In such studied prose as in much of our free verse, the modulation depends not only upon the measured clausulae but also upon the parallelisms of phrase.[35] It is the two-fold rhythm that we so often find in the Authorized Version, in Hooker and in Browne, before English writers knew very much about the classical theories of prose rhythm. Now the point that needs to be emphasized is that Cicero would probably have written thus had he never known rules, had he only used with his infallible ear the prose that came to him shaped by a hundred great speakers. For, in the first place, the periodic structure was native to Latin, as we have seen, from the time of the earliest inscriptions. That structure is natural in highly inflected languages where the verb can be deferred in order to make room early for the important words and concepts, while unimportant phrases can be appropriately subordinated because their inflectional forms keep them tethered in thought to their owners even though separated by space. All this invites the service of taste to provide the contrast and balance, to give light and shade, to lift and to subdue, and then to bind the whole between introductory subject and concluding verb. No speaker of taste, given leisure and rich diction, could resist the temptation of thus elaborating such a language as Latin. The sentence of the untutored Cato, quoted above, though lacking in modulation, reveals a structural form not unlike the sentence of Cicero just cited. Cicero repeatedly calls attention to what he designates as the adornment of good prose, adornments associated in Greek learning with the name of Gorgias. These are the tropes, i.e., the figures of speech, and the schemata, i.e., the patterned expressions of sentences. But he also tells us, fortunately, that there were none of these adornments which could not be found in the works of untutored old Cato,[36] and that even unschooled rustics employed metaphor. We have already remarked how modern scholars have sought to explain their presence. Explanations are of course not necessary. Men used metaphor and simile in the caves of the Dordogne 20,000 years ago; language began in metaphor when the primitive savage first called a dog “bowwow.” Half the words of any language are still metaphorical. When a Roman tried to find some expression for thinking, whether he used _puto_ or _intelligo_ or _concipio_ or _cogito_ or _arbitror_ or _existimo_ or _opinor_ or _censeo_, or _sentio_, he had to use a figure of speech. Men like Cato, Scipio, Gracchus, Cicero became powerful because they had imagination, saw visions, and put their visions into their words. The same may be said of patterned phrases. Native Latin verse, shaped long before Greek was known at Rome, was particularly fond of balance and antithesis because it was a verse that rested on parallelism marked by the strong caesura and bound together by alliteration. Such was the form of the early prayers and proverbs of the Romans: