Page 303 - Gabrijela Kišiček and Igor Ž. Žagar (eds.), What do we know about the world? Rhetorical and argumentative perspectives, Digital Library, Educational Research Institute, Ljubljana 2013
P. 303
ching the writing of argumentative genre through imitatio:
a solid basis for the ‘beginner’ writers 303
2.2. Greco-Roman Conceptions of Imitatio
In the Rhetorica ad Herennium, imitatio is viewed as an independ-
ent training method and as an important aid for achieving rhetorical
proficiency combined with ars (theory) and exercitatio (practice) (II, ii,
3). In his turn, Cicero shares the above ideas and he reinforces Isocrates’
previous concepts about the immeasurable value of carefully select-
ed models of creative imitation (Muckelbauer, 2003: 69). As Antonius,
he doesn’t avoid proving his argument using the example of Sulpicius
and the positive influence received by the imitation of his contemporary
model, Crassus. All the same, Cicero highlights that the deliberate selec-
tion of a model – even an actor’s model – must be strictly accompanied
by the exclusive and exhaustive imitation of its “marvellous characteris-
tics’. Also, he emphasizes its pivotal role in the acquisition and transmis-
sion of a certain style (elocutio) (De Oratore, II, xxii, 92: 159; xxiii: 160).
Longinus, following Cicero, recognizes that the elevation of the po-
etic style is due to the imitation of major, prior models. Imitatio is con-
ceived as an emulative practice which honors the imitators even if their
talent is not comparable to the models (Longinus, 1999, XIII: 71, 73).
Analogous ideas about style and imitation are also found in other trea-
tises like Demetrius’, On Style and Dionysius’ of Halicarnassus, On Imi-
tation. The author of the latter, fragmentally saved treatment, encourag-
es the imitation of older attic authors in order to elevate the style of the
writers of his era. Examining the nature, the models and the process of
imitation, Dionysius credits it, equally, with procedural and psychologi-
cal features subtly interwoven (Demetrius, 1902: 22; McKeon, 1936: 28;
Clark, 1951: 13).
2.3. Quintilian and the Pedagogical Use of Imitatio
Beyond any doubt, Quintilian inserts imitation as a crucial peda-
gogical practice in the educational history of Roman Provincial, Medi-
eval and Renaissance schools. For Quintilian, the training of students
in declamatio requires, first, the conscious imitation of excellent mod-
els, cautiously selected by the teacher of literature, the grammaticus. It is
by imitating “a stock of words, a variety of figures and the art of compo-
sition’ that students will be led on the desirable route of the personal in-
ventio and the intended facilitas (Institutes of Oratory, X, ii, 1: 334–335,
Murphy, 1996: 584). On the other hand, Quintilian admits the finite
power of imitative practice (X, ii, 8: 335). Its educational energy becomes
acceptable due to the possible generative and creative results which it
a solid basis for the ‘beginner’ writers 303
2.2. Greco-Roman Conceptions of Imitatio
In the Rhetorica ad Herennium, imitatio is viewed as an independ-
ent training method and as an important aid for achieving rhetorical
proficiency combined with ars (theory) and exercitatio (practice) (II, ii,
3). In his turn, Cicero shares the above ideas and he reinforces Isocrates’
previous concepts about the immeasurable value of carefully select-
ed models of creative imitation (Muckelbauer, 2003: 69). As Antonius,
he doesn’t avoid proving his argument using the example of Sulpicius
and the positive influence received by the imitation of his contemporary
model, Crassus. All the same, Cicero highlights that the deliberate selec-
tion of a model – even an actor’s model – must be strictly accompanied
by the exclusive and exhaustive imitation of its “marvellous characteris-
tics’. Also, he emphasizes its pivotal role in the acquisition and transmis-
sion of a certain style (elocutio) (De Oratore, II, xxii, 92: 159; xxiii: 160).
Longinus, following Cicero, recognizes that the elevation of the po-
etic style is due to the imitation of major, prior models. Imitatio is con-
ceived as an emulative practice which honors the imitators even if their
talent is not comparable to the models (Longinus, 1999, XIII: 71, 73).
Analogous ideas about style and imitation are also found in other trea-
tises like Demetrius’, On Style and Dionysius’ of Halicarnassus, On Imi-
tation. The author of the latter, fragmentally saved treatment, encourag-
es the imitation of older attic authors in order to elevate the style of the
writers of his era. Examining the nature, the models and the process of
imitation, Dionysius credits it, equally, with procedural and psychologi-
cal features subtly interwoven (Demetrius, 1902: 22; McKeon, 1936: 28;
Clark, 1951: 13).
2.3. Quintilian and the Pedagogical Use of Imitatio
Beyond any doubt, Quintilian inserts imitation as a crucial peda-
gogical practice in the educational history of Roman Provincial, Medi-
eval and Renaissance schools. For Quintilian, the training of students
in declamatio requires, first, the conscious imitation of excellent mod-
els, cautiously selected by the teacher of literature, the grammaticus. It is
by imitating “a stock of words, a variety of figures and the art of compo-
sition’ that students will be led on the desirable route of the personal in-
ventio and the intended facilitas (Institutes of Oratory, X, ii, 1: 334–335,
Murphy, 1996: 584). On the other hand, Quintilian admits the finite
power of imitative practice (X, ii, 8: 335). Its educational energy becomes
acceptable due to the possible generative and creative results which it
