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Greeklings here are idle (otiosus), talkative (loquax), and learned (doctus, eruditus): three key aspects of indecorousness for Cicero.
Although Greeklings are never explicitly identified with either clowns or actors in Cicero's text, there is clearly a metonymic relationship among them: all talk and gesture excessively ; all epitomize indecorousness.
Moreover, although they ridicule a number of different "outlandish" characters who epitomize indecorousness, they also finally sum up what indecorousness means in a single figure who, like Cicero's Greekling, functions as the negative pole by means of which they define the ideally decorous orator.
If Cicero uses the figure of the Greekling to stand for everything he means by indecorousness, Wilson, Puttenham, and Furetiere have a symbolic figure who serves much the same purpose for them: the learned clerk or pedant.
Cicero's rivalry with Greek culture is even more apparent when he credits his fellow-countrymen with the virtue of behaving "aptly" and correlates the indecorousness of the Greeks with their lack of a verbal equivalent for "ineptus"--despite the fact that Cicero's key concept, "decorum," is, as he admits in his Orator (21.
Nor should it be surprising that Wilson, Puttenham, and Furetiere would identify indecorousness with the outlandish speech and behavior of peasants and provincials, people closely linked to the cart from which they were determined to distance themselves.
Horace in the Ars Poetica is, of course, the author of the famous "ut pictura poesis" (lines 361-65); equally significant is the opening of the epistle where Horace attacks poetic indecorousness by comparing it to a painting of a grotesque misshapen body.