Numbers are nowhere so much lacking, nor so remarkable, as at the end of
periods; first, because every sense has its bounds, and takes up a
natural space, by which it is divided from the beginning of what
follows: next, because the hearers following the flow of words, and
drawn, as it were, down the current of the oration, are then more
competent judges, when that impetuosity ceases and gives time for
reflection. There should not, therefore, be anything harsh nor abrupt in
that ending, which seems calculated for the respite and recreation of
the mind and ear. This, too, is the resting-place of the oration, this
the auditor expects, and here burst forth all his effusions of praise.


THE COMPOSITION OF PERIODS

The beginning of periods demands as much care as the closing of them,
for here, also, the auditor is attentive. But it is easier to observe
numbers in the beginning of periods, as they are not depending on, nor
connected with, what went before. But the ending of periods, however
graceful it may be in composition and numbers, will lose all its charm
if we proceed to it by a harsh and precipitate beginning.

As to the composition of the middle parts of a period, care must be
taken not only of their connection with each other, but also that they
may not seem slow, nor long, nor, what is now a great vice, jump and
start from being made up of many short syllables, and producing the same
effect on the ear as the sounds from a child's rattle. For as the
ordering of the beginning and ending is of much importance, as often as
the sense begins or ends; so in the middle, too, there is a sort of
stress which slightly insists; as the feet of people running, which, tho
they make no stop, yet leave a track. It is not only necessary to begin