§11.3.163nam et proponere, partiri, interrogare sermoni sunt proxima, et contradictionem sumere: nam ea quoque diversa propositio est.
For both proposing, dividing, questioning are closest to conversation, and also taking up a contradiction; for that too is a different proposition.
sed haec tamen aliquando irridentes, aliquando imitantes pronuntiamus.
But yet sometimes we pronounce these with a mocking or an imitating tone.
§11.3.164argumentatio plerumque agilior et acrior et instantior consentientem orationi postulat etiam gestum, id est fortem celeritatem.
Argumentation, which is mostly more active, sharper, and more pressing, demands also a gesture in keeping with the speech, that is, a vigorous speed.
instandum quibusdam in partibus et densanda oratio.
One must press hard in certain parts and make the speech dense.
egressiones fere lenes et dulces et remissae, raptus Proserpinae, Siciliae descriptio, Cn. Pompeii laus.
Digressions are generally gentle, sweet, and relaxed, such as the rape of Proserpine, the description of Sicily, and the praise of Gnaeus Pompey.
neque enim mirum minus habere contentionis ea quae sunt extra quaestionem.
For it is no wonder that those things which are outside the question have less tension.
§11.3.165mollior nonnunquam cum reprehensione diversae partis imitatio: uidebar videre alios intrantis, alios autem exeuntes, quosdam ex vino vacillantes. ubi non dissidens a voce permittitur gestus quoque, in utramque partem tenera quaedam, sed intra manus tamen et sine motu laterum translatio.
Sometimes an imitation with censure of the opposing party is softer: "I seemed to see some entering, others indeed going out, and some reeling from wine." Where a gesture also is permitted that does not clash with the voice, a certain gentle transfer in either direction, yet within the hands and without motion of the sides.
§11.3.166accendendi iudicis plures sunt gradus.
There are several degrees of inflaming the judge.
Summus ille et quo nullus est in oratore acutior: suscepto bello, Caesar, gesto iam etiam ex parte magna. praedixit enim: quantum potero voce contendam, ut populus hoc Romanus exaudiat. paulum inferior et habens aliquid iam iucunditatis: quid enim tuus ille, Tubero, in acie Pharsalica gladius agebat? §11.3.167plenius adhuc et lentius ideoque dulcius: in coetu vero populi Romani negotium publicum gerens. producenda omnia trahendaeque tum vocales aperiendaeque sunt fauces.
That highest one, than which nothing is sharper in an orator: "When the war had been undertaken, Caesar, and already indeed fought for a great part." For he said beforehand: "I will strain with my voice as much as I can, so that the Roman people may hear this." A little lower, and already having something of pleasantness: "For what was that sword of yours doing, Tubero, in the battle-line of Pharsalus?" Still fuller and slower, and therefore sweeter: "doing public business indeed in an assembly of the Roman people." All sounds must then be prolonged, the vowels must be dragged out, and the throat must be opened.
pleniore tamen haec canali fluunt: vos, Albani tumuli atque luci. iam cantici quiddam habent sensimque resupina sunt: saxa atque solitudines voci respondent. §11.3.168tales sunt illae inclinationes vocis, quas invicem Demosthenes atque Aeschines exprobrant, non ideo improbandae;
Yet these flow in a fuller channel: "You, Albanian hills and groves." These already have something of a song and gradually lean back: "Rocks and solitudes answer to the voice." Such are those inflections of voice which Demosthenes and Aeschines in turn reproach each other with, yet they are not for that reason to be condemned; for when each objects to the other, it is clear that both did it.
cum enim uterque alteri obiiciat, palam est utrumque fecisse. nam neque ille per Marathonis et Plataearum et Salaminis propugnatores recto sono iuravit, nec ille Thebas sermone deflevit.
For neither did that famous orator swear by the defenders of Marathon, Plataea, and Salamis with a flat sound, nor did the other lament Thebes in the tone of ordinary conversation.
§11.3.169est his diversa vox et paene extra organum, cui Graeci nomen amaritudinis dederunt, super modum ac paene naturam vocis humanae acerba: quin compescitis vocem istam, indicem stultitiae, testem paucitatis? sed id, quod excedere modum dixi, in illa parte prima est: quin compescitis. §11.3.170epilogus, si enumerationem rerum habet, desiderat quandam concisorum continuationem; si ad concitandos iudices est accommodatus, aliquid ex iis, quae supra dixi; si placandos, inclinatam quandam lenitatem; si misericordia commovendos, flexum vocis et flebilem suavitatem, qua praecipue franguntur animi, quaeque est maxime naturalis.
There is a voice different from these and almost outside the vocal organ, to which the Greeks gave the name of bitterness, harsh beyond measure and almost beyond the nature of the human voice: "Why do you not restrain that voice, the indicator of your folly, the witness of your small number?" But that which I said exceeds the measure is in that first part: "Why do you not restrain?" The epilogue, if it has an enumeration of things, requires a certain continuation of concise phrases; if it is adapted to exciting the judges, something of those things which I have said above; if to appeasing them, a certain subdued gentleness; if to moving them to pity, an inflection of the voice and a mournful sweetness, by which minds are especially broken, and which is most natural.
nam etiam orbos viduasque videas in ipsis funeribus canoro quodam modo proclamantes.
For you may see even the bereaved and widows in funerals themselves crying out in a certain melodious way.
§11.3.171hic etiam fusca illa vox, qualem Cicero fuisse in Antonio dicit, mire faciet; habet enim in se, quod imitamur.
Here also that husky voice, such as Cicero says was in Antonius, will do wonderfully; for it has in itself what we imitate.
duplex est tamen miseratio, altera cum invidia, qualis modo dicta de damnatione Philodami, altera cum deprecatione demissior.
Yet appeal to pity is twofold: one with indignation, such as was just mentioned concerning the condemnation of Philodamus, the other more subdued with entreaty.
§11.3.172quare, etiamsi est in illis quoque cantus obscurior, in coetu vero populi Romani (non enim haec rixantis modo dixit); et vos, Albani tumuli (non enim, quasi inclamaret aut testaretur, locutus est), tamen infinito magis illa flexa et circumducta sunt: me miserum, me infelicem, et quid respondebo liberis meis? et revocare tu me in patriam potuisti, Milo, per hos; ego te in eadem patria per eosdem retinere non potero? et cum bona C. Rabirii nummo sestertio addicit: O meum miserum acerbumque praeconium. §11.3.173ilia quoque mire facit in peroratione velut deficientis dolore et fatigatione confessio, ut pro eodem Milone, sed. finis sit; neque enim prae lacrimis iam loqui possum. quae similem verbis habere debent etiam pronuntiationem.
Wherefore, although there is in those passages too a more obscure song, in "in an assembly indeed of the Roman people" (for he did not say these things in the manner of one quarreling), and "you, Albanian hills" (for he did not speak as if shouting or calling to witness), yet those other passages are infinitely more inflected and drawn out: "Wretched me, unhappy me, and what shall I answer to my children?" and "Could you, Milo, recall me to my country through these men, and shall I not be able to retain you in the same country through the same men?" and when he knocks down the property of Gaius Rabirius for a single sesterce: "O my wretched and bitter proclamation!" That confession also in the peroration, as of one failing through grief and fatigue, does wonderfully, as in behalf of the same Milo: "But... let there be an end; for I cannot speak now for tears." These ought to have a delivery similar to the words.