Book 3
9.1
The style must be either continuous and united by connecting particles, like the dithyrambic preludes, or periodic, like the antistrophes of the ancient poets. The continuous style is the ancient one; for example,
9.2
This is the exposition of the investigation of Herodotus of Thurii. It was formerly used by all, but now is used only by a few. By a continuous style I mean that which has no end in itself and only stops when the sense is complete. It is unpleasant, because it is endless, for all wish to have the end in sight. That explains why runners, just when they have reached the goal,καμπτῆρες, properly the turning-point of the δίαυλος or double course, is here used for the goal itself. lose their breath and strength, whereas before, when the end is in sight, they show no signs of fatigue.
9.3
Such is the continuous style. The other style consists of periods, and by period I mean a sentence that has a beginning and end in itself and a magnitude that can be easily grasped. What is written in this style is pleasant and easy to learn, pleasant because it is the opposite of that which is unlimited, because the hearer at every moment thinks he is securing something for himself and that some conclusion has been reached; whereas it is unpleasant neither to foresee nor to get to the end of anything. It is easy to learn, because it can be easily retained in the memory. The reason is that the periodic style has number, which of all things is the easiest to remember; that explains why all learn verse with greater facility than prose,τῶν χύδην: lit. what is poured fourth promiscuously: in flowing, unfettered language (Liddell and Scott). for it has number by which it can be measured.
