Cornelii Valerii Ultraiectini In universam benedicendi [sic] rationem tabula, summam artis rhetoricae complectens

Narration is a certain seat and foundation, as it were, of the faith to be established. Cic. in Partit. Quinctil. book 3. ch. 2.

having been repeated from deep down, and with the seeds of arguments having been scattered here and there, it contains the foundation and strength of the entire future confirmation. It seems that confirmation is nothing other than a certain proof consistent with the narration; and narration is nothing other than a continuous proposition of the proof, and a comprehension of the entire cause.

Three kinds of narrations.

They have made three kinds of narrations: one of which is what I have just posited, containing a useful exposition of the question, to which alone the second place in a speech is given.

Parecbasis, a digression or going aside, a treatment running out of order pertaining to the utility of the cause. Quinctil. book 3. ch. 2. Where the place for a digression is made.

The second is called a digression, which is assumed outside the cause. It is a certain favorable excursion, dwelling briefly on some plausible point, which is done for the sake of ornamentation, praise, accusation, transition, or some other cause, provided it is not alien to the matter about which one is dealing. But this can only be applied in the discussion and explanation of the question, not really in the place of the narration.

The third kind is removed from civil causes, in which either fables (like those of tragedies), or histories (like those of deeds done), or plots (like those of comedies) are treated. Yet often the descriptions of persons are usefully employed, and the characters of men, their genius, and life are commemorated, either with praise or with vituperation. Sometimes descriptions of places and times are also inserted, which are more customary for poets and historians.

Virtues and vices of narration, which are convenient to keep not only here, but also in the whole speech. C. and in Topics.

A narration is praised if it is brief, clear, probable, and not unpleasant: the contrary is criticized. A brief and pleasant one is heard more willingly: a clear one is understood more easily: a probable one is proven more quickly. Usually, a certain preparation is applied at the beginning of the narration, and a peroration and transition to the contention at the end, which is to be observed in the remaining parts as well, so that all parts may cohere fittingly and elegantly.