LXIII.  But we will consider hereafter in what way sentences ought to be expressed in short clauses or members.  At present we must explain in how many ways those different conclusions and terminations may be changed.  Rhythm flows in from the beginning, at first more rapidly, from the shortness of the feet employed, and afterwards more slowly as they increase in length.  Disputes require rapidity; slowness is better suited to explanations.  But a period is terminated in many ways; one of which has gained especial favour in Asia, which is called the dichoreus, when the two last feet are chorei, consisting each of one long and one short syllable; for we must explain that the same feet have different names given them by different people.  Now that dichoreus is not inherently defective as part of a clause, but in the rhythm of an orator there is nothing so vicious as to have the same thing constantly recurring.  By itself now and then it sounds very well, on which account we have the more reason to guard against satiety.  I was present when Caius Carbo, the son of Caius, a tribune of the people, uttered these words in the assembly of the people: 

“O Maree Druse, patrem appello.”

Here are two clauses, each of two feet.  Then he gave us some more periods: 

“Tu dicere solebas, sacram esse rempublicam.”

Here each clause consists of three feet.  Then comes the conclusion: 

“Quicunque eam violavissent ab omnibus esse ei poenas persolutas.”

Here is the dichoreus;—­for it does not signify whether the last syllable is long or short.  Then comes,

“Patris dictum sapiens, temeritas filii comprobavit.”

And this last dichoreus excited such an outcry as to be quite marvellous.  I ask, was it not the rhythm which caused it?  Change the order of the words; let them stand thus: 

“Comprobavit filii temeritas:” 

there will be no harm in that, though temeritas consists of three short syllables and one long one; which Aristotle considers as the best sort of word to end a sentence, in which I do not agree with him.  But still the words are the same, and the meaning is the same.  That is enough for the mind, but not enough for the ears.  But this ought not to be done too often.  For at first rhythm is acknowledged; presently it wearies; afterwards, when the ease with which it is produced is known, it is despised.

LXIV.  But there are many little clauses which sound rhythmically and agreeably.  For there is the cretic, which consists of a long syllable, then a short one, then a long; and there is its equivalent the paeon; which is equal in time, but longer by one syllable; and which is considered a very convenient foot to be used in prose, as it is of two kinds.  For it consists either of one long syllable and three short ones, which rhythm is admirable at the beginning of a sentence, but languid at the end; or of three