Consequently all harshness and abruptness must be avoided at this point, where the mind takes breath and recovers its energy. It is there that style has its citadel, it is this point that excites the eager expectation of the audience, it is from this that the declaimer wins all his glory. Next to the conclusion of the period, it is the beginning which claims the most care: for the audience have their attention fixed on this as well.

But the opening of the sentence presents less difficulty, since it is independent and is not the slave of what has preceded. It merely takes what has preceded as a starting point, whereas the conclusion coheres with what has preceded, and however carefully constructed, its elegance will be wasted, if the path which leads up to it be interrupted. Hence it is that although the rhythmical structure adopted by Demosthenes in the passage τοῖς φεοῖς εὔχομαι πᾶσι καὶ πάσαις; De Cor. I. I pray to all gods and goddesses. and again in another passage (approved by all, I think, except Brutus) κἄν μήπω βάλλῃ μηδὲ τοξεύῃ, Phil. iii. 17. Even though he neither shoots at me nor strikes me as yet.

is regarded as severely correct, Cicero is criticised for passages such as familiaris coeperat esse balneatori Pro Cael. xxvi. 62. He had hegnn to be intimate with the bathkeeper. and for the not less unpleasing archipiratae. Verr. xxvii. 70. For although balneatori and archipiratae give exactly the same cadence as πᾶσι καὶ πάσαις and μηδὲ τοξεύῃ the former are more severely correct.

There is also something in the fact that in the passages from Cicero two feet are contained in one word, a practice which even in verse produces an unduly effeminate effect, and that not merely when the line ends with a five-syllable word as in fortissima Tyndaridarum Hor. Sat. I. i. 100. but also in four-syllable endings such as Appnnino, Pers. i. 95. armamentis Ov. Met. xi. 456. and Oreione. Aen. iii. 517.

Consequently we must also avoid ending our periods with words containing too many syllables. With regard to the middle portions of our periods we must take care not merely that they possess internal cohesion, but also that the rhythm is neither sluggish nor long, and above all that we do not fall into the now fashionable fault of placing a number of short syllables together with the result that we produce an effect not unlike the sound of a child's rattle.

For while the beginnings and conclusions of periods, where the sense begins or ends, are the most important, it is none the less the fact that the middle portion may involve some special efforts which necessitate slight pauses. Remember that the feet of a runner, even though they do not linger where they fall, still leave a footprint. Consequently not only must commata and cola begin and end becomingly, but even in parts which are absolutely continuous without a breathing space, there must be such almost imperceptible pauses.

Who, for example, can doubt that there is but one thought in the following passage and that it should be pronounced without a halt for breath? Animadverti, idlices, omnem accusatoris oralionem in duas divisan esse parties pro Cluent. i. 1. I note, gentlemen, that the speech for the prosecution falls sharply into two divisions. Still the groups formed by the first two words, the next three, and then again by the next two and three, have each their own special rhythms and cause a slight check in our breathing: at least such is the opinion of specialists in rhythm.

And just in proportion as these small segments of the period are grave or vigorous, slow or rapid, languid or the reverse, so will the periods which they go to form be severe or luxuriant, compact or loose.

Again, the conclusions of clauses sometimes seem to halt or hang, if they are regarded apart from their context, but are usually caught up and supported by what follows, so that what seemed a faulty cadence is corrected by the continuation. Non vult populus Romanus obsoletis criminibus accusari Verrem would be harsh in rhythm, if the sentence ended there; but when it is continued with what follows, nova postulat, inaudita desiderat, Verr. v. xliv. 117. The Roman people does not wish Verres to be accused of obsolete crimes: no, it is new and Unheard of crimes that it demands and desires. although the words are separate in meaning, the rhythmical effect is preserved.

Ut adeas, tantum dabis would be a bad conclusion, for it forms the last portion of an iambic trimeter: but it is followed by ut cibum vestitumque introferre liceat, tantum: Verr. V. xliv. 118. To see him, you will pay so much, and so much to bring in food and clothing. No one refused. the rhythm is still abrupt but is strengthened and supported by the last phrase of all, nemo recusabat.

The appearance of a complete verse in prose has a most uncouth effect, but even a portion of a verse is ugly, especially if the last half of a verse occurs in the cadence of a period or the first half at the beginning. The reverse order may on the other hand often be positively pleasing, since at times the first half of a verse will make an excellent conclusion, provided that it does not cover more than a few syllables.

This is especially the case with the senarnis or octonarius. senarius= iambic trimeter. octonarius here = trochaic tetrameter, not iambic tetrameter. In Aliica fuisse is the opening of a senarius and closes the first clause of the pro Ligario: esse videatur, with which we are now only too familiar as a conclusion, is the beginning of an ocionarius. Similar effects are to be found in Demosthenes, as for example πᾶσι καὶ πάσαις and πᾶσιν ὑμῖν and throughout almost the whole exordium of that speech. De Cor. I. The ends of verses are also excellently suited to the beginning of a period:

etsi vereor,iudices,pro Mil. i. Both quotations give the end of an iambic trimeter. for example and animadverti, iudices. pro cluent. i. 1. Both quotations give the end of an iambic trimeter. But the opening feet of a verse are not suited to the opening phrases of prose: Livy provides an example of this in his preface, which begins with the first half of a hexameter, 'Facturusne operae premium sim:' for these are the words as he wrote them, and they are better so than as they have been corrected. MSS. of Livy read sim operate pretium: there is evidence to show that this may be due to corruption rather than to correction such as Quintilian describes. Again,

the cadence of a verse is not suitable to the cadence of a period: compare the phrase of Cicero, Quo me vertam, nescio, pro Lig. i. 1, pro Cluent. i. 4. which is the end of a trimeter. It matters not whether we speak of a trimeter or of a senarius, since the line has six feet and three beats. The end of a hexameter forms a yet worse conclusion; compare the following passage from the letters of Brutus: neque illi malunt halbere tutores aut defensores, quoniam causam sciunt placuiisse Catoni. They ask for no guardians or defenders since they know that the cause has won the approval of Cato.

Iambic endings are less noticeable, because that metre is near akin to prose. Consequently such lines often slip from us unawares: they are specially common in Brutus as a result of his passion for severity of style; they are not infrequent in Asinius, and are sometimes even found in Cicero, as for example at the very beginning of his speech against Lucius Piso: Pro di immortales, qui hic nunc illuxit dies? An iambic trimeter. Immortal gods, what day is this has dawned?

Equal care must however be taken to avoid any phrase of a definitely metrical character, such as the following passage from Sallust: Falso queritur de natura sua. Jug. I. The human race complains of its own nature without reason. Last five feet of iambic trimeter! For although the language of prose is bound by certain laws, it should appear to be free. None the less Plato, despite the care which he devotes to his rhythm, has not succeeded in avoiding this fault at the very opening of the Timaeus, The phrase is εἷς, δυό, τρεῖς, ὁ δὲ τέταρτος ἡμῶν, ὦ φίλε εἷς, δυό, τρεῖς give the opening of a hexameter, ὁ δὲ δὴ τέταρτος ἡμῶν the Anacreontic, δυό . . . φίλε the Iambic trimeter and εἷς . . . δὴ the πενθημιμερές.

where we are met at the very outset with the opening of a hexameter, which is followed by a colon which can be scanned as an Anacreontic, or if you like, as a trimeter, while it is also possible to form what the Greeks call a πενθημιμερὲς (that is a portion of the hexameter composed of two feet and a part of a third): and all these instances occur within the space of three lines. Again Thucydides has allowed to slip from his pen a phrase of the most effeminate rhythm in ὑπὲρ ἥμισυ Κᾶρες ἐφάνησαν I, 8. Quintilian probably treats this as Sotadean or reminiscent of Sotadean rhythm.

But, having stated that all prose rhythm consists of feet, I must say something on these as well. Different names are given to these feet, and it is necessary to determine what we shall call each of them. For my part I propose to follow Cicero Or. ch. lxiv. 7. (for he himself followed the most eminent Greek authorities), with this exception, that in my opinion a foot is never more than three syllables long, whereas Cicero includes the paean For paean see § 96. The two varieties with which Quintilian is concerned are– u u u and u u u –. and the dochmiac (u – – u –), of which the former has four and the latter as many as five syllables.

He does not, however, conceal the fact that some regard these as rhythms rather than feet: and they are right in so doing, since whatever is longer than three syllables involves more than one foot. Since then there are four feet which consist of two syllables, and eight composed of three, I shall call them by the following names: two long syllables make a spondee; the pyrrhic or pariambus, as some call it, is composed of two shorts; the iambus of a short followed by a long; its opposite, that is a long followed by a short, is a choreus, for I prefer that term to the name of trochee which is given it by others.

Of trisyllabic feet the dactyl consists of a long followed by two shorts, while its opposite, which has the same time-length, is called an anapaest. A short between two longs makes an amphimacer, although it is more often called a cretic, while a long between two shorts produces its opposite, the amphibruachys. Two long syllables following a short make a bacchius,