Some think iambic, as being most like real life (191), more suited to simple narrative; dactylic, to the dignity with which it is associated in heroic verse. Ephorus prefers the pæan or the dactyl to the spondee or the trochee because the latter are either too slow or too rapid. Aristotle, finding the heroic too grand for prose, the iambic too colloquial (192), and the trochaic too tripping, approves (193) the pæan. This is to be preferred as being less readily metrical (196); but it should be varied by other measures. Iambic is most frequent (197) in the plain style, the pæan in the grand style; but all should be mingled for variety. “Thus the hearers will hardly notice the snaring of their delight [in sound] and the pains to square the speech. These will be the less apparent if the words and thoughts are weighty; for those who are listening to these and liking them—the words, I mean, and the thoughts—while their attention and admiration are thus fixed do not notice the rhythm, though they would be less pleased without it.” (197). Prose is rhythmical not (198) by never varying—that would be verse—but by movement neither limping nor fluctuating, but even and constant. Prose rhythm, therefore, is more difficult than verse. The rhythm of the period (199), in order to make such a close as the ear desires, must be marshalled that way from the start. Prose rhythm may arise, without rhythmical intention, from the harmonizing[95] of the phrase.