9.
The series of his rhetorical works[201] has been preserved nearly complete, and consists of the De Inventione, De Oratore, Brutus sive de claris Oratoribus, Orator sive de optimo genere Dicendi, De partitione Oratoriâ, Topica, and de optimo genere Oratorum. The last-mentioned, which is a fragment, is understood to have been the proem to his translation (now lost) of the speeches of Demosthenes and Æschines, De Coronâ. These he translated with the view of defending, by the example of the Greek orators, his own style of eloquence, which, as we shall afterwards find, the critics of the day censured as too Asiatic in its character; and hence the proem, which still survives, is on the subject of the Attic style of oratory. This composition and his abstracts of his own orations[202] are his only rhetorical works not extant, and probably our loss is not very great. The Treatise on Rhetoric, addressed to Herennius, though edited with his works, and ascribed to him by several of the ancients, is now generally attributed to Cornificius, or some other writer of the day.
The works, which we have enumerated, consider the art of rhetoric in different points of view, and thus receive from each other mutual support and illustration, while they prevent the tediousness which might else arise, if they were moulded into one systematic treatise on the general subject. Three are in the form of dialogue; the rest are written in his own person. In all, except perhaps the Orator, he professes to have availed himself of the principles of the Aristotelic and Isocratean schools, selecting what was best in each of them, and, as occasion might offer, adding remarks and precepts of his own.[203] The subject of Oratory is considered in three distinct lights;[204] with reference to the case, the speaker, and the speech. The case, as respects its nature, is definite or indefinite; with reference to the hearer, it is judicial, deliberative, or descriptive; as regards the opponent, the division is fourfold—according as the fact, its nature, its quality, or its propriety is called in question. The art of the speaker is directed to five points: the discovery of persuasives (whether ethical, pathetical, or argumentative), arrangement, diction, memory, delivery. And the speech itself consists of six parts: introduction, statement of the case, division of the subject, proof, refutation, and conclusion.
His treatises De Inventione and Topica, the first and nearly the last of his compositions, are both on the invention of arguments, which he regards, with Aristotle, as the very foundation of the art; though he elsewhere confines the term eloquence, according to its derivation, to denote excellence of diction and delivery, to the exclusion of argumentative skill.[205] The former of these works was written at the age of twenty, and seems originally to have consisted of four books, of which but two remain.[206] In the first of these he considers rhetorical invention generally, supplies commonplaces for the six parts of an oration promiscuously, and gives a full analysis of the two forms of argument, syllogism and induction. In the second book he applies these rules particularly to the three subject-matters of rhetoric, the deliberative, the judicial, and the descriptive, dwelling principally on the judicial, as affording the most ample field for discussion. This treatise seems for the most part compiled from the writings of Aristotle, Isocrates, and Hermagoras;[207] and as such he alludes to it in the opening of his De Oratore as deficient in the experience and judgment which nothing but time and practice can impart. Still it is an entertaining, nay, useful work; remarkable, even among Cicero's writings, for its uniform good sense, and less familiar to the scholar only because the greater part has been superseded by the compositions of his riper years.
His Topica, or treatise on commonplaces, has less extent and variety of plan, being little else than a compendium of Aristotle's work on the same subject. It was, as he informs us in its proem, drawn up from memory on his voyage from Italy to Greece, soon after Cæsar's murder, and in compliance with the wishes of Trebatius, who had some time before urged him to undertake the translation.[208]
Cicero seems to have intended his De Oratore, De claris Oratoribus, and Orator, to form one complete system.[209] Of these three noble works the first lays down the principles and rules of the rhetorical art; the second exemplifies them in the most eminent speakers of Greece and Rome; and the third shadows out the features of that perfect orator, whose superhuman excellences should be the aim of our ambition. The De Oratore was written when the author was fifty-two, two years after his return from exile; and is a dialogue between some of the most illustrious Romans of the preceding age on the subject of oratory. The principal speakers are the orators Crassus and Antonius, who are represented unfolding the principles of their art to Sulpicius and Cotta, young men just rising in the legal profession. In the first book, the conversation turns on the subject-matter of rhetoric, and the qualifications requisite for the perfect orator. Here Crassus maintains the necessity of his being acquainted with the whole circle of the arts, while Antonius confines eloquence to the province of speaking well. The dispute for the most part seems verbal; for Cicero himself, though he here sides with Crassus, yet elsewhere, as we have above noticed, pronounces eloquence, strictly speaking, to consist in beauty of diction. Scævola, the celebrated lawyer, takes part in this preliminary discussion; but, in the ensuing meetings, makes way for Catulus and Cæsar, the subject leading to such technical disquisitions as were hardly suitable to the dignity of the aged Augur.[210] The next morning Antonius enters upon the subject of invention, which Cæsar completes by subjoining some remarks on the use of humour in oratory; and Antonius, relieving him, finishes the morning discussion with treating of arrangement and memory. In the afternoon the rules for propriety and elegance of diction are explained by Crassus, who was celebrated in this department of the art; and the work concludes with his handling the subject of delivery and action. Such is the plan of the De Oratore, the most finished perhaps of Cicero's compositions. An air of grandeur and magnificence reigns throughout. The characters of the aged senators are finely conceived, and the whole company is invested with an almost religious majesty, from the allusions interspersed to the melancholy destinies for which its members were reserved.
His treatise De claris Oratoribus was written after an interval of nine years, about the time of Cato's death, when he was sixty-one, and is thrown into the shape of a dialogue between Brutus, Atticus, and himself. He begins with Solon, and after briefly mentioning the orators of Greece, proceeds to those of his own country, so as to take in the whole period from the time of Junius Brutus down to himself. About the same time he wrote his Orator; in which he directs his attention principally to diction and delivery, as in his De Inventione and Topica he considers the matter of an oration.[211] This treatise is of a less practical nature than the rest.[212] It adopts the principles of Plato, and delineates the perfect orator according to the abstract conceptions of the intellect rather than the deductions of observation and experience. Hence he sets out with a definition of the perfectly eloquent man, whose characteristic it is to express himself with propriety on all subjects, whether humble, great, or of an intermediate character;[213] and here he has an opportunity of paying some indirect compliments to himself. With this work he was so well satisfied that he does not scruple to declare, in a letter to a friend, that he was ready to rest on its merits his reputation for judgment in Oratory.[214]
The treatise De partitione Oratoriâ, or on the three parts of rhetoric, is a kind of catechism between Cicero and his son, drawn up for the use of the latter at the same time with the two preceding. It is the most systematic and perspicuous of his rhetorical works, but seems to be but the rough draught of what he originally intended.[215]