Fr. 3 Seneca the Elder ( Donat. Vita Vergilii, 29.)
“Seneca reports that Julius Montanus was in the habit of saying that he would have stolen certain things from Vergil if he could have his voice, and comportment, and dramatic ability. [He added] that the same verses sounded beautifuly when Vergil was reciting but without him they were meaningless and mute.”
3. Et Seneca tradidit Iulium Montanum poetam solitum dicere involaturum se Vergilio quaedam, si et vocem posset et os et hypocrisin; eosdem enim versus ipso pronuntiante bene sonare, sine illo inanes esse mutosque.
“Indeed, some things are useful for listeners and others are good for readers. A speaking narrator causes excitement with his energy and feeds our attention not only with vivid images but with the material itself. Everything comes alive and is moved and we feed on new ideas as if they are just born in charm and worry. We are hand not just on the fate of the plot but on the danger faced by those who narrate it. In addition, the voice itself, proper movement, and performance shaped as each segment will demand are the most powerful aspects of recitation and, as I may say, teacheverything equally.
When it comes to reading, the audience’s judgment can be more certain since a listener’s prejudice often turns either by their own taste or by the shouting of those who are responding to the performance. Disagreement makes us feel shame and our unacknowledged humility keeps us from trusting our own responses even though pretty terrible stuff is pleasing to the majority of people. A summoned audience, moreover, will even applaud for things they don’t like. The opposite occurs too: poor taste often can’t tell when something has been finely put.
Reading is private—it does not move through us with the force of live performance and you’re allowed to re-read often just in case you are uncertain or want to memorize it. We may return to the text and work it again the way we let our food be chewed and worked because we swallow it for easier digestion. In this way, our reading is not raw but it is ready for memory through repeated softening and preparation.”
Alia vero audientis, alia legentis magis adiuvant. Excitat qui dicit spiritu ipso, nec imagine tantum rerum sed rebus incendit. Vivunt omnia enim et moventur, excipimusque nova illa velut nascentia cum favore ac sollicitudine: nec fortuna modo iudicii sed etiam ipsorum qui orant periculo adficimur. Praeter haec vox, actio decora, accommodata ut quisque locus postulabit pronuntiandi vel potentissima in dicendo ratio, et, ut semel dicam, pariter omnia docent. In lectione certius iudicium, quod audienti frequenter aut suus cuique favor aut ille laudantium clamor extorquet. Pudet enim dissentire, et velut tacita quadam verecundia inhibemur plus nobis credere, cum interim et vitiosa pluribus placent, et a conrogatis laudantur etiam quae non placent. Sed e contrario quoque accidit ut optime dictis gratiam prava iudicia non referant.
Lectio libera est nec ut actionis impetu transcurrit, sed repetere saepius licet, sive dubites sive memoriae penitus adfigere velis. Repetamus autem et tractemus et, ut cibos mansos ac prope liquefactos demittimus quo facilius digerantur, ita lectio non cruda sed multa iteratione mollita et velut confecta memoriae imitationique tradatur.
“Indeed, some things are useful for listeners and others are good for readers. A speaking narrator causes excitement with his energy and feeds our attention not only with vivid images but with the material itself. Everything comes alive and is moved and we feed on new ideas as if they are just born in charm and worry. We are hand not just on the fate of the plot but on the danger faced by those who narrate it. In addition, the voice itself, proper movement, and performance shaped as each segment will demand are the most powerful aspects of recitation and, as I may say, teacheverything equally.
When it comes to reading, the audience’s judgment can be more certain since a listener’s prejudice often turns either by their own taste or by the shouting of those who are responding to the performance. Disagreement makes us feel shame and our unacknowledged humility keeps us from trusting our own responses even though pretty terrible stuff is pleasing to the majority of people. A summoned audience, moreover, will even applaud for things they don’t like. The opposite occurs too: poor taste often can’t tell when something has been finely put.
Reading is private—it does not move through us with the force of live performance and you’re allowed to re-read often just in case you are uncertain or want to memorize it. We may return to the text and work it again the way we let our food be chewed and worked because we swallow it for easier digestion. In this way, our reading is not raw but it is ready for memory through repeated softening and preparation.”
Alia vero audientis, alia legentis magis adiuvant. Excitat qui dicit spiritu ipso, nec imagine tantum rerum sed rebus incendit. Vivunt omnia enim et moventur, excipimusque nova illa velut nascentia cum favore ac sollicitudine: nec fortuna modo iudicii sed etiam ipsorum qui orant periculo adficimur. Praeter haec vox, actio decora, accommodata ut quisque locus postulabit pronuntiandi vel potentissima in dicendo ratio, et, ut semel dicam, pariter omnia docent. In lectione certius iudicium, quod audienti frequenter aut suus cuique favor aut ille laudantium clamor extorquet. Pudet enim dissentire, et velut tacita quadam verecundia inhibemur plus nobis credere, cum interim et vitiosa pluribus placent, et a conrogatis laudantur etiam quae non placent. Sed e contrario quoque accidit ut optime dictis gratiam prava iudicia non referant.
Lectio libera est nec ut actionis impetu transcurrit, sed repetere saepius licet, sive dubites sive memoriae penitus adfigere velis. Repetamus autem et tractemus et, ut cibos mansos ac prope liquefactos demittimus quo facilius digerantur, ita lectio non cruda sed multa iteratione mollita et velut confecta memoriae imitationique tradatur.
Fr. 3 Seneca the Elder ( Donat. Vita Vergilii, 29.)
“Seneca reports that Julius Montanus was in the habit of saying that he would have stolen certain things from Vergil if he could have his voice, and comportment, and dramatic ability. [He added] that the same verses sounded beautifuly when Vergil was reciting but without him they were meaningless and mute.”
3. Et Seneca tradidit Iulium Montanum poetam solitum dicere involaturum se Vergilio quaedam, si et vocem posset et os et hypocrisin; eosdem enim versus ipso pronuntiante bene sonare, sine illo inanes esse mutosque.
