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[169] There is also an entirely different tone, which might be described as lying almost [p. 339] outside the range of the instrument. The Greeks call it bitterness, and it consists in an extravagant acerbity almost beyond the compass of the human voice. It is employed in passages such as,1 “Why do you not restrain those cries, the proof of your folly and the evidence of your small numbers?” But the extravagance of which I spoke will come in at the opening, where the orator cries, “Why do you not restrain?”

1 pro Rab. perd. vi. 18.

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