With respect, however, to the figure of diction, it is necessary that it should neither be metrical, nor without rythm. For metrical diction is not calculated to persuade. For it appears to be feigned, and calls the attention of the auditor from the subject of the oration; since he is led to expect a metre similar to the former. As, therefore, when the cryers proclaim to the people when a slave is manumitted by his master, “What patron will he who is manumitted choose?” The boys antecedently to the cryer exclaim, “Cleon;”—thus if the oration were metrical, the auditors would preoccupy the orator, and would foresee what he ought to say. But the diction which is without rythm is indefinite. It is necessary, however, that it should be bounded, though not by metre. For the infinite is unpleasant and unknown; and all things are bounded by number. But the number of the figure of diction is rythm, of which metres are the segments. Hence, it is necessary that an oration should have rythm, but not metre or measure; for if it has, it will be a poem. It should not, however, possess rythm accurately, but only to a certain extent. Of rythms, however, the heroic indeed is venerable and sonorous, and requires harmony. But the iambic is the diction of the multitude. Hence, in speaking, iambics are uttered the most of all measures. But it is necessary that the prose of an oration should be venerable and very exciting. The Trochaic measure, however, is more analogous to swift dancing. But this is evident from tetrameters, which are a voluble rythm. The pæan therefore remains, which was employed by orators, and originated from Thrasymachus; yet they were unable to say what it was. But the pæan is the third in order, and follows the above-mentioned measures; for it is in the ratio of three to two; but of the others, the one i.e. the heroic is in the ratio of one to one; but the other i.e. the iambic and trochaic in the ratio of two to one. The sesquialter, however, is consequent to these two ratios; and the pæan consists of this ratio. The other rythms, therefore, are to be rejected, from the above-mentioned reasons, and because they are metrical; but the pæan is to be assumed; for from this alone of all the rythms we have mentioned, metre is not produced; so that it is especially latent.
At present, therefore, orators use only one pæan, and that at the beginning of their oration. It is necessary, however, that the end should differ from the beginning. But there are two species of pæans opposite to each other; of which, one is adapted to the beginning of an oration, in which way also it is used by orators. But this is that pæan, in which the first syllable is long, and the other three are short; as Δαλογενές ειτε Λυκιαν, i.e. “Delos-begotten, or Lycian,” speaking of Apollo. where there are two pæans: and, Χρυστοπομα Εκάτι, και Δια. ” O golden-hair’d Hecate, daughter of Jove,” But in the other pæan, on the contrary, the first three syllables are short, and the last is long; as Μετα δε γαν υδατα τ ωκεανου ηφανισε νοξ. i.e. “Night concealed after the land, the water and the ocean.” This pæan, however, terminates the course of the oration. For a short syllable, because it is imperfect causes the oration to be mutilated. But it is necessary that it should be amputated by a long syllable, and that the end of it should be manifest, yet not from the writer, nor from a paragraph, but from the rythm. And thus we have shown that diction ought to have a proper rythm, and should not be without rythm; and also what the rythms are, and how those subsist, that produce a proper rythm in diction.
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