The language of prose must be either free-running, with its parts united by nothing except the connecting words, like the preludes in dithyrambs; or compact and antithetical, like the strophes of the old poets. The free-running style is the ancient one, e.g. 'Herein is set forth the inquiry of Herodotus the Thurian.' Every one used this method formerly; not many do so now. By 'free-running' style I mean the kind that has no natural stopping-places, and comes to a stop only because there is no more to say of that subject. This style is unsatisfying just because it goes on indefinitely-one always likes to sight a stopping-place in front of one: it is only at the goal that men in a race faint and collapse; while they see the end of the course before them, they can keep on going. Such, then, is the free-running kind of style; the compact is that which is in periods. By a period I mean a portion of speech that has in itself a beginning and an end, being at the same time not too big to be taken in at a glance.
Language of this kind is satisfying and easy to follow. It is satisfying, because it is just the reverse of indefinite; and moreover, the hearer always feels that he is grasping something and has reached some definite conclusion; whereas it is unsatisfactory to see nothing in front of you and get nowhere. It is easy to follow, because it can easily be remembered; and this because language when in periodic form can be numbered, and number is the easiest of all things to remember. That is why verse, which is measured, is always more easily remembered than prose, which is not: the measures of verse can be numbered. The period must, further, not be completed until the sense is complete: it must not be capable of breaking off abruptly, as may happen with the following iambic lines of Sophocles-Calydon's soil is this; of Pelops' land (The smiling plains face us across the strait.)
By a wrong division of the words the hearer may take the meaning to be the reverse of what it is: for instance, in the passage quoted, one might imagine that Calydon is in the Peloponnesus.
A Period may be either divided into several members or ******. The period of several members is a portion of speech (1) complete in itself, (2) divided into parts, and (3) easily delivered at a single breath-as a whole, that is; not by fresh breath being taken at the division. A member is one of the two parts of such a period. By a '******' period, I mean that which has only one member. The members, and the whole periods, should be neither curt nor long. A member which is too short often makes the listener stumble; he is still expecting the rhythm to go on to the limit his mind has fixed for it; and if meanwhile he is pulled back by the speaker's stopping, the shock is bound to make him, so to speak, stumble. If, on the other hand, you go on too long, you make him feel left behind, just as people who when walking pass beyond the boundary before turning back leave their companions behind So too if a period is too long you turn it into a speech, or something like a dithyrambic prelude. The result is much like the preludes that Democritus of Chios jeered at Melanippides for writing instead of antistrophic stanzas-He that sets traps for another man's feet Is like to fall into them first;
And long-winded preludes do harm to us all, But the preluder catches it worst.