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<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
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<title>Quintiliani Institutionis Oratoriae Liber X:2-7</title>
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<div class = "contents">
<a name = "toc2" id = "toc2"> </a>

<p><a href = "../main.html">Preface</a><br>
<i>Analysis of the Argument, Index of Names,
Index of Matters (complete)</i><br>
</p>

<p>
<a href = "QuintIntro.html">Introduction</a></p>

<p>
<a href = "QuintBody1.html">Chapter I</a></p>

<p class = "space">
<a href = "#chapII">Chapter II</a><br>
<a href = "#arg_chapII">Analysis of the Argument</a>
</p>

<p>
<a href = "#chapIII">Chapter III</a><br>
<a href = "#arg_chapIII">Analysis of the Argument</a>
</p>

<p>
<a href = "#chapIV">Chapter IV</a><br>
<a href = "#arg_chapIV">Analysis of the Argument</a>
</p>

<p>
<a href = "#chapV">Chapter V</a><br>
<a href = "#arg_chapV">Analysis of the Argument</a>
</p>

<p>
<a href = "#chapVI">Chapter VI</a><br>
<a href = "#arg_chapVI">Analysis of the Argument</a>
</p>

<p>
<a href = "#chapVII">Chapter VII</a><br>
<a href = "#arg_chapVII">Analysis of the Argument</a>
</p>

<p><a href = "#index2_names">
Index of Names</a> (<i>in chapters II-VII only</i>)
</p>
<p><a href = "#index2_matters">
Index of Matters</a> (<i>in chapters II-VII only</i>)
</p>

<p class = "space">
<a href = "QuintCrit.html">Critical Notes</a></p>

</div>

<hr class = "spacer">

<span class = "pagenum">11</span>
<h4>M. FABI QUINTILIANI</h4>

<h3>INSTITUTIONIS ORATORIAE</h3>

<h4>LIBER DECIMUS</h4>

<p class = "line">&nbsp;</p>


<div class = "argument">

<h5><a name = "arg_chapII" id = "arg_chapII">
CHAPTER II.</a><br>
<span class = "subhead">
Of Imitation.</span></h5>

<p><a href = "#chapII_sec1">§§ 1-3.</a>
While the command of words, figures, and arrangement is to be acquired
by the study of the best authors, as recommended in the foregoing
chapter, the mind must also be exercised in the imitation of all the
good qualities which such authors exemplify. The place of imitation in
art: a&nbsp;natural and universal instinct. The very ease of imitation
has its dangers.</p>

<p><a href = "#chapII_sec4">§§ 4-13.</a>
Only a dull and sluggish spirit will be content to do nothing but
imitate, without inventing anything new. With our advantages of
training, we are even more bound than our predecessors to progress. We
ought even to surpass our models: if we confine ourselves to imitation
alone, shall we ever realise the ideal in oratory? Nature herself does
not achieve exact resemblance in reproduction. Moreover, there is much
in oratory that is characteristic of individual speakers, and due to
natural gifts: this cannot be made matter of imitation. You may imitate
the language and rhythmical arrangement of a great speech; but the
fashion of words changes, and as for arrangement, there must always be
an adaptation of sound to sense.</p>

<p><a href = "#chapII_sec14">§§ 14-18.</a>
Imitation is therefore a part of study in regard to which great
circumspection must be used,&mdash;first in the choice of models, and,
secondly, in determining
<span class = "pagenum">6</span>
the good points we would seek to reproduce; for even good authors have
their defects. Again, we must know the difference between superficial
imitation and that in which the inner spirit is represented. In cases
where only the outward manner is caught elevation becomes bombast, and
simplicity carelessness; roughness of form and insipidity in substance
pass for antique plainness; want of polish and point, for Attic
restraint; artificial obscurity claims to rank above Sallust and
Thucydides; the dull and spiritless challenge comparison with Pollio;
easy-going drawlers call their diffuse periods Ciceronian, delighted if
they can finish off a sentence with <i>Esse videatur</i>.</p>

<p><a href = "#chapII_sec19">§§ 19-21.</a>
The student must consider which models his own gifts qualify him to
imitate. A&nbsp;bold rugged style, for example, is appropriate to the
form of genius which would make shipwreck by an excessive affectation of
refinement. It is of course within the province of the teacher to supply
the natural defects of his pupils; but it is a far harder matter to
mould and form one’s own nature. Even the teacher will not keep up a
prolonged struggle against obstacles of natural disposition.</p>

<p><a href = "#chapII_sec21">§§ 21-26.</a>
In oratory we ought not to imitate the characteristic qualities of poets
and historians, and <i>vice versa</i>: each kind of composition has its
own appropriate laws. Let us imitate what is common to eloquence in all
its manifestations. We must adapt our style to the topic and occasion:
even different parts of one and the same speech call for different
treatment. And we should not blindly follow any one model
exclusively.</p>

<p><a href = "#chapII_sec27">§§ 27-28.</a>
Imitation must not be confined to words only: we should study also
propriety, arrangement, exordium, narrative, argument, pathos, &amp;c.
The perfect orator, whom our age may hope to see, will be he who shall
unite all the good qualities of his predecessors and reject all the
bad.</p>

</div> <!--end div argument -->

<div class = "text">

<h5><a name = "chapII" id = "chapII">
De Imitatione.</a></h5>


<p class = "maintext">
<a name = "chapII_sec1" id = "chapII_sec1"> </a>
<span class = "secnum">II:1</span>
II. Ex his ceterisque lectione dignis auctoribus et verborum sumenda
copia est et varietas figurarum et componendi ratio, tum ad exemplum
virtutum omnium mens derigenda. Neque
<span class = "pagenum">123</span>
enim dubitari potest, quin artis pars magna contineatur imitatione. Nam
ut invenire primum fuit estque praecipuum, sic ea quae bene inventa sunt
utile sequi.</p>

<div class = "comm">
<p><a name = "commII_sec1" id = "commII_sec1"><b>§ 1.</b></a>
<b>verborum ... copia</b>: cp. <a href =
"QuintBody1.html#chapI_sec5">1&nbsp;§5</a> and <a href =
"QuintBody1.html#chapI_sec8">§8</a>.</p>

<p><b>varietas figurarum</b>: see note on plurima vero mutatione
figuramus <a href = "QuintBody1.html#chapI_sec12">1&nbsp;§12</a>.</p>

<p><b>componendi ratio</b>, the ‘theory of rhythmical arrangement’: see
on <i>compositione</i> <a href =
"QuintBody1.html#chapI_sec79">1&nbsp;§79</a>: and cp. <a href =
"QuintBody1.html#chapI_sec44">§§44</a>, <a href =
"QuintBody1.html#chapI_sec52">52</a>, and <a href =
"QuintBody1.html#chapI_sec66">66</a>.</p>

<p><b>tum ... virtutum omnium</b>: i.e. in reading the best authors we
are not only to acquire facility and dexterity in regard to the points
enumerated, but to imitate also all the good qualities exemplified in
their works.</p>

<p><b>ad exemplum</b>, ‘after the model of,’ as ii. 3, 12 ad Phoenicis
Homerici exemplum
<span class = "pagenum comm">123</span>
dicere ac facere: not like <i>in exemplum</i> <a href =
"#chapII_sec2">§2</a> below, ‘as a model.’ The same use of <i>ad</i>
occurs below ad propositum sibi praescriptum: and <a href =
"#chapVII_sec3">7&nbsp;§3</a> ad incursus tempestatum ... ratio mutanda
est.</p>

<p><b>mens derigenda</b>: so vi. 5, 2 ideoque nos quid in quaque re
sequendum cavendumque sit docemus ac deinceps docebimus, ut ad ea
iudicium derigatur. For the form <i>derigo</i> see Munro on Lucr. vi.
823: ‘this was probably the only genuine ancient form.’ So Cic. pro Mur.
§3 vitam ad certam rationis normam derigenti: Orator §9 ad illius
similitudinem artem et manum derigebat (where, however, Sandys reads
dirigebat): Tac. Dial. §5 ad utilitatem vitae omnia consilia ...
derigenda sunt: Ann. iv. 40 ad famam praecipua rerum derigere. Cp. note
on <a href = "#chapIII_sec28">3&nbsp;§28</a>.</p>

<p><b>dubitari</b>: see on <a href =
"QuintBody1.html#chapI_sec73">1&nbsp;§73</a>, <a href =
"QuintBody1.html#chapI_sec81">§81</a>.</p>

<p><b>imitatione</b>: a reference to Aristotle’s general theory of art,
made to introduce the subject of imitation (<span class = "greek" title
= "mimêsis, zêlos">μίμησις, ζῆλος</span>) in the sphere of oratory. This
is defined by Cornif. ad Herenn. i. 2, 3 imitatio est qua impellimur cum
diligenti ratione ut aliquorum similes in dicendo velimus esse: cp. de
Orat. ii. §90 sq.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec2" id = "chapII_sec2"> </a>
<span class = "secnum">II:2</span>
Atque omnis vitae ratio sic constat, ut quae probamus in aliis facere
ipsi velimus. Sic litterarum ductus, ut scribendi fiat usus, pueri
sequuntur; sic musici vocem docentium, pictores opera priorum, rustici
probatam experimento culturam in exemplum intuentur; omnis denique
disciplinae initia ad propositum sibi praescriptum formari videmus.</p>

<span class = "pagenum">124</span>
<div class = "comm">
<p><a name = "commII_sec2" id = "commII_sec2"><b>§ 2.</b></a>
<b>ratio sic constat</b>: ‘it is a universal rule of life that,’ &amp;c.
More usual would have been ‘ita ratio comparata est vitae ut,’ &amp;c.
(Cic. de Amicit. §101). The phrase <i>ratio constat</i> (cp. rationem
reddere) was originally a figure taken from commerce (ratio&mdash;reor,
‘calculate,’ ‘count’), as Tac. Ann. i. 6 eam condicionem esse imperandi
ut non aliter ratio constet quam si uni reddatur: i.e. if you are an
absolute ruler the only way to ‘get your accounts square’ is to audit
them yourself. So Nettleship (Lat. Lex.) would explain here ‘there is
this balance in ordinary life’: i.e. the account of life only comes out
right on the supposition that, &amp;c,&mdash;civilised life would come
to an end unless, &amp;c. More probably Quintilian is employing here a
loose combination of two modes of expression, ratio constat ut, &amp;c.,
and such a phrase as that quoted from Cic. de Amicit. §101: cp. Acad.
ii. §132 omnis ratio vitae definitione summi boni continetur. In Pliny’s
letters the same expression is constantly used (like <i>ratio est</i> in
Cicero) for ‘it is right or reasonable’: iii. 18, 10 confido in hoc
genere materiae laetioris stili constare rationem: i. 5, 16 mihi et
temptandi aliquid et quiescendi ... ratio constabit: ii. 4, 4 in te vero
ratio constabit: cp. vii. 6,&nbsp;4.&mdash;For the thought cp. Arist.
Poet. 1, 4 <span class = "greek" title = "to te gar mimeisthai sumphuton tois anthrôpois ek paidôn esti k.t.l.">τό τε γὰρ μιμεῖσθαι σύμφυτον τοῖς
ἀνθρώποις ἐκ παίδων ἐστί κ.τ.λ.</span></p>

<p><b>ductus</b>, ‘tracings,’&mdash;writing-copies made on wax-tablets:
cp. i. 1. 25 sq., esp. §27 cum vero iam ductus sequi coeperit, non
inutile erit eas tabellae quam optime insculpi, ut per illos velut
sulcos ducatur stilus.</p>

<p><b>usus</b>: cp. Cic. Acad. ii. §2 Ingenii magnitudo non desideravit
indocilem usus disciplinam: de Orat. i. §15 ut ad eam doctrinam quam suo
quisque studio adsecutus esset adiungeretur usus frequens: pro Balbo&nbsp;§45.</p>

<p><b>experimento</b>: cp. vi. 2, 25 experimento meo ac natura ipsa
duce. The phrase <i>experimento probare</i> occurs in the Vulgate, Esth.
iii.&nbsp;5.</p>

<p><b>in exemplum</b>: cp. <a href = "#chapII_sec11">§11</a> in exemplum
adsumimus.</p>

<p><b>initia</b>, abstract for concrete: cp. <a href =
"#chapIII_sec8">3&nbsp;§8</a> hanc moram et sollicitudinem initiis (i.e.
incipientibus) impero. So in ii. 4, 13 ‘studia’ is put for
‘studiosi.’</p>

<p><b>ad ... praescriptum</b>: subst. as frequently in Cicero, e.g.
Orat. §36. So Quint. ii. 13, 2: iv. 2, 84: ix. 4, 117. Cp. Seneca Ep. 94
§51 pueri ad praescriptum discunt. On the other hand <i>propositum</i>
is even more frequently used as a noun by Quintilian: e.g. <a href =
"#chapII_sec11">§11</a> omnis imitatio ... ad alienum propositum
accommodatur: ii. 10, 15 omne propositum operis
<span class = "pagenum comm">124</span>
a nobis destinati: v. 11, 31 ad praesens propositum.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec3" id = "chapII_sec3"> </a>
<span class = "secnum">II:3</span>
Et hercule necesse est aut similes aut dissimiles bonis simus. Similem
raro natura praestat, frequenter imitatio. Sed hoc ipsum quod tanto
faciliorem nobis rationem rerum omnium facit quam fuit iis qui nihil
quod sequerentur habuerunt, nisi caute et cum iudicio adprehenditur,
nocet.</p>

<div class = "comm">
<p><a name = "commII_sec3" id = "commII_sec3"><b>§ 3.</b></a>
<b>hoc ipsum quod</b> must go together, ‘the fact that’: cp. ix. 2, 69
aperta figura perdit hoc ipsum quod figura est. The commentators wrongly
take <i>quod</i> as the conjunction and explain <i>hoc ipsum</i> as
imitatio (or perhaps the advantage of having examples to follow).</p>

<p><b>tanto</b> without a correlative: cp. tanto plena <a href =
"#chapII_sec28">§28</a>: Cic. pro Rosc. Amer. i. 1, 2 at tanto
officiosior quam ceteri? In all three instances the quam depends on the
comparative.</p>

<p><b>rationem rerum omnium</b>: the general course, method, or
procedure of everything, ‘every process’: cp. <a href =
"#chapIII_sec31">3&nbsp;§31</a> ratio delendi. <i>Ratio</i> is often
used with the genitive of a subst. as a periphrasis for the subst.
itself, Zumpt. §678: the various instances are well classified by
Nettleship, Lat. Lex. p.&nbsp;566, 9 and 11.</p>

<p><b>adprehenditur</b>, frequent in Quintilian of taking hold of a
fact, idea, or argument: cp. v. 14, 23 quae (leges oratorias) Graeci
adprehensa magis in catenas ligant: vi. 4, 18 quod adprehendens maius
aliquid cogatur dimittere: vii. 1, 56 in hoc de quo loquimur patre quid
adprehendi potest?</p>
</div>


<p class = "maintext space">
<a name = "chapII_sec4" id = "chapII_sec4"> </a>
<span class = "secnum">II:4</span>
Ante omnia igitur imitatio per se ipsa non sufficit, vel quia pigri est
ingenii contentum esse iis quae sint ab aliis inventa. Quid enim futurum
erat temporibus illis quae sine exemplo fuerunt, si homines nihil, nisi
quod iam cognovissent, faciendum sibi aut cogitandum putassent? Nempe
nihil fuisset inventum.</p>

<div class = "comm space">
<p><a name = "commII_sec4" id = "commII_sec4"><b>§ 4.</b></a>
<b>Ante omnia</b>: cp. the formula <i>ac primum quidem</i>, introducing
the first argument, viz. that imitation is not sufficient in itself:
others follow in <a href = "#chapII_sec7">§7</a>: <a href =
"#chapII_sec10">§10</a>: and <a href = "#chapII_sec12">§12</a> adde quod
ea quae in oratore maxima sunt imitabilia non sunt, &amp;c.</p>

<p><b>vel quia</b>: ‘just because,’ i.e. because (if for no other
reason) it is the mark of, &amp;c. The use of <i>vel</i> implies that
there are other reasons which could be adduced, if the reader cared to
have them (vel&mdash;si velis). Cp. <a href =
"QuintBody1.html#chapI_sec75">1&nbsp;§75</a> vel hoc est ipso
probabilis: <a href = "QuintBody1.html#chapI_sec80">§80</a>,
<a href = "QuintBody1.html#chapI_sec86">§86</a>: <a href =
"#chapV_sec8">5&nbsp;§8</a>: Roby §2222.</p>

<p><b>Quid futurum erat</b>: <a href = "#chapII_sec7">§7</a> below.
Contrast the use of the plpf. subj. in the <i>definite</i> apodosis
supplied in ‘nihil fuisset inventum.’ For the indic. cp. longum est
<a href = "QuintBody1.html#chapI_sec118">1&nbsp;§118</a>: oportebat
<a href = "#chapII_sec28">2&nbsp;§28</a>: fas erat
<a href = "#chapV_sec7">5&nbsp;§7</a>: satis erat
<a href = "#chapVI_sec2"><ins class = "correction"
title = "text reads ‘6 §12’">6&nbsp;§2</ins></a>.</p>

<p><b>Nempe</b>, ‘why!’ For a similar use of <i>nempe</i>, apart from
all irony, in answer to a question, cp. Livy vi. 41 penes quos igitur
sunt auspicia more maiorum? nempe penes patres. In such cases the assent
of the imaginary interlocutor is taken for granted.&mdash;Frotscher
compares Libanius, Declam. xviii. p.&nbsp;487 <span class = "greek"
title = "ei d’ aei tinos edei paradeigmatos ouk an archên oude hen elambanen">εἰ δ᾽ ἀεί τινος ἔδει παραδείγματος οὐκ ἂν ἀρχὴν οὐδὲ ἓν
ἐλάμβανεν</span>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec5" id = "chapII_sec5"> </a>
<span class = "secnum">II:5</span>
Cur igitur nefas est reperiri aliquid a nobis, quod ante non fuerit? An
illi rudes sola mentis natura ducti sunt in hoc, ut tam multa
generarent: nos ad quaerendum non eo ipso concitemur, quod certe scimus
invenisse eos qui quaesierunt?</p>

<div class = "comm">
<p><a name = "commII_sec5" id = "commII_sec5"><b>§ 5.</b></a>
<b>illi rudes</b> is explained by <a href = "#chapII_sec4">§4</a>
temporibus illis quae sine exemplo fuerunt. <i>An</i> is the mark of a
double question, being used to introduce the second alternative as
opposed to the first, even when the first is understood rather than
expressed. Here it almost = num, and implies the needlessness of the
preceding remark (Roby 2255), and introduces an <i>à fortiori</i>
argument; cp. Cicero, Tusc. v. §90 Cur pecuniam ... curet omnino? An
Scythes Anacharsis potuit pro nihilo pecuniam ducere, nostrates
philosophi facere non potuerunt? Cic. Cat. i. 1,&nbsp;3. So <a href =
"#chapIII_sec29">3&nbsp;§29</a> below an vero ... hoc cogitatio
praestat: <a href = "#chapV_sec7">5&nbsp;§7</a>.</p>

<p><b>certe scimus</b>. <i>Certe</i> is less absolute
<span class = "pagenum comm">125</span>
than <i>certo</i>. Acc. to Klotz ad Cic. de Sen. i. 2 certe scio =
certum est me scire (‘I am sure that I know’): certo scio = certum est
quod scio (‘I have certain or sure knowledge,’ ‘my knowledge is
accurate’). Cp. Ter. Andr. 503 with 929.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec6" id = "chapII_sec6"> </a>
<span class = "secnum">II:6</span>
Et
<span class = "pagenum">125</span>
cum illi, qui nullum cuiusquam rei habuerunt magistrum, plurima in
posteros tradiderunt, nobis usus aliarum rerum ad eruendas alias non
proderit, sed nihil habebimus nisi beneficii alieni? quem ad modum
quidam pictores in id solum student, ut describere tabulas mensuris ac
lineis sciant.</p>

<div class = "comm">
<p><a name = "commII_sec6" id = "commII_sec6"><b>§ 6.</b></a>
<b>cuiusquam rei</b>. <i>Quisquam</i> (generally subst.) is, when
employed adjectivally, more usually found along with names of persons or
words implying personality: cp. iv. 1, 10 ne contumeliosi in quenquam
hominem ordinemve videamur: <a href = "#chapVII_sec3">7&nbsp;§3</a>
below quisquam ... orator: iii. 1, 22 cuiusquam sectae.</p>

<p><b>in posteros</b>: so i. 1, 6: ad posteros xii. 11, 28.&mdash;For
<b>tradiderunt</b>, see <a href = "QuintCrit.html#critII_sec6">Crit.
Notes</a>.</p>

<p><b>eruendas</b>: ix. 2, 64 latens aliquid eruitur: xii. 8, 13 multa
... patronus eruet: iv. 2, 60 hoc quoque tamquam occultum et a se
prudenter erutum tradunt. Quintilian follows Cicero in the figurative
use of this word; e.g. de Orat. ii. 146 scrutari locos ex quibus
argumenta eruamus: ibid. 360 hac exercitatione non eruenda memoria est,
si est nulla naturalis, sed certe, si latet, evocanda est.</p>

<p><b>beneficii</b>. This gen. occurs in the phrase ‘sui beneficii
facere,’ not uncommon in the Latin of the Silver Age, ‘to make dependent
on one’s own bounty or favour.’ Suet. Claud. 23 commeatus a senatu peti
solitos benefici sui fecit: Iust. xiii. 4, 9 ut munus imperii beneficii
sui faceret: Sen. Ben. iii. 18,&nbsp;4. The phrase is equivalent to
nihil habebimus <i>nisi quod sit</i> or <i>quod non sit</i> ben. al. =
nisi quod debeamus aliis (‘due to the favour of others’). Becher cites
the analogous expression ‘tui muneris habeo’ in Tac. Ann. xiv. 55: cp.
ib. xv. 52, 4 ne ... sui muneris rem publicam faceret, and tui muneris
est Hor. Car. iv. 3,&nbsp;21. So ‘ducere aliquid offici sui.’ The
genitive must not therefore be explained as a gen. of quality, dependent
on <i>nihil</i> (as Meister).</p>

<p><b>in id solum student</b>. The construction (which occurs again xii.
6, 6 in quam rem studendum sit) seems to be modelled on that of
<i>niti</i>. Here, however, <i>ei soli</i> could not have
stood.&mdash;The process of ‘copying by measures and lines’ is not
unknown even now. The picture to be reproduced, and the surface on which
the copy was to be made, were divided into equal numbers of squares
(mensurae) by lines drawn across at right angles.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec7" id = "chapII_sec7"> </a>
<span class = "secnum">II:7</span>
Turpe etiam illud est, contentum esse id consequi quod imiteris. Nam
rursus quid erat futurum, si nemo plus effecisset eo quem sequebatur?
Nihil in poetis supra Livium Andronicum, nihil in historiis supra
<span class = "pagenum">126</span>
pontificum annales haberemus; ratibus adhuc navigaremus; non esset
pictura, nisi quae lineas modo extremas umbrae, quam corpora in sole
fecissent, circumscriberet.</p>

<div class = "comm">
<p><a name = "commII_sec7" id = "commII_sec7"><b>§ 7.</b></a>
<b>turpe etiam</b>. For the argument see <a href =
"QuintCrit.html#critII_sec7">Crit. Notes</a>.</p>

<p><b>contentum ... consequi</b>. The constr. c. infin. is very common
in Quintilian: over a dozen instances are given in Bonn. Lex. (q.v.). It
passed from the usage of poetry (e.g. Ovid, Metam. i. 461) into the
prose of the Silver Age. Cicero would have used <i>satis habere</i>. Cp.
solus legi dignus <a href =
"QuintBody1.html#chapI_sec96">1&nbsp;§96</a>.</p>

<p><b>rursus</b> resumes quid futurum erat <a href =
"#chapII_sec4">§4</a>.</p>

<p><b>in poetis ... in historiis</b>: see on <a href =
"QuintBody1.html#chapI_sec28">1&nbsp;§28</a>: <a href =
"QuintBody1.html#chapI_sec75">1&nbsp;§75</a>.</p>

<p><b>Livius Andronicus</b>. Cicero (Brutus §71) compares his translation of the Odyssey to the
first rude attempts at sculpture, which passed under the name of
Daedalus: nam et Odyssia Latina est sic tamquam opus aliquod Daedali et
Livianae fabulae non satis dignae quae iterum legantur. Cp. Liv. xxvii.
§37 forsitan laudabile rudibus ingeniis, nunc abhorrens et
inconditum.&mdash;Livius was a native of Tarentum, who came to Rome as a
slave after the capture of his native city (272 <span class =
"smallroman">B.C.</span>) and set up as a schoolmaster: his Odyssey
survived for scholastic purposes down to the days of Orbilius and Horace
(Ep. ii. 1,&nbsp;69). His production in <span class =
"smallroman">B.C.</span> 240&mdash;the year after the end of the First
Punic War&mdash;of a tragedy and comedy in Latin (in which he discarded
the old Saturnian metre), may be said to mark the beginning of Roman
literature. For thirty years he continued to produce plays at the Roman
games, adapting the indigenous Italian drama,
<span class = "pagenum comm">126</span>
such as it was, to the laws which regulated dramatic composition among
the Greeks; and when he died at a ripe old age, a compliment was paid to
his memory by the assignment of the Temple of Minerva on the Aventine to
the ‘guild of poets’ (collegium poetarum) as a place for their
meetings.</p>

<p><b>pontificum annales</b>: also called Annales Maximi, probably
because they were kept by the Pontifex Maximus. In them was preserved
the list of consuls and other magistrates, and they recorded in the
baldest fashion the most noteworthy events of each magistracy. Cp. Cic.
de Orat. ii. §52 erat enim historia nihil aliud nisi annalium confectio,
&amp;c. P.&nbsp;Mucius Scaevola, the consul of 133 <span class =
"smallroman">B.C.</span>, edited them in thirty books. Teuffel §66: Mommsen, i. 477 sq.</p>

<p><b>lineas extremas</b>, i.e. the tracing of outlines: this was said
to have been the origin of painting. Pliny N.&nbsp;H. xxxv. 5 Graeci
(picturam affirmant) ... repertam ... umbra hominis lineis circumducta.
Cp. the distinction between free imitation and servile copying in the
following from Aulus Gellius (xvii. 20,&nbsp;8): ea quae in Platonis
oratione demiramur, non aemulari quidem, sed lineas umbrasque facere
ausi sumus.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec8" id = "chapII_sec8"> </a>
<span class = "secnum">II:8</span>
Ac si omnia percenseas, nulla <i>man</i>sit ars qualis inventa est, nec
intra initium stetit: nisi forte nostra potissimum tempora damnamus
huius infelicitatis, ut nunc demum nihil crescat: nihil autem crescit
sola imitatione.</p>

<div class = "comm">
<p><a name = "commII_sec8" id = "commII_sec8"><b>§ 8.</b></a>
<b>nisi forte</b>: cp. <a href =
"QuintBody1.html#chapI_sec70">1&nbsp;§70</a>: <a href =
"#chapIII_sec31">3&nbsp;§31</a>: <a href =
"#chapV_sec6">5&nbsp;§6</a>.</p>

<p><b>infelicitatis</b>: cp. on <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a> infelicis operae. So viii.
prooem. §27 abominanda ... haec infelicitas ... quae et cursum dicendi
refrenat et calorem cogitationis extinguit mora et diffidentia. xi. 2,
49 haec rara infelicitas erit. Pliny N.&nbsp;H. praef. 23 has ‘infelix’
ingenium for ‘sterile.’ The opposite would be beatissima ubertas <a href
= "QuintBody1.html#chapI_sec109">1&nbsp;§109</a>. For the constr. c.
genit. cp. ii. 5, 24 neque enim nos tarditatis natura damnavit: ix. 2,
81 tyrannidis affectatae damnatus: vii. 8, 3 incesti damnata.</p>

<p><b>demum</b>: v. on <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec9" id = "chapII_sec9"> </a>
<span class = "secnum">II:9</span>
Quod si prioribus adicere fas non est, quo modo sperare possumus illum
oratorem perfectum? cum in his, quos maximos adhuc novimus, nemo sit
inventus in quo nihil aut desideretur aut reprehendatur. Sed etiam qui
summa non adpetent, contendere potius quam sequi debent.</p>

<div class = "comm">
<p><a name = "commII_sec9" id = "commII_sec9"><b>§ 9.</b></a>
<b>oratorem perfectum</b>: <a href = "#chapII_sec28">§28</a> below, with
which cp. the preface to Book i, §9 Oratorem autem instituimus illum
perfectum qui esse nisi vir bonus non potest. So Cicero, Orat. §7: de
Orat. i. §117.</p>

<p><b>nemo sit inventus</b>: cp. Pr. i. §18 qualis fortasse nemo adhuc
fuerit. So too i. 10, 4 where referring to Cicero’s Orator he says:
quibus ego primum hoc respondeo, quod M.&nbsp;Cicero scripto ad Brutum
libro frequentius testatur: non eum a nobis institui oratorem qui sit
aut fuerit, sed imaginem quandam concepisse nos animo perfecti illius et
nulla parte cessantis. Orat. §7 non saepe atque haud scio an
nunquam.</p>

<p><b>summa</b>: Pr. i. §§19-20 nobis ad summa tendendum est ... altius
tamen ibunt qui ad summa nitentur. xii. 11&nbsp;§26 contendere = certare
ut priores sunt, ‘compete,’ ‘rival.’</p>
</div>


<p class = "maintext">
<a name = "chapII_sec10" id = "chapII_sec10"> </a>
<span class = "secnum">II:10</span>
Nam qui hoc agit ut prior sit, forsitan etiamsi non transierit aequabit.
Eum vero nemo potest aequare cuius vestigiis sibi utique insistendum
putat; necesse est enim semper sit posterior qui
<span class = "pagenum">127</span>
sequitur. Adde quod plerumque facilius est plus facere quam idem; tantam
enim difficultatem habet similitudo ut ne ipsa quidem natura in hoc ita
evaluerit ut non res quae simillimae quaeque pares maxime videantur
utique discrimine aliquo discernantur.</p>

<div class = "comm">
<p><a name = "commII_sec10" id = "commII_sec10"><b>§ 10.</b></a>
<b>forsitan</b>: c. ind. as in Quint. Curt. iv. xiv. 20.</p>

<p><b>utique</b>. See on <a href =
"QuintBody1.html#chapI_sec20">1&nbsp;§20</a>. Tr. ‘in whose footsteps he
thinks he must by all means follow.’</p>

<span class = "pagenum comm">127</span>
<p><b>adde quod</b>, used thrice within three paragraphs <a href =
"#chapII_sec10">§§10</a>, <a href = "#chapII_sec11">11</a>, <a href =
"#chapII_sec12">12</a>: another proof of a certain want of finish in
Quintilian’s style. Cp. on <a href = "#chapII_sec23">2&nbsp;§23</a>: and
discrimine ... discernantur, below.&mdash;See Introd. <a href =
"QuintIntro.html#intro_pageliii">p.&nbsp;liii</a>.</p>

<p><b>in hoc</b>, i.e. in the endeavour to reproduce.</p>

<p><b>utique ... aliquo</b>: iv. 5, 8 in omni partitione est utique
aliquid potentissimum: iv. 1, 77 aliquam utique sententiam: xii. 10, 67
utique aliquo momento.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec11" id = "chapII_sec11"> </a>
<span class = "secnum">II:11</span>
Adde quod quidquid alteri simile est, necesse est minus sit eo quod
imitatur, ut umbra corpore et imago facie et actus histrionum veris
adfectibus. Quod in orationibus quoque evenit. Namque iis quae in
exemplum adsumimus subest natura et vera vis; contra omnis imitatio
facta est et ad alienum propositum accommodatur.</p>

<div class = "comm">
<p><a name = "commII_sec11" id = "commII_sec11"><b>§ 11.</b></a>
<b>veris adfectibus</b>. Cp. vi. 2, 35 Vidi ego saepe histriones atque
comoedos, cum ex aliquo graviore actu personam deposuissent, flentes
adhuc egredi. quod si in alienis scriptis sola pronuntiatio ita falsis
accendit adfectibus, quid nos faciemus qui illa cogitare debemus ut
moveri periclitantium vice possimus? Cp. Hor. A.&nbsp;P. 431-433.</p>

<p><b>alienum proposition</b>, i.e. the purpose of the imitator, not
that of the original writer or speaker.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec12" id = "chapII_sec12"> </a>
<span class = "secnum">II:12</span>
Quo fit ut minus sanguinis ac virium declamationes habeant quam
orationes, quod in illis vera, in his adsimilata materia est. Adde quod
ea quae in oratore maxima sunt imitabilia non sunt, ingenium, inventio,
vis, facilitas et quidquid arte non traditur.</p>

<div class = "comm">
<p><a name = "commII_sec12" id = "commII_sec12"><b>§ 12.</b></a>
<b>sanguinis</b>: <a href = "QuintBody1.html#chapI_sec60">1&nbsp;§60</a>
(of Archilochus) plurimum sanguinis atque nervorum: <a href =
"QuintBody1.html#chapI_sec115">§115</a> eum (Calvum) ...
verum sanguinem perdidisse: viii. 3, 6 (hic ornatus) sanguine et viribus niteat.</p>

<p><b>illis ... his</b>. This is only an apparent inversion of the usual
arrangement: <i>declamationes</i> is the nearer subject in thought, as
being the subject of the sentence, in which it comes before
<i>orationes</i>. The use of <i>hic</i> may also serve to indicate the
prevalence of declamation in Quintilian’s day: <a href =
"#chapV_sec14">5&nbsp;§14</a>.&mdash;See Zumpt §700.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec13" id = "chapII_sec13"> </a>
<span class = "secnum">II:13</span>
Ideoque plerique, cum verba quaedam ex orationibus excerpserunt aut
aliquos compositionis certos pedes, mire a se quae legerunt effingi
arbitrantur, cum et verba intercidant invalescantque temporibus, (ut
quorum certissima
<span class = "pagenum">128</span>
sit regula in consuetudine,) eaque non sua natura sint bona aut
mala&mdash; nam per se soni tantum sunt&mdash; sed prout opportune
proprieque aut secus collocata sunt, et compositio cum rebus accommodata
sit, tum ipsa varietate gratissima.</p>

<div class = "comm">
<p><a name = "commII_sec13" id = "commII_sec13"><b>§ 13.</b></a>
<b>compositionis</b>: see <a href = "#chapII_sec1">§1</a> componendi
ratio. Tr. ‘particular cadences in the arrangement’ <a href =
"QuintBody1.html#chapI_sec52">1&nbsp;§52</a>. Cp. especially ix. 4, 116
quem in poemate locum habet versificatio, eum in oratione
compositio.</p>

<p><b>cum et</b>, &amp;c., ‘though, as for the words, they drop out or
come into use in course of time ... while the arrangement,’ &amp;c.
<i>Verba</i> is opp. to <i>compositio</i> below: cp. <i>verba</i> and
<i>comp. pedes</i> above. See Crit. Notes.</p>

<p><b>verba intercidant ... consuetudine</b>. Hor. A.&nbsp;P. 70, Multa
renascentur quae iam cecidere, cadentque Quae nunc sunt in honore
vocabula, si volet usus, Quem penes arbitrium est et ius et norma
loquendi. Ibid. 60-62 Ut silvae foliis pronos mutantur in annos, Prima
cadunt, ita verborum vetus interit aetas, Et iuvenum ritu florent modo
nata vigentque. viii. 6, 32 cum multa (<span class = "greek" title =
"onomata">ὀνόματα</span>) cotidie ab antiquis ficta moriantur.</p>

<p><b>ut quorum</b> = quippe. Cp. <a href =
"QuintBody1.html#chapI_sec55">1&nbsp;§55</a> ut in qua ... sit: <a href
= "QuintBody1.html#chapI_sec57">1&nbsp;§§57</a>, <a href =
"QuintBody1.html#chapI_sec74">74</a>. I&nbsp;have put this clause in
brackets to show that it stands by itself: <i>consuetudine</i> explains
<i>temporibus</i>, while <i>non sua natura ... sed prout ...
collocata</i> introduce a new idea. See following note.</p>

<span class = "pagenum comm">128</span>
<p><b>eaque</b> is a continuation of the clause <i>cum et verba</i>. The
use and disuse of words is a matter of fashion: <i>and moreover</i>
their value depends on their proper employment.&mdash;The commentators,
except Krüger (3rd ed.), explain this as part of the clause <i>ut
quorum</i>, &amp;c., the demonstr. taking the place of the relative, as
not infrequently with double relative clauses in Cicero: Orat. §9 quam
intuens in eaque defixus: de Fin. i. 12, 42 quod ipsum nullam ad aliam
rem, ad id autem res referuntur omnes (where see Madvig): ad Att. x. 16,
3: Brutus §258. Cp. Lucr. i. 718-21, and Munro’s note. But the context
is against this. See <a href = "QuintCrit.html#critII_sec13">Crit.
Notes</a>.</p>

<p><b>proprie</b>: v. on <a href =
"QuintBody1.html#chapI_sec9">1&nbsp;§9</a>.</p>

<p><b>collocata</b> here not much more than <i>adhibita</i>. In
themselves words are nothing: their effect depends entirely on their
appropriate use.</p>

<p><b>et compositio</b>: i.e. and though, as to the arrangement (<i>et
compositio</i> corresponds to <i>et verba</i> above), it may owe its
effect in the original to the manner in which it has been adapted to the
sense (<i>rebus accommodata</i>), while moreover (cum ... tum) its charm
lies in its very variety. The art by which the <i>compositio</i> is
saved from monotony in the original is lost by the servile copyists of
particular extracts: they take no account of the fact that the style
ought to reflect the sense, and they forget that the motive for a
particular <i>compositio</i> in their original was the desire to produce
an agreeable effect by diversity of form.&mdash;See <a href =
"QuintCrit.html#critII_sec13">Crit. Notes</a>.</p>
</div>


<p class = "maintext space">
<a name = "chapII_sec14" id = "chapII_sec14"> </a>
<span class = "secnum">II:14</span>
Quapropter exactissimo iudicio circa hanc partem studiorum examinanda
sunt omnia. Primum, quos imitemur: nam sunt plurimi qui similitudinem
pessimi cuiusque et corruptissimi concupierint: tum in ipsis quos
elegerimus, quid sit <i>ad</i> quod nos efficiendum comparemus.</p>

<div class = "comm space">
<p><a name = "commII_sec14" id = "commII_sec14"><b>§ 14.</b></a>
<b>exactissimo</b>: so <a href = "#chapVII_sec30">7&nbsp;§30</a>
commentarii ita exacti = perfecti. In the sense of ‘perfectly finished’
it is found Hor. Ep. ii. 1, 72: Ovid, Met. i. 405.</p>

<p><b>circa</b>: v. on <a href =
"QuintBody1.html#chapI_sec52">1&nbsp;§52</a>.</p>

<p><b>corruptissimi</b>: cp. <a href = "#chapII_sec16">§16</a> declinant
in peius, &amp;c. The word is used of a vicious style, <a href =
"QuintBody1.html#chapI_sec125">1&nbsp;§125</a>.</p>

<p><b>efficiendum</b> = effingendum, as <a href =
"#chapII_sec13">§13</a> above.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec15" id = "chapII_sec15"> </a>
<span class = "secnum">II:15</span>
Nam in magnis quoque auctoribus incidunt aliqua vitiosa et a doctis
inter ipsos etiam mutuo reprehensa;
<span class = "pagenum">129</span>
atque utinam tam bona imitantes dicerent melius quam mala peius dicunt.
Nec vero saltem iis quibus ad evitanda vitia iudicii satis fuit
sufficiat imaginem virtutis effingere et solam, ut sic dixerim, cutem
vel potius illas Epicuri figuras, quas e summis corporibus dicit
effluere.</p>

<div class = "comm">
<p><a name = "commII_sec15" id = "commII_sec15"><b>§ 15.</b></a>
<b>in ... auctoribus</b>. <i>In</i> is used for <i>apud</i> in speaking
of an author’s whole works or general characteristics, not of a
particular passage or a particular composition. So Hor. Sat. i. 10, 52:
Tu nihil in magno doctus reprendis Homero? <a href =
"QuintBody1.html#chapI_sec76">1&nbsp;§76</a> tanta vis in eo
(Demosthene). For <i>apud</i> cp. <a href =
"QuintBody1.html#chapI_sec39">1&nbsp;§39</a> brevitas illa ... quae est
apud Livium in epistula ad filium scripta.&mdash;The same warning is
given <a href = "QuintBody1.html#chapI_sec24">1&nbsp;§24</a> Neque id
statim legenti persuasum sit, omnia quae optimi auctores dixerint utique
esse perfecta.</p>

<p><b>a doctis</b>, ‘by competent critics’: cp. <a href =
"QuintBody1.html#chapI_sec97">1&nbsp;§97</a> qui esse docti adfectant:
viii. 3, 2 in ceteris iudicium doctorum, in hoc vero etiam popularem
laudem petit: xii. 10, 72 tum laudem quoque, nec doctorum modo sed etiam
vulgi consequatur: ib. 1&nbsp;§20: 9&nbsp;§4: 10&nbsp;§50.</p>

<p><b>inter ipsos</b> is to be referred to <i>in magnis auctoribus</i>,
not to <i>a doctis</i>: hence the comma.&mdash;<i>Inter ipsos</i> would
have been <i>inter se</i> if the word to which the pronoun refers had
been nom. or acc. Cp. 1, 14 non semper enim haec inter se idem faciunt:
Cic. de Off. i. §50 conciliat inter se homines. But societas hominum
inter ipsos, Cic. de Off. i. §20: quam sancta est societas civium inter
ipsos, Leg. ii. 7: latissime patens hominibus inter ipsos ... societas
haec est, de Off. i. §51. Cp. <a href = "#chapII_sec23">§23</a> below.
On the other hand we have multa sunt civibus inter se communia, de Off.
i. §53: communia esse amicorum inter se omnia, Ter. Ad. v.
3,&nbsp;18.</p>

<p><b>mutuo</b>, only here in Quintilian: he frequently uses
<i>invicem</i>. Liv. viii. 24, 6 cum interclusissent trifariam a mutuo
inter se auxilio.</p>

<span class = "pagenum comm">129</span>
<p><b>mutuo reprehensa</b>. Cp. the reference to the letters of Calvus
and Brutus to Cicero, Tac. Dial. 18 ex quibus facile est deprehendere
Calvum quidem Ciceroni visum exsanguem et attritum, Brutum autem otiosum
atque diiunctum; rursusque Ciceronem a Calvo quidem male audisse tanquam
solutum et enervem, a Bruto autem, ut ipsius verbis utar, tanquam
fractum atque elumbem.&mdash;For the position of <b>tam</b>, cp. on <a
href = "#chapVII_sec27">7&nbsp;§27</a>.</p>

<p><b>mala</b> (sc. <b>imitantes</b>) <b>peius</b>, as in the case of
Seneca’s imitators: placebat propter sola vitia et ad ea se quisque
dirigebat effingenda quae poterat: <a href =
"QuintBody1.html#chapI_sec127">1&nbsp;§127</a>.</p>

<p><b>nec ... saltem</b>. <i>Saltem</i> with a negative is used by
Quintilian in the sense of <i>ne ... quidem</i>, standing sometimes
before, sometimes after the word to which it applies: here with
<i>sufficiat</i>. Cp. i. 1, 24 Neque enim mihi illud saltem placet quod
fieri in plurimis video: <a href = "#chapVII_sec20">7&nbsp;§20</a> below
ut non breve saltem tempus sumamus, &amp;c.: v. 1, 4 neque enim de
omnibus causis dicere quisquam potest saltem praeteritis, ut taceam de
futuris: xii. 11, 11 ut ipsum iter neque impervium neque saltem durum
putent.</p>

<p><b>ut sic dixerim</b>, for the more classical ‘ut ita dicam’: cp. <a
href = "QuintBody1.html#chapI_sec6">1&nbsp;§§6</a>, <a href =
"QuintBody1.html#chapI_sec77">77</a>. So Tac. Ann. xiv. 53, 14: Dial.
34, 8: 40, 19: ut ita dixerim Agr. 3,&nbsp;13. See <a href =
"QuintCrit.html#critII_sec15">Crit. Notes</a>.</p>

<p><b>Epicuri figuras</b>. The reference is to the theory of <span class
= "greek" title = "eidôla">εἴδωλα</span> first adopted to explain
sensation by Democritus, and afterwards developed by Epicurus. Cp. Plut.
de Pl. Phil. iv. 8 <span class = "greek" title = "Leukippos kai Dêmokritos tên aisthêsin kai tên noêsin gignesthai eidôlôn exôthen prosiontôn">Λεύκιππος καὶ Δημόκριτος τὴν αἴσθησιν καὶ τὴν νόησιν
γίγνεσθαι εἰδώλων ἔξωθεν προσιόντων</span>. See Ritter and Preller §155 sq. Cp. Lucret. iv. 42 sq. Dico igitur
rerum effigias tenuesque figuras Mittier ab rebus summo de corpore
rerum, Quoi quasi membranae, vel cortex nominitandast, Quod speciem ac
formam similem gerit eius imago Cuiuscumque cluet de corpore fusa
vagari: cp. 157-8 Perpetuo fluere ut noscas e corpore summo Texturas
rerum tenues tenuesque figuras.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec16" id = "chapII_sec16"> </a>
<span class = "secnum">II:16</span>
Hoc autem his accidit qui non introspectis penitus virtutibus ad primum
se velut adspectum orationis aptarunt; et cum iis felicissime cessit
imitatio, verbis atque numeris sunt non multum differentes, vim dicendi
atque inventionis non adsequuntur, sed plerumque declinant in peius et
proxima virtutibus vitia comprehendunt fiuntque pro grandibus tumidi,
pressis exiles, fortibus temerarii, laetis corrupti, compositis
<span class = "pagenum">130</span>
exultantes, simplicibus neglegentes.</p>

<div class = "comm">
<p><a name = "commII_sec16" id = "commII_sec16"><b>§ 16.</b></a>
<b>numeris</b>, ‘rhythm’: cp. compositio <a href =
"#chapII_sec13">§13</a>, and <a href =
"QuintBody1.html#chapI_sec79">1&nbsp;§79</a>. Numeros <span class =
"greek" title = "rhuthmous">ῥυθμούς</span> accipi volo ix.
4,&nbsp;45.</p>

<p><b>sunt ... differentes</b>: a Greek construction.</p>

<p><b>vim dicendi</b> <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a>: viii. pr. 30. Neither in
force of expression nor in power of thought do they come up to their
models.</p>

<p><b>in peius</b>. Cp. i. 1, 5 bona facile mutantur in peius, i. 3, 1:
ii. 16, 2: Verg. Georg. i. 200 in peius ruere. See Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>proxima virtutibus vitia</b>. Cp. Hor. A.&nbsp;P. 25-28 Decipimur
specie recti: brevis esse laboro, Obscurus fio; sectantem levia nervi
Deficiunt animique; professus grandia turget; Serpit humi tutus nimium
timidusque procellae. Below (32-37) Quintilian draws the moral that
knowledge is necessary in order to avoid a fault, otherwise the opposite
fault may be committed. With ‘specie recti’ in Horace cp. Quint. viii.
3, 56 <span class = "greek" title = "Kakozêlon">Κακόζηλον</span>, id est
mala adfectatio, per omne dicendi genus peccat: nam et tumida et pusilla
et praedulcia et abundantia et arcessita et exultantia sub idem nomen
cadunt. Denique cacozelon vocatur quidquid est ultra virtutem, quotiens
ingenium iudicio caret et specie boni fallitur, omnium in eloquentia
vitiorum pessimum.</p>

<p><b>comprehendunt</b>: a rare use. See on <a href =
"#chapII_sec3">§3</a> adprehenditur. Cp. Cic. pro Balb. §3 omnes animo
virtutes penitus comprehendere.</p>

<p><b>pro grandibus tumidi</b>: so grandia non tumida xii. 10, 80:
professus grandia turget Hor. l.c.</p>

<p><b>pressis</b>, ‘concise,’ ‘chaste,’ <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>, <a href =
"QuintBody1.html#chapI_sec46">§46</a>.</p>

<p><b>exiles</b>, ‘bald.’ Cp. Cic. Brut. §202 Sed cavenda est presso
illi oratori inopia
<span class = "pagenum comm">130</span>
et ieiunitas, amplo autem inflatum et corruptum orationis genus.</p>

<p><b>fortibus temerarii</b>: strength of style ought not to become
rashness. Cp. iii. 7, 25 pro temerario fortem ... vocemus: ii. 12, 4 est
praeterea quaedam virtutum vitiorumque vicinia qua maledicus pro libero,
temerarius pro forti, effusus pro copioso accipitur: ii. 12, 11 vim
appellant quae est potius violentia.</p>

<p><b>laetis corrupti</b>: xii. 10, 80 laeta non luxuriosa. Wealth of
style ought not to degenerate into extravagance. For <i>laetus</i> cp.
<a href = "QuintBody1.html#chapI_sec46">1&nbsp;§46</a>.</p>

<p><b>compositis exultantes</b>: lit. ‘bounding instead of measured’:
cp. exultantia coercere <a href = "#chapIV_sec1">4&nbsp;§1</a>, where
see note. For <i>compositis</i> v. <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>: for <i>exultantes</i> cp.
ix. 4, 28 quaedam transgressiones ... sunt etiam compositione vitiosae
quae in hoc ipsum petuntur ut exultent atque lasciviant quales illae
Maecenatis: Sole et aurora rubent plurima, &amp;c., ibid. §142, where
<i>saltare</i> is used of this style, in which the excessive care
bestowed on the arrangement (<i>compositio</i>) degenerates into
affectation. See <a href = "QuintCrit.html#critII_sec16">Crit.
Notes</a>.</p>

<p><b>simplicibus neglegentes</b>: Cicero, de Inv. i. 21, 30 opposes
dilucide et ornate ... to obscure et neglegenter. <i>Neglegentes</i>
implies contempt for as well as absence of ornament, almost
‘slovenliness.’</p>
</div>


<p class = "maintext">
<a name = "chapII_sec17" id = "chapII_sec17"> </a>
<span class = "secnum">II:17</span>
Ideoque qui horride atque incomposite quidlibet illud frigidum et inane
extulerunt, antiquis se pares credunt; qui carent cultu atque
sententiis, Attici sunt scilicet; qui praecisis conclusionibus obscuri,
Sallustium
<span class = "pagenum">131</span>
atque Thucydiden superant; tristes ac ieiuni Pollionem aemulantur;
otiosi et supini, si quid modo longius circumduxerunt, iurant ita
Ciceronem locuturum fuisse.</p>

<div class = "comm">
<p><a name = "commII_sec17" id = "commII_sec17"><b>§ 17.</b></a>
<b>horride atque incomposite</b>: horride inculteque Cic. Orat. 28: cp.
<a href = "QuintBody1.html#chapI_sec66">1&nbsp;§66</a> rudis in
plerisque et incompositus (Aeschylus): Tac. Dial. 18 sunt enim horridi
et impoliti et rudes et informes. <i>Horridus</i> is the opposite of
<i>nitidus</i>: Cic. de Orat. iii. 51: de Legg. i. 2, 6: Brutus §§68,
83, 117, 238, 268.</p>

<p><b>quidlibet illud frigidum et inane</b>. As the expression
<i>horride atque incomposite</i> denotes the unpleasing form, so this
phrase (cp. frigida et inanis adfectatio ix. 3,&nbsp;74) stigmatises the
tasteless and vapid substance of the incompetent imitators (Hor. Ep. i.
19, 19 O&nbsp;imitatores, servum pecus): tr. ‘writers who have come out
with their favourite platitudes and inanities.’ There is something
deictic about <i>illud</i>. Becher compares ix. 2, 94 postulandum est ut
<i>nescio quid illud</i> quod adversarii obliquis sententiis significare
voluerint obiciant palam: i. 3, 4 hi sunt qui ... quicquid illud possunt
statim ostendunt: Liv. ix. 3, 13 vivet semper in pectoribus illorum
quidquid istud praesens necessitas inusserit. Cp. xii. 6, 2: vi. pr. §3
(quidquid hoc est in me), and often <i>ipsum illud</i>, <i>hoc illud</i>
(e.g. Liv. praef. 10): Liv. i. 29, 3 domos suas ultimum illud
visuri.</p>

<p><b>extulerunt</b>. The commentators explain as = dicendo extulerunt:
cp. i. 5, 16: viii. 3, 40: and Cicero, Orat. §150. But it is more
probably the same use as we have in <a href =
"QuintBody1.html#chapI_sec109">1&nbsp;§109</a>, viz. a metaphor from a
productive soil: cp. Cic. de Natur. Deor. ii. §86, and Brut. §16.</p>

<p><b>antiquis</b>: <a href =
"QuintBody1.html#chapI_sec43">1&nbsp;§43</a> quidam solos veteres
legendos putant: Tac. Dial. 20 tristem et impexam antiquitatem: 21
sordes autem illae verborum et hians compositio et inconditi sensus
redolent antiquitatem: Quint. v. 14, 32 se antiquis per hoc similes
vocant. In the Dialogue, Aper (15-23) criticises excessive devotion to
antique models,&mdash;holding ‘vitio malignitatis humanae vetera semper
in laude, praesentia in fastidio esse.’</p>

<p><b>cultu</b> = ornatu: <a href =
"QuintBody1.html#chapI_sec124">1&nbsp;§124</a>: See Introd. <a href =
"QuintIntro.html#intro_pagexliv">p.&nbsp;xliv</a>.</p>

<p><b>sententiis</b>: <a href =
"QuintBody1.html#chapI_sec61">1&nbsp;§61</a>, <a href =
"QuintBody1.html#chapI_sec90">§90</a>, <a href =
"QuintBody1.html#chapI_sec129">§129</a>.</p>

<p><b>Attici</b>: <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>. See <a href =
"QuintCrit.html#critII_sec17">Crit. Notes</a>. Cp. xii. 10, 16 Et
antiqua quidem illa divisio inter Atticos atque Asianos fuit, cum hi
pressi et integri, contra inflati illi et inanes haberentur, in his
nihil superflueret, illis iudicium maxime ac modus deesset: ibid. 21
quapropter mihi falli multum videntur qui solos esse Atticos credunt
tenues et lucidos et significantes, sed quadam eloquentiae frugalitate
contentos ac semper manum intra pallium continentes. Cp. Cic. de Opt.
Gen. Orat. §11: Brutus §284 sq.: Orator <a href =
"#chapII_sec28">§28</a> putant enim qui horride inculteque dicat, modo
id eleganter enucleateque faciat, eum solum Attice dicere.
<b>scilicet</b>, ironical.</p>

<p><b>praecisis</b>. iv. 2, 47 neque mihi umquam tanta fuerit cura
brevitatis ut non ea quae credibilem faciunt expositionem inseri velim.
Simplex enim et undique praecisa non tam narratio vocari potest quam
confessio.</p>

<p><b>conclusionibus</b>, the clauses that ‘round off’ the period: cp.
on concludit <a href = "QuintBody1.html#chapI_sec106">1&nbsp;§106</a>.
Anacoluths result in such a style from the omission of something
essential to the complete period.</p>

<p><b>obscuri</b>. A similar cause of obscurity
<span class = "pagenum comm">131</span>
is noted viii. 2, 19 alii brevitatem aemulati necessaria quoque orationi
subtrahunt verba et, velut satis sit scire ipsos, quid dicere velint,
quantum ad alios pertineant, nihil putant referre. For the omission of
<i>sunt</i>, see Introd. <a href =
"QuintIntro.html#intro_pagelv">p.&nbsp;lv</a>.</p>

<p><b>Sallustium</b>: cp. <a href =
"QuintBody1.html#chapI_sec32">1&nbsp;§32</a>,
<a href = "QuintBody1.html#chapI_sec102">§102</a>: iv. 2, 45 quare vitanda est etiam illa
Sallustiana (quamquam in ipso virtutis obtinet locum) brevitas et
abruptum sermonis genus.</p>

<p><b>Thucydiden</b>: <a href =
"QuintBody1.html#chapI_sec73">1&nbsp;§73</a>.</p>

<p><b>tristes ac ieiuni</b>. The opposite would be <i>hilares et
copiosi</i>: viii. 3, 49 proinde quaedam hebes, sordida, ieiuna, tristis
(‘dreary’), ingrata, vilis oratio est. Quae vitia facillime fient
manifesta contrariis virtutibus. Nam primum acuto, secundum nitido,
tertium copioso, deinceps hilari, iucundo, accurato diversum est.</p>

<p><b>Pollionem</b>, <a href =
"QuintBody1.html#chapI_sec113">1&nbsp;§113</a>. Cp. vi. 3, 110 de
Pollione Asinio seriis iocisque pariter accommodato dictum est, esse eum
omnium horarum.</p>

<p><b>otiosi et supini</b>: ‘your easy-going drawler.’ For
<i>supinus</i> cp. <span class = "greek" title = "huptios">ὑπτιος</span>
in Dion. Hal. de Isocr. 15: de Dein. 8, &amp;c. So supini securique xi.
3. 3: Iuv. 1, 66 multum referens de Maecenate supino: Martial ii. 6, 13
nunquam deliciae supiniores: vi. 42, 22 Non attendis, et aure me supina
Iamdudum quasi negligenter audis. See Introd. <a href =
"QuintIntro.html#intro_pagexliii">p.&nbsp;xliii</a>. and <a href =
"QuintIntro.html#intro_pagexlvi">xlvi</a>.&mdash;For <i>otiosus</i>, see
on <a href = "QuintBody1.html#chapI_sec76">1&nbsp;§76</a>.</p>

<p><b>circumduxerunt</b>: ix. 4, 124 cum sensus unus longiore ambitu
circumducitur.</p>

<p><b>Ciceronem</b>: cp. lentus est in principiis, &amp;c. Tac. Dial.
22.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec18" id = "chapII_sec18"> </a>
<span class = "secnum">II:18</span>
Noveram quosdam qui se pulchre expressisse genus illud caelestis huius
in dicendo viri sibi viderentur, si in clausula posuissent ‘esse
videatur.’ Ergo primum est ut quod imitaturus est quisque intellegat, et
quare bonum sit sciat.</p>

<div class = "comm">
<p><a name = "commII_sec18" id = "commII_sec18"><b>§ 18.</b></a>
<b>se expressisse</b>. This unusual construction (after <i>sibi
viderentur</i> = persuasum haberent) may express intensity of
conviction: these imitators are thoroughly convinced of their own
excellence, whatever the opinion of others may be (<i>sibi</i>, sc.
<i>non</i> aliis). Cp. Cic. de Off. iii. §71 ea malitia quae volt ...
videri se esse prudentiam. The same construction occurs sometimes after
<i>mihi videtur</i> in the sense of <i>mihi placet</i>: <a href =
"QuintBody1.html#chapI_sec91">1&nbsp;§91</a>: Cic. Tusc. v. 5, 12 Non
mihi videtur ad beate vivendum satis posse virtutem: Sall. Iug. 85, 2:
Livy xxxvi. 13, 9 quia videbatur et Limnaeum eodem tempore oppugnari
posse.</p>

<p><b>caelestis</b>: <a href =
"QuintBody1.html#chapI_sec86">1&nbsp;§86</a>.</p>

<p><b>clausula</b>. Cicero gives minute directions for ending a period,
Orator. §215: cp. Quint. ix. 3, 45 and 77: iv. 62, 75, 96, &amp;c.</p>

<p><b>esse videatur</b>: Tac. Dial. 23 illud tertio quoque sensu in
omnibus orationibus pro sententia positum ‘esse videatur’: Quint, ix. 4,
73 esse videatur iam nimis frequens, octonarium inchoat. An instance
occurs below <a href = "#chapVII_sec29">7&nbsp;§29</a>.</p>

<p><b>primum est ut</b>: cp. rarum est ut <a href =
"#chapVII_sec24"><ins class = "correction" title = "text reads ‘§7, 24’">7, §24</ins></a>. Zumpt §623.</p>
</div>


<p class = "maintext space">
<a name = "chapII_sec19" id = "chapII_sec19"> </a>
<span class = "secnum">II:19</span>
Tum in suscipiendo onere consulat suas vires. Nam quaedam sunt
imitabilia, quibus aut infirmitas naturae non sufficiat aut diversitas
repugnet. Ne, cui tenue ingenium erit, sola velit fortia et abrupta, cui
forte quidem, sed indomitum, amore subtilitatis
<span class = "pagenum">132</span>
et vim suam perdat et elegantiam quam cupit non persequatur; nihil est
enim tam indecens quam cum mollia dure fiunt.</p>

<div class = "comm space">
<p><a name = "commII_sec19" id = "commII_sec19"><b>§ 19.</b></a>
<b>consulat suas vires</b>. So Hor. A.&nbsp;P. 38 Sumite materiam
vestris, qui scribitis, aequam Viribus, et versate diu quid ferre
recusent, Quid valeant umeri. Cui lecta potenter erit res Nec facundia
deseret hunc nec lucidus ordo.</p>

<p><b>imitabilia</b>: i.e. there are some things which are (in
themselves) fit patterns for imitation, but&mdash;then follows the
limitation (quibus c. subj.).</p>

<p><b>tenue ingenium</b> = ability for the <i>tenue genus dicendi</i>,
for which see on <a href = "QuintBody1.html#chapI_sec44">1&nbsp;§44</a>.
Cp. xii. 10, 35 nec rerum nimiam tenuitatem ... fortioribus ... verbis
miscebimus.</p>

<p><b>fortia et abrupta</b>: a ‘bold and rugged style,’ the latter
quality being often associated with excessive brevity: iv. 2, 45 vitanda
est illa Sallustiana brevitas et abruptum sermonis genus.</p>

<p><b>forte</b> (sc. ingenium): a talent for vigorous and energetic
diction. Cp. Cic. de
<span class = "pagenum comm">132</span>
Orat. ii. 183 non enim semper fortis oratio quaeritur, sed saepe
placida, summissa, lenis. So below <a href = "#chapII_sec23">§23</a>
‘lene ac remissum genus causarum’ is that which calls for ‘lene ac
remissum genus dicendi.’</p>

<p><b>indomitum</b>: ‘violent,’ unbridled, unrestrained. In such a case
the <i>genus dicendi grande atque robustum</i> will be more appropriate
than the <i>genus subtile</i>: cp. <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>. For the union of
<i>subtilitas</i> and <i>elegantia</i> cp. 1, 78 Lysias subtilis atque
elegans.</p>

<p><b>et ... et</b>: not for <b>aut ... aut</b> as Bonnell-Meister, on
the ground that <b>et</b> is inconsistent with the negative. He loses
<i>vis</i> and fails to secure <i>elegantia</i> at one and the same
time. The construction occurs when the writer wishes to indicate that
the coincidence of the two should be guarded against: cp. Cic. ad Att.
iii. 7, 2 ne et meum maerorem exagitem et te in eundem luctum vocem: id.
xii. 40, 2: ad Fam. xi. 7, 2: de Off. i. 14, 42.</p>

<p><b>mollia</b> = lenia, dulcia. He might have added, having regard to
what has gone before, <i>aut cum dura molliter</i>. Cp. Arist. Rhet.
iii. 7 <span class = "greek" title = "ean oun ta malaka sklêrôs kai ta sklêra malakôs legêtai apithanon gignetai">ἐὰν οὖν τὰ μαλακὰ σκληρῶς καὶ
τὰ σκληρὰ μαλακῶς λέγηται ἀπίθανον γίγνεται</span>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec20" id = "chapII_sec20"> </a>
<span class = "secnum">II:20</span>
Atque ego illi praeceptori quem institueram in libro secundo credidi non
ea sola docenda esse, ad quae quemque discipulorum natura compositum
videret; nam is et adiuvare debet quae in quoque eorum invenit bona, et,
quantum fieri potest, adicere quae desunt et emendare quaedam et mutare;
rector enim est alienorum ingeniorum atque formator. Difficilius est
naturam suam fingere.</p>

<div class = "comm">
<p><a name = "commII_sec20" id = "commII_sec20"><b>§ 20.</b></a>
<b>atque</b> has in transitions often the force of <i>atqui</i>. Tr. ‘To
be sure ... I&nbsp;expressed the belief that’ (<i>credidi</i>.)</p>

<p><b>in libro secundo</b>: ch. 8, where he discusses the question, An
secundum sui quisque ingenii naturam docendus sit. The conclusion
arrived at there might seem inconsistent with what he is now saying, so
this paragraph is added to clear away the contradiction.&mdash;The
sequence of thought is as follows: the teacher must not confine himself
to what his pupils have a natural bent for. Besides developing latent
talent, he must ‘adicere quae desunt et emendare quaedam et mutare’: for
his office is to mould the minds of others, and that is not so hard. It
is more difficult to form one’s own character. But he ought not to waste
his pains over what he finds repugnant to the mind of his pupils.</p>

<p><b>compositum</b>: cp. ii. 8, 7.</p>

<p><b>naturam suam fingere</b>: i.e. without the help and supervision of
a <i>praeceptor</i> to assist in applying such principles as are laid
down in <a href = "#chapII_sec19">§19</a>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec21" id = "chapII_sec21"> </a>
<span class = "secnum">II:21</span>
Sed ne ille quidem doctor, quamquam omnia quae recta sunt velit esse in
suis auditoribus quam plenissima, in eo tamen cui naturam obstare
viderit laborabit.</p>

<p class = "maintext">
Id quoque vitandum, in quo magna pars errat, ne in oratione poetas nobis
et historicos, in illis operibus oratores aut declamatores imitandos
putemus.</p>

<div class = "comm">
<p><a name = "commII_sec21" id = "commII_sec21"><b>§ 21.</b></a>
<b>quamquam</b>: v. <a href =
"QuintBody1.html#chapI_sec33">1&nbsp;§33</a> and <a href =
"QuintBody1.html#chapI_sec96">§96</a>: <a href =
"#chapVII_sec17">7&nbsp;§17</a> below.</p>

<p><b>in illis operibus</b>, sc. in poesi et historia: cp. <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§31</a>.</p>

<p><b>declamatores</b>: <a href =
"QuintBody1.html#chapI_sec71">1&nbsp;§71</a>.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapII_sec22" id = "chapII_sec22"> </a>
<span class = "secnum">II:22</span>
Sua cuique proposito lex, suus decor est: nec comoedia in cothurnos
adsurgit, nec contra
<span class = "pagenum">133</span>
tragoedia socco ingreditur. Habet tamen omnis eloquentia aliquid
commune: id imitemur quod commune est.</p>

<div class = "comm">
<p><a name = "commII_sec22" id = "commII_sec22"><b>§ 22.</b></a>
<b>proposito</b>, i.e. officio poetarum, historicorum, oratorum: cp. ix.
4, 19: xi. 1,&nbsp;33. See <a href = "QuintCrit.html#critII_sec22">Crit.
Notes</a>.</p>

<p><b>decor</b>, ‘appropriate character’: v. on <a href =
"QuintBody1.html#chapI_sec27">1&nbsp;§27</a>. Quintilian seems to have
in view here the passage in Ars Poetica (86-118) where Horace insists on
the necessity for maintaining proper tone and style. Cp. esp. 86
Descriptas servare vices operumque colores, and 92 Singula <ins class =
"correction" title = "text reads ‘quaeqae’">quaeque</ins>
<span class = "pagenum comm">133</span>
locum teneant sortita decentem. Cp. also Cicero, de Opt. Gen. Oratorum
<a href = "QuintBody1.html#chapI_sec1">1&nbsp;§1</a> Itaque et in
tragoedia comicum vitiosum est, et in comoedia turpe tragicum: et in
ceteris suus est cuique sonus et quaedam intellegentibus vox.</p>

<p><b>cothurnos ... socco</b>. Hor. A. P. 89-91 Versibus exponi tragicis
res comica non vult; Indignatur item privatis ac prope socco Dignis
carminibus narrari cena Thyestae. In line 80 he contrasts the
<i>soccus</i> (<span class = "greek" title = "krêpis">κρηπίς</span>) or
‘slipper’ of comedy with the <i>grandes cothurni</i> (‘buskins’) of
tragedy. Cp. Milton’s ‘the buskin’d stage,’ and ‘If Jonson’s learned
sock be on.’ Bombast must be avoided in comedy, though Interdum tamen et
vocem comoedia tollit, Iratusque Chremes tumido delitigat ore
(A.&nbsp;P. 93): and tragedy on the other hand should soar above the
tone suited to the affairs of daily life (cp. 95 sq.).&mdash;For
<b>adsurgit</b> cp. <a href =
"QuintBody1.html#chapI_sec52">1&nbsp;§52</a>.</p>

<p><b>nec ... nec contra</b>: iv. 1, 60 Nec argumentis autem nec locis
nec narrationi similis esse in prooemio debet oratio, neque tamen
deducta semper atque circumlita, &amp;c.</p>

<p><b>habet tamen</b>, i.e. notwithstanding the rules appropriate to
each department (lex cuique proposita).</p>

<p><b>omnis eloquentia</b>. For this wide use of the word cp. Tac.
Dial.&nbsp;x. Ego vero omnem eloquentiam omnesque eius partes sacras et
venerabiles puto: nec solum cothurnum vestrum aut heroici carminis
sonum, sed lyricorum quoque iucunditatem et elegorum lascivias et
iamborum amaritudinem et epigrammatum lusus et quamcumque aliam speciem
eloquentia habeat, anteponendam ceteris aliarum artium studiis credo.
For <i>oratoria eloquentia</i> on the other hand see cap. vi. and
<i>passim</i>.</p>
</div>
</div> <!-- null -->


<p class = "maintext space">
<a name = "chapII_sec23" id = "chapII_sec23"> </a>
<span class = "secnum">II:23</span>
Etiam hoc solet incommodi accidere iis qui se uni alicui generi
dediderunt, ut, si asperitas iis placuit alicuius, hanc etiam in leni ac
remisso causarum genere non exuant; si tenuitas aut iucunditas, in
asperis gravibusque causis ponderi rerum parum respondeant:
<span class = "pagenum">134</span>
cum sit diversa non causarum modo inter ipsas condicio, sed in singulis
etiam causis partium, sintque alia leniter alia aspere, alia concitate
alia remisse, alia docendi alia movendi gratia dicenda; quorum omnium
dissimilis atque diversa inter se ratio est.</p>

<div class = "comm space">
<p><a name = "commII_sec23" id = "commII_sec23"><b>§ 23.</b></a>
<b>uni alicui</b>: cp. <a href = "#chapII_sec24">§24</a> below, also in
reverse order <a href = "#chapVII_sec16">7&nbsp;§16</a> aliquam rem
unam. It is used as the singular of <i>singuli</i>.</p>

<p><b>asperitas</b>, ‘passion,’ opp. to <i>lenitas</i> and
<i>aequabilitas</i>. Cp. Cic. de Orat. ii. 64 genus orationis fusum
atque tractum (‘easy and flowing’) et cum lenitate quadam aequabili
profluens sine hac iudiciali asperitate et sine sententiarum forensibus
aculeis: Quint. i. 8, 11 forensi asperitate: cp. <a href =
"#chapV_sec14">5&nbsp;§14</a> below. The same antithesis is given in
other words Orat. §53 Elaborant alii in lenitate et aequabilitate et
puro quasi quodam et candido genere dicendi; ecce aliqui duritatem et
severitatem quandam in verbis et orationis quasi maestitiam sequuntur.
Cp. de Orat. iii. 7, 28 Gravitatem Africanus, lenitatem Laelius,
asperitatem Galba, profluens quiddam habuit Carbo et canorum.</p>

<p><b>alicuius</b>, ‘some particular author’: for the use of the full
form in a conditional clause, whereby the pronoun receives emphasis, cp.
<a href = "QuintBody1.html#chapI_sec22">1&nbsp;§22</a>, <a href =
"QuintBody1.html#chapI_sec130">§130</a>: <a href =
"#chapVI_sec5">6&nbsp;§5</a>: <a href = "#chapVII_sec2">7&nbsp;§2</a>,
<a href = "#chapVII_sec15">§15</a>, <a href =
"#chapVII_sec16">§16</a>.</p>

<p><b>leni ac remisso</b>, cp. on forte (sc. ingenium) <a href =
"#chapII_sec19">§19</a>, above. So Brutus §317 Cotta et Hortensius,
quorum alter remissus et lenis et propriis verbis comprehendens solute
et facile sententiam, alter ornatus, acer, ... verborum et actionis
genere commotior: de Orat. ii. 95 dicendi molliora ac remissiora
genera.</p>

<p><b>tenuitas</b>: like subtilitas in <a href = "#chapII_sec19">§19</a>
above, amore subtilitatis vim suam perdat: cp. 12, 2, 13 sectas ad
tenuitatem suam vires ipsa subtilitate consumet. In conjunction with
<i>iucunditas</i> (cp. <a href =
"QuintBody1.html#chapI_sec46">1&nbsp;§§46</a>, <a href =
"QuintBody1.html#chapI_sec64">64</a>, <a href =
"QuintBody1.html#chapI_sec82">82</a>, <a href =
"QuintBody1.html#chapI_sec96">96</a>, <a href =
"QuintBody1.html#chapI_sec101">101</a>, <a href =
"QuintBody1.html#chapI_sec113">113</a>) it is certainly not used in a
depreciatory sense, though it always implies the absence of all attempt
at embellishment. Ernesti (Clav. Cic.) says: corporis est
<i>tenuitas</i>, cum sucus ei et carnis copia deest, cum sit sanum: unde
ad dicendi genus subtile transfertur, quod sine vitiis est, <i>sed et
sine ornamentis</i>. Tr. ‘simplicity,’ ‘naturalness’: cp. <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>. Perhaps <i>tenuitas</i>
and <i>iucunditas</i> together might be rendered ‘artless grace,’ which
does not suffice where <i>gravitas</i> or even <i>asperitas</i>
orationis is called for. See <a href =
"QuintCrit.html#critII_sec23">Crit. Notes</a>.</p>

<p><b>asperis</b>: ‘exciting’ causes, i.e. such as arouse passion, so
that the speaker cannot be <i>lenis ac remissus</i>, ‘smooth and
unimpassioned.’</p>

<span class = "pagenum comm">134</span>
<p><b>cum sit</b>: cp. <a href = "#chapII_sec13">§13</a>.</p>

<p><b>diversa ... diversa</b>: an instance of negligent repetition, of
which we have another in <i>uni alicui</i> immediately following. Cp. <a
href = "QuintBody1.html#chapI_sec8">1&nbsp;§§8</a>, <a href =
"QuintBody1.html#chapI_sec9">9</a>, <a href =
"QuintBody1.html#chapI_sec23">23</a>, <a href =
"QuintBody1.html#chapI_sec25">25</a>, <a href =
"QuintBody1.html#chapI_sec26">26</a>, <a href =
"QuintBody1.html#chapI_sec28">28</a>, <a href =
"QuintBody1.html#chapI_sec29">29</a>, <a href =
"QuintBody1.html#chapI_sec42">42</a>, <a href =
"QuintBody1.html#chapI_sec80">80</a>, <a href =
"QuintBody1.html#chapI_sec94">94</a>, <a href =
"QuintBody1.html#chapI_sec116">116</a>, <a href =
"QuintBody1.html#chapI_sec126">126</a>, <a href =
"QuintBody1.html#chapI_sec131">131</a>: <a href =
"#chapII_sec11">2&nbsp;§§11-13</a>, <a href = "#chapII_sec24">24</a>: <a
href = "#chapIII_sec7">3&nbsp;§§7</a>, <a href =
"#chapIII_sec21">21</a>: <a href = "#chapV_sec6">5&nbsp;§§6</a>, <a href
= "#chapV_sec7">7</a>: <a href = "#chapVI_sec7">6&nbsp;§7</a>: <a href =
"#chapVII_sec7">7&nbsp;§§7</a>, <a href = "#chapVII_sec30">30</a>.</p>

<p><b>inter ipsas</b>, <a href = "#chapII_sec15">§15</a>.</p>

<p><b>docendi ... movendi</b>, cp. xii. 10, 58 quoted on <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec24" id = "chapII_sec24"> </a>
<span class = "secnum">II:24</span>
Itaque ne hoc quidem suaserim, uni se alicui proprie, quem per omnia
sequatur, addicere. Longe perfectissimus Graecorum Demosthenes, aliquid
tamen aliquo in loco melius alii, plurima ille. Sed non qui maxime
imitandus, et solus imitandus est.</p>

<div class = "comm">
<p><a name = "commII_sec24" id = "commII_sec24"><b>§ 24.</b></a>
<b>suaserim ... se addicere</b>: for the infinitive cp. Cic. de Orat. i.
§251; Zumpt 616.</p>

<p><b>sequatur</b>: the subj. is to be supplied from the indefinite
pronoun (sc. aliquem) understood before <i>addicere</i>. Cp. <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a>: ii. 15, 12 primum esse ...
ducere in id quod velit: 16, 19 in quae velit ducere. For this use of
<i>sequi</i> cp. <a href = "QuintBody1.html#chapI_sec28">1&nbsp;§28</a>:
<a href = "#chapII_sec7">2&nbsp;§7</a>.</p>

<p><b>longe perfectissimus</b>: <a href =
"QuintBody1.html#chapI_sec39">1&nbsp;§§39</a>, <a href =
"QuintBody1.html#chapI_sec105">105</a>.</p>

<p><b>melius</b>. The same ellipse of the verb is repeated below <a href
= "#chapIII_sec25">3&nbsp;§25</a>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec25" id = "chapII_sec25"> </a>
<span class = "secnum">II:25</span>
Quid ergo? non est satis omnia sic dicere quo modo M.&nbsp;Tullius
dixit? Mihi quidem satis esset, si omnia consequi possem: quid tamen
noceret vim Caesaris, asperitatem Caeli, diligentiam Pollionis, iudicium
Calvi quibusdam in locis adsumere?</p>

<div class = "comm">
<p><a name = "commII_sec25" id = "commII_sec25"><b>§ 25.</b></a>
<b>non est</b>: cp. <a href =
"QuintBody1.html#chapI_sec56">1&nbsp;§56</a>.</p>

<p><b>M. Tullius</b>; for Quintilian’s reverence for Cicero see <a href
= "QuintBody1.html#chapI_sec39">1&nbsp;§39</a> and <a href =
"QuintBody1.html#chapI_sec105">§105</a> sq.</p>

<p><b>quid tamen noceret</b> should be taken in connection with the
foregoing. The meaning is, ‘yet even if I <i>could</i> rival Cicero in
every respect, what harm would it do?’ etc. The impf. is motived by the
preceding <i>si possem</i>,&mdash;an unrealisable supposition.</p>

<p><b>vim Caesaris</b>: <a href =
"QuintBody1.html#chapI_sec114">1&nbsp;§114</a>. Cp. i. 7, 34 vim
Caesaris fregerunt editi de analogia libri?</p>

<p><b>asperitatem Caeli</b>: <a href =
"QuintBody1.html#chapI_sec115">1&nbsp;§115</a>. For an example see iv.
2, 123. For ‘asperitatem’ Eussner proposes <i>acerbitatem</i>.</p>

<p><b>Pollionis</b>: <a href =
"QuintBody1.html#chapI_sec113">1&nbsp;§113</a>.</p>

<p><b>Calvi</b>: <a href =
"QuintBody1.html#chapI_sec115">1&nbsp;§115</a>. A&nbsp;similar
enumeration is given, xii. 10, 11, vim Caesaris, indolem Caeli,
subtilitatem Calidi, diligentiam Pollionis, dignitatem Messallae,
sanctitatem Calvi, gravitatem Bruti, acumen Sulpici, acerbitatem
Cassi.</p>

<p><b>adsumere</b>: as <a href = "#chapII_sec27">§27</a> utilitatis
gratia adsumpta; not as <a href =
"QuintBody1.html#chapI_sec121">1&nbsp;§121</a>.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec26" id = "chapII_sec26"> </a>
<span class = "secnum">II:26</span>
Nam praeter id quod prudentis est quod in quoque optimum est, si possit,
suum facere, tum in tanta rei difficultate unum intuentes vix aliqua
pars sequitur. Ideoque cum totum exprimere quem elegeris paene sit
homini inconcessum, plurium bona ponamus ante oculos, ut aliud ex alio
haereat, et quo quidque loco conveniat aptemus.</p>

<span class = "pagenum">135</span>
<div class = "comm">
<p><a name = "commII_sec26" id = "commII_sec26"><b>§ 26.</b></a>
<b>praeter id quod</b>: see on <a href =
"QuintBody1.html#chapI_sec28">1&nbsp;§28</a>: cp. <a href =
"#chapIII_sec6">3&nbsp;§6</a>.</p>

<p><b>tum</b>, as if the sentence had opened with <i>Nam primum</i>.</p>

<p><b>vix ... sequitur</b>: ‘some element, or quality, is realised with
difficulty, if we look only at one model.’ <i>Vix aliqui</i> gives
prominence to the affirmative, and so differs from <i>vix quisquam</i>:
it is achieved but with difficulty. For <b>aliqua</b> cp. <a href =
"#chapVII_sec16">7&nbsp;§16</a>. <i>Sequitur</i> here =
<i>contingit</i>. See on <a href = "#chapII_sec27">§27</a>: and cp. xi.
2, 39, quod meae quoque memoriae infirmitatem sequebatur.</p>

<p><b>aliud ex alio</b>: sc. scriptore.</p>

<p><b>haereat</b>: sc. in animo legentis. Cp. Hor. A.&nbsp;P. 195 quod
non proposito conducat et haereat apte.</p>
</div>

<span class = "pagenum comm">135</span>

<p class = "maintext space">
<a name = "chapII_sec27" id = "chapII_sec27"> </a>
<span class = "secnum">II:27</span>
Imitatio autem (nam saepius idem dicam) non sit tantum in verbis. Illuc
intendenda mens, quantum fuerit illis viris decoris in rebus atque
personis, quod consilium, quae dispositio, quam omnia, etiam quae
delectationi videantur data, ad victoriam spectent; quid agatur
prooemio, quae ratio et quam varia narrandi, quae vis probandi ac
refellendi, quanta in adfectibus omnis generis movendis scientia,
quamque laus ipsa popularis utilitatis gratia adsumpta, quae tum est
pulcherrima, cum sequitur, non cum arcessitur. Haec si perviderimus, tum
vere imitabimur.</p>

<div class = "comm space">
<p><a name = "commII_sec27" id = "commII_sec27"><b>§ 27.</b></a>
<b>saepius</b>: <a href = "#chapII_sec12">§§12-13</a>: <a href =
"#chapII_sec16">§16</a>.</p>

<p><b>non sit</b>: cp. non putemus <a href =
"#chapIII_sec16">3&nbsp;§16</a>: ibid. <a href = "#chapIII_sec5">§5</a>.
(Cp. also utinam non inquinasset <a href =
"QuintBody1.html#chapI_sec100">1&nbsp;§100</a>.) Cic. pro Cluent. §155 a
legibus non recedamus: Hor. Sat. ii. 5, 91 non etiam sileas. Draeger,
Hist. Synt. 1, 312 speaks of the usage as a stronger negation than
<i>ne</i>. Nettleship on Aen. 12, 78 says that non is used ‘if a
particular part of the sentence is to be emphasized.’ Kr.<sup>3</sup>
suggests that <i>non</i> should be taken with <i>tantum</i>.&mdash;See
Introd. <a href = "QuintIntro.html#intro_pagelii">p.&nbsp;lii</a>.</p>

<p><b>delectationi ... data</b>: xii. 10, 45 atque id fecisse
M.&nbsp;Tullium video, ut cum plurimum utilitati, turn partem quandam
delectationi daret.</p>

<p><b>ad victoriam</b>: <a href =
"QuintBody1.html#chapI_sec29">1&nbsp;§29</a> ad victoriam niti: ii. 4,
32: v. 12, 22: xii. 10, 48.</p>

<p><b>prooemio, narrandi, probandi, refellendi, adfectibus movendis</b>
give the five essential parts of a judicial speech (iii. 9,&nbsp;1); the
introduction, the narrative, the proof, the refutation, and the closing
appeal (epilogus, peroratio).</p>

<p><b>laus popularis</b>: cp. <a href =
"QuintBody1.html#chapI_sec17">1&nbsp;§17</a> laudantium clamor:
referring to the crowd surrounding the tribunal. Tac. Dial. vi. coire
populum et circumfundi coronam et accipere adfectum quemcumque orator
induerit. In viii. 3, 2 Quintilian opposes to <i>laus popularis</i>,
<i>iudicium doctorum</i>.</p>

<p><b>adsumpta</b> (sit): ‘how popular applause itself has been worked
in,’ made useful for winning the case.</p>

<p><b>cum sequitur</b>, ‘when it is given spontaneously, not courted.’
So viii. prooem. 18 decoris qui est in dicendo mea quidem sententia
pulcherrimus, sed cum sequitur, non cum adfectatur. Cp. Sall. Cat. 54 ad
fin.: quo minus petebat gloriam, eo magis illum sequebatur:
ibid.&nbsp;3. Plin. Epist. i. 8, 14 sequi enim gloria non adpeti debet,
nec si casu aliquo non sequatur, idcirco quod gloriam meruit minus
pulchrum est.</p>
</div>


<p class = "maintext">
<a name = "chapII_sec28" id = "chapII_sec28"> </a>
<span class = "secnum">II:28</span>
Qui vero etiam propria his bona adiecerit, ut suppleat quae deerunt,
circumcidat si quid redundabit, is erit, quem quaerimus, perfectus
orator; quem nunc consummari potissimum oporteat, cum tanto plura
exempla bene dicendi supersunt quam illis qui adhuc summi sunt
contigerunt. Nam erit haec quoque laus eorum, ut priores superasse,
posteros docuisse dicantur.</p>

<div class = "comm">
<p><a name = "commII_sec28" id = "commII_sec28"><b>§ 28.</b></a>
<b>perfectus orator</b>: see on <a href = "#chapII_sec9">§9</a> quomodo
sperare possumus illum oratorem perfectum?</p>

<p><b>quem ... consummari</b>. If <i>quem</i> can be referred only to
<i>orator</i> in what immediately precedes (and not to <i>perfectus
orator</i>) the inf. need not mean anything more than ‘perfectum fieri.’
This is Becher’s view (Quaest. Quint. p.&nbsp;19) adopted by Krüger (3rd
ed.). But ‘<i>perfectus orator</i>’ forms so much a single idea here
that it seems more probable that <i>quem</i> covers both the noun and
the adj. In so loose a writer as Quintilian no difficulty need be felt
about <i>consummari</i>, though the editors think it necessary to assume
that, with the infin., <i>perfectus</i> is proleptic = oratorem
consummari ita ut perfectus fiat, comparing (with Krüger, 2nd ed.)
Demosth. <span class = "greek" title = "megas ek mikrou ho Philippos êuxêtai">μέγας ἐκ μικροῦ ὁ Φίλιππος ηὔξηται</span>. See <a href =
"QuintBody1.html#chapI_sec122">1&nbsp;§122</a> on
<i>consummatus</i>.</p>

<p><b>oporteat</b>: see <a href = "QuintCrit.html#critII_sec28">Crit.
Notes</a>.</p>

<p><b>eorum</b>: sc. qui adhuc summi sunt,&mdash;those who have hitherto
been (and are) pre-eminent.</p>
</div>

</div> <!-- text -->

<div class = "argument">

<h5><a name = "arg_chapIII" id = "arg_chapIII">
CHAPTER III.</a><br>
<span class = "subhead">
How to Write.</span></h5>

<p><a href = "#chapIII_sec1">§§ 1-4.</a>
<i>Introductory to the three chapters on Writing: chs. iii. and iv.
treating of the manner of writing</i> (quomodo), <i>and ch. v. of the
matter and form of writing</i> (quae maxime scribi oporteat §4). The pen
is the best teacher: write much and carefully. Writing is a fundamental
part of the orator’s training.</p>

<p><a href = "#chapIII_sec5">§§ 5-18.</a>
As to the manner of writing, it should at first be deliberate and slow,
with careful attention alike to subject-matter, language, and the
arrangement of words and phrases. And the whole must be subjected to
careful revision, especially if it is written in a glow, as it were, of
inspiration. ‘Write quickly, and you will never write well; write well,
and in time you will write quickly.’ In the case of the orator it is
advisable gradually to accelerate the pace: he will never be able to
overtake his professional duties unless he gets rid of the habit of
carping self-criticism. Story of Iulius Florus. Judgment is also
necessary, as well as practice, if we are to write naturally and clearly
in any given circumstances. The
<span class = "pagenum">7</span>
evil results of hasty composition can seldom be undone even by much
verbal correction. Your work should be done with so much care from the
first that it may need only to be filed and chiselled, not recast.</p>

<p><a href = "#chapIII_sec19">§§ 19-27.</a>
Condemnation of the fashionable practice of dictating to an amanuensis.
He who writes for himself, no matter how rapidly, takes time to think;
but your scribe hurries you on, while shame forbids you to pause. Such
compositions reflect neither a writer’s care nor a speaker’s animation:
your one idea is to ‘keep going.’ Besides, an awkward scribe will check
the current of your thoughts. And how absurd it is to have him looking
on at the gestures which often accompany and stimulate the process of
cogitation! On the other hand, while silence and solitude are helpful,
rural seclusion and attractive scenery cannot be said to favour
concentration: closed doors are better. Night hours are the best, but
only in moderation.</p>

<p><a href = "#chapIII_sec28">§§ 28-30.</a>
But solitude cannot always be secured: those who cannot command it must
habituate themselves to rise superior to every distraction. They who
only study when in the humour will never want an excuse for idleness. It
is possible to think, and to prepare for debate, in a crowd, on a jury,
and even amid the noise and confusion of the law-courts.</p>

<p><a href = "#chapIII_sec31">§§ 31-33.</a>
The proper writing materials: wax-tablets to be preferred to parchment.
Write on one side only, and leave the other for additions and
corrections.</p>

</div> <!--argument -->

<div class = "text">

<span class = "pagenum comm">136</span>
<span class = "pagenum">136</span>
<h5><a name = "chapIII" id = "chapIII">
Quo modo scribendum sit.</a></h5>


<p class = "maintext">
<a name = "chapIII_sec1" id = "chapIII_sec1"> </a>
<span class = "secnum">III:1</span>
III. Et haec quidem auxilia extrinsecus adhibentur; in iis autem quae
nobis ipsis paranda sunt, ut laboris, sic utilitatis etiam longe
plurimum adfert stilus. Nec immerito M.&nbsp;Tullius hunc ‘optimum
effectorem ac magistrum dicendi’ vocat, cui sententiae personam
L.&nbsp;Crassi in disputationibus quae sunt de oratore adsignando,
iudicium suum cum illius auctoritate coniunxit.</p>

<div class = "comm">
<p><a name = "commIII_sec1" id = "commIII_sec1"><b>§ 1.</b></a>
<b>nobis ipsis</b> opp. to <i>extrinsecus</i>: what <i>we</i> must
provide for <i>ourselves</i>, by our own gifts and industry. There is,
however, much to be said for Gertz’s conjecture <i>e nobis ipsis</i>,
which gives a better antithesis to <i>extrinsecus</i>: cp. <a href =
"#chapV_sec10">5&nbsp;§10</a> plurimum autem parari facultatis existimo
ex simplicissima quaque materia.</p>

<p><b>stilus</b>: see on <a href =
"QuintBody1.html#chapI_sec2">1&nbsp;§2</a>.</p>

<p><b>M. Tullius</b>: de Orat. i. §150 caput autem est quod, ut vere
dicam, minime facimus; est enim magni laboris, quem plerique fugimus:
quam plurimum scribere. stilus optimus et praestantissimus dicendi
effector ac magister; neque iniuria: nam si subitam et fortuitam
orationem commentatio et cogitatio facile vincit, hanc ipsam profecto
adsidua ac diligens scriptura superabit: ibid. §257 stilus ille tuus,
quem tu vere dixisti perfectorem dicendi esse ac magistrum, multi
sudoris est. Cp. iii. §190: Brutus §96 artifex, ut ita dicam, stilus: ad
Fam. vii. 25, 2 is (stilus) est dicendi opifex.</p>

<p><b>L. Crassi</b>. L. Licinius Crassus, <span class =
"smallroman">B.C.</span> 140-91, was the most illustrious of Roman
orators before Cicero, who in the De Oratore seems to make him the
mouthpiece of his own opinions. The other leading character in the
dialogue is <i>M.&nbsp;Antonius</i> (<span class =
"smallroman">B.C.</span> 143-87), grandfather of the triumvir. For a
parallel estimate of the two see Brutus §143 sq.</p>

<p><b>personam ... adsignando</b>: cp. <a href =
"QuintBody1.html#chapI_sec71">1&nbsp;§71</a> plures subire personas.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec2" id = "chapIII_sec2"> </a>
<span class = "secnum">III:2</span>
Scribendum ergo quam diligentissime et quam plurimum. Nam ut terra alte
refossa generandis alendisque seminibus fecundior fit, sic profectus non
a summo petitus studiorum fructus effundit uberius et fidelius continet.
Nam sine hac quidem conscientia ipsa illa ex tempore dicendi facultas
inanem
<span class = "pagenum">137</span>
modo loquacitatem dabit et verba in labris nascentia.</p>

<div class = "comm">
<p><a name = "commIII_sec2" id = "commIII_sec2"><b>§ 2.</b></a>
<b>alte refossa</b>: see <a href = "QuintCrit.html#critIII_sec2">Crit.
Notes</a>. The meaning is that just as deep ploughing produces heavy
crops, so progress that is not superficial (non a summo petitus) brings
forth fruit more abundantly and secures its permanence. For the figure
cp. i. 3, 5 non multum praestant, sed cito. Non subest vera vis nec
penitus immissis radicibus nititur, ut quae summo solo sparsa sunt
semina celerius se effundunt et imitatae spicas herbulae inanibus
aristis ante messem flavescunt. For <i>refodere</i> cp. Lucan, iv. 242
tellure refossa: Plin. N.&nbsp;H. xix. 88 solo quam altissime
refosso.</p>

<p><b>profectus</b>: cp. <a href = "#chapIII_sec15">§15</a> below, ad
profectum opus est studio: i. 3, 5 stat profectus (‘growth’). The word
does not occur in Cicero, though it is often used in the same sense by
Seneca: e.g. Ep. 71, 35-36, nemo profectum ibi invenit ubi reliquerat
... magna pars est profectus velle proficere: 100, 11 ad profectum omnia
tendunt. Quintilian frequently insists that it requires diligent and
constant practice: e.g. ii. 7, 1 cum profectus praecipue diligentia
constet.</p>

<p><b>a summo</b>, i.e. from the surface, ‘superficial,’ as i. 3, 5 quae
summo solo sparsa sunt semina. The opposite is ‘verus ille profectus et
alte radicibus nixus,’ i. 1,&nbsp;28. Cp. <a href =
"#chapII_sec15">2&nbsp;§15</a>. Other instances of such expressions are
<a href = "QuintBody1.html#chapI_sec13">1&nbsp;§13</a> ex proximo: <a
href = "#chapVII_sec7">7&nbsp;§7</a> ad ultimum: <a href =
"#chapIII_sec10">§10</a> ex ultimo: <a href =
"#chapII_sec16">2&nbsp;§16</a> in peius. See Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>sine hac conscientia</b> = sine huius rei conscientia, i.e.
without the consciousness of diligent application in composition. In
such expressions (frequent with words like cura, metus, spes, timor) the
pronoun
<span class = "pagenum comm">137</span>
takes the place of a complementary genitive, suggested by what goes
before: cp. i. 10, 28 haec ei cura, &amp;c.: and below <a href =
"#chapVII_sec19">7&nbsp;§19</a>.</p>

<p><b>verba in labris nascentia</b>. Cp. Sen. Ep. 10, 3 non a summis
labris ista venerunt; habent hae voces fundamentum.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec3" id = "chapIII_sec3"> </a>
<span class = "secnum">III:3</span>
Illic radices, illic fundamenta sunt, illic opes velut sanctiore quodam
aerario conditae, unde ad subitos quoque casus, cum res exiget,
proferantur. Vires faciamus ante omnia, quae sufficiant labori
certaminum et usu non exhauriantur.</p>

<div class = "comm">
<p><a name = "commIII_sec3" id = "commIII_sec3"><b>§ 3.</b></a>
<b>illic</b> = stilo sive exercitatione scribendi.</p>

<p><b>sanctiore ... aerario</b>. The reference is to the reserve
treasure (aerarium sanctius) that was never touched except in great
emergencies. It was kept in a vault in the Temple of Saturn. Caes.
B.&nbsp;C. i. 14, 1: Livy xxvii., 10, 11: Macrob. i. 8, 3: Lucan. Phars.
iii. 153 sq.</p>

<p><b>certaminum</b>: so <a href =
"QuintBody1.html#chapI_sec4">1&nbsp;§4</a> quo genere exercitationis ad
certamina praeparandus sit. Certamen = <span class = "greek" title =
"agôn">ἀγών</span>. Cp. <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§§31</a>, <a href =
"QuintBody1.html#chapI_sec106">106</a>, &amp;c.</p>

<p><b>proferantur</b>: for the subj. (consecutive) cp. <a href =
"QuintBody1.html#chapI_sec30">1&nbsp;§30</a>: <a href =
"#chapIII_sec33">3&nbsp;§33</a>: <a href =
"#chapV_sec10">5&nbsp;§10</a>.</p>

<p><b>et ... non</b>: not <i>neque</i>, as the negative really connects
only with the verb, while <i>et</i> serves simply to introduce
<i>usu</i>. Cp. <a href = "#chapVII_sec33">7&nbsp;§33</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec4" id = "chapIII_sec4"> </a>
<span class = "secnum">III:4</span>
Nihil enim rerum ipsa natura voluit magnum effici cito, praeposuitque
pulcherrimo cuique operi difficultatem; quae nascendi quoque hanc
fecerit legem, ut maiora animalia diutius visceribus parentis
continerentur.</p> 

<p class = "maintext space">
Sed cum sit duplex quaestio, quo modo et quae maxime scribi oporteat,
iam hinc ordinem sequar.</p>

<div class = "comm">
<p><a name = "commIII_sec4" id = "commIII_sec4"><b>§ 4.</b></a>
<b>rerum ipsa natura</b>: here of ‘nature’ as a creative agency: cp. <a
href = "#chapIII_sec26">§26</a> below: Munro on Lucretius i. 25.</p>

<p><b>praeposuitque</b>. When it is clear from the context that there is
an opposition, sentences and words of opposite meanings are often
coupled (after a negative) not by a disjunctive but by a conjunctive
particle, as here: cp. Cic. de Off. i. §22 non nobis solum nati sumus
ortusque nostri partem patria vindicat partem amici: ibid. §86 neque
opes aut potentiam consectabitur totamque eam (rempublicam) sic tuebitur
ut omnibus consulat: Hor. Car. iii. 30, 6 Non omnis moriar, multaque
pars mei Vitabit Libitinam. In each instance, however, the positive
clause (que, et, atque) is an explanation of, rather than an antithesis
to, the negative: the opposition is formal rather than real.</p>

<p><b>difficultatem</b>. Cp. Hor. Sat. i. 9, 59 Nil sine magno Vita
labore dedit mortalibus: Hesiod <span class = "greek" title = "erga kai hêmer.">ἔργα καὶ ἡμέρ.</span> 289 <span class = "greek" title = "tês d’ aretês hidrôta theoi proparoithen ethêkan">τῆς δ᾽ ἀρετῆς ἱδρῶτα θεοὶ
προπάροιθεν ἔθηκαν</span>: Soph. El. 945 <span class = "greek" title =
"ponou toi chôris ouden eutuchei">πόνου τοι χωρὶς οὐδὲν εὐτυχεῖ</span>,
&amp;c. Frag. 364 <span class = "greek" title = "outoi poth’ hapsei tôn akrôn aneu ponou">οὔτοι ποθ᾽ ἅψει τῶν ἄκρων ἄνευ πόνου</span>:
Epicharmus in Xenoph. Mem. ii. 1, 20 <span class = "greek" title = "tôn ponôn pôlousin hêmin panta tagath’ hoi theoi">τῶν πόνων πωλοῦσιν ἡμῖν
πάντα τἀγάθ᾽ οἱ θεοί</span>.</p>

<p><b>quae maxime</b>, v. ch. 5.</p>

<p><b>iam hinc ordinem sequar</b>, i.e. ‘I shall now proceed to deal
with these questions in their order.’ And so follows <i>quomodo</i> in
chs. iii-iv, and <i>quae maxime scribi</i> oporteat in ch.&nbsp;v. The
phrase is parallel to iii. 6, 104 nunc, quia in tria genera causas
divisi, ordinem sequar: cp. ut ordinem sequar ix. 4,&nbsp;33. In support
of Obrecht’s reading <i>hunc ordinem</i> Kiderlin (Blätter f. d. Bayer,
Gymn. 1888, pp.&nbsp;84-5) urges that in the instances quoted for <i>iam
hinc</i> (ii. 11, 1, and iii. 1, 1: add viii. 3, 40 iam hinc igitur ad
rationem sermonis coniuncti transeamus, and <i>hinc iam</i> viii. pr.
14: ii. 4,&nbsp;1) there is always a marked transition to a new subject,
whereas here the preceding subordinate clause (cum sit ... oporteat)
lays down the order that is afterwards followed.&mdash;But all that
<i>iam hinc</i> means here is simply that the writer will <i>now</i>
take the two questions he has proposed in the order stated.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec5" id = "chapIII_sec5"> </a>
<span class = "secnum">III:5</span>
Sit primo vel tardus dum
<span class = "pagenum">138</span>
diligens stilus, quaeramus optima nec protinus offerentibus se
gaudeamus, adhibeatur iudicium inventis, dispositio probatis; dilectus
enim rerum verborumque agendus est et pondera singulorum examinanda.
Post subeat ratio collocandi versenturque omni modo numeri, non ut
quodque se proferet verbum occupet locum.</p>

<div class = "comm">
<p><a name = "commIII_sec5" id = "commIII_sec5"><b>§ 5.</b></a>
<b>dum diligens</b>, <i>without a verb</i>: cp. <a href =
"QuintBody1.html#chapI_sec94">1&nbsp;§94</a> quamvis uno libro: Cic.
Acad. ii. §104 sequentes tantum modo quod ita visum sit, dum sine
adsensu: cp. Hirtius in Cic. ad Att. xv. 6, 3 dummodo diligentibus.</p>

<span class = "pagenum comm">138</span>
<p><b>optima</b>, i.e. both in thought and word.</p>

<p><b>protinus</b> goes with <i>gaudeamus</i>, not with
<i>offerentibus</i>, which can stand by itself: cp. <a href =
"QuintBody1.html#chapI_sec2">1&nbsp;§§2</a> and <a href =
"QuintBody1.html#chapI_sec42">42</a>. For <i>offerentibus</i> cp. on
<i>eminentibus</i> <a href =
"QuintBody1.html#chapI_sec86">1&nbsp;§86</a>.</p>

<p><b>dilectus ... agendus</b>. This may possibly be one of Quintilian’s
military figures: xii. 3, 5 dilectus agere (of an <i>imperator</i>);
Tac. Hist. ii. 16, 82, Agric.&nbsp;7. But cp. also ii. 8, 7 studiorum
facere dilectum: Tac. Dial. 22 verbis delectum adhibuit: Cic. de Or.
iii. §150 in hoc verborum genere propriorum <i>delectus est habendus
quidam</i> atque in aurium quodam iudicio <i>ponderandus est</i>: de
Off. i. §149 habere dilectum civis et peregrini: ib. §49: de Fin. v.
§90: Brut. §253 verborum dilectum originem esse eloquentiae.</p>

<p><b>ratio collocandi</b>. For this periphrastic constr. see Nägelsbach
§27 ad fin. (p. 130) and note on <i>vim dicendi</i> <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a>. Cp. Cic. ad Quint. Fr. i. 1,
6, 18 sed nescio quo pacto ad praecipiendi rationem delapsa est oratio
mea: pro Rosc. Amer. 1 §3 ignoscendi ratio ... de civitate sublata
est.&mdash;Dion. Hal. unites <span class = "greek" title = "eklogê tôn onomatôn">ἐκλογὴ τῶν ὀνομάτων</span> with <span class = "greek" title =
"sunthesis tôn eklegentôn">σύνθεσις τῶν ἐκλεγέντων</span>.</p>

<p><b>numeri</b>: ix. 4, 45 numeros <span class = "greek" title =
"rhuthmous">ῥυθμούς</span> accipi volo. Cp. note on <a href =
"#chapII_sec16">2&nbsp;§16</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec6" id = "chapIII_sec6"> </a>
<span class = "secnum">III:6</span>
Quae quidem ut diligentius exsequamur, repetenda saepius erunt
scriptorum proxima. Nam praeter id quod sic melius iunguntur prioribus
sequentia, calor quoque ille cogitationis, qui scribendi mora refrixit,
recipit ex integro vires et velut repetito spatio sumit impetum; quod in
certamine saliendi fieri videmus, ut conatum longius petant et ad illud
quo contenditur spatium cursu ferantur, utque in iaculando brachia
reducimus et expulsuri tela nervos retro tendimus.</p>

<div class = "comm">
<p><a name = "commIII_sec6" id = "commIII_sec6"><b>§ 6.</b></a>
<b>repetenda</b>: we must go back on what we have just written.</p>

<p><b>praeter id quod</b>: cp. <a href = "#chapII_sec26">2&nbsp;§26</a>,
and see note on <a href =
"QuintBody1.html#chapI_sec28">1&nbsp;§28</a>.</p>

<p><b>repetito spatio</b>, i.e. ‘going back to take a spring,’ as is
shown by what follows. He passes from the figure involved in calor ...
refrixit, and anticipates the idea contained in the next clause: calor
... sumit impetum = calor ... denuo exardescit. Hild compares de Orat.
i. §153 for a similar figure: ut concitato navigio, cum remiges
inhibuerunt, retinet tamen ipsa navis motum et cursum suum intermisso
impetu pulsuque remorum, sic in oratione perpetua, cum scripta
deficiunt, parem tamen obtinet oratio reliqua cursum scriptorum
similitudine et vi concitata.</p>

<p><b>quod ... videmus, ut</b>. For a similar instance of the use of the
pronoun to anticipate a dependent clause cp. <a href =
"#chapVII_sec11">7&nbsp;§11</a>. The other two examples commonly given
are rather cases of pleonasm, viz. <a href =
"QuintBody1.html#chapI_sec58">1&nbsp;§58</a> and <a href =
"#chapV_sec18">5&nbsp;§18</a>.</p>

<p><b>conatum longius petant</b>: ‘take a longer run.’ Cp. repetito
spatio above.</p>

<p><b>ad illud quo contenditur spatium</b>, i.e. jump the distance they
aim at covering. <i>Quo contenditur</i> = lit. to which their efforts
are directed.</p>

<p><b>retro tendimus</b>. Cp. Verg. Aen. v. 500 Validis flexos incurvant
viribus arcus.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec7" id = "chapIII_sec7"> </a>
<span class = "secnum">III:7</span>
Interim tamen, si feret flatus, danda sunt vela, dum nos indulgentia
illa non
<span class = "pagenum">139</span>
fallat; omnia enim nostra dum nascuntur placent, alioqui nec
scriberentur. Sed redeamus ad iudicium et retractemus suspectam
facilitatem.</p>

<div class = "comm">
<p><a name = "commIII_sec7" id = "commIII_sec7"><b>§ 7.</b></a>
<b>interim</b> = interdum, v. on <a href =
"QuintBody1.html#chapI_sec9">1&nbsp;§9</a>.</p>

<p><b>danda sunt vela</b>: ‘we must spread our sails before a favouring
breeze’ (cp. quo ventus ferebat Caes. B.&nbsp;G. iii. 15,&nbsp;3). So
Ep. ad Tryph. §3 permittamus vela ventis et oram solventibus bene
precemur. The figure is frequent in Cicero: quocunque feremur danda
nimirum vela sunt Orat. §75: ad id unde aliquis flatus ostenditur vela
do (i.e. set my sails to catch the breeze from a particular quarter) de
Orat. ii. §187. So Martial (of Nerva’s modesty) Pieriam tenui frontem
redimire corona Contentus, famae nec dare vela suae viii. 70.</p>

<p><b>dum ... non</b>, instead of <i>ne</i>, as sometimes
<span class = "pagenum comm">139</span>
in poetry. Here the negative attaches closely to the verb: cp. §3. So
xii. 10, §48 dum rem contineant et copia non redundent. Quintilian never
uses <i>dummodo</i>: only <i>dum</i>, or <i>modo</i>. Si modo (si
quidem), which Meister cites, is different: it expresses the limitation
of a hypothesis.</p>

<p><b>dum nascuntur</b>: cp. <a href =
"QuintBody1.html#chapI_sec16">1&nbsp;§16</a> excipimusque nova illa
velut nascentia cum favore ac sollicitudine.</p>

<p><b>nec</b> for <b>ne ... quidem</b>: ii. 13, 7 alioqui nec scriberem:
v. 10, 119 alioqui nec dixissem: ix. 2, 67 quod in foro non expedit,
illic nec liceat (not in Cicero). For other instances see Bonn. Lex.
<i>nec</i> η and <i>neque</i> ζ: Roby 2230b: Madvig de Finibus
pp.&nbsp;816-822.</p>

<p><b>facilitatem</b>: abstract for concrete = quae facilius scripta
sunt. Cp. initiis below, and <a href = "#chapII_sec2">2&nbsp;§2</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec8" id = "chapIII_sec8"> </a>
<span class = "secnum">III:8</span>
Sic scripsisse Sallustium accepimus, et sane manifestus est etiam ex
opere ipso labor. Vergilium quoque paucissimos die composuisse versus
auctor est Varius.</p>

<div class = "comm">
<p><a name = "commIII_sec8" id = "commIII_sec8"><b>§ 8.</b></a>
<b>Sallustium</b>: see on <a href =
"QuintBody1.html#chapI_sec101">1&nbsp;§101</a>.</p>

<p><b>Vergilium</b>: Aul. Gell. N. A. 17, 10 Dicere solitum ferunt
parere se versus more atque ritu ursino. Namque ut illa bestia fetum
ederet ineffigiatum informemque, lambendoque id postea, quod ita
edidisset, conformaret et fingeret; proinde ingenii quoque sui partes
recentes rudi esse facie et imperfecta, sed deinceps tractando
colendoque reddere iis se oris et vultus lineamenta. So too in the
Donatus Life of Vergil ix: Cum Georgica scriberet traditur cotidie
meditatos mane plurimos versus dictare solitus, ac per totum diem
retractando ad paucissimos redigere, non absurde carmen se ursae more
parere dicens et lambendo demum effingere.</p>

<p><b>die</b>, for <i>in die</i>. Cp. Hor. Sat. ii. 1, 3 putat ... mille
die versus deduci posse: i. 4, 9 in hora saepe ducentos ... dictabat
versus. So bisque die Verg. Ecl. iii. 34: Cic. pro Rosc. Am.
46&nbsp;§132 in anno: ad Fam. xv. 16, 1 in hora.</p>

<p><b>Varius</b>, see on <a href =
"QuintBody1.html#chapI_sec98">1&nbsp;§98</a>. His biographical sketch of
his lifelong friend was entitled De ingenio moribusque Vergilii. Aul.
Gell. (xvii. 10) speaks of the Amici familiaresque P.&nbsp;Vergilii in
eis quae de ingenio moribusque eius memoriae tradiderunt.</p>
</div>

<p class = "maintext">
<a name = "chapIII_sec9" id = "chapIII_sec9"> </a>
<span class = "secnum">III:9</span>
Oratoris quidem alia condicio est; itaque hanc moram et sollicitudinem
initiis impero. Nam primum hoc constituendum, hoc obtinendum est, ut
quam optime scribamus: celeritatem dabit consuetudo. Paulatim res
facilius se ostendent, verba respondebunt, compositio sequetur, cuncta
denique ut in familia bene instituta in officio erunt.</p>

<div class = "comm">
<p><a name = "commIII_sec9" id = "commIII_sec9"><b>§ 9.</b></a>
<b>sollicitudinem</b>: <a href =
"QuintBody1.html#chapI_sec20">1&nbsp;§20</a> scribendi sollicitudinem:
and <a href = "#chapIII_sec20">§20</a>, below, scribentium curam.</p>

<p><b>initiis</b> = incipientibus: cp. <a href =
"#chapII_sec2">2&nbsp;§2</a>. So also ii. 4, 13 quatenus nullo magis
studia (=&nbsp;studiosi) quam spe gaudent.</p>

<p><b>compositio</b>: <a href =
"QuintBody1.html#chapI_sec79">1&nbsp;§79</a>: cp. <a href =
"QuintBody1.html#chapI_sec44">§§44</a>, <a href =
"QuintBody1.html#chapI_sec46">46</a>. The three essentials are here
enumerated: thought (<i>res</i>), language (<i>verba</i>), arrangement
(<i>compositio</i>).</p>

<p><b>in officio</b>: cp. viii. pr. §30 erunt in officio. As in a
well-ordered establishment, he says, everything will be found fulfilling
its proper function.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapIII_sec10" id = "chapIII_sec10"> </a>
<span class = "secnum">III:10</span>
Summa haec est rei: cito scribendo non fit ut bene scribatur, bene
scribendo fit ut cito. Sed tum maxime, cum facultas illa contigerit,
resistamus ut provideamus, efferentes
<span class = "pagenum">140</span>
<i>se</i> equos frenis quibusdam coerceamus; quod non tam moram faciet
quam novos impetus dabit. Neque enim rursus eos qui robur aliquod in
stilo fecerint ad infelicem calumniandi se poenam adligandos puto.</p>

<div class = "comm">
<p><a name = "commIII_sec10" id = "commIII_sec10"><b>§ 10.</b></a>
<b>summa haec</b>. ‘Write quickly and you will never write well: write
well and in time you will write quickly.’ The Greek rhetoricians are
said to have had a saying <span class = "greek" title = "ek tou legein to legein porizetai">ἐκ τοῦ λέγειν τὸ λέγειν πορίζεται</span>, on which
Cicero seems to make Crassus found a similar utterance de Orat. i. §150
dicendo homines ut dicant efficere solere, ... perverse dicere homines
perverse dicendo facillime consequi.</p>

<p><b>facultas illa</b>, sc. cito scribendi.</p>

<p><b>resistamus</b>: ‘let us pause,’ ‘call a halt.’ Cp. <a href =
"#chapIII_sec19">§19</a>: <a href = "#chapVII_sec14">7&nbsp;§14</a>: xi.
2, 46: 3, 121: ix. 3,&nbsp;55. Cp. the use of <i>intersistere</i> ix.
4,&nbsp;33.</p>

<p><b>ut provideamus</b>: <a href = "#chapVI_sec6">6&nbsp;§6</a> non
sollicitos
<span class = "pagenum comm">140</span>
et respicientes et una spe suspensos recordationis non sinant providere:
<a href = "#chapVII_sec10">7&nbsp;§10</a> ut donec perveniamus ad finem
non minus prospectu procedamus quam gradu: i. 12, 4 nonne alia dicimus,
alia providemus. So far from being a gloss, the words seem to be
necessary to define the meaning and motive of <i>resistamus</i>: it is
in order to ‘look ahead’ that we ought to pause from time to time. See
<a href = "QuintCrit.html#critIII_sec10">Crit. Notes</a>.</p>

<p><b>efferentes se</b>: ‘running away,’ or rather, ‘trying to make
off,’ a <i>praesens conatus</i>, as is shown by <i>non tam moram
faciet</i>, &amp;c. Cp. Hom. Il. 23, 376 <span class = "greek" title =
"podôkees ekpheron hippoi">ποδώκεες ἔκφερον ἵπποι</span>: Xen. de Re
Equestr., 3&nbsp;§4. In Livy xxx. 20, 3, the figure is taken rather from
the ‘prancing and curveting’ of a horse, Neque ... tam P.&nbsp;Scipio
exultabit atque efferet sese quam Hanno. (Hild’s parallel <span class =
"greek" title = "bia pherousin">βίᾳ φέρουσιν</span>, sc. <span class =
"greek" title = "astomoi pôloi">ἄστομοι πῶλοι</span> from Soph. Electr.
725, cp. Eurip. Hippol. 1224, is more appropriate to the reading
<i>ferentes equos</i>.) For the omission of <i>et</i> before
<i>efferentes</i> (found in no MS.) cp. <a href =
"#chapVII_sec1">7&nbsp;§1</a> where a figure is added without any
conjunction (auxilium in publicum polliceri ... intrare portum).</p>

<p><b>neque enim</b>: the ellipse may be supplied as follows,&mdash;si
moram faceret non suaderem. The meaning is, it is only in cases where it
will not cause injurious delay that I recommend this curbing and
self-restraint; for neither, again, &amp;c.</p>

<p><b>robur fecerint</b>: <a href = "#chapIII_sec3">§3</a> vires
faciamus.</p>

<p><b>infelicem</b>: see on <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a> cuiusdam infelicis
operae.</p>

<p><b>calumniandi se</b>: ‘the wretched task of pedantic
self-criticism.’ See on <a href =
"QuintBody1.html#chapI_sec115">1&nbsp;§115</a> nimia contra se calumnia:
viii. pr. 31 quibus nullus est finis calumniandi se et cum singulis
paene syllabis commoriendi, qui etiam cum optima sunt reperta, quaerunt
aliquid quod sit magis antiquum: <a href = "#chapIII_sec11">§11</a>
remotum, inopinatum.</p>
</div>
</div> <!-- null -->

<p class = "maintext">
<a name = "chapIII_sec11" id = "chapIII_sec11"> </a>
<span class = "secnum">III:11</span>
Nam quo modo sufficere officiis civilibus possit qui singulis actionum
partibus insenescat? Sunt autem quibus nihil sit satis: omnia mutare,
omnia aliter dicere quam occurrit velint,&mdash; increduli quidam et de
ingenio suo pessime meriti, qui diligentiam putant facere sibi scribendi
difficultatem.</p>

<div class = "comm">
<p><a name = "commIII_sec11" id = "commIII_sec11"><b>§ 11.</b></a>
<b>officiis civilibus</b>: ‘the duties of a citizen,’ here with special
reference to legal practice and the advocacy of cases in courts of law:
<a href = "#chapVII_sec1">7&nbsp;§1</a>: cp. Suet. Tib. 8 civilium
officiorum rudimentis. The phrase in its widest application includes all
the ‘civilities’ and attentions which one citizen may be expected to
show to another, especially in the relation of patron and client: e.g.
<i>officio</i> togae virilis interfui, Plin. Ep. i. 9&nbsp;§2. Casaubon
defines <i>officium</i> ‘cum honoris causa praesentiam nostram alicui
commodamus’: for instances of its use in this sense cp. Plin. Ep. i. 5,
11: i. 13, 7: ii. 1, 8: Hor. Epist. i. 7, 8 <i>officiosaque</i>
sedulitas et opella forensis: Sat. ii. 6, 24 officio respondeat (‘answer
duty’s call,’ Palmer).</p>

<p><b>velint</b>: potential, as often. The clause stands by itself, and
there is no need for supposing the omission of the relative.</p>

<p><b>increduli quidam</b>: ‘a diffident sort of people,’ ‘somehow
afraid of themselves.’ For quidam cp. <a href =
"QuintBody1.html#chapI_sec76">1&nbsp;§76</a>. It is employed, as often
by Cicero, to show that the word used is as near the author’s meaning as
possible, though sometimes it is joined with an expression that is
merely a makeshift: cp. <span class = "greek" title =
"tines">τινες</span>. It indicates an undefined degree of the adjective
with which it is connected, and has sometimes a modifying, sometimes an
intensifying effect: here the former is not so probable considering the
strength of the phrase that follows, ‘sinning grievously against their
natural gifts.’</p>

<p><b>diligentiam</b> is pred.: supply <i>esse</i>. The subject is
<i>facere ... difficultatem</i>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec12" id = "chapIII_sec12"> </a>
<span class = "secnum">III:12</span>
Nec promptum est dicere utros peccare validius
<span class = "pagenum">141</span>
putem, quibus omnia sua placent an quibus nihil. Accidit enim etiam
ingeniosis adulescentibus frequenter, ut labore consumantur et in
silentium usque descendant nimia bene dicendi cupiditate. Qua de re
memini narrasse mihi Iulium Secundum illum, aequalem meum atque a me, ut
notum est, familiariter amatum, mirae facundiae virum, infinitae tamen
curae, quid esset sibi a patruo suo dictum.</p>

<div class = "comm">
<p><a name = "commIII_sec12" id = "commIII_sec12"><b>§ 12.</b></a>
<b>validius</b>. Common in Quintilian: iii. 8, 61 verborum autem
magnificentia non validius est adfectanda suasorias declamantibus, sed
contingit magis: vi. Prooem. §8 quo me validius cruciaret: ix. 2, 76
quanto validius bonos inhibet pudor quam metus. The superlative is
frequent in Pliny: e.g. validissime placere Ep. i. 20, 22: te
validissime diligo iii. 15, 2: vi. 8, 9 validissime vereor: ix. 35, 1
<span class = "pagenum comm">141</span>
validissime cupere. Cp. Caelias in Cic. ad Fam. viii. 2, 1 ego quum pro
amicitia validissime facerem ei. Horace has valdius oblectat populam
A.&nbsp;P. 321: cp. Ep. i. 9,&nbsp;6.</p>

<p><b>omnia sua</b>: cp. <a href =
"QuintBody1.html#chapI_sec130">1&nbsp;§130</a> (of Seneca) si non omnia
sua amasset: ibid. <a href = "QuintBody1.html#chapI_sec88">§88</a> (of
Ovid) nimium amator ingenii sui.</p>

<p><b>narrasse</b>: Quintilian always uses the perfect infin. after
<i>memini</i>, even where the person who recalls the event was a witness
of it. The rule is thus stated by Roby §1372 ‘<i>Memini</i> is used with
the present (and sometimes the perfect) infinitive of events of which
the subject himself was witness, with the perfect infinitive of events
of which the subject was not witness.’ On this Dr. Reid has a valuable
note de Amic. §2: ‘The rule may be somewhat more precisely stated thus:
If the person who recalls an event was a witness of it, he may either
(<i>a</i>) vividly picture to himself the event and its attendant
circumstances so that it becomes really present to his mind’s eye for
the moment, in which case he uses the present infinitive, or (<i>b</i>)
he may simply recall the <i>fact</i> that the event <i>did</i> take
place in past time, in which case the perfect infinitive is used. If he
was not a witness, he evidently can conceive the event only in the
latter of these two ways. As regards (<i>a</i>) cp. Verg. Ecl. ix. 52
longos cantando puerum memini me condere soles with Georg. iv. 125
memini me Corycium vidisse senem. Examples like the latter of these two
are more numerous than is commonly supposed.’</p>

<p><b>Iulius Secundus</b>, <a href =
"QuintBody1.html#chapI_sec120">1&nbsp;§120</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec13" id = "chapIII_sec13"> </a>
<span class = "secnum">III:13</span>
Is fuit Iulius Florus, in eloquentia Galliarum, quoniam ibi demum
exercuit eam, princeps, alioqui inter
<span class = "pagenum">142</span>
paucos disertus et dignus illa propinquitate. Is cum Secundum, scholae
adhuc operatum, tristem forte vidisset, interrogavit quae causa frontis
tam adductae?</p>

<div class = "comm">
<p><a name = "commIII_sec13" id = "commIII_sec13"><b>§ 13.</b></a>
<b>Iulius Florus</b> is generally supposed to be identical with the
individual to whom, as one of the <i>comites</i> of Tiberius Claudius in
his mission to the East, Horace addresses (<span class =
"smallroman">B.C.</span> 20) the Third Epistle of the First Book: cp.
also ii.&nbsp;2. Horace indicates his young friend’s ability in the
following lines (i. 3,&nbsp;21) Non tibi parvum Ingenium, non incultum
est et turpiter hirtum: Seu linguam causis acuis, seu civica iura
Respondere paras, seu condis amabile carmen, Prima feres hederae
victricis praemia. The scholiast Porphyrio tells us that he wrote
satires: Hic Florus fuit satirarum scriptor, cuius sunt electae ex
Ennio, Lucilio, Varrone satirae, ‘by which is meant, doubtless,’ says
Prof. Wilkins, ‘that he re-wrote some of the poems of these earlier
authors, adapting them to the taste of his own day, much as Dryden and
Pope re-wrote Chaucer’s tales.’ There is, however, a chronological
difficulty in the identification of the Florus who was a young man in
<span class = "smallroman">B.C.</span> 20 with the Florus who was the
<i>patruus</i> of Iulius Secundus, a contemporary of Quintilian
(aequalem meum), who died towards the end of Domitian’s reign before he
had completed the natural term of life (si longius contigisset aetas <a
href = "QuintBody1.html#chapI_sec120">1&nbsp;§120</a>). Seneca (Controv.
ix. 25, 258) mentions a Iulius Florus who was a pupil of Porcius Latro
(fl. cir. <span class = "smallroman">B.C.</span> 17). There is also the
Gaulish nobleman who headed a rebellion among the Treveri, and
afterwards committed suicide, <span class = "smallroman">A.D.</span> 21
(Tac. Ann. iii. 40-42). Hild identifies this Florus with the one in the
text: but it is absolutely impossible that the Florus who died in <span
class = "smallroman">A.D.</span> 21 can have seen Secundus (<i>scholae
adhuc operatum</i>), who cannot have been born till about twenty years
later.</p>

<p><b>in eloquentia</b>. The genitive is more common with princeps: <a
href = "QuintBody1.html#chapI_sec58">1&nbsp;§58</a>: viii. 6, 30 Romanae
eloquentiae principem: vi. 3,&nbsp;1.</p>

<p><b>Galliarum</b>. Eloquence flourished in Gaul under the Empire. At
Lugdunum Caligula instituted (<span class = "smallroman">A.D.</span>
39-40) a contest in Greek and Latin oratory (certamen Graecae Latinaeque
facundiae, Suet. Calig. 20). Cp. Iuv. i. 44 Aut Lugdunensem rhetor
dicturus ad aram.</p>

<p><b>quoniam</b> introduces what is virtually a parenthesis, referring
not to the whole sentence but only to <i>Galliarum</i>.</p>

<p><b>ibi demum</b>: <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>: <a href =
"#chapII_sec8">2&nbsp;§8</a>: <a href = "#chapVI_sec5">6&nbsp;§5</a>.
<span class = "pagenum comm">142</span>
Here it leads up to <i>alioqui</i> (<i>apart from this fact:
moreover</i>) (<a href = "QuintBody1.html#chapI_sec64">1&nbsp;§64</a>):
it was in Gaul that he practised, but he would have shone anywhere.</p>

<p><b>alioqui</b>: <a href =
"QuintBody1.html#chapI_sec64">1&nbsp;§64</a>. Here it = apart from this
fact, even if compared with orators of other countries. Transl.
‘besides,’ and cp. Tac. Ann. iv. 37 validus alioqui spernendis
honoribus: Hist. ii. 27: iii. 32. Other instances in Quintilian are ii.
1, 4: 15, 9: iv. pr. 6: v. 9, 11, &amp;c.</p>

<p><b>inter paucos</b>, ‘as few have ever been’: Livy xxii. 7, 1 inter
paucas memorata populi Romani clades: cp. xxiii. 44, 4: xxxviii. 15, 9;
Q.&nbsp;Curtius iv. 8, 7 in paucis Alexandro carus: cp. vi.
8,&nbsp;2.</p>

<p><b>illa propinquitate</b>, i.e. his relationship to Secundus, of whom
Quintilian speaks with pride as a friend and contemporary <a href =
"QuintBody1.html#chapI_sec120">1&nbsp;§120</a>.</p>

<p><b>Is fuit ... Is cum</b>: one of Quintilian’s negligences: cp. <a
href = "#chapII_sec23">2&nbsp;§23</a>.</p>

<p><b>adhuc</b> = etiam tum, as Livy xxi. 48 Scipio quamquam gravis
adhuc vulnere erat. Strictly <i>adhuc</i> is applicable to what
continues up to the time of speaking: here of continuance in past time.
Introd. <a href = "QuintIntro.html#intro_pagel">p.&nbsp;l</a>.</p>

<p><b>operatum</b>: cp. Tac. Ann. iii. 42 nobilissima Galliarum subole
liberalibus studiis ibi operata (v.&nbsp;2): reipublicae Livy iv. 60, 2:
conubiis arvisque novis operata iuventus Verg. Aen. iii. 136.</p>

<p><b>adductae</b>. So adducere frontem Sen. Ben. i. 1: cp. attrahere
frontem 6, 7: cp. contrahere frontem Cic. pro Cluent. §72. The opposite
is <i>frontem remittere</i>: Pliny, Ep. ii. 5,&nbsp;5. Cp. sollicitam
explicuere frontem Hor. Car. iii. 29, 16. <i>Obductus</i> is used in a
similar sense: cp. Hor. Epod. xiii. 5 obducta solvatur fronte senectus:
Iuv. Sat. ix. 2 quare ... tristis occurras fronte obducta.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec14" id = "chapIII_sec14"> </a>
<span class = "secnum">III:14</span>
Nec dissimulavit adulescens, tertium iam diem esse quod omni labore
materiae ad scribendum destinatae non inveniret exordium; quo sibi non
praesens tantum dolor, sed etiam desperatio in posterum fieret. Tum
Florus adridens, ‘numquid tu,’ inquit, ‘melius dicere vis quam
potes?’</p>

<div class = "comm">
<p><a name = "commIII_sec14" id = "commIII_sec14"><b>§ 14.</b></a>
<b>Tertium diem ... quod</b>. <i>Quod</i> does not here = <i>ex quo</i>,
as it denotes not point of time, but duration: in the direct it would be
<i>quod non invenio</i>, not <i>quod</i> (ex quo) <i>non inveni</i>. An
exact analogy is Plaut. Amphit. i. 1, 148 (302) iam diu ’st <i>quod</i>
ventri victum non datis (where, however, Fleckeisen reads <i>quom</i>,
and is followed by Palmer). The commentators quote Pliny, Ep. iv. 27, 1
Tertius dies est quod audivi recitantem Sentium: but there <i>quod</i> =
<i>ex quo</i>, just as <i>ut</i> is used for <i>ex quo</i> Stich. 29 Nam
viri nostri domo ut abierunt hic tertiust annus. Nägelsbach (note on
p.&nbsp;167) says this construction of Quintilian’s was imitated not
only by Pliny (l.c.), but by others: Schmalz, Antibarbarus, s.v. e, ex.
It might, however, be argued that we ought to read <i>quum</i>
(<i>quomomni</i>): C. ad Fam. xv. 14 Multi anni sunt cum M.&nbsp;Attius
in meo aere est, and often elsewhere, e.g. de Off. ii. §75 (Roby §1723).
If <i>quod</i> stands it must = ‘as regards the fact that he could find
no <i>exordium</i>, it was now the third day’: cp. the German ‘es ist
schon der dritte Tag dass,’ &amp;c.</p>

<p><b>omni labore</b>: a modal ablative, ‘in spite of every effort.’
There are two instances in Cicero of a similar use of the ablative,
<i>with the gerundive</i>: pro Mur. §17 qui non modo Curiis, Catonibus,
Pompeiis, antiquis illis fortissimis viris, sed his recentibus, Mariis
et Didiis et Caeliis, commemorandis iacebant: = quamvis Curios, &amp;c.,
commemorarent: de Off. i. 2 §5 quis est enim qui nullis officii
praeceptis tradendis philosophum se audeat dicere? = quamvis non
tradat.</p>

<p><b>materiae</b>: cp. v. 10, 9 quo apparet omnem ad scribendum
destinatam materiam ita appellari (sc. argumentum): ‘a theme on which he
had to write.’ There seems no reason why <i>materiae</i> should not
<span class = "pagenum comm">143</span>
be taken as genitive, though Hild and others make it dative of the
remote object of <i>inveniret</i>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec15" id = "chapIII_sec15"> </a>
<span class = "secnum">III:15</span>
Ita se res habet: curandum est ut quam optime dicamus, dicendum tamen
pro facultate; ad profectum enim opus est studio, non indignatione. Ut
possimus autem scribere etiam plura et celerius,
<span class = "pagenum">143</span>
non exercitatio modo praestabit, in qua sine dubio multum est, sed etiam
ratio: si non resupini spectantesque tectum et cogitationem murmure
agitantes expectaverimus quid obveniat, <i>sed</i> quid res poscat, quid
personam deceat, quod sit tempus, qui iudicis animus intuiti, humano
quodam modo ad scribendum accesserimus. Sic nobis et initia et quae
sequuntur natura ipsa praescribit.</p>

<div class = "comm">
<p><a name = "commIII_sec15" id = "commIII_sec15"><b>§ 15.</b></a>
<b>sine dubio</b>. This substantival use of the neuter adj. with prep.
is frequent in Cicero, but does not occur in Caesar or Sallust. Nägelsb.
Stil. §21: cp. Introd. <a href =
"QuintIntro.html#intro_pageliii">p.&nbsp;liii</a>.</p>

<p><b>ratio</b>, ‘judgment’ (<span class = "greek" title =
"logos">λόγος</span>), such as rational human beings may be expected to
show (cp. humano quodam modo, below). In this sense <i>ratio</i> and
<i>consilium</i> are often found together. A&nbsp;parallel passage is
ii. 11, §4 Quin etiam in cogitando nulla ratione adhibita aut tectum
intuentes magnum aliquid, quod ultro se offerat, pluribus saepe diebus
expectant, aut murmure incerto velut classico instincti concitatissimum
corporis motum non enuntiandis sed quaerendis verbis accommodant.</p>

<p><b>resupini</b> (‘with upturned face’) goes closely with
<i>spectantes tectum</i>: cp. Martial ix. 43, 3 Quaeque tulit spectat
resupino sidera vultu.</p>

<p><b>quod sit tempus</b>. xi. 1, 46 Tempus quoque ac locus egent
observatione propria; nam et tempus tum triste tum laetum, tum liberum
tum angustum est, atque ad haec omnia componendus orator.</p>

<p><b>humano quodam modo</b>, ‘in true human or rational fashion,’ i.e.
without looking for inspiration to&mdash;the ceiling! Cp.
<i>instincti</i>, quoted above, and <a href =
"#chapVII_sec14">7&nbsp;§14</a> deum tunc affuisse, &amp;c. For
<i>quidam</i> see <a href = "#chapIII_sec11">§11</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec16" id = "chapIII_sec16"> </a>
<span class = "secnum">III:16</span>
Certa sunt enim pleraque et, nisi coniveamus, in oculos incurrunt;
ideoque nec indocti nec rustici diu quaerunt, unde incipiant; quo
pudendum est magis, si difficultatem facit doctrina. Non ergo semper
putemus optimum esse quod latet: immutescamus alioqui, si nihil dicendum
videatur nisi quod non invenimus.</p>

<div class = "comm">
<p><a name = "commIII_sec16" id = "commIII_sec16"><b>§ 16.</b></a>
<b>certa</b>, fixed and definite, as belonging necessarily to the
subject, and suggested at once by the thought of it. <i>Pleraque</i> is
not limited to <i>initia</i>, though the next sentence is (unde
incipiant).</p>

<p><b>non ... putemus</b>: v. on <a href =
"#chapII_sec27">2&nbsp;§27</a>. Emphasis is secured both by the use of
<i>non</i> for <i>ne</i>, and by its place in the sentence.</p>

<p><b>immutescamus</b>, very rare for <i>obmutescamus</i>, Stat. Theb.
v. 542 ruptis immutuit ore querelis: vi. 184.</p>

<p><b>alioqui</b>. The condition implied in the word is here expressed
in the clause which follows: cp. <a href = "#chapIII_sec30">§30</a>
below. Introd. <a href =
"QuintIntro.html#intro_pageli">p.&nbsp;li</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec17" id = "chapIII_sec17"> </a>
<span class = "secnum">III:17</span>
Diversum est huic eorum vitium qui primo decurrere per materiam stilo
quam velocissimo volunt, et sequentes calorem atque impetum ex tempore
scribunt; hanc silvam vocant. Repetunt
<span class = "pagenum">144</span>
deinde et componunt quae effuderant; sed verba emendantur et numeri,
manet in rebus temere congestis quae fuit levitas.</p>

<div class = "comm">
<p><a name = "commIII_sec17" id = "commIII_sec17"><b>§ 17.</b></a>
<b>diversum</b> with the dat. (like <i>contrarium</i>) is common in
Quintilian and later writers: Cicero has <i>ab</i> c. abl. Cp. Hor. Ep.
i. 18, 5 Est huic diversum vitio vitium prope maius: Caesar B.C. iii.
30, 2 diversa sibi consilia.</p>

<p><b>silvam</b>. This word is here used as a translation of <span class
= "greek" title = "hulê">ὕλη</span>, properly timber for building, then,
metaphorically, raw material, or as here ‘rough draft.’ Cic. Orat. §12
omnis enim ubertas et quasi silva dicendi ducta ab illis (philosophis)
est, nec satis tamen instructa ad forenses causas: §139 quasi silvam
vides: de Or. ii. 65 infinita silva: iii. 93 rerum est silva magna: 103
primum silva rerum (ac sententiarum) comparanda est: 118 qui loco omnis
virtutum et vitiorum est silva subiecta: 54 ea est ei (oratori) subiecta
materies (<span class = "greek" title = "hupokeimenê hulê">ὑποκειμένη
ὕλη</span>): de Inv. i. 34 quandam silvam atque materiam ... omnium
argumentationum: Suet. Gram. 24 Reliquit non mediocrem silvam
observationum sermonis antiqui (Probus). The philosophical definition of
<span class = "greek" title = "hulê">ὕλη</span>; is given in Isidorus,
Orig. xiii. 3, 1 hylen (<span class = "greek" title =
"hulên">ὕλην</span>)
<span class = "pagenum comm">144</span>
Graeci rerum quamdam primam materiam dicunt, nullo prorsus modo
formatam, sed omnium corporalium formarum capacem, ex qua visibilia haec
elementa formata sunt.</p>

<p><b>componunt</b>, of ‘arrangement’: cp.
<a href = "QuintBody1.html#chapI_sec44">1, §§44</a>,
<a href = "QuintBody1.html#chapI_sec66">66</a>,
<a href = "QuintBody1.html#chapI_sec79">79</a>.</p>

<p><b>levitas</b>, ‘superficiality,’ want of thoroughness and solidity:
opp. to <i>gravitas</i>. Cp. <a href = "#chapVII_sec4">7, §4</a> manet
eadem quae fuit incipientibus difficultas.&mdash;The improvement extends
only to the <i>verba</i> and <i>numeri</i>, not to the substance.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec18" id = "chapIII_sec18"> </a>
<span class = "secnum">III:18</span>
Protinus ergo adhibere curam rectius erit atque ab initio sic opus
ducere, ut caelandum, non ex integro fabricandum sit. Aliquando tamen
adfectus sequemur, in quibus fere plus calor quam diligentia valet.</p>

<div class = "comm">
<p><a name = "commIII_sec18" id = "commIII_sec18"><b>§ 18.</b></a>
<b>protinus</b> = statim ab initio.</p>

<p><b>opus ducere</b>: <a href = "#chapV_sec9">5&nbsp;§9</a> velut eadem
cera aliae aliaeque formae duci solent: ii. 4, 7 si non ab initio tenuem
nimium laminam duxerimus et quam caelatura altior rumpat. The same
figure is used Hor. Sat. i. 10, 43-44 forte epos acer ut nemo Varius
ducit. So carmen ducere Ov. Trist. i. 11, 18: iii. 14, 32: ex Pont. i.
5, 7: ducere versus, Trist. v. 12, 63. In all these the metaphor is
originally from drawing out the threads in spinning: cp. Hor. Ep. ii. 1,
225 tenui deducta poemata filo: Sat. ii. 1, 3 putat ... mille die versus
deduci posse. In reference to statuary we have Hor. Ep. ii. 1, 240
ducent aera fortis Alexandri vultum simulantia: Verg. Aen. vi. 84, 7
vivos ducent de marmore vultus.</p>

<p><b>caelandum</b>, ‘chiselled,’ ‘filed’: Hor. Ep. ii. 2, 92
caelatumque novem Musis opus.</p>

<p><b>sequemur</b>: so <a href =
"QuintBody1.html#chapI_sec58">1&nbsp;§58</a> revertemur: 7, 1
renuntiabit: a common use of the future in rules. Warmth of feeling, he
says, will often compensate for want of finish.</p>
</div>


<p class = "maintext space">
<a name = "chapIII_sec19" id = "chapIII_sec19"> </a>
<span class = "secnum">III:19</span>
Satis apparet ex eo quod hanc scribentium neglegentiam damno, quid de
illis dictandi deliciis sentiam. Nam in stilo quidem quamlibet properato
dat aliquam cogitationi moram non consequens celeritatem eius manus:
ille cui dictamus urget,
<span class = "pagenum">145</span>
atque interim pudet etiam dubitare aut resistere aut mutare quasi
conscium infirmitatis nostrae timentes.</p>

<div class = "comm space">
<p><a name = "commIII_sec19" id = "commIII_sec19"><b>§ 19.</b></a>
<b>illis dictandi deliciis</b>: i.e. the practice which is so much in
fashion, so much ‘affected’: for <i>deliciae</i> (‘affectation’) cp. <a
href = "QuintBody1.html#chapI_sec43">1&nbsp;§43</a> recens haec lascivia
deliciaeque: xii. 8, 4 ne illas quidem tulerim delicias eorum qui,
&amp;c. The phrase <i>in deliciis esse alicui</i> is common in Cicero:
cp. also Orat. §39 longissime tamen ipsi a talibus deliciis vel potius
ineptiis afuerunt. The practice of dictation became so common that
<i>dictare</i> came to have the same sense as <i>scribere</i>
(‘compose’): Pers. i. 52 non si qua eligidia crudi dictarunt proceres?
Literary men had of course always their <i>librarii</i>; and we get a
glimpse of a great advocate at work in Brutus §87 illum ... omnibus
exclusis commentatum in quadam testudine cum servis litteratis fuisse,
quorum alii aliud dictare eodem tempore solitus esset. Pliny, the elder,
used to redeem the time by dictating to a <i>notarius</i> even when on
his travels: so too his nephew (who tells of his uncle’s habits iii.
5,&nbsp;15), notarium voco et die admisso quae formaveram dicto ix. 36,
2: illa quae dictavi identidem retractantur ibid. 40,&nbsp;2. Gesner has
an interesting note: “scilicet iam tum notabilis erat ea mollities, ut
circa scribendi artem negligentiores essent homines in aliquo fastigio
constituti: (vid. i. 1,&nbsp;28) quae postea ita invaluit ut
<i>dictare</i> iam esset eruditorum hominum opus, quem admodum antea
<i>scribere</i>. Itaque <i>vario dictandi genere</i> supergressum se
alios dicit Sidonius Apollin. 8, 6 et ab initio eiusdem epistolae
coniungit <i>studia certandi, dictandi, lectitandique</i>.” He quotes
authorities to show that, owing to the growth of the practice of
dictation, the leading men in Charlemagne’s time, as well as the
bishops, and Charlemagne himself, were ignorant of the art of
writing.</p>

<p><b>in stilo</b>: i.e. when the author himself uses it. The
<i>quidem</i> introduces an antithesis in <i>ille cui dictamus</i>.</p>

<p><b>urget</b>: he ‘presses,’ whereas even
<span class = "pagenum comm">145</span>
those authors who can write fast take time to stop and think. No doubt
the most practised amanuensis would fail to write as fast as a man can
think, but this is not asserted. All that is said in the antithesis is
that the amanuensis is always ready for more, as it were: his whole
interest is in the writing, not in the thought. One even (etiam) feels
<i>ashamed</i> at times (in addition to being merely conscious of the
fact that the scribe’s pen is not busy) of one’s hesitancy, &amp;c. See
<a href = "QuintCrit.html#critIII_sec19">Crit. Notes</a>.</p>

<p><b>resistere</b>: v. on <a href = "#chapIII_sec10">§10</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec20" id = "chapIII_sec20"> </a>
<span class = "secnum">III:20</span>
Quo fit ut non rudia tantum et fortuita, sed impropria interim, dum sola
est conectendi sermonis cupiditas, effluant, quae nec scribentium curam
nec dicentium impetum consequantur. At idem ille qui excipit, si tardior
in scribendo aut incertior in <i>intel</i>legendo velut offensator fuit,
inhibetur cursus, atque omnis quae erat concepta mentis intentio mora et
interdum iracundia excutitur.</p>

<div class = "comm">
<p><a name = "commIII_sec20" id = "commIII_sec20"><b>§ 20.</b></a>
<b>impropria</b> = quae significatione deerrant. Cp. i. 5, 46 dubito an
id improprium potius appellem; significatione enim deerrat. On <b>verba
propria</b> see <a href =
"QuintBody1.html#chapI_sec6">1&nbsp;§6</a>.</p>

<p><b>consequantur</b>: i.e. such utterances do not come up either to
the care with which one writes or the animation with which one
speaks.</p>

<p><b>at idem ille</b> introduces the second objection to dictation: <a
href = "#chapIII_sec21">§21</a> supplies a third and <a href =
"#chapIII_sec22">§22</a> a fourth.</p>

<p><b>incertior in intellegendo</b>, i.e. not to be depended upon to
understand what is dictated to him. See Crit. Notes. Against
<i>legendo</i> it must be urged that the reference to <i>reading</i> is
not very appropriate: the author would not be likely to call on the
scribe to read what he had written, except at an appropriate pause,
otherwise he would himself be to blame for the interruption to the
‘swing’ (cursus) of his thoughts.</p>

<p><b>offensator</b>, a <span class = "greek" title = "hapax legomenon">ἅπαξ λεγόμενον</span>, whence the use of <i>velut</i>. It is
employed here of one whose slowness or muddle-headedness is always
bringing the author to a standstill. Cp. offensantes <a href =
"#chapVII_sec10">7&nbsp;§10</a>.</p>

<p><b>quae erat</b>: cp. <a href = "#chapIII_sec17">§17</a> quae fuit
levitas.</p>

<p><b>concepta mentis intentio</b>, i.e. the thread of ideas.
<i>Concipere</i> is of frequent occurrence in Quintilian: <a href =
"#chapVII_sec14">7&nbsp;§14</a>: xi. 3, 25: ix. i, 16: ii. 20, 4: vi. 2,
33, &amp;c. For the gen. cp. animi intentio i. 1,&nbsp;34. The reading
<i>conceptae mentis</i> (see <a href =
"QuintCrit.html#critIII_sec20">Crit. Notes</a>) is supported by i. 2, 29
praeceptores ipsos non idem mentis ac spiritus in dicendo posse
concipere: the genitive would then be objective, as <a href =
"#chapIII_sec23">§23</a> below: perhaps ‘attention to the conceived
thought.’</p>

<p><b>excutitur</b>: Aristoph. Clouds 138 <span class = "greek" title =
"kai phrontid’ exêmblôkas exeurêmenên">καὶ φροντίδ᾽ ἐξήμβλωκας
ἐξευρημένην</span>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec21" id = "chapIII_sec21"> </a>
<span class = "secnum">III:21</span>
Tum illa, quae altiorem animi motum sequuntur quaeque ipsa animum quodam
modo concitant, quorum est iactare manum, torquere vultum, <i>frontem
et</i> latus interim obiurgare, quaeque Persius
<span class = "pagenum">146</span>
notat, cum leviter dicendi genus significat, ‘nec pluteum,’ inquit,
‘caedit nec demorsos sapit ungues,’ etiam ridicula sunt, nisi cum soli
sumus.</p>

<div class = "comm">
<p><a name = "commIII_sec21" id = "commIII_sec21"><b>§ 21.</b></a>
<b>quaeque ipsa</b>: i.e. per se: so <a href = "#chapIII_sec23">§23</a>
below, quae ipsa delectant.</p>

<p><b>frontem et latus ... obiurgare</b>. I&nbsp;venture to insert this
conjecture in the text, as justified both by the MSS. tradition (see <a
href = "QuintCrit.html#critIII_sec21">Crit. Notes</a>) and by the
context. Quintilian is speaking not of the gestures by which animation
is imparted to an actual effort of oratory, but of such little
mannerisms as the men of his day indulged in when in the throes of
solitary composition,&mdash;just as they bite quill pens to pieces or
scratch their heads now. For <i>frontem obiurgare</i> cp. Brut. §278
nulla perturbatio animi nulla corporis, frons non percussa, non femur,
quoted xi. 3, 123: femur pectus frontem caedere ii. 12, 10: ut frontem
ferias Cic. ad Att. i. 1, 1, though this last passage implies a more
vexatious state of distraction.</p>

<p><b>obiurgare</b>, i.e. caedere, ferire, plectere. Gertz objected to
<i>latus obiurgare</i> on the ground that <i>obiurgare</i> by itself
could not mean to ‘strike.’ We have ablatives in Pers.v. 169 solea puer
obiurgabere rubra: Sen. de Ira iii. 12, 6 servulum istum verberibus
obiurga: Suet. Calig. §20 ferulis obiurgari: id. Otho §2 flagris:
Petronius 34 colaphis. But in all these
<span class = "pagenum comm">146</span>
the abl. is needed to define the meaning of <i>obiurgare</i>, while no
one could mistake <i>latus obiurgare</i>.</p>

<p><b>leviter dicendi genus</b>: cp. <a href = "#chapIII_sec17">§17</a>
levitas. The reference is to listlessness and carelessness of style,
‘not the kind that beats the desk or savours of the bitten
nail,’&mdash;without earnestness or feeling.</p>

<p><b>nec pluteum caedit</b>. The <i>pluteus</i> or <i>pluteum</i> is
the back board of the ‘lecticula lucubratoria’ in which writing was done
in a recumbent position. The quotation is from Sat. i. 106, where
Persius pictures a drivelling versifier, listlessly pouring forth his
verses without any physical exertion or trace of feeling.</p>

<p><b>demorsos sapit ungues</b>: imitated from Hor. Sat. i. 10, 70,
speaking of what Lucilius would do if he lived now: in versu faciendo
Saepe caput scaberet, vivos et roderet ungues.</p>

<p><b>nisi cum soli sumus</b>. This refers to practice only.
A&nbsp;different point of view is stated in i. ii. §31, where Quintilian
sums up in these words, Non esset in rebus humanis eloquentia, si tantum
cum singulis loqueremur.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec22" id = "chapIII_sec22"> </a>
<span class = "secnum">III:22</span>
Denique ut semel quod est potentissimum dicam, secretum in dictando
perit. Atque liberum arbitris locum et quam altissimum silentium
scribentibus maxime convenire nemo dubitaverit: non tamen protinus
audiendi qui credunt aptissima in hoc nemora silvasque, quod illa caeli
libertas locorumque amoenitas sublimem animum et beatiorem spiritum
parent.</p>

<div class = "comm">
<p><a name = "commIII_sec22" id = "commIII_sec22"><b>§ 22.</b></a>
<b>ut semel ... dicam</b>: <a href =
"QuintBody1.html#chapI_sec17">1&nbsp;§17</a>.</p>

<p><b>secretum in dictando</b>. This is the fourth objection. Cp. <a
href = "#chapVII_sec16">7&nbsp;§16</a> cum stilus secreto gaudeat atque
omnes arbitros reformidet. Hirt (Substantivierung des Adj. bei
Quint.&mdash;Berlin, 1890) notes that this use of the nom. neut.
standing by itself is not so common as other cases: he cites about a
dozen instances, e.g. iv. 1, 41 honestum satis per se valet: v. 11, 13
dissimile plures casus habet: vi. 3, 84 inopinatum et a lacessente poni
solet. See <a href = "QuintCrit.html#critIII_sec22">Crit. Notes</a>.</p>

<p><b>protinus</b>: see on <a href =
"QuintBody1.html#chapI_sec3">1&nbsp;§3</a>, <a href =
"QuintBody1.html#chapI_sec42">§42</a>.</p>

<p><b>aptissima in hoc</b>. A&nbsp;poetical constr.: only here in
Quintilian, instead of <i>dat.</i> or <i>ad</i>. Livy xxviii. 31 genere
pugnae in quod minime apti sunt: Ovid Metam. xiv. 765 formas deus aptus
in omnes.</p>

<p><b>nemora silvasque</b>. Quintilian is speaking of oratory: poetry on
the other hand may fitly seek its inspiration in solitude. Tac. Dial.
ix. poetis ... in nemora et lucos id est in solitudinem recedendum est:
cp. xii nemora vero et luci et secretum ipsum, &amp;c. The poet’s love
of retirement and the necessity for his being exempted from the fears
and anxieties of the vulgar is in fact a commonplace in Latin
literature: Horace, Car. i. 1, 30: 32, 1: iv. 3, 10 sq.: Ep. ii. 2, 77:
A.&nbsp;P. 298: Ovid, Tristia i. 1, 41 Carmina secessum scribentis et
otia quaerunt, cp. v. 12, 3: Iuv. vii. 58: Pliny ix. 10&nbsp;§2 (to
Tacitus) poemata quiescunt, quae tu inter nemora et lucos commodissime
perfici putas: so for study of all kinds i. 6, 2; cp. ix.
36,&nbsp;6.</p>

<p><b>beatiorem spiritum</b>: i. §27, §44 (spiritus: cp. <a href =
"#chapV_sec4">5&nbsp;§4</a> sublimis spiritus): and i. §61, §109
(beatus). Cp. dives vena in Hor. A.&nbsp;P. 409.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec23" id = "chapIII_sec23"> </a>
<span class = "secnum">III:23</span>
Mihi certe iucundus hic magis quam studiorum hortator videtur esse
secessus. Namque illa, quae ipsa delectant, necesse est avocent ab
intentione operis destinati. Neque enim se bona fide
<span class = "pagenum">147</span>
in multa simul intendere animus totum potest, et quocumque respexit,
desinit intueri quod propositum erat.</p>

<div class = "comm">
<p><a name = "commIII_sec23" id = "commIII_sec23"><b>§ 23.</b></a>
<b>hortator</b>: cp. Liv. xxvii. 18, 14 foederum ruptor dux et populus:
Cic. pro Mil. §50 ipse ille latronum occultator et receptor locus.
Introd. <a href = "QuintIntro.html#intro_pagexlv">p.&nbsp;xlv</a>.</p>

<p><b>quae ipsa</b>: <a href = "#chapIII_sec21">§21</a> above. Cic.
Tusc. Disp. v. 21, 62 iam ipsae defluebant coronae.</p>

<p><b>bona fide</b>, ‘earnestly and conscientiously’: ut non fallat (sc.
animus) sed officiis suis probe sufficiat (Wolff). The phrase is
borrowed from the language of the law-courts, where it was applied to
judicial awards made not according to any positive enactment but in
equity. Cicero, de Off. iii. 61 et sine lege iudiciis,
<span class = "pagenum comm">147</span>
in quibus additur <i>ex fide bona</i>. See Holden’s note <i>ad
loc.</i></p>
</div>


<p class = "maintext">
<a name = "chapIII_sec24" id = "chapIII_sec24"> </a>
<span class = "secnum">III:24</span>
Quare silvarum amoenitas et praeterlabentia flumina et inspirantes ramis
arborum aurae volucrumque cantus et ipsa late circumspiciendi libertas
ad se trahunt, ut mihi remittere potius voluptas ista videatur
cogitationem quam intendere.</p>

<div class = "comm">
<p><a name = "commIII_sec24" id = "commIII_sec24"><b>§ 24.</b></a>
<b>late circumspiciendi</b>. Wölfflin thinks that Quintilian designedly
avoided such alliterations as ‘longe lateque circumspicere’: cp. Sall.
Iug. 5, Tac. Hist. iv. 50. In viii. 3, 65 he has ‘vultum et oculos’
instead of ‘ora et oculos’: and ‘satis’ by itself, or ‘satis abunde,’
instead of ‘satis superque.’</p>

<p><b>remittere ... intendere</b>: the figure is derived from the use of
the bow.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapIII_sec25" id = "chapIII_sec25"> </a>
<span class = "secnum">III:25</span>
Demosthenes melius, qui se in locum ex quo nulla exaudiri vox et ex quo
nihil prospici posset recondebat, ne aliud agere mentem cogerent oculi.
Ideoque lucubrantes silentium noctis et clausum cubiculum et lumen unum
velut <i>t</i>ectos maxime teneat.</p>

<div class = "comm">
<p><a name = "commIII_sec25" id = "commIII_sec25"><b>§ 25.</b></a>
<b>Demosthenes</b>: Plut. Dem. 7 <span class = "greek" title = "ek toutou katageion men oikodomêsai meletêrion ho dê diesôzeto kai kath’ hêmas">ἐκ τούτου κατάγειον μὲν οἰκοδομῆσαι μελετήριον ὃ δὴ διεσώζετο καὶ
καθ᾽ ἡμᾶς</span>.</p>

<p><b>cogerent</b>: for a similar modified use of <i>cogere</i> cp.
Corn. Nep. Milt. 7, 1: Suet. Domit. 11.</p>

<p><b>lumen</b> for <i>lucerna</i>: Cic. de Divin. 1 §36 lumine
adposito.</p>

<p><b>velut tectos</b>, ‘as if under cover’: sc. ad omnia quae oculis
vel auribus incursant. This is said to be one of Quintilian’s military
metaphors, whence the use of <i>velut</i>. Becher (Philol. xliii. 203
sq.) compares de Orat. i. 8, 32 quid autem tam necessarium quam tenere
semper arma quibus vel tectus ipse esse possis vel provocare improbos
vel te ulcisci lacessitus? and Orelli on pro Deiot. 6, 16: (quis
consideratior illo? quis tectior? quis prudentior?) ‘est metaphora
petita a gladiatoribus qui, uti debent, contra ictus adversariorum se
tegunt.’ Here the ‘weapons of defence’ are three: ‘silentium noctis,’
‘clausum cubiculum,’ and ‘lumen unum’ (i.e. nobis solum appositum). The
opposite of <i>tectus</i> in this sense is <i>apertus</i>: e.g. latus
apertum Tac. Hist. ii. 21 <i>aperti</i> incautique muros subiere, ‘of a
force which has no adequate defensive means at its disposal for
conducting a siege<ins class = "correction" title = "close quote invisible">’&nbsp;</ins>(Spooner). For the thought Krüger (3rd ed.)
compares Plin. Ep. x. 36 clausae fenestrae manent. Mire enim silentio et
tenebris animus alitur. Ab iis quae avocant abductus et liber et mihi
relictus non oculos animo sed animum oculis sequor, qui eadem quae mens
vident, quoties non adsunt alia.&mdash;See <a href =
"QuintCrit.html#critIII_sec25">Crit. Notes</a>.</p>

<p><b>maxime</b> = potissimum, and leads up to <a href =
"#chapIII_sec28">§28</a> ut sunt <i>maxime</i> optanda. Cp. <span class
= "greek" title = "malista">μάλιστα</span>: Plat. Rep. 326 A <span class
= "greek" title = "peisai malista men kai autous tous archontas, ei de mê tên allên polin">πεῖσαι μάλιστα μὲν καὶ αὐτοὺς τοὺς ἄρχοντας, εἰ δὲ
μὴ τὴν ἄλλην πόλιν</span>.</p>

<p><b>teneat</b>, potential: ‘if we work at night, the silence, &amp;c.
will secure us from interruption.’ But Krüger (2nd ed.), looking to
<i>lucubrantes</i> (which is emphatic), explains = ita lucubremus ut ...
teneat, and Wrobel makes it an imperative, ‘let us work by night, and
under such conditions, with such precautions that,’ &amp;c.</p>
</div>
</div> <!-- null -->

<p class = "maintext">
<a name = "chapIII_sec26" id = "chapIII_sec26"> </a>
<span class = "secnum">III:26</span>
Sed cum in omni studiorum genere, tum in hoc praecipue bona valetudo,
quaeque eam maxime praestat, frugalitas necessaria est, cum tempora ab
ipsa
<span class = "pagenum">148</span>
rerum natura ad quietem refectionemque nobis data in acerrimum laborem
convertimus. Cui tamen non plus inrogandum est quam quod somno
supererit, haud deerit;</p>

<div class = "comm">
<p><a name = "commIII_sec26" id = "commIII_sec26"><b>§ 26.</b></a>
<b>in hoc</b>, i.e. for night work (=&nbsp;in hoc studiorum genere; viz.
cum lucubramus).</p>

<p><b>frugalitas</b>: regularity of life, in a wide sense (as moderatio,
temperantia, <span class = "greek" title =
"sôphrosunê">σωφροσύνη</span>): cp. xii. 1, 8 Age non ad perferendos
studiorum labores necessaria frugalitas? quid ergo ex libidine ac
luxuria spei? Cic. pro Deiot. ix. §26.</p>

<p><b>cum ... convertimus</b>: the temporal signification of <i>cum</i>
c. ind. passes here into the causal. Cp. i. 6, 2 auctoritas ab
oratoribus vel historicis peti solet ... cum summorum in eloquentia
virorum iudicium pro ratione, et vel error honestus est magnos duces
sequentibus.&mdash;Becher on the other hand (followed by Krüger 3rd ed.)
insists that the use is here exclusively temporal, and that the clause
is merely a development of ‘cum lucubramus,’&mdash;
<span class = "pagenum comm">148</span>
the idea contained in the foregoing in hoc (sc. stud. genere).</p>

<p><b>cui</b>: sc. labori scribendi.</p>

<p><b>inrogandum</b> = impendendum, tribuendum.</p>

<p><b>supererit ... deerit</b>. Tr<ins class = "correction" title =
"period missing">. </ins>‘only so much as would be superfluous for
sleep, not insufficient.’ The meaning is clear: we must not encroach on
the time necessary for the repose of mind and body,&mdash;‘not more than
what is not needed for sleep, and what will not be missed.’ For what may
seem a superfluous addition cp. <a href =
"QuintBody1.html#chapI_sec115">1&nbsp;§115</a> si quid adiecturus sibi
non si quid detracturus fuit: Verg. Aen. ix. 282 ‘tantum fortuna secunda
Haud adversa cadat.’ The juxtaposition of compounds of <i>esse</i> is
very common: esp. <i>superesse</i>, <i>deesse</i>. Asin. Pollio, ad Fam.
x. 33, 5: Cic. ad Fam. xiii. 63, 2: Cic. in Gellius i. 22, 7: Val. Max.
viii. 7, 2: Suet. Aug. 56 (Schmalz). See <a href =
"QuintCrit.html#critIII_sec26">Crit. Notes</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec27" id = "chapIII_sec27"> </a>
<span class = "secnum">III:27</span>
obstat enim diligentiae scribendi etiam fatigatio, et abunde, si vacet,
lucis spatia sufficiunt; occupatos in noctem necessitas agit. Est tamen
lucubratio, quotiens ad eam integri ac refecti venimus, optimum secreti
genus.</p>

<div class = "comm">
<p><a name = "commIII_sec27" id = "commIII_sec27"><b>§ 27.</b></a>
<b>si vacet ... occupatos</b>. The antithesis should be noted: the days
are long enough when one has nothing else to do: it is the busy man who
is driven to encroach on the night.</p>
</div>


<div class = "null">
<p class = "maintext space">
<a name = "chapIII_sec28" id = "chapIII_sec28"> </a>
<span class = "secnum">III:28</span>
Sed silentium et secessus et undique liber animus ut sunt maxime
optanda, ita non semper possunt contingere; ideoque non statim, si quid
obstrepet, abiciendi codices erunt et deplorandus dies, verum incommodis
repugnandum et hic faciendus usus, ut omnia quae impedient vincat
intentio; quam si tota mente in opus ipsum derexeris, nihil eorum quae
oculis vel auribus incursant ad animum perveniet.</p>

<div class = "comm space">
<p><a name = "commIII_sec28" id = "commIII_sec28"><b>§ 28.</b></a>
<b>codices</b>: writing-books or tablets, as <a href =
"#chapIII_sec32">§32</a>.</p>

<p><b>faciendus usus</b>. Cp. ut scribendi fiat usus in <a href =
"#chapII_sec2">2&nbsp;§2</a>: and <a href = "#chapIII_sec3">§3</a> below
vires faciamus: <a href = "#chapVI_sec3">6&nbsp;§3</a> facienda multo
stilo forma est.</p>

<p><b>derexeris</b>: see on <a href = "#chapII_sec1">2&nbsp;§1</a>. So
xii. 3, 8: ii. 13, 5: ii. 1,&nbsp;11. On the other hand in x. <a href =
"QuintBody1.html#chapI_sec127">1&nbsp;§127</a> and v. 7, 6 Halm and
Meister print <i>dirigere</i>.</p>

<p><b>incursant</b>: stronger than <a href = "#chapIII_sec16">§16</a> in
oculos incurrunt. The constr. with the dative is poetical (Ovid, Metam.
i. 303, xiv. 190).</p>
</div>
</div> <!-- null -->


<div class = "null">

<p class = "maintext">
<a name = "chapIII_sec29" id = "chapIII_sec29"> </a>
<span class = "secnum">III:29</span>
An vero frequenter etiam fortuita hoc cogitatio praestat, ut obvios non
videamus et itinere deerremus: non consequemur idem, si et voluerimus?
Non est indulgendum causis desidiae. Nam si non nisi refecti, non nisi
hilares, non nisi omnibus aliis curis vacantes studendum existimarimus,
semper erit propter quod nobis ignoscamus.</p>

<div class = "comm">
<p><a name = "commIII_sec29" id = "commIII_sec29"><b>§ 29.</b></a>
<b>An vero ... non consequemur</b>. For this form of the <i>argumentum a
minore ad maius</i> cp. <a href = "#chapII_sec5">2&nbsp;§5</a>. Cic. pro
Rab. 5 An vero servos nostros ... dominorum benignitas ... liberabit hos
a verberibus ... nostri honores (non) vindicabunt?</p>

<p><b>deerremus</b> with simple abl. is post-classical.</p>

<p><b>idem</b>, i.e. the same abstraction.</p>

<p><b>si et voluerimus</b>: ‘by an effort of will,’ opp. to <i>fortuita
cogitatio</i>.</p>

<p><b>non nisi</b>: see on <a href =
"QuintBody1.html#chapI_sec20">1&nbsp;§20</a>.</p>
</div>
</div> <!-- null -->


<div class = "null">
<p class = "maintext">
<a name = "chapIII_sec30" id = "chapIII_sec30"> </a>
<span class = "secnum">III:30</span>
Quare in turba, itinere, conviviis etiam faciat sibi cogitatio ipsa
<span class = "pagenum">149</span>
secretum. Quid alioqui fiet, cum in medio foro, tot circumstantibus
iudiciis, iurgiis, fortuitis etiam clamoribus, erit subito continua
oratione dicendum, si particulas quas ceris mandamus nisi in solitudine
reperire non possumus? Propter quae idem ille tantus amator secreti
Demosthenes in litore, in quo se maximo cum sono fluctus inlideret,
meditans consuescebat contionum fremitus non expavescere.</p>

<div class = "comm">
<p><a name = "commIII_sec30" id = "commIII_sec30"><b>§ 30.</b></a>
<b>itinere</b>: Sen. Ep. 72&nbsp;§2 quaedam enim sunt quae possis et in
cisio scribere: Plin. Ep. iv. 14&nbsp;§2 accipies cum hac epistula
hendecasyllabos nostros, quibus nos in vehiculo, in balineo, inter
<span class = "pagenum comm">149</span>
cenam oblectamus otium temporis. Pliny even took with him to the chase
his <i>pugillares</i>, that he might note down any passing thought: i.
6, 1: ix. 10,&nbsp;2. He had learnt the lesson from his uncle, who made
use of his time at dinner, in the bath, on a journey: see the
description his nephew gives of his habits Ep. iii. 5 §§10, 11, 14-16.
Cato the Younger used to read while the Senate was assembling: Cic. de
Fin. iii. 2&nbsp;§7.</p>

<p><b>alioqui</b>: see on <a href = "#chapIII_sec16">§16</a>. Cp. §7 and
Introd. <a href = "QuintIntro.html#intro_pageli">p.&nbsp;li</a>.</p>

<p><b>tot circumstantibus iudiciis</b>. Four courts were commonly held
in one and the same basilica. Cp. xii. 5, 6 cum in basilica Iulia
diceret primo tribunali (Trachalus 1 §119) quatuor autem iudicia, ut
moris est, cogerentur, atque omnia clamoribus fremerent, et auditum eum
et intellectum et, quod agentibus ceteris contumeliosissimum fuit,
laudatum quoque ex quatuor tribunalibus memini: Plin. Ep. i. 18, 3 eram
acturus ... in quadruplici iudicio: iv. 24, 1: vi. 33,&nbsp;2.</p>

<p><b>particulas</b>: the ‘jottings’ which we ought to be able to make
even in spite of surrounding confusion, if we are to be effective when
called on to speak <i>ex tempore</i>.</p>

<p><b>ceris</b>: used especially for rough notes. Iuv. i. 63: xiv. 191.
These tablets were “made of thin slabs or leaves of wood, coated with
wax, and having a raised margin all round to preserve the contents from
friction. They were made of different sizes and varied in the number of
their leaves, whence the word, in this sense, is applied in the plural”
(Rich).</p>

<p><b>in litore</b>: Frotscher quotes Lib. Vit. Demosth. <span class =
"greek" title = "phasin auton anemon rhagdaion têrounta, kai kinoumenên sphodrôs tên thalattan, para tous aigialous badizonta, legein kai tô tês thalattês êchô sunethizesthai pherein tas tou dêmou kataboas">φασὶν
αὐτὸν ἄνεμον ῥαγδαῖον τηροῦντα, καὶ κινουμένην σφοδρῶς τὴν θάλατταν,
παρὰ τοὺς αἰγιαλοὺς βαδίζοντα, λέγειν καὶ τῷ τῆς θαλάττης ἤχῳ
συνεθίζεσθαι φέρειν τὰς τοῦ δήμου καταβοάς</span>: Plut. Vit. X Orat. 8,
p.&nbsp;844 E <span class = "greek" title = "kai kationta epi to Phalêrikon pros tas tôn kumatôn embolas tas skepseis poieisthai, hin’ ei pote thoruboiê ho dêmos, mê ekstaiê">καὶ κατιόντα ἐπὶ τὸ Φαληρικὸν πρὸς
τὰς τῶν κυμάτων ἐμβολὰς τὰς σκέψεις ποιεῖσθαι, ἵν᾽ εἴ ποτε θορυβοίη ὁ
δῆμος, μὴ ἐκσταίη</span>: Cic. de Fin. v. 2, 5 Noli inquit, ex me
quaerere, qui in Phalericum etiam descenderim, quo in loco ad fluctum
aiunt declamare solitum Demosthenem, ut fremitum assuesceret voce
vincere: Val. Max. viii. 7, ext. 1.</p>

<p><b>meditans</b>, ‘practising’: cp. de Orat. i. §260 (Demosthenes)
perfecit meditando ut nemo planius esse locutus putaretur: §136: Brutus
§302 nullum patiebatur esse diem (Hortensius) quin aut in foro diceret
aut meditaretur extra forum: Quint. ii. 10, 2: iv. 2,&nbsp;29.</p>

<p><b>expavescere</b>. This corresponds with the motive attributed to
Demosthenes by Plutarch and Libanius, as quoted above; Cicero’s
explanation (ut fremitum assuesceret voce vincere) is perhaps the more
credible.</p>
</div>
</div> <!-- null -->


<p class = "maintext space">
<a name = "chapIII_sec31" id = "chapIII_sec31"> </a>
<span class = "secnum">III:31</span>
Illa quoque minora (sed nihil in studiis parvum est) non sunt
transeunda: scribi optime ceris, in quibus facillima est ratio delendi,
nisi forte visus infirmior membranarum potius usum
<span class = "pagenum">150</span>
exiget, quae ut iuvant aciem, ita crebra relatione, quoad intinguntur
calami, morantur manum et cogitationis impetum frangunt.</p>

<div class = "comm space">
<p><a name = "commIII_sec31" id = "commIII_sec31"><b>§ 31.</b></a>
<b>optime</b>: <a href = "#chapIII_sec33">§33</a>: <a href =
"QuintBody1.html#chapI_sec72">1&nbsp;§72</a> (prave): <a href =
"QuintBody1.html#chapI_sec105">1&nbsp;§105</a> (fortiter), where see
note: <a href = "#chapV_sec13">5&nbsp;§13</a> (rectene and honestene).
Becher says ‘<i>optime</i> giebt ein Urteil über die Handlung an, drückt
nicht die Art und Weise aus’: hence it = <i>optimum esse</i>.</p>

<p><b>scribi ceris</b>: for the omission of in cp. xi. 2, 32 illud
neminem non iuvabit iisdem quibus scripserit ceris ediscere. In viii. 6,
64 Meister reads <i>in ceris</i>.</p>

<p><b>ratio delendi</b>: see on <a href = "#chapII_sec3">2&nbsp;§3</a>:
‘erasure,’ the ‘art of blotting.’ A&nbsp;similar periphrasis is <i>ratio
collocandi</i> <a href = "#chapIII_sec5">§5</a>. For the purpose of
erasure the reverse end of the <i>stilus</i> was flat. Hor. Sat. i. 10,
72 saepe stilum vertas (cp. <a href = "#chapIV_sec1">4&nbsp;§1</a>):
Cic. de Orat. ii. §96 luxuries quaedam quae stilo depascenda est. With
parchment the method of erasure was of course different: Hor. A.&nbsp;P.
446 incomptis adlinet atrum transverso calamo signum.</p>

<p><b>nisi forte</b> is not ironical here, as in <a href =
"QuintBody1.html#chapI_sec70">1&nbsp;§70</a>: <a href =
"#chapII_sec8">2&nbsp;§8</a>: <a href =
"#chapV_sec6">5&nbsp;§§6-7</a>.</p>

<span class = "pagenum comm">150</span>
<p><b>membranarum</b>. Parchment was more expensive than the tablets
(cerae), though probably cheaper now than it had been previously. It
could be used for rough notes, the writing being erased to make room for
fresh matter,&mdash;‘palimpsest.’ Even when a published book consisted
of papyrus paper (charta), parchment was often used for the wrapper. It
was called <i>membrana pergamena</i> because the industry received its
development under the kings of Pergamum.</p>

<p><b>exiget</b>: for the indic. cp. v. 2, 2 refelluntur autem
(praeiudicia) raro per contumeliam iudicum, nisi forte manifesta in iis
culpa erit. The commentators quote Sall. Iug. xiv. 10, but there the
subj. is really consecutive.</p>

<p><b>relatione</b> is here used in the etymological sense of ‘carrying
the pen back,’ or ‘to and fro’ in supplying it with ink. No other
example can be quoted in which this sense ( = reductio) occurs. Kiderlin
(l.c.) thinks that the idea of ‘raising’ the hand would be more
appropriate to the context than that of ‘drawing it back’: he proposes
therefore to read ‘<i>crebriore elatione</i>.’ See <a href =
"QuintCrit.html#critIII_sec31">Crit. Notes</a>.</p>

<p><b>intinguntur</b>, i.e. in the ink (atramentum), which was generally
an artificial compound, sometimes the natural juice of the
cuttle-fish.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec32" id = "chapIII_sec32"> </a>
<span class = "secnum">III:32</span>
Relinquendae autem in utrolibet genere contra erunt vacuae tabellae, in
quibus libera adiciendo sit excursio. Nam interim pigritiam emendandi
angustiae faciunt, aut certe novorum interpositione priora confundant.
Ne latas quidem ultra modum esse ceras velim, expertus iuvenem studiosum
alioqui praelongos habuisse sermones, quia illos numero versuum
metiebatur, idque vitium, quod frequenti admonitione corrigi non
potuerat, mutatis codicibus esse sublatum.</p>

<div class = "comm">
<p><a name = "commIII_sec32" id = "commIII_sec32"><b>§ 32.</b></a>
<b>contra</b> = ex adverso. Space must be left for corrections and
additions opposite to what has been written: there must be blank pages.
Cp. <i>contra</i> <a href =
"QuintBody1.html#chapI_sec114">1&nbsp;§114</a>.</p>

<p><b>adiciendo</b>, ‘for making additions,’ comes under the head of the
‘dative for work contemplated’ Roby §§1156 and 1383. So Tacitus
constantly uses the dative of gerund or gerundive in a final sense after
verbs and adjectives. See <a href = "QuintCrit.html#critIII_sec32">Crit.
Notes</a>.</p>

<p><b>aut certe</b>, with no previous <i>aut</i>: cp. ix. 2, 94:
3,&nbsp;60. For <b>novorum</b> cp. <i>subitis</i> <a href =
"#chapVII_sec30">7&nbsp;§30</a>, and see Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>confundant</b>: potential. It states a possibility: <i>faciunt</i>
a fact.</p>

<p><b>expertus</b> with acc. and inf. is rare.</p>

<p><b>studiosum</b>: <a href =
"QuintBody1.html#chapI_sec45">1&nbsp;§45</a>.</p>

<p><b>alioqui</b>: see Introd. <a href =
"QuintIntro.html#intro_pageli">p. li</a>.</p>

<p><b>versuum</b>: <a href =
"QuintBody1.html#chapI_sec38">1&nbsp;§38</a>.</p>
</div>


<p class = "maintext">
<a name = "chapIII_sec33" id = "chapIII_sec33"> </a>
<span class = "secnum">III:33</span>
Debet vacare etiam locus in quo notentur quae scribentibus solent extra
ordinem, id est ex aliis quam qui sunt in manibus loci, occurrere.
Inrumpunt enim optimi nonnumquam sensus, quos neque inserere oportet
neque differre tutum est, quia interim elabuntur, interim memoriae sui
<span class = "pagenum">151</span>
intentos ab alia inventione declinant ideoque optime sunt in
deposito.</p>

<div class = "comm">
<p><a name = "commIII_sec33" id = "commIII_sec33"><b>§ 33.</b></a>
<b>locus ... loci</b>. There is something of Quintilian’s not infrequent
negligence of style in the repetition of the word, especially as by
<i>locus</i> he means only ‘room,’ while <i>loci</i> are the different
parts of the composition.</p>

<p><b>notentur</b>, ‘jot down.’</p>

<p><b>inrumpunt</b>, ‘break in upon us,’ with a force that is hard to
resist (cp. memoriam sui intentos below).</p>

<p><b>sensus</b>: ‘ideas’: viii. 5, 2 sententiam veteres quod animo
sensissent vocaverunt ... sed consuetudo iam tenuit ut mente concepta
sensus vocaremus, lumina autem praecipueque in clausulis posita
sententias: <a href = "#chapV_sec5">5&nbsp;§5</a>: <a href =
"#chapVII_sec6">7&nbsp;§6</a>.</p>

<p><b>interim ... interim</b>: frequent in Quintilian (see Introduction
p.&nbsp;li.) for <i>nunc ... nunc</i>, <i>modo ... modo</i>.</p>

<p><b>optime sunt</b>: <a href = "#chapIII_sec31">§31</a> = optimum est
eos esse.</p>

<span class = "pagenum comm">151</span>
<p><b>inventione</b>: ‘line of thought.’</p>

<p><b>in deposito</b>: ‘in store,’ ‘in a place of safety,’ i.e. noted
down: see Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>. The phrase is
borrowed from law: vii. 2, 51 depositi quaestiones, Pandects, xxxvi.
3,&nbsp;5.</p>
</div>

</div> <!-- text -->


<div class = "argument">

<h5><a name = "arg_chapIV" id = "arg_chapIV">
CHAPTER IV.</a><br>
<span class = "subhead">
Of Revision.</span></h5>

<p><a href = "#chapIV_sec1">§§ 1-2.</a>
The three parts of revision are addition, excision, and alteration. It
is best to lay aside for a time what has been written: an interval after
each new birth will furnish the best safeguard against excessive
parental fondness.</p>

<p><a href = "#chapIV_sec3">§§ 3-4.</a>
But time is not always at command. There must obviously be some limit to
revision, especially on the part of the orator, who has to meet the
needs of the moment. Not all changes are improvements: let the file
polish the work, instead of rubbing it all away.</p>

</div> <!--argument -->


<div class = "text">

<h5><a name = "chapIV" id = "chapIV">
De Emendatione.</a></h5>


<p class = "maintext">
<a name = "chapIV_sec1" id = "chapIV_sec1"> </a>
<span class = "secnum">IV:1</span>
IV. Sequitur emendatio, pars studiorum longe utilissima; neque enim sine
causa creditum est stilum non minus agere, cum delet. Huius autem operis
est adicere, detrahere, mutare. Sed facilius in iis simpliciusque
iudicium quae replenda vel deicienda sunt; premere vero tumentia,
humilia extollere, luxuriantia adstringere, inordinata digerere, soluta
componere, exultantia coercere duplicis operae; nam et damnanda sunt
quae placuerant et invenienda quae fugerant.</p>

<div class = "comm">
<p><a name = "commIV_sec1" id = "commIV_sec1"><b>§ 1.</b></a>
<b>creditum est</b>: <a href =
"QuintBody1.html#chapI_sec48">1&nbsp;§48</a>. The perfect indicates that
the opinion was adopted and is still maintained. Hor. Ep. i. 2, 5 cur
ita crediderim (=&nbsp;credam): cp. credidi <a href =
"#chapII_sec20">2&nbsp;§20</a> above.</p>

<p><b>non minus</b>, sc. quam cum scribit. Hild sees a similar ellipse
in <a href = "QuintBody1.html#chapI_sec30">1&nbsp;§30</a> potius habenti
periculosus, sc. quam utilis. But see note <i>ad loc.</i></p>

<p><b>replenda ... deicienda</b> correspond to <b>adicere ...
detrahere</b>. This use is suggested by the idea of <i>levelling</i>.
Cp. Digest xlii. 1, 4 lege repletur quod sententiae deest: Ovid, Her. x.
37 quod voci deerat plangore replebam.</p>

<p><b>premere</b>, ‘prune’: v. on <i>pressus</i> <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§§44</a>, <a href =
"QuintBody1.html#chapI_sec46">46</a>: Hor. Sat. i. 10, 69 Detereret sibi
multa, recideret omne quod ultra Perfectum traheretur.</p>

<p><b>luxuriantia</b>, ‘exuberance’: Hor. Ep. ii. 2, 122 luxuriantia
compescet, where Wilkins cites this passage, also de Orat. ii. 96
luxuries quaedam quae stilo depascenda est, i.e. must be kept down by
the practice of writing.</p>

<p><b>inordinata</b>: of expression, viii. 2, §23 nam si ... neque plura
neque inordinata aut indistincta dixerimus, erunt dilucida et
neglegenter quoque audientibus aperta: ix. 4, 27 felicissimus tamen
sermo est cui et rectos ordo et apta iunctura et cum his numerus
opportune cadens contigit.</p>

<p><b>soluta componere</b> = numeris adstringere verba: ‘reducing to
metre what is unrhythmical.’ Cp. carmen solutum <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§31</a>. For <i>componere</i>, see
on <a href = "QuintBody1.html#chapI_sec44">1&nbsp;§44</a>.</p>

<p><b>exultantia</b>: cp. <a href = "#chapII_sec15">2&nbsp;§15</a>,
where the opposition of <i>compositi</i> and <i>exultantes</i> shows
that the latter denotes the extreme,&mdash;the excess of that of which
<i>solutus</i> is the defect. Cp. Cic. Orat. §195. The three terms might
be arranged in a series: soluta, composita, exultantia,&mdash;the last
denoting ‘combinations of words producing an undignified, skipping, or
dancing movement’ (Frieze).</p>
</div>


<p class = "maintext">
<a name = "chapIV_sec2" id = "chapIV_sec2"> </a>
<span class = "secnum">IV:2</span>
Nec dubium est optimum esse emendandi genus, si scripta in aliquod
tempus reponantur, ut ad ea post intervallum velut nova atque aliena
redeamus, ne nobis scripta nostra tamquam recentes fetus
blandiantur.</p>

<div class = "comm">
<p><a name = "commIV_sec2" id = "commIV_sec2"><b>§ 2.</b></a>
<b>emendandi genus</b>. Like <i>vis</i> and <i>ratio</i> (see on <a href
= "QuintBody1.html#chapI_sec1">1&nbsp;§1</a>), <i>genus</i> is used with
the gerund to supply the place of a noun (here <i>emendatio</i>): cp.
ix. 3, 35 est et illud repetendi genus (‘this too is repetition’): Cic.
pro Rab. Post. neque solum hoc genus pecuniae capiendae turpe sed etiam
nefarium esse arbitrabatur: and even with the perf. part. pass. in Verr.
ii. §141 non mihi praetermittendum videtur ne illud quidem genus
pecuniae conciliatae: Nägelsbach, p.&nbsp;130.</p>

<p><b>in aliquod tempus</b>. Hor. A. P. 388 nonumque prematur in annum:
advice to which Quintilian alludes in his dedicatory letter to Tryphon,
dabam iis otium ut refrigerato inventionis amore diligenter repetitos
tamquam lector perpenderem.</p>

<p><b>recentes fetus</b>: <a href =
"QuintBody1.html#chapI_sec16">1&nbsp;§16</a> nova illa velut
<span class = "pagenum comm">152</span>
nascentia: <a href = "#chapIII_sec7">3&nbsp;§7</a> omnia nostra dum
nascuntur placent.</p>
</div>


<p class = "maintext">
<a name = "chapIV_sec3" id = "chapIV_sec3"> </a>
<span class = "secnum">IV:3</span>
Sed
<span class = "pagenum">152</span>
neque hoc contingere semper potest praesertim oratori, cui saepius
scribere ad praesentes usus necesse est, et ipsa emendatio finem habet.
Sunt enim qui ad omnia scripta tamquam vitiosa redeant et, quasi nihil
fas sit rectum esse quod primum est, melius existiment quidquid est
aliud, idque faciant quotiens librum in manus resumpserunt, similes
medicis etiam integra secantibus. Accidit itaque ut cicatricosa sint et
exsanguia et cura peiora.</p>

<div class = "comm">
<p><a name = "commIV_sec3" id = "commIV_sec3"><b>§ 3.</b></a>
<b>finem habet</b>: there must be a limit. Cp. §4.</p>

<p><b>sunt enim</b>: the <i>increduli</i> of <a href =
"#chapIII_sec11">3&nbsp;§11</a>: quibus nihil sit satis, &amp;c.</p>

<p><b>medicis</b>. This is not flattering to the profession in
Quintilian’s day: he may have owed the doctors a grudge. Dion. Hal. ad
Cn. Pomp. vi. (p. 785&nbsp;R.) has a similar figure.</p>

<p><b>accidit itaque</b>. Livy sometimes has itaque in the second place,
Cicero never.</p>

<p><b>cicatricosa</b>, ‘covered with sutures’: ‘patchwork.’</p>

<p><b>exsanguia</b>: cp. <a href =
"QuintBody1.html#chapI_sec115">1&nbsp;§115</a>, where he says of Calvus
‘nimia contra se calumnia verum sanguinem perdidisse.’</p>

<p><b>cura peiora</b>: cp. Plin. Nat. Hist. xxxv. 10 nocere saepe nimiam
diligentiam: Plin. Ep. ix. 35, 2 nimia cura deterit magis quam
emendat.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapIV_sec4" id = "chapIV_sec4"> </a>
<span class = "secnum">IV:4</span>
Sit ergo aliquando quod placeat aut certe quod sufficiat, ut opus poliat
lima, non exterat. Temporis quoque esse debet modus. Nam quod Cinnae
Smyrnam novem annis accepimus scriptam, et Panegyricum Isocratis, qui
parcissime, decem annis dicunt elaboratum, ad oratorem nihil pertinet,
cuius nullum erit, si tam tardum fuerit, auxilium.</p>

<div class = "comm">
<p><a name = "commIV_sec4" id = "commIV_sec4"><b>§ 4.</b></a>
<b>lima</b>: Hor. A. P. 291 limae labor et mora: Plin. Ep. v. 10, §3
perfectum opus absolutumque est, nec iam splendescit lima sed
atteritur.</p>

<p><b>nam</b>: cp. <a href =
"QuintBody1.html#chapI_sec9">1&nbsp;§§9</a>, <a href =
"QuintBody1.html#chapI_sec50">50</a>. <b>quod</b>: see on <a href =
"QuintBody1.html#chapI_sec60">1&nbsp;§60</a>.</p>

<p><b>Cinnae Smyrnam</b>. C. Helvius Cinna, a friend of Catullus, was
the author of a poem entitled Smyrna (Zmyrna), in which he described the
incestuous love of Myrrha for her father Cinyras, the subject being
treated in the fashion of the Alexandrian poets. (Cp. Teuffel, Rom. Lit.
210&nbsp;§§2-3.) Vergil seems to have admired him (Ecl. ix. 35): but the
elaborate care he spent over his poem, which was after all not a long
one, resulted in obscurity: fuit autem liber obscurus adeo ut et
nonnulli eius aetatis grammatici in eum scripserint magnamque ex eius
enarratione sint gloriam consecuti. Quod obscurus fuerit etiam Martialis
ostendit in illo versu (x. 21,&nbsp;4): iudice te melior Cinna Marone
fuit,&mdash;Philargyrius, quoted by Teuffel. Cp. Catullus xcv Zmyrna mei
Cinnae nonam post denique messem Quam coeptast nonamque edita post
hiememst. Horace’s nonum ... prematur in annum is believed to contain a
direct reference to the Smyrna.</p>

<p><b>Panegyricum Isocratis</b>. This speech received its name from the
fact that it was written for recitation at one of the great <span class
= "greek" title = "panêgureis">πανηγύρεις</span> or festal assemblies,
such as the Panhellenic festival at Olympia. It was probably published
in the latter part of the summer of <span class =
"smallroman">B.C.</span> 380, and consisted of an appeal to the Greeks
to join in an expedition against Persia, under the joint command of
Athens and Sparta.</p>

<p><b>parcissime</b>, sc. dicunt: cp. <a href =
"QuintBody1.html#chapI_sec101">1&nbsp;§101</a> ut parcissime dicam.
Quintilian seems here to be following Dion. Hal. de Comp. Verb. c. 25
(Reiske v. p.&nbsp;208) <span class = "greek" title = "ho men gar ton panêgurikon logon, hôs hoi ton elachiston chronon graphontes apophainousin, en etesi deka sunetaxato.">ὁ μὲν γὰρ τὸν πανηγυρικὸν
λόγον, ὡς οἱ τὸν ἐλάχιστον χρόνον γράφοντες ἀποφαίνουσιν, ἐν ἔτεσι δέκα
συνετάξατο.</span> Plutarch says that some mentioned 15 years: <span
class = "greek" title = "ton panêgurikon etesi deka sunethêken, hoi de dekapente legousin">τὸν πανηγυρικὸν ἔτεσι δέκα συνέθηκεν, οἱ δὲ
δεκαπέντε λέγουσιν</span> Dec. Orat. p.&nbsp;837 F: cp. Mor. 350 E,
where he speaks of ‘almost three Olympiads.’ The writer of the treatise
‘On the Sublime’ (ch.&nbsp;4) gives ten years as the period.</p>

<p><b>elaboratum</b>: <a href = "#chapVII_sec32">7&nbsp;§32</a>. Cp.
Cic. Brutus §312 deinceps inde multae (causae) quas nos diligenter
elaboratas et tamquam elucubratas adferebamus.</p>

<p><b>nullum erit</b>, ‘will be of no avail’ = non dignum erit cuius
ulla ratio habeatur.
<span class = "pagenum comm">153</span>
Cp. Cic. in Vatin. xii. §30 Dices supplicationes te illas non probasse.
Optime. Nullae fuerint supplicationes.</p>
</div>
</div> <!-- null -->

</div> <!-- text -->


<div class = "argument">

<h5><a name = "arg_chapV" id = "arg_chapV">
CHAPTER V.</a><br>
<span class = "subhead">
What to Write.</span></h5>

<p><a href = "#chapV_sec1">§§ 1-8.</a>
The question now, as distinguished from the preliminary courses laid
down in Books i. and ii., is what form of composition we should practise
in order to acquire copiousness and readiness. First, translation from
the Greek: this exercise leaves the writer free to choose the best terms
in his own language.
<span class = "pagenum">8</span>
Second, reproduction (or paraphrase) of Latin poets and orators: here,
however, we often have to borrow from our models. Prose renderings of
the poets are especially useful for the formation of an elevated style.
And even in reproducing orations, we are stimulated to a kind of rivalry
with our author, which may result in our surpassing him: in any case,
the difficulty of competing with masterpieces forces us to study them
minutely.</p>

<p><a href = "#chapV_sec9">§§ 9-11.</a>
It will be of advantage also to put our own ideas into various forms of
expression, and to cultivate the faculty of amplifying: power is shown
in making much of little.</p>

<p><a href = "#chapV_sec11">§§ 11-16.</a>
Here the writing of <i>theses</i> (or discussions of abstract questions)
forms a valuable exercise: also judicial decisions and commonplaces. The
writing of declamations, or school speeches on fictitious cases, is also
to be recommended, even for those who are already making a name at the
bar. History, dialogue, and poetry are all valuable by way of variety
and recreation: a&nbsp;many-sided culture is the best safeguard against
such intellectual narrowness as would otherwise result from the daily
battles of the law-courts.</p>

<p><a href = "#chapV_sec17">§§ 17-20.</a>
Young students must not be kept too long at these preparatory exercises,
lest by indulging the fancy overmuch they unfit themselves for practice.
After a youth has been well schooled in <i>inventio</i> and
<i>elocutio</i>, and has had also some moderate amount of practice, he
should attach himself to some eminent public speaker, and accompany him
to the courts: he should write speeches, too, at home on the causes he
has heard. He has no longer to fence with foils.</p>

<p><a href = "#chapV_sec21">§§ 21-23.</a>
Declamations should resemble real speeches: the subject should be
treated naturally and thoroughly. Large classes and the custom of public
speech-days tend to encourage a specious showiness, in which only the
most popular and attractive parts of a subject are dealt with, and
crowded together without regard to logical connection. One subject,
thoroughly handled, is worth twenty superficially treated.</p>

</div> <!--argument -->


<div class = "text">

<span class = "pagenum">153</span>
<h5><a name = "chapV" id = "chapV">
Quae scribenda sint praecipue.</a></h5>


<p class = "maintext">
<a name = "chapV_sec1" id = "chapV_sec1"> </a>
<span class = "secnum">V:1</span>
V. Proximum est ut dicamus quae praecipue scribenda sint <span class =
"greek" title = "hexin">ἕξιν</span> parantibus. <i>Non est huius</i>
quidem operis ut explicemus quae sint materiae, quae prima aut secunda
aut deinceps tractanda sint (nam id factum est iam primo libro, quo
puerorum, et secundo, quo iam robustorum studiis ordinem dedimus), sed,
de quo nunc agitur, unde copia ac facilitas maxime veniat.</p>

<div class = "comm">
<p><a name = "commV_sec1" id = "commV_sec1"><b>§ 1.</b></a>
<b><span class = "greek" title = "hexin">ἑξιν</span></b>: v. <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a> and note. For the reading see
<a href = "QuintCrit.html#critV_sec1">Crit. Notes</a>.</p>

<p><b>operis</b>: ‘this part of my work,’ viz. the present chapter.</p>

<p><b>materiae</b>. The plural is especially frequent in Quintilian <a
href = "QuintBody1.html#chapI_sec62">1&nbsp;§62</a>: <a href =
"#chapV_sec22">5&nbsp;§22</a>: <a href =
"#chapVII_sec25">7&nbsp;§25</a>: cp. ii. 4, 12 and 41: 6, 1: 10, 1 and
4: iii. 5, 2: iv. 1, 43: vi. 2, 10: 3, 15: vii. pro. §4: 4, 24 and 40.
He is not treating here of the kinds of subjects for a general course of
rhetorical training, but limits himself to the point ‘de quo agitur,
unde copia ac facilitas maxime veniat.’</p>

<p><b>primo libro</b>: see ch. 9, where he adds to the office of the
grammarian, after <i>ratio loquendi</i> and <i>enarratio auctorum</i>,
quaedam dicendi primordia quibus aetates nondum rhetorem capientes
instituant.</p>

<p><b>secundo</b>: ch. 4 de primis apud rhetorem exercitationibus, and
ch. 10 de utilitate et ratione declamandi.</p>

<p><b>puerorum ... robustorum</b>: cp. i. 8, 12 priora illa ad pueros
magis, haec sequentia ad robustiores pertinebunt: ii. 2, 14 infirmitas a
robustioribus separanda est: <a href =
"QuintBody1.html#chapI_sec130">x.&nbsp;1 §130</a> robustis et severiore
genere satis firmatis: ii. 5, 2 robusti iuvenes: i. 1, 9 robustum quoque
et iam maximum regem ab institutione illa puerili sunt prosecuta: i. 5,
9: 12,&nbsp;1.</p>

<p><b>sed</b>: supply <i>ut explicemus</i>, or (for an independent
clause) <i>explicandum est</i>.</p>

<p><b>de quo nunc agitur</b>: i.e. the avowed object of the tenth book:
cp. <a href = "QuintBody1.html#chapI_sec1">1&nbsp;§1</a>.</p>

<p><b>copia</b>: <a href = "QuintBody1.html#chapI_sec5">1&nbsp;§5</a>
opes quaedam parandae ... eae constant copia rerum ac verborum. It is
the <i>copia verborum</i> that is specially meant here.</p>
</div>


<p class = "maintext space">
<a name = "chapV_sec2" id = "chapV_sec2"> </a>
<span class = "secnum">V:2</span>
Vertere Graeca in Latinum veteres nostri oratores optimum iudicabant. Id
se L.&nbsp;Crassus in illis Ciceronis de Oratore libris dicit
factitasse; id Cicero sua ipse persona frequentissime praecipit, quin
etiam libros Platonis atque Xenophontis edidit hoc
<span class = "pagenum">154</span>
genere translatos; id Messallae placuit, multaeque sunt ab eo scriptae
ad hunc modum orationes, adeo ut etiam cum illa Hyperidis pro Phryne
difficillima Romanis subtilitate contenderet. Et manifesta est
exercitationis huiusce ratio.</p>

<div class = "comm space">
<p><a name = "commV_sec2" id = "commV_sec2"><b>§ 2.</b></a>
<b>Latinum</b>: to be taken substantively, cp. i. 6, 3 and 19: ii. 1, 4:
<a href = "#chapV_sec4">§4</a> below, <i>Latinis</i>: cp. Cicero Tusc.
iii. §29 licet, ut saepe facimus, in Latinum illa convertere.</p>

<p><b>de Oratore</b> i. §155 postea mihi placuit, eoque sum usus
adulescens, ut summorum oratorum Graecas orationes explicarem, quibus
lectis hoc adsequebar, ut cum ea quae legeram Graece, Latine redderem,
non solum optimis verbis uterer et tamen usitatis, sed etiam exprimerem
quaedam verba imitando, quae nova nostris essent, dummodo essent idonea.
Prof. Wilkins there refers, for the value to be attached to translation
at sight, as giving a command over appropriate diction, to Stanhope’s
Life of Pitt, vol. i. pp.&nbsp;8 and 18. Cp. Stanley’s Arnold, i.
120.</p>

<p><b>sua ipse persona</b>: in his own name, and not merely by the mouth
of one of the persons of a dialogue, like Crassus in the De Oratore.
There are no passages in Cicero’s extant writings that account for the
words <i>frequentissime praecipit</i>: cp., however, Brutus §310
Commentabar declamitans ... idque faciebam multum etiam Latine sed
Graece saepius: ad Fam. xvi. 21, 5 declamitare Graece apud Cassium
institui. The introductions to the De Officiis and De Finibus contain
Cicero’s advocacy of the study of Greek. Suet. de Rhet. 1-2 Cicero ad
praeturam usque Graece declamavit, Latine vero senior quoque.</p>

<p><b>libros Platonis atque Xenophontis</b>. Cicero translated, at about
the age of 20
<span class = "pagenum comm">154</span>
years (de Off. ii. §87) the Oeconomicus of Xenophon: in early life also
the Protagoras of Plato, and later the Timaeus. Quintilian might have
included a reference to Cicero’s translation of Aeschines in
Ctesiphontem and Demosthenes de Corona, his preface to which survives in
the De Optimo Genere Oratorum: §14 Converti enim ex Atticis duorum
eloquentissimorum nobilissimas orationes inter se contrarias, Aeschinis
Demosthenisque: nec converti ut interpres sed ut orator, &amp;c. His
motive was to lay down a standard of ‘Atticism,’ as well as to free
himself from the charge of ‘Asianism’: §23 erit regula ad quam eorum
dirigantur orationes qui Attice volent dicere. Cp. Quint, xii. 10.</p>

<p><b>hoc genere</b>: <a href = "#chapIII_sec26">3&nbsp;§26</a>: and
below <a href = "#chapV_sec7">§7</a>.</p>

<p><b>Messallae</b>: v. <a href =
"QuintBody1.html#chapI_sec22">1&nbsp;§22</a> and <a href =
"QuintBody1.html#chapI_sec113">§113</a> with the notes.</p>

<p><b>Hyperidis pro Phryne</b>: Quintilian refers to the well-known
story ii. 15, 9 et Phrynen non Hyperidis actione quamquam admirabili,
sed conspectu corporis, quod illa speciosissimum alioqui diducta
nudaverit tunica, putant periculo liberatam. Phryne was accused of <span
class = "greek" title = "asebeia">ἀσέβεια</span>. For Hyperides v. <a
href = "QuintBody1.html#chapI_sec77">1&nbsp;§77</a>, and note.</p>

<p><b>cum illa ... pro Phryne ... subtilitate</b>. The commentators
quote a similar brachyology in Cic. Orator §108 ipsa enim illa pro
Roscio iuvenilis redundantia, though the text is not certain.</p>

<p><b>difficillima Romanis subtilitat</b>. Cp. <a href =
"QuintBody1.html#chapI_sec100">1&nbsp;§100</a> cum sermo ipse Romanus
non recipere videatur illam solis concessam Atticis venerem. For
<i>subtilitas</i> cp. <a href =
"QuintBody1.html#chapI_sec78">1&nbsp;§78</a>, <a href =
"#chapII_sec19">2&nbsp;§19</a>, Brutus §67 sed ea in nostris inscitia
est, quod hi ipsi, qui in Graecis antiquitate delectantur eaque
subtilitate quam Atticam appellant, hanc in Catone ne noverunt quidem.
Hyperidae volunt esse et Lysiae. Laudo; sed cur nolunt Catones?</p>
</div>


<p class = "maintext">
<a name = "chapV_sec3" id = "chapV_sec3"> </a>
<span class = "secnum">V:3</span>
Nam et rerum copia Graeci auctores abundant et plurimum artis in
eloquentiam intulerunt, et hos transferentibus verbis uti optimis licet;
omnibus enim utimur nostris. Figuras vero, quibus maxime ornatur oratio,
multas ac varias excogitandi etiam necessitas quaedam est, quia
plerumque a Graecis Romana dissentiunt.</p>

<div class = "comm">
<p><a name = "commV_sec3" id = "commV_sec3"><b>§ 3.</b></a>
<b>auctores</b>: see on <a href =
"QuintBody1.html#chapI_sec24">1&nbsp;§24</a>.</p>

<p><b>transferentibus</b>: personal dat. after <i>licet</i>.</p>

<p><b>verbis uti optimis</b>: cp. hoc adsequebar ut .... non solum
optimis verbis uterer de Oratore i. §155, quoted above.</p>

<p><b>nostris</b> is predicative = omnia enim quibus utimur nostra sunt.
Translation from the Greek leaves us free to choose the best
expressions: it is not like translation from Latin (i.e. reproduction or
paraphrase), where we must often borrow from our models (optimis
occupatis&nbsp;<a href = "#chapV_sec5">§5</a>.).</p>

<p><b>figuras</b>. Cp. <a href =
"QuintBody1.html#chapI_sec12">1&nbsp;§12</a>, note on figuramus. In ix.
1, Quintilian discusses the meaning of <i>figura</i>, which he defines
broadly in §4 as ‘conformatio quaedam orationis remota a communi et
primum se offerente ratione.’ Here he refers both to rhetorical and to
grammatical figures; the latter require idiomatic rendering, while a
rhetorical figure which may be appropriate in the one language may not
be allowable in the other. In i. 1, 13 he gives a warning against the
exclusive use of Greek in early training: hinc enim accidunt et oris
plurima vitia in peregrinum sonum corrupti et sermonis, cui cum Graecae
figurae adsidua consuetudine haeserunt, in diversa quoque loquendi
ratione pertinacissime durant.</p>
</div>


<p class = "maintext space">
<a name = "chapV_sec4" id = "chapV_sec4"> </a>
<span class = "secnum">V:4</span>
Sed et illa ex Latinis conversio multum et ipsa contulerit.
<span class = "pagenum">155</span>
Ac de carminibus quidem neminem credo dubitare, quo solo genere
exercitationis dicitur usus esse Sulpicius. Nam et sublimis spiritus
attollere orationem potest, et verba poetica libertate audaciora non
praesumunt eadem proprie dicendi facultatem; sed et ipsis sententiis
adicere licet oratorium robur et omissa supplere et effusa
substringere.</p>

<div class = "comm space">
<p><a name = "commV_sec4" id = "commV_sec4"><b>§ 4.</b></a>
<b>ex Latinis conversio.</b> Verbal nouns are often joined with the case
governed by the verb from which they are derived: vii. 2, 35 ex causis
probatio. In Plautus there are several instances even of the accusative,
but the dative is more frequent.</p>

<p><b>multum et ipsa</b> = ipsa quoque ... multum contulerit, ‘even
paraphrase of
<span class = "pagenum comm">155</span>
itself,’ i.e. apart from translation. See on <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§31</a> and cp. <a href =
"#chapV_sec20">§20</a> below, <a href = "#chapVI_sec1">6&nbsp;§1</a>: <a
href = "#chapVII_sec26">7&nbsp;§26</a>.</p>

<p><b>contulerit</b>: v. on <a href =
"QuintBody1.html#chapI_sec37">1&nbsp;§37</a>. (Cicero uses ipse by
itself, or ipse etiam: Livy, ipse quoque.)</p>

<p><b>de carminibus</b>: Hild wrongly takes this of Greek poetry.
Quintilian is commending those exercises in ‘reproduction’ or
‘paraphrase,’ which are substituted in many schools now for English
‘parsing.’</p>

<p><b>Sulpicius</b>, <a href =
"QuintBody1.html#chapI_sec116">1&nbsp;§116</a>.</p>

<p><b>sublimis spiritus</b>: cp. <a href =
"QuintBody1.html#chapI_sec27">1&nbsp;§27</a> in rebus spiritus et in
verbis sublimitas: <a href = "QuintBody1.html#chapI_sec61">§61</a>
spiritu, magnificentia: <a href =
"QuintBody1.html#chapI_sec104">§104</a> elatum abunde spiritum: <a href
= "#chapIII_sec22">3&nbsp;§22</a> beatiorem spiritum.</p>

<p><b>orationem</b>: ‘prose style.’ The fire of the poetry gives
elevation to the paraphrase. <i>Oratio</i> is used (without prosa) in
Cicero for ‘prose’: Orator §70 saepissime et in poematis et in oratione
peccatur: ibid. §§166, 174, 178, 198, &amp;c.</p>

<p><b>poetica libertate</b>. Cp. Quintilian’s remarks on the study of
poetry, <a href = "QuintBody1.html#chapI_sec27">1&nbsp;§§27-30</a>, esp.
<a href = "QuintBody1.html#chapI_sec28">§28</a> libertate verborum ...
licentia figurarum.</p>

<p><b>praesumunt</b>. The use of this verb, with such a nominative as
<i>verba</i> (which seems here to be in a way personified), would be
hard to parallel either from Quintilian or from any other writer.
Elsewhere it is generally used with a personal reference in the sense of
to ‘take beforehand’ (<span class = "greek" title =
"prolambanô">προλαμβάνω</span>)),&mdash;with derived meanings; e.g. i.
10, 27: i. 1, 19: ii. 4, 7; 17, 28: viii. 6, 23: xii. 9,&nbsp;9. The
passage xi. 1, 27 inviti iudices audiunt praesumentem partes suas is
quoted as showing that the meaning is ‘encroach upon,’ but that is
secondary: there it simply means ‘anticipating them in the discharge of
their functions,’ cp. sumere sibi imperatorias partes Caesar B.C. iii.
51. ‘Forestall’ is the nearest English equivalent: praeripere (Becher),
praecidere (Hild), praecipere (sumere aliquid ante tempus) Dosson. Cp.
Aen. xi. 18: Ovid Ar. Amat. iii. 757: and praeclusam <a href =
"#chapV_sec7">§7</a> below.&mdash;In what follows eadem is the only
reading that will make sense of a very difficult passage: if it is the
nom. pl. (agreeing with <i>verba</i>), tr. ‘do not at the same time
(i.e. in consequence of their being <i>poet. libert. audac.</i>) exhaust
beforehand the power of using the language of ordinary prose: no (sed =
<span class = "greek" title = "alla">ἀλλὰ</span>), we may add to the
thought (of the poem) the strength of rhetoric,’ &amp;c. Even if the
words are ‘poetica libertate audaciora’ the ‘facultas proprie dicendi’
can secure strength, completeness, and compactness for the reproduction.
But <i>eadem</i> is usually taken as the acc. pl. neut.: ‘do not use up
beforehand the ability to say the same things in ordinary prose.’ The
reading <i>eandem</i> (Halm and Meister) would seem to require a
different meaning for <i>praesumunt</i>.&mdash;See <a href =
"QuintCrit.html#critV_sec4">Crit. Notes</a>.</p>

<p><b>effusa substringere</b>: cp. <a href =
"#chapIV_sec1">4&nbsp;§1</a> luxuriantia adstringere.
<i>Substringere</i> means to ‘gather up’ as one does with dishevelled
(<i>effusus</i>) hair, from which the figure may be taken: Tac. Germ. 38
substringere crinem nodo. Burmann quotes from Tertullian de Oration,
ch.&nbsp;i. de brevitate orationis dominicae quantum substringitur
verbis tantum diffunditur sensibus.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec5" id = "chapV_sec5"> </a>
<span class = "secnum">V:5</span>
Neque ego paraphrasin esse interpretationem tantum volo, sed circa
eosdem sensus certamen atque aemulationem. Ideoque ab illis dissentio
qui vertere
<span class = "pagenum">156</span>
orationes Latinas vetant, quia optimis occupatis, quidquid aliter
dixerimus, necesse sit esse deterius. Nam neque semper est desperandum
aliquid illis quae dicta sunt melius posse reperiri, neque adeo ieiunam
ac pauperem natura eloquentiam fecit ut una de re bene dici nisi semel
non possit:</p>

<div class = "comm">
<p><a name = "commV_sec5" id = "commV_sec5"><b>§ 5.</b></a>
<b>paraphrasin</b>, subject: cp. conversio <a href =
"#chapV_sec4">§4</a> above. The paraphrase is not to be a mere
word-for-word translation: for interpretatio cp. iii. 5,&nbsp;17. Among
the ‘dicendi primordia’ proper for the training of ‘aetates nondum
rhetorem capientes’ Quintilian lays down the practice of paraphrase: tum
paraphrasi audacius vertere (Aesopi Fabellas), qua et breviare quaedam
et exornare salvo modo poetae sensu permittitur.</p>

<p><b>circa eosdem sensus</b>. The writer is to endeavour to rival his
original in expressing the same idea. For <i>sensus</i> cp. <a href =
"#chapIII_sec33">3&nbsp;§33</a>: <i>circa</i> again below <a href =
"#chapV_sec6">§6</a> circa voces easdem. See on <a href =
"QuintBody1.html#chapI_sec52">1&nbsp;§52</a>.</p>

<p><b>vertere orationes</b>. Till now he has
<span class = "pagenum comm">156</span>
been speaking of <i>conversio ex carminibus</i>. It was probably the
custom in schools of rhetoric to make pupils give a free rendering
(vertere) of passages also from some great oration. Quintilian is
defending such practices against the criticism which Cicero, for
example, puts in the mouth of Crassus, de Orat. i. §154 equidem mihi
adulescentulus proponere solebam illam exercitationem maxime ... ut aut
versibus propositis quam maxime gravibus aut oratione aliqua lecta ad
eum finem, quem memoria possem comprehendere, eam rem ipsam quam
legissem verbis aliis quam maxime possem lectis pronuntiarem: sed post
animadverti hoc esse in hoc vitii, quod ea verba quae maxime cuiusque
rei propria quaeque essent ornatissima atque optima occupasset aut
Ennius, si ad eius versus me exercerem, aut Gracchus, si eius orationem
mihi forte proposuissem: ita, si eisdem verbis uterer, nihil prodesse,
si aliis, etiam obesse, cum minus idoneis uti consuescerem. So he took
to translating from the Greek, as shown in what follows, quoted on <a
href = "#chapV_sec2">§2</a> above.</p>

<p><b>una de re</b>. Along with <i>in eadem materia</i> below, this
shows what freedom Quintilian would allow in such reproductions: cp. non
interpretationem tantum, &amp;c. above. Hild refers to a quotation, on
the other hand, from La Bruyère (Ouvrages de l’Esprit 17), which has
more of the spirit of the true artist: Entre toutes les différentes
expressions qui peuvent rendre une seule de nos pensées, il n’y en a
qu’une qui soit la bonne. On ne la rencontre pas toujours en parlant ou
en écrivant; il est vrai néanmoins qu’elle existe, que tout ce qui ne
l’est pas est faible, et ne satisfait point un homme d’esprit qui veut
se faire entendre.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec6" id = "chapV_sec6"> </a>
<span class = "secnum">V:6</span>
nisi forte histrionum multa circa voces easdem variare gestus potest,
orandi minor vis, ut dicatur aliquid post quod in eadem materia nihil
dicendum sit. Sed esto neque melius quod invenimus esse neque par, est
certe proximis locus.</p>

<div class = "comm">
<p><a name = "commV_sec6" id = "commV_sec6"><b>§ 6.</b></a>
<b>nisi forte</b>: a formula generally used, as in Cicero, to introduce
an ironical argument, e.g. i. §70: <a href =
"#chapII_sec8">2&nbsp;§8</a>. For a similar constr. cp. i. 10, 6: nisi
forte <span class = "greek" title = "antidotous">ἀντιδότους</span>
quidem atque alia, quae oculis aut vulneribus medentur, ex multis atque
interim contrariis quoque inter se effectibus componi videmus ... et
muta animalia mellisillum inimitabilem humanae rationis saporem vario
florum ac sucorum genere perficiunt: nos mirabamur si oratio, qua nihil
praestantius homini dedit providentia, pluribus artibus egeat. And, with
<i>autem</i> in the second clause, ii. 3, 6 Nisi forte Iovem quidem
Phidias optime fecit, illa autem alius melius elaborasset. Cp. the use
of <i>an</i>, <i>an vero</i> with antithetical clauses.&mdash;The
reasoning is by no means conclusive, the analogy on which it rests
having nothing to recommend it except to a teacher of rhetoric.
Quintilian may have had in his mind what went on between Cicero and
Roscius: Satis constat contendere eum cum ipso histrione solitum, utrum
ille saepius eandem sententiam variis gestibus efficeret, an ipse per
eloquentiae copiam sermone diverso pronuntiaret,&mdash;Macrobius,
Saturn. ii. 40.</p>

<p><b>esto</b>: with acc. and infin. as in Hor. Ep. i. 1, 81 Verum esto
aliis alios rebus studiisque teneri: Idem eadem possunt horam durare
probantes. The subj. is more common: Cic. pro Sest. 97 esto (est) ... ut
sint. Or else <i>esto</i> may be used independently: Hor. Sat. ii.
2,&nbsp;30. Quint. ix. 2, 84 sed esto, voluerit: Verg. Aen. iv. 35 esto,
nulli flexere mariti.</p>

<p><b>par ... proximis</b>: cp. <a href =
"QuintBody1.html#chapI_sec127">1&nbsp;§127</a> pares ac saltem proximos
illi viro fieri. With <i>proximis</i> understand ‘illis quae dicta
sunt.’</p>
</div>


<p class = "maintext">
<a name = "chapV_sec7" id = "chapV_sec7"> </a>
<span class = "secnum">V:7</span>
An vero ipsi non bis ac saepius de eadem re dicimus et quidem continuas
nonnumquam sententias? Nisi
<span class = "pagenum">157</span>
forte contendere nobiscum possumus, cum aliis non possumus. Nam si uno
genere bene diceretur, fas erat existimari praeclusam nobis a prioribus
viam; nunc vero innumerabiles sunt modi plurimaeque eodem viae
ducunt.</p>

<div class = "comm">
<p><a name = "commV_sec7" id = "commV_sec7"><b>§ 7.</b></a>
<b>An vero</b>: see on <a href = "#chapIII_sec29">3&nbsp;§29</a>.</p>

<p><b>et quidem</b>: see on <a href = "QuintBody1.html#chapI_sec34"><ins class = "correction"
title = "text reads “§34” only, as if to 5.34">1&nbsp;§34</ins></a>, and cp. Plin. Ep. i. 12, 1 decessit Corellius Rufus, et quidem sponte.</p>

<span class = "pagenum comm">157</span>
<p><b>nisi forte</b>: v. on <a href = "#chapV_sec6">§6</a> above. For
such repetitions see <a href = "#chapII_sec23">2&nbsp;§23</a>, and
note.</p>

<p><b>uno</b>: supply <i>tantum</i>, as in <a href =
"QuintBody1.html#chapI_sec91">1&nbsp;§91</a> hos nominavimus. For genere
(=&nbsp;ratione, modo) cp. <a href =
"#chapIII_sec26">3&nbsp;§26</a>.</p>

<p><b>fas erat</b>. With verbs expressing possibility, duty, necessity,
convenience, intention, &amp;c. the indicative is often used in the
apodosis when the verb in the protasis is subjunctive. Cp. Livy v. 6 Si
mediusfidius ad hoc bellum nihil pertineret, ad disciplinam certe
militiae plurimum intererat, &amp;c.: Sallust. Iug. 85 ad fin. Quae si
dubia aut procul essent, tamen omnes bonos rei publicae subvenire
decebat.</p>

<p><b>plurimae ... ducunt</b>. The expression seems proverbial: cp. ‘All
roads lead to Rome.’</p>
</div>


<p class = "maintext">
<a name = "chapV_sec8" id = "chapV_sec8"> </a>
<span class = "secnum">V:8</span>
Sua brevitati gratia, sua copiae, alia translatis virtus, alia propriis,
hoc oratio recta, illud figura declinata commendat. Ipsa denique
utilissima est exercitationi difficultas. Quid quod auctores maximi sic
diligentius cognoscuntur? Non enim scripta lectione secura
transcurrimus, sed tractamus singula et necessario introspicimus et,
quantum virtutis habeant, vel hoc ipso cognoscimus, quod imitari non
possumus.</p>

<div class = "comm">
<p><a name = "commV_sec8" id = "commV_sec8"><b>§ 8.</b></a>
<b>oratio recta</b>. See on <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a> rectum dicendi genus: the
opposite is <i>oratio figurata</i>, or <i>figura declinata</i> (<a href
= "QuintBody1.html#chapI_sec12">1&nbsp;§12</a>). Cp. ix. 1, 3 Utraque
res (figures and tropes) de recta et simplici ratione cum aliqua dicendi
virtute deflectitur.</p>

<p><b>figura</b> is ablative, the phrase being equivalent to
<i>figurata</i>: <a href =
"QuintBody1.html#chapI_sec12">1&nbsp;§12</a>.</p>

<p><b>commendat</b>: v. <a href =
"QuintBody1.html#chapI_sec101">1&nbsp;§101</a>.</p>

<p><b>tractamus</b>: cp. repetamus autem et tractemus <a href =
"QuintBody1.html#chapI_sec19">1&nbsp;§19</a>.</p>
</div>


<div class = "null">
<p class = "maintext space">
<a name = "chapV_sec9" id = "chapV_sec9"> </a>
<span class = "secnum">V:9</span>
Nec aliena tantum transferre, sed etiam nostra pluribus modis tractare
proderit, ut ex industria sumamus sententias quasdam easque versemus
quam numerosissime, velut eadem cera aliae aliaeque formae duci
solent.</p>

<div class = "comm space">
<p><a name = "commV_sec9" id = "commV_sec9"><b>§ 9.</b></a>
<b>numerosissime</b>: not merely ‘as often as possible’ (saepissime),
but ‘in every possible variety’: cp. aliae aliaeque formae, below. Cp.
ii. 12, 3 sparsa compositis numerosiora creduntur: viii. pr. §2
difficultate institutionis tam numerosae atque perplexae deterreri: xi.
2, 27 ni forte tam numerosus (locus) ut ipse quoque dividi debeat: vi.
3, 36 neque enim minus numerosi sunt loci ex quibus haec dicta ...
ducuntur. But Quintilian also uses it in the Ciceronian sense
(‘rhythmically,’ ‘harmoniously’) viii. 6, 64 sermonem facere numerosum:
ix. 4, 56: xi. 1,&nbsp;33.</p>

<p><b>eadem cera</b>: Cic. de Orat iii. §177 sed ea nos ... sicut
mollissimam ceram ad nostrum arbitrium formamus et fingimus: Pliny Ep.
vii. 9, 11 Ut laus est cerae mollis cedensque sequatur Si doctos digitos
iussaque fiat opus, &amp;c.</p>

<p><b>aliae aliaeque</b>, ‘first one and then another’: of a continuous
succession: cp. quam numerosissime, above. Cp. Cels. iii. 3 extr. febres
... aliae aliaeque subinde oriuntur. With this exception, Quintilian
consistently prefers the Ciceronian <i>atque</i> in such expressions,
instead of the enclitic. Krüger cites Tibull. iv. 1, 16, sq. ut tibi
possim Inde alios aliosque memor componere versus.</p>

<p><b>duci</b>: <a href = "#chapIII_sec18">3&nbsp;§18</a>: ii. 4, 7 si
non ab initio tenuem nimium laminam duxerimus.</p>
</div>
</div> <!-- null -->


<p class = "maintext">
<a name = "chapV_sec10" id = "chapV_sec10"> </a>
<span class = "secnum">V:10</span>
Plurimum autem parari facultatis existimo ex simplicissima quaque
materia. Nam illa multiplici
<span class = "pagenum">158</span>
personarum, causarum, temporum, locorum, dictorum, factorum diversitate
facile delitescet infirmitas, tot se undique rebus, ex quibus aliquam
adprehendas, offerentibus.</p>

<div class = "comm">
<p><a name = "commV_sec10" id = "commV_sec10"><b>§ 10.</b></a>
<b>illa ... diversitate</b>: xii. 10, 15 umbra magni nominis
delitescunt. The less complicated the subject, the more will the orator
have to depend on his own resources: with the <i>diversitas</i> that
characterises actual pleading, where the speaker must have regard to
every feature
<span class = "pagenum comm">158</span>
of the case, want of original talent or poverty of invention
(infirmitas) can easily shelter itself behind a crowd of details.</p>

<p><b>causarum</b>, ‘circumstances’: opp. to <i>personarum</i>, as
<i>loca</i>, to <i>tempora</i>, and <i>facta</i> to <i>dicta</i>. So
personis causisque iii. 5, 11: <i>rerum</i> is used in a similar
enumeration iii. 5,&nbsp;7. So Krüger, of the ‘points of law’ involved
in particular cases: for <i>causa</i> in the wider sense cp. iii. 5, 18
with Cic. Top. §80.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec11" id = "chapV_sec11"> </a>
<span class = "secnum">V:11</span>
Illud virtutis indicium est, fundere quae natura contracta sunt, augere
parva, varietatem similibus, voluptatem expositis dare et bene dicere
multa de paucis.</p>

<p class = "maintext">
In hoc optime facient infinitae quaestiones, quas vocari theses
<span class = "pagenum">159</span>
diximus, quibus Cicero iam princeps in re publica exerceri solebat.</p>

<div class = "comm">
<p><a name = "commV_sec11" id = "commV_sec11"><b>§ 11.</b></a>
<b>fundere ... contracta</b>: cp. ii. 13, 5 constricta an latius fusa
narratio: <i>fusus</i> <a href =
"QuintBody1.html#chapI_sec73">1&nbsp;§73</a>. The word = dilatare (cp.
Cic. de Fin. iii. 15), copiosius et latius efferre. So <i>latum atque
fusum</i> is opp. to <i>contractum atque submissum</i> xi. 3,&nbsp;50.
Cp. Cicero Orat. §125 tum se latius fundet orator,&mdash;a phrase which
Quintilian reproduces in many places.</p>

<p><b>augere parva</b>. Cp. Plato, Phaedrus 267 A (of Tisias and
Gorgias) <span class = "greek" title = "ta te au smikra megala kai ta megala smikra phainesthai poiousi dia rhômên logou">τά τε αὖ σμικρὰ
μεγάλα καὶ τὰ μεγάλα σμικρὰ φαίνεσθαι ποιοῦσι διὰ ῥώμην λόγου</span>.
Isocrates is said to have defined rhetoric as that which <span class =
"greek" title = "ta te mikra megala, ta de megala mikra poiei">τά τε
μικρὰ μεγάλα, τὰ δὲ μεγάλα μικρὰ ποιεῖ</span>&mdash;Pseudo-Plutarch
838&nbsp;F. See too the Exordium of the Panegyricus of Isocrates §8
<span class = "greek" title = "epeidê d’ hoi logoi toiautên echousi tên phusin hôsth’ hoion t’ einai peri tôn autôn pollachôs exêgêsasthai">ἐπειδὴ δ᾽ οἱ λόγοι τοιαύτην ἔχουσι τὴν φύσιν ὥσθ᾽ οἷον τ᾽
εἶναι περὶ τῶν αὐτῶν πολλαχῶς ἐξηγήσασθαι</span> (varietatem similibus)
<span class = "greek" title = "kai ta te megala tapeina poiêsai kai tois mikrois megethos peritheinai k.t.l.">καὶ τά τε μεγάλα ταπεινὰ ποιῆσαι
καὶ τοῖς μικροῖς μέγεθος περιθεῖναι κ.τ.λ.</span></p>

<p><b>expositis</b>: ‘commonplace,’ ‘trite.’ Iuv. vii. 53 Sed vatem
egregium, cui non sit publica vena, Qui nil expositum soleat deducere,
nec qui Communi feriat carmen triviale moneta. Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>In hoc</b>: cp. <a href = "#chapII_sec5">2&nbsp;§5</a>. It denotes
the end or aim, like <i>ad hoc</i>. For this use of <i>facere</i> cp. <a
href = "QuintBody1.html#chapI_sec33">1&nbsp;§33</a> bene ad forensem
pulverem facere: <a href = "#chapVII_sec4">7&nbsp;§4</a> quid porro
multus stilus ... facit?</p>

<p><b>infinitae quaestiones quas vocari theses diximus</b>: iii. 5, 5
sq. Item convenit quaestiones esse aut infinitas aut finitas. Infinitae
sunt quae remotis personis et temporibus et locis ceterisque similibus
in utramque partem (i.e. affirmatively and negatively) tractantur, quod
Graeci <span class = "greek" title = "thesin">θέσιν</span> dicunt,
Cicero propositum, alii quaestiones universales civiles, alii
quaestiones philosopho convenientes, Athenaeus partem caussae appellat.
Hoc genus Cicero scientia et actione distinguit (speculative and
practical), ut sit scientia ‘an providentia mundus regatur,’ actionis
‘an accedendum ad rempublicam administrandam.’ ... Finitae autem sunt ex
complexu rerum, personarum, temporum, ceterorumque quae <span class =
"greek" title = "hupotheseis">ὑποθέσεις</span> a Graecis dicuntur,
causae a nostris. In his omnis quaestio videtur circa res personasque
consistere. Amplior est semper infinita, inde enim finita descendit.
Quod ut exemplo pateat, infinita est ‘an uxor ducenda,’ finita ‘an
Catoni ducenda.’&mdash;The division of the subject-matter of oratory
into questions of the universal kind, ‘general problems,’ and questions
of a special kind, ‘particular problems,’ is familiar in ancient
rhetoric. The former were abstract, and had no specified relation to
individual persons or circumstances: the latter were concrete, involving
a reference to actual persons and circumstances. In the ad Herenn. the
<i>quaestiones infinitae</i> (<span class = "greek" title =
"theseis">θέσεις</span>), <i>proposita</i> (Top. §79) or
<i>consultationes</i> (Part. Or. §61) are subdivided, as above, into
<i>quaestiones scientiae</i> or <i>cognitionis</i>, ‘theoretical
questions’ (e.g. ecquid bonum sit praeter honestatem), and
<i>quaestiones actionis</i> ‘questions of practical life,’ (e.g. an uxor
ducenda). The <i>quaestiones finitae</i>, on the other hand, <span class
= "greek" title = "hupotheseis">ὑποθέσεις</span>, <i>causae</i>,
<i>controversiae</i> (de Orat. iii. §109), are those concerning
individuals: cum personarum certarum interpositione, de Inv. i.
6,&nbsp;8. The <span class = "greek" title = "thesis">θέσις</span> is
thus defined in Hermogenes, Sp. ii. 17: <span class = "greek" title =
"episkêpsin tinos pragmatos theôroumenou, amoirousan pasês idikês peristaseôs">ἐπίσκηψίν τινος πράγματος θεωρουμένου, ἀμοιροῦσαν πάσης
ἰδικῆς περιστάσεως</span>: cp. res posita in infinita dubitatione, de
Orat. ii. §78. The <i>quaestio finita</i> on the other hand is res
posita in disceptatione reorum et controversia (ibid.):
<span class = "pagenum comm">159</span>
<span class = "greek" title = "prostetheisês peristaseôs teleia hupothesis ginetai">προστεθείσης περιστάσεως τελεία ὑπόθεσις
γίνεται</span> (Nicolaus Soph. Progym. Sp. iii. 493). The passages to
compare in Cicero are the following:&mdash;de Orat. i. §138: ii. §41,
§78, and §133: iii. §109-§111: Orat. §45: Top. §79: de Invent. i. 6, §8:
Part. Orat. §61, §106.</p>

<p><b>Cicero</b>. It was considered one of his strong points that he
could rise from the special instance to the higher ground of the general
principle: Brutus §322 dicam de ceteris quorum nemo erat qui ...
dilatare posset atque a propria ac definita disputatione hominis ac
temporis ad communem quaestionem universi generis orationem traducere.
He writes to Atticus in 49 <span class = "smallroman">B.C.</span> (ix.
4,&nbsp;1) Ne me totum aegritudini dedam, sumpsi mihi quasdam tanquam
<span class = "greek" title = "theseis">θέσεις</span>: cp. ib. 9, 1
<span class = "greek" title = "theseis">θέσεις</span> meas commentari
non desino. Aristotle recognised the importance of the practice of the
<span class = "greek" title = "thesis">θέσις</span>: in hac A.
adulescentes, non ad philosophorum morem tenuiter disserendi, sed ad
copiam rhetorum in utramque partem ut ornatius et uberius dici posset,
exercuit. Cp. Tusc. Disp. ii. 3&nbsp;§9: de Orat. iii. §107: Quint. xii.
2,&nbsp;25. Among his <span class = "greek" title =
"theseis">θέσεις</span> we may probably reckon the Paradoxa.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec12" id = "chapV_sec12"> </a>
<span class = "secnum">V:12</span>
His confinis est destructio et confirmatio sententiarum. Nam cum sit
sententia decretum quoddam atque praeceptum, quod de re, idem de iudicio
rei quaeri potest. Tum loci communes,
<span class = "pagenum">160</span>
quos etiam scriptos ab oratoribus scimus. Nam qui haec recta tantum et
in nullos flexus recedentia copiose tractaverit, utique in illis plures
excursus recipientibus magis abundabit eritque in omnes causas paratus;
omnes enim generalibus quaestionibus constant.</p>

<div class = "comm">
<p><a name = "commV_sec12" id = "commV_sec12"><b>§ 12.</b></a>
<b>confinis</b>: frequent in this figurative sense in Quintilian: not in
Cicero.</p>

<p><b>destructio ... confirmatio</b> correspond respectively to <span
class = "greek" title = "anaskeuê">ἀνασκευή</span> (refutatio) and <span
class = "greek" title = "kataskeuê">κατασκευή</span> (probatio). Cp. ii.
4, 18 Narrationibus non inutiliter subiungitur opus destruendi
confirmandique eas, quod <span class = "greek" title =
"anaskeuê">ἀνασκευή</span> et <span class = "greek" title =
"kataskeuê">κατασκευή</span> vocatur. Hermog. Sp. ii. 8 <span class =
"greek" title = "anaskeuê estin anatropê tou protethentos pragmatos, kataskeuê de tounantion bebaiôsis.">ἀνασκευή ἐστιν ἀνατροπὴ τοῦ
προτεθέντος πράγματος, κατασκευὴ δὲ τοὐναντίον βεβαίωσις.</span> For
<i>confirmatio</i> v. Cic. de Invent. i. 24: de Orat. ii. 331: Part. Or.
1, 4: 8, 27: Cornif. ad Her. i. 3: Quint. iv. 3, 1: v. 13,&nbsp;1.
Quintilian here transfers to judicial findings the language applicable
to <i>narratio</i>, as above: <i>sententia</i> = a judicial sentence,
and is synonymous with <i>iudicium</i>. “In sententia, quae est de re
iudicium, fieri potest idem quod in facto narrato, quod est res
ipsa.”&mdash;Spalding. That is to say, <i>sententia</i> and
<i>iudicium</i> “pertain to individual cases (res): but the particular
sentence or judgment is also <i>a kind</i> of (general) <i>decree and
prescription</i>, or general rule of law; because, to be sustained or
refuted, it must be put into a general form or statement like such a
general decree. Thus the special sentence is argued (quaeritur) on the
same grounds as the case itself (res) on which it has been pronounced.
See the case of Milo, quoted below, ii §13. Of course no specific
question of fact will come into such a discussion; only a general one of
right or wrong, of legal precedent, or of law in general.” Frieze.</p>

<p><b>loci communes</b>: ‘general arguments,’ ‘commonplaces,’ i.e.
topics for argument on all sorts of matters. Cicero defines them de
Invent. ii. 48 sq. haec argumenta, quae transferri in multas causas
possunt, locos communes nominamus ... distinguitur autem oratio atque
illustratur maxime raro inducendis locis communibus et aliquo loco iam
certioribus illis argumentis confirmato ... omnia autem ornamenta
elocutionis, in quibus et suavitatis et gravitatis plurimum consistit,
in communes locos conferuntur: de Or. iii. §106 consequentur etiam illi
loci, qui quamquam proprii causarum et inhaerentes in earum nervis esse
debent, tamen quia de universa re tractare solent, communes a veteribus
nominati sunt, quorum partim habent vitiorum et peccatorum acrem quandam
cum amplificatione incusationem aut querelam ... quibus uti confirmatis
criminibus oportet...; alii autem habent deprecationem aut miserationem;
alii vero ancipites disputationes, in quibus de universo genere in
utramque partem disseri copiose licet: Orat. §§46-7: §126: Part. Orat.
§115. Quint. ii. 4, 22 communes loci ... quibus citra personas in ipsa
vitia moris est perorare, ut in adulterum, aleatorem, petulantem: ii. 1,
9-11. “Any subject or topic of a general character that is capable of
being variously applied and constantly introduced on any appropriate
occasion is a <i>locus communis</i>; any common current maxim or
alternative proposition, such as <i>suspitionibus credi</i>
[<i>oportere</i>] <i>non oportere et contra suspitionibus credi
oportere, testibus credi oportere et non oportere.</i> Again
<i>invidia</i>, <i>avaritia</i>, <i>testes inimici</i>, <i>potentes
amici</i> (Quint. v. 12 §§15, 16) may furnish <i>loci communes</i>; or
they may be constructed <i>de virtute</i>, <i>de officio</i>, <i>de</i>
<span class = "pagenum comm">160</span>
<i>aequo et bono</i>, <i>de dignitate</i>, <i>utilitate</i>,
<i>honore</i>, <i>ignominia</i>, and on other moral topics” (Cope’s
Intr. to Ar. Rhet. p.&nbsp;130).</p>

<p><b>ab oratoribus</b>: e.g. Cicero and Hortensius. ii. 1, 11 Communes
loci, sive qui sunt in vitia directi, quales legimus a Cicerone
compositos, seu quibus quaestiones generaliter tractantur, quales sunt
editi a Q. quoque Hortensio, ut: ‘Sitne parvis augmentis credendum?’ et
pro testibus et in testes. Aristotle made <i>loci communes</i> the
subject of his <span class = "greek" title = "topika">τοπικά</span>, in
eight books, and it was the substance of this treatise that Cicero
reproduced in his ‘Topica.’</p>

<p><b>haec recta ... in illis, &amp;c.</b> The opposition here is
between the simple themes (cp. ex simplicissima quaque materia, <a href
= "#chapV_sec10">§10</a>) which deal with the general and abstract and
do not diverge into the special (ii. 1, 9 citra complexum rerum
personarumque), and the digressions involved in the ‘multiplex
personarum causarum temporum locorum dictorum factorum diversitas,’
referred to in <a href = "#chapV_sec10">§10</a>. With the former cp.
Cic. de Orat. ii. §67 vaga et libera et late patens quaestio: iii. §120
orationes eae quae latissime vagantur et a privata ac singulari
controversia se ad universi generis vim explicandam conferunt: Brutus
§322 nemo qui dilatare posset atque a propria ac definita disputatione
hominis ac temporis ad communem quaestionem universi generis orationem
traducere. The two form the duo genera causarum of de Orat. ii. §133
unum ... in quo sine personis atque temporibus de universo genere
quaeratur; alterum, quod personis certis et temporibus definiatur. For
<i>recta tantum et in nullos flexus recedentia</i> cp. v. 13, 2 inde
recta fere ... est actio, hinc mille flexus et artes desiderantur: <a
href = "#chapV_sec8">§8</a> above, oratio recta ... figura
declinata.</p>

<p><b>utique</b>, ‘without fail’: common in this sense in Cicero’s
letters. In Quintilian it is very frequent, especially in stating a
consequence: cp. <a href = "QuintBody1.html#chapI_sec24">1&nbsp;§24</a>
and note.</p>

<p><b>in illis</b>, i.e. the great majority of causes.</p>

<p><b>plures excursus recipientibus</b>, i.e. that admit of various
digressions, and are susceptible of various applications according to
circumstances, persons, place, time, &amp;c.</p>

<p><b>in omnes causas paratus</b>: for the constr. cp. Tac. Dial. xli.
inter bonos mores et in obsequium regentis paratos. A&nbsp;similar
expression occurs ibid. xxxiv. solus statim et unus cuicunque causae par
erat. So too x. 1, 2, above, paratam ad omnes casus ... eloquentiam.</p>

<p><b>generalibus quaestionibus</b>. Cp. iii. 5, 9 Hae autem, quas
infinitas voco, et generales appellantur: quod si est verum, finitae
speciales erunt. In omni autem speciali utique inest generalis, ut quae
sit prior: xii. 2, 18 omnis generalis quaestio speciali potentior, quia
universo pars continetur, non utique accedit parti quod universum est:
ii. 4, 22 ab illo generali tractatu ad quasdam deduci species. Cp. v.
7,&nbsp;35.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec13" id = "chapV_sec13"> </a>
<span class = "secnum">V:13</span>
Nam quid interest ‘Cornelius tribunus plebis,
<span class = "pagenum">161</span>
quod codicem legerit, reus sit,’ an quaeramus ‘violeturne maiestas, si
magistratus rogationem suam populo ipse recitarit’: ‘Milo Clodium
rectene occiderit’ veniat in iudicium, an ‘oporteatne insidiatorem
interfici vel perniciosum rei publicae civem, etiamsi non insidietur’:
‘Cato Marciam honestene tradiderit Hortensio,’ an ‘conveniatne res talis
bono viro’? De personis iudicatur, sed de rebus contenditur.</p>

<div class = "comm">
<p><a name = "commV_sec13" id = "commV_sec13"><b>§ 13.</b></a>
<b>C. Cornelius</b> was tribune in <span class =
"smallroman">B.C.</span> 67, when he tried to do some useful work. In
order to check the bribery and corruption that were rife at the time, he
proposed a law to make all loans that should be lent to foreign
ambassadors non-actionable. The rejection of this proposal prompted the
tribune to bring forward the rogation here referred to,&mdash;ne quis
nisi per populum legibus solveretur. The senate had usurped the power of
giving dispensations in particular cases, without any reference whatever
to the people, though constitutionally such dispensations lay with the
people and not the senate. When the bill was to be read, a colleague,
P.&nbsp;Servilius Globulus, acting in the interests of the senate,
interposed his veto, and forbade the herald to make the proclamation
which he would otherwise have done in the form dictated by the clerk.
Thereupon Cornelius himself read the draft of the proposed law
(codicem). A&nbsp;riot ensued, and the meeting was broken up. Cornelius
was afterwards successful in securing the enactment of a law which
provided that 200 senators should be present when any dispensation was
granted. On the expiry of his term of office Cornelius was impeached by
P.&nbsp;Cominius
<span class = "pagenum comm">161</span>
for having disregarded the veto of his colleague, and though the case
was suppressed it came on again in the following year (65). Cornelius
was defended by Cicero (Brutus §271), who delivered the two speeches of
which we have a few important fragments, along with the interesting
Argumentum of Asconius. Cornelius was evidently a fighting character:
Asconius calls him ‘pertinacior,’ and says ‘per ... contentiones totus
prope tribunatus eius peractus est.’ Another of his laws was ‘ut
praetores ex edictis suis perpetuis ius dicerent’: “what had hitherto
been understood as matter of course was now expressly laid down as a
law, that the praetors were bound to administer justice in conformity
with the rules set forth by them, as was the Roman use and wont, at
their entering on office.” Mommsen.&mdash;For the reference in the text
cp. iv. 4, 8: v. 13, 26: vi. 5, 10: vii. 3, 35 (maiestas est in imperii
atque in nominis populi Romani dignitate): vii. 3,&nbsp;3.</p>

<p><b>reus sit</b>. The subjunctive is motived only by the double
interrogation, so there is no need for Halm’s conjectural emendation
(see <a href = "QuintCrit.html#critV_sec13">Crit. Notes</a>). In the
direct speech the <i>finita</i>, or <i>specialis causa</i> would run:
C.&nbsp;Cornelius ... reus est: cp. vii. 1, 34 accusatur Milo, quod
Clodium occiderit: iii. 5,&nbsp;10. It is put in the form of a positive
statement. The <i>infinita causa</i> on the other hand is stated in the
form of a question, and this form is maintained in both the
<i>finitae</i> and the <i>infinitae quaestiones</i> that follow.</p>

<p><b>violeturne maiestas</b>. Asconius: Cicero quia non poterat negare
id factum esse, eo confugit ut diceret non ideo quod lectus sit codex a
tribuno imminutam esse tribunitiam potestatem. Cicero in Vatin. ii. §5
Codicem legisse dicebatur: defendebatur, testibus collegis suis, non
recitandi causa legisse, sed recognoscendi. Constabat tamen Cornelium
concilium illo die dimisisse, intercessioni paruisse.</p>

<p><b>oporteatne ... interfici</b>. This is the line taken in the Pro
Milone, for which cp. <a href =
"QuintBody1.html#chapI_sec23">1&nbsp;§23</a>. Also iii. 6, 93: iv. 3,
17: vii. 1,&nbsp;34.</p>

<p><b>Cato Marciam, &amp;c.</b> This remarkable episode is referred to
also iii. 5,&nbsp;11. Marcia lived with Hortensius from 56 to 50 with
the consent both of her husband and her father, and then went back on
the death of Hortensius to Cato. Lucan says of Cato ii. 388 Urbi pater
est urbique maritus. Cp. Meyer’s Orat. Rom. Fragm. p.&nbsp;377: Strab.
xi. p.&nbsp;515: Hild also cites Tertullian (Apol. 39),
St.&nbsp;Augustine (de Bono Conj. 18), as protesting against such an
instance of pagan corruption.</p>

<p><b>rebus</b> = rebus generalibus, i.e. general questions, principles.
<i>Oporteatne</i> and <i>conveniatne</i> above give the special
questions treated as <i>quaestiones infinitae</i>.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec14" id = "chapV_sec14"> </a>
<span class = "secnum">V:14</span>
Declamationes vero, quales in scholis rhetorum dicuntur, si modo sunt ad
veritatem accommodatae
<span class = "pagenum">162</span>
et orationibus similes, non tantum dum adulescit profectus sunt
utilissimae, quia inventionem et dispositionem pariter exercent, sed
etiam cum est consummatus ac iam in foro clarus; alitur enim atque
enitescit velut pabulo laetiore facundia et adsidua contentionum
asperitate fatigata renovatur.</p>

<div class = "comm">
<p><a name = "commV_sec14" id = "commV_sec14"><b>§ 14.</b></a>
<b>Declamationes</b>, <a href = "#chapII_sec12">2&nbsp;§12</a>.
Quintilian defines them ii. 4, 41 fictas ad imitationem fori
consiliorumque materias apud Graecos dicere circa Demetrium Phalerea
institutum fere constat. Cp. iv. 2, 28-9. This sense of the word came in
about the end of Augustus’s reign, though the thing was known to Cicero,
de Orat. i. §149. Cp. M.&nbsp;Seneca Controv. praef. xi. sqq.: and see
note on <i>declamatoribus</i> <a href =
"QuintBody1.html#chapI_sec71">1&nbsp;§71</a>.</p>

<p><b>ad veritatem accommodatae</b>. That they were by no means always
so may be seen from Tac. Dial. 35 Quales per fidem et quam
incredibiliter compositae! Sequitur autem ut materiae abhorrenti a
veritate declamatio quoque adhibeatur. Cp. Quint. ii. 20, 4 qui in
declamationibus, quas esse veritati dissimillimas volunt, aetatem multo
studio ac labore consumunt. See the whole of ch. 10, ibid. esp. §4
declamatio imitetur eas actiones, in quarum exercitationem reperta est,
and <a href = "#chapII_sec12">§12</a> declamatio iudiciorum
consiliorumque imago: iv. 2, 29 cum sit declamatio forensium actionum
meditatio.</p>

<span class = "pagenum comm">162</span>
<p><b>orationibus</b>, real speeches made in court.</p>

<p><b>profectus</b>: abstract for concrete: cp. facilitatem <a href =
"#chapIII_sec7">3&nbsp;§7</a>: initiis <a href =
"#chapII_sec2">2&nbsp;§2</a>. So too i. 2, §26 firmiores in litteris
profectus alit aemulatio. See <a href =
"QuintCrit.html#critV_sec14">Crit. Notes</a>.</p>

<p><b>pariter</b>: i.e. simul cum elocutione, this last being the most
important element in such rhetorical exercises. <b>Dispositio</b> is
defined Cic. de Invent. i. §9 rerum inventarum in ordinem
distributio.</p>

<p><b>consummatus</b>: sc. adulescens, or rather iuvenis: as though
<i>adulescit profectus</i> above had been <i>adulescens proficit</i>.
For <i>consummatus</i> see on <a href =
"QuintBody1.html#chapI_sec89">1&nbsp;§89</a>.</p>

<p><b>velut pabulo laetiore</b>. Livy has in the ordinary language of
prose ‘ut quiete et pabulo laeto reficeret boves’ i. 7, 4: for the
figure cp. Quint. viii. Prooem. §23 velut laeto gramine sata.
<i>Laetus</i> is frequently used in Vergil of rich vegetation: e.g.
Georg. iii. 385 fuge pabula laeta, where, however, as also in 494, the
word means ‘luxuriant,’ in the sense of rankness rather than richness.
In Lucretius ‘pabula laeta’ occurs six or seven times with armenta,
arbusta, vineta: e.g. i. 14.&mdash;Hortensius is a case in point: nullum
enim patiebatur esse diem quin aut in foro diceret aut meditaretur extra
forum; saepissime autem eodem die utrumque faciebat Brut. §302.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec15" id = "chapV_sec15"> </a>
<span class = "secnum">V:15</span>
Quapropter historiae nonnumquam ubertas in aliqua exercendi stili parte
ponenda et dialogorum libertate gestiendum. Ne carmine quidem ludere
contrarium fuerit, sicut athletae, remissa quibusdam temporibus ciborum
atque exercitationum certa necessitate,
<span class = "pagenum">163</span>
otio et iucundioribus epulis reficiuntur.</p>

<div class = "comm">
<p><a name = "commV_sec15" id = "commV_sec15"><b>§ 15.</b></a>
<b>historiae ubertas</b>. Cp. <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§31</a>. Pliny, Epist. vii. 9, 8
Volo interdum aliquem ex historia locum adprehendas ... nam saepe in
orationes quoque non historica modo sed prope poetica descriptionum
necessitas incidit.</p>

<p><b>in aliqua ... ponenda</b>: ‘should be introduced in some part of
our written exercises.’ Becher (Quaest. gramm.) compares Cic. Tusc.
Disp. iv. §42 aegritudines susceptae continuo in magna pestis parte
versantur, i.e. magnam partem continent. He renders ‘Es mache einen
Theil der Stilübung aus, die Fülle der geschichtlichen Darstellung in
Anwendung zu bringen<ins class = "correction" title = "close quote missing">.’&nbsp;</ins></p>

<p><b>dialogorum libertate gestiendum</b>: ‘we should indulge (‘let
ourselves out’) in the easy freedom of dialogue.’ The same abl. occurs
in Livy vi. 36, 1 gestire otio: secundis rebus xlv. 19, 7: in Cicero it
is generally voluptate or laetitia. For <i>gestio</i> c. inf. see Hor.
Ep. ii. 1, 175: A.&nbsp;P. 159.</p>

<p><b>Ne carmine quidem &amp;c.</b> Cp. Pliny l.c. Fas est et carmine
remitti ... Lusus vocantur. <b>Ludere</b> is used of poetry in all the
Latin poets, especially of love poetry: e.g. Ovid. Tr. i. 9, 61 scis
vetus hoc iuveni lusum mihi carmen: Catullus l. 2 multum lusimus in meis
tabellis: Hor. Car. i. 32 Poscimur: si quid vacui sub umbra Lusimus
tecum. Even in prose it is used of light writings thrown off in sport:
Cic. Parad. pr. illa ipsa ludens conieci in communes locos: especially,
as here, where a contrast is implied between sport and serious business,
e.g. videant ... ad ludendumne an ad pugnandum arma sint sumpturi (of
military exercises) de Orat. ii. §84. So too ‘<i>ludicra</i>’: pueri
etiam cum cessant exercitatione aliqua ludicra (‘in sport’) delectantur
de Nat. Deor. i. §102: exercitatione quasi ludicra praediscere ac
meditari de Orat. i. §147. ‘Res ludicra,’ the drama (Hor. Ep. ii. 1,
180), introduces another set of associations.</p>

<p><b>contrarium</b> = alienum, inconsistent with one’s aim,
‘inapposite.’ So Tacitus, speaking of the unpractical character of the
rhetorical theses in the schools of declamation, says ‘ipsae vero
exercitationes magna ex parte contrariae’ Dial. 35: cp. ‘ubi nemo impune
stulte aliquid aut contrarie dicit’ ibid. 34.</p>

<p><b>sicut athletae</b>: for this frequently recurring comparison see
on <a href = "QuintBody1.html#chapI_sec4">1&nbsp;§4</a>.</p>

<p><b>ciborum ... certa necessitate</b>. Epictetus uses <span class =
"greek" title = "anankophageô">ἀναγκοφαγέω</span> and <span class =
"greek" title = "anankotropheô">ἀναγκοτροφέω</span>
<span class = "pagenum comm">163</span>
for eating by regimen like athletes in training.&mdash;The chiasmus may
be noted.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec16" id = "chapV_sec16"> </a>
<span class = "secnum">V:16</span>
Ideoque mihi videtur M.&nbsp;Tullius tantum intulisse eloquentiae lumen,
quod in hos quoque studiorum secessus excurrit. Nam si nobis sola
materia fuerit ex litibus, necesse est deteratur fulgor et durescat
articulus et ipse ille mucro ingenii cotidiana pugna retundatur.</p>

<div class = "comm">
<p><a name = "commV_sec16" id = "commV_sec16"><b>§ 16.</b></a>
<b>studiorum secessus</b>: the ‘by-ways’ of study, remote from the
<i>adsidua contentionum asperitas</i> referred to above. Cp. <a href =
"#chapIII_sec23">3&nbsp;§§23</a> and <a href = "#chapIII_sec28">28</a>.
So Tacitus contrasts the ‘securum et quietum Vergilii secessum’ with the
‘inquieta et anxia oratorum vita’ Dial. 13: cp. secedit animus in loca
pura atque innocentia 12.</p>

<p><b>durescat articulus</b> keeps up the figure of athletic contests.
<i>Articulus</i> is properly a little limb: then esp. the finger. Cp.
ii. 12, 2 excipit adversarii mollis articulus (of the gladiator handling
his sword <i>with flexible fingers</i>, which like xi. 1, 70 (quam molli
articulo tractavit Catonem) points to a proverbial expression.</p>

<p><b>cotidiana pugna retundatur</b>: cp. <a href =
"QuintBody1.html#chapI_sec27">1&nbsp;§27</a> velut attrita cotidiano
actu forensi ingenia optime rerum talium blanditia reparantur with the
passage from pro Archia §12 quoted there. Pliny, Epist. vii. 9, 7 Scio
nunc tibi esse praecipuum studium orandi: sed non ideo semper pugnacem
et quasi bellatorium stilum suaserim. Ut enim terrae variis mutatisque
seminibus, ita ingenia nostra nunc hac nunc illa meditatione
recoluntur.</p>

<p><b>quem ad modum ... sic</b>. Cp. iii. 6, 33: v. 10, 125: ix. 2, 46,
and (with <i>ita</i>) ii. 5,&nbsp;1. In the instance in the text,
however, there is no comparison between two different subjects: the two
clauses are parallel. <i>Ut ... ita</i> would have been more usual: <a
href = "#chapIII_sec28">3&nbsp;§28</a>: sicut ... ita <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a>.</p>
</div>


<p class = "maintext space">
<a name = "chapV_sec17" id = "chapV_sec17"> </a>
<span class = "secnum">V:17</span>
Sed quem ad modum forensibus certaminibus exercitatos et quasi
militantes reficit ac reparat haec velut sagina dicendi, sic
adulescentes non debent nimium in falsa rerum imagine detineri, et
inanibus simulacris usque adeo ut difficilis ab his digressus sit
adsuescere, ne ab illa, in qua prope consenuerunt, umbra vera
<span class = "pagenum">164</span>
discrimina velut quendam solem reformident.</p>

<div class = "comm space">
<p><a name = "commV_sec17" id = "commV_sec17"><b>§ 17.</b></a>
<b>forensibus certaminibus exercitatos</b>: Petron. 118 forensibus
ministeriis exercitati frequenter ad carminis tranquillitatem tamquam ad
portum feliciorem refugerunt.</p>

<p><b>quasi militantes</b>: <a href =
"QuintBody1.html#chapI_sec29">1&nbsp;§§29</a>, <a href =
"QuintBody1.html#chapI_sec31">31</a>, <a href =
"QuintBody1.html#chapI_sec79">79</a>.</p>

<p><b>haec velut sagina dicendi</b>: ‘this rich food of eloquence.’ Cp.
iucundioribus epulis <a href = "#chapV_sec15">§15</a> above: gladiatoria
sagina Tac. Hist. ii. 88.</p>

<p><b>falsa rerum imagine</b>, i.e. the declamations, which in contrast
with the reality of ‘forenses actiones’ are mere shams: cp. note on ad
veritatem accommodatae <a href = "#chapV_sec14">§14</a>: xii. 11, 15
quid attinet tam multis annis ... declamitare in schola et tantum
laboris in rebus falsis consumere, cum satis sit modico tempore imaginem
veri discriminis et dicendi leges comperisse. Cp. ii. 10, 4: Tac. Dial.
35 quidquid in scholis cotidie agitur, in foro vel raro vel nunquam: 34
nec praeceptor deerat ... qui faciem eloquentiae non imaginem
praestaret. Cp. <a href = "#chapII_sec12">2&nbsp;§12</a> above.</p>

<p><b>inanibus simulacris</b>: ii. 10&nbsp;§8 quibusdam pugnae
simulacris ad verum discrimen aciemque iustam consuescimus. For the
reading see <a href = "QuintCrit.html#critV_sec17">Crit. Notes</a>.</p>

<p><b>ab illa ... umbra</b>: i.e. in coming out of it. Juvenal vii. 173
ad pugnam qui rhetorica descendit ab umbra. For <i>ab</i> in sense of
<i>post</i> cp. Livy xliv. 34 ab his praeceptis contionem dimisit:
Introd. <a href = "QuintIntro.html#intro_pagelii">p.&nbsp;lii</a>.</p>

<p><b>in qua prope consenuerunt</b>: xii. 6, 5 non nulli senes in schola
facti stupent novitate cum in iudicia venerunt.</p>

<p><b>umbra ... solem</b>. The shady retreat of the school is constantly
compared with the dust and sun of real life. Cicero, de Leg. iii. 6, 14
a Theophrasto Phalereus ille Demetrius ... mirabiliter doctrinam ex
umbraculis eruditorum otioque non modo in solem atque in pulverem, sed
in ipsum discrimen aciemque produxit: Brut. §37 processerat in solem et
pulverem non ut e militari tabernaculo sed ut e Theophrasti doctissimi
hominis umbraculis: de §64 (umbratilis&mdash;‘cloistral’). So
‘umbraticavita’ Quint. i. 2, 18: ‘studia in umbra educata’
<span class = "pagenum comm">164</span>
Tac. Ann. xiv. 53: ‘umbraticas litteras’ Pliny, Epist. ix. 2, 3-4, opp.
to ‘arma castra cornua tubas sudorem pulverem soles’: M.&nbsp;Seneca
Contr. ix. pr. §4 itaque velut ex umbroso et obscuro prodeuntes loco
clarae lucis fulgor obcaecat, sic istos a scholis in forum transeuntes
omnia tanquam nova et inusitata perturbant. For analogies in Greek cp.
Plat. Phaedrus 239 c. <span class = "greek" title = "oud’ en hêliô katharô tethrammenon all’ hupo summigei skia">οὐδ᾽ ἐν ἡλίῳ καθαρῷ
τεθραμμένον ἀλλ᾽ ὑπὸ συμμιγεῖ σκιᾷ</span>, with Thompson’s note.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec18" id = "chapV_sec18"> </a>
<span class = "secnum">V:18</span>
Quod accidisse etiam M.&nbsp;Porcio Latroni, qui primus clari nominis
professor fuit, traditur, ut, cum ei summam in scholis opinionem
obtinenti causa in foro esset oranda, impense petierit uti subsellia in
basilicam transferrentur. Ita illi caelum novum fuit ut omnis
<span class = "pagenum">165</span>
eius eloquentia contineri tecto ac parietibus videretur.</p>

<div class = "comm">
<p><a name = "commV_sec18" id = "commV_sec18"><b>§ 18.</b></a>
<b>Quod ... ut</b>. The pronoun is here used pleonastically, to lead up
to the dependent clause. Cp. <a href =
"QuintBody1.html#chapI_sec58">1&nbsp;§58</a>.</p>

<p><b>M. Porcius Latro</b>, a celebrated rhetorician in the reign of
Augustus, the friend and compatriot of the elder Seneca, who praises him
greatly (Controv. i. pr. §13 sq.). Of his pupils Ovid was the most
distinguished. ‘In his school he was accustomed to declaim himself, and
seldom set his pupils to declaim, whence they received the name of
<i>auditores</i>, which word came gradually into use as synonymous with
<i>discipuli</i>.’ (Smith, Dict.)</p>

<p><b>professor</b> is post-Augustan: it was used of a public teacher of
rhetoric, and then acquired a more extended sense: Quint. xii. 11, 20
geometrae et musici et grammatici ceterarumque artium professores: ii.
11, 1 exemplo magni quoque nominis professorum. <i>Profiteri</i> with
acc. is quite Ciceronian: Tusc. ii. §12 quod in eo ipso peccet cuius
profitetur scientiam: ibid., artemque vitae professus delinquit in vita.
The introduction of <i>professor</i> was helped by the fact that the
verb came to be used absolutely (<span class = "greek" title =
"epangellesthai">ἐπαγγέλλεσθαι</span>): Plin. Ep. iv. 11, 1 audistine
Valerium Licinianum in Sicilia profiteri? ibid. 14 translatus est in
Siciliam ubi nunc profitetur: cp. Plin. ii. 18,&nbsp;3.</p>

<p><b>opinionem</b> = existimationem, famam, with which it is often
joined. For this absolute use cp. <a href =
"#chapVII_sec17">7&nbsp;§17</a> below: fructu laudis opinionisque: i. 2,
4 exempla ... conservatae opinionis: ii. 12, 5 adfert et ista res
opinionem: xii. 9, 4 cupidissimis opinionis. So too Tac. Dial. 10 ne
opinio quidem et fama, cui soli serviunt. In Cicero and Caesar, who also
use the word absolutely, there is always an implied reference to those
who have the <i>opinio</i>: a man’s ‘esteem’ and ‘reputation’ depend on
the ‘estimate’ and ‘opinion’ formed of him by others. Cp. Videor enim
non solum studium ad defendendas causas, verum opinionis aliquid et
auctoritatis afferre, pro Sulla iii. §10, with opinione fortasse non
nulla quam de meis moribus habebat, de Amic. §30: detracta opinione
probitatis (‘character for’ high principle) de Off. ii. §34, and opinio
iustitiae (character for justice), ibid. §39, with quorum de iustitia
magna esset opinio multitudinis ibid. §42. So too de Orat. ii. §156
opinionem istorum studiorum et suspicionem artificii apud eos qui res
iudicent oratori adversariam esse arbitror. The passages in Caesar are
all reducible to this ‘passive’ sense,&mdash;the estimate entertained by
others: B.G. ii. 8 propter eximiam opinionem virtutis: ii. 24 Treviri
quorum inter Gallos virtutis opinio est singularis: iv. 16 uti opinione
et amicitia populi Romani tuti esse possint: vi. 24 quae gens ... summam
habet iustitiae et bellicae laudis opinionem: cp. vii. 59 and 83. Cp.
Introd. <a href = "QuintIntro.html#intro_pagexliv">p.&nbsp;xliv</a>.</p>

<p><b>subsellia ... transferrentur</b>, ‘that the court should remove.’
For this general sense of <i>subsellia</i> cp. Cic. Brutus §289
subsellia grandiorem et pleniorem vocem desiderant: de Orat. i. §32 and
§264 (habitare in subselliis, to ‘haunt the law-courts’). The word
sometimes means the bench of judges, sometimes the seats of the lawyers,
suitors, witnesses, &amp;c., and sometimes both: Cic. in Vatin. §34, pro
Rosc. Amer. §17 (accusatorum subsellia), ad Fam. xiii. 10, 2 (versatus
in utrisque subselliis). In Quintilian the word is never used except of
the law-courts.</p>

<p><b>basilicam</b>. The basilicae erected in or near the forum served
as courts of justice as well as places for merchants and business people
to meet in. See Rich. Dict. Antiq.&mdash;For the incident cp. Sen.
Controv. iv. pr. Narratur ... declamatoriae virtutis Latronem Porcium
unicum exemplum, cum pro reo in Hispania Rustico Porcio propinquo suo
<span class = "pagenum comm">165</span>
diceret, usque eo esse confusum ut a soloecismo inciperet nec ante
potuisse confirmari, tectum ac parietes desiderantem, quam impetravit ut
iudicium ex foro in basilicam transferretur. Usque eo ingenia in
scholasticis exercitationibus delicate nutriuntur ut clamorem silentium
risum caelum denique pati nesciant.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec19" id = "chapV_sec19"> </a>
<span class = "secnum">V:19</span>
Quare iuvenis qui rationem inveniendi eloquendique a praeceptoribus
diligenter acceperit (quod non est infiniti operis, si docere sciant et
velint), exercitationem quoque modicam fuerit consecutus, oratorem sibi
aliquem, quod apud maiores fieri solebat, deligat, quem sequatur, quem
imitetur: iudiciis intersit quam plurimis, et sit certaminis cui
destinatur frequens spectator.</p>

<div class = "comm">
<p><a name = "commV_sec19" id = "commV_sec19"><b>§ 19.</b></a>
<b>inveniendi eloquendique</b> covers briefly the whole field of
theoretical rhetoric.</p>

<p><b>apud maiores</b>: xii. 11, 5 frequentabunt vero eius domum optimi
iuvenes more veterum et vere dicendi viam velut ex oraculo petent. Tac.
Dial. 34 Ergo apud maiores nostros iuvenis ille qui foro et eloquentiae
parabatur, imbutus iam domestica disciplina, refertus honestis studiis,
deducebatur a patre vel a propinquis ad eum oratorem qui principem in
civitate locum obtinebat. Hunc sectari, hunc prosequi, huius omnibus
dictionibus interesse, sive in iudiciis sive in contionibus,
adsuescebat, ita ut altercationes quoque exciperet et iurgiis interesset
utque sic dixerim pugnare in proelio disceret. So Cicero tells us in
Brut. ch. 89 how he sought every opportunity of hearing the
distinguished speakers of his day: §305 reliquos frequenter audiens
acerrimo studio tenebar cotidieque et scribens et legens et commentans
oratoriis tantum exercitationibus contentus non eram.</p>

<p><b>iudiciis intersit</b>: Cic. Brut. §304 cui (iudicio) frequens
aderam.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec20" id = "chapV_sec20"> </a>
<span class = "secnum">V:20</span>
Tum causas, vel easdem quas agi audierit, stilo et ipse componat, vel
etiam alias, veras modo, et utrimque tractet et, quod in gladiatoribus
fieri videmus, decretoriis exerceatur, ut fecisse Brutum diximus pro
Milone. Melius hoc quam rescribere veteribus orationibus, ut fecit
Cestius contra Ciceronis actionem habitam pro eodem, cum alteram partem
satis nosse non posset ex sola defensione.</p>

<span class = "pagenum">166</span>
<div class = "comm">
<p><a name = "commV_sec20" id = "commV_sec20"><b>§ 20.</b></a>
<b>et ipse</b>: frequent in Livy, like ipse quoque = <span class =
"greek" title = "kai autos">καὶ αὐτός</span>. Cicero uses ipse, ipse
etiam (etiam ipse). Cp. on <a href = "#chapV_sec4">§4</a>: <a href =
"#chapVII_sec26">7&nbsp;§26</a>.</p>

<p><b>utrimque</b>: <a href =
"QuintBody1.html#chapI_sec22">1&nbsp;§22</a>.</p>

<p><b>in gladiatoribus</b>: xi. 3, 66 nutus ... in mutis pro sermone
sunt. Cp. Caes. B.C. i. 61 Caesaris erat in barbaris nomen
obscurius.</p>

<p><b>decretoriis</b>, sc. armis, ‘decisive’ or ‘real weapons’: Seneca,
Ep. 117, 25 Renove ista lusoria arma, decretoriis opus est. Cp. vi. 4, 6
pugnamque illam decretoriam imperitis ac saepe pullatae turbae
relinquunt. Suet. Calig. 54 has ‘pugnatoria,’ sc. arma: opp. to ‘rudes,’
as Tac. Dial. 34 adversarii et aemuli ferro, non rudibus dimicantes, and
Cic. de Opt. Gen. Orat. vi. 17 non enim in acie versatur et ferro, sed
quasi rudibus eius eludit oratio. Quint. v. 12, 17 declamationes quibus
ad pugnam forensem velut praepilatis exerceri solebamus.</p>

<p><b>diximus</b>: <a href =
"QuintBody1.html#chapI_sec23">1&nbsp;§23</a>, where see note.</p>

<p><b>rescribere</b>: <span class = "greek" title =
"antigraphein">ἀντιγράφειν</span>. Tac. Ann. iv. 34, of Caesar’s
‘Anticato,’ Ciceronis libro ... dictator Caesar ... rescripta oratione
velut apud iudices respondit. The word is common in this sense in
Suetonius: Caes. 73, Calig. 53, Gram. 19; cp. Aug. 85.</p>

<p><b>Cestius</b>: Sen. Contr. iii. pr. 13 (Ciceronis) orationes non
legunt nisi eas quibus Cestius rescripsit. L.&nbsp;Cestius Pius taught
rhetoric at Rome towards the end of the Republic and in the beginning of
the Empire. Seneca has preserved several passages of his declamations.
His hostile criticisms of Cicero were avenged on him by Cicero’s son:
Sen. Suas. §7,&nbsp;13. See Teuffel, 263&nbsp;§6.</p>
</div>

<span class = "pagenum comm">166</span>

<p class = "maintext space">
<a name = "chapV_sec21" id = "chapV_sec21"> </a>
<span class = "secnum">V:21</span>
Citius autem idoneus erit iuvenis, quem praeceptor coegerit in
declamando quam simillimum esse veritati et per totas ire materias,
quarum nunc facillima et maxime favorabilia decerpunt. Obstant huic,
quod secundo loco posui, fere turba discipulorum et consuetudo classium
certis diebus audiendarum, nonnihil etiam persuasio patrum numerantium
potius declamationes quam aestimantium.</p>

<div class = "comm space">
<p><a name = "commV_sec21" id = "commV_sec21"><b>§ 21.</b></a>
<b>per totas ire materias</b>. This use of the prep. after <i>ire</i>
with an acc. of extent over which speech, thought, or feeling travels,
is poetical (Aen. i. 375) and post-classical. Cp. vii. 1, 64: Tac. Dial.
32.</p>

<p><b>favorabilia</b>, ‘popular’; frequent in Quintilian, who also has
<i>favorabiliter</i>. The word is first found in Velleius, also in
Tacitus and Pliny.</p>

<p><b>quod secundo loco posui</b>, i.e. the practice of treating a
subject thoroughly: per totas ire materias. What he recommends <i>primo
loco</i> is given in <a href = "#chapV_sec19">§§19-20</a>. For the
formula cp. vii. 2, 9: ix. 2,&nbsp;6.</p>

<p><b>classium</b>: not used in this sense before the Silver Age; i. 2,
23 Non inutilem scio servatum esse a praeceptoribus morem, qui cum
pueros in classes distribuerant, ordinem dicendi secundum vires ingenii
dabant, et ita superiore loco quisque declamabat ut praecedere profectu
videbatur. Huius rei iudicia praebebantur: ea nobis ingens palma, ducere
vero classem multo pulcherrimum.</p>

<p><b>persuasio</b>: frequent in this sense in Quintilian; for exx. see
Bonnell’s Lex. Tac. Agric. 11. superstitionum persuasione. The
interference of parents is commented on also in ii. 7, 1 Illud ex
consuetudine mutandum prorsus existimo in iis, de quibus nunc
disserimus, aetatibus, ne omnia quae scripserint ediscant et certa, ut
moris est, die dicant: quod quidem maxime patres exigunt atque ita demum
studere liberos suos, si quam frequentissime declamaverint, credunt, cum
profectus praecipue diligentia constet.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec22" id = "chapV_sec22"> </a>
<span class = "secnum">V:22</span>
Sed, quod dixi primo, ut arbitror, libro, nec ille se bonus praeceptor
maiore numero quam sustinere possit onerabit et nimiam loquacitatem
recidet, ut omnia quae sunt in controversia, non, ut quidam volunt, quae
in rerum natura, dicantur; et vel longiore potius dierum spatio laxabit
dicendi necessitatem vel materias dividere permittet.</p>

<div class = "comm">
<p><a name = "commV_sec22" id = "commV_sec22"><b>§ 22.</b></a>
<b>primo ... libro</b>: i. 2, 15 neque praeceptor bonus maiore se turba
quam ut sustinere eam possit oneraverit.</p>

<p><b>recidet</b>. Hor. A. P. 447 ambitiosa recidet ornamenta: Sat. I.
10, 69 recideret omne quod ultra Perfectum traheretur.</p>

<p><b>laxabit &amp;c.</b>: ‘he will either extend the period within
which speaking is compulsory, or allow the pupil to distribute his
matter over several days.’</p>

<p><b>dicendi necessitatem</b>: cp. remissa ... ciborum atque
exercitationum certa necessitate <a href = "#chapV_sec15">§15</a>,
above. This would break in on the ‘consuetudo classium certis diebus
andiendarum’ referred to in <a href = "#chapV_sec21">§21</a>.</p>

<p><b>materias dividere</b>, i.e. he will allow the subject to be
treated of in parts on successive declamation days.</p>
</div>


<p class = "maintext">
<a name = "chapV_sec23" id = "chapV_sec23"> </a>
<span class = "secnum">V:23</span>
Diligenter effecta plus proderit quam plures inchoatae et quasi
degustatae. Propter quod accidit
<span class = "pagenum">167</span>
ut nec suo loco quidque ponatur, nec illa quae prima sunt servent suam
legem, iuvenibus flosculos omnium partium in ea quae sunt dicturi
congerentibus; quo fit ut timentes ne sequentia perdant priora
confundant.</p>

<div class = "comm">
<p><a name = "commV_sec23" id = "commV_sec23"><b>§ 23.</b></a>
<b>effecta</b>. There is the same antithesis v. 13, 34 ut ... pro
effectis relinquant vixdum inchoata.</p>

<p><b>inchoatae</b>: Cic. de Off. i. §153 cognitio manca atqne inchoata
(‘imperfect’): de Nat. Deor. ii. §33 a primis inchoatisque naturis ad
ultimas perfectasque procedere: de Orat. i. §5 inchoata ac rudia.</p>

<p><b>degustatae</b>: cp. genera degustamus <a href =
"QuintBody1.html#chapI_sec104">1&nbsp;§104</a>; the word means ‘dip
into,’ ‘skim over.’</p>

<p><b>Propter quod</b>: see on <a href =
"QuintBody1.html#chapI_sec66">1&nbsp;§66</a>, The idea contained in the
relative is the superficial methods alluded to in <i>degustatae</i>: cp.
facillima et maxime favorabilia decerpunt <a href =
"#chapV_sec21">§21</a>. When such methods are adopted, says Quintilian,
everything is sure to go wrong.</p>

<span class = "pagenum comm">167</span>
<p><b>servent suam legem</b>: the commencement (illa quae prima sunt:
cp. priora below) is not what it should be: it goes beyond reasonable
limits, as the young men crowd together in the part each is to deliver
the embellishments that would naturally be distributed throughout the
whole (omnium partium), if the production were <i>diligenter effecta</i>
and not merely <i>inchoata et quasi degustata</i>.</p>

<p><b>flosculos</b>: ii. 5, 22 recentis huius lasciviae flosculis capti.
The word is always used in a depreciatory sense: xii. 10, 73: vi. pr.
§9: (opp. to certos fructus). Cp. Seneca, Ep. 33 §1 and §7 viro captare
flosculos turpe est.</p>

<p><b>timentes</b>: the fear that they will not be able to finish makes
them introduce into the earlier parts inapposite and confusing
embellishments.</p>

<p><b>priora confundant</b> = permisceant ea rebus alienis, i.e. with
the ornamentation that would have been more appropriate later on.</p>
</div>

</div> <!-- text -->


<div class = "argument">

<h5><a name = "arg_chapVI" id = "arg_chapVI">
CHAPTER VI.</a><br>
<span class = "subhead">
Of Meditation.</span></h5>

<p><a href = "#chapVI_sec1">§§ 1-4.</a>
Meditation occupies the middle ground between writing and improvisation,
and is perhaps more frequently employed than either. <i>After</i> we
have formed our style by the constant practice of writing, meditation
can be cultivated by progressive exercise to such a degree that an
entire discourse may be prepared and arranged without the use of the
pen.</p>

<p><a href = "#chapVI_sec5">§§ 5-7.</a>
But the orator is not to adhere so scrupulously to what he has thought
out as to reject new ideas which may flash upon him during the actual
delivery of a speech. Meditation should secure us, on the one hand, from
ever being at a loss: on the other it ought not to prevent us from
improving the opportunity afforded by some incidental occurrence. If we
are to hesitate, painfully recollecting what we have formulated in
thought, it were better to trust wholly to improvisation.
<span class = "pagenum">9</span>
While we are at a loss to recall our prepared thoughts, we miss others
suggested by the subject itself, which always offers a wider field than
can possibly be covered by previous meditation.</p>

</div> <!--argument -->


<div class = "text">

<h5><a name = "chapVI" id = "chapVI">
De Cogitatione.</a></h5>


<p class = "maintext">
<a name = "chapVI_sec1" id = "chapVI_sec1"> </a>
<span class = "secnum">VI:1</span>
VI. Proxima stilo cogitatio est, quae et ipsa vires ab hoc accipit et
est inter scribendi laborem extemporalemque fortunam media quaedam et
nescio an usus frequentissimi. Nam scribere non ubique nec semper
possumus, cogitationi temporis ac loci plurimum est. Haec paucis admodum
horis magnas etiam causas complectitur; haec, quotiens intermissus est
somnus, ipsis noctis tenebris adiuvatur; haec inter medios rerum actus
aliquid invenit vacui nec otium patitur.</p>

<div class = "comm">

<p><a name = "commVI_sec1" id = "commVI_sec1"><b>§ 1.</b></a>
<b>stilo</b>: see on <a href =
"QuintBody1.html#chapI_sec2">1&nbsp;§2</a>.</p>

<p><b>cogitatio</b>, ‘premeditation’: cp. <i>commentatio</i>
(‘preparation’) and <i>meditatio</i>. So ii. 6, 3: and below, <a href =
"#chapVII_sec8">7&nbsp;§8</a>. Cic. de Orat. ii. §103 ita adsequor ut
alio tempore cogitem quid dicam et alio dicam ... sed certe eidem illi
melius aliquanto dicerent si aliud sumendum sibi tempus ad cogitandum
aliud ad dicendum putarent: cp. id. i. §150 etsi utile est etiam subito
saepe dicere, tamen illud utilius sumpto spatio ad cogitandum paratius
atque adcuratius dicere ... nam si subitam et fortuitam orationem
commentatio et cogitatio facile vincit, hanc ipsam profecto adsidua ac
diligens scriptura superabit. Cp. Brutus §253.</p>

<p><b>et ipsa</b>: ‘likewise,’ i.e. as well as the <i>facultas ex
tempore dicendi</i>, which, as stated in <a href =
"#chapIII_sec1">3&nbsp;§§1-4</a>, derives its strength mainly from the
pen. See on <a href = "QuintBody1.html#chapI_sec31">1&nbsp;§31</a>.</p>

<p><b>extemporalemque fortunam</b>: ‘the chances of improvisation,’
which depends so much on the inspiration of the moment (fortunam opp. to
laborem): = ‘fortunam quam ex tempore dicentes experimur’ (Krüger). Cp.
§§5, 6: and <a href = "#chapVII_sec13">7&nbsp;§13</a> successum
extemporalem.</p>

<p><b>media quaedam</b>: cp. xi. 2, 3 memoria ... quasi media quaedam
manus.</p>

<p><b>nescio an</b>: see on <a href =
"QuintBody1.html#chapI_sec65">1&nbsp;§65</a>.</p>

<p><b>somnus</b>: cp. <a href = "#chapIII_sec25">3&nbsp;§25</a>.</p>

<p><b>rerum actus</b>, as inter ipsas actiones xii. 3, 2, ‘in the midst
of legal proceedings,’ and so rather more special than <i>actum rei</i>
<a href = "QuintBody1.html#chapI_sec31">1&nbsp;§31</a>, where see note.
Cp. esp. Plin. Ep. ix. 25, 3 Nunc me rerum actus modice sed tamen
distringit: and Suet. Aug. 32 triginta amplius dies ... actis rerum
accommodavit. In xi. 1, 47 actus is again quite general: in ceteris
actibus vitae.</p>

<p><b>otium</b>: ‘inactivity.’ A&nbsp;good advocate will be able to
think out a speech even while a trial is going on.</p>
</div>


<p class = "maintext">
<a name = "chapVI_sec2" id = "chapVI_sec2"> </a>
<span class = "secnum">VI:2</span>
Neque vero rerum ordinem modo, quod ipsum satis erat, intra se ipsa
disponit, sed verba etiam
<span class = "pagenum">168</span>
copulat totamque ita contexit orationem ut ei nihil praeter manum desit;
nam memoriae quoque plerumque inhaeret fidelius quod nulla scribendi
securitate laxatur.</p>

<p class = "maintext">
Sed ne ad hanc quidem vim cogitandi perveniri potest aut subito aut
cito.</p>

<div class = "comm">
<p><a name = "commVI_sec2" id = "commVI_sec2"><b>§ 2.</b></a>
<b>satis erat</b>: see on <a href = "#chapV_sec7">5&nbsp;§7</a> fas
erat.</p>

<p><b>intra se ipsa</b>, ‘by itself’: there is no need for any recourse
to writing. This is
<span class = "pagenum comm">168</span>
quite parallel to such expressions as ‘virtus per se ipsa placet,’ and
‘medici ipsi se curare non possunt,’ where the tendency is to keep
<i>ipse</i> in the nominative so as to emphasise the subject. Cp. <a
href = "#chapV_sec2">5&nbsp;§2</a>: <a href =
"#chapIII_sec30">3&nbsp;§30</a>.</p>

<p><b>scribendi securitate</b>. Cp. the story of Theuth and Thamus,
Phaedrus 274 sq., esp. 275 A <span class = "greek" title = "touto gar tôn mathontôn lêthên men en psuchais parexei, mnêmês ameletêsia, k.t.l.">τοῦτο γὰρ τῶν μαθόντων λήθην μὲν ἐν ψυχαῖς παρέξει, μνήμης
ἀμελετησίᾳ, κ.τ.λ.</span>: xi. 2, 9 quamquam invenio apud Platonem
obstare memoriae usum litterarum: videlicet quod illa quae scriptis
reposuimus velut custodire desinimus, et ipsa securitate dimittimus.
Reliance on written memoranda, he says, may in the end make the mind
incapable of retaining by a special effort what can be at any time
recalled by a glance at the paper.</p>

<p><b>vim cogitandi</b>: see on vim dicendi <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a>. For the thought cp. <a href
= "#chapIII_sec9">3&nbsp;§9</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVI_sec3" id = "chapVI_sec3"> </a>
<span class = "secnum">VI:3</span>
Nam primum facienda multo stilo forma est, quae nos etiam cogitantes
sequatur: tum adsumendus usus paulatim, ut pauca primum complectamur
animo, quae reddi fideliter possint: mox per incrementa tam modica ut
onerari se labor ille non sentiat augenda vis et exercitatione multa
continenda est, quae quidem maxima ex parte memoria constat. Ideoque
aliqua mihi in illum locum differenda sunt.</p>

<div class = "comm">
<p><a name = "commVI_sec3" id = "commVI_sec3"><b>§ 3.</b></a>
<b>forma</b>, a pattern, model, or ideal: we must ‘form our style’ by
constant writing, and attain to the ease described in <a href =
"#chapIII_sec9">3&nbsp;§9</a> verba respondebunt, compositio sequetur,
cuncta denique ut in familia bene instituta in officio erunt. For
<i>facere formam</i> cp. <a href = "#chapIII_sec28">3&nbsp;§28</a>
<i>faciendus usus</i>.</p>

<p><b>onerari</b>: the labour is not perceptibly increased. So xi. 2,
41, of exercising the memory, turn cotidie adicere (decet) singulos
versus, quorum accessio labori sensum incrementi non adferat.</p>

<p><b>in illum locum</b>: memory is treated in xi. 2.</p>
</div>


<div class = "null">
<p class = "maintext">
<a name = "chapVI_sec4" id = "chapVI_sec4"> </a>
<span class = "secnum">VI:4</span>
Eo tandem pervenit ut is cui non refragetur ingenium acri studio adiutus
tantum consequatur ut ei tam quae cogitarit quam quae scripserit atque
edidicerit in dicendo fidem servent. Cicero certe Graecorum Metrodorum
Scepsium et Empylum Rhodium nostrorumque Hortensium tradidit quae
cogitaverant ad verbum in agendo rettulisse.</p>

<div class = "comm">
<p><a name = "commVI_sec4" id = "commVI_sec4"><b>§ 4.</b></a>
<b>pervenit</b>, sc. vis, just as in <a href =
"#chapVII_sec19">7&nbsp;§19</a> facilitas extemporalis is generally
supplied.</p>

<p><b>ei ... fidem servent</b>: ‘keep their faith with him,’ i.e. are as
much at his command when he comes to speak as, &amp;c.</p>

<p><b>certe</b>: see Introd. <a href = "QuintIntro.html#intro_pageli">p.
li</a>.</p>

<p><b>Metrodorus</b> of Scepsis in Mysia, a philosopher of the Academic
school, and a pupil of Carneades. Cic. de Orat. ii. §360 vidi enim ego
summos homines et divina prope memoria, Athenis Charmadam, in Asia, quem
vivere hodie aiunt, Scepsium Metrodorum, quorum uterque tamquam litteris
in cera, sic se aiebat imaginibus in eis locis quos haberet quae
meminisse vellet perscribere. Cp. Tusc. i. §59.</p>

<p><b>Empylus</b> is nowhere else mentioned.</p>

<p><b>Hortensium</b>: Brut. §301 memoria (erat) tanta quantam in nullo
cognovisse me arbitror, ut quae secum commentatus esset ea sine scripto
verbis eisdem redderet quibus cogitavisset: hoc adiumento ille tanto sic
utebatur ut sua et commentata et scripta et nullo referente omnia
adversariorum dicta meminisset. Cp. xi. 2,&nbsp;24.</p>

<p><b>ad verbum</b>. Cp. Plin. Ep. ix. 36, 1 cogito ad verbum scribenti
emendantique similis.</p>
</div>
</div> <!-- null -->


<p class = "maintext space">
<a name = "chapVI_sec5" id = "chapVI_sec5"> </a>
<span class = "secnum">VI:5</span>
Sed si forte aliqui inter dicendum offulserit extemporalis color,
<span class = "pagenum">169</span>
non superstitiose cogitatis demum est inhaerendum. Neque enim tantum
habent curae ut non sit dandus et fortunae locus, cum saepe etiam
scriptis ea quae subito nata sunt inserantur. Ideoque totum hoc
exercitationis genus ita instituendum est ut et digredi ex eo et redire
in id facile possimus.</p>

<div class = "comm space">
<p><a name = "commVI_sec5" id = "commVI_sec5"><b>§ 5.</b></a>
<b>si ... aliqui</b>: see on <a href =
"#chapII_sec23">2&nbsp;§23</a>.</p>

<p><b>extemporalis color</b>, a sudden inspiration,
<span class = "pagenum comm">169</span>
or ‘happy thought’: the notion of suddenness being contained in
offulserit. <i>Color</i> must carry the idea here of something that
‘sets off’ the subject,&mdash;an unpremeditated turn of expression,
embodying a thought which suddenly flashes on the speaker’s mind. In the
Bonnell-Meister edition it is said to denote the particular
<i>complexion</i> given to the style by happy improvisation: but this
seems too wide for what may be only an occasional divergence from the
written word. Krüger takes it as the abstract for ‘id quod habet colorem
extemporalem’ (dictorum ex tempore): a thought or expression which
suddenly occurs, and which has on it the mark of improvisation. Cp.
‘extemporalem fortunam’ <a href = "#chapVI_sec1">§1</a>, and ‘scriptorum
color’ <a href = "#chapVII_sec7">7&nbsp;§7</a>, which presents a sort of
antithesis to ‘extemporalis color’: also <a href =
"QuintBody1.html#chapI_sec59">1&nbsp;§§59</a>, <a href =
"QuintBody1.html#chapI_sec116">116</a> with the notes.</p>

<p><b>superstitiose</b>: i. 1, 13 non tamen hoc adeo superstitiose fieri
velim.</p>

<p><b>demum</b>: see on <a href =
"QuintBody1.html#chapI_sec44">1&nbsp;§44</a>: Introd. <a href =
"QuintIntro.html#intro_pageli">p. li</a>. Traian. ad Plin. Ep. 10, 33
Nobis autem utilitas demum spectanda est.</p>

<p><b>habent</b>, sc. cogitata. What we premeditate is not so accurately
thought out as to leave no room for extemporary chance (fortuna, cp.
on&nbsp;<a href = "#chapVI_sec1">§1</a>).</p>

<p><b>scriptis</b>: even in <i>written</i> speeches, on which a greater
degree of <i>cura</i> has been bestowed, sudden inspirations (subito
nata) are often introduced during delivery.</p>
</div>


<p class = "maintext">
<a name = "chapVI_sec6" id = "chapVI_sec6"> </a>
<span class = "secnum">VI:6</span>
Nam ut primum est domo adferre paratam dicendi copiam et certam, ita
refutare temporis munera longe stultissimum est. Quare cogitatio in hoc
praeparetur, ut nos fortuna decipere non possit, adiuvare possit. Id
autem fiet memoriae viribus, ut illa quae complexi animo sumus fluant
secura, non sollicitos et respicientes et una spe suspensos
recordationis non sinant providere: alioqui vel extemporalem temeritatem
malo quam male cohaerentem cogitationem.</p>

<div class = "comm">
<p><a name = "commVI_sec6" id = "commVI_sec6"><b>§ 6.</b></a>
<b>domo adferre</b>: ‘bring from the study’; cp. <a href =
"#chapVII_sec30">7&nbsp;§30</a> quae domo adferunt: Cicero, Orat. §89
domo adlata quae plerumque sunt frigida.</p>

<p><b>refutare</b> = repudiare, ‘reject,’ ‘despise,’ the inspirations of
the moment (temporis munera). Cic. Tusc. ii. §55 inprimisque refutetur
ac reiciatur Philocteteus ille clamor: pro Rab. Post. §44 quam ...
bonitatem ... non modo non aspernari ac refutare sed complecti etiam et
augere debetis.</p>

<p><b>in hoc</b>: see on <a href = "#chapV_sec11">5&nbsp;§11</a>.</p>

<p><b>decipere</b>: ‘nonplus’ or embarrass us: make us to stumble. The
chance opening must not find us unequipped with well-shaped thoughts: we
must be ready to improve our opportunity.</p>

<p><b>non ... non sinant</b>. The double negative hampers the clause,
though it is simplified by making <i>non sinant</i> = <i>prohibeant</i>.
Krüger compares ix. 3,&nbsp;72. After the first <i>non</i> the words
<i>fiet ut illa</i> must be repeated, or simply <i>ut</i>. Tr. ‘It is by
our powers of memory that we must secure the easy flow of what we have
formulated in thought, instead of letting it keep us from looking ahead
by anxious backward glances and the consciousness of being absolutely
dependent on what we can recall to mind.’ The last phrase describes a
familiar style of oratory, referring as it does to those speakers ‘qui
apprennent par cœur et sont paralysés par la crainte de rester
court.’&mdash;Fénelon, quoted by Hild.</p>

<p><b>extemporalem temeritatem</b>, ‘the rashness of improvisation’: cp.
§1 above. Tac. Dial. §6 Sed extemporalis audaciae atque ipsius
temeritatis vel praecipua iucunditas est.&mdash;For alioqui, see Introd.
<a href = "QuintIntro.html#intro_pageli">p.&nbsp;li</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVI_sec7" id = "chapVI_sec7"> </a>
<span class = "secnum">VI:7</span>
Peius enim quaeritur retrorsus, quia, dum illa desideramus, ab aliis
<span class = "pagenum">170</span>
avertimur, et ex memoria potius res petimus quam ex materia. Plura sunt
autem, si utrimque quaerendum est, quae inveniri possunt quam quae
inventa sunt.</p>

<div class = "comm">
<p><a name = "commVI_sec7" id = "commVI_sec7"><b>§ 7.</b></a>
<b>Peius enim quaeritur retrorsus</b>: ‘we are at a disadvantage in
looking back.’ It would be better to throw over our premeditated ideas
altogether: while we are at a loss for them (illa) we miss others.</p>

<span class = "pagenum comm">170</span>
<p><b>utrimque</b>, i.e. ex memoria and ex materia: cp. <a href =
"QuintBody1.html#chapI_sec131">1&nbsp;§131</a> and <a href =
"#chapV_sec20">5&nbsp;§20</a>. To the former corresponds chiastically
<i>quae inventa sunt</i>, to the latter <i>quae inveniri
possunt</i>.</p>
</div>

</div> <!-- text -->


<div class = "argument">

<h5><a name = "arg_chapVII" id = "arg_chapVII">
CHAPTER VII.</a><br>
<span class = "subhead">
Of Extempore Speech.</span></h5>

<p><a href = "QuintBody2.html#chapVII_sec1">§§ 1-4.</a>
The richest fruit of study is the ability to speak effectively on the
spur of the moment: this is in fact absolutely indispensable. ‘An
advocate who proffers help, and fails at the pinch, is a harbour
accessible only in calm weather.’ Cases may take unforeseen turns: like
ship-pilots we must change our tack with each shifting breeze. Unless
the faculty of improvisation can be attained by practice, our years of
labour will have been wasted.</p>


<h5 class = "smallcaps">Certain Practical Exercises<br>
conducive to Success in Extempore Speech.</h5>

<p><a href = "QuintBody2.html#chapVII_sec5">§§ 5-7.</a>
(1) The student must arrange his matter in appropriate order,&mdash;not
only the order of the regular <i>partes</i> or divisions (i.e.
introduction, narrative, proof, refutation, conclusion), and the order
of the principal points, but also the order of the matter and thought in
all its detail, under every head and in every passage (quoque loco). The
sequence of events will be our guide. Knowing what to look for at each
point of our discourse, we shall not be found skipping from one topic to
another; and in the end we shall reach the goal.</p>

<p><a href = "QuintBody2.html#chapVII_sec7">§§ 7-10.</a>
(2) Reading, writing, and speaking must receive unremitting attention,
and be made the subjects of scientific exercise. The conscientious
practice of writing will give even our extemporary speeches something of
the deliberate character of written compositions. It is practice that
makes the ready speaker. A&nbsp;certain natural quickness of mind is
necessary to look beyond what we are saying at the moment; but neither
nature nor art will enable the mind to keep before itself at one time
the whole of a speech, with all its arguments, arrangement, expression,
&amp;c. As our tongue advances, our thoughts must still outstrip it.</p>

<p><a href = "#chapVII_sec11">§§ 11-14.</a>
(3) Hence the necessity of a mechanical and unscientific habit or
‘knack,’ such as that by which the hand moves in writing, the eye in
reading, and the juggler in his legerdemain. But this knack, though
mechanical, should have a basis of scientific method: otherwise it will
be mere ranting, such as you may hear in abundance from female scolds.
A&nbsp;sudden outburst is often, however, more effective than the result
of study and premeditation.</p>

<p><a href = "#chapVII_sec15">§§ 15-17.</a>
(4) The extemporary speaker must cultivate a lively imagination, that
his mind may be deeply impressed by all the facts of a particular case.
It is the heart that makes the orator. He must also have distinctly in
view not only the end at which he aims but the whole pathway that leads
to it: he will derive incitement even from the presence of his
audience.</p>

<span class = "pagenum">10</span>
<p><a href = "#chapVII_sec18">§§ 18-23.</a>
(5) Extemporary facility can only be attained by the same gradual and
patient course as has been referred to in connection with meditation.
The orator is often debarred from preparation; but as a rule he should
not presume so far on his ability as not to take a moment to glance
mentally at the heads of his discourse,&mdash;which is generally
possible in a court of law. Some declaimers will argue at once on any
topic, and will even ask for a word to begin with: this is foolishness.
If on any occasion we are under the necessity of speaking offhand, we
should pay more attention to our subject-matter than to our language,
and we may gain time by deliberate articulation. Gradually we shall be
able to trim our sails, and pray for a favouring breeze.</p>

<p><a href = "#chapVII_sec24">§§ 24-29.</a>
Continual practice is essential for improvisation. We should speak daily
before an audience whose good opinion we respect; but alone, rather than
not at all. If we do not speak to others, we can always at least go over
our subject-matter in silent thought. This fosters exactness in
composition even more than speaking aloud does; for there we hurry
onward from fear of wearying the audience. On the other hand speaking
exercises the voice and gives the opportunity of practising delivery.
Our language should always be careful and correct, but it is constant
writing that will add most weight to our words, especially if we are
obliged to speak much extempore. In fact, writing gives exactness to
speech, speech readiness to writing. If we cannot write, we can
meditate: if we can do neither, we must still contrive to make a
creditable appearance.</p>

<p><a href = "#chapVII_sec30">§§ 30-33.</a>
A&nbsp;common habit with barristers in large practice is to write the
exordium and most essential parts, formulate the rest in thought, and
meet any unforeseen turns as they arise. The note-books of Cicero and
Servius Sulpicius. It is advisable to refresh one’s memory by consulting
notes. To prepare an abstract, arranged by heads, of a speech which we
have written out entire, leads us to rely too little on the memory, and
makes the speech broken and awkward in delivery. We ought not to write a
speech out at length unless we intend to commit it to memory. But of
memory more in the following book (XI. ch.&nbsp;ii.).</p>

</div> <!-- argument -->


<div class = "text">

<h5><a name = "chapVII" id = "chapVII">
Quem ad modum extemporalis facilitas paretur et contineatur.</a></h5>


<p class = "maintext">
<a name = "chapVII_sec1" id = "chapVII_sec1"> </a>
<span class = "secnum">VII:1</span>
VII. Maximus vero studiorum fructus est et velut praemium quoddam
amplissimum longi laboris ex tempore dicendi facultas; quam qui non erit
consecutus mea quidem sententia civilibus officiis renuntiabit et solam
scribendi facultatem potius ad alia opera convertet. Vix enim bonae
fidei viro convenit auxilium in publicum polliceri quod praesentissimis
quibusque periculis desit, intrare portum ad quem navis accedere nisi
lenibus ventis vecta non possit,&mdash;</p>

<div class = "comm">
<p><a name = "commVII_sec1" id = "commVII_sec1"><b>§ 1.</b></a>
<b>civilibus officiis</b>: see note on <a href =
"#chapIII_sec11">3&nbsp;§11</a>.</p>

<p><b>renuntiabit ... convertet</b>: the future as a mild imperative.
Cp. <a href = "QuintBody1.html#chapI_sec41">1&nbsp;§§41</a>, <a href =
"QuintBody1.html#chapI_sec58">58</a>: <a href =
"#chapIII_sec18">3&nbsp;§18</a>. For this use of <i>renuntiare</i> cp.
Plin. Ep. ii. 1,&nbsp;8.</p>

<p><b>in publicum</b>, ‘for general use,’ ‘for the common good,’ ‘for
the benefit of all and sundry.’ The phrase is formed on the analogy of
such expressions as ‘in publicum,’ ‘in commune consulere,’&mdash;for the
benefit of the state and the citizen. Cp. vi. 1, 7 in commune profutura.
Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>intrare portum</b>. The infin. depends on <i>convenit</i>. For a
similarly abrupt introduction of a figure in connection with, or to
illustrate, the preceding thought cp. <a href =
"QuintBody1.html#chapI_sec4">1&nbsp;§4</a>: <a href =
"#chapIII_sec10">3&nbsp;§10</a> (omitting Burmann’s <i>et</i> before
<i>efferentes</i>). The meaning is generally understood to be that the
advocate who undertakes legal business, though he has no power of
extempore speaking, is as unconscionable as the pilot (cp. the simile
in&nbsp;<a href = "#chapVII_sec3">§3</a>) who engages to steer a ship
into a harbour that can only be approached in mild weather. The one
forgets that sudden emergencies may arise, calling for a power which he
does not possess; the other does not take into consideration the sudden
storms which may render his poor skill of no avail.&mdash;Hirt however
(Jahr. des philol. Vereins zu Berlin 1888, p.&nbsp;54) points out that
this is to strain <i>intrare</i>: Quintilian cannot have meant to say
that it ‘shows bad faith <i>to enter</i> a harbour which can only be
approached in good weather,’&mdash;for once you are in the harbour all
is well. <i>Intrare</i> may be corrupt: see <a href =
"QuintCrit.html#critVII_sec1">Crit. Notes</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec2" id = "chapVII_sec2"> </a>
<span class = "secnum">VII:2</span>
siquidem innumerabiles accidunt subitae necessitates vel apud
magistratus vel repraesentatis iudiciis continuo agendi. Quarum si qua,
non dico cuicumque innocentium civium, sed amicorum ac propinquorum
alicui evenerit, stabitne mutus et salutarem petentibus vocem, statimque
si non succurratur perituris,
<span class = "pagenum">171</span>
moras et secessum et silentium quaeret, dum illa verba fabricentur et
memoriae insidant et vox ac latus praeparetur?</p>

<div class = "comm">
<p><a name = "commVII_sec2" id = "commVII_sec2"><b>§ 2.</b></a>
<b>siquidem</b>, <span class = "greek" title = "eige">εἴγε</span>, <span
class = "greek" title = "eiper">εἴπερ</span>, <a href =
"#chapVII_sec27">§27</a> below, and often in Quintilian: ‘iam apud
Cicero nem perinde atque <i>quoniam</i> invenitur causam omnibus notam
significans’ (Günther).</p>

<p><b>apud magistratus</b>: ‘in virtue of some extraordinary procedure,
and without the day having been appointed for the parties to the suit,’
Hild.</p>

<p><b>repraesentatis</b>: ‘when a trial is suddenly brought on.’ Cp.
pecuniam repraesentare = ante diem solvere. Caes. B.&nbsp;G. i. 40, 14
se, quod in longiorem diem collaturus esset, repraesentaturum: Sen. Ep.
95 petis a me ut id quod in diem suam dixeram debere differri
repraesentem.</p>

<p><b>cuicumque</b>. See on <a href =
"QuintBody1.html#chapI_sec12">1&nbsp;§12</a> quocunque.</p>

<p><b>petentibus ... perituris</b>: dat. of interest, after
<i>quaeret</i>. For the sense cp. Cic. de Orat. i. §251 Hoc nos si
facere velimus ante condemnentur ei quorum causas receperimus quam
totiens quotiens praescribitur Paeanem aut hymnum recitarimus.</p>

<span class = "pagenum comm">171</span>
<p><b>statimque</b>. <i>Statim</i> goes with <i>succurratur</i>, rather
than with <i>perituris</i>: its position gives it emphasis. Cp.
<i>continuo</i> agendi.</p>

<p><b>secessum et silentium</b>: <a href =
"#chapIII_sec28">3&nbsp;§28</a>.</p>

<p><b>illa verba</b>, ironical: illa tam egregia verba.</p>

<p><b>vox ac latus</b> (‘lungs’): often conjoined. Cp. Cic. Verr. iv.
30, 67 quae vox, quae latera: Brut. §316. So xii. 11, 2 neque enim
scientia modo constat orator, ... sed voce, latere, firmitate. For
<i>latus</i> cp. Hor. Ep. i. 7, 26: xii. 5: Sat. i. 9,&nbsp;32.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec3" id = "chapVII_sec3"> </a>
<span class = "secnum">VII:3</span>
Quae vero patitur hoc ratio, ut quisquam possit orator aliquando
omittere casus? Quid, cum adversario respondendum erit, fiet? Nam saepe
ea quae opinati sumus et contra quae scripsimus fallunt, ac tota subito
causa mutatur; atque ut gubernatori ad incursus tempestatium, sic agenti
ad varietatem causarum ratio mutanda est.</p>

<div class = "comm">
<p><a name = "commVII_sec3" id = "commVII_sec3"><b>§ 3.</b></a>
<b>ratio</b>: ‘theory’ of eloquence. Cp. <a href =
"#chapIII_sec15">3&nbsp;§15</a>, where it is opposed to
<i>exercitatio</i>.&mdash;Others explain as = <i>ratio non patitur</i>,
like <i>ratio non est</i>, <i>nulla ratio est</i>, there is no reason or
sense in doing, &amp;c.: Cic. Acad. ii. §74 ironiam enim alterius
perpetuam praesertim, nulla fuit ratio persequi: ib. §17: in Verr. Act.
i. 24: Caec. §15: Tac. Hist. i. 32: iii. 22: and ad Herenn. iv. 18 ei
rationi ratio non est fidem habere.</p>

<p><b>quisquam ... orator</b>: see on <a href =
"#chapII_sec6">2&nbsp;§6</a>.</p>

<p><b>omittere casus</b>: ‘to leave sudden issues out of consideration,’
i.e. to conduct his case strictly according to the lines of a written or
premeditated speech, without allowing for the emergence of some
unexpected fact in the evidence, or some difficulty suddenly raised by
the other side. For <i>casus</i> cp. <a href =
"QuintBody1.html#chapI_sec2">1&nbsp;§2</a> paratam ad omnes casus
eloquentiam: <a href = "#chapIII_sec3">3&nbsp;§3</a> unde ad subitos
quoque casus ... proferantur (opes), and below <a href =
"#chapVII_sec30">§30</a>: vi. 1, 42 at qui a stilo non recedunt aut
conticescunt ad hos casus aut frequentissime falsa dicunt: xii. 9, 20
licet tamen praecogitare plura et animum ad omnes casus componere.</p>

<p><b>fallunt</b>: when the opposing counsel does not pursue the line of
argument we had anticipated, and against which we had prepared a written
speech.</p>

<p><b>ad incursus</b>: see on <a href = "#chapII_sec1">2&nbsp;§1</a> ad
exemplum.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec4" id = "chapVII_sec4"> </a>
<span class = "secnum">VII:4</span>
Quid porro multus stilus et adsidua lectio et longa studiorum aetas
facit, si manet eadem quae fuit incipientibus difficultas? Perisse
profecto confitendum est praeteritum laborem, cui semper idem laborandum
est. Neque ego hoc ago ut ex tempore dicere malit, sed ut possit. Id
autem maxime hoc modo consequemur.</p>

<div class = "comm">
<p><a name = "commVII_sec4" id = "commVII_sec4"><b>§ 4.</b></a>
<b>longa studiorum aetas</b>: i.e. longum tempus in studiis consumptum.
Cp. i. 8, 8: Hor. Sat. i. 4, 132.</p>

<p><b>malit ... possit</b>: sc. orator. For such omissions see note on
congregat <a href = "QuintBody1.html#chapI_sec7">1&nbsp;§7</a>: and cp.
quaerant <a href = "#chapVII_sec6">§6</a> and dicat <a href =
"#chapVII_sec25">§25</a> below.</p>
</div>

<div class = "null">

<p class = "maintext space">
<a name = "chapVII_sec5" id = "chapVII_sec5"> </a>
<span class = "secnum">VII:5</span>
Nota sit primum dicendi via; neque enim prius contingere cursus potest
quam scierimus quo sit et qua perveniendum. Nec satis est non ignorare
quae sint causarum iudicialium partes, aut quaestionum ordinem recte
disponere, quamquam ista sunt praecipua, sed quid quoque loco primum
sit, quid secundum ac
<span class = "pagenum">172</span>
deinceps: quae ita sunt natura copulata ut mutari aut intervelli sine
confusione non possint.</p>

<div class = "comm space">
<p><a name = "commVII_sec5" id = "commVII_sec5"><b>§ 5.</b></a>
<b>dicendi via</b>: the method, pathway, or track of the argument.</p>

<p><b>neque enim &amp;c.</b> The reason is given in the form of a
simile: we cannot run a race without knowing the goal and the track, and
it is the same with eloquence. For a similar figure cp. <a href =
"#chapIII_sec10">3&nbsp;§10</a>.</p>

<p><b>partes</b>: i.e. prooemium, narratio, probatio, refutatio,
epilogus. Cp. iii. 9,&nbsp;1.</p>

<p><b>disponere</b>: vii. 10, 5 quaestio omnis ac locus habet suam
dispositionem.</p>

<p><b>primum ... secundum</b>: vii. 10, 5 Non enim causa tantum universa
in quaestiones ac locos diducenda est, sed hae
<span class = "pagenum comm">172</span>
ipsae partes habent rursus ordinem suum. Nam et in prooemio primum est
aliquid et secundum ac deinceps, &amp;c.</p>

<p><b>intervelli</b>: cp. xii. 9, 17.</p>
</div>
</div> <!-- null -->

<p class = "maintext">
<a name = "chapVII_sec6" id = "chapVII_sec6"> </a>
<span class = "secnum">VII:6</span>
Quisquis autem via dicet, ducetur ante omnia rerum ipsa serie velut
duce, propter quod homines etiam modice exercitati facillime tenorem in
narrationibus servant. Deinde quid quoque loco quaerant scient, nec
circumspectabunt nec offerentibus se aliunde sensibus turbabuntur nec
confundent ex diversis orationem velut salientes huc illuc nec usquam
insistentes.</p>

<div class = "comm">
<p><a name = "commVII_sec6" id = "commVII_sec6"><b>§ 6.</b></a>
<b>via dicet</b>: ‘methodically’, ‘systematically,’ cp. dicendi via <a
href = "#chapVII_sec5">§5</a>. So ii. 17, 41 via id est ordine. Cic.
Brut. §46 (ait Aristoteles) antea nominem solitum via nec arte, sed
adcurate tamen et de scripto plerosque dicere: Orat. §§10, 116 ratione
et via disputare, docere: de Fin. ii. §3 (oratio) quae via quadam et
ratione habetur. Roby 1236. See <a href =
"QuintCrit.html#critVII_sec6">Crit. Notes</a>.</p>

<p><b>velut</b>: see on <a href =
"QuintBody1.html#chapI_sec5">1&nbsp;§5</a>. It softens the expression
<i>serie ... duce</i>, being equivalent to ‘ut ita dicam.’ The
collocation <i>ducetur ... duce</i> is to be classed among the rather
negligent repetitions of which a list is given on <a href =
"#chapII_sec23">2&nbsp;§23</a>. Becher compares Cic. de Nat. Deor.
ii.&nbsp;§135 depulsum et quasi detrusum cibum accepit depellit (where
J.&nbsp;B. Mayor however reads delapsum): cp. ib. §145. For ‘serie
ducere’ cp. xi. 2, 39 etiam quae bene composita erunt memoriam serie sua
ducent.</p>

<p><b>propter quod</b>: see on <a href =
"QuintBody1.html#chapI_sec66">1&nbsp;§66</a>: <a href =
"#chapV_sec23">5&nbsp;§23</a>.</p>

<p><b>quaerant</b>, ‘look for as matter of discourse,’ as <a href =
"#chapVI_sec7">6&nbsp;§7</a>. The occurrence of <i>homines</i> in the
interval leads up from the singular <i>quisquis</i> to the plural.</p>

<p><b>sensibus</b>: see on <a href =
"#chapIII_sec33">3&nbsp;§33</a>.</p>

<p><b>confundent ex diversis</b>: ‘make it a jumble of
incongruities.’</p>

<p><b>huc illuc</b>: Cic. ad Att. ix. 9, 2 ne ... cursem huc illuc via
deterrima.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec7" id = "chapVII_sec7"> </a>
<span class = "secnum">VII:7</span>
Postremo habebunt modum et finem, qui esse citra divisionem nullus
potest. Expletis pro facultate omnibus quae proposuerint, pervenisse se
ad ultimum sentient.</p>

<p class = "maintext">
Et haec quidem ex arte, illa vero ex studio: ut copiam sermonis optimi,
quem ad modum praeceptum est, comparemus, multo ac fideli stilo sic
formetur oratio ut scriptorum colorem etiam quae subito effusa sint
reddant, ut cum multa scripserimus
<span class = "pagenum">173</span>
etiam multa dicamus.</p>

<div class = "comm">
<p><a name = "commVII_sec7" id = "commVII_sec7"><b>§ 7.</b></a>
<b>citra</b>: see on <a href =
"QuintBody1.html#chapI_sec2">1&nbsp;§2</a>.</p>

<p><b>divisionem</b>: ‘here the distribution of the matter of the speech
both into the general divisions and subordinate heads, and also into the
minuter passages and sentences; their order constituting the <i>via
dicendi</i>.’ Frieze.</p>

<p><b>Expletis ... quae proposuerint</b>: ‘when they have overtaken all
the points advanced,’ exhausted the various heads of their discourse, v.
10, 109 nec minus in hoc curae debet adhiberi quid proponendum quam
quomodo sit quod proposueris probandum.</p>

<p><b>haec quidem &amp;c.</b> The meaning is that while the observance
of the foregoing precepts (haec) depends on knowledge of theory (ars),
as embodied in specific rules and directions, what is now to come (illa)
demands <i>studium</i>, i.e. scientific exercise, applied to reading,
imitation, writing, and the practice of speaking (cp. <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a>). The sentence is an awkward
one: it is best explained by making the <i>ut</i> before <i>copiam</i>
co-ordinate with the <i>ut</i> before <i>cum multa scripserimus</i>, and
supplying a corresponding <i>ut</i> with <i>formetur</i>. <i>Illa</i>
then introduces all three clauses, the first referring mainly to
<i>legere</i>, the second to <i>scribere</i>, and the third to
<i>dicere</i>. The precepts in regard to reading and imitation
(quemadmodum praeceptum est) are found in chs. i and ii: writing is
covered by chs. iii, iv and v: while speech is dealt with in the present
chapter.</p>

<p><b>fideli stilo</b>, the ‘conscientious practice of composition.’</p>

<p><b>scriptorum colorem</b>: see <a href =
"#chapVI_sec5">6&nbsp;§5</a>.</p>

<p><b>effusa sint</b>: cp. <a href = "#chapIII_sec17">3&nbsp;§17</a>
componunt quae effuderant.</p>

<p><b>cum multa scripserimus</b>. The practice
<span class = "pagenum comm">173</span>
of speaking (including extempore utterance) is to come <i>after</i>
writing: cp. <a href = "QuintBody1.html#chapI_sec3">1&nbsp;§3</a>
sq.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec8" id = "chapVII_sec8"> </a>
<span class = "secnum">VII:8</span>
Nam consuetudo et exercitatio facilitatem maxime parit: quae si paulum
intermissa fuerit, non velocitas illa modo tardatur, sed ipsum <i>os</i>
coit atque concurrit. Quamquam enim opus est naturali quadam mobilitate
animi, ut, dum proxima dicimus, struere ulteriora possimus semperque
nostram vocem provisa et formata cogitatio excipiat;</p>

<div class = "comm">
<p><a name = "commVII_sec8" id = "commVII_sec8"><b>§ 8.</b></a>
<b>consuetudo et exercitatio</b>, referring only to the last-mentioned
precept, <i>ut multa dicamus</i>.</p>

<p><b>velocitas illa</b>. The demonstr. is vivid,&mdash;‘the requisite
rapidity,’ that which we either have acquired or hope to acquire.</p>

<p><b>os coit atque concurrit</b>. Cp. xi. 3, 56 est aliis concursus
oris et cum verbis suis colluctatio: viii. 3, 45 littera quae exprimi
nisi labris coeuntibus non potest: xi. 3, 121 his accedunt vitia non
naturae, sed trepidationis, cum ore concurrente rixari. “Os concurrit
cum prae anxietate dicentis musculi oris invitis etiam trahuntur et
convelluntur ut labia et lingua quasi trepident.” Wolff.</p>

<p><b>mobilitate animi</b>: cp. <a href = "#chapVII_sec22">§22</a>. His
mind must be quick of movement in order to express properly what is to
be said on the instant (<i>proxima</i> corresponding to <i>nostram
vocem</i>), and at the same time be shaping (<i>struere</i>) what is
further on (<i>ulteriora</i> corresponding to <i>provisa et formata
cogitatio</i>). Tr. <b>proxima</b>, ‘what we are about to say’:
<b>nostram vocem</b>, ‘what has just been said.’ For <b>provisa</b> cp.
on <a href = "#chapIII_sec10">3&nbsp;§10</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec9" id = "chapVII_sec9"> </a>
<span class = "secnum">VII:9</span>
vix tamen aut natura aut ratio in tam multiplex officium diducere animum
queat ut inventioni, dispositioni, elocutioni, ordini rerum verborumque,
tum iis quae dicit, quae subiuncturus est, quae ultra spectanda sunt,
adhibita vocis, pronuntiationis, gestus observatione, una sufficiat.</p>

<div class = "comm">
<p><a name = "commVII_sec9" id = "commVII_sec9"><b>§ 9.</b></a>
<b>ratio</b>, cp. note on <a href = "#chapVII_sec3">§3</a>.</p>

<p><b>quae dicit</b>, sc. ‘orator,’ as with <i>sufficiat</i> ‘animus’
must be supplied. Cp. on <a href = "#chapVII_sec4">§4</a>.</p>

<p><b>vocis ... gestus</b>. See <a href =
"QuintBody1.html#chapI_sec17">1&nbsp;§17</a> for a similar enumeration,
and cp. the note.</p>

<p><b>una</b> = simul, which indeed Halm substitutes for it in his
text.</p>
</div>

<div class = "null">
<p class = "maintext">
<a name = "chapVII_sec10" id = "chapVII_sec10"> </a>
<span class = "secnum">VII:10</span>
Longe enim praecedat oportet intentio ac prae se res agat, quantumque
dicendo consumitur, tantum ex ultimo prorogetur, ut, donec perveniamus
ad finem, non minus prospectu procedamus quam gradu, si non
intersistentes offensantesque brevia illa atque concisa singultantium
modo eiecturi sumus.</p>

<span class = "pagenum">174</span>
<div class = "comm">
<p><a name = "commVII_sec10" id = "commVII_sec10"><b>§ 10.</b></a>
<b>intentio</b>: cp. intendunt animum <a href =
"QuintBody1.html#chapI_sec24">1&nbsp;§24</a>.</p>

<p><b>prae se res agat</b>. The mind must pursue or chase, as it were,
the ideas that are still in front of it, and have them available in
advance.</p>

<p><b>consumitur ... prorogetur</b>: expressions derived from banking
transactions. ‘In proportion as the speaker pays out, must he make
advances to himself out of what is to come later.’ For this use of
<i>prorogare</i> see the Lexx. <b>Ex ultimo</b> was understood by Wolff
to mean <i>ex eo quod modo dictum est</i>: but Becher (Quaest. Quint.
p.&nbsp;9) pointed out that it = ‘vom Ende aus,’ and correctly rendered
the whole sentence ‘so viel im Reden drauf geht, so viel muss er sich im
Voraus vom Ende aus flüssig machen und so gewissermassen seine
Zahlungsfähigkeit länger hinausschieben,’&mdash;ut ne in inopiam
redactus bonam copiam eiuret. The speaker is to be continually drawing
from his reserve funds (<i>ex ultimo</i>, i.e. from the part of his
subject-matter that remains) just so much as he is expending in
delivery.</p>

<p><b>prospectu procedamus</b>: cp. xi. 2, 3 nam dum alia dicimus, quae
dicturi sumus intuenda sunt: ita cum semper cogitatio ultra eat, id quod
est longius quaerit, quidquid autem repperit quodam modo apud memoriam
deponit, quod illa quas media quaedam manus acceptum ab inventione
tradit elocutioni.</p>

<p><b>si non ... eiecturi sumus</b>: ‘if we
<span class = "pagenum comm">174</span>
want to avoid coming to a standstill, stuttering, and giving forth our
short, broken phrases, like persons gasping out what they have to
say.’&mdash;For offensantes cp. <i>offensator</i> <a href =
"#chapIII_sec10">3&nbsp;§10</a>: and for brevia illa <a href =
"#chapII_sec17">2&nbsp;§17</a> illud frigidum et inane.</p>
</div>
</div> <!-- null -->

<p class = "maintext space">
<a name = "chapVII_sec11" id = "chapVII_sec11"> </a>
<span class = "secnum">VII:11</span>
Est igitur usus quidam inrationalis, quam Graeci <span class = "greek"
title = "alogon tribên">ἄλογον τριβήν</span> vocant, qua manus in
scribendo decurrit, qua oculi totos simul in lectione versus flexusque
eorum et transitus intuentur et ante sequentia vident quam priora
dixerunt. Quo constant miracula illa in scaenis pilariorum ac
ventilatorum, ut ea quae emiserint ultro venire in manus credas et qua
iubentur decurrere.</p>

<div class = "comm space">
<p><a name = "commVII_sec11" id = "commVII_sec11"><b>§ 11.</b></a>
<b>inrationalis</b>: ‘mechanical,’ ‘unscientific.’ Cp. ii. 15, 23 quidam
eam neque vim neque scientiam neque artem putaverunt, sed Critolaus usum
dicendi (nam hoc <span class = "greek" title = "tribê">τριβή</span>
significat).... For the opposition between <span class = "greek" title =
"technê">τέχνη</span> and <span class = "greek" title =
"tribê">τριβή</span> (‘knack’) see Plato, Phaedrus 260 E <span class =
"greek" title = "ouk esti technê all’ atechnos tribê">οὐκ ἔστι τέχνη
ἄλλ᾽ ἄτεχνος τριβή</span>: Gorgias 501 A <span class = "greek" title =
"komidê atechnôs ... erchetai ... alogôs te pantapasin, hôs epos eipein ... tribê kai empeiria">κομιδῇ ἀτέχνως ... ἔρχεται ... ἀλόγως τε
παντάπασιν, ὡς ἔπος εἰπεῖν ... τριβὴ καὶ ἐμπειρία</span>: ib.
463&nbsp;B.</p>

<p><b>manus ... decurrit</b>. Cp. Cic. de Orat. ii. §130 neque enim
quotiens verbum aliquod est scribendum nobis, totiens eius verbi
litterae sunt cogitatione conquirendae; nec quotiens causa dicenda est,
totiens ad eius causae seposita argumenta revolvi nos oportet, sed
habere certos locos, qui ut litterae ad verbum scribendum, sic illi ad
causam explicandam statim occurrant.</p>

<p><b>versus</b>: see on <a href =
"QuintBody1.html#chapI_sec38">1&nbsp;§38</a>.</p>

<p><b>flexus ... et transitus</b>. These words are generally taken in
their literal sense; but the rendering ‘turns and transitions’
(‘Wendungen and Uebergänge’) seems not sufficiently to explain the
passage. May <i>flexus</i> not refer here to the modulation of the
voice, as frequently in Quintilian (v. Bonn. Lex.), and <i>transitus</i>
to the punctuation which marks the passage from one clause to another?
In reading the eye takes in all this in advance. Tr. ‘observe the
intonations and the stops.’ On the other hand Frieze (who alone of the
commentators seems to have felt any difficulty): ‘the action of the eye
itself in reading is ascribed to the lines of the manuscript.
<i>Flexus</i> seems to refer to the turning of the eye from the end of a
line to the beginning of the next, and <i>transitus</i> the passing from
one column of the manuscript to the next.’ But this explanation of
<i>transitus</i> can hardly be right.</p>

<p><b>dixerunt</b>, sc. lectores,&mdash;before the reader has
articulated (to himself) what comes first, the eye runs on to what
follows. For the change of subject cp. §9.</p>

<p><b>miracula</b> = <span class = "greek" title =
"thaumata">θαύματα</span>, ‘conjuring-tricks.’</p>

<p><b>pilariorum ac ventilatorum</b>: ‘jugglers and professors of
legerdemain.’ For the former (who resembled the Indian juggler) see
Rich’s Dict. Ant. s.v., where a figure is shown from a Diptych in the
Museum at Verona exhibiting dexterous feats with a number of balls,
‘throwing them up with both hands, catching them on, and making them
rebound from, the inner joint of the elbow, leg, forehead, and instep,
so that they kept playing in a continuous circle round his person
without falling to the ground, as minutely described by Manilius
(<i>Astron.</i> 169-171).’ The ventilator was one who winnowed grain
with the <i>ventilabrum</i> (see Rich. s.v.), and so is generally taken
here of a juggler ‘tossing his balls into the air as the winnower does
his corn’; but looking to the use of <i>ventilare</i> for to ‘conjure
away’ (magicis artibus vitas insontium et manibus accitis ventilare,
Imp. Constant. cod. 9, 18, 6 and cod. Th. 9, 16,&nbsp;5), I&nbsp;prefer
Professor Key’s explanation of the word, ‘a juggler, as affecting to
toss things away with an <span class = "greek" title =
"oichetai">οἴχεται</span>, or with a puff of breath’: cp. Prudent.
Peristeph. x. 78 tu ventilator urbis et vulgi levis procella.&mdash;The
genitives are to be referred to <i>scaenis</i>, not <i>miracula</i>.</p>

<p><b>ut ea</b>: for this constr. see on <a href =
"QuintBody1.html#chapI_sec58">1&nbsp;§58</a>.</p>

<p><b>in manus</b>: Krüger and Dosson are wrong in taking this of the
hands of the spectators. The balls return to the hands of the performers
themselves. For <i>qua</i> (sc. via) cp. ii. 20, 2 multos video qua vel
impudentia vel fames duxit ruentes: ix. 1, 19: xii. 10, 61.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec12" id = "chapVII_sec12"> </a>
<span class = "secnum">VII:12</span>
Sed hic usus ita proderit, si ea de qua locuti sumus ars antecesserit,
ut
<span class = "pagenum">175</span>
ipsum illud quod in se rationem non habet in ratione versetur. Nam mihi
ne dicere quidem videtur nisi qui disposite, ornate, copiose dicit, sed
tumultuari.</p>

<div class = "comm">
<p><a name = "commVII_sec12" id = "commVII_sec12"><b>§ 12.</b></a>
<b>ita ... si</b>, in a limiting sense (=&nbsp;ita demum si), ‘only so
far as.’ Cp. xi. 3, 130 ambulantem loqui ita demum oportet si in causis
publicis, &amp;c. In Brut.
<span class = "pagenum comm">175</span>
§195 Cicero has cum <i>ita</i> heres institutus esset <i>si</i> pupillus
ante mortuus esset. In this restrictive sense <b>ita</b> is more
commonly followed by <b>ut</b> (Verr. iv. §150): sometimes by <i>cum</i>
(Brut. §222). In Top. §44 we have agens de eo qui testamento <i>sic</i>
heredem instituisset <b>ut</b> si filius natus esset, &amp;c.</p>

<p><b>locuti sumus</b>, i.e. in <a href = "#chapVII_sec5">§§5-7</a>.</p>

<p><b>quod ... non habet</b>: cp. <a href = "#chapVII_sec11">§11</a>
usus inrationalis, where there is no consciousness of method.</p>

<p><b>in ratione versetur</b> = arte, artis et rationis praeceptis
contineatur. Though mechanical, through habit it should be based on
method and rational principle.</p>

<p><b>nisi qui &amp;c.</b> Cp. Cic. de Orat. i. §48 Sin oratoris nihil
vis esse nisi <i>composite</i> <i>ornate</i> <i>copiose</i> loqui,
&amp;c. The first refers to <i>collocatio</i>, the second to
<i>elocutio</i>, and the third to <i>inventio</i>.</p>

<p><b>tumultuari</b>, to ‘rant.’ Cp. vii. pr. §3 oratio carens hac
virtute (sc. ordine) tumultuetur necesse est: ii. 12, 11 cum interim non
actores modo aliquos invenias, sed, quod est turpius, praeceptores etiam
qui brevem dicendi exercitationem consecuti omissa ratione, ut tulit
impetus, passim tumultuentur, eosque qui plus honoris litteris
tribuerunt ineptos et ieiunos et tepidos et infirmos, ut quodque verbum
contumeliosissimum occurrit, appellent.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec13" id = "chapVII_sec13"> </a>
<span class = "secnum">VII:13</span>
Nec fortuiti sermonis contextum mirabor umquam, quem iurgantibus etiam
mulierculis superfluere video, cum eo quod, si calor ac spiritus tulit,
frequenter accidit ut successum extemporalem consequi cura non
possit.</p>

<div class = "comm">
<p><a name = "commVII_sec13" id = "commVII_sec13"><b>§ 13.</b></a>
<b>fortuiti sermonis</b>, ‘random talk.’</p>

<p><b>contextum</b> = continuam orationem, cp. <a href =
"#chapVII_sec26">§26</a>. The word denotes mere continuity of speech, a
mere train of words.</p>

<p><b>superfluere video</b>: see <a href =
"QuintCrit.html#critVII_sec13">Crit. Notes</a>.</p>

<p><b>cum eo quod</b>, ‘with this consideration that,’ connects in a
loose manner with what goes before: ‘and this I say with the addition
that,’ <ins class = "correction" title = "period missing">&amp;c.</ins>
The usual explanation is ‘with the exception or limitation that,’
&amp;c.: so Günther ‘postquam sese mirari nunquam fortuiti sermonis
contextum dixit, hoc enuntiato a “cum eo quod” pendente orationi
moderatur et concedit frequenter, si calor ac spiritus tulerit, curam
consequi non posse successum extemporalem’: cp. Cic. ad Att. vi. 1, §4
sit sane, quoniam ita tu vis, sed tamen cum eo, credo, quod sine peccato
meo fiat. But Quintilian is not ‘taking back’ what he has said in ‘nec
mirabor’: he is going on to add what is really an independent statement.
Other uses of <i>cum eo quod</i> occur ii. 4, 30 cum eo quidem, quod vix
ullus est tam communis locus, qui possit cohaerere cum causa nisi aliquo
propriae quaestionis circulo copulatus: xii. 10, 47 cum eo quod, si non
ad luxuriam ac libidinem referas, eadem speciosiora quoque sint quae
honestiora. See Introd. <a href =
"QuintIntro.html#intro_pageliii">p.&nbsp;liii</a>.</p>

<p><b>spiritus</b>: see on <a href =
"QuintBody1.html#chapI_sec27">1&nbsp;§27</a>.</p>

<p><b>tulit</b>. For <i>ferre</i> used absolutely: cp. <a href =
"#chapIII_sec7">3&nbsp;§7</a> si feret flatus, and such phrases as ‘si
occasio tulerit.’ Krüger supplies <i>aliquem</i>, comparing <a href =
"QuintBody1.html#chapI_sec110">1&nbsp;§110</a>.&mdash;For the perfect,
used like the Greek aorist to denote repeated occurrence, cp. refrixit
<a href = "#chapIII_sec6">3&nbsp;§6</a>, and accessit ... restitit <a
href = "#chapVII_sec14">§14</a> below.</p>

<p><b>ut ... possit</b>&mdash;that the success of such impromptu
speaking is not attained by study and premeditation (cura).</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec14" id = "chapVII_sec14"> </a>
<span class = "secnum">VII:14</span>
Deum tunc adfuisse, cum id evenisset, veteres oratores, ut Cicero,
dictitabant. Sed ratio manifesta est. Nam bene concepti adfectus et
recentes rerum imagines continuo impetu feruntur, quae nonnumquam mora
stili refrigescunt et dilatae non revertuntur. Utique vero,
<span class = "pagenum">176</span>
cum infelix illa verborum cavillatio accessit et cursus ad singula
vestigia restitit, non potest ferri contorta vis; sed, ut optime vocum
singularum cedat electio, non continua sed composita est.</p>

<div class = "comm">
<p><a name = "commVII_sec14" id = "commVII_sec14"><b>§ 14.</b></a>
<b>ut Cicero</b>. No such saying can be found in Cicero’s extant works:
cp. however de Orat. i. §202. For the reading see <a href =
"QuintCrit.html#critVII_sec14">Crit. Notes</a>.</p>

<p><b>ratio manifesta est</b>: cp. <a href =
"#chapV_sec3">5&nbsp;§3</a>.</p>

<p><b>bene concepti adfectus</b>, ‘emotion profoundly felt’: v. on <a
href = "#chapVII_sec15">§15</a> and cp. vi. 2, 30 has (imagines rerum)
quisquis bene conceperit is erit in adfectibus potentissimus.</p>

<p><b>recentes rerum imagines</b>: ‘fresh,’ ‘vivid’ conceptions, or
ideas: a lively imagination.</p>

<p><b>continuo impetu feruntur</b>: ‘sweep along in uninterrupted
course.’</p>

<p><b>refrigescunt</b>, cp. <a href = "#chapIII_sec6">3&nbsp;§6</a>, and
<a href = "#chapIII_sec33">§33</a><ins class = "correction" title =
"period missing">.&nbsp;</ins></p>

<p><b>utique</b>: see on <a href =
"QuintBody1.html#chapI_sec20">1&nbsp;§20</a>.</p>

<span class = "pagenum comm">176</span>
<p><b>infelix ... verborum cavillatio</b>: of the morbid carping
self-criticism spoken of in <a href = "#chapIII_sec10">3&nbsp;§10</a>:
<a href = "QuintBody1.html#chapI_sec115">1&nbsp;§115</a>. For
<i>infelix</i> see on <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a>.</p>

<p><b>non potest ferri contorta vis</b>: ‘there can be no energy in the
swing,’ a figure taken from the discharge of missile weapons, such as
the sling and the javelin. <i>Vis contorta fertur</i> = the <i>vis</i>
(of the speech) is ‘whirled and sped onward’: for <i>ferri</i> cp. ix.
4, 112 oratio quae ferri debet et fluere. For the whole expression cp.
Cic. Orator §234 Demosthenes! cuius non tam vibrarent fulmina illa, nisi
numeris contorta ferrentur, (Quint. ix. 4, 55,) where <i>contorquere</i>
describes the whirling action which imparts to the missile that rotating
movement by which (as with our rifled guns) it is made more certain to
hit the mark: see Sandys ad loc. Quintilian has a similar figure in ix.
4, 9 mihi compositione velut amentis quibusdam nervisve intendi et
concitari sententiae videntur.</p>

<p><b>ut</b> = though.</p>

<p><b>continua ... composita</b>, ‘the style is not all of one pattern,
but rather a patchwork,’&mdash;it does not flow on spontaneously, but is
elaborately put together. The subject <i>oratio</i> must be supplied out
of the context: cp. <a href = "#chapVII_sec26">§26</a>, and <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§§7</a> and <a href =
"QuintBody1.html#chapI_sec29">29</a>. Becher renders ‘nicht aus ganzem
Holze (geschnitten) sondern geleimt,’&mdash;not all of one piece but
glued together: and compares ‘corpora continua’ and ‘composita’ in Sen.
Epist. xvii. 2, 6 (102),&mdash;‘organisms’ and mechanical fabrics.</p>
</div>


<p class = "maintext space">
<a name = "chapVII_sec15" id = "chapVII_sec15"> </a>
<span class = "secnum">VII:15</span>
Quare capiendae sunt illae, de quibus dixi, rerum imagines, quas vocari
<span class = "greek" title = "phantasias">φαντασίας</span> indicavimus,
omniaque, de quibus dicturi erimus, personae, quaestiones, spes, metus,
habenda in oculis, in adfectus recipienda; pectus est enim, quod
disertos facit, et vis mentis. Ideoque imperitis quoque, si modo sunt
aliquo adfectu concitati, verba non desunt.</p>

<div class = "comm space">
<p><a name = "commVII_sec15" id = "commVII_sec15"><b>§ 15.</b></a>
<b>de quibus dixi</b>. Cp. vi. 2, 29 Quas <span class = "greek" title =
"phantasias">φαντασίας</span> Graeci vocant (nos sane visiones
appellemus) per quas imagines rerum absentium ita repraesentantur animo
ut eas cernere oculis ac praesentes habere videamur, has quisquis bene
conceperit is erit in adfectibus potentissimus. So of the creations of
the painter’s fancy, xii. 10, 6 concipiendis visionibus, quas <span
class = "greek" title = "phantasias">φαντασίας</span> vocant,
praestantissimus Theon Samius.</p>

<p><b>dicturi erimus</b>. The careful selection of the tense is to be
noted: cp. Cic. de Orat. i. §223 eorum apud quos aliquid aget aut erit
acturus mentes sensusque degustet, where <i>agit</i> is contemporaneous
with <i>degustet</i>, while <i>erit acturus</i> is regarded as still
future.&mdash;There is negligence in the juxtaposition of <i>dixi</i>
and <i>dicturi erimus</i>.</p>

<p><b>in adfectus recipienda</b>, sc. that emotions may thereby be
excited which shall find expression in what we say. The intensity of
these emotions will depend on the vividness of the images in the
mind.</p>

<p><b>pectus</b>: ‘feeling.’ The sentence is carefully arranged: besides
the chiasmus above (<i>habenda in oculis</i>, <i>in adfectus
recipienda</i>) <i>pectus</i> now takes up <i>in adfectus
recipienda</i>, while <b>vis mentis</b> refers to <i>habenda in
oculis</i>, and denotes accordingly force or clearness of
conception.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec16" id = "chapVII_sec16"> </a>
<span class = "secnum">VII:16</span>
Tum intendendus animus, non in aliquam rem unam, sed in plures simul
continuas, ut si per aliquam rectam viam mittamus oculos simul omnia
quae sunt in ea circaque intuemur, non ultimum tantum videmus, sed usque
<span class = "pagenum">177</span>
ad ultimum. Addit ad dicendum etiam pudor stimulos, mirumque videri
potest quod, cum stilus secreto gaudeat atque omnes arbitros reformidet,
extemporalis actio auditorum frequentia, ut miles congestu signorum,
excitatur.</p>

<div class = "comm">
<p><a name = "commVII_sec16" id = "commVII_sec16"><b>§ 16.</b></a>
<b>Tum</b>, if allowed to stand (see <a href =
"QuintCrit.html#critVII_sec16">Crit. Notes</a>), does not introduce a
help to oratory, like <i>pectus</i> above (cp. si modo sunt aliquo
adfectu concitati), and addit ad dicendum etiam <i>pudor</i> stimulos in
the following sentence. The words from <i>pectus est enim</i> to
<i>verba non desunt</i> form a parenthesis, and <i>tum intendendus</i>
resumes the previous recommendation, <i>omniaque de quibus dicturi
erimus ... recipienda</i>. This is clear from the correspondence of
participles, <i>capiendae</i> ... <i>habenda</i> ... <i>recipienda</i>
... <i>intendendus</i>.</p>

<p><b>continuas</b>, here of things that ‘hang together’: tr. ‘in an
orderly sequence.’</p>

<p><b>circa</b>, ‘on either side.’</p>

<span class = "pagenum comm">177</span>
<p><b>pudor</b> = ‘amour-propre,’ sense of honour as (possibly) to be
compromised by failure.</p>

<p><b>stilus secreto</b>: <a href = "#chapIII_sec23">3&nbsp;§23</a>
sq.</p>

<p><b>congestu signorum</b>: the ‘crowded standards,’&mdash;of the
moment when the legion is about to advance, and the standard of every
company is set in motion at the same time. This is better than to take
it of the assembling of the standard-bearers with their ensigns round
the general’s tribunal, while he addresses the army on the eve of
battle.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec17" id = "chapVII_sec17"> </a>
<span class = "secnum">VII:17</span>
Namque et difficiliorem cogitationem exprimit et expellit dicendi
necessitas, et secundos impetus auget placendi cupido. Adeo pretium
omnia spectant ut eloquentia quoque, quamquam plurimum habeat in se
voluptatis, maxime tamen praesenti fructu laudis opinionisque
ducatur.</p>

<div class = "comm">
<p><a name = "commVII_sec17" id = "commVII_sec17"><b>§ 17.</b></a>
<b>difficiliorem</b>: thought that labours, is slow to find
utterance.</p>

<p><b>expellit</b>, stronger than <i>exprimit</i>: cp. <a href =
"#chapIII_sec6">3&nbsp;§6</a>.</p>

<p><b>secundos impetus</b>, ‘the favourable glow,’&mdash;the ‘élan’ so
helpful for the expression of thought.</p>

<p><b>pretium</b>, like <i>praemium</i> in a parallel passage, Tac.
Dial. 36: ita ad summa eloquentiae praemia magna etiam necessitas
accedebat, et quo modo disertum haberi pulchrum et gloriosum sic contra
mutum et elinguem videri deforme habebatur.</p>

<p><b>quamquam</b>, with subj. <a href =
"QuintBody1.html#chapI_sec33">1&nbsp;§33</a>.</p>

<p><b>opinionis</b>, ‘reputation,’ the favourable estimate which others
form of us: see on <a href = "#chapV_sec18">5&nbsp;§18</a> and cp. <a
href = "#chapVII_sec24">§24</a> below: Cic. pro Arch. §26. Introd. <a
href = "QuintIntro.html#intro_pagexliv">p.&nbsp;xliv</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec18" id = "chapVII_sec18"> </a>
<span class = "secnum">VII:18</span>
Nec quisquam tantum fidat ingenio ut id sibi speret incipienti statim
posse contingere, sed, sicut in cogitatione praecepimus, ita facilitatem
quoque extemporalem a parvis initiis paulatim perducemus ad summam, quae
neque perfici neque contineri nisi usu potest.</p>

<div class = "comm">
<p><a name = "commVII_sec18" id = "commVII_sec18"><b>§ 18.</b></a>
<b>id</b>, i.e. ut ex tempore dicere possit: the faculty of
improvisation.</p>

<p><b>praecepimus</b>: <a href = "#chapVI_sec3">6&nbsp;§3</a>.</p>

<p><b>contineri</b>, <a href = "#chapVI_sec3">6&nbsp;§3</a> augenda vis
et exercitatione multa continenda est.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapVII_sec19" id = "chapVII_sec19"> </a>
<span class = "secnum">VII:19</span>
Ceterum pervenire eo debet ut cogitatio non utique melior sit ea, sed
tutior, cum hanc facilitatem non in prosa modo multi sint consecuti, sed
etiam in carmine, ut Antipater Sidonius et Licinius Archias (credendum
enim Ciceroni est)&mdash; non quia
<span class = "pagenum">178</span>
nostris quoque temporibus non et fecerint quidam hoc et faciant. Quod
tamen non ipsum tam probabile puto (neque enim habet aut usum res aut
necessitatem) quam exhortandis in hanc spem, qui foro praeparantur,
utile exemplum.</p>

<div class = "comm">
<p><a name = "commVII_sec19" id = "commVII_sec19"><b>§ 19.</b></a>
<b>debet</b>. The subject which the editors generally say is to be
supplied is ‘facilitas extemporalis’: cp. <a href =
"#chapVI_sec4">6&nbsp;§4</a>. But Becher is probably right in supplying
a personal subject (as <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a>: <a href =
"#chapII_sec24">2&nbsp;§24</a>: <a href =
"#chapVII_sec4">7&nbsp;§§4</a>, <a href =
"#chapVII_sec25">25</a>),&mdash;‘the orator,’ ‘the budding rhetorician,’
or even <span class = "greek" title = "tis">τις</span>: cp. nec
quisquam.* If <i>extemporalis facilitas</i> were the subject of the
sentence, <i>ipsa</i> would have been expected instead of <i>ea</i>. See
Critical Notes.* recte: <i>nec quisquam fidat</i>, <i>above</i>.</p>

<p><b>non utique</b>: ‘not of course,’ ‘not necessarily.’ See on <a href
= "QuintBody1.html#chapI_sec20">1&nbsp;§20</a>: cp. xii. 2,&nbsp;18.</p>

<p><b>in prosa</b>: see on <a href =
"QuintBody1.html#chapI_sec81">1&nbsp;§81</a>.</p>

<p><b>Antipater</b> of Sidon, an Alexandrine poet, cir. <span class =
"smallroman">B.C.</span> 135. Cic. de Orat. iii. §194 quod si Antipater
ille Sidonius ... solitus est versus hexametros aliosque variis modis
atque numeris fundere ex tempore, tantumque hominis ingeniosi ac memoris
valuit exercitatio ut, cum se mente ac voluntate coniecisset in versum,
verba sequerentur, quanto id facilius in oratione, exercitatione et
consuetudine adhibita, consequemur!</p>

<p><b>Archias</b>. Cic. pro Arch. 8 §18 quotiens ego hunc vidi, cum
litteram scripsisset nullam, magnum numerum optimorum versuum de iis
ipsis rebus quae tum agerentur dicere ex tempore.</p>

<p><b>non quia ... non</b>. For the subjunctive, see Introd. <a href =
"QuintIntro.html#intro_pageliv">p.&nbsp;liv</a>: cp. <a href =
"#chapVII_sec31">§31</a>, below.
<span class = "pagenum comm">178</span>
Becher rightly explains (Bursian’s Jahresb.) that <i>credendum enim
Ciceroni est</i> is to be bracketed as a parenthesis of the writer’s to
Antipater Sidonius and Licinias Archias,&mdash;examples which give the
motive for the half apology <i>non quia</i>, &amp;c. Tr. ‘though I do
not wish to be understood to mean that,’ &amp;c. Others explain the
sentence as elliptical: ‘I do not quote Cicero’s authority because we
have not abundant examples in our own times, but because his authority,
at any rate, will be unquestioned,’ Frieze.</p>

<p><b>quidam</b>. Hild thinks the reference must be particularly to
Statius: Silv. 1 pr. hos libellos qui mihi subito calore et quadam
festinandi voluptate fluxerunt: and iii. pr. libellos ... subito natos.
Possibly also to Remmius Palaemon, the teacher of Quintilian: Suet.
Gram. 23 poemata faciebat ex tempore.</p>

<p><b>quod ... ipsum</b>. ‘This accomplishment in itself,’ viz.
facilitas ex tempore carmina fingendi.</p>

<p><b>in hanc spem = huius</b> in rei spem. Cp. <a href =
"#chapIII_sec2">3&nbsp;§2</a> sine hac conscientia.</p>
</div>
</div> <!-- div -->


<p class = "maintext">
<a name = "chapVII_sec20" id = "chapVII_sec20"> </a>
<span class = "secnum">VII:20</span>
Neque vero tanta esse umquam <i>debet</i> fiducia facilitatis ut non
breve saltem tempus, quod nusquam fere deerit, ad ea quae dicturi sumus
dispicienda sumamus, quod quidem in iudiciis ac foro datur semper; neque
enim quisquam est qui causam quam non didicerit agat.</p>

<div class = "comm">
<p><a name = "commVII_sec20" id = "commVII_sec20"><b>§ 20.</b></a>
<b>non ... saltem</b>: see on <a href =
"#chapII_sec15">2&nbsp;§15</a>.</p>

<p><b>didicerit</b>. In acquainting himself with the facts of a case,
and considering (however briefly) the principles applicable to it, the
judicial pleader has always some little time to think over his
speech.</p>
</div>

<div class = "null">

<p class = "maintext">
<a name = "chapVII_sec21" id = "chapVII_sec21"> </a>
<span class = "secnum">VII:21</span>
Declamatores quosdam perversa ducit ambitio ut exposita controversia
protinus dicere velint, quin etiam, quod est in primis frivolum ac
scaenicum, verbum petant quo incipiant. Sed tam contumeliosos in se
ridet invicem eloquentia, et qui stultis videri eruditi volunt, stulti
eruditis videntur.</p>

<div class = "comm">
<p><a name = "commVII_sec21" id = "commVII_sec21"><b>§ 21.</b></a>
<b>Declamatores</b>: see on <a href =
"QuintBody1.html#chapI_sec71">1&nbsp;§71</a>.</p>

<p><b>ambitio</b>: see Introd. <a href =
"QuintIntro.html#intro_pagexliv">p. xliv</a>.</p>

<p><b>exposita controversia</b>, ‘as soon as the question is
stated.’</p>

<p><b>frivolum</b>, ‘in bad taste,’ a word characteristic of the Silver
Age.</p>

<p><b>scaenicum</b>, ‘theatrical.’ On the stage, actors often start off
with such a ‘cue.’ Cp. i. 11, 3 plurimum ... aberit a scaenico: xi. 3,
57 modulatio scaenica: ib. §123 nam et complodere manus scaenicum est et
pectus caedere. We may also recall ‘nedum ille scaenicus (Nero)’: Tac.
Ann. xv. 59.</p>
</div>
</div> <!-- null -->

<p class = "maintext">
<a name = "chapVII_sec22" id = "chapVII_sec22"> </a>
<span class = "secnum">VII:22</span>
Si qua tamen fortuna tam subitam fecerit agendi necessitatem, mobiliore
quodam opus erit ingenio, et vis omnis intendenda rebus et in praesentia
remittendum aliquid ex cura verborum, si consequi utrumque non dabitur.
Tum et tardior pronuntiatio moras habet et suspensa ac velut dubitans
oratio, ut tamen deliberare, non
<span class = "pagenum">179</span>
haesitare videamur.</p>

<div class = "comm">
<p><a name = "commVII_sec22" id = "commVII_sec22"><b>§ 22.</b></a>
<b>vis omnis intendenda rebus</b>. Cp. Cato’s golden rule for the
speaker, rem tene verba sequentur: Cic. de Orat. ii. §146: iii. §125:
Hor. A.&nbsp;P. 311.</p>

<p><b>non dabitur</b>, cp. <a href = "#chapVII_sec29">§29</a>: Verg.
Aen. i. 408 cur dextrae iungere dextram non datur?</p>

<p><b>tardior pronuntiatio</b>. The opposite is <i>citata</i> xi. 3, 111
aliis locis citata aliis pressa conveniet pronuntiatio.</p>

<p><b>habet</b>, ‘secures.’ Krüger (3rd ed.) would prefer to read
<i>habebit</i>.</p>

<p><b>suspensa ... dubitans</b>: a ‘slow and undecided style of
speaking,’ in which one is, as it were, feeling one’s way. Tac. Ann. i.
11 of Tiberius, suspensa semper et obscura verba.</p>
</div>

<span class = "pagenum comm">179</span>

<p class = "maintext">
<a name = "chapVII_sec23" id = "chapVII_sec23"> </a>
<span class = "secnum">VII:23</span>
Hoc, dum egredimur e portu, si nos nondum aptatis satis armamentis aget
ventus; deinde paulatim simul euntes aptabimus vela et disponemus
rudentes et impleri sinus optabimus. Id potius quam se inani verborum
torrenti dare quasi tempestatibus quo volent auferendum.</p>

<div class = "comm">
<p><a name = "commVII_sec23" id = "commVII_sec23"><b>§ 23.</b></a>
<b>hoc</b>, sc. fieri potest. For the ellipse cp. vi. 4, 10 hoc, dum
ordo est et pudor: xi. 1, 76 hoc et apud eos.</p>

<p><b>dum egredimur</b>, &amp;c. As in <a href = "#chapVII_sec1">§1</a>
the simile takes the place of the main thought without any word of
introduction: cp. athleta <a href =
"QuintBody1.html#chapI_sec4">1&nbsp;§4</a>.</p>

<p><b>simul</b>. The juxtaposition of <i>simul</i> and <i>euntes</i>
reminds us of the Greek constr. of <span class = "greek" title =
"hama">ἅμα</span> with a participle = <span class = "greek" title =
"hama poreuomenoi">ἅμα πορευόμενοι</span>.</p>

<p><b>aptabimus ... optabimus</b>. The assonance is surely an example of
Quintilian’s negligent style, rather than (as Krüger thinks) an
intentional pun. So <i>aptatis ... aptabimus</i>, in this passage.</p>
</div>


<p class = "maintext space">
<a name = "chapVII_sec24" id = "chapVII_sec24"> </a>
<span class = "secnum">VII:24</span>
Sed non minore studio continetur haec facultas quam paratur. Ars enim
semel percepta non labitur, stilus quoque intermissione paulum admodum
de celeritate deperdit: promptum hoc et in expedito positum
exercitatione sola continetur. Hac uti sic optimum est ut cotidie
dicamus audientibus pluribus, maxime de quorum simus iudicio atque
opinione solliciti; rarum est enim ut satis se quisque vereatur. Vel
soli tamen dicamus potius quam non omnino dicamus.</p>

<div class = "comm space">
<p><a name = "commVII_sec24" id = "commVII_sec24"><ins class =
"correction" title = "period invisible"><b>§ 24.</b></ins></a>
<b>ars</b>: cp. on <a href = "#chapVII_sec7">§7</a>.</p>

<p><b>non labitur</b>. The sense is clear, though the reading is very
uncertain: ‘la connaissance théorique une fois acquise ne se perd pas,’
Hild, who suspects that <i>animo</i> or <i>mente</i> has fallen out. Cp.
de Orat. ii. §109 ante enim praeterlabitur (sc. definitio) quam percepta
est. <i>Labi</i> by itself well expresses the gradual ‘oozing away’ of
anything from the mind. Verg. Ecl. i. 63 quam nostro illius labatur
pectore vultus. It might however be preferable to read <i>nunquam</i>
instead of <i>non</i>. See <a href =
"QuintCrit.html#critVII_sec24">Crit. Notes</a>.</p>

<p><b>deperdit</b>. Cic. Verr. ii. 2, 30 ut ne quid de libertate
deperderit.</p>

<p><b>promptum hoc et in expedito positum</b>: ‘this promptitude and
readiness for action.’ The neuter of the adj. and the part. are used
along with the demonstrative in place of abstract nouns, in which Latin
is not strong. Cp. Livy vii. 8, 5 diu non perlitatum tenuerat
dictatorem: Tac. Ann. iii. 80 Capito insignitior infamia fuit quod ...
egregium publicum et bonas domi artes dehonestavisset; v. Nägelsbach,
Lat. Stil. p.&nbsp;98 sq. and 140 sq.: Introd. <a href =
"QuintIntro.html#intro_pagexlviii">p.&nbsp;xlviii</a>.</p>

<p><b>rarum est ut</b> = raro fit ut. Cp. primum est ut <a href =
"#chapII_sec18">2&nbsp;§18</a>.</p>

<p><b>non omnino</b>. The adverb strengthens the negative (cp. <span
class = "greek" title = "ou panu">οὐ πάνυ</span>), instead of the
negative being employed for the negation of the adverb. So often
<i>prorsus</i> and <i>sane</i>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec25" id = "chapVII_sec25"> </a>
<span class = "secnum">VII:25</span>
Est alia exercitatio cogitandi
<span class = "pagenum">180</span>
totasque materias vel silentio (dum tamen quasi dicat intra se ipsum)
persequendi, quae nullo non et tempore et loco, quando non aliud agimus,
explicari potest, et est in parte utilior quam haec proxima;</p>

<div class = "comm">
<p><a name = "commVII_sec25" id = "commVII_sec25"><b>§ 25.</b></a>
<b>est alia exercitatio cogitandi ... persequendi.</b> There is a
similar transition at ix. 2, 57 est alia non quidem reticentia. The
sequence of thought is as follows: the best method of acquiring and
maintaining the <i>facultas ex tempore dicendi</i> is to discourse daily
before competent hearers: if that is not possible <i>soli tamen
dicamus</i>; this is better than not speaking at all. There is another
<i>exercitatio</i> (i.e. as a help to keeping up the <i>facultas ex
tempore dicendi</i>), viz. the going over our subject-matter in silent
thought, as we can do always and everywhere. <i>Cogitandi</i> and
<i>persequendi</i> are genitives of definition, or epexegetic genitives
standing in the place of appositional infinitives): cp. exitus mortis,
<span class = "greek" title = "telos thanatoio">τέλος θανάτοιο</span>,
and (cited by Krüger) Cic. de Fin. iii. 14, 45 denique ipsum bonum quod
in eo positum est ut naturae consentiat, crescendi accessionem ( =
accessionem quae fit crescendo) nullam habet: de Orat. 1 §90 quod
consuetudo exercitatioque et intellegendi prudentiam (=&nbsp;prudentiam
quae cernitur in intellegendo, or prudentiam ad intellegendum) acueret
et eloquendi celeritatem incitaret. With
<span class = "pagenum comm">180</span>
exercitatio, supply ‘continendi facultatem ex tempore dicendi.’</p>

<p><b>totasque materias ... persequendi</b>: cp. <a href =
"#chapV_sec21">5&nbsp;§21</a> per totas ire materias.</p>

<p><b>tamen</b>: i.e. even though it be <i>silentio</i>.</p>

<p><b>dicat</b>. Again the subject (sc. orator) is to be supplied out of
the context. Cp. <a href =
"QuintBody1.html#chapI_sec7">1&nbsp;§7</a>.</p>

<p><b>explicari potest</b>: ‘can have full scope given to it,’ an
exercise in which we can indulge freely.</p>

<p><b>in parte</b>, often in Quintilian. See on <a href =
"QuintBody1.html#chapI_sec88">1&nbsp;§88</a>.</p>

<p><b>haec proxima</b>: viz. that recommended in <a href =
"#chapVII_sec24">§24</a> ut cotidie dicamus audientibus pluribus: to
which <i>illa</i> and <i>prior</i> in <a href = "#chapVII_sec26">§26</a>
refer.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec26" id = "chapVII_sec26"> </a>
<span class = "secnum">VII:26</span>
diligentius enim componitur quam illa, in qua contextum dicendi
intermittere veremur. Rursus in alia plus prior confert, vocis
firmitatem, oris facilitatem, motum corporis, qui et ipse, ut dixi,
excitat oratorem et iactatione manus, pedis supplosione, sicut cauda
leones facere dicuntur, hortatur.</p>

<div class = "comm">
<p><a name = "commVII_sec26" id = "commVII_sec26"><b>§ 26.</b></a>
<b>diligentius enim componitur quam illa</b>: ‘it (i.e. discourse thus
premeditated) is more accurately put together.’ The grammatical subject
of <i>componitur</i> is <i>exercitatio cogitandi</i>, &amp;c., but the
verb is chosen with reference to the train of thought which the mind is
exercised in pursuing. The virtual subject is thus rather <i>oratio quam
cogitando persequimur</i>, or <i>tacita oratio</i> (as shown by <i>dum
tamen quasi dicat intra se ipsum</i>). <i>Illa</i> (like <i>proxima</i>)
refers to the practice of extempore speaking, either alone or in the
presence of others. Grammatically the <i>exercitatio</i> of <a href =
"#chapVII_sec24">§24</a> must be understood along with it: logically the
<i>oratio</i> which is the result of that
<i>exercitatio</i>.&mdash;Krüger (3rd ed.) takes <i>componitur</i> as
used impersonally, but that would seem to be impossible without some
reference to <i>exercitatio cogitandi</i>. The sentence, though
grammatically awkward, is quite consistent with Quintilian’s loose style
of writing, so that there seems no necessity for such a device about
<i>componitur</i>, or for Gertz’s conjecture <i>in illa</i>: see <a href
= "QuintCrit.html#critVII_sec26">Crit. Notes</a>.</p>

<p><b>contextum dicendi</b>: cp. <a href = "#chapVII_sec13">§13</a>.</p>

<p><b>veremur</b>, with infin. as <a href =
"QuintBody1.html#chapI_sec101">1&nbsp;§101</a>, and even in Cicero: cp.
the striking instance de Fin. ii. §39 quos non est veritum in ...
voluptate ... summum bonum ponere.</p>

<p><b>Rursus</b>, ‘on the other hand.’</p>

<p><b>in alia ... confert</b>. See on <a href =
"QuintBody1.html#chapI_sec1">1&nbsp;§1</a> for the constr. of
<i>conferre</i> (<span class = "greek" title =
"sumpherein">συμφέρειν</span>): cp. <a href =
"#chapV_sec11">5&nbsp;§11</a> in hoc facient.</p>

<p><b>prior</b>, viz. speaking.</p>

<p><b>firmitatem</b>. In such enumerations Quintilian does not repeat
the prep.: cp. <a href = "#chapII_sec16">2&nbsp;§16</a>.</p>

<p><b>oris facilitatem</b> = ‘ease of utterance.’</p>

<p><b>ut dixi</b>, <a href = "#chapIII_sec21">3&nbsp;§21</a>.</p>

<p><b>pedis supplosione</b>. Cp. xi. 3, 128 pedis supplosio ut loco est
opportuna, ut ait Cicero, in contentionibus aut incipiendis aut
finiendis, ita crebra et inepti est hominis et desinit iudicem in se
convertere: Sen. Epist. 75&nbsp;§2: Cic. Brut. §141.</p>

<p><b>sicut cauda leones</b>. Hom. Il. xx. 170 <span class = "greek"
title = "ourê de pleuras te kai ischia amphoterôthen Mastietai, hee d’ auton epotrunei machesasthai">οὐρῇ δὲ πλευράς τε καὶ ἰσχία ἀμφοτέρωθεν
Μαστίεται, ἑὲ δ᾽ αὐτὸν ἐποτρύνει μαχέσασθαι</span>: Hesiod, Shield of
Herc. 430 <span class = "greek" title = "glaukioôn d’ ossois deinon pleuras te kai ômous ourê mastioôn possi glaphei">γλαυκιόων δ᾽ ὄσσοις
δεινὸν πλευράς τε καὶ ὤμους οὐρῇ μαστιόων ποσσὶ γλάφει</span>. Plin.
Nat. Hist. viii. 16, 19 leonum animi index cauda ... immota ergo
placido, clemens blandienti, quod rarum est: crebrior enim iracundia,
eius in principio terra verberatur, incremento terga ceu quodam
incitamento flagellantur.</p>

<p><b>studendum</b>, <a href = "#chapIII_sec29">3&nbsp;§29</a>. Cp. note
on <i>studiosis</i> <a href =
"QuintBody1.html#chapI_sec45">1&nbsp;§45</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec27" id = "chapVII_sec27"> </a>
<span class = "secnum">VII:27</span>
Studendum vero semper et ubique. Neque enim fere tam est ullus dies
occupatus, ut nihil lucrativae, ut Cicero Brutum facere tradit,
<span class = "pagenum">181</span>
operae ad scribendum aut legendum aut dicendum rapi aliquo momento
temporis possit: siquidem C.&nbsp;Carbo etiam in tabernaculo solebat hac
uti exercitatione dicendi.</p>

<div class = "comm">
<p><a name = "commVII_sec27" id = "commVII_sec27"><b>§ 27.</b></a>
<b>tam est ... occupatus</b>. The order supports the traditional reading
at <a href = "QuintBody1.html#chapI_sec83">1&nbsp;§83</a>, where see
note.</p>

<p><b>lucrativae operae</b>. Cic. ad Att. vii. 11, 1 unam mehercule
tecum apricationem in illo lucrativo tuo sole malim quam omnia istius
modi regna: Fronto, ad Anton. imp. 2, 2 lucrativa tua in tantis negotiis
tempora. Tr. ‘a few precious moments’:
<span class = "pagenum comm">181</span>
<i>lucrativa opera</i> means an occupation which profitably occupies our
spare time. The adjective is properly a legal term, applied to things
acquired by gift or bequest: e.g. species possessionis Gai. 2, 56:
usucapio 2, 60: adquisitio Ulp. Dig. xliv. 4, 4,&nbsp;31. Krüger refers
to the special meaning of <i>lucrum</i>, ‘an unexpected gain’: Hor. Car.
i. 9, 14 quem fors dierum cumque dabit, lucro adpone. Spalding says:
“<i>operam lucrativam</i> a Qu. dici potuisse censeo quidquid operae
iniunctis et necessariis laboribus negotiisque velut surriperetur et
dilectis studiis accederet.” Cp. i. 12, 13 quibus potius studiis haec
temporum velut subsiciva donabimus? Cic. de Orat. ii. 364 quae cursim
adripui, quae subsicivis operis, ut aiunt.</p>

<p><b>Cicero</b>. The reference seems to be to the remark addressed to
Brutus in the Orator §34 iam quantum illud est quod in maximis
occupationibus numquam intermittis studia doctrinae, semper aut ipse
scribis aliquid aut me vocas ad scribendum. So in the Brutus §332 he
praises his <i>perennia studia</i>, and §22 his <i>singularis
industria</i>. Cp. Plutarch, Brutus, §4 and §36. See <a href =
"QuintCrit.html#critVII_sec27">Crit. Notes</a>.</p>

<p><b>siquidem</b>, see on <a href = "#chapVII_sec2">§2</a>, above.</p>

<p><b>C. Carbo</b>. In the Brutus §§103-105 Cicero eulogises his
eloquence and industry: industrium etiam et diligentem et in
exercitationibus commentationibusque multum operae solitum esse ponere:
cp. de Orat. i. §154.&mdash;Carbo, who had originally been a supporter
of Ti. Gracchus, but had afterwards gone over to the optimates, became
consul in <span class = "smallroman">B.C.</span> 120; and it was in
connection with his prosecution in the year following, on some charge
not distinctly specified, that Crassus made his first public appearance.
Carbo was driven to commit suicide.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec28" id = "chapVII_sec28"> </a>
<span class = "secnum">VII:28</span>
Ne id quidem tacendum est, quod eidem Ciceroni placet, nullum nostrum
usquam neglegentem esse sermonem: quidquid loquemur ubicumque, sit pro
sua scilicet portione perfectum. Scribendum certe numquam est magis quam
cum multa dicemus ex tempore. Ita enim servabitur pondus et innatans
illa verborum facilitas in altum reducetur, sicut rustici proximas vitis
radices amputant, quae illam in summum solum ducunt, ut inferiores
penitus descendendo firmentur.</p>

<div class = "comm">
<p><a name = "commVII_sec28" id = "commVII_sec28"><b>§ 28.</b></a>
<b>Ciceroni</b>. The reference cannot be traced.</p>

<p><b>ubicumque</b>: see on <a href =
"QuintBody1.html#chapI_sec5">1&nbsp;§5</a>.</p>

<p><b>pondus</b>, ‘solidity.’</p>

<p><b>innatans</b>, sc. in superficie: ‘floating’ and so ‘superficial.’
Cp. vii. 1, 44 haec velut innatantia videbunt: Persius i. 104-5 summa
delumbe saliva Hoc natat in labris, where Conington cites Gell. i. 15
qui nullo rerum pondere innixi verbis humidis et lapsantibus diffluunt,
eorum orationem bene existimatum est <i>in ore nasci</i> non in pectore:
so <a href = "#chapIII_sec2">3&nbsp;§2</a> verba in labris nascentia,
where see note.</p>

<p><b>in altum reducetur</b> = in profundum, giving the antithesis to
the figure (‘the shallows’) involved in <i>innatans</i>. Tr. ‘will gain
in depth.’ For such combinations of the prep. with the acc. or abl.
neuter of adj. see Introd. <a href =
"QuintIntro.html#intro_pagexlvii">p.&nbsp;xlvii</a>.</p>

<p><b>proximas</b>, the uppermost roots, which protrude from the surface
of the ground. By paring these away, the taproots (inferiores) are
forced to strike deeper.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec29" id = "chapVII_sec29"> </a>
<span class = "secnum">VII:29</span>
Ac nescio an si utrumque cum cura et studio fecerimus, invicem prosit,
ut scribendo dicamus diligentius, dicendo scribamus facilius. Scribendum
ergo quotiens licebit;
<span class = "pagenum">182</span>
si id non dabitur, cogitandum; ab utroque exclusi debent tamen <i>sic
d</i>icere ut neque deprehensus orator neque litigator destitutus esse
videatur.</p>

<div class = "comm">
<p><a name = "commVII_sec29" id = "commVII_sec29"><b>§ 29.</b></a>
<b>nescio an</b> = <b>fortasse</b>, as at <a href =
"#chapVI_sec1">6&nbsp;§1</a>; see on <a href =
"QuintBody1.html#chapI_sec65">1&nbsp;§65</a>. Tr. ‘and I rather think
that there is this reciprocal advantage, viz. that,’ &amp;c.</p>

<p><b>utrumque</b>, i.e. dicere and scribere, both in the way of
<i>exercitatio</i>.</p>

<p><b>Scribendum ergo</b>, &amp;c. This is Quintilian’s summing up. If
the advocate has time to elaborate his speech in writing, that is best
(as a rule); if writing is impossible, he must have recourse to
cogitatio (<a href = "#chapVI">ch. vi</a>). If there is time for neither
the one nor the other, the discipline which
<span class = "pagenum comm">182</span>
is being recommended ought nevertheless (<i>tamen</i>, i.e. in spite of
the fact that there has been no opportunity for either writing or
reflection) to enable him to “speak in such a way that no one will think
either that the pleader has been taken aback or that the client has been
left in the lurch.” The emendation <i>sic dicere</i>, which I venture to
introduce in the text (see <a href =
"QuintCrit.html#critVII_sec29">Crit. Notes</a>), seems in harmony not
only with the tradition of the MSS. but also with the whole context.
There is the same sequence immediately below (<a href =
"#chapVII_sec30">§30</a>) <i>scribant ... cogitatione complectantur ...
subitis extempore occurrant</i>. The busy advocate will make use of all
three methods: but in most cases writing, according to Quintilian, is to
be recommended, and, failing it, meditation,&mdash;not that the latter
is better than off-hand speech, but safer (tutior <a href =
"#chapVII_sec19">§19</a>). Lastly, even such <i>subitae necessitates</i>
as are referred to in <a href = "#chapVII_sec2">§2</a> ought to find the
advocate prepared to make a creditable extempore appearance: cp. <a href
= "#chapVII_sec4">§4</a> neque ego hoc ago ut extempore dicere malit sed
ut possit.</p>

<p><b>deprehensus</b>: cp. xii. 9, 20: Seneca Ep. xi. 1 non enim ex
praeparato locutus est, sed subito deprehensus.</p>
</div>


<p class = "maintext space">
<a name = "chapVII_sec30" id = "chapVII_sec30"> </a>
<span class = "secnum">VII:30</span>
Plerumque autem multa agentibus accidit ut maxime necessaria et utique
initia scribant, cetera, quae domo adferunt, cogitatione complectantur,
subitis ex tempore occurrant; quod fecisse M.&nbsp;Tullium commentariis
ipsius apparet. Sed feruntur aliorum quoque et inventi forte, ut eos
dicturus quisque composuerat, et in libros digesti, ut causarum, quae
sunt actae a Servio Sulpicio, cuius tres orationes extant; sed hi de
quibus loquor commentarii ita sunt exacti ut ab ipso mihi in memoriam
posteritatis videantur esse compositi.</p>

<div class = "comm space">
<p><a name = "commVII_sec30" id = "commVII_sec30"><b>§ 30.</b></a>
<b>utique</b>, ‘especially,’ or ‘at all events’: see on <a href =
"QuintBody1.html#chapI_sec20">1&nbsp;§20</a>.</p>

<p><b>domo adferunt</b>: cp. <a href = "#chapVI_sec6">6&nbsp;§6</a>.</p>

<p><b>subitis</b>: ‘emergencies,’ unforeseen developments, e.g.
questions and objections by the other side. Cp. Plin. Ep. iii. 9, 16 vir
exercitatus et quamlibet subitis paratus.</p>

<p><b>commentariis</b>: ‘note-books,’ memoranda containing jottings,
outlines, &amp;c. Cp. iv. 1,&nbsp;69.</p>

<p><b>feruntur</b>: see note on ferebantur <a href =
"QuintBody1.html#chapI_sec23">1&nbsp;§23</a>.</p>

<p><b>et ... et</b> = ‘some ... others.’ In the one case the actual
jottings have been found, just as they were originally set down for the
guidance of the speaker: in the other they have been put together in
book form, for the benefit of later readers.</p>

<p><b>causarum</b>: sc. commentarii: outlines of cases.</p>

<p><b>Servio Sulpicio</b>: see on <a href =
"QuintBody1.html#chapI_sec116">1&nbsp;§116</a>. He left only three
written speeches, but his friends had edited his notes of the numerous
cases in which he had appeared.</p>

<p><b>hi</b>. The memoranda, as opposed to the finished speeches
(orationes).</p>

<p><b>exacti</b>: see on <a href = "#chapII_sec14">2&nbsp;§14</a>.</p>

<p><b>in memoriam posteritatis</b>: see on <a href =
"QuintBody1.html#chapI_sec31">1&nbsp;§31</a>.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec31" id = "chapVII_sec31"> </a>
<span class = "secnum">VII:31</span>
Nam Ciceronis ad praesens modo tempus aptatos libertus Tiro contraxit:
quos non ideo excuso quia non
<span class = "pagenum">183</span>
probem, sed ut sint magis admirabiles. In hoc genere prorsus recipio
hanc brevem adnotationem libellosque, qui vel manu teneantur et ad quos
interim respicere fas sit.</p>

<div class = "comm">
<p><a name = "commVII_sec31" id = "commVII_sec31"><b>§ 31.</b></a>
<b>Nam</b>: see on <a href =
"QuintBody1.html#chapI_sec12">1&nbsp;§12</a>. The meaning is as follows:
I&nbsp;make special mention of the finished character of Sulpicius’s
outline speeches, as written out by himself: for in Cicero’s case it is
different: his commentarii ‘non sunt ab ipso compositi in memoriam
posteritatis.’ Moreover they are not now in their original form: by
Cicero they were prepared only for the occasion (ad praesens tempus
aptati), and were afterwards abridged (contraxit) by Tiro. But even in
this shorter form they are of great value.</p>

<p><b>contraxit</b>, ‘abbreviated.’ The context shows, on the whole,
that this is the proper sense to attach to this word. Sulpicius’s
memoranda had been put together (in libros digesti) by his friends, but
so finished are they that one might think he had intended them to
survive. This gives
<span class = "pagenum comm">183</span>
two points of contrast with Cicero. The first (cp. <i>exacti</i> with
<i>ad praesens modo tempus aptatos</i>) would hardly be enough by
itself, as Quintilian rather insinuates than asserts that Sulpicius
intended his jottings to go down to posterity: the second is that in
Cicero’s case we have his sketches in a still briefer form than that in
which they were originally composed. The contrast would not be so
striking if <i>contraxit</i> were practically synonymous with <i>in
libros digesti</i>. Becher is strongly, however, in favour of
<i>contraxit</i> = collected: cp. Tac. Dial. 37.&mdash;For Tiro see esp.
Teuffel’s Rom. Lit. §178.</p>

<p><b>quos ... probem</b>. The meaning is this: I&nbsp;do not make this
apology or explanation (excuso) as to the character of Tiro’s abridgment
of Cicero’s memoranda, compared with the studied elaboration of
Sulpicius, with any idea of implying inferiority, but in order
that&mdash;even in their present form&mdash;they may excite even greater
admiration of Cicero’s genius.&mdash;Quintilian is conscious that in
giving prominence to the two points of contrast in regard to Cicero’s
remains, as compared with those of Sulpicius, he may be in danger of
being misunderstood.&mdash;For <i>non quia</i> with subj. cp. <a href =
"#chapVII_sec19">§19</a> above: Introd. <a href =
"QuintIntro.html#intro_pageliv">p.&nbsp;liv</a>.</p>

<p><b>In hoc genere</b>, i.e. in this <i>extemporalis actio</i>. The
opposite is ‘in his quae scripserimus’ <a href =
"#chapVII_sec32">§32</a>.</p>

<p><b>recipio</b>: ‘I allow, admit,’ <span class = "greek" title =
"dechomai">δέχομαι</span>: cp. Cic. de Off. iii. §119 non recipit istam
coniunctionem honestas, aspernatur repellit: Introd. <a href =
"QuintIntro.html#intro_pagexliii">p.&nbsp;xliii</a>.</p>

<p><b>hanc</b> seems to indicate what was a common practice in
Quintilian’s time.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec32" id = "chapVII_sec32"> </a>
<span class = "secnum">VII:32</span>
Illud quod Laenas praecipit displicet mihi, <i>et</i> in his quae
scripserimus velut summas in commentarium et capita conferre. Facit enim
ediscendi neglegentiam haec ipsa fiducia et lacerat ac deformat
orationem. Ego autem ne scribendum quidem puto quod <i>non</i> simus
memoria persecuturi; nam hic quoque accidit ut revocet
<span class = "pagenum">184</span>
nos cogitatio ad illa elaborata nec sinat praesentem fortunam
experiri.</p>

<div class = "comm">
<p><a name = "commVII_sec32" id = "commVII_sec32"><b>§ 32.</b></a>
<b>Laenas</b>, Popilius, a rhetorician who flourished under Tiberius. He
is mentioned as a contemporary of Cornelius Celsus, iii. 1, 21 and xi.
3, 183.</p>

<p><b>et in his quae scripserimus</b>. See <a href =
"QuintCrit.html#critVII_sec32">Crit. Notes</a>. The reference obviously
is to speeches carefully written out before delivery, (contrast <i>in
hoc genere</i> above, of the extempore kind). Quintilian says that he
cannot approve of Laenas’s recommendation that, after we have written
out a speech in this way, we should proceed to prepare an abstract.
Dependence on this abstract will make us careless about learning off
what we have written, and this will check the flow of our eloquence, and
mar and disfigure our discourse. Iwan Müller points out that in the
sentence <i>in his quae scripserimus ... conferre</i>, Quintilian is
probably quoting from some rhetorical treatise of Laenas.</p>

<p><b>velut summas in ... conferre</b>. The reading is very uncertain:
see <a href = "QuintCrit.html#critVII_sec32">Crit. Notes</a> for
Kiderlin’s proposed emendation. The text may be rendered ‘to enter in a
notebook arranged according to heads the essence, as it were,’ of what
we have written, the genitive required by <i>summas</i> being supplied
out of <i>in his quae scripserimus</i>. Cp. Cic. Brut. §164 non est
oratio sed quasi capita rerum et orationis commentarium paulo
plenius.</p>

<p><b>haec ... fiducia</b>. See on <a href =
"#chapIII_sec2">3&nbsp;§2</a> hac conscientia.</p>

<p><b>ne ... quidem</b>: ‘neither should we.’ There is no climax here:
like <span class = "greek" title = "oude">οὐδέ</span> the particles
<i>ne ... quidem</i> are often used, as Madvig pointed out, ‘ubi sine
ullo orationis descensu aut gradatione negativi aliquid adiungitur
superioribus simile’ (see 3rd excursus to de Fin. pp.&nbsp;802-3 2nd
ed.).</p>

<p><b>quod non simus</b>. The context makes the reading certain, and
also gives the key to the interpretation. We ought not to write out,
says Quintilian, what we do not intend to commit perfectly to memory; it
would be better to trust to ‘extemporalis facilitas.’ If we do so, he
goes on to say, our imperfect recollection of what we have written (illa
elaborata) will interfere with the free play of thought.&mdash;For
<i>memoria persequi</i> cp. Cic. pro Sulla §42.</p>

<p><b>hic quoque</b>: cp. <a href = "#chapVI_sec5">6&nbsp;§§5-7</a>,
where it is
<span class = "pagenum comm">184</span>
said of imperfect <i>premeditation</i> (cogitatio) that if it is to make
the speaker hesitate between what he has written, but can hardly recall,
and the new ideas which the subject might inspire, he would do better to
trust wholly to improvisation.</p>

<p><b>praesentem fortunam</b>: cp. <a href =
"#chapVI_sec1">6&nbsp;§1</a> extemporalem fortunam.</p>
</div>


<p class = "maintext">
<a name = "chapVII_sec33" id = "chapVII_sec33"> </a>
<span class = "secnum">VII:33</span>
Sic anceps inter utrumque animus aestuat, cum et scripta perdidit et non
quaerit nova. Sed de memoria destinatus est libro proximo locus nec huic
parti subiungendus, quia sunt alia prius nobis dicenda.</p>

<span class = "pagenum comm">11</span>
<div class = "comm">
<p><a name = "commVII_sec33" id = "commVII_sec33"><b>§ 33.</b></a>
<b>scripta perdidit</b>, i.e. because he is suffering the consequences
of <i>ediscendi neglegentia</i>.</p>

<p><b>non quaerit nova</b>&mdash;being too much occupied with the
attempt to remember what he had written.</p>

<p><b>de memoria</b> = disputationi de memoria. See xi. 2.</p>

</div>

</div> <!-- text -->


<hr class = "spacer">


<span class = "pagenum">223</span>
<h4><a name = "index2_names" id = "index2_names">INDEX OF
NAMES.</a></h4>

<p class = "line">&nbsp;</p>

<h6>(The references are to chapters and sections.)</h6>

<p class = "line">&nbsp;</p>

<table class = "index" summary = "index in two columns">
<tr>
<td width = "50%">

<p><span class = "smallcaps">Antipater</span> Sidonius, <a href =
"#chapVII_sec19">vii. 19</a>.</p>

<p>Archias, Aul. Licinius, <a href = "#chapVII_sec19">vii. 19</a>.</p>

<p>Asinius Pollio, <a href = "#chapII_sec17">ii. 17</a>, <a href =
"#chapII_sec25">25</a>.</p>

<p>Attici&mdash;Attic Orators, <a href = "#chapII_sec17">ii. 17</a>.</p>


<p class = "space">
Brutus, M. Iunius, <a href = "#chapV_sec20">v. 20</a>: <a href =
"#chapVII_sec27">vii. 27</a>.</p>


<p class = "space">
Caelius, M. Rufus, <a href = "#chapII_sec25">ii. 25</a>.</p>

<p>Caesar, C. Iulius, <a href = "#chapII_sec25">ii. 25</a>.</p>

<p>Calvus, i, 115: <a href = "#chapII_sec25">ii. 25</a>.</p>

<p>Carbo, <a href = "#chapVII_sec27">vii. 27</a>.</p>

<p>Cato, <a href = "#chapV_sec13">v. 13</a>.</p>

<p>Cestius, <a href = "#chapV_sec20">v. 20</a>.</p>

<p>Cicero, <a href = "#chapII_sec18">ii. 18</a>: <a href =
"#chapIII_sec1">iii. 1</a>: <a href = "#chapV_sec2">v. 2</a>, <a href =
"#chapV_sec11">11</a>, <a href = "#chapV_sec16">16</a>: <a href =
"#chapVII_sec19">vii. 19</a>, <a href = "#chapVII_sec27">27</a>, <a href
= "#chapVII_sec30">30</a>.</p>

<p>Cinna, C. Helvius, <a href = "#chapIV_sec4">iv. 4</a>.</p>

<p>Clodius, <a href = "#chapV_sec13">v. 13</a>.</p>

<p>Cornelius, C., <a href = "#chapV_sec13">v. 13</a>.</p>

<p>Crassus, <a href = "#chapIII_sec1">iii. 1</a>: <a href =
"#chapV_sec2">v. 2</a>.</p>


<p class = "space">
Demosthenes, <a href = "#chapII_sec24">ii. 24</a>: <a href =
"#chapIII_sec25">iii. 25</a>, <a href = "#chapIII_sec30">30</a>.</p>


<p class = "space">
Empylus Rhodius, <a href = "#chapVI_sec4">vi. 4</a>.</p>

<p>Epicurus, <a href = "#chapII_sec15">ii. 15</a>4.</p>


<p class = "space">
Helvius (C. Cinna), <a href = "#chapIV_sec4">iv. 4</a>.</p>

<p>Hortensius, <a href = "#chapV_sec13">v. 13</a>: <a href =
"#chapVI_sec4">vi. 4</a>.</p>

<p>Hyperides, <a href = "#chapV_sec2">v. 2</a>.</p>

</td>
<td>

<p>
Isocrates, <a href = "#chapIV_sec4">iv. 4</a>.</p>

<p>Iulius Florus, <a href = "#chapIII_sec13">iii. 13</a>.</p>

<p>Iulius Secundus, <a href = "#chapIII_sec12">iii. 12</a>.</p>


<p class = "space">
Laenas Popilius, <a href = "#chapVII_sec32">vii. 32</a>.</p>

<p>Livius Andronicus, <a href = "#chapII_sec7">ii. 7</a>.</p>


<p class = "space">
Marcia, <a href = "#chapV_sec13">v. 13</a>.</p>

<p>Messalla, <a href = "#chapV_sec2">v. 2</a>.</p>

<p>Metrodorus Scepsius, <a href = "#chapVI_sec4">vi. 4</a>.</p>

<p>Milo, <a href = "#chapVII_sec13">vii. 13</a>, <a href =
"#chapVII_sec20">20</a>.</p>


<p class = "space">
Persius, <a href = "#chapIII_sec21">iii. 21</a>.</p>

<span class = "pagenum">224</span>
<p>Phryne, <a href = "#chapV_sec2">v. 2</a>.</p>

<p>Porcius Latro, <a href = "#chapV_sec18">v. 18</a>.</p>


<p class = "space">
Sallust, <a href = "#chapII_sec17">ii. 17</a>: <a href =
"#chapIII_sec8">iii. 8</a>.</p>

<p>Sulpicius, <a href = "#chapV_sec4">v. 4</a>: <a href =
"#chapVII_sec30">vii. 30</a>.</p>


<p class = "space">
Thucydides, <a href = "#chapII_sec17">ii. 17</a>.</p>

<p>Tiro, <a href = "#chapVII_sec31">vii. 31</a>.</p>


<p class = "space">
Varius, <a href = "#chapIII_sec8">iii. 8</a>.</p>

<p>Vergil, <a href = "#chapIII_sec8">iii. 8</a>.</p>


<p class = "space">
Xenophon, <a href = "#chapV_sec2">v. 2</a>.</p>

</td>
</tr>
</table>


<span class = "pagenum">225</span>
<h4><a name = "index2_matters" id = "index2_matters">INDEX OF
MATTERS.</a></h4>

<p class = "line">&nbsp;</p>

<h6>(The first reference is to the chapter and section of the text; the
second to the page and column of the explanatory notes. References to
the Introduction are given separately.)</h6>

<p class = "mynote">
The above paragraph was in the original text. For this e-text, only the
section numbers are linked; sections are generally very short, and notes
adjoin the text.</p>

<table class = "index" summary = "index in two columns">
<tr>
<td width = "50%">

<p>abruptus, <a href = "#chapII_sec19">ii. 19</a>: 131b.</p>

<p>adducere frontem, <a href = "#chapIII_sec13">iii. 13</a>: 142a.</p>

<p><span class = "greek" title = "alogos tribê">ἄλογος τριβή</span>, <a
href = "#chapVII_sec11">vii. 11</a>: 174a.</p>

<p>Annales Pontificum, <a href = "#chapII_sec7">ii. 7</a>: 126a.</p>

<p>antiqui, <a href = "#chapII_sec17">ii. 17</a>: 130b.</p>


<p class = "space">
basilica, <a href = "#chapV_sec18">v. 18</a>: 164b.</p>

<p>bona fide, <a href = "#chapIII_sec23">iii. 23</a>: 146b.</p>


<p class = "space">
cerae, <a href = "#chapIII_sec30">iii. 30</a>: 149a.</p>

<p>certe scio, <a href = "#chapII_sec5">ii. 5</a>: 124b.</p>

<p>civilia officia, <a href = "#chapIII_sec11">iii. 11</a>: 140a.</p>

<p>classis, <a href = "#chapV_sec18">v. 18</a>: 166a.</p>

<p>cogitatio, <a href = "#chapVI_sec1">vi. 1</a>: 167a.</p>

<p>communes loci, <a href = "#chapV_sec12">v. 12</a>: 159b.</p>

<p>confirmatio sententiarum, <a href = "#chapV_sec12">v. 12</a>:
159a.</p>

<p>contorta vis, <a href = "#chapVII_sec14">vii. 14</a>: 176a.</p>

<p>cothurnus (Sophocli), <a href = "#chapII_sec22">ii. 22</a>: 133a.</p>

<p>cum eo quod, <a href = "#chapVII_sec13">vii. 13</a>: 175a.</p>


<p class = "space">
declinata figura oratio, <a href = "#chapV_sec8">v. 8</a>: 157a.</p>

<p>decretoria (arma), <a href = "#chapV_sec20">v. 20</a>: 165b.</p>

<p>destructio sententiarum, <a href = "#chapV_sec12">v. 12</a>:
159a.</p>

<p>dicendi ex tempore facultas, <a href = "#chapIII_sec2">iii. 2</a>: <a
href = "#chapVII_sec1">vii. 1</a>, <a href = "#chapVII_sec5">5</a>, <a
href = "#chapVII_sec24">24</a>.</p>

<p>dictare, <a href = "#chapIII_sec19">iii. 19</a>: 144a.</p>

<p>digerere inordinata, <a href = "#chapIV_sec1">iv. 1</a>:
commentarios, <a href = "#chapVII_sec30">vii. 30</a>.</p>

<p>dilectus, <a href = "#chapIII_sec5">iii. 5</a>: 138a.</p>

<p>ducere opus, <a href = "#chapIII_sec18">iii. 18</a>: 144a.</p>

<p>dum non, <a href = "#chapIII_sec7">iii. 7</a>: 138b.</p>

<span class = "pagenum">226</span>
<p class = "space">
efferre se, <a href = "#chapIII_sec10">iii. 10</a>: 140a.</p>

<p>exactus, <a href = "#chapII_sec14">ii. 14</a>: 128a.</p>

<p>exilis, <a href = "#chapII_sec16">ii. 16</a>: 129b.</p>

<p>extemporalis color, <a href = "#chapVI_sec5">vi. 5</a>: 168b.</p>

<p>extemporalis actio, <a href = "#chapVII_sec18">vii. 18</a>:
temeritas, <a href = "#chapVI_sec6">vi. 6</a>.</p>

<p>exultare, <a href = "#chapII_sec16">ii. 16</a>: 130a.</p>


<p class = "space">
facilitas, <a href = "#chapII_sec12">ii. 12</a>: <a href =
"#chapIII_sec7">iii. 7</a>: <a href = "#chapVII_sec19">vii. 19</a>.</p>

<p>fas erat, <a href = "#chapV_sec7">v. 7</a>: 157a.</p>

<p>favorabilis, <a href = "#chapV_sec21">v. 21</a>: 166a.</p>

<p>forsitan, <a href = "#chapII_sec10">ii. 10</a>: 126b.</p>

<p>frugalitas, <a href = "#chapIII_sec26">iii. 26</a>: 147b.</p>

</td>
<td>

<p>
horride, <a href = "#chapII_sec17">ii. 17</a>: 130a.</p>


<p>
infelicitas, <a href = "#chapII_sec8">ii. 8</a>: 126a.</p>

<p>infinitae questiones, <a href = "#chapIII_sec11">iii. 11</a>:
158a.</p>


<p class = "space">
lima, <a href = "#chapIV_sec4">iv. 4</a>: 152a.</p>

<p>loci communes, <a href = "#chapV_sec12">v. 12</a>: 159b.</p>

<p>lucrativa opera, <a href = "#chapVII_sec27">vii. 27</a>: 180b.</p>

<p class = "space">
membranae, <a href = "#chapIII_sec31">iii. 31</a>: 150a.</p>


<p class = "space">
non sit, <a href = "#chapII_sec27">ii. 27</a>: 135a.</p>


<p class = "space">
obiurgare, <a href = "#chapIII_sec20">iii. 20</a>: 145a.</p>

<p>offensator, <a href = "#chapIII_sec20">iii. 20</a>: 145a.</p>

<p>opinio, <a href = "#chapV_sec18">v. 18</a>: 164a.</p>


<p class = "space">
paraphrasis, <a href = "#chapV_sec5">v. 5</a>: 155b.</p>

<p>pilarii, <a href = "#chapVII_sec11">vii. 11</a>: 174b.</p>

<p>pontificum annales, <a href = "#chapII_sec7">ii. 7</a>: 126a.</p>

<p>praescriptum, <a href = "#chapII_sec2">ii. 2</a>: 123b.</p>

<p>praesumere, <a href = "#chapV_sec4">v. 4</a>: 155a.</p>

<p>profectus, <a href = "#chapIII_sec2">iii. 2</a>: 136b.</p>

<p>professor, <a href = "#chapV_sec18">v. 18</a>: 164a.</p>


<p class = "space">
rarum est ut, <a href = "#chapVII_sec24">vii. 24</a>: 179b.</p>

<p>ratio c. gerund, <a href = "#chapIII_sec31">iii. 31</a>: 149b.</p>

<p>ratio constat, <a href = "#chapII_sec1">ii. 1</a>: 123a.</p>

<p>ratio (in scribendo), <a href = "#chapIII_sec15">iii. 15</a>:
143a.</p>

<p>repraesentare, <a href = "#chapVII_sec2">vii. 2</a>: 170b.</p>


<p class = "space">
sententiae, <a href = "#chapII_sec17">ii. 17</a>: <a href =
"#chapV_sec4">v. 4</a>.</p>

<p>silva, <a href = "#chapIII_sec17">iii. 17</a>: 143b.</p>

<p>stilus, <a href = "#chapIII_sec1">iii. 1</a>, <a href =
"#chapIII_sec32">32</a>; <a href = "#chapVII_sec16">vii. 16</a>.</p>

<p>supinus, <a href = "#chapII_sec17">ii. 17</a>: 131a.</p>

<p>supplosio pedis, <a href = "#chapVII_sec26">vii. 26</a>: 180b.</p>


<p class = "space">
<p>tenuitas, <a href = "#chapII_sec23">ii. 23</a>: 133b.</p>

<p>theses, <a href = "#chapV_sec11">v. 11</a>: 158a.</p>

<span class = "pagenum">227</span>
<p><span class = "greek" title = "tribê alogos">τριβὴ ἄλογος</span>, <a
href = "#chapVII_sec11">vii. 11</a>: 174a.</p>


<p class = "space">
validius, <a href = "#chapIII_sec12">iii. 12</a>: 140b.</p>

<p>ventilator, <a href = "#chapVII_sec11">vii. 11</a>: 174b.</p>

</td>
</tr>
</table>

<hr class = "spacer">

<div class = "contents">

<p><a href = "../main.html">Preface</a></p>

<p><a href = "QuintIntro.html">Introduction</a></p>

<p><a href = "QuintBody1.html">Chapter I</a></p>

<p><a href = "#toc2">Chapters II-VII</a> <i>top</i></p>

<p><a href = "QuintCrit.html">Critical Notes</a></p>

</div>


</body>
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