Pronunciation (_pronuntiatio_), or delivery, of course applies to either
poets or orators. But whereas classical writers applied it to the orator's
use of voice and gesture, Hawes applies it only to the poet's reading
aloud. He recommends that when a poet reads his verses, he should make his
voice dolorous in bewailing a woeful tragedy, and his countenance glad in
joyful matter. It is important, however, that the reading poet be not
boisterous or unmannered. Let him be moderate, gentle, and seemly. The
final section, that on memory, comes closer to its classical sense than
does any other. Here the mnemonic system of "places," supposedly invented
by Simonides, is explained obscurely. Even more obscure is its
applicability to Hawes's subject.

It is noteworthy that the chapter on Elocution (_elocutio_),
or style, far outweighs all the others in scope and bulk.
Of the 108 seven-line stanzas which Hawes devotes to
rhetoric, 20 praise the poets; 7 define rhetoric; 13 explain
_inventio_; 12, _dispositio_; 40, _elocutio_; 8, _pronuntiatio_;
and 8, _memoria_. "Elocusyon," says Hawes, "exorneth the mater."

The golden rethoryke is good refeccion
And to the reader ryght consolation.[135]

Rhetoric and style, to Hawes and his contemporaries, mean the same thing.
Both have to do, in Hawes's own language, with choosing aromatic words,
dulcet speech, sweetness, delight; they are redolent of incense; they
gleam like carbuncles in the darkness; they are painted in hard gold. But
beyond these picturesque generalizations there is little trace in Hawes of
any discussion of style such as one would find in a classical treatise. A
few figures of speech are mentioned, but not dwelt upon. Hawes
consistently confines himself to poetry. Tully, the only orator mentioned,