§8.3.80illud pro eodem iam paene poetico spiritu, sed tamen cum sua redditione, quod est ad ornatum accommodatius: nam ut tempestates saepe certo aliquo caeli signo commoventur, saepe improvisae nulla ex certa ratione obscura aliqua ex causa concitantur, sic in hac comitiorum tempestate populari saepe intelligas, quo signo commota sit, saepe ita obscura est, ut sine causa excitata videatur. sunt et illae breves, §8.3.81vagi per siluas ritu ferarum, et illud Ciceronis in Clodium, quo ex iudicio velut ex incendio nudus effugit.
There is that passage from the same speech, already almost poetic in spirit, but nevertheless with its own return, which is more adapted to ornament: "For as tempests are often stirred up by some certain sign of the heavens, and often break out unforeseen from no certain reason but from some obscure cause, so in this tempest of a popular assembly you may often understand by what sign it has been stirred up, and often it is so obscure that it seems to have been raised without cause." There are also those short ones, "wandering through the woods in the manner of wild beasts," and that of Cicero against Clodius, "from which trial he escaped naked, as if from a fire." Similar to which can occur to anyone even from daily conversation.
quibus similia possunt cuicunque etiam ex cotidiano sermone succurrere. huic subiacet virtus non solum aperte ponendi rem ante oculos, sed circumcise atque velociter.
Underlying this is the virtue not only of placing a thing clearly before the eyes, but of doing so concisely and rapidly.
§8.3.82ac merito laudatur brevitas integra; sed ea minus praestat, quotiens nihil dicit, nisi quod necesse est (βραχυλογίαν vocant, quae reddetur inter schemata), est vero pulcherrima, cum plura paucis complectimur, quale Sallustii est, Mithridates corpore ingenti, perinde armatus. hoc male imitantes sequitur obscuritas.
And indeed a complete brevity is deservedly praised; but it is less excellent as often as it says nothing but what is necessary (which they call brachylogy, which will be discussed among the figures); but it is most beautiful when we embrace many things in few words, such as that of Sallust, "Mithridates, of huge body, and armed accordingly." Obscurity follows those who imitate this badly.
§8.3.83vicina praedictae sed amplior virtus est ἔμφασις, altiorem praebens intellectum quam quem verba per se ipsa declarant.
Neighboring the aforesaid but more ample is the virtue of emphasis, offering a deeper understanding than what the words by themselves declare.
eius duae sunt species, altera, quae plus significat quam dicit, altera, quae etiam id quod non dicit.
There are two species of it: one which means more than it says, the other which means even that which it does not say.
§8.3.84prior est et apud Homerum, cum Menelaus Graios in equum descendisse ait (nam verbo uno magnitudinem eius ostendit), et apud Vergilium, demissum lapsi per funem; nam sic quoque altitudo demonstrata est.
The former is found both in Homer, when Menelaus says that the Greeks "descended" into the horse (for by a single word he shows its magnitude), and in Vergil, "slid down by a lowered rope"; for in this way also the height is demonstrated.
idem, Cyclopa cum iacuisse dixit per antrum, prodigiosum illud corpus spatio loci mensus est.
The same poet, when he said that the Cyclops lay "throughout the cave," measured that monstrous body by the space of the place.
§8.3.85sequens positum in voce aut omnino suppressa aut etiam abscisa.
The latter is placed in the voice either altogether suppressed or even cut off.
supprimitur vox, ut fecit pro Ligario Cicero: quodsi in hac tanta fortuna bonitas tanta non esset, quam tu per te, per te inquam, obtines: intelligo, quid loquar. tacuit enim illud, quod nihilominus accipimus, non deesse homines, qui ad crudelitatem eum impellant.
The voice is suppressed, as Cicero did in *Pro Ligario*: "But if in this so great fortune there were not so great goodness, which you possess through yourself—through yourself, I say—; I understand what I am saying." For he was silent about that which we nevertheless perceive, that there are not wanting men who would impel him to cruelty.
absciditur per ἀποσιώπησιν quae, quoniam est figura, reddetur suo loco.
It is cut off by aposiopesis, which, since it is a figure, will be discussed in its proper place.
§8.3.86est in vulgaribus quoque verbis emphasis: virum esse oportet, et homo est ille, et vivendum est. adeo similis est arti plerumque natura.
There is emphasis also in common words: "one must be a man," and "that man is a human being," and "one must live." To such a degree does nature usually resemble art.
non tamen satis eloquentiae est, ea, de quibus dicat, clare atque evidenter ostendere; sed sunt multi ac varii excolendae orationis modi.
However, it is not enough for eloquence to show those things of which it speaks clearly and evidently; but there are many and various ways of polishing speech.
§8.3.87nam ipsa illa ἀφέλεια simplex et inadfectata habet quendam purum, qualis etiam in feminis amatur, ornatum, et sunt quaedam velut e tenui diligentia circa proprietatem significationemque munditiae.
For that very simple and unaffected *apheleia* has a certain pure ornament, such as is loved even in women, and there are certain things as if from a delicate diligence concerning propriety and significance of elegance.
alia copia locuples, alia floribus laeta.
One style is rich in abundance, another is joyful with flowers.
§8.3.88virium non unum genus; nam, quidquid in suo genere satis effectum est, valet.
Of forces there is not only one kind; for whatever is sufficiently accomplished in its own kind is powerful.
praecipua tamen eius opera δείνωσις in exaggeranda indignitate et in ceteris altitudo quaedam, φαντασία in concipiendis visionibus, ἐξεργασία in efficiendo velut opere proposito, cui adiicitur ἐπεξεργασία repetitio probationis eiusdem et cumulus ex abundanti, §8.3.89ἐνέργεια confinis his (est enim ab agendo dicta) et cuius propria sit virtus non esse, quae dicuntur, otiosa.
Yet its principal works are *deinosis* in exaggerating indignity, and in other things a certain loftiness, *phantasia* in conceiving visions, *exergasia* in completing as it were a proposed work, to which is added *epexergasia*, the repetition of the same proof and a heap from abundance, *energeia* neighboring these (for it is named from acting) and whose proper virtue is that the things which are said are not idle.
est et amarum quiddam, quod fere in contumelia est positum, quale Cassii: quid facies, cum in bona tua inuasero, hoc est, cum te docuero nescire maledicere? et acre, ut illud Crassi, ego te consulem putem, cum tu me non putes senatorem? sed vis oratoris omnis in augendo minuendoque consistit.
There is also a certain bitterness, which is placed almost in insult, such as that of Cassius: "What will you do when I invade your goods, that is, when I teach you that you do not know how to speak evil?" and sharpness, like that of Crassus: "Should I think you a consul, when you do not think me a senator?" But all the force of an orator consists in magnifying and diminishing.
Vtrique parti totidem modi, ex quibus praecipuos attingemus; reliqui similes erunt; sunt autem positi in rebus et verbis.
To each part there are as many modes, of which we shall touch upon the principal ones; the rest will be similar; moreover, they are placed in things and words.
§8.3.90sed, quae sit rerum inventio ac ratio, tractavimus; nunc, quid elocutio attollat aut deprimat, dicendum.
But we have treated what is the invention and arrangement of things; now we must say what elocution elevates or depresses.