As with Katie's post, I would like to make my own
focusing on De Inventione and De Oratore also, expounding more particularly upon
the later portion of the post and adding my own thoughts accordingly.
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| What better transformation to use as an example than that of the Bald Eagle from child to adulthood? America! |
At the time of its writing, De Inventione was indeed
authored by the young adult Cicero of about twenty years. Cicero must have been proud of his work, as
it was the best that he could accomplish at that time; even for such a fresh
new member of the rhetorical society, Cicero left a very noticeable mark. If not, people of today would not be
reviewing it. Still, though Cicero
spelled out the concepts expressed in the branches of oratory and the five
components in arrangement, the format could be considered a bit forced and
rigid—unnatural, even. This is not to
say that the piece is a poor instance of writing, but that it is only the first
attempt made by Cicero in his new career.
On the other end of the spectrum, there is Cicero's
De Oratore, which is a masterful work laid out carefully in a way that
demonstrates fluidity, knowledge, experience, and overall better presentation
than his previous endeavor. Perhaps this
is most notable in the fact that, as Katie said, Cicero's role changes in De
Oratore, a product of his later years. In
this newer work, the fledgling rhetorician Cicero has shorn away his young down
and taken to the skies of discourse with his seasoned, developed wings. Probably the most notable demonstration of
this is through Cicero's use of distancing himself from the text (as he personally
narrated De Inventione) and instead hashing out the words through the
discussions of third party characters. In
this way, readers focus less on Cicero and more on the nature of what he is
telling through the characters. Due to this
dialogue form, he is able to take himself directly out of the spotlight and
strictly put his creations up for display.
Still, at the end of the performance, it is the puppeteer who has the
final applause. Cicero merely disappears
for a time only to reemerge at the opportune moment and harvest when the field
is at its ripest.
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| Cicero's puppets are a direct and indirect means of siphoning more of the praise from his audience for himself. |
In summation, from his early De Inventione days,
Cicero practiced and refined his rhetorical skills in order to produce De
Oratore in its highly polished state. Part
of this involved change associated with experience, but also dealt with
learning that there was needed change in his old ideas—that putting them into a
more appropriate form of dialogue would yield better results. Now, seeing as I have taken this idea of
Katie's further, and I sort of have the floor, I would like to ask if anyone
wishes to expound upon any of the portions contained within my post. Either that, or maybe a segue from Cicero within
Cicero to a comparison of his De Oratore with Plato's Gorgias would be interesting. What do you think? Where will this discussion end up?

