§1.10.24namque et voce et modulatione grandia elate, iucunda dulciter, moderata leniter canit, totaque arte consentit cum eorum quae dicuntur adfectibus.
For it sings grand things loftily, pleasant things sweetly, and moderate things gently, with both voice and modulation, and in its entire art consents with the emotions of those things which are spoken.
§1.10.25atqui in orando quoque intentio vocis, remissio, flexus pertinet ad movendos audientium adfectus, aliaque et collocationis et vocis (ut eodem utar verbo) modulatione concitationem iudicis, alia misericordiam petimus; cum etiam organis, quibus sermo exprimi non potest, adfici animos in diversum habitum sentiamus.
And yet in pleading also, the raising, lowering, and inflection of the voice pertain to moving the emotions of the hearers, and by one modulation both of collocation and of voice (to use the same word) we seek the excitement of the judge, and by another his pity; since we feel that minds are affected even by instruments, by which speech cannot be expressed, into a different disposition.
§1.10.26Corporis quoque aptus et decens motus, qui dicitur εὐρυθμία, et est necessarius nec aliunde peti potest; in quo pars actionis non minima consistit, qua de re sepositus nobis est locus.
A suitable and decent motion of the body also, which is called eurythmia, is both necessary and cannot be sought from elsewhere; in which no small part of delivery consists, concerning which subject a separate place has been set aside by us.
§1.10.27age, non habebit imprimis curam vocis orator? quid tam musices proprium? sed ne haec quidem praesumenda pars est.
Come, shall not the orator have chief care of his voice? What is so proper to music? But not even this part is to be anticipated here.
uno interim contenti simus exemplo C. Gracchi, praecipui suorum temporum oratoris, cui contionanti consistens post eum musicus fistula, quam τονάριον vocant, modos, quibus deberet intendi, monstrabat.
Let us be content in the meantime with the single example of Gaius Gracchus, the foremost orator of his times, behind whom, when he was haranguing, a musician stood with a pipe, which they call a tonarion, showing the measures by which he ought to be keyed up.
§1.10.28haec ei cura inter turbidissimas actiones vel terrenti optimates vel iam timenti fuit.
This care was his amidst the most turbulent pleadings, whether terrifying the optimates or already fearing them.
libet propter quosdam imperitiores etiam crassiore, ut vocant, Musa dubitationem huius utilitatis eximere.
I wish, for the sake of some more unlearned persons, to remove the doubt of this utility even with a coarser Muse, as they call it.
§1.10.29nam poetas certe legendos oratori futuro concesserint: num igitur hi sine musice? ac si quis tam caecus animi est, ut de allis dubitet, illos certe, qui carmina ad lyram composuerunt.
For they will certainly grant that poets ought to be read by the future orator; are these, then, without music? And if anyone is so blind in mind as to doubt of others, he will certainly grant it of those who composed lyrics to the lyre.
haec diutius forent dicenda, si hoc studium velut novum praeciperem.
These things would have to be spoken of longer, if I were prescribing this study as if it were new.
§1.10.30cum vero antiquitus usque a Chirone atque Achille ad nostra tempora apud omnes, qui modo legitimam disciplinam non sint perosi, duraverit, non est committendum, ut illa dubia faciam defensionis sollicitudine.
But since indeed it has endured from antiquity, all the way from Chiron and Achilles to our times, among all who have not hated legitimate discipline, we must not commit the error of making those things doubtful by the anxiety of defense.
§1.10.31quamvis autem satis iam ex ipsis, quibus sum modo usus, exemplis credam esse manifestum, quae mihi et quatenus musice placeat, apertius tamen profitendum puto, non hanc a me praecipi, quae nunc in scenis effeminata et impudicis modis fracta non ex parte minima, si quid in nobis virilis roboris manebat, excidit, sed qua laudes fortium canebantur, quaque ipsi fortes canebant; nec psalteria et spadicas, etiam virginibus prolis recusanda, sed cognitionem rationis, quae ad movendos leniendosque adfectus plurimum valet.
Although, however, I believe it is already sufficiently manifest from the very examples which I have just used what music pleases me and to what extent, yet I think it should be declared more openly that it is not this music which is now prescribed by me, which, effeminate on the stages and broken by unchaste measures, has in no small part destroyed whatever manly strength remained in us, but that by which the praises of brave men were sung, and which the brave themselves sang; nor do I prescribe psalteries and spadices, to be rejected even by honest virgins, but the knowledge of that system which is most powerful in moving and soothing the emotions.
§1.10.32nam et Pythagoran accepimus concitatos ad vim pudicae domui adferendam iuvenes, iussa mutare in spondeum modos tibicina, composuisse; et Chrysippus etiam nutricum illi, quae adhibetur infantibus, adlectationi suum quoddam carmen assignat.
For we have also received that Pythagoras quieted young men, incited to offer violence to a modest house, by ordering the flute-player to change her measures into a spondee; and Chrysippus also assigns to that lulling of nurses, which is applied to infants, a certain song of its own.
§1.10.33est etiam non inerudite ad declamandum ficta materia, in qua ponitur tibicen, qui sacrificanti Phrygium cecinerat, acto illo in insaniam et per praecipitia delato accusari, quod causa mortis extiterit; quae si dici debet ab oratore nec dici citra scientiam musices potest, quomodo non hanc quoque artem necessariam esse operi nostro vel iniqui consentient?
There is also a subject fictitiously devised for declamation, not without erudition, in which a flute-player who had played a Phrygian tune to a sacrificing man is accused of being the cause of his death, after the man was driven into madness and cast himself down a precipice; if this must be pleaded by an orator and cannot be pleaded without the knowledge of music, how will not even the unfair consent that this art is necessary for our work?
§1.10.34in geometria partem fatentur esse utilem teneris aetatibus.
In geometry, they confess that a part is useful to tender ages.
agitari namque animos et acui ingenia et celeritatem percipiendi venire inde concedunt, sed prodesse eam non ut ceteras artes, cum perceptae sint, sed cum discatur, existimant: ea vulgaris opinio est.
For they grant that minds are stimulated, wits are sharpened, and quickness of perception comes thence, but they think that it profits not like other arts when they have been perceived, but while it is being learned: that is the common opinion.
§1.10.35nec sine causa summi viri etiam impensam huic scientiae operam dederunt.
Nor without cause did the greatest men also bestow expensive labor on this science.
nam cum sit geometria divisa in numeros atque formas, numerorum quidem notitia non oratori modo, sed cuicunque saltem primis litteris erudito necessaria est.
For since geometry is divided into numbers and shapes, the knowledge of numbers indeed is necessary not to the orator only, but to anyone educated at least in the first letters.
in causis vero vel frequentissime versari solet; in quibus actor, non dico, si circa summas trepidat, sed si digitorum saltem incerto aut indecoro gestu a computatione dissentit, iudicatur indoctus.
In lawsuits indeed it is accustomed to be employed most frequently; in which the pleader, I do not say if he trembles about sums, but if he disagrees with calculation even by an uncertain or unbecoming gesture of his fingers, is judged unlearned.
§1.10.36ilia vero linearis ratio et ipsa quidem cadit frequenter in causas (nam de terminis mensurisque sunt lites), sed habet maiorem quandam aliam cum arte oratoria cognationem.
That linear reasoning indeed itself also falls frequently into lawsuits (for there are disputes about boundaries and measurements), but it has another certain greater affinity with the art of oratory.