agraphs ought to be confined.

Since, therefore, we have thus shown the cause, we will now, if you
please, explain the nature of it; for that was the third division; and
that involves a discussion which has no reference to the original plan
of this treatise, but which belongs rather to the arcana of the art.
For the question may be asked, what is the rhythm of a speech; and
where it is placed; and in what it originates; and whether it is one
thing, or two, or more; and on what principles it is arranged; and for
what purpose; and how and in what part it is situated, and in what way
it is employed so as to give any pleasure.

But as in most cases, so also in this one, there are two ways of
looking at the question; one of which is longer, the other shorter,
and at the same time plainer.

LIV. But in the longer way the first question is, whether there
actually is any such thing as a rhythmical oration at all; (for some
persons do not think that there is, because there is not in oratory
any positive rule, as there is in verses, and because the people who
assert that there is that rhythm cannot give any reason why there is.)
In the next place, if there is rhythm in an oration, what sort of
rhythm it is; and whether it is of more than one kind; and whether it
consists of poetical rhythm, or of some other kind; and if it consists
of poetical rhythm, of which poetical rhythm, (for some think that
there is but one sort of poetical rhythm, while others think there are
many kinds.) In the next place, the question arises, whatever sorts of
rhythm there may be, whether one or more, whether they are common to
every kind of oratory, (since there is one kind used in narrating,
another kind in persuading, and another in teaching,) or whether the
different kinds are all adapted equally to every sort of oratory. If
the different kinds are common to each kind of oratory, what are they?
If there is a difference, then what is the difference, and why is the
rhythm less visible in a speech than in a verse? Besides, there is a
question whether what is rhythmical in a speech is made so solely by
rhythm, or also by some especial arrangement of words, or by the kind
of words employed; or whether each division has its component parts,
so that rhythm consists of intervals, arrangement of words, while the
character of the words themselves is visible being a sort of shape
and light of the speech; and whether arrangement is not the principal
thing of