O miserrima Fæsulanórum propágo (_planus_), et iterum iam puníta barbáries (_tardus_)! An parum timoris prælibáta incútiunt (_tardus_)? Omnino vos tremere árbitror vìgilántes (_velox_), Quamquam spem simuletis in facie verbóque mendáci (_planus_), atque in somniis expergísci plerúmque (_planus_), sive pavescentes infúsa præságia (_tardus_), sive diurna consília rècoléntes (_velox_).[38] The fixing of these three cadences in Roman use would of itself have given them a vogue beyond letter-writing. Moreover they were chosen not at random, but as typical fulfilments of rhythmical expectation. For they appear also, though not exclusively, in the collects of the liturgy and in the daily offices.[39] The collect for the fourth Sunday after the Epiphany has all three. Deus qui nos in tantis perículis cònstitútos (_vel._) pro humana scis fragilitate non pósse subsístere (_tard._) da nóbis salútem (_plan._) méntis et córporis (_tard._) ut ea quæ pro peccatis nostris patimur (not conformed) te adjuvánte vincámus (_plan._).[40] The longer measures of the collect composed in 1264 by St. Thomas Aquinas for Corpus Christi fall upon _velox_. Deus, qui nobis sub sacramento mirabili passionis tuæ memóriam rèliquísti, tribue, quæsumus, ita nos corporis et sanguinis tui sacra mystéria vènerári ut redemptionis tuæ fructum in nobis júgiter sèntiámus. The English translation, following this cadence in the first measure and the third, departs in the second. O God, who in this wonderful sacrament hast left us a memórial of thy pássion, grant us, we beseech thee, so to venerate the sacred mysteries of thy body and blood [not conformed] that we may ever perceive within ourselves the frúit of thy redémption.[41] Hearing these cadences over and over, preachers of course used them often in Latin sermons. Thus the cadences that were obligatory in ceremonious letters, and habitual in other use, confirmed the conception and practise of Latin prose as rhythmical.