[61] 1409 b, ἡδεῖα δ’ ἡ τοιαύτη καὶ εὐμαθής. The translation of Cope and of Welldon, “easily learnt” is amiss; and Welldon’s foot-note thereon about learning speeches by heart is still more misleading. The εὐσύνοπτον (end of 1409 a), “easily grasped as a whole,” of the preceding sentence does not imply writing and reading; and there is no other word in the context even to suggest this except the reference to memory, which in the classical rhetoric is rarely applied to memorizing. The translation “easily learnt” is precluded both by the general trend of the passage and by the specific figures of walking, running, and breathing. Here, as throughout the _Rhetoric_ and the _Poetic_, Aristotle avoids speaking of style in the visual terms common to modern generations of writers and readers. His terms, whether literal or figurative, are generally auditory and motor. When he uses others, it is to distinguish something special, as in Chapter xii (below) the exceptional, literary opportunity of such compositions as those of Isocrates. Not only does his _Rhetoric_ deal primarily and generally with oral composition, but in particular this section on σύνθεσις (_compositio_) deals with movement almost exclusively. Not until he has explained the period rhythmically does he add our modern definition that it should _also_ be concluded with the sense, i.e., with the syntax. Meantime he finds the period superior to the loose sentence—for oratory—first because it satisfies the ear by being heard as a definite rhythm, and secondly because it satisfies the mind by being intended and apprehended as a definite unit of thought. [62] 1409 b. [63] The admirable rendering of Jebb. [64] 1409 b (toward end). [65] 1409 b. [66] For the contrast between the two movements in modern prose, see my _College Composition_, pages 184-188; for the effect of a passage of short sentences vs. that of a passage of long sentences, pages 69-71. Though the sentence unit, in our modern logical sense, is not always clear from the punctuation of even modern editions of ancient texts, it will usually be clear from the conclusion of the rhythm. In the earlier stages of modern prose, on the other hand, it is sometimes so dubious as to suggest that it was not always felt distinctly. The artistic development of modern prose, in other words, is partly the progressive distinction of periods. [67] Chapter ix, 1410 a. [68] Chapter x, 1410 b. [69] 1404 b. [70] τὰ ἀστεῖα καὶ τὰ εὐδοκιμοῦντα, lively and pleasing, smart and popular. [71] Chapter xi, below. [72] σχῆμα. [73] ἐνέργεια. [74] 1411 a. [75] 1411 b. [76] ἐνεργοῦντα. Here, perhaps, is the suggestion for Lessing’s famous doctrine in the _Laokoön_ as to Homeric description. [77] 1412 a. [78] 1404 b. [79] 1406 a. [80] 1413 b. [81] Chapter vii, 1408 a. [82] For this division see Book I, Chapter iii, 1358 b.