§11.3.75sed in ipso vultu plurimum valent oculi, per quos maxime animus eminet, ut citra motum quoque et hilaritate enitescant et tristitiae quoddam nubilum ducant.
But in the countenance itself, the eyes have the most power, through which the mind especially shines forth, so that even without movement, they both shine with joy and draw a certain cloud of sadness.
quin etiam lacrimas iis natura mentis indices dedit, quae aut erumpunt dolore aut laetitia manant.
Indeed, nature also gave to them tears as indicators of the mind, which either burst forth with grief or flow with joy.
motu vero intenti, remissi, superbi, torvi, mites, asperi fiunt, quae, ut actus poposcerit, fingentur.
And indeed, by movement they become intent, relaxed, proud, fierce, mild, and harsh, which states will be shaped as the performance shall demand.
§11.3.76rigidi vero et extenti, aut languidi et torpentes, aut stupentes, aut lascivi et mobiles, et natantes et quadam voluptate suffusi, aut limi et, ut sic dicam, venerei, aut poscentes aliquid pollicentesve nunquam esse debebunt.
But they must never be rigid and wide-opened, or languid and sluggish, or astonished, or lascivious and active, both swimming and suffused with a certain pleasure, or sidelong and, so to speak, amorous, or demanding something or promising.
nam opertos compressosve eos in dicendo quis nisi plane rudis aut stultus habeat?
For who, unless plainly ignorant or foolish, would keep them closed or compressed in speaking?
§11.3.77et ad haec omnia exprimenda in palpebris etiam et in genis est quoddam deserviens iis ministerium.
And for expressing all these things, there is also in the eyelids and in the cheeks a certain service subservient to them.
§11.3.78multum et superciliis agitur.
Much is also done by the eyebrows.
nam et oculos formant aliquatenus et fronti imperant.
For they both shape the eyes to some extent and rule the forehead.
his contrahitur, attollitur, remittitur, ut una res in ea plus valeat, sanguis ille, qui mentis habitu movetur et, cum infirmam verecundia cutem accipit, effunditur in ruborem, cum metu refugit, abit omnis et pallore frigescit; temperatus medium quoddam serenum efficit.
By these it is contracted, raised, and relaxed, so that one thing has more power in it, that blood which is moved by the state of the mind and, when it receives the thin skin with shame, pours out into a blush, and when it retreats with fear, all departs and freezes with paleness; when tempered, it produces a certain calm serenity.
§11.3.79vitium in superciliis, si aut immota sunt omnino aut nimium mobilia aut inaequalitate, ut modo de persona comica dixeram, dissident aut contra id quod dicimus finguntur.
A fault in the eyebrows is if they are either completely motionless or too active, or disagree in inequality, as I had just said of the comic mask, or are shaped contrary to what we are saying.
ira enim contractis, tristitia deductis, hilaritas remissis ostenditur.
For anger is shown by their being contracted, sadness by their being lowered, and joy by their being relaxed.
adnuendi quoque et renuendi ratione demittuntur aut allevantur.
They are also lowered or raised by the manner of nodding and refusing.
§11.3.80naribus labrisque non fere quidquam decenter ostendimus, tametsi derisus iis, contemptus, fastidium significari solet.
We show almost nothing decently by the nostrils and lips, although derision, contempt, and aversion are accustomed to be signified by them.
nam et corrugare nares, ut Horatius ait, et inflare et movere et digito inquietare et impulso subito spiritu excutere et diducere saepius et plana manu resupinare indecorum est, cum emunctio etiam frequentior non sine causa reprehendatur.
For it is unbecoming both to wrinkle the nostrils, as Horace says, and to inflate them, and to move them, and to disturb them with a finger, and to expel them with a sudden impulse of breath, and to dilate them too often, and to push them up with the flat hand, since even too frequent wiping of the nose is reprehended not without cause.
§11.3.81labra et porriguntur male et scinduntur et adstringuntur et diducuntur et dentes nudant et in latus ac paene ad aurem trahuntur et velut quodam fastidio replicantur et pendent et vocem tantum altera parte dimittunt.
Lips are also badly projected, and split, and tightened, and separated, and they bare the teeth, and are drawn to the side and almost to the ear, and are turned back as if with a certain aversion, and hang, and let out the voice only on one side.
lambere quoque ea et mordere deforme est, cum etiam in efficiendis verbis modicus eorum esse debeat motus; ore enim magis quam labris loquendum est.
It is also deformed to lick and bite them, since even in producing words their movement ought to be moderate; for one must speak with the mouth rather than with the lips.
§11.3.82cervicem rectam oportet esse, non rigidam aut supinam.
The neck ought to be straight, not rigid or thrown back.
collum diversa quidem, sed pari deformitate et contrahitur et tenditur, sed tenso subest et labor, tenuaturque vox ac fatigatur; adfixum pectori mentum minus claram et quasi latiorem presso gutture facit.
The throat is indeed contracted and stretched with different but equal deformity; but in the stretched one, labor also underlies, and the voice is thinned and fatigued; the chin fixed to the breast makes the voice less clear and as it were wider, because the throat is pressed.
§11.3.83humerorum raro decens adlevatio atque contractio est; breviatur enim cervix et gestum quendam humilem atque servilem et quasi fraudulentum facit, cum se in habitum adulationis, admirationis, metus tingunt.
An elevation and contraction of the shoulders is rarely decent; for the neck is shortened, and it makes a certain humble, servile, and as it were fraudulent gesture, when they steep themselves into the posture of flattery, admiration, and fear.
§11.3.84bracchii moderata proiectio, remissis humeris atque explicantibus se in proferenda manu digitis, continuos et decurrentes locos maxime decet.
A moderate projection of the arm, with relaxed shoulders and the fingers expanding themselves in presenting the hand, is most suitable for continuous and flowing passages.
at cum speciosius quid uberiusque dicendum est, ut illud saxa atque solitudines voci respondent, exspatiatur in latus et ipsa quodammodo se cum gestu fundit oratio.
But when something more splendid and abundant is to be spoken, as that "rocks and solitudes respond to the voice," the arm wanders out to the side, and the speech itself in a certain way pours itself out together with the gesture.
§11.3.85manus vero, sine quibus trunca esset actio ac debilis, vix dici potest, quot motus habeant, cum paene ipsam verborum copiam consequantur.
But the hands, without which delivery would be maimed and weak, can scarcely be said how many movements they have, since they almost catch up with the very abundance of words.
nam ceterae partes loquentem adiuuant, hae, prope est ut dicam, ipsae loquuntur.
For the other parts help the speaker, but these, I am almost tempted to say, themselves speak.
§11.3.86annon his poscimus, pollicemur, uocamus, dimittimus, minamur, supplicamus, abominamur, timemus, interrogamus, negamus; gaudium, tristitiam, dubitationem, confessionem, paenitentiam, modum, copiam, numerum, tempus ostendimus?
Do we not with these demand, promise, call, dismiss, threaten, supplicant, abominate, fear, question, and deny; do we not show joy, sadness, doubt, confession, repentance, limit, abundance, number, and time?