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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> |