Introduction

Place du livre VIII dans le traitéInstitutio oratoria : en français, on traduit habituellement par un calque, Institution oratoire ; en fait, il faudrait traduire Formation de l’orateur – en allemand Ausbildung des Redners (H. Rhan, 1975) et en anglais The Orator’s Education (D. Russell, 2001). Car l’œuvre magistrale de Quintilien est un traité original, à visée totalisante. Au long de ses douze livres, il suit la formation du jeune Romain depuis le berceau jusqu’à la retraite, avec comme ob..

Bibliographie

      N.-B. L’indication « Paris, CUF » tient lieu de « Paris, Les Belles Lettres (Collection des Universités de France) ».           Achard, G., Rhétorique à Herennius, Paris, CUF, 1989.Adams, J.N., The Latin Sexual Vocabulary, Londres, Duckworth, 1982.Alberte González A., « Cicerón y Quintiliano ante los principios analogistas y anomalistas », Minerva, 1987, 1, p. 117-127.Ahlheid, F., Quintilian, The preface to Book VIII and comparable Passages in the I..

L’évaluation stylistique des poètes grecs dans l’Institution oratoire (X, 1, 46-72) : quelle(s) grille(s) d’analyse ?

This paper aims to identify the various criteria underlying the stylistic appreciation and evaluation of Greek poets whom it is suggested to imitate in chapter X, 1 of the Institutio oratoria. Most of these appreciations rest on the stylistic theory of genera dicendi, and Quintilian stands halfway between a strictly tripartite theory of style types and a theory with very many possible style types. In particular, this paper examines the differences in the use of this mixed theory for the list of Greek andRoman authors, as well as the influence of the treatise On Imitation, written by Dionysius of Halicarnassus. Its influence is particularly striking in the case of the epic and lyric poets, which strengthens the assumption of Quintilian’s direct use of this treatise for his corresponding notes. On the contrary, the critical frame used in the note dealing with the tragic poets is more ancient, and doesn’t seem to go back to Dionysius’ On Imitation.Mérot Guillemette. L’évaluation stylistique des poètes grecs dans l’Institution oratoire (X, 1, 46-72) : quelle(s) grille(s) d’analyse ?. In: Vita Latina, N°193-194, 2016. pp. 121-150

L’évaluation stylistique des poètes grecs dans l’Institution oratoire (X, 1, 46-72) : quelle(s) grille(s) d’analyse ?

This paper aims to identify the various criteria underlying the stylistic appreciation and evaluation of Greek poets whom it is suggested to imitate in chapter X, 1 of the Institutio oratoria. Most of these appreciations rest on the stylistic theory of genera dicendi, and Quintilian stands halfway between a strictly tripartite theory of style types and a theory with very many possible style types. In particular, this paper examines the differences in the use of this mixed theory for the list of Greek andRoman authors, as well as the influence of the treatise On Imitation, written by Dionysius of Halicarnassus. Its influence is particularly striking in the case of the epic and lyric poets, which strengthens the assumption of Quintilian’s direct use of this treatise for his corresponding notes. On the contrary, the critical frame used in the note dealing with the tragic poets is more ancient, and doesn’t seem to go back to Dionysius’ On Imitation.Mérot Guillemette. L’évaluation stylistique des poètes grecs dans l’Institution oratoire (X, 1, 46-72) : quelle(s) grille(s) d’analyse ?. In: Vita Latina, N°193-194, 2016. pp. 121-150