Institutio Oratoria

For it is a mistake to look at the ceiling, to rub the face and give it a flush of impudence, to crane it boldly forward, to frown in order to secure a fierce expression, or brush back the hair from the forehead against its

A gentle delivery is most often best suited to the exordium. For there is nothing better calculated than modesty to win the good-will of the judge, although there are exceptions to the rule, since, as I have already pointed out, [*](IV. i. 40.) all exordia are not delivered in the same manner. But, generally speaking, a quiet voice, a modest gesture, a toga sitting well upon the shoulder, and a gentle motion of the sides to right and left, accompanied by a corresponding movement of the eyes, will all be found to produce a becoming effect.

In the statement of facts the hand should on most occasions be further extended, the toga allowed to slip back, the gestures sharply distinguished and the voice colloquial, but slightly more emphatic, while there should also be uniformity of tone. Such, at any rate, should be the delivery of a passage such as the following: [*]( pro Lig. i. 2. )

For Quintus Ligarius, since there was no hint of the likelihood of the war in Africa,

Aulus Cluentius Habitus, this man's father.

The mother-in-law weds her son-in-law,

There in the market-place of Laodicea was displayed a grievous and afflicting spectacle for all the province of Asia to behold.

[*](Verr. xxx. 76 ) The proofs, however, require the utmost variety of delivery. For to state them and distinguish between their various points, and to examine witnesses, we employ something not far removed from a colloquial tone, as is also the case in anticipating objections, which is really another form of statement. But in all these cases we sometimes deride, and sometimes mimic our opponents.

Argument, being as a rule of a livelier, more energetic and aggressive character, demands a type of gesture adapted to its style, that is to say, it should be bold and rapid. There are certain portions of our arguments that require to be pressed home with energy, and in these our style must be compact and concentrated. Digressions, as a rule, are characterised by gentleness, calm and placidity, as, for example, in Cicero's description of the Rape of Proserpine, [*](cp. IV. iii. 13. ) his picture of Sicily, [*](cp. IV. iii. 13. ) or his panegyric of Pompey. [*]( In the lost pro Cornelio: cp. IV. iii. 13. ) For naturally passages which deal with subjects lying outside the main question in dispute demand a less combative tone.

There are occasions on which we may adopt a gentle manner in depreciating our opponents by giving a picture of their character, as in the following passage: [*]( From the lost pro Galio. )

I seemed to see some persons entering the room and others leaving it, while others were staggering to and fro under the influence of wine.

There are a number of gradations of tone which may be

When the war was begun, Caesar, and was, in fact, well on its way to a conclusion.

I will use my voice to its fullest power, that all the Roman people may hear me.

What was that sword of yours doing, 'Tubero, that sword that was drawn on the field of Pharsalus?

But the utterance must be fuller, slower, and consequently sweeter, when the orator says, [*](Phil. ii. xxv. 63. )

But in an assembly of the Homan people, and when he was performing his official functions.

You, hills and groves of Alba

Rocks and solitudes answer to the voice.

These are the modulations denounced by Demosthenes [*](de Cor. 90.) and Aeschines, [*](In Ctes. 72. ) but they do not necessarily for that reason merit our disapprobation. For as each of these orators taunts the other with making use of them, it is clear that they were employed by both. We may be sure that Demosthenes did not restrict himself to his ordinary simplicity of tone when he swore by those that fought for their country at Marathon, Plataea and Salamis, [*](De Cor. 60. ) nor did Aeschines employ a colloquial utterance when he lamented for the fate of Thebes. [*](In Ctes. 49. )

There is also an entirely different tone, which might be described as lying almost

Why do you not restrain those cries, the proof of your folly and the evidence of your small numbers?

Why do you not restrain?

The peroration, if it involves a recapitulation, requires an even utterance of short, clear-cut clauses. If, on the other hand, it is designed to stir the emotions of the judges, it will demand some of the qualities already mentioned. If it aims at soothing them, it should How softly; if it is to rouse them to pity, the voice must be delicately modulated to a melancholy sweetness, which is at once most natural and specially adapted to touch the heart. For it may be noted that even orphans and widows have a certain musical quality in the lamentations which they utter at funerals.

A muffled voice, such as Cicero [*](Brutt. xxxviii. 141. ) says was possessed by Antonius, will also be exceedingly effective under such circumstances, since it has just the natural tone which we seek to imitate. Appeals to pity are, however, of two kinds: they may be marked by an admixture of indignation, as in the passage just quoted [*](§ 162.) describing the condemnation of Philodamus, or they may be coupled with appeals for mercy, in which case their tone will be more subdued.