THE POWER OF MENTAL IMAGERY

But how shall we be affected, the emotions or pa.s.sions being not at our command? This may be done by what we may call visions, whereby the images of things absent are so represented to the mind that we seem to see them with our eyes and have them present before us. Whoever can work up his imagination to an intuitive view of this kind, will be very successful in moving the pa.s.sions.

If I deplore the fate of a man who has been a.s.sa.s.sinated, may I not paint in my mind a lively picture of all that probably happened on the occasion? Shall not the a.s.sa.s.sin appear to rush forth suddenly from his lurking place? Shall not the other appear seized with horror? Shall he not cry out, beg for his life, or fly to save it? Shall I not see the a.s.sa.s.sin dealing the deadly blow, and the defenseless wretch falling dead at his feet? Shall I not picture vividly in my mind the blood gushing from his wounds, his ghastly face, his groans, and the last gasp he fetches?

When there is occasion for moving to compa.s.sion, we should believe and, indeed, be persuaded that the distress and misfortunes of which we speak have happened to ourselves. Let us place ourselves in the very position of those for whom we feel sorrow on account of their having suffered such grievous and unmerited treatment. Let us plead their cause, not as if it were another's, but taking to ourselves, for a short time, their whole grief. In this way we shall speak as if the case were our own. I have seen comedians who, when they have just appeared in a mournful character, often make their exit with tears in their eyes. If, then, the expression given to imaginary pa.s.sions can affect so powerfully, what should not orators do, whose inner feelings ought to sympathize with their manner of speaking, which can not happen unless they are truly affected by the danger to which their clients are exposed.

RULES FOR PRACTISE

In the declamatory exercises of schools it would be expedient, likewise, to move the pa.s.sions and imagine the scene as a real one in life, and it is the more important as there the part is performed rather of a pleader against some person, than an advocate for some person. We represent a person who has lost his children, or has been shipwrecked, or is in danger of losing his life, but of what significance is it to personate such characters, unless we also a.s.sume their real sentiments.

This nature, and these properties of the pa.s.sions, I thought it inc.u.mbent on me not to conceal from the reader, for I, myself, such as I am, or have been (for I flatter myself that I have acquired some reputation at the bar), have often been so affected that not only tears, but even paleness, and grief, not unlike that which is real, have betrayed my emotions.

THE STUDY OF WORDS

What now follows requires special labor and care, the purpose being to treat of elocution, which in the opinion of all orators is the most difficult part of our work, for M. Antonius says that he has seen many good speakers, but none eloquent. He thinks it good enough for a speaker to say whatever is necessary on a subject, but only the most eloquent may discuss it with grace and elegance. If down to the time he lived in, this perfection was not discoverable in any orator, and neither in himself nor in L. Cra.s.sus, it is certain that it was lacking in them and their predecessors only on account of its extreme difficulty. Cicero says that invention and disposition show the man of sense, but eloquence the orator. He therefore took particular pains about the rules for this part, and that he had reason for so doing the very name of eloquence sufficiently declares. For to be eloquent is nothing else than to be able to set forth all the lively images you have conceived in your mind, and to convey them to the hearers in the same rich coloring, without which all the principles we have laid down are useless, and are like a sword concealed and kept sheathed in its scabbard.

This, then, is what we are princ.i.p.ally to learn; this is what we can not attain without the help of art; this ought to be the object of our study, our exercise, our imitation; this may be full employment for our whole life; by this, one orator excels another; and from this proceeds diversity of style.

THE PROPER VALUE OF WORDS

It should not be inferred from what is said here that all our care must be about words. On the contrary, to such as would abuse this concession of mine, I declare positively my disapprobation of those persons who, neglecting things, the nerves of causes, consume themselves in a frivolous study about words. This they do for the sake of elegance, which indeed is a fine quality when natural but not when affected. Sound bodies, with a healthy condition of blood, and strong by exercise, receive their beauty from the very things from which they receive their strength. They are fresh-colored, active, and supple, neither too much nor too little in flesh. Paint and polish them with feminine cosmetics, and admiration ceases; the very pains taken to make them appear more beautiful add to the dislike we conceive for them. Yet a magnificent, and suitable, dress adds authority to man; but an effeminate dress, the garb of luxury and softness, lays open the corruption of the heart without adding to the ornament of the body. In like manner, translucent and flashy elocution weakens the things it clothes. I would, therefore, recommend care about words, but solicitude about things.

The choicest expressions are for the most part inherent in things, and are seen in their own light, but we search after them as if always hiding and stealing themselves away from us. Thus we never think that what ought to be said is at hand; we fetch it from afar, and force our invention. Eloquence requires a more manly temper, and if its whole body be sound and vigorous, it is quite regardless of the nicety of paring the nails and adjusting the hair.

THE DANGER OF VERBIAGE

It often happens, too, that an oration becomes worse by attending to these niceties, because simplicity, the language of truth, is its greatest ornament, and affectation the reverse. The expressions that show care, and would also appear as newly formed, fine, and eloquent, lose the graces at which they aim, and are far from being striking and well received, because they obscure the sense by spreading a sort of shadow about it, or by being too crowded they choke it up, like thick-sown grain that must run up too spindling. That which may be spoken in a plain, direct manner we express by paraphrase; and we use repet.i.tions where to say a thing once is enough; and what is well signified by one word, we load with many, and most things we choose to signify rather by circ.u.mlocution than by proper and pertinent terms.

A proper word, indeed, now has no charms, nothing appearing to us fine which might have been said by another word. We borrow metaphors from the whims and conceits of the most extravagant poets, and we fancy ourselves exceedingly witty, when others must have a good deal of wit to understand us. Cicero is explicit in his views in this respect. "The greatest fault a speech can have," says he, "is when it departs from the common way of discourse and the custom of common sense." But Cicero would pa.s.s for a harsh and barbarous author, compared to us, who make little of whatever nature dictates, who seek not ornaments, but delicacies and refinements, as if there were any beauty in words without an agreement with things, for if we were to labor throughout our whole life in consulting their propriety, clearness, ornament, and due placing, we should lose the whole fruit of our studies.

ACQUIRING A PRACTICAL VOCABULARY

Yet many are seen to hesitate at single words, even while they invent, and reflect on and measure what they invent. If this were done designedly to use always the best, this unhappy temper would still be detestable, as it must check the course of speaking and extinguish the heat of thought by delay and diffidence. For the orator is wretched, and, I may say, poor, who can not patiently lose a word. But he will lose none who first has studied a good manner of speaking, and by reading well the best authors has furnished himself with a copious supply of words and made himself expert in the art of placing them. Much practise will so improve him afterward that he always will have them at hand and ready for use, the thought fitting in naturally with the proper manner of expression.

But all this requires previous study, an acquired faculty, and a rich fund of words. For solicitude in regard to inventing, judging, and comparing, should take place when we learn, and not when we speak.

Otherwise they who have not sufficiently cultivated their talents for speaking will experience the fate of those who have made no provision for the future. But if a proper stock of words is already prepared, they will attend as in duty bound, not so much in the way of answering exigencies as always to seem inherent in the thought and to follow as a shadow does a body.

HOW TO CHOOSE THE RIGHT WORDS

Yet this care should not exceed its due bounds, for when words are authorized by use, are significant, elegant, and aptly placed, what more need we trouble ourselves about? But some eternally will find fault, and almost scan every syllable, who, even when they have found what is best, seek after something that is more ancient, remote, and unexpected, not understanding that the thought must suffer in a discourse, and can have nothing of value, where only the words are commendable. Let us, therefore, pay particular regard to elocution, yet, at the same time be convinced that nothing is to be done for the sake of words, they having been invented solely for the sake of things. The most proper words always will be those which are best expressive of the ideas in our mind, and which produce in the ideas of the judges the effect we desire. Such undoubtedly will make a speech both admirable and pleasing, but not so admirable as are prodigies, nor pleasing by a vicious and unseemly pleasure, but a pleasure reflecting dignity with praise.

ELEGANCE AND GRACE

The orator will recommend himself particularly by the embellishments he adopts, securing in other ways the approbation of the learned, and in this also the favor of popular applause.

Not so much with strong as with shining armor did Cicero engage in the cause of Cornelius. His success was not due merely to instructing the judges, and speaking in a pure and clear style. These qualities would not have brought him the honor of the admiration and applause of the Roman people. It was the sublimity, magnificence, splendor, and dignity of his eloquence that forced from them signal demonstrations of their amazement. Nor would such unusual eulogies have been given him if his speech had contained nothing extraordinary, nothing but what was common.

And, indeed, I believe that those present were not completely aware of what they were doing, and that what they did was neither spontaneous, nor from an act of judgment, but that filled with a sort of enthusiasm, and not considering the place they were in, they burst forth with unrestrained excitement.

THE VALUE OF BEAUTY OF EXPRESSION

These ornaments of speech, therefore, may be thought to contribute not a little to the success of a cause, for they who hear willingly are more attentive and more disposed to believe. Most commonly it is pleasure that wins them over, and sometimes they are seized and carried away with admiration. A glittering sword strikes the eyes with some terror, and thunder would not so shock us if its crash only, and not its lightning, was dreaded. Therefore Cicero, with good reason, says in one of his epistles to Brutus: "The eloquence which does not excite admiration, I regard as nothing." Aristotle, too, would have us endeavor to attain this perfection.

But this embellishment, I must again and again repeat, ought to be manly, n.o.ble, and modest; neither inclining to effeminate delicacy, nor a.s.suming a color indebted to paint, but glistening with health and spirits.

Let none of those who build up their reputation on a corrupt manner of eloquence, say that I am an enemy to such as speak with elegance. I do not deny that it is a perfection, but I do not ascribe it to them. Shall I think a piece of ground better laid out and improved, in which one shall show me lilies and violets and pleasing cascades, than one where there is a full harvest or vines laden with grapes? Shall I esteem a barren planetree and shorn myrtles beyond the fruitful olive and the elm courting the embraces of the vine? The rich may pride themselves on these pleasures of the eye, but how little would be their value if they had nothing else?

But shall no beauty, no symmetry, be observed in the care of fruit trees? Undoubtedly there should, and I would place them in a certain order, and keep a due distance in planting them. What is more beautiful than the quincunx, which, whatever way you look, retains the same direct position? Planting them out so will also be of service to the growth of the trees, by equally attracting the juices of the earth. I should lop off the aspiring tops of my olive; it will spread more beautifully into a round form, and will produce fruit on more branches. A horse with slender flanks is considered handsomer than one not framed in that manner, and the same quality also shows that he excels in swiftness. An athlete whose arms from exercise show a full spring and play of the muscles, is a beautiful sight, and he, likewise, is best fitted as a combatant. Thus the true species is never without its utility, as even a meager judgment easily may discern.

DEVELOPING VARIETY OF STYLE

But it will be of more importance to observe that this decent attire ought to be varied according to the nature of the subject. To begin with our first division, the same style will not suit equally demonstrative, deliberative, and judicial causes. The first, calculated for ostentation, aims at nothing but the pleasure of the auditory. It, therefore, displays all the riches of art, and exposes to full view all the pomp of eloquence; not acting by stratagem, nor striving for victory, but making praise and glory its sole and ultimate end. Whatever may be pleasing in the thought, beautiful in the expression, agreeable in the turn, magnificent in the metaphor, elaborate in the composition, the orator will lay open for inspection and, if it were possible, for handling, as a merchant exposes his wares; for here the success wholly regards him and not the cause.

But when the serious part of a trial is on hand, and the contest is truly in earnest, care of reputation ought to be the orator's last concern. For this reason, when everything in a way is at stake, no one ought to be solicitous about words. I do not say that no ornaments ought to have place in them, but that they should be more modest and severe, less apparent, and above all suited to the subject. For in deliberations the senate require something more elevated; the a.s.semblies of the people, something more spirited; and at the bar, public and capital causes, something more accurate. But a private deliberation, and causes of trivial consequence, as the stating of accounts and the like, need little beyond the plain and easy manner of common discourse. Would it not be quite shameful to demand in elaborate periods the payment of money lent, or appeal to the emotions in speaking of the repairs of a gutter or sink?

THE CHOICE OF WORDS

As the ornament, as well as perspicuity, of speech consists either in single words or in many together, we shall consider what they require separately and what in conjunction. Tho there is good reason for saying that perspicuity is best suited by proper words, and ornament by metaphorical, yet we should always know that an impropriety is never ornamental. But as many words very often signify the same thing, and therefore are called synonymous, some of these must be more sublime, more bright, more agreeable, and sweeter and fuller in p.r.o.nunciation than others. As the more clear-sounding letters communicate the same quality to the syllables they compose, so the words composed of these syllables become more sonorous, and the greater the force or sound of the syllables is, the more they fill or charm the ear. What the junction of syllables makes, the copulation of words makes also, a word sounding well with one, which sound badly with another.

There is a great diversity in the use of words. Harsh words best express things of an atrocious nature. In general, the best of simple words are believed to be such as sound loudest in exclamation, or sweetest in a pleasing strain. Modest words will ever be preferred to those that must offend a chaste ear, and no polite discourse ever makes allowance for a filthy or sordid expression. Magnificent, n.o.ble, and sublime words are to be estimated by their congruity with the subject; for what is magnificent in one place, swells into bombast in another; and what is low in a grand matter, may be proper in a humble situation. As in a splendid style a low word must be very much out of place and, as it were, a blemish to it, so a sublime and pompous expression is unsuited to a subject that is plain and familiar, and therefore must be reputed corrupt, because it raises that which ought to find favor through its native simplicity.

THE MANNER OF DELIVERY

I shall pa.s.s now to the construction of words, observing that their ornamental use may be considered from two points of view; first, as it regards the elocution we conceive in our minds; second, the manner of expressing it. It is of particular consequence that we should be clear as to what ought to be amplified or diminished; whether we are to speak with heat or moderation; in a florid or austere style; in a copious or concise manner; in words of bitter invective, or in those showing placid and gentle disposition; with magnificence or plainness; gravity or politeness. Besides which it is equally important to know what metaphors, what figures, what thoughts, what manner, what disposition, are best suited for effecting our purpose.

FAULTS OF EXPRESSION TO AVOID

In speaking of the ornaments of a discourse, it may not be amiss to touch first upon qualities contrary to them, because the princ.i.p.al perfection consists in being free from faults. We, therefore, must not expect ornament that is not probable, in a discourse. Cicero calls that kind of ornament probable which is not more nor less than it ought to be. Not that it should not appear neat and polished, for this is a part of ornament, but because too much in anything is always a fault. He would have authority and weight in words, and thoughts that are sensible, or conformable to the opinions and manners of men. These inviolably retained and adhered to, he makes ample allowance for whatever else may contribute to ill.u.s.trate a discourse. And thus it is that metaphors, superlatives, epithets, compound, and synonymous words, if they seem to express the action and fully represent things, seldom fail to please.

We should avoid the fault which makes a sentence appear not full enough, on account of something defective, tho this is rather a vice of obscurity than want of ornament in speech. But when it is done for some particular reason, then it becomes a figure of speech. We should likewise be aware of tautology, which is a repet.i.tion of the same word or thought, or the use of many similar words or thoughts. Tho this does not seem to have been much guarded against by some authors of great note, it is, notwithstanding, a fault, and Cicero himself often falls into it.