Institutio Oratoria (Quintilian)

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	Institutio Oratoria Author: Quintilian	Translator: Harold Edgeworth Butler
3383	Quod adfectant quoque , tanquam inuentionis copia urgeantur maiorque vis eloquentiae ingruat , quam quae emitti faucibus possit . Est aliis concursus oris et cum verbis suis colluctatio . iam tussire et exspuere crebro et ab imo pulmone pituitam trochleis adducere et oris humore proximos spargere et maiorem partem spiritus in loquendo per nares effundere , etiamsi non utique vocis sunt vitia , quia tamen propter vocem accidunt , potissimum huic loco subiciantur .	Some indeed actually affect this mannerism, as though to suggest that they are struggling with the host of ideas that crowd themselves upon them and oppressed by a greater flood of eloquence than their throats are capable of uttering. Others, again, find a difficulty in opening their mouths, and seem to struggle with their words; and, further, although they are not actually faults of the voice, yet since they arise out of the use of the voice, I think this is the most appropriate place for referring to the habit of coughing and spitting with frequency while speaking, of hawking up phlegm from the depths of the lungs, like water from a well, sprinkling the nearest of the bystanders with saliva, and expelling the greater portion of the breath through the nostrils.
3384	Sed quodcunque ex his vitium magis tulerim quam , quo nunc maxime laboratur in causis omnibus scholisque , cantandi , quod inutilius sit an foedius , nescio . Quid enim minus oratori convenit quam modulatio scenica et nonnunquam ebriorum aut comissantium licentiae similis ?	But any of these faults are tolerable compared with the practice of chanting instead of speaking, which is the worst feature of our modern oratory, whether in the courts or in the schools, and of which I can only say that I do not know whether it is more useless or more repugnant to good taste. For what can be less becoming to an orator than modulations that recall the stage and a sing-song utterance which at times resembles the maudlin utterance of drunken revellers?
3385	Quid vero movendis adfectibus contrarium magis quam , cum dolendum , irascendum , indignandum , commiserandum sit , non solum ab his adfectibus , in quos inducendus est iudex , recedere , sed ipsam fori sanctitatem Lyciorum et Carum licentia solvere ? Nam Cicero illos ex Lycia et Caria rhetoras paene cantare in epilogis dixit . Nos etiam cantandi severiorem paulo modum excessimus .	What can be more fatal to any emotional appeal than that the speaker should, when the situation calls for grief, anger, indignation or pity, not merely avoid the expression of those emotions which require to be kindled in the judge, but outrage the dignity of the courts with noises such as are dear to the Lycians and Carians? For Cicero has told us that the rhetoricians of Lycia and Caria come near to singing in their perorations. But, as a matter of tact, we have somewhat overstepped the limits imposed by the more restrained style of singing.
3386	Quisquamne , non dico de homicidio , sacrilegio , parricidio , sed de calculis certe atque rationibus , quisquam denique , ut semel finiam , in lite cantat ? Quod si omnino recipiendum est , nihil causae est , cur non illam vocis modulationem fidibus ac tibiis , immo me hercule , quod est huic deformitati propius , cymbalis adiuvemus .	I ask you, does anyone sing, I will not say when his theme is murder, sacrilege or parricide, but at any rate when he deals with figures or accounts, or, to cut a long story short, when he is pleading in any kind of lawsuit whatever? And if such a form of intonation is to be permitted at all, there is really no reason why the modulations of the voice should not be accompanied by harps and flutes, or even by cymbals, which would be more appropriate to the revolting exhibitions of which I am speaking.
3387	Facimus tamen hoc libenter ; nam nec cuiquam sunt iniucunda quae cantant ipsi , et laboris in hoc quam in agendo minus est . Et sunt quidam , qui secundum alia vitae vitia etiam hac ubique audiendi , quod aures mulceat , voluptate ducantur . Quid ergo ? non et Cicero dicit esse aliquem in oratione cantum obscuriorem ? et hoc quodam naturali initio venit ? Ostendam non multo post , ubi et quatenus recipiendus sit hic flexus et cantus quidem sed , quod plerique intelligere nolunt , obscurior .	And yet we show no reluctance in indulging this vicious practice. For no one thinks his own singing hideous, and it involves less trouble than genuine pleading. There are, moreover, some persons who, in thorough conformity with their other vices, are possessed with a perpetual passion for hearing something that will soothe their ears. But, it may be urged, does not Cicero himself say that there is a suggestion of singing in the utterance of an orator? And is not this the outcome of a natural impulse? I shall shortly proceed to show to what extent such musical modulations are permissible: but if we are to call it singing, it must be no more than a suggestion of singing, a fact which too many refuse to realise.
3388	Iam enim tempus est dicendi , quae sit apta pronuntiatio . Quae certe ea est , quae iis , de quibus dicimus , accommodatur . Quod quidem maxima ex parte praestant ipsi motus animorum , sonatque vox , ut feritur ; sed cum sint alii veri adfectus , alii ficti et imitati , veri naturaliter erumpunt , ut dolentium , irascentium , indignantium , sed carent arte , ideoque sunt disciplina et ratione formandi .	But it is now high time for me to explain what I mean by appropriate delivery. Such appropriateness obviously lies in the adaptation of the delivery to the subjects on which we are speaking. This quality is, in the main, supplied by the emotions themselves, and the voice will ring as passion strikes its chords. But there is a difference between true emotion on the one hand, and false and fictitious emotion on the other. The former breaks out naturally, as in the case of grief, anger or indignation, but lacks art, and therefore requires to be formed by methodical training.
3389	Contra qui effinguntur imitatione , artem habent ; sed hi carent natura , ideoque in iis primum est bene adfici et concipere imagines rerum et tanquam veris moveri . Sic velut media vox , quem habitum a nobis acceperit , hunc iudicum animis dabit . Est enim mentis index ac totidem , quot illa , mutationes habet .	The latter, on the other hand, does imply art, but lacks the sincerity of nature: consequently in such cases the main thing is to excite the appropriate feeling in oneself, to form a mental picture of the facts, and to exhibit an emotion that cannot be distinguished from the truth. The voice, which is the intermediary between ourselves and our hearers, will then produce precisely the same emotion in the judge that we have put into it. For it is the index of the mind, and is capable of expressing all its varieties of feeling.
3390	Itaque laetis in rebus plena et simplex et ipsa quodammodo hilaris fluit ; at in certamine erecta totis viribus et velut omnibus nervis intenditur . Atrox in ira et aspera ac densa et respiratione crebra ; neque enim potest esse longus spiritus , cum immoderate effunditur . Paulum in invidia facienda lentior , quia non fere ad hanc nisi inferiores confugiunt ; at in blandiendo , fatendo , satisfaciendo , rogando , lenis et summissa .	Therefore when we deal with a lively theme, the flow of the voice is characterised by fullness, simplicity and cheerfulness; but when it is roused to battle, it puts forth all its strength and strains every nerve. In anger it is fierce, harsh and intense, and calls for frequent filling of the lungs, since the breath cannot be sustained for long when it is poured forth without restraint. When it is desired to throw odium upon our opponents, it will be somewhat slower, since, as a rule, it is none save the weaker party takes refuge in such tactics. On the other hand, in flattery, admission, apology or question it will be gentle and subdued.
3391	Suadentium et monentium et pollicentium et consolantium gravis , in metu et verecundia contracta , adhortationibus fortis , disputationibus teres , miseratione flexa et flebilis et consulto quasi obscurior ; at in egressionibus fusa et securae claritatis , in expositione ac sermonibus recta et inter acutum sonum et gravem media .	If we advise, warn, promise or console, it will be grave and dignified, modest if we express fear or shame, bold in exhortation, precise in argument, full of modulations, suggestive of tears and designedly muffled in appeals for pity, whereas in digression it will be full and flowing, and will have all the resonance that is characteristic of confidence; in exposition of facts or conversations it will be even and pitched half-way betwixt high and low.
3392	Attollitur autem concitatis adfectibus , compositis descendit pro utriusque rei modo altius vel inferius . Quid autem quisque in dicendo postulet locus , paulum differam , ut de gestu prius dicam , qui et ipse voci consentit et animo cum ea simul paret . Is quantum habeat in oratore momenti , satis vel ex eo patet quod pleraque etiam citra verba significat .	But it will be raised to express violent emotion, and sink when our words are of a calmer nature, rising and falling according to the demands of its theme. However, for the moment I will defer speaking of the variations in tone required by different topics, and will proceed first to the discussion of gesture which conforms to the voice, and like it, obeys the impulse of the mind. Its importance in oratory is sufficiently clear from the fact that there are many things which it can express without the assistance of words.
3393	Quippe non manus solum , sed nutus etiam declarant nostram voluntatem et in mutis pro sermone sunt , et saltatio frequenter sine voce intelligitur atque adficit , et ex vultu ingressuque perspicitur habitus animorum ; et animalium quoque sermone carentium ira , laetitia , adulatio et oculis et quibusdam aliis corporis signis deprehenditur .	For we can indicate our will not merely by a gesture of the hands, but also with a nod from the head: signs take the place of language in the dumb, and the movements of the dance are frequently full of meaning, and appeal to the emotions without any aid from words. The temper of the mind can be inferred from the glance and gait, and even speechless animals show anger, joy, or the desire to please by means of the eye and other physical indications.
3394	Nec mirum , si ista , quae tamen in aliquo posita sunt motu , tantum in animis valent , cum picture , tacens opus et habitus semper eiusdem , sic in intimos penetret adfectus , ut ipsam vim dicendi nonnunquam superare videatur . Contra si gestus ac vultus ab oratione dissentiat , tristia dicamus hilares , adfirmemus aliqua renuentes non auctoritas modo verbis , sed etiam fides desit . Decor quoque a gestu atque motu venit ;	Nor is it wonderful that gesture which depends on various forms of movement should have such power, when pictures, which are silent and motionless, penetrate into our innermost feelings with such power that at times they seem more eloquent than language itself. On the other hand, if gesture and the expression of the face are out of harmony with the speech, if we look cheerful when our words are sad. or slake our heads when making a positive assertion, our words will not only lack weight, but will fail to carry conviction.
3395	ideoque Demosthenes grande quoddam intuens speculum componere actionem solebat ; adeo , quamuis fulgor ille sinistras imagines reddat , suis demum oculis credidit , quod efficeret . Praecipuum vero in actione sicut in corpore ipso caput est cum ad illum , de quo dixi , decorem , tum etiam ad significationem .	Gesture and movement are also productive of grace. It was for this reason that Demosthenes used to practise his delivery in front of a large mirror, since, in spite of the fact that its reflexions are reversed, he trusted his eyes to enable him to judge accurately the effect produced. The head, being the chief member of the body, has a corresponding importance in delivery, serving not merely to produce graceful elect, but to illustrate our meaning as well.
3396	Decoris illa sunt , ut sit primo rectum et secundum naturam . Nam et deiecto humilitas et supino arrogantia et in latus inclinato languor et praeduro ac rigente barbaria quaedam mentis ostenditur . Tum accipiat aptos ex ipsa actione motus , ut cum gestu concordet et manibus ac lateribus obsequatur .	To secure grace it is essential that the head should be carried naturally an erect. For a droop suggests humility, while if it be thrown back it seems to express arrogance, if inclined to one side it gives an impression of languor, while if it is held too stiffly and rigidly it appears to indicate a rude and savage temper. Further, it should derive appropriate motion from the subject of our pleading, maintaining harmony with the gesture and following the movement of the hands and side.
3397	Aspectus enim semper eodem vertitur quo gestus , exceptis quae aut damnare aut concedere aut a nobis removere oportebit , ut idem illud vultu videamur aversari , manu repellere : " — Di talem avertite pestem . " — haud equidem tali me dignor honore . " Significat vero plurimis modis .	For the eyes are always turned in the same direction as the gesture, except when we are called upon to condemn or concede something or to express abhorrence, when we shall show our aversion by turning away the face and by thrusting out our hands as though to repel the thought, as in the lines: "Ye gods, such dread calamity avert!" or "Not for me To claim such honour!"
3398	Nam praeter adnuendi , renuendi confirmandique motus sunt et verecundiae et dubitationis et admirationis et indignationis noti et communes omnibus . Solo tamen eo facere gestum scenici quoque doctores vitiosum putaverunt . Etiam frequens eius nutus non caret vitio ; adeo iactare id et comas excutientem rotare fanaticum est .	The methods by which the head may express our meaning are manifold. For in addition to those movements which indicate consent, refusal and affirmation, there are those expressive of modesty, hesitation, wonder or indignation, which are well known and common to all. But to confine the gesture to the movement of the head alone is regarded as a fault by those who teach acting as well as by professors of rhetoric. Even the frequent nodding of the head is not free from fault, while to toss or roll it till our hair flies free is suggestive of a fanatic.
3399	Dominatur autem maxime vultus . Hoc supplices , hoc minaces , hoc blandi , hoc tristes , hoc hilares , hoc erecti , hoc summissi sumus ; hoc pendent homines , line intuentur , hic spectator , etiam antequam dicimus ; hoc quosdam amamus , hoc odimus , hoc plurima intelligimus , hic est saepe pro omnibus verbis .	By far the greatest influence is exercised by the glance. For it is by this that we express supplication, threats, flattery, sorrow, joy, pride or submission. It is on this that our audience hang, on this that they rivet their attention and their gaze, even before we begin to speak. It is this that inspires the hearer with affection or dislike, this that conveys a world of meaning and is often more eloquent than all our words.
3400	Itaque in iis , quae ad scenam componuntur , fabulis artifices pronuntiandi a personis quoque adfectus mutuantur , ut sit Aerope in tragoedia tristis , atrox Medea , attonitus Aiax , truculentus Hercules .	Consequently in plays destined for the stage, the masters of the art of delivery design even their masks to enhance the emotional effect. Thus, in tragedy, Aerope will be sad, Medea fierce, Ajax bewildered, Hercules truculent.
3401	In comoediis vero praeter aliam observationem , qua servi , lenones , parasiti , rustici , milites , meretriculae , ancillae , senes austeri ac mites , iuvenes severi ac luxuriosi , matronae , puellae inter se discernuntur , pater ille , cuius praecipuae partes sunt , quia interim concitatus , interim lenis est , altero erecto , altero composito est supercilio ; atque id ostendere maxime latus actoribus moris est , quod cum iis , quas agunt , partibus congruat .	In comedy, on the other hand, over and above the methods adopted to distinguish between slaves, pimps, parasites, rustics, soldiers, harlots, maidservants, old men stern and mild, youths moral or luxurious, married women and girls, we have the important rôle of the father who, because at times he is excited and at others call, has one eyebrow raised and the other normal, the custom among actors being to turn that side of the face to the audience which best suits the role.
3402	Sed in ipso vultu plurimum valent oculi , per quos maxime animus eminet , ut citra motum quoque et hilaritate enitescant et tristitiae quoddam nubilum ducant . Quin etiam lacrimas iis natura mentis indices dedit , quae aut erumpunt dolore aut laetitia manant . Motu vero intenti , remissi , superbi , torvi , mites , asperi fiunt , quae , ut actus poposcerit , fingentur .	But of the various elements that go to form the expression, the eyes are the most important, since they, more than any-thing else, reveal the temper of the mind, and without actual movement will twinkle with merriment or be clouded with grief. And further, nature has given them tears to serve as interpreters of our feelings, tears that will break forth for sorrow or stream for very joy. But, when the eyes move, they become intent, indifferent, proud, fierce, mild, or angry; and they will assume all these characters according as the pleading may demand.
3403	Rigidi 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 . Nam opertos compressosve eos in dicendo quis nisi plane rudis aut stultus habeat ?	But they must never he fixed or protruding, languid or sluggish, lifeless, lascivious, restless, nor swim with a moist voluptuous glance, nor look aslant nor leer in amorous fashion, nor yet must they seem to promise or ask a boon. As for keeping them fully or partially closed while speaking, surely none save an uneducated man or a fool would dream of doing such a thing.
3404	Et ad haec omnia exprimenda in palpebris etiam et in genis est quoddam deserviens iis ministerium .	And in addition to all these forms of expression, the upper and lower eyelids can render service in support of the eyes.
3405	Multum et superciliis agitur . Nam et oculos formant aliquatenus et fronti imperant . 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 .	The eyebrows also may be used with great effect. For to some extent they mould the expression of the eyes and determine that of the forehead. It is by means of the eyebrows that we contract, raise or smooth the latter: in fact, the only thing which has greater influence over it is the blood, which moves in conformity with the emotions that control the mind, causing a blush on a skin that is sensitive to shame, and giving place to an icy pallor under the influence of fear, whereas, when it is under control, it produces a peaceful complexion, intermediate between the two.
3406	Vitium 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 . Ira enim contractis , tristitia deductis , hilaritas remissis ostenditur . Adnuendi quoque et renuendi ratione demittuntur aut allevantur .	Complete immobility in the eyebrows is a fault, as also is excess of mobility or the tendency to raise one and lower the other, as in the comic mask which I mentioned just now: while it is a further blemish if they express a feeling out of keeping with the words we utter. For they show anger by contraction, grief by depression and cheerfulness by their expansion. They are also dropped or raised to express consent or refusal respectively.
3407	Naribus labrisque non fere quidquam decenter ostendimus , tametsi derisus iis , contemptus , fastidium significari solet . 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 .	It is not often that the lips or nostrils can be becomingly employed to express our feelings, although they are often used to indicate derision, contempt or loathing. For to "wrinkle the nostrils" (as Horace says), or blow them out, or twitch them, or fret them with our finger, or snort through them with a sudden expulsion of the breath, or stretch them wide or push them up with the flat of the hand are all indecorous, since it is not without reason that censure is passed even on blowing the nose too frequently.
3408	Labra 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 . 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 an ugly habit to protrude the lips, open them with a sudden smack, compress them, draw them apart and bare the teeth, or twist them awry to one side till they almost reach the ear, or to curl them in scorn, or let them droop, or allow the voice to escape only on one side. It is also unbecoming to lick or bite them, since their motion should be but slight even when they are employed in forming words. For we must speak with the mouth rather than the lips.
3409	Cervicem rectam oportet esse , non rigidam aut supinam . 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 neck must be straight, not stiff or bent backward. As regards the throat, contraction and stretching are equally unbecoming, though in different ways. If it be stretched, it causes strain as well, and weakens and fatigues the voice, while if the chin be pressed down into the chest it makes the voice less distinct and coarsens it, owing to the pressure on the windpipe.
3410	Humerorum 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 .	It is, as a rule, unbecoming to raise or contract the shoulders. For it shortens the neck and produces a mean and servile gesture, which is even suggestive of dishonesty when men assume an attitude of flattery, admiration or fear.
3411	Bracchii moderata proiectio , remissis humeris atque explicantibus se in proferenda manu digitis , continuos et decurrentes locos maxime decet . 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 .	In continuous and flowing passages a most becoming gesture is slightly to extend the arm with shoulders well thrown back and the fingers opening as the hand moves forward. But when we have to speak in specially rich or impressive style, as, for example, in the passage saxa atiqu solitudines voci respondent, the arm will be thrown out in a stately sidelong sweep and the words will, as it were, expand in unison with the gesture.
3412	Manus vero , sine quibus trunca esset actio ac debilis , vix dici potest , quot motus habeant , cum paene ipsam verborum copiam consequantur . Nam ceterae partes loquentem adiuuant , hae , prope est ut dicam , ipsae loquuntur .	As for the hands, without which all action would be crippled and enfeebled, it is scarcely possible to describe the variety of their motions, since they are almost as expressive as words. For other portions of the body merely help the speaker, whereas the hands may almost be said to speak.
3413	Annon his poscimus , pollicemur , uocamus , dimittimus , minamur , supplicamus , abominamur , timemus , interrogamus , negamus ; gaudium , tristitiam , dubitationem , confessionem , paenitentiam , modum , copiam , numerum , tempus ostendimus ?	Do we not use them to demand, promise, summon, dismiss, threaten, supplicate, express aversion or fear, question or deny? Do we not employ them to indicate joy, sorrow, hesitation, confession, penitence, measure, quantity, number and time?
3414	Non 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 .	Have they not power to excite and prohibit, to express approval, wonder or shame? Do they not take the place of adverbs and pronouns when we point at places and things? In fact, though the peoples and nations of the earth speak a multitude of tongues, they share in common the universal language of the hands.
3415	Et 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 .	The gestures of which I have thus far spoken are such as naturally proceed from us simultaneously with our words. But there are others which indicate things by means of mimicry. For example, you may suggest a sick man by mimicking the gesture of a doctor feeling the pulse, or a harpist by a movement of the hands as though they were plucking the strings. But this is a type of gesture which should be rigorously avoided in pleading.
3416	Abesse enim plurimum a saltatore debet orator , ut sit gestus ad sensus magis quam ad verba accommodatus ; quod etiam histrionibus paulo gravioribus facere moris fuit . 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 .	For the orator should be as unlike a dancer as possible, and his gesture should be adapted rather to his thought than to his actual words, a practice which was indeed once upon a time even adopted by the more dignified performers on the stage. I should, therefore, permit him to direct his hand towards his body to indicate that he is speaking of himself, or to point it at some one else to whom he is alluding, together with other similar gestures which I need not mention. But, on the other hand, I would not allow him to use his hands to imitate attitudes or to illustrate anything he may chance to say.
3417	Neque id in manibus solum , sed in omni gestu ac voce servandum est . 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 ;	And this rule applies not merely to the hands, but to all gesture and to the voice as well. For in delivering the period stetit soleatus praetor populi Romani, it would be wrong to imitate Verres leaning on his mistress, or in uttering the phrase caedebatur in medio foro Messanae to make the side writhe, as it does when quivering beneath the lash, or to utter shrieks, such as are extorted by pain.
3418	cum 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 . Adeo in illis quoque est aliqua vitiosa imitatio , quorum ars omnis constat imitatione .	For even comic actors seem to me to commit a gross offence against the canons of their art when, if they have in the course of some narrative to quote either the words of an old man (as, for example, in the prologue to the Hydria ), or of a woman (as in the ( Georgus ), they litter them in a tremulous or a treble voice, notwithstanding the fact that they are playing the part of a young man. So true is it that certain forms of imitation may be a blemish even in those whose whole art consists in imitation.
3419	Est 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 .	One of the commonest of all the gestures consists in placing the middle finger against the thumb and extending the remaining three: it is suitable to the exordum, the hand being moved forward with an easy motion a little distance both to right and left, while the head and shoulders gradually follow the direction of the gesture. It is also useful in the statement of facts, but in that case the hand must be moved with firmness and a little further forward, while, if we are reproaching or refuting our adversary, the same movement may be employed with some vehemence and energy, since such passages permit of greater freedom of extension.
3420	Vitiose vero idem sinistrum quasi humerum petens in latus agi solet , quanquam adhuc peius aliqui transversum brachium proferunt et cubito pronuntiant . Duo quoque medii sub pollicem veniunt , et est hic adhuc priore gestus instantior , principio et narrationi non commodatus .	On the other hand, this same gesture is often directed sideways towards the left shoulder: this is a mistake, although it is a still worse fault to thrust the arm across the chest and gesticulate with the elbow. The middle and third fingers are also sometimes turned under the thumb, producing a still more forcible effect than the gesture previously described, but not well adapted for use in the exordium or state- meant of facts.