People are born poets, they become speakers!
This is the essence of his teachings. The main rule of the speaker is to take the path of rules and instructions. Here it is not enough to be born with the gift of eloquence, you must be able to manage it. The speaker creates rules for the choice of words, arranges them logically in sentences, discards irrelevant details and conveys the true meaning to his listeners.
"Who? What? Where? When? How? How? Why?" — this is what the model created by a rhetorician looks like. And to this day, his recommendations on how to construct sentences correctly are used in many professions today.
According to Quintilian, an orator is a sage who brings the truth to the people. And for truth it is not enough to have the necessary natural data. With ethics, moderation and logic, they together give the same result.
Literature[ | ]
- Kuznetsova T.I.
Classics and classicism in the theory of Quintilian.
// Kuznetsova T. I., Strelnikova I. P.
Oratory in ancient Rome. — M.: Science. 1976. - Ch. 5. - pp. 174-206. - Losev A. F.
History of ancient aesthetics. Early Hellenism. - M.: Art, 1979. - P. 492-505. - Albrecht M. von
. History of Roman Literature. / Per. with him. - T. 2. - M., 2004. - P. 1365-1376. - Borzunov A. A.
On the question of Quintilian’s political views // Political structure and social life of ancient Rome: Problems of ancient statehood. - Yaroslavl, 1993. - pp. 66-76.
Rhetoric of Quintilian
Having studied a huge number of ancient Greek and some Roman works, Marcus Fabius Quintilian divided rhetoric into 5 postulates. He divides types of speech into commendable and discreditable, judicial speeches and reasoning.
One of the most important aspects of speech, in his opinion, is intonation, which can direct speech to flow in the right direction. The same goes for gestures and the ability to stop in time. These qualities will help to evoke laughter, horror, regret, sympathy - the whole range of human emotions that can arouse sympathy in the public or convince judges whenever the speaker wishes.
short biography
Having begun his activities at a school organized by Emperor Titus Flavius Vespassian, the outstanding orator Marcus Fabius Quintilian became a respected professor and the voice of high Roman society. According to historians, he was an ardent admirer of Cicero's work, but at the same time he was able to completely change the literary style of his time.
You will be interested in: Ferdinand Magellan: biography, discoveries of the navigator, history of the trip around the world
Marcus Fabius Quintilian on the education of an orator
There are no incapable children, but it is necessary to take into account the personal qualities and abilities of each of them. This is exactly the approach Quintilian used when teaching his students. He adhered to three main steps, saying that children must first be taught imitation and the necessary rules, and then only given the opportunity to practice.
He did not recognize individual training. In his opinion, it is being in society that allows a person to take control of himself. In friendly relations there is no place for material persuasion, so you can achieve your goal only in word and deed.
Corporal punishment should be abandoned. The most important thing for a child is to find his “I” as early as possible. A good relationship between student and teacher is the key to hard work. Studying grammar and reading the right books will help in mental development and moral education. Don't neglect penmanship. Education should begin as early as possible, no matter that at first children will be able to learn little, but year after year, collecting grain by grain of knowledge, they will reach the desired heights. By nature, all children have talent, but without proper education it cannot be revealed.
Works
The works of Marcus Fabius Quintilian “Admonitions to the Orator” included twelve books, each of which is devoted to a separate issue within the entire topic. Thus, the first volume examines the issues of raising a child (boy) by parents. The second reveals the essence of training in rhetoric school. From the third to the ninth, Quintilian talks about the theory of oratory. The tenth analyzes works useful for the future speaker. The eleventh contains oratorical techniques, and the twelfth book sums up the whole work, creating the image of an ideal speaker - a man of high morality and morality with a broad outlook and flexible mind.
He created this series of books thanks to the persuasion of his students and comrades. Referring to the fact that enough works had been created on this topic before him, Marcus Fabius did not want to take on the work for a long time, but ultimately he decided that no one else would be able to collect, systematize and describe all the necessary points that are important for training. This is how a great work was created, based on the importance of the unity of impeccable style and content.
Symposium Συμπόσιον
Life, dating
M. Fabius Quintilian was born in Calagurris, in Spain.
In Rome, where his father teaches rhetoric, he, among other things, studies with the famous grammarian Remmius Palemon and the orator Domitius Afra and then returns to his homeland. In 68, he came to the capital in the retinue of Galba, governor of Tarraconian Spain. In Rome, he taught rhetoric for twenty years, being the first to be paid for this activity at public expense. He was so highly respected that he even received signs of consular dignity. However, all this does not save Quintilian from the heavy blows of fate: he loses his nineteen-year-old wife and both sons (6 prooem.). After he ceases his teaching activities, Domitian entrusts him with raising the grandchildren of his sister Domitilla; this situation determined his generosity in praising the tyrant[1]. He died, apparently, around 96[2]. Lost works: De causis corruptae eloquentiae
(not identical to Tacitus's Dialogue; cf. 6 prooem. 3) and a speech, the publication of which he himself regrets[3].
Declamationes
[4] were in fact attributed to him.
The main work, Institutionis oratoriae libri XII
, which he wrote after retiring, has survived.
They are dedicated to Vitorius Marcellus[5] (1 prooem. 6) and intended for his son Geta. The final version apparently took more than two years to complete. At the insistence of the publisher Tryphon, the work was published around 94 A.D.[6] Review of creativity
Twelve books[7] in total include 115 chapters, which to a certain extent represent independent units.
The parts fit together well. The organization of a significant amount of material is a typically Roman achievement. The first book deals with initial training, as well as the importance of grammar, music and other subjects of ἐγϰύϰλιος παιδεία for the orator. The second introduces rhetoric; books three to seven are devoted to inventio
and
dispositio
(finding and arrangement of material), books eight to eleven are devoted to
elocutio
(style),
memoria
(memory) and
actio
(execution of speech).
The subject of the twelfth book [8] is the orator and speech. The tenth book[9], a kind of course in the history of literature for the beginning speaker, deserves special mention. Sources, samples, genres
Quintilian undertook a detailed study of the sources.
Its samples can only be judged taking into account tradition in its entirety. It must be borne in mind that he did not limit himself to textbooks, but duly selected the most essential. Cicero[10] sets the tone not only for stylistics, but also for the educational ideal as such. The author does not limit himself to studying the literature on public speaking and draws on his own experience (eg, 6, 2, 25). It seems that Quintilian knows Greek authors less “at first hand” than Latin ones. However, for primary education he gives the Greek language a privileged place (1, 1, 12), discusses Greek literature in some detail (10, 1, 46-84) and quotes Plato in the original (2, 15, 27 ff.). Literary technique
The author deliberately deprives his work of the stylistic features characteristic of compendiums and combines the seriousness of a scientific manual with the pleasantness of a popular science book.
Although Quintilian, unlike Cicero ( De oratore
), refuses the dialogic shell, he strives - within the limits of what is permissible in prose - for brilliance (3, 1, 3) and impressive imagery, which will have something to say to the human soul (cf. 6, 2, 32): the ideal of “naturalness” is made clear through comparison with a healthy, normally built body (2, 5, i).
Similarly, the comparison with a bird illustrates the various stages of training: first, crushed food is given, then the chick is accompanied in flight, and only then the pet is left to its own devices. Taking care of a slim body is a clear image of weaning ourselves from grandiloquence (2, 10, 6). There is also an exquisite musical parallel: a speaker must master all types of speech, just as a singing teacher must master all timbres (2, 8, 15)[11]. To explain that the speaker who wants to captivate others must be captivated himself, Quintilian recalls that water, fire and color also “communicate” (6, 2, 28; cf. in this regard an excellent example from personal experience: frequenter motus sum, “ I was excited more than once"
- ibid. 36).
Some prefaces go beyond the generally accepted [12], where the speaker talks about his own life (books 1, 4, 6 and 12). The rhetorician knows how to write literary portraits. In general, like Seneca the Elder, he has the ability to give his teaching a personal tone. Certain passages are particularly lively; These are passages on the upbringing of children (Book 1), on the duties of a teacher (Book 2) and on the value for the speaker of reading certain authors (10, 1). Language and style
[13] The nature of the textbook, in principle, corresponds to a businesslike and clear style;
The author does not avoid professional terminology, but reproduces it correctly. There are no piles of metaphors; the order of words, as a rule, is strictly functional. Despite this, Quintilian knows how to add gloss to dry matter[14]. Instead of complex sentences, deeply echeloned periods can appear on the stage, and even in purely technical discussions a prosaic rhythm dominates. Quintilian reveals the possibilities of changing moods as a method of variatio
: advice is given not only in the imperative conjunctive and in gerund constructions - the future tense can also serve as a soft substitute for the imperative mood (for example, 10, 1, 58; 3, 18).
Although with caution, stylistic decorations are used[15]. Where the content allows it, rhetorical excitement softens the business style of the textbook, as in the discussion of affects (6, 2, 2-7) and in polemical reasoning. Despite his classicism, the teacher of oratory is not completely alien to fashion: for example, he freely, in the spirit of the times, substantives adjectives[16]. An enthusiastic admirer of Cicero,[17] though more in substance than in form, he adheres not to the vocabulary of the great orator,[18] but to his richness of register and taste for what is appropriate in each particular case. Way of Thought I. Literary Reflections
In grammar, Quintilian follows the verbal practice of educated people (
usus
) and laughs at the pedantry of analogists[19].
He insightfully compares the stylistic possibilities of Greek and Latin (12, 10, 27-38). The ethical and aesthetic elements for him are closely interconnected (2.5, 11-12). Beginners should avoid both archaisms and modernisms[20], especially the fashionable aphoristic style (12, 10, 73-76); at a more advanced stage, it is already permissible to study both ancient and modern material (2, 5, 21-23). Quintilian’s strict literary taste is characterized by the requirement to take care of stylistic design, but not in such a way that form becomes an end in itself (inst, 8 praef.)[21]. Movere
and
delectare
must not stand in the way
of docere
;
therefore, you need to write candide atque simpliciter
(“simpliciter and without complexity,” inst. 12, 11, 8).
In his pursuit of clarity ( perspicuitas
), Quintilian set the tone for both speaker and teacher;
It will remain in school for a long time. However, the so-called classicism of Quintilian is not identical to narrowness: the Greek models must be approached in a qualitative sense; there is no single saving style, and even optimi auctores
, “the best authors,” remain human;
It is worth maintaining a balance between ingenium
and
ars
, as well as between form and content.
Quintilian is far from presenting exclusively one era as a model. The so-called literary-historical part of Education
- book 10 - is, in fact, also not historical in the strict sense of the word.
The author compares Greek and Roman literature on equal terms. Archaic, classical and Hellenistic are perceived without taking into account temporal features (unlike Greek theorists, who tended to neglect Hellenism). Great literature in its entirety is vitally relevant to the Roman. Significant achievements are possible at all times and in all genres. Way of thinking II
Let us combine the individual features of the educational concept into one whole: the leading image will be a perfect speaker, who must also be a decent person.
Language and speech are his medium. The curriculum, in addition to the grammatical and rhetorical sphere, which, however, is given clear preference, also includes other subjects (ἐγϰύϰλιος παιδεία). The requirement of general educational training as an indispensable condition for the education of a future orator for Quintilian, as well as for Cicero ( De oratore
), is of a fundamental nature (1, 10, 2-4), since it imparts hidden abilities and is felt in the orator even when he is not speaking at the surface is open (ibid. 7; cf. Cic. de orat. 1, 72 ff.).
Music[22] is discussed
in first place among the arts ( artes it helps to maintain moderation in movements, give your speech an attractive rhythm and correctly read poetic texts. The educational value of mathematical disciplines is of a formal nature (1, 10, 34 acui ingenia
, “minds are refined”);
Most of all, they help the speaker in proving; this is also true for dialectics, which Quintilian discusses not among other arts, but within the framework of philosophical education (12, 2, 10-14). He cannot even talk about a strict system of liberal arts.[23] The moral orientation of education is also very important: rhetoric is placed at the service of pedagogy. Unlike the Sophists, Quintilian also pursues moral goals in his education: during classes, the child learns virtus
;
valor needs to be talked about, it needs to be studied, and philosophical works, of course, are weapons from the orator’s arsenal, but in general, Quintilian’s philosophy, in comparison with Cicero, is inferior to oratory: philosophia
...
simularipotest, eloquentia non potest
(“a philosopher ... you can pretend to be eloquent man - no”, inst. 12, 3, 12).
Education must begin at an early age. First of all, the child - both linguistically and morally - should encounter only good examples. The greatest share of responsibility lies with parents, whose duty is to take care of upbringing and not give the child an example of effeminacy and corruption of morals. An early start to classes allows you to combine cognition with emotionality, to introduce psychomotor and play. Greek is learned before Latin. School classes have an advantage over home classes, since learning is more effective in a group: it is easier to imitate a school friend than a teacher, for whom, in turn, a large audience creates stronger motives. A teacher must meet high standards: he must be both a father and a friend. First of all, he must take the right attitude towards the students and submit to discipline himself. His criticisms should not hurt. He must think about his role and master the art of transformation. His behavior must bear the stamp of authenticity; affect loosens the tongue, and therefore it is necessary, first of all, to experience it yourself and clearly imagine the content of the lesson. The teacher is not a reseller. The student has his own dignity; it cannot be touched. Quintilian rejects the then usual beatings, since they traumatize the personality (1.3, 14-17). More effective is praise, love for the teacher and - gradually replacing it more and more - for the subject. pietasu concordia
should reign , which determine the possibility of successful classes.
Like Theodore's admirers, Quintilian does not consider it advisable to develop comprehensive instructions: the latter change depending on circumstances and sometimes deserve to be canceled. The task is to recognize individual abilities and favor their development (2, 8): the different aspects of talent from a pedagogical point of view must be balanced so that one-sidedness does not arise. Correction of errors can be successful to the best of one's ability, and should not be carried out in such a way as to kill hope. The method corresponds to the structure of the subject. A variety of social forms of teaching and pauses are needed. The goal of pedagogy is to give the student the opportunity to independently master the subject and make the teacher “an extra figure” (2, 5, 13). Quintilian recommends that young people learn exemplary texts by heart, rather than the fruits of their own creativity: this way they can enrich their vocabulary and develop a style (2, 7, 1-4). An adult must prepare his speeches in writing, if possible even as if “carving them with a chisel” (12, 9, 16). Dispute tactics is an area to which the author pays special attention for the first time[24]. Compared to Cicero, the doctrine of the morality of the speaker and his duty is presented in more detail (Book 12). Tradition[25] Of the large number of manuscripts, only a few are old; they complement each other: 1. Group (A): Ambrosianus E 153 sup. (A; 9th century). 2. Group (B): Bernensis 351 (Bn; 9th century), old parts of Bambergensis (Bg; 10th century); Parisinus Nostradamensis 18 527 (N; 10th century). 3. Group (C): newer manuscripts (15th century), as well as newer parts of Bambergensis. Ambrosianus and Bernensis have equal authority. Only where they diverge or do not provide readings - unfortunately, both arrived with lacunae - do we have to turn to newer manuscripts, whose value should be determined with a certain degree of skepticism; this also applies to Parisinus lat. 7723 (P, XV century), which is highly appreciated by L. Radermacher. Influence on Later Era
The beneficial influence of Quintilian's teachings can be easily recognized in the letters of Pliny, the Dialogue of Tacitus, and perhaps in the simple business style of Suetonius.
Institutio, however, does not immediately meet with the response it deserves, since Fronto and his school turn to the archaic. Rhetors, for example, Fortunatian and Julius Victor, willingly use our author (the latter has for us the value of a Quintilian manuscript). Hilary ( De trinitate
) imitates Quintilian down to the identical number of books.
The name of the speaker is mentioned by Jerome, Rufinus and Cassiodorus. His universal educational ideal, drawn from the Ciceronian school, apparently also influenced Augustine and Marcianus Capella. The Middle Ages - especially in France - dealt mostly with damaged manuscripts containing gaps. Lupe de Ferrières[26] († after 862) among other things ordered a copy of Quintilian. In Germany in the X-XI centuries. Quintilian is available in its entirety, but even here, for the most part, they are content with anthologies; the full text was discovered by Poggio in 1415/16 in St. Gallen[27]. Quintilian's influence on literary criticism and pedagogy was especially great from the 15th to the 17th centuries. Already Petrarch († 1374) writes a letter to Quintilian, Lorenzo Valla († 1457) puts him even higher than Cicero[28], while Filelfo († 1481) disparages his Latin as “Spanish”[29]. The apt Quintilian characteristics of various authors have their own history[30]. It shapes taste, forms a canon of authors to read, and leaves its mark on the theory of all the arts, even music[31]. Erasmus thoroughly studied Quintilian, Luther prefers him to almost all authors, Melanchthon recommends him for study. In the school of Quintilian, modern Europe learned to think and speak independently. In the Baroque era one can speak of a revival of Quintilian; Following in his footsteps is, for example, I. Matt. Mayfarth († 1642) with his TeutscheRhe-torica (Coburg 1634) - the first of the German rhetorics of great importance. Until the end of the 18th century, Quintilian’s system was studied in school[32] - partly in abridged editions (for example, Rollin, Paris 1715). J. S. Bach, himself a former teacher of Latin and a colleague of the Quintilian expert I. M. Gesner († 1761), had an unusual sympathy for Quintilian in his field [33]. The young Goethe notes in his Ephemerides (1770-1771) nineteen passages from the first, second and tenth books of the Institutio
[34].
The decline of Quintilian's influence is facilitated by his disappearance from the canon of authors for reading accepted in the Jesuit colleges, as well as the contempt for rhetoric that became fashionable in the romantic era. Mommsen (RG 5, 70) considers the Institutio “one of the most excellent works that Roman antiquity has left us.” Already in the 20th century, Luciano Albini (Pope John Paul I) in his letter expressed the wish that Quintilian methods and content would not be consigned to oblivion[35]. [1] 4 prooem.
3—5; 10, 1, 91 words; 3, 7, 9. [2] The letters of Pliny the Younger, who was a student of Quintilian (2, 14; 6, 6), seem to suggest the death of the latter. [3] In addition, there was also a lecture on rhetoric published against the will of the author (3, 6, 68; 1 prooem. 7). [4] Literature: see translation by L. A. Zussman, Frankfurt 1987; DR Shackleton Bailey, More on Pseudo-Quintilian's Longer Declamations, HSPh 88, 1984, 113-137. 19 of the larger declamations cannot be authenticated by their language; in the 4th century according to R.H. they were used by Firmicus Materi. Small Declamations (1st-2nd centuries) are impeccable from the point of view of language; P. Erodius and Konstantin Ritter, for example, accept them as genuine. [5] OI Salomies, Quintilian and Vitorius Marcellus, Arctos 16, 1982, 153-158. [6] For the date of publication (no later than 94), see: B. Zucchelli, Sulla data di pubblicazione dell Institutio oratoria di Quintiliano, in: Filologia e forme letterarie, FS F. Della Corte 4, Urbino 1987, 47-60; about 97-98: see W. C. McDermott and A. E. Orentzel, Quintilian and Domitian, Athenaeum 67, 1979, 9-26. [7] Prefaces accompany books 1, 4, 5, 6, 7, 8 and 12. [8] C. J. Classen, Der Aufbau des 12. Buches der Institutio oratoria Quintilians, MH 22, 1965, 181-190. [9] B. Schneider, Die Stellung des zehnten Buches im Gesamtplan der Institutio oratoria des Quintilian, WS NF 17, 1983, 109-125. [10] Cp. 1.6, 18; 5, 13, 52; 10, 1, 112. [11] Cf. also 12, praef. 2-4 (ship), 2, 4, 7 (ore smelting), 12, 10, 3-9 (art history); Wed moreover K Ahlheid, Analoga ontleend aan de athletiek bij Quintilianus, in: Apophoreta, FS AD Leeman, Amsterdam 1977, 3-10. [12] The first preface is a competition with that of Cicero’s Orator; T. Janson, Latin Prose Prefaces. Studies in Literary Conventions, Stockholm 1964, 50-59; In the difficult preface of the eighth book, the connection is created by the theme of Labor: E Ahlheid 1983. [13] Especially see E. Zundel, Lehrstil und Rhetorischer Stil in Quintilians Institute Oratoria, FrankfUrt 1981. [14] Admiscece Temptavimus al. uid nitons, “we tried to add some shine ", 3, 1, 3. [15] Anaphoras (e.g. 10, 1, 55; 99; 115), Chiasm (10, 5, 14 aliturrenovatur), Zevgma (5, 10, 121). [16] He is not at all blind to the trends of his time: Sunt Enim Summa Hodie, Quibus Inlustratur Fomm, Ingenia (“Today there are outstanding talents - the beauty of the forum”, Inst. 10, 1, 122); P. HIRT, Uber Die Substantivierung des Adjectivums Bei Quintilian, Progr. Berlin 1890. [17] Ille Se Profecisse Sciat, Cui Cicero Valde Placebit (“Let the one who will really like Cicero, Inst. 10, 1, 112). [18] See numerous evidence in: W. Peterson, commentary on Prince. 10, Oxford 1891, reprints. 1967, XXXIX - LXVII. [19] A. Alberte, Ciceron in Quintiliano Ante Los Principios Anaalogistas in Anomalistas, Mineerva 1, 1987, 117-127. [20] About his “acid -sour” judgment on the “modernist” Seneca: th. Gelzer, Quintilians Urteil Iiber Seneca. Eine Rhetorische Studie, MH 27, 1970, 212–223; G. Ballair, II Giudizio di Quintiliano Sullo Stile di Seneca (Inst. 10, 1, 129 s.), GB 9, 1980, 173-180; K. Heldmann 1980; It is characteristic that he especially praises Terentia (10, 1.99), but not to Plave (against excessive admiration for the antiquity, see 2, 5, 21). [21] E Ahlheid 1983. [22] U. Muller, Zur Musikalischen Terminologie Der Antiken Rhetorik. Ausdruk --ke fur stimmanlage und Stimmgebrauch Bei Quintilian, Inst. 11.3, Archiv Fur Musikwissenschaft 26, 1969, 29–48; 105-124; M. von albrecht, Musik und Rhetorik Bei Goethe und Quintilian, in: M. Von Albrecht, W. Schubert, ed., Musik in Antike und Neuzeit, Frankfurt 1987, 31-50; G. Wille, Quintilian, B: Die Musik in Geschichte und Gegenwart, ed. F. Blume, Kassel b. G., SV Quintilian, SP. 1818-1820. [23] Schoolboy comes to Ludi Magister at 7 years old; Here he learns to read, letter and account. From the age of 14, the grammar explains to him historians and poets. Music and geometry - side objects; Sports, religious education and social studies are absent. From the age of 15, he continues his studies with Rhetoric (Controversiae, Suasoriae, Philosophy) and listens to legal advisers, as well as prominent Romans who are defenders or prosecutors in court. [24] Altercatio 6, 4, 1: Do not persist where you will be refuted! Hay the opponent from the way, surprise him, let him get confused! Above all is the presence of the spirit (12, 5). [25] M. Winterbottom, preface to ed.; M. Winterbottom, Fifteenth Century Manuscripts of Quintilian, CQNS 17, 1967, 339–369; CE MURGIA, A PROBLEM in the Transmission of Quintilian's Institutio Oratoria, CPH 75, 1980, 312-320. [26] P. Lehmann, Die Institutio Oratoria des Quintilianus Im Mittallater, Philologus 89, 1934, 349–383, especially 354-359. [27] O. Seel 1977, 259-265. [28] M. WeGner, AlterTumSkunde, Mimchen 1951, 30. See the influence now: CJ Classen, Quintilian and the Revival of Learning in Italy, Humlov 43, 1994, 77-98. [29] G. Voigt, Die WiederBelebung des Classischen Alterthums, Berlin 1893, 13, 464. [30] F. Quadlbauer, Livi Lactea Ubertas. Bemerkungen ZU Einer Quintilianischer Formel und Ihrer Nachwirkung, in: E. Lefevre, E. Alshausen, ed., Livius, Werk und Rezeption, FS E. Burck, MIINCHEN 1983, 347–366. [31] J. Kramer, Zur Friihgeschichte Der Musikalischen Rhetorik: Joachim Burmeister, IJM 2, 1993, 101-112. [32] The author of this book opened the manuscript reflecting the rhetorical classes of the Baroque era; The first time it was published in: Th. Feigenbutz and A. Reichensperger, Barockrhetorik und Jesitenpdagogik, Vulcanos Sagata Pallas (TPK), 2 BDE., Tubingen 1966. [33] U. Kirkenodale, Bach Und QUINTILIAN. Die Institutio Oratorio, Als Modell des Musikalischen Opfers, in: M. von albrecht, W. Schubert, ed., Musik in Antike und neuzeit, Frankfurt 1987, 85-107. [34] O. Seel 1977, 288-313. Goethe later judges quintilles in negative (Conte, LG 517). [35] von albrecht, Rom 317 p., Approx. 86. Links to other materials: Quintilian ‹Seneca senior Up Pliny Senior›
Basic Rules
Speech should fully reveal the meaning and convey the truth, but not be excessively long. It should contain words that will enliven it, but not overload it. The speaker must have a lively and bold speech, but not offensively impudent. The speaker needs to set three goals that will determine the direction of the speech: persuasion, pleasure, passion. You can’t talk about something you don’t have the slightest idea about, because then the word will become far from reality.
No rules or instructions can exist without talent. The opposite is also true. Speech is a material given to a person by nature, but without a person’s ability to master it, it turns into an empty sound that is not worthy of attention.
Theory and practice are closely interconnected. There is no point in learning anything without being able to apply your knowledge. Practice without theory can exist, since the necessary material is acquired as experience is gained, but the greatest effect is achieved only with their proper combination.
Imitation should be a tool for the speaker to improve his skills, but in no case should it become a goal. By studying the statements of ancient thinkers, you can learn the correct, noble style of presenting thoughts. Although speaking and writing are different arts, quoting significant works can show the depth of knowledge of the speaker, which is much more likely to attract attention and help persuade listeners, but only it is worthy of use. Borrowing thoughts and uncontrolled imitation will completely deprive the speaker of his individuality.
The complete collection of all twelve books of Marcus Fabius Quintilian has survived to this day, which cannot be said about his first work, of which only the title remains.
