Institutio Oratoria

It will therefore be desirable from time to time that in certain passages the rhythm should be deliberately dissolved: this is a task of no small difficulty, if the appearance of effort is to be avoided. In so doing we must not come to the assistance of the rhythm by introducing bhyperhata [*](Transpositions. See VII. vi. 62.) of extravagant length, for fear that we should betray the purpose of our action: and we should certainly never in our search for smoothness abandon for another any word that is apt and appropriate to our theme.

As a matter of fact no word will be so intractable as to baffle all our attempts to find it a suitable position; but it must be remembered that when we avoid such words, we do so not to enhance the charm of our rhythm, but to evade a difficulty. I am not, however, surprised that Latin writers have paid more attention to rhythmical structure than the Athenians, since Latin words possess less correctness and charm.

Nor again do I account it a fault in Cicero that, in this respect, he diverged to some extent from the practice of

It consists of three parts, order, connexion and rhythm. The method of its achievement lies in addition, subtraction and alteration of words. Its practice will depend upon the nature of our theme. The care which it demands is great, but, still, less than that demanded by expression and thought. Above all it is necessary to conceal the care expended upon it so that our rhythms may seem to possess a spontaneous flow, not to have been the result of elaborate search or compulsion.