There are three things which it is requisite to discuss concerning an oration; one, indeed, from what particulars credibility is derived; the second, about diction; and the third, in what manner it is requisite to arrange the parts of an oration. Concerning credibility, therefore, we have already spoken, and have shown from how many things it consists, and that it consists from three things. We have likewise shown what the nature is of these three, and why credibility consists from these alone. For all men are persuaded to believe what they hear, either because those who judge are themselves affected in a certain way, or because they conceive the speakers to be worthy of belief, or because the thing is proved. We have also spoken concerning enthymemes, and have shown whence they ought to be derived; for some things indeed, are the species, but others the places of enthymemes. It now, however, remains to speak concerning diction. For it is not only sufficient to know what ought to be said, but it is likewise necessary to speak in a proper manner. And diction contributes greatly to the quality of the oration. The parts of rhetoric, therefore, were investigated by the ancients in that order in which they are naturally arranged. But from the nature of a thing, we ought in the first place to discover those things which are adapted to persuade. In the second place, these are to be disposed i.e. expressed by an appropriate diction. And that which is to be considered in the third place, and possesses the greatest power, though it has not yet been discussed by any one, is what pertains to pronunciation, or action. For this was but lately introduced into tragic poetry and rhapsody. For at first, the poets themselves acted the tragedies which they composed. It is evident, therefore, that with respect to rhetoric, there is a thing of this kind, in the same manner as with respect to poetry; which has been discussed by certain other persons, and by Glauco the Teian. Pronunciation, however, or action, consists in the voice, and the principal artifice of action consists in knowing how it is requisite to use it in each of the passions. Thus for instance, it is necessary to know when the voice should be loud, when soft, and when between both. How the tones of voice should be employed; such as the acute, the grave, and the middle; and what rhythms are adapted to each of the passions. For there are three things which the writers on pronunciation consider; and these are, magnitude, harmony, and rhythm. And as in political contests those who excel in action, for the most part obtain the prize, and the players now excel in it more than the poets themselves, thus also in forensic contests, through the depravity of politics, those orators gain their cause, who excel in action. The art, however, concerning rhetorical action has not yet been disclosed; since, likewise, the art concerning diction was discovered late. And it appears to be but a slight thing, if it is well examined. But since the business concerning rhetoric pertains to opinion, we must pay attention to it, not as a thing possessing rectitude, but as necessary; since it is just not to require more in an oration, than that it may neither give pain, nor delight. For it is just to contend strenuously for things themselves; so that other things besides demonstration are superfluous. At the same time, however, diction is capable of producing great effects, as we have said, through the depravity of the hearer. Diction therefore possesses a certain small necessity in every discipline. For it is of some consequence with respect to the declaration of a thing, to speak in this, or in that manner; yet it is not very important, but all these, i.e. whatever pertains to rhetoric, depend on the imagination, and are referred to the hearer. Hence, no one teaches geometry in this way, viz. so as to be sollicitous about diction. The art, therefore, concerning pronunciation when it is employed, produces the same effect as acting on the stage. But some persons have endeavoured to speak a little concerning it, as for instance, Thrasymachus in his treatise On Compassion. And to be disposed to act is natural, and more inartificial; but diction is artificial. Hence again, rewards are given to those who excel in it, in the same manner as to those rhetoricians who excel in pronunciation. For written orations possess greater strength from diction, than from the sentiments they contain. The poets, therefore, gave rise to diction, as it is natural they should. For names are imitations; and of all our parts, voice is the most imitative. Hence, the poets invented the poetical arts, viz. rhapsody, or epic poetry, and the art of acting, or dramatic poetry and the other arts. Because, however, the poets, though they sing of frivolous things, appear to have acquired their renown from diction, on this account poetic diction, such as that of Gorgias, was introduced by orators; and even now many of the unlearned fancy that those persons speak most beautifully when they speak poetically. This, however, is not the case, but the diction of an oration, is different from that of poetry. And this is evident from the event. For the present writers of tragedies do not any longer employ the ancient poetic diction. But as from tetrameters they betook themselves to iambic verse, because this measure is of all others most similar to discourse; thus, also, they rejected such names as are foreign from familiar conversation. Those, likewise, who at present compose hexameter verses, have rejected the names with which the first dramatic poets adorned their verses. Hence, it is ridiculous for those to imitate these poets, who no longer employ that mode of diction. Hence, too, it is evident that we are not accurately to discuss every thing which may be said concerning diction, but only such things as pertain to rhetorical diction. For of poetical diction we have spoken in the treatise On Poetry.
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