I do not for a moment deny that the structure of this passage is excellent, but I refuse to admit that the form of rhythmical structure which it exemplifies should be forced on all exordia. For there are various ways in which the judge's mind may be prepared for what is to come: at times we appeal for pity, at others take up a modest attitude, while we may assume an air of energy or dignity, flatter our audience, attempt to alter their opinions and exhort them to give us their best attention, according as the situation may demand. And as all these methods are different by nature, so each requires a different rhythmical treatment. Did Cicero employ similar rhythms in his exordia to the pro Milone, the pro Cluentio and the pro Ligario?

The statement of fact as a rule requires slower and what I may be allowed to call more modest feet; and the different kinds of feet should, as far as possible, be intermixed. For while the style of this portion of our speech is generally marked by restraint of language, there are occasions when it is called upon to soar to greater heights, although on the other hand its aim will at all times be to instruct the audience and impress the facts upon their minds, a task which must not be carried out in a hurry. Indeed my personal opinion is that the statement of fact should be composed of long cola and short periods. Arguments,

inasmuch as they are characterised by energy and speed, will employ the feet best adapted to these qualities. They will not however acquire rapidity at the expense of force by employing trochees, Trochee (u u u). but will rather make use of those feet which consist of a mixture of long and short syllables, though the long should not outnumber the short. Lofty passages,

which employ long and sonorous vowels, are specially well served by the amplitude of the dactyl and the paean, feet which, although they contain a majority of short syllables, are yet not deficient in time-length. On the other hand, where violence is required, the requisite energy will be best secured by the employment of the iambus, not merely because that foot contains but two syllables, with the result that its beat is more frequent, making it unsuited to gentle language, but also because every foot gives the effect of an ascent, as they climb and swell from short to long, a fact which renders them superior to the choreus, which sinks from long to short.

Subdued passages, such as occur in the peroration, also require slow syllables, which must, however, be less sonorous. Celsus insists that there is a special form of rhythmical structure which produces a particularly stately effect: I do not know to what he refers and, if I did, should not teach it, since it must inevitably be slow and flat, that is to say unless this quality is derived from the words and thoughts expressed. If it is to be sought for its own sake, independent of such considerations, I cannot sufficiently condemn it. But, to bring this discussion to a close,