a>.</p> + +<p><b>suo loco</b>, ‘where they occur,’ not as <a href = +"QuintBody2.html#chapV_sec23">5 §23</a>. To appreciate such points +thoroughly, we must know their bearing on the whole argument.</p> + +<p><b>ideoque</b> very common in Quint. for <i>itaque</i>: <a href = +"#chapI_sec27">§§27</a>, <a href = "#chapI_sec31">31</a>, <a href = +"#chapI_sec102">102</a>: <a href = +"QuintBody2.html#chapII_sec17">2 §§17</a>, <a href = +"QuintBody2.html#chapII_sec26">26</a>: <a href = +"QuintBody2.html#chapIII_sec16">3 §§16</a>, <a href = +"QuintBody2.html#chapIII_sec25">25</a>, <a href = +"QuintBody2.html#chapIII_sec28">28</a>, <a href = +"QuintBody2.html#chapIII_sec33">33</a>: <a href = +"QuintBody2.html#chapV_sec5">5 §§5</a>, <a href = +"QuintBody2.html#chapV_sec16">16</a>: <a href = +"QuintBody2.html#chapVI_sec3">6 §§3</a>, <a href = +"QuintBody2.html#chapVI_sec5">5</a>: <a href = +"QuintBody2.html#chapVII_sec15">7 §15</a>. So Tac. Dial. 31 ad +fin.: Germ. 26.</p> + +<p><b>repetenda</b> as <a href = "#chapI_sec19">§19</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec22" id = "chapI_sec22"> </a> +<span class = "secnum">I:22</span> +Illud vero utilissimum, nosse eas causas quarum orationes in manus +sumpserimus, et, quotiens continget, utrimque habitas legere actiones: +ut Demosthenis et Aeschinis inter se contrarias, et Servi Sulpici atque +Messallae, quorum alter pro Aufidia, contra dixit alter, et Pollionis et +Cassi reo Asprenate aliasque plurimas.</p> + +<div class = "comm"> +<p><a name = "commI_sec22" id = "commI_sec22"><b>§ 22.</b></a> +<b>illud</b>, like <span class = "greek" title = "ekeino">ἐκεῖνο</span> +to introduce what follows: <a href = "#chapI_sec67">§67</a>: <a href = +"QuintBody2.html#chapII_sec7">2 §7</a>: <a href = +"QuintBody2.html#chapV_sec11">5 §11</a>: <a href = +"QuintBody2.html#chapVII_sec32">7 §32</a>.</p> + +<p><b>causas quarum orationes</b>: Cic. de Senect. §38 causarum +illustrium quascunque defendi nunc cum maxime conficio orationes.</p> + +<p><b>utrimque</b>, <a href = "#chapI_sec131">§131</a>: <a href = +"QuintBody2.html#chapV_sec20">5 §20</a>.</p> + +<p><b>Demosthenis et Aeschinis</b>. The reference is to the <i>De +Corona</i> of Demosthenes and Aeschines <i>Contra +Ctesiphontem</i>,—both translated by Cicero (Opt. Gen. Or. §14): +also to the <i>De Falsa Legatione</i> and Aeschines <i>Contra +Timarchum</i>.</p> + +<p><b>Servi Sulpici</b>: see on <a href = "#chapI_sec116">§116</a>.</p> + +<p><b>Messallae</b>: see on <a href = "#chapI_sec113">§113</a>.</p> + +<p><b>pro Aufidia</b>. From iv. 2, 106 it would appear that Messalla was +prosecutor in this case: but in vi. 1, 20 that rôle is assigned to +Sulpicius. Schöll has proposed to alter the text of the latter passage +as follows: ut Servium Sulpicium Messalla contra Aufidiam ne signatorum, +ne ipsius discrimen obiciat sibi praemonet. It is probable that the case +concerned an inheritance.</p> + +<p><b>Pollionis</b>: see on <a href = "#chapI_sec113">§113</a>.</p> + +<p><b>Cassi</b>: see on <a href = "#chapI_sec116">§116</a>.</p> + +<p><b>reo Asprenate</b>. C. Nonius Asprenas, a friend of Augustus, was +prosecuted by Cassius for poisoning, and was defended by Pollio, Suet. +Aug. 56. In xi. 1, 57 Quint. urges that an accuser should always +<span class = "pagenum comm">29</span> +appear reluctant to press the charge, and adds ‘ideoque mihi illud Cassi +Severi non mediocriter displicet: di boni, vivo, et, quo me vivere +iuvet, Asprenatem reum video.’ Pliny (N. H. 35, 46) tells us that +130 guests were poisoned.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec23" id = "chapI_sec23"> </a> +<span class = "secnum">I:23</span> +Quin +<span class = "pagenum">29</span> +etiam si minus pares videbuntur aliquae, tamen ad cognoscendam litium +quaestionem recte requirentur, ut contra Ciceronis orationes Tuberonis +in Ligarium et Hortensi pro Verre. Quin etiam easdem causas ut quisque +<i>egerit utile</i> erit scire. Nam de domo Ciceronis dixit Calidius et +pro Milone orationem Brutus exercitationis gratia scripsit, etiamsi +egisse eum Cornelius Celsus falso existimat, et Pollio et Messalla +defenderunt eosdem, et nobis pueris insignes pro Voluseno Catulo Domiti +Afri, Crispi Passieni, Decimi Laeli orationes ferebantur.</p> + +<div class = "comm"> +<p><a name = "commI_sec23" id = "commI_sec23"><b>§ 23.</b></a> +<b>quin etiam</b>: see <a href = "QuintCrit.html#critI_sec23">Crit. +Notes</a>.</p> + +<p><b>minus pares</b>, i.e. in point of rhetorical worth. For <i>si ... +aliquae</i> cp. <a href = "QuintBody2.html#chapII_sec23">2 §23</a>: +<a href = "QuintBody2.html#chapVI_sec5">6 §5</a>.</p> + +<p><b>recte requirentur</b>, i.e. ‘it will be well to get them up.’</p> + +<p><b>Ciceronis orationes</b>: ‘pro Ligario,’ and ‘in Verrem.’ The +former was impeached by Q. Tubero (<span class = +"smallroman">B.C.</span> 46) in respect of having sided with the +Pompeians in Africa. ‘Cicero defended him successfully before Caesar in +the forum (Plut. Cic. 39); the speech was greatly admired at the time +(ad Att. xiii. 12 §2: 19 §2: 20 §2: 44 §3) and +since, for, short as it is, it is often cited by Quint. and the other +rhet. lat.’ (Mayor).</p> + +<p><b>Hortensi pro Verre</b>, <span class = "smallroman">B.C.</span> 70. +Nothing of Hortensius remains, so that posterity has not had the +opportunity which Cicero hoped it would enjoy: dicendi autem genus quod +fuerit in utroque orationes utriusque etiam posteris nostris indicabunt +(Brut. §324). Quint. does not mention him among the Roman orators, <a +href = "#chapI_sec105">§§105-122</a>. His oratory depended greatly for +its effect on his graceful delivery, and he was not to be judged by his +written speeches: Cic. Or. §132 dicebat melius quam scripsit Hortensius: +he ‘spoke better, i.q. was accustomed to speak better than he has +written,—than he shows himself in his written speeches which are +still extant’ (Sandys): cp. Quint. xi. 3, 8 where he extols his +effective delivery and goes on ‘cuius rei fides est quod eius scripta +tantum intra famam sunt, qua diu princeps oratorum aliquando aemulus +Ciceronis existimatus est, novissime, quoad vixit, secundus, ut appareat +placuisse aliquid eo dicente quod legentes non invenimus.’—For +other references to the case of Verres, see vi. 3, 98: 5, 4.</p> + +<p><b>utile erit scire</b>: see <a href = +"QuintCrit.html#critI_sec23">Crit. Notes</a>.</p> + +<p><b>de domo Ciceronis</b>. Cicero’s house was destroyed at the +instigation of Clodius, after his banishment in <span class = +"smallroman">B.C.</span> 58. On his return he delivered his speech pro +Domo Sua before the Pontiffs, and the senate decreed that his house +should be restored at the public cost.</p> + +<p><b>dixit Calidius</b>. His speech must have been something more than +a mere rhetorical exercise, as some have supposed: it probably argued +the question before a tribunal in a different form. For Calidius see +Brut. §274 non fuit orator unus e multis, potius inter multos prope +singularis fuit, &c. Cp. xi. 3, 123 and 155: xii. 10, 11 +subtilitatem Calidii (‘finished elegance’): ib. §37. He was born <span +class = "smallroman">B.C.</span> 97; was praetor 57; and died 47.</p> + +<p><b>Brutus, M. Iunius</b> (<span class = "smallroman">B.C.</span> +85-42) justified in this speech the murder of Clodius, not (as Cicero +had done) by the statement that Clodius had plotted Milo’s death, but on +the ground that he was a bad citizen and deserved to die: iii. +6, 93. Other references are <a href = "#chapI_sec123">§123</a> and +<a href = "QuintBody2.html#chapV_sec20">5 §20</a>.</p> + +<p><b>egisse</b>: to have actually delivered it: opposed to +<i>scripsit</i>.</p> + +<p><b>Cornelius Celsus</b>: see on <a href = +"#chapI_sec124">§124</a>.</p> + +<p><b>et Pollio et Messalla</b>. The first <i>et</i> is not correlative +to the second, but adds to the <i>et pro Milone</i> clause a third +example, as the <i>et</i> before <i>nobis pueris</i> does a fourth. +Spalding thought that et ... et was here = tam ... quam.</p> + +<p><b>defenderunt eosdem</b>: e.g. Liburnia ix. 2, 34.</p> + +<p><b>nobis pueris</b>: an autobiographical reminiscence. Cp. i. 7, 27: +vi. 3, 57: viii. 3, 22-3: ib. 1, 31: <a href = "#chapI_sec86">x. 1, +86</a>: viii. 3, 76: 5, 21: i. 5, 24: v. 6, 6.</p> + +<p><b>Voluseno Catulo</b>: not mentioned elsewhere.</p> + +<p><b>Domiti Afri</b>: see on <a href = "#chapI_sec86">§§86</a>, <a href += "#chapI_sec118">118</a>. Of +<span class = "pagenum comm">30</span> +his orations, those on behalf of Volusenus and Cloatilla seem to have +been the most celebrated: cp. viii. 5, 16: ix. 2, 20: 3, 66. For +his work on Testimony, see v. 7, 7: and for his ‘libri urbane dictorum’ +vi. 3, 42.</p> + +<p><b>Crispi Passieni</b>. He was the stepfather of Nero, according to +Suetonius (Nero, 6), and died <span class = +"smallroman">A.D.</span> 49. In vi. 1, 50 we have a reference to a +speech of his on behalf of his wife Domitia. Seneca, Nat. Quaest. iv. +pr. §6 says of him ‘quo ego nil novi subtilius in omnibus rebus, maxime +in distinguendis et curandis vitiis.’ In speaking of Caligula’s +obsequiousness under Tiberius, Tacitus (Ann. vi. 20) says ‘unde mox +scitum Passieni oratoris dictum percrebruit neque meliorem umquam servum +neque deteriorem dominum fuisse.’ His father’s oratory is highly praised +by M. Seneca, who ranks him after Pollio and Corvinus (Contr. 13, +17: Exc. Contr. 3 pr. 10, 14), and appears also to mention the +grandfather (Contr. 10 pr. 11). Seneca the philosopher refers to +the hereditary eloquence of the family in the epigram he addresses to +Crispus: Maxima facundo vel avo vel gloria patri (vi. 9). Pliny, +Ep. vii. 6, 11.</p> + +<p><b>Decimi Laeli</b>: probably the same as the Laelius Balbus who +undertook an impeachment under Tiberius: Tac. Ann. vi. 47. In the next +chapter we are told that the punishment which overtook him (deportation +and loss of senatorian rank) was a source of satisfaction ‘quia Balbus +truci eloquentia habebatur, promptus adversum insontes.’</p> + +<p><b>ferebantur</b>: ‘were in circulation,’ ‘were talked of’; cp. <a +href = "#chapI_sec129">§129</a>: <a href = +"QuintBody2.html#chapVII_sec30">7 §30</a>: vii. 224: i. pr. §7. +Cic. Brut. §27 ante Periclem cuius scripta quaedam feruntur: Suet. Iul. +20: Tac. Dial. 10 ad fin.</p> +</div> + +<span class = "pagenum">30</span> + +<p class = "maintext space"> +<a name = "chapI_sec24" id = "chapI_sec24"> </a> +<span class = "secnum">I:24</span> +Neque id statim legenti persuasum sit, omnia quae optimi auctores +dixerint utique esse perfecta. Nam et labuntur aliquando et oneri cedunt +et indulgent ingeniorum suorum voluptati, nec semper intendunt animum; +nonnumquam fatigantur, cum Ciceroni dormitare interim Demosthenes, +Horatio vero +<span class = "pagenum">31</span> +etiam Homerus ipse videatur.</p> + +<div class = "comm space"> +<p><a name = "commI_sec24" id = "commI_sec24"><b>§ 24.</b></a> +<b>Neque id statim</b> introduces a second precept, the first having +been given in <a href = "#chapI_sec20">§20</a>. He passes here from +orators to writers in general.</p> + +<p><b>id</b> of what follows (omnia ... esse perfecta): as <a href = +"#chapI_sec37">§§37</a>, <a href = "#chapI_sec112">112</a>: <a href = +"QuintBody2.html#chapII_sec21">2 §21</a>. So <i>illud</i> <a href = +"#chapI_sec22">§22</a>.</p> + +<p><b>auctores</b> = scriptores. In the Ciceronian age <i>auctor</i> +carried with it some idea of ‘authority,’ ‘warranty’ or the like: Cic. +pro Mur. §30 and Tusc. iv. §3: cp. <a href = "#chapI_sec37">§§37</a>, <a +href = "#chapI_sec40">40</a>, <a href = "#chapI_sec48">48</a>, <a href = +"#chapI_sec66">66</a>, <a href = "#chapI_sec72">72</a>, <a href = +"#chapI_sec74">74</a>, <a href = "#chapI_sec85">85</a>, <a href = +"#chapI_sec93">93</a>, <a href = "#chapI_sec124">124</a>: <a href = +"QuintBody2.html#chapII_sec1">2 §§1</a>, <a href = +"QuintBody2.html#chapII_sec15">15</a>: <a href = +"QuintBody2.html#chapV_sec3">5 §§3</a>, <a href = +"QuintBody2.html#chapV_sec8">8</a>. Prof. Nettleship (Lat. Lex.) thinks +that it is never quite synonymous with <i>scriptor</i>, even in +Quintilian, and would render by ‘master’: just as in Cic. Att. xii. 18, +1 quos nunc lectito auctores: Suet. Aug. 89 in evolvendis utriusque +linguae auctoribus peritus: Sen. Ep. ii. 2 lectio auctorum multorum et +omnis generis voluminum: Tranq. 9, 4 paucis te auctoribus tradere: Iuv. +vii. 231 ut legat historias, auctores noverit omnes.</p> + +<p><b>utique</b>: see on <a href = "#chapI_sec20">§20</a>. It is often +used in stating a consequence: v. 10, 57 quod iustitia est utique virtus +est, quod non est iustitia potest esse virtus: ib. §73 si continentia +virtus utique et abstinentia. Bonn. Lex. p. 930.</p> + +<p><b>labuntur</b>: <a href = "#chapI_sec94">§94</a>: <a href = +"QuintBody2.html#chapII_sec15">2 §15</a> nam in magnis quoque +auctoribus incidunt aliqua vitiosa.</p> + +<p><b>oneri cedunt</b>: contrast <a href = "#chapI_sec123">§123</a> +suffecit ponderi rerum.</p> + +<p><b>indulgent ... voluptati</b>: cp. <a href = "#chapI_sec98">§98</a>: +and nimium amator ingenii sui (of Ovid) <a href = +"#chapI_sec88">§88</a>.</p> + +<p><b>intendunt animum</b>: Sall. Cat. 51, 3 ubi intenderis ingenium +valet (sc. animus).</p> + +<p><b>dormitare</b>: xii. 1, 22 quamquam neque ipsi Ciceroni Demosthenes +videatur satis esse perfectus, quem dormitare interim dicit. Cic. Or. +§104 ut usque eo difficiles ac morosi simus ut nobis non satisfaciat +ipse Demosthenes. It was in a letter that Cicero made use of the +expression here cited: Plut. Cic. 24 <span class = "greek" title = +"kaitoi tines tôn prospoioumenôn dêmosthenizein epiphuontai phônê tou Kikerônos, hên pros tina tôn hetairôn ethêken en epistolê grapsas, eniachou tôn logôn huponustazein ton Dêmosthenê">καίτοι τινὲς τῶν +προσποιουμένων δημοσθενίζειν ἐπιφύονται φωνῇ τοῦ Κικέρωνος, ἣν πρός τινα +τῶν ἑταίρων ἔθηκεν ἐν ἐπιστολῇ γράψας, ἐνιαχοῦ τῶν λόγων ὑπονυστάζειν +τὸν Δημοσθένη</span>.</p> + +<p><b>interim</b>: see on <a href = "#chapI_sec9">§9</a>. Quint. here +uses <i>aliquando</i>, <i>nec semper</i>, <i>nonnumquam</i>, and +<i>interim</i> alongside of each other: cp. iv. 5, 20.</p> + +<p><b>Horatio</b>: A. P. 359 et idem indignor quandoque bonus dormitat +Homerus. Homer was not above the criticism of the Greek grammarians and +philosophers, who delighted to discover faults and inconsistencies +<span class = "pagenum comm">31</span> +in his poems: hence Zoilus was known as <span class = "greek" title = +"Homêromastix">Ὁμηρομάστιξ</span>. The fragments of Horace’s predecessor +Lucilius also contain some criticisms of Homer: e.g. Sat. ix. 12 +(Gerlach) Quapropter dico nemo qui culpat Homerum Perpetuo culpat, +&c., and xv. where he satirizes the story of Polyphemus.</p> + +<p><b>etiam ... ipse</b>: see on <a href = "#chapI_sec15">§15</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec25" id = "chapI_sec25"> </a> +<span class = "secnum">I:25</span> +Summi enim sunt, homines tamen, acciditque his qui, quidquid apud illos +reppererunt, dicendi legem putant, ut deteriora imitentur (id enim est +facilius) ac se abunde similes putent si vitia magnorum +consequantur.</p> + +<div class = "comm"> +<p><a name = "commI_sec25" id = "commI_sec25"><b>§ 25.</b></a> +<b>homines</b>. Cp. Petronius 75 nemo nostrum non peccat: homines sumus +non dei: ib. 130 fateor me, domina, saepe peccasse; nam et homo sum et +adhuc iuvenis.</p> + +<p><b>deteriora</b>: cp. <a href = "#chapI_sec127">§127</a> sq. (of the +imitation of Seneca’s faults): <a href = +"QuintBody2.html#chapII_sec15">2 §§15</a>, <a href = +"QuintBody2.html#chapII_sec16">16</a>.</p> + +<p><b>facilius</b>: Iuv. xiv. 40 quoniam dociles imitandis turpibus ac +pravis omnes sumus. So Hor. Ep. i. 19, 17 decipit exemplar vitiis +imitabile.</p> + +<p><b>abunde</b>, often used to heighten the force of adjs. and advbs. +Cp. xi. 1, 36 abunde disertus: xii. 11, 19 abunde satis: Hor. +Sat. i. 2, 59: Sall. Iug. 14: Liv. viii. 29. See on <a href = +"#chapI_sec94">§94</a>: and cp. <a href = "#chapI_sec104">§104</a>.</p> + +<p><b>vitia magnorum</b>: cp. de Or. ii. §90 non ut multos imitatores +saepe cognovi, qui aut ea quae facilia sunt aut etiam illa quae insignia +ac paene vitiosa consectantur imitando—in eo ipso quem delegerat +imitari etiam vitia voluit.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec26" id = "chapI_sec26"> </a> +<span class = "secnum">I:26</span> +Modesto tamen et circumspecto iudicio de tantis viris pronuntiandum est, +ne, quod plerisque accidit, damnent quae non intellegunt. Ac si necesse +est in alteram errare partem, omnia eorum legentibus placere quam multa +displicere maluerim.</p> + +<div class = "comm"> +<p><a name = "commI_sec26" id = "commI_sec26"><b>§ 26.</b></a> +<b>circumspecto</b>. So verba non circumspecta Ov. Fast. v. 539: also in +Sueton., Colum., Seneca, and Val. Max. Cp. v. 7, 31: xii. 10, 23.</p> + +<p><b>plerisque</b>: see Introd. <a href = +"QuintIntro.html#intro_pagexlvi">p. xlvi</a>.</p> + +<p><b>damnent</b>. Strabo vii. 3, p. 300, in speaking of Callimachus, +who censured Homer, <span class = "greek" title = "peri hôn agnoousin autoi, peri toutôn tô poiêtê propherousi">περὶ ὧν ἀγνοοῦσιν αὐτοί, περὶ +τούτων τῷ ποιητῇ προφέρουσι</span>.</p> + +<p><b>ac si</b>: <a href = "QuintBody2.html#chapII_sec8">2 §8</a>. +It almost = quod si: both relate to what has gone before.</p> + +<p><b>alteram</b> = alterutram: ‘on one side or on the other.’ Cp. ii. +6, 2: v. 10, 69 ex duobus quorum necesse est alterum verum (esse): i. 4, +24: ix. 3, 6. So also in Cicero: e.g. ad Att. xi. 18, 1: Acad. ii. +43. 132.</p> + +<p><b>maluerim</b>: see on <i>fuerit</i> <a href = +"#chapI_sec37">§37</a>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec27" id = "chapI_sec27"> </a> +<span class = "secnum">I:27</span> +Plurimum dicit oratori conferre Theophrastus lectionem poetarum multique +eius iudicium sequuntur, neque immerito. Namque ab his in rebus spiritus +et in verbis sublimitas et in +<span class = "pagenum">32</span> +adfectibus motus omnis et in personis decor petitur, praecipueque velut +attrita cotidiano actu forensi ingenia optime rerum talium blanditia +reparantur; ideoque in hac lectione Cicero requiescendum putat.</p> + +<div class = "comm space"> +<p><a name = "commI_sec27" id = "commI_sec27"><b>§ 27.</b></a> +<b>conferre</b> with dat. <a href = "#chapI_sec63">§§63</a>, <a href = +"#chapI_sec71">71</a>, <a href = "#chapI_sec95">95</a>. Cp. on <a href = +"#chapI_sec1">§1</a>.</p> + +<p><b>Theoparastus</b>: probably in his lost work <span class = "greek" +title = "peri lexeôs">περὶ λέξεως</span>, or some other of the ten +treatises on Rhetoric which are ascribed to him by Diogenes Laertius (v. +46-50). See on <a href = "#chapI_sec83">§83</a>.</p> + +<p><b>neque immerito</b>: ‘and not without reason,’—an elliptical +expression (referring to both <i>dicit</i> and <i>sequuntur</i>) used to +introduce the proof of a foregoing statement. So <a href = +"#chapI_sec79">§79</a> nec immerito, and ii. 8, 1: neque immerito vii. +7, 1: et merito vi. 1, 4. Cicero often has neque iniuria, nam, +&c., e.g. de Or. i. §150: and even after <i>est</i> pro Sext. Rosc. +§116 in rebus minoribus socium fallere turpissimum est: neque +iniuria.</p> + +<p><b>ab his ... petitur</b>: ‘it is to the poets that we must go for,’ +&c.</p> + +<p><b>rebus</b>. See on <a href = "#chapI_sec4">§4</a>.</p> + +<p><b>spiritus</b>: <a href = "#chapI_sec44">§§44</a>, <a href = +"#chapI_sec61">61</a>, <a href = "#chapI_sec104">104</a>: <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a>: <a href = +"QuintBody2.html#chapV_sec4">5 §4</a>: ‘inspiration.’ So often in +Horace: Od. iv. 6, 29 spiritum Phoebus mihi ... dedit poetae: Sat. i. 4, +46 quod acer spiritus ac vis Nec verbis nec rebus inest. Cp. also i. 8, +5 interim et sublimitate heroi <ins class = "correction" title = "first ‘i’ invisible">carminis</ins> animus adsurgat et ex magnitudine rerum +spiritum ducat et optimis imbuatur.</p> + +<p><b>in verbis sublimitas</b>: ‘elevation of language.’ Cp. viii. +6, 11. So the author of the treatise ‘On the Sublime’ makes +sublimity attainable by the imitation and emulation of the great writers +and poets of former days: 13 §2.</p> + +<p><b>in adfectibus motus omnis</b>. Poetry +<span class = "pagenum comm">32</span> +shows how to appeal to every feeling of our emotional nature. For +<i>adfectus</i> see vi. 2, 7, where the two divisions are given, <span +class = "greek" title = "pathos">πάθος</span> and <span class = "greek" +title = "êthos">ἦθος</span>. Cp. <a href = "#chapI_sec48">§§48</a>, <a +href = "#chapI_sec53">53</a>, <a href = "#chapI_sec55">55</a>, <a href = +"#chapI_sec68">68</a>, <a href = "#chapI_sec107">107</a>: <a href = +"QuintBody2.html#chapII_sec27">2 §27</a>: <a href = +"QuintBody2.html#chapVII_sec14">7 §§14</a>, <a href = +"QuintBody2.html#chapVII_sec15">15</a>.</p> + +<p><b>in personis decor</b>: ‘the appropriate treatment of the +characters,’ a sense of what the fitness of things demands in adapting +speech to the persons to whom it relates. Cp. Cic. Or. §§70-71 +especially semperque in omni parte orationis ut vitae quid deceat est +considerandum; quod et in re de qua agitur positum est, et in personis +et eorum qui dicunt et eorum qui audiunt. This ‘propriety’ was always +much praised in Lysias, Hor. A. P. 156-7. Cp. <a href = +"#chapI_sec62">§§62</a>, <a href = "#chapI_sec71">71</a>: <a href = +"QuintBody2.html#chapII_sec27">2 §27</a>, <a href = +"QuintBody2.html#chapII_sec22">22</a>: vi. 1, 25 prosopopoeiae, id est +fictae alienarum personarum orationes quales litigatoris ore dicit +patronus (e.g. Cicero pro Milone §93). Cic. de Off. i. §87 sed tum +servare illud poetas quod deceat dicimus cum id quod quaque persona +dignum est et fit et dicitur, &c. De Or. iii. §§210-211.</p> + +<p><b>attrita cotidiano actu</b>. <a href = +"QuintBody2.html#chapV_sec14">5 §14</a> alitur enim atque enitescit +velut pabulo laetiore facundia et adsidua contentionum asperitate +fatigata renovatur. So i. 8, 11: videmus ... inseri versus summa non +eruditionis modo gratia, sed etiam iucunditatis, cum poeticis +voluptatibus aures a forensi asperitate respirent. Petronius ch. 5 +interdum subducta foro det pagina versum: 118 forensibus ministeriis +exercitati frequenter ad carminis tranquillitatem tamquam ad portum +feliciorem refugerunt. So Tac. Dial. 13 me vero dulces, ut Vergilius +ait, Musae, &c.: cp. 3 and 4. Plin. Ep. viii. +4, 4.—For <i>attrita</i> cp. viii. pr. §2 ingenia ... +asperiorum tractatu rerum atteruntur: for the spelling <i>cotidie</i> +see i. 7, 6.</p> + +<p><b>Cicero</b>, pro Arch. §12 Quaeres a nobis, Grati, cur tanto opere +hoc homine delectemur. Quia suppeditat nobis ubi et animus ex hoc +forensi strepitu reficiatur et aures convicio defessae conquiescant.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec28" id = "chapI_sec28"> </a> +<span class = "secnum">I:28</span> +Meminerimus tamen non per omnia poetas esse oratori sequendos nec +libertate verborum nec licentia figurarum: <i>poeticam</i> ostentationi +comparatam et praeter id quod solam petit voluptatem, eamque etiam +fingendo non falsa modo sed etiam quaedam incredibilia sectatur, +patrocinio quoque aliquo iuvari,</p> + +<div class = "comm"> +<p><a name = "commI_sec28" id = "commI_sec28"><b>§ 28.</b></a> +<b>non per omnia</b>, &c. <a href = +"QuintBody2.html#chapII_sec21">2 §§21-22</a>.</p> + +<p><b>libertate verborum</b>, <a href = "#chapI_sec29">§29</a>: <a href += "QuintBody2.html#chapV_sec4">5 §4</a>.</p> + +<p><b>licentia figurarum</b> see exx. in <a href = +"#chapI_sec12">§12</a>, with note on <i>figuramus</i>: cp. <a href = +"#chapI_sec29">§29</a>.</p> + +<p><b>ostentationi comparatam</b>. Poetry is ‘epideictic’ in character: +and of the <span class = "greek" title = "genos epideiktikon">γενος +ἐπιδεικτικόν</span> Quint. says (iii. 4, 13) non tam +demonstrationis vim habere quam ostentationis videtur. Forensic oratory, +like everything else that has an immediate and practical aim, cannot +afford to set such store on ‘beauty of presentation.’ Cp. ii. 10, 10: +iv. 3, 2: viii. 3, 11. Cic. Orat. §§37, 38, 42. See <a href = +"QuintCrit.html#critI_sec28">Crit. Notes</a> for <i>poeticam</i>.</p> + +<p><b>praeter id quod</b> for the more classical <i>praeterquam quod</i> +(which only occurs twice in Quint.). So <a href = +"QuintBody2.html#chapII_sec26">2 §26</a>: <a href = +"QuintBody2.html#chapIII_sec6">3 §6</a>: cp. <a href = +"#chapI_sec80">§80</a> ob hoc quod: <a href = "#chapI_sec108">§108</a> +in hoc quod: <a href = "QuintBody2.html#chapIII_sec18">3 §18</a> ex +eo quod.</p> + +<p><b>fingendo ... falsa</b>. Hild cites Arist. Poet. 9 and 24; +especially (of Homer) <span class = "greek" title = "Dedidache de malista Homêros kai tous allous pseudê legein hôs dei ... Proaireisthai te dei adunata kai eikota mallon ê dunata kai apithana">Δεδίδαχε δὲ +μάλιστα Ὅμηρος καὶ τοὺς ἄλλους ψευδῆ λέγειν ὡς δεῖ ... Προαιρεῖσθαί τε +δεῖ ἀδύνατα καὶ εἰκότα μᾶλλον ἢ δύνατα καὶ ἀπίθανα</span>.</p> + +<p><b>patrocinio</b>: i. 12, 16 difficultatis patrocinia praeteximus +segnitiae. Poetry has the benefit of a sort of ‘prerogative,’ as +compared with history. Krüger explains = esse quae huic generi +patrocinentur, unde defensionem et excusationem petat poetarum licentia. +The idea of ‘defence’ implies ‘justification’: and much that could be +justified and vindicated in the poet would be without excuse in the +orator.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec29" id = "chapI_sec29"> </a> +<span class = "secnum">I:29</span> +quod adligata ad certam pedum necessitatem +<span class = "pagenum">33</span> +non semper uti propriis possit, sed depulsa recta via necessario ad +eloquendi quaedam deverticula confugiat, nec mutare quaedam modo verba, +sed extendere, conripere, convertere, dividere cogatur: nos vero armatos +stare in acie et summis de rebus decernere et ad victoriam niti.</p> + +<div class = "comm"> +<p><a name = "commI_sec29" id = "commI_sec29"><b>§ 29.</b></a> +<b>adligata</b>, <a href = +"QuintBody2.html#chapIII_sec10">3 §10</a>. For the ‘restraints of +metre’ cp. i. 8, 14 servire metro coguntur (poetae). Cic. de Or. i. §70 +est enim finitimus oratori poeta, numeris astrictior paulo verborum +autem licentia liberior. Or. §67 cum sit versu astrictior (poeta).</p> + +<span class = "pagenum comm">33</span> +<p><b>propriis</b>, sc. verbis: v. on <a href = "#chapI_sec6">§6</a>. +Direct, natural, and unartificial language is meant, as opposed to +metaphorical.</p> + +<p><b>deverticula</b>: ‘by-ways’ of expression. The word literally means +a lane turning off from a highway (ii. 3, 9 recto itinere lassi +plerumque devertunt): and so metaphorically xii. 3, 11: ix. 2, 78: Livy +ix. 17, 1.</p> + +<p><b>mutare</b> includes all changes in the use of words, and covers +both <i>libertas verborum</i> and <i>licentia figurarum</i>: e.g. +‘mucro’ for ‘gladius.’</p> + +<p><b>extendere</b> and <b>conripere</b> are used of syllables: +<b>convertere</b> and <b>dividere</b> of words. An instance of +‘lengthening’ (extendere) is ‘induperator’ for imperator: of +‘contracting’ (conripere) ‘periclum’ for periculum. Mayor takes it of +quantity only, and compares i. 5, 18: 6, 32: ix. 4, 89: 3, 69: vii. +9, 13. As an instance of ‘transposition’ (the removal of words from +their usual order) we may take ‘collo dare bracchia circum’ for +circumdare collum bracchiis, or ‘transtra per et remos’: and for +<i>dividere</i> (separation by tmesis) ‘hyperboreo septem subiecta +trioni’ (viii. 6, 66) and other instances from Vergil (e.g. Aen. i. +610 ‘quae me cumque vocant terrae’).</p> + +<p><b>nos</b>: ‘we advocates.’ For the figure in <i>armatos stare</i> +see on <a href = "#chapI_sec4">§4</a> athleta. Cp. Or. §42 verum haec +ludorum atque pompae; nos autem iam in aciem dimicationemque veniamus. +Mayor cites also ii. 10, 8: vi. 4, 17: Cic. Opt. Gen. Or. §17: de Or. i. +§147, 157: ii. 94: de Legg. iii. 14: Brut. §222: Introd. <a href = +"QuintIntro.html#intro_pagelvi">p. lvi</a>.</p> + +<p><b>decernere</b>, another military figure: cp. Cic. de Or. ii. §200 +pro mea omni fama prope fortunisque decernere. See on <i>decretoriis</i> +<a href = "QuintBody2.html#chapV_sec20">5 §20</a>: and cp. xii. +7, 5.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec30" id = "chapI_sec30"> </a> +<span class = "secnum">I:30</span> +Neque ego arma squalere situ ac rubigine velim, sed fulgorem in iis esse +qui terreat, qualis est ferri, quo mens simul visusque praestringitur, +non qualis auri argentique, imbellis et potius habenti periculosus.</p> + +<span class = "pagenum">34</span> +<div class = "comm"> +<p><a name = "commI_sec30" id = "commI_sec30"><b>§ 30.</b></a> +<b>Neque ego velim</b>: ‘and yet I should not like.’ The same +adversative sense of neque = but not (elsewhere strengthened by +<i>rursus</i>) is found <a href = "#chapI_sec80">§80</a>: <a href = +"QuintBody2.html#chapV_sec5">5 §5</a>: <a href = +"QuintBody2.html#chapVII_sec4">7 §4</a>. For <i>ego</i> +(<i>ergo</i>?) see <a href = "QuintCrit.html#critI_sec30">Crit. +Notes</a>.</p> + +<p><b>arma</b>. De Orat. i. §32 Quid autem tam necessarium quam tenere +semper arma quibus vel tectus ipse esse possis vel provocare improbos +(conj. integer) vel te ulcisci lacessitus? Tac. Dial. 5 quid est tutius +quam eam exercere artem qua semper armatus praesidium amicis, opem +alienis, salutem periclitantibus, invidis vero inimicis metum et +terrorem ultro feras? ... sin proprium periculum increpuit, non hercule +lorica et gladius in acie firmius munimentum quam reo et periclitanti +eloquentia praesidium simul ac telum, quo propugnare pariter et +incessere sive in iudicio sive in senatu sive apud principem possis. So +‘arma facundiae’ ii. 16, 10 and often.</p> + +<p><b>situs</b>, the ‘rust’ or ‘mould’ that comes from <i>being let +alone</i> (sino), as often in Vergil, e.g. segnem patiere situ durescere +campum Georg. i. 72: loca senta situ Aen. vi. 462. So i. 2, 18 quendam +velut in opaco situm ducit: xii. 5, 2.</p> + +<p><b>fulgorem ... qui terreat</b>: viii. 3, 3 nec fortibus modo sed +etiam fulgentibus armis proeliatur. Hor. Car. ii. 1, 19-20 iam fulgor +armorum fugaces terret equos equitumque voltus. Mayor cites also Veget. +ii. 14: a cavalry officer must make his men often scour their cuirasses, +helmets and pikes: plurimum enim terroris hostibus armorum splendor +importat. quis credat militem bellicosum cuius dissimulatione situ ac +rubigine arma foedantur?</p> + +<p><b>ferri</b>: viii. 3, 5 nam et ferrum adfert oculis terroris +aliquid, et fulmina ipsa non tam nos confunderent si vis eorum tantum +non etiam ipse fulgor timeretur.</p> + +<p><b>quo</b>, sc. fulgore.</p> + +<p><b>praestringitur</b> <a href = "#chapI_sec92">§92</a>. Cic. de Fin. +iv. §37 aciem animorum nostrorum virtutis splendore praestringitis: and +with <i>ut ita dicam</i> to soften the metaphor de Sen. §42 mentis ut +ita dicam praestringit oculos (sc. voluptas.)</p> + +<p><b>auri argentique ... periculosus</b>. The practical speaker would +only prejudice +<span class = "pagenum comm">34</span> +his case by the use of ornament which, as in poetry, makes +<i>ostentatio</i> and <i>voluptas</i> (<a href = "#chapI_sec28">§28</a>) +its chief object. The commentators cite Livy ix. 17, 16 of Darius: inter +purpuram atque aurum, oneratum fortunae apparatibus suae, praedam verius +quam hostem ... incruentus devicit (sc. Alexander): ib. 40 §4 +militem ... non caelatum auro et argento sed ferro et animis fretum: so +Livy x. 39 per ... aurata scuta transire Romanum pilum: cp. Aesch. +Septem c. Th. 397. Curt. iii. 10 §§9, 10 aciem hostium auro +purpuraque fulgentem intueri iubebat, praedam non arma gestantem, irent +et imbellibus feminis aurum viri eriperent.</p> + +<p><b>potius</b> is used pretty much as <i>saepius</i> (‘oftener than +not’) below <a href = "#chapI_sec32">§32</a>. Krüger takes it closely +with <i>habenti</i> (sc. quam adversario). This is better than Hild’s +<i>quam utilis</i>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec31" id = "chapI_sec31"> </a> +<span class = "secnum">I:31</span> +Historia quoque alere oratorem quodam uberi iucundoque suco potest; +verum et ipsa sic est legenda ut sciamus plerasque eius virtutes oratori +esse vitandas. Est enim proxima poetis et +<span class = "pagenum">35</span> +quodam modo carmen solutum, et scribitur ad narrandum, non ad probandum, +totumque opus non ad actum rei pugnamque praesentem, sed ad memoriam +posteritatis et ingenii famam componitur; ideoque et verbis remotioribus +et liberioribus figuris narrandi taedium evitat.</p> + +<div class = "comm space"> +<p><a name = "commI_sec31" id = "commI_sec31"><b>§ 31.</b></a> +<b>Historia</b> <a href = "#chapI_sec73">§§73-75</a>: <a href = +"#chapI_sec101">§§101-104</a>; ii. 4, 2 apud rhetorem initium sit +historia, tanto robustior quanto verior: ib. 5 §1: 8 §7: iii. +8, 67: xii. 4. Cic. de Orat. i. §201 monumenta rerum gestarum et +vetustatis exempla oratori nota esse (debent): ii. §§51-64, where +Antonius discourses on history: Or. §66 huic generi historia finitima +est, in qua et narratur ornate et regio saepe aut pugna describitur; +interponuntur etiam contiones et hortationes, sed in his tracta quaedam +et fluens expetitur, non haec contorta et acris oratio,—of the +flowing smoothness of ‘historical oratory’ as against the compact and +incisive style of actual public speaking. Pliny Ep. v. 8 §9 habet +quidem oratio et historia multa communia, sed plura diversa in his ipsis +quae communia videntur. Narrat illa, narrat haec, sed aliter: huic +pleraque humilia et sordida et ex medio petita, illi omnia recondita +splendida excelsa conveniunt: hanc saepius ossa musculi nervi, illam +tori quidam et quasi iubae decent: haec vel maxime vi amaritudine +instantia, illa tractu et suavitate atque etiam dulcedine placet. +Postremo alia verba, alius sonus, alia constructio. Nam plurimum refert, +ut Thucydides ait, <span class = "greek" title = "ktêma">κτῆμα</span> +sit an <span class = "greek" title = "agônisma">ἀγώνισμα</span>; quorum +alterum oratio, alterum historia est.—The relation of this last +passage to the text is discussed by Eussner in Blätter f. d. bayer. +Gymn. xvii. vol. 9, pp. 391-393. He rightly insists (as against de +la Beye) that in Pliny <i>illa</i>, <i>illi</i>, <i>illam</i> refer to +historia, <i>haec</i>, <i>huic</i>, <i>hanc</i> to oratio.</p> + +<p><b>suco</b>, ‘sap’: Donatus on Ter. Eun. ii. 3, 7 (‘corpus solidum et +suci plenum’) explains sucus as ‘humor in corpore quo abundant bene +valentes.’ Cicero often uses the same figure: de Or. ii. §93 (Critias +Theramenes Lysias) retinebant illum Pericli sucum, sed erant paulo +uberiore filo: ib. §88: iii. §96: Brut. §36 sucus ille et sanguis +incorruptus: and ad Att. iv. 16 c §10 amisimus ... omnem non modo sucum +ac sanguinem sed etiam colorem et speciem pristinae civitatis.—For +uberi see Crit. Notes.</p> + +<p><b>et ipsa</b>: like poetry in <a href = "#chapI_sec28">§28</a>: +<span class = "greek" title = "kai autê">καὶ αὐτή</span>, ‘likewise.’ +For the much debated question whether <i>et ipse</i> was used by Cicero +see the note in Nägelsbach, pp. 366-367, from which it will appear +that no conclusive instance can be cited: Merguet gives only pro Rosc. +Am. §48 qui <i>et</i> ipsi incensi sunt studio, where, however, the +<i>et</i> is now generally disconnected from <i>ipsi</i> and referred to +the following vitam<i>que</i> rusticam arbitrantur. In all other +passages <i>et</i> seems to have been interpolated in conformity with +the later usage.—“Livy often uses <i>et ipse</i> meaning ‘on his +part’ or ‘as well,’ in cases where it is implied that the predicate or +attribute of the subject expressed is common thereto with a subject +unexpressed save in the context, e.g. xxi. 17, 7 Cornelio minus copiarum +datum, quia L. Manlius praetor et ipse cum haud invalido praesidio +in Galliam mittebatur, ‘Manlius was being sent <i>as well</i> (as +Cornelius)’; i. pr. §3 iuvabit tamen rerum gestarum memoriae principis +terrarum populi pro virili parte et ipsum consuluisse. ‘I shall be +glad to have done <i>my</i> part (as well as others) for Roman <ins +class = "correction" title = "text reads “history. ‘In”">history.’ +In</ins> each case the words in question are equivalent to a very strong +<i>etiam</i>.”—Fausset on Cic. pro Cluent. §141.—For other +exx. see <a href = "QuintBody2.html#chapV_sec4">5 §§4</a>, <a href += "QuintBody2.html#chapV_sec20">20</a>: <a href = +"QuintBody2.html#chapVI_sec1">6 §1</a>: <a href = +"QuintBody2.html#chapVII_sec26">7 §26</a>.</p> + +<p><b>sic ... ut</b>: ‘in reading history we must bear in mind,’ +&c.</p> + +<p><b>vitandas</b>: cp. <a href = +"QuintBody2.html#chapII_sec21">2 §21</a>. Cic. Or. §68 seiunctus +igitur orator a philosophorum eloquentia, a sophistarum, ab +historicorum, +<span class = "pagenum comm">35</span> +a poetarum, explicandus est nobis qualis futurus sit.</p> + +<p><b>poetis</b> = poetarum operibus. The metonymy here is motived by +Quintilian’s avoidance of <i>poesis</i> (cp. on <a href = +"#chapI_sec28">§28</a>). Many such exx. occur in Cicero: e.g. de Or. ii. +§4 nostrorum hominum prudentiam Graecis (Graecorum prudentiae) +anteferre. In these and similar instances the property of one thing is +compared (by <i>comparatio compendiaria</i>), not with the property of +another thing but with the thing itself, to which the property belongs. +So Pliny Ep. i. 16, 3 orationes eius ... facile cuilibet veterum ... +comparabis. Cp. Holden’s note on de Off. i. §76: Madvig §280, obs. +2.—Cp. the passage in Aristotle’s Poetics (ch. ix.) on the +relations of Poetry to History. Dosson refers to Dion. Hal. de Thucyd. +Iud. ch. li. ad fin., and Lucian’s <span class = "greek" title = +"Pôs dei histor. sungr.">Πῶς δεῖ ἱστορ. συγγρ.</span> 44-79. For est +enim, see <a href = "QuintCrit.html#critI_sec31">Crit. Notes</a>.</p> + +<p><b>solutum</b>, sc. necessitate pedum <a href = +"#chapI_sec29">§29</a>.</p> + +<p><b>opus</b>: the whole class of work: see on <a href = +"#chapI_sec9">§9</a>.</p> + +<p><b>ad actum rei</b> = ad rem agendam, the doing or performance of a +thing. Cp. <a href = "#chapI_sec27">§27</a> actu forensi: <a href = +"QuintBody2.html#chapVI_sec1">6 §1</a> inter medios rerum actus +(where see note): vii. 2, 41: ii. 18, 1 actus operis. So Plin. Ep. ix. +25, 3 me rerum actus ... distringit: Suet. Aug. §78 residua diurni +actus. In Suet. Aug. §32 actus rerum is used specially of judicial +proceedings: cp. Claud. §15: Nero §17. So <i>actus</i> alone came to +mean the method followed in such proceedings, Trajan ap. Plin. Ep. x. 97 +(Nettleship, Lat. Lex.).—Note the chiastic construction, <i>actum +rei</i> corresponding with <i>ingenii famam</i> and <i>pugnam praes.</i> +with <i>memor. posteritatis</i>.</p> + +<p><b>pugnam praesentem</b> <a href = "#chapI_sec29">§29</a>. So ad +pugnam forensem (<span class = "greek" title = "agôna">ἀγῶνα</span>) v. +12, 17. Cp. what Thucydides says of his history i. 22, 4 <span class = +"greek" title = "ktêma te es aei mallon ê agônisma es to parachrêma akouein xunkeitai">κτῆμά τε ἐς ἀεὶ μᾶλλον ἢ ἀγώνισμα ἐς τὸ παραχρῆμα +ἀκούειν ξύγκειται</span>,—referred to in the passage quoted above +from Pliny Ep. v. 8, 9-11.</p> + +<p><b>ad memoriam posteritatis et ingenii famam</b>. Pliny l.c. §1 mihi +pulchrum in primis videtur non pati occidere quibus aeternitas debeatur +aliorumque famam cum sua extendere. In vii. 17, 3 he looks less to the +last element: non ostentationi sed fidei veritatique componitur. Hild +quotes Livy Pr. §3 et si in tanta scriptorum turba mea fama in obscuro +sit, &c.: and Cic. Brut. §92 where Cicero, speaking of some orators, +says memoriam autem in posterum ingenii sui non desiderant.—For +<i>memoria posteritatis</i> cp. <a href = "#chapI_sec41">§§41</a>, <a +href = "#chapI_sec104">104</a>: <a href = +"QuintBody2.html#chapVII_sec30">7 §30</a>: i. 10, 9: vi. 1, 22: +xii. 11, 3: Plin. Ep. v. 8, 2.</p> + +<p><b>remotioribus</b> = ab usu remotis iv. 2 36: viii. 2, 12. Cp. +libertate verborum <a href = "#chapI_sec28">§28</a>.</p> + +<p><b>evitat</b>, ‘seeks to avoid,’ a present of endeavour.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec32" id = "chapI_sec32"> </a> +<span class = "secnum">I:32</span> +Itaque, ut dixi, neque illa Sallustiana brevitas, qua nihil apud aures +vacuas atque eruditas potest esse perfectius, apud occupatum variis +cogitationibus iudicem et saepius ineruditum captanda nobis est, neque +illa +<span class = "pagenum">36</span> +Livi lactea ubertas satis docebit eum qui non speciem expositionis, sed +fidem quaerit.</p> + +<div class = "comm"> +<p><a name = "commI_sec32" id = "commI_sec32"><b>§ 32.</b></a> +<b>ut dixi</b>. Cp. iv. 2, 45 vitanda est etiam illa Sallustiana ... +brevitas et abruptum sermonis genus: quod otiosum fortasse lectorem +minus fallat, audientem transvolat, nec dum percipiatur expectat, cum +praesertim lector non fere sit nisi eruditus, iudicem rura plerumque in +decurias mittant, de eo pronuntiaturum quod intellexerit. <a href = +"#chapI_sec102">§102</a> illam immortalem Sallusti velocitatem.—So +Cicero, speaking of Thucydides, says ‘nihil ab eo transferri potest ad +forensem usum et publicum,’ Or. §30: cp. Brut. §287.</p> + +<p><b>vacuas</b> is opposed to ‘occupatum variis cogitationibus,’ just +as <i>eruditas</i> is to ‘saepius ineruditum.’ Cp. <i>si vacet</i> <a +href = "#chapI_sec90">§90</a>: <a href = +"QuintBody2.html#chapIII_sec27">3 §27</a>. The word is frequently +used in this sense, both in poetry and prose, e.g. Lucr. i. 50: the +opposite <i>occupatae aures</i> occurs Livy xlv. 19, 9: cp. Tac. Hist. +iv. 17 arriperent vacui occupatos.</p> + +<p><b>saepius ineruditum</b>. Since Augustus added to the three ‘iudicum +decuriae’ a fourth to judge of minor cases (quartam ex inferiore censu +quae ... iudicaret de levioribus summis Suet. Aug. 32), this office fell +into disrepute. Caligula afterwards raised the number to five: Calig. +16. +<span class = "pagenum comm">36</span> +As with us, it was not considered necessary that the juror who was to +say ‘Guilty’ or ‘Not Guilty’ (in the <i>iudicia publica</i>) should be +learned in the law, or even that he should be an educated man.—Cp. +the quotation above from iv. 2, 45 cum ... iudicem rura plerumque in +decurias mittant. So v. 14, 29 saepius apud omnino imperitos atque +illarum certe ignaros litterarum loquendum est: cp. xii. 10, 53. Mayor +quotes Iuv. vii. 116-7 dicturus dubia pro libertate bubulco iudice, +where see his note.</p> + +<p><b>lactea ubertas</b>: ‘pure, clear, fulness.’ The expression is +evidently chosen to denote the characteristic of Livy’s style mentioned +in <a href = "#chapI_sec101">§101</a> (clarissimi candoris): ii. 5, 19 +(candidissimum et maxime expositum): it signifies not rich fulness +merely, but fulness combined with clearness and simplicity: cp. Hieron. +Ep. 53, 1 T. Livius lacteo eloquentiae fonte manans. Milk is taken +as the type of natural sweet and simple fare: cp. candens lacteus umor +Lucr. i. 258. It is also nourishing, so that <i>lactea ubertas</i> +is not the mere fulness of empty words: ii. 4, 5 quin ipsis quoque +doctoribus hoc esse curae velim ut teneras adhuc mentes more nutricum +mollius alant et satiari velut quodam iucundioris disciplinae lacte +patiantur.—Becher (Phil. Rundschau iii. 15, p. 469) compares +Seneca Controv. vii. pr. 2, p. 268 (Müll.) sententiae, quas optime +Pollio Asinius albas vocabat, simplices, apertae, nihil occultum, nihil +insperatum adferentes, sed vocales et splendidae, and explains <i>lactea +ubertas</i> as ‘eine reine lautere Fülle und keine forcierte, künstlich +aufgebauschte, schwülstige.’</p> + +<p><b>satis docebit</b>, i.e. in narratio <a href = +"#chapI_sec49">§49</a> (<span class = "greek" title = +"diêgêsis">διήγησις</span>). See note on the three <i>genera dicendi</i> +<a href = "#chapI_sec80">§80</a>.</p> + +<p><b>speciem ... fidem</b>. It is not beauty of exposition (species or +splendor) that the juror looks for in <i>narratio</i> or +<i>expositio</i>, but truth and credibility (fides): cp. ad narrandum +non ad probandum, of history, <a href = "#chapI_sec31">§31</a>. For +<i>fides</i> cp. Tac. Ann. iv. 34 Titus Livius eloquentiae ac fidei +praeclarus in primis.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec33" id = "chapI_sec33"> </a> +<span class = "secnum">I:33</span> +Adde quod M. Tullius ne Thucydiden quidem aut Xenophontem utiles +oratori putat, quamquam illum ‘bellicum canere,’ huius ‘ore Musas esse +locutas’ existimet. Licet tamen nobis in digressionibus uti vel +historico +<span class = "pagenum">37</span> +nonnumquam nitore, dum in his de quibus erit quaestio meminerimus non +athletarum toris, sed militum lacertis <i>opus</i> esse, nec +versicolorem illam, qua Demetrius Phalereus dicebatur uti, +<span class = "pagenum">38</span> +vestem bene ad forensem pulverem facere.</p> + +<div class = "comm"> +<p><a name = "commI_sec33" id = "commI_sec33"><b>§ 33.</b></a> +<b>Adde quod</b> <a href = +"QuintBody2.html#chapII_sec10">2 §§10</a>, <a href = +"QuintBody2.html#chapII_sec11">11</a>, <a href = +"QuintBody2.html#chapII_sec12">12</a>. See <a href = +"QuintCrit.html#critI_sec33">Crit. Notes</a>. Cp. Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>M. Tullius</b>. Or. §§30, 31, 32 quis porro umquam Graecorum +rhetorum a Thucydide quicquam duxit? ‘at laudatus est ab omnibus,’ +fateor; sed ita ut rerum explicator prudens, severus, gravis; non ut in +iudiciis versaret causas, sed ut in historiis bella narraret, itaque +numquam est numeratus orator ... nactus sum etiam qui Xenophontis +similem esse se cuperet, cuius sermo est ille quidem melle dulcior, sed +a forensi strepitu remotissimus. Yet Dion. Hal. tells us that +Demosthenes was especially indebted to Thucydides (Iud. de Thuc. 52). +Cicero saw that ‘Thucydides represents an immature stage in the +development of oratory: his speeches had been superseded by maturer +models’ (Sandys). Cp. Brut. §287-8.—Cp. <a href = +"#chapI_sec73">§73</a>.</p> + +<p><b>Xenophontem</b> <a href = "#chapI_sec75">§§75</a>, <a href = +"#chapI_sec82">82</a>. Cic. Brut. §112 complains that while the +Cyropaedia was read the speeches and autobiography of Scaurus were +neglected: ad Quint. Fratr. i. §23.</p> + +<p><b>quamquam</b> with subj. as <a href = +"QuintBody2.html#chapII_sec21">2 §21</a>: <a href = +"QuintBody2.html#chapVII_sec17">7 §17</a>.</p> + +<p><b>bellicum canere</b>: Or. §39 incitatior fertur et de bellicis +rebus canit etiam quodam modo bellicum: his style is a ‘call to arms,’ +it stirs like the sound of a war-trumpet <a href = +"#chapI_sec76">§76</a>. Cp. pro Mur. §30: Phil. vii. 3. Quint, ix. +4, 11 non eosdem modos adhibent cum bellicum est canendum et cum posito +genu supplicandum est.</p> + +<p><b>huius ore</b>, &c. Or. §62 Xenophontis voce Musas quasi +locutas ferunt. Diog. Laert. ii. §57 <span class = "greek" title = +"ekaleito de kai Attikê Mousa glukutêti tês hermêneias">ἐκαλεῖτο δὲ καὶ +Ἀττικὴ Μοῦσα γλυκύτητι τῆς ἑρμηνείας</span>. Cp. <a href = +"#chapI_sec82">§82</a> below, with the note: Brut. §132 molli et +Xenophonteo genere sermonis: de Or. ii. 58.</p> + +<p><b>in digressionibus</b>: opposed to <i>in his de quibus erit +quaestio</i> below. See the ch. on <i>Egressio</i> iv. 3: +especially §12 hanc partem <span class = "greek" title = +"parekbasin">παρέκβασιν</span> vocant Graeci, Latini egressum vel +egressionem, defined afterwards (§14) as alicuius rei, sed ad utilitatem +pertinentis, extra ordinem excurrens tractatio. Cp. ix. 2, 55. Cic. +de Or. ii. +<span class = "pagenum comm">37</span> +311 sq. digredi tamen ab eo quod proposueris atque agas permovendorum +animorum causa saepe utile est: ib. §80 ornandi aut augendi causa +digredi: Brut. §82: de Inv. i. §97.</p> + +<p><b>historico ... nitore</b>: <a href = +"QuintBody2.html#chapV_sec15">5 §15</a>: Plin. Ep. ii. 5, 5 +descriptiones locorum, quae in hoc libro frequentiores erunt, non +historice tantum sed prope poetice prosequi fas est: id. vii. 9, 8 saepe +in orationes quoque non historica modo sed prope poetica descriptionum +necessitas incidit. For <i>nitor</i> see on <a href = +"#chapI_sec9">§9</a> <i>nitidus</i>: cp. Cic. Or. §115 quidam orationis +nitor.</p> + +<p><b>dum</b>. Quint. does not use <i>dummodo</i>: <i>dum</i> is again +used in this sense in <a href = +"QuintBody2.html#chapIII_sec7">3 §7</a>: <a href = +"QuintBody2.html#chapVII_sec25">7 §25</a>. In <a href = +"QuintBody2.html#chapIII_sec5">3 §5</a> it occurs without a verb, +sit primo vel tardus dum diligens, stilus: so <i>modo</i> <a href = +"QuintBody2.html#chapV_sec20">5 §20</a>.</p> + +<p><b>toris ... lacertis</b>, ‘not the athlete’s swelling thews, but the +sinewy arm of the soldier.’ Cp. the antithesis +<i>carnis</i>—<i>lacertorum</i> §77. The primary meaning of +<i>torus</i> seems to be anything <i>swelling</i> or <i>bulging</i>, +e.g. the knots of a rope or the protuberance of the muscles. The point +of the antithesis is clearly brought out in xi. 3, 26 adsueta gymnasiis +et oleo corpora, quamlibet sint in suis certaminibus speciosa atque +robusta, si militare iter fascemque et vigilias imperes, deficiant et +quaerant unctores suos nudumque sudorem,—a passage which must have +been suggested by the contrast Plato draws between the sleepy habit of +athletes and the wiry vigour of the soldier: <span class = "greek" title += "schedon ge ti pantôn malista">σχέδον γέ τι πάντων μάλιστα</span> (sc. +<span class = "greek" title = "empodizei">ἐμποδίζει</span>) <span class += "greek" title = "hê ge peraiterô gumnastikês hê perittê hautê epimeleia tou sômatos; kai gar pros oikonomias kai pros strateias kai pros hedraious en polei archas duskolos">ἥ γε περαιτέρω γυμναστικῆς ἡ +περιττὴ αὕτη ἐπιμέλεια τοῦ σώματος‧ καὶ γὰρ πρὸς οἰκονομίας καὶ πρὸς +στρατείας καὶ πρὸς ἑδραίους ἐν πόλει ἀρχὰς δύσκολος</span> Rep. iii. +408. Mayor cites also xii. 10, 41 sicut athletarum corpora, etiam si +validiora fiant exercitatione et lege quadam ciborum (cp. <a href = +"QuintBody2.html#chapV_sec15">x. 5, 15</a>) non tamen esse +naturalia (sc. putant) atque ab illa specie quae sit concessa hominibus +abhorrere. Cp. Tac. Dial. 21 oratio autem sicut corpus hominis, &c.: +Nepos xv. 2 §4: Pliny v. 8, 10 (quoted on <a href = +"#chapI_sec31">§31</a> above). For cognate metaphors see Nägelsbach 136, +4 pp. 556-8. From Professor Mayor’s rich list of parallel passages +I select the following: ‘Kleochares ... compared the speeches of +Demosthenes to <i>soldiers</i> <span class = "greek" title = "dia tên polemikên dunamin">διὰ τὴν πολεμικὴν δύναμιν</span>, those of Isokrates +to <i>athletes</i> <span class = "greek" title = "terpsin gar parechein autous theatrikên">τέρψιν γὰρ παρέχειν αὐτοὺς θεατρικήν</span>. Plut. +Philopoem. 3 §§3, 4 Philopoemen when recommended to enter upon a +course of athletic training asked whether it did not interfere with +military exercises; and when told that the frame and life, diet and +training of the two were entirely different, the athlete needing much +sleep and food, regular intervals of exercise and rest, and being unable +to bear any change from his habits, while the soldier was inured to +hunger and thirst and sleepless nights; he both in his private capacity +wholly abstained from athletic exercises, and tried to abolish them when +a general. <i>Id.</i> Fab. Max. 19 §2 Fabius hoped that Hannibal, +if unopposed, would wear himself out, <span class = "greek" title = +"hôsper athlêtikou sômatos tês dunameôs hupergonou genomenês kai kataponou">ὥσπερ ἀθλητικοῦ σώματος τῆς δυναμεως ὑπεργονου γενομένης καὶ +καταπόνου</span>. Lucian Dial. Mort. x. 5 the athlete Damasias, <span +class = "greek" title = "polusarkos tis ôn">πολύσαρκός τις ὤν</span>, +lest he should sink Charon’s boat by his weight, is forced to strip off +his flesh and crowns.’</p> + +<p><b>lacertis</b>. As opposed to <i>brachium</i>, <i>lacertus</i> is +the upper part of the arm, from the shoulder to the elbow. Cp. Cic. +Brut. §64 in Lysia sunt saepe etiam lacerti, sic ut fieri nihil possit +valentius.</p> + +<p><b>versicolorem ... vestem</b>, probably a translation of some Greek +phrase used in reference to Demetrius, to indicate a style too +ornamental for the forum: cp. viii. pr. 20 similiter illa translucida et +versicolor quorundam elocutio res ipsas effeminat, quae illo verborum +habitu vestiantur. For Demetrius see on <a href = +"#chapI_sec80">§80</a>. ‘His style, like his life, was elegantly +luxurious; but in becoming ornate it became nerveless; there is no +longer, says Cicero, “sucus ille et sanguis incorruptus,” the sap, the +fresh vigour, which had hitherto been in oratory; in their place there +is “fucatus nitor,” an artificial gloss,’ Jebb, Att. Or. ii. +p. 441. <i>Vestis</i> is more than a mere metaphor here: Demetrius +was as foppish in dress as he was in his style. The main feature of the +latter is generally indicated by <i>floridus</i> and similar terms: e.g. +Cic. Brut. §285: <i>dulcis</i> de Off. i. §3 (cp. Or. §94), +<i>suavis</i> Brut. §38: it was over-coloured (like his dress), being +intended only to please. For the figure suggested +<span class = "pagenum comm">38</span> +cp. Tac. Dial. 26: adeo melius est orationem vel hirta toga induere quam +fucatis et meretriciis vestibus insignire.</p> + +<p><b>dicebatur</b>, i.e. by his contemporaries.</p> + +<p><b>bene ad ... facere</b>: <a href = +"QuintBody2.html#chapV_sec11">5 §11</a> in hoc optime facient +infinitae quaestiones. This construction is common in Ovid; e.g. Her. +xvi. 189 ad talem formam non facit iste locus: cp. ib. vi. 128: and with +dat. Prop. iii. 1, 19 non faciet capiti dura corona meo. “It is also +occasionally used absolutely: so Ovid, complaining in his exile, says +Trist.(?) ‘Nec caelum nec aquae faciunt nec terra nec imber’: ‘do not +agree with me.’ It is thus used especially in medicine. Cp. Colum. viii. +17, Facit etiam ex pomis adaperta ficus: ‘is serviceable.’” Palmer on +Ov. Her. ii. 39.</p> + +<p><b>pulverem</b>. Cp. Cic. Brut. §37 (quoted on <a href = +"#chapI_sec80">§80</a> inclinasse): and for a different judgment de +Legg. iii. §14 a Theophrasto Phalereus ille Demetrius ... mirabiliter +doctrinam ex umbraculis eruditorum otioque non modo in solem atque in +pulverem, sed in ipsum discrimen aciemque produxit.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec34" id = "chapI_sec34"> </a> +<span class = "secnum">I:34</span> +Est et alius ex historiis usus et is quidem maximus, sed non ad +praesentem pertinens locum, ex cognitione rerum exemplorumque, quibus in +primis instructus esse debet orator, ne omnia testimonia exspectet a +litigatore, sed pleraque ex vetustate diligenter sibi cognita sumat, hoc +potentiora, quod ea sola criminibus odii et gratiae vacant.</p> + +<div class = "comm"> +<p><a name = "commI_sec34" id = "commI_sec34"><b>§ 34.</b></a> +<b>historiis</b>: for the plural see on <a href = +"#chapI_sec75">§75</a>. Cp. note on <i>lectionum</i> <a href = +"#chapI_sec45">§45</a>.</p> + +<p><b>alius usus ... ex cognitione</b>, &c. Crassus in the de Or. i. +§48 insists on this: neque enim sine multa pertractatione omnium rerum +publicarum, neque sine legum, morum, iuris scientia ... in his ipsis +rebus satis callide versari et perite potest (sc. orator): cp. ib. §18 +tenenda praeterea est omnis antiquitas exemplorumque vis: §158 +cognoscendae historiae: §256: Brutus §322: Tac. Dial. 30 nec in +evolvenda antiquitate ... satis operae insumitur. In Quint. cp. ii. 4, +20 multa inde cognitio rerum venit exemplisque, quae sunt in omni genere +causarum potentissima, iam tum instruitur, cum res poscet, usurus: iii. +8, 67: v. 11 ‘de exemplis’—<span class = "greek" title = +"paradeigma">παράδειγμα</span> quo nomine et generaliter usi sunt in +omni similium adpositione et specialiter in iis quae rerum gestarum +auctoritate nituntur: xii. 4, 10: cp. <a href = "#chapI_sec17">§17</a> +rerum cognitio cotidie crescit, et tamen quam multorum ad eam librorum +necessaria lectio est, quibus aut rerum exempla ab historicis aut +dicendi ab oratoribus petuntur.</p> + +<p><b>et is quidem</b>. Cic. de Fin. i. §65 Epicurus una in domo, et ea +quidem angusta, quam magnos ... tenuit amicorum greges. In <a href = +"QuintBody2.html#chapV_sec7">5 §7</a> we have <i>et quidem</i> with +the pronoun omitted: cp. Cic. Phil. ii. 43 et quidem immunia: and often +in Pliny, e.g. Ep. i. 6, 1 ego ille quem nosti apros tres et quidem +pulcherrimos cepi.</p> + +<p><b>non ad praesentem ... locum</b>, because here he is speaking of +the advantage of reading history only from the point of view of +<i>elocutio</i>: his subject is <i>copia verborum</i>. For the material +benefit to be obtained from the study of history see the passages cited +above: esp. xii. 4: v. 11, 36 sq.</p> + +<p><b>testimonia</b>. Cp. v. 7, 1 ea dicuntur aut per tabulas aut a +praesentibus. The advocate is not to confine himself to these.</p> + +<p><b>litigatore</b>, the client, from whom the essential facts of the +case must be learned: xii. 8 §§6-8.</p> + +<p><b>cognita</b> (with <i>vetustate</i>), of the result rather than the +process. Before <i>sumat</i> supply <i>ut</i>.</p> + +<p><b>hoc quod ... vacant</b> <a href = "#chapI_sec15">§15</a>. Cp. v. +11, 36-37 Adhibebitur extrinsecus in causam et auctoritas ... si quid +ita visum gentibus, populis, sapientibus viris, claris civibus, +inlustribus poetis referri potest. Ne haec quidem vulgo dicta et recepta +persuasione populari sine usu fuerint. Testimonia sunt enim quodam modo +vel potentiora etiam, quod non causis accommodata sunt, sed liberis odio +et gratia mentibus ideo tantum dicta factaque, quia aut honestissima aut +verissima videbantur. Cp. Cic. pro Marcello §29: Tac. Hist. i. 1: Ann. +i. 1.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec35" id = "chapI_sec35"> </a> +<span class = "secnum">I:35</span> +A philosophorum vero lectione ut essent multa nobis petenda +<span class = "pagenum">39</span> +vitio factum est oratorum, qui quidem illis optima sui operis parte +cesserunt. Nam et de iustis, honestis, utilibus iisque quae sunt istis +contraria, et de rebus divinis maxime dicunt et argumentantur acriter +<i>Stoici</i>, et altercationibus atque interrogationibus oratorem +futurum optime Socratici praeparant.</p> + +<div class = "comm space"> +<p><a name = "commI_sec35" id = "commI_sec35"><b>§ 35.</b></a> +<b>philosophorum</b>: <a href = "#chapI_sec81">§§81-84</a>: <a href = +"#chapI_sec123">§§123-131</a>. We have the same complaint, that the +orator has ‘abandoned the fairest part of his province’ to the +philosopher in Book i. pr. §§9-18: esp. neque +<span class = "pagenum comm">39</span> +enim hoc concesserim, rationem rectae honestaeque vitae ... ad +philosophos relegandam, cum vir ille vere civilis et publicarum +privatarumque rerum administrationi accommodatus, qui regere consiliis +urbes, fundare legibus, emendare iudiciis possit, non alius sit profecto +quam orator.... Fueruntque haec, ut Cicero apertissime colligit, +quemadmodum iuncta natura, sic officio quoque copulata, ut idem +sapientes atque eloquentes haberentur. Scidit deinde se studium atque +inertia factum est ut artes esse plures viderentur. Nam ut primum lingua +esse coepit in quaestu institutumque eloquentiae bonis male uti, curam +morum qui diserti habebantur reliquerunt. Cp. xii. 2 §§4-10, esp. +§8 id quod est oratori necessarium nec a dicendi praeceptoribus traditur +ab iis petere nimirum necesse est apud quos remansit: evolvendi penitus +auctores qui de virtute praecipiunt, ut oratoris vita cum scientia +divinaram rerum sit humanarumque coniuncta. Quintilian’s frequent +statement of the argument that philosophy, especially moral philosophy, +is an essential part of the orator’s equipment is a corollary to his +main thesis, ‘non posse oratorem esse nisi virum bonum’: i. pr. §9: xii. +1: cp. rationem dicendi a bono viro non separamus. Cp. Introd. <a href = +"QuintIntro.html#intro_pagexxv">p. xxv</a>. In the Orator §§11-19 +Cicero places a philosophical training among the first requisites of the +ideal orator: esp. §14 nam nec latius neque copiosius de magnis +variisque rebus sine philosophia potest quisquam dicere: ib. §118: cp. +de Or. i. §87: ib. iii. §§56-73 hanc, inquam, cogitandi pronuntiandique +rationem vimque dicendi veteres Graeci sapientiam nominabant ... §61 +hinc (from the separation of eloquence and philosophy made by Socrates) +discidium illud exstitit quasi linguae atque cordis, absurdum sane et +inutile et reprehendendum, ut alii nos sapere, alii dicere docerent. +Cicero has told us himself what he owed to philosophy: xii. 2, 23 +M. Tullius non tantum se debere scholis rhetorum quantum Academiae +spatiis frequenter (e.g. Or. §12, Brut. 315) ipse testatus est: Tac. +Dial. §31 sq.</p> + +<p><b>operis</b>: see on <a href = "#chapI_sec9">§9</a>. So ea iure +vereque contenderim esse operis nostri. i. pr. §11.</p> + +<p><b>cesserunt</b>: for this constr. with dat. and abl. cp. Cic. pro +Mil. §75 nisi sibi hortorum possessione cessissent.</p> + +<p><b>de iustis</b>, &c.: cp. i. pr. §§11, 12.</p> + +<p><b>de rebus divinis</b>. The Stoic definition of <span class = +"greek" title = "sophia">σοφία</span> included this—<span class = +"greek" title = "empeiria tôn theiôn kai anthrôpinôn kai tôn toutou aitiôn">ἐμπειρία τῶν θείων καὶ ἀνθρωπίνων καὶ τῶν τούτου αἰτιῶν</span>, +transl. by Cicero, de Off. ii. 5: cp. Tusc. iv. 57: Sen. Ep. xiv. +1, 5. They made this <span class = "greek" title = +"sophia">σοφία</span> the foundation of every virtue: it is ‘speculative +wisdom’ as distinguished from ‘practical wisdom’ (<span class = "greek" +title = "phronêsis">φρόνησις</span>).</p> + +<p><b>maxime</b> = potissimum.</p> + +<p><b>Stoici</b>: <a href = "#chapI_sec84">§84</a>: xii. 2, 25 Stoici +... nullos aut probare acrius aut concludere subtilius contendunt. +<i>Stoici</i> was first inserted by Meister. Hirt (Berl. Wochenschrift +v. p. 629) objects, on the ground that Quintilian is only giving +here the general idea that eloquence and philosophy were at first +mutually inclusive: cp. de Or. iii. §54. See Crit. Notes.</p> + +<p><b>altercationibus</b>. The essence of the <i>altercatio</i> is that +it was conducted in the way of short answers or retorts: it is specially +used of a dispute carried on in this way between two speakers in the +senate, or in a court of law, or in public. A famous instance in +the senate is the dialogue between Cicero and Clodius (ad Att. i. +16, 8): Clodium praesentem fregi in senatu cum oratione perpetua +plenissima gravitatis, tum altercatione, &c. Tac. Dial. 34 ut +altercationes quoque exciperet et iurgiis interesset. The +<i>altercatio</i> (actio brevis atque concisa vi. 4, 2) is opp. to +<i>perpetua</i> or <i>continua oratio</i>: e.g. Liv. iv. 6, 1 res a +perpetuis orationibus in altercationem vertisset: Tac. Hist. iv. 7 +paulatim per altercationem ad continuas et infestas orationes provecti +sunt.—As to the construction, both words are generally taken as +ablatives of instrument; <i>not</i> ‘for debates and examinations of +witnesses.’ By <i>interrogationibus</i> is then meant the Socratic <span +class = "greek" title = "elenchos">ἔλενχος</span>: cp. v. 7, 28 in +quibus (dialogis) adeo scitae sunt interrogationes ut, cum plerisque +bene respondeatur, res tamen ad id quod volunt efficere perveniat. But +see <a href = "QuintCrit.html#critI_sec35">Crit. Notes</a>.</p> + +<span class = "pagenum comm">40</span> +<p><b>Socratici</b>: <a href = "#chapI_sec83">§83</a>. The writers of +the Socratic form of dialogue are meant, Plato, Xenophon, and Aeschines +Socraticus: v. 11, 27 etiam in illis interrogationibus Socraticis ... +cavendum ne incante respondeas. Their practice of fashioning the +imagined objections of their opponents in such a manner as to make them +easy of refutation would render them good models: cp. xii. 1, 10 ne more +Socraticorum nobismet ipsi responsum finxisse videamur.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec36" id = "chapI_sec36"> </a> +<span class = "secnum">I:36</span> +Sed +<span class = "pagenum">40</span> +his quoque adhibendum est simile iudicium, ut etiam cum in rebus +versemur isdem non tamen eandem esse condicionem sciamus litium ac +disputationum, fori et auditorii, praeceptorum et periculorum.</p> + +<div class = "comm"> +<p><a name = "commI_sec36" id = "commI_sec36"><b>§ 36.</b></a> +<b>his quoque</b>, sc. philosophis—as well as with the poets and +historians <a href = "#chapI_sec28">§§28</a>, <a href = +"#chapI_sec31">31</a>.</p> + +<p><b>ut ... sciamus</b>, consecutive, expressing result, not final: tr. +by participle ‘remembering,’ &c.: cp. ut sciamus after <i>sic</i> in +<a href = "#chapI_sec31">§31</a>. Not all the instances of the +introduction of a subordinate clause by this consecutive <i>ut</i> cited +by Herbst are exactly apposite: cp. <a href = +"QuintBody2.html#chapII_sec28">2 §28</a>: <a href = +"QuintBody2.html#chapIV_sec4">4 §4</a>: <a href = +"QuintBody2.html#chapV_sec6">5 §§6</a>, <a href = +"QuintBody2.html#chapV_sec9">9</a>: <a href = +"QuintBody2.html#chapVI_sec3">6 §3</a>: <a href = +"QuintBody2.html#chapVII_sec10">7 §10</a>.</p> + +<p><b>in rebus isdem</b>: ‘on the same topics,’ viz. questions of right +and wrong, &c., which are common to philosophy and law.</p> + +<p><b>litium ac disputationum</b>: ‘lawsuits and philosophical +discussions’: vii. <a href = +"QuintBody2.html#chapIII_sec13">3 §13</a> sed de his disputatur non +litigatur: xi. 1, 70 inter eos non forensem contentionem, sed studiosam +disputationem crederes incidisse: Cic. de Off. i. §3 illud forense +dicendi et hoc quietum disputandi genus: de Fin. i. §28 neque enim +disputari sine reprehensione, nec cum iracundia aut pertinacia recte +disputari potest: Brut. §118 iidem (Stoici) traducti a disputando ad +dicendum inopes reperiantur: cp. Or. §113. There is a similar antithesis +in foro ... in scholis v. 13, 36.</p> + +<p><b>fori ... periculorum</b>: note the chiasmus. For the antithesis +<i>fori ... auditorii</i> cp. <a href = "#chapI_sec79">§79</a> +auditoriis ... non iudiciis. Tac. Dial. 10 nunc te ab auditoriis et +theatris in forum et ad causas et ad vera proelia voco. For +<i>auditorium</i> used of the lecture-room, or generally a place for +public prelections, literary and philosophical, cp. ii. 11, 3: v. 12, +20: Suet. Aug. 85. These <i>auditoria</i> were the scene of the +<i>recitationes</i> of which we hear so much in this age: <a href = +"#chapI_sec18">§18</a>.</p> + +<p><b>periculorum</b>: law-suits, actions-at-law, referring, as often in +Cicero, to the issues at stake for the defendant in such actions. Cp. <a +href = "QuintBody2.html#chapVII_sec1">7 §1</a>: iv. 2, 122 capitis +aut fortunarum pericula: vi. 1, 36 (where ‘pericula’ and ‘privatae +causae’ are contrasted). Etymologically periculum is from the root <span +class = "smallcaps">PER-</span>, seen in <span class = "greek" title = +"peira, peraô">πεῖρα, περάω</span>: it denotes ‘trial’ and, in view of +possible failure, ‘danger.’ Cp. Reid on Cic. pro Arch. §13: the English +‘danger’ (Low Latin dangiarium from dominium, Old Fr. dongier, feudal +authority) was originally a legal term: Shakesp. Merchant of Venice iv. +1, ‘You stand within his danger.’ Chaucer, Prol. 663. See Skeat’s Etym. +Dict.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec37" id = "chapI_sec37"> </a> +<span class = "secnum">I:37</span> +Credo exacturos plerosque, cum tantum esse utilitatis in legendo +iudicemus, ut id quoque adiungamus operi, qui sint <i>legendi</i>, quae +in auctore quoque praecipua virtus. Sed persequi singulos infiniti +fuerit operis.</p> + +<div class = "comm space"> +<p><a name = "commI_sec37" id = "commI_sec37"><b>§ 37.</b></a> +This paragraph forms a transition from the general consideration of +oratory (<a href = "#chapI_sec20">§20</a>), poetry (<a href = +"#chapI_sec27">§27</a>), history (<a href = "#chapI_sec31">§31</a>), and +philosophy (<a href = "#chapI_sec35">§35</a>) to the characterisation of +individual representatives of each of these four departments. Quintilian +now begins to discourse on the ‘Choice of Books,’ or the ‘Best Hundred +Authors,’ both in Greek and Latin. His list does not however aim at +completeness: it is conditioned by the object which he has in view, viz. +the reading of what is profitable for the formation of style (ad +faciendam <span class = "greek" title = "phrasin">φράσιν</span> <a href += "#chapI_sec42">§42</a>), and he constantly reminds the reader that he +is merely giving a sample of the best authors (<a href = +"#chapI_sec44">§§44</a>: 56-60: 74: 80: 104: 122). Cp. Plin. Ep. vii. +9 §§15-16.</p> + +<p><b>qui sint legendi</b>: see <a href = +"QuintCrit.html#critI_sec37">Crit. Notes</a>.</p> + +<p><b>auctore</b>: see on <a href = "#chapI_sec24">§24</a>.</p> + +<p><b>persequi singulos</b>: ‘to notice all individually’: <a href = +"#chapI_sec118">§118</a> sunt alii multi diserti quos persequi longum +est.</p> + +<p><b>fuerit</b>: cp. superaverit <a href = "#chapI_sec46">§46</a>: +dixerim <a href = "#chapI_sec14">§14</a>: maluerim <a href = +"#chapI_sec26">§26</a>: dederit <a href = "#chapI_sec85">§85</a>: +cesserimus <a href = "#chapI_sec86">§86</a>: quos viderim <a href = +"#chapI_sec98">§98</a>: cesserit <a href = "#chapI_sec101">§101</a>: +opposuerim <a href = "#chapI_sec105">§105</a>: abstulerit +<span class = "pagenum comm">41</span> +<a href = "#chapI_sec107">§107</a>: ne hoc ... suaserim <a href = +"QuintBody2.html#chapII_sec24">2 §24</a>: nemo dubitaverit <a href += "QuintBody2.html#chapIII_sec22">3 §22</a>: contulerit <a href = +"QuintBody2.html#chapV_sec4">5 §4</a>: ne ... contrarium fuerit <a +href = "QuintBody2.html#chapV_sec15">5 §15</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec38" id = "chapI_sec38"> </a> +<span class = "secnum">I:38</span> +Quippe cum in Bruto M. Tullius +<span class = "pagenum">41</span> +tot milibus versuum de Romanis tantum oratoribus loquatur et tamen de +omnibus aetatis suae, [quibuscum vivebat], exceptis Caesare atque +Marcello, silentium egerit, quis erit modus si et illos et qui postea +fuerunt et Graecos omnes <i>persequamur</i> [et philosophos]?</p> + +<div class = "comm"> +<p><a name = "commI_sec38" id = "commI_sec38"><b>§ 38.</b></a> +<b>Quippe cum</b>, only here in Quint.: cp. <a href = +"#chapI_sec76">§76</a>.</p> + +<p><b>versuum</b>: often in Quint. of ‘lines’ of prose: <a href = +"#chapI_sec41">§41</a>: <a href = +"QuintBody2.html#chapIII_sec32">3 §32</a>: <a href = +"QuintBody2.html#chapVII_sec11">7 §11</a>: xi. 2, 32 (but §39 opp. +to prosam orationem): vii. 1, 37 multis milibus versuum scio apud +quosdam esse quaesitum, &c. Hor. Sat. ii. 5, 53-4, of a will, quid +prima secundo cera velit versu. Cic. Rab. Post. vi. §14 ut primum versum +(legis) attenderet: ad Att. ii. 16, 3: Plin. Ep. iv. 11, 16.</p> + +<p><b>Romanis ... oratoribus</b>. One of Cicero’s motives in writing the +<i>Brutus</i> was to do justice to the earlier Roman orators, and to +trace the development of the art down to his own time. Hild cites Fronto +(de elog. p. 235 ed. Rom.) oratores quos ... Cicero eloquentiae +civitate gregatim donavit, as showing that the writer thought that +Cicero wished to exalt his own style by contrast with the ruder efforts +of his predecessors.</p> + +<p><b>aetatis suae</b>. Frieze remarks that this expression, taken by +itself, would embrace either the whole career of Cicero as an orator, +about 35 years, to the date of the Brutus (<span class = +"smallroman">B.C.</span> 46), or else his life from the time when he +began to hear the orators of the forum as a student (<span class = +"smallroman">B.C.</span> 90), a period of over 44 years: Brut. §303 hoc +(Hortensio) igitur florescente, Crassus est mortuus, Cotta pulsus, +iudicia intermissa bello, nos (Cicero) in forum venimus.—The rule +which Cicero imposed on himself in the Brutus is given §231: in hoc +sermone nostro statui neminem eorum qui viverent nominare.</p> + +<p>[<b>quibuscum vivebat</b>]: see Crit. Notes.</p> + +<p><b>Caesare atque Marcello</b>. These exceptions were made at the +request of Brutus himself §248. Brutus eulogises Marcellus, while the +account of Caesar is mainly put into the mouth of Atticus: then at §262 +Cicero returns to the dead,—sed ad eos, si placet, qui vita +excesserunt revertamur.—For Caesar see on <a href = +"#chapI_sec114">§114</a>. M. Claudius Marcellus, consul <span class += "smallroman">B.C.</span> 51, was a Pompeian who, after Pharsalus, +retired to Mitylene, where he studied under Cratippus. His friends +procured the pardon which he would not himself sue for, and Cicero in +the pro Marcello (<span class = "smallroman">B.C.</span> 46) expresses +his satisfaction at the event. On his way home in the following year +Marcellus was assassinated at Athens. Cp. Sen. ad Helviam ix. §§4-8.</p> + +<p><b>quis ... modus</b>. When <i>quis</i> is used adjectivally, as here +and in <a href = "#chapI_sec50">§50</a>, it does not mean ‘what kind of’ +(as <i>qui</i>), but rather ‘will there be any?’ &c. Cp. quis locus += ‘where is the spot?’ vii. 2, 54 quis testis? quis iudex? ... quod +pretium? quis conscius? For the reading see <a href = +"QuintCrit.html#critI_sec38">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec39" id = "chapI_sec39"> </a> +<span class = "secnum">I:39</span> +Fuit igitur brevitas illa tutissima quae est apud Livium in epistula ad +filium scripta, ‘legendos Demosthenen atque Ciceronem, tum ita, ut +quisque esset Demostheni et Ciceroni simillimus.’</p> + +<div class = "comm"> +<p><a name = "commI_sec39" id = "commI_sec39"><b>§ 39.</b></a> +<b>brevitas illa</b> = brevis illa sententia, introducing the clause in +acc. c. inf. Hirt compares Cic. Tusc. iv. §83 et aegritudinis et +reliquorum animi morborum una sanatio est, omnes opinabiles esse et +voluntarios. For <b>fuit</b> see <a href = +"QuintCrit.html#critI_sec39">Crit. Notes</a>.</p> + +<p><b>apud Livium</b>. Cp. ii. 5, 20 Cicero ... et iucundus +incipientibus quoque et apertus est satis, nec prodesse tantum, sed +etiam amari potest: tum, quemadmodum Livius praecipit, ut quisque erit +Ciceroni simillimus. In viii. 2, 18 there is a reference probably to the +same source: Livy is made the authority for the story of a teacher ‘qui +discipulos obscurare quae dicerent iuberet, Graeco verbo utens <span +class = "greek" title = "skotison">σκότισον</span>.’ Sen. Ep. 100 Nomina +adhuc T. Livium. scripsit enim et dialogos, quos non magis +philosophiae adnumerare possis quam historiae, et ex professo +philosophiam continentes libros. The son is mentioned again in Plin. +N. H. i. 5 and 6. See Teuffel, Rom. Lit. 251 §4.</p> + +<p><b>Demostheni et Ciceroni</b>: <a href = +"#chapI_sec105">§§105-112</a>: Iuv. x. 114. Note the pointed repetition +of the names.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec40" id = "chapI_sec40"> </a> +<span class = "secnum">I:40</span> +Non est dissimulanda nostri quoque iudicii +<span class = "pagenum">42</span> +summa. Paucos enim vel potius vix ullum ex his qui vetustatem +pertulerunt existimo posse reperiri, quin iudicium adhibentibus +adlaturus sit utilitatis aliquid, cum se Cicero ab illis quoque +vetustissimis auctoribus, ingeniosis quidem, sed arte carentibus, +plurimum fateatur adiutum.</p> + +<div class = "comm"> +<p><a name = "commI_sec40" id = "commI_sec40"><b>§ 40.</b></a> +<b>nostri iudicii summa</b>: ‘my +<span class = "pagenum comm">42</span> +opinion in general,’ as opposed to the criticism of each writer +individually. What the gist of this opinion is he states in the next +sentence, with <i>enim</i>: see <a href = +"QuintCrit.html#critI_sec40">Crit. Notes</a>.—For <i>summa</i> cp. +<a href = "#chapI_sec48">§48</a>: <a href = +"QuintBody2.html#chapIII_sec10">3 §10</a>.</p> + +<p><b>vix ullum</b>, &c.: <a href = "#chapI_sec57">§57</a>. Mayor +compares Plin. Ep. iii. 5 §10 (of the elder Pliny) nihil enim legit +quod non excerperet: dicere enim solebat nullum esse librum tam malum ut +non aliqua parte prodesset. It would be hard to be so charitable +now!</p> + +<p><b>vetustatem pertulerunt</b>: ‘have stood the test of time.’ The +phrase is properly used of wine,—wine that will ‘keep,’ as we +should say (aetatem ferre): Cic. de Amic. §67 ut ea vina quae vetustatem +ferunt: ii. 4, 9 musta ... et annos ferent et vetustate proficiunt: Cat. +de R. R. 114, 2 vinum in vetustatem servare. So Ovid, of his own +works, scripta vetustatem si modo nostra ferent, Trist. v. 9, 8. +For <i>vetustas</i> (lapse of time) cp. Cic. Brut. §258.—There is +a sort of antithesis between the class of authors here referred to and +the <i>vetustissimi auctores</i> mentioned below. In the former he +includes Cato and the Gracchi, ii. 5, 21: the latter are those who were +hardly read at all in Quintilian’s day. In general he uses +<i>veteres</i> or <i>antiqui</i> in contradistinction to those who were +to him <i>novi</i>, i.e. the writers of the post-Augustan period: +including in the former Cicero himself as well as his predecessors. ii. +5, 23 et antiquos legere et novos: v. 4, 1 orationes veterum ac novorum: +ix. 3, 1 omnes veteres et Cicero praecipue: Plin. Ep. ix. 22, 1, of +C. Passennus Paullus, in litteris veteres aemulatur ... Propertium +in primis: Tac. Dial. 17, 18.</p> + +<p><b>iudicium adhibentibus</b>: <a href = "#chapI_sec131">§131</a>: <a +href = "#chapI_sec72">§72</a>.</p> + +<p><b>ingeniosis ... carentibus</b>: i. 8, 8 multum autem veteres etiam +Latini conferunt, quamquam plerique plus ingenio quam arte valuerunt. +Ov. Amor. i. 15, 14, of Callimachus, quamvis ingenio non valet, arte +valet: Tr. ii. 424 Ennius ingenio maximus arte rudis. Mayor quotes also +from Munro’s Lucretius: vol. ii. p. 18 ‘At this period when the +<span class = "greek" title = "neôteroi">νεώτεροι</span>, as Cicero +calls them, were striving to bring the Alexandrine style into fashion, +there seems to have been almost a formal antithesis between the rude +genius of Ennius and the modern art.’</p> + +<p><b>ingeniosis quidem</b>. Here again (cp. on <a href = +"#chapI_sec34">§34</a>) Cicero would have used the +pronoun,—ingeniosis illis quidem. Cp. <a href = +"#chapI_sec88">§§88</a>, <a href = "#chapI_sec124">124</a>: i. 10, +17.</p> + +<p><b>Cicero ... fateatur</b>. The Brutus contains e.g. a eulogy of +Cato, who is said to be rough, but excellent, like the early statues and +paintings and poems: §§61-66: Or. §109. Mayor cites Seneca apud Gell. +xii. 2 (Fragmenta 111) Apud ipsum quoque Ciceronem invenies etiam in +prosa oratione quaedam ex quibus intelligas illum non perdidisse operam +quod Ennium legit.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec41" id = "chapI_sec41"> </a> +<span class = "secnum">I:41</span> +Nec multo aliud de novis sentio; quotus enim quisque inveniri tam demens +potest, +<span class = "pagenum">43</span> +qui ne minima quidem alicuius certe fiducia partis memoriam posteritatis +speraverit? Qui si quis est, intra primos statim versus deprehendetur, +et citius nos dimittet quam ut eius nobis magno temporis detrimento +constet experimentum.</p> + +<div class = "comm"> +<p><a name = "commI_sec41" id = "commI_sec41"><b>§ 41.</b></a> +<b>multo aliud</b>: cp. <i>quanto aliud</i> <a href = +"#chapI_sec53">§53</a>. <i>Aliud</i> here serves for a comparative. So +ix. 4, 26 multo optimum: <a href = "#chapI_sec72">§72</a> multo +foedissimum, and in Plin. N. H. <i>multo</i> very often for the +more usual <i>longe</i>. Spald.</p> + +<p><b>novis</b>: the writers subsequent to Cicero; viii. 5, 12: ix. +2, 42.</p> + +<p><b>quotus quisque</b>: ‘each unit of what whole number’ = ‘one in how +many,’ and so ‘how small a proportion,’ ‘how few.’ In the nom. sing. +masc. it occurs several times in Cicero, and frequently in Pliny’s +letters. Ovid, A. A. iii. 103, has the fem., Forma dei munus. Forma +quota quaeque superbit. The dat. quoto cuique Plin. Ep. iii. 20 §8: +the acc. quotum quemque Tac. Dial. 29.</p> + +<p><b>tam demens ... qui</b>: <a href = "#chapI_sec48">§48</a> nemo erit +tam indoctus qui non ... fateatur: on the other hand <a href = +"#chapI_sec57">§57</a> tam ... ut non. Herbst cites Pliny, Ep. viii. 14, +3 quotus enim quisque tam patiens ut velit discere quod in usu non sit +habiturus: cp. ib. ii. 19, 6: Panegyr. 15: Xen. Anab. ii. 5, 12 <span +class = "greek" title = "tis houtô mainetai hostis ou soi bouletai philos einai?">τίς οὕτω μαίνεται ὅστις οὐ σοὶ βούλεται φίλος +εἶναι;</span> ib. vii. 1, 28 <span class = "greek" title = "esti tis houtôs aphrôn hostis oietai an hêmas perigenesthai">ἔστι τις οὕτως ἄφρων +ὅστις οἴεται ἂν ἡμᾶς περιγενέσθαι;</span>; Cic. Phil. ii. §33, where +Mayor quotes Dem. Mid. p. 536, 6 §66 <span class = "greek" +title = "tis houtôs alogistos ... estin hostis hekôn an ... ethelêseien analôsai">τίς οὕτως ἀλόγιστος ... ἔστιν ὅστις ἑκὼν ἂν ... ἐθελήσειεν +ἀναλῶσαι</span>; and</p> +<div class = "poem"> +<p>‘Lives there a man with soul so dead</p> +<p><i>Who</i> never to himself has said...?’</p> +</div> + +<span class = "pagenum comm">43</span> +<p><b>alicuius fiducia partis</b>: ‘with even the smallest confidence at +least in some portion or other (of his writings).’ For the obj. gen. cp. +iv. 2, 113: ix. 3, 51.</p> + +<p><b>memoriam posteritatis</b>: see on <a href = +"#chapI_sec31">§31</a>.</p> + +<p><b>versus</b>: <a href = "#chapI_sec38">§38</a>.</p> + +<p><b>detrimento</b>: vi. 3, 35 nimium enim risus pretium est si +probitatis impendio constat. The word occurs less commonly than some of +its synonyms with the genitive: here its etymological meaning +(detero–tempus ‘terere’) makes it very appropriate.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec42" id = "chapI_sec42"> </a> +<span class = "secnum">I:42</span> +Sed non quidquid ad aliquam partem scientiae pertinet, protinus ad +faciendam <span class = "greek" title = "phrasin">φράσιν</span>, de qua +loquimur, accommodatum.</p> + +<p class = "maintext"> +Verum antequam de singulis loquar, pauca in universum de varietate +opinionum dicenda sunt.</p> + +<div class = "comm"> +<p><a name = "commI_sec42" id = "commI_sec42"><b>§ 42.</b></a> +<b>protinus</b>: ‘at once,’ ‘as a matter of course.’ See on <a href = +"#chapI_sec3">§3</a>: cp. statim <a href = "#chapI_sec24">§24</a>.</p> + +<p><b>ad faciendam <span class = "greek" title = +"phrasin">φράσιν</span></b>: ‘for the formation of style’: cp. <a href = +"#chapI_sec87">§87</a> phrasin ... faciant: viii. 1, 1 igitur quam +Graeci <span class = "greek" title = "phrasin">φράσιν</span> vocant, +Latine dicimus elocutionem. For the whole expression cp. <a href = +"#chapI_sec65">§65</a> ad oratores faciendos aptior: xii. 8, 5 cur non +sit orator quando ... oratorem facit: <a href = +"QuintBody2.html#chapIII_sec3">x. 3, 3</a> vires ... faciamus: ib. <a +href = "QuintBody2.html#chapIII_sec10">§10</a> qui robur aliquod in +stilo fecerint: ib. <a href = "QuintBody2.html#chapIII_sec28">§28</a> +faciendus usus: also i. 10, 6: ii. 8, 7: xii. 7, 1. +<i>Faciendam</i> must have belonged to the original text: see <a href = +"QuintCrit.html#critI_sec42">Crit. Notes</a>.—Hild reminds us that +we must always keep this point of view in mind in estimating the +literary judgments pronounced by Quintilian in this book: he is +concerned mainly with <i>form</i>, in its relation to oratorical style. +In the same way, <a href = "#chapI_sec87">§87</a>, he does not insist on +the study of Macer and Lucretius: legendi quidem sed non ut <span class += "greek" title = "phrasin">φράσιν</span>, id est corpus eloquentiae, +faciant. M. Seneca opposes <span class = "greek" title = +"phrasis">φράσις</span> to <span class = "greek" title = +"hexis">ἕξις</span> (<a href = "#chapI_sec1">§1</a>): non <span class = +"greek" title = "hexis">ἕξις</span> magna sed <span class = "greek" +title = "phrasis">φράσις</span> (of Albucius) Contr. vii. pr. §2: +elsewhere he has (Excerpt. Contr. iii. pr. §7) habebat ... phrasin non +vulgarem nec sordidam, sed lectam.</p> + +<p><b>in universum</b>: Tac. Germ. 6 in universum aestimanti: ib. 27 +<i>in commune</i> opp. to <i>singuli</i>.</p> + +<p><b>de varietate opinionum</b>. Dosson refers to Hipp. Rigault, +Histoire de la querelle des anciens et des modernes, vol. i. 1859. In +the third cent. <span class = "smallroman">B.C.</span> the question of +the superiority of the ancients over the moderns was discussed between +the supporters and the opponents of Demetrius of Phalerum: in Cicero’s +day it had become confused with the quarrel between the true and the +false Atticists (cp. Brut. §283 sq.): Horace treated it in the first +Epistle of the Second Book: in Quintilian’s own time it was still +discussed, as may be seen from this passage and from the Dialogus de +Oratoribus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec43" id = "chapI_sec43"> </a> +<span class = "secnum">I:43</span> +Nam quidam solos veteres legendos putant neque in ullis aliis esse +naturalem eloquentiam et robur viris dignum arbitrantur, alios recens +haec lascivia +<span class = "pagenum">44</span> +deliciaeque et omnia ad voluptatem multitudinis imperitae composita +delectant.</p> + +<div class = "comm"> +<p><a name = "commI_sec43" id = "commI_sec43"><b>§ 43.</b></a> +<b>solos veteres</b>. Here again (see on <a href = +"#chapI_sec40">§40</a>) <i>veteres</i> includes the writers of the +Augustan age: cp. <a href = "#chapI_sec118">§§118</a>, <a href = +"#chapI_sec122">122</a>, <a href = "#chapI_sec126">126</a>: <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>. See also ii. 5, 21 sq., +where Quintilian says that in the case of young people both extremes +should be avoided:—the ancients (such as the Gracchi and Cato), +fient enim horridi atque ieiuni: the moderns, with their depraved taste, +‘ne recentis huius lasciviae flosculis capti voluptate prava +deleniantur.’</p> + +<p><b>robur viris dignum</b>: ii. 5, 23 ex quibus (sc. antiquis) si +adsumatur solida ac virilis ingenii vis deterso rudis saeculi squalore, +tum noster hic cultus clarius enitescet: i. 8, 9 sanctitas certe et, ut +sic dicam, virilitas ab iis (i.e. the veteres Latini) petenda est, +quando nos in omnia deliciarum vitia dicendi quoque ratione defluximus: +v. 12, 17.</p> + +<p><b>recens haec lascivia deliciaeque</b>: ‘the voluptuous and affected +style of our own day’ opp. to rectum dicendi genus, below. Cp. ‘recentis +huius lasciviae flosculi,’ quoted above, also ‘deliciarum vitia.’ Mayor +cites Sen. Ep. xxxiii. 1 non fuerunt circa flosculos occupati: totus +contextus +<span class = "pagenum comm">44</span> +illorum virilis est. See on lascivus <a href = "#chapI_sec88">§88</a>. +Seneca is probably aimed at here: cp. <a href = "#chapI_sec125">§125</a> +sq., and Introd. <a href = +"QuintIntro.html#intro_pagexxv">p. xxv</a>. sqq.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec44" id = "chapI_sec44"> </a> +<span class = "secnum">I:44</span> +Ipsorum etiam qui rectum dicendi genus sequi volunt, alii pressa demum +et tenuia atque quae minimum +<span class = "pagenum">45</span> +ab usu cotidiano recedant, sana et vere Attica putant; quosdam +<span class = "pagenum">46</span> +elatior ingenii vis et magis concitata et plena spiritus capit; sunt +etiam lenis et nitidi et compositi generis non pauci amatores. De qua +differentia disseram diligentius, cum de genere dicendi quaerendum erit: +interim summatim, quid et a qua lectione petere possint qui confirmare +facultatem dicendi volent, attingam: paucos enim, qui sunt +eminentissimi, excerpere in animo est.</p> + +<div class = "comm"> +<p><a name = "commI_sec44" id = "commI_sec44"><b>§ 44.</b></a> +<b>rectum dicendi genus</b>: the true standard of style (cp. <a href = +"#chapI_sec89">§89</a>), natural and unaffected, and imitating neither +the rude archaism of the ancients nor the bad taste of the moderns. In +ii. 5, 11 it is called sermo rectus (‘straight,’ i.e. direct and +natural) et secundum naturam enuntiatus: and in ix. 3, 3, simplex +rectumque loquendi genus: the style which aims above everything at the +clear and effective expression of thought, apart from all ornament and +trickery. Though termed here a <i>genus</i>, it is itself divided into +three <i>genera</i>: (1) the simple, terse, concise (<span class = +"greek" title = "ischnon">ἰσχνόν</span>, tenue, subtile, pressum ... +quod minimum ab usu cotidiano recedit); (2) the grand, broad, +lofty, stirring, passionate (<span class = "greek" title = +"hadron">ἁδρόν</span>, uber, grande, amplum, elatum, concitatum); +(3) the flowing, plastic, polished, smooth, melodious, intermediate +(<span class = "greek" title = "anthêron">ἀνθηρόν</span>, lene, nitidum, +suave, compositum, medium).</p> + +<p>This threefold division of style, ascribed to Theophrastus, was +generally recognised in Greece after the latter part of the 4th century +<span class = "smallroman">B.C.</span> Gellius (vi. 14, 8) tells us +that Varro recognised it, employing <i>uber</i>, <i>gracile</i>, and +<i>mediocre</i> to represent <span class = "greek" title = +"hadron">ἁδρόν</span>, <span class = "greek" title = +"ischnon">ἰσχνόν</span>, and <span class = "greek" title = +"meson">μέσον</span>; and Mr. Nettleship (J. of Philol. xviii. +p. 232) thinks that his treatise <span class = "greek" title = +"peri charaktêrôn">περὶ χαρακτήρων</span> bore on this subject. It is +adopted in Cornif. ad Herenn. iv. §§11-16, and is carefully explained by +Cicero in the Orator §§20-21 (where see Sandys’ notes): tria sunt omnino +genera dicendi quibus in singulis quidam floruerunt, peraeque autem, id +quod volumus, perpauci in omnibus. Quintilian evidently considers that +Cicero (see <a href = "#chapI_sec108">§108</a>) came up to his own ideal +standard in all three styles: Or. §100 is est enim eloquens qui et +humilia subtiliter et magna graviter et mediocria temperate potest +dicere.</p> + +<p>Dion. Hal. (probably following Theophrastus <span class = "greek" +title = "peri lexeôs">περὶ λέξεως</span>) has the same division, +distinguishing as the <span class = "greek" title = "tria plasmata tês lexeôs">τρία πλάσματα τῆς λέξεως</span> or <span class = "greek" title = +"genikôtatoi charaktêres">γενικώτατοι χαρακτῆρες</span> the <span class += "greek" title = "charaktêr hupsêlos">χαρακτὴρ ὑψηλός</span> (<i>genus +grande</i>), <span class = "greek" title = "ischnos">ἰσχνός</span> +(<i>genus tenue, subtile</i>), and <span class = "greek" title = +"mesos">μέσος</span> (<i>medium, mediocre</i>): de Dem. 33 and 34. In +xii. 10, 58 Quintilian repeats this: discerni posse etiam recte dicendi +genera inter se videntur. Namque unum <i>subtile</i>, quod <span class = +"greek" title = "ischnon">ἰσχνόν</span> vocant, alterum <i>grande</i> +atque robustum, quod <span class = "greek" title = "hadron">ἁδρόν</span> +dicunt, constituunt; tertium alii <i>medium</i> ex duobus, alii +<i>floridum</i> (namque id <span class = "greek" title = +"anthêron">ἀνθηρόν</span> appellant) addiderant. In the next section he +goes on to connect this triple division with the three functions of the +orator as laid down in iii. 5, 2: tria sunt item quae praestare debeat +orator, ut doceat, moveat, delectet. The ‘plain’ style is especially +adapted for teaching and explaining: the ‘grand’ for moving the +feelings; while of the ‘middle’ he says ‘ea fere ratio est ut ... +delectandi sive conciliandi praestare videatur officium.’ Cp. Arist. +Rhet. i. 2 p. 1356 <i>a</i> 2 <span class = "greek" title = "tôn de dia tou logou porizomenôn pisteôn tria eidê estin; hai men gar eisin en tô êthei tou legontos">τῶν δὲ διὰ τοῦ λόγου ποριζομένων πίστεων τρία +εἴδη ἐστίν‧ αἱ μὲν γάρ εἰσιν ἐν τῷ ἤθει τοῦ λέγοντος</span> (those which +conciliate good-will—the <i>medium</i>, <i>lene</i>, <i>compositum +genus</i>), <span class = "greek" title = "hai de en tô ton akroatên diatheinai pôs">αἱ δὲ ἐν τῷ τὸν ἀκροατὴν διαθεῖναί πως</span> (those +which stir the passions—the <i>grande genus</i>), <span class = +"greek" title = "hai de en autô tô logô dia tou deiknunai ê phainesthai deiknunai">αἱ δὲ ἐν αὐτῷ τῷ λόγῳ διὰ τοῦ δεικνύναι ἢ φαίνεσθαι +δεικνύναι</span> (those which are addressed to the intellect—the +<i>genus subtile</i>). Further on (xii. 10 §64) he says that the +three classes are typified by the oratory of Menelaus, Nestor, and +Ulysses: cp. ii. 17, 8 and Gellius, vi. 14.</p> + +<p>In anticipation of the rest of the section the main features of each +of the three styles may here be resumed. The ‘grand’ is distinguished by +a careful avoidance of everything familiar and ordinary: it seeks to +rise above the common idiom by a sustained dignity both of thought and +language, and employs a profusion of ornament of every kind. The ‘plain’ +style is marked by simplicity and clearness: it may employ the aid of +art, but it is an art that conceals itself in the avoidance of +everything unfamiliar and in the artistic use of the language of +ordinary life. The ‘middle’ style has more charm than force: while not +distinguished for the excellencies of the other species it has a grace +and sweetness of its own, whence its alternative designation +<i>floridum</i> (<span class = "greek" title = +"anthêron">ἀνθηρόν</span>) in Quintilian, quoted above: see note on <a +href = "#chapI_sec80">§80</a>.</p> + +<p><b>pressa ... et tenuia</b>, &c., i.e. the <i>subtile genus</i>, +or ‘plain style.’ Pressus is used in Quintilian both of a writer and of +his style: it means ‘concise’ (premo), ‘terse,’ +<span class = "pagenum comm">45</span> +and the juxtaposition of <i>tenuis</i> here shows that ‘plain +straightforwardness’ is the quality referred to. Cp. xii. 10, 38 +tenuiora haec ac pressiora: Cic. de Orat. ii. §96, where oratio pressior +is opp. to luxuries quaedam quae stilo depascenda est: Brut. §201 +attenuate presseque dicere opp. to sublate ampleque: Quint. viii. 3, 40 +dicere abundanter an presse ... magnifice an subtiliter: ii. 8, 4 presso +limatoque genere dicendi: §15 non enim satis est dicere presse tantum +aut subtiliter aut aspere. <i>Pressum</i> is well defined by Mayor on +this passage: ‘pruned of all rankness, concise, quiet, moderate, +self-controlled; opposed to extravagance, heat, turgidity, redundance’: +cp. premere tumentia <a href = +"QuintBody2.html#chapIV_sec1">4 §1</a>. To writers <i>pressus</i> +is applied <a href = "#chapI_sec46">§§46</a>, <a href = +"#chapI_sec102">102</a>: <a href = +"QuintBody2.html#chapII_sec16">2 §16</a>: cp. xii. 10, 16 (Attici) +pressi et integri ... (Asiani) inflati et inanes: Brut. §51 parum pressi +et nimis redundantes: ib. §202 cavenda presso illi oratori inopia et +ieiunitas: Tac. Dial. 18 inflatus et tumens nec satis pressus sed supra +modum exultans.—In Cic. de Or. ii. §56 Wilkins thinks that +<i>pressus</i> (verbis aptus et pressus—of Thucydides) means +‘precise,’ not ‘concise’: comparing de Fin. iv. 10, 24 mihi placet agi +subtilius et pressius: Tusc. iv. 7, 14 definiunt pressius: Cic. Hortens. +Fragm. 46 (Baiter) ‘pressum, subtile, M. Tullius in Hortensio, quis +te aut est aut fuit unquam in partiundis rebus, in definiendis, in +explicandis pressior?’ Cp. Quint, iv. 2, 117 pressus et velut adplicitus +rei cultus.—The word frequently occurs in Pliny: see Mayor on iii. +18, 10.</p> + +<p><b>tenuia</b>: <a href = "#chapI_sec64">§64</a>: <a href = +"QuintBody2.html#chapII_sec19">2 §19</a>. The Greek equivalents are +<span class = "greek" title = "ischnos, litos, aphelês">ἰσχνός, λιτός, +ἀφελής</span>. Cp Or. §20, where Sandys says “The primary meaning of +<i>tenuis</i> is ‘thin’; its metaphorical use as an epithet of style is +derived, not from the notion of slimness and slenderness of form (like +<span class = "greek" title = "ischnos">ἰσχνός</span> and +<i>gracilis</i>), but from thinness and fineness of texture (<a href = +"#chapI_sec124">§124</a> ‘tenuis causa,’ ‘tenue argumentandi filum’; +Quint. ix. 4, 17 illud in Lysia dicendi textum tenue atque rasum, +<i>al.</i> rarum). Cp. <i>subtilis</i> and <i>simplex</i>.” The word is +used in a depreciatory sense xii. 8, 1 neque enim quisquam tam ingenio +tenui reperietur qui, cum omnia quae sunt in causa diligenter cognoverit +ad docendum certe iudicem non sufficiat. In this sense Hor. Car. ii. 16, +38 is generally interpreted: spiritum Graiae tenuem Camenae.—For +<b>atque quae</b>, see Crit. Notes.</p> + +<p><b>demum</b>, <a href = +"QuintBody2.html#chapIII_sec13">3 §13</a>: <a href = +"QuintBody2.html#chapVI_sec5">6 §5</a>: = ‘only,’ for +<i>tantum</i>, <i>dumtaxat</i>, with no indication of time, though +Frieze says the use implies ‘that some conclusion has been reached as +the only thing that remains to be accepted after every alternative has +been considered.’ So i. pr. 3 plusquam imponebatur oneris sponte +suscepi, ... simul ne vulgarem viam ingressus alienis demum vestigiis +insisterem: ii. 15, 1 bonis demum (haec) tribui volunt. Suet. Aug. 24: +Traian. ad Plin. E. 10, 33.—It is, of course, frequent in Latin of +every period with pronouns, to give emphasis, like <i>adeo</i>: ei demum +oratori, Cic. de Or. ii. §131.</p> + +<p><b>usu cotidiano</b>: xii. 10, 40 Adhuc quidam nullam esse naturalem +putant eloquentiam nisi quae sit cotidiano sermoni simillima: viii. pr. +23 sunt optima minime arcessita et simplicibus atque ab ipsa veritate +profectis similia, §25 atqui satis aperte Cicero praeceperat ‘in dicendo +vitium vel maximum esse a vulgari genere orationis ... abhorrere’: xi. +1, 6 neque humile atque cotidianum sermonis genus ... epilogis dabimus. +Mayor cites Dion. Hal. ad Cn. Pomp. de Plat. p. 758 R: id. de +Lys. 3: de Isocr. 2 and 11.</p> + +<p><b>sana et vere Attica</b>. Those who take this view interpret the +term ‘Attic’ too narrowly: it comprehends the best examples of all three +<i>genera</i>. Quintilian protests against this misrepresentation in +xii. 10, 21 sq. quapropter mihi falli multum videntur qui solos esse +Atticos credunt tenues et lucidos et significantes, sed quadam +eloquentiae frugalitate contentos ac semper manum intra pallium +continentes: §25 quid est igitur cur in iis demum qui tenui venula per +calculos fluunt Atticum saporem putent, ibi demum thymum redolere +dicant? ib. §26 melius de hoc nomine sentiant credantque Attice dicere +esse optime dicere. The discussion of the true and the false Atticism +holds a place also in the Brutus of Cicero: see esp. §201 sq. and +§§283-292, the criticism of Calvus and his school: cp. ib. §51 illam +salubritatem Atticae dictionis et quasi sanitatem ... Asiatici oratores +... parum pressi et nimis redundantes. Rhodii saniores et Atticorum +similiores. Or. §90: de Opt. Gen. Or. §8 imitemur ... eos potius qui +incorrupta sanitate sunt, quod est proprium Atticorum: ib. §§11, 12. +Tac. Dial. 25 omnes (Calvus, Asinius, Caesar, Brutus, Cicero) eandem +sanitatem eloquentiae prae se ferunt: cp. 26 illam ipsam quam +<span class = "pagenum comm">46</span> +iactant sanitatem non firmitate sed ieiunio consequuntur: Quint. ii. 4, +9 macies pro sanitate: xii. 10, 15 hi sunt enim qui suae imbecillitati +sanitatis appellationem, quae est maxime contraria, obtendunt. So <span +class = "greek" title = "hugies">ὑγιές</span> in Greek: cp. bona +valetudo, Brut. §64.</p> + +<p><b>elatior ingenii vis</b>, as in the <i>grave genus</i>, or ‘grand +style’: Cic. Orat. §§97-99. Cp. nihil elatum vi. 2, 19: ib. §§20-24. For +the compar. cp. <i>tersior</i> <a href = "#chapI_sec94">§94</a>.</p> + +<p><b>et magis concitata</b>. Frequently in Quintilian a comparative is +followed by the positive with <i>magis</i>: cp. <a href = +"#chapI_sec74">§§74</a>, <a href = "#chapI_sec77">77</a>, <a href = +"#chapI_sec88">88</a>, <a href = "#chapI_sec94">94</a>, <a href = +"#chapI_sec120">120</a>. For <i>concitata</i> cp. <a href = +"#chapI_sec73">§§73</a>, <a href = "#chapI_sec90">90</a>, <a href = +"#chapI_sec114">114</a>, <a href = "#chapI_sec118">118</a>: <a href = +"QuintBody2.html#chapII_sec23">2 §23</a>: xii. 10, 26.</p> + +<p><b>plena spiritus</b>: see on <a href = "#chapI_sec27">§27</a>: cp. +<a href = "#chapI_sec16">§§16</a>, <a href = "#chapI_sec61">61</a>, <a +href = "#chapI_sec104">104</a>: <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a>.—In ix. 3, 1 +Quintilian observes that in his time <i>plenus</i> was generally used +with the abl., while in Cicero it usually has the gen. He himself has +both.</p> + +<p><b>lenis et nitidi et compositi generis</b>, i.e. the ‘middle’ style: +see above, and on <a href = "#chapI_sec121">§121</a> (with quotation +from Cic. Or. §21: cp. ib. §91 and §§95-96). Cp. xii. 10, 60: and 67 +illud lene aut ascendit ad fortiora aut ad tenuiora summittitur. The +constant antithesis of such words as <i>vehemens</i>, <i>acer</i>, +&c. makes it probable that <i>lenis</i> is the right reading here, +not <i>levis</i> (see <a href = "QuintCrit.html#critI_sec44">Crit. +Notes</a>): cp. esp. Cic. de Or. ii. §211, where lenis atque summissa +(oratio) is opposed to intenta ac vehemens (quae suscipitur ab oratore +ad concitandos animos atque omni ratione flectendos): de Or. i. §255 +sermonis lenitas ... vis et contentio: Brut. 317 alter remissus et lenis +... alter acer, verborum et actionis genere commotior: ‘lenis’ opposed +to ‘vehemens’ de Or. ii. §§58, 200, 211, 216 and similarly to asper §64: +ib. iii. 7, 28: Or. §127: Quint. iii. 8, 51: vi. 3, 87.</p> + +<p><b>nitidi</b>: see on <a href = "#chapI_sec9">§9</a>.</p> + +<p><b>compositi</b>: see on <a href = "#chapI_sec79">§79</a> +compositione. It means ‘harmonious,’ ‘rhythmical,’ referring to the +careful arrangement of words, <a href = "#chapI_sec52">§§52</a>, <a href += "#chapI_sec66">66</a>: <a href = +"QuintBody2.html#chapII_sec1">2 §1</a>. This is a special feature +of the ‘middle’ style: compositione aptus xii. 10, 60.—(Dosson +renders ‘tranquille,’ unimpassioned,—a common use of the word, but +perhaps not so appropriate here.)</p> + +<p><b>de genere dicendi</b>: see xii. 10, §§63-70, where he teaches that +every variety of style in oratory has its place and use.</p> + +<p><b>confirmare facultatem dicendi</b> = i.e. acquire the <i>firma +facilitas</i> of <a href = "#chapI_sec1">§1</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec45" id = "chapI_sec45"> </a> +<span class = "secnum">I:45</span> +Facile est autem studiosis, qui sint his simillimi, iudicare, ne +quisquam queratur omissos forte aliquos quos ipse valde probet; fateor +enim plures legendos esse quam qui a me nominabuntur. Sed nunc genera +ipsa lectionum, quae praecipue convenire intendentibus ut oratores fiant +existimem, persequar.</p> + +<span class = "pagenum">47</span> +<div class = "comm"> +<p><a name = "commI_sec45" id = "commI_sec45"><b>§ 45.</b></a> +<b>paucos enim</b> explains <i>summatim</i>, ‘for <i>only</i> a few.’ +See Mayor on Iuv. x. 2: and cp. <a href = "#chapI_sec3">§§3</a>, <a href += "#chapI_sec8">8</a>, <a href = "#chapI_sec27">27</a>, <a href = +"#chapI_sec31">31</a>, <a href = "#chapI_sec35">35</a>, <a href = +"#chapI_sec42">42</a>, <a href = "#chapI_sec67">67</a>, <a href = +"#chapI_sec87">87</a> for a similar limitation. See Crit. Notes.</p> + +<p><b>studiosis</b>, used absolutely (cp. studendum <a href = +"QuintBody2.html#chapIII_sec29">3 §29</a>), of students of +literature, or (most commonly) of students of rhetoric. So i. pr. 23: +ii. 10, 15: xii. 10, 62: and (with <i>iuvenis</i>) <a href = +"QuintBody2.html#chapIII_sec32">3 §32</a>: xii. 11, 31. Cp. Cic. de +Opt. Gen. Or. §13 (possibly with <i>dicendi</i>): Plin. Ep. iii. 5, 2 +(where see Mayor’s note): ib. iv. 13, 10: Tac. Dial. 21.</p> + +<p><b>ne quisquam queratur</b>: i.e. quod commemoro propterea, ne ... ‘I +say this, lest,’ &c.—For qui a me, see <a href = +"QuintCrit.html#critI_sec45">Crit. Notes</a>.</p> + +<p><b>genera ipsa</b>: here and in <a href = "#chapI_sec104">§104</a> +<i>genera</i> = classes or kinds, as represented by their characteristic +or typical writers.—“For <i>ipsum</i> in the sense of ‘merely’ cp. +de Or. ii. §§109, 219, 306: ib. iii. §222: pro Balb. §33: ad Quint. +Fratr. i. 3, 6: Val. Max. iii. 2, 7: Quint. ix. 2, 44: x. 1, +103.”—Reid, on Orator (Sandys), §181.</p> + +<p><b>lectionum</b>: ‘what is to be read.’ For the passive use cp. Sen. +Tranq. i. 12 ubi lectio fortior erexit animum et aculeos +<span class = "pagenum comm">47</span> +subdiderunt exempla nobilia. The plural occurs only here in Quintilian: +elsewhere the word is singular, with an abstract meaning: but cp. <a +href = "#chapI_sec19">§19</a>.—Note the accumulation of verbs at +the end of the sentence.</p> +</div> + +</div> <!-- text --> + +<div class = "argument"> +<h5>ANALYSIS OF THE ARGUMENT (46-84)</h5> + +<p class = "space"> +<a name = "arg_chapI_pt2" id = "arg_chapI_pt2"> +§§ 46-84. GREEK LITERATURE.</a></p> + +<p>§§ 46-72. <span class = "smallcaps">Greek Poetry.</span></p> + +<p><a href = "#chapI_sec46">§§46-61.</a> <i>Epic, didactic, pastoral, +elegiac, iambic, and lyric poetry proper.</i></p> + +<p>The praise of Homer, §§46-51: ‘it is much to understand, impossible +to rival, his greatness.’ Hesiod is rich in moral maxims, and a master +of the ‘middle style’: Antimachus, Panyasis, Apollonius, Aratus, +Theocritus, and others, §§52-57. A word in passing about the +elegiac poets, represented by Callimachus and Philetas, §58. Of +<i>iambographi</i> the typical writer is Archilochus, §§59-60. The chief +lyric poets are Pindar (§61), Stesichorus (§62), Alcaeus (§63), and +Simonides (§64).</p> + +<p><a href = "#chapI_sec65">§§65-72.</a> <i>Dramatic poetry.</i></p> + +<p>The Old Comedy (§§65-66) with its pure Attic diction and freedom of +political criticism is more akin to oratory and more fitted to form the +orator than any other class of poetry,—always excepting Homer.</p> + +<p>Tragedy (§§67-68) is represented by Aeschylus, Sophocles, and +Euripides: of the latter two Euripides is more useful for the orator. He +was imitated by Menander (§§69-72), the ‘mirror of life,’ who might +alone suffice to form the orator. Menander’s superiority to all other +comic dramatists.</p> + +<p><a href = "#commI_grk_hist">§§73-75.</a> <span class = +"smallcaps">Greek Historians.</span></p> + +<p>The pregnant brevity of Thucydides, the charm and transparency of +Herodotus. Theopompus: Philistus (‘the little Thucydides’): Ephorus, and +others.</p> + +<p><a href = "#commI_grk_orat">§§76-80.</a> <span class = +"smallcaps">Greek Orators.</span></p> + +<p>Demosthenes the standard of eloquence, in whom there is nothing +either too +<span class = "pagenum">3</span> +much or too little. Aeschines more diffuse: ‘more flesh, less muscle.’ +Hyperides is pleasing, but more at home in less important causes. Lysias +resembles a clear spring rather than a full river. Isocrates belongs to +the gymnasium rather than to the field of battle: in arrangement +punctilious to a fault. Demetrius of Phalerum the last Athenian worthy +of the name of orator.</p> + +<p><a href = "#commI_grk_phil">§§81-84.</a> <span class = +"smallcaps">Greek Philosophers.</span></p> + +<p>Both in respect of reasoning power and for beauty of style, Plato +holds the first place. Of Xenophon’s artless charm it might be said that +‘Persuasion herself perched upon his lips.’ Aristotle is famous alike +for knowledge, productiveness, grace of style, invention, and +versatility. Theophrastus owed even his name to the divine splendour of +his language. The Stoics were the champions of virtue, and showed their +strength in defending their tenets: the grand style they did not +affect.</p> +</div> + + +<div class = "text"> + +<p class = "maintext space"> +<a name = "chapI_sec46" id = "chapI_sec46"> </a> +<span class = "secnum">I:46</span> +Igitur, ut Aratus ab Iove incipiendum putat, ita nos rite coepturi ab +<span class = "smallcaps">Homero</span> videmur. Hic enim, quem ad modum ex Oceano dicit ipse +omnium <i>fluminum</i> fontiumque cursus initium capere, omnibus +eloquentiae partibus exemplum et ortum dedit. +<span class = "pagenum">48</span> +Hunc nemo in magnis rebus sublimitate, in parvis proprietate +superaverit. Idem laetus ac pressus, iucundus et gravis, tum copia tum +brevitate mirabilis, nec poetica modo, sed oratoria virtute +eminentissimus.</p> + +<div class = "comm space"> +<p><a name = "commI_sec46" id = "commI_sec46"><b>§ 46.</b></a> +<b>ab Iove incipiendum</b>. Phaenom. 1 <span class = "greek" title = "ek Dios archômestha">ἐκ Διὸς ἀρχώμεσθα</span>. Cic. de Rep. i. §36 imitemur +(al. mitabor ergo) Aratum qui magnis de rebus dicere exordiens a Iove +incipiendum putat ... rite ab eo dicendi principium capiamus. So Theocr. +xvii. 1 <span class = "greek" title = "Ek Dios archômestha kai es Dia lêgete Moisai">Ἐκ Διὸς ἀρχώμεσθα καὶ ες Δία λήγετε +Μοῖσαι</span>—imitated by Vergil, Ecl. iii. 60 Ab Iove principium +musae: cp. Hor. Od. i. 12, 13 quid prius dicam solitis parentis +laudibus?—For <b>Aratus</b> see on §55</p> + +<p><b>rite</b>. Cp. <a href = "#chapI_sec85">§85</a> ut apud illos +(Graecos) Homerus sic apud nos Vergilius auspicatissimum dederit +exordium. “Such a commencement will be a sort of consecration of the +whole course; it is the solemn and auspicious order of +proceeding.”—Mayor.</p> + +<p><b>coepturi ... videmur</b>: sc. nobis: cp. <a href = +"#chapI_sec56">§56</a>: Cic. de Off. i. §§1, 2: ii. §5.—For the +participle instead of the fut. inf. cp. v. pr. §5 eius praecepta sic +optime divisuri videmur: ib. 7 §13: i. 2, 2: ii. 5, 3: vi. pr. §1 +hanc optimam partem relicturus hereditatis videbar: ib. 4, 1: vii. +2, 42. Becher (Quaest. Gramm. p. 16) explains the usage by +assuming an ellipse, so that ‘rite coepturi ab Homero videmur’ = ‘nos ab +Homero coepturi rite coepisse videmur’; but this is unnecessary, and the +collocation of <i>coepturi</i> and <i>coepisse</i> in fact +impossible.</p> + +<p><b>ab Homero</b>. So in the schools i. 8, §5 ideoque optime +institutum est ut ab Homero atque Vergilio lectio inciperet: cp. Plin. +Ep. ii. 14, §2.</p> + +<p><b>ex Oceano</b>. Il. xxi. 195-197 <span class = "greek" title = +"Ôkeanoio ex houper pantes potamoi kai pasa thalassa Kai pasai krênai kai phreiata makra naousin.">Ὠκεανοῖο ἐξ οὗπερ πάντες ποταμοὶ καὶ πᾶσα +θάλασσα καὶ πᾶσαι κρῆναι καὶ φρείατα μακρὰ νάουσιν.</span>—Dion. +Hal. uses the same image de Comp. Verb. 24 <span class = "greek" title = +"Koruphê men oun hapantôn kai skopos, ex houper pantes potamoi kai pasa thalassa kai pasai krênai dikaiôs an Homêros legoito.">Κορυφὴ μὲν οὖν +ἁπάντων καὶ σκοπός, ἐξ οὗπερ πάντες ποταμοὶ καὶ πᾶσα θάλασσα καὶ πᾶσαι +κρῆναι δικαίως ἂν Ὅμηρος λέγοιτο.</span> Cp. Ovid, Amor. iii. 9, 25 +Aspice Maeoniden, a quo, ceu fonte perenni, Vatum Pieriis ora rigantur +aquis.</p> + +<p><b>omnium fluminum fontiumque</b>. For the reading see <a href = +"QuintCrit.html#critI_sec46">Crit. Notes</a>: cp. <a href = +"#chapI_sec78">§78</a>.</p> + +<p><b>omnibus eloquentiae partibus</b>. Eustathius pr. ad Odys. +p. 1379 <span class = "greek" title = "ton pasês tês en logois technês kathêgêtên, ex hou hoia tinos ôkeanou pantes potamoi kai pasai logikôn methodôn pêgai">τὸν πάσης τῆς ἐν λόγοις τέχνης καθηγητήν, ἐξ οὗ +οἷα τινὸς ὠκεανοῦ πάντες ποταμοῖ καὶ πᾶσαι λογικῶν μεθόδων πηγαί</span>: +Manilius, Astr. ii. 8 Cuiusque ex ore profusos Omnis posteritas latices +in carmina duxit Amnemque in tenues ausa est diducere rivos Unius +fecunda bonis. Cp. the references to Homer in the various departments of +literature dealt with by Quintilian: <a href = "#chapI_sec62">§§62</a>, +<a href = "#chapI_sec65">65</a>, <a href = "#chapI_sec81">81</a>, <a +href = "#chapI_sec85">85</a>, <a href = "#chapI_sec86">86</a>. So xii. +11, 21 in quo (sc. Homero) nullius non artis aut opera perfecta aut +certe non dubia vestigia reperiuntur. Cic. Brut. §40 ornatus in dicendo +et plane orator. Homer’s influence on all later culture is a +common-place in ancient writers. Specially in regard to oratory, the +speeches of his three heroes were taken as types of three styles of +rhetoric: xii. 10, 64: ii. 17, 8. The eulogy here pronounced on him +is systematically arranged with reference to the essential elements of +practical oratory. After alluding to (1) the three kinds of oratory +(see notes on <a href = "#chapI_sec44">§44</a>) in the terms +<i>sublimitas</i>, <i>proprietas</i>, <i>pressus</i>, <i>laetus</i> (<a +href = "#chapI_sec46">§46</a>), he passes (2) to the two classes of +practical speeches, judicial and deliberative (<i>litium ac +consiliorum</i>) (<a href = "#chapI_sec47">§47</a>): and then refers to +(3) the mastery of the emotions (<i>adfectus</i>) (<a href = +"#chapI_sec48">§48</a>): (4) the constituent parts of a regular +forensic speech—(<i>prooemium</i>, <i>genera probandi ac +refutandi</i>, <i>epilogus</i>) (<a href = "#chapI_sec48">§§48</a>, <a +href = "#chapI_sec49">49</a>, <a href = "#chapI_sec50">50</a>): +(5) well-chosen terms, well-put thoughts, lively figures, and +everywhere clear arrangement (<i>dispositio</i>) (<a href = +"#chapI_sec50">§50</a>). “In this notice of Homer and in that of Cicero +(<a href = "#chapI_sec105">§105</a> sqq.) and of Seneca (<a href = +"#chapI_sec125">§125</a> sqq.) Quintilian introduces more of detail than +in his brief remarks on the rest of the authors in his sketch. In +general his plan, as indicated above in <a href = +"#chapI_sec44">§§44</a>, <a href = "#chapI_sec45">45</a>, is to mention +the typical writers of different departments of literature best adapted +to the purposes of the orator or forensic advocate, and in a few words +to point out their characteristics with particular reference to their +fitness as exemplars of oratorical style, or <span class = "greek" title += "phrasis">φράσις</span>. As this is his sole aim, so distinctly +stated, the strictures of some critics on the brevity and meagreness of +these notices show that they have failed to comprehend the purpose of +the author.”—Frieze.</p> + +<span class = "pagenum comm">48</span> +<p><b>sublimitate</b>: <a href = "#chapI_sec27">§27</a>: viii. 6, +§11.</p> + +<p><b>proprietate</b>. Here this word furnishes a sort of antithesis to +<i>sublimitas</i>, and means ‘suitability,’ ‘simplicity,’ ‘naturalness’: +cp. the definition given at viii. 2, 1 sua cuiusque rei appellatio. In +the same sense <a href = "#chapI_sec64">§64</a> sermone proprio, of an +easy and unaffected style. A different use of <i>proprius</i> will +be found at <a href = "#chapI_sec6">§6</a> (where see note): <a href = +"#chapI_sec29">§29</a>: <a href = +"QuintBody2.html#chapV_sec8">5 §8</a>.</p> + +<p><b>superaverit</b>. For this subj. of modified assertion cp. on +<i>fuerit</i> <a href = "#chapI_sec37">§37</a>.</p> + +<p><b>laetus</b>, ‘flowery,’ i.e. rich, ornate, exuberant. Cp. <a href = +"QuintBody2.html#chapII_sec16">2 §16</a>: xii. 10, 80: xi. +1, 49. This use is akin to that by which the word is employed as a +metaphor to denote richness of vegetation: Verg. Georg. i. 1 and 74 (cp. +note on <a href = "QuintBody2.html#chapV_sec14">5 §14</a>): and +also of the sleek condition of well-fed cattle: Aen. iii. 220. Cp. Cic. +de Orat. iii. §155.—There is no need for Francius’s conj. +<i>latus</i> or Kraffert’s <i>latior</i> (cp. xii. 10, 23), or +Gustaffson’s <i>elatus</i> (<a href = +"QuintBody2.html#chapIV_sec1">4 §1</a>).</p> + +<p><b>pressus</b>, pruned, trimmed down,<ins class = "correction" title += "open quote invisible"> ‘</ins>chaste,’ ‘concise’: see on <a href = +"#chapI_sec44">§44</a>.</p> + +<p><b>iucundus et gravis</b>, ‘sprightly and serious.’ So <a href = +"#chapI_sec119">§119</a> iucundus et delectationi natus: and iucunditas +<a href = "#chapI_sec64">§§64</a>, <a href = "#chapI_sec82">82</a>: <a +href = "QuintBody2.html#chapII_sec23">2 §23</a>. Mayor cites Plin. +Ep. iv. 3, 2 nam severitatem istam pari iucunditate condire summaeque +gravitati tantum comitatis adiungere non minus difficile quam magnum +est: ib. v. 17, 2 (of Calpurnius Piso) excelsa depressis, exilia plenis, +severis iucunda mutabat.</p> + +<p><b>tum ... tum</b>: a usage (frequent in Cicero) which Quintilian +sought to revive. Wölfflin, Archiv f. Lexikogr. ii. p. 241.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec47" id = "chapI_sec47"> </a> +<span class = "secnum">I:47</span> +Nam ut de laudibus, exhortationibus, +<span class = "pagenum">49</span> +consolationibus taceam, nonne vel nonus liber, quo missa ad Achillen +legatio continetur, vel in primo inter duces illa contentio vel dictae +in secundo sententiae omnes litium ac consiliorum explicant artes?</p> + +<div class = "comm"> +<p><a name = "commI_sec47" id = "commI_sec47"><b>§ 47.</b></a> +<b>Nam ut, &c.</b> This sentence contains the proof of Homer’s +<i>oratoria virtus</i>: he furnishes models of the three recognised +styles of rhetoric, (1) genus demonstrativum (<span class = "greek" +title = "epideiktikon">ἐπιδεικτικόν</span>) or <i>laudativum</i>: +(2) genus deliberativum sive suasorium (<span class = "greek" title += "sumbouleutikon">συμβουλευτικόν</span>): and (3) genus iudiciale +(<span class = "greek" title = "dikanikon">δικανικόν</span>). Cp. +iii. 4. Cope Arist. Rhet. introd. 118-123, and the notes on +13 §1: Cic. de Inv. i. §§7, 8, 12: ii. §§12, 13: Orat. Part. +§§10-14, 69-138: de Orat. i. §141 and Wilkins’ introd. p. 56.</p> + +<p>In the words <b>ut ... taceam</b>, Quintilian passes lightly over the +main features of the <span class = "greek" title = "genos epideiktikon">γένος ἐπιδεικτικόν</span> (set speeches aiming at +display—<span class = "greek" title = +"epideixis">ἐπίδειξις</span>, ‘ostentatio declamatoria’ iv. 3, 2), +in order to dwell more specially on the appropriateness of the study of +Homer with reference to forensic and legislative debates (litium ac +consiliorum). In doing so, he no doubt wishes to indicate the relative +importance of the three kinds for the practical training of the orator, +just as Cicero (Or. §§37-42) restricts his portraiture of the perfect +orator to the <i>practical</i> oratory of public life, i.e. the +deliberative and forensic branches, to the exclusion of the <span class += "greek" title = "genos epideiktikon">γένος ἐπιδεικτικόν</span>.</p> + +<p><b>laudibus</b>. These belong distinctly to the epideictic branch, +for which see iii. 4, 12: Tac. Dial. 31 in laudationibus de honestate +disserimus. So <span class = "greek" title = "epainoi">ἔπαινοι</span> +and <span class = "greek" title = "enkômia">ἐγκώμια</span>: see +Volkmann, Rhet. §33. As examples of <i>laudationes</i> may be cited +Cicero’s Eulogy on Cato (Or. §35) and his sister Porcia (ad Att. xiii. +37, 3): and in Greek the Evagoras and Helenae Encomium of +Isocrates.</p> + +<p><b>exhortationibus</b> might in itself (like <i>consolationibus</i>: +cp. xi. 3, 153) be used of the <i>genus deliberativum</i>, which +included the <i>suasoriae</i> (Tac. Dial. 35)—‘consilium dedimus +Sullae privatus ut altum dormiret<ins class = "correction" title = +"close quote missing">’,</ins> Iuv. i. 16; and in order to find a +reference in each of the three items enumerated to the three kinds of +rhetoric, Kraffert proposed to read <i>consultationibus</i> for +<i>consolationibus</i> (cp. controversiae Tac. Dial. 35), so that +<i>laudibus</i> should = laudativum genus, <i>exhortationibus</i> = +deliberativum, and <i>consultationibus</i> = iudiciale. But this is a +misunderstanding of Quintilian’s meaning. <i>Exhortatio</i> and +<i>consolatio</i> may easily enter into a <span class = "greek" title = +"logos epideiktikos">λόγος ἐπιδεικτικός</span>, a speech written for +display and not for delivery in public, just as <i>suasio</i> does in +the passage of the <i>Orator</i> referred to above: laudationum et +historiarum et ... suasionum ... reliquarumque scriptionum formam, quae +absunt a forensi contentione, eiusque totius generis, quod Graece <span +class = "greek" title = "epideiktikon">ἐπιδεικτικόν</span> nominatur ... +non complectar hoc tempore (§37). Cp. Quint. iii. 4, 14 an quisquam +negaverit Panegyricos <span class = "greek" title = +"epideiktikous">ἐπιδεικτικούς</span> esse? atqui formam suadendi habent, +&c.</p> + +<span class = "pagenum comm">49</span> +<p><b>legatio</b> of Odysseus, Aias, and Phoenix: <b>contentio</b> +between Achilles and Agamemnon: <b>dictae ... sententiae</b>: the +council of war (Agamemnon, Ulysses, Nestor, Thersites) Il. ii. +40-394.—The selection from a poet of such passages as seemed to +bear most closely on the training of a student of rhetoric was a +familiar process in ancient schools.</p> + +<p><b>litium ac consiliorum</b>. These words contain a distinct +reference to the <i>genus iudiciale</i> and the <i>genus +deliberativum</i>, respectively,—to the exclusion of the <i>genus +demonstrativum</i>, i.e. the ‘epideictic’ or non-practical kind of +speeches. Cp. Cic. de Orat. i. §22 Graecos ... video ... seposuisse a +ceteris dictionibus eam partem dicendi quae in forensibus +disceptationibus iudiciorum aut deliberationum versaretur: cp. suasoriae +et controversiae Tac. Dial. 35. The prominence given to <i>litium ac +consiliorum</i> shows that Professor Mayor is wrong in seeing in +<i>exhortationibus</i> and <i>consolationibus</i> above a specific +reference to the ‘genus deliberativum’: that would involve a duplicate +enumeration.</p> + +<p><b>artes</b>: the ‘rules of art,’ or technical precepts of the +rhetoricians. See on <a href = "#chapI_sec15">§15</a> exempla potentiora +... ipsis quae traduntur artibus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec48" id = "chapI_sec48"> </a> +<span class = "secnum">I:48</span> +Adfectus quidem vel illos mites vel hos concitatos nemo erit tam +indoctus qui non in sua potestate hunc auctorem habuisse fateatur. Age +vero, non utriusque operis sui ingressu in paucissimis versibus legem +prooemiorum non dico servavit, sed constituit? Nam benevolum auditorem +invocatione dearum +<span class = "pagenum">50</span> +quas praesidere vatibus creditum est, et intentum proposita rerum +magnitudine, et docilem summa celeriter comprehensa facit.</p> + +<div class = "comm"> +<p><a name = "commI_sec48" id = "commI_sec48"><b>§ 48.</b></a> +<b>Adfectus quidem</b>, &c. In the passage which Quintilian may have +had in view. Dionysius, after showing, as Quintilian has done, that +Homer is admirable in every respect, and not in one only, goes on to say +that he is a master in particular of the <span class = "greek" title = +"êthê">ἤθη</span> and <span class = "greek" title = "pathê">πάθη</span>, +of <span class = "greek" title = "megethos">μέγεθος</span> (rerum +magnitudine <a href = "#chapI_sec48">§48</a>) and of <span class = +"greek" title = "oikonomia">οἰκονομία</span> (in dispositione totius +operis <a href = "#chapI_sec50">§50</a>): <span class = "greek" title = +"tês men oun Homêrikês poiêseôs ou mian tina tou sômatos moiran, all’ ektupôsai to sumpan, kai labe zêlon êthôn te tôn ekei kai pathôn kai megethous, kai tês oikonomias kai tôn allôn aretôn hapasôn eis alêthê tên para soi mimêsin êllagmenôn: peri mimêseôs">τῆς μὲν οὖν Ὁμηρικῆς +ποιήσεως οὐ μίαν τινὰ τοῦ σώματος μοῖραν, ἀλλ᾽ ἐκτύπωσαι τὸ σύμπαν, καὶ +λάβε ζῆλον ἠθῶν τε τῶν ἐκεῖ καὶ παθῶν καὶ μεγέθους, καὶ τῆς οἰκονομίας +καὶ τῶν ἄλλων ἀρετῶν ἁπασῶν εἰς ἀληθῆ τὴν παρὰ σοὶ μίμησιν ἠλλαγμένων: +περὶ μιμήσεως</span> 2 (Usener, p. 19). See what Quintilian says of +<i>adfectus</i> in vi. 2 §§8-10: esp. adfectus igitur concitatos +<span class = "greek" title = "pathos">πάθος</span>, mites atque +compositos <span class = "greek" title = "êthos">ἦθος</span> esse +dixerunt: and cp. <a href = "#chapI_sec73">§§73</a> and <a href = +"#chapI_sec101">101</a> below. <i>Illos ... hos</i> indicates what was a +well-known antithesis. The former (<span class = "greek" title = +"êthê">ἤθη</span>) were habitual and characteristic conditions of +individual minds: the latter (<span class = "greek" title = +"pathê">πάθη</span>) for the most part occasional (temporale vi. +2, 10), and more moving (perturbatio ib.).</p> + +<p><b>tam ... qui</b>: see on <a href = "#chapI_sec41">§41</a>.</p> + +<p><b>auctorem</b>: ‘master,’ ‘teacher.’ Cp, on <a href = +"#chapI_sec24">§24</a>.</p> + +<p><b>Age vero</b>: ‘and further,’ a formula of transition generally +leading to something more important. Here it introduces the five +constituent parts of an oration, exordium (<span class = "greek" title = +"prooimion">προοίμιον</span>), narratio, probatio, refutatio (<span +class = "greek" title = "diêgêsis, pistis">διήγησις, πίστις</span> or +<span class = "greek" title = "apodeixis">ἀπόδειξις</span> or <span +class = "greek" title = "kataskeuê, lusis">κατασκευή, λύσις</span> or +<span class = "greek" title = "anaskeuê">ἀνασκευή</span> <a href = +"#chapI_sec49">§49</a>), peroratio (<span class = "greek" title = +"epilogos">ἐπίλογος</span>). Cp. Cic. Or. §122 and de Orat. ii. §80 with +Sandys’ and Wilkins’ notes: de Inv. i. §19: Cornif. ad Herenn. i. +§4.</p> + +<p><b>ingressu</b>: see <a href = "QuintCrit.html#critI_sec48">Crit. +Notes</a>.</p> + +<p><b>non dico ... sed</b>. So <a href = +"QuintBody2.html#chapVII_sec2">7 §2</a>: cp. i. 10, 35.</p> + +<p><b>legem prooemiorum ... constituit</b>: iv. 1, 34 docilem sine dubio +et haec ipsa praestat attentio, sed et illud, si breviter et dilucide +summam rei, de qua cognoscere debeat, iudicaverimus: quod Homerus atque +Vergilius operum suorum principiis faciunt: ib. §42 ut sit in principiis +recta benevolentiae et attentionis postulatio: Hor. Ars Poet. 140.</p> + +<p><b>benevolum ... intentum ... docilem</b>. The orator’s first task is +to gain the good-will of his hearers, and to secure their attention. Cp. +iv. i, 5 causa principii (i.e. prooemii, exordii) nulla alia est quam ut +auditorem, quo sit nobis in ceteris partibus accommodatior, praeparemus. +Id fieri tribus maxime rebus inter auctores plurimos constat, si +benevolum attentum docilem fecerimus: iii. 5, 2: xi. 1, 6. Cic. de +Orat. ii. §115 and +<span class = "pagenum comm">50</span> +322-3: Brut. §185. Mayor cites Dion. Hal. de Lysia 17 <span class = +"greek" title = "oute gar eunoian kinêsai boulomenos, oute prosochên, oute eumatheian, atuchêseie pote tou skopou">οὔτε γὰρ εὔνοιαν κινῆσαι +βουλόμενος, οὔτε προσοχήν, οὔτε εὐμάθειαν, ἀτυχήσειέ ποτε τοῦ +σκοποῦ</span>.</p> + +<p><b>invocatione dearum</b>. <span class = "greek" title = "Mênin aeide, thea">Μῆνιν ἄειδε, θεά</span>, and <span class = "greek" title = +"Andra moi ennepe, Mousa">Ἄνδρα μοι ἔννεπε, Μοῦσα</span>.</p> + +<p><b>vatibus</b>: ‘bards,’ instinctis divino spiritu vatibus xii. 10, +24: Verg. Eclog. ix. 32 me fecere poetam Pierides ... me quoque dicunt +vatem pastores. Tac. Dial. 9 Saleium nostrum, egregium poetam, vel si +hoc honorificentius est, praeclarissimum vatem. <i>Poeta</i>, which is +sometimes used slightingly of verse-makers (Cic. in Pis. 29 ut +assentatorem, ut poetam: Tusc. i. 2 quod in provinciam poetas duxisset), +had not the same solemn associations as <i>vates</i>.</p> + +<p><b>creditum est</b>: as at <a href = +"QuintBody2.html#chapIV_sec1">4 §1</a>: cp. ii. 15, 7. The +perfect is continuous = <span class = "greek" title = +"nenomistai">νενόμισται</span>. The personal construction occurs at <a +href = "#chapI_sec125">§125</a>. For the impersonal cp. Tac. Ann. ii. +69. ‘Tacitus appears to prefer the personal construction when a single +personal subject is spoken of, and the impersonal in other cases, but +even this rule is by no means without exceptions’ Furneaux, Introd. to +Annals, p. 45.</p> + +<p><b>intentum ... magnitudine</b>. Cic. de Inv. i. §23 attentos autem +faciemus si demonstrabimus ea quae dicturi erimus magna nova +incredibilia esse.</p> + +<p><b>docilem</b>: ‘receptive’; iv. 1, 34 (cited above on <i>legem +prooemiorum</i>), ad Herenn. i. §7 dociles auditores habere poterimus, +si summam causae breviter exponemus.</p> + +<p><b>comprehensa</b>: cp. xi. 1, 51: ix. 3, 91 comprehensa breviter +sententia. So Lucr. vi. 1083 sed breviter paucis praestat comprendere +multa: Cic. de Orat. i. §34. So that <i>celeriter</i> here almost = +breviter.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec49" id = "chapI_sec49"> </a> +<span class = "secnum">I:49</span> +Narrare vero quis brevius quam qui mortem nuntiat Patrocli, quis +significantius potest quam qui Curetum Aetolorumque proelium exponit? +Iam similitudines, amplificationes, exempla, digressus, signa rerum et +argumenta ceteraque <i>genera</i> probandi +<span class = "pagenum">51</span> +ac refutandi sunt ita multa ut etiam qui de artibus scripserunt plurima +earum rerum testimonia ab hoc poeta petant.</p> + +<div class = "comm"> +<p><a name = "commI_sec49" id = "commI_sec49"><b>§ 49.</b></a> +<b>narrare</b>: iv. 2, 31 eam (narrationem) plerique scriptores ... +volunt esse lucidam, brevem, veri similem: Cic. de Inv. i. §28 brevis, +aperta, probabilis.</p> + +<p><b>qui ... nuntiat</b>: Antilochus, Il. xviii. 18. His <span class = +"greek" title = "keitai Patroklos">κεῖται Πάτροκλος</span> seems to have +become proverbial: Pliny Ep. iv. 11, 12.</p> + +<p><b>significantius</b>: ‘more graphically,’ or ‘with more force of +expression.’ Cp. significantia <a href = "#chapI_sec121">§121</a>.</p> + +<p><b>qui ... exponit</b>, Phoenix, in Il. ix. 529 sqq.</p> + +<p><b>iam</b>, transitional particle, as often in Cicero: <a href = +"#chapI_sec98">§§98</a>, <a href = "#chapI_sec111">111</a>.</p> + +<p><b>similitudines</b>. v. 11, 1 tertium genus ex iis quae extrinsecus +adducuntur in causam Graeci vocant <span class = "greek" title = +"paradeigma">παράδειγμα</span>, quo nomine et generaliter usi sunt in +omni similium adpositione et specialiter in iis quae rerum gestarum +auctoritate nituntur. Nostri fere <i>similitudinem</i> vocare maluerunt +quod ab illis <span class = "greek" title = "parabolê">παραβολή</span> +dicitur, hoc alterum <i>exemplum</i>: viii. 3, 72 praeclare ad +inferendam rebus lucem repertae sunt similitudines (i.e. the use of +simile).</p> + +<p><b>amplificationes</b> = <span class = "greek" title = +"auxêseis">αὐξήσεις</span> (Cic. Or. §125). The various rhetorical means +of expanding and developing an idea in expression are discussed in viii. +4, 3 under the heads of <i>incrementum</i>, <i>comparatio</i>, +<i>ratiocinatio</i>, and <i>congeries</i>. Ad Herenn. ii. 47 +amplificatio est res quae per locum communem instigationis auditorum +causa sumitur.</p> + +<p><b>exempla</b>: v. 11, 6 potentissimum autem est inter ea quae sunt +huius generis exemplum, id est rei gestae aut ut gestae utilis ad +persuadendum id quod intenderis commemoratio: ib. 2 §1: Cic. de +Inv. i. §49. The stock illustration is that given in Aristotle’s +Rhetoric: “if a man has asked for a bodyguard, and the speaker wishes to +show that the aim is a tyranny, he may quote the ‘instances’ (<span +class = "greek" title = "paradeigmata">παραδείγματα</span>) of Dionysius +and Pisistratus.”</p> + +<p><b>digressus</b>, ‘episodes’: cp. on <a href = +"#chapI_sec33">§33</a>.</p> + +<p><b>signa rerum et argumenta</b>: the ‘evidence of material facts’ and +‘inferences.’ In the former we have sensible proof of things (e.g. +cruenta vestis, clamor, livor, &c. v. 9, 1); in the latter +logical deductions from circumstantial facts: v. 10, 11 cum sit +argumentum ratio probationem praestans, qua colligitur aliquid per +aliud, et quae quod est dubium per id quod dubium non est confirmat. To +distinguish <i>signa</i> from <i>argumenta</i> Quintilian says v. 9, 1 +nec inveniuntur ab oratore +<span class = "pagenum comm">51</span> +sed ad eam cum ipsa cansa deferuntur: and again, signa sive indubitata +sunt, non sunt argumenta, quia, ubi illa sunt, quaestio non est, +argumento autem nisi in re controversa locus esse non potest: sive dubia +non sunt argumenta, sed ipsa argumentis egent: Cic. de Inv. §48. For +<i>argumenta</i> see v. 10, 1 hoc ... nomine complectimur omnia quae +Graeci <span class = "greek" title = "enthumêmata, epicheirêmata, apodeixeis">ἐνθυμήματα, ἐπιχειρήματα, ἀποδείξεις</span> vocant: ib. +§§10-12.</p> + +<p><b>ceteraque genera</b>: see <a href = +"QuintCrit.html#critI_sec49">Crit. Notes</a>.</p> + +<p><b>probandi</b>. After <i>narratio</i> comes <i>probatio</i> or (as +more commonly in Cicero, e.g. de Inv. i. §34) <i>confirmatio</i> (see on +<a href = "QuintBody2.html#chapV_sec12">5 §12</a>). So ii. 17, 6 +narrent, probent, refutent. Cp. iv. 2, 79 aut quid inter probationem et +narrationem interest, nisi quod narratio est probationis continua +propositio, rursus probatio narrationi congruens confirmatio? For the +<i>probationes artificiales</i> (<span class = "greek" title = +"entechnoi pisteis">ἔντεχνοι πίστεις</span>) see v. chs. 8-12: for the +<i>probationes inartificiales</i> <span class = "greek" title = +"atechnoi pisteis">ἄτεχνοι πίστεις</span> ib. chs. 1-7.</p> + +<p><b>refutandi</b>. For Quintilian’s definition see v. 13, 1 sq., and +cp. note on <i>destructio</i> <a href = +"QuintBody2.html#chapV_sec12">5 §12</a>. Cicero often uses +<i>refellere</i>: de Orat. ii. §163 aut ad probandum aut ad refellendum. +For <i>refutare</i> cp. ib. §80 nostra confirmare argumentis ac +rationibus, deinde contraria refutare: §§203, 307, 312.—In de +Prov. Cons. §32 and de Har. Resp. §7 (conatum refutabo) the word is used +in the sense of <i>repellere</i>.</p> + +<p><b>artibus</b>, the ‘principles of rhetoric’: <a href = +"#chapI_sec15">§§15</a> and 47.</p> + +<p><b>testimonia</b>, ‘illustrations,’ confirmatory examples. Cp. i. +8, 12. ‘Homerus’ in the index to most Greek and Latin authors will +supply evidence of the truth of Quintilian’s statement. Cic. ad Att. i. +16, 1 respondebo tibi <ins class = "correction" title = "husteron proteron Omêrikôs (error for Ὁμηρικῶς [Homêrikôs])">ὕστερον πρότερον +Ὀμηρικῶς</ins>: Plin. Ep. iii. 9, 28 praepostere ... facit hoc Homerus +multique illius exemplo.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec50" id = "chapI_sec50"> </a> +<span class = "secnum">I:50</span> +Nam epilogus quidem quis umquam poterit illis Priami rogantis Achillen +precibus aequari? Quid? In verbis, sententiis, figuris, dispositione +totius operis nonne humani ingenii modum excedit? ut magni sit virtutes +eius non aemulatione, quod fieri non +<span class = "pagenum">52</span> +potest, sed intellectu sequi.</p> + +<div class = "comm"> +<p><a name = "commI_sec50" id = "commI_sec50"><b>§ 50.</b></a> +<b>nam</b>. See on <a href = "#chapI_sec12">§12</a>: cp. <a href = +"#chapI_sec9">§§9</a>, <a href = "#chapI_sec50">50</a>.</p> + +<p><b>epilogus</b> = peroratio: see note on <a href = +"#chapI_sec107">§107</a>. The advocate will find many pathetic and +moving passages in Homer such as will be serviceable for his closing +appeal, which is generally addressed to the feelings and hearts of his +hearers; vii. 4, 19 epilogi omnes in eadem fere materia versari solent: +vi. 1, 1 eius (perorationis) duplex ratio est, posita aut in rebus aut +in adfectibus. Cicero uses <i>conclusio</i> as a synonym, de Inv. i. +§98, where he says it has three parts, <i>enumeratio</i>, +<i>indignatio</i>, and <i>conquestio</i>, defining the last (§106) as +oratio auditorum misericordiam captans. in hac primum animum auditoris +mitem et misericordem conficere oportet.—For Priam’s entreaty see +Il. xxiv. 486 sqq.</p> + +<p><b>Quid? ... nonne</b>: cp. Cic. de Nat. Deor. i. §119. So with +<i>non</i> <a href = "#chapI_sec56">§56</a> below, and <a href = +"QuintBody2.html#chapII_sec25">2 §25</a>.</p> + +<p><b>verbis, sententiis, figuris</b>: xii. 9, 6 verborum quidem +dilectus, gravitas sententiarum, figurarum elegantia. For <i>figurae</i> +see on <a href = "#chapI_sec12">§12</a>. <i>Sententiis</i> = <span class += "greek" title = "gnômais">γνώμαις</span> <a href = +"#chapI_sec52">§§52</a>, <a href = "#chapI_sec60">60</a>, <a href = +"#chapI_sec68">68</a>, <a href = "#chapI_sec90">90</a>, <a href = +"#chapI_sec102">102</a>, <a href = "#chapI_sec129">129</a>, <a href = +"#chapI_sec130">130</a>: <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>: <a href = +"QuintBody2.html#chapV_sec4">5 §4</a>. See viii. 5, 1 sq. +consuetudo iam tenuit ut mente concepta sensus vocaremus, lumina autem +praecipueque in clausulis posita sententias ... antiquissimae sunt quae +proprie, quamvis omnibus idem nomen sit, sententiae vocantur, quas +Graeci <span class = "greek" title = "gnômas">γνώμας</span> appellant: +utrumque autem nomen ex eo acceperunt quod similes sunt consiliis aut +decretis. est autem haec vox universalis, quae etiam citra complexum +causae possit esse laudabilis, &c.</p> + +<p><b>dispositione</b> = <span class = "greek" title = +"oikonomia">οἰκονομίᾳ</span>: see on <i>adfectus</i> <a href = +"#chapI_sec48">§48</a>. Cp. <a href = +"QuintBody2.html#chapV_sec14">5 §14</a>.</p> + +<p><b>humani ingenii modum</b>: <a href = "#chapI_sec86">§86</a> ut illi +naturae caelesti atque <b>immortali cesserimus</b>.</p> + +<p><b>ut magni sit</b>. There has been some controversy over this. The +text is best explained by supplying <i>ingenii</i> out of what +immediately precedes. Others supply <i>viri</i>, which is actually given +in some of the later MSS.: while others again take <i>magni</i> as a +gen. of price ‘of great value,’ or ‘worth much.’ Wrobel thinks it can +stand alone, as <i>res magni est</i>: i.e. it ‘takes a good deal’ even +to appreciate Homer’s excellences. Kiderlin supposes that +<i>spiritus</i> has fallen out, and compares i. 9, 6. See <a href = +"QuintCrit.html#critI_sec50">Crit. Notes</a>.</p> + +<span class = "pagenum comm">52</span> +<p><b>intellectu sequi</b>: ii. 5, 21 neque vim eorum adhuc intellectu +consequentur.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec51" id = "chapI_sec51"> </a> +<span class = "secnum">I:51</span> +Verum hic omnes sine dubio et in omni genere eloquentiae procul a se +reliquit, epicos tamen praecipue, videlicet quia clarissima in materia +simili comparatio est.</p> + +<div class = "comm"> +<p><a name = "commI_sec51" id = "commI_sec51"><b>§ 51.</b></a> +<b>sine dubio</b>: see Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>clarissima comparatio</b>: ‘the contrast is most striking.’</p> +</div> + +<div class = "null"> +<p class = "maintext"> +<a name = "chapI_sec52" id = "chapI_sec52"> </a> +<span class = "secnum">I:52</span> +Raro adsurgit <span class = "smallcaps">Hesiodus</span> magnaque pars eius in nominibus est +occupata, tamen utiles circa praecepta sententiae levitasque verborum et +compositionis probabilis, daturque ei palma in illo medio genere +dicendi.</p> + +<div class = "comm"> +<p><a name = "commI_sec52" id = "commI_sec52"><b>§ 52.</b></a> +<b>adsurgit</b>: cp. insurgit <a href = "#chapI_sec96">§96</a>: <a href += "QuintBody2.html#chapII_sec23">2 §23</a>: i. 8, 5 sublimitate +heroi carminis animus adsurgat.—If Hesiod ‘seldom soars’ it is +because in him epic poetry has descended to the sphere of common life. +Homer was the bard of ‘warriors and noble men’ in the brave days of old. +Hesiod is the poet of the people, earning their daily bread in the +labour of the field.</p> + +<p><b>pars eius</b>: metonymy for <i>pars carminum eius</i>; cp. on <a +href = "#chapI_sec31">§31</a> poetis.—Gemoll proposes to read +<i>operis eius</i>: cp. <a href = "#chapI_sec35">§§35</a> and 63.</p> + +<p><b>in nominibus</b>: specially in the Theogony: e.g. 226 sqq., 337 sqq.</p> + +<p><b>circa</b>: ‘in regard to’: <a href = "QuintBody2.html#chapII_sec14">2 §14</a>: <a href = "QuintBody2.html#chapV_sec5">5 §§5</a>, <a href = "QuintBody2.html#chapV_sec6">6</a>. Such uses of <i>circa</i> (like +<span class = "greek" title = "peri, amphi">περί, ἀμφί</span>, c. acc.) +are very frequent in Quintilian and later writers: ii. 16, 14 circa quae omnia multus hominibus labor: iii. 11, 5 circa verba dissensio. Also with verbs Pr. §20 circa ima subsistere: vii. 1, 54 circa patrem quaerimus; and for ‘in the time of’ (like <span class = "greek" title = "kata">κατά</span>) ii. 4, 41 circa Demetrium Phalerea. It is also used absolutely ix. 2, 45 omnia circa fere recta sunt: cp. <a href = "QuintBody2.html#chapVII_sec16">7 §16</a> below. For exx. from other writers see Hand, Turs. ii. pp. 66-8.</p> + +<p><b>praecepta</b>. Lindner translates ‘Lehrvorschriften.’ The reference is to Hesiod’s proverbial philosophy: ‘maxims of moral wisdom.’</p> + +<p><b>sententiae</b>: <a href = "#chapI_sec50">§50</a>. See Duncker’s Greece, vol. i. p. 485: Cic. ad Fam. vi. 18, 5 Lepta suavissimus ediscat Hesiodum et habeat in ore <span class = "greek" title = "tês d’ aretês hidrôta">τῆς δ᾽ ἀρετης ἱδρῶτα</span> et cetera: Brut. §15 illud Hesiodium laudatur a doctis, quod eadem mensura reddere iubet qua acceperis, aut etiam cumulatiore, si possis. Cp. Crit. Notes.</p> + +<p><b>levitas verborum et compositionis</b>. Here Quintilian is again in exact agreement with Dion. Hal. <span class = "greek" title = "peri mimêseôs">περὶ μιμήσεως</span> 2 (Usener, p. 19), <span class = "greek" title = "Hêsiodos men gar ephrontisen hêdonês kai onomatôn leiotêtos kai suntheseôs emmelous">Ἡσίοδος μὲν γὰρ ἐφρόντισεν ἡδονῆς καὶ ὀνομάτων λειότητος καὶ συνθέσεως ἐμμελοῦς</span>. It is also to be noted that Dionysius names Hesiod, Antimachus, and Panyasis after Homer.—Mayor cites Demetrius <span class = "greek" title = "peri hermêneias">περὶ ἑρμηνείας</span> §176, who ‘calls that <span class = "greek" title = "onoma leion">ὄνομα λεῖον</span> which has many vowels, +as <span class = "greek" title = "Aias">Αἴας</span>,—opp. to <span class = "greek" title = "trachu">τραχύ</span> as <span class = "greek" title = "bebrôke">βέβρωκε</span>; ib. §299 he defines <span class = "greek" title = "hê leiotês hê peri sunthesin">ἡ λειότης ἡ περὶ σύνθεσιν</span>, such as the school of Isocrates cultivated, the painful avoidance of hiatus.’ Cic. de Orat. iii. §171 struere verba sic ut neve asper eorum concursus neve hiulcus sit, sed quodam modo coagmentatus et levis: cp. §172: Or. §20: Quint, ii. 5, 9 levis et quadrata ... +compositio: viii. 3, 6.—For <i>compositio</i> (the combination of words) see on <a href = "#chapI_sec79">§79</a>: and cp. +<a href = "#chapI_sec44">§§44</a>, <a href = "#chapI_sec66">66</a>, <a href = "#chapI_sec118">118</a>: <a href = "QuintBody2.html#chapII_sec13">2 §13</a>: <a href = "QuintBody2.html#chapIII_sec9">3 §9</a>: viii. ch. 4, esp. §22 in +omni porro compositione tria sunt genera necessaria, ordo, iunctura, +numerus: ad Herenn. iv. §18 compositio est verborum constructio quae +facit omnes partes orationis aequabiliter perpolitas.</p> + +<p><b>medio genere</b>. See on <a href = "#chapI_sec44">§44</a>. Dion. +Hal. de Comp. Verb. 23, p. 173 R. <span class = "greek" title += "epopoiôn men oun egôge malista nomizô toutoni ton charaktêra">ἐποποιῶν μὲν οὖν ἔγωγε μάλιστα νομίζω τουτονὶ τὸν +χαρακτῆρα</span> (sc. <span class = "greek" title = "ton anthêron">τὸν +ἀνθηρόν</span> or <i>medium</i> Quint, xii. 10, 58) <span class = +"greek" title = "epexergasasthai Hêsiodon">ἐπεξεργάσασθαι +Ἡσίοδον</span>.—From the point of view of oratory, the <i>medium +genus</i> was the Rhodian school (xii. 10, 18), which stood between the +<i>genus Atticum</i> and <i>Asianum</i>, ‘quod velut medium esse atque +ex utroque mixtum volunt: neque enim Attice pressi neque Asiane sunt +abundantes’ (sc. Rhodii).</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapI_sec53" id = "chapI_sec53"> </a> +<span class = "secnum">I:53</span> +Contra in <span class = "smallcaps">Antimacho</span> vis +<span class = "pagenum">53</span> +et gravitas et minime vulgare eloquendi genus habet laudem. Sed quamvis +ei secundas fere grammaticorum consensus deferat, et adfectibus et +iucunditate et dispositione et omnino arte deficitur, ut plane manifesto +appareat quanto sit aliud proximum esse, aliud secundum.</p> + +<div class = "comm"> +<p><a name = "commI_sec53" id = "commI_sec53"><b>§ 53.</b></a> +<b>Antimachus</b> of Colophon (or rather Claros by Colophon) flourished +about <span class = "smallroman">B.C.</span> 405. He wrote a Thebaid, an +epic narrative of the wars of the Seven against Thebes and of the +Epigoni: Cic. Brut. §191. Fragments of his poems have been preserved. He +also edited a critical text of Homer. Antimachus served as a model for +Statius, and for the emperor Hadrian: Spartian §15 Catachanas libros +<span class = "pagenum comm">53</span> +obscurissimos Antimachum imitando scripsit. For the criticism <i>vis ... +laudem</i> cp. Dion. Hal. l.c. <span class = "greek" title = "Antimachos d’ eutonias (ephrontisen) kai agônistikês trachutêtos kai tou sunêthous tês exallagês">Ἀντίμαχος δ᾽ εὐτονίας (ἐφρόντισεν) καὶ ἀγωνιστικῆς +τραχύτητος καὶ τοῦ συνήθους τῆς ἐξαλλαγῆς</span>.</p> + +<p><b>minime vulgare</b>: viii. pr. §25: Arist. Poet. §22 <span class = +"greek" title = "lexeôs de aretê saphê kai mê tapeinên einai">λέξεως δὲ +ἀρετῆ σαφῆ καὶ μὴ ταπεινὴν εἶναι</span>. An uncommon elevation of style +was evidently one of his characteristics.</p> + +<p><b>habet laudem</b> = <span class = "greek" title = "echei epainon">ἔχει ἔπαινον</span>. Xen. Anab. vii. 6, 33: Plin. xxxvii. §65: +xxxvi. §164.</p> + +<p><b>secundas</b>: sc. partes, after Homer: <a href = +"#chapI_sec58">§58</a>. So Cic. Or. §18 cui (Pericli) primae sine +controversia deferebantur: Brut. §84: ad Att. i. 17, 5. The phrase +is probably borrowed from the theatre: primas agere Brut. §308: Hor. +Sat. i. 9, 46. On the other hand primas ferre (Brut. §183) suggests +<span class = "greek" title = "prôteia pheresthai">πρωτεῖα +φέρεσθαι</span>. Tac. Ann. xiv. 21 eloquentiae primas nemo tulit, sed +victorem esse Caesarem pronuntiatum.</p> + +<p><b>grammaticorum consensus</b>. For this sense of <i>grammatici</i> +(‘literary critics,’ ‘professors of literature’ Hor. A. P. 78) cp. +ii. 1, 4 grammatice, quam in Latinum transferentes litteraturam +vocaverunt ... cum praeter rationem recte loquendi non parum alioqui +copiosam prope omnium maximarum artium scientiam amplexa sit.—The +phrase is one more indication of the second-hand character of +Quintilian’s criticism of Greek authors: cp. <a href = +"#chapI_sec27">§27</a>, where he specially refers to Theophrastus: <a +href = "#chapI_sec52">§52</a> datur ei palma: <a href = +"#chapI_sec54">§54</a> putant: <a href = "#chapI_sec58">§58</a> princeps +habetur and confessione plurimorum: <a href = "#chapI_sec59">§59</a> +Aristarchi iudicio: <a href = "#chapI_sec72">§72</a> consensu omnium: <a +href = "#chapI_sec73">§73</a> nemo dubitat. No doubt Quintilian and +Dionysius were both indebted to the lists of the Alexandrian +bibliographers.</p> + +<p><b>adfectibus ... deficitur</b>: ‘he fails in pathos’: <a href = +"#chapI_sec48">§48</a>. His lament for Lyde (nec tantum Clario Lyde +dilecta poetae Ovid, Tr. i. 6, 1) contained a catalogue of the +misfortunes of all the mythical heroes who had lost their loves. <span +class = "greek" title = "Ludê kai pachu gramma kai ou toron">Λύδη καὶ +παχὺ γράμμα καὶ οὐ τόρον</span> Callim. fr. 441.</p> + +<p><b>iucunditate</b>: see on <a href = "#chapI_sec46">§46</a>.</p> + +<p><b>dispositione</b>: <a href = "#chapI_sec50">§50</a>. Catull. 95, 10 +At populus tumido gaudeat Antimacho.</p> + +<p><b>arte</b>: ‘poetical skill.’</p> + +<p><b>plane</b>: see Introd. <a href = +"QuintIntro.html#intro_pagelii">p. lii</a>.</p> + +<p><b>proximum ... secundum</b>. Cp. Verg. Aen. v. 320 proximus huic +longo sed proximus intervallo insequitur Salius. <i>Secundus</i> here +means much less than <i>proximus</i> (‘very near’): it only means ‘prior +tertio et reliquis.’ Cp. Corn. Nep. Pelop. iv. 2 haec fuit altera +persona Thebis sed tamen secunda ita ut proxima esset Epaminondae: <a +href = "#chapI_sec85">§85</a> below, secundus ... est Vergilius, propior +tamen primo quam tertio, i.e. Vergil is <i>proximus</i> to Homer as well +as <i>secundus</i>.—This is the usual explanation, motived +probably by the recurrence of <i>secundum</i> so soon after +<i>secundas</i> above (cp. <a href = "#chapI_sec58">§§58</a>, <a href = +"#chapI_sec72">72</a>, <a href = "#chapI_sec85">85</a>). The difficulty +is that it is exactly the reverse of the well-known passage in Horace, +Car. i. 12, 18 nec viget quidquam simile (Iovi) aut secundum: proximos +illi tamen occupavit Pallas honores, where the idea is that Pallas is +what sportsmen call a ‘bad second,’—<i>proximus</i> meaning ‘next’ +(however far apart), while <i>secundus</i> (sequor) implies contiguity. +The two passages could be reconciled by supposing that Quintilian has +negligently omitted to note the repetition <i>secundas ... secundum</i>, +and that he means ‘what a difference there is between a bad (proximum) +and a good second (secundum<ins class = "correction" title = "close quote printed after ‘second‘">)’</ins>—between being second and +coming near the first. Cp. Cic. Brut. §173 Duobus igitur summis, Crasso +et Antonio, L. Philippus proximus accedebat, sed longo intervallo +tamen proximus; itaque eum, etsi nemo intercedebat qui se illi +anteferret, neque secundum tamen neque tertium dixerim. If Quintilian is +conscious of the recurrence of <i>secundus</i>, he may mean that the +Greek critics would have been nearer the truth if they had called +Antimachus <i>next</i> (proximus) rather than <i>second</i> to +Homer.—Cp. Crit. Notes.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec54" id = "chapI_sec54"> </a> +<span class = "secnum">I:54</span> +<span class = "smallcaps">Panyasin</span>, ex utroque mixtum, putant in +<span class = "pagenum">54</span> +eloquendo neutrius aequare virtutes, alterum tamen ab eo materia, +alterum disponendi ratione superari. <span class = "smallcaps">Apollonius</span> in ordinem a +grammaticis datum non venit, quia Aristarchus atque Aristophanes +poetarum iudices neminem sui temporis in numerum redegerunt; non tamen +contemnendum reddidit opus aequali quadam mediocritate.</p> + +<div class = "comm"> +<p><a name = "commI_sec54" id = "commI_sec54"><b>§ 54.</b></a> +<b>Panyasin</b>. Panyasis of Halicarnassus, the uncle of Herodotus, +wrote a Heracleia in fourteen books, fragments of which are quoted by +Stobaeus and +<span class = "pagenum comm">54</span> +Athenaeus. He also composed six books of ‘Ionica,’—elegiac poems +on the Ionic migration. Suidas describes him as “an epic poet, who +fanned into a flame the smouldering embers of epic poetry, <span class = +"greek" title = "hos sbestheisan tên poiêsin epanêgage">ὁς σβεσθεῖσαν +τὴν ποίησιν ἐπανήγαγε</span>. Among the poets he is ranked after Homer; +according to some, <i>also after Hesiod and Antimachus</i>” (Mayor). +Panyasis flourished circ. <span class = "smallroman">B.C.</span> +480.</p> + +<p><b>ex utroque mixtum</b>. Dion. Hal. l.c. <span class = "greek" title += "Panuasis de tas t’ amphoin aretas ênenkato kai autôn">Πανύασις δὲ τὰς +τ᾽ ἀμφοῖν ἀρετὰς ἠνέγκατο καὶ αὐτῶν</span> (<span class = "greek" title += "eisênenkato kai autos">εἰσηνέγκατο καὶ αὐτός</span>—Usener) +<span class = "greek" title = "pragmateia">πραγματείᾳ</span> (materia) +<span class = "greek" title = "kai tê kat’ auton (autên?) oikonomia diênenken">καὶ τῇ κατ᾽ αὐτὸν <ins class = "correction" title = "query in original">(αὐτὴν?)</ins> οἰκονομίᾳ διήνεγκεν</span>.</p> + +<p><b>putant</b>. Mr. Nettleship (Journ. Phil. xviii. p. 259) notes +that Quintilian ‘while saying evidently much the same as Dionysius, says +not <i>putat Dionysius</i> but <i>putant</i>,’ showing that both +Dionysius and he followed the <i>grammatici</i>, i.e. probably +Aristarchus and Aristophanes. Cp. Usener, p. 110 sq., and see +Introd. <a href = +"QuintIntro.html#intro_pagexxxii">p. xxxii</a>.</p> + +<p><b>alterum ... materia</b>: Hesiod, the ‘singer of Helots.’ “The +labours of Herakles supply a more varied and attractive theme than the +pedigrees of a Theogony or the homely Tusser-like maxims of the ‘Works +and Days.’” Mayor.</p> + +<p><b>Apollonius</b>, surnamed Rhodius, because he was honoured with the +freedom of the city of Rhodes, after having retired thither from +Alexandria. Returning to Alexandria he succeeded Eratosthenes as +librarian. He was a pupil of Callimachus, and flourished circ. 220 <span +class = "smallroman">B.C.</span> For a sympathetic account of the +Argonautica see Mahaffy’s Greek Lit. vol. i. ch. ix. It was +rendered into Latin by Atacinus Varro (§87) and Valerius Flaccus +(§90).</p> + +<p><b>ordinem a grammaticis datum</b>. The lists of approved authors +drawn up by the critics of Alexandria constituted what they called <span +class = "greek" title = "kanones">κανόνες</span> (<i>indices</i>, here +called <i>ordo</i>). See Usener, p. 134 sq. Cp. venire, redigi, +recipi in ordinem or numerum. So i. 4 §3 ut ... auctores alios in +ordinem redegerint alios omnino exemerint numero. See Introd. <a href = +"QuintIntro.html#intro_pagexxxv">p. xxxv</a>.</p> + +<p><b>Aristarchus</b>, of Samothrace, lived and taught at Alexandria +about the middle of the second cent. <span class = +"smallroman">B.C.</span> His name is inseparably associated with the +text of the Homeric poems: see Wolf’s <i>Prolegomena</i>, Lehrs de +Aristarchi Studiis Homericis (3rd edit. 1882), and Pierron’s Introd. to +Homer, p. xxxv. sq. It became a synonym for rigorous criticism: +Cic. ad Att. i. 14, 3 meis orationibus quarum tu Aristarchus es: Hor. +A. P. 450 fiet Aristarchus.—See Mahaffy’s Grk. Lit. +ch. iii. §32 sq.</p> + +<p><b>Aristophanes</b>, of Byzantium, was librarian at Alexandria before +Aristarchus, having succeeded Apollonius Rhodius. He died about 180 +<span class = "smallroman">B.C.</span> He revised his master Zenodotus’s +edition of Homer, and was the first to reject the end of the Odyssey +after xxiii. 296. He also left critical and exegetical commentaries on +the lyric and dramatic poets, and compiled <i>argumenta</i> or prefaces +to the individual plays.</p> + +<p><b>poetarum iudices</b>. This looks like a gloss: see Crit. +Notes.</p> + +<p><b>in numerum redegerunt</b>: cp. above on in ordinem a grammaticis +datum. The phrase represents the Greek <span class = "greek" title = +"enkrinein">ἐγκρίνειν</span>.—With the exception of the official +eulogy of Domitian (§91), Quintilian followed this rule himself.</p> + +<p><b>reddidit</b>. Though it would be hard to find an exact parallel, +this use of <i>reddo</i> seems not impossible, especially in Quintilian. +It must be explained either by the analogy of the use in which land is +said to ‘produce’ the expected crop (cp. tibiae sonum reddunt xi. +3, 20), or less probably with reference to the use which describes +such physical processes as dum nimis imperat voci ... sanguinem reddidit +Plin. v. 19, 6. In Cicero such an expression could only have been +explained on the analogy of ‘placidum reddere’ for ‘placare’: cp. omnia +enim breviora reddet ordo et ratio et modus xii. 11, 13.—But see +<a href = "QuintCrit.html#critI_sec54">Crit. Notes</a>.</p> + +<p><b>aequali quadam mediocritate</b>: <a href = "#chapI_sec86">§86</a> +aequalitate pensamus. No disparagement +<span class = "pagenum comm">55</span> +is implied: the meaning is that Apollonius keeps pretty uniformly to the +<i>genus medium</i> (see on <a href = "#chapI_sec44">§44</a>), neither +rising on the one hand to the <i>genus grande</i> nor on the other +descending to the <i>genus subtile</i>. So in the <span class = "greek" +title = "peri hupsous">περὶ ὕψους</span> 33 §4 he receives the +epithet <span class = "greek" title = "aptôtos">ἄπτωτος</span>. For this +sense of <i>mediocritas</i> cp. Gellius 7 §14 of Terence: Hor. Car. +ii. 10, 5.—“This is a fair criticism of the greatest of the +Alexandrine poems; it is learned and correct, tells the story of the +Argonauts with a due regard to proportion, and has many minor idyllic +beauties, but wants epic unity and inspiration.” Mayor.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec55" id = "chapI_sec55"> </a> +<span class = "secnum">I:55</span> +<span class = "smallcaps">Arati</span> materia motu caret, ut +<span class = "pagenum">55</span> +in qua nulla varietas, nullus adfectus, nulla persona, nulla cuiusquam +sit oratio; sufficit tamen operi cui se parem credidit. Admirabilis in +suo genere <span class = "smallcaps">Theocritus</span>, sed musa illa rustica et pastoralis non +forum modo, verum ipsam etiam urbem reformidat.</p> + +<div class = "comm"> +<p><a name = "commI_sec55" id = "commI_sec55"><b>§ 55.</b></a> +<b>Arati</b>. Aratus was born at Soli in Cilicia, and lived at the court +of Antigonus Gonatas, king of Macedonia, circ. <span class = +"smallroman">B.C.</span> 270. At the request of the latter he composed +<span class = "greek" title = "Phainomena kai Diosêmeia">Φαινόμενα καὶ +Διοσημεῖα</span>, a didactic epic on the heavenly bodies and +meteorology, which was translated into Latin verse by Cicero and +afterwards by Germanicus. Avienus also made a rendering of it, probably +late in the fourth century. See Teuffel §259 §6 and §394 §2, +and Munro on Lucr. v. 619 (cp. vol. ii. pp. 3, 9, 299: J. B. +Mayor on Cic. de Nat. Deor. ii. §104).</p> + +<p><b>ut in qua</b>. Törnebladh (‘de coniunctionum causalium apud Quint. +usu’) has collected ten additional examples of this construction in +Quint.,—<i>ut qui</i> i. 2, 19: <a href = "#chapI_sec57">x. 1, +57</a> and <a href = "#chapI_sec57">74</a>: xi. 3, 53 (sing.): v. 14, 28 +(plur.): <i>ut quae</i> (sing.) iii. 5, 9: xii. 2, 20; <i>ut quod</i> +viii. 3, 12: 4, 16: <i>ut quorum</i> <a href = +"QuintBody2.html#chapII_sec13">x. 2, 13</a>. For <i>ut cum</i> see +on <a href = "#chapI_sec76">§76</a>. It is incorrect to say that the +usage does not occur in Cicero: see Draeger, Hist. Syn. ii. +p. 509.</p> + +<p><b>Theocritus</b> lived at Syracuse (probably his native place) under +Hiero, and spent some time also at the court of Ptolemy Philadelphus, +where he wrote his 14th, 15th, and 17th idylls about the year 259 <span +class = "smallroman">B.C.</span> Vergil’s obligations to him in the +Eclogues are well known: cp. Sicelides Musae iv. 1: Arethusa x. 1.</p> + +<p><b>musa illa rustica et pastoralis</b>. Theocritus is the type of +real, as opposed to artificial, pastoral poetry. “He finds all things +delectable in the rural life: ‘sweet are the voices of the calves, and +sweet the heifer’s lowing; sweet plays the shepherd on the shepherd’s +pipe, and sweet is the echo.’ Even in courtly poems and in the +artificial hymns ... the memory of the joyful country life comes over +him. He praises Hiero, because Hiero is to restore peace to Syracuse, +and when peace returns, then ‘thousands of sheep fattened in the meadows +will bleat along the plain, and the kine, as they flock in crowds to the +stalls, will make the belated traveller hasten on his way.’” Mr. Lang’s +Introduction.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec56" id = "chapI_sec56"> </a> +<span class = "secnum">I:56</span> +Audire videor undique congerentes nomina plurimorum poetarum. Quid? +Herculis acta non bene <span class = "smallcaps">Pisandros</span>? <span class = "smallcaps">Nicandrum</span> frustra +secuti Macer atque Vergilius? Quid? +<span class = "pagenum">56</span> +<span class = "smallcaps">Euphorionem</span> transibimus? Quem nisi probasset Vergilius idem, +numquam certe ‘conditorum Chalcidico versu carminum’ fecisset in +Bucolicis mentionem. Quid? Horatius frustra <span class = "smallcaps">Tyrtaeum</span> Homero +subiungit?</p> + +<div class = "comm"> +<p><a name = "commI_sec56" id = "commI_sec56"><b>§ 56.</b></a> +<b>videor</b>: <a href = "#chapI_sec46">§46</a>. Hor. Car. iii. 4, 6 +audire magnos iam videor duces. So often <i>videre videor</i>: e.g. Cic. +in Catil. iv. §11.</p> + +<p><b>congerentes</b>: participle without subject: cp. solitos <a href = +"#chapI_sec7">§7</a>.</p> + +<p><b>non</b>: <a href = +"QuintBody2.html#chapII_sec25">2 §25</a>.</p> + +<p><b>Pisandros</b>, of Cameirus in Rhodes, fl. circ. <span class = +"smallroman">B.C.</span> 645. He wrote a poem called <i>Heracleia</i>, +an epic narrative of the deeds of Hercules. He is often cited as an +authority for the various details of the legend, and was the first to +arm the hero with the club and lion’s skin.</p> + +<p><b>Nicandrum</b>, of Colophon, lived in the middle of the second +century <span class = "smallroman">B.C.</span> at the court of Attalus +III, king of Pergamus. His didactic poem on the bites of venomous +animals (<span class = "greek" title = "Thêriaka kai Alexipharmaka">Θηριακὰ καὶ Ἀλεξιφάρμακα</span>) is still extant. He also +wrote five books of <span class = "greek" title = +"heteroioumena">ἑτεροιούμενα</span>, on which Ovid drew for his +Metamorphoses.</p> + +<p><b>frustra</b> = temere, ‘without good reason’ (sine iusta causa): +cp. <i>frustra ... subiungit</i> below. Cicero, de Div. ii. 60 nec +frustra ac sine causa quid facere deo dignum est. So i. 10, 15 non +igitur frustra Plato civili viro ... necessariam musicen credidit: xii. +2, 5 Caesar has <i>non nequiquam</i> in the same sense B. G. +<span class = "pagenum comm">56</span> +ii. 27, 5. In some cases it makes little difference whether the +rendering is ‘without good reason’ or ‘without good result,’ but here it +is very improbable that Quintilian is asking ‘whether Vergil can be +called an <i>unsuccessful</i> follower of Nicander,’ as Conington puts +it.</p> + +<p><b>Macer</b>: <a href = "#chapI_sec87">§87</a>. Aemilius Macer of +Verona, the friend and contemporary of Vergil and Ovid, wrote the +‘Ornithogonia’ (‘bird-breeding’) and the ‘Theriaca,’ neither of which is +extant. Ovid, Trist. iv. 10, 43-4 Saepe suos volucres legit mihi +grandior aevo, Quaeque necet serpens, quae iuvet herba, Macer.</p> + +<p><b>Vergilius</b>. See Conington’s Vergil, vol. i. pp. 141 sqq. +None of the extant fragments of Nicander’s <span class = "greek" title = +"Geôrgika">Γεωργικά</span> justify the supposition that Vergil was +indebted to it for the Georgics; but he seems to have used his work on +bees (<span class = "greek" title = +"melissourgika">μελισσουργικά</span>) and also the <span class = "greek" +title = "thêriaka">θηριακά</span> above mentioned (Georg. iii. 415, +425). And Macrobius (Sat. v. 22) tells us that it was from Nicander that +Vergil borrowed the legend of Pan drawing the moon down after him to the +woods by a fleece of snow-white wool (Georg. iii. 391).</p> + +<p><b>Euphorionem</b>. Euphorion, of Chalcis in Euboea, was a +contemporary of Ptolemy Euergetes, and Antiochus the Great, circ. <span +class = "smallroman">B.C.</span> 220. Among other works he wrote a +Georgica, or poem on agriculture.</p> + +<p><b>in Bucolicis</b>. Verg. Ecl. x. 50 ibo et Chalcidico quae sunt +mihi condita versu Carmina pastoris Siculi modulabor avena, where the +speaker is the elegiac poet Cornelius Gallus (<a href = +"#chapI_sec93">§93</a> note), who had introduced Euphorion to general +notice by translating some of his poems.</p> + +<p><b>Tyrtaeum</b>. Tyrtaeus was a native either of Athens or of +Aphidnae in Attica, and flourished at the time of the second Messenian +War (in the seventh century <span class = "smallroman">B.C.</span>), in +which he is said to have contributed to the success of the Spartan arms +by his inspiring battle-songs. The reference to Horace is A. P. 401 +Post hos (Orpheus and Amphion) insignis Homerus Tyrtaeusque mares animos +in Martia bella Versibus exacuit. Mayor cites passages from Dio Chrys. +where Homer and Tyrtaeus are coupled in the same way: cp. Plato, Laws +ix. 858 E, where Tyrtaeus is classed with Homer for his moral and +political influence.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec57" id = "chapI_sec57"> </a> +<span class = "secnum">I:57</span> +Nec sane quisquam est tam procul a cognitione eorum remotus ut non +indicem certe ex bibliotheca sumptum transferre in libros suos possit. +Nec ignoro igitur quos transeo nec utique damno, ut qui dixerim esse in +omnibus utilitatis aliquid.</p> + +<div class = "comm"> +<p><a name = "commI_sec57" id = "commI_sec57"><b>§ 57.</b></a> +<b>tam ... ut non</b>: Plin. Ep. iii. 5, 10: cp. <a href = +"#chapI_sec41">§41</a> and <a href = "#chapI_sec48">§48</a> above.</p> + +<p><b>indicem</b>, ‘a catalogue.’ Any one can at least (if he does not +know anything more about them) make out a list of such poets in some +library, and note the titles of their works in his compilation. For +<i>index</i> cp. Cic. Hortens., indicem tragicorum: Plin. Ep. iii. 5, 2 +fungar indicis partibus: Seneca de Tranq. 9 §4 quo innumerabiles +libros et bibliothecas, quarum dominus vix tota vita indices perlegit? +Ep. 39 §2 sume in manus indicem philosophorum.—<i>Non ... +certe</i> almost = <i>ne quidem</i>.</p> + +<p><b>nec utique</b>, ‘nor by any means.’ See on <a href = +"#chapI_sec20">§20</a>: cp. <a href = "#chapI_sec24">§24</a>. +Krüger<sup>3</sup> renders by ‘unbedingt,’ ‘absolut,’ ‘jedenfalls.’</p> + +<p><b>ut qui dixerim</b>: see on <a href = "#chapI_sec55">§55</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec58" id = "chapI_sec58"> </a> +<span class = "secnum">I:58</span> +Sed ad illos iam perfectis constitutisque viribus revertemur, quod in +cenis grandibus saepe +<span class = "pagenum">57</span> +facimus, ut, cum optimis satiati sumus, varietas tamen nobis ex +vilioribus grata sit. Tunc et elegiam vacabit in manus sumere, cuius +princeps habetur <span class = "smallcaps">Callimachus</span>, secundas confessione plurimorum +<span class = "smallcaps">Philetas</span> occupavit.</p> + +<div class = "comm"> +<p><a name = "commI_sec58" id = "commI_sec58"><b>§ 58.</b></a> +<b>perfectis constitutisque viribus</b>, i.e. by the reading of the epic +poets who are most suited to our purpose: <a href = +"#chapI_sec59">§59</a> optimis adsuescendum est, &c. So <a href = +"#chapI_sec131">§131</a> (of Seneca) iam robustis et severiore genere +satis firmatis legendus: <a href = +"QuintBody2.html#chapV_sec1">5 §1</a> iam robustorum. Cp i. 8, 6 +(of amatory elegy and hendecasyllabics) amoveantur, si fieri potest, si +minus, certe ad firmius aetatis robur reserventur: §12 +robustiores.—For <i>constitutis</i> cp. <span class = "greek" +title = "en tê kathestêkuia hêlikia">ἐν τῇ καθεστηκυίᾳ ἡλικίᾳ</span>: +xi. 3, 29.</p> + +<p><b>revertemur</b>: future used as a mild imperative. Cp. <a href = +"QuintBody2.html#chapVII_sec1">7 §1</a>.</p> + +<p><b>quod ... ut</b>. The dependent clause here gives the explanation +of <i>quod facimus</i> +<span class = "pagenum comm">57</span> +in the form of a result, so that the construction is really pleonastic: +cp. <a href = "QuintBody2.html#chapV_sec18">5 §18</a>: <a href = +"QuintBody2.html#chapVII_sec11">7 §11</a>. In <a href = +"QuintBody2.html#chapIII_sec6">3 §6</a> (where see note) <i>ut</i> +may have more of the idea of purpose.</p> + +<p><b>tunc</b>: when our taste is formed.</p> + +<p><b>elegiam</b>. Cp. i. 8, 6 quoted above. In A. P. 77 Horace +characterises the elegy as <i>exiguus</i>, i.e. it is slighter and less +dignified than the epic hexameter.</p> + +<p><b>vacabit</b>. This impersonal use (cp. <a href = +"#chapI_sec90">§90</a>) does not occur in Cicero. For the expression see +Introd. <a href = "QuintIntro.html#intro_pagexxxii">p. xxxii</a>, +note.</p> + +<p><b>Callimachus</b>, of Cyrene, was the second director of the library +at Alexandria (<a href = "#chapI_sec54">§54</a>): he flourished in the +middle of the 3rd century. Catullus, Propertius, and Ovid all imitated +his elegies. ‘The erotic elegy of Callimachus, Philetas, and their +school is chiefly interesting as having been the model of the Roman +elegy, which is one of the glories of Latin literature in the hands of +Ovid, Catullus, Tibullus, and Propertius.’ Mahaffy.</p> + +<p><b>secundas</b>, <a href = "#chapI_sec53">§53</a>.</p> + +<p><b>Philetas</b> of Cos, instructor of Ptolemy Philadelphus, about 290 +<span class = "smallroman">B.C.</span> Like Callimachus he was a +literary critic as well as a poet, though probably less erudite than his +greater contemporary.</p> + +<p><b>occupavit</b>: Hor. Car. i. 12, 19 proximos illi tamen occupavit +Pallas honores.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec59" id = "chapI_sec59"> </a> +<span class = "secnum">I:59</span> +Sed dum adsequimur illam firmam, ut dixi, facilitatem, optimis +adsuescendum est et multa magis quam multorum lectione formanda mens et +ducendus color. Itaque ex tribus receptis Aristarchi iudicio +scriptoribus +<span class = "pagenum">58</span> +iamborum ad <span class = "greek" title = "hexin">ἕξιν</span> maxime +pertinebit unus <span class = "smallcaps">Archilochus</span>.</p> + +<div class = "comm"> +<p><a name = "commI_sec59" id = "commI_sec59"><b>§ 59.</b></a> +<b>adsequimur</b>, a present of endeavour: cp. <a href = +"#chapI_sec31">§31</a>. This gives a good contrast to <i>iam perfectis +constitutisque viribus</i> and <i>tunc</i>, so that there is no need for +Halm’s conjecture <i>adsequamur</i>, which is however generally adopted: +see <a href = "QuintCrit.html#critI_sec59">Crit. Notes</a>.</p> + +<p><b>ut dixi</b>: see on <a href = "#chapI_sec1">§1</a>.</p> + +<p><b>multa ... multorum</b>: Plin. Ep. vii. 9 §15 tu memineris sui +cuiusque generis auctores diligenter eligere. Aiunt enim multum legendum +esse, non multa. Mayor compares also Seneca, Epist. 2 §§2-4.</p> + +<p><b>ducendus color</b>: Verg. Ecl. ix. 49 (astrum) quo duceret apricis +in collibus uva colorem. <i>Ducere</i> expresses the gradual process of +‘taking on’ a tinge; the agent in this process is here <i>lectio</i>, as +in Vergil it is the constellation. <i>Color</i> is here the ‘appropriate +tone’ which will vary with the subject or the occasion: xii. 10, 71 non +unus color prooemii, narrationis, argumentorum, egressionis, +perorationis servabitur. Sen. Ep. 108 §3 non novimus quosdam qui +multis apud philosophum annis persederint et ne colorem quidem duxerint: +ib. 71 §31. So Cicero, Orat. §42 educata huius (Isocratis) +nutrimentis eloquentia ipsa se postea colorat (‘gathers strength and +colour’): de Or. ii. 60 ut cum in sole ambulem ... fieri natura ... ut +colorer, sic, cum istos libros ... studiosius legerim, sentio illorum +tactu orationem meam quasi colorari. Cp. on <a href = +"#chapI_sec116">§116</a>: <a href = +"QuintBody2.html#chapVI_sec5">6 §5</a>: <a href = +"QuintBody2.html#chapVII_sec7">7 §7</a>.</p> + +<p><b>ex tribus receptis</b>: sc. in ordinem sive numerum: cp. <a href = +"#chapI_sec54">§54</a>. The other two are Simonides of Amorgos +(Semonides) and Hipponax of Ephesus. The former is best known by his +satire on women; the latter is often mentioned along with Archilochus: +his spirit reappears in the later comedy. The treatise of Dion. Hal. as +we have it now does not contain any criticism either of the elegiac or +the iambic poets. Proclus however has: <span class = "greek" title = +"Iambôn poiêtai Archilochos te aristos kai Simônidês kai Hippônax">Ἰάμβων ποιηταὶ Ἀρχίλοχός τε ἄριστος καὶ Σιμωνίδης καὶ +Ἱππῶναξ</span> (p. 242, Westphal.)</p> + +<p><b>Aristarchi iudicio</b>: <a href = "#chapI_sec52">§52</a>.</p> + +<p><b>scriptoribus iamborum</b>: see on <a href = "#chapI_sec9">§9</a>. +Diomedes iii. p. 485 11 k (p. 18, Reiff.) iambus est carmen +maledicum plerumque trimetro versu et epodo sequente compositum ... +appellatum est autem <span class = "greek" title = "para to iambizein">παρὰ τὸ ἰαμβίζειν</span>, quod est maledicere. Cuius carminis +praecipui scriptores apud Graecos Archilochus et Hipponax, apud Romanos +Lucilius et Catullus et Horatius et Bibaculus: cp. <a href = +"#chapI_sec96">§96</a>.—The word <span class = "greek" title = +"iambos">ἄαμβος</span> is derived from <span class = "greek" title = +"iaptô">ἰάπτω</span> ‘I fling’ (Curt. Etym.<sup>5</sup> 537: E. T. +ii. 154), and denoted originally a ‘flinging,’ or a verse ‘flung at’ a +person: hence <span class = "greek" title = +"iambizein">ἰαμβίζειν</span>, ‘to lampoon.’ Cp. ix. 4, 141 aspera vero +et maledica ... etiam in carmine iambis grassantur. Hor. Car. i. 16, 2 +criminosis ... iambis: ib. +<span class = "pagenum comm">58</span> +22-5 me quoque pectoris Temptavit in dulci iuventa Fervor et in celeres +iambos Misit furentem.</p> + +<p><b><span class = "greek" title = "hexin">ἕξιν</span></b>: see on <a +href = "#chapI_sec1">§1</a>.</p> + +<p><b>maxime unus</b>. <i>Unus</i> is very commonly used in this way to +strengthen a superlative: Cic. in Verr. i. §1 quod unum ad invidiam +vestri ordinis ... sedandam maxime pertinebat: de Amic. §1 quem unum +nostrae civitatis ... praestantissimum audeo dicere: Verg. Aen. ii. 426 +cadit et Rhipeus iustissimus unus. Becher thinks <i>unus</i> may merely +be set over against <i>tribus</i>: cp. pro Sest. §49 unus bis +rempublicam servavi.</p> + +<p><b>Archilochus</b> of Paros (circ. 686 <span class = +"smallroman">B.C.</span>) was a master of various forms of metrical +composition; but his distinctive characteristic was that alluded to +here,—the employment of the iambic trimeter as the vehicle of +satire, the sting of which, as wielded by him, is said to have driven +people into hanging themselves. Hor. A. P. 79 Archilochum proprio +rabies armavit iambo.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec60" id = "chapI_sec60"> </a> +<span class = "secnum">I:60</span> +Summa in hoc vis elocutionis, cum validae tum breves vibrantesque +sententiae, plurimum sanguinis atque nervorum, adeo ut videatur +quibusdam, quod quoquam minor est, materiae esse, non ingenii +vitium.</p> + +<div class = "comm"> +<p><a name = "commI_sec60" id = "commI_sec60"><b>§ 60.</b></a> +<b>vibrantes</b>, of the quivering motion of a spear (cp. ‘shafts’ of +eloquence) thrown from a stout arm. Cic. Brut. §326 oratio incitata et +vibrans: Quint. xii. 9, 3 nec illis vibrantibus concitatisque sententiis +velut missilibus utetur: xi. 3, 120 sententias vibrantes digitis +iaculantur: ix. 4, 55 neque enim Demosthenis fulmina tanto opere +vibratura dicit nisi numeris contorta ferrentur: cp. note on <a href = +"QuintBody2.html#chapVII_sec7">7 §7</a> below.</p> + +<p><b>sanguinis atque nervorum</b>. The former refers to the quality of +‘fulness’ or ‘richness’ of thought and style, the latter (often +<i>lacerti</i>) to ‘force’: sanguinis et virium <a href = +"QuintBody2.html#chapII_sec12">2 §12</a>. Cp. tori and caro <a href += "#chapI_sec33">§33</a> (note) and <a href = "#chapI_sec77">§77</a>. +For <i>sanguis</i>, cp. <a href = "#chapI_sec115">§115</a> verum +sanguinem: <a href = "QuintBody2.html#chapII_sec12">2 §12</a>. “In +good Latin <i>nervus</i>, like <span class = "greek" title = +"neuron">νεῦρον</span>, always denotes sinews or tendons (literal or +metaphorical): cp. Celsus viii. 1 nervi quos <span class = "greek" title += "tenontas">τένοντας</span> Graeci appellant; but sometimes appears to +include also what we call ‘nerves’: see Mayor on Cic. de Nat. Deor. ii. +55, 136. Galen (born 130 <span class = "smallroman">A.D.</span>) was the +first to limit <span class = "greek" title = "neuron">νεῦρον</span> to +the meaning ‘nerve,’ in its present sense.” Wilkins on Hor. A. P. +26.</p> + +<p><b>quibusdam</b>: cp. <a href = "#chapI_sec64">§64</a> ut quidam ... +eum ... praeferant: <a href = "#chapI_sec93">§93</a> quosdam ita deditos +sibi adhuc habet amatores: <a href = "#chapI_sec113">§113</a> adeo ut +quibusdam etiam nimia videatur.</p> + +<p><b>quod quoquam minor est</b>. This clause is the subject of +<i>videatur</i>, and the meaning is: with such high qualities the fact +that Archilochus comes behind any (if that is the case) is to be +attributed to his <i>materia</i>, not to his <i>ingenium</i>, which +latter would give him a claim to a place alongside of the very foremost, +Homer: cp. <a href = "#chapI_sec65">§65</a> post Homerum tamen, quem ut +Achillen semper excipi par est. So <a href = "#chapI_sec62">§62</a> +copiae vitium est: <a href = "#chapI_sec74">§74</a> praedictis minor. +For <i>quod</i> without <i>id</i>, cp. <a href = +"QuintBody2.html#chapIV_sec4">4 §4</a>. See <a href = +"QuintCrit.html#critI_sec60">Crit. Notes</a>.</p> + +<p><b>materia</b>, ‘subject-matter,’ which was mainly personal character +and conduct in common life. Pind. Pyth. ii. 55 <span class = "greek" +title = "psogeron Archilochon barulogois echthesin piainomenon">ψογερὸν +Ἀρχίλοχον βαρυλόγοις ἔχθεσιν πιαινόμενον</span>. Hor. Ep. i. 19, 23 +Parios ego primus iambos ostendi Latio, numeros animosque secutus +Archilochi non res et agentia verba Lycamben: 28 Temperat Archilochi +musam pede mascula Sappho Temperat Alcaeus sed rebus et ordine dispar, +Nec socerum quaerit quem versibus oblinat atris Nec sponsae laqueum +famoso carmine nectit. Val. Max. vi. 3, E. §1 tells us that the Spartans +banished the poems of Archilochus because of their corrupting influence +on the morals of their youth: Maximum poetam aut certe summo proximum +... carminum exilio multarunt. Velleius (i. 5, 1) brackets Homer +and Archilochus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec61" id = "chapI_sec61"> </a> +<span class = "secnum">I:61</span> +Novem vero lyricorum longe <span class = "smallcaps">Pindarus</span> +<span class = "pagenum">59</span> +princeps spiritu magnificentia, sententiis figuris, beatissima rerum +verborumque copia et velut quodam eloquentiae flumine; propter quae +Horatius eum merito credidit nemini imitabilem.</p> + +<div class = "comm"> +<p><a name = "commI_sec61" id = "commI_sec61"><b>§ 61.</b></a> +<b>novem ... lyricorum</b>. Of the nine lyric poets not received into +the ‘canon’ those not mentioned here are Alcman, Sappho, Ibycus, +Anacreon, and Bacchylides. The four whom Quintilian names are the same +as those criticised by Dionysius, except that in the latter Simonides +comes next after Pindar.</p> + +<p><b>Pindarus</b> (521-441 <span class = "smallroman">B.C.</span>, +though known to us now mainly by his Epinician Odes, essayed various +forms of the lyric art, most of which (except the skolia and encomia) +are pervaded by a deeply religious tone. He had the disadvantage of +belonging to the Medising city of +<span class = "pagenum comm">59</span> +Thebes, but he spoke fearlessly out (after Salamis) for the liberators +of Greece; and both in the instinct for a national unity to which his +poems bear witness and in his ethical and religious beliefs he is +eminently representative of his age. He is the crowning glory of Greek +lyric poetry, and may be said in a sense to stand as it were midway +between the Homeric epos and the drama at Athens.</p> + +<p><b>princeps</b>, &c. Here Quintilian again coincides with +Dionysius (l.c.) <span class = "greek" title = "Zêlôtos de kai Pindaros onomatôn kai noêmatôn heineka, kai megaloprepeias kai tonou, kai periousias ... kai semnotêtos kai gnômologias kai energeias kai schêmatismôn">Ζηλωτὸς δὲ καὶ Πίνδαρος ὀνομάτων καὶ νοημάτων εἵνεκα, καὶ +μεγαλοπρεπείας καὶ τόνου, καὶ περιουσίας ... καὶ σεμνότητος καὶ +γνωμολογίας καὶ ἐνεργείας καὶ σχηματισμῶν</span>.</p> + +<p><b>spiritu</b>: see on <a href = "#chapI_sec27">§27</a>: i. 8, 5. See +<a href = "QuintCrit.html#critI_sec61">Crit. Notes</a>.</p> + +<p><b>magnificentia</b>, <span class = "greek" title = +"megaloprepeia">μεγαλοπρέπεια</span> iv. 2, 61. This is Pindar’s +distinctive quality: he is <span class = "greek" title = +"philaglaos">φιλάγλαος</span>, ‘splendour-loving.’ Cp. magnificus <a +href = "#chapI_sec63">§63</a>: <a href = "#chapI_sec84">§84</a>: iii. 8, +61: vi. 1, 52: xi. 3, 153.</p> + +<p><b>sententiis</b>: see on <a href = "#chapI_sec50">§50</a>.</p> + +<p><b>figuris</b>: see on <a href = "#chapI_sec12">§12</a>.</p> + +<p><b>beatissima</b> = fecundissima, uberrima: <a href = +"#chapI_sec109">§109</a>: <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a>. Cp. Tac. Dial. 9: Hist. +iii. 66.</p> + +<p><b>propter quae</b>: see on <a href = "#chapI_sec10">§10</a>, propter +quod.</p> + +<p><b>Horatius</b>: Car. iv. 2, 1 Pindarum quisquis studet aemulari ... +Monte decurrens velut amnis imbres Quem super notas aluere ripas, Fervet +immensusque ruit profundo Pindarus ore.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec62" id = "chapI_sec62"> </a> +<span class = "secnum">I:62</span> +<span class = "smallcaps">Stesichorum</span>, quam sit ingenio validus, materiae quoque +ostendunt, maxima bella et clarissimos canentem duces et epici carminis +onera lyra sustinentem. Reddit enim personis in agendo simul loquendoque +debitam dignitatem, ac si tenuisset modum, videtur aemulari proximus +Homerum potuisse; sed +<span class = "pagenum">60</span> +redundat atque effunditur, quod ut est reprehendendum, ita copiae vitium +est.</p> + +<div class = "comm"> +<p><a name = "commI_sec62" id = "commI_sec62"><b>§ 62.</b></a> +<b>Stesichorus</b> of Himera in Sicily (cir. 632-553 <span class = +"smallroman">B.C.</span>) is, like Simonides and Pindar, a +representative of the Dorian or choral lyric poetry of +Greece,—distinguished from the Aeolic (Alcaeus and Sappho) by its +greater complexity of structure and by the wider audience to which it +was addressed. His real name is said to have been Teisias: that by which +he is known he derived from the changes in the structure of the choral +ode which were introduced by him. He relieved the combination of strophe +and antistrophe by the <i>epode</i>, composed in a different manner, and +sung by the chorus standing before the altar,—thus affording it an +interval of rest after the movements to right and left. By Alexander the +Great, Homer and Stesichorus were classed together as the two poets +worthy to be studied by kings and conquerors.—With Quintilian’s +criticism cp. Dionysius l.c. (Usener, p. 20) <span class = "greek" +title = "Hora de kai Stêsichoron en te tois hekaterôn tôn proeirêmenôn">Ὅρα δὲ καὶ Στησίχορον ἔν τε τοῖς ἑκατέρων τῶν +προειρημένων</span> (Pindar and Simonides) <span class = "greek" title = +"pleonektêmasi katorthounta, ou mên alla kai hôn ekeinoi leipontai kratounta; legô de tê megaloprepeia tôn kata tas hupotheseis pragmatôn, en hois ta êthê kai ta axiômata tôn prosôpôn tetêrêken.">πλεονεκτήμασι +κατορθοῦντα, οὐ μὴν ἀλλὰ καὶ ὧν ἐκεῖνοι λείπονται κρατοῦντα‧ λέγω δὲ τῇ +μεγαλοπρεπείᾳ τῶν κατὰ τὰς ὑποθέσεις πραγμάτων, ἐν οἷς τὰ ἤθη καὶ τὰ +ἀξιώματα τῶν προσώπων τετήρηκεν.</span></p> + +<p><b>ingenio validus</b>: Cic. in Verr. ii. 35 Stesichori qui ... et +est et fuit tota Graecia summo propter ingenium honore et nomine.</p> + +<p><b>materiae</b>. The titles of his poems (<span class = "greek" title += "Iliou Persis, Gêruonêis, Oresteia, Nostoi, Kerberos, Helena">Ἰλίου +Πέρσις, Γηρυονηίς, Ὀρέστεια, Νόστοι, Κέρβερος, Ἑλένα</span>) show that +Stesichorus made extensive use of the old epic legends, which would +naturally fall more or less into a narrative form. Cp. Hor. Car. iv. 9, +8 Stesichorique graves Camenae. Ael. Hist. Anim xvii, 37 calls him <span +class = "greek" title = "semnos">σεμνός</span>: and Pliny, Nat. Hist. +ii. 15, 54 has Stesichori et Pindari vatum sublimia ora.</p> + +<p><b>si tenuisset ... videtur potuisse</b> = potuit, ut videtur. Cp. on +<a href = "#chapI_sec98">§98</a>. This use of the pf. indic. in such +clauses indicates the possibility (or duty, obligation, &c.) more +unconditionally than the plpf. subj. would do: e.g. Cic. in Vatin. §1 +debuisti, Vatini, etiamsi falso venisses in suspicionem P. Sestio, +tamen mihi ignoscere: pro Mil. §31 quod si ita putasset, certe +optabilius Miloni fuit. &c. In the indirect there is a parallel +instance, de Off. i. §4 Platonem existimo ... si ... voluisset ... +potuisse dicere.</p> + +<p><b>aemulari</b>, with dat. <a href = "#chapI_sec122">§122</a>.</p> + +<p><b>Homerum</b>. The author of the treatise ‘On the Sublime’ calls +Stesichorus <span class = "greek" title = +"Homêrikôtatos">Ὁμηρικώτατος</span>, 13 §3: cp. Dio Chr. Or. ii. +p. 284 +<span class = "pagenum comm">60</span> +<span class = "greek" title = "touto ge hapantes phasin hoi Hellênes, Stêsichoron Homêrou zêlôtên genesthai kai sphodra ge eoikenai kata tên poiêsin.">τοῦτό γε ἅπαντές φασιν οἱ Ἕλληνες, Στησίχορον Ὁμήρου +ζηλωτὴν γενέσθαι καὶ σφόδρα γε ἐοικέναι κατὰ τὴν ποίησιν.</span></p> + +<p><b>redundat atque effunditur</b>. Hermogenes, de Id. ii. 4 +p. 322 <span class = "greek" title = "Stêsichoros sphodra hêdus einai dokei, dia to pollois chrêsthai tois epithetois.">Στησίχορος +σφόδρα ἡδὺς εἶναι δοκεῖ, διὰ τὸ πολλοῖς χρῆσθαι τοῖς ἐπιθέτοις.</span> +Mayor quotes also Anth. Pal. vii. 75, 1-2 <span class = "greek" title = +"Stasichoron, zaplêthes ametrêtou stoma Mousês, ekterisen Katanas aithaloen dapedon.">Στασίχορον, ζαπληθὲς ἀμετρήτου στόμα Μούσης, +ἐκτέρισεν Κατάνας αἰθαλόεν δάπεδον.</span></p> + +<p><b>copiae vitium</b>: ii. 4, 4 vitium utrumque, peius tamen illud +quod ex inopia quam quod ex copia venit: ib. 12 §4 effusus pro +copioso accipitur. Cp. Plin. Ep. i. 20 §§20-1; Cic. de Orat. ii. +§88.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec63" id = "chapI_sec63"> </a> +<span class = "secnum">I:63</span> +<span class = "smallcaps">Alcaeus</span> in parte operis ‘aureo plectro’ merito donatur, qua +tyrannos insectatus multum etiam moribus confert, in eloquendo quoque +brevis et magnificus et diligens et plerumque oratori similis; sed et +lusit et in amores descendit, maioribus tamen aptior.</p> + +<div class = "comm"> +<p><a name = "commI_sec63" id = "commI_sec63"><b>§ 63.</b></a> +<b>Alcaeus</b> of Mitylene, cir. 600 <span class = +"smallroman">B.C.</span> The criticism of Dionysius is as +follows:—<span class = "greek" title = "Alkaiou de skopei to megalophues kai brachu kai hêdu meta deinotêtos, eti de kai tous schêmatismous kai tên saphêneian, hoson autês mê tê dialektô ti kekakôtai; kai pro hapantôn to tôn politikôn pragmatôn">Ἀλκαίου δὲ +σκόπει τὸ μεγαλοφυὲς καὶ βραχὺ καὶ ἡδὺ μετά δεινότητος, ἔτι δὲ καὶ τοὺς +σχηματισμοὺς καὶ τὴν σαφήνειαν, ὅσον αὐτῆς μὴ τῇ διαλέκτῳ τι κεκάκωται‧ +καὶ πρὸ ἁπάντων τὸ τῶν πολιτικῶν πραγμάτων</span> (<span class = "greek" +title = "poiêmatôn">ποιημάτων</span>?) <span class = "greek" title = +"êthos. Pollachou goun to metron tis ei perieloi, rhêtorikên an heuroi politeian">ἦθος. Πολλαχοῦ γοῦν τὸ μέτρον τις εἰ περιέλοι, ῥητορικὴν ἂν +εὕροι πολιτείαν</span> (<span class = "greek" title = "rhêtoreian ... politikên">ῥητορείαν ... πολιτικήν</span> Usener).</p> + +<p><b>in parte</b>: see on <a href = "#chapI_sec9">§9</a> in illis.</p> + +<p><b>aureo plectro</b>. ‘Plectrum’ is from <span class = "greek" title += "plêssô">πλήσσω</span> (<span class = "greek" title = +"plêktron">πλήκτρον</span>), the ‘striking thing.’ Hor. Car. ii. 13, 26 +Et te sonantem plenius aureo Alcaee plectro dura navis, Dura fugae mala, +dura belli.</p> + +<p><b>tyrannos insectatus</b>. These were Myrsilus and Pittacus, by the +latter of whom Alcaeus was driven into banishment. Those of his poems +which relate to the ten years’ civil war waged against the tyrants were +called <span class = "greek" title = "stasiôtika">στασιωτικά</span>. At +some time during the rule of Pittacus, the party of Alcaeus attempted a +forcible return: Alcaeus was taken prisoner, but was at once set free by +the ruler whom he had so bitterly attacked. Cp. Hor. l.c. sed magis +Pugnas et exactos tyrannos Densum umeris bibit ore vulgus: id. i. +32, 5.</p> + +<p><b>moribus</b>: cp. <span class = "greek" title = "êthos">ἦθος</span> +in the passage quoted from Dionysius. Mayor appositely cites his saying +<span class = "greek" title = "andres gar polios purgos areuioi">ἄνδρες +γὰρ πόλιος πύργος ἀρεύιοι</span>.—For <i>confert</i> with dat. cp. +<a href = "#chapI_sec27">§27</a>.</p> + +<p><b>brevis ... magnificus ... oratori similis</b>: cp. in regard to +each of these points the criticism of Dionysius.—For +<i>diligens</i> see <a href = "QuintCrit.html#critI_sec63">Crit. +Notes</a>.</p> + +<p><b>lusit</b>. For <i>ludere</i>, ‘to write sportively,’ to +‘trifle<ins class = "correction" title = "close quote missing">’,</ins> +cp. Hor. Car. iv. 9, 9 nec si quid olim lusit Anacreon delevit aetas: i. +32, 2: Verg. Georg. iv. 566 carmina qui lusi.</p> + +<p><b>in amores descendit</b>, in his <span class = "greek" title = +"erôtika">ἐρωτικά</span> and <span class = "greek" title = +"sumpotika">συμποτικά</span>. Cic. Tusc. Disp. iv. §71 fortis vir in sua +republica cognitus quae de iuvenum amore scribit Alcaeus! Hor. Car. i. +32, 3 sqq. Age, dic Latinum, barbite, carmen, Lesbio primum modulate +civi, Qui ferox bello tamen inter arma, Sive iactatam religarat udo +Litore navim, Liberum et Musas Veneremque et illi Semper haerentem +puerum canebat, Et Lycum nigris oculis nigroque Crine decorum.</p> + +<p><b>maioribus</b> = rebus maioribus, ‘loftier themes.’ Introd. <a href += "QuintIntro.html#intro_pagexlvii">p. xlvii</a>. Cp. i. pr. §5 ad +minora illa, sed quae si neglegas, non sit maioribus locus. Cp. +<i>subitis</i> <a href = "QuintBody2.html#chapVII_sec30">7 §30</a>: +Nägelsbach §24, 2 (pp. 116-117).</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec64" id = "chapI_sec64"> </a> +<span class = "secnum">I:64</span> +<span class = "smallcaps">Simonides</span>, tenuis alioqui, sermone +<span class = "pagenum">61</span> +proprio et iucunditate quadam commendari potest; praecipua tamen eius in +commovenda miseratione virtus, ut quidam in hac eum parte omnibus eius +operis auctoribus praeferant.</p> + +<div class = "comm"> +<p><a name = "commI_sec64" id = "commI_sec64"><b>§ 64.</b></a> +<b>Simonides</b> of Ceos (556-468), like Pindar, was fortunate in his +age, and the most considerable of his fragments that remain are full of +the fire kindled in his heart by the great national struggle with +Persia. He was a sort of cosmopolitan poet, living by turns in Athens, +at the court of the Aleuadae and Scopadae in Thessaly, Corinth, Sparta, +and Sicily. He cultivated friendly relations with Miltiades and +Themistocles, with Pausanias of Sparta, and (like Pindar and Aeschylus) +with Hiero of Syracuse. He was famed for his elegies, epigrams, +epinician odes, and every form of choral lyric poetry. His wisdom was +renowned: <span class = "greek" title = "sophos kai theios ho anêr">σοφὸς καὶ θεῖος ὁ ἀνήρ</span>, Plat. Rep. 331 E, where some of his +gnomic utterances are discussed: cp. ib. 335 E: Protag. +316 D.—The criticism of Dionysius (l.c.) corresponds: <span +class = "greek" title = "Simônidou de paratêrei tên eklogên tôn onomatôn">Σιμωνίδου δὲ παρατήρει τὴν ἐκλογὴν τῶν ὀνομάτων</span> +(sermone proprio), <span class = "greek" title = "tês suntheseôs tên akribeian; pros toutois, kath’ ho beltiôn heurisketai kai Pindarou, to oiktizesthai mê megaloprepôs, alla pathêtikôs">τῆς συνθέσεως τὴν +ἀκρίβειαν‧ πρὸς τούτοις, καθ᾽ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ +οἰκτίζεσθαι μὴ μεγαλοπρεπῶς, ἀλλὰ παθητικῶς</span>.</p> + +<span class = "pagenum comm">61</span> +<p><b>tenuis</b>, ‘simple,’ ‘natural’: cp. <a href = +"QuintBody2.html#chapII_sec19">2 §19</a> and <a href = +"QuintBody2.html#chapII_sec23">§23</a> (tenuitas), also <span class = +"greek" title = "mê megaloprepôs">μὴ μεγαλοπρεπῶς</span> quoted above. +<span class = "greek" title = "Leptotês">Λεπτότης</span> (‘terse +simplicity’) was a quality of Simonides’ style, especially in his +epigrams: ‘when least adorned adorned the most,’ Mayor. Cp. <a href = +"#chapI_sec44">§44</a>, note. Opposites are <i>grandis</i>, +<i>copiosus</i>, <i>plenus</i>.</p> + +<p><b>alioqui</b> = <span class = "greek" title = "ta men alla">τὰ μὲν +ἄλλα</span>, ‘for the rest’: cp. ceterum. See on <a href = +"QuintBody2.html#chapIII_sec13">3 §13</a>, and Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>sermone proprio</b>: see on <a href = "#chapI_sec46">§46</a>.</p> + +<p><b>iucundidate</b>: see on iucundus <a href = "#chapI_sec46">§46</a>, +and cp. <a href = "#chapI_sec82">§§82</a>, <a href = +"#chapI_sec96">96</a>, <a href = "#chapI_sec101">101</a>, <a href = +"#chapI_sec110">110</a>, <a href = "#chapI_sec113">113</a>: <a href = +"QuintBody2.html#chapII_sec23">2 §23</a>. Cic. de Nat. Deor. i. §60 +non enim poeta solum suavis, verum etiam ceteroqui doctus sapiensque +traditur. So Tac. Dial. 10 lyricorum iucunditatem.</p> + +<p><b>miseratione</b>. He was a master of pathos, especially in his +<span class = "greek" title = "thrênoi">θρῆνοι</span>: witness his +‘Lament of Danae,’ truly a ‘precious tender-hearted scroll of pure +Simonides.’ Generally his poems seem to have been tinged with the same +melancholy resignation as inspired the earlier writers of elegy: e.g. +fr. 39 ‘slight is the strength of men, and vain are all their cares, and +in their brief life trouble follows upon trouble; and death, which none +can shun, hangs over all,—in him both good and bad share equally.’ +Catull. 38, 7 paulum quidlibet adlocutionis maestius lacrimis Simonidis: +Hor. Car. ii. 1, 37 sed ne relictis Musa procax iocis Ceae retractes +munera neniae.</p> + +<p><b>quidam</b>: see on putant <a href = "#chapI_sec54">§54</a>.</p> + +<p><b>in hac parte</b>, ‘in this respect.’ Cp. i. 3, 17: 7 §19: +10 §4: ii. 17, 1: iii. 6, 64: xii. 1, 16. So ab (ex) hac +parte.</p> + +<p><b>operis</b> = <i>generis</i>, ‘class of poetry.’ See on <a href = +"#chapI_sec9">§9</a>: cp. <a href = "#chapI_sec28">§28</a> <a href += "#chapI_sec85">§85</a>.</p> + +<p><b>auctoribus</b>, <a href = "#chapI_sec24">§24</a>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec65" id = "chapI_sec65"> </a> +<span class = "secnum">I:65</span> +Antiqua comoedia cum sinceram illam sermonis Attici gratiam prope sola +retinet, tum facundissimae libertatis est et in insectandis vitiis +praecipua; plurimum tamen virium etiam in +<span class = "pagenum">62</span> +ceteris partibus habet. Nam et grandis et elegans et venusta, et nescio +an ulla, post Homerum tamen, quem ut Achillen semper excipi par est, aut +similior sit oratoribus aut ad oratores faciendos aptior.</p> + +<div class = "comm space"> +<p><a name = "commI_sec65" id = "commI_sec65"><b>§ 65.</b></a> +Quintilian now proceeds to deal with the Comic and Tragic Drama. In the +<span class = "greek" title = "peri mimêseôs">περὶ μιμήσεως</span> of +Dionysius there is nothing about the Old Comedy, and very little that +corresponds with Quintilian in the sections on Aeschylus, Sophocles, and +Euripides. Both however pass from Euripides to Menander.</p> + +<p>The Old Comedy (<a href = "#chapI_sec65">§§65-66</a>) was closely +connected with the political life of the day, as may be seen from its +plots, and especially from the <i>parabases</i>. When the licence of +ridicule was curbed (by the laws <span class = "greek" title = "mê kômôdein">μὴ κωμῳδεῖν</span> and <span class = "greek" title = "mê kômôdein onomasti">μὴ κωμῳδεῖν ὀνομαστί</span>), it passed into what is +known as Middle Comedy (<span class = "smallroman">B.C.</span> 404-338), +in which literary and speculative pursuits take the place of politics; +its atmosphere is not that of the agora, but of the literary academies +and schools of philosophy. In the New Comedy (<a href = +"#chapI_sec69">§§69-72</a>) the Chorus, which has been becoming less and +less important, is altogether abandoned, along with other features which +the Middle Comedy had in common with the Old. Its strength lies in its +delineation of social life and manners, and the materials on which it +relied were handed on to Rome, whence, through Plautus and Terence, they +were transmitted to Modern Comedy.</p> + +<p>Quintilian takes no notice of what is termed Middle Comedy. Between +the Old and the New, Tragedy is made to find a place (<a href = +"#chapI_sec66">§§66-67</a>), the plays of Euripides affording a +transition to those of Menander.</p> + +<p><b>antiqua comoedia</b>: cp. veteris comoediae <a href = +"#chapI_sec9">§§9</a> and 82. See Hor. Sat. i. 4, 2: 10, 17.</p> + +<p><b>sinceram ... gratiam</b>: <a href = "#chapI_sec44">§44</a> sana et +vere Attica: <a href = "#chapI_sec100">§100</a> illam solis concessam +Atticis venerem: <a href = "#chapI_sec107">§107</a> illa quae Attici +mirantur. The same phrase occurs xii. 10, 35. Of Roman Comedy he says +(i. 8, 8) in comoediis elegantia et quidam velut <span class = +"greek" title = "attikismos">ἀττικισμός</span> inveniri potest.</p> + +<p><b>libertatis</b> = <span class = "greek" title = +"parrêsias">παρρησίας</span> <a href = "#chapI_sec94">§§94</a>, <a href += "#chapI_sec104">104</a>. Hor. Sat. i. 4, 5 multa cum libertate +notabant: A. P. 281-284 successit vetus his comoedia, non sine +multa Laude; sed in vitium libertas excidit et vim Dignam lege regi; lex +est accepta chorusque Turpiter obticuit sublato iure nocendi. Isocr. de +Pace 14 <span class = "greek" title = "egô d’ oida men hoti ... dêmokratias ousês ouk esti parrêsia, plên ... en tô theatrô tois kômôdidaskalois">ἐγὼ δ᾽ οἶδα μὲν ὅτι ... δημοκρατίας οὔσης οὐκ ἔστι +παρρησία πλὴν ... ἐν τῷ θεάτρῳ τοῖς κωμῳδιδασκάλοις</span>. Marc. Aurel. +xi. 6:) +<span class = "pagenum comm">62</span> +<span class = "greek" title = "hê archaia kômôdia ... paidagôgikên parrêsian echousa.">ἡ ἀρχαία κωμῳδία ... παιδαγωγικὴν παρρησίαν +ἔχουσα.</span>—For the reading see Crit. Notes.</p> + +<p><b>grandis</b> = <span class = "greek" title = +"hupsêlos">ὑψηλός</span>, <a href = "#chapI_sec77">§77</a>: <a href = +"QuintBody2.html#chapII_sec16">2 §16</a> (where it is opposed to +<i>tumidus</i>). Hor. A. P. 93-4 Interdum tamen et vocem comoedia +tollit. Iratusque Chremes tumido delitigat ore.</p> + +<p><b>elegans</b>: <a href = "#chapI_sec78">§§78</a>, <a href = +"#chapI_sec87">87</a>, <a href = "#chapI_sec93">93</a>, <a href = +"#chapI_sec99">99</a>: <a href = +"QuintBody2.html#chapII_sec19">2 §19</a>, ‘choice,’ ‘tasteful.’ Cp. +Cic. Brut. §272 verborum delectus elegans. In the treatise ad Herenn. +(iv. 12) <i>elegantia</i> stands along with <i>compositio</i> and +<i>dignitas</i> as a requisite of style: it includes <i>Latinitas</i> +(which avoids solecisms and barbarisms), and <i>explanatio</i>, which +uses <i>verba usitata</i> and <i>propria</i>.</p> + +<p><b>venusta</b>: vi. 3, 18 venustum esse quod cum venere quadam et +gratia dicatur apparet. Krüger sees in these adjj. a reference to the +main characteristics of the three different styles distinguished by +rhetoricians, <a href = "#chapI_sec44">§44</a>.</p> + +<p><b>nescio an ulla</b>: see <a href = +"QuintCrit.html#critI_sec65">Crit. Notes</a>.</p> + +<p><b>ut Achillen</b>: Il. ii. 673-4 <span class = "greek" title = +"Nireus, hos kallistos anêr hupo Ilion êlthe Tôn allôn Danaôn met’ amumona Pêleiôna">Νιρεύς, ὃς κάλλιστος ἀνὴρ ὑπὸ Ἴλιον ἦλθε Τῶν ἄλλων +Δαναῶν μετ᾽ ἀμύμονα Πηλεΐωνα</span>: ib. 768. Alcaeus fr. 63 <span class += "greek" title = "Kronida basilêas genos Aian, ton ariston ped’ Achillea">Κρονίδα βασιλήας γένος Αἴαν, τὸν ἄριστον πεδ᾽ +Ἀχιλλέα</span>.</p> + +<p><b>similior oratoribus</b>: <a href = "#chapI_sec63">§63</a> +plerumque oratori similis. The same description of the style of the Old +Comedy is given by one of the rhetoricians, Walz Rhet. Gr. v. 471 (cp. +vi. 164, vii. 932) <span class = "greek" title = "logoeidestera: tout’ estin hê kômikôtera kai prosbeblêkuia logô pezô kata sunthêkên, hothen tines kai rhêtorikên emmetron tên kômôidian ekolesan.">λόγοειδεστέρα‧ +<ins class = "correction" title = "‘ο’ invisible: supplied from Greek text">τοῦτ᾽</ins> ἔστιν ἡ κωμικωτέρα καὶ προσβεβληκυῖα λόγῳ πεζῷ κατὰ +συνθήκην, ὅθεν τινὲς καὶ ῥητορικὴν ἔμμετρον τὴν κωμῳδίαν +ἐκόλεσαν.</span> Students of oratory went to the comic actors for +<i>pronuntiatio</i> and <i>gestus</i>: i. 11, 1-14: 12, 14: xi. 3, +181.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec66" id = "chapI_sec66"> </a> +<span class = "secnum">I:66</span> +Plures eius auctores, <span class = "smallcaps">Aristophanes</span> tamen et <span class = "smallcaps">Eupolis</span> +<span class = "smallcaps">Cratinus</span>que praecipui. Tragoedias primus in lucem +<span class = "smallcaps">Aeschylus</span> protulit, sublimis et gravis et grandiloquus +<span class = "pagenum">63</span> +saepe usque ad vitium, sed rudis in plerisque et incompositus; propter +quod correctas eius fabulas in certamen deferre posterioribus poetis +Athenienses permiserunt, suntque eo modo multi coronati.</p> + +<div class = "comm"> +<p><a name = "commI_sec66" id = "commI_sec66"><b>§ 66.</b></a> +<b>Aristophanes ... Eupolis ... Cratinus</b>. The same representatives +of Old Comedy are named in Hor. Sat. i. 4, 1: cp. Persius i. 123 Audaci +quicumque adflate Cratino Iratum Eupolidem praegrandi cum sene palles. +So also Dionysius, Art. Rhet. viii. 11, p. 302 R (there is +nothing about Old Comedy in the <span class = "greek" title = "arch. kr.">ἀρχ. κρ.</span>): <span class = "greek" title = "hê de kômôdia hoti politeuetai en tois dramasi kai philosophei, hê tôn peri ton Kratinon kai Aristophanên kai Eupolin, ti dei kai legein">ἡ δὲ κωμῳδία ὅτι +πολιτεύεται ἐν τοῖς δράμασι καὶ φιλοσοφεῖ, ἡ τῶν περὶ τὸν Κρατῖνον καὶ +Ἀριστοφάνην καὶ Εὔπολιν, τί δεῖ καὶ λέγειν</span>; Velleius i. 16, 3: +Diomed. p. 489 K (p. 9 Reiff.) ‘Ar. Eup. et Crat. qui vel principum +vitia sectati acerbissimas comoedias composuerunt.’ The chronological +order would be, Cratinus (519-422), Aristophanes (448-380), Eupolis +(446-410). In 424 <span class = "smallroman">B.C.</span> Cratinus with +his <span class = "greek" title = "Putinê">Πυτίνη</span> (‘Wine-flask’) +gained the victory over the <i>Clouds</i> of Aristophanes, while in the +previous year Eupolis is said to have helped his greater rival in the +composition of the <i>Knights</i>. Cratinus was the real originator of +political comedy: see the grammarian quoted by Meineke (i. p. 540): +‘he added a serious moral object to the mere amusement in comedy, by +reviling evil-doers (<span class = "greek" title = "tous kakôs prattontas diaballôn">τοὺς κακῶς πράττοντας διαβάλλων</span>, cp. +insectandis vitiis) and chastising them with his comedy, as it were with +a public scourge’: cp. Platon. de Com. p. 27 <span class = "greek" +title = "ou gar hôsper ho Aristophanês epitrechein tên charin tois skômmasi poiei ... all’ haplôs kai kata tên paroimian gumnê kephalê tithêsi tas blasphêmias kata tôn hamartanontôn.">οὐ γὰρ ὥσπερ ὁ +Ἀριστοφάνης ἐπιτρέχειν τὴν χάριν τοῖς σκώμμασι ποιεῖ ... ἀλλ᾽ ἁπλῶς καὶ +κατὰ τὴν παροιμίαν γυμνῇ κεφαλῇ τίθησι τὰς βλασφημίας κατὰ τῶν +ἁμαρτανόντων.</span></p> + +<p><b>primus</b>. Just as in treating of Comedy Quintilian passes over +the Megarian farces of Susarion, and such earlier writers as Chionides +and Magnes, so now he omits all mention of Pratinas, Choerilus, Thespis +and Phrynichus. Thespis introduced the actor (<span class = "greek" +title = "hupokritês">ὑποκριτής</span>) and arranged that the dithyrambic +choruses should be interrupted by regular dialogue between the +coryphaeus and the actor. This step secured the entrance of the dramatic +element, as distinct from the lyric, and made subsequent development +easy. Aeschylus is however the real founder of tragedy: he introduced a +second actor and subordinated the choral song to the dialogue, besides +elaborating the machinery of the stage and the scenic decoration +employed thereon. Cp. Hor. A. P. 275 sqq.</p> + +<p><b>sublimis</b>, &c. Cp. Dionysius, l.c., (Usener, p. 21) +<span class = "pagenum comm">63</span> +<span class = "greek" title = "Ho d’ oun Aischulos prôtos hupsêlos te kai tês megaloprepeias echomenos, kai êthôn kai pathôn to prepon eidôs, kai tê tropikê kai tê kuria lexei diapherontôs kekosmêmenos, pollachou de kai autos dêmiourgos kai poiêtês idiôn +onomatôn kai pragmatôn.">Ὁ δ᾽ οὖν Αἰσχυλος πρῶτος ὑψηλός τε καὶ τῆς +μεγαλοπρεπείας ἐχόμενος, καὶ ἠθῶν καὶ παθῶν τὸ πρέπον εἰδώς, καὶ τῇ +τροπικῇ καὶ τῇ κυρίᾳ λέξει διαφερόντως // κεκοσμημενος, πολλαχοῦ δὲ καὶ +αὐτος δημιουργὸς καὶ ποιητὴς ἰδίων ὀνομάτων καὶ πραγμάτων.</span></p> + +<p><b>grandiloquus</b>. Cp. Aristoph. Frogs 823 <span class = "greek" +title = "bruchômenos hêsei rhêmata gomphopagê">βρυχώμενος ἥσει ῥήματα +γομφοπαγῆ</span>, 939 <span class = "greek" title = "tên technên ... oidousan hupo kompasmatôn kai rhêmatôn epachthôn">τὴν τέχνην ... +οἰδοῦσαν ὑπὸ κομπασμάτων καὶ ῥημάτων ἐπαχθων</span>, 1004, <span class = +"greek" title = "all’ ô prôtos tôn Hellênôn purgôsas rhêmata semna kai kosmêsas tragikon lêron k.t.l.">ἀλλ᾽ ὦ πρῶτος τῶν Ἑλλήνων πυργώσας +ῥήματα σεμνὰ καὶ κοσμήσας τραγικὸν λῆρον κ.τ.λ.</span> So too the +biographer of Aeschylus, <span class = "greek" title = "kata de tên sunthesin tês poiêseôs zêloi to hadron">κατὰ δὲ τὴν σύνθεσιν τῆς +ποιήσεως ζηλοῖ τὸ ἁδρὸν</span> (see on <a href = "#chapI_sec44">§44</a>) +<span class = "greek" title = "aei plasma ... pasi tois dunamenois ogkon tê phrasei peritheinai chrômenos.">ἀεὶ πλάσμα ... πᾶσι τοῖς δυναμένοις +ὄγκον τῇ φράσει περιθεῖναι χρώμενος.</span> Hor. A. P. 280 ‘et +docuit magnumque loqui nitique cothurno.’</p> + +<p><b>rudis et incompositus</b>, ‘uncouth and inharmonious.’ Cp. horride +atque incomposite <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>: and note on +<i>compositus</i> <a href = "#chapI_sec44">§44</a>. In the de Comp. +Verb. c. 22 Dionysius names Aeschylus along with Antimachus as a +representative of <span class = "greek" title = "hê austêra harmonia">ἡ +αὐστηρὰ ἁρμονία</span> (p. 150 R). For <i>rudis</i> cp. Hor. Sat. +i. 10, 66 rudis et Graecis intacti carminis auctor: for +<i>incompositus</i> see Introd. <a href = +"QuintIntro.html#intro_pagexlv">p. xlv</a>. The author of the +treatise ‘On the Sublime’ qualifies his eulogy of Aeschylus by adding in +the same way that his plays were frequently unpolished, ill digested, +and rough in style.</p> + +<p><b>in plerisque</b>; neut. ‘in general,’ ‘for the most part.’ See +Intod. p. xlvii.</p> + +<p><b>propter quod</b> = quam ob rem: <a href = +"QuintBody2.html#chapVII_sec6">7 §6</a>: <a href = +"QuintBody2.html#chapV_sec23">5 §23</a>. See on <a href = +"#chapI_sec10">§10</a>.</p> + +<p><b>correctas ... permiserunt</b>. This passage has been the subject +of much controversy. It seems inconsistent with our knowledge of the +statute passed by the orator Lycurgus (396) enacting that official +copies of the plays of the three great tragedians should be made, and +that no new performance of them should be allowed without a comparison +of the acting copy with the State MS. Perhaps Quintilian misunderstood +the phrase <span class = "greek" title = "dramata dieskeuasmena">δράματα +διεσκευασμένα</span>, commonly applied to plays revised by the author +himself with a view to a second representation. Madvig however (Kl. +philol. Schr. 1875, pp. 464-5) thinks it quite probable that +revised versions of plays of Aeschylus were allowed to be brought into +competition by later poets (say in the latter half of the 4th century), +when Aeschylus came in for criticism on the score of the defects alluded +to above (<i>rudis et incompositus</i>), but when, on the other hand, +creative genius was not so abundant. Krüger quotes Rohde (‘Scenica,’ +Rhein. Mus. 1883, vol. 38, p. 289 sqq.), who sees in the words of +the scholiast on Arist. Ach. 10 (<span class = "greek" title = "monou autou ta dramata psêphismati koinô kai meta thanaton edidasketo">μόνου +αὐτοῦ τὰ δράματα ψηφίσματι κοινῷ καὶ μετὰ θάνατον ἐδιδάσκετο</span>) a +compliment paid to Aeschylus alone, and consisting not merely in the +appreciative revival of his plays after his death, but in the fact that +they were reproduced not as <span class = "greek" title = +"palaiai">παλαιαί</span> but as new dramas, were provided afresh with +choruses by the archon, and were admitted to competition at the great +Dionysia (where only new tragedies were represented) if any one +appeared, who in the name of the dead poet asked to be provided with a +chorus. Cp. <span class = "greek" title = "ouk oligas meta teleutên nikas apênenkato">οὐκ ὀλίγας μετὰ τελευτὴν νίκας ἀπηνέγκατο</span>, vit. +Acschyl. 68, Dindorf<sup>5</sup>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec67" id = "chapI_sec67"> </a> +<span class = "secnum">I:67</span> +Sed longe clarius inlustraverunt hoc opus <span class = "smallcaps">Sophocles</span> atque +<span class = "smallcaps">Euripides</span>, quorum in dispari dicendi via uter sit poeta melior +inter plurimos quaeritur. Idque ego sane, quoniam ad praesentem materiam +nihil pertinet, iniudicatum +<span class = "pagenum">64</span> +relinquo. Illud quidem nemo non fateatur necesse est, iis qui se ad +agendum comparant utiliorem longe fore Euripiden.</p> + +<div class = "comm"> +<p><a name = "commI_sec67" id = "commI_sec67"><b>§ 67.</b></a> +<b>longe</b>, with the comp. vi. 4, 21: 3 §13. Cp. Verg. Aen. ix. +556: Vell. ii. 74, 1. In Cicero <i>longe</i> is used only with the +superl. (and with <i>alius</i>: pro Caec. i. §3) with the compar. he +generally has <i>multo</i>. Quintilian has also <i>longe princeps</i> <a +href = "#chapI_sec61">§61</a>: and <i>multo</i> with superl., e.g. i. +2, 24.</p> + +<p><b>opus</b>: sc. tragoedias in lucem proferendi. See on <a href = +"#chapI_sec9">§9</a>.</p> + +<p><b>in dispari dicendi via</b>. By Dionysius Euripides is made the +only representative of the ‘smooth’ style of composition (<span class = +"greek" title = "glaphura harmonia">γλαφυρὰ ἁρμονία</span>, de Comp. +Verb. c. 23), while Sophocles represents the middle style (<span class = +"greek" title = "koinê">κοινή</span> or <span class = "greek" title = +"mesê harmonia">μέση ἁρμονία</span>, ib. c. 24). This must of course be +kept distinct from the three <span class = "greek" title = +"lexeis">λέξεις</span>, or styles of <i>diction</i>, which he enumerates +in his essay on Demosthenes, c. 1-3.</p> + +<p><b>quaeritur</b>. Modern criticism has taken +<span class = "pagenum comm">64</span> +up the issue, and Euripides has suffered from being identified with what +was practically a dramatic revolution. Schlegel depreciated him as +contrasting with Sophocles in many points. Mr. Jebb’s utterance will +stand: ‘no one is capable of feeling that Sophocles is supreme who does +not feel that Euripides is admirable’ (Att. Or. i. p. xcix).</p> + +<p><b>utiliorem</b>: so <i>magis accedit oratorio generi</i> immediately +below: Dionysius l.c. xi. (Usener, p. 22) <span class = "greek" +title = "kekramenê mesotêti tês lexeôs kechrêtai">κεκραμένη μεσότητι τῆς +λέξεως κέχρηται</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec68" id = "chapI_sec68"> </a> +<span class = "secnum">I:68</span> +Namque is et sermone (quod ipsum reprehendunt quibus gravitas et +cothurnus et sonus Sophocli videtur esse sublimior) magis accedit +oratorio generi, et sententiis densus et in iis quae a sapientibus +tradita sunt paene ipsis par, et dicendo ac respondendo cuilibet eorum +qui fuerunt in foro diserti comparandus; in adfectibus vero cum omnibus +mirus, tum in iis qui in miseratione constant facile praecipuus.</p> + +<div class = "comm"> +<p><a name = "commI_sec68" id = "commI_sec68"><b>§ 68.</b></a> +<b>quod ipsum reprehendunt</b>: see <a href = +"QuintCrit.html#critI_sec68">Crit. Notes</a>.</p> + +<p><b>gravitas ... sublimior</b>. The use of the comparative takes away +from the difficulty which commentators have found in the conjunction of +<i>sublimior</i> as a predicate with <i>gravitas</i> and +<i>cothurnus</i> as well as with <i>sonus</i>.—For +<i>cothurnus</i>, cp. Iuv. vi. 634 Fingimus haec, altum Satira sumente +cothurnum Scilicet et finem egressi legemque priorum Grande Sophocleo +carmen bacchamur hiatu.</p> + +<p><b>sententiis densus</b>: cp. <i>sent. creber</i> <a href = +"#chapI_sec102">§102</a>: and for <i>densus</i> (= pressus) <a href += "#chapI_sec73">§§73</a>, <a href = "#chapI_sec76">76</a>. Euripides +had been a pupil of Anaxagoras. Something might be said in support of +Halm’s suggestion to insert <i>est</i> after <i>densus</i>.</p> + +<p><b>sapientibus</b>. In Euripides philosophy is brought on the stage, +and different theories are put forward in his plays as to such questions +as the moral government of the world, the opposition between freedom and +authority, the nature of punishment, the question of a future life, +&c.</p> + +<p><b>dicendo ac respondendo</b>. In this appears the influence of his +sophistic training. Euripides knew his audience, and in his plays the +characters indulge to the full all the tendencies that were fostered by +the sophistic habit of debate, while the chorus is as it were the jury +to which they address their arguments for and against a particular +proposition. Cp. Dion. l.c. <span class = "greek" title = "polus en tais rhêtorikais eisagôgais">πολὺς ἐν ταῖς ῥητορικαῖς εἰσαγωγαῖς</span>.</p> + +<p><b>adfectibus ... miseratione</b>. Arist. Poet. 13 <span class = +"greek" title = "tragikôtatos ge tôn poiêtôn phainetai">τραγικώτατός γε +τῶν ποιητῶν φαίνεται</span>.</p> + +<p><b>facile</b>. So <i>facile princeps</i> Cic. ad Fam. vi. 10, 2: +<i>facile primus</i> pro Rosc. Amer. §15. For the reading see <a href = +"QuintCrit.html#critI_sec68">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec69" id = "chapI_sec69"> </a> +<span class = "secnum">I:69</span> +Hunc admiratus maxime est, ut saepe testatur, et secutus, quamquam in +opere diverso, <span class = "smallcaps">Menander</span>, qui vel unus meo quidem iudicio +diligenter lectus ad cuncta quae praecipimus effingenda sufficiat: ita +omnem +<span class = "pagenum">65</span> +vitae imaginem expressit, tanta in eo inveniendi copia et eloquendi +facultas, ita est omnibus rebus, personis, adfectibus accommodatus.</p> + +<div class = "comm"> +<p><a name = "commI_sec69" id = "commI_sec69"><b>§ 69.</b></a> +<b>testatur</b>: not in any extant fragment, though it is by no means +improbable that in some of his numerous plays Menander expressed an +admiration for the most popular tragedian of the day.</p> + +<p><b>Menander</b>, 342-290 <span class = "smallroman">B.C.</span> At +his death the Athenians erected his tomb near the cenotaph of Euripides, +in token of the affectionate regard in which he had held the elder poet. +‘Euripides was the forerunner of the New Comedy; the poets of this +species admired him especially, and acknowledged him for their master. +Nay, so great is this affinity of tone and spirit between Euripides and +the poets of the New Comedy, that apothegms of Euripides have been +ascribed to Menander and <i>vice versa</i>. On the contrary, we find +among the fragments of Menander maxims of consolation which rise, in a +striking manner, even into the tragic tone.’ Schlegel. See Meineke Com. +Frag. iv. Epimetrum ii., Menander imitator Euripidis.</p> + +<p><b>omnem vitae imaginem</b>. Menander was the ‘mirror of life’: cp. +the exclamation of Aristophanes of Byzantium <span class = "greek" title += "Ô Menandre kai bie, poteros ar' humôn poteron emimêsato?">Ὦ Μένανδρε +καὶ βίε, πότερος ἄρ᾽ ὑμῶν πότερον ἐμιμήσατο;</span> Manilius v. 470 +Menander +<span class = "pagenum comm">65</span> +Qui vitam ostendit vitae. So Cicero in a fragment of the De Republica +(or the Hortensius, Usener, p. 120): Comoedia est imitatio vitae, +speculum consuetudinis, et veritatis imago.—For this use of +<i>exprimere</i>, a figure from the plastic art, cp. Hor. A. P. +32-3.</p> + +<p><b>tauta in eo, &c.</b> Cp. with this Dionysius l.c. (Usener, +p. 22) <span class = "greek" title = "tôn de kômôdôn mimêteon tas lektikas aretas hapasas; eisi gar kai tois onomasi katharoi kai sapheis, kai bracheis kai megaloprepeis kai deinoi kai êthikoi. Menandrou de kai to pragmatikon theôrêteon.">τῶν δὲ κωμῳδῶν μιμητέον τὰς λεκτικὰς ἀρετὰς +ἁπάσας‧ εἰσὶ γὰρ καὶ τοῖς ὀνόμασι καθαροὶ καὶ σαφεῖς, καὶ βραχεῖς καὶ +μεγαλοπρεπεῖς καὶ δεινοὶ καὶ ἠθικοί. Μενάνδρου δὲ καὶ τὸ πραγματικὸν +θεωρητέον.</span></p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec70" id = "chapI_sec70"> </a> +<span class = "secnum">I:70</span> +Nec nihil profecto viderunt qui orationes, quae Charisi nomini +addicuntur, a Menandro scriptas putant. Sed mihi longe magis orator +probari in opere suo videtur, nisi forte aut illa iudicia, qua +Epitrepontes, Epicleros, Locroe habent, aut meditationes in Psophodee, +Nomothete, Hypobolimaeo non omnibus oratoriis numeris sunt +absolutae.</p> + +<div class = "comm"> +<p><a name = "commI_sec70" id = "commI_sec70"><b>§ 70.</b></a> +<b>nihil viderunt</b>: they have not ‘lacked discrimination.’ So, of +political insight or foresight, Cic. pro. Leg. Manil. §64 sin autem vos +plus in republica vidistis: Phil. ii. §39 cum me vidisse plus fateretur, +se speravisse meliora.</p> + +<p><b>Charisius</b>, an Athenian orator, a contemporary of Demosthenes, +who wrote speeches for others, in which he was thought to imitate +Lysias: he was in turn imitated by Hegesias, Cic. Brut. §286.</p> + +<p><b>addicuntur</b>: Aul. Gell. iii. 3. 13 istaec comoediae nomini eius +(Plauti) addicuntur.</p> + +<p><b>in opere suo</b>: ‘I consider that he proves his oratorical +ability far more in his own department’ (i.e. as a writer of +comedy)—than in those speeches of Charisius, supposing that he did +compose them. For <i>opus</i> see on <a href = "#chapI_sec9">§9</a>: cp. +<a href = "#chapI_sec67">§67</a>.</p> + +<p><b>nisi forte</b>, ironical: see on <a href = +"QuintBody2.html#chapV_sec6">5 §6</a>: cp. <a href = +"QuintBody2.html#chapII_sec8">2 §8</a>. The formula introduces ‘a +case which is in fact inadmissible, but is intended to suggest to +another person that he cannot differ from our opinion, without admitting +as true a thing which is improbable and absurd,’ Zumpt §526.</p> + +<p><b>iudicia ... meditationes</b>: ‘judicial pleadings,’ speeches +suitable to be made before a court—‘extra-judicial pleadings,’ +law-school speeches, <i>declamationes</i>, <span class = "greek" title = +"meletai">μελέται</span>. Cp. iv. 2, 29 cum sit declamatio forensium +actionum meditatio: <a href = +"QuintBody2.html#chapV_sec14">5 §14</a>.—The names are those +of some of Menander’s comedies: The Trusting, The Heiress, The Locri, +The Timid Man, The Lawyer, The Changeling. The second and the last are +known to have been imitated by Caecilius. For the reading see <a href = +"QuintCrit.html#critI_sec70">Crit. Notes</a>.</p> + +<p><b>numeris</b>: here as at <a href = "#chapI_sec91">§91</a> rather +than as at <a href = "#chapI_sec4">§4</a>, where see note. Here it only += <i>partibus</i> and has nothing to do with rhythmical composition. In +this sense it is found almost invariably with <i>omnis</i>: Varro apud +Aul. Gell. xiii. 11, 1 ipsum deinde convivium constat ex rebus quatuor, +et tum denique omnibus suis numeris absolutum est, &c.: Cic. de +N. D. ii. §37 mundum ... perfectum expletumque omnibus suis numeris +et partibus: de Div. i. §23 quod omnes habet in se numeros: de Off. iii. +§14: de Fin. iii. §24 omnes numeros virtutis continent: Sen. Ep. +71 §16 (veritas) habet numeros suos: plena est: 95 §5: Iuv. +vi. 249: Tac. Dial. 32 per omnes eloquentiae numeros isse. So viii. pr. +§1 per omnes numeros penitus cognoscere.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec71" id = "chapI_sec71"> </a> +<span class = "secnum">I:71</span> +Ego tamen plus adhuc quiddam collaturum eum declamatoribus puto, quoniam +his necesse est secundum +<span class = "pagenum">66</span> +condicionem controversiarum plures subire personas, patrum filiorum, +militum rusticorum, divitum pauperum, irascentium deprecantium, mitium +asperorum; in quibus omnibus mire custoditur ab hoc poeta decor.</p> + +<div class = "comm"> +<p><a name = "commI_sec71" id = "commI_sec71"><b>§ 71.</b></a> +<b>plus adhuc quiddam</b> = <span class = "greek" title = "pleon ti">πλέον τι</span>, or <span class = "greek" title = "eti kai pleon">ἔτι καὶ πλέον</span>. <i>Adhuc</i> with compar. (for +<i>etiam</i>) is post-Augustan: cp. <a href = "#chapI_sec99">§99</a>. +Here <i>quiddam</i> (like <span class = "greek" title = "ti">τι</span>) +is used to modify the force of the comparative. So adhuc melius ii. 4, +13: adhuc difficilior i. 5, 22: liberior adhuc disputatio vii. 2, 14: +and Tac. Germ. 29: Suet. Nero 10: Sen. Ep. 85, 24: Spalding on i. +5, 22.</p> + +<p><b>declamatoribus</b>. Students in the schools of rhetoric, and even +speakers of a more mature type, practised declamation at Rome in the +shape of oratorical compositions on questions which, though fictitious, +were yet akin to such as were argued in the law-courts. The youthful +aspirant learned in this way to speak in +<span class = "pagenum comm">66</span> +public (Cic. de Orat. i. §149: Quint. ii. 10, 4: ib. §12), while the +orator had the opportunity of perfecting his articulation and delivery. +To these two aims the Greek terms <span class = "greek" title = +"meletê">μελέτη</span> and <span class = "greek" title = +"phônaskia">φωνασκία</span> correspond: for the first cp. de Orat. i. +§251, and for the second Brut. §310. It was in the age of the decadence +of Roman oratory that declamation came to be an end in itself. At first +it had been merely a preparatory exercise; now, under the head of +<i>suasoriae</i> (deliberativae materiae) and <i>controversiae</i> +(iudiciales materiae), finished oratorical compositions were produced, +graced by all the ornaments of genuine rhetoric. Cp. Tac. Dial. 35.</p> + +<p><b>controversiarum</b>. Cp. iv. 2, 97 evenit aliquando in +scholasticis controversiis quod in foro an possit accidere dubito: iii. +8, 51 praecipue declamatoribus considerandum est quid cuique personae +conveniat, qui parcissimas controversias ita dicunt ut advocati: +plerumque filii, parentes, divites, senes, asperi, lenes, avari, denique +superstitiosi, timidi, derisores fiunt, ut vix comoediarum actoribus +plures habitus in pronuntiando concipiendi sunt, quam his in +dicendo.</p> + +<p><b>decor</b>: see on <a href = "#chapI_sec27">§27</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec72" id = "chapI_sec72"> </a> +<span class = "secnum">I:72</span> +Atque ille quidem omnibus eiusdem operis auctoribus abstulit nomen et +fulgore quodam suae claritatis tenebras obduxit. Tamen habent alii +quoque comici, si cum venia leguntur, quaedam quae possis decerpere, et +praecipue <span class = "smallcaps">Philemon</span>; qui ut prave sui temporis iudiciis Menandro +saepe praelatus est, ita consensu tamen omnium meruit credi +secundus.</p> + +<div class = "comm"> +<p><a name = "commI_sec72" id = "commI_sec72"><b>§ 72.</b></a> +<b>eiusdem operis</b>, i.e. Comedy, not the New Comedy only, as is shown +by <i>alii comici</i> below. Along with Menander and Philemon, Velleius +(i. 16, 3) and Diomedes (p. 489 K, p. 9 Reiff.) mention +Diphilus, on whom both Plautus and Terence drew for material.</p> + +<p><b>nomen</b>: see on <a href = "#chapI_sec87">§87</a>.</p> + +<p><b>fulgore ... obduxit</b>: ‘has put them in the shade by the +brightness of his own glory.’</p> + +<p><b>cum venia</b>: cp. i. 5, 11: Ov. Tr. i. 1, 46 scriptaque cum venia +qualiacumque leget: ib. iv. 1, 104 cum venia facito, quisquis es, ista +legas. Kiderlin rightly holds this reading to be, not only possible, but +at least as appropriate to <i>habent quaedam</i> as any of the +conjectures (see Crit. Notes) by which it has been proposed to supplant +it. The <i>severe</i> critic will perhaps not find anything in the other +comic poets useful for the orator: but he who reads them with indulgence +(i.e. making allowance for their poverty as compared with Menander) will +find something. It is different with Menander, in whose plays even the +rigorous critic will find everything that the orator needs (<a href = +"#chapI_sec69">§69</a>).</p> + +<p><b>Philemon</b>, of Soli in Cilicia, 360-262. Fragments of fifty-six +of his ninety plays are extant. His <span class = "greek" title = +"Thêsauros">Θησαυρός</span> was used by Plautus for the +<i>Trinummus</i>, and his <span class = "greek" title = +"Emporos">Ἔμπορος</span> for the <i>Mercator</i>.</p> + +<p><b>prave</b>, ‘adverbium pro sententia.’ Cp. iii. 7, 18 quidam sicut +Menander iustiora posteriorum quam suae aetatis iudicia sunt consecuti: +Aul. Gell. 17, 1 Menander a Philemone nequaquam pari scriptore in +certaminibus comoediarum ... saepenumero vincebatur.—See <a href = +"QuintCrit.html#critI_sec72">Crit. Notes</a>.</p> + +<p><b>meruit credi</b> = merito creditus est (or creditur). Cp. <a href += "#chapI_sec74">§74</a>. Elsewhere <i>mereo</i> means little more than +<i>adipisci</i>, <i>consequi</i>: <a href = "#chapI_sec94">§§94</a>, <a +href = "#chapI_sec116">116</a>: vi. 4, 5 nec immerito quidam ... +meruerunt nomina patronorum. For the nomin. with inf. cp. <a href = +"#chapI_sec97">§97</a> qui esse docti adfectant: Ov. Met. xiii. 314 esse +reus merui.</p> +</div> + +<div class = "comm space"> +<p><a name = "commI_grk_hist" id = "commI_grk_hist"><b>§73-75.</b></a> +<span class = "smallcaps">Greek Historians</span>:—</p> + +<p>In his <span class = "greek" title = "Archaiôn krisis">Ἀρχαίων +κρίσις</span> (or <span class = "greek" title = "peri mimêseôs">περὶ +μιμήσεως</span> 2) Dionysius says nothing of Ephorus, Clitarchus, +or Timagenes, but draws a more elaborate parallel (Usener, p. 22) +between Herodotus and Thucydides, as well as between Philistus and +Xenophon: Theopompus he treats by himself. Illustrative +<span class = "pagenum comm">67</span> +passages are found also in the <i>Iudicium de Thucydide</i> and the +<i>Epistola ad Cn. Pompeium</i> (de Praecip. Historicis). Cp. also +Cicero, de Orat. ii. §55 sq., where the order is Herodotus and +Thucydides, Philistus, Theopompus and Ephorus, Xenophon, Callisthenes, +and Timaeus. For the last two Quint. substitutes Clitarchus and +Timagenes. Cp. Introd. <a href = +"QuintIntro.html#intro_pagexxxiii">p. xxxiii</a>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec73" id = "chapI_sec73"> </a> +<span class = "secnum">I:73</span> +Historiam multi scripsere praeclare, sed nemo dubitat longe +<span class = "pagenum">67</span> +duos ceteris praeferendos, quorum diversa virtus laudem paene est parem +consecuta. Densus et brevis et semper instans sibi +<span class = "pagenum">68</span> +<span class = "smallcaps">Thucydides</span>, dulcis et candidus et fusus <span class = "smallcaps">Herodotus</span>: +ille concitatis hic remissis adfectibus melior, ille contionibus hic +sermonibus, ille vi hic voluptate.</p> + +<div class = "comm space"> +<p><a name = "commI_sec73" id = "commI_sec73"><b>§ 73.</b></a> +<b>scripsere</b>. In i. 5, 42 Quint. (speaking of the forms +<i>scripsere</i> and <i>legere</i>) says ‘evitandae asperitatis gratia +mollitum est ut apud veteres pro male <i>mereris</i>, male +<i>merere</i>,’ ib. §44 ‘quid? non Livius circa initia statim primi +libri, <i>tenuere</i>, inquit, <i>arcem Sabini</i>? et mox, <i>in +adversum Romani subiere</i>? sed quem potius ego quam M. Tullium +sequor, qui in Oratore, <i>non reprehendo</i>, inquit, <i>scripsere; +scripserunt esse verius sentio</i>.’ The passage referred to is Or. +§157. The termination <i>-ere</i> for <i>-erunt</i> is ‘found in some of +the earliest inscriptions, and is not uncommon in Plautus and Terence, +<i>rare in Cicero</i> and Caesar, but frequent in dactylic poets and +Livy,’ Roby, §578. Mr. Sandys also quotes Dr. Reid: ‘There is hardly a +sound example of <i>-ere</i> in the perfect in any really good MS. of +Cicero (see Neue, ii. 390 ff.); and similarly in the case of Caesar.’ +Quintilian has permiserunt, <a href = "#chapI_sec66">§66</a> (where the +later MSS. give <i>-ere</i>): illustraverunt <a href = +"#chapI_sec67">§67</a>: viderunt <a href = "#chapI_sec70">§70</a>: +indulsere <a href = "#chapI_sec84">§84</a>. See Bonnell, Proleg. de +Gramm. Quint. p. xxvii.</p> + +<p><b>nemo dubitat ... praeferendos</b>. The acc. and inf. with +<i>dubito</i> (for the negative expression of doubt) is much the more +common construction in Quint. (cp. <a href = "#chapI_sec81">§81</a>, <a +href = "QuintBody2.html#chapIV_sec2">4 §2</a>), though he also uses +<i>quin</i> and subj. (e.g. <a href = +"QuintBody2.html#chapII_sec1">2 §1</a>: xii. 1, 42 ad hoc nemo +dubitabit quin ... magis e republica sit). A study of the instances +in Bonn. Lex. will fail to reveal any principle of difference: cp. vii. +6, 10 quis dubitaret quin ea voluntas fuisset testantis? with ix. 4, 68 +quis enim dubitet unum sensum in hoc et unum spiritum esse? and i. 10, +12 atqui claros nomine sapientiae viros nemo dubitaverit studiosos +musices fuisse. The acc. with inf. belongs on the whole to the usage of +the Silver Age, being frequent in Livy, Nepos (e.g. his opening words +‘non dubito fore plerosque, Attice’), Tacitus, Pliny (e.g. praef. 18 nec +dubitamus multa esse), Pliny the Younger, Tacitus and Suetonius. It +never occurs in Caesar or Sallust, and in Cicero only in doubtful cases: +these are his youthful transl. of Xenophon’s Oeconomicus, where he has +(§6) quis enim dubitet nihil esse pulchrius in omni ratione vitae +dispositione atque ordine? ad Att. vii. 1, 2, where the passage may be +differently construed: de Fin. iii. 11, 38 nihil est enim de quo minus +dubitari possit quam et honesta expetenda per se et eodem modo turpia +per se esse fugienda. In the last instance the dependent clause ‘de quo +... possit’ = ‘certius’: and after ‘quam’ ‘illud’ may be supplied. On +the other hand cp. for <i>quin</i> Rep. i. 23: Brut. §71: de Sen. §31: +in Verr. ii. 1, 40. In young Cicero’s letter to Tiro (ad Fam. xvi. +21, 2) we find the acc. c. inf., though below (<a href = +"#chapI_sec7">§7</a>) he has the usual construction.</p> + +<p><b>diversa virtus ... consecuta</b>: as for example from Dionysius, +Epist. ad Cn. Pomp. pp. 775-7 R (Usener, p. 57 sq.).</p> + +<p><b>Densus</b>, <a href = "#chapI_sec68">§68</a>. It is opposed to +<i>fusus</i> here as in <a href = "#chapI_sec106">§106</a> to +<i>copiosus</i>. Cp. Dionysius, p. 869 R, <span class = +"greek" title = "to te peirasthai di’ elachistôn onomatôn pleista sêmainein pragmata, kai polla suntithenai noêmata eis hen.">τό τε +πειρᾶσθαι δι᾽ ἐλαχίστων ὀνομάτων πλεῖστα σημαίνειν πράγματα, καὶ πολλὰ +συντιθέναι νοήματα εἰς ἕν.</span></p> + +<p><b>brevis</b>: Dion. <span class = "greek" title = "Arch. kr.">Ἀρχ. +κρ.</span> p. 425 R (Usener, pp. 22-3) <span class = +"greek" title = "kai to men suntomon esti para Thoukudidê to d’ enarges par’ amphoterois">καὶ τὸ μὲν σύντομόν ἐστι παρὰ Θουκυδίδῃ τὸ δ᾽ ἐναργὲς +παρ᾽ ἀμφοτέροις</span>. This is what Dion. calls <span class = "greek" +title = "to tachos tês sêmasias">τὸ τάχος τῆς σημασίας</span> +p. 793 R (Us. p. 82).</p> + +<p><b>semper instans sibi</b>, ‘ever pressing on.’ Thucydides does not +‘let things drift,’ but closely follows up each thought, making every +word tell, and even hurrying on to a new idea before he has fully +developed the previous one: Dion. l.c. <span class = "greek" title = +"kai eti prosdechomenon ti ton akroatên akousesthai katalipein">καὶ ἔτι +προσδεχόμενόν τι τὸν ἀκροατὴν ἀκούσεσθαι καταλιπεῖν</span>. Cp. xi. 3, +164 instandum quibusdam in partibus et densanda oratio. Hor. Ep. i. 2, +71 nec praecedentibus insto: cp. Sat. i. 10, 9 est brevitate opus ut +currat sententia neu se impediat verbis lassas onerantibus +aures.—Cicero’s references to Thucydides are similar: Orat. §40 +Thucydides praefractior nec satis ut ita dicam rotundus; de Orat. ii. +§56 creber est rerum frequentia ... porro verbis est aptus et pressus; +ibid. §93 (with Pericles and Alcibiades) subtiles, acuti, breves, +sententiisque magis quam verbis abundantes; Brut. §29 grandes erant +verbis, crebri +<span class = "pagenum comm">68</span> +sententiis, compressione rerum breves et ob eam ipsam causam interdum +subobscuri.</p> + +<p><b>dulcis</b>, <a href = "#chapI_sec77">§77</a>, ‘pleasing,’ cp. +voluptate, below. So Cic. Hortens. ‘quid enim aut Herodoto dulcius aut +Thucydide gravius?’ <span class = "greek" title = +"Glukutês">Γλυκύτης</span> is one of the essentials of <span class = +"greek" title = "hêdeia lexis">ἡδεῖα λέξις</span> in Dionysius (de Comp. +Verb. xi. p. 53 R). In the preceding chapter he has +distinguished between <span class = "greek" title = "hê hêdonê">ἡ +ἡδονή</span> and <span class = "greek" title = "to kalon">τὸ +καλόν</span>, allowing the latter to Thucydides and both to Herodotus: +<span class = "greek" title = "hê de Hêrodotou sunthesis amphotera tauta echei; kai gar hêdeia esti kai kalê.">ἡ δὲ Ἡροδότου σύνθεσις ἀμφότερα +ταῦτα ἔχει‧ καὶ γὰρ ἡδεῖά ἐστι καὶ καλή.</span> Hermogenes (ii. +p. 226) makes <span class = "greek" title = +"glukutês">γλυκύτης</span> the characteristic of Herodotus on account of +the attractiveness of his digressions.</p> + +<p><b>candidus</b>: <a href = "#chapI_sec113">§§113</a>, <a href = +"#chapI_sec121">121</a>: Cic. Orat. §53 elaborant alii in ... puro et +quasi quodam candido genere dicendi. So in ii. 5, 19 Quintilian +recommends young persons to read candidum quemque et maxime +expositum,—Livy rather than Sallust: of Livy he says elsewhere (<a +href = "#chapI_sec101">§101</a>) in narrando mirae iucunditatis +clarissimique candoris. The word denotes ‘clearness,’ ‘transparency’: +Dion. (<span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> R, +Us. p. 22) <span class = "greek" title = "tês de saphêneias anamphisbêtêtôs Hêrodotô to katorthôma dedotai">τῆς δὲ σαφηνείας +ἀναμφισβητήτως Ἡροδότῳ τὸ κατόρθωμα δέδοται</span>. Such a quality of +style is the revelation of a man’s inner nature. It avoids all +adventitious ornament (ibid. <span class = "greek" title = "tô aphelei autophuei abasanistô">τῷ ἀφελεῖ αὐτοφυεῖ ἀβασανίστῳ</span>). Undue +<i>brevitas</i> often interferes with it (<span class = "greek" title = +"asaphes gignetai to brachu">ἀσαφὲς γίγνεται τὸ βραχύ</span>), so that +the word gives a partial antithesis to <i>brevis</i>.</p> + +<p><b>fusus</b> supplies the antithesis to <i>densus</i> as well as to +<i>semper instans sibi</i>. Cp. <a href = "#chapI_sec77">§77</a>: ii. 3, +5 constricta an latius fusa oratio: ix. 4, 138 fusi ac fluentes. So +Cicero Orat. §39 alter sine ullis salebris quasi sedatus amnis fluit, +alter incitatior fertur.</p> + +<p><b>concitatis ... remissis adfectibus</b>. Dionysius, speaking of +<span class = "greek" title = "tôn êthôn te kai pathôn mimêsis">τῶν ἠθων +τε καὶ παθῶν μίμησις</span> (ad Cn. Pomp. p. 776 R, Us. +p. 58), says <span class = "greek" title = "diêrêntai tên aretên tautên hoi sungrapheis; Thoukudidês men gar ta pathê dêlôsai kreittôn, Hêrodotos de ta g’ êthê parastêsai deinoteros.">διῄρηνται τὴν ἀρετὴν +ταύτην οἱ συγγράφεις‧ Θουκυδίδης μὲν γὰρ τὰ πάθη δηλῶσαι κρείττων, +Ἡρόδοτος δὲ τὰ γ᾽ ἤθη παραστῆσαι δεινότερος.</span> So (<span class = +"greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 425 R, Us. +p. 23) <span class = "greek" title = "en mentoi tois êthikois kratei Hêrodotos, en de tois pathêtikois ho Thoukudidês">ἐν μέντοι τοῖς +ἠθικοῖς κρατεῖ Ἡρόδοτος, ἐν δὲ τοῖς παθητικοῖς ὁ Θουκυδίδης</span>. Cp. +p. 793 R <span class = "greek" title = "huper apanta d’ autou tauta to pathêtikon.">ὑπὲρ ἅπαντα δ᾽ αὐτοῦ ταῦτα τὸ παθητικόν.</span> +For the distinction between <span class = "greek" title = "to êthikon">τὸ ἠθικόν</span> (the appeal to the moral sense) and <span +class = "greek" title = "to pathêtikon">τὸ παθητικόν</span> (the appeal +to the emotions) see Cic. Orat. §128: Quint. vi. 2, §§8-10 Adfectus +igitur hos concitatos <span class = "greek" title = +"pathos">πάθος</span> illos mites atque compositos <span class = "greek" +title = "êthos">ἦθος</span> esse dixerunt, and sq. Cp. §§48 and 101 of +this book, and iii. 4, 15 concitandis componendisve adfectibus.</p> + +<p><b>contionibus ... sermonibus</b>: not the same antithesis as +<i>narrando ... contionibus</i> <a href = "#chapI_sec101">§101</a>, q.v. +The opposition here is between the set harangues of Thucydides and the +less formal conversations of Herodotus. In Thucydides the only dialogues +are that between the Melians and the Athenians in Book V, and that +between Archidamus and the Plataeans in Book II, whereas Herodotus +‘seldom speaks where there is a fair pretext for making the characters +speak.... Even the longer speeches have usually the conversational tone +rather than the rhetorical,’ Jebb. (Hild is wrong in referring +<i>sermonibus</i> to <span class = "greek" title = "to pragmatikon eidos">τὸ πραγματικὸν εἶδος</span> in Dionysius and <i>contionibus</i> +to <span class = "greek" title = "to lektikon">τὸ λεκτικόν</span>: <span +class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 424 R, +Us. p. 22: cp. de Admir. Deor. vi. c. 51, p. 1112 R sq.). +The speeches of Thucydides are criticised by Dionysius (under the head +both of <span class = "greek" title = "to pragmatikon meros">τὸ +πραγματικὸν μέρος</span> and <span class = "greek" title = "to lektikon">τὸ λεκτικόν</span>) in his Iudicium, ch. 34, +p. 896 R sq. Herodotus on the other hand (ibid. 23 ad fin.), +<span class = "greek" title = "oude dêmêgoriais pollais ... oud’ enagôniois kechrêtai logois, oud’ en tô pathainein kai deinopoiein ta pragmata tên alkên echei.">οὐδὲ δημηγορίαις πολλαῖς ... οὐδ᾽ ἐναγωνίοις +κέχρηται λόγοις, οὐδ᾽ ἐν τῷ παθαίνειν καὶ δεινοποιεῖν τὰ πράγματα τὴν +ἀλκὴν ἔχει.</span> Dionysius’s own opinion of the speeches in Thucydides +is seen from the last chapter of his Iudicium (pp. 950-2 R) to have +agreed with that of Cicero, Orator §30: ipsae illae contiones ita multas +habent obscuras abditasque sententias vix ut intellegantur. (Cp. Brutus +§287.) On this ground he says nihil ab eo transferri potest ad forensem +usum et publicum: cp. de Opt. Gen. 15, 16. Dionysius, however (ch. 34 ad +init.) indicates that some people thought differently: <span class = +"greek" title = "tôn dêmêgoriôn en hais oiontai tines tên akran tou sungrapheôs einai dunamin.">τῶν δημηγοριῶν ἐν αἷς οἴονταί τινες τὴν +ἄκραν τοῦ συγγραφέως εἶναι δύναμιν.</span>—For the speeches see +Blass, Att. Bereds p. 231 sq.: and Jebb’s Essay in +<i>Hellenica</i>, esp. pp. 269-275.</p> + +<p><b>vi ... voluptate</b>. Many passages may be quoted from Dionysius +to illustrate this antithesis: <ins class = "correction" title = "text reads Αχρ. κρ. [Achr. kr.]"><span class = "greek" title = "Achr. kr.">Ἀχρ. κρ.</span></ins> p. 425 R, Usener p. 23 +<span class = "pagenum comm">69</span> +<span class = "greek" title = "rhômê de kai ischui kai tonô kai tô perittô kai poluschêmatistô parêudokimêse Thoukudidês: hêdonê de kai peithoi kai chariti ... makrô dienenkonta ton Hêrodoton heuriskomen">ῥώμῃ δὲ καὶ ἰσχύι καὶ τόνῳ καὶ τῷ περιττῷ καὶ +πολυσχηματίστῳ παρηυδοκίμησε Θουκυδίδης: ἡδονῇ δὲ καὶ πειθοῖ καὶ χάριτι +... μακρῷ διενεγκόντα τὸν Ἡρόδοτον εὑρίσκομεν</span>: ad. Cn. Pomp. iii. +p. 776 R (Us. p. 58) <span class = "greek" title = "hepontai tautais hai tên ischun kai ton tonon kai tas homoiotropous dunameis tês phraseôs aretai periechousai. kreittôn en tautais Hêrodotou Thoukudidês. hêdonên de kai peithô kai terpsin kai tas homoiogeneis aretas eispheretai makrô Thoukudidou kreittonas Hêrodotos.">ἕπονται ταύταις αἱ +τὴν ἰσχὺν καὶ τὸν τόνον καὶ τὰς ὁμοιοτρόπους δυνάμεις τῆς φράσεως ἀρεταὶ +περιέχουσαι. κρείττων ἐν ταύταις Ἡροδότου Θουκυδίδης. ἡδονὴν δὲ καὶ +πειθὼ καὶ τέρψιν καὶ τὰς ὁμοιογενεῖς ἀρετὰς εἰσφέρεται μακρῷ Θουκυδίδου +κρείττονας Ἡρόδοτος.</span> So Iud. de Thucyd. 23, p. 866 R +<span class = "greek" title = "peithous te kai charitôn kai tês eis akron hêkousês hêdonês heneka.">πειθοῦς τε καὶ χαρίτων καὶ τῆς εἰς ἀκρὸν +ἡκούσης ἡδονῆς ἕνεκα.</span> So in the Epist. ad Pomp. iii. +p. 767 R he praises Herodotus for his choice of subject (<span +class = "greek" title = "hupothesin ... kalên kai kecharismenên tois anagnôsomenois">ὑπόθεσιν ... καλὴν καὶ κεχαρισμένην τοῖς +ἀναγνωσομένοις</span> Us. p. 50), while Thucyd. was conscious <span +class = "greek" title = "hoti eis men akroasin hêtton epiterpês hê graphê esti">ὅτι εἰς μὲν ἀκρόασιν ἧττον ἐπιτερπὴς ἡ γραφή ἐστι</span> +(de Comp. Verb. p. 165 R). It is his variety (<span class = +"greek" title = "metabolê kai poikilon">μεταβολὴ καὶ ποικίλον</span>) +and the providing of agreeable <span class = "greek" title = +"anapauseis">ἀναπαύσεις</span> that give Hdt. his charm: <span class = +"greek" title = "kai gar to biblion ên autou labômen mechri tês eschatês sullabês agametha kai aei to pleion epizêtoumen">καὶ γὰρ τὸ βιβλίον ἢν +αὐτοῦ λάβωμεν μέχρι τῆς ἐσχάτης συλλαβῆς ἀγάμεθα καὶ ἀεὶ τὸ πλεῖον +ἐπιζητοῦμεν</span> p. 772 R: while Thucydides is by comparison +<span class = "greek" title = "asaphês kai dusparakolouthêtos">ἀσαφὴς +καὶ δυσπαρακολούθητος</span> p. 773 (Usener pp. 54-5).</p> + +<p>For vi cp. also Orat. §39 alter incitatior fertur, et de bellicis +rebus canit etiam quodam modo bellicum: for voluptate Quint. ix. 4, 18 +in Herodoto vero cum omnia, ut ego quidem sentio, leniter fluunt, tum +ipsa <span class = "greek" title = "dialektos">διάλεκτος</span> habet +eam iucunditatem ut latentes in se numeros complexa videatur. And again +Dionysius, p. 777 R: Us. p. 59 <span class = "greek" +title = "diapherousi de kata touto malista allêlôn hoti to men Hêrodotou kallos hilaron esti, phoberon de">διαφέρουσι δὲ κατὰ τοῦτο μάλιστα +ἀλλήλων ὅτι τὸ μὲν Ἡροδότου κάλλος ἱλαρόν ἐστι, φοβερὸν δὲ</span> +(‘impressive’) <span class = "greek" title = "to Thoukudidou">τὸ +Θουκυδίδου</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec74" id = "chapI_sec74"> </a> +<span class = "secnum">I:74</span> +<span class = "smallcaps">Theopompus</span> his proximus +<span class = "pagenum">69</span> +ut in historia praedictis minor, ita oratori magis similis, ut qui, +antequam est ad hoc opus sollicitatus, diu fuerit orator. +<span class = "smallcaps">Philistus</span> quoque meretur qui turbae quamvis bonorum post eos +auctorum eximatur, imitator Thucydidi et ut multo infirmior, +<span class = "pagenum">70</span> +ita aliquatenus lucidior. <span class = "smallcaps">Ephorus</span>, ut Isocrati visum, +calcaribus eget. <span class = "smallcaps">Clitarchi</span> probatur ingenium, fides +infamatur.</p> + +<div class = "comm"> +<p><a name = "commI_sec74" id = "commI_sec74"><b>§ 74.</b></a> +<b>Theopompus</b>, of Chios, born about 378 <span class = +"smallroman">B.C.</span> What Quint. says of him is not found in Dion. +though the latter gives him high praise in the Epist. ad Cn. Pomp. +p. 782 R sq. Cp. <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 428 sq. He wrote two histories, neither of +which has come down to us:—(1) <span class = "greek" title = +"Hêllênika">Ἡλληνικά</span>, containing in twelve books the sequel to +the Peloponnesian War, down to the battle of Knidos (<span class = +"smallroman">B.C.</span> 394); and (2) <span class = "greek" title += "Philippika">Φιλιππικά</span>, a history of affairs under Philip, in +fifty-eight books. Dionysius says that he was the most distinguished of +all the pupils of Isocrates, whom he resembled in style (l.c. +p. 786). His master said that he needed the bit, as Ephorus (see +below) the spur: ii. 8, 11, cp. Brut. §204. Quint. says elsewhere (ix. +4, 35) that, like the followers of Isocrates in general, he was +unduly solicitous about avoiding the coalition of vowels: Orat. §151. In +the Brutus (§66) Cicero, comparing him with Philistus and Thucydides, +says officit Theopompus elatione atque altitudine orationis suae. His +fragments are collected in Müller’s Fragm. Histor. Graec. i. +pp. 278-333.</p> + +<p><b>praedictis</b> = antea, supra dictis. This is the usual meaning of +the word in Quint.: cp. tria quae praediximus iii. 6, 89: vicina +praedictae sed amplior virtus viii. 3, 83: ii. 4, 24: ix. 3, 66: Vell. +Pat. i. 4, 1: Suet. Aug. 90: Plin. N. H. lxxii. 16, 35. The +Ciceronian use appears only in ‘praedicta pernicies’ iii. 7, 19 (cp. iv. +2, 98): vii. 1, 30.</p> + +<p><b>opus</b>: <a href = "#chapI_sec31">§§31</a>, <a href = +"#chapI_sec67">67</a>, <a href = "#chapI_sec69">69</a>, <a href = +"#chapI_sec70">70</a>, <a href = "#chapI_sec96">96</a>, <a href = +"#chapI_sec123">123</a>: <a href = +"QuintBody2.html#chapII_sec21">2 §21</a>. Cp. Introd. <a href = +"QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> + +<p><b>sollicitatus</b> by his master Isocrates. Cicero tells us this: +postea vero ex clarissima quasi rhetorum officina duo praestantes +ingenio, Theopompus et Ephorus, ab Isocrate magistro impulsi se ad +historiam contulerunt (de Orat. ii. §57).</p> + +<p><b>Philistus</b>, of Syracuse, born about <span class = +"smallroman">B.C.</span> 430. He was a contemporary of both the +Dionysii, by the elder of whom he was exiled and by the younger +recalled. He wrote a history of Sicily in two parts,—<span class = +"greek" title = "peri Sikelias men tên proteran epigraphôn, peri Dionusiou de tên husteran">περὶ Σικελίας μὲν τὴν προτέραν ἐπιγραφων, +περὶ Διονυσίου δὲ τὴν ὑστέραν</span>, Dion. ad Pomp. p 780 R (Us. +p. 61). Cicero says he liked the latter: me magis de Dionysio +delectat, ad Q. Fr. ii. 13, 4.—Müller, Fragm. Hist. Gr. +i. 185-192.</p> + +<p><b>meretur qui</b>: see on <a href = "#chapI_sec72">§72</a>.</p> + +<p><b>quamvis bonorum</b>. For this brachyology cp. <a href = +"#chapI_sec94">§94</a>, and note: Livy ii. 54 §7 nec auctor quamvis +audaci facinori deerat: ibid. 51 §7. Cp. quamlibet properato <a +href = "QuintBody2.html#chapIII_sec19">3 §19</a>. Introd. <a href = +"QuintIntro.html#intro_pageliv">p. liv</a>.</p> + +<p><b>eximatur</b>: with <i>ex</i> or <i>de</i> in classical Latin, as +in the phrase ex reis eximi, aliquem de reis eximere (Cic.) For the dat. +cp. i. 4, 3 ut auctores alios omnino exemerint numero (opp. to in +ordinem redigere): Hor. Car. ii. 2, 19 Phraaten numero beatorum eximit +virtus. The same meaning appears in xii. 2, 28 quid ... eximat nos +opinionibus vulgi. In Tac. the dat. is common in the sense of to ‘free +from’: infamiae, morti, ignominiae. +<span class = "pagenum comm">70</span> +What follows might be a condensation of Dion.’s criticism of Philistus: +<span class = "greek" title = "Philistos de mimêtês esti Thoukudidou, exô tou êthous; hô men gar eleutheron kai phronêmatos meston; toutô de therapeutikon tôn turannôn kai doulon pleonexias">Φίλιστος δὲ μιμητής +ἐστι Θουκυδίδου, ἔξω τοῦ ἤθους‧ ᾧ μὲν γὰρ ἐλεύθερον καὶ φρονήματος +μεστόν‧ τούτῳ δὲ θεραπευτικὸν τῶν τυράννων καὶ δοῦλον πλεονεξίας</span>, +<span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> +p. 426 R, Us. p. 24: cp. ad Pomp. v. (p. 779 R) +<span class = "greek" title = "Philistos de Thoukudidê mallon <an> doxeien eoikenai, kai kat’ ekeinon kosmeisthai ton charaktêra">Φίλιστος +δὲ Θουκυδίδη μᾶλλον <ἂν> δοξεῖεν ἐοικέναι, καὶ κατ᾽ ἐκεῖνον +κοσμεῖσθαι τὸν χαρακτῆρα</span>: Cic. de Orat. ii. 57 hunc (Thucydidem) +consecutus est Syracosius Philistus qui, cum Dionysii tyranni +familiarissimus esset, otium suum consumpsit in historia scribenda, +maximeque Thucydidem est, sicut mihi videtur, imitatus.</p> + +<p><b>infirmior</b>: Cic. ad Q. Fr. ii. 13, 4 Siculus ille (Philistus) +capitalis, creber, acutus, brevis, paene pusillus Thucydides: Dionysius, +<span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> (p. +427 R, Us. p. 25) <span class = "greek" title = "mikros de esti kai tapeinos komidê tais ekphrasesin ... oude ho logos tô megethei tou pragmatos exisoutai">μικρὸς δὲ ἐστι καὶ ταπεινὸς κομιδῇ ταῖς +ἐκφράσεσιν ... οὐδὲ ὁ λόγος τῷ μεγέθει τοῦ πράγματος ἐξισοῦται</span>: +ad Pomp. (p. 781 R) <span class = "greek" title = "mikros te peri pasan idean esti kai entelês k.t.l.">μικρός τε περὶ πᾶσαν ἰδέαν ἐστὶ καὶ +ἐντελής κ.τ.λ.</span></p> + +<p><b>aliquatenus</b> with comparative, instead of the ablative +<i>aliquanto</i>, just as he uses <i>longe</i> and <i>multum</i> for +<i>multo</i>. So xi. 3, 97 aliquatenus liberius.</p> + +<p><b>lucidior</b>: <span class = "greek" title = "tês de lexeôs to men glôssêmatikon kai periergon ouk ezêlôke Thoukudidou">τῆς δὲ λέξεως τὸ +μὲν γλωσσηματικὸν καὶ περίεργον οὐκ ἐζήλωκε Θουκυδίδου</span> (<span +class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> l.c.). Yet Dionysius +blames him, even more than Thucyd., for <span class = "greek" title = +"ataxia tês oikonomias">ἀταξία τῆς οἰκονομίας</span>, and adds that, +like Thucyd., <span class = "greek" title = "dusparakolouthêton tên pragmateian tê sunchusei tôn eirêmenôn pepoiêke">δυσπαρακολούθητον τὴν +πραγματείαν τῇ συνχύσει τῶν εἰρημένων πεποίηκε</span>.</p> + +<p><b>Ephorus</b>, of Cumae in Aeolis, was a contemporary of Philip and +Alexander: fl. cir. <span class = "smallroman">B.C.</span> 340. He wrote +a Universal History down to his own times. Like Theopompus, he was a +pupil of Isocrates (de Orat. ii. §57: iii. §36: Orator §191); and +Dionysius mentions him, along with Theopompus, as the best example, +among historians, of <span class = "greek" title = "hê glaphura kai anthêra sunthesis">ἡ γλαφυρὰ καὶ ἀνθηρὰ σύνθεσις</span>, just as +Isocrates was among rhetoricians (de Comp. Verb. 23, +p. 173 R). Plutarch (Dion. 36) blames him for his sophistical +tendencies: Polybius (v. 33, 2) praises his wide knowledge.</p> + +<p><b>calcaribus</b>. Brutus §204 ut Isocratem in acerrimo ingenio +Theopompi et lenissimo Ephori dixisse traditum est, alteri se calcaria +adhibere, alteri frenos: de Orat. iii. 9, 36 quod dicebat Isocrates, +doctor singularis, se calcaribus in Ephoro contra autem in Theopompo +frenis uti solere: Hortensius: quid ... aut Philisto brevius aut +Theopompo acrius aut Ephoro mitius inveniri potest? Cp. also ad Att. vi. +1, 12: Quint, ii. 8, 11. So Suidas, <span class = "greek" title = +"ho goun Isokratês ton men Theopompon ephê chalinou deisthai, ton de Ephoron kentrou">ὁ γοῦν Ἰσοκράτης τὸν μὲν Θεόπομπον ἔφη χαλινοῦ δεῖσθαι, +τὸν δὲ Ἔφορον κέντρου</span> (s.v. Ephorus). A similar story is +told of Plato, teacher of Aristotle and Xenocrates; and of Aristotle, +who in turn taught Theophrastus and Callisthenes.</p> + +<p><b>Clitarchus</b>, of Megara, a contemporary of Alexander the Great, +whom he accompanied on his expeditions, and whose history he wrote, in +twelve books, down to the battle of Ipsos. He also wrote a history of +the Persians before and after Xerxes. Cicero alludes (Brutus §42 sq.) to +his romantic turn: concessum est rhetoribus ementiri in historiis, ut +aliquid dicere possint argutius (‘more racily’); ut enim tu nunc de +Coriolano, sic Clitarchus, sic Stratocles de Themistocle finxit: de +Legg. i. 2.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec75" id = "chapI_sec75"> </a> +<span class = "secnum">I:75</span> +Longo post intervallo temporis natus <span class = "smallcaps">Timagenes</span> vel hoc est ipso +probabilis, quod intermissam historias scribendi industriam nova +<span class = "pagenum">71</span> +laude reparavit. <span class = "smallcaps">Xenophon</span> non excidit mihi, sed inter +philosophos reddendus est.</p> + +<div class = "comm"> +<p><a name = "commI_sec75" id = "commI_sec75"><b>§ 75.</b></a> +<b>Timagenes</b> belongs to the Augustan Age. He is said to have been a +native of Syria, who came to Rome after the capture of Alexandria (<span +class = "smallroman">B.C.</span> 55). At Rome he founded a school of +rhetoric, and wrote a history of Alexander the Great and his successors. +He was a friend of Asinius Pollio, and enjoyed the patronage of Augustus +till he incurred his censure for having spoken too boldly of the members +of the Imperial family: Hor. Ep. i. 19, 15. Quintilian might have filled +the gap (<i>intervallo temporis</i>) between Clitarchus and Timagenes +with such names as Timaeus (de Orat. ii. §58), Polybius, and Dionysius +himself.</p> + +<p><b>historias scribendi</b>: cp. <a href = "#chapI_sec34">§34</a> and +<a href = "QuintBody2.html#chapII_sec7">2 §7</a>. The plural is +used of historical works, in the concrete: the sing. generally of +history as a mode of composition: <a href = "#chapI_sec31">§§31</a>, <a +href = "#chapI_sec73">73</a>, <a href = "#chapI_sec74">74</a>, <a href = +"#chapI_sec101">101</a>, <a href = "#chapI_sec102">102</a>; <a href = +"QuintBody2.html#chapV_sec15">5 §15</a>,—seldom as 1. 8, 20 +cum historiae cuidam tanquam vanae repugnaret. Cp. Hor. Sat. i. 3, 89 +amaras porrecto iugulo historias captivus ut audit: Car. ii. 12, 9 +pedestribus dices historiis praelia Caesaris. Cicero has the sing. most +frequently: Brutus §287 si historiam scribere ... cogitatis: but the pl. +occurs ib. §42 (quoted above).</p> + +<span class = "pagenum comm">71</span> +<p><b>Xenophon</b> <a href = "#chapI_sec33">§§33</a> and 82. By +Dionysius he is treated as a historian, and compared to Philistus. The +philosophic character of his work is however indicated in several +places: e.g. <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> +(p. 426 R, Us. p. 24) <span class = "greek" title = "all’ oude tou prepontos tois prosôpois pollakis estochasato, perititheis andrasin idiôtais kai barbarois esth’ hote logous philosophous">ἀλλ᾽ οὐδὲ τοῦ +πρέποντος τοῖς προσώποις πολλάκις ἐστοχάσατο, περιτιθεὶς ἀνδράσιν +ἰδιώταις καὶ βαρβάροις ἐσθ᾽ ὅτε λόγους φιλοσόφους</span>: ad Cn. Pomp. 4 +(p. 777) <span class = "greek" title = "tas hupotheseis tôn historiôn exelexato kalas kai megaloprepeis kai andri philosophô prosêkousas; tên te Kurou paideian, eikona basileôs agathou kai eudaimonos k.t.l.">τὰς +ὑποθέσεις τῶν ἱστοριῶν ἐξελέξατο καλὰς καὶ μεγαλοπρεπεῖς καὶ ἀνδρὶ +φιλοσόφῳ προσηκούσας‧ τήν τε Κύρου παιδείαν, εἰκόνα βασιλέως ἀγαθοῦ καὶ +εὐδαίμονος κ.τ.λ.</span>. Besides Cicero (de Orat. ii. §58 denique etiam +a philosophia profectus—Xenophon—scripsit historiam), +Diogenes Laertius and Dio Chrysostom speak of Xenophon as a philosopher, +all probably following an ancient authority. See Usener, p. 117, +and cp. Introd. <a href = +"QuintIntro.html#intro_pagexxxiii">p. xxxiii</a>.</p> + +<p><b>inter</b>. Becher notes this use of the prep. ( = ‘among a number +of’) as occurring first in Livy. Cp. <a href = "#chapI_sec116">§116</a> +ponendus inter praecipuos.</p> +</div> + +<div class = "comm space"> + +<p><a name = "commI_grk_orat" id = "commI_grk_orat"><b>§§76-80.</b></a> +<span class = "smallcaps">Attic Orators</span>:—</p> + +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec76" id = "chapI_sec76"> </a> +<span class = "secnum">I:76</span> +Sequitur oratorum ingens manus, ut cum decem simul Athenis +<span class = "pagenum">72</span> +aetas una tulerit. Quorum longe princeps <span class = "smallcaps">Demosthenes</span> ac paene +lex orandi fuit: tanta vis in eo, tam densa omnia, ita quibusdam nervis +intenta sunt, tam nihil otiosum, is dicendi modus, ut nec quod desit in +eo nec quod redundet invenias.</p> + +<div class = "comm space"> +<p><a name = "commI_sec76" id = "commI_sec76"></a> +<b>ut cum</b>. So <i>utpote cum</i> Cic. ad Att. v. 8, 1 and Asinius +Pollio ad Fam. x. 32, 4: <i>quippe cum</i> ad Att. x. 3. Bonn. Lex. +s.v. <i>ut</i> (B ad fin.) gives other exx. from Quintilian: e.g. +v. 10, 44: vi. 1, 51: 3, 9: ix. i, 15.</p> + +<p><b>decem</b>. This is not a round number (Hild), but indicates a +recognised group of orators, generally considered to have been canonised +by the critics of Alexandria, in the course of the last two centuries +before the Christian era. Brzoska, however, in a recent paper (De canone +decem oratorum Atticorum quaestiones—Vratislaviae, 1883) develops +with great probability the view of A. Reifferscheid, that the canon +originated, towards the end of the second cent. <span class = +"smallroman">B.C.</span>, with the school of Pergamus, where special +attention was paid to rhetoric and grammar, which the Alexandrian +critics neglected in favour of poetry. The group consisted of Antiphon, +Andocides, Lysias, Isocrates, Isaeus, Demosthenes, Aeschines, Lycurgus, +Hyperides, and Dinarchus. Of these Quintilian omits here Antiphon, +Andocides, Isaeus, Lycurgus, and Dinarchus, though all except the +last-named are mentioned in xii. 10, §§21-22. Demetrius of Phalerum is +thrown in at the end, probably after Cicero (see on <a href = +"#chapI_sec80">§80</a>). The earliest reference to the Ten Orators as a +recognised group occurs in the title of a lost work by Caecilius of +Calacte,—<span class = "greek" title = "peri charaktêros tôn deka rhêtorôn">περὶ χαρακτῆρος τῶν δέκα ῥητόρων</span>. But though Caecilius +was a contemporary of Dionysius at Rome in the age of Augustus, and is +known to have been intimate with him (p. 777 R, Us. p. 59), +there is no reference in Dionysius’s writings to the canon thus adopted. +Mr. Jebb thinks he may have deliberately disregarded it as not helpful +for the purpose with which he wrote, viz. to establish a standard of +Greek prose by a study of the orators as representing tendencies in the +historical development of the art of oratory (Att. Or. Introd. +p. 67: but see Brzoska, pp. 20-22). Besides this <i>decem</i> +in Quintilian (cp. on <i>ceteros</i> <a href = "#chapI_sec80">§80</a>), +the number ten is again recognised in the treatise on the Lives of the +Ten Orators, wrongly attributed to Plutarch, by Proclus (circ. 450 <span +class = "smallroman">A.D.</span>), and by Suidas (circ. 1100). In +selecting the five whom he treats here, Quintilian would seem to have +followed Dionysius. In the De Oratoribus Antiquis, 4 (p. 451 R), he +gives a chronological classification (<span class = "greek" title = +"kata tas hêlikias">κατὰ τὰς ἡλικίας</span>), taking Lysias, Isocrates, +and Isaens to represent the first series (<span class = "greek" title = +"ek tôn presbuterôn">ἐκ τῶν πρεσβυτέρων</span>: cp. his aetate Lysias +maior <a href = "#chapI_sec74">§74</a>); and Demosthenes, Hyperides, and +Aeschines for the next. Elsewhere (de Din. Iud. i. p. 629 R) +he arrives at the same result on another principle, Lysias, Isocrates, +and Isaeus being classed as <span class = "greek" title = "heuretai idiou charaktêros">εὑρεταὶ ἰδίου χαρακτῆρος</span>, while the other +three (Aeschines now taking the second place, as emphatically at +p. 1063 R) appear as <span class = "greek" title = "tôn heurêmenôn heterois teleiôtai">τῶν εὑρημένων ἑτέροις τελειωταί</span>. +Of Demosthenes, Hyperides, and Aeschines he says: <span class = "greek" +title = "hê gar dê teleiotatê rhêtorikê kai to kratos tôn enagôniôn logôn en toutois tois andrasin eoiken einai">ἡ γὰρ δὴ τελειοτάτη +ῥητορικὴ καὶ τὸ κράτος τῶν ἐναγωνίων λόγων ἐν τούτοις τοῖς ἀνδράσιν +ἔοικεν εἶναι</span>, de Isaeo Iud. p. 629 R. The <span class = +"greek" title = "Archaiôn krisis">Ἀρχαίων κρίσις</span> briefly +characterises, in the order in which they are named, Lysias, Isocrates, +Lycurgus, Demosthenes, Aeschines, and Hyperides; Quintilian omits +Lycurgus, the paragraph about whom in the <span class = "greek" title = +"Arch. kr.">Ἀρχ. κρ.</span> is suspected by Claussen (p. 352). (Brzoska +notes that Quintilian’s list is identical with that given by Cicero de +Orat. iii. 28: and from a comparison of de Opt. Gen. Or. §7—qui +aut Attici numerantur aut dicunt +<span class = "pagenum comm">72</span> +Attice—he infers that the canon was probably known also to +Cicero.) We have separate treatises by Dionysius on Lysias, Isocrates, +and Isaeus (the <span class = "greek" title = +"heuretai">εὑρεταί</span>), but those in which he discussed Demosthenes, +Hyperides, and Aeschines (the <span class = "greek" title = +"teleiôtai">τελειωταί</span>), are no longer extant. Instead we have the +first part of a longer work on Demosthenes (<span class = "greek" title += "peri tês lektikês Dêmosthenous deinotêtos">περὶ τῆς λεκτικῆς +Δημοσθένους δεινότητος</span> pp. 953-1129 R), and a +bibliographical account of Dinarchus. Antiphon he only alludes to +briefly (de Isaeo, 20), in company with Thrasymachus, Polycrates, and +Critias: cp. Quint, iii. 1, 11.</p> + +<p><b>Athenis</b>. Dionysius groups the orators of whom he treats under +the title <span class = "greek" title = "Attikoi">Ἀττικοί</span> (p. +758 R, <span class = "greek" title = "en tê peri tôn Attikôn pragmateia rhêtorôn">ἐν τῇ περὶ τῶν Ἀττικῶν πραγματείᾳ ῥητόρων</span>). +Ammon (pp. 81-82) points out that Demetrius Magnes used the same +appellation (Dion. de Din. i. p. 631 R), and further suggests +that the Attic canon is already indicated in Cicero de Opt. Gen. Or. §13 +ex quo intellegitur quoniam Graecorum oratorum praestantissimi sint ii +qui fuerunt Athenis, eorum autem princeps facile Demosthenes, hunc si +qui imitetur eum et attice dicturum et optime, ut quoniam attici +propositi sunt ad imitandum bene dicere id sit attice dicere.</p> + +<p><b>aetas una</b>, used here in a wide sense (as is shown by <i>aetate +... maior</i>, below). The period referred to extends from the latter +part of the 5th to the latter part of the 4th century <span class = +"smallroman">B.C.</span> So Cicero, Brut. §36 haec enim aetas effudit +hanc copiam: where he gives a place among the others to Demades.</p> + +<p><b>longe princeps</b>: Dion. de Thucyd. Iud. 55, p. 950 R, +<span class = "greek" title = "Dêmosthenei hon hapantôn rhêtorôn kratiston gegenêsthai peithometha">Δημοσθένει ὃν ἁπάντων ῥητόρων +κράτιστον γεγενῆσθαι πειθόμεθα</span>: cp. de vi Demosth. 33, +p. 1058 R sq.</p> + +<p><b>vis</b>, <span class = "greek" title = "deinotês">δεινότης</span>. +Dion. de Thucyd. Iud. 53, p. 944 R <span class = "greek" title += "tên exegeirousan ta pathê deinotêta">τὴν ἐξεγείρουσαν τὰ πάθη +δεινότητα</span> (of Demosthenes): cp. p. 865 <span class = "greek" +title = "to errômenon kai enagônion pneuma ex hôn hê kaloumenê gignetai deinotês">τὸ ἐρρωμένον καὶ ἐναγώνιον πνεῦμα ἐξ ὧν ἡ καλουμένη γίγνεται +δεινότης</span>: Cic. de Orat. iii. 28 vim Demosthenes habuit. For the +place of <i>vis</i> in oratory cp. Orat. §69, and de Orat. ii. +128-9.</p> + +<p><b>densa</b>: <a href = "#chapI_sec68">§§68</a>, <a href = +"#chapI_sec73">73</a>, <a href = "#chapI_sec106">106</a>. So +<i>pressus</i>: Introd. <a href = +"QuintIntro.html#intro_pagexliii">p. xliii</a>. The Greek +equivalent is <span class = "greek" title = "to puknon, hê puknotês">τὸ +πυκνόν, ἡ πυκνότης</span>. Dionysius attributes his brevity and +conciseness, as well as his energy and power of rousing the emotions, to +the influence of Thucydides.</p> + +<p><b>quibusdam</b>, inserted on account of the metaphor, as often in +Cicero, e.g. de Orat. i. §9 procreatricem quandam et quasi parentem: +Brut. §46 eloquentia est bene constitutae civitatis quasi alumna +quaedam: and constantly in translating Greek words and phrases (cp. Reid +on Acad. i. 5, 20 and 24). For <i>nervis intenta</i> cp. <span class = +"greek" title = "eutonos tê phrasei, Arch. kr.">εὔτονος τῇ φράσει, Ἀρχ. +κρ.</span> p. 433 R: also ix. 4, 9, and note on <a href = +"#chapI_sec60">1 §60</a>.</p> + +<p><b>tam nihil otiosum</b>, i.e. everything is so much to the point. +Cp. i. 1, 35 otiosas sententias, of copy-book headings that have no +point: viii. 3, 89 <span class = "greek" title = +"energeia">ἐνέργεια</span> ... cuius propria sit virtus non esse quae +dicuntur otiosa: ibid. 4, 16: ii. 5, 7: Sen. Epist. 100, 11 exibunt +multa nec ferient et interdum otiosa praeterlabetur oratio. In Tac. +Dial. §§18 and 22 the meaning is ‘spiritless,’ ‘wearisome’ (cp. +lentitudo and tepor §21). In Quintilian there is also the idea of +‘superfluous,’ ‘unprofitable’: i, 12, 18 otiosis sermonibus, useless +gossip: ii. 10, 8: viii. 3, 55 quotiens otiosum fuerit et supererit: ix. +4, 58 adicere dum non otiosa et detrahere dum non necessaria. Cp. +Introd. <a href = "QuintIntro.html#intro_pagexlv">p. xlv</a>.</p> + +<p><b>is dicendi modus</b>: Cic. Orat. §23 hoc nec gravior exstitit +quisquam nec callidior nec temperatior.</p> + +<p><b>quod desit</b>: a reminiscence of Cic. Brut. §35 nam plane quidem +perfectum et cui nihil admodum desit Demosthenem facile dixeris. +Quintilian qualifies his eulogy in comparing him with Cicero <a href = +"#chapI_sec107">§107</a> below: cp. xii. 12, 26, and Cic. Orat. §§90 and +104. See <a href = "QuintCrit.html#critI_sec76">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec77" id = "chapI_sec77"> </a> +<span class = "secnum">I:77</span> +Plenior <span class = "smallcaps">Aeschines</span> et magis fusus et grandiori similis, quo +<span class = "pagenum">73</span> +minus strictus est; carnis tamen plus habet, minus lacertorum. Dulcis in +primis et acutus <span class = "smallcaps">Hyperides</span>, sed minoribus causis— +<span class = "pagenum">74</span> +ut non dixerim utilior— magis par.</p> + +<div class = "comm"> +<p><a name = "commI_sec77" id = "commI_sec77"><b>§ 77.</b></a> +<b>Plenior ... magis fusus</b>: opposed to tam densa omnia, above. +Aeschines had not the terseness and intensity of Demosthenes, but was +not without a certain fluent vehemence of his own. Cicero mentions +<i>levitas</i> and <i>splendor verborum</i> as characteristics of +Aeschines, +<span class = "pagenum comm">73</span> +Orat. §110; and Dionysius, <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 434 R, has <span class = "greek" title += "atonôteros men tou Dêmosthenous, en de tê lexeôn eklogê pompikos hama kai deinos ... kai sphodra energês kai barus kai auxêtikos kai pikros kai ... sphodros">ἀτονώτερος μὲν τοῦ Δημοσθένους, ἐν δὲ τῇ λέξεων ἐκλογῇ +πομπικός ἅμα καὶ δεινός ... καὶ σφόδρα ἐνεργὴς καὶ βαρὺς καὶ αὐξητικὸς +καὶ πικρὸς καὶ ... σφοδρός</span>: Cic. de Orat. iii. §128 sonitum +Aeschines habuit. For a comparison between the two great rivals v. +Jebb’s Alt. Or. ii. 393 sq. See also Cicero’s de Optim. Gen. Orat., +which was written as a preface to his translation of Aeschines’s speech +against Ctesiphon and Demosthenes on the Crown.</p> + +<p><b>grandiori</b> is certainly not neuter (sc. generi dicendi) as +Krüger (2nd edition), who compares the plural <i>maioribus</i> <a href = +"#chapI_sec63">§63</a> (where however we have <i>aptior</i>, not +<i>similior</i>), and ii. 11, 2, which is quite different: moreover +Quintilian never uses <i>grandius</i> by itself to designate the more +sublime style, and with such an expression as ‘grandiori generi dicendi’ +he would have employed <i>magis accedit</i> (<a href = +"#chapI_sec68">§68</a>) or <i>propior est</i> (<a href = +"#chapI_sec78">§78</a>) rather than <i>similis</i>. If the text is +allowed to stand <i>grandiori</i> must be masc. (just like +<i>strictus</i>) and be used in a good sense: e.g. Cic. de Opt. Gen. Or. +§9 imitemur Lysiam, et eius quidem tenuitatem potissimum: est enim +multis in locis grandior: Brut. §203 fuit Sulpicius ... grandis et ut +ita dicam tragicus orator: Orat. §119 quo grandior sit et quodam modo +excelsior. <i>Similis</i> gets the force of a comparative from +<i>magis</i> preceding, and <i>minus</i> following it (cp. <a href = +"#chapI_sec93">§93</a> tersus atque elegans maxime: xii. 6, 6 a quam +maxime facili ac favorabili causa) so that we may render ‘he has an +appearance of greater elevation in proportion as his style is less +compressed.’ See <a href = "QuintCrit.html#critI_sec77">Crit. +Notes</a>.</p> + +<p><b>minus strictus</b> = remissior, cp. <span class = "greek" title = +"atonôteros">ἀτονώτερος</span> above. Instead of being <i>nervis +intenta</i> (<span class = "greek" title = "eutonos">εὔτονος</span>) his +style was characterised as <span class = "greek" title = +"propetês">προπετής</span> (‘headlong’) by the critics.</p> + +<p><b>carnis ... lacertorum</b>. The style of Aeschines is deficient in +compact force: it is often overcharged and redundant (cp. <span class = +"greek" title = "pompikos">πομπικός</span> and <span class = "greek" +title = "auxêtikos">αὐξητικός</span> above). So also Dem. Or. 19 (of +Aeschines) §133 <span class = "greek" title = +"semnologos">σεμνολόγος</span>: §255 <span class = "greek" title = +"semnologei">σεμνολογεῖ</span>. For <i>lacerti</i> cp. Brut. §64 in +Lysia saepe sunt etiam lacerti sic ut fieri nihil possit valentius.</p> + +<p><b>Hyperides</b>, one of the leading orators of the patriotic party, +was put to death by order of Antipater, <span class = +"smallroman">B.C.</span> 322, just seven days before the death of +Demosthenes, with whom he had generally acted, though differences arose +between them in later life.</p> + +<p><b>Dulcis</b>: <a href = "#chapI_sec73">§73</a>. So Dion. <span class += "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 435 R <span +class = "greek" title = "charitos mestos">χάριτος μεστός</span>: cp. de +Din. Iud. 8, p. 645 R, where he says that the imitators of +Hyperides, by failing to reproduce his exquisite charm, as well as his +force, became dry and rough in style: <span class = "greek" title = +"diamartontes tês charitos ekeinou kai tês allês dunameôs auchmêroi tines egenonto">διαμαρτόντες τῆς χάριτος ἐκείνου καὶ τῆς ἄλλης δυνάμεως +αὐχμηροί τινες ἐγένοντο</span>.</p> + +<p><b>acutus</b>. Cic. de Orat. iii. §28 acumen Hyperides ... habuit: +Orat. §110 nihil argutiis et acumine Hyperidi (cedit Demosthenes). +<i>Acumen</i> (<a href = "#chapI_sec106">§§106</a>, <a href = +"#chapI_sec114">114</a>) is the quality required for the <i>tenue +genus</i> which aims at instructing (Cic. de Orat. ii. §129: Quint, xii. +10, 59): it appeals mainly to the intellect. Here therefore +<i>acutus</i> means ‘pointed,’ ‘direct’: cp. xii. 10, 39, Orat. §§20, +84, 98, where it is used of style. <i>Subtilis</i> and <i>acutus</i> +sometimes go together as characteristics of the plain style: so in <a +href = "QuintBody2.html#chapV_sec2">5 §2</a> <i>subtilitas</i> is +ascribed to Hyperides. On the other hand <i>acutus</i> is used (<a href += "#chapI_sec84">§84</a> below) expressly of power of thought as opposed +to power of expression: cp. too <a href = "#chapI_sec83">§83</a> +inventionem acumine opposed to eloquendi suavitate, and <a href = +"#chapI_sec81">§81</a> acumine disserendi ... eloquendi facultate. So it +may be that Quintilian uses <i>acutus</i> here to represent Dionysius: +<span class = "greek" title = "eustochos men ... kai sunesei pollê kechorêgêtai">εὔστοχος μὲν ... καὶ συνέσει πολλῇ κεχορήγηται</span> (p. +434 R).</p> + +<p><b>minoribus causis</b>. Cp. with this the criticisms of Longinus, +Hermogenes, and others in Blass’s preface to the Teubner text. The +author of <span class = "greek" title = "peri hupsous">περὶ ὕψους</span> +says:—“He knows when it is proper to speak with simplicity, and +does not, like Demosthenes, continue the same key throughout,” §34, and +below: “Nevertheless all the beauties of Hyperides, however numerous, +cannot make him sublime. He never exhibits strong feeling, has little +energy, rouses no emotion” (Havell). His style is “that of a newer +school than Demosthenes—of the school of Menander and the New +Comedy, to whom long periods and elaborate structure seemed tedious, and +who affected short and terse statement, clear and epigrammatic points, +smart raillery, and an easy and careless tone even in serious debate. +Hence the critics, such as Quintilian, think him more suited to slight +subjects.” Mahaffy, ii. p. 377. Dionysius says <span class = +"greek" title = "eustochos men spanion d’ auxêtikos">εὔστοχος μὲν +σπάνιον δ᾽ αὐξητικός</span>: he hits his mark neatly, but +<span class = "pagenum comm">74</span> +seldom lends grandeur to his theme by amplification. His Funeral Oration +is an exception: here he has ‘thoroughly caught from Isocrates the tone +of elevated panegyric’ (Jebb). His reputation as a wit and an easy-going +member of society may have helped to produce on casual students the +impression Quintilian wishes to convey: ‘unquestionably one great secret +of his success as a speaker,’ says Mr. Jebb, ‘was his art of making a +lively Athenian audience feel that here was no austere student of +Thucydides, but one who was in bright sympathy with the everyday life of +the time.’ For his wit cp. Cic. Orat. §90 and Sandys’ note. Dionysius’s +judgment is given at length in Jebb’s Attic Orators, ii. p. 383 +sq.</p> + +<p><b>ut non dixerim</b> = ne dicam. Cp. <a href = +"QuintBody2.html#chapII_sec15">2 §15</a>, and note. Tacitus makes a +similar use of the potential perfect in secondary clauses.—For +<i>utilior</i> Maehly needlessly conjectures <i>futilibus</i>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec78" id = "chapI_sec78"> </a> +<span class = "secnum">I:78</span> +His aetate <span class = "smallcaps">Lysias</span> maior, subtilis atque elegans et quo nihil, +si oratori satis sit docere, quaeras perfectius; nihil enim est inane, +nihil arcessitum, puro +<span class = "pagenum">75</span> +tamen fonti quam magno flumini propior.</p> + +<div class = "comm"> +<p><a name = "commI_sec78" id = "commI_sec78"><b>§ 78.</b></a> +<b>aetate maior</b>. The date of his birth has been variously fixed at +<span class = "smallroman">B.C.</span> 459 and <span class = +"smallroman">B.C.</span> 436: see Sandys, Introd. to Orator, +p. xiii, and note; Wilkins, de Orat. i. (2nd ed.), p. 33. Jebb +gives the approximate date of his extant work as 403-380 <span class = +"smallroman">B.C.</span></p> + +<p><b>subtilis atque elegans</b>. Cic. Orat. §30 subtilem et elegantem: +Brut. §35 egregie subtilis scriptor et elegans, quem iam prope audeas +oratorem perfectum dicere: ibid. §64: de Orat. iii. §28 subtilitatem ... +Lysias habuit: Orat. §110 nihil Lysiae subtilitate (cedit Demosthenes). +It is the ‘plain elegance’ of Lysias, his artistic and graceful +plainness, that Quintilian is commending: cp. ix. 4, 17 nam neque illud +in Lysia dicendi textum tenue atque rasum laetioribus numeris +corrumpendum erat: perdidisset enim gratiam, quae in eo maxima est, +simplicis atque inaffectati coloris, perdidisset fidem +quoque.—<i>Subtilitas</i> and <i>elegantia</i> go together <a href += "QuintBody2.html#chapII_sec19">2 §19</a>.</p> + +<p><b>subtilis</b>. Originally ‘suited for weaving’ +(* <i>sub–telis</i> from <i>tela</i>—Wharton). From +this the word came to be used metaphorically:—(1) ‘graceful,’ +‘refined,’ ‘delicate’: subtilitas pronuntiandi, de Orat. iii. §42, +‘graceful refinement of utterance’: (2) ‘precise,’ ‘accurate,’ +common in Cicero to represent <span class = "greek" title = +"akribês">ἀκριβης</span>: cp. praeceptor acer atque subtilis, Quintilian +i. 4, 25: (3) ‘plain,’ ‘unadorned’: especially subtile genus +dicendi (xii. 10, 58) = <span class = "greek" title = "to ischnon genos">τὸ ἰσχνὸν γένος</span>, the ‘plain’ style of rhetorical +composition, which, with a careful concealment of art, imitated the +language of ordinary life, unlike the ‘grand’ style, which was more +artificial, seeking by the use of ornament to rise above the common +idiom. The sense in which the word is used here is mainly (3): it +represents what Dionysius says <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> p. 432 R, (Us. p. 28) <span class = +"greek" title = "ischnotêti gar tês phraseôs saphê kai apêkribômenên echousi tên tôn pragmatôn ekthesin">ἰσχνότητι γὰρ τῆς φράσεως σαφῆ καὶ +ἀπηκριβωμένην ἔχουσι τὴν τῶν πραγμάτων ἔκθεσιν</span>. But there is a +reference also to (1), helped out by the addition of <i>elegans</i>, +‘choice,’ ‘tasteful.’ The style of Lysias was plain, but not without +Attic refinement.</p> + +<p><b>docere</b>. So Dion., in eulogising him for <span class = "greek" +title = "tên deinotêta tês heureseôs">τὴν δεινότητα τῆς εὑρέσεως</span>, +says (de Lysia 15, p. 486 R), <span class = "greek" title = +"ta panu dokounta tois allois apora einai kai adunata eupora kai dunata phainesthai poiei">τὰ πάνυ δοκοῦντα τοῖς ἄλλοις ἄπορα εἶναι καὶ ἀδύνατα +εὔπορα καὶ δυνατὰ φαίνεσθαι ποιεῖ</span>. He could make the most of his +case: persuasiveness (<span class = "greek" title = +"pithanotês">πιθανότης</span>) is mentioned (ibid. 13) as one of his +leading characteristics. ‘His statements of facts,’ says Mr. Jebb (ii. +182), ‘are distinguished by conciseness, clearness, and charm, and by a +power of producing conviction without apparent effort to convince’: cp. +Dion. de Lysia 18, p. 492 R <span class = "greek" title = "en de tô diêgeisthai ta pragmata ... anamphibolôs hêgoumai kratiston auton einai pantôn rhêtorôn, horon te kai kanona tês ideas tautês auton apophainomai">ἐν δὲ τῷ διηγεῖσθαι τὰ πράγματα ... ἀναμφιβόλως ἡγοῦμαι +κράτιστον αὐτὸν εἶναι πάντων ῥητόρων, ὅρον τε καὶ κάνονα τῆς ἰδέας +ταύτης αὐτὸν ἀποφαίνομαι</span>: and below, <span class = "greek" title += "hai diêgêseis ... tên pistin hama lelêthotôs sunepipherousin">αἱ +διηγήσεις ... τὴν πίστιν ἅμα λεληθότως συνεπιφέρουσιν</span>. But that +this is not the whole office of the orator Quintilian himself declares +iv. 5, 6 non enim solum oratoris est docere, sed plus eloquentia circa +movendum valet. Cp. iii. 5, 2: Brut. §105: de Orat. ii. §128. In regard +to this, Lysias is comparatively weak: ‘he cannot heighten the force of +a plea, represent a wrong, or invoke compassion, with sufficient spirit +and intensity,’ Jebb: in the words of Dion. (19, p. 496 R), +<span class = "greek" title = "peri ta pathê malakôteros esti">περὶ τὰ +πάθη μαλακώτερός ἐστι</span>: he understands <span class = "greek" title += "oute auxêseis oute deinôseis oute oiktous">οὔτε αὐξήσεις οὔτε +δεινώσεις οὔτε οἴκτους</span>. Cp. 13 ad fin.</p> + +<p><b>nihil ... inane</b>: cp. Orator §29 dum intellegamus hoc esse +Atticum in Lysia, non quod tenuis sit atque inornatus sed quod nihil +habeat insolens aut ineptum.</p> + +<span class = "pagenum comm">75</span> +<p><b>nihil arcessitum</b>: Cp. Dion. de Lysia 13 ad fin. +p. 483 R <span class = "greek" title = "asphalês te mallon estin ê parakekinduneumenê, kai ouk epi tosouton ischun hikanê dêlôsai technês eph’ hoson alêtheian eikasai phuseôs">ἀσφαλής τε μᾶλλόν ἐστιν ἢ +παρακεκινδυνευμένη, καὶ οὐκ ἐπὶ τοσοῦτον ἰσχὺν ἱκανὴ δηλῶσαι τέχνης ἐφ᾽ +ὅσον ἀλήθειαν εἰκάσαι φύσεως</span>. Cp. 8, p. 468 <span class = +"greek" title = "apoiêtos tis kai atechniteutos ho tês harmonias autou charaktêr">ἀποίητός τις καὶ ἀτεχνίτευτος ὁ τῆς ἁρμονίας αὐτοῦ +χαρακτήρ</span>. So <span class = "greek" title = "Arch. kr.">Ἀρχ. +κρ.</span> <span class = "greek" title = "pros to chrêsimon kai anankaion estin autarkês">πρὸς τὸ χρήσιμον καὶ ἀναγκαῖόν ἐστιν +αὐτάρκης</span>—Krüger<sup>3</sup> suggests nihil enim +<i>inest</i> inane. For the order see Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>magno flumini</b>: cp. Cicero, Orator §30 nam qui Lysiam sequuntur +causidicum quemdam sequuntur, non illum quidem amplum atque grandem, +subtilem et elegantem tamen et qui in forensibus causis possit praeclare +consistere. Cp. Dion. 13, p. 482, where he says that, besides +pathos, Lysias wants also grandeur and spirit: <span class = "greek" +title = "hupsêlê de kai megaloprepês ouk estin hê Lusiou lexis, oude kataplêktikê ma Dia kai thaumastê ... oude thumou kai pneumatos esti mestê.">ὑψηλὴ δὲ καὶ μεγαλοπρεπὴς οὐκ ἔστιν ἡ Λυσίου λέξις, οὐδὲ +καταπληκτικὴ μὰ Δία καὶ θαυμαστή ... οὐδὲ θυμοῦ καὶ πνεύματος ἐστι +μεστή.</span> Cicero says he shows elevation at times, though grandeur +was seldom possible in the treatment of the subjects he chose. Cp. the +whole passage, de Opt. Gen. Oratorum §9 Imitemur si potuerimus, Lysiam, +et eius quidem tenuitatem potissimum. Est enim multis locis grandior; +sed quia et privatas ille plerasque et eas ipsas aliis et parvarum rerum +causulas scripsit videtur esse ieiunior, cum se ipse consulto ad +minutarum genera causarum limaverit. He therefore prefers Demosthenes as +a model on account of his power: ib. §10 ita fit ut Demosthenes certe +possit summisse dicere, elate Lysias fortasse non possit.</p> + +<p>Lysias was the favourite model of those who at Rome, in Cicero’s +time, sought to bring about the revival of Atticism. The unaffected +simplicity of his diction, his purity, lucidity, and naturalness amply +entitled him to this distinction. Dionysius’ criticism is most +appreciative: he praises the style of Lysias ‘not only for its purity of +diction, its moderation in metaphor, its perspicuity, its conciseness, +its terseness, its vividness, its truth to character, its perfect +appropriateness, and its winning persuasiveness; but also for a nameless +and indefinable charm, which he compares to the bloom of a beautiful +face, to the harmony of musical tones, or to perfect rhythm in the +marking of time’—v. de Lysia xi, xii.: Sandys, Introd. to Orator, +p. xvi.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec79" id = "chapI_sec79"> </a> +<span class = "secnum">I:79</span> +<span class = "smallcaps">Isocrates</span> in diverso genere dicendi nitidus et comptus et +palaestrae quam pugnae +<span class = "pagenum">76</span> +magis accommodatus omnes dicendi veneres sectatus est, nec immerito: +auditoriis enim se, non iudiciis compararat: in inventione facilis, +honesti studiosus, in compositione adeo diligens +<span class = "pagenum">77</span> +ut cura eius reprehendatur.</p> + +<div class = "comm"> +<p><a name = "commI_sec79" id = "commI_sec79"><b>§ 79.</b></a> +<b>Isocrates</b>, the most celebrated of all the ancient teachers of +rhetoric, and called the father of eloquence (ille pater eloquentiae, de +Orat. ii. §10) from the number of orators produced by his school. His +home is described as being a school of eloquence and manufactory of +rhetoric for the whole of Greece, from which, as from the Trojan horse, +there came forth heroes only: Brut. §32 Isocrates, cuius domus cunctae +Graeciae quasi ludus quidam patuit atque officina dicendi: de Orat. ii. +§94 cuius e ludo tamquam ex equo Troiano meri principes exierunt: Orat. +§40 domus eius officina habita eloquentiae est. He is said to have died +of voluntary starvation shortly after the battle of Chaeronea (338 <span +class = "smallroman">B.C.</span>) at the advanced age of 97. The story +of his death is examined by Jebb, ii. 31.</p> + +<p><b>in diverso genere dicendi</b>. The pupil of Gorgias, according to +Aristotle (v. Quint, iii. 1, 13), Isocrates worked out his master’s +theory of elaborately ornate and rhythmical style of composition. His is +not the <i>subtile genus</i> of which Lysias is the best representative: +<i>suavitas</i> (‘smoothness’) rather than <i>subtilitas</i> +(‘plainness’) is his chief characteristic (de Orat. iii. §28). He +carefully cultivated the period, to which he gave a large and luxuriant +expansion: Or. §40 primus instituit dilatare verbis et mollioribus +numeris explere sententias: Dion. de Isocr. 13, p. 561 R <span +class = "greek" title = "ho tôn periodôn rhuthmos, ek pantos diôkôn to glaphuron.">ὁ τῶν περιόδων ῥυθμός, ἐκ παντὸς διώκων τὸ γλαφυρόν.</span> +In comparing him with Lysias (de Isocr. ii.-iii.), Dion. notes that his +style is less terse and compact, and characterised by a kind of opulent +diffuseness (<span class = "greek" title = "kechumenê plousiôs">κεχυμένη +πλουσίως</span>), as well as by a more free use of metaphor and other +tropes.</p> + +<p><b>nitidus</b>: its opposite is <i>sordidus</i> (viii. 3, 49): +cp. Brut. §238 non valde nitens sed plane horrida oratio. So nitidum et +laetum (genus verborum) de Orat. i. §81: where Wilkins says the word is +used ‘especially of things which are bright, because of the pains +bestowed on them,’ and cps. Hor. Ep. i. 4, 15 ‘nitidum bene curata cute +vises.’ There is the same opposition between niddus and <i>horridus</i> +Orat. §36: squalidus, ibid. §115: cp. de Orat. iii §51 ita de horridis +rebus nitida ... est oratio tua: de Legg. i. 2, 6 (of Caelius Antipater) +habuitque vires agrestes ille quidem atque horridas, sine nitore et +<span class = "pagenum comm">76</span> +palaestra: Brut. §238 (of C. Macer) non valde nitens, non plane horrida +oratio.</p> + +<p><b>comptus</b>—<span class = "greek" title = +"kompseuetai">κομψεύεται</span>, Dion. <span class = "greek" title = +"Arch. kr.">Ἀρχ. κρ.</span>: cp. viii. 3, 42 non quia comi expolirique +non debeat (oratio). With <i>nitidus et comptus</i> cp. Cicero’s +statement that he had lavished on a Greek version of the story of his +consulship, ‘all the <i>fragrant essences</i> of Isocrates and all the +little perfume-boxes of his pupils’: totum Isocrati <span class = +"greek" title = "murothêkion">μυροθήκιον</span> atque omnes eius +discipulorum arculas, ad Att. ii. 1, §1.</p> + +<p><b>palaestrae quam pugnae</b>: Cp. Orat. §42 of epideictic oratory +(dulce ... orationis genus) pompae quam pugnae aptius gymnasiis et +palaestrae dicatum, spretum et pulsum foro: de Orat. i. §81 nitidum +quoddam genus est verborum et laetum et palaestrae magis et olei quam +huius civilis turbae ac fori. So of Demetrius non tam armis institutus +quam palaestrae, Brut. §37. For the meaning cp. ibid. §32 forensi luce +caruit intraque parietes aluit eam gloriam. Isocrates had not the +vigorous compression of style necessary for real contests, <span class = +"greek" title = "panêgurikôteros esti mallon ê dikanikôteros ... kai pompikos esti ... ou mên agônistikos">πανηγυρικώτερος ἐστι μᾶλλον ἢ +δικανικώτερος ... καὶ πομπικός ἐστι ... οὐ μὴν ἀγωνιστικός</span> Dion. +<span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span>, +p. 432 R: Pseudo-Plut. Vit. X Or. p. 845 (<span class = +"greek" title = "(Philippos) ekalei tous men autou (Dêmosthenous) logous homoious tois stratiôtais dia tên pompikên dunamin, tous d’ Isokratous tois athlêtais">Φιλιππος) ἐκάλει τοὺς μὲν αὐτοῦ (Δημοσθένους) λόγους +ὁμοίους τοῖς στρατιώταις διὰ τὴν πομπικὴν δύναμιν, τοὺς δ᾽ Ἰσοκράτους +τοῖς ἀθληταῖς</span>. For the figure involved in pugnae (<span class = +"greek" title = "agôn">ἀγών</span>) cp. <a href = +"#chapI_sec29">§§29</a>, <a href = "#chapI_sec31">31</a>: <a href = +"QuintBody2.html#chapII_sec3">3, 3</a>: <a href = +"QuintBody2.html#chapV_sec17">5, 17</a>. Cicero says the pupils of +Isocrates were great alike on parade and in actual combat: eorum partim +in pompa partim in acie illustres esse voluerunt, de Orat. §94. See +Jebb, ii. 70-71.</p> + +<p><b>veneres</b>: in this sense only in poetry and post-Augustan prose, +and generally in the singular. Cp. Hor. Ars Poet. 320 Fabula nullius +veneris sine pondere et arte. Cp. <a href = "#chapI_sec100">§100</a> +illam solis concessam Atticis venerem: vi. 3, 18 venustum esse quod cum +gratia quadam et venere dicatur apparet: iv. 2, 116 narrationem ... omni +qua potest gratia et venere exornandam puto: Seneca, de Benef. ii. 28, 2 +habuit suam venerem: Plin. 35, 10, 36 §79 (of paintings) deesse iis +unam illam suam venerem dicebat quam Graeci charita vocant.</p> + +<p><b>sectatus est</b>: cp. Dion. de Isocr. 2, p. 538 R <span +class = "greek" title = "ho gar anêr houtos tên euepeian ek pantos diôkei, kai tou glaphurôs legein stochazetai mallon ê tou aphelôs.">ὁ +γὰρ ἀνὴρ οὗτος τὴν εὐέπειαν ἐκ παντὸς διώκει, καὶ τοῦ γλαφυρῶς λέγειν +στοχάζεται μᾶλλον ἢ τοῦ ἀφελῶς.</span> There is a certain elaborate +affectation about Isocrates: what in Lysias is the gift of nature he +attempts to gain by the aid of art,—<span class = "greek" title = +"pephuke gar hê Lusiou lexis echein to charien, hê d’ Isokratous bouletai">πέφυκε γὰρ ἡ Λυσίου λέξις ἔχειν τὸ χαρίεν, ἡ δ᾽ Ἰσοκράτους +βούλεται</span> ibid. p. 541. For the whole passage cp. Orat. §38 +In Panathenaico autem (§§1, 2) Isocrates ea se studiose consectatum +fatetur; non enim ad iudiciorum certamen sed ad voluptatem aurium +scripserat.</p> + +<p><b>nec immerito</b>: see on <a href = "#chapI_sec27">§27</a>.</p> + +<p><b>auditoriis ... non iudiciis</b>: cp. <a href = +"#chapI_sec36">§36</a>: Dion, de Isocr. 2, p. 539 R <span +class = "greek" title = "anagnôseôs te mallon oikeioteros estin ê rhêseôs; toigartoi tas men epideixeis tas en tais panêguresi kai tên ek cheiros theôrian pherousin autou hoi logoi, tous d’ en ekklêsiais kai dikastêriois agônas ouch hupomenousi">ἀναγνώσεώς τε μᾶλλον οἰκειότερός +ἐστιν ἢ ῥήσεως‧ τοιγάρτοι τὰς μὲν ἐπιδείξεις τὰς ἐν ταῖς πανηγύρεσι καὶ +τὴν ἐκ χειρὸς θεωρίαν φέρουσιν αὐτοῦ οἱ λόγοι, τοὺς δ᾽ ἐν ἐκκλησίαις καὶ +δικαστηρίοις ἀγῶνας οὐχ ὑπομένουσι</span> Aristotle, Rhet. i. a 9 (p. +1368 a) <span class = "greek" title = "dia tên asunêtheian tou dikologein">διὰ τὴν ἀσυνήθείαν τοῦ δικολογεῖν</span>. Isocrates himself +tells us that it was his weakness of utterance and timidity of +disposition that precluded him from public appearances: Panath. §10 +<span class = "greek" title = "houtô gar endeês amphoterôn egenomên, phônês hikanês kai tolmês, hôs ouk oid’ ei tis allos tôn politôn">οὕτω +γὰρ ἐνδεὴς ἀμφοτέρων ἐγενόμην, φωνῆς ἱκανῆς καὶ τόλμης, ὡς οὐκ οἶδ᾽ εἰ +τις ἀλλος τῶν πολιτῶν</span>. Cp. Cic. de Rep. iii. 30, 42 duas sibi res +quominus in volgus et in foro diceret confidentiam et vocem defuisse: +Plin. Ep. vi. 29, 6 infirmitate vocis, mollitie frontis, ne in publico +diceret impediebatur. Moreover he laid claim to being a teacher of +morality; and looking on rhetoric as the highest and most important +branch of education, he spoke with contempt of those who wrote for the +law-courts, and with whom victory was the only object: Jebb, ii. +p. 7 and p. 43: Isocr. Panegyr. §11 with Sandys’ note.</p> + +<p><b>inventione</b>: here Dionysius says he is in no way inferior to +Lysias: <span class = "greek" title = "hê men heuresis tôn enthumêmatôn hê pros hekaston harmottousa pragma pollê kai puknê kai ouden ekeinês">ἡ +μὲν εὕρεσις τῶν ἐνθυμημάτων ἡ πρὸς ἕκαστον ἁρμόττουσα πρᾶγμα πολλὴ καὶ +πυκνὴ καὶ οὐδὲν ἐκείνης</span> (sc. Lysiae) <span class = "greek" title += "leipomenê">λειπομένη</span> Iud. de Isocr. 4, p. 452 R.</p> + +<p><b>honesti studiosus</b>. This may refer to the diction of Isocrates: +cp. Dion. Iud. 2, p. 538 R, where his <span class = "greek" +title = "lexis">λέξις</span> is said to be <span class = "greek" title = +"êthikê te kai pithanê">ἠθική τε καὶ πιθανή</span>: and again de Dem. +p. 963. Cp. ix. 4, 146-7, on which Becher mainly relies for his +proposal (supported by Hirt. Berl. Jahr. xiv. 1888, p. 59) to take +‘honesti studiosus in compositione’ together: compositio debet esse +<span class = "pagenum comm">77</span> +honesta, iucunda, varia ... cura ita magna ut sentiendi atque eloquendi +prior sit: so viii. 3, 16. But two considerations seem to prove the +correctness of the traditional interpretation and punctuation: +(1) the ascription of <i>honestum</i> (in an ethical sense) to +Isocrates is peculiarly appropriate, and the word is constantly used in +this sense by Quintilian (see Bonn. Lex. s.v. ii γ): and +(2) <i>diligens</i> could hardly stand alone, divorced from <i>in +compositione</i>: and moreover a similar expression (in compositione +adeo diligens, &c.) is used by Dionysius, <span class = "greek" +title = "en tê sunthesei tôn onomatôn ... Isokratên periergoteron">ἐν τῇ +συνθέσει τῶν ὀνομάτων ... Ἰσοκράτην περιεργότερον</span> (de Isocr. Iud. +11, p. 557 R): cp. p. 538. There is a similar criticism +at <a href = "#chapI_sec118">§118</a> in cura verborum nimius et +compositione nonnumquam longior.</p> + +<p>As to (1) cp. Jebb, ii. pp. 44-5. The high moral tone of Isocrates is +seen both in his choice of noble themes and in the care with which he +ever keeps the higher aspects of his subject in view. Dion. Iud. 4, +p. 543 R <span class = "greek" title = "malista d’ hê proairesis hê tôn logôn peri hous espoudaze kai tôn hupotheseôn to kallos en hais epoieito tas diatribas; ex hôn ou legein deinous monon apergasait’ an tous prosechontas autô ton noun, alla kai ta êthê spoudaious ... kratista gar dê paideumata pros aretên en tois Isokratous estin heurein logois.">μάλιστα δ᾽ ἡ προαίρεσις ἡ τῶν λόγων περὶ οὓς +ἐσπούδαζε καὶ τῶν ὑποθέσεων τὸ κάλλος ἐν αἷς ἐποιεῖτο τὰς διατριβάς‧ ἐξ +ὧν οὐ λέγειν δεινοὺς μόνον ἀπεργάσαιτ᾽ ἂν τοὺς προσέχοντας αὐτῷ τὸν +νοῦν, ἀλλὰ καὶ τὰ ἤθη σπουδαίους ... κράτιστα γὰρ δὴ παιδεύματα πρὸς +ἀρετὴν ἐν τοῖς Ἰσοκράτους ἐστὶν εὑρεῖν λόγοις.</span> (2) Though +Becher points to the chiasmus obtained by punctuating ‘in inventione +facilis, honesti studiosus in compositione’ (cp. <a href = +"#chapI_sec97">§97</a>: Bonn. Lex. pr. lxviii) the rhythm of the +sentence tells the other way; and to his objection that the ethical +point of view does not belong to the history of literature (especially +when inserted between two such words as <i>inventio</i> and +<i>compositio</i>) we can only answer that Quintilian is not an artist +in style, and that the ethical tone of Isocrates is too characteristic +to have been overlooked.</p> + +<p>There is no need for Maehly’s conjecture ‘disponendi studiosus’: nor +for Eussner’s proposal to invert the clauses and read ... ‘compararat, +honesti studiosus: in inventione facilis, in comp. a. d.’ &c.: on +the ground that <i>honesti studiosus</i> refers to the <span class = +"greek" title = "genos epideiktikon">γένος ἐπιδεικτικόν</span> of +Isocrates, which is regulated by <i>honestum</i>, as the <span class = +"greek" title = "dêmêgorikon">δημηγορικόν</span> is by <i>utile</i>, and +the <span class = "greek" title = "dikanikon">δικανικόν</span> by +<i>iustum</i>.</p> + +<p><b>compositione</b>: <a href = "#chapI_sec44">§§44</a>, <a href = +"#chapI_sec66">66</a>; ix. 4, 116: quem in poemate locum habet +versificatio eam in oratione compositio: ad Her. iv. 12, 18 compositio +est verborum constructio quae facit omnes partes orationis aequabiliter +perpolitas: <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> +p. 433 R, (Us. p. 28) <span class = "greek" title = "kai autou malista zêlôteon tên tôn onomatôn eklogên kai sunecheian">καὶ +αὐτοῦ μάλιστα ζηλωτέον τὴν τῶν ὀνομάτων ἐκλογὴν καὶ συνέχειαν</span>. +‘Isocrates was the earliest great artist in the rhythm proper to prose,’ +Jebb, ii. pp. 60-1. Cicero, Brutus §32 primus intellexit etiam in +soluta oratione, dum versum effugeres, modum tamen et numerum quendam +oportere servari: Orat. §174.</p> + +<p><b>cura ... reprehendatur</b>. This refers especially to his studied +avoidance of hiatus: cp. ix. 4, 35 nimiosque non immerito in hac cura +putant omnes Isocratem secutos, praecipueque Theopompum. So Orat. §151 +in quo quidam Theopompum etiam reprehendunt ... etsi idem magister eius +Isocrates—(with Sandys’ note). Dionysius (de Isocr. 2) +contrasts in general terms his <span class = "greek" title = +"sunthesis">σύνθεσις</span> (compositio) with that of Lysias, noting +especially the point here alluded to: p. 558 R <span class = +"greek" title = "periergoteran">περιεργοτέραν</span>, and de Dem. 4, +pp. 963-4 R. Plutarch, de gloria Athen. p. 350 E <span +class = "greek" title = "pôs oun ouk emellen hanthrôpos">πῶς οὖν οὐκ +ἔμελλεν ἅνθρωπος</span> (Isocr.) <span class = "greek" title = "psophon hoplôn phobeisthai kai surrêgma phalangos ho phoboumenos phônêen phônêenti sunkrousai kai sullabê to isokôlon endees exenenkein">ψόφον +ὅπλων φοβεῖσθαι καὶ σύρρηγμα φάλαγγος ὁ φοβούμενος φωνῆεν φωνήεντι +συγκροῦσαι καὶ συλλαβῇ τὸ ἰσόκωλον ἐνδεὲς ἐξενεγκεῖν</span>; Jebb, ii, +pp. 66-7. With such excessive solicitude we can understand how +Isocrates should have taken ten years to write the Panegyricus (<a href += "QuintBody2.html#chapIV_sec4">4 §4</a>).</p> + +<p>The judgments of Cicero and Dionysius will be found conveniently +summarised in Sandys’ Introd. to Orator, pp. xx-xxii.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec80" id = "chapI_sec80"> </a> +<span class = "secnum">I:80</span> +Neque ego in his de quibus sum locutus has solas virtutes, sed has +praecipuas puto, nec ceteros parum fuisse magnos. Quin etiam +<span class = "smallcaps">Phalerea</span> illum <span class = "smallcaps">Demetrium</span>, +<span class = "pagenum">78</span> +quamquam is primum inclinasse eloquentiam dicitur, multum ingenii +habuisse et facundiae fateor, vel ob hoc memoria dignum, quod ultimus +est fere ex Atticis qui dici possit orator; quem tamen in illo medio +genere dicendi praefert omnibus Cicero.</p> + +<div class = "comm"> +<p><a name = "commI_sec80" id = "commI_sec80"><b>§ 80.</b></a> +<b>ceteros</b>: cp. on <i>decem</i> <a href = "#chapI_sec76">§76</a>. +The use of the word involves a reference to a recognised group, from +which he has omitted Antiphon, Andocides, Isaeus, Lycurgus, and +Dinarchus. So Dion. p. 451 R, after mentioning Lysias, +Isocrates, Isaeus, Demosthenes, Hyperides, Aeschines, says <span class = +"greek" title = "hous egô tôn allôn hêgoumai kratistous">οὓς ἐγὼ τῶν +ἄλλων ἡγοῦμαι κρατίστους</span>. Demetrius is evidently an addition by +Quintilian himself, as is shown by the use of <i>quin etiam</i>.</p> + +<span class = "pagenum comm">78</span> +<p><b>Demetrius</b>, of Phalerum, governed Athens, under Cassander, from +317 <span class = "smallroman">B.C.</span> till he was overthrown by +Demetrius Poliorcetes in 307. He fled to Thebes and thence to Egypt, +where he died in 283, after assisting Ptolemy to draw up laws and found +his famous library. In citing him after the Attic orators, Quintilian +seems to follow Cicero, Brut. §37 Phalereus ... successit eis senibus +adulescens, &c. The same order (Phalereus before Demetrius) occurs +in Cicero, de Legg. iii. 14: de Orat. ii. §95: de Rep. ii. 2: Brut. +§285.—For <i>illum</i> see on <a href = +"#chapI_sec17">§17</a>.</p> + +<p><b>inclinasse</b>: Brut. §38 (where <i>primus</i> has been used +(Halm) as an argument against <i>primum</i> in the text, though +Quintilian is only quoting from memory, as often, cp. <a href = +"#chapI_sec94">§94</a>): hic primus inflexit orationem et eam mollem +teneramque reddidit et suavis, sicut fuit, maluit esse quam gravis. He +impaired the strength of Attic oratory, depriving it of what Cicero +calls its ‘sap and fresh vigour’ (sucus ille et sanguis incorruptus), +and substituting an ‘artificial gloss’ (fucatus nitor): processerat enim +in solem et pulverem, non ut e militari tabernaculo, sed ut e +Theophrasti doctissimi hominis umbraculis. ibid. §37. Of all the orators +who flourished after Demosthenes (when alia quaedam <i>molliora</i> ac +<i>remissiora</i> genera viguerunt) he was the most polished: de Orat. +ii. §95. He was more florid than Hyperides and Lysias, Brut. §285. In +the Orator, §§91-2, Cicero says that his diction has a smooth and +tranquil flow, and is also ‘lit up by the stars of metaphor and +metonymy’: oratio cum sedate placideque labitur, tum illustrant eam +quasi stellae quaedam tralata verba atque immutata. Cp. de Off. i. §3 +disputator subtilis, orator parum vehemens, dulcis tamen, ut Theophrasti +discipulum possis agnoscere.</p> + +<p><b>multum ingenii ... et facundiae</b>: Diog. Laert. v. 82 <span +class = "greek" title = "charaktêr de philosophos, eutonia rhêtorikê kai dunamei kekramenos">χαρακτὴρ δὲ φιλόσοφος, εὐτονίᾳ ῥητορικῇ καὶ δυνάμει +κεκραμένος</span>.</p> + +<p><b>ultimus ... ex Atticis</b>: Brut. §285 mihi quidem ex illius +orationibus redolere ipsae Athenae videntur.</p> + +<p><b>medio genere dicendi</b>: the ‘middle’ style: see on <a href = +"#chapI_sec44">§44</a>. In xii. 10, 59 he says of this style ‘ea fere +est ratio ut ... delectandi sive conciliandi praestare videatur +officium’: with which cp. Cicero of Demetrius, <i>delectabat</i> magis +Athenienses quam inflammabat.—Of the middle style generally Cicero +says (Orator, §21) est autem quidam interiectus inter hos medius et +quasi temperatus nec acumine posteriorum nec flumine utens superiorum, +vicinus amborum, in neutro excellens, utriusque particeps, vel +utriusque, si verum quaerimus, potius expers; isque uno tenore, ut +aiunt, in dicendo fluit nihil adferens praeter facilitatem et +aequabilitatem, aut addit aliquos ut in corona toros (‘raised ornaments’ +or ‘knots’) omnemque orationem ornamentis modicis verborum +sententiarumque distinguit.</p> + +<p><b>praefert omnibus Cicero</b>: de Orat. ii. §95 omnium istorum mea +sententia politissimus: Orat. §92 in qua (sc. media orationis forma) +multi floruerunt apud Graecos, sed Phalereus Demetrius meo iudicio +praestitit ceteris.—For <i>quem tamen</i> see <a href = +"QuintCrit.html#critI_sec80">Crit. Notes</a>.</p> +</div> + +<div class = "comm space"> +<p><a name = "commI_grk_phil" id = "commI_grk_phil"><b>§§ 81-84.</b></a> +<span class = "smallcaps">Greek Philosophers</span>:—</p> + +<p>In this paragraph there is a correspondence between the criticisms of +Quintilian and those of Cicero and Dionysius. In the <span class = +"greek" title = "Arch. kr.">Ἀρχ. κρ.</span> (ch. 4, Us. pp. 26-7) +the latter recommends the study of the Pythagorean philosophers (<span +class = "greek" title = "megaloprepeis gar tê lexei kai poiêtikoi">μεγαλοπρεπεῖς γὰρ τῇ λέξει καὶ ποιητικοί</span>), holding up +Xenophon and Plato as the best models, and eulogising also Aristotle and +his followers: <span class = "greek" title = "mimêteon de ... malista Xenophônta kai Platôna ... paralêpteon de kai Aristotelê eis mimêsin ... philotimômetha d’ autou kai tois mathêtais entunchanein">μιμητέον δὲ ... +μάλιστα Ξενοφῶντα καὶ Πλάτωνα ... παραληπτέον δὲ καὶ Ἀριστοτέλη εἰς +μίμησιν ... φιλοτιμώμεθα δ᾽ αὐτοῦ καὶ τοῖς μαθηταῖς ἐντυνχάνειν</span>. +Quintilian’s selection of Theophrastus is probably motived by the +passage in Cicero, Orat. §2 (already quoted by him in <a href = +"#chapI_sec33">§33</a>): philosophi quidam ornate locuti sunt, siquidem +et Theophrastus divinitate loquendi nomen invenit et Aristoteles +Isocratem ipsum lacessivit +<span class = "pagenum comm">79</span> +et Xenophontis voce Musas quasi locutas ferunt et longe omnium, +quicunque scripserunt aut locuti sunt, exstitit et gravitate et +suavitate princeps Plato.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec81" id = "chapI_sec81"> </a> +<span class = "secnum">I:81</span> +Philosophorum, ex quibus plurimum se traxisse eloquentiae +<span class = "pagenum">79</span> +M. Tullius confitetur, quis dubitet <span class = "smallcaps">Platonem</span> esse +praecipuum sive acumine disserendi sive eloquendi facultate divina +quadam et Homerica? Multum enim supra prosam orationem et quam pedestrem +Graeci vocant surgit, ut mihi non hominis ingenio, sed quodam Delphici +videatur oraculo dei instinctus.</p> + +<div class = "comm space"> +<p><a name = "commI_sec81" id = "commI_sec81"><b>§ 81.</b></a> +<b>confitetur</b>: xii. 2, 23 nam M. Tullius non tantum se debere +scholis rhetorum quantum Academiae spatiis frequenter ipse testatus est: +neque se tanta unquam in eo fudisset ubertas si ingenium suum consaepto +fori non ipsius rerum natura finibus terminasset. In the Orator, §12, +Cicero tells us he had got his oratory not from the narrow schoolrooms +and mechanical workshops of the rhetoricians, but from the groves of the +Academy, the real school for every kind of discourse: fateor me +oratorem, si modo sim aut etiam quicunque sim, non ex rhetorum officinis +sed ex Academiae spatiis exstitisse; illa enim sunt curricula +multiplicium variorumque sermonum in quibus Platonis primum sunt +impressa vestigia. Cp. Tac. Dial. de Or. §32. In the De Div. ii. §4 +Cicero speaks of his rhetorical works as bordering on philosophy: +quumque Aristoteles itemque Theophrastus, excellentes viri cum +subtilitate tum copia, cum philosophia dicendi etiam praecepta +coniunxerint, nostri quoque oratorii libri in eundem numerum referendi +videntur.</p> + +<p><b>praecipuum</b>: cp. Orat. §62 (quoted above) longe omnium ... +princeps Plato. So Dionysius ad Pomp. p. 752 R: de Dem. 41, +p. 1083 R.</p> + +<p><b>sive ... sive</b>: cp. xii. 10, 26 quae defuisse ei sive ipsius +natura seu lege civitatis videntur: Cic. pro Clu. §76. <i>Sive</i> is +frequently used as a single disjunctive, to give one word as an +alternative for another: i. 4, 20 vocabulum sive appellationem nomini +subiecerunt: xii. 10, 59 delectandi sive ... conciliandi officium. Cp. +too Cic. de Am. §100 ex quo exardescit sive amor sive amicitia—a +kind of brachyology: de Orat. ii. §70 in hac sive ratione sive +exercitatione dicendi,—a shorter formula than ib. §29 hoc totum, +quicquid est, sive artificium sive studium dicendi.</p> + +<p><b>divina</b>. Cic. Tusc. Disp. i. §79 quem (Platonem) omnibus locis +divinum, quem sapientissimum, quem sanctissimum, quem Homerum +philosophorum appellat (Panaetius). Cp. Dion. de Dem. 23, +p. 1024 R <span class = "greek" title = "pantôn ... philosophôn te kai rhêtorôn hermêneusai ta pragmata daimoniôtaton">πάντων ... φιλοσόφων τε καὶ ῥητόρων ἑρμηνεῦσαι τὰ +πράγματα δαιμονιώτατον.</span>.</p> + +<p><b>Homerica</b>: <a href = "#chapI_sec86">§86</a> ut illi naturae +caelesit atque immortali cesserimus: <a href = "#chapI_sec48">§§48</a>, +<a href = "#chapI_sec65">65</a>.</p> + +<p><b>prosam orationem et</b>. The omission of <i>et</i>, proposed by +recent editors, would make Quintilian give a rather useless synonym for +<i>prosa oratio</i>, which (like <i>prosa</i> by itself) he often uses +without explanation. <i>Prosa oratio</i> is used of prose as contrasted +with verse (cp. xi. 2, 39 facilius versus ediscimus quam prosam +orationem): <i>pedestris oratio</i> includes all composition of a +prosaic order, not necessarily prose only: so Horace speaks of his +Satires as <i>Musa pedestris</i> (Sat. ii. 6, 17): <i>pedestres +historiae</i> in Car. ii. 12, 9 are prose histories: <i>sermo +pedester</i> in A. P. 95 (tragicus plerumque dolet sermone +pedestri) is homely language: cp. ib. 229, and Ep. ii. 1, 251. So Plato, +Soph. 237 A <span class = "greek" title = "pezê te hôde hekastote legôn kai meta metrôn">πεζῇ τε ὧδε ἑκάστοτε λέγων καὶ μετὰ μέτρων</span>: +Aristoph. Fr. 713 <span class = "greek" title = "pausai melôdous’ alla pezê moi phrason">παῦσαι μελῳδοῦς᾽ ἀλλὰ πεζῇ μοι φράσον</span>. Palmer +(on Hor. Sat. l.c.) cites also Luc. de Consecr. Hist. 8 <span class = +"greek" title = "pezê tis poiêtikê">πεζή τις ποιητική</span> of a +bombastic history: and adds ‘the metaphor is from a person soberly +jogging on on foot, contrasted with the dashing pace of a mounted +cavalier.’—For prose Cicero uses <i>oratio soluta</i> (Brut. §32) +to which he opposes <i>vincula numerorum</i> (Orat. §§64, 77: de Orat. +iii. §184).—Numerous examples of a similar use of <i>et</i> are +cited, Bonn. Lex. s.v. <i>et</i> iii.</p> + +<p><b>quodam Delphici</b>, &c. See <a href = +"QuintCrit.html#critI_sec81">Crit. Notes</a>. For <i>quodam</i> cp. <a +href = "#chapI_sec109">§109</a> dono quodam providentiae genitus: xii. +11, 5 ductus amore quodam operis: ib. 10 §21: ix. 2, 76: and <a +href = "#chapI_sec82">§82</a> below; and for <i>Delphici ... dei</i> +Cic. de Legg. i. §58 cuius praecepti tanta vis ... est ut ea non homini +cuipiam sed Delphico deo tribueretur.</p> +</div> + +<span class = "pagenum comm">80</span> + +<p class = "maintext"> +<a name = "chapI_sec82" id = "chapI_sec82"> </a> +<span class = "secnum">I:82</span> +Quid ego +<span class = "pagenum">80</span> +commemorem <span class = "smallcaps">Xenophontis</span> illam iucunditatem inadfectatam, sed +quam nulla consequi adfectatio possit? ut ipsae sermonem finxisse +Gratiae videantur, et quod de Pericle veteris comoediae testimonium est +in hunc transferri iustissime possit, in labris eius sedisse quandam +persuadendi deam.</p> + +<div class = "comm"> +<p><a name = "commI_sec82" id = "commI_sec82"><b>§ 82.</b></a> +<b>Xenophontis</b>, <a href = "#chapI_sec33">§§33</a>, <a href = +"#chapI_sec75">75</a>.</p> + +<p><b>iucunditatem</b>: so Tac. Dial. 31. Dionysius’s criticism is +fuller: <span class = "greek" title = "katharos tois onomasi kai saphês kai enargês, kai kata tên sunthesin hêdus kai eucharis">καθαρὸς τοῖς +ὀνόμασι καὶ σαφὴς καὶ ἐναργής, καὶ κατὰ τὴν σύνθεσιν ἡδὺς καὶ +εὔχαρις</span>: Diog. Laert. ii. 57 <span class = "greek" title = +"ekaleito de kai Attikê Mousa glukutêti tês hermêneias">ἐκαλεῖτο δὲ καὶ +Ἀττικὴ Μοῦσα γλυκύτητι τῆς ἑρμηνείας</span>: Suidas <span class = +"greek" title = "Xenophôn Attikê melitta epanomazeto">Ξενοφῶν Ἀττικὴ +μέλιττα ἐπανομάζετο</span>: Brutus, §132 molli et Xenophonteo genere +sermonis: cp. ibid. §292: Orat. §32 cuius sermo est ille quidem melle +dulcior sed a forensi strepitu remotissimus: de Orat. ii. §58 leniore +quodam sono est usus, et qui illum impetum oratoris non habeat, vehemens +fortasse minus, sed aliquanto tamen est, ut mihi quidem videtur, +dulcior.—For <i>inadfectatus</i>, see Introd. <a href = +"QuintIntro.html#intro_pagexlii">p. xlii</a>.</p> + +<p><b>Gratiae</b>: for the form of expression cp. Orat. §62 Xenophontis +voce Musas quasi locutas ferunt (<a href = "#chapI_sec33">x. 1 +§33</a>). So <a href = "#chapI_sec99">§99</a> below: Plin. Ep. ii. 13, +7: Hor. Ep. ii. 1, 27.</p> + +<p><b>de Pericle</b>. So xii. 2, 22: 10, 65: Pliny, Ep. i. 20, 17 nec me +praeterit summum oratorem Periclem sic a comico Eupolide laudari ... +<span class = "greek" title = "peithô tis epekathêto toisi cheilesin k.t.l.">πειθώ τις ἐπεκάθητο τοῖσι χείλεσιν κ.τ.λ.</span> (The line is +given in Kock’s <i>Fragmenta</i> 1, p. 281 <span class = "greek" +title = "peithô tis epekathizen epi tois cheilesin">πειθώ τις ἐπεκάθιζεν +ἐπὶ τοῖς χείλεσιν</span>: so Meineke ii. p. 458.) Brutus §38 +quemadmodum de Pericle scripsit Eupolis: §59 <span class = "greek" title += "peithô">πειθώ</span> quam vocant Graeci, cuius effector est orator, +hanc Suadam appellavit Ennius ... ut quam deam in Pericli labris +scripsit Eupolis sessitavisse huius hic medullam nostrum oratorem (sc. +Cethegum) fuisse dixerit. (Cp. de Orat. iii. §138.) The phrase of which +this is the explanation (suadae medulla—the essence, marrow, of +persuasiveness) is used again de Sen. §50: cp. Quint, ii. 15, 4. +Horace has Suadela, Ep. i. 6, 38.</p> + +<p><b>quandam</b>, i.e. something which may be called <i>persuadendi +dea</i>: cp. <i>quodam</i> below, and <i>quibusdam</i> <a href = +"#chapI_sec76">§76</a>: xii. 10, ii quadam eloquentiae frugalitate. See +<a href = "QuintCrit.html#critI_sec82">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec83" id = "chapI_sec83"> </a> +<span class = "secnum">I:83</span> +Quid reliquorum Socraticorum elegantiam? Quid <span class = "smallcaps">Aristotelen</span>? Quem +dubito scientia rerum an scriptorum copia an eloquendi suavitate an +inventionum acumine an varietate operum clariorem putem. Nam in +<span class = "smallcaps">Theophrasto</span> tam est loquendi nitor ille divinus ut +<span class = "pagenum">81</span> +ex eo nomen quoque traxisse dicatur.</p> + +<div class = "comm"> +<p><a name = "commI_sec83" id = "commI_sec83"><b>§ 83.</b></a> +<b>Socratici</b> <a href = "#chapI_sec35">§35</a>.</p> + +<p><b>elegantiam</b>: <a href = "#chapI_sec114">§114</a>: <a href = +"QuintBody2.html#chapII_sec19">2 §19</a>: ‘chaste simplicity,’ +Frieze.</p> + +<p><b>Aristotelen</b>. It is to be noticed that in both Dionysius and +Quintilian, Aristotle comes after Plato and Xenophon: <span class = +"greek" title = "Arch. kr.">Ἀρχ. κρ.</span> 4, (Us. p. 27) <span +class = "greek" title = "paralêpteon de kai Aristotelê eis mimêsin tês te peri tên hermêneian deinotêtos kai tês saphêneias kai tou hêdeos kai polumathous">παραληπτέον δὲ καὶ Ἀριστοτέλη εἰς μίμησιν τῆς τε περὶ τὴν +ἑρμηνείαν δεινότητος καὶ τῆς σαφηνείας καὶ τοῦ ἡδέος καὶ +πολυμαθοῦς</span>: Brut. §121 quis Aristotele nervosior? Orat. §172 quis +omnium doctior, quis acutior, quis in rebus vel inveniendis vel +iudicandis acrior Aristotele fuit?</p> + +<p><b>scientia ... copia ... suavitate</b>: Orat. §5 admirabili quadam +scientia et copia: Topica 1 §3 dicendi incredibili quadam quum +copia tum etiam suavitate: cp. de Inv. ii. §6.</p> + +<p><b>acumine</b>: see on <a href = "#chapI_sec77">§77</a>.</p> + +<p><b>nam</b> has come to serve as a transition-formula: so <a href = +"#chapI_sec9">§§9</a>, <a href = "#chapI_sec12">12</a>, <a href = +"#chapI_sec50">50</a>: 4, 4. It generally involves an ellipse: cp. +Sall, Iug. ch. 19, 2: 31, 2: 82, 2: Cicero, Tusc. Disp. iv. §52.</p> + +<p><b>Theophrasto</b>. Brut. §121 quis Theophrasto dulcior? Theophrastus +succeeded Aristotle in the conduct of his school <span class = +"smallroman">B.C.</span> 322, and died 287.</p> + +<p><b>tam est loquendi nitor ille divinus ut</b>. Becher takes +<i>tam</i> closely with <i>divinus</i>, making <i>tam divinus est</i> +the pred. and <i>loquendi nitor ille</i> the subj.: and so Krüger (3rd +ed.). For the order of words he compares <a href = +"#chapI_sec122">§122</a> habebunt magnam eos qui nunc vigent materiam +vere laudandi, and adds (Quaest. p. 18) ‘omnino autem tenendum est +perplexam et arcessitam verborum turbam magis quam ordinem (Bonn. +Proleg. lxxviii.) aetatis argenteae scriptoribus in deliciis fuisse, +quae intellectum legentium non tam adiuvet quam +<span class = "pagenum comm">81</span> +impediat.’ We might also cp. <a href = "#chapI_sec76">§76</a> tam nihil +otiosum, and <a href = "QuintBody2.html#chapVII_sec27">7 §27</a>. +Even in Cicero a similar separation occurs: pro Cael. §16 nunquam enim +tam Caelius amens fuisset: in Verr. v. §121 quis tam fuit illo tempore +durus et ferreus. Kiderlin, however (Hermes 23, p. 109), challenges +this explanation, contending that the words <i>loquendi nitor ille +divinus</i> are obviously meant to be taken together, and that +<i>ille</i> makes it impossible to join <i>tam</i> and <i>divinus</i>. +He rejects as inappropriate the analogies cited from Brutus §58 (cp. +§§174, 41): ad Q. Fr. i. 2, 3 §9 (atque ego haec tam esse quam +audio non puto—where it has been proposed to insert a word): ad +Fam. vi. 7, 1. But more weight should be attached to the following +passages to which K. himself refers: Quint. ii. 16, 15 (sed ipsa ratio +neque tam nos iuvaret neque tam esset in nobis manifesta, nisi, &c.) +and viii. 3, 5 (et fulmina ipsa non tam nos confunderent si, &c.). +Kiderlin however holds that all those passages differ from this, +inasmuch as either there is a negative with <i>tam</i>, or it is joined +with an adverb, or it follows <i>quam</i> immediately. He rejects +Spalding’s <i>tantus est</i>, and proposes to read <i>tam manifestus +est</i>: <i>manifestus</i> goes well with the preceding sentence, where +Quintilian does not know which of Aristotle’s great points to praise +most, while with Theophrastus there is no such doubt, since his +<i>loquendi nitor</i> is so striking that he is said, &c. K. thinks +that <i>manifestus</i> (which is a favourite word of Quintilian: see +Bonn. Lex.) might easily have fallen out, as <i>tam est</i> and +<i>manifest</i> are pretty much alike.—In support of the reading +<i>loquendi</i> (for which Meister gives, by a misprint, +<i>eloquendi</i>), Kiderlin points out that Quintilian probablv wished +to translate <span class = "greek" title = +"phrazein">φράζειν</span>.</p> + +<p><b>nitor</b>: cp. <a href = "#chapI_sec33">§§33</a>, <a href = +"#chapI_sec9">9</a>, <a href = "#chapI_sec79">79</a> (where see note on +<i>nitidus</i>): Cicero, de Fin. iv. 3, 5 primum enim ipsa illa, quae +subtiliter disserenda erant, polite apteque dixerunt, tum definientes, +tum partientes, ut vestri etiam; sed vos (Stoici) squalidius; illorum +(sc. Peripateticorum et Academicorum) vides quam niteat oratio. Of the +Peripatetics generally he says (Brutus §120) in doctrina atque +praeceptis disserendi ratio coniungitur cum suavitate dicendi et +copia.</p> + +<p><b>nomen traxisse</b>: Orat. §62 siquidem et Theophrastus divinitate +loquendi nomen invenit: Diog. Laert. v. 38 <span class = "greek" title = +"touton, Turtamon legomenon, Theophraston dia to tês phraseôs thespesion Aristotelês metônomasen">τοῦτον, Τύρταμον λεγόμενον, Θεόφραστον διὰ τὸ +τῆς φράσεως θεσπέσιον Ἀριστοτέλης μετωνόμασεν</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec84" id = "chapI_sec84"> </a> +<span class = "secnum">I:84</span> +Minus indulsere eloquentiae Stoici veteres, sed cum honesta suaserunt +tum in colligendo probandoque quae instituerant plurimum valuerunt, +rebus tamen acuti magis quam (id quod sane non adfectaverunt) oratione +magnifici.</p> + +<span class = "pagenum">82</span> +<div class = "comm"> +<p><a name = "commI_sec84" id = "commI_sec84"><b>§ 84.</b></a> +<b>Stoici veteres</b>. See xii. 1, 24 sq. for a discussion of the +various philosophical systems in regard to their fitness for oratorical +purposes. For the comparative unfitness of the Stoic writers see esp. +Cic. de Orat. iii. 18, 66: de Fin. iv. 28, 78 sq.: de Orat. ii. 38, 159. +So too Brutus §114 (Stoicorum) peracutum et artis plenum orationis genus +scio tamen esse exile nec satis populari adsensioni adcommodatum: §118 +ut omnes fere Stoici prudentissimi in disserendo sint et id arte faciant +sintque architecti paene verborum, eidem traducti a disputando ad +dicendum inopes reperiantur.</p> + +<p><b>quae instituerant</b>: ‘their principles.’ De Off. i. 1, 1 +praecepta institutaque philosophiae: de Am. §13: de Fin. v. 3, 7 scripta +et instituta: Brut. §31 and esp. §119.</p> + +<p><b>colligendo</b>: ‘arguing,’ not necessarily here of the formal +process of syllogistic reasoning. Cp. xii. 2, 10 ambigua aperire et +perplexa discernere et de falsis iudicare et colligere et resolvere quae +velis oratorum est.</p> + +<p><b>rebus acuti</b>: ‘shrewd thinkers,’ rather than masters of the +grand style. For the constr. (where in Greek the pr. part. would have +been used) cp. <a href = "#chapI_sec80">§80</a> vel ob hoc memoria +dignum.</p> + +<p><b>quod sane non adfect</b>. Cp. Sen. Ep. 108, 35 illud admoneo, +auditionem philosophorum lectionemque ad propositum beatae vitae +trahendam, non ut verba prisca aut ficta captemus et translationes +improbas figurasque dicendi, sed ut profutura praecepta et magnificas +voces et animosas, quae mox in rem transferantur: sic ista ediscamus ut +quae fuerint verba sint opera.</p> +</div> + +</div> <!-- text --> + +<div class = "argument"> +<h5>ANALYSIS OF THE ARGUMENT (85-131)</h5> + +<p class = "space"> +<a name = "arg_chapI_pt3" id = "arg_chapI_pt3"> +§§ 85-131. ROMAN LITERATURE.</a></p> + +<p><a href = "#commI_lat_poet">§§ 85-100.</a> +<span class = "smallcaps">Roman Poetry.</span></p> + +<p><a href = "#chapI_sec85">§§85-92.</a> <i>Epic Poets.</i></p> + +<p>Vergil must head the list, ranking nearer to Homer than any third +poet does to him. For consistent and uniform excellence he may surpass +even Homer, however little he may rival Homer’s best passages. Macer and +Lucretius are worth reading, but not for style. Varro Atacinus has some +merit as a translator, but will not add to an orator’s resources. Ennius +is like some venerable grove, whose trees have more sanctity than +beauty: there are others nearer our own day, and more useful for our +special purpose. Ovid is uncontrolled even in his hexameters, and lets +his fancy run away with him: yet admirable in parts. Cornelius Severus +fell away from the standard of his first book. The youthful works of +Serranus display great talent and a correct taste in style. We lately +lost much in Valerius Flaccus. The inspiration of Saleius Bassus also +failed to take on the mellowness of age. Rabirius and Pedo are worth +reading in spare moments. Lucan has fire and point, and is a model for +orators rather than for poets. Domitian I would name had not the care of +the world prevented him from becoming our greatest poet. Even the +compositions of his earlier days, after he had handed over the empire, +are lofty, learned, and of surpassing excellence: ‘the poet’s ivy is +entwined with the conquering bay.’</p> + +<p><a href = "#chapI_sec93">§§93-96.</a> <i>Elegy, Satire, iambic and +lyric poetry.</i></p> + +<p>In Elegy we can challenge the Greeks. The most polished and refined +is, in my opinion, Tibullus; some prefer Propertius. Ovid is more +uncontrolled than either, Gallus harsher. Satire is all our own. +Lucilius is by some still preferred to all poets whatsoever. +I deprecate such extravagant eulogy, as I disagree with the censure +of Horace. Lucilius has learning, boldness, causticity, wit. Horace is +the prince of satirists. Persius earned renown by a single book. Others +still alive will have a name hereafter. Terentius Varro wrote +<i>saturae</i> of the earlier kind. A profound scholar, +antiquarian, and historian, he has made greater contributions to +knowledge than to oratory. As a separate form of composition, iambic +poetry is not much in vogue. Horace is our great lyric +poet,—everywhere pleasing and graceful, and very happy in his +language. Caesius Bassus too may be added: but there are living authors +of greater merit.</p> + +<p><a href = "#chapI_sec97">§§97-100.</a> <i>Dramatic Poetry.</i></p> + +<p>Of Tragedians, Attius and Pacuvius are most renowned for weight of +thought +<span class = "pagenum">4</span> +and style, and for the dignity of their characters; but they lack +finish. Attius has more strength, Pacuvius more learning. Varius’s +<i>Thyestes</i> may be set beside any Greek play. Ovid’s <i>Medea</i> +shows what he might have done if he could have kept within bounds. +Pomponius Secundus is by far the greatest of all whom I have myself +seen. Comedy is not our strong point. Notwithstanding Plautus, +Caecilius, and Terence, we scarcely reproduce a faint shadow of our +originals: perhaps our language is incapable of the grace and charm +which, even in Greek, is peculiar to the Attic. Afranius is the best +writer of <i>togatae</i>, but his is not a pure art.</p> + +<p><a href = "#chapI_sec101">§§101-104.</a> <span class = +"smallcaps">Roman Historians.</span></p> + +<p>In history we hold our own. Sallust may be pitted against Thucydides, +Livy against Herodotus. Livy is remarkable for the charm and +transparency of his narrative style, as well as for the eloquence and +appropriateness of his speeches; and in the presentation of passion, +especially on its softer side, he is unsurpassed. Sallust is different +but not inferior. Servilius Nonianus wants conciseness. Aufidius Bassus +did more to maintain the dignity of history. There is also the glory of +our own age, the historian who is still with us, and whom I do not +mention by name. Cremutius Cordus is appreciated for his independent +spirit, which still survives in his works in spite of the revision and +expurgation they have been subjected to. There are others, but I am only +giving samples of classes, not ransacking libraries.</p> + +<p><a href = "#chapI_sec105">§§105-122.</a> <span class = +"smallcaps">Roman Orators.</span></p> + +<p>Cicero can stand against Demosthenes. I do not propose, however, +to make a detailed comparison between them, and I admit that Demosthenes +is worthy of being learnt by heart. In invention they resemble each +other: in style they differ, Demosthenes being more concise, Cicero more +diffuse; the one always pierces with the point of his weapon, the other +often lets you feel the weight of it; the one has more art, the other a +greater natural gift. In wit and pathos Cicero excels. Demosthenes was +perhaps debarred from glowing perorations; but on the other hand the +genius of the Latin language denies to us a full measure of the peculiar +‘Attic charm.’ Still Demosthenes came first, and Cicero owes much to +him. He is however no mere imitator,—‘no cistern of rain-water, +but a living source.’ Instructive, affecting, pleasing, he carries his +audience away with him. He wins conviction not by the zeal of a +partisan, but by the impartiality of a judge: everything he does is +natural and easy. He was king of the bar in his own day, and with us his +name is a synonym for eloquence: it is a mark of progress to have a high +appreciation of Cicero. Pollio, with all his good points, is so far +behind Cicero in charm and polish that it might be thought he lived a +century earlier. Messalla is lucid and distinguished, but wants force. +Caesar might have disputed the palm with Cicero; his speeches breathe +his warlike ardour, and yet he is above all things ‘elegans.’ Caelius +has genius and wit: he deserved a longer life. Calvus is by some +preferred to all others; but Cicero thought that by too rigorous +self-criticism he lost the very life-blood of style. He is moral, +weighty, chastened, and often vigorous withal. He was a strict Atticist; +and it is a pity that he died so young, if there was a likelihood of his +enriching his style. Servius Sulpicius made a name by three speeches. +Cassius Severus wants tone and dignity: he has genius, causticity, and +wit; but his anger outruns his judgment. Of those whom I have seen, Afer +and Africanus rank highest: the +<span class = "pagenum">5</span> +former might be classed with the orators of former days, the latter is +more vigorous, but careless, wordy, and over-bold in metaphor. Trachalus +has elevation; he had great personal advantages as well. Vibius Crispus +is delightful, but more fitted for private than for public cases. Iulius +Secundus did not live long enough to secure his due share of fame. He is +too much of an artist and too little of a fighting-man: yet he has +fluency, lucidity, and other good qualities. Our own era will furnish +the future historian with many subjects of eulogy.</p> + +<p><a href = "#chapI_sec123">§§123-131.</a> <span class = +"smallcaps">Roman Philosophers.</span></p> + +<p>Though we are not strong in philosophy, yet here the universal Tully +is a match for Plato. Brutus, too, is greater here than in oratory: he +speaks from the heart. Celsus has written a considerable number of +works. Among the Stoics, Plautus will be of service to the inquirer. +Catius the Epicurean has no great weight, but is pleasant withal. +I might have mentioned Seneca before, and in every department, but +have purposely kept him waiting: I am accused of disliking him. The +fact is that at a time when he alone was studied I strove to introduce a +purer taste. He disparaged the ‘ancients,’ and his imitators aggravated +his defects. He possessed wide learning, though on special subjects he +was sometimes misled by others. His versatility is shown in oratory, +poetry, letters, and dialogues. A stern moralist, but a vicious, +yet seductive, stylist. His defects endear him to the young, but rob him +of the praise of those of riper years. Yet these too may find profit in +him, if they use their judgment. Would that he had had nobler aims! Yet +he realised the aims he had.</p> + +</div> + +<div class = "text"> + +<div class = "comm space"> +<span class = "pagenum comm">82</span> +<p><a name = "commI_lat_poet" id = "commI_lat_poet"><b>§§85-100.</b></a> +<b>Roman Poets</b>.—Quintilian’s criticisms of Latin literature, +though naturally more independent than his judgments of Greek authors, +are hampered, as Professor Nettleship has shown (Journ. Phil. 18 +p. 262 sq.) by ‘the idea of making canons of classical Latin +authors to correspond as closely as possible with the Greek canons. +Vergil leads the van among the poets as the Latin Homer; Macer and +Lucretius follow as representing Hesiod and the didactic poets. The +elegiac poets, Propertius and Tibullus, follow next, answering to +Tyrtaeus; then the satirists who of course have no Greek counterparts; +then the writers of lampoon, Catullus, Bibaculus, and Horace, to match +Archilochus; the lyric poets, Horace corresponding to Pindar; the +dramatists, comic and tragic, among whom Varius is singled out as equal +to any Of the Greeks: the historians, Sallust being matched with +Thucydides, and Livy with Herodotus; the orators, Cicero being of course +compared in detail with Demosthenes; and the philosophers, among whom we +are told that Cicero is <i>aemulus Platonis</i>.’</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec85" id = "chapI_sec85"> </a> +<span class = "secnum">I:85</span> +Idem nobis per Romanos quoque auctores ordo ducendus est. Itaque ut apud +illos Homerus, sic apud nos <span class = "smallcaps">Vergilius</span> auspicatissimum dederit +exordium, omnium eius generis poetarum Graecorum nostrorumque haud dubie +proximus.</p> + +<div class = "comm space"> +<p><a name = "commI_sec85" id = "commI_sec85"><b>§ 85.</b></a> +<b>Idem ... ordo ducendus</b>. Cp. <a href = +"QuintBody2.html#chapV_sec1">5 §1</a> robustorum studiis ordinem +dedimus: xii. 2, 10 ut ordinem retro agamus. There is a suggestion of +military associations in the use of the phrase: tr. ‘in the same way we +must marshal.’ Cp. Brut. §15 explicatis ordinibus temporum; and i. 4, 3 +with Spalding’s note.—For <i>ordinem ducere</i> in the sense of +‘to be the leader of a company’ (sc. as centurion) cp. Cic. Phil. i. 8, +20: Caes. B. C. i. 13, 4: iii. 104, 3: Livy ii. 23, 4.</p> + +<p><b>Vergilius</b>: his claim to rank along with Homer is indicated in +i. 8, 5 optime institutum est ut ab Homero atque Vergilio lectio +inciperet.</p> + +<p><b>auspicatissimum</b>. Cp. Tac. Germ. 11 agendis rebus hoc +anspicatissimum initium credunt: Plin. ad Traian, xvii. 3 cum mihi +contigerit, quod erat auspicatissimum, natalem tuum in provincia +celebrare. Cp. the opening words of Pliny’s Panegyricus: Bene ac +sapienter, patres conscripti, maiores instituerunt ut rerum agendarum +ita dicendi initium a precationibus capere, quod nihil rite, nihil +providenter homines sine deorum immortalium ope consilio honore +auspicarentur. Cicero, de Div. i. 16, 28 Nihil fere quondam maioris rei +nisi auspicato ne privatim quidem gerebatur.</p> + +<p><b>dederit</b>: v. on <a href = "#chapI_sec37">§37</a>.</p> + +<p><b>haud dubie</b>: see <a href = "QuintCrit.html#critI_sec85">Crit. +Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec86" id = "chapI_sec86"> </a> +<span class = "secnum">I:86</span> +Utar enim verbis isdem quae ex Afro Domitio iuvenis excepi: qui mihi +<span class = "pagenum">83</span> +interroganti quem Homero crederet maxime accedere, ‘secundus,’ inquit, +‘est Vergilius, propior tamen primo quam tertio.’ Et hercule ut illi +naturae caelesti atque immortali cesserimus, ita curae et diligentiae +vel ideo in hoc plus est, quod ei fuit magis laborandum; et quantum +eminentibus vincimur fortasse aequalitate pensamus.</p> + +<div class = "comm"> +<p><a name = "commI_sec86" id = "commI_sec86"><b>§ 86.</b></a> +<b>Afro Domitio</b>. The order is characteristic of the silver age, +though examples are found also in Cicero’s letters (Introd. <a href = +"QuintIntro.html#intro_pagelv">p. lv</a>.): cp. Atacinus Varro, +below, and <a href = "#chapI_sec103">§103</a>. Domitius Afer (cp. <a +href = "#chapI_sec24">§24</a>) was a distinguished orator who flourished +under Tiberius and his successors, and died in the reign of Nero, <span +class = "smallroman">A.D.</span> 59 (Tac. Ann. xiv. 19). He was a native +of Nemausus (Nismes), and first rose to fame by the prosecution of +Agrippina’s cousin Claudia Pulchra: Tiberius avowed that he was a ‘born +orator’ (suo iure disertum, Tac. Ann. iv. 52). Being of an unscrupulous +character (quoquo facinore properus clarescere, ibid.) he placed his +rhetorical powers at the disposal of the government: mox capessendis +accusationibus aut reos tutando prosperiore eloquentiae quam morum fama +fuit, ibid. Quintilian’s connection with him (cp. v. 7, 7 quem +adolescentulus senem colui) comes out in the story he told to Pliny +about Afer: ‘adsectabar Domitium,’ Plin. Epist. ii. 14. Below (<a href = +"#chapI_sec118">§118</a>) he speaks of him, along with Iulius Africanus, +(to whom he prefers him) as the best orator he had ever heard: though he +tells us elsewhere that Afer lost much of his reputation by continuing +to speak in public after he should have retired: vidi ego longe omnium +quos mihi cognoscere contigit summum oratorem, Domitium Afrum, valde +senem, cotidie aliquid ex ea quam meruerat auctoritate perdentem, cum +agente illo quem principem fuisse quondam fori non erat dubium alii, +quod indignum videatur, riderent, alii erubescerent; quae occasio fuit +dicendi, malle eum deficere quam desinere. Cp. Tac. Ann. iv. 52 ad fin. +aetas extrema multum etiam eloquentiae dempsit dum fessa mente retinet +silentii impatientiam.</p> + +<p><b>excepi</b>. As distinguished from <i>accipere</i>, +<span class = "pagenum comm">83</span> +which, when used in this sense, means to get some information at +second-hand, <i>excipere</i> always refers to what is said in one’s +presence, whether one is meant to hear, as in this passage, or not; as +Livy ii. 4 sermonem eorum ex servis unus excepit.</p> + +<p><b>Homero</b>. The same dative with <i>accedere</i> occurs <a href = +"#chapI_sec68">§68</a> magis accedit oratorio generi (Euripides). With +the name of a person Cicero also uses the dative,—e.g. Crasso et +Antonio L. Philippus proximus accedebat, Brut. §173, and so ad Fam. +xi. 21, 4 me huic tuae virtuti proxime accedere: otherwise more commonly +ad c. acc. Cp. de Orat. 1 §262 (dubitare) utrius oratio propius ad +veritatem videretur accedere with Quint. xii. 10, 9 ad veritatem +Lysippum ac Praxitelem optime accessisse. So xii. 2, 2: 1, 20: +2, 25.</p> + +<p><b>propior tamen primo</b>. See note on <a href = +"#chapI_sec53">§53</a> ut plane manifesto appareat quanto sit aliud +proximum esse, aliud secundum. Here the interval between first and +second is less than that between second and third: Vergil is a ‘good +second.’</p> + +<p><b>ut illi</b>: see <a href = "QuintCrit.html#critI_sec86">Crit. +Notes</a>.</p> + +<p><b>naturae</b> = ingenio, as <a href = "#chapI_sec119">§119</a> erant +clara et nuper ingenia: cp. <a href = "#chapI_sec122">§122</a>. Cic. in +Verr. ii. 1 §40 non enim potest ea natura quae tantum facinus +commiserit hoc uno scelere esse contenta.</p> + +<p><b>caelesti</b>: for the hyperbole cp. caelestis huius in dicendo +viri (Ciceronis) <a href = +"QuintBody2.html#chapII_sec18">2 §18</a>. So Cic. Phil. v. §28 +caelestes divinasque legiones: Ps. Cic. ad Brutum ii. 7, 2 res a te +gesta memorabilis et paene caelestis.</p> + +<p><b>ut ... cesserimus ita</b>. For <i>ut ... ita</i> (<span class = +"greek" title = "men ... de">μὲν ... δέ</span>) cp. <a href = +"QuintBody2.html#chapIII_sec1">3, §§1</a> and <a href = +"QuintBody2.html#chapIII_sec31">31</a>. <i>Ut</i> is not concessive and +does not affect the verb, which is in the subjunctive of modified +assertion (for cedendum est): cp. dederit above <a href = +"#chapI_sec85">§85</a>: Cic. Brut. §25 sine ulla dubitatione +confirmaverim. Quintilian is speaking throughout of the Romans in the +person of their great poet: cp. vincimur, pensamus, below; also <a href += "#chapI_sec93">§93</a> provocamus, <a href = "#chapI_sec99">§99</a> +consequimur, <a href = "#chapI_sec107">§107</a> vincimus. Kiderlin’s +objection that, as fully admitting the superiority of Homer, he would +not have been likely to choose, on patriotic grounds, a form that seems +to modify the force of the concession, is met by the instance of the +potential subj. quoted above alongside of <i>sine ulla +dubitatione</i>.</p> + +<p><b>eminentibus</b>: neut. of adj. used substantively,—common +enough in Quintilian even with adjj. of the third declension: cp. <a +href = "QuintBody2.html#chapIII_sec5">3 §5</a> nec protinus +offerentibus se gaudeamus. See Introduction, p. xlix (5). Such +‘outstanding’ passages as those alluded to Horace terms the ‘speciosa +miracula’ (‘striking,’ ‘picturesque marvels’) of the Homeric poems, +A. P. 144.</p> + +<p><b>aequalitate</b>, ‘uniform excellence’: cp. aequali quadam +mediocritate <a href = "#chapI_sec54">§54</a>. In <a href = +"#chapI_sec24">§24</a> Quintilian has already referred to the +<i>quandoque dormitat</i>, and his words are probably an echo of the +Horatian criticism. For the use of <i>aequalitas</i> cp. xi. 3, §§43-44. +In regard to style, Cicero has Orat. §198 omnis nec claudicans nec quasi +fluctuans sed aequaliter constanterque ingrediens numerosa habetur +oratio: and using <i>aequabilitas</i> ibid. §53 elaborant alii in +lenitate et aequabilitate et puro quasi quodam et candido genere +dicendi.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec87" id = "chapI_sec87"> </a> +<span class = "secnum">I:87</span> +Ceteri omnes longe sequentur. Nam <span class = "smallcaps">Macer</span> et <span class = "smallcaps">Lucretius</span> +legendi quidem, sed non ut <span class = "greek" title = +"phrasin">φράσιν</span>, id est corpus eloquentiae faciant, elegantes in +sua quisque materia, sed alter humilis, alter difficilis. <span class = "smallcaps">Atacinus +Varro</span> in iis per quae nomen +<span class = "pagenum">84</span> +est adsecutus interpres operis alieni, non spernendus quidem, verum ad +augendam facultatem dicendi parum locuples.</p> + +<div class = "comm"> +<p><a name = "commI_sec87" id = "commI_sec87"><b>§ 87.</b></a> +<b>Macer</b>: v. on <a href = "#chapI_sec56">§56</a>.</p> + +<p><b>Lucretius</b>. The references made to Lucretius in Latin +literature are collected by Teuffel, R. L. §201. The two are named +together again xii. 11 §27.</p> + +<p><b><span class = "greek" title = "phrasin">φράσιν</span></b> = +elocutionem, v, §42. So ad augendam facultatem dicendi, below. For +‘corpus eloquentiae’ cp. Petronius, Satyr. ii. (of the imitators of +Seneca) ‘effecistis ut corpus orationis enervaretur et caderet.’</p> + +<p><b>humilis</b>: ‘common-place,’</p> + +<p><b>difficilis</b>: cp. multis luminibus ingenii multae tamen +artis,—Cicero’s criticism, dealt with by Munro, ii. p. 315 +(3rd ed.).</p> + +<p><b>Varro</b>, P. Terentius (<span class = "smallroman">B.C.</span> +82-37), called +<span class = "pagenum comm">84</span> +Atacinus from the river Atax in Gallia Narbonensis, his native province. +Quintilian’s criticism here refers to the work by which he was best +known—his translation of the <i>Argonautica</i> of Apollonius +Rhodius (‘interpres operis alieni’). He also wrote what is described as +a metrical system of astronomy and geography under the title +<i>Chorographia</i> or <i>Cosmographia</i>: a heroic poem <i>Bellum +Sequanicum</i>, in the style of Ennius and Naevias: and <i>Saturae</i> +which, if we may trust Horace, were a failure: Satires i. 10, 46 Hoc +erat experto frustra Varrone Atacino ... Melius quod scribere +possem.</p> + +<p><b>per quae</b>: common in Quintilian to designate ‘means by which’: +cp. v. 10, 32. So also <i>per quod</i>, <i>per hoc</i>: see on <a href = +"#chapI_sec10">§10</a>.</p> + +<p><b>nomen</b>: cp. <a href = "#chapI_sec72">§72</a>, <a href = +"#chapI_sec120">§120</a>, <a href = "QuintBody2.html#chapV_sec18">5, +§18</a>: xii. 6, 7: ii. 11, 1: Tac. Dial. 10 nomen inserere famae: ib. +36 plus notitiae ac nominis apud plebem parabat.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec88" id = "chapI_sec88"> </a> +<span class = "secnum">I:88</span> +<span class = "smallcaps">Ennium</span> sicut sacros vetustate lucos adoremus, in quibus grandia +et antiqua robora iam non tantam habent speciem quantam religionem. +Propiores alii, atque ad hoc de quo loquimur magis utiles. Lascivus +<span class = "pagenum">85</span> +quidem in herois quoque <span class = "smallcaps">Ovidius</span> et nimium amator ingenii sui, +laudandus tamen in partibus.</p> + +<div class = "comm"> +<p><a name = "commI_sec88" id = "commI_sec88"><b>§ 88.</b></a> +<b>Ennius</b>, the Chaucer of Latin literature (239-169 <span class = +"smallroman">B.C.</span>),—qui primus amoeno detulit ex Helicone +perenni fronde coronam (Lucr. i. 119). Lucretius in this passage calls +him ‘Ennius noster,’ as does also Cicero, pro Archia §18, §22.</p> + +<p>‘It will be observed,’ says Professor Nettleship, ‘that Quintilian is +a Ciceronian, and that both as against the younger school of his own day +and as against the pre-Ciceronian literature. Ennius he sets aside with +a few respectful words: Pacuvius and Accius, one must almost suppose, he +had never read (97): if he had read them, then, he did not think it +worth while to pass an independent judgment upon them (but see note ad +loc.) The comedians, Plautus, Caecilius, and Terence, he will hardly +notice; so far, he thinks, do they fall below their Greek originals. +Lucretius he totally misconceives, even granting his point of view, for +can it be said that there are no fine passages of rhetoric in the De +Rerum Natura? The criticisms on the post-Ciceronian orators are for the +most part (remembering that Quintilian is thinking of the needs of an +orator) sound and well expressed, notably that upon Ovid (88). But they +are mostly too short, and leave the impression that the writer is +anxious to get to the end of them. In speaking of Cicero, however, +Quintilian rises to the height of real enthusiasm.’ Journ. of Phil. +l.c.</p> + +<p><b>sacros vetustate lucos</b>. For the reverence attaching to groves +cp. Seneca, Epist. Mor. IV, xii. (41) Si tibi occurrerit vetustis +arboribus et solitam altitudinem egressis frequens lucus et conspectum +caeli ramorum aliorum alios protegentium umbra submovens: illa +proceritas silvae et secretum loci et admiratio umbrae in aperto tam +densae atque continuae fidem tibi numinis facit.</p> + +<p><b>speciem</b>. So Ovid, Trist. ii. 424 Ennius ingenio maximus, arte +rudis: Am. i. 15, 19 Ennius arte carens. Cp. Quint, i. 8, 8 plerique +plus ingenio quam arte valuerunt (veteres Latini).</p> + +<p><b>Propiores</b>, not Vergilio, as Bonnell and Krüger (the latter, in +2nd ed., contrasting <a href = "#chapI_sec86">§86</a> ceteri omnes longe +sequentur): but rather, by inference from ‘vetustate’ and ‘antiqua’ in +the previous sentence = propiores nostrae aetati. But see Claussen, +Quaest. Quintil. pp. 358-9.</p> + +<p><b>ad hoc de quo loquimur</b> = ad augendam facultatem dicendi: <span +class = "greek" title = "phrasin">φράσιν</span>.</p> + +<p><b>lascivus</b>: so below <a href = "#chapI_sec93">§93</a> Ovidius +utroque (Tibullo et Propertio) lascivior, sicut durior Gallus. The word +and its cognates are used by Quintilian of ‘running riot,’ whether in +thought, language, or manner. The verb <i>lascivire</i> is used in +regard to a certain mannerism of Ovid, iv. 1, 77 ut Ovidius lascivire in +metamorphosesi solet,—wrongly classed in Bonnell’s lexicon under +<i>mores</i>: cp. ix. 4, 28. So ii. 4, 3 neque ... arcessitis +descriptionibus, in quas plerique imitatione poeticae licentiae +ducuntur, lasciviat: xii. 10, 73 genus dicendi quod puerilibus +sententiolis lascivit: ix. 4, 6: iv. 2, 39: xi. 1, 56. See above, +recens haec lascivia <a href = "#chapI_sec43">§43</a>: cp. ii. 5, 10 and +22: Tac. Dial. §26 lascivia verborum et levitate sententiarum et +licentia compositionis. The adjective occurs along with <i>hilare</i> v. +3, 27, and with <i>dicaces</i> vi. 3, 41: cp. Tac. Dial. §29 parvulos +assuefaciunt ... lasciviae et dicacitati. It +<span class = "pagenum comm">85</span> +means ‘exuberance’ of any kind, as against severe restraint: ix. 4, 142 +duram potius atque asperam compositionem malim esse quam effeminatam et +enervem, qualis apud multos, et cotidie magis, lascivissimis syntonorum +modis saltat: Horace, A. P. 106 ludentem lasciva (verba decent) +severum seria dictu: i.e. ‘sportive’ as opp. to ‘serious’: Ep. ii. 2, +216 lasciva decentius aetas, ‘that may more becomingly make merry.’ +Wilkins says the word occurs ten times in Horace, and never in a +distinctly bad sense: lascivi pueri Sat. i. 3, 134: lasciva puella Verg. +Ecl. iii. 64.</p> + +<p><b>in herois quoque</b>: sc. versibus. Cp. ix. 4, 88 and 89. This +characteristic of his elegiac compositions reappears even in his heroic +verse, i.e. the Metamorphoses. At ix. 4, 88 (pes) herous = <span class = +"greek" title = "metron hêrôon">μέτρον ἡρῷον</span>. So Martial iii. 20, +6 lascivus elegis an severus herois?</p> + +<p><b>nimium amator ingenii sui</b>: cp. <a href = +"#chapI_sec98">§98</a> below, si ingenio suo imperare quam indulgere +maluisset. M. Seneca, Controv. iv. 28, 17 (p. 281) Ovidius nescit +quod bene cessit relinquere: ii. 10, 12 (of a declamatio by Ovid) verbis +minime licenter usus est nisi in carminibus, in quibus non ignoravit +vitia sua, sed amavit ... adparet summi ingenii viro non indicium +defuisse ad compescendam licentiam carminum suorum, sed animum. Cp. Sen. +Nat. Quaest. iii. 27, 13 poetarum ingeniosissimus ... nisi tantum +impetum ingenii et materiae ad pueriles ineptias reduxisset. Of Seneca +the philosopher Quintilian uses similar language below <a href = +"#chapI_sec130">§130</a> si non omnia sua amasset. For the use of an +adv. with verb-noun in -tor (as if it were a participle) cp. Hor. Sat. +i. 10, 12 Quis tam Lucili fautor inepte est. See Introd. <a href = +"QuintIntro.html#intro_pagexlv">p. xlv</a>.</p> + +<p><b>in partibus</b>, opp. to <i>totum</i> (‘in einzeln +Partien’—Nägelsbach §76 p. 296). Cp. in parte <a href = +"QuintBody2.html#chapVII_sec25">7 §25</a>: also <a href = +"QuintBody2.html#chapII_sec26">2 §26</a> in partibus: vii. 2, 22 si +quando in partibus laborabimus, universitate pugnandum est. The +frequency with which <i>in parte</i> occurs in Quintilian (as well as +<i>ex parte</i>, which is used by Cicero and Livy) makes the reading +probable, though the MSS. omit <i>in</i>, while many give <i>parcius</i> +for <i>partibus</i>. Cp. ii. 8, 6 quod ... mihi in parte verum videtur: +iv. 5, 13: v. 7, 22: xi. 2, 34.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec89" id = "chapI_sec89"> </a> +<span class = "secnum">I:89</span> +<span class = "smallcaps">Cornelius</span> autem <span class = "smallcaps">Severus</span>, etiamsi sit versificator quam +poeta melior, si tamen, ut est +<span class = "pagenum">86</span> +dictum, ad exemplar primi libri bellum Siculum perscripsisset, +vindicaret sibi iure secundum locum. <span class = "smallcaps">Serranum</span> consummari mors +immatura non passa est, puerilia tamen eius opera et maximam indolem +ostendunt et admirabilem praecipue in aetate illa recti generis +voluntatem.</p> + +<div class = "comm"> +<p><a name = "commI_sec89" id = "commI_sec89"><b>§ 89.</b></a> +<b>Cornelius Severus</b>, contemporary and friend of Ovid, who addresses +to him Epist. ex Ponto iv. 2 (1 O vates magnorum maxime regum: +11 sq. fertile pectus habes interque Helicona colentes Uberius +nulli provenit ista seges): cp. carmen regale iv. 16, 9. In spite +of the apology in iv. 2 (eius adhuc nomen nostros tacuisse libellos), it +is probable that Epist. i. 8 is also addressed to him: v. 2 pars animae +magna, Severe, meae: 25, o iucunde sodalis. M. Seneca (Suas. +vi. 26) quotes twenty-five hexameters of his, with the introductory +remark, which seems well deserved, ‘nemo ex tot disertissimis viris +melius Ciceronis mortem deflevit quam Severus Cornelius.’</p> + +<p><b>etiamsi sit</b>. The use of the subj. would seem to indicate that +Quintilian leaves the truth of the criticism an open question (Roby +§1560). Osann is wrong in taking it as indicating Quintilian’s own +opinion. See <a href = "QuintCrit.html#critI_sec89">Crit. Notes</a><ins +class = "correction" title = "period invisible">. </ins></p> + +<p><b>versificator</b>. This word occurs also in Justin. vi. 9, 4: +versificatores meliores quam duces: Vopisc. Saturn. i. 7, 4: Terent. +Maur. 1012: Bede 2354 P. If taken in a depreciatory sense it seems +rather inconsistent with the high praise given him in what follows: but +we gather from notices in the grammarians and from the extant fragments +that Severus was ‘inclined to artificiality of expression and to the +affectation of elegance, even where the thought is quite simple,’ as in +the quotation in Charisius, p. 83 Huc ades Aonia crinem circumdata +serta. For the antithesis <i>versificator ... poeta</i> cp. Hor. Sat. i. +4, 39 neque enim concludere versum dixeris esse satis ... (ut) putes +hunc esse poetam.</p> + +<p><b>si tamen</b>. <i>Tamen</i> really goes with <i>vindicaret</i>, but +the inversion <i>tamen si</i> (Hild) is quite unnecessary; elsewhere in +Quintilian <i>tamen</i> is found attached to the subordinate and not to +the principal sentence: xi. 3, 56 etiam si non utique vocis sunt vitia, +quia tamen propter vocem accidunt, potissimum huic loco subiciantur: ii. +17, 24-25: cp. cum tamen xi. 3, 91. (In ix. 2, 55 si tamen = si +modo, si quidem: in quo est et illa si tamen inter schemata numerari +debet ... digressio: cp. ii. 15, 4.)</p> + +<p><b>ut est dictum</b>. Becher agrees with Halm in considering this to +be a gloss on +<span class = "pagenum comm">86</span> +etiam si (sit) melior, and it is omitted in Krüger’s 3rd ed. But it is +obvious that (unless he is quoting from himself) Quintilian is here +giving a criticism at secondhand (dictum sc. ab aliis), and conveying +the opinion of contemporary critics: cp. <a href = +"#chapI_sec60">§60</a> adeo ut videatur quibusdam, of Archilochus. No +great difficulty need be occasioned by the position of the words, though +they would have been at least as well placed in the main sentence. +Kiderlin (in Hermes) proposes to read ‘etiamsi versificator quam poeta +melior sit, tamen, ut est dictum, si ad exemplar,’ &c.</p> + +<p><b>bellum Siculum</b>: i.e. the war with Sext. Pompeius <span class = +"smallroman">B.C.</span> 38-36 (Siculae classica bella fugae Propert. +ii. 1, 28). Scaliger suggested <i>bellum civile</i>, with which +Severus’s poems seem to have dealt, either in whole or in part. The +<i>primus liber</i> is unknown. Bernhardy refers to the extract in +Seneca, Suas. vii. (Burm. A. L. ii. 155) as justifying Quintilian’s +criticism, and seems inclined to hazard the conjecture (based on a +quotation from Valerius Probus in the Wiener Analecta Gramm. +p. 216—Cornelius Severus rerum Romanarum l. 1) that the +title of the whole work was Res Romanae, the Bellum Siculum being only a +section.—(Can <i>bellum Siculum</i> have crept into the text as a +gloss on ‘primi libri,’ the more general title <i>bellum civile</i> +dropping out? The whole poem cannot have dealt with the <i>bellum +Siculum</i>).</p> + +<p><b>perscripsisset</b>: common enough in the sense of ‘write a full +account of’: here ‘from beginning to end’: cp. perlegere, pervenire.</p> + +<p><b>secundum locum</b>—among epic poets, after Vergil.</p> + +<p><b>Serranum</b> is the conjectural emendation generally adopted in +place of the readings of the MSS. It rests on the passage in Juvenal +vii. 79 Contentus fama iaceat Lucanus in hortis Marmoreis; at Serrano +tenuique Saleio Gloria quantalibet quid erit, si gloria tantum est? Some +have ascribed to him the Eclogues which have come down to us under the +name of Calpurnius Siculus. Martial (iv. 37, 2) speaks of a +Serranus who was deep in debt. Most old edd. read <i>Sed eum</i>, still +referring to Severus.</p> + +<p><b>consummari</b>: cp. <a href = "#chapI_sec122">§122</a>: <a href = +"QuintBody2.html#chapII_sec28">2 §28</a>: <a href = +"QuintBody2.html#chapV_sec14">5 §14</a> and frequently in +Quintilian (v. Bonnell’s Lex.). Seneca, Ep. 88, 28, una re consummatur +animus, scientia bonorum ac malorum immutabili, quae soli philosophiae +competit.</p> + +<p><b>in aetate illa</b>: ‘for one so young.’</p> + +<p><b>recti generis</b>: cp. <a href = "#chapI_sec44">§44</a> rectum +dicendi genus: ix. 3, §3: ii. 5, §11. The objective genitive after +‘voluntas’ is noteworthy: cp. libertatis novae gaudium Flor. i. +9, 3.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec90" id = "chapI_sec90"> </a> +<span class = "secnum">I:90</span> +Multum in <span class = "smallcaps">Valerio Flacco</span> nuper amisimus. Vehemens et poeticum +ingenium <span class = "smallcaps">Salei Bassi</span> +<span class = "pagenum">87</span> +fuit, nec ipsum senectute maturuit. <span class = "smallcaps">Rabirius</span> ac <span class = "smallcaps">Pedo</span> +non in digni cognitione, si vacet. <span class = "smallcaps">Lucanus</span> ardens et concitatus +et sententiis clarissimus, et, ut dicam quod sentio, magis oratoribus +quam poetis imitandus.</p> + +<div class = "comm"> +<p><a name = "commI_sec90" id = "commI_sec90"><b>§ 90.</b></a> +<b>Valerio Flacco</b>. Martial addresses him in i. 77, exhorting him, +with some irony, to give up verse-writing as unprofitable and turn +lawyer. From another epigram (i. 61) we gather that he was a native of +Padua (‘Apona tellus’). He flourished in the reign of Vespasian, to whom +he dedicated his <i>Argonautica</i>, c. <span class = +"smallroman">A.D.</span> 70, and died about 88. Juvenal may be referring +to this poem i. 8-10: where see Mayor’s notes. There is a touch of +personal sorrow about the use of <i>amisimus</i>. For the expression cp. +Florus iv. 7, 14 Brutus cum in Cassio suum animum perdidisset.</p> + +<p><b>nuper</b>: Flaccus died about 88 <span class = +"smallroman">A.D.</span> Quintilian wrote his work between 93 and +95.</p> + +<p><b>Salei Bassi</b>. Cp. tenuique Saleio, Iuv. vii. 80, quoted above. +His name occurs several times in the Dial. de Orat.: Saleium Bassum, cum +optimum virum tum absolutissimum poetam §5: egregium poetam vel si hoc +honorificentius est praeclarissimum vatem §9, where it is stated that he +got a gift of 500 sestertia from Vespasian: cp. also §10. The Bassus +ridiculed by Martial (iii. 47, 58: v. 23: viii. 10: vii. 96) is a +different person, though he also wrote tragedies: v. 53, 1-2 Colchida +quid scribis, quid scribis, amice, Thyesten? Quo tibi vel Nioben, Basse, +vel Andromachen?</p> + +<span class = "pagenum comm">87</span> +<p><b>nec ipsum senectute maturuit</b>: ‘but it was not mellowed by +age’: <i>nec ipsum</i> = his genius no more than that of Serranus, +above. On the other reading (senectus maturavit) <i>ipsum</i> would be +accus. masc.: but the construction is harsh, and <i>maturo</i> in this +transitive use is only found in Pliny, of the processes of nature.</p> + +<p><b>Rabirius</b>, a contemporary of Ovid, Ep. ex Ponto iv. 16, 5 +magnique Rabirius oris. Velleius Paterculus mentions him along with +Vergil, omitting Horace: inter quae (ingenia) maxime nostri aevi eminent +princeps carminum Vergilius Rabiriusque ii. 36, 3: Seneca de Benef. vi. +3, 1 egregie mihi videtur M. Antonius apud Rabirium poetam ... +exclamare, hoc habeo quodcunque dedi. He is generally supposed to be the +author of a fragment on the battle of Actium and the death of Cleopatra, +discovered in the rolls of Herculaneum.</p> + +<p><b>Pedo</b>, C. Albinovanus, friend of Ovid, who styles him +<i>sidereus</i> ex Pont. iv. 16, 6, <i>carissime</i> iv. 10, 3. +Martial refers to him as a scholarly poet (doctique Pedonis ii. 77) and +epigrammatist (i. praef.)—in both places along with Domitius +Marsus: Paley and Stone are wrong in identifying him with the Celsus +Albinovanus of Horace, Epist. i. 3, 15 and 8, 1. Seneca tells a +story he had heard from him in Ep. 122, 13, and compliments him as being +‘fabulator elegantissimus.’ M. Seneca (Suas. i. 14) gives us 23 +hexameters of his which formed part of a poem celebrating the famous +voyage of Germanicus (cp. Tac. Ann. ii. 23). The ‘Consolatio ad Liviam +Augustam de morte Drusi Neronis,’ first attributed to him by Scaliger, +is now believed to be a production of the fifteenth century (Bernhardy, +pp. 486-7). He also wrote a Theseis (Ovid, ex Pont. iv. 10, 71 +sq.).</p> + +<p><b>Lucanus</b>, M. Annaeus, the author of the ‘Pharsalia,’ <span +class = "smallroman">A.D.</span> 38-65. The criticism of Quintilian puts +before us Lucan’s merits and defects,—the predominance of the +declamatory element being prominent among the latter. In the Dial. de +Orat. §20 he is classed along with Vergil and Horace, exigitur ... ab +oratore etiam poeticus decor ... ex Horatii et Vergilii et Lucani +sacrario prolatus. On the other hand Serv. ad Aen. i. 382 Lucanus ideo +in numero poetarum esse non meruit quia videtur historiam composuisse +non poema: cp. Petron. Sat. 118. So, too, Martial xiv. 194 Lucanus, Sunt +quidam qui me dicant non esse poetam, Sed qui me vendit bibliopola +putat. The <i>ut dicam quod sentio</i> seems to indicate that Quintilian +is combating the prevailing sentiment about Lucan.—Cp. Heitland’s +Introd. to Lucan’s Pharsalia (Haskins), p. lxx.</p> + +<p><b>sententiis</b>—<span class = "greek" title = +"gnômais">γνώμαις</span>, v. §§50, 61, ‘such general utterances as have +a bearing upon human life and action,’ Heitland, pp. lxv-lxvii.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec91" id = "chapI_sec91"> </a> +<span class = "secnum">I:91</span> +Hos nominavimus, quia <span class = "smallcaps">Germanicum</span> <span class = "smallcaps">Augustum</span> ab +institutis studiis deflexit cura terrarum, parumque +<span class = "pagenum">88</span> +dis visum est esse eum maximum poetarum. Quid tamen his ipsis eius +operibus, in quae donato imperio iuvenis secesserat, sublimius, doctius, +omnibus denique numeris praestantius? Quis enim caneret bella melius +quam qui sic gerit? Quem praesidentes studiis deae propius audirent? Cui +magis suas artes aperiret familiare numen Minervae?</p> + +<div class = "comm"> +<p><a name = "commI_sec91" id = "commI_sec91"><b>§ 91.</b></a> +<b>Hos</b>, sub. <i>tantum</i>: as <a href = +"QuintBody2.html#chapV_sec7">5 §7</a> uno genere. See Nägelsbach +§84 on the omission of adverbs: p. 331 sq.</p> + +<p><b>Germanicum</b>. Domitian took this title after his expedition +against the Chatti, <span class = "smallroman">A.D.</span> 84: +Frontinus, Strateg. ii. 11, 7 Imperator Caesar Augustus Germanicus eo +bello quo victis hostibus cognomen Germanici meruit. Of this triumph +Tacitus says (Agric. 39) that Domitian was conscious ‘derisui fuisse +falsum e Germania triumphum.’ For the tone of adulation cp. Proem. Book +IV, 2 sq., where Domitian is spoken of as ‘sanctissimus censor,’ and +‘principem ut in omnibus ita in eloquentia eminentissimum,’ and is even +invoked as a divinity,—nunc omnes in auxilium deos ipsumque in +primis quo neque praesentius aliud nec studiis magis propitium numen +est, invocem. Hild compares the following passages as showing the spirit +of the age:—Statius, Silvae i. 1 and 4: iii. 3: iv. 1 and 2: +Silius Italicus iii. 618 sq.: Valerius Flaccus i. 12: and Martial, +Epist. Ded. of vii.: cp. 65, 82 et passim. See Introd. <a href = +"QuintIntro.html#intro_pagexi">p. xi</a>.</p> + +<p><b>ab institutes studiis</b>: Suet. Dom. 2 simulavit et ipse mire +modestiam imprimisque poeticae studium, tam insuetum antea sibi quam +postea spretum et abiectum, recitavitque etiam publice. From Val. Flacc. +i. 12 it would appear that he contemplated an epic poem on the war with +the Jews. Tac. Hist. iv. 86 Domitianus sperni a senioribus iuventam suam +cernens, modice quoque et usurpata antea munia imperii omittebat, +simplicitatis ac +<span class = "pagenum comm">88</span> +modestiae imagine, in altitudinem conditus studiumque litterarum et +amorem carminum simulans, quo velaret animum et fratris aemulationi +subduceretur, cuius disparem mitioremque naturam contra interpretabatur. +Cp. Pliny, Introd. to Nat. Hist. But Suetonius §20 gives the reverse +side: nunquam ... aut historiae carminibusve noscendis operam ullam, aut +stilo vel necessario dedit. Praeter commentarios et acta Tiberii +Caesaris nihil lectitabat; epistolas orationesque et edicta alieno +formabat ingenio.</p> + +<p><b>cura terrarum</b>: cp. Mart. viii. 82 Posse deum rebus pariter +Musisque vacare Scimus, et haec etiam serta placere tibi.</p> + +<p><b>donato imperio</b>, i.e. to his father Vespasian, as he pretended, +and his brother Titus: cp. Suet. Dom. §13 principatum adeptus neque in +senatu iactare dubitavit ‘et patri se et fratri imperium dedisse.’</p> + +<p><b>numeris</b>: <a href = "#chapI_sec70">§70</a>.</p> + +<p><b>qui sic gerit</b>: cp. <a href = "#chapI_sec114">§114</a> of +Julius Caesar, ‘eodem animo dixisse quo bellavit.’ Statius has a similar +compliment to Domitian, Achil. i. 15, 16 cui geminae florent vatumque +ducumque certatim laurus: olim dolet altera vinci.</p> + +<p><b>praesidentes deae</b>: <a href = "#chapI_sec48">§48</a> +invocatione dearum quas praesidere vatibus creditum est.</p> + +<p><b>propius audirent</b>: cp. Aen. i. 526 parce pio generi et propius +res aspice nostras. The phrase is used of interest as well as nearness, +and refers either to the presence and sympathy of the Muses when the +poet reads his compositions (recitavitque etiam publice Suet. +Dom. 2), or (less probably) to their gracious answer to his prayer +for inspiration. Becher cites also Ovid, Trist. i. 2, 7 oderat Aenean +propior Saturnia Turno.—See <a href = +"QuintCrit.html#critI_sec91">Crit. Notes</a>.</p> + +<p><b>familiare numen Minervae</b>: Domitian was desirous of passing for +a son of Minerva (Philostratus, Vit. Apoll. vii. 24), and punished with +death a priest of Tarentum who had failed to address him by this title +in offering sacrifice. He also instituted the Quinquatria Minervae +(Suet. 4), with contests in poetry and rhetoric. At the +quinquennial festival of Jupiter Capitolinus he himself presided, +‘capite gestans coronam auream cum effigie Iovis ac Iunonis +Minervaeque.’ Merivale vii. 391-394.—Krüger cites Aen. i. 447 +(templum) donis opulentum et numine divae.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec92" id = "chapI_sec92"> </a> +<span class = "secnum">I:92</span> +Dicent haec plenius futura saecula, nunc enim ceterarum fulgore virtutum +laus ista praestringitur. Nos tamen sacra litterarum colentes feres, +Caesar, si non tacitum hoc praeterimus et Vergiliano certe versu +testamur:<p> + +<p class = "poem"> +inter victrices hederam tibi serpere laurus.</p> + +<div class = "comm"> +<p><a name = "commI_sec92" id = "commI_sec92"><b>§ 92.</b></a> +<b>praestringitur</b>: <a href = "#chapI_sec30">§30</a>.</p> + +<p><b>feres</b>, see <a href = "QuintCrit.html#critI_sec92">Crit. +Notes</a>. The subj. (<i>feras</i>) is given in many edd. as more +appropriate to the subservient tone of the whole passage.</p> + +<p><b>Vergiliano</b>: Ecl. viii, 13, addressed to Pollio. Cp. Mart. +viii. 82, 7 Non quercus te sola decet, nec laurea Phoebi: fiat et ex +hedera civica nostra tibi.</p> + +</div> + +<div class = "null"> + +<p class = "maintext space"> +<a name = "chapI_sec93" id = "chapI_sec93"> </a> +<span class = "secnum">I:93</span> +Elegea quoque Graecos provocamus, cuius mihi tersus atque +<span class = "pagenum">89</span> +elegans maxime videtur auctor <span class = "smallcaps">Tibullus</span>: sunt qui +<span class = "smallcaps">Propertium</span> malint. <span class = "smallcaps">Ovidius</span> utroque lascivior, sicut +durior <span class = "smallcaps">Gallus</span>. Satura quidem tota nostra est, in qua primus +insignem laudem +<span class = "pagenum">90</span> +adeptus <span class = "smallcaps">Lucilius</span> quosdam ita deditos sibi adhuc habet amatores +ut eum non eiusdem modo operis auctoribus sed omnibus poetis praeferre +non dubitent.</p> + +<div class = "comm space"> +<p><a name = "commI_sec93" id = "commI_sec93"><b>§ 93.</b></a> +<b>Elegea</b>. The form <i>elegea</i> is received into the text by Halm +in i. 8, 6, but not by Meister. Ovid has <i>elegeïa</i>,—flebilis +indignos elegeia solve capillos, Am. iii. 9, 3: cp. cultis aut elegia +comis Martial v. 30, 4. <i>Elegi</i> is more common: Hor. Car. i. +33, 2 miserabiles, A. P. 77 exiguos: Tib. ii. 4, 13: Prop. v. 1, +135: Iuv. i. 4.—The same names are enumerated in chronological +order by Ovid: Successor fuit hic (Tibullus) tibi, Galle, Propertius +illi. Quartus ab his serie temporis ipse fui, Trist. iv. 10, 63: Teuffel +§29.</p> + +<p><b>provocamus</b>: post-Aug. in this figurative sense: Plin. Ep. ii. +7, 4 senes illos provocare virtute: (cp. ea pictura naturam ipsam +provocavit Plin. N. H. xxxv. 10, 36 §94.) So of things +immensum Iatus circi templorom +<span class = "pagenum comm">89</span> +pulchritudinem provocat, Panegyr. §51.—Hild quotes Diomed. iii. +60, p. 484 Quod genus carminis praecipue scripserunt apud Romanos +Propertius et Tibullus et Gallus, imitati graecos Callimachum et +Euphoriona. Catullus also had used the elegiac metre, though, as Mr. +Munro says (Catullus, p. 231), his elegies are by no means up to +the level of his lyrics. In his hands the elegy retained the ease and +freedom of its original form, though often wanting in technical finish: +Tibullus and his successors Latinized it, and adapted it to new +conditions.</p> + +<p><b>tersus</b>, ‘smooth and finished’: xii. 10, 50 quod libris +dedicatur ... tersum ac limatum ... esse oportere. So below <a href = +"#chapI_sec94">§94</a>.</p> + +<p><b>Tibullus</b>, c. 54-18 <span class = "smallroman">B.C.</span> Hor. +Epist. i. 4: Ovid, Am. iii. 9. As distinguished from Propertius (c. +50-15 <span class = "smallroman">B.C.</span>), he is the poet of warm, +tender, natural feeling, which he expresses in neat and finished verse. +He confines himself to such themes and such scenes as suited the +limitations of his genius. Propertius has more force and strength; but +he is more involved, often in fact obscure; and his indirectness and +artificiality have greatly interfered with the adequate recognition of +his undoubted powers. Cp. Muretus, Schol. in Propert.: illum (Tibullum) +iudices simplicius scripsisse quae cogitaret: hunc (Propertium) +diligentius cogitasse quae scriberet. In illo plus naturae, in hoc plus +curae atque industriae perspicias. For a modern estimate cp. Postgate’s +Select Elegies lvii. sqq., esp. lxvii: “No real judge of poetry will +hesitate for a moment to place Propertius high above them both (Tibullus +and Ovid). It is true that in some respects they may both claim the +advantage over him; Tibullus for refined simplicity, for natural grace +and exquisiteness of touch; Ovid for the technical merits of execution, +for transparency of construction, for smoothness and polish of +expression. But in all the higher qualities of a poet he is as much +their superior.”</p> + +<p><b>lascivior</b>: v. on <a href = "#chapI_sec88">§88</a>. The +antithesis is here given in <i>durior</i> (‘more masculine’), which +seems to show that the reference is primarily to Ovid’s style: (cp. ix. +4, 142, quoted at <a href = "#chapI_sec88">§88</a>). Ovid’s exuberant +vivacity and sportive imagination, as well as his indifference to deep +conviction and high ideals, might however well be included in the +criticism. Tac. Dial. 10 elegorum lascivias et iamborum amaritudinem. +Martial has of Propertius ‘Cynthia te vatem fecit, lascive Properti’ +viii. 73, 5: which, like Ovid’s <i>tener</i> (A. A. iii. 333), +Postgate thinks refers rather to his subject than to his treatment of +it. “With Tibullus and Propertius love was at any rate a passion. With +Ovid it was <i>une affaire de cœur</i>.”</p> + +<p><b>Gallus</b>, Cornelius, of Forum Iulii (69-26), was the first +<i>praefectus Aegypti</i> under Augustus, but on a report of some rash +speeches was banished, and committed suicide in his forty-third year. +Vergil is said to have originally finished the Georgics with a tribute +to Gallus, and on being ordered to erase it, substituted the Aristaeus +episode which now occupies the latter half of Book IV. Vergil’s regard +for him, however, comes out in Eclogue vi. 64 sqq., and in the +dedication of Eclogue x. (sollicitos Galli dicamus amores), in which he +seeks to console him for the loss of his love Lycoris (Cytheris). On it +Servius observes: et Euphorionem ... transtulit in latinum sermonem (l. +50) et amorum suorum de Cytheride scripsit libros quatuor. Cp. Ovid, +Trist. ii. 445 Nec fuit opprobrio celebrasse Lycorida Gallo, Amor. i. +15, 30: Trist. iv. 10, 53: Remed. 765 Quis potuit lecto durus discedere +Gallo?</p> + +<p><b>Satura</b>. As to the derivation, v. Diomed. iii. p. 485 +(Palmer, Introd. to Hor. Sat. p. vii) Satira autem dicta sive a +Satyris, quod similiter in hoc carmine ridiculae res pudendaeque +dicuntur, quae velut a Satyris proferuntur et fiunt; sive satura a +lance, quae referta variis multisque primitiis in sacro apud priscos dis +inferebatur...; sive a quodam genere farciminis, quod multis rebus +refertum saturam dicit Varro vocitatum. The second derivation (lanx +satura—the platter filled with first fruits of various sorts which +was an annual thank-offering to Ceres and Bacchus: and so a ‘medley’ or +‘hodge-podge’) was long preferred; but Mommsen holds (cp. Ribbeck, Röm. +Trag. 21) that the word means the ‘masque of the full men’ (<span class += "greek" title = "saturoi">σάτυροι</span>),—the song enacted at a +popular carnival, when repletion in the performers leads to +<span class = "pagenum comm">90</span> +a certain ‘fulness’ about the performance. Cp. Tibullus ii. 1, 23 saturi +... coloni: 53 satur arenti primum est modulatus avena carmen +(agricola).</p> + +<p><b>tota nostra</b>. This claim must be understood of satire in its +Roman form. The spirit of personal invective had already found +expression in the lampoons of Greek satire, e.g. in the iambics of +Archilochus and Hipponax, to say nothing of the Old Comedy at Athens; +but Satire at Rome grew to be a distinct art, a serious practical aim +being imposed on the literary form that was developed out of the +original <i>Satura</i> (for which see below, <a href = +"#chapI_sec95">§95</a>). “It followed the Old Comedy of Athens in its +plain-speaking, and the method of Archilochus in its bitter hostility to +those who provoked attack. But it differed from the former in its +non-political bias, as well as its non-dramatic form; and from the +latter in its motive, which is not personal enmity, but public spirit. +Thus the assertion of Horace (S. i. 4, 1-6) that Lucilius is indebted to +the old comedians, must be taken in a general sense only, and not be +held to invalidate the generally received opinion that, in its final and +perfective form, Satire was a genuine product of Rome” (Cruttwell, +R. L. p. 76). Contrast the ‘hinc omnis pendet Lucilius hosce +secutus’ (est) of the passage referred to with ‘Lucilius ausus (est) +primus in hunc operis componere carmina morem’ (ii. 1, 62), and the +recognition of Ennius as ‘Graecis intacti carminis auctor’ (i. 10, 66). +The claim made by Quintilian springs from the consciousness that Satire +was pre-eminently the national organ of public opinion at Rome. Whatever +the topic treated might be,—politics, literature, philosophy, or +social life and manners,—the tone was always genuinely national +and popular. Moreover, it was the only form of literature that enjoyed a +continuous development at Rome, extending as it did from the most +flourishing era of the Commonwealth into the second century of the +Empire. See for the whole subject Professor Nettleship’s Essay on the +Roman Satura—its original form in connection with its literary +development, Clarendon Press, 1878: Palmer’s Satires of Horace, Intr. <a +href = "QuintIntro.html#intro_pageix">p. ix</a>.</p> + +<p><b>Lucilius, C.</b> (<span class = "smallroman">B.C.</span> +168(?)-103), was a member of an equestrian family of Suessa, and +belonged to the circle of the younger Scipio, under whom he had served +during the Numantine War. He left behind him thirty books of Satires, of +which the first twenty and the thirtieth were in hexameter verse, the +others being in different metres; and of these only some 1100 lines are +now extant. He gave Satire its true popular tone at Rome, speaking out +openly and with a courageous frankness against the iniquity and +incompetence of the nobles, the sordid, avaricious and pleasure-seeking +aims of the middle-class, and the venality of the mob. Horace passes a +rather mixed judgment on him, censuring his discursiveness, roughness, +careless rapidity, and verbosity; but commending him for his original +force and frank outspokenness. See Sat. i. 4, 6-12, 57: 10, 1-5, 20-24, +48-71: ii. 1, 17, 29-34, 62-75. In the time of Tacitus some preferred +Lucilius to Horace: Dial. 23 vobis utique versantur ante oculos qui +Lucilium pro Horatio et Lucretium pro Vergilio legunt.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapI_sec94" id = "chapI_sec94"> </a> +<span class = "secnum">I:94</span> +Ego quantum ab illis, tantum ab Horatio dissentio, qui Lucilium fluere +lutulentum et esse aliquid quod tollere possis, putat. Nam eruditio in +eo mira et libertas atque inde acerbitas et abunde salis. Multum est +tersior ac +<span class = "pagenum">91</span> +purus magis <span class = "smallcaps">Horatius</span> et, non labor eius +amore, praecipuus. Multum et verae gloriae quamvis uno libro +<span class = "smallcaps">Persius</span> meruit. Sunt clari hodieque et +qui olim nominabuntur.</p> + +<div class = "comm"> +<p><a name = "commI_sec94" id = "commI_sec94"><b>§ 94.</b></a> +<b>fluere lutulentum</b>, a quotation from memory of Sat. i. 4, 11 cum +flueret lutulentus erat quod tollere velles. Cp. i. 10, 50-1 ferentem +plura quidem tollenda relinquendis.</p> + +<p><b>eruditio mira</b>: i. 6, 8 hominis eruditissimi (Lucili).</p> + +<p><b>libertas</b>: Hor. Sat. i. 4, 5 multa cum libertate notabant. +Trebonius in Cic. Fam. xii. 16, §3 deinde qui magis hoc Lucilio licuerit +assumere libertatis quam nobis? quum, etiamsi odio pari fuerit in eos +quos laesit, tamen certe non magis dignos habuerit, in quos tanta +libertate verborum incurreret: Macr. iii. 16, §17 Lucilius acer et +violentus poeta.</p> + +<p><b>inde</b>: it was his personal independence (libertas) that gave so +keen an edge to his satire (acerbitas): Hor. Sat. ii. 1, 62. +<i>inde</i> is in fact <i>causal</i> here. Becher notes pro Mur. §26 as +the only parallel +<span class = "pagenum comm">91</span> +instance in Cicero, and there it occurs in a law formula: inde ibi ego +te ex iure manu consertum voco.</p> + +<p><b>abunde salis</b>: Verg. Aen. vii. 552 terrorum et fraudis abunde +est: Suet. Caes. 86 potentiae gloriaeque abunde, but not in earlier +prose. According to Hand. Turs. i. 71 <i>abunde</i> was originally neut. +of <i>abundis</i>, used substantially (cp. pote and necesse) and so +becoming an adverb, from which was formed in time, by a false analogy, +an adj. <i>abundus</i>. Other uses are (1) like ‘satis esse,’ as in +Tac. Hist. ii. 95, §5 ipse abunde ratus si praesentibus frueretur: +(2) as simple adv. qualifying verbs adjectives and other adverbs +(cp. on <a href = "#chapI_sec25">§25</a>): Cic. Div. ii. 1, 3 erit +abunde satisfactum toti huic quaestioni. Sall. Iug. 14, 18 abunde magna +praesidia. Wharton takes it from *<i>habundus</i>, ‘possessing,’ the +gerundive of habeo.—See Crit. Notes.</p> + +<p><b>multum</b>: for <i>multum</i> before a comparative, like <span +class = "greek" title = "polu meizon">πολὺ μεῖζον</span> etc., see +Introd. <a href = "QuintIntro.html#intro_pageli">p. li</a>.: cp. +Stat. Theb. ix. 559, Iuv. x. 197. In spite of ‘multum maius’ (de Or. +iii. §92), Cicero very rarely has <i>multum</i> for <i>multo</i>. For +the reading, see Crit. Notes.</p> + +<p><b>purus magis</b> gives the antithesis to <i>lutulentus</i>.</p> + +<p><b>non labor</b>: cp. vi. 3, 3 sive amore immodico praecipui in +eloquentia viri (Ciceronis) labor: Cic. Brut. 244 ambitione labi. In +spite of the stricture passed in i. 8, 6 (Horatium nolim in quibusdam +interpretari), Quint. had a high admiration for Horace: see below <a +href = "#chapI_sec96">§96</a>. Many codd. give <i>nisi</i> for +<i>non</i>: see Crit. Notes. For <i>praecipuus</i> used absolutely cp. +<a href = "#chapI_sec68">§§68</a>, <a href = "#chapI_sec81">81</a>, <a +href = "#chapI_sec116">116</a>.</p> + +<p><b>Multum et verae</b> = multum gloriae et quidem verae gloriae. Cp. +Cic. ad Fam. iv. 6, 1 filium consularem, claram virum et magnis rebus +gestis, amisit. So the Greek <span class = "greek" title = "kai tauta">καὶ ταῦτα</span>. For acc. w. <i>mereo</i> cp. <a href = +"#chapI_sec116">§116</a>.</p> + +<p><b>quamvis</b>: cp. <a href = "#chapI_sec74">§74</a>. Even in +classical Latin <i>quamvis</i> is used with adjectives and adverbs, and +without any verb: but this is a more remarkable instance than e.g. Cic. +Nat. Deor. ii. 1, 1 rhetorem quamvis eloquentem: Tusc. iii. §73 +stultitiam accusare quamvis copiose licet.</p> + +<p><b>Persius</b> (34-62 <span class = "smallroman">A.D.</span>) The +best account of his satires is that prefixed to Conington’s edition. Cp. +Mart. iv. 29, 7 Saepius in libro numeratur Persius uno Quam levis in +tota Marsus Amazonide.</p> + +<p><b>Sunt clari hodieque et</b>: ‘there are brilliant satirists at the +present day,—men whose names will hereafter be on the roll of +fame.’ Cp. for the general sense iii. 1, 21 sunt et hodie clari eiusdem +operis auctores, qui si omnia complexi forent, consuluissent labori meo, +sed parco nominibus viventium: veniet eorum laudi suum tempus: ad +posteros enim virtus durabit, non perveniet invidia. So too <a href = +"#chapI_sec104">§104</a> below qui olim <i>nominabitur</i> nunc +<i>intellegitur</i>.—This use of <i>hodieque</i> (‘noch +heutzutage’) is quite different from such simple instances as e.g. Cic. +de Orat. i. 103 hoc facere coeperunt hodieque faciunt, where -que is +merely copulative. The Dictt. quote several instances in post-Augustan +prose, though the word occurs in Quint. only here: Vell. Paterc. i. 4, 3 +quae hodieque appellate Ionia: ii. 8, 3 porticus quae hodieque celebres +sunt: 27, 3 Utcunque cecidit, hodieque tanta patris imagine non +obscuratur eius memoria: Seneca, Epist. 90, 16 non hodieque magna +Scytharum pars tergis vulpium induitur? Plin. ii. 58, 59 §150 in +Abydi gymnasio colitur hodieque: viii. 45, 70 §176 et hodieque +reliquiae durant: Tac. Germ. iii. quod in ripa Rheni situm hodieque +incolitur: Dial. 34 ad fin., quas hodieque cum admiratione legimus: +Suet. Claud. 17: Tit. 2. Krüger (3rd. ed.) thinks that <i>que</i> +is thrown in to correspond with <i>et</i> in what follows (<span class = +"greek" title = "te ... kai">τε ... καί</span>, ‘sowohl als auch’): +‘posthumous renown is introduced, as the more precious, not simply by +<i>et olim</i> but in a special relative clause.’ Certainly it is the +same writers who are <i>clari</i> now and who will hereafter receive +proper recognition (<i>nominabuntur</i> cp. <a href = +"#chapI_sec104">§104</a> below), though at present he refrains from +giving names. The position of <i>et</i>, and indeed its presence at all +in the sentence, seem to be motived by the choice of the form +<i>hodieque</i>. But see <a href = "QuintCrit.html#critI_sec94">Crit. +Notes</a>.</p> + +<p>Juvenal can hardly be referred to here, as his first Satire is later +than the reign of Domitian, under whom Quint. composed his work. The +reference is more probably to some minor Satirists, like the authors of +the ‘scripta famosa, vulgoque edita, quibus primores viri ac feminae +notabantur,’—mentioned by Suet. (Dom. 8) as current in +Domitian’s reign. Cp. Nero 42: Tac. Ann. i. 72.—For olim see on <a +href = "#chapI_sec104">§104</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec95" id = "chapI_sec95"> </a> +<span class = "secnum">I:95</span> +Alterum illud etiam +<span class = "pagenum">92</span> +prius saturae genus, sed non sola carminum varietate mixtum condidit +<span class = "smallcaps">Terentius Varro</span>, vir Romanorum eruditissimus. +<span class = "pagenum">93</span> +Plurimos hic libros et doctissimos composuit, peritissimus linguae +Latinae et omnis antiquitatis et rerum Graecarum nostrarumque, plus +tamen scientiae collaturus quam eloquentiae.</p> + +<div class = "comm"> +<p><a name = "commI_sec95" id = "commI_sec95"><b>§ 95.</b></a> +<b>Alterum illud</b>, &c. This takes +<span class = "pagenum comm"><br>92</span> +us back to the earliest forms of the Roman Satura. Alongside of the +Fescennine verses (Hor. Epist. ii. 139, sq.), which had originated in +the rustic raillery and coarse mirth of vintage and harvest homes, there +grew up a sort of dramatic medley or farce, probably containing an +element of dialogue, to give opportunity for the sportive exchange of +repartees, and soon coming to have a regular musical accompaniment and +corresponding gestures. These ‘Saturae’ differed from the Fescennine +verses in having more of a set form and not being extemporised; while, +again, they were distinct from the developed drama in having no +connected plot. They seem from the first to have contained a dramatic +element, consisting as they did of comic songs or stories recited with +gesticulation and flute accompaniment. In addition to the censorious +freedom which they derived from the Fescennine verses, the Saturae +received an impulse from the mimetic dances that had been imported from +Etruria. They had been acted on the stage for more than a century before +Livius Andronicus gave his first dramatic representation (<span class = +"smallroman">B.C.</span> 240), and after the development of the regular +drama they passed into a distinct form of literature, which retained to +some extent its dramatic cast, but was not intended now for public +representation. In the hands of Ennius the Satura became a medley of +metrical pieces—a metrical miscellany—in which the poet gave +utterance, not without the element of dialogue, to his views on things +in general, in a tone that began to be more serious than would have +suited the stage and the theatre-going public, who were now to look to +Latin Comedy for undiluted amusement. With Lucilius, Satire passed from +miscellaneous metrical composition to that aggressive and censorious +criticism of persons, manners, literature, and politics, which the word +has ever since been employed to denote. It was a form of literary +activity that would seem to have been called for by the social and +political conditions of Roman life in the latter part of the second +century.—The transition is indicated in the following passage from +Diomedes, Art. Gram. iii. p. 485 K Satira dicitur carmen apud +Romanos nunc quidem maledicum et ad carpenda hominum vitia archaeae +comoediae charactere compositum, quale scripserunt <ins class = +"correction" title = "text reads ‘Licilius’">Lucilius</ins> et Horatius +et Persius; at olim carmen quod ex variis poematibus constabat satira +vocabatur, quale scripserunt Pacuvius et Ennius.</p> + +<p><b>etiam prius</b>, i.e. even before the <i>satura</i> of Lucilius: +cp. olim carmen quod, &c. in the passage just quoted. The +<i>satura</i> of Varro (like that of Menippus, whom he imitated), +besides being composed in all sorts of metres, admitted prose also: +hence ‘non sola carminum varietate mixtum’ (for the implied antithesis +cp. <a href = "QuintBody2.html#chapVII_sec19">7 §19</a> in prosa +... in carmine). It was also, in respect of material, a sort of +<i>pot-pourri</i> or ‘hodge-podge’: cp. multis rebus refertum, Diomedes, +l.c. See <a href = "QuintCrit.html#critI_sec95">Crit. Notes</a>.</p> + +<p><b>condidit</b>: see <a href = "#chapI_sec56">§56</a>. There is no +need for Jahn’s conj. <i>condivit</i>. The word means ‘wrote,’ +‘composed’ (not ‘founded,’ as Mayor in his analysis): cp. iii. 1, 19 +primus condidit aliqua (in arte rhetorica) M. Cato: xii. II, 23 +Cato ... idem historiae conditor.</p> + +<p><b>Terentius Varro, M.</b> (<span class = "smallroman">B.C.</span> +116-27). Of his many works (said to number about 600) we have only three +books of the De Re Rustica, parts of the De Lingua Latina (in 25 books), +and fragments of the Menippean Satires. For the last v. esp. Mommsen, +iv. pt. 2, p. 594. A good account of Varro’s life and writings +is given in Cruttwell’s Rom. Lit. pp. 141-156. In regard to the +Saturae, v. esp. pp. 144-145: ‘There was one class of semi-poetical +composition which Varro made peculiarly his own, the Satura Menippea, a +medley of prose and verse, treating of all kinds of subjects just as +they came to hand in the plebeian style, often with much grossness, but +with sparkling point. Of these Saturae he wrote no less than 150 books, +of which fragments have been preserved amounting to near 600 lines. +Menippus of Gadara, the originator of this style of composition, lived +about 280 <span class = "smallroman">B.C.</span>; he interspersed +jocular and commonplace topics with moral maxims and philosophical +doctrines, and may have added contemporary pictures, though this is +uncertain. Varro followed him; we find him in the <i>Academicae +Quaestiones</i> of Cicero (i. 2, 8) saying that he adopted this +method in the hope of enticing the unlearned to read something that +might profit them. In these <i>saturae</i> topics were +<span class = "pagenum comm">93</span> +handled with the greatest freedom. They were not satires in the modern +sense. They are rather to be considered as lineal descendants of the old +<i>saturae</i> which existed before (cp. etiam prius) any regular +literature.’</p> + +<p><b>Romanorum eruditissimus</b>: cp. Cicero ad Att. xiii. 18 where, +with some pique, he writes homo <span class = "greek" title = +"polugraphôtatos">πολυγραφώτατος</span> nunquam me lacessivit (by +dedicating a work to him): August. C. D. vi. 2 homo omnium facile +acutissimus et sine ulla dubitatione doctissimus. Dion. Hal. ii. 21 +<span class = "greek" title = "anêr ... polupeirotatos">ἀνὴρ ... +πολυπειρότατος</span>: and Plut. Rom. 12 <span class = "greek" title = +"andra Rhômaiôn en historia bibliakôtaton">ἄνδρα Ῥωμαίων ἐν ἱστορίᾳ +βιβλιακώτατον</span>.</p> + +<p><b>omnis antiquitatis</b>. He wrote Antiquitates rerum humanarum et +divinarum, in forty-one books. Cp. Cic. Brut. 15, 60 diligentissimus +investigator antiquitatis. For his general activity v. Acad. Post. i. 3, +9 nos in nostra urbe peregrinantes ... tui libri quasi domum reduxerunt +... tu aetatem patriae, tu descriptiones temporum, tu sacrorum iura, tu +sacerdotum, tu domesticam, tu bellicam disciplinam, tu sedem regionum, +locorum, tu omnium divinarum humanarumque rerum nomina, genera, officia, +causas aperuisti plurimumque idem poetis nostris omninoque latinis et +litteris luminis et verbis attulisti, atque ipse varium et elegans omni +fere numero poema fecisti philosophiamque multis locis inchoasti, ad +inpellendum satis, ad edocendum parum. Cp. Phil. ii. 41, 105, where +distinct reference is made (as Halm points out) to treatises de Iure +Civili, in fifteen books: de Vita Populi Romani, in four books: Annales +in three books: Antiquitates in forty-one books: de Fama Philosophiae: +and nine books Disciplinarum: Quint. xii. 11, 24, Quam multa, paene +omnia, tradidit Varro.—For this use of <i>antiquitas</i> cp. Tac. +Ann. ii. 59 cognoscendae antiquitatis: and other exx. in Nettleship’s +Lat. Lex. s.v. 3.</p> + +<p><b>scientiae ... eloquentiae</b>: cp. August. C. D. vi. 2 +M. Varro ... tametsi minus est suavis eloquio, doctrina tamen atque +sententiis ita refertus est ut in omni eruditione ... studiosum rerum +tantum iste doceat quantum studiosum verborum Cicero delectat. For the +datives cp. <a href = "#chapI_sec27">§27</a>, <a href = +"#chapI_sec63">§63</a>, <a href = "#chapI_sec71">§71</a>: conferre with +<i>in</i> c. acc. occurs <a href = +"QuintBody2.html#chapVII_sec26">7 §26</a>, q.v.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec96" id = "chapI_sec96"> </a> +<span class = "secnum">I:96</span> +Iambus non sane a Romanis celebratus est ut proprium opus, <i>sed +aliis</i> quibusdam interpositus; cuius acerbitas in <span class = "smallcaps">Catullo</span>, +<span class = "smallcaps">Bibaculo</span>, +<span class = "pagenum">94</span> +<span class = "smallcaps">Horatio</span>, quamquam illi epodos intervenit, reperietur. At +lyricorum idem <span class = "smallcaps">Horatius</span> fere solus legi dignus; nam et insurgit +aliquando et plenus est iucunditatis et gratiae et varius figuris et +verbis felicissime audax. Si quem adicere velis, is erit <span class = "smallcaps">Caesius +Bassus</span>, quem nuper vidimus; sed eum longe praecedunt ingenia +viventium.</p> + +<div class = "comm"> +<p><a name = "commI_sec96" id = "commI_sec96"><b>§ 96.</b></a> +<b>Iambus</b> = carmina iambica: cp. <a href = "#chapI_sec9">§9</a>, <a +href = "#chapI_sec59">§59</a>.</p> + +<p><b>celebratus est</b>: cp. ix. 2, 92 celebrata apud Graecos schemata: +i. 9, 6 narratiunculas a poetis celebratas. Cp. frequentare.</p> + +<p><b>ut proprium opus</b>, i.e. as a separate form of composition, such +as it was in the hands of Archilochus, Hipponax, and Simonides.</p> + +<p><b>aliis quibusdam</b> (sc. carminibus) <b>interpositus</b>. Hild +takes this as referring both to the alternation of the iambic with other +metres and the substitution of other feet for the iambus itself (as +commonly in Horace). It is probable that it only includes the former, +being repeated, as regards Horace, in the words quamquam illi epodos +intervenit.’ See Crit. Notes.</p> + +<p><b>Catullo</b>. Cp. Fragm. i. At non effugies meos iambos. The most +famous examples of his <i>acerbitas</i> are the lampoons on Julius +Caesar, especially that contained in the twenty-ninth poem (where see +Munro for an appreciation of the meaning of ancient defamation and +invective). Here Catullus appears as the genuine successor of the early +Greek iambic writers. (Cp. the more offensive hendecasyllabics of lvii.) +These are the two poems which Suetonius (Caesar 73) regarded as having +attached an ‘everlasting stigma’ to the name of Caesar: cp. liii. ad +fin. Irascere iterum meis iambis Immerentibus unice imperator. Sellar’s +Roman Poets, p. 431 sq.</p> + +<p><b>Bibaculo</b>. M. Furius Bibaculus (b. at Cremona <b>B.C.</b> 99), +like Catullus, the author of lampoons directed especially against the +monarchists: Tac. Ann. iv. 34 carmina Bibaculi et Catulli referta +contumeliis Caesarum leguntur: sed ipse divus Iulius, ipse divus +Augustus et tulere ista et reliquere. Some apply to him the words of +Horace, Satires ii. 5, 40, sq. seu pingui tentus omaso Furius hibernas +cana nive conspuet Alpes (where the scholiast credits him with having +written an account of the Gallic War): also i. 10, 36 Turgidus +<span class = "pagenum comm">94</span> +Alpinus iugulat dum Memnona,—the nickname Alpinus having been +given to him on account of this ludicrous description of Jupiter +sputtering snow over the Alps: v. Quint. viii. 6, 17, where the +original line is quoted as an instance of a forced metaphor. The +reference in i. 10, 36 is however doubtful; and Bernhardy (R. L. +p. 566) supposes that in both passages some unknown poet is meant, +whose name may have been Furius Alpinus. See Teuffel, R. L. i. +313.</p> + +<p><b>illi</b>, sc. iambo = iambicis versibus.</p> + +<p><b>epodos</b>: <span class = "greek" title = "ho epôdos">ὁ +ἐπῳδός</span>, sc. <span class = "greek" title = "stichos">στίχος</span> += a shorter (iambic) verse, alternating with a longer. Epodi dicuntur +versus quolibet modo scripti et sequentes clausulas habentes +particularum quales sunt epodi Horatii: in quibus singulis versibus +singulae clausulae adiciuntur.... Dicti autem epodi <span class = +"greek" title = "sunekdochikôs">συνεκδοχικῶς</span> a partibus versuum, +quae legitimis et integris versibus <span class = "greek" title = +"epadontai">ἐπᾴδονται</span>, i.e. accinuntur: Diomedes. Though the term +epode includes all kinds of metre (except elegiac) in which a long and a +short line are combined, it is used especially of the alternation of the +iambic trimeter and dimeter (Hor. Epod. 1-10). Horace himself (who has +only one poem—Epod. 17—in iambic trimeter by itself) +includes all his Epodes under the head of iambi: Epod. 14, 7: Ep. i. 19, +23-25 Parios ego primus iambos ostendi Latio numeros animosque secutus +Archilochi: cp. Car. i. 16, 3, and esp. 23-25 me quoque pectoris +Tentavit in dulci iuventa Fervor et in celeres iambos Misit furentem. In +Ep. ii. 2, 59 he divides his poetry into <i>carmina</i>—Odes: +<i>iambi</i>—Epodes: and ‘<i>Bionei sermones</i>’—Satires. +Of course it was not Horace who introduced the epode into the +Archilochean iambics: the form was invented and used by Archilochus +himself. See Bernhardy, p. 601.</p> + +<p><b>legi dignus</b>: a poetical constr., which passed into the prose +of the Silver Age: cp. Plin. Paneg. vii. 4 dignus alter eligi alter +eligere. See <a href = "QuintCrit.html#critI_sec96">Crit. Notes</a>.</p> + +<p><b>varius figuris</b>: cp. <a href = "#chapI_sec68">§68</a> +sententiis densus.</p> + +<p><b>verbis felicissime audax</b>: cp. Hor. A. P. 46 sq.: In +verbis etiam tenuis cautusque serendis, hoc amet, hoc spernat promissi +carminis auctor. Dixeris egregie notum si callida verbum Reddiderit +iunctura novum,—where Orelli gives, as instances of <i>callida +iunctura</i> in Horace himself, the well-known phrases ‘splendide +mendax,’ ‘insanientis sapientiae consultus,’ ‘animae magnae prodigus.’ +Cp. Petron. Sat. 118 Horatii curiosa felicitas. Ovid pronounces his +eulogy in Trist. iv. 10, 49 Tenuit nostras numerosus Horatius aures, Dum +ferit Ausonia carmina culta lyra.</p> + +<p><b>Caesius Bassus</b>: mentioned by Ovid in the lines immediately +preceding the passage just quoted, ll. 47-8: Ponticus Heroo, Bassus +quoque clarus Iambo, Dulcia convictus membra fuere mei. He was the +friend of Persius, who addresses his sixth Satire to him: and at the +request of Cornutus he edited the whole six, after they had been +prepared for publication by the latter. He is said to have perished in +the eruption of Vesuvius (<span class = "smallroman">A.D.</span> 79), +which was fatal also to the elder Pliny. He is probably the Bassus who +wrote a treatise on metres, which still exists in an interpolated +epitome: Keil. Gram. Lat. vi. 305 sq.—For <i>vidimus</i>, +‘amisimus’ and ‘perdidimus’ have been needlessly suggested.</p> + +<p><b>ingenia viventium</b>: cp. sunt clari hodieque <a href = +"#chapI_sec94">§94</a> above. It is only in favour of Domitian <a href = +"#chapI_sec91">§91</a> that Quint. breaks his rule not to mention living +writers. Hild suspects Quint. of a little ‘log-rolling’ in these +compliments.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec97" id = "chapI_sec97"> </a> +<span class = "secnum">I:97</span> +Tragoediae scriptores veterum <span class = "smallcaps">Attius</span> atque <span class = "smallcaps">Pacuvius</span> +clarissimi +<span class = "pagenum">95</span> +gravitate sententiarum, verborum pondere, auctoritate personarum. +<span class = "pagenum">96</span> +Ceterum nitor et summa in excolendis operibus manus magis videri potest +temporibus quam ipsis defuisse; virium tamen Attio plus tribuitur, +Pacuvium videri doctiorem qui esse docti adfectant volunt.</p> + +<div class = "comm space"> +<p><a name = "commI_sec97" id = "commI_sec97"><b>§ 97.</b></a> +<b>Tragoediae scriptores</b>. Quint. did not consider it necessary for +his purpose to take any account of the first beginnings of tragedy, +otherwise he would have mentioned Livius Andronicus (284-204), Naevius +(235), and Ennius himself, who was probably almost as great in tragedy +as in narrative poetry. It was +<span class = "pagenum comm"><br>95</span> +Ennius who first impressed on Roman tragedy the deeply moral and highly +didactic character which it bore down to the age of Cicero. He made it +his endeavour to hold up patterns of heroic virtue to his audience and +to inspire them with right ideas of life. Even his adaptations from the +Greek (nearly half of the extant names of his tragedies suggest subjects +taken from the Trojan cycle) are fired with the truly national spirit +which he succeeded in handing on to his successors, Attius and Pacuvius. +Ennius also wrote some <i>praetextatae</i> (i.e. national tragedies on +historic subjects of poetic interest, e.g. the Rape of the Sabine +Women); and in view of this fact it may appear strange that his example +was not more widely followed, so that these national dramas should have +outlived the hackneyed subjects drawn from Greek legend. The reason +probably is that there was too much party life in Rome to make the +dramatic treatment of the national history equally acceptable to all. +Few incidents could have been dramatised that would not have excited +various feelings in the hearts of an audience, say, in the times of the +Gracchi. Under the Empire the free treatment of the national history for +dramatic purposes was positively discouraged, and under the Republic the +Senate had exercised almost as severe a political censorship as the +Emperor did in later times.</p> + +<p>From many points of view it might have been expected that tragedy +would have found a congenial home at Rome. There was much in the +national character, history, and institutions that was favourable to its +growth. The speculative element and the deep spiritual interest which +pervades Greek tragedy must no doubt have been absent; though Schlegel +thought that the place of Nemesis could naturally have been taken by the +idea of Religio, in so far as it comprehended the subordination of the +individual to the State, and his supreme self-surrender. But tragedy +flourished at Rome only during a comparatively short period: the +populace probably failed to rise to the demands made on them by its +lofty and serious purpose. Their tastes became more and more estranged +from it, as gladiatorial and spectacular shows grew in favour; and +appreciation of the drama came to be the proof of the culture of a small +and exclusive class. But the popularity which it enjoyed for a time must +have been due to the fact that, though the subjects were generally +adapted from the Greek, Roman tragedy came to have a character of its +own. It appealed to the ethical and political sympathies of the +audience, and satisfied that taste for rhetoric which led afterwards to +the development of Latin oratory. There may have been about it no subtle +analysis of character, no lofty delineation of the action and passion of +men entangled in the meshes of a destiny which they could neither +understand nor unravel; but it seems to have embodied all the manly +feeling and moral dignity of which the nation was capable. By its +vigorous rhetoric it may be said at least to have helped to develop the +language for use in those departments in which it achieved so great +success, i.e. oratory, history, and philosophical composition. And when +under the Empire literature had become altogether divorced from +practical life, the composition of tragedies was still a favourite +practice with many (e.g. Seneca) who recognised in that pursuit an +appropriate sphere for the rhetorical style which was then so much in +vogue.</p> + +<p><b>Attius L.</b>, (170-about 90 <span class = +"smallroman">B.C.</span>) should have come after Pacuvius, as being +fifteen years younger. He produced his first play in conjunction with +Pacuvius, cir. 140. We have the titles of about fifty of his dramas, and +the fragments extant contain some 700 verses. He seems to have had +pretty much the same qualities as Ennius and Pacuvius, manly seriousness +of style combined with fervour of spirit. Cicero, who is said to have +conversed with him in his boyhood, and others, bear witness to his +oratorical force, his gravity, and passionate energy: pro Plancio, §59 +gravis et ingeniosus poeta: pro Sest. §120 summus poeta: Ovid, Am. i. +15, 19 animosi Attius oris: Hor. Ep. ii. 1, 55-6 Ambigitur quotiens uter +utro sit prior, aufert Pacuvius docti famam senis, Accius alti. Sellar’s +Rom. Poets, pp. 146-7. Quintilian gives a shrewd answer of his (v. +13, 43): aiunt Attium interrogatum cur causas non ageret, cum apud eum +in tragoediis tanta vis esset optime respondendi, hanc reddidisse +rationem: quod illic ea dicerentur quae ipse vellet, in foro dicturi +adversarii essent quae minime vellet.</p> + +<p><b>Pacuvius, M.</b> (220-132), the son of Ennius’s sister. Of +provincial birth (his birth-place was Brundisium), he could +<span class = "pagenum comm">96</span> +not, according to Cicero, boast the pure Latinity which was the pride of +Naevius and Plautus: Brut. §258 Caecilium et Pacuvium male locutos +videmus. But in Orat. §36 an imaginary opinion is given as +follows:—omnes apud hunc ornati elaboratique versus, multa apud +alterum (Ennium) neglegentius. Martial (xi. 90), addressing a +wrong-headed admirer of the old poets, jeers at him for delighting in +archaisms,—Attonitusque legis terrai frugiferai Attius et quidquid +Pacuviusque vomunt. We have about 400 lines extant, which are discussed +in Sellar’s Roman Poets, and also by Ribbeck (Römische Tragödie, +pp. 216-339). The epithet <i>doctus</i>, in the use of which Horace +and Quintilian agree, probably refers to his wide acquaintance with +Greek literature: see below.</p> + +<p><b>clarissimi</b>: see <a href = "QuintCrit.html#critI_sec97">Crit. +Notes</a>.</p> + +<p><b>nitor</b>: v. on <a href = "#chapI_sec79">§79</a>: and cp. <a href += "#chapI_sec33">§§33</a>, <a href = "#chapI_sec83">83</a>, <a href = +"#chapI_sec98">98</a>, <a href = "#chapI_sec113">113</a>: <a href = +"#chapI_sec124">§124</a> cultus ac nitor.</p> + +<p><b>summa manus</b>: Cic. Brut. §126 manus extrema (the ‘finishing +touch’) non accessit operibus eius: Cp. i. pr. §4 quasi perfectis omni +alio genere doctrinae summam inde eloquentiae manum imponerent. See on +<a href = "#chapI_sec21">§21</a>.</p> + +<p><b>magis ... temporibus</b>: but see Cicero, Brut. l.c. Aetatis +illius ista fuit laus, tamquam innocentiae, sic latine loquendi ... +omnes tum fere ... recte loquebantur.</p> + +<p><b>virium Attio</b>: cp. Ovid’s ‘animosi oris,’ quoted above: Vell. +Paterc. ii. §9 adeo quidem ut in illis limae in hoc paene plus videatur +fuisse sanguinis. Persius is less complimentary, Brisaei ... venosus +liber Acci (1, 76), the ‘shrivelled volume of the old Bacchanal +Accius.’—Quintilian is here only recording current literary +opinion: but such references as those at i. 5, 67: 7, 14: 8, 11: v. 10, +84: 13, 43 go far to prove independent knowledge.</p> + +<p><b>doctiorem</b>: cp. Horace’s ‘docti famam senis,’ quoted above.</p> + +<p><b>esse docti adfectant</b>: for the constr. cp. <a href = +"#chapI_sec72">§72</a> meruit credi secundus: Introd. <a href = +"QuintIntro.html#intro_pagelvi">p. lvi</a>. Cp. Hor. Sat. i. 9, 7 +noris nos, inquit, docti sumus, where Professor Wilkins remarks: “The +epithet of <i>doctus</i> was especially assumed by those who were versed +in Greek literature and mythology, especially the products of the +Alexandrine school.” It aptly characterises the artificial tendencies of +the literature of the Empire.</p> + +<p><b>Iam</b>—a formula of transition. Kr.<sup>3</sup> suggests +Nam: see on <a href = "#chapI_sec12">§12</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec98" id = "chapI_sec98"> </a> +<span class = "secnum">I:98</span> +Iam <span class = "smallcaps">Vari</span> Thyestes cuilibet Graecarum comparari potest. +<span class = "smallcaps">Ovidi</span> Medea videtur mihi ostendere quantum ille vir praestare +potuerit si ingenio suo imperare quam indulgere +<span class = "pagenum">97</span> +maluisset. Eorum quos viderim longe princeps <span class = "smallcaps">Pomponius +Secundus</span>, quem senes quidem parum tragicum putabant, eruditione ac +nitore praestare confitebantur.</p> + +<div class = "comm"> +<p><a name = "commI_sec98" id = "commI_sec98"><b>§ 98.</b></a> +<b>L. Varius Rufus</b> (64 <span class = "smallroman">B.C.</span>-9 +<span class = "smallroman">A.D.</span>), the friend of Vergil and Horace +(Hor. Sat. i. 5, 40: 6, 55), enjoyed a high reputation as an epic +poet before he took up tragedy. Macrobius (vi. 1, 39 sq.: i. 2, 19 sq.) +gives twelve hexameters of his from an epic poem on Caesar’s death: +hence Hor. Sat. i. 10, 51 forte epos acer ut nemo Varius ducit. From a +Panegyricus Augusti Horace is said to have borrowed the verses which +occur Ep. i. 16, 27-29. Cp. the ode addressed to Agrippa (i. 6) +Scriberis Vario ... Maeonii carminis alite. He is mentioned as an epic +poet together with Vergil, Ep. ii. 1, 147: A. P. 55. His tragedy +Thyestes was performed at the games after the battle of Actium (<span +class = "smallroman">B.C.</span> 29). Cp. Tac. Dial. 12 Nec ullus Asinii +aut Messallae liber tam illustris est quam Medea Ovidii aut Varii +Thyestes: Philargyr. on Verg. Ecl. viii. 10 Varium cuius exstat Thyestes +tragoedia, omnibus tragicis praeferenda. A quotation from it is +given iii. 8, 45. He edited the Aeneid after Vergil’s death, along +with Plotius and Tucca: probably prefixing the biographical sketch from +which Quintilian quotes <a href = "QuintBody2.html#chapIII_sec8">x. +3, 8</a>.</p> + +<p><b>Graecarum</b>, sc. fabularum.</p> + +<p><b>Medea</b>: a quotation from it is given viii. 5, 6 servare potui: +perdere an possim rogas?</p> + +<p><b>quantum potuerit ... si maluisset</b>: cp. <a href = +"#chapI_sec62">§62</a>. The use of the perf. subj. in such a sentence +corresponds to the use of the pf. ind. in <i>oratio recta</i> with verbs +implying possibility, duty, right, &c., as if to express the idea +more unconditionally: e.g. deleri totus exercitus potuit si fugientes +persecuti victores essent (Livy xxxii. 12), So Ventum erat eo ut si +hostem similem antiquis Macedonum regibus habuisset consul magna clades +accipi potuerit (Livy xliv. 4). Roby, 1568.</p> + +<p><b>ingenio imperare</b>: cp. nimium amator ingenii sui <a href = +"#chapI_sec88">§88</a>.</p> + +<span class = "pagenum comm">97</span> +<p><b>quos viderim</b>, <a href = "#chapI_sec118">§118</a>. The subj. +seems to be used here on the analogy of the <i>qui</i> of restriction +and limitation (Roby 1692): omnium quidem oratorum, quos quidem ego +cognoverim, acutissimum iudico Q. Sertorium Brut. §48: cp. <a href += "#chapI_sec65">§65</a>. The indic. is also used: in iis etiam quos +ipsi vidimus xii. 10, 11.</p> + +<p><b>Pomponius Secundus</b> underwent an imprisonment of several years’ +duration on account of his friendship with Aelius Gallus, son of +Sejanus: Tac. Ann. v. 8 multa morum elegantia et ingenio illustri: ibid. +xi. 13: xii. 28, where we are told that he obtained a triumph under +Claudius,—modica pars famae eius apud postero, in quis carminum +gloria praecellit: Dial. xiii, ne nostris quidem temporibus Secundus +Pomponius Afro Domitio vel dignitate vitae vel perpetuitate famae +cesserit. One of his plays was called ‘Aeneas.’ He died 60 <span class = +"smallroman">A.D.</span></p> + +<p><b>parum tragicum</b>: contrast Hor. Ep. ii. 1, 166 Nam spirat +tragicum satis et feliciter audet. See <a href = +"QuintCrit.html#critI_sec98">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec99" id = "chapI_sec99"> </a> +<span class = "secnum">I:99</span> +In comoedia maxime claudicamus. Licet Varro Musas, Aeli Stilonis +sententia, +<span class = "pagenum">98</span> +Plautino dicat sermone locuturas fuisse, si Latine loqui vellent, licet +<span class = "smallcaps">Caecilium</span> veteres laudibus ferant, licet <span class = "smallcaps">Terenti</span> +scripta ad Scipionem Africanum referantur (quae tamen sunt in hoc +<span class = "pagenum">99</span> +genere elegantissima, et plus adhuc habitura gratiae si intra versus +trimetros stetissent),</p> + +<div class = "comm"> +<p><a name = "commI_sec99" id = "commI_sec99"><b>§ 99.</b></a> +<b>maxime claudicamus</b>. No doubt this dictum must be taken as +implying that ‘the educated taste of Romans under the Empire did not +find much that was congenial in the works of Plautus, Caecilius, or +Terence’ (Sellar, R. P. p. 154). But Quintilian must also have +been biassed by a comparison with Greek Comedy, of the superiority of +which we can have only an imperfect appreciation, owing to the +scantiness of the survivals; while in depreciating Roman Comedy, as +compared with Tragedy, he also had the advantage over us of a full +acquaintance with the whole range of the latter. Moreover, it was +Satire, not Comedy, that represented at Rome much of the spirit of the +old Comedy of Athens. Horace, too, is more severe on Plautus than on +Ennius and the tragic poets (Ep. ii. 1, 170: A. P. 270 sq.). Again, +in Quintilian’s day the Mimus had so completely re-asserted its position +that the production of comedies seems to have almost entirely ceased. +“Comedy was not congenial to the educated or the uneducated taste of +Romans in the last years of the Republic, and in the early Empire. But, +on the other hand, the popularity enjoyed by the old comedy between the +time of Naevius and of Terence, and even down to the earlier half of the +Ciceronian age, when some of the great parts in Plautus continued to be +performed by the ‘accomplished Roscius,’ and the admiration expressed +for its authors by grammarians and critics, from Aelius Stilo down to +Varro and Cicero, shows its adaptation to an earlier and not less +vigorous, if less refined stage of intellectual development; while the +actual survival of many Roman comedies can only be accounted for by a +more real adaptation to human nature, both in style and substance, than +was attained by Roman tragedy in its straining after a higher ideal of +sentiment and expression.” Sellar, Roman Poets l.c.</p> + +<p><b>Musas</b>. To this Muretus added ‘Ne illae saepe, si Plautino more +loquerentur, meretricio magis quam virginali more loquerentur.’ For the +epigram cp. Plato on Aristophanes <span class = "greek" title = "Hai charites temenos ti labein hoper ouchi peseitai Dizomenai psuchên heuron Aristophanous">Αἱ χάριτες τέμενός τι λαβεῖν ὅπερ οὐχὶ πεσεῖται Διζόμεναι +ψυχὴν εὗρον Ἀριστοφάνους</span>.</p> + +<p><b>Aeli Stilonis</b>, the first Roman philologist (144-70 <span class += "smallroman">B.C.</span>). His name was L. Aelius Praeconinus: he +received the additional cognomen Stilo on the ground of his literary +eminence. Suet, de Gramm. 2 Aelius cognomine duplici fuit; nam et +Praeconinus, quod pater eius praeconium fecerat, vocabatur, et Stilo, +quod orationes nobilissimo cuique scribere solebat. Cp. Cic. Brut. §205 +scribebat tamen orationes quas alii dicerent: and above, fuit is omnino +vir egregius et eques Romanus cum primis honestus idemque eruditissimus +et Graecis litteris et Latinis, antiquitatisque nostrae et in inventis +rebus et in actis scriptorumque veterum litterate peritus. Quam +scientiam Varro noster acceptam ab illo auctamque per sese ... pluribus +et illustrioribus litteris explicavit. Varro ap. Gell. N. A. i. 18, +2 L. Aelius noster, litteris ornatissimus memoria nostra: and +L. L. vii. 2 homo in primis in litteris latinis exercitatus. Varro +was his pupil; and we are told by Gellius (iii. 3, 1) that both +master and pupil made lists of the plays of Plautus, Varro +distinguishing his classes according to his personal feeling and +judgment as to whether a play was worthy of Plautus or not. Cicero tells +<span class = "pagenum comm">98</span> +us (l.c.) that in his youth he was a very diligent student under Aelius; +and as Lucilius addressed some of his satires to him he may be looked on +as a bond of connection between the two epochs.</p> + +<p><b>sententia</b>: abl. by itself, after the analogy of <i>mea</i>, +<i>tua</i>, <i>sententia</i>. Varro took the criticism from his +master.</p> + +<p><b>vellent</b>: the possibility is looked upon as still present.</p> + +<p><b>Plautino sermone</b>. Plautus (254-184) fills a very distinct +place in the development of Latin comedy. He engrafted the festive +traditions of the Italian farce on the literary form which he borrowed +from Greece, producing a picture of Roman life and manners which secured +for his dramas a degree of popularity that caused them to be represented +almost uninterruptedly down even to the fourth century of our era. +Modern comedy is under deep obligations to him if only for his spirit of +unrestrained fun. See Bernhardy, p. 452 sq.: Teuffel §§84-88: +Cruttwell’s Rom. Lit. pp. 43-48: and Sellar’s Roman Poets, +p. 189 sq.</p> + +<p><b>Caecilius, Statius</b> (219-166), an Insubrian Gaul by birth, and +contemporary with Ennius. Fragments of his plays are preserved by +Gellius, who tells us (xv. 24) that Volcatius Sedigitus (a critic +who probably belonged to the earlier part of the first +century,—Ritschl, Parerga, p. 240 sq.) placed him at the head +of all the Roman comic poets: Caecilio palmam statuo dandam comico, +Plautus secundus facile exsuperat ceteros. The three next are Naevius, +Licinius, and Atilius; Terence comes only sixth on the list. Cicero +inclines to the same verdict: de Opt. Gen. Orat. §1 itaque licet dicere +et Ennium summum epicum poetam, si cui ita videtur: et Pacuvium +tragicum: et Caecilium fortasse comicum. But elsewhere he censures his +provincial style: Brutus, §258 Caecilium et Pacuvium male locutos +videmus: ad. Att. vii. 3, 10 malus enim auctor Latinitatis est. For +other quotations v. de Orat. ii §40: Lael. 99: de Sen. 96: de Fin. +i. 4. Nonius (p. 374) quotes Varro as saying In argumentis +Caecilius poscit palmam, in ethesi Terentius, in sermonibus Plautus. +Horace’s criticism (Ep. ii. 1, 57) is still more familiar: Dicitur +Afrani toga convenisse Menandro, Plautus ad exemplar Siculi properare +Epicharmi, Vincere Caecilius gravitate, Terentius arte. By +<i>gravitas</i> Horace probably means the sententious maxims for which +he was distinguished (Sellar, p. 202). See Mommsen, ii. 441. +Caecilius imitated Menander mainly, to whom Gellius compares him (ii. +23), while admitting the superiority of his Greek model. He is said +neither to have amused his audience, like Plautus, by confounding Greek +and Roman terms, manners, and customs, &c., nor like Terence, on the +other hand, to have carefully excised everything that did not accord +with Roman usage. He is said also to have recognised the division of +tastes and interests that was now springing up at Rome, and to have +begun to address only the higher classes, to whom Plautus had appealed +along with ‘the gallery.’</p> + +<p><b>laudibus ferant</b>, for the Ciceronian <i>efferant</i>: Tac. Ann. +ii. 13. Cp. Introd. <a href = +"QuintIntro.html#intro_pagel">p. l</a>.</p> + +<p><b>Terentii scripta ... elegantissima</b>. The gap between the +classes at Rome, alluded to above, had widened in the interval that +separates Plautus from Terence (cir. 194-159 <span class = +"smallroman">B.C.</span>). The educated class was growing more refined +and fastidious under the leavening influence of Greek culture, while the +uneducated section of the people was gradually becoming coarser and more +debased. A leading member of the Scipionic circle, he may be said +to have begun the movement by which the creations of the genius of Rome +became more perfect as works of art addressed to a smaller circle of men +of rank and education, but lost also something of directness of purpose +as having less bearing on the passions and interests of the time. The +growing appreciation of Greek literature had produced a sense of +dissatisfaction with the uncouth efforts of a previous age; and elegance +of style, the cultivation of refinement and taste in thought and +language, were the objects now aimed at. There is distinctly less of the +drollery of the tavern about Terence than about Plautus. The ‘art’ with +which Horace credits him (v. above) is seen in the careful finish of his +style. Cp. Caesar’s lines, quoted by Sueton. Vit. Terent., in which he +calls him <i>puri sermonis amator</i>, and <i>dimidiate Menander</i>. +See Sellar, p. 208 sq.: Mommsen, vol. iii. p. 449 sq.</p> + +<p><b>ad Scipionem Africanum</b>. Cp. Sueton. Vit. Ter. (Roth. +p. 293) non obscura fama +<span class = "pagenum comm">99</span> +est adiutum Terentium in scriptis a Laelio et Scipione, eamque ipse +auxit nunquam nisi leviter refutare conatus, ut in prologo Adelphorum: +Nam quod isti dicunt malevoli, homines nobiles Hunc adiutare adsidueque +una scribere, &c. The rumour may have arisen from the fact of his +Carthaginian origin, which renders all the more remarkable the success +with which he cultivated a refined and elegant style.</p> + +<p><b>plus adhuc</b> = etiam plus: see on <a href = +"#chapI_sec71">§71</a>.</p> + +<p><b>habitura</b>. For this use of the fut. part, in a conditional +sentence cp. xi. 1, 74 detracturus alioqui plurimum auctoritatis sibi si +eum se esse qui temere nocentes reos susciperet fateretur. So too <a +href = "#chapI_sec119">§119</a> below (without a <i>si</i> clause): +pronuntiatio vel scaenis suffectura.</p> + +<p><b>intra versus trimetros</b>. This is a curious criticism, but it +can be paralleled from Priscian, de Metris Terentii: quosdam vel +abnegare esse in Terentii comoediis metra, vel ea quasi arcana quaedam +et ab omnibus doctis semota sibi solis esse cognita confirmare. The +vagaries of comic prosody were certainly not appreciated by ancient +critics: they could not excuse what to them seemed carelessness and +undue freedom from constraint: cp. Cicero, Orat. §184 at comicorum +senarii propter similitudinem sermonis sic saepe sunt abiecti ut +nonnunquam vix in eis numerus et versus intellegi possit. Quintilian and +others would no doubt have preferred a stricter imitation of Menander’s +versification. Horace himself took the same point of view in writing +about Plautus, Ep. ii. 1, 272 si modo ego et vos ... legitimumque sonum +digitis callemus et aure. Cp. Bernhardy, 325 n. and 350 n.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec100" id = "chapI_sec100"> </a> +<span class = "secnum">I:100</span> +vix levem consequimur umbram: adeo ut mihi sermo ipse Romanus non +recipere videatur illam solis concessam Atticis venerem, cum eam ne +Graeci quidem in alio genere linguae <i>suae</i> obtinuerint. Togatis +excellit <span class = "smallcaps">Afranius</span>: utinam non inquinasset argumenta puerorum +foedis amoribus mores suos fassus.</p> + +<span class = "pagenum">100</span> +<div class = "comm"> +<p><a name = "commI_sec100" id = "commI_sec100"><b>§ 100.</b></a> +<b>vix levem ... umbram</b>: a proverbial expression, from the same +disparaging point of view as <i>claudicamus</i>, above.</p> + +<p><b>alio genere linguae suae</b>, i.e. another dialect. The charm +referred to is the peculiar property of Attic writers +generally,—not the comic poets alone. Latin is too formal and +rhetorical to fall into the simple naturalness and directness of Attic +Greek. For <i>suae</i> see <a href = "QuintCrit.html#critI_sec100">Crit. +Notes</a>.</p> + +<p><b>Togatis</b>, sc. fabulis. The <i>Comoediae Togatae</i> (though +founded on Greek models) aspired to be thoroughly national in dress, +manners, and tone: quae scriptae sunt secundum ritus et habitum +togatorum, i.e. Romanorum (Diom. iii. p. 489). On the other hand, +in the <i>Palliatae</i> of Plautus, Caecilius and Terence (so called +from <i>pallium</i>, the Greek actor’s cloak, xi. 3, 143), all the +surroundings are meant to be Greek, though much of the fun of the +Plautine comedy is the result of the inconsistencies that sprang from +the introduction into Greek circumstances of Roman names, scenes, +manners, and characters.</p> + +<p><b>Afranius</b>, fl. cir. 150 <span class = "smallroman">B.C.</span> +He was the chief writer of <i>togatae</i>, and began to aim at getting +rid altogether of Greek surroundings: and so comedy, descending into the +low humours of Italian country life, and specially the debaucheries of +the Italian towns, rapidly degenerated into farce. He borrowed freely +from Menander: dicitur Afrani toga convenisse Menandro, Hor. Ep. ii. 1, +57,—‘Menander’s speeches came very well from the characters of +Afranius.’ Cic. de Fin. i. 3, 7. But he did not confine his +attentions to Menander only: Macrob. Sat. vi. 1, 4 Afranius togatarum +scriptor ... non inverecunde respondens arguentibus quod plura +sumpsisset a Menandro, ‘Fateor,’ inquit, ‘sumpsi non ab illo modo sed ut +quisque habuit conveniret quod mihi, quodque me non melius facere +credidi, etiam a Latino.’ Cicero, Brut. §167 L. Afranius poeta, +homo perargutus, in fabulis quidem etiam, ut scitis, disertus.</p> + +<p><b>utinam non</b>, i. 2, 6: ix. 3, 1: more usually <i>utinam ne</i>: +Cic. ad Fam. 5, 17 illud utinam ne vere scriberem: Catull. 64, 171. +Krüger (3rd ed.) cites however Cic. ad Att. xi. 9, 3 haec ad te die +natali meo scripsi: quo utinam susceptus non essem aut ne quid ex eadem +matre postea natum esset.</p> + +<p><b>foedis amoribus</b>: cp. Auson. Epigr. +<span class = "pagenum comm">100</span> +71 vitiosa libido ... quam toga facundi scenis agitavit Afrani.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec101" id = "chapI_sec101"> </a> +<span class = "secnum">I:101</span> +At non historia cesserit Graecis. Nec opponere Thucydidi +<span class = "smallcaps">Sallustium</span> verear, nec indignetur sibi Herodotus aequari +<span class = "smallcaps">Titum Livium</span>, cum in narrando mirae iucunditatis clarissimique +candoris, tum in contionibus supra quam enarrari potest eloquentem: +<span class = "pagenum">101</span> +ita quae dicuntur omnia cum rebus, tum personis accommodata sunt: +adfectus quidem praecipueque eos qui sunt dulciores, ut parcissime +dicam, nemo historicorum commendavit magis.</p> + +<div class = "comm space"> +<p><a name = "commI_sec101" id = "commI_sec101"><b>§ 101.</b></a> +<b>cesserit</b>. So <a href = "#chapI_sec85">§85</a> auspicatissimum +dederit exordium: cp. cesserimus <a href = "#chapI_sec86">§86</a>. There +is no need for Halm’s suggestion <i>in historia cesserimus</i>: or +Spalding’s <i>cesserim</i> with <i>historia</i> in abl. Cp. Cicero, de +Legg. i. 2, 5 ut in hoc etiam genere Graeciae nihil cedamus, and the +whole passage.</p> + +<p><b>Sallustium</b>. This is a bold statement. Sallust evidently +accepted Thucydides as his literary model, imitating his style, and +following him in his speeches and the general arrangement of his work. +(Capes’ Sallust: Introd. p. 13 sq.). Brevity (cp. illa Sallustiana +brevitas <a href = "#chapI_sec32">§32</a>) is a conspicuous feature in +both: but the brevity of Thucydides is greatly the result of inability +to keep pace with the rush of thought, whereas that of Sallust is often +laboured and artificial, and is attained by conscious processes of +excision and compression. Cp. iv. 2, 45 vitanda est etiam illa +Sallustiana (quamquam in ipso virtutis obtinet locum) brevitas et +abruptum sermonis genus: Seneca, Ep. 114, 17 Sallustio vigente amputatae +sententiae et verba ante exspectatum cadentia et obscura brevitas fuere +pro cultu: Aul. Gell. iii. 1, 6 Sallustium subtilissimum brevitatis +artificem. His Grecisms are referred to by Quint. ix. 3, 17 ex Graeco +vero translata vel Sallustii plurima. According to Suetonius (Gramm. 10 +extr.) Ateius exhorted Asinius Pollio (ut) vitet maxime obscuritatem +Sallustii et audaciam in translationibus. For the high esteem in which +he was held in antiquity cp. Velleius ii. 36, 2 aemulum Thucydidi +Sallustium: Tacitus, Ann. iii. 30 rerum Romanarum florentissimus auctor: +Martial xiv. 191 primus Romana Crispus in historia. See Teuffel +§§203-205. In modern times Milton exalted him above Tacitus, saying of +the latter that ‘his highest praise consists in his having imitated +Sallust with all his might.’ On the other hand Scaliger spoke of +Sallust’s style as ‘anxium atque insiticium dicendi genus.’</p> + +<p><b>Titum Livium</b>. Quintilian’s estimate of Livy is very happily +expressed so far as it goes. He ignores of course the defects which are +obvious to modern students of Livy,—his want of that historic +sense which shows itself in ability to trace the gradual development of +institutions and to take a philosophic view of general political and +social conditions, his indifference to the scrupulous collation and +weighing of evidence, and his neglect of chronological and geographical +precision. Munro in his ‘Criticisms and Elucidations of Catullus’ speaks +of Livy’s style as the greatest prose style that has ever been written +in any age or language, and certainly it has all the beauties which +Quintilian mentions here: besides, the happy adaptation of the language +to the ever-varying phases of the subject is one of its greatest charms. +Teuffel, §251 sq. The best proof of Livy’s popularity in ancient times +may be found in the story of the man from Gades, Pliny, Ep. ii. 3, 8 +Nunquamne legisti Gaditanum quendam Titi Livi nomine gloriaque commotum +ad visendum eum ab ultimo terrarum orbe venisse statimque ut viderat +abisse?</p> + +<p><b>narrando ... contionibus</b>. This antithesis is common in +Dionysius: <span class = "greek" title = "diêgêsesin ... dêmêgoriais">διηγήσεσιν ... δημηγορίαις</span> (ad Pomp. +p. 776 R, Us. pp. 58-9) <span class = "greek" title = "to diêgêmatikon meros ... to dêmêgorikon">τὸ διηγηματικὸν μέρος ... τὸ +δημηγορικόν</span> (Iud. de Thucyd.) p. 952 R.</p> + +<p><b>candoris</b>, ‘transparency’: ii. 5, 19 candidissimum quemque et +maxime expositum velim, ut Livium a pueris magis quam Sallustium: etsi +hic historiae maior est auctor, ad quem tamen intellegendum iam profectu +opus sit: §32 lactea ubertas. Cp. dulcis et candidus et fusus Herodotus +<a href = "#chapI_sec73">§73</a>, where see note: <a href = +"#chapI_sec113">§113</a> nitidus et candidus.—In a different +sense, Seneca, Suas. vi. 22, ut est natura candidissimus omnium magnorum +ingeniorum aestimator T. Livius.</p> + +<p><b>contionibus</b>. The speeches are introduced in order to give a +portrait of some one (xlv. 25, 3), or to indicate motives (viii. 7: +iii. 47, 5). Though they make no claim to historical truth (in hanc +sententiam locutum accipio iii. 67, 1), they generally give a +trustworthy picture of the circumstances and character of the speaker: +cp. e.g. vii. 34. In some instances we can see how Livy rhetorically +<span class = "pagenum comm">101</span> +enlarges on the brief hints of a predecessor: cp. Polyb. iii. 64 with +Liv. xxi. 40 sq. Teuffel §252, 12.</p> + +<p><b>supra quam</b>: cp. Sall. Cat. 5, 3 supra quam cuiquam credibile +est: Iug. 24, 5: Cicero, Orator §139 saepe supra feret quam fieri posset +(cp. de Nat. Deor. ii. §136). Quintilian has <i>inenarrabilis</i> xi. 3, +177, which occurs also in Livy xliv. 5, 1: xli. 15, 2.</p> + +<p><b>eloquentem</b>: viii. 1, 3 Tito Livio, mirae facundiae viro: Tac. +Agr. 10 Livius veterum Fabius Rusticus recentium eloquentissimi +auctores: Ann. iv. 34 T. Livius eloquentiae ac fidei praeclarus in +primis: Seneca, de Ira i. 20, 6 apud disertissimum virum Livium.</p> + +<p><b>adfectus</b>: <a href = "#chapI_sec48">§48</a> adfectus quidem, +vel illos mites vel hos concitatos: ‘the softer passions.’</p> + +<p><b>parcissime</b>: cp. below, <a href = +"QuintBody2.html#chapIV_sec4">4 §4</a> qui parcissime: xi. 1, 66: +3, 100.</p> + +<p><b>commendavit magis</b>: ‘has set in a fairer light,’ ‘represented +more perfectly’ (‘hat angemessen und eindringlich +dargestellt.’—Bonnell-Meister). Spalding felt a difficulty about +this word, but rightly suggested that it means ‘approbavit suis +lectoribus,’—a meaning to which <i>ut parcissime dicam</i> is +quite appropriate. The nearest parallel is iv. 1, 13 Nam tum dignitas +eius (litigatoris) adlegatur, tum commendatur infirmitas (‘set in a +<i>strong</i> light,’ ‘made much of’),—where too the verb is used +absolutely, without a dative. The usual construction is found v. 11, 38 +misericordiam commendabo iudici. In the sense of ‘set off’ +(<i>ornare</i>), without a dat., we have quae memoria complecteretur +actio commendaret viii. Prooem. 6: quaedam ... virtus haec sola +commendat ix. 4, 13: hoc oratio recta, illud figura declinata commendat +<a href = "QuintBody2.html#chapV_sec8">x. 5, 8</a>.—For the +reading <i>commodavit</i> see <a href = +"QuintCrit.html#critI_sec101">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec102" id = "chapI_sec102"> </a> +<span class = "secnum">I:102</span> +Ideoque immortalem Sallusti velocitatem diversis virtutibus consecutus +est. Nam mihi egregie dixisse videtur <span class = "smallcaps">Servilius Nonianus</span>, pares +eos magis quam similes; qui et ipse a +<span class = "pagenum">102</span> +nobis auditus est clarus vi ingenii et sententiis creber, sed minus +pressus quam historiae auctoritas postulat.</p> + +<div class = "comm"> +<p><a name = "commI_sec102" id = "commI_sec102"><b>§ 102.</b></a> +<b>immortalem</b>: so <a href = "#chapI_sec86">§86</a>, where it is more +appropriate.</p> + +<p><b>velocitatem</b>: ‘rapid brevity.’ It is the quality which +Dionysius denotes by <span class = "greek" title = "to tachos tês apangelias">τὸ τάχος τῆς ἀπαγγελίας</span> p. 870 R. Cp. Hor. +Sat i. 10, 9 Est brevitate opus ut currat sententia,—quoted on <a +href = "#chapI_sec73">§73</a> brevis et semper instans sibi Thucydides, +where see note. Arist. Rhet. iii. 16, 4 <span class = "greek" title = +"tacheian diêgêsin">ταχεῖαν διήγησιν</span>. So <i>celeritas</i> xii. +10, 65 hanc vim et celeritatem in Pericle miratur Eupolis: Eupolis +having said of Pericles <span class = "greek" title = "tachus legein men, pros de g’ autô tô tachei peithô tis">ταχὺς λέγειν μέν, πρὸς δέ γ᾽ +αὐτῷ τῷ τάχει πειθώ τις</span> (Schol. Aristoph. Acharn. 535).</p> + +<p><b>consecutus est</b>, lit. = ‘equalled in point of fame’: the real +object is not <i>velocitatem</i>, so that the idea is awkwardly +expressed. Quintilian means that by other good points (cp. <a href = +"#chapI_sec73">§73</a> diversis virtutibus) Livy obtained a degree of +fame not inferior to what Sallust gained by his ‘velocitas.’ It is in +fact a brachyology for ‘immortalitatem illius Sallustianae velocitatis.’ +Cp. Cic. Phil. xiv. 35 parem virtutis gloriam consecuta est (legio): +Quint. iii. 7, 9 quod immortalitatem virtute sint consecuti. See Crit. +Notes.</p> + +<p><b>Servilius Nonianus</b>. In mentioning his death (<span class = +"smallroman">A.D.</span> 60) along with that of Domitius Afer (<a href = +"#chapI_sec86">§86</a>), Tacitus says that he rivalled the latter’s +abilities and surpassed his morals:—summis honoribus et multa +eloquentia viguerant, ille orando causas, Servilius diu foro, mox +tradendis rebus Romanis celebris et elegantia vitae, quam clariorem +effecit, ut par ingenio, ita morum diversus. Cp. Dial. ch. 23 eloquentia +... Servilii Noniani. Like most of the Roman historians, except Livy, he +was a man of affairs. Pliny, N. H. xxviii. 2, 5 princeps civitatis. +He was the friend—possibly at one time the teacher—of the +satirist Persius, who is said to have reverenced him as a father (coluit +ut patrem). Pliny tells us (Ep. i. 13, 3) how Claudius, on hearing +the thunders of applause that greeted his recitations, entered the +building and seated himself unobserved among the audience: memoria +parentura Claudium Caesarem ferunt, cum in palatio spatiaretur +andissetque clamorem, causam requisisse, cumque dictum esset recitare +Nonianum, subitum recitanti inopinantique venisse.</p> + +<p><b>et ipse</b>. Quintilian had not only read his works, but had heard +him: he +<span class = "pagenum comm">102</span> +would be between twenty and twenty-five when Servilius died.—For +<i>et ipse</i> see on <a href = "#chapI_sec31">§31</a>.</p> + +<p><b>clarus vi ingenii</b>: see <a href = +"QuintCrit.html#critI_sec102">Crit. Notes</a>.</p> + +<p><b>sententiis creber</b>; cp. <a href = "#chapI_sec68">§68</a> +sententiis densus. For <i>sententiis</i> (<span class = "greek" title = +"gnômais">γνώμαις</span>) cp. <a href = "#chapI_sec60">§60</a> <a href = +"#chapI_sec61">§61</a>: <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>. He was full of point and +matter, but not concise enongh for the dignity of history. For +<i>pressus</i> v. <a href = "#chapI_sec44">§44</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec103" id = "chapI_sec103"> </a> +<span class = "secnum">I:103</span> +Quam paulum aetate praecedens eum <span class = "smallcaps">Bassus Aufidius</span> egregie, +utique in libris belli Germanici, praestitit genere ipso, probabilis in +omnibus, sed in quibusdam suis ipse viribus minor.</p> + +<div class = "comm"> +<p><a name = "commI_sec103" id = "commI_sec103"><b>§ 103.</b></a> +<b>Bassus Aufidius</b>. Tacitus mentions him along with Servilius +Nonianus, Dial. 23, where he speaks of antiquarians ‘quibus eloquentia +Aufidii Bassi aut Servilii Noniani ex comparatione Sisennae aut Varronis +sordet.’ Seneca gives some account of him in his thirtieth letter: §1 +Bassum Aufidium, virum optimum, vidi quassum, aetati obluctantem: §3 +Bassus tamen noster alacer animo est. hoc philosophia praestat. Cp. §§5, +10, 14. His history probably ended with the reign of Claudius, at which +point Pliny the elder took it up: N. H. praef. 20 diximus ... +temporum nostrorum historiam, orsi a fine Aufidii Bassi. The ‘libri +Belli Germanici’ may have been an independent work.—The practice +of placing the cognomen before the gentile name grew under the Empire: +many instances are found even in Cicero’s letters, but not in the +ordinary prose of the Republic; cp. <a href = "#chapI_sec86">§86</a>, +and Introd. <a href = "QuintIntro.html#intro_pagelv">p. lv</a>.</p> + +<p><b>genere ipso</b> = ‘gerade durch den Stil’ (Kiderlin)—as +being suitable to <i>historiae auctoritas</i>. Quintilian often uses +<i>genus</i> in this sense (without dicendi): often with an adj. like +<i>rectum</i>, but often also without, e.g. <a href = +"QuintBody2.html#chapII_sec18">x. 2, 18</a> noveram quosdam &c.: <a +href = "QuintBody2.html#chapII_sec23">2 §23</a> uni alicui generi. +For the reading, see <a href = "QuintCrit.html#critI_sec103">Crit. +Notes</a>.—From the specimens (on the death of Cicero) given by +Seneca the rhetorician (Suas. vi. 18 and 23), we should infer that the +style of Bassus was rather affected and pretentious.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec104" id = "chapI_sec104"> </a> +<span class = "secnum">I:104</span> +Superest adhuc et exornat +<span class = "pagenum">103</span> +aetatis nostrae gloriam vir saeculorum memoria dignus, qui olim +nominabitur, nunc intellegitur. Habet amatores nec immerito +<span class = "smallcaps">Cremuti</span> libertas, quamquam circumcisis quae dixisse ei +nocuerat; sed elatum abunde spiritum et audaces sententias deprehendas +etiam in his quae manent. Sunt et alii scriptores boni, sed nos genera +degustamus, non bibliothecas excutimus.</p> + +<div class = "comm"> +<p><a name = "commI_sec104" id = "commI_sec104"><b>§ 104.</b></a> +<b>Superest</b>. The fact that Cremutius put an end to his life in <span +class = "smallroman">A.D.</span> 25 is sufficient to disprove the theory +that he is referred to here: <i>superest</i> when taken along with +<i>exornat aetatis nostrae gloriam</i> cannot mean anything but +<i>superstes est</i> (cp. supersunt <a href = +"QuintBody2.html#chapII_sec28">2 §28</a>).—The +Bonnell-Meister edition (1882) understands the reference to be to +Tacitus: but though admirers of Tacitus would like to appropriate for +him the phrase <i>vir saeculorum memoria dignus</i>, this can hardly be +accepted. In the first place the words <i>superest adhuc</i> are, in +their natural sense, inapplicable to one who had not published anything +when Quintilian wrote (about 93 <span class = "smallroman">A.D.</span>). +He has just spoken of Servilius, who is known to have died in <span +class = "smallroman">A.D.</span> 60, and of Aufidius, who was old and +frail in Seneca’s life-time, i.e. before <span class = +"smallroman">A.D.</span> 65: and though it may be proposed to take +<i>superest adhuc</i> as meaning simply ‘I have still to refer to +(a living writer),’ (cp. <i>supersunt</i> <a href = +"#chapI_sec123">§123</a>), in which sense the words might apply to +Tacitus, it seems extremely improbable that after speaking of a youthful +contemporary, Quintilian would in the next sentence return to Cremutius, +who died as far back as <span class = "smallroman">A.D.</span> 25. It +might be argued that the point of the passage is that, after this +indirect eulogy of Tacitus, the writer means to imply that the spirit of +Cremutius still survives in him: ‘there is with us now one who will +afterwards be famous but of whom we may not speak at present. The +independence of Cremutius is still appreciated.’ But <i>habet +amatores</i> will hardly cover this interpretation: it introduces a +critique of Cremutius which has no relation to what goes before. And +moreover it is doubtful whether Quintilian, who never mentions any +living writer, except Domitian, would have hazarded a reference to one +whose anti-imperial tendencies must have been so well known in Rome. +Krüger’s supposition (3rd ed. p. 97) that after <i>adhuc</i> the +name <i>Tacitus</i> has fallen out, or that we should write ‘superest +Tacitus et ornat,’ is altogether out of the question: it would quite +destroy the point of the sentence (nominabitur ... intellegitur). It +seems safest, therefore, to follow those who with Nipperdey (Philol. vi. +p. 193) understand the historian here meant to be Fabius Rusticus. +It would have been strange if Quintilian had omitted to mention him, +considering his eminence: Livius veterum, Fabius Rusticus recentium +eloquentissimi +<span class = "pagenum comm">103</span> +auctores, Tac. Agr. 10. And what he says fits Fabius very well; he was +an intimate friend of Seneca (Tac. Ann. xiii. 20 sane Fabius inclinat ad +laudes Senecae cuius amicitia floruit), and from the fact that he was +made co-heir with Tacitus and Pliny in the will of Dasumius we know that +he was still alive 108 or 109 <span class = "smallroman">A.D.</span> +Mommsen thinks that to him also is addressed Pliny, Ep. ix. 29.</p> + +<p><b>vir saeculorum memoria dignus</b>: Cp. <a href = +"#chapI_sec80">§80</a>: iii. 7, 18 ingeniorum monumenta, quae saeculis +probarentur: xi. 1, 13 perpetua saeculorum admiratione celebrantur.</p> + +<p><b>olim</b>, of future time, as <a href = "#chapI_sec94">§94</a>. The +writer referred to will come actually to enjoy the renown of which +Quint. here declares him worthy.</p> + +<p><b>nunc intellegitur</b>. For Quint.’s rule not to mention living +writers cp. iii. 1, 21, quoted at <a href = "#chapI_sec95">§95</a>; and +for the antithesis between <i>nominabitur</i> and <i>intellegitur</i>, +xi. 1, 10 maluit emim vir sapientissimus (Socrates) quod superesset ex +vita sibi perire quam quod praeterisset. Et quando ab hominibus sui +temporis parum intellegebatur, posterorum se iudiciis reservavit brevi +detrimento iam ultimae senectutis aevum saeculorum omnium +consecutus.</p> + +<p><b>Cremuti libertas</b>: <span class = "greek" title = +"parrêsia">παρρησία</span>, <a href = "#chapI_sec65">§65</a>, <a href = +"#chapI_sec94">§94</a>. Cremutius Cordus published a history of the +Civil Wars and of the reign of Augustus—unius saeculi facta, Sen. +Cons. ad Marc. 26, 5. Augustus is said to have read the work, or to +have heard it read, without disapproval (Dion. 57, 24, 2; Sueton. Tib. +61). He afterwards incurred the displeasure of Sejanus by some bold +remarks, as, for example, when he said in regard to the statue of +Sejanus which he was told the Senate had resolved to erect in Pompey’s +theatre, restored by Tiberius after a fire, ‘tunc vere theatrum +perire’—Sen. Cons. ad Marc. 22, 4. In <span class = +"smallroman">A.D.</span> 25 he was brought to trial ‘novo ac tunc primum +audito crimine, quod editis annalibus laudatoque M. Bruto +C. Cassium Romanorum ultimum dixisset’ (Tac. Ann. iv. 34 sq.). +Finding his case prejudged, after a spirited defence he went home and +starved himself to death. The Senate ordered his books to be burned: +‘sed manserunt,’ says Tacitus, ‘occultati et editi.’ Dion. tells us that +‘afterwards (i.e. under Caligula) they were published again, for they +had been preserved by various people, and particularly by his daughter +Marcia; and they were esteemed much more highly on account of the fate +of Cordus’ (lvii. 24). For Marcia v. Senecae Consolatio ad Marciam +c. 1. Suet. Calig. 16 tells us that the suppressed writings of +others also (Titus Labienus and Cassius Severus) were allowed by +Caligula to come again into circulation, after a process of editing +similar to that referred to by Quint. (<i>circumcisis</i>, &c.). +Tacitus’s reflections on the ineffectual attempt to destroy Cremutius’s +works are interesting in connection with our passage: quo magis +socordiam eorum inridere licet, qui praesenti potentia credunt extingui +posse etiam sequentis aevi memoriam. Nam contra, punitis ingeniis +gliscit auctoritas, neque aliud externi reges aut qui eadem saevitia usi +sunt, nisi dedecus sibi atque illis gloriam peperere, Ann. iv. 35 ad +fin.</p> + +<p><b>abunde</b>: used here to emphasise <i>elatum</i>: v. on <a href = +"#chapI_sec94">§94</a>.</p> + +<p><b>spiritus</b>, <a href = "#chapI_sec44">§§44</a>, <a href = +"#chapI_sec61">61</a>; <a href = +"QuintBody2.html#chapIII_sec22">3 §22</a>. The excisions and +emendations in regard to matters of detail had evidently not interfered +with the independent tone of Cremutius’s writings.</p> + +<p><b>alii scriptores</b>, <span class = "greek" title = +"sungrapheis">συγγραφεῖς</span>: the word being used specially of +historians. He has not mentioned Caesar, or Nepos, or Velleius, or +Quintus Curtius.</p> + +<p><b>degustamus</b>: ‘dipping into’: <a href = +"QuintBody2.html#chapV_sec23">5 §23</a> inchoatae et quasi +degustatae. The opposite is <i>persequi</i>: <a href = +"#chapI_sec45">§45</a> genera ipsa lectionum ... persequar.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec105" id = "chapI_sec105"> </a> +<span class = "secnum">I:105</span> +Oratores vero vel praecipue Latinam eloquentiam parem facere +<span class = "pagenum">104</span> +Graecae possunt; nam <span class = "smallcaps">Ciceronem</span> cuicumque eorum fortiter +opposuerim. Nec ignoro quantam mihi concitem pugnam, cum +<span class = "pagenum">105</span> +praesertim non id sit propositi ut eum Demostheni comparem hoc tempore; +neque enim attinet, cum Demosthenen in primis legendum vel ediscendum +potius putem.</p> + +<div class = "comm space"> +<p><a name = "commI_sec105" id = "commI_sec105"><b>§ 105.</b></a> +<b>parem facere</b>. Cicero uses <i>aequare</i> in a passage of the +Brutus (§138), in which, speaking of Antonius and Crassus, he says: nam +ego sic existimo, +<span class = "pagenum comm">104</span> +hos oratores fuisse maximos et in his primum cum Graecorum gloria Latine +dicendi copiam aequatam. In the Silver Age, the phrase <i>paria +facere</i> commonly occurs for ‘settling up’: e.g. nihil differamus. +cotidie cum vita paria faciamus Sen. Ep. 101, 7. A near +parallel to the passage in the text is ii. 8, 13 ea cura paria faciet +iis in quibus eminebat.—Other reff. to Cicero’s pre-eminence are +vi. 3, 1 Latinae eloquentiae princeps: xii. 1, 20 stetisse ipsum +(Ciceronem) in fastigio eloquentiae fateor.</p> + +<p><b>cuicumque</b>, <a href = "#chapI_sec12">§12</a>. The use of +<i>quicumque</i> (which in classical Latin is joined with a verb) for +<i>quivis</i> or <i>quilibet</i> (which are used absolutely) may be +noted as a sign of the decay of the language. Cp. note on <a href = +"#chapI_sec12">§12</a>: Roby §2289.—For <b>eorum</b> Andresen and +Jeep propose <i>Graecorum</i>.</p> + +<p><b>fortiter opposuerim</b>. The adv. is not merely one of manner: it +conveys the expression of a judgment, ‘nicht die Art und Weise, sondern +ein Urteil über die Handlung,’ Becher. So ‘inique Castorem cum Domitio +comparo,’ Cicero, pro Deiot. §31. Cp. i, 5, 72 fortiter diceremus: v. +10, 78 fortiter ... iunxerim.—Roby (1540) gives numerous examples +of this use of subj. (involving a suppressed condition such as ‘if +occasion arose’) with such adverbs as merito, facile, lubenter, +citius.</p> + +<p><b>quantam ... pugnam</b>: owing to the existing prejudice against +the style of Cicero. Cp. Tac. Dial. 12 Plures hodie reperies qui +Ciceronis gloriam quam qui Vergilii detrectent: ibid. 18 Satis constat +ne Ciceroni quidem obtrectatores defuisse, quibus inflatus et tumens nec +satis pressus, sed supra modum exsultans et superfluens et parum Atticus +videretur. Legistis utique et Calvi et Bruti ad Ciceronem missas +epistulas ex quibus facile est deprehendere Calvum quidem Ciceroni visum +exsanguem et aridum, Brutum autem otiosum atque diiunctum, rursus +Ciceronem a Calvo quidem male audisse tamquam solutum et enervem, a +Bruto autem, ut ipsius verbis utar, tamquam fractum atque +elumbem.—Hortensius had been from <span class = +"smallroman">B.C.</span> 95 the Latin representative of Asianism. Under +the influence of his teachers, the Rhodian eclectics, Cicero emancipated +himself from this school without, on the other hand, binding himself by +the most rigorous canons of Atticism. His critics, who adhered to +severer models, considered the fulness and richness of his style +turgidity and bombast, and pointed to his elaborately periodic structure +and rhythmical amplitude as proving that he was really an Asianist in +disguise. Besides Brutus and Calvus, mentioned above (cp. Quint, xii. +1, 22), there were the Asinii, father and son (etiam inimice, +ibid.), and Caelius. Asinius Gallus wrote a work <i>de comparatione +patris et Ciceronis</i>, which was controverted by the emperor Claudius: +Plin. Epist. vii. 4 §6 libros Galli ... quibus ille parenti ausus +de Cicerone dare est palmamque decusque: Sueton. Claud. 41. Cicero, on +the other hand, thought that his Atticising critics were too apt to +forget (what he asks Atticus to remember) that the ‘thunders of +Demosthenes show that the Attic style is quite consistent with the +highest degree of grandeur’—si recordabere <span class = "greek" +title = "Dêmosthenous">Δημοσθένους</span> fulmina, tum intelliges posse +et <span class = "greek" title = "attikôtata">ἀττικώτατα</span> +gravissime dici, ad Att. xv. 1, ad fin. Quintilian denounces them in +strong language, xii. 10, §§12-14 A. At L. M. Tullium non +illum habemus Euphranorem circa plures artium species praestantem, sed +in omnibus quae in quoque laudantur eminentissimum. Quem tamen et suorum +homines temporum incessere audebant ut tumidiorem et Asianum et +redundantem et in repetitionibus nimium et in salibus aliquando frigidum +et in compositione fractum, exultantem ac paene, quod procul absit, viro +molliorem: postea vero quam triumvirati proscriptione consumptus est, +passim qui oderant, qui invidebant, qui aemulabantur, adulatores etiam +praesentis potentiae non responsurum invaserunt. Ille tamen, qui ieiunus +a quibusdam et aridus habetur, non aliter ab ipsis inimicis male audire +quam nimiis floribus et ingenii adfluentia potuit. Falsum utrumque, sed +tamen illa mentiendi propior occasio. Praecipue vero presserunt eum qui +videri Atticorum imitatores concupierant. Haec manus quasi quibusdam +sacris initiata ut alienigenam et parum superstitiosum devinctumque +illis legibus insequebatur, unde nunc quoque aridi et exsuci et +exsangues. Hi sunt enim qui suae imbecillitati sanitatis appellationem, +quae est maxime contraria, obtendant: qui quia clariorem vim eloquentiae +velut solem ferre non possunt, umbra magni nominis (i.e. Athens) +delitescunt. In Quintilian’s own day (cp. nunc quoque above) a certain +<span class = "pagenum comm">105</span> +Largius Licinus wrote a work which he called <i>Ciceromastix</i>, +repeating the criticisms of Asinius Gallus: cp. Aul. Gell. xvii. 1, 1 +nonnulli tam prodigiosi tamque vaecordes exstiterunt in quibus sunt +Gallus Asinius et Largius Licinus, cuius liber etiam fertur infando +titulo ‘Ciceromastix,’ ut scribere ausi sint M. Ciceronem parum +integre atque improprie atque inconsiderate locutum. These rigid +Atticists appear to have ignored, as Sandys has pointed out (Introd. to +Orator, p. lxii), the ‘difference between the two languages, +between the power and breadth and compass of Greek as compared with the +more limited resources of Latin.’ Mr. Sandys appends an apt quotation +from J. H. Newman (in H. Thompson’s Rom. Lit.—Encyc. +Metrop. p. 307, ed. 1852):—‘Greek is celebrated for +copiousness in its vocabulary and perspicuity in its phrases; and the +consequent facility of expressing the most novel or abstruse ideas with +precision and elegance. Hence the Attic style of eloquence was plain and +simple, because simplicity and plainness were not incompatible with +clearness, energy, and harmony. But it was a singular want of judgment, +an ignorance of the very principles of composition, which induced +Brutus, Calvus, Sallust, and others to imitate this terse and severe +beauty in their own defective language, and even to pronounce the +opposite kind of diction deficient in taste and purity. In Greek, +indeed, the words fall, as it were, naturally, into a distinct and +harmonious order; and from the exuberant richness of the materials, less +is left to the ingenuity of the artist. But the Latin language is +comparatively weak, scanty, and unmusical; and requires considerable +skill and management to render it expressive and graceful. Simplicity in +Latin is scarcely separable from baldness; and justly as Terence is +celebrated for chaste and unadorned diction, yet even he, compared with +Attic writers, is flat and heavy (Quint. x. 1, §100).’ Cp. for a similar +contrast Quint. xii. 10, §§27-39.</p> + +<p><b>cum praesertim</b>: Krüger (3rd ed.) gives the sense as follows, +‘especially since I do not intend to prove my statement by a detailed +comparison’: following Becher (but see <a href = +"QuintCrit.html#critI_sec105">Crit. Notes</a>), who thinks that Quint. +means to say that the <i>pugna</i> will be all the more violent because +he does not intend to go into a detailed comparison. Such a comparison +would be out of place (neque enim attinet), as he is not denying the +supreme excellence of Demosthenes. <i>Cum praesertim</i> means that +there is all the less reason for controversy as he does not intend to +compare the two: it gives an additional ground for what is really, if +not formally, the main idea in the writer’s mind, viz. the needlessness +of a <i>pugna</i> at this point. Hence it comes to have the force of +<i>quamvis</i>, or <i>idque cum tamen</i>: tr. ‘and that though,’ +‘though indeed,’ ‘which is all the less necessary because,’ etc. Cp. +Cic. de Fin. ii. 8, 25 cum praesertim in eo omne studium +poneret,—where see Madvig’s note: in Verr. ii. 113 ut ex oppido +Thermis nihil ex sacro, nihil de publico attingeres, cum praesertim +essent multa praeclara, &c., i.e. ‘which is all the more wonderful +because’—very much as in our text: Philipp. viii. 2, 5 +C. quidem Caesar non expectavit vestra decreta, praesertim cum +illud aetatis erat—i.e. as he might well have done at his age: +ibid. ii. 64 inventus est nemo praeter Antonium, praesertim cum tot +essent, &c.: i.e. which was all the more remarkable as, &c.: +Brutus, §267 M. Bibulus qui et scriptitavit adcurate, cum +praesertim non esset orator, et, &c., i.e. ‘and that too though’: de +Off. ii. 56: Orator §32 nec vero si historiam non scripsisset +(Thucydides) nomen eius exstaret, cum praesertim fuisset honoratus et +nobilis. Roby §1732: Nägelsbach<sup>8</sup>, pp. 695-6.</p> + +<p><b>propositi</b>: for the gen. cp. iv. 2, 21 quid acti sit: quid tui +consilii sit (Cic. ad Att. xii. 29, 2: Caes. B. G. i. 21, 2): +quid offici sui sit Cic. Acad. Pr. ii. §25, with Dr. Reid’s note.</p> + +<p><b>hoc tempore</b>: Demosthenes and Cicero are eulogised together, +xii. 1, §§14-22.</p> + +<p><b>neque enim attinet</b>, i.e. nor would there be any point in such +a controversy. They have no need to draw the sword against me, for I too +give Demosthenes the highest place. In exalting Cicero I do not mean to +depreciate Demosthenes. Cp. Tac. Dial. 25 quo modo inter Atticos primae +Demostheni tribuuntur ... sic apud nos Cicero quidem ceteros eorundem +temporum disertos antecessit.</p> +</div> + +<span class = "pagenum comm">106</span> + +<p class = "maintext"> +<a name = "chapI_sec106" id = "chapI_sec106"> </a> +<span class = "secnum">I:106</span> +Quorum ego virtutes +<span class = "pagenum">106</span> +plerasque arbitror similes, consilium, ordinem, dividendi, praeparandi, +probandi rationem, [omnia] denique quae sunt inventionis. +<span class = "pagenum">107</span> +In eloquendo est aliqua diversitas: densior ille hic copiosior, ille +concludit adstrictius hic latius, pugnat ille acumine semper hic +frequenter et pondere, illi nihil detrahi potest huic nihil adici, curae +plus in illo in hoc naturae.</p> + +<div class = "comm"> +<p><a name = "commI_sec106" id = "commI_sec106"><b>§ 106.</b></a> +<b>consilium</b>: vi. 5 §3 consilium vero ratio est quaedam alte petita +et plerumque plura perpendens et comparans habensque in se et +inventionem et iudicationem: §11 illud dicere satis habeo, nihil esse +non modo in orando, sed in omni vita prius consilio, and the whole +passage from §9 to end: ii. 13, 2 res in oratore praecipua consilium +est, quia varie et ad rerum momenta convertitur. This ‘tact’ or +‘judgment’ would be specially shown in <i>inventio</i> and in +<i>dispositio</i>, here made a part of inventio: <i>elocutio</i> is a +higher gift. Cp. viii, Pr. §14 M. Tullius inventionem quidem ac +dispositionem prudentis hominis putat, eloquentiam oratoris: Cicero, de +Orat. ii. 120 cum haec duo nobis quaerenda sint in causis, primum quid +[<i>inventio</i>], deinde quomodo [<i>elocutio</i>] dicamus, alterum ... +prudentiae est paene mediocris [quid dicendum sit videre]: alterum est, +in quo oratoris vis illa divina virtusque cernitur, ea quae dicenda sunt +ornate copiose varieque dicere; Orator §44 nam et invenire et iudicare +quid dicas magna illa quidem sunt et tamquam animi instar in corpore, +sed propria magis prudentiae quam eloquentiae.</p> + +<p><b>ordinem</b> (<span class = "greek" title = "taxin">τάξιν</span>): +<i>ordo</i> corresponds to <i>dispositio</i> iii. 3, 8. In vii. 1, +1 the two are separately defined: <i>ordo</i> recta quaedam collocatio +prioribus sequentia adnectens: <i>dispositio</i> utilis rerum ac partium +in locos distributio.</p> + +<p><b>dividendi</b>. <i>Divisio</i> is defined, along with +<i>partitio</i>, in vii. 1, 1: <i>divisio</i> rerum plurium in singulas, +<i>partitio</i> singularum in partes discretio. Here <i>dividendi +ratio</i> is used in a more general sense, as equivalent to +<i>partitio</i> in iv. 5: i.e. nostrarum aut adversarii propositionum +aut utrarumque ordine collocata enumeratio. Of this useful process +Quintilian says (iv. 5, 22): neque enim solum id efficit ut +clariora fiant quae dicuntur, rebus velut ex turba extractis et in +conspectu iudicum positis, sed reficit quoque audientem certo singularum +partium fine, non aliter quam facientibus iter multum detrahunt +fatigationis notata inscriptis lapidibus spatia.—Kiderlin (Hermes +23, p. 176) thinks it remarkable that <i>divisio</i> should here be +ranked alongside of <i>praeparandi</i>, <i>probandi rationem</i>, +whereas in iii. 3, 1 it stands independently alongside of +<i>inventio</i> itself. He sees no difference between <i>ordinem</i> and +<i>dividendi rationem</i> (iii. 3, 8), and suggests that in the +MSS. readings (videndi and indicendi) there may be concealed some noun +to correspond with <i>ordinem</i>: e.g. <i>viam dicendi</i> (‘der Gang +der Reden’): cp. iv. 5, 3: <a href = "QuintBody2.html#chapVII_sec5">x. +7, 5</a>. But in <a href = "QuintBody2.html#chapVII_sec9">x. 7, +9</a> we have both <i>ordo</i> and <i>dispositio</i>, in spite of iii. +3, 8, and so it is here.</p> + +<p><b>praeparandi</b>: iii. 9, 7 expositio enim probationum est +praeparatio, nec esse utilis potest nisi prius constiterit, quid debeat +de probatione promittere. A less formal use occurs <a href = +"#chapI_sec21">x. 1 §21</a>: cp. iv. 2 §55.</p> + +<p><b>probandi rationem</b> = <i>confirmationem</i>, the establishment +of the case. Understanding the passage to contain an enumeration of the +five parts of an oration (exordium, narratio, probatio, refutatio, and +peroratio), Kiderlin takes <i>probandi</i> here as covering the third +and fourth, which were often considered one part. <i>Praeparandi</i> = +exordium, and the <i>peroratio</i> is omitted, because here Demosthenes +and Cicero were unlike, for the reason given below (<a href = +"#chapI_sec107">§107</a>). In order to include <i>narratio</i>, he +proposes to insert <i>narrandi</i> after <i>praeparandi</i>: it may +easily, he thinks, have fallen out after <i>-arandi</i>. It is always +included in similar enumerations: ii. 5, 7-8: ii. 13, 1: iv. pr. 6: <a +href = "QuintBody2.html#chapII_sec27">x. 2, 27</a>.</p> + +<p><b>[omnia] denique quae sunt inventionis</b>: see <a href = +"QuintCrit.html#critI_sec106">Crit. Notes</a>. ‘Inventio,’ the orator’s +first requisite, may of course be shown in all the various parts of a +speech, e.g. narratio, divisio, confirmatio, as here. But in the +antithesis between <i>inventionis</i> and <i>in eloquendo</i> Quintilian +is thinking of that fundamental distinction between substance and form +on which he based his treatment of his subject. Applying a rough +division to his work, we may say that Books iii. to vii. deal with +<i>inventio</i> including <i>dispositio</i>, i.e. <span class = "greek" +title = "heuresis">εὕρεσις</span> and <span class = "greek" title = +"taxis">τάξις</span>: while Books viii-xi. treat of <i>elocutio</i> +(<span class = "greek" title = "lexis">λέξις</span>), including +<i>actio</i> or <i>pronuntiatio</i>, ‘delivery’ (<span class = "greek" +title = "hupokrisis">ὑπόκρισις</span>). So Cicero in the Orator §43 +introduces a description of the ideal orator in the three relations of +(1) inventio—quid dicat (<span class = "greek" title = +"heuresis">εὕρεσις</span>): (2) collocatio or dispositio—quo +quidque loco (<span class = "greek" title = "taxis">τάξις</span>), and +(3) actio or pronuntiatio (<span class = "greek" title = +"hupokrisis">ὑπόκρισις</span>): and elocutio (<span class = "greek" +title = "lexis">λέξις</span>)—quo modo. Quintilian in iii. 3 gives +in more detail the traditional parts of rhetoric: inventio, dispositio, +elocutio, memoria, pronuntiatio (or actio). See §§1-9. For the division +here cp. also xii. 10, 27 Latina mihi facundia, ut inventione, +dispositione, consilio, ceteris huius generis artibus similis Graecae ac +prorsus discipula eius videtur, ita circa +<span class = "pagenum comm">107</span> +rationem eloquendi vix habere imitationis locum.</p> + +<p><b>aliqua diversitas</b>: Morawski (Quaest. p. 33) thinks that +this passage may be founded on a tractate by Caecilius (contemporary +with Dion. Hal.), which is mentioned by Plutarch, Dem. 3 <span class = +"greek" title = "sunkrisis tou Dêmosthenous kai Kikerônos">σύγκρισις τοῦ +Δημοσθένους καὶ Κικέρωνος</span>. A parallel passage is found in +the <span class = "greek" title = "peri hupsous">περὶ ὕψους</span> (Sp. +i. p. 261), the author of which may also have borrowed from +Caecilius:—<span class = "greek" title = "ho men gar (Dêmosthenês) en hupsei to pleon apotomô, ho de Kikerôn en chusei, kai ho men hêmeteros dia to meta bias hekasta, eti de tachous, rhômês, deinotêtos hoion kaiein te hama kai diarpazein, skêptô tini pareikazoit’ an ê keraunô, ho de Kikerôn hôs amphilaphês tis emprêsmos oimai pantê nemetai kai aneileitai....">ὁ μὲν γὰρ (Δημοσθένης) ἐν ὕψει τὸ πλέον ἀποτόμῳ, ὁ +δὲ Κικέρων ἐν χύσει, καὶ ὁ μὲν ἡμέτερος διὰ τὸ μετὰ βίας ἕκαστα, ἔτι δὲ +τάχους, ῥώμης, δεινότητος οἷον καίειν τε ἅμα καὶ διαρπάζειν, σκηπτῷ τινι +παρεικάζοιτ᾽ ἂν ἢ κεραυνῷ, ὁ δὲ Κικέρων ὡς ἀμφιλαφής τις ἐμπρησμὸς οἶμαι +πάντη νέμεται καὶ ἀνειλεῖται....</span> Cp. Introd. <a href = +"QuintIntro.html#intro_pagexxxviii">p. xxxviii</a>.</p> + +<p><b>densior</b>: <a href = "#chapI_sec76">§76</a> tam densa omnia: so +of Thucydides <a href = "#chapI_sec73">§73</a> densus et brevis.</p> + +<p><b>concludit</b>, not, as Bonnell = ratiocinatur (xii. 2, 25), +but of the ‘rounding off’ of a period: ix. 4, 22, <span class = "greek" +title = "periodon">περίοδον</span> quae est vel ambitus vel circumductum +vel continuatio vel conclusio. Cp. Cic. Brutus §33 verborum ... quaedam +ad numerum conclusio: cp. §34 below, concluditque sententiam: Orator §20 +conclusa oratio: §177 concluse apteque dicere: §§200, 220, 230, 231: de +Orat. ii. §34 quod carmen artificiosa verborum conclusione (‘artistic +period’) aptius? Hor. Sat. i. 4, 40 concludere versum. The opposite is +membratim caesimque dicere, Quint. ix. 4, 126: cp. Cic. Orat. §212 +incise membratimve: de Orat. iii. 49, 190 carpere membris minutioribus +orationem. For a contrast cp. Brutus §120 ut Stoicorum adstrictior est +oratio aliquantoque contractior quam aures populi requirunt, sic illorum +(Peripateticorum Academicorumque) liberior et latior quam patitur +consuetudo iudiciorum et fori: §162 quin etiam comprehensio et ambitus +ille verborum, si sic <span class = "greek" title = +"periodon">περίοδον</span> appellari placet, erat apud illum (i.e. +Crassum) contractus et brevis, et in membra quaedam, quae <span class = +"greek" title = "kôla">κῶλα</span> Graeci vocant, dispertiebat orationem +libentius.</p> + +<p><b>astrictius ... latius</b>: there is more compactness about the +periodic structure in Demosthenes, greater breadth in that of Cicero. +This could hardly be said of Demosthenes’s periods as a whole: it rather +refers to the care which Cicero and Roman orators generally bestowed on +the closing syllables of a period (Blass, Att. Ber. iii. 117). It was +this liking for a sonorous and copious diction that seemed to Cicero’s +critics to justify the epithets (inflatus, tumens, &c.) applied to +him in Dial. de Orat. 18 (quoted above, <a href = +"#chapI_sec105">§105</a>); he himself tells us in the Orator, §104, that +his ears craved for something more full and sonorous even than +Demosthenes: ‘non semper implet aures meas: ita sunt avidae et capaces +et semper aliquid immensum infinitumque desiderant.’</p> + +<p><b>pugnat</b>: used figuratively for <i>dicit</i>: cp. <a href = +"#chapI_sec4">§4</a>.</p> + +<p><b>acumine</b>: the word is used in <a href = "#chapI_sec81">§§81</a> +and 83 of ‘power of thought,’ ‘intellectual penetration’: viii. 2, 21: +<a href = "#chapI_sec81">x. 1, §81</a> and <a href = +"#chapI_sec83">§83</a>. See on acutus <a href = "#chapI_sec77">§77</a>. +So Cic. de Orat. i. §128 acumen dialecticorum. Here it includes the idea +of ‘point’ in expression: following up the metaphor contained in +‘pugnat,’ we might render, ‘Demosthenes always thrusts with the rapier, +Cicero often uses the bludgeon too.’ (Landor, speaking of Shaftesbury +and Bolingbroke, as compared with Lord Brougham, said that they had +‘more of the rapier than the bludgeon.’) Cp. de Orat. ii. §158 ipsi se +compungunt suis acuminibus. The contrast is something like that implied +in xii. 10, 36 subtilitate vincimur (a Graecis): valeamus pondere: +cp. ibid. §11 gravitatem Bruti acumen Sulpici.</p> + +<p><b>nihil detrahi</b>: cp. <a href = "#chapI_sec76">§76</a> is dicendi +modus ut nec quod desit in eo nec quod redundet invenias.</p> + +<p><b>curae ... naturae</b>: v. Jebb’s Attic Orators, i. Introd. +p. cvi, where it is remarked that this paradox is true in this +sense alone, ‘that Cicero is an inferior artist, and indulges more +freely the taste of the natural man for ornament.’ Quintilian may also +refer to the laborious training which Demosthenes imposed on himself, +and in consequence of which, says Plutarch, <span class = "greek" title += "doxan eichen hôs ouk euphuês ôn, all’ ek ponou sunkeimenê deinotêti kai dunamei chrômenos">δόξαν εἶχεν ὡς οὐκ εὐφυὴς ὤν, ἀλλ᾽ ἐκ πόνου +συγκειμένῃ δεινότητι καὶ δυνάμει χρώμενος</span> (Vit. Demosth. viii.). +Cp. the taunt of Pytheas, that his work ‘smelled of the lamp’: <span +class = "greek" title = "elluchniôn ozein">ἐλλυχνίων ὄζειν</span>, +ibid.; also +<span class = "pagenum comm">108</span> +Parallel. ch. i. It was the rule with Demosthenes never to speak without +preparation: Cicero may have relied at times on the faculty of +extemporising at need.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec107" id = "chapI_sec107"> </a> +<span class = "secnum">I:107</span> +Salibus certe et +<span class = "pagenum">108</span> +commiseratione, quae duo plurimum in adfectibus valent, vincimus. Et +fortasse epilogos illi mos civitatis abstulerit, sed et nobis illa, quae +Attici mirantur, diversa Latini sermonis ratio +<span class = "pagenum">109</span> +minus permiserit. In epistulis quidem, quamquam sunt utriusque, +dialogisve, quibus nihil ille, nulla contentio est.</p> + +<div class = "comm"> +<p><a name = "commI_sec107" id = "commI_sec107"><b>§ 107.</b></a> +<b>salibus</b>: cp. vi. 3, 2 plerique Demostheni facultatem defuisse +huic rei credunt, Ciceroni modum, nec videri potest noluisse +Demosthenes, cuius pauca admodum dicta nec sane ceteris eius virtutibus +respondentia palam ostendunt non displicuisse illi iocos sed non +contigisse ... mihi quidem ... mira quaedam in eo (Cicerone) videtur +fuisse urbanitas. So §21 Demosthenem urbanum fuisse dicunt, dicacem +negant: Cic. Orat. §90 non tam dicax quam facetus: Dion. Hal. Dem. c. 54 +<span class = "greek" title = "pasas echousa tas aretas hê Dêmosthenous lexis ... leipetai eutrapelias">πάσας ἔχουσα τὰς ἀρετὰς ἡ Δημοσθένους +λέξις ... λείπεται εὐτραπελίας</span>. Cp. <span class = "greek" title = +"peri hupsous">περὶ ὕψους</span>, 34, where the judgment is unduly +severe, <span class = "greek" title = "entha mentoi geloios einai biazetai kai asteios ou gelôta kinei mallon ê katagelatai">ἔνθα μέντοι +γελοῖος εἶναι βιάζεται καὶ ἀστεῖος οὐ γέλωτα κινεῖ μᾶλλον ἢ +καταγελᾶται</span>. Cp. Sandys’ note on Orat. §90, “Though not +obtrusively witty, Demosthenes nevertheless is not wanting in humour, as +is proved by the speech on the Chersonesus §§5, 11 ff. and esp. 23 +(characterized by Brougham as ‘full of refined and almost playful wit’): +Plut. iii. §66: de Cor. §§198, 234 (Blass, Att. Ber. iii. 163-6).” For a +criticism of Cicero’s wit, on the other hand, v. Plut. Parallel. §1 +<span class = "greek" title = "Kikerôn de pollachou tô skôptikô pros to bômolochon ekpheromenos kai pragmata spoudês axia gelôti kai paidia kateirôneuomenos en tais dikais eis to chreiôdes êpheidei tou prepontos">Κικέρων δὲ πολλαχοῦ τῷ σκωπτικῷ πρὸς τὸ βωμολόχον ἐκφερόμενος +καὶ πράγματα σπουδῆς ἄξια γέλωτι καὶ παιδιᾷ κατειρωνευόμενος ἐν ταῖς +δίκαις εἰς τὸ χρειῶδες ἠφείδει τοῦ πρέποντος</span>, and below, Cato’s +<span class = "greek" title = "hôs geloion, ô andres, echomen hupaton. Dokei de kai gelôtos oikeios ho Kikerôn gegonenai kai philoskôptês k.t.l.">ὡς γελοῖον, ὦ ἄνδρες, ἔχομεν ὕπατον. Δοκεῖ δὲ καὶ γέλωτος +οἰκεῖος ὁ Κικέρων γεγονέναι καὶ φιλοσκώπτης κ.τ.λ.</span></p> + +<p><b>commiseratione</b>, ‘pathos.’ See Orator §130 in quo ut viderer +excellere non ingenio, sed dolore adsequebar; i.e. it was real sympathy +more than any special talent that enabled him to excel in this +respect.</p> + +<p><b>in adfectibus</b>, ‘where the feelings are concerned.’ Under +<i>adfectus</i> (vi. 2) is included everything that makes an +impression on the judges: §1 opus ... movendi iudicum animos: among +other things laughter itself, virtus quae risum iudicis movendo et illos +tristes solvit adfectus et animum ab intentione rerum frequenter avertit +et aliquando etiam reficit et a satietate vel a fatigatione renovat.</p> + +<p><b>vincimus</b>: for the present cp. <a href = +"#chapI_sec93">§§93</a>, <a href = "#chapI_sec101">101</a>, <a href = +"#chapI_sec105">105</a>.</p> + +<p><b>epilogos</b>, ‘perorations.’ The peroration was looked on as +giving a great opportunity for moving the feelings: Arist. Rhet. iii. 19 +says one of its parts is <span class = "greek" title = "eis ta pathê ton akroatên katastêsai">εἰς τὰ πάθη τὸν ἀκροατὴν καταστῆσαι</span>. So +Quint. iv. 1, 28 quod in ingressu parcius et modestius praetemptanda sit +iudicis misericordia: in epilogo vero liceat totos effundere adfectus. +The word is common in this sense in Quintilian: vi. 1, 37, sq. esp. §52 +at hic, si usquam, totos eloquentiae aperire fontes licet. Nam et, si +bene diximus reliqua, possidebimus iam iudicum animos, et e confragosis +atque asperis evecti tota pandere possumus vela, et, cum sit maxima pars +epilogi amplificatio, verbis atque sententiis uti licet magnificis et +ornatis. Tunc est commovendum theatrum cum ventum est ad ipsum illud, +quo veteres tragoediae comoediaeque cluduntur, plodite: cp. also Cicero, +Brutus §33 exstat eius peroratio, qui epilogus dicitur: de Orat. ii. +§278: ad Att. iv. 15, 4.</p> + +<p><b>mos civitatis</b>: ii. 16 §4 Athenis ubi actor movere +adfectus vetabatur velut recisam orandi potestatem: vi. 1, 7, where he +says that with the Attic orators the <i>epilogus</i> generally took the +form of recapitulation (<span class = "greek" title = +"anakephalaiôsis">ἀνακεφαλαίωσις</span> = enumeratio) ‘quia Athenis +adfectus movere etiam per praeconem prohibebatur orator.’ Cp. xii. 10, +26. This would be especially the case in trials before the Areopagus. +But it was the Hellenic instinct for moderation that imposed its own +law. Lord Brougham, in his Dissertation on the Eloquence of the Ancients +(p. 25), remarks on the calmness of the Greek peroration: cp. his Essay +on Demosthenes (p. 184): ‘It seems to have been a rule enjoined by the +severe taste of those times, that after being wrought up to a great +pitch of emotion, the speaker should, in quitting his audience, leave an +impression of dignity, which cannot be maintained without composure.’ +Cp. Jebb, i. ciii-civ: ‘Cicero has now and then an Attic peroration, as +in the Second Philippic and the Pro Milone; more often he breaks off in +a burst of eloquence—as in the First Catilinarian, the Pro Flacco, +and the Pro Cluentio.’</p> + +<p><b>illa quae Attici mirantur</b>: cp. <a href = +"#chapI_sec65">§65</a>, <a href = "#chapI_sec100">§100</a> illam solis +concessam Atticis venerem: xii. 10 §35 illam gratiam sermonis +Attici.</p> + +<span class = "pagenum comm">109</span> +<p><b>epistulis</b>. If it were not for the ineptitude of the comparison +which follows (in quibus <i>nihil</i> ille) we might be inclined to +imagine that Quintilian knew of more letters of Demosthenes than the six +which are still extant, and which are generally considered +apocryphal.</p> + +<p><b>dialogis</b>: comprising most of Cicero’s philosophical works, and +the Brutus and De Oratore among his rhetorical.</p> + +<p><b>nihil ille</b>, sc. effecit, consecutus est: cp. <a href = +"#chapI_sec56">§§56</a>, <a href = "#chapI_sec123">123</a>: <a href = +"QuintBody2.html#chapII_sec6">2 §§6</a>, <a href = +"QuintBody2.html#chapII_sec24">24</a>: <a href = +"QuintBody2.html#chapIII_sec25">3 §25</a>: <a href = +"QuintBody2.html#chapVII_sec7">7 §§7</a>, <a href = +"QuintBody2.html#chapVII_sec23">23</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec108" id = "chapI_sec108"> </a> +<span class = "secnum">I:108</span> +Cedendum vero in hoc, quod et prior fuit et ex magna parte Ciceronem +quantus est fecit. Nam mihi videtur M. Tullius, cum se totum ad +imitationem Graecorum contulisset, effinxisse vim Demosthenis, copiam +Platonis, iucunditatem Isocratis.</p> + +<div class = "comm"> +<p><a name = "commI_sec108" id = "commI_sec108"><b>§ 108.</b></a> +<b>effinxisse</b>, ‘artistically reproduced.’</p> + +<p><b>iucunditatem</b>. ‘The idea which Cicero got from Isocrates was +that of number. See esp. de Orat. iii. 44 §173.’ Jebb. So +‘suavitatem Isocrates ... vim Demosthenes habuit’ de Orat. iii. §28.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapI_sec109" id = "chapI_sec109"> </a> +<span class = "secnum">I:109</span> +Nec vero quod in quoque optimum fuit studio consecutus est tantum, sed +plurimas vel potius omnes ex se ipso virtutes extulit immortalis ingenii +beatissima ubertate. Non enim ‘pluvias,’ ut ait Pindarus, ‘aquas +colligit, sed vivo gurgite exundat,’ dono quodam providentiae genitus, +in quo totas vires suas eloquentia experiretur.</p> + +<div class = "comm"> +<p><a name = "commI_sec109" id = "commI_sec109"><b>§ 109.</b></a> +<b>ex se ipso ... extulit</b>: cp. Cic. Acad. ii. 8, 23 artem vivendi +quae ipsa ex sese habeat constantiam, where Dr. Reid cites this passage, +along with many others, e.g. Sen. Ep. 52, 3 hos quibus ex se impetus +fuit: Cic. N. D. iii. 88 a se sumere.</p> + +<p><b>beatissima</b>: cp. <a href = "#chapI_sec61">§61</a> beatissima +rerum verborumque copia: <a href = "QuintBody2.html#chapIII_sec22">3, +§22</a> beatiorem spiritum. Cp. the eulogy by Caesar, in his Analogia +(written as he was crossing the Alps, and dedicated to Cicero himself): +ac si ut cogitata praeclare eloqui possent non nulli studio et usu +elaboraverunt, cuius te paene principem copiae atque inventorem bene de +nomine ac dignitate populi Romani meritum esse existimare debemus, +&c.—quoted in Brutus §253. Hild adds Pliny H. N. vii. 30 +Facundiae Latiarumque litterarum parens atque ... omnium triumphorum +gloria maior, quanto plus est ingenii Romani terminos in tantum +promovisse quam imperii,—where the language has a close +resemblance to that of Cicero himself in Brutus §255.</p> + +<p><b>ut ait Pindarus</b>. We get the <i>pluvias aquas</i> in the <span +class = "greek" title = "ouraniôn hudatôn ombriôn">οὐρανίων ὑδάτων +ὀμβρίων</span> of Olymp. xi, but there is nothing in Pindar’s extant +works that corresponds to the quotation.</p> + +<p><b>exundat</b>: cp. Tac. Dial. 30 ex multa eruditione et plurimis +artibus et omnium rerum scientia exundat et exuberat illa admirabilis +eloquentia.</p> + +<p><b>providentia</b> is used very frequently by itself in Quintilian, +e.g. i. 10, 7 oratio qua nihil praestantius homini dedit providentia (v. +Bonn. Lex.); also in xi. i, 23 with deorum immortalium.</p> + +<p><b>eloquentia</b>: cp. Sen. Ep. 40, 11 Cicero quoque noster, a quo +Romana eloquentia exsiluit.</p> +</div> +</div> <!-- div class = "null" --> + +<p class = "maintext"> +<a name = "chapI_sec110" id = "chapI_sec110"> </a> +<span class = "secnum">I:110</span> +Nam quis docere diligentius, movere vehementius potest? Cui tanta umquam +iucunditas adfuit? ut ipsa illa quae extorquet +<span class = "pagenum">110</span> +impetrare eum credas, et cum transversum vi sua iudicem ferat, tamen +ille non rapi videatur, sed sequi.</p> + +<div class = "comm"> +<p><a name = "commI_sec110" id = "commI_sec110"><b>§ 110.</b></a> +<b>docere ... movere</b>. Cp. iii. 5 §2 tria sunt item quae +praestare debeat orator, ut doceat, moveat, delectet (quoted on <a href += "#chapI_sec80">§80</a>). <i>Iucunditas</i> here expresses the third. +So Cicero, Brutus §185 tria sunt enim, ut quidem ego sentio, quae sint +efficienda dicendo: ut doceatur is apud quem dicetur, ut delectetur, ut +moveatur vehementius.</p> + +<p><b>extorquet</b>: cp. v. 7, 17 at in eo qui invitus dicturus est +prima felicitas interrogantis extorquere quod is noluerit: ib. §27. Cic. +de Or. ii. §74 qui nunquam sententias de manibus iudicum vi quadam +orationis extorsimus ac potius placatis eorum animis tantum quantum ipsi +patiebantur accepimus.</p> + +<span class = "pagenum comm">110</span> +<p><b>transversus</b> = ‘turned across,’ i.e. at right angles to the +original line. So transversis itineribus Sall. Iug. 45, 2. For the +figure contained in <i>transversum ferat</i> cp. ibid. 6, 3 opportunitas +quae etiam mediocres viros ... transversos agit: 14, 20. The +<i>iudex</i> is ‘turned athwart’—away from the path of his own +judgment. So Sen. Ep. 8, 3 cum coepit transversos agere felicitas: Cic. +Brutus 331 cuius in adulescentiam ... transversa incurrit misera fortuna +rei publicae.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec111" id = "chapI_sec111"> </a> +<span class = "secnum">I:111</span> +Iam in omnibus quae dicit tanta auctoritas inest ut dissentire pudeat, +nec advocati studium sed testis aut iudicis adferat fidem; cum interim +haec omnia, quae vix singula quisquam intentissima cura consequi posset, +fluunt inlaborata et illa, qua nihil pulchrius auditum est, oratio prae +se fert tamen felicissimam facilitatem.</p> + +<div class = "comm"> +<p><a name = "commI_sec111" id = "commI_sec111"><b>§ 111.</b></a> +<b>advocati</b>, ‘pleader,’ as generally in Quintilian, syn. with ‘actor +causae,’ ‘causidicus,’ ‘patronus.’ In Cicero the word is reserved for +those who lent their countenance and personal support to a friend, +especially in legal matters: e.g. Brutus §289: pro Clu. §110 quis eum +unquam non modo in patroni, sed in laudatoris aut advocati loco viderat? +See Fausset’s note on <i>advocabat</i> pro Clu. §54.</p> + +<p><b>fidem</b>: ‘trustworthiness,’ ‘credibility.’ So quantam afferat +fidem iv. 2, 125.</p> + +<p><b>cum interim</b>: Roby §1732. Cp. note on <a href = +"#chapI_sec18">§18</a>.</p> + +<p><b>posset</b>: the use of the imperf. subj. points to a suppressed +protasis, sc. si vellet. Cp. i. 1, 22 cur improbetur si quis ea quae +domi suae recte <i>faceret</i> in publicum promit? So too below, <a href += "QuintBody2.html#chapII_sec25">2 §25</a> qui noceret, where see +note.</p> + +<p><b>tamen</b> is a reminiscence of tamen ille non rapi videatur, in +the previous sentence, and must be taken with <i>cum interim</i>: = ‘for +all that.’</p> + +<p><b>facilitatem</b>: cp. <a href = "#chapI_sec1">§1</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec112" id = "chapI_sec112"> </a> +<span class = "secnum">I:112</span> +Quare non immerito ab hominibus aetatis suae regnare in iudiciis dictus +est, apud posteros vero id consecutus, ut Cicero iam non hominis nomen +sed eloquentiae habeatur. Hunc igitur spectemus, hoc propositum nobis +sit exemplum, ille se profecisse sciat, cui Cicero valde placebit.</p> + +<div class = "comm"> +<p><a name = "commI_sec112" id = "commI_sec112"><b>§ 112.</b></a> +<b>regnare</b>: cp. Cic. ad Fam. vii. 24, 1 olim quum regnare +existimabamur: ad Att. i. 1 illud suum regnum iudiciale,—his +‘sovereignty of the bar’: in Verr. i. 12, 35 (of Hortensius) omnis +dominatio regnumque iudiciorum: ad Fam. ix. 18, 1 amisso regno forensi: +cp. pro Sulla §7.</p> + +<p><b>non hominis ... sed eloquentiae</b>. There is no thought here of +holding the balance with Demosthenes, <a href = +"#chapI_sec105">§105</a>. Cp. what Brutus says after Caesar’s eulogy +quoted above (<a href = "#chapI_sec109">§109</a> note): quo enim uno +vincebamur a victa Graecia, id aut ereptum illis est aut certe nobis cum +illis communicatum: Brut. §254. Hild quotes from Plutarch (Cicero, §4) +the story of Molo, one of Cicero’s teachers, who, on hearing him +declaim, said that he had to pity the hard fate of Greece, from whom the +palm of eloquence, her sole surviving glory, was now to pass away.</p> + +<p><b>exemplum</b>, predicative, hoc being neuter by a common form of +attraction: cp. <a href = +"QuintBody2.html#chapIII_sec17">3 §17</a>.</p> + +<p><b>profecisse</b>: Hild quotes Boileau, Art. Poet. iii. 308, speaking +of Homer: c’est avoir profité que de savoir s’y plaire.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec113" id = "chapI_sec113"> </a> +<span class = "secnum">I:113</span> +Multa in <span class = "smallcaps">Asinio Pollione</span> inventio, summa +<span class = "pagenum">111</span> +diligentia, adeo ut quibusdam etiam nimia videatur, et consilii et animi +satis: a nitore et iucunditate Ciceronis ita longe abest ut videri +possit saeculo prior. At <span class = "smallcaps">Messalla</span> nitidus et candidus et quodam +modo praeferens in dicendo nobilitatem suam, viribus minor.</p> + +<div class = "comm"> +<p><a name = "commI_sec113" id = "commI_sec113"><b>§ 113.</b></a> +Quintilian makes no mention of orators previous to Cicero: for them see +Brutus §53 sqq. Velleius disposes of them in the following sentence (i. +17, 3): At oratio ac vis forensis perfectumque prosae eloquentiae +decus, ut idem separetur Cato, pace P. Crassi Scipionisque et Laeli +et Gracchorum et Fanni et Servi Galbae dixerim, ita universa sub +principe operis sui erupit Tullio, ut delectari ante eum paucissimis, +mirari vero neminem possis, nisi aut ab illo visum aut qui illum +viderit. Cp. Tac. Dial. 25. Hild cites also Seneca, Controv. i. praef.: +quidquid Romana facundia habet, quod insolenti Graeciae aut opponat aut +praeferat, circa Ciceronem effloruit; omnia ingenia quae lucem studiis +nostris attulerunt, tunc nata sunt.</p> + +<span class = "pagenum comm">111</span> +<p><b>Asinio Pollione</b>. C. Asinius Pollio (75 <span class = +"smallroman">B.C.</span>–4 <span class = "smallroman">A.D.</span>) +was consul in 40, when he helped Maecenas to arrange the Peace of +Brundisium: afterwards becoming estranged from Antony he retired into +private life and devoted himself to letters. Vergil dedicates the Fourth +Eclogue to him, and in the first Ode of Book ii Horace recounts his +various titles to distinction. He was a poet as well as an orator: Verg. +Ecl. viii. 10 Sola Sophocleo tua carmina digna cothurno: iii. 86 Pollio +et ipse facit nova carmina: Hor. S. i. 10, 42. He was also distinguished +as a historian, having written a history of the Civil Wars from the +first triumvirate (Motum ex Metello consule Hor. Car. ii. 1, 1). In +the same Ode (II. 13, 14) Horace alludes to his fame as an orator, both +at the bar and in the senate. Quintilian’s judgment on him in this +capacity may be compared with that of Seneca, Ep. 100, 7 Lege Ciceronem: +compositio eius una est, pedem servat lenta et sine infamia mollis. At +contra Pollionis Asinii salebrosa et exsiliens et ubi minime expectes +relictura. Denique omnia apud Ciceronem desinunt, apud Pollionem cadunt +exceptis paucissimis, quae ad certum modum et ad unum exemplar adstricta +sunt. Cp. <a href = "QuintBody2.html#chapII_sec17">2 §17</a> below +tristes ac ieiuni Pollionem aemulantur.</p> + +<p><b>diligentia</b>: <a href = +"QuintBody2.html#chapII_sec25">2 §25</a> vim Caesaris, asperitatem +Caelii, diligentiam Pollionis. The word does not refer to the +historian’s painstaking care (which could hardly ever be ‘nimia’), but +to the ‘precision’ or ‘exactitude’ of his language: v. the fragment +quoted in ix. 4, 132.</p> + +<p><b>consilii</b>, ‘judgment,’ <a href = "#chapI_sec106">§106</a>.</p> + +<p><b>animi</b>, ‘spirit,’ ‘vivacity.’</p> + +<p><b>nitore</b>: v. on <a href = "#chapI_sec97">§97</a>.</p> + +<p><b>saeculo prior</b>. ‘As an orator and writer he affected antique +severity in opposition to Ciceronian smoothness,’—Teuffel. Cp. +Tac. Dial. 21 Asinius quoque quamquam propioribus temporibus natus sit, +videtur mihi inter Menenios et Appios studuisse; Pacuvium certe et +Accium non solum tragoediis sed etiam orationibus suis expressit: adeo +durus et siccus est: Sen. Controv. iv. praef. 3 illud strictum eius et +aspersum et nimis iratum in censendo iudicium adeo cessabat ut in multis +illi venia opus esset quae ab ipso vix impetrabatur. See Schmalz ‘Ueber +den Sprachgebrauch des Asinius Pollio,’ p. 289; München, 1890. +Pollio’s antipathy to Cicero and his dislike of Cicero’s style may be +seen from the story in Seneca, Suas. vi. extr., quoted by Bernhardy +(q.v.), R. L. p. 268 (note 182).</p> + +<p><b>Messalla</b>, M. Valerius Corvinus (64 <span class = +"smallroman">B.C.</span>-8 <span class = "smallroman">A.D.</span>), the +friend of Tibullus, who dedicates to him i. 7: cp. the panegyric +iv. 1. Cp. Tac. Dial. 18 Cicerone mitior Corvinus et dulcior et in +verbis magis elaboratus,—with the latter part of which cp. Sen. +Controv. ii. 12, 8 Latini utique sermonis observator diligentissimus. +Cicero’s own opinion of him may be seen in Epist. ad Brutum i. 15, 1 +cave putes probitate, constantia, cura, studio reipublicae quidquam illi +esse simile; ut eloquentia, qua mirabiliter excellit, vix in eo locum ad +laudandum habere videatur: quamquam in hac ipsa sapientia plus apparet: +ita gravi iudicio multaque arte se exercuit in verissimo genere dicendi, +tanta autem industria est tantumque evigilat in studio ut non maxima +ingenio (quod in eo summum est) gratia habenda videatur. By +<i>verissimum genus dicendi</i> Cicero seems to indicate that Messalla +was neither an Asianist like Hortensius, nor an extreme Atticist like +Calvus. See also Brutus §246, where the judgment is less favourable: +nullo modo inops, sed non nimis ornatus genere verborum.</p> + +<p><b>nitidus</b>: cp. i. 7, 35 ideo minus Messalla nitidus quia, +&c.</p> + +<p><b>candidus</b>: v. on <a href = "#chapI_sec73">§73</a>.</p> + +<p><b>quodam modo</b>: cp. Cic. Brut. §30 (where Kellogg wrongly renders +‘with a certain style’): ib. §149: de Orat. iii. §37: §184.</p> + +<p><b>praeferens</b> = prae se ferens: cp. vi. 3, 17: 2, 14.</p> + +<p><b>viribus minor</b>: cp. <a href = "#chapI_sec103">§103</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec114" id = "chapI_sec114"> </a> +<span class = "secnum">I:114</span> +C. vero <span class = "smallcaps">Caesar</span> si foro tantum vacasset, non alius ex +<span class = "pagenum">112</span> +nostris contra Ciceronem nominaretur. Tanta in eo vis est, id acumen, ea +concitatio, ut illum eodem animo dixisse quo bellavit appareat; exornat +tamen haec omnia mira sermonis, cuius proprie studiosus fuit, +elegantia.</p> + +<div class = "comm"> +<p><a name = "commI_sec114" id = "commI_sec114"><b>§ 114.</b></a> +<b>Caesar</b>. The purity and correctness of Caesar’s style are +eulogised in the Brutus §§251-262: see esp. §261 non video cui debeat +cedere. Cp. Phil. ii. 45 Fuit in illo ingenium, ratio, memoria, +<span class = "pagenum comm">112</span> +litterae, cura, cogitatio, diligentia: and with special reference to his +oratorical talent, Suet. Caes. 55, where is cited a fragment from a +letter of Cicero: ‘Quid? oratorum quem huic antepones eorum qui nihil +aliud egerunt? Quis sententiis aut acutior aut crebrior? Quis verbis aut +ornatior aut elegantior?’ Tac. Ann, xiii. 3 dictator Caesar summis +oratoribus aemulus.</p> + +<p><b>si foro tantum vacasset</b>. So of Pompeius (Brut. 239), vir ad +omnia summa natus, maiorem dicendi gloriam habuisset, nisi eum maioris +gloriae cupiditas ad bellicas laudes abstraxisset: Tac. Dial. 21 +concedamus sane C. Caesari, ut propter magnitudinem cogitationum et +occupationes rerum in eloquentia non effecerit quae divinum eius +ingenium postulabat.</p> + +<p><b>contra</b>, ‘by the side of,’ with the notion of being ‘pitted +against’: cp. proximumque Ciceroni Caesarem, Vell. Pat. ii. +36, 2.</p> + +<p><b>vis</b>: xii. 10, 11 vim Caesaris.</p> + +<p><b>acumen</b>. See on <a href = "#chapI_sec106">§106</a>: here +probably of a pointed incisive style.</p> + +<p><b>eodem animo</b>: Livy xxxviii. 50 dicebantur enim ab eodem animo +ingenioque a quo gesta erant.</p> + +<p><b>proprie studiosus</b>: cp. i. 7, 34 aut vim C. Caesaris +fregerunt editi de analogia libri? Suet. Caes. 56: Gell. xix. 8, 3. +See too Brutus §253, where we learn that the work was dedicated to +Cicero: ‘qui etiam in maximis occupationibus ad te ipsum,’ inquit in me +intuens, ‘de ratione Latine loquendi adcuratissime scripserit primoque +in libro dixerit verborum delectum originem esse eloquentiae.’—Cp. +Gell. xvi. 8 C. Caesar gravis auctor linguae +latinae,—<i>Proprie</i> in this sense is post-Augustan: cp. Vell. +Pat. ii. 9, 1.</p> + +<p><b>elegantia</b>: Brutus §252 ita iudico ... illum omnium fere +oratorum Latine loqui elegantissime. In the Preface to B. G. viii. +Hirtius says Erat autem in Caesare quum facultas atque elegantia summa +scribendi tum, etc.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec115" id = "chapI_sec115"> </a> +<span class = "secnum">I:115</span> +Multum ingenii in <span class = "smallcaps">Caelio</span> et praecipue in accusando multa +urbanitas, dignusque vir, cui et mens melior et vita longior +contigisset. Inveni qui <span class = "smallcaps">Calvum</span> +<span class = "pagenum">113</span> +praeferrent omnibus, inveni qui Ciceroni crederent eum nimia contra se +calumnia verum sanguinem perdidisse; sed est et sancta et gravis oratio +et castigata et frequenter vehemens +<span class = "pagenum">114</span> +quoque. Imitator autem est Atticorum, fecitque illi properata mors +iniuriam, si quid adiecturus sibi non si quid detracturus fuit.</p> + +<div class = "comm"> +<p><a name = "commI_sec115" id = "commI_sec115"><b>§ 115.</b></a> +<b>Caelius, M.</b> Rufus (82-48 <span class = "smallroman">B.C.</span>), +a man of loose morals and luxurious life, whom Cicero defended from some +charges of sedition and attempted poisoning, 56 <span class = +"smallroman">B.C.</span> He had not much strength of character: during +Cicero’s absence in Cilicia he was in friendly correspondence with him, +but afterwards he joined Caesar, while urging Cicero to remain neutral. +Becoming discontented, he intrigued with Milo to raise an insurrection +against Caesar, and was put to death near Thurii by some foreign +cavalry, 48 <span class = "smallroman">B.C.</span> Cp. Brutus §273 +splendida et grandis et eadem in primis faceta et perurbana oratio. +Graves eius contiones aliquot fuerunt, acres accusationes tres (one +against C. Antonius) ... defensiones ... sane tolerabiles. There +was something bitter about him: <a href = +"QuintBody2.html#chapII_sec25">2 §25</a> asperitatem Caelii: cp. +Tac. Dial. 25 amarior Caelius: Sen. de Ira iii. 8, 6 oratorem ... +iracundissimum. A description of one of his speeches is given iv. +2, 123 sq.: for witticisms on Clodia v. viii. 6, 53. Cp. Tac. Dial. +21 and 25.</p> + +<p><b>praecipue in accusando</b>: vi. 3, 69 idem (Cicero) per allegoriam +M. Caelium, melius obicientem crimina quam defendentem, bonam +dextram malam sinistram habere dicebat.</p> + +<p><b>urbanitas</b> is defined vi. 3, 17 as sermonem praeferentem in +verbis et sono et usu proprium quendam gustum urbis et sumptam ex +conversatione doctorum tacitam eruditionem, denique cui contraria sit +rusticitas. Here the idea of <i>wit</i> is uppermost, as in ii. 11, 2 +and vi. 3, 105. Cp. vi. 3 §41 Caelius cum omnia venustissime finxit +tum illud ultimum: i. 6, 29.</p> + +<p><b>mens melior</b>: Brut. §273 quaecunque eius in exitu vel fortuna +vel mens fuit: Vell. Pat. ii. 68 vir eloquio animoque Curioni +simillimus, sed in utroque perfectior nec minus ingeniose nequam.</p> + +<p><b>Calvus</b>, Gaius Licinius (<span class = "smallroman">B.C.</span> +82-48), was the leading spirit among the stricter Atticists in Cicero’s +day, and is censured by him in the Brutus (§§284-291) for taking so +narrow a view of the full meaning of Attic oratory as to have introduced +the attempt to imitate certain particular models among the Attic +orators. A poet himself, he was the friend of Catullus, and, like +Catullus, an opponent of Caesar. He prosecuted Vatinius on three +separate +<span class = "pagenum comm">113</span> +occasions, and once showed such vehemence and energy that the defendant +rose in court, saying ‘rogo vos, iudices, num si iste disertus est ideo +me damnari oportet’ (Sen. Controv. vii. 6): Tac. Dial. 34 Vatinium +eis orationibus insecutus est, quas hodieque cum admiratione legimus: +cp. ib. 21. Cp. Catullus 53, where we get a lively idea of his energetic +eloquence at the trial. The passage of Cicero referred to (Brutus §283 +quoted below) was written after the death of Calvus: but already in Dec. +47 Cicero, in writing to his friend Trebonius, had stated his opinion +that Calvus had made an error of judgment in the choice of his style, +and that he was wanting in force: ad Fam. xv. 21 §4 genus quoddam +sequebatur, in quo iudicio lapsus, quo valebat, tamen assequebatur quod +probaret. Multae erant et reconditae litterae, vis non erat (Quint. x. +2, 25 ‘iudicium Calvi’). In the Dial. de Or. ch. 18 Tacitus refers to +certain letters, now lost, from Calvus and Brutus to Cicero, showing +that the latter regarded Calvus as <i>exsanguis</i> and <i>attritus</i> +(v.l. aridus), while Calvus stigmatised Cicero as <i>solutus</i> and +<i>enervis</i>. His position as leader of a school (which took Lysias +mainly for its model and cultivated ‘plainness’ at the expense of other +good qualities) is indicated by Cicero’s remark that he ‘not only went +wrong himself, but also led others astray’ (Brut. §284).</p> + +<p><b>Ciceroni crederent</b>, &c. “In writing of his oratorical +style in the <i>Brutus</i>, two years after his death, Cicero observes +that, while he was more accomplished in literature than the younger +Curio, he had also a more accurate and exquisite style; and although he +handled it with skill and elegance, he was too minute and nice in his +self-criticism; losing the very life-blood of style for fear of tainting +its purity, and cultivating too scrupulous a taste to win the approval +of the general public” (Sandys, Orator, Introd. xlvi.). The passage from +the Brutus (283) is as follows:—adcuratius quoddam dicendi et +exquisitius adferebat genus; quod quanquam scienter eleganterque +tractabat, nimium tamen inquirens in se atque ipse sese observans +metuensque ne vitiosum colligeret, etiam verum sanguinem deperdebat ... +Atticum ... se dici oratorem volebat; inde erat ista exilitas, quam ille +de industria consequebatur.</p> + +<p><b>nimia ... calumnia</b>, ‘by over-rigorous self-censure,’—a +morbid habit of introspective criticism: the word being used to express +nimium inquirens ... observans ... metuensque in the passage just +quoted. Perhaps the nearest parallel to this use is to be found in Caec. +ap. Cic. ad Fam. vi. 7, 4 in hac igitur calumnia, timoris et caecae +suspicionis tormento,—of exaggerated fears inspired by the spirit +of carping self-criticism, for which cp. <a href = +"QuintBody2.html#chapIV_sec3">4 §3</a>: <a href = +"QuintBody2.html#chapVII_sec14">7 §14</a>. The verb is found in the +same sense in <a href = "QuintBody2.html#chapIII_sec10">3 §10</a> +infelicem calumniandi se poenam: viii. prooem. 31 nullus est finis +calumniandi se et cum singulis paene syllabis commoriendi. Cp. Plin. +xxxiv. 8, 19 §92 calumniator sui, of one who is over-anxious in +regard to his work. Cicero uses the verb absolutely: ad Fam. ix. 2, 3 +mihi quidem venit in mentem bellum esse aliquo exire ... sed calumniabar +ipse: putabam qui obviam mihi venisset ... suspicaturum aut dicturum, +&c., where the meaning is ‘I indulged groundless fears’ (Nägelsbach, +p. 54). The word <i>calumnia</i> is derived from the root +<i>calv</i> found in <i>calvor</i>, to trick, quibble, through a +participial form *calvomenos, calumnus (cp. autumnus, aerumna, columna). +Its first meaning is a malicious charge or ‘cavil’: ad Fam. i. 1, 1, +religionis calumniam, the ‘trumped-up plea of a religious difficulty.’ +Hence it was applied in Roman law (Gaius 4, 178) to the vexatious abuse +of legal forms, chicanery, legal quirks and quibbles, and generally to +the pettifogging tendency which exalts the letter above the spirit.</p> + +<p><b>verum sanguinem perdidisse</b>: cp. <a href = +"QuintBody2.html#chapIV_sec3">4 §3</a> exsanguia.</p> + +<p><b>sancta et gravis</b>: his style is ‘solemn and weighty,’ xii. 10, +11 ‘sanctitatem Calvi.’</p> + +<p><b>castigata</b>, ‘chastened,’ ‘severely finished’: cp. Hor. +A. P. 292 carmen reprehendite quod non Multa dies et multa litura +coercuit atque Praesectum decies non castigavit ad unguem, i.e. by +pruning away everything that is useless and inappropriate: Tac. Dial. 25 +adstrictior Calvus, numerosior Asinius.</p> + +<p><b>frequenter</b>: see on <a href = "#chapI_sec17">§17</a>.</p> + +<p><b>vehemens</b>: cp. Sen. Controv. viii. 7 +<span class = "pagenum comm">114</span> +solebat praeterea excedere subsellia sua et impetu latus usque ad +adversariorum partem transcurrere. Seneca adds that he resembled +Demosthenes inasmuch as he was all struggle and excitement, though he +sometimes employed a gentler style, ib. §8 nihil in illa (compositione) +placidum, nihil lene est, omnia excitata et fluctuantia.</p> + +<p><b>properata mors</b>: cp. immatura mors. He died at the early age of +34. Cp. Brutus §279 facienda mentio est ... duorum adulescentium (Curio +and Calvus) qui si diutius vixissent magnam essent eloquentiae laudem +consecuti.</p> + +<p><b>adiecturus</b>, i.e. if it was likely that he would have added to +the purity of his diction other and richer qualities. The cold dry +manner of the strictest Atticists failed to hold the ear of Roman +audiences: Brut. §289 subsellia grandiorem et pleniorem vocem +desiderant, a larger and fuller utterance than that of the Atticists who +spoke ‘anguste et exiliter.’ See <a href = +"QuintCrit.html#critI_sec115">Crit. Notes</a>.</p> + +<p><b>detracturus</b>: sc. nimia contra se calumnia. He is <i>exilis</i> +enough as it is.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec116" id = "chapI_sec116"> </a> +<span class = "secnum">I:116</span> +Et <span class = "smallcaps">Servius Sulpicius</span> insignem non immerito famam tribus +orationibus meruit. Multa, si cum iudicio legatur, dabit imitatione +digna <span class = "smallcaps">Cassius Severus</span>, qui si ceteris virtutibus colorem et +gravitatem orationis adiecisset, ponendus inter praecipuos foret.</p> + +<div class = "comm"> +<p><a name = "commI_sec116" id = "commI_sec116"><b>§ 116.</b></a> +<b>Servius Sulpicius</b> Rufus, the most distinguished jurist of +Cicero’s day, consul <span class = "smallroman">B.C.</span> 51. See +reff. in Brutus §150: §152: §153 (adiunxit etiam et litterarum scientiam +et loquendi elegantiam). His letter of sympathy to Cicero on the death +of Tullia is well known: ad Fam. iv. 5. Cp. <a href = +"QuintBody2.html#chapV_sec4">5 §4</a>: <a href = +"QuintBody2.html#chapVII_sec30">7 §30</a> and above <a href = +"#chapI_sec22">§22</a>.</p> + +<p><b>meruit</b> = <i>consecutus est</i>, as <a href = +"#chapI_sec94">§94</a>. See on <a href = "#chapI_sec72">§72</a>.</p> + +<p><b>Cassius Severus</b> flourished under Augustus, and was banished on +account of his libellous attacks (<i>procacibus scriptis</i>), first to +Crete and then to Seriphos, where he is said to have died <span class = +"smallroman">A.D.</span> 34, in the twenty-fifth year of his exile; Tac. +Ann. iv. 21: i. 72. He is spoken of as the introducer of the new school +of declamatory eloquence, Tac. Dial. 19 Antiquorum admiratores ... +Cassium Severum ... primum affirmant flexisse ab illa vetere atque +directa dicendi via, &c.: ibid. 26 equidem non negaverim Cassium +Severum ... si iis comparetur qui postea fuerunt, posse oratorem vocari, +quamquam in magna parte librorum suorum plus bilis habeat quam +sanguinis: primus enim contempto ordine rerum, omissa modestia ac pudore +verborum, ipsis etiam quibus utitur armis incompositus et studio +feriendi plerumque detectus, non pugnat sed rixatur; ceterum ... et +varietate eruditionis et lepore urbanitatis et ipsaram virium robore +multum ceteros superat.</p> + +<p><b>colorem</b>: cp. on <a href = "#chapI_sec59">§59</a>. The word is +not here used in the technical sense which it bears in rhetoric, i.e. +the particular aspect given to a case by a skilful representation of the +facts,—the ‘gloss’ or ‘varnish’ put on them by either the accused +or the accuser. For this sense see iv. 2, 88: Inv. vi. 279 Dic aliquem, +sodes, dic Quintiliane colorem: vii. 155 with Mayor’s note. Here it has +a more general sense. Quintilian is charging Cassius with a want of +proper ‘tone’: cp. omissa modestia ac pudore verborum, above: Cic. de +Or. iii. 96 ornatur oratio genere primum et quasi colore quodam et suco +suo.</p> + +<p><b>gravitatem</b>: Cassius was wanting in dignity, and his wit was +apt to carry him too far. Quintilian gives an instance of this xi. 1, +57; Seneca, Controv. iii. praef. 2 says however ‘gravitas, quae deerat +vitae, actioni supererat.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec117" id = "chapI_sec117"> </a> +<span class = "secnum">I:117</span> +Nam et ingenii plurimum est in eo et acerbitas mira et urbanitas et +fervor, sed plus stomacho quam consilio dedit. Praeterea +<span class = "pagenum">115</span> +ut amari sales, ita frequenter amaritudo ipsa ridicula est.</p> + +<div class = "comm"> +<p><a name = "commI_sec117" id = "commI_sec117"><b>§ 117.</b></a> +<b>ingenii plurimum</b>: Tacitus (Ann. iv. 21) allows that he was +‘orandi validus’: and Seneca (l.c.) says oratio eius erat valens culta +ingentibus plena sententiis ... non est quod illum ex his quae edidit +aestimetis ... eloquentia eius longe maior erat quam lectio.</p> + +<p><b>acerbitas mira</b>: cp. Tac. Ann. i. 72 commotus Cassii Severi +libidine qua viros feminasque inlustres procacibus scriptis +diffamaverat.</p> + +<p><b>urbanitas</b>, v. on <a href = "#chapI_sec115">§115</a>. For +examples see vi. 1, 43: viii. 3, 89: xi. 3, 133.</p> + +<p><b>et fervor</b>: see Crit. Notes, and cp. +<span class = "pagenum comm">115</span> +Seneca l.c. habebat ... genus dicendi ... ardens et concitatum.</p> + +<p><b>stomacho</b>: he was full of passionate impulse: cp. the passage +quoted from Dial. 26 above.</p> + +<p><b>praeterea ... ridicula est</b>. Spalding’s interpretation of this +passage is followed by Krüger (2nd ed.) and Hild: the other editors do +not seem to have felt any difficulty. The sentence is taken in +continuation of the <i>praise</i> of Cassius, attaching closely to +‘urbanitas’: the words from <i>sed plus</i> to <i>dedit</i> being then +interjected as the only note of disparagement. The literal translation +would then be ‘while his wit is bitter, the bitterness itself is often +enough to make you laugh.’ ‘He has a caustic wit, but his causticity by +itself will often make you laugh.’ For this sense of <i>ridicula</i> +(Sp. ‘risum movet auditorum’) cp. vi. 3, 22 <i>ridiculum</i> ... haec +tota disputatio a Graecis <span class = "greek" title = "peri geloiou">περὶ γελοίου</span> inscribitur: 3 §6 ridiculum (‘funny,’ +‘droll’) dictum plerumque falsum est (ad hoc semper humile). Frieze +compares vi. 3, 7: and adds ‘success in exciting the mirth of the court +and the audience is not always a proof of the orator’s wit; but is often +due to mere bitterness of invective, and coarse and rough or droll terms +of abuse.’</p> + +<p>One objection to this interpretation is the arrangement of the +sentences: <i>praeterea ... ridicula est</i> connects even more +naturally with <i>sed plus ... dedit</i> than with the eulogy contained +in <i>urbanitas et fervor</i>. And it may be doubted if Quintilian or +any other writer who had just been censuring Cassius for +<i>stomachus</i> would immediately go on (using <i>ridiculus</i> in a +good sense) to say that ‘often when he is merely bitter without being +witty (this is the force of <i>amaritudo ipsa</i>, cp. note on <a href = +"#chapI_sec45">§45</a>) he makes you laugh.’ Drollery can hardly be +claimed for unrelieved acrimoniousness.</p> + +<p>A better sense can be obtained by taking <i>amaritudo ipsa ridicula +est</i> as part not of the praise but of the censure of Cassius, and +interpreting ridicula as ‘silly,’ ‘absurd,’ ‘ridiculous.’ Cicero uses +the word in this sense, and there is abundant authority in Quintilian +himself: cp. sint grandia et tumida, non stulta etiam et acrioribus +oculis intuenti ridicula ii. 10, 6; ridiculum est v. 13, 7; fecit enim +risum sed ridiculus fuit vi. 1, 48; quibus nos ... ridiculi videmur vii. +1, 43: ix. 3, 100; <a href = "QuintBody2.html#chapIII_sec21">x. 3, +21</a>; xi. 3, 128. The meaning then is ‘while his wit is bitter, yet +bitterness by itself is silly,’ i.e. his wit has a bitter turn, but +where he is (as often) bitter without being witty, the result is poor. +There is undoubtedly something unsatisfactory about <i>ut amari +sales</i> (sc. sunt), which might well have a general reference. See <a +href = "QuintCrit.html#critI_sec117">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec118" id = "chapI_sec118"> </a> +<span class = "secnum">I:118</span> +Sunt alii multi diserti, quos persequi longum est. Eorum quos viderim +<span class = "smallcaps">Domitius Afer</span> et <span class = "smallcaps">Iulius Africanus</span> longe +praestantissimi. +<span class = "pagenum">116</span> +Verborum arte ille et toto genere dicendi praeferendus et quem in numero +veterum habere non timeas: hic concitatior, sed in cura verborum nimius +et compositione nonnumquam longior et translationibus parum modicus. +Erant clara et nuper ingenia.</p> + +<div class = "comm"> +<p><a name = "commI_sec118" id = "commI_sec118"><b>§ 118.</b></a> +<b>diserti</b> here, as in <a href = "#chapI_sec68">§68</a> and <a href += "QuintBody2.html#chapIII_sec13">3 §13</a>, almost synonymous with +<i>eloquentes</i>. In viii. pr. §13, however, Quintilian quotes a saying +of M. Antonius, which was meant to establish a difference: nam et +M. Antonius ... cum a se disertos visos esse multos ait, eloquentem +neminem, diserto satis putat dicere quae oporteat, ornate autem dicere +proprium esse eloquentis. Cp. i. 10, 8 ‘Fuit aliquis sine his disertus’: +‘at ego oratorem volo.’ Cicero gives the same quotation: Orat. §18: de +Orat. i. §94, where the reason for the distinction between the +‘accomplished speaker’ and ‘the eloquent orator’ is given by Antonius +himself,—quod ego eum statuebam disertum, qui posset satis acute +atque dilucide apud mediocres homines ex communi quadam opinione hominum +dicere, eloquentem vero, qui mirabilius et magnificentius augere posset +atque ornare quae vellet, omnesque omnium rerum, quae ad dicendum +pertinerent, fontes animo ac memoria contineret. Cp. Plin. Ep. v. +20 §5. For the derivation of <i>disertus</i> v. Sandys on Orat. +§18.</p> + +<p><b>longum est</b>: the action is spoken of as still possible. Roby +1735. So Cic. pro Sest. 5: Longum est ea dicere: sed hoc breve dicam. +Cp. <a href = "QuintBody2.html#chapII_sec4">2 §§4</a>, <a href = +"QuintBody2.html#chapII_sec7">7</a>: <a href = +"QuintBody2.html#chapV_sec7">5 §7</a>: <a href = +"QuintBody2.html#chapVI_sec2">6 §2</a>.</p> + +<p><b>quos viderim</b>: see on <a href = "#chapI_sec98">§98</a>. In xii. +10, 11 he has ‘in iis etiam quos ipsi vidimus,’ mentioning both Afer and +Africanus. Quintilian’s fondness for the perfect subjunctive is marked: +cp. xii. 5, 5.</p> + +<p><b>Domitius Afer</b>: see on <a href = "#chapI_sec86">§86</a>: cp. v. +7, 7 quem adolescentulus senem colui.</p> + +<p><b>Iulius Africanus</b>: a native of Gaul, who flourished under Nero. +In xii. 10, 11 he is again named alongside of Afer,—vires +Africani, maturitatem Afri. He is quoted as speaking to Nero in the name +of Gaul viii. 5, 15 Insigniter Africanus apud Neronem de morte matris: +rogant +<span class = "pagenum comm">116</span> +te, Caesar, Galliae tuae, ut felicitatem tuam fortiter feras. He divided +the palm of eloquence with Afer: Tac. Dial. 15, He was a son of the +Iulius Africanus of whom Tacitus speaks (Ann. vi. 7) as e Santonis +Gallica civitate (Saintonge, to the N. of the lower Garonne): a grandson +of his, also an orator, is mentioned by Pliny vii. 6, 11.</p> + +<p><b>in numero veterum</b>: cp. Tac. Dial. 15, ad fin.</p> + +<p><b>compositione</b>: v. on <a href = "#chapI_sec79">§79</a>. If it +has the same meaning here, it must = the euphonious collocation of +words: see Cicero Orat. §147 de verbis enim componendis, &c., and +§149 sq. Quintilian treats of <i>compositio</i> ix. 4, 1: Tr. ‘tedious +in his phraseology’: viii. 3, 52: ix. 4, 144 neque longioribus quam +oportet hyperbolis compositioni serviamus.</p> + +<p><b>longior</b>: i.e. he used ‘padding’ in the effort to round off his +periods.</p> + +<p><b>translationibus</b>: viii. 6, 4 sq.: esp. 16 sed copia quoque +modum egressa vitiosa est, praecipue in eadem specie.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec119" id = "chapI_sec119"> </a> +<span class = "secnum">I:119</span> +Nam et <span class = "smallcaps">Trachalus</span> plerumque sublimis et satis apertus fuit et +quem velle optima crederes, auditus tamen maior; nam et vocis, quantam +in nullo cognovi, felicitas et pronuntiatio vel scaenis suffectura et +decor, omnia denique ei, quae sunt extra, superfuerunt: et <span class = "smallcaps">Vibius +Crispus</span> compositus et iucundus et delectationi +<span class = "pagenum">117</span> +natus, privatis tamen causis quam publicis melior.</p> + +<div class = "comm"> +<p><a name = "commI_sec119" id = "commI_sec119"><b>§ 119.</b></a> +<b>Trachalus</b>, M. Galerius: consul <span class = +"smallroman">A.D.</span> 68 along with Silius Italicus. Tacitus (Hist. +i. 90) tells us he was supposed to have written the speech delivered by +Otho to an assembly of the people: in rebus urbanis Galerii Trachali +ingenio Othonem uti credebatur. Et erant qui genus ipsum orandi +noscerent, crebro fori usu celebre et ad inplendas populi aures latum et +sonans. After Otho’s death he was fortunate in securing the protection +of Galeria, wife of Vitellius (ibid. ii. 60), who may have been a +relation of his. From viii. 5, 19 we learn that he had published an +oration <i>Contra Spatalem</i>, in a case where Vibius Crispus appeared +for the accused. Cp. vi. 3, 78.</p> + +<p><b>velle optima</b>, not ‘well-meaning,’ in a moral sense, but with +reference to qualities of style: cp. below <a href = +"#chapI_sec122">§122</a> ad optima tendentium: <a href = +"#chapI_sec131">§131</a> meliora vellet.</p> + +<p><b>auditus maior</b>. In the passage often quoted already (xii. 10, +11) Quintilian singles out his <i>sonus</i> for special +mention,—‘sonum Trachali.’—Gertz suggested <i>melior</i> for +<i>maior</i>.</p> + +<p><b>vocis ... felicitas</b>: cp. xii. 5, 5, where, after enumerating +<i>vox</i>, <i>latus</i>, and <i>decor</i> as the ‘naturalia +instrumenta’ of the orator, he refers specially to the ‘external +advantages’ (cp. omnia ... quae sunt extra, below) of Trachalus: Habuit +oratores aetas nostra copiosiores, sed cum diceret eminere inter +aequales Trachalus videbatur, Ea corporis sublimitas erat, is ardor +oculorum, frontis auctoritas, gestus praestantia, vox quidem non, ut +Cicero desiderat, paene tragoedorum sed super omnes, quos ego quidem +audierim, tragoedos. Certe cum in basilica Iulia diceret primo +tribunali, quattuor autem iudicia, ut moris est, cogerentur, atque omnia +clamoribus fremerent, et auditum eum et intellectum et, quod agentibus +ceteris contumeliosissimum fuit, laudatum quoque ex quattuor +tribunalibus memini. Sed hoc votum est et rara felicitas.</p> + +<p><b>suffectura</b>, conditional, for <i>quae suffectura fuisset</i>, +without the protasis <i>si voluisset</i>. Cp. note on <i>habitura</i> <a +href = "#chapI_sec99">§99</a>. So <i>taciturus</i> xi. 2, 16. Hor. +Car. iv. 3, 20 donatura, si libeat: and ii. 6, 1 (where there is no +protasis), Septimi Gades aditure mecum—For <i>pronuntiatio</i> see +on <a href = "#chapI_sec17">§17</a>.</p> + +<p><b>superfuerunt</b>, he had an abundant share of such advantages.</p> + +<p><b>Vibius Crispus</b>, a <i>delator</i> of the age of Nero, who +amassed great wealth by the practice of his profession down to about +<span class = "smallroman">A.D.</span> 90. Tac. Hist. ii. 10 Vibius +Crispus, pecunia potentia ingenio inter claros magis quam inter bonos +... Crispum easdem accusationes cum praemio exercuisse meminerant: ibid. +iv. 41, 43. In the Dialogue Tacitus speaks of the fame of his eloquence, +ch. 8 ausim contendere Marcellum Eprium et Crispum Vibium +<span class = "pagenum comm">117</span> +non minores esse in extremis partibus terrarum quam Capuae aut +Vercellis, ubi nati dicuntur; hoc ... illis praestat ... ipsa +eloquentia...; per multos iam annos potentissimi sunt civitatis ac, +donec libuit, principes fori, nunc principes in Caesaris (i.e. +Vespasiani) amicitia agunt feruntque cuncta, &c. And yet (ibid. 13) +Adligati canum adulatione nec imperantibus unquam satis servi videntur +nec nobis satis liberi. That he was still in favour with Domitian +appears from Suet. 3 inter initia principatus quotidie secretum sibi +horarium sumere solebat; nec quidquam amplius quam muscas captare ac +stylo praeacuto configere: ut cuidam interroganti esset ne quis intus +cum Caesare non absurde responsum sit a Vibio Crispo ‘Ne musca quidem.’ +His wealth was proverbial: divitior Crispo Mart. iv. 54, 7: he was worth +200,000,000 sesterces, or even 300,000,000 according to Dial. 8. By +its means he was enabled to shelter his brother Vibius Secundus, when +accused of ‘repetundae’ in Mauretania: Tac. Ann. xiv. 28. Juvenal gives +a sketch of his character iv. 81-93 Venit et Crispi iucunda senectus +Cuius erant mores qualis facundia mite Ingenium ... nec civis erat qui +libera posset Verba animi proferre et vitam impendere vero ... Sic +multas hiemes atque octogesima vidit Solstitia his armis illa (of +Domitian) quoque tutus in aula.</p> + +<p><b>compositus</b>: generally applied to style, ‘well-balanced,’ e.g. +<a href = "#chapI_sec44">§44</a> lenis et nitidi et compositi generis: +cp. Cicero Orat. §208 composita oratio. Here the epithet is transferred +to the orator in the sense of ‘orderly,’ ‘finished’ in the choice and +combination of words. Cp. Orat. §232 compositi oratoris bene structam +collocationem dissolvere permutatione verborum: <a href = +"QuintBody2.html#chapII_sec16">2 §16</a> below fiunt ... pro ... +compositis exultantes: <a href = "#chapI_sec66">§66</a> +incompositus.</p> + +<p><b>iucundus</b>, ‘lively, agreeable, entertaining’: cp. Crispi +iucunda senectus, Iuv., quoted above. In xii. 10, §11 Quintilian places +<i>iucunditatem Crispi</i> alongside of the distinguishing +characteristics of other orators: cp. v. 13, 48 Vibius Crispus vir +ingenii iucundi et elegantis.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec120" id = "chapI_sec120"> </a> +<span class = "secnum">I:120</span> +<span class = "smallcaps">Iulio Secundo</span>, si longior contigisset aetas, clarissimum +profecto nomen oratoris apud posteros foret; adiecisset enim atque +adiciebat ceteris virtutibus suis quod desiderari potest, id est autem +ut esset multo magis pugnax et saepius ad curam rerum ab elocutione +respiceret.</p> + +<div class = "comm"> +<p><a name = "commI_sec120" id = "commI_sec120"><b>§ 120.</b></a> +<b>Iulius Secundus</b> is highly spoken of <a href = +"QuintBody2.html#chapIII_sec12">3 §12</a> below: aequalem meum +atque a me, ut notum est, familiariter amatum, mirae facundiae virum, +infinitae tamen curae: and in xii. 10, 11 he is named as conspicuous for +‘elegantia.’ He is one of the interlocutors in the Dialogue of Tacitus, +where he is made to pose as umpire between the representatives of +Imperial and Republican eloquence: cp. esp. ch. 2 Aper et Iulius +Secundus, celeberrima tum (under Vespasian) ingenia fori nostri ... +Secundo purus et pressus et in quantum satis erat profluens sermo non +defuit: chs. 4 and 14.</p> + +<p><b>adiciebat</b>: he had begun the improvement when death overtook +him. He died about 88 <span class = "smallroman">A.D.</span>, not long +before Quintilian began his <i>Institutio</i>.</p> + +<p><b>curam rerum</b>: he is to care for substance as well as form. +Fabianus in Seneca (Epist. 100) had the opposite fault: visne illum +assidere pusillae rei, verbis?</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec121" id = "chapI_sec121"> </a> +<span class = "secnum">I:121</span> +Ceterum interceptus quoque magnum sibi vindicat locum: ea est facundia, +tanta in explicando quod velit gratia, tam candidum et lene et speciosum +dicendi genus, tanta verborum etiam quae adsumpta sunt proprietas, tanta +in +<span class = "pagenum">118</span> +quibusdam ex periculo petitis significantia.</p> + +<div class = "comm"> +<p><a name = "commI_sec121" id = "commI_sec121"><b>§ 121.</b></a> +<b>interceptus</b>: so vi. pr. 1 si me ... fata intercepissent.</p> + +<p><b>candidum</b>: ‘lucid,’ v. on <a href = "#chapI_sec73">§73</a> +(Herodotus), and cp. <a href = "#chapI_sec113">§113</a> Messalla ... +candidus: <a href = "#chapI_sec101">§101</a> clarissimi candoris, of +Livy.</p> + +<p><b>lene</b> opp. to forte et vehemens dicendi genus: <a href = +"#chapI_sec44">§44</a>. See <a href = +"QuintCrit.html#critI_sec121">Crit. Notes</a>.</p> + +<p><b>adsumpta</b> = <i>translata</i>, ‘used figuratively.’ Cp. viii. 3, +43 adsumere ea, quibus inlustrem fieri orationem putat, delecta, +translata, superlata, ad nomen adiuncta, duplicata et idem significantia +atque ab ipsa actione atque imitatione rerum non abhorrentia. When the +process is carried too far the <i>verba adsumpta</i>, become +<i>arcessita</i> viii. 3. 56.</p> + +<p><b>proprietas</b>, v. on <a href = "#chapI_sec46">§46</a>.</p> + +<span class = "pagenum comm">118</span> +<p><b>ex periculo</b>: ii. 12, 5 quod est in elocutione ipsa periculum: +viii. 6, 11 (verba) quae audaci et proxime periculum translatione +tolluntur ... qualis est: pontem indignatus Araxes. Cp. paene +periclitantia xi. 1, 32. For the phrase ex periculo petere cp. ii. +11, 3 sententiis grandibus, quarum optima quaeque a periculo petarur. +Gr. <span class = "greek" title = +"parakekinduneumena">παρακεκινδυνευμένα</span>.</p> + +<p><b>significantia</b>: <a href = "#chapI_sec49">§49</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec122" id = "chapI_sec122"> </a> +<span class = "secnum">I:122</span> +Habebunt qui post nos de oratoribus scribent magnam eos qui nunc vigent +materiam vere laudandi; sunt enim summa hodie, quibus inlustratur forum, +ingenia. Namque et consummati iam patroni veteribus aemulantur et eos +iuvenum ad optima tendentium imitatur ac sequitur industria.</p> + +<div class = "comm"> +<p><a name = "commI_sec122" id = "commI_sec122"><b>§ 122.</b></a> +<b>eos qui nunc vigent</b>. Who these were we can infer from the +Dialogue of Tacitus and from Pliny’s Letters, e.g. Aper, Marcellus, +Maternus, Aquilius Regulus, and others. Quintilian must of course have +meant to include Tacitus and Pliny themselves.</p> + +<p><b>consummati</b>: often equivalent to <i>perfectus</i> in +Quintilian: <a href = "QuintBody2.html#chapV_sec14">5 §14</a>. Cp. +above <a href = "#chapI_sec89">§89</a>. It is combined with +<i>perfectus</i> v. 10, 119 ne se ... perfectos protinus atque +consummates putent.</p> + +<p><b>veteribus</b>. <i>Aemulari</i> occurs elsewhere with the +accusative, <a href = "#chapI_sec62">§62</a>; <a href = +"QuintBody2.html#chapII_sec17">2 §17</a>. So of envious emulation +Cic. Tusc. i. §44: cp. iv. §17 with the dative of the person.</p> + +<p><b>iuvenum ad optima tendentium</b>. Hild refers to the speeches of +Messalla and Maternus in the Dial. (28-30, 34-36) as indicating the +oratorical aspirations of the youth of Rome when Quintilian wrote.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapI_sec123" id = "chapI_sec123"> </a> +<span class = "secnum">I:123</span> +Supersunt qui de philosophia scripserint, quo in genere paucissimos +adhuc eloquentes litterae Romanae tulerunt. Idem igitur +<span class = "smallcaps">M. Tullius</span>, qui ubique, etiam in hoc opere Platonis +aemulus +<span class = "pagenum">119</span> +extitit. Egregius vero multoque quam in orationibus praestantior +<span class = "smallcaps">Brutus</span> suffecit ponderi rerum: scias eum sentire quae +dicit.</p> + +<div class = "comm space"> +<p><a name = "commI_sec123" id = "commI_sec123"><b>§ 123.</b></a> +<b>philosophia</b>. For the attitude of the Romans to philosophy see +Teuffel, §40 sq. Abstract speculation, leading to no practical end, was +not held in honour by them: like Neoptolemus, in the play of Ennius, +they said ‘philosophari est mihi necesse, at paucis (i.e. ‘only a +little’: Roby, §1237) nam omnino haud placet,’—Cicero de Orat. ii. +§156: de Repub. i. 18, 30: Pacuvius too (in Gell. xiii. 8) had made +one of his characters exclaim: ego odi homines ignava opera et +philosopha sententia. The Romans disliked the unsettling tendencies +which seemed to accompany the study of philosophy: hence e.g. their +treatment of the Athenian ambassadors in the middle of the second +century <span class = "smallroman">B.C.</span> The prejudice against +such studies had by no means entirely disappeared even in the time of +Cicero, who constantly apologises for and seeks to justify his leanings +to philosophy: de Off. ii. 1, 2 sqq.: de Fin. i. 1, 1. Tacitus, +Agricola 4, tells us that Agricola used to say ‘se prima in iuventa +studium philosophiae acrius, ultra quam concessum Romano ac senatori, +hausisse, ni prudentia matris incensum ac flagrantem animum +coercuisset.’ About the time when Quintilian was writing, Domitian +banished the philosophers from Rome: ibid. ch. 2. For the help +which philosophy can give to oratory see xii. 11, which contains (§7) an +expression of the Roman ideal: atqui ego illum quem instituo Romanum +quendam velim esse sapientem, qui non secretis disputationibus, sed +rerum experimentis atque operibus vere civilem virum exhibeat. Cp. +Cicero’s boast in regard to himself and Cato of Utica: nos philosophiam +veram illam et antiquam, quae quibusdam otii esse ac desidiae videtur, +in forum atque in rempublicam atque in ipsam aciem paene deduximus. See +on <a href = "#chapI_sec84">§84</a>.</p> + +<p><b>paucissimos ... eloquentes</b>. The addition of an adj. to another +adj. used as a subst. is rare in Quintilian. Hirt (Subst. des Adj. +p. 17) cites only five exx. besides this one: e.g. iii. 8, 31 +antiquis nobilibus ortos.</p> + +<p><b>qui ubique</b>. The sense is clear: it is a repetition of the +claim made in <a href = "#chapI_sec108">§108</a> mihi videtur +M. Tullius ... effinxisse vim Demosthenis, copiam Platonis, +iucunditatem Isocratis. But it was not <i>ubique</i> that Cicero +rivalled Plato: it was only in Plato’s own domain (sc. in hoc opere). +The expression +<span class = "pagenum comm">119</span> +was adopted for brevity’s sake: Spalding says it is equivalent to ‘ut +ubique Graecorum praestantissimi cuiusque, ita in hoc opere Platonis.’ +For Cicero’s philosophical writings cp. Teuffel, §173 sq.</p> + +<p><b>Brutus</b>: cp. <a href = "#chapI_sec23">§23</a>. He is not +included in Quintilian’s list of orators; and though Cicero uses towards +him the language of extravagant eulogy (v. esp. Brut. §22) in many of +his works, yet we know from a passage in the Dialogue already quoted +that he sometimes found him ‘otiosum atque disiunctum’ ch. 18. Cp. +ch. 21 Brutum philosophiae suae relinquamus. Nam in orationibus minorem +esse, fama sua etiam admiratores eius fatentur. A reference follows +to his speech ‘Pro rege Deiotaro,’ which the speaker (Aper) considers +‘dull and tedious’—<i>lentitudo</i> and <i>tepor</i> being the +words used. A fragment of a declamation by him is quoted ix. 3 +§95–. On his philosophical works see Cic. Acad. i. 3, 12 (with +Reid’s note). He was an adherent of the Stoico-academic school, whose +tenets he had studied under Aristus and Antiochus: cp. Tusc. v. 21: +Brut. 120, 149, 332: de Fin. v. 8. There was a treatise <i>de +Virtute</i> addressed to Cicero, one <span class = "greek" title = "peri kathêkontos">περὶ καθήκοντος</span>, and one <i>de Patientia</i>: +Teuffel, 209 §§2 and 3.</p> + +<p><b>suffecit ponderi rerum</b>: Quint. xii. 10, 11 names +<i>gravitas</i> as his distinguishing quality: cp. gravior Brutus, Tac. +Dial. ch. 25.</p> + +<p><b>sentire quae dicit</b>. The intensity and sincerity of his nature +can be inferred from ad Att. xiv. 1, 2, where Caesar is quoted as saying +of him <i>magni refert hic quid velit, sed quicquid vult valde vult</i>. +For his devotion to study see <a href = +"QuintBody2.html#chapVII_sec27">7 §27</a> below.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec124" id = "chapI_sec124"> </a> +<span class = "secnum">I:124</span> +Scripsit non parum multa <span class = "smallcaps">Cornelius Celsus</span>, Sextios secutus, non +sine cultu ac nitore. <span class = "smallcaps">Plautus</span> in Stoicis rerum cognitioni +utilis. In Epicureis levis quidem, sed non iniucundus tamen +<span class = "pagenum">120</span> +auctor est <span class = "smallcaps">Catius</span>.</p> + +<div class = "comm"> +<p><a name = "commI_sec124" id = "commI_sec124"><b>§ 124.</b></a> +<b>non parum multa</b>: litotes, as at vi. 2, 3 semper fuerunt non parum +multi.—Becher compares also non parum multi Cic. in Verr. iii. 9, +22: Phil. vii. 6, 18: pro Quinctio 3, 11: in Verr. iv. 12, 29: parum +saepe de Fin. ii. 4, 12. The opposite of <i>non parum</i> is <i>non +nimis</i>: cp. Liv. xxii. 26, 4 haud parum callide with Cic. de Nat. +Deor. i. 25, 70 nihil horum nimis callide.</p> + +<p><b>Cornelius Celsus</b>: a celebrated encyclopaedist under Augustus +and Tiberius, who wrote on rhetoric, jurisprudence, farming, medicine, +military art, and practical philosophy. Only eight books on medicine +have come down to us. He survived into the reign of Nero. Cp. <a href = +"#chapI_sec23">§23</a> above. Of his philosophy Augustine writes as +follows (de Haeres. Prol.): opiniones omnium philosophorum qui sectas +varias condiderunt usque ad tempora sua ... sex non parvis voluminibus +... absolvit; nec redarguit aliquem, sed tantum quid sentirent aperuit, +ea brevitate sermonis ut tantum adhiberet eloquii quantum ... aperiendae +iudicandaeque sententiae sufficeret. In xii. 11, 24 Quintilian refers to +the universality of his knowledge, though he speaks of him as mediocri +vir ingenio. “In other passages also Quintilian often expresses his +disagreement from this predecessor of his, e.g. ii. 15, 22, 32: iii. 6, +13 sq.: viii. 3, 47: ix. 1, 18 ... Even when he agrees with him he does +so with reserve, e.g. vii. 1, 10.—It may be that Quintilian +was vexed that a subject to which he had devoted an entire life was +merely cursorily treated by Celsus, and besides an encyclopaedia might +easily be open to technical objections. At all events, Celsus’ +rhetorical manual was obscured by that of Quintilian. It is mentioned +only by Fortunat. iii. 2 (p. 121, 10 H)”—Teuffel, 275.</p> + +<p><b>Sextios</b>. The Sextii, father and son, were contemporary with +Caesar and Augustus, and belonged to the Pythagorean school, though not +without a leaning to the Stoics (Seneca, Ep. 64 §2–). Seneca +speaks frequently of the elder Sextius in his letters: e.g. +59 §7– ‘virum acrem, Graecis verbis, Romanis moribus +philosophantem.’ In the Nat. Quaest. vii. 32, 2 we are told how their +following—‘Sextiorum nova et Romani roboris secta’—soon fell +away: ‘inter initia sua extincta est,’ v. Teuffel 261.</p> + +<p><b>cultu ac nitore</b>: v. <a href = "#chapI_sec79">§79</a> and <a +href = "#chapI_sec83">§83</a>, with notes.</p> + +<p><b>Plautus</b>. The text is not certain (see <a href = +"QuintCrit.html#critI_sec124">Crit. Notes</a>), but as Quintilian +elsewhere (ii. 14, 2 and iii. 6, 23) refers to a philosopher +<span class = "pagenum comm">120</span> +of this name as employing the unusual words <i>queentia</i> and +<i>essentia</i>, it may as well be retained. (In ii. 14, 2 however +Meister reads Flavi: cp. Teuffel, 261, §9.)</p> + +<p><b>levis</b>: ‘of no weight.’</p> + +<p><b>Catius</b>, an Insubrian by birth, contemporary with Cicero, who +speaks of his recent death ad Fam. xv. 16, 1; cp. 19, 2 Epicurus, a quo +omnes Catii et Amafinii, mali verborum interpretes (referring to their +faithful transcripts of Greek terminology) proficiscuntur. The scholiast +on Hor. Sat. ii. 4 tells us that he wrote ‘quattuor libros de rerum +natura et de summo bono.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec125" id = "chapI_sec125"> </a> +<span class = "secnum">I:125</span> +Ex industria <span class = "smallcaps">Senecam</span> in omni genere eloquentiae distuli propter +vulgatam falso de me opinionem, qua damnare eum et invisum quoque habere +sum creditus. Quod accidit mihi dum corruptum et omnibus vitiis fractum +dicendi genus revocare ad severiora iudicia contendo; tum autem solus +hic fere in manibus adulescentium fuit.</p> + +<div class = "comm"> +<p><a name = "commI_sec125" id = "commI_sec125"><b>§ 125.</b></a> +<b>Seneca</b>: <span class = "smallroman">A.D.</span> 2-65. For his life +and works see Teuffel 282 sqq., Bernhardy p. 871 sq. Martha gives +an estimate of the moral teaching of his well-known Letters in +‘Moralistes sous l’Empire Romain.’ Quintilian’s criticism of Seneca is +subjected to a searching examination by M. Samuel Rocheblave in a +pamphlet De M. Fabio Quintiliano L. Annaei Senecae Judice +(Paris, 1890): see esp. chs. iii. and iv. Introduction, pp. xxiv. +sqq.</p> + +<p><b>opinionem</b>. Quintilian worked hard to recall the Romans to a +more temperate and classical style. He aimed too at a partial ‘return to +Cicero,’ and considered Seneca a dangerous model for the youth of the +day. See Introduction, pp. xxxix. sqq. Fronto and others used +stronger language: e.g. p. 155 N eloquentiam ... Senecae mollibus +et febriculosis prunuleis insitam subvertendam censeo radicitus ... +neque ignoro copiosum sententiis et redundantem hominem esse, verum +sententias eius tolutares video, quatere campum quadripedo concita +cursu, tenere nusquam, pugnare nusquam ... dicteria potius eum quam +dicta continere. Cp. Aul. Gell. xii. 2, 1 de Annaeo Seneca partim +existimant ut de scriptore minime utili, cuius libros attingere nullum +pretium operae sit, quod oratio eius vulgaris videatur et protrita, res +atque sententiae aut inepto inanique impetu sint aut levi et quasi +dicaci argutia, eruditio autem vernacula et plebeia nihilque ex veterum +scriptis habens neque gratiae neque dignitatis. Alii vero elegantiae in +verbis parum esse non infitias eunt, sed et rerum quas dicat scientiam +doctrinamque ei non deesse dicunt et in vitiis morum obiurgandis +severitatem gravitatemque non invenustam. So too Caligula (Suet. 53) had +called Seneca’s productions arena sine calce, commissiones merae.</p> + +<p><b>damnare ... invisum habere</b>. There is nothing in this of a +moral judgment, though some of Quintilian’s contemporaries, notably +Tacitus, disliked Seneca, probably because they could not acquit him +from blame in regard to his pupil Nero’s excesses, and other matters. +The only parallel to <i>et invisum quoque</i> in classical Latin is said +by Becher to be Cic. pro Domo §47 quoniam iam dialecticus es et haec +quoque liguris. It does not occur in Caesar, seldom in Livy, but +frequently in Quintilian. Cp. on <a href = "#chapI_sec20">§20</a>.</p> + +<p><b>corruption ... genus</b>. He is not speaking of the false taste of +Seneca’s style exclusively, but of the general deterioration that +prevailed: cp. <a href = "#chapI_sec43">§43</a> recens haec +lascivia.</p> + +<p><b>dum contendo</b>: ‘through the efforts I made’: the <i>tum</i> +which follows shows that it refers to past time.</p> + +<p><b>solus hic fere in manibus</b>. Tac. Ann. xiii. 3 fuit illi viro +ingenium amoenum et temporis eius auribus adcommodatum. In his +endeavours to introduce a purer taste Quintilian naturally made so +popular an author as Seneca the peg on which to hang his discourse.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec126" id = "chapI_sec126"> </a> +<span class = "secnum">I:126</span> +Quem non equidem omnino conabar excutere, sed potioribus praeferri non +sinebam, quos ille non destiterat incessere, cum diversi sibi conscius +<span class = "pagenum">121</span> +generis placere se in dicendo posse <i>iis</i> quibus illi placerent +diffideret. Amabant autem eum magis quam imitabantur, tantumque ab illo +defluebant quantum ille ab antiquis descenderat.</p> + +<div class = "comm"> +<p><a name = "commI_sec126" id = "commI_sec126"><b>§ 126.</b></a> +<b>excutere</b>: sc. e manibus adulescentium.</p> + +<p><b>incessere</b>. At the close of the passage quoted above, Gellius +goes on to quote, with much indignation, Seneca’s disparaging criticism +of Ennius, Cicero, and Vergil, from Book xxii of the Letters to Lucilius +(no longer extant). In Ep. 114 we find +<span class = "pagenum comm">121</span> +him censoring Sallust and those who imitated him. Sueton. Ner. 52 a +cognitione veterum oratorum Seneca praeceptor, quo diutius in +admiratione sui detineret (Neronem avertit). For <i>iis</i>, see <a href += "QuintCrit.html#critI_sec126">Crit. Notes</a>.</p> + +<p><b>defluebant</b> = degenerabant, i. 8, 9 quando nos in omnia +deliciarum vitia dicendi quoque ratione defluximus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec127" id = "chapI_sec127"> </a> +<span class = "secnum">I:127</span> +Foret enim optandum pares ac saltem proximos illi viro fieri. Sed +placebat propter sola vitia et ad ea se quisque dirigebat effingenda, +quae poterat; deinde cum se iactaret eodem modo dicere, Senecam +infamabat.</p> + +<div class = "comm"> +<p><a name = "commI_sec127" id = "commI_sec127"><b>§ 127.</b></a> +<b>Foret ... optandum</b>, of a wish that is considered +impossible,—which shows how high was Quintilian’s opinion of +Seneca: cp. <i>ac saltem proximus</i>. So velles <a href = +"#chapI_sec130">§130</a>. For the infin. see Introd. <a href = +"QuintIntro.html#intro_pagelvi">p. lvi</a>.</p> + +<p><b>ad ea ... effingenda</b>: cp. Cic. Orat. §9 ad illius +similitudinem artem et manum dirigebat. For <i>effingenda</i> cp. <a +href = "#chapI_sec108">§108</a>.</p> + +<p><b>quae poterat</b>, sc. effingere: cp. Caesar, B.C. 37 quam +celerrime potuit (comparare).</p> + +<p><b>infamabat</b>, ‘brought reproach on.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec128" id = "chapI_sec128"> </a> +<span class = "secnum">I:128</span> +Cuius et multae alioqui et magnae virtutes fuerunt, ingenium facile et +copiosum, plurimum studii, multa rerum cognitio, in qua tamen aliquando +ab his quibus inquirenda quaedam mandabat deceptus est.</p> + +<div class = "comm"> +<p><a name = "commI_sec128" id = "commI_sec128"><b>§ 128.</b></a> +<b>alioqui</b>: see Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>quibus ... mandabat</b>. Especially for physical science he must +have been greatly indebted to external aid. His VII Books ‘Naturalium +Quaestionum,’ with the addition of moral meditations, were used as a +text-book in the Middle Ages.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapI_sec129" id = "chapI_sec129"> </a> +<span class = "secnum">I:129</span> +Tractavit etiam omnem fere studiorum materiam; nam et orationes eius et +poemata et epistulae et dialogi feruntur. In philosophia parum diligens, +egregius tamen vitiorum insectator +<span class = "pagenum">122</span> +fuit. Multae in eo claraeque sententiae, multa etiam morum gratia +legenda, sed in eloquendo corrupta pleraque atque eo perniciosissima, +quod abundant dulcibus vitiis.</p> + +<div class = "comm"> +<p><a name = "commI_sec129" id = "commI_sec129"><b>§ 129.</b></a> +<b>orationes</b>. None survive. Quintilian refers (viii. 5, 18) to +the speech he made for Nero on the occasion of his mother’s funeral: +Tac. Ann. xiii. 3, cp. 11. It is probable also that Seneca wrote the +speeches mentioned by Suet. Ner. 7, the ‘gratiarum actio’ in the Senate, +‘pro Bononiensibus latine, pro Rhodiis atque Iliensibus graece.’ He also +pleaded with success in the law-courts (Dion Cass. 59, 19, 7.).</p> + +<p><b>poemata</b>. That Seneca wrote poetry is evident from Tacitus Ann. +xiv. 52, where his accusers, in order to prejudice him in the eyes of +Nero (who was jealous of his reputation as a poet and an +orator),—obiiciebant etiam eloquentiae laudem uni sibi adsciscere +et carmina crebrius factitare postquam Neroni amor eorum venisset: cp. +Suet. Ner. 52. He is said also to have written epigrams, and other forms +of verse.—His tragedies are not referred to here, though +Quintilian quotes from the Medea ix. 2, 8: see for them Teuffel 285; +Bernhardy, note 322.</p> + +<p><b>epistulae</b>. The Epistulae Morales ad Lucilium, as we have them +now (see 3rd vol. of Teubner edition), are 124 in number, arranged in +twenty books. There were more however originally, and Priscian speaks of +Book x of the letters to Novatus (in decimo epistularum ad Novatum), +while Martial (vii. 45, 3) refers to letters to Caesonius Maximus, +of which we know nothing more.</p> + +<p><b>dialogi</b>, i.e. the works called by this name in the Milan MS., +not his tragedies, though these were written to be read rather than to +be acted. There are twelve of them (v. Teuffel 284 §4–), and +each is dedicated to some particular individual. There is besides the De +Clementia ad Neronem, and a Dialogus de Superstitione (no longer extant +except in the fragment given in Augustine’s C.D. vi. 10) directed +against the anthropomorphism of popular superstition.</p> + +<p><b>feruntur</b>: <a href = "#chapI_sec23">§23</a>.</p> + +<p><b>parum diligens</b>: ‘not very critical.’ He was a student of life +rather than a student of thought.</p> + +<p><b>vitiorum insectator</b>: cp. Lactantius, +<span class = "pagenum comm">122</span> +Inst. Div. v. 9 morum vitiorumqne publicorum et descriptor verissimus et +accusator acerrimus.</p> + +<p><b>eo</b> for ideo: cp. Hor. Sat. i. 6, 89 eoque non ... Quod non +ingenuos habeat ... parentes.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapI_sec130" id = "chapI_sec130"> </a> +<span class = "secnum">I:130</span> +Velles eum suo ingenio dixisse, alieno iudicio; nam si <i>ob</i>liqua +contempsisset, si parum <i>recta</i> non concupisset, si non omnia sua +amasset, si rerum pondera minutissimis sententiis non fregisset, +consensu potius eruditorum quam puerorum amore comprobaretur.</p> + +<div class = "comm"> +<p><a name = "commI_sec130" id = "commI_sec130"><b>§ 130.</b></a> +<b>iudicio</b>, ‘taste,’ as <a href = "#chapI_sec127">§127</a> above: +cp. M. Seneca (of Capito) ‘habebat in sua potestate ingenium, in +aliena modum.’</p> + +<p><b>obliqua</b>. For this apt conjecture (in place of the traditional +<i>aliqua</i>), see Crit. Notes.</p> + +<p><b>si parum recta</b>. On the assumption that a word has fallen out +of the MSS. after <i>parum</i>, <i>recta</i> is preferable to Halm and +Meister’s <i>sana</i>. For <i>rectum</i> as abstr. cp. ii. 13, 11: xii. +1, 12. See <a href = "QuintCrit.html#critI_sec130">Crit. +Notes</a>.</p> + +<p><b>omnia sua amasset</b>, <a href = "#chapI_sec88">§88</a> of Ovid, +nimium amator ingenii sui. Cp. below <a href = +"QuintBody2.html#chapIII_sec12">3 §12</a> utros peccare validius +putem, quibus omnia sua placent...</p> + +<p><b>rerum pondera ... fregisset</b>: contrast <a href = +"#chapI_sec123">§123</a> suffecit ponderi rerum. Seneca ‘weakened the +force of his matter by striving after epigrammatic brevity.’</p> + +<p><b>amore</b>, of an ill-considered attachment (<a href = +"#chapI_sec94">§94</a>: <a href = +"QuintBody2.html#chapII_sec19">2 §19</a>), whereas <i>studio</i> +would have indicated mature taste, vi. 2, 12 amor <span class = "greek" +title = "pathos">πάθος</span>, caritas <span class = "greek" title = +"êthos">ἦθος</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapI_sec131" id = "chapI_sec131"> </a> +<span class = "secnum">I:131</span> +Verum sic quoque iam robustis et severiore genere satis firmatis +legendus vel ideo quod exercere potest utrimque iudicium. Multa enim, ut +dixi, probanda in eo, multa etiam admiranda sunt; eligere modo curae +sit, quod utinam ipse fecisset. Digna enim fuit illa natura, quae +meliora vellet: quod voluit effecit.</p> + +<div class = "comm"> +<p><a name = "commI_sec131" id = "commI_sec131"><b>§ 131.</b></a> +<b>sic quoque</b> = <span class = "greek" title = "kai houtôs">καὶ +οὕτως</span>.</p> + +<p><b>robustis</b>, opp. to <i>pueris</i>: cp. <a href = +"QuintBody2.html#chapV_sec1">5 §1</a> below. Cp. Tac. Dial. 35 +‘controversiae robustioribus adsignantur,’ while ‘suasoriae pueris +delegantur.’</p> + +<p><b>firmatis</b>. So occupatos <a href = +"QuintBody2.html#chapIII_sec27">3 §27</a>: exercitatos <a href = +"QuintBody2.html#chapV_sec17">5 §17</a>. Introd. +pp. xlviii-ix.</p> + +<p><b>vel ideo quod</b>: <a href = "#chapI_sec86">§86</a>: <a href = +"QuintBody2.html#chapV_sec16">5 §16</a>.</p> + +<p><b>utrimque</b>, i.e. laudantium et vituperantium, ‘for and against +him.’ So 5, 20: 6, 7: and cp. 1, 22. Introd. <a href = +"QuintIntro.html#intro_pagelii">p. lii</a>.</p> + +<p><b>Multa enim ... digna enim</b>, another instance of the want of +care that has been already noted, <a href = +"QuintBody2.html#chapII_sec23">2 §23</a>.</p> + +<p><b>natura</b>: cp. <a href = "#chapI_sec86">§86</a>.</p> +</div> + +</div> <!-- text --> + +<hr class = "spacer"> + + +<span class = "pagenum">223</span> +<h4><a name = "index1_names" id = "index1_names">INDEX OF +NAMES.</a></h4> + +<p class = "line"> </p> + +<h6>(The references are to chapters and sections.)</h6> + +<p class = "line"> </p> + +<table class = "index" summary = "index in two columns"> +<tr> +<td width = "50%"> + +<p><span class = "smallcaps">Achilles</span>, <a href = +"#chapI_sec47">i. 47</a>, <a href = "#chapI_sec50">50</a>, <a href = +"#chapI_sec65">65</a>.</p> + +<p>Aelius (Lucius) Stilo, <a href = "#chapI_sec99">i. 99</a>.</p> + +<p>Aeschines, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec77">77</a>.</p> + +<p>Aeschylus, <a href = "#chapI_sec66">i. 66</a>.</p> + +<p>Afranius, <a href = "#chapI_sec100">i. 100</a>.</p> + +<p>Alcaeus, <a href = "#chapI_sec63">i. 63</a>.</p> + +<p>Antimachus, <a href = "#chapI_sec53">i. 53</a>.</p> + +<p>Apollonius, <a href = "#chapI_sec54">i. 54</a>.</p> + +<p>Aratus, <a href = "#chapI_sec55">i. 55</a>.</p> + +<p>Archilochus, <a href = "#chapI_sec59">i. 59</a>.</p> + +<p>Aristarchus, <a href = "#chapI_sec54">i. 54</a>, <a href = +"#chapI_sec59">59</a>.</p> + +<p>Aristophanes, <a href = "#chapI_sec66">i. 66</a>.</p> + +<p>Aristophanes of Byzantium, <a href = "#chapI_sec54">i. 54</a>.</p> + +<p>Aristotle, <a href = "#chapI_sec83">i. 83</a>.</p> + +<p>Asinius Pollio, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec24">24</a>, <a href = "#chapI_sec113">113</a>.</p> + +<p>Asprenas, C. Nonius, <a href = "#chapI_sec22">i. 22</a>.</p> + +<p>Attici—Attic Orators, <a href = "#chapI_sec76">i. 76-80</a>: +cp. <a href = "#chapI_sec115">i. 115</a>.</p> + +<p>Attius (Accius), <a href = "#chapI_sec97">i. 97</a>.</p> + +<p>Aufidia, <a href = "#chapI_sec22">i. 22</a>.</p> + +<p>Aufidius Bassus, <a href = "#chapI_sec103">i. 103</a>.</p> + + +<p class = "space"> +Bibaculus, M. Furius, <a href = "#chapI_sec96">i. 96</a>.</p> + +<p>Brutus, M. Iunius, <a href = "#chapI_sec123">i. 123</a>, <a href = +"#chapI_sec23">23</a>.</p> + + +<p class = "space"> +Caecilius Statius, <a href = "#chapI_sec99">i. 99</a>.</p> + +<p>Caelius, M. Rufus, <a href = "#chapI_sec115">i. 115</a>.</p> + +<p>Caesar, C. Iulius, <a href = "#chapI_sec114">i. 114</a>.</p> + +<p>Caesius Bassus, <a href = "#chapI_sec96">i. 96</a>.</p> + +<p>Calidius M., <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Callimachus, <a href = "#chapI_sec58">i. 58</a>.</p> + +<p>Cassius Severus, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec116">116</a>.</p> + +<p>Catius, <a href = "#chapI_sec124">i. 124</a>.</p> + +<p>Catullus, <a href = "#chapI_sec96">i. 96</a>.</p> + +<p>Charisius, <a href = "#chapI_sec70">i. 70</a>.</p> + +<p>Cicero, <a href = "#chapI_sec33">i. 33</a>, <a href = +"#chapI_sec40">40</a>, <a href = "#chapI_sec80">80</a>, <a href = +"#chapI_sec81">81</a>, <a href = "#chapI_sec105">105-112</a>, <a href = +"#chapI_sec123">123</a>.</p> + +<p>Clitarchus, <a href = "#chapI_sec75">i. 75</a>.</p> + +<p>Cornelius Celsus, <a href = "#chapI_sec23">i. 23</a>, <a href = +"#chapI_sec124">124</a>.</p> + +<p>Cornelius Gallus, <a href = "#chapI_sec93">i. 93</a>.</p> + +<p>Cornelius Severus, <a href = "#chapI_sec89">i. 89</a>.</p> + +<p>Cratinus, <a href = "#chapI_sec63">i. 63</a>.</p> + +<p>Cremutius, <a href = "#chapI_sec104">i. 104</a>.</p> + +<p>Crispus, <a href = "#chapI_sec23">i. 23</a>.</p> + + +<p class = "space"> +Demetrius of Phalerum, <a href = "#chapI_sec33">i. 33</a>, <a href = +"#chapI_sec80">80</a>.</p> + +<p>Demosthenes, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec24">24</a>, <a href = "#chapI_sec39">39</a>, <a href = +"#chapI_sec76">76</a>, <a href = "#chapI_sec105">105</a>.</p> + +<p>Domitian, <a href = "#chapI_sec91">i. 91</a>.</p> + +<p>Domitius Afer, <a href = "#chapI_sec23">i. 23</a>, <a href = +"#chapI_sec86">86</a>, <a href = "#chapI_sec118">118</a>.</p> + + +<p class = "space"> +Ennius, <a href = "#chapI_sec88">i. 88</a>.</p> + +<p>Ephorus, <a href = "#chapI_sec75">i. 75</a>.</p> + +<p>Epicurus, ii. 15: cp. <a href = "#chapI_sec124">i. 124</a>.</p> + +<p>Euphorion, <a href = "#chapI_sec56">i. 56</a>.</p> + +<p>Eupolis, <a href = "#chapI_sec65">i. 65</a>.</p> + +<p>Euripides, <a href = "#chapI_sec67">i. 67</a>.</p> + + +<p class = "space"> +Gallus (Cornelius), <a href = "#chapI_sec93">i. 93</a>.</p> + + +<p class = "space"> +Hercules, <a href = "#chapI_sec56">i. 56</a>.</p> + +<p>Herodotus, <a href = "#chapI_sec73">i. 73</a>, <a href = +"#chapI_sec101">101</a>.</p> + +<p>Hesiod, <a href = "#chapI_sec52">i. 52</a>.</p> + +<p>Hipponax, see on <a href = "#chapI_sec59">i. 59</a>.</p> + +<p>Homer, <a href = "#chapI_sec24">i. 24</a>, <a href = +"#chapI_sec48">48</a> sqq., <a href = "#chapI_sec57">57</a>, <a href = +"#chapI_sec62">62</a>, <a href = "#chapI_sec81">81</a>, <a href = +"#chapI_sec85">85</a>.</p> + +<p>Horace, <a href = "#chapI_sec24">i. 24</a>, <a href = +"#chapI_sec56">56</a>, <a href = "#chapI_sec61">61</a>, <a href = +"#chapI_sec94">94</a>, <a href = "#chapI_sec96">96</a>.</p> + +<p>Hortensius, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Hyperides, <a href = "#chapI_sec77">i. 77</a>.</p> + + +<p class = "space"> +Isocrates, <a href = "#chapI_sec79">i. 79</a>, <a href = +"#chapI_sec108">108</a>.</p> + +<p>Iulius Africanus, <a href = "#chapI_sec118">i. 118</a>.</p> + +<p>Iulius Secundus, <a href = "#chapI_sec120">i. 120</a>.</p> + +</td> +<td> + +<p> +Laelius, Decimus, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Ligarius, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Livy, <a href = "#chapI_sec32">i. 32</a>, <a href = +"#chapI_sec39">39</a>, <a href = "#chapI_sec101">101</a>.</p> + +<p>Lucan, <a href = "#chapI_sec90">i. 90</a>.</p> + +<p>Lucilius, <a href = "#chapI_sec93">i. 93</a> sqq.</p> + +<p>Lucretius, <a href = "#chapI_sec87">i. 87</a>.</p> + +<p>Lysias, <a href = "#chapI_sec78">i. 78</a>.</p> + + +<p class = "space"> +Macer, <a href = "#chapI_sec56">i. 56</a>, <a href = +"#chapI_sec87">87</a>.</p> + +<p>Marcellus, <a href = "#chapI_sec38">i. 38</a>.</p> + +<p>Menander, <a href = "#chapI_sec69">i. 69</a> sqq.</p> + +<p>Messalla, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec24">24</a>, <a href = "#chapI_sec113">113</a>.</p> + +<p>Milo, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Minerva, <a href = "#chapI_sec91">i. 91</a>.</p> + +<p class = "space"> +Nicander, <a href = "#chapI_sec56">i. 56</a>.</p> + + +<p class = "space"> +Ovid, <a href = "#chapI_sec88">i. 88</a>, <a href = +"#chapI_sec93">93</a>, <a href = "#chapI_sec98">98</a>.</p> + + +<p class = "space"> +Pacuvius, <a href = "#chapI_sec97">i. 97</a>.</p> + +<p>Panyasis, <a href = "#chapI_sec54">i. 54</a>.</p> + +<p>Patroclus, <a href = "#chapI_sec49">i. 49</a>.</p> + +<p>Pedo Albinovanus, <a href = "#chapI_sec90">i. 90</a>.</p> + +<p>Pericles, <a href = "#chapI_sec82">i. 82</a>.</p> + +<p>Persius, <a href = "#chapI_sec94">i. 94</a>.</p> + +<p>Philemon, <a href = "#chapI_sec72">i. 72</a>.</p> + +<p>Philetas, <a href = "#chapI_sec50">i. 50</a>.</p> + +<span class = "pagenum">224</span> +<p>Philistus, <a href = "#chapI_sec74">i. 74</a>.</p> + +<p>Pindar, <a href = "#chapI_sec109">i. 109</a>.</p> + +<p>Pisandros, <a href = "#chapI_sec56">i. 56</a>.</p> + +<p>Plato, <a href = "#chapI_sec81">i. 81</a>.</p> + +<p>Plautus, <a href = "#chapI_sec99">i. 99</a>.</p> + +<p>Plautus (Stoicus), <a href = "#chapI_sec124">i. 124</a>.</p> + +<p>Pomponius Secundus, <a href = "#chapI_sec98">i. 98</a>.</p> + +<p>Priam, <a href = "#chapI_sec50">i. 50</a>.</p> + +<p>Propertius, <a href = "#chapI_sec93">i. 93</a>.</p> + + +<p class = "space"> +Rabirius, <a href = "#chapI_sec90">i. 90</a>.</p> + + +<p class = "space"> +Saleius Bassus, <a href = "#chapI_sec90">i. 90</a>.</p> + +<p>Sallust, <a href = "#chapI_sec31">i. 31</a>, <a href = +"#chapI_sec101">101</a>, <a href = "#chapI_sec102">102</a>.</p> + +<p>Scipio, <a href = "#chapI_sec99">i. 99</a>.</p> + +<p>Seneca, <a href = "#chapI_sec125">i. 125-131</a>.</p> + +<p>Serranus, <a href = "#chapI_sec89">i. 89</a>.</p> + +<p>Servilius Nonianus, <a href = "#chapI_sec101">i. 101</a>.</p> + +<p>Sextii (father and son), <a href = "#chapI_sec124">i. 124</a>.</p> + +<p>Simonides, <a href = "#chapI_sec64">i. 64</a>.</p> + +<p>Simonides of Amorgos, see on <a href = "#chapI_sec59">i. 59</a>.</p> + +<p>Sophocles, <a href = "#chapI_sec67">i. 67</a> sqq.</p> + +<p>Stesichorus, <a href = "#chapI_sec62">i. 62</a>.</p> + +<p>Sulpicius, <a href = "#chapI_sec22">i. 22</a>, <a href = +"#chapI_sec116">116</a>.</p> + + +<p class = "space"> +Terence, <a href = "#chapI_sec99">i. 99</a>.</p> + +<p>Theocritus, <a href = "#chapI_sec55">i. 55</a>.</p> + +<p>Theophrastus, <a href = "#chapI_sec27">i. 27</a>, <a href = +"#chapI_sec83">83</a>.</p> + +<p>Theopompus, <a href = "#chapI_sec74">i. 74</a>.</p> + +<p>Thucydides, <a href = "#chapI_sec33">i. 33</a>, <a href = +"#chapI_sec73">73</a>, <a href = "#chapI_sec101">101</a>.</p> + +<p>Thyestes, <a href = "#chapI_sec98">i. 98</a>.</p> + +<p>Tibullus, <a href = "#chapI_sec93">i. 93</a>.</p> + +<p>Timagenes, <a href = "#chapI_sec75">i. 75</a>.</p> + +<p>Trachalus, <a href = "#chapI_sec119">i. 119</a>.</p> + +<p>Tubero, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Tyrtaeus, <a href = "#chapI_sec56">i. 56</a>.</p> + + +<p class = "space"> +Valerius Flaccus, <a href = "#chapI_sec90">i. 90</a>.</p> + +<p>Varius, <a href = "#chapI_sec98">i. 98</a>.</p> + +<p>Varro (M. Terentius), <a href = "#chapI_sec95">i. 95</a>.</p> + +<p>Varro Atacinus, <a href = "#chapI_sec87">i. 87</a>.</p> + +<p>Vergil, <a href = "#chapI_sec56">i. 56</a>, <a href = +"#chapI_sec85">85</a>.</p> + +<p>Verres, <a href = "#chapI_sec23">i. 23</a>.</p> + +<p>Vibius Crispus, <a href = "#chapI_sec119">i. 119</a>.</p> + +<p>Volusenus Catulus, <a href = "#chapI_sec23">i. 23</a>.</p> + + +<p class = "space"> +Xenophon, <a href = "#chapI_sec33">i. 33</a>, <a href = +"#chapI_sec82">82</a>.</p> + +<td> +</tr> +</table> + + +<span class = "pagenum">225</span> +<h4><a name = "index1_matters" id = "index1_matters">INDEX OF +MATTERS.</a></h4> + +<p class = "line"> </p> + +<h6>(The first reference is to the chapter and section of the text; the +second to the page and column of the explanatory notes. References to +the Introduction are given separately.)</h6> + +<p class = "mynote"> +The above paragraph was in the original text. For this e-text, only the +section numbers are linked; sections are generally very short, and notes +adjoin the text.</p> + +<table class = "index" summary = "index in two columns"> +<tr> +<td width = "50%"> + +<p>abunde, <a href = "#chapI_sec94">i. 94</a>: 91a.</p> + +<p>abusio, <a href = "#chapI_sec12">i. 12</a>: 21b.</p> + +<p>accedere, <a href = "#chapI_sec86">i. 86</a>: 83a.</p> + +<p>actio, <a href = "#chapI_sec17">i. 17</a>: 24b.</p> + +<p>actus rei, <a href = "#chapI_sec31">i. 31</a>: 35a.</p> + +<p>acutus, <a href = "#chapI_sec77">i. 77</a>: 73b.</p> + +<p>acumen, <a href = "#chapI_sec106">i. 106</a>: 107b.</p> + +<p>adfectus, <a href = "#chapI_sec27">i. 27</a>: 31b.: and <a href = +"#chapI_sec48">i. 48</a>: 49a.</p> + +<p>advocatus, <a href = "#chapI_sec111">i. 111</a>: 110a.</p> + +<p><span class = "greek" title = "alogos tribê">ἄλογος τριβή</span>, +vii. 11: 174a.</p> + +<p>altercatio, <a href = "#chapI_sec35">i. 35</a>: 39b.</p> + +<p>ambitus rerum, <a href = "#chapI_sec16">i. 16</a>: 24a.</p> + +<p>amplificationes, <a href = "#chapI_sec49">i. 49</a>: 50b.</p> + +<p>argumenta et signa rerum, <a href = "#chapI_sec49">i. 49</a>: +50b.</p> + +<p>artes, <a href = "#chapI_sec15">i. 15</a>: 23b.</p> + +<p>atticus, <a href = "#chapI_sec44">i. 44</a>: 45b.</p> + +<p>auctor, <a href = "#chapI_sec24">i. 24</a>: 30a.</p> + +<p>auditorium, <a href = "#chapI_sec36">i. 36</a>: 40a.</p> + +<p>aureum plectrum, <a href = "#chapI_sec63">i. 63</a>: 60a.</p> + +<p>auspicatus, <a href = "#chapI_sec85">i. 85</a>: 82a.</p> + + +<p class = "space"> +beatus, <a href = "#chapI_sec61">i. 61</a>: 59a.</p> + +<p>bellicum canere, <a href = "#chapI_sec33">i. 33</a>: 36b.</p> + + +<p class = "space"> +calumnia, <a href = "#chapI_sec115">i. 115</a>: 113b.</p> + +<p>calcaribus egere, <a href = "#chapI_sec74">i. 74</a>: 70a.</p> + +<p>candidus, <a href = "#chapI_sec73">i. 73</a>: 68a.</p> + +<p>candor, <a href = "#chapI_sec101">i. 101</a>: 100b.</p> + +<p>caro, <a href = "#chapI_sec77">i. 77</a>: 73a.</p> + +<p>circa, <a href = "#chapI_sec52">i. 52</a>: 52a.</p> + +<p>circulatorius, <a href = "#chapI_sec8">i. 8</a>: 18b.</p> + +<p>citra, <a href = "#chapI_sec2">i. 2</a>: 12b.</p> + +<p>claudicare, <a href = "#chapI_sec99">i. 99</a>: 97a.</p> + +<p>color, <a href = "#chapI_sec116">i. 116</a>: 114b.</p> + +<p><i>Comedy, Greek</i>, <a href = "#chapI_sec65">i. 65</a>: 61a.</p> + +<p><span class = "gap"> „</span><i>Latin</i>, <a href = +"#chapI_sec99">i. 99</a>: 97a.</p> + +<p>commendare, <a href = "#chapI_sec101">i. 101</a>: 101a.</p> + +<p>compositio, <a href = "#chapI_sec52">i. 52</a>: 52b. and <a href = +"#chapI_sec79">i. 79</a>: 77b.</p> + +<p>compositus, <a href = "#chapI_sec119">i. 119</a>: 117a.</p> + +<p>concludere, <a href = "#chapI_sec106">i. 106</a>: 107a.</p> + +<p>conferre, <a href = "#chapI_sec1">i. 1</a>: 12a.</p> + +<p>conrogati, <a href = "#chapI_sec18">i. 18</a>: 26b.</p> + +<p>cothurnus (Sophocli), <a href = "#chapI_sec68">i. 68</a>: 64a.</p> + +<p>cum interim, <a href = "#chapI_sec18">i. 18</a>: 26b.</p> + +<p>cum praesertim, <a href = "#chapI_sec105">i. 105</a>: 105a.</p> + + +<p class = "space"> +<p>decor, <a href = "#chapI_sec27">i. 27</a>: 32a.</p> + +<p>dicendi veneres, <a href = "#chapI_sec79">i. 79</a>: 76a.</p> + +<p>declamatores, <a href = "#chapI_sec71">i. 71</a>: 65b.</p> + +<p>digerere cibum, <a href = "#chapI_sec19">i. 19</a>.</p> + +<p>digressiones, <a href = "#chapI_sec33">i. 33</a>: 36b.</p> + +<p>disertus, <a href = "#chapI_sec118">i. 118</a>: 115b.</p> + +<p><i>Dramatic Poetry</i>, <i>Greek</i>, <a href = "#chapI_sec65">i. +65</a>: <i>Latin</i>, <a href = "#chapI_sec97">i. 97</a>.</p> + +<p>dubitare, <a href = "#chapI_sec73">i. 73</a>: 67a.</p> + +<p>ducere (colorem), <a href = "#chapI_sec59">i. 59</a>: 57a.</p> + +<p>dulcis, <a href = "#chapI_sec73">i. 73</a>: 68a.</p> + +<span class = "pagenum">226</span> +<p class = "space"> +<p>elegans, <a href = "#chapI_sec65">i. 65</a>: 62a.</p> + +<p><i>Elegy</i>, <i>Greek</i>, <a href = "#chapI_sec58">i. 58</a>: +<i>Latin</i>, <a href = "#chapI_sec93">i. 93</a>.</p> + +<p><i>Epic Poetry</i>, <i>Greek</i>, <a href = "#chapI_sec46">i. 46</a> +sqq.: <i>Latin</i>, <a href = "#chapI_sec85">i. 85</a> sqq.</p> + +<p>epilogus, <a href = "#chapI_sec50">i. 50</a>: 51b: and <a href = +"#chapI_sec107">i. 107</a>: 108b.</p> + +<p>epodos, <a href = "#chapI_sec96">i. 96</a>: 94a.</p> + +<p>exempla, <a href = "#chapI_sec49">i. 49</a>: 50b.</p> + + +<p class = "space"> +facere (bene) ad aliquid, <a href = "#chapI_sec33">i. 33</a>: 38a.</p> + +<p>facilitas, <a href = "#chapI_sec1">i. 1</a>.</p> + +<p>figurae, <a href = "#chapI_sec12">i. 12</a>: 22a.</p> + +<p>frequenter, <a href = "#chapI_sec17">i. 17</a>: 25b.</p> + + +<p class = "space"> +genera dicendi, <a href = "#chapI_sec44">i. 44</a>: 44-5.</p> + +<p>genera lectionum, <a href = "#chapI_sec45">i. 45</a>: 46b.</p> + +<p>grammatici, <a href = "#chapI_sec53">i. 53</a>: 53a.</p> + +<p>grandis, <a href = "#chapI_sec65">i. 65</a>: 62a.</p> + + +<p class = "space"> +habere laudem, <a href = "#chapI_sec53">i. 53</a>: 53a.</p> + +<p><span class = "greek" title = "hexis">ἕξις</span>, <a href = +"#chapI_sec1">i. 1</a>: 12a.</p> + +<p><i>History</i>, <a href = "#chapI_sec31">i. 31</a>: 34a; +<i>Greek</i>, <a href = "#chapI_sec73">i. 73</a>: 66a; <i>Latin</i>, <a +href = "#chapI_sec101">i. 101</a>: 100a.</p> + +<p>hodieque, <a href = "#chapI_sec94">i. 94</a>: 91b.</p> + + +<p class = "space"> +<i>Iambic Poetry</i>, <i>Greek</i>, <a href = "#chapI_sec59">i. 59</a>: +57b; <i>Latin</i>, <a href = "#chapI_sec96">i. 96</a>.</p> + +<p>ideoque, <a href = "#chapI_sec21">i. 21</a>: 28b.</p> + +<p>igitur, <a href = "#chapI_sec4">i. 4</a>: 15a.</p> + +<p>index, <a href = "#chapI_sec57">i. 57</a>: 56b.</p> + +<p>indiscretus, <a href = "#chapI_sec2">i. 2</a>: 12a.</p> + +<p>interim, <a href = "#chapI_sec9">i. 9</a>: 19b.</p> + +<p><ins class = "correction" title = "printed before ‘infinitae’">inventio</ins>, <a href = "#chapI_sec106">i. 106</a>: +106b.</p> + +<p>iucundus, <a href = "#chapI_sec46">i. 46</a>: 48a.</p> + +</td> +<td> + +<p> +lacerti, <a href = "#chapI_sec33">i. 33</a>: 37a.</p> + +<p>lactea (ubertas), <a href = "#chapI_sec32">i. 32</a>: 36a.</p> + +<p>laetus, <a href = "#chapI_sec46">i. 46</a>: 48a.</p> + +<p>lascivia (recens haec), <a href = "#chapI_sec43">i. 43</a>: 43b.</p> + +<p>lascivus, <a href = "#chapI_sec88">i. 88</a>: 84b.</p> + +<p>lene dicendi genus, <a href = "#chapI_sec121">i. 121</a>: 117b.</p> + +<p><i>Lyric Poetry</i>, <i>Greek</i>, <a href = "#chapI_sec61">i. +61</a>: 58b; <i>Latin</i>, <a href = "#chapI_sec96">i. 96</a>.</p> + +<p class = "space"> +medium dicendi genus, <a href = "#chapI_sec52">i. 52</a>: 52b; <a href = +"#chapI_sec80">i. 80</a>: 78b.</p> + +<p>memoria posteritatis, <a href = "#chapI_sec31">i. 31</a>: 35b.</p> + +<p>mensurae verborum, <a href = "#chapI_sec10">i. 10</a>: 20a.</p> + +<p>merere, <a href = "#chapI_sec72">i. 72</a>: 66b.</p> + + +<p class = "space"> +nam (elliptical), <a href = "#chapI_sec9">i. 9</a>: 19a.</p> + +<p>nescio an ulla, <a href = "#chapI_sec65">i. 65</a>.</p> + +<p>nisi forte, <a href = "#chapI_sec70">i. 70</a>: 65a.</p> + +<p>nitidus, <a href = "#chapI_sec9">i. 9</a>: 19b; <a href = +"#chapI_sec79">i. 79</a>: 75b.</p> + +<p>numeri, <a href = "#chapI_sec4">i. 4</a>: 15a; <a href = +"#chapI_sec70">i. 70</a>: 65b.</p> + + +<p class = "space"> +olim, <a href = "#chapI_sec104">i. 104</a>: 103a.</p> + +<p>opus, <a href = "#chapI_sec9">i. 9</a>: 19b.</p> + +<p><i>Oratory</i>, <i>Greek</i>, <a href = "#chapI_sec76">i. 76</a>: +<i>Latin</i>, <a href = "#chapI_sec105">i. 105</a>.</p> + +<p><i>Orators</i>, Canon of the Ten, <a href = "#chapI_sec76">i. 76</a>: +71a.</p> + +<p>ostentatio, <a href = "#chapI_sec28">i. 28</a>: 32b.</p> + +<p>otiosus, <a href = "#chapI_sec76">i. 76</a>: 72b.</p> + + +<p class = "space"> +palaestra, <a href = "#chapI_sec79">i. 79</a>: 76a.</p> + +<p>parem facere, <a href = "#chapI_sec105">i. 105</a>: 103b.</p> + +<p>parum (non), <a href = "#chapI_sec124">i. 124</a>: 119a.</p> + +<p>pedestris oratio, <a href = "#chapI_sec81">i. 81</a>: 79b.</p> + +<p>periculum, <a href = "#chapI_sec36">i. 36</a>: 42b.</p> + +<p><i>Philosophy</i>, <a href = "#chapI_sec35">i. 35</a>: 38b: +<i>Greek</i>, <a href = "#chapI_sec81">i. 81</a>: 78b; <i>Latin</i>, <a +href = "#chapI_sec123">i. 123</a>: 118a.</p> + +<p><span class = "greek" title = "phrasis">φράσις</span>, <a href = +"#chapI_sec42">i. 42</a>: 43a.</p> + +<p><i>Poetry, the study of</i>, <a href = "#chapI_sec27">i. 27</a> +sqq.</p> + +<p>praesertim (cum), <a href = "#chapI_sec105">i. 105</a>: 105a.</p> + +<p>praestringere, <a href = "#chapI_sec30">i. 30</a>: 33b.</p> + +<p>pressus, <a href = "#chapI_sec44">i. 44</a>: 44b.</p> + +<p>procinctu (in), <a href = "#chapI_sec2">i. 2</a>: 13a.</p> + +<p>propria, <a href = "#chapI_sec6">i. 6</a>: 16a.</p> + +<p>proprietas, <a href = "#chapI_sec46">i. 46</a>: 48a.</p> + +<p>prosa (oratio), <a href = "#chapI_sec81">i. 81</a>: 79b.</p> + +<p>protinus, <a href = "#chapI_sec3">i. 3</a>: 14a.</p> + +<p>proximus—secundus, <a href = "#chapI_sec53">i. 53</a>: 53b.</p> + + +<p class = "space"> +quicunque, <a href = "#chapI_sec12">i. 12</a>: 22a.</p> + +<p>quisque, <a href = "#chapI_sec2">i. 2</a>: 12b.</p> + +<p>quoque (etiam), <a href = "#chapI_sec20">i. 20</a>: 28a; <a href = +"#chapI_sec125">i. 125</a>: 120b.</p> + +<p>quotas quisque, <a href = "#chapI_sec41">i. 41</a>: 42b.</p> + + +<p class = "space"> +rectum (dicendi genus), <a href = "#chapI_sec44">i. 44</a>: 44a.</p> + +<p>ridiculus, <a href = "#chapI_sec117">i. 117</a>: 115a.</p> + + +<p class = "space"> +sales, <a href = "#chapI_sec107">i. 107</a>: 108a.</p> + +<p>sanguis, <a href = "#chapI_sec60">i. 60</a>: 58a.</p> + +<p><i>Satire</i>, <a href = "#chapI_sec93">i. 93</a>: 89b.</p> + +<p>sententiae, <a href = "#chapI_sec50">i. 50</a>, <a href = +"#chapI_sec52">52</a>, <a href = "#chapI_sec68">68</a>, <a href = +"#chapI_sec90">90</a>, <a href = "#chapI_sec102">102</a>, <a href = +"#chapI_sec129">129</a>, <a href = "#chapI_sec130">130</a>.</p> + +<p>signa rerum et argumenta, <a href = "#chapI_sec49">i. 49</a>: +50b.</p> + +<p>similitudines, <a href = "#chapI_sec49">i. 49</a>: 50b.</p> + +<p>Socratici, <a href = "#chapI_sec35">i. 35</a>: 39b.</p> + +<p>solum (non, sed), <a href = "#chapI_sec6">i. 6</a>: 17a.</p> + +<p>sordidus, <a href = "#chapI_sec9">i. 9</a>: 19b.</p> + +<p>spiritus, <a href = "#chapI_sec27">i. 27</a>: 31b.</p> + +<p>stilus, <a href = "#chapI_sec2">i. 2</a>: 12b; iii. 1, 32.</p> + +<p>Stoici, <a href = "#chapI_sec84">i. 84</a>: 81b.</p> + +<p>subtilis, <a href = "#chapI_sec78">i. 78</a>: 74a.</p> + + +<p class = "space"> +tacitus, <a href = "#chapI_sec19">i. 19</a>: 26a.</p> + +<p>tenuis, <a href = "#chapI_sec44">i. 44</a>: 45a.</p> + +<p>togatae, <a href = "#chapI_sec100">i. 100</a>: 99b.</p> + +<p>tori athletarum, <a href = "#chapI_sec33">i. 33</a>: 37a.</p> + +<span class = "pagenum">227</span> +<p><i>Tragedy</i>, <i>Latin</i>, <a href = "#chapI_sec97">i. 97</a>: +94b; <i>Greek</i>, <a href = "#chapI_sec66">i. 66</a>.</p> + +<p>transversus, <a href = "#chapI_sec110">i. 110</a>: 110a.</p> + +<p><span class = "greek" title = "tropikôs">τροπικῶς</span>, <a href = +"#chapI_sec11">i. 11</a>: 21a.</p> + + +<p class = "space"> +urbanitas, <a href = "#chapI_sec115">i. 115</a>: 112b.</p> + +<p>utinam non, <a href = "#chapI_sec100">i. 100</a>: 99b.</p> + +<p>utique: <a href = "#chapI_sec20">i. 20</a>: 28a.</p> + +<p>utrimque, <a href = "#chapI_sec131">i. 131</a>: 122b.</p> + + +<p class = "space"> +velocitatem (Sallusti), <a href = "#chapI_sec102">i. 102</a>: 101a.</p> + +<p>veneres dicendi, <a href = "#chapI_sec79">i. 79</a>: 76a.</p> + +<p>verbum—vox, <a href = "#chapI_sec11">i. 11</a>: 21a.</p> + +<p>versificator, <a href = "#chapI_sec89">i. 89</a>: 85b.</p> + +<p>vibrantes sententiae, <a href = "#chapI_sec60">i. 60</a>: 58a.</p> + +<p>vis dicendi, <a href = "#chapI_sec1">i. 1</a>: 11b.</p> + +<p>voluntas recti generis, <a href = "#chapI_sec89">i. 89</a>: 86b.</p> + +<p>vox—verbum, <a href = "#chapI_sec11">i. 11</a>: 21a.</p> + +</td> +</tr> +</table> + +<hr class = "spacer"> + +<div class = "contents"> + +<p><a href = "../main.html">Preface</a></p> + +<p><a href = "QuintIntro.html">Introduction</a></p> + +<p><a href = "#toc1">Chapter I</a> <i>top</i></p> + +<p><a href = "QuintBody2.html">Chapters II-VIII</a></p> + +<p><a href = "QuintCrit.html">Critical Notes</a></p> + +</div> + +</body> +</html> diff --git a/old/files/QuintBody2.html b/old/files/QuintBody2.html new file mode 100644 index 0000000..fbc47a8 --- /dev/null +++ b/old/files/QuintBody2.html @@ -0,0 +1,7302 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Quintiliani Institutionis Oratoriae Liber X:2-7</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + +<link rel = "stylesheet" type = "text/css" href = "quintstyles.css"> + +</head> + +<body> + +<div class = "contents"> +<a name = "toc2" id = "toc2"> </a> + +<p><a href = "../main.html">Preface</a><br> +<i>Analysis of the Argument, Index of Names, +Index of Matters (complete)</i><br> +</p> + +<p> +<a href = "QuintIntro.html">Introduction</a></p> + +<p> +<a href = "QuintBody1.html">Chapter I</a></p> + +<p class = "space"> +<a href = "#chapII">Chapter II</a><br> +<a href = "#arg_chapII">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapIII">Chapter III</a><br> +<a href = "#arg_chapIII">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapIV">Chapter IV</a><br> +<a href = "#arg_chapIV">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapV">Chapter V</a><br> +<a href = "#arg_chapV">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapVI">Chapter VI</a><br> +<a href = "#arg_chapVI">Analysis of the Argument</a> +</p> + +<p> +<a href = "#chapVII">Chapter VII</a><br> +<a href = "#arg_chapVII">Analysis of the Argument</a> +</p> + +<p><a href = "#index2_names"> +Index of Names</a> (<i>in chapters II-VII only</i>) +</p> +<p><a href = "#index2_matters"> +Index of Matters</a> (<i>in chapters II-VII only</i>) +</p> + +<p class = "space"> +<a href = "QuintCrit.html">Critical Notes</a></p> + +</div> + +<hr class = "spacer"> + +<span class = "pagenum">11</span> +<h4>M. FABI QUINTILIANI</h4> + +<h3>INSTITUTIONIS ORATORIAE</h3> + +<h4>LIBER DECIMUS</h4> + +<p class = "line"> </p> + + +<div class = "argument"> + +<h5><a name = "arg_chapII" id = "arg_chapII"> +CHAPTER II.</a><br> +<span class = "subhead"> +Of Imitation.</span></h5> + +<p><a href = "#chapII_sec1">§§ 1-3.</a> +While the command of words, figures, and arrangement is to be acquired +by the study of the best authors, as recommended in the foregoing +chapter, the mind must also be exercised in the imitation of all the +good qualities which such authors exemplify. The place of imitation in +art: a natural and universal instinct. The very ease of imitation +has its dangers.</p> + +<p><a href = "#chapII_sec4">§§ 4-13.</a> +Only a dull and sluggish spirit will be content to do nothing but +imitate, without inventing anything new. With our advantages of +training, we are even more bound than our predecessors to progress. We +ought even to surpass our models: if we confine ourselves to imitation +alone, shall we ever realise the ideal in oratory? Nature herself does +not achieve exact resemblance in reproduction. Moreover, there is much +in oratory that is characteristic of individual speakers, and due to +natural gifts: this cannot be made matter of imitation. You may imitate +the language and rhythmical arrangement of a great speech; but the +fashion of words changes, and as for arrangement, there must always be +an adaptation of sound to sense.</p> + +<p><a href = "#chapII_sec14">§§ 14-18.</a> +Imitation is therefore a part of study in regard to which great +circumspection must be used,—first in the choice of models, and, +secondly, in determining +<span class = "pagenum">6</span> +the good points we would seek to reproduce; for even good authors have +their defects. Again, we must know the difference between superficial +imitation and that in which the inner spirit is represented. In cases +where only the outward manner is caught elevation becomes bombast, and +simplicity carelessness; roughness of form and insipidity in substance +pass for antique plainness; want of polish and point, for Attic +restraint; artificial obscurity claims to rank above Sallust and +Thucydides; the dull and spiritless challenge comparison with Pollio; +easy-going drawlers call their diffuse periods Ciceronian, delighted if +they can finish off a sentence with <i>Esse videatur</i>.</p> + +<p><a href = "#chapII_sec19">§§ 19-21.</a> +The student must consider which models his own gifts qualify him to +imitate. A bold rugged style, for example, is appropriate to the +form of genius which would make shipwreck by an excessive affectation of +refinement. It is of course within the province of the teacher to supply +the natural defects of his pupils; but it is a far harder matter to +mould and form one’s own nature. Even the teacher will not keep up a +prolonged struggle against obstacles of natural disposition.</p> + +<p><a href = "#chapII_sec21">§§ 21-26.</a> +In oratory we ought not to imitate the characteristic qualities of poets +and historians, and <i>vice versa</i>: each kind of composition has its +own appropriate laws. Let us imitate what is common to eloquence in all +its manifestations. We must adapt our style to the topic and occasion: +even different parts of one and the same speech call for different +treatment. And we should not blindly follow any one model +exclusively.</p> + +<p><a href = "#chapII_sec27">§§ 27-28.</a> +Imitation must not be confined to words only: we should study also +propriety, arrangement, exordium, narrative, argument, pathos, &c. +The perfect orator, whom our age may hope to see, will be he who shall +unite all the good qualities of his predecessors and reject all the +bad.</p> + +</div> <!--end div argument --> + +<div class = "text"> + +<h5><a name = "chapII" id = "chapII"> +De Imitatione.</a></h5> + + +<p class = "maintext"> +<a name = "chapII_sec1" id = "chapII_sec1"> </a> +<span class = "secnum">II:1</span> +II. Ex his ceterisque lectione dignis auctoribus et verborum sumenda +copia est et varietas figurarum et componendi ratio, tum ad exemplum +virtutum omnium mens derigenda. Neque +<span class = "pagenum">123</span> +enim dubitari potest, quin artis pars magna contineatur imitatione. Nam +ut invenire primum fuit estque praecipuum, sic ea quae bene inventa sunt +utile sequi.</p> + +<div class = "comm"> +<p><a name = "commII_sec1" id = "commII_sec1"><b>§ 1.</b></a> +<b>verborum ... copia</b>: cp. <a href = +"QuintBody1.html#chapI_sec5">1 §5</a> and <a href = +"QuintBody1.html#chapI_sec8">§8</a>.</p> + +<p><b>varietas figurarum</b>: see note on plurima vero mutatione +figuramus <a href = "QuintBody1.html#chapI_sec12">1 §12</a>.</p> + +<p><b>componendi ratio</b>, the ‘theory of rhythmical arrangement’: see +on <i>compositione</i> <a href = +"QuintBody1.html#chapI_sec79">1 §79</a>: and cp. <a href = +"QuintBody1.html#chapI_sec44">§§44</a>, <a href = +"QuintBody1.html#chapI_sec52">52</a>, and <a href = +"QuintBody1.html#chapI_sec66">66</a>.</p> + +<p><b>tum ... virtutum omnium</b>: i.e. in reading the best authors we +are not only to acquire facility and dexterity in regard to the points +enumerated, but to imitate also all the good qualities exemplified in +their works.</p> + +<p><b>ad exemplum</b>, ‘after the model of,’ as ii. 3, 12 ad Phoenicis +Homerici exemplum +<span class = "pagenum comm">123</span> +dicere ac facere: not like <i>in exemplum</i> <a href = +"#chapII_sec2">§2</a> below, ‘as a model.’ The same use of <i>ad</i> +occurs below ad propositum sibi praescriptum: and <a href = +"#chapVII_sec3">7 §3</a> ad incursus tempestatum ... ratio mutanda +est.</p> + +<p><b>mens derigenda</b>: so vi. 5, 2 ideoque nos quid in quaque re +sequendum cavendumque sit docemus ac deinceps docebimus, ut ad ea +iudicium derigatur. For the form <i>derigo</i> see Munro on Lucr. vi. +823: ‘this was probably the only genuine ancient form.’ So Cic. pro Mur. +§3 vitam ad certam rationis normam derigenti: Orator §9 ad illius +similitudinem artem et manum derigebat (where, however, Sandys reads +dirigebat): Tac. Dial. §5 ad utilitatem vitae omnia consilia ... +derigenda sunt: Ann. iv. 40 ad famam praecipua rerum derigere. Cp. note +on <a href = "#chapIII_sec28">3 §28</a>.</p> + +<p><b>dubitari</b>: see on <a href = +"QuintBody1.html#chapI_sec73">1 §73</a>, <a href = +"QuintBody1.html#chapI_sec81">§81</a>.</p> + +<p><b>imitatione</b>: a reference to Aristotle’s general theory of art, +made to introduce the subject of imitation (<span class = "greek" title += "mimêsis, zêlos">μίμησις, ζῆλος</span>) in the sphere of oratory. This +is defined by Cornif. ad Herenn. i. 2, 3 imitatio est qua impellimur cum +diligenti ratione ut aliquorum similes in dicendo velimus esse: cp. de +Orat. ii. §90 sq.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec2" id = "chapII_sec2"> </a> +<span class = "secnum">II:2</span> +Atque omnis vitae ratio sic constat, ut quae probamus in aliis facere +ipsi velimus. Sic litterarum ductus, ut scribendi fiat usus, pueri +sequuntur; sic musici vocem docentium, pictores opera priorum, rustici +probatam experimento culturam in exemplum intuentur; omnis denique +disciplinae initia ad propositum sibi praescriptum formari videmus.</p> + +<span class = "pagenum">124</span> +<div class = "comm"> +<p><a name = "commII_sec2" id = "commII_sec2"><b>§ 2.</b></a> +<b>ratio sic constat</b>: ‘it is a universal rule of life that,’ &c. +More usual would have been ‘ita ratio comparata est vitae ut,’ &c. +(Cic. de Amicit. §101). The phrase <i>ratio constat</i> (cp. rationem +reddere) was originally a figure taken from commerce (ratio—reor, +‘calculate,’ ‘count’), as Tac. Ann. i. 6 eam condicionem esse imperandi +ut non aliter ratio constet quam si uni reddatur: i.e. if you are an +absolute ruler the only way to ‘get your accounts square’ is to audit +them yourself. So Nettleship (Lat. Lex.) would explain here ‘there is +this balance in ordinary life’: i.e. the account of life only comes out +right on the supposition that, &c,—civilised life would come +to an end unless, &c. More probably Quintilian is employing here a +loose combination of two modes of expression, ratio constat ut, &c., +and such a phrase as that quoted from Cic. de Amicit. §101: cp. Acad. +ii. §132 omnis ratio vitae definitione summi boni continetur. In Pliny’s +letters the same expression is constantly used (like <i>ratio est</i> in +Cicero) for ‘it is right or reasonable’: iii. 18, 10 confido in hoc +genere materiae laetioris stili constare rationem: i. 5, 16 mihi et +temptandi aliquid et quiescendi ... ratio constabit: ii. 4, 4 in te vero +ratio constabit: cp. vii. 6, 4.—For the thought cp. Arist. +Poet. 1, 4 <span class = "greek" title = "to te gar mimeisthai sumphuton tois anthrôpois ek paidôn esti k.t.l.">τό τε γὰρ μιμεῖσθαι σύμφυτον τοῖς +ἀνθρώποις ἐκ παίδων ἐστί κ.τ.λ.</span></p> + +<p><b>ductus</b>, ‘tracings,’—writing-copies made on wax-tablets: +cp. i. 1. 25 sq., esp. §27 cum vero iam ductus sequi coeperit, non +inutile erit eas tabellae quam optime insculpi, ut per illos velut +sulcos ducatur stilus.</p> + +<p><b>usus</b>: cp. Cic. Acad. ii. §2 Ingenii magnitudo non desideravit +indocilem usus disciplinam: de Orat. i. §15 ut ad eam doctrinam quam suo +quisque studio adsecutus esset adiungeretur usus frequens: pro Balbo §45.</p> + +<p><b>experimento</b>: cp. vi. 2, 25 experimento meo ac natura ipsa +duce. The phrase <i>experimento probare</i> occurs in the Vulgate, Esth. +iii. 5.</p> + +<p><b>in exemplum</b>: cp. <a href = "#chapII_sec11">§11</a> in exemplum +adsumimus.</p> + +<p><b>initia</b>, abstract for concrete: cp. <a href = +"#chapIII_sec8">3 §8</a> hanc moram et sollicitudinem initiis (i.e. +incipientibus) impero. So in ii. 4, 13 ‘studia’ is put for +‘studiosi.’</p> + +<p><b>ad ... praescriptum</b>: subst. as frequently in Cicero, e.g. +Orat. §36. So Quint. ii. 13, 2: iv. 2, 84: ix. 4, 117. Cp. Seneca Ep. 94 +§51 pueri ad praescriptum discunt. On the other hand <i>propositum</i> +is even more frequently used as a noun by Quintilian: e.g. <a href = +"#chapII_sec11">§11</a> omnis imitatio ... ad alienum propositum +accommodatur: ii. 10, 15 omne propositum operis +<span class = "pagenum comm">124</span> +a nobis destinati: v. 11, 31 ad praesens propositum.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec3" id = "chapII_sec3"> </a> +<span class = "secnum">II:3</span> +Et hercule necesse est aut similes aut dissimiles bonis simus. Similem +raro natura praestat, frequenter imitatio. Sed hoc ipsum quod tanto +faciliorem nobis rationem rerum omnium facit quam fuit iis qui nihil +quod sequerentur habuerunt, nisi caute et cum iudicio adprehenditur, +nocet.</p> + +<div class = "comm"> +<p><a name = "commII_sec3" id = "commII_sec3"><b>§ 3.</b></a> +<b>hoc ipsum quod</b> must go together, ‘the fact that’: cp. ix. 2, 69 +aperta figura perdit hoc ipsum quod figura est. The commentators wrongly +take <i>quod</i> as the conjunction and explain <i>hoc ipsum</i> as +imitatio (or perhaps the advantage of having examples to follow).</p> + +<p><b>tanto</b> without a correlative: cp. tanto plena <a href = +"#chapII_sec28">§28</a>: Cic. pro Rosc. Amer. i. 1, 2 at tanto +officiosior quam ceteri? In all three instances the quam depends on the +comparative.</p> + +<p><b>rationem rerum omnium</b>: the general course, method, or +procedure of everything, ‘every process’: cp. <a href = +"#chapIII_sec31">3 §31</a> ratio delendi. <i>Ratio</i> is often +used with the genitive of a subst. as a periphrasis for the subst. +itself, Zumpt. §678: the various instances are well classified by +Nettleship, Lat. Lex. p. 566, 9 and 11.</p> + +<p><b>adprehenditur</b>, frequent in Quintilian of taking hold of a +fact, idea, or argument: cp. v. 14, 23 quae (leges oratorias) Graeci +adprehensa magis in catenas ligant: vi. 4, 18 quod adprehendens maius +aliquid cogatur dimittere: vii. 1, 56 in hoc de quo loquimur patre quid +adprehendi potest?</p> +</div> + + +<p class = "maintext space"> +<a name = "chapII_sec4" id = "chapII_sec4"> </a> +<span class = "secnum">II:4</span> +Ante omnia igitur imitatio per se ipsa non sufficit, vel quia pigri est +ingenii contentum esse iis quae sint ab aliis inventa. Quid enim futurum +erat temporibus illis quae sine exemplo fuerunt, si homines nihil, nisi +quod iam cognovissent, faciendum sibi aut cogitandum putassent? Nempe +nihil fuisset inventum.</p> + +<div class = "comm space"> +<p><a name = "commII_sec4" id = "commII_sec4"><b>§ 4.</b></a> +<b>Ante omnia</b>: cp. the formula <i>ac primum quidem</i>, introducing +the first argument, viz. that imitation is not sufficient in itself: +others follow in <a href = "#chapII_sec7">§7</a>: <a href = +"#chapII_sec10">§10</a>: and <a href = "#chapII_sec12">§12</a> adde quod +ea quae in oratore maxima sunt imitabilia non sunt, &c.</p> + +<p><b>vel quia</b>: ‘just because,’ i.e. because (if for no other +reason) it is the mark of, &c. The use of <i>vel</i> implies that +there are other reasons which could be adduced, if the reader cared to +have them (vel—si velis). Cp. <a href = +"QuintBody1.html#chapI_sec75">1 §75</a> vel hoc est ipso +probabilis: <a href = "QuintBody1.html#chapI_sec80">§80</a>, +<a href = "QuintBody1.html#chapI_sec86">§86</a>: <a href = +"#chapV_sec8">5 §8</a>: Roby §2222.</p> + +<p><b>Quid futurum erat</b>: <a href = "#chapII_sec7">§7</a> below. +Contrast the use of the plpf. subj. in the <i>definite</i> apodosis +supplied in ‘nihil fuisset inventum.’ For the indic. cp. longum est +<a href = "QuintBody1.html#chapI_sec118">1 §118</a>: oportebat +<a href = "#chapII_sec28">2 §28</a>: fas erat +<a href = "#chapV_sec7">5 §7</a>: satis erat +<a href = "#chapVI_sec2"><ins class = "correction" +title = "text reads ‘6 §12’">6 §2</ins></a>.</p> + +<p><b>Nempe</b>, ‘why!’ For a similar use of <i>nempe</i>, apart from +all irony, in answer to a question, cp. Livy vi. 41 penes quos igitur +sunt auspicia more maiorum? nempe penes patres. In such cases the assent +of the imaginary interlocutor is taken for granted.—Frotscher +compares Libanius, Declam. xviii. p. 487 <span class = "greek" +title = "ei d’ aei tinos edei paradeigmatos ouk an archên oude hen elambanen">εἰ δ᾽ ἀεί τινος ἔδει παραδείγματος οὐκ ἂν ἀρχὴν οὐδὲ ἓν +ἐλάμβανεν</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec5" id = "chapII_sec5"> </a> +<span class = "secnum">II:5</span> +Cur igitur nefas est reperiri aliquid a nobis, quod ante non fuerit? An +illi rudes sola mentis natura ducti sunt in hoc, ut tam multa +generarent: nos ad quaerendum non eo ipso concitemur, quod certe scimus +invenisse eos qui quaesierunt?</p> + +<div class = "comm"> +<p><a name = "commII_sec5" id = "commII_sec5"><b>§ 5.</b></a> +<b>illi rudes</b> is explained by <a href = "#chapII_sec4">§4</a> +temporibus illis quae sine exemplo fuerunt. <i>An</i> is the mark of a +double question, being used to introduce the second alternative as +opposed to the first, even when the first is understood rather than +expressed. Here it almost = num, and implies the needlessness of the +preceding remark (Roby 2255), and introduces an <i>à fortiori</i> +argument; cp. Cicero, Tusc. v. §90 Cur pecuniam ... curet omnino? An +Scythes Anacharsis potuit pro nihilo pecuniam ducere, nostrates +philosophi facere non potuerunt? Cic. Cat. i. 1, 3. So <a href = +"#chapIII_sec29">3 §29</a> below an vero ... hoc cogitatio +praestat: <a href = "#chapV_sec7">5 §7</a>.</p> + +<p><b>certe scimus</b>. <i>Certe</i> is less absolute +<span class = "pagenum comm">125</span> +than <i>certo</i>. Acc. to Klotz ad Cic. de Sen. i. 2 certe scio = +certum est me scire (‘I am sure that I know’): certo scio = certum est +quod scio (‘I have certain or sure knowledge,’ ‘my knowledge is +accurate’). Cp. Ter. Andr. 503 with 929.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec6" id = "chapII_sec6"> </a> +<span class = "secnum">II:6</span> +Et +<span class = "pagenum">125</span> +cum illi, qui nullum cuiusquam rei habuerunt magistrum, plurima in +posteros tradiderunt, nobis usus aliarum rerum ad eruendas alias non +proderit, sed nihil habebimus nisi beneficii alieni? quem ad modum +quidam pictores in id solum student, ut describere tabulas mensuris ac +lineis sciant.</p> + +<div class = "comm"> +<p><a name = "commII_sec6" id = "commII_sec6"><b>§ 6.</b></a> +<b>cuiusquam rei</b>. <i>Quisquam</i> (generally subst.) is, when +employed adjectivally, more usually found along with names of persons or +words implying personality: cp. iv. 1, 10 ne contumeliosi in quenquam +hominem ordinemve videamur: <a href = "#chapVII_sec3">7 §3</a> +below quisquam ... orator: iii. 1, 22 cuiusquam sectae.</p> + +<p><b>in posteros</b>: so i. 1, 6: ad posteros xii. 11, 28.—For +<b>tradiderunt</b>, see <a href = "QuintCrit.html#critII_sec6">Crit. +Notes</a>.</p> + +<p><b>eruendas</b>: ix. 2, 64 latens aliquid eruitur: xii. 8, 13 multa +... patronus eruet: iv. 2, 60 hoc quoque tamquam occultum et a se +prudenter erutum tradunt. Quintilian follows Cicero in the figurative +use of this word; e.g. de Orat. ii. 146 scrutari locos ex quibus +argumenta eruamus: ibid. 360 hac exercitatione non eruenda memoria est, +si est nulla naturalis, sed certe, si latet, evocanda est.</p> + +<p><b>beneficii</b>. This gen. occurs in the phrase ‘sui beneficii +facere,’ not uncommon in the Latin of the Silver Age, ‘to make dependent +on one’s own bounty or favour.’ Suet. Claud. 23 commeatus a senatu peti +solitos benefici sui fecit: Iust. xiii. 4, 9 ut munus imperii beneficii +sui faceret: Sen. Ben. iii. 18, 4. The phrase is equivalent to +nihil habebimus <i>nisi quod sit</i> or <i>quod non sit</i> ben. al. = +nisi quod debeamus aliis (‘due to the favour of others’). Becher cites +the analogous expression ‘tui muneris habeo’ in Tac. Ann. xiv. 55: cp. +ib. xv. 52, 4 ne ... sui muneris rem publicam faceret, and tui muneris +est Hor. Car. iv. 3, 21. So ‘ducere aliquid offici sui.’ The +genitive must not therefore be explained as a gen. of quality, dependent +on <i>nihil</i> (as Meister).</p> + +<p><b>in id solum student</b>. The construction (which occurs again xii. +6, 6 in quam rem studendum sit) seems to be modelled on that of +<i>niti</i>. Here, however, <i>ei soli</i> could not have +stood.—The process of ‘copying by measures and lines’ is not +unknown even now. The picture to be reproduced, and the surface on which +the copy was to be made, were divided into equal numbers of squares +(mensurae) by lines drawn across at right angles.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec7" id = "chapII_sec7"> </a> +<span class = "secnum">II:7</span> +Turpe etiam illud est, contentum esse id consequi quod imiteris. Nam +rursus quid erat futurum, si nemo plus effecisset eo quem sequebatur? +Nihil in poetis supra Livium Andronicum, nihil in historiis supra +<span class = "pagenum">126</span> +pontificum annales haberemus; ratibus adhuc navigaremus; non esset +pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole +fecissent, circumscriberet.</p> + +<div class = "comm"> +<p><a name = "commII_sec7" id = "commII_sec7"><b>§ 7.</b></a> +<b>turpe etiam</b>. For the argument see <a href = +"QuintCrit.html#critII_sec7">Crit. Notes</a>.</p> + +<p><b>contentum ... consequi</b>. The constr. c. infin. is very common +in Quintilian: over a dozen instances are given in Bonn. Lex. (q.v.). It +passed from the usage of poetry (e.g. Ovid, Metam. i. 461) into the +prose of the Silver Age. Cicero would have used <i>satis habere</i>. Cp. +solus legi dignus <a href = +"QuintBody1.html#chapI_sec96">1 §96</a>.</p> + +<p><b>rursus</b> resumes quid futurum erat <a href = +"#chapII_sec4">§4</a>.</p> + +<p><b>in poetis ... in historiis</b>: see on <a href = +"QuintBody1.html#chapI_sec28">1 §28</a>: <a href = +"QuintBody1.html#chapI_sec75">1 §75</a>.</p> + +<p><b>Livius Andronicus</b>. Cicero (Brutus §71) compares his translation of the Odyssey to the +first rude attempts at sculpture, which passed under the name of +Daedalus: nam et Odyssia Latina est sic tamquam opus aliquod Daedali et +Livianae fabulae non satis dignae quae iterum legantur. Cp. Liv. xxvii. +§37 forsitan laudabile rudibus ingeniis, nunc abhorrens et +inconditum.—Livius was a native of Tarentum, who came to Rome as a +slave after the capture of his native city (272 <span class = +"smallroman">B.C.</span>) and set up as a schoolmaster: his Odyssey +survived for scholastic purposes down to the days of Orbilius and Horace +(Ep. ii. 1, 69). His production in <span class = +"smallroman">B.C.</span> 240—the year after the end of the First +Punic War—of a tragedy and comedy in Latin (in which he discarded +the old Saturnian metre), may be said to mark the beginning of Roman +literature. For thirty years he continued to produce plays at the Roman +games, adapting the indigenous Italian drama, +<span class = "pagenum comm">126</span> +such as it was, to the laws which regulated dramatic composition among +the Greeks; and when he died at a ripe old age, a compliment was paid to +his memory by the assignment of the Temple of Minerva on the Aventine to +the ‘guild of poets’ (collegium poetarum) as a place for their +meetings.</p> + +<p><b>pontificum annales</b>: also called Annales Maximi, probably +because they were kept by the Pontifex Maximus. In them was preserved +the list of consuls and other magistrates, and they recorded in the +baldest fashion the most noteworthy events of each magistracy. Cp. Cic. +de Orat. ii. §52 erat enim historia nihil aliud nisi annalium confectio, +&c. P. Mucius Scaevola, the consul of 133 <span class = +"smallroman">B.C.</span>, edited them in thirty books. Teuffel §66: Mommsen, i. 477 sq.</p> + +<p><b>lineas extremas</b>, i.e. the tracing of outlines: this was said +to have been the origin of painting. Pliny N. H. xxxv. 5 Graeci +(picturam affirmant) ... repertam ... umbra hominis lineis circumducta. +Cp. the distinction between free imitation and servile copying in the +following from Aulus Gellius (xvii. 20, 8): ea quae in Platonis +oratione demiramur, non aemulari quidem, sed lineas umbrasque facere +ausi sumus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec8" id = "chapII_sec8"> </a> +<span class = "secnum">II:8</span> +Ac si omnia percenseas, nulla <i>man</i>sit ars qualis inventa est, nec +intra initium stetit: nisi forte nostra potissimum tempora damnamus +huius infelicitatis, ut nunc demum nihil crescat: nihil autem crescit +sola imitatione.</p> + +<div class = "comm"> +<p><a name = "commII_sec8" id = "commII_sec8"><b>§ 8.</b></a> +<b>nisi forte</b>: cp. <a href = +"QuintBody1.html#chapI_sec70">1 §70</a>: <a href = +"#chapIII_sec31">3 §31</a>: <a href = +"#chapV_sec6">5 §6</a>.</p> + +<p><b>infelicitatis</b>: cp. on <a href = +"QuintBody1.html#chapI_sec7">1 §7</a> infelicis operae. So viii. +prooem. §27 abominanda ... haec infelicitas ... quae et cursum dicendi +refrenat et calorem cogitationis extinguit mora et diffidentia. xi. 2, +49 haec rara infelicitas erit. Pliny N. H. praef. 23 has ‘infelix’ +ingenium for ‘sterile.’ The opposite would be beatissima ubertas <a href += "QuintBody1.html#chapI_sec109">1 §109</a>. For the constr. c. +genit. cp. ii. 5, 24 neque enim nos tarditatis natura damnavit: ix. 2, +81 tyrannidis affectatae damnatus: vii. 8, 3 incesti damnata.</p> + +<p><b>demum</b>: v. on <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec9" id = "chapII_sec9"> </a> +<span class = "secnum">II:9</span> +Quod si prioribus adicere fas non est, quo modo sperare possumus illum +oratorem perfectum? cum in his, quos maximos adhuc novimus, nemo sit +inventus in quo nihil aut desideretur aut reprehendatur. Sed etiam qui +summa non adpetent, contendere potius quam sequi debent.</p> + +<div class = "comm"> +<p><a name = "commII_sec9" id = "commII_sec9"><b>§ 9.</b></a> +<b>oratorem perfectum</b>: <a href = "#chapII_sec28">§28</a> below, with +which cp. the preface to Book i, §9 Oratorem autem instituimus illum +perfectum qui esse nisi vir bonus non potest. So Cicero, Orat. §7: de +Orat. i. §117.</p> + +<p><b>nemo sit inventus</b>: cp. Pr. i. §18 qualis fortasse nemo adhuc +fuerit. So too i. 10, 4 where referring to Cicero’s Orator he says: +quibus ego primum hoc respondeo, quod M. Cicero scripto ad Brutum +libro frequentius testatur: non eum a nobis institui oratorem qui sit +aut fuerit, sed imaginem quandam concepisse nos animo perfecti illius et +nulla parte cessantis. Orat. §7 non saepe atque haud scio an +nunquam.</p> + +<p><b>summa</b>: Pr. i. §§19-20 nobis ad summa tendendum est ... altius +tamen ibunt qui ad summa nitentur. xii. 11 §26 contendere = certare +ut priores sunt, ‘compete,’ ‘rival.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec10" id = "chapII_sec10"> </a> +<span class = "secnum">II:10</span> +Nam qui hoc agit ut prior sit, forsitan etiamsi non transierit aequabit. +Eum vero nemo potest aequare cuius vestigiis sibi utique insistendum +putat; necesse est enim semper sit posterior qui +<span class = "pagenum">127</span> +sequitur. Adde quod plerumque facilius est plus facere quam idem; tantam +enim difficultatem habet similitudo ut ne ipsa quidem natura in hoc ita +evaluerit ut non res quae simillimae quaeque pares maxime videantur +utique discrimine aliquo discernantur.</p> + +<div class = "comm"> +<p><a name = "commII_sec10" id = "commII_sec10"><b>§ 10.</b></a> +<b>forsitan</b>: c. ind. as in Quint. Curt. iv. xiv. 20.</p> + +<p><b>utique</b>. See on <a href = +"QuintBody1.html#chapI_sec20">1 §20</a>. Tr. ‘in whose footsteps he +thinks he must by all means follow.’</p> + +<span class = "pagenum comm">127</span> +<p><b>adde quod</b>, used thrice within three paragraphs <a href = +"#chapII_sec10">§§10</a>, <a href = "#chapII_sec11">11</a>, <a href = +"#chapII_sec12">12</a>: another proof of a certain want of finish in +Quintilian’s style. Cp. on <a href = "#chapII_sec23">2 §23</a>: and +discrimine ... discernantur, below.—See Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>in hoc</b>, i.e. in the endeavour to reproduce.</p> + +<p><b>utique ... aliquo</b>: iv. 5, 8 in omni partitione est utique +aliquid potentissimum: iv. 1, 77 aliquam utique sententiam: xii. 10, 67 +utique aliquo momento.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec11" id = "chapII_sec11"> </a> +<span class = "secnum">II:11</span> +Adde quod quidquid alteri simile est, necesse est minus sit eo quod +imitatur, ut umbra corpore et imago facie et actus histrionum veris +adfectibus. Quod in orationibus quoque evenit. Namque iis quae in +exemplum adsumimus subest natura et vera vis; contra omnis imitatio +facta est et ad alienum propositum accommodatur.</p> + +<div class = "comm"> +<p><a name = "commII_sec11" id = "commII_sec11"><b>§ 11.</b></a> +<b>veris adfectibus</b>. Cp. vi. 2, 35 Vidi ego saepe histriones atque +comoedos, cum ex aliquo graviore actu personam deposuissent, flentes +adhuc egredi. quod si in alienis scriptis sola pronuntiatio ita falsis +accendit adfectibus, quid nos faciemus qui illa cogitare debemus ut +moveri periclitantium vice possimus? Cp. Hor. A. P. 431-433.</p> + +<p><b>alienum proposition</b>, i.e. the purpose of the imitator, not +that of the original writer or speaker.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec12" id = "chapII_sec12"> </a> +<span class = "secnum">II:12</span> +Quo fit ut minus sanguinis ac virium declamationes habeant quam +orationes, quod in illis vera, in his adsimilata materia est. Adde quod +ea quae in oratore maxima sunt imitabilia non sunt, ingenium, inventio, +vis, facilitas et quidquid arte non traditur.</p> + +<div class = "comm"> +<p><a name = "commII_sec12" id = "commII_sec12"><b>§ 12.</b></a> +<b>sanguinis</b>: <a href = "QuintBody1.html#chapI_sec60">1 §60</a> +(of Archilochus) plurimum sanguinis atque nervorum: <a href = +"QuintBody1.html#chapI_sec115">§115</a> eum (Calvum) ... +verum sanguinem perdidisse: viii. 3, 6 (hic ornatus) sanguine et viribus niteat.</p> + +<p><b>illis ... his</b>. This is only an apparent inversion of the usual +arrangement: <i>declamationes</i> is the nearer subject in thought, as +being the subject of the sentence, in which it comes before +<i>orationes</i>. The use of <i>hic</i> may also serve to indicate the +prevalence of declamation in Quintilian’s day: <a href = +"#chapV_sec14">5 §14</a>.—See Zumpt §700.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec13" id = "chapII_sec13"> </a> +<span class = "secnum">II:13</span> +Ideoque plerique, cum verba quaedam ex orationibus excerpserunt aut +aliquos compositionis certos pedes, mire a se quae legerunt effingi +arbitrantur, cum et verba intercidant invalescantque temporibus, (ut +quorum certissima +<span class = "pagenum">128</span> +sit regula in consuetudine,) eaque non sua natura sint bona aut +mala— nam per se soni tantum sunt— sed prout opportune +proprieque aut secus collocata sunt, et compositio cum rebus accommodata +sit, tum ipsa varietate gratissima.</p> + +<div class = "comm"> +<p><a name = "commII_sec13" id = "commII_sec13"><b>§ 13.</b></a> +<b>compositionis</b>: see <a href = "#chapII_sec1">§1</a> componendi +ratio. Tr. ‘particular cadences in the arrangement’ <a href = +"QuintBody1.html#chapI_sec52">1 §52</a>. Cp. especially ix. 4, 116 +quem in poemate locum habet versificatio, eum in oratione +compositio.</p> + +<p><b>cum et</b>, &c., ‘though, as for the words, they drop out or +come into use in course of time ... while the arrangement,’ &c. +<i>Verba</i> is opp. to <i>compositio</i> below: cp. <i>verba</i> and +<i>comp. pedes</i> above. See Crit. Notes.</p> + +<p><b>verba intercidant ... consuetudine</b>. Hor. A. P. 70, Multa +renascentur quae iam cecidere, cadentque Quae nunc sunt in honore +vocabula, si volet usus, Quem penes arbitrium est et ius et norma +loquendi. Ibid. 60-62 Ut silvae foliis pronos mutantur in annos, Prima +cadunt, ita verborum vetus interit aetas, Et iuvenum ritu florent modo +nata vigentque. viii. 6, 32 cum multa (<span class = "greek" title = +"onomata">ὀνόματα</span>) cotidie ab antiquis ficta moriantur.</p> + +<p><b>ut quorum</b> = quippe. Cp. <a href = +"QuintBody1.html#chapI_sec55">1 §55</a> ut in qua ... sit: <a href += "QuintBody1.html#chapI_sec57">1 §§57</a>, <a href = +"QuintBody1.html#chapI_sec74">74</a>. I have put this clause in +brackets to show that it stands by itself: <i>consuetudine</i> explains +<i>temporibus</i>, while <i>non sua natura ... sed prout ... +collocata</i> introduce a new idea. See following note.</p> + +<span class = "pagenum comm">128</span> +<p><b>eaque</b> is a continuation of the clause <i>cum et verba</i>. The +use and disuse of words is a matter of fashion: <i>and moreover</i> +their value depends on their proper employment.—The commentators, +except Krüger (3rd ed.), explain this as part of the clause <i>ut +quorum</i>, &c., the demonstr. taking the place of the relative, as +not infrequently with double relative clauses in Cicero: Orat. §9 quam +intuens in eaque defixus: de Fin. i. 12, 42 quod ipsum nullam ad aliam +rem, ad id autem res referuntur omnes (where see Madvig): ad Att. x. 16, +3: Brutus §258. Cp. Lucr. i. 718-21, and Munro’s note. But the context +is against this. See <a href = "QuintCrit.html#critII_sec13">Crit. +Notes</a>.</p> + +<p><b>proprie</b>: v. on <a href = +"QuintBody1.html#chapI_sec9">1 §9</a>.</p> + +<p><b>collocata</b> here not much more than <i>adhibita</i>. In +themselves words are nothing: their effect depends entirely on their +appropriate use.</p> + +<p><b>et compositio</b>: i.e. and though, as to the arrangement (<i>et +compositio</i> corresponds to <i>et verba</i> above), it may owe its +effect in the original to the manner in which it has been adapted to the +sense (<i>rebus accommodata</i>), while moreover (cum ... tum) its charm +lies in its very variety. The art by which the <i>compositio</i> is +saved from monotony in the original is lost by the servile copyists of +particular extracts: they take no account of the fact that the style +ought to reflect the sense, and they forget that the motive for a +particular <i>compositio</i> in their original was the desire to produce +an agreeable effect by diversity of form.—See <a href = +"QuintCrit.html#critII_sec13">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapII_sec14" id = "chapII_sec14"> </a> +<span class = "secnum">II:14</span> +Quapropter exactissimo iudicio circa hanc partem studiorum examinanda +sunt omnia. Primum, quos imitemur: nam sunt plurimi qui similitudinem +pessimi cuiusque et corruptissimi concupierint: tum in ipsis quos +elegerimus, quid sit <i>ad</i> quod nos efficiendum comparemus.</p> + +<div class = "comm space"> +<p><a name = "commII_sec14" id = "commII_sec14"><b>§ 14.</b></a> +<b>exactissimo</b>: so <a href = "#chapVII_sec30">7 §30</a> +commentarii ita exacti = perfecti. In the sense of ‘perfectly finished’ +it is found Hor. Ep. ii. 1, 72: Ovid, Met. i. 405.</p> + +<p><b>circa</b>: v. on <a href = +"QuintBody1.html#chapI_sec52">1 §52</a>.</p> + +<p><b>corruptissimi</b>: cp. <a href = "#chapII_sec16">§16</a> declinant +in peius, &c. The word is used of a vicious style, <a href = +"QuintBody1.html#chapI_sec125">1 §125</a>.</p> + +<p><b>efficiendum</b> = effingendum, as <a href = +"#chapII_sec13">§13</a> above.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec15" id = "chapII_sec15"> </a> +<span class = "secnum">II:15</span> +Nam in magnis quoque auctoribus incidunt aliqua vitiosa et a doctis +inter ipsos etiam mutuo reprehensa; +<span class = "pagenum">129</span> +atque utinam tam bona imitantes dicerent melius quam mala peius dicunt. +Nec vero saltem iis quibus ad evitanda vitia iudicii satis fuit +sufficiat imaginem virtutis effingere et solam, ut sic dixerim, cutem +vel potius illas Epicuri figuras, quas e summis corporibus dicit +effluere.</p> + +<div class = "comm"> +<p><a name = "commII_sec15" id = "commII_sec15"><b>§ 15.</b></a> +<b>in ... auctoribus</b>. <i>In</i> is used for <i>apud</i> in speaking +of an author’s whole works or general characteristics, not of a +particular passage or a particular composition. So Hor. Sat. i. 10, 52: +Tu nihil in magno doctus reprendis Homero? <a href = +"QuintBody1.html#chapI_sec76">1 §76</a> tanta vis in eo +(Demosthene). For <i>apud</i> cp. <a href = +"QuintBody1.html#chapI_sec39">1 §39</a> brevitas illa ... quae est +apud Livium in epistula ad filium scripta.—The same warning is +given <a href = "QuintBody1.html#chapI_sec24">1 §24</a> Neque id +statim legenti persuasum sit, omnia quae optimi auctores dixerint utique +esse perfecta.</p> + +<p><b>a doctis</b>, ‘by competent critics’: cp. <a href = +"QuintBody1.html#chapI_sec97">1 §97</a> qui esse docti adfectant: +viii. 3, 2 in ceteris iudicium doctorum, in hoc vero etiam popularem +laudem petit: xii. 10, 72 tum laudem quoque, nec doctorum modo sed etiam +vulgi consequatur: ib. 1 §20: 9 §4: 10 §50.</p> + +<p><b>inter ipsos</b> is to be referred to <i>in magnis auctoribus</i>, +not to <i>a doctis</i>: hence the comma.—<i>Inter ipsos</i> would +have been <i>inter se</i> if the word to which the pronoun refers had +been nom. or acc. Cp. 1, 14 non semper enim haec inter se idem faciunt: +Cic. de Off. i. §50 conciliat inter se homines. But societas hominum +inter ipsos, Cic. de Off. i. §20: quam sancta est societas civium inter +ipsos, Leg. ii. 7: latissime patens hominibus inter ipsos ... societas +haec est, de Off. i. §51. Cp. <a href = "#chapII_sec23">§23</a> below. +On the other hand we have multa sunt civibus inter se communia, de Off. +i. §53: communia esse amicorum inter se omnia, Ter. Ad. v. +3, 18.</p> + +<p><b>mutuo</b>, only here in Quintilian: he frequently uses +<i>invicem</i>. Liv. viii. 24, 6 cum interclusissent trifariam a mutuo +inter se auxilio.</p> + +<span class = "pagenum comm">129</span> +<p><b>mutuo reprehensa</b>. Cp. the reference to the letters of Calvus +and Brutus to Cicero, Tac. Dial. 18 ex quibus facile est deprehendere +Calvum quidem Ciceroni visum exsanguem et attritum, Brutum autem otiosum +atque diiunctum; rursusque Ciceronem a Calvo quidem male audisse tanquam +solutum et enervem, a Bruto autem, ut ipsius verbis utar, tanquam +fractum atque elumbem.—For the position of <b>tam</b>, cp. on <a +href = "#chapVII_sec27">7 §27</a>.</p> + +<p><b>mala</b> (sc. <b>imitantes</b>) <b>peius</b>, as in the case of +Seneca’s imitators: placebat propter sola vitia et ad ea se quisque +dirigebat effingenda quae poterat: <a href = +"QuintBody1.html#chapI_sec127">1 §127</a>.</p> + +<p><b>nec ... saltem</b>. <i>Saltem</i> with a negative is used by +Quintilian in the sense of <i>ne ... quidem</i>, standing sometimes +before, sometimes after the word to which it applies: here with +<i>sufficiat</i>. Cp. i. 1, 24 Neque enim mihi illud saltem placet quod +fieri in plurimis video: <a href = "#chapVII_sec20">7 §20</a> below +ut non breve saltem tempus sumamus, &c.: v. 1, 4 neque enim de +omnibus causis dicere quisquam potest saltem praeteritis, ut taceam de +futuris: xii. 11, 11 ut ipsum iter neque impervium neque saltem durum +putent.</p> + +<p><b>ut sic dixerim</b>, for the more classical ‘ut ita dicam’: cp. <a +href = "QuintBody1.html#chapI_sec6">1 §§6</a>, <a href = +"QuintBody1.html#chapI_sec77">77</a>. So Tac. Ann. xiv. 53, 14: Dial. +34, 8: 40, 19: ut ita dixerim Agr. 3, 13. See <a href = +"QuintCrit.html#critII_sec15">Crit. Notes</a>.</p> + +<p><b>Epicuri figuras</b>. The reference is to the theory of <span class += "greek" title = "eidôla">εἴδωλα</span> first adopted to explain +sensation by Democritus, and afterwards developed by Epicurus. Cp. Plut. +de Pl. Phil. iv. 8 <span class = "greek" title = "Leukippos kai Dêmokritos tên aisthêsin kai tên noêsin gignesthai eidôlôn exôthen prosiontôn">Λεύκιππος καὶ Δημόκριτος τὴν αἴσθησιν καὶ τὴν νόησιν +γίγνεσθαι εἰδώλων ἔξωθεν προσιόντων</span>. See Ritter and Preller §155 sq. Cp. Lucret. iv. 42 sq. Dico igitur +rerum effigias tenuesque figuras Mittier ab rebus summo de corpore +rerum, Quoi quasi membranae, vel cortex nominitandast, Quod speciem ac +formam similem gerit eius imago Cuiuscumque cluet de corpore fusa +vagari: cp. 157-8 Perpetuo fluere ut noscas e corpore summo Texturas +rerum tenues tenuesque figuras.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec16" id = "chapII_sec16"> </a> +<span class = "secnum">II:16</span> +Hoc autem his accidit qui non introspectis penitus virtutibus ad primum +se velut adspectum orationis aptarunt; et cum iis felicissime cessit +imitatio, verbis atque numeris sunt non multum differentes, vim dicendi +atque inventionis non adsequuntur, sed plerumque declinant in peius et +proxima virtutibus vitia comprehendunt fiuntque pro grandibus tumidi, +pressis exiles, fortibus temerarii, laetis corrupti, compositis +<span class = "pagenum">130</span> +exultantes, simplicibus neglegentes.</p> + +<div class = "comm"> +<p><a name = "commII_sec16" id = "commII_sec16"><b>§ 16.</b></a> +<b>numeris</b>, ‘rhythm’: cp. compositio <a href = +"#chapII_sec13">§13</a>, and <a href = +"QuintBody1.html#chapI_sec79">1 §79</a>. Numeros <span class = +"greek" title = "rhuthmous">ῥυθμούς</span> accipi volo ix. +4, 45.</p> + +<p><b>sunt ... differentes</b>: a Greek construction.</p> + +<p><b>vim dicendi</b> <a href = +"QuintBody1.html#chapI_sec1">1 §1</a>: viii. pr. 30. Neither in +force of expression nor in power of thought do they come up to their +models.</p> + +<p><b>in peius</b>. Cp. i. 1, 5 bona facile mutantur in peius, i. 3, 1: +ii. 16, 2: Verg. Georg. i. 200 in peius ruere. See Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>proxima virtutibus vitia</b>. Cp. Hor. A. P. 25-28 Decipimur +specie recti: brevis esse laboro, Obscurus fio; sectantem levia nervi +Deficiunt animique; professus grandia turget; Serpit humi tutus nimium +timidusque procellae. Below (32-37) Quintilian draws the moral that +knowledge is necessary in order to avoid a fault, otherwise the opposite +fault may be committed. With ‘specie recti’ in Horace cp. Quint. viii. +3, 56 <span class = "greek" title = "Kakozêlon">Κακόζηλον</span>, id est +mala adfectatio, per omne dicendi genus peccat: nam et tumida et pusilla +et praedulcia et abundantia et arcessita et exultantia sub idem nomen +cadunt. Denique cacozelon vocatur quidquid est ultra virtutem, quotiens +ingenium iudicio caret et specie boni fallitur, omnium in eloquentia +vitiorum pessimum.</p> + +<p><b>comprehendunt</b>: a rare use. See on <a href = +"#chapII_sec3">§3</a> adprehenditur. Cp. Cic. pro Balb. §3 omnes animo +virtutes penitus comprehendere.</p> + +<p><b>pro grandibus tumidi</b>: so grandia non tumida xii. 10, 80: +professus grandia turget Hor. l.c.</p> + +<p><b>pressis</b>, ‘concise,’ ‘chaste,’ <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>, <a href = +"QuintBody1.html#chapI_sec46">§46</a>.</p> + +<p><b>exiles</b>, ‘bald.’ Cp. Cic. Brut. §202 Sed cavenda est presso +illi oratori inopia +<span class = "pagenum comm">130</span> +et ieiunitas, amplo autem inflatum et corruptum orationis genus.</p> + +<p><b>fortibus temerarii</b>: strength of style ought not to become +rashness. Cp. iii. 7, 25 pro temerario fortem ... vocemus: ii. 12, 4 est +praeterea quaedam virtutum vitiorumque vicinia qua maledicus pro libero, +temerarius pro forti, effusus pro copioso accipitur: ii. 12, 11 vim +appellant quae est potius violentia.</p> + +<p><b>laetis corrupti</b>: xii. 10, 80 laeta non luxuriosa. Wealth of +style ought not to degenerate into extravagance. For <i>laetus</i> cp. +<a href = "QuintBody1.html#chapI_sec46">1 §46</a>.</p> + +<p><b>compositis exultantes</b>: lit. ‘bounding instead of measured’: +cp. exultantia coercere <a href = "#chapIV_sec1">4 §1</a>, where +see note. For <i>compositis</i> v. <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>: for <i>exultantes</i> cp. +ix. 4, 28 quaedam transgressiones ... sunt etiam compositione vitiosae +quae in hoc ipsum petuntur ut exultent atque lasciviant quales illae +Maecenatis: Sole et aurora rubent plurima, &c., ibid. §142, where +<i>saltare</i> is used of this style, in which the excessive care +bestowed on the arrangement (<i>compositio</i>) degenerates into +affectation. See <a href = "QuintCrit.html#critII_sec16">Crit. +Notes</a>.</p> + +<p><b>simplicibus neglegentes</b>: Cicero, de Inv. i. 21, 30 opposes +dilucide et ornate ... to obscure et neglegenter. <i>Neglegentes</i> +implies contempt for as well as absence of ornament, almost +‘slovenliness.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec17" id = "chapII_sec17"> </a> +<span class = "secnum">II:17</span> +Ideoque qui horride atque incomposite quidlibet illud frigidum et inane +extulerunt, antiquis se pares credunt; qui carent cultu atque +sententiis, Attici sunt scilicet; qui praecisis conclusionibus obscuri, +Sallustium +<span class = "pagenum">131</span> +atque Thucydiden superant; tristes ac ieiuni Pollionem aemulantur; +otiosi et supini, si quid modo longius circumduxerunt, iurant ita +Ciceronem locuturum fuisse.</p> + +<div class = "comm"> +<p><a name = "commII_sec17" id = "commII_sec17"><b>§ 17.</b></a> +<b>horride atque incomposite</b>: horride inculteque Cic. Orat. 28: cp. +<a href = "QuintBody1.html#chapI_sec66">1 §66</a> rudis in +plerisque et incompositus (Aeschylus): Tac. Dial. 18 sunt enim horridi +et impoliti et rudes et informes. <i>Horridus</i> is the opposite of +<i>nitidus</i>: Cic. de Orat. iii. 51: de Legg. i. 2, 6: Brutus §§68, +83, 117, 238, 268.</p> + +<p><b>quidlibet illud frigidum et inane</b>. As the expression +<i>horride atque incomposite</i> denotes the unpleasing form, so this +phrase (cp. frigida et inanis adfectatio ix. 3, 74) stigmatises the +tasteless and vapid substance of the incompetent imitators (Hor. Ep. i. +19, 19 O imitatores, servum pecus): tr. ‘writers who have come out +with their favourite platitudes and inanities.’ There is something +deictic about <i>illud</i>. Becher compares ix. 2, 94 postulandum est ut +<i>nescio quid illud</i> quod adversarii obliquis sententiis significare +voluerint obiciant palam: i. 3, 4 hi sunt qui ... quicquid illud possunt +statim ostendunt: Liv. ix. 3, 13 vivet semper in pectoribus illorum +quidquid istud praesens necessitas inusserit. Cp. xii. 6, 2: vi. pr. §3 +(quidquid hoc est in me), and often <i>ipsum illud</i>, <i>hoc illud</i> +(e.g. Liv. praef. 10): Liv. i. 29, 3 domos suas ultimum illud +visuri.</p> + +<p><b>extulerunt</b>. The commentators explain as = dicendo extulerunt: +cp. i. 5, 16: viii. 3, 40: and Cicero, Orat. §150. But it is more +probably the same use as we have in <a href = +"QuintBody1.html#chapI_sec109">1 §109</a>, viz. a metaphor from a +productive soil: cp. Cic. de Natur. Deor. ii. §86, and Brut. §16.</p> + +<p><b>antiquis</b>: <a href = +"QuintBody1.html#chapI_sec43">1 §43</a> quidam solos veteres +legendos putant: Tac. Dial. 20 tristem et impexam antiquitatem: 21 +sordes autem illae verborum et hians compositio et inconditi sensus +redolent antiquitatem: Quint. v. 14, 32 se antiquis per hoc similes +vocant. In the Dialogue, Aper (15-23) criticises excessive devotion to +antique models,—holding ‘vitio malignitatis humanae vetera semper +in laude, praesentia in fastidio esse.’</p> + +<p><b>cultu</b> = ornatu: <a href = +"QuintBody1.html#chapI_sec124">1 §124</a>: See Introd. <a href = +"QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> + +<p><b>sententiis</b>: <a href = +"QuintBody1.html#chapI_sec61">1 §61</a>, <a href = +"QuintBody1.html#chapI_sec90">§90</a>, <a href = +"QuintBody1.html#chapI_sec129">§129</a>.</p> + +<p><b>Attici</b>: <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>. See <a href = +"QuintCrit.html#critII_sec17">Crit. Notes</a>. Cp. xii. 10, 16 Et +antiqua quidem illa divisio inter Atticos atque Asianos fuit, cum hi +pressi et integri, contra inflati illi et inanes haberentur, in his +nihil superflueret, illis iudicium maxime ac modus deesset: ibid. 21 +quapropter mihi falli multum videntur qui solos esse Atticos credunt +tenues et lucidos et significantes, sed quadam eloquentiae frugalitate +contentos ac semper manum intra pallium continentes. Cp. Cic. de Opt. +Gen. Orat. §11: Brutus §284 sq.: Orator <a href = +"#chapII_sec28">§28</a> putant enim qui horride inculteque dicat, modo +id eleganter enucleateque faciat, eum solum Attice dicere. +<b>scilicet</b>, ironical.</p> + +<p><b>praecisis</b>. iv. 2, 47 neque mihi umquam tanta fuerit cura +brevitatis ut non ea quae credibilem faciunt expositionem inseri velim. +Simplex enim et undique praecisa non tam narratio vocari potest quam +confessio.</p> + +<p><b>conclusionibus</b>, the clauses that ‘round off’ the period: cp. +on concludit <a href = "QuintBody1.html#chapI_sec106">1 §106</a>. +Anacoluths result in such a style from the omission of something +essential to the complete period.</p> + +<p><b>obscuri</b>. A similar cause of obscurity +<span class = "pagenum comm">131</span> +is noted viii. 2, 19 alii brevitatem aemulati necessaria quoque orationi +subtrahunt verba et, velut satis sit scire ipsos, quid dicere velint, +quantum ad alios pertineant, nihil putant referre. For the omission of +<i>sunt</i>, see Introd. <a href = +"QuintIntro.html#intro_pagelv">p. lv</a>.</p> + +<p><b>Sallustium</b>: cp. <a href = +"QuintBody1.html#chapI_sec32">1 §32</a>, +<a href = "QuintBody1.html#chapI_sec102">§102</a>: iv. 2, 45 quare vitanda est etiam illa +Sallustiana (quamquam in ipso virtutis obtinet locum) brevitas et +abruptum sermonis genus.</p> + +<p><b>Thucydiden</b>: <a href = +"QuintBody1.html#chapI_sec73">1 §73</a>.</p> + +<p><b>tristes ac ieiuni</b>. The opposite would be <i>hilares et +copiosi</i>: viii. 3, 49 proinde quaedam hebes, sordida, ieiuna, tristis +(‘dreary’), ingrata, vilis oratio est. Quae vitia facillime fient +manifesta contrariis virtutibus. Nam primum acuto, secundum nitido, +tertium copioso, deinceps hilari, iucundo, accurato diversum est.</p> + +<p><b>Pollionem</b>, <a href = +"QuintBody1.html#chapI_sec113">1 §113</a>. Cp. vi. 3, 110 de +Pollione Asinio seriis iocisque pariter accommodato dictum est, esse eum +omnium horarum.</p> + +<p><b>otiosi et supini</b>: ‘your easy-going drawler.’ For +<i>supinus</i> cp. <span class = "greek" title = "huptios">ὑπτιος</span> +in Dion. Hal. de Isocr. 15: de Dein. 8, &c. So supini securique xi. +3. 3: Iuv. 1, 66 multum referens de Maecenate supino: Martial ii. 6, 13 +nunquam deliciae supiniores: vi. 42, 22 Non attendis, et aure me supina +Iamdudum quasi negligenter audis. See Introd. <a href = +"QuintIntro.html#intro_pagexliii">p. xliii</a>. and <a href = +"QuintIntro.html#intro_pagexlvi">xlvi</a>.—For <i>otiosus</i>, see +on <a href = "QuintBody1.html#chapI_sec76">1 §76</a>.</p> + +<p><b>circumduxerunt</b>: ix. 4, 124 cum sensus unus longiore ambitu +circumducitur.</p> + +<p><b>Ciceronem</b>: cp. lentus est in principiis, &c. Tac. Dial. +22.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec18" id = "chapII_sec18"> </a> +<span class = "secnum">II:18</span> +Noveram quosdam qui se pulchre expressisse genus illud caelestis huius +in dicendo viri sibi viderentur, si in clausula posuissent ‘esse +videatur.’ Ergo primum est ut quod imitaturus est quisque intellegat, et +quare bonum sit sciat.</p> + +<div class = "comm"> +<p><a name = "commII_sec18" id = "commII_sec18"><b>§ 18.</b></a> +<b>se expressisse</b>. This unusual construction (after <i>sibi +viderentur</i> = persuasum haberent) may express intensity of +conviction: these imitators are thoroughly convinced of their own +excellence, whatever the opinion of others may be (<i>sibi</i>, sc. +<i>non</i> aliis). Cp. Cic. de Off. iii. §71 ea malitia quae volt ... +videri se esse prudentiam. The same construction occurs sometimes after +<i>mihi videtur</i> in the sense of <i>mihi placet</i>: <a href = +"QuintBody1.html#chapI_sec91">1 §91</a>: Cic. Tusc. v. 5, 12 Non +mihi videtur ad beate vivendum satis posse virtutem: Sall. Iug. 85, 2: +Livy xxxvi. 13, 9 quia videbatur et Limnaeum eodem tempore oppugnari +posse.</p> + +<p><b>caelestis</b>: <a href = +"QuintBody1.html#chapI_sec86">1 §86</a>.</p> + +<p><b>clausula</b>. Cicero gives minute directions for ending a period, +Orator. §215: cp. Quint. ix. 3, 45 and 77: iv. 62, 75, 96, &c.</p> + +<p><b>esse videatur</b>: Tac. Dial. 23 illud tertio quoque sensu in +omnibus orationibus pro sententia positum ‘esse videatur’: Quint, ix. 4, +73 esse videatur iam nimis frequens, octonarium inchoat. An instance +occurs below <a href = "#chapVII_sec29">7 §29</a>.</p> + +<p><b>primum est ut</b>: cp. rarum est ut <a href = +"#chapVII_sec24"><ins class = "correction" title = "text reads ‘§7, 24’">7, §24</ins></a>. Zumpt §623.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapII_sec19" id = "chapII_sec19"> </a> +<span class = "secnum">II:19</span> +Tum in suscipiendo onere consulat suas vires. Nam quaedam sunt +imitabilia, quibus aut infirmitas naturae non sufficiat aut diversitas +repugnet. Ne, cui tenue ingenium erit, sola velit fortia et abrupta, cui +forte quidem, sed indomitum, amore subtilitatis +<span class = "pagenum">132</span> +et vim suam perdat et elegantiam quam cupit non persequatur; nihil est +enim tam indecens quam cum mollia dure fiunt.</p> + +<div class = "comm space"> +<p><a name = "commII_sec19" id = "commII_sec19"><b>§ 19.</b></a> +<b>consulat suas vires</b>. So Hor. A. P. 38 Sumite materiam +vestris, qui scribitis, aequam Viribus, et versate diu quid ferre +recusent, Quid valeant umeri. Cui lecta potenter erit res Nec facundia +deseret hunc nec lucidus ordo.</p> + +<p><b>imitabilia</b>: i.e. there are some things which are (in +themselves) fit patterns for imitation, but—then follows the +limitation (quibus c. subj.).</p> + +<p><b>tenue ingenium</b> = ability for the <i>tenue genus dicendi</i>, +for which see on <a href = "QuintBody1.html#chapI_sec44">1 §44</a>. +Cp. xii. 10, 35 nec rerum nimiam tenuitatem ... fortioribus ... verbis +miscebimus.</p> + +<p><b>fortia et abrupta</b>: a ‘bold and rugged style,’ the latter +quality being often associated with excessive brevity: iv. 2, 45 vitanda +est illa Sallustiana brevitas et abruptum sermonis genus.</p> + +<p><b>forte</b> (sc. ingenium): a talent for vigorous and energetic +diction. Cp. Cic. de +<span class = "pagenum comm">132</span> +Orat. ii. 183 non enim semper fortis oratio quaeritur, sed saepe +placida, summissa, lenis. So below <a href = "#chapII_sec23">§23</a> +‘lene ac remissum genus causarum’ is that which calls for ‘lene ac +remissum genus dicendi.’</p> + +<p><b>indomitum</b>: ‘violent,’ unbridled, unrestrained. In such a case +the <i>genus dicendi grande atque robustum</i> will be more appropriate +than the <i>genus subtile</i>: cp. <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>. For the union of +<i>subtilitas</i> and <i>elegantia</i> cp. 1, 78 Lysias subtilis atque +elegans.</p> + +<p><b>et ... et</b>: not for <b>aut ... aut</b> as Bonnell-Meister, on +the ground that <b>et</b> is inconsistent with the negative. He loses +<i>vis</i> and fails to secure <i>elegantia</i> at one and the same +time. The construction occurs when the writer wishes to indicate that +the coincidence of the two should be guarded against: cp. Cic. ad Att. +iii. 7, 2 ne et meum maerorem exagitem et te in eundem luctum vocem: id. +xii. 40, 2: ad Fam. xi. 7, 2: de Off. i. 14, 42.</p> + +<p><b>mollia</b> = lenia, dulcia. He might have added, having regard to +what has gone before, <i>aut cum dura molliter</i>. Cp. Arist. Rhet. +iii. 7 <span class = "greek" title = "ean oun ta malaka sklêrôs kai ta sklêra malakôs legêtai apithanon gignetai">ἐὰν οὖν τὰ μαλακὰ σκληρῶς καὶ +τὰ σκληρὰ μαλακῶς λέγηται ἀπίθανον γίγνεται</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec20" id = "chapII_sec20"> </a> +<span class = "secnum">II:20</span> +Atque ego illi praeceptori quem institueram in libro secundo credidi non +ea sola docenda esse, ad quae quemque discipulorum natura compositum +videret; nam is et adiuvare debet quae in quoque eorum invenit bona, et, +quantum fieri potest, adicere quae desunt et emendare quaedam et mutare; +rector enim est alienorum ingeniorum atque formator. Difficilius est +naturam suam fingere.</p> + +<div class = "comm"> +<p><a name = "commII_sec20" id = "commII_sec20"><b>§ 20.</b></a> +<b>atque</b> has in transitions often the force of <i>atqui</i>. Tr. ‘To +be sure ... I expressed the belief that’ (<i>credidi</i>.)</p> + +<p><b>in libro secundo</b>: ch. 8, where he discusses the question, An +secundum sui quisque ingenii naturam docendus sit. The conclusion +arrived at there might seem inconsistent with what he is now saying, so +this paragraph is added to clear away the contradiction.—The +sequence of thought is as follows: the teacher must not confine himself +to what his pupils have a natural bent for. Besides developing latent +talent, he must ‘adicere quae desunt et emendare quaedam et mutare’: for +his office is to mould the minds of others, and that is not so hard. It +is more difficult to form one’s own character. But he ought not to waste +his pains over what he finds repugnant to the mind of his pupils.</p> + +<p><b>compositum</b>: cp. ii. 8, 7.</p> + +<p><b>naturam suam fingere</b>: i.e. without the help and supervision of +a <i>praeceptor</i> to assist in applying such principles as are laid +down in <a href = "#chapII_sec19">§19</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec21" id = "chapII_sec21"> </a> +<span class = "secnum">II:21</span> +Sed ne ille quidem doctor, quamquam omnia quae recta sunt velit esse in +suis auditoribus quam plenissima, in eo tamen cui naturam obstare +viderit laborabit.</p> + +<p class = "maintext"> +Id quoque vitandum, in quo magna pars errat, ne in oratione poetas nobis +et historicos, in illis operibus oratores aut declamatores imitandos +putemus.</p> + +<div class = "comm"> +<p><a name = "commII_sec21" id = "commII_sec21"><b>§ 21.</b></a> +<b>quamquam</b>: v. <a href = +"QuintBody1.html#chapI_sec33">1 §33</a> and <a href = +"QuintBody1.html#chapI_sec96">§96</a>: <a href = +"#chapVII_sec17">7 §17</a> below.</p> + +<p><b>in illis operibus</b>, sc. in poesi et historia: cp. <a href = +"QuintBody1.html#chapI_sec31">1 §31</a>.</p> + +<p><b>declamatores</b>: <a href = +"QuintBody1.html#chapI_sec71">1 §71</a>.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapII_sec22" id = "chapII_sec22"> </a> +<span class = "secnum">II:22</span> +Sua cuique proposito lex, suus decor est: nec comoedia in cothurnos +adsurgit, nec contra +<span class = "pagenum">133</span> +tragoedia socco ingreditur. Habet tamen omnis eloquentia aliquid +commune: id imitemur quod commune est.</p> + +<div class = "comm"> +<p><a name = "commII_sec22" id = "commII_sec22"><b>§ 22.</b></a> +<b>proposito</b>, i.e. officio poetarum, historicorum, oratorum: cp. ix. +4, 19: xi. 1, 33. See <a href = "QuintCrit.html#critII_sec22">Crit. +Notes</a>.</p> + +<p><b>decor</b>, ‘appropriate character’: v. on <a href = +"QuintBody1.html#chapI_sec27">1 §27</a>. Quintilian seems to have +in view here the passage in Ars Poetica (86-118) where Horace insists on +the necessity for maintaining proper tone and style. Cp. esp. 86 +Descriptas servare vices operumque colores, and 92 Singula <ins class = +"correction" title = "text reads ‘quaeqae’">quaeque</ins> +<span class = "pagenum comm">133</span> +locum teneant sortita decentem. Cp. also Cicero, de Opt. Gen. Oratorum +<a href = "QuintBody1.html#chapI_sec1">1 §1</a> Itaque et in +tragoedia comicum vitiosum est, et in comoedia turpe tragicum: et in +ceteris suus est cuique sonus et quaedam intellegentibus vox.</p> + +<p><b>cothurnos ... socco</b>. Hor. A. P. 89-91 Versibus exponi tragicis +res comica non vult; Indignatur item privatis ac prope socco Dignis +carminibus narrari cena Thyestae. In line 80 he contrasts the +<i>soccus</i> (<span class = "greek" title = "krêpis">κρηπίς</span>) or +‘slipper’ of comedy with the <i>grandes cothurni</i> (‘buskins’) of +tragedy. Cp. Milton’s ‘the buskin’d stage,’ and ‘If Jonson’s learned +sock be on.’ Bombast must be avoided in comedy, though Interdum tamen et +vocem comoedia tollit, Iratusque Chremes tumido delitigat ore +(A. P. 93): and tragedy on the other hand should soar above the +tone suited to the affairs of daily life (cp. 95 sq.).—For +<b>adsurgit</b> cp. <a href = +"QuintBody1.html#chapI_sec52">1 §52</a>.</p> + +<p><b>nec ... nec contra</b>: iv. 1, 60 Nec argumentis autem nec locis +nec narrationi similis esse in prooemio debet oratio, neque tamen +deducta semper atque circumlita, &c.</p> + +<p><b>habet tamen</b>, i.e. notwithstanding the rules appropriate to +each department (lex cuique proposita).</p> + +<p><b>omnis eloquentia</b>. For this wide use of the word cp. Tac. +Dial. x. Ego vero omnem eloquentiam omnesque eius partes sacras et +venerabiles puto: nec solum cothurnum vestrum aut heroici carminis +sonum, sed lyricorum quoque iucunditatem et elegorum lascivias et +iamborum amaritudinem et epigrammatum lusus et quamcumque aliam speciem +eloquentia habeat, anteponendam ceteris aliarum artium studiis credo. +For <i>oratoria eloquentia</i> on the other hand see cap. vi. and +<i>passim</i>.</p> +</div> +</div> <!-- null --> + + +<p class = "maintext space"> +<a name = "chapII_sec23" id = "chapII_sec23"> </a> +<span class = "secnum">II:23</span> +Etiam hoc solet incommodi accidere iis qui se uni alicui generi +dediderunt, ut, si asperitas iis placuit alicuius, hanc etiam in leni ac +remisso causarum genere non exuant; si tenuitas aut iucunditas, in +asperis gravibusque causis ponderi rerum parum respondeant: +<span class = "pagenum">134</span> +cum sit diversa non causarum modo inter ipsas condicio, sed in singulis +etiam causis partium, sintque alia leniter alia aspere, alia concitate +alia remisse, alia docendi alia movendi gratia dicenda; quorum omnium +dissimilis atque diversa inter se ratio est.</p> + +<div class = "comm space"> +<p><a name = "commII_sec23" id = "commII_sec23"><b>§ 23.</b></a> +<b>uni alicui</b>: cp. <a href = "#chapII_sec24">§24</a> below, also in +reverse order <a href = "#chapVII_sec16">7 §16</a> aliquam rem +unam. It is used as the singular of <i>singuli</i>.</p> + +<p><b>asperitas</b>, ‘passion,’ opp. to <i>lenitas</i> and +<i>aequabilitas</i>. Cp. Cic. de Orat. ii. 64 genus orationis fusum +atque tractum (‘easy and flowing’) et cum lenitate quadam aequabili +profluens sine hac iudiciali asperitate et sine sententiarum forensibus +aculeis: Quint. i. 8, 11 forensi asperitate: cp. <a href = +"#chapV_sec14">5 §14</a> below. The same antithesis is given in +other words Orat. §53 Elaborant alii in lenitate et aequabilitate et +puro quasi quodam et candido genere dicendi; ecce aliqui duritatem et +severitatem quandam in verbis et orationis quasi maestitiam sequuntur. +Cp. de Orat. iii. 7, 28 Gravitatem Africanus, lenitatem Laelius, +asperitatem Galba, profluens quiddam habuit Carbo et canorum.</p> + +<p><b>alicuius</b>, ‘some particular author’: for the use of the full +form in a conditional clause, whereby the pronoun receives emphasis, cp. +<a href = "QuintBody1.html#chapI_sec22">1 §22</a>, <a href = +"QuintBody1.html#chapI_sec130">§130</a>: <a href = +"#chapVI_sec5">6 §5</a>: <a href = "#chapVII_sec2">7 §2</a>, +<a href = "#chapVII_sec15">§15</a>, <a href = +"#chapVII_sec16">§16</a>.</p> + +<p><b>leni ac remisso</b>, cp. on forte (sc. ingenium) <a href = +"#chapII_sec19">§19</a>, above. So Brutus §317 Cotta et Hortensius, +quorum alter remissus et lenis et propriis verbis comprehendens solute +et facile sententiam, alter ornatus, acer, ... verborum et actionis +genere commotior: de Orat. ii. 95 dicendi molliora ac remissiora +genera.</p> + +<p><b>tenuitas</b>: like subtilitas in <a href = "#chapII_sec19">§19</a> +above, amore subtilitatis vim suam perdat: cp. 12, 2, 13 sectas ad +tenuitatem suam vires ipsa subtilitate consumet. In conjunction with +<i>iucunditas</i> (cp. <a href = +"QuintBody1.html#chapI_sec46">1 §§46</a>, <a href = +"QuintBody1.html#chapI_sec64">64</a>, <a href = +"QuintBody1.html#chapI_sec82">82</a>, <a href = +"QuintBody1.html#chapI_sec96">96</a>, <a href = +"QuintBody1.html#chapI_sec101">101</a>, <a href = +"QuintBody1.html#chapI_sec113">113</a>) it is certainly not used in a +depreciatory sense, though it always implies the absence of all attempt +at embellishment. Ernesti (Clav. Cic.) says: corporis est +<i>tenuitas</i>, cum sucus ei et carnis copia deest, cum sit sanum: unde +ad dicendi genus subtile transfertur, quod sine vitiis est, <i>sed et +sine ornamentis</i>. Tr. ‘simplicity,’ ‘naturalness’: cp. <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>. Perhaps <i>tenuitas</i> +and <i>iucunditas</i> together might be rendered ‘artless grace,’ which +does not suffice where <i>gravitas</i> or even <i>asperitas</i> +orationis is called for. See <a href = +"QuintCrit.html#critII_sec23">Crit. Notes</a>.</p> + +<p><b>asperis</b>: ‘exciting’ causes, i.e. such as arouse passion, so +that the speaker cannot be <i>lenis ac remissus</i>, ‘smooth and +unimpassioned.’</p> + +<span class = "pagenum comm">134</span> +<p><b>cum sit</b>: cp. <a href = "#chapII_sec13">§13</a>.</p> + +<p><b>diversa ... diversa</b>: an instance of negligent repetition, of +which we have another in <i>uni alicui</i> immediately following. Cp. <a +href = "QuintBody1.html#chapI_sec8">1 §§8</a>, <a href = +"QuintBody1.html#chapI_sec9">9</a>, <a href = +"QuintBody1.html#chapI_sec23">23</a>, <a href = +"QuintBody1.html#chapI_sec25">25</a>, <a href = +"QuintBody1.html#chapI_sec26">26</a>, <a href = +"QuintBody1.html#chapI_sec28">28</a>, <a href = +"QuintBody1.html#chapI_sec29">29</a>, <a href = +"QuintBody1.html#chapI_sec42">42</a>, <a href = +"QuintBody1.html#chapI_sec80">80</a>, <a href = +"QuintBody1.html#chapI_sec94">94</a>, <a href = +"QuintBody1.html#chapI_sec116">116</a>, <a href = +"QuintBody1.html#chapI_sec126">126</a>, <a href = +"QuintBody1.html#chapI_sec131">131</a>: <a href = +"#chapII_sec11">2 §§11-13</a>, <a href = "#chapII_sec24">24</a>: <a +href = "#chapIII_sec7">3 §§7</a>, <a href = +"#chapIII_sec21">21</a>: <a href = "#chapV_sec6">5 §§6</a>, <a href += "#chapV_sec7">7</a>: <a href = "#chapVI_sec7">6 §7</a>: <a href = +"#chapVII_sec7">7 §§7</a>, <a href = "#chapVII_sec30">30</a>.</p> + +<p><b>inter ipsas</b>, <a href = "#chapII_sec15">§15</a>.</p> + +<p><b>docendi ... movendi</b>, cp. xii. 10, 58 quoted on <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec24" id = "chapII_sec24"> </a> +<span class = "secnum">II:24</span> +Itaque ne hoc quidem suaserim, uni se alicui proprie, quem per omnia +sequatur, addicere. Longe perfectissimus Graecorum Demosthenes, aliquid +tamen aliquo in loco melius alii, plurima ille. Sed non qui maxime +imitandus, et solus imitandus est.</p> + +<div class = "comm"> +<p><a name = "commII_sec24" id = "commII_sec24"><b>§ 24.</b></a> +<b>suaserim ... se addicere</b>: for the infinitive cp. Cic. de Orat. i. +§251; Zumpt 616.</p> + +<p><b>sequatur</b>: the subj. is to be supplied from the indefinite +pronoun (sc. aliquem) understood before <i>addicere</i>. Cp. <a href = +"QuintBody1.html#chapI_sec7">1 §7</a>: ii. 15, 12 primum esse ... +ducere in id quod velit: 16, 19 in quae velit ducere. For this use of +<i>sequi</i> cp. <a href = "QuintBody1.html#chapI_sec28">1 §28</a>: +<a href = "#chapII_sec7">2 §7</a>.</p> + +<p><b>longe perfectissimus</b>: <a href = +"QuintBody1.html#chapI_sec39">1 §§39</a>, <a href = +"QuintBody1.html#chapI_sec105">105</a>.</p> + +<p><b>melius</b>. The same ellipse of the verb is repeated below <a href += "#chapIII_sec25">3 §25</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec25" id = "chapII_sec25"> </a> +<span class = "secnum">II:25</span> +Quid ergo? non est satis omnia sic dicere quo modo M. Tullius +dixit? Mihi quidem satis esset, si omnia consequi possem: quid tamen +noceret vim Caesaris, asperitatem Caeli, diligentiam Pollionis, iudicium +Calvi quibusdam in locis adsumere?</p> + +<div class = "comm"> +<p><a name = "commII_sec25" id = "commII_sec25"><b>§ 25.</b></a> +<b>non est</b>: cp. <a href = +"QuintBody1.html#chapI_sec56">1 §56</a>.</p> + +<p><b>M. Tullius</b>; for Quintilian’s reverence for Cicero see <a href += "QuintBody1.html#chapI_sec39">1 §39</a> and <a href = +"QuintBody1.html#chapI_sec105">§105</a> sq.</p> + +<p><b>quid tamen noceret</b> should be taken in connection with the +foregoing. The meaning is, ‘yet even if I <i>could</i> rival Cicero in +every respect, what harm would it do?’ etc. The impf. is motived by the +preceding <i>si possem</i>,—an unrealisable supposition.</p> + +<p><b>vim Caesaris</b>: <a href = +"QuintBody1.html#chapI_sec114">1 §114</a>. Cp. i. 7, 34 vim +Caesaris fregerunt editi de analogia libri?</p> + +<p><b>asperitatem Caeli</b>: <a href = +"QuintBody1.html#chapI_sec115">1 §115</a>. For an example see iv. +2, 123. For ‘asperitatem’ Eussner proposes <i>acerbitatem</i>.</p> + +<p><b>Pollionis</b>: <a href = +"QuintBody1.html#chapI_sec113">1 §113</a>.</p> + +<p><b>Calvi</b>: <a href = +"QuintBody1.html#chapI_sec115">1 §115</a>. A similar +enumeration is given, xii. 10, 11, vim Caesaris, indolem Caeli, +subtilitatem Calidi, diligentiam Pollionis, dignitatem Messallae, +sanctitatem Calvi, gravitatem Bruti, acumen Sulpici, acerbitatem +Cassi.</p> + +<p><b>adsumere</b>: as <a href = "#chapII_sec27">§27</a> utilitatis +gratia adsumpta; not as <a href = +"QuintBody1.html#chapI_sec121">1 §121</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec26" id = "chapII_sec26"> </a> +<span class = "secnum">II:26</span> +Nam praeter id quod prudentis est quod in quoque optimum est, si possit, +suum facere, tum in tanta rei difficultate unum intuentes vix aliqua +pars sequitur. Ideoque cum totum exprimere quem elegeris paene sit +homini inconcessum, plurium bona ponamus ante oculos, ut aliud ex alio +haereat, et quo quidque loco conveniat aptemus.</p> + +<span class = "pagenum">135</span> +<div class = "comm"> +<p><a name = "commII_sec26" id = "commII_sec26"><b>§ 26.</b></a> +<b>praeter id quod</b>: see on <a href = +"QuintBody1.html#chapI_sec28">1 §28</a>: cp. <a href = +"#chapIII_sec6">3 §6</a>.</p> + +<p><b>tum</b>, as if the sentence had opened with <i>Nam primum</i>.</p> + +<p><b>vix ... sequitur</b>: ‘some element, or quality, is realised with +difficulty, if we look only at one model.’ <i>Vix aliqui</i> gives +prominence to the affirmative, and so differs from <i>vix quisquam</i>: +it is achieved but with difficulty. For <b>aliqua</b> cp. <a href = +"#chapVII_sec16">7 §16</a>. <i>Sequitur</i> here = +<i>contingit</i>. See on <a href = "#chapII_sec27">§27</a>: and cp. xi. +2, 39, quod meae quoque memoriae infirmitatem sequebatur.</p> + +<p><b>aliud ex alio</b>: sc. scriptore.</p> + +<p><b>haereat</b>: sc. in animo legentis. Cp. Hor. A. P. 195 quod +non proposito conducat et haereat apte.</p> +</div> + +<span class = "pagenum comm">135</span> + +<p class = "maintext space"> +<a name = "chapII_sec27" id = "chapII_sec27"> </a> +<span class = "secnum">II:27</span> +Imitatio autem (nam saepius idem dicam) non sit tantum in verbis. Illuc +intendenda mens, quantum fuerit illis viris decoris in rebus atque +personis, quod consilium, quae dispositio, quam omnia, etiam quae +delectationi videantur data, ad victoriam spectent; quid agatur +prooemio, quae ratio et quam varia narrandi, quae vis probandi ac +refellendi, quanta in adfectibus omnis generis movendis scientia, +quamque laus ipsa popularis utilitatis gratia adsumpta, quae tum est +pulcherrima, cum sequitur, non cum arcessitur. Haec si perviderimus, tum +vere imitabimur.</p> + +<div class = "comm space"> +<p><a name = "commII_sec27" id = "commII_sec27"><b>§ 27.</b></a> +<b>saepius</b>: <a href = "#chapII_sec12">§§12-13</a>: <a href = +"#chapII_sec16">§16</a>.</p> + +<p><b>non sit</b>: cp. non putemus <a href = +"#chapIII_sec16">3 §16</a>: ibid. <a href = "#chapIII_sec5">§5</a>. +(Cp. also utinam non inquinasset <a href = +"QuintBody1.html#chapI_sec100">1 §100</a>.) Cic. pro Cluent. §155 a +legibus non recedamus: Hor. Sat. ii. 5, 91 non etiam sileas. Draeger, +Hist. Synt. 1, 312 speaks of the usage as a stronger negation than +<i>ne</i>. Nettleship on Aen. 12, 78 says that non is used ‘if a +particular part of the sentence is to be emphasized.’ Kr.<sup>3</sup> +suggests that <i>non</i> should be taken with <i>tantum</i>.—See +Introd. <a href = "QuintIntro.html#intro_pagelii">p. lii</a>.</p> + +<p><b>delectationi ... data</b>: xii. 10, 45 atque id fecisse +M. Tullium video, ut cum plurimum utilitati, turn partem quandam +delectationi daret.</p> + +<p><b>ad victoriam</b>: <a href = +"QuintBody1.html#chapI_sec29">1 §29</a> ad victoriam niti: ii. 4, +32: v. 12, 22: xii. 10, 48.</p> + +<p><b>prooemio, narrandi, probandi, refellendi, adfectibus movendis</b> +give the five essential parts of a judicial speech (iii. 9, 1); the +introduction, the narrative, the proof, the refutation, and the closing +appeal (epilogus, peroratio).</p> + +<p><b>laus popularis</b>: cp. <a href = +"QuintBody1.html#chapI_sec17">1 §17</a> laudantium clamor: +referring to the crowd surrounding the tribunal. Tac. Dial. vi. coire +populum et circumfundi coronam et accipere adfectum quemcumque orator +induerit. In viii. 3, 2 Quintilian opposes to <i>laus popularis</i>, +<i>iudicium doctorum</i>.</p> + +<p><b>adsumpta</b> (sit): ‘how popular applause itself has been worked +in,’ made useful for winning the case.</p> + +<p><b>cum sequitur</b>, ‘when it is given spontaneously, not courted.’ +So viii. prooem. 18 decoris qui est in dicendo mea quidem sententia +pulcherrimus, sed cum sequitur, non cum adfectatur. Cp. Sall. Cat. 54 ad +fin.: quo minus petebat gloriam, eo magis illum sequebatur: +ibid. 3. Plin. Epist. i. 8, 14 sequi enim gloria non adpeti debet, +nec si casu aliquo non sequatur, idcirco quod gloriam meruit minus +pulchrum est.</p> +</div> + + +<p class = "maintext"> +<a name = "chapII_sec28" id = "chapII_sec28"> </a> +<span class = "secnum">II:28</span> +Qui vero etiam propria his bona adiecerit, ut suppleat quae deerunt, +circumcidat si quid redundabit, is erit, quem quaerimus, perfectus +orator; quem nunc consummari potissimum oporteat, cum tanto plura +exempla bene dicendi supersunt quam illis qui adhuc summi sunt +contigerunt. Nam erit haec quoque laus eorum, ut priores superasse, +posteros docuisse dicantur.</p> + +<div class = "comm"> +<p><a name = "commII_sec28" id = "commII_sec28"><b>§ 28.</b></a> +<b>perfectus orator</b>: see on <a href = "#chapII_sec9">§9</a> quomodo +sperare possumus illum oratorem perfectum?</p> + +<p><b>quem ... consummari</b>. If <i>quem</i> can be referred only to +<i>orator</i> in what immediately precedes (and not to <i>perfectus +orator</i>) the inf. need not mean anything more than ‘perfectum fieri.’ +This is Becher’s view (Quaest. Quint. p. 19) adopted by Krüger (3rd +ed.). But ‘<i>perfectus orator</i>’ forms so much a single idea here +that it seems more probable that <i>quem</i> covers both the noun and +the adj. In so loose a writer as Quintilian no difficulty need be felt +about <i>consummari</i>, though the editors think it necessary to assume +that, with the infin., <i>perfectus</i> is proleptic = oratorem +consummari ita ut perfectus fiat, comparing (with Krüger, 2nd ed.) +Demosth. <span class = "greek" title = "megas ek mikrou ho Philippos êuxêtai">μέγας ἐκ μικροῦ ὁ Φίλιππος ηὔξηται</span>. See <a href = +"QuintBody1.html#chapI_sec122">1 §122</a> on +<i>consummatus</i>.</p> + +<p><b>oporteat</b>: see <a href = "QuintCrit.html#critII_sec28">Crit. +Notes</a>.</p> + +<p><b>eorum</b>: sc. qui adhuc summi sunt,—those who have hitherto +been (and are) pre-eminent.</p> +</div> + +</div> <!-- text --> + +<div class = "argument"> + +<h5><a name = "arg_chapIII" id = "arg_chapIII"> +CHAPTER III.</a><br> +<span class = "subhead"> +How to Write.</span></h5> + +<p><a href = "#chapIII_sec1">§§ 1-4.</a> +<i>Introductory to the three chapters on Writing: chs. iii. and iv. +treating of the manner of writing</i> (quomodo), <i>and ch. v. of the +matter and form of writing</i> (quae maxime scribi oporteat §4). The pen +is the best teacher: write much and carefully. Writing is a fundamental +part of the orator’s training.</p> + +<p><a href = "#chapIII_sec5">§§ 5-18.</a> +As to the manner of writing, it should at first be deliberate and slow, +with careful attention alike to subject-matter, language, and the +arrangement of words and phrases. And the whole must be subjected to +careful revision, especially if it is written in a glow, as it were, of +inspiration. ‘Write quickly, and you will never write well; write well, +and in time you will write quickly.’ In the case of the orator it is +advisable gradually to accelerate the pace: he will never be able to +overtake his professional duties unless he gets rid of the habit of +carping self-criticism. Story of Iulius Florus. Judgment is also +necessary, as well as practice, if we are to write naturally and clearly +in any given circumstances. The +<span class = "pagenum">7</span> +evil results of hasty composition can seldom be undone even by much +verbal correction. Your work should be done with so much care from the +first that it may need only to be filed and chiselled, not recast.</p> + +<p><a href = "#chapIII_sec19">§§ 19-27.</a> +Condemnation of the fashionable practice of dictating to an amanuensis. +He who writes for himself, no matter how rapidly, takes time to think; +but your scribe hurries you on, while shame forbids you to pause. Such +compositions reflect neither a writer’s care nor a speaker’s animation: +your one idea is to ‘keep going.’ Besides, an awkward scribe will check +the current of your thoughts. And how absurd it is to have him looking +on at the gestures which often accompany and stimulate the process of +cogitation! On the other hand, while silence and solitude are helpful, +rural seclusion and attractive scenery cannot be said to favour +concentration: closed doors are better. Night hours are the best, but +only in moderation.</p> + +<p><a href = "#chapIII_sec28">§§ 28-30.</a> +But solitude cannot always be secured: those who cannot command it must +habituate themselves to rise superior to every distraction. They who +only study when in the humour will never want an excuse for idleness. It +is possible to think, and to prepare for debate, in a crowd, on a jury, +and even amid the noise and confusion of the law-courts.</p> + +<p><a href = "#chapIII_sec31">§§ 31-33.</a> +The proper writing materials: wax-tablets to be preferred to parchment. +Write on one side only, and leave the other for additions and +corrections.</p> + +</div> <!--argument --> + +<div class = "text"> + +<span class = "pagenum comm">136</span> +<span class = "pagenum">136</span> +<h5><a name = "chapIII" id = "chapIII"> +Quo modo scribendum sit.</a></h5> + + +<p class = "maintext"> +<a name = "chapIII_sec1" id = "chapIII_sec1"> </a> +<span class = "secnum">III:1</span> +III. Et haec quidem auxilia extrinsecus adhibentur; in iis autem quae +nobis ipsis paranda sunt, ut laboris, sic utilitatis etiam longe +plurimum adfert stilus. Nec immerito M. Tullius hunc ‘optimum +effectorem ac magistrum dicendi’ vocat, cui sententiae personam +L. Crassi in disputationibus quae sunt de oratore adsignando, +iudicium suum cum illius auctoritate coniunxit.</p> + +<div class = "comm"> +<p><a name = "commIII_sec1" id = "commIII_sec1"><b>§ 1.</b></a> +<b>nobis ipsis</b> opp. to <i>extrinsecus</i>: what <i>we</i> must +provide for <i>ourselves</i>, by our own gifts and industry. There is, +however, much to be said for Gertz’s conjecture <i>e nobis ipsis</i>, +which gives a better antithesis to <i>extrinsecus</i>: cp. <a href = +"#chapV_sec10">5 §10</a> plurimum autem parari facultatis existimo +ex simplicissima quaque materia.</p> + +<p><b>stilus</b>: see on <a href = +"QuintBody1.html#chapI_sec2">1 §2</a>.</p> + +<p><b>M. Tullius</b>: de Orat. i. §150 caput autem est quod, ut vere +dicam, minime facimus; est enim magni laboris, quem plerique fugimus: +quam plurimum scribere. stilus optimus et praestantissimus dicendi +effector ac magister; neque iniuria: nam si subitam et fortuitam +orationem commentatio et cogitatio facile vincit, hanc ipsam profecto +adsidua ac diligens scriptura superabit: ibid. §257 stilus ille tuus, +quem tu vere dixisti perfectorem dicendi esse ac magistrum, multi +sudoris est. Cp. iii. §190: Brutus §96 artifex, ut ita dicam, stilus: ad +Fam. vii. 25, 2 is (stilus) est dicendi opifex.</p> + +<p><b>L. Crassi</b>. L. Licinius Crassus, <span class = +"smallroman">B.C.</span> 140-91, was the most illustrious of Roman +orators before Cicero, who in the De Oratore seems to make him the +mouthpiece of his own opinions. The other leading character in the +dialogue is <i>M. Antonius</i> (<span class = +"smallroman">B.C.</span> 143-87), grandfather of the triumvir. For a +parallel estimate of the two see Brutus §143 sq.</p> + +<p><b>personam ... adsignando</b>: cp. <a href = +"QuintBody1.html#chapI_sec71">1 §71</a> plures subire personas.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec2" id = "chapIII_sec2"> </a> +<span class = "secnum">III:2</span> +Scribendum ergo quam diligentissime et quam plurimum. Nam ut terra alte +refossa generandis alendisque seminibus fecundior fit, sic profectus non +a summo petitus studiorum fructus effundit uberius et fidelius continet. +Nam sine hac quidem conscientia ipsa illa ex tempore dicendi facultas +inanem +<span class = "pagenum">137</span> +modo loquacitatem dabit et verba in labris nascentia.</p> + +<div class = "comm"> +<p><a name = "commIII_sec2" id = "commIII_sec2"><b>§ 2.</b></a> +<b>alte refossa</b>: see <a href = "QuintCrit.html#critIII_sec2">Crit. +Notes</a>. The meaning is that just as deep ploughing produces heavy +crops, so progress that is not superficial (non a summo petitus) brings +forth fruit more abundantly and secures its permanence. For the figure +cp. i. 3, 5 non multum praestant, sed cito. Non subest vera vis nec +penitus immissis radicibus nititur, ut quae summo solo sparsa sunt +semina celerius se effundunt et imitatae spicas herbulae inanibus +aristis ante messem flavescunt. For <i>refodere</i> cp. Lucan, iv. 242 +tellure refossa: Plin. N. H. xix. 88 solo quam altissime +refosso.</p> + +<p><b>profectus</b>: cp. <a href = "#chapIII_sec15">§15</a> below, ad +profectum opus est studio: i. 3, 5 stat profectus (‘growth’). The word +does not occur in Cicero, though it is often used in the same sense by +Seneca: e.g. Ep. 71, 35-36, nemo profectum ibi invenit ubi reliquerat +... magna pars est profectus velle proficere: 100, 11 ad profectum omnia +tendunt. Quintilian frequently insists that it requires diligent and +constant practice: e.g. ii. 7, 1 cum profectus praecipue diligentia +constet.</p> + +<p><b>a summo</b>, i.e. from the surface, ‘superficial,’ as i. 3, 5 quae +summo solo sparsa sunt semina. The opposite is ‘verus ille profectus et +alte radicibus nixus,’ i. 1, 28. Cp. <a href = +"#chapII_sec15">2 §15</a>. Other instances of such expressions are +<a href = "QuintBody1.html#chapI_sec13">1 §13</a> ex proximo: <a +href = "#chapVII_sec7">7 §7</a> ad ultimum: <a href = +"#chapIII_sec10">§10</a> ex ultimo: <a href = +"#chapII_sec16">2 §16</a> in peius. See Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>sine hac conscientia</b> = sine huius rei conscientia, i.e. +without the consciousness of diligent application in composition. In +such expressions (frequent with words like cura, metus, spes, timor) the +pronoun +<span class = "pagenum comm">137</span> +takes the place of a complementary genitive, suggested by what goes +before: cp. i. 10, 28 haec ei cura, &c.: and below <a href = +"#chapVII_sec19">7 §19</a>.</p> + +<p><b>verba in labris nascentia</b>. Cp. Sen. Ep. 10, 3 non a summis +labris ista venerunt; habent hae voces fundamentum.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec3" id = "chapIII_sec3"> </a> +<span class = "secnum">III:3</span> +Illic radices, illic fundamenta sunt, illic opes velut sanctiore quodam +aerario conditae, unde ad subitos quoque casus, cum res exiget, +proferantur. Vires faciamus ante omnia, quae sufficiant labori +certaminum et usu non exhauriantur.</p> + +<div class = "comm"> +<p><a name = "commIII_sec3" id = "commIII_sec3"><b>§ 3.</b></a> +<b>illic</b> = stilo sive exercitatione scribendi.</p> + +<p><b>sanctiore ... aerario</b>. The reference is to the reserve +treasure (aerarium sanctius) that was never touched except in great +emergencies. It was kept in a vault in the Temple of Saturn. Caes. +B. C. i. 14, 1: Livy xxvii., 10, 11: Macrob. i. 8, 3: Lucan. Phars. +iii. 153 sq.</p> + +<p><b>certaminum</b>: so <a href = +"QuintBody1.html#chapI_sec4">1 §4</a> quo genere exercitationis ad +certamina praeparandus sit. Certamen = <span class = "greek" title = +"agôn">ἀγών</span>. Cp. <a href = +"QuintBody1.html#chapI_sec31">1 §§31</a>, <a href = +"QuintBody1.html#chapI_sec106">106</a>, &c.</p> + +<p><b>proferantur</b>: for the subj. (consecutive) cp. <a href = +"QuintBody1.html#chapI_sec30">1 §30</a>: <a href = +"#chapIII_sec33">3 §33</a>: <a href = +"#chapV_sec10">5 §10</a>.</p> + +<p><b>et ... non</b>: not <i>neque</i>, as the negative really connects +only with the verb, while <i>et</i> serves simply to introduce +<i>usu</i>. Cp. <a href = "#chapVII_sec33">7 §33</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec4" id = "chapIII_sec4"> </a> +<span class = "secnum">III:4</span> +Nihil enim rerum ipsa natura voluit magnum effici cito, praeposuitque +pulcherrimo cuique operi difficultatem; quae nascendi quoque hanc +fecerit legem, ut maiora animalia diutius visceribus parentis +continerentur.</p> + +<p class = "maintext space"> +Sed cum sit duplex quaestio, quo modo et quae maxime scribi oporteat, +iam hinc ordinem sequar.</p> + +<div class = "comm"> +<p><a name = "commIII_sec4" id = "commIII_sec4"><b>§ 4.</b></a> +<b>rerum ipsa natura</b>: here of ‘nature’ as a creative agency: cp. <a +href = "#chapIII_sec26">§26</a> below: Munro on Lucretius i. 25.</p> + +<p><b>praeposuitque</b>. When it is clear from the context that there is +an opposition, sentences and words of opposite meanings are often +coupled (after a negative) not by a disjunctive but by a conjunctive +particle, as here: cp. Cic. de Off. i. §22 non nobis solum nati sumus +ortusque nostri partem patria vindicat partem amici: ibid. §86 neque +opes aut potentiam consectabitur totamque eam (rempublicam) sic tuebitur +ut omnibus consulat: Hor. Car. iii. 30, 6 Non omnis moriar, multaque +pars mei Vitabit Libitinam. In each instance, however, the positive +clause (que, et, atque) is an explanation of, rather than an antithesis +to, the negative: the opposition is formal rather than real.</p> + +<p><b>difficultatem</b>. Cp. Hor. Sat. i. 9, 59 Nil sine magno Vita +labore dedit mortalibus: Hesiod <span class = "greek" title = "erga kai hêmer.">ἔργα καὶ ἡμέρ.</span> 289 <span class = "greek" title = "tês d’ aretês hidrôta theoi proparoithen ethêkan">τῆς δ᾽ ἀρετῆς ἱδρῶτα θεοὶ +προπάροιθεν ἔθηκαν</span>: Soph. El. 945 <span class = "greek" title = +"ponou toi chôris ouden eutuchei">πόνου τοι χωρὶς οὐδὲν εὐτυχεῖ</span>, +&c. Frag. 364 <span class = "greek" title = "outoi poth’ hapsei tôn akrôn aneu ponou">οὔτοι ποθ᾽ ἅψει τῶν ἄκρων ἄνευ πόνου</span>: +Epicharmus in Xenoph. Mem. ii. 1, 20 <span class = "greek" title = "tôn ponôn pôlousin hêmin panta tagath’ hoi theoi">τῶν πόνων πωλοῦσιν ἡμῖν +πάντα τἀγάθ᾽ οἱ θεοί</span>.</p> + +<p><b>quae maxime</b>, v. ch. 5.</p> + +<p><b>iam hinc ordinem sequar</b>, i.e. ‘I shall now proceed to deal +with these questions in their order.’ And so follows <i>quomodo</i> in +chs. iii-iv, and <i>quae maxime scribi</i> oporteat in ch. v. The +phrase is parallel to iii. 6, 104 nunc, quia in tria genera causas +divisi, ordinem sequar: cp. ut ordinem sequar ix. 4, 33. In support +of Obrecht’s reading <i>hunc ordinem</i> Kiderlin (Blätter f. d. Bayer, +Gymn. 1888, pp. 84-5) urges that in the instances quoted for <i>iam +hinc</i> (ii. 11, 1, and iii. 1, 1: add viii. 3, 40 iam hinc igitur ad +rationem sermonis coniuncti transeamus, and <i>hinc iam</i> viii. pr. +14: ii. 4, 1) there is always a marked transition to a new subject, +whereas here the preceding subordinate clause (cum sit ... oporteat) +lays down the order that is afterwards followed.—But all that +<i>iam hinc</i> means here is simply that the writer will <i>now</i> +take the two questions he has proposed in the order stated.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec5" id = "chapIII_sec5"> </a> +<span class = "secnum">III:5</span> +Sit primo vel tardus dum +<span class = "pagenum">138</span> +diligens stilus, quaeramus optima nec protinus offerentibus se +gaudeamus, adhibeatur iudicium inventis, dispositio probatis; dilectus +enim rerum verborumque agendus est et pondera singulorum examinanda. +Post subeat ratio collocandi versenturque omni modo numeri, non ut +quodque se proferet verbum occupet locum.</p> + +<div class = "comm"> +<p><a name = "commIII_sec5" id = "commIII_sec5"><b>§ 5.</b></a> +<b>dum diligens</b>, <i>without a verb</i>: cp. <a href = +"QuintBody1.html#chapI_sec94">1 §94</a> quamvis uno libro: Cic. +Acad. ii. §104 sequentes tantum modo quod ita visum sit, dum sine +adsensu: cp. Hirtius in Cic. ad Att. xv. 6, 3 dummodo diligentibus.</p> + +<span class = "pagenum comm">138</span> +<p><b>optima</b>, i.e. both in thought and word.</p> + +<p><b>protinus</b> goes with <i>gaudeamus</i>, not with +<i>offerentibus</i>, which can stand by itself: cp. <a href = +"QuintBody1.html#chapI_sec2">1 §§2</a> and <a href = +"QuintBody1.html#chapI_sec42">42</a>. For <i>offerentibus</i> cp. on +<i>eminentibus</i> <a href = +"QuintBody1.html#chapI_sec86">1 §86</a>.</p> + +<p><b>dilectus ... agendus</b>. This may possibly be one of Quintilian’s +military figures: xii. 3, 5 dilectus agere (of an <i>imperator</i>); +Tac. Hist. ii. 16, 82, Agric. 7. But cp. also ii. 8, 7 studiorum +facere dilectum: Tac. Dial. 22 verbis delectum adhibuit: Cic. de Or. +iii. §150 in hoc verborum genere propriorum <i>delectus est habendus +quidam</i> atque in aurium quodam iudicio <i>ponderandus est</i>: de +Off. i. §149 habere dilectum civis et peregrini: ib. §49: de Fin. v. +§90: Brut. §253 verborum dilectum originem esse eloquentiae.</p> + +<p><b>ratio collocandi</b>. For this periphrastic constr. see Nägelsbach +§27 ad fin. (p. 130) and note on <i>vim dicendi</i> <a href = +"QuintBody1.html#chapI_sec1">1 §1</a>. Cp. Cic. ad Quint. Fr. i. 1, +6, 18 sed nescio quo pacto ad praecipiendi rationem delapsa est oratio +mea: pro Rosc. Amer. 1 §3 ignoscendi ratio ... de civitate sublata +est.—Dion. Hal. unites <span class = "greek" title = "eklogê tôn onomatôn">ἐκλογὴ τῶν ὀνομάτων</span> with <span class = "greek" title = +"sunthesis tôn eklegentôn">σύνθεσις τῶν ἐκλεγέντων</span>.</p> + +<p><b>numeri</b>: ix. 4, 45 numeros <span class = "greek" title = +"rhuthmous">ῥυθμούς</span> accipi volo. Cp. note on <a href = +"#chapII_sec16">2 §16</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec6" id = "chapIII_sec6"> </a> +<span class = "secnum">III:6</span> +Quae quidem ut diligentius exsequamur, repetenda saepius erunt +scriptorum proxima. Nam praeter id quod sic melius iunguntur prioribus +sequentia, calor quoque ille cogitationis, qui scribendi mora refrixit, +recipit ex integro vires et velut repetito spatio sumit impetum; quod in +certamine saliendi fieri videmus, ut conatum longius petant et ad illud +quo contenditur spatium cursu ferantur, utque in iaculando brachia +reducimus et expulsuri tela nervos retro tendimus.</p> + +<div class = "comm"> +<p><a name = "commIII_sec6" id = "commIII_sec6"><b>§ 6.</b></a> +<b>repetenda</b>: we must go back on what we have just written.</p> + +<p><b>praeter id quod</b>: cp. <a href = "#chapII_sec26">2 §26</a>, +and see note on <a href = +"QuintBody1.html#chapI_sec28">1 §28</a>.</p> + +<p><b>repetito spatio</b>, i.e. ‘going back to take a spring,’ as is +shown by what follows. He passes from the figure involved in calor ... +refrixit, and anticipates the idea contained in the next clause: calor +... sumit impetum = calor ... denuo exardescit. Hild compares de Orat. +i. §153 for a similar figure: ut concitato navigio, cum remiges +inhibuerunt, retinet tamen ipsa navis motum et cursum suum intermisso +impetu pulsuque remorum, sic in oratione perpetua, cum scripta +deficiunt, parem tamen obtinet oratio reliqua cursum scriptorum +similitudine et vi concitata.</p> + +<p><b>quod ... videmus, ut</b>. For a similar instance of the use of the +pronoun to anticipate a dependent clause cp. <a href = +"#chapVII_sec11">7 §11</a>. The other two examples commonly given +are rather cases of pleonasm, viz. <a href = +"QuintBody1.html#chapI_sec58">1 §58</a> and <a href = +"#chapV_sec18">5 §18</a>.</p> + +<p><b>conatum longius petant</b>: ‘take a longer run.’ Cp. repetito +spatio above.</p> + +<p><b>ad illud quo contenditur spatium</b>, i.e. jump the distance they +aim at covering. <i>Quo contenditur</i> = lit. to which their efforts +are directed.</p> + +<p><b>retro tendimus</b>. Cp. Verg. Aen. v. 500 Validis flexos incurvant +viribus arcus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec7" id = "chapIII_sec7"> </a> +<span class = "secnum">III:7</span> +Interim tamen, si feret flatus, danda sunt vela, dum nos indulgentia +illa non +<span class = "pagenum">139</span> +fallat; omnia enim nostra dum nascuntur placent, alioqui nec +scriberentur. Sed redeamus ad iudicium et retractemus suspectam +facilitatem.</p> + +<div class = "comm"> +<p><a name = "commIII_sec7" id = "commIII_sec7"><b>§ 7.</b></a> +<b>interim</b> = interdum, v. on <a href = +"QuintBody1.html#chapI_sec9">1 §9</a>.</p> + +<p><b>danda sunt vela</b>: ‘we must spread our sails before a favouring +breeze’ (cp. quo ventus ferebat Caes. B. G. iii. 15, 3). So +Ep. ad Tryph. §3 permittamus vela ventis et oram solventibus bene +precemur. The figure is frequent in Cicero: quocunque feremur danda +nimirum vela sunt Orat. §75: ad id unde aliquis flatus ostenditur vela +do (i.e. set my sails to catch the breeze from a particular quarter) de +Orat. ii. §187. So Martial (of Nerva’s modesty) Pieriam tenui frontem +redimire corona Contentus, famae nec dare vela suae viii. 70.</p> + +<p><b>dum ... non</b>, instead of <i>ne</i>, as sometimes +<span class = "pagenum comm">139</span> +in poetry. Here the negative attaches closely to the verb: cp. §3. So +xii. 10, §48 dum rem contineant et copia non redundent. Quintilian never +uses <i>dummodo</i>: only <i>dum</i>, or <i>modo</i>. Si modo (si +quidem), which Meister cites, is different: it expresses the limitation +of a hypothesis.</p> + +<p><b>dum nascuntur</b>: cp. <a href = +"QuintBody1.html#chapI_sec16">1 §16</a> excipimusque nova illa +velut nascentia cum favore ac sollicitudine.</p> + +<p><b>nec</b> for <b>ne ... quidem</b>: ii. 13, 7 alioqui nec scriberem: +v. 10, 119 alioqui nec dixissem: ix. 2, 67 quod in foro non expedit, +illic nec liceat (not in Cicero). For other instances see Bonn. Lex. +<i>nec</i> η and <i>neque</i> ζ: Roby 2230b: Madvig de Finibus +pp. 816-822.</p> + +<p><b>facilitatem</b>: abstract for concrete = quae facilius scripta +sunt. Cp. initiis below, and <a href = "#chapII_sec2">2 §2</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec8" id = "chapIII_sec8"> </a> +<span class = "secnum">III:8</span> +Sic scripsisse Sallustium accepimus, et sane manifestus est etiam ex +opere ipso labor. Vergilium quoque paucissimos die composuisse versus +auctor est Varius.</p> + +<div class = "comm"> +<p><a name = "commIII_sec8" id = "commIII_sec8"><b>§ 8.</b></a> +<b>Sallustium</b>: see on <a href = +"QuintBody1.html#chapI_sec101">1 §101</a>.</p> + +<p><b>Vergilium</b>: Aul. Gell. N. A. 17, 10 Dicere solitum ferunt +parere se versus more atque ritu ursino. Namque ut illa bestia fetum +ederet ineffigiatum informemque, lambendoque id postea, quod ita +edidisset, conformaret et fingeret; proinde ingenii quoque sui partes +recentes rudi esse facie et imperfecta, sed deinceps tractando +colendoque reddere iis se oris et vultus lineamenta. So too in the +Donatus Life of Vergil ix: Cum Georgica scriberet traditur cotidie +meditatos mane plurimos versus dictare solitus, ac per totum diem +retractando ad paucissimos redigere, non absurde carmen se ursae more +parere dicens et lambendo demum effingere.</p> + +<p><b>die</b>, for <i>in die</i>. Cp. Hor. Sat. ii. 1, 3 putat ... mille +die versus deduci posse: i. 4, 9 in hora saepe ducentos ... dictabat +versus. So bisque die Verg. Ecl. iii. 34: Cic. pro Rosc. Am. +46 §132 in anno: ad Fam. xv. 16, 1 in hora.</p> + +<p><b>Varius</b>, see on <a href = +"QuintBody1.html#chapI_sec98">1 §98</a>. His biographical sketch of +his lifelong friend was entitled De ingenio moribusque Vergilii. Aul. +Gell. (xvii. 10) speaks of the Amici familiaresque P. Vergilii in +eis quae de ingenio moribusque eius memoriae tradiderunt.</p> +</div> + +<p class = "maintext"> +<a name = "chapIII_sec9" id = "chapIII_sec9"> </a> +<span class = "secnum">III:9</span> +Oratoris quidem alia condicio est; itaque hanc moram et sollicitudinem +initiis impero. Nam primum hoc constituendum, hoc obtinendum est, ut +quam optime scribamus: celeritatem dabit consuetudo. Paulatim res +facilius se ostendent, verba respondebunt, compositio sequetur, cuncta +denique ut in familia bene instituta in officio erunt.</p> + +<div class = "comm"> +<p><a name = "commIII_sec9" id = "commIII_sec9"><b>§ 9.</b></a> +<b>sollicitudinem</b>: <a href = +"QuintBody1.html#chapI_sec20">1 §20</a> scribendi sollicitudinem: +and <a href = "#chapIII_sec20">§20</a>, below, scribentium curam.</p> + +<p><b>initiis</b> = incipientibus: cp. <a href = +"#chapII_sec2">2 §2</a>. So also ii. 4, 13 quatenus nullo magis +studia (= studiosi) quam spe gaudent.</p> + +<p><b>compositio</b>: <a href = +"QuintBody1.html#chapI_sec79">1 §79</a>: cp. <a href = +"QuintBody1.html#chapI_sec44">§§44</a>, <a href = +"QuintBody1.html#chapI_sec46">46</a>. The three essentials are here +enumerated: thought (<i>res</i>), language (<i>verba</i>), arrangement +(<i>compositio</i>).</p> + +<p><b>in officio</b>: cp. viii. pr. §30 erunt in officio. As in a +well-ordered establishment, he says, everything will be found fulfilling +its proper function.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapIII_sec10" id = "chapIII_sec10"> </a> +<span class = "secnum">III:10</span> +Summa haec est rei: cito scribendo non fit ut bene scribatur, bene +scribendo fit ut cito. Sed tum maxime, cum facultas illa contigerit, +resistamus ut provideamus, efferentes +<span class = "pagenum">140</span> +<i>se</i> equos frenis quibusdam coerceamus; quod non tam moram faciet +quam novos impetus dabit. Neque enim rursus eos qui robur aliquod in +stilo fecerint ad infelicem calumniandi se poenam adligandos puto.</p> + +<div class = "comm"> +<p><a name = "commIII_sec10" id = "commIII_sec10"><b>§ 10.</b></a> +<b>summa haec</b>. ‘Write quickly and you will never write well: write +well and in time you will write quickly.’ The Greek rhetoricians are +said to have had a saying <span class = "greek" title = "ek tou legein to legein porizetai">ἐκ τοῦ λέγειν τὸ λέγειν πορίζεται</span>, on which +Cicero seems to make Crassus found a similar utterance de Orat. i. §150 +dicendo homines ut dicant efficere solere, ... perverse dicere homines +perverse dicendo facillime consequi.</p> + +<p><b>facultas illa</b>, sc. cito scribendi.</p> + +<p><b>resistamus</b>: ‘let us pause,’ ‘call a halt.’ Cp. <a href = +"#chapIII_sec19">§19</a>: <a href = "#chapVII_sec14">7 §14</a>: xi. +2, 46: 3, 121: ix. 3, 55. Cp. the use of <i>intersistere</i> ix. +4, 33.</p> + +<p><b>ut provideamus</b>: <a href = "#chapVI_sec6">6 §6</a> non +sollicitos +<span class = "pagenum comm">140</span> +et respicientes et una spe suspensos recordationis non sinant providere: +<a href = "#chapVII_sec10">7 §10</a> ut donec perveniamus ad finem +non minus prospectu procedamus quam gradu: i. 12, 4 nonne alia dicimus, +alia providemus. So far from being a gloss, the words seem to be +necessary to define the meaning and motive of <i>resistamus</i>: it is +in order to ‘look ahead’ that we ought to pause from time to time. See +<a href = "QuintCrit.html#critIII_sec10">Crit. Notes</a>.</p> + +<p><b>efferentes se</b>: ‘running away,’ or rather, ‘trying to make +off,’ a <i>praesens conatus</i>, as is shown by <i>non tam moram +faciet</i>, &c. Cp. Hom. Il. 23, 376 <span class = "greek" title = +"podôkees ekpheron hippoi">ποδώκεες ἔκφερον ἵπποι</span>: Xen. de Re +Equestr., 3 §4. In Livy xxx. 20, 3, the figure is taken rather from +the ‘prancing and curveting’ of a horse, Neque ... tam P. Scipio +exultabit atque efferet sese quam Hanno. (Hild’s parallel <span class = +"greek" title = "bia pherousin">βίᾳ φέρουσιν</span>, sc. <span class = +"greek" title = "astomoi pôloi">ἄστομοι πῶλοι</span> from Soph. Electr. +725, cp. Eurip. Hippol. 1224, is more appropriate to the reading +<i>ferentes equos</i>.) For the omission of <i>et</i> before +<i>efferentes</i> (found in no MS.) cp. <a href = +"#chapVII_sec1">7 §1</a> where a figure is added without any +conjunction (auxilium in publicum polliceri ... intrare portum).</p> + +<p><b>neque enim</b>: the ellipse may be supplied as follows,—si +moram faceret non suaderem. The meaning is, it is only in cases where it +will not cause injurious delay that I recommend this curbing and +self-restraint; for neither, again, &c.</p> + +<p><b>robur fecerint</b>: <a href = "#chapIII_sec3">§3</a> vires +faciamus.</p> + +<p><b>infelicem</b>: see on <a href = +"QuintBody1.html#chapI_sec7">1 §7</a> cuiusdam infelicis +operae.</p> + +<p><b>calumniandi se</b>: ‘the wretched task of pedantic +self-criticism.’ See on <a href = +"QuintBody1.html#chapI_sec115">1 §115</a> nimia contra se calumnia: +viii. pr. 31 quibus nullus est finis calumniandi se et cum singulis +paene syllabis commoriendi, qui etiam cum optima sunt reperta, quaerunt +aliquid quod sit magis antiquum: <a href = "#chapIII_sec11">§11</a> +remotum, inopinatum.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapIII_sec11" id = "chapIII_sec11"> </a> +<span class = "secnum">III:11</span> +Nam quo modo sufficere officiis civilibus possit qui singulis actionum +partibus insenescat? Sunt autem quibus nihil sit satis: omnia mutare, +omnia aliter dicere quam occurrit velint,— increduli quidam et de +ingenio suo pessime meriti, qui diligentiam putant facere sibi scribendi +difficultatem.</p> + +<div class = "comm"> +<p><a name = "commIII_sec11" id = "commIII_sec11"><b>§ 11.</b></a> +<b>officiis civilibus</b>: ‘the duties of a citizen,’ here with special +reference to legal practice and the advocacy of cases in courts of law: +<a href = "#chapVII_sec1">7 §1</a>: cp. Suet. Tib. 8 civilium +officiorum rudimentis. The phrase in its widest application includes all +the ‘civilities’ and attentions which one citizen may be expected to +show to another, especially in the relation of patron and client: e.g. +<i>officio</i> togae virilis interfui, Plin. Ep. i. 9 §2. Casaubon +defines <i>officium</i> ‘cum honoris causa praesentiam nostram alicui +commodamus’: for instances of its use in this sense cp. Plin. Ep. i. 5, +11: i. 13, 7: ii. 1, 8: Hor. Epist. i. 7, 8 <i>officiosaque</i> +sedulitas et opella forensis: Sat. ii. 6, 24 officio respondeat (‘answer +duty’s call,’ Palmer).</p> + +<p><b>velint</b>: potential, as often. The clause stands by itself, and +there is no need for supposing the omission of the relative.</p> + +<p><b>increduli quidam</b>: ‘a diffident sort of people,’ ‘somehow +afraid of themselves.’ For quidam cp. <a href = +"QuintBody1.html#chapI_sec76">1 §76</a>. It is employed, as often +by Cicero, to show that the word used is as near the author’s meaning as +possible, though sometimes it is joined with an expression that is +merely a makeshift: cp. <span class = "greek" title = +"tines">τινες</span>. It indicates an undefined degree of the adjective +with which it is connected, and has sometimes a modifying, sometimes an +intensifying effect: here the former is not so probable considering the +strength of the phrase that follows, ‘sinning grievously against their +natural gifts.’</p> + +<p><b>diligentiam</b> is pred.: supply <i>esse</i>. The subject is +<i>facere ... difficultatem</i>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec12" id = "chapIII_sec12"> </a> +<span class = "secnum">III:12</span> +Nec promptum est dicere utros peccare validius +<span class = "pagenum">141</span> +putem, quibus omnia sua placent an quibus nihil. Accidit enim etiam +ingeniosis adulescentibus frequenter, ut labore consumantur et in +silentium usque descendant nimia bene dicendi cupiditate. Qua de re +memini narrasse mihi Iulium Secundum illum, aequalem meum atque a me, ut +notum est, familiariter amatum, mirae facundiae virum, infinitae tamen +curae, quid esset sibi a patruo suo dictum.</p> + +<div class = "comm"> +<p><a name = "commIII_sec12" id = "commIII_sec12"><b>§ 12.</b></a> +<b>validius</b>. Common in Quintilian: iii. 8, 61 verborum autem +magnificentia non validius est adfectanda suasorias declamantibus, sed +contingit magis: vi. Prooem. §8 quo me validius cruciaret: ix. 2, 76 +quanto validius bonos inhibet pudor quam metus. The superlative is +frequent in Pliny: e.g. validissime placere Ep. i. 20, 22: te +validissime diligo iii. 15, 2: vi. 8, 9 validissime vereor: ix. 35, 1 +<span class = "pagenum comm">141</span> +validissime cupere. Cp. Caelias in Cic. ad Fam. viii. 2, 1 ego quum pro +amicitia validissime facerem ei. Horace has valdius oblectat populam +A. P. 321: cp. Ep. i. 9, 6.</p> + +<p><b>omnia sua</b>: cp. <a href = +"QuintBody1.html#chapI_sec130">1 §130</a> (of Seneca) si non omnia +sua amasset: ibid. <a href = "QuintBody1.html#chapI_sec88">§88</a> (of +Ovid) nimium amator ingenii sui.</p> + +<p><b>narrasse</b>: Quintilian always uses the perfect infin. after +<i>memini</i>, even where the person who recalls the event was a witness +of it. The rule is thus stated by Roby §1372 ‘<i>Memini</i> is used with +the present (and sometimes the perfect) infinitive of events of which +the subject himself was witness, with the perfect infinitive of events +of which the subject was not witness.’ On this Dr. Reid has a valuable +note de Amic. §2: ‘The rule may be somewhat more precisely stated thus: +If the person who recalls an event was a witness of it, he may either +(<i>a</i>) vividly picture to himself the event and its attendant +circumstances so that it becomes really present to his mind’s eye for +the moment, in which case he uses the present infinitive, or (<i>b</i>) +he may simply recall the <i>fact</i> that the event <i>did</i> take +place in past time, in which case the perfect infinitive is used. If he +was not a witness, he evidently can conceive the event only in the +latter of these two ways. As regards (<i>a</i>) cp. Verg. Ecl. ix. 52 +longos cantando puerum memini me condere soles with Georg. iv. 125 +memini me Corycium vidisse senem. Examples like the latter of these two +are more numerous than is commonly supposed.’</p> + +<p><b>Iulius Secundus</b>, <a href = +"QuintBody1.html#chapI_sec120">1 §120</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec13" id = "chapIII_sec13"> </a> +<span class = "secnum">III:13</span> +Is fuit Iulius Florus, in eloquentia Galliarum, quoniam ibi demum +exercuit eam, princeps, alioqui inter +<span class = "pagenum">142</span> +paucos disertus et dignus illa propinquitate. Is cum Secundum, scholae +adhuc operatum, tristem forte vidisset, interrogavit quae causa frontis +tam adductae?</p> + +<div class = "comm"> +<p><a name = "commIII_sec13" id = "commIII_sec13"><b>§ 13.</b></a> +<b>Iulius Florus</b> is generally supposed to be identical with the +individual to whom, as one of the <i>comites</i> of Tiberius Claudius in +his mission to the East, Horace addresses (<span class = +"smallroman">B.C.</span> 20) the Third Epistle of the First Book: cp. +also ii. 2. Horace indicates his young friend’s ability in the +following lines (i. 3, 21) Non tibi parvum Ingenium, non incultum +est et turpiter hirtum: Seu linguam causis acuis, seu civica iura +Respondere paras, seu condis amabile carmen, Prima feres hederae +victricis praemia. The scholiast Porphyrio tells us that he wrote +satires: Hic Florus fuit satirarum scriptor, cuius sunt electae ex +Ennio, Lucilio, Varrone satirae, ‘by which is meant, doubtless,’ says +Prof. Wilkins, ‘that he re-wrote some of the poems of these earlier +authors, adapting them to the taste of his own day, much as Dryden and +Pope re-wrote Chaucer’s tales.’ There is, however, a chronological +difficulty in the identification of the Florus who was a young man in +<span class = "smallroman">B.C.</span> 20 with the Florus who was the +<i>patruus</i> of Iulius Secundus, a contemporary of Quintilian +(aequalem meum), who died towards the end of Domitian’s reign before he +had completed the natural term of life (si longius contigisset aetas <a +href = "QuintBody1.html#chapI_sec120">1 §120</a>). Seneca (Controv. +ix. 25, 258) mentions a Iulius Florus who was a pupil of Porcius Latro +(fl. cir. <span class = "smallroman">B.C.</span> 17). There is also the +Gaulish nobleman who headed a rebellion among the Treveri, and +afterwards committed suicide, <span class = "smallroman">A.D.</span> 21 +(Tac. Ann. iii. 40-42). Hild identifies this Florus with the one in the +text: but it is absolutely impossible that the Florus who died in <span +class = "smallroman">A.D.</span> 21 can have seen Secundus (<i>scholae +adhuc operatum</i>), who cannot have been born till about twenty years +later.</p> + +<p><b>in eloquentia</b>. The genitive is more common with princeps: <a +href = "QuintBody1.html#chapI_sec58">1 §58</a>: viii. 6, 30 Romanae +eloquentiae principem: vi. 3, 1.</p> + +<p><b>Galliarum</b>. Eloquence flourished in Gaul under the Empire. At +Lugdunum Caligula instituted (<span class = "smallroman">A.D.</span> +39-40) a contest in Greek and Latin oratory (certamen Graecae Latinaeque +facundiae, Suet. Calig. 20). Cp. Iuv. i. 44 Aut Lugdunensem rhetor +dicturus ad aram.</p> + +<p><b>quoniam</b> introduces what is virtually a parenthesis, referring +not to the whole sentence but only to <i>Galliarum</i>.</p> + +<p><b>ibi demum</b>: <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>: <a href = +"#chapII_sec8">2 §8</a>: <a href = "#chapVI_sec5">6 §5</a>. +<span class = "pagenum comm">142</span> +Here it leads up to <i>alioqui</i> (<i>apart from this fact: +moreover</i>) (<a href = "QuintBody1.html#chapI_sec64">1 §64</a>): +it was in Gaul that he practised, but he would have shone anywhere.</p> + +<p><b>alioqui</b>: <a href = +"QuintBody1.html#chapI_sec64">1 §64</a>. Here it = apart from this +fact, even if compared with orators of other countries. Transl. +‘besides,’ and cp. Tac. Ann. iv. 37 validus alioqui spernendis +honoribus: Hist. ii. 27: iii. 32. Other instances in Quintilian are ii. +1, 4: 15, 9: iv. pr. 6: v. 9, 11, &c.</p> + +<p><b>inter paucos</b>, ‘as few have ever been’: Livy xxii. 7, 1 inter +paucas memorata populi Romani clades: cp. xxiii. 44, 4: xxxviii. 15, 9; +Q. Curtius iv. 8, 7 in paucis Alexandro carus: cp. vi. +8, 2.</p> + +<p><b>illa propinquitate</b>, i.e. his relationship to Secundus, of whom +Quintilian speaks with pride as a friend and contemporary <a href = +"QuintBody1.html#chapI_sec120">1 §120</a>.</p> + +<p><b>Is fuit ... Is cum</b>: one of Quintilian’s negligences: cp. <a +href = "#chapII_sec23">2 §23</a>.</p> + +<p><b>adhuc</b> = etiam tum, as Livy xxi. 48 Scipio quamquam gravis +adhuc vulnere erat. Strictly <i>adhuc</i> is applicable to what +continues up to the time of speaking: here of continuance in past time. +Introd. <a href = "QuintIntro.html#intro_pagel">p. l</a>.</p> + +<p><b>operatum</b>: cp. Tac. Ann. iii. 42 nobilissima Galliarum subole +liberalibus studiis ibi operata (v. 2): reipublicae Livy iv. 60, 2: +conubiis arvisque novis operata iuventus Verg. Aen. iii. 136.</p> + +<p><b>adductae</b>. So adducere frontem Sen. Ben. i. 1: cp. attrahere +frontem 6, 7: cp. contrahere frontem Cic. pro Cluent. §72. The opposite +is <i>frontem remittere</i>: Pliny, Ep. ii. 5, 5. Cp. sollicitam +explicuere frontem Hor. Car. iii. 29, 16. <i>Obductus</i> is used in a +similar sense: cp. Hor. Epod. xiii. 5 obducta solvatur fronte senectus: +Iuv. Sat. ix. 2 quare ... tristis occurras fronte obducta.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec14" id = "chapIII_sec14"> </a> +<span class = "secnum">III:14</span> +Nec dissimulavit adulescens, tertium iam diem esse quod omni labore +materiae ad scribendum destinatae non inveniret exordium; quo sibi non +praesens tantum dolor, sed etiam desperatio in posterum fieret. Tum +Florus adridens, ‘numquid tu,’ inquit, ‘melius dicere vis quam +potes?’</p> + +<div class = "comm"> +<p><a name = "commIII_sec14" id = "commIII_sec14"><b>§ 14.</b></a> +<b>Tertium diem ... quod</b>. <i>Quod</i> does not here = <i>ex quo</i>, +as it denotes not point of time, but duration: in the direct it would be +<i>quod non invenio</i>, not <i>quod</i> (ex quo) <i>non inveni</i>. An +exact analogy is Plaut. Amphit. i. 1, 148 (302) iam diu ’st <i>quod</i> +ventri victum non datis (where, however, Fleckeisen reads <i>quom</i>, +and is followed by Palmer). The commentators quote Pliny, Ep. iv. 27, 1 +Tertius dies est quod audivi recitantem Sentium: but there <i>quod</i> = +<i>ex quo</i>, just as <i>ut</i> is used for <i>ex quo</i> Stich. 29 Nam +viri nostri domo ut abierunt hic tertiust annus. Nägelsbach (note on +p. 167) says this construction of Quintilian’s was imitated not +only by Pliny (l.c.), but by others: Schmalz, Antibarbarus, s.v. e, ex. +It might, however, be argued that we ought to read <i>quum</i> +(<i>quomomni</i>): C. ad Fam. xv. 14 Multi anni sunt cum M. Attius +in meo aere est, and often elsewhere, e.g. de Off. ii. §75 (Roby §1723). +If <i>quod</i> stands it must = ‘as regards the fact that he could find +no <i>exordium</i>, it was now the third day’: cp. the German ‘es ist +schon der dritte Tag dass,’ &c.</p> + +<p><b>omni labore</b>: a modal ablative, ‘in spite of every effort.’ +There are two instances in Cicero of a similar use of the ablative, +<i>with the gerundive</i>: pro Mur. §17 qui non modo Curiis, Catonibus, +Pompeiis, antiquis illis fortissimis viris, sed his recentibus, Mariis +et Didiis et Caeliis, commemorandis iacebant: = quamvis Curios, &c., +commemorarent: de Off. i. 2 §5 quis est enim qui nullis officii +praeceptis tradendis philosophum se audeat dicere? = quamvis non +tradat.</p> + +<p><b>materiae</b>: cp. v. 10, 9 quo apparet omnem ad scribendum +destinatam materiam ita appellari (sc. argumentum): ‘a theme on which he +had to write.’ There seems no reason why <i>materiae</i> should not +<span class = "pagenum comm">143</span> +be taken as genitive, though Hild and others make it dative of the +remote object of <i>inveniret</i>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec15" id = "chapIII_sec15"> </a> +<span class = "secnum">III:15</span> +Ita se res habet: curandum est ut quam optime dicamus, dicendum tamen +pro facultate; ad profectum enim opus est studio, non indignatione. Ut +possimus autem scribere etiam plura et celerius, +<span class = "pagenum">143</span> +non exercitatio modo praestabit, in qua sine dubio multum est, sed etiam +ratio: si non resupini spectantesque tectum et cogitationem murmure +agitantes expectaverimus quid obveniat, <i>sed</i> quid res poscat, quid +personam deceat, quod sit tempus, qui iudicis animus intuiti, humano +quodam modo ad scribendum accesserimus. Sic nobis et initia et quae +sequuntur natura ipsa praescribit.</p> + +<div class = "comm"> +<p><a name = "commIII_sec15" id = "commIII_sec15"><b>§ 15.</b></a> +<b>sine dubio</b>. This substantival use of the neuter adj. with prep. +is frequent in Cicero, but does not occur in Caesar or Sallust. Nägelsb. +Stil. §21: cp. Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>ratio</b>, ‘judgment’ (<span class = "greek" title = +"logos">λόγος</span>), such as rational human beings may be expected to +show (cp. humano quodam modo, below). In this sense <i>ratio</i> and +<i>consilium</i> are often found together. A parallel passage is +ii. 11, §4 Quin etiam in cogitando nulla ratione adhibita aut tectum +intuentes magnum aliquid, quod ultro se offerat, pluribus saepe diebus +expectant, aut murmure incerto velut classico instincti concitatissimum +corporis motum non enuntiandis sed quaerendis verbis accommodant.</p> + +<p><b>resupini</b> (‘with upturned face’) goes closely with +<i>spectantes tectum</i>: cp. Martial ix. 43, 3 Quaeque tulit spectat +resupino sidera vultu.</p> + +<p><b>quod sit tempus</b>. xi. 1, 46 Tempus quoque ac locus egent +observatione propria; nam et tempus tum triste tum laetum, tum liberum +tum angustum est, atque ad haec omnia componendus orator.</p> + +<p><b>humano quodam modo</b>, ‘in true human or rational fashion,’ i.e. +without looking for inspiration to—the ceiling! Cp. +<i>instincti</i>, quoted above, and <a href = +"#chapVII_sec14">7 §14</a> deum tunc affuisse, &c. For +<i>quidam</i> see <a href = "#chapIII_sec11">§11</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec16" id = "chapIII_sec16"> </a> +<span class = "secnum">III:16</span> +Certa sunt enim pleraque et, nisi coniveamus, in oculos incurrunt; +ideoque nec indocti nec rustici diu quaerunt, unde incipiant; quo +pudendum est magis, si difficultatem facit doctrina. Non ergo semper +putemus optimum esse quod latet: immutescamus alioqui, si nihil dicendum +videatur nisi quod non invenimus.</p> + +<div class = "comm"> +<p><a name = "commIII_sec16" id = "commIII_sec16"><b>§ 16.</b></a> +<b>certa</b>, fixed and definite, as belonging necessarily to the +subject, and suggested at once by the thought of it. <i>Pleraque</i> is +not limited to <i>initia</i>, though the next sentence is (unde +incipiant).</p> + +<p><b>non ... putemus</b>: v. on <a href = +"#chapII_sec27">2 §27</a>. Emphasis is secured both by the use of +<i>non</i> for <i>ne</i>, and by its place in the sentence.</p> + +<p><b>immutescamus</b>, very rare for <i>obmutescamus</i>, Stat. Theb. +v. 542 ruptis immutuit ore querelis: vi. 184.</p> + +<p><b>alioqui</b>. The condition implied in the word is here expressed +in the clause which follows: cp. <a href = "#chapIII_sec30">§30</a> +below. Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec17" id = "chapIII_sec17"> </a> +<span class = "secnum">III:17</span> +Diversum est huic eorum vitium qui primo decurrere per materiam stilo +quam velocissimo volunt, et sequentes calorem atque impetum ex tempore +scribunt; hanc silvam vocant. Repetunt +<span class = "pagenum">144</span> +deinde et componunt quae effuderant; sed verba emendantur et numeri, +manet in rebus temere congestis quae fuit levitas.</p> + +<div class = "comm"> +<p><a name = "commIII_sec17" id = "commIII_sec17"><b>§ 17.</b></a> +<b>diversum</b> with the dat. (like <i>contrarium</i>) is common in +Quintilian and later writers: Cicero has <i>ab</i> c. abl. Cp. Hor. Ep. +i. 18, 5 Est huic diversum vitio vitium prope maius: Caesar B.C. iii. +30, 2 diversa sibi consilia.</p> + +<p><b>silvam</b>. This word is here used as a translation of <span class += "greek" title = "hulê">ὕλη</span>, properly timber for building, then, +metaphorically, raw material, or as here ‘rough draft.’ Cic. Orat. §12 +omnis enim ubertas et quasi silva dicendi ducta ab illis (philosophis) +est, nec satis tamen instructa ad forenses causas: §139 quasi silvam +vides: de Or. ii. 65 infinita silva: iii. 93 rerum est silva magna: 103 +primum silva rerum (ac sententiarum) comparanda est: 118 qui loco omnis +virtutum et vitiorum est silva subiecta: 54 ea est ei (oratori) subiecta +materies (<span class = "greek" title = "hupokeimenê hulê">ὑποκειμένη +ὕλη</span>): de Inv. i. 34 quandam silvam atque materiam ... omnium +argumentationum: Suet. Gram. 24 Reliquit non mediocrem silvam +observationum sermonis antiqui (Probus). The philosophical definition of +<span class = "greek" title = "hulê">ὕλη</span>; is given in Isidorus, +Orig. xiii. 3, 1 hylen (<span class = "greek" title = +"hulên">ὕλην</span>) +<span class = "pagenum comm">144</span> +Graeci rerum quamdam primam materiam dicunt, nullo prorsus modo +formatam, sed omnium corporalium formarum capacem, ex qua visibilia haec +elementa formata sunt.</p> + +<p><b>componunt</b>, of ‘arrangement’: cp. +<a href = "QuintBody1.html#chapI_sec44">1, §§44</a>, +<a href = "QuintBody1.html#chapI_sec66">66</a>, +<a href = "QuintBody1.html#chapI_sec79">79</a>.</p> + +<p><b>levitas</b>, ‘superficiality,’ want of thoroughness and solidity: +opp. to <i>gravitas</i>. Cp. <a href = "#chapVII_sec4">7, §4</a> manet +eadem quae fuit incipientibus difficultas.—The improvement extends +only to the <i>verba</i> and <i>numeri</i>, not to the substance.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec18" id = "chapIII_sec18"> </a> +<span class = "secnum">III:18</span> +Protinus ergo adhibere curam rectius erit atque ab initio sic opus +ducere, ut caelandum, non ex integro fabricandum sit. Aliquando tamen +adfectus sequemur, in quibus fere plus calor quam diligentia valet.</p> + +<div class = "comm"> +<p><a name = "commIII_sec18" id = "commIII_sec18"><b>§ 18.</b></a> +<b>protinus</b> = statim ab initio.</p> + +<p><b>opus ducere</b>: <a href = "#chapV_sec9">5 §9</a> velut eadem +cera aliae aliaeque formae duci solent: ii. 4, 7 si non ab initio tenuem +nimium laminam duxerimus et quam caelatura altior rumpat. The same +figure is used Hor. Sat. i. 10, 43-44 forte epos acer ut nemo Varius +ducit. So carmen ducere Ov. Trist. i. 11, 18: iii. 14, 32: ex Pont. i. +5, 7: ducere versus, Trist. v. 12, 63. In all these the metaphor is +originally from drawing out the threads in spinning: cp. Hor. Ep. ii. 1, +225 tenui deducta poemata filo: Sat. ii. 1, 3 putat ... mille die versus +deduci posse. In reference to statuary we have Hor. Ep. ii. 1, 240 +ducent aera fortis Alexandri vultum simulantia: Verg. Aen. vi. 84, 7 +vivos ducent de marmore vultus.</p> + +<p><b>caelandum</b>, ‘chiselled,’ ‘filed’: Hor. Ep. ii. 2, 92 +caelatumque novem Musis opus.</p> + +<p><b>sequemur</b>: so <a href = +"QuintBody1.html#chapI_sec58">1 §58</a> revertemur: 7, 1 +renuntiabit: a common use of the future in rules. Warmth of feeling, he +says, will often compensate for want of finish.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapIII_sec19" id = "chapIII_sec19"> </a> +<span class = "secnum">III:19</span> +Satis apparet ex eo quod hanc scribentium neglegentiam damno, quid de +illis dictandi deliciis sentiam. Nam in stilo quidem quamlibet properato +dat aliquam cogitationi moram non consequens celeritatem eius manus: +ille cui dictamus urget, +<span class = "pagenum">145</span> +atque interim pudet etiam dubitare aut resistere aut mutare quasi +conscium infirmitatis nostrae timentes.</p> + +<div class = "comm space"> +<p><a name = "commIII_sec19" id = "commIII_sec19"><b>§ 19.</b></a> +<b>illis dictandi deliciis</b>: i.e. the practice which is so much in +fashion, so much ‘affected’: for <i>deliciae</i> (‘affectation’) cp. <a +href = "QuintBody1.html#chapI_sec43">1 §43</a> recens haec lascivia +deliciaeque: xii. 8, 4 ne illas quidem tulerim delicias eorum qui, +&c. The phrase <i>in deliciis esse alicui</i> is common in Cicero: +cp. also Orat. §39 longissime tamen ipsi a talibus deliciis vel potius +ineptiis afuerunt. The practice of dictation became so common that +<i>dictare</i> came to have the same sense as <i>scribere</i> +(‘compose’): Pers. i. 52 non si qua eligidia crudi dictarunt proceres? +Literary men had of course always their <i>librarii</i>; and we get a +glimpse of a great advocate at work in Brutus §87 illum ... omnibus +exclusis commentatum in quadam testudine cum servis litteratis fuisse, +quorum alii aliud dictare eodem tempore solitus esset. Pliny, the elder, +used to redeem the time by dictating to a <i>notarius</i> even when on +his travels: so too his nephew (who tells of his uncle’s habits iii. +5, 15), notarium voco et die admisso quae formaveram dicto ix. 36, +2: illa quae dictavi identidem retractantur ibid. 40, 2. Gesner has +an interesting note: “scilicet iam tum notabilis erat ea mollities, ut +circa scribendi artem negligentiores essent homines in aliquo fastigio +constituti: (vid. i. 1, 28) quae postea ita invaluit ut +<i>dictare</i> iam esset eruditorum hominum opus, quem admodum antea +<i>scribere</i>. Itaque <i>vario dictandi genere</i> supergressum se +alios dicit Sidonius Apollin. 8, 6 et ab initio eiusdem epistolae +coniungit <i>studia certandi, dictandi, lectitandique</i>.” He quotes +authorities to show that, owing to the growth of the practice of +dictation, the leading men in Charlemagne’s time, as well as the +bishops, and Charlemagne himself, were ignorant of the art of +writing.</p> + +<p><b>in stilo</b>: i.e. when the author himself uses it. The +<i>quidem</i> introduces an antithesis in <i>ille cui dictamus</i>.</p> + +<p><b>urget</b>: he ‘presses,’ whereas even +<span class = "pagenum comm">145</span> +those authors who can write fast take time to stop and think. No doubt +the most practised amanuensis would fail to write as fast as a man can +think, but this is not asserted. All that is said in the antithesis is +that the amanuensis is always ready for more, as it were: his whole +interest is in the writing, not in the thought. One even (etiam) feels +<i>ashamed</i> at times (in addition to being merely conscious of the +fact that the scribe’s pen is not busy) of one’s hesitancy, &c. See +<a href = "QuintCrit.html#critIII_sec19">Crit. Notes</a>.</p> + +<p><b>resistere</b>: v. on <a href = "#chapIII_sec10">§10</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec20" id = "chapIII_sec20"> </a> +<span class = "secnum">III:20</span> +Quo fit ut non rudia tantum et fortuita, sed impropria interim, dum sola +est conectendi sermonis cupiditas, effluant, quae nec scribentium curam +nec dicentium impetum consequantur. At idem ille qui excipit, si tardior +in scribendo aut incertior in <i>intel</i>legendo velut offensator fuit, +inhibetur cursus, atque omnis quae erat concepta mentis intentio mora et +interdum iracundia excutitur.</p> + +<div class = "comm"> +<p><a name = "commIII_sec20" id = "commIII_sec20"><b>§ 20.</b></a> +<b>impropria</b> = quae significatione deerrant. Cp. i. 5, 46 dubito an +id improprium potius appellem; significatione enim deerrat. On <b>verba +propria</b> see <a href = +"QuintBody1.html#chapI_sec6">1 §6</a>.</p> + +<p><b>consequantur</b>: i.e. such utterances do not come up either to +the care with which one writes or the animation with which one +speaks.</p> + +<p><b>at idem ille</b> introduces the second objection to dictation: <a +href = "#chapIII_sec21">§21</a> supplies a third and <a href = +"#chapIII_sec22">§22</a> a fourth.</p> + +<p><b>incertior in intellegendo</b>, i.e. not to be depended upon to +understand what is dictated to him. See Crit. Notes. Against +<i>legendo</i> it must be urged that the reference to <i>reading</i> is +not very appropriate: the author would not be likely to call on the +scribe to read what he had written, except at an appropriate pause, +otherwise he would himself be to blame for the interruption to the +‘swing’ (cursus) of his thoughts.</p> + +<p><b>offensator</b>, a <span class = "greek" title = "hapax legomenon">ἅπαξ λεγόμενον</span>, whence the use of <i>velut</i>. It is +employed here of one whose slowness or muddle-headedness is always +bringing the author to a standstill. Cp. offensantes <a href = +"#chapVII_sec10">7 §10</a>.</p> + +<p><b>quae erat</b>: cp. <a href = "#chapIII_sec17">§17</a> quae fuit +levitas.</p> + +<p><b>concepta mentis intentio</b>, i.e. the thread of ideas. +<i>Concipere</i> is of frequent occurrence in Quintilian: <a href = +"#chapVII_sec14">7 §14</a>: xi. 3, 25: ix. i, 16: ii. 20, 4: vi. 2, +33, &c. For the gen. cp. animi intentio i. 1, 34. The reading +<i>conceptae mentis</i> (see <a href = +"QuintCrit.html#critIII_sec20">Crit. Notes</a>) is supported by i. 2, 29 +praeceptores ipsos non idem mentis ac spiritus in dicendo posse +concipere: the genitive would then be objective, as <a href = +"#chapIII_sec23">§23</a> below: perhaps ‘attention to the conceived +thought.’</p> + +<p><b>excutitur</b>: Aristoph. Clouds 138 <span class = "greek" title = +"kai phrontid’ exêmblôkas exeurêmenên">καὶ φροντίδ᾽ ἐξήμβλωκας +ἐξευρημένην</span>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec21" id = "chapIII_sec21"> </a> +<span class = "secnum">III:21</span> +Tum illa, quae altiorem animi motum sequuntur quaeque ipsa animum quodam +modo concitant, quorum est iactare manum, torquere vultum, <i>frontem +et</i> latus interim obiurgare, quaeque Persius +<span class = "pagenum">146</span> +notat, cum leviter dicendi genus significat, ‘nec pluteum,’ inquit, +‘caedit nec demorsos sapit ungues,’ etiam ridicula sunt, nisi cum soli +sumus.</p> + +<div class = "comm"> +<p><a name = "commIII_sec21" id = "commIII_sec21"><b>§ 21.</b></a> +<b>quaeque ipsa</b>: i.e. per se: so <a href = "#chapIII_sec23">§23</a> +below, quae ipsa delectant.</p> + +<p><b>frontem et latus ... obiurgare</b>. I venture to insert this +conjecture in the text, as justified both by the MSS. tradition (see <a +href = "QuintCrit.html#critIII_sec21">Crit. Notes</a>) and by the +context. Quintilian is speaking not of the gestures by which animation +is imparted to an actual effort of oratory, but of such little +mannerisms as the men of his day indulged in when in the throes of +solitary composition,—just as they bite quill pens to pieces or +scratch their heads now. For <i>frontem obiurgare</i> cp. Brut. §278 +nulla perturbatio animi nulla corporis, frons non percussa, non femur, +quoted xi. 3, 123: femur pectus frontem caedere ii. 12, 10: ut frontem +ferias Cic. ad Att. i. 1, 1, though this last passage implies a more +vexatious state of distraction.</p> + +<p><b>obiurgare</b>, i.e. caedere, ferire, plectere. Gertz objected to +<i>latus obiurgare</i> on the ground that <i>obiurgare</i> by itself +could not mean to ‘strike.’ We have ablatives in Pers.v. 169 solea puer +obiurgabere rubra: Sen. de Ira iii. 12, 6 servulum istum verberibus +obiurga: Suet. Calig. §20 ferulis obiurgari: id. Otho §2 flagris: +Petronius 34 colaphis. But in all these +<span class = "pagenum comm">146</span> +the abl. is needed to define the meaning of <i>obiurgare</i>, while no +one could mistake <i>latus obiurgare</i>.</p> + +<p><b>leviter dicendi genus</b>: cp. <a href = "#chapIII_sec17">§17</a> +levitas. The reference is to listlessness and carelessness of style, +‘not the kind that beats the desk or savours of the bitten +nail,’—without earnestness or feeling.</p> + +<p><b>nec pluteum caedit</b>. The <i>pluteus</i> or <i>pluteum</i> is +the back board of the ‘lecticula lucubratoria’ in which writing was done +in a recumbent position. The quotation is from Sat. i. 106, where +Persius pictures a drivelling versifier, listlessly pouring forth his +verses without any physical exertion or trace of feeling.</p> + +<p><b>demorsos sapit ungues</b>: imitated from Hor. Sat. i. 10, 70, +speaking of what Lucilius would do if he lived now: in versu faciendo +Saepe caput scaberet, vivos et roderet ungues.</p> + +<p><b>nisi cum soli sumus</b>. This refers to practice only. +A different point of view is stated in i. ii. §31, where Quintilian +sums up in these words, Non esset in rebus humanis eloquentia, si tantum +cum singulis loqueremur.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec22" id = "chapIII_sec22"> </a> +<span class = "secnum">III:22</span> +Denique ut semel quod est potentissimum dicam, secretum in dictando +perit. Atque liberum arbitris locum et quam altissimum silentium +scribentibus maxime convenire nemo dubitaverit: non tamen protinus +audiendi qui credunt aptissima in hoc nemora silvasque, quod illa caeli +libertas locorumque amoenitas sublimem animum et beatiorem spiritum +parent.</p> + +<div class = "comm"> +<p><a name = "commIII_sec22" id = "commIII_sec22"><b>§ 22.</b></a> +<b>ut semel ... dicam</b>: <a href = +"QuintBody1.html#chapI_sec17">1 §17</a>.</p> + +<p><b>secretum in dictando</b>. This is the fourth objection. Cp. <a +href = "#chapVII_sec16">7 §16</a> cum stilus secreto gaudeat atque +omnes arbitros reformidet. Hirt (Substantivierung des Adj. bei +Quint.—Berlin, 1890) notes that this use of the nom. neut. +standing by itself is not so common as other cases: he cites about a +dozen instances, e.g. iv. 1, 41 honestum satis per se valet: v. 11, 13 +dissimile plures casus habet: vi. 3, 84 inopinatum et a lacessente poni +solet. See <a href = "QuintCrit.html#critIII_sec22">Crit. Notes</a>.</p> + +<p><b>protinus</b>: see on <a href = +"QuintBody1.html#chapI_sec3">1 §3</a>, <a href = +"QuintBody1.html#chapI_sec42">§42</a>.</p> + +<p><b>aptissima in hoc</b>. A poetical constr.: only here in +Quintilian, instead of <i>dat.</i> or <i>ad</i>. Livy xxviii. 31 genere +pugnae in quod minime apti sunt: Ovid Metam. xiv. 765 formas deus aptus +in omnes.</p> + +<p><b>nemora silvasque</b>. Quintilian is speaking of oratory: poetry on +the other hand may fitly seek its inspiration in solitude. Tac. Dial. +ix. poetis ... in nemora et lucos id est in solitudinem recedendum est: +cp. xii nemora vero et luci et secretum ipsum, &c. The poet’s love +of retirement and the necessity for his being exempted from the fears +and anxieties of the vulgar is in fact a commonplace in Latin +literature: Horace, Car. i. 1, 30: 32, 1: iv. 3, 10 sq.: Ep. ii. 2, 77: +A. P. 298: Ovid, Tristia i. 1, 41 Carmina secessum scribentis et +otia quaerunt, cp. v. 12, 3: Iuv. vii. 58: Pliny ix. 10 §2 (to +Tacitus) poemata quiescunt, quae tu inter nemora et lucos commodissime +perfici putas: so for study of all kinds i. 6, 2; cp. ix. +36, 6.</p> + +<p><b>beatiorem spiritum</b>: i. §27, §44 (spiritus: cp. <a href = +"#chapV_sec4">5 §4</a> sublimis spiritus): and i. §61, §109 +(beatus). Cp. dives vena in Hor. A. P. 409.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec23" id = "chapIII_sec23"> </a> +<span class = "secnum">III:23</span> +Mihi certe iucundus hic magis quam studiorum hortator videtur esse +secessus. Namque illa, quae ipsa delectant, necesse est avocent ab +intentione operis destinati. Neque enim se bona fide +<span class = "pagenum">147</span> +in multa simul intendere animus totum potest, et quocumque respexit, +desinit intueri quod propositum erat.</p> + +<div class = "comm"> +<p><a name = "commIII_sec23" id = "commIII_sec23"><b>§ 23.</b></a> +<b>hortator</b>: cp. Liv. xxvii. 18, 14 foederum ruptor dux et populus: +Cic. pro Mil. §50 ipse ille latronum occultator et receptor locus. +Introd. <a href = "QuintIntro.html#intro_pagexlv">p. xlv</a>.</p> + +<p><b>quae ipsa</b>: <a href = "#chapIII_sec21">§21</a> above. Cic. +Tusc. Disp. v. 21, 62 iam ipsae defluebant coronae.</p> + +<p><b>bona fide</b>, ‘earnestly and conscientiously’: ut non fallat (sc. +animus) sed officiis suis probe sufficiat (Wolff). The phrase is +borrowed from the language of the law-courts, where it was applied to +judicial awards made not according to any positive enactment but in +equity. Cicero, de Off. iii. 61 et sine lege iudiciis, +<span class = "pagenum comm">147</span> +in quibus additur <i>ex fide bona</i>. See Holden’s note <i>ad +loc.</i></p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec24" id = "chapIII_sec24"> </a> +<span class = "secnum">III:24</span> +Quare silvarum amoenitas et praeterlabentia flumina et inspirantes ramis +arborum aurae volucrumque cantus et ipsa late circumspiciendi libertas +ad se trahunt, ut mihi remittere potius voluptas ista videatur +cogitationem quam intendere.</p> + +<div class = "comm"> +<p><a name = "commIII_sec24" id = "commIII_sec24"><b>§ 24.</b></a> +<b>late circumspiciendi</b>. Wölfflin thinks that Quintilian designedly +avoided such alliterations as ‘longe lateque circumspicere’: cp. Sall. +Iug. 5, Tac. Hist. iv. 50. In viii. 3, 65 he has ‘vultum et oculos’ +instead of ‘ora et oculos’: and ‘satis’ by itself, or ‘satis abunde,’ +instead of ‘satis superque.’</p> + +<p><b>remittere ... intendere</b>: the figure is derived from the use of +the bow.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapIII_sec25" id = "chapIII_sec25"> </a> +<span class = "secnum">III:25</span> +Demosthenes melius, qui se in locum ex quo nulla exaudiri vox et ex quo +nihil prospici posset recondebat, ne aliud agere mentem cogerent oculi. +Ideoque lucubrantes silentium noctis et clausum cubiculum et lumen unum +velut <i>t</i>ectos maxime teneat.</p> + +<div class = "comm"> +<p><a name = "commIII_sec25" id = "commIII_sec25"><b>§ 25.</b></a> +<b>Demosthenes</b>: Plut. Dem. 7 <span class = "greek" title = "ek toutou katageion men oikodomêsai meletêrion ho dê diesôzeto kai kath’ hêmas">ἐκ τούτου κατάγειον μὲν οἰκοδομῆσαι μελετήριον ὃ δὴ διεσώζετο καὶ +καθ᾽ ἡμᾶς</span>.</p> + +<p><b>cogerent</b>: for a similar modified use of <i>cogere</i> cp. +Corn. Nep. Milt. 7, 1: Suet. Domit. 11.</p> + +<p><b>lumen</b> for <i>lucerna</i>: Cic. de Divin. 1 §36 lumine +adposito.</p> + +<p><b>velut tectos</b>, ‘as if under cover’: sc. ad omnia quae oculis +vel auribus incursant. This is said to be one of Quintilian’s military +metaphors, whence the use of <i>velut</i>. Becher (Philol. xliii. 203 +sq.) compares de Orat. i. 8, 32 quid autem tam necessarium quam tenere +semper arma quibus vel tectus ipse esse possis vel provocare improbos +vel te ulcisci lacessitus? and Orelli on pro Deiot. 6, 16: (quis +consideratior illo? quis tectior? quis prudentior?) ‘est metaphora +petita a gladiatoribus qui, uti debent, contra ictus adversariorum se +tegunt.’ Here the ‘weapons of defence’ are three: ‘silentium noctis,’ +‘clausum cubiculum,’ and ‘lumen unum’ (i.e. nobis solum appositum). The +opposite of <i>tectus</i> in this sense is <i>apertus</i>: e.g. latus +apertum Tac. Hist. ii. 21 <i>aperti</i> incautique muros subiere, ‘of a +force which has no adequate defensive means at its disposal for +conducting a siege<ins class = "correction" title = "close quote invisible">’ </ins>(Spooner). For the thought Krüger (3rd ed.) +compares Plin. Ep. x. 36 clausae fenestrae manent. Mire enim silentio et +tenebris animus alitur. Ab iis quae avocant abductus et liber et mihi +relictus non oculos animo sed animum oculis sequor, qui eadem quae mens +vident, quoties non adsunt alia.—See <a href = +"QuintCrit.html#critIII_sec25">Crit. Notes</a>.</p> + +<p><b>maxime</b> = potissimum, and leads up to <a href = +"#chapIII_sec28">§28</a> ut sunt <i>maxime</i> optanda. Cp. <span class += "greek" title = "malista">μάλιστα</span>: Plat. Rep. 326 A <span class += "greek" title = "peisai malista men kai autous tous archontas, ei de mê tên allên polin">πεῖσαι μάλιστα μὲν καὶ αὐτοὺς τοὺς ἄρχοντας, εἰ δὲ +μὴ τὴν ἄλλην πόλιν</span>.</p> + +<p><b>teneat</b>, potential: ‘if we work at night, the silence, &c. +will secure us from interruption.’ But Krüger (2nd ed.), looking to +<i>lucubrantes</i> (which is emphatic), explains = ita lucubremus ut ... +teneat, and Wrobel makes it an imperative, ‘let us work by night, and +under such conditions, with such precautions that,’ &c.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapIII_sec26" id = "chapIII_sec26"> </a> +<span class = "secnum">III:26</span> +Sed cum in omni studiorum genere, tum in hoc praecipue bona valetudo, +quaeque eam maxime praestat, frugalitas necessaria est, cum tempora ab +ipsa +<span class = "pagenum">148</span> +rerum natura ad quietem refectionemque nobis data in acerrimum laborem +convertimus. Cui tamen non plus inrogandum est quam quod somno +supererit, haud deerit;</p> + +<div class = "comm"> +<p><a name = "commIII_sec26" id = "commIII_sec26"><b>§ 26.</b></a> +<b>in hoc</b>, i.e. for night work (= in hoc studiorum genere; viz. +cum lucubramus).</p> + +<p><b>frugalitas</b>: regularity of life, in a wide sense (as moderatio, +temperantia, <span class = "greek" title = +"sôphrosunê">σωφροσύνη</span>): cp. xii. 1, 8 Age non ad perferendos +studiorum labores necessaria frugalitas? quid ergo ex libidine ac +luxuria spei? Cic. pro Deiot. ix. §26.</p> + +<p><b>cum ... convertimus</b>: the temporal signification of <i>cum</i> +c. ind. passes here into the causal. Cp. i. 6, 2 auctoritas ab +oratoribus vel historicis peti solet ... cum summorum in eloquentia +virorum iudicium pro ratione, et vel error honestus est magnos duces +sequentibus.—Becher on the other hand (followed by Krüger 3rd ed.) +insists that the use is here exclusively temporal, and that the clause +is merely a development of ‘cum lucubramus,’— +<span class = "pagenum comm">148</span> +the idea contained in the foregoing in hoc (sc. stud. genere).</p> + +<p><b>cui</b>: sc. labori scribendi.</p> + +<p><b>inrogandum</b> = impendendum, tribuendum.</p> + +<p><b>supererit ... deerit</b>. Tr<ins class = "correction" title = +"period missing">. </ins>‘only so much as would be superfluous for +sleep, not insufficient.’ The meaning is clear: we must not encroach on +the time necessary for the repose of mind and body,—‘not more than +what is not needed for sleep, and what will not be missed.’ For what may +seem a superfluous addition cp. <a href = +"QuintBody1.html#chapI_sec115">1 §115</a> si quid adiecturus sibi +non si quid detracturus fuit: Verg. Aen. ix. 282 ‘tantum fortuna secunda +Haud adversa cadat.’ The juxtaposition of compounds of <i>esse</i> is +very common: esp. <i>superesse</i>, <i>deesse</i>. Asin. Pollio, ad Fam. +x. 33, 5: Cic. ad Fam. xiii. 63, 2: Cic. in Gellius i. 22, 7: Val. Max. +viii. 7, 2: Suet. Aug. 56 (Schmalz). See <a href = +"QuintCrit.html#critIII_sec26">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec27" id = "chapIII_sec27"> </a> +<span class = "secnum">III:27</span> +obstat enim diligentiae scribendi etiam fatigatio, et abunde, si vacet, +lucis spatia sufficiunt; occupatos in noctem necessitas agit. Est tamen +lucubratio, quotiens ad eam integri ac refecti venimus, optimum secreti +genus.</p> + +<div class = "comm"> +<p><a name = "commIII_sec27" id = "commIII_sec27"><b>§ 27.</b></a> +<b>si vacet ... occupatos</b>. The antithesis should be noted: the days +are long enough when one has nothing else to do: it is the busy man who +is driven to encroach on the night.</p> +</div> + + +<div class = "null"> +<p class = "maintext space"> +<a name = "chapIII_sec28" id = "chapIII_sec28"> </a> +<span class = "secnum">III:28</span> +Sed silentium et secessus et undique liber animus ut sunt maxime +optanda, ita non semper possunt contingere; ideoque non statim, si quid +obstrepet, abiciendi codices erunt et deplorandus dies, verum incommodis +repugnandum et hic faciendus usus, ut omnia quae impedient vincat +intentio; quam si tota mente in opus ipsum derexeris, nihil eorum quae +oculis vel auribus incursant ad animum perveniet.</p> + +<div class = "comm space"> +<p><a name = "commIII_sec28" id = "commIII_sec28"><b>§ 28.</b></a> +<b>codices</b>: writing-books or tablets, as <a href = +"#chapIII_sec32">§32</a>.</p> + +<p><b>faciendus usus</b>. Cp. ut scribendi fiat usus in <a href = +"#chapII_sec2">2 §2</a>: and <a href = "#chapIII_sec3">§3</a> below +vires faciamus: <a href = "#chapVI_sec3">6 §3</a> facienda multo +stilo forma est.</p> + +<p><b>derexeris</b>: see on <a href = "#chapII_sec1">2 §1</a>. So +xii. 3, 8: ii. 13, 5: ii. 1, 11. On the other hand in x. <a href = +"QuintBody1.html#chapI_sec127">1 §127</a> and v. 7, 6 Halm and +Meister print <i>dirigere</i>.</p> + +<p><b>incursant</b>: stronger than <a href = "#chapIII_sec16">§16</a> in +oculos incurrunt. The constr. with the dative is poetical (Ovid, Metam. +i. 303, xiv. 190).</p> +</div> +</div> <!-- null --> + + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapIII_sec29" id = "chapIII_sec29"> </a> +<span class = "secnum">III:29</span> +An vero frequenter etiam fortuita hoc cogitatio praestat, ut obvios non +videamus et itinere deerremus: non consequemur idem, si et voluerimus? +Non est indulgendum causis desidiae. Nam si non nisi refecti, non nisi +hilares, non nisi omnibus aliis curis vacantes studendum existimarimus, +semper erit propter quod nobis ignoscamus.</p> + +<div class = "comm"> +<p><a name = "commIII_sec29" id = "commIII_sec29"><b>§ 29.</b></a> +<b>An vero ... non consequemur</b>. For this form of the <i>argumentum a +minore ad maius</i> cp. <a href = "#chapII_sec5">2 §5</a>. Cic. pro +Rab. 5 An vero servos nostros ... dominorum benignitas ... liberabit hos +a verberibus ... nostri honores (non) vindicabunt?</p> + +<p><b>deerremus</b> with simple abl. is post-classical.</p> + +<p><b>idem</b>, i.e. the same abstraction.</p> + +<p><b>si et voluerimus</b>: ‘by an effort of will,’ opp. to <i>fortuita +cogitatio</i>.</p> + +<p><b>non nisi</b>: see on <a href = +"QuintBody1.html#chapI_sec20">1 §20</a>.</p> +</div> +</div> <!-- null --> + + +<div class = "null"> +<p class = "maintext"> +<a name = "chapIII_sec30" id = "chapIII_sec30"> </a> +<span class = "secnum">III:30</span> +Quare in turba, itinere, conviviis etiam faciat sibi cogitatio ipsa +<span class = "pagenum">149</span> +secretum. Quid alioqui fiet, cum in medio foro, tot circumstantibus +iudiciis, iurgiis, fortuitis etiam clamoribus, erit subito continua +oratione dicendum, si particulas quas ceris mandamus nisi in solitudine +reperire non possumus? Propter quae idem ille tantus amator secreti +Demosthenes in litore, in quo se maximo cum sono fluctus inlideret, +meditans consuescebat contionum fremitus non expavescere.</p> + +<div class = "comm"> +<p><a name = "commIII_sec30" id = "commIII_sec30"><b>§ 30.</b></a> +<b>itinere</b>: Sen. Ep. 72 §2 quaedam enim sunt quae possis et in +cisio scribere: Plin. Ep. iv. 14 §2 accipies cum hac epistula +hendecasyllabos nostros, quibus nos in vehiculo, in balineo, inter +<span class = "pagenum comm">149</span> +cenam oblectamus otium temporis. Pliny even took with him to the chase +his <i>pugillares</i>, that he might note down any passing thought: i. +6, 1: ix. 10, 2. He had learnt the lesson from his uncle, who made +use of his time at dinner, in the bath, on a journey: see the +description his nephew gives of his habits Ep. iii. 5 §§10, 11, 14-16. +Cato the Younger used to read while the Senate was assembling: Cic. de +Fin. iii. 2 §7.</p> + +<p><b>alioqui</b>: see on <a href = "#chapIII_sec16">§16</a>. Cp. §7 and +Introd. <a href = "QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>tot circumstantibus iudiciis</b>. Four courts were commonly held +in one and the same basilica. Cp. xii. 5, 6 cum in basilica Iulia +diceret primo tribunali (Trachalus 1 §119) quatuor autem iudicia, ut +moris est, cogerentur, atque omnia clamoribus fremerent, et auditum eum +et intellectum et, quod agentibus ceteris contumeliosissimum fuit, +laudatum quoque ex quatuor tribunalibus memini: Plin. Ep. i. 18, 3 eram +acturus ... in quadruplici iudicio: iv. 24, 1: vi. 33, 2.</p> + +<p><b>particulas</b>: the ‘jottings’ which we ought to be able to make +even in spite of surrounding confusion, if we are to be effective when +called on to speak <i>ex tempore</i>.</p> + +<p><b>ceris</b>: used especially for rough notes. Iuv. i. 63: xiv. 191. +These tablets were “made of thin slabs or leaves of wood, coated with +wax, and having a raised margin all round to preserve the contents from +friction. They were made of different sizes and varied in the number of +their leaves, whence the word, in this sense, is applied in the plural” +(Rich).</p> + +<p><b>in litore</b>: Frotscher quotes Lib. Vit. Demosth. <span class = +"greek" title = "phasin auton anemon rhagdaion têrounta, kai kinoumenên sphodrôs tên thalattan, para tous aigialous badizonta, legein kai tô tês thalattês êchô sunethizesthai pherein tas tou dêmou kataboas">φασὶν +αὐτὸν ἄνεμον ῥαγδαῖον τηροῦντα, καὶ κινουμένην σφοδρῶς τὴν θάλατταν, +παρὰ τοὺς αἰγιαλοὺς βαδίζοντα, λέγειν καὶ τῷ τῆς θαλάττης ἤχῳ +συνεθίζεσθαι φέρειν τὰς τοῦ δήμου καταβοάς</span>: Plut. Vit. X Orat. 8, +p. 844 E <span class = "greek" title = "kai kationta epi to Phalêrikon pros tas tôn kumatôn embolas tas skepseis poieisthai, hin’ ei pote thoruboiê ho dêmos, mê ekstaiê">καὶ κατιόντα ἐπὶ τὸ Φαληρικὸν πρὸς +τὰς τῶν κυμάτων ἐμβολὰς τὰς σκέψεις ποιεῖσθαι, ἵν᾽ εἴ ποτε θορυβοίη ὁ +δῆμος, μὴ ἐκσταίη</span>: Cic. de Fin. v. 2, 5 Noli inquit, ex me +quaerere, qui in Phalericum etiam descenderim, quo in loco ad fluctum +aiunt declamare solitum Demosthenem, ut fremitum assuesceret voce +vincere: Val. Max. viii. 7, ext. 1.</p> + +<p><b>meditans</b>, ‘practising’: cp. de Orat. i. §260 (Demosthenes) +perfecit meditando ut nemo planius esse locutus putaretur: §136: Brutus +§302 nullum patiebatur esse diem (Hortensius) quin aut in foro diceret +aut meditaretur extra forum: Quint. ii. 10, 2: iv. 2, 29.</p> + +<p><b>expavescere</b>. This corresponds with the motive attributed to +Demosthenes by Plutarch and Libanius, as quoted above; Cicero’s +explanation (ut fremitum assuesceret voce vincere) is perhaps the more +credible.</p> +</div> +</div> <!-- null --> + + +<p class = "maintext space"> +<a name = "chapIII_sec31" id = "chapIII_sec31"> </a> +<span class = "secnum">III:31</span> +Illa quoque minora (sed nihil in studiis parvum est) non sunt +transeunda: scribi optime ceris, in quibus facillima est ratio delendi, +nisi forte visus infirmior membranarum potius usum +<span class = "pagenum">150</span> +exiget, quae ut iuvant aciem, ita crebra relatione, quoad intinguntur +calami, morantur manum et cogitationis impetum frangunt.</p> + +<div class = "comm space"> +<p><a name = "commIII_sec31" id = "commIII_sec31"><b>§ 31.</b></a> +<b>optime</b>: <a href = "#chapIII_sec33">§33</a>: <a href = +"QuintBody1.html#chapI_sec72">1 §72</a> (prave): <a href = +"QuintBody1.html#chapI_sec105">1 §105</a> (fortiter), where see +note: <a href = "#chapV_sec13">5 §13</a> (rectene and honestene). +Becher says ‘<i>optime</i> giebt ein Urteil über die Handlung an, drückt +nicht die Art und Weise aus’: hence it = <i>optimum esse</i>.</p> + +<p><b>scribi ceris</b>: for the omission of in cp. xi. 2, 32 illud +neminem non iuvabit iisdem quibus scripserit ceris ediscere. In viii. 6, +64 Meister reads <i>in ceris</i>.</p> + +<p><b>ratio delendi</b>: see on <a href = "#chapII_sec3">2 §3</a>: +‘erasure,’ the ‘art of blotting.’ A similar periphrasis is <i>ratio +collocandi</i> <a href = "#chapIII_sec5">§5</a>. For the purpose of +erasure the reverse end of the <i>stilus</i> was flat. Hor. Sat. i. 10, +72 saepe stilum vertas (cp. <a href = "#chapIV_sec1">4 §1</a>): +Cic. de Orat. ii. §96 luxuries quaedam quae stilo depascenda est. With +parchment the method of erasure was of course different: Hor. A. P. +446 incomptis adlinet atrum transverso calamo signum.</p> + +<p><b>nisi forte</b> is not ironical here, as in <a href = +"QuintBody1.html#chapI_sec70">1 §70</a>: <a href = +"#chapII_sec8">2 §8</a>: <a href = +"#chapV_sec6">5 §§6-7</a>.</p> + +<span class = "pagenum comm">150</span> +<p><b>membranarum</b>. Parchment was more expensive than the tablets +(cerae), though probably cheaper now than it had been previously. It +could be used for rough notes, the writing being erased to make room for +fresh matter,—‘palimpsest.’ Even when a published book consisted +of papyrus paper (charta), parchment was often used for the wrapper. It +was called <i>membrana pergamena</i> because the industry received its +development under the kings of Pergamum.</p> + +<p><b>exiget</b>: for the indic. cp. v. 2, 2 refelluntur autem +(praeiudicia) raro per contumeliam iudicum, nisi forte manifesta in iis +culpa erit. The commentators quote Sall. Iug. xiv. 10, but there the +subj. is really consecutive.</p> + +<p><b>relatione</b> is here used in the etymological sense of ‘carrying +the pen back,’ or ‘to and fro’ in supplying it with ink. No other +example can be quoted in which this sense ( = reductio) occurs. Kiderlin +(l.c.) thinks that the idea of ‘raising’ the hand would be more +appropriate to the context than that of ‘drawing it back’: he proposes +therefore to read ‘<i>crebriore elatione</i>.’ See <a href = +"QuintCrit.html#critIII_sec31">Crit. Notes</a>.</p> + +<p><b>intinguntur</b>, i.e. in the ink (atramentum), which was generally +an artificial compound, sometimes the natural juice of the +cuttle-fish.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec32" id = "chapIII_sec32"> </a> +<span class = "secnum">III:32</span> +Relinquendae autem in utrolibet genere contra erunt vacuae tabellae, in +quibus libera adiciendo sit excursio. Nam interim pigritiam emendandi +angustiae faciunt, aut certe novorum interpositione priora confundant. +Ne latas quidem ultra modum esse ceras velim, expertus iuvenem studiosum +alioqui praelongos habuisse sermones, quia illos numero versuum +metiebatur, idque vitium, quod frequenti admonitione corrigi non +potuerat, mutatis codicibus esse sublatum.</p> + +<div class = "comm"> +<p><a name = "commIII_sec32" id = "commIII_sec32"><b>§ 32.</b></a> +<b>contra</b> = ex adverso. Space must be left for corrections and +additions opposite to what has been written: there must be blank pages. +Cp. <i>contra</i> <a href = +"QuintBody1.html#chapI_sec114">1 §114</a>.</p> + +<p><b>adiciendo</b>, ‘for making additions,’ comes under the head of the +‘dative for work contemplated’ Roby §§1156 and 1383. So Tacitus +constantly uses the dative of gerund or gerundive in a final sense after +verbs and adjectives. See <a href = "QuintCrit.html#critIII_sec32">Crit. +Notes</a>.</p> + +<p><b>aut certe</b>, with no previous <i>aut</i>: cp. ix. 2, 94: +3, 60. For <b>novorum</b> cp. <i>subitis</i> <a href = +"#chapVII_sec30">7 §30</a>, and see Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>confundant</b>: potential. It states a possibility: <i>faciunt</i> +a fact.</p> + +<p><b>expertus</b> with acc. and inf. is rare.</p> + +<p><b>studiosum</b>: <a href = +"QuintBody1.html#chapI_sec45">1 §45</a>.</p> + +<p><b>alioqui</b>: see Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>versuum</b>: <a href = +"QuintBody1.html#chapI_sec38">1 §38</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIII_sec33" id = "chapIII_sec33"> </a> +<span class = "secnum">III:33</span> +Debet vacare etiam locus in quo notentur quae scribentibus solent extra +ordinem, id est ex aliis quam qui sunt in manibus loci, occurrere. +Inrumpunt enim optimi nonnumquam sensus, quos neque inserere oportet +neque differre tutum est, quia interim elabuntur, interim memoriae sui +<span class = "pagenum">151</span> +intentos ab alia inventione declinant ideoque optime sunt in +deposito.</p> + +<div class = "comm"> +<p><a name = "commIII_sec33" id = "commIII_sec33"><b>§ 33.</b></a> +<b>locus ... loci</b>. There is something of Quintilian’s not infrequent +negligence of style in the repetition of the word, especially as by +<i>locus</i> he means only ‘room,’ while <i>loci</i> are the different +parts of the composition.</p> + +<p><b>notentur</b>, ‘jot down.’</p> + +<p><b>inrumpunt</b>, ‘break in upon us,’ with a force that is hard to +resist (cp. memoriam sui intentos below).</p> + +<p><b>sensus</b>: ‘ideas’: viii. 5, 2 sententiam veteres quod animo +sensissent vocaverunt ... sed consuetudo iam tenuit ut mente concepta +sensus vocaremus, lumina autem praecipueque in clausulis posita +sententias: <a href = "#chapV_sec5">5 §5</a>: <a href = +"#chapVII_sec6">7 §6</a>.</p> + +<p><b>interim ... interim</b>: frequent in Quintilian (see Introduction +p. li.) for <i>nunc ... nunc</i>, <i>modo ... modo</i>.</p> + +<p><b>optime sunt</b>: <a href = "#chapIII_sec31">§31</a> = optimum est +eos esse.</p> + +<span class = "pagenum comm">151</span> +<p><b>inventione</b>: ‘line of thought.’</p> + +<p><b>in deposito</b>: ‘in store,’ ‘in a place of safety,’ i.e. noted +down: see Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>. The phrase is +borrowed from law: vii. 2, 51 depositi quaestiones, Pandects, xxxvi. +3, 5.</p> +</div> + +</div> <!-- text --> + + +<div class = "argument"> + +<h5><a name = "arg_chapIV" id = "arg_chapIV"> +CHAPTER IV.</a><br> +<span class = "subhead"> +Of Revision.</span></h5> + +<p><a href = "#chapIV_sec1">§§ 1-2.</a> +The three parts of revision are addition, excision, and alteration. It +is best to lay aside for a time what has been written: an interval after +each new birth will furnish the best safeguard against excessive +parental fondness.</p> + +<p><a href = "#chapIV_sec3">§§ 3-4.</a> +But time is not always at command. There must obviously be some limit to +revision, especially on the part of the orator, who has to meet the +needs of the moment. Not all changes are improvements: let the file +polish the work, instead of rubbing it all away.</p> + +</div> <!--argument --> + + +<div class = "text"> + +<h5><a name = "chapIV" id = "chapIV"> +De Emendatione.</a></h5> + + +<p class = "maintext"> +<a name = "chapIV_sec1" id = "chapIV_sec1"> </a> +<span class = "secnum">IV:1</span> +IV. Sequitur emendatio, pars studiorum longe utilissima; neque enim sine +causa creditum est stilum non minus agere, cum delet. Huius autem operis +est adicere, detrahere, mutare. Sed facilius in iis simpliciusque +iudicium quae replenda vel deicienda sunt; premere vero tumentia, +humilia extollere, luxuriantia adstringere, inordinata digerere, soluta +componere, exultantia coercere duplicis operae; nam et damnanda sunt +quae placuerant et invenienda quae fugerant.</p> + +<div class = "comm"> +<p><a name = "commIV_sec1" id = "commIV_sec1"><b>§ 1.</b></a> +<b>creditum est</b>: <a href = +"QuintBody1.html#chapI_sec48">1 §48</a>. The perfect indicates that +the opinion was adopted and is still maintained. Hor. Ep. i. 2, 5 cur +ita crediderim (= credam): cp. credidi <a href = +"#chapII_sec20">2 §20</a> above.</p> + +<p><b>non minus</b>, sc. quam cum scribit. Hild sees a similar ellipse +in <a href = "QuintBody1.html#chapI_sec30">1 §30</a> potius habenti +periculosus, sc. quam utilis. But see note <i>ad loc.</i></p> + +<p><b>replenda ... deicienda</b> correspond to <b>adicere ... +detrahere</b>. This use is suggested by the idea of <i>levelling</i>. +Cp. Digest xlii. 1, 4 lege repletur quod sententiae deest: Ovid, Her. x. +37 quod voci deerat plangore replebam.</p> + +<p><b>premere</b>, ‘prune’: v. on <i>pressus</i> <a href = +"QuintBody1.html#chapI_sec44">1 §§44</a>, <a href = +"QuintBody1.html#chapI_sec46">46</a>: Hor. Sat. i. 10, 69 Detereret sibi +multa, recideret omne quod ultra Perfectum traheretur.</p> + +<p><b>luxuriantia</b>, ‘exuberance’: Hor. Ep. ii. 2, 122 luxuriantia +compescet, where Wilkins cites this passage, also de Orat. ii. 96 +luxuries quaedam quae stilo depascenda est, i.e. must be kept down by +the practice of writing.</p> + +<p><b>inordinata</b>: of expression, viii. 2, §23 nam si ... neque plura +neque inordinata aut indistincta dixerimus, erunt dilucida et +neglegenter quoque audientibus aperta: ix. 4, 27 felicissimus tamen +sermo est cui et rectos ordo et apta iunctura et cum his numerus +opportune cadens contigit.</p> + +<p><b>soluta componere</b> = numeris adstringere verba: ‘reducing to +metre what is unrhythmical.’ Cp. carmen solutum <a href = +"QuintBody1.html#chapI_sec31">1 §31</a>. For <i>componere</i>, see +on <a href = "QuintBody1.html#chapI_sec44">1 §44</a>.</p> + +<p><b>exultantia</b>: cp. <a href = "#chapII_sec15">2 §15</a>, +where the opposition of <i>compositi</i> and <i>exultantes</i> shows +that the latter denotes the extreme,—the excess of that of which +<i>solutus</i> is the defect. Cp. Cic. Orat. §195. The three terms might +be arranged in a series: soluta, composita, exultantia,—the last +denoting ‘combinations of words producing an undignified, skipping, or +dancing movement’ (Frieze).</p> +</div> + + +<p class = "maintext"> +<a name = "chapIV_sec2" id = "chapIV_sec2"> </a> +<span class = "secnum">IV:2</span> +Nec dubium est optimum esse emendandi genus, si scripta in aliquod +tempus reponantur, ut ad ea post intervallum velut nova atque aliena +redeamus, ne nobis scripta nostra tamquam recentes fetus +blandiantur.</p> + +<div class = "comm"> +<p><a name = "commIV_sec2" id = "commIV_sec2"><b>§ 2.</b></a> +<b>emendandi genus</b>. Like <i>vis</i> and <i>ratio</i> (see on <a href += "QuintBody1.html#chapI_sec1">1 §1</a>), <i>genus</i> is used with +the gerund to supply the place of a noun (here <i>emendatio</i>): cp. +ix. 3, 35 est et illud repetendi genus (‘this too is repetition’): Cic. +pro Rab. Post. neque solum hoc genus pecuniae capiendae turpe sed etiam +nefarium esse arbitrabatur: and even with the perf. part. pass. in Verr. +ii. §141 non mihi praetermittendum videtur ne illud quidem genus +pecuniae conciliatae: Nägelsbach, p. 130.</p> + +<p><b>in aliquod tempus</b>. Hor. A. P. 388 nonumque prematur in annum: +advice to which Quintilian alludes in his dedicatory letter to Tryphon, +dabam iis otium ut refrigerato inventionis amore diligenter repetitos +tamquam lector perpenderem.</p> + +<p><b>recentes fetus</b>: <a href = +"QuintBody1.html#chapI_sec16">1 §16</a> nova illa velut +<span class = "pagenum comm">152</span> +nascentia: <a href = "#chapIII_sec7">3 §7</a> omnia nostra dum +nascuntur placent.</p> +</div> + + +<p class = "maintext"> +<a name = "chapIV_sec3" id = "chapIV_sec3"> </a> +<span class = "secnum">IV:3</span> +Sed +<span class = "pagenum">152</span> +neque hoc contingere semper potest praesertim oratori, cui saepius +scribere ad praesentes usus necesse est, et ipsa emendatio finem habet. +Sunt enim qui ad omnia scripta tamquam vitiosa redeant et, quasi nihil +fas sit rectum esse quod primum est, melius existiment quidquid est +aliud, idque faciant quotiens librum in manus resumpserunt, similes +medicis etiam integra secantibus. Accidit itaque ut cicatricosa sint et +exsanguia et cura peiora.</p> + +<div class = "comm"> +<p><a name = "commIV_sec3" id = "commIV_sec3"><b>§ 3.</b></a> +<b>finem habet</b>: there must be a limit. Cp. §4.</p> + +<p><b>sunt enim</b>: the <i>increduli</i> of <a href = +"#chapIII_sec11">3 §11</a>: quibus nihil sit satis, &c.</p> + +<p><b>medicis</b>. This is not flattering to the profession in +Quintilian’s day: he may have owed the doctors a grudge. Dion. Hal. ad +Cn. Pomp. vi. (p. 785 R.) has a similar figure.</p> + +<p><b>accidit itaque</b>. Livy sometimes has itaque in the second place, +Cicero never.</p> + +<p><b>cicatricosa</b>, ‘covered with sutures’: ‘patchwork.’</p> + +<p><b>exsanguia</b>: cp. <a href = +"QuintBody1.html#chapI_sec115">1 §115</a>, where he says of Calvus +‘nimia contra se calumnia verum sanguinem perdidisse.’</p> + +<p><b>cura peiora</b>: cp. Plin. Nat. Hist. xxxv. 10 nocere saepe nimiam +diligentiam: Plin. Ep. ix. 35, 2 nimia cura deterit magis quam +emendat.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapIV_sec4" id = "chapIV_sec4"> </a> +<span class = "secnum">IV:4</span> +Sit ergo aliquando quod placeat aut certe quod sufficiat, ut opus poliat +lima, non exterat. Temporis quoque esse debet modus. Nam quod Cinnae +Smyrnam novem annis accepimus scriptam, et Panegyricum Isocratis, qui +parcissime, decem annis dicunt elaboratum, ad oratorem nihil pertinet, +cuius nullum erit, si tam tardum fuerit, auxilium.</p> + +<div class = "comm"> +<p><a name = "commIV_sec4" id = "commIV_sec4"><b>§ 4.</b></a> +<b>lima</b>: Hor. A. P. 291 limae labor et mora: Plin. Ep. v. 10, §3 +perfectum opus absolutumque est, nec iam splendescit lima sed +atteritur.</p> + +<p><b>nam</b>: cp. <a href = +"QuintBody1.html#chapI_sec9">1 §§9</a>, <a href = +"QuintBody1.html#chapI_sec50">50</a>. <b>quod</b>: see on <a href = +"QuintBody1.html#chapI_sec60">1 §60</a>.</p> + +<p><b>Cinnae Smyrnam</b>. C. Helvius Cinna, a friend of Catullus, was +the author of a poem entitled Smyrna (Zmyrna), in which he described the +incestuous love of Myrrha for her father Cinyras, the subject being +treated in the fashion of the Alexandrian poets. (Cp. Teuffel, Rom. Lit. +210 §§2-3.) Vergil seems to have admired him (Ecl. ix. 35): but the +elaborate care he spent over his poem, which was after all not a long +one, resulted in obscurity: fuit autem liber obscurus adeo ut et +nonnulli eius aetatis grammatici in eum scripserint magnamque ex eius +enarratione sint gloriam consecuti. Quod obscurus fuerit etiam Martialis +ostendit in illo versu (x. 21, 4): iudice te melior Cinna Marone +fuit,—Philargyrius, quoted by Teuffel. Cp. Catullus xcv Zmyrna mei +Cinnae nonam post denique messem Quam coeptast nonamque edita post +hiememst. Horace’s nonum ... prematur in annum is believed to contain a +direct reference to the Smyrna.</p> + +<p><b>Panegyricum Isocratis</b>. This speech received its name from the +fact that it was written for recitation at one of the great <span class += "greek" title = "panêgureis">πανηγύρεις</span> or festal assemblies, +such as the Panhellenic festival at Olympia. It was probably published +in the latter part of the summer of <span class = +"smallroman">B.C.</span> 380, and consisted of an appeal to the Greeks +to join in an expedition against Persia, under the joint command of +Athens and Sparta.</p> + +<p><b>parcissime</b>, sc. dicunt: cp. <a href = +"QuintBody1.html#chapI_sec101">1 §101</a> ut parcissime dicam. +Quintilian seems here to be following Dion. Hal. de Comp. Verb. c. 25 +(Reiske v. p. 208) <span class = "greek" title = "ho men gar ton panêgurikon logon, hôs hoi ton elachiston chronon graphontes apophainousin, en etesi deka sunetaxato.">ὁ μὲν γὰρ τὸν πανηγυρικὸν +λόγον, ὡς οἱ τὸν ἐλάχιστον χρόνον γράφοντες ἀποφαίνουσιν, ἐν ἔτεσι δέκα +συνετάξατο.</span> Plutarch says that some mentioned 15 years: <span +class = "greek" title = "ton panêgurikon etesi deka sunethêken, hoi de dekapente legousin">τὸν πανηγυρικὸν ἔτεσι δέκα συνέθηκεν, οἱ δὲ +δεκαπέντε λέγουσιν</span> Dec. Orat. p. 837 F: cp. Mor. 350 E, +where he speaks of ‘almost three Olympiads.’ The writer of the treatise +‘On the Sublime’ (ch. 4) gives ten years as the period.</p> + +<p><b>elaboratum</b>: <a href = "#chapVII_sec32">7 §32</a>. Cp. +Cic. Brutus §312 deinceps inde multae (causae) quas nos diligenter +elaboratas et tamquam elucubratas adferebamus.</p> + +<p><b>nullum erit</b>, ‘will be of no avail’ = non dignum erit cuius +ulla ratio habeatur. +<span class = "pagenum comm">153</span> +Cp. Cic. in Vatin. xii. §30 Dices supplicationes te illas non probasse. +Optime. Nullae fuerint supplicationes.</p> +</div> +</div> <!-- null --> + +</div> <!-- text --> + + +<div class = "argument"> + +<h5><a name = "arg_chapV" id = "arg_chapV"> +CHAPTER V.</a><br> +<span class = "subhead"> +What to Write.</span></h5> + +<p><a href = "#chapV_sec1">§§ 1-8.</a> +The question now, as distinguished from the preliminary courses laid +down in Books i. and ii., is what form of composition we should practise +in order to acquire copiousness and readiness. First, translation from +the Greek: this exercise leaves the writer free to choose the best terms +in his own language. +<span class = "pagenum">8</span> +Second, reproduction (or paraphrase) of Latin poets and orators: here, +however, we often have to borrow from our models. Prose renderings of +the poets are especially useful for the formation of an elevated style. +And even in reproducing orations, we are stimulated to a kind of rivalry +with our author, which may result in our surpassing him: in any case, +the difficulty of competing with masterpieces forces us to study them +minutely.</p> + +<p><a href = "#chapV_sec9">§§ 9-11.</a> +It will be of advantage also to put our own ideas into various forms of +expression, and to cultivate the faculty of amplifying: power is shown +in making much of little.</p> + +<p><a href = "#chapV_sec11">§§ 11-16.</a> +Here the writing of <i>theses</i> (or discussions of abstract questions) +forms a valuable exercise: also judicial decisions and commonplaces. The +writing of declamations, or school speeches on fictitious cases, is also +to be recommended, even for those who are already making a name at the +bar. History, dialogue, and poetry are all valuable by way of variety +and recreation: a many-sided culture is the best safeguard against +such intellectual narrowness as would otherwise result from the daily +battles of the law-courts.</p> + +<p><a href = "#chapV_sec17">§§ 17-20.</a> +Young students must not be kept too long at these preparatory exercises, +lest by indulging the fancy overmuch they unfit themselves for practice. +After a youth has been well schooled in <i>inventio</i> and +<i>elocutio</i>, and has had also some moderate amount of practice, he +should attach himself to some eminent public speaker, and accompany him +to the courts: he should write speeches, too, at home on the causes he +has heard. He has no longer to fence with foils.</p> + +<p><a href = "#chapV_sec21">§§ 21-23.</a> +Declamations should resemble real speeches: the subject should be +treated naturally and thoroughly. Large classes and the custom of public +speech-days tend to encourage a specious showiness, in which only the +most popular and attractive parts of a subject are dealt with, and +crowded together without regard to logical connection. One subject, +thoroughly handled, is worth twenty superficially treated.</p> + +</div> <!--argument --> + + +<div class = "text"> + +<span class = "pagenum">153</span> +<h5><a name = "chapV" id = "chapV"> +Quae scribenda sint praecipue.</a></h5> + + +<p class = "maintext"> +<a name = "chapV_sec1" id = "chapV_sec1"> </a> +<span class = "secnum">V:1</span> +V. Proximum est ut dicamus quae praecipue scribenda sint <span class = +"greek" title = "hexin">ἕξιν</span> parantibus. <i>Non est huius</i> +quidem operis ut explicemus quae sint materiae, quae prima aut secunda +aut deinceps tractanda sint (nam id factum est iam primo libro, quo +puerorum, et secundo, quo iam robustorum studiis ordinem dedimus), sed, +de quo nunc agitur, unde copia ac facilitas maxime veniat.</p> + +<div class = "comm"> +<p><a name = "commV_sec1" id = "commV_sec1"><b>§ 1.</b></a> +<b><span class = "greek" title = "hexin">ἑξιν</span></b>: v. <a href = +"QuintBody1.html#chapI_sec1">1 §1</a> and note. For the reading see +<a href = "QuintCrit.html#critV_sec1">Crit. Notes</a>.</p> + +<p><b>operis</b>: ‘this part of my work,’ viz. the present chapter.</p> + +<p><b>materiae</b>. The plural is especially frequent in Quintilian <a +href = "QuintBody1.html#chapI_sec62">1 §62</a>: <a href = +"#chapV_sec22">5 §22</a>: <a href = +"#chapVII_sec25">7 §25</a>: cp. ii. 4, 12 and 41: 6, 1: 10, 1 and +4: iii. 5, 2: iv. 1, 43: vi. 2, 10: 3, 15: vii. pro. §4: 4, 24 and 40. +He is not treating here of the kinds of subjects for a general course of +rhetorical training, but limits himself to the point ‘de quo agitur, +unde copia ac facilitas maxime veniat.’</p> + +<p><b>primo libro</b>: see ch. 9, where he adds to the office of the +grammarian, after <i>ratio loquendi</i> and <i>enarratio auctorum</i>, +quaedam dicendi primordia quibus aetates nondum rhetorem capientes +instituant.</p> + +<p><b>secundo</b>: ch. 4 de primis apud rhetorem exercitationibus, and +ch. 10 de utilitate et ratione declamandi.</p> + +<p><b>puerorum ... robustorum</b>: cp. i. 8, 12 priora illa ad pueros +magis, haec sequentia ad robustiores pertinebunt: ii. 2, 14 infirmitas a +robustioribus separanda est: <a href = +"QuintBody1.html#chapI_sec130">x. 1 §130</a> robustis et severiore +genere satis firmatis: ii. 5, 2 robusti iuvenes: i. 1, 9 robustum quoque +et iam maximum regem ab institutione illa puerili sunt prosecuta: i. 5, +9: 12, 1.</p> + +<p><b>sed</b>: supply <i>ut explicemus</i>, or (for an independent +clause) <i>explicandum est</i>.</p> + +<p><b>de quo nunc agitur</b>: i.e. the avowed object of the tenth book: +cp. <a href = "QuintBody1.html#chapI_sec1">1 §1</a>.</p> + +<p><b>copia</b>: <a href = "QuintBody1.html#chapI_sec5">1 §5</a> +opes quaedam parandae ... eae constant copia rerum ac verborum. It is +the <i>copia verborum</i> that is specially meant here.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapV_sec2" id = "chapV_sec2"> </a> +<span class = "secnum">V:2</span> +Vertere Graeca in Latinum veteres nostri oratores optimum iudicabant. Id +se L. Crassus in illis Ciceronis de Oratore libris dicit +factitasse; id Cicero sua ipse persona frequentissime praecipit, quin +etiam libros Platonis atque Xenophontis edidit hoc +<span class = "pagenum">154</span> +genere translatos; id Messallae placuit, multaeque sunt ab eo scriptae +ad hunc modum orationes, adeo ut etiam cum illa Hyperidis pro Phryne +difficillima Romanis subtilitate contenderet. Et manifesta est +exercitationis huiusce ratio.</p> + +<div class = "comm space"> +<p><a name = "commV_sec2" id = "commV_sec2"><b>§ 2.</b></a> +<b>Latinum</b>: to be taken substantively, cp. i. 6, 3 and 19: ii. 1, 4: +<a href = "#chapV_sec4">§4</a> below, <i>Latinis</i>: cp. Cicero Tusc. +iii. §29 licet, ut saepe facimus, in Latinum illa convertere.</p> + +<p><b>de Oratore</b> i. §155 postea mihi placuit, eoque sum usus +adulescens, ut summorum oratorum Graecas orationes explicarem, quibus +lectis hoc adsequebar, ut cum ea quae legeram Graece, Latine redderem, +non solum optimis verbis uterer et tamen usitatis, sed etiam exprimerem +quaedam verba imitando, quae nova nostris essent, dummodo essent idonea. +Prof. Wilkins there refers, for the value to be attached to translation +at sight, as giving a command over appropriate diction, to Stanhope’s +Life of Pitt, vol. i. pp. 8 and 18. Cp. Stanley’s Arnold, i. +120.</p> + +<p><b>sua ipse persona</b>: in his own name, and not merely by the mouth +of one of the persons of a dialogue, like Crassus in the De Oratore. +There are no passages in Cicero’s extant writings that account for the +words <i>frequentissime praecipit</i>: cp., however, Brutus §310 +Commentabar declamitans ... idque faciebam multum etiam Latine sed +Graece saepius: ad Fam. xvi. 21, 5 declamitare Graece apud Cassium +institui. The introductions to the De Officiis and De Finibus contain +Cicero’s advocacy of the study of Greek. Suet. de Rhet. 1-2 Cicero ad +praeturam usque Graece declamavit, Latine vero senior quoque.</p> + +<p><b>libros Platonis atque Xenophontis</b>. Cicero translated, at about +the age of 20 +<span class = "pagenum comm">154</span> +years (de Off. ii. §87) the Oeconomicus of Xenophon: in early life also +the Protagoras of Plato, and later the Timaeus. Quintilian might have +included a reference to Cicero’s translation of Aeschines in +Ctesiphontem and Demosthenes de Corona, his preface to which survives in +the De Optimo Genere Oratorum: §14 Converti enim ex Atticis duorum +eloquentissimorum nobilissimas orationes inter se contrarias, Aeschinis +Demosthenisque: nec converti ut interpres sed ut orator, &c. His +motive was to lay down a standard of ‘Atticism,’ as well as to free +himself from the charge of ‘Asianism’: §23 erit regula ad quam eorum +dirigantur orationes qui Attice volent dicere. Cp. Quint, xii. 10.</p> + +<p><b>hoc genere</b>: <a href = "#chapIII_sec26">3 §26</a>: and +below <a href = "#chapV_sec7">§7</a>.</p> + +<p><b>Messallae</b>: v. <a href = +"QuintBody1.html#chapI_sec22">1 §22</a> and <a href = +"QuintBody1.html#chapI_sec113">§113</a> with the notes.</p> + +<p><b>Hyperidis pro Phryne</b>: Quintilian refers to the well-known +story ii. 15, 9 et Phrynen non Hyperidis actione quamquam admirabili, +sed conspectu corporis, quod illa speciosissimum alioqui diducta +nudaverit tunica, putant periculo liberatam. Phryne was accused of <span +class = "greek" title = "asebeia">ἀσέβεια</span>. For Hyperides v. <a +href = "QuintBody1.html#chapI_sec77">1 §77</a>, and note.</p> + +<p><b>cum illa ... pro Phryne ... subtilitate</b>. The commentators +quote a similar brachyology in Cic. Orator §108 ipsa enim illa pro +Roscio iuvenilis redundantia, though the text is not certain.</p> + +<p><b>difficillima Romanis subtilitat</b>. Cp. <a href = +"QuintBody1.html#chapI_sec100">1 §100</a> cum sermo ipse Romanus +non recipere videatur illam solis concessam Atticis venerem. For +<i>subtilitas</i> cp. <a href = +"QuintBody1.html#chapI_sec78">1 §78</a>, <a href = +"#chapII_sec19">2 §19</a>, Brutus §67 sed ea in nostris inscitia +est, quod hi ipsi, qui in Graecis antiquitate delectantur eaque +subtilitate quam Atticam appellant, hanc in Catone ne noverunt quidem. +Hyperidae volunt esse et Lysiae. Laudo; sed cur nolunt Catones?</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec3" id = "chapV_sec3"> </a> +<span class = "secnum">V:3</span> +Nam et rerum copia Graeci auctores abundant et plurimum artis in +eloquentiam intulerunt, et hos transferentibus verbis uti optimis licet; +omnibus enim utimur nostris. Figuras vero, quibus maxime ornatur oratio, +multas ac varias excogitandi etiam necessitas quaedam est, quia +plerumque a Graecis Romana dissentiunt.</p> + +<div class = "comm"> +<p><a name = "commV_sec3" id = "commV_sec3"><b>§ 3.</b></a> +<b>auctores</b>: see on <a href = +"QuintBody1.html#chapI_sec24">1 §24</a>.</p> + +<p><b>transferentibus</b>: personal dat. after <i>licet</i>.</p> + +<p><b>verbis uti optimis</b>: cp. hoc adsequebar ut .... non solum +optimis verbis uterer de Oratore i. §155, quoted above.</p> + +<p><b>nostris</b> is predicative = omnia enim quibus utimur nostra sunt. +Translation from the Greek leaves us free to choose the best +expressions: it is not like translation from Latin (i.e. reproduction or +paraphrase), where we must often borrow from our models (optimis +occupatis <a href = "#chapV_sec5">§5</a>.).</p> + +<p><b>figuras</b>. Cp. <a href = +"QuintBody1.html#chapI_sec12">1 §12</a>, note on figuramus. In ix. +1, Quintilian discusses the meaning of <i>figura</i>, which he defines +broadly in §4 as ‘conformatio quaedam orationis remota a communi et +primum se offerente ratione.’ Here he refers both to rhetorical and to +grammatical figures; the latter require idiomatic rendering, while a +rhetorical figure which may be appropriate in the one language may not +be allowable in the other. In i. 1, 13 he gives a warning against the +exclusive use of Greek in early training: hinc enim accidunt et oris +plurima vitia in peregrinum sonum corrupti et sermonis, cui cum Graecae +figurae adsidua consuetudine haeserunt, in diversa quoque loquendi +ratione pertinacissime durant.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapV_sec4" id = "chapV_sec4"> </a> +<span class = "secnum">V:4</span> +Sed et illa ex Latinis conversio multum et ipsa contulerit. +<span class = "pagenum">155</span> +Ac de carminibus quidem neminem credo dubitare, quo solo genere +exercitationis dicitur usus esse Sulpicius. Nam et sublimis spiritus +attollere orationem potest, et verba poetica libertate audaciora non +praesumunt eadem proprie dicendi facultatem; sed et ipsis sententiis +adicere licet oratorium robur et omissa supplere et effusa +substringere.</p> + +<div class = "comm space"> +<p><a name = "commV_sec4" id = "commV_sec4"><b>§ 4.</b></a> +<b>ex Latinis conversio.</b> Verbal nouns are often joined with the case +governed by the verb from which they are derived: vii. 2, 35 ex causis +probatio. In Plautus there are several instances even of the accusative, +but the dative is more frequent.</p> + +<p><b>multum et ipsa</b> = ipsa quoque ... multum contulerit, ‘even +paraphrase of +<span class = "pagenum comm">155</span> +itself,’ i.e. apart from translation. See on <a href = +"QuintBody1.html#chapI_sec31">1 §31</a> and cp. <a href = +"#chapV_sec20">§20</a> below, <a href = "#chapVI_sec1">6 §1</a>: <a +href = "#chapVII_sec26">7 §26</a>.</p> + +<p><b>contulerit</b>: v. on <a href = +"QuintBody1.html#chapI_sec37">1 §37</a>. (Cicero uses ipse by +itself, or ipse etiam: Livy, ipse quoque.)</p> + +<p><b>de carminibus</b>: Hild wrongly takes this of Greek poetry. +Quintilian is commending those exercises in ‘reproduction’ or +‘paraphrase,’ which are substituted in many schools now for English +‘parsing.’</p> + +<p><b>Sulpicius</b>, <a href = +"QuintBody1.html#chapI_sec116">1 §116</a>.</p> + +<p><b>sublimis spiritus</b>: cp. <a href = +"QuintBody1.html#chapI_sec27">1 §27</a> in rebus spiritus et in +verbis sublimitas: <a href = "QuintBody1.html#chapI_sec61">§61</a> +spiritu, magnificentia: <a href = +"QuintBody1.html#chapI_sec104">§104</a> elatum abunde spiritum: <a href += "#chapIII_sec22">3 §22</a> beatiorem spiritum.</p> + +<p><b>orationem</b>: ‘prose style.’ The fire of the poetry gives +elevation to the paraphrase. <i>Oratio</i> is used (without prosa) in +Cicero for ‘prose’: Orator §70 saepissime et in poematis et in oratione +peccatur: ibid. §§166, 174, 178, 198, &c.</p> + +<p><b>poetica libertate</b>. Cp. Quintilian’s remarks on the study of +poetry, <a href = "QuintBody1.html#chapI_sec27">1 §§27-30</a>, esp. +<a href = "QuintBody1.html#chapI_sec28">§28</a> libertate verborum ... +licentia figurarum.</p> + +<p><b>praesumunt</b>. The use of this verb, with such a nominative as +<i>verba</i> (which seems here to be in a way personified), would be +hard to parallel either from Quintilian or from any other writer. +Elsewhere it is generally used with a personal reference in the sense of +to ‘take beforehand’ (<span class = "greek" title = +"prolambanô">προλαμβάνω</span>)),—with derived meanings; e.g. i. +10, 27: i. 1, 19: ii. 4, 7; 17, 28: viii. 6, 23: xii. 9, 9. The +passage xi. 1, 27 inviti iudices audiunt praesumentem partes suas is +quoted as showing that the meaning is ‘encroach upon,’ but that is +secondary: there it simply means ‘anticipating them in the discharge of +their functions,’ cp. sumere sibi imperatorias partes Caesar B.C. iii. +51. ‘Forestall’ is the nearest English equivalent: praeripere (Becher), +praecidere (Hild), praecipere (sumere aliquid ante tempus) Dosson. Cp. +Aen. xi. 18: Ovid Ar. Amat. iii. 757: and praeclusam <a href = +"#chapV_sec7">§7</a> below.—In what follows eadem is the only +reading that will make sense of a very difficult passage: if it is the +nom. pl. (agreeing with <i>verba</i>), tr. ‘do not at the same time +(i.e. in consequence of their being <i>poet. libert. audac.</i>) exhaust +beforehand the power of using the language of ordinary prose: no (sed = +<span class = "greek" title = "alla">ἀλλὰ</span>), we may add to the +thought (of the poem) the strength of rhetoric,’ &c. Even if the +words are ‘poetica libertate audaciora’ the ‘facultas proprie dicendi’ +can secure strength, completeness, and compactness for the reproduction. +But <i>eadem</i> is usually taken as the acc. pl. neut.: ‘do not use up +beforehand the ability to say the same things in ordinary prose.’ The +reading <i>eandem</i> (Halm and Meister) would seem to require a +different meaning for <i>praesumunt</i>.—See <a href = +"QuintCrit.html#critV_sec4">Crit. Notes</a>.</p> + +<p><b>effusa substringere</b>: cp. <a href = +"#chapIV_sec1">4 §1</a> luxuriantia adstringere. +<i>Substringere</i> means to ‘gather up’ as one does with dishevelled +(<i>effusus</i>) hair, from which the figure may be taken: Tac. Germ. 38 +substringere crinem nodo. Burmann quotes from Tertullian de Oration, +ch. i. de brevitate orationis dominicae quantum substringitur +verbis tantum diffunditur sensibus.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec5" id = "chapV_sec5"> </a> +<span class = "secnum">V:5</span> +Neque ego paraphrasin esse interpretationem tantum volo, sed circa +eosdem sensus certamen atque aemulationem. Ideoque ab illis dissentio +qui vertere +<span class = "pagenum">156</span> +orationes Latinas vetant, quia optimis occupatis, quidquid aliter +dixerimus, necesse sit esse deterius. Nam neque semper est desperandum +aliquid illis quae dicta sunt melius posse reperiri, neque adeo ieiunam +ac pauperem natura eloquentiam fecit ut una de re bene dici nisi semel +non possit:</p> + +<div class = "comm"> +<p><a name = "commV_sec5" id = "commV_sec5"><b>§ 5.</b></a> +<b>paraphrasin</b>, subject: cp. conversio <a href = +"#chapV_sec4">§4</a> above. The paraphrase is not to be a mere +word-for-word translation: for interpretatio cp. iii. 5, 17. Among +the ‘dicendi primordia’ proper for the training of ‘aetates nondum +rhetorem capientes’ Quintilian lays down the practice of paraphrase: tum +paraphrasi audacius vertere (Aesopi Fabellas), qua et breviare quaedam +et exornare salvo modo poetae sensu permittitur.</p> + +<p><b>circa eosdem sensus</b>. The writer is to endeavour to rival his +original in expressing the same idea. For <i>sensus</i> cp. <a href = +"#chapIII_sec33">3 §33</a>: <i>circa</i> again below <a href = +"#chapV_sec6">§6</a> circa voces easdem. See on <a href = +"QuintBody1.html#chapI_sec52">1 §52</a>.</p> + +<p><b>vertere orationes</b>. Till now he has +<span class = "pagenum comm">156</span> +been speaking of <i>conversio ex carminibus</i>. It was probably the +custom in schools of rhetoric to make pupils give a free rendering +(vertere) of passages also from some great oration. Quintilian is +defending such practices against the criticism which Cicero, for +example, puts in the mouth of Crassus, de Orat. i. §154 equidem mihi +adulescentulus proponere solebam illam exercitationem maxime ... ut aut +versibus propositis quam maxime gravibus aut oratione aliqua lecta ad +eum finem, quem memoria possem comprehendere, eam rem ipsam quam +legissem verbis aliis quam maxime possem lectis pronuntiarem: sed post +animadverti hoc esse in hoc vitii, quod ea verba quae maxime cuiusque +rei propria quaeque essent ornatissima atque optima occupasset aut +Ennius, si ad eius versus me exercerem, aut Gracchus, si eius orationem +mihi forte proposuissem: ita, si eisdem verbis uterer, nihil prodesse, +si aliis, etiam obesse, cum minus idoneis uti consuescerem. So he took +to translating from the Greek, as shown in what follows, quoted on <a +href = "#chapV_sec2">§2</a> above.</p> + +<p><b>una de re</b>. Along with <i>in eadem materia</i> below, this +shows what freedom Quintilian would allow in such reproductions: cp. non +interpretationem tantum, &c. above. Hild refers to a quotation, on +the other hand, from La Bruyère (Ouvrages de l’Esprit 17), which has +more of the spirit of the true artist: Entre toutes les différentes +expressions qui peuvent rendre une seule de nos pensées, il n’y en a +qu’une qui soit la bonne. On ne la rencontre pas toujours en parlant ou +en écrivant; il est vrai néanmoins qu’elle existe, que tout ce qui ne +l’est pas est faible, et ne satisfait point un homme d’esprit qui veut +se faire entendre.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec6" id = "chapV_sec6"> </a> +<span class = "secnum">V:6</span> +nisi forte histrionum multa circa voces easdem variare gestus potest, +orandi minor vis, ut dicatur aliquid post quod in eadem materia nihil +dicendum sit. Sed esto neque melius quod invenimus esse neque par, est +certe proximis locus.</p> + +<div class = "comm"> +<p><a name = "commV_sec6" id = "commV_sec6"><b>§ 6.</b></a> +<b>nisi forte</b>: a formula generally used, as in Cicero, to introduce +an ironical argument, e.g. i. §70: <a href = +"#chapII_sec8">2 §8</a>. For a similar constr. cp. i. 10, 6: nisi +forte <span class = "greek" title = "antidotous">ἀντιδότους</span> +quidem atque alia, quae oculis aut vulneribus medentur, ex multis atque +interim contrariis quoque inter se effectibus componi videmus ... et +muta animalia mellisillum inimitabilem humanae rationis saporem vario +florum ac sucorum genere perficiunt: nos mirabamur si oratio, qua nihil +praestantius homini dedit providentia, pluribus artibus egeat. And, with +<i>autem</i> in the second clause, ii. 3, 6 Nisi forte Iovem quidem +Phidias optime fecit, illa autem alius melius elaborasset. Cp. the use +of <i>an</i>, <i>an vero</i> with antithetical clauses.—The +reasoning is by no means conclusive, the analogy on which it rests +having nothing to recommend it except to a teacher of rhetoric. +Quintilian may have had in his mind what went on between Cicero and +Roscius: Satis constat contendere eum cum ipso histrione solitum, utrum +ille saepius eandem sententiam variis gestibus efficeret, an ipse per +eloquentiae copiam sermone diverso pronuntiaret,—Macrobius, +Saturn. ii. 40.</p> + +<p><b>esto</b>: with acc. and infin. as in Hor. Ep. i. 1, 81 Verum esto +aliis alios rebus studiisque teneri: Idem eadem possunt horam durare +probantes. The subj. is more common: Cic. pro Sest. 97 esto (est) ... ut +sint. Or else <i>esto</i> may be used independently: Hor. Sat. ii. +2, 30. Quint. ix. 2, 84 sed esto, voluerit: Verg. Aen. iv. 35 esto, +nulli flexere mariti.</p> + +<p><b>par ... proximis</b>: cp. <a href = +"QuintBody1.html#chapI_sec127">1 §127</a> pares ac saltem proximos +illi viro fieri. With <i>proximis</i> understand ‘illis quae dicta +sunt.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec7" id = "chapV_sec7"> </a> +<span class = "secnum">V:7</span> +An vero ipsi non bis ac saepius de eadem re dicimus et quidem continuas +nonnumquam sententias? Nisi +<span class = "pagenum">157</span> +forte contendere nobiscum possumus, cum aliis non possumus. Nam si uno +genere bene diceretur, fas erat existimari praeclusam nobis a prioribus +viam; nunc vero innumerabiles sunt modi plurimaeque eodem viae +ducunt.</p> + +<div class = "comm"> +<p><a name = "commV_sec7" id = "commV_sec7"><b>§ 7.</b></a> +<b>An vero</b>: see on <a href = "#chapIII_sec29">3 §29</a>.</p> + +<p><b>et quidem</b>: see on <a href = "QuintBody1.html#chapI_sec34"><ins class = "correction" +title = "text reads “§34” only, as if to 5.34">1 §34</ins></a>, and cp. Plin. Ep. i. 12, 1 decessit Corellius Rufus, et quidem sponte.</p> + +<span class = "pagenum comm">157</span> +<p><b>nisi forte</b>: v. on <a href = "#chapV_sec6">§6</a> above. For +such repetitions see <a href = "#chapII_sec23">2 §23</a>, and +note.</p> + +<p><b>uno</b>: supply <i>tantum</i>, as in <a href = +"QuintBody1.html#chapI_sec91">1 §91</a> hos nominavimus. For genere +(= ratione, modo) cp. <a href = +"#chapIII_sec26">3 §26</a>.</p> + +<p><b>fas erat</b>. With verbs expressing possibility, duty, necessity, +convenience, intention, &c. the indicative is often used in the +apodosis when the verb in the protasis is subjunctive. Cp. Livy v. 6 Si +mediusfidius ad hoc bellum nihil pertineret, ad disciplinam certe +militiae plurimum intererat, &c.: Sallust. Iug. 85 ad fin. Quae si +dubia aut procul essent, tamen omnes bonos rei publicae subvenire +decebat.</p> + +<p><b>plurimae ... ducunt</b>. The expression seems proverbial: cp. ‘All +roads lead to Rome.’</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec8" id = "chapV_sec8"> </a> +<span class = "secnum">V:8</span> +Sua brevitati gratia, sua copiae, alia translatis virtus, alia propriis, +hoc oratio recta, illud figura declinata commendat. Ipsa denique +utilissima est exercitationi difficultas. Quid quod auctores maximi sic +diligentius cognoscuntur? Non enim scripta lectione secura +transcurrimus, sed tractamus singula et necessario introspicimus et, +quantum virtutis habeant, vel hoc ipso cognoscimus, quod imitari non +possumus.</p> + +<div class = "comm"> +<p><a name = "commV_sec8" id = "commV_sec8"><b>§ 8.</b></a> +<b>oratio recta</b>. See on <a href = +"QuintBody1.html#chapI_sec44">1 §44</a> rectum dicendi genus: the +opposite is <i>oratio figurata</i>, or <i>figura declinata</i> (<a href += "QuintBody1.html#chapI_sec12">1 §12</a>). Cp. ix. 1, 3 Utraque +res (figures and tropes) de recta et simplici ratione cum aliqua dicendi +virtute deflectitur.</p> + +<p><b>figura</b> is ablative, the phrase being equivalent to +<i>figurata</i>: <a href = +"QuintBody1.html#chapI_sec12">1 §12</a>.</p> + +<p><b>commendat</b>: v. <a href = +"QuintBody1.html#chapI_sec101">1 §101</a>.</p> + +<p><b>tractamus</b>: cp. repetamus autem et tractemus <a href = +"QuintBody1.html#chapI_sec19">1 §19</a>.</p> +</div> + + +<div class = "null"> +<p class = "maintext space"> +<a name = "chapV_sec9" id = "chapV_sec9"> </a> +<span class = "secnum">V:9</span> +Nec aliena tantum transferre, sed etiam nostra pluribus modis tractare +proderit, ut ex industria sumamus sententias quasdam easque versemus +quam numerosissime, velut eadem cera aliae aliaeque formae duci +solent.</p> + +<div class = "comm space"> +<p><a name = "commV_sec9" id = "commV_sec9"><b>§ 9.</b></a> +<b>numerosissime</b>: not merely ‘as often as possible’ (saepissime), +but ‘in every possible variety’: cp. aliae aliaeque formae, below. Cp. +ii. 12, 3 sparsa compositis numerosiora creduntur: viii. pr. §2 +difficultate institutionis tam numerosae atque perplexae deterreri: xi. +2, 27 ni forte tam numerosus (locus) ut ipse quoque dividi debeat: vi. +3, 36 neque enim minus numerosi sunt loci ex quibus haec dicta ... +ducuntur. But Quintilian also uses it in the Ciceronian sense +(‘rhythmically,’ ‘harmoniously’) viii. 6, 64 sermonem facere numerosum: +ix. 4, 56: xi. 1, 33.</p> + +<p><b>eadem cera</b>: Cic. de Orat iii. §177 sed ea nos ... sicut +mollissimam ceram ad nostrum arbitrium formamus et fingimus: Pliny Ep. +vii. 9, 11 Ut laus est cerae mollis cedensque sequatur Si doctos digitos +iussaque fiat opus, &c.</p> + +<p><b>aliae aliaeque</b>, ‘first one and then another’: of a continuous +succession: cp. quam numerosissime, above. Cp. Cels. iii. 3 extr. febres +... aliae aliaeque subinde oriuntur. With this exception, Quintilian +consistently prefers the Ciceronian <i>atque</i> in such expressions, +instead of the enclitic. Krüger cites Tibull. iv. 1, 16, sq. ut tibi +possim Inde alios aliosque memor componere versus.</p> + +<p><b>duci</b>: <a href = "#chapIII_sec18">3 §18</a>: ii. 4, 7 si +non ab initio tenuem nimium laminam duxerimus.</p> +</div> +</div> <!-- null --> + + +<p class = "maintext"> +<a name = "chapV_sec10" id = "chapV_sec10"> </a> +<span class = "secnum">V:10</span> +Plurimum autem parari facultatis existimo ex simplicissima quaque +materia. Nam illa multiplici +<span class = "pagenum">158</span> +personarum, causarum, temporum, locorum, dictorum, factorum diversitate +facile delitescet infirmitas, tot se undique rebus, ex quibus aliquam +adprehendas, offerentibus.</p> + +<div class = "comm"> +<p><a name = "commV_sec10" id = "commV_sec10"><b>§ 10.</b></a> +<b>illa ... diversitate</b>: xii. 10, 15 umbra magni nominis +delitescunt. The less complicated the subject, the more will the orator +have to depend on his own resources: with the <i>diversitas</i> that +characterises actual pleading, where the speaker must have regard to +every feature +<span class = "pagenum comm">158</span> +of the case, want of original talent or poverty of invention +(infirmitas) can easily shelter itself behind a crowd of details.</p> + +<p><b>causarum</b>, ‘circumstances’: opp. to <i>personarum</i>, as +<i>loca</i>, to <i>tempora</i>, and <i>facta</i> to <i>dicta</i>. So +personis causisque iii. 5, 11: <i>rerum</i> is used in a similar +enumeration iii. 5, 7. So Krüger, of the ‘points of law’ involved +in particular cases: for <i>causa</i> in the wider sense cp. iii. 5, 18 +with Cic. Top. §80.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec11" id = "chapV_sec11"> </a> +<span class = "secnum">V:11</span> +Illud virtutis indicium est, fundere quae natura contracta sunt, augere +parva, varietatem similibus, voluptatem expositis dare et bene dicere +multa de paucis.</p> + +<p class = "maintext"> +In hoc optime facient infinitae quaestiones, quas vocari theses +<span class = "pagenum">159</span> +diximus, quibus Cicero iam princeps in re publica exerceri solebat.</p> + +<div class = "comm"> +<p><a name = "commV_sec11" id = "commV_sec11"><b>§ 11.</b></a> +<b>fundere ... contracta</b>: cp. ii. 13, 5 constricta an latius fusa +narratio: <i>fusus</i> <a href = +"QuintBody1.html#chapI_sec73">1 §73</a>. The word = dilatare (cp. +Cic. de Fin. iii. 15), copiosius et latius efferre. So <i>latum atque +fusum</i> is opp. to <i>contractum atque submissum</i> xi. 3, 50. +Cp. Cicero Orat. §125 tum se latius fundet orator,—a phrase which +Quintilian reproduces in many places.</p> + +<p><b>augere parva</b>. Cp. Plato, Phaedrus 267 A (of Tisias and +Gorgias) <span class = "greek" title = "ta te au smikra megala kai ta megala smikra phainesthai poiousi dia rhômên logou">τά τε αὖ σμικρὰ +μεγάλα καὶ τὰ μεγάλα σμικρὰ φαίνεσθαι ποιοῦσι διὰ ῥώμην λόγου</span>. +Isocrates is said to have defined rhetoric as that which <span class = +"greek" title = "ta te mikra megala, ta de megala mikra poiei">τά τε +μικρὰ μεγάλα, τὰ δὲ μεγάλα μικρὰ ποιεῖ</span>—Pseudo-Plutarch +838 F. See too the Exordium of the Panegyricus of Isocrates §8 +<span class = "greek" title = "epeidê d’ hoi logoi toiautên echousi tên phusin hôsth’ hoion t’ einai peri tôn autôn pollachôs exêgêsasthai">ἐπειδὴ δ᾽ οἱ λόγοι τοιαύτην ἔχουσι τὴν φύσιν ὥσθ᾽ οἷον τ᾽ +εἶναι περὶ τῶν αὐτῶν πολλαχῶς ἐξηγήσασθαι</span> (varietatem similibus) +<span class = "greek" title = "kai ta te megala tapeina poiêsai kai tois mikrois megethos peritheinai k.t.l.">καὶ τά τε μεγάλα ταπεινὰ ποιῆσαι +καὶ τοῖς μικροῖς μέγεθος περιθεῖναι κ.τ.λ.</span></p> + +<p><b>expositis</b>: ‘commonplace,’ ‘trite.’ Iuv. vii. 53 Sed vatem +egregium, cui non sit publica vena, Qui nil expositum soleat deducere, +nec qui Communi feriat carmen triviale moneta. Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>In hoc</b>: cp. <a href = "#chapII_sec5">2 §5</a>. It denotes +the end or aim, like <i>ad hoc</i>. For this use of <i>facere</i> cp. <a +href = "QuintBody1.html#chapI_sec33">1 §33</a> bene ad forensem +pulverem facere: <a href = "#chapVII_sec4">7 §4</a> quid porro +multus stilus ... facit?</p> + +<p><b>infinitae quaestiones quas vocari theses diximus</b>: iii. 5, 5 +sq. Item convenit quaestiones esse aut infinitas aut finitas. Infinitae +sunt quae remotis personis et temporibus et locis ceterisque similibus +in utramque partem (i.e. affirmatively and negatively) tractantur, quod +Graeci <span class = "greek" title = "thesin">θέσιν</span> dicunt, +Cicero propositum, alii quaestiones universales civiles, alii +quaestiones philosopho convenientes, Athenaeus partem caussae appellat. +Hoc genus Cicero scientia et actione distinguit (speculative and +practical), ut sit scientia ‘an providentia mundus regatur,’ actionis +‘an accedendum ad rempublicam administrandam.’ ... Finitae autem sunt ex +complexu rerum, personarum, temporum, ceterorumque quae <span class = +"greek" title = "hupotheseis">ὑποθέσεις</span> a Graecis dicuntur, +causae a nostris. In his omnis quaestio videtur circa res personasque +consistere. Amplior est semper infinita, inde enim finita descendit. +Quod ut exemplo pateat, infinita est ‘an uxor ducenda,’ finita ‘an +Catoni ducenda.’—The division of the subject-matter of oratory +into questions of the universal kind, ‘general problems,’ and questions +of a special kind, ‘particular problems,’ is familiar in ancient +rhetoric. The former were abstract, and had no specified relation to +individual persons or circumstances: the latter were concrete, involving +a reference to actual persons and circumstances. In the ad Herenn. the +<i>quaestiones infinitae</i> (<span class = "greek" title = +"theseis">θέσεις</span>), <i>proposita</i> (Top. §79) or +<i>consultationes</i> (Part. Or. §61) are subdivided, as above, into +<i>quaestiones scientiae</i> or <i>cognitionis</i>, ‘theoretical +questions’ (e.g. ecquid bonum sit praeter honestatem), and +<i>quaestiones actionis</i> ‘questions of practical life,’ (e.g. an uxor +ducenda). The <i>quaestiones finitae</i>, on the other hand, <span class += "greek" title = "hupotheseis">ὑποθέσεις</span>, <i>causae</i>, +<i>controversiae</i> (de Orat. iii. §109), are those concerning +individuals: cum personarum certarum interpositione, de Inv. i. +6, 8. The <span class = "greek" title = "thesis">θέσις</span> is +thus defined in Hermogenes, Sp. ii. 17: <span class = "greek" title = +"episkêpsin tinos pragmatos theôroumenou, amoirousan pasês idikês peristaseôs">ἐπίσκηψίν τινος πράγματος θεωρουμένου, ἀμοιροῦσαν πάσης +ἰδικῆς περιστάσεως</span>: cp. res posita in infinita dubitatione, de +Orat. ii. §78. The <i>quaestio finita</i> on the other hand is res +posita in disceptatione reorum et controversia (ibid.): +<span class = "pagenum comm">159</span> +<span class = "greek" title = "prostetheisês peristaseôs teleia hupothesis ginetai">προστεθείσης περιστάσεως τελεία ὑπόθεσις +γίνεται</span> (Nicolaus Soph. Progym. Sp. iii. 493). The passages to +compare in Cicero are the following:—de Orat. i. §138: ii. §41, +§78, and §133: iii. §109-§111: Orat. §45: Top. §79: de Invent. i. 6, §8: +Part. Orat. §61, §106.</p> + +<p><b>Cicero</b>. It was considered one of his strong points that he +could rise from the special instance to the higher ground of the general +principle: Brutus §322 dicam de ceteris quorum nemo erat qui ... +dilatare posset atque a propria ac definita disputatione hominis ac +temporis ad communem quaestionem universi generis orationem traducere. +He writes to Atticus in 49 <span class = "smallroman">B.C.</span> (ix. +4, 1) Ne me totum aegritudini dedam, sumpsi mihi quasdam tanquam +<span class = "greek" title = "theseis">θέσεις</span>: cp. ib. 9, 1 +<span class = "greek" title = "theseis">θέσεις</span> meas commentari +non desino. Aristotle recognised the importance of the practice of the +<span class = "greek" title = "thesis">θέσις</span>: in hac A. +adulescentes, non ad philosophorum morem tenuiter disserendi, sed ad +copiam rhetorum in utramque partem ut ornatius et uberius dici posset, +exercuit. Cp. Tusc. Disp. ii. 3 §9: de Orat. iii. §107: Quint. xii. +2, 25. Among his <span class = "greek" title = +"theseis">θέσεις</span> we may probably reckon the Paradoxa.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec12" id = "chapV_sec12"> </a> +<span class = "secnum">V:12</span> +His confinis est destructio et confirmatio sententiarum. Nam cum sit +sententia decretum quoddam atque praeceptum, quod de re, idem de iudicio +rei quaeri potest. Tum loci communes, +<span class = "pagenum">160</span> +quos etiam scriptos ab oratoribus scimus. Nam qui haec recta tantum et +in nullos flexus recedentia copiose tractaverit, utique in illis plures +excursus recipientibus magis abundabit eritque in omnes causas paratus; +omnes enim generalibus quaestionibus constant.</p> + +<div class = "comm"> +<p><a name = "commV_sec12" id = "commV_sec12"><b>§ 12.</b></a> +<b>confinis</b>: frequent in this figurative sense in Quintilian: not in +Cicero.</p> + +<p><b>destructio ... confirmatio</b> correspond respectively to <span +class = "greek" title = "anaskeuê">ἀνασκευή</span> (refutatio) and <span +class = "greek" title = "kataskeuê">κατασκευή</span> (probatio). Cp. ii. +4, 18 Narrationibus non inutiliter subiungitur opus destruendi +confirmandique eas, quod <span class = "greek" title = +"anaskeuê">ἀνασκευή</span> et <span class = "greek" title = +"kataskeuê">κατασκευή</span> vocatur. Hermog. Sp. ii. 8 <span class = +"greek" title = "anaskeuê estin anatropê tou protethentos pragmatos, kataskeuê de tounantion bebaiôsis.">ἀνασκευή ἐστιν ἀνατροπὴ τοῦ +προτεθέντος πράγματος, κατασκευὴ δὲ τοὐναντίον βεβαίωσις.</span> For +<i>confirmatio</i> v. Cic. de Invent. i. 24: de Orat. ii. 331: Part. Or. +1, 4: 8, 27: Cornif. ad Her. i. 3: Quint. iv. 3, 1: v. 13, 1. +Quintilian here transfers to judicial findings the language applicable +to <i>narratio</i>, as above: <i>sententia</i> = a judicial sentence, +and is synonymous with <i>iudicium</i>. “In sententia, quae est de re +iudicium, fieri potest idem quod in facto narrato, quod est res +ipsa.”—Spalding. That is to say, <i>sententia</i> and +<i>iudicium</i> “pertain to individual cases (res): but the particular +sentence or judgment is also <i>a kind</i> of (general) <i>decree and +prescription</i>, or general rule of law; because, to be sustained or +refuted, it must be put into a general form or statement like such a +general decree. Thus the special sentence is argued (quaeritur) on the +same grounds as the case itself (res) on which it has been pronounced. +See the case of Milo, quoted below, ii §13. Of course no specific +question of fact will come into such a discussion; only a general one of +right or wrong, of legal precedent, or of law in general.” Frieze.</p> + +<p><b>loci communes</b>: ‘general arguments,’ ‘commonplaces,’ i.e. +topics for argument on all sorts of matters. Cicero defines them de +Invent. ii. 48 sq. haec argumenta, quae transferri in multas causas +possunt, locos communes nominamus ... distinguitur autem oratio atque +illustratur maxime raro inducendis locis communibus et aliquo loco iam +certioribus illis argumentis confirmato ... omnia autem ornamenta +elocutionis, in quibus et suavitatis et gravitatis plurimum consistit, +in communes locos conferuntur: de Or. iii. §106 consequentur etiam illi +loci, qui quamquam proprii causarum et inhaerentes in earum nervis esse +debent, tamen quia de universa re tractare solent, communes a veteribus +nominati sunt, quorum partim habent vitiorum et peccatorum acrem quandam +cum amplificatione incusationem aut querelam ... quibus uti confirmatis +criminibus oportet...; alii autem habent deprecationem aut miserationem; +alii vero ancipites disputationes, in quibus de universo genere in +utramque partem disseri copiose licet: Orat. §§46-7: §126: Part. Orat. +§115. Quint. ii. 4, 22 communes loci ... quibus citra personas in ipsa +vitia moris est perorare, ut in adulterum, aleatorem, petulantem: ii. 1, +9-11. “Any subject or topic of a general character that is capable of +being variously applied and constantly introduced on any appropriate +occasion is a <i>locus communis</i>; any common current maxim or +alternative proposition, such as <i>suspitionibus credi</i> +[<i>oportere</i>] <i>non oportere et contra suspitionibus credi +oportere, testibus credi oportere et non oportere.</i> Again +<i>invidia</i>, <i>avaritia</i>, <i>testes inimici</i>, <i>potentes +amici</i> (Quint. v. 12 §§15, 16) may furnish <i>loci communes</i>; or +they may be constructed <i>de virtute</i>, <i>de officio</i>, <i>de</i> +<span class = "pagenum comm">160</span> +<i>aequo et bono</i>, <i>de dignitate</i>, <i>utilitate</i>, +<i>honore</i>, <i>ignominia</i>, and on other moral topics” (Cope’s +Intr. to Ar. Rhet. p. 130).</p> + +<p><b>ab oratoribus</b>: e.g. Cicero and Hortensius. ii. 1, 11 Communes +loci, sive qui sunt in vitia directi, quales legimus a Cicerone +compositos, seu quibus quaestiones generaliter tractantur, quales sunt +editi a Q. quoque Hortensio, ut: ‘Sitne parvis augmentis credendum?’ et +pro testibus et in testes. Aristotle made <i>loci communes</i> the +subject of his <span class = "greek" title = "topika">τοπικά</span>, in +eight books, and it was the substance of this treatise that Cicero +reproduced in his ‘Topica.’</p> + +<p><b>haec recta ... in illis, &c.</b> The opposition here is +between the simple themes (cp. ex simplicissima quaque materia, <a href += "#chapV_sec10">§10</a>) which deal with the general and abstract and +do not diverge into the special (ii. 1, 9 citra complexum rerum +personarumque), and the digressions involved in the ‘multiplex +personarum causarum temporum locorum dictorum factorum diversitas,’ +referred to in <a href = "#chapV_sec10">§10</a>. With the former cp. +Cic. de Orat. ii. §67 vaga et libera et late patens quaestio: iii. §120 +orationes eae quae latissime vagantur et a privata ac singulari +controversia se ad universi generis vim explicandam conferunt: Brutus +§322 nemo qui dilatare posset atque a propria ac definita disputatione +hominis ac temporis ad communem quaestionem universi generis orationem +traducere. The two form the duo genera causarum of de Orat. ii. §133 +unum ... in quo sine personis atque temporibus de universo genere +quaeratur; alterum, quod personis certis et temporibus definiatur. For +<i>recta tantum et in nullos flexus recedentia</i> cp. v. 13, 2 inde +recta fere ... est actio, hinc mille flexus et artes desiderantur: <a +href = "#chapV_sec8">§8</a> above, oratio recta ... figura +declinata.</p> + +<p><b>utique</b>, ‘without fail’: common in this sense in Cicero’s +letters. In Quintilian it is very frequent, especially in stating a +consequence: cp. <a href = "QuintBody1.html#chapI_sec24">1 §24</a> +and note.</p> + +<p><b>in illis</b>, i.e. the great majority of causes.</p> + +<p><b>plures excursus recipientibus</b>, i.e. that admit of various +digressions, and are susceptible of various applications according to +circumstances, persons, place, time, &c.</p> + +<p><b>in omnes causas paratus</b>: for the constr. cp. Tac. Dial. xli. +inter bonos mores et in obsequium regentis paratos. A similar +expression occurs ibid. xxxiv. solus statim et unus cuicunque causae par +erat. So too x. 1, 2, above, paratam ad omnes casus ... eloquentiam.</p> + +<p><b>generalibus quaestionibus</b>. Cp. iii. 5, 9 Hae autem, quas +infinitas voco, et generales appellantur: quod si est verum, finitae +speciales erunt. In omni autem speciali utique inest generalis, ut quae +sit prior: xii. 2, 18 omnis generalis quaestio speciali potentior, quia +universo pars continetur, non utique accedit parti quod universum est: +ii. 4, 22 ab illo generali tractatu ad quasdam deduci species. Cp. v. +7, 35.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec13" id = "chapV_sec13"> </a> +<span class = "secnum">V:13</span> +Nam quid interest ‘Cornelius tribunus plebis, +<span class = "pagenum">161</span> +quod codicem legerit, reus sit,’ an quaeramus ‘violeturne maiestas, si +magistratus rogationem suam populo ipse recitarit’: ‘Milo Clodium +rectene occiderit’ veniat in iudicium, an ‘oporteatne insidiatorem +interfici vel perniciosum rei publicae civem, etiamsi non insidietur’: +‘Cato Marciam honestene tradiderit Hortensio,’ an ‘conveniatne res talis +bono viro’? De personis iudicatur, sed de rebus contenditur.</p> + +<div class = "comm"> +<p><a name = "commV_sec13" id = "commV_sec13"><b>§ 13.</b></a> +<b>C. Cornelius</b> was tribune in <span class = +"smallroman">B.C.</span> 67, when he tried to do some useful work. In +order to check the bribery and corruption that were rife at the time, he +proposed a law to make all loans that should be lent to foreign +ambassadors non-actionable. The rejection of this proposal prompted the +tribune to bring forward the rogation here referred to,—ne quis +nisi per populum legibus solveretur. The senate had usurped the power of +giving dispensations in particular cases, without any reference whatever +to the people, though constitutionally such dispensations lay with the +people and not the senate. When the bill was to be read, a colleague, +P. Servilius Globulus, acting in the interests of the senate, +interposed his veto, and forbade the herald to make the proclamation +which he would otherwise have done in the form dictated by the clerk. +Thereupon Cornelius himself read the draft of the proposed law +(codicem). A riot ensued, and the meeting was broken up. Cornelius +was afterwards successful in securing the enactment of a law which +provided that 200 senators should be present when any dispensation was +granted. On the expiry of his term of office Cornelius was impeached by +P. Cominius +<span class = "pagenum comm">161</span> +for having disregarded the veto of his colleague, and though the case +was suppressed it came on again in the following year (65). Cornelius +was defended by Cicero (Brutus §271), who delivered the two speeches of +which we have a few important fragments, along with the interesting +Argumentum of Asconius. Cornelius was evidently a fighting character: +Asconius calls him ‘pertinacior,’ and says ‘per ... contentiones totus +prope tribunatus eius peractus est.’ Another of his laws was ‘ut +praetores ex edictis suis perpetuis ius dicerent’: “what had hitherto +been understood as matter of course was now expressly laid down as a +law, that the praetors were bound to administer justice in conformity +with the rules set forth by them, as was the Roman use and wont, at +their entering on office.” Mommsen.—For the reference in the text +cp. iv. 4, 8: v. 13, 26: vi. 5, 10: vii. 3, 35 (maiestas est in imperii +atque in nominis populi Romani dignitate): vii. 3, 3.</p> + +<p><b>reus sit</b>. The subjunctive is motived only by the double +interrogation, so there is no need for Halm’s conjectural emendation +(see <a href = "QuintCrit.html#critV_sec13">Crit. Notes</a>). In the +direct speech the <i>finita</i>, or <i>specialis causa</i> would run: +C. Cornelius ... reus est: cp. vii. 1, 34 accusatur Milo, quod +Clodium occiderit: iii. 5, 10. It is put in the form of a positive +statement. The <i>infinita causa</i> on the other hand is stated in the +form of a question, and this form is maintained in both the +<i>finitae</i> and the <i>infinitae quaestiones</i> that follow.</p> + +<p><b>violeturne maiestas</b>. Asconius: Cicero quia non poterat negare +id factum esse, eo confugit ut diceret non ideo quod lectus sit codex a +tribuno imminutam esse tribunitiam potestatem. Cicero in Vatin. ii. §5 +Codicem legisse dicebatur: defendebatur, testibus collegis suis, non +recitandi causa legisse, sed recognoscendi. Constabat tamen Cornelium +concilium illo die dimisisse, intercessioni paruisse.</p> + +<p><b>oporteatne ... interfici</b>. This is the line taken in the Pro +Milone, for which cp. <a href = +"QuintBody1.html#chapI_sec23">1 §23</a>. Also iii. 6, 93: iv. 3, +17: vii. 1, 34.</p> + +<p><b>Cato Marciam, &c.</b> This remarkable episode is referred to +also iii. 5, 11. Marcia lived with Hortensius from 56 to 50 with +the consent both of her husband and her father, and then went back on +the death of Hortensius to Cato. Lucan says of Cato ii. 388 Urbi pater +est urbique maritus. Cp. Meyer’s Orat. Rom. Fragm. p. 377: Strab. +xi. p. 515: Hild also cites Tertullian (Apol. 39), +St. Augustine (de Bono Conj. 18), as protesting against such an +instance of pagan corruption.</p> + +<p><b>rebus</b> = rebus generalibus, i.e. general questions, principles. +<i>Oporteatne</i> and <i>conveniatne</i> above give the special +questions treated as <i>quaestiones infinitae</i>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec14" id = "chapV_sec14"> </a> +<span class = "secnum">V:14</span> +Declamationes vero, quales in scholis rhetorum dicuntur, si modo sunt ad +veritatem accommodatae +<span class = "pagenum">162</span> +et orationibus similes, non tantum dum adulescit profectus sunt +utilissimae, quia inventionem et dispositionem pariter exercent, sed +etiam cum est consummatus ac iam in foro clarus; alitur enim atque +enitescit velut pabulo laetiore facundia et adsidua contentionum +asperitate fatigata renovatur.</p> + +<div class = "comm"> +<p><a name = "commV_sec14" id = "commV_sec14"><b>§ 14.</b></a> +<b>Declamationes</b>, <a href = "#chapII_sec12">2 §12</a>. +Quintilian defines them ii. 4, 41 fictas ad imitationem fori +consiliorumque materias apud Graecos dicere circa Demetrium Phalerea +institutum fere constat. Cp. iv. 2, 28-9. This sense of the word came in +about the end of Augustus’s reign, though the thing was known to Cicero, +de Orat. i. §149. Cp. M. Seneca Controv. praef. xi. sqq.: and see +note on <i>declamatoribus</i> <a href = +"QuintBody1.html#chapI_sec71">1 §71</a>.</p> + +<p><b>ad veritatem accommodatae</b>. That they were by no means always +so may be seen from Tac. Dial. 35 Quales per fidem et quam +incredibiliter compositae! Sequitur autem ut materiae abhorrenti a +veritate declamatio quoque adhibeatur. Cp. Quint. ii. 20, 4 qui in +declamationibus, quas esse veritati dissimillimas volunt, aetatem multo +studio ac labore consumunt. See the whole of ch. 10, ibid. esp. §4 +declamatio imitetur eas actiones, in quarum exercitationem reperta est, +and <a href = "#chapII_sec12">§12</a> declamatio iudiciorum +consiliorumque imago: iv. 2, 29 cum sit declamatio forensium actionum +meditatio.</p> + +<span class = "pagenum comm">162</span> +<p><b>orationibus</b>, real speeches made in court.</p> + +<p><b>profectus</b>: abstract for concrete: cp. facilitatem <a href = +"#chapIII_sec7">3 §7</a>: initiis <a href = +"#chapII_sec2">2 §2</a>. So too i. 2, §26 firmiores in litteris +profectus alit aemulatio. See <a href = +"QuintCrit.html#critV_sec14">Crit. Notes</a>.</p> + +<p><b>pariter</b>: i.e. simul cum elocutione, this last being the most +important element in such rhetorical exercises. <b>Dispositio</b> is +defined Cic. de Invent. i. §9 rerum inventarum in ordinem +distributio.</p> + +<p><b>consummatus</b>: sc. adulescens, or rather iuvenis: as though +<i>adulescit profectus</i> above had been <i>adulescens proficit</i>. +For <i>consummatus</i> see on <a href = +"QuintBody1.html#chapI_sec89">1 §89</a>.</p> + +<p><b>velut pabulo laetiore</b>. Livy has in the ordinary language of +prose ‘ut quiete et pabulo laeto reficeret boves’ i. 7, 4: for the +figure cp. Quint. viii. Prooem. §23 velut laeto gramine sata. +<i>Laetus</i> is frequently used in Vergil of rich vegetation: e.g. +Georg. iii. 385 fuge pabula laeta, where, however, as also in 494, the +word means ‘luxuriant,’ in the sense of rankness rather than richness. +In Lucretius ‘pabula laeta’ occurs six or seven times with armenta, +arbusta, vineta: e.g. i. 14.—Hortensius is a case in point: nullum +enim patiebatur esse diem quin aut in foro diceret aut meditaretur extra +forum; saepissime autem eodem die utrumque faciebat Brut. §302.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec15" id = "chapV_sec15"> </a> +<span class = "secnum">V:15</span> +Quapropter historiae nonnumquam ubertas in aliqua exercendi stili parte +ponenda et dialogorum libertate gestiendum. Ne carmine quidem ludere +contrarium fuerit, sicut athletae, remissa quibusdam temporibus ciborum +atque exercitationum certa necessitate, +<span class = "pagenum">163</span> +otio et iucundioribus epulis reficiuntur.</p> + +<div class = "comm"> +<p><a name = "commV_sec15" id = "commV_sec15"><b>§ 15.</b></a> +<b>historiae ubertas</b>. Cp. <a href = +"QuintBody1.html#chapI_sec31">1 §31</a>. Pliny, Epist. vii. 9, 8 +Volo interdum aliquem ex historia locum adprehendas ... nam saepe in +orationes quoque non historica modo sed prope poetica descriptionum +necessitas incidit.</p> + +<p><b>in aliqua ... ponenda</b>: ‘should be introduced in some part of +our written exercises.’ Becher (Quaest. gramm.) compares Cic. Tusc. +Disp. iv. §42 aegritudines susceptae continuo in magna pestis parte +versantur, i.e. magnam partem continent. He renders ‘Es mache einen +Theil der Stilübung aus, die Fülle der geschichtlichen Darstellung in +Anwendung zu bringen<ins class = "correction" title = "close quote missing">.’ </ins></p> + +<p><b>dialogorum libertate gestiendum</b>: ‘we should indulge (‘let +ourselves out’) in the easy freedom of dialogue.’ The same abl. occurs +in Livy vi. 36, 1 gestire otio: secundis rebus xlv. 19, 7: in Cicero it +is generally voluptate or laetitia. For <i>gestio</i> c. inf. see Hor. +Ep. ii. 1, 175: A. P. 159.</p> + +<p><b>Ne carmine quidem &c.</b> Cp. Pliny l.c. Fas est et carmine +remitti ... Lusus vocantur. <b>Ludere</b> is used of poetry in all the +Latin poets, especially of love poetry: e.g. Ovid. Tr. i. 9, 61 scis +vetus hoc iuveni lusum mihi carmen: Catullus l. 2 multum lusimus in meis +tabellis: Hor. Car. i. 32 Poscimur: si quid vacui sub umbra Lusimus +tecum. Even in prose it is used of light writings thrown off in sport: +Cic. Parad. pr. illa ipsa ludens conieci in communes locos: especially, +as here, where a contrast is implied between sport and serious business, +e.g. videant ... ad ludendumne an ad pugnandum arma sint sumpturi (of +military exercises) de Orat. ii. §84. So too ‘<i>ludicra</i>’: pueri +etiam cum cessant exercitatione aliqua ludicra (‘in sport’) delectantur +de Nat. Deor. i. §102: exercitatione quasi ludicra praediscere ac +meditari de Orat. i. §147. ‘Res ludicra,’ the drama (Hor. Ep. ii. 1, +180), introduces another set of associations.</p> + +<p><b>contrarium</b> = alienum, inconsistent with one’s aim, +‘inapposite.’ So Tacitus, speaking of the unpractical character of the +rhetorical theses in the schools of declamation, says ‘ipsae vero +exercitationes magna ex parte contrariae’ Dial. 35: cp. ‘ubi nemo impune +stulte aliquid aut contrarie dicit’ ibid. 34.</p> + +<p><b>sicut athletae</b>: for this frequently recurring comparison see +on <a href = "QuintBody1.html#chapI_sec4">1 §4</a>.</p> + +<p><b>ciborum ... certa necessitate</b>. Epictetus uses <span class = +"greek" title = "anankophageô">ἀναγκοφαγέω</span> and <span class = +"greek" title = "anankotropheô">ἀναγκοτροφέω</span> +<span class = "pagenum comm">163</span> +for eating by regimen like athletes in training.—The chiasmus may +be noted.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec16" id = "chapV_sec16"> </a> +<span class = "secnum">V:16</span> +Ideoque mihi videtur M. Tullius tantum intulisse eloquentiae lumen, +quod in hos quoque studiorum secessus excurrit. Nam si nobis sola +materia fuerit ex litibus, necesse est deteratur fulgor et durescat +articulus et ipse ille mucro ingenii cotidiana pugna retundatur.</p> + +<div class = "comm"> +<p><a name = "commV_sec16" id = "commV_sec16"><b>§ 16.</b></a> +<b>studiorum secessus</b>: the ‘by-ways’ of study, remote from the +<i>adsidua contentionum asperitas</i> referred to above. Cp. <a href = +"#chapIII_sec23">3 §§23</a> and <a href = "#chapIII_sec28">28</a>. +So Tacitus contrasts the ‘securum et quietum Vergilii secessum’ with the +‘inquieta et anxia oratorum vita’ Dial. 13: cp. secedit animus in loca +pura atque innocentia 12.</p> + +<p><b>durescat articulus</b> keeps up the figure of athletic contests. +<i>Articulus</i> is properly a little limb: then esp. the finger. Cp. +ii. 12, 2 excipit adversarii mollis articulus (of the gladiator handling +his sword <i>with flexible fingers</i>, which like xi. 1, 70 (quam molli +articulo tractavit Catonem) points to a proverbial expression.</p> + +<p><b>cotidiana pugna retundatur</b>: cp. <a href = +"QuintBody1.html#chapI_sec27">1 §27</a> velut attrita cotidiano +actu forensi ingenia optime rerum talium blanditia reparantur with the +passage from pro Archia §12 quoted there. Pliny, Epist. vii. 9, 7 Scio +nunc tibi esse praecipuum studium orandi: sed non ideo semper pugnacem +et quasi bellatorium stilum suaserim. Ut enim terrae variis mutatisque +seminibus, ita ingenia nostra nunc hac nunc illa meditatione +recoluntur.</p> + +<p><b>quem ad modum ... sic</b>. Cp. iii. 6, 33: v. 10, 125: ix. 2, 46, +and (with <i>ita</i>) ii. 5, 1. In the instance in the text, +however, there is no comparison between two different subjects: the two +clauses are parallel. <i>Ut ... ita</i> would have been more usual: <a +href = "#chapIII_sec28">3 §28</a>: sicut ... ita <a href = +"QuintBody1.html#chapI_sec1">1 §1</a>.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapV_sec17" id = "chapV_sec17"> </a> +<span class = "secnum">V:17</span> +Sed quem ad modum forensibus certaminibus exercitatos et quasi +militantes reficit ac reparat haec velut sagina dicendi, sic +adulescentes non debent nimium in falsa rerum imagine detineri, et +inanibus simulacris usque adeo ut difficilis ab his digressus sit +adsuescere, ne ab illa, in qua prope consenuerunt, umbra vera +<span class = "pagenum">164</span> +discrimina velut quendam solem reformident.</p> + +<div class = "comm space"> +<p><a name = "commV_sec17" id = "commV_sec17"><b>§ 17.</b></a> +<b>forensibus certaminibus exercitatos</b>: Petron. 118 forensibus +ministeriis exercitati frequenter ad carminis tranquillitatem tamquam ad +portum feliciorem refugerunt.</p> + +<p><b>quasi militantes</b>: <a href = +"QuintBody1.html#chapI_sec29">1 §§29</a>, <a href = +"QuintBody1.html#chapI_sec31">31</a>, <a href = +"QuintBody1.html#chapI_sec79">79</a>.</p> + +<p><b>haec velut sagina dicendi</b>: ‘this rich food of eloquence.’ Cp. +iucundioribus epulis <a href = "#chapV_sec15">§15</a> above: gladiatoria +sagina Tac. Hist. ii. 88.</p> + +<p><b>falsa rerum imagine</b>, i.e. the declamations, which in contrast +with the reality of ‘forenses actiones’ are mere shams: cp. note on ad +veritatem accommodatae <a href = "#chapV_sec14">§14</a>: xii. 11, 15 +quid attinet tam multis annis ... declamitare in schola et tantum +laboris in rebus falsis consumere, cum satis sit modico tempore imaginem +veri discriminis et dicendi leges comperisse. Cp. ii. 10, 4: Tac. Dial. +35 quidquid in scholis cotidie agitur, in foro vel raro vel nunquam: 34 +nec praeceptor deerat ... qui faciem eloquentiae non imaginem +praestaret. Cp. <a href = "#chapII_sec12">2 §12</a> above.</p> + +<p><b>inanibus simulacris</b>: ii. 10 §8 quibusdam pugnae +simulacris ad verum discrimen aciemque iustam consuescimus. For the +reading see <a href = "QuintCrit.html#critV_sec17">Crit. Notes</a>.</p> + +<p><b>ab illa ... umbra</b>: i.e. in coming out of it. Juvenal vii. 173 +ad pugnam qui rhetorica descendit ab umbra. For <i>ab</i> in sense of +<i>post</i> cp. Livy xliv. 34 ab his praeceptis contionem dimisit: +Introd. <a href = "QuintIntro.html#intro_pagelii">p. lii</a>.</p> + +<p><b>in qua prope consenuerunt</b>: xii. 6, 5 non nulli senes in schola +facti stupent novitate cum in iudicia venerunt.</p> + +<p><b>umbra ... solem</b>. The shady retreat of the school is constantly +compared with the dust and sun of real life. Cicero, de Leg. iii. 6, 14 +a Theophrasto Phalereus ille Demetrius ... mirabiliter doctrinam ex +umbraculis eruditorum otioque non modo in solem atque in pulverem, sed +in ipsum discrimen aciemque produxit: Brut. §37 processerat in solem et +pulverem non ut e militari tabernaculo sed ut e Theophrasti doctissimi +hominis umbraculis: de §64 (umbratilis—‘cloistral’). So +‘umbraticavita’ Quint. i. 2, 18: ‘studia in umbra educata’ +<span class = "pagenum comm">164</span> +Tac. Ann. xiv. 53: ‘umbraticas litteras’ Pliny, Epist. ix. 2, 3-4, opp. +to ‘arma castra cornua tubas sudorem pulverem soles’: M. Seneca +Contr. ix. pr. §4 itaque velut ex umbroso et obscuro prodeuntes loco +clarae lucis fulgor obcaecat, sic istos a scholis in forum transeuntes +omnia tanquam nova et inusitata perturbant. For analogies in Greek cp. +Plat. Phaedrus 239 c. <span class = "greek" title = "oud’ en hêliô katharô tethrammenon all’ hupo summigei skia">οὐδ᾽ ἐν ἡλίῳ καθαρῷ +τεθραμμένον ἀλλ᾽ ὑπὸ συμμιγεῖ σκιᾷ</span>, with Thompson’s note.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec18" id = "chapV_sec18"> </a> +<span class = "secnum">V:18</span> +Quod accidisse etiam M. Porcio Latroni, qui primus clari nominis +professor fuit, traditur, ut, cum ei summam in scholis opinionem +obtinenti causa in foro esset oranda, impense petierit uti subsellia in +basilicam transferrentur. Ita illi caelum novum fuit ut omnis +<span class = "pagenum">165</span> +eius eloquentia contineri tecto ac parietibus videretur.</p> + +<div class = "comm"> +<p><a name = "commV_sec18" id = "commV_sec18"><b>§ 18.</b></a> +<b>Quod ... ut</b>. The pronoun is here used pleonastically, to lead up +to the dependent clause. Cp. <a href = +"QuintBody1.html#chapI_sec58">1 §58</a>.</p> + +<p><b>M. Porcius Latro</b>, a celebrated rhetorician in the reign of +Augustus, the friend and compatriot of the elder Seneca, who praises him +greatly (Controv. i. pr. §13 sq.). Of his pupils Ovid was the most +distinguished. ‘In his school he was accustomed to declaim himself, and +seldom set his pupils to declaim, whence they received the name of +<i>auditores</i>, which word came gradually into use as synonymous with +<i>discipuli</i>.’ (Smith, Dict.)</p> + +<p><b>professor</b> is post-Augustan: it was used of a public teacher of +rhetoric, and then acquired a more extended sense: Quint. xii. 11, 20 +geometrae et musici et grammatici ceterarumque artium professores: ii. +11, 1 exemplo magni quoque nominis professorum. <i>Profiteri</i> with +acc. is quite Ciceronian: Tusc. ii. §12 quod in eo ipso peccet cuius +profitetur scientiam: ibid., artemque vitae professus delinquit in vita. +The introduction of <i>professor</i> was helped by the fact that the +verb came to be used absolutely (<span class = "greek" title = +"epangellesthai">ἐπαγγέλλεσθαι</span>): Plin. Ep. iv. 11, 1 audistine +Valerium Licinianum in Sicilia profiteri? ibid. 14 translatus est in +Siciliam ubi nunc profitetur: cp. Plin. ii. 18, 3.</p> + +<p><b>opinionem</b> = existimationem, famam, with which it is often +joined. For this absolute use cp. <a href = +"#chapVII_sec17">7 §17</a> below: fructu laudis opinionisque: i. 2, +4 exempla ... conservatae opinionis: ii. 12, 5 adfert et ista res +opinionem: xii. 9, 4 cupidissimis opinionis. So too Tac. Dial. 10 ne +opinio quidem et fama, cui soli serviunt. In Cicero and Caesar, who also +use the word absolutely, there is always an implied reference to those +who have the <i>opinio</i>: a man’s ‘esteem’ and ‘reputation’ depend on +the ‘estimate’ and ‘opinion’ formed of him by others. Cp. Videor enim +non solum studium ad defendendas causas, verum opinionis aliquid et +auctoritatis afferre, pro Sulla iii. §10, with opinione fortasse non +nulla quam de meis moribus habebat, de Amic. §30: detracta opinione +probitatis (‘character for’ high principle) de Off. ii. §34, and opinio +iustitiae (character for justice), ibid. §39, with quorum de iustitia +magna esset opinio multitudinis ibid. §42. So too de Orat. ii. §156 +opinionem istorum studiorum et suspicionem artificii apud eos qui res +iudicent oratori adversariam esse arbitror. The passages in Caesar are +all reducible to this ‘passive’ sense,—the estimate entertained by +others: B.G. ii. 8 propter eximiam opinionem virtutis: ii. 24 Treviri +quorum inter Gallos virtutis opinio est singularis: iv. 16 uti opinione +et amicitia populi Romani tuti esse possint: vi. 24 quae gens ... summam +habet iustitiae et bellicae laudis opinionem: cp. vii. 59 and 83. Cp. +Introd. <a href = "QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> + +<p><b>subsellia ... transferrentur</b>, ‘that the court should remove.’ +For this general sense of <i>subsellia</i> cp. Cic. Brutus §289 +subsellia grandiorem et pleniorem vocem desiderant: de Orat. i. §32 and +§264 (habitare in subselliis, to ‘haunt the law-courts’). The word +sometimes means the bench of judges, sometimes the seats of the lawyers, +suitors, witnesses, &c., and sometimes both: Cic. in Vatin. §34, pro +Rosc. Amer. §17 (accusatorum subsellia), ad Fam. xiii. 10, 2 (versatus +in utrisque subselliis). In Quintilian the word is never used except of +the law-courts.</p> + +<p><b>basilicam</b>. The basilicae erected in or near the forum served +as courts of justice as well as places for merchants and business people +to meet in. See Rich. Dict. Antiq.—For the incident cp. Sen. +Controv. iv. pr. Narratur ... declamatoriae virtutis Latronem Porcium +unicum exemplum, cum pro reo in Hispania Rustico Porcio propinquo suo +<span class = "pagenum comm">165</span> +diceret, usque eo esse confusum ut a soloecismo inciperet nec ante +potuisse confirmari, tectum ac parietes desiderantem, quam impetravit ut +iudicium ex foro in basilicam transferretur. Usque eo ingenia in +scholasticis exercitationibus delicate nutriuntur ut clamorem silentium +risum caelum denique pati nesciant.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec19" id = "chapV_sec19"> </a> +<span class = "secnum">V:19</span> +Quare iuvenis qui rationem inveniendi eloquendique a praeceptoribus +diligenter acceperit (quod non est infiniti operis, si docere sciant et +velint), exercitationem quoque modicam fuerit consecutus, oratorem sibi +aliquem, quod apud maiores fieri solebat, deligat, quem sequatur, quem +imitetur: iudiciis intersit quam plurimis, et sit certaminis cui +destinatur frequens spectator.</p> + +<div class = "comm"> +<p><a name = "commV_sec19" id = "commV_sec19"><b>§ 19.</b></a> +<b>inveniendi eloquendique</b> covers briefly the whole field of +theoretical rhetoric.</p> + +<p><b>apud maiores</b>: xii. 11, 5 frequentabunt vero eius domum optimi +iuvenes more veterum et vere dicendi viam velut ex oraculo petent. Tac. +Dial. 34 Ergo apud maiores nostros iuvenis ille qui foro et eloquentiae +parabatur, imbutus iam domestica disciplina, refertus honestis studiis, +deducebatur a patre vel a propinquis ad eum oratorem qui principem in +civitate locum obtinebat. Hunc sectari, hunc prosequi, huius omnibus +dictionibus interesse, sive in iudiciis sive in contionibus, +adsuescebat, ita ut altercationes quoque exciperet et iurgiis interesset +utque sic dixerim pugnare in proelio disceret. So Cicero tells us in +Brut. ch. 89 how he sought every opportunity of hearing the +distinguished speakers of his day: §305 reliquos frequenter audiens +acerrimo studio tenebar cotidieque et scribens et legens et commentans +oratoriis tantum exercitationibus contentus non eram.</p> + +<p><b>iudiciis intersit</b>: Cic. Brut. §304 cui (iudicio) frequens +aderam.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec20" id = "chapV_sec20"> </a> +<span class = "secnum">V:20</span> +Tum causas, vel easdem quas agi audierit, stilo et ipse componat, vel +etiam alias, veras modo, et utrimque tractet et, quod in gladiatoribus +fieri videmus, decretoriis exerceatur, ut fecisse Brutum diximus pro +Milone. Melius hoc quam rescribere veteribus orationibus, ut fecit +Cestius contra Ciceronis actionem habitam pro eodem, cum alteram partem +satis nosse non posset ex sola defensione.</p> + +<span class = "pagenum">166</span> +<div class = "comm"> +<p><a name = "commV_sec20" id = "commV_sec20"><b>§ 20.</b></a> +<b>et ipse</b>: frequent in Livy, like ipse quoque = <span class = +"greek" title = "kai autos">καὶ αὐτός</span>. Cicero uses ipse, ipse +etiam (etiam ipse). Cp. on <a href = "#chapV_sec4">§4</a>: <a href = +"#chapVII_sec26">7 §26</a>.</p> + +<p><b>utrimque</b>: <a href = +"QuintBody1.html#chapI_sec22">1 §22</a>.</p> + +<p><b>in gladiatoribus</b>: xi. 3, 66 nutus ... in mutis pro sermone +sunt. Cp. Caes. B.C. i. 61 Caesaris erat in barbaris nomen +obscurius.</p> + +<p><b>decretoriis</b>, sc. armis, ‘decisive’ or ‘real weapons’: Seneca, +Ep. 117, 25 Renove ista lusoria arma, decretoriis opus est. Cp. vi. 4, 6 +pugnamque illam decretoriam imperitis ac saepe pullatae turbae +relinquunt. Suet. Calig. 54 has ‘pugnatoria,’ sc. arma: opp. to ‘rudes,’ +as Tac. Dial. 34 adversarii et aemuli ferro, non rudibus dimicantes, and +Cic. de Opt. Gen. Orat. vi. 17 non enim in acie versatur et ferro, sed +quasi rudibus eius eludit oratio. Quint. v. 12, 17 declamationes quibus +ad pugnam forensem velut praepilatis exerceri solebamus.</p> + +<p><b>diximus</b>: <a href = +"QuintBody1.html#chapI_sec23">1 §23</a>, where see note.</p> + +<p><b>rescribere</b>: <span class = "greek" title = +"antigraphein">ἀντιγράφειν</span>. Tac. Ann. iv. 34, of Caesar’s +‘Anticato,’ Ciceronis libro ... dictator Caesar ... rescripta oratione +velut apud iudices respondit. The word is common in this sense in +Suetonius: Caes. 73, Calig. 53, Gram. 19; cp. Aug. 85.</p> + +<p><b>Cestius</b>: Sen. Contr. iii. pr. 13 (Ciceronis) orationes non +legunt nisi eas quibus Cestius rescripsit. L. Cestius Pius taught +rhetoric at Rome towards the end of the Republic and in the beginning of +the Empire. Seneca has preserved several passages of his declamations. +His hostile criticisms of Cicero were avenged on him by Cicero’s son: +Sen. Suas. §7, 13. See Teuffel, 263 §6.</p> +</div> + +<span class = "pagenum comm">166</span> + +<p class = "maintext space"> +<a name = "chapV_sec21" id = "chapV_sec21"> </a> +<span class = "secnum">V:21</span> +Citius autem idoneus erit iuvenis, quem praeceptor coegerit in +declamando quam simillimum esse veritati et per totas ire materias, +quarum nunc facillima et maxime favorabilia decerpunt. Obstant huic, +quod secundo loco posui, fere turba discipulorum et consuetudo classium +certis diebus audiendarum, nonnihil etiam persuasio patrum numerantium +potius declamationes quam aestimantium.</p> + +<div class = "comm space"> +<p><a name = "commV_sec21" id = "commV_sec21"><b>§ 21.</b></a> +<b>per totas ire materias</b>. This use of the prep. after <i>ire</i> +with an acc. of extent over which speech, thought, or feeling travels, +is poetical (Aen. i. 375) and post-classical. Cp. vii. 1, 64: Tac. Dial. +32.</p> + +<p><b>favorabilia</b>, ‘popular’; frequent in Quintilian, who also has +<i>favorabiliter</i>. The word is first found in Velleius, also in +Tacitus and Pliny.</p> + +<p><b>quod secundo loco posui</b>, i.e. the practice of treating a +subject thoroughly: per totas ire materias. What he recommends <i>primo +loco</i> is given in <a href = "#chapV_sec19">§§19-20</a>. For the +formula cp. vii. 2, 9: ix. 2, 6.</p> + +<p><b>classium</b>: not used in this sense before the Silver Age; i. 2, +23 Non inutilem scio servatum esse a praeceptoribus morem, qui cum +pueros in classes distribuerant, ordinem dicendi secundum vires ingenii +dabant, et ita superiore loco quisque declamabat ut praecedere profectu +videbatur. Huius rei iudicia praebebantur: ea nobis ingens palma, ducere +vero classem multo pulcherrimum.</p> + +<p><b>persuasio</b>: frequent in this sense in Quintilian; for exx. see +Bonnell’s Lex. Tac. Agric. 11. superstitionum persuasione. The +interference of parents is commented on also in ii. 7, 1 Illud ex +consuetudine mutandum prorsus existimo in iis, de quibus nunc +disserimus, aetatibus, ne omnia quae scripserint ediscant et certa, ut +moris est, die dicant: quod quidem maxime patres exigunt atque ita demum +studere liberos suos, si quam frequentissime declamaverint, credunt, cum +profectus praecipue diligentia constet.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec22" id = "chapV_sec22"> </a> +<span class = "secnum">V:22</span> +Sed, quod dixi primo, ut arbitror, libro, nec ille se bonus praeceptor +maiore numero quam sustinere possit onerabit et nimiam loquacitatem +recidet, ut omnia quae sunt in controversia, non, ut quidam volunt, quae +in rerum natura, dicantur; et vel longiore potius dierum spatio laxabit +dicendi necessitatem vel materias dividere permittet.</p> + +<div class = "comm"> +<p><a name = "commV_sec22" id = "commV_sec22"><b>§ 22.</b></a> +<b>primo ... libro</b>: i. 2, 15 neque praeceptor bonus maiore se turba +quam ut sustinere eam possit oneraverit.</p> + +<p><b>recidet</b>. Hor. A. P. 447 ambitiosa recidet ornamenta: Sat. I. +10, 69 recideret omne quod ultra Perfectum traheretur.</p> + +<p><b>laxabit &c.</b>: ‘he will either extend the period within +which speaking is compulsory, or allow the pupil to distribute his +matter over several days.’</p> + +<p><b>dicendi necessitatem</b>: cp. remissa ... ciborum atque +exercitationum certa necessitate <a href = "#chapV_sec15">§15</a>, +above. This would break in on the ‘consuetudo classium certis diebus +andiendarum’ referred to in <a href = "#chapV_sec21">§21</a>.</p> + +<p><b>materias dividere</b>, i.e. he will allow the subject to be +treated of in parts on successive declamation days.</p> +</div> + + +<p class = "maintext"> +<a name = "chapV_sec23" id = "chapV_sec23"> </a> +<span class = "secnum">V:23</span> +Diligenter effecta plus proderit quam plures inchoatae et quasi +degustatae. Propter quod accidit +<span class = "pagenum">167</span> +ut nec suo loco quidque ponatur, nec illa quae prima sunt servent suam +legem, iuvenibus flosculos omnium partium in ea quae sunt dicturi +congerentibus; quo fit ut timentes ne sequentia perdant priora +confundant.</p> + +<div class = "comm"> +<p><a name = "commV_sec23" id = "commV_sec23"><b>§ 23.</b></a> +<b>effecta</b>. There is the same antithesis v. 13, 34 ut ... pro +effectis relinquant vixdum inchoata.</p> + +<p><b>inchoatae</b>: Cic. de Off. i. §153 cognitio manca atqne inchoata +(‘imperfect’): de Nat. Deor. ii. §33 a primis inchoatisque naturis ad +ultimas perfectasque procedere: de Orat. i. §5 inchoata ac rudia.</p> + +<p><b>degustatae</b>: cp. genera degustamus <a href = +"QuintBody1.html#chapI_sec104">1 §104</a>; the word means ‘dip +into,’ ‘skim over.’</p> + +<p><b>Propter quod</b>: see on <a href = +"QuintBody1.html#chapI_sec66">1 §66</a>, The idea contained in the +relative is the superficial methods alluded to in <i>degustatae</i>: cp. +facillima et maxime favorabilia decerpunt <a href = +"#chapV_sec21">§21</a>. When such methods are adopted, says Quintilian, +everything is sure to go wrong.</p> + +<span class = "pagenum comm">167</span> +<p><b>servent suam legem</b>: the commencement (illa quae prima sunt: +cp. priora below) is not what it should be: it goes beyond reasonable +limits, as the young men crowd together in the part each is to deliver +the embellishments that would naturally be distributed throughout the +whole (omnium partium), if the production were <i>diligenter effecta</i> +and not merely <i>inchoata et quasi degustata</i>.</p> + +<p><b>flosculos</b>: ii. 5, 22 recentis huius lasciviae flosculis capti. +The word is always used in a depreciatory sense: xii. 10, 73: vi. pr. +§9: (opp. to certos fructus). Cp. Seneca, Ep. 33 §1 and §7 viro captare +flosculos turpe est.</p> + +<p><b>timentes</b>: the fear that they will not be able to finish makes +them introduce into the earlier parts inapposite and confusing +embellishments.</p> + +<p><b>priora confundant</b> = permisceant ea rebus alienis, i.e. with +the ornamentation that would have been more appropriate later on.</p> +</div> + +</div> <!-- text --> + + +<div class = "argument"> + +<h5><a name = "arg_chapVI" id = "arg_chapVI"> +CHAPTER VI.</a><br> +<span class = "subhead"> +Of Meditation.</span></h5> + +<p><a href = "#chapVI_sec1">§§ 1-4.</a> +Meditation occupies the middle ground between writing and improvisation, +and is perhaps more frequently employed than either. <i>After</i> we +have formed our style by the constant practice of writing, meditation +can be cultivated by progressive exercise to such a degree that an +entire discourse may be prepared and arranged without the use of the +pen.</p> + +<p><a href = "#chapVI_sec5">§§ 5-7.</a> +But the orator is not to adhere so scrupulously to what he has thought +out as to reject new ideas which may flash upon him during the actual +delivery of a speech. Meditation should secure us, on the one hand, from +ever being at a loss: on the other it ought not to prevent us from +improving the opportunity afforded by some incidental occurrence. If we +are to hesitate, painfully recollecting what we have formulated in +thought, it were better to trust wholly to improvisation. +<span class = "pagenum">9</span> +While we are at a loss to recall our prepared thoughts, we miss others +suggested by the subject itself, which always offers a wider field than +can possibly be covered by previous meditation.</p> + +</div> <!--argument --> + + +<div class = "text"> + +<h5><a name = "chapVI" id = "chapVI"> +De Cogitatione.</a></h5> + + +<p class = "maintext"> +<a name = "chapVI_sec1" id = "chapVI_sec1"> </a> +<span class = "secnum">VI:1</span> +VI. Proxima stilo cogitatio est, quae et ipsa vires ab hoc accipit et +est inter scribendi laborem extemporalemque fortunam media quaedam et +nescio an usus frequentissimi. Nam scribere non ubique nec semper +possumus, cogitationi temporis ac loci plurimum est. Haec paucis admodum +horis magnas etiam causas complectitur; haec, quotiens intermissus est +somnus, ipsis noctis tenebris adiuvatur; haec inter medios rerum actus +aliquid invenit vacui nec otium patitur.</p> + +<div class = "comm"> + +<p><a name = "commVI_sec1" id = "commVI_sec1"><b>§ 1.</b></a> +<b>stilo</b>: see on <a href = +"QuintBody1.html#chapI_sec2">1 §2</a>.</p> + +<p><b>cogitatio</b>, ‘premeditation’: cp. <i>commentatio</i> +(‘preparation’) and <i>meditatio</i>. So ii. 6, 3: and below, <a href = +"#chapVII_sec8">7 §8</a>. Cic. de Orat. ii. §103 ita adsequor ut +alio tempore cogitem quid dicam et alio dicam ... sed certe eidem illi +melius aliquanto dicerent si aliud sumendum sibi tempus ad cogitandum +aliud ad dicendum putarent: cp. id. i. §150 etsi utile est etiam subito +saepe dicere, tamen illud utilius sumpto spatio ad cogitandum paratius +atque adcuratius dicere ... nam si subitam et fortuitam orationem +commentatio et cogitatio facile vincit, hanc ipsam profecto adsidua ac +diligens scriptura superabit. Cp. Brutus §253.</p> + +<p><b>et ipsa</b>: ‘likewise,’ i.e. as well as the <i>facultas ex +tempore dicendi</i>, which, as stated in <a href = +"#chapIII_sec1">3 §§1-4</a>, derives its strength mainly from the +pen. See on <a href = "QuintBody1.html#chapI_sec31">1 §31</a>.</p> + +<p><b>extemporalemque fortunam</b>: ‘the chances of improvisation,’ +which depends so much on the inspiration of the moment (fortunam opp. to +laborem): = ‘fortunam quam ex tempore dicentes experimur’ (Krüger). Cp. +§§5, 6: and <a href = "#chapVII_sec13">7 §13</a> successum +extemporalem.</p> + +<p><b>media quaedam</b>: cp. xi. 2, 3 memoria ... quasi media quaedam +manus.</p> + +<p><b>nescio an</b>: see on <a href = +"QuintBody1.html#chapI_sec65">1 §65</a>.</p> + +<p><b>somnus</b>: cp. <a href = "#chapIII_sec25">3 §25</a>.</p> + +<p><b>rerum actus</b>, as inter ipsas actiones xii. 3, 2, ‘in the midst +of legal proceedings,’ and so rather more special than <i>actum rei</i> +<a href = "QuintBody1.html#chapI_sec31">1 §31</a>, where see note. +Cp. esp. Plin. Ep. ix. 25, 3 Nunc me rerum actus modice sed tamen +distringit: and Suet. Aug. 32 triginta amplius dies ... actis rerum +accommodavit. In xi. 1, 47 actus is again quite general: in ceteris +actibus vitae.</p> + +<p><b>otium</b>: ‘inactivity.’ A good advocate will be able to +think out a speech even while a trial is going on.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVI_sec2" id = "chapVI_sec2"> </a> +<span class = "secnum">VI:2</span> +Neque vero rerum ordinem modo, quod ipsum satis erat, intra se ipsa +disponit, sed verba etiam +<span class = "pagenum">168</span> +copulat totamque ita contexit orationem ut ei nihil praeter manum desit; +nam memoriae quoque plerumque inhaeret fidelius quod nulla scribendi +securitate laxatur.</p> + +<p class = "maintext"> +Sed ne ad hanc quidem vim cogitandi perveniri potest aut subito aut +cito.</p> + +<div class = "comm"> +<p><a name = "commVI_sec2" id = "commVI_sec2"><b>§ 2.</b></a> +<b>satis erat</b>: see on <a href = "#chapV_sec7">5 §7</a> fas +erat.</p> + +<p><b>intra se ipsa</b>, ‘by itself’: there is no need for any recourse +to writing. This is +<span class = "pagenum comm">168</span> +quite parallel to such expressions as ‘virtus per se ipsa placet,’ and +‘medici ipsi se curare non possunt,’ where the tendency is to keep +<i>ipse</i> in the nominative so as to emphasise the subject. Cp. <a +href = "#chapV_sec2">5 §2</a>: <a href = +"#chapIII_sec30">3 §30</a>.</p> + +<p><b>scribendi securitate</b>. Cp. the story of Theuth and Thamus, +Phaedrus 274 sq., esp. 275 A <span class = "greek" title = "touto gar tôn mathontôn lêthên men en psuchais parexei, mnêmês ameletêsia, k.t.l.">τοῦτο γὰρ τῶν μαθόντων λήθην μὲν ἐν ψυχαῖς παρέξει, μνήμης +ἀμελετησίᾳ, κ.τ.λ.</span>: xi. 2, 9 quamquam invenio apud Platonem +obstare memoriae usum litterarum: videlicet quod illa quae scriptis +reposuimus velut custodire desinimus, et ipsa securitate dimittimus. +Reliance on written memoranda, he says, may in the end make the mind +incapable of retaining by a special effort what can be at any time +recalled by a glance at the paper.</p> + +<p><b>vim cogitandi</b>: see on vim dicendi <a href = +"QuintBody1.html#chapI_sec1">1 §1</a>. For the thought cp. <a href += "#chapIII_sec9">3 §9</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVI_sec3" id = "chapVI_sec3"> </a> +<span class = "secnum">VI:3</span> +Nam primum facienda multo stilo forma est, quae nos etiam cogitantes +sequatur: tum adsumendus usus paulatim, ut pauca primum complectamur +animo, quae reddi fideliter possint: mox per incrementa tam modica ut +onerari se labor ille non sentiat augenda vis et exercitatione multa +continenda est, quae quidem maxima ex parte memoria constat. Ideoque +aliqua mihi in illum locum differenda sunt.</p> + +<div class = "comm"> +<p><a name = "commVI_sec3" id = "commVI_sec3"><b>§ 3.</b></a> +<b>forma</b>, a pattern, model, or ideal: we must ‘form our style’ by +constant writing, and attain to the ease described in <a href = +"#chapIII_sec9">3 §9</a> verba respondebunt, compositio sequetur, +cuncta denique ut in familia bene instituta in officio erunt. For +<i>facere formam</i> cp. <a href = "#chapIII_sec28">3 §28</a> +<i>faciendus usus</i>.</p> + +<p><b>onerari</b>: the labour is not perceptibly increased. So xi. 2, +41, of exercising the memory, turn cotidie adicere (decet) singulos +versus, quorum accessio labori sensum incrementi non adferat.</p> + +<p><b>in illum locum</b>: memory is treated in xi. 2.</p> +</div> + + +<div class = "null"> +<p class = "maintext"> +<a name = "chapVI_sec4" id = "chapVI_sec4"> </a> +<span class = "secnum">VI:4</span> +Eo tandem pervenit ut is cui non refragetur ingenium acri studio adiutus +tantum consequatur ut ei tam quae cogitarit quam quae scripserit atque +edidicerit in dicendo fidem servent. Cicero certe Graecorum Metrodorum +Scepsium et Empylum Rhodium nostrorumque Hortensium tradidit quae +cogitaverant ad verbum in agendo rettulisse.</p> + +<div class = "comm"> +<p><a name = "commVI_sec4" id = "commVI_sec4"><b>§ 4.</b></a> +<b>pervenit</b>, sc. vis, just as in <a href = +"#chapVII_sec19">7 §19</a> facilitas extemporalis is generally +supplied.</p> + +<p><b>ei ... fidem servent</b>: ‘keep their faith with him,’ i.e. are as +much at his command when he comes to speak as, &c.</p> + +<p><b>certe</b>: see Introd. <a href = "QuintIntro.html#intro_pageli">p. +li</a>.</p> + +<p><b>Metrodorus</b> of Scepsis in Mysia, a philosopher of the Academic +school, and a pupil of Carneades. Cic. de Orat. ii. §360 vidi enim ego +summos homines et divina prope memoria, Athenis Charmadam, in Asia, quem +vivere hodie aiunt, Scepsium Metrodorum, quorum uterque tamquam litteris +in cera, sic se aiebat imaginibus in eis locis quos haberet quae +meminisse vellet perscribere. Cp. Tusc. i. §59.</p> + +<p><b>Empylus</b> is nowhere else mentioned.</p> + +<p><b>Hortensium</b>: Brut. §301 memoria (erat) tanta quantam in nullo +cognovisse me arbitror, ut quae secum commentatus esset ea sine scripto +verbis eisdem redderet quibus cogitavisset: hoc adiumento ille tanto sic +utebatur ut sua et commentata et scripta et nullo referente omnia +adversariorum dicta meminisset. Cp. xi. 2, 24.</p> + +<p><b>ad verbum</b>. Cp. Plin. Ep. ix. 36, 1 cogito ad verbum scribenti +emendantique similis.</p> +</div> +</div> <!-- null --> + + +<p class = "maintext space"> +<a name = "chapVI_sec5" id = "chapVI_sec5"> </a> +<span class = "secnum">VI:5</span> +Sed si forte aliqui inter dicendum offulserit extemporalis color, +<span class = "pagenum">169</span> +non superstitiose cogitatis demum est inhaerendum. Neque enim tantum +habent curae ut non sit dandus et fortunae locus, cum saepe etiam +scriptis ea quae subito nata sunt inserantur. Ideoque totum hoc +exercitationis genus ita instituendum est ut et digredi ex eo et redire +in id facile possimus.</p> + +<div class = "comm space"> +<p><a name = "commVI_sec5" id = "commVI_sec5"><b>§ 5.</b></a> +<b>si ... aliqui</b>: see on <a href = +"#chapII_sec23">2 §23</a>.</p> + +<p><b>extemporalis color</b>, a sudden inspiration, +<span class = "pagenum comm">169</span> +or ‘happy thought’: the notion of suddenness being contained in +offulserit. <i>Color</i> must carry the idea here of something that +‘sets off’ the subject,—an unpremeditated turn of expression, +embodying a thought which suddenly flashes on the speaker’s mind. In the +Bonnell-Meister edition it is said to denote the particular +<i>complexion</i> given to the style by happy improvisation: but this +seems too wide for what may be only an occasional divergence from the +written word. Krüger takes it as the abstract for ‘id quod habet colorem +extemporalem’ (dictorum ex tempore): a thought or expression which +suddenly occurs, and which has on it the mark of improvisation. Cp. +‘extemporalem fortunam’ <a href = "#chapVI_sec1">§1</a>, and ‘scriptorum +color’ <a href = "#chapVII_sec7">7 §7</a>, which presents a sort of +antithesis to ‘extemporalis color’: also <a href = +"QuintBody1.html#chapI_sec59">1 §§59</a>, <a href = +"QuintBody1.html#chapI_sec116">116</a> with the notes.</p> + +<p><b>superstitiose</b>: i. 1, 13 non tamen hoc adeo superstitiose fieri +velim.</p> + +<p><b>demum</b>: see on <a href = +"QuintBody1.html#chapI_sec44">1 §44</a>: Introd. <a href = +"QuintIntro.html#intro_pageli">p. li</a>. Traian. ad Plin. Ep. 10, 33 +Nobis autem utilitas demum spectanda est.</p> + +<p><b>habent</b>, sc. cogitata. What we premeditate is not so accurately +thought out as to leave no room for extemporary chance (fortuna, cp. +on <a href = "#chapVI_sec1">§1</a>).</p> + +<p><b>scriptis</b>: even in <i>written</i> speeches, on which a greater +degree of <i>cura</i> has been bestowed, sudden inspirations (subito +nata) are often introduced during delivery.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVI_sec6" id = "chapVI_sec6"> </a> +<span class = "secnum">VI:6</span> +Nam ut primum est domo adferre paratam dicendi copiam et certam, ita +refutare temporis munera longe stultissimum est. Quare cogitatio in hoc +praeparetur, ut nos fortuna decipere non possit, adiuvare possit. Id +autem fiet memoriae viribus, ut illa quae complexi animo sumus fluant +secura, non sollicitos et respicientes et una spe suspensos +recordationis non sinant providere: alioqui vel extemporalem temeritatem +malo quam male cohaerentem cogitationem.</p> + +<div class = "comm"> +<p><a name = "commVI_sec6" id = "commVI_sec6"><b>§ 6.</b></a> +<b>domo adferre</b>: ‘bring from the study’; cp. <a href = +"#chapVII_sec30">7 §30</a> quae domo adferunt: Cicero, Orat. §89 +domo adlata quae plerumque sunt frigida.</p> + +<p><b>refutare</b> = repudiare, ‘reject,’ ‘despise,’ the inspirations of +the moment (temporis munera). Cic. Tusc. ii. §55 inprimisque refutetur +ac reiciatur Philocteteus ille clamor: pro Rab. Post. §44 quam ... +bonitatem ... non modo non aspernari ac refutare sed complecti etiam et +augere debetis.</p> + +<p><b>in hoc</b>: see on <a href = "#chapV_sec11">5 §11</a>.</p> + +<p><b>decipere</b>: ‘nonplus’ or embarrass us: make us to stumble. The +chance opening must not find us unequipped with well-shaped thoughts: we +must be ready to improve our opportunity.</p> + +<p><b>non ... non sinant</b>. The double negative hampers the clause, +though it is simplified by making <i>non sinant</i> = <i>prohibeant</i>. +Krüger compares ix. 3, 72. After the first <i>non</i> the words +<i>fiet ut illa</i> must be repeated, or simply <i>ut</i>. Tr. ‘It is by +our powers of memory that we must secure the easy flow of what we have +formulated in thought, instead of letting it keep us from looking ahead +by anxious backward glances and the consciousness of being absolutely +dependent on what we can recall to mind.’ The last phrase describes a +familiar style of oratory, referring as it does to those speakers ‘qui +apprennent par cœur et sont paralysés par la crainte de rester +court.’—Fénelon, quoted by Hild.</p> + +<p><b>extemporalem temeritatem</b>, ‘the rashness of improvisation’: cp. +§1 above. Tac. Dial. §6 Sed extemporalis audaciae atque ipsius +temeritatis vel praecipua iucunditas est.—For alioqui, see Introd. +<a href = "QuintIntro.html#intro_pageli">p. li</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVI_sec7" id = "chapVI_sec7"> </a> +<span class = "secnum">VI:7</span> +Peius enim quaeritur retrorsus, quia, dum illa desideramus, ab aliis +<span class = "pagenum">170</span> +avertimur, et ex memoria potius res petimus quam ex materia. Plura sunt +autem, si utrimque quaerendum est, quae inveniri possunt quam quae +inventa sunt.</p> + +<div class = "comm"> +<p><a name = "commVI_sec7" id = "commVI_sec7"><b>§ 7.</b></a> +<b>Peius enim quaeritur retrorsus</b>: ‘we are at a disadvantage in +looking back.’ It would be better to throw over our premeditated ideas +altogether: while we are at a loss for them (illa) we miss others.</p> + +<span class = "pagenum comm">170</span> +<p><b>utrimque</b>, i.e. ex memoria and ex materia: cp. <a href = +"QuintBody1.html#chapI_sec131">1 §131</a> and <a href = +"#chapV_sec20">5 §20</a>. To the former corresponds chiastically +<i>quae inventa sunt</i>, to the latter <i>quae inveniri +possunt</i>.</p> +</div> + +</div> <!-- text --> + + +<div class = "argument"> + +<h5><a name = "arg_chapVII" id = "arg_chapVII"> +CHAPTER VII.</a><br> +<span class = "subhead"> +Of Extempore Speech.</span></h5> + +<p><a href = "QuintBody2.html#chapVII_sec1">§§ 1-4.</a> +The richest fruit of study is the ability to speak effectively on the +spur of the moment: this is in fact absolutely indispensable. ‘An +advocate who proffers help, and fails at the pinch, is a harbour +accessible only in calm weather.’ Cases may take unforeseen turns: like +ship-pilots we must change our tack with each shifting breeze. Unless +the faculty of improvisation can be attained by practice, our years of +labour will have been wasted.</p> + + +<h5 class = "smallcaps">Certain Practical Exercises<br> +conducive to Success in Extempore Speech.</h5> + +<p><a href = "QuintBody2.html#chapVII_sec5">§§ 5-7.</a> +(1) The student must arrange his matter in appropriate order,—not +only the order of the regular <i>partes</i> or divisions (i.e. +introduction, narrative, proof, refutation, conclusion), and the order +of the principal points, but also the order of the matter and thought in +all its detail, under every head and in every passage (quoque loco). The +sequence of events will be our guide. Knowing what to look for at each +point of our discourse, we shall not be found skipping from one topic to +another; and in the end we shall reach the goal.</p> + +<p><a href = "QuintBody2.html#chapVII_sec7">§§ 7-10.</a> +(2) Reading, writing, and speaking must receive unremitting attention, +and be made the subjects of scientific exercise. The conscientious +practice of writing will give even our extemporary speeches something of +the deliberate character of written compositions. It is practice that +makes the ready speaker. A certain natural quickness of mind is +necessary to look beyond what we are saying at the moment; but neither +nature nor art will enable the mind to keep before itself at one time +the whole of a speech, with all its arguments, arrangement, expression, +&c. As our tongue advances, our thoughts must still outstrip it.</p> + +<p><a href = "#chapVII_sec11">§§ 11-14.</a> +(3) Hence the necessity of a mechanical and unscientific habit or +‘knack,’ such as that by which the hand moves in writing, the eye in +reading, and the juggler in his legerdemain. But this knack, though +mechanical, should have a basis of scientific method: otherwise it will +be mere ranting, such as you may hear in abundance from female scolds. +A sudden outburst is often, however, more effective than the result +of study and premeditation.</p> + +<p><a href = "#chapVII_sec15">§§ 15-17.</a> +(4) The extemporary speaker must cultivate a lively imagination, that +his mind may be deeply impressed by all the facts of a particular case. +It is the heart that makes the orator. He must also have distinctly in +view not only the end at which he aims but the whole pathway that leads +to it: he will derive incitement even from the presence of his +audience.</p> + +<span class = "pagenum">10</span> +<p><a href = "#chapVII_sec18">§§ 18-23.</a> +(5) Extemporary facility can only be attained by the same gradual and +patient course as has been referred to in connection with meditation. +The orator is often debarred from preparation; but as a rule he should +not presume so far on his ability as not to take a moment to glance +mentally at the heads of his discourse,—which is generally +possible in a court of law. Some declaimers will argue at once on any +topic, and will even ask for a word to begin with: this is foolishness. +If on any occasion we are under the necessity of speaking offhand, we +should pay more attention to our subject-matter than to our language, +and we may gain time by deliberate articulation. Gradually we shall be +able to trim our sails, and pray for a favouring breeze.</p> + +<p><a href = "#chapVII_sec24">§§ 24-29.</a> +Continual practice is essential for improvisation. We should speak daily +before an audience whose good opinion we respect; but alone, rather than +not at all. If we do not speak to others, we can always at least go over +our subject-matter in silent thought. This fosters exactness in +composition even more than speaking aloud does; for there we hurry +onward from fear of wearying the audience. On the other hand speaking +exercises the voice and gives the opportunity of practising delivery. +Our language should always be careful and correct, but it is constant +writing that will add most weight to our words, especially if we are +obliged to speak much extempore. In fact, writing gives exactness to +speech, speech readiness to writing. If we cannot write, we can +meditate: if we can do neither, we must still contrive to make a +creditable appearance.</p> + +<p><a href = "#chapVII_sec30">§§ 30-33.</a> +A common habit with barristers in large practice is to write the +exordium and most essential parts, formulate the rest in thought, and +meet any unforeseen turns as they arise. The note-books of Cicero and +Servius Sulpicius. It is advisable to refresh one’s memory by consulting +notes. To prepare an abstract, arranged by heads, of a speech which we +have written out entire, leads us to rely too little on the memory, and +makes the speech broken and awkward in delivery. We ought not to write a +speech out at length unless we intend to commit it to memory. But of +memory more in the following book (XI. ch. ii.).</p> + +</div> <!-- argument --> + + +<div class = "text"> + +<h5><a name = "chapVII" id = "chapVII"> +Quem ad modum extemporalis facilitas paretur et contineatur.</a></h5> + + +<p class = "maintext"> +<a name = "chapVII_sec1" id = "chapVII_sec1"> </a> +<span class = "secnum">VII:1</span> +VII. Maximus vero studiorum fructus est et velut praemium quoddam +amplissimum longi laboris ex tempore dicendi facultas; quam qui non erit +consecutus mea quidem sententia civilibus officiis renuntiabit et solam +scribendi facultatem potius ad alia opera convertet. Vix enim bonae +fidei viro convenit auxilium in publicum polliceri quod praesentissimis +quibusque periculis desit, intrare portum ad quem navis accedere nisi +lenibus ventis vecta non possit,—</p> + +<div class = "comm"> +<p><a name = "commVII_sec1" id = "commVII_sec1"><b>§ 1.</b></a> +<b>civilibus officiis</b>: see note on <a href = +"#chapIII_sec11">3 §11</a>.</p> + +<p><b>renuntiabit ... convertet</b>: the future as a mild imperative. +Cp. <a href = "QuintBody1.html#chapI_sec41">1 §§41</a>, <a href = +"QuintBody1.html#chapI_sec58">58</a>: <a href = +"#chapIII_sec18">3 §18</a>. For this use of <i>renuntiare</i> cp. +Plin. Ep. ii. 1, 8.</p> + +<p><b>in publicum</b>, ‘for general use,’ ‘for the common good,’ ‘for +the benefit of all and sundry.’ The phrase is formed on the analogy of +such expressions as ‘in publicum,’ ‘in commune consulere,’—for the +benefit of the state and the citizen. Cp. vi. 1, 7 in commune profutura. +Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>intrare portum</b>. The infin. depends on <i>convenit</i>. For a +similarly abrupt introduction of a figure in connection with, or to +illustrate, the preceding thought cp. <a href = +"QuintBody1.html#chapI_sec4">1 §4</a>: <a href = +"#chapIII_sec10">3 §10</a> (omitting Burmann’s <i>et</i> before +<i>efferentes</i>). The meaning is generally understood to be that the +advocate who undertakes legal business, though he has no power of +extempore speaking, is as unconscionable as the pilot (cp. the simile +in <a href = "#chapVII_sec3">§3</a>) who engages to steer a ship +into a harbour that can only be approached in mild weather. The one +forgets that sudden emergencies may arise, calling for a power which he +does not possess; the other does not take into consideration the sudden +storms which may render his poor skill of no avail.—Hirt however +(Jahr. des philol. Vereins zu Berlin 1888, p. 54) points out that +this is to strain <i>intrare</i>: Quintilian cannot have meant to say +that it ‘shows bad faith <i>to enter</i> a harbour which can only be +approached in good weather,’—for once you are in the harbour all +is well. <i>Intrare</i> may be corrupt: see <a href = +"QuintCrit.html#critVII_sec1">Crit. Notes</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec2" id = "chapVII_sec2"> </a> +<span class = "secnum">VII:2</span> +siquidem innumerabiles accidunt subitae necessitates vel apud +magistratus vel repraesentatis iudiciis continuo agendi. Quarum si qua, +non dico cuicumque innocentium civium, sed amicorum ac propinquorum +alicui evenerit, stabitne mutus et salutarem petentibus vocem, statimque +si non succurratur perituris, +<span class = "pagenum">171</span> +moras et secessum et silentium quaeret, dum illa verba fabricentur et +memoriae insidant et vox ac latus praeparetur?</p> + +<div class = "comm"> +<p><a name = "commVII_sec2" id = "commVII_sec2"><b>§ 2.</b></a> +<b>siquidem</b>, <span class = "greek" title = "eige">εἴγε</span>, <span +class = "greek" title = "eiper">εἴπερ</span>, <a href = +"#chapVII_sec27">§27</a> below, and often in Quintilian: ‘iam apud +Cicero nem perinde atque <i>quoniam</i> invenitur causam omnibus notam +significans’ (Günther).</p> + +<p><b>apud magistratus</b>: ‘in virtue of some extraordinary procedure, +and without the day having been appointed for the parties to the suit,’ +Hild.</p> + +<p><b>repraesentatis</b>: ‘when a trial is suddenly brought on.’ Cp. +pecuniam repraesentare = ante diem solvere. Caes. B. G. i. 40, 14 +se, quod in longiorem diem collaturus esset, repraesentaturum: Sen. Ep. +95 petis a me ut id quod in diem suam dixeram debere differri +repraesentem.</p> + +<p><b>cuicumque</b>. See on <a href = +"QuintBody1.html#chapI_sec12">1 §12</a> quocunque.</p> + +<p><b>petentibus ... perituris</b>: dat. of interest, after +<i>quaeret</i>. For the sense cp. Cic. de Orat. i. §251 Hoc nos si +facere velimus ante condemnentur ei quorum causas receperimus quam +totiens quotiens praescribitur Paeanem aut hymnum recitarimus.</p> + +<span class = "pagenum comm">171</span> +<p><b>statimque</b>. <i>Statim</i> goes with <i>succurratur</i>, rather +than with <i>perituris</i>: its position gives it emphasis. Cp. +<i>continuo</i> agendi.</p> + +<p><b>secessum et silentium</b>: <a href = +"#chapIII_sec28">3 §28</a>.</p> + +<p><b>illa verba</b>, ironical: illa tam egregia verba.</p> + +<p><b>vox ac latus</b> (‘lungs’): often conjoined. Cp. Cic. Verr. iv. +30, 67 quae vox, quae latera: Brut. §316. So xii. 11, 2 neque enim +scientia modo constat orator, ... sed voce, latere, firmitate. For +<i>latus</i> cp. Hor. Ep. i. 7, 26: xii. 5: Sat. i. 9, 32.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec3" id = "chapVII_sec3"> </a> +<span class = "secnum">VII:3</span> +Quae vero patitur hoc ratio, ut quisquam possit orator aliquando +omittere casus? Quid, cum adversario respondendum erit, fiet? Nam saepe +ea quae opinati sumus et contra quae scripsimus fallunt, ac tota subito +causa mutatur; atque ut gubernatori ad incursus tempestatium, sic agenti +ad varietatem causarum ratio mutanda est.</p> + +<div class = "comm"> +<p><a name = "commVII_sec3" id = "commVII_sec3"><b>§ 3.</b></a> +<b>ratio</b>: ‘theory’ of eloquence. Cp. <a href = +"#chapIII_sec15">3 §15</a>, where it is opposed to +<i>exercitatio</i>.—Others explain as = <i>ratio non patitur</i>, +like <i>ratio non est</i>, <i>nulla ratio est</i>, there is no reason or +sense in doing, &c.: Cic. Acad. ii. §74 ironiam enim alterius +perpetuam praesertim, nulla fuit ratio persequi: ib. §17: in Verr. Act. +i. 24: Caec. §15: Tac. Hist. i. 32: iii. 22: and ad Herenn. iv. 18 ei +rationi ratio non est fidem habere.</p> + +<p><b>quisquam ... orator</b>: see on <a href = +"#chapII_sec6">2 §6</a>.</p> + +<p><b>omittere casus</b>: ‘to leave sudden issues out of consideration,’ +i.e. to conduct his case strictly according to the lines of a written or +premeditated speech, without allowing for the emergence of some +unexpected fact in the evidence, or some difficulty suddenly raised by +the other side. For <i>casus</i> cp. <a href = +"QuintBody1.html#chapI_sec2">1 §2</a> paratam ad omnes casus +eloquentiam: <a href = "#chapIII_sec3">3 §3</a> unde ad subitos +quoque casus ... proferantur (opes), and below <a href = +"#chapVII_sec30">§30</a>: vi. 1, 42 at qui a stilo non recedunt aut +conticescunt ad hos casus aut frequentissime falsa dicunt: xii. 9, 20 +licet tamen praecogitare plura et animum ad omnes casus componere.</p> + +<p><b>fallunt</b>: when the opposing counsel does not pursue the line of +argument we had anticipated, and against which we had prepared a written +speech.</p> + +<p><b>ad incursus</b>: see on <a href = "#chapII_sec1">2 §1</a> ad +exemplum.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec4" id = "chapVII_sec4"> </a> +<span class = "secnum">VII:4</span> +Quid porro multus stilus et adsidua lectio et longa studiorum aetas +facit, si manet eadem quae fuit incipientibus difficultas? Perisse +profecto confitendum est praeteritum laborem, cui semper idem laborandum +est. Neque ego hoc ago ut ex tempore dicere malit, sed ut possit. Id +autem maxime hoc modo consequemur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec4" id = "commVII_sec4"><b>§ 4.</b></a> +<b>longa studiorum aetas</b>: i.e. longum tempus in studiis consumptum. +Cp. i. 8, 8: Hor. Sat. i. 4, 132.</p> + +<p><b>malit ... possit</b>: sc. orator. For such omissions see note on +congregat <a href = "QuintBody1.html#chapI_sec7">1 §7</a>: and cp. +quaerant <a href = "#chapVII_sec6">§6</a> and dicat <a href = +"#chapVII_sec25">§25</a> below.</p> +</div> + +<div class = "null"> + +<p class = "maintext space"> +<a name = "chapVII_sec5" id = "chapVII_sec5"> </a> +<span class = "secnum">VII:5</span> +Nota sit primum dicendi via; neque enim prius contingere cursus potest +quam scierimus quo sit et qua perveniendum. Nec satis est non ignorare +quae sint causarum iudicialium partes, aut quaestionum ordinem recte +disponere, quamquam ista sunt praecipua, sed quid quoque loco primum +sit, quid secundum ac +<span class = "pagenum">172</span> +deinceps: quae ita sunt natura copulata ut mutari aut intervelli sine +confusione non possint.</p> + +<div class = "comm space"> +<p><a name = "commVII_sec5" id = "commVII_sec5"><b>§ 5.</b></a> +<b>dicendi via</b>: the method, pathway, or track of the argument.</p> + +<p><b>neque enim &c.</b> The reason is given in the form of a +simile: we cannot run a race without knowing the goal and the track, and +it is the same with eloquence. For a similar figure cp. <a href = +"#chapIII_sec10">3 §10</a>.</p> + +<p><b>partes</b>: i.e. prooemium, narratio, probatio, refutatio, +epilogus. Cp. iii. 9, 1.</p> + +<p><b>disponere</b>: vii. 10, 5 quaestio omnis ac locus habet suam +dispositionem.</p> + +<p><b>primum ... secundum</b>: vii. 10, 5 Non enim causa tantum universa +in quaestiones ac locos diducenda est, sed hae +<span class = "pagenum comm">172</span> +ipsae partes habent rursus ordinem suum. Nam et in prooemio primum est +aliquid et secundum ac deinceps, &c.</p> + +<p><b>intervelli</b>: cp. xii. 9, 17.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapVII_sec6" id = "chapVII_sec6"> </a> +<span class = "secnum">VII:6</span> +Quisquis autem via dicet, ducetur ante omnia rerum ipsa serie velut +duce, propter quod homines etiam modice exercitati facillime tenorem in +narrationibus servant. Deinde quid quoque loco quaerant scient, nec +circumspectabunt nec offerentibus se aliunde sensibus turbabuntur nec +confundent ex diversis orationem velut salientes huc illuc nec usquam +insistentes.</p> + +<div class = "comm"> +<p><a name = "commVII_sec6" id = "commVII_sec6"><b>§ 6.</b></a> +<b>via dicet</b>: ‘methodically’, ‘systematically,’ cp. dicendi via <a +href = "#chapVII_sec5">§5</a>. So ii. 17, 41 via id est ordine. Cic. +Brut. §46 (ait Aristoteles) antea nominem solitum via nec arte, sed +adcurate tamen et de scripto plerosque dicere: Orat. §§10, 116 ratione +et via disputare, docere: de Fin. ii. §3 (oratio) quae via quadam et +ratione habetur. Roby 1236. See <a href = +"QuintCrit.html#critVII_sec6">Crit. Notes</a>.</p> + +<p><b>velut</b>: see on <a href = +"QuintBody1.html#chapI_sec5">1 §5</a>. It softens the expression +<i>serie ... duce</i>, being equivalent to ‘ut ita dicam.’ The +collocation <i>ducetur ... duce</i> is to be classed among the rather +negligent repetitions of which a list is given on <a href = +"#chapII_sec23">2 §23</a>. Becher compares Cic. de Nat. Deor. +ii. §135 depulsum et quasi detrusum cibum accepit depellit (where +J. B. Mayor however reads delapsum): cp. ib. §145. For ‘serie +ducere’ cp. xi. 2, 39 etiam quae bene composita erunt memoriam serie sua +ducent.</p> + +<p><b>propter quod</b>: see on <a href = +"QuintBody1.html#chapI_sec66">1 §66</a>: <a href = +"#chapV_sec23">5 §23</a>.</p> + +<p><b>quaerant</b>, ‘look for as matter of discourse,’ as <a href = +"#chapVI_sec7">6 §7</a>. The occurrence of <i>homines</i> in the +interval leads up from the singular <i>quisquis</i> to the plural.</p> + +<p><b>sensibus</b>: see on <a href = +"#chapIII_sec33">3 §33</a>.</p> + +<p><b>confundent ex diversis</b>: ‘make it a jumble of +incongruities.’</p> + +<p><b>huc illuc</b>: Cic. ad Att. ix. 9, 2 ne ... cursem huc illuc via +deterrima.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec7" id = "chapVII_sec7"> </a> +<span class = "secnum">VII:7</span> +Postremo habebunt modum et finem, qui esse citra divisionem nullus +potest. Expletis pro facultate omnibus quae proposuerint, pervenisse se +ad ultimum sentient.</p> + +<p class = "maintext"> +Et haec quidem ex arte, illa vero ex studio: ut copiam sermonis optimi, +quem ad modum praeceptum est, comparemus, multo ac fideli stilo sic +formetur oratio ut scriptorum colorem etiam quae subito effusa sint +reddant, ut cum multa scripserimus +<span class = "pagenum">173</span> +etiam multa dicamus.</p> + +<div class = "comm"> +<p><a name = "commVII_sec7" id = "commVII_sec7"><b>§ 7.</b></a> +<b>citra</b>: see on <a href = +"QuintBody1.html#chapI_sec2">1 §2</a>.</p> + +<p><b>divisionem</b>: ‘here the distribution of the matter of the speech +both into the general divisions and subordinate heads, and also into the +minuter passages and sentences; their order constituting the <i>via +dicendi</i>.’ Frieze.</p> + +<p><b>Expletis ... quae proposuerint</b>: ‘when they have overtaken all +the points advanced,’ exhausted the various heads of their discourse, v. +10, 109 nec minus in hoc curae debet adhiberi quid proponendum quam +quomodo sit quod proposueris probandum.</p> + +<p><b>haec quidem &c.</b> The meaning is that while the observance +of the foregoing precepts (haec) depends on knowledge of theory (ars), +as embodied in specific rules and directions, what is now to come (illa) +demands <i>studium</i>, i.e. scientific exercise, applied to reading, +imitation, writing, and the practice of speaking (cp. <a href = +"QuintBody1.html#chapI_sec1">1 §1</a>). The sentence is an awkward +one: it is best explained by making the <i>ut</i> before <i>copiam</i> +co-ordinate with the <i>ut</i> before <i>cum multa scripserimus</i>, and +supplying a corresponding <i>ut</i> with <i>formetur</i>. <i>Illa</i> +then introduces all three clauses, the first referring mainly to +<i>legere</i>, the second to <i>scribere</i>, and the third to +<i>dicere</i>. The precepts in regard to reading and imitation +(quemadmodum praeceptum est) are found in chs. i and ii: writing is +covered by chs. iii, iv and v: while speech is dealt with in the present +chapter.</p> + +<p><b>fideli stilo</b>, the ‘conscientious practice of composition.’</p> + +<p><b>scriptorum colorem</b>: see <a href = +"#chapVI_sec5">6 §5</a>.</p> + +<p><b>effusa sint</b>: cp. <a href = "#chapIII_sec17">3 §17</a> +componunt quae effuderant.</p> + +<p><b>cum multa scripserimus</b>. The practice +<span class = "pagenum comm">173</span> +of speaking (including extempore utterance) is to come <i>after</i> +writing: cp. <a href = "QuintBody1.html#chapI_sec3">1 §3</a> +sq.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec8" id = "chapVII_sec8"> </a> +<span class = "secnum">VII:8</span> +Nam consuetudo et exercitatio facilitatem maxime parit: quae si paulum +intermissa fuerit, non velocitas illa modo tardatur, sed ipsum <i>os</i> +coit atque concurrit. Quamquam enim opus est naturali quadam mobilitate +animi, ut, dum proxima dicimus, struere ulteriora possimus semperque +nostram vocem provisa et formata cogitatio excipiat;</p> + +<div class = "comm"> +<p><a name = "commVII_sec8" id = "commVII_sec8"><b>§ 8.</b></a> +<b>consuetudo et exercitatio</b>, referring only to the last-mentioned +precept, <i>ut multa dicamus</i>.</p> + +<p><b>velocitas illa</b>. The demonstr. is vivid,—‘the requisite +rapidity,’ that which we either have acquired or hope to acquire.</p> + +<p><b>os coit atque concurrit</b>. Cp. xi. 3, 56 est aliis concursus +oris et cum verbis suis colluctatio: viii. 3, 45 littera quae exprimi +nisi labris coeuntibus non potest: xi. 3, 121 his accedunt vitia non +naturae, sed trepidationis, cum ore concurrente rixari. “Os concurrit +cum prae anxietate dicentis musculi oris invitis etiam trahuntur et +convelluntur ut labia et lingua quasi trepident.” Wolff.</p> + +<p><b>mobilitate animi</b>: cp. <a href = "#chapVII_sec22">§22</a>. His +mind must be quick of movement in order to express properly what is to +be said on the instant (<i>proxima</i> corresponding to <i>nostram +vocem</i>), and at the same time be shaping (<i>struere</i>) what is +further on (<i>ulteriora</i> corresponding to <i>provisa et formata +cogitatio</i>). Tr. <b>proxima</b>, ‘what we are about to say’: +<b>nostram vocem</b>, ‘what has just been said.’ For <b>provisa</b> cp. +on <a href = "#chapIII_sec10">3 §10</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec9" id = "chapVII_sec9"> </a> +<span class = "secnum">VII:9</span> +vix tamen aut natura aut ratio in tam multiplex officium diducere animum +queat ut inventioni, dispositioni, elocutioni, ordini rerum verborumque, +tum iis quae dicit, quae subiuncturus est, quae ultra spectanda sunt, +adhibita vocis, pronuntiationis, gestus observatione, una sufficiat.</p> + +<div class = "comm"> +<p><a name = "commVII_sec9" id = "commVII_sec9"><b>§ 9.</b></a> +<b>ratio</b>, cp. note on <a href = "#chapVII_sec3">§3</a>.</p> + +<p><b>quae dicit</b>, sc. ‘orator,’ as with <i>sufficiat</i> ‘animus’ +must be supplied. Cp. on <a href = "#chapVII_sec4">§4</a>.</p> + +<p><b>vocis ... gestus</b>. See <a href = +"QuintBody1.html#chapI_sec17">1 §17</a> for a similar enumeration, +and cp. the note.</p> + +<p><b>una</b> = simul, which indeed Halm substitutes for it in his +text.</p> +</div> + +<div class = "null"> +<p class = "maintext"> +<a name = "chapVII_sec10" id = "chapVII_sec10"> </a> +<span class = "secnum">VII:10</span> +Longe enim praecedat oportet intentio ac prae se res agat, quantumque +dicendo consumitur, tantum ex ultimo prorogetur, ut, donec perveniamus +ad finem, non minus prospectu procedamus quam gradu, si non +intersistentes offensantesque brevia illa atque concisa singultantium +modo eiecturi sumus.</p> + +<span class = "pagenum">174</span> +<div class = "comm"> +<p><a name = "commVII_sec10" id = "commVII_sec10"><b>§ 10.</b></a> +<b>intentio</b>: cp. intendunt animum <a href = +"QuintBody1.html#chapI_sec24">1 §24</a>.</p> + +<p><b>prae se res agat</b>. The mind must pursue or chase, as it were, +the ideas that are still in front of it, and have them available in +advance.</p> + +<p><b>consumitur ... prorogetur</b>: expressions derived from banking +transactions. ‘In proportion as the speaker pays out, must he make +advances to himself out of what is to come later.’ For this use of +<i>prorogare</i> see the Lexx. <b>Ex ultimo</b> was understood by Wolff +to mean <i>ex eo quod modo dictum est</i>: but Becher (Quaest. Quint. +p. 9) pointed out that it = ‘vom Ende aus,’ and correctly rendered +the whole sentence ‘so viel im Reden drauf geht, so viel muss er sich im +Voraus vom Ende aus flüssig machen und so gewissermassen seine +Zahlungsfähigkeit länger hinausschieben,’—ut ne in inopiam +redactus bonam copiam eiuret. The speaker is to be continually drawing +from his reserve funds (<i>ex ultimo</i>, i.e. from the part of his +subject-matter that remains) just so much as he is expending in +delivery.</p> + +<p><b>prospectu procedamus</b>: cp. xi. 2, 3 nam dum alia dicimus, quae +dicturi sumus intuenda sunt: ita cum semper cogitatio ultra eat, id quod +est longius quaerit, quidquid autem repperit quodam modo apud memoriam +deponit, quod illa quas media quaedam manus acceptum ab inventione +tradit elocutioni.</p> + +<p><b>si non ... eiecturi sumus</b>: ‘if we +<span class = "pagenum comm">174</span> +want to avoid coming to a standstill, stuttering, and giving forth our +short, broken phrases, like persons gasping out what they have to +say.’—For offensantes cp. <i>offensator</i> <a href = +"#chapIII_sec10">3 §10</a>: and for brevia illa <a href = +"#chapII_sec17">2 §17</a> illud frigidum et inane.</p> +</div> +</div> <!-- null --> + +<p class = "maintext space"> +<a name = "chapVII_sec11" id = "chapVII_sec11"> </a> +<span class = "secnum">VII:11</span> +Est igitur usus quidam inrationalis, quam Graeci <span class = "greek" +title = "alogon tribên">ἄλογον τριβήν</span> vocant, qua manus in +scribendo decurrit, qua oculi totos simul in lectione versus flexusque +eorum et transitus intuentur et ante sequentia vident quam priora +dixerunt. Quo constant miracula illa in scaenis pilariorum ac +ventilatorum, ut ea quae emiserint ultro venire in manus credas et qua +iubentur decurrere.</p> + +<div class = "comm space"> +<p><a name = "commVII_sec11" id = "commVII_sec11"><b>§ 11.</b></a> +<b>inrationalis</b>: ‘mechanical,’ ‘unscientific.’ Cp. ii. 15, 23 quidam +eam neque vim neque scientiam neque artem putaverunt, sed Critolaus usum +dicendi (nam hoc <span class = "greek" title = "tribê">τριβή</span> +significat).... For the opposition between <span class = "greek" title = +"technê">τέχνη</span> and <span class = "greek" title = +"tribê">τριβή</span> (‘knack’) see Plato, Phaedrus 260 E <span class = +"greek" title = "ouk esti technê all’ atechnos tribê">οὐκ ἔστι τέχνη +ἄλλ᾽ ἄτεχνος τριβή</span>: Gorgias 501 A <span class = "greek" title = +"komidê atechnôs ... erchetai ... alogôs te pantapasin, hôs epos eipein ... tribê kai empeiria">κομιδῇ ἀτέχνως ... ἔρχεται ... ἀλόγως τε +παντάπασιν, ὡς ἔπος εἰπεῖν ... τριβὴ καὶ ἐμπειρία</span>: ib. +463 B.</p> + +<p><b>manus ... decurrit</b>. Cp. Cic. de Orat. ii. §130 neque enim +quotiens verbum aliquod est scribendum nobis, totiens eius verbi +litterae sunt cogitatione conquirendae; nec quotiens causa dicenda est, +totiens ad eius causae seposita argumenta revolvi nos oportet, sed +habere certos locos, qui ut litterae ad verbum scribendum, sic illi ad +causam explicandam statim occurrant.</p> + +<p><b>versus</b>: see on <a href = +"QuintBody1.html#chapI_sec38">1 §38</a>.</p> + +<p><b>flexus ... et transitus</b>. These words are generally taken in +their literal sense; but the rendering ‘turns and transitions’ +(‘Wendungen and Uebergänge’) seems not sufficiently to explain the +passage. May <i>flexus</i> not refer here to the modulation of the +voice, as frequently in Quintilian (v. Bonn. Lex.), and <i>transitus</i> +to the punctuation which marks the passage from one clause to another? +In reading the eye takes in all this in advance. Tr. ‘observe the +intonations and the stops.’ On the other hand Frieze (who alone of the +commentators seems to have felt any difficulty): ‘the action of the eye +itself in reading is ascribed to the lines of the manuscript. +<i>Flexus</i> seems to refer to the turning of the eye from the end of a +line to the beginning of the next, and <i>transitus</i> the passing from +one column of the manuscript to the next.’ But this explanation of +<i>transitus</i> can hardly be right.</p> + +<p><b>dixerunt</b>, sc. lectores,—before the reader has +articulated (to himself) what comes first, the eye runs on to what +follows. For the change of subject cp. §9.</p> + +<p><b>miracula</b> = <span class = "greek" title = +"thaumata">θαύματα</span>, ‘conjuring-tricks.’</p> + +<p><b>pilariorum ac ventilatorum</b>: ‘jugglers and professors of +legerdemain.’ For the former (who resembled the Indian juggler) see +Rich’s Dict. Ant. s.v., where a figure is shown from a Diptych in the +Museum at Verona exhibiting dexterous feats with a number of balls, +‘throwing them up with both hands, catching them on, and making them +rebound from, the inner joint of the elbow, leg, forehead, and instep, +so that they kept playing in a continuous circle round his person +without falling to the ground, as minutely described by Manilius +(<i>Astron.</i> 169-171).’ The ventilator was one who winnowed grain +with the <i>ventilabrum</i> (see Rich. s.v.), and so is generally taken +here of a juggler ‘tossing his balls into the air as the winnower does +his corn’; but looking to the use of <i>ventilare</i> for to ‘conjure +away’ (magicis artibus vitas insontium et manibus accitis ventilare, +Imp. Constant. cod. 9, 18, 6 and cod. Th. 9, 16, 5), I prefer +Professor Key’s explanation of the word, ‘a juggler, as affecting to +toss things away with an <span class = "greek" title = +"oichetai">οἴχεται</span>, or with a puff of breath’: cp. Prudent. +Peristeph. x. 78 tu ventilator urbis et vulgi levis procella.—The +genitives are to be referred to <i>scaenis</i>, not <i>miracula</i>.</p> + +<p><b>ut ea</b>: for this constr. see on <a href = +"QuintBody1.html#chapI_sec58">1 §58</a>.</p> + +<p><b>in manus</b>: Krüger and Dosson are wrong in taking this of the +hands of the spectators. The balls return to the hands of the performers +themselves. For <i>qua</i> (sc. via) cp. ii. 20, 2 multos video qua vel +impudentia vel fames duxit ruentes: ix. 1, 19: xii. 10, 61.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec12" id = "chapVII_sec12"> </a> +<span class = "secnum">VII:12</span> +Sed hic usus ita proderit, si ea de qua locuti sumus ars antecesserit, +ut +<span class = "pagenum">175</span> +ipsum illud quod in se rationem non habet in ratione versetur. Nam mihi +ne dicere quidem videtur nisi qui disposite, ornate, copiose dicit, sed +tumultuari.</p> + +<div class = "comm"> +<p><a name = "commVII_sec12" id = "commVII_sec12"><b>§ 12.</b></a> +<b>ita ... si</b>, in a limiting sense (= ita demum si), ‘only so +far as.’ Cp. xi. 3, 130 ambulantem loqui ita demum oportet si in causis +publicis, &c. In Brut. +<span class = "pagenum comm">175</span> +§195 Cicero has cum <i>ita</i> heres institutus esset <i>si</i> pupillus +ante mortuus esset. In this restrictive sense <b>ita</b> is more +commonly followed by <b>ut</b> (Verr. iv. §150): sometimes by <i>cum</i> +(Brut. §222). In Top. §44 we have agens de eo qui testamento <i>sic</i> +heredem instituisset <b>ut</b> si filius natus esset, &c.</p> + +<p><b>locuti sumus</b>, i.e. in <a href = "#chapVII_sec5">§§5-7</a>.</p> + +<p><b>quod ... non habet</b>: cp. <a href = "#chapVII_sec11">§11</a> +usus inrationalis, where there is no consciousness of method.</p> + +<p><b>in ratione versetur</b> = arte, artis et rationis praeceptis +contineatur. Though mechanical, through habit it should be based on +method and rational principle.</p> + +<p><b>nisi qui &c.</b> Cp. Cic. de Orat. i. §48 Sin oratoris nihil +vis esse nisi <i>composite</i> <i>ornate</i> <i>copiose</i> loqui, +&c. The first refers to <i>collocatio</i>, the second to +<i>elocutio</i>, and the third to <i>inventio</i>.</p> + +<p><b>tumultuari</b>, to ‘rant.’ Cp. vii. pr. §3 oratio carens hac +virtute (sc. ordine) tumultuetur necesse est: ii. 12, 11 cum interim non +actores modo aliquos invenias, sed, quod est turpius, praeceptores etiam +qui brevem dicendi exercitationem consecuti omissa ratione, ut tulit +impetus, passim tumultuentur, eosque qui plus honoris litteris +tribuerunt ineptos et ieiunos et tepidos et infirmos, ut quodque verbum +contumeliosissimum occurrit, appellent.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec13" id = "chapVII_sec13"> </a> +<span class = "secnum">VII:13</span> +Nec fortuiti sermonis contextum mirabor umquam, quem iurgantibus etiam +mulierculis superfluere video, cum eo quod, si calor ac spiritus tulit, +frequenter accidit ut successum extemporalem consequi cura non +possit.</p> + +<div class = "comm"> +<p><a name = "commVII_sec13" id = "commVII_sec13"><b>§ 13.</b></a> +<b>fortuiti sermonis</b>, ‘random talk.’</p> + +<p><b>contextum</b> = continuam orationem, cp. <a href = +"#chapVII_sec26">§26</a>. The word denotes mere continuity of speech, a +mere train of words.</p> + +<p><b>superfluere video</b>: see <a href = +"QuintCrit.html#critVII_sec13">Crit. Notes</a>.</p> + +<p><b>cum eo quod</b>, ‘with this consideration that,’ connects in a +loose manner with what goes before: ‘and this I say with the addition +that,’ <ins class = "correction" title = "period missing">&c.</ins> +The usual explanation is ‘with the exception or limitation that,’ +&c.: so Günther ‘postquam sese mirari nunquam fortuiti sermonis +contextum dixit, hoc enuntiato a “cum eo quod” pendente orationi +moderatur et concedit frequenter, si calor ac spiritus tulerit, curam +consequi non posse successum extemporalem’: cp. Cic. ad Att. vi. 1, §4 +sit sane, quoniam ita tu vis, sed tamen cum eo, credo, quod sine peccato +meo fiat. But Quintilian is not ‘taking back’ what he has said in ‘nec +mirabor’: he is going on to add what is really an independent statement. +Other uses of <i>cum eo quod</i> occur ii. 4, 30 cum eo quidem, quod vix +ullus est tam communis locus, qui possit cohaerere cum causa nisi aliquo +propriae quaestionis circulo copulatus: xii. 10, 47 cum eo quod, si non +ad luxuriam ac libidinem referas, eadem speciosiora quoque sint quae +honestiora. See Introd. <a href = +"QuintIntro.html#intro_pageliii">p. liii</a>.</p> + +<p><b>spiritus</b>: see on <a href = +"QuintBody1.html#chapI_sec27">1 §27</a>.</p> + +<p><b>tulit</b>. For <i>ferre</i> used absolutely: cp. <a href = +"#chapIII_sec7">3 §7</a> si feret flatus, and such phrases as ‘si +occasio tulerit.’ Krüger supplies <i>aliquem</i>, comparing <a href = +"QuintBody1.html#chapI_sec110">1 §110</a>.—For the perfect, +used like the Greek aorist to denote repeated occurrence, cp. refrixit +<a href = "#chapIII_sec6">3 §6</a>, and accessit ... restitit <a +href = "#chapVII_sec14">§14</a> below.</p> + +<p><b>ut ... possit</b>—that the success of such impromptu +speaking is not attained by study and premeditation (cura).</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec14" id = "chapVII_sec14"> </a> +<span class = "secnum">VII:14</span> +Deum tunc adfuisse, cum id evenisset, veteres oratores, ut Cicero, +dictitabant. Sed ratio manifesta est. Nam bene concepti adfectus et +recentes rerum imagines continuo impetu feruntur, quae nonnumquam mora +stili refrigescunt et dilatae non revertuntur. Utique vero, +<span class = "pagenum">176</span> +cum infelix illa verborum cavillatio accessit et cursus ad singula +vestigia restitit, non potest ferri contorta vis; sed, ut optime vocum +singularum cedat electio, non continua sed composita est.</p> + +<div class = "comm"> +<p><a name = "commVII_sec14" id = "commVII_sec14"><b>§ 14.</b></a> +<b>ut Cicero</b>. No such saying can be found in Cicero’s extant works: +cp. however de Orat. i. §202. For the reading see <a href = +"QuintCrit.html#critVII_sec14">Crit. Notes</a>.</p> + +<p><b>ratio manifesta est</b>: cp. <a href = +"#chapV_sec3">5 §3</a>.</p> + +<p><b>bene concepti adfectus</b>, ‘emotion profoundly felt’: v. on <a +href = "#chapVII_sec15">§15</a> and cp. vi. 2, 30 has (imagines rerum) +quisquis bene conceperit is erit in adfectibus potentissimus.</p> + +<p><b>recentes rerum imagines</b>: ‘fresh,’ ‘vivid’ conceptions, or +ideas: a lively imagination.</p> + +<p><b>continuo impetu feruntur</b>: ‘sweep along in uninterrupted +course.’</p> + +<p><b>refrigescunt</b>, cp. <a href = "#chapIII_sec6">3 §6</a>, and +<a href = "#chapIII_sec33">§33</a><ins class = "correction" title = +"period missing">. </ins></p> + +<p><b>utique</b>: see on <a href = +"QuintBody1.html#chapI_sec20">1 §20</a>.</p> + +<span class = "pagenum comm">176</span> +<p><b>infelix ... verborum cavillatio</b>: of the morbid carping +self-criticism spoken of in <a href = "#chapIII_sec10">3 §10</a>: +<a href = "QuintBody1.html#chapI_sec115">1 §115</a>. For +<i>infelix</i> see on <a href = +"QuintBody1.html#chapI_sec7">1 §7</a>.</p> + +<p><b>non potest ferri contorta vis</b>: ‘there can be no energy in the +swing,’ a figure taken from the discharge of missile weapons, such as +the sling and the javelin. <i>Vis contorta fertur</i> = the <i>vis</i> +(of the speech) is ‘whirled and sped onward’: for <i>ferri</i> cp. ix. +4, 112 oratio quae ferri debet et fluere. For the whole expression cp. +Cic. Orator §234 Demosthenes! cuius non tam vibrarent fulmina illa, nisi +numeris contorta ferrentur, (Quint. ix. 4, 55,) where <i>contorquere</i> +describes the whirling action which imparts to the missile that rotating +movement by which (as with our rifled guns) it is made more certain to +hit the mark: see Sandys ad loc. Quintilian has a similar figure in ix. +4, 9 mihi compositione velut amentis quibusdam nervisve intendi et +concitari sententiae videntur.</p> + +<p><b>ut</b> = though.</p> + +<p><b>continua ... composita</b>, ‘the style is not all of one pattern, +but rather a patchwork,’—it does not flow on spontaneously, but is +elaborately put together. The subject <i>oratio</i> must be supplied out +of the context: cp. <a href = "#chapVII_sec26">§26</a>, and <a href = +"QuintBody1.html#chapI_sec7">1 §§7</a> and <a href = +"QuintBody1.html#chapI_sec29">29</a>. Becher renders ‘nicht aus ganzem +Holze (geschnitten) sondern geleimt,’—not all of one piece but +glued together: and compares ‘corpora continua’ and ‘composita’ in Sen. +Epist. xvii. 2, 6 (102),—‘organisms’ and mechanical fabrics.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapVII_sec15" id = "chapVII_sec15"> </a> +<span class = "secnum">VII:15</span> +Quare capiendae sunt illae, de quibus dixi, rerum imagines, quas vocari +<span class = "greek" title = "phantasias">φαντασίας</span> indicavimus, +omniaque, de quibus dicturi erimus, personae, quaestiones, spes, metus, +habenda in oculis, in adfectus recipienda; pectus est enim, quod +disertos facit, et vis mentis. Ideoque imperitis quoque, si modo sunt +aliquo adfectu concitati, verba non desunt.</p> + +<div class = "comm space"> +<p><a name = "commVII_sec15" id = "commVII_sec15"><b>§ 15.</b></a> +<b>de quibus dixi</b>. Cp. vi. 2, 29 Quas <span class = "greek" title = +"phantasias">φαντασίας</span> Graeci vocant (nos sane visiones +appellemus) per quas imagines rerum absentium ita repraesentantur animo +ut eas cernere oculis ac praesentes habere videamur, has quisquis bene +conceperit is erit in adfectibus potentissimus. So of the creations of +the painter’s fancy, xii. 10, 6 concipiendis visionibus, quas <span +class = "greek" title = "phantasias">φαντασίας</span> vocant, +praestantissimus Theon Samius.</p> + +<p><b>dicturi erimus</b>. The careful selection of the tense is to be +noted: cp. Cic. de Orat. i. §223 eorum apud quos aliquid aget aut erit +acturus mentes sensusque degustet, where <i>agit</i> is contemporaneous +with <i>degustet</i>, while <i>erit acturus</i> is regarded as still +future.—There is negligence in the juxtaposition of <i>dixi</i> +and <i>dicturi erimus</i>.</p> + +<p><b>in adfectus recipienda</b>, sc. that emotions may thereby be +excited which shall find expression in what we say. The intensity of +these emotions will depend on the vividness of the images in the +mind.</p> + +<p><b>pectus</b>: ‘feeling.’ The sentence is carefully arranged: besides +the chiasmus above (<i>habenda in oculis</i>, <i>in adfectus +recipienda</i>) <i>pectus</i> now takes up <i>in adfectus +recipienda</i>, while <b>vis mentis</b> refers to <i>habenda in +oculis</i>, and denotes accordingly force or clearness of +conception.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec16" id = "chapVII_sec16"> </a> +<span class = "secnum">VII:16</span> +Tum intendendus animus, non in aliquam rem unam, sed in plures simul +continuas, ut si per aliquam rectam viam mittamus oculos simul omnia +quae sunt in ea circaque intuemur, non ultimum tantum videmus, sed usque +<span class = "pagenum">177</span> +ad ultimum. Addit ad dicendum etiam pudor stimulos, mirumque videri +potest quod, cum stilus secreto gaudeat atque omnes arbitros reformidet, +extemporalis actio auditorum frequentia, ut miles congestu signorum, +excitatur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec16" id = "commVII_sec16"><b>§ 16.</b></a> +<b>Tum</b>, if allowed to stand (see <a href = +"QuintCrit.html#critVII_sec16">Crit. Notes</a>), does not introduce a +help to oratory, like <i>pectus</i> above (cp. si modo sunt aliquo +adfectu concitati), and addit ad dicendum etiam <i>pudor</i> stimulos in +the following sentence. The words from <i>pectus est enim</i> to +<i>verba non desunt</i> form a parenthesis, and <i>tum intendendus</i> +resumes the previous recommendation, <i>omniaque de quibus dicturi +erimus ... recipienda</i>. This is clear from the correspondence of +participles, <i>capiendae</i> ... <i>habenda</i> ... <i>recipienda</i> +... <i>intendendus</i>.</p> + +<p><b>continuas</b>, here of things that ‘hang together’: tr. ‘in an +orderly sequence.’</p> + +<p><b>circa</b>, ‘on either side.’</p> + +<span class = "pagenum comm">177</span> +<p><b>pudor</b> = ‘amour-propre,’ sense of honour as (possibly) to be +compromised by failure.</p> + +<p><b>stilus secreto</b>: <a href = "#chapIII_sec23">3 §23</a> +sq.</p> + +<p><b>congestu signorum</b>: the ‘crowded standards,’—of the +moment when the legion is about to advance, and the standard of every +company is set in motion at the same time. This is better than to take +it of the assembling of the standard-bearers with their ensigns round +the general’s tribunal, while he addresses the army on the eve of +battle.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec17" id = "chapVII_sec17"> </a> +<span class = "secnum">VII:17</span> +Namque et difficiliorem cogitationem exprimit et expellit dicendi +necessitas, et secundos impetus auget placendi cupido. Adeo pretium +omnia spectant ut eloquentia quoque, quamquam plurimum habeat in se +voluptatis, maxime tamen praesenti fructu laudis opinionisque +ducatur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec17" id = "commVII_sec17"><b>§ 17.</b></a> +<b>difficiliorem</b>: thought that labours, is slow to find +utterance.</p> + +<p><b>expellit</b>, stronger than <i>exprimit</i>: cp. <a href = +"#chapIII_sec6">3 §6</a>.</p> + +<p><b>secundos impetus</b>, ‘the favourable glow,’—the ‘élan’ so +helpful for the expression of thought.</p> + +<p><b>pretium</b>, like <i>praemium</i> in a parallel passage, Tac. +Dial. 36: ita ad summa eloquentiae praemia magna etiam necessitas +accedebat, et quo modo disertum haberi pulchrum et gloriosum sic contra +mutum et elinguem videri deforme habebatur.</p> + +<p><b>quamquam</b>, with subj. <a href = +"QuintBody1.html#chapI_sec33">1 §33</a>.</p> + +<p><b>opinionis</b>, ‘reputation,’ the favourable estimate which others +form of us: see on <a href = "#chapV_sec18">5 §18</a> and cp. <a +href = "#chapVII_sec24">§24</a> below: Cic. pro Arch. §26. Introd. <a +href = "QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec18" id = "chapVII_sec18"> </a> +<span class = "secnum">VII:18</span> +Nec quisquam tantum fidat ingenio ut id sibi speret incipienti statim +posse contingere, sed, sicut in cogitatione praecepimus, ita facilitatem +quoque extemporalem a parvis initiis paulatim perducemus ad summam, quae +neque perfici neque contineri nisi usu potest.</p> + +<div class = "comm"> +<p><a name = "commVII_sec18" id = "commVII_sec18"><b>§ 18.</b></a> +<b>id</b>, i.e. ut ex tempore dicere possit: the faculty of +improvisation.</p> + +<p><b>praecepimus</b>: <a href = "#chapVI_sec3">6 §3</a>.</p> + +<p><b>contineri</b>, <a href = "#chapVI_sec3">6 §3</a> augenda vis +et exercitatione multa continenda est.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapVII_sec19" id = "chapVII_sec19"> </a> +<span class = "secnum">VII:19</span> +Ceterum pervenire eo debet ut cogitatio non utique melior sit ea, sed +tutior, cum hanc facilitatem non in prosa modo multi sint consecuti, sed +etiam in carmine, ut Antipater Sidonius et Licinius Archias (credendum +enim Ciceroni est)— non quia +<span class = "pagenum">178</span> +nostris quoque temporibus non et fecerint quidam hoc et faciant. Quod +tamen non ipsum tam probabile puto (neque enim habet aut usum res aut +necessitatem) quam exhortandis in hanc spem, qui foro praeparantur, +utile exemplum.</p> + +<div class = "comm"> +<p><a name = "commVII_sec19" id = "commVII_sec19"><b>§ 19.</b></a> +<b>debet</b>. The subject which the editors generally say is to be +supplied is ‘facilitas extemporalis’: cp. <a href = +"#chapVI_sec4">6 §4</a>. But Becher is probably right in supplying +a personal subject (as <a href = +"QuintBody1.html#chapI_sec7">1 §7</a>: <a href = +"#chapII_sec24">2 §24</a>: <a href = +"#chapVII_sec4">7 §§4</a>, <a href = +"#chapVII_sec25">25</a>),—‘the orator,’ ‘the budding rhetorician,’ +or even <span class = "greek" title = "tis">τις</span>: cp. nec +quisquam.* If <i>extemporalis facilitas</i> were the subject of the +sentence, <i>ipsa</i> would have been expected instead of <i>ea</i>. See +Critical Notes.* recte: <i>nec quisquam fidat</i>, <i>above</i>.</p> + +<p><b>non utique</b>: ‘not of course,’ ‘not necessarily.’ See on <a href += "QuintBody1.html#chapI_sec20">1 §20</a>: cp. xii. 2, 18.</p> + +<p><b>in prosa</b>: see on <a href = +"QuintBody1.html#chapI_sec81">1 §81</a>.</p> + +<p><b>Antipater</b> of Sidon, an Alexandrine poet, cir. <span class = +"smallroman">B.C.</span> 135. Cic. de Orat. iii. §194 quod si Antipater +ille Sidonius ... solitus est versus hexametros aliosque variis modis +atque numeris fundere ex tempore, tantumque hominis ingeniosi ac memoris +valuit exercitatio ut, cum se mente ac voluntate coniecisset in versum, +verba sequerentur, quanto id facilius in oratione, exercitatione et +consuetudine adhibita, consequemur!</p> + +<p><b>Archias</b>. Cic. pro Arch. 8 §18 quotiens ego hunc vidi, cum +litteram scripsisset nullam, magnum numerum optimorum versuum de iis +ipsis rebus quae tum agerentur dicere ex tempore.</p> + +<p><b>non quia ... non</b>. For the subjunctive, see Introd. <a href = +"QuintIntro.html#intro_pageliv">p. liv</a>: cp. <a href = +"#chapVII_sec31">§31</a>, below. +<span class = "pagenum comm">178</span> +Becher rightly explains (Bursian’s Jahresb.) that <i>credendum enim +Ciceroni est</i> is to be bracketed as a parenthesis of the writer’s to +Antipater Sidonius and Licinias Archias,—examples which give the +motive for the half apology <i>non quia</i>, &c. Tr. ‘though I do +not wish to be understood to mean that,’ &c. Others explain the +sentence as elliptical: ‘I do not quote Cicero’s authority because we +have not abundant examples in our own times, but because his authority, +at any rate, will be unquestioned,’ Frieze.</p> + +<p><b>quidam</b>. Hild thinks the reference must be particularly to +Statius: Silv. 1 pr. hos libellos qui mihi subito calore et quadam +festinandi voluptate fluxerunt: and iii. pr. libellos ... subito natos. +Possibly also to Remmius Palaemon, the teacher of Quintilian: Suet. +Gram. 23 poemata faciebat ex tempore.</p> + +<p><b>quod ... ipsum</b>. ‘This accomplishment in itself,’ viz. +facilitas ex tempore carmina fingendi.</p> + +<p><b>in hanc spem = huius</b> in rei spem. Cp. <a href = +"#chapIII_sec2">3 §2</a> sine hac conscientia.</p> +</div> +</div> <!-- div --> + + +<p class = "maintext"> +<a name = "chapVII_sec20" id = "chapVII_sec20"> </a> +<span class = "secnum">VII:20</span> +Neque vero tanta esse umquam <i>debet</i> fiducia facilitatis ut non +breve saltem tempus, quod nusquam fere deerit, ad ea quae dicturi sumus +dispicienda sumamus, quod quidem in iudiciis ac foro datur semper; neque +enim quisquam est qui causam quam non didicerit agat.</p> + +<div class = "comm"> +<p><a name = "commVII_sec20" id = "commVII_sec20"><b>§ 20.</b></a> +<b>non ... saltem</b>: see on <a href = +"#chapII_sec15">2 §15</a>.</p> + +<p><b>didicerit</b>. In acquainting himself with the facts of a case, +and considering (however briefly) the principles applicable to it, the +judicial pleader has always some little time to think over his +speech.</p> +</div> + +<div class = "null"> + +<p class = "maintext"> +<a name = "chapVII_sec21" id = "chapVII_sec21"> </a> +<span class = "secnum">VII:21</span> +Declamatores quosdam perversa ducit ambitio ut exposita controversia +protinus dicere velint, quin etiam, quod est in primis frivolum ac +scaenicum, verbum petant quo incipiant. Sed tam contumeliosos in se +ridet invicem eloquentia, et qui stultis videri eruditi volunt, stulti +eruditis videntur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec21" id = "commVII_sec21"><b>§ 21.</b></a> +<b>Declamatores</b>: see on <a href = +"QuintBody1.html#chapI_sec71">1 §71</a>.</p> + +<p><b>ambitio</b>: see Introd. <a href = +"QuintIntro.html#intro_pagexliv">p. xliv</a>.</p> + +<p><b>exposita controversia</b>, ‘as soon as the question is +stated.’</p> + +<p><b>frivolum</b>, ‘in bad taste,’ a word characteristic of the Silver +Age.</p> + +<p><b>scaenicum</b>, ‘theatrical.’ On the stage, actors often start off +with such a ‘cue.’ Cp. i. 11, 3 plurimum ... aberit a scaenico: xi. 3, +57 modulatio scaenica: ib. §123 nam et complodere manus scaenicum est et +pectus caedere. We may also recall ‘nedum ille scaenicus (Nero)’: Tac. +Ann. xv. 59.</p> +</div> +</div> <!-- null --> + +<p class = "maintext"> +<a name = "chapVII_sec22" id = "chapVII_sec22"> </a> +<span class = "secnum">VII:22</span> +Si qua tamen fortuna tam subitam fecerit agendi necessitatem, mobiliore +quodam opus erit ingenio, et vis omnis intendenda rebus et in praesentia +remittendum aliquid ex cura verborum, si consequi utrumque non dabitur. +Tum et tardior pronuntiatio moras habet et suspensa ac velut dubitans +oratio, ut tamen deliberare, non +<span class = "pagenum">179</span> +haesitare videamur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec22" id = "commVII_sec22"><b>§ 22.</b></a> +<b>vis omnis intendenda rebus</b>. Cp. Cato’s golden rule for the +speaker, rem tene verba sequentur: Cic. de Orat. ii. §146: iii. §125: +Hor. A. P. 311.</p> + +<p><b>non dabitur</b>, cp. <a href = "#chapVII_sec29">§29</a>: Verg. +Aen. i. 408 cur dextrae iungere dextram non datur?</p> + +<p><b>tardior pronuntiatio</b>. The opposite is <i>citata</i> xi. 3, 111 +aliis locis citata aliis pressa conveniet pronuntiatio.</p> + +<p><b>habet</b>, ‘secures.’ Krüger (3rd ed.) would prefer to read +<i>habebit</i>.</p> + +<p><b>suspensa ... dubitans</b>: a ‘slow and undecided style of +speaking,’ in which one is, as it were, feeling one’s way. Tac. Ann. i. +11 of Tiberius, suspensa semper et obscura verba.</p> +</div> + +<span class = "pagenum comm">179</span> + +<p class = "maintext"> +<a name = "chapVII_sec23" id = "chapVII_sec23"> </a> +<span class = "secnum">VII:23</span> +Hoc, dum egredimur e portu, si nos nondum aptatis satis armamentis aget +ventus; deinde paulatim simul euntes aptabimus vela et disponemus +rudentes et impleri sinus optabimus. Id potius quam se inani verborum +torrenti dare quasi tempestatibus quo volent auferendum.</p> + +<div class = "comm"> +<p><a name = "commVII_sec23" id = "commVII_sec23"><b>§ 23.</b></a> +<b>hoc</b>, sc. fieri potest. For the ellipse cp. vi. 4, 10 hoc, dum +ordo est et pudor: xi. 1, 76 hoc et apud eos.</p> + +<p><b>dum egredimur</b>, &c. As in <a href = "#chapVII_sec1">§1</a> +the simile takes the place of the main thought without any word of +introduction: cp. athleta <a href = +"QuintBody1.html#chapI_sec4">1 §4</a>.</p> + +<p><b>simul</b>. The juxtaposition of <i>simul</i> and <i>euntes</i> +reminds us of the Greek constr. of <span class = "greek" title = +"hama">ἅμα</span> with a participle = <span class = "greek" title = +"hama poreuomenoi">ἅμα πορευόμενοι</span>.</p> + +<p><b>aptabimus ... optabimus</b>. The assonance is surely an example of +Quintilian’s negligent style, rather than (as Krüger thinks) an +intentional pun. So <i>aptatis ... aptabimus</i>, in this passage.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapVII_sec24" id = "chapVII_sec24"> </a> +<span class = "secnum">VII:24</span> +Sed non minore studio continetur haec facultas quam paratur. Ars enim +semel percepta non labitur, stilus quoque intermissione paulum admodum +de celeritate deperdit: promptum hoc et in expedito positum +exercitatione sola continetur. Hac uti sic optimum est ut cotidie +dicamus audientibus pluribus, maxime de quorum simus iudicio atque +opinione solliciti; rarum est enim ut satis se quisque vereatur. Vel +soli tamen dicamus potius quam non omnino dicamus.</p> + +<div class = "comm space"> +<p><a name = "commVII_sec24" id = "commVII_sec24"><ins class = +"correction" title = "period invisible"><b>§ 24.</b></ins></a> +<b>ars</b>: cp. on <a href = "#chapVII_sec7">§7</a>.</p> + +<p><b>non labitur</b>. The sense is clear, though the reading is very +uncertain: ‘la connaissance théorique une fois acquise ne se perd pas,’ +Hild, who suspects that <i>animo</i> or <i>mente</i> has fallen out. Cp. +de Orat. ii. §109 ante enim praeterlabitur (sc. definitio) quam percepta +est. <i>Labi</i> by itself well expresses the gradual ‘oozing away’ of +anything from the mind. Verg. Ecl. i. 63 quam nostro illius labatur +pectore vultus. It might however be preferable to read <i>nunquam</i> +instead of <i>non</i>. See <a href = +"QuintCrit.html#critVII_sec24">Crit. Notes</a>.</p> + +<p><b>deperdit</b>. Cic. Verr. ii. 2, 30 ut ne quid de libertate +deperderit.</p> + +<p><b>promptum hoc et in expedito positum</b>: ‘this promptitude and +readiness for action.’ The neuter of the adj. and the part. are used +along with the demonstrative in place of abstract nouns, in which Latin +is not strong. Cp. Livy vii. 8, 5 diu non perlitatum tenuerat +dictatorem: Tac. Ann. iii. 80 Capito insignitior infamia fuit quod ... +egregium publicum et bonas domi artes dehonestavisset; v. Nägelsbach, +Lat. Stil. p. 98 sq. and 140 sq.: Introd. <a href = +"QuintIntro.html#intro_pagexlviii">p. xlviii</a>.</p> + +<p><b>rarum est ut</b> = raro fit ut. Cp. primum est ut <a href = +"#chapII_sec18">2 §18</a>.</p> + +<p><b>non omnino</b>. The adverb strengthens the negative (cp. <span +class = "greek" title = "ou panu">οὐ πάνυ</span>), instead of the +negative being employed for the negation of the adverb. So often +<i>prorsus</i> and <i>sane</i>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec25" id = "chapVII_sec25"> </a> +<span class = "secnum">VII:25</span> +Est alia exercitatio cogitandi +<span class = "pagenum">180</span> +totasque materias vel silentio (dum tamen quasi dicat intra se ipsum) +persequendi, quae nullo non et tempore et loco, quando non aliud agimus, +explicari potest, et est in parte utilior quam haec proxima;</p> + +<div class = "comm"> +<p><a name = "commVII_sec25" id = "commVII_sec25"><b>§ 25.</b></a> +<b>est alia exercitatio cogitandi ... persequendi.</b> There is a +similar transition at ix. 2, 57 est alia non quidem reticentia. The +sequence of thought is as follows: the best method of acquiring and +maintaining the <i>facultas ex tempore dicendi</i> is to discourse daily +before competent hearers: if that is not possible <i>soli tamen +dicamus</i>; this is better than not speaking at all. There is another +<i>exercitatio</i> (i.e. as a help to keeping up the <i>facultas ex +tempore dicendi</i>), viz. the going over our subject-matter in silent +thought, as we can do always and everywhere. <i>Cogitandi</i> and +<i>persequendi</i> are genitives of definition, or epexegetic genitives +standing in the place of appositional infinitives): cp. exitus mortis, +<span class = "greek" title = "telos thanatoio">τέλος θανάτοιο</span>, +and (cited by Krüger) Cic. de Fin. iii. 14, 45 denique ipsum bonum quod +in eo positum est ut naturae consentiat, crescendi accessionem ( = +accessionem quae fit crescendo) nullam habet: de Orat. 1 §90 quod +consuetudo exercitatioque et intellegendi prudentiam (= prudentiam +quae cernitur in intellegendo, or prudentiam ad intellegendum) acueret +et eloquendi celeritatem incitaret. With +<span class = "pagenum comm">180</span> +exercitatio, supply ‘continendi facultatem ex tempore dicendi.’</p> + +<p><b>totasque materias ... persequendi</b>: cp. <a href = +"#chapV_sec21">5 §21</a> per totas ire materias.</p> + +<p><b>tamen</b>: i.e. even though it be <i>silentio</i>.</p> + +<p><b>dicat</b>. Again the subject (sc. orator) is to be supplied out of +the context. Cp. <a href = +"QuintBody1.html#chapI_sec7">1 §7</a>.</p> + +<p><b>explicari potest</b>: ‘can have full scope given to it,’ an +exercise in which we can indulge freely.</p> + +<p><b>in parte</b>, often in Quintilian. See on <a href = +"QuintBody1.html#chapI_sec88">1 §88</a>.</p> + +<p><b>haec proxima</b>: viz. that recommended in <a href = +"#chapVII_sec24">§24</a> ut cotidie dicamus audientibus pluribus: to +which <i>illa</i> and <i>prior</i> in <a href = "#chapVII_sec26">§26</a> +refer.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec26" id = "chapVII_sec26"> </a> +<span class = "secnum">VII:26</span> +diligentius enim componitur quam illa, in qua contextum dicendi +intermittere veremur. Rursus in alia plus prior confert, vocis +firmitatem, oris facilitatem, motum corporis, qui et ipse, ut dixi, +excitat oratorem et iactatione manus, pedis supplosione, sicut cauda +leones facere dicuntur, hortatur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec26" id = "commVII_sec26"><b>§ 26.</b></a> +<b>diligentius enim componitur quam illa</b>: ‘it (i.e. discourse thus +premeditated) is more accurately put together.’ The grammatical subject +of <i>componitur</i> is <i>exercitatio cogitandi</i>, &c., but the +verb is chosen with reference to the train of thought which the mind is +exercised in pursuing. The virtual subject is thus rather <i>oratio quam +cogitando persequimur</i>, or <i>tacita oratio</i> (as shown by <i>dum +tamen quasi dicat intra se ipsum</i>). <i>Illa</i> (like <i>proxima</i>) +refers to the practice of extempore speaking, either alone or in the +presence of others. Grammatically the <i>exercitatio</i> of <a href = +"#chapVII_sec24">§24</a> must be understood along with it: logically the +<i>oratio</i> which is the result of that +<i>exercitatio</i>.—Krüger (3rd ed.) takes <i>componitur</i> as +used impersonally, but that would seem to be impossible without some +reference to <i>exercitatio cogitandi</i>. The sentence, though +grammatically awkward, is quite consistent with Quintilian’s loose style +of writing, so that there seems no necessity for such a device about +<i>componitur</i>, or for Gertz’s conjecture <i>in illa</i>: see <a href += "QuintCrit.html#critVII_sec26">Crit. Notes</a>.</p> + +<p><b>contextum dicendi</b>: cp. <a href = "#chapVII_sec13">§13</a>.</p> + +<p><b>veremur</b>, with infin. as <a href = +"QuintBody1.html#chapI_sec101">1 §101</a>, and even in Cicero: cp. +the striking instance de Fin. ii. §39 quos non est veritum in ... +voluptate ... summum bonum ponere.</p> + +<p><b>Rursus</b>, ‘on the other hand.’</p> + +<p><b>in alia ... confert</b>. See on <a href = +"QuintBody1.html#chapI_sec1">1 §1</a> for the constr. of +<i>conferre</i> (<span class = "greek" title = +"sumpherein">συμφέρειν</span>): cp. <a href = +"#chapV_sec11">5 §11</a> in hoc facient.</p> + +<p><b>prior</b>, viz. speaking.</p> + +<p><b>firmitatem</b>. In such enumerations Quintilian does not repeat +the prep.: cp. <a href = "#chapII_sec16">2 §16</a>.</p> + +<p><b>oris facilitatem</b> = ‘ease of utterance.’</p> + +<p><b>ut dixi</b>, <a href = "#chapIII_sec21">3 §21</a>.</p> + +<p><b>pedis supplosione</b>. Cp. xi. 3, 128 pedis supplosio ut loco est +opportuna, ut ait Cicero, in contentionibus aut incipiendis aut +finiendis, ita crebra et inepti est hominis et desinit iudicem in se +convertere: Sen. Epist. 75 §2: Cic. Brut. §141.</p> + +<p><b>sicut cauda leones</b>. Hom. Il. xx. 170 <span class = "greek" +title = "ourê de pleuras te kai ischia amphoterôthen Mastietai, hee d’ auton epotrunei machesasthai">οὐρῇ δὲ πλευράς τε καὶ ἰσχία ἀμφοτέρωθεν +Μαστίεται, ἑὲ δ᾽ αὐτὸν ἐποτρύνει μαχέσασθαι</span>: Hesiod, Shield of +Herc. 430 <span class = "greek" title = "glaukioôn d’ ossois deinon pleuras te kai ômous ourê mastioôn possi glaphei">γλαυκιόων δ᾽ ὄσσοις +δεινὸν πλευράς τε καὶ ὤμους οὐρῇ μαστιόων ποσσὶ γλάφει</span>. Plin. +Nat. Hist. viii. 16, 19 leonum animi index cauda ... immota ergo +placido, clemens blandienti, quod rarum est: crebrior enim iracundia, +eius in principio terra verberatur, incremento terga ceu quodam +incitamento flagellantur.</p> + +<p><b>studendum</b>, <a href = "#chapIII_sec29">3 §29</a>. Cp. note +on <i>studiosis</i> <a href = +"QuintBody1.html#chapI_sec45">1 §45</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec27" id = "chapVII_sec27"> </a> +<span class = "secnum">VII:27</span> +Studendum vero semper et ubique. Neque enim fere tam est ullus dies +occupatus, ut nihil lucrativae, ut Cicero Brutum facere tradit, +<span class = "pagenum">181</span> +operae ad scribendum aut legendum aut dicendum rapi aliquo momento +temporis possit: siquidem C. Carbo etiam in tabernaculo solebat hac +uti exercitatione dicendi.</p> + +<div class = "comm"> +<p><a name = "commVII_sec27" id = "commVII_sec27"><b>§ 27.</b></a> +<b>tam est ... occupatus</b>. The order supports the traditional reading +at <a href = "QuintBody1.html#chapI_sec83">1 §83</a>, where see +note.</p> + +<p><b>lucrativae operae</b>. Cic. ad Att. vii. 11, 1 unam mehercule +tecum apricationem in illo lucrativo tuo sole malim quam omnia istius +modi regna: Fronto, ad Anton. imp. 2, 2 lucrativa tua in tantis negotiis +tempora. Tr. ‘a few precious moments’: +<span class = "pagenum comm">181</span> +<i>lucrativa opera</i> means an occupation which profitably occupies our +spare time. The adjective is properly a legal term, applied to things +acquired by gift or bequest: e.g. species possessionis Gai. 2, 56: +usucapio 2, 60: adquisitio Ulp. Dig. xliv. 4, 4, 31. Krüger refers +to the special meaning of <i>lucrum</i>, ‘an unexpected gain’: Hor. Car. +i. 9, 14 quem fors dierum cumque dabit, lucro adpone. Spalding says: +“<i>operam lucrativam</i> a Qu. dici potuisse censeo quidquid operae +iniunctis et necessariis laboribus negotiisque velut surriperetur et +dilectis studiis accederet.” Cp. i. 12, 13 quibus potius studiis haec +temporum velut subsiciva donabimus? Cic. de Orat. ii. 364 quae cursim +adripui, quae subsicivis operis, ut aiunt.</p> + +<p><b>Cicero</b>. The reference seems to be to the remark addressed to +Brutus in the Orator §34 iam quantum illud est quod in maximis +occupationibus numquam intermittis studia doctrinae, semper aut ipse +scribis aliquid aut me vocas ad scribendum. So in the Brutus §332 he +praises his <i>perennia studia</i>, and §22 his <i>singularis +industria</i>. Cp. Plutarch, Brutus, §4 and §36. See <a href = +"QuintCrit.html#critVII_sec27">Crit. Notes</a>.</p> + +<p><b>siquidem</b>, see on <a href = "#chapVII_sec2">§2</a>, above.</p> + +<p><b>C. Carbo</b>. In the Brutus §§103-105 Cicero eulogises his +eloquence and industry: industrium etiam et diligentem et in +exercitationibus commentationibusque multum operae solitum esse ponere: +cp. de Orat. i. §154.—Carbo, who had originally been a supporter +of Ti. Gracchus, but had afterwards gone over to the optimates, became +consul in <span class = "smallroman">B.C.</span> 120; and it was in +connection with his prosecution in the year following, on some charge +not distinctly specified, that Crassus made his first public appearance. +Carbo was driven to commit suicide.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec28" id = "chapVII_sec28"> </a> +<span class = "secnum">VII:28</span> +Ne id quidem tacendum est, quod eidem Ciceroni placet, nullum nostrum +usquam neglegentem esse sermonem: quidquid loquemur ubicumque, sit pro +sua scilicet portione perfectum. Scribendum certe numquam est magis quam +cum multa dicemus ex tempore. Ita enim servabitur pondus et innatans +illa verborum facilitas in altum reducetur, sicut rustici proximas vitis +radices amputant, quae illam in summum solum ducunt, ut inferiores +penitus descendendo firmentur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec28" id = "commVII_sec28"><b>§ 28.</b></a> +<b>Ciceroni</b>. The reference cannot be traced.</p> + +<p><b>ubicumque</b>: see on <a href = +"QuintBody1.html#chapI_sec5">1 §5</a>.</p> + +<p><b>pondus</b>, ‘solidity.’</p> + +<p><b>innatans</b>, sc. in superficie: ‘floating’ and so ‘superficial.’ +Cp. vii. 1, 44 haec velut innatantia videbunt: Persius i. 104-5 summa +delumbe saliva Hoc natat in labris, where Conington cites Gell. i. 15 +qui nullo rerum pondere innixi verbis humidis et lapsantibus diffluunt, +eorum orationem bene existimatum est <i>in ore nasci</i> non in pectore: +so <a href = "#chapIII_sec2">3 §2</a> verba in labris nascentia, +where see note.</p> + +<p><b>in altum reducetur</b> = in profundum, giving the antithesis to +the figure (‘the shallows’) involved in <i>innatans</i>. Tr. ‘will gain +in depth.’ For such combinations of the prep. with the acc. or abl. +neuter of adj. see Introd. <a href = +"QuintIntro.html#intro_pagexlvii">p. xlvii</a>.</p> + +<p><b>proximas</b>, the uppermost roots, which protrude from the surface +of the ground. By paring these away, the taproots (inferiores) are +forced to strike deeper.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec29" id = "chapVII_sec29"> </a> +<span class = "secnum">VII:29</span> +Ac nescio an si utrumque cum cura et studio fecerimus, invicem prosit, +ut scribendo dicamus diligentius, dicendo scribamus facilius. Scribendum +ergo quotiens licebit; +<span class = "pagenum">182</span> +si id non dabitur, cogitandum; ab utroque exclusi debent tamen <i>sic +d</i>icere ut neque deprehensus orator neque litigator destitutus esse +videatur.</p> + +<div class = "comm"> +<p><a name = "commVII_sec29" id = "commVII_sec29"><b>§ 29.</b></a> +<b>nescio an</b> = <b>fortasse</b>, as at <a href = +"#chapVI_sec1">6 §1</a>; see on <a href = +"QuintBody1.html#chapI_sec65">1 §65</a>. Tr. ‘and I rather think +that there is this reciprocal advantage, viz. that,’ &c.</p> + +<p><b>utrumque</b>, i.e. dicere and scribere, both in the way of +<i>exercitatio</i>.</p> + +<p><b>Scribendum ergo</b>, &c. This is Quintilian’s summing up. If +the advocate has time to elaborate his speech in writing, that is best +(as a rule); if writing is impossible, he must have recourse to +cogitatio (<a href = "#chapVI">ch. vi</a>). If there is time for neither +the one nor the other, the discipline which +<span class = "pagenum comm">182</span> +is being recommended ought nevertheless (<i>tamen</i>, i.e. in spite of +the fact that there has been no opportunity for either writing or +reflection) to enable him to “speak in such a way that no one will think +either that the pleader has been taken aback or that the client has been +left in the lurch.” The emendation <i>sic dicere</i>, which I venture to +introduce in the text (see <a href = +"QuintCrit.html#critVII_sec29">Crit. Notes</a>), seems in harmony not +only with the tradition of the MSS. but also with the whole context. +There is the same sequence immediately below (<a href = +"#chapVII_sec30">§30</a>) <i>scribant ... cogitatione complectantur ... +subitis extempore occurrant</i>. The busy advocate will make use of all +three methods: but in most cases writing, according to Quintilian, is to +be recommended, and, failing it, meditation,—not that the latter +is better than off-hand speech, but safer (tutior <a href = +"#chapVII_sec19">§19</a>). Lastly, even such <i>subitae necessitates</i> +as are referred to in <a href = "#chapVII_sec2">§2</a> ought to find the +advocate prepared to make a creditable extempore appearance: cp. <a href += "#chapVII_sec4">§4</a> neque ego hoc ago ut extempore dicere malit sed +ut possit.</p> + +<p><b>deprehensus</b>: cp. xii. 9, 20: Seneca Ep. xi. 1 non enim ex +praeparato locutus est, sed subito deprehensus.</p> +</div> + + +<p class = "maintext space"> +<a name = "chapVII_sec30" id = "chapVII_sec30"> </a> +<span class = "secnum">VII:30</span> +Plerumque autem multa agentibus accidit ut maxime necessaria et utique +initia scribant, cetera, quae domo adferunt, cogitatione complectantur, +subitis ex tempore occurrant; quod fecisse M. Tullium commentariis +ipsius apparet. Sed feruntur aliorum quoque et inventi forte, ut eos +dicturus quisque composuerat, et in libros digesti, ut causarum, quae +sunt actae a Servio Sulpicio, cuius tres orationes extant; sed hi de +quibus loquor commentarii ita sunt exacti ut ab ipso mihi in memoriam +posteritatis videantur esse compositi.</p> + +<div class = "comm space"> +<p><a name = "commVII_sec30" id = "commVII_sec30"><b>§ 30.</b></a> +<b>utique</b>, ‘especially,’ or ‘at all events’: see on <a href = +"QuintBody1.html#chapI_sec20">1 §20</a>.</p> + +<p><b>domo adferunt</b>: cp. <a href = "#chapVI_sec6">6 §6</a>.</p> + +<p><b>subitis</b>: ‘emergencies,’ unforeseen developments, e.g. +questions and objections by the other side. Cp. Plin. Ep. iii. 9, 16 vir +exercitatus et quamlibet subitis paratus.</p> + +<p><b>commentariis</b>: ‘note-books,’ memoranda containing jottings, +outlines, &c. Cp. iv. 1, 69.</p> + +<p><b>feruntur</b>: see note on ferebantur <a href = +"QuintBody1.html#chapI_sec23">1 §23</a>.</p> + +<p><b>et ... et</b> = ‘some ... others.’ In the one case the actual +jottings have been found, just as they were originally set down for the +guidance of the speaker: in the other they have been put together in +book form, for the benefit of later readers.</p> + +<p><b>causarum</b>: sc. commentarii: outlines of cases.</p> + +<p><b>Servio Sulpicio</b>: see on <a href = +"QuintBody1.html#chapI_sec116">1 §116</a>. He left only three +written speeches, but his friends had edited his notes of the numerous +cases in which he had appeared.</p> + +<p><b>hi</b>. The memoranda, as opposed to the finished speeches +(orationes).</p> + +<p><b>exacti</b>: see on <a href = "#chapII_sec14">2 §14</a>.</p> + +<p><b>in memoriam posteritatis</b>: see on <a href = +"QuintBody1.html#chapI_sec31">1 §31</a>.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec31" id = "chapVII_sec31"> </a> +<span class = "secnum">VII:31</span> +Nam Ciceronis ad praesens modo tempus aptatos libertus Tiro contraxit: +quos non ideo excuso quia non +<span class = "pagenum">183</span> +probem, sed ut sint magis admirabiles. In hoc genere prorsus recipio +hanc brevem adnotationem libellosque, qui vel manu teneantur et ad quos +interim respicere fas sit.</p> + +<div class = "comm"> +<p><a name = "commVII_sec31" id = "commVII_sec31"><b>§ 31.</b></a> +<b>Nam</b>: see on <a href = +"QuintBody1.html#chapI_sec12">1 §12</a>. The meaning is as follows: +I make special mention of the finished character of Sulpicius’s +outline speeches, as written out by himself: for in Cicero’s case it is +different: his commentarii ‘non sunt ab ipso compositi in memoriam +posteritatis.’ Moreover they are not now in their original form: by +Cicero they were prepared only for the occasion (ad praesens tempus +aptati), and were afterwards abridged (contraxit) by Tiro. But even in +this shorter form they are of great value.</p> + +<p><b>contraxit</b>, ‘abbreviated.’ The context shows, on the whole, +that this is the proper sense to attach to this word. Sulpicius’s +memoranda had been put together (in libros digesti) by his friends, but +so finished are they that one might think he had intended them to +survive. This gives +<span class = "pagenum comm">183</span> +two points of contrast with Cicero. The first (cp. <i>exacti</i> with +<i>ad praesens modo tempus aptatos</i>) would hardly be enough by +itself, as Quintilian rather insinuates than asserts that Sulpicius +intended his jottings to go down to posterity: the second is that in +Cicero’s case we have his sketches in a still briefer form than that in +which they were originally composed. The contrast would not be so +striking if <i>contraxit</i> were practically synonymous with <i>in +libros digesti</i>. Becher is strongly, however, in favour of +<i>contraxit</i> = collected: cp. Tac. Dial. 37.—For Tiro see esp. +Teuffel’s Rom. Lit. §178.</p> + +<p><b>quos ... probem</b>. The meaning is this: I do not make this +apology or explanation (excuso) as to the character of Tiro’s abridgment +of Cicero’s memoranda, compared with the studied elaboration of +Sulpicius, with any idea of implying inferiority, but in order +that—even in their present form—they may excite even greater +admiration of Cicero’s genius.—Quintilian is conscious that in +giving prominence to the two points of contrast in regard to Cicero’s +remains, as compared with those of Sulpicius, he may be in danger of +being misunderstood.—For <i>non quia</i> with subj. cp. <a href = +"#chapVII_sec19">§19</a> above: Introd. <a href = +"QuintIntro.html#intro_pageliv">p. liv</a>.</p> + +<p><b>In hoc genere</b>, i.e. in this <i>extemporalis actio</i>. The +opposite is ‘in his quae scripserimus’ <a href = +"#chapVII_sec32">§32</a>.</p> + +<p><b>recipio</b>: ‘I allow, admit,’ <span class = "greek" title = +"dechomai">δέχομαι</span>: cp. Cic. de Off. iii. §119 non recipit istam +coniunctionem honestas, aspernatur repellit: Introd. <a href = +"QuintIntro.html#intro_pagexliii">p. xliii</a>.</p> + +<p><b>hanc</b> seems to indicate what was a common practice in +Quintilian’s time.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec32" id = "chapVII_sec32"> </a> +<span class = "secnum">VII:32</span> +Illud quod Laenas praecipit displicet mihi, <i>et</i> in his quae +scripserimus velut summas in commentarium et capita conferre. Facit enim +ediscendi neglegentiam haec ipsa fiducia et lacerat ac deformat +orationem. Ego autem ne scribendum quidem puto quod <i>non</i> simus +memoria persecuturi; nam hic quoque accidit ut revocet +<span class = "pagenum">184</span> +nos cogitatio ad illa elaborata nec sinat praesentem fortunam +experiri.</p> + +<div class = "comm"> +<p><a name = "commVII_sec32" id = "commVII_sec32"><b>§ 32.</b></a> +<b>Laenas</b>, Popilius, a rhetorician who flourished under Tiberius. He +is mentioned as a contemporary of Cornelius Celsus, iii. 1, 21 and xi. +3, 183.</p> + +<p><b>et in his quae scripserimus</b>. See <a href = +"QuintCrit.html#critVII_sec32">Crit. Notes</a>. The reference obviously +is to speeches carefully written out before delivery, (contrast <i>in +hoc genere</i> above, of the extempore kind). Quintilian says that he +cannot approve of Laenas’s recommendation that, after we have written +out a speech in this way, we should proceed to prepare an abstract. +Dependence on this abstract will make us careless about learning off +what we have written, and this will check the flow of our eloquence, and +mar and disfigure our discourse. Iwan Müller points out that in the +sentence <i>in his quae scripserimus ... conferre</i>, Quintilian is +probably quoting from some rhetorical treatise of Laenas.</p> + +<p><b>velut summas in ... conferre</b>. The reading is very uncertain: +see <a href = "QuintCrit.html#critVII_sec32">Crit. Notes</a> for +Kiderlin’s proposed emendation. The text may be rendered ‘to enter in a +notebook arranged according to heads the essence, as it were,’ of what +we have written, the genitive required by <i>summas</i> being supplied +out of <i>in his quae scripserimus</i>. Cp. Cic. Brut. §164 non est +oratio sed quasi capita rerum et orationis commentarium paulo +plenius.</p> + +<p><b>haec ... fiducia</b>. See on <a href = +"#chapIII_sec2">3 §2</a> hac conscientia.</p> + +<p><b>ne ... quidem</b>: ‘neither should we.’ There is no climax here: +like <span class = "greek" title = "oude">οὐδέ</span> the particles +<i>ne ... quidem</i> are often used, as Madvig pointed out, ‘ubi sine +ullo orationis descensu aut gradatione negativi aliquid adiungitur +superioribus simile’ (see 3rd excursus to de Fin. pp. 802-3 2nd +ed.).</p> + +<p><b>quod non simus</b>. The context makes the reading certain, and +also gives the key to the interpretation. We ought not to write out, +says Quintilian, what we do not intend to commit perfectly to memory; it +would be better to trust to ‘extemporalis facilitas.’ If we do so, he +goes on to say, our imperfect recollection of what we have written (illa +elaborata) will interfere with the free play of thought.—For +<i>memoria persequi</i> cp. Cic. pro Sulla §42.</p> + +<p><b>hic quoque</b>: cp. <a href = "#chapVI_sec5">6 §§5-7</a>, +where it is +<span class = "pagenum comm">184</span> +said of imperfect <i>premeditation</i> (cogitatio) that if it is to make +the speaker hesitate between what he has written, but can hardly recall, +and the new ideas which the subject might inspire, he would do better to +trust wholly to improvisation.</p> + +<p><b>praesentem fortunam</b>: cp. <a href = +"#chapVI_sec1">6 §1</a> extemporalem fortunam.</p> +</div> + + +<p class = "maintext"> +<a name = "chapVII_sec33" id = "chapVII_sec33"> </a> +<span class = "secnum">VII:33</span> +Sic anceps inter utrumque animus aestuat, cum et scripta perdidit et non +quaerit nova. Sed de memoria destinatus est libro proximo locus nec huic +parti subiungendus, quia sunt alia prius nobis dicenda.</p> + +<span class = "pagenum comm">11</span> +<div class = "comm"> +<p><a name = "commVII_sec33" id = "commVII_sec33"><b>§ 33.</b></a> +<b>scripta perdidit</b>, i.e. because he is suffering the consequences +of <i>ediscendi neglegentia</i>.</p> + +<p><b>non quaerit nova</b>—being too much occupied with the +attempt to remember what he had written.</p> + +<p><b>de memoria</b> = disputationi de memoria. See xi. 2.</p> + +</div> + +</div> <!-- text --> + + +<hr class = "spacer"> + + +<span class = "pagenum">223</span> +<h4><a name = "index2_names" id = "index2_names">INDEX OF +NAMES.</a></h4> + +<p class = "line"> </p> + +<h6>(The references are to chapters and sections.)</h6> + +<p class = "line"> </p> + +<table class = "index" summary = "index in two columns"> +<tr> +<td width = "50%"> + +<p><span class = "smallcaps">Antipater</span> Sidonius, <a href = +"#chapVII_sec19">vii. 19</a>.</p> + +<p>Archias, Aul. Licinius, <a href = "#chapVII_sec19">vii. 19</a>.</p> + +<p>Asinius Pollio, <a href = "#chapII_sec17">ii. 17</a>, <a href = +"#chapII_sec25">25</a>.</p> + +<p>Attici—Attic Orators, <a href = "#chapII_sec17">ii. 17</a>.</p> + + +<p class = "space"> +Brutus, M. Iunius, <a href = "#chapV_sec20">v. 20</a>: <a href = +"#chapVII_sec27">vii. 27</a>.</p> + + +<p class = "space"> +Caelius, M. Rufus, <a href = "#chapII_sec25">ii. 25</a>.</p> + +<p>Caesar, C. Iulius, <a href = "#chapII_sec25">ii. 25</a>.</p> + +<p>Calvus, i, 115: <a href = "#chapII_sec25">ii. 25</a>.</p> + +<p>Carbo, <a href = "#chapVII_sec27">vii. 27</a>.</p> + +<p>Cato, <a href = "#chapV_sec13">v. 13</a>.</p> + +<p>Cestius, <a href = "#chapV_sec20">v. 20</a>.</p> + +<p>Cicero, <a href = "#chapII_sec18">ii. 18</a>: <a href = +"#chapIII_sec1">iii. 1</a>: <a href = "#chapV_sec2">v. 2</a>, <a href = +"#chapV_sec11">11</a>, <a href = "#chapV_sec16">16</a>: <a href = +"#chapVII_sec19">vii. 19</a>, <a href = "#chapVII_sec27">27</a>, <a href += "#chapVII_sec30">30</a>.</p> + +<p>Cinna, C. Helvius, <a href = "#chapIV_sec4">iv. 4</a>.</p> + +<p>Clodius, <a href = "#chapV_sec13">v. 13</a>.</p> + +<p>Cornelius, C., <a href = "#chapV_sec13">v. 13</a>.</p> + +<p>Crassus, <a href = "#chapIII_sec1">iii. 1</a>: <a href = +"#chapV_sec2">v. 2</a>.</p> + + +<p class = "space"> +Demosthenes, <a href = "#chapII_sec24">ii. 24</a>: <a href = +"#chapIII_sec25">iii. 25</a>, <a href = "#chapIII_sec30">30</a>.</p> + + +<p class = "space"> +Empylus Rhodius, <a href = "#chapVI_sec4">vi. 4</a>.</p> + +<p>Epicurus, <a href = "#chapII_sec15">ii. 15</a>4.</p> + + +<p class = "space"> +Helvius (C. Cinna), <a href = "#chapIV_sec4">iv. 4</a>.</p> + +<p>Hortensius, <a href = "#chapV_sec13">v. 13</a>: <a href = +"#chapVI_sec4">vi. 4</a>.</p> + +<p>Hyperides, <a href = "#chapV_sec2">v. 2</a>.</p> + +</td> +<td> + +<p> +Isocrates, <a href = "#chapIV_sec4">iv. 4</a>.</p> + +<p>Iulius Florus, <a href = "#chapIII_sec13">iii. 13</a>.</p> + +<p>Iulius Secundus, <a href = "#chapIII_sec12">iii. 12</a>.</p> + + +<p class = "space"> +Laenas Popilius, <a href = "#chapVII_sec32">vii. 32</a>.</p> + +<p>Livius Andronicus, <a href = "#chapII_sec7">ii. 7</a>.</p> + + +<p class = "space"> +Marcia, <a href = "#chapV_sec13">v. 13</a>.</p> + +<p>Messalla, <a href = "#chapV_sec2">v. 2</a>.</p> + +<p>Metrodorus Scepsius, <a href = "#chapVI_sec4">vi. 4</a>.</p> + +<p>Milo, <a href = "#chapVII_sec13">vii. 13</a>, <a href = +"#chapVII_sec20">20</a>.</p> + + +<p class = "space"> +Persius, <a href = "#chapIII_sec21">iii. 21</a>.</p> + +<span class = "pagenum">224</span> +<p>Phryne, <a href = "#chapV_sec2">v. 2</a>.</p> + +<p>Porcius Latro, <a href = "#chapV_sec18">v. 18</a>.</p> + + +<p class = "space"> +Sallust, <a href = "#chapII_sec17">ii. 17</a>: <a href = +"#chapIII_sec8">iii. 8</a>.</p> + +<p>Sulpicius, <a href = "#chapV_sec4">v. 4</a>: <a href = +"#chapVII_sec30">vii. 30</a>.</p> + + +<p class = "space"> +Thucydides, <a href = "#chapII_sec17">ii. 17</a>.</p> + +<p>Tiro, <a href = "#chapVII_sec31">vii. 31</a>.</p> + + +<p class = "space"> +Varius, <a href = "#chapIII_sec8">iii. 8</a>.</p> + +<p>Vergil, <a href = "#chapIII_sec8">iii. 8</a>.</p> + + +<p class = "space"> +Xenophon, <a href = "#chapV_sec2">v. 2</a>.</p> + +</td> +</tr> +</table> + + +<span class = "pagenum">225</span> +<h4><a name = "index2_matters" id = "index2_matters">INDEX OF +MATTERS.</a></h4> + +<p class = "line"> </p> + +<h6>(The first reference is to the chapter and section of the text; the +second to the page and column of the explanatory notes. References to +the Introduction are given separately.)</h6> + +<p class = "mynote"> +The above paragraph was in the original text. For this e-text, only the +section numbers are linked; sections are generally very short, and notes +adjoin the text.</p> + +<table class = "index" summary = "index in two columns"> +<tr> +<td width = "50%"> + +<p>abruptus, <a href = "#chapII_sec19">ii. 19</a>: 131b.</p> + +<p>adducere frontem, <a href = "#chapIII_sec13">iii. 13</a>: 142a.</p> + +<p><span class = "greek" title = "alogos tribê">ἄλογος τριβή</span>, <a +href = "#chapVII_sec11">vii. 11</a>: 174a.</p> + +<p>Annales Pontificum, <a href = "#chapII_sec7">ii. 7</a>: 126a.</p> + +<p>antiqui, <a href = "#chapII_sec17">ii. 17</a>: 130b.</p> + + +<p class = "space"> +basilica, <a href = "#chapV_sec18">v. 18</a>: 164b.</p> + +<p>bona fide, <a href = "#chapIII_sec23">iii. 23</a>: 146b.</p> + + +<p class = "space"> +cerae, <a href = "#chapIII_sec30">iii. 30</a>: 149a.</p> + +<p>certe scio, <a href = "#chapII_sec5">ii. 5</a>: 124b.</p> + +<p>civilia officia, <a href = "#chapIII_sec11">iii. 11</a>: 140a.</p> + +<p>classis, <a href = "#chapV_sec18">v. 18</a>: 166a.</p> + +<p>cogitatio, <a href = "#chapVI_sec1">vi. 1</a>: 167a.</p> + +<p>communes loci, <a href = "#chapV_sec12">v. 12</a>: 159b.</p> + +<p>confirmatio sententiarum, <a href = "#chapV_sec12">v. 12</a>: +159a.</p> + +<p>contorta vis, <a href = "#chapVII_sec14">vii. 14</a>: 176a.</p> + +<p>cothurnus (Sophocli), <a href = "#chapII_sec22">ii. 22</a>: 133a.</p> + +<p>cum eo quod, <a href = "#chapVII_sec13">vii. 13</a>: 175a.</p> + + +<p class = "space"> +declinata figura oratio, <a href = "#chapV_sec8">v. 8</a>: 157a.</p> + +<p>decretoria (arma), <a href = "#chapV_sec20">v. 20</a>: 165b.</p> + +<p>destructio sententiarum, <a href = "#chapV_sec12">v. 12</a>: +159a.</p> + +<p>dicendi ex tempore facultas, <a href = "#chapIII_sec2">iii. 2</a>: <a +href = "#chapVII_sec1">vii. 1</a>, <a href = "#chapVII_sec5">5</a>, <a +href = "#chapVII_sec24">24</a>.</p> + +<p>dictare, <a href = "#chapIII_sec19">iii. 19</a>: 144a.</p> + +<p>digerere inordinata, <a href = "#chapIV_sec1">iv. 1</a>: +commentarios, <a href = "#chapVII_sec30">vii. 30</a>.</p> + +<p>dilectus, <a href = "#chapIII_sec5">iii. 5</a>: 138a.</p> + +<p>ducere opus, <a href = "#chapIII_sec18">iii. 18</a>: 144a.</p> + +<p>dum non, <a href = "#chapIII_sec7">iii. 7</a>: 138b.</p> + +<span class = "pagenum">226</span> +<p class = "space"> +efferre se, <a href = "#chapIII_sec10">iii. 10</a>: 140a.</p> + +<p>exactus, <a href = "#chapII_sec14">ii. 14</a>: 128a.</p> + +<p>exilis, <a href = "#chapII_sec16">ii. 16</a>: 129b.</p> + +<p>extemporalis color, <a href = "#chapVI_sec5">vi. 5</a>: 168b.</p> + +<p>extemporalis actio, <a href = "#chapVII_sec18">vii. 18</a>: +temeritas, <a href = "#chapVI_sec6">vi. 6</a>.</p> + +<p>exultare, <a href = "#chapII_sec16">ii. 16</a>: 130a.</p> + + +<p class = "space"> +facilitas, <a href = "#chapII_sec12">ii. 12</a>: <a href = +"#chapIII_sec7">iii. 7</a>: <a href = "#chapVII_sec19">vii. 19</a>.</p> + +<p>fas erat, <a href = "#chapV_sec7">v. 7</a>: 157a.</p> + +<p>favorabilis, <a href = "#chapV_sec21">v. 21</a>: 166a.</p> + +<p>forsitan, <a href = "#chapII_sec10">ii. 10</a>: 126b.</p> + +<p>frugalitas, <a href = "#chapIII_sec26">iii. 26</a>: 147b.</p> + +</td> +<td> + +<p> +horride, <a href = "#chapII_sec17">ii. 17</a>: 130a.</p> + + +<p> +infelicitas, <a href = "#chapII_sec8">ii. 8</a>: 126a.</p> + +<p>infinitae questiones, <a href = "#chapIII_sec11">iii. 11</a>: +158a.</p> + + +<p class = "space"> +lima, <a href = "#chapIV_sec4">iv. 4</a>: 152a.</p> + +<p>loci communes, <a href = "#chapV_sec12">v. 12</a>: 159b.</p> + +<p>lucrativa opera, <a href = "#chapVII_sec27">vii. 27</a>: 180b.</p> + +<p class = "space"> +membranae, <a href = "#chapIII_sec31">iii. 31</a>: 150a.</p> + + +<p class = "space"> +non sit, <a href = "#chapII_sec27">ii. 27</a>: 135a.</p> + + +<p class = "space"> +obiurgare, <a href = "#chapIII_sec20">iii. 20</a>: 145a.</p> + +<p>offensator, <a href = "#chapIII_sec20">iii. 20</a>: 145a.</p> + +<p>opinio, <a href = "#chapV_sec18">v. 18</a>: 164a.</p> + + +<p class = "space"> +paraphrasis, <a href = "#chapV_sec5">v. 5</a>: 155b.</p> + +<p>pilarii, <a href = "#chapVII_sec11">vii. 11</a>: 174b.</p> + +<p>pontificum annales, <a href = "#chapII_sec7">ii. 7</a>: 126a.</p> + +<p>praescriptum, <a href = "#chapII_sec2">ii. 2</a>: 123b.</p> + +<p>praesumere, <a href = "#chapV_sec4">v. 4</a>: 155a.</p> + +<p>profectus, <a href = "#chapIII_sec2">iii. 2</a>: 136b.</p> + +<p>professor, <a href = "#chapV_sec18">v. 18</a>: 164a.</p> + + +<p class = "space"> +rarum est ut, <a href = "#chapVII_sec24">vii. 24</a>: 179b.</p> + +<p>ratio c. gerund, <a href = "#chapIII_sec31">iii. 31</a>: 149b.</p> + +<p>ratio constat, <a href = "#chapII_sec1">ii. 1</a>: 123a.</p> + +<p>ratio (in scribendo), <a href = "#chapIII_sec15">iii. 15</a>: +143a.</p> + +<p>repraesentare, <a href = "#chapVII_sec2">vii. 2</a>: 170b.</p> + + +<p class = "space"> +sententiae, <a href = "#chapII_sec17">ii. 17</a>: <a href = +"#chapV_sec4">v. 4</a>.</p> + +<p>silva, <a href = "#chapIII_sec17">iii. 17</a>: 143b.</p> + +<p>stilus, <a href = "#chapIII_sec1">iii. 1</a>, <a href = +"#chapIII_sec32">32</a>; <a href = "#chapVII_sec16">vii. 16</a>.</p> + +<p>supinus, <a href = "#chapII_sec17">ii. 17</a>: 131a.</p> + +<p>supplosio pedis, <a href = "#chapVII_sec26">vii. 26</a>: 180b.</p> + + +<p class = "space"> +<p>tenuitas, <a href = "#chapII_sec23">ii. 23</a>: 133b.</p> + +<p>theses, <a href = "#chapV_sec11">v. 11</a>: 158a.</p> + +<span class = "pagenum">227</span> +<p><span class = "greek" title = "tribê alogos">τριβὴ ἄλογος</span>, <a +href = "#chapVII_sec11">vii. 11</a>: 174a.</p> + + +<p class = "space"> +validius, <a href = "#chapIII_sec12">iii. 12</a>: 140b.</p> + +<p>ventilator, <a href = "#chapVII_sec11">vii. 11</a>: 174b.</p> + +</td> +</tr> +</table> + +<hr class = "spacer"> + +<div class = "contents"> + +<p><a href = "../main.html">Preface</a></p> + +<p><a href = "QuintIntro.html">Introduction</a></p> + +<p><a href = "QuintBody1.html">Chapter I</a></p> + +<p><a href = "#toc2">Chapters II-VII</a> <i>top</i></p> + +<p><a href = "QuintCrit.html">Critical Notes</a></p> + +</div> + + +</body> +</html> diff --git a/old/files/QuintCrit.html b/old/files/QuintCrit.html new file mode 100644 index 0000000..a9a574f --- /dev/null +++ b/old/files/QuintCrit.html @@ -0,0 +1,3411 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Quintilian X: Critical Notes</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + +<link rel = "stylesheet" type = "text/css" href = "quintstyles.css"> + +</head> + +<body> + +<div class = "contents"> +<a name = "toc3" id = "toc3"> </a> + +<p><a href = "../main.html">Preface</a><br> +<i>Analysis of the Argument, Index of Names, +Index of Matters (complete)</i><br> +</p> + +<p><a href = "QuintIntro.html">Introduction</a></p> + +<p><a href = "QuintBody1.html">Chapter I</a></p> + +<p><a href = "QuintBody2.html">Chapters II-VII</a></p> + +<p>Critical Notes:<br> +<a href = "#critI">Chapter I</a><br> +<a href = "#critII">Chapter II</a><br> +<a href = "#critIII">Chapter III</a><br> +<a href = "#critIV">Chapter IV</a><br> +<a href = "#critV">Chapter V</a><br> +<a href = "#critVI">Chapter VI</a><br> +<a href = "#critVII">Chapter VII</a> +</p> + +</div> + +<hr class = "spacer"> + +<div class = "crit"> + +<span class = "pagenum">185</span> +<h4>CRITICAL NOTES.</h4> + +<p class = "line"> </p> + +<h5>LIST OF ABBREVIATIONS.</h5> + +<p class = "list"> +Bn = codex Bernensis s. x.</p> +<p class = "list"> +Bg = codex Bambergensis s. x.</p> +<p class = "list"> +B = conspirantes lectiones Bernensis et Bambergensis.</p> +<p class = "list"> +G = codicis Bambergensis eae partes quae alia manu suppletae sunt. +Introd. <a href = +"QuintIntro.html#intro_pagelviii">p. lviii</a>.</p> +<p class = "list"> +b = manus secunda codicis Bambergensis.</p> +<p class = "list"> +H = codex Harleianus (2664) s. x-xi. Introd. <a href = +"QuintIntro.html#intro_pagelxiv">p. lxiv</a>, sqq.</p> +<p class = "list"> +F = codex Florentinus.</p> +<p class = "list"> +T = codex Turicensis.</p> +<p class = "list"> +N = codex Parisinus Nostradamensis s. x-xi.</p> +<p class = "list"> +Ioan. = codex Ioannensis s. xiii.</p> + +<p>For the above (with the exception of H and Ioan. and a fresh +collation of Bg and G) I have depended on Spalding, Halm, and +Meister. In the same way I quote references occasionally to M (codex +Monacensis s. xv), S (codex Argentoratensis s. xv), and L (codex +Lassbergensis s. xv), the Gothanus, Guelferbytanus, Vossiani, +&c.</p> + +<p>A collation of the following has kindly been put at my disposal by +M. Ch. Fierville, Censeur des études au Lycée Charlemagne (Introd. +<a href = "QuintIntro.html#intro_pagelxi">p. lxi</a>, +sqq.):—</p> + +<p class = "list"> +Codex Pratensis (Prat.) s. xii.</p> +<p class = "list"> +Codex Puteanus (Put.) s. xiii.</p> +<p class = "list"> +Codex Parisinus (7231) s. xii.</p> +<p class = "list"> +Codex Parisinus (7696) s. xii.</p> +<p class = "list"> +Codex Salmantinus (Sal.) s. xii-xiii.</p> + +<p>The readings of the Codex Vallensis (Vall.) are given from Becher’s +Programm des königlichen Gymnasiums zu Aurich, Ostern, 1891.</p> + +<p>Other 15th cent. MSS., which I have specially collated for this +edition, are the following (Introd. <a href = +"QuintIntro.html#intro_pagelxxiii">p. lxxiii</a>, sqq.):—</p> + +<p class = "list"> +Codex Harleianus 2662 (Harl. 2662). The inscription on this codex bears +that it was finished 25th Jan., 1434.</p> +<p class = "list"> +Codex Harleianus 11671 (Harl. 11671), bearing date 1467.</p> +<p class = "list"> +Codex Harleianus 4995 (Harl. 4995), dated 5th July, 1470.</p> +<p class = "list"> +Codex Harleianus 4950 (Harl. 4950).</p> +<p class = "list"> +Codex Harleianus 4829 (Harl. 4829).</p> +<p class = "list"> +Codex Burneianus 243 (Burn. 243).</p> +<p class = "list"> +Codex Burneianus 244 (Burn. 244).</p> +<p class = "list"> +Codex Balliolensis (Ball.). This MS. is mutilated, and contains nothing +after x. 6, 4: there is moreover a lacuna from ch. ii to iii §26.</p> +<p class = "list"> +Codex Dorvilianus (Dorv.), in the Bodleian at Oxford (codd. man. x. 1, +1, 13).</p> +<p class = "list"> +Codex Bodleianus (Bodl.).</p> + +<p>The readings of the Codex Carcassonensis (C—15th cent.) are +given from M. Fierville’s collation (De Quintilianeis Codicibus, +Paris, 1874).</p> + +<hr class = "mid"> + + +<span class = "pagenum">186</span> + + +<h5><a name = "critI" id = "critI"> +CHAPTER I.</a></h5> + +<p><a name = "critI_sec1" id = "critI_sec1" href = +"QuintBody1.html#chapI_sec1"><b>§1</b></a>. +<b>cognitioni</b>, Harl. 4995: Burn. 243 (and so Gothanus, Spald.). +<i>Cogitationi</i> G and most codd., probably mistaking a contraction in +the ancient text.</p> + +<p><a name = "critI_sec2" id = "critI_sec2" +href = "QuintBody1.html#chapI_sec2"><b>§2</b></a>. +<b>sciet</b> G. The reading <i>scierit</i> (Harl. 4995 and many codd.) +is probably due to H, which gives <i>sciuit</i> (so FT).</p> + +<p><b>quae quoque sint modo dicenda</b>. So GHFTL, and Halm. The +alternative reading is <i>quo quaeque s. m. d.</i>, S and all +my 15th cent. MSS: Spalding and Meister, with the approval of Becher. +See note ad loc. In the parallel passages i. 8. 1 Halm adopts Spalding’s +reading (ut sciat) quo quidque flexu ... dicendum for quid quoque ABMS, +and i. 6. 16 (notatum) quo quidque modo caderet for quid quoque BMS, and +so Meister: Fierville returns to the reading of the MSS. In support of +<i>quo quaeque</i> other exx. might be cited: v. 10. 17 quo quaeque modo +res vitari vel appeti soleat, and vi. 4. 22 quo quaeque ordine probatio +sit proferenda. But the parallel instances in the Tenth Book quoted in +the notes (<a href = "QuintBody1.html#chapI_sec8">1 §8</a>: <a href += "QuintBody2.html#chapVII_sec5">7 §§5</a> and <a href = +"QuintBody2.html#chapVII_sec6">6</a>) seem to guarantee the correctness +of the reading of the oldest MSS.: though it is better to take +<i>quoque</i> as the ablative of <i>quisque</i> than (as Halm) as the +relative with que.</p> + +<p><b>tamen</b>: GHFT Harl. 4950: <i>tanquam</i> Harl. 2662, 11671, +4995, 4829, L S Bodl. Ball. Burn. 243 Dorv. In Burn. 244 <i>tanquam</i> +is corrected to <i>tamen</i>. <i>Paratam</i> explains <i>in +procinctu</i>: so that <i>tanquam</i> is not so necessary as +<i>velut</i> in xii. 9. 21.</p> + +<p><a name = "critI_sec3" id = "critI_sec3" +href = "QuintBody1.html#chapI_sec3"><ins class = "correction" +title = "line reference missing"><b>§3</b></ins></a>. +<b>ante omnia est</b>: so all codd., and Halm. Hirt (Jahresb. des +philol. Vereins zu Berlin viii. p. 69 sq. 1882: ix. p. 312 sq. +1883) conjectured <i>ante omnia necessarium est</i>, and this is +approved by Kiderlin (Blätter f. d. bayer. Gymn. 1887, p. 454): cp. +<i>necessarium</i> just above, and <i>necessaria</i> in <a href = +"QuintBody1.html#chapI_sec1">§1</a>. Schöll (Rh. Mus. 34, p. 84) +first challenged the MS. reading, and suggested that the original may +have been <i>ante omnia stat atque</i>, corrupted into <i>ante omniast +[at] atque</i>: for which use of <i>sto</i>, see Bonn. Lex. s.v. +ii. γ. As an alternative suggestion he put forward <i>ante omnia +necesse est</i>, and this was adopted by Meister. Becher (Phil. Rundsch. +iii. 14. 428) proposed <i>ante omnia sciet</i>, though more recently he +has signified his adherence to the tradition of the MSS. Maehly +suggested <i>ante omnia opus esse</i>. Perhaps the true reading may be +<i>ante omnia prodest</i>.</p> + +<p>The question depends to some extent on the treatment of the following +passage. GH agree in giving <i>proximam deinde inimitationem novissimam +scribendi quoque diligentia</i>. This Halm converted into <i>proximum +deinde imitatio est, novissimum ... diligentia</i>,—where the +<i>est</i> is certainly superfluous (cp. i. 3. 1), while it may be +doubted (comparing ii. 13. 1 and iii. 6. 81—Kiderlin l.c.) whether +<i>proxima deinde imitatio, novissima</i> &c. would not be a +sufficient change: Kiderlin compares ‘proxima huic narratio,’ ii. 13. 1, +and ‘novissima qualitas superest,’ and objects to the citation of +‘proximum imitatio,’ in <a href = "QuintBody1.html#chapI_sec3"><ins +class = "correction" title = "text reads ‘1. 31’">1. 3</ins></a>, +in support of the neuter, on the ground that there ‘signum ingenii’ is +to be supplied.</p> + +<p>Kiderlin’s proposed modification of Gemoll’s conjecture (l.c. +p. 454 note, cp. Rhein. Mus. 46 p. 10 note) <i>proximum deinde +multa lectio</i> is adopted by Krüger (3rd ed.), who thinks that the +sequence of thought makes the special mention of <i>legere</i> +(alongside of <i>dicere</i> and <i>scribere</i>) a necessity: +<i>multa</i> corresponds to <i>diligentia</i> in what follows: cp. multa +lectione <a href = "QuintBody1.html#chapI_sec10">§10</a>. But +<i>legere</i> has already been touched on in <a href = +"QuintBody1.html#chapI_sec2">§2</a>, and moreover is included under +<i>imitatio</i> (sc. exemplorum ex lectione et auditione +repetitorum).</p> + +<p><a name = "critI_sec4" id = "critI_sec4" +href = "QuintBody1.html#chapI_sec4"><b>§4</b></a>. +<b>iam opere</b>. So Harl. 4995 and Regius: all other codd. <i>iam opere +iam</i>. Becher reports <i>iam opere</i> also from the Vallensis.</p> + +<p><b>qua ratione</b>. For <i>qua in oratione</i>, the reading of all +MSS., Hirt conjectured +<span class = "pagenum">187</span> +<i>qua exercitatione</i>. Schöll proposed to reject <i>in oratione</i> +as a gloss: but <i>qua</i> by itself (sc. via) is only used by Quint. +with verbs of motion: see on <a href = +"QuintBody2.html#chapVII_sec11">7 §11</a>.</p> + +<p>In his latest paper (Rheinisches Museum, 46, pp. 10-13, 1891), +Kiderlin subjects the whole of <a href = +"QuintBody1.html#chapI_sec4">§4</a> to a searching and destructive +analysis. He translates: ‘doch nicht darüber, wie der Redner +heranzubilden ist, sprechen wir in diesem Abschnitte (denn dies ist +genügend oder wenigstens so gut, als wir konnten, besprochen worden) +sondern darüber, durch welche Art von Uebung der Athlet, welcher alle +Bewegungen von seinem Lehrer bereits genau erlernt hat, für die Kämpfe +vorzubereiten ist.’ He doubts whether such passages as <a href = +"QuintBody1.html#chapI_sec33">§33</a> and <a href = +"QuintBody2.html#chapVII_sec1">7 §1</a> can be cited to justify the +abrupt transition from orator to athlete, on the ground of the formal +antithesis in which the two stand to each other,—‘orator’ coming +in at the end of one clause, and ‘athleta’ standing at the head of +another, in front of ‘quo genere exercitationis.’ And yet it is just the +‘orator’ who is to be understood in the ‘athleta.’ As to the sentence +introduced by ‘Igitur eum,’ if by ‘athleta qui omnes iam perdidicerit a +praeceptore numeros’ we are to understand one who has mastered the whole +theory of rhetoric, then it adds nothing to what has been said already, +and is therefore altogether superfluous.</p> + +<p>Kiderlin proposes to read: sed <i>ut</i> (so L and S,—also +Harl. 2662, 4995) athleta, qui omnes iam perdidicerit a praeceptore +numeros, multo (nonnullo?) varioque (numuro quae G,—also H: num +muro quae T: numeroque F L; nimirum quo S) genere exercitationis ad +certamina praeparandus <i>erit</i> (sit, the codd.) <i>ita</i> (so +S,—also Harl. 2662, 4995 and Bodl.) eum, qui ... perceperit, +instruamus, qua in <i>praeparatione</i> (qua in oratione, the codd.) +quod didicerit facere quam optime, quam facillime possit. <i>Ut</i> may +easily, he contends, have fallen out before <i>at</i>: and the running +of three words into one (<i>numeros multo vario—numero</i>) is +paralleled by such a case as <a href = "#critI_sec23">§23</a>, where it +will be found that Kiderlin sees <i>ut duo tresque</i> in +<i>utrisque</i>. For ‘multo varioque’ he compares viii. 5. 28 multis ac +variis: x. 5. 3 multas ac varias: xi. 3. 163 varia et multiplex: xii. 1. +7 totae tam variis; and, for ‘varioque,’ vii. 3. 16 latiore varioque, +and xii. 10. 36 sublimes variique. ‘Vario genere’ actually occurs i. 10. +7, and <i>multo</i> may easily have been written in the singular, like +<i>nonnullus</i> vi. 3. 11 (hoc nonnullam observationem habet) and +elsewhere. The motive for changing <i>que</i>, <i>quae</i>, into +<i>quo</i> and <i>erit</i> (<i>est</i>?) into <i>sit</i> may have been +the analogy of the foregoing <i>quomodo sit</i>. As for ut (sicut) ita +(sic), it is so favourite a form with Quintilian that he uses it seven +times in the first nineteen paragraphs of this chapter. <i>Qua in +oratione</i>, the reading of all MSS., may have resulted from <i>qua in +praeparatione</i> more probably than from <i>qua ratione</i>, which +appears first in the ed. Col. 1527, and is not so appropriate to the +context as <i>qua in praeparatione</i> (cp. <i>praeparandus</i> above, +and <i>parandae</i> below). Quintilian is detailing in this Book on what +preparation (cp. praeparant <a href = +"QuintBody1.html#chapI_sec35">§35</a>, comparant <a href = +"QuintBody1.html#chapI_sec67">§67</a>, praeparetur <a href = +"QuintBody2.html#chapVI_sec6">6 §6</a>, praeparantur <a href = +"QuintBody2.html#chapVII_sec19">7 §19</a>) the orator may best and +most easily carry out in practice what he has learnt theoretically. For +the preposition (<i>in</i> praeparatione) cp. viii. pr. 22: ut in hac +diligentia deterior etiam fiat oratio.</p> + +<p>The text of Quintilian, especially of this part of the Tenth Book, is +admittedly very defective, and invites emendation: there is a great deal +to be said for the theory that in many places several words must have +dropped out. Kiderlin’s attempts to remedy existing defects are always +marked by the greatest ingenuity: they are all well worth recording as +evidences of critical ability and insight, even though it may be that +not all of them will be received into the ultimate text. Here there +seems no reason why Quintilian, who was notoriously a loose writer, +should not have said in the concluding sentence of the paragraph what he +had already said, in the form of a metaphor, in the clause immediately +preceding. Indeed the word <i>igitur</i> seems to suggest that after +indulging in his favourite metaphor (<i>sed athleta</i>, &c.) he +wishes to resume, as it were, and is now going on to say what he means +in more ordinary language. It may not be artistic: but it is Quintilian. +If he had had some of his modern critics at +<span class = "pagenum">188</span> +his side when preparing a second edition of the <i>Institutio</i> some +of his angularities might have been smoothed away.</p> + +<p><a name = "critI_sec5" id = "critI_sec5" +href = "QuintBody1.html#chapI_sec5"><b>§5</b></a>. +<b>Non ergo</b>. Meister and ‘edd. vett.’: I find this reading in +Harl. 4995, and Burn. 243. So Vall. Halm. has <i>Num ergo</i>, and so +most codd. (including HFT Bodl. and Ball.).</p> + +<p><a name = "critI_sec6" id = "critI_sec6" +href = "QuintBody1.html#chapI_sec6"><b>§6</b></a>. +<b>ex his</b>. Qy. <i>ex iis</i>? so <a href = +"QuintBody1.html#chapI_sec128">§128</a>: cp. Introd. <a href = +"QuintIntro.html#intro_pagexlix">p. xlix</a>.</p> + +<p><a name = "critI_sec7" id = "critI_sec7" +href = "QuintBody1.html#chapI_sec7"><b>§7</b></a>. +<b>quo idem</b>, Meister and ‘edd. vett.’: <i>quod idem</i> Halm, +supported by Becher and Hirt, perhaps rightly. Nearly all my MSS. agree +with GLS in <i>quod</i>: <i>quo</i> occurs in Harl. 4995 only.</p> + +<p><a name = "critI_sec8" id = "critI_sec8" +href = "QuintBody1.html#chapI_sec8"><b>§8</b></a>. +<b>quod quoque</b> GH Halm, Meister: <i>quid quoque</i> (as <a href = +"QuintBody2.html#chapVII_sec5">7 §5</a>) occurs in L S, also in +Bodl., Ball. For <i>quid</i> Zumpt cites also Par. 1 and 2: i.e. 7723 +and 7724 (Fierville). <i>Aptissimum</i> (strangely mangled in most +codd.—e.g. <i>locis ita petissimum</i> G) is given rightly in +Dorv.</p> + +<p><a name = "critI_sec9" id = "critI_sec9" +href = "QuintBody1.html#chapI_sec9"><b>§9</b></a>. +<b>omnibus enim fere verbis</b>. This reading, ascribed by Meister to +Badius, and by Halm to ed. Colon. (1527), I have found in Harl. +4995 (<span class = "smallroman">A.D.</span> 1470): <i>ferebis vel</i> G +H: <i>fere rebus vel</i> L S Harl. 2662, 4950, 4829. From the Vallensis +Becher reports <i>fere verbis vel</i>.</p> + +<p><b>intueri</b>, ed. Col. 1527. In Harl. 11671 I find <i>interim +intueri</i>: Harl. 2662 L S Ball., Dorv., Bodl., <i>interim +tueri</i>.</p> + +<p><b>quae nitidiore in parte</b> occurs first in ed. Col. 1527: +Vall.<sup>2</sup> Harl. 4995 Goth. Voss. ii. shows <i>quae cultiore in +p.</i>: GH <i>quaetidiorem in p.</i>: LS Harl. 2662 Guelf. Bodl. <i>quae +utiliore in p.</i></p> + +<p><a name = "critI_sec10" id = "critI_sec10" +href = "QuintBody1.html#chapI_sec10"><b>§10</b></a>. +<b>cum omnem</b>, &c. <i>cum omnem misermonem a. pr. accipiamus</i> +GH: <i>cum omnem enim</i>, most codd. Osann, followed by Gemoll and +Krüger (3rd ed.), suggested <i>omnem enim sermonem a. pr. +accipimus</i>.</p> + +<p><a name = "critI_sec11" id = "critI_sec11" +href = "QuintBody1.html#chapI_sec11"><b>§11</b></a>. +<b>alia vero</b>, Frotscher: <i>aliave</i> GH: <i>aliaque</i> Harl. +4995. This last Becher now prefers (<i>alia que</i> Vall.: <i>alia +quae</i> Regius), comparing ix. 3. 89 and ix. 4. 87.</p> + +<p><span class = "greek" title = "tropikôs">τροπικῶς</span> <b>quasi +tamen</b>, Spalding, Zumpt, Meister and Krüger (3rd ed.): <i>tropicos +quare tam</i> GH, <i>quare tamen</i>, later MSS. Halm obelized <i>quare +tamen</i>: Mayor only <i>quare</i>. Becher recommends <i>tamen</i> by +itself. Gensler (Anal. p. 25) reads <i>tamen quasi</i>, and is +followed by Hild, who takes <i>quasi</i> with <i>feruntur</i> in the +sense of <i>referuntur</i> (<span class = "greek" title = +"metaphora">μεταφορά</span>): Zumpt took it with <i>eundem +intellectum</i>. Gemoll approves of the exclusion of <i>quare</i>, which +he thinks must have arisen from a gloss <i>figurate</i> (either marginal +or interlinear) on <span class = "greek" title = +"tropikôs">τροπικῶς</span>. Kiderlin adopts this and thinks the <i>quare +tam</i> of GHL a mutilation of the gloss <i>figurate</i>: <i>gurate</i> +and <i>quare tā</i> are not far apart.</p> + +<p><a name = "critI_sec12" id = "critI_sec12" +href = "QuintBody1.html#chapI_sec12"><b>§12</b></a>. +<b>figurarum</b> G (per compendium): <i>figuranus</i> H. Kiderlin +suggests <i>mutuatione figurarum</i>, sc. <i>ostendimus</i>: after which +Quintilian continues ‘sed etiam ex proximo mutuari licet.’ Cp. Cic. de +Or. iii. 156 translationes quasi mutuationes sunt. Kiderlin adds (Rhein. +Mus. 46, p. 14 note) that in iii. 4. 14 all MSS. wrongly give +<i>mutantes</i> for <i>mutuantes</i>, and in i. 4. 7 A<sup>1</sup> has +<i>mutamur</i> for <i>mutuamur</i>.</p> + +<p><a name = "critI_sec15" id = "critI_sec15" +href = "QuintBody1.html#chapI_sec15"><b>§15</b></a>. +<b>hoc sunt exempla potentiora</b>. <i>Hoc</i> is a conj. of Regius +(also Vall.<sup>2</sup>), all the MSS. giving <i>haec</i> (hec). +<i>Hoc</i> appears in the Basle ed. of 1555 and in that of Leyden 1665. +It is challenged by Schöll (Rhein. Mus. 44, p. 85), who says +<i>quia</i> stands too far away from <i>hoc</i> to allow of such a +construction, and thinks the context has been misunderstood. According +to him <i>haec exempla</i> (those derived from <i>lectio</i> and +<i>auditio</i>) are set over against those which one gets in theoretical +books and lectures: they are more telling, because they act directly on +the mind, and are not served up as dry theory in the form of extracts +(‘quia quae doctor praecepit orator ostendit’). He therefore understands +‘ipsis (exemplis) quae traduntur artibus,’ but admits that ‘etiam’ is +thus otiose, and would therefore read <i>quam ipsis quae traduntur +artibus</i>.</p> + +<p>Schöll is supported by Hirt (Jahresb. des philol. Vereins zu Berlin, +1882, p. 70), who thus gives the sense of the passage: ‘Der +Wortschatz wird durch Lektüre und vieles +<span class = "pagenum">189</span> +Hören erworben. Aber nicht nur seinetwegen soll man lesen und hören; man +soll es auch noch aus einem anderen Grunde. In allem nämlich, was wir +lehren, sind diese Beispiele, d.h. diejenigen, welche uns die Lektüre +und der Vortrag bieten, wichtiger selbst als die Beispiele welche die +Handbücher und Vorlesungen darbieten, weil, was der Lehrer nur als +Forderung aufstellt, bei dem Redner That geworden ist und sich durch den +Erfolg bewährt hat.’</p> + +<p>Iwan Müller (Bursian’s Jahresb. vii. 1879, 2, p. 168) objects +that if Quintilian had wished to convey this meaning he would have said, +not <i>haec exempla</i>, but <i>hinc ducta (petita)</i> or <i>quae hinc +ducuntur (petuntur) exempla</i>; and he rightly desiderates also <i>quam +quae (in) ipsis traduntur artibus</i>. Meister also opposes Schöll +(Philol. xlii. p. 149): the order <i>quam ipsis quae traduntur +artibus</i> is in fact impossible.</p> + +<p>On the whole it seems much better to keep <i>hoc</i>, and to +understand: ‘in all instruction, example is better than precept: the +<i>doctor</i> relies only on precept, the <i>orator</i> on example.’</p> + +<p>Gertz conjectures <i>nam omnium quaecunque docemus hinc</i> (cp. v. +10. 5: xii. 2. 31) <i>sunt exempla, potentiora</i> (i.e. <i>quae +potentiora sunt</i>) <i>etiam ipsis quae traduntur artibus</i>. But with +<i>hinc</i>, as Kiderlin observes, some other verb than <i>sunt</i> +would be expected: v. 10. 15 is an uncertain conjecture, the MSS. giving +<i>nihil</i>, and in xii. 2. 31 <i>hinc</i> belongs to <i>bibat</i> and +<i>sumptam</i>. Kiderlin himself at first proposed <i>haec praestant +exempla, potentiora</i>: this he now withdraws, however, (Rhein. Mus. +46, p. 15) in favour of <i>haec suggerunt exempla, potentiora</i>, +&c. By <i>haec</i> he understands <i>legere</i> and <i>audire</i>, +and gives the sequence of thought as follows:—‘Aber wenn auch auf +diese Weise eine Fülle von Ausdrücken erworben wird, so ist das doch +nicht der einzige Zweck des Lesens und Hörens. Denn <i>von allem</i> was +wir lehren (nicht nur von den Ausdrücken) liefert dieses (das Lesen und +Hören) Beispiele, welche noch wirksamer sind als die vorgetragenen +Theorieen selbst (wenn der Lernende so weit gefördert ist, dass er die +Beispiele ohne Beihilfe verstehen und sie bereits aus eigener Kraft +befolgen kann), weil der Redner das zeigt, was der Lehrer nur +vorgeschrieben hat.’ For <i>suggerere</i> Kiderlin compares i. 10. 7 +artibus, quae ... vim occultam suggerunt, and v. 7. 8 ea res suggeret +materiam interrogationi: cp. also <a href = +"QuintBody1.html#chapI_sec13">§13</a> quorum nobis ubertatem ac divitias +dabit lectio, and ii. 2. 8 licet satis exemplorum ad imitandum ex +lectione suppeditet.</p> + +<p><a name = "critI_sec16" id = "critI_sec16" +href = "QuintBody1.html#chapI_sec16"><b>§16</b></a>. +<b>imagine et ambitu rerum</b>: so Harl. 2662 L S Ball. Burn. 243 and +Bodl.: followed by Spalding, Frotscher, Herbst, and Bonnell. GH give +<i>imagine ambitu rerum</i>. Halm (after Bursian) bracketed +<i>ambitu</i>: but it is more probable that <i>imagine</i> is a gloss on +<i>ambitu</i> than vice versa (so Hirt and Kiderlin), and Meister +accordingly (followed by Krüger 3rd ed.) reads [<i>imagine</i>] +<i>ambitu rerum</i>. It seems just as likely, however, that <i>et</i> +has fallen out. Hertz suggested <i>imagine ambituve rerum</i>: Maehly +thinks that <i>ambitu</i> was originally <i>tantum</i>.</p> + +<p><b>nec fortune modo</b>. Gertz proposed <i>nec forma modo</i>: pro +Mil. §1 movet nos forma ipsa et species veri iudicii.</p> + +<p><a name = "critI_sec17" id = "critI_sec17" +href = "QuintBody1.html#chapI_sec17"><b>§17</b></a>. +<b>accommodata ut</b>: ed. Col. 1527, and so Meister and Krüger (3rd +ed.): <i>commodata ut</i> Halm (after Bursian): <i>commoda ut</i> +Spald., Frotsch., Herbst, and Bonnell. GHS give <i>commoda aut</i>: +L and all my MSS <i>commoda ut</i> (except Burn. 243 which shows +<i>comendat ut</i>).</p> + +<p><b>et, ut semel dicam</b>. Kiderlin would delete <i>et</i>, rendering +‘Stimme, Aktion, Vortrag ist, um es kurz zu sagen, alles in gleicher +Weise belehrend.’</p> + +<p><a name = "critI_sec18" id = "critI_sec18" +href = "QuintBody1.html#chapI_sec18"><b>§18</b></a>. +<b>placent—laudantur—placent</b>: so Halm and most edd., +following S, with which all my MSS. agree. The emphasis gained by the +opposition of <i>placent</i> and <i>non placent</i> makes this reading +probable. But GH give <i>laudetur</i>: and so Meister and Krüger (3rd +ed.) prefer to follow Regius in reading +<i>placeant—laudentur—placent</i>.</p> + +<p><a name = "critI_sec19" id = "critI_sec19" +href = "QuintBody1.html#chapI_sec19"><b>§19</b></a>. +<b>e contrario</b>. This reading, which Meister adopts from ‘edd. +vett.,’ occurs in +<span class = "pagenum">190</span> +Harl. 2662, 4995, 4829, 11671, Burn. 243, 244, Bodl. and Dorv. Becher +reports it also from the Vallensis. Halm wrote <i>contrarium</i>.</p> + +<p><b>actionis impetu</b>, Spald. and Krüger (3rd ed.): <i>actionis +impetus</i> GH and all MSS. (except Vall., in which the s in +<i>impetus</i> has been deleted): <i>ut actionis impetus</i> Halm and +Meister.</p> + +<p><b>tractemus</b> GHL: <i>tractamus</i> all my MSS.: +<i>retractemus</i> Spald., Halm, Meister. Becher (Phil. Rundsch. iii. +14. 429) supports <i>tractemus</i>, arguing that the phrase is a sort of +hendiadys = repetendo tractemus (cp. Frotscher, and Bonn. Proleg. to +Lex. p. xxxviii), or that the <i>re</i> of <i>repetamus</i> is to be +supplied in thought with <i>tractemus</i>: cp. Cic. de Div. 1 §1 +‘praesensionem et scientiam rerum futurarum.’ <i>Tractamus</i> in <a +href = "QuintBody2.html#chapV_sec8">5 §8</a> also supports this +reading.</p> + +<p><b>iteratione</b>, Harl. 4995 and Vall.<sup>2</sup>: most MSS. +<i>altercatione</i> (as G) or <i>alteratione</i> (as Harl. +2662).</p> + +<p><a name = "critI_sec22" id = "critI_sec22" +href = "QuintBody1.html#chapI_sec22"><b>§22</b></a>. +<b>illud vero</b>. The MSS. vary between <i>illa</i> (GH) and +<i>illud</i> (Harl. 4995 Vall.<sup>2</sup>). Kiderlin suggests <i>illa +... utilissima</i>.</p> + +<p><a name = "critI_sec23" id = "critI_sec23" +href = "QuintBody1.html#chapI_sec23"><b>§23</b></a>. +<b>Quin <ins class = "correction" title = "text reads ‘etiamsi’: changed to agree with body text">etiam si</ins> ... tamen</b>: so all MSS. +Meister and Krüger (3rd ed.) accept Eussner’s proposal to exclude +<i>quin</i>. Becher on the other hand objects (Bursian’s Jahresb. 1887. +xv. 2, p. 9). From some points of view the deletion would be an +improvement: it would bring out better the chiastic arrangement, +<i>utilissimum ... utrimque habitas legere actiones</i> and <i>easdem +causas ... utile erit scire</i>. But (1) such careless repetition +(<i>quin etiam—quin etiam</i>) is not unusual in Quint.: and +(2) <i>si</i> when followed by <i>tamen</i> often = <i>etiamsi</i>: +Cic. pro Leg. Man. §50: pro Deiot. §25: Sall. Bell. Iug. 85, 48 &c., +so that it is not necessary to connect <i>etiam</i> with it like +<i>etiamsi ... tamen</i> xi. 3. 48. The sentence (as recommending the +reading of the ‘minus pares actiones’) forms an exception to the rule +otherwise consistently followed, ‘non nisi optimus quisque legendus,’ +&c.</p> + +<p>Again Spalding, Bonnell, and Hild put the comma before, not after +<i>aliquae</i>, which they take with <i>requirentur</i> (‘yet in some +cases’). But this does not square with ‘quoties continget utrimque +habitas legere actiones,’—words which are distinctly against any +idea of <i>selecting from</i> the ‘minus pares.’</p> + +<p><b>causas ut quisque egerit utile erit scire</b>, Halm and Meister +following ed. Ald., and ed. Colon. 1527: <i>causas utile erit scire</i> +Vall.: all other codd. <i>causas utrisque erit scire</i>. Meister thinks +<i>non inutile</i> would be more in accordance with Quintilian’s usage. +Gemoll suggests <i>causas ut plures egerint intererit scire</i>, Kaibel +<i>ut quisque egerit e re erit scire</i>. Perhaps (with Becher) +<i>causas ut quisque egerit intererit scire</i>.</p> + +<p>Kiderlin’s treatment of the passage merits a separate notice. He +accepts the first <i>quin etiam</i>, as the reading of the MSS., and +also as quite appropriate to the context (‘in cases even where the +combatants are not equally matched—as were Demosthenes and +Aeschines’). But he doubts whether Quintilian could have written two +sentences running, each beginning with <i>quin etiam</i>, and relies +greatly on the undoubted fact that in the second all the MSS. have +<i>quis etiam</i>,—<i>quin</i> being an emendation by Regius. The +MS. reading is <i>quis etiam easdem causas utrisque erit scire</i>: this +Kiderlin would at once convert into ‘quis etiam <i>illud utile neget</i> +(or, negat esse utile) easdem causas ut quisque egerit, +scire’?—comparing xii. 10. 48 ceterum hoc quod vulgo sententias +vocamus ... quis utile neget? But <i>ut quisque</i> does not quite +satisfy him. In the sequel reference is made to cases in which two and +even three orators have handled the same theme: Kiderlin therefore +proposes <i>ut duo tresque</i> for the MS. <i>utrisque</i>. The passage +would then run: ‘quis etiam <i>illud utile neget</i> (negat esse utile?) +easdem causas u<i>t duo</i> tr<i>e</i>sque (tresve?) +e<i>g</i>eri<i>n</i>t, scire<ins class = "correction" title = "close quote invisible">?’</ins> The position of <i>easdem causas</i> is due to +a desire for emphasis: and for the isolated position of <i>scire</i> cp. +v. 7. 2 quo minus et amicus pro amico et inimicus contra inimicum possit +verum, si integra sit ei fides, dicere.</p> + +<span class = "pagenum">191</span> +<p><a name = "critI_sec28" id = "critI_sec28" +href = "QuintBody1.html#chapI_sec28"><b>§28</b></a>. +<b>poeticam ostentationi comparatam</b>. This is Schöll’s conj. for the +MSS. <i>genus ostent. comparatum</i>, which is however defended by +Becher in Bursian’s Jahresb. (1887), p. 40: he contends that the +feminine participles below (<i>adligata</i>, <i>depulsa</i>) refer to +<i>poesis</i>, present in the mind of the writer, and that the text of +the MSS. is simply a case of constr. <span class = "greek" title = "kata sunesin">κατὰ σύνεσιν</span>: cp. ix. 2. 79: ib. 3 §3, and such +passages as Cic. Or. §68 ego autem etiamsi quorundam grandis et ornata +vox est poetarum, tamen in ea (sc. poesi), &c. This would support +also the traditional reading <i>nescio an ulla</i> <a href = +"QuintBody1.html#chapI_sec65">§65</a> below, where see note. Becher +explains the MS. reading as = genus (sc. poeticum or hoc genus) ostent. +comp. (esse)—Halm prints <i>genus * * * ostent.</i>, and +supposes that <i>poeseos</i> has fallen out.—For <i>genus</i> cp. +<a href = "QuintBody1.html#chapI_sec68">§68</a>: de Or. ii. §55, where +<i>genus hoc</i> = history.</p> + +<p>Schöll’s argument (Rhein. Mus. 34, p. 86) is that Quintilian +cannot have passed from <i>genus</i> to <i>adligata</i>: Halm’s <i>genus +poeseos</i> is not probable, in the light of Quintilian’s avoidance of +the word <i>poesis</i> (cp. xii. 11. 26, where it occurs once, and there +only in A <i>in rasura</i>—GM giving <i>poetas</i>, which was +probably at first the reading also of A: there Halm and Meister now read +<i>poetica</i>). The text may have been altered by interpolation from +viii. 3. 11: namque illud genus (sc. demonstrativum) ostentationi +compositum solam petit audientium voluptatem,—from which passage +<i>genus</i> may have been written in where the Greek <span class = +"greek" title = "poiêtikên">ποιητικήν</span> had fallen out, giving rise +to comparat<i>um</i>. Meister, who adopts <i>poeticam</i>, thinks it +probable that the Greek word started the corruption. Other suggestions +are <i>praeter id quod</i>, <i>genus ost. comp.</i>, <i>sol. petit +vol.</i> (Hild),—a transposition which does no good, especially as +it leaves no subject to ‘iuvari’: <i>figurarum sed esse hoc eloquentiae +genus ost. comp. et ... iuvari</i> (Binde); <i>fig.</i>, <i>ingenuam +ost. comparatam artem</i> (Gemoll); Kiderlin (Hermes 23, p. 164) +thinks we ought to assume a lacuna, and would read <i>poeticam (or +poesin?) ut illud demonstrativum genus</i>, <i>ostentationi +comparatam</i>: cp. ii. 10. 11: v. 10. 43: iii. 7. 28: viii. 3. 11.</p> + +<p><a name = "critI_sec30" id = "critI_sec30" +href = "QuintBody1.html#chapI_sec30"><b>§30</b></a>. +<b>neque ego</b>: Spald., Frotscher, Herbst, Halm, Meister. <i>Neque +ergo</i> all MSS. Bonnell and Frieze retain the reading of the MSS., the +latter explaining <i>ergo</i> ‘viz. because I have given this caution to +the orator about too close imitation of the poetic manner.’</p> + +<p><a name = "critI_sec31" id = "critI_sec31" +href = "QuintBody1.html#chapI_sec31"><b>§31</b></a>. +<b>quodam uberi</b>: Spald. for <i>quodam moveri</i> of GH and all MSS. +except Harl. 4995, Vail.<sup>2</sup> and Burn. 243, which give <i>quodam +molli</i>. Kiderlin suggests <i>quodammodo uberi</i>, thinking that +<i>uberi</i> became <i>ueri</i>, while the letters <i>mo</i> (in +<i>moveri</i>) point to <i>modo</i>: cp. ix. 1. 7 where A has +<i>quomo</i> for <i>quomodo</i>, and xi. 3. 97 where b has <i>homo</i> +for <i>hoc modo</i>. In the margin of Bodl. and Dorv. (both which have +<i>moveri</i>) I find <i>quodammodo vero</i>.</p> + +<p><b>est enim</b>, <b>H</b>, which (like <b>G</b>) has <i>est</i> also +after <i>solutum</i>. Halm adopts Osann’s conjecture <i>etenim</i>: +Kiderlin suggests <i>ea enim</i> or <i>ista enim</i>, which may be +right. Becher defends the double <i>est</i> (<b>GH</b>), comparing ix. +3. 7 quod minus mirum est, quia in natura verborum est, and i. 3. 14 +(reading servile est et ... iniuria est).</p> + +<p><b>poetis</b>, <b>H</b>, following b: <i>poesi</i> Spald. ‘recte ut +videtur,’ Halm.</p> + +<p><a name = "critI_sec33" id = "critI_sec33" +href = "QuintBody1.html#chapI_sec33"><b>§33</b></a>. +<b>adde quod</b>, Regius followed by Meister and Krüger (3rd ed.). +<i>audeo quia</i> GH; <i>audio quia</i> L S Bodl. Ball. Harl. 2662, +&c. Halm adopted Geel’s conj. <i>ideoque</i>: and the Bonn. Meister +ed. reads <i>adeo</i>. Becher proposes <i>quid? quod</i>: Kiderlin <i>id +eo magis (fortius) dicere audeo</i>. The last conj. revives what I find +is the reading of some old edd. (e.g. ed. Col. 1527 and Riccius 1570) +<i>quod dicere fortius audeo quia</i>, except that from <i>id eo</i> the +eye might pass more easily to <i>audeo</i>.</p> + +<p><b>opus</b>, accepted from Spalding (who conjectured it +independently) by Halm and Meister, already appears in ed. Col. 1527 and +in that of Riccius 1570.</p> + +<p><a name = "critI_sec34" id = "critI_sec34" +href = "QuintBody1.html#chapI_sec34"><b>§34</b></a>. +<b>rerum exemplorumque</b>. Kiderlin suspects a lacuna after +<i>rerum</i> and suggests <i>ex cognitione rerum enim venit copia +exemplorum</i>. His argument is that +<span class = "pagenum">192</span> +while ‘ex cognitione rerum’ might serve as a sort of explanation of ‘ex +historiis,’ ‘exemplorumque’ must also be accounted for, and that after +‘locum’ we expect to hear what advantage is derived from historical +literature, not from what that advantage arises. The omission by a +copyist of <i>enim venit copia</i> explains how <i>exemplorum</i> comes +to be joined with <i>rerum</i>: cp. xii. 4. 1 in primis vero abundare +debet orator exemplorum copia cum veterum tum etiam novorum, and esp. +ii. 4. 20 et multa inde cognitio rerum venit exemplisque, quae sunt in +omni genere potentissima, iam tum instruit, cum res poscet, usurum. For +<i>ne omnia</i> (Badius and Vall.<sup>2</sup>) the codd. give <i>nec +omnia</i>, which Becher prefers.</p> + +<p><a name = "critI_sec35" id = "critI_sec35" +href = "QuintBody1.html#chapI_sec35"><b>§35</b></a>. +<b>vitio factum est oratorum</b>. G gives <i>est orum</i> with <i>al. +oratorum</i> written in above by the hand which Halm calls b. H (with +FTLS Bodl.) gives <i>est alia oratorum</i>,—one of many strong +indications that it was copied from G: for <i>alia</i> some MSS. give +<i>alias</i>. Halm (ii. p. 369) thinks that <i>orum</i> in G may +have stood for <i>rhetorum</i>.</p> + +<p><b>quae sunt istis</b>. GHLS and Vall. all give <i>sint</i>. But +iniusta, inhonesta, inutilia are as definite as their contraries.</p> + +<p><b>Stoici</b> supplied by Meister, whom Krüger follows. Kiderlin +would place it after <i>maxime</i>, just as <i>Socratici</i> stands +after <i>optime</i>. Perhaps <i>Stoici</i> and <i>Socratici</i> are both +glosses. Quint. may simply be saying that philosophical reading improves +the matter of oratory (<i>de iustis</i>, &c.) and also the form (by +<i>altercationes</i> and <i>interrogationes</i>). <i>Stoici</i> looks +appropriate to <i>de rebus divinis</i> (see note): and <i>argumentantur +acriter</i> is quite in place as referring to the Stoic logic, renowned +for its acuteness (Zeller, Epic. & Stoics, p. 118): but on the +other hand <i>interrogationibus</i> would be as apt in regard to them as +to the Socratics. Cp. de Or. i. §43 Stoici vero nostri disputationum +suarum atque <i>interrogationum</i> laqueis te inretitum tenerent.</p> + +<p>On the alternative explanation of the passage mentioned in the note, +<i>altercationibus</i> and <i>interrogationibus</i> are taken as datives +(as often in Quint. after <i>praeparo</i>), referring to two +well-understood parts of the duty of a counsel in an action-at-law. As +regards the <i>altercatio</i> indeed, previous writers on rhetoric had +not stated any special rules for its conduct, probably (as Quint., in +his treatment of the subject, suggests vi. 4. 1) because it was +sufficiently covered by precepts of a more general kind. In a +court-of-law, the <i>altercatio</i> was a discussion carried on between +opposing advocates in the way of short answers or retorts: it followed +(when resorted to) the examination of the witnesses, which was in Roman +usage <i>preceded</i> by the main speeches for the prosecution and +defence, embracing all the facts of the case (Cic. in Verr. i. 1 §55). +Cp. Cic. Brut. §159 iam in altercando (Crassus) invenit parem +neminem.—See Poiret, <i>L’éloquence judiciaire à Rome</i> +pp. 212-216.</p> + +<p><a name = "critI_sec37" id = "critI_sec37" +href = "QuintBody1.html#chapI_sec37"><b>§37</b></a>. +<b>qui sint legendi</b>. Halm, Meister: GHL and all MSS. <i>qui sint. +Legendi</i> appears in ed. Col. 1527, and I have found it also inserted +by a later hand above the line in the Bodleian codex. It may have fallen +out because of <i>legendo</i> above, and Spalding is probably right in +regarding it as indispensable. There seems however no reason for +eliminating the asyndeton by reading <i>et quae</i> (with Meister) or +<i>quaeque</i> (Halm). Kiderlin (Hermes, 23, 1888 p, 160) suggests that +the original may have run <i>qui sint qui prosint</i>: cp. <a href = +"QuintBody2.html#chapII_sec14">2 §14</a> tum in ipsis quos +elegerimus quid sit ad quod nos efficiendum comparemus: xii. 2. 4 quid +sit quod memoriam faciat. This suits the context, cum tantum +<i>utilitatis</i> in legendo iudicemus, and <a href = +"QuintBody1.html#chapI_sec40">§40</a> paucos enim ... utilitatis +aliquid. Cp. ii. 5. 20 nec prodesse tantum sed etiam amari potest +(Cicero).</p> + +<p><a name = "critI_sec38" id = "critI_sec38" +href = "QuintBody1.html#chapI_sec38"><b>§38</b></a>. +<b>[quibuscum vivebat]</b> is bracketed by Krüger (3rd ed.), as it had +already been by Frotscher and Herbst. This reading first appears in the +Aldine edition: the only MS. in which I have been able to find any trace +of it is Burn. 243, where <i>quibuscum convivebat</i> is inserted as a +correction. Some have refused to recognise it as a gloss, in spite of +the uncertainty of the MSS., and have sought to interpret it ‘with whom +he lived in close, familiar intercourse’ (opp. to quos viderim <a href = +"QuintBody1.html#chapI_sec98">§§98</a>, <a href = +"QuintBody1.html#chapI_sec118">118</a>): cp. Cic. de +<span class = "pagenum">193</span> +Off. i. §143 quibuscum vivimus, ib. §46. But in Brut. §231 Cicero +distinctly says in hoc sermone nostro statui neminem eorum qui viverent +nominare, whence Jeep was led to conj. <i>qui quidem viverent</i>: +Hortensius, for example, was ‘aetatis suae,’ but had died four years +before the date of the Brutus. So Geel conjectured <i>qui tum +vivebant</i> (a reading which however I find in the ed. Col. 1527 +and Riccius 1570): Törnebladh <i>qui quidem tum vivebant</i>, Wrobel +<i>qui tunc vigebant</i> (cp. <a href = +"QuintBody1.html#chapI_sec122">§122</a>), Zambaldi <i>ut quisque tum +vivebat</i>, and Kiderlin <i>qui quidem nondum e vita excesserant</i>; +see Rhein. Mus. 46, p. 23. Andresen proposed to read <i>qui quidem +sescenti erant</i>.</p> + +<p>G (and practically H) gives <i>quidqui convivebit</i>. FT part +company with H, the former reading <i>quod quid convivabit</i>, the +latter <i>quidque contuuebit</i> (man. sec. <i>quod quisque +contuebat</i>). Many MSS. (e.g. Bodl. Ball. Harl. 2662, 4995 LS) have +<i>quid quisque convivebat</i> (<i>convivabit</i> L). The +Carcassonensis gives <i>quid quod convivabit</i>.</p> + +<p><b>persequamur [et philosophos].</b> <i>Persequamur</i> is a conj. of +Regius adopted by Meister: all MSS. give <i>et Graecos omnes et +philosophos</i> (<i>philosophis</i> HFT). In Harl. 4995 (which is dated +<span class = "smallroman">A.D.</span> 1470) I have however found +<i>et philosophos exequar</i>: and so (Becher) a later hand in Vall. The +reading of the ed. Col. 1527 is <i>Graecos omnes et philosophos et +poetas persequi velim</i>.</p> + +<p>Schmidt, followed by Halm, rejected <i>et philosophos</i> as a gloss, +as both here and in the next sentence Quint. is evidently speaking of +orators only. Certainly, if it stood, we should expect the poets and +historians to come in also. Accordingly Claussen (Quaest. Quint. +p. 335) suspected a lacuna consisting both of the finite verb and +the poets and historians: Krüger (3rd ed.) adopts his conjecture and +reads <i>si et illos et qui postea fuerunt et Graecos omnes persequamur +et poetas et historicos et philosophos?</i> He cps. <a href = +"QuintBody1.html#chapI_sec25">1 §25</a> nam si, quantum de quaque re +dici potest, persequamur, finis operis non reperietur: v. 10. 91: viii. +5. 25. So Andresen (Rhein. Mus. 30, p. 520), except that he omits +‘persequamur,’ and proposes to read above <i>de Romanis tantum</i> et +<i>oratoribus</i> for <i>et</i> in sense of ‘and that’: cp. <a href = +"QuintBody1.html#chapI_sec51">§§51</a>, <a href = +"QuintBody1.html#chapI_sec94">94</a>. Gertz suggests <i>et Graecos omnes +persequi velis nec oratores tantum, sed etiam poetas et historicos et +philosophos</i>. Kiderlin (Berl. Jahr. xiv. 1888, p. 62 sq.) +prefers <i>persequamur</i> because of <i>iudicemus</i> and +<i>adiungamus</i> above. If the verb could be dispensed with, he would +propose ‘et praeter hos oratores etiam omnes poetas et historicos et +philosophos,’—arguing that et praeter hos and philosophos may have +run together in the eye of the copyist and so caused the lacuna. For +<i>et philosophos</i> Jeep suggested <i>explico novos</i>.</p> + +<p><a name = "critI_sec39" id = "critI_sec39" +href = "QuintBody1.html#chapI_sec39"><b>§39</b></a>. +<b>fuit igitur</b>, all codd.: <i>fuerit</i>, Regius. That the +difficulty of the passage was felt by the early editors is obvious from +this emendation, and also from the fact that in <a href = +"QuintBody1.html#chapI_sec40">§40</a> the traditional reading has been +<i>non est tamen</i> (for <i>non est</i>): <i>sed non est</i>, Spalding: +<i>at non est</i> Osann.</p> + +<p>Taking <a name = "critI_sec40" id = "critI_sec40">§§37-45</a> +as they stand the sequence of thought seems to be +this: ‘If I am asked to recommend individual writers I shall have to +take refuge in some such utterance as that of Livy. His <i>dictum</i> +was “read Demosthenes and Cicero first, and let others follow in the +order of their resemblance to Demosthenes and Cicero.” Mine is that +there is some good to be got out of almost every author,—except of +course the utterly worthless. But (<i>sed non quidquid</i>, &c. <a +href = "QuintBody1.html#chapI_sec42">§42</a>) the particular object I +have in view itself supplies a limitation for what would otherwise be an +endless task (<i>infiniti operis</i> <a href = +"QuintBody1.html#chapI_sec37">§37</a>). My business is the formation of +style. In regard to this matter there is a difference of opinion—a +cleavage between the old school and the new (see esp. <a href = +"QuintBody1.html#chapI_sec43">§43</a><ins class = "correction" title = +"period invisible">).</ins> This opens up the whole question of the +various <i>genera dicendi</i>, a detailed examination of which I must +postpone: for the present I shall take the various departments of +literature (<i>genera lectionum</i> <a href = +"QuintBody1.html#chapI_sec45">§45</a>) and mention in connection +therewith certain representative writers who may serve as models for the +students of style (<i>(iis) qui confirmare facultatem dicendi +volent</i>).’</p> + +<p>This seems satisfactory enough, especially in the case of so loose a +writer as Quintilian. +<span class = "pagenum">194</span> +§§39 and 40 are parallel, instead of being antithetical: <a href = +"QuintBody1.html#chapI_sec39">§39</a> says ‘Livy’s prescription was the +safest,’ while <a href = "QuintBody1.html#chapI_sec40">§40</a> gives a +general utterance on the part of Quintilian. In each deliverance +<i>brevitas</i> is meant to be the distinguishing characteristic of +individual representatives of poetry, history, oratory, and +philosophy.</p> + +<p>In his <i>Beiträge zur Heilung der Ueberlieferung in Quintilians +Institutio Oratoria</i> (Cassel, 1889), Dr. Heinrich Peters makes some +very drastic proposals in regard to the sections under discussion. He +fails to see any satisfactory connection between the purport of <a href += "QuintBody1.html#chapI_sec40">§§40-42</a> and that of <a href = +"QuintBody1.html#chapI_sec37">§§37-39</a>. And he thinks the statement +of a <i>summa iudicii</i> in §40 is inconsistent with the special +treatment of individual authors which begins at <a href = +"QuintBody1.html#chapI_sec46">§46</a>. On these and other grounds he +proposes to transfer §§40-42 (down to <i>accommodatum</i>) to <a href = +"QuintBody1.html#chapI_sec44">§44</a> and read: <i>interim non est +dissimulanda nostri quoque iudicii summa</i>. <i>Summa iudicii</i> then +furnishes the antithesis to <i>disseram diligentius</i>: <i>nostri +quoque iudicii</i> receives additional point from the reference to +conflicting views which immediately precede it: an explanation is gained +of the emphasis laid in §§40-41 on the distinction between the +<i>veteres</i> and the <i>novi</i>,—the later sections <a href = +"QuintBody1.html#chapI_sec43">§§43-44</a> explain the preceding +(§§40-42): and the transition from Livy’s dictum in <a href = +"QuintBody1.html#chapI_sec39">§39</a> to <i>verum antequam de +singulis</i> in <a href = "QuintBody1.html#chapI_sec42">§42</a> is +natural and easy. Then Dr. Peters would propose to continue: <i>quid +sumat</i> (for <i>summatim</i>, see below) <i>et a qua lectione petere +possit qui confirmare facultatem dicendi volet attingam</i>. This gives +a very satisfactory and even a necessary sequel, he thinks, to <i>non +quidquid ... accommodatum</i>. Sections <a href = +"QuintBody1.html#chapI_sec40">40-42</a> are then addressed, not to the +student of rhetoric, but to the disputants who quarrel over the +comparative merits of the <i>veteres</i> and the <i>novi</i>: Quintilian +says ‘something may be learned from everybody.’ Then he continues ‘for +the formation of style a selection is necessary, and that I now proceed +to make under the two heads of what the student is to appropriate and to +whom he is to go for it.’</p> + +<p><b>quae est apud Livium, &c.</b> Schöll unnecessarily conjectured +<i>qua praecipit Livius</i> (cp. ii. 5. 20) or <i>qua apud Livium in ep. +ad fil. praescribitur</i>,—doubting if <i>brevitas</i> could have +an acc. and infin. depending on it. But see note. G gives <i>quae +apud Livium epistula</i>, <i>in</i> being inserted by the second hand, +which H as usual follows.</p> + +<p><a name = "critI_sec42" id = "critI_sec42" +href = "QuintBody1.html#chapI_sec42"><b>§42</b></a>. +<b>ad faciendam <span class = "greek" title = +"phrasin">φράσιν</span></b>. This is the reading now proposed by +Kiderlin (in Hermes, vol. xxiii. p. 161), though <span class = +"greek" title = "phrasin">φράσιν</span> appeared as early as the edition +of Riccius (1570). The following are the MSS. readings <i>ad farisin</i> +G: <i>ad faciendam etiam ad farisin</i> H (<i>affaresim</i> S. Harl. +2662 Bodl. Ball. <i>apharesim</i> Harl. 4295) <i>ad faciendam +affarisin</i> L. Meister adopts the vulgate, <i>ad faciendam etiam +phrasin</i>: Halm reads <i>ad phrasin</i>.</p> + +<p>The parallel passage in <a href = +"QuintBody1.html#chapI_sec87">§87</a> clearly makes for +<i>faciendam</i>. The probability is that ‘phrasin’ was originally +written in Greek, as at viii. 1 §1: cp. <span class = "greek" title = +"hexis">ἕξις</span> in <a href = "QuintBody1.html#chapI_sec1">§1</a>: <a +href = "QuintBody1.html#chapI_sec59">§59</a>: <a href = +"QuintBody2.html#chapV_sec1">5 §1</a>, where the MSS. vary between +<i>ex his</i>, <i>lexis</i>, <i>exitum</i>, &c.: <span class = +"greek" title = "tropikôs">τροπικῶς</span> <a href = +"QuintBody1.html#chapI_sec11">§11</a>. Cp. on <a href = +"QuintBody1.html#chapI_sec87">§87</a>. Two Paris MSS. (acc. to Zumpt) +show <span class = "greek" title = "apheresin">ἀφέρεσιν</span>. +<i>Etiam</i> Kiderlin rejects: perhaps however the true reading may be +<i>protinus</i> et <i>ad faciendam</i> <span class = "greek" title = +"phrasin">φράσιν</span>.</p> + +<p><b>de singulis loquar</b>, G man. 2 H L and Vall. Halm omits +<i>loquar</i>, with G.</p> + +<p><a name = "critI_sec44" id = "critI_sec44" +href = "QuintBody1.html#chapI_sec44"><b>§44</b></a>. +<b>tenuia atque quae</b>. In a very interesting note (Programm des +königlichen Gymnasiums zu Aurich, 1891, p. 8) Becher establishes +the correctness of this reading, instead of the traditional <i>tenuia et +quae</i>. The Vallensis has <i>tenuia atque que</i> (i.e. <i>atque +quae</i>): for what may appear a cacophony, Becher compares i. 3. 8 +atque ea quoque quae, Cic. de Leg. Agr. ii. 33. 90 atque qui. ‘That V +(Vall.) has preserved the true reading is confirmed by the other +codices: not only S, which gives <i>tenia atque que</i>, but also GL +[and H], <i>tenui atque</i>, which is nothing else than <span class = "extended">tenui</span> +AtQUE, i.e. tenuia atque quae.’ In the Rh. Mus. xi. (‘zur Kritik +der ciceronischen Briefe’ pp. 512-13) Buecheler says, ‘One of the +commonest sources of corruption in the Florentine codex is that when two +“consonant syllables” follow each other, one is omitted. The +<span class = "pagenum">195</span> +reason of this phenomenon is probably the fact that in the archetype of +which this MS. is an indirect copy the sounds which were to be repeated +were distinguished by letters of a larger size.’ Becher finds the same +phenomenon in the manuscripts of Quintilian, and gives the following +examples, selected at random from many others: <a href = +"QuintBody1.html#chapI_sec45">§45</a> aliquos G(H)LSV, i.e. +<span class = "extended">ali</span>QUOS = aliquos quos: <a href = +"QuintBody1.html#chapI_sec54">§54</a> reddit G(H)V, i.e. +<span class = "extended">red</span>D<span class = "extended">It</span> = reddidit (so cod. Almen.): <a href = +"QuintBody1.html#chapI_sec79">§79</a> auditoris S (audituris G, +also H), i.e. <span class = "extended">auditorIs</span> = auditoriis (as Vall. M: also Ball. +Dorv. Burn. 244 Harl. 4829, 4995): ibid. comparat GMS (and all my codd.) +i.e. <span class = "extended">comp</span>A<span class = "extended">Rat</span> = compararat: <a href = +"QuintBody1.html#chapI_sec84">§84</a> probandoque G (and H) = +<span class = "extended">probando</span>QUE: <a href = "QuintBody1.html#chapI_sec89">§89</a> +etiam sit G (see Crit. Note <i>ad loc.</i>) = etiam SIt. Especially +significant is ix. 4. 41 o fortunatam me consule Romam AGM, i.e. o +<span class = "extended">fortuNATAM</span> me consule Romam.—Becher finds a further ground +for <i>atque</i>, as connecting ‘quae minimum ab usu cotidiano recedunt’ +more closely than <i>et</i>, in the fact that already in Cicero +<i>tenuis</i> is used of a person of the commoner sort, ‘unus de +multis,’ de Leg. iii. 10. 24.</p> + +<p><b>lenis ... generis</b>. For <i>lenis</i> Krüger (3rd ed.) reads +<i>levis</i>, adopting a conj. of Meyer (Halm ii. p. 369) for which +cp. <a href = "QuintBody1.html#chapI_sec52">§52</a> (levitas verborum) +and v. 12. 18 (levia ac nitida): supported by Becher Phil. Runds. iii. +14. 430. In this sense <i>levis</i> (<span class = "greek" title = +"leios">λεῖος</span>) is opp. to <i>asper</i>: cp. de Orat. iii. §171 +struere verba sic ut neve asper eorum concursus neve hiulcus sit, sed +quodam modo coagmentatus et <i>levis</i>: cp. §172: Orat. §20: Quint. +ii. 5. 9 <i>levis</i> et quadrata compositio: de Orat. iii. §201 levitas +coniunctionis: Brut. §96: de Opt. Gen. Or. §2: Quint. viii. 3. 6.</p> + +<p><b>interim</b>. H. Peters would prefer <i>nunc</i> (if the text +stands as it is), comparing v. 11. 5; 14. 33: ix. 4. 19.</p> + +<p><b>summatim quid et a qua</b>. Kiderlin approves of Meister’s +retention of the vulgate: <i>petere</i> must have an object. So Krüger, +3rd ed. The original reading in G is <i>sumat et a qua</i>, corrected to +<i>sumat quia et a qua</i>, which occurs in HFTL. Bodl. Ball, and my +other MSS. agree with S in reading <i>summa</i> for <i>sumat</i>. Even +if the text stands (without his proposed inversion) H. Peters would +prefer <i>quid sumat et a qua</i>, as nearer the MSS.</p> + +<p><a name = "critI_sec45" id = "critI_sec45" +href = "QuintBody1.html#chapI_sec45"><b>§45</b></a>. +<b>paucos enim qui sunt eminentissimi</b>. Meister and Krüger 3rd ed. +have <i>paucos</i> (<i>sunt enim em.</i>) =‘nur wenige’: cp. hos (sc. +tantum) <a href = "QuintBody1.html#chapI_sec91">§91</a>. Halm reads +<i>paucos enim</i> (<i>sunt autem em.</i>) GH give <i>paucos enim sunt +em</i>. L and the British Museum MSS. all read <i>paucos sunt +enim</i>. The text is that of ed. Col. 1527 adopted by Zambaldi, and +approved by Kiderlin: cp. <a href = +"QuintBody1.html#chapI_sec101">§101</a> qui sunt dulciores: ix 4. 37 +quae sunt asperiores. Osann proposed <i>paucos enim</i>, <i>sunt +enim</i>.</p> + +<p><b>his simillimi</b>, Halm, supported by Becher, who compares <a href += "QuintBody1.html#chapI_sec39">§39</a>: <i>his similes</i> Meister and +Krüger (3rd ed.). G has <i>hi similibus</i>, corrected by the same +hand to <i>simillimis</i>: H gives <i>his simillimis</i>: all the +other MSS. <i>his simillimi</i>.</p> + +<p><b>plures</b> is the common reading, and occurs in Harl. 4995, and +also Vall. (Becher). GHFT give <i>plurimis</i>: LS and the later MSS. +generally <i>plurimos</i>. Kiderlin proposes <i>pluris iis</i> as being +nearer <i>plurimis</i>. The pronoun, he argues, is not superfluous, +because Quintilian is distinguishing between ‘qui confirmare fac. dic. +volent’ (i.e. those who have finished their rhetorical studies and want +practice) and the ‘studiosi’ (young men busy with theory). The latter +will read more authors than those for whom <i>this</i> book is intended, +its aim being (§4) to instruct the young orator (after the stage of +theory) how best and most readily to use what he has acquired.—For +<i>aliquos quos</i> see on <i>tenuia atque quae</i> <a href = +"QuintBody1.html#chapI_sec44">§44</a> above.</p> + +<p><b>qui a me nominabuntur</b>, ed. Col. 1527; GH have <i>quia +nom</i>.: Vall. LS <i>qui nom</i>. Hertz rejects <i>a me</i>, and he may +be right.</p> + +<p><a name = "critI_sec46" id = "critI_sec46" +href = "QuintBody1.html#chapI_sec46"><b>§46</b></a>. +<b>omnium fluminum</b>. GHL Bodl. <i>annium</i>: S Harl. 2662, 4950, +Ball. <i>amnium vim</i>. Halm, following Osann, read <i>omnium +amnium</i>: but though <i>omnium</i> is necessary (cp. <span class = +"greek" title = "pantes potamoi">πάντες ποταμοί</span> Il. 21. 196), +Quintilian would surely have avoided such +<span class = "pagenum">196</span> +a cacophony as <i>omnium amnium</i>. Wölfflin conjectured <i>omnium +fluminum</i> (Rhein. Mus. 42, Pt. 1, 1887, p. 144), and this is now +accepted by Meister (vol. ii. p. 362 and Pref. to Book x, +p. xiii). Wölfflin supposes that the archetype had <i>omnium +fontiumque</i>, <i>fluminum</i> having fallen out: <i>omnium</i> was +then corrected into <i>amnium</i>. <i>Amnis</i> however is rare, and +<i>fluminum</i> not only secures an apt alliteration, but is constantly +found: cp. <a href = "QuintBody1.html#chapI_sec78">§78</a> puro fonti +quam magno flumini propior: viii. 3. 76 magnorum fluminum navigabiles +fontes: Lucr. iv. 1024: v. 261, 945 (‘fluvii fontesque’): Ovid Met. i. +334.</p> + +<p><a name = "critI_sec47" id = "critI_sec47" +href = "QuintBody1.html#chapI_sec47"><b>§47</b></a>. +<b>ac consiliorum</b> L: <i>hac con.</i> G: <i>et con.</i> Prat. Put. +<i>atque con.</i> 7231, 7696.</p> + +<p><a name = "critI_sec48" id = "critI_sec48" +href = "QuintBody1.html#chapI_sec48"><b>§48</b></a>. +<b>operis sui ingressu</b>: <i>operis si ingressus</i> GH: <i>operis +sui</i> Bodl.: <i>operis</i> Prat. Put. S Harl. 2662, 4995, 4950, Dorv. +Ball. Badius conj. <i>ingressu</i>, and Halm added <i>in</i>, which is +however unnecessary: cp. iv. 1. 34 operum suorum principiis: iv. pr. 4 +initiis operum suorum. Becher keeps <i>ingressus</i>, but makes it a +genitive dependent on <i>versibus</i>.</p> + +<p>Two Oxford MSS (Bodl. and Dorvilianus) give <i>nam</i> for +<i>non</i>, and in the former case the <i>nam</i> looks very like +<i>viam</i>. It is possible that <i>viam</i> may be the true reading: +cp. ii. 10. 1 quarum (materiarum) antequam viam ingredior ... pauca +dicenda sunt,—though there the phrase refers to entering on the +<i>regular treatment</i> of a subject. <i>Age vero</i> is not always +found with questions, Hand Turs. i. p. 211. Without <i>non</i>, the +reading may possibly be <i>age vero viam utriusque operis ingressus, in +paucissimis</i>, &c. The <i>si</i> after <i>operis</i> may have +arisen from operi s ingressus. The MSS. are unanimous for +<i>ingressus</i>, and the awkwardness of operis sui ingressu in pauc. +vers. makes it very probable that something is wrong. <i>Utrumque opus +ingressus</i> would have been more natural: <i>viam utriusque operis +ingressus</i> is not far off it. Perhaps however it would be preferable +to keep the question and read <i>nonne viam ut. op. ingressus</i>.</p> + +<p><b>nam benevolum</b>. <i>nam et ben</i>, Put. 7231, 7696: so too the +Carcassonensis.</p> + +<p><a name = "critI_sec49" id = "critI_sec49" +href = "QuintBody1.html#chapI_sec49"><b>§49</b></a>. +<b>ceteraque genera</b>. GHL and the Brit. Mus. MSS. give <i>ceteraque +quae</i>: so too Bodl. and Ball. <i>Genera</i> was conjectured by Caesar +(Philol. xiii. p. 757). Schöll (in Krüger 3rd ed.) proposes +<i>ceteraeque viae ... multae</i>: Kiderlin <i>ceteraque, quae probandi +ac refutandi sunt, nonne sunt ita multa ut ... petant?</i> For <i>quae +... sunt</i> he compares <a href = +"QuintBody1.html#chapI_sec106">§106</a> omnia denique quae sunt +inventionis.</p> + +<p><a name = "critI_sec50" id = "critI_sec50" +href = "QuintBody1.html#chapI_sec50"><b>§50</b></a>. +<b>ut magni sit</b>. G Burn. 243: Ball.: Bodl.: <i>sint</i> H: <i>ut +magni sit viri</i> Prat. Put. 7231, 7696, S, Harl. 2662, 4995, 4950, +4829, Dorv., Burn. 244 (<i>sint</i> L): <i>ut magnum sit</i>, +Gensler: <i>ut magni sit spiritus</i>, Kiderlin (cp. i. 9. 6).</p> + +<p><a name = "critI_sec51" id = "critI_sec51" +href = "QuintBody1.html#chapI_sec51"><b>§51</b></a>. +<b>et in omni</b>: <i>et</i> om. Prat. and Put.</p> + +<p><b>clarissima</b> LS and most codd.: <i>durissima</i> GHT Prat. Put. +7231, 7696, Dorv.</p> + +<p><a name = "critI_sec52" id = "critI_sec52" +href = "QuintBody1.html#chapI_sec52"><b>§52</b></a>. +<b>utiles circa praecepta</b>, &c. Kraffert proposed <i>utilis circa +praecepta sententiasque levitas verborum</i> ... With <i>praecepta</i> +may there not have been a genitive in the original text: <i>utilis circa +praecepta sapientiae</i> (pr. <a href = +"QuintBody1.html#chapI_sec19">§19</a>: i. 4. 4: xii. 1. 28), or perhaps +<i>utiles circa morum praecepta sententiae</i> (xii. ii. 9)?</p> + +<p><a name = "critI_sec53" id = "critI_sec53" +href = "QuintBody1.html#chapI_sec53"><b>§53</b></a>. +<b>secundum</b> Prat. Put. 7231, 7696, Vall. LS Harl. 2662, 4995 Dorv. +Ball.: om. GHFT Bodl. Halm, following Hertz, gives <i>parem</i> (cp. <a +href = "QuintBody1.html#chapI_sec127">§127</a> pares ac saltem proximo): +<i>aequalem</i> would be as probable, and is given by some MSS. in <a +href = "QuintBody1.html#chapI_sec55">§55</a>. Schöll now thinks +<i>secundum</i> an old interpolation, and conjectures <i>quam sit aliud +atque aliud proximum esse</i>, cp. i. 7. 2: ix. 4. 90.</p> + +<p><a name = "critI_sec54" id = "critI_sec54" +href = "QuintBody1.html#chapI_sec54"><b>§54</b></a>. +<b>poetarum iudices</b> Prat. Put. 7231, 7696, LS Ball. <i>iudicium</i> +G, <i>iuditium</i> H. Halm suspected it to be a gloss introduced +from the margin (cp. laus Ciceronis <a href = +"QuintBody1.html#chapI_sec109">§109</a>) and Mayor removed it from the +text.</p> + +<p><b>reddidit</b> cod. Almen.: <i>reddit</i> GHFT Vall. Harl. 4995 +Bodl. Burn. 243. <i>Edidit</i> is given in Prat. Put. 7231, 7696 Harl. +2662, 4950, 4829 Dorv. and Ball., besides L and S.</p> + +<p><b>sufficit</b> MSS.: Halm would prefer <i>suffecit</i> (cp. <a href += "QuintBody1.html#chapI_sec123">§123</a>). For <i>parem</i> many MSS. +<span class = "pagenum">197</span> +give <i>equalem</i>, which must have been a gloss: S has <i>equalem +credidit parem</i>, and so Prat. (Fierville Introd. <a href = +"QuintIntro.html#intro_pagelxxix">p. lxxix</a>) Harl. 2662 (<span +class = "smallroman">A.D.</span> 1434) and 11671 (<span class = +"smallroman">A.D.</span> 1467).</p> + +<p><a name = "critI_sec56" id = "critI_sec56" +href = "QuintBody1.html#chapI_sec56"><b>§56</b></a>. +<b>Macer atque Vergilius</b>. Unger suggested <i>Valgius</i> for +Vergilius. This is however unnecessary, though it has been proposed to +insert the comma after <i>Vergilius</i> instead of after <i>idem</i> +below.</p> + +<p><a name = "critI_sec59" id = "critI_sec59" +href = "QuintBody1.html#chapI_sec59"><b>§59</b></a>. +<b>adsequimur</b> GHS Prat. Put. 7231, 7696 Bodl. Ball. Dorv. and +British Mus. MSS. (except 4950 which gives C and L’s <i>assequatur</i> +and 4829 which has <i>assecuntur</i>). Halm reads <i>adsequamur</i>, and +is followed by Meister. Krüger (3rd ed.) proposes <i>ut +adsequamur</i>.</p> + +<p><a name = "critI_sec60" id = "critI_sec60" +href = "QuintBody1.html#chapI_sec60"><b>§60</b></a>. +<b>quibusdam quod quoquam minor est</b>. GH give <i>quibus</i> for +quibusdam: Prat. Put. S and all my MSS. have <i>quibusdam quod quidem +minor est</i>: (<i>minoris</i> Bodl. Burn. 243): <i>quod quodam</i> +7696. Wölfflin (Rhein. Mus. xlii. Pt. 2, p. 310) proposes <i>quod +idem amarior est</i>: <i>amarus</i> (§117) indicates the excess of +<i>acerbitas</i> (§96) which might be alleged against Archilochus for +his lampoons on Lycambes. Cp. iamborum amaritudinem Tac. Dial. 10. But +<i>quoquam</i> (Madv. 494 b) does not necessarily imply that there +<i>is</i> any one superior to the great Archilochus, though, outside the +range of iambographi, Homer is always present (§65) to the writer’s +mind. <i>Quoquam</i> is not to be restricted to the narrow circle of +iambic writers, otherwise <i>materiae</i> would have no point. +Quintilian means that Archilochus must be ranked immediately after +Homer, if indeed the disadvantage of his subject-matter forbids us to +place him alongside of Homer. That he had a schoolmaster’s liking for an +‘order of merit’ is shown by <a href = +"QuintBody1.html#chapI_sec53">§§53</a>, <a href = +"QuintBody1.html#chapI_sec62">62</a>, <a href = +"QuintBody1.html#chapI_sec85">85</a>, <a href = +"QuintBody1.html#chapI_sec86">86</a>.</p> + +<p><a name = "critI_sec61" id = "critI_sec61" +href = "QuintBody1.html#chapI_sec61"><b>§61</b></a>. +<b>spiritu, magnificentia</b>, Put. 7696 S Harl. 2662, 4995, 11671, +Dorv.: <i>spiritus</i> H (<i>sps.</i>) Prat. 7231 Harl. 4950 Burn. 243 +Bodl. Ball., and so Halm and Meister. The strongest argument for the +abl. is that the nouns go together in pairs,—spiritu +magnificentia, sententiis figuris, copia ... flumine. So Claussen +(Quaest. Quint. p. 334), who compares Dion. Hal. <span class = +"greek" title = "arch. kr.">ἀρχ. κρ.</span> 2. 5, p. 420 R +<span class = "greek" title = "zêlôtos de kai Pindaros onomatôn kai noêmatôn heineka, kai megaloprepeias kai tonou, kai periousias .... kai schêmatismôn">ζηλωτὸς δὲ καὶ Πίνδαρος ὀνομάτων καὶ νοημάτων εἵνεκα, καὶ +μεγαλοπρεπείας καὶ τόνου, καὶ περιουσίας .... καὶ +σχηματισμῶν</span>.</p> + +<p><a name = "critI_sec62" id = "critI_sec62" +href = "QuintBody1.html#chapI_sec62"><b>§62</b></a>. +<b>Stesichorum Badius</b>: <i>iste sichorus</i> GH: <i>Stesichorus</i> +Bodl. 7696: <i>Stesicorus</i> Harl. 4995: other MSS. <i>Terpsichorus</i> +or <i>Terpsicorus</i>.</p> + +<p><a name = "critI_sec63" id = "critI_sec63" +href = "QuintBody1.html#chapI_sec63"><b>§63</b></a>. +<b>magnificus et diligens et plerumque oratori similis</b>: GH +<i>magnificus et dicendi et plerumque orationis similis</i>; so Burn. +243 and Bodl. (<i>orationi</i>); most other MSS. <i>et diligens +plurimusque</i> (<i>plurimum</i> or <i>plurimumque</i>) <i>Homero +similis</i>: <i>plurimumque oratio</i>, Prat. Put.: <i>plerumque +orationis</i> 7231, 7696. Halm gives <i>dicendi vi</i>, which, after +<i>in eloquendo</i>, would be strange. Wölfflin proposes <i>elegans +et</i> (for dicendi et, diligens et): cp. <a href = +"QuintBody1.html#chapI_sec78">§§78</a>, <a href = +"QuintBody1.html#chapI_sec83">83</a>, <a href = +"QuintBody1.html#chapI_sec87">87</a>, <a href = +"QuintBody1.html#chapI_sec93">93</a>, <a href = +"QuintBody1.html#chapI_sec114">114</a>, and Dion. Hal. l.c. <span class += "greek" title = "Alkaiou de skopei to megalophues kai brachu kai hêdu meta deinotêtos ... kai pro pantôn to tôn politikôn pragmatôn êthos">Ἀλκαίου δὲ σκόπει τὸ μεγαλοφυὲς καὶ βραχὺ καὶ ἡδὺ μετὰ δεινότητος +... καὶ πρὸ πάντων τὸ τῶν πολιτικῶν πραγμάτων ἦθος</span>. Halm’s +<i>dicendi vi</i> rested on <span class = "greek" title = "meta deinotêtos">μετὰ δεινότητος</span>, but we need not suppose that +Quintilian translated word for word from Dionysius<!-- meaning +Quintilian took liberties, hmm? -->. With <i>in eloquendo</i>, +<i>diligens</i> seems quite appropriate: i. §3 cum sit in eloquendo +positum oratoris officium.</p> + +<p><b>Sed et lusit</b>, Prat. Put. Voss. 1 and 3: <i>sed et eius sit</i> +GH: <i>sed in lusus</i> MS Ball. Dorv.: <i>sed editus sit</i> Bodl.</p> + +<p><a name = "critI_sec64" id = "critI_sec64" +href = "QuintBody1.html#chapI_sec64"><b>§64</b></a>. +<b>eius operis</b>: <i>ei</i> GH: <i>eius</i> M Bodl. Burn. 243: +<i>eiusdem</i> Prat. Put. 7231, 7696 S, Harl. 2662, 4995, 4950, 4829, +Burn. 244, Dorv., Ball. In Prat. and Put. the order is <i>in hac parte +omnibus eum eiusdem operis</i>.</p> + +<p><a name = "critI_sec65" id = "critI_sec65" +href = "QuintBody1.html#chapI_sec65"><b>§65</b></a>. +<b>est et in</b>. The MSS. give <i>etsi est</i>: Wölfflin conjectured +<i>est et</i>, and Halm, (following some old edd.) inserted <i>in</i>, +comparing <a href = "QuintBody1.html#chapI_sec64">§§64</a> and <a href = +"QuintBody1.html#chapI_sec68">68</a>. So too Meister. <i>Etsi</i> may +have crept into the text to anticipate <i>tamen</i> (ii. 5. 19): or the +true reading may be <i>est et etsi in</i>. Schöll suggests (Krüger, 3rd +ed. p. 92) that the passage ought to run as follows:—<i>ant. +com. cum sincera illa sermonis Attici gratia prope sola retinet</i> +<span class = "pagenum">198</span> +<i>vim</i> (<i>dum</i> G, <i>tum</i> vulg.) <i>fac. libertatis, et si +est in insect. vitiis praecip.</i>, <i>plur. tamen</i>, &c.</p> + +<p><b>nescio an ulla</b>. This is the reading of Prat. Put. 7231, 7696, +M, S, Harl. 2662, 4995, 4950, 11671, Dorv. Ball., and if it can be +sustained, the sense it gives is quite satisfactory. We must suppose +that <i>poesis</i> (probably the only fem. noun that would suit) was +present in the writer’s mind: see on <i>poeticam</i> <a href = +"QuintBody1.html#chapI_sec28">§28</a> above.</p> + +<p>But in Quint. <i>poesis</i> occurs only once (cp. on <a href = +"QuintBody1.html#chapI_sec28">§28</a>),—at xii. 11. 26, where it +is not used of a special branch of poetry, as here; and even there a +doubt has been expressed about the reading. Kiderlin therefore urges +(Hermes 23, p. 163) that it is incredible that Quintilian would +have left his readers to supply for themselves a word which he uses only +once, if at all: <i>ullum genus</i> would surely have occurred to him, +as both genus and opus are constantly used to denote departments of +literature. Again the text gives <i>post</i> not <i>praeter</i> Homerum. +Founding on the reading <i>an illa</i> (GHFT Burn. 243 Bodl.) Kiderlin +therefore suggests <i>an illa poeta ullo post</i> &c.: ‘und ich +weiss nicht, ob nicht jene mehr als irgend ein Dichter (nach Homer +jedoch, &c.).’ The copyist would easily wander from <i>poet.</i> to +<i>post</i>, and it is not unusual to compare old comedy &c. with +the poets and not their works (cp. similior oratoribus: historia proxima +poetis est <a href = "QuintBody1.html#chapI_sec31">§31</a>: at non +historia cesserit Graecis <a href = +"QuintBody1.html#chapI_sec101">§101</a>); especially as here <i>post +Homerum</i> follows at once. For <i>ullo</i> cp. <a href = +"QuintBody1.html#chapI_sec60">§60</a> quod quoquam minor est. An +alternative emendation would be <i>poesi ulla</i>.</p> + +<p>The <i>aut ... aut</i> immediately below is very much against this +conjecture, which however Krüger (3rd ed.) has received into the text: +we should expect rather <i>nescio an illa quisquam</i>, or <i>nullus +poeta</i>, or keeping <i>illa</i> as nominative <i>nescio an illa poeta +ullo</i>. Quintilian’s use of <i>nescio an</i> (like that of +post-Augustan writers generally) is vague: it is usually an expression +of doubt, the <i>an</i> meaning either ‘whether,’ or ‘whether not’ +indifferently. Cp. ix. 4. 1: vi. 3. 6: viii. 6. 22: xii. 10. 2: i. 7. +24. (Mayor cites also Plin. Ep. i. 14. 9: iii. 1. 1: iv. 2. 1: v. 3. 7: +vi. 21. 3: vii. 10. 3: 19. 4: viii. 16. 3: ix. 2. 5; and adds ‘In all +these instances <i>nescio an</i> (dubito an) is ‘I doubt whether’; in +Cicero the meaning is always ‘I rather think<ins class = "correction" +title = "second close quote missing">.’’)</ins> Andresen proposed +<i>nescio an ulla poeseos pars</i>. The passage closely resembles <a +href = "QuintBody1.html#chapI_sec28">§28</a>, and must be emended on the +same lines.</p> + +<p><a name = "critI_sec66" id = "critI_sec66" +href = "QuintBody1.html#chapI_sec66"><b>§66</b></a>. +<b>tragoedias</b>. Thurot (Revue de Phil. 1880, iv. 1, p. 24) +conjectured <i>tragoediam</i>: cp. <a href = +"QuintBody1.html#chapI_sec67">§67</a> hoc opus. He is followed by +Dosson, against all MS. authority. Becher points out that we must supply +with <i>hoc opus</i> in <a href = "QuintBody1.html#chapI_sec67">§67</a> +the words ‘tragoedias in lucem proferendi,’ so that <i>opus</i> and +<i>tragoedias</i> square well enough with each other.</p> + +<p><a name = "critI_sec68" id = "critI_sec68" +href = "QuintBody1.html#chapI_sec68"><b>§68</b></a>. +<b>quod ipsum reprehendunt</b>, Meister, Krüger (3rd ed.) and Becher. +This reading also occurs in the Codex Dorvilianus. Other readings are +<i>quod ipsum quod</i> GHT Burn. 243, Bodl.: <i>quo ipsum</i> MS Harl. +2662, 4995, 4950, Ball. Halm conjectured <i>quem ipsum quoque</i>, and +was followed by Mayor and Hild. But as no fault has been found with +Euripides in the foregoing, <i>quoque</i> seems out of place.</p> + +<p>Founding on the reading of GHT, &c., also on that of F (which +gives <i>quod ipsum qui</i>) Kiderlin (Hermes 23, p. 165) proposes +to read <i>quod ipsum quidam</i>, comparing <a href = +"QuintBody1.html#chapI_sec98">§98</a>, where for <i>quem senes quem</i> +(GT) Spalding rightly conjectured <i>quem senes quidem</i>, and <a href += "QuintBody2.html#chapVII_sec21">7, §21</a>, where Bn, Bg give +<i>quod</i> for <i>quosdam</i>. He then goes on, in an interesting +paper, to reconstruct the whole passage, which is open to suspicion, +especially in respect that <i>sublimior</i> stands as predicate with +<i>gravitas</i> and <i>cothurnus</i>, as well as with <i>sonus</i>. The +admirers of Sophocles consider his elevation of tone more appropriate +than the strain of Euripides. <i>Sublimior</i> is therefore perhaps +<i>not</i> the predicate of the sentence, however suitable it may be as +the attribute of <i>sonus</i>. The predicate may have dropped out, and +<i>sublimior</i> may have been transferred from its real place to supply +it. It is striking that GFTM (also H and Bodl.) all give <i>sublimior +erit</i>. Kiderlin imagines that a copyist who missed the predicate +wrote in the margin ‘sublimior erit ponendum +<span class = "pagenum">199</span> +post esse’: and then another inserted <i>sublimior erit</i> after +<i>esse</i> in the text. For the predicate, <i>magis accommodatus</i> +might stand: in copying, the eye may have wandered from <i>magis +accommodatus</i> to <i>magis accedit</i>: for <i>magis accomm.</i> cp. +ii. 5. 18 and x. 1. 79. Kiderlin therefore boldly proposes to make the +parenthesis run, ‘quod ipsum quidam reprehendunt quibus gravitas et +cothurnus et sublimior sonus Sophocli videtur esse magis accommodatus’: +‘was gerade manche tadeln, welchen das Würdevolle, der Kothurnus, und +der erhabenere Ton des Sophokles angemessener zu sein scheint.’</p> + +<p><b>et dicendo ac respondendo</b> 7231, 7696: <i>dicendo ac +respondo</i> GH: <i>in dicendo et in respondendo</i> Prat. Put. S (<i>et +respondendo</i> M).</p> + +<p><b>praecipuus. Hunc admiratus maxime est</b>. This is Meister’s +reading, except that for <i>eum</i> I give (with Prat. Put. 7231, 7696 +Harl. 2662 and 4995) <i>hunc</i>, which is commoner in Quint. at the +beginning of a sentence (§§46, 78, 91, 112). The following are the +readings of the MSS.: GH <i>praecipuus et admiratus miratus</i>: M Bodl. +Harl. 4950, 4829, Burn. 244, C, Burn. 243 Ball. Dorv. <i>praecipuus et +admirandus</i>: S <i>praecipuum. Nunc admiratus et</i>: Prat. Put. Harl. +2262 and 11671 <i>praecipuus hunc admiratus et maxime est ut saepe test. +et sec. quamvis</i>: Harl. 4995, <i>hunc admiratus max. ut s. test. et +eum secutus quamquam</i>. Halm gives <i>praecipuus est. Admiratus maxime +est</i>: Kiderlin insists on the <i>est</i> after <i>praecipuus</i>, to +correspond with <i>accedit</i>, though it seems better to take all that +comes after <i>accedit</i> as an explanation of the statement <i>magis +accedit oratorio generi</i>: he also retains the <i>et</i> of most MSS. +and reads <i>praecipuus est. hunc et admiratus</i> (Blätter f. d. bayer. +Gymn. 24, p. 84). Wölfflin (partly followed by Krüger 3rd ed.) +proposed a more radical change (Rhein. Mus. 1887, 2 H. p. 313) +<i>praecipuus. Hunc imitatus</i>, quoting in support of the conjunction +<i>imitatus ... secutus</i> <a href = +"QuintBody1.html#chapI_sec122">§122</a>, eos iuvenum imitatur et +sequitur industria: <a href = +"QuintBody2.html#chapV_sec19">5 §19</a>, deligat quem sequatur, +quem imitetur: Ovid, Fasti v. 157, ne non imitata maritum esset et ex +omni parte secuta virum. But Kiderlin (l.c.) aptly remarks that if +Quintilian had written <i>imitatus</i>, he would not have said <i>ut +saepe testatur</i> but <i>ut ex multis locis patet</i> (<i>apparet, +videmus</i>): while vii. 4. 17 (on which Wölfflin relies) is not really +to the point. Moreover Quintilian, would never have separated such +synonyms as <i>imitatus</i> and <i>secutus</i> by <i>ut saepe +testatur</i>.</p> + +<p><b>Charisi nomini addicuntur</b>, Frotscher: <i>Charis in homine +adductura</i> GH: <i>Charisii nomine eduntur</i> Prat. Put. 7231, 7696 +Harl. 2662 Dorv.</p> + +<p><a name = "critI_sec70" id = "critI_sec70" +href = "QuintBody1.html#chapI_sec70"><b>§70</b></a>. +<b>aut illa iudicia</b> Prat. Put. 7231, 7696 Harl. 4995. GH Harl. 4950 +give <i>aut illa mala iudicia</i>: Bodl. Burn. 243 <i>aut alia mala +iud.</i> S Harl. 2662 Dorv. and Ball. <i>aut alia iudicia.</i> The edd., +following Gesner, have generally given (with Harl. 4950) <i>aut illa +mala iudicia</i> (so Halm and Meister), and have taken <i>mala</i> as +predicate, though the order of the words makes that impossible. Becher +approves of Andresen’s deletion of <i>mala</i>. Krüger (3rd ed.) prints +<i>mala [illa] iudicia</i>, thinking that <i>illa</i> arose by +dittography, and that then the order was changed in the codd. to <i>illa +mala iudicia</i>. Kiderlin (in Hermes 23) gives as an alternative to +deleting <i>mala</i> the conjecture <i>illa simulata iudicia</i> (‘jene +erdichteten nachgemachten Gerichtsverhandlungen’; cp. xi. 1. 56: cum +etiam hoc genus simulari litium soleat). A similar mutilation +occurs, e.g., xi. 1. 20, where b gives <i>secum</i> M <i>secus</i> +instead of <i>consecutum</i>.</p> + +<p><a name = "critI_sec71" id = "critI_sec71" +href = "QuintBody1.html#chapI_sec71"><b>§71</b></a>. +<b>filiorum militum</b>, most codd.: <i>filiorum maritorum militum</i> +Prat. Put. 7231, 7696 S.</p> + +<p><a name = "critI_sec72" id = "critI_sec72" +href = "QuintBody1.html#chapI_sec72"><b>§72</b></a>. +<b>si cum venia leguntur</b>. The reading of the MSS. is upheld by Iwan +Müller, Meister, and Kiderlin. Spalding suggested <i>cum verecundia</i>: +Schöll <i>cum iudicio</i>: Becher <i>cum ingenio</i>. Becher points out +(Bursians Jahresb. 1887) that the expression is meant to cover +<i>decerpere</i> as well as <i>legere</i>, and <i>decerpere</i> +indicates careful and intelligent reading (cp. <a href = +"QuintBody1.html#chapI_sec69">§69</a>, <i>diligenter</i> lectus): <i>cum +ingenio</i> = ‘mit Verstand’: cp. Cic. ad Fam. xiii. 10. 2 quod +versabatur in hoc studio nostro .. et cum ingenio .. nec sine industria: +Ulp. Dig. 1. 16. 9 patientem esse proconsulem oportet, sed cum +<span class = "pagenum">200</span> +ingenio, ne contemptibilis videatur. Finally, Krüger (3rd ed.) proposes +<i>cum acumine</i> or <i>cum vigilantia</i> (cp. v. 7. 10).—Prat. +Put. 7231, 7696 S Harl. 2662 all give Osann’s conjecture +<i>legantur</i>.</p> + +<p><b>prave</b> GH Harl. 4995, 4950 Burn. 243 Bodl.: <i>pravis</i> +Regius, Halm, Meister, Becher draws attention to the parallelism between +the clauses: <i>ut prave praelatus est sui temporis iudiciis, ita merito +creditur</i> (= meruit credi) <i>secundus consensu omnium</i>.</p> + +<p><a name = "critI_sec76" id = "critI_sec76" +href = "QuintBody1.html#chapI_sec76"><b>§76</b></a>. +<b>nec quod desit ... nec quod redundet</b>: H Burn. 243 and Bodl. give +<i>quod .. quod</i>: Prat. Put. MS Harl. 2662, 4995, 4950, Burn. 244, +Dorv. C, and Ball, <i>quid .. quid</i>. The latter reading is supported +by Becher (Phil. Rund. iii. 434). For <i>quod</i> cp. xii. 10. 46: (xii. +1. 20 where for <i>quod adhuc</i> BM give <i>quid adhuc</i>): on the +other hand, in vi. 3. 5 the MSS. are in favour of <i>quid</i>, though +Halm reads <i>quod</i> (followed by Meister). For <i>quid</i> cp. Cic. +pro Quint. §41, neque praeterea quid possis dicere invenio.</p> + +<p><a name = "critI_sec77" id = "critI_sec77" +href = "QuintBody1.html#chapI_sec77"><b>§77</b></a>. +<b>grandiori similis</b>. So all MSS.: Halm and Meister. Several +conjectural emendations have been put forward. Comparing <a href = +"QuintBody2.html#chapII_sec16">2 §16</a> (fiunt pro grandibus +tumidi), Becher suggests <i>grandi oratori</i>,—an easy change, if +the copyist used contractions, but without point: above in <a href = +"QuintBody1.html#chapI_sec74">§74</a>, ‘oratori magis similis’ is +appropriate enough in speaking of <i>historians</i>, but ‘oratori’ would +be inappropriate here. This is accepted, however, by Hirt (Berl. Jahr. +ix., 1883, p. 312; cp. P. Hirt, Subst. des Adjectivums, +p. 12). Schöll proposes to read <i>gladiatori</i> similis, in view +of the close connection with what follows, strictus ... carnis ... +lacertorum: but <i>plenior</i> and <i>magis fusus</i> are a bad +introduction to <i>gladiatori</i>, and if Aeschines had <i>plus +carnis</i> and <i>minus lacertorum</i>, he cannot really have resembled +a gladiator. This reading is, however, adopted by Krüger (3rd ed.). +Finally, Kiderlin (Hermes 23, p. 166 sq.) has conjectured <i>et +grandi</i> (or <i>grandiori</i>) <i>organo similis</i>, and applies the +figure throughout: ‘voller und breiter lässt Aeschines den Ton +hervorströmen, einem grossen Musikinstrumente gleich’: ‘einer Orgel +gleich,’—he is <i>grandisonus</i>. The translation appears to +limit unnecessarily the meaning of <i>plenus</i> and <i>fusus</i>: +though the former is used of tone i. 11. 6 (cp. xi. 3. 15 of the voice: +ib. §§42, 62: and §55 of the breath): while <i>fusus</i> is used of the +voice xi. 3. 64. For such a use of <i>grandis</i> cp. <a href = +"QuintBody1.html#chapI_sec58">§58</a> (cenae): <a href = +"QuintBody1.html#chapI_sec88">§88</a> (robora): xi. 2. 12 (convivium): +3. 15 (vox): 68 (speculum): and for <i>organum</i>, i. 10. 25: ix. 4. +10: xi. 3. 20 (where there is a comparison between the throat and a +musical instrument): probably also i. 2. 30. There is an antithesis in +the two parts of the sentence between fulness and breadth, on the one +hand, and real strength on the other; and for the transition to the +second figure Kiderlin compares <a href = +"QuintBody1.html#chapI_sec33">§33</a>.</p> + +<p><a name = "critI_sec78" id = "critI_sec78" +href = "QuintBody1.html#chapI_sec78"><b>§78</b></a>. +<b>nihil enim est inane</b>: perhaps ‘nihil enim est <i>in eo</i> inane’ +(Becher), or <i>nihil enim inest</i>.</p> + +<p><a name = "critI_sec79" id = "critI_sec79" +href = "QuintBody1.html#chapI_sec79"><b>§79</b></a>. +<b>honesti studiosus</b>. Becher’s proposal to alter the punctuation of +this passage is discussed in the note <i>ad loc.</i>—For +<i>auditoriis</i> and <i>compararat</i>, see on <i>tenuia atque quae</i> +<a href = "QuintBody1.html#chapI_sec44">§44</a>, above.</p> + +<p><a name = "critI_sec80" id = "critI_sec80" +href = "QuintBody1.html#chapI_sec80"><b>§80</b></a>. +<b>quem tamen</b>. Kiderlin, in Hermes (23, p. 168), raises a +difficulty here. <i>Tamen</i> shows that the clause cannot go with the +main statement (<i>fateor</i>), and its position forbids us to take it +with the <i>quamquam is primum</i> clause: it can only go with <i>quod +ultimus est</i>, &c., ‘though Demosthenes is <i>ultimus fere</i>, +&c., <i>yet</i> Cicero, &c.’ To prevent so awkward a joining of +the clauses, Kiderlin proposes to read <i>eumque tamen</i>: pointing out +that the <i>quae</i> of the MSS. (GH) may have arisen out of <i>que</i>, +and that Quintilian may have written <i>eumque</i>; cp. vi. 2. 13, where +Halm makes <i>utque</i> out of <i>quae</i> (G), and xi. 2. 32, where +Meister reads <i>estque</i>. The meaning will then be: Demetrius is +worthy of record as being about the last, &c., and yet Cicero gives +him the first place in the <i>medium genus</i>.—It seems better, +however, to give <i>tamen</i> a general reference: ‘yet, in spite of all +that can be said on the other side’ (e.g., inclinasse eloquentiam +dicitur). Cp. <a href = "QuintBody1.html#chapI_sec99">§99</a> quae tamen +sunt in hoc genere elegantissima.</p> + +<span class = "pagenum">201</span> +<p><a name = "critI_sec81" id = "critI_sec81" +href = "QuintBody1.html#chapI_sec81"><b>§81</b></a>. +<b>prosam</b> (<b>prorsam</b>) <b>orationem et</b> all MSS.; Halm, +Meister, Krüger (3rd ed.) omit <i>et</i>. I find that Becher +supports the view stated in the note <i>ad loc.</i>: he would however +write <i>prorsam</i>, which the best MSS. give also in Plin. v. 31, +112 D.</p> + +<p><b>quodam Delphici videatur oraculo dei instinctus</b>: so Frotscher, +followed by Krüger (3rd ed.). On the other hand Claussen (Quaest. +Quint., p. 356) and Wölfflin (followed now by Meister, pref. to ed. +of Book x., p. 13) propose to delete <i>Delphici</i>, of which +Becher also approves. But the MS. evidence cannot be disregarded. The +following are the various readings: GH <i>quaedam Delphico videatur +oraculo de instrictus</i>, and so FT, the former giving also (by a later +hand) <i>de instinctus</i>, the latter <i>dei instructus</i>. Bodl. +gives <i>quodam delphico videatur oraculo dei instructus</i>. The most +frequent reading is that of Prat. Put. 7231, 7696 Harl. 2662, 4995, +4829, 11671, Ball. and most edd., <i>quodam delphico videatur oraculo +instinctus</i>: S agrees, but is reported to have <i>delphico</i> +after <i>oraculo</i>: Harl. 4950 and Burn. 244 have the same reading, +with <i>institutus</i> corr. to <i>instinctus</i>: Burn. 243 gives +<i>instructus</i>. <i>Delphico</i> was originally deleted by Caesar: +Phil xiii, p. 758. Halm read <i>tamquam Delphico videatur oraculo +instinctus</i>: but Quintilian would take no trouble to avoid the +repetition of <i>quidam</i> (cp. divina quadam, above).—For the +arrangement of words, Krüger (3rd ed.) compares <a href = +"QuintBody1.html#chapI_sec41">§41</a> qui ne minima quidem alicuius +certe fiducia partis memoriam posteritatis speraverit.</p> + +<p><a name = "critI_sec82" id = "critI_sec82" +href = "QuintBody1.html#chapI_sec82"><b>§82</b></a>. +<b>quandam persuadendi deam</b>. Nettleship (Journ. of Philol., xxix, +p. 22) conjectures <i>Suadam</i> [<i>persuadendi deam</i>], +comparing Brutus, §59, quoted <i>ad loc. Persuadendi deam</i> would thus +become a gloss on <i>Suadam</i>: but the expression in the text is quite +in Quintilian’s style.</p> + +<p><a name = "critI_sec83" id = "critI_sec83" +href = "QuintBody1.html#chapI_sec83"><b>§83</b></a>. +<b>eloquendi suavitate</b>: <i>eloquendi usus</i> (or <i>usu</i>) +<i>suav.</i> GH and all codd. except Harl. 4950, and Dorv., both of +which give simply <i>eloq. suav.</i> Halm admitted into his text Geel’s +conj. for <i>usus</i>, ‘eloquendi <i>vi ac</i> suavitate,’ and this has +met with some acceptance (Iwan Müller and Becher). But the parallel from +Dion. Hal., <span class = "greek" title = "Arch. kr.">Ἀρχ. κρ.</span> 4 +is hardly conclusive: <span class = "greek" title = "tês te peri hermêneian deinotêtos ... kai tou hêdeos">τῆς τε περὶ ἑρμηνείαν +δεινότητος ... καὶ τοῦ ἡδέος</span>. Hirt properly remarks that the +agreement between the two is not so great as to allow of correcting the +one by the other. Kiderlin conjectures <i>eloquendi vi</i>, +<i>suavitate</i>, <i>perspicuitate</i>.</p> + +<p><b>tam est loquendi</b>. See note <i>ad loc.</i> for Kiderlin’s conj. +<i>tam manifestus est</i>. Though Meister’s <i>tam est eloquendi</i> is +probably a misprint, it is found in some MSS.—Harl. 4950: Burn. +244.</p> + +<p><a name = "critI_sec84" id = "critI_sec84" +href = "QuintBody1.html#chapI_sec84"><b>§84</b></a>. +<b>sane non affectaverunt</b>. Bodl. and Vall. (<i>veru</i> +subpunctuated in the latter: <i>affectant</i> Prat. Put. 7231 MS Ball. +Dorv. Harl. 2662, 4995, 4829, 11671: <i>sene non adfectitacuerunt</i> GH +Burn. 243: <i>adfectarunt</i> 7696: <i>adfectitant</i> Harl. 4950, and +so Burn. 244 (corrected from <i>affectant</i>).</p> + +<p><a name = "critI_sec85" id = "critI_sec85" +href = "QuintBody1.html#chapI_sec85"><b>§85</b></a>. +<b>haud dubie proximus</b>. Halm inserted <i>ei</i> after <i>dubie</i>, +though it is not found in any MS.: Regius had suggested <i>illi</i>. +Kiderlin (Hermes 23, p. 170) points out that if <i>propiores +alii</i> in <a href = "QuintBody1.html#chapI_sec88">§88</a> is allowed +to stand without a dative, <i>ei</i> is not necessary here. He suggests, +however, <i>illi</i> before <i>alii</i> in <a href = +"QuintBody1.html#chapI_sec88">§88</a>: both passages must be dealt with +in the same way.—For <i>haud</i> (Vall.), GHS have <i>aut</i>: M +<i>haut</i>. Cp. on <a href = +"QuintBody2.html#chapIII_sec26">3 §26</a>.</p> + +<p><a name = "critI_sec86" id = "critI_sec86" +href = "QuintBody1.html#chapI_sec86"><b>§86</b></a>. +<b>ut illi ... cesserimus</b>: <i>cum illi</i> GHFT Harl. 4995 Burn. +243: <i>ut illi</i> Prat. Put. 7231, 7696: and so S Harl. 4950 (with +<i>caelesti atque divinae</i>): <i>ut ille</i> M Harl. 2662. Kiderlin +(Hermes, p. 170) proposes to go back to the reading of the older +MSS. <i>cum illi</i>, and instead of <i>cesserimus</i> to read +<i>cesserit</i>, so as to make Vergil the subject throughout. <i>Cum</i> +cannot, he contends, be a copyist’s error, motived by <i>ita</i>; and it +is probable, therefore, that at first <i>cesserit a</i> was +inadvertently written for <i>cesserit</i>; then (in G or some older MS.) +<i>cesserimus ita</i> was made out of that, to correspond with +<i>vincimur</i> below: and then in the later MSS. <i>cum</i> was changed +to <i>ut</i>, because of <i>ita</i>. For the transition, with this +reading, from cesserit to the plural (<i>vincimur, pensamus</i>), he +<span class = "pagenum">202</span> +compares <a href = "QuintBody1.html#chapI_sec107">§107</a>, where, after +speaking of Demosthenes and Cicero, Quintilian passes to +<i>vincimus</i>.</p> + +<p><a name = "critI_sec87" id = "critI_sec87" +href = "QuintBody1.html#chapI_sec87"><b>§87</b></a>. +<b>sequentur</b> MS Halm and Meister: <i>sequenter</i> G <i>seq̅nt’</i> +H: <i>sequuntur</i> Prat. Put. 7231, 7696.</p> + +<p><b><span class = "greek" title = "phrasin">φράσιν</span> id est</b>. +These words are omitted in the Pratensis, which is Étienne de Rouen’s +abridgement of the <i>Beccensis</i>, now lost. This is an additional +proof that <span class = "greek" title = "phrasin">φράσιν</span> was +originally written in Greek: cp. on <a href = +"QuintBody1.html#chapI_sec42">§42</a>.</p> + +<p><a name = "critI_sec88" id = "critI_sec88" +href = "QuintBody1.html#chapI_sec88"><b>§88</b></a>. +<b>propiores</b> H Prat. Put. Vall. Harl. 2662, 4495, 11671, Burn. 243. +Bodl., Halm: <i>propriores</i> GMS 7231, 7696, Harl. 4950, C, Burn. 244, +Dorv., Meister. In Cicero and Quintilian <i>magis proprii</i> would be +more usual for the latter.</p> + +<p><a name = "critI_sec89" id = "critI_sec89" +href = "QuintBody1.html#chapI_sec89"><b>§89</b></a>. +<b>etiam si sit</b>. This conjecture of Spalding’s (for <i>etiam sit</i> +GH Bodl. &c.: <i>etiam si</i> M Harl. 4950 Dorv.: <i>etiam sic</i> +Prat. Put. S Harl. 2662) I have found in the Balliol codex. 7231 +and 7696 give <i>etiam si est</i>. Cp. note on <i>tenuia atque quae</i> +<a href = "QuintBody1.html#chapI_sec44">§44</a>, above.</p> + +<p><b>ut est dictum</b>. These words were bracketed as a gloss by Halm, +and are now omitted altogether by Krüger (3rd ed.): see however note +<i>ad loc.</i> Döderlein proposed to place them after <i>poeta +melior</i>, Fleckeisen after <i>etiam si</i>.</p> + +<p><b>Serranum</b> is Lange’s conjecture for <i>ferrenum</i> GHM: +<i>farrenum</i> 7231, 7696 Harl. 2662, 11671: <i>Pharrenum</i> Prat. +Put. Some MSS. (e.g. Vall. Harl. 4995, Burn. 243 and 244) give <i>sed +eum</i>, but it is obvious that the criticism of Severus stopped with +the word <i>locum</i>.</p> + +<p><a name = "critI_sec90" id = "critI_sec90" +href = "QuintBody1.html#chapI_sec90"><b>§90</b></a>. +<b>senectute maturuit</b> ed. Col. 1527 and so 7231, 7696 (Fierville): +<i>senectutem maturbit</i> GH: <i>senectute maturum</i> Prat. Put. MS +Harl. 2662, 4995, 4950, Burn. 244, Dorv. and Ball.: <i>senectus +maturavit</i> Bodl., Burn. 243.</p> + +<p><b>et, ut dicam</b>. Halm’s <i>sed</i> instead of <i>et</i> has been +rejected by later critics. Cp. Claussen (Quaest. Quint., p. 357 +note): <i>sed</i> ‘sententiam efficit ab hac operis parte alienam. Nam +cum oratori futuro exempla quaerantur oratoria virtus in quovis +scriptore laudi vertitur (§§46, 63, 65, 67, 74, &c.). Itaque +propter huius censurae consilium Quintilianus Lucani elocutionem +oratoriam laudat, sed ingenium poeticum una reprehendit.’</p> + +<p><a name = "critI_sec91" id = "critI_sec91" +href = "QuintBody1.html#chapI_sec91"><b>§91</b></a>. +<b>propius</b> H Prat. Put. Burn. 243, Harl. 2662 and other codd.: Bodl. +Ball. Harl. 4950 <i>proprius</i>. Reisig conjectured <i>propitius</i>, +which also is apt; but in spite of <i>industrius</i>, +<i>necessarius</i>, cited in its support (cp. iv. 2. 27: vii. 1. 12), it +is too uncertain a form to be received into the text. Iwan Müller thinks +it would have to be <i>magis propitiae</i>. Halm gives <i>promptius</i>: +Wölfflin <i>pronius</i>: while Schöll now suggests <i>propitiae +potius</i> (cp. iv. pr. §5: 2 §27: vii. 1. 12).</p> + +<p><a name = "critI_sec92" id = "critI_sec92" +href = "QuintBody1.html#chapI_sec92"><b>§92</b></a>. +<b>feres</b> G Prat. Put. 7231, 7696 S Harl. 2662, 4829, Dorv., Ball., +Halm.: <i>feras</i> H, Harl. 4950, Burn. 243, Bodl. C and M, Meister and +Krüger (3rd ed.). Harl. 4995 has <i>fere</i>: from Vall. Becher reports +feras, ‘probably at first <i>feres</i>.’</p> + +<p><b>elegea</b> GH 7696, and so A<sup>2</sup> BN Put. S at i. 8. 6.</p> + +<p><a name = "critI_sec94" id = "critI_sec94" +href = "QuintBody1.html#chapI_sec94"><b>§94</b></a>. +<b>abunde salis</b> G Prat. Put. M and all my MSS. except H, Burn. 243, +Bodl. which have <i>abundantia salis</i>.</p> + +<p><b>multum est tersior</b>. The variety of MS. readings seems to point +to an <i>et</i> wrongly inserted after <i>multum</i>, perhaps from a +confusion with ‘multum et ver gloriae’ below. GH give <i>multum et est +tersior</i>: M Harl. 4950, Bodl. Ball. C Dorv. Burn. 243 and also Harl. +4829 <i>multum etiam est t.</i>: Prat. Put. 7231, 7696 S Harl. 2662, +11671 <i>multum est tersior</i>: while Harl. 4995 (and Vall.) has +<i>multo et est tersior</i>. Osann proposed <i>multo eo est tersior</i>: +Wölfflin <i>multo est tersior</i>: Halm and Meister print <i>multum eo +est tersior</i>. For <i>multum</i>, cp. multum ante xii. 6. 1: and see +Introd. <a href = "QuintIntro.html#intro_pageli">p. li</a>.</p> + +<p><b>non labor</b> GH Burn. 243 Bodl. and Meister: <i>nisi labor</i> +7231, 7696 S Harl. 2662, 4995, 4950, 4829, 11671, Burn. 244, Dorv. Ball. +C, and Halm. Prat. and Put. have <i>mihi labor</i>.</p> + +<span class = "pagenum">203</span> +<p><b>hodieque et qui</b>: H, Prat., Put., 7231, 7696, Harl. 2662, 4829, +Bodl. Dorv.: <i>hodie et qui</i> Burn. 243: <i>hodie quoque et qui</i> +Vall. Harl. 4995, 4950: <i>hodie quod et qui</i> S.—Becher is +of opinion that the text will not bear the explanation given in the +note, and would read <i>hodie quoque et qui</i>: ‘es giebt auch heute +noch berühmte Satirendichter, die einst &c.’ <i>Et qui</i> he takes +with <i>clari</i>, not with <i>hodie quoque</i>, the <i>et</i> being +omitted in translation: clari (hodie quoque) qui (olim) +nominabuntur.</p> + +<p><a name = "critI_sec95" id = "critI_sec95" +href = "QuintBody1.html#chapI_sec95"><b>§95</b></a>. +<b>etiam prius</b>. Founding on the classification given in Diomedes +(see note <i>ad loc.</i>), according to which the <i>satura</i> of +Pacuvius and Ennius preceded and was distinct from that of Lucilius, +Horace, and Persius, Claussen (Quaest. Quint., p. 337) thinks that +the true reading here may be <i>Alterum illud et iam prius</i> Ennio +temptatum <i>saturae genus</i>, &c. For the satura of Ennius, cp. +ix. 2. 36. Iwan Müller points out that Ennius is not mentioned below +(§97), beside Attius and Pacuvius, probably because neither in tragedy +nor in satire did Quintilian consider him to have produced anything +helpful for the formation of an oratorical style. Other unnecessary +conjectures are <i>etiam posterius</i>, Gesner: <i>etiam proprium</i>, +Spald.: <i>etiam amplius</i>, L. Müller: <i>etiam verius</i>, +Riese: <i>alterum illud Lucilio prius sat. genus</i>, Krüger (3rd +ed.).</p> + +<p><b>sola</b>: <i>solum</i> Prat. and Put.</p> + +<p><b>collaturus quam eloquentiae</b>. These words, omitted in GHS Bodl. +Burn. 243, occur in all my other codd.</p> + +<p><a name = "critI_sec96" id = "critI_sec96" +href = "QuintBody1.html#chapI_sec96"><b>§96</b></a>. +<b>sed aliis quibusdam interpositus</b>: sc. carminibus, Christ. In H +the reading is <i>quibusdam interpositus</i>: so 7231, 7696 Bodl. and +Burn. 243: but M Harl. 4950, 4829 Burn. 244 Dorv. and Ball, give <i>a +quibusdam interpositus</i>: S <i>cuiusdam</i>: Prat. and Put. <i>opus +interpositus</i>. Osann conjectures <i>sed quibusdam</i>, and so Hild. +In the margin of Harl. 4995 is the variant <i>aliquibus +interpositis</i>.</p> + +<p>In Hermes, vol. 23, p. 172, Kiderlin makes a fresh conjecture. +Recognising that something must have fallen out before <i>quibusdam</i>, +but dissatisfied with Osann’s <i>sed</i> and Christ’s <i>sed aliis</i>, +he proposes to read <i>ut proprium opus, quibusdam aliis tamen +carminibus</i> (or <i>versibus</i>) <i>a quibusdam interpositus</i>. The +eye of a copyist may easily, Kiderlin thinks, have wandered from the +first to the second <i>quibusdam</i>: cp. v. 10. 64, ut quaedam a +quibusdam utique non sunt, &c., and for quibusdam aliis xi. 3. 66, +et quibusdam aliis corporis signis.</p> + +<p><b>intervenit</b>, which is a conjecture of Osann, I have found +in Harl. 2662, 11671 Prat. Put. 7231, 7696.</p> + +<p><b>lyricorum</b>. Kiderlin thinks there may be something wrong in the +text here. The last sentence (sed eum longe, &c.) shows clearly that +Quintilian had a high opinion of the lyrists of his day: if Bassus was +<i>legi dignus</i>, they were even more so. Would he then have said ‘of +the Roman lyrists Horace is almost the only one worth reading’? Perhaps +we should read <i>lyricorum priorum</i>: after <i>-ricorum</i>, +<i>priorum</i> might easily fall out, and it gives a good antithesis to +<i>viventium</i>. Bassus (quem nuper vidimus) forms the transition: and +the next paragraph begins <i>Tragoediae scriptores veterum</i>, +&c.</p> + +<p><a name = "critI_sec97" id = "critI_sec97" +href = "QuintBody1.html#chapI_sec97"><b>§97</b></a>. +<b>clarissimi</b>. This reading is stated by Halm to be ‘incerta +auctoritate,’ and is referred by Meister to the Aldine edition. It +occurs in Prat. 7231, 7696 Harl. 2662 (<span class = +"smallroman">A.D.</span> 1434) Vall. 4995, 4829, 11671, Dorv. and Ball.: +Put. gives <i>clarissime</i>: G has <i>gravissima</i>: HFTS +<i>gravissimus</i>, and so also Harl. 4950, Burn. 243, Bodl. and +C. Halm prints <i>grandissimi</i>: Ribbeck (Röm. Trag. +p. 337, 3) inclines to accept the sing. <i>grandissimus</i>, +M, of Pacuvius alone.</p> + +<p>Kiderlin (in Hermes 23, p. 173) rejects all the above readings. +<i>Gravissimus</i> and <i>gravissima</i> are obviously due, he says, to +<i>gravitate</i> following: but the word before <i>gravitate</i> must +have begun with the same letter, and so <i>clarissimi</i> cannot stand, +especially as it is inappropriate to the context. For <i>ceterum</i> +shows that the sentence before it must have contained some slight +censure: some defect, or quality excluding others equally good, must +have been mentioned. He therefore conjectures <i>grandes nimis</i>, in +preference to +<span class = "pagenum">204</span> +<i>grandissimi</i>, which in tragedy would hardly be a fault. Attius and +Pacuvius, Quintilian says, are ‘zu grossartig, sie kümmern sich zu wenig +um Zierlichkeit (Eleganz) und die letzte Feile (d.h. Sauberkeit im +Kleinen); doch daran ist mehr ihre Zeit schuld als sie selbst.’ He +evidently thinks more of the ‘Thyestes’ of Varius and Ovid’s Medea: cp. +Tac. Dial. 12. With this judgment Kiderlin compares <a href = +"QuintBody1.html#chapI_sec66">§§66</a>, <a href = +"QuintBody1.html#chapI_sec67">67</a> tragoedias primus in lucem +Aeschylus protulit, sublimis et gravis et grandiloquus saepe usque ad +vitium, sed rudis in plerisque et incompositus ... sed longe clarius +inlustraverunt hoc opus Sophocles atque Euripides, and is of opinion +that the parallelism cannot be mistaken. For the position of +<i>nimis</i> he compares ix. 4. 28 longae sunt nimis: v. 9. 14 longe +nimium: xii. 11. 9 magna nimium.</p> + +<p><a name = "critI_sec98" id = "critI_sec98" +href = "QuintBody1.html#chapI_sec98"><b>§98</b></a>. +<b>quem senes quidem parum tragicum</b>. So Spalding, Bonnell, Halm, +Meister, and Krüger. <i>Quidem</i> occurs in no MS.: GH have +<i>quem</i>, M Vall., Harl. 4995, Burn. 244, Ball, omit it: Bodl. Burn. +243 and Dorv. show the corruption <i>Pindarum</i>. Becher would exclude +<i>quidem</i>, regarding <i>quem</i> in G as an instance of the tendency +of copyists inadvertently to repeat, after a particular word that by +which it has been immediately preceded, e.g. <a href = +"QuintBody1.html#chapI_sec68">§68</a> quod ipsum quod (G): ix. 4. 57 ut +cum ut (G): iv. 1. 7 ipsis litigatoribus ipsis (b): iv. 2. 5 aut ante +aut (bT): x. i. 4 iam opere iam (G).—But here the authority of the +Pratensis and its cognates may be invoked. In the archetype from which +they are derived something must have stood before <i>parum</i>, as Prat. +Put. 7696, 7231 all give <i>quem senes non parum tragicum</i>: so Harl., +2662 (<span class = "smallroman">A.D.</span> 1434), and 11671. Above in +<a href = "QuintBody1.html#chapI_sec96">§96</a>, G Prat. Put. 7231, 7696 +have <i>si quidem</i> for <i>si quem</i>.</p> + +<p><a name = "critI_sec100" id = "critI_sec100" +href = "QuintBody1.html#chapI_sec100"><b>§100</b></a>. +<b>linguae suae</b>. So Köhler (v. Meister pref. to Book x. p. 13): +<i>suae</i> supplies an antithesis to ‘sermo ipse Romanus’: GH give +<i>linguae quae</i>: so Harl. 4950: S Burn. 243, Bodl. <i>linguae</i>: +while Harl. 2662, 4995, 4829, 11671, Dorv. and Ball. omit it altogether: +M has <i>ligweque</i>.</p> + +<p><a name = "critI_sec101" id = "critI_sec101" +href = "QuintBody1.html#chapI_sec101"><b>§101</b></a>. +<b>Titum</b>: GH Prat. Put. M. 7231, 7696.</p> + +<p><b>commendavit</b>: Halm and Meister give <i>commodavit</i>, which is +approved also by Hirt. Halm compares <a href = +"QuintBody1.html#chapI_sec69">§69</a> where Menander is said to be +‘omnibus rebus personis adfectibus accommodatus.’ But this would require +the meaning ‘appropriately treated,’ and there is no instance in +Quintilian of the verb used absolutely in this sense. Nor is there any +example to support Hild’s interpretation <i>praestitit</i>, which would +be moreover extremely weak. The recurrence of the word so soon after +<i>accommodata</i> tells against Halm’s reading, though Quintilian is +negligent on this head.—On the other hand, in vi. 3. 14 the +reading ‘ad hanc consuetudinem commodata’ is rightly accepted against +‘commendata’ most edd.</p> + +<p><a name = "critI_sec102" id = "critI_sec102" +href = "QuintBody1.html#chapI_sec102"><b>§102</b></a>. +<b>immortalem</b> GS Meister: <i>illam immortalem</i> Prat. Put. M Halm: +<i>immortalem illam</i> Vall.</p> + +<p><b>velocitatem</b>. So all MSS, except S, Burn. 243, and Bodl., which +have <i>civilitatem</i>. Kiderlin (in Hermes 23, p. 174) thinks +that we might have expected <i>ideoque immortalem gloriam quam +velocitate Sallustius consecutus est</i>: ‘und darum hat er die +<i>velocitas</i> durch (von der velocitas) verschiedene Vorzüge +erreicht.’ <i>Consequi</i> cannot mean ‘to supply the place of’: and +<i>immortalis</i> is inappropriate as an attribute of <i>velocitas</i>: +besides, Quintilian has not spoken of Sallust’s <i>velocitas</i>, even +indirectly. Schlenger conjectured <i>claritatem</i>: Andresen +<i>auctoritatem</i> (‘klassisches Ansehen,’ cp. iv. 2. 125: xii. +11. 3): Kiderlin now proposes <i>divinitatem</i>, which in Cicero = +Vortrefflichkeit, Meisterschaft: cp. xi. 2. 7. Judged by the previous +sentences the expression is not too strong. For <i>immortalem +divinitatem</i> cp. <a href = "QuintBody1.html#chapI_sec86">§86</a> illi +... caelesti atque immortali: and for <i>consecutus est</i> iii. 7. 9 +quod immortalitatem virtute sint consecuti.</p> + +<p><b>clarus vi ingenii</b>. This is a conjecture of Kiderlin’s, which I +find has been adopted also by Krüger (3rd ed.). GHFT give <i>clarius +ingenii</i>: Prat. Put. <i>clari ingenii vir</i>: 7231, 7696 <i>clari +vir ingenii</i>: MS Harl. 4995, 4950, 4829, Burn. 243 and 244, Dorv. +<span class = "pagenum">205</span> +C and Ball, <i>clarus ingenio</i>; Harl. 2662 and 11671 <i>clarus</i> +(?) or <i>claret vir ingenii</i>. Spalding had already pointed out that +<i>clarus</i> is not found with <i>ingenium</i>, except where +<i>ingenium</i> is used of a person: e.g. <a href = +"QuintBody1.html#chapI_sec119">§119</a> erant clara et nuper ingenia: he +therefore wrote <i>elati vir ingenii</i> (following Goth. <i>elatus +ingenio</i> and Bodl. <i>elatus ingeniis</i>). Kiderlin compares <a href += "QuintBody1.html#chapI_sec70">§70</a> sententiis clarissimus, and for +<i>vis ingenii</i> i. pr. 12: ii. 5. 23: x. 1. 44: xii. 10. 10. The +reading <i>clarus vi ingenii</i> points the contrast to what follows in +‘sed minus pressus,’ &c.: it was his <i>style</i> that did not +altogether suit the dignity of history.</p> + +<p><a name = "critI_sec103" id = "critI_sec103" +href = "QuintBody1.html#chapI_sec103"><b>§103</b></a>. +<b>genere ipso, probabilis in omnibus, sed in quibusdam</b>. Till +Kiderlin made this happy conjecture (see Hermes 23, p. 175) +<i>genere</i> had always been joined with <i>probabilis</i>, and the +text was twisted in various directions. GHS, Burn. 243, Bodl. give <i>in +omnibus quibusdam</i>: M Harl. 2662, 4995, 4950, Burn. 244, Dorv. <i>in +omnibus sed in quibusdam</i>, and so apparently Prat. Put. 7231, 7696. +Out of <i>omnibus</i> Halm gives on Roth’s suggestion, <i>operibus</i>: +afterwards he decided for <i>partibus</i>, and this (though +<i>omnibus</i> to <i>partibus</i> is not an easy transition) is adopted +by Meister. Kiderlin’s punctuation makes everything easy: ‘Anerkennung +verdienen seine Leistungen <i>alle</i>, <i>manche</i> stehen hinter +<i>seiner</i> Kraft zurück.’ Even these last, Quint. means, are +<i>probabiles</i> (cp. viii. 3. 42 probabile Cicero id genus dicit quod +non plus minusve est quam decet); but they do not show the great powers +that distinguish his other writings. It is uncertain whether Quintilian +wrote <i>in quibusdam</i> or <i>sed in quibusdam</i> (M). The easiest +explanation of the omission in the other MSS. is to suppose that he +wrote <i>in omnibus in quibusdam</i>: perhaps the copyist of M saw that +<i>omnibus</i> and <i>quibusdam</i> were antithetical, and inserted +<i>sed</i>. Kiderlin notes Quintilian’s liking for chiasmus, without any +conjunction: cp. <a href = "QuintBody1.html#chapI_sec106">§106</a> in +illo, in hoc (where in hoc is wanting in M).</p> + +<p><b>suis ipse viribus</b>: ed. Col. 1527 (Halm), and so (Fierville) +7231, 7696. In Harl. 2662 and 11671 (<span class = +"smallroman">A.D.</span> 1434 and 1467) <i>suis</i> already appears, +corrected from <i>vis</i> GH. The Juntine ed. (1515) has <i>suis viribus +minor</i>: so Prat. and Put.</p> + +<p><a name = "critI_sec104" id = "critI_sec104" +href = "QuintBody1.html#chapI_sec104"><b>§104</b></a>. +<b>et exornat</b>. Vall. and (apparently) Prat. Put. 7231, 7696, and +most edd.: <i>et ornat</i> M Halm, Meister, Krüger: <i>exornat</i> GHS. +Becher remarks that <i>et exornat</i> might easily pass into +<i>exornat</i>.</p> + +<p><b>nominabitur</b>: Weber and Osann proposed <i>nominabatur</i> +(which appears in Harl. 2662, but corrected to <i>-itur</i>). Krüger at +first accepted this in support of his theory that the whole passage +refers to Cremutius, who ‘in former days (olim), while his works were +under a ban, was only named (i.e. was a mere name, but now is known and +appreciated).’ The parallel passage (§94) is sufficient to dispose of +any such interpretation: sunt clari hodieque et qui olim +nominabuntur.</p> + +<p><b>Cremuti</b>. Nipperdey, Philol. vi, p. 193, Halm, and +Meister: <i>remuti</i> H Prat. Put. 7231, 7696 <i>remremuti</i> G, +<i>rem utili</i> Burn. 243: <i>remitti</i> S. Bodl.: <i>nec imitatores +uti</i> Harl. 2662, 4995, 4950, 4829, 11671. A review of the +various explanations of the whole passage (Superest—quae manent) +will be found in Holub’s Programm ‘Warum hielt sich Tacitus von 89-96 n. +Chr. nicht in Rom auf?’—Weidenau, 1883: but his conjecture +<i>remoti</i> (i.e. relegati) for <i>remuti</i> is not to be thought +of.</p> + +<p><b>dividendi</b>: first in the Aldine edition: all MSS. have +<i>videndi</i>, except M (<i>indicendi</i>) and Prat. Put. Harl. 4995 +(<i>vivendi</i>). Cp. i. 10. 49, where the case is the same.</p> + +<p><a name = "critI_sec105" id = "critI_sec105" +href = "QuintBody1.html#chapI_sec105"><b>§105</b></a>. +In the Aurich Programm, Becher gives a more recent statement of his +views: ‘wie zu <i>cum</i> causale, so tritt praesertim auch zu +<i>cum</i> concessivum, in diesem Falle wiedenzugeben mit, “was um so +auffallender ist, als.” Der Sinn ist also: “Ich weiss sehr wohl, welchen +Sturm des Unwillens ich gegen mich errege, und dies (dieser Sturm) ist +um so auffallender, als ich jetzt gar nicht die Absicht hege, meine (in +Potentialis gesprochene) Behauptung (fortiter opposuerim) wahr zu +machen, resp. comparando durchzuführen. Ich lasse ja dem Demosthenes +seinen Ruhm—in primis legendum vel ediscendum potius.”’</p> + +<span class = "pagenum">206</span> +<p><a name = "critI_sec106" id = "critI_sec106" +href = "QuintBody1.html#chapI_sec106"><b>§106</b></a>. +<b>praeparandi</b>. For Kiderlin’s conj. <i>praeparandi</i>, +<i>narrandi</i>, <i>probandi</i> see <i>ad loc.</i></p> + +<p>[<b>omnia</b>] <b>denique</b>, GH, Burn. 243, Bodl. omit <i>omnia</i> +(which is in all my other MSS.), and Meister now approves (following +Spalding, Osann, and Wölfflin), on the ground that Demosthenes and +Cicero were <i>not</i> alike in <i>everything</i> that belongs to +<i>inventio</i>. Halm thinks that <i>omnia</i> is to be found in +<i>racioni</i> of the older MSS.: but Kiderlin points out that this +error may have arisen from the carelessness of a copyist who, after +thrice writing the termination <i>i</i>, gave it also to the fourth +word.</p> + +<p><b>illi—huic</b> Prat. M, S Vall. Harl. 4995, 2662 Bodl. +&c.: <i>illic—hic</i> GH Put. 7231, 7696, Halm.</p> + +<p><a name = "critI_sec107" id = "critI_sec107" +href = "QuintBody1.html#chapI_sec107"><b>§107</b></a>. +<b>vincimus</b>, H, G<sup>2</sup>, and most MSS.: (cp. <a href = +"QuintBody1.html#chapI_sec86">§86</a>): <i>vicimus</i> G.</p> + +<p><a name = "critI_sec109" id = "critI_sec109" +href = "QuintBody1.html#chapI_sec109"><b>§109</b></a>. +<b>ubertate</b> Harl. 4995. This is also the reading of codd. Vall. and +Goth<ins class = "correction" title = "period missing">.:</ins> all the +other MSS. give <i>ubertas</i>.</p> + +<p><b>totas virtutes</b> Bn Bg N Prat. Ioan. 7231, 7696: <i>totas +vires</i> M b.</p> + +<p><a name = "critI_sec112" id = "critI_sec112" +href = "QuintBody1.html#chapI_sec112"><b>§112</b></a>. +<b>ab hominibus</b> Halm and Meister: <i>ab omnibus</i> Bn Bg HFT Ioan. +Prat. 7231, Sal. and most codd.: <i>hominibus</i> S Harl. 4995 Bodl.</p> + +<p><a name = "critI_sec115" id = "critI_sec115" +href = "QuintBody1.html#chapI_sec115"><b>§115</b></a>. +<b>urbanitas</b>. Kiderlin proposes to read <i>et praecipua in accusando +asperitas et multa urbanitas</i>: cp. <a href = +"QuintBody1.html#chapI_sec117">§117</a>: <a href = +"QuintBody1.html#chapI_sec64">§64</a>: <a href = +"QuintBody2.html#chapII_sec25">2 §25</a>: ii. 5. 8.</p> + +<p><b>Ciceroni</b>, for <i>Ciceronem</i> of the MSS. In the Rev. de +Phil. (Janv.-Mars, 1887) Bonnet quotes from the Montpellier MS. a note +of the sixteenth century deleting the name as a gloss (on +<i>inveni</i>). Certainly all codd. give <i>Ciceronem</i>, not +<i>Ciceroni</i>. Bonnet thinks that the insertion does not accord with +Quintilian’s habitual deference towards Cicero: ‘Quintilien se trouvant +dans le cas de contredire Cicéron ne le nomme pas.’—Becher reports +<i>Ciceroni</i>, a correction in the Vallensis.</p> + +<p><b>castigata</b>, B (i.e. Bn and Bg) Ioan. Prat. 7231, 7696 Harl. +2662, 4995, 11671: <i>custodita</i> H M b F T Alm. Harl. 4950, 4829, +Burn. 243, 244, Bodl. Dorv. and Ball. For <i>gravis</i> (bH M Vall. and +seemingly Prat.) B Sal. 7231, 7696 and Ioan. give <i>brevis</i>.</p> + +<p><b>si quid adiecturus sibi non si quid detracturus fuit</b>, Vall. +Harl. 4995. For the repetition, see on haud deerit <a href = +"QuintBody2.html#chapIII_sec26">3 §26</a>. Halm and Meister print +<i>si quid adiecturus fuit</i>—(sc. <i>virtutibus suis</i>, cp. <a +href = "QuintBody1.html#chapI_sec116">§§116</a>, <a href = +"QuintBody1.html#chapI_sec120">120</a>)—the reading of B (i.e. Bn +and Bg), which is also that of Ioan. Prat. N 7231 Harl. 2662, 11671: +while M Harl. 4950, 4829, Burn. 244 have <i>si quid adiecturus fuit, non +si quid detracturus</i>. The reading of H is <i>si quid adiecturus sibi +non si quid detracturus</i> [<i>Sulpicius insignus</i>] <i>fuit ut +servius sulpicius insignem</i> &c.: so also T, Burn. 243, Bodl. The +brackets in H are by a later hand, indicating a gloss which arose from a +mistake made by the copyist of H. In Bg the passage +stands:—</p> + +<table class = "parallel" summary = "formatted text"> +<tr> +<td></td> +<td>sibi</td> +<td>non si</td> +<td>quid</td> +<td>detracturus</td> +</tr> +<tr> +<td>si quid adiecturus:</td> +<td>fuit</td> +<td>et</td> +<td>servius</td> +<td>sulpicius</td> +</tr> +</table> + +<p>The words added above the line are by the hand known as b.</p> + +<p>In copying H wrote: <i>si quid adiecturus sibi non si quid +detracturus</i> (then omitting <i>fuit</i> continues) <i>et Serv. +Sulp.</i> (then goes back and resumes) <i>fuit et servius</i> &c. +This is the origin of the confusion which exists in all the MSS. of this +family.</p> + +<p><a name = "critI_sec117" id = "critI_sec117" +href = "QuintBody1.html#chapI_sec117"><b>§117</b></a>. +<b>et fervor</b>. This is Bursian’s conjecture, adopted by Halm and +Krüger (3rd ed.), and now approved by Becher. BM have <i>et sermo</i>, +which is also the reading of N Prat. Sal. 7231, 7696 Ioan. Harl. 2662, +4950 and Ball.: Hb <i>et summo</i>: Harl. 4829, 11671, Burn. 244 <i>et +smo</i>: while Bodl., Dorv., and Burn. 243 give the correction in T +<i>eius summa</i>, out of which the second hand in the Vallensis +(Laurentius Valla) made <i>et vis summa</i>, a reading which occurs also +in Harl. 4995. Meister reads <i>et sermo purus</i>; while Kiderlin +proposes <i>et simplex sermo</i> (cp. iv. 1. 54: viii. 3. 87: ix. 3. 3: +4. 17: viii. pr. 23: x. 2. 16).</p> + +<p><b>ut amari sales</b>. Francius conjectured <i>ut amantur sales</i>, +but this loses the antithesis between <i>amari</i> and <i>amaritudo +ipsa</i>. Kiderlin’s <i>ut amantur amari sales</i> (viii. 3. +<span class = "pagenum">207</span> +87: vi. 1. 48) is an improvement; but if <i>ridicula</i> is taken in a +good sense it seems impossible that after censuring Cassius for giving +way unduly to <i>stomachus</i>, Quintilian should go on to say, +‘moreover, though bitter wit gives pleasure, bitterness by itself is +often laughable.’ Is it possible that we ought to read <i>ut amari sales +risum movent ita amaritudo ipsa ridicula est</i>? Such an antithesis +might have been written ‘per compendium,’ and the words <i>risum +movent</i> may then have dropped out. See the note <i>ad loc.</i>: and +cp. especially vi. 1. 48 <i>fecit enim risum sed ridiculus fuit</i>, and +<span class = "greek" title = "ou gelôta kinei mallon ê katagelatai">οὐ +γέλωτα κινεῖ μᾶλλον ἢ καταγελᾶται</span>, quoted in the note on <a href += "QuintBody1.html#chapI_sec107">1 §107</a>.—Krüger (3rd +ed.) adopts <i>frequentior</i> for <i>frequenter</i>, which gives a good +sense, except that <i>freq. amar ipsa</i> is awkward.</p> + +<p><a name = "critI_sec121" id = "critI_sec121" +href = "QuintBody1.html#chapI_sec121"><b>§121</b></a>. +<b>lene</b> Halm and Meister: <i>leve</i> B Prat. N 7231 M 7696 C. +Here again Becher prefers <i>leve</i>, comparing Cic. de Orat. iii. +§171, quoted on <a href = "QuintBody1.html#chapI_sec44">§44</a> above: +levitasque verborum 1. 52: and levia ... ac nitida, v. 12. 18.</p> + +<p><a name = "critI_sec123" id = "critI_sec123" +href = "QuintBody1.html#chapI_sec123"><b>§123</b></a>. +<b>scripserint</b>. So Bn Bg H Ioan. Prat. 7231, 7696 Vall. Harl. 4995, +2662, 11671, Bodl., Dorv., Spalding, and Bonnell. Becher compares among +other passages <a href = "QuintBody2.html#chapII_sec14">2 §14</a> +(concupierint), and points out that Quintilian is not thinking of +individual writers on philosophy, but of the class, as opposed to the +class of orators, historians, &c.—Halm, Meister, and Krüger +have <i>supersunt</i> (Put. M, Ball. Burn. 243 Harl. 4950).</p> + +<p><a name = "critI_sec124" id = "critI_sec124" +href = "QuintBody1.html#chapI_sec124"><b>§124</b></a>. +<b>Plautus</b>, Prat. N, 7231 Ioan. Harl. 2662, 4829, 11671: +<i>plantus</i> M Harl. 4950: <i>Plantatus</i> Sal.: <i>plaustus</i> Hb: +<i>Plancus</i> edd. vett. and Harl. 4995.</p> + +<p><b>Catius</b>. The name is rightly given in Harl. 4995.</p> + +<p><a name = "critI_sec126" id = "critI_sec126" +href = "QuintBody1.html#chapI_sec126"><b>§126</b></a>. +<b>iis quibus illi</b>. <i>Iis</i> is the conjecture of Regius, followed +by Halm, Meister, and Krüger. Becher would retain <i>in quibus +illi</i>,—the reading of BN Prat. Ioan. Vall. M Harl. 4995, 2662, +4950, 11671, Burn. 244 Dorv. Ball. The difficulty of construing probably +led to the omission of <i>in</i> in bH Bodl. Burn. 243, 7231, 7696, +Spalding and Bonnell.</p> + +<p><b>ab illo</b> B Ioan. 7231, 7696 Sal. Harl. 2662, 4950, 4829: <i>ab +eo</i> bHM Burn. 243.</p> + +<p><a name = "critI_sec127" id = "critI_sec127" +href = "QuintBody1.html#chapI_sec127"><b>§127</b></a>. +<b>foret enim optandum</b>: <i>fore enim aliquid optandum</i> bHFT. +Spalding conjectured <i>alioqui optandum</i>, which Kiderlin +approves.</p> + +<p><b>ac saltem</b> all MSS.: Meister has <i>aut saltem</i>, probably +relying on a wrong account of the Bambergensis: see Halm vol. ii, +p. 369.</p> + +<p><b>illi viro</b> B: <i>illi virus</i> bHM: <i>illi virtutibus</i> +Halm: <i>illi viro eos</i> (or <i>viro plurimos</i>) Kiderlin.</p> + +<p><a name = "critI_sec128" id = "critI_sec128" +href = "QuintBody1.html#chapI_sec128"><b>§128</b></a>. +<b>multa rerum cognitio</b>: so all codd. except Ioannensis and Harl. +4995, which have <i>multarum rerum cognitio</i>. b omits <i>cognitio</i> +and is followed by HFT.</p> + +<p><a name = "critI_sec130" id = "critI_sec130" +href = "QuintBody1.html#chapI_sec130"><ins class = "correction" +title = "line reference missing"><b>§130</b></ins></a>. +<b>si obliqua contempsisset, si parum recta non concupisset</b>. +I adopt the reading recently proposed for this vexed passage by Ed. +Wölfflin in Hermes, vol. xxv (1890), pp. 326-7, though it is right +to note that he was partly (as will be seen below) anticipated by +Kiderlin. <i>Obliqua</i> seems thoroughly appropriate in reference to +Seneca’s unnatural, stilted, affected style,—‘jene unnatürliche, +durch unmässigen Gebrauch von Tropen und Figuren auf Schrauben gestellte +Ausdrucksweise, welche statt der Klarheit ein Schillern zur Folge hat.’ +Wölfflin compares ix. 2. 78 <i>rectum genus</i> adprobari nisi maximis +viribus non potest: haec diverticula et anfractus suffugia sunt +infirmitatis, ut qui cursu parum valent flexu eludunt, cum haec quae +adfectatur ratio sententiarum non procul a ratione iocandi abhorreat. +Adiuvat etiam, quod auditor gaudet intellegere et favet ingenio suo et +alio dicente se laudat. Itaque non solum si persona obstaret <i>rectae +orationi</i> (quo in genere saepius modo quam figuris opus est) +decurrebant ad schemata ... ut si pater ... iacularetur in uxorem +<i>obliquis</i> sententiis. This passage supplies (what is indeed +suggested by <i>obliqua</i> itself) the antithesis <i>parum recta</i>: +cp. ii. 13. 10 si quis ut parum rectum improbet opus.</p> + +<span class = "pagenum">208</span> +<p>In the <i>Jahrbücher f. Philologie</i> (vol. 135, 1887: p. 828) +Kiderlin had previously dealt with the passage on similar lines. The +traditional reading <i>si aliqua contempsisset</i> (b) he considers too +indefinite, though not impossible: in point of authority, though +preferable to the <i>si nil aequalium cont.</i> of the later MSS., it +cannot rank so high as the reading of Bn and Bg, which give <i>simile +quam</i> without any attempt at emendation. This Kiderlin thinks must be +nearest the original: he therefore rejects such conjectures as Jeep’s +<i>si antiqua non</i>, on the ground that it is improbable that +<i>simile quam</i> arose out of <i>antiqua</i>. He introduces his own +conjecture by referring to ix. 2. 66 and 78 (see above), and to the +contrast between <i>schemata</i> and <i>rectum genus</i>, <i>recta +oratio</i>; the former are called <i>lumina</i> or <i>lumina +orationis</i> (xii. 10. 62). Cp. viii. 5. 34. He would read: <i>nam si +mille ille schemata</i> (or <i>illas figuras</i>) <i>similiaque lumina +contempsisset, si parum rectum genus</i> (or <i>sermonem</i>) <i>non +concupisset</i>, &c. <i>Similiaque</i> occurs ix. 4. 43: +<i>mille</i> (for <i>sescenti</i>) is used v. 14. 32: for +<i>contempsisset</i> cp. ix. 4. 113. <i>Si mille illa</i> and +<i>similiaque</i> may easily have run together, when <i>schemata</i> (or +<i>figuras</i>) would fall out: <i>quam</i> in the older MSS. may +represent <i>que lumina</i>, which again reappears in the <i>qualium</i> +of the later codd. (<i>si nil aequalium</i>). As an alternative for +<i>parum rectum <ins class = "correction" title= "text unchanged: error +for ‘genus’?">genns</ins></i> (or <i>sermonem</i>) Kiderlin suggests +Wölfflin’s reading <i>parum recta</i>: and compares ix. 2: ii. 5. 11: v. +13. 2: ix. 1. 3; 3. 3: x. 1. 44; 89: ii. 13. 10.</p> + +<p>Of the MSS. Prat. 7231 Sal. 7696 N Ioan. Harl. 2662 and 11671 agree +with Bn and Bg in giving <i>simile quam</i>: b has <i>si aliqua</i>: +HFT, Burn 243, Bodl. <i>aliqua</i>: M Harl. 4995, 4950, 4829, Burn. 244, +Dorv. C <i>si nil aequalium</i>. Among previous conjectures are <i>si +multa aequalium</i>, Törnebladh: <i>si ille quaedam</i>, Halm (where +<i>ille</i> is surely superfluous): <i>si antiqua non</i>, Jeep. Meister +accepts the reading <i>si aliqua non</i>: Becher thinks that <i>si nil +aequalium</i> may be right.</p> + +<p>It is generally admitted that a word must have fallen out after +<i>parum</i>: the codd. all give <i>si parum non concupisset</i>. Jeep +proposed <i>si pravum</i> (= <i>corruptum</i>: cp. ii. 5. 10) +<i>non conc.</i>: on which Halm, comparing <i>omnia sua</i>, remarks, +‘debebat saltem <i>prava</i>.’ But <i>prava</i> seems too strong a word +for Quintilian to have used in a criticism where he is so studiously +mixing praise and censure. Halm suggested <i>si parum sana</i>, and is +followed by Meister: cp. Fronto’s ‘febriculosa’ of Seneca, p. 155 +<i>n</i>. Sarpe proposed <i>si prava</i> or <i>parva</i> or +<i>plura</i>: Buttmann <i>si parum concupiscenda</i> (or +<i>convenientia</i>): Herzog <i>si parvum</i>: Madvig <i>si partim</i> +or <i>partem</i> (i.e. <i>paulo plus quam aliqua</i>, and in opp. to +<i>omnia sua</i>, below): Hoffmann <i>si opiparum</i>: Seyffert <i>si +garum</i>: Kraffert <i>si non parum excussisset</i> (cp. <a href = +"QuintBody1.html#chapI_sec101">§101</a>, <a href = +"QuintBody1.html#chapI_sec126">§126</a>: v. 7. 6; 7. 37; 13. 19: xii. 8. +13, &c.): Gustaffson <i>si parva</i> (cp. i. 6. 20 frivolae in +parvis iactantiae): Andresen <i>si similem ei quem contempsit se +esse</i> (sc. <i>concupisset</i>; cp. Tac. Ann. xiii. 56: xii. 64: Hist. +i. 8: Livy xlv. 20. 9) <i>si parem non concupisset</i> (i.e. <i>si +Ciceronianum genus dicendi imitari quam diverso genere gloriam eius +aemulari maluisset</i>): or, <i>nam si similem ei quem contempsit se +esse, non parem concupisset</i>: Krüger (3rd ed<ins class = "correction" +title = "period invisible">.)</ins> <i>si parum arguta</i>: Hertz (who +argues that the word which has fallen out must, with <i>parum</i>, +correspond to <i>corrupta</i> above) <i>si parum pura</i>.</p> + +<p><b>utrimque</b> Meister and Becher, following old edd., Spalding, and +Bonnell: <i>utrumque</i> B N 7231, 7696: <i>virumque</i> M: +<i>utcumque</i> Halm, ‘in every way,’ ‘one way or +another,’—proposed by Gesner at <a href = +"QuintBody2.html#chapVI_sec7">6 §7</a>.</p> + + +<span class = "pagenum">209</span> +<h5><a name = "critII" id = "critII"> +CHAPTER II.</a></h5> + +<p><a name = "critII_sec2" id = "critII_sec2" +href = "QuintBody2.html#chapII_sec2"><b>§2</b></a>. +<b>atque omnis</b>. Kiderlin (Blätter f. d. bayer. Gymn. 1887, +p. 454) proposes to put commas at <i>sequi</i> and <i>velimus</i>, +and make this clause also subordinate.</p> + +<p><a name = "critII_sec3" id = "critII_sec3" +href = "QuintBody2.html#chapII_sec3"><b>§3</b></a>. +<b>aut similes aut dissimiles</b>. Andresen suggests <i>aut similes aut +non dissimiles</i> or <i>aut similes aut certe haud dissimiles</i>.</p> + +<p><a name = "critII_sec6" id = "critII_sec6" +href = "QuintBody2.html#chapII_sec6"><b>§6</b></a>. +<b>tradiderunt</b> (BNM Harl. 2662, 4995, 4829, Burn. 243, and Dorv.) is +powerfully supported by Becher in his latest tractate (Programm des +königlichen Gymnasiums zu Aurich, p. 13) against +<i>tradiderint</i>, the reading of b Prat. Bodl. and Vall. (corrected in +the last from <i>tradiderunt</i>), Burmann, Spalding, Bonnell, Halm, +Meister, and Krüger. Becher holds that in Quintilian, as frequently in +Cicero, <i>cum</i> with the indicative is often used in such a way +(quoting from C. F. W. Müller) ‘ut non prorsus idem sit, sed +simillimum ei, quod barbare dicere solemus identitatis. Nam ut “cum +tacent clamant” non est “si tacent,” multo minus “quo tempore” aut +“propterea quod” aut “quamquam,”—sed “tacent idque idem est ac si +clament,” sic “cum hoc facis qui potes facere illud?” et sim., German, +item “<i>wenn du dies thust</i>” valet: “hoc facis ex eoque per se +efficitur, non ratione, sed ipsa natura, ut illud non possis facere.” Ut +pro Q. Roscio 3. 9 quam ob rem, cum cetera nomina in ordinem +referebas, hoc nomen in adversariis relinquebas? non significat nec +“quamquam” nec “quando,” sed “<i>wenn</i>.”’ Becher adds the following +parallel passages: Cic. pro Cluent. 47. 131 id ipsum quantae +divinationis est scire innocentem fuisse reum, cum iudices sibi +<i>dixerunt</i> non liquere, and Verg. Ecl. 3. 16 quid domini facient, +audent cum talia fures? (Cp. Madvig de Fin. p. 25.) In the same way +he treats <i>cum ... sunt consecuti</i> <a href = +"QuintBody2.html#chapVII_sec19">7 §19</a> below, which seems, +however, to be somewhat different. Here there is an antithesis, and in +such cases <i>cum</i> (‘whereas’) may very well take the indicative: +there the clause ‘<i>cum sint consecuti</i>’ is added to show the +reasonableness (<i>cum</i> = ‘since’) of the demand that extemporary +facility shall be made fully equal to <i>cogitatio</i>—see <i>ad +loc.</i> Neither instance can be explained on the analogy of <i>cum</i> +with the indic. used of ‘identity’ (as ‘cum tacent, clamant,’ quoted +above): in such cases the subject is generally the same in both clauses. +And in such a passage as pro Cluent. §131 <i>cum</i> is usually +explained as = <i>quo tamen tempore</i>.</p> + +<p><b>eruendas</b> M Harl. 4995: all other codd. <i>erudiendas</i>.</p> + +<p><b>mensuris ac lineis</b>. Krüger (3rd ed.) quotes with approval the +conjecture of Friedländer (Darst. aus der Sittengesch. Roms iii. 4. +p. 194. 4) <i>eisdem mensuris ac lineis</i>, and recommends +the insertion of <i>eisdem</i> in the text,—after <i>lineis</i>, +where it is more likely to have fallen out. But this is unnecessary.</p> + +<p><a name = "critII_sec7" id = "critII_sec7" +href = "QuintBody2.html#chapII_sec7"><b>§7</b></a>. +<b>turpe etiam illud est</b>. Hild puts a comma after <i>sciant</i>, and +by supplying before <i>turpe est</i> an <i>ita</i> to correspond with +<i>quemadmodum</i>, makes out a comparison of which <i>quemadmodum</i>, +&c., is the first clause and <i>turpe etiam illud est</i> the +second. This is certainly to misunderstand the passage. The +<i>quemadmodum</i> clause goes with what is before, not with what +follows, so that a comma after <i>alieni</i> would be enough, were it +not for the necessity of having the mark of interrogation (cp. <a href = +"QuintBody2.html#chapII_sec9">§9</a> below). Then <i>turpe etiam illud +est</i> comes in, resuming <i>pigri est ingenii</i> in <a href = +"QuintBody2.html#chapII_sec4">§4</a>, just as immediately afterwards +<i>rursus quid erat futurum</i> <a href = +"QuintBody2.html#chapII_sec7">§7</a> resumes <i>quid enim futurum +erat</i> <a href = "QuintBody2.html#chapII_sec4">§4</a>. The whole +passage is an elaboration of the dictum with which <a href = +"QuintBody2.html#chapII_sec4">§4</a> opens, ‘imitatio per se ipsa non +sufficit.’ Quintilian first says that we, as well as those who have gone +before us, may make discoveries (cur igitur nefas est reperiri aliquid a +nobis quod ante non fuerit?). Surely we are <ins class = "correction" +title = "text reads ‘uot’">not</ins> to confine ourselves to hard and +fast lines like servile copyists. +<span class = "pagenum">210</span> +Then he goes on to add in <a href = +"QuintBody2.html#chapII_sec7">§7</a> that we must surpass our models +(plus efficere eo quem sequimur), instead of resting content with mere +reproduction (id consequi quod imitamur): otherwise Livius Andronicus +would still be the prince of poets, we should still be sailing on rafts, +and painting would still be nothing more than the tracing of outlines. +The necessity for progress is first shown (§§4-6) by an appeal to the +example of the past, and by the unfruitful work of such painters as are +mere copyists: then in <a href = "QuintBody2.html#chapII_sec7">§7</a> +poetry, history, navigation, as well as painting are put in evidence for +the argument <i>ex contrario</i>.</p> + +<p><a name = "critII_sec8" id = "critII_sec8" +href = "QuintBody2.html#chapII_sec8"><b>§8</b></a>. +<b>mansit</b>, Meister: <i>sit</i> codd.: <i>est</i> Fleckeisen (and +Halm): <i>fuit</i> Gensler.</p> + +<p><a name = "critII_sec9" id = "critII_sec9" +href = "QuintBody2.html#chapII_sec9"><b>§9</b></a>. +<b>adpetent</b> Bg HFT: <i>appetent</i> Prat. Ioan. Harl. 4995 Bodl. +&c.: <i>appetunt</i> N Harl. 2662, 11671, Burn. 243.</p> + +<p><b>hoc agit</b> Halm, followed by Meister (cp. <a href = +"QuintBody2.html#chapVII_sec4">7 §4</a>): <i>hoc ait</i> b H, +<i>om</i>. Bn Bg N Ioan. Prat. Harl. 2662, 11671: <i>agit</i> (<i>sine +hoc</i>) Harl. 4995, 4950 M, and most codd.</p> + +<p><a name = "critII_sec10" id = "critII_sec10" +href = "QuintBody2.html#chapII_sec10"><b>§10</b></a>. +<b>quaeque pares maxime</b> may be a gloss: it is found only in those +MSS. which give <i>simplicissimae</i> for <i>simillimae</i>: b H Harl. +4950 M Burn. 243 Bodl.</p> + +<p><b>utique</b> (b M Vall. Harl. 4995, 4950, Burn. 243 Bodl. Dorv.) may +also be suspected: it does not occur in Bn Bg N Ioan. Prat. Harl. 2662, +4829, 11671.</p> + +<p><a name = "critII_sec11" id = "critII_sec11" +href = "QuintBody2.html#chapII_sec11"><b>§11</b></a>. +<b>orationibus</b>, Bg: Ioan, gives <i>oratione</i>: so also Voss. 1 and +3 (Zumpt).</p> + +<p><b>accommodatur</b> b H Ioan. Harl. 4995, 4950, 4829, Bodl. Dorv. and +Meister: <i>commodatur</i> Bn N Prat. Harl. 2662, 11671, and Halm.</p> + +<p><a name = "critII_sec12" id = "critII_sec12" +href = "QuintBody2.html#chapII_sec12"><b>§12</b></a>. +<b>inventio vis</b> B Harl. 2662, 11671: <i>inventionis</i> b H Harl. +4495, 4950, 4829, C, Burn. 243, Bodl., Dorv.</p> + +<p><a name = "critII_sec13" id = "critII_sec13" +href = "QuintBody2.html#chapII_sec13"><b>§13</b></a>. +<b>cum et</b>, ed. Colon. 1527: <i>et cum</i> B H Ioan. Prat. N (<i>et +quum</i>) M: <i>cum</i> Vall. Harl. 4995. On the usual interpretation of +this difficult passage <i>ut quorum ... collocata sunt</i> forms one +parenthesis: but this is an unnecessary extension of the explanation of +<i>intercidant invalescantque temporibus</i>. See <i>ad loc.</i></p> + +<p><b>accommodata sit</b>, codd. except Harl. 4995, which omits +<i>sit</i>: <i>acc. est</i> Halm, followed by Hild (depending on +<i>prout</i>, not <i>cum</i>: see note <i>ad loc.</i>). Madvig’s +conjecture <i>accommodanda sit</i> is approved by Kiderlin (cp. ix. 4. +126 adeoque rebus accommodanda compositio). But the correctness of the +reading in the text (and also of the explanation given in the note <i>ad +loc.</i>) will be evident to any one who considers the whole sentence +carefully. To <i>cum et verba intercidant</i> corresponds exactly the +double clause <i>et compositio ... rebus accommodata sit</i> on the one +hand, and <i>et compositio ... ipsa varietate gratissima</i> (sc. +<i>sit</i>—repeated from <i>accommodata sit</i>) on the other. +This double clause is rather awkwardly joined by <i>cum ... tum</i>. To +take <i>accommodata sit</i> as depending on the <i>cum</i> which follows +<i>compositio</i> is to destroy the balance of the sentence. In this +case an independent <i>sit</i> would have to be supplied with +<i>gratissima</i> (to make <i>et compositio ... gratissima sit</i> +correspond to <i>et verba intercidant</i> above): and the translation +would then be: ‘it is just when (<i>cum ... tum</i>), or exactly in +proportion as, it is adapted to the sense (<i>rebus accommodata</i>) +that the very variety (thereby secured) gives the arrangement its +greatest charm.’ But if this had been Quintilian’s meaning he would +surely have written <i>cum rebus accommodatur</i> (or—<i>ata +est</i>) <i>tum ipsa varietate sit gratissima</i>.</p> + +<p><a name = "critII_sec14" id = "critII_sec14" +href = "QuintBody2.html#chapII_sec14"><b>§14</b></a>. +<b>quos imitemur</b>. The D’Orville MS. gives <i>quos eligamus ad +imitandum</i>,—probably an emendation by the copyist, though it +may explain the origin of the reading of b and H <i>quos at +imitandum</i>.</p> + +<p><b>quid sit ad quod nos</b>. The <i>ad</i> is due to Regius: most +codd. have <i>quid sit quod nos</i>, except Harl. 4995, which is again +in agreement with Goth. Vall. Voss. 2 and the second hand in Par. 2: +<i>quid sit quod nobis</i>.</p> + +<p><a name = "critII_sec15" id = "critII_sec15" +href = "QuintBody2.html#chapII_sec15"><b>§15</b></a>. +<b>et a doctis, inter ipsos etiam</b>. The explanation given in the +notes is due to Andresen (Rhein. Mus. 30, p. 521), who, however, +wished to insert <i>et</i> before <i>inter</i> +<span class = "pagenum">211</span> +<i>ipsos</i>. The comma makes that unnecessary. So Kiderlin (Berl. +Jahrb. XIV, 1888, p. 71 sq.).</p> + +<p><b>dicunt</b>, Harl. 4995: <i>dicant</i> all codd.: ‘emend. Badius’ +(Halm).</p> + +<p><b>ut sic dixerim</b> Vall. (Becher): cp. pr. 23: i. 6. 1: ii. 13. 9: +v. 13. 2. BM Prat. have <i>ut dixerim</i>. Halm wrote <i>ut ita +dixerim</i>, comparing i. 12. 2: ix. 4. 61: but <i>ut sic</i> is more +common in the Latinity of the Silver Age.</p> + +<p><a name = "critII_sec16" id = "critII_sec16" +href = "QuintBody2.html#chapII_sec16"><b>§16</b></a>. +<b>compositis exultantes</b>. Kiderlin (Berl. Jahrb. XIV, 1888, +p. 72) would prefer <i>compositis rigidi</i> (cp. xi. 3. 32: xii. +10. 7: ix. 3. 101: xii. 10. 33), <i>comptis</i> (cp. i. 79: viii. 3. 42) +<i>exultantes</i> = ‘statt wohlgeordnet steif, statt schmuckliebend +putzsüchtig.’ Another unnecessary emendation is <i>laetis exultantes, +compositis corrupti</i> (Lindau): or <i>compositis exiles</i> +(Düntzner).</p> + +<p><a name = "critII_sec17" id = "critII_sec17" +href = "QuintBody2.html#chapII_sec17"><b>§17</b></a>. +<b>quidlibet</b>, most codd.: <i>quamlibet</i> M, Vall. Harl. 4995, +4950: <i>qui licet</i> bH. Iwan Müller (Bursian’s Jahresb. 1879, +p. 162) condemns <i>illud</i>, and would read either <i>quamlibet +frigidum</i> (cp. <a href = +"QuintBody2.html#chapIII_sec19">3 §19</a> and ix. 2. 67: quamlibet +apertum), or <i>quidlibet frigidum</i>, which latter is approved by +P. Hirt. Eussner suggests the deletion of <i>illud frigidum et +inane</i>, thinking that these words may be the remains of a gloss on <a +href = "QuintBody2.html#chapII_sec16">§16</a>.</p> + +<p><b>Attici sunt scilicet</b>. Spalding’s reading seems on the whole to +be preferred. The retention of <i>sunt</i> (represented in some MSS. by +a simple <i>s</i>,—hence the reading <i>Atticis scilicet</i>) +makes it less necessary to follow Meister in inserting a <i>sunt</i> +after <i>qui praec. concl. obscuri</i>: in so loose a writer as +Quintilian the first <i>sunt</i> would do duty for both. Halm follows Bn +and Bg, which apparently (as also N Harl. 2662, 4829, and 11671) have +<i>Attici scilicet</i>: Meister (with bHM and Harl. 4950) gives +<i>Atticis scilicet</i>. In the Ioannensis I find <i>Attici s</i> (for +<i>sunt</i>): Dorv. and Burn. 244 give <i>Atticis s. Scilicet</i> (om. +Prat.) may be a gloss, and the true reading may be <i>Attici sunt</i>. +Some codd. (Bodl. Burn. 243) give <i>Atticos scilicet</i> +(<i>Athicos</i> Harl. 4995): qy. <i>Atticorum similes</i>? (cp. Cic. +Brut. §287).—Becher now prefers <i>Atticis</i> (sc. <i>se pares +credunt</i>).</p> + +<p><a name = "critII_sec22" id = "critII_sec22" +href = "QuintBody2.html#chapII_sec22"><b>§22</b></a>. +<b>proposito</b>. This conjecture by Gertz (Opuscula philol. &c., +p. 134) I have found in the Ioannensis (*ppo) and in Harl. +2662 and 11671. It is approved also by Kiderlin. BNHb Prat. Sal. give +<i>propositio</i>: all other codd. <i>proposita</i>. Perhaps we should +read (with Ioan.) <i>sua cuique proposito est lex, suus decor est</i>. +Prat. omits the second <i>est</i>.</p> + +<p><a name = "critII_sec23" id = "critII_sec23" +href = "QuintBody2.html#chapII_sec23"><b>§23</b></a>. +<b>tenuitas aut iucunditas</b>, Halm and Meister: <i>tenuitas ac +iucunditas</i> b H, Burn. 243, Bodl.: <i>tenuitas aut nuditas</i> N +Ioan. M Harl. 2662, 11671: <i>tenuitas ac nuditas</i> Prat. Harl. 4995, +4950, 4829, C, Burn. 244, Dorv.: <i>aut iuditas</i> Bg.</p> + +<p><a name = "critII_sec25" id = "critII_sec25" +href = "QuintBody2.html#chapII_sec25"><b>§25</b></a>. +<b>quid ergo? non est satis</b>, &c. Gertz proposes to read, shortly +afterwards, <i>mihi quidem satis esset; set si omnia consequi possem, +quid tamen noceret vim Caesaris ... adsumere?</i> (= <i>sed etiam +si satis mihi esset, tamen nihil noceret vim Caesaris ... adsumere, si +omnia haec consequi possem</i>).</p> + +<p><a name = "critII_sec28" id = "critII_sec28" +href = "QuintBody2.html#chapII_sec28"><b>§28</b></a>. +<b>deerunt</b>, Francius: <i>deerant</i> (derant) all codd. Becher +defends <i>deerant</i>: ‘der Rhetor meint dass <i>qui propria bona +adiecerit</i> öfter Veranlassung gehabt haben wird, Fehlendes zu +ergänzen als zu beschneiden <i>si quid redundabit</i>.’</p> + +<p><b>oporteat</b> bHFT Bodl. M Harl. 4950 Burn. 243: <i>oportebat</i> B +Prat. N Sal. Ioan. Harl. 2662, 4995, 4829, 11671 Burn. 244 Dorv. The +latter (which is adopted by Halm) would indicate (cp. viii. 4. 22) a +condition which ought to have been and may still be realised: the former +(adopted by Meister and approved by Becher) is the conjunctive +potential, and is quite in Quintilian’s manner (cp. xi. 2. 20): it +conveys the expression of a present duty and obligation, the realisation +of which may now be expected, and it connects also more intimately with +<i>erit</i> in the following sentence.</p> + + +<span class = "pagenum">212</span> +<h5><a name = "critIII" id = "critIII"> +CHAPTER III.</a></h5> + +<p><a name = "critIII_sec1" id = "critIII_sec1" +href = "QuintBody2.html#chapIII_sec1"><b>§1</b></a>. +<b>nobis ipsis</b>, codd.: <i>e nobis ipsis</i> Gertz.</p> + +<p><b>utilitatis etiam</b>. Ioan. gives <i>etiam utilitatis</i>, which +Spalding quotes also from Goth.</p> + +<p><a name = "critIII_sec2" id = "critIII_sec2" +href = "QuintBody2.html#chapIII_sec2"><b>§2</b></a>. +<b>alte refossa</b>. This (the reading of N) I have found also +in Ioan. and Prat.: <i>alter effossa</i> BH: <i>altius effossa</i> Harl. +4995 M Harl. 4950, 4829 Burn. 244 Bodl. Dorv.: <i>alte effossa</i> Harl. +2662, 11671.</p> + +<p><b>fecundior fit</b>. <i>Fit</i> appears as a correction in T and +Vall.: it does not occur in B M Prat. H T Ioan. S Harl. 4995 or 2662. +Perhaps <i>fecundior</i> is the true reading, and <i>est</i> is to be +supplied in thought: Introd. <a href = +"QuintIntro.html#intro_pagelv">p. lv</a>.</p> + +<p><b>effundit</b> B Prat. Ioan. N and most codd.: <i>effunditur</i> +b H. <ins class = "correction" title = "anomalous boldface"><b>et +fundit</b></ins> Vall.<sup>2</sup> M, Harl. 4995, Halm and Meister.</p> + +<p><b>parentis</b>: <i>parentium</i> Ioan.: <i>parentum</i> Dorv. Harl. +4950 Burn. 244 C: <i>parentibus</i> bH Bodl.</p> + +<p><a name = "critIII_sec4" id = "critIII_sec4" +href = "QuintBody2.html#chapIII_sec4"><b>§4</b></a>. +<b>iam hinc</b>. Obrecht <i>iam hunc</i>: see note <i>ad loc.</i> Harl. +2662 and 11671 agree in <i>iam hic</i>.</p> + +<p><a name = "critIII_sec6" id = "critIII_sec6" +href = "QuintBody2.html#chapIII_sec6"><b>§6</b></a>. +<b>scriptorum</b>. This reading, attributed to Badius by Halm and +Meister, is found in Ioan. Harl. 4995 Burn. 243 Harl. 2662 (the last +corr. from <i>-em</i>). It is also in the editio princeps (Campanus), +and the ed. Andr. Becher reports it as a correction in Vall.</p> + +<p><a name = "critIII_sec9" id = "critIII_sec9" +href = "QuintBody2.html#chapIII_sec9"><b>§9</b></a>. +<b>sequetur</b> Bn and Bg N Sal. Dorv. Harl. 2662, 4950, 4829, 11671: +<i>persequetur</i> b Harl. 4995 Burn. 243: <i>prosequetur</i> HM Bodl. +and Prat. <i>Prosequetur</i> (Spald. and Bonnell) may be right: there is +a graphic touch about the compound.</p> + +<p><a name = "critIII_sec10" id = "critIII_sec10" +href = "QuintBody2.html#chapIII_sec10"><b>§10</b></a>. +<b>ut provideamus</b> obelized by Halm (after Bursian): but see note. +Becher proposed <i>provideamus ut resistamus et ... coerceamus</i>: +Krüger suggests rather <i>resistamus et provideamus ut ... +coerceamus</i>: Jeep, <i>ut provide eamus</i>, also, for <i>efferentes +se</i>, <i>efferventes</i>. The passage is discussed by Kiderlin +(Blätter f.d. bayer Gymn. 1888, p. 85), who recommends the excision +of <i>et</i> before <i>efferentes</i>, as it is found in no MS. He +translates: ‘Aber gerade dann, wenn wir uns jene Fähigkeit (schnell zu +schreiben) angeeignet haben (bei solchen, welche noch nicht schnell +schreiben können, fehlt es an Ruhepausen obnehin nicht), wollen wir +innehalten, um vorwärts zu blicken, die durchgehenden Rosse wollen wir +gleichsam mit den Zügeln zurückhalten.’ He considers <i>ut +provideamus</i> a necessary addition, in order to make the meaning of +<i>resistamus</i> clear. ‘Was jeder Besonnene beim Schreiben thut, dass +er manchmal innehält, um vorwärts zu blicken, d.h. um sich zu besinnen, +welche Gedanken nun am besten folgen und wie sie am besten ausgedrückt +werden, rät hier Quint. seinen Lesern.’ The best MSS. read <i>resist. ut +provid. efferentes equos frenis</i>: Hb Bodl. Burn. 243 give <i>ut</i> +for <i>et</i>: Harl. 4995 has <i>resist. ut prohibeamus ferentes equos +fr. quib. coerc.</i>: 4950 and Burn. 244 <i>resist. ut prohibeamus +efferentes equos quos fr. quib. coerc.</i> The reading <i>et efferentes +se</i> is due to Burmann. Something might be said for <i>et ferentes +se</i>: ‘ferre se’ is often used by Vergil of ‘moving with conscious +pride,’ e.g. Aen. i. 503: v. 372: viii. 198: ix. 597: xi. 779.</p> + +<p><a name = "critIII_sec12" id = "critIII_sec12" +href = "QuintBody2.html#chapIII_sec12"><b>§12</b></a>. +<b>patruo</b>. Harl. 2662 and 11671 both give <i>patrono</i>: which, +with other coincidences, establishes their relationship to the +Guelferbytanus (Spald.).</p> + +<p><a name = "critIII_sec14" id = "critIII_sec14" +href = "QuintBody2.html#chapIII_sec14"><b>§14</b></a>. +<b>quod omni</b>, see note <i>ad loc.</i>: edd. vett <i>ex quo</i>.</p> + +<p><a name = "critIII_sec15" id = "critIII_sec15" +href = "QuintBody2.html#chapIII_sec15"><b>§15</b></a>. +<b>plura et celerius</b> Prat. N: and so now Becher reports from B and +Ambrosianus ii. <i>Et</i> had escaped Halm’s notice, and Meister +follows, <i>plura celerius</i>.</p> + +<span class = "pagenum">213</span> +<p><b>sed quid</b>: <i>sed</i> is supplied by the old edd., but does not +appear in any MS. Halm (ii. p. 369) conjectures <i>at</i>, which +may easily have slipped out after <i>obveniat</i>.</p> + +<p><a name = "critIII_sec17" id = "critIII_sec17" +href = "QuintBody2.html#chapIII_sec17"><b>§17</b></a>. +<b>quae fuit</b>: (<i>manent</i>) <i>quae fudit</i> Harl. 4995 (as also +Goth. Voss. 2 and Vall.)</p> + +<p><a name = "critIII_sec19" id = "critIII_sec19" +href = "QuintBody2.html#chapIII_sec19"><b>§19</b></a>. +<b>urget</b>. Kiderlin supports (in Blätter f. d. bayer. Gymn. 1888, +p. 86) his proposal to read <i>urgetur</i>, which would however +give a different antithesis. ‘When we write ourselves, our thoughts +outstrip our pen, but when we dictate we forget that the scribe is +writing under similar conditions, and give him too much to do.’</p> + +<p><a name = "critIII_sec20" id = "critIII_sec20" +href = "QuintBody2.html#chapIII_sec20"><b>§20</b></a>. +<b>in intellegendo</b>. This conj., which is due to H. J. Müller +and Iwan Müller, has been adopted by Becher and Meister: <i>legendo</i> +BM Ioan, and most codd. (Halm). See note <i>ad loc.</i> The true reading +may be <i>si tardior in scribendo aut incertior, et in intellegendo +velut offensator fuit</i>. This is supported by <i>et diligendo</i> (bH +Burn. 243 Bodl.), for which Spalding conjectured <i>et delendo</i>, +Gertz <i>in tenendo</i> (‘significatur notarium imperitum et oscitantem +verba quae dictantur non statim intellegere aut fideliter tenere, ut +saepius eadem dictanda sint’). A number of codd. (Ioan. Vall. Harl. +4995, 4950, 4829, Burn. 243 and 244, Dorv.) have <i>inertior</i> for +<i>incertior</i>: but this gives no antithesis to <i>tardior</i>: it +appears, however, in ed. Colon. 1527. The same codd. (and also M) +have <i>fuerit</i>, for <i>fuit</i>, which may be right.</p> + +<p><b>concepta Regius</b>: <i>conceptae</i> codd. Becher points out that +<i>concipere</i> and <i>excutere</i> are ‘termini technici’: cp. Scrib. +ep. ad C. Jul. Callist. p. 3 R ne praegnanti medicamentum quo +conceptum excutitur detur: and Ovid, excute virgineo conceptas pectore +flammas.</p> + +<p><a name = "critIII_sec21" id = "critIII_sec21" +href = "QuintBody2.html#chapIII_sec21"><b>§21</b></a>. +<b>altiorem</b>. This reading, ascribed by Halm and Meister to ed. +Colon. (1536) I have found in Harl. 2662 (<span class = +"smallroman">A.D.</span> 1434) and 11671 (<span class = +"smallroman">A.D.</span> 1467). B N Ioan, and other codd. +<i>aptiorem</i>: Prat. <i>apertiorem</i>, and so a later hand in +Vall.</p> + +<p><b>frontem et latus interim obiurgare</b>. B, Prat. M, Ioan., Harl. +2662, 4950, 4829, 11671, Burn. 244 and Dorv. all give <i>simul et +interim</i>: Harl. 4995 (again in agreement with the 2nd hand in Vall.) +and Burn. 243 have <i>simul vertere latus et interim</i> (the reading of +many old edd.): so Bodl. except that it omits <i>et</i>. It is to b that +we must apply for what must be at least a trace of the true reading; and +b gives <i>sintieletus</i>, which H shows as <i>sintielatus</i>. +Considering how liable <i>s</i> (ſ) and <i>f</i> are to be confused, +I venture to think that <i>ſinti</i> may conceal <i>fronte</i>.</p> + +<p>Bursian’s <i>femur et latus</i> (Halm and Meister) is not so near the +MSS.: it is based on ii. 12. 10 and xi. 3. 123 (quoted <i>ad loc.</i>), +but the latter passage would warrant <i>frontem</i> quite as much as +<i>femur</i>, and <i>frontem ferire</i> seems to have been considered by +Quintilian a more extravagant action than <i>femur ferire</i>, of which +he says ‘et usitatum est et indignantes decet et excitat auditorem.’ In +any case the man who is in the agony of composition is as likely, if +alone, to ‘rap his forehead’ and ‘smite his chest,’ as to ‘slap his +thigh.’</p> + +<p>Frotscher and Bonnell’s <i>sinum et latus</i> cannot be supported by +any parallel for such an expression as <i>sinum caedere</i>, +<i>ferire</i>, <i>obiurgare</i>. Becher approves Gertz’s conjecture +<i>semet interim obiurgare</i>, which is adopted also by Krüger (3rd +ed.) as = <i>increpare</i>: ‘obiurgat semet ipse scribens et convicium +sibi facit ut stulto, si quando tardior in inveniendo est.’</p> + +<p>Another interesting conjecture is put forward by Kiderlin (Blätter f. +d. bayer. Gymn. 1888, p. 87). He proposes to read (on the lines +of b) <i>singultire, latus int. ob.</i> This would need to be taken +of those more or less inarticulate sounds which the solitary writer +addresses <span class = "greek" title = "pros hon thumon">πρὸς ὃν +θυμόν</span>, when there is no one there to listen. Kiderlin refers to +<i>singultantium</i> in <a href = +"QuintBody2.html#chapVII_sec20">7 §20</a>, of broken utterance: but +we cannot take the reference here of ‘sobs’ or ‘gasps’: the writer is +not practising with a view to theatrical effect, he is supposed to be +indulging in little peculiarities that become ridiculous in another’s +presence. As an alternative Kiderlin suggests <i>singultu latus interim +obiurgare</i>, comparing for the ablative <a href = +"QuintBody2.html#chapIII_sec15">§15</a> cogitationem murmure agitantes. +<i>Singultus</i> is common +<span class = "pagenum">214</span> +enough: and Kiderlin thinks that as <i>singultire</i> is nearer the MSS. +than <i>singultare</i>, it may possibly have been used here by +Quintilian.</p> + +<p><a name = "critIII_sec22" id = "critIII_sec22" +href = "QuintBody2.html#chapIII_sec22"><b>§22</b></a>. +<b>secretum in dictando</b>. So bH Harl. 4995, 4950, Burn. 243, Bodl., +M, Dorv.: <i>quod dictando</i> BN Prat. Ioan., Harl. 2662, 4829, 11671, +Burn. 244 (corr. to <i>in</i>). With the reading <i>quod dictando perit, +atque liberum ... nemo dubitaverit</i> (Halm and Meister) it is +senseless to quote <a href = +"QuintBody2.html#chapII_sec20">2 §20</a> (Bonn., Meister, and +Dosson) as parallel. Krüger (3rd ed.) reads <i>secretum dictando perit. +Atque liberum arbitris</i>, &c.</p> + +<p><a name = "critIII_sec23" id = "critIII_sec23" +href = "QuintBody2.html#chapIII_sec23"><b>§23</b></a>. +<b>mihi certe iucundus</b>. After these words H has <i>videmoni</i> (and +so the cod. Alm.): Flor. <i>vindemoni</i>. This word greatly puzzled +Spalding, and has been allowed to disappear from the critical editions +of Halm and Meister. Jeep transformed it into <i>mihi certe <b>vitae +inani</b> iucundus</i>, &c. An ingenious suggestion is made by Mr. +L. C. Purser (in the Classical Review, ii, p. 222 b). He +thinks that it may be “the gloss of a monk, on a somewhat ornate passage +about poetry, who recollected how (as Bacon says in his ‘Essay on +Truth’) one of the Fathers had in great severity called Poesie <i>vinum +daemonum</i>.” Cp. Advancement of Learning ii. 22. 13, where Mr. Wright +tells us that Augustine calls poetry vinum erroris ab ebriis doctoribus +propinatum, Confess. i. 16; and that Jerome, in one of his letters to +Damasus, says Daemonum cibus est carmina poetarum, while both these +quotations are combined in one passage by Cornelius Agrippa, de Incert. +&c. c. 4. Hence the phrase <i>vinum daemonum</i> may have been +compounded.—If the gloss is to be credited to the copyist of H (as +seems probable), it perhaps arose from something that caught his eye in +the Bambergensis four lines further down, where <i>tendere ani</i>(mum) +is shown in a form that could easily be mistaken by a sleepy scribe.</p> + +<p><a name = "critIII_sec24" id = "critIII_sec24" +href = "QuintBody2.html#chapIII_sec24"><b>§24</b></a>. +<b>ramis</b>, referred by Halm and Meister to ed. Camp., appears in +Harl. 4995: it is reported by Becher also from the Vallensis. All other +codd. <i>rami</i>.</p> + +<p><b>voluptas ista videatur</b> most codd.: <i>videatur ista +voluptas</i> N.</p> + +<p><a name = "critIII_sec25" id = "critIII_sec25" +href = "QuintBody2.html#chapIII_sec25"><b>§25</b></a>. +<b>oculi</b>. Kiderlin thinks it allowable to infer from the words ex +quo nulla exaudiri vox that <i>aures aut</i> has fallen out before +<i>oculi</i>. Cp. <a href = "QuintBody2.html#chapIII_sec28">§28</a> +nihil eorum quae oculis vel auribus incursant.</p> + +<p><b>velut tectos</b>: <i>velut rectos</i> all codd. There is the same +confusion at ix. 1. 20 where M has <i>recteque</i> for <i>tecteque</i> +(i.e. tectaeque). For Becher’s explanation of the vulgate <i>tectos</i> +(first in ed. Leid.) see <i>ad loc.</i> Kiderlin (Blätter f. d. bayer. +Gymn. 1888, p. 88) is not satisfied, and objects that for <i>tectos +teneat</i> we should have expected <i>tegat</i>. The figure also seems +to him out of place, as the context speaks not of the attack of an +enemy, but of the distractions which draw the mind of the student away +from his task: <a href = "QuintBody2.html#chapIII_sec23">§23</a> +<i>avocent</i>, <i>respexit</i>: <a href = +"QuintBody2.html#chapIII_sec24">§24</a> <i>ad se trahunt</i>: <a href = +"QuintBody2.html#chapIII_sec25">§25</a> <i>aliud agere</i>. He +proposes, therefore, <i>velut recto itinere</i>, comparing iv. 2. 104 ut +vi quadam videamur adfectus velut recto itinere depulsi, and ii. 3. 9 et +recto itinere lassi plerumque devertunt. <i>Itinere</i> may first have +fallen out, and then <i>recto</i> may have been changed to +<i>rectos</i>.—Halm conjectured <i>velut secretos</i>, or +<i>coercitos</i>; Wrobel, <i>velut relictos</i>.</p> + +<p><a name = "critIII_sec26" id = "critIII_sec26" +href = "QuintBody2.html#chapIII_sec26"><b>§26</b></a>. +<b>haud deerit</b>: <i>aut deerit</i> BN Ioan, and all codd. except a +later hand in Vall. Kiderlin (Blätter l.c.) comments on the infrequent +use of <i>haud</i> in Quintilian, though <i>haud dubie</i> <a href = +"QuintBody1.html#chapI_sec85">1 §85</a> (where however GH have +<i>aut</i>) must have escaped him (cp. i. 1. 4); and founding on +the consensus of the MSS. for <i>aut</i> he proposes to read <i>aut non +deerit</i> or <i>aut certe non deerit</i>. But <i>haud</i> goes closely +with <i>deerit</i>, and does not (like <i>non</i>, <i>ac non</i>) +introduce an antithesis to <i>supererit</i>. <i>Aut deerit</i> might be +made to mean that the <i>sleepless</i> man is to work: but this would be +too cruel!</p> + +<p><a name = "critIII_sec29" id = "critIII_sec29" +href = "QuintBody2.html#chapIII_sec29"><b>§29</b></a>. +<b>et itinere deerremus</b>: <i>et ita ne</i> BN Ioan. Harl. 2662, 4829, +11671, Dorv. and Ball.: <i>ita erremus</i> HMb Bodl. (<i>erramus</i>). +The reading in the text is given by Halm and Meister as from the old +editions: it occurs in Vall. and Harl. 4995.</p> + +<p><a name = "critIII_sec31" id = "critIII_sec31" +href = "QuintBody2.html#chapIII_sec31"><b>§31</b></a>. +<b>crebra relatione</b> appears in Harl. 4995 (and Vall.) corrected from +<i>crebro relationi</i> which is the reading of B Ioan. and all codd. +Jeep suggested <i>crebra dilatione</i>, +<span class = "pagenum">215</span> +Kiderlin <i>crebriore elatione</i>. Other proposals are <i>crebra +relictionis</i>, <i>q. i. c., repetitione</i>, Gottfried Hermann (in +Frotscher), <i>crebra relictione</i>, <i>q. i. c., et repetitione</i>, +Zumpt (in Spald. v, p. 423). Becher thinks <i>crebro</i> may be +right, adverbs being often used in Latin where we should use adjectives: +<i>crebro</i> would then go closely with <i>morantur</i> and +<i>frangunt</i>.</p> + +<p><a name = "critIII_sec32" id = "critIII_sec32" +href = "QuintBody2.html#chapIII_sec32"><ins class = "correction" +title = "line reference missing"><b>§32</b></ins></a>. +<b>adiciendo</b> ‘for making additions’: so Bursian, Halm, and +Becher. BN Prat. Ioan, and most codd. have <i>adicienda</i>: b +<i>adiciendi sint</i>: Harl. <i>adjiciendi sit</i>. Meister adopts +<i>adicienti</i> from ed. Col. 1555: so Spalding: cp. iv. 5. 6 quo +cognoscenti iudicium conamur auferre (where B has +<i>cognoscendi</i>).</p> + +<p><b>ultra modum esse ceras velim</b>: Ioan, omits <i>esse</i>, and is +thus in agreement with N.</p> + + +<h5><a name = "critIV" id = "critIV"> +CHAPTER IV.</a></h5> + +<p><a name = "critIV_sec3" id = "critIV_sec3" +href = "QuintBody2.html#chapIV_sec3"><b>§3</b></a>. +<b>habet</b>: <i>habeat</i>, Halm quoting from ed. Camp. <i>Habeat</i> +occurs in Burn. 243: most codd. have <i>habet</i>, but some (H and +Bodl.) give <i>habent</i>.</p> + + +<h5><a name = "critV" id = "critV"> +CHAPTER V.</a></h5> + +<p><a name = "critV_sec1" id = "critV_sec1" +href = "QuintBody2.html#chapV_sec1"><b>§1</b></a>. +<b><span class = "greek" title = "hexin">ἕξιν</span> parantibus</b>: for +the <i>ex imparantibus</i> of Bn N and Ioan. Bursian added <i>non est +huius</i>. So Halm. Harl. 4995 gives <i>nec exuberantis id quidem est +operis ut explicemus</i>.</p> + +<p><b>factum est iam</b>, Halm and Meister: <i>est etiam</i> all codd. +except Ioan, which has <i>factum etiam</i>.</p> + +<p><b>iam robustorum</b>: so all codd. except bHFT which omit +<i>iam</i>: and Harl. 4995, Burn. 244 which give <i>iam +robustiorum</i>.</p> + +<p><a name = "critV_sec2" id = "critV_sec2" +href = "QuintBody2.html#chapV_sec2"><b>§2</b></a>. +<b>id Messallae</b>: B Ioan. M and most codd. Ball. and Dorv. however +give <i>M. id Messalae</i>: and Harl. 4995 <i>Marco id Messalae</i>. The +spelling <i>Messallae</i> is adopted in the text as more correct.</p> + +<p><a name = "critV_sec4" id = "critV_sec4" +href = "QuintBody2.html#chapV_sec4"><b>§4</b></a>. +<b>eadem</b>: so most edd. and Spalding, followed by Mayor and Krüger +(3rd ed.): <i>eandem</i> all codd., with the single exception of M, and +so Halm and Meister, though without giving any indication of the +meaning. The only way to explain <i>eandem</i> seems to be to continue +the sentence in thought sc. quae non proprie, or quae apud poetas: cp. +eandem i. 9. 1. The sense will then be: ‘the poet’s inspiration has an +elevating influence, while his licences of style <i>do not carry with +them in advance</i>, or <i>involve</i>, the corresponding ability to use +the language of ordinary prose: something is left for the reproducer.’ +This suggests that there may be something in the reading of B (also +Vall. and Harl. 4995), which have no <i>non</i> with <i>praesumunt</i>, +at least if we may read <i>eadem</i>: ‘poetical licence implies that the +orator can say the same things <i>propriis verbis</i>.’ Bursian +suggested <i>nec</i> (for <i>et</i>) <i>verba</i> ... +<i>praesumunt</i>.</p> + +<p><a name = "critV_sec5" id = "critV_sec5" +href = "QuintBody2.html#chapV_sec5"><b>§5</b></a>. +<b>post quod</b>. Harl. 4995 again agrees with Goth. and Voss. 2, +<i>praeter quod</i>: so Vall.</p> + +<p><a name = "critV_sec13" id = "critV_sec13" +href = "QuintBody2.html#chapV_sec13"><b>§13</b></a>. +<b>reus sit</b>. Krüger (3rd ed.) revives Halm’s conj. <i>rectene reus +sit</i>, to correspond with <i>rectene occiderit</i> and <i>honestene +tradiderit</i> in what follows: along with Gertz’s <i>quaeramus, an</i> +to correspond with <i>veniat in iudicium an</i>, Becher, however +(Philol. xiv, p. 724), has pointed out that if the object of such a +change is to secure complete symmetry, we should need to read, +‘Cornelius rectene codicem legerit’ quaeramus, an ‘liceatne magistratui +... recitare’: otherwise, in the other two cases the text ought to run, +‘Milo quod Clodium occidit’ veniat in iudicium, an..., and ‘Cato quod +<span class = "pagenum">216</span> +Marciam tradidit Hortensio’ an. Qnintilian has avoided this excess of +parallelism without coming into conflict with logic.</p> + +<p>Just as at iii. 5. 10 we have Milo Clodium occidit, iure occidit +insidiatorem: nonne hoc quaeritur, an sit ius insidiatorem occidendi?, +so here the <i>finita</i> or <i>specialis causa</i> shows the form of a +positive statement (Cornelius reus est), as frequently in Seneca. +<i>Reus sit</i> and <i>legerit</i> are motived only by the disjunctive +interrog.: it might have run ‘utrum dicamus, Cornelius reus est,’ or +only ‘Corn. quod legit ... reus est.’ The <i>infinita quaestio</i>, on +the other hand, appears as in the above example in the form of a +question, and this form the writer adheres to in the two following +<i>finitae</i> and <i>infinitae quaestiones</i>. The <i>finita +quaestio</i> rests on the <i>generalis quaestio</i>: acquittal of the +charge (here laesa maiestas) depends on the answer to <i>violeturne</i>, +&c. In a word, it is as if Quintilian had written (as at iii. 5. 10) +Cornelius quod codicem legit, reus est: nonne hoc quaeritur: violeturne, +&c.</p> + +<p><a name = "critV_sec14" id = "critV_sec14" +href = "QuintBody2.html#chapV_sec14"><b>§14</b></a>. +<b>dum adulescit profectus</b>, B Harl. 2662, 4995, 4829, Burn. 244, +Ball.: <i>inventus</i> Hb Bodl. Burn. 243: Bonnell’s conj. +<i>invenis</i> appears in Dorv. Bursian and Jeep conj. <i>dum adul. +profectui sunt util.</i></p> + +<p><b>quia inventionem</b>, Halm: <i>quae inventionem</i> all codd. Qy. +<i>quod</i>?</p> + +<p><a name = "critV_sec16" id = "critV_sec16" +href = "QuintBody2.html#chapV_sec16"><b>§16</b></a><ins class = +"correction" title = "period missing">. +</ins><b>materia fuerit</b>. Meister suggests <i>erit</i>: perhaps +rather <i>fuerit—necesse erit</i>.</p> + +<p><a name = "critV_sec17" id = "critV_sec17" +href = "QuintBody2.html#chapV_sec17"><b>§17</b></a>. +<b>assuescere</b> Zumpt: <i>assuefieri</i> Philander. All MSS. have +<i>assuefacere</i>. Frotscher wrote <i>inanibus</i> se <i>simulacris ... +assuefacere</i>, and was followed by Halm. Most MSS. also (B Ioan. +Ball. Harl. 2662, 4995, 4829, 11671) give <i>difficilis digressus</i>: +but in view of the consensus for <i>assuefacere</i> the alternation +<i>difficilius digressos</i> (H Bodl. Dorv. Harl. 4950 Burn. 243) +is worth considering: <i>inanibus simulacris</i> would then go (though +awkwardly) with <i>detineri</i> (for the rhythm cp. x. 2. 1), and +the rest of the sentence makes excellent sense.</p> + +<p><a name = "critV_sec18" id = "critV_sec18" +href = "QuintBody2.html#chapV_sec18"><b>§18</b></a>. +<b>transferrentur</b> N Dorv. Ball. Harl. 2662.</p> + +<p><a name = "critV_sec20" id = "critV_sec20" +href = "QuintBody2.html#chapV_sec20"><b>§20</b></a>. +<b>decretoriis</b> Harl. 4995, probably from a correction in Vall.: +Voss. 2 and Goth. (Spald.) <i>derectoriis</i> BJ Ball. Dorv. Burn. 244: +<i>detectoris</i> b: <i>delectoris</i> H: <i>delectoriis</i> Bodl.: +<i>de rhetoriis</i> Harl. 2662, 4829, 11671: <i>vel +rhetoricis</i> M.</p> + +<p><b>satis</b> so most codd. But Bodl. Dorv. Burn. 243 <i>litis</i>: Hb +<i>sitis</i>.</p> + +<p><a name = "critV_sec21" id = "critV_sec21" +href = "QuintBody2.html#chapV_sec21"><b>§21</b></a>. +<b>idoneus</b> bHM: <i>si idoneus</i> Bn Bg Sal.: <i>sudoneus</i> N: +<i>is idoneus</i> Halm.</p> + +<p><a name = "critV_sec22" id = "critV_sec22" +href = "QuintBody2.html#chapV_sec22"><b>§22</b></a>. +<b>sustinere</b> Halm and Meister: <i>sustineri</i> Bn Bg HN Sal.</p> + +<p><b>recidet</b> occurs in Dorv., and is reported by Becher as a +correction in Vall.: all other codd. <i>recidere</i>.</p> + +<p><a name = "critV_sec23" id = "critV_sec23" +href = "QuintBody2.html#chapV_sec23"><b>§23</b></a>. +<b>diligenter effecta</b> all codd. Regius proposed <i>una diligenter +effecta</i>, Badius <i>una enim diligenter effecta</i>, and so many edd. +<i>Una</i> would come in well before <i>quam</i>; but Becher rightly +holds that it is unnecessary, the opposition being not quantitative +alone, but qualitative as well. He reports <i>una enim</i> as a +correction in the Vallensis.</p> + +<p><b>quidque</b>. Fleckeisen proposed <i>quicquid</i>; see Madvig on de +Fin. v. §24.</p> + + +<h5><a name = "critVI" id = "critVI"> +CHAPTER VI.</a></h5> + +<p><a name = "critVI_sec1" id = "critVI_sec1" +href = "QuintBody2.html#chapVI_sec1"><b>§1</b></a>. +<b>vacui nec otium patitur</b>. The reading in the text, which is quite +satisfactory, occurs in Harl. 4995, 4950, and Dorv. Bn and Bg give +<i>vacuum otium pat.</i>, and are followed by N Ioan. Harl. 2662 and +11671. For <i>otium patitur</i> b (followed by HFT) gives the remarkable +reading <i>experientium</i> (<i>experientiam</i> Burn. 243, Bodl.), +which reminds one of the confusion at the opening of ch. v: may the true +reading perhaps be <i>nec <span class = "greek" title = +"hexin">ἕξιν</span> parantibus otium patitur</i>? Jeep suggested +<i>expetit otium</i>: <i>nec perire otium patitur</i> has also been +suggested.</p> + +<span class = "pagenum">217</span> +<p><a name = "critVI_sec2" id = "critVI_sec2" +href = "QuintBody2.html#chapVI_sec2"><b>§2</b></a>. +<b>desit</b>. After this word there is a considerable space left blank +in Bn and Bg, as well as in some later MSS., e.g. Harl. 2662 and 11671. +In Harl. 4995 there is no blank, but in the margin the words ‘hic +deficit antiquus codex.’</p> + +<p><b>inhaeret ... quod laxatur</b>: a later hand in Vall., Meister, and +Krüger. BMN give <i>inhaeret ... quae laxatur</i>, which appears in ed. +Camp. (and Halm) as <i>inhaerent ... quae laxantur</i>.</p> + +<p><a name = "critVI_sec4" id = "critVI_sec4" +href = "QuintBody2.html#chapVI_sec4"><b>§4</b></a>. +<b>tandem</b> Madvig, Emend. Liv. p. 61, <i>tamen</i> libri.</p> + +<p><a name = "critVI_sec5" id = "critVI_sec5" +href = "QuintBody2.html#chapVI_sec5"><b>§5</b></a>. +<b>redire</b>. I find this reading in Bg Ioan. C Harl. 2662, 4995, 4829, +and restore it to the text, in place of <i>regredi</i> (Halm and +Meister), which seems to have arisen out of <i>redi</i> HF, and occurs +in Harl. 4950, Burn. 243, 244, and Dorv.</p> + +<p><a name = "critVI_sec6" id = "critVI_sec6" +href = "QuintBody2.html#chapVI_sec6"><b>§6</b></a>. +<b>domo</b> Harl. 4995: <i>domū</i> B Ioan. MN Sal.</p> + +<p><a name = "critVI_sec7" id = "critVI_sec7" +href = "QuintBody2.html#chapVI_sec7"><b>§7</b></a>. +<b>utrimque</b> Bonnell and Meister. The codd. give <i>utrumque</i>. +Gesner (followed by Halm: cp. i. §131) proposed <i>utcumque</i>: +Spalding <i>utique</i>: Jeep <i>si tutius utcumque quaerendum est</i> +(cp. iv. 1. 21), founding on the reading of b <i>strict</i> +* * * (<i>margine adcisa</i>), which reappears in HFT +(<i>strictius—strutius</i>).</p> + + +<h5><a name = "critVII" id = "critVII"> +CHAPTER VII.</a></h5> + +<p><a name = "critVII_sec1" id = "critVII_sec1" +href = "QuintBody2.html#chapVII_sec1"><b>§1</b></a>. +<b>praemium quoddam</b> Harl. 4995, probably following a correction in +the Vallensis: <i>primus quid amplius</i> Bn Bg Ioan. Sal. HFTM Harl. +2662, 4950. <i>Amplissimum</i> Stoer.</p> + +<p><b>intrare portum</b> Bn Bg H Ioan. N Sal. and most MSS. Halm adopts +Meiser’s conj. <i>instar portus</i>. On this reading the advocate who +has nothing but (<i>solam</i>) the <i>scribendi facultas</i>, and who +therefore is found wanting at a crisis, is compared to a harbour which +seems to promise a refuge to every ship at sea, but which really (owing +to rocks and sand-banks) can afford protection only when the sea is +calm, and so not <i>praesentissimis quibusque periculis</i>. Neither of +the two justifies the expectations formed. But it must be admitted that +the comparison of a man to a harbour is awkward. Other suggestions are +<i>monstrare portum</i>: <i>instaurare p.</i>: and <i>in terra +portum</i> (?) Jeep.</p> + +<p><a name = "critVII_sec2" id = "critVII_sec2" +href = "QuintBody2.html#chapVII_sec2"><b>§2</b></a>. +<b>statimque</b>. I follow Krüger (3rd ed.) in the punctuation: see +<i>ad loc.</i> The editors print <i>statimque, si non succ.</i></p> + +<p><a name = "critVII_sec3" id = "critVII_sec3" +href = "QuintBody2.html#chapVII_sec3"><b>§3</b></a>. +<b>quae vero patitur</b>, &c. In the text <i>possit</i> (for +<i>sit</i> of MSS.) is due to Frotscher, <i>omittere</i> (for +<i>mittere</i>) to Bonnell. <i>Ratio</i> (for <i>oratio</i> Bn Bg H +Ioan. M) occurs in Harl. 4995. Krüger (3rd ed.), following Gertz, +reads <i>quae vero patitur hoc ratio ut quisquam sit orator aliquando? +mitto casus: quid</i>, &c. <i>Aliquando</i> he takes as = ‘only +sometimes,’ ‘not always’ (i.e. tum demum cum se praeparare potuerit). +For <i>mitto casus</i> (‘praeteritio’) he compares v. 10. 92: xi. 2. +25.</p> + +<p><a name = "critVII_sec5" id = "critVII_sec5" +href = "QuintBody2.html#chapVII_sec5"><b>§5</b></a>. +<b>quid secundum ac deinceps</b>: so Harl. 4995. The MSS. clearly point +to this reading, though Halm and Meister print <i>ac sec. et deinc</i>. +Bn and Bg (as also N Ioan. and Sal.) have <i>ac sec. ac dein.</i>: but +in Bg above the first <i>ac</i> the letter <i>d</i> appears (evidently +for <i>quid</i>, not <i>ad</i> as H), and over the second +<i>ac</i>, <i>et</i> is written, and is adopted by HFTM. In place of the +first <i>ac</i> Harl. 2662 gives <i>atque</i>, and so Spalding reports +Guelf. (with which 2662 is frequently in agreement). The Carcassonensis +also has <i>quid secundum</i>.</p> + +<p><a name = "critVII_sec6" id = "critVII_sec6" +href = "QuintBody2.html#chapVII_sec6"><b>§6</b></a>. +<b>via dicet ducetur</b>, bHFM Harl. 4950 Burn. 244: <i>ducet +ducetur</i> Bn Bg Ioan. Sal. Dorv. Harl. 4995 shows the variant <i>viam +discet</i> (as Goth. Voss. 2 Vall.) Meister, following Eussner, inverts +the words, reading <i>ducetur</i>, <i>dicet</i> to avoid a ‘tautology’: +cp. iii. 7. 15: ix. 4. 120. Bonnet changed <i>ducetur</i> into +<i>utetur</i>. Kiderlin cannot believe that Quintilian wrote <i>ducetur +... velut duce</i>, and suggests that <i>certa</i> may have fallen +<span class = "pagenum">218</span> +out after <i>serie</i> (Rhein. Mus. 46, p. 24). This gives, he +thinks, additional point to the clause introduced by <i>propter +quod</i>: men who have had but little practice do not always speak +methodically (via), but in telling stories they have no difficulty in +keeping to the thread of their discourse, because the sequence of events +is ‘a trusty guide.’</p> + +<p><a name = "critVII_sec8" id = "critVII_sec8" +href = "QuintBody2.html#chapVII_sec8"><b>§8</b></a>. +<b>paulum</b>, BM Harl. 2662, 4829, 11671, Burn. 244, Dorv.: +<i>paululum</i> bHN Ioan. Harl. 4995, 4950, Burn. 243, Bodl.</p> + +<p><b>sed ipsum os coit atque concurrit</b>, Halm, by adding <i>os</i> +to the reading of B (Harl. 2662, 4995). <i>sed ipsum os quoque +concurrit</i>, Spalding after Gesner. In Ioan. I find <i>sed id +ipsum coit atque conc.</i>, which may show that we ought to read <i>os +ipsum</i>.</p> + +<p><b>elocutioni</b>, b: om. B (also N Ioan. Harl. 2662 Sal.) ‘haud scio +an recte,’ Halm.</p> + +<p><a name = "critVII_sec9" id = "critVII_sec9" +href = "QuintBody2.html#chapVII_sec9"><b>§9</b></a>. +<b>observatione una</b>, Harl. 4995 M Dorv. and Meister: +<i>observationen</i> (<i>-nū</i> Bg) <i>in luna</i> Bn Bg Ioan. N Sal. +Harl. 2662, 4829, 11671: <i>observatione</i> (<i>-um</i> H) <i>in +una</i> bH: <i>observatione simul</i> Halm.</p> + +<p><a name = "critVII_sec13" id = "critVII_sec13" +href = "QuintBody2.html#chapVII_sec13"><b>§13</b></a>. +<b>superfluere video, cum eo quod</b>, Harl. 4995, Voss. 2 Goth. Spald. +and most edd.: <i>superfluere video: quodsi</i> Halm, and a later hand +in Vall. (Becher): <i>videmus superfluere: cum eo quodsi</i> Meister, +followed by Hild and Krüger (3rd ed.). The commonest MS. reading is +<i>superfluere cum eo quod</i> (BHFTN Sal. Ioan. Harl. 2662, 4829, +11671, Burn. 243, Bodl., Dorv.), from which <i>video</i> seems to have +disappeared: the later hand in Bg gives <i>videantur</i>.</p> + +<p>Meister seems to be right in retaining <i>cum eo quod</i>, though his +adoption of <i>videmus</i> for <i>video</i> is unnecessary, considering +<i>mirabor</i> in the same sentence. <i>Cum eo quod</i> (see <i>ad +loc.</i>) is defended by Günther (de Conj. Caus. apud Quint. usu: Halle, +1881, p. 24): he holds that it is more probable that <i>video</i> +dropped out of the text than that it ‘in illo corrupto <i>cumeo</i> +latet’ (Halm). Becher (Phil. Runds. I, n. 51: 1638) denied that ‘cum eo +quod’ could mean ‘mit der Einschränkung dass,’ either in Cic. ad Att. +vi. 1. 7 or anywhere in Quintilian. He found the necessary limitation in +<i>quodsi</i> (‘wenn dagegen’: Cic. ad Fam. xii. 20) and supported +Halm’s reading (which is also that of Par. 2. sec. m.), explaining the +whole passage as follows: ‘Ich bin kein Freund des extemporierten +Vortrages: wenn aber Geist und Wärme belebend wirkt, trifft es sich oft, +dass der grösste Fleiss nicht den Erfolg eines extemporierten Vortrages +erreichen kann.’ But in his latest paper (Programm des Gymnasiums zu +Aurich) he advocates the reading and explanation adopted in the +text.</p> + +<p><a name = "critVII_sec14" id = "critVII_sec14" +href = "QuintBody2.html#chapVII_sec14"><b>§14</b></a>. +<b>ut Cicero dictitabant</b>. The reading is far from certain, but it +seems best to adhere (with Halm) to the oldest MS., Bn, which is in +agreement with N Sal. Ioan., Harl. 2662, 11671, and Dorv. The best +alternative is <i>ut Cicero dicit aiebant</i> (C, Par. 1, also in margin +of Harl. 4950: Bonnell-Meister): b H Bodl. and Burn. 243 give <i>dicit +agebant</i>, which shows that the older codex from which b is derived +probably had this reading, if indeed it is not a mistake for +<i>dictitabant</i>. Bg gives <i>dictabant</i>: Harl. 4995 Goth. Voss. 2, +Par. 2, sec. m. <i>aiebant</i>: Regius conjectured <i>ut Cicero ait +dictitabant</i>: so ed. Camp, and Meister, cp. xii. 3. 11. For the +inclusion of Cicero among the <i>veteres</i> cp. ix. 3. 1 ‘ut omnes +veteres et Cicero praecipue.’</p> + +<p><a name = "critVII_sec16" id = "critVII_sec16" +href = "QuintBody2.html#chapVII_sec16"><ins class = "correction" +title = "line reference missing"><b>§16</b></ins></a>. +<b>tum intendendus</b>. Krüger (3rd ed.) brackets <i>tum</i> (which +is omitted in bHM) on the ground that this sentence does not contain, +like the next (addit ad dicendum ...) a new thought, but rather (after +the parentheses pectus est enim ... mentis, and ideoque imperitis ... +non desunt) forms only a further development of what went before +(omniaque de quibus dicturi erimus, personae ... recipienda): hence also +the repetition of participles, habenda ... recipienda ... intendendus. +H. 2662 gives <i>tamen</i> (and is here again in agreement with +Guelf.).</p> + +<p><b>addit ad dicendum</b>, B: <i>addiscendum</i> (om. <i>addit</i>) +bHFT. The loss of <i>addit</i> seems to have given rise to +interpolation: M shows <i>addit ad discendum stimulos habet et +dicendorum expectata laus</i>. Bonnell prints <i>Ad dic. etiam pudor +stim. habet et dic. exp. aus</i>: so Vall. For the gerund used as subst. +cp. pudenda xi. 1. 84: i. 8. 21: praefanda +<span class = "pagenum">219</span> +viii. 3. 45: desuescendis iii. 8. 70 and xii. 9. 17 num ex tempore +dicendis inseri possit.</p> + +<p><a name = "critVII_sec17" id = "critVII_sec17" +href = "QuintBody2.html#chapVII_sec17"><b>§17</b></a>. +<b>pretium</b>, all codd.: <i>praemium</i> Halm, following Regius.</p> + +<p><a name = "critVII_sec18" id = "critVII_sec18" +href = "QuintBody2.html#chapVII_sec18"><b>§18</b></a>. +<b>praecepimus</b>, edd. vett, occurs in Harl. 4995 and +Vall.<sup>2</sup>: other codd. <i>praecipimus</i>.</p> + +<p><a name = "critVII_sec19" id = "critVII_sec19" +href = "QuintBody2.html#chapVII_sec19"><b>§19</b></a>. +<b>cum ... sint consecuti</b> bHM: <i>cum ... sunt consecuti</i> Bn +Bg N. I cannot follow Becher in adopting the indicative here, +as at <a href = "QuintBody2.html#chapII_sec6">2 §6</a> +(<i>tradiderunt</i>), where see note. Here <i>cum</i> is more or less +causal: there it is antithetical. In point of form the two sentences are +no doubt very much alike. Here the meaning seems to be ‘he who wishes to +acquire <i>extemporalis facilitas</i> must consider it his duty to +arrive at the point where..., seeing that many,’ &c.</p> + +<p>Gertz put a full stop at <i>tutior</i>, and for <i>cum</i> read +<i>quin</i>, holding that, on the traditional reading (i.e. with +<i>extemporalis facilitas</i> as subject), <i>potest</i> would be +expected instead of <i>debet</i>. This suggestion is adopted in Krüger’s +third edition. H. J. Müller suggested <i>Nam ... sunt +consecuti</i>.</p> + +<p><a name = "critVII_sec20" id = "critVII_sec20" +href = "QuintBody2.html#chapVII_sec20"><b>§20</b></a>. +<b>tanta esse umquam debet</b>. This conj. of Herzog I find in the cod. +Dorv., and receive it into the text; Halm and Krüger adopt Jeep’s +<i>tanta sit umquam</i>. Bn Bg N Ioan. Harl. 2662 give <i>tanta esse +umquam fiducia</i>: M has <i>tantam esse umquam fiduciam</i>: Vall. +<i>esse unquam tantam fid.</i>: Harl. 4995 <i>esse tantam unquam</i>. +Regius made the addition of <i>velim</i> after <i>facilitatis</i>: +Becher thinks it may have dropped out before <i>ut non</i>. Meister +follows: perhaps rather <i>tantam velim</i> (t<sup>m</sup>) <i>esse +unquam</i>.</p> + +<p><a name = "critVII_sec22" id = "critVII_sec22" +href = "QuintBody2.html#chapVII_sec22"><b>§22</b></a>. +<b>consequi</b>, Spald.: <i>non sequi</i> bH: <i>sequi</i> MC Harl. +4995, 4950: om. Bn, Bg, N Sal. Ioan. Harl. 4829. Becher would omit it, +explaining <i>utrumque non dabitur</i> as ‘vim omnem et rebus et verbis +intendere.’</p> + +<p><a name = "critVII_sec23" id = "critVII_sec23" +href = "QuintBody2.html#chapVII_sec23"><b>§23</b></a>. +<b>satis</b> Krüger (3rd ed.) brackets, considering it to be the result +of a dittography, and comparing what follows deinde ... aptabimus vela +et disponemus rudentes. It seems however quite genuine.</p> + +<p><a name = "critVII_sec24" id = "critVII_sec24" +href = "QuintBody2.html#chapVII_sec24"><b>§24</b></a>. +<b>non labitur</b>. Perhaps the most that can be said for this reading +(which is that of Spalding, following earlier edd.) is that it is +undoubtedly better than <i>non capitur</i>, which occurs in Bn Bg H +Ioan. M and most codd., and is adopted by Halm and Meister. +<i>Capitur</i> is explained in the Bonnell-Meister ed. by reference to +such phrases as ‘altero oculo capi’ and ‘mens capta’ alongside of ‘mente +captus’ in Livy: it is not ‘lamed’ or ‘weakened.’ This can hardly stand. +Another reading is <i>rapitur</i>, which Halm thought might be right: +but the notion of ‘snatching away’ seems too violent for the context, +though appropriate enough in the passages quoted in support, vi. pr. §4 +a certissimis rapta fatis, and Hor. Car. iv. 7. 8 quae rapit hora diem. +Hild suggests <i>animo</i> (or <i>mente</i>) <i>non labitur</i>: Jeep +<i>non carpitur</i> (cp. Sen. Nat. Quaest. 2. 13 totum potest excidere +quod potest carpi): Becher <i>non abit</i> (cp. ix. 4. 14 abierit omnis +vis, iucunditas, decor). The passage invites emendation: <i>non +cadit</i> might stand alongside of Becher’s <i>non abit</i>, or such a +future as <i>servabitur</i> or <i>retinebitur</i> could take the place +of the negation, though we should then look for <i>deperdet</i> instead +of <i>deperdit</i>.</p> + +<p><b>non omnino</b> B and codd.: <i>omnino non</i> Gesner, followed by +Halm.</p> + +<p><a name = "critVII_sec25" id = "critVII_sec25" +href = "QuintBody2.html#chapVII_sec25"><b>§25</b></a>. +<b>est alia exercitatio</b>, Harl. 2662 (Guelf.), 4995, 4950, 4829, +11671, Burn. 244, M, C, and so Krüger (3rd ed.): <i>est illa</i> BH +Bodl. Burn. 243 Dorv.: <i>est et illa</i> Spalding Halm and Meister (cp. +ix. 3. 35 est et illud repetendi genus, quod...).</p> + +<p><b>utilior</b> (Halm and Meister, following Spalding and ‘edd. +vett.’) Vall.<sup>2</sup>, Harl. 4995: all other codd. <i>utilitatis</i> +(Halm: ‘ex utilis magis<ins class = "correction" title = "punctuation unchanged">?).</ins> In support of his proposal to read <i>maioris +utilitatis</i>, Kiderlin (Blätter f. d. bayer. Gymn. 24, p. 90) +compares ii. 4. 20 quod non simplicis utilitatis opus est: and xi. 1. 60 +quod est sane summae difficultatis.</p> + +<p><a name = "critVII_sec26" id = "critVII_sec26" +href = "QuintBody2.html#chapVII_sec26"><b>§26</b></a>. +<b>quam illa</b>: so all codd. Gertz <i>quam in illa</i> (sc. +exercitatione), and so Meister. This is opposed by Becher (Bursian’s +Jahresb. 1887, p. 49), ‘Zu <i>componitur</i> +<span class = "pagenum">220</span> +ist Subjekt <i>exercitatio cogitandi totasque m. vel silentio</i> +(<i>dum tamen ... ipsum</i>) <i>persequendi</i>, d.h. dem Sinne nach +<i>tacita oratio</i>, wie <i>dum t. q. dicat i. s. i.</i> zeigt, zu +<i>illa</i> ist Subjekt <i>vera oratio</i>; <i>componitur oratio</i> +aber ist nicht auffälliger als <i>explicatur exercitatio</i>.’</p> + +<p><a name = "critVII_sec27" id = "critVII_sec27" +href = "QuintBody2.html#chapVII_sec27"><b>§27</b></a>. +<b>ut Cicero ... tradit</b>. Krüger (3rd ed.) follows Gertz in +transferring this parenthesis to the end of the previous sentence, after +<i>ubique</i>. Becher rejects it as a gloss.</p> + +<p><b>aut legendum</b> b M: om. BN Sal.: <i>vel ad legendum</i> Vall. +Becher would omit it, on the ground that the whole chapter is concerned +only with writing and speech, and even with writing only so far as it +promotes the ‘facultas ex tempore dicendi.’</p> + +<p><a name = "critVII_sec28" id = "critVII_sec28" +href = "QuintBody2.html#chapVII_sec28"><b>§28</b></a>. +<b>innatans</b> Stoer: <i>unatrans</i> BN Ioan. Sal.: <i>inatrans</i> +bH: <i>iura trans</i> Harl. 2662: <i>intrans</i> FM +Vall.<sup>2</sup>.</p> + +<p><a name = "critVII_sec29" id = "critVII_sec29" +href = "QuintBody2.html#chapVII_sec29"><b>§29</b></a>. +<b>an si</b>, Meister (following ed. Camp.): <i>ac si</i> bHFT Burn. +243: <i>an</i> Bn Bg M.</p> + +<p><b>debent</b>, all codd.: <i>debemus</i> Krüger (3rd ed.) after +Gertz. Either seems quite appropriate to the conditional use of the +participle: ‘when men are debarred from both, they ought all the same,’ +&c.</p> + +<p><b>sic dicere</b>. The grounds on which I base this emendation are +stated in the note <i>ad loc.</i> Bn Bg HN and most codd. have +<i>inicere</i>, which looks as if some copyist had stumbled over the +repetition of the letters <i>-ic</i> in what I take to be the original +text, whereupon the preceding <i>tamen</i> (or <i>tam̅</i>) would assist +the transition to <i>in</i>icere. Cp. the omission of <i>sic</i> in most +codd. in <i>ut sic d<span class = "extended">ix</span>erim</i> <a href = +"QuintBody2.html#chapII_sec15">2 §15</a>. Halm (after Bursian) +wrote <i>id efficere</i>, and so Meister. Other attempted emendations +are <i>vincere</i> M, Harl. 4950, Burn. 244 Vall.<sup>2</sup>: <i>tantum +iniicere</i> Harl. 4995: <i>inniti</i> or <i>adniti</i> edd.: <i>id +agere</i> Badius: <i>evincere</i> Törnebladh.</p> + +<p><a name = "critVII_sec32" id = "critVII_sec32" +href = "QuintBody2.html#chapVII_sec32"><b>§32</b></a>. +<b>et in his</b>: <i>in his</i> Halm and Meister: <i>ne in his</i> BN +Ioan. HMC Dorv. Bodl.: <i>ne in iis</i> Harl. 2662: <i>vel in iis</i> +Spald.: <i>vel in his</i> Bonnell and Krüger (3rd ed.). I venture +on <i>et</i>, which seems to help the antithesis with <i>in hoc +genere</i> above: v. <i>ad loc.</i></p> + +<p><b>velut summas ... conferre</b>. So Bonnell (Lex. p. 139) Halm, +Meister, Krüger (3rd ed.). The MSS. vary greatly: <i>vel in summas +in</i> (<i>sine</i> bH: <i>sive</i> Harl. 4995) <i>commentarium</i> Bn +Bg Dorv. Bodl. Harl 2662: <i>velin summas et</i> (suprascr. <i>in</i>) +<i>commentarium</i> N: <i>vel insinuamus sine commendarios</i> M: +<i>commentarioram et capita</i> Harl. 4950. Other conjectural +emendations are <i>velut in summas commentarium</i> Spald.: <i>mihi quae +scr. velut in commentarium summas et c. conf.</i> Zumpt: <i>nec in his +quae scrips. velim summas in commentarium et capita conferri</i> +Frotscher; <i>vel in his quae scrips. rerum summas</i> (cp. Liv. xl. 29. +11 lectis rerum summis) <i>in commentarios conferre</i> Jeep: <i>ex iis +quae scrips. res summas in commentarium et capita conferre</i>, +Zambaldi,—(on the ground that with <i>conferre</i>, <i>ex his</i> +gives a better sense than <i>in his</i>). To these may perhaps be added +<i>et in his quae scrips. velut summas in commentariorum capita +conferre</i>.</p> + +<p>In the Blätter f. d. bayer. Gymn. (1888) 24, pp. 90-91 Kiderlin +discusses the whole passage. Keeping to the reading of the oldest MSS. +(<i>ne in his</i>) he proposes <i>ne in his quae scripserimus +erremus</i>: ‘damit wir nich bei dem Vortrage dessen, was wir +geschrieben haben, den Faden verlieren’: cp. the use of <i>errare</i> +xi. 2. 20 and 36. He rejects the various conjectures suggested above for +<i>vel in summas</i> on the ground that it is impossible to explain +‘summas in commentarium et capita conferre.’ What is the meaning of +‘entering the chief points in a note-book and heads’ (‘den Hauptinhalt +in ein Gedenkbuch und einzelne Hauptabschnitte +einzutragen’—Bonnell-Meister)? Can the note-book and the ‘heads’ +be conjoined in this way? You can make an entry in your notes, but not +in ‘capita’: ‘in ein Gedenkbuch kann man eintragen, in Hauptabschnitte +aber nicht.’ Baur’s version is excluded by the order of words: ‘den +Hauptinhalt und die einzelnen Punkte in ein Gedenkbuch eintragen.’ +Lindner’s is even less satisfactory: +<span class = "pagenum">221</span> +‘welcher zufolge man auch von dem, was man geschrieben hat, den +Hauptinhalt nach gewissen Hauptabschnitten eintragen soll.’</p> + +<p>Kiderlin thinks the context shows that the essence of Laenas’s advice +was to enter the chief points in a memorandum. This demands the +elimination of the unmeaning <i>et</i> which wrongly conjoins +<i>commentarium</i> and <i>capita</i>. Again as <i>summa</i> and +<i>caput</i> are synonyms for ‘Hauptpunkt’ (cp. iii. 11. 27 and vi. +1. 2) one of the two may very well be a gloss: and the <i>vel</i> +in <i>vel in summas</i> seems to show that these words were originally a +marginal gloss to explain (<i>in</i>) <i>capita</i>. Kiderlin therefore +proposes to transform the text as follows: <i>ne in his quae +scripserimus <b>erremus</b></i> [<i>vel in summas</i>] <i>in +commentarium capita conferre.</i></p> + +<p><b>quod non simus</b>, Regius, Frotscher, Becher, Meister, Krüger +(3rd ed.): <i>quod simus</i> Bn Bg Ioan. M Dorv.: and so Halm: <i>non +simus</i> bHT Bodl. In explanation of <i>quod simus</i> Spalding says +‘ubi satis fidere possumus memoriae ne scribendum quidem esse censeo’; +and so Prof. Mayor (Analysis, p. 56), ‘We are even hampered by +writing out at all what we intend to commit to memory: bound down to the +written words, we are closed against sudden inspirations.’</p> + +<p><b>hic quoque</b>, Bn Bg and most codd.: <i>hoc quoque</i> Harl. +4995: <i>id quoque</i> bHM.</p> + +</div> <!-- crit --> + + +<hr class = "spacer"> + +<div class = "contents"> + +<p><a href = "../main.html">Preface</a></p> + +<p><a href = "QuintIntro.html">Introduction</a></p> + +<p><a href = "QuintBody1.html">Chapter I</a></p> + +<p><a href = "QuintBody2.html">Chapters II-VII</a></p> + +<p><a href = "#toc3">Critical Notes</a> <i>top</i></p> +</div> + + +</body> +</html> + diff --git a/old/files/QuintIntro.html b/old/files/QuintIntro.html new file mode 100644 index 0000000..b0bb3fd --- /dev/null +++ b/old/files/QuintIntro.html @@ -0,0 +1,6397 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Quintilian X: Introduction</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + +<link rel = "stylesheet" type = "text/css" href = "quintstyles.css"> + +</head> + +<body> + +<div class = "contents"> + +<p><a href = "../main.html#preface">Preface</a></p> + +<p class = "space"> +Introduction:</p> +<p><a href = "#intro_chapI"> I. Life of Quintilian</a></p> +<p><a href = "#intro_chapII"> II. The Institutio Oratoria</a></p> +<p><a href = "#intro_chapIII">III. Quintilian’s Literary +Criticism</a></p> +<p><a href = "#intro_chapIV">IV. Style and Language</a></p> +<p><a href = "#intro_chapV"> V. Manuscripts</a></p> + +<p class = "space"> +<a href = "QuintBody1.html">Chapter I</a></p> +<p> +<a href = "QuintBody2.html">Chapters II-VII</a></p> +<p> +<a href = "QuintCrit.html">Critical Notes</a></p> + +</div> + + +<div class = "intro"> + +<!-- page numbering starts over --> +<span class = "pagenum">i</span> +<a name = "intro_pagei" id = "intro_pagei"> </a> + +<h4><a name = "intro" id = "intro"> +INTRODUCTION.</a></h4> + +<p class = "line"> </p> + +<h5><a name = "intro_chapI" id = "intro_chapI">I.</a><br> +Life of Quintilian.</h5> + +<p><span class = "smallcaps">It</span> would be possible to state in a +very few lines all that is certainly known about Quintilian’s personal +history; but much would remain to be said in order to convey an adequate +idea of the large place he must have filled in the era of which he is so +typical a representative. The period of his activity at Rome is nearly +co-extensive with the reign of the Flavian emperors,—Vespasian, +Titus, and Domitian. For twenty years he was the recognised head of the +teaching profession in the capital, and a large proportion of those who +came to maturity in the days of Trajan and Hadrian must have received +their intellectual training in his school. It is in itself a sign of the +tendencies of the age that Quintilian should have enjoyed the immediate +patronage of the reigning emperor in the conduct of work which would +formerly have attracted little notice. In earlier days the profession of +teaching had been held in low repute at Rome<a class = "tag" name = +"tag1" id = "tag1" href = "#note1">1</a>. The first attempt to open a +school of rhetoric, in <span class = "smallroman">B.C.</span> 94, was +looked on with the greatest suspicion and disfavour. Even Cicero adopts +a tone of apology in the rhetorical text-books which he wrote for the +instruction of others. But now all was changed, and education had come +to be, as it was in a still greater degree under Nerva, Trajan, and the +Antonines, a department of the government itself. Vespasian was the +founder of a new dynasty; and, though he had little culture to boast of +himself, he was shrewd enough to appreciate the advantages to be derived +from systematising the education of the Roman youth, and maintaining +friendly relations +<span class = "pagenum">ii</span> +<a name = "intro_pageii" id = "intro_pageii"> </a> +with those to whom it was entrusted. Quintilian, for his part, seems to +have diligently seconded, in the scholastic sphere, his patron’s efforts +to efface the memory of the time of trouble and unrest which had +followed the extinction of the Julian line in the person of Nero. After +his retirement from the active duties of his profession, he received the +consular insignia from Domitian,—the promotion of a teacher of +rhetoric to the highest dignity in the State being regarded as a most +unexampled phenomenon by the conservative opinion of the day, which had +failed to recognise the significance of the alliance between prince and +pedagogue. The interest with which the publication of the <i>Institutio +Oratorio</i> was looked forward to, at the close of his laborious +professional career, is sufficient evidence of the authoritative +position Quintilian had gained for himself at Rome. It was a tribute not +only to the successful teacher, but also to the man of letters who, +conscious that his was an age of literary decadence, sought to probe the +causes of the national decline and to counteract its evil +influences.</p> + +<p>Like so many of the distinguished men of his time, Quintilian was a +Spaniard by birth. There must have been something in the Spanish +national character that rendered the inhabitants of that country +peculiarly susceptible to the influences of Roman culture: certainly no +province assimilated more rapidly than Spain the civilisation of its +conquerors. The expansion of Rome may be clearly traced in the history +of her literature. Just as Italy, rather than the imperial city itself, +had supplied the court of Augustus with its chiefest literary ornaments, +so now Spain sends up to the centre of attraction for all things Roman a +band of authors united, if by nothing else, at least by the ties of a +common origin. Pomponius Mela is said to have come from a place called +Cingentera, on the bay of Algesiras; Columella was a native of Gades, +Martial of Bilbilis; the two Senecas and Lucan were born in Corduba. The +emperor Trajan came from Italica, near Seville; while Hadrian belonged +to a family which had long been settled there. Quintilian’s birthplace +was the town of Calagurris (Calahorra) on the Ebro, memorable in +previous history only for the resistance which it enabled Sertorius to +offer to Metellus and Pompeius: it was the last place that submitted +after the murder of the insurgent general in <span class = +"smallroman">B.C.</span> 72.</p> + +<p>In most of the older editions of Quintilian an anonymous Life +appears, the author of which (probably either Omnibonus Leonicenus or +Laurentius Valla) prefers a conjecture of his own to the ‘books of the +time,’ and makes out that Quintilian was born in Rome. His main argument +is that Martial does not include his name among those of the +distinguished authors to whom he refers as being of Spanish origin (e.g. +Epigr. i. +<span class = "pagenum">iii</span> +<a name = "intro_pageiii" id = "intro_pageiii"> </a> +61 and 49), though he addresses him separately in complimentary terms +(Epigr. ii. 90). Against this we may set, however, the line in which +Ausonius embodies what was evidently a well-known and accepted tradition +(Prof. i. 7):—</p> + +<p class = "poem ital">Adserat usque licet Fabium Calagurris +alumnum;</p> + +<p>and the statement of Hieronymus in the <i>Eusebian +Chronicle:—<ins class = "correction" title = +"text reads ‘Quinti/tilianus’ at line break">Quintilianus</ins>, ex Hispania +Calagurritanus, primus Romae publicam scholam</i> [<i>aperuit</i>]. The +latter extract carries additional weight if we accept the conjecture of +Reifferscheid<a class = "tag" name = "tag2" id = "tag2" href = +"#note2">2</a> that Jerome here follows the authority of Suetonius +(Roth, p. 272) in his work on the grammarians and rhetoricians.</p> + +<p>The fact of Quintilian’s Spanish origin may therefore be regarded as +fully established, though we cannot cite the authority of Quintilian +himself on the subject. His removal to Rome, at a very early period of +his life, would naturally make him more of a Roman than a Spaniard; and +this is probably the reason why he nowhere refers to the accident of his +birth-place. Indeed his work does not lend itself to autobiographical +revelations. Most of his reminiscences, some of which occur in the Tenth +Book (<a href = "QuintBody1.html#chapI_sec23">1 §§23</a> and +<a href = "QuintBody1.html#chapI_sec86">86</a>, +<a href = "QuintBody2.html#chapIII_sec12">3 §12</a>: cp. v. 7, 7: vi. 1, +14: xii. 11, 3) are suggested by some detail connected with his +subject. Apart from the famous introduction to Book VI, where his grief +for the loss of his wife and two sons is allowed to interrupt the +continuity of his argument, he speaks of his father only once (ix. +3, 73), and then simply to quote, not without some diffidence, +a <i>bon mot</i> of his in illustration of a figure of speech. The +father was himself a rhetorician, and seems to have taught the subject +both at Calagurris and also after the family removed to Rome: whether he +is identical with the Quintilianus mentioned as a declaimer of moderate +reputation by the elder Seneca (Controv. x. praef. 2: cp. ib. +33, 19) cannot now be ascertained.</p> + +<p>The date of Quintilian’s birth has been variously given as <span +class = "smallroman">A.D.</span> 42, <span class = +"smallroman">A.D.</span> 38, and <span class = "smallroman">A.D.</span> +35, the last being now most commonly adopted. It cannot be determined +with certainty, though a few considerations may here be adduced to show +why it seems necessary to discard any theory that would put it after +<span class = "smallroman">A.D.</span> 38. Dodwell, in his ‘Annales +Quintilianei’ (see Burmann’s edition, vol. ii. p. 1117), arrived at +the year <span class = "smallroman">A.D.</span> 42, after a careful +examination of all the passages on which he thought it allowable to base +an inference. But Quintilian tells us himself that he was a young man +(<i>nobis adulescentibus</i> vi. 1, 14) at the trial of Cossutianus +Capito, +<span class = "pagenum">iv</span> +<a name = "intro_pageiv" id = "intro_pageiv"> </a> +which we know from Tacitus (Ann. xiii. 33) took place in <span class = +"smallroman">A.D.</span> 57: a fact which is in itself enough to show +that Dodwell is at least two years too late. Another indication is +derived from the references which Quintilian makes to his teacher +Domitius Afer, who is known to have died at a ripe old age in <span +class = "smallroman">A.D.</span> 59: cp. xii. 11, 3 <i>vidi ego ... +Domitium Afrum valde senem</i>: v. 7, 7 <i>quem adulescentulus senem +colui</i>: x. +<a href = "QuintBody1.html#chapI_sec86">1, 86</a> <i>quae ex Afro +Domitio iuvenis excepi</i>. Unfortunately we do not know the date of the +trial of Volusenus Catulus referred to in x. +<a href = "QuintBody1.html#chapI_sec23">1, 23</a>: Quintilian was a +boy at the time (<i>nobis pueris</i>). In the preface to Book VI he +writes like an old man: this appears especially in the reference he +makes to the wife whom he had lost and who was only +nineteen,—<i>aetate tam puellari praesertim meae comparata</i> +<a href = "QuintBody1.html#chapI_sec5">§5</a>. If we may infer that +Quintilian was nearer sixty than fifty when he wrote these words, in +<span class = "smallroman">A.D.</span> 93 or 94, we may be certain that +he was born not later than <span class = "smallroman">A.D.</span> 38, +and probably two or three years earlier.</p> + +<p>Quintilian received his early education at Rome, and his father’s +position as a teacher of rhetoric, as well as the whole tendency of the +education of the day, no doubt gave it a rhetorical turn from the very +first. Even boys at school practised declamation, as may be seen from +the following passage of the <i>Institutio</i>:—</p> + +<p>‘<i>Non inutilem scio servatum esse a praeceptoribus meis morem, qui +cum pueros in classes distribuerant, ordinem dicendi secundum vires +ingenii dabant; et ita superiore loco quisque declamabat ut praecedere +profectu videbatur. Huius rei iudicia praebebantur: ea nobis ingens +palma, ducere vero classem multo pulcherrimum. Nec de hoc semel decretum +erat: tricesimus dies reddebat victo certaminis potestatem. Ita nec +superior successu curam remittebat, et dolor victum ad depellendam +ignominiam concitabat. Id nobis acriores ad studia dicendi faces +subdidisse quam exhortationem docentium, paedagogorum custodiam, vota +parentium, quantum animi mei coniectura colligere possum, +contenderim.</i>’—i. 2, 23-25.</p> + +<p>The same style of exercise was kept up at a later stage, when the boy +passed into the hands of a professed teacher of rhetoric, such as the +notorious Remmius Palaemon, who is said by the scholiast on Juvenal (vi. +451) to have been Quintilian’s master:—</p> + +<p>‘<i>Solebant praeceptores mei neque inutili et nobis etiam iucundo +genere exercitationis praeparare nos coniecturalibus causis, cum +quaerere atque exsequi iuberent “cur armata apud Lacedaemonios Venus” et +“quid ita crederetur Cupido puer atque volucer et sagittis ac face +armatus” et similia, in quibus scrutabamur voluntatem.</i>’—ii. +4, 26.</p> + +<p>He now came into contact with, and listened to the eloquence of, the +most celebrated orators of the day. In his relations with the greatest +of +<span class = "pagenum">v</span> +<a name = "intro_pagev" id = "intro_pagev"> </a> +these, Domitius Afer, Quintilian seems to have acted on the maxim which +he himself lays down for the budding advocate: <i>oratorem sibi aliquem, +quod apud maiores fieri solebat, deligat, quem sequatur, quem +imitetur</i> x. +<a href = "QuintBody2.html#chapV_sec19">5, 19</a>. To Afer he +attached himself (<i>adsectabar Domitium Afrum</i> Plin. Ep. ii. +14, 10), and was in all probability by him initiated in the +business of the law-courts and public life generally: cp. v. 7, 7 +<i>adulescentulus senem colui</i> (<i>Domitium</i>). In this passage +Afer is said to have written two books on the examination of witnesses; +and from vi. 3, 42 it would appear that his ‘dicta’ or witticisms were +sufficiently distinguished to merit the honour of publication. He had +held high office under Tiberius, Caligula, and Nero, and his +pre-eminence at the bar was undisputed: xii. 11, 3 <i>principem fuisse +quondam fori non erat dubium</i>. In his review of Latin oratory, +Quintilian gives him high praise: <i>arte et toto genere dicendi +praeferendus, et quem in numero veterum habere non timeas</i> x. +<a href = "QuintBody1.html#chapI_sec118">1, 118</a>. The pupil was +fortunate therefore in his master, and he drew upon his reminiscences of +Afer’s teaching when he himself came to instruct others (Plin. l.c.). +Among other notable orators of the day were Servilius Nonianus (x. +<a href = "QuintBody1.html#chapI_sec102">1, 102</a>), Iulius +Africanus (x. +<a href = "QuintBody1.html#chapI_sec118">1, 118</a>: xii. +10, 11), Iulius Secundus (x. +<a href = "QuintBody1.html#chapI_sec120">1, 120</a>: +<a href = "QuintBody2.html#chapIII_sec12">3, 12</a>: xii. 10, 11), +Galerius Trachalus (x. +<a href = "QuintBody1.html#chapI_sec119">1, 119</a>: xii. +10, 11), and Vibius Crispus (ibid.).</p> + +<p>When he was about twenty-five years of age some motive induced +Quintilian to return to Calagurris, his native town; and there he spent +several years in the practice of his profession as teacher and +barrister. We know that he came back to Rome with Galba in <span class = +"smallroman">A.D.</span> 68: the evidence for this is again the +statement made by Hieronymus in the Eusebian Chronicle, +<i>M. Fabius Quintilianus Romam a Galba perducitur</i>. Galba had +been governor of Hispania Tarraconensis under Nero (<span class = +"smallroman">A.D.</span> 61-68), and it is not improbable that +Quintilian, when he returned to his native country, was in some way +attached to his official retinue; the numerous <i>bons mots</i> which he +records in the third chapter of the Sixth Book (§§62, 64, 66, +80, 90) seem to point to a certain amount of personal intercourse +between himself and the future emperor<a class = "tag" name = "tag3" id += "tag3" href = "#note3">3</a>.</p> + +<p>At Rome Quintilian must soon have proved himself thoroughly qualified +for the work of teaching and training the young. The imperial +countenance afterwards shown him by Vespasian was in all probability +only an official expression of the esteem felt in the Roman community +for one who was serving with such distinction in a sphere of which the +importance was coming now to be more adequately recognised. Quintilian +was not only a learned man and a great teacher: he was a great +<span class = "pagenum">vi</span> +<a name = "intro_pagevi" id = "intro_pagevi"> </a> +moral power in the midst of a people which had long been demoralised by +the vices of its rulers. The fundamental principle of his teaching, +<i>non posse oratorem esse nisi virum bonum</i> (i. pr. §9 and +xii. 1), shows the high ideal he cherished and the wide view he +took of the opportunities of his position. He felt himself strong enough +to make a protest against the literary influence of Seneca, then the +popular favourite, and to endeavour to recall a vitiated taste to more +rigorous standards: <i>corruptum et omnibus vitiis fractum dicendi genus +revocare ad severiora iudicia contendo</i> (x. +<a href = "QuintBody1.html#chapI_sec125">1, 125</a>). And when, in +the evening of his days, he wrote his great treatise on the ‘technical +training’ of the orator, it was from himself and his own successful +practice that he drew many of his most cogent illustrations, e.g. vi. 2, +36, and (in regard to his powers of memory) xi. 2, 39 and iv. +2, 86.</p> + +<p>In the earlier years of his career at Rome, before he became absorbed +in the work of teaching, Quintilian must have had a considerable amount +of practice at the bar. He tells us himself of a speech which he +published, <i>ductus iuvenali cupiditate gloriae</i> viii. 2, 24. It was +of a common type. A certain Naevius Arpinianus was accused of +having killed his wife, who had fallen from a window; and we may infer +with certainty from the tone of Quintilian’s reference to the +circumstances of the case that he succeeded in securing the acquittal of +Naevius—more fortunate than the wife-killer of whom we read in +Tacitus (Ann. iv. 22). A more distinguished cause was that of +Berenice, the Jewish Queen before whom St. Paul appeared (Acts xxv. +13), and whose subsequent visit to Rome was connected with the +ascendency she had established over the heart of the youthful Titus +(Tac. Hist. ii. 2: Suet. Tit. 7). We can only speculate on the +nature of the issue involved, as Quintilian confines himself to a bare +statement of fact—<i>ego pro regina Berenice apud ipsam causam +dixi</i> iv. 1, 19. It was in all probability a civil suit brought or +defended by Berenice against some Jewish countryman; and the phenomenon +of the queen herself presiding over a trial in which she was an +interested party is accounted for by the hypothesis that, at least in +civil suits, Roman tolerance allowed the Jews to settle their own +disputes according to their national law. On such occasions the person +of highest rank in the community to which the disputants belonged might +naturally be designated to preside over the tribunal<a class = "tag" +name = "tag4" id = "tag4" href = "#note4">4</a>.</p> + +<span class = "pagenum">vii</span> +<a name = "intro_pagevii" id = "intro_pagevii"> </a> +<p>In another case, Quintilian seems to have shown some of the dexterity +attributed to him in the oft-quoted line of Juvenal (vi. 280) <i>Dic +aliquem, sodes, dic, Quintiliane, colorem</i>. He was counsel for a +woman who had been party to an arrangement by which the provisions of +the Voconian law (passed <span class = "smallroman">B.C.</span> 169 to +prevent the accumulation of property in the hands of females) had been +evaded by the not uncommon method of a fraudulent disposition to a third +person<a class = "tag" name = "tag5" id = "tag5" href = "#note5">5</a>. +Quintilian’s client was accused of having produced a forged will. This +charge it was easy to rebut, though it rendered necessary the +explanation that the heirs named in the will had really undertaken to +hand the property over to the woman; and if this explanation were openly +given it would involve the loss of the estate. There is an evident tone +of satisfaction in Quintiiian’s description of what happened: <i>ita +ergo fuit nobis agendum ut iudices illud intellegerent factum, delatores +non possent adprehendere ut dictum, et contigit utrumque</i> (ix. +2, 74).</p> + +<p>Unlike his great model Cicero, who was considered most effective in +the <i>peroratio</i> of a great case, where the work was divided among +several pleaders, Quintilian was generally relied on to state a case +(<i>ponere causam</i>) in its main lines for subsequent elaboration: +<i>me certe, quantacunque nostris experimentis habenda est fides, +fecisse hoc in foro, quotiens ita desiderabat utilitas, probantibus et +eruditis et iis qui iudicabant, scio: et (quod non adroganter dixerim, +quia sunt plurimi quibuscum egi qui me refellere possint si mentiar) +fere a me ponendae causae officium exigebatur</i> iv. 2, 86. His +methodical habit of mind would render him specially effective for this +department of work. Other orators may have been more brilliant, more +full of fire, and more able to work upon the feelings of an audience: if +Quintilian had not the ‘grand style’—if he represents the type of +an orator that is ‘made’ rather than ‘born’—we may at least +believe that he was unsurpassed for judicious, moderate, and effective +statement. His model in this as in other matters was probably Domitius +Afer, of whom Pliny says (Ep. ii. 14, 10) <i>apud decemviros +dicebat graviter et lente, hoc enim illi actionis genus erat</i>. His +character and training would secure him a place apart from the common +herd. ‘Among the orators of the day, some ignorant and coarse, having +left mean occupations, without any preliminary study, for the bar, where +they made up in audacity for lack of talent, and in noisy conceit for a +defective knowledge +<span class = "pagenum">viii</span> +<a name = "intro_pageviii" id = "intro_pageviii"> </a> +of law—others trained in the practice of delation to every form of +trickery and violence—Quintilian, honest, able, and moderate stood +by himself<a class = "tag" name = "tag6" id = "tag6" href = +"#note6">6</a><ins class = "correction" title = "text has double quote">.’</ins></p> + +<p>It was after Quintilian had attained some distinction in the practice +of his profession, probably in the year 72, that his activity became +invested with an official and public character. We learn the facts from +Suetonius’s Life of Vespasian (ch. 18): <i>primus e fisco latinis +graecisque rhetoribus annua centena constituit</i>: and the Eusebian +chronicle (see Roth’s Suetonius, p. 272), <i>Quintilianus, ex +Hispania Calagurritanus, qui primus Romae publicam</i> +(‘state-supported’) <i>scholam</i> [<i>aperuit</i>] <i>et salarium e +fisco accepit, claruit</i>—the zenith of his fame being placed +between the years 85 and 89 <span class = "smallroman">A.D.</span> +Vespasian, in fact, created and endowed a professorial Chair of +Rhetoric, and Quintilian was its first occupant. He thus became the +official head of the foremost school of oratory at Rome, and the +‘supreme controller of its restless youth’:</p> + +<div class = "poem ital"> +<p>Quintiliane, vagae moderator summe iuventae,</p> +<p>Gloria Romanae, Quintiliane, togae. +<span class = "plaintext">—Mart. ii. 90, 1-2.</span></p> +</div> + +<p>In this capacity he must have exercised the greatest possible +influence on the rising youth of Rome. The younger Pliny was his pupil, +and evidently retained a grateful memory of the instruction which he +received from him: Ep. ii. 14, 9 and vi. 6, 3. The same is true, in +all probability, of Pliny’s friend Tacitus, who has much in common with +Quintilian: possibly also of Suetonius. If Juvenal was not actually his +pupil,—he is believed to have practised declamation till well on +in life,—we may infer from the complimentary references which +occur in his Satires that he at least appreciated Quintilian’s work and +recognised its healthy influence<a class = "tag" name = "tag7" id = +"tag7" href = "#note7">7</a><ins class = "correction" title = "period missing">. </ins></p> + +<p>After a public career at Rome, extending over a period of twenty +years<a class = "tag" name = "tag8" id = "tag8" href = "#note8">8</a>, +Quintilian definitely retired from both teaching and pleading at +<span class = "pagenum">ix</span> +<a name = "intro_pageix" id = "intro_pageix"> </a> +the bar. He seems to have profited by the example of his model, Domitius +Afer, who would have done better if he had retired earlier (xii. +11, 3): Quintilian thought it was well to go while he would still +be missed,—<i>et praecipiendi munus iam pridem deprecati sumus et +in foro quoque dicendi, quid honestissimum finem putabamus desinere dum +desideraremur</i>, ii. 12, 12. The wealth which he had acquired by the +practice of his profession (Juv. vii. 186-189) enabled him to go into +retirement with a light heart. The first-fruits of his leisure was a +treatise in which he sought to account for that decline in eloquence for +which the <i>Institutio Oratoria</i> was afterwards to provide a remedy. +It was entitled <i>De causis corruptae eloquentiae</i>, and was long +confounded with the Dialogue on Oratory, now ascribed to Tacitus: he +refers to this work in vi. pr. §3: viii. 6, 76: possibly also in ii. 4, +42: v. 12, 23: vi. pr. §3: viii. 3, 58, and 6, 76<a class = "tag" name = +"tag9" id = "tag9" href = "#note9">9</a>. This treatise is no longer +extant, and we have lost also the two books <i>Artis Rhetoricae</i>, +which were published under Quintilian’s name (1 pr. §7), <i>neque +editi a me neque in hoc comparati: namque alterum sermonem per biduum +habitum pueri quibus id praestabatur exceperant, alterum pluribus sane +diebus, quantum notando consequi potuerant, interceptum boni iuvenes sed +nimium amantes mei temerario editionis honore vulgaverant</i><a class = +"tag" name = "tag10" id = "tag10" href = "#note10">10</a>. In a recent +edition of the ‘Minor Declamations’ (M. Fabii Quintiliani +declamationes quae supersunt cxlv Lipsiae, 1884), Const. Ritter +endeavours to show that this is the work referred to in the passage +quoted above, from the preface to the <i>Institutio</i>: cp. Die +Quintilianischen Declamationen, Freiburg i.B., und +<span class = "pagenum">x</span> +<a name = "intro_pagex" id = "intro_pagex"> </a> +Tübingen, 1881, p. 246 sqq.<a class = "tag" name = "tag11" id = "tag11" +href = "#note11">11</a> Meister’s view, however, is that, like the +‘Greater Declamations,’ which are generally admitted to have been +composed at a later date, the ‘Minor Declamations’ also were written +subsequently either by Quintilian himself or (more probably) by +imitators who had caught his style and were glad to commend their +compositions by the aid of his great name. Even in his busy professional +days Quintilian had suffered from the zeal of pirate publishers: he +tells us (vii. 2, 24) that several pleadings were in circulation +under his name which he could by no means claim as entirely his own: +<i>nam ceterae, quae sub nomine meo feruntur, neglegentia excipientium +in quaestum notariorum corruptae minimam partem mei habent</i>.</p> + +<p>While living in retirement, and engaged on the composition of his +work, Quintilian received a fresh mark of Imperial favour, this time +from Domitian. This prince had adopted two grand-nephews, whom he +destined to succeed him on the throne,—the children of his niece +Flavia Domitilla, and of Flavius Clemens, a cousin whom he associated +with himself about this time in the duties of the consulship. They were +rechristened Vespasian and Domitian (Suet. Dom. 15), and the care of +their education was entrusted to Quintilian (<span class = +"smallroman">A.D.</span> 93). He accepted it with fulsome expressions of +gratitude and appreciation<a class = "tag" name = "tag12" id = "tag12" +href = "#note12">12</a>; but did not exercise it for long<a class = +"tag" name = "tag13" id = "tag13" href = "#note13">13</a>, as the +children, with their parents, became the victims of the tyrant’s +capriciousness shortly before his murder, and were ruined as rapidly as +they had risen. Flavius Clemens was put to death, and his wife +Domitilla, probably accompanied by her two sons, was sent into exile. +They seem to have embraced the Jewish faith; and it is interesting to +speculate on the possibility that through intercourse with them, and +with their children, Quintilian may have come into contact with a +religion which was the forerunner of that which was destined soon +afterwards to achieve so universal a triumph.</p> + +<p>It was while he was acting as tutor to the two princes that +Quintilian received, through the influence of their father Flavius +Clemens, the compliment of the consular insignia. This we learn from +Ausonius, himself the recipient of a similar favour from his pupil +Gratian: <i>Quintilianus per Clementem ornamenta consularia sortitus, +honestamenta nominis potius videtur quam insignia potestatis +habuisse</i>. It was probably in allusion to +<span class = "pagenum">xi</span> +<a name = "intro_pagexi" id = "intro_pagexi"> </a> +this promotion, unexampled at that time in the case of a teacher of +rhetoric, that Juvenal wrote (vii. 197-8)—</p> + +<div class = "poem ital"> +<p>Si Fortuna volet, fies de rhetore consul;</p> +<p>Si volet haec eadem, fies de consule rhetor:</p> +</div> + +<p>while another parallel is chronicled by Pliny, Ep. iv. 11, 1 +<i>praetorius hic modo ... nunc eo decidit ut exsul de senatore, rhetor +de oratore fieret. Itaque ipse in praefatione dixit dolenter el +graviter: ‘quos tibi Fortuna, ludos facis?’ facis enim ex professoribus +senatores, ex senatoribus professores.</i></p> + +<p>The flattery with which Quintilian loads the emperor for these and +similar favours is the only stain on a character otherwise invariably +manly, honourable, and straightforward. It is startling for us to hear +that monster of iniquity, the last of the Flavian line, invoked as an +‘upright guardian of morals’ (<i>sanctissimus censor</i> iv. pr. §3), +even when he was ‘tearing in pieces the almost lifeless world.’ There +may have been a grain of sincerity in the compliments which Quintilian, +like Pliny, pays to his literary ability. Domitian’s poetical +productions are said not to have been altogether wanting in merit; and +his attachment to literary pursuits is shown by the festivals he +instituted in honour of Minerva and Jupiter Capitolinus, in which +rhetorical, musical, and artistic contests were a prominent feature (see +on x. +<a href = "QuintBody1.html#chapI_sec91">1, 91</a>). But this is no +justification for the fulsome language employed by Quintilian in the +introduction to the Fourth Book, where the emperor is spoken of as the +protecting deity of literary men: <i>ut in omnibus ita in eloquentia +eminentissimum ... quo neque praesentius aliud nec studiis magis +propitium numen est</i>; nor for his profession of belief that nothing +but the cares of government prevented Domitian from becoming the +greatest poet of Rome: <i>Germanicum Augustum ab institutis studiis +deflexit cura terrarum, parumque dis visum est esse eum maximum +poetarum</i> x. +<a href = "QuintBody1.html#chapI_sec91">1, 91</a> sq. Few would +recognise Domitian in the following reference: <i>laudandum in quibusdam +quod geniti immortales, quibusdam quod immortalitatem virtute sint +consecuti: quod pietas principis nostri praesentium quoque temporum +decus fecit</i> iii. 7, 9. Such servility can only be partially +explained by Quintilian’s official relations to the Court and by the +circumstances of the time at which he wrote. It was a vice of the age: +Quintilian shares it with Martial, Statius, Silius Italicus, and +Valerius Flaccus. The indignant silence which Tacitus and Juvenal +maintained during the horrors of this reign is a better expression of +the virtue of old Rome, which seems to have burned with steadier flame +in the hearts of her genuine sons than in those of the ‘new men’ +<span class = "pagenum">xii</span> +<a name = "intro_pagexii" id = "intro_pagexii"> </a> +from the provinces, with neither pride of family nor pride of +nationality to save them from the corrupting influences of their +surroundings<a class = "tag" name = "tag14" id = "tag14" href = +"#note14">14</a>.</p> + +<p>That Quintilian acquired considerable wealth, partly as a teacher and +partly by work at the bar, is evident from the pointed references made +by Juvenal in the seventh Satire. After showing how insignificant are +the fees paid by Roman parents for their children’s education, when +compared with their other expenses, the satirist suddenly breaks +off,—<i>unde igitur tot Quintilianus habet saltus?</i> How does it +come about (if his profession is so unremunerative) that Quintilian owns +so many estates? The only answer which Juvenal can give to this +conundrum is that the great teacher was one of the fortunate: ‘he is a +lucky man, and your lucky man, like Horace’s Stoic, unites every good +quality in himself, and can expect everything<a class = "tag" name = +"tag15" id = "tag15" href = "#note15">15</a>.’ We must remember however, +that, while Quintilian acquired wealth in the practice of his +profession, no charge is made against him as having placed his abilities +at the disposal of an unscrupulous ruler for his own advancement. Under +Nero, Marcellus Eprius assisted in procuring the condemnation of +Thrasea, and received over £42,000 for the service (Tac. Ann. xvi. 33): +if Quintilian’s name had ever been associated with such a trial, Juvenal +would have been more direct in his reference. But with Quintilian, as +with so many others, the advantages of position and fortune were +counterbalanced by grave domestic losses. In a less rhetorical age the +memorable introduction to the Sixth Book of the <i>Institutio</i> would +perhaps have taken a rather more simple form; but it is none the less a +testimony to the warm human heart of the writer, now a childless +widower. He had married, when already well on in life, a young girl +whose death at the early age of nineteen made him feel as if in her he +had lost a daughter rather than a wife: <i>cum omni virtute quae in +feminas cadit functa insanabilem attulit marito dolorem, tum aetate tam +puellari, praesertim meae comparata, potest et ipsa numerari inter +vulnera orbitatis</i> vi. pr. 5. She left him two sons, the younger +of whom did not long survive her; he had just completed his fifth year +when he died. The father now concentrated all his affection +<span class = "pagenum">xiii</span> +<a name = "intro_pagexiii" id = "intro_pagexiii"> </a> +on the elder, and it was with his education in view that he made all +haste to complete his great work, which he considered would be the best +inheritance he could leave to him,—<i>hanc optimum partem +relicturus hereditatis videbar, ut si me, quod aequum et optabile fuit, +fata intercepissent, praeceptore tamen patre uteretur</i> ib. §1. But +the blow again descended, and his house was desolate: <i>at me fortuna +id agentem diebus ac noctibus festinantemque metu meae mortalitatis ita +subito prostravit ut laboris mei fructus ad neminem minus quam ad me +pertineret. Illum enim, de quo summa conceperam et in quo spem unicam +senectutis reponebam, repetito vulnere orbitatis amisi</i> ib. §2.</p> + +<p>This would be about the year 94 <span class = +"smallroman">A.D.</span>, and the <i>Institutio Oratoria</i> is said to +have seen the light in 95. After that we hear no more of Quintilian. +Domitian was assassinated in 96, and under the new <i>régime</i> it is +possible that the favourite of the Flavian emperors may have been under +a cloud. But his work was done; even if he lived on for a few years +longer in retirement, his career had virtually closed with the +publication of his great treatise. It used to be believed that he lived +into the reign of Hadrian, and died about 118 <span class = +"smallroman">A.D.</span>, but this idea is founded on a misconception<a +class = "tag" name = "tag16" id = "tag16" href = "#note16">16</a>. +Probably he did not even see the accession of Nerva in 96: if he did, he +must have died soon afterwards, for there are two letters of Pliny’s +(one written between 97 and 100, and the other about 105) in which Pliny +does not speak of his old teacher as of one still alive.</p> + + +<hr class = "mid"> + +<h5><a name = "intro_chapII" id = "intro_chapII">II.</a><br> +The Institutio Oratoria.</h5> + +<p>Though Quintilian spent little more than two years on the composition +of the <i>Institutio Oratorio</i>, his work really embodies the +experience of a +<span class = "pagenum">xiv</span> +<a name = "intro_pagexiv" id = "intro_pagexiv"> </a> +lifetime. No doubt much of it lay ready to his hand, even before he +began to write, and he would willingly have kept it longer; but the +solicitations of Trypho, the publisher, were too much for him. His +letter to Trypho shows that he fully appreciated the magnitude of his +task; and there is even the suggestion that (like many a busy teacher +since his time) he only realised when called upon to publish that he had +not covered the whole ground of his subject<a class = "tag" name = +"tag17" id = "tag17" href = "#note17">17</a>. The opening words of the +introduction (<i>post impetratam studiis meis quietem, quae per viginti +annos erudiendis iuvenibus impenderam</i>, &c.) show that the +<i>Institutio</i> was the work of his retirement: and various +indications lead us to fix the date of its composition as falling +between <span class = "smallroman">A.D.</span> 93 and 95. The +introduction to the Fourth Book was evidently written when (probably in +93) Domitian had appointed Quintilian tutor to his grand-nephews; the +Sixth Book, where he refers to his family losses, must have followed +shortly afterwards; while the harshness of his references to the +philosophers in the concluding portions of the work (cp. xi. 1, 30, xii. +3, 11, with 1, pr. 15, which may have been written, or at least revised, +after the rest was finished) seems to suggest that their expulsion by +Domitian (in 94) was already an accomplished fact<a class = "tag" name = +"tag18" id = "tag18" href = "#note18">18</a>. The book is dedicated to +Victorius Marcellus, to whom Statius also addresses the Fourth Book of +his <i>Silvae</i>, evidently as to a person of some consideration and an +orator of repute (cp. Stat. Silv. iv. 4, 8, and 41 sq.). Marcellus had a +son called Geta (Inst. Or. i. pr. 6: Stat. Silv. iv. 4, 71), and it +was originally with a view to the education of this youth (<i>erudiendo +Getae tuo</i>) that Quintilian associated the father’s name with his +work. Geta is again referred to, along with Quintilian’s elder son, and +also the grand-nephews of Domitian, in the introduction to the Fourth +Book; but the opening words of the Sixth Book show that they are all +gone, and the epilogue, at the conclusion of Book xii, is addressed to +Marcellus on behoof of ‘studiosi iuvenes’ in general.</p> + +<p>The plan of the <i>Institutio Oratorio</i> cannot be better given +than in its author’s own words (i. pr. 21 sq.): <i>Liber primus ea quae +sunt ante officium rhetoris continebit. Secundo prima apud rhetorem +elementa et quae de ipsa rhetorices substantia quaeruntur tractabimus, +quinque deinceps inventioni (nam huic et dispositio subiungitur) +quattuor elocutioni, in cuius partem memoria ac pronuntiatio veniunt, +dabuntur. Unus accedet in quo nobis orator ipse informandus est, et qui +mores eius, quae in +<span class = "pagenum">xv</span> +<a name = "intro_pagexv" id = "intro_pagexv"> </a> +suscipiendis, discendis, agendis causis ratio, quod eloquentiae genus, +quis agendi debeat esse finis, quae post finem studia, quantum nostra +valebit infirmitas, disseremus.</i> The first book deals with what the +pupil must learn before he goes to the rhetorician; it gives an account +of home-training and school discipline, and contains also a statement of +Quintilian’s views of grammar. The second book treats of rhetoric in +general: the choice of a proper instructor, as well as his character and +function, and the nature, principles, aims, and use of oratory. It is in +these early books especially that Quintilian reveals the high tone which +has made him an authority on educational morals, as well as rhetorical +training: see especially i. 2, 8, where he enlarges on Juvenal’s dictum, +<i>maxima debetur puero reverentia</i>; ii. 4, 10, where he advocates +gentle and conciliatory methods in teaching; and ii. 2, 5,—a +picture of the ideal teacher in language which might be applied to +Quintilian himself<a class = "tag" name = "tag19" id = "tag19" href = +"#note19">19</a>. The remaining books, except the twelfth, are devoted +to the five ‘parts of rhetoric,’—invention, arrangement, style, +memory, and delivery (Cic. de Inv. i. 7, 9). In the third book we +have a classification of the different kinds of oratory. Next he treats +of the ‘different divisions of a speech, the purpose of the exordium, +the proper form of a statement of facts, what constitutes the force of +proofs, either in confirming our own assertions or refuting those of our +adversary, and of the different powers of the peroration, whether it be +regarded as a summary of the arguments previously used, or as a means of +exciting the feelings of the judge rather than of refreshing his +memory<ins class = "correction" title = "close quote misprinted after next footnote tag">.’</ins> This brings us to the end of the sixth book, +which closes with remarks on the uses of humour and of altercation<a +class = "tag" name = "tag20" id = "tag20" href = "#note20">20</a>. The +discussion of arrangement finishes with the seventh book, which is +extremely technical: style (<i>elocutio</i>) is the main subject of the +four books which follow. Of these the eighth and ninth treat of the +elements of a good style,—such as perspicuity, ornament, &c.; +the tenth of the practical studies and exercises (including a course of +reading) by which the actual command of these elements may be obtained; +while the eleventh deals with appropriateness (i.e. the different kinds +of oratory which suit different audiences), memory, and delivery. The +twelfth book—which Quintilian calls the most grave and important +part of the whole work—treats of the high moral qualifications +requisite in the perfect orator: +<span class = "pagenum">xvi</span> +<a name = "intro_pagexvi" id = "intro_pagexvi"> </a> +just as the first book, introductory to the whole, describes the early +training which should precede the technical studies of the orator, so +the last book sets forth that ‘discipline of the whole man’ which is +their crown and conclusion<a class = "tag" name = "tag21" id = "tag21" +href = "#note21">21</a>. “Lastly, the experienced teacher gives advice +when the public life of an orator should begin, and when it should end. +Even then his activity will not come to an end. He will write the +history of his times, will explain the law to those who consult him, +will write, like Quintilian himself, a treatise on eloquence, or set +forth the highest principles of morality. The young men will throng +round and consult him as an oracle, and he will guide them as a pilot. +What can be more honourable to a man than to teach that of which he has +a thorough knowledge? ‘I know not,’ he concludes, ‘whether an orator +ought not to be thought happiest at that period of his life when, +sequestered from the world, devoted to retired study, unmolested by +envy, and remote from strife, he has placed his reputation in a harbour +of safety, experiencing while yet alive that respect which is more +commonly offered after death, and observing how his character will be +regarded by posterity<a class = "tag" name = "tag22" id = "tag22" href = +"#note22">22</a>.’”</p> + + +<p class = "space"> +The <i>Institutio Oratoria</i> differs from all other previous +rhetorical treatises in the comprehensiveness of its aim and method. It +is a complete manual for the training of the orator, from his cradle to +the public platform. Founding on old Cato’s maxim, that the orator is +the <i>vir bonus dicendi peritus</i>, Quintilian considers it necessary +to take him at birth in order to secure the best results, as regards +both goodness of character and skill in speaking. His work has therefore +for us a double value and a twofold interest: it is a treatise on +education in general, and on rhetorical education in particular. +Throughout the whole, oratory is the end for the sake of which +everything is undertaken,—the goal to which the entire moral and +intellectual training of the student is to be directed. Quintilian’s +high conception of his subject is reflected in the language of the +‘Dialogue on Oratory’: <i>Studium quo non aliud in civitate nostra vel +ad utilitatem fructuosius vel ad voluptatem dulcius vel ad dignitatem +amplius vel ad urbis famam pulchrius vel ad totius imperii atque omnium +gentium notitiam inlustrius excogitari potest</i> (ch. 5). Though +the field for the practical display of eloquence had been greatly +limited by +<span class = "pagenum">xvii</span> +<a name = "intro_pagexvii" id = "intro_pagexvii"> </a> +the extinction of the old freedom of political life, rhetoric +represented, in Quintilian’s day, the whole of education. It was to the +Romans what <span class = "greek" title = "mousikê">μουσική</span> was +to the Greeks, and was valued all the more by them because of its +eminently practical purpose. The student of rhetoric must therefore be +fully equipped. “Quintilian postulates the widest culture: there is no +form of knowledge from which something may not be extracted for his +purpose; and he is fully alive to the importance of method in education. +He ridicules the fashion of the day, which hurried over preliminary +cultivation, and allowed men to grow grey while declaiming in the +schools, where nature and reality were forgotten. Yet he develops all +the technicalities of rhetoric with a fulness to which we find no +parallel in ancient literature. Even in this portion of the work the +illustrations are so apposite and the style so dignified and yet sweet, +that the modern reader, whose initial interest in rhetoric is of +necessity faint, is carried along with much less fatigue than is +necessary to master most parts of the rhetorical writings of Aristotle +and Cicero. At all times the student feels that he is in the company of +a high-toned Roman gentleman who, so far as he could do without ceasing +to be a Roman, has taken up into his nature the best results of ancient +culture in all its forms<a class = "tag" name = "tag23" id = "tag23" +href = "#note23">23</a>.”</p> + +<p>It is in connection with the general rather than with the technical +training of his pupils that Quintilian establishes a claim to rank with +the highest educational authorities,—as for example in his +insistence on the necessity of good example both at home<a class = "tag" +name = "tag24" id = "tag24" href = "#note24">24</a> and in school, and +on the respect due to the young<a class = "tag" name = "tag25" id = +"tag25" href = "#note25">25</a>, as well as his catalogue of the +qualifications required in the trainer of youth (ii. 2, 5: 4, 10), +his protest against corporal punishment (i. 3, 14), and his +consistent advocacy of the moral as well as the intellectual aspects of +education. His system was conceived as a remedy for the existing state +of things at Rome, where eloquence and the arts in general had, as +Messalla puts it in the ‘Dialogue on Oratory,’ “declined from their +ancient glory, not from the dearth of men, but from the indolence of the +young, the carelessness of parents, the ignorance of teachers, and +neglect of the old discipline<a class = "tag" name = "tag26" id = +"tag26" href = "#note26">26</a>.” Under it parents and teachers were to +be united in the effort to develop the moral and intellectual qualities +of the Roman youth: and through education the state was to recover +something of her old vigour and virtue.</p> + +<p>The work was expected with the greatest interest before its +publication, and we may infer, from the high authority assigned to +Quintilian in the +<span class = "pagenum">xviii</span> +<a name = "intro_pagexviii" id = "intro_pagexviii"> </a> +literature of the period, that it long held an honoured place in Roman +schools. But it is curious that the earliest known references are not to +the <i>Institutio</i> but to the <i>Declamationes</i>. In an interesting +chapter of the Introduction to a recent volume<a class = "tag" name = +"tag27" id = "tag27" href = "#note27">27</a>, M. Fierville has +gathered together all the references that occur in the literature of the +early centuries of our era. Trebellius Pollio and Lactantius (both of +the 3rd century) speak of the Declamations, and Ausonius (4th century) +refers to Quintilian without naming his writings: the first definite +mention of the <i>Institutio</i> is made by Hilary of Poitiers (died +367) and afterwards by St. Jerome (died 420). Later Cassiodorus +(468-562) pronounced a eulogy which may stand as proof of his high +appreciation: <i>Quintilianus tamen doctor egregius, qui post fluvios +Tullianos singulariter valuit implere quae docuit, virum bonum dicendi +peritum a prima aetate suscipiens, per cunctas artes ac disciplinas +nobilium litterarum erudiendum esse monstravit, quem merito ad +defendendum totius civitatis vota requirerent</i> (de Arte +Rhetor.—Rhet. Lat. Min., ed. Halm, p. 498). The Ars Rhetorica +of Julius Victor (6th century) is largely borrowed from Quintilian: see +Halm, praef. p. ix. Isidore, Bishop of Seville (570-630), studied +Quintilian in conjunction with Aristotle and Cicero. After the Dark Age, +Poggio’s discovery, at St. Gall in 1416, of a complete manuscript +of Quintilian was ranked as one of the most important literary events in +what we know now as the era of the Renaissance<a class = "tag" name = +"tag28" id = "tag28" href = "#note28">28</a>. The great scholars of the +fifteenth century worked hard at the emendation of the text. The +<i>editio princeps</i> was given to the world by G. A. Campani in +1470; and in the concluding words of his preface the editor reflects +something of the enthusiasm for his author which had already been +expressed by Petrarch, Poggio, and others,—<i>proinde de +Quintiliano sic habe, post unam beatissimam et unicam felicitatem +M. Tullii, quae fastigii loco suspicienda est omnibus et tamquam +adoranda, hunc unum esse quem praecipuum habere possis in eloquentia +ducem: quem si assequeris, quidquid tibi deerit ad cumulum +consummationis id a natura desiderabis non ab arte deposces</i>. This +edition was followed in rapid succession by various others, so that by +the end of the 16th century Quintilian had been edited a hundred times +over<a class = "tag" name = "tag29" id = "tag29" href = +"#note29">29</a>. The 17th century is not so rich in editions, but +Quintilian still reigned in the schools as the great master of rhetoric: +students of English literature +<span class = "pagenum">xix</span> +<a name = "intro_pagexix" id = "intro_pagexix"> </a> +will remember how Milton (Sonnet xi) uses the authority of his name when +referring to the roughness of northern nomenclature:—</p> + +<div class = "poem"> +<p>Those rugged names to our like mouths grow sleek</p> +<p>That would have made Quintilian stare and gasp.</p> +</div> + +<p>In his ‘Tractate on Education’ too Milton strongly recommends the +first two or three books of the <i>Institutio</i>. The 18th century +provided the notable editions of Burmann (1720), Capperonier (1725), +Gesner (1738), and witnessed also the commencement of Spalding’s +(1798-1816), whose text, as revised by Zumpt and Bonnell, practically +held the field till the publication of Halm’s critical edition (1868). +Towards the close of last century it would appear that Quintilian was as +much studied as he had ever been,—probably by many who believed +in, as well as by some who would have rejected the application of the +maxim ‘<i>orator</i> nascitur non fit.’ William Pitt, for example, +shortly after his arrival at Cambridge (1773), and while ‘still bent on +his main object of oratorical excellence,’ attended a course of lectures +on Quintilian, which caused him on one occasion to interrupt his +correspondence with his father<a class = "tag" name = "tag30" id = +"tag30" href = "#note30">30</a>. His lasting popularity must have been +due, not only to his own intrinsic merits, but to the fact that his +writings harmonised well with the studies of those days: it was promoted +also by the serviceable abridgments of the <i>Institutio</i>, either in +whole or in part, that were from time to time published,—notably +that of Ch. Rollin in 1715. In our own day men whose education was +moulded on the old lines—such as J. S. Mill—considered +Quintilian an indispensable part of a scholar’s equipment. Macaulay read +him in India, along with the rest of classical literature. Lord +Beaconsfield professed that he was ‘very fond of Quintilian<a class = +"tag" name = "tag31" id = "tag31" href = "#note31">31</a>.’ But by our +classical scholars he has been almost entirely neglected, no complete +edition having appeared in this country since a revised text was issued +in London in 1822. German criticism, on the other hand, has of late paid +Quintilian special attention, with conspicuous results for the +emendation and illustration of his text: to the great names of Spalding, +Zumpt, and Bonnell, must be added those of Halm, Meister, Becher, +Wölfflin, and Kiderlin.</p> + + +<p class = "space"> +Besides the literary criticism for which it has always attracted +attention, and which will form the subject of the next section, the +Tenth Book of the <i>Institutio</i> contains valuable precepts in regard +to various practical matters which are still of as great importance as +they were in Quintilian’s day. Among these are the practice of writing, +the use of an amanuensis, +<span class = "pagenum">xx</span> +<a name = "intro_pagexx" id = "intro_pagexx"> </a> +the art of revision, the limits of imitation, the best exercises in +style, the advantages of preparation, and the faculty of +improvisation.</p> + +<p>The following list of <span class = "smallcaps">Loci +Memoriales</span> (mainly taken from Krüger’s third edition, pp. +108-110) will give some idea of the various points on which, especially +in the later chapters of the Tenth Book, Quintilian states his opinion +weightily and often with epigrammatic terseness:</p> + +<div class = "inset"> +<p><a href = "QuintBody1.html#chapI_sec112">1 §112</a> +(p. 110) Ille se profecisse sciat cui Cicero valde placebit.</p> + +<p><a href = "QuintBody2.html#chapII_sec4">2 §4</a> +(p. 124) Pigri est ingenii contentum esse iis quae sint ab aliis +inventa.</p> + +<p><a href = "QuintBody2.html#chapII_sec7">2 §7</a> +(p. 125) Turpe etiam illud est, contentum esse id consequi quod +imiteris.</p> + +<p><a href = "QuintBody2.html#chapII_sec8">2 §8</a> +(p. 126) Nulla mansit ars qualis inventa est, nec intra initium +stetit.</p> + +<p><a href = "QuintBody2.html#chapII_sec10">2 §10</a> +(pp. 126-7) Eum vero nemo potest aequare cuius vestigiis sibi utique +insistendum putat; necesse est enim semper sit posterior qui +sequitur.</p> + +<p><a href = "QuintBody2.html#chapII_sec10">2 §10</a> +(p. 127) Plerumque facilius est plus facere quam idem.</p> + +<p><a href = "QuintBody2.html#chapII_sec12">2 §12</a> +(ibid.) Ea quae in oratore maxima sunt imitabilia non sunt, ingenium, +inventio, vis, facilitas, et quidquid arte non traditur.</p> + +<p><a href = "QuintBody2.html#chapII_sec18">2 §18</a> +(p. 131) Noveram quosdam qui se pulchre expressisse genus illud +caelestis huius in dicendo viri sibi viderentur, si in clausula +posuissent ‘esse videatur.’</p> + +<p><a href = "QuintBody2.html#chapII_sec20">2 §20</a> +(p. 132) (Praeceptor) rector est alienorum ingeniorum atque formator. +Difficilius est naturam suam fingere.</p> + +<p><a href = "QuintBody2.html#chapII_sec22">2 §22</a> +(ibid.) Sua cuique proposito lex, suus decor est.</p> + +<p><a href = "QuintBody2.html#chapII_sec24">2 §24</a> +(p. 134) Non qui maxime imitandus, et solus imitandus est.</p> + +<p><a href = "QuintBody2.html#chapIII_sec2">3 §2</a> +(p. 136) Scribendum ergo quam diligentissime et quam plurimum. Nam ut +terra alte refossa generandis alendisque seminibus fecundior fit, sic +profectus non a summo petitus studiorum fructus effundit uberius et +fidelius continet.</p> + +<p><a href = "QuintBody2.html#chapIII_sec2">3 §2</a> +(p. 137) Verba in labris nascentia.</p> + +<p><a href = "QuintBody2.html#chapIII_sec3">3 §3</a> +(ibid.) Vires faciamus ante omnia, quae sufficiant labori certaminum et +usu non exhauriantur. Nihil enim rerum ipsa natura voluit magnum effici +cito, praeposuitque pulcherrimo cuique operi difficultatem.</p> + +<p><a href = "QuintBody2.html#chapIII_sec7">3 §7</a> +(p. 139) Omnia nostra dum nascuntur placent, alioqui nec +scriberentur.</p> + +<p><a href = "QuintBody2.html#chapIII_sec9">3 §9</a> +(ibid.) Primum hoc constituendum, hoc obtinendum est, ut quam optime +scribamus: celeritatem dabit consuetudo.</p> + +<p><a href = "QuintBody2.html#chapIII_sec10">3 §10</a> +(ibid.) Summa haec est rei: cito scribendo non fit ut bene scribatur, +bene scribendo fit ut cito.</p> + +<p><a href = "QuintBody2.html#chapIII_sec15">3 §15</a> +(p. 142) Curandum est ut quam optime dicamus, dicendum tamen pro +facultate.</p> + +<p><a href = "QuintBody2.html#chapIII_sec22">3 §22</a> +(p. 146) Secretum in dictando perit.</p> + +<span class = "pagenum">xxi</span> +<a name = "intro_pagexxi" id = "intro_pagexxi"> </a> +<p><a href = "QuintBody2.html#chapIII_sec26">3 §26</a> +(p. 148) Cui (acerrimo labori) non plus inrogandum est quam quod somno +supererit, haud deerit.</p> + +<p><a href = "QuintBody2.html#chapIII_sec27">3 §27</a> +(ibid.) Abunde, si vacet, lucis spatia sufficiunt: occupatos in noctem +necessitas agit. Est tamen lucubratio, quotiens ad eam integri ac +refecti venimus, optimum secreti genus.</p> + +<p><a href = "QuintBody2.html#chapIII_sec29">3 §29</a> +(ibid.) Non est indulgendum causis desidiae. Nam si non nisi refecti, +non nisi hilares, non nisi omnibus aliis curis vacantes studendum +existimarimus, semper erit propter quod nobis ignoscamus.</p> + +<p><a href = "QuintBody2.html#chapIII_sec31">3 §31</a> +(p. 149) Nihil in studiis parvum est.</p> + +<p><a href = "QuintBody2.html#chapIV_sec1">4 §1</a> +(p. 151) Emendatio, pars studiorum longe utilissima; neque enim sine +causa creditum est stilum non minus agere, cum delet. Huius autem operis +est adicere, detrahere, mutare.</p> + +<p><a href = "QuintBody2.html#chapIV_sec4">4 §4</a> +(p. 152) Sit ergo aliquando quod placeat aut certe quod sufficiat, ut +opus poliat lima, non exterat.</p> + +<p><a href = "QuintBody2.html#chapV_sec23">5 §23</a> +(p. 166) Diligenter effecta (sc. materia) plus proderit quam plures +inchoatae et quasi degustatae.</p> + +<p><a href = "QuintBody2.html#chapVI_sec1">6 §1</a> +(p. 167) Haec (sc. cogitatio) inter medios rerum actus aliquid invenit +vacui nec otium patitur.</p> + +<p><a href = "QuintBody2.html#chapVI_sec2">6 §2</a> +(p. 168) Memoriae quoque plerumque inhaeret fidelius quod nulla +scribendi securitate laxatur.</p> + +<p><a href = "QuintBody2.html#chapVI_sec5">6 §5</a> +(ibid.) Sed si forte aliqui inter dicendum effulserit extemporalis +color, non superstitiose cogitatis demum est inhaerendum.</p> + +<p><a href = "QuintBody2.html#chapVI_sec6">6 §6</a> +(p. 169) Refutare temporis munera longe stultissimum est.</p> + +<p><a href = "QuintBody2.html#chapVI_sec6">6 §6</a> +(ibid.) Extemporalem temeritatem malo quam male cohaerentem +cogitationem.</p> + +<p><a href = "QuintBody2.html#chapVII_sec1">7 §1</a> +(p. 170) Maximus vero studiorum fructus est et velut praemium quoddam +amplissimum longi laboris ex tempore dicendi facultas.</p> + +<p><a href = "QuintBody2.html#chapVII_sec4">7 §4</a> +(p. 171) Perisse profecto confitendum est praeteritum laborem, cui +semper idem laborandum est. Neque ego hoc ago ut ex tempore dicere +malit, sed ut possit.</p> + +<p><a href = "QuintBody2.html#chapVII_sec12">7 §12</a> +(p. 175) Mihi ne dicere quidem videtur nisi qui disposite, ornate, +copiose dicit, sed tumultuari.</p> + +<p><a href = "QuintBody2.html#chapVII_sec15">7 §15</a> +(p. 176) Pectus est enim, quod disertos facit, et vis mentis.</p> + +<p><a href = "QuintBody2.html#chapVII_sec16">7 §§16-17</a> +(p. 177) Extemporalis actio auditorum frequentia, ut miles congestu +signorum, excitatur. Namque et difficiliorem cogitationem exprimit et +expellit dicendi necessitas, et secundos impetus auget placendi +cupido.</p> + +<p><a href = "QuintBody2.html#chapVII_sec18">7 §18</a> +(ibid.) Facilitatem quoque extemporalem a parvis initiis paulatim +perducemus ad summam, quae neque perfici neque contineri nisi usu +potest.</p> + +<p><a href = "QuintBody2.html#chapVII_sec20">7 §20</a> +(p. 178) Neque vero tanta esse umquam fiducia facilitatis +<span class = "pagenum">xxii</span> +<a name = "intro_pagexxii" id = "intro_pagexxii"> </a> +debet ut non breve saltem tempus, quod nusquam fere deerit, ad ea quae +dicturi sumus dispicienda sumamus.</p> + +<p><a href = "QuintBody2.html#chapVII_sec21">7 §21</a> +(p. 178) Qui stultis videri eruditi volunt, stulti eruditis +videntur.</p> + +<p><a href = "QuintBody2.html#chapVII_sec24">7 §24</a> +(p. 179) Rarum est ut satis se quisque vereatur.</p> + +<p><a href = "QuintBody2.html#chapVII_sec26">7 §26</a> +(p. 180) Studendum vero semper et ubique.</p> + +<p><a href = "QuintBody2.html#chapVII_sec27">7 §27</a> +(p. 180-1) Neque enim fere tan est ullus dies occupatus ut nihil +lucrativae ... operae ad scribendum aut legendum aut dicendum rapi +aliquo momento temporis possit.</p> + +<p><a href = "QuintBody2.html#chapVII_sec28">7 §28</a> +(p. 181) Quidquid loquemur ubicumque sit pro sua scilicet portione +perfectum.</p> + +<p><a href = "QuintBody2.html#chapVII_sec28">7 §28</a> +(ibid.) Scribendum certe numquam est magis, quam cum multa dicemus ex +tempore.</p> + +<p><a href = "QuintBody2.html#chapVII_sec29">7 §29</a> +(p. 181-2) Ac nescio an si utrumque cum cura et studio fecerimus, +invicem prosit, ut scribendo dicamus diligentius, dicendo scribamus +facilius. Scribendum ergo quotiens licebit, si id non dabitur, +cogitandum; ab utroque exclusi debent tamen sic dicere ut neque +deprehensus orator neque litigator destitutus esse videatur.</p> +</div> + +<hr class = "mid"> + +<h5><a name = "intro_chapIII" id = "intro_chapIII">III.</a> +Quintilians’s Litary Criticism.</h5> + +<p>It was the conviction that a cultured orator is better than an orator +with no culture that induced Quintilian to devote so considerable a part +of the Tenth Book to a review of Greek and Roman literature. He was +aware that in order to speak with effect it is necessary for a man to +know a good deal that lies outside the scope of the particular case +which he may undertake to plead; and while the ‘firm facility’ <span +class = "greek" title = "hexis">ἕξις</span> at which he taught the +orator to aim could only be attained by a variety of exercises and +qualifications, a course of wide and careful reading must always, he +considered, form one of the factors in the combination.</p> + +<p>In judging of the merits of Quintilian’s literary criticism we must +not forget the point of view from which he wrote. He is not dealing with +literature in and for itself. His was not the cast of mind in which the +faculty of literary appreciation finds artistic expression in the form +in which criticism becomes a part of literature itself. We cannot think +of the author of the Tenth Book of the <i>Institutio</i> as one whom a +divinely implanted instinct for literature impelled, towards the evening +of his days, to leave a record of the personal impressions he had +derived from contact with those whom we now recognise as the +master-minds of classical antiquity. Quintilian writes, not as the +literary man for a sympathetic brotherhood, but as the professor of +rhetoric for students in his school. If, in the +<span class = "pagenum">xxiii</span> +<a name = "intro_pagexxiii" id = "intro_pagexxiii"> </a> +course of his just and sober, but often trite and obvious criticisms, he +characterises a writer in language which has stood the test of time, it +is always when that writer touches his main interest most nearly, as one +from whom the student of style may learn much. In short, his work in the +department of literary criticism is done much in the same spirit as that +which, in these later days, has moved many sober and sensible, but on +the whole average persons, conversant with the general current of +contemporary thought, and not without the faculty of appreciative +discrimination, to draw up a list of the ‘Best Hundred Books.’ Their +aim, however, has been to guide and direct the work of that peculiar +product of modern times, the ‘general reader’: Quintilian’s victim was +the professed student of rhetoric.</p> + +<p>But this limitation, arising partly out of the special aim which he +had imposed upon himself, partly, also, in all probability, from the +constitution of his own mind, ought not to blind us to the value of the +comprehensive review of ancient literature which Quintilian has left us +in this Tenth Book. “His literary sympathies are extraordinarily wide. +When obliged to condemn, as in the case of Seneca, he bestows generous +and even extravagant praise on such merit as he can find. He can +cordially admire even Sallust, the true fountain-head of the style which +he combats, while he will not suffer Lucilius to lie under the +aspersions of Horace.... The judgments which he passes may be in many +instances traditional, but, looking to all the circumstances of the +time, it seems remarkable that there should then have lived at Rome a +single man who could make them his own and give them expression. The +form in which these judgments are rendered is admirable. The gentle +justness of the sentiments is accompanied by a curious felicity of +phrase. Who can forget the ‘immortal swiftness of Sallust,’ or the +‘milky richness of Livy,’ or how ‘Horace soars now and then, and is full +of sweetness and grace, and in his varied forms and phrases is most +fortunately bold’? Ancient literary criticism perhaps touched its +highest points in the hands of Quintilian.”<a class = "tag" name = +"tag32" id = "tag32" href = "#note32">32</a></p> + +<p>The course of reading which Quintilian recommends is selected with +express reference to the aim which he had in view, and which is put +prominently forward in connection with nearly every individual +criticism. The young man who aspires to success in speaking must have +his taste formed: when he reads Homer, let him note that, great poet as +Homer is, and admirable in every respect, he is also <i>oratoria virtute +eminentissimus</i> (<a href = +"QuintBody1.html#chapI_sec46">1 §46</a>). Alcaeus is <i>plerumque +oratori similis</i> (<a href = +"QuintBody1.html#chapI_sec63">1 §63</a>): Euripides is, on that +ground, to be preferred to Sophocles (<a href = +"QuintBody1.html#chapI_sec67">1 §67</a>): Lucan is <i>magis +oratoribus quam poetis imitandus</i> (<a href = +"QuintBody1.html#chapI_sec70">1 §70</a>): and the old Greek comedy +is +<span class = "pagenum">xxiv</span> +<a name = "intro_pagexxiv" id = "intro_pagexxiv"> </a> +specially recommended as a form of poetry ‘than which probably none is +better suited to form the orator’ (<a href = +"QuintBody1.html#chapI_sec65">1 §65</a>). With the prose writers +Quintilian is thoroughly at home, and he nowhere lets in so much light +on his own sympathies as in the estimates he gives us of Cicero (<a href += "QuintBody1.html#chapI_sec105">1 §§105-112</a>) and Seneca (<a +href = "QuintBody1.html#chapI_sec125">1 §§125-131</a>). His +criticism of Cicero is precisely what might have been expected from the +general tone of the references throughout the <i>Institutio</i>. Cicero +is Quintilian’s model, to whom he looks up with reverential admiration: +he will not hear of his faults. In his own day the great orator had been +attacked by Atticists of the severer type for the richness of his style +and the excessive attention which they alleged that he paid to rhythm. +The ‘plainness’ of Lysias was their ideal, and they failed to recognise +the fact that, with the more limited resources of the Latin language, +such simplicity and condensation would be perilously near to baldness +(cp. note on +<a href = "QuintBody1.html#chapI_sec105">1 §105</a>). Cicero they +regarded as an Asianist in disguise; in the words of his devoted +follower, they “dared to censure him as unduly turgid and Asiatic and +redundant; as too much given to repetition, and sometimes insipid in his +witticisms; and as spiritless, diffuse, and (save the mark!) even +effeminate in his arrangement” (<i>Inst. Or.</i> xii. 10, 12, quoted on +<a href = "QuintBody1.html#chapI_sec105">1 §105</a>). That this +criticism had not been forgotten in Quintilian’s own day is obvious not +only from the <i>Institutio</i> but also from the discussion in the +<i>Dialogus de Oratoribus</i>, where Aper is represented as saying “We +know that even Cicero was not without his disparagers, who thought him +inflated, turgid, not sufficiently concise, but unduly diffuse and +luxuriant, and far from Attic” (ch. 18). To such detractors of his great +model Quintilian will have nothing to say, and in his criticism of +Cicero he gives full expression to his enthusiastic admiration for the +genius of one who had brought eloquence to the highest pinnacle of +perfection (vi. 31 <i>Latinae eloquentiae princeps</i>: cp. x. +<a href = "QuintBody1.html#chapI_sec105">1 §§105-112</a>: xii. 1, +20 <i>stetisse ipsum in fastigio eloquentiae fateor</i>: 10, 12 sqq. +<i>in omnibus quae in quoque laudantur eminentissimum</i>).</p> + +<p>With such an absorbing enthusiasm for Cicero, it was hardly to be +expected that Quintilian would show an adequate appreciation of Seneca. +Seneca’s influence was the great obstacle in the way of a general return +to the classical tradition of the Golden Age, and this was the literary +reform which Quintilian had at heart—<i>corruptum et omnibus +vitiis fractum dicendi genus revocare ad severiora iudicia contendo</i> +x. +<a href = "QuintBody1.html#chapI_sec125">1, 125</a>. It is probable +that, in spite of the appearance of candour which he assumes in dealing +with him, Quintilian approached Seneca with a certain degree of +prejudice<a class = "tag" name = "tag33" id = "tag33" href = +"#note33">33</a>. Quintilian represents the literature of erudition, and +his +<span class = "pagenum">xxv</span> +<a name = "intro_pagexxv" id = "intro_pagexxv"> </a> +standard is the best of what had been done in the past: Seneca was, like +Lucan, the child of a new era, to whom it seemed perfectly natural that +new thoughts should find utterance in new forms of expression. Seneca’s +motto was ‘nullius nomen fero,’—he gave free rein to the play of +his fancy, and rejected all method<a class = "tag" name = "tag34" id = +"tag34" href = "#note34">34</a>: Quintilian looked with horror (in the +interest of his pupils) on a liberty that was so near to licence, and +set himself to check it by recalling men’s minds to the ‘good old ways,’ +and extolling Cicero as the synonym for eloquence itself. In such a +conflict of tastes as regards things literary, and apart from the +ambiguous character of Seneca’s personal career, it is not surprising +that Quintilian should have been unfavourably disposed towards him. He +had a grudge, moreover, against philosophers in general, especially the +Stoics. They had encroached on what his comprehensive scheme of +education impelled him to believe was the province of the teacher of +rhetoric,—the moral training of the future orator<a class = "tag" +name = "tag35" id = "tag35" href = "#note35">35</a>.</p> + +<p>He was morbidly anxious to show that rhetoric stood in need of no +extraneous assistance: even the ‘grammatici’ he teaches to know their +proper place (see esp. i. 9, 6). But it was mainly, no doubt, as +representing certain literary tendencies of which he disapproved that +Seneca must have incurred Quintilian’s censure. It is probable that in +many passages of the <i>Institutio</i>, where he is not specially named, +it is Seneca that is in the writer’s mind: the tone of the references +corresponds in several points with the famous passage of the Tenth +Book<a class = "tag" name = "tag36" id = "tag36" href = +"#note36">36</a>. In this passage +<span class = "pagenum">xxvi</span> +<a name = "intro_pagexxvi" id = "intro_pagexxvi"> </a> +Quintilian is evidently putting forward the whole force of his authority +in order to counteract Seneca’s influence. He has kept him waiting in a +marked manner, to the very end of his literary review: and when he comes +to deal with him he does not confine his criticism to a few words or +phrases, but devotes nearly as much space to him as he did to Cicero +himself. In his estimate of Seneca nothing is more remarkable than the +careful manner in which Quintilian mingles praise and blame. But the +praise is reluctant and half-hearted: it is Seneca’s faults that his +critic wishes to make prominent. He admits his ability (<i>ingenium +facile et copiosum</i> +<a href = "QuintBody1.html#chapI_sec128">§128</a>), and even goes the +length of saying that it would be well if his imitators could rise to +his level (<i>foret enim optandum pares ac saltem proximos illi viro +fieri</i> +<a href = "QuintBody1.html#chapI_sec127">§127</a>). But praise is no +sooner given than it is immediately recalled. It was his faults that +secured imitators for Seneca (<i>placebat propter sola vitia</i> ib.); +if he was distinguished for wide knowledge (<i>plurimum studii, multa +rerum cognitio</i> +<a href = "QuintBody1.html#chapI_sec128">§128</a>), he was often misled +by those who assisted him in his researches; if there is much that is +good in him, ‘much even to admire’ (<i>multa ... probanda in eo, multa +etiam admiranda sunt</i> +<a href = "QuintBody1.html#chapI_sec131">§131</a>), still it requires +picking out. In short, so dangerous a model is he, that he should be +read only by those who have come to maturity, and then not so much, +evidently, for improvement, as for the reason that it is good to ‘see +both sides,’—<i>quod exercere potest utrimque iudicium</i>, +ib.</p> + +<p>It has already been suggested that the secret of a great part of +Quintilian’s antipathy to Seneca may have been his dislike of the +philosophers, whom his imperial patrons found it necessary from time to +time to suppress. He was anxious to exalt rhetoric at the expense of +philosophy. But he was no doubt also honestly of opinion—and his +position as an instructor of youth would make him feel bound to express +his view distinctly—that Seneca was a dangerous model for the +budding orator to imitate. His merits were many and great: but his +peculiarities lent themselves readily to degradation. Quintilian wished +to put forward a counterblast to the fashionable tendency of the day, +and to recall—in their own interests—to severer models +Seneca’s youthful imitators,—those of whom he writes <i>ad ea</i> +(i.e. <i>eius vitia</i>) <i>se quisque dirigebat effingenda, quae +poterat; deinde quum se iactaret eodem modo dicere, Senecam +infamabat</i> +<a href = "QuintBody1.html#chapI_sec127">§127</a>. Seneca was of course +not responsible for the exaggerations of his imitators, and Quintilian +would never have encouraged in his pupils exclusive devotion to any +particular model, especially if that model were characterised by such +peculiar features of style as distinguished Sallust or Tacitus. But he +could not forgive +<span class = "pagenum">xxvii</span> +<a name = "intro_pagexxvii" id = "intro_pagexxvii"> </a> +Seneca for his share in the reaction against Cicero<a class = "tag" name += "tag37" id = "tag37" href = "#note37">37</a>. Admirers of Seneca think +that he failed to make allowance for the influences at work on the +philosopher’s style, and that he judged him too much from the standpoint +of a rhetorician. They admit Seneca’s faults—his tendency to +declamation, the want of balance in his style, his excessive subtlety, +his affectation, his want of method: but they contend that these faults +are compensated by still greater virtues<a class = "tag" name = "tag38" +id = "tag38" href = "#note38">38</a>. M. Rocheblave, who possesses +the appreciation of Seneca traditional among Frenchmen, follows Diderot +in inclining to believe that the philosopher was the victim of envy and +dislike<a class = "tag" name = "tag39" id = "tag39" href = +"#note39">39</a>. For himself he protests in the following terms against +what he considers the inadequacy of Quintilian’s estimate: ‘Da mihi +quemvis Annaei librorum ignarum, et dicito num ex istis Quintiliani +laudibus non modo perspicere, sed suspicari etiam possit quanto +sapientiae doctrinaeque gradu steterit scriptor qui in tota latina +facundia optima senserit, humanissima docuerit, maxima et multo plurima +excogitaverit, ita ut, multis ex antiqua morali philosophia seu graeca +seu latina depromptis, adiectis pluribus, potuerit in unum propriumque +saporem omnia illa quasi sapientiae humanae libamenta confundere? +Credisne a tali lectore scriptorem vivo gurgite exundantem, sensibus +scatentem, legentes in perpetuas rapientem cogitationes, eum denique +quem ob vim animi ingeniique acumen iure anteponat Tullio Montanius +noster<a class = "tag" name = "tag40" id = "tag40" href = +"#note40">40</a>, protinus agnitum iri? ...facile credo pusillas Fabii +laudes multum infra viri meritum stetisse (quod detrectationis sit +tutissimum genus) omnes mecum confessuros’ (pp. 44-5).</p> + +<p>Whether they were altogether deserved or not, there can be no doubt +<span class = "pagenum">xxviii</span> +<a name = "intro_pagexxviii" id = "intro_pagexxviii"> </a> +that the strictures made by so great a literary leader as Quintilian was +in his own day must have greatly contributed to the overthrow of +Seneca’s influence. There is more than one indication, in the literature +of the next generation, that he is no longer regarded as a safe model +for imitation. Tacitus, in reporting the panegyric which Nero delivered +on Claudius after his death, and which was the work of Seneca, says that +it displayed much grace of style (<i>multum cultus</i>), as was to be +expected from one who possessed <i>ingenium amoenum et temporis</i> eius +<i>auribus accommodatum</i> (Ann. xiii. 3). Suetonius tell us how +Caligula disparaged the <i>lenius comtiusque scribendi genus</i> which +Seneca represented; and here (Calig. 53) occurs a similar reference to a +fame that had passed away,—<i>Senecam <b>tum</b> maxime +placentem</i>, just as the elder Pliny, writing about the time of +Seneca’s death, speaks of him as <i>princeps <b>tum</b> eruditorum</i> +(Nat. Hist. xiv. 51). Later writers, such as Fronto and Aulus Gellius<a +class = "tag" name = "tag41" id = "tag41" href = "#note41">41</a> were +much more unreserved and even immoderate in their censure. And it is a +remarkable fact (noted by M. Rocheblave) that the name of the great +Stoic nowhere occurs in the writings of his successors, Epictetus and +Marcus Aurelius. He who had been the greatest literary ornament of +Nero’s reign disappears almost from notice in the second century.</p> + +<p>In regard to the general body of Quintilian’s literary criticism, the +question of greatest interest for modern readers is the degree of its +originality. How far is Quintilian giving us his own independent +judgments on the writings of authors whom he had read at first hand? How +far is he merely registering current criticism, which must already have +found more or less definite expression in the writings and teaching of +previous rhetoricians and grammarians? The circumstances of the case +make it impossible for us to approach the special questions which it +involves with any great prejudice in favour of Quintilian’s originality +in general. The extent of his indebtedness to previous writers, as +regards the main body of his work, may be inferred from a glance at the +‘Index scriptorum et artificum’ in Halm’s edition. In many places he is +merely simplifying the rules of the Greek rhetoricians whom he followed. +Probably he was not equally well up in all the departments of the +subject of which he treats, and he naturally relied, to some extent, on +the works of those who had preceded him. But did he take his literary +criticism from others? Was Quintilian one of those reprehensible persons +who do not scruple to borrow, and to give forth as their own, the +estimate formed and expressed +<span class = "pagenum">xxix</span> +<a name = "intro_pagexxix" id = "intro_pagexxix"> </a> +by some one else of authors whose works they may never themselves have +read?</p> + +<p>In endeavouring to find an answer to this question, it will be +convenient to consider Quintilian’s criticism of the Greek writers apart +from that which he applies to his own countrymen, with whose works he +might <i>a priori</i> be expected to be more familiar. The notes to +that part of the Tenth Book in which he deals with Greek literature (<a +href = "QuintBody1.html#chapI_sec46">1 §§46-84</a>) will show too +many instances of parallelism for us to believe that, in addressing +himself to this portion of his subject, Quintilian scrupulously avoided +incurring any obligations to others<a class = "tag" name = "tag42" id = +"tag42" href = "#note42">42</a>. No doubt in his long career as a +teacher he had come into contact with traditional opinion as to the +merits and characteristics not only of the Greek but also of the Latin +writers; and in the two years which he tells us he devoted to the +composition of the <i>Institutio</i><a class = "tag" name = "tag43" id = +"tag43" href = "#note43">43</a> he may still further have increased his +debt to extraneous sources. It was in fact impossible that Quintilian +should have been unaware of the nature of the criticism current in his +own day, and of what had previously been said and written by others. But +he is not to be thought of as one who, before indicating his opinion of +a particular writer, carefully refers, not to that writer’s works, but +to the opinion of others concerning them. The cases in which he +reproduces, in very similar language, the verdict of others are not +always to be explained on the hypothesis of conscious borrowing<a class += "tag" name = "tag44" id = "tag44" href = "#note44">44</a>. The +coincidences which can be traced certainly do detract from the +originality of his work. +<span class = "pagenum">xxx</span> +<a name = "intro_pagexxx" id = "intro_pagexxx"> </a> +But we do not need to believe that, in writing his individual +criticisms, Quintilian always had recourse to the works of others: he no +doubt had them at hand, and his career as a teacher had probably +impressed on his memory many <i>dicta</i> which he could hardly fail to +reproduce, in one form or another, when he came to gather together the +results of his teaching.</p> + +<p>Literary criticism at Rome before Quintilian’s time is associated +mainly with the names of Varro, Cicero, and Horace<a class = "tag" name += "tag45" id = "tag45" href = "#note45">45</a>. Varro was the author of +numerous works bearing on the history and criticism of literature: such +were his <i>de Poetis</i>, <i>de Poematis</i>, <span class = "greek" +title = "peri charaktêrôn">περὶ χαρακτήρων</span>, <i>de Actionibus +Scaenicis</i>, <i>Quaestiones Plautinae</i>. Our knowledge of their +scope and character is however derived only by inference from a few +scattered fragments, and in regard to these it is impossible to say +definitely to which of his treatises they severally belong. Quintilian’s +references to his literary activity as well as his great learning +(<i>vir Romanorum eruditissimus</i> x. +<a href = "QuintBody1.html#chapI_sec95">1, 95</a>), and the +quotation of his estimate of Plautus (ib. §99), are sufficient evidence +that he was not unacquainted with Varro’s writings. Cicero he knew +probably better than he knew any other author: the extent of his +indebtedness to such works as the <i>Brutus</i> may be inferred from the +parallelisms which occur in his treatment of the Attic orators (x. +<a href = "QuintBody1.html#chapI_sec76">1, 76-80</a>). He dissents +expressly from Horace’s estimate of Lucilius (ib. §94): and the +frequency of his references to other literary judgments of Horace (cp. +§§24, 56, 61, 63) shows that he must have been in the habit of +illustrating his teaching by quotations from the works of that cultured +critic of literature and life.</p> + +<p>But the author with whom Quintilian’s literary criticism has most in +common is undoubtedly Dionysius of Halicarnassus. It is true that in the +Tenth Book he nowhere expressly mentions him; but references to him by +name as an authority on rhetorical matters are common enough in other +parts of the <i>Institutio</i><a class = "tag" name = "tag46" id = +"tag46" href = "#note46">46</a>. Quintilian no doubt knew his works +well, especially that which originally consisted of three books <span +class = "greek" title = "peri mimêseôs">περὶ μιμήσεως</span><a class = +"tag" name = "tag47" id = "tag47" href = "#note47">47</a>. The second +book of this treatise has long been known to scholars +<span class = "pagenum">xxxi</span> +<a name = "intro_pagexxxi" id = "intro_pagexxxi"> </a> +in the shape of a fragmentary epitome, which presents so many striking +resemblances to the literary judgments contained in the first chapter of +Quintilian’s Tenth Book, that early commentators, such as, for instance, +H. Stephanus, concluded that Quintilian had borrowed freely from +the earlier writer: <i>multa hinc etiam mutuatum constat; quibus modo +nomine suppresso pro suis utitur, modo addito verbo <b>putant</b> sua +non esse declarat</i>. The parallelisms in question were fully drawn out +by Claussen in the work mentioned above, though Usener justly remarks +that he wrongly includes a good deal that was the common property not +only of Dionysius and Quintilian, but of the whole learned world of the +day: they will all be found duly recorded in the notes to this edition, +<a href = "QuintBody1.html#chapI_sec46">1 §§46-84</a>.</p> + +<p>The general resemblances between Quintilian and Dionysius are +apparent in their order of treatment. In his introduction to the +<i>Iudicium de Thucydide</i>, the latter sets forth the plan of his +second book in terms which present many points of analogy with the +scheme of the Tenth Book of the <i>Institutio</i>: <span class = "greek" +title = "en tois proekdotheisi Peri tês mimêseôs hupomnêatismois epelêluthôs ous hupelambanon epiphanestatous einai poiêtas te kai sungrapheis ... kai dedêlêkôs en oligois tinas hekastos autôn eispheretai pragmatikas te kai lektikas aretas kai pê malista cheirôn heautou ginetai ... hina tois proairoumenois graphein te kai legein eu kaloi kai dedokimasmenoi kanones ôsin eph’ hôn poiêsontai tas kata meros gumnasias, mê panta mimoumenoi ta par’ ekeinois keimena tois andrasin, alla tas men aretas autôn lambanontes, tas d’ apotuchias phulattomenoi; hapsamenos te tôn sungrapheôn edêlôsa kai peri Thoukoudidou ta dokounta moi suntomô te kai kephalaiôdei graphê perilabôn, ... hôs kai peri tôn allôn epoiêsa; ou gar ên akribê kai diexodikên dêlôsin huper hekastou tôn andrôn poieisthai proelomenon eis elachiston onkon sunagagein tên pragmateian.">ἐν τοῖς προεκδοθεῖσι Περὶ τῆς μιμήσεως ὑπομνηατισμοῖς +ἐπεληλυθὼς οὓς ὑπελάμβανον ἐπιφανεστάτους εἶναι ποιητάς τε καὶ +συγγραφεῖς ... καὶ δεδηληκὼς ἐν ὀλίγοις τίνας ἕκαστος αὐτῶν εἰσφέρεται +πραγματικάς τε καὶ λεκτικὰς ἀρετὰς καὶ πῇ μάλιστα χείρων ἑαυτοῦ γίνεται +... ἵνα τοῖς προαιρουμένοις γράφειν τε καὶ λέγειν εὖ καλοὶ καὶ +δεδοκιμασμένοι κανόνες ὦσιν ἐφ᾽ ὧν ποιήσονται τὰς κατὰ μέρος γυμνασίας, +μὴ πάντα μιμούμενοι τὰ παρ᾽ ἐκείνοις κείμενα τοῖς ἀνδράσιν, ἀλλὰ τὰς μὲν +ἀρετὰς αὐτῶν λαμβάνοντες, τὰς δ᾽ ἀποτυχίας φυλαττόμενοι‧ ἁψάμενός τε τῶν +συγγραφέων ἐδήλωσα καὶ περὶ Θουκουδίδου τὰ δοκοῦντά μοι συντόμῳ τε καὶ +κεφαλαιώδει γραφῇ περιλαβών, ... ὡς καὶ περὶ τῶν ἄλλων ἐποίησα‧ οὐ γὰρ +ἦν ἀκριβῆ καὶ διεξοδικὴν δήλωσιν ὑπὲρ ἑκάστου τῶν ἀνδρῶν ποιεῖσθαι +προελόμενον εἰς ἐλάχιστον ὄγκον συναγαγεῖν τὴν πραγματείαν.</span> In +like manner Quintilian, addressing himself throughout to young men +aspiring to success as public speakers, enumerates the various authors +who seem to be fit subjects for reading and imitation. While admitting +that some benefit may be derived from almost every writer (<a href = +"QuintBody1.html#chapI_sec57">1 §57</a>), he confines himself to +the most distinguished in the various departments of literature (<ins +class = "correction" title = "text reads ‘45’"><a href = +"QuintBody1.html#chapI_sec44">§44</a></ins> <i>paucos enim, qui sunt +eminentissimi, excerpere in animo est</i>); and even with regard to +these he warns his readers, as Dionysius does, that they are not to +imitate all their characteristics, but only what is good (<a href = +"QuintBody1.html#chapI_sec24">1 §24</a>: +<a href = "QuintBody2.html#chapII_sec14">2 §§14-15</a>).</p> + +<p>The order of treatment is almost identical in the two writers. First +come the poets, with the writers of epic poetry at their head: these are +not only named in the same order (Homer, Hesiod, Antimachus, Panyasis), +but they are commended in very similar terms. But if Quintilian had been +translating directly from Dionysius, it is very probable that he would +have mentioned him by name, instead of concealing his obligations +<span class = "pagenum">xxxii</span> +<a name = "intro_pagexxxii" id = "intro_pagexxxii"> </a> +by the use of such a phrase as <i>putant</i> (in speaking of +Panyasis—see note on +<a href = "QuintBody1.html#chapI_sec54">§54</a>). If he goes on to add +some criticisms which are not in Dionysius, viz. on Apollonius Rhodius, +Aratus, Theocritus, and to mention also Pisander, Nicander, and +Euphorion, it is with the express intimation that they do not rank in +the canon fixed by the <i>grammatici</i>,—the very reason for +which these writers had been omitted by Dionysius. The Greek rhetorician +says nothing of the elegiac and iambic poets mentioned by +Quintilian,—the former in general terms (<i>princeps +<b>habetur</b> Callimachus</i>, <i>secundas <b>confessione +plurimorum</b> Philetas occupavit</i> +<a href = "QuintBody1.html#chapI_sec58">§58</a>), the latter with +express reference to the judgment of Aristarchus on the great +Archilochus (<a href = "QuintBody1.html#chapI_sec59">§59</a>)<a class = +"tag" name = "tag48" id = "tag48" href = "#note48">48</a>. In treating +of the lyric poets, Quintilian mentions the number nine (<a href = +"QuintBody1.html#chapI_sec61">§61</a>), which Dionysius does not; but as +regards the substance of his criticisms, he is again almost in exact +agreement with his predecessor. Both refer to Pindar, Stesichorus, +Alcman, and Simonides, with the trifling difference that in Dionysius +Simonides comes second instead of fourth on the list. In +<a href = "QuintBody1.html#chapI_sec65">§65</a> Quintilian proceeds to +deal with the Old Comedy, which finds no place in the treatise of +Dionysius, as we now have it. And there is very little that corresponds +with Dionysius in the sections on Aeschylus, Sophocles, and Euripides. +But it is noticeable that in both Euripides is made to form the +transition to Menander and the New Comedy.</p> + +<p>In regard to the poets, then, it seems probable that, while +Quintilian was no doubt familiar with the work of Dionysius, he is +rather incorporating in his criticism the traditions of the literary +schools than borrowing directly from a single predecessor. Claussen was +of opinion that the latter is the true state of the case, and he even +goes so far (p. 348) as to suppose that the original work of +Dionysius (of which the treatise long known as the <span class = "greek" +title = "Archaiôn krisis">Ἀρχαίων κρίσις</span> or the <i>De Veterum +Censura</i> is only a fragmentary epitome) must have contained notices +of the elegiac and iambic poets corresponding with those in Quintilian, +as well as of the old comic dramatists and of additional representatives +of the New Comedy. But a comparison of the various passages on which a +judgment may be based seems to make it certain that, while taking +advantage of his knowledge of previous literary criticism (scraps of +which he may have accumulated for teaching purposes during his long +career), he is not slavishly following any single authority<a class = +"tag" name = "tag49" id = "tag49" href = "#note49">49</a>: cp. +<a href = "QuintBody1.html#chapI_sec52">§52</a> <i>datur palma</i> +(<i>Hesiodo</i>,) +<span class = "pagenum">xxxiii</span> +<a name = "intro_pagexxxiii" id = "intro_pagexxxiii"> </a> +<a href = "QuintBody1.html#chapI_sec53">§53</a> <i>grammaticorum +consensus</i>, +<a href = "QuintBody1.html#chapI_sec54">§54</a> <i>ordinem a grammaticis +datum</i>, +<a href = "QuintBody1.html#chapI_sec58">§58</a> <i>princeps habetur</i> +and <i>confessione plurimorum</i>, +<a href = "QuintBody1.html#chapI_sec59">§59</a> <i>ex tribus receptis +Aristarchi iudicio scriptoribus iamborum</i>, +<a href = "QuintBody1.html#chapI_sec64">§64</a> <i>quidam</i> (probably +including Dionysius), +<a href = "QuintBody1.html#chapI_sec67">§67</a> <i>inter plurimos +quaeritur</i>, +<a href = "QuintBody1.html#chapI_sec72">§72</a> <i>consensu ... +omnium</i>. And the tone and substance of his estimate of Homer, of +Euripides, and of Menander<a class = "tag" name = "tag50" id = "tag50" +href = "#note50">50</a>, seem to show that he was prepared to rely, when +necessary, on his own independent judgment (cp. <i>meo quidem +iudicio</i> +<a href = "QuintBody1.html#chapI_sec69">§69</a>), especially in dealing +with the poets who would be of greatest service for his professed +purpose.</p> + +<p>In both Dionysius and Quintilian the poets are followed by the +historians. The order in Dionysius is Herodotus, Thucydides, Xenophon, +Philistus, and Theopompus; in Quintilian, Thucydides, Herodotus, +Theopompus, Philistus,—with short notices of Ephorus, Clitarchus +and Timagenes. The insertion of the three additional names, and the +precedence given to Theopompus, are not the only points in which +Quintilian differs here from Dionysius, who is known in this case to +have limited himself to the five names in question (Epist. ad Pomp. +767 R: Usener, p. 50, 10): Xenophon is by Quintilian expressly +postponed for treatment among the philosophers. In this he probably +followed an older tradition, which survived also elsewhere. Cicero +speaks of Xenophon as a philosopher (de Orat. ii. §58): in Diogenes +Laertius (ii. 48) it is said of him <span class = "greek" title = "alla kai historian philosophôn prôtos egrapse">ἀλλὰ καὶ ἱστορίαν φιλοσόφων +πρῶτος ἔγραψε</span>—a remark which Usener (p. 113) thinks was +probably derived from some library list in which Xenophon was ranked +among the writers of philosophy; and Dio Chrysostom (Or. xviii.) omits +him from his list of the historians, and includes him in that of the +Socratics.</p> + +<p>These discrepancies may be relied on to disprove Claussen’s +allegation that Dionysius’s treatise is Quintilian’s <i>primus et +praecipuus fons</i>. It is quite as probable that, in dealing with the +historians, he had before him the passage in the second book of Cicero’s +<i>Orator</i>, to which reference has already been made (<a href = +"QuintBody1.html#chapI_sec55">§55</a> sq.). There Cicero mentions +Herodotus, Thucydides, Philistus, Theopompus, and Ephorus, with the +addition of Xenophon, Callisthenes and Timaeus. He may also have had at +hand the great orator’s lost treatise <i>Hortensius</i>, two fragments +of which contain short characterisations of Herodotus, Thucydides, +Philistus, Theopompus, and Ephorus<a class = "tag" name = "tag51" id = +"tag51" href = "#note51">51</a>: in writing it Cicero probably followed +some list similar +<span class = "pagenum">xxxiv</span> +<a name = "intro_pagexxxiv" id = "intro_pagexxxiv"> </a> +to those which were accessible both to Dionysius and Quintilian<a class += "tag" name = "tag52" id = "tag52" href = "#note52">52</a>. Again there +is sufficient resemblance here between Quintilian and Dio Chrysostom (as +also in regard to Euripides and Menander: Dio Chr. 6, p. 477 sq.) +to justify the supposition that they followed the same tradition. Dio +expressly elevates Theopompus to the second rank (10, p. 479), +<span class = "greek" title = "tôn de akrôn Thoukudidês emoi dokei kai tôn deuterôn Theopompos; kai gar rhêtorikon ti peri tên apangelian tôn logôn echei">τῶν δὲ ἄκρων Θουκυδίδης ἐμοὶ δοκεῖ καὶ τῶν δευτέρων +Θεόπομπος‧ καὶ γὰρ ῥητορικόν τι περὶ τὴν ἀπαγγελίαν τῶν λόγων +ἔχει.</span>. With this compare Quintilian’s words: <i>Theopompus his +proximus ut in historia praedictis minor, ita oratori magis similis</i> +(<a href = "QuintBody1.html#chapI_sec74">§74</a>). Ephorus, on the other +hand, is expressly eliminated by Dio.</p> + +<p>It is perhaps in dealing with the orators that Quintilian gives the +surest proofs that he is not following any individual guide. The +parallel passages cited in the notes to +<a href = "QuintBody1.html#chapI_sec76">§§76-80</a> are by no means +confined to the writings of Dionysius, though here again words and +phrases occur (see esp. the note on <i>honesti studiosus, in +compositione adeo diligens</i>, &c., +<a href = "QuintBody1.html#chapI_sec79">§79</a>) which seem to suggest +that Quintilian must have kept a common-place book into which he +‘conveyed’ points which struck him as just or appropriate in the +literary criticism of others<a class = "tag" name = "tag53" id = "tag53" +href = "#note53">53</a>. Unlike Dionysius, however, he refers to the +canon of the ten orators (<a href = +"QuintBody1.html#chapI_sec76">§76</a>) which the recent work of Brzoska, +following A. Reifferscheid, has shown to have originated not with +the critics of Alexandria, but with those of Pergamum<a class = "tag" +name = "tag54" id = "tag54" href = "#note54">54</a>. It is noticeable +that the five orators whom Quintilian selects for notice out of this +canon are identical with those enumerated, in reverse order, by Cicero, +de Orat. iii. 28.</p> + +<p>In their treatment of the philosophers, the chief point in common +between Dionysius and Quintilian is that both put Plato and Xenophon +before Aristotle. And, though they agree generally in the terms in which +they speak of Aristotle, there is no other noteworthy coincidence. The +section on Theophrastus and the Stoics has nothing corresponding to it +in Dionysius: here, as elsewhere in the account of philosophy, Cicero +was laid under contribution.</p> + +<p>We may infer, then, on the whole, that in regard to his judgments of +the Greek writers Quintilian followed the established order of the +literary schools, and incorporated with the expression of his own +opinion much that was traditional in their thought and phraseology. He +cannot be supposed to have followed any single authority: he must rather +be considered to have gleaned in the whole field of the literature of +criticism from +<span class = "pagenum">xxxv</span> +<a name = "intro_pagexxxv" id = "intro_pagexxxv"> </a> +Theophrastus (x. +<a href = "QuintBody1.html#chapI_sec27">1, 27</a>) down to his own +day. He accepted from others, with probably few modifications, the +approved lists of poets, historians, orators, and philosophers, and +adopted the conventional practice of writing careful and well-considered +criticisms upon them—“somewhat cut and dried criticisms,” as Prof. +Nettleship says of Dionysius, “which seldom lack sanity, care, and +insight, but which are rather dangerously suited for learning by heart +and handing on to future generations of pupils.” These lists of +‘classical’ writers may probably be traced back, in the main, to the +literary activity of the critics of Alexandria. They would no doubt be +well known to the Greek rhetoricians who were at work on the education +of the Roman youth as early as the beginning of the first century <span +class = "smallroman">B.C.</span>, and may have served as the basis of +their prelections to their pupils. Criticism (<span class = "greek" +title = "krisis poiêmatôn, kritikê">κρίσις ποιημάτων, κριτικὴ</span>) +was an essential part of the office of the ‘grammaticus<a class = "tag" +name = "tag55" id = "tag55" href = "#note55">55</a>.’</p> + +<p>In speaking of his duties, which fall under the two main heads of +<i>recte loquendi scientia</i> and <i>poetarum enarratio</i>, Quintilian +adds (i. 4, 3): <i>et mixtum his omnibus <b>iudicium</b> est; quo +quidem ita severe sunt usi veteres grammatici ut non versus modo +censoria quadam virgula notare et libros, qui falso viderentur +inscripti, tamquam subditos submovere familia permiserint sibi, sed +auctores alios in ordinem redegerint, alios omnino exemerint numero</i>. +Beginning with a critical examination of individual texts, the +‘grammatici’ gathered up the results of their work, on the literary +side, in short characterisations of the various writers whom they made +the subject of their study, and finally drew up lists of the best +authors in each department of literature, with a careful indication of +their good points as well as of the features in which they were not to +be used as models. This process received a more or less final form at +the hands of Aristophanes of Byzantium and his follower Aristarchus (see +on x. +<a href = "QuintBody1.html#chapI_sec54">1, 54</a>), the latter of +whom probably introduced such modifications in the list of his +predecessor as approved themselves to his own judgment (cp. x. +<a href = "QuintBody1.html#chapI_sec59">1, 59</a> <i>tres receptos +<b>Aristarchi iudicio</b> scriptores iamborum</i>). The influence of +this method in Roman literature may be seen, early in the first century, +in the so-called ‘canon’ of Volcatius Sedigitus, preserved by Gellius +(15, 24)<a class = "tag" name = "tag56" id = "tag56" href = +"#note56">56</a>: he makes a list of ten Latin comedians, on the analogy +of the canon of the ten Attic orators. The list of the Alexandrine +critics was probably in the hands of Cicero, as Usener has shown (pp. +114-126), when he wrote his ‘Hortensius,’—a treatise which seems +to have originally contained an introductory sketch of the great +contributors to the various departments +<span class = "pagenum">xxxvi</span> +<a name = "intro_pagexxxvi" id = "intro_pagexxxvi"> </a> +of literature, by way of preparation for the main purpose of the +dialogue,—the praise of philosophy<a class = "tag" name = "tag57" +id = "tag57" href = "#note57">57</a>. Then there is Dio Chrysostom, a +writer who flourished not long after Quintilian himself, and whose +reproduction of similar judgments has already been noted. Such +divergences as occur may probably be accounted for, at least in part, by +the different points of view from which the various critics wrote. In +the preliminary sketch in the <i>Hortensius</i> the object seems to have +been not the education of youth but the recreation of maturity: Dio +draws a careful distinction between the branches which serve for the +student of rhetoric, and those which may be expected to benefit and +delight men who have finished their studies: Quintilian’s aim, again and +again reiterated, is to lay down a course of reading suited to form the +taste of a young man aspiring to success as a speaker.</p> + +<p>The probability that there existed such traditional lists as those +referred to (which would also be of service in the arrangement of the +great public libraries), is strikingly illustrated in Usener’s +<i>Epilogus</i> (p. 128 sq.) by the publication of one which may here be +transcribed as of great interest to readers of Quintilian. It will be +noticed that though the philosophers are omitted, it contains many +points of analogy with that followed by Quintilian, particularly the +addition of the later elegiac poets, Philetas and Callimachus. Names +only are given, without any criticism attached<a class = "tag" name = +"tag58" id = "tag58" href = "#note58">58</a>.</p> + +<p class = "mynote"> +Greek numerals were printed with overlines ¯. They are shown here +in ´ form to reduce text-display problems.</p> + +<p class = "hanging"> +<span class = "greek" title = "Poiêtai pente: Homêros Hêsiodos Peisandros Panuasis Antimachos.">Ποιηταὶ πέντε‧ Ὅμηρος Ἡσίοδος +Πείσανδρος Πανύασις Ἀντίμαχος.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "iambopoioi treis: Sêmonidês Archilochos Hippônax.">ἰαμβοποιοὶ τρεῖς‧ Σημονίδης Ἀρχίλοχος Ἱππῶναξ.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "tragôdopoioi e´: Aischulos Sophoklês Euripidês Iôn Achaios.">τραγῳδοποιοὶ ε´‧ Ἀισχύλος Σοφοκλῆς Εὐριπίδης Ἴων +Ἀχαιός.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "kômôdopoioi archaias z´: Epicharmos Kratinos Eupolis Aristophanês Pherekratês Kratês Platôn.">κωμῳδοποιοὶ +ἀρχαίας ζ´‧ Ἐπίχαρμος Κρατῖνος Εὔπολις Ἀριστοφάνης Φερεκράτης Κράτης +Πλάτων.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "mesês kômôdias b´: Antiphanes Alexis Thourios.">μέσης κωμῳδίας β´‧ Ἀντιφάνες Ἄλεξις Θούριος.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "neas kômôdias e´: Menandros Philippidês Diphilos Philêmôn Apollodôros.">νέας κωμῳδίας ε´‧ Μένανδρος Φιλιππίδης +Δίφιλος Φιλήμων Ἀπολλόδωρος.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "elegeiôn poiêtai d´: Kallinos Mimnermos Philêtas Kallimachos.">ἐλεγείων ποιηταὶ δ´‧ Καλλῖνος Μιμνέρμος Φιλητᾶς +Καλλίμαχος.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "lurikoi th´: Alkman Alkaios Sapphô Stêsichoros Pindaros Bakchulidês Ibukos Anakreôn Simônidês....">λυρικοι +θ´‧ Ἀλκμάν Ἀλκαῖος Σαπφώ Στησίχορος Πίνδαρος Βακχυλίδης Ἴβυκος Ἀνακρέων +Σιμωνίδης....</span></p> + +<p class = "hanging"> +<span class = "pagenum">xxxvii</span> +<a name = "intro_pagexxxvii" id = "intro_pagexxxvii"> </a> +<span class = "greek" title = "rhêtores th´: Dêmosthenês Lysias Hypereidês Isokratês Aischinês Lykourgos Isaios Antiphôn Andokidês.">ῥητορες θ´‧ Δημοσθένης Λυσίας Ὑπερείδης Ἰσοκράτης Ἀισχίνης +Λυκοῦργος Ἰσαῖος Ἀντιφῶν Ἀνδοκίδης.</span></p> + +<p class = "hanging"> +<span class = "greek" title = "historikoi i´: Thoukydidês Hêrodotos Xenophôn Philistos Theopompos Ephoros Anaximenês Kallisthenês Hellanikos Polybios.">ἱστορικοὶ ι´‧ Θουκυδίδης Ἡρόδοτος Ξενοφῶν Φίλιστος Θεόπομπος +Ἔφορος Ἀναξιμένης Καλλισθένης Ἑλλάνικος Πολύβιος.</span></p> + +<p>In regard to the historians, Usener notes that this list seems to +indicate the principle on which they were selected and arranged. They +are enumerated in pairs, Herodotus and Thucydides coming first, with +their imitators Xenophon and Philistus immediately following them. Then +come Theopompus and Ephorus, as representing the second rank; and next +the historians of Alexander’s victories, Anaximenes and Callisthenes +(cp. Cic. de Orat. ii. §58), in place of whom Clitarchus is mentioned by +Quintilian. Peculiar features about the list given above are that +Thucydides comes first of all (just as Demosthenes does among the +orators), and that, perhaps to make up the number ten, a fifth pair of +historians is added,—Hellanicus from those of older date, and +Polybius to represent more recent writers.</p> + +<p>Usener states the conclusion at which he arrives in the following +words, which may be accepted with the proviso that they are not to be +taken as meaning that Quintilian was altogether ignorant of what +Dionysius wrote: <i>Iudicia de poetis scriptoribusque Graecis non a +Dionysio Quintilianus mutuatus est. Igitur ne Dionysius quidem sua +profert, sed diversum uterque exemplum iudiciorum ut plerumque +consonantium expressit. Fontis utrique communis antiquitatem Hortensius +Tullianus cum Dione comparatus demonstravit. Posteriore tempore cum +eruditionis copia in angustae memoriae paupertatem sensim contraheretur, +iudiciis neglectis sola electorum auctorum nomina relicta sunt et +laterculi formam induerunt.</i> Quintilian did not transcribe his +criticisms of Greek literature from Dionysius. He had no need to do so: +the materials from which Dionysius had drawn were available also to him. +This is sufficient to account for the resemblances in their critical +judgments. But on the other hand it is improbable that Quintilian, in +the course of his reading and teaching, had not studied the writings of +Dionysius; and some at least of the coincidences to which prominence is +given in the notes in this edition must have been the result of his +acquaintance with the work of his predecessor.</p> + +<p>In his review of Latin literature, Quintilian is no doubt giving us +the fruit of his own study and independent judgment, though here again +the notes will indicate that he was familiar with what other writers, +such as Cicero and Horace, had said before in the way of literary +criticism. The examination of his estimate of Seneca has already proved +that he did not hesitate to formulate his own opinions, and to press +them, when +<span class = "pagenum">xxxviii</span> +<a name = "intro_pagexxxviii" id = "intro_pagexxxviii"> </a> +necessary, upon his pupils. A reference to the <i>Analysis</i> +(pp. 3-5) will show that in this part of his work Quintilian +follows the method which had been traditionally applied to the criticism +of the Greek writers. The same order is preserved (<a href = +"QuintBody1.html#chapI_sec85">§85</a>); the various departments of +literature are each compared with the corresponding departments in Greek +(<a href = "QuintBody1.html#chapI_sec93">§§93</a>, +<a href = "QuintBody1.html#chapI_sec99">99</a>, +<a href = "QuintBody1.html#chapI_sec101">101</a>, +<a href = "QuintBody1.html#chapI_sec105">105</a>, +<a href = "QuintBody1.html#chapI_sec123">123</a>); and individual +writers are pitted against each other, and are sometimes characterised +in similar terms. In all this Quintilian is consistent with the scheme +according to which he had evidently determined to arrange his work: he +is consistent also with the general tradition of literary criticism +among his countrymen. “As Latin literature since Naevius had adopted +Greek models and Greek metres, every Latin writer of any pretensions +took some Greek author as his ideal of excellence in the particular +style which he was adopting. Criticism accordingly drifted into the +vicious course of comparison; of pitting every Latin writer against a +Greek writer, as though borrowing from a man would constitute you his +rival. Thus Ennius was a Homer, Afranius a Menander, Plautus an +Epicharmus, before the days of Horace: in Horace’s time there were three +Homers, Varius, Valgius, and Vergil. Cicero and Demosthenes were +compared by the Greek critics in the Augustan age, and by the time of +Quintilian Sallust has become the Latin Thucydides, Livy the Latin +Herodotus<a class = "tag" name = "tag59" id = "tag59" href = +"#note59">59</a>.” It is this idea of making ‘canons’ of Latin writers, +to correspond as nearly as possible with those which he had accepted +from former critics for the classical writers of Greece, that gives an +air of artificiality to Quintilian’s criticism of Latin literature, and +interferes somewhat with the general effect which his sane and sober +appreciations would otherwise produce. The individual estimates are in +the main all that could be wished for, notably the enthusiastic eulogy +of Cicero (<a href = "QuintBody1.html#chapI_sec105">§§105-112</a>), +which it is interesting to compare with a similar passage in the +treatise ‘On the Sublime.’ “The same difference,” says the writer, “may +be discerned in the grandeur of Cicero as compared with that of his +Grecian rival. The sublimity of Demosthenes is generally sudden and +abrupt: that of Cicero is equally diffused. Demosthenes is vehement, +rapid, vigorous, terrible; he burns and sweeps away all before him; and +hence we may liken him to a whirlwind or a thunderbolt: Cicero is like a +widespread conflagration, which rolls over and feeds on all around it, +whose fire is extensive and burns long, breaking out successively in +different places, and finding its fuel now here, now there<a class = +"tag" name = "tag60" id = "tag60" href = "#note60">60</a>.” Excellent +also are the shorter characterisations of such writers as Sallust +(<i>immortalem Sallusti velocitatem</i> +<a href = "QuintBody1.html#chapI_sec102">1 §102</a>), of Livy +(<i>Livi lactea ubertas</i> +<a href = "QuintBody1.html#chapI_sec32">1 §32</a>: <i>mirae +iucunditatis clarissimique +<span class = "pagenum">xxxix</span> +<a name = "intro_pagexxxix" id = "intro_pagexxxix"> </a> +candoris</i> +<a href = "QuintBody1.html#chapI_sec101">§101</a>), of Ovid (<i>nimium +amator ingenii sui</i> +<a href = "QuintBody1.html#chapI_sec88">§88</a>), and of Horace (<i>et +insurgit aliquando et plenus est iucunditatis et gratiae et varius +figuris et verbis felicissime audax</i> +<a href = "QuintBody1.html#chapI_sec96">§96</a>). But the general +impression we derive is that Quintilian is producing many of his +criticisms to order, as it were: so much is he tied down to the plan he +has adopted. It is to this same method of mechanical +comparison—born of the artificial traditions of the literary +schools—that we owe Plutarch’s ‘Parallel Lives’; and it has not +been without imitators in more recent times<a class = "tag" name = +"tag61" id = "tag61" href = "#note61">61</a>.</p> + +<hr class = "mid"> + +<h5><a name = "intro_chapIV" id = "intro_chapIV">IV.</a> +Style and Language.</h5> + +<p>Quintilian’s own style is pretty much what might be expected from the +tone of his judgments on others. Cicero was his model, Seneca +represented to him everything that was to be avoided: but the interval +of a hundred years which separated him from the former was a sufficient +barrier to anything more than an approximation to his style, while on +the other hand he does not succeed in emancipating himself entirely from +the literary tendencies of his own time, which found so complete +expression in the writings of Seneca. All the writers of what is known +as the Silver Age possess certain marked characteristics, which +differentiate them from the best models of the republican period; and of +these Quintilian has his share. But he did not fall in with the +fashionable depreciation of those models. He knew that it was impossible +to bring back the Latinity of the Golden Age in all its characteristic +features; but he could at least lift up his voice against the +affectation and artificiality of his contemporaries, who looked upon +that Latinity as tame, insipid, and commonplace. The point of view from +which, as we have already seen, he regarded Seneca may be stated with a +wider application: <i>corruptum et omnibus vitiis fractum dicendi genus +revocare ad severiora iudicia contendo</i>, x. +<a href = "QuintBody1.html#chapI_sec125">1, 125</a>.</p> + +<p>The depravation of taste which had gone hand in hand with the moral +and social degeneration of the Roman people, in the era of transition +from republic to empire, has already been touched upon in the discussion +<span class = "pagenum">xl</span> +<a name = "intro_pagexl" id = "intro_pagexl"> </a> +of Quintilian’s criticism of Seneca. The literary public had lost all +appetite for the natural straightforwardness of the Ciceronian style: it +craved for something akin to the highly seasoned dishes by which the +epicures of the day sought to stimulate a jaded palate<a class = "tag" +name = "tag62" id = "tag62" href = "#note62">62</a>. It was not enough +now to clothe the thought in pure, clear, and elegant language, even +when adorned by a wealth of expression that bordered on exuberance, and +made musical by the exquisite modulation of the period. No one could win +a hearing who did not countenance the fashionable craze for affectation, +abruptness, and extravagance. Directness, ease, and intelligibility were +no recommendations<a class = "tag" name = "tag63" id = "tag63" href = +"#note63">63</a>. In order to strike and stimulate, everything must be +full of point. Feebleness of thought was considered to be redeemed by +epigram and formal antithesis. The amplitude and artistic symmetry of +the Ciceronian period gave place to a broken and abrupt style, the main +object of which was to arrest attention and to challenge admiration. +Showy passages were looked for, expressed in new and striking +phraseology, such as could be reproduced and even handed on to others<a +class = "tag" name = "tag64" id = "tag64" href = "#note64">64</a>. The +charm of style and the test of its excellence consisted in its being +artificial, inflated, meretricious, involved, obscure—in a word, +depraved<a class = "tag" name = "tag65" id = "tag65" href = +"#note65">65</a>.</p> + +<p>Quintilian’s distaste for the prevailing fashion inclined him to +return to the models of the best republican period. Exclusive devotion +to one particular type was forbidden him, if by nothing else, by his own +declared principles,—<i>non qui maxime imitandus et solus +imitandus est</i> (<a href = +"QuintBody2.html#chapII_sec24">2 §24</a>); and accordingly, in +spite of his great admiration for Cicero, we find several well-marked +features of difference between him and his master, not only in the use +of words, but also in the structure and composition of sentences<a class += "tag" name = "tag66" id = "tag66" href = "#note66">66</a>. Indeed, it +could not have been otherwise. Quintilian’s mission was to restore to +Latin composition the direct and natural character of the earlier style; +but he could not extirpate that tendency to poetical expression which +had taken root at Rome as far back as the +<span class = "pagenum">xli</span> +<a name = "intro_pagexli" id = "intro_pagexli"> </a> +days of Sallust, and was fostered and encouraged in his own time by the +wider study of Greek. He was conscious also of the need of making some +concessions to the popular demand for ornament. The power of the +‘sententious’ style proved itself even on its critic and antagonist. +That he was aware of the compromise he was making is clear from such a +passage as the following, in which he indicates how Cicero may be +adapted to contemporary requirements: <i>ad cuius (Ciceronis) voluptates +nihil equidem quod addi possit invenio, <b>nisi ut sensus nos quidem +dicamus plures</b>: nempe enim fieri potest salva tractatione causae et +dicendi auctoritate, si non crebra haec lumina et continua fuerint et +invicem offecerint. Sed me <b>hactenus cedentem</b> nemo insequatur +ultra</i>, &c. (xii. 10, 46-7). There was a point beyond which he +refused to go: clearness and simplicity must never be sacrificed to +effect. These qualities may be claimed for Quintilian’s style; it is +also sufficiently varied for his subject. When it is obscure, we must +remember the defective state in which his text has come down to us<a +class = "tag" name = "tag67" id = "tag67" href = "#note67">67</a>.</p> + + +<p class = "space"> +It is quite possible to exemplify from the Tenth Book alone the main +features in which Quintilian’s language and style differ from those of +Cicero. And first, in regard to his vocabulary, a list may be appended +of words which, though not peculiar to Quintilian, are yet not to be +found in the republican period<a class = "tag" name = "tag68" id = +"tag68" href = "#note68">68</a>.</p> + +<p><b>Amaritudo</b>, figuratively (Plin. S., Sen., Val. Max.), x. +<a href = "QuintBody1.html#chapI_sec117">1, 117</a>.</p> + +<p><b>Auditorium</b> (Tac. Dial., Plin. S., Suet.), x. +<a href = "QuintBody1.html#chapI_sec79">1, 79</a>: cp. v. 12, 20 +<i>licet hanc (eloquentiam) auditoria probent</i>.</p> + +<p><b>Classis</b>, of a class in a school (Suet., Col., Petr.), x. +<a href = "QuintBody2.html#chapV_sec21">5, 21</a>.</p> + +<p><b>Confinis</b>, figuratively (Ovid, Sen.), x. +<a href = "QuintBody2.html#chapV_sec12">5, 12</a>.</p> + +<span class = "pagenum">xlii</span> +<a name = "intro_pagexlii" id = "intro_pagexlii"> </a> +<p><b>Consummatus</b> (Sen., Mart., Plin. S.), x. +<a href = "QuintBody2.html#chapV_sec14">5, 14</a>: cp. <ins class = +"correction" title = "text reads ‘1’">i.</ins> 9, 3; ii. 19, 1, and +often. The Ciceronian equivalent is <i>perfectus</i>.</p> + +<p><b>Decretorius</b> (Sen., Plin., Suet.), x. +<a href = "QuintBody2.html#chapV_sec20">5, 20</a>: cp. vi. +4, 6.</p> + +<p><b>Diversitas</b> (Tac., Plin., Suet.), x. +<a href = "QuintBody1.html#chapI_sec106">1, 106</a>.</p> + +<p><b>Evalesco</b> (Verg., Hor., Plin., Tac.), x. +<a href = "QuintBody2.html#chapII_sec10">2, 10</a>: cp. ii. 8, 5; +viii. 6, 33.</p> + +<p><b>Expavesco</b> (Hor., Liv., Sen., Plin., Suet.), x. +<a href = "QuintBody2.html#chapIII_sec30">3, 30</a>: cp. ix. 4, 35; +vi. 2, 31.</p> + +<p><b>Extemporalis</b> (Petr., Tac., Plin. S.), x. +<a href = "QuintBody2.html#chapVI_sec1">6, 1</a>, +<a href = "QuintBody2.html#chapVI_sec5">5</a> and +<a href = "QuintBody2.html#chapVI_sec6"><ins class = "correction" title = "text reads (6.)8">6</ins></a>; +<a href = "QuintBody2.html#chapVII_sec13">7, 13</a>, +<a href = "QuintBody2.html#chapVII_sec16">16</a>, +<a href = "QuintBody2.html#chapVII_sec18">18</a>: cp. iv. 1, 54 +<i>extemporalis oratio</i>, for which Cicero would have written +<i>subita et fortuita oratio</i>.</p> + +<p><b>Exundo</b> (Sen., Plin., Tac.), x. +<a href = "QuintBody1.html#chapI_sec109">1, 109</a> <b>Cicero vivo +gurgite exundat</b>.</p> + +<p><b>Favorabilis</b> (Vell., Sen., Plin., Tac., Suet.), x. +<a href = "QuintBody2.html#chapV_sec21">5, 21</a>: cp. iv. 1, 21 +and often.</p> + +<p><b>Formator</b> (Col., Sen., Plin. S.), x. +<a href = "QuintBody2.html#chapII_sec20">2, 20</a> <i>alienorum +ingeniorum formator</i> (sc. <i>praeceptor</i>).</p> + +<p><b>Immutesco</b> (Statius), x. +<a href = "QuintBody2.html#chapIII_sec16">3, 16</a>.</p> + +<p><b>Inadfectatus</b> (Plin. S.), x. +<a href = "QuintBody1.html#chapI_sec82">1, 82</a>.</p> + +<p><b>Inconcessus</b> (Verg., Ov.), x. +<a href = "QuintBody2.html#chapII_sec26">2, 26</a>.</p> + +<p><b>Incredulus</b> (Hor.), x. +<a href = "QuintBody2.html#chapIII_sec11">3, 11</a>: cp. xii. +8, 11.</p> + +<p><b>Indecens</b> (Petr., Sen., Mart.), x. +<a href = "QuintBody2.html#chapII_sec19">2, 19</a>. The Ciceronian +equivalent is <i>indecorus</i>.</p> + +<p><b>Inlaboratus</b> (Sen.), x. +<a href = "QuintBody1.html#chapI_sec111">1, 111</a>, and often.</p> + +<p><b>Insenesco</b> (Hor., Ov., Tac.), x. +<a href = "QuintBody2.html#chapIII_sec11">3, 11</a>.</p> + +<p><b>Inspiro</b> (Verg., Ov., Sen.), x. +<a href = "QuintBody2.html#chapIII_sec24">3, 24</a>: cp. xii. 10, +62.</p> + +<p><b>Praesumo</b> (Verg., Sen., Plin., Tac.), x. +<a href = "QuintBody2.html#chapV_sec4">5, 4</a>: cp. xi. +1, 27.</p> + +<p><b>Profectus</b> (Ov., Sen., Plin. S., Suet), x. +<a href = "QuintBody2.html#chapIII_sec2">3, 2</a> and +<a href = "QuintBody2.html#chapIII_sec15">15</a>: cp. i. 2, 26, and +often. Cicero uses <i>progressus</i>, <i>processus</i>.</p> + +<p><b>Professor</b> (Col., Tac., Suet.), x. +<a href = "QuintBody2.html#chapV_sec18">5, 18</a>: cp. ii. 11, 1, +and often.</p> + +<p><b>Prosa</b> (Vell., Col., Sen., Plin.), x. +<a href = +"QuintBody2.html#chapVII_sec19">7, 19</a>,—adjective: cp. xi. +2, 39. As a noun, ix. 4, 52, and often.</p> + +<p><b>Secessus</b> (Verg., Ov., Plin., Tac.), x. +<a href = "QuintBody2.html#chapIII_sec23">3, 23</a> and +<a href = "QuintBody2.html#chapIII_sec28">28</a>; +<a href = "QuintBody2.html#chapV_sec16">5, 16</a>. Cicero uses +<i>recessus</i>.</p> + +<p><b>Substringo</b> (Sen., Tac., Suet.), x. +<a href = "QuintBody2.html#chapV_sec4">5, 4</a>.</p> + +<p><b>Versificator</b> (Just., Col.), x. +<a href = "QuintBody1.html#chapI_sec89">1, 89</a>.</p> + +<p>There is a touch of ‘nationalism’ about Quintilian’s use of the word +<i>Romanus</i> for <i>Latinus</i>. <i>Litterae latinae</i>, +<i>scriptores latini</i>, <i>poetae latini</i>, are the usual forms with +Cicero and the writers of the best period: Quintilian has <i>Romanes +auctores</i> (x. +<a href = "QuintBody1.html#chapI_sec85">1, 85</a>), <i>sermo +Romanus</i> (ib. +<a href = "QuintBody1.html#chapI_sec100">§100</a>), <i>litterae +Romanae</i> (ib. +<a href = "QuintBody1.html#chapI_sec123">§123</a>), and often +elsewhere.</p> + + +<p class = "space"> +The following words appear in Quintilian (Book X) for the first +time, though of course it does not follow that they are his own +coinage:—</p> + +<span class = "pagenum">xliii</span> +<a name = "intro_pagexliii" id = "intro_pagexliii"> </a> +<p><b>Adnotatio</b>, x. +<a href = "QuintBody2.html#chapII_sec7">2, 7</a> <i>brevis +adnotatio</i>.</p> + +<p><b>Circulatorius</b>, x. +<a href = "QuintBody1.html#chapI_sec8">1, 8</a> <i>circulatoria +volubilitas</i>: cp. ii. 4, 15. The noun <i>circulator</i> seems to +have been used first by Asinius Pollio: afterwards it is found in +Seneca, Petronius, Plin. S., Apuleius, &c.</p> + +<p><b>Destructio</b>, x. +<a href = "QuintBody2.html#chapV_sec12">5, 12</a> <i>destructio et +confirmatio sententiarum</i>. Suetonius (Galba 12) uses this word in its +proper sense of ‘pulling down’ walls.</p> + +<p><b>Offensator</b> (<span class = "greek" title = "hapax legom.">ἅπαξ +λεγόμ.</span>), x. +<a href = "QuintBody2.html#chapIII_sec20">3, 20</a>.</p> + +<p><b>Significantia</b>, x. +<a href = "QuintBody1.html#chapI_sec121">1, 121</a>.</p> + + +<p class = "space"> +Several words occur which, either in point of form or meaning, indicate +the influence of Greek analogies:—</p> + +<p><b>Recipere</b>, x. +<a href = "QuintBody2.html#chapVII_sec31">7, 31</a>, and often +elsewhere, in the sense of <i>probare</i>. So the Greek <span class = +"greek" title = "apodechesthai">ἀποδέχεσθαι</span>, <span class = +"greek" title = "endechesthai">ἐνδέχεσθαι</span>. Cp. Plin. H. N. +7. 8, 29.</p> + +<p><b>Supinus</b>, x. +<a href = "QuintBody2.html#chapII_sec17">2, 17</a> used, like <span +class = "greek" title = "huptios">ὕπτιος</span> in Dion. Hal., for +‘languid,’ ‘spiritless.’ Cp. esp. (of Isocr.) <span class = "greek" +title = "huptia">ὑπτία</span> (sc. <span class = "greek" title = +"lexis">λέξις</span>) ... <span class = "greek" title = "kai kechumenê plousiôs">καὶ κεχυμένη πλουσίως</span>, p. 538, 6, R: also +p. 1006, 14, R.</p> + +<p><b>Densus</b> (<span class = "greek" title = "puknos">πυκνός</span>), +for <i>pressus</i>: x. +<a href = "QuintBody1.html#chapI_sec76">1, 76</a>.</p> + +<p><b>Pedestris</b> (sc. <i>oratio</i>), <span class = "greek" title = +"pezos logos">πεζὸς λόγος</span>: x. +<a href = "QuintBody1.html#chapI_sec81">1, 81</a>.</p> + +<p>To these may be added the use of <i>subripere</i> (for <i>clam +facere</i>), on the analogy of <span class = "greek" title = "kleptein ti">κλέπτειν τι</span>, iv. 1, 78: <i>transire</i> (for +<i>effugere</i>), on the analogy of <span class = "greek" title = +"parerchesthai">παρέρχεσθαι</span>, ix. 2, 49 (cp. Stat. Theb. ii. 335 +<i>nil transit amantes</i>): <i>finis</i> for <span class = "greek" +title = "horos">ὅρος</span>: <i>maxime</i>, with numerals, for <span +class = "greek" title = "malista">μάλιστα</span>, &c.</p> + +<p>To the same source must be attributed the frequent use in Quintilian +of <i>propter quod</i>, <i>per quod</i>, <i>quae</i>, &c. on the +analogy of <span class = "greek" title = "di’ ho">δι᾽ ὅ</span>, <span +class = "greek" title = "di’ ha">δι᾽ ἅ</span> (see on x. +<a href = "QuintBody1.html#chapI_sec10">1, 10</a>): <i>circa</i> +(used like <span class = "greek" title = "peri">περί</span>), see on x. +<a href = "QuintBody1.html#chapI_sec52">1, 52</a>: <i>multum</i> +(with compar.) like <span class = "greek" title = "polu meizon">πολὺ +μεῖζον</span> (x. +<a href = "QuintBody1.html#chapI_sec94">1, 94</a>): <i>sunt ... +differentes</i>, +<a href = "QuintBody2.html#chapII_sec16">2 §16</a>.</p> + + +<p class = "space"> +The influence of poetical usage may be seen in the frequent employment +of simple verbs in the sense of compounds, of abstract nouns in a +concrete sense (e.g. <i>facilitatem</i> +<a href = "QuintBody2.html#chapIII_sec7">3 §7</a>), and also in +certain changes in the meaning of words, each of which will be noticed +in its proper place: e.g. <i>componere</i> for <i>sedare</i>; +<i>vacare</i> used impersonally; <i>venus</i> for <i>venustas</i>; +<i>beatus</i> for <i>uber</i>, <i>fecundus</i>; <i>secretum</i>; +<i>olim</i> of future time; <i>utrimque</i> of opposite sides, &c. +Such changes in meaning as will be noted in connection with words like +<i>valetudo</i>, <i>ambitio</i>, <i>advocatus</i>, <i>auctor</i>, +<i>cultus</i>, <i>quicumque</i>, <i>ubicumque</i>, <i>demum</i>, and all +the phenomena connected with the substantivation of the adjective (e.g. +<i>studiosus</i>), are common to Quintilian with other writers of the +Silver Age.</p> + + +<p class = "space"> +Taking now the Parts of Speech in their order, we may illustrate the +peculiarities of Quintilian’s vocabulary by reference to the Tenth +Book.</p> + + +<span class = "pagenum">xliv</span> +<a name = "intro_pagexliv" id = "intro_pagexliv"> </a> +<h5>I. Nouns.</h5> + +<p><b>Advocatus</b> for <i>causidicus</i>, <i>patronus</i>: x. +<a href = "QuintBody1.html#chapI_sec111">1, 111</a> (where see +note): cp. iii. 8, 51; xi. 1, 59: Plin. S. 7, 22: Suet. Claud. 15. For +examples of the use of this word in its earlier sense cp. v. 6, 6; xi. +3, 132; xii. 3, 2.</p> + +<p><b>Ambitio</b> carries with it in Quintilian, as generally in the +Silver Age, a sinister meaning, so that Quintilian can call it a +<i>vitium</i>: i. 2, 22 <i>licet ipsa vitium sit ambitio frequenter +tamen causa virtutum est</i>. So <i>perversa ambitio</i> x. +<a href = "QuintBody2.html#chapVII_sec21">7, 21</a>: cp. Tac. Ann. +vi. 46: Iuv. 8, 135. For the Ciceronian use of the word (<i>popularis +gratiae captatio ad adipiscendos honores</i>), see pro Sulla §11: pro +Planc. §45: de Orat. i. §1.</p> + +<p><b>Auctor</b>, almost identical with <i>scriptor</i>: see on x. +<a href = "QuintBody1.html#chapI_sec24">1, 24</a>. Cp. Ep. ad +Tryph. §1 <i>legendis auctoribus qui sunt innumerabiles</i>.</p> + +<p><b>Cultus</b> = <i>ornatus</i>: x. +<a href = "QuintBody1.html#chapI_sec124">1, 124</a>; +<a href = "QuintBody2.html#chapII_sec17">2, 17</a>. Cp. iii. 8, 58 +<i>in verbis cultum adfectaverunt</i>: xi. 1, 58 <i>nitor et cultus</i>. +Cicero uses <i>ornatus</i> and <i>nitor</i> as applied to language: +Orat. §80 <i>ornatus verborum</i>, §13 4 <i>orationis</i>. Cp. Tac. +Dial. 20, 23.</p> + +<p><b>Opinio</b> is used for ‘reputation’ (<i>existimatio</i>), whether +good or bad. So x. +<a href = "QuintBody2.html#chapV_sec18">5, 18</a> (where see note): +7, 17: cp. xii. 1, 12 <i>contemptu opinionis</i>: ii. 12, 5 <i>adfert et +ista res opinionem</i>: ix. 2, 74 <i>veritus opinionem iactantiae</i>: +iv. 1, 33 <i>opinione adrogantiae laborare</i>: Tac. Dial. 10 <i>ne +opinio quidem et fama ... aeque poetas quam oratores sequitur</i>: Sen. +Ep. 79, 16. In Cicero it is found only with a genitive (ad Att. 7, 2 +<i>opinio integritatis</i>: cp. Liv. xlv. 38, 6: Caes. B.G. vii. 59, 5: +Tac. Dial. 15), or with an adjective (Verr. ii. 3, 24 <i>falsam ... +malam opinionem</i>).</p> + +<p><b>Opus</b> frequently means ‘branch,’ ‘department’ in Quintilian: x. +<a href = "QuintBody1.html#chapI_sec9">1, 9</a> (where see note). +It is often identical with ‘genus’: e.g. x. +<a href = "QuintBody1.html#chapI_sec123">1, 123</a> where they are +used together, <i>quo in genere—in hoc opere</i>. Cp. iii. 7, 28 +<i>quamquam tres status omnes cadere in hoc opus (laudativum genus) +possint</i>.</p> + +<p><b>Valetudo</b>, always in the sense of ‘bad health’ in Quintilian +and contemporary writers. If ‘good health’ is meant, an adjective is +used: e.g. x. +<a href = "QuintBody2.html#chapIII_sec26">3, 26</a> <i>bona +valetudo</i>: vi. 3, 77 <i>commodior valetudo</i>. With Cicero it may +mean either: de Fin. v. §84 <i>bonum valetudo, miser morbus</i>: de Am. +§8 <i>quod in collegio nostro non adfuisses, valetudinem respondeo +causam</i>: ad Fam. iv. 1, 1: in Tusc. iv. §80 he has <i>mala +valetudo</i>. With Quintilian’s usage cp. Tac. Hist. iii. 2; Ann. vi. +50: Suet. Claud. 26: Plin. S. 2, 20.</p> + +<p><b>Venus</b> for <i>venustas</i>, x. +<a href = "QuintBody1.html#chapI_sec79">1, 79</a> (where see note); +ib. +<a href = "QuintBody1.html#chapI_sec100">§100</a>. This use of the word +is poetical: Hor. A. P. 320; Car. iv. 13, 17. For <i>venustas</i>, +<i>lepor</i> occurs in Cicero with the same meaning, see de Orat. i. +§243: Or. §96.</p> + +<p>Other points in connection with the use of substantives are referred +to +<span class = "pagenum">xlv</span> +<a name = "intro_pagexlv" id = "intro_pagexlv"> </a> +in the notes: e.g. the periphrastic construction with <i>vis</i> or +<i>ratio</i> and the gerund (see on <i>vim dicendi</i> x. +<a href = "QuintBody1.html#chapI_sec1">1, 1</a>): the concrete use +of certain nouns in the plural (see on <i>historias</i> +<a href = "QuintBody1.html#chapI_sec75">§75</a>: cp. <i>lectiones</i> +<a href = "QuintBody1.html#chapI_sec45">§45</a>): the concrete use of +abstract nouns (e.g. <i>facilitatem</i> +<a href = "QuintBody2.html#chapIII_sec7">3 §7</a>: <i>profectus</i> +<a href = "QuintBody2.html#chapV_sec14">5 §14</a>: cp. <i>silvarum +amoenitas</i> for <i>silvae amoenae</i> +<a href = "QuintBody2.html#chapIII_sec24">3 §24</a>). The frequent +occurrence of verbal nouns in <i>-tor</i> must also be noted: in Quint. +they have come to be used almost like adjectives or participles +(<i>hortator</i> x. +<a href = "QuintBody2.html#chapIII_sec23">3, 23</a>: +<i>offensator</i> ib. +<a href = "QuintBody2.html#chapIII_sec20">§20</a>), and may, like +adjectives, be compared by the aid of an adverb (<i>nimium amator</i> +<a href = "QuintBody1.html#chapI_sec88">1 §88</a>, where see +note)<a class = "tag" name = "tag69" id = "tag69" href = +"#note69">69</a>.</p> + + +<h5>II. Adjectives.</h5> + +<p><b>Beatus</b> (<i>abundans</i>, <i>fecundus</i>): x. +<a href = "QuintBody1.html#chapI_sec61">1, 61</a> <i>beatissima +rerum verborumque copia</i>, where see note: cp. v. 14, 31 <i>beatissimi +amnes</i>. Cicero does not use <i>beatus</i> of things: cp. de Rep. ii. +19, 34 <i>abundantissimus amnis</i>.</p> + +<p><b>Densus</b> (like <i>pressus</i> in Cicero): +<a href = "QuintBody1.html#chapI_sec68">§§68</a>, +<a href = "QuintBody1.html#chapI_sec73">73</a> (with notes), <i>densus +et brevis et semper instans sibi Thucydides</i>: cp. Cic. de Orat. ii. +§59 <i>Thucydides ita verbis aptus et pressus</i>. So x. +<a href = "QuintBody1.html#chapI_sec76">1, 76</a>, +<a href = "QuintBody1.html#chapI_sec106">106</a>.</p> + +<p><b>Exactus</b>: x. +<a href = "QuintBody2.html#chapII_sec14">2, 14</a> <i>exactissimo +iudicio</i>: +<a href = "QuintBody2.html#chapVII_sec30">7 §30</a> <i>exacti +commentarii</i>. <i>Exactus</i> bears the same relation to +<i>exigere</i> as <i>perfectus</i> does to <i>perficere</i>, with which +<i>exigere</i> is, in Quintilian, synonymous: <i>e.g.</i> i. 5, 2; +9, 2. So Hor. Ep. ii. 1, 72: Suet. Tib. 18: Plin. Ep. 8, 23; also +M. Seneca, and Val. Max. For <i>exactus</i> Cicero used +<i>diligenter elaboratus</i> (Brut. §312) or <i>accuratus</i> (ad Att. +xiii. 45, 3): or <i>perfectus</i> (de Orat. i. §§34, 35).</p> + +<p><b>Expositus</b> = <i>tritus</i>, <i>communis</i>: x. +<a href = "QuintBody2.html#chapV_sec11">5, 11</a> <i>voluptatem +expositis dare</i>: Iuv. 7, 54 <i>vatem—qui nihil expositum soleat +deducere, hoc qui communi feriat carmen triviale moneta</i>: Sen. E. 55. +Cicero has (de Orat. i. 31, 137) <i>omnium communia et contrita +praecepta</i>.</p> + +<p><b>Incompositus</b>: x. +<a href = "QuintBody1.html#chapI_sec66">1, 66</a> <i>rudis in +plerisque et incompositus</i> (Aeschylus): cp. iv. 5, 10; ix. 4, 32: +Verg. Georg. i. 350 <i>motus incompositos</i>: Hor. Sat. i. 10, 1: Tac. +Dial. 26: Sen. Ep. 40, 4: Liv. xxiii. 27; v. 28.</p> + +<p><b>Otiosus</b> = <i>inutilis</i>, <i>inanis</i>. See on x. +<a href = "QuintBody1.html#chapI_sec76">1, 76</a> <i>tam nihil +otiosum</i>: cp. +<a href = "QuintBody2.html#chapII_sec17">2 §17</a>. So Tac. Dial. +40: Plin. S. 10, 62. In Cicero we have <i>vacuus</i>, <i>otio +abundans</i>, Brut. §3: N.D. iii. §39.</p> + +<span class = "pagenum">xlvi</span> +<a name = "intro_pagexlvi" id = "intro_pagexlvi"> </a> +<p><b>Praecipuus</b>, used by itself, see on x. +<a href = "QuintBody1.html#chapI_sec94">1, 94</a>.</p> + +<p><b>Summus</b>, in sense of <i>extremus</i>: x. +<a href = "QuintBody1.html#chapI_sec21">1, 21</a>, where see note. +The usage is poetical: cp. Plaut. Pers. 33; Asin. 534: Verg. Aen. ii. +324 <i>venit summa dies</i>: Hor. Ep. i. 1, 1: Ovid ex Pont. iv. 9, 59, +Am. iii. 9, 27: Iuv. i. 5. Schmalz (<i>Ueber den Sprachgebrauch des +Asinius Pollio—München</i>, 1890, p. 36) contends that this +use is not Ciceronian, for while Pollio writes <i>summo ludorum die</i> +(ad Fam. x. 32, 3) and Caelius <i>summis Circensibus ludis</i> (ad +Fam. viii. 12, 3—<i>Manutius: <b>extremis</b> diebus Circensium +ludorum meorum</i>), Cicero himself says (ad Fam. vii. 1, 3) +<i>extremus elephantorum dies fuit</i>.</p> + +<p><b>Supinus</b> = <i>ignavus</i> (as <span class = "greek" title = +"huptios">ὕπτιος</span>, p. xliii. above): x. +<a href = "QuintBody2.html#chapII_sec17">2, 17</a> <i>otiosi et +supini</i>: cp. ix. 4, 137 <i>tarda et supina compositio</i>: Iuv. i. +66: Mart. vi. 42 <i>Non attendis et aure supina Iamdudum negligenter +audis</i>. This word may have been used first by Quintilian in this +sense: in Cicero it is used of the body, e.g. de Div. i. 53, 120.</p> + +<p>Noticeable also, and characteristic of his time, is Quintilian’s use +of <i>plerique</i> and <i>plurimi</i>, the former having often the force +of <i>nonnulli</i>, <i>plures</i>, <i>multi</i> (x. +<a href = "QuintBody1.html#chapI_sec26">1 §§26</a>, +<a href = "QuintBody1.html#chapI_sec31">31</a>, +<a href = "QuintBody1.html#chapI_sec34">34</a>, +<a href = "QuintBody1.html#chapI_sec37">37</a>, +<a href = "QuintBody1.html#chapI_sec66">66</a>, +<a href = "QuintBody1.html#chapI_sec106">106</a>: +<a href = "QuintBody2.html#chapII_sec13">2 §13</a>: +<a href = "QuintBody2.html#chapIII_sec16">3 §16</a>), the latter +losing its force as a superlative, and standing generally for +<i>permulti</i> (x. +<a href = "QuintBody1.html#chapI_sec12">1 §§12</a>, +<a href = "QuintBody1.html#chapI_sec22">22</a>, +<a href = "QuintBody1.html#chapI_sec27">27</a>, +<a href = "QuintBody1.html#chapI_sec40">40</a>, +<a href = "QuintBody1.html#chapI_sec49">49</a>, +<a href = "QuintBody1.html#chapI_sec58">58</a>, +<a href = "QuintBody1.html#chapI_sec60">60</a>, +<a href = "QuintBody1.html#chapI_sec65">65</a>, +<a href = "QuintBody1.html#chapI_sec81">81</a>, +<a href = "QuintBody1.html#chapI_sec95">95</a>, +<a href = "QuintBody1.html#chapI_sec107">107</a>, +<a href = "QuintBody1.html#chapI_sec109">109</a>, +<a href = "QuintBody1.html#chapI_sec117">117</a>, +<a href = "QuintBody1.html#chapI_sec128">128</a>: +<a href = "QuintBody2.html#chapII_sec6">2 §§6</a>, +<a href = "QuintBody2.html#chapII_sec14">14</a>, +<a href = "QuintBody2.html#chapII_sec24">24</a>: +<a href = "QuintBody2.html#chapVI_sec1">6 §1</a>: +<a href = "QuintBody2.html#chapVII_sec17">7 §17</a>).</p> + +<p>Nothing is more common in Quintilian than the use of adjectives (and +participles) in the place of nouns.<a class = "tag" name = "tag70" id = +"tag70" href = "#note70">70</a> In some cases this arises from the +actual omission of a noun, which can readily be supplied to define the +meaning of the adjective: for example x. +<a href = "QuintBody2.html#chapV_sec20">5, 20</a> +<i>decretoriis</i> (sc. <i>armis</i>) <i>exerceatur</i>: +<a href = "QuintBody1.html#chapI_sec100">1 §100</a> <i>togatis</i> +(sc. <i>fabulis</i>) <i>excellit Afranius</i>: +<a href = "QuintBody1.html#chapI_sec88">1 §88</a> <i>lascivus +quidem in herois</i> (sc. <i>versibus</i>) <i>quoque Ovidius</i>. But in +most cases there is no perceptible ellipse; the general idea intended is +contained in the adjective itself. In the Masculine and Feminine only +those adjectives can be used as nouns which express personal qualities, +as of character, position, reputation, &c.: the Neuter denotes +generally the properties of things, mostly abstractions. Following the +arrangement of Dr. Hirt’s paper, we may cite examples from the Tenth +Book as follows:—</p> + + +<h5 class = "boldf">The Neuter Adjective.</h5> + +<p>(1) <i>The Neuter singular used by itself</i>:—</p> + +<p>Nom. +<a href = "QuintBody2.html#chapIII_sec22">3 §22</a> <i>secretum in +dictando perit</i>.</p> + +<span class = "pagenum">xlvii</span> +<a name = "intro_pagexlvii" id = "intro_pagexlvii"> </a> +<p>Acc. +<a href = "QuintBody2.html#chapIII_sec30">3 §30</a> <i>faciat sibi +cogitatio secretum</i>.</p> + +<p>Gen. +<a href = "QuintBody2.html#chapIII_sec27">3 §27</a> <i>optimum +secreti genus</i>: +<a href = "QuintBody2.html#chapIII_sec30">§30</a> <i>amator secreti</i>. +Partitive genitives: +<a href = "QuintBody2.html#chapVI_sec1">6 §1</a> <i>aliquid +vacui</i>: dependent on adj. +<a href = "QuintBody1.html#chapI_sec79">1 §79</a> <i>honesti +studiosus</i>.</p> + +<p>Dat.: occurs in other books: e.g. i. pr. 4 <i>proximum vero</i>: vi. +3, 21 <i>contrarium serio</i>.</p> + +<p>Abl. +<a href = "QuintBody2.html#chapVII_sec16">7 §16</a> <i>cum stilus +secreto gaudeat</i>.</p> + +<p>Frequent instances occur in prepositional phrases, with accusative +and ablative: these are mostly local, and the great extension of the +usage in post-Augustan times points to the influence of Greek analogy +(<span class = "greek" title = "ex isou, ek tou phanerou k.t.l.">ἐξ +ἴσου, ἐκ τοῦ φανεροῦ κ.τ.λ.</span>). Examples are: <i>in altum</i> +<a href = "QuintBody2.html#chapVII_sec28">7 §28</a> (= <i>in +profundum</i>): <i>e contrario</i> +<a href = "QuintBody1.html#chapI_sec19">1 §19</a>: <i>in +deposito</i> +<a href = "QuintBody2.html#chapIII_sec33">3 §33</a>: <i>in +expedito</i> +<a href = "QuintBody2.html#chapVII_sec24">7 §24</a>: +(<i>vertere</i>) <i>in Latinum</i> +<a href = "QuintBody2.html#chapV_sec2">5 §2</a> (containing the +idea of locality: cp. <i>ex Graeco</i>): <i>ex integro</i> +<a href = "QuintBody1.html#chapI_sec20">1 §20</a> (where see note): +<i>in posterum</i> +<a href = "QuintBody2.html#chapIII_sec14">3 §14</a>: <i>in +publicum</i> +<a href = "QuintBody2.html#chapVII_sec1">7 §1</a>: <i>in +universum</i> +<a href = "QuintBody1.html#chapI_sec42">1 §42</a>: <i>in peius</i> +<a href = "QuintBody2.html#chapII_sec16">2 §16</a>: <i>ex +proximo</i> +<a href = "QuintBody1.html#chapI_sec13">1 §13</a>: <i>a summo</i> +<a href = "QuintBody2.html#chapIII_sec2">3 §2</a>: <i>ad +ultimum</i> +<a href = "QuintBody2.html#chapVII_sec7">7 §7</a>; ib. +<a href = "QuintBody2.html#chapVII_sec16">16</a>: <i>ex ultimo</i> ib. +<a href = "QuintBody2.html#chapVII_sec10">10</a>.</p> + +<p>Sometimes the adjective, in addition to being used substantivally, +governs like a noun, the genitive depending on it being always +partitive: e.g. <i>multum</i> +<a href = "QuintBody1.html#chapI_sec80">1 §§80</a>, +<a href = "QuintBody1.html#chapI_sec94">94</a>, +<a href = "QuintBody1.html#chapI_sec115">115</a>: <i>plus</i> +<a href = "QuintBody1.html#chapI_sec77">1 §§77</a>, +<a href = "QuintBody1.html#chapI_sec86">86</a>, +<a href = "QuintBody1.html#chapI_sec97">97</a>, +<a href = "QuintBody1.html#chapI_sec99">99</a>, +<a href = "QuintBody1.html#chapI_sec106">106</a>: <i>plurimum</i> +<a href = "QuintBody1.html#chapI_sec60">1 §§60</a>, +<a href = "QuintBody1.html#chapI_sec65">65</a>, +<a href = "QuintBody1.html#chapI_sec81">81</a>, +<a href = "QuintBody1.html#chapI_sec117">117</a>, +<a href = "QuintBody1.html#chapI_sec128">128</a>; +<a href = "QuintBody2.html#chapIII_sec1">3 §1</a>; +<a href = "QuintBody2.html#chapV_sec3">5 §§3</a>, +<a href = "QuintBody2.html#chapV_sec10">10</a>; +<a href = "QuintBody2.html#chapVI_sec1">6 §1</a>; +<a href = "QuintBody2.html#chapVII_sec17">7 §17</a>: <i>minus</i> +<a href = "QuintBody2.html#chapII_sec12">2 §12</a>: <i>quantum</i> +<a href = "QuintBody2.html#chapV_sec8">5 §8</a>. And with a +pronoun: +<a href = "QuintBody2.html#chapVII_sec24">7 §24</a> <i>promptum hoc +et in expedito positum</i>.</p> + +<p>(2) <i>The Neuter Plural.</i></p> + +<p>Instances need not be cited where adjectives are used substantivally +in cases which can be recognised as neuter: e.g. +<a href = "QuintBody2.html#chapIII_sec6">3 §6</a> <i>scriptorum +proxima</i>. Quintilian gave a wide extension to the usage even where +the case could not be recognised. It can be detected most easily, of +course, when the adjective is used alongside of nouns, e.g. +<a href = "QuintBody2.html#chapV_sec8">5 §8</a> <i>sua brevitati +gratia</i>, <i>sua copiae</i>, <i>alia translatis virtus</i>, <i>alia +propriis</i>; or when another adjective or pronoun is used in the nom. +or acc., e.g. +<a href = "QuintBody1.html#chapI_sec35">1 §35</a>: +<a href = "QuintBody2.html#chapIII_sec32">3 §32</a> <i>novorum +interpositione priora confundant</i>: +<a href = "QuintBody2.html#chapV_sec11">5 §11</a>. Other instances +(of 2nd and 3rd decl.) are +<a href = "QuintBody2.html#chapVII_sec30">7 §30</a> <i>subitis ex +tempore occurrant</i>: +<a href = "QuintBody2.html#chapV_sec1">5 §1</a> <i>ex latinis</i>: +<a href = "QuintBody2.html#chapVII_sec6">7 §6</a> <i>ex +diversis</i>: +<a href = "QuintBody1.html#chapI_sec66">1 §66</a> <i>in +plerisque</i>: +<a href = "QuintBody2.html#chapV_sec11">5 §11</a> <i>varietatem +similibus dare</i>. So with comparatives and superlatives: +<a href = "QuintBody1.html#chapI_sec63">1 §63</a> <i>maioribus +aptior</i>: +<a href = "QuintBody1.html#chapI_sec58">1 §58</a> <i>cum optimis +satiati sumus</i>, <i>varietas tamen nobis ex vilioribus grata sit</i>: +<a href = "QuintBody2.html#chapV_sec6">5 §6</a> <i>certe proximis +locus</i>.</p> + + +<h5 class = "boldf">The Masculine Adjective.</h5> + +<p>(1) <i>The Masculine Plural.</i></p> + +<p>In the following places masculine adjectives are found together, in +the plural, or else along with nouns: +<a href = "QuintBody1.html#chapI_sec71">1 §§71</a>, +<a href = "QuintBody1.html#chapI_sec124">124</a>, +<a href = "QuintBody1.html#chapI_sec130">130</a>: +<a href = "QuintBody2.html#chapII_sec17">2 §17</a>: +<a href = "QuintBody2.html#chapIII_sec16">3 §16</a>: +<a href = "QuintBody2.html#chapV_sec1">5 §1</a>.</p> + +<span class = "pagenum">xlviii</span> +<a name = "intro_pagexlviii" id = "intro_pagexlviii"> </a> +<p>Single instances are (Genitive) <i>veterum</i> +<a href = "QuintBody1.html#chapI_sec97">1 §§97</a>, +<a href = "QuintBody1.html#chapI_sec118">118</a>: <i>magnorum</i> +<a href = "QuintBody1.html#chapI_sec25">1 §25</a>: (Dative) +<i>imperitis</i> +<a href = "QuintBody2.html#chapVII_sec15">7 §15</a>: +<i>antiquis</i> +<a href = "QuintBody2.html#chapII_sec17">2 §17</a>: +<i>studiosis</i> +<a href = "QuintBody1.html#chapI_sec45">1 §45</a> (where see note: +Cicero would have had <i>dicendi</i>, or <i>eloquentiae studiosis</i>): +<i>bonis</i> +<a href = "QuintBody2.html#chapII_sec3">2 §3</a>: (Accusative) +<i>veteres</i> +<a href = "QuintBody1.html#chapI_sec42">1 §42</a>: <i>posteros</i> +<a href = "QuintBody1.html#chapI_sec112">1 §§112</a>, +<a href = "QuintBody1.html#chapI_sec120">120</a>: +<a href = "QuintBody2.html#chapII_sec6">2 §6</a>: <i>obvios</i> +<a href = "QuintBody2.html#chapIII_sec29">3 §29</a>: +<i>intentos</i> +<a href = "QuintBody2.html#chapIII_sec33">3 §33</a>: (Ablative) +<i>ex nostris</i> +<a href = "QuintBody1.html#chapI_sec114">1 §114</a>: <i>ab +antiquis</i> +<a href = "QuintBody1.html#chapI_sec126">1 §126</a>: <i>de +novis</i> +<a href = "QuintBody1.html#chapI_sec40">1 §40</a>. With the +comparative +<a href = "QuintBody2.html#chapV_sec19">5 §19</a> <i>apud +maiores</i>: +<a href = "QuintBody2.html#chapV_sec7">5 §7</a> <i>priores</i>: +superlative +<a href = "QuintBody1.html#chapI_sec58">1 §58</a> <i>confessione +plurimorum</i>. In +<a href = "QuintBody1.html#chapI_sec123">1 §123</a> we have one of +the few instances of the addition of another adjective to an adjective +doing duty for a noun—<i>paucissimos adhuc eloquentes litterae +Romanae tulerunt</i>.</p> + +<p>(2) <i>The Masculine Singular.</i></p> + +<p>When the adjective can denote a class collectively, it may be used as +a noun: this is quite frequent in Quintilian, as in most writers, +especially when the adjective stands near a substantive, e.g. +<i>perorare in adulterum</i>, <i>aleatorem</i>, <i>petulantem</i> ii. +4, 22.</p> + +<p>The following are cases of the isolated use of the masculine +singular: (Genitive) x. +<a href = "QuintBody2.html#chapII_sec26">2, 26</a> <i>prudentis +est</i>: (Accusative) +<a href = "QuintBody2.html#chapII_sec3">2 §3</a> <i>similem raro +natura praestat</i>: +<a href = "QuintBody2.html#chapIII_sec19">3 §19</a> <i>quasi +conscium infirmitatis nostrae timentes</i>.</p> + + +<h5 class = "boldf">The Participle used as a Noun.</h5> + +<p>(1) <i>The Neuter Singular.</i></p> + +<p>Participles follow the analogy of the adjective. In addition to those +which have actually become nouns (e.g. <i>responsum</i>, +<i>praeceptum</i>, <i>promissum</i>, &c.), Quintilian uses several +participles as nouns in a manner that is again an extension of classical +usage. So even with a pronoun, or another adjective: e.g. +<a href = "QuintBody2.html#chapII_sec2">2 §2</a> <i>ad propositum +praescriptum</i>: +<a href = "QuintBody2.html#chapII_sec11">§11</a> <i>ad alienum +propositum</i>: +<a href = "QuintBody2.html#chapV_sec12"><ins class = "correction" title = "text reads ‘5 §72’">5 §12</ins></a> <i>decretum +quoddam atque praeceptum</i>: +<a href = "QuintBody2.html#chapVII_sec24">7 §24</a> <i>promptum hoc +et in expedito positum</i>.</p> + +<p>(2) <i>The Neuter Plural.</i></p> + +<p>Instances of the usual kind are too numerous to mention: the +participle in <i>-us</i>, <i>-a</i>, <i>-um</i> is found frequently in +abl., gen., and dat. Not so common is the plural of the 3rd decl.: +<a href = "QuintBody1.html#chapI_sec86">1 §86</a> <i>eminentibus +vincimur</i>: +<a href = "QuintBody2.html#chapIII_sec5">3 §5</a> <i>nec protinus +offerentibus se gaudeamus</i>, <i>adhibeatur indicium inventis</i>, +<i>dispositio probatis</i>.</p> + +<p>(3) <i>The Perfect Participle.</i></p> + +<p>In regard to the masculine plural Quintilian here follows the +Ciceronian usage, according to which the participle is employed when a +definite class of individuals is indicated, and a <i>qui</i> clause when +the description is more unrestricted. Instances of the participle are +<a href = "QuintBody1.html#chapI_sec131">1 §131</a> <i>robustis et +<span class = "pagenum">xlix</span> +<a name = "intro_pagexlix" id = "intro_pagexlix"> </a> +satis firmatis legendus</i>: +<a href = "QuintBody2.html#chapIII_sec2">3 §2</a> 7 <i>occupatos in +noctem necessitas agit</i>: +<a href = "QuintBody2.html#chapV_sec17">5 §17</a> +<i>exercitatos</i>; rather more general is <i>a conrogatis +laudantur</i> +<a href = "QuintBody1.html#chapI_sec18">1 §18</a>. The Masculine +Singular is, in classical Latin, generally found along with a +substantive, it being incorrect to use any such expression as, for +example, <i>manes occisi placare</i>. Quintilian makes a very free use +of this participle: e.g. i. 2, 24 <i>reddebat victo certaminis +polestatem</i>: v. 12, 2 <i>spiculum in corpore occisi inventum +est</i>, &c.</p> + +<p>(4) <i>The Future Participle.</i></p> + +<p>The use of this participle received a great extension in +post-Augustan times. The following are instances of its employment as a +substantive: i. 4, 17 <i>non doceo, sed admoneo docturos</i>: 21 +<i>liberum opinaturis relinquo</i>: and in the singular iv. 1, 52 <i>hoc +adicio ut dicturus intueatur quid, apud quem dicendum sit</i>.</p> + +<p>(5) <i>The Present Participle.</i></p> + +<p>Frequent as is the substantival use of this participle in all Latin +authors, in none is it more frequent than in Quintilian—generally +in the Gen. and Dat. Sing. and Plur., not so common in the Nom. and Acc. +Pl., and seldom in the Abl. and Nom. Sing. In some instances it is found +alongside of a noun: e.g. +<a href = "QuintBody2.html#chapII_sec2">2 §2</a>: +<a href = "QuintBody2.html#chapVII_sec3">7 §3</a>. The most common +example of the Gen. Sing., standing alone, is (as might be expected from +the subject-matter of the <i>Institutio</i>) <i>discentis</i>, +<i>dicentis</i>, &c., e.g. +<a href = "QuintBody1.html#chapI_sec6">1 §6</a>: for the Dative see +<a href = "QuintBody1.html#chapI_sec17">1 §§17</a>, +<a href = "QuintBody1.html#chapI_sec24">24</a>, +<a href = "QuintBody1.html#chapI_sec30">30</a>: Accusative +<a href = "QuintBody1.html#chapI_sec20">1 §20</a>: Ablative +<a href = "QuintBody1.html#chapI_sec15">1 §15</a> (<i>intellegere +sine demonstrante</i>): <i>eminentibus</i> +<a href = "QuintBody1.html#chapI_sec86">1 §86</a>: cp. <i>illis ... +recipientibus</i> +<a href = "QuintBody2.html#chapV_sec12">5 §12</a>. In the plural, +the Genitive and Dative are equally common: for the Nominative may be +quoted +<a href = "QuintBody2.html#chapII_sec15">2 §15</a> +<i>imitantes</i>: for the Accusative +<a href = "QuintBody1.html#chapI_sec16">1 §16</a>: +<a href = "QuintBody2.html#chapII_sec26">2 §26</a>: +<a href = "QuintBody2.html#chapIII_sec25">3 §25</a>.</p> + + +<h5>III. Pronouns.</h5> + +<p><b>Ipse</b> follows the usual rules. For an interesting point in +connection with its use, see on +<a href = "QuintBody2.html#chapII_sec15">2 §15</a>. It is often +used as = <i>per se</i>, e.g. +<a href = "QuintBody1.html#chapI_sec117">1 §117</a>: +<a href = "QuintBody2.html#chapIII_sec21">3 §21</a>: often with +pronouns, e.g. <i>vel hoc ipso</i> (<span class = "greek" title = "di’ auto touto">δι᾽ αὐτὸ τοῦτο</span>) +<a href = "QuintBody1.html#chapI_sec75">1 §75</a>, cp. +<a href = "QuintBody2.html#chapV_sec8">5 §8</a>. For <i>et ipse</i> +see note on +<a href = "QuintBody1.html#chapI_sec31">1 §31</a>.</p> + +<p><b>Hic</b> seems frequently to be used with reference to the +circumstances of the writer’s own times: e.g. +<a href = "QuintBody1.html#chapI_sec43">1 §43</a> <i>recens haec +lascivia</i>: and probably also +<a href = "QuintBody2.html#chapVII_sec31">7 §31</a> <i>hanc brevem +adnotationem</i>. (This is certainly the case with <i>ille</i>: e.g. +<i>illis dictandi deliciis</i> +<a href = "QuintBody2.html#chapIII_sec18">3 §18</a>: <i>ille +laudantium clamor</i> +<a href = "QuintBody1.html#chapI_sec17">1 §17</a>.) It has been +suggested that in some cases the manuscripts may be wrong: e.g. +<a href = "QuintBody1.html#chapI_sec6">1 §6</a> <i>ex his</i> (for +<i>ex iis</i>?): but cp. +<a href = "QuintBody1.html#chapI_sec25">1 §§25</a>, +<a href = "QuintBody1.html#chapI_sec33">33</a>, +<a href = "QuintBody1.html#chapI_sec40">40</a>, &c. Such instances +of a preference for <i>hic</i> over <i>is</i> come under Priscian’s rule +(xvi. 58), <i><b>Hic</b> +<span class = "pagenum">l</span> +<a name = "intro_pagel" id = "intro_pagel"> </a> +non solum de <b>praesente</b> verum etiam de <b>absente</b> possumus +dicere, ad <b>intellectum</b> referentes demonstrativum</i>.</p> + +<p>The conjunction of <i>nullus</i> and <i>non</i> +(= <i>quisque</i>, <i>omnis</i>) is common in Quintilian and +Suetonius: +<a href = "QuintBody2.html#chapVII_sec25">7 §25</a> <i>nullo non +tempore et loco</i>: cp. iii. 6, 7: ix. 4, 83: Suet. Aug. 32; Tib. 66; +Nero 16, &c.: Mart. 8, 20.</p> + +<p><b>Quicunque</b> has in Quintilian completely acquired the force of +an indefinite pronoun: see on +<a href = "QuintBody1.html#chapI_sec12">1 §12</a>; <a href = +"QuintBody1.html#chapI_sec105">105</a>.</p> + +<p><b>Quilibet unus</b> (<a href = +"QuintBody1.html#chapI_sec1">1 §1</a>) does not occur in Cicero: +cp. i. 12, 7: v. 10, 117.</p> + +<p><b>Ut qui</b> is frequently found in place of the Ciceronian +<i>quippe qui</i>, <i>utpote qui</i>: see on +<a href = "QuintBody1.html#chapI_sec55">1 §55</a>.</p> + + +<h5>IV. Verbs.</h5> + +<p>An instance of the use of simple for compound verbs (frequent in +Quintilian and the Silver Age generally, and a mark of the ‘poetization’ +of Latin prose) occurs +<a href = "QuintBody1.html#chapI_sec99">1 §99</a> <i>licet +Caecilium veteres laudibus ferant</i>: see note <i>ad loc.</i>, and cp. +Plin. Ep. viii. 18, 3: Suet. Oth. 12, Vesp. 6. In Cicero we have +<i>efferre laudibus</i>, de Am. §24: de Off. ii. §36: de Orat. iii. §52. +So elsewhere in Quintilian <i>finire</i> for <i>definire</i>, +<i>solari</i> for <i>consolari</i>, <i>spargere</i> for +<i>dispergere</i>, &c.</p> + +<p>Examples of a change in the meaning of verbs common to Cicero and +Quintilian are the following:—</p> + +<p><b>Componere</b> occurs now in the sense of <i>sedare</i>, +<i>placare</i>: e.g. ix. 4, 12 <i>ut, si quid fuisset turbidiorum +cogitationum, componerent</i>: iii. 4, 15 <i>concitando componendisve +adfectibus</i> (Cicero, de Orat. i. §202 <i>motum dicendo vel +<b>excitare</b> vel <b>sedare</b></i>): cp. x. +<a href = "QuintBody1.html#chapI_sec119">1, 119</a> <i>Vibius +Crispus compositus et iucundus</i>, whereas Cicero has (Or. §176) +<i>Isocrates est in ipsis numeris <b>sedatior</b></i>. So Pollio, ad +Fam. x. 33, 3 has the phrase <i>bellum componere</i>: cp. Hor. Ep. ii. +1, 8 <i>componere litem</i>: Verg. Aen. iv. 341 <i>componere +curas</i>—both at the end of a hexameter: Tac. Hist. iv. 50: Suet. +Caes. 4.</p> + +<p><b>Digerere</b> = <i>concoquere</i>: see +<a href = "QuintBody1.html#chapI_sec19">1 §19</a>. For +<i>concoquere</i> in Cicero, see de Fin. ii. §64: de N. D. ii. +§§24, 124, 136.</p> + +<p><b>Praedicere</b> = <i>antea</i>, <i>supra dicere</i>: see on +<a href = "QuintBody1.html#chapI_sec74">1 §74</a>.</p> + +<p><b>Recipere</b> = <i>probare</i> (<span class = "greek" title = +"apodechomai">ἀποδέχομαι</span>): +<a href = "QuintBody2.html#chapVII_sec31">7 §31</a>, and often.</p> + +<p><b>Vacat</b>: used impersonally +<a href = "QuintBody1.html#chapI_sec58">1 §§58</a>, +<a href = "QuintBody1.html#chapI_sec90">90</a>: cp. i. 12, 12. This +usage is not found in Cicero.</p> + + +<h5>V. Adverbs.</h5> + +<p><b>Abunde</b> is often found along with adjectives and adverbs, to +increase their force: +<a href = "QuintBody1.html#chapI_sec25">1 §25</a> <i>abunde +similes</i> (where see note): +<a href = "QuintBody1.html#chapI_sec104">§104</a> <i>elatum abunde +spiritum</i>. It has something of the emphasis of Cicero’s <i>satis +superque</i>.</p> + +<p><b>Adhuc</b> occurs very frequently with a comparative: see on +<a href = "QuintBody1.html#chapI_sec71">1 §71</a> (<i>plus +adhuc</i>) and +<a href = "QuintBody1.html#chapI_sec99">§99</a>. It is often used also +(as in Livy and others) of +<span class = "pagenum">li</span> +<a name = "intro_pageli" id = "intro_pageli"> </a> +past time, when it = <i>eo etiam tempore</i>, or <i>etiam tum</i>: e.g. +<i>scholae adhuc operatum</i> +<a href = "QuintBody2.html#chapIII_sec13">3 §13</a>: cp. i. 8, 2: +<a href = "QuintBody2.html#chapII_sec27">2 §27</a>.</p> + +<p><b>Alioqui</b> has different uses in Quintilian, as in Tacitus. (1) +It occurs pretty much as <span class = "greek" title = "ta men alla">τὰ +μὲν ἄλλα</span> in Greek, with very little of an antithesis: e.g. +<a href = "QuintBody1.html#chapI_sec64">1 §64</a> <i>Simonides, +tenuis alioqui, sermone proprio et iucunditate commendari potest</i>: +<a href = "QuintBody2.html#chapIII_sec32">3 §32</a> <i>expertus +iuvenem, studiosum alioqui, praelongos habuisse sermones</i>, &c. +(There is a definite antithesis in what seems to be the corresponding +usage in Tacitus, when <i>alioqui</i> is opposed to an adverb of time: +e.g, Ann. iii. 8 <i>cum incallidus alioqui et facilis iuventa senilibus +</i>tum<i> artibus uteretur</i>: xiii. 20 <i>ingreditur Paris, solitus +alioquin id temporis luxus principis intendere, sed </i>tunc<i> +compositus ad maestitiam.</i>) (2) It is equivalent to <i>praeterea</i>, +‘besides’: +<a href = "QuintBody2.html#chapIII_sec13">3 §13</a> <i>in +eloquentia Galliarum ... princeps, alioqui inter paucos disertus</i>. +Cp. Tac. Ann. iv. 11 <i>ordo alioqui sceleris ... patefactus est</i>. +This sense is an easy transition from ‘for the rest.’ The instance in +<a href = "QuintBody1.html#chapI_sec128">1 §128</a> (<i>cuius et +multae alioqui et magnae virtutes fuerunt</i>) seems to fall also under +this head, unless it means ‘apart from’ the doubtful compliments they +paid him (Seneca) by imitating him: cp. Tac. Ann. iv. 37 <i>validus +alioqui spernendis honoribus</i>. (3) <i>Alioqui</i> stands for +‘otherwise,’ ‘in the opposite case,’ either with a <i>si</i> clause, as +<a href = "QuintBody2.html#chapIII_sec16">3 §16</a> <i>immutescamus +alioqui si nihil dicendum videatur</i>: +<a href = "QuintBody2.html#chapIII_sec30">§30</a> <i>quid alioqui fiet +... si particulas</i>, &c.: or without, +<a href = "QuintBody2.html#chapVI_sec6">6 §6</a> <i>alioqui vel +extemporalem temeritatem malo quam male cohaerentem cogitationem</i>. +Cp. Tac. Ann. ii. 38: xi. 6.</p> + +<p><b>Certe</b> stands for <i>quidem</i> when the point of the sentence +is reinforced by an illustration: +<a href = "QuintBody2.html#chapVI_sec4">6 §4</a> <i>Cicero certe +... tradidit</i>: cp. xii. 1, 43: vi. 2, 3.</p> + +<p><i>Demum</i>, which in classical Latin is an adverb of time +(‘lastly’), stands in Quintilian, and other writers of the Silver Age, +for <i>tantum</i>, <i>dumtaxat</i>, the idea of time having disappeared: +<a href = "QuintBody1.html#chapI_sec44">1 §44</a> <i>pressa demum +et tenuia</i>, where see note: cp. +<a href = "QuintBody2.html#chapIII_sec13">3 §13</a>: +<a href = "QuintBody2.html#chapVI_sec5">6 §5</a>. With pronouns it +is frequently used, for emphasis, like <i>adeo</i>: e.g. Cic. de Orat. +ii. §131 <i>sed hi loci ei demum oratori prodesse possunt, qui est +versatus in rebus vel usu</i>.</p> + +<p><b>Interim</b> often stands for <i>interdum</i>, as +<a href = "QuintBody1.html#chapI_sec9">1 §9</a>, where see note. At +<a href = "QuintBody2.html#chapIII_sec33">3 §33</a> we have +<i>interim ... interim</i> for <i>modo ... modo</i>, as also i. 7, 11: +<i>interim ... interdum</i> vi. 2, 12: <i>interim ... non numquam ... +saepe</i> iv. 5, 20: <i>semper ... interim</i> ii. 1, 1.</p> + +<p><b>Longe</b> and <b>multum</b> are both used with comparatives, +instead of <i>multo</i>: e.g. <i>longe clarius</i> +<a href = "QuintBody1.html#chapI_sec67">1 §67</a> (where see note): +<i>multum tersior</i> (<span class = "greek" title = "polu">πολύ</span>) +<a href = "QuintBody1.html#chapI_sec94">1 §94</a> (note).</p> + +<p><b>Mox</b> is used in enumerations in place of <i>deinde</i>: +<a href = "QuintBody2.html#chapVI_sec3">6 §3</a> +<i>primum—tum—mox</i>: cp. i. 2, 29 <i>primum—mox</i>: +ib. 9, 2 <i>primum—mox—tum</i>.</p> + +<p><b>Nec</b> = <i>ne quidem</i>: +<a href = "QuintBody2.html#chapIII_sec7">3 §7</a> <i>alioqui nec +scriberentur</i>. Cp. ix. 2, 67 <i>quod in foro non expedit, illic nec +liceat</i> iv. 2, 93: v. 10, 86.</p> + +<span class = "pagenum">lii</span> +<a name = "intro_pagelii" id = "intro_pagelii"> </a> +<p><b>Non</b> occurs with the 1st pers. plur. (<a href = +"QuintBody2.html#chapIII_sec16">3 §16</a>, cp. +<a href = "QuintBody2.html#chapIII_sec5">3 §5</a>) and 3rd pers. +sing. +<a href = "QuintBody2.html#chapII_sec27">2 §27</a> where see note, +(also after <i>dum</i> xii. 10, 48 and <i>modo</i> iii. 11, 24) where +Cicero would have had <i>ne</i>: cp. i. 1, 19 <i>non ergo perdamus</i>: +ib. §5 <i>non adsuescat ergo</i>. Cp. <i>utinam non</i> +<a href = "QuintBody1.html#chapI_sec100">§100</a>: and see note on +<a href = "QuintBody2.html#chapII_sec27">2 §27</a>.</p> + +<p><b>Non nisi</b>. These particles (<i>non</i>, <i>nisi</i>) are used +together with the force of an adverb, +<a href = "QuintBody1.html#chapI_sec24">1 §24</a> (where see note): +<a href = "QuintBody2.html#chapIII_sec29">3 §29</a>. Cp. Ov. Tr. +iii. 12, 36.</p> + +<p><b>Olim</b> is never used by Cicero of future time, as +<a href = "QuintBody1.html#chapI_sec94">1 §94</a> and +<a href = "QuintBody1.html#chapI_sec104">104</a> (where see note). Cp. +Plin. Panegyr. 15.</p> + +<p><b>Plane</b>, though common enough in classical Latin, as in +Quintilian, with verbs and adjectives, is not found so often in +conjunction with other adverbs. There may be a touch of colloquialism +about such a phrase as <i>ut plane manifesto appareat</i> +<a href = "QuintBody1.html#chapI_sec53">1 §53</a>: cp. Pollio, in +Cic. ad Fam. x. 32, 1 <i>plane bene</i>: ad Att. xiii. 6, 2: <i>plane +belle</i> ib. xii. 37, 1.</p> + +<p><b>Protinus</b> has its usual meaning (<i>statim</i>) in +<a href = "QuintBody2.html#chapIII_sec5">3 §5</a> (where it is best +taken with <i>gaudeamus</i>, not with <i>offerentibus</i>): cp. +<a href = "QuintBody2.html#chapVII_sec21">7 §21</a>. Its employment +to denote logical consequence is noted at +<a href = "QuintBody1.html#chapI_sec3">1 §3</a>: cp. <i>ib.</i> +<a href = "QuintBody1.html#chapI_sec42">§42</a>.</p> + +<p><b>Saltem</b> is often used for <i>quidem</i> and <i>neque saltem</i> +for <i>ne quidem</i>: +<a href = "QuintBody2.html#chapII_sec15">2 §15</a> <i>nec vero +saltem iis</i>, &c., where see note: cp. i. 1, 24 <i>neque enim mihi +illud saltem placet</i>.</p> + +<p><b>Sicut (ut) ... ita</b>. This formula is especially common in +Quintilian, either with or without a negative: see on +<a href = "QuintBody1.html#chapI_sec1">1 §1</a>, and cp. +<a href = "QuintBody1.html#chapI_sec3">§§3</a>, +<a href = "QuintBody1.html#chapI_sec14">14</a>, +<a href = "QuintBody1.html#chapI_sec72">72</a>: ix. 2, 88, &c.</p> + +<p><b>Ubicumque</b>, like <i>quicumque</i>, has become an indefinite: +e.g. +<a href = "QuintBody2.html#chapVII_sec28">7 §28</a> <i>quidquid +loquemur ubicumque</i>. The more classical use is found at +<a href = "QuintBody1.html#chapI_sec5">1 §§5</a> and +<a href = "QuintBody1.html#chapI_sec10">10</a>.</p> + +<p><b>Utique</b>: see note on +<a href = "QuintBody1.html#chapI_sec20">1 §20</a>.</p> + +<p><b>Utrimque</b> is used not of place, but of the ‘opposite sides’ of +a question: +<a href = "QuintBody2.html#chapV_sec20">5 §20</a> <i>causas +utrimque tractet</i>: +<a href = "QuintBody1.html#chapI_sec131">1 §131</a>: cp. v. 10, 81: +Hor. Ep. i. 18, 9: Tac. Hist. i. 14.</p> + +<p><b>Velut</b> occurs more commonly than either <i>quasi</i> or +<i>tamquam</i> in comparisons: see on +<a href = "QuintBody1.html#chapI_sec5">1 §5</a> <i>velut opes +quaedam</i>, and cp. +<a href = "QuintBody1.html#chapI_sec18">§§18</a>, +<a href = "QuintBody1.html#chapI_sec61">61</a>: +<a href = "QuintBody2.html#chapIII_sec3">3 §3</a>: +<a href = "QuintBody2.html#chapV_sec17">5 §17</a>: +<a href = "QuintBody2.html#chapVII_sec1">7 §1</a>. So also +<a href = "QuintBody2.html#chapVII_sec6">7 §6</a> <i>ducetur ante +omnia rerum ipsa serie velut duce</i>.</p> + + +<h5>VI. Prepositions.</h5> + +<p><b>Ab</b> for ‘on leaving,’ as in the poets and Livy: +<a href = "QuintBody2.html#chapV_sec17">5 §17</a> <i>ne ab illa, in +qua consenuerunt, umbra discrimina velut quendam solem reformident</i>: +cp. xi. 3, 22: i. 6, 25: Ov. Met. iv. 329: Plin. N. H. xiv. +7, 9. So <span class = "greek" title = "apo">ἀπὸ</span> in Homer, +Il. viii. 53 <span class = "greek" title = "Hoi d’ ara deipnon helonto karêkomoôntes Achaioi Rhimpha kata klisias, apo d’ autou thôrêssonto">Οἱ +δ᾽ ἄρα δεῖπνον ἕλοντο καρηκομόωντες Ἀχαιοὶ Ῥίμφα κατὰ κλισίας, ἀπὸ δ᾽ +αὐτοῦ θωρήσσοντο</span>.</p> + +<p><b>Circa</b> does duty in Quintilian for <i>in</i>, <i>de</i>, +<i>ad</i>, <i>erga</i>, &c.: cp. the use of <span class = "greek" +title = "peri">περί</span>, <span class = "greek" title = +"amphi">ἀμφί</span> with the acc. in Greek<ins class = "correction" +title = "period missing">. </ins>So +<a href = "QuintBody1.html#chapI_sec52">1 §52</a> <i>utiles circa +praecepta sententiae</i>: see note <i>ad loc</i>.</p> + +<span class = "pagenum">liii</span> +<a name = "intro_pageliii" id = "intro_pageliii"> </a> +<p><b>Citra</b> very often stands for <i>sine</i> or <i>praeter</i>: +e.g. <i>citra lectionis exemplum</i> +<a href = "QuintBody1.html#chapI_sec2">1 §2</a>, where see note: +cp. i. 4, 4 <i>neque citra musicen grammatice potest esse perfecta</i>. +In Cicero <i>citra</i> is used only of place.</p> + +<p>The following prepositional expressions should also be +noted:—</p> + +<p><b>Ante omnia</b> = <i>primum</i> +<a href = "QuintBody1.html#chapI_sec3">1 §3</a>: +<a href = "QuintBody2.html#chapII_sec4">2 §4</a>: +<a href = "QuintBody2.html#chapVII_sec6">7 §6</a>. In +<a href = "QuintBody1.html#chapI_sec3">1 §3</a> we have <i>ante +omnia</i>, <i>proximum</i>, <i>novissimum</i>: cp. iv. 2, 52 <i>ante +omnia</i>, <i>deinde</i>: iii. 9, 6 <i>ante omnia</i>, <i>deinde</i>, +<i>tum</i>, <i>postremo</i>.</p> + +<p><b>Cum eo quod</b> is used as a transition formula for the Ciceronian +<i>accedit quod</i>. A certain case of this usage occurs xii. 10, +47: the instance at x. +<a href = "QuintBody2.html#chapVII_sec13">7, 13</a> has been +challenged, but see the note.</p> + +<p><b>Ex integro</b>. Quintilian prefers the use of <i>ex</i> in such +phrases to <i>de</i>: e.g. x. +<a href = "QuintBody1.html#chapI_sec20">1 §20</a> (where see note): +<i>ex industria</i> ib.: and so <i>ex abundanti</i>, <i>ex professo</i>, +<i>ex pari</i>, &c., elsewhere.</p> + +<p><b>Inter paucos</b>, ‘as few have ever been’: +<a href = "QuintBody2.html#chapIII_sec13">3 §13</a> <i>inter paucos +disertus</i>.</p> + +<p><b>Per quae</b> (<i>quod</i>) of agency or instrument: +<a href = "QuintBody1.html#chapI_sec87">1 §87</a> <i>in iis per +quae nomen est adsecutus</i>.</p> + +<p><b>Propter quae</b> (<i>quod</i>) for <i>quam ob rem</i>, especially +in transitions: see on +<a href = "QuintBody1.html#chapI_sec10">1 §10</a>.</p> + +<p><b>Praeter id quod</b> for <i>praeterquam quod</i>: see on +<a href = "QuintBody1.html#chapI_sec28">1 §28</a>.</p> + +<p><b>Sine dubio</b>. The use of this phrase at +<a href = "QuintBody1.html#chapI_sec51">1 §51</a> may possibly be +an instance of the peculiarity noted by Spalding on i. 6, 12, where he +points out that Quintilian frequently makes it stand for <i>quidem</i>, +in clauses where the idea is by <i>sine dubio</i> made of less account +than some other statement immediately following, and introduced by +<i>tamen</i> or <i>sed</i> (as i. 6, 12 and 14). Examples are v. 7, 28 +<i>sine dubio ... tamen</i>: v. 10, 53 and viii. 3, 67 <i>sine dubio ... +sed</i>. Applying this to x. +<a href = "QuintBody1.html#chapI_sec51">1, 51</a> <i>Verum hic +omnes sine dubio et in omni genere eloquentiae procul a se reliquit, +epicos tamen praecipue</i>, we might bring out the construction by +rendering, ‘But while of course (or ‘to be sure’) Homer has +out-distanced all rivals, in every kind of eloquence, it is the epic +poets whom he leaves furthest behind.’ Cp. on +<a href = "QuintBody2.html#chapIII_sec15">3 §15</a>.</p> + + +<h5>VII. Conjunctions.</h5> + +<p>Under this head may come <b>Adde quod</b>, a phrase which occurs +seven times in Quintilian, five times in the Tenth Book: +<a href = "QuintBody1.html#chapI_sec3">1 §§3</a>, +<a href = "QuintBody1.html#chapI_sec16">16</a>: +<a href = "QuintBody2.html#chapII_sec10">2 §§10</a>, +<a href = "QuintBody2.html#chapII_sec11">11</a>, +<a href = "QuintBody2.html#chapII_sec12">12</a>: xii. 1, 4 and 11, 29. +Schmalz (<i>Ueber den Sprachgebrauch des Asinius Pollio</i>) remarks +that it must be ranked rather with Pollio ad Fam. x. 31, 4 (<i>adde huc +quod</i>), where <i>quod</i> is to be taken as a conjunction, than with +Cic. ad Att. vi. 1, 7, ad Fam. xiii. 41, 1 (<i>addo etiam illud +quod</i>), and ad Fam. xvi. 16, 1 (<i>adde hoc quod</i>), where +<i>quod</i> is a relative referring to the foregoing demonstrative. The +phrase is originally +<span class = "pagenum">liv</span> +<a name = "intro_pageliv" id = "intro_pageliv"> </a> +poetical: it is found in Attius, frequently in Lucretius (i. 847: iii. +827: iv. 1113), in the <i>Satires</i> and <i>Epistles</i> of Horace, and +over and over again in Ovid: Vergil seems to avoid it. Pollio probably +introduced it into prose, and from him it passed to others: Schmalz +refers to Plin. Ep. viii. 14, 3: iii. 14, 6: Sen. 40, 4: Symmach. 2, 7: +4, 71: Fronto, p. 92 N.</p> + +<p><b>Cum interim</b> = ‘though all the time.’ See note on +<a href = "QuintBody1.html#chapI_sec18">1 §18</a>: cp. § III.</p> + +<p><b>Dum ... non</b> stands for <i>dummodo ... non</i> +<a href = "QuintBody2.html#chapIII_sec7">3 §7</a>: cp. xii. 10, 48. +The usage is poetical. <i>Dummodo</i> does not occur in Quintilian.</p> + +<p><b>Enim</b> occurs, conformably to classical usage, in the third +place after a word preceded by a preposition: e.g. <i>ad profectum +enim</i> +<a href = "QuintBody2.html#chapIII_sec15">3 §15</a>: and so +frequently after <i>sum</i>,—<a href = +"QuintBody2.html#chapII_sec10">2 §10</a> <i>necesse est enim</i>: +<a href = "QuintBody1.html#chapI_sec14">1 §14</a>: +<a href = "QuintBody2.html#chapVII_sec15">7 §§15</a>, +<a href = "QuintBody2.html#chapVII_sec24">24</a>: +<a href = "QuintBody2.html#chapII_sec19">2 §19</a>. But <i>nihil +enim est</i> +<a href = "QuintBody1.html#chapI_sec78">1 §78</a>, where Krüger +suggests <i>nihil enim inest</i>.</p> + +<p><b>Etsi</b>. As it is generally stated that <i>etsi</i> does not +occur in Quintilian it may be well to include it here. Instances are i. +pr. 19: i. 5, 28: v. 13, 3: ix. i, 19.</p> + +<p><b>Ideoque</b> is constantly used for <i>itaque</i>. See note on +<a href = "QuintBody1.html#chapI_sec21">1 §21</a>.</p> + +<p><b>Licet</b> = <i>etsi</i>, as sometimes in Cicero: +<a href = "QuintBody1.html#chapI_sec99">1 §99</a>: ii. 2, 8 and +passim.</p> + +<p><b>Quamlibet</b> and <b>quamquam</b>. Quintilian uses these words (in +clauses which contain no verb) along with adjectives, participles, and +adverbs: +<a href = "QuintBody2.html#chapIII_sec19">3 §19</a> <i>nam in stilo +quidem quamlibet properato</i>: cp. viii. 6, 4 <i>oratione quamlibet +clara</i>: xii. 8, 7 <i>quamlibet verbose</i>: xi. 1, 34 <i>quamquam +plena sanguinis</i>. A similar use of <i>quamvis</i> is less +uncommon in other writers: cp. +<a href = "QuintBody1.html#chapI_sec74">1 §74</a> <i>quamvis +bonorum</i>: ib. §94 <i>quamvis uno libra</i> (where see note). See +Madvig on Cic. de Fin. v. §68.</p> + +<p><b>Quia</b> is sometimes used where <i>quod</i> (<i>eo quod</i>) +might have been expected: +<a href = "QuintBody1.html#chapI_sec15">1 §15</a> <i>hoc sunt +exempla potentiora ... quia</i>: cp. +<a href = "QuintBody2.html#chapV_sec14">5 §14</a> <i>Declamationes +vero ... sunt utilissimae quia</i> (Halm) <i>inventionem et +dispositionem pariter exercent</i>. So i. 6, 39 <i>nam et auctoritatem +antiquitatis habent</i> (sc. <i>verba a vetustate repetita</i>) <i>et, +quia intermissa sunt, gratiam novitati similem parant</i>. Cp. <i>non +quia non</i> (with the subjunctive) x. +<a href = "QuintBody2.html#chapVII_sec19">7, 19</a> and +<a href = "QuintBody2.html#chapVII_sec31">31</a>: so ii. 2, 2: iv. 1, 5, +65: viii. 3, 42: ix. 1, 23; 4, 20.</p> + +<p><b>Quoque</b> often occurs alongside of an adjective, to increase its +force, where older writers would have had <i>vel</i> or <i>etiam</i>: +<a href = "QuintBody1.html#chapI_sec20">1 §20</a> <i>ex industria +quoque</i>: +<a href = "QuintBody2.html#chapII_sec14">2 §14</a> <i>in magnis +quoque auctoribus</i>: cp. +<a href = "QuintBody1.html#chapI_sec121">1 §121</a> <i>ceterum +interceptus quoque magnum sibi vindicat locum</i>: ii. II, I <i>exemplo +magni quoque nominis professorum</i>.</p> + +<p><b>Quotiens</b> = <i>cum</i>: +<a href = "QuintBody2.html#chapIV_sec3">4 §3</a>: +<a href = "QuintBody2.html#chapVII_sec29">7 §29</a>. Cp. iv. 1, 76: +viii. 3, 55.</p> + + +<p class = "space"> +For the rest, Quintilian’s style cannot be called artistic. It is indeed +generally clear and simple: instances of obscurity are very often +traceable to the ‘insanabilis error’ in the old text, of which Leonardo +wrote +<span class = "pagenum">lv</span> +<a name = "intro_pagelv" id = "intro_pagelv"> </a> +to Poggio, and which the progress of criticism has done so much to +remedy. It is also free from all bombast and excessive embellishment. +But there is little of the graceful and ample movement of the Ciceronian +period: the sentence often halts, as it were, there are frequent +instances of harsh expression, and the periods are awkwardly +constructed. Quintilian was not an artist in style. Probably the +technicalities of his subject kept him from thinking too much of such +matters as rhythm, cadence, and harmony. His main object was to say +clearly and directly what he wanted to say, without laying too great +stress on the form in which it was cast. The leading thought is +generally stated at once, and everything subordinate to it is left to +take care of itself. Hence it is that causal clauses are allowed to come +dragging in at the end of a sentence (x. +<a href = "QuintBody2.html#chapII_sec13">2 §§13</a> and +<a href = "QuintBody2.html#chapII_sec23">23</a>), and adjectival or +attributive clauses stand by themselves in a position of remarkable +isolation (<i>vel ob hoc memoria dignum</i> +<a href = "QuintBody1.html#chapI_sec80">1 §80</a>: <i>rebus tamen +acuti magis quam</i>, &c. +<a href = "QuintBody1.html#chapI_sec84">1 §84</a>: cp. §§85, 95, +103). Relative sentences also are introduced in a detached sort of +fashion (<a href = "QuintBody1.html#chapI_sec80">1 §80</a>: +<a href = "QuintBody2.html#chapII_sec28">2 §28</a>). The thought is +sometimes hard to follow (as notably in the opening sections of the +Tenth Book: cp. +<a href = "QuintBody2.html#chapII_sec13">2 §§13</a> and +<a href = "QuintBody2.html#chapII_sec20">§§20</a>, +<a href = "QuintBody2.html#chapII_sec21">21</a>; +<a href = "QuintBody2.html#chapVII_sec7">7 §7</a>), because the +composition is not framed as a harmonious whole: the transition +particles are loosely used (see on <i>nam</i> +<a href = "QuintBody1.html#chapI_sec12">1 §12</a>: cp. §50, +<a href = "QuintBody2.html#chapVII_sec31">7 §31</a>: <i>quidem</i> +<a href = "QuintBody1.html#chapI_sec88">1 §88</a>), and are +sometimes wanting altogether, especially in the case of figures suddenly +and abruptly introduced (see on +<a href = "QuintBody1.html#chapI_sec4">1 §4</a>: cp. +<a href = "QuintBody2.html#chapVII_sec1">7 §1</a>). Instances of a +more or less artificial striving after variety of expression are often +met with: e.g. +<a href = "QuintBody1.html#chapI_sec36">1 §§36</a>, +<a href = "QuintBody1.html#chapI_sec41">41</a>, +<a href = "QuintBody1.html#chapI_sec83">83</a>, +<a href = "QuintBody1.html#chapI_sec102">102</a>. In the order of words +there is sometimes the same departure from customary usage (<a href = +"QuintBody1.html#chapI_sec109">1 §109</a>, +<a href = "QuintBody2.html#chapII_sec17">2 §17</a>), especially in +the case of proper names (<a href = +"QuintBody1.html#chapI_sec86">1 §86</a> <i>Afro Domitio</i> for +<i>Domitio Afro</i>: cp. <i>Atacinus Varro</i> +<a href = "QuintBody1.html#chapI_sec87">§87</a>: <i>Bassus Aufidius</i> +<a href = "QuintBody1.html#chapI_sec103">§103</a>)<a class = "tag" name += "tag71" id = "tag71" href = "#note71">71</a>. Constructions <span +class = "greek" title = "kata sunesin">κατὰ σύνεσιν</span> frequently +occur: +<a href = "QuintBody1.html#chapI_sec65">1 §65</a>: +<a href = "QuintBody1.html#chapI_sec105">§105</a>: +<a href = "QuintBody2.html#chapVII_sec25">7 §25</a>. Under this +head may be included the omission of the subject: +<a href = "QuintBody1.html#chapI_sec7">1 §7</a> <i>congregat</i>: +<a href = "QuintBody1.html#chapI_sec66">§66</a> <i>permiserunt</i>: +<a href = "QuintBody2.html#chapVII_sec4">7 §4</a> <i>malit ... +possit</i>: and of words to be supplied from the context, +<a href = "QuintBody1.html#chapI_sec56">1 §56</a> +<i>congerentes</i>: +<a href = "QuintBody1.html#chapI_sec7">1 §7</a> <i>solitos</i>: +<a href = "QuintBody1.html#chapI_sec107">1 §107</a> <i>quibus nihil +ille</i>: +<a href = "QuintBody1.html#chapI_sec123">1 §123</a> <i>qui +ubique</i>: +<a href = "QuintBody2.html#chapII_sec24">2 §24</a>: +<a href = "QuintBody2.html#chapIII_sec25">3 §25</a>. In the same +way <i>esse</i> is frequently omitted for the sake of brevity: +<a href = "QuintBody1.html#chapI_sec17">1 §17</a>, +<a href = "QuintBody1.html#chapI_sec66">§66</a>, +<a href = "QuintBody1.html#chapI_sec90">§90</a>: +<a href = "QuintBody2.html#chapIV_sec1">4 §1</a>: +<a href = "QuintBody2.html#chapV_sec6">5 §6</a>: +<a href = "QuintBody2.html#chapVII_sec7">7 §7</a>, +<a href = "QuintBody1.html#chapI_sec23">§23</a>. Lastly there are +frequent instances of inadvertent and negligent repetition: +<a href = "QuintBody1.html#chapI_sec8">1 §§8</a>, +<a href = "QuintBody1.html#chapI_sec9">9</a>, +<a href = "QuintBody1.html#chapI_sec23">23</a>, +<a href = "QuintBody1.html#chapI_sec94">94</a>, +<a href = "QuintBody1.html#chapI_sec131">131</a>: +<a href = "QuintBody2.html#chapII_sec11">2 §§11-12</a>: +<a href = "QuintBody2.html#chapV_sec6">5 §§6-7</a>: +<a href = "QuintBody2.html#chapVII_sec23">7 §23</a>: cp. on +<a href = "QuintBody2.html#chapII_sec23">2 §23</a>.</p> + +<p>Among minor peculiarities of idiom are (1) An almost excessive +fondness for the use of the perfect subjunctive: +<a href = "QuintBody1.html#chapI_sec14">1 §14</a> <i>dixerim</i>: +<a href = "QuintBody1.html#chapI_sec26">§26</a> +<span class = "pagenum">lvi</span> +<a name = "intro_pagelvi" id = "intro_pagelvi"> </a> +<i>maluerim</i>: +<a href = "QuintBody1.html#chapI_sec37">§37</a> <i>fuerit</i>, where see +note: so even <i>ut non dixerim</i> (<i>ne dicam</i>) +<a href = "QuintBody1.html#chapI_sec77">1 §77</a> and <i>ut sic +dixerim</i> +<a href = "QuintBody2.html#chapII_sec15">2 §15</a>. (2) The +use of the future indicative in dependent clauses: see on <i>sciet</i> +<a href = "QuintBody1.html#chapI_sec4">1 §4</a>, and cp. +<a href = "QuintBody2.html#chapII_sec26">2 §§26</a>, +<a href = "QuintBody2.html#chapII_sec28">28</a>: +<a href = "QuintBody2.html#chapIII_sec28">3 §28</a>: +<a href = "QuintBody2.html#chapVII_sec28">7 §28</a>: also as a mild +imperative, +<a href = "QuintBody1.html#chapI_sec58">1 §58</a> +<i>revertemur</i>: +<a href = "QuintBody2.html#chapIII_sec18">3 §18</a> +<i>sequemur</i>; +<a href = "QuintBody2.html#chapII_sec1">2 §1</a> +<i>renuntiabit</i>: +<a href = "QuintBody1.html#chapI_sec23">§23</a> <i>aptabimus</i>. +(3) The frequent use of the infinitive in constructions which are +characteristic of the Silver Age: (<i>a</i>) with <i>verbs</i>, as +<i>meruit credi</i> +<a href = "QuintBody1.html#chapI_sec72">1 §72</a>: <i>qui esse +docti adfectant</i> +<a href = "QuintBody1.html#chapI_sec97">§97</a>: <i>optandum ... +fieri</i> +<a href = "QuintBody1.html#chapI_sec127">§127</a>: <i>si consequi +utrumque non dabitur</i> +<a href = "QuintBody2.html#chapVII_sec22">7 §22</a>: <i>opponere +verear</i> +<a href = "QuintBody1.html#chapI_sec101">1 §101</a>: +<i>intermittere veremur</i> +<a href = "QuintBody2.html#chapVII_sec26">7 §26</a>: cp. +<i>expertus iuvenem ... habuisse</i> +<a href = "QuintBody2.html#chapIII_sec32">3 §32</a>: for +<i>dubitare</i> see on +<a href = "QuintBody1.html#chapI_sec73">1 §73</a>: +(<i>b</i>) with <i>adjectives</i>, <i>legi dignus</i> +<a href = "QuintBody1.html#chapI_sec96">1 §96</a>: <i>contentum id +consequi</i> +<a href = "QuintBody2.html#chapII_sec7">2 §7</a>. (4) The +substantival use of the gerund, <i>ceteraque genera probandi ac +refutandi</i> +<a href = "QuintBody1.html#chapI_sec49">1 §49</a>: <i>lex +orandi</i> +<a href = "QuintBody1.html#chapI_sec76">1 §76</a>: +<i>inveniendi</i> +<a href = "QuintBody1.html#chapI_sec69">§69</a>: <i>sive acumine +disserendi sive eloquendi facultate</i> +<a href = "QuintBody1.html#chapI_sec81">1 §81</a>: cp. +<i>loquendi</i> +<a href = "QuintBody1.html#chapI_sec83">§83</a>: <i>eloquendo</i> +<a href = "QuintBody1.html#chapI_sec106">§106</a>: <i>nascendi</i> +<a href = "QuintBody2.html#chapIII_sec4">3 §4</a>: <i>saliendi</i> +<a href = "QuintBody2.html#chapIII_sec6">3 §6</a>: ib. +<i>iaculando</i>: <i>adiciendo</i> +<a href = "QuintBody2.html#chapIII_sec32">3 §32</a>: +<i>emendandi</i> +<a href = "QuintBody2.html#chapIV_sec2">4 §2</a>: <i>cogitandi</i> +<a href = "QuintBody2.html#chapVII_sec25">7 §25</a>. +(5) <i>Quamquam</i> with subjunctive +<a href = "QuintBody1.html#chapI_sec33">1 §33</a>: +<a href = "QuintBody2.html#chapII_sec21">2 §21</a>: +<a href = "QuintBody2.html#chapVII_sec17">7 §17</a>: +<i>forsitan</i> with indic. +<a href = "QuintBody2.html#chapII_sec10">2 §10</a>: &c.</p> + +<p>Among the figures of syntax may be mentioned (1) <i>Anaphora</i>, or +the repetition of the same word at the beginning of several clauses: +e.g. nulla <i>varietas</i>, nullus <i>adfectus</i>, nulla +<i>persona</i>, nulla <i>cuiusquam sit oratio</i> +<a href = "QuintBody1.html#chapI_sec55">1 §55</a>: cp. +<a href = "QuintBody1.html#chapI_sec99">1 §§99</a>, +<a href = "QuintBody1.html#chapI_sec115">115</a>, +<a href = "QuintBody1.html#chapI_sec130">130</a>: +<a href = "QuintBody2.html#chapII_sec2">2 §2</a>: +<a href = "QuintBody2.html#chapIII_sec3">3 §3</a> (illic +<i>radices</i>, illic <i>fundamenta sunt</i>, illic <i>opes</i>, +&c.): +<a href = "QuintBody1.html#chapI_sec9">§9</a>, +<a href = "QuintBody1.html#chapI_sec29">§29</a>: +<a href = "QuintBody2.html#chapV_sec2">5 §§2</a>, +<a href = "QuintBody2.html#chapV_sec8">8</a>: +<a href = "QuintBody2.html#chapVI_sec1">6 §1</a>; +(2) <i>Asyndeton</i>: e.g. <i>facere</i> quam optime, quam +facillime <i>possit</i> +<a href = "QuintBody1.html#chapI_sec4">1 §4</a>: +<a href = "QuintBody2.html#chapII_sec16">2 §16</a>: +<a href = "QuintBody2.html#chapVI_sec6">6 §6</a>: +<a href = "QuintBody2.html#chapVII_sec7">7 §§7</a>, +<a href = "QuintBody2.html#chapVII_sec26">26</a>; +(3) <i>Chiasmus</i>: +<a href = "QuintBody2.html#chapV_sec14">5 §14</a> +(<i>alitur—renovatur</i>) and +<a href = "QuintBody1.html#chapI_sec15">§15</a> (<i>ne +carmine—reficiuntur</i>): +<a href = "QuintBody2.html#chapVII_sec15">7 §15</a>.</p> + + +<p class = "space"> +The frequent occurrence of figures taken from the gladiatorial arena or +the field of battle may be made the subject of a concluding paragraph<a +class = "tag" name = "tag72" id = "tag72" href = "#note72">72</a>. It is +in keeping with the martial character of the Romans that there is no +more fertile source of metaphor in their literature than the art of war, +which was indeed their favourite pursuit; just as the Greeks drew their +images from nothing more readily than from the sea and those maritime +occupations in which they were so much at home. It is generally to what +is most familiar both to himself and to those whom he is addressing that +a speaker or writer has recourse in order to enforce his meaning. Both +Cicero and Quintilian had lived through troublous times, and it is +little wonder that even in the quiet repose of their rhetorical +treatises we should frequently meet with phrases and illustrations in +which we seem to hear the noise of battle. And under the Flavian +emperors the less serious combats in the Coliseum had come to be looked +upon as great national +<span class = "pagenum">lvii</span> +<a name = "intro_pagelvii" id = "intro_pagelvii"> </a> +entertainments. Hence it was natural to picture the orator, whose main +object is to win persuasion, as one striving for the mastery with +weapons appropriate to the warfare he is waging. No greater compliment +can be found to pay to Julius Caesar than to say that ‘he spoke as he +fought’: <i>tanta in eo vis est, id acumen, ea concitatio, ut illum +eodem animo dixisse quo bellavit appareat</i>, x. +<a href = "QuintBody1.html#chapI_sec114">1, 114</a>. The orator +must always be on the alert,—ever ‘ready for battle,’ <i>in +procinctu</i> +<a href = "QuintBody1.html#chapI_sec2">1 §2</a> (where see note): +if he cannot take prompt action, he might as well remain in +camp,—<i>nullum erit, si tam tardum fuerit, auxilium</i> +<a href = "QuintBody2.html#chapIV_sec4">4 §4</a>. His style must be +appropriate to the matter in hand: <i>id quoque vitandum ne in oratione +poetas nobis et historicos ... imitandos putemus. Sua cuique proposito +lex, suus cuique decor est</i> +<a href = "QuintBody2.html#chapII_sec21">2 §§21-2</a>. Victory must +ever be the end in view,—victory in what is a real combat, not a +sham fight: +<a href = "QuintBody1.html#chapI_sec29">1 §§29-30</a> <i>nos vero +armatos stare in acie et summis de rebus decernere et ad victoriam +niti</i>: +<a href = "QuintBody2.html#chapII_sec27">2 §27</a> <i>quam omnia, +etiam quae delectationi videantur data, ad victoriam spectent</i>: +<a href = "QuintBody1.html#chapI_sec79">1 §79</a> <i>Isocrates ... +palaestrae quam pugnae magis accommodatus</i>: +<a href = "QuintBody1.html#chapI_sec31">1 §31</a> <i>totum opus +(historia) non ad actum rei pugnamque praesentem, sed ad memoriam +posteritatis et ingenii famam componitur</i>. The orator must have all +the wiry vigour of an experienced campaigner, and his weapons ought not +to be made for show: +<a href = "QuintBody1.html#chapI_sec33">1 §33</a> <i>dum ... +meminerimus non athletarum toris sed militum lacertis opus esse, nec +versicolorem illam, qua Demetrius Phalereus dicebatur uti, vestem bene +ad forensem pulverem facere</i>: +<a href = "QuintBody1.html#chapI_sec30">1 §30</a> <i>Neque ego arma +squalere situ ac rubigine velim, sed fulgorem in iis esse qui terreat, +qualis est ferri, quo mens simul visusque praestringitur, non qualis +auri argentique, imbellis et potius habenti periculosus</i>: cp. +<a href = "QuintBody1.html#chapI_sec60">1 §60</a> <i>cum validae +tum breves vibrantesque sententiae, plurimum sanguinis atque +nervorum</i>: +<a href = "QuintBody1.html#chapI_sec77">1 §77</a> <i>carnis tamen +plus habet (Aeschines) minus lacertorum</i>: +<a href = "QuintBody2.html#chapII_sec12">2 §12</a> <i>quo fit ut +minus sanguinis ac virium declamationes habeant quam orationes</i>: +<a href = "QuintBody1.html#chapI_sec115">1 §115</a> <i>verum +sanguinem perdidisse</i>. As soon as possible he must add practice to +theory: +<a href = "QuintBody1.html#chapI_sec4">1 §4</a>, cp. +<a href = "QuintBody2.html#chapV_sec19">5 §§19-20</a> +(<i>iuvenis</i>) <i>iudiciis intersit quam plurimis et sit certaminis +cui destinatur frequens spectator ... et, quod in gladiatoribus fieri +videmus, decretoriis exerceatur</i>: +<a href = "QuintBody2.html#chapIII_sec3">3 §3</a> <i>vires faciamus +ante omnia, quae sufficiant labori certaminum et usu non +exhauriantur</i>. His whole activity is that of the battle-field: +whether he is for the prosecution or the defence, he must either +overcome his adversary or succumb to him: cp. +<a href = "QuintBody1.html#chapI_sec106">1 §106</a> <i>pugnat ille +(Demosthenes) acumine semper, hic (Cicero) frequenter et pondere</i>: +<a href = "QuintBody1.html#chapI_sec120">§120</a> <i>ut esset multo +magis pugnans</i>. And he must not linger too long over preparatory +exercises, otherwise his armour will rust and his joints lose their +suppleness: +<a href = "QuintBody2.html#chapV_sec16">5 §16</a> <i>nam si nobis +sola materia fuerit ex litibus, necesse est deteratur fulgor et durescat +articulus et ipse ille mucro ingenii cotidiana pugna retundatur</i>.</p> + +<hr class = "mid"> + +<span class = "pagenum">lviii</span> +<a name = "intro_pagelviii" id = "intro_pagelviii"> </a> + +<h5><a name = "intro_chapV" id = "intro_chapV">V.</a> +Manuscripts.</h5> + +<p class = "mynote"> +In this final section of the Introduction, links have been omitted +because they would have been more distracting than useful. +</p> + +<p>Considerable interest attaches to the study of the manuscripts of +Quintilian, the oldest of which may be grouped in three main divisions: +(1) the complete manuscripts, (2) the incomplete, and +(3) the mixed.</p> + +<p>The most important representative of the first class is the <i>Codex +Ambrosianus</i>, a manuscript of the 10th or 11th century, now at Milan. +As we have it now, it is unfortunately in a mutilated condition, nearly +a fourth part of the folios having been lost (from ix. 4, 135 +<i>argumenta acria et cit</i>. to xii. 11, 22 <i>antiquitas ut +possit</i>). Halm secured a new and trustworthy collation of this MS., +distinguishing carefully between the original text and the readings of +the second hand.</p> + +<p>Although now in the defective condition above indicated, the +<i>Ambrosianus</i> must have been originally complete. In this it +differs from the representatives of the second family of MSS., the most +valuable member of which—the <i>Bernensis</i>—is of even +greater importance for the constitution of the text than the +<i>Ambrosianus</i>, at least in those parts which it contains. It is the +oldest of all the known manuscripts of Quintilian, belonging to the 10th +century. The peculiarity which it shares with the other members of its +family is that it contains certain great <i>lacunae</i>, which must have +existed also in the manuscript from which it was copied, as they are +indicated in the <i>Bernensis</i> by blank spaces. The size of the first +<i>lacuna</i> varies with the fortunes of the particular codex: in the +<i>Bernensis</i> it extends from the beginning to 2 §5 (<i>licet, +et nihilo minus</i>). The others are identical in all cases: v. 14, +12—viii. 3, 64: viii. 6, 17—viii. 6, 67: ix. 3, 2—x. +1, 107 (<i>nulla contentio</i>): xi. 1, 71—xi. 2, 33: and +xii. 10, 43 to the end.</p> + +<p>To the same family as the <i>Bernensis</i> belongs the +<i>Bambergensis</i> A, which was directly copied from the +<i>Bernensis</i> not long after the latter had been written: it also is +of the 10th century. But inasmuch as in the <i>Bambergensis</i> the +great <i>lacunae</i> were, at a very early date, filled in by another +hand (<i>Bambergensis</i> G<a class = "tag" name = "tag73" id = +"tag73" href = "#note73">73</a>), this manuscript may now rank in the +third group, where it became the parent, as I hope to show below, of the +<span class = "pagenum">lix</span> +<a name = "intro_pagelix" id = "intro_pagelix"> </a> +<i>Harleianus</i> (2664), and through the <i>Harleianus</i> of the +<i>Florentinus</i>, <i>Turicensis</i>, and an innumerable company of +others. Besides reproducing <i>Bambergensis</i> G, these MSS. +follow for the most part the readings introduced by a later hand (called +by Halm <b>b</b>) into the original <i>Bambergensis</i> A. +A recent examination of the <i>Bambergensis</i> has suggested a +doubt whether the readings known as <b>b</b>, which are often of a very +faulty character, can have been derived from the same codex +as G.</p> + +<p>Halm’s critical edition of Quintilian is founded, in the main, on the +manuscripts above mentioned, with a few examples of the 15th century for +the parts where he had only the <i>Ambrosianus</i> and the +<i>Bambergensis</i> G, or the latter exclusively, to rely on. Since +the date of the publication of his text (1868) great progress has been +made with the critical study of Quintilian. In 1875 MM. Chatelain +and le Coultre published a collation of the <i>Nostradamensis</i> +(see below), the main results of which have been incorporated in +Meister’s edition (1886-87). And in a critical edition of the First Book +of the <i>Institutio</i> (1890) M. Ch. Fierville has given a most +complete account of all the continental manuscripts, drawing for the +purpose on a previous work in which he had already shown proof of his +interest in the subject (<i>De Quintilianeis Codicibus</i>, 1874).</p> + +<p>There can be little doubt that Halm’s critical instinct guided him +aright in attaching supreme importance to the <i>Bernensis</i> (with +<i>Bambergensis</i> A), the <i>Ambrosianus</i>, and +<i>Bambergensis</i> G. But much has been derived from some +manuscripts of which he took no account, and there is one in particular, +which has hitherto been strangely overlooked, and to which prominence is +accordingly given in this edition. Before proceeding to deal with it, +I shall annex here a brief notice of the various MSS. which figure +in the Critical Notes, grouped in one or other of the three divisions +given above. An editor of the Tenth Book of the <i>Institutio</i> is +especially bound to travel outside the rather narrow range of Halm’s +critical edition, as so much of the existing text (down to 1 §107) +has been based mainly on <i>Bambergensis</i> G alone. In addition +to collating, for the purposes of this edition, such MSS. as the +<i>Ioannensis</i> at Cambridge, the <i>Bodleianus</i> and +<i>Balliolensis</i> at Oxford, and the very important Harleian codex, +referred to above, I have also carefully compared eight 15th +century manuscripts in the hope (which the Critical Appendix will show +to have been not entirely disappointed) of gleaning something new. This +part of the present work may be regarded as supplementing, for this +country, what M. Ch. Fierville has already so laboriously +accomplished for the manuscripts of the Continent.</p> + +<p>Of the first family, the outstanding example is the +<i>Ambrosianus</i>. The resemblances between it and +<i>Bambergensis</i> G are sufficient to show that +<span class = "pagenum">lx</span> +<a name = "intro_pagelx" id = "intro_pagelx"> </a> +the manuscript from which the latter was copied probably belonged to the +same class. But this manuscript, which must have been complete (like the +<i>Ambrosianus</i> originally), has altogether disappeared: one of the +great objects for extending the study of the MSS. of Quintilian beyond +the limits observed by Halm is the hope of being able to distinguish +between such examples as may seem (like the <i>Dorvilianus</i> at +Oxford) to preserve some of the traditions of the family, and those +whose origin may be clearly traced back to <i>Bambergensis</i> A +and G. For all the complete MSS. of Quintilian in existence must be +derived either from this family or from the mixed group of which the +<i>Bambergensis</i>, in its present form, seems to be the undoubted +original.</p> + +<p>In the second group we must include, not much inferior to the +<i>Bernensis</i>, the <i>Parisinus Nostradamensis</i> (N) Bibl. Nat. +fonds latin 18527. It is an independent transcript in all probability of +the incomplete MS. from which the <i>Bernensis</i> was copied, and as +such has a distinct value of its own. It is ascribed to the 10th +century. For the readings of this codex I have been able to compare a +collation made by M. Fierville in 1872, with that published by +MM. Chatelain and le Coultre in 1875.</p> + +<p>Then there is the <i>Codex Ioannensis</i> (in the library of +St. John’s College, Cambridge), a recent examination of which has +shown me that the account given of it by Spalding (vol. ii. pr. +p. 4) must be amended in some particulars. In its present condition +it begins with <i>constaret</i> (i. 2, 3), but a portion of the +first page has been cut away for the sake of the ornamental letter: +originally the MS. must have begun at the beginning of the second +chapter, like the <i>Nostradamensis</i>, the <i>Vossiani</i> 1 +and 2, the <i>Codex Puteanus</i>, and <i>Parisinus</i> 7721 (see +Fierville, p. 165). Again, the reading at xi. 2, 33 is clearly +<i>multiplici</i>, not <i>ut duplici</i>, and in this it agrees with the +Montpellier MS. (<i>Pithoeanus</i>), which is known to be a copy (11th +century) of the <i>Bernensis</i> (see M. Bonnet in Revue de Phil. +1887). A remarkable feature about this MS. is the number of +inversions which the writer sets himself to make in the text. These I +have not included in the Critical Notes, but some of them may be +subjoined here, as they may help to establish the derivation of this +manuscript. The codex from which it was copied must have been illegible +in parts: this is probably the explanation of such omissions (the space +being left blank) as <i>tum in ipsis</i> in x. 2, 14, and +<i>virtutis</i> ib. §15. It is written in a very small and neat hand, +with no contemporary indication of the great <i>lacunae</i>, and may be +ascribed to the 13th century. It agrees generally with the +<i>Bernensis</i>, though there are striking resemblances also to the +<i>Pratensis</i> (see p. lxiii and note). Among the inversions +referred to are the following:—x. 3, 1 <i>sic etiam +utilitatis</i>, for <i>sic utilitatis etiam</i>: ib. §30 <i>oratione +continua</i>, for <i>continua oratione</i>: 5 §8 <i>alia propriis +alia translatis virtus</i>, for <i>alia +<span class = "pagenum">lxi</span> +<a name = "intro_pagelxi" id = "intro_pagelxi"> </a> +translatis virtus alia propriis</i>: 7 §21 <i>stultis eruditi</i>, +for <i>stulti eruditis</i>: ib. §28 <i>solum summum</i>, for <i>summum +solum</i>. Some of these peculiarities (e.g. the inversion at 5 §8) +it shares with the Leyden MSS.—the <i>Vossiani</i> i. and iii., a +collation of which is given in Burmann’s edition: these codices +M. Fierville assigns to that division of his first group in which +the <i>Nostradamensis</i> heads the list (see below, p. lxiv). +I may note also the readings <i>viderit bona et invenit</i> ( +2 §20), which <i>Ioan.</i> shares with <i>Voss.</i> iii.: <i>potius +libertas ista</i> ( 3 §24) <i>Ioan.</i> and <i>Voss.</i> i.; +<i>ubertate</i>—for <i>libertate</i>—( 5 §15) <i>Ioan. +Voss.</i> i. and iii.</p> + +<p>To the same family belongs the <i>Codex Salmantinus</i>, a 12th or +13th century manuscript in the library of the University of Salamanca. +M. Fierville, who kindly placed at my disposal his collation of the +Tenth Book, thinks it must have been indirectly derived from the +<i>Bernensis</i>. He notes some hundred variants in which it differs +from the <i>Nostradamensis</i> (most of them being the errors of a +copyist), and some thirty-seven places in which, while differing from +the <i>Nostradamensis</i>, it agrees with the <i>Bernensis</i> and the +<i>Bambergensis</i>. This MS. also gives <i>ubertate</i> in 5 §15 : +it agrees in showing the important reading <i>alte refossa</i> in +3 §2 : and resembles the <i>Ioannensis</i> in certain minor +omissions, e.g. <i>certa</i> before <i>necessitate</i> in 5 §15 : +<i>idem</i> before <i>laborandum</i> in 7 §4 : <i>et</i> before +<i>consuetudo</i> in 7 §8 : cp. <i>subiunctura sunt</i> for +<i>subiuncturus est</i> 7 §9 . For other coincidences see the +Critical Appendix.</p> + +<p>In the same group must be included two MSS. of first-class importance +for the text of Quintilian, for a collation of which (as of the <i>Codex +Salmantinus</i>) I am indebted to the kindness of +M. Fierville. They are the <i>Codex Pralensis</i> (No. 14146 fonds +latin de la Bibliothèque nationale), of the 12th century, and the +<i>Codex Puteanus</i> (No. 7719) of the 13th. The former is the work of +Étienne de Rouen, a monk of the Abbey of Bec, and it consists of +extracts from the <i>Institutio</i> amounting to nearly a third of the +whole. There are eighty sections, of which §76 (<i>de figuris +verborum</i>) includes x. 1 §§108-131; §77 (<i>de imitatione</i>) +consists of x. 2, 1-28; §78 (<i>quomodo dictandum sit</i>) of x. +3, 1-32; and §79 (<i>de laude scriptorum tam Graecorum quam +Latinorum</i>) of x. 1, 46-107. The importance of this codex arises +from the fact that it is an undoubted transcript of the +<i>Beccensis</i>, now lost. The <i>Beccensis</i> is supposed by +M. Fierville (Introd. p. lxxvii. sq.) to have belonged to the +9th or 10th century, in which case it would take, if extant, at least +equal rank with the <i>Bernensis</i>. That it was an independent copy of +some older MS. seems to be proved, not only by the variants in the +<i>Pratensis</i>, but also by the fact that both the <i>Pratensis</i> +and the <i>Puteanus</i> (which is also a transcript of the +<i>Beccensis</i>) show a <i>lacuna</i> after the word <i>mutatis</i> in +<span class = "pagenum">lxii</span> +<a name = "intro_pagelxii" id = "intro_pagelxii"> </a> +x. 3, 32. This <i>lacuna</i> must have existed in the <i>Beccensis</i>, +though there is no trace of it elsewhere. Guided by the sense, Étienne +de Rouen added the words <i>correctum fuisse tabellis</i> in his copy +(the <i>Pratensis</i>): the text runs <i>codicibus esse +sublatum</i>.</p> + +<p>The general character of the readings of the <i>Pratensis</i> may be +gathered from a comparison of passages in the Critical Appendix to this +volume. Among other variants, the following may be mentioned,—and +it will be seen that certain peculiar features in some of the MSS. used +by Halm (notably S) probably arose either from the <i>Pratensis</i> +or from its prototype, the <i>Beccensis</i>. At x. 1. 50 Prat, gives +(like S) <i>rogantis Achillen Priami precibus</i>, while most codd. +have <i>Priami</i> before <i>rogantis</i>: ib. §53 <i>eloquentie</i> (so +Put. S 7231, 7696) for <i>eloquendi</i>: ib. <i>superatum</i> (so Put.) +for <i>superari</i>: §55 <i>aequalem credidit parem</i> (as Put. S Harl. +2662, 11671): §67 <i>idque ego</i> (as Put. S) for <i>idque ego +sane</i>: §68 <i>qui fuerunt</i> and also <i>vero</i>, omitted (as in +Put. S): so also <i>tenebras</i> §72, <i>valuerunt</i> §84 (as +7231, 7696), and <i>veterum</i> §97: at §95 Prat, gives et +<i>eruditissimos</i> for <i>et doctissimos</i>, and hence the omission +of <i>erudit.</i> in S. On the whole, the study of the text of the +<i>Pratensis</i> seems to give additional confidence in the readings +of G: for example §98 <i>imperare</i> (as Put.): §101 +<i>cesserit</i> (Put. 7231, 7696): ib. <i>nec indignetur</i>. Étienne de +Rouen carefully omitted all the Greek words which he found in his +original, and this strengthens the contention that <span class = "greek" +title = "phrasin">φράσιν</span> in 1 §87 (see Crit. Notes, and cp. +§42) was originally written in Greek. At 2 §20 <i>quem superius +institui</i> for <i>quem institueram in libra secundo</i> is an +indication of the fact that Étienne de Rouen was making a compendium of +the <i>Institutio</i>, and not transcribing the whole treatise. This +probably detracts from the significance of those readings which seem to +be peculiar to the <i>Pratensis</i>, among which may be noted 1 §48 +<i>putat</i> for <i>creditum est</i> (where Put. has +<i>certissimum</i>): §59 <i>ad exemplum maxime permanebit</i> (<i>ad +exitum</i> Put. and S): §78 <i>propinquior</i> for <i>propior</i>: +§80 <i>mediocri</i> for <i>medio</i>: §81 <i>assurgit</i> for +<i>surgit</i>: §109 <i>in utroque</i> for <i>in quoque</i>. Peculiar +readings which Prat. shares with the <i>Puteanus</i> (and which were +therefore probably in the <i>Beccensis</i>) are §46 <i>in magnis</i> for +<i>in magnis rebus</i>: §49 <i>innuit</i> for <i>nuntiat</i>: §50 +<i>excessit</i> for <i>excedit</i>: §54 <i>ne virtus</i> for <i>ne +utrius</i> (<i>neutrius</i>): §57 <i>ignoro ergo</i> (S) for <i>ignoro +igitur</i>: §63 <i>plurimumque oratio</i>: §68 <i>in affectibus +communibus mirus</i>: §79 <i>discernendi</i> for <i>dicendi</i>: §107 +<i>nominis latini</i> for <i>latini sermonis</i>. At 1 §72 Prat. +has <i>qui ut a pravis sui temporis Menandro</i> (Put. <i>ut +pravis</i>), and this became in S Harl. 2662 and 11671 <i>qui quamvis +sui temp</i>. <i>Men.</i> There are frequent inversions, e.g. <i>dicendi +genere</i> §52 (Put.): <i>Attici sermonis</i> (Put.) §65: <i>plus +Attio</i> (Put.) §97: <i>cuicumque eorum Ciceronem</i> (as Put. 7231, +7696) §105: <i>sit nobis</i> §112: +<span class = "pagenum">lxiii</span> +<a name = "intro_pagelxiii" id = "intro_pagelxiii"> </a> +<i>est autem</i> (as Ioan.) §115: <i>forum illustrator</i> (as Ioan.) +§122: <i>creditus sum</i> §125: <i>dignis lectione</i> 2 §1: +<i>possumus sperare</i> §9: <i>nemo vero eum</i> §10: <i>aliquo tamen in +loco aliquid</i> §24: <i>scientia movendi</i> §27: <i>ipso opere</i> +3 §8: <i>se res facilius</i> §9: <i>desperatio etiam</i> §14: +<i>vox exaudiri</i> §25: <i>praecipue in hoc</i> §26: <i>possunt +semper</i> §28<a class = "tag" name = "tag74" id = "tag74" href = +"#note74">74</a>.</p> + +<p>From the list of readings given above, it will be seen that the +<i>Codex Puteanus</i> is in general agreement with the <i>Pratensis</i>, +each being an independent copy of the same original. The variants given +by this MS. will be found in the Critical Appendix for the part of the +Tenth Book collated by M. Fierville, 1 §§46-107. At times it +is even more in agreement than the <i>Pratensis</i> with the later +family, of which Halm took S as the typical example: e.g. 1 §61 +<i>spiritu</i>: ib. <i>merito</i> omitted: §72 <i>possunt decernere</i> +(for <i>possis decerpere</i>—<i>possis decernere</i> Prat.).</p> + +<p>In the arrangement introduced by Étienne de Rouen in the +<i>Pratensis</i>, the last two sections (§§79 and 80) consist +respectively of x. 1 §§46-107, and xii. 10 §§10-15. These portions +of the <i>Institutio</i> must have formed part of the mutilated original +from which the <i>Beccensis</i> was copied, and they have been +reproduced separately along with 1 §§108-131 in two Paris MSS. +(7231 and 7696), a collation of which has been put at my disposal by +M. Fierville. The first is a mixed codex of the 12th century, +containing nine separate works, of which the extracts from Quintilian +form one. The second, also of the 12th century, belonged to the Abbey of +Fleury-sur-Loire, and comprises five treatises besides the Quintilian. +In both the title runs Quintilianus, <i>libro Xº Inst. Orator. Qui +auctores Graecorum maxime legendi</i>. M. Fierville states (Introd. +p. lxxxv.) that of forty-five variants which he compared (x. +1 §§46-68) in the <i>Pratensis</i>, <i>Puteanus</i>, 7231, and +7696, twenty-eight occur in the two former only, eight in the two +latter, and nine in all four. He adds that the <i>Vossiani</i> i. and +iii. resemble the two former more nearly than the two latter. Both 7231 +and 7696 agree in giving the usual collocation at §50 <i>illis Priami +rogantis Achillen</i>: at §59 the former has <i>ad exim</i>, the latter +<i>ad exi</i>: at §61 both give <i>eum nemini credit</i>, omitting +<i>merito</i> (as Put. and S): at §68 <i>namque is et sermone</i> +(as Prat.: <i>namque sermone</i> Put.): ib. <i>in dicendo ac +respondendo</i> (Prat. Put. <i>in dicendo et in resp.</i>): §72 +(apparently) <i>ut pravis sui temporis iudiciis</i>: §82 <i>finxisse +sermonem</i> (as Prat. Put. and most codd.): §83 <i>ac varietate</i>: +§88 <i>laudandus partibus</i> (<i>laudandis part.</i> Prat. Put. Harl. +2662, 11671): §91 <i>visum</i> (<i>visum est</i> Prat. Put.): §98 +<i>senes +<span class = "pagenum">lxiv</span> +<a name = "intro_pagelxiv" id = "intro_pagelxiv"> </a> +non parum tragicum</i> (Prat. Put. Harl. 2662, 11671): §107 <i>Latini +nominis</i>: §121 <i>leve</i> (Prat. N). In §98 <i>Thyestes</i> is +omitted in both (also in Prat. Put.): is this a sign that the name was +written in Greek in the original? In 7231 I have noted two inversions +which do not seem to appear in 7696: <i>dedit exemplum et ortum</i> +1 §46: <i>proximus aemulari</i> §62.</p> + +<p>M. Fierville classifies the various members of the whole family of +MSS. which has just been reviewed in five sub-divisions. The first +includes the <i>Bernensis</i>, <i>Bambergensis</i> A, +<i>Ambrosianus</i> ii., <i>Pithoeanus</i> (these two are direct +copies of the <i>Bernensis</i>), <i>Salmantinus</i>, three Paris codices +(7720, 7722 and <i>Didot</i>), and probably the <i>Ioannensis</i>. In +the second he ranks the <i>Nostradamensis</i>, <i>Vossiani</i> i. and +iii., and a Paris MS. (7721): in the third the <i>Beccensis</i>, +<i>Pratensis</i>, and <i>Puteanus</i>: in the fourth a <i>codex +Vaticanus</i>, referred to by Spalding: and in the fifth the fragments +just dealt with (7231, 7696). Of these he rightly considers the +<i>Bernensis</i>, <i>Bambergensis</i>, <i>Nostradamensis</i>, +<i>Pratensis</i>, and <i>Puteanus</i> to be of greatest importance for +the constitution of the text.</p> + + +<p class = "space"> +At the head of the third group of the manuscripts of Quintilian must now +be placed the <i>Codex Harleianus</i> (2664), in the library of the +British Museum<a class = "tag" name = "tag75" id = "tag75" href = +"#note75">75</a>. This manuscript was first described by Mr. L. C. +Purser in <i>Hermathena</i> (No. xii., 1886); and to his notice of it I +am now able to add a statement of its history and a pretty certain +indication of the relation it bears to other known codices. As to date, +it cannot be placed later than the beginning of the 11th century. There +are in the margin marks which show clearly that at an early date it was +used to supply the great <i>lacunae</i> in some MS. of the first or +incomplete class; one of these should have appeared in the margin of the +annexed facsimile, <i>a</i> being used at the beginning and <i>b</i> (as +here x. 1, 107) at the end of the parts to be extracted. The manuscript +contains 188 folios and 24 quaternions, and is written in one column. At +the beginning the writing is larger than subsequently, just as the first +part of the <i>Bambergensis</i> is larger than G, which the +<i>Harleianus</i> (H) closely resembles. On fols. 90-91 the hand is more +recent, and the writing is in darker ink: fols. 61-68 seem to have been +supplied later. There is a blank of eight lines at the end of 161v., +where Book xi. ch. 1 concludes; ch. 2 begins at the top of the next +page. There is also a blank line (as in Bn and Bg) at iii. 8, 30, though +nothing is wanting in the text.</p> + +<p>The result of my investigations has been to identify this important +manuscript with the <i>Codex Dusseldorpianus</i>, which we know +disappeared from the library at Düsseldorf before Gesner’s time. In the +preface to +<span class = "pagenum">lxv</span> +<a name = "intro_pagelxv" id = "intro_pagelxv"> </a> +his edition of 1738, §20, he describes it, on the evidence of one who +had seen it, as ‘Poggianis temporibus certe priorem, necdum, quod +sciatur, recentiori aetate a quoquam collatum’: its remarkable freedom +from variants and emendations suggests that it must have lain long +unnoticed. When Gesner wanted to refer to it, he found it was gone: +‘tandem compertum est mala fraude nescio quorum hominum et hunc et alios +rarissimos codices esse subductos.’ It had, in fact, been sold by the +Düsseldorf librarian, possibly acting under orders. The diary of +Humphrey Wanley, Harley’s librarian, shows that he bought it (along with +several other manuscripts) on the 6th August, 1724, from Sig. John James +Zamboni, Resident <i>Chargé d’Affaires</i> in England for the Elector of +Hesse Darmstadt. Zamboni’s correspondence is in the Bodleian at Oxford; +and I have ascertained, by examining it, that he received the Harleian +manuscript of Quintilian from M. Büchels, who was librarian of the +Court library at Düsseldorf in the beginning of last century, and with +whom Zamboni drove a regular trade in manuscripts.</p> + +<p>‘The correspondence’ (to quote from what has already been written +elsewhere) ‘is of a very interesting character, and throws light on the +provenance of several of the Harleian MSS. The transactions of the pair +begin in 1721, when Büchels receives 1200 florins (not without much +dunning) for a consignment of printed books. Zamboni, who was something +of a humourist, is constantly endeavouring to beat down the librarian’s +prices: “j’aime les beaux livres,” he says on one occasion, when +pretending that he will not entertain a certain offer, “j’aime les beaux +livres, mais je ne hais pas l’argent.” The trade in MSS. began in 1724, +when Büchels sent a list from which Zamboni selected eleven codices, +assuring his correspondent that if he would only be reasonable they +would soon come to terms. Early in the year he offers 500 florins for +the lot, protesting that he had no intention of selling again: “sachez, +Monsieur, que je ne vous achète pas les livres pour les revendre.” Three +weeks after it came to hand, he made over the whole consignment to +Harley’s librarian. It included our Quintilian and the great +Vitruvius—the entries in Zamboni’s letters corresponding exactly +with those in Wanley’s diary. In the end of the same month Zamboni is +writing to Büchels for more, protesting that his great ambition is to +make a “très jolie collection” of MSS. (Bodl. MSS. Add. +D, 66).’</p> + +<p>What the history of the <i>Harleianus</i> may have been before it +came to Düsseldorf, I have been unable to ascertain. The only clue +is a scrawl on the first page: <i>Iste liber est maioris ecclesiae</i>. +This Mr. Purser has ascribed, with great probability, to Strasburg. The +<i>Codex Florentinus</i> has an inscription showing that it was given by +Bishop Werinharius (the +<span class = "pagenum">lxvi</span> +<a name = "intro_pagelxvi" id = "intro_pagelxvi"> </a> +first of that name, 1000-1029?) to the Cathedral of St. Mary at +Strasburg; and Wypheling, who made a catalogue of the library there +(circ. 1508), says of this bishop: ‘multa dedit ecclesiae suae +praesertim multos praestantissimos libros antiquissimis characteribus +scriptos; quorum adhuc aliqui in bibliotheca maioris ecclesiae repositi +videntur.’ This shows that there was a greater and a less church at +Strasburg, to the latter of which the MS. may formerly have belonged. +And if, as is now generally believed, neither the <i>Florentinus</i> nor +the <i>Turicensis</i> can be considered identical with the manuscript +which roused the enthusiasm of the literary world when Poggio discovered +it in 1416, it is not impossible that we may have recovered that +manuscript in the <i>Harleianus</i>, if we can conceive of its having +migrated from Strasburg to St. Gall.</p> + +<p class = "mynote"> +The following paragraph appeared in the book as a single-sheet +Addendum labeled “Place opposite p. lxvi.” Its original location +was therefore at the point “...the insertion at a wrong place in +the // text...” in the second paragraph after the Addendum. +</p> + +<p>Writing in the ‘Neue Heidelberger Jahrbücher’ (1891, p. 238 +sqq.), Mr. A. C. Clark, of Queen’s College, Oxford, supplies some +very interesting information in regard to Zamboni’s purchases. It seems +that Zamboni was able to tell Lord Oxford’s librarian that the MSS. +which he was selling to him had originally belonged to Graevius; and by +comparing the Zamboni correspondence in the Bodleian Library with the +posthumous catalogue of Graevius’s library, Mr. Clark has now discovered +that Büchels was offering to Zamboni the entire MSS. collection of that +great scholar, which in this way ultimately found a home in the library +of the British Museum. Graevius died in 1703, and the Elector Johann +Wilhelm bought both his books and his manuscripts. The former he +presented to the library of the University of Heidelberg: the latter he +retained in his own library at Düsseldorf. In regard to the Harleian +codex of Quintilian, Mr. Clark’s theory is that it belonged formerly not +to Strasburg, but to the cathedral at Cologne, which is more than once +referred to as ‘maior ecclesia.’ Gesner must have been in error when he +said that this codex had not been recently collated (cp. Introd. +p. lxv); for Gulielmus had seen it at Cologne, and in his +‘Verisimilia,’ iii. xiv, quotes some variants and ‘proprii errores’ from +the preface to Book vi, all of which appear in the <i>Harleianus</i> as +we have it now. And as Graevius is known to have borrowed from the +library of Cologne Cathedral, in 1688, an important codex of Cicero ad +Fam. (Harl. 2682), Mr. Clark infers that he got the Quintilian at the +same time. He evidently omitted to return them; and after his death they +passed, with many other MSS., first to Düsseldorf, and then to +London.</p> + +<p>It was only after the <i>Bambergensis</i> arrived in the British +Museum (where it was sent by the authorities of the Bamberg Library, in +courteous compliance with a request from me) that it was possible to +form a definite opinion as to the place occupied by the +<i>Harleianus</i> in regard to it. At first it appeared, even to the +experts, that the latter MS. was distinctly of older date than the +former: it is written in a neater hand, and on palaeographical grounds +alone there might have been room for doubt. But a fuller examination +convinced me that the <i>Harleianus</i> was copied directly from the +<i>Bambergensis</i>, possibly at the very time when the latter was being +completed by the addition of the parts known as +<i>Bambergensis</i> G, and of some at least of the readings now +generally designated <b>b</b>. These latter, indeed, the +<i>Harleianus</i> slavishly follows, in preference to the first hand in +the original <i>Bambergensis</i>: probably the copyist of the +<i>Harleianus</i> was aware of the importance attached to the codex +(uncial?) from which the <b>b</b> readings were taken. In view, however, +of the defective state in which the <i>Bambergensis</i> has come down to +us, as regards the opening part, and considering also the mutilation of +the <i>Ambrosianus</i>, we may still claim for the MS. in the British +Museum the distinction of being the oldest complete manuscript of +Quintilian in existence.</p> + +<p>The proof that the <i>Harleianus</i> stands at the head of the great +family of the <i>mixed</i> manuscripts of Quintilian (represented till +now mainly by the <i>Florentinus</i>, <i>Turicensis</i>, +<i>Almeloveenianus</i>, and <i>Guelferbytanus</i>) is derived from a +consideration of its relationship to both parts of the +<i>Bambergensis</i> on the one hand, and to those later MSS. on the +other. I begin with a point which involves a testimony to the +critical acumen of that great scholar C. Halm. In the +<i>Sitzungsberichte der königl. bayer. Akademie der Wissenschaften zu +München</i>, 1866, i. pp. 505-6, Halm established the dependence of +the <i>Turicensis</i> and the <i>Florentinus</i> on the +<i>Bambergensis</i> by pointing out, among other proofs, the insertion +at a wrong place in the +<span class = "pagenum">lxvii</span> +<a name = "intro_pagelxvii" id = "intro_pagelxvii"> </a> +text of both these codices of certain words which, having been +inadvertently omitted by the copyist of the <i>Bambergensis</i> from +their proper context, were written in by him in a blank space at the +foot of the page in which the passage in question occurs. The passage is +ix. 2, 52: <i>circa crimen Apollonii Drepani[tani: gaudeo etiam si quid +ab eo abstulisti et abs te] nihil rectius factum esse dico</i>. When the +copyist of the <i>Bambergensis</i> noticed his mistake, he completed +<i>Drepanitani</i> in the text, and wrote in the words <i>gaudeo etiam +... abs te</i> at the foot of the page, with a pretty clear indication +of the place where they were to be taken in. In the <i>Bambergensis</i> +the page ends with the words (§54) <i>an huius ille legis quam</i>, and +the next page continues <i>C̣ḷọẹlius a se inventam gloriatur</i>. +Noticing that in both the <i>Florentinus</i> and the <i>Turicensis</i> +the marginal addition (<i>gaudeo etiam ... abs te</i>) is inserted not +after <i>legis quam</i> but after <i>Clodius</i>, Halm drew the +inference that these codices were copied from the <i>Bambergensis</i> +not directly, but through some intervening manuscript. The +<i>Harleianus</i> is this manuscript. In it the words referred to do +come in between <i>legis quam</i> and (<i>Cloe</i>)<i>lius</i>: indeed, +so slavishly does the writer follow the second hand in the +<i>Bambergensis</i>, in which the letters C l o e are +subpunctuated, that the <i>Harleianus</i> actually shows <i>et abs te +lius a se inventa</i><a class = "tag" name = "tag76" id = "tag76" href = +"#note76">76</a>, exactly as the writer of <b>b</b> wished the +<i>Bambergensis</i> to stand. It must be feared that the copyist of the +<i>Harleianus</i> did not know enough Latin to save him from making very +considerable mistakes. If I am right in believing that this manuscript +must take rank above the <i>Turicensis</i> and the <i>Florentinus</i> +(and all other MSS. of this family), it is he who must be credited with +a great deal of the confusion that has crept into Quintilian’s text. It +may be well to mention one or two obvious examples. In ix. 3, 1 the text +stands <i>utinamque non peiora vincant. Verum schemata</i>, &c. In +the <i>Bambergensis</i>, <i>utrum nam</i> is supplied by <b>b</b> above +the line, and in the margin <i>que peiora vincant verum</i>, the words +affected by the change being +<span class = "pagenum">lxviii</span> +<a name = "intro_pagelxviii" id = "intro_pagelxviii"> </a> +subpunctuated in the text. The copyist of the <i>Harleianus</i> takes +the <i>utrum nam</i> and leaves the rest, showing <i>utrum nam +schemata</i>: this appears as <i>utrim nam schemata</i> in the +<i>Turicensis</i>, and as <i>utinam schemata</i> in the +<i>Florentinus</i> and <i>Almeloveenianus</i>. Take again ix. 3, 68-9 in +the <i>Bambergensis</i> (G) <i>quem suppli[catione dignum indicaris. +Aliter quoque voces aut] eadem aut diversa</i>, &c. The words +enclosed in brackets are the last line of a particular column (142 v.); +they were inadvertently omitted by the copyist of the <i>Harleianus</i>, +and as a consequence we have <i>supplici</i> in <i>Turic.</i> and +<i>Flor.</i>, <i>supplitia</i> in <i>Guelf.</i>, &c. Again at x. 7, +20 a certain sleepiness on the part of the scribe of the +<i>Harleianus</i>, which caused him to write <i>Neque vero tantas eum +breve saltem qui foro tempus quod nusquam fere deerit ad ea quae</i>, +&c., has given rise to the greatest confusion in <i>Turic.</i>, +<i>Flor.</i>, <i>Alm.</i>, <i>Bodleianus</i>, <i>Burn.</i> 243, &c. +In this H follows exactly the second hand in Bg., except for the +remarkable insertion of the words <i>qui foro</i> between <i>breve +saltem</i> and <i>tempus</i>: at this point the copyist of H must have +allowed his eyes to stray to the beginning of the previous line in Bg, +where the words <i>qui foro</i> hold a conspicuous position. +<i>Flor.</i> and <i>Tur.</i> repeat the mistake, except that the latter +gives <i>eum brevem</i> for <i>eum breve</i>. Again at the end of Book +ix, <i>Bambergensis</i> G gives <i>ut numerum spondet flexisse non +arcessisse non arcessiti et coacti esse videantur</i>: this reading is +identical with that of the <i>Harleianus</i>, except that the latter for +<i>arcessiti</i> gives <i>arcessisti</i>, a deviation promptly +reproduced by the <i>Florentinus</i>, while the <i>Turicensis</i> shows +<i>accersisti</i>. Perhaps the most conclusive instance of all is the +following: at iv. 2, 128 the <i>Bambergensis</i> gives (for <span class += "greek" title = "epidiêgêsis">ἐπιδιήγησις</span>) <span class = +"greek" title = "EPIDIÊTÊSEI">ΕΠΙΔΙΗΤΗϹΕΙ</span>: this appears in H as +<span class = "greek" title = "EPIDIÊSEI">ΕΠΙΔΙΗϹΕΙ</span> the seventh +and eighth letters having been inadvertently omitted by the copyist. +F makes this <span class = "greek" title = +"EPITHESIE">ΕΠΙΘΕϹΙΕ</span> and T shows <span class = "greek" title = +"EPITHSIS">ΕΠΙΘϹΙϹ</span> (<span class = "greek" title = +"epiliêsei">επιλιησει</span>—Spalding).</p> + +<div class = "mynote"> + +<p>The four forms of the Greek word appear in the printed text as:</p> + +<p> +<img src = "../images/epidiegesis1.gif" width = "137" height = "16" +alt = "text image"></p> + +<p><img src = "../images/epidiegesis2.gif" width = "108" height = "17" +alt = "text image"></p> + +<p><img src = "../images/epidiegesis3.gif" width = "104" height = "15" +alt = "text image"></p> + +<p><img src = "../images/epidiegesis4.gif" width = "88" height = "15" +alt = "text image"></p> +</div> + +<p>As the <i>Bambergensis</i> (Bg), in its present state, only commences +at i. 1. 6. (<i>nec de patribus tantum</i>), the readings of the +<i>Harleianus</i> (H) are for the Prooemium and part of chapter 1 of +first-class importance. In the pr. §1 we have <i>pertinerent</i> H, +<i>pertinent</i> T: §2 <i>diversas</i> H, <i>divisas</i> T: §5 <i>fieri +oratorem non posse</i> HF, <i>fieri non posse oratorem</i> T +(as A): §6 <i>amore</i> H, <i>studio</i> F: <i>iτ ingenii</i> H, +<i>iter ingenii</i> T, <i>ingenii</i> F: §13 <i>officio quoque</i> H, +<i>quoque officio</i> F: §19 <i>summa</i> H (also Bg), <i>summam</i> T: +§25 <i>demonstraturi</i> HF, <i>demonstrari</i> T: §27 <i>adiumenta</i> +H (a correction by same hand on <i>adiuvante</i>): so Bg F: +<i>adiuvante</i> T. In chap. 1 §3 <i>sed plus</i> HT: <i>sed et +plus</i> F: <i>hoc quippe viderit</i> H Bg F: <i>hoc +quippe</i> (om. <i>viderit</i>) T.</p> + +<p>These instances are taken from the introductory part of the First +Book, where Bg almost entirely fails us, only a few words being here and +there decipherable. Wherever I have compared, in other places, the +readings of +<span class = "pagenum">lxix</span> +<a name = "intro_pagelxix" id = "intro_pagelxix"> </a> +Bg (and G), H, T, and F, I have found H, if not always in +exact agreement with the Bamberg MS. (often owing to the copyist’s +ignorance of Latin) invariably nearer the parent source than either T +or F. Here are a few instances from the First Book: I §8 <i>nihil +est peius</i> Bg H T, <i>nihil enim est peius</i> F: ib. §11 +<i>defuerit</i> Bg H T, <i>defuerint</i> F: ib. §12 <i>perbibet</i> Bg H +F, <i>perhibet</i> T: ib. §16 <i>formandam</i> Bg H, <i>formandum</i> F +T: 2 §18 <i>in media rei p. vivendum</i> Bg (b) H, <i>in med. +rei praevivendum</i> T, <i>reip. videndum</i> F: ib. §24 +<i>depellendam</i> Bg H, <i>repellendam</i> T: ib. §31 <i>concipiat quis +mente</i> Bg H, <i>quis mente concipiat</i> F: 4 §27 +<i>tereuntur</i> Bg H T, <i>intereuntur</i> F: 6 §9 <i>dicet</i> +Bg, <i>dicit</i> H F, <i>dicitur</i> T: ib. §14 <i>dici ceris</i> Bg +(dici ceris),<a class = "tag" name = "tagA" id = "tagA" href = +"#noteA">A</a> <i>diceres</i> H, <i>dici</i> F T: ib. §30 <i>aliaque +quae consuetudini serviunt</i> Bg H,—in margin of H <i>aliquando +consuetudini servit</i> (b): F and T adopt the latter, and give the +alternative reading in the margin: 10 §28 <i>haec ei et cura</i> H F, +<i>haec et cura ei</i> T: 11 §4 <i>pinguitudine</i> Bg H, +<i>pinguedine</i> F T. Among scattered instances elsewhere are the +following: ii. 5, 13 <i>dicentur</i> Bg H, <i>docentur</i> T: 5 §26 +<i>hanc</i> Bg H, om. T: 15 §8 <i>testatum est</i> Bg H, +<i>testatum</i> T. In ix. 363 G has <i>parem</i> (for +<i>marem</i> A): H gives <i>patrem</i> and F T follow suit: +cp. ix. 4, 8 <i>hoc est</i> G H, <i>id est</i> F: ib. §16 <i>quoque</i> +G H, om. T: ib. §32 <i>nesciat</i> G H, <i>dubitet</i> F: +<i>dignatur</i> G H, <i>digne dicatur</i> F: viii. pr. §3 <i>dicendi</i> +G H, <i>discendi</i> T: ix. 4, 119 <i>ignorabo</i> G, <i>ignoraba</i> H, +<i>ignorabam</i> T: ib. §129 <i>et hac fluit</i> G H, <i>et hac et hac +fluit</i> T: xii. 11, 8 <i>scierit</i> G, <i>scieret</i> H, +<i>sciret</i> T: ib. 2 §18 <i>autem</i> Bg H, om. T: x. 1, §4 +<i>numuro quae</i> G H, <i>num muro quae</i> T, <i>numeroque</i> F: ib. +§50 <i>et philogus</i> G, <i>et philochus</i> H T, <i>et epiloghus</i> +F: ib. §73 <i>porem</i> G H, <i>priorem</i> F T: ib. §75 <i>vel hoc +est</i> G H, <i>hoc est vel</i> T: x. 2, 7 <i>posteriis</i> (for +<i>historiis</i>) H, <i>posteris</i> F (<i>posterius</i> ed. Camp.): x. +2, 10 <i>discernamus</i> Bg, <i>discernantur</i> b, +<i>disnantur</i> H T, <i>desinantur</i> F. Noteworthy cases of the +close adherence of T to H are the following: <i>Empedoclena</i> i. 4, 4: +<i>vespueruginem</i> i. 7, 12: <i>tereuntur</i> i. 4, 27: <i>flex +his</i> x. 1, 2: <i>gravissimus</i> x. 1, 97: <i>ipsae +illae quae extorque eum credas</i> x. 1, 110, where both also +give <i>trans usum</i> for <i>transversum</i>, and <i>non repe</i> for +non rapi: <i>morare refinxit finxit recipit</i> x. 3, 6: <i>nam +quod cum isocratis</i> x. 4, 4. In other instances the writer +of T has evidently tried to improve on the reading of H: e.g. in the +title of Book x, H gives an abbreviation which T mistakes for +<i><b>quo</b> enim <b>dandum</b></i>: also <i>extemporal facilitas</i> +which appears in T as <i>extempora vel facilitas</i>: x. 1, 79 +<i>ven iudicis</i> H (in mistake for <i>se non iud.</i>), which is made +by T into <i>venit iudicis</i>. Many similar instances could be cited in +regard to both T and F; the reading <i>tantum</i>, for instance, in x. +1, 92, which occurs in both, has evidently arisen from H, which +here shows something that looks more like <i>tantum</i> than +<i>tacitum</i> (the reading of G). Again, in every +<span class = "pagenum">lxx</span> +<a name = "intro_pagelxx" id = "intro_pagelxx"> </a> +place where Halm uses the formula ‘F T soli ex notis,’ H will +be found to correspond<a class = "tag" name = "tag77" id = "tag77" href += "#note77">77</a>.</p> + +<div class = "mynote"> +<p><a name = "noteA" id = "noteA" href = "#tagA">A.</a> +(<i>dici ceris</i>) text image showing inserted letters:</p> +<p> +<img src = "../images/diciceris.gif" width = "171" height = "53" +alt = "text images"> +</p> +</div> + +<p>With such evidence as has been given above, it is impossible to doubt +that the <i>Harleianus</i> must now take rank above both the manuscripts +which, before the appearance of Halm’s edition, held so prominent a +place in the criticism of Quintilian, the <i>Codex Florentinus</i> and +the <i>Codex Turicenis</i>. The former is an eleventh century MS., now +in the Laurentian library at Florence. On the first page is this +inscription: <i>Werinharius episcopus dedit Sanctae Mariae</i>: on the +last <i>Liber Petri de Medicis, Cos. fil.</i>: and below <i>Liber +sanctae Mariae ecclesiae Argñ.</i> (= Argentoratensis) <i>in +dormitorio</i>. There were two bishops of Strasburg bearing the name of +Werner: the first 1001-1029, and the second 1065-1079. M. Fierville +(Introd. p. xciv) tells us that the first Werner (of Altemburg or +Hapsburg) laid the foundations of the cathedral at Strasburg in 1015, +and presented to the Chapter a number of valuable books; and we also +know that in 1006 he had attended the Council at Frankfort to promote +the erection of a cathedral church at Bamberg. Here then we have the +elements of a solution of the problem. Bishop Werner was a patron of +letters; and learning that by the addition of what is now known as +<i>Bambergensis</i> G a complete text of Quintilian had been +secured, he had it copied. The <i>Codex Harleianus</i> was in all +probability the first copy, and from it the <i>Codex Florentinus</i> was +reproduced. The latter was still at Strasburg in 1372, a fact which +(though hitherto it seems to have been unnoticed) is enough to dispose +of its claim to be considered the manuscript of Poggio, which he +describes as ‘plenum situ’ and ‘pulvere squalentem’ lying ‘in teterrimo +quodam et obscuro carcere, fundo scilicet unius turris, quo ne capitales +quidem rei damnati retruderentur.’ If so important a MS. had passed from +Strasburg to St. Gall within forty years of Poggio’s visit, it is +hard to believe that it would have been allowed to lie neglected and +unknown. After 1372 we know nothing certain of its history till it +reappears in the library of the Medicis at Florence in the latter part +of the fifteenth century. It is generally supposed that some time +between 1372 and 1417 it must have been transported from Strasburg to +the monastery of St. Gall, and that it passed from there to +Florence after Poggio’s departure. A similar theory may quite as +legitimately be maintained in reference to the <i>Harleianus</i>, which, +as I have +<span class = "pagenum">lxxi</span> +<a name = "intro_pagelxxi" id = "intro_pagelxxi"> </a> +already indicated, may be the very manuscript which Poggio discovered at +St. Gall in 1416<a class = "tag" name = "tag78" id = "tag78" href = +"#note78">78</a>.</p> + +<p>The <i>Codex Turicensis</i> was long considered to be of older date +than the <i>Florentinus</i>, but recent investigations seem to have +proved the contrary. Halm attributes it to the second part of the +eleventh century, and E. Wölfflin takes a similar view. In the +beginning of the eighteenth century it passed into the library at +Zürich. Spalding believed it to be the manuscript discovered by Poggio, +and M. Fierville is of the same opinion: Halm rejects this theory. +The great point in favour of the claim of the <i>Turicensis</i> is that +it is known to have come from St. Gall, while we can only +conjecture the history of the <i>Harleianus</i>. But the +<i>Turicensis</i> cannot have been the MS. which Poggio carried with him +into Italy, according to a statement made by Bandini, Regius, and +others. It is true that this statement is hard to reconcile with what +Poggio himself says in his letter to Guarini, whom he informs that he +has made hasty transcripts of his various ‘finds’ (presumably including +the Quintilian) for his friends Leonardo of Arezzo and Nicolai of +Florence. But Poggio may have had his own reasons for a certain degree +of mystery about his good fortune. In the preface to his edition, +Burmann speaks of the manuscript of St. Gall, on the authority of +the librarian Kesler, as having been ‘honesto furto sublatum’: if it was +the <i>Harleianus</i> there is perhaps little need to wonder that +nothing has been known till now of its later fortunes<a class = "tag" +name = "tag79" id = "tag79" href = "#note79">79</a>.</p> + +<p class = "space"> +The affiliation of other MSS. of this class (which includes also the +<i>Almeloveenianus</i>) to the codices which have just been described, +may be determined by the application of certain tests. Prominent among +such MSS. is the <i>Codex Bodleianus</i>, which has received more +attention from editors of Quintilian than its merits seem to me to +warrant. It repeats word for word the remarkable error attributable to +the <i>Harleianus</i> at x. 7, 20 (see above, p. lxviii): in +other places it embodies attempted emendations, e.g. x. 1, 90 +<i>nec ipsum senectus maturavit</i>: 2 §7 <i>de metris</i> for +<span class = "pagenum">lxxii</span> +<a name = "intro_pagelxxii" id = "intro_pagelxxii"> </a> +<i>dimiteris</i> (see above, p. lxvii, note). It belonged to Archbishop +Laud, and must have been written in the fifteenth century.</p> + +<p>Of the same age and family are two manuscripts often cited by Halm, +the <i>Lassbergensis</i> and the <i>Monacensis</i>. The former was +formerly at Landsberg in Bavaria: it is now at Freiburg. The reading +<i>atque interrogationibus atque interrogantibus</i>, which Halm gives +from it alone at x. 1, 35, I have found also in G +and H; this seems quite enough to identify its parentage. The +<i>Monacensis</i> was collated by Halm for his critical edition in the +parts where he had to rely on A G or on G alone: with no conspicuous +results,—‘nihil fere aliud effectum est quam ut docere possemus, +ubi aliquot locorum, qui in libris melioribus leviter corrupti sunt, +emendatio primum tentata sit’ (praef. viii, ix).</p> + +<p>Alongside of these I would place a rather interesting MS. in the +British Museum, which has been collated specially for the purpose of +this edition, with no result worth speaking of, except to establish its +class. It repeats the mistake of H at x. 7, 20: and the fact that the +copyist began his work in a hand that was meant to imitate writing of +the eleventh century seems, along with the internal evidence, to prove +that it is one of the copies of Poggio’s MS. In x. 2, 7 it has +<i>posterius</i> for <i>historiis</i> (a mistake in H—see +p. lxix): and in the same place it shows (like the Bodleian codex) +<i>de metris</i> for <i>dimiteris</i>. This is also the reading of the +second hand in the <i>Turicensis</i>. Such differences as exist between +it and H F T may be ascribed to attempted emendation: e.g. +<i>vertere latus</i> x. 3, 21. Poggio’s letter to Guarini is copied at +the end of the volume.</p> + +<p>The other MSS. of the fifteenth century, so far as they are known to +him, M. Fierville divides carefully into two classes (his third and +fourth). The principal features of difference which distinguish them +among themselves, and from those already mentioned, are that they +incorporate, in varying degrees, the results of the progress of +scholarship, and that they are seldom copied from any single manuscript. +A detailed examination would no doubt establish what is really the +point of greatest moment in regard to them: how far are they derived, +through Poggio’s manuscript, from the <i>Bambergensis</i>, and how far +from such complete manuscripts as the <i>Ambrosianus</i> and the +original of <i>Bambergensis</i> G? Some of them (as well as other +fifteenth century MSS., with a description of which I desire to +supplement M. Fierville’s Introduction, pp. cii sq.), are of +at least as great importance as those referred to above as having been +collated in part by Halm.</p> + +<p>The <i>Argentoratensis</i> (S), also used by Halm, may be mentioned +first: it was collated by Obrecht for his edition of 1698<a class = +"tag" name = "tag80" id = "tag80" href = "#note80">80</a>. This +manuscript was +<span class = "pagenum">lxxiii</span> +<a name = "intro_pagelxxiii" id = "intro_pagelxxiii"> </a> +destroyed in the bombardment of Strasburg, August 24, 1870. Then there +are the MS. of Wolfenbuttel (<i>Codex Guelferbytanus</i>), collated for +the first time by Spalding: the <i>Codex Gothanus</i>, used by Gesner +for his edition of 1738: the <i>Codex Vallensis</i> (Parisinus 7723), +which purports to bear the signature of Laurentius Valla +(9 December, 1444), whose corrections and marginal notes it +contains<a class = "tag" name = "tag81" id = "tag81" href = +"#note81">81</a>. The list of these and several others, all carefully +described by M. Fierville, may now be extended by a short reference +to various MSS. in this country, hitherto uncollated. The results of my +examination of them (as well as of the <i>Bodleianus</i>, and +<i>Burneianus</i> 243, referred to above) appear in the Critical +Appendix: if few of them are of first-class importance, it may at least +be claimed that right readings, with which Spalding, Halm, and Meister +have successively credited the early printed editions,—e.g. the +Cologne edition of 1527,—have now been attributed to earlier +sources. And when M. Fierville had so carefully examined the MSS. +of France, Germany, Switzerland, Italy, and Spain, it seemed of some +importance that his laborious work should be supplemented by a +description of the MSS. belonging to the libraries of this country.</p> + +<p>In the British Museum there are eight manuscripts in all of +Quintilian’s <i>Institutio</i>: of the most important of these, the +<i>Harleianus</i> (H), I have already given an account, and one of +two MSS. in Burney’s collection (Burn. 243) has also been mentioned. Of +the remaining MSS. two may be taken together, as they are in complete +agreement with each other, and show conclusive proofs (as will appear in +the notes) of relationship to such codices as the <i>Argentoratensis</i> +and the <i>Guelferbytanus</i>. The first of these two MSS. (<i>Codex +Harleianus</i> 2662) has an inscription bearing that it was written by +Gaspar Cyrrus ‘nationis Lutatiae,’ and was finished on the 25th of +January, 1434,—only eighteen years after Poggio made his great +discovery. So great an advance is evident in the text, as compared with +the readings of H F T, that it seems probable that this MS. owes +little to that family. The same may be said of the <i>Codex +Harleianus</i> 11,671, a beautiful little quarto, dated 1467: it has the +Epitome of Fr. Patrizi attached (see Classical Review, 1891, +p. 34). The following cases of remarkable errors will suffice to +connect both these MSS. with the <i>Guelferbytanus</i>: x. 3, 12 +<i>a patrono suo</i> for <i>a patruo suo</i>: 1 §97 <i>verum</i> +for <i>veterum</i>: 1 §55 <i>equalem credidit parem</i> (as also +Prat., Guelf., S, and Voss. i. +<span class = "pagenum">lxxiv</span> +<a name = "intro_pagelxxiv" id = "intro_pagelxxiv"> </a> +and iii.): 1 §72 <i>quamvis sui temporis Menandro</i> for <i>ut +pravis sui temporis iudiciis Menandro</i>: 7 §6 <i>adducet +ducetur</i>. Another very interesting MS. in the British Museum is +<i>Harleianus</i> 4995, dated July 5, 1470: it contains the notes of +Laurentius Valla, which were frequently reproduced at the time, and +might be classed along with the <i>Vallensis</i> were it not that a +marginal note at x. 6, 2 (where a false lacuna appears in most +codices, as Bn. and Bg.), ‘<i>hic deficit antiquus codex</i>,’ makes it +probable that the copyist had more than one MS. at his side<a class = +"tag" name = "tag82" id = "tag82" href = "#note82">82</a>. This MS. +agrees with the <i>Vallensis</i> and <i>Gothanus</i> in reading +<i>cognitioni</i> for <i>cogitationi</i> x. 1, 1: +<i>ubertate</i> for <i>ubertas</i> 1 §109: <i>et vis summa</i> +§117: <i>eruendas</i> for <i>erudiendas</i> 2 §6: <i>nobis +efficiendum</i> ib. §14: <i>decretoriis</i> 5 §20. The other two +Harleian MSS. (4950 and 4829) present no features of special interest: +I have, however, included them in the critical notes for the sake +of completeness. The former was written by ‘Franciscus de Mediolano’: it +is often in agreement with the <i>Lassbergensis</i>. The latter finishes +with the words <span class = "greek" title = "hê biblos tou sôzomenou">ἡ +βίβλος τοῦ σωζομένου</span> and the motto <span class = "greek" title = +"agathê tuchê">ἀγαθῇ τύχῃ</span>. The readings of the <i>Burneianus</i> +244 are also occasionally recorded in the notes. All three are in +general agreement with L, and also with the <i>Codex +Carcassonensis</i>, a fifteenth century MS. of which M. Fierville +published a collation in 1874.</p> + +<p>A greater degree of interest attaches to two Oxford manuscripts, one +of which (the <i>Codex Balliolensis</i>) is unclassed by Fierville, +while the other (the <i>D’Orville</i> MS.) has never been examined at +all. The former was used by Gibson for his edition of 1693. It begins at +<i>bis vitiosa sunt</i> i. 5, 14, but there are various lacunae, which +do not correspond with those of the incomplete family. The MS. is in +fact in a mutilated condition. +<span class = "pagenum">lxxv</span> +<a name = "intro_pagelxxv" id = "intro_pagelxxv"> </a> +In the Tenth Book we miss its help after the end of the first chapter +till we reach iii. §26, where it begins again with the words <i>quam +quod somno supererit</i>: it stops abruptly at <i>nostrorumque +Hort(ensium)</i> x. 6, 4. It is in general agreement with +Harleianus 2662. I may note that in i. 5, 36 it has +<i>interrogatione</i>, a reading which Halm says appears for the first +time in the edition of Sichardus, 1529: ib. §69 it has <i>e rep</i> with +A and 7727, with the latter of which it is in close correspondence (e.g. +<i>forte</i> at i. 5, 15, all other codices <i>forsan</i> or +<i>forsitan</i>).</p> + +<p>There remains the <i>D’Orville</i> MS. in the Bodleian at Oxford +(<i>Codex Dorvilianus</i>),—a manuscript which has been entirely +overlooked, except for a single reference in Ingram’s abridged edition +of the <i>Institutio</i> (1809). Yet it seems well deserving of +attention. In some places it shows a remarkable resemblance to the +<i>Ambrosianus</i> (e.g. <i>Getae</i> 1 pr. §6: <i>et quantum</i> +ib. §8): at 1 pr. §4 it has <i>summam inde eloquentiae</i> +(Spalding’s reading, found in no other MS.): <i>destinabamus al. +festinabimus</i> ib. §6 (the alternative being a reading peculiar +to A). Its most important contribution to the Tenth Book is +7 §20, where it gives the reading which Herzog conjectured and +which I have received into the text: <i>neque vero tanta esse unquam +debet fiducia facilitatis</i>: in 2 §14 (see Critical Notes) it has +<i>quos eligamus ad imitandum</i>, a reading peculiar to itself. For the +rest it is in general agreement with the Balliol codex. It is Italian +work, of the early part of the fifteenth century,—earlier, Mr. +Madan thinks, than the <i>Codex Bodleianus</i>. A marginal note at +ix. 3, 2 shows that the copyist must have had more than one MS. before +him. In some cases it would appear as if he carefully balanced rival +readings: at 1 pr. §12. all codices have <i>quaestio ex his incidat</i> +except A, which gives <i>ex his incidat quaestio</i>: the reading +in the <i>Dorvilianus</i> is <i>quaestio incidat ex his</i>: again at i. +2, 6 <i>ante palatum eorum quam os instituimus</i>, many codices give +<i>mores</i> for <i>os</i>: Dorv. shows <i>quam vel mores vel +os</i>.</p> + + +<p class = "space"> +List of editions, tractates, and books of reference.</p> + +<p class = "reference space"> +Besides the complete editions of <span class = +"smallcaps">Spalding</span>, <span class = "smallcaps">Zumpt</span>, +<span class = "smallcaps">Bonnell</span>, <span class = +"smallcaps">Halm</span> (1868-9) <span class = +"smallcaps">Meister</span> (1886-87), use has been made of the following +editions of Book x.:— +</p> + +<table class = "reference" summary = "editions of book X"> +<tr> +<td class = "smallcaps"> +<p>M. Stephanus Riccius.</p></td> +<td class = "number">Venice, 1570.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>C. H. Frotscher.</p></td> +<td class = "number">Leipzig, 1826.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>M. C. G. Herzog.</p></td> +<td class = "number">2nd ed. Leipzig, 1833.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>G. A. Herbst.</p></td> +<td class = "number">Halle, 1834.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">John E. B. Mayor</span> +(incomplete).</p></td> +<td class = "number">Cambridge, 1872.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>Bonnell-Meister.</p></td> +<td class = "number">Berlin, 1882.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>G. T. A. Krüger.</p></td> +<td class = "number">2nd ed. Leipzig, 1872.</td> +</tr> +<tr> +<td><span class = "gap"> „ „</span>(Gustav Krüger)</td> +<td class = "number">3rd ed.<span class = "gap"> „</span>1888.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>Fr. Zambaldi.</p></td> +<td class = "number">Firenze, 1883.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>S. Dosson.</p></td> +<td class = "number">Paris, 1884.</td> +</tr> +<tr> +<td class = "smallcaps"> +<p>D. Bassi.</p></td> +<td class = "number">Torino, 1884.</td> +</tr> +<tr> +<td class = "smallcaps"> +<span class = "pagenum">lxxvi</span> +<a name = "intro_pagelxxvi" id = "intro_pagelxxvi"> </a> +<p>J. A. Hild.</p></td> +<td class = "number">Paris, 1885.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">F. Meister</span> (text only).</p></td> +<td class = "number">Leipzig and Prague, 1887.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Frieze</span> (Books x. and<ins class = +"correction" title = "text has . after ‘and’"> </ins>xii.)</p></td> +<td class = "number">New York, 1889.</td> +</tr> +</table> + +<p class = "reference"> +Among the Translations, reference has been made to <span class = +"smallcaps">Lindner’s</span> (<i>Philologische Klassiker</i>, Wien, +1881), <span class = "smallcaps">Alberti’s</span> (Leipzig, 1858), and +<span class = "smallcaps">Herzog’s</span> (Leipzig, 1829); also to <span +class = "smallcaps">Guthrie’s</span> (London, 1805), and <span class = +"smallcaps">Watson’s</span> (in <span class = "smallcaps">Bohn’s</span> +series). +</p> + +<p class = "reference space"> +The following have been used as books of reference:—</p> + +<table class = "reference" summary = "reference works"> +<tr> +<td><p><span class = "smallcaps">Wilkins</span>: Cicero, <i>De +Oratore</i>, Books i. and ii. (2nd ed.)</p></td> +<td class = "number" width = "33%">Oxford, 1888 and 1890.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Sandys</span>: Cicero, +<i>Orator</i>.</p></td> +<td class = "number">Cambridge, 1889.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Kellogg</span>: Cicero, +<i>Brutus</i>.</p></td> +<td class = "number">Boston, 1889.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Wolff</span>: Tacitus, <i>Dialogus de +Oratoribus</i>.</p></td> +<td class = "number">Gotha, 1890.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Andresen</span>:<span class = +"gap"> „ „</span></p></td> +<td class = "number">Leipzig, 1879.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Reiske</span>: Dionysius +Halicarnassensis.</p></td> +<td class = "number">Vols. v-vi.<br> +Leipzig, 1775-7.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Usener</span>: Dionysius +Halicarnassensis <i>Librorum de Imitatione Reliquiae, Epistulaeque +Criticae Duae</i>.</p></td> +<td class = "number">Bonn, 1889.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Ammon:</span> +<i>De Dionysii Halicarnassensis Librorum Rhetoricorum Fontibus: +Dissertatio Inauguralis</i>.</p></td> +<td class = "number">Munich, 1889.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Volkmann:</span> +<i>Die Rhetorik der Griechen und Römer</i>.</p></td> +<td class = "number">2nd ed. Leipzig, 1885.</td> +</tr> +<tr> +<td><p><span class = "smallcaps">Causeret:</span> +<i>Étude sur la langue de la Rhétorique et de la Critique Littéraire +dans Cicéron</i>.</p></td> +<td class = "number">Paris, 1886.</td> +</tr> +<tr> +<td><p>and <span class = "smallcaps">Fierville</span>: +<i>Quintilian</i>, Book i.</p></td> +<td class = "number">Paris, 1890.</td> +</tr> +</table> + +<p class = "reference"> +The references to Nägelsbach’s <i>Lateinische Stylistik</i> are to the +eighth edition (Nägelsbach-Müller).</p> + + +<p class = "reference space"> +The periodical literature bearing specially on the Tenth Book of +Quintilian has grown to very considerable dimensions within recent +years. The following articles and tractates have been +consulted:—</p> + +<table class = "reference" summary = "list of articles"> +<tr> +<td class = "smallcaps">Claussen:</td> +<td><p><i>Quaestiones Quintilianeae</i>.</p></td> +<td class = "number">Leipzig, 1883.</td> +</tr> +<tr> +<td class = "smallcaps">Nettleship:</td> +<td colspan = "2"> +<p><i>Journal of Philology</i>, Vol. xviii, No. 36, p. 225 +sqq.</p></td> +</tr> +<tr> +<td class = "smallcaps">Becher</td> +<td colspan = "2"> +<p><i>Bursian’s Jahresbericht</i>, 1887, xv. 2, pp. 1-61.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „</span></td> +<td><p><i>Quaestiones grammaticae ad librum X. Quintiliani de Instit. +Or.</i><br> +(<i>Jahresbericht über die königliche Klosterschule zu +Ilfeld</i>).</p></td> +<td class = "number">Nordhausen, 1879.</td> +</tr> +<tr> +<td><span class = "gap"> „</span></td> +<td colspan = "2"> +<p><i>Philologus XLV</i>.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „</span></td> +<td colspan = "2"> +<p><i>Philologische Rundschau</i>, iii. 14: 427 sqq. and 457 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „</span></td> +<td> +<p><i>Programm des königlicken Gymnasiums zu Aurich</i>.</p> +</td> +<td class = "number">Ostern, 1891.</td> +</tr> +<tr> +<td class = "smallcaps">Kiderlin</td> +<td colspan = "2"> +<p><i>Blätter für das bayer</i>. <i>Gymn.-Wesen</i>, 1887, p. 454; +1188, pp. 83-91.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Jahrbücher f. Philologie u. Pädagogik</i>, vol. 135, +pp. 829-832.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Zeitschrift f. d. Gymn.-Wesen</i>, vol. 32, pp. 62-73.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Fleckeisen’s Jahrb. f. Philologie</i>, 1888, p. 829 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Jahresb. des philol. Vereins zu, Berlin</i>, xiv. (1888), +p. 62 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Hermes</i>, vol. xxiii. p. 163 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Rheinisches Museum</i>, xlvi. (1891) pp. 9-24.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Hirt</td> +<td colspan = "2"> +<p><i>Jahresb. des philol. Vereins zu Berlin</i>, viii. (1882), +p. 67 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><span class = "gap"> „ „ „ </span>ix. (1883), +p. 312 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><span class = "gap"> „ „ „ </span>xiv. (1888), +p. 51 sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td> +<p><i>Ueber die Substantivierung des Adjectivums bei +Quintilian</i>.</p></td> +<td class = "number">Berlin, 1890.</td> +</tr> +<tr> +<td class = "smallcaps">Meister</td> +<td colspan = "2"> +<p><i>Philologus</i>, xviii. (1863), p. 487 sqq.: xxxiv. (1876), +p. 740 sqq.: xxxv. (1877), p. 534 sqq., and p. 685 sqq.: +xxxviii. (1879), p. 160 sqq.: xlii. (1884) p. 141 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps"> +<span class = "pagenum">lxxvii</span> +<a name = "intro_pagelxxvii" id = "intro_pagelxxvii"> </a> +Schöll:</td> +<td><p><i>Rheinisches Museum</i>, xxxiv. (1879), p. 84 sqq.: xxxv. +(1880), p. 639.</p></td> +<td class = "number"></td> +</tr> +<tr> +<td class = "smallcaps">Wölfflin</td> +<td colspan = "2"> +<p><i>Rheinisches Museum</i>, xlii. (1887), p. 144 and p. 310 +sqq.</p> +</td> +</tr> +<tr> +<td><span class = "gap"> „ </span></td> +<td colspan = "2"> +<p><i>Hermes</i>, xxv. (1890), pp. 326, 7.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Andresen</td> +<td colspan = "2"> +<p><i>Rheinisches Museum</i>, xxx. (1875), p. 506 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Eussner</td> +<td colspan = "2"> +<p><i>Blätter für das bayer. Gymn.-Wesen</i>, 1881, p. 391 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Fleckeisen’s</td> +<td colspan = "2"> +<p><i>Jahrb. f. Philologie</i>, 1885, p. 615 sqq. <i>Literar. +Centralblatt</i>, 1885, n. 22, p. 754.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Gertz</td> +<td colspan = "2"> +<p>‘<i>Opuscula philologica ad Madvigium a discipulis missa</i>’ (1876), +p. 92 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">H. J. Müller:</td> +<td colspan = "2"> +<p><i>Zeitschrift für das Gymn.-Wesen</i>, xxxi. 12, p. 733 +sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Iwan Müller:</td> +<td colspan = "2"> +<p><i>Bursian’s Jahresbericht</i>, iv. (1876), 2, p. 262 sqq.; vii. +(1879), 2, p. 157 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Wrobel</td> +<td colspan = "2"> +<p><i>Zeitschrift für die österreich. Gymnasien</i>, xxvii. (1876), +p. 353 sqq.</p> +</td> +</tr> +<tr> +<td class = "smallcaps">Törnebladh:</td> +<td><p><i>De usu Particularum apud Quintilianum +Quaestiones</i>.</p></td> +<td class = "number">Holmiae, 1861.</td> +</tr> +<tr> +<td class = "smallcaps">Reuter:</td> +<td><p><i>De Quintiliani libro qui fuit de causis corruptae +eloquentiae</i>.</p></td> +<td class = "number">Vratislaviae, 1887.</td> +</tr> +<tr> +<td class = "smallcaps">Günther:</td> +<td><p><i>De coniunctionum causalium apud Quintilianum usu</i>.</p></td> +<td class = "number">Halis Saxonum, 1881.</td> +</tr> +<tr> +<td class = "smallcaps">Morawski:</td> +<td><p><i>Quaestiones Quintilianeae</i>.</p></td> +<td class = "number">Posnaniae, 1874.</td> +</tr> +<tr> +<td class = "smallcaps">Marty:</td> +<td><p><i>De Quintilianeo usu et copia verborum cum Ciceronianis +potissimum comparatis</i>.</p></td> +<td class = "number">Glaronae, 1885.</td> +</tr> +<tr> +<td class = "smallcaps">Peters, Dr. Heinrich:</td> +<td><p><i>Beiträge zur Heilung der Ueberlieferung in Quintilians +Institutio Oratoria</i>.</p></td> +<td class = "number">Cassel, 1889.</td> +</tr> +</table> + +<p class = "space"> +Table of places where the text of this edition differs from those of +Halm (1869) and Meister (1887).</p> + +<table class = "comp" summary = "different readings"> +<tr> +<td></td> +<th>Halm.</th> +<th>Meister.</th> +<th>This Edition.</th> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Chap. I.</span> +</td> +</tr> +<tr> +<td class = "number">§ 1</td> +<td><p>cogitationi</p></td> +<td><p>cognitioni</p></td> +<td><p>cognitioni.</p></td> +</tr> +<tr> +<td class = "number">§ 2</td> +<td><p>quae quoque sint modo</p></td> +<td><p>quo quaeque sint modo</p></td> +<td><p>quae quoque sint modo.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>nisi tamquam</p></td> +<td><p>nisi tamquam</p></td> +<td><p>nisi tamen.</p></td> +</tr> +<tr> +<td class = "number">§ 3</td> +<td><p>ante omnia est</p></td> +<td><p>ante omnia necesse est</p></td> +<td><p>ante omnia est.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>imitatio est</p></td> +<td><p>imitatio est</p></td> +<td><p>imitati.</p></td> +</tr> +<tr> +<td class = "number">§ 4</td> +<td><p>procedente opere iam minima</p></td> +<td><p>procedente iam opere etiam minima</p></td> +<td><p>procedente iam opere minima.</p></td> +</tr> +<tr> +<td class = "number">§ 5</td> +<td><p>Num ergo</p></td> +<td><p>Non ergo</p></td> +<td><p>Non ergo.</p></td> +</tr> +<tr> +<td class = "number">§ 7</td> +<td><p>[et] ... scio solitos</p></td> +<td><p>et ... solitos scio</p></td> +<td><p>et ... solitos scio.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>aliud quod</p></td> +<td><p>aliud quo</p></td> +<td><p>aliud quo.</p></td> +</tr> +<tr> +<td class = "number">§ 8</td> +<td><p>consequimur</p></td> +<td><p>consequemur</p></td> +<td><p>consequemur.</p></td> +</tr> +<tr> +<td class = "number">§ 11</td> +<td><p><span class = "greek" title = "tropikôs">τροπικῶς</span> [quare +tamen]</p></td> +<td><p><span class = "greek" title = "tropikôs">τροπικῶς</span> quasi +tamen</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 16</td> +<td><p>imagine [ambitu]</p></td> +<td><p>[imagine] ambitu</p></td> +<td><p>imagine et ambitu.</p></td> +</tr> +<tr> +<td class = "number">§ 17</td> +<td><p>commodata</p></td> +<td><p>accommodata</p></td> +<td><p>accommodata.</p></td> +</tr> +<tr> +<td class = "number">§ 18</td> +<td><p>placent ... laudantur ... placent</p></td> +<td><p>placeant ... laudentur ... placent</p></td> +<td><p>as Halm.</p></td> +</tr> +<tr> +<td class = "number">§ 19</td> +<td><p>contrarium</p></td> +<td><p>e contrario</p></td> +<td><p>e contrario.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>ut actionis impetus</p></td> +<td><p>as Halm</p></td> +<td><p>actionis impetu.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>retractemus</p></td> +<td><p>retractemus</p></td> +<td><p>tractemus.</p></td> +</tr> +<tr> +<td class = "number">§ 23</td> +<td><p>quin etiam si</p></td> +<td><p>[quin] etiam si</p></td> +<td><p>as Halm.</p></td> +</tr> +<tr> +<td class = "number"> +<span class = "pagenum">lxxviii</span> +<a name = "intro_pagelxxviii" id = "intro_pagelxxviii"> </a> +§ 28</td> +<td>genus * * ostentationi</td> +<td>poeticam ostentationi</td> +<td>as Meister.</td> +</tr> +<tr> +<td class = "number">§ 31</td> +<td><p>etenim ... solutum est</p></td> +<td><p>est enim ... solutum</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 33</td> +<td><p>ideoque</p></td> +<td><p>adde quod</p></td> +<td><p>adde quod.</p></td> +</tr> +<tr> +<td class = "number">§ 35</td> +<td><p>acriter et</p></td> +<td><p>acriter <i>Stoici</i> et</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 37</td> +<td><p>qui sint <i>legendi</i>, quaeque</p></td> +<td><p>qui sint <i>legendi</i>, et quae</p></td> +<td><p>qui sint <i>legendi</i>, quae.</p></td> +</tr> +<tr> +<td class = "number">§ 38</td> +<td><p>quibuscum vivebat</p></td> +<td><p>as Halm</p></td> +<td><p>[quibuscum vivebat].</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>Graecos omnis [et philosophos]</p></td> +<td><p>Graecos omnes <i>persequamur</i> [et philosophos]</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 42</td> +<td><p>ad phrasin</p></td> +<td><p>ad faciendam etiam phrasin</p></td> +<td><p>ad faciendam <span class = "greek" title = +"phrasin">φράσιν</span>.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>de singulis</p></td> +<td><p>de singulis loquar</p></td> +<td><p>de singulis loquar.</p></td> +</tr> +<tr> +<td class = "number">§ 44</td> +<td><p>tenuia et quae</p></td> +<td><p>tenuia et quae</p></td> +<td><p>tenuia atque quae.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>summatim, a qua</p></td> +<td><p>summatim, quid et a qua</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>paucos enim (sunt autem em.)</p></td> +<td><p>paucos (sunt enim em.)</p></td> +<td><p>paucos enim, qui sunt em.</p></td> +</tr> +<tr> +<td class = "number">§ 45</td> +<td><p>his simillimi</p></td> +<td><p>his similes</p></td> +<td><p>his simillimi.</p></td> +</tr> +<tr> +<td class = "number">§ 46</td> +<td><p><i>omnium</i> amnium fontiumque</p></td> +<td><p>amnium fontiumque</p></td> +<td><p>omnium <i>fluminum</i> fontiumque.</p></td> +</tr> +<tr> +<td class = "number">§ 48</td> +<td><p>non <i>in</i> utriusque</p></td> +<td><p>non utriusque</p></td> +<td><p>non utriusque.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>creditur</p></td> +<td><p>creditum est</p></td> +<td><p>creditum est.</p></td> +</tr> +<tr> +<td class = "number">§ 53</td> +<td><p>aliud <i>parem</i></p></td> +<td><p>aliud secundum</p></td> +<td><p>aliud secundum.</p></td> +</tr> +<tr> +<td class = "number">§ 54</td> +<td><p>Aristophanes neminem</p></td> +<td><p>Arist. poetarum iudices neminem</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 59</td> +<td><p>dum adsequamur</p></td> +<td><p>dum adsequamur</p></td> +<td><p>dum adsequimur.</p></td> +</tr> +<tr> +<td class = "number">§ 61</td> +<td><p>spiritus magnificentia</p></td> +<td><p>spiritus magnificentia</p></td> +<td><p>spiritu magnificentia.</p></td> +</tr> +<tr> +<td class = "number">§ 63</td> +<td><p>magnificus et dicendi vi</p></td> +<td><p>magnificus et diligens</p></td> +<td><p>magnificus et diligens.</p></td> +</tr> +<tr> +<td class = "number">§ 68</td> +<td><p>quem ipsum quoque reprehendunt</p></td> +<td><p>quod ipsum reprehendunt</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 69</td> +<td><p>praecipuus est. Admiratus</p></td> +<td><p>praecipuus. eum admiratus</p></td> +<td><p>praecipuus. Hunc admiratus.</p></td> +</tr> +<tr> +<td class = "number">§ 70</td> +<td><p>illa mala iudicia</p></td> +<td><p>as Halm</p></td> +<td><p>illa iudicia.</p></td> +</tr> +<tr> +<td class = "number">§ 72</td> +<td><p>pravis</p></td> +<td><p>pravis</p></td> +<td><p>prave.</p></td> +</tr> +<tr> +<td class = "number">§ 79</td> +<td><p>honesti studiosus, in compositione</p></td> +<td><p>honesti studiosus in compositione</p></td> +<td><p>as Halm.</p></td> +</tr> +<tr> +<td class = "number">§ 80</td> +<td><p>is primus</p></td> +<td><p>is primum</p></td> +<td><p>is primum.</p></td> +</tr> +<tr> +<td class = "number">§ 81</td> +<td><p>orationem quam</p></td> +<td><p>orationem quam</p></td> +<td><p>orationem et quam.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>sed tamquam Delphico videatur oraculo instinctus</p></td> +<td><p>sed quodam [Delphici] videatur oraculo dei instinctus</p></td> +<td><p>sed quodam Delphici videatur oraculo dei instinctus.</p></td> +</tr> +<tr> +<td class = "number">§ 83</td> +<td><p>eloquendi vi ac suavitate</p></td> +<td><p>eloquendi suavitate</p></td> +<td><p>eloquendi suavitate.</p></td> +</tr> +<tr> +<td class = "number">§ 85</td> +<td><p>haud dubie ei proximus</p></td> +<td><p>as Halm</p></td> +<td><p>haud dubie proximus.</p></td> +</tr> +<tr> +<td class = "number">§ 87</td> +<td><p>phrasin</p></td> +<td><p>phrasin</p></td> +<td><p><span class = "greek" title = "phrasin">φράσιν</span>.</p></td> +</tr> +<tr> +<td class = "number">§ 88</td> +<td><p>propiores</p></td> +<td><p>propriores (?)</p></td> +<td><p>propiores.</p></td> +</tr> +<tr> +<td class = "number">§ 89</td> +<td><p>tamen [ut est dictum]</p></td> +<td><p>tamen ut est dictum</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 90</td> +<td><p>sed ut dicam</p></td> +<td><p>et ut dicam</p></td> +<td><p>et ut dicam.</p></td> +</tr> +<tr> +<td class = "number">§ 91</td> +<td><p>promptius</p></td> +<td><p>propius</p></td> +<td><p>propius.</p></td> +</tr> +<tr> +<td class = "number">§ 92</td> +<td><p>feres</p></td> +<td><p>feras</p></td> +<td><p>feres.</p></td> +</tr> +<tr> +<td class = "number">§ 93</td> +<td><p>elegia</p></td> +<td><p>elegia</p></td> +<td><p>elegea.</p></td> +</tr> +<tr> +<td class = "number">§ 94</td> +<td><p>nisi labor</p></td> +<td><p>non labor</p></td> +<td><p>non labor.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>multum eo est tersior</p></td> +<td><p>as Halm</p></td> +<td><p>multum est tersior.</p></td> +</tr> +<tr> +<td class = "number"> +<span class = "pagenum">lxxix</span> +<a name = "intro_pagelxxix" id = "intro_pagelxxix"> </a> +§ 96</td> +<td><p>opus * * quibusdam interpositus</p></td> +<td><p>opus sed aliis quibuidam interpositus</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 97</td> +<td><p>grandissimi</p></td> +<td><p>clarissimi</p></td> +<td><p>clarissimi.</p></td> +</tr> +<tr> +<td class = "number">§ 100</td> +<td><p>linguae</p></td> +<td><p>linguae</p></td> +<td><p>linguae <i>suae</i>.</p></td> +</tr> +<tr> +<td class = "number">§ 101</td> +<td><p>commodavit</p></td> +<td><p>commodavit</p></td> +<td><p>commendavit.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>T. Livium</p></td> +<td><p>T. Livium</p></td> +<td><p>Titum Livium.</p></td> +</tr> +<tr> +<td class = "number">§ 102</td> +<td><p>ideoque illam immortalem</p></td> +<td><p>ideoque immortalem</p></td> +<td><p>ideoque immortalem.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>clari vir ingenii</p></td> +<td><p>clari vir ingenii</p></td> +<td><p>clarus vi ingenii.</p></td> +</tr> +<tr> +<td class = "number">§ 103</td> +<td><p>praestitit, genere ipso probabilis, in operibus quibusdam suis +ipse viribus minor</p></td> +<td><p>praestitit, genere ipso probabilis, in partibus quibusdam suis +ipse viribus minor</p></td> +<td><p>praestitit genere ipso, probablis in omnibus sed in quibusdam +suis ipse viribus minor.</p></td> +</tr> +<tr> +<td class = "number">§ 104</td> +<td><p>et ornat</p></td> +<td><p>et ornat</p></td> +<td><p>et exornat.</p></td> +</tr> +<tr> +<td class = "number">§ 106</td> +<td><p>omnia denique</p></td> +<td><p>omnia denique</p></td> +<td><p>[omnia] denique.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>illic—hic</p></td> +<td><p>illi—huic</p></td> +<td><p>illi—huic.</p></td> +</tr> +<tr> +<td class = "number">§ 107</td> +<td><p>vicimus</p></td> +<td><p>vincimus</p></td> +<td><p>vincimus.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>in quibus nihil</p></td> +<td><p>quibus nibil</p></td> +<td><p>quibus nihil.</p></td> +</tr> +<tr> +<td class = "number">§ 111</td> +<td><p>nihil umquam pulchrius</p></td> +<td><p>nihil pulchrius</p></td> +<td><p>nihil pulchrius.</p></td> +</tr> +<tr> +<td class = "number">§ 115</td> +<td><p>si quid adiecturus fuit</p></td> +<td><p>as Halm</p></td> +<td><p>si quid adiecturus sibi non si quid detracturus fuit.</p></td> +</tr> +<tr> +<td class = "number">§ 117</td> +<td><p>et fervor, sed</p></td> +<td><p>et sermo purus, sed</p></td> +<td><p>et fervor, sed.</p></td> +</tr> +<tr> +<td class = "number">§ 123</td> +<td><p>scripserunt</p></td> +<td><p>scripserunt</p></td> +<td><p>scripserint.</p></td> +</tr> +<tr> +<td class = "number">§ 126</td> +<td><p>ab eo</p></td> +<td><p>ab eo</p></td> +<td><p>ab illo.</p></td> +</tr> +<tr> +<td class = "number">§ 127</td> +<td><p>ac saltem</p></td> +<td><p>aut saltem</p></td> +<td><p>ac saltem.</p></td> +</tr> +<tr> +<td class = "number">§ 130</td> +<td><p>si ille quaedam contempsisset</p></td> +<td><p>si aliqua contempsisset</p></td> +<td><p>si obliqua contempsisset.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>si parum * *</p></td> +<td><p>si parum <i>sana</i></p></td> +<td><p>si parum <i>recta</i>.</p></td> +</tr> +<tr> +<td class = "number">§ 131</td> +<td><p>potest utcumque</p></td> +<td><p>potest utrimque</p></td> +<td><p>potest utrimque.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. II.</span> +</td> +</tr> +<tr> +<td class = "number">§ 6</td> +<td><p>tradiderint</p></td> +<td><p>tradiderint</p></td> +<td><p>tradiderunt.</p></td> +</tr> +<tr> +<td class = "number">§ 8</td> +<td><p>nulla est ars</p></td> +<td><p>nulla mansit ars</p></td> +<td><p>nulla <i>man</i>sit ars.</p></td> +</tr> +<tr> +<td class = "number">§ 13</td> +<td><p>[et] cum</p></td> +<td><p>cum et</p></td> +<td><p>cum et.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>accommodata est</p></td> +<td><p>accommodata sit</p></td> +<td><p>accommodata sit.</p></td> +</tr> +<tr> +<td class = "number">§ 15</td> +<td><p>et a doctis inter ipsos etiam</p></td> +<td><p>as Halm.</p></td> +<td><p>et a doctis, inter ipsos etiam.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>ut ita dixerim</p></td> +<td><p>ut ita dixerim</p></td> +<td><p>ut sic dixerim.</p></td> +</tr> +<tr> +<td class = "number">§ 17</td> +<td><p>Attici scilicet</p></td> +<td><p>Atticis scilicet</p></td> +<td><p>Attici sunt scilicet.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>obscuri</p></td> +<td><p>obscuri sunt</p></td> +<td><p>obscuri.</p></td> +</tr> +<tr> +<td class = "number">§ 22</td> +<td><p>cuique proposita</p></td> +<td><p>as Halm</p></td> +<td><p>cuique proposito.</p></td> +</tr> +<tr> +<td class = "number">§ 28</td> +<td><p>deerant</p></td> +<td><p>deerunt</p></td> +<td><p>deerunt.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>oportebat</p></td> +<td><p>oporteat</p></td> +<td><p>oporteat.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. III.</span> +</td> +</tr> +<tr> +<td class = "number">§ 2</td> +<td><p>alte effossa</p></td> +<td><p>alte refossa</p></td> +<td><p>alte refossa.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>et fundit</p></td> +<td><p>et fundit</p></td> +<td><p>effundit</p></td> +</tr> +<tr> +<td class = "number">§ 10</td> +<td><p>[ut provideamus] et efferentis.</p></td> +<td><p>ut provideamus et eff.</p></td> +<td><p>ut provideamus, effer.</p></td> +</tr> +<tr> +<td class = "number">§ 15</td> +<td><p>plura celerius</p></td> +<td><p>plura celerius</p></td> +<td><p>plura et celerius.</p></td> +</tr> +<tr> +<td class = "number">§ 20</td> +<td><p>in legendo</p></td> +<td><p>in intellegendo</p></td> +<td><p>in intellegendo.</p></td> +</tr> +<tr> +<td class = "number">§ 21</td> +<td><p>femur et latus</p></td> +<td><p>as Halm.</p></td> +<td><p>frontem et latus.</p></td> +</tr> +<tr> +<td class = "number"> +<span class = "pagenum">lxxx</span> +<a name = "intro_pagelxxx" id = "intro_pagelxxx"> </a> +§ 22</td> +<td><p>secretum quod dictando</p></td> +<td><p>as Halm</p></td> +<td><p>secretum in dictando.</p></td> +</tr> +<tr> +<td class = "number">§ 25</td> +<td><p>velut * rectos</p></td> +<td><p>velut tectos</p></td> +<td><p>velut tectos.</p></td> +</tr> +<tr> +<td class = "number">§ 32</td> +<td><p>adiciendo</p></td> +<td><p>adicienti</p></td> +<td><p>adiciendo.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. IV.</span> +</td> +</tr> +<tr> +<td class = "number">§ 3</td> +<td><p>finem habeat</p></td> +<td><p>finem habet</p></td> +<td><p>finem habet.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. V.</span> +</td> +</tr> +<tr> +<td class = "number">§ 4</td> +<td><p>praesumunt eandem</p></td> +<td><p>praes. eandem</p></td> +<td><p>praes. eadem.</p></td> +</tr> +<tr> +<td class = "number">§ 17</td> +<td><p>inanibus <i>se</i> simulacris ... adsuefacere</p></td> +<td><p>inanibus simulacris ... adsuescere</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 18</td> +<td><p>etiam M. Porcio</p></td> +<td><p>etiam Porcio</p></td> +<td><p>etiam M. Porcio.</p></td> +</tr> +<tr> +<td class = "number">§ 21</td> +<td><p>autem is idoneus</p></td> +<td><p>autem idoneus.</p></td> +<td><p>autem idoneus.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. VI.</span> +</td> +</tr> +<tr> +<td class = "number">§ 2</td> +<td><p>inhaerent ... quae ... laxantur</p></td> +<td><p>inhaeret.... quod ... laxatur</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">§ 5</td> +<td><p>regredi</p></td> +<td><p>regredi</p></td> +<td><p>redire.</p></td> +</tr> +<tr> +<td class = "number">§ 7</td> +<td><p>retrorsus</p></td> +<td><p>retrorsum</p></td> +<td><p>retrorsus.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>si utcumque</p></td> +<td><p>si utrimque</p></td> +<td><p>si utrimque.</p></td> +</tr> +<tr> +<td colspan = "4"> +<span class = "smallcaps">Ch. VII.</span> +</td> +</tr> +<tr> +<td class = "number">§ 1</td> +<td><p>instar portus</p></td> +<td><p>intrare portum</p></td> +<td><p>intrare portum.</p></td> +</tr> +<tr> +<td class = "number">§ 2</td> +<td><p>statimque, si non succurratur</p></td> +<td><p>statimque, si non succurratur</p></td> +<td><p>statimque si non succuratur.</p></td> +</tr> +<tr> +<td class = "number">§ 5</td> +<td><p>quid quoque loco primum sit ac secundum et deinceps</p></td> +<td><p>as Halm</p></td> +<td><p>quid quoque loco primum sit quid secundum ac deinceps.</p></td> +</tr> +<tr> +<td class = "number">§ 6</td> +<td><p>via dicet, ducetur</p></td> +<td><p>via ducetur, dicet</p></td> +<td><p>via dicet, ducetur.</p></td> +</tr> +<tr> +<td class = "number">§ 9</td> +<td><p>observatione simul</p></td> +<td><p>observatione una</p></td> +<td><p>observatione una.</p></td> +</tr> +<tr> +<td class = "number">§ 13</td> +<td><p>superfluere video: quodsi</p></td> +<td><p>videmus superfluere: cum eo quod si</p></td> +<td><p>superfluere video, cum eo quod si.</p></td> +</tr> +<tr> +<td class = "number">§ 14</td> +<td><p>ut Cicero dictitabant</p></td> +<td><p>ut Cicero ait, dictitabant</p></td> +<td><p>ut Cicero dictitabant.</p></td> +</tr> +<tr> +<td class = "number">§ 17</td> +<td><p>adeo praemium</p></td> +<td><p>adeo pretium</p></td> +<td><p>adeo pretium.</p></td> +</tr> +<tr> +<td class = "number">§ 20</td> +<td><p>tanta sit ... fiducia facilitatus ut</p></td> +<td><p>tantam esse ... fiduciam facilitatis velim ut</p></td> +<td><p>tanta esse umquam debet fiducia facilitatis ut.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>non capitur</p></td> +<td><p>non capitur</p></td> +<td><p>non labitur.</p></td> +</tr> +<tr> +<td class = "number">§ 24</td> +<td><p>quam omnino non</p></td> +<td><p>quam non omnino</p></td> +<td><p>quam non omnino.</p></td> +</tr> +<tr> +<td class = "number">§ 26</td> +<td><p>est et illa</p></td> +<td><p>est et illa</p></td> +<td><p>est alia.</p></td> +</tr> +<tr> +<td class = "number">§ 26</td> +<td><p>quam illa</p></td> +<td><p>quam in illa</p></td> +<td><p>quam illa.</p></td> +</tr> +<tr> +<td class = "number">§ 29</td> +<td><p>nescio an utrumque</p></td> +<td><p>nescio an si utrumque</p></td> +<td><p>as Meister.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>id efficere</p></td> +<td><p>id efficere</p></td> +<td><p>sic dicere.</p></td> +</tr> +<tr> +<td class = "number">„ </td> +<td><p>in his</p></td> +<td><p>in his</p></td> +<td><p>et in his.</p></td> +</tr> +<tr> +<td class = "number">§ 32</td> +<td><p>quod simus</p></td> +<td><p>quod non simus</p></td> +<td><p>quod non simus.</p></td> +</tr> +</table> + +</div> <!-- end div intro --> + +<div class = "footnote"> + +<h4>FOOTNOTES</h4> + +<p><a name = "note1" id = "note1" href = "#tag1">1.</a> +(Rhetores) quorum professio quam nullam apud maiores auctoritatem +habuerit, Tac. Dial. 30.</p> + +<p><a name = "note2" id = "note2" href = "#tag2">2.</a> +C. Suetoni Tranquilli praeter Caesarum libros reliquiae. Leipzig 1860, +p. 365 sq. and 469 sq.</p> + +<p><a name = "note3" id = "note3" href = "#tag3">3.</a> +There is however some doubt about the name, most editors reading +L. Galba.</p> + +<p><a name = "note4" id = "note4" href = "#tag4">4.</a> +So Hild, Introd. p. xii, where reference is made to the following +authorities as establishing this custom for the Jews of Asia: Joseph, +xiv. 10. 17 <span class = "greek" title = "Ioudaioi ... epedeixan heautous sunodon echein idian kata tous patrious nomous ap’ archês kai topon idion, en hôi ta te pragmata kai tas pros allêlous antilogias krinousi">Ἰουδαῖοι ... ἐπέδειξαν ἑαυτοὺς σύνοδον ἔχειν ἰδίαν δατὰ τοὺς +πατρίους νόμους ἀπ᾽ ἀρχῆς καὶ τόπον ἴδιον, ἐν ᾧ τά τε πράγματα καὶ τὰς +πρὸς ἀλλήλους ἀντιλογίας κρίνουσι</span>—the words of +L. Antonius, governor of the province of Asia, A.D. 50. Cp. id. +xiv. 7, 2: Act Apost. ix. 2: xxii. 19: xxvi. 11: Cor. ii. 11, 24. The +privilege was maintained under the Christian emperors: see inter alia +Cod. Theod. ii. 1, 10 <i>sane si qui per compromissum, ad similitudinem +arbitrorum, apud Iudaeos vel patriarchas ex consensu partium in civili +duntaxat negotio putaverint litigandum, sortiri eorum iudicium iure +publico non vetentur</i>.</p> + +<p><a name = "note5" id = "note5" href = "#tag5">5.</a> +Gaius ii §274 <i>mulier quae ab eo qui centum milia aeris census est, +per legem Voconiam heres institui non potest, tamen fideicommisso +relictam sibi hereditatem capere potest</i>.</p> + +<p><a name = "note6" id = "note6" href = "#tag6">6.</a> +Hild, Introd. pp. xiii.-xiv, where passages are cited from contemporary +literature describing both types. For the first cp. Martial viii. 16 +<i>Pistor qui fueras diu, Cipere, Nunc causas agis</i>, and +<i>passim</i>: Petronius, Sat. 46 <i>destinavi illum artificii docere, +aut tonstrinum aut praeconem aut certe causidicum</i> ... Philero was +lately a street porter: <i>nunc etiam adversus Norbanum se extendit; +litterae thesaurum est, et artificium numquam moritur</i>: Juv. vii. 106 +sqq.: Plin. v. 13, 6 sq.: vi. 29. Of the second class the best +representative is Aquilius Regulus, informer and legacy-hunter, on whose +account Herennius Senecio parodied Cato’s famous utterance, <i>vir malus +dicendi imperitus</i> Plin. iv. 7, 5 and ii. 20.</p> + +<p><a name = "note7" id = "note7" href = "#tag7">7.</a> +Hild (p. xv. note) compares Juv. Sat. xiv. 44 sqq. with Quint, i. 2, 8 +and Tac. Dial. 29: and especially Sat. vii. 207 with Quint, ii. 2, 4: +<i>Di, maiorum umbris tenuem et sine pondere terram Spirantesque crocos +et in urna perpetuum ver, Qui praeceptorem sancti valuere parentis Esse +loco!</i> and <i>Sumat ante omnia parentis erga discipulos suos +animum</i> (sc. <i>praeceptor</i>) <i>ac succedere se in eorum locum a +quibus sibi liberi tradantur existimet</i>.</p> + +<p><a name = "note8" id = "note8" href = "#tag8">8.</a> +i. pr. §1 <i>post impetratam studiis meis quietem quae per viginti annos +erudiendis iuvenibus impenderam</i>. The chronology is rather uncertain. +It is supposed that Quintilian began his <i>Institutio</i> in 92 or 93 +and finished it in 94 or 95. If the period of twenty years is to be +interpreted rigorously, we may suppose that he is referring to his +official career, as it may have been in 72 that Vespasian took the step +referred to above, p. viii. Or we may understand him to be dating +the period of his educational activity as extending from <span class = +"smallroman">A.D.</span> 70 to <span class = "smallroman"><ins class = +"correction" title = "period invisible">A.</ins>D.</span> 90, though he +did not begin to write the <i>Institutio</i> till 92. The latter is the +more probable alternative.</p> + +<p><a name = "note9" id = "note9" href = "#tag9">9.</a> +See De Quintiliani libro qui fuit De Causis Corruptae Eloquentiae: +Dissertatio Inauguralis: Augustus Reuter, Vratislaviae 1887.</p> + +<p><a name = "note10" id = "note10" href = "#tag10">10.</a> +The <i>Declamationes</i> may also be mentioned here, as having long been +credited to Quintilian: they consist of 19 longer and 145 shorter +pieces. That Quintilian practised this form of rhetorical exercise, and +with success,—at least in the earlier part of his career,—is +clear from such passages as xi. 2, 39: but it seems probable, from the +nature of the contents of the existing collection, if not from the +style, that tradition has erred in attributing to the master what must +have been, in the main, the work of pupils and imitators. The popular +habit of tacking on to a great name whatever seems not unworthy of it, +may account for the fact that these rhetorical efforts are credited to +Quintilian as early as the time of Ausonius, who says (Prof. 1, 15) +<i>Seu libeat fictas ludorum evolvere lites Ancipitem palmam +Quintilianus habet</i>. St. Jerome, on Isaiah viii. praef., speaks +of his <i>concinnas declamationes</i>: Lactantius i. 24 quotes one which +has disappeared from the collection; and lastly, Trebellius Pollio, a +historian of the age of Diocletian, speaking of a certain Postumus, of +Gaulish origin, adds: <i>fuit autem ... ita in declamationibus disertus +ut eius controversiae Quintiliano dicantur insertae</i> (Trig. tyr. +4, 2): cp. ib. <i>Quintiliano, quem declamatorem Romani generis +acutissimum vel unius capitis lectio prima statim fronte demonstrat</i> +(Hild, Introd. p. xxi. note).</p> + +<p><a name = "note11" id = "note11" href = "#tag11">11.</a> +See also the Dissertatio of Albertus Trabandt, Gryphiswaldiae 1883, +<i>De Minoribus quae sub nomine Quintiliani feruntur +Declamationibus</i>.</p> + +<p><a name = "note12" id = "note12" href = "#tag12">12.</a> +iv. pr. 2 <i>Cum vero mihi Domitianus Augustus sororis suae nepotum +delegaverit curam, non satis honorem iudiciorum caelestium intellegam, +nisi ex hoc oneris quoque magnitudinem metiar</i>.</p> + +<p><a name = "note13" id = "note13" href = "#tag13">13.</a> +If they had still been under Quintilian’s care when he wrote the +Introduction to the Sixth Book (where referring to his domestic losses +he says that he will live henceforth not to himself but to the youth of +Rome), he would almost certainly have made some reference to them.</p> + +<p><a name = "note14" id = "note14" href = "#tag14">14.</a> +In judging Quintilian we must not forget that similar extravagances have +not been unknown in our own literature. His translator, Guthrie—an +Aberdonian Scot, who is full of enthusiasm for his author—cries +out in a note on this passage: “I will engage to point out from the +works of some of the greatest and most learned men, as well as of the +best poets, of England, compliments to the abilities not only of +princes, but of noblemen, statesmen, nay, private gentlemen, who in this +respect deserved them as little as Domitian did.”</p> + +<p><a name = "note15" id = "note15" href = "#tag15">15.</a> +The expression used in vi. pr. §4, <i>meo casu cui tamen nihil obici +nisi quod vivam potest</i>, shows that Quintilian was quite conscious of +his comfortable circumstances.—Halm (followed by Meister) reads +<i>quam</i> quod vivam: but I find <i>nisi</i> in both the Bamberg (G) +and the Harleian codices.</p> + +<p><a name = "note16" id = "note16" href = "#tag16">16.</a> +Some have supposed that Quintilian made a second marriage (sometime +between 93 and 95), after losing his wife and two children. This theory, +which is rejected now by Mommsen, Teuffel, and most authorities, was +invented to account for the existence of a grown-up daughter, to whom, +on the occasion of her marriage (about the year 105), Pliny gives a +present of 50,000 sesterces: Ep. vi. 32. But this young lady must have +been the daughter of another Quintilianus altogether. What we know of +our Quintilian’s affluent circumstances is inconsistent with such +liberality on Pliny’s part: the gift is offered as to a man who is +comparatively poor. Moreover, the letter intimating the gift contains no +such reference to the services of a former teacher as might have been +expected on so interesting an occasion. And lastly it is almost +inconceivable that Quintilian, after bewailing in the Introduction to +Book vi. (about 93 <span class = "smallroman">A.D.</span>) the +bereavements that left him desolate (<i>superstes omnium meorum</i>), +should have had twelve years afterwards a daughter of marriageable +age.</p> + +<p><a name = "note17" id = "note17" href = "#tag17">17.</a> +<i>Quibus (libris) componendis, ut scis, paulo plus quam biennium tot +alioqui negotiis districtus impendi; quod tempus non tam stilo quam +inquisitioni instituti operis prope infiniti et legendis auctoribus, qui +sunt innumerabiles, datum est.</i></p> + +<p><a name = "note18" id = "note18" href = "#tag18">18.</a> +Milder references, such as those at i. 4, 5 and x. +<a href = "QuintBody1.html#chapI_sec35">1, 35</a> and +<a href = "QuintBody1.html#chapI_sec123">123</a>, may have been written +before the event mentioned above (the date of which is fixed by Suet. +Dom. 10 and Tac. Agric. 2), and may have been allowed to stand.</p> + +<p><a name = "note19" id = "note19" href = "#tag19">19.</a> +<i>Ipse nec habeat vitia nec ferat. Non austeritas eius tristis, non +dissoluta sit comitas, ne inde odium, hinc contemptus oriatur. Plurimus +ei de honesto ac bono sermo sit: nam quo saepius monuerit, hoc rarius +castigabit. Minime iracundus, nec tamem eorum quae emendanda erunt +dissimulator: simplex in docendo, patiens laboris, adsiduus potius quam +immodicus</i> ii. 2, 5.</p> + +<p><a name = "note20" id = "note20" href = "#tag20">20.</a> +See Oscar Browning’s ‘Educational Theories’ p. 26 sqq., for a good +account of Quintilian’s system.</p> + +<p><a name = "note21" id = "note21" href = "#tag21">21.</a> +xii. 1, 3 and 4 <i>ne futurum quidem oratorem nisi virum bonum: ... ne +studio quidem operis pulcherrimi vacare mens nisi omnibus vitiis libera +potest</i>.</p> + +<p><a name = "note22" id = "note22" href = "#tag22">22.</a> +Inst. Or. xii. 11, 4-7, cited by Browning pp. 33-4: <i>ac nescio an +eum tum beatissimum credi oporteat fore, cum iam secretus et +consecratus, liber invidia, procul contentionibus, famam in tuto +collocarit et sentiet vivus eam, quae post fata praestari magis solet, +venerationem, et quid apud posteros futurus sit videbit</i>.</p> + +<p><a name = "note23" id = "note23" href = "#tag23">23.</a> +Dr. Reid in <i>Encyclopaedia Britannica</i>.</p> + +<p><a name = "note24" id = "note24" href = "#tag24">24.</a> +i. 2. §§4-8: cp. Tac. Dial. 29.</p> + +<p><a name = "note25" id = "note25" href = "#tag25">25.</a> +i. 2. §8: cp. Iuv. xiv. 44 sqq.</p> + +<p><a name = "note26" id = "note26" href = "#tag26">26.</a> +<i>Quis enim ignorat et eloquentiam et ceteras artes descivisse ab illa +vetere gloria non inopia praemiorum, sed desidia iuventutis et +neglegentia parentum et inscientia praecipientium et oblivione moris +antiqui?</i>—ch. 28.</p> + +<p><a name = "note27" id = "note27" href = "#tag27">27.</a> +M. F. Quintiliani de Institutione Oratoria, Liber Primus: Paris, +Firmin-Didot et Cie. 1890, pp. xiv. sqq.</p> + +<p><a name = "note28" id = "note28" href = "#tag28">28.</a> +For the identification of this manuscript see below p. lxx.</p> + +<p><a name = "note29" id = "note29" href = "#tag29">29.</a> +Admiration for him was carried to such a pitch that at Leipzig the +professor of eloquence was designated <i>Quintiliani professor</i>. +Luther was one of his greatest admirers, preferring him to almost every +other writer; and Erasmus was a diligent student of his works, +especially Books i and x of the <i>Institutio</i>.</p> + +<p><a name = "note30" id = "note30" href = "#tag30">30.</a> +Stanhope’s Life of Pitt, vol. i. p. 11.</p> + +<p><a name = "note31" id = "note31" href = "#tag31">31.</a> +To Sir Stafford Northcote: “He was very fond of Quintilian, and said it +was strange that in the decadence of Roman literature, as it was called, +we had three such authors as Tacitus, Juvenal, and Quintilian,” Lang’s +‘Life of Lord Iddesleigh,’ vol. ii. p. 178.</p> + +<p><a name = "note32" id = "note32" href = "#tag32">32.</a> +Dr. Reid in the <i>Encyclopaedia Britannica</i>.</p> + +<p><a name = "note33" id = "note33" href = "#tag33">33.</a> +See M. Samuel Rocheblave: De M. Quintiliano L. Annaei Senecae +Judice, Paris (Hachette), 1890.</p> + +<p><a name = "note34" id = "note34" href = "#tag34">34.</a> +Ep. xvi. 5, 6 <i>de compositione non constat</i>: Ep. xix. 5, 13 +<i>oratio certam regulam non habet</i>.</p> + +<p><a name = "note35" id = "note35" href = "#tag35">35.</a> +i Prooem. §10 sqq., especially <i>neque enim hoc concesserim rationem +rectae honestaeque vitae, ut quidam putaverunt, ad philosophos +relegandam</i>. Cp. x. +<a href = "QuintBody1.html#chapI_sec35">1, 35</a>: and xii. 2, 9 +<i>Utinam ... orator hanc artem superbo nomine et vitiis quorundam bona +eius corrumpentium invisam vindicet.</i> M. Rocheblave sees in +these and other passages evidence of a bias against the representatives +of philosophy on the part of Quintilian, which must have worked as +powerfully in the case of a teacher of youth as the more open +denunciations of Juvenal and Martial. He even finds traces of +Quintilian’s influence with Domitian in the banishment of the +philosophers from Rome in <span class = "smallroman">A.D.</span> 94. It +is certainly noticeable that the tone of his references to them becomes +more bitter in the later books: e.g. xi. 1, 33-35: and xii. 3, 11-12. +The Prooemium to Book i. may have been written last of all: and +apart from it there is nothing in Books i to x (see i. 4, 5; x. +<a href = "QuintBody1.html#chapI_sec35">1, 35</a> and +<a href = "QuintBody1.html#chapI_sec123">123</a>) so acrimonious as the +extracts refered to. Cp. p. xiv.</p> + +<p><a name = "note36" id = "note36" href = "#tag36">36.</a> +See ii. 5, 10-12 <i>Ne id quidem inutile, etiam corruptas aliquando et +vitiosas orationes, quas tamen plerique iudiciorum pravitate mirantar, +legi palam ostendique in his quam multa impropria, obscura, tumida, +humilia, sordida, lasciva, effeminata sint: quae non laudantur modo a +plerisque sed, quod est peius, propter hoc ipsum quod sunt prava +laudantur.</i> With this last cp. x. +<a href = "QuintBody1.html#chapI_sec127">1, 127</a> (of Seneca) +<i>placebat propter sola vitia</i>. So i. 8, 9 <i>quando nos in omnia +deliciarum vitia dicendi quoque ratione defluximus</i>: ii. 5, 22 +(<i>cavendum est</i>) <i>ne recentis huius lasciviae flosculis capti +voluptate prava deleniantur ut praedulce illud genus et puerilibus +ingeniis hoc gratius quo propius est adament</i>: with which compare x. +<a href = "QuintBody1.html#chapI_sec129">1, 129</a> <i>corrupta +pleraque atque eo perniciosissima, quod abundant dulcibus vitiis</i>: +<a href = "QuintBody1.html#chapI_sec130">§130</a> <i>consensu potius +eruditorum quam puerorum amore comprobaretur</i>. Rocheblave cites also +viii. 5, 27, 28, 30.</p> + +<p><a name = "note37" id = "note37" href = "#tag37">37.</a> +It is doubtful if the allusion in +<a href = "QuintBody1.html#chapI_sec126">§126</a> (<i>potioribus +praeferri non sinebam quos ille non destiterat incessere</i>, &c.) +is exclusively to Cicero. Seneca’s extant works contain many references +to Cicero which are the reverse of disparaging: Rocheblave (p. 43) cites +Ep. vi. 6, 6 where he speaks of him as ‘locuples’ in the choice of +words: xvi. 5, 9 where he is ‘maximus’ in philosophy: xviii. 4, 10 where +he is ‘disertissimus’: see also xix. 5, 16, and xvi. 5, 7.</p> + +<p><a name = "note38" id = "note38" href = "#tag38">38.</a> +Cp. Rocheblave, p. 46 <i>De Annaeo vero Seneca, velut olim de Catone +defendebat lepidissimus consul, merito nobis dici videtur posse, quae +deficiant, si minus omnia, pleraque saltem tempori esse attribuenda; +quae vero emineant, ipsius scriptoris esse propria, et in primis oculos +capere</i>: p. 36 <i>Eloquentiam non verbis, sed rebus valere, nec +per se, sed propter quae docere animum possit, esse excolendam Annaeus +semper professus est. Eloquentiam contra delectu verborum praecipue +constare, et per se amandam et requirendam esse, nulla aut minima rerum +adhibita ratione, docebant rhetores, et in primis Quintilianus</i>: +p. 38 <i>Ergo quum in eloquentia duo sint praesertim consideranda, +scilicet res verbaque, haud dubium est Annaeam pro rebus Fabium pro +verbis, utrumque asperrime, egisse</i>.</p> + +<p><a name = "note39" id = "note39" href = "#tag39">39.</a> +See note on p. 58, where an extract is given which is quoted by Diderot +in his Essai sur Claude et Néron. Instead of Seneca being the ‘corruptor +eloquentiae’ the truth <ins class = "correction" title = "text reads ‘it’">is</ins> that ‘il ne corrompit rien. Il suivit son génie, il +s’accommoda au goût de ses contemporains, il eut l’avantage de leur +plaire et de s’en faire admirer; et <i>l’envie lui fit un crime de ce +qui passerait pour vrai talent dans un homme moins célèbre</i>.’</p> + +<p><a name = "note40" id = "note40" href = "#tag40">40.</a> +Montaigne, Essais ii. ch. x.</p> + +<p><a name = "note41" id = "note41" href = "#tag41">41.</a> +Fronto, De Oration. p. 157 <i>At enim quaedam in libris eius scite +dicta, graviter quoque nonnulla. Etiam laminae interdum argentiolae +cloacis inveniuntur; eane re cloacas purgandas redimemus?</i> For +Gellius see Noct Att. xii. 2.</p> + +<p><a name = "note42" id = "note42" href = "#tag42">42.</a> +“In the case of the first list, or list of Greek authors, he gives his +readers fair warning that he is only repeating other people’s +criticisms, not pronouncing his own. In +<a href = "QuintBody1.html#chapI_sec27">§27</a> he mentions Theophrastus +by name; in +<a href = "QuintBody1.html#chapI_sec52">§52</a>, speaking of Hesiod, he +says <i>datur ei palma</i>, &c.; in +<a href = "QuintBody1.html#chapI_sec53">§53</a> the second place is +given to Antimachus by the consent of the <i>grammatici</i>; Panyasis is +thought (<i>putant</i>) <i>in eloquendo neutrius aequare virtutes</i>, +Callimachus (58) <i>princeps habetur (elegiae), secundas confessione +plurimorum Philetas occupavit</i>. In 59 only three <i>iambographi</i> +are mentioned, those, namely, who were allowed by Aristarchus. The +<i>novem lyrici</i> were probably a selection of Aristarchus: in any +case they are the <i>Pindarus novemque lyrici</i> (for this need not be +taken to mean strictly ten) of Petronius’s first chapter.”—Prof. +Nettleship in Journ. of Philol. xviii. p. 258.</p> + +<p><a name = "note43" id = "note43" href = "#tag43">43.</a> +<i>Quod tempus</i> (i.e. <i>paulo plus quam biennium</i>) <i>non tam +stilo quam inquisitioni instituti operis prope infiniti et</i> legendis +auctoribus, qui sunt innumerabiles <i>datum est</i>: Epist. ad +Tryphonem.</p> + +<p><a name = "note44" id = "note44" href = "#tag44">44.</a> +Claussen, Quaestiones Quintilianeae, Leipzig 1873, p. 343 note: +<i>sententia mea, ut semel dicam, Quintilianus non omnia quae contuli +opera in singulis iudiciis evolvit sed nonnullos locos memoria tenuit, +adeo ut inscius interdum auctorum verba referret</i>. This (though +somewhat inconsistent with the opinion quoted p. xxxii) is a milder +verdict than that of Professor Nettleship, who, after speaking of +Quintilian’s ‘somewhat pretentious moral overture’ (<i>vir bonus dicendi +peritus</i>, &c.), adds: “one would be glad to know whether he would +have thought it a necessary virtue in a <i>bonus grammaticus</i> to read +and conscientiously study the Greek authors on whom he passes formal +critical judgments. For it is, alas! too plain that, whether Quintilian +had or had not read them, he contents himself in many cases with merely +repeating the traditional criticisms of the Greek schools upon some of +the principal Greek authors.” (Journ. of Philol. xviii. +p. 257.)</p> + +<p><a name = "note45" id = "note45" href = "#tag45">45.</a> +See Prof. Nettleship’s paper on ‘Literary Criticism in Latin Antiquity’ +in Journ. of Philol. vol. xviii. p. 225 sqq.</p> + +<p><a name = "note46" id = "note46" href = "#tag46">46.</a> +Cp. iii. 1, 16, where he is eulogised among the Greek rhetoricians; ix. +3, 89: 4, 88 (‘similia dicit Halicarnasseus Dionysius’). Cp. the +parallelism in regard to the Panegyricus of Isocrates, x. +<a href = "QuintBody2.html#chapIV_sec4">4, 4</a>: and for other +instances see Claussen, op. cit. pp. 339-340.</p> + +<p><a name = "note47" id = "note47" href = "#tag47">47.</a> +The extant remains of this treatise have recently been edited by Usener +(Bonn. 1889), with a valuable <i>Epilogus</i>. The scope of the work is +indicated by Dionysius himself in the Epist. ad Pompeium iii. +p. 776 R, Usener p. 50: <span class = "greek" title = +"toutôn ho men prôtos autên perieilêphe tên peri tês mimêseôs zêtêsin, ho de deuteros peri tou tinas andras mimeisthai dei poiêtas te kai philosophous, historiographous (te) kai rhêtoras, ho de tritos peri tou pôs dei mimeisthai.">τούτων ὁ μὲν πρῶτος αὐτὴν περιείληφε τὴν περὶ τῆς +μιμήσεως ζήτησιν, ὁ δὲ δεύτερος περὶ τοῦ τίνας ἄνδρας μιμεῖσθαι δεῖ +ποιητάς τε καὶ φιλοσόφους, ἱστοριογράφους (τε) καὶ ῥήτορας, ὁ δὲ τρίτος +περὶ τοῦ πῶς δεῖ μιμεῖσθαι.</span></p> + +<p><a name = "note48" id = "note48" href = "#tag48">48.</a> +The standpoint from which both critics regarded this class of poetry was +probably much the same as that which Dio Chrysostom applies to lyric +poetry generally: <span class = "greek" title = "melê de kai elegeia kai iamboi kai dithyramboi tô men scholên agonti pollou axia">μέλη δὲ καὶ +ἐλεγεῖα καὶ ἴαμβοι καὶ διθύραμβοι τῷ μὲν σχολὴν ἄγοντι πολλοῦ +ἄξια</span> (cp. tunc et elegiam vacabit, &c., +<a href = "QuintBody1.html#chapI_sec58">§58</a>) <span class = "greek" +title = "tô de prattein te kai hama tas praxeis kai tous logous auxein dianooumenô ouk an eiê pros auta scholê">τῷ δὲ πράττειν τε καὶ ἅμα τὰς +πράξεις καὶ τοὺς λόγους αὔξειν διανοουμένῳ οὐκ ἂν εἴη πρὸς αὐτὰ +σχολή</span> (Or. xviii. 8, p. 478 R.)</p> + +<p><a name = "note49" id = "note49" href = "#tag49">49.</a> +How diverse the tradition of the various authorities came to be in +regard to the epic poets may be seen from Usener’s note p. 137.</p> + +<p><a name = "note50" id = "note50" href = "#tag50">50.</a> +Cp. however Usener’s note p. 138 <i>Aristophanis propria fuit +Menandri illa admiratio quam epigramma prodit Kaibelli</i> p. 1085 +(C.I.Gr. 6083): <i>cuius iudicii Kaibelius</i> p. 490 <i>in +Quintiliano</i> x. +<a href = "QuintBody1.html#chapI_sec69">1, 69</a> <i>vestigia recte +observavit</i>.</p> + +<p><a name = "note51" id = "note51" href = "#tag51">51.</a> +See Usener, p. 123: fr. xvii. <i>quid enim aut Herodoto dulcius aut +Thucydide gravius</i>, fr. xviii. <i>aut Philisto brevius aut Theopompo +acrius aut Ephoro mitius inveniri potest?</i> It has been supposed that +between these two fragments the words <i>aut Xenophonte iucundius</i> +may have fallen out: cp. Quint, x. +<a href = "QuintBody1.html#chapI_sec82">1, 82</a>.</p> + +<p><a name = "note52" id = "note52" href = "#tag52">52.</a> +See especially fr. xi. <i>qua re velim dari mihi, Luculle, indicem +tragicorum, ut sumam qui forte mihi desunt</i>: and cp. note on +<a href = "QuintBody1.html#chapI_sec57">1 §57</a>.</p> + +<p><a name = "note53" id = "note53" href = "#tag53">53.</a> +Cp. the note on <i>qui parcissime</i> x. +<a href = "QuintBody2.html#chapIV_sec4">4, 4</a>.</p> + +<p><a name = "note54" id = "note54" href = "#tag54">54.</a> +De Canone decem Oratorum Atticorum Quaestiones. Breslau, 1883.</p> + +<p><a name = "note55" id = "note55" href = "#tag55">55.</a> +<i>A iudicandis poetarum carminibus olim ars grammatica initium +sumpserat, fuitque ante <span class = "greek" title = +"kritikê">κριτική</span> quam <span class = "greek" title = +"grammatikê">γραμματική</span></i>—Usener, p. 132.</p> + +<p><a name = "note56" id = "note56" href = "#tag56">56.</a> +See Prof. Nettleship, Journ. of Phil. pp. 230-231.</p> + +<p><a name = "note57" id = "note57" href = "#tag57">57.</a> +Among other traces of the use of such an abridgment by Cicero, Usener +reckons his judgments on the Greek historians (Herodotus and Thucydides, +Philistus, Theopompus and Ephorus, Xenophon, Callisthenes and Timaeus) +in the second book of the <i>de Oratore</i> (§§55-58), a work which was +written ten years before the <i>Hortensius</i>: on Herodotus and +Thucydides, Orat. §39: cp. Ep. ad Quintum fr. ii. 11 (13), 4, <i>ad +Callisthenem et ad Philistum redeo, in quibus te video volutatum. +Callisthenes quidem volgare et notum negotium, quem ad modum aliquot +Graeci locuti sunt: Siculus ille capitalis, creber, acutus, brevis, +paene pusillus Thucydides</i>.</p> + +<p><a name = "note58" id = "note58" href = "#tag58">58.</a> +<i>Adponam laterculum quam breve tam egregium, quod ex codice +Coisliniano</i> n. 387 <i>olim Athoo saeculi X Montefalconius edidit +bibl. Coislin</i>. p. 597, <i>ex codice Bodleiano olim Meermanni +recentiore Cramerus anecd.</i> Paris t. iv. p 196, 15 sq. Usener, +p. 129.</p> + +<p><a name = "note59" id = "note59" href = "#tag59">59.</a> +Nettleship, in Journ. of Philol. p. 233.</p> + +<p><a name = "note60" id = "note60" href = "#tag60">60.</a> +Havell’s translation, p. 27.</p> + +<p><a name = "note61" id = "note61" href = "#tag61">61.</a> +See the note on x. +<a href = "QuintBody1.html#chapI_sec85">1, 85</a>, with the +quotation from Professor Nettleship’s article in the Journal of +Philology. In the <i>Rheinisches Museum</i> (xix. 1864, p. 3 sqq.) +Mercklin pushed the parallelism to an excessive extent, endeavouring to +find a correspondence between each individual Greek and Latin writer +mentioned by Quintilian.</p> + +<p><a name = "note62" id = "note62" href = "#tag62">62.</a> +“His (Seneca’s) works are made up of mottoes. There is hardly a sentence +which might not be quoted; but to read him straight forward is like +dining on nothing but anchovy sauce.”—Macaulay, Trevelyan’s Life, +i. p. 448.</p> + +<p><a name = "note63" id = "note63" href = "#tag63">63.</a> +<i>Pervasit iam multos ista persuasio, ut id demum eleganter atque +exquisite dictum patent, quod interpretandum sit</i>: viii. 2. 21.</p> + +<p><a name = "note64" id = "note64" href = "#tag64">64.</a> +Tac. Dial. 20 <i>Iam vero iuvenes ... non solum audire sed etiam referre +domum aliquid inlustre et dignum memoria volunt, traduntque invicem ac +saepe in colonias ac provincias suas scribunt, sive sensus aliquis +arguta et brevi sententia effulsit, sive locus exquisito et poetico +cultu enituit</i>.</p> + +<p><a name = "note65" id = "note65" href = "#tag65">65.</a> +ii. 5, 10 <i>ostendi in his quam multa impropria, obscura, tumida, +humilia, sordida, lasciva, effeminata sint: guae non laudantur modo a +plerisque, sed, quod est peius, propter hoc ipsum quod sunt prava +laudantur</i>.</p> + +<p><a name = "note66" id = "note66" href = "#tag66">66.</a> +He resembles other writers of the decadence in the frequent use of rare +or poetical words, in neglecting the nice distinctions formerly made +between synonyms, in the numbers of adjectives used +substantively, &c.</p> + +<p><a name = "note67" id = "note67" href = "#tag67">67.</a> +In discussing Quintilian’s language and style, it must not be forgotten +that he was a Spaniard by birth. In his recent pamphlet, ‘Ueber die +Substantivierung des Adjectivums bei Quintilian’ (Berlin, 1890), Dr. +Paul Hirt quotes an interesting remark of Filelfo (cp. G. Voigt, +‘Wiederbelebung des klass. Alt.’ i. p. 467 note), which has lately +received some corroboration: <i>sapit hispanitatem nescio quam, hoc est +barbariem plane quandam</i>. Filelfo did not like Quintilian: <i>nullam +habet elegantiam, nullum nitorem, nullam suavitatem. Neque movet dicendo +Quintilianus, neque satis docet, nec delectat.</i> But this was only +Filelfo’s opinion, for which he would not have been able to furnish such +scientific grounds as that lately (Archiv. f. Lat. Lex. und Gramm. 1 +p. 356) supplied by Dr. E. Wölfflin, in regard to the +adjective <i>pandus</i>. This word was in use in the days of Ennius, and +occurs often afterwards in poetry, but not in prose. In Spain, however, +it lingered, and is used by Seneca, Martial, Silius, Columella, and +especially by Quintilian. After these writers it disappears again till +the fourth century.—Cp. i. 5, 57 <i>gurdos, quos pro stolidis +accipit vulgus, ex Hispania duxisse originem audivi</i>, which has been +quoted (by Abbé Gédoyn, and by Hermann, following Gesner) strangely +enough in disproof of Quintilian’s Spanish birth.</p> + +<p><a name = "note68" id = "note68" href = "#tag68">68.</a> +For this section I am especially indebted to a <i>Dissertatio</i> by +Adamus Marty: <i>De Quintilianeo Usu et Copia Verborum cum Ciceronianis +potissimum comparatis</i>. Also the <i>Prolegomena</i> in Bonnell’s +Lexicon: and Dosson’s <i>Remarques sur la Langue de Quintilien</i>.</p> + +<p><a name = "note69" id = "note69" href = "#tag69">69.</a> +Marty (op. cit. p. 47) has an interesting note, in which, referring to +the Zeitschrift f. Gymnasialwesen, xiv. pp. 427-29, he says it has +been found that there are in Cicero 290 (296) substantives in +<i>-tor</i> and 44 (46) in <i>-trix</i>. Of these 73 in <i>-tor</i> and +4 in <i>-trix</i> are also in Quintilian, who has, on the other hand, 28 +in <i>-tor</i> and 8 in <i>-trix</i> which do not occur in Cicero. These +are—<i>adfectator</i>, <i>admirator</i>, <i>adsertor</i>, +<i>agnitor</i>, <i>altercator</i>, <i>auxiliator</i>, +<i>constitutor</i>, <i>consultor</i>, <i>contemptor</i>, +<i>cunctator</i>, <i>delator</i>, <i>derisor</i>, <i>exactor</i>, +<i>formator</i>, <i>iactator</i>, <i>insectator</i>, <i>latrator</i>, +<i>legum lator</i>, <i>luctator</i>, <i>plosor</i>, <i>professor(?)</i>, +<i>raptor</i>, <i>repertor</i>, <i>rixator</i>, <i>signator</i>, +<i>stuprator</i>, <i>ventilator</i>, <i>versificator</i>, +<i>cavillatrix</i>, <i>disputatrix</i>, <i>elocutrix</i>, +<i>enuntiatrix</i>, <i>exercitatrix</i>, <i>hortatrix</i>, +<i>iudicatrix</i>, (<i>litteratrix</i>), <i>sermocinatrix</i>.</p> + +<p><a name = "note70" id = "note70" href = "#tag70">70.</a> +This subject has been most exhaustively treated in a Programm by Dr. +Paul Hirt, ‘Ueber die Substantivierung des Adjectivums bei Quintilian’ +(Berlin, 1890), a monument of German thoroughness. See also Becher’s +Quaestiones Grammaticae (Nordhausen, 1879), pp. 6 sqq.</p> + +<p><a name = "note71" id = "note71" href = "#tag71">71.</a> +Schmalz (Ueber den Sprachgebrauch des Asinius Pollio, p. 52) says +that this usage, which is a favourite one with Pollio ad Fam. x. 32, 5 +<i>Gallum Cornelium</i>), was first introduced by Varro (L. Lat. 5, +83 <i>Scaevola Quintus</i>: de Re Rust. i. 2, 1 <i>Libo Marcius</i>). It +is frequent in Cicero’s correspondence, and became general in Velleius +Paterculus.</p> + +<p><a name = "note72" id = "note72" href = "#tag72">72.</a> +See a Programm by David Wollner, ‘Die von der Beredsamkeit aus der +Krieger- und Fechtersprache entlehnten Bildlichen Wendungen in der +rhetorischen Schriften des Cicero, Quintilian, und Tacitus’ (Landau, +1886).</p> + +<p><a name = "note73" id = "note73" href = "#tag73">73.</a> +Halm’s account of this is more accurate than Meister’s. The former +(Praef. p. viii) says <i>magnae autem lacunae Bernensis pergamenis +insertis ex alio codice suppletae sunt</i>. The <i>alius codex</i> which +the writer of G had at hand is no longer extant: it no doubt belonged to +the same family as the <i>Ambrosianus</i>, and +<i>Bambergensis</i> G is consequently of first-class importance, +especially where the <i>Ambrosianus</i> fails us. It is incorrect to say +(with Meister, Praef. p. vi) <i>lacunae pergamenis ex alieno codice +insertis expletae sunt</i>. The writer of G did not mutilate another +codex in order to complete Bg: in some places he begins his copy on the +blank space left at the end of a folio in Bg.</p> + +<p><a name = "note74" id = "note74" href = "#tag74">74.</a> +The <i>Pratensis</i> is the oldest authority for the reading <i>tam +laesae hercule</i> at i. 2, 4: the <i>Puteanus</i> and <i>Ioannensis</i> +agree. Again all three omit the words <i>de litteris</i> at i. 4, 6, and +show <i>praecoquum</i> for <i>praecox</i> at i. 3, 3 (so Voss. iii. and +7760), and <i>haec igitur ex verbis</i> at i. 5, 2 (so Voss. iii.).</p> + +<p><a name = "note75" id = "note75" href = "#tag75">75.</a> +An account of this important codex has already been given in an article +on M. Fierville’s Quintilian, Classical Review, February, 1891.</p> + +<p><a name = "note76" id = "note76" href = "#tag76">76.</a> +The subpunctuation of these letters by the second hand by the +<i>Bambergensis</i> is a phenomenon which may, I think, be +explained in this way. The codex from which the readings known as +<b>b</b> are taken must have been of considerable antiquity, and +probably abounded in contractions: <i>lius</i> may have seemed to the +copyist the nearest approach to what he had before him, wherefore he +subpunctuated Cloe. Cloelius in the <i>Bambergensis</i> is a very +intelligible mistake for Clodius. Another example of a similar mistake +on the part of the writer of b occurs at x. +<a href = "QuintBody2.html#chapII_sec7">2, 7</a>, where the +Bambergensis now shows <i>id consequi q̣ụọd imiteris</i>, the writer of +b having subpunctuated <i>quo</i> because he did not understand the +contraction for <i>quod</i> which he had in the text before him. The +copyist of the Harleianus at once follows suit, and hence the remarkable +reading <i>id consequi dimiteris</i>, which in the Bodleianus and other +MSS. becomes <i>de metris</i> (see Crit. Note ad loc.). In fact, it +seems that much of the corruption which has prevailed in the text of +Quintilian is due to the fact that <b>b</b> very often did not +understand what he was doing, and that through such codices as followed +his guidance his errors became perpetuated. Cp. <i>totas at cures</i> +(for <i>vires</i> <b>b</b>) <i>suas</i> in the second last line of +the Facsimile (x. +<a href = "QuintBody1.html#chapI_sec109">1, 109</a>.)</p> + +<p><a name = "note77" id = "note77" href = "#tag77">77.</a> +The only places in the Tenth Book which form any obstacle to the theory +that H was copied directly from the Bambergensis are the following: x. +<a href = "QuintBody2.html#chapIII_sec33">3, 33</a>, where the +remarkable gloss <i>vindemoni</i> occurs (repeated in F but not +in T): see Crit. Notes ad loc. for an attempted explanation: x. +<a href = "QuintBody2.html#chapII_sec1">2, 1</a> <i>ex his +<u>summa</u></i> H, a mistake evidently recognised by the copyist +himself: and x. +<a href = "QuintBody1.html#chapI_sec27">1, 27</a> <i>blandita +tum</i> H (so L C), <i>libertate</i> G.</p> + +<p><a name = "note78" id = "note78" href = "#tag78">78.</a> +The claim of the Codex Florentinus to be Poggio’s manuscript was +definitely rejected by A. Reifferscheid in the <i>Rheinisches +Museum</i>, xxiii (1868), pp. 143-146. Reifferscheid refers to a +Codex Urbinas (577), an examination of which would probably settle the +question, if it is what it professes to be, a transcript of Poggio’s +manuscript. It bears the following inscription: <i>Scripsit Poggius +Florentinus hunc librum Constantiae diebus LIII sede apostolica vacante. +Reperimus vero eum in bibliotheca monasterii sancti galli quo plures +litterarum studiosi perquirendorum librorum causa accessimus ex quo +plurimum utilitalis eloquentiae studiis comparatum putamus, cum antea +Quintilianum neque integrum neque nisi lacerum et truncum plurimis locis +haberemus. Hec verba ex originali Poggii sumpta.</i></p> + +<p><a name = "note79" id = "note79" href = "#tag79">79.</a> +For the controversy as between the Turicensis and the Florentinus see +Halm, Sitzungsberichte der königl. Akademie der Wissenschaften zu +München, 1866, p. 499 note: and Fierville, Introduction, +p. xcii. sqq.</p> + +<p><a name = "note80" id = "note80" href = "#tag80">80.</a> +Kiderlin (Rhein. Mus. xlvi. p. 12, note) cites the following +passages in Book x, where S has preserved the right reading: I add +those of my MSS. which are in agreement—§19 <i>digerantur</i> +(G H <i>dirigantur</i>, L <i>dirigerantur</i>): +<a href = "QuintBody1.html#chapI_sec27">§27</a> <i>blandicia</i>, so +Burn. 243 (G <i>libertate</i>, H L <i>blandita tum</i>): +<a href = "QuintBody1.html#chapI_sec55">§55</a> <i>sed</i> (G H +<i>et</i>, om. L): +<a href = "QuintBody1.html#chapI_sec65">§65</a> <i>tamen quem</i> +(G H <i>tamen quae</i>: M <i>tamquam</i>): +<a href = "QuintBody1.html#chapI_sec66">§66</a> <i>correctas</i> +(G H <i>rectas</i>, M <i>correptas</i>): +<a href = "QuintBody1.html#chapI_sec67">§67</a> <i>uter</i> (G H M +T <i>uterque</i>): +<a href = "QuintBody1.html#chapI_sec68">§68</a> <i>reprehendunt</i> +(G H M <i>reprehendit,—et</i> H ?): +<a href = "QuintBody1.html#chapI_sec69">§69</a> <i>testatur</i> (as +Harl. 2662, 4995, 4950, 4829, Burn. 244, Ball., Dorv.), G M +<i>praestatur</i> (as Burn. 243, Bodl.): +<a href = "QuintBody1.html#chapI_sec76">§76</a> <i>in eo tam</i> +(G <i>inectam</i>, M <i>in hoc tam</i>).</p> + +<p><a name = "note81" id = "note81" href = "#tag81">81.</a> +See note on the following page.</p> + +<p><a name = "note82" id = "note82" href = "#tag82">82.</a> +Since the above was written the readings of the <i>Vallensis</i> have +been given in detail for the Tenth Book by Becher (<i>Programm des +königlichen Gymnasiums zu Aurich</i>, Easter, 1891). With the exception +of <i>Harl.</i> 4995, no other fifteenth century codex furnishes so +correct a text; and it is interesting to speculate whether the +improvements are due to the progress of scholarship since Poggio’s +discovery, or to the fact that the <i>Vallensis</i> and <i>Harl.</i> +4995 derive, not from the class of MSS. to which Poggio’s belonged, but +from some other and more reliable codex. If the latter was copied from +the former, it will afford a test, such as Becher desiderates, for +discriminating between the corrections made in the <i>Vallensis</i>. +Those not adopted in <i>Harl.</i> 4995 were made, in all probability, +after 1470. For example in 1. §23 <i>utile erit</i> +(<i>Vall.</i><sup>2</sup>) does not appear in the London manuscript, +which also has <i>audatiora</i> +<a href = "QuintBody2.html#chapV_sec4">5 §4</a>: <i>nobis ac</i> +and <i>uno genere</i> ib. §7: <i>virtutum</i> ib. §17: <i>recidere</i> +ib. §22: <i>diligenter effecta</i>, (without <i>una enim</i>) ib. §23: +<i>iniicere</i> +<a href = "QuintBody2.html#chapVII_sec29">7 §29</a>. In all these +places there are corrections by a later hand in the <i>Vallensis</i>. +But in the following passages, among others, the copyist of <i>Harl.</i> +4995 adopts corrections which had already been made in the +<i>Vallensis</i>: +<a href = "QuintBody1.html#chapI_sec9">1 §9</a> <i>quae cultiore in +parte</i>: +<a href = "QuintBody1.html#chapI_sec19">§19</a> <i>iteratione</i>: +<a href = "QuintBody1.html#chapI_sec31">§31</a> <i>molli</i>: +<a href = "QuintBody1.html#chapI_sec38">§38</a> <i>exequar</i>: +<a href = "QuintBody1.html#chapI_sec107">§107</a> <i>qui duo plurimum +affectus valent</i>: +<a href = "QuintBody1.html#chapI_sec117">§117</a> <i>et vis summa</i>: +<a href = "QuintBody1.html#chapI_sec125">§125</a> <i>tum</i>: +<a href = "QuintBody2.html#chapII_sec15">2 §15</a> <i>dicunt</i>: +<a href = "QuintBody1.html#chapI_sec17">§17</a> <i>quam libet</i>: +<a href = "QuintBody2.html#chapIII_sec2">3 §2</a> <i>et fundit</i>: +<a href = "QuintBody1.html#chapI_sec6">§6</a> <i>scriptorum</i>: +<a href = "QuintBody1.html#chapI_sec17">§17</a> <i>contextis quae fudit +levitas</i>: +<a href = "QuintBody1.html#chapI_sec21">§21</a> <i>simul vertere +latus</i>: +<a href = "QuintBody1.html#chapI_sec31">§31</a> <i>crebra relatione</i>: +<a href = "QuintBody2.html#chapV_sec12">5 §12</a> <i>de <ins class += "correction" title = "second letter unclear: primary text has ‘re’">reo</ins></i>: +<a href = "QuintBody1.html#chapI_sec25">§25</a> <i>utilior</i>. +A comparison of the two codices might possibly reveal the fact that +the writer of <i>Harl.</i> 4995 is himself the author of some of the +emendations in the <i>Vallensis</i>. Was he J. Badius?</p> + +</div> <!-- end div footnote --> + + +<hr class = "spacer"> + +<div class = "contents"> +<p><a href = "../main.html">Preface</a></p> +<p><a href = "QuintBody1.html">Chapter I</a></p> +<p><a href = "QuintBody2.html">Chapters II-VII</a></p> +<p><a href = "QuintCrit.html">Critical Notes</a></p> +</div> + +</body> + +</html> + diff --git a/old/files/QuintOnly.html b/old/files/QuintOnly.html new file mode 100644 index 0000000..766d126 --- /dev/null +++ b/old/files/QuintOnly.html @@ -0,0 +1,2465 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> +<head> +<title>Quintiliani Liber X</title> +<meta http-equiv = "Content-Type" content = "text/html; charset=UTF-8"> + + +<style type = "text/css"> + +body {margin-left: 10%; margin-right: 15%;} + +hr {width: 80%; margin-top: 1em; margin-bottom: 1em;} +hr.tiny {width: 20%;} + +a {text-decoration: none;} + +h1, h2, h3, h4, h5, h6 {text-align: center; font-style: normal; +font-weight: normal; line-height: 1.5; margin-top: .5em; +margin-bottom: .5em;} + +h1 {font-size: 200%;} +h2 {font-size: 175%;} +h3 {font-size: 150%;} +h4 {font-size: 120%;} +h5 {font-size: 100%;} +div.text h5 {margin-top: 1.5em; margin-bottom: .75em; +font-weight: bold; font-size: 108%;} +h6 {font-size: 85%;} + +p {margin-top: .5em; margin-bottom: 0em; line-height: 1.2;} + +p.inset {margin-left: 2em;} +p.poem {margin-left: 4em; font-size: 92%; text-indent: -2em;} + + +/* tables */ + +table {margin-left: auto; margin-right: auto; +margin-top: 1em; margin-bottom: 1em;} + +table.toc {font-family: sans-serif; font-size: 90%; +padding: .5em .5em 1em; margin-top: 2em; margin-bottom: 2em; +border: 3px ridge #99C;} + +table.toc p {margin-top: 0em; margin-left: 2em; +text-indent: -2em; line-height: normal;} + +td {vertical-align: top; text-align: left; padding: .1em 1em .1em 0em;} + +td.number {text-align: right;} + + +/* text formatting */ + +.smallcaps {font-variant: small-caps;} +.greek {border-bottom: 1px dotted #666;} + + +/* my additions */ + +ins.correction {text-decoration: none; border-bottom: thin dotted red;} + +.pagenum {position: absolute; right: 2%; text-align: right; +font-size: 95%; color: #999; background-color: inherit; +font-weight: normal; font-style: normal; text-indent: 0em;} +.secnum {position: absolute; right: 92%; text-align: right; +font-size: 88%; font-weight: normal; font-style: normal; +text-indent: 0em; line-height: 1.4em;} + +div.mynote {background-color: #DDE; color: #000; padding: .5em 1em 1em; +margin: 1em 5%;} +p.mynote {background-color: #DDE; color: #000; padding: 1em; +margin: 1em 5%; font-family: sans-serif; font-size: 90%;} +div.mynote p {font-family: sans-serif; font-size: 90%;} + +</style> +</head> + +<body> + +<div class = "mynote"> + +<p>This free-standing HTML file contains <b>only the Latin text</b> of +Quintilian X. It can be read and downloaded without any other +files. For the complete book, including Introduction, Commentary and +Critical Notes, return to the +<a href = "../main.html">main file</a> or the +<a href = "http://www.gutenberg.org/catalog">Project Gutenberg page</a> +for this text.</p> + +</div> + +<div class = "mynote"> + +<p>This e-text contains a few words of accented Greek:</p> + +<p class = "inset"> +<span class = "greek" title = "hexin">ἕξιν</span>, <span class = "greek" +title = "phrasin">φράσιν</span> +</p> + +<p>If the characters do not display properly, or if the quotation marks +and apostrophes in this paragraph appear as garbage, you may have an +incompatible browser or unavailable fonts. First, make sure that the +browser’s “character set” or “file encoding” is set to Unicode (UTF-8). +You may also need to change your browser’s default font.</p> + +<p>All Greek words include mouse-hover <span class = "greek" title = +"like this">transliterations</span>.</p> + +<p>Letters and words in <i>italics</i> are emendations, as explained in +the Commentary and Critical Notes.</p> + +</div> + +<p> </p> + +<h3>M. FABI QUINTILIANI</h3> + +<h3>INSTITUTIONIS ORATORIAE</h3> + +<h3>LIBER DECIMUS</h3> + +<p> </p> + +<h5>A REVISED TEXT</h5> + +<h5>WITH INTRODUCTORY ESSAYS<br> +CRITICAL AND EXPLANATORY NOTES<br> +AND A FACSIMILE OF THE HARLEIAN MS.</h5> + +<h4>by W. Peterson</h4> + +<hr class = "tiny"> + +<h6>[Clarendon Press, Oxford 1891]</h6> + + +<table class = "toc" summary = "table of contents"> +<tr> +<td colspan = "3"> +<h5><b>CONTENTS</b><br> +<i>table added by transcriber</i></h5> +</td> +</tr> +<tr> +<td></td><td></td> +<td class = "number">page</td> +</tr> +<tr> +<td class = "number"><a href = "#chapI">I.</a></td> +<td><p>De copia verborum.</p></td> +<td class = "number"><a href = "#chapI">11</a></td> +</tr> +<tr> +<td></td> +<td><p><a href = "#chapI_sec46">I.46</a> +<i>De Graecorum litteris.</i></p></td> +<td class = "number"><a href = "#chapI_sec46">47</a></td> +</tr> +<tr> +<td></td> +<td><p><a href = "#chapI_sec85">I.85</a> +<i>De Romanorum litteris.</i></p></td> +<td class = "number"><a href = "#chapI_sec85">82</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapII">II.</a></td> +<td><p>De Imitatione.</p></td> +<td class = "number"><a href = "#chapII">122</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapIII">III.</a></td> +<td><p>Quo modo scribendum sit.</p></td> +<td class = "number"><a href = "#chapIII">136</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapIV">IV.</a></td> +<td><p>De Emendatione.</p></td> +<td class = "number"><a href = "#chapIV">151</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapV">V.</a></td> +<td><p>Quae scribenda sint praecipue.</p></td> +<td class = "number"><a href = "#chapV">153</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapVI">VI.</a></td> +<td><p>De Cogitatione.</p></td> +<td class = "number"><a href = "#chapVI">167</a></td> +</tr> +<tr> +<td class = "number"><a href = "#chapVII">VII.</a></td> +<td><p>Quem ad modum extemporalis facilitas<br> +paretur et contineatur.</p></td> +<td class = "number"><a href = "#chapVII">170</a></td> +</tr> +<tr> +<td colspan = "3"> +<hr class = "tiny"> +<h6>Sections within chapters are not listed in the table of +contents.<br> +To reach a numbered section “manually”, use the form <a href = +"#chapIII_sec2">#chapIII_sec2</a>.</h6> +</td> +</tr> +</table> + + +<span class = "pagenum">11</span> +<h4>M. FABI QUINTILIANI</h4> + +<h3>INSTITUTIONIS ORATORIAE</h3> + +<h4>LIBER DECIMUS</h4> + +<hr class = "tiny"> + +<div class = "text"> + +<h5><a name = "chapI" id = "chapI"> +De copia verborum.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapI_sec1" id = "chapI_sec1"> </a> +<p><b>I.</b> Sed haec eloquendi praecepta, sicut cognitioni sunt +necessaria, ita non satis ad vim dicendi valent, nisi illis firma +<span class = "pagenum">12</span> +quaedam facilitas, quae apud Graecos <span class = "greek" title = +"hexis">ἕξις</span> nominatur; accesserit; ad quam scribendo plus an +legendo an dicendo conferatur, solere quaeri scio. Quod esset +diligentius nobis examinandum, si qualibet earum rerum possemus una esse +contenti: +<span class = "secnum">2</span> +<a name = "chapI_sec2" id = "chapI_sec2"> </a> +verum ita sunt inter se conexa et indiscreta omnia ut, si quid ex his +defuerit, frustra sit in ceteris laboratum. Nam neque solida atque +robusta fuerit umquam eloquentia nisi multo stilo vires acceperit, et +citra lectionis exemplum labor ille carens rectore fluitabit; et qui +sciet quae quoque sint modo dicenda, +<span class = "pagenum">13</span> +nisi tamen in procinctu paratamque ad omnes casus habuerit eloquentiam, +velut clausis thesauris incubabit. +<span class = "secnum">3</span> +<a name = "chapI_sec3" id = "chapI_sec3"> </a> +Non autem +<span class = "pagenum">14</span> +ut quidquid praecipue necessarium est, sic ad efficiendum oratorem +maximi protinus erit momenti. Nam certe, cum sit in eloquendo positum +oratoris officium, dicere ante omnia est, atque hinc initium eius artis +fuisse manifestum est: proximum deinde imitatio, novissimum scribendi +quoque diligentia. +<span class = "secnum">4</span> +<a name = "chapI_sec4" id = "chapI_sec4"> </a> +Sed ut perveniri ad summa nisi ex principiis non potest, ita procedente +iam opere minima incipiunt esse quae prima sunt. Verum nos non quo modo +sit instituendus orator hoc loco dicimus, +<span class = "pagenum">15</span> +(nam id quidem aut satis aut certe uti potuimus dictum est), sed +athleta, qui omnes iam perdidicerit a praeceptore numeros, quo genere +exercitationis ad certamina praeparandus sit. Igitur eum qui res +invenire et disponere sciet, verba quoque et eligendi et collocandi +rationem perceperit, instruamus qua ratione quod didicerit facere quam +optime, quam facillime possit.</p> + +<span class = "pagenum">16</span> +<span class = "secnum">5</span> +<a name = "chapI_sec5" id = "chapI_sec5"> </a> +<p>Non ergo dubium est quin ei velut opes sint quaedam parandae, quibus +uti, ubicumque desideratum erit, possit: eae constant copia rerum ac +verborum. +<span class = "secnum">6</span> +<a name = "chapI_sec6" id = "chapI_sec6"> </a> +Sed res propriae sunt cuiusque causae aut paucis communes, verba in +universas paranda; quae si rebus singulis essent singula, minorem curam +postularent, nam cuncta sese cum ipsis protinus rebus offerrent. Sed cum +sint aliis alia aut magis propria aut magis ornata aut plus efficientia +<span class = "pagenum">17</span> +aut melius sonantia, debent esse non solum nota omnia, sed in promptu +atque, ut ita dicam, in conspectu, ut, cum se iudicio dicentis +ostenderint, facilis ex his optimorum sit electio. +<span class = "secnum">7</span> +<a name = "chapI_sec7" id = "chapI_sec7"> </a> +Et quae idem significarent solitos <i>scio</i> ediscere, quo facilius et +<span class = "pagenum">18</span> +occurreret unum ex pluribus, et, cum essent usi aliquo, si breve intra +spatium rursus desideraretur, effugiendae repetitionis gratia sumerent +aliud quo idem intellegi posset. Quod cum est puerile et cuiusdam +infelicis operae, tum etiam utile parum: turbam tantum modo congregat, +ex qua sine discrimine occupet proximum quodque.</p> + +<span class = "secnum">8</span> +<a name = "chapI_sec8" id = "chapI_sec8"> </a> +<p>Nobis autem copia cum iudicio paranda est, vim orandi non +circulatoriam volubilitatem spectantibus. Id autem consequemur +<span class = "pagenum">19</span> +optima legendo atque audiendo; non enim solum nomina ipsa rerum +cognoscemus hac cura, sed quod quoque loco sit aptissimum. +<span class = "secnum">9</span> +<a name = "chapI_sec9" id = "chapI_sec9"> </a> +Omnibus enim fere verbis praeter pauca, quae sunt parum verecunda, in +oratione locus est. Nam scriptores quidem iamborum veterisque comoediae +etiam in illis saepe laudantur, sed nobis nostrum opus intueri sat est. +Omnia verba, exceptis de quibus dixi, sunt alicubi optima; nam et +humilibus interim et vulgaribus est opus, et quae nitidiore in parte +videntur +<span class = "pagenum">20</span> +sordida, ubi res poscit, proprie dicuntur. +<span class = "secnum">10</span> +<a name = "chapI_sec10" id = "chapI_sec10"> </a> +Haec ut sciamus atque eorum non significationem modo, sed formas etiam +mensurasque norimus, ut ubicumque erunt posita conveniant, nisi multa +lectione atque auditione adsequi nullo modo possumus, cum omnem sermonem +auribus primum accipiamus. Propter quod infantes a mutis nutricibus +iussu regum in solitudine educati, etiamsi verba quaedam emisisse +traduntur, tamen loquendi facultate caruerunt. +<span class = "secnum">11</span> +<a name = "chapI_sec11" id = "chapI_sec11"> </a> +Sunt autem alia huius naturae, ut idem +<span class = "pagenum">21</span> +pluribus vocibus declarent, ita ut nihil significationis, quo potius +utaris, intersit, ut ‘ensis’ et ‘gladius’; alia vero, etiamsi propria +rerum aliquarum sint nomina, <span class = "greek" title = +"tropikôs">τροπικῶς</span> quasi tamen ad eundem intellectum feruntur, +ut ‘ferrum’ et ‘mucro’. +<span class = "secnum">12</span> +<a name = "chapI_sec12" id = "chapI_sec12"> </a> +Nam per abusionem +<span class = "pagenum">22</span> +sicarios etiam omnes vocamus qui caedem telo quocumque commiserunt. Alia +circuitu verborum plurium ostendimus, quale est ‘et pressi copia +lactis.’ Plurima vero mutatione figuramus: scio ‘non ignoro’ et ‘non me +fugit’ et ‘non me praeterit’ et ‘quis nescit?’ et ‘nemini dubium est’. +<span class = "secnum">13</span> +<a name = "chapI_sec13" id = "chapI_sec13"> </a> +Sed etiam ex proximo mutuari licet. Nam et ‘intellego’ et ‘sentio’ et +‘video’ saepe idem valent quod ‘scio’. Quorum nobis ubertatem +<span class = "pagenum">23</span> +ac divitias dabit lectio, ut non solum quo modo occurrent, sed etiam quo +modo oportet utamur. +<span class = "secnum">14</span> +<a name = "chapI_sec14" id = "chapI_sec14"> </a> +Non semper enim haec inter se idem faciunt, nec sicut de intellectu +animi recte dixerim ‘video’, ita de visu oculorum ‘intellego’, nec ut +‘mucro’ gladium, sic mucronem ‘gladius’ ostendit. +<span class = "secnum">15</span> +<a name = "chapI_sec15" id = "chapI_sec15"> </a> +Sed ut copia verborum sic paratur, ita non verborum tantum gratia +legendum vel audiendum est. Nam omnium, quaecumque docemus, hoc sunt +exempla potentiora etiam ipsis quae traduntur artibus (cum eo qui discit +perductus est, ut intellegere ea sine demonstrante et sequi iam suis +viribus possit), quia quae doctor praecepit orator ostendit.</p> + +<span class = "pagenum">24</span> +<span class = "secnum">16</span> +<a name = "chapI_sec16" id = "chapI_sec16"> </a> +<p>Alia vero audientes, alia legentes magis adiuvant. Excitat qui dicit +spiritu ipso, nec imagine et ambitu rerum, sed rebus incendit. Vivunt +omnia enim et moventur, excipimusque nova illa velut nascentia cum +favore ac sollicitudine. Nec fortuna modo iudicii, sed etiam ipsorum qui +orant periculo adficimur. +<span class = "secnum">17</span> +<a name = "chapI_sec17" id = "chapI_sec17"> </a> +Praeter haec vox, actio decora, accommodata, ut quisque locus +<span class = "pagenum">25</span> +postulabit, pronuntiandi (vel potentissima in dicendo) ratio et, ut +semel dicam, pariter omnia docent. In lectione certius iudicium, quod +audienti frequenter aut suus cuique favor aut ille laudantium clamor +extorquet. +<span class = "secnum">18</span> +<a name = "chapI_sec18" id = "chapI_sec18"> </a> +Pudet enim dissentire, et velut +<span class = "pagenum">26</span> +tacita quadam verecundia inhibemur plus nobis credere, cum interim et +vitiosa pluribus placent, et a conrogatis laudantur etiam quae non +placent. +<span class = "secnum">19</span> +<a name = "chapI_sec19" id = "chapI_sec19"> </a> +Sed e contrario quoque accidit ut optime dictis gratiam prava iudicia +non referant. Lectio libera +<span class = "pagenum">27</span> +est nec actionis impetu transcurrit, sed repetere saepius licet, sive +dubites sive memoriae penitus adfigere velis. Repetamus autem et +tractemus et, ut cibos mansos ac prope liquefactos demittimus, quo +facilius digerantur, ita lectio non cruda, sed multa iteratione mollita +et velut confecta memoriae imitationique tradatur.</p> + +<span class = "secnum">20</span> +<a name = "chapI_sec20" id = "chapI_sec20"> </a> +<p>Ac diu non nisi optimus quisque et qui credentem sibi minime fallat +legendus est, sed diligenter ac paene ad scribendi sollicitudinem, nec +per partes modo scrutanda omnia, sed perlectus +<span class = "pagenum">28</span> +liber utique ex integro resumendus, praecipueque oratio, cuius virtutes +frequenter ex industria quoque occultantur. +<span class = "secnum">21</span> +<a name = "chapI_sec21" id = "chapI_sec21"> </a> +Saepe enim praeparat, dissimulat, insidiatur orator, eaque in prima +parte actionis dicit quae sunt in summa profutura. Itaque suo loco minus +placent, adhuc nobis quare dicta sint ignorantibus; ideoque erunt +cognitis omnibus repetenda. +<span class = "secnum">22</span> +<a name = "chapI_sec22" id = "chapI_sec22"> </a> +Illud vero utilissimum, nosse eas causas quarum orationes in manus +sumpserimus, et, quotiens continget, utrimque habitas legere actiones: +ut Demosthenis et Aeschinis inter se contrarias, et Servi Sulpici atque +Messallae, quorum alter pro Aufidia, contra dixit alter, et Pollionis et +Cassi reo Asprenate aliasque plurimas. +<span class = "secnum">23</span> +<a name = "chapI_sec23" id = "chapI_sec23"> </a> +Quin +<span class = "pagenum">29</span> +etiam si minus pares videbuntur aliquae, tamen ad cognoscendam litium +quaestionem recte requirentur, ut contra Ciceronis orationes Tuberonis +in Ligarium et Hortensi pro Verre. Quin etiam easdem causas ut quisque +<i>egerit utile</i> erit scire. Nam de domo Ciceronis dixit Calidius et +pro Milone orationem Brutus exercitationis gratia scripsit, etiamsi +egisse eum Cornelius Celsus falso existimat, et Pollio et Messalla +defenderunt eosdem, et nobis pueris insignes pro Voluseno Catulo Domiti +Afri, Crispi Passieni, Decimi Laeli orationes ferebantur.</p> + +<span class = "pagenum">30</span> +<span class = "secnum">24</span> +<a name = "chapI_sec24" id = "chapI_sec24"> </a> +<p>Neque id statim legenti persuasum sit, omnia quae optimi auctores +dixerint utique esse perfecta. Nam et labuntur aliquando et oneri cedunt +et indulgent ingeniorum suorum voluptati, nec semper intendunt animum; +nonnumquam fatigantur, cum Ciceroni dormitare interim Demosthenes, +Horatio vero +<span class = "pagenum">31</span> +etiam Homerus ipse videatur. +<span class = "secnum">25</span> +<a name = "chapI_sec25" id = "chapI_sec25"> </a> +Summi enim sunt, homines tamen, acciditque his qui, quidquid apud illos +reppererunt, dicendi legem putant, ut deteriora imitentur (id enim est +facilius) ac se abunde similes putent si vitia magnorum consequantur. +<span class = "secnum">26</span> +<a name = "chapI_sec26" id = "chapI_sec26"> </a> +Modesto tamen et circumspecto iudicio de tantis viris pronuntiandum est, +ne, quod plerisque accidit, damnent quae non intellegunt. Ac si necesse +est in alteram errare partem, omnia eorum legentibus placere quam multa +displicere maluerim.</p> + +<span class = "secnum">27</span> +<a name = "chapI_sec27" id = "chapI_sec27"> </a> +<p>Plurimum dicit oratori conferre Theophrastus lectionem poetarum +multique eius iudicium sequuntur, neque immerito. Namque ab his in rebus +spiritus et in verbis sublimitas et in +<span class = "pagenum">32</span> +adfectibus motus omnis et in personis decor petitur, praecipueque velut +attrita cotidiano actu forensi ingenia optime rerum talium blanditia +reparantur; ideoque in hac lectione Cicero requiescendum putat. +<span class = "secnum">28</span> +<a name = "chapI_sec28" id = "chapI_sec28"> </a> +Meminerimus tamen non per omnia poetas esse oratori sequendos nec +libertate verborum nec licentia figurarum: <i>poeticam</i> ostentationi +comparatam et praeter id quod solam petit voluptatem, eamque etiam +fingendo non falsa modo sed etiam quaedam incredibilia sectatur, +patrocinio quoque aliquo iuvari, +<span class = "secnum">29</span> +<a name = "chapI_sec29" id = "chapI_sec29"> </a> +quod adligata ad certam pedum necessitatem +<span class = "pagenum">33</span> +non semper uti propriis possit, sed depulsa recta via necessario ad +eloquendi quaedam deverticula confugiat, nec mutare quaedam modo verba, +sed extendere, conripere, convertere, dividere cogatur: nos vero armatos +stare in acie et summis de rebus decernere et ad victoriam niti. +<span class = "secnum">30</span> +<a name = "chapI_sec30" id = "chapI_sec30"> </a> +Neque ego arma squalere situ ac rubigine velim, sed fulgorem in iis esse +qui terreat, qualis est ferri, quo mens simul visusque praestringitur, +non qualis auri argentique, imbellis et potius habenti periculosus.</p> + +<span class = "pagenum">34</span> +<span class = "secnum">31</span> +<a name = "chapI_sec31" id = "chapI_sec31"> </a> +<p>Historia quoque alere oratorem quodam uberi iucundoque suco potest; +verum et ipsa sic est legenda ut sciamus plerasque eius virtutes oratori +esse vitandas. Est enim proxima poetis et +<span class = "pagenum">35</span> +quodam modo carmen solutum, et scribitur ad narrandum, non ad probandum, +totumque opus non ad actum rei pugnamque praesentem, sed ad memoriam +posteritatis et ingenii famam componitur; ideoque et verbis remotioribus +et liberioribus figuris narrandi taedium evitat. +<span class = "secnum">32</span> +<a name = "chapI_sec32" id = "chapI_sec32"> </a> +Itaque, ut dixi, neque illa Sallustiana brevitas, qua nihil apud aures +vacuas atque eruditas potest esse perfectius, apud occupatum variis +cogitationibus iudicem et saepius ineruditum captanda nobis est, neque +illa +<span class = "pagenum">36</span> +Livi lactea ubertas satis docebit eum qui non speciem expositionis, sed +fidem quaerit. +<span class = "secnum">33</span> +<a name = "chapI_sec33" id = "chapI_sec33"> </a> +Adde quod M. Tullius ne Thucydiden quidem aut Xenophontem utiles +oratori putat, quamquam illum ‘bellicum canere,’ huius ‘ore Musas esse +locutas’ existimet. Licet tamen nobis in digressionibus uti vel +historico +<span class = "pagenum">37</span> +nonnumquam nitore, dum in his de quibus erit quaestio meminerimus non +athletarum toris, sed militum lacertis <i>opus</i> esse, nec +versicolorem illam, qua Demetrius Phalereus dicebatur uti, +<span class = "pagenum">38</span> +vestem bene ad forensem pulverem facere. +<span class = "secnum">34</span> +<a name = "chapI_sec34" id = "chapI_sec34"> </a> +Est et alius ex historiis usus et is quidem maximus, sed non ad +praesentem pertinens locum, ex cognitione rerum exemplorumque, quibus in +primis instructus esse debet orator, ne omnia testimonia exspectet a +litigatore, sed pleraque ex vetustate diligenter sibi cognita sumat, hoc +potentiora, quod ea sola criminibus odii et gratiae vacant.</p> + +<span class = "secnum">35</span> +<a name = "chapI_sec35" id = "chapI_sec35"> </a> +<p>A philosophorum vero lectione ut essent multa nobis petenda +<span class = "pagenum">39</span> +vitio factum est oratorum, qui quidem illis optima sui operis parte +cesserunt. Nam et de iustis, honestis, utilibus iisque quae sunt istis +contraria, et de rebus divinis maxime dicunt et argumentantur acriter +<i>Stoici</i>, et altercationibus atque interrogationibus oratorem +futurum optime Socratici praeparant. +<span class = "secnum">36</span> +<a name = "chapI_sec36" id = "chapI_sec36"> </a> +Sed +<span class = "pagenum">40</span> +his quoque adhibendum est simile iudicium, ut etiam cum in rebus +versemur isdem non tamen eandem esse condicionem sciamus litium ac +disputationum, fori et auditorii, praeceptorum et periculorum.</p> + +<span class = "secnum">37</span> +<a name = "chapI_sec37" id = "chapI_sec37"> </a> +<p>Credo exacturos plerosque, cum tantum esse utilitatis in legendo +iudicemus, ut id quoque adiungamus operi, qui sint <i>legendi</i>, quae +in auctore quoque praecipua virtus. Sed persequi singulos infiniti +fuerit operis. +<span class = "secnum">38</span> +<a name = "chapI_sec38" id = "chapI_sec38"> </a> +Quippe cum in Bruto M. Tullius +<span class = "pagenum">41</span> +tot milibus versuum de Romanis tantum oratoribus loquatur et tamen de +omnibus aetatis suae, [quibuscum vivebat], exceptis Caesare atque +Marcello, silentium egerit, quis erit modus si et illos et qui postea +fuerunt et Graecos omnes <i>persequamur</i> [et philosophos]? +<span class = "secnum">39</span> +<a name = "chapI_sec39" id = "chapI_sec39"> </a> +Fuit igitur brevitas illa tutissima quae est apud Livium in epistula ad +filium scripta, ‘legendos Demosthenen atque Ciceronem, tum ita, ut +quisque esset Demostheni et Ciceroni simillimus.’ +<span class = "secnum">40</span> +<a name = "chapI_sec40" id = "chapI_sec40"> </a> +Non est dissimulanda nostri quoque iudicii +<span class = "pagenum">42</span> +summa. Paucos enim vel potius vix ullum ex his qui vetustatem +pertulerunt existimo posse reperiri, quin iudicium adhibentibus +adlaturus sit utilitatis aliquid, cum se Cicero ab illis quoque +vetustissimis auctoribus, ingeniosis quidem, sed arte carentibus, +plurimum fateatur adiutum. +<span class = "secnum">41</span> +<a name = "chapI_sec41" id = "chapI_sec41"> </a> +Nec multo aliud de novis sentio; quotus enim quisque inveniri tam demens +potest, +<span class = "pagenum">43</span> +qui ne minima quidem alicuius certe fiducia partis memoriam posteritatis +speraverit? Qui si quis est, intra primos statim versus deprehendetur, +et citius nos dimittet quam ut eius nobis magno temporis detrimento +constet experimentum. +<span class = "secnum">42</span> +<a name = "chapI_sec42" id = "chapI_sec42"> </a> +Sed non quidquid ad aliquam partem scientiae pertinet, protinus ad +faciendam <span class = "greek" title = "phrasin">φράσιν</span>, de qua +loquimur, accommodatum.</p> + +<p>Verum antequam de singulis loquar, pauca in universum de varietate +opinionum dicenda sunt. +<span class = "secnum">43</span> +<a name = "chapI_sec43" id = "chapI_sec43"> </a> +Nam quidam solos veteres legendos putant neque in ullis aliis esse +naturalem eloquentiam et robur viris dignum arbitrantur, alios recens +haec lascivia +<span class = "pagenum">44</span> +deliciaeque et omnia ad voluptatem multitudinis imperitae composita +delectant. +<span class = "secnum">44</span> +<a name = "chapI_sec44" id = "chapI_sec44"> </a> +Ipsorum etiam qui rectum dicendi genus sequi volunt, alii pressa demum +et tenuia atque quae minimum +<span class = "pagenum">45</span> +ab usu cotidiano recedant, sana et vere Attica putant; quosdam +<span class = "pagenum">46</span> +elatior ingenii vis et magis concitata et plena spiritus capit; sunt +etiam lenis et nitidi et compositi generis non pauci amatores. De qua +differentia disseram diligentius, cum de genere dicendi quaerendum erit: +interim summatim, quid et a qua lectione petere possint qui confirmare +facultatem dicendi volent, attingam: paucos enim, qui sunt +eminentissimi, excerpere in animo est. +<span class = "secnum">45</span> +<a name = "chapI_sec45" id = "chapI_sec45"> </a> +Facile est autem studiosis, qui sint his simillimi, iudicare, ne +quisquam queratur omissos forte aliquos quos ipse valde probet; fateor +enim plures legendos esse quam qui a me nominabuntur. Sed nunc genera +ipsa lectionum, quae praecipue convenire intendentibus ut oratores fiant +existimem, persequar.</p> + +<span class = "pagenum">47</span> +<span class = "secnum">46</span> +<a name = "chapI_sec46" id = "chapI_sec46"> </a> +<p>Igitur, ut Aratus ab Iove incipiendum putat, ita nos rite coepturi ab +<span class = "smallcaps">Homero</span> videmur. Hic enim, quem ad modum +ex Oceano dicit ipse omnium <i>fluminum</i> fontiumque cursus initium +capere, omnibus eloquentiae partibus exemplum et ortum dedit. +<span class = "pagenum">48</span> +Hunc nemo in magnis rebus sublimitate, in parvis proprietate +superaverit. Idem laetus ac pressus, iucundus et gravis, tum copia tum +brevitate mirabilis, nec poetica modo, sed oratoria virtute +eminentissimus. +<span class = "secnum">47</span> +<a name = "chapI_sec47" id = "chapI_sec47"> </a> +Nam ut de laudibus, exhortationibus, +<span class = "pagenum">49</span> +consolationibus taceam, nonne vel nonus liber, quo missa ad Achillen +legatio continetur, vel in primo inter duces illa contentio vel dictae +in secundo sententiae omnes litium ac consiliorum explicant artes? +<span class = "secnum">48</span> +<a name = "chapI_sec48" id = "chapI_sec48"> </a> +Adfectus quidem vel illos mites vel hos concitatos nemo erit tam +indoctus qui non in sua potestate hunc auctorem habuisse fateatur. Age +vero, non utriusque operis sui ingressu in paucissimis versibus legem +prooemiorum non dico servavit, sed constituit? Nam benevolum auditorem +invocatione dearum +<span class = "pagenum">50</span> +quas praesidere vatibus creditum est, et intentum proposita rerum +magnitudine, et docilem summa celeriter comprehensa facit. +<span class = "secnum">49</span> +<a name = "chapI_sec49" id = "chapI_sec49"> </a> +Narrare vero quis brevius quam qui mortem nuntiat Patrocli, quis +significantius potest quam qui Curetum Aetolorumque proelium exponit? +Iam similitudines, amplificationes, exempla, digressus, signa rerum et +argumenta ceteraque <i>genera</i> probandi +<span class = "pagenum">51</span> +ac refutandi sunt ita multa ut etiam qui de artibus scripserunt plurima +earum rerum testimonia ab hoc poeta petant. +<span class = "secnum">50</span> +<a name = "chapI_sec50" id = "chapI_sec50"> </a> +Nam epilogus quidem quis umquam poterit illis Priami rogantis Achillen +precibus aequari? Quid? In verbis, sententiis, figuris, dispositione +totius operis nonne humani ingenii modum excedit? ut magni sit virtutes +eius non aemulatione, quod fieri non +<span class = "pagenum">52</span> +potest, sed intellectu sequi. +<span class = "secnum">51</span> +<a name = "chapI_sec51" id = "chapI_sec51"> </a> +Verum hic omnes sine dubio et in omni genere eloquentiae procul a se +reliquit, epicos tamen praecipue, videlicet quia clarissima in materia +simili comparatio est. +<span class = "secnum">52</span> +<a name = "chapI_sec52" id = "chapI_sec52"> </a> +Raro adsurgit <span class = "smallcaps">Hesiodus</span> magnaque pars +eius in nominibus est occupata, tamen utiles circa praecepta sententiae +levitasque verborum et compositionis probabilis, daturque ei palma in +illo medio genere dicendi. +<span class = "secnum">53</span> +<a name = "chapI_sec53" id = "chapI_sec53"> </a> +Contra in <span class = "smallcaps">Antimacho</span> vis +<span class = "pagenum">53</span> +et gravitas et minime vulgare eloquendi genus habet laudem. Sed quamvis +ei secundas fere grammaticorum consensus deferat, et adfectibus et +iucunditate et dispositione et omnino arte deficitur, ut plane manifesto +appareat quanto sit aliud proximum esse, aliud secundum. +<span class = "secnum">54</span> +<a name = "chapI_sec54" id = "chapI_sec54"> </a> +<span class = "smallcaps">Panyasin</span>, ex utroque mixtum, putant in +<span class = "pagenum">54</span> +eloquendo neutrius aequare virtutes, alterum tamen ab eo materia, +alterum disponendi ratione superari. <span class = +"smallcaps">Apollonius</span> in ordinem a grammaticis datum non venit, +quia Aristarchus atque Aristophanes poetarum iudices neminem sui +temporis in numerum redegerunt; non tamen contemnendum reddidit opus +aequali quadam mediocritate. +<span class = "secnum">55</span> +<a name = "chapI_sec55" id = "chapI_sec55"> </a> +<span class = "smallcaps">Arati</span> materia motu caret, ut +<span class = "pagenum">55</span> +in qua nulla varietas, nullus adfectus, nulla persona, nulla cuiusquam +sit oratio; sufficit tamen operi cui se parem credidit. Admirabilis in +suo genere <span class = "smallcaps">Theocritus</span>, sed musa illa +rustica et pastoralis non forum modo, verum ipsam etiam urbem +reformidat. +<span class = "secnum">56</span> +<a name = "chapI_sec56" id = "chapI_sec56"> </a> +Audire videor undique congerentes nomina plurimorum poetarum. Quid? +Herculis acta non bene <span class = "smallcaps">Pisandros</span>? <span +class = "smallcaps">Nicandrum</span> frustra secuti Macer atque +Vergilius? Quid? +<span class = "pagenum">56</span> +<span class = "smallcaps">Euphorionem</span> transibimus? Quem nisi +probasset Vergilius idem, numquam certe ‘conditorum Chalcidico versu +carminum’ fecisset in Bucolicis mentionem. Quid? Horatius frustra <span +class = "smallcaps">Tyrtaeum</span> Homero subiungit? +<span class = "secnum">57</span> +<a name = "chapI_sec57" id = "chapI_sec57"> </a> +Nec sane quisquam est tam procul a cognitione eorum remotus ut non +indicem certe ex bibliotheca sumptum transferre in libros suos possit. +Nec ignoro igitur quos transeo nec utique damno, ut qui dixerim esse in +omnibus utilitatis aliquid. +<span class = "secnum">58</span> +<a name = "chapI_sec58" id = "chapI_sec58"> </a> +Sed ad illos iam perfectis constitutisque viribus revertemur, quod in +cenis grandibus saepe +<span class = "pagenum">57</span> +facimus, ut, cum optimis satiati sumus, varietas tamen nobis ex +vilioribus grata sit. Tunc et elegiam vacabit in manus sumere, cuius +princeps habetur <span class = "smallcaps">Callimachus</span>, secundas +confessione plurimorum <span class = "smallcaps">Philetas</span> +occupavit. +<span class = "secnum">59</span> +<a name = "chapI_sec59" id = "chapI_sec59"> </a> +Sed dum adsequimur illam firmam, ut dixi, facilitatem, optimis +adsuescendum est et multa magis quam multorum lectione formanda mens et +ducendus color. Itaque ex tribus receptis Aristarchi iudicio +scriptoribus +<span class = "pagenum">58</span> +iamborum ad <span class = "greek" title = "hexin">ἕξιν</span> maxime +pertinebit unus <span class = "smallcaps">Archilochus</span>. +<span class = "secnum">60</span> +<a name = "chapI_sec60" id = "chapI_sec60"> </a> +Summa in hoc vis elocutionis, cum validae tum breves vibrantesque +sententiae, plurimum sanguinis atque nervorum, adeo ut videatur +quibusdam, quod quoquam minor est, materiae esse, non ingenii vitium. +<span class = "secnum">61</span> +<a name = "chapI_sec61" id = "chapI_sec61"> </a> +Novem vero lyricorum longe <span class = "smallcaps">Pindarus</span> +<span class = "pagenum">59</span> +princeps spiritu magnificentia, sententiis figuris, beatissima rerum +verborumque copia et velut quodam eloquentiae flumine; propter quae +Horatius eum merito credidit nemini imitabilem. +<span class = "secnum">62</span> +<a name = "chapI_sec62" id = "chapI_sec62"> </a> +<span class = "smallcaps">Stesichorum</span>, quam sit ingenio validus, +materiae quoque ostendunt, maxima bella et clarissimos canentem duces et +epici carminis onera lyra sustinentem. Reddit enim personis in agendo +simul loquendoque debitam dignitatem, ac si tenuisset modum, videtur +aemulari proximus Homerum potuisse; sed +<span class = "pagenum">60</span> +redundat atque effunditur, quod ut est reprehendendum, ita copiae vitium +est. +<span class = "secnum">63</span> +<a name = "chapI_sec63" id = "chapI_sec63"> </a> +<span class = "smallcaps">Alcaeus</span> in parte operis ‘aureo plectro’ +merito donatur, qua tyrannos insectatus multum etiam moribus confert, in +eloquendo quoque brevis et magnificus et diligens et plerumque oratori +similis; sed et lusit et in amores descendit, maioribus tamen aptior. +<span class = "secnum">64</span> +<a name = "chapI_sec64" id = "chapI_sec64"> </a> +<span class = "smallcaps">Simonides</span>, tenuis alioqui, sermone +<span class = "pagenum">61</span> +proprio et iucunditate quadam commendari potest; praecipua tamen eius in +commovenda miseratione virtus, ut quidam in hac eum parte omnibus eius +operis auctoribus praeferant.</p> + +<span class = "secnum">65</span> +<a name = "chapI_sec65" id = "chapI_sec65"> </a> +<p>Antiqua comoedia cum sinceram illam sermonis Attici gratiam prope +sola retinet, tum facundissimae libertatis est et in insectandis vitiis +praecipua; plurimum tamen virium etiam in +<span class = "pagenum">62</span> +ceteris partibus habet. Nam et grandis et elegans et venusta, et nescio +an ulla, post Homerum tamen, quem ut Achillen semper excipi par est, aut +similior sit oratoribus aut ad oratores faciendos aptior. +<span class = "secnum">66</span> +<a name = "chapI_sec66" id = "chapI_sec66"> </a> +Plures eius auctores, <span class = "smallcaps">Aristophanes</span> +tamen et <span class = "smallcaps">Eupolis</span> <span class = +"smallcaps">Cratinus</span>que praecipui. Tragoedias primus in lucem +<span class = "smallcaps">Aeschylus</span> protulit, sublimis et gravis +et grandiloquus +<span class = "pagenum">63</span> +saepe usque ad vitium, sed rudis in plerisque et incompositus; propter +quod correctas eius fabulas in certamen deferre posterioribus poetis +Athenienses permiserunt, suntque eo modo multi coronati. +<span class = "secnum">67</span> +<a name = "chapI_sec67" id = "chapI_sec67"> </a> +Sed longe clarius inlustraverunt hoc opus <span class = +"smallcaps">Sophocles</span> atque <span class = +"smallcaps">Euripides</span>, quorum in dispari dicendi via uter sit +poeta melior inter plurimos quaeritur. Idque ego sane, quoniam ad +praesentem materiam nihil pertinet, iniudicatum +<span class = "pagenum">64</span> +relinquo. Illud quidem nemo non fateatur necesse est, iis qui se ad +agendum comparant utiliorem longe fore Euripiden. +<span class = "secnum">68</span> +<a name = "chapI_sec68" id = "chapI_sec68"> </a> +Namque is et sermone (quod ipsum reprehendunt quibus gravitas et +cothurnus et sonus Sophocli videtur esse sublimior) magis accedit +oratorio generi, et sententiis densus et in iis quae a sapientibus +tradita sunt paene ipsis par, et dicendo ac respondendo cuilibet eorum +qui fuerunt in foro diserti comparandus; in adfectibus vero cum omnibus +mirus, tum in iis qui in miseratione constant facile praecipuus. +<span class = "secnum">69</span> +<a name = "chapI_sec69" id = "chapI_sec69"> </a> +Hunc admiratus maxime est, ut saepe testatur, et secutus, quamquam in +opere diverso, <span class = "smallcaps">Menander</span>, qui vel unus +meo quidem iudicio diligenter lectus ad cuncta quae praecipimus +effingenda sufficiat: ita omnem +<span class = "pagenum">65</span> +vitae imaginem expressit, tanta in eo inveniendi copia et eloquendi +facultas, ita est omnibus rebus, personis, adfectibus accommodatus. +<span class = "secnum">70</span> +<a name = "chapI_sec70" id = "chapI_sec70"> </a> +Nec nihil profecto viderunt qui orationes, quae Charisi nomini +addicuntur, a Menandro scriptas putant. Sed mihi longe magis orator +probari in opere suo videtur, nisi forte aut illa iudicia, qua +Epitrepontes, Epicleros, Locroe habent, aut meditationes in Psophodee, +Nomothete, Hypobolimaeo non omnibus oratoriis numeris sunt absolutae. +<span class = "secnum">71</span> +<a name = "chapI_sec71" id = "chapI_sec71"> </a> +Ego tamen plus adhuc quiddam collaturum eum declamatoribus puto, quoniam +his necesse est secundum +<span class = "pagenum">66</span> +condicionem controversiarum plures subire personas, patrum filiorum, +militum rusticorum, divitum pauperum, irascentium deprecantium, mitium +asperorum; in quibus omnibus mire custoditur ab hoc poeta decor. +<span class = "secnum">72</span> +<a name = "chapI_sec72" id = "chapI_sec72"> </a> +Atque ille quidem omnibus eiusdem operis auctoribus abstulit nomen et +fulgore quodam suae claritatis tenebras obduxit. Tamen habent alii +quoque comici, si cum venia leguntur, quaedam quae possis decerpere, et +praecipue <span class = "smallcaps">Philemon</span>; qui ut prave sui +temporis iudiciis Menandro saepe praelatus est, ita consensu tamen +omnium meruit credi secundus.</p> + +<span class = "secnum">73</span> +<a name = "chapI_sec73" id = "chapI_sec73"> </a> +<p>Historiam multi scripsere praeclare, sed nemo dubitat longe +<span class = "pagenum">67</span> +duos ceteris praeferendos, quorum diversa virtus laudem paene est parem +consecuta. Densus et brevis et semper instans sibi +<span class = "pagenum">68</span> +<span class = "smallcaps">Thucydides</span>, dulcis et candidus et fusus +<span class = "smallcaps">Herodotus</span>: ille concitatis hic remissis +adfectibus melior, ille contionibus hic sermonibus, ille vi hic +voluptate. +<span class = "secnum">74</span> +<a name = "chapI_sec74" id = "chapI_sec74"> </a> +<span class = "smallcaps">Theopompus</span> his proximus +<span class = "pagenum">69</span> +ut in historia praedictis minor, ita oratori magis similis, ut qui, +antequam est ad hoc opus sollicitatus, diu fuerit orator. <span class = +"smallcaps">Philistus</span> quoque meretur qui turbae quamvis bonorum +post eos auctorum eximatur, imitator Thucydidi et ut multo infirmior, +<span class = "pagenum">70</span> +ita aliquatenus lucidior. <span class = "smallcaps">Ephorus</span>, ut +Isocrati visum, calcaribus eget. <span class = +"smallcaps">Clitarchi</span> probatur ingenium, fides infamatur. +<span class = "secnum">75</span> +<a name = "chapI_sec75" id = "chapI_sec75"> </a> +Longo post intervallo temporis natus <span class = +"smallcaps">Timagenes</span> vel hoc est ipso probabilis, quod +intermissam historias scribendi industriam nova +<span class = "pagenum">71</span> +laude reparavit. <span class = "smallcaps">Xenophon</span> non excidit +mihi, sed inter philosophos reddendus est.</p> + +<span class = "secnum">76</span> +<a name = "chapI_sec76" id = "chapI_sec76"> </a> +<p>Sequitur oratorum ingens manus, ut cum decem simul Athenis +<span class = "pagenum">72</span> +aetas una tulerit. Quorum longe princeps <span class = +"smallcaps">Demosthenes</span> ac paene lex orandi fuit: tanta vis in +eo, tam densa omnia, ita quibusdam nervis intenta sunt, tam nihil +otiosum, is dicendi modus, ut nec quod desit in eo nec quod redundet +invenias. +<span class = "secnum">77</span> +<a name = "chapI_sec77" id = "chapI_sec77"> </a> +Plenior <span class = "smallcaps">Aeschines</span> et magis fusus et +grandiori similis, quo +<span class = "pagenum">73</span> +minus strictus est; carnis tamen plus habet, minus lacertorum. Dulcis in +primis et acutus <span class = "smallcaps">Hyperides</span>, sed +minoribus causis— +<span class = "pagenum">74</span> +ut non dixerim utilior— magis par. +<span class = "secnum">78</span> +<a name = "chapI_sec78" id = "chapI_sec78"> </a> +His aetate <span class = "smallcaps">Lysias</span> maior, subtilis atque +elegans et quo nihil, si oratori satis sit docere, quaeras perfectius; +nihil enim est inane, nihil arcessitum, puro +<span class = "pagenum">75</span> +tamen fonti quam magno flumini propior. +<span class = "secnum">79</span> +<a name = "chapI_sec79" id = "chapI_sec79"> </a> +<span class = "smallcaps">Isocrates</span> in diverso genere dicendi +nitidus et comptus et palaestrae quam pugnae +<span class = "pagenum">76</span> +magis accommodatus omnes dicendi veneres sectatus est, nec immerito: +auditoriis enim se, non iudiciis compararat: in inventione facilis, +honesti studiosus, in compositione adeo diligens +<span class = "pagenum">77</span> +ut cura eius reprehendatur. +<span class = "secnum">80</span> +<a name = "chapI_sec80" id = "chapI_sec80"> </a> +Neque ego in his de quibus sum locutus has solas virtutes, sed has +praecipuas puto, nec ceteros parum fuisse magnos. Quin etiam <span class += "smallcaps">Phalerea</span> illum <span class = +"smallcaps">Demetrium</span>, +<span class = "pagenum">78</span> +quamquam is primum inclinasse eloquentiam dicitur, multum ingenii +habuisse et facundiae fateor, vel ob hoc memoria dignum, quod ultimus +est fere ex Atticis qui dici possit orator; quem tamen in illo medio +genere dicendi praefert omnibus Cicero.</p> + +<span class = "secnum">81</span> +<a name = "chapI_sec81" id = "chapI_sec81"> </a> +<p>Philosophorum, ex quibus plurimum se traxisse eloquentiae +<span class = "pagenum">79</span> +M. Tullius confitetur, quis dubitet <span class = +"smallcaps">Platonem</span> esse praecipuum sive acumine disserendi sive +eloquendi facultate divina quadam et Homerica? Multum enim supra prosam +orationem et quam pedestrem Graeci vocant surgit, ut mihi non hominis +ingenio, sed quodam Delphici videatur oraculo dei instinctus. +<span class = "secnum">82</span> +<a name = "chapI_sec82" id = "chapI_sec82"> </a> +Quid ego +<span class = "pagenum">80</span> +commemorem <span class = "smallcaps">Xenophontis</span> illam +iucunditatem inadfectatam, sed quam nulla consequi adfectatio possit? ut +ipsae sermonem finxisse Gratiae videantur, et quod de Pericle veteris +comoediae testimonium est in hunc transferri iustissime possit, in +labris eius sedisse quandam persuadendi deam. +<span class = "secnum">83</span> +<a name = "chapI_sec83" id = "chapI_sec83"> </a> +Quid reliquorum Socraticorum elegantiam? Quid <span class = +"smallcaps">Aristotelen</span>? Quem dubito scientia rerum an scriptorum +copia an eloquendi suavitate an inventionum acumine an varietate operum +clariorem putem. Nam in <span class = "smallcaps">Theophrasto</span> tam +est loquendi nitor ille divinus ut +<span class = "pagenum">81</span> +ex eo nomen quoque traxisse dicatur. +<span class = "secnum">84</span> +<a name = "chapI_sec84" id = "chapI_sec84"> </a> +Minus indulsere eloquentiae Stoici veteres, sed cum honesta suaserunt +tum in colligendo probandoque quae instituerant plurimum valuerunt, +rebus tamen acuti magis quam (id quod sane non adfectaverunt) oratione +magnifici.</p> + +<span class = "pagenum">82</span> +<span class = "secnum">85</span> +<a name = "chapI_sec85" id = "chapI_sec85"> </a> +<p>Idem nobis per Romanos quoque auctores ordo ducendus est. Itaque ut +apud illos Homerus, sic apud nos <span class = +"smallcaps">Vergilius</span> auspicatissimum dederit exordium, omnium +eius generis poetarum Graecorum nostrorumque haud dubie proximus. +<span class = "secnum">86</span> +<a name = "chapI_sec86" id = "chapI_sec86"> </a> +Utar enim verbis isdem quae ex Afro Domitio iuvenis excepi: qui mihi +<span class = "pagenum">83</span> +interroganti quem Homero crederet maxime accedere, ‘secundus,’ inquit, +‘est Vergilius, propior tamen primo quam tertio.’ Et hercule ut illi +naturae caelesti atque immortali cesserimus, ita curae et diligentiae +vel ideo in hoc plus est, quod ei fuit magis laborandum; et quantum +eminentibus vincimur fortasse aequalitate pensamus. +<span class = "secnum">87</span> +<a name = "chapI_sec87" id = "chapI_sec87"> </a> +Ceteri omnes longe sequentur. Nam <span class = "smallcaps">Macer</span> +et <span class = "smallcaps">Lucretius</span> legendi quidem, sed non ut +<span class = "greek" title = "phrasin">φράσιν</span>, id est corpus +eloquentiae faciant, elegantes in sua quisque materia, sed alter +humilis, alter difficilis. <span class = "smallcaps">Atacinus +Varro</span> in iis per quae nomen +<span class = "pagenum">84</span> +est adsecutus interpres operis alieni, non spernendus quidem, verum ad +augendam facultatem dicendi parum locuples. +<span class = "secnum">88</span> +<a name = "chapI_sec88" id = "chapI_sec88"> </a> +<span class = "smallcaps">Ennium</span> sicut sacros vetustate lucos +adoremus, in quibus grandia et antiqua robora iam non tantam habent +speciem quantam religionem. Propiores alii, atque ad hoc de quo loquimur +magis utiles. Lascivus +<span class = "pagenum">85</span> +quidem in herois quoque <span class = "smallcaps">Ovidius</span> et +nimium amator ingenii sui, laudandus tamen in partibus. +<span class = "secnum">89</span> +<a name = "chapI_sec89" id = "chapI_sec89"> </a> +<span class = "smallcaps">Cornelius</span> autem <span class = +"smallcaps">Severus</span>, etiamsi sit versificator quam poeta melior, +si tamen, ut est +<span class = "pagenum">86</span> +dictum, ad exemplar primi libri bellum Siculum perscripsisset, +vindicaret sibi iure secundum locum. <span class = +"smallcaps">Serranum</span> consummari mors immatura non passa est, +puerilia tamen eius opera et maximam indolem ostendunt et admirabilem +praecipue in aetate illa recti generis voluntatem. +<span class = "secnum">90</span> +<a name = "chapI_sec90" id = "chapI_sec90"> </a> +Multum in <span class = "smallcaps">Valerio Flacco</span> nuper +amisimus. Vehemens et poeticum ingenium <span class = "smallcaps">Salei +Bassi</span> +<span class = "pagenum">87</span> +fuit, nec ipsum senectute maturuit. <span class = +"smallcaps">Rabirius</span> ac <span class = "smallcaps">Pedo</span> non +in digni cognitione, si vacet. <span class = "smallcaps">Lucanus</span> +ardens et concitatus et sententiis clarissimus, et, ut dicam quod +sentio, magis oratoribus quam poetis imitandus. +<span class = "secnum">91</span> +<a name = "chapI_sec91" id = "chapI_sec91"> </a> +Hos nominavimus, quia <span class = "smallcaps">Germanicum</span> <span +class = "smallcaps">Augustum</span> ab institutis studiis deflexit cura +terrarum, parumque +<span class = "pagenum">88</span> +dis visum est esse eum maximum poetarum. Quid tamen his ipsis eius +operibus, in quae donato imperio iuvenis secesserat, sublimius, doctius, +omnibus denique numeris praestantius? Quis enim caneret bella melius +quam qui sic gerit? Quem praesidentes studiis deae propius audirent? Cui +magis suas artes aperiret familiare numen Minervae? +<span class = "secnum">92</span> +<a name = "chapI_sec92" id = "chapI_sec92"> </a> +Dicent haec plenius futura saecula, nunc enim ceterarum fulgore virtutum +laus ista praestringitur. Nos tamen sacra litterarum colentes feres, +Caesar, si non tacitum hoc praeterimus et Vergiliano certe versu +testamur:</p> + +<p class = "poem"> +inter victrices hederam tibi serpere laurus.</p> + +<span class = "secnum">93</span> +<a name = "chapI_sec93" id = "chapI_sec93"> </a> +<p>Elegea quoque Graecos provocamus, cuius mihi tersus atque +<span class = "pagenum">89</span> +elegans maxime videtur auctor <span class = "smallcaps">Tibullus</span>: +sunt qui <span class = "smallcaps">Propertium</span> malint. <span class += "smallcaps">Ovidius</span> utroque lascivior, sicut durior <span class += "smallcaps">Gallus</span>. Satura quidem tota nostra est, in qua +primus insignem laudem +<span class = "pagenum">90</span> +adeptus <span class = "smallcaps">Lucilius</span> quosdam ita deditos +sibi adhuc habet amatores ut eum non eiusdem modo operis auctoribus sed +omnibus poetis praeferre non dubitent. +<span class = "secnum">94</span> +<a name = "chapI_sec94" id = "chapI_sec94"> </a> +Ego quantum ab illis, tantum ab Horatio dissentio, qui Lucilium fluere +lutulentum et esse aliquid quod tollere possis, putat. Nam eruditio in +eo mira et libertas atque inde acerbitas et abunde salis. Multum est +tersior ac +<span class = "pagenum">91</span> +purus magis <span class = "smallcaps">Horatius</span> et, non labor eius +amore, praecipuus. Multum et verae gloriae quamvis uno libro <span class += "smallcaps">Persius</span> meruit. Sunt clari hodieque et qui olim +nominabuntur. +<span class = "secnum">95</span> +<a name = "chapI_sec95" id = "chapI_sec95"> </a> +Alterum illud etiam +<span class = "pagenum">92</span> +prius saturae genus, sed non sola carminum varietate mixtum condidit +<span class = "smallcaps">Terentius Varro</span>, vir Romanorum +eruditissimus. +<span class = "pagenum">93</span> +Plurimos hic libros et doctissimos composuit, peritissimus linguae +Latinae et omnis antiquitatis et rerum Graecarum nostrarumque, plus +tamen scientiae collaturus quam eloquentiae. +<span class = "secnum">96</span> +<a name = "chapI_sec96" id = "chapI_sec96"> </a> +Iambus non sane a Romanis celebratus est ut proprium opus, <i>sed +aliis</i> quibusdam interpositus; cuius acerbitas in <span class = +"smallcaps">Catullo</span>, <span class = "smallcaps">Bibaculo</span>, +<span class = "pagenum">94</span> +<span class = "smallcaps">Horatio</span>, quamquam illi epodos +intervenit, reperietur. At lyricorum idem <span class = +"smallcaps">Horatius</span> fere solus legi dignus; nam et insurgit +aliquando et plenus est iucunditatis et gratiae et varius figuris et +verbis felicissime audax. Si quem adicere velis, is erit <span class = +"smallcaps">Caesius Bassus</span>, quem nuper vidimus; sed eum longe +praecedunt ingenia viventium.</p> + +<span class = "secnum">97</span> +<a name = "chapI_sec97" id = "chapI_sec97"> </a> +<p>Tragoediae scriptores veterum <span class = "smallcaps">Attius</span> +atque <span class = "smallcaps">Pacuvius</span> clarissimi +<span class = "pagenum">95</span> +gravitate sententiarum, verborum pondere, auctoritate personarum. +<span class = "pagenum">96</span> +Ceterum nitor et summa in excolendis operibus manus magis videri potest +temporibus quam ipsis defuisse; virium tamen Attio plus tribuitur, +Pacuvium videri doctiorem qui esse docti adfectant volunt. +<span class = "secnum">98</span> +<a name = "chapI_sec98" id = "chapI_sec98"> </a> +Iam <span class = "smallcaps">Vari</span> Thyestes cuilibet Graecarum +comparari potest. <span class = "smallcaps">Ovidi</span> Medea videtur +mihi ostendere quantum ille vir praestare potuerit si ingenio suo +imperare quam indulgere +<span class = "pagenum">97</span> +maluisset. Eorum quos viderim longe princeps <span class = +"smallcaps">Pomponius Secundus</span>, quem senes quidem parum tragicum +putabant, eruditione ac nitore praestare confitebantur. +<span class = "secnum">99</span> +<a name = "chapI_sec99" id = "chapI_sec99"> </a> +In comoedia maxime claudicamus. Licet Varro Musas, Aeli Stilonis +sententia, +<span class = "pagenum">98</span> +Plautino dicat sermone locuturas fuisse, si Latine loqui vellent, licet +<span class = "smallcaps">Caecilium</span> veteres laudibus ferant, +licet <span class = "smallcaps">Terenti</span> scripta ad Scipionem +Africanum referantur (quae tamen sunt in hoc +<span class = "pagenum">99</span> +genere elegantissima, et plus adhuc habitura gratiae si intra versus +trimetros stetissent), +<span class = "secnum">100</span> +<a name = "chapI_sec100" id = "chapI_sec100"> </a> +vix levem consequimur umbram: adeo ut mihi sermo ipse Romanus non +recipere videatur illam solis concessam Atticis venerem, cum eam ne +Graeci quidem in alio genere linguae <i>suae</i> obtinuerint. Togatis +excellit <span class = "smallcaps">Afranius</span>: utinam non +inquinasset argumenta puerorum foedis amoribus mores suos fassus.</p> + +<span class = "pagenum">100</span> +<span class = "secnum">101</span> +<a name = "chapI_sec101" id = "chapI_sec101"> </a> +<p>At non historia cesserit Graecis. Nec opponere Thucydidi <span class += "smallcaps">Sallustium</span> verear, nec indignetur sibi Herodotus +aequari <span class = "smallcaps">Titum Livium</span>, cum in narrando +mirae iucunditatis clarissimique candoris, tum in contionibus supra quam +enarrari potest eloquentem: +<span class = "pagenum">101</span> +ita quae dicuntur omnia cum rebus, tum personis accommodata sunt: +adfectus quidem praecipueque eos qui sunt dulciores, ut parcissime +dicam, nemo historicorum commendavit magis. +<span class = "secnum">102</span> +<a name = "chapI_sec102" id = "chapI_sec102"> </a> +Ideoque immortalem Sallusti velocitatem diversis virtutibus consecutus +est. Nam mihi egregie dixisse videtur <span class = +"smallcaps">Servilius Nonianus</span>, pares eos magis quam similes; qui +et ipse a +<span class = "pagenum">102</span> +nobis auditus est clarus vi ingenii et sententiis creber, sed minus +pressus quam historiae auctoritas postulat. +<span class = "secnum">103</span> +<a name = "chapI_sec103" id = "chapI_sec103"> </a> +Quam paulum aetate praecedens eum <span class = "smallcaps">Bassus +Aufidius</span> egregie, utique in libris belli Germanici, praestitit +genere ipso, probabilis in omnibus, sed in quibusdam suis ipse viribus +minor. +<span class = "secnum">104</span> +<a name = "chapI_sec104" id = "chapI_sec104"> </a> +Superest adhuc et exornat +<span class = "pagenum">103</span> +aetatis nostrae gloriam vir saeculorum memoria dignus, qui olim +nominabitur, nunc intellegitur. Habet amatores nec immerito <span class += "smallcaps">Cremuti</span> libertas, quamquam circumcisis quae dixisse +ei nocuerat; sed elatum abunde spiritum et audaces sententias +deprehendas etiam in his quae manent. Sunt et alii scriptores boni, sed +nos genera degustamus, non bibliothecas excutimus.</p> + +<span class = "secnum">105</span> +<a name = "chapI_sec105" id = "chapI_sec105"> </a> +<p>Oratores vero vel praecipue Latinam eloquentiam parem facere +<span class = "pagenum">104</span> +Graecae possunt; nam <span class = "smallcaps">Ciceronem</span> +cuicumque eorum fortiter opposuerim. Nec ignoro quantam mihi concitem +pugnam, cum +<span class = "pagenum">105</span> +praesertim non id sit propositi ut eum Demostheni comparem hoc tempore; +neque enim attinet, cum Demosthenen in primis legendum vel ediscendum +potius putem. +<span class = "secnum">106</span> +<a name = "chapI_sec106" id = "chapI_sec106"> </a> +Quorum ego virtutes +<span class = "pagenum">106</span> +plerasque arbitror similes, consilium, ordinem, dividendi, praeparandi, +probandi rationem, [omnia] denique quae sunt inventionis. +<span class = "pagenum">107</span> +In eloquendo est aliqua diversitas: densior ille hic copiosior, ille +concludit adstrictius hic latius, pugnat ille acumine semper hic +frequenter et pondere, illi nihil detrahi potest huic nihil adici, curae +plus in illo in hoc naturae. +<span class = "secnum">107</span> +<a name = "chapI_sec107" id = "chapI_sec107"> </a> +Salibus certe et +<span class = "pagenum">108</span> +commiseratione, quae duo plurimum in adfectibus valent, vincimus. Et +fortasse epilogos illi mos civitatis abstulerit, sed et nobis illa, quae +Attici mirantur, diversa Latini sermonis ratio +<span class = "pagenum">109</span> +minus permiserit. In epistulis quidem, quamquam sunt utriusque, +dialogisve, quibus nihil ille, nulla contentio est. +<span class = "secnum">108</span> +<a name = "chapI_sec108" id = "chapI_sec108"> </a> +Cedendum vero in hoc, quod et prior fuit et ex magna parte Ciceronem +quantus est fecit. Nam mihi videtur M. Tullius, cum se totum ad +imitationem Graecorum contulisset, effinxisse vim Demosthenis, copiam +Platonis, iucunditatem Isocratis. +<span class = "secnum">109</span> +<a name = "chapI_sec109" id = "chapI_sec109"> </a> +Nec vero quod in quoque optimum fuit studio consecutus est tantum, sed +plurimas vel potius omnes ex se ipso virtutes extulit immortalis ingenii +beatissima ubertate. Non enim ‘pluvias,’ ut ait Pindarus, ‘aquas +colligit, sed vivo gurgite exundat,’ dono quodam providentiae genitus, +in quo totas vires suas eloquentia experiretur. +<span class = "secnum">110</span> +<a name = "chapI_sec110" id = "chapI_sec110"> </a> +Nam quis docere diligentius, movere vehementius potest? Cui tanta umquam +iucunditas adfuit? ut ipsa illa quae extorquet +<span class = "pagenum">110</span> +impetrare eum credas, et cum transversum vi sua iudicem ferat, tamen +ille non rapi videatur, sed sequi. +<span class = "secnum">111</span> +<a name = "chapI_sec111" id = "chapI_sec111"> </a> +Iam in omnibus quae dicit tanta auctoritas inest ut dissentire pudeat, +nec advocati studium sed testis aut iudicis adferat fidem; cum interim +haec omnia, quae vix singula quisquam intentissima cura consequi posset, +fluunt inlaborata et illa, qua nihil pulchrius auditum est, oratio prae +se fert tamen felicissimam facilitatem. +<span class = "secnum">112</span> +<a name = "chapI_sec112" id = "chapI_sec112"> </a> +Quare non immerito ab hominibus aetatis suae regnare in iudiciis dictus +est, apud posteros vero id consecutus, ut Cicero iam non hominis nomen +sed eloquentiae habeatur. Hunc igitur spectemus, hoc propositum nobis +sit exemplum, ille se profecisse sciat, cui Cicero valde placebit. +<span class = "secnum">113</span> +<a name = "chapI_sec113" id = "chapI_sec113"> </a> +Multa in <span class = "smallcaps">Asinio Pollione</span> inventio, +summa +<span class = "pagenum">111</span> +diligentia, adeo ut quibusdam etiam nimia videatur, et consilii et animi +satis: a nitore et iucunditate Ciceronis ita longe abest ut videri +possit saeculo prior. At <span class = "smallcaps">Messalla</span> +nitidus et candidus et quodam modo praeferens in dicendo nobilitatem +suam, viribus minor. +<span class = "secnum">114</span> +<a name = "chapI_sec114" id = "chapI_sec114"> </a> +C. vero <span class = "smallcaps">Caesar</span> si foro tantum vacasset, +non alius ex +<span class = "pagenum">112</span> +nostris contra Ciceronem nominaretur. Tanta in eo vis est, id acumen, ea +concitatio, ut illum eodem animo dixisse quo bellavit appareat; exornat +tamen haec omnia mira sermonis, cuius proprie studiosus fuit, elegantia. +<span class = "secnum">115</span> +<a name = "chapI_sec115" id = "chapI_sec115"> </a> +Multum ingenii in <span class = "smallcaps">Caelio</span> et praecipue +in accusando multa urbanitas, dignusque vir, cui et mens melior et vita +longior contigisset. Inveni qui <span class = "smallcaps">Calvum</span> +<span class = "pagenum">113</span> +praeferrent omnibus, inveni qui Ciceroni crederent eum nimia contra se +calumnia verum sanguinem perdidisse; sed est et sancta et gravis oratio +et castigata et frequenter vehemens +<span class = "pagenum">114</span> +quoque. Imitator autem est Atticorum, fecitque illi properata mors +iniuriam, si quid adiecturus sibi non si quid detracturus fuit. +<span class = "secnum">116</span> +<a name = "chapI_sec116" id = "chapI_sec116"> </a> +Et <span class = "smallcaps">Servius Sulpicius</span> insignem non +immerito famam tribus orationibus meruit. Multa, si cum iudicio legatur, +dabit imitatione digna <span class = "smallcaps">Cassius Severus</span>, +qui si ceteris virtutibus colorem et gravitatem orationis adiecisset, +ponendus inter praecipuos foret. +<span class = "secnum">117</span> +<a name = "chapI_sec117" id = "chapI_sec117"> </a> +Nam et ingenii plurimum est in eo et acerbitas mira et urbanitas et +fervor, sed plus stomacho quam consilio dedit. Praeterea +<span class = "pagenum">115</span> +ut amari sales, ita frequenter amaritudo ipsa ridicula est. +<span class = "secnum">118</span> +<a name = "chapI_sec118" id = "chapI_sec118"> </a> +Sunt alii multi diserti, quos persequi longum est. Eorum quos viderim +<span class = "smallcaps">Domitius Afer</span> et <span class = +"smallcaps">Iulius Africanus</span> longe praestantissimi. +<span class = "pagenum">116</span> +Verborum arte ille et toto genere dicendi praeferendus et quem in numero +veterum habere non timeas: hic concitatior, sed in cura verborum nimius +et compositione nonnumquam longior et translationibus parum modicus. +Erant clara et nuper ingenia. +<span class = "secnum">119</span> +<a name = "chapI_sec119" id = "chapI_sec119"> </a> +Nam et <span class = "smallcaps">Trachalus</span> plerumque sublimis et +satis apertus fuit et quem velle optima crederes, auditus tamen maior; +nam et vocis, quantam in nullo cognovi, felicitas et pronuntiatio vel +scaenis suffectura et decor, omnia denique ei, quae sunt extra, +superfuerunt: et <span class = "smallcaps">Vibius Crispus</span> +compositus et iucundus et delectationi +<span class = "pagenum">117</span> +natus, privatis tamen causis quam publicis melior. +<span class = "secnum">120</span> +<a name = "chapI_sec120" id = "chapI_sec120"> </a> +<span class = "smallcaps">Iulio Secundo</span>, si longior contigisset +aetas, clarissimum profecto nomen oratoris apud posteros foret; +adiecisset enim atque adiciebat ceteris virtutibus suis quod desiderari +potest, id est autem ut esset multo magis pugnax et saepius ad curam +rerum ab elocutione respiceret. +<span class = "secnum">121</span> +<a name = "chapI_sec121" id = "chapI_sec121"> </a> +Ceterum interceptus quoque magnum sibi vindicat locum: ea est facundia, +tanta in explicando quod velit gratia, tam candidum et lene et speciosum +dicendi genus, tanta verborum etiam quae adsumpta sunt proprietas, tanta +in +<span class = "pagenum">118</span> +quibusdam ex periculo petitis significantia. +<span class = "secnum">122</span> +<a name = "chapI_sec122" id = "chapI_sec122"> </a> +Habebunt qui post nos de oratoribus scribent magnam eos qui nunc vigent +materiam vere laudandi; sunt enim summa hodie, quibus inlustratur forum, +ingenia. Namque et consummati iam patroni veteribus aemulantur et eos +iuvenum ad optima tendentium imitatur ac sequitur industria.</p> + +<span class = "secnum">123</span> +<a name = "chapI_sec123" id = "chapI_sec123"> </a> +<p>Supersunt qui de philosophia scripserint, quo in genere paucissimos +adhuc eloquentes litterae Romanae tulerunt. Idem igitur <span class = +"smallcaps">M. Tullius</span>, qui ubique, etiam in hoc opere +Platonis aemulus +<span class = "pagenum">119</span> +extitit. Egregius vero multoque quam in orationibus praestantior <span +class = "smallcaps">Brutus</span> suffecit ponderi rerum: scias eum +sentire quae dicit. +<span class = "secnum">124</span> +<a name = "chapI_sec124" id = "chapI_sec124"> </a> +Scripsit non parum multa <span class = "smallcaps">Cornelius +Celsus</span>, Sextios secutus, non sine cultu ac nitore. <span class = +"smallcaps">Plautus</span> in Stoicis rerum cognitioni utilis. In +Epicureis levis quidem, sed non iniucundus tamen +<span class = "pagenum">120</span> +auctor est <span class = "smallcaps">Catius</span>. +<span class = "secnum">125</span> +<a name = "chapI_sec125" id = "chapI_sec125"> </a> +Ex industria <span class = "smallcaps">Senecam</span> in omni genere +eloquentiae distuli propter vulgatam falso de me opinionem, qua damnare +eum et invisum quoque habere sum creditus. Quod accidit mihi dum +corruptum et omnibus vitiis fractum dicendi genus revocare ad severiora +iudicia contendo; tum autem solus hic fere in manibus adulescentium +fuit. +<span class = "secnum">126</span> +<a name = "chapI_sec126" id = "chapI_sec126"> </a> +Quem non equidem omnino conabar excutere, sed potioribus praeferri non +sinebam, quos ille non destiterat incessere, cum diversi sibi conscius +<span class = "pagenum">121</span> +generis placere se in dicendo posse <i>iis</i> quibus illi placerent +diffideret. Amabant autem eum magis quam imitabantur, tantumque ab illo +defluebant quantum ille ab antiquis descenderat. +<span class = "secnum">127</span> +<a name = "chapI_sec127" id = "chapI_sec127"> </a> +Foret enim optandum pares ac saltem proximos illi viro fieri. Sed +placebat propter sola vitia et ad ea se quisque dirigebat effingenda, +quae poterat; deinde cum se iactaret eodem modo dicere, Senecam +infamabat. +<span class = "secnum">128</span> +<a name = "chapI_sec128" id = "chapI_sec128"> </a> +Cuius et multae alioqui et magnae virtutes fuerunt, ingenium facile et +copiosum, plurimum studii, multa rerum cognitio, in qua tamen aliquando +ab his quibus inquirenda quaedam mandabat deceptus est. +<span class = "secnum">129</span> +<a name = "chapI_sec129" id = "chapI_sec129"> </a> +Tractavit etiam omnem fere studiorum materiam; nam et orationes eius et +poemata et epistulae et dialogi feruntur. In philosophia parum diligens, +egregius tamen vitiorum insectator +<span class = "pagenum">122</span> +fuit. Multae in eo claraeque sententiae, multa etiam morum gratia +legenda, sed in eloquendo corrupta pleraque atque eo perniciosissima, +quod abundant dulcibus vitiis. +<span class = "secnum">130</span> +<a name = "chapI_sec130" id = "chapI_sec130"> </a> +Velles eum suo ingenio dixisse, alieno iudicio; nam si <i>ob</i>liqua +contempsisset, si parum <i>recta</i> non concupisset, si non omnia sua +amasset, si rerum pondera minutissimis sententiis non fregisset, +consensu potius eruditorum quam puerorum amore comprobaretur. +<span class = "secnum">131</span> +<a name = "chapI_sec131" id = "chapI_sec131"> </a> +Verum sic quoque iam robustis et severiore genere satis firmatis +legendus vel ideo quod exercere potest utrimque iudicium. Multa enim, ut +dixi, probanda in eo, multa etiam admiranda sunt; eligere modo curae +sit, quod utinam ipse fecisset. Digna enim fuit illa natura, quae +meliora vellet: quod voluit effecit.</p> + + +<h5><a name = "chapII" id = "chapII"> +De Imitatione.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapII_sec1" id = "chapII_sec1"> </a> +<p><b>II.</b> Ex his ceterisque lectione dignis auctoribus et verborum +sumenda copia est et varietas figurarum et componendi ratio, tum ad +exemplum virtutum omnium mens derigenda. Neque +<span class = "pagenum">123</span> +enim dubitari potest, quin artis pars magna contineatur imitatione. Nam +ut invenire primum fuit estque praecipuum, sic ea quae bene inventa sunt +utile sequi. +<span class = "secnum">2</span> +<a name = "chapII_sec2" id = "chapII_sec2"> </a> +Atque omnis vitae ratio sic constat, ut quae probamus in aliis facere +ipsi velimus. Sic litterarum ductus, ut scribendi fiat usus, pueri +sequuntur; sic musici vocem docentium, pictores opera priorum, rustici +probatam experimento culturam in exemplum intuentur; omnis denique +disciplinae initia ad propositum sibi praescriptum formari videmus. +<span class = "pagenum">124</span> +<span class = "secnum">3</span> +<a name = "chapII_sec3" id = "chapII_sec3"> </a> +Et hercule necesse est aut similes aut dissimiles bonis simus. Similem +raro natura praestat, frequenter imitatio. Sed hoc ipsum quod tanto +faciliorem nobis rationem rerum omnium facit quam fuit iis qui nihil +quod sequerentur habuerunt, nisi caute et cum iudicio adprehenditur, +nocet.</p> + +<span class = "secnum">4</span> +<a name = "chapII_sec4" id = "chapII_sec4"> </a> +<p>Ante omnia igitur imitatio per se ipsa non sufficit, vel quia pigri +est ingenii contentum esse iis quae sint ab aliis inventa. Quid enim +futurum erat temporibus illis quae sine exemplo fuerunt, si homines +nihil, nisi quod iam cognovissent, faciendum sibi aut cogitandum +putassent? Nempe nihil fuisset inventum. +<span class = "secnum">5</span> +<a name = "chapII_sec5" id = "chapII_sec5"> </a> +Cur igitur nefas est reperiri aliquid a nobis, quod ante non fuerit? An +illi rudes sola mentis natura ducti sunt in hoc, ut tam multa +generarent: nos ad quaerendum non eo ipso concitemur, quod certe scimus +invenisse eos qui quaesierunt? +<span class = "secnum">6</span> +<a name = "chapII_sec6" id = "chapII_sec6"> </a> +Et +<span class = "pagenum">125</span> +cum illi, qui nullum cuiusquam rei habuerunt magistrum, plurima in +posteros tradiderunt, nobis usus aliarum rerum ad eruendas alias non +proderit, sed nihil habebimus nisi beneficii alieni? quem ad modum +quidam pictores in id solum student, ut describere tabulas mensuris ac +lineis sciant. +<span class = "secnum">7</span> +<a name = "chapII_sec7" id = "chapII_sec7"> </a> +Turpe etiam illud est, contentum esse id consequi quod imiteris. Nam +rursus quid erat futurum, si nemo plus effecisset eo quem sequebatur? +Nihil in poetis supra Livium Andronicum, nihil in historiis supra +<span class = "pagenum">126</span> +pontificum annales haberemus; ratibus adhuc navigaremus; non esset +pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole +fecissent, circumscriberet. +<span class = "secnum">8</span> +<a name = "chapII_sec8" id = "chapII_sec8"> </a> +Ac si omnia percenseas, nulla <i>man</i>sit ars qualis inventa est, nec +intra initium stetit: nisi forte nostra potissimum tempora damnamus +huius infelicitatis, ut nunc demum nihil crescat: nihil autem crescit +sola imitatione. +<span class = "secnum">9</span> +<a name = "chapII_sec9" id = "chapII_sec9"> </a> +Quod si prioribus adicere fas non est, quo modo sperare possumus illum +oratorem perfectum? cum in his, quos maximos adhuc novimus, nemo sit +inventus in quo nihil aut desideretur aut reprehendatur. Sed etiam qui +summa non adpetent, contendere potius quam sequi debent. +<span class = "secnum">10</span> +<a name = "chapII_sec10" id = "chapII_sec10"> </a> +Nam qui hoc agit ut prior sit, forsitan etiamsi non transierit aequabit. +Eum vero nemo potest aequare cuius vestigiis sibi utique insistendum +putat; necesse est enim semper sit posterior qui +<span class = "pagenum">127</span> +sequitur. Adde quod plerumque facilius est plus facere quam idem; tantam +enim difficultatem habet similitudo ut ne ipsa quidem natura in hoc ita +evaluerit ut non res quae simillimae quaeque pares maxime videantur +utique discrimine aliquo discernantur. +<span class = "secnum">11</span> +<a name = "chapII_sec11" id = "chapII_sec11"> </a> +Adde quod quidquid alteri simile est, necesse est minus sit eo quod +imitatur, ut umbra corpore et imago facie et actus histrionum veris +adfectibus. Quod in orationibus quoque evenit. Namque iis quae in +exemplum adsumimus subest natura et vera vis; contra omnis imitatio +facta est et ad alienum propositum accommodatur. +<span class = "secnum">12</span> +<a name = "chapII_sec12" id = "chapII_sec12"> </a> +Quo fit ut minus sanguinis ac virium declamationes habeant quam +orationes, quod in illis vera, in his adsimilata materia est. Adde quod +ea quae in oratore maxima sunt imitabilia non sunt, ingenium, inventio, +vis, facilitas et quidquid arte non traditur. +<span class = "secnum">13</span> +<a name = "chapII_sec13" id = "chapII_sec13"> </a> +Ideoque plerique, cum verba quaedam ex orationibus excerpserunt aut +aliquos compositionis certos pedes, mire a se quae legerunt effingi +arbitrantur, cum et verba intercidant invalescantque temporibus, (ut +quorum certissima +<span class = "pagenum">128</span> +sit regula in consuetudine,) eaque non sua natura sint bona aut +mala— nam per se soni tantum sunt— sed prout opportune +proprieque aut secus collocata sunt, et compositio cum rebus accommodata +sit, tum ipsa varietate gratissima.</p> + +<span class = "secnum">14</span> +<a name = "chapII_sec14" id = "chapII_sec14"> </a> +<p>Quapropter exactissimo iudicio circa hanc partem studiorum examinanda +sunt omnia. Primum, quos imitemur: nam sunt plurimi qui similitudinem +pessimi cuiusque et corruptissimi concupierint: tum in ipsis quos +elegerimus, quid sit <i>ad</i> quod nos efficiendum comparemus. +<span class = "secnum">15</span> +<a name = "chapII_sec15" id = "chapII_sec15"> </a> +Nam in magnis quoque auctoribus incidunt aliqua vitiosa et a doctis +inter ipsos etiam mutuo reprehensa; +<span class = "pagenum">129</span> +atque utinam tam bona imitantes dicerent melius quam mala peius dicunt. +Nec vero saltem iis quibus ad evitanda vitia iudicii satis fuit +sufficiat imaginem virtutis effingere et solam, ut sic dixerim, cutem +vel potius illas Epicuri figuras, quas e summis corporibus dicit +effluere. +<span class = "secnum">16</span> +<a name = "chapII_sec16" id = "chapII_sec16"> </a> +Hoc autem his accidit qui non introspectis penitus virtutibus ad primum +se velut adspectum orationis aptarunt; et cum iis felicissime cessit +imitatio, verbis atque numeris sunt non multum differentes, vim dicendi +atque inventionis non adsequuntur, sed plerumque declinant in peius et +proxima virtutibus vitia comprehendunt fiuntque pro grandibus tumidi, +pressis exiles, fortibus temerarii, laetis corrupti, compositis +<span class = "pagenum">130</span> +exultantes, simplicibus neglegentes. +<span class = "secnum">17</span> +<a name = "chapII_sec17" id = "chapII_sec17"> </a> +Ideoque qui horride atque incomposite quidlibet illud frigidum et inane +extulerunt, antiquis se pares credunt; qui carent cultu atque +sententiis, Attici sunt scilicet; qui praecisis conclusionibus obscuri, +Sallustium +<span class = "pagenum">131</span> +atque Thucydiden superant; tristes ac ieiuni Pollionem aemulantur; +otiosi et supini, si quid modo longius circumduxerunt, iurant ita +Ciceronem locuturum fuisse. +<span class = "secnum">18</span> +<a name = "chapII_sec18" id = "chapII_sec18"> </a> +Noveram quosdam qui se pulchre expressisse genus illud caelestis huius +in dicendo viri sibi viderentur, si in clausula posuissent ‘esse +videatur.’ Ergo primum est ut quod imitaturus est quisque intellegat, et +quare bonum sit sciat.</p> + +<span class = "secnum">19</span> +<a name = "chapII_sec19" id = "chapII_sec19"> </a> +<p>Tum in suscipiendo onere consulat suas vires. Nam quaedam sunt +imitabilia, quibus aut infirmitas naturae non sufficiat aut diversitas +repugnet. Ne, cui tenue ingenium erit, sola velit fortia et abrupta, cui +forte quidem, sed indomitum, amore subtilitatis +<span class = "pagenum">132</span> +et vim suam perdat et elegantiam quam cupit non persequatur; nihil est +enim tam indecens quam cum mollia dure fiunt. +<span class = "secnum">20</span> +<a name = "chapII_sec20" id = "chapII_sec20"> </a> +Atque ego illi praeceptori quem institueram in libro secundo credidi non +ea sola docenda esse, ad quae quemque discipulorum natura compositum +videret; nam is et adiuvare debet quae in quoque eorum invenit bona, et, +quantum fieri potest, adicere quae desunt et emendare quaedam et mutare; +rector enim est alienorum ingeniorum atque formator. Difficilius est +naturam suam fingere. +<span class = "secnum">21</span> +<a name = "chapII_sec21" id = "chapII_sec21"> </a> +Sed ne ille quidem doctor, quamquam omnia quae recta sunt velit esse in +suis auditoribus quam plenissima, in eo tamen cui naturam obstare +viderit laborabit.</p> + +<p>Id quoque vitandum, in quo magna pars errat, ne in oratione poetas +nobis et historicos, in illis operibus oratores aut declamatores +imitandos putemus. +<span class = "secnum">22</span> +<a name = "chapII_sec22" id = "chapII_sec22"> </a> +Sua cuique proposito lex, suus decor est: nec comoedia in cothurnos +adsurgit, nec contra +<span class = "pagenum">133</span> +tragoedia socco ingreditur. Habet tamen omnis eloquentia aliquid +commune: id imitemur quod commune est.</p> + +<span class = "secnum">23</span> +<a name = "chapII_sec23" id = "chapII_sec23"> </a> +<p>Etiam hoc solet incommodi accidere iis qui se uni alicui generi +dediderunt, ut, si asperitas iis placuit alicuius, hanc etiam in leni ac +remisso causarum genere non exuant; si tenuitas aut iucunditas, in +asperis gravibusque causis ponderi rerum parum respondeant: +<span class = "pagenum">134</span> +cum sit diversa non causarum modo inter ipsas condicio, sed in singulis +etiam causis partium, sintque alia leniter alia aspere, alia concitate +alia remisse, alia docendi alia movendi gratia dicenda; quorum omnium +dissimilis atque diversa inter se ratio est. +<span class = "secnum">24</span> +<a name = "chapII_sec24" id = "chapII_sec24"> </a> +Itaque ne hoc quidem suaserim, uni se alicui proprie, quem per omnia +sequatur, addicere. Longe perfectissimus Graecorum Demosthenes, aliquid +tamen aliquo in loco melius alii, plurima ille. Sed non qui maxime +imitandus, et solus imitandus est. +<span class = "secnum">25</span> +<a name = "chapII_sec25" id = "chapII_sec25"> </a> +Quid ergo? non est satis omnia sic dicere quo modo M. Tullius +dixit? Mihi quidem satis esset, si omnia consequi possem: quid tamen +noceret vim Caesaris, asperitatem Caeli, diligentiam Pollionis, iudicium +Calvi quibusdam in locis adsumere? +<span class = "secnum">26</span> +<a name = "chapII_sec26" id = "chapII_sec26"> </a> +Nam praeter id quod prudentis est quod in quoque optimum est, si possit, +suum facere, tum in tanta rei difficultate unum intuentes vix aliqua +pars sequitur. Ideoque cum totum exprimere quem elegeris paene sit +homini inconcessum, plurium bona ponamus ante oculos, ut aliud ex alio +haereat, et quo quidque loco conveniat aptemus.</p> + +<span class = "pagenum">135</span> +<span class = "secnum">27</span> +<a name = "chapII_sec27" id = "chapII_sec27"> </a> +<p>Imitatio autem (nam saepius idem dicam) non sit tantum in verbis. +Illuc intendenda mens, quantum fuerit illis viris decoris in rebus atque +personis, quod consilium, quae dispositio, quam omnia, etiam quae +delectationi videantur data, ad victoriam spectent; quid agatur +prooemio, quae ratio et quam varia narrandi, quae vis probandi ac +refellendi, quanta in adfectibus omnis generis movendis scientia, +quamque laus ipsa popularis utilitatis gratia adsumpta, quae tum est +pulcherrima, cum sequitur, non cum arcessitur. Haec si perviderimus, tum +vere imitabimur. +<span class = "secnum">28</span> +<a name = "chapII_sec28" id = "chapII_sec28"> </a> +Qui vero etiam propria his bona adiecerit, ut suppleat quae deerunt, +circumcidat si quid redundabit, is erit, quem quaerimus, perfectus +orator; quem nunc consummari potissimum oporteat, cum tanto plura +exempla bene dicendi supersunt quam illis qui adhuc summi sunt +contigerunt. Nam erit haec quoque laus eorum, ut priores superasse, +posteros docuisse dicantur.</p> + + +<span class = "pagenum">136</span> +<h5><a name = "chapIII" id = "chapIII"> +Quo modo scribendum sit.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapIII_sec1" id = "chapIII_sec1"> </a> +<p><b>III.</b> Et haec quidem auxilia extrinsecus adhibentur; in iis +autem quae nobis ipsis paranda sunt, ut laboris, sic utilitatis etiam +longe plurimum adfert stilus. Nec immerito M. Tullius hunc ‘optimum +effectorem ac magistrum dicendi’ vocat, cui sententiae personam +L. Crassi in disputationibus quae sunt de oratore adsignando, +iudicium suum cum illius auctoritate coniunxit. +<span class = "secnum">2</span> +<a name = "chapIII_sec2" id = "chapIII_sec2"> </a> +Scribendum ergo quam diligentissime et quam plurimum. Nam ut terra alte +refossa generandis alendisque seminibus fecundior fit, sic profectus non +a summo petitus studiorum fructus effundit uberius et fidelius continet. +Nam sine hac quidem conscientia ipsa illa ex tempore dicendi facultas +inanem +<span class = "pagenum">137</span> +modo loquacitatem dabit et verba in labris nascentia. +<span class = "secnum">3</span> +<a name = "chapIII_sec3" id = "chapIII_sec3"> </a> +Illic radices, illic fundamenta sunt, illic opes velut sanctiore quodam +aerario conditae, unde ad subitos quoque casus, cum res exiget, +proferantur. Vires faciamus ante omnia, quae sufficiant labori +certaminum et usu non exhauriantur. +<span class = "secnum">4</span> +<a name = "chapIII_sec4" id = "chapIII_sec4"> </a> +Nihil enim rerum ipsa natura voluit magnum effici cito, praeposuitque +pulcherrimo cuique operi difficultatem; quae nascendi quoque hanc +fecerit legem, ut maiora animalia diutius visceribus parentis +continerentur.</p> + +<p>Sed cum sit duplex quaestio, quo modo et quae maxime scribi oporteat, +iam hinc ordinem sequar. +<span class = "secnum">5</span> +<a name = "chapIII_sec5" id = "chapIII_sec5"> </a> +Sit primo vel tardus dum +<span class = "pagenum">138</span> +diligens stilus, quaeramus optima nec protinus offerentibus se +gaudeamus, adhibeatur iudicium inventis, dispositio probatis; dilectus +enim rerum verborumque agendus est et pondera singulorum examinanda. +Post subeat ratio collocandi versenturque omni modo numeri, non ut +quodque se proferet verbum occupet locum. +<span class = "secnum">6</span> +<a name = "chapIII_sec6" id = "chapIII_sec6"> </a> +Quae quidem ut diligentius exsequamur, repetenda saepius erunt +scriptorum proxima. Nam praeter id quod sic melius iunguntur prioribus +sequentia, calor quoque ille cogitationis, qui scribendi mora refrixit, +recipit ex integro vires et velut repetito spatio sumit impetum; quod in +certamine saliendi fieri videmus, ut conatum longius petant et ad illud +quo contenditur spatium cursu ferantur, utque in iaculando brachia +reducimus et expulsuri tela nervos retro tendimus. +<span class = "secnum">7</span> +<a name = "chapIII_sec7" id = "chapIII_sec7"> </a> +Interim tamen, si feret flatus, danda sunt vela, dum nos indulgentia +illa non +<span class = "pagenum">139</span> +fallat; omnia enim nostra dum nascuntur placent, alioqui nec +scriberentur. Sed redeamus ad iudicium et retractemus suspectam +facilitatem. +<span class = "secnum">8</span> +<a name = "chapIII_sec8" id = "chapIII_sec8"> </a> +Sic scripsisse Sallustium accepimus, et sane manifestus est etiam ex +opere ipso labor. Vergilium quoque paucissimos die composuisse versus +auctor est Varius. +<span class = "secnum">9</span> +<a name = "chapIII_sec9" id = "chapIII_sec9"> </a> +Oratoris quidem alia condicio est; itaque hanc moram et sollicitudinem +initiis impero. Nam primum hoc constituendum, hoc obtinendum est, ut +quam optime scribamus: celeritatem dabit consuetudo. Paulatim res +facilius se ostendent, verba respondebunt, compositio sequetur, cuncta +denique ut in familia bene instituta in officio erunt. +<span class = "secnum">10</span> +<a name = "chapIII_sec10" id = "chapIII_sec10"> </a> +Summa haec est rei: cito scribendo non fit ut bene scribatur, bene +scribendo fit ut cito. Sed tum maxime, cum facultas illa contigerit, +resistamus ut provideamus, efferentes +<span class = "pagenum">140</span> +<i>se</i> equos frenis quibusdam coerceamus; quod non tam moram faciet +quam novos impetus dabit. Neque enim rursus eos qui robur aliquod in +stilo fecerint ad infelicem calumniandi se poenam adligandos puto. +<span class = "secnum">11</span> +<a name = "chapIII_sec11" id = "chapIII_sec11"> </a> +Nam quo modo sufficere officiis civilibus possit qui singulis actionum +partibus insenescat? Sunt autem quibus nihil sit satis: omnia mutare, +omnia aliter dicere quam occurrit velint,— increduli quidam et de +ingenio suo pessime meriti, qui diligentiam putant facere sibi scribendi +difficultatem. +<span class = "secnum">12</span> +<a name = "chapIII_sec12" id = "chapIII_sec12"> </a> +Nec promptum est dicere utros peccare validius +<span class = "pagenum">141</span> +putem, quibus omnia sua placent an quibus nihil. Accidit enim etiam +ingeniosis adulescentibus frequenter, ut labore consumantur et in +silentium usque descendant nimia bene dicendi cupiditate. Qua de re +memini narrasse mihi Iulium Secundum illum, aequalem meum atque a me, ut +notum est, familiariter amatum, mirae facundiae virum, infinitae tamen +curae, quid esset sibi a patruo suo dictum. +<span class = "secnum">13</span> +<a name = "chapIII_sec13" id = "chapIII_sec13"> </a> +Is fuit Iulius Florus, in eloquentia Galliarum, quoniam ibi demum +exercuit eam, princeps, alioqui inter +<span class = "pagenum">142</span> +paucos disertus et dignus illa propinquitate. Is cum Secundum, scholae +adhuc operatum, tristem forte vidisset, interrogavit quae causa frontis +tam adductae? +<span class = "secnum">14</span> +<a name = "chapIII_sec14" id = "chapIII_sec14"> </a> +Nec dissimulavit adulescens, tertium iam diem esse quod omni labore +materiae ad scribendum destinatae non inveniret exordium; quo sibi non +praesens tantum dolor, sed etiam desperatio in posterum fieret. Tum +Florus adridens, ‘numquid tu,’ inquit, ‘melius dicere vis quam potes?’ +<span class = "secnum">15</span> +<a name = "chapIII_sec15" id = "chapIII_sec15"> </a> +Ita se res habet: curandum est ut quam optime dicamus, dicendum tamen +pro facultate; ad profectum enim opus est studio, non indignatione. Ut +possimus autem scribere etiam plura et celerius, +<span class = "pagenum">143</span> +non exercitatio modo praestabit, in qua sine dubio multum est, sed etiam +ratio: si non resupini spectantesque tectum et cogitationem murmure +agitantes expectaverimus quid obveniat, <i>sed</i> quid res poscat, quid +personam deceat, quod sit tempus, qui iudicis animus intuiti, humano +quodam modo ad scribendum accesserimus. Sic nobis et initia et quae +sequuntur natura ipsa praescribit. +<span class = "secnum">16</span> +<a name = "chapIII_sec16" id = "chapIII_sec16"> </a> +Certa sunt enim pleraque et, nisi coniveamus, in oculos incurrunt; +ideoque nec indocti nec rustici diu quaerunt, unde incipiant; quo +pudendum est magis, si difficultatem facit doctrina. Non ergo semper +putemus optimum esse quod latet: immutescamus alioqui, si nihil dicendum +videatur nisi quod non invenimus. +<span class = "secnum">17</span> +<a name = "chapIII_sec17" id = "chapIII_sec17"> </a> +Diversum est huic eorum vitium qui primo decurrere per materiam stilo +quam velocissimo volunt, et sequentes calorem atque impetum ex tempore +scribunt; hanc silvam vocant. Repetunt +<span class = "pagenum">144</span> +deinde et componunt quae effuderant; sed verba emendantur et numeri, +manet in rebus temere congestis quae fuit levitas. +<span class = "secnum">18</span> +<a name = "chapIII_sec18" id = "chapIII_sec18"> </a> +Protinus ergo adhibere curam rectius erit atque ab initio sic opus +ducere, ut caelandum, non ex integro fabricandum sit. Aliquando tamen +adfectus sequemur, in quibus fere plus calor quam diligentia valet.</p> + +<span class = "secnum">19</span> +<a name = "chapIII_sec19" id = "chapIII_sec19"> </a> +<p>Satis apparet ex eo quod hanc scribentium neglegentiam damno, quid de +illis dictandi deliciis sentiam. Nam in stilo quidem quamlibet properato +dat aliquam cogitationi moram non consequens celeritatem eius manus: +ille cui dictamus urget, +<span class = "pagenum">145</span> +atque interim pudet etiam dubitare aut resistere aut mutare quasi +conscium infirmitatis nostrae timentes. +<span class = "secnum">20</span> +<a name = "chapIII_sec20" id = "chapIII_sec20"> </a> +Quo fit ut non rudia tantum et fortuita, sed impropria interim, dum sola +est conectendi sermonis cupiditas, effluant, quae nec scribentium curam +nec dicentium impetum consequantur. At idem ille qui excipit, si tardior +in scribendo aut incertior in <i>intel</i>legendo velut offensator fuit, +inhibetur cursus, atque omnis quae erat concepta mentis intentio mora et +interdum iracundia excutitur. +<span class = "secnum">21</span> +<a name = "chapIII_sec21" id = "chapIII_sec21"> </a> +Tum illa, quae altiorem animi motum sequuntur quaeque ipsa animum quodam +modo concitant, quorum est iactare manum, torquere vultum, <i>frontem +et</i> latus interim obiurgare, quaeque Persius +<span class = "pagenum">146</span> +notat, cum leviter dicendi genus significat, ‘nec pluteum,’ inquit, +‘caedit nec demorsos sapit ungues,’ etiam ridicula sunt, nisi cum soli +sumus. +<span class = "secnum">22</span> +<a name = "chapIII_sec22" id = "chapIII_sec22"> </a> +Denique ut semel quod est potentissimum dicam, secretum in dictando +perit. Atque liberum arbitris locum et quam altissimum silentium +scribentibus maxime convenire nemo dubitaverit: non tamen protinus +audiendi qui credunt aptissima in hoc nemora silvasque, quod illa caeli +libertas locorumque amoenitas sublimem animum et beatiorem spiritum +parent. +<span class = "secnum">23</span> +<a name = "chapIII_sec23" id = "chapIII_sec23"> </a> +Mihi certe iucundus hic magis quam studiorum hortator videtur esse +secessus. Namque illa, quae ipsa delectant, necesse est avocent ab +intentione operis destinati. Neque enim se bona fide +<span class = "pagenum">147</span> +in multa simul intendere animus totum potest, et quocumque respexit, +desinit intueri quod propositum erat. +<span class = "secnum">24</span> +<a name = "chapIII_sec24" id = "chapIII_sec24"> </a> +Quare silvarum amoenitas et praeterlabentia flumina et inspirantes ramis +arborum aurae volucrumque cantus et ipsa late circumspiciendi libertas +ad se trahunt, ut mihi remittere potius voluptas ista videatur +cogitationem quam intendere. +<span class = "secnum">25</span> +<a name = "chapIII_sec25" id = "chapIII_sec25"> </a> +Demosthenes melius, qui se in locum ex quo nulla exaudiri vox et ex quo +nihil prospici posset recondebat, ne aliud agere mentem cogerent oculi. +Ideoque lucubrantes silentium noctis et clausum cubiculum et lumen unum +velut <i>t</i>ectos maxime teneat. +<span class = "secnum">26</span> +<a name = "chapIII_sec26" id = "chapIII_sec26"> </a> +Sed cum in omni studiorum genere, tum in hoc praecipue bona valetudo, +quaeque eam maxime praestat, frugalitas necessaria est, cum tempora ab +ipsa +<span class = "pagenum">148</span> +rerum natura ad quietem refectionemque nobis data in acerrimum laborem +convertimus. Cui tamen non plus inrogandum est quam quod somno +supererit, haud deerit; +<span class = "secnum">27</span> +<a name = "chapIII_sec27" id = "chapIII_sec27"> </a> +obstat enim diligentiae scribendi etiam fatigatio, et abunde, si vacet, +lucis spatia sufficiunt; occupatos in noctem necessitas agit. Est tamen +lucubratio, quotiens ad eam integri ac refecti venimus, optimum secreti +genus.</p> + +<span class = "secnum">28</span> +<a name = "chapIII_sec28" id = "chapIII_sec28"> </a> +<p>Sed silentium et secessus et undique liber animus ut sunt maxime +optanda, ita non semper possunt contingere; ideoque non statim, si quid +obstrepet, abiciendi codices erunt et deplorandus dies, verum incommodis +repugnandum et hic faciendus usus, ut omnia quae impedient vincat +intentio; quam si tota mente in opus ipsum derexeris, nihil eorum quae +oculis vel auribus incursant ad animum perveniet. +<span class = "secnum">29</span> +<a name = "chapIII_sec29" id = "chapIII_sec29"> </a> +An vero frequenter etiam fortuita hoc cogitatio praestat, ut obvios non +videamus et itinere deerremus: non consequemur idem, si et voluerimus? +Non est indulgendum causis desidiae. Nam si non nisi refecti, non nisi +hilares, non nisi omnibus aliis curis vacantes studendum existimarimus, +semper erit propter quod nobis ignoscamus. +<span class = "secnum">30</span> +<a name = "chapIII_sec30" id = "chapIII_sec30"> </a> +Quare in turba, itinere, conviviis etiam faciat sibi cogitatio ipsa +<span class = "pagenum">149</span> +secretum. Quid alioqui fiet, cum in medio foro, tot circumstantibus +iudiciis, iurgiis, fortuitis etiam clamoribus, erit subito continua +oratione dicendum, si particulas quas ceris mandamus nisi in solitudine +reperire non possumus? Propter quae idem ille tantus amator secreti +Demosthenes in litore, in quo se maximo cum sono fluctus inlideret, +meditans consuescebat contionum fremitus non expavescere.</p> + +<span class = "secnum">31</span> +<a name = "chapIII_sec31" id = "chapIII_sec31"> </a> +<p>Illa quoque minora (sed nihil in studiis parvum est) non sunt +transeunda: scribi optime ceris, in quibus facillima est ratio delendi, +nisi forte visus infirmior membranarum potius usum +<span class = "pagenum">150</span> +exiget, quae ut iuvant aciem, ita crebra relatione, quoad intinguntur +calami, morantur manum et cogitationis impetum frangunt. +<span class = "secnum">32</span> +<a name = "chapIII_sec32" id = "chapIII_sec32"> </a> +Relinquendae autem in utrolibet genere contra erunt vacuae tabellae, in +quibus libera adiciendo sit excursio. Nam interim pigritiam emendandi +angustiae faciunt, aut certe novorum interpositione priora confundant. +Ne latas quidem ultra modum esse ceras velim, expertus iuvenem studiosum +alioqui praelongos habuisse sermones, quia illos numero versuum +metiebatur, idque vitium, quod frequenti admonitione corrigi non +potuerat, mutatis codicibus esse sublatum. +<span class = "secnum">33</span> +<a name = "chapIII_sec33" id = "chapIII_sec33"> </a> +Debet vacare etiam locus in quo notentur quae scribentibus solent extra +ordinem, id est ex aliis quam qui sunt in manibus loci, occurrere. +Inrumpunt enim optimi nonnumquam sensus, quos neque inserere oportet +neque differre tutum est, quia interim elabuntur, interim memoriae sui +<span class = "pagenum">151</span> +intentos ab alia inventione declinant ideoque optime sunt in +deposito.</p> + + +<h5><a name = "chapIV" id = "chapIV"> +De Emendatione.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapIV_sec1" id = "chapIV_sec1"> </a> +<p><b>IV.</b> Sequitur emendatio, pars studiorum longe utilissima; neque +enim sine causa creditum est stilum non minus agere, cum delet. Huius +autem operis est adicere, detrahere, mutare. Sed facilius in iis +simpliciusque iudicium quae replenda vel deicienda sunt; premere vero +tumentia, humilia extollere, luxuriantia adstringere, inordinata +digerere, soluta componere, exultantia coercere duplicis operae; nam et +damnanda sunt quae placuerant et invenienda quae fugerant. +<span class = "secnum">2</span> +<a name = "chapIV_sec2" id = "chapIV_sec2"> </a> +Nec dubium est optimum esse emendandi genus, si scripta in aliquod +tempus reponantur, ut ad ea post intervallum velut nova atque aliena +redeamus, ne nobis scripta nostra tamquam recentes fetus blandiantur. +<span class = "secnum">3</span> +<a name = "chapIV_sec3" id = "chapIV_sec3"> </a> +Sed +<span class = "pagenum">152</span> +neque hoc contingere semper potest praesertim oratori, cui saepius +scribere ad praesentes usus necesse est, et ipsa emendatio finem habet. +Sunt enim qui ad omnia scripta tamquam vitiosa redeant et, quasi nihil +fas sit rectum esse quod primum est, melius existiment quidquid est +aliud, idque faciant quotiens librum in manus resumpserunt, similes +medicis etiam integra secantibus. Accidit itaque ut cicatricosa sint et +exsanguia et cura peiora. +<span class = "secnum">4</span> +<a name = "chapIV_sec4" id = "chapIV_sec4"> </a> +Sit ergo aliquando quod placeat aut certe quod sufficiat, ut opus poliat +lima, non exterat. Temporis quoque esse debet modus. Nam quod Cinnae +Smyrnam novem annis accepimus scriptam, et Panegyricum Isocratis, qui +parcissime, decem annis dicunt elaboratum, ad oratorem nihil pertinet, +cuius nullum erit, si tam tardum fuerit, auxilium.</p> + + +<span class = "pagenum">153</span> +<h5><a name = "chapV" id = "chapV"> +Quae scribenda sint praecipue.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapV_sec1" id = "chapV_sec1"> </a> +<p><b>V.</b> Proximum est ut dicamus quae praecipue scribenda sint <span +class = "greek" title = "hexin">ἕξιν</span> parantibus. <i>Non est +huius</i> quidem operis ut explicemus quae sint materiae, quae prima aut +secunda aut deinceps tractanda sint (nam id factum est iam primo libro, +quo puerorum, et secundo, quo iam robustorum studiis ordinem dedimus), +sed, de quo nunc agitur, unde copia ac facilitas maxime veniat.</p> + +<span class = "secnum">2</span> +<a name = "chapV_sec2" id = "chapV_sec2"> </a> +<p>Vertere Graeca in Latinum veteres nostri oratores optimum iudicabant. +Id se L. Crassus in illis Ciceronis de Oratore libris dicit +factitasse; id Cicero sua ipse persona frequentissime praecipit, quin +etiam libros Platonis atque Xenophontis edidit hoc +<span class = "pagenum">154</span> +genere translatos; id Messallae placuit, multaeque sunt ab eo scriptae +ad hunc modum orationes, adeo ut etiam cum illa Hyperidis pro Phryne +difficillima Romanis subtilitate contenderet. Et manifesta est +exercitationis huiusce ratio. +<span class = "secnum">3</span> +<a name = "chapV_sec3" id = "chapV_sec3"> </a> +Nam et rerum copia Graeci auctores abundant et plurimum artis in +eloquentiam intulerunt, et hos transferentibus verbis uti optimis licet; +omnibus enim utimur nostris. Figuras vero, quibus maxime ornatur oratio, +multas ac varias excogitandi etiam necessitas quaedam est, quia +plerumque a Graecis Romana dissentiunt.</p> + +<span class = "secnum">4</span> +<a name = "chapV_sec4" id = "chapV_sec4"> </a> +<p>Sed et illa ex Latinis conversio multum et ipsa contulerit. +<span class = "pagenum">155</span> +Ac de carminibus quidem neminem credo dubitare, quo solo genere +exercitationis dicitur usus esse Sulpicius. Nam et sublimis spiritus +attollere orationem potest, et verba poetica libertate audaciora non +praesumunt eadem proprie dicendi facultatem; sed et ipsis sententiis +adicere licet oratorium robur et omissa supplere et effusa substringere. +<span class = "secnum">5</span> +<a name = "chapV_sec5" id = "chapV_sec5"> </a> +Neque ego paraphrasin esse interpretationem tantum volo, sed circa +eosdem sensus certamen atque aemulationem. Ideoque ab illis dissentio +qui vertere +<span class = "pagenum">156</span> +orationes Latinas vetant, quia optimis occupatis, quidquid aliter +dixerimus, necesse sit esse deterius. Nam neque semper est desperandum +aliquid illis quae dicta sunt melius posse reperiri, neque adeo ieiunam +ac pauperem natura eloquentiam fecit ut una de re bene dici nisi semel +non possit: +<span class = "secnum">6</span> +<a name = "chapV_sec6" id = "chapV_sec6"> </a> +nisi forte histrionum multa circa voces easdem variare gestus potest, +orandi minor vis, ut dicatur aliquid post quod in eadem materia nihil +dicendum sit. Sed esto neque melius quod invenimus esse neque par, est +certe proximis locus. +<span class = "secnum">7</span> +<a name = "chapV_sec7" id = "chapV_sec7"> </a> +An vero ipsi non bis ac saepius de eadem re dicimus et quidem continuas +nonnumquam sententias? Nisi +<span class = "pagenum">157</span> +forte contendere nobiscum possumus, cum aliis non possumus. Nam si uno +genere bene diceretur, fas erat existimari praeclusam nobis a prioribus +viam; nunc vero innumerabiles sunt modi plurimaeque eodem viae ducunt. +<span class = "secnum">8</span> +<a name = "chapV_sec8" id = "chapV_sec8"> </a> +Sua brevitati gratia, sua copiae, alia translatis virtus, alia propriis, +hoc oratio recta, illud figura declinata commendat. Ipsa denique +utilissima est exercitationi difficultas. Quid quod auctores maximi sic +diligentius cognoscuntur? Non enim scripta lectione secura +transcurrimus, sed tractamus singula et necessario introspicimus et, +quantum virtutis habeant, vel hoc ipso cognoscimus, quod imitari non +possumus.</p> + +<span class = "secnum">9</span> +<a name = "chapV_sec9" id = "chapV_sec9"> </a> +<p>Nec aliena tantum transferre, sed etiam nostra pluribus modis +tractare proderit, ut ex industria sumamus sententias quasdam easque +versemus quam numerosissime, velut eadem cera aliae aliaeque formae duci +solent. +<span class = "secnum">10</span> +<a name = "chapV_sec10" id = "chapV_sec10"> </a> +Plurimum autem parari facultatis existimo ex simplicissima quaque +materia. Nam illa multiplici +<span class = "pagenum">158</span> +personarum, causarum, temporum, locorum, dictorum, factorum diversitate +facile delitescet infirmitas, tot se undique rebus, ex quibus aliquam +adprehendas, offerentibus. +<span class = "secnum">11</span> +<a name = "chapV_sec11" id = "chapV_sec11"> </a> +Illud virtutis indicium est, fundere quae natura contracta sunt, augere +parva, varietatem similibus, voluptatem expositis dare et bene dicere +multa de paucis.</p> + +<p>In hoc optime facient infinitae quaestiones, quas vocari theses +<span class = "pagenum">159</span> +diximus, quibus Cicero iam princeps in re publica exerceri solebat. +<span class = "secnum">12</span> +<a name = "chapV_sec12" id = "chapV_sec12"> </a> +His confinis est destructio et confirmatio sententiarum. Nam cum sit +sententia decretum quoddam atque praeceptum, quod de re, idem de iudicio +rei quaeri potest. Tum loci communes, +<span class = "pagenum">160</span> +quos etiam scriptos ab oratoribus scimus. Nam qui haec recta tantum et +in nullos flexus recedentia copiose tractaverit, utique in illis plures +excursus recipientibus magis abundabit eritque in omnes causas paratus; +omnes enim generalibus quaestionibus constant. +<span class = "secnum">13</span> +<a name = "chapV_sec13" id = "chapV_sec13"> </a> +Nam quid interest ‘Cornelius tribunus plebis, +<span class = "pagenum">161</span> +quod codicem legerit, reus sit,’ an quaeramus ‘violeturne maiestas, si +magistratus rogationem suam populo ipse recitarit’: ‘Milo Clodium +rectene occiderit’ veniat in iudicium, an ‘oporteatne insidiatorem +interfici vel perniciosum rei publicae civem, etiamsi non insidietur’: +‘Cato Marciam honestene tradiderit Hortensio,’ an ‘conveniatne res talis +bono viro’? De personis iudicatur, sed de rebus contenditur. +<span class = "secnum">14</span> +<a name = "chapV_sec14" id = "chapV_sec14"> </a> +Declamationes vero, quales in scholis rhetorum dicuntur, si modo sunt ad +veritatem accommodatae +<span class = "pagenum">162</span> +et orationibus similes, non tantum dum adulescit profectus sunt +utilissimae, quia inventionem et dispositionem pariter exercent, sed +etiam cum est consummatus ac iam in foro clarus; alitur enim atque +enitescit velut pabulo laetiore facundia et adsidua contentionum +asperitate fatigata renovatur. +<span class = "secnum">15</span> +<a name = "chapV_sec15" id = "chapV_sec15"> </a> +Quapropter historiae nonnumquam ubertas in aliqua exercendi stili parte +ponenda et dialogorum libertate gestiendum. Ne carmine quidem ludere +contrarium fuerit, sicut athletae, remissa quibusdam temporibus ciborum +atque exercitationum certa necessitate, +<span class = "pagenum">163</span> +otio et iucundioribus epulis reficiuntur. +<span class = "secnum">16</span> +<a name = "chapV_sec16" id = "chapV_sec16"> </a> +Ideoque mihi videtur M. Tullius tantum intulisse eloquentiae lumen, +quod in hos quoque studiorum secessus excurrit. Nam si nobis sola +materia fuerit ex litibus, necesse est deteratur fulgor et durescat +articulus et ipse ille mucro ingenii cotidiana pugna retundatur.</p> + +<span class = "secnum">17</span> +<a name = "chapV_sec17" id = "chapV_sec17"> </a> +<p>Sed quem ad modum forensibus certaminibus exercitatos et quasi +militantes reficit ac reparat haec velut sagina dicendi, sic +adulescentes non debent nimium in falsa rerum imagine detineri, et +inanibus simulacris usque adeo ut difficilis ab his digressus sit +adsuescere, ne ab illa, in qua prope consenuerunt, umbra vera +<span class = "pagenum">164</span> +discrimina velut quendam solem reformident. +<span class = "secnum">18</span> +<a name = "chapV_sec18" id = "chapV_sec18"> </a> +Quod accidisse etiam M. Porcio Latroni, qui primus clari nominis +professor fuit, traditur, ut, cum ei summam in scholis opinionem +obtinenti causa in foro esset oranda, impense petierit uti subsellia in +basilicam transferrentur. Ita illi caelum novum fuit ut omnis +<span class = "pagenum">165</span> +eius eloquentia contineri tecto ac parietibus videretur. +<span class = "secnum">19</span> +<a name = "chapV_sec19" id = "chapV_sec19"> </a> +Quare iuvenis qui rationem inveniendi eloquendique a praeceptoribus +diligenter acceperit (quod non est infiniti operis, si docere sciant et +velint), exercitationem quoque modicam fuerit consecutus, oratorem sibi +aliquem, quod apud maiores fieri solebat, deligat, quem sequatur, quem +imitetur: iudiciis intersit quam plurimis, et sit certaminis cui +destinatur frequens spectator. +<span class = "secnum">20</span> +<a name = "chapV_sec20" id = "chapV_sec20"> </a> +Tum causas, vel easdem quas agi audierit, stilo et ipse componat, vel +etiam alias, veras modo, et utrimque tractet et, quod in gladiatoribus +fieri videmus, decretoriis exerceatur, ut fecisse Brutum diximus pro +Milone. Melius hoc quam rescribere veteribus orationibus, ut fecit +Cestius contra Ciceronis actionem habitam pro eodem, cum alteram partem +satis nosse non posset ex sola defensione.</p> + +<span class = "pagenum">166</span> +<span class = "secnum">21</span> +<a name = "chapV_sec21" id = "chapV_sec21"> </a> +<p>Citius autem idoneus erit iuvenis, quem praeceptor coegerit in +declamando quam simillimum esse veritati et per totas ire materias, +quarum nunc facillima et maxime favorabilia decerpunt. Obstant huic, +quod secundo loco posui, fere turba discipulorum et consuetudo classium +certis diebus audiendarum, nonnihil etiam persuasio patrum numerantium +potius declamationes quam aestimantium. +<span class = "secnum">22</span> +<a name = "chapV_sec22" id = "chapV_sec22"> </a> +Sed, quod dixi primo, ut arbitror, libro, nec ille se bonus praeceptor +maiore numero quam sustinere possit onerabit et nimiam loquacitatem +recidet, ut omnia quae sunt in controversia, non, ut quidam volunt, quae +in rerum natura, dicantur; et vel longiore potius dierum spatio laxabit +dicendi necessitatem vel materias dividere permittet. +<span class = "secnum">23</span> +<a name = "chapV_sec23" id = "chapV_sec23"> </a> +Diligenter effecta plus proderit quam plures inchoatae et quasi +degustatae. Propter quod accidit +<span class = "pagenum">167</span> +ut nec suo loco quidque ponatur, nec illa quae prima sunt servent suam +legem, iuvenibus flosculos omnium partium in ea quae sunt dicturi +congerentibus; quo fit ut timentes ne sequentia perdant priora +confundant.</p> + + +<h5><a name = "chapVI" id = "chapVI"> +De Cogitatione.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapVI_sec1" id = "chapVI_sec1"> </a> +<p><b>VI.</b> Proxima stilo cogitatio est, quae et ipsa vires ab hoc +accipit et est inter scribendi laborem extemporalemque fortunam media +quaedam et nescio an usus frequentissimi. Nam scribere non ubique nec +semper possumus, cogitationi temporis ac loci plurimum est. Haec paucis +admodum horis magnas etiam causas complectitur; haec, quotiens +intermissus est somnus, ipsis noctis tenebris adiuvatur; haec inter +medios rerum actus aliquid invenit vacui nec otium patitur. +<span class = "secnum">2</span> +<a name = "chapVI_sec2" id = "chapVI_sec2"> </a> +Neque vero rerum ordinem modo, quod ipsum satis erat, intra se ipsa +disponit, sed verba etiam +<span class = "pagenum">168</span> +copulat totamque ita contexit orationem ut ei nihil praeter manum desit; +nam memoriae quoque plerumque inhaeret fidelius quod nulla scribendi +securitate laxatur.</p> + +<p>Sed ne ad hanc quidem vim cogitandi perveniri potest aut subito aut +cito. +<span class = "secnum">3</span> +<a name = "chapVI_sec3" id = "chapVI_sec3"> </a> +Nam primum facienda multo stilo forma est, quae nos etiam cogitantes +sequatur: tum adsumendus usus paulatim, ut pauca primum complectamur +animo, quae reddi fideliter possint: mox per incrementa tam modica ut +onerari se labor ille non sentiat augenda vis et exercitatione multa +continenda est, quae quidem maxima ex parte memoria constat. Ideoque +aliqua mihi in illum locum differenda sunt. +<span class = "secnum">4</span> +<a name = "chapVI_sec4" id = "chapVI_sec4"> </a> +Eo tandem pervenit ut is cui non refragetur ingenium acri studio adiutus +tantum consequatur ut ei tam quae cogitarit quam quae scripserit atque +edidicerit in dicendo fidem servent. Cicero certe Graecorum Metrodorum +Scepsium et Empylum Rhodium nostrorumque Hortensium tradidit quae +cogitaverant ad verbum in agendo rettulisse.</p> + +<span class = "secnum">5</span> +<a name = "chapVI_sec5" id = "chapVI_sec5"> </a> +<p>Sed si forte aliqui inter dicendum offulserit extemporalis color, +<span class = "pagenum">169</span> +non superstitiose cogitatis demum est inhaerendum. Neque enim tantum +habent curae ut non sit dandus et fortunae locus, cum saepe etiam +scriptis ea quae subito nata sunt inserantur. Ideoque totum hoc +exercitationis genus ita instituendum est ut et digredi ex eo et redire +in id facile possimus. +<span class = "secnum">6</span> +<a name = "chapVI_sec6" id = "chapVI_sec6"> </a> +Nam ut primum est domo adferre paratam dicendi copiam et certam, ita +refutare temporis munera longe stultissimum est. Quare cogitatio in hoc +praeparetur, ut nos fortuna decipere non possit, adiuvare possit. Id +autem fiet memoriae viribus, ut illa quae complexi animo sumus fluant +secura, non sollicitos et respicientes et una spe suspensos +recordationis non sinant providere: alioqui vel extemporalem temeritatem +malo quam male cohaerentem cogitationem. +<span class = "secnum">7</span> +<a name = "chapVI_sec7" id = "chapVI_sec7"> </a> +Peius enim quaeritur retrorsus, quia, dum illa desideramus, ab aliis +<span class = "pagenum">170</span> +avertimur, et ex memoria potius res petimus quam ex materia. Plura sunt +autem, si utrimque quaerendum est, quae inveniri possunt quam quae +inventa sunt.</p> + + +<h5><a name = "chapVII" id = "chapVII"> +Quem ad modum extemporalis facilitas paretur et +contineatur.</a></h5> + +<span class = "secnum">1</span> +<a name = "chapVII_sec1" id = "chapVII_sec1"> </a> +<p><b>VII.</b> Maximus vero studiorum fructus est et velut praemium +quoddam amplissimum longi laboris ex tempore dicendi facultas; quam qui +non erit consecutus mea quidem sententia civilibus officiis renuntiabit +et solam scribendi facultatem potius ad alia opera convertet. Vix enim +bonae fidei viro convenit auxilium in publicum polliceri quod +praesentissimis quibusque periculis desit, intrare portum ad quem navis +accedere nisi lenibus ventis vecta non possit,— +<span class = "secnum">2</span> +<a name = "chapVII_sec2" id = "chapVII_sec2"> </a> +siquidem innumerabiles accidunt subitae necessitates vel apud +magistratus vel repraesentatis iudiciis continuo agendi. Quarum si qua, +non dico cuicumque innocentium civium, sed amicorum ac propinquorum +alicui evenerit, stabitne mutus et salutarem petentibus vocem, statimque +si non succurratur perituris, +<span class = "pagenum">171</span> +moras et secessum et silentium quaeret, dum illa verba fabricentur et +memoriae insidant et vox ac latus praeparetur? +<span class = "secnum">3</span> +<a name = "chapVII_sec3" id = "chapVII_sec3"> </a> +Quae vero patitur hoc ratio, ut quisquam possit orator aliquando +omittere casus? Quid, cum adversario respondendum erit, fiet? Nam saepe +ea quae opinati sumus et contra quae scripsimus fallunt, ac tota subito +causa mutatur; atque ut gubernatori ad incursus tempestatium, sic agenti +ad varietatem causarum ratio mutanda est. +<span class = "secnum">4</span> +<a name = "chapVII_sec4" id = "chapVII_sec4"> </a> +Quid porro multus stilus et adsidua lectio et longa studiorum aetas +facit, si manet eadem quae fuit incipientibus difficultas? Perisse +profecto confitendum est praeteritum laborem, cui semper idem laborandum +est. Neque ego hoc ago ut ex tempore dicere malit, sed ut possit. Id +autem maxime hoc modo consequemur.</p> + +<span class = "secnum">5</span> +<a name = "chapVII_sec5" id = "chapVII_sec5"> </a> +<p>Nota sit primum dicendi via; neque enim prius contingere cursus +potest quam scierimus quo sit et qua perveniendum. Nec satis est non +ignorare quae sint causarum iudicialium partes, aut quaestionum ordinem +recte disponere, quamquam ista sunt praecipua, sed quid quoque loco +primum sit, quid secundum ac +<span class = "pagenum">172</span> +deinceps: quae ita sunt natura copulata ut mutari aut intervelli sine +confusione non possint. +<span class = "secnum">6</span> +<a name = "chapVII_sec6" id = "chapVII_sec6"> </a> +Quisquis autem via dicet, ducetur ante omnia rerum ipsa serie velut +duce, propter quod homines etiam modice exercitati facillime tenorem in +narrationibus servant. Deinde quid quoque loco quaerant scient, nec +circumspectabunt nec offerentibus se aliunde sensibus turbabuntur nec +confundent ex diversis orationem velut salientes huc illuc nec usquam +insistentes. +<span class = "secnum">7</span> +<a name = "chapVII_sec7" id = "chapVII_sec7"> </a> +Postremo habebunt modum et finem, qui esse citra divisionem nullus +potest. Expletis pro facultate omnibus quae proposuerint, pervenisse se +ad ultimum sentient.</p> + +<p>Et haec quidem ex arte, illa vero ex studio: ut copiam sermonis +optimi, quem ad modum praeceptum est, comparemus, multo ac fideli stilo +sic formetur oratio ut scriptorum colorem etiam quae subito effusa sint +reddant, ut cum multa scripserimus +<span class = "pagenum">173</span> +etiam multa dicamus. +<span class = "secnum">8</span> +<a name = "chapVII_sec8" id = "chapVII_sec8"> </a> +Nam consuetudo et exercitatio facilitatem maxime parit: quae si paulum +intermissa fuerit, non velocitas illa modo tardatur, sed ipsum <i>os</i> +coit atque concurrit. Quamquam enim opus est naturali quadam mobilitate +animi, ut, dum proxima dicimus, struere ulteriora possimus semperque +nostram vocem provisa et formata cogitatio excipiat; +<span class = "secnum">9</span> +<a name = "chapVII_sec9" id = "chapVII_sec9"> </a> +vix tamen aut natura aut ratio in tam multiplex officium diducere animum +queat ut inventioni, dispositioni, elocutioni, ordini rerum verborumque, +tum iis quae dicit, quae subiuncturus est, quae ultra spectanda sunt, +adhibita vocis, pronuntiationis, gestus observatione, una sufficiat. +<span class = "secnum">10</span> +<a name = "chapVII_sec10" id = "chapVII_sec10"> </a> +Longe enim praecedat oportet intentio ac prae se res agat, quantumque +dicendo consumitur, tantum ex ultimo prorogetur, ut, donec perveniamus +ad finem, non minus prospectu procedamus quam gradu, si non +intersistentes offensantesque brevia illa atque concisa singultantium +modo eiecturi sumus.</p> + +<span class = "pagenum">174</span> +<span class = "secnum">11</span> +<a name = "chapVII_sec11" id = "chapVII_sec11"> </a> +<p>Est igitur usus quidam inrationalis, quam Graeci <span class = +"greek" title = "alogon tribên">ἄλογον τριβήν</span> vocant, qua manus +in scribendo decurrit, qua oculi totos simul in lectione versus +flexusque eorum et transitus intuentur et ante sequentia vident quam +priora dixerunt. Quo constant miracula illa in scaenis pilariorum ac +ventilatorum, ut ea quae emiserint ultro venire in manus credas et qua +iubentur decurrere. +<span class = "secnum">12</span> +<a name = "chapVII_sec12" id = "chapVII_sec12"> </a> +Sed hic usus ita proderit, si ea de qua locuti sumus ars antecesserit, +ut +<span class = "pagenum">175</span> +ipsum illud quod in se rationem non habet in ratione versetur. Nam mihi +ne dicere quidem videtur nisi qui disposite, ornate, copiose dicit, sed +tumultuari. +<span class = "secnum">13</span> +<a name = "chapVII_sec13" id = "chapVII_sec13"> </a> +Nec fortuiti sermonis contextum mirabor umquam, quem iurgantibus etiam +mulierculis superfluere video, cum eo quod, si calor ac spiritus tulit, +frequenter accidit ut successum extemporalem consequi cura non possit. +<span class = "secnum">14</span> +<a name = "chapVII_sec14" id = "chapVII_sec14"> </a> +Deum tunc adfuisse, cum id evenisset, veteres oratores, ut Cicero, +dictitabant. Sed ratio manifesta est. Nam bene concepti adfectus et +recentes rerum imagines continuo impetu feruntur, quae nonnumquam mora +stili refrigescunt et dilatae non revertuntur. Utique vero, +<span class = "pagenum">176</span> +cum infelix illa verborum cavillatio accessit et cursus ad singula +vestigia restitit, non potest ferri contorta vis; sed, ut optime vocum +singularum cedat electio, non continua sed composita est.</p> + +<span class = "secnum">15</span> +<a name = "chapVII_sec15" id = "chapVII_sec15"> </a> +<p>Quare capiendae sunt illae, de quibus dixi, rerum imagines, quas +vocari <span class = "greek" title = "phantasias">φαντασίας</span> +indicavimus, omniaque, de quibus dicturi erimus, personae, quaestiones, +spes, metus, habenda in oculis, in adfectus recipienda; pectus est enim, +quod disertos facit, et vis mentis. Ideoque imperitis quoque, si modo +sunt aliquo adfectu concitati, verba non desunt. +<span class = "secnum">16</span> +<a name = "chapVII_sec16" id = "chapVII_sec16"> </a> +Tum intendendus animus, non in aliquam rem unam, sed in plures simul +continuas, ut si per aliquam rectam viam mittamus oculos simul omnia +quae sunt in ea circaque intuemur, non ultimum tantum videmus, sed usque +<span class = "pagenum">177</span> +ad ultimum. Addit ad dicendum etiam pudor stimulos, mirumque videri +potest quod, cum stilus secreto gaudeat atque omnes arbitros reformidet, +extemporalis actio auditorum frequentia, ut miles congestu signorum, +excitatur. +<span class = "secnum">17</span> +<a name = "chapVII_sec17" id = "chapVII_sec17"> </a> +Namque et difficiliorem cogitationem exprimit et expellit dicendi +necessitas, et secundos impetus auget placendi cupido. Adeo pretium +omnia spectant ut eloquentia quoque, quamquam plurimum habeat in se +voluptatis, maxime tamen praesenti fructu laudis opinionisque ducatur. +<span class = "secnum">18</span> +<a name = "chapVII_sec18" id = "chapVII_sec18"> </a> +Nec quisquam tantum fidat ingenio ut id sibi speret incipienti statim +posse contingere, sed, sicut in cogitatione praecepimus, ita facilitatem +quoque extemporalem a parvis initiis paulatim perducemus ad summam, quae +neque perfici neque contineri nisi usu potest. +<span class = "secnum">19</span> +<a name = "chapVII_sec19" id = "chapVII_sec19"> </a> +Ceterum pervenire eo debet ut cogitatio non utique melior sit ea, sed +tutior, cum hanc facilitatem non in prosa modo multi sint consecuti, sed +etiam in carmine, ut Antipater Sidonius et Licinius Archias (credendum +enim Ciceroni est)— non quia +<span class = "pagenum">178</span> +nostris quoque temporibus non et fecerint quidam hoc et faciant. Quod +tamen non ipsum tam probabile puto (neque enim habet aut usum res aut +necessitatem) quam exhortandis in hanc spem, qui foro praeparantur, +utile exemplum. +<span class = "secnum">20</span> +<a name = "chapVII_sec20" id = "chapVII_sec20"> </a> +Neque vero tanta esse umquam <i>debet</i> fiducia facilitatis ut non +breve saltem tempus, quod nusquam fere deerit, ad ea quae dicturi sumus +dispicienda sumamus, quod quidem in iudiciis ac foro datur semper; neque +enim quisquam est qui causam quam non didicerit agat. +<span class = "secnum">21</span> +<a name = "chapVII_sec21" id = "chapVII_sec21"> </a> +Declamatores quosdam perversa ducit ambitio ut exposita controversia +protinus dicere velint, quin etiam, quod est in primis frivolum ac +scaenicum, verbum petant quo incipiant. Sed tam contumeliosos in se +ridet invicem eloquentia, et qui stultis videri eruditi volunt, stulti +eruditis videntur. +<span class = "secnum">22</span> +<a name = "chapVII_sec22" id = "chapVII_sec22"> </a> +Si qua tamen fortuna tam subitam fecerit agendi necessitatem, mobiliore +quodam opus erit ingenio, et vis omnis intendenda rebus et in praesentia +remittendum aliquid ex cura verborum, si consequi utrumque non dabitur. +Tum et tardior pronuntiatio moras habet et suspensa ac velut dubitans +oratio, ut tamen deliberare, non +<span class = "pagenum">179</span> +haesitare videamur. +<span class = "secnum">23</span> +<a name = "chapVII_sec23" id = "chapVII_sec23"> </a> +Hoc, dum egredimur e portu, si nos nondum aptatis satis armamentis aget +ventus; deinde paulatim simul euntes aptabimus vela et disponemus +rudentes et impleri sinus optabimus. Id potius quam se inani verborum +torrenti dare quasi tempestatibus quo volent auferendum.</p> + +<span class = "secnum">24</span> +<a name = "chapVII_sec24" id = "chapVII_sec24"> </a> +<p>Sed non minore studio continetur haec facultas quam paratur. Ars enim +semel percepta non labitur, stilus quoque intermissione paulum admodum +de celeritate deperdit: promptum hoc et in expedito positum +exercitatione sola continetur. Hac uti sic optimum est ut cotidie +dicamus audientibus pluribus, maxime de quorum simus iudicio atque +opinione solliciti; rarum est enim ut satis se quisque vereatur. Vel +soli tamen dicamus potius quam non omnino dicamus. +<span class = "secnum">25</span> +<a name = "chapVII_sec25" id = "chapVII_sec25"> </a> +Est alia exercitatio cogitandi +<span class = "pagenum">180</span> +totasque materias vel silentio (dum tamen quasi dicat intra se ipsum) +persequendi, quae nullo non et tempore et loco, quando non aliud agimus, +explicari potest, et est in parte utilior quam haec proxima; +<span class = "secnum">26</span> +<a name = "chapVII_sec26" id = "chapVII_sec26"> </a> +diligentius enim componitur quam illa, in qua contextum dicendi +intermittere veremur. Rursus in alia plus prior confert, vocis +firmitatem, oris facilitatem, motum corporis, qui et ipse, ut dixi, +excitat oratorem et iactatione manus, pedis supplosione, sicut cauda +leones facere dicuntur, hortatur. +<span class = "secnum">27</span> +<a name = "chapVII_sec27" id = "chapVII_sec27"> </a> +Studendum vero semper et ubique. Neque enim fere tam est ullus dies +occupatus, ut nihil lucrativae, ut Cicero Brutum facere tradit, +<span class = "pagenum">181</span> +operae ad scribendum aut legendum aut dicendum rapi aliquo momento +temporis possit: siquidem C. Carbo etiam in tabernaculo solebat hac +uti exercitatione dicendi. +<span class = "secnum">28</span> +<a name = "chapVII_sec28" id = "chapVII_sec28"> </a> +Ne id quidem tacendum est, quod eidem Ciceroni placet, nullum nostrum +usquam neglegentem esse sermonem: quidquid loquemur ubicumque, sit pro +sua scilicet portione perfectum. Scribendum certe numquam est magis quam +cum multa dicemus ex tempore. Ita enim servabitur pondus et innatans +illa verborum facilitas in altum reducetur, sicut rustici proximas vitis +radices amputant, quae illam in summum solum ducunt, ut inferiores +penitus descendendo firmentur. +<span class = "secnum">29</span> +<a name = "chapVII_sec29" id = "chapVII_sec29"> </a> +Ac nescio an si utrumque cum cura et studio fecerimus, invicem prosit, +ut scribendo dicamus diligentius, dicendo scribamus facilius. Scribendum +ergo quotiens licebit; +<span class = "pagenum">182</span> +si id non dabitur, cogitandum; ab utroque exclusi debent tamen <i>sic +d</i>icere ut neque deprehensus orator neque litigator destitutus esse +videatur.</p> + +<span class = "secnum">30</span> +<a name = "chapVII_sec30" id = "chapVII_sec30"> </a> +<p>Plerumque autem multa agentibus accidit ut maxime necessaria et +utique initia scribant, cetera, quae domo adferunt, cogitatione +complectantur, subitis ex tempore occurrant; quod fecisse +M. Tullium commentariis ipsius apparet. Sed feruntur aliorum quoque +et inventi forte, ut eos dicturus quisque composuerat, et in libros +digesti, ut causarum, quae sunt actae a Servio Sulpicio, cuius tres +orationes extant; sed hi de quibus loquor commentarii ita sunt exacti ut +ab ipso mihi in memoriam posteritatis videantur esse compositi. +<span class = "secnum">31</span> +<a name = "chapVII_sec31" id = "chapVII_sec31"> </a> +Nam Ciceronis ad praesens modo tempus aptatos libertus Tiro contraxit: +quos non ideo excuso quia non +<span class = "pagenum">183</span> +probem, sed ut sint magis admirabiles. In hoc genere prorsus recipio +hanc brevem adnotationem libellosque, qui vel manu teneantur et ad quos +interim respicere fas sit. +<span class = "secnum">32</span> +<a name = "chapVII_sec32" id = "chapVII_sec32"> </a> +Illud quod Laenas praecipit displicet mihi, <i>et</i> in his quae +scripserimus velut summas in commentarium et capita conferre. Facit enim +ediscendi neglegentiam haec ipsa fiducia et lacerat ac deformat +orationem. Ego autem ne scribendum quidem puto quod <i>non</i> simus +memoria persecuturi; nam hic quoque accidit ut revocet +<span class = "pagenum">184</span> +nos cogitatio ad illa elaborata nec sinat praesentem fortunam experiri. +<span class = "secnum">33</span> +<a name = "chapVII_sec33" id = "chapVII_sec33"> </a> +Sic anceps inter utrumque animus aestuat, cum et scripta perdidit et non +quaerit nova. Sed de memoria destinatus est libro proximo locus nec huic +parti subiungendus, quia sunt alia prius nobis dicenda.</p> + +</div> + +</body> +</html> diff --git a/old/files/quintstyles.css b/old/files/quintstyles.css new file mode 100644 index 0000000..7a55a4a --- /dev/null +++ b/old/files/quintstyles.css @@ -0,0 +1,203 @@ +body {margin-left: 10%; margin-right: 10%;} +/* wider for div maintext*/ + +pre {color: #000; background-color: #FFF; padding: 1em;} + +hr {width: 80%; clear: both; margin-top: 1em; margin-bottom: 1em;} +hr.spacer {margin-top: 2em; margin-bottom: 2em; width: 50%;} +hr.mid {width: 40%;} +hr.tiny {width: 20%;} + +sup {font-size: 75%; line-height: 50%;} + +i b {font-size: 95%;} + +a.tag {text-decoration: none; vertical-align: .3em; font-size: 80%; +line-height: 0em; padding-left: .2em;} +div.intro a, div.contents a, div.crit a {text-decoration: none;} +table.toc a {text-decoration: none;} + + +div.preface, div.intro {margin-top: 3em; margin-bottom: 3em;} +div.argument {clear: both; 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margin-bottom: .75em; +font-size: 108%;} + + +/* paragraphs */ + +p {margin-top: .5em; margin-bottom: 0em; line-height: 1.2;} + +p.illustration {text-align: center; margin-top: 1em; margin-bottom: 1em;} +p.line {margin-top: 1em; margin-bottom: 1em; +background-repeat: no-repeat; background-position: center; +background-image: url("../images/line.gif");} +p.inset, div.inset {margin-left: 2em;} +p.hanging {margin-left: 3em; text-indent: -2em; margin-top: .25em;} +p.space {margin-top: 1.2em;} + +p.poem {margin-left: 4em; text-indent: -2em; font-size: 92%;} +div.poem {margin: .5em 2em;} +div.poem p {margin-left: 2em; text-indent: -2em; font-size: 92%; +margin-top: 0em;} + +/* tables */ + +table {margin-left: auto; margin-right: auto; margin-top: 1em; +margin-bottom: 1em;} + +th {font-weight: normal; font-style: italic; text-align: center;} + +td {vertical-align: top; text-align: left; padding: .1em 1em .1em 0em;} +/* td {border: thin solid red;} */ + +td.number {text-align: right;} +td.smalltype {font-size: 0.8em; padding-top: .3em;} + + +/* conditional */ + +table.toc p, table.index p {margin-top: 0em; margin-left: 2em; +text-indent: -2em; line-height: normal;} + +table.toc td.number {padding-left: 1em;} +table.index td.number {vertical-align: bottom;} + + +/* preface & intro */ + +p.reference {font-size: 92%;} + +table.reference {margin: .5em -2em .5em 1em;} +table.reference td {font-size: 92%; margin-right: 2em;} +table.reference td.number {margin-right: 0em; vertical-align: bottom;} +table.reference p {margin-left: 2em; text-indent: -2em; +line-height: normal; margin-top: 0em;} + +table.comp p {margin-top: 0em; margin-left: 1em; text-indent: -1em; +line-height: normal;} +table.comp td, table.comp th {font-size: 88%;} + +div.footnote {margin: 1em 2em;} +div.footnote p {font-size: 95%;} + + +/* argument */ + +div.argument p {font-size: 95%; margin-left: 1.5em; text-indent: -1.5em;} + + +/* main text */ + +div.text {margin-top: 1em; margin-bottom: 1em; clear: both;} + +p.maintext {float: left; clear: both; width: 40%; +margin: 1em 1em .5em 0em;} +p.maintext.space {margin-top: 1.5em;} + +div.text p.poem {font-size: 92%; float: left; clear: both; width: 35%; +margin: 0em 2em .5em 2em; text-indent: -1em;} + +div.comm {margin-top: 1em;} +div.comm.space {margin-top: 1.5em;} +div.null div.comm {padding-top: .5em;} +div.null div.comm.space {padding-top: 1em;} + +div.comm p {font-size: 88%; margin-left: 2em; font-style: normal;} +div.comm p.space {margin-top: 1em;} +div.comm div.poem p {margin-left: 3em; text-indent: -2em; +font-size: 92%; margin-top: 0em;} + + +/* critical notes */ + +div.crit p {font-size: 92%;} +div.crit p.list {margin-left: 2em; text-indent: -1em;} +p.list + p.list {margin-top: 0em;} + +table.parallel td {font-style: italic; font-size: 92%; +text-align: center; padding: .1em .2em;} + + +/* index */ + +table.index p {font-size: 92%; margin-left: 1em; text-indent: -1em; +line-height: normal; margin-top: 0em;} +table.index p.space {margin-top: 1em;} +table.index p.inset {margin-left: 2em;} + + +/* text formatting */ + +.gap {letter-spacing: 1.5em;} + +.smallroman {font-size: 0.8em;} +.smallcaps {font-variant: small-caps;} +.extended {letter-spacing: .17em;} +.ital {font-style: italic;} +.plaintext {font-style: normal;} /* switches off italics */ + +/* greek original or translit */ + +.greek {text-decoration: none;} /* dummy for css */ + +/* correction popup */ + +ins.correction {text-decoration: none; border-bottom: thin dotted red;} + +/* page number */ +.pagenum {position: absolute; right: 2%; text-align: right; +font-size: 95%; color: #666; background-color: inherit; +font-weight: normal; font-style: normal; font-variant: normal; +text-indent: 0em;} +.pagenum.comm {font-size: 88%; font-style: italic; color: #333; +background-color: inherit;} + +.secnum {position: absolute; left: 3%; +font-size: 88%; font-weight: normal; font-style: normal; +text-indent: 0em; line-height: 1.4em;} + +div.crit p span.pagenum {font-size: 108%;} /* 92% */ +div.argument p span.pagenum {font-size: 105%;} /* 95%; */ +div.comm p span.pagenum {font-size: 100%;} /* 88% */ + + +/* Transcriber's Note */ +div.mynote {background-color: #DDE; color: #000; padding: .5em 1em 1em; +margin: 1em 5%;} +p.mynote {background-color: #DDE; color: #000; padding: 1em; +margin: 1em 5%; font-family: sans-serif; font-size: 90%;} +div.mynote p {font-family: sans-serif; font-size: 90%;} +div.mynote a {text-decoration: none;} + +/* added TOC */ +div.contents {clear: both; font-family: sans-serif; font-size: 90%; +margin: 2em; padding: .5em 2em 1em; border: 3px ridge #9AF;} +div.contents p {margin-left: 1.5em; text-indent: -1.5em;} |