When attacked by Glaucon he is humorously protected by Socrates "as one who has never been his enemy and is now his friend." From Cicero and
Quintilian and from Aristotle's Rhetoric we learn that the Sophist whom Plato has made so ridiculous was a man of note whose writings were preserved in later ages.
Quintilian was probably educated in Rome, where he afterward received practical training in oratory.
The charges are presented most extensively in
Quintilian, Institutio oratoria 1.8.
Bowditch agrees with the Roman orator
Quintilian that, when it comes to Augustan love elegy, Sextus Propertius (circa 50-15 BC) wins hands down.
He does this not by engaging with the scholastics on their own terms, using their language, distinctions, and genres, but by going back to the fundamenta and starting with a rhetorical alternative based on Cicero and
Quintilian with its grammatical roots in the tradition of Priscian.
Examining the writings of 18th- and 19th-century British rhetorical theorists such as Anthony Ashley Cooper, Thomas Reid, Adam Smith, Henry Home, George Campbell, Hugh Blair, and Richard Whately, Agnew (writing and rhetoric, Syracuse U.) finds that they responded to the rapid cultural and economic change of the era, particularly the worrying turns towards bourgeois individualism, economic rationality, and the sharp division of the public and private spheres, by implicitly adapting the ideas of such Stoic philosophers as Epictetus, Marcus Aurelius, Seneca, Cicero, and
Quintilian in order to fashion their own theories of common sense, taste, sympathy, and propriety.
By examining some allusions to
Quintilian's Institutio, Richardson deduces that the use (consuetudo) of auctoritates, especially poets, is the main principle underlying Fortunio's grammatical rules, being more important than ratio and iudicium.
Bartel's study is meant to function not only as a sourcebook of rhetorical figures in German music theory - with alphabetically arranged definitions assembled from treatises spanning the period from Joachim Burmeister's own Musica Poetica of 1606 to Johann Nikolaus Forkel's Allgemeine Geschichte der Musik of 1788, and contextualized with entries from the writings of
Quintilian and later German rhetoricians - but also as a historical interpretation of their "development" across the seventeenth and eighteenth centuries.
He notes that a spate of new rhetorical texts in the 1570s displaced almost overnight the medieval artes praedicandi which had been the mainstay of preaching theory since the early-13th century, "reflecting the shift from the more thematic (scholastic) style of preaching to one based on the classical tradition represented by Aristotle, Cicero, and
Quintilian, among others" (50).