Cicero's Brutus, or History of Famous Orators; also His Orator, or Accomplished Speaker

sentence which is here quoted from Crassus, every word which ends with a consonant is immediately succeeded by another which begins with a vowel; and, vice versa, if the preceding word ends with a vowel, the next begins with a consonant.]: for here the mere order in which the words are connected, produces a harmony of sound, without any visible attention of the Speaker. When the ancients, therefore, (I mean Herodotus, and Thucydides, and all who flourished in the same age) composed a numerous and a musical period, it must rather be attributed to the casual order of their words, than to the labour and artifice of the writer. But there are likewise certain forms of expression, which have such a natural concinnity, as will necessarily have a similar effect to that of regular numbers. For when parallel circumstances are compared, or opposite ones contrasted, or words of the same termination are placed in a regular succesion, they seldom fail to produce a numerous cadence. But I have already treated of these, and subjoined a few examples; so that we are hereby furnished with an additional and a copious variety of means to avoid the uniformity of cadence above-mentioned; especially as these measured forms of expression may be occasionally relaxed and dilated. There is, however, a material difference between a style which is merely numerous, (or, in other words, which has a moderate resemblance to metre) and that which is entirely composed of numbers: the latter is an insufferable fault; but our language, without the former, would be absolutely vague, unpolished, and dissipated. But as a numerous style (strictly so called) is not frequently, and indeed but seldom admissible in forensic causes,—it seems necessary to enquire, in the next place, what are those commas and colons before-mentioned, and which, in real causes, should occupy the major part of an Oration. The period, or complete sentence, is usually composed of four divisions, which are called members, (or colons) that it may properly fill the ear, and be neither longer nor shorter than is requisite for that purpose. But it sometimes, or rather frequently happens, that a sentence either falls short of, or exceeds the limits of a regular period, to prevent it from fatiguing the ear on the one hand, or disappointing it on the other. What I mean is to recommend an agreeable mediocrity: for we are not treating of verse, but of rhetorical prose, which is confessedly more free and unconfined. A full period, then, is generally composed of four parts, which may be compared to as many hexameter verses, each of which have their proper points, or particles of continuation, by which they are connected so as to form a perfect period. But when we speak by colons, we interupt their union, and, as often as occasion requires (which indeed will frequently be the case) break off with ease from this laboured and suspicious flow of language; but yet nothing should be so numerous in reality as that which appears to be least so, and yet has a forcible effect. Such is the following passage in Crassus:—"Missos faciant patronos; ipsi prodeant." "Let them dismiss their patrons: let them answer for themselves." Unless "ipsi prodeant" was pronounced after a pause, the hearer must have discovered a complete iambic verse. It would have had a better cadence in prose if he had said "prodeant ipsi." But I am only to consider the species, and not the cadence of the sentence. He goes on, "Cur clandestinis consiliis nos oppugnant? cur de perfugis nostris copias comparant contra nos?" "Why do they attack us by clandestine measures? why do they collect forces against us from our own deserters?" In the former passage there are two commas: in the latter he first makes use of the colon, and afterwards of the period: but the period is not a long one, as only consisting of two colons, and the whole terminates in spondees. In this manner Crassus generally expressed himself; and I much approve his method. But when we speak either in commas, or colons, we should be very attentive to the harmony of their cadence: as in the following instance.—"Domus tibi deerat? at habebas. Pecunia superabat? at egebas." "Was you without a habitation? You had a house of your own. Was your pocket well provided? You was not master of a farthing." These are four commas; but the two following members are both colons;—"Incurristi omens in columnas, in alienos insanus insanisti." "You rushed like a madman upon your best supporters; you vented your fury on your enemies withput mercy." The whole is afterwards supported by a full period, as by a solid basis;—"Depressam, caecam, jacentem domum, pluris quam te, et fortunas tuas aestimasti." "You have shewn more regard to an unprosperous, an obscure, and a fallen family, than to your own safety and reputation." This sentence ends with a dichoree, but the preceeding one in a double spondee. For in those sentences which are to be used like daggers for close-fighting, their very shortness makes our numbers less exceptionable. They frequently consist of a single number;— generally of two, with the addition perhaps of half a foot to each: and very seldom of more than three. To speak in commas or colons has a very good effect in real causes; and especially in those parts of an Oration where it is your business either to prove or refute: as in my second defence of Cornelius, where I exclaimed, "O callidos homines! O rem excogitatam! O ingenia metuenda!" "What admirable schemers! what a curious contrivance! what formidable talents!" Thus far I spoke in colons; and afterwards by commas; and then returned to the colon, in "Testes dare volumus," "We are willing to produce our witnesses." This was succeeded by the following period, consisting of two colons, which is the shortest that can be formed,—"Quem, quaeso, nostrum sesellit ita vos esse facturos?" "Which of us, think you, had not the sense to foresee that you would proceed in this manner?" There is no method of expressing ourselves which, if properly timed, is more agreeable or forcible, than these rapid turns, which are completed in two or three words, and sometimes in a single one; especially, when they are properly diversified, and intermingled here and there with a numerous period; which Egesias avoids with such a ridiculous nicety, that while he affects to imitate Lysias (who was almost a second Demosthenes) he seems to be continually cutting capers, and clipping sentence after sentence. He is as frivolous in his sentiments as in his language: so that no person who is acquainted with his writings, need to seek any farther for a coxcomb. But I have selected several examples from Crassus, and a few of my own, that any person, who is so inclined, may have an opportunity of judging with his own ears, what is really numerous, as well in the shortest as in any other kind of sentences. Having, therefore, treated of a numerous style more copiously than any author before me, I shall now proceed to say something of it's utility. For to speak handsomely, and like an Orator (as no one, my Brutus, knows better than yourself) is nothing more than to express the choicest sentiments in the finest language. The noblest thoughts will be of little service to an orator, unless he is able to communicate them in a correct and agreeable style: nor will the splendor of our expressions appear to a proper advantage, unless they are carefully and judiciously ranged. Permit me to add, that the beauty of both will be considerably heightened by the harmony of our numbers:—such numbers (for I cannot repeat it too often) as are not only not cemented together, like those of the poets, but which avoid all appearance of metre, and have as little resemblance to it as possible; though it is certainly true that the numbers themselves are the same, not only of the Poets and Orators, but of all in general who exercise the faculty of speech, and, indeed, of every instrument which produces a sound whose time can be measured by the ear. It is owing entirely to the different arrangement of our feet that a sentence assumes either the easy air of prose, or the uniformity of verse. Call it, therefore, by what name you please (Composition, Perfection, or Number) it is a necessary restraint upon our language; not only (as Aristotle and Theophrastus have observed) to prevent our sentences (which should be limited neither by the breath of the speaker, nor the pointing of a transcriber, but by the sole restraint of number) from running on without intermission like a babbling current of water; but chiefly, because our language, when properly measured, has a much greater effect than when it is loose and unconfined. For as Wrestlers and Gladiators, whether they parry or make an assault, have a certain grace in their motions, so that every effort which contributes to the defence or the victory of the combatants, presents an agreeable attitude to the eye: so the powers of language can neither give nor evade an important blow, unless they are gracefully exerted. That style, therefore, which is not regulated by numbers, is to me as unbecoming as the motions of a Gladiator who has not been properly trained and exercised: and so far is our language from being enervated by a skilful arrangement of our words (as is pretended by those who, for want either of proper instructors, capacity, or diligence, have not been able to attain it) that, on the contrary, without this, it is impossible it should have any force or efficacy. But it requires a long and attentive course of practice to avoid the blemishes of those who were unacquainted with this numerous species of composition, so as not to transpose our words too openly to assist the cadence and harmony of our periods; which L. Caelius Antipater, in the Introduction to his Punic War, declares he would never attempt, unless when compelled by necessity. "O virum simplicem," (says he, speaking of himself) "qui nos nihil celat; sapientem, qui serviendum necessitati putet." "O simple man, who has not the skill his art to conceal; and yet to the rigid laws of necessity he has the wisdom to submit." But he was totally unskilled in composition. By us, however, both in writing and speaking, necessity is never admitted as a valid plea; for, in fact, there is no such thing as an absolute constraint upon the order and arrangement of our words; and, if there was, it is certainly unnecessary to own it. But Antipater, though he requests the indulgence of Laelius, to whom he dedicates his work, and attempts to excuse himself, frequently transposes his words without contributing in the least either to the harmony, or agreeable cadence of his periods. There are others, and particularly the Asiatics, who are such slaves to number, as to insert words which have no use nor meaning to fill up the vacuities in a sentence. There are likewise some who, in imitation of Hegesias (a notorious trifler as well in this as in every other respect) curtail and mince their numbers, and are thus betrayed into the low and paltry style of the Sicilians. Another fault in composition is that which occurs in the speeches of Hierocles and Menecles, two brothers, who may be considered as the princes of Asiatic Eloquence, and, in my opinion, are by no means contemptible: for though they deviate from the style of nature, and the strict laws of Atticism, yet they abundantly compensate the defect by the richness and fertility of their language. But they have no variety of cadence, and their sentences are almost always terminated in the same manner. He therefore, who carefully avoids these blemishes, and who neither transposes his words too openly,—nor inserts any thing superfluous or unmeaning to fill up