Institutio Oratoria

Therefore although there is a suggestion of the chanting tone in the delivery of such passages as

In an assembly of the Roman people

Ye hills and groves of Alba

Ah, woe is me, unhappy that I am!

What shall I reply to my children?

You, Milo, had the power to recall me to my country with the aid of these men, and shall I be powerless by their aid to keep you in that same country, your native land and mine?

Ah, what a sad and bitter task my voice is called on to perform!

it is a most effective device to confess in the peroration that the strain of grief and fatigue is overpowering, and that our strength is sinking beneath them, as Cicero does in his defence of Milo: [*](pro Mil. xxxviii. 105. )

But here I must make an end: I can no longer speak for tears.

It may be thought that there are other points which should be mentioned in connexion with the duties of the orator in this portion of his speech, such as calling forward the accused, lifting up his children for the court to see, producing his kinsfolk, and rending his garments; but they have been dealt with in their proper place. [*](VI. i. 30.) Such being the variety entailed by the different portions of our pleading, it is sufficiently clear that our delivery must be adapted to our matter, as I have already shown, and sometimes also, though not always conform to our actual words, as I have just remarked. [*](§ 173.)

For instance, must not the words,

This poor wretched, poverty-stricken man,

A hold and violent fellow and a robber,

Again, what of the fact that a change of delivery may make precisely the same words either demonstrate or affirm, express reproach, denial, wonder or indignation, interrogation, mockery or depreciation? For the word

thou

1. Thou this poor kingdom dost on me bestow.

Aen. i. 78.

1. Thou vanquish him in song?

Ecl. iii. 25.

1. Art thou, then, that Aeneas?

Aen i. 617.

1. And of fear,
2. Do thou accuse me, Drances!

Aen. xi. 383.

There is one further remark which I must add, namely, that while what is becoming is the main consideration in delivery, different methods will often suit different speakers. For this is determined by a principle which, though it is obscure and can hardly be expressed in words, none the less exists: and, though it is a true saying [*](de Or. I. xxix. 132 ) that

the main secret of artistic success is that whatever we do should become us well,

There are some persons in whom positive excellences have no charm, while there are others whose very faults give pleasure. We have seen the greatest of comic actors, Demetrius and Stratocles, win their success by entirely different merits. But that is the less surprising owing to the fact that the one was at his best in the rôles of gods, young men, good fathers and slaves, matrons and respectable old women, while the other excelled in the portrayal of sharptempered old men, cunning slaves, parasites, pimps and all the more lively characters of comedy. For their natural gifts differed. For Demetrius' voice, like his other qualities, had greater charm, while that of Stratocles was the more powerful.

But yet more noticeable were the incommunicable peculiarities of their action. Demetrius showed unique gifts in the movements of his hands, in his power to charm his audience by the longdrawn sweetness of his exclamations, the skill with which he would make his dress seem to puff out with wind as he walked, and the expressive movements of the right side which he sometimes introduced with effect, in all of which things he was helped by his stature and personal beauty.

On the other hand, Stratocles' forte lay in his nimbleness and rapidity of movement, in his laugh (which, though not always in keeping with the character lie represented, he deliberately employed to awaken answering laughter in his audience), and finally, even in the way in which he sank his neck into his shoulders. If either of these actors had attempted any of his rival's tricks, he would have produced a

But there is no law of heaven which prohibits the possession of all or at any rate the majority of styles by one and the same person. I must conclude this topic with a remark which applies to all my other topics as well, that the prime essential is a sense of proportion. For I am not trying to form a comic actor, but an orator. Consequently, we need not study all the details of gesture nor, as regards our speaking, be pedantic in the use we make of the rules governing punctuation, rhythm and appeals to the emotions.

For example, if an actor has to speak the following lines on the stage: [*]( Ter. Eun. I. i. 1. )

1. What shall I do then? Not go, even now,
2. Now when she calls me? Or shall I steel my soul
3. No longer to endure a harlot's insults?

There is, therefore, good reason for the condemnation passed on a delivery which entails the continual alteration of facial expression, annoying restlessness of gesture and gusty changes of tone. And it was a wise saying that the ancient orators borrowed from the Greeks, as is recorded by Popilius Laenas, to the effect that there is too much

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