Institutio Oratoria

It is also an ugly habit to protrude the lips, open them with a sudden smack, [*]( It is hard to distinguish between scindere and didurere. I have adopted a suggestion of Spalding's. ) compress them, draw them apart and bare the teeth, or twist them awry to one side till they almost reach the ear, or to curl them in scorn, or let them droop, or allow the voice to escape only on one side. It is

The neck must be straight, not stiff or bent backward. As regards the throat, contraction and stretching are equally unbecoming, though in different ways. If it be stretched, it causes strain as well, and weakens and fatigues the voice, while if the chin be pressed down into the chest it makes the voice less distinct and coarsens it, owing to the pressure on the windpipe.

It is, as a rule, unbecoming to raise or contract the shoulders. For it shortens the neck and produces a mean and servile gesture, which is even suggestive of dishonesty when men assume an attitude of flattery, admiration or fear.

In continuous and flowing passages a most becoming gesture is slightly to extend the arm with shoulders well thrown back and the fingers opening as the hand moves forward. But when we have to speak in specially rich or impressive style, as, for example, in the passage saxa atiqu solitudines voci respondent, [*](pro Arh. viii. 19. See VIII. iii. 75 and IX. iv. 44. Rocks and solitude make answer to the voice. ) the arm will be thrown out in a stately sidelong sweep and the words will, as it were, expand in unison with the gesture.

As for the hands, without which all action would be crippled and enfeebled, it is scarcely possible to describe the variety of their motions, since they are almost as expressive as words. For other portions of the body merely help the speaker, whereas the hands may almost be said to speak.

Do we not use them to demand, promise, summon, dismiss, threaten, supplicate, express aversion or fear, question or deny? Do we not employ them to indicate joy,

Have they not power to excite and prohibit, to express approval, wonder or shame? Do they not take the place of adverbs and pronouns when we point at places and things? In fact, though the peoples and nations of the earth speak a multitude of tongues, they share in common the universal language of the hands.

The gestures of which I have thus far spoken are such as naturally proceed from us simultaneously with our words. But there are others which indicate things by means of mimicry. For example, you may suggest a sick man by mimicking the gesture of a doctor feeling the pulse, or a harpist by a movement of the hands as though they were plucking the strings. But this is a type of gesture which should be rigorously avoided in pleading.

For the orator should be as unlike a dancer as possible, and his gesture should be adapted rather to his thought than to his actual words, a practice which was indeed once upon a time even adopted by the more dignified performers on the stage. I should, therefore, permit him to direct his hand towards his body to indicate that he is speaking of himself, or to point it at some one else to whom he is alluding, together with other similar gestures which I need not mention. But, on the other hand, I would not allow him to use his hands to imitate attitudes or to illustrate anything he may chance to say.

And this rule applies not merely to the hands, but to all gesture and to the voice as well. For in delivering the period stetit soleatus praetor populi Romani, [*]( There in his slippers stood the praetor of the Roman people." Verr. v. xxxiii. 86: see VIII. iii. 64. ) it would be wrong to imitate Verres leaning on his mistress, or in uttering the phrase caedebatur in medio

For even comic actors seem to me to commit a gross offence against the canons of their art when, if they have in the course of some narrative to quote either the words of an old man (as, for example, in the prologue to the Hydria ), [*](Plays of Menander.) or of a woman (as in the ( Georgus [*](Plays of Menander.) ), they litter them in a tremulous or a treble voice, notwithstanding the fact that they are playing the part of a young man. So true is it that certain forms of imitation may be a blemish even in those whose whole art consists in imitation.

One of the commonest of all the gestures consists in placing the middle finger against the thumb and extending the remaining three: it is suitable to the exordum, the hand being moved forward with an easy motion a little distance both to right and left, while the head and shoulders gradually follow the direction of the gesture. It is also useful in the statement of facts, but in that case the hand must be moved with firmness and a little further forward, while, if we are reproaching or refuting our adversary, the same movement may be employed with some vehemence and energy, since such passages permit of greater freedom of extension.

On the other hand, this same gesture is often directed sideways towards the left shoulder: this is a mistake, although it is a still worse fault to thrust the arm across the chest and gesticulate with the elbow. The middle and third fingers are also sometimes turned under the thumb, producing a still more forcible effect than the gesture previously described, but not well adapted for use in the exordium or state-

But when three fingers are doubled under the thumb, the finger, which Cicero [*](de Or. II. xlv. 188. ) says that Crassus used to such effect, is extended. It is used in denunciation and in indication (whence its name of index finger), while if it be slightly dropped after the hand has been raised toward the shoulder, it signifies affirmation, and if pointed as it were face downwards toward the ground, it expresses insistence. It is sometimes also used to indicate number.

Again, if its top joint is lightly gripped on either side, with the two outer fingers slightly curved, the little finger rather less than the third, we shall have a gesture well suited for argument. But for this purpose the same gesture is rendered more emphatic by holding the middle joint of the finger and contracting the last two fingers still further to match the lower position of the middle finger and thumb.

The following gesture is admirably adapted to accompany modest language: the thumb and the next three fingers are gently converged to a point and the hand is carried to the neighbourhood of the month or chest, then relaxed palm downwards and slightly advanced.

It was with this gesture that I believe Demosthenes to have commenced the timid and subdued exordium of his speech in defence of Ctesiphon, and it was, I think, in such a position that Cicero [*](pro Arch. i. 1. ) held his land, when he said,

If I have any talent, though I am conscious how little it is.

Sometimes, again, the third and little finger may be pressed in to the palm near the base of the thumb, which in its turn is pressed against the middle joints of the first and middle fingers; at others the little finger is sometimes drooped obliquely, or the four fingers may be relaxed rather than extended and the thumb slanted inwards: this last gesture is well adapted to pointing to one side or marking the different points which we are making, the had being carried palmupwards to the left and swept back to the right face-downwards.

The following short gestures are also employed: the hand may be slightly hollowed as it is when persons are making a vow, and then moved slightly to and fro, the shoulders swaying gently in unison: this is adapted to passages where we speak with restraint and almost with timidity. Wonder is best expressed as follows: the hand turns slightly upwards and the fingers are brought in to the palm, one after the other, beginning with the little finger; the hand is then opened and turned round by a reversal of this motion.