But when something ought to be done, and we are talking to those who ought to do it and will not, then the great subject is to be expressed greatly and in such wise as to bend their minds.... What subject is greater than God? Is it therefore not a subject for instruction? Or how can any one expounding the unity of the Trinity do it except by confining himself to exposition, that so difficult a distinction may as far as is possible be understood? Is ornament demanded here, and not rather argument?[21] Is there here something that the audience is to be moved to do, and not rather something that it is to be taught to learn? Again, when God is praised in himself or in his works, what a vision of beautiful and splendid diction rises before any one praising as well as he can him whom no one praises aright and no one fails to praise in some way or other! But if God be not worshipped, or if idols be worshipped with him or even in his stead, whether dæmons or any other created being, then to meet so great an evil, and from this evil to save men, the preaching too must be great. xix. Augustine has passed (xvii-xix) from Cicero’s three tasks of oratory to his three typical styles by applying to the preacher Cicero’s definition of the orator: “He, then, shall be called eloquent who can speak small things quietly, larger things proportionally, great things greatly.”[22] Thus the three styles are _genus submissum_ (or _tenue_), _genus temperatum_ (or _medium_), and _genus grande_. As in Cicero, these correspond to _docere_, _delectare_, _movere_, and the second is connected with panegyric. Augustine now proceeds to exemplify the first style (xx) from _Galatians_ as calling for skill in reasoning and for a memory trained to bring in objections and difficulties where they can best be met. This debater’s memory is precisely the ancient _memoria_, the fifth of the traditional parts of rhetoric. It seems to have fallen into abeyance under sophistic. What the sophists boasted was verbal memory, which Augustine merely mentions in his appendix as something quite different.[23] The same chapter (xx) exemplifies the second, or median style from _Timothy_ and _Romans_ as having the charm of aptness. Here Augustine confronts squarely the sophistic habit of making rhythmical beauty paramount and the pagan disparagement of Christian style. Some one may find the cadence of _Romans_ xiii. 14 defective. Certainly it would soothe the ear more rhythmically if the verb came last.