he authors of tragedies acted their own plays, there was no need for
professional actors, nor for instruction in the art of delivery or acting.
This explains why no attempt had been made to deal with the question.
Similarly, the rhapsodists （reciters of epic poems） were
at first as a rule the composers of the poems themselves. It is
clear, therefore, that there is something of the sort in rhetoric as well as in
poetry, and it has been dealt with by Glaucon of Teos among others. Now
delivery is a matter of voice, as to the mode in which it should be used for
each particular emotion; when it should be loud, when low, when intermediate;
and how the tones, that is, shrill, deep, and intermediate, should be used; and
what rhythms are adapted to each subject. For there are three qualities that are
considered,—volume, harmony, rhythm. Those who use these properly
nearly always carry off the prizes in dramatic contests, and as at <