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 (kwĭn-tĭl′yən, -ē-ən) Originally Marcus Fabius Quintilianus. First century ad.
Roman rhetorician whose major work, the Institutio Oratoria, discusses the complete education and career of an orator.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Biography) Latin name Marcus Fabius Quintilianus. ?35–?96 ad, Roman rhetorician and teacher
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


(kwɪnˈtɪl yən, -i ən)

(Marcus Fabius Quintilianus) A.D. c35–c95, Roman rhetorician.
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References in classic literature ?
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.
The use of slaves to read and write for their masters, to alleviate the practical and medical problems already surveyed and to free the master's hands for feeding, or for handling other documents, his eyes for ogling or for other reading, and his throat for wine or speech is closely related to their role as research assistants, not always reliable ones, as Quintilian remarks of the Younger Seneca's (10.1.129).
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.
Stablemate Quintilian was all at sea on heavy ground last week and should be seen to better effect on the Polytrack at Kempton the same day.
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.
In their introduction, editors Keith and Rupp overview the reception of Ovid's poem in antiquity and the Middle Ages, showing how right from the start, the epic, despite Augustus's exiling of its poet, proved controversial, eliciting praise for an encyclopedic summation of myth as well as criticism for what Quintilian identified as its author's "frivolity" and self-infatuation (19).
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).