Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.5
M. van der Poel
This chapter discusses the educational programme presented in Books 1, 2, and 10 of the Institutio, in connection with Quintilian’s view that rhetoric is a virtue and his pedagogical principles, which not only constitute the foundation of his review of the curricula of grammar and rhetoric, but also inform his discussion of rhetoric in the entire work. The Roman ideal of the perfect orator is central to Quintilian’s ideas on education, but these are nevertheless firmly rooted in reality, nourished by his own teaching experience and aimed at the practical goal of improving the education of the orator. Two important concerns of Quintilian about current practices are the pupil’s transition from the grammaticus to the rhetor, especially the relinquishing by rhetors of certain aspects of their duties, and school declamation. More generally, Quintilian voices indirect but unmistakable criticism of contemporary society and culture, for instance when he speaks about the decadent lifestyle in households or expresses moral judgements about effeminacy and licentiousness in epideictic performances. On the other hand, Quintilian is not a moralist or an unworldly idealist, but rather an inspired pedagogue and a retired orator with a passion for good oratory. His main audiences seem to be the grammatici and rhetors of Rome, to whom he presents clear educational principles and didactic advice, and trainee orators and young adult orators, to impress upon them the purposes of the orator and his art.
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.9
D. Levene
This chapter discusses Quintilian’s account of delivery and memory, especially (though not solely) with regard to his extended treatment of them in Book 11. With delivery, it surveys such issues as his discussion of the appropriate gesture and voice to be adopted by the orator, and the pragmatics of delivering a speech before a Roman audience. It discusses Quintilian’s heavily gendered and class-based account of appropriate delivery, where the orator has to adopt manners appropriate for a high-status male and eschew the contrary; it also considers the uneasy relationship between high-status oratory and low-status acting. It focuses above all on the highly textualized account of performance in Quintilian, where delivery is closely linked to an assumed written text, and argues that this is the consequence of Quintilian’s classicism, where oratory is associated with an established literary canon on a par with other literary genres. With memory, it briefly discusses his mnemotechnics, but argues that Quintilian is pulled between two incompatible desires: the classicism which leads him to want to associate memorization with fidelity to a written text, but also the pragmatism which requires a large measure of spontaneity and improvisation, which may be hindered if the orator has prepared a memorized text in advance.
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.15
Lucía Díaz Marroquín
This chapter considers the relationship between Quintilian’s teachings on rhetoric and the artistic milieu of Imperial Rome at the time in which he was writing. It sketches out the deeply philhellenic culture of the Empire, which fostered admiration for the performing arts, and discusses to what extent the public spaces in which the art of rhetoric was performed influenced public oratory and the orators’ dramatic and vocal techniques themselves.
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.21
T. Schirren
This chapter offers a panoramic view of the significant and diverse reception of the Institutio from the eighteenth to the twentieth century in Europe. A central figure on the European continent in the eighteenth century was the pedagogue and rhetorician of Belles Lettres Charles Rollin (1661–1741), who stressed the importance of the Institutio for education, but who also claimed that it is too long and needs to be abridged in order to be useful for Rollin’s time. Other major figures who used Quintilian’s ideas on pedagogy and the vir bonus or aspects of his rhetorical theory in various ways are the Italian G.B. Vico (1668–1744), the Scotsmen Hugh Blair (1718–1800) and George Campbell (1719–1796), the Irishman Gilbert Austin (1753–1837), the Germans Friedrich Andreas Hallbauer (1692–1750), Johann Andreas Fabricius (1696–1769), Johann Matthias Gesner (1691–1761), who produced a critical edition of the Institutio, and Johann Christian Gottsched (1700–1766). Johann Wolfgang von Goethe (1749–1832) is discussed to show how his education in rhetoric through Quintilian informed his views on poetry. For the nineteenth and twentieth century, the work of five German scholars is discussed to highlight the importance of the Instutito in classical and literary studies and in philosophy: Richard Volkmann’s Die Rhetorik der Griechen und Römer (1885), Ernst Robert Curtius’s Europäische Literatur und lateinisches Mittelalter (1948), Heinrich Lausberg’s Handbuch der literarischen Rhetorik (1960), Hans-Georg Gadamer’s Wahrheit und Methode (1960), and Otto Seel’s Quintilian oder die Kunst des Redens und Schweigens (1977).
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.16
Jane Masséglia
Visual art provides a rich seam of analogy for Quintilian, offering parallels for both the art of rhetoric and the art of training orators. Most famous is his catalogue of artists in Book 12, a list of eleven Greek painters and ten Greek sculptors from the sixth to fourth centuries ce. These he uses to demonstrate variations in personal ‘style’, comparing them with a selection of Roman and Greek orators. At first glance, the passage is not especially novel: this kind of artist–orator analogy, his choice of artists, and many of his comments on their merits all have parallels in other authors. But on closer inspection, we can discern two features which are distinctive of Quintilian the educator: the first is his teacherly appreciation of artists and orators who combine talent with hard work; the second is his method of teaching-by-doing. His catalogue of artists is itself a textbook example of the rhetorical skill he demands of his students: a sustained manipulation of the listener’s opinion, elevated by (just enough) specialist detail to appear authoritative.
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.17
Catherine Schneider
This chapter provides a complete survey of the reception of Quintilian in late Antiquity. A brief note on the general literature and research tools available for the study of this vast topic, and on the key testimonies from the fourth until the seventh century, highlighting Quintilian’s fame as teacher of rhetoric and author of the Institutio and the Declamationes, is followed by a discussion of the influence of the Institutio on Christian education and on Christian thought, notably on Jerome, Lactantius, Hilary of Poitiers, Tyconius, Orosius, and Cassiodorus. Quintilian’s importance for the history of grammar is difficult to determine, but similarities between the grammatical chapters of the Institutio and the grammatical treatises of late Antiquity suggest that there may have been some direct influence. Donatus never cites Quintilian, while other grammarians such as Priscian, Diomedes, and Rufinus occasionally mention him or clearly make use of the Institutio. The influence of the Institutio on the so-called Minor Latin Rhetoricians is difficult to prove, but it is clear that the summaries, compilations, specialized monographs, and commentaries which form the substance of the rhetorical tradition in late Antiquity define themselves in one way or another by their relation to the Institutio. There was also some influence of the Institutio on the encyclopaedists Martianus Capella, Cassiodorus, and Isidorus. It was also in late Antiquity that the collections of Major Declamations and Minor Declamations were ascribed to Quintilian.
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Pub Date : 2021-12-03DOI: 10.1093/oxfordhb/9780198713784.013.6
G. Manuwald
This chapter provides an overview of Quintilian’s views on the categories of rhetoric (in relation to existing positions) as outlined in the second part of Book 2 and in Book 3. Concepts discussed include the definition, function, and character of rhetoric, comments on the history of rhetoric and rhetorical theory, the parts of rhetoric, the theory of status, as well as the different types of speeches and their characteristics. It can be shown that this part of the Institutio oratoria is an important source and illustrates how an educated and well-read professional rhetorician in the early Imperial period reacts to views expressed by predecessors, especially since Quintilian, as a true researcher, aims to offer a panorama of views from which both he and his readers can choose.
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