19.02.27: Level 3+ (review); correlatives [6] making comparisons (3); totiēns … quotiēns …

[xi] totiēns … quotiēns … [or: totiēs … quotiēs …] | as often … as …

Unlike most other correlatives which can be ‘neatly’ conveyed, you cannot always mechanically translate but need to consider the most fluent rendering while retaining the underlying meaning: with totiēns … quotiēns … two actions take place with the same frequency.

The first two quotations do conform to dictionary translations of the correlative:

[A] cum tū eī contumēliōsissimē totiēns male dicās [B] quotiēns tē illī adfīnem esse dīcis (Cicero)

• since [A] you abuse him in the most insulting manner as many times [B] as you say that he is associated with you

[A] totiēns, [B] quotiēns praescrībitur, … [A] hymnum recitārimus (Cicero)

• [A] we shall recite … a hymn as often [B] as is prescribed

The order of the correlative construction may be reversed and variations in form can occur:

quotiēnscumque dīcō, totiēns mihi videor in iūdicium venīre (Cicero)

• As often as / however often I speak, I seem just as often to be brought into judgment …

At this level of Latin, you will encounter more flexible and fluent translations which will avoid awkwardness and still convey the sense of the correlative in context without rendering it so literally:

quotiēns ībis, totiēns magis placēbit quod bonum erit

[Lit: However often you go, what will be good will just as often please you more.]

In context, the quotation is from Cato’s Dē Agricultūrā:

• However often you go, a good piece of land will please you more at each visit.

Likewise, in this example, you encounter Cicero’s style of the tricolon i.e three statements which, here, are structurally identical:

(1) quotiēns coniugem, (2) quotiēns domum, (3) quotiēns patriam vidēret, totiēns sē beneficium meum vidēre (Cicero)

[Lit: [A] As often as he saw his wife, as often as his home, as often as his country, [B] so often he saw my kindness. ]

A fluent translation needs to retain the emphatic idea that both [A] and [B] happened with the same frequency. At the same time the translation should avoid clumsiness:

Every time he saw his wife, or his home, or his native land, he always recognised my kindness.

• He never saw his wife’s face, or his home, or his native land, without recognizing the debt he owed to me. [transl. Winstedt]

There is no “answer” and this correlative is only an example to show that, when translating Latin, you need to be flexible and not always use verbatim definitions from a dictionary.

In other words, dictionary definitions are a starting point, but not necessarily a solution.

23.01.27: Level 3+ (review); correlatives [2]

[1] Both Latin and English can extend the correlative beyond a simple pair:

nōn committendae eius modī perīculō, ut aut interīre aut aperīrī aut intercipī possint (Cicero)

• (Letters) of that kind should not be entrusted to danger, so that they might either be lost, or opened, or intercepted

ita multa vel īrācundē vel īnsolenter vel in omnī genere stultitiae īnsulsē adrogantur (Cicero)

• And so many things are arrogantly claimed in a tasteless way, either in anger, or insolently, or in every kind of foolishness

nec amantius nec honōrificentius nec cōpiōsius potuisse dīcī (Cicero)

• It could have been said neither more affectionately, nor more honourably, nor more fully.

Here, stylistically it sounds odd in English and so the sentence could equally be translated as:

• It could not have been said either more affectionately, or more honourably, or more fully.

[2] The highly emphatic Cicero …

As an orator Cicero was famous for his devastating legal and political speeches, a skill so formidable that it ultimately contributed to his own murder. He would use a number of devices in order to emphasise a point or to build anticipation – not unlike our contemporary politicians.

[i] In section [1] above you will note that the repetition of the correlative creates three statements that are grammatically similar or identical:

(1) nec amantius (2) nec honōrificentius (3) nec cōpiōsius potuisse dīcī

This is known as a tricolon, a very common feature of Cicero’s oratorical style although it is also used, as here, in his letters.

[ii] Likewise, in a letter to Atticus, the repetition of et extends beyond a mere correlative:

Tū autem, quī saepissimē cūram et angōrem animī meī sermōne et cōnsiliō levāstī tuō, quī mihi et in pūblicā rē socius et in prīvātīs omnibus cōnscius et omnium meōrum sermōnum et cōnsiliōrum particeps esse solēs, ubinam es?

• “But you — who have very often relieved the care and distress of my mind by your conversation and your advice, who are both my partner in public affairs and my confidant in all private matters, and are accustomed to share in all my conversations and my plans — where are you?”

This is an example of a crescendo: a lengthy accumulation of ideas showing how indispensable Atticus is to him, leading to a final dramatic statement.

07.06.26; Level 3+; Subjunctive [49] passive forms [ii] imperfect passive (3) anatomy of a sentence; Cicero’s rhetorical style

Cicero: The fourteen orations against Marcus Antonius (Philippics)

Apart from providing three good examples of the imperfect passive subjunctive being used in an original context, this passage is a good example of a Ciceronian rhetorical pattern that recurs throughout his speeches and has been employed by politicians ever since.

An mē cēnsētis, patrēs cōnscrīptī, quod vōs invītī secūtī estis, dēcrētūrum fuisse, (1) ut parentālia cum supplicātiōnibus miscērentur, (2) ut inexpiābilēs religiōnēs in rem pūblicam indūcerentur, (3) ut dēcernerentur supplicātiōnēs mortuō? (Cicero)

The translation I have given is as close as possible to the original:

“Do you really suppose, Senators, that I – when you yourselves followed it unwillingly – intended to decree that funerary rites should be mingled with public thanksgivings, that unexpiable religious practices be introduced into the state, that thanksgivings be decreed for a dead man?”

An mē cēnsētis… │ Do you really think / suppose that I …

patrēs cōnscrīptī, │ conscript fathers i.e. senators; the term of address used to members of the Roman Senate

quod vōs invītī secūtī estis, │ since you, unwillingly, followed (it) / went along with it

dēcrētūrum fuisse, │ had intended to decree

(1) ut parentālia cum supplicātiōnibus miscērentur, │ that funerary rites should be mingled with public thanksgivings,

(2) ut inexpiābilēs religiōnēs in rem pūblicam indūcerentur, │ that unexpiable religious practices should be introduced into the state,

(3) ut dēcernerentur supplicātiōnēs mortuō? │ that supplications (thanksgivings) should be decreed for a dead man?

Style

If you are reading the literature, it is useful to come to grips with the style of individual authors.

[i] Cicero vehemently and indignantly rejects the notion that he would have voted for these decrees. By casting the passage as a rhetorical question, he signals that no answer is required, as the audience is expected to supply the obvious negative response.

[ii]  … patrēs cōnscrīptī, - quod vōs invītī secūtī estis –

This is a parenthetical statement addressed directly to the senators by name. It sharpens the irony by reminding them that they themselves accepted the measure only unwillingly, thereby making the alleged intention attributed to Cicero appear all the more implausible.

Compare a typical English ‘political’ response:

Why do you think – when you yourselves voted against it – that I would not?

[iii] A key stylistic feature of the passage is the tricolon, a sequence of three parallel words, phrases, or clauses with identical or near-identical structure.

https://adckl.blogspot.com/2024/05/290524-level-2-side-note.html

Here, Cicero employs three parallel ut-clauses, reinforced by the repetition of the imperfect passive subjunctive ending:

(1) ut … miscērentur
(2) ut … indūcerentur
(3) ut dēcernerentur

More specifically, this constitutes a tricolon crescēns (crescēns = “growing”), in which each successive clause increases in rhetorical force and seriousness.

Furthermore, the repetition of ut at the beginning of each clause is known as anaphora, a common feature in poetry.

The sequence moves from (1) the improper mixing of funerary rites with public thanksgivings, a breach of ritual decorum, to (2) the introduction of unexpiable, that is permanent and irreparable, religious pollution into the state, a more serious and lasting danger, and finally to (3) the shocking climax, the decreeing of thanksgivings for a dead man, with mortuō emphatically postponed to the end.

The rising intensity of the three ut-clauses reinforces Cicero’s indignation and leads the audience step by step to the conclusion that the alleged decree is not merely mistaken, but profoundly impious, absurd, and contrary to traditional values and customs.

Cicero’s technique is not antiquated but structural: the same rhetorical devices continue to be employed by modern politicians. The passage therefore illustrates not only Ciceronian style, but a timeless pattern of political argumentation.

A striking modern parallel can be seen in the House of Commons, for example in the 2025 Budget response by the Leader of the Opposition, Kemi Badenoch (see linked video). Her speech employs many of the same rhetorical techniques used by Cicero, demonstrating how enduring and effective these devices remain.

The Nightmare before Christmas:

https://www.youtube.com/watch?v=8ZYD4cD3yHw

[1] parenthetical statements

• “Today she has announced a new tax raid of £26 billion — they’re all cheering — household income is down.”

The parenthetical aside contrasts the government’s self-congratulation with the alleged reality, sharpening the sense of irony in much the same way as Cicero’s quod vōs invītī secūtī estis.

[2] tricolons

Badenoch repeatedly uses tricolon and tricolon crescēns. Note, in the same way that Cicero repeats the endings of the imperfect passive subjunctive, she too repeats noun and adjective endings to reinforce rhythm and memorability.

• “They are hiking taxes on (1) pensioners, (2) workers, and (3) savers.”
• “(1) She blames Brexit, (2) she blames Donald Trump — (3) she needs to blame herself.”
• “She is (1) spineless, (2) shameless, and (3) completely aimless.”

Some sequences extend beyond three items but still function as crescēns, with the most ludicrous or forceful point saved for last:

“She has chosen to put up tax after tax after tax, taxes on workers, taxes on savers, taxes on pensioners, taxes on investors, taxes on (1) homes, (2) holidays, (3) cars, I think even milkshakes, taxes on anyone”

• “Out of money, out of ideas, out of her depth, and out of road.”

[3] anaphora: the repetition of the same word at the beginning of successive phrases, here incorporated into tricolons.

• “(1) She blames Brexit, (2) she blames Donald Trump — (3) she needs to blame herself.”
• “The fact is the bad choices she is making today – (1) choices to break promises, (2) choices to put up taxes, (3) choices to spend more of other people’s money – are because of the bad choices she made at the last disastrous budget.”

The rapid-fire repetition “Up! … Up! … Up!” followed by “Down! … Down! … Down!” in the next two quotations function like anaphora, creating rhythm and emphasis, even though the repetition does not occur at the beginning of full clauses.

• “Government spending? Up! Welfare spending. Up! Universal credit claimants. Up! Unemployment. Up! Debt interest. Up! Inflation. Up!”
• “And what about the things you want to go up? What about the things you want to go up? Growth. Down! Investment. Down! Business confidence. Down! The credibility of the Chancellor. Down! And not just down – through the floor.”

As in Cicero, repetition and escalation amplify indignation and invite audience participation, which in the Commons becomes literal through collective chanting and interruption.

[4] rhetorical questions

• “Under us we had an energy crisis sparked by a war in Ukraine, and a global pandemic. What is her excuse? What is her excuse?”
• “It is the worst year for graduate recruitment on record. Are they proud of this?”

These questions, like Cicero’s An mē cēnsētis…?, do not seek answers; they assume them and force the audience into agreement.

Once introduced to Cicero, it becomes clear that Badenoch is employing the same rhetorical strategies Cicero used two thousand years ago — rhetorical questions, parenthetical irony, tricolon crescēns, and anaphora. The laughter, outrage, and disruption they provoke show that these techniques still work. Roman oratory and modern parliamentary debate are separated by centuries, but not by rhetoric.

The only difference is that, 2000 years ago, Kemi Badenoch would not have been allowed to speak in the Senate; I wonder if the current UK Chancellor wished that was still the case!

24.04.26: Describing objects [17]; Cicero against Verres, ‘the art thief’

Gaius Verres was a Roman senator and former governor of Sicily who was accused of abuse of power. Cicero, serving as prosecutor on behalf of the Sicilians, took the case against Verres. In this extract, Cicero accuses Verres of relentless and widespread theft:

negō in Siciliā tōtā, tam locuplētī, tam vetere prōvinciā, tot oppidīs, tot familiīs tam cōpiōsīs, ūllum argenteum vās, ūllum Corinthium aut Dēliacum fuisse, ūllam gemmam aut margarītam, quicquam ex aurō aut ebore factum, signum ūllum aēneum, marmoreum, eburneum, negō ūllam pictūram neque in tabulā neque in textilī quīn conquīsierit, īnspexerit, quod placitum sit abstulerit.

Below is the translation by Peterson (1917)

I say that in all Sicily, in all that wealthy and ancient province, that in that number of towns and families of such exceeding riches, there was no silver vessel, no Corinthian or Delian plate, no jewel or pearl, nothing made of gold or ivory, no statue of marble or brass or ivory, no picture whether painted or embroidered, that he did not seek out, that he did not inspect, that, if he liked it, he did not take away.

• gemma, -ae [1/f]: jewel; gem
• margarita, -ae [1/f]: pearl
• pictūra, -ae [1/f] (1) in tabulā / (2) in textilī: a picture (1) on a panel i.e. painted (2) on cloth (the translator gives this as ‘embroidered’)
• textile, -is [3/n]: cloth; canvas; fabric

However, we can take a second look at a slightly more precise translation because this well-known extract is a typical example of Cicero’s oratory style. There are three features discussed: [a] rhetorical anaphora [b] alliteration [c] tricolon

[1] negō in Siciliā tōtā, tam locuplētī, tam vetere prōvinciā, tot oppidīs, tot familiīs tam cōpiōsīs, (1) ūllum argenteum vās, (2) ūllum Corinthium aut Dēliacum fuisse, (3) ūllam gemmam aut margarītam, quicquam ex aurō aut ebore factum, signum ūllum (1) aēneum, (2) marmoreum, (3) eburneum, [2] negō ūllam pictūram neque in tabulā neque in textilī quīn (1) conquīsierit, (2) īnspexerit, quod placitum sit (3) abstulerit.

[1] I say that in all Sicily — so rich, so ancient a province, with so many towns and so many wealthy households — there was not any / not a single silver vessel, not one piece of Corinthian or Delian ware, not one gem or pearl, not anything made of gold or ivory, not any (1) bronze, (2) marble, or (3) ivory statue;

[2] I say there was no painting, neither on panel nor on fabric / cloth, that he did not (1) search out, (2) examine, and, if it pleased him, (3) carry off.”

[a] He repeats the opening verb (negō: I say … not), a technique known as rhetorical anaphora, the same word or phrase repeated at the beginning of successive clauses or phrases.

[b] alliteration, the repetition of initial consonants:

• in Siciliā tōtā, tam locuplētī, tam vetere prōvinciā, tot oppidīs, tot familiīs tam cōpiōsīs
• neque in tabulā neque in textilī

[c] The tricolon: this is a common rhetorical device in Cicero’s speeches, and has been used by politicians and advertisers ever since -  three parallel words, phrases, or clauses that are roughly equal in length and structure. If you’ve ever been to a London market, the stallholders will loudly attract you with their wares using the same technique that Cicero uses!

“(1) I’m not asking for £20, (2) I’m not asking for £15, (3) I’m not even asking for £8 …D’you know what I’m asking for? £6, you can’t say fairer than that!”

When the three parts increase in length or intensity, it’s called a tricolon crescēns (ascending tricolon or climax).

Cicero repeats words and grammatical endings (ūllum / ūllam; -um; -am; -eum; -erit):

• (1) ūllum argenteum vās, (2) ūllum Corinthium aut Dēliacum … (3) ūllam gemmam aut margarītam
• signum ūllum (1) aēneum, (2) marmoreum, (3) eburneum

This last one is a good example of a tricolon crescēns

• conquīsierit, (2) īnspexerit, … (3) abstulerit i.e. (1) he looked for it (2) he inspected it and, the last word in the entire statement – the climax of the denunciation –  (3) he stole it

https://adckl.blogspot.com/2024/05/290524-level-2-side-note.html

https://adckl.blogspot.com/2024/05/290424-tomb-of-scipio-barbatus-im-lovin.html

The entire statement is ‘encircled’ by his opening and closing remarks which essentially summarise his argument:

in Siciliā tōtā │ in all of Sicily … absulerit │ he stole

We’re overwhelmed by the list of precious metals and objects: silver, jewels, pearls, gold, ivory, marble, brass, painted and embroidered pictures. In other words, if Verres saw it, he took it. Not unlike that the old London market stall holder wanting you to buy what’s on offer, Cicero wants to ‘sell’ his argument.

Do you think Cicero won the case?

30.01.26: Level 3; indirect statement; the accusative-infinitive [16]; the perfect passive infinitive [iv]; reading

[A] This is a short and sweet example of a feature to look out for when reading original Classical Latin. From Epiducus by Plautus.

[1] Look at the question:

APAECIDES

Quis [i] hoc dīcit [ii] factum? │ Who says ¦ that [i] this [ii] has been done?

[2] Look at the answer:

EPIDICUS

Ego ita factum esse dīcō. │ I say that it has been done.

i.e. esse is omitted in [1]; the omission of esse in the perfect passive infinitive in indirect statements is a common feature among the authors

Frātrem interfectum audīvit (Seneca) │ He heard that his brother had been killed.

[B] From the case against Verres, prosecuted by Cicero.

First of all, here is the Latin text and the English translation:

Frequentissimī vēnērunt ad hoc iūdicium mercātōrēs, hominēs locuplētēs atque honestī, [1] quī ¦ [2] partim sociōs suōs, partim lībertōs, partim conlībertōs [3] spoliātōs in vincla coniectōs, partim in vinclīs necātōs, partim secūrī percussōs esse [1] dīcunt

Note the use of the word partim (partly; some of). Cicero uses this to indicate that those present at the trial have had different negative experiences, some of them will say X, some will say Y etc.

Merchants in crowds have come to this trial, wealthy and honourable men, [1] who say ¦ [2] that some of their comrades, some of their freedmen, some of their fellow freedmen [3] were robbed and thrown into chains, some of them were killed in chains, some of them were beheaded with an axe.

Let’s take it apart and see the way in which Cicero uses indirect statement to create a powerful piece of oratory.

[1] He begins by implying that the merchants are reliable and the sheer number of them adds considerable weight to the allegations.

Frequentissimī vēnērunt ad hoc iūdicium mercātōrēs,  │ Merchants in crowds have come to this trial

hominēs locuplētēs atque honestī, │ wealthy and honourable men

[2] He goes on to state what these merchants say

… quī … dīcunt

[3] Cicero then gives an indirect statement itemising the three groups of people who are the subject of the indirect statement; it is also worth noting Cicero’s frequent use of the tricolon i.e. a word or words which are structurally similar and delivered in a group of three:

[i] (quī) partim sociōs suōs, [ii] partim lībertōs, [iii] partim conlībertōs … (dīcunt)

[i] (who say) ¦ (some of them) that [i] their partners, [ii] (some) that their freedmen, [iii] (some) that their fellow freedmen …

[4] The verbs have become perfect passive infinitives but note that Cicero only uses esse once, and the auditory effect of the passives which all have the same ending -ōs

[i] spoliātōs, [ii] in vincla coniectōs, [iii] partim in vinclīs necātōs, [iv] partim secūrī percussōs esse [i] were robbed, [ii] thrown in chains, [iii] some murdered when in chains [iv] some struck with an axe.

07.04.25: Level 3; deponent verbs (9); perfect, pluperfect and future perfect tenses

[1] The perfect, pluperfect and future perfect tenses of the deponent verbs are formed from the third principal part of the deponent verb, and again a reminder that, while this looks like a perfect passive participle, it is active in meaning:

hortor, hortārī, hortātus sum [1/dep]: urge; encourage

hortātus sum │ I (have) encouraged [not *I was encouraged*]

hortātus eram │I had encouraged

hortātus erō │I shall have encouraged

[2] The participle will agree in gender and number with the subject:

hortāta est │ she encouraged

hortātī sumus │ we encouraged

Complete these extracts from the authors by including [i] the appropriate participle and [ii] the appropriate form of the verb esse; all the words you need are listed at the end of the exercise

[1] To this one then Juno, suppliant, used these words │ Ad quem tum Iūnō supplex hīs vōcibus __________ __________ (Virgil)

[2] Because those who had set off over the Meuse for the purpose of foraging had still not returned │ quod iī quī frūmentandī causā __________ trāns Mosam __________ nōndum redierant (Caesar)

[3] But, if you confess [= will have confessed] the truth to me, you shall be relieved from the chains. │ At sī vērum mī __________ __________, vinclīs exsolvēminī. (Plautus)

[4] However, he ordered all the soldiers to their arms, and urged the king, … to send envoys to Achillas. │ Mīlitēs tamen omnēs in armīs esse iussit rēgemque __________ __________, ut … lēgātōs ad Achillam mitteret (Caesar)

[5] Such unfavorable weather did we always meet with [= literally ‘use’]. │ Ita usque adversā tempestāte __________ __________. (Terentius)

[6] What have they said amongst themselves? Tell me. │ Quid illī __________ __________ inter sē? dīc mihi. (Plautus)

[7] and Lucifer, reminder of our toil, / in splendour had risen upon the lofty sky │ admonitorque operum caelō clārissimus altō Lūcifer __________ __________. (Ovid)

[8] Pomponia, however, also complained about you │ Pompōnia autem etiam dē tē __________ __________ (Cicero)

[9] “Why, I was nearly flogged while I was washing,” he said,“because I tried to go round the bath and recite poetry to the people sitting in it, │ “Nam et dum lavor” ait “paene vāpulāvī, __________ __________; circā solium sedentibus carmen recitāre (Petronius)

[10] “I drove out the garrison.” “I got possession of Claterna.” “The cavalry were routed.” “A battle was fought.” “A good many men were slain.” │ 'dēiēcī praesidium; Claternā __________ __________; fugātī equitēs; proelium commissum; occīsī aliquot.'* (Cicero)

cōnātus; erant; erat; eritis; est; est; est; fassae; hortātus; locūtī; ortus; potītus; profectī; questa; sum; sum; sumus; sunt; ūsa; ūsī

*Note: Apart from finding the deponent verb in the extract above, take a look at the use of the perfect passive participles without the verb esse:

fugātī equitēs │ the cavalry (were) routed

proelium commissum │ a battle (was) fought

occīsī aliquot │ several (were) slain

This was discussed in a previous post i.e. esse is often omitted to make the narrative more concise with a focus on the participles. Similarly, Cicero uses a tricolon – a common feature in his speeches and his writing – which comprises three similarly structured phrases, the final phrase being the most climactic:

[1] fugātī equitēs [2] proelium commissum [3] occīsī aliquot

29.05.24: level 2; a side note

One of the quotations in the previous post is from Cicero’s speeches against Verres, the latter on trial for the mismanagement of Sicily. Cicero was the prosecutor.  If you’re already reading some of the literature, there’s an important feature in the complete quotation.

Etenim [1] quam tu domum, [2] quam urbem adisti, [3] quod fanum denique, quod non eversum  atque extersum reliqueris?

In truth, [1] what house, [2] what city, [3] what temple even have you ever approached without leaving it emptied and ruined?

This is called a tricolon, a series of three parallel words or phrases or sentence clauses which are identical, or almost identical, in structure. Note how Cicero leaves the most dramatic one until last: not only does Verres ruin [1] houses and [2] cities, but [3] even disgraces the gods. The translator well conveys that with “what temple even”.

Cicero makes extensive use of the tricolon, and it is still used today:

Every gun that is made, every warship launched, every rocket fired (President Eisenhower)

And when the night grows dark, when injustice weighs heavy on our hearts, when our best-laid plans seem beyond our reach (President Obama)

You are talking to a man who has laughed in the face of death, sneered at doom, and chuckled at catastrophe. (The Wizard of Oz)

And from Dorothy Parker:

I require three things in a man. He must be handsome, ruthless, and stupid.

https://www.theguardian.com/world/2008/nov/26/barack-obama-usa1

I’ve mentioned in earlier posts that quotations are only posted if they’re relevant. In the next post on the perfect tense, the most famous tricolon of them all is relevant.

vēnī, vīdī, vīcī

29.04.24: the tomb of Scipio Barbatus; I’m lovin’ it

Sometimes in the group a small side discussion starts, and, before I move on to do some more review texts, I thought I would just refer to one of those discussions which, if you're wanting to step into the literature, you will often come across in, among others, the works of Cicero.

2 images posted including the one that started the discussion:

image #1: the tomb of Scipio Barbatus in 298BC.

[i] In the absolute centre of that tomb are three words summarising his positive characteristics:

FORTIS (strong; brave) │SAPIENS (wise) │VIRTVS (virtue)

[ii] In the line below, there are three words summarising his positions of authority:

CONSOL │ CENSOR │ AEDILIS

If you were walking past his tomb, those are the two groups of three concepts that would stand out.

Those were the ones that whoever inscribed them wanted to be remembered.

In literature the Romans used that technique which we now call the “rule of three” i.e. three short memorable statements. For some psychological reason, we remember words or short phrases in threes.

Cicero very often breaks up his speeches into what as known as a tricolon i.e. three separate statements; you will see that mentioned a lot in commentaries about Cicero as a public speaker.

The most famous, of course, is Veni, Vidi, Vici.

And SPQR:

[1] SENATUS [2] POPULUSque [3] ROMANUS

But they don't just use it in "slogans":

Pliny uses it to describe the volcanic debris from Vesuvius, and he employs the rule of three in addition to alliteration, and repetition of words, consonants and endings.

[i] Iam navibus [1] CINIS INCiDebat, [2] CalDIOR et [3] DensIOR,

[ii] …. iam pumices etiam [1] nigrique et [2] ambusti et [3] fracti Igne lapides.

[i] by now [1] ashes were beginning to fall upon the ships, [2] hottER and [3] thickER…

[ii] ... by now with pumice-stones and [1] BLACK flints, [2] CHARRED and [3] CRACKED by the heat of the flames.

More than that, if you were to read out [ii] like a piece of Latin poetry, adjacent vowels would elide i.e. one of each pair would be lost:

nigriqu-et-ambust-et-fract-ignes lapides

2000 years later, we have image #2, and identical techniques:

[1] three pieces of main information: image / memorable phrase / product name

[2] image shown three times

[3] memorable phrase (in three and, just like Pliny, using alliteration) Big, Beefy, Bliss

[4] product name (in three) I’m lovin’ it

In 298BC you may have been walking past Scipio's tomb.

In 2024 you may be driving past a huge McD billboard.

Both of them want to be remembered - easily - but the Romans were lovin' it way ahead of McD!