Quintilian’s long discussion of style (_elocutio_, VIII-XI) opens with one of his best sayings, “let care in words be solicitude for things”;[13] and the whole introduction is an admirable answer to the old quibble about form and substance. If he thereupon proceeds for two books by the usual categories, he at least avoids the subdivision that had become excessive, and provides a convenient guide to the voluminous classical lore of _elocutio_.[14] Typical is his introduction, under sentence-movement (_compositio_, IX. iv), to the doctrine of sentence close (_clausula_). [“Though rhythm must be pervasive] it is more demanded in closing cadences (_in clausulis_) and more obvious; first, because every thought has its own conclusion and demands a natural pause to separate it from the beginning of the one that follows; and furthermore, because the ear, having followed an oral sequence, having been guided by the current of flowing prose, is more critical when that movement stops and gives time to consider. Neither hard, therefore, nor abrupt should be the place where the attention takes breath and is renewed. Here is the dwelling-place of prose; here is the point to which the audience looks forward; here speaks the orator’s whole merit.” IX. iv. 61-62. (The text of the last sentence is dubious; but the general intention of exalting the importance of the _clausula_ is clear.) (7) _Style Promoted_ Having followed the usual analysis of style, Quintilian proceeds (X) to constructive promotion, to the ways of gaining secure control (_firma facilitas_; see the tabular view, page 66). “We who contemplate oratorical power, not mountebank volubility, have to inculcate both range and discrimination” (_copia cum iudicio_, X. i. 8). So the vivid impressions that come through the ear should be supplemented by critical reading. The reading of poetry promotes concrete realization, heightening of style, emotional appeal, and aptness in characterization.[15] From imitation Quintilian passes (X. iii) to writing for practise in style. Since this, like deep plowing, is for a better yield, he goes into specific counsels. Repeat what you have just written, both for connection and to warm up afresh. Fluency comes from habit, not from haste. You will not learn to write well by writing rapidly; you will learn to write rapidly by writing well. Lolling and looking at the ceiling will not answer; you must follow a plan (_ratio_). Rapid extempore draft (_silva_) has this disadvantage, that subsequent revision, though it may amend words and rhythm, is likely to leave the superficiality (_levitas_) that has arisen from hasty crowding. Better exercise prevision, and so conduct your work (_opus ducere_) from the beginning that revision shall be polishing, not entirely making over.