§11.3.87non eaedem concitant, inhibent, probant, admirantur, verecundantur? non in demonstrandis locis ac personis adverbiorum atque pronominum obtinent vicem? ut in tanta per omnes gentes nationesque linguae diversitate hic mihi omnium hominum communis sermo videatur.
Do not the same hands excite, restrain, approve, admire, show respect? Do they not, in pointing out places and persons, take the place of adverbs and pronouns? so that, amid such great diversity of tongue throughout all peoples and nations, this seems to me the common speech of all mankind.
§11.3.88et hi quidem, de quibus sum locutus, cum ipsis vocibus naturaliter exeunt gestus; alii sunt, qui res imitatione significant, ut si aegrum temptantis venas medici similitudine aut citharoedum formatis ad modum percutientis nervos manibus ostendas; quod est genus quam longissime in actione fugiendum.
And these gestures indeed, of which I have spoken, go forth naturally with the words themselves; there are others which signify things by imitation, as if you should show a sick man by the likeness of a doctor feeling his pulse, or a lyre-player with hands shaped in the manner of one striking the strings; which is a kind to be avoided as far as possible in delivery.
§11.3.89abesse enim plurimum a saltatore debet orator, ut sit gestus ad sensus magis quam ad verba accommodatus; quod etiam histrionibus paulo gravioribus facere moris fuit.
For the orator ought to be as far as possible from a dancer, so that his gesture may be adapted to the sense rather than to the words; which was also the custom for the somewhat more serious actors to do.
ergo ut ad se manum referre, cum de se ipso loquatur, et in eum quem demonstret intendere et aliqua his similia permiserim, ita non effingere status quosdam et quidquid dicet ostendere.
Therefore, just as I would permit bringing the hand back to oneself when speaking of oneself, and directing it toward the person one points out, and some other things similar to these, so I would not permit mimicking certain postures and showing whatever one says.
§11.3.90neque id in manibus solum, sed in omni gestu ac voce servandum est.
And this must be observed not in the hands alone, but in every gesture and in the voice.
non enim aut in illa periodo, stetit soleatus praetor populi Romani, inclinatio incumbentis in mulierculam Verris effingenda est; aut in illa, caedebatur in medio foro Messanae, motus laterum, qualis esse ad verbera solet, torquendus, aut vox, qualis dolore exprimitur, eruenda; §11.3.91cum mihi comoedi quoque pessime facere videantur, quod, etiamsi iuvenem agant, cum tamen in expositione aut senis sermo, ut in Hydriae prologo, aut mulieris, ut in Georgo, incidit, tremula vel effeminate voce pronuntiant.
For neither in that period, "The praetor of the Roman people stood in slippers," must the leaning of Verres reclining upon his mistress be mimicked; nor in that, "He was beaten in the middle of the forum of Messana," must the movement of the flanks, such as is accustomed to be under blows, be twisted, nor the voice, such as is wrung out by pain, be dragged out; since even comic actors seem to me to act very badly in that, although they play a young man, when however in the narrative the speech of either an old man, as in the prologue of the Hydria, or of a woman, as in the Georgus, occurs, they pronounce it with a trembling or effeminate voice.
adeo in illis quoque est aliqua vitiosa imitatio, quorum ars omnis constat imitatione.
So far is there some faulty imitation even in those whose whole art consists in imitation.
§11.3.92est autem gestus ille maxime communis, quo medius digitus in pollicem contrahitur explicitis tribus, et principiis utilis cum leni in utramque partem motu modice prolatus, simul capite atque humeris sensim ad id, quo manus feratur, obsecundantibus, et in narrando certus, sed tum paulo productior, et in exprobrando et coarguendo acer atque instans, longius enim partibus his et liberius exeritur.
But that gesture is most common, in which the middle finger is contracted against the thumb while the other three are extended, and it is useful for introductions when moderately brought forward with a gentle movement in both directions, while at the same time the head and shoulders gradually conform to where the hand is carried, and it is steady in narration, but then a little more prolonged, and in censuring and refuting it is sharp and urgent, for in these parts it is thrust out further and more freely.
§11.3.93vitiose vero idem sinistrum quasi humerum petens in latus agi solet, quanquam adhuc peius aliqui transversum brachium proferunt et cubito pronuntiant.
But defectively, the same gesture is accustomed to be driven to the side, as if seeking the left shoulder, although some bring forward the arm transversely and deliver with the elbow, which is still worse.
duo quoque medii sub pollicem veniunt, et est hic adhuc priore gestus instantior, principio et narrationi non commodatus.
Two middle fingers also come under the thumb, and this gesture is still more urgent than the prior one, not suited for the introduction and narration.
§11.3.94at cum tres contracti pollice premuntur, tum digitus ille, quo usum optime Crassum Cicero dicit, explicari solet.
But when three contracted fingers are pressed by the thumb, then that finger, which Cicero says Crassum used best, is accustomed to be extended.
is in exprobrando et indicando, unde ei nomen est, valet, et adlevata ac spectante humerum manu paulum inclinatus adfirmat, versus in terram et quasi pronus urget; et aliquando pro numero est.
This is effective in censuring and pointing out (whence it has its name), and, with the hand raised and facing the shoulder, when slightly inclined it affirms, when turned toward the earth and as it were prone it insists; and sometimes it stands for a number.
§11.3.95idem summo articulo utrinque leviter apprehenso, duobus modice curvatis, minus tamen minimo, aptus ad disputandum est.
The same finger, with its top joint lightly gripped on both sides, and the other two moderately curved, though less so the little finger, is suitable for disputation.
acrius tamen argumentari videntur, qui medium articulum potius tenent, tanto contractioribus ultimis digitis, quanto priores descenderunt.
However, they seem to argue more sharply who hold rather the middle joint, the last fingers being contracted as much as the first ones have descended.
§11.3.96est et ille verecundae orationi aptissimus, quo, quattuor primis leviter in summum coeuntibus digitis, non procul ab ore aut pectore fertur ad nos manus et deinde prona ac paulum prolata laxatur.
There is also that gesture most suitable for a modest speech, in which, the first four fingers lightly coming together at their tips, the hand is brought toward us not far from the mouth or breast, and then, turned downwards and brought forward a little, is relaxed.
§11.3.97hoc modo coepisse Demosthenen credo in illo pro Ctesiphonte timido summissoque principio, sic formatam Ciceronis manum, cum diceret: si quid est ingenii in me, quod senior quam sit exiguum. eadem aliquatenus liberius deorsum spectantibus digitis colligitur in nos et fusius paulo in diversum resolvitur, ut quodammodo sermonem ipsum proferre videatur.
In this manner I believe Demosthenes began in that timid and submissive introduction on behalf of Ctesiphon, and that Cicero's hand was thus shaped when he said: "if there is any talent in me, which I feel how small it is." The same hand, with the fingers pointing downwards somewhat more freely, is gathered toward us and is resolved a little more expansively in a different direction, so that in a certain way it seems to bring forth the speech itself.