Institutio Oratoria

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.

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