Institutio Oratoria

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

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: