Institutio Oratoria

or that long syllables are best adapted to express dignity, sublimity and ornateness. That is to say, while the gentler form of utterance requires length of vowel sounds, sublime and ornate language demands sonority as well. On the other hand, passages of an opposite character, such as those in which we argue, distinguish, jest or use language approximating to colloquial speech, are better served by short syllables.

Consequently in the exordium we shall vary our structure to suit the thought. For I cannot agree with Celsus, when he would impose a single stereotyped form upon the exordium and asserts that the best example of the structure required for this purpose is to be found in Asinius: e. g., si, Caesar, ex omnibus mortalibus, qui sunt ac fuerunt, posset huic causae disceptator legi, non quisquam te potius optandus nobis fuit. [*]( If, Caesar, one man of all that are or have ever been could be chosen to try this case, there is none whom we could have preferred to you. )

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

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

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,

I would remark that our rhythm must be designed to suit our delivery. Is not our tone subdued as a rule in the exordium, except of course in cases of accusation where we have to rouse the judge or fill him with indignation, full and clear in the statement of fact, in argument impetuous and rapid not merely in our language, but in our motions as well, expansive and fluent in commonplaces and descriptions and, as a rule, submissive and downcast in the peroration?