plight, appear modest, tart, grave, insinuating; move to mercy and
exhort to diligence. As the nature of these is different, so their
composition must be conducted in a different way.

Let it be in some measure a general observation that the composition
ought to be modeled on the manner of pronunciation. In exordiums are we
not most commonly modest, except when in a cause of accusation we strive
to irritate the minds of the judges? Are we not copious and explicit in
narration; in arguments animated and lively, even showing animation in
our actions; in common places and descriptions, exuberant and lavish of
ornaments; and in perorations, for the most part weighed down by
distress? Of the variety which ought to be in a discourse, we may find
another parallel instance in the motions of the body. With all of them,
do not the circumstances regulate their respective degrees of slowness
and celerity? And for dancing as well as singing, does not music use
numbers of which the beating of the time makes us sensible? As our voice
and action are indeed expressive of our inner feelings in regard to the
nature of the things of which we speak, need we, then, be surprized if a
like conformity ought to be found in the feet that enter into the
composition of a piece of eloquence? Ought not sublime matters be made
to walk in majestic solemnity, the mild to keep in a gentle pace, the
brisk and lively to bound with rapidity, and the nice and delicate to
flow smoothly?


FAULTS IN COMPOSITION

If faults in composition be unavoidable, I should rather give preference
to that which is harsh and rough than to that which is nerveless and
weak, the results of an affected style that many now study, and which