cal
sense not only more frequently, but also more daringly; and they use
old-fashioned words more willingly, and new ones more freely. And the
case with respect to rhythm is the same; in which they are obliged
to comply with a kind of necessity: but still these things must be
understood as being neither too different, nor yet in any respect
united. Accordingly we find that rhythm is not the same in an oration
as in a poem; and that that which is pronounced to be rhythmical in an
oration is not always effected by a strict attention to the rules of
rhythm; but sometimes either by neatness, or by the casual arrangement
of the words.

Accordingly, if the question is raised as to what is the rhythm of an
oration, it is every sort of rhythm; but one sort is better and more
suitable than another. If the question is, what is the place of this
rhythm? it is in every portion of the words. If you ask where it has
arisen; it has arisen from the pleasure of the ears. If the principle
is sought on which the words are to be arranged; that will be
explained in another place, because that relates to practice, which
was the fourth and last division which we made of the subject. If
the question is, when; always: if, in what place; it consists in
the entire connexion of the words. If we are asked, What is the
circumstance which causes pleasure? we reply, that it is the same
as in verse; the method of which is determined by art; but the ears
themselves define it by their own silent sensations, without any
reference to principles of art.

LXI. We have said enough of the nature of it. The practice follows;
and that we must discuss with greater accuracy. And in this discussion
inquiry has been made, whether it is in the whole of that rounding of
a sentence which the Greeks call [Greek: periodos], and which we call
"_ambitus_" or "_circuitus_," or "_comprehensio_" or "_continuatio_"
or "_circumscriptio_," or in the beginning only, or in the end, or
in both, that rhythm must be maintained? And, in the next place, as
rhythm appears one thing and a rhythmical sentence another, what is
the difference between them? and again, whether it is proper for
the divisions of a sentence to be equal in every sort of rhythm, or
whether we should make some shorter and some longer; and if so, when,
and why, and in what parts; whether in many or in one; whether in
unequal or equal ones; and when we are to use one, and when the other;
and what words may be most