The orator

But we must now consider what number like so many dashes of purple, should tincture and enrich the rest, and to what species of style they are each of them best adapted. The iambic, then, should be the leading number in those subjects which require a plain and simple style;--the paeon in such as require more compass and elevation; and the dactyl is equally applicable to both. So that in a discourse of any length and variety, it will be occasionally necessary to blend and intermingle them all. By this means, our endeavours to modulate our periods, and captivate the ear, will be most effectually concealed; especially, if we maintain a suitable dignity both of language and sentiment. For the hearer will naturally attend to these (I mean our words and sentiments) and to them alone attribute the pleasure he receives; so that while he listens to these with admiration, the harmony of our numbers will escape his notice: though it must indeed be acknowledged that the former would have their charms without the assistance of the latter. But the flow of our numbers is not to be so exact (I mean in prose, for in poetry the case is different) as that nothing may exceed the bounds of regularity; for this would be to compose a poem. On the contrary, if our language neither limps nor fluctuates, but keeps an even and a steady pace, it is sufficiently numerous; and it accordingly derives the title, not from its consisting entirely of numbers, but from its near approach to a numerous form. This is the reason why it is more difficult to make elegant prose, than to make verses; because there are fixed and invariable rules for the latter; whereas nothing is determined in the former, but that the current of our language should be neither immoderate nor defective, nor loose and unconfined. It cannot be supposed, therefore, to admit of regular beats and divisions, like a piece of music; but it is only necessary that the general compass and arrangement of our words should be properly restrained and limited,--a circumstance which must be left entirely to the decision of the ear.

Another question which occurs before us, is--whether an attention to our numbers should be extended to every part of a sentence, or only to the beginning and the end. Most authors are of opinion that it is only necessary that our periods should end well, and have a numerous cadence. It is true, indeed, that this ought to be principally attended to, but not solely: for the whole compass of our periods ought likewise to be regulated, and not totally neglected. As the ear, therefore, always directs it's view to the close of a sentence, and there fixes it's attention, it is by no means proper that this should be destitute of number: but it must also be observed that a period, from it's first commencement, should run freely on, so as to correspond to the conclusion; and the whole advance from the beginning with such an easy flow, as to make a natural, and a kind of voluntary pause. To those who have been we'll practised in the art, and who have both written much; and often attempted to discourse extempore with the same accuracy which they observe in their writings, this will be far less difficult than is imagined. For every sentence is previously formed and circumscribed in the mind of the Speaker, and is then immediately attended by the proper words to express it, which the same mental faculty (than which there is nothing more lively and expeditious) instantly dismisses, and sends off each to its proper post: but, in different sentences, their particular order and arrangement will be differently terminated; though, in every sentence, the words both in the beginning and the middle of it, should have a constant reference to the end. Our language, for instance, must sometimes advance with rapidity, and at other times it's pace must be moderate and easy; so that it will be necessary at the very beginning of a sentence, to resolve upon the manner in which you would have it terminate; but we must avoid the least appearance of poetry, both in our numbers, and in the other ornaments of language; though it is true, indeed, that the labours of the Orator must be conducted on the same principles as those of the Poet. For in each we have the same materials to work upon, and a similar art of managing them; the materials being words, and the art of managing them relating, in both cases, to the manner in which they ought to be disposed. The words also in each may be divided into three classes,--the metaphorical,--the new-coined,--and the antique;--for at present we have no concern with words proper:--and three parts may also be distinguished in the art of disposing them; which, I have already observed, are juncture, concinnity, and number. The poets make use both of one and the other more frequently, and with greater liberty than we do; for they employ the tropes not only much oftener, but more boldly and openly; and they introduce antique words with a higher taste, and new ones with less reserve. The same may be said in their numbers, in the use of which they are subjected to invariable rules, which they are scarcely ever allowed to transgress. The two arts, therefore, are to be considered neither as wholly distinct, nor perfectly conjoined. This is the reason why our numbers are not to be so conspicuous in prose as in verse; and that in prose, what is called a numerous style, does not always become so by the use of numbers, but sometimes either by the concinnity of our language, or the smooth juncture of our words.

To conclude this head; If it should be enquired, "What are the numbers to be used in prose?" I answer, "All; though some are certainly better, and more adapted to it's character than others."--If "Where is their proper seat?"--"In the different quantity of our syllables:"--If "From whence their origin?"--"From the sole pleasure of the ear:"--If "What the method of blending and intermingling them?"--"This shall be explained in the sequel, because it properly relates to the manner of using them, which was the fourth and last article in my division of the subject." If it be farther enquired, "For what purpose they are employed?" I answer,--"To gratify the ear:"--If "When?" I reply, "At all times:"--If "In what part of a sentence?" "Through the whole length of it:"--and if "What is the circumstance which gives them a pleasing effect?" "The same as in poetical compositions, whose metre is regulated by art, though the ear alone, without the assistance of art, can determine it's limits by the natural powers of sensation." Enough, therefore, has been said concerning the nature and properties of number. The next article to be considered is the manner in which our numbers should be employed,--a circumstance which requires to be accurately discussed.

Here it is usual to enquire, whether it is necessary to attend to our numbers through the whole compass of a period³⁰, or only at the beginning or end of it, or equally in both. In the next place, as exact number seems to be one thing, and that which is merely numerous another, it might be enquired wherein lies the difference. We might likewise consider whether the members of a sentence should all indifferently be of the same length, whatever be the numbers they are composed of;--or whether, on this account, they should not be sometimes longer, and sometimes shorter;--and when, and for what reasons, they should be made so, and of what numbers they should be composed;--whether of several sorts, or only of one; and whether of equal or unequal numbers;--and upon what occasions either the one or the other of these are to be used;-and what numbers accord best together, and in what order; or whether, in this respect, there is no difference between them;--and (which has still a more immediate reference to our subject) by what means our style may be rendered numerous. It will likewise be necessary to specify the rise and origin of a periodical form of language, and what degree of compass should be allowed to it. After this, we may consider the members or divisions of a period, and enquire of how many kinds, and of what different lengths they are; and, if they vary in these respects, where and when each particular sort is to be employed: and, in the last place, the use and application of the whole is to be fully explained;--a very extensive subject, and which is capable of being accommodated not only to one, but to many different occasions. But without adverting to particulars, we may discuss the subject at large in such a manner as to furnish a satisfactory answer in all subordinate cases.

Omitting, therefore, every other species of composition, we shall attend to that which is peculiar to forensic causes. For in those performances which are of a different kind, such as history, panegyric, and all discourses which are merely ornamental, every sentence should be constructed after the exact manner of Isocrates and Theopompus; and with that regular compass, and measured flow of language, that our words may constantly run within the limits prescribed by art, and pursue a uniform course, till the period is completed. We may, therefore, observe that after the invention of this, periodical form, no writer of any account has made a discourse which was intended as a mere display of ornament, and not for the service of the Forum, without squaring his language, (if I may so express myself) and confining every sentence of it to the strictest laws of number. For as, in this case, the hearer has no motive to alarm his suspicions against the artifice of the speaker, he will rather think himself obliged to him than otherwise, for the pains he takes to amuse and gratify his ear. But, in forensic causes, this accurate species of composition is neither to be wholly adopted, nor entirely rejected. For if we pursue it too closely, it will create a satiety, and our attention to it will be discovered by the most illiterate observer. We may add, it will check the pathos and force of action, restrain the sensibility of the Speaker, and destroy all appearance of truth and open dealing. But as it will sometimes be necessary to adopt it, we must consider when, and how long, this ought to be done, and how many ways it may be changed and varied.

A numerous style, then, may be properly employed, either when any thing is to be commended in a free and ornamental manner, (as in my second Invective against Verres, where I spoke in praise of Sicily, and in my Speech before the Senate, in which I vindicated the honour of my consulship;)--or; in the next place, when a narrative is to be delivered which requires more dignity than pathos, (as in my fourth Invective, where I described the Ceres of the Ennensians, the Diana of the Segestani, and the situation of Syracuse.) It is likewise often allowable to speak in a numerous and flowing style, when a material circumstance is to be amplified. If I myself have not succeeded in this so well as might be wished, I have at least attempted it very frequently; and it is still visible in many of my Perorations, that I have exerted all the talents I was master of for that purpose. But this will always have most efficacy, when the Speaker has previously possessed himself of the hearer's attention, and got the better of his judgment. For then he is no longer apprehensive of any artifice to mislead him; but hears every thing with a favourable ear, wishes the Orator to proceed, and, admiring the force of his Eloquence, has no inclination to censure it.

But this measured and numerous flow of language is never to be continued too long, I will not say in the peroration, (of which the hearer himself will always be a capable judge) but in any other part of a discourse: for, except in the cases above-mentioned, in which I have shewn it is allowable, our style must be wholly confined to those clauses or divisions which we erroneously call incisa and membra; but the Greeks, with more propriety, the comma and colon.³¹ For it is impossible that the names of things should be rightly applied, when the things themselves are not sufficiently understood: and as we often make use of metaphorical terms, either for the sake of ornament, or to supply the place of proper ones, so in other arts, when we have occasion to mention any thing which (through our unacquaintance with it) has not yet received a name, we are obliged either to invent a new one, or to borrow it from something similar. We shall soon consider what it is to speak in commas and colons, and the proper method of doing it: but we must first attend to the various numbers by which the cadence of our periods should be diversified.

Our numbers will advance more rapidly by the use of short feet, and more coolly and sedately by the use of long ones. The former are best adapted to a warm and spirited style, and the latter to sober narratives and explanations. But there are several numbers for concluding a period, one of which (called the dichoree, or double choree, and consisting of a long and a short syllable repeated alternately) is much in vogue with the Asiatics; though among different people the same feet are distinguished by different names. The dichoree, indeed, is not essentially bad for the close of a sentence: but in prosaic numbers nothing can be more faulty than a continued or frequent repetition of the same cadence: as the dichoree, therefore, is a very sonorous number, we should be the more sparing in the use of it, to prevent a satiety. C. Carbo, the son of Caius, and a Tribune of the people, once said in a public trial in which I was personally engaged,--"O Marce Druse, Patrem appello;" where you may observe two commas, each consisting of two feet. He then made use of the two following colons, each consisting of three feet,--"Tu dicere solebas, sacram esse Rempublicam:"--and afterwards of the period,-- "Quicunque eam violavissent, ab omnibus esse ei poenas persolutas" which ends with a dichoree; for it is immaterial whether the last syllable is long or short. He added, "Patris dictum sapiens, temeritas filii comprobavit" concluding here also with a dichoree; which was received with such a general burst of applause, as perfectly astonished me. But was not this the effect of number?--Only change the order of the words, and say,--"Comprobavit filii temeritas" and the spirit of them will be lost, though the word temeritas consists of three short syllables and a long one, which is the favourite number of Aristotle, from whom, however, I here beg leave to dissent. The words and sentiments are indeed the fame in both cases; and yet, in the latter, though the understanding is satisfied, the ear is not. But these harmonious cadences are not to be repeated too often: for, in the first place, our numbers will be soon discovered,--in the next, they will excite the hearer's disgust,--and, at last, be heartily despised on account of the apparent facility with which they are formed.

But there are several other cadences which will have a numerous and pleasing effect: for even the cretic, which consists of a long, a short, and a long syllable, and it's companion the paeon, which is equal to it in quantity, though it exceeds it in the number of syllables, is reckoned a proper and a very useful ingredient in harmonious prose: especially as the latter admits of two varieties, as consisting either of one long and three short syllables, which will be lively enough at the beginning of a sentence, but extremely flat at the end;--or of three short syllables and a long one, which was highly approved of by the ancients at the close of a sentence, and which I would not wholly reject, though I give the preference to others. Even the sober spondee is not to be entirely discarded; for though it consists of two long syllables, and for that reason may seem rather dull and heavy, it has yet a firm and steady step, which gives it an air of dignity, and especially in the comma and the colon; so that it sufficiently compensates for the slowness of it's motion, by it's peculiar weight and solemnity. When I speak of feet at the close of a period, I do not mean precisely the last. I would be understood, at least, to include the foot which immediately precedes it; and, in many cases, even the foot before that. The iambic, therefore, which consists of a long syllable and a short one, and is equal in time, though not in the number of it's syllables, to a choree, which has three short ones; or even the dactyl, which consists of one long and two short syllables, will unite agreeably enough with the last foot of a sentence, when that foot is either a choree or a spondee; for it is immaterial which of them is employed. But the three feet I am mentioning, are neither of them very proper for closing a period, (that is, to form the last foot of it) unless when a dactyl is substituted for a cretic, for you may use either of them at pleasure; because, even in verse, it is of no consequence whether the last syllable is long or short. He, therefore, who recommended the paeon, as having the long syllable last, was certainly guilty of an oversight; because the quantity of the last syllable is never regarded. The paeon, however, as consisting of four syllables, is reckoned by some to be only a number, and not a foot. But call it which you please, it is in general, what all the ancients have represented it, (such as Aristotle, Theophrastus, Theodectes, and Euphorus) the fittest of all others both for the beginning and the middle of a period. They are likewise of opinion, that it is equally proper at the end; where, in my opinion, the cretic deserves the preference. The dochimus, which consists of five syllables, (i.e. a short and two long ones, and a short, and a long one, as in amicos tenes) may be used indifferently in any part of a sentence, provided it occurs but once: for if it is continued or repeated, our attention to our numbers will be discovered, and alarm the suspicion of the hearer. On the other hand, if we properly blend and intermingle the several varieties above-mentioned, our design will not be so readily noticed; and we shall also prevent that satiety which would arise from an elaborate uniformity of cadence.

But the harmony of language does not result entirely from the use of numbers, but from the juncture and composition of our words; and from that neatness and concinnity of expression which I have already mentioned. By composition, I here mean when our words are so judiciously connected as to produce an agreeable sound (independent of numbers) which rather appears to be the effect of nature than of art; as in the following passage from Crassus, Nam ubi lubido dominatur, innocentiae leve praesidium est:³² for here the mere order in which the words are connected, produces a harmony of sound, without any visible attention of the Speaker. When the ancients, therefore, (I mean Herodotus, and Thucydides, and all who flourished in the same age) composed a numerous and a musical period, it must rather be attributed to the casual order of their words, than to the labour and artifice of the writer.

But there are likewise certain forms of expression, which have such a natural concinnity, as will necessarily have a similar effect to that of regular numbers. For when parallel circumstances are compared, or opposite ones contrasted, or words of the same termination are placed in a regular succesion, they seldom fail to produce a numerous cadence. But I have already treated of these, and subjoined a few examples; so that we are hereby furnished with an additional and a copious variety of means to avoid the uniformity of cadence above-mentioned; especially as these measured forms of expression may be occasionally relaxed and dilated. There is, however, a material difference between a style which is merely numerous, (or, in other words, which has a moderate resemblance to metre) and that which is entirely composed of numbers: the latter is an insufferable fault; but our language, without the former, would be absolutely vague, unpolished, and dissipated.

But as a numerous style (strictly so called) is not frequently, and indeed but seldom admissible in forensic causes,--it seems necessary to enquire, in the next place, what are those commas and colons before-mentioned, and which, in real causes, should occupy the major part of an Oration. The period, or complete sentence, is usually composed of four divisions, which are called members, (or colons) that it may properly fill the ear, and be neither longer nor shorter than is requisite for that purpose. But it sometimes, or rather frequently happens, that a sentence either falls short of, or exceeds the limits of a regular period, to prevent it from fatiguing the ear on the one hand, or disappointing it on the other. What I mean is to recommend an agreeable mediocrity: for we are not treating of verse, but of rhetorical prose, which is confessedly more free and unconfined. A full period, then, is generally composed of four parts, which may be compared to as many hexameter verses, each of which have their proper points, or particles of continuation, by which they are connected so as to form a perfect period. But when we speak by colons, we interupt their union, and, as often as occasion requires (which indeed will frequently be the case) break off with ease from this laboured and suspicious flow of language; but yet nothing should be so numerous in reality as that which appears to be least so, and yet has a forcible effect. Such is the following passage in Crassus:--"Missos faciant patronos; ipsi prodeant." "Let them dismiss their patrons: let them answer for themselves." Unless "ipsi prodeant" was pronounced after a pause, the hearer must have discovered a complete iambic verse. It would have had a better cadence in prose if he had said "prodeant ipsi." But I am only to consider the species, and not the cadence of the sentence. He goes on, "Cur clandestinis consiliis nos oppugnant? cur de perfugis nostris copias comparant contra nos?" "Why do they attack us by clandestine measures? why do they collect forces against us from our own deserters?" In the former passage there are two commas: in the latter he first makes use of the colon, and afterwards of the period: but the period is not a long one, as only consisting of two colons, and the whole terminates in spondees. In this manner Crassus generally expressed himself; and I much approve his method. But when we speak either in commas, or colons, we should be very attentive to the harmony of their cadence: as in the following instance.--"Domus tibi deerat? at habebas. Pecunia superabat? at egebas." "Was you without a habitation? You had a house of your own. Was your pocket well provided? You was not master of a farthing." These are four commas; but the two following members are both colons;--"Incurristi omens in columnas, in alienos insanus insanisti."

"You rushed like a madman upon your best supporters; you vented your fury on your enemies withput mercy." The whole is afterwards supported by a full period, as by a solid basis;--"Depressam, caecam, jacentem domum, pluris quam te, et fortunas tuas aestimâsti." "You have shewn more regard to an unprosperous, an obscure, and a fallen family, than to your own safety and reputation." This sentence ends with a dichoree, but the preceeding one in a double spondee. For in those sentences which are to be used like daggers for close-fighting, their very shortness makes our numbers less exceptionable. They frequently consist of a single number;-- generally of two, with the addition perhaps of half a foot to each: and very seldom of more than three. To speak in commas or colons has a very good effect in real causes; and especially in those parts of an Oration where it is your business either to prove or refute: as in my second defence of Cornelius, where I exclaimed, "O callidos homines! O rem excogitatam! O ingenia metuenda!" "What admirable schemers! what a curious contrivance! what formidable talents!" Thus far I spoke in colons; and afterwards by commas; and then returned to the colon, in "Testes dare volumus," "We are willing to produce our witnesses." This was succeeded by the following period, consisting of two colons, which is the shortest that can be formed,--"Quem, quaeso, nostrûm sesellit ita vos esse facturos?" "Which of us, think you, had not the sense to foresee that you would proceed in this manner?"