he conversation of the common people.
The one is so fettered by rules that it is manifest that it is
designedly arranged as we see it; the other is so loose as to appear
ordinary and vulgar; so that you are not pleased with the one, and you
hate the other.

Let oratory then be, as I have said above, mingled and regulated with
a regard to rhythm; not prosaic, nor on the other hand sacrificed
wholly to rhythm; composed chiefly of the paeon, (since that is the
opinion of the wisest author on the subject,) with many of the other
feet which he passes over intermingled with it.

LVIII. But what feet ought to be mingled with others, like purple,
must be now explained; and we must also show to what kind of speech
each sort of foot and rhythm is the best adapted. For the iambic is
most frequent in those orations which are composed in a humble and
lowly style; but the paeon is suited to a more dignified style; and the
dactyl to both. Therefore, in a varied and long-continued speech these
feet should be mingled together and combined. And in this way the fact
of the orator aiming at pleasing the senses, and the careful attempt
to round off the speech, will be the less visible, and they will at
all times be less apparent if we employ dignified expressions and
sentiments. For the hearers observe these two things, and think them
agreeable: (I mean, expressions and sentiments.) And while they listen
to them with admiring minds, the rhythm escapes their notice; and even
if it were wholly wanting they would still be delighted with those
other things.

Nor indeed is the rhythm, I mean in a speech, (for the case as to
verse is very different,) so exacting that nothing may ever be
expressed except according to rule; for then it would be a poem. But
every oration which does not halt or if I may so say, fluctuate, and
which proceeds on with an equal and consistent pace, is considered
rhythmical. And it is considered rhythmical in the delivery; not
because it consists wholly of some regular rhythm; but because it
comes as near to a musical rhythm as possible: on which account it is
more difficult to make a speech than to make verses; because these
last have certain definite rules which it is necessary to follow; but,
in speaking, there is nothing settled, except that the speech must
not be intemperate, or too compressed, or prosaic, or too fluent.
Therefore there are no regular bars in it as a flute-player has; but
the whole principle and