Institutio Oratoria |
Translator: Harold Edgeworth Butler
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| 2889 |
Totus vero hic locus non ideo tractatur a nobis , ut oratio , quae ferri debet ac fluere , dimetiendis pedibus ac perpendendis syllabis consenescat ; nam id cum miseri ,
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My purpose in discussing this topic at length is not to lead the orator to enfeeble his style by pedantic measurement of feet and weighing of syllables: for oratory should possess a vigorous flow, and such solicitude is worthy only of a wretched pedant, absorbed in trivial detail: |
| 2890 |
tum ut minimis occupati est , neque enim , qui se totum ut hac cura consumpserit , potioribus vacabit , si quidem relicto rerum pondere ac nitore contempto tesserulas , ut ait Lucilius , struet et vermiculate inter se lexis committet . Nonne ergo refrigeretur sic calor et impetus pereat , ut equorum cursum delicati minutis passibus frangunt ?
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since the man who exhausts himself by such painful diligence will have no time for more important considerations; for he will disregard the weight of his subject matter, despise true beauty of style and, as Lucilius says, will construct a tesselated pavement of phrases nicely dovetailed together in intricate patterns. The inevitable result will be that his passions will cool and his energy be wasted, just as our dandies destroy their horses' capacity for speed by training them to shorten their paces. |
| 2891 |
Quasi vero numeri non sint ut compositione deprehensi , sicut poema nemo dubitaverit impetu quodam initio fusum et aurium mensura et similiter decurrentium spatiorum observatione esse generatum , mox ut eo repertos pedes . Satis igitur ut hoc nos componet multa scribendi exercitatio , ut ex tempore etiam similia fundamus .
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Prose-structure, of course, existed before rhythms were discovered in it, just as poetry was originally the outcome of a natural impulse and was created by the instinctive feeling of the ear for quantity and the observation of time and rhythm, while the discovery of feet came later. Consequently assiduous practice in writing will be sufficient to enable us to produce similar rhythmical effects when speaking extempore. |
| 2892 |
Neque vero tam sint intuendi pedes quam universa comprehensio , ut versum facientes totum illum decursum non sex vel quinque partes , ex quibus constat versus , aspiciunt . Ante enim carmen ortum est quam observatio carminis , ideoque illud Fauni vatesque canebant .
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Further it is not so important for us to consider the actual feet as the general rhythmical effect of the period, just as the poet in writing a verse considers the metre as a whole, and does not concentrate his attention on the six or five individual feet that constitute the verse. For poetry originated before the laws which govern it, a fact which explains Ennius' statement that Fauns and prophets sang. |
| 2893 |
Ergo quem ut poemate locum habet versificatio , eum ut oratione compositio . Optime autem de illa iudicant aures , quae plena sentiunt et parum expleta desiderant et fragosis offenduntur et levibus mulcentur et contortis excitantur et stabilia probant , clauda deprehendunt , redundantia ac nimia fastidiunt . Ideoque docti rationem componendi intelligunt , etiam indocti voluptatem .
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Therefore rhythmical structure will hold the same place in prose that is held by versification in poetry. The best judge as to rhythm is the ear, which appreciates fullness of rhythm or feels the lack of it, is offended by harshness, soothed by smooth and excited by impetuous movement, and approves stability, while it detects limping measures and rejects those that are excessive and extravagant. It is for this reason that those who have received a thorough training understand the theory of artistic structure, while even the untrained derive pleasure from it. |
| 2894 |
Quaedam vero tradi arte non possunt . Mutandus est casus , si durius is , quo coeperamus , feratur . Num , ut quem transeamus ex quo , praecipi potest ? Figura laboranti compositioni variata saepe succurrit . Quae ? cum orationis , tum etiam sententiae ? Num praescriptum eius rei ullum est ? Occasionibus utendum et cum re praesenti deliberandum est .
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There are some points, it is true, which are beyond the power of art to inculcate. For example if the case, tense or mood with which we have begun, produces a harsh rhythm, it must be changed. But is it possible to lay down any definite rule as to what the change of case, tense or mood should be? It is often possible to help out the rhythm when it is in difficulties by introducing variety through the agency of a figure. But what is this figure to be? A figure of speech or a figure of thought? Can we give any general ruling on the subject? In such cases opportunism is our only salvation, and we must be guided by consideration of the special circumstances. |
| 2895 |
Iam vero spatia ipsa , quae ut hac quidem parte plurimum valent , quod possunt nisi aurium habere iudicium ? Cur alia paucioribus verbis satis plena vel nimium , alia pluribus brevia et abscisa sunt ? Cur ut circumductionibus , etiam cum sensus finitus est , aliquid tamen loci vacare videatur ?
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Further with regard to the time-lengths, which are of such importance where rhythm is concerned, what standard is there by which they can be regulated save that of the ear? Why do some sentences produce a full rhythmical effect, although the words which they contain are few, whereas others containing a greater number are abrupt and short in rhythm? Why again in periods do we get an impression of incompleteness, despite the fact that the sense is complete? |
| 2896 |
Neminem vestrum ignorare arbitror , iudices , hunc per hosce dies sermonem vulgi atque hanc opinionem populi Romani fuisse . Cur hosce potius quam hos ?Neque enim erat asperum . Rationem fortasse non reddam , sentiam tamen esse melius . Cur non satis sit , sermonem vulgi fuisse , ( compositio enim patiebatur ) ignorabo ; sed ut audio hoc , animus accipit plenum sine hac geminatione non esse .
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Consider the following example: neminem vestrum ignorare arbitror, iudices, hunc per hosce dies sermonem vulgi atque hanc opinionem populi Romani fiisse. Why is hosce preferable to hos, although the latter presents no harshness? I am not sure that I can give the reason, but none the less I feel that hosce is better. Why is it not enough to say sermonem vulgifuisse, which would have satisfied the bare demands of rhythm? I cannot tell, and yet my ear tells me that the rhythm would have lacked fullness without the reduplication of the phrase. |
| 2897 |
Ad sensum igitur referenda sunt . Et si qui non satis forte , quid seuerum , quid iucundum sit , intelligent , facient quidem natura duce melius quam arte ; sed naturae ipsi ars inerit . Illud prorsus oratoris ,
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The answer is that in such cases we must rely on feeling. It is possible to have an inadequate understanding of what it is precisely that makes for severity or charm, but yet to produce the required effect better by taking nature for our guide in place of art: none the less there will always be some principle of art underlying the promptings of nature. |
| 2898 |
scire ubi quoque genere compositionis sit utendum . Ea duplex observatio est : altera , quae ad pedes refertur ; altera , quae ad comprehensiones , quae efficiuntur ex pedibus . Ac de his prius .
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It is, however, the special duty of the orator to realise when to employ the different kinds of rhythm. There are two points which call for consideration if he is to do this with success. The one is concerned with feet, the other with the general rhythm of the period which is produced by their combination. I will deal with the latter first. We speak of commata, cola and periods. |
| 2899 |
Diximus igitur esse incisa , membra , circuitus . Incisum ( quantum mea fert opinio ) erit sensus non expleto numero conclusus , plerisque pars membri . Tale est enim , quo Cicero utitur : Domus tibi deerat ? at habebas . Pecunia superabat ? at egebas . Fiunt autem etiam singulis verbis incisa ; Diximus , testes dare volumus ; incisum est diximus .
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A comma, in my opinion, may be defined as the expression of a thought lacking rhythmical completeness; on the other hand, most writers regard it merely as a portion of the colon. As an example I may cite the following from Cicero: Domus tibi deerat? at habebas: pecunia superabat? at egebas. But a comma may also consist of a single word, as in the following instance where diximnus is a comma: Diximus, testes dare volumus. |
| 2900 |
Membrum autem est sensus numeris conclusus , sed a toto corpore abruptus et per se nihil efficiens . O callidos homines perfectum est , sed remotum a ceteris vim non habet , ut per se manus et pes et caput : et O rem excogitatam .Quando ergo incipit corpus esse ? cum venit extrema conclusio : Quem , quaeso , nostrum fefellit , id vos ita esse facturos ? quam Cicero brevissimam putat . Itaque fere incisa et membra mutila sunt et conclusionem utique desiderant .
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A colon, on the other hand, is the expression of a thought which is rhythmically complete, but is meaningless if detached from the whole body of the sentence. For example O callidos homines is complete in itself, but is useless if removed from the rest of the sentence, as the hand, foot or head if separated from the body. He goes on, O rein excogitatam. At what point do the members begin to form a body? Only when the conclusion is added: quem, quaeso, nostrum fefellit, id vos ita esse facturos? a sentence which Cicero regards as unusually concise. Thus as a rule commata and cola are fragmentary and require a conclusion. |
| 2901 |
Periodo plurima nomina dat Cicero , ambitum , circuitum , comprehensionem , continuationem , circumscriptionem .Genera eius duo sunt , alterum simplex , cum sensus unus longiore ambitu circumducitur , alterum , quod constat membris et incisis , quae plures sensus habent : Aderat ianitor carceris , carnifex praetoris , reliqua . Habet periodus membra minimum duo .
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The period is given a number of different names by Cicero, who calls it ambitus, circuitus, comprehensio, continuatio and circumscriptio. It has two forms. The one is simple, and consists of one thought expressed in a number of words, duly rounded to a close. The other consists of commata and cola, comprising a number of different thoughts: for example, aderat ianitor carceris, carnriex praetoris and the rest. |
| 2902 |
Medius numerus videntur quattuor , sed recipit frequenter et plura . Modus eius a Cicerone aut quattuor senariis versibus aut ipsius spiritus modo terminatur . Praestare debet ut sensum concludat ; sit aperta , ut intelligi possit , non immodica , ut memoria contineri . Membrum longius iusto tardum ; brevius instabile est .
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The period must have at least two cola. The average number would appear to be four, but it often contains even more. According to Cicero, its length should be restricted to the equivalent of four senarii or to the compass of a single breath. It is further essential that it should complete the thought which it expresses. It must be clear and intelligible and must not be too long to be carried in the memory. A colon, if too long, makes the sentence drag, while on the other hand, if it be too short it gives an impression of instability. |
| 2903 |
Ubicunque acriter erit , instanter , pugnaciter dicendum ,membratim caesimque dicemus , nam hoc ut oratione plurimum valet ; adeoque rebus accommodanda compositio , ut asperis asperos etiam numeros adhiberi oporteat et cum dicente aeque audientem inhorrescere .
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Wherever it is essential to speak with force, energy and pugnacity, we shall make free use of commata and cola, since this is most effective, and our rhythmical structure must be so closely conformed to our matter, that violent themes should be expressed in violent rhythms to enable the audience to share the horror felt by the speaker. |
| 2904 |
Membratim plerumque narrabimus , aut ipsas periodos maioribus intervallis et velut laxioribus nodis resolvemus , exceptis quae non docendi gratia , sed ornandi narrantur , ut ut Verrem Proserpinae raptus . Haec enim lenis et fluens contextus decet .
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On the other hand we shall employ cola by preference when narrating facts, or relax the texture of our periods by considerable pauses and looser connexions, always excepting those passages in which narration is designed for decorative effect and not merely for the instruction of the audience, as for example the passage in the Verrines where Cicero tells the story of the Rape of Proserpine: for in such cases a smooth and flowing texture is required. |
| 2905 |
Periodos apta prooemiis maiorum causarum , ubi sollicitudine , commendatione , miseratione res eget , item communibus locis et ut omni amplificatione ; sed poscitur tum austera , si accuses , tum fusa , si laudes . Multum et ut epilogis pollet .
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The full periodic style is well adapted to the exordium of important cases, where the theme requires the orator to express anxiety, admiration or pity: the same is true of commonplaces and all kinds of amplification. But it should be severe when we are prosecuting and expansive in panegyric. It is also most effective in the peroration. |
| 2906 |
Totum autem hoc adhibendum est , quod sit amplius compositionis genus , cum iudex non solum rem tenet , sed etiam captus est oratione et se credit actori et voluptate iam ducitur . Historia non tam finitos numeros quam orbem quendam contextumque desiderat . Namque omnia eius membra connexa sunt et , quoniam lubrica est , hac atque illac fluit , ut homines , qui manibus invicem apprehensis gradum firmant , continent et continentur .
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But we must only employ this form of rhythmical structure in its full development, when the judge has not merely got a grasp of the matter, but has been charmed by our style, surrendered himself to the pleader and is ready to be led whither we will, by the delight which he experiences. History does not so much demand full, rounded rhythms as a certain continuity of motion and connexion of style. For all its cola are closely linked together, while the fluidity of its style gives it great variety of movement; we may compare its motion to that of men, who link hands to steady their steps, and lend each other mutual support. |
| 2907 |
Demonstrativum genus omne fusiores habet liberioresque numeros ; iudiciale et contionale , ut materia varium est , sic etiam ipsa collocatione verborum . Ubi iam nobis pars ex duabus , quas modo fecimus , secunda tractanda est . Nam quis dubitat alia lenius , alia concitatius , alia sublimius , alia pugnacius , alia ornatius , alia gracilius esse dicenda ;
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The demonstrative type of oratory requires freer and more expansive rhythms, while forensic and deliberative oratory will vary the arrangement of their words in conformity with the variety of their themes. I must now turn to discuss the first of the two points which I mentioned above. No one will deny that some portions of our speech require a gentle flow of language, while others demand speed, sublimity, pugnacity, ornateness or simplicity, as the case may be, |
| 2908 |
gravibus , sublimibus , ornatis longas magis syllabas convenire ? ita ut lenia spatium , sublimia et ornata claritatem quoque vocalium poscant ; his contraria magis gaudere brevibus , argumenta , partitiones , iocos et quidquid est sermoni magis simile .
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or that long syllables are best adapted to express dignity, sublimity and ornateness. That is to say, while the gentler form of utterance requires length of vowel sounds, sublime and ornate language demands sonority as well. On the other hand, passages of an opposite character, such as those in which we argue, distinguish, jest or use language approximating to colloquial speech, are better served by short syllables. |
| 2909 |
Itaque componemus prooemium varie atque ut sensus eius postulabit . Neque enim accesserim Celso , qui unam quandam huic parti formam dedit , et optimam compositionem esse prooemii , ut est apud Asinium , dixit , Si , Caesar , ex omnibus mortalibus , qui sunt ac fuerunt , posset huic causae disceptator legi , non quisquam te potius optandus nobis fuit .
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Consequently in the exordium we shall vary our structure to suit the thought. For I cannot agree with Celsus, when he would impose a single stereotyped form upon the exordium and asserts that the best example of the structure required for this purpose is to be found in Asinius: e. g., si, Caesar, ex omnibus mortalibus, qui sunt ac fuerunt, posset huic causae disceptator legi, non quisquam te potius optandus nobis fuit. |
| 2910 |
Non quia negem hoc bene esse compositum , sed quia legem hanc esse componendi ut omnibus principiis recusem . Nam iudicis animus varie praeparatur : tum miserabiles esse volumus , tum modesti tum acres , tum graves , tum blandi , tum flectere , tum ad diligentiam hortari . Haec ut sunt diversa natura , ita dissimilem componendi quoque rationem desiderant . An similibus Cicero usus est numeris ut exordio pro Milone , pro Cluentio , pro Ligario ?
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I do not for a moment deny that the structure of this passage is excellent, but I refuse to admit that the form of rhythmical structure which it exemplifies should be forced on all exordia. For there are various ways in which the judge's mind may be prepared for what is to come: at times we appeal for pity, at others take up a modest attitude, while we may assume an air of energy or dignity, flatter our audience, attempt to alter their opinions and exhort them to give us their best attention, according as the situation may demand. And as all these methods are different by nature, so each requires a different rhythmical treatment. Did Cicero employ similar rhythms in his exordia to the pro Milone, the pro Cluentio and the pro Ligario? |
| 2911 |
Narratio fere tardiores atque , ut sic dixerim , modestiores desiderat pedes ex omnibus maxime mixtos . Nam et verbis , ut saepius pressa est , ita interim insurgit ; sed docere et infigere animis res semper cupit , quod minime festinantium opus est . Ac mihi videtur tota narratio constare longioribus membris , brevioribus periodis .
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The statement of fact as a rule requires slower and what I may be allowed to call more modest feet; and the different kinds of feet should, as far as possible, be intermixed. For while the style of this portion of our speech is generally marked by restraint of language, there are occasions when it is called upon to soar to greater heights, although on the other hand its aim will at all times be to instruct the audience and impress the facts upon their minds, a task which must not be carried out in a hurry. Indeed my personal opinion is that the statement of fact should be composed of long cola and short periods. Arguments, |
| 2912 |
Argumenta acria et citata pedibus quoque ad hanc naturam commodatis utentur , non tamen ita ut trochaeis quoque celeria quidem , sed sine viribus sint , verum iis , qui sint brevibus longisque mixti , non tamen plures longas quam breves habent .
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inasmuch as they are characterised by energy and speed, will employ the feet best adapted to these qualities. They will not however acquire rapidity at the expense of force by employing trochees, but will rather make use of those feet which consist of a mixture of long and short syllables, though the long should not outnumber the short. Lofty passages, |
| 2913 |
Illa sublimia spatiosas clarasque voces habentia amant amplitudinem dactyli quoque ac paeanis , etiamsi maiore ex parte syllabis brevibus , temporibus tamen satis pleni . Aspera contra iambis maxime concitantur , non solum quod sunt e duabus modo syllabis eoque frequentiorem quasi pulsum habent , quae res lenitati contraria est , sed etiam quod omnibus pedibus insurgunt et e brevibus ut longas nituntur et crescunt , ideoque meliores choreis , qui ab longis ut breves cadunt .
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which employ long and sonorous vowels, are specially well served by the amplitude of the dactyl and the paean, feet which, although they contain a majority of short syllables, are yet not deficient in time-length. On the other hand, where violence is required, the requisite energy will be best secured by the employment of the iambus, not merely because that foot contains but two syllables, with the result that its beat is more frequent, making it unsuited to gentle language, but also because every foot gives the effect of an ascent, as they climb and swell from short to long, a fact which renders them superior to the choreus, which sinks from long to short. |
| 2914 |
Summissa , qualia ut epilogis sunt , lentas et ipsa , sed minus exclamantes exigunt . Vult esse Celsus aliquam et superiorem compositionem , quam equidem si scirem , non docerem ; sed sit necesse est tarda et supina , verum nisi ex verbis atque sententiis . Per se si id quaeritur , satis odiosa esse non poterit .
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Subdued passages, such as occur in the peroration, also require slow syllables, which must, however, be less sonorous. Celsus insists that there is a special form of rhythmical structure which produces a particularly stately effect: I do not know to what he refers and, if I did, should not teach it, since it must inevitably be slow and flat, that is to say unless this quality is derived from the words and thoughts expressed. If it is to be sought for its own sake, independent of such considerations, I cannot sufficiently condemn it. But, to bring this discussion to a close, |
| 2915 |
Denique , ut semel finiam , sic fere componendum quomodo pronuntiandum erit . An non ut prooemiis plerumque summissi , ( nisi cum ut accusatione concitandus est iudex aut aliqua indignatione complendus ) ut narratione pleni atque expressi , ut argumentis citati atque ipso etiam motu celeres sumus , ut locis ac descriptionibus fusi ac fluentes , ut epilogis plerumque deiecti et infracti ?
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I would remark that our rhythm must be designed to suit our delivery. Is not our tone subdued as a rule in the exordium, except of course in cases of accusation where we have to rouse the judge or fill him with indignation, full and clear in the statement of fact, in argument impetuous and rapid not merely in our language, but in our motions as well, expansive and fluent in commonplaces and descriptions and, as a rule, submissive and downcast in the peroration? |
| 2916 |
Atqui corporis quoque motui sunt sua quaedam tempora et ad signandos pedes non minus saltationi quam modulationibus adhibetur musica ratio numerorum . Quid ? non vox et gestus accommodatur naturae ipsarum , de quibus dicimus , rerum ? Quo minus id mirere ut pedibus orationis , cum debeant sublimia ingredi , lenia duci , acria currere , delicata fluere . Itaque tragoediae ,
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But the motions of the body also have their own appropriate rhythms, while the musical theory of rhythm determines the value of metrical feet no less for dancing than for tunes. Again, do we not adapt our voice and gesture to the nature of the themes on which we are speaking? There is, therefore, all the less reason for wonder that the same is true of the feet employed in prose, since it is natural that what is sublime should have a stately stride, that what is gentle should seem to be led along, that what is violent should seem to run and what is tender to flow. |
| 2917 |
ubi necesse est , adfectamus etiam tumorem ex spondeis atque iambis quibus maxime continetur : " En impero Argis , sceptra mi liquit Pelops . " At ille comicus aeque senarius , quem trochaicum vocant , pluribus trochaeis , qui trochaei ab aliis dicuntur , pyrrhichiisque decurrit ;
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Consequently, where necessary, we must borrow the pompous effect produced by the spondees and iambi which compose the greater portion of the rhythms of tragedy, as in the line, "En, impero Argis, sceptra mi liquit Pelops." But the comic senarius, styled trochaic, contains a number of pyrrhics and trochees, which others call tribrachs, but loses in dignity what it gains in speed, |
| 2918 |
sed quantum accipit celeritatis , tantum gravitatis amittit : " Quid igitur faciam ? non eam ne nunc quidem " Aspera vero et maledica , ut dixi , etiam ut carmine iambis grassantur : " Quis hoc potest videre , quis potest pati , Nisi impudicus et vorax et aleo ? " In universum autem ,
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as for example in the line, "quid igiturfaciam? non earn, ne nunc quidem?" Violent and abusive language, on the other hand, even in verse, as I have said, employs the iambic for its attack: e.g., "Quis hoc potest videre, quis potest pati, nisi impudicus et vorax et aleo?" As a general rule, however, |
| 2919 |
si sit necesse , duram potius atque asperam compositionem malim esse quam effeminatam et enervem , qualis apud multos et cotidie magis lascivissimis syntonorum modis saltat . Ac ne tam bona quidem ulla erit , ut debeat esse continua et ut eosdem semper pedes ire .
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if the choice were forced upon me, I should prefer my rhythm to be harsh and violent rather than nerveless and effeminate, as it is in so many writers, more especially in our own day, when it trips along in wanton measures that suggest the accompaniment of castanets. Nor will any rhythm ever be so admirable that it ought to be continued with the same recurrence of feet. |
| 2920 |
Nam et versificandi genus est unam legem omnibus sermonibus dare ; et id cum manifestae adfectationis est ( cuius rei maxime cavenda suspicio est ) , tum etiam taedium ex similitudine ac satietatem creat ; quoque est dulcius , magis perdit amittit que et fidem et adfectus motusque omnes , qui est ut hac cura deprehensus . Nec potest ei credere aut propter eum dolere et irasci iudex , cui putat hoc vacare .
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For we shall really be indulging in a species of versification if we seek to lay down one law for all varieties of speech: further, to do so would lay us open to the charge of the most obvious affectation, a fault of which we should avoid even the smallest suspicion, while we should also weary and cloy our audience by the resulting monotony; the sweeter the rhythm, the sooner the orator who is detected in a studied adherence to its employment, will cease to carry conviction or to stir the passions and emotions. The judge will refuse to believe him or to allow him to excite his compassion or his anger, if he thinks that he has leisure for this species of refinement. |
| 2921 |
Ideoque interim quaedam quasi solvenda de industria sunt ; et quidem illa maximi laboris , ne laborata videantur . Sed neque longioribus , quam oportet , hyperbatis compositioni serviamus ne , quae eius rei gratia fecerimus , propter eam fecisse videamur ; et certe nullum aptum atque idoneum verbum permutemus gratia levitatis .
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It will therefore be desirable from time to time that in certain passages the rhythm should be deliberately dissolved: this is a task of no small difficulty, if the appearance of effort is to be avoided. In so doing we must not come to the assistance of the rhythm by introducing bhyperhata of extravagant length, for fear that we should betray the purpose of our action: and we should certainly never in our search for smoothness abandon for another any word that is apt and appropriate to our theme. |
| 2922 |
Neque enim ullum erit tam difficile , quod non commode inseri possit , nisi quod ut evitandis eiusmodi verbis non decorem compositionis quaerimus , sed facilitatem . Non tamen mirabor Latinos magis indulsisse compositioni quam Atticos , cum minus ut verbis habeant severitatis et gratiae ;
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As a matter of fact no word will be so intractable as to baffle all our attempts to find it a suitable position; but it must be remembered that when we avoid such words, we do so not to enhance the charm of our rhythm, but to evade a difficulty. I am not, however, surprised that Latin writers have paid more attention to rhythmical structure than the Athenians, since Latin words possess less correctness and charm. |
| 2923 |
nec vitium duxerim , si Cicero a Demosthene paulum ut hac parte descivit . Sed quae sit differentia nostri Graecique sermonis , explicabit summus liber . Compositio ( nam finem imponere egresso destinatum modum volumini festino ) debet esse honesta , iucunda , varia .
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Nor again do I account it a fault in Cicero that, in this respect, he diverged to some extent from the practice of Demosthenes. However, my final book will explain the nature of the difference between our language and that of Greece. But I must bring this book to a conclusion without more delay, since it has already exceeded the limits designed for it. To sum up then, artistic structure must be decorous, pleasing and varied. |
| 2924 |
Eius tres partes : ordo , coniunctio , numerus . Ratio ut adiectione , detractione , mutatione ; usus pro natura rerum , quas dicimus : cura ita magna , ut sentiendi atque eloquendi prior sit ; dissimulatio curae praecipua , ut numeri sponte fluxisse , non arcessiti et coacti esse videantur .
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It consists of three parts, order, connexion and rhythm. The method of its achievement lies in addition, subtraction and alteration of words. Its practice will depend upon the nature of our theme. The care which it demands is great, but, still, less than that demanded by expression and thought. Above all it is necessary to conceal the care expended upon it so that our rhythms may seem to possess a spontaneous flow, not to have been the result of elaborate search or compulsion. |
| 2925 |
Liber X sed haec eloquendi praecepta , sicut cogitationi sunt necessaria , ita non satis ad vim dicendi valent , nisi illis firma quaedam facilitas , quae apud Graecos ἕξις nominatur , accesserit : ad quam scribendo plus an legendo an dicendo conferatur , solere quaeri scio . Quod esset diligentius nobis examinandum , si qualibet earum rerum possemus una esse contenti .
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Book X But these rules of style, while part of the student's theoretical knowledge, are not in themselves sufficient to give him oratorical power. In addition he will require that assured facility which the Greeks call ἕξις I know that many have raised the question as to whether this is best acquired by writing, reading or speaking, and it would indeed be a question calling for serious consideration, if we could rest content with any one of the three. |
| 2926 |
Verum ita sunt inter se conexa et indiscreta omnia ut , si quid ex his defuerit , frustra sit in ceteris laboratum . Nam neque solida atque robusta fuerit unquam eloquentia nisi multo stilo vires acceperit , et citra lectionis exemplum labor ille carens rectore fluitabit ; et qui sciet quae quoque sint modo dicenda , nisi tamen in procinctu paratamque ad omnes casus habuerit eloquentiam , velut clausis thesauris incubabit .
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But they are so intimately and inseparably connected, that if one of them be neglected, we shall but waste the labour which we have devoted to the others. For eloquence will never attain to its full development or robust health, unless it acquires strength by frequent practice in writing, while such practice without the models supplied by reading will be like a ship drifting aimlessly without a steersman. Again, he who knows what he ought to say and how he should say it, will be like a miser brooding over his hoarded treasure, unless he has the weapons of his eloquence ready for battle and prepared to deal with every emergency. |