Institutio Oratoria

For vowels frequently coalesce and some consonants disappear when followed by a vowel. I have already [*](ix. iv. 40.) given an example of both these occurrences:— mullum ille et terris. [*](Aen. i. )

Further, we avoid placing two consonants near each other when their juxtaposition would cause a harsh sound; thus, we say pellexit and collegiate and employ other like forms of which I have spoken elsewhere. [*](IX. iv. 37.) It is with this in mind that Cicero [*](Brut. lxxiv. 259. suavitas vocis et lenis appellatio literarum ( the sweetness of his voice and the delicacy with which he pronounced the various letters. ) ) praises Catulus for the sweetness with which he pronounced the various letters. The second essential for clearness of delivery is that our language should be properly punctuated, that is to say, the speaker must begin and end at the proper place. It is also necessary to note at what point our speech should pause and be momentarily suspended (which the Greeks term ὑποδιαστολὴ and ὑποστιγμὴ [*](A slight stop, corresponding to our comma ) and when it should come to a full stop.

After the words arma virumque cano [*](Aen. i. 1. ) there is a momentary suspension, because virum is connected with

After Italiam comes a third pause, since fato profugus is parenthetic and breaks up the continuity of the phrase Italian, Lavinaque. For the same reason there is a fourth pause after profulgus. Then follows Lavinaque venit litora, where a stop must be placed, as at this point a new sentence begins. But stops themselves vary in length, according as they mark the conclusion of a phrase or a sentence.

Thus after litora I shall pause and continue after taking breath. But when I come to atque altae moenia Romae I shall make a full stop, halt and start again with the opening of a fresh sentence.

There are also occasionally, even in periods, pauses which do not require a fresh breath. For although the sentence in coetu vero populi Romani, negotium publicumn gerens, magister equilum, [*](Phil. II. xxv. 63. See Quint. VIII. iv. 8. ) etc., contains a number of different cola, [*]( See IX. iv. 22, 67, 123. The name colon is applied to the longer clauses contained in a period, as opposed to the shorter, which are styled commata. ) expressing a number of different thoughts, all these cola are embraced by a single period: consequently, although short pauses are required at the appropriate intervals, the flow of the period as a whole must not be broken. On the other hand, it is at times necessary to take breath without any perceptible pause: in such cases we must do so surreptitiously, since if we take breath unskilfully, it will cause as much obscurity as would have resulted from faulty punctuation. Correctness of punctuation may seem to be but a trivial merit, but without it all the other merits of oratory are nothing worth.

Delivery will be ornate when it is supported by a voice that is easy, strong, rich, flexible, firm, sweet, enduring, resonant, pure, carrying far and penetrating the ear (for there is a type of voice which impresses the hearing not by its volume, but by its peculiar quality): in addition, the voice must be easily managed and must possess all the necessary inflexions and modulations, in fact it must, as the saying is, be a perfect instrument, equipped with every stop: further, it must have strong lungs to sustain it, and ample breathing power that will be equal to all demands upon it, however fatiguing.

The deepest bass and the highest treble notes are unsuited to oratory: for the former lack clearness and, owing to their excessive fullness, have no emotional power, while the latter are too thin and, owing to excess of clearness, give an impression of extravagance and are incompatible with the inflexions demanded by delivery and place too great a strain upon the voice.

For the voice is like the strings of a musical instrument; the slacker it is the deeper and fuller the note produced, whereas if it be tightened, the sound becomes thinner and shriller. Consequently, the deepest notes lack force, and the higher run the risk of cracking the voice. The orator will, therefore, employ the intermediate notes, which must be raised when we speak with energy and lowered when we adopt a more subdued tone.

For the first essential of a good delivery is evenness. The voice must not run joltingly, with irregularity of rhythm and sound, mixing long and short syllables, grave accents and acute, tones loud and low, without discrimination, the result being that this universal unevenness produces the impression of

I must warn my readers not to fall into the error of supposing that evenness and variety are incompatible with one another, since the fault opposed to evenness is unevenness, while the opposite of variety is that which the Greeks term μονοείδεια, or uniformity of aspect. The art of producing variety not merely charms and refreshes the ear, but, by the very fact that it involves a change of effort, revives the speaker's flagging energies. It is like the relief caused by changes in position, such as are involved by standing, walking, sitting and lying, none of which can be endured for a long time together.