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_ [Footnote: In the sentence which is here quoted from
Crassus, every word which ends with a consonant is immediately succeeded
by another which begins with a vowel; and, _vice versa_, if the preceding
word ends with a vowel, the next begins with a consonant.]: 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?"
There is no method of expressing ourselves which, if properly timed, is
more agreeable or forcible, than these rapid turns, which are completed in
two or three words, and sometimes in a single one; especially, when they
are properly diversified, and intermingled here and there with a
_numerous_ period; which _Egesias_ avoids with such a ridiculous nicety,
that while he affects to imitate _Lysias_ (who was almost a second
_Demosthenes_) he seems to be continually cutting capers, and clipping
sentence after sentence. He is as frivolous in his sentiments as in his
language: so that no person who is acquainted with his writings, need to
seek any farther for a coxcomb. But I have selected several examples from
Crassus, and a few of my own, that any person, who is so inclined, may
have an opportunity of judging with his own ears, what is really
_numerous_, as well in the shortest as in any other kind of sentences.
Having, therefore, treated of a _numerous_ style more copiously than any
author before me, I shall now proceed to say something of it's _utility_.
For to speak handsomely, and like an Orator (as no one, my Brutus, knows
better than yourself) is nothing more than to express the choicest
sentiments in the finest language. The noblest thoughts will be of little
service to an orator, unless he is able to communicate them in a correct
and agreeable style: nor will the splendor of our expressions appear to a
proper advantage, unless they are carefully and judiciously ranged. Permit
me to add, that the beauty of both will be considerably heightened by the
harmony of our numbers:--such numbers (for I cannot repeat it too often)
as are not only not cemented together, like those of the poets, but which
avoid all appearance of metre, and have as little resemblance to it as
possible; though it is certainly true that the numbers themselves are the
same, not only of the Poets and Orators, but of all in general who
exercise the faculty of speech, and, indeed, of every instrument which
produces a sound whose time can be measured by the ear. It is owing
entirely to the different arrangement of our feet that a sentence assumes
either the easy air of prose, or the uniformity of verse. Call it,
therefore, by what name you please (_Composition, Perfection_, or
_Number_) it is a necessary restraint upon our language; not only (as
_Aristotle_ and _Theophrastus_ have observed) to prevent our sentences
(which should be limited neither by the breath of the speaker, nor the
pointing of a transcriber, but by the sole restraint of _number_) from
running on without intermission like a babbling current of water; but
chiefly, because our language, when properly measured, has a much greater
effect than when it is loose and unconfined. For as Wrestlers and
Gladiators, whether they parry or make an assault, have a certain grace in
their motions, so that every effort which contributes to the defence or
the victory of the combatants, presents an agreeable attitude to the eye:
so the powers of language can neither give nor evade an important blow,
unless they are gracefully exerted. That style, therefore, which is not
regulated by _numbers_, is to me as unbecoming as the motions of a
Gladiator who has not been properly trained and exercised: and so far is
our language from being _enervated_ by a skilful arrangement of our words
(as is pretended by those who, for want either of proper instructors,
capacity, or diligence, have not been able to attain it) that, on the
contrary, without this, it is impossible it should have any force or
efficacy.
But it requires a long and attentive course of practice to avoid the
blemishes of those who were unacquainted with this numerous species of
composition, so as not to transpose our words too openly to assist the
cadence and harmony of our periods; which _L. Caelius Antipater_, in the
Introduction to his Punic War, declares he would never attempt, unless
when compelled by necessity. "_O virum simplicem_," (says he, speaking of
himself) "_qui nos nihil celat; sapientem, qui serviendum necessitati
putet_." "O simple man, who has not the skill his art to conceal; and yet
to the rigid laws of necessity he has the wisdom to submit." But he was
totally unskilled in composition. By us, however, both in writing and
speaking, necessity is never admitted as a valid plea; for, in fact, there
is no such thing as an absolute constraint upon the order and arrangement
of our words; and, if there was, it is certainly unnecessary to own it.
But _Antipater_, though he requests the indulgence of Laelius, to whom he
dedicates his work, and attempts to excuse himself, frequently transposes
his words without contributing in the least either to the harmony, or
agreeable cadence of his periods.
There are others, and particularly the _Asiatics_, who are such slaves to
_number_, as to insert words which have no use nor meaning to fill up the
vacuities in a sentence. There are likewise some who, in imitation of
_Hegesias_ (a notorious trifler as well in this as in every other respect)
curtail and mince their numbers, and are thus betrayed into the low and
paltry style of the Sicilians. Another fault in composition is that which
occurs in the speeches of _Hierocles_ and _Menecles_, two brothers, who
may be considered as the princes of Asiatic Eloquence, and, in my opinion,
are by no means contemptible: for though they deviate from the style of
nature, and the strict laws of Atticism, yet they abundantly compensate
the defect by the richness and fertility of their language. But they have
no variety of cadence, and their sentences are almost always terminated in
the same manner. He therefore, who carefully avoids these blemishes, and
who neither transposes his words too openly,--nor inserts any thing
superfluous or unmeaning to fill up the chasms of a period,--nor curtails
and clips his language, so as to interrupt and enervate the force of it,--
nor confines himself to a dull uniformity of cadence,--_he_ may justly be
said to avoid the principal and most striking defects of prosaic harmony.
As to its positive graces, these we have already specified; and from
thence the particular blemishes which are opposite to each, will readily
occur to the attentive reader.
Of what consequence it is to regulate the structure of our language, may
be easily tried by selecting a well-wrought period from some Orator of
reputation, and changing the arrangement of the words; [Footnote:
Professor _Ward_ has commented upon an example of this kind from the
preface to the Vth volume of the Spectator:--"_You have acted in so much
consistency with yourself, and promoted the interests of your country in
so uniform a manner; that even those, who would misrepresent your generous
designs for the public good, cannot but approve the steadiness and
intredipity, with which you pursue them_." I think, says the Doctor, this
may be justly esteemed an handsome period. It begins with ease, rises
gradually till the voice is inflected, then sinks again, and ends with a
just cadency, And perhaps there is not a word in it, whole situation would
be altered to an advantage. Let us now but shift the place of one word in
the last member, and we shall spoil the beauty of the whole sentence. For
if, instead of saying, as it now stands, _cannot but approve the
steadiness and intrepidity, with which you pursue them_; we put it thus,
_cannot but approve the steadiness and intrepidity which you pursue them
with_; the cadency will be flat and languid, and the harmony of the period
entirely lost. Let us try it again by altering the place of the two last
members, which at present stand in this order, _that even those who would
misrepresent your generous designs for the public good, cannot but approve
the steadiness and intrepidity, with which you pursue them_. Now if the
former member be thrown last, they will run thus, _that even those cannot
but approve the steadiness and intrepidity, with which you pursue them,
who would misrepresent your generous designs for the public good_. Here
the sense is much obscured by the inversion of the relative _them_, which
ought to refer to something that went before, and not to the words
_generous designs_, which in this situation of the members are placed
after it. WARD'S Rhetoric. Vol. 1, p. 338, 339.] the beauty of it would
then be mangled and destroyed. Suppose, for instance, we take the
following passage from my Defence of _Cornelius,--"Neque me divitae
movent, quibus omnes Africanos et Laelios, multi venalitii mercatoresque
superarunt._" "Nor am I dazzled by the splendor of wealth, in which many
retailers, and private tradesmen have outvied all the _Africani_ and the
_Lelii_" Only invert the order a little, and say,--"_Multi superârunt
mercatores, venatitiique_," and the harmony of the period will be loft.
Try the experiment on the next sentence;--"_Neque vestes, aut celatum
aurum, & argentum, quo nostros veteres Marcellos, Maximosque multi eunuchi
e Syriâ Egyptoque vicerunt_:" Nor do. I pay the least regard to costly
habits, or magnificent services of plate, in which many eunuchs, imported
from Syria and Egypt, have far surpassed the illustrious _Marcelli_, and
the _Maximi_. Alter the disposition of the words into, "_vicerunt eunuchi
e Syria, Egyptoque,_" and the whole beauty of the sentence will be
destroyed. Take a third passage from the same paragraph;--"_Neque vero
ornamenta ista villarum, quibus Paulum & L. Mummium, qui rebus his urbem,
Italiamque omnem reserserunt, ab aliquo video perfacile Deliaco aut Syro
potuisse superari:"--"Nor the splendid ornaments of a rural villa, in
which I daily behold every paltry Delian and Syrian outvying the dignity
of Paulus and Lucius Mummius, who, by their victories, supplied the whole
city, and indeed every part of Italy, with a super- fluity of these
glittering trifles!" Only change the latter part of the sentence into,--
"_potuisse superari ab aliquo Syro aut Deliaco,_" and you will see, though
the meaning and the words are still the same, that, by making this slight
alteration in the order, and breaking the form of the period, the whole
force and spirit of it will be lost.
On the other hand, take one of the broken sentences of a writer unskilled
in composition, and make the smallest alteration in the arrangement of the
words,--and that which before was loose and disordered, will assume a
just and a regular form. Let us, for instance, take the following passage
from the speech of Gracchus to the Censors;--"_Abesse non potest, quin
ejusdem hominis fit, probos improbare, qui improbos probet_;" "There is no
possibility of doubting that the same person who is an enemy to virtue,
must be a friend to vice." How much better would the period have
terminated if he had said,--"_quin ejusdem hominis fit, qui improbos
probet, probos improbare_!"--"that the same person who is a friend to
vice, must be an enemy to virtue!" There is no one who would object to the
last:--nay, it is impossible that any one who was able to speak thus,
should have been willing to express himself otherwise. But those who have
pretended to speak in a different manner, had not skill enough to speak as
they ought; and for that reason, truly, we must applaud them for their
_Attic_ taste;--as if the great DEMOSTHENES could speak like an _Asiatic_
[Footnote: Quasi vero Trallianus fuerit Demosthenes.] _Trallianus_
signifies an inhabitant of _Tralles_, a city in the lesser Asia, between
_Caria_ and _Lydia_. The Asiatics, in the estimation of Cicero, were not
distinguished by the delicacy of their taste.,--that Demosthenes, whose
thunder would have lost half it's force, if it's flight had not been
accelerated by the rapidity of his numbers.
But if any are better pleased with a broken and dissipated style, let them
follow their humour, provided they condescend to counterbalance it by the
weight, and dignity of their sentiments: in the same manner, as if a
person should dash to pieces the celebrated shield of _Phidias_, though he
would destroy the symmetry of the whole, the fragments would still retain
their separate beauty;--or, as in the history of Thucydides, though we
discover no harmony in the structure of his periods, there are yet many
beauties which excite our admiration. But these triflers, when they
present us with one of their rugged and broken sentences, in which there
is neither a thought, nor word, but what is low and puerile, appear to me
(if I may venture on a comparison which is not indeed very elevated, but
is strictly applicable to the case in hand) to have untied a besom, that
we may contemplate the scattered twigs. If, however, they wish to convince
us that they really despise the species of composition which I have now
recommended, let them favour us with a few lines in the taste of
Isocrates, or such as we find in the orations of _Aeschines_ and
_Demosthenes_. I will then believe they decline the use of it, not from a
consciousness of their inability to put it in practice, but from a real
conviction of it's futility; or, at least, I will engage to find a person,
who, on the same condition, will undertake either to speak or write, in
any language they may please to fix upon, in the very manner they propose.
For it is much easier to disorder a good period, than to harmonize a bad
one.
But, to speak my whole meaning at once, to be scrupulously attentive to
the measure and harmony of our periods, without a proper regard to our
sentiments, is absolute madness:--and, on the other hand, to speak
sensibly and judiciously, without attending to the arrangement of our
words, and the regularity of our periods, is (at the best) to speak very
awkwardly; but it is such a kind of awkwardness that those who are guilty
of it, may not only escape the title of blockheads, but pass for men of
good-sense and understanding;--a character which those speakers who are
contented with it, are heartily welcome to enjoy! But an Orator who is
expected not only to merit the approbation, but to excite the wonder, the
acclamations, and the plaudits of those who hear him, must excel in every
part of Eloquence, and be so thoroughly accomplished, that it would be a
disgrace to him that any thing should be either seen or heard with greater
pleasure than himself.
* * * * *