XVII.  And since I have now begun to perform this duty in a more ample manner than you did require it of me, (for though the question which you put to me has reference only to the kind of oration, I have also in my answer given you a brief account of the invention and arrangement of arguments,) even now I will not speak solely of the manner of making a speech, but I will touch also on the manner of conducting an action.  And so no part whatever will be omitted:  since nothing need be said in this place of memory, for that is common to many arts.

But the way in which it is said depends on two things,—­on action and on elocution.  For action is a sort of eloquence of the body, consisting as it does of voice and motion.  Now there are as many changes of voice as there are of minds, which are above all things influenced by the voice.  Therefore, that perfect orator which our oration has just been describing, will employ a certain tone of voice regulated by the way in which he wishes to appear affected himself, and by the manner also in which he desires the mind of his hearer to be influenced.  And concerning this I would say more if this was the proper time for laying down rules concerning it, or if this was what you were inquiring about.  I would speak also of gesture, with which expression of countenance is combined.  And it is hardly possible to express of what importance these things are, and what use the orator makes of them.  For even people without speaking, by the mere dignity of their action, have often produced all the effect of eloquence; and many really eloquent men, by their ungainly delivery have been thought ineloquent.  So that it was not without reason that Demosthenes attributed the first, and second, and third rank to action.  For if eloquence without action is nothing, but action without eloquence is of such great power, then certainly it is the most important part of speaking.

XVIII.  He, then, who aims at the highest rank in eloquence, will endeavour with his voice on the stretch to speak energetically; with a low voice, gently, with a sustained voice, gravely, and with a modulated voice, in a manner calculated to excite compassion.

For the nature of the voice is something marvellous, for all its great power is derived from three sounds only, the grave sound, the sharp sound, and the moderate sound, and from these comes all that sweet variety which is brought to perfection in songs.  But there is also in speaking a sort of concealed singing, not like the peroration of rhetoricians from Phrygia or Caria, which is nearly a chant, but that sort which Demosthenes and Aeschines mean when the one reproaches the other with the affected modulation of his voice.  Demosthenes says even more, and often declares that Aeschines had a very sweet and clear voice.  And in this that point appears to me worth noting, with reference to the study of aiming at sweetness in the voice.  For nature of herself, as if she were