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-The Project Gutenberg EBook of Dionysius of Halicarnassus On Literary
-Composition, by Dionysius of Halicarnassus
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Dionysius of Halicarnassus On Literary Composition
-       Being the Greek Text of the De Compositione Verborum
-
-Author: Dionysius of Halicarnassus
-
-Editor: William Rhys Roberts
-
-Release Date: October 14, 2015 [EBook #50212]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK DIONYSIUS OF HALICARNASSUS ***
-
-
-
-
-Produced by David Garcia, Jim Dishington, Ted Garvin, Laura
-J. Wisewell, Stephen Rowland, and the Online Distributed
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-
-Transcriber’s Note:
-
-Special Characters
-
-    Metrical notation is used in the original book to mark the length
-    or weight of syllables in scansion. In the e-text, the metrical
-    notation is placed on a separate line above the text and uses the
-    following Unicode symbols:
-
-        metrical short: ᴗ (U+1D17)
-        metrical long: – (U+2013)
-        metrical short over long: ⏓ (U+23D3)
-        metrical long over short: ⏒ (U+23D2)
-
-    When Greek letters are cited as examples in the original book they
-    have an overline printed above them (e.g., λ̅, ν̄), much as in
-    English cited letters are underlined or italicized. A combining
-    macron (U+0304) is used in this e-text above single letters to
-    represent the overline. In cases where the overline extends above
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-    gives a better result (e.g., κ̅δ̅).
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-    original book are represented in the e-text as follows:
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-        o with macron above: ο̄ (U+0304)
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-
-    Unicode symbols for some of the above cases are currently not well
-    supported by standard fonts, and they may be displayed imperfectly
-    or not at all.
-
-    In the critical apparatus there are several occurrences of a letter
-    printed above another letter. Since this cannot be reproduced in an
-    e-text in a standard way, a Transcriber’s Note of the form [**TN:
-    φ written above first τ of στατωνα] is entered into the e-text at
-    that point.
-
-Text that is widely-spaced (gesperrt) for emphasis in the original
-is surrounded here with #, a character not otherwise used (e.g.,
-#χειρῶν#). Equals signs (=) indicate =bold= passages; superscript text
-is denoted by a preceding caret symbol (e.g., PV^2).
-
-Page numbers and page breaks from the original text have been retained
-throughout in order to preserve the usefulness of the many page
-references in the explanatory notes, glossary, appendices and indices.
-
-Page images of a different copy, but the same edition, of
-the original book can be viewed at The Internet Archive:
-http://www.archive.org/details/cu31924026465165
-
-Errata:
-
-    Page 40: ὠδῇ -> ᾠδῇ
-    Page 108, note 16: οὐδεμίας -> οὐδεμιᾶς
-    Page 109, line 21: μηδεμίας -> μηδεμιᾶς
-    Page 112, note 14: διάνοιας -> διανοίας
-    Page 182, note 9: Διά -> Δία
-    Page 188, critical apparatus to line 5: συγκαμφθείς -> συγκαμφθεὶς
-    Page 204, line 11: ἀλλ -> ἀλλ’
-    Page 232, line 1: οὐχι -> οὐχὶ
-    Page 334, s.v. ᾠδή: ὠδικός -> ᾠδικός
-
-
-
-
-Dionysius of Halicarnassus
-
-On Literary Composition
-
-
-
-
-BEING THE GREEK TEXT OF THE
-
-_DE COMPOSITIONE VERBORVM_
-
-
-
-
-EDITED WITH INTRODUCTION, TRANSLATION, NOTES
-
-GLOSSARY, AND APPENDICES
-
-
-
-
-BY
-
-W. RHYS ROBERTS
-
-LITT.D. (CAMBRIDGE), HON. LL.D. (ST. ANDREWS)
-
-PROFESSOR OF CLASSICS IN THE UNIVERSITY OF LEEDS
-
-FORMERLY FELLOW OF KING’S COLLEGE, CAMBRIDGE
-
-EDITOR OF ‘DIONYSIUS OF HALICARNASSUS: THE THREE LITERARY LETTERS,’ ETC.
-
-
-
-
-MACMILLAN AND CO., LIMITED
-
-ST. MARTIN’S STREET, LONDON
-
-1910
-
-
-
-
-EQVITI INSIGNI
-
-=NATHAN BODINGTON=
-
-VNIVERSITATIS LOIDENSIS VICE-CANCELLARIO PRIMO
-
-HVNC LIBRVM DAT DICAT DEDICAT
-
-EDITOR COLLEGA AMICVS
-
-
-
-
-          _Tantum series iuncturaque pollet,
-  Tantum de medio sumptis accedit honoris._
-
-                              HORACE _Ars Poetica_ 242, 243.
-
-
-  _See Dionysius Homer’s thoughts refine,
-  And call new beauties forth from every line._
-
-                              POPE _Essay on Criticism_ 665, 666.
-
-
-
-
-[Page vii]
-
-PREFACE
-
-
-_It is a happy instinct that leads Pope to find in Dionysius a gifted
-interpreter of Homer’s poetry, who can ‘call new beauties forth from
-every line.’ In his entire attitude, not only towards Homer but towards
-Sappho and Simonides, Herodotus and Demosthenes, Dionysius has proved
-that he can rise above the debased standards of the ages immediately
-preceding his own, and can discern and proclaim a classic excellence.
-He has thus contributed not a little to confirm our belief in the
-essential continuity of critical principles—in the existence of a firm
-and permanent basis for the judgments of taste._[1]
-
-_The breadth of interest and the discriminating enthusiasm with which
-in the present treatise Dionysius of Halicarnassus (or ‘Denis of
-Halicarnasse’, as we might prefer to call him) approaches his special
-subject of literary composition, or word-order, may be inferred from
-the table of contents, the detailed summary, and the brief statement
-on page 10 of the Introduction.[2] It is an interest which impels him
-to touch, incidentally but most suggestively, on such topics as Greek
-Pronunciation, Accent, Music. It is an enthusiasm which prompts him
-to speak of ‘words soft as a maiden’s cheek’_ (ὀνόματα μαλακὰ καὶ
-παρθενωπά), _to describe Homer as ‘of all poets the most many-voiced’_
-(πολυφωνότατος ἁπάντων τῶν ποιητῶν), _and to attribute to Thucydides
-‘an old-world and_
-
-[Page viii]
-
-_masterful nobility of style’_ (ἀρχαϊκόν τι καὶ αὔθαδες κάλλος).
-_Expressions so apt and vivid as these, together with the easy flow
-and natural arrangement of the whole treatise, tend to prove that
-Dionysius is not laboriously compiling his matter as he goes along, but
-is writing out of a full mind, is dealing with a subject which has long
-occupied his thoughts, and is imparting one section only of a large and
-well-ordered body of critical doctrine in the command of which he feels
-secure._
-
-_That to the Greeks literature was an art—that with them, the sound
-was echo to the sense—that they were keenly alive to all the magic
-and music of beautiful speech: where shall we find these truths more
-vividly brought out than in the present treatise? And if we are still
-to teach the great Greek authors in the original language and not in
-translations, surely it is of supreme importance to lay stress on
-points of artistic form, most especially in a literature where form
-and substance are so indissolubly allied as in that of Greece and
-when we are fortunate enough to have the aid of a writer who knows
-so well as does Dionysius (see page 41) that noble style is but the
-reflection of those noble thoughts and feelings which should inspire
-a nation’s life. Nevertheless, the_ de Compositione _lies almost dead
-and forgotten, seldom mentioned and still more seldom read; and one is
-sometimes tempted to think of the eager curiosity with which it would
-most certainly be welcomed had it lately been discovered in the sands
-of Egypt or in some buried house at Herculaneum. A new ode of Sappho,
-and a ‘precious tender-hearted scroll of pure Simonides,’ would rejoice
-the man of letters, while the philologist would revel in the stray
-hints upon Greek pronunciation. So striking an addition to the Greek
-criticism of Greek literature would be hailed with acclamation, and it
-would be gladly acknowledged that its skilful author had known how to
-enliven a difficult subject by means of eloquence, enthusiasm, humour,
-variety in vocabulary and in method of presentation generally, and
-had made his readers realize that the beauty of a verse or of a prose
-period largely depends upon the harmonious collocation of those_ sounds
-_of which human speech primarily consists._
-
-[Page ix]
-
-
-_A word may be said upon some of the modern bearings of the treatise.
-Dionysius is undoubtedly right in holding that consummate poets are
-consummate craftsmen—that even so early a poet as Homer_ =φιλοτεχνεῖ=.
-_Our British habit of thought leads us to dwell on the spontaneity
-of literary achievement rather than on its artistic finish. We are
-apt to sneer, as some degenerate Greeks did in Dionysius’ time
-(pages 262-270), at the contention that even genius cannot dispense
-with literary pains, and to insist in a one-sided way on the axiom
-that where genius begins rules end. But a reference to the greatest
-names in our own literature will confirm the view that the highest
-excellence must be preceded by study and practice, however eminent
-the natural gifts of an author may be. Would any one hesitate to
-say whether_ Paradise Lost _or_ Lycidas _is the more mature example
-of Miltonic poetry? Shakespeare, with his creative genius and
-all-embracing humanity, may seem to soar far above these so-called
-artificial trammels. But, here again, could any one doubt, on
-grounds of style alone, whether_ Hamlet _or_ The Two Gentlemen of
-Verona _was the earlier play? To be able fully to appreciate such
-differences is no small result of a literary education; and though
-the rhetoric of each language is in a large degree special to that
-language, it is notwithstanding true that our western literatures are
-closely interrelated—that they should continually be compared and
-contrasted—and that modern literary theory can gain much in stimulus
-and suggestion from that ancient literary theory which had its origin
-in Greece, and which by way of Rome (where Dionysius taught Greek
-literature in the age of Horace) was transmitted to the modern world._
-
-_In the present edition an endeavour has been made to suggest some
-of the many points at which Dionysius’ principles and precepts are
-applicable to the modern languages and literatures. Efforts, too, have
-been made to smooth away, by means of the Glossary and the English
-Translation, those technical difficulties which might easily deter even
-the advanced Greek student (not to mention the wider of cultivated
-readers generally) from seeking in the_
-
-[Page x]
-
-de Compositione _that literary help which it is so well able to give.
-The edition has been many years in preparation; and special pains have
-been taken with the English Translation, as it is the first to be
-published and as its execution presents great and obvious difficulties.
-The Glossary will show how rich and varied is Dionysius’ rhetorical
-terminology, and it may also serve as a contribution towards that new
-Lexicon of Greek and Roman Rhetoric which is a pressing need. It seems
-not unnatural to treat thus fully a work of which no annotated edition
-in any language has appeared for a hundred years. For the constitution
-of the Greek text, on the other hand, the recent critical edition of
-Dionysius’ literary essays by Usener and Radermacher is of the highest
-importance. The present editor desires here to acknowledge the debt he
-owes to their admirable apparatus criticus, the exhaustiveness of which
-he has not attempted to equal, though he has thought it desirable to
-report (with their aid) a good many seemingly insignificant errors or
-variants which may serve to throw some light on the comparative value
-of the chief documentary authorities. He may add that he has himself
-collated, for the purposes of the present recension, the best Paris
-manuscript (P 1741, which contains Aristotle’s_ Rhetoric _and_ Poetics,
-_Demetrius_ de Elocutione, _Dionysius_ de Compositione Verborum _and_
-Ep. ii. ad Amm., _etc.), and that he has explained on pages 56-60 his
-views with regard to some of the textual problems presented by the
-treatise._
-
-_It is a pleasure further to acknowledge the ever ready aid he has
-received from his personal friends---from Dr. A. S. Way, who has not
-only contributed the verse-translations throughout the treatise but
-has given help of unusual range and worth in other directions also,
-and from Mr. L. H. G. Greenwood, Mr. G. B. Mathews, Mr. P. N. Ure, and
-Professor T. Hudson Williams, who have read the proofs and made most
-valuable suggestions. Nor should the great care shown in the printing
-of the book by Messrs. R. & R. Clark’s able staff of compositors and
-readers be passed over without a word of grateful mention._
-
-_It may perhaps not be out of place to state in conclusion that_
-
-[Page xi]
-
-_the editor hopes next to publish, in continuation of this series of
-contributions to the study of the Greek literary critics, a number of
-essays and dissertations grouped round the_ Rhetoric _of Aristotle.
-The_ Rhetoric _is a remarkable product of its great author’s maturity,
-in reading which constant reference should be made to Aristotle’s
-other works, to the writings of his predecessors, and to those later
-Greek and Roman critics who illustrate it in so many ways. Studies
-of the kind indicated ought to contain much of modern and permanent
-interest. Not long ago a distinguished man of science wrote, ‘one
-literary art, the art of rhetoric, may be weakened and lost when the
-scientific spirit becomes predominant—that sort of rhetoric, I mean,
-which may be fitly described as insincere eloquence. Rhetoric seeks
-above all to persuade, and in a completely scientific age men will
-only allow themselves to be persuaded by force of reason.’ The writer
-seems to recognize that there may be a good as well as a bad rhetoric,
-but perhaps it hardly falls within his scope to make it clear that
-the Greeks, from whom the art and the term come, were themselves well
-aware of this fact, even though the age in which they lived might not
-be completely scientific. The vicious type of rhetoric which he justly
-censures is exemplified in the_ Rhetorica ad Alexandrum. _In this
-book—for whose date the antiquity of a recently-discovered manuscript
-(published in the_ Hibeh Papyri i. 114 ff.) _suggests the age of
-Aristotle, though Aristotle himself is certainly not the author—the
-aim of rhetoric is assumed to be persuasion at any price. But how
-different is the spirit of Plato in the_ Phaedrus _and the_ Gorgias,
-_and of Aristotle in the_ Rhetoric. _To take Aristotle only. He looks
-at rhetoric with the sincerity of a lover of truth and with the breadth
-of a lover of wisdom. He recognizes that the art may be abused; but
-‘so may all good things except virtue itself, and particularly the
-most useful things, such as strength, health, wealth, generalship.’
-Its function is ‘not to persuade, but to ascertain in any given case
-the available means of persuasion.’ Mental self-defence is a duty no
-less than physical self-defence; but though it is necessary to know bad
-arguments in order to be ready to parry_
-
-[Page xii]
-
-_them, we must not use them ourselves (for ‘one must not be the
-advocate of evil’), nor must we try to warp the feelings of the judge
-(for this would be like ‘making crooked a carpenter’s rule which
-you are about to use’). Season must be our weapon, and we must have
-confidence that the truth will prevail (for ‘truth and justice are by
-nature stronger than their opposites’ and ‘what is true and better is
-by nature the easier to prove and the more convincing’). The whole work
-is conceived in the same spirit—that of attention to truth rather than
-to mere persuasion, to matter rather than to manner, to the solid facts
-of human nature rather than to the shallow blandishments of style. The
-author of the most scientific treatise that has yet been written on
-rhetoric manifestly held a lofty view of his subject; and so far from
-commending an insincere eloquence, he says less than we could wish
-about literary beauties and the arts of style. Here Dionysius, in his
-various critical works, happily serves to supplement him. Though he has
-the art of speaking specially in view, Dionysius draws his literary
-illustrations from so wide a field that the art of literature may be
-regarded as his theme. The method he inculcates is that which every
-literary aspirant follows, consciously or unconsciously, in regard to
-his own language—the reading and imitation of the great writers by whom
-its capacities have been enlarged. To us, no less than to his Roman
-pupil Rufus, the practice and the precepts of those Greeks who attained
-an unsurpassed excellence in the art of literature have an enduring
-interest. For they help the fruitful study of our own literature; and
-that literature, we all rejoice to think, has not only a great past
-behind it but a great future in store for it._
-
-    _THE UNIVERSITY, LEEDS,
-        December 6, 1909._
-
-[Page xiii]
-
-
-
-
-CONTENTS
-
-  INTRODUCTION—
-                                        PAGE
-
-    I. SUMMARY OF THE ‘DE COMPOSITIONE’      1
-
-
-    II. THE ORDER OF WORDS IN GREEK—
-
-      A. FREEDOM AND ELASTICITY      11
-
-      B. NORMAL ORDER      14
-
-      C. LUCIDITY      15
-
-      D. EMPHASIS      17
-
-      E. EUPHONY      27
-
-      F. GREEK AND LATIN AND MODERN LANGUAGES      29
-
-      G. PROSE AND POETRY: RHYTHM AND METRE      33
-
-
-    III. OTHER MATTERS ARISING IN THE ‘DE COMPOSITIONE’—
-
-      A. GREEK MUSIC: IN RELATION TO THE GREEK LANGUAGE      39
-
-      B. ACCENT IN ANCIENT GREEK      41
-
-      C. PRONUNCIATION OF ANCIENT GREEK      43
-
-      D. GREEK GRAMMAR      46
-
-      E. SOURCES OF THE TREATISE      47
-
-      F. QUOTATIONS AND LITERARY REFERENCES IN IT      49
-
-      G. MANUSCRIPTS AND TEXT OF IT      56
-
-      H. RECENT WRITINGS CONNECTED WITH IT      59
-
-
-  TEXT, TRANSLATION, AND NOTES (CRITICAL AND EXPLANATORY)      64
-
-  GLOSSARY      285
-
-
-  APPENDICES—
-
-    A. OBSCURITY IN GREEK      335
-
-    B. ILLUSTRATIONS OF WORD-ORDER IN GREEK AND MODERN LANGUAGES     342
-
-    C. GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL ASSOCIATION      348
-
-
-  INDICES—
-
-    A. PASSAGES QUOTED IN THE ‘DE COMPOSITIONE’      353
-
-    B. NAMES AND MATTERS      354
-
-[Page 1]
-
-
-
-
-INTRODUCTION
-
-
-I
-
-SUMMARY OF THE _DE COMPOSITIONE_
-
-
-A GENERAL account of the life and literary activities of Dionysius will
-be found in the volume entitled _Dionysius of Halicarnassus: the Three
-Literary Letters_, where the _de Compositione Verborum_ is briefly
-described in connexion with the other critical essays of its author.
-Here a fuller summary of the treatise seems necessary before an attempt
-is made to estimate its value and to follow up some of the highly
-interesting questions which it raises.
-
-The date of the _de Compositione_ is not known, but may be conjectured
-to lie between the years 20 and 10 B.C. The book is a birthday offering
-from Dionysius, as a teacher of rhetoric in Rome, to his pupil Rufus
-Metilius.
-
-
-=c. 1.= This book is a birthday present which deals with the art of
-speech, and so will be found particularly useful to youths who look
-forward to a public career. Oratorical excellence depends on skill
-exercised in two directions—in the sphere of subject matter and in the
-sphere of expression (πραγματικὸς τόπος and λεκτικὸς τόπος). In the
-former sphere, maturity of judgment and experience is required: in the
-latter the young are more at home, but they need careful guidance at
-the start. The λεκτικὸς τόπος has two subdivisions, ἐκλογὴ ὀνομάτων and
-σύνθεσις ὀνομάτων. The _composition_ of words is to be treated now:
-the _choice_ of words is to be treated next year, if Heaven keeps the
-author “safe and sound.” The chief headings in the present treatise are
-to be the following:—
-
-    (1) The nature of composition, and its effect;
-
-    (2) Its aims, and how it attains them;
-
-    (3) Its varieties, with their characteristic features and the
- author’s preferences among them;
-
-    (4) The poetical element in prose and the prose element in verse,
- and the means of cultivating both—of imparting the flavour of poetry
- to prose and the ease of prose to poetry.
-
-[Page 2]
-
-
-=c. 2.= “_Composition_ is, as the very name indicates, a certain mutual
-arrangement of the parts of speech, or elements of diction, as some
-prefer to call them.” The parts of speech recognized by Theodectes
-and Aristotle and their contemporaries were three in number, viz.
-nouns, verbs, and connectives. The number was raised, by the Stoics
-and others, to four through the separation of the article from the
-connectives. Later were added the adjective, the pronoun, the adverb,
-the preposition, the participle, and certain other subdivisions. These
-principal parts of speech form, when joined and set side by side,
-the _cola_ (‘members,’ ‘clauses’). The union of _cola_ completes the
-“periods,” and these make up the entire discourse. The functions of
-composition are to arrange the words fittingly, to assign the proper
-structure to the _cola_, and to divide the discourse carefully into
-periods.
-
-In its effects, though not in order of time, the composition of words
-comes before the choice of words.
-
-=c. 3.= Our thoughts are uttered either in verse or in prose. In
-both alike, composition can invest the lowliest words with charm and
-distinction. By way of foretaste, two passages (one of poetry, the
-other of prose) may be quoted in illustration. The first is from the
-opening of the 16th _Odyssey_, where the lines allure not by elaborate
-language or lofty theme, but by the sheer beauty with which the
-words are grouped. The prose example is furnished by that passage of
-Herodotus (i. 8-10) which describes the unworthy behaviour of Candaules
-towards his wife. Here, too, the charm resides not in the incident nor
-in the words which describe it, but in the deft arrangement of the
-language.
-
-=c. 4.= The powerful effect of composition will be still further
-realized if some choice passages of verse and prose be taken and the
-order of the words disturbed. Homer and Herodotus once more provide
-examples. Certain lines in the twelfth and thirteenth books of the
-_Iliad_ are chosen, and transformed, with disastrous effects, from
-hexameters into two varieties of tetrameters. A short passage of
-Herodotus is turned about in a similar way, one of the two versions
-being in the style of Thucydides, the other in the odious manner of
-Hegesias. Composition may in fact be likened to the Homeric Athena, who
-with a touch of her magic wand could make the same Odysseus resemble
-either a beggar or a gallant prince. The neglect of composition has
-lamentable results in writers like Duris, Polybius, Chrysippus,
-and others. Failing to find the subject satisfactorily treated by
-previous authors, Dionysius has himself endeavoured to discover some
-natural principle to form a starting-point (φυσικὴ ἀφορμή). He has not
-succeeded, but he will describe his attempt.
-
-=c. 5.= It had occurred to him that, in a natural order, verbs would
-
-[Page 3]
-
-follow nouns and precede adverbs, while things which happened first in
-time would come first in narration. But these (and other) rules were
-seen to be untrustworthy, when tested by the actual practice of the
-great authors.
-
-=c. 6.= As far as words (or elements of discourse) are concerned, the
-art of composition operates in three ways—through (1) the choice of
-elements likely to combine effectively; (2) the discernment of the
-particular shapes or constructions (i.e. singular or plural number,
-nominative or oblique case, active or passive voice, etc.) to be given
-to each element in order that the structure may be improved; (3) the
-perception of the modification which these shapes need in view of the
-materials. Each of the processes can be illustrated from the arts of
-house-building and ship-building—of civil and marine architecture. This
-analogy is developed at some length.
-
-=c. 7.= In the case of the _cola_, the processes are two. (1) The
-_cola_ must be rightly arranged. For instance, in a passage of
-Thucydides (iii. 57) the order in which they come makes all the
-difference. So, too, in Demosthenes _de Corona_ § 119.
-
-=c. 8.= (2) The right “turn,” or “shaping,” must be given to the
-_cola_, so that they may faithfully reflect the various aims and moods
-of the speaker or writer. A good example will be found in Demosthenes
-_de Corona_ § 179.
-
-=c. 9.= Under (2) it is to be noted that the _cola_ may be lengthened
-or shortened for the sake of literary effect. Examples are given from
-Demosthenes, Plato, Sophocles, and again Demosthenes.—The same remarks
-will apply to periods as to _cola_. Further, the art of composition
-must determine when it is fitting to employ periods and when not.
-
-=c. 10.= Next come the aims and methods of good composition. The two
-chief aims are charm and beauty or nobility: the ear craves these
-in composition, just as the eye in a work of pictorial art. The two
-qualities are, however, not identical. Thucydides, for example, and
-Antiphon possess beauty but lack charm. Ctesias, on the other hand, and
-Xenophon are charming (pleasing, agreeable), but deficient in beauty.
-Herodotus combines the two excellences.
-
-=c. 11.= The chief sources of charm and beauty (or nobility) are four:
-music, rhythm, variety, and propriety. Charm and beauty, themselves,
-have many subdivisions. The instinctive appreciation of music and
-rhythm on the part of a popular audience may be noticed during a
-performance in some house of entertainment. Variety, too, and propriety
-are indispensable. As to the music of speech, it is to be observed that
-there is a sort of oratorical cadence which differs from music proper
-in quantity only, not in quality. The speaking voice does not rise in
-pitch above three tones and a half: it confines itself to the interval
-of the Fifth. The singing voice, on the other hand, uses a greater
-number of intervals, not only the Fifth but
-
-[Page 4]
-
-(beginning with the Octave) the Fifth, the Fourth, the Tone, and the
-Semitone, and, as some think, still slighter intervals. Other points of
-difference are that, in singing, the words are subordinate to the air,
-and the length of the syllables is regulated by the musical time. So
-the speaking voice can show good melody without being “melodic,” and
-show good rhythms without being “rhythmic.” There is, in fact, music in
-speech, but not the whole of music.
-
-=c. 12.= Various sounds affect the ear in various ways. The cause
-lies in the nature of the letters; and as their nature cannot be
-changed, there should be a judicious intermixture of pleasant with
-unpleasant sounds. Short words, too, must be mingled with long, and
-long with short. The same variety, too, must be practised in the use
-of figures, and in other ways. But even variety must not be carried to
-excess: uniformity is sometimes equally pleasant. Tact is needed, and
-to impart tact is no easy task. It is to be remembered that not even
-the commonest words need be shunned by good writers: they can all be
-dignified by means of composition, as is seen in Homer’s poems.
-
-=c. 13.= Beauty of composition will be attained by the same means as
-charm of composition,—by melody, rhythm, variety, propriety. And the
-nature of the letters themselves will play an equal part in determining
-the character of the composition.
-
-=c. 14.= The twenty-four letters of the Greek alphabet are now examined
-from the phonetic point of view. The object is to trace to some of
-its ultimate elements the secret of the variety and music found in
-beautiful language. The nature and the qualities of the letters must
-be understood by the writer who would know how to vary his style in
-an ever-changing and musical way. The letters (γράμματα), or elements
-(στοιχεῖα), may be divided into vowels (φωνήεντα, φωναί) and consonants
-(ψόφοι), and the consonants into semivowels (ἡμίφωνα) and mutes
-(ἄφωνα). The vowels can be pronounced by themselves; the semivowels
-sound best when combined with vowels; the mutes cannot be uttered at
-all except in combination. There are seven vowels: two short, ε and ο;
-two long, η and ω; and three common,—α, ι, and υ. The semivowels are
-eight in number: five single, viz. λ, μ, ν, ρ, ς, and three double,
-viz. ζ, ξ, ψ. The nine mutes may be classified as: ψιλά (_tenues_) κ,
-π, τ; δασέα (_aspiratae_) χ, φ, θ; and μέσα (_mediae_) γ, β, δ. Or
-they may be arranged according to the part chiefly concerned in their
-production: whether it is the _lip_,—π, φ, β; the _teeth_,—τ, θ, δ; or
-the _throat_,—κ, χ, γ. That is to say, Dionysius recognizes (though
-he does not use the technical adjectives) a division into _labials_,
-_dentals_, and _gutturals_. Among these various letters a regular
-hierarchy is established by him. Long vowels are held to be more
-euphonious than short vowels. The order of euphony for the vowels is,
-from the top downwards, as follows: ᾱ, η, ω, υ, ι, ο, ε; and (for the
-semivowels) first the double
-
-[Page 5]
-
-consonants, then λ, μ, ν, ρ, and lastly ς, which is condemned in strong
-terms. Among the mutes, the rough (the aspirates) are regarded as
-superior to the middle, and the middle to the smooth. The physiological
-processes by which the several letters are produced are described with
-some particularity in the light of the phonetics of the day.
-
-=c. 15.= _Syllables_, as well as letters considered singly, contribute
-to variety of style. Of the syllables (or small groups of letters)
-there are many different kinds. The principal difference is that some
-are short and others long. But the difference does not end there, since
-some are shorter than the short and others longer than the long. The
-fact is that, from the metrical point of view, the vowels and final
-consonants alone count in determining the length of a syllable, whereas
-in actual delivery the initial consonants also have to be considered.
-For instance, a speaker will find that the initial syllable of στρόφος
-takes more time to utter than that of τρόπος; and so with τρόπος by
-the side of Ῥόδος, and with Ῥόδος by the side of ὁδός. In the same
-way, σπλήν is really longer than the vowel η standing by itself. And
-further: syllables differ not only in quantity but in sound, some being
-pleasant and others unpleasant, according to the nature of the letters
-which compose them. Great poets and prose-writers have an instinctive
-perception of these facts, and skilfully adapt their very syllables
-and letters to the emotions which they wish to portray; e.g. Homer in
-_Odyss._ ix. 415, 416, and in _Il._ xvii. 265, xxii. 220, 221, 476,
-xviii. 225.
-
-=c. 16.= Poets and prose-writers frame, or borrow from their
-predecessors in earlier generations, such imitative forms (words whose
-sound suggests their sense) as ῥοχθεῖ, κλάγξας, βρέμεται, σμαραγεῖ,
-ῥοῖζος: all of which are found in Homer. Nature is here the great
-teacher; she prompts us to use, in their right connexion, words
-so expressive as μύκημα, χρεμετισμός, φριμαγμός, βρόμος, πάταγος,
-συριγμός, and the like. The first writer to broach the subject of
-etymology was Plato, particularly in his _Cratylus_.
-
-With regard to the music of sounds, the general conclusion is that
-variety and beauty of style depend upon variety and beauty of words,
-syllables, and letters. To clinch the matter, Dionysius quotes (with
-appropriate comments) further illustrations from Homer—_Odyssey_ xvii.
-36, 37, vi. 162, 163, etc. Theophrastus, in his work on _Style_, has
-distinguished two classes of words—those which are beautiful (or noble)
-and those which are mean and paltry. Our aim should be to intermingle
-the latter kind, when we are forced to employ them (as sometimes we
-are), with the better sort, as has been done by Homer (_Il._ ii.
-494-501) in his enumeration of the Boeotian towns.
-
-=c. 17.= Rhythm, also, is an important element in good composition.
-For our present purpose, a _rhythm_ and a _foot_ may be regarded
-as synonymous. Of disyllabic and trisyllabic feet the following
-descriptive list is given:—
-
-[Page 6]
-
-
-                _A. Disyllabic Feet._
-
-        Name.          |Quantities.|          Qualities.
-                       |           |
-1. ἡγεμών, πυρρίχιος.  |   ᴗ   ᴗ   | Wanting in seriousness and dignity.
-                       |           |
-2. σπονδεῖος.          |   –   –   | Full of dignity.
-                       |           |
-3. ἴαμβος.             |   ᴗ   –   | Not lacking in nobility.
-                       |           |
-4. τροχαῖος.           |   –   ᴗ   | Less manly and noble than the iambus.
-
-
-                _B. Trisyllabic Feet_
-
-        Name.          |Quantities.|          Qualities.
-                       |           |
-1. χορεῖος, τρίβραχυς. |  ᴗ  ᴗ  ᴗ  | Mean and unimpressive.
-                       |           |
-2. μολοττός.           |  –  –  –  | Dignified and far-striding.
-                       |           |
-3. ἀμφίβραχυς.         |  ᴗ  –  ᴗ  | Effeminate and unattractive.
-                       |           |
-4. ἀνάπαιστος.         |  ᴗ  ᴗ  –  | Stately.
-                       |           |
-5. δάκτυλος.           |  –  ᴗ  ᴗ  | Contributes greatly to beauty of style.
-                       |           |
-6. κρητικός.           |  –  ᴗ  –  | Not lacking in nobility.
-                       |           |
-7. βακχεῖος.           |  –  –  ᴗ  | Virile and grave.
-                       |           |
-8. ὑποβακχεῖος.        |  ᴗ  –  –  | Virile and grave.
-
-Various lines are quoted from the poets in order to illustrate the
-effect of these several feet.
-
-=c. 18.= As each word has a rhythmical value (great or small) which
-cannot be changed, all depends on the skill with which we arrange
-the words at our disposal so as to blend artistically the inferior
-with the better. To illustrate his meaning, Dionysius quotes, and
-gives a rhythmical analysis of, passages from Thucydides, Plato, and
-Demosthenes. The excerpt from Thucydides is a part of the Funeral
-Oration attributed to Pericles (ii. 35). The rhythms here used are
-shown to be dignified ones, such as spondees, anapaests, dactyls, etc.
-Thucydides, we are told, deservedly has a name for elevation and for
-choice language, since he habitually introduces noble rhythms. From
-Plato is taken a short passage of the _Menexenus_ (236 D); and this too
-is shown to owe its dignity and beauty to the beautiful and striking
-rhythms that compose it. If Plato had only been as clever in the choice
-of words as he is unrivalled in the art of combining them, he “had even
-outstript” Demosthenes, as far as beauty of style is concerned, or
-“had left the issue in doubt.” Demosthenes is the foremost of orators,
-and may be regarded as a model alike in his choice of words and in
-the beauty with which he arranges them. The opening of the _Crown_,
-with its careful avoidance of all ignoble rhythms, will prove his
-pre-eminence. Deficiency in this respect can be illustrated just as
-conspicuously
-
-[Page 7]
-
-by the writings of Hegesias, who would seem to have shunned good
-rhythms out of sheer wilfulness. A passage is quoted from Hegesias’
-_History_—a passage which, if well written, would have moved to
-sympathetic tears rather than to derisive laughter. With it are
-contrasted some famous lines of the _Iliad_ (xxii. 395-411) which, we
-are told, owe their nobility largely to the beauty of their rhythms.
-
-=c. 19.= The third element in good composition is variety (ἡ μεταβολή).
-In the use of rhythms to impart variety, prose enjoys much greater
-freedom than poetry. Epic poets must needs employ the hexameter line:
-the writers of lyric verse must make antistrophe correspond to strophe,
-however greatly they may strive for liberty in other respects. That
-prose style is best which exhibits the greatest variety in the way of
-periods, clauses, rhythms, figures, and the like; and its charm is
-all the greater if the art that fashions it lies hidden. In point of
-variety, Herodotus, Plato and Demosthenes hold the foremost place:
-Isocrates and his followers are distinguished rather by monotony of
-style.
-
-=c. 20.= The fourth element is fitness or propriety (τὸ πρέπον).
-Propriety is described as the harmony which an author establishes
-between his style, and the actions and persons of which he treats.
-Common experience proves that ordinary people, in describing an
-event, will vary the order of their words (and the point here is the
-arrangement, not the choice of words) in accordance with the emotions
-which it excites in them. Similarly, artistic writers should follow
-their own aesthetic instincts in the matter. Homer has done so with
-surpassing effect. A fine instance is furnished by the lines (_Odyssey_
-xi. 593-598) which depict the torment of Sisyphus—the slow upheaval of
-his rock, and its rapid rolling down the hill once it has reached the
-top.
-
-=c. 21.= After these theoretical and technical discussions there
-arises the question: what are the different kinds of composition or
-arrangement,—what are the different _harmonies_? The answer given
-is that there are three: (1) the austere (αὐστηρά), (2) the smooth
-(γλαφυρά), (3) the harmoniously blended (εὔκρατος) or intermediate
-(κοινή).
-
-=c. 22.= The characteristic features of austere composition are set
-forth in considerable detail: both generally and in reference to words,
-clauses, periods. Among its principal representatives are mentioned:
-Antimachus of Colophon and Empedocles in epic poetry, Pindar in lyric,
-Aeschylus in tragic; in history, Thucydides; in oratory, Antiphon. The
-beginning of a Pindaric dithyramb and the opening sentences of the
-introduction to Thucydides’ _History_ are minutely examined from this
-point of view. [Any attempt to summarize fully this chapter and those
-which follow is hardly possible owing to the nature of the subject
-matter. The chapters are important, and will repay a careful study.]
-
-=c. 23.= Smooth composition is next characterized in a similar
-
-[Page 8]
-
-way. Its chief representatives may be taken to be: Hesiod, Sappho,
-Anacreon, Simonides, Euripides, Ephorus, Theopompus, Isocrates. In
-illustration are quoted (with sundry comments) Sappho’s _Hymn to
-Aphrodite_ and the introductory passage from Isocrates’ _Areopagiticus_.
-
-=c. 24.= “The third, the mean of the two kinds already mentioned, which
-I call _harmoniously blended_ (or _intermediate_) for lack of a proper
-and better name, has no form peculiar to itself, but is a judicious
-blend of the other two and a selection from the most effective features
-of each.” This third is the best variety of composition because it is a
-kind of golden mean; and its highest representative is Homer, in whom
-we find a union of the severe and the polished forms of arrangement.
-On a lower plane are other votaries of the golden mean: among lyric
-poets Stesichorus and Alcaeus, among tragedians Sophocles, among
-historians Herodotus, among orators Demosthenes, and among philosophers
-Democritus, Plato and Aristotle. Illustrative examples are, in this
-case, unnecessary.
-
-=c. 25.= These discussions lead up to a final question,—that of the
-relations between prose and poetry. And first: in what way can prose
-be made to resemble a beautiful poem or lyric? It is in metre, even
-more than in the choice of words, that poetry differs from prose.
-Consequently prose cannot become like metrical and lyrical writing,
-unless it contains, though not obtrusively, metres and rhythms within
-it. It must not be manifestly _in_ metre or _in_ rhythm (for in that
-case it will be a poem or a lyric and will desert its own specific
-character), but it is enough that it should simply appear rhythmical
-and metrical. It will thus be poetical, although not a poem; lyrical,
-although not a lyric. Passages are then taken from the opening of the
-_Aristocrates_ and the _Crown_ of Demosthenes and are subjected to a
-minute metrical analysis. The result of the scrutiny is (it is claimed)
-to show that many metrical lines are latent in good prose, the author
-having taken care to disguise slightly their metrical character. In
-an eloquent passage Dionysius then submits that the great end in
-view warranted all these anxious pains on the part of Demosthenes.
-Demosthenes was no mere peddler, but a consummate artist who had the
-judgment of posterity always before his mind. Isocrates, also, and
-Plato spent no less trouble on their writings, as witness the story
-about the opening passage of the _Republic_. It is, further, to be
-noticed that such careful processes, though deliberate at first, become
-in the end unconscious and almost instinctive, just as accomplished
-musicians do not think of every note they strike on their instrument,
-nor skilled readers of every single letter which meets their eyes in
-the book that lies open before them.
-
-=c. 26.= Secondly (and lastly) comes a question which is the
-counterpart of that asked in c. 25: namely, in what way can a poem or
-lyric be made to resemble beautiful prose? The two principal means are:
-(1) so to arrange the clauses that they do not invariably
-
-[Page 9]
-
-begin and end together with the lines; (2) to vary the clauses and
-periods in length and form. These things are more difficult to do where
-the metre is uniform, as in heroic and iambic verse. In lyric poems the
-task is easier, since the variety of their metres brings them a point
-nearer to prose. At the same time, while avoiding monotony and while
-generally causing his verse to resemble beautiful prose, the poet must
-remember that the so-called “prosaic character” is a defect. We are,
-however, here thinking not of vulgar prose but of the highest civil
-oratory. In order to show that, in poetry, clauses can be of different
-sorts and sizes, and can also be so far independent of the metre as
-almost to give the effect of an unbroken prose-narrative, Dionysius
-draws some concluding illustrations from the 14th _Odyssey_, the
-_Telephus_ of Euripides, and the _Danaë_ of Simonides.
-
-       *       *       *       *       *
-
-The following Tabular Analysis may help to make the general structure
-of the treatise still clearer:—
-
-
-I. CHAPTERS 1-5. INTRODUCTORY. The nature of composition, and its
-effect.—Instances of the fatal neglect of composition.—The secret of
-composition not to be found in grammatical rules.
-
-
-II. CHAPTERS 6-20. GENERAL THEORY AND TECHNIQUE OF COMPOSITION:—
-
-    1. cc. 6-9: (α) Three processes in the art of composition, c. 6.
-
-       (β) Grouping of clauses, c. 7.
-       (γ) Shaping of clauses, c. 8.
-       (δ) Lengthening and shortening of clauses and periods, c. 9.
-
-    2. cc. 10-20: Charm and beauty of composition, and the four means
-       of attaining these qualities:—
-
-       (α) Preliminary remarks, cc. 10-13.
-       (β) Four means: (1) μέλος, cc. 14-16.
-                       (2) ῥυθμός, cc. 17, 18.
-                       (3) μεταβολή, c. 19.
-                       (4) τὸ πρέπον, c. 20.
-
-
-III. CHAPTERS 21-24. THREE MODES OF COMPOSITION:—
-
-            (1) σύνθεσις αὐστηρά, c. 22.
-            (2) σύνθεσις γλαφυρά, c. 23.
-            (3) σύνθεσις εὔκρατος (or κοινή), c. 24.
-
-
-IV. CHAPTERS 25, 26. RELATION OF PROSE TO POETRY, AND OF POETRY TO
-PROSE.
-
-NOTE.—The existing division into chapters is not always a happy one. As
-a help to the reader, a few words of summary have been prefixed to each
-chapter of the English Translation.
-
-[Page 10]
-
-
-The Greek Epitome is about one-third the length of the original. It is
-of early but uncertain date (cp. Usener _de Dionysii Halicarnassensis
-Libris Manuscriptis_ p. viii, n. 7), and is preserved in the following
-codices: Darmstadiensis, Monacensis, Rehdigeranus, Vaticanus Urbinas.
-It has survived along with the original; and instead of superseding
-and extinguishing the unabridged work, as ancient epitomes seem often
-to have done, it contributes not a little to its elucidation. Had it
-been preserved at the expense of the original, we should have still
-possessed the Sappho, but should have lost the Simonides. Towards the
-end, the Epitome is executed with less care than at the beginning.
-
-
-
-
-II
-
-THE ORDER OF WORDS IN GREEK
-
-
-The strong and the weak points of the _de Compositione Verborum_ will
-appear from the foregoing summary, and still more from the treatise
-itself and the notes appended to it. Dionysius’ book is unique: no
-other of its kind has come down to us from classical antiquity. Its
-immediate subject is the Order of Words in Greek. But its author is
-happily led to raise fundamental questions such as the relations
-between Prose and Poetry, together with incidental points of Greek
-Pronunciation and Accentuation; and generally to take so wide a range
-that no English title less comprehensive than _On Literary Composition_
-seems to fit the contents of the work.[3] The discursive enthusiasm
-of the writer is obvious. Not less striking, however, is the sound
-literary taste which converts his quotations into a true anthology
-and preserves some priceless remains of Sappho and Simonides. It will
-be necessary to point out certain weaknesses of Dionysius from time
-to time. But his weaknesses are far more than counterbalanced by his
-great excellences. Some of his shortcomings are those of his age,—an
-age which was a stranger to the modern method of comparison as applied
-to literary investigation. Others, again, are more apparent than real.
-When, for example, certain omissions are observable in some directions
-along with ample expatiations in others, it is to be remembered (1)
-that Dionysius is dealing with the department
-
-[Page 11]
-
-of expression and not with that of subject matter, (2) that, in the
-department of expression, he is concerned with the composition (or
-arrangement) of words and not with their selection, and (3) that, in
-regard to composition, he is here interested primarily not in lucidity
-nor in emphasis, but in euphony. Hence we must not expect him to dwell
-on that great governing principle of literary composition,—logical
-connexion. To its importance, however, he is fully alive, as is clear
-from a passage in his essay on Isocrates: “The thought” [in Isocrates,
-who pays excessive heed to smoothness of style and a pleasant cadence]
-“is often the slave of rhythmical expression, and truth is sacrificed
-to elegance.... But the natural course is for the expression to follow
-the ideas, not the ideas the expression.”[4] And though, in the _de
-Compositione_, it is his business to discourse rather upon sound than
-upon sense, yet the orderly way in which the subject matter of the
-treatise is presented shows in itself that Dionysius was well aware
-that the chief essential for a book is a basis of clear thinking and
-broad logical arrangement, and that, as a consequence, its excellence
-is to be sought even more in its chapters and its paragraphs than
-in its flowing periods.[5] It may be well to touch, with a similar
-regard to sequence and with occasional references to modern parallels
-or contrasts, upon one or two aspects of his main theme which his
-own treatment of it suggests as suitable for further discussion and
-elucidation.
-
-
-A. _Freedom and Elasticity_
-
-In his fifth chapter Dionysius shows, with no difficulty and with much
-vivacity, that it is impossible to lay down universal rules governing
-the order of words in Greek. He admits that he had been inclined to
-entertain _a priori_ views on the question of the natural precedence of
-certain parts of speech and to hold that nouns should precede verbs,
-verbs adverbs, and so forth.[6]
-
-[Page 12]
-
-
-But he had proceeded, with that sound practical judgment which
-distinguishes him, to test his theories in the light of Homer’s usage.
-He had then found them wanting. “Trial invariably wrecked my views
-and revealed their utter worthlessness.” The examples of variety in
-word-order which he quotes from the _Iliad_ and the _Odyssey_ are
-most interesting and instructive. But a modern reader, familiar with
-languages whose paucity of inflexions often offers freedom only at the
-price of ambiguity, has more cause than any ancient writer to wonder at
-the liberty which Greek enjoys in this respect. No doubt the long gap
-between πολὺν and χρόνον in the _Frogs_ has, and is intended to have, a
-comic effect. But there is no sort of ambiguity in the sentence, since
-the poet takes care to use no noun with which the adjective could agree
-until the right noun at length comes and relieves the listener of his
-suspense and growing curiosity,—
-
-      εἰ δ’ ἐγὼ ὀρθὸς ἰδεῖν βίον ἀνέρος ἢ τρόπον ὅστις ἔτ’ οἰμώξεται,
-      οὐ =πολὺν= οὐδ’ ὁ πίθηκος οὗτος ὁ νῦν ἐνοχλῶν,
-      Κλειγένης ὁ μικρός,
-      ὁ πονηρότατος βαλανεὺς ὁπόσοι κρατοῦσι κυκησιτέφρου
-      ψευδολίτρου κονίας
-      καὶ Κιμωλίας γῆς,
-      =χρόνον= ἐνδιατρίψει.
-
-                              Aristophanes _Ranae_ 706-13.
-
-Here as many as twenty-one words divide an adjective from its noun,
-though noun and adjective are usually placed close together.[7] But,
-even in serious poetry, the same thing is to be noticed, though on a
-less surprising scale. For example:
-
-      ἦν δ’ οὐδὲν αὐτοῖς οὔτε χείματος =τέκμαρ=
-      οὔτ’ ἀνθεμώδους ἦρος οὔτε καρπίμου
-      θέρους =βέβαιον=.
-
-                              Aeschylus _Prometheus Vinctus_ 454-6.
-
-Here the adjective follows the noun, but (as before) there is no
-ambiguity, though there is much added emphasis due to the apparent
-afterthought. Similarly:
-
-[Page 13]
-
-
-      ἐν δὲ =νομὸν= ποίησε περικλυτὸς ἀμφιγυήεις
-      ἐν καλῇ βήσσῃ =μέγαν= οἰῶν ἀργεννάων.[8]
-
-                              Homer _Iliad_ xviii. 587, 588.
-
-And in prose the dependence of a genitive may be quite clear, though
-the distance between it and the words on which it depends be great: e.g.
-
-    =τῶν μὲν οὖν λόγων=, οὓς οὗτος ἄνω καὶ κάτω διακυκῶν ἔλεγε περὶ τῶν
-        παραγεγραμμένων νόμων, οὔτε μὰ τοὺς θεοὺς οἶμαι ὑμᾶς μανθάνειν
-        οὔτ’ αὐτὸς ἐδυνάμην συνεῖναι =τοὺς πολλούς=.
-
-                              Demosthenes _de Corona_ § 111 (cp. § 57).
-
-In prose, again, the extremely antithetic and artificial arrangement
-of words possible (without complete loss of clearness) in a highly
-inflected language may be illustrated from Thucydides:—
-
-    καὶ οὐ περὶ τῆς ἐλευθερίας ἄρα οὔτε οὗτοι τῶν Ἑλλήνων οὔθ’ οἱ
-        Ἕλληνες τῆς ἑαυτῶν τῷ Μήδῳ ἀντέστησαν, περὶ δὲ οἱ μὲν σφίσιν
-        ἀλλὰ μὴ ἐκείνῳ καταδουλώσεως, οἱ δ’ ἐπὶ δεσπότου μεταβολῇ οὐκ
-        ἀξυνετωτέρου, κακοξυνετωτέρου δέ.
-
-                              Thucydides vi. 76.[9]
-
-The following sentence of Demosthenes, with its carefully chosen
-position for the main subject Φίλιππος and the main verb ἐπηγγείλατο,
-shows how well _suspense_ and the _period_ can be worked in such a
-language:—
-
-    ὡς δὲ ταλαιπωρούμενοι τῷ μήκει τοῦ πολέμου οἱ τότε μὲν βαρεῖς
-        νῦν δ’ ἀτυχεῖς Θηβαῖοι φανεροὶ πᾶσιν ἦσαν ἀναγκασθησόμενοι
-        καταφεύγειν ἐφ’ ὑμᾶς, =Φίλιππος=, ἵνα μὴ τοῦτο γένοιτο μηδὲ
-        συνέλθοιεν αἱ πόλεις, ὑμῖν μὲν εἰρήνην ἐκείνοις δὲ βοήθειαν
-        =ἐπηγγείλατο=.
-
-                              Demosthenes _de Corona_ § 19.[10]
-
-In an analytical language such as English a separate introductory
-
-[Page 14]
-
-sentence[11] would be almost necessary in order to bring out the point
-of a familiar passage in the _Cyropaedia_:—
-
-    παῖς μέγας μικρὸν ἔχων χιτῶνα ἕτερον παῖδα μικρὸν μέγαν ἔχοντα
-        χιτῶνα, ἐκδύσας αὐτόν, τὸν μὲν ἑαυτοῦ ἐκεῖνον ἠμφίεσε, τὸν δὲ
-        ἐκείνου αὐτὸς ἐνέδυ.
-
-                              Xenophon _Cyropaedia_ i. 3. 17.
-
-And the force and variety gained by juxtaposition, or by chiastic
-arrangement, is obvious in such examples as:—
-
-    (1) τίπτε με, Πηλέος υἱέ, ποσὶν ταχέεσσι διώκεις,
-        =αὐτὸς θνητὸς ἐὼν θεὸν ἄμβροτον=;
-
-                              Homer _Iliad_ xxii. 8, 9.
-
-    (2) τί δῆτα, ὦ Μέλητε; τοσοῦτον =σὺ ἐμοῦ= σοφώτερος εἶ =τηλικούτου
-        ὄντος τηλικόσδε ὤν=;
-
-                              Plato _Apology_ 25 D.
-
-    (3) οὐ γὰρ ἐπὶ κρίσει μέν τις δικασθεὶς οὐκ ἂν ἐπὶ τῶν =δικαίων καὶ
-        καλῶν= ἐλεύθερος καὶ ὑγιὴς ἂν κριτὴς γένοιτο· ἀνάγκη γὰρ τῷ
-        δωροδόκῳ τὰ οἰκεῖα μὲν φαίνεσθαι =καλὰ καὶ δίκαια=.
-
-                              Longinus _de Sublimitate_ c. xliv.
-
-    (4) καὶ τῶν κώλων ... =ἀνίσων τε ὄντων καὶ ἀνομοίων= ἀλλήλοις
-        =ἀνομοίους τε καὶ ἀνίσους= ποιούμενοι τὰς διαιρέσεις.
-
-                              Dionys. Halic. _de Comp. Verb._ c. xxvi.
-
-The two last examples of elegant variation might, no doubt, be
-closely reproduced in modern languages. To the more important matter
-of emphasis, which arises in some of the other instances, a separate
-section must be devoted later.[12]
-
-
-B. _Normal Order_
-
-Though Dionysius does right to deny the existence of a
-
-[Page 15]
-
-natural or inevitable order in Greek and to emphasize the essential
-freedom of the language, he might well have recognized more explicitly
-that there is what may be termed a normal or usual order, and that it
-is precisely the departure from this normal usage which does much to
-give a definite character (good or bad, as the case may be) to the
-style of individual Greek authors. For instance, it is usual in Greek
-for an adjective to follow its noun, and for a negative to precede
-the word or words which it qualifies. There are, further, certain
-customary positions for the article (according as it is attributive
-or predicative); for the demonstrative pronouns in conjunction with
-the article; for αὐτός, according to the meaning which it bears; for
-the particles; for prepositions, conjunctions, and relative pronouns;
-and so forth. There is, in short, a grammatical order sanctioned by
-prevailing usage, an order which might be shown to hold good, commonly
-though not universally, in some of the grammatical constructions
-indicated by Dionysius in his fifth chapter. Now between this normal
-order, and lucidity of expression, there exists a close connexion.
-
-
-C. _Lucidity_
-
-It might easily be concluded, by a reader who knew the _de
-Compositione_ alone among Dionysius’ critical essays, that he set
-little store by that clear writing which, as it presupposes clear
-thinking, is a rare and cardinal excellence of style. As the noun
-σαφήνεια occurs but once in the treatise and the adjective σαφής not
-much oftener, it might be supposed that he underrated a quality to
-which Aristotle and other writers of antiquity assign so high a place.
-Aristotle, indeed, regards it as a first essential of good style,
-which must be “clear without being mean” (λέξεως δὲ ἀρετὴ σαφῆ καὶ
-μὴ ταπεινὴν εἶναι, Aristot. _Poet._ xxii. 1: cp. _Rhet._ iii. 2. 1).
-Similarly Cicero puts clearness (_sermo dilucidus_) before ornament,
-asking how it is possible, “qui non dicat quod intellegamus, hunc posse
-quod admiremur dicere” (Cic. _de Orat._ iii. 9. 38). Horace’s approving
-reference to _lucidus ordo_ has become proverbial.[13] And Quintilian
-allots the primacy
-
-[Page 16]
-
-to the same great quality: “nobis prima sit virtus perspicuitas,
-propria verba, rectus ordo, non in longum dilata conclusio; nihil neque
-desit neque superfluat” (_Inst. Or._ viii. 2. 22), and puts a high
-and not always attainable ideal before the orator in relation to his
-judicial auditor: “quare non, ut intellegere possit, sed, ne omnino
-possit non intellegere, curandum” (_ibid._ viii. 2. 24).
-
-If Dionysius in the present treatise says little about lucidity, the
-sole reason is that he _assumes_ it as a necessary and indispensable
-quality of style. In the _de Thucydide_ c. 23 it is classed (together
-with purity and brevity) as one of the ἀρεταὶ ἀναγκαῖαι (in
-contradistinction to the ἀρεταὶ ἐπίθετοι, such as ἐνάργεια, ἡ τῶν ἠθῶν
-τε καὶ παθῶν μίμησις, etc.). The Greek critics recognized, however,
-that the plainer styles were more likely than the more elaborate ones
-to excel in lucidity,—that, in this respect, a Herodotus and a Lysias
-might be expected to surpass a Thucydides and a Demosthenes.[14] Among
-these authors let us choose Lysias and Thucydides, and see what praise
-or blame Dionysius awards to them upon this score. In the fourth
-chapter of the _de Lysia_, the lucidity of Lysias is contrasted with
-the obscurity often found in Thucydides and Demosthenes; and it is
-pointed out that this excellence is, in him, all the more admirable in
-that it is combined with a studious brevity, an opulent vocabulary,
-and a mind of great native force. And no finer example of pellucid
-clearness of narration could well be imagined than that quoted from
-Lysias in the sixth chapter of the _de Isaeo_: ἀναγκαῖόν μοι δοκεῖ
-εἶναι, ὦ ἄνδρες δικασταί, περὶ τῆς φιλίας τῆς ἐμῆς καὶ τῆς Φερενίκου
-πρῶτον εἰπεῖν πρὸς ὑμᾶς, κτλ. To the obscurities of Thucydides, on the
-other hand, as seen in his History and particularly in his Speeches,
-constant and mournful reference is made in the essay which has the
-historian for its subject. “You can almost count on your fingers,” says
-Dionysius, “the people who are capable of comprehending the whole of
-Thucydides; and not even they can
-
-[Page 17]
-
-do so without occasional recourse to a grammatical commentary.”[15]
-Dionysius, further, gives it as his opinion that the language of
-Thucydides was unique even in his own day; and he combats the view
-that a historian (as distinguished, say, from an advocate) may plead
-in excuse for an artificial style that he does not write for “people
-in the market-place, in workshops or in factories, nor for others who
-have not shared in a liberal education, but for men who have reached
-rhetoric and philosophy after passing through a full curriculum of
-approved studies, to whom therefore none of these expressions will
-appear unfamiliar.”[16] Obscurity and eccentricity, he says in effect,
-are not virtues except in the eyes of literary coteries; presumably a
-speaker speaks, and a writer writes, in order to be understood.[17]
-
-
-D. _Emphasis_
-
-Dionysius’ inadequate recognition of a normal order is naturally
-attended by some uncertainty in his attitude towards that kind of
-_emphasis_ which a departure from the normal order produces. It may,
-indeed, be thought that the effect of emphasis, and the best means of
-attaining it, are considered at the opening of the sixth chapter of
-the treatise, and that it comes under the heading both of σχηματισμός
-and of ἁρμονία. In the fifth chapter, however, we should have welcomed
-a clearer recognition of the emphasis which, as it seems to modern
-readers, falls upon ἄνδρα, μῆνιν, and ἠέλιος, when they come at the
-beginning of the line and so are the first words to accost the ear.
-Certainly in his own writing Dionysius shows that he appreciates the
-emphasis gained by thrusting a word to the front of the sentence:
-e.g. καιροῦ δὲ οὔτε ῥήτωρ οὐδεὶς οὔτε φιλόσοφος εἰς τόδε χρόνου
-τέχνην ὥρισεν (=132= 21). Towards the end of chapter 7 he quotes from
-Demosthenes the words τὸ λαβεῖν οὖν τὰ διδόμενα ὁμολογῶν ἔννομον εἶναι,
-τὸ χάριν τούτων ἀποδοῦναι παρανόμων γράφῃ. He changes the order to
-ὁμολογῶν οὖν ἔννομον
-
-[Page 18]
-
-εἶναι τὸ λαβεῖν τὰ διδόμενα, παρανόμων γράφῃ τὸ τούτων χάριν
-ἀποδοῦναι, and then asks whether the passage will be ὁμοίως δικανικὴ
-καὶ στρογγύλη. To us it would seem that the chief loss is the loss of
-emphasis which is entailed (in Greek) by removing from the beginning of
-the clauses the important and contrasted phrases τὸ λαβεῖν τὰ διδόμενα
-and τὸ χάριν τούτων ἀποδοῦναι. Possibly this loss of emphasis is
-implied (among other things) in the words “δικανικὴ καὶ στρογγύλη.”[18]
-
-Where it occurs in Dionysius, the word ἔμφασις bears the sense
-of ‘hint,’ ‘suggestion,’ ‘soupçon’ (_de Thucyd._ c. 16 ῥᾳθύμως
-ἐπιτετροχασμένα καὶ οὐδὲ τὴν ἐλαχίστην ἔμφασιν ἔχοντα τῆς δεινότητος
-ἐκείνης): a sense which is akin to its technical use of ‘hidden
-meaning’ (“significatio maior quam oratio,” Cic. _Orat._ 40. 139; cp.
-Quintil. viii. 3. 83, ix. 2. 3, 64).[19] In our sense of emphasis
-due to position, the word ἔμφασις is perhaps hardly used even in the
-scholiasts; and it is possible that Greek has no single term to express
-the idea, though it may doubtless be one of the elements in view when a
-writer uses such expressions as ἁρμονία, σχηματισμός, and ὑπερβατόν.
-
-A modern student of Greek, having to feel his way with practically no
-help from ancient authorities, will probably reach the conclusion that
-the rhetorical emphasis he has in mind is attained by placing a word in
-one of the less usual positions open to it. The word thus emphasized
-may come at the beginning, in the middle, or at the end of a sentence,
-the real point being that the position should be (for that particular
-word) a little out of the ordinary. In Greek, however, as contrasted
-with English, the emphasis tends to fall on the earlier rather than the
-later words.[20] In delivery, it would seem that the Greeks found it
-more natural to stress the beginning than the conclusion of a
-
-[Page 19]
-
-sentence. But an emphatic word may be found at the end as well as at
-the beginning, and may sometimes be placed neither at the end nor at
-the beginning.[21]
-
-Allusion has already been made to the rhetorical emphasis which falls
-upon the opening words of the _Iliad_ and the _Odyssey_. As with “arma
-virumque cano” in the _Aeneid_, the words μῆνιν and ἄνδρα seem to
-strike the keynote of the following Epics. And, in a less degree, a
-certain emphasis due to initial position (and contributing either to
-emotional effect or to logical clearness) is to be discerned throughout
-the poems: e.g. in the sixth book of the _Iliad_:—
-
-        =δυστήνων= δέ τε παῖδες ἐμῷ μένει ἀντιόωσιν.
-
-                              Homer _Iliad_ vi. 127.
-
-and
-
-        =πέπλον= δ’, ὅς τίς τοι χαριέστατος ἠδὲ μέγιστος
-        ἔστιν ἐνὶ μεγάρῳ καί τοι πολὺ φίλτατος αὐτῇ,
-        τὸν θὲς Ἀθηναίης ἐπὶ γούνασιν ἠϋκόμοιο, κτλ.
-
-                              Homer _Iliad_ vi. 271.
-
-Similarly with the following ten miscellaneous examples of various
-emphasis, taken chiefly from Dionysius’ favourite speech:—
-
-    (1) ἐκεῖνος γὰρ πολλοὺς ἐπιθυμητὰς καὶ ἀστοὺς καὶ ξένους λαβών,
-        =οὐδένα= πώποτε μισθὸν τῆς συνουσίας ἐπράξατο, ἀλλὰ πᾶσιν
-        ἀφθόνως ἐπήρκει τῶν ἑαυτοῦ.
-
-                              Xenophon _Memorabilia_ i. 2. 60.
-
-    (2) καὶ ταραχώδης ἦν ἡ ναυμαχία, ἐν ᾗ αἱ Ἀττικαὶ νῆες
-        παραγιγνόμεναι τοῖς Κερκυραίοις, εἴ πῃ πιέζοιντο, =φόβον= μὲν
-        παρεῖχον τοῖς ἐναντίοις, =μάχης= δὲ οὐκ ἦρχον δεδιότες οἱ
-        στρατηγοὶ τὴν πρόρρησιν τῶν Ἀθηναίων.[22]
-
-                              Thucydides i. 49.
-
-    (3) =Ἀναξαγόρου= οἴει κατηγορεῖν, ὦ φίλε Μέλητε, κτλ.
-
-                              Plato _Apology_ 26 D.
-
-[Page 20]
-
-
-    (4) οὐ γὰρ =τὰ ῥήματα= τὰς οἰκειότητας ἔφη βεβαιοῦν, μάλα σεμνῶς
-        ὀνομάζων, ἀλλὰ τὸ ταὐτὰ συμφέρειν.
-
-                              Demosthenes _de Corona_ § 35.
-
-    (5) οἱ μὲν κατάπτυστοι Θετταλοὶ καὶ ἀναίσθητοι Θηβαῖοι φίλον,
-        εὐεργέτην, σωτῆρα τὸν Φίλιππον ἡγοῦντο· =πάντ’= ἐκεῖνος ἦν
-        αὐτοῖς· οὐδὲ φωνὴν ἤκουον εἴ τις ἄλλο τι βούλοιτο λέγειν.
-
-                              id. _ib._ § 43.
-
-    (6) οὓς σὺ =ζῶντας μέν,= ὦ κίναδος, κολακεύων παρηκολούθεις,
-        =τεθνεώτων δ’= οὐκ αἰσθάνει κατηγορῶν.
-
-                              id. _ib._ § 162.
-
-    (7) καὶ τότ’ εὐθὺς ἐμοῦ διαμαρτυρομένου καὶ βοῶντος ἐν τῇ ἐκκλησίᾳ
-        “=πόλεμον= εἰς τὴν Ἀττικὴν εἰσάγεις, Αἰσχίνη, πόλεμον
-        Ἀμφικτυονικόν, κτλ.”
-
-                              id. _ib._ § 143.
-
-    (8) ὃς γὰρ =ἐμοῦ= φιλιππισμόν, ὦ γῆ καὶ θεοί, κατηγορεῖ, τί οὗτος
-        οὐκ ἂν εἴποι;
-
-                              id. _ib._ § 294.
-
-    (9) ἀλλ’ οἶμαι οὐ δυνάμεθα· =ἐλεεῖσθαι= οὖν ἡμᾶς πολὺ μᾶλλον εἰκός
-        ἐστίν που ὑπὸ ὑμῶν τῶν δεινῶν ἢ χαλεπαίνεσθαι.
-
-                              Plato _Republic_ i. 336 E.
-
-    (10) μηδ’ εἵμασι στρώσασ’ ἐπίφθονον πόρον
-         τίθει· =θεούς= τοι τοῖσδε τιμαλφεῖν χρεών.
-
-                              Aeschylus _Agamemnon_ 921.
-
-It will be seen from some of the above examples that words may have
-emphasis if, though not actually placed at the very beginning of a
-sentence or a clause, they come as early as they well can. The three
-following passages will further illustrate this point:—
-
-    (1) καὶ ἐς Νικίαν τὸν Νικηράτου στρατηγὸν ὄντα ἀπεσήμαινεν, ἐχθρὸς
-        ὢν καὶ ἐπιτιμῶν, ῥᾴδιον εἶναι παρασκευῇ, εἰ =ἄνδρες= εἶεν οἱ
-        στρατηγοί, πλεύσαντας λαβεῖν τοὺς ἐν τῇ νήσῳ, καὶ αὐτός γ’ ἄν,
-        εἰ ἦρχε, ποιῆσαι τοῦτο.
-
-                              Thucydides iv. 27.
-
-[Page 21]
-
-
-    (2) ὅ τι μὲν ὑμεῖς, ὦ ἄνδρες Ἀθηναῖοι, πεπόνθατε ὑπὸ τῶν ἐμῶν
-        κατηγόρων, οὐκ οἶδα· ἐγὼ δ’ οὖν καὶ αὐτὸς ὑπ’ αὐτῶν ὀλίγου
-        ἐμαυτοῦ ἐπελαθόμην· οὕτω πιθανῶς ἔλεγον. καίτοι =ἀληθές γε=, ὡς
-        ἔπος εἰπεῖν, οὐδὲν εἰρήκασιν.
-
-                              Plato _Apology_ init.
-
-    (3) ἀλλὰ μὴν τὸν τότε συμβάντα ἐν τῇ πόλει =θόρυβον= ἴστε μὲν
-        ἅπαντες, μικρὰ δ’ ἀκούσατε ὅμως, αὐτὰ τἀναγκαιότατα ... οἱ δὲ
-        τοὺς στρατηγοὺς μετεπέμποντο καὶ τὸν σαλπιγκτὴν ἐκάλουν, καὶ
-        =θορύβου= πλήρης ἦν ἡ πόλις.
-
-                              Demosthenes _de Corona_ §§ 168, 169.
-
-Sometimes, however, emphatic words will be thrust right to the front
-through such devices as the postponement of an interrogative particle:
-e.g.
-
-    =ἑστάναι, εἶπον, καὶ κινεῖσθαι τὸ αὐτὸ ἅμα κατὰ τὸ αὐτὸ= ἆρα
-        δυνατόν;
-
-                              Plato _Republic_ iv. 436 C.
-
-and
-
-    =οἷον δίψα ἐστὶ δίψα= ἆρά γε θερμοῦ ποτοῦ ἢ ψυχροῦ, ἢ πολλοῦ ἢ
-        ὀλίγου, ἢ καὶ ἑνὶ λόγῳ ποιοῦ τινος πώματος;
-
-                              id. _ib._ iv. 437 D.[23]
-
-An uninflected language may well envy the grammatical resources which
-enable Greek or Latin poets to secure at once clearness and the utmost
-height of emotion in such lines as:
-
-    Ζεῦ πάτερ, ἀλλὰ σὺ ῥῦσαι ὑπ’ ἠέρος υἷας Ἀχαιῶν,
-    ποίησον δ’ αἴθρην, δὸς δ’ ὀφθαλμοῖσιν ἰδέσθαι·
-    =ἐν δὲ φάει= καὶ ὄλεσσον, ἐπεί νύ τοι εὔαδεν οὕτως.
-
-                              Homer _Iliad_ xvii. 645.
-
-    _Me, me,_ adsum qui feci, in me convertite ferrum,
-    O Rutuli.
-
-                              Virgil _Aeneid_ ix. 427.[24]
-
-[Page 22]
-
-
-The end as well as the beginning of a clause or sentence may bring
-emphasis when it is an unusual position for the particular word or
-phrase which stands there. Illustrations may perhaps be drawn from
-expressions conveying the idea of “death,” which (according to Dionysus
-in the _Frogs_) is the “heaviest of ills,” and which (be that as it
-may) is as little likely as any to be entertained lightheartedly, or
-to be mentioned without some degree of feeling and emphasis. At the
-beginning of a sentence, τεθνᾶσι clearly has emphasis in
-
-            =τεθνᾶσ’= ἀδελφοὶ καὶ πατὴρ οὑμὸς γέρων.
-
-                              Euripides _Hercules Furens_ 539.
-
-And in the following passage of Plato, it will be seen that the τὸν
-θάνατον which comes near the beginning of a clause is more emphatic
-than the τὸν θάνατον which comes at the end of a clause:—
-
-    οἶσθα δ’, ἦ δ’ ὅς, ὅτι =τὸν θάνατον= ἡγοῦνται πάντες οἱ ἄλλοι
-        τῶν μεγάλων κακῶν;—καὶ μάλ’, ἔφη.—οὐκοῦν φόβῳ μειζόνων
-        κακῶν ὑπομένουσιν αὐτῶν οἱ ἀνδρεῖοι τὸν θάνατον, ὅταν
-        ὑπομένωσιν;—ἔστι ταῦτα.
-
-                              Plato _Phaedo_ 68 D.
-
-The τὸν θάνατον before ἡγοῦνται is here emphatic on the same principle
-as the θάνατον before εἰσέθηκε in the passage (already alluded to) of
-the _Frogs_:—
-
-            =θάνατον= γὰρ εἰσέθηκε βαρύτατον κακόν.
-
-                              Aristophanes _Ranae_ 1394.
-
-But a word like θάνατος may also come with emphasis at the end of
-a sentence, if that order is rendered unusual by the interposition
-of additional words or by any other means which create a feeling of
-suspense and even of afterthought. For example:
-
-[Page 23]
-
-
-    τί δέ; τὰν Αἵδου ἡγούμενον εἶναί τε καὶ δεινὰ εἶναι οἴει τινὰ
-        θάνατου ἀδεῆ ἔσεσθαι καὶ ἐν ταῖς μάχαις αἱρήσεσθαι πρὸ ἥττης τε
-        καὶ δουλείας =θάνατον=;
-
-                              Plato _Republic_ iii. 386 B.
-
-Here the θάνατον seems intended to repeat with emphasis the preceding
-θανάτου to which, itself, a considerable degree of prominence is
-assigned. So, perhaps,
-
-    ἀλλὰ νόμον δημοσίᾳ τὸν ταῦτα κωλύσοντα τέθεινται τουτονὶ καὶ
-        πολλοὺς ἤδη παραβάντας τὸν νόμον τοῦτον ἐζημιώκασιν =θανάτῳ=.
-
-                              Demosthenes _Midias_ § 49.
-
-and
-
-    ... καὶ φοβερωτέρας ἡγήσεται τὰς ὕβρεις καὶ τὰς ἀτιμίας, ἃς ἐν
-        δουλευούσῃ τῇ πόλει φέρειν ἀνάγκη, =τοῦ θανάτου=.
-
-                              Demosthenes _de Corona_ § 205.
-
-Some miscellaneous examples of words coming emphatically at the end of
-a clause or sentence are:—
-
-    (1) αἰτοῦμαι δ’ ὑμᾶς δοῦναι καὶ νῦν παισὶ μὲν καὶ γυναικὶ καὶ
-        φίλοις καὶ πατρίδι =εὐδαιμονίαν=, ἐμοὶ δὲ οἷόν περ αἰῶνα
-        δεδώκατε τοιαύτην καὶ τελευτὴν δοῦναι.
-
-                              Xenophon _Cyropaedia_ viii. 7.
-
-    (2) ἀλλὰ καὶ τούτους κολυμβηταὶ δυόμενοι ἐξέπριον =μισθοῦ=.[25]
-
-                              Thucydides vii. 25.
-
-    (3) ὑψοῦ δὲ θάσσων ὑψόθεν χαμαιπετὴς
-        πίπτει πρὸς οὖδας μυρίοις οἰμώγμασι
-        =Πενθεύς=.[26]
-
-                              Euripides _Bacchae_ 1111.
-
-    (4) ἴστε γὰρ δήπου τοῦθ’ ὅτι πάντες οἱ ξεναγοῦντες οὗτοι πόλεις
-        καταλαμβάνοντες Ἑλληνίδας ἄρχειν ζητοῦσιν, καὶ πάντων, ὅσοι
-        περ νόμοις οἰκεῖν βούλονται τὴν αὑτῶν ὄντες ἐλεύθεροι, κοινοὶ
-        περιέρχονται κατὰ πᾶσαν χώραν, εἰ δεῖ τἀληθὲς εἰπεῖν, =ἐχθροί=.
-
-                              Demosthenes _Aristocrates_ § 139.
-
-[Page 24]
-
-
-    (5) δεῖ δὲ τοὺς ἀγαθοὺς ἄνδρας ἐγχειρεῖν μὲν ἅπασιν ἀεὶ τοῖς
-        καλοῖς, τὴν ἀγαθὴν προβαλλομένους ἐλπίδα, φέρειν δ’ ἃν ὁ θεὸς
-        διδῷ =γενναίως=.[27]
-
-                              Demosthenes _de Corona_ § 97.
-
-    (6) εἶθ’ οὗτοι τὰ ὅπλα εἶχον ἐν ταῖς χερσὶν =ἀεί=.
-
-                              id. _ib._ § 235.
-
-    (7) εἰ γὰρ ταῦτα προεῖτ’ ἀκονιτεί, περὶ ὧν οὐδένα κίνδυνον ὅντιν’
-        οὐχ ὑπέμειναν οἱ πρόγονοι, τίς οὐχὶ κατέπτυσεν ἂν =σοῦ=; μὴ γὰρ
-        τῆς πόλεώς γε, μηδ’ ἐμοῦ.
-
-                              id. _ib._ § 200.
-
-    (8) ... ἡμῖν δὲ τοῖς λοιποῖς τὴν ταχίστην ἀπαλλαγὴν τῶν ἐπηρτημένων
-        φόβων δότε καὶ =σωτηρίαν ἀσφαλῆ=.[28]
-
-                              id. _ib._ § 324.
-
-It may be added that, occasionally, _both_ the earlier and the later
-positions are emphatic in the same clause or sentence: e.g.
-
-    (1)               =τέκνα= γὰρ κατακτενῶ
-                  =τἄμ’=.[29]
-
-                              Euripides _Medea_ 792.
-
-    (2) =ὦτα= γὰρ τυγχάνει ἀνθρώποισι ἐόντα ἀπιστότερα =ὀφθαλμῶν=.[30]
-
-                              Herodotus i. 8.
-
-    (3) νῦν δὲ τὸ μὲν παρὸν ἀεὶ προϊέμενοι, τὰ δὲ μέλλοντ’ αὐτόματ’
-        οἰόμενοι σχήσειν καλῶς, =ηὐξήσαμεν=, ὦ ἄνδρες Ἀθηναῖοι,
-        Φίλιππον =ἡμεῖς=, καὶ κατεστήσαμεν τηλικοῦτον ἡλίκος οὐδείς πω
-        βασιλεὺς γέγονεν Μακεδονίας.[31]
-
-[Page 25]
-
-
-                              Demosthenes _Olynthiacs_ i. § 9.
-
-    (4) =πολλάκις= δὲ τοῦ κήρυκος ἐρωτῶντος οὐδὲν μᾶλλον ἀνίστατ’
-        =οὐδείς=, ἁπάντων μὲν τῶν στρατηγῶν παρόντων, κτλ.
-
-                              Demosthenes _de Corona_ § 117.
-
-    (5) καὶ μὴν καὶ =Φερὰς= πρώην ὡς φίλος καὶ σύμμαχος εἰς Θετταλίαν
-        ἐλθὼν ἔχει καταλαβών, καὶ τὰ τελευταῖα τοῖς ταλαιπώροις
-        Ὠρείταις τουτοισὶ ἐπισκεψομένους ἔφη τοὺς στρατιώτας πεπομφέναι
-        κατ’ =εὔνοιαν=· πυνθάνεσθαι γὰρ αὐτοὺς ὡς νοσοῦσι καὶ
-        στασιάζουσιν, συμμάχων δ’ εἶναι καὶ φίλων ἀληθινῶν ἐν τοῖς
-        τοιούτοις καιροῖς παρεῖναι.
-
-                              Demosthenes _Philippics_ iii. § 12.
-
-    (6) οὐ =λίθοις= ἐτείχισα τὴν πόλιν οὐδὲ πλίνθοις =ἐγώ=, οὐδ’ ἐπὶ
-        τούτοις μέγιστον τῶν ἐμαυτοῦ φρονῶ.
-
-                              Demosthenes _de Corona_ § 299.
-
-    (7) =ὑπὲρ τῶν ἐχθρῶν= πεπολίτευσαι πάντα, ἐγὼ δ’ =ὑπὲρ τῆς
-        πατρίδος=.
-
-                              id. _ib._ § 265.
-
-In connexion with the imperfect appreciation which the _de Compositione
-Verborum_ shows of a normal order and of an
-
-[Page 26]
-
-emphasis produced by departure from it, attention may be drawn to
-the fact that the treatise contains no reference to the ‘figure’
-_hyperbaton_; and this although the figure had been recognized long
-before Dionysius’ time, and continued to be recognized long afterwards.
-It is first mentioned by Plato, who probably took over the notion from
-the Sophists: ἀλλ’ ὑπερβατὸν δεῖ θεῖναι ἐν τῷ ᾄσματι τὸ “ἀλαθέως”
-(Plato _Protag._ 343 E, where the reference is to a poem of Simonides).
-The author of the _Rhetorica ad Alexandrum_ (c. 30) indicates it in
-the following terms: ἐὰν μὴ ὑπερβατῶς αὐτὰ [sc. τὰ ὀνόματα] τιθῶμεν,
-ἀλλ’ ἀεὶ τὰ ἐχόμενα ἑξῆς τάττωμεν. Quintilian treats of it in the
-passage beginning “_Hyperbaton_ quoque, id est verbi transgressionem,
-quoniam frequenter ratio comparationis et decor poscit, non immerito
-inter virtutes habemus” (_Inst. Or._ viii. 6. 62).[32] The author of
-the _Treatise on the Sublime_ describes and defines it thus: ἔστι δὲ
-λέξεων ἢ νοήσεων ἐκ τοῦ κατ’ ἀκολουθίαν κεκινημένη τάξις καὶ οἱονεὶ
-χαρακτὴρ ἐναγωνίου πάθους ἀληθέστατος (Longinus _de Sublim._ c.
-22).[33] And, later still, Hermogenes and other writers on rhetoric are
-well acquainted with the figure. Dionysius, however, mentions it but
-seldom in any of his writings, and even then (e.g. τὰς ὑπερβατοὺς καὶ
-πολυπλόκους καὶ ἐξ ἀποκοπῆς πολλὰ σημαίνειν πράγματα βουλομένας καὶ διὰ
-μακροῦ τὰς ἀποδόσεις λαμβανούσας νοήσεις, _de Thucyd._ c. 52; cp. c. 31
-_ibid._) is clearly thinking not of desirable but of highly undesirable
-“inversions.” He may have thought that its proper place was in poetry
-rather than in prose.
-
-[Page 27]
-
-
-
-
-E. _Euphony_
-
-A modern writer on style would probably lay more stress on clearness
-and emphasis than on euphony. The ancient critics, on the other hand,
-seem to have taken the two former elements more or less for granted.
-Because they were easily attainable in languages so fully inflected as
-Greek and Latin, their attainment was regarded as an important matter
-indeed, but one which called for no special recognition of any kind.
-As Quintilian says, in reference to clearness, “nam emendate quidem ac
-lucide dicentium tenue praemium est, magisque ut vitiis carere quam ut
-aliquam magnam virtutem adeptus esse videaris” (_Inst. Or._ viii. 3.
-1).[34] Dionysius, too, in the _de Compositione Verborum_, passes more
-readily over the two qualities of clearness and emphasis because he
-is not concerned with the πραγματικὸς τόπος.[35] He keeps rigorously
-to his real subject; and that is not the relation of words to the
-ideas of which they are the symbols. It is, rather, their relation
-to their own constituent elements (letters and syllables of diverse
-qualities and quantities) and to the pleasant impression which the apt
-collocation of many various words can make upon the ear. His task is
-to investigate the emotional power of the sound-elements of language
-when alone and when in combination—their euphonic and their symphonic
-effects. Hence the constant recurrence, throughout the treatise, of
-words like εὐφωνία, εὐρυθμία, εὐστομία, λειότης, ἁρμονία, σύνθεσις. The
-illustrative excerpts which he gives are so numerous and so happily
-chosen that no others need be added here.[36] A careful study of
-his examples, in the context in which they occur, will suggest many
-reflexions upon the freedom and adaptability of Greek order. But no
-absolute test of euphony
-
-[Page 28]
-
-can be based upon them. Dionysius himself formulates no invariable
-rules upon the subject. In the last resort, the court of appeal must,
-as he sees, be the instinctive judgment of the ear (τὸ ἄλογον τῆς
-ἀκοῆς πάθος).[37] The part played by the ear has been well described
-by Quintilian: “ergo quem in poëmate locum habet versificatio, eum
-in oratione compositio. optime autem de illa iudicant aures, quae
-plena sentiunt et parum expleta desiderant et fragosis offenduntur et
-levibus mulcentur et contortis excitantur et stabilia probant, clauda
-deprehendunt, redundantia ac nimia fastidiunt” (_Inst. Or._ ix. 4.
-116). Naturally the ear in question must be the individual ear (“aurem
-_tuam_ interroga, quo quid loco conveniat dicere,” Aulus Gellius
-_Noctes Att._ xiii. 21); the criterion is subjective, not absolute.[38]
-But it is assumed that the ear in question has been trained and attuned
-by constant converse with the great masters, and that (like Flaubert in
-modern times) an author never writes without repeating the words aloud
-to himself. Thus trained, the ear will work in harmony with the mind:
-“aures enim vel animus aurium nuntio naturalem quandam in se continet
-vocum omnium mensionem” (Cic. _Orat._ 53. 177). Both Cicero and
-Dionysius are well aware that style is personal and individual,—that it
-is no uniform and mechanical thing. Dionysius’ own position has been
-misunderstood by those who have judged the _de Compositione_ as if it
-were a complete treatise on the entire subject of style. In the eyes of
-Dionysius, words are not what dead stone and timber are in the eyes of
-the ordinary workman. They are, rather, the living elements which, in
-the secret places of his mind, the master-builder views as potential
-parts of some great temple.[39] They are what an individual makes
-them. Hence, just as Cicero writes “qua re sine, quaeso, sibi quemque
-scribere,
-
-    Suam quoíque sponsam, míhi meam; suum quoíque amorem, míhi meum”:
-
-so Dionysius long ago anticipated the saying that the style is the
-man.[40]
-
-[Page 29]
-
-
-Among the minor debts we owe to him is the fact that his minute
-analysis of rhythms, or feet, in passages of Thucydides, Pindar and
-others, helps to disclose the inner workings of the beautiful Greek
-language and to impress us with the importance attached by the ancients
-to what we moderns find it so hard fully to appreciate,—the effect on
-a Greek ear of _syllabic quantity_ in prose as well as verse. And he
-insists no less upon the charm of variety,—the paramount necessity
-of avoiding monotony. He saw, for example, that the Greek inflexions
-(notwithstanding the many advantages which they brought with them) had
-at least one drawback: they are apt to lead to a certain sameness in
-case-endings. Accordingly he would, for instance, have approved (though
-he does not mention this particular passage) of the separation of the
-words σωτηρίαν ἀσφαλῆ from the other accusatives at the end of the _de
-Corona_: ἡμῖν δὲ τοῖς λοιποῖς τὴν ταχίστην ἀπαλλαγὴν τῶν ἐπηρτημένων
-φόβων δότε καὶ σωτηρίαν ἀσφαλῆ.[41] Further reference to these minutiae
-of style may fitly be made later, when the topics of “rhythm” and
-“music” are considered.[42]
-
-
-F. _Greek and Latin compared with Modern Languages, in regard to
-Word-Order_
-
-Something has already been said, incidentally, about certain
-differences in word-order between the ancient and the modern European
-languages. In such a comparison Greek and Latin may be placed upon the
-same footing, as their points of contact are vastly more numerous than
-their points of divergence, considerable though these are.[43]
-
-[Page 30]
-
-
-The points of contact become manifest when an attempt is made to
-translate into Latin, and into English, the sentence from Herodotus
-which Dionysius quotes, and twice recasts, in his fourth chapter:—
-
-    (1) Κροῖσος ἦν Λυδὸς μὲν γένος, παῖς δ’ Ἀλυάττου, τύραννος δ’ ἐθνῶν
-        τῶν ἐντὸς Ἅλυος ποταμοῦ· ὃς ῥέων ἀπὸ μεσημβρίας μεταξὺ Σύρων
-        τε καὶ Παφλαγόνων ἐξίησι πρὸς βορέαν ἄνεμον εἰς τὸν Εὔξεινον
-        καλούμενον πόντον.
-
-                              Herodotus i. 6.
-
-    _Croesus genere quidem fuit Lydus, patre autem Alyatte; earum vero
-        nationum tyrannus, quae intra Halym amnem sunt: qui, a meridie
-        Syros ac Paphlagones interfluens, contra ventum Aquilonem in
-        mare, quid vocant Euxinum, evolvitur._
-
-    (2) Κροῖσος ἦν υἱὸς μὲν Ἀλυάττου, γένος δὲ Λυδός, τύραννος δὲ τῶν
-        ἐντὸς Ἅλυος ποταμοῦ ἐθνῶν· ὃς ἀπὸ μεσημβρίας ῥέων μεταξὺ Σύρων
-        καὶ Παφλαγόνων εἰς τὸν Εὔξεινον καλούμενον πόντον ἐκδίδωσι πρὸς
-        βορέαν ἄνεμον.
-
-    _Croesus erat filius quidem Alyattis, genere autem Lydus,
-        tyrannusque earum, quae intra sunt Halym amnem nationes; qui, a
-        meridie interfluens Syros ac Paphlagones, in mare, quod vocant
-        Euxinum, evolvitur contra ventum Aquilonem._
-
-    (3) Ἀλυάττου μὲν υἱὸς ἦν Κροῖσος, γένος δὲ Λυδός, τῶν δ’ ἐντὸς
-        Ἅλυος ποταμοῦ τύραννος ἐθνῶν· ὃς ἀπὸ μεσημβρίας ῥέων Σύρων
-        τε καὶ Παφλαγόνων μεταξὺ πρὸς βορέαν ἐξίησιν ἄνεμον ἐς τὸν
-        καλούμενον πόντον Εὔξεινον.
-
-    _Alyattis quidem filius erat Croesus, genere autem Lydus, earum,
-        quae intra sunt Halym amnem, tyrannus nationum; qui, a meridie
-        fluens Syros inter ac Paphlagones, contra Boream erumpit ventum
-        in mare, quod vocant Euxinum._
-
-[Page 31]
-
-
-In these sentences the Latin follows the Greek order closely, and
-might be made to follow it still more faithfully were it not that it
-seems better to diverge occasionally for special reasons: e.g. it is
-desirable, in rendering the original passage of Herodotus, to secure
-(as far as possible) a good rhythm. In English, on the other hand, the
-choice lies between a wide deviation and a rendering which is ambiguous
-and possibly grotesque. In fact (to recur once more to the main point)
-the freedom with which the order of words can be varied in a Greek or
-Latin sentence is without parallel in any modern analytical language,
-and the attendant gain in variety, rhythm, and nicety of emphasis is
-incalculable.[44]
-
-Still, the modern languages have great powers, in this as in other
-ways: powers which will be incidentally illustrated later. M. Jules
-Lemaître has written, with reference to Ernest Renan: “Je trahis
-peut-être sa pensée en la traduisant; tant pis! Pourquoi a-t-il des
-finesses qui ne tiennent qu’à l’arrangement des mots?”[45] These
-_finesses_ are perhaps, as is here implied, hardly communicable, even
-though an earlier French writer has commended Malherbe as an author who
-
-        D’un mot mis en sa place enseigna le pouvoir.[46]
-
-It may well be that these matters, if not altogether the
-
-[Page 32]
-
-“mysteries” which Dionysius terms them, are eternally elusive because
-they depend upon the infinite variety of the human mind. Yet some
-studies in English literary theory, such as might be suggested by
-Dionysius’ treatise, could not fail to be of interest, and might
-be instructive also. Something of the kind has been already done,
-without reference to Dionysius or other Greek critics, by Robert
-Louis Stevenson in his essay on _Some Technical Elements of Style in
-Literature_.[47] Each language has, in truth, a rhetoric of its own.
-But the various languages, ancient and modern, can help one another in
-the way of comparison and contrast.
-
-These methods of comparison and contrast have—as regards
-word-order—been excellently applied to the ancient and the modern
-languages by Henri Weil and T. D. Goodell. Weil’s chief service is to
-have pointed out so clearly the principle that the order of syntax must
-be separated in thought from the order of ideas, and was by both Greeks
-and Romans freely so separated in practice, whereas in the modern
-languages (owing to the lack of inflexions) this practical separation
-is less frequent. Goodell, starting from the postulate that the order
-of words in a language represents the order in which the speaker or
-writer chooses, for various reasons, to bring his ideas before the mind
-of another, discusses (with constant reference to modern languages) the
-order of words in Greek, from the standpoint of _syntax_, _rhetoric_,
-and _euphony_. In the course of a carefully reasoned exposition, he
-corrects and supplements many of Weil’s observations.
-
-The full title of Weil’s book is _De l’ordre des mots dans les langues
-anciennes comparées aux langues modernes: question de grammaire
-générale_ (3rd edition, Paris, 1879). There is an English translation
-by C. W.
-
-[Page 33]
-
-Super (Boston, 1887), with notes and additions. Goodell’s paper on
-“The Order of Words in Greek” is printed in the _Transactions of
-the American Philological Association_ vol. xxi. Other writings on
-the subject are: Charles Short’s “Essay on the Order of Words in
-Attic Greek Prose,”—prefixed to Drisler’s edition of C. D. Yonge’s
-_English-Greek Lexicon_,—which is an extensive collection of examples,
-but is weak in scientific classification and in clear enunciation
-of principles; H. L. Ebeling’s “Some Statistics on the Order of
-Words in Greek,” contributed to _Studies in Honour of Basil Lanneau
-Gildersleeve_, and including some valuable investigations into the
-order in which subject, object, and verb usually come in Greek;
-inquiries into the practice of individual authors, e.g. Spratt on the
-“Order of Words in Thucydides” (Spratt’s edition of Thucydides, Book
-VI.), and Riddell on the “Arrangement of Words and Clauses in Plato”
-(Riddell’s edition of Plato’s _Apology_), or various dissertations such
-as Th. Harmsen _de verborum collocatione apud Aeschylum, Sophoclem,
-Euripidem capita selecta_, Ph. Both _de Antiphontis et Thucydidis
-genere dicendi_, J. J. Braun _de collocatione verborum apud Thucydidem
-observationes_, F. Darpe _de verborum apud Thucydidem collocatione_;
-and in Latin such elaborate studies as Hilberg’s _Die Gesetze der
-Wortstellung im Pentameter des Ovid_. An interesting book which
-compares Cicero’s Latin translations (prose and verse) with their Greek
-originals is V. Clavel’s _de M. T. Cicerone Graecorum Interprete_.
-In _Harvard Studies in Classical Philology_ vol. vii. pp. 223-233,
-J. W. H. Walden discusses Weil’s statement that “an emphatic word,
-if followed by a word which, though syntactically necessary to the
-sentence, is in itself unemphatic, receives an access of emphasis from
-the lingering of the attention which results from the juxtaposition of
-the two.” Reference may also be made to A. Bergaigne’s “Essai sur la
-construction grammaticale considérée dans son développement historique,
-en Sanskrit, en Grec, en Latin, dans les langues romanes et dans les
-langues germaniques,” in the _Mémoires de la Société de Linguistique
-de Paris_ vol. vii. The subject is, further, glanced at in the Greek
-Grammars of Kühner and others. But in modern times, as in those of
-Dionysius, it has on the whole failed to receive the attention which
-its importance would seem to demand.
-
-
-G. _Prose and Poetry: Rhythm and Metre_
-
-Readers of the _de Compositione_ cannot fail to notice that, catholic
-as he is in his literary tastes, Dionysius reserves his highest
-admiration for two authors,—Homer in poetry and Demosthenes in prose;
-and that he seems to regard them as equally valid authorities for the
-immediate purpose which he has in view. Homer is quoted throughout the
-treatise, on the first
-
-[Page 34]
-
-page and on the last; and Demosthenes inspires (in c. 25) its most
-eloquent passage. That outburst is a triumphant vindication of
-Demosthenes’ methods as a sedulous artist. Dionysius sees that he
-is one of those men who spare no pains over the art they love—that
-Demosthenes, like Homer, =φιλοτεχνεῖ= (=200= 18; cp. =154= 20).
-
-In seeming thus to draw no very clear line between verse and prose,
-Dionysius is at one with most of the Greek and Roman critics; and
-this attitude is readily intelligible in the light of the historical
-development of Greek literature, in which Homer (who was a master
-of oratory[48] as well as of poetry) heralds the intellectual life
-of all Greece, while Demosthenes is the last great voice of free
-Athens. But the approximations of prose to poetry, and of poetry to
-prose, which Dionysius describes in his twenty-fifth and twenty-sixth
-chapters should not create the impression that, in his opinion,
-the prose-writer was free to borrow any and every weapon from the
-armoury of the poet. Of one poetical artifice he says, in c. 6, “this
-principle can be applied freely in poetry, but sparingly in prose”;
-and elsewhere he calls attention to qualities which he regards as
-over-poetical in the styles of Thucydides and Plato.[49] Yet he did
-clearly wish that good prose should borrow as much as possible from
-poetry, while still remaining good prose. And although he agrees, in
-general, with Aristotle’s exposition of the formal differences between
-prose and poetry, he does not adhere quite firmly to the Aristotelian
-principles.[50]
-
-[Page 35]
-
-
-In the _Rhetoric_, Aristotle insists that the styles of poetry and
-prose are distinct. The difference is this: “prose should have rhythm
-but not metre, or it will be poetry. The rhythm, however, should not
-be of too marked a character: it should not pass beyond a certain
-point.”[51] In the same way, Dionysius (_C.V._ c. 25) declares that
-prose must not be manifestly metrical or rhythmical, lest it should
-desert its own specific character. It should simply _appear_ to be the
-one and the other, so that it may be poetical although not a poem, and
-lyrical although not a lyric. But, in practice, Dionysius is found to
-cast longing eyes upon the formal advantages which poetry possesses,
-and to wish to infuse into public speeches a definite metrical element,
-which seems alien to the genius of prose, and which would have failed
-to gain the sanction of Aristotle, though this appears to be claimed
-for it.[52] It is not here a question of the ordinary methods of
-imparting force and variety to word-arrangement. In regard to these,
-Dionysius’ precepts are, in general, sound and helpful enough; and if,
-now and then, the process is extolled in what may seem extravagant
-terms, we have only to think of the vast difference which slight
-variations of word-order will make even in our modern analytical
-languages. For example:
-
-        Cut is the branch that might have grown full straight.
-
-                              Marlowe _Doctor Faustus_.
-
-[Page 36]
-
-
-        Killed with report that old man eloquent.
-
-                              Milton _Sonnets_.
-
-        Schön war ich auch, und das war mein Verderben.
-
-                              Goethe _Faust_.
-
-The effect of these lines would be sadly marred if we were to read “the
-branch is cut,” “that eloquent old man,” and “ich war auch schön.”[53]
-In Greek prose, no less than in Greek poetry, inversions like those
-just quoted would be quite legitimate. This at least we can affirm,
-though it would be rash to attempt to lay down any general rules with
-regard to the differences between Greek order in verse and in prose.
-It is better to follow Dionysius’ example and to cull illustrations
-from both alike impartially, with only two qualifications. First, the
-Greek word-arrangement is even freer in verse than in prose, though the
-clause-arrangement and the sentence-arrangement of Greek poetry show
-(as Dionysius implies in c. 26) a general tendency to coincide with the
-metrical arrangement. Second, an absolutely metrical arrangement is
-foreign to the best traditions of Greek prose. It is the second point
-that is of importance here; and notwithstanding the almost furtive
-character which he attributes to the metrical lines detected by him
-in the _Aristocrates_, it is obvious that Dionysius has in mind a
-very close and deliberate approximation to the canons of verse and is
-prepared to strain his material in order to attain it.[54] Here, again,
-some modern illustrations may be of interest. The writers of the Tudor
-period seem to have had a special fondness for, and an ear attuned to,
-what may be roughly regarded as hexameter measures. This predilection
-
-[Page 37]
-
-appears both in their rendering of the Bible and in the Book of Common
-Prayer:—
-
-    How art thou | fallen from | Heaven, O | Lucifer, | son of the | morning.
-    How art | thou cut | down to the | ground, which didst | weaken the | nations.[55]
-    Why do the | heathen | rage, and the | people im | agine a | vain thing?
-    (He) poureth con | tempt upon | princes and | weakeneth the | strength of the | mighty.
-    God is gone | up with a | shout, the | Lord with the | sound of a | trumpet.
-    (The) kings of the | earth stood | up, and the | rulers took | counsel to | gether.
-    Dearly be | loved | brethren, the | Scripture | moveth us |.
-
-The rhythms into which modern prose-writers drop are usually iambic
-or trochaic. This is so with Ruskin and Carlyle, and it would be easy
-to quote examples from their writings.[56] But, as in ancient so in
-modern times, the best criticism looks with favour on rhythmical,
-with disfavour on metrical prose. Prose, it is held, loses its true
-character—as the minister primarily of reason rather than of emotion—if
-it is made to conform to the rigid laws of metre.
-
-If Dionysius fails to prove that metrical lines, thinly disguised, are
-a marked feature of the style of Demosthenes, no greater fortune has
-attended some attempts made in our own day to establish such exact
-rhythmical laws as that of the systematic avoidance, in Greek oratory,
-of a number of short syllables in close succession. It is clear that
-Demosthenes’ ear, with that kind of instinct which comes from musical
-aptitude and long training (cp. _C.V._ =266= 13 ff., =268= 12), shunned
-undignified accumulations of short syllables, but not with so pedantic
-a persistency that he could not on occasion use forms like πεφενάκικεν
-or διατετέλεκεν or προσαγαγόμενον. If he formulated to himself a
-principle, instead of trusting to inspiration controlled by long
-experience, this principle would be that which Cicero attributes to a
-critic who was almost contemporary with Demosthenes: “namque ego illud
-adsentior Theophrasto, qui putat orationem, quae quidem sit polita
-atque facta quodam modo, _non astricte, sed_
-
-[Page 38]
-
-_remissius numerosam_ esse oportere” (Cic. _de Orat._ iii. 48.
-184).[57] The necessary limits to be observed in these curious
-inquiries are well indicated by Quintilian, who utters some sensible
-warnings against any attempts continually to scent metre in prose or to
-ban some feet while admitting others: “neque enim loqui possumus nisi
-syllabis brevibus ac longis, ex quibus pedes fiunt ... miror autem in
-hac opinione doctissimos homines fuisse, ut alios pedes ita eligerent
-aliosque damnarent, quasi ullus esset, quem non sit necesse in oratione
-deprehendi” (Quintil. _Inst. Or._ ix. 4. 61 and 87).[58]
-
-On the subject of prose and poetry, Coleridge’s _Biographia Literaria_
-(ed. Shawcross, Clarendon Press, 1907) is likely long to hold its
-unique position. Theodore Watts-Dunton’s article on “Poetry” in the
-_Encyclopaedia Britannica_ contains an appreciative estimate of the
-good service done to criticism by Dionysius in the _de Compositione_.
-The article by Louis Havet on _La Prose métrique_ (in _La Grande
-Encyclopédie_, xxvii. 804-806) deals with what we should call
-“rhythmical prose,” the French terminology differing here from our own.
-Some account of _enjambement_ (with ancient and modern illustrations)
-will be found in the Notes, pp. 270 ff. The recent writings on Greek
-rhythm and metre are almost endless. Some of them will be suggested by
-the names of: Rossbach, Westphal, Weil, Schmidt, Christ, Gleditsch,
-Wilamowitz-Moellendorff, Goodell, Masqueray, Blass.
-
-With regard to the relation between metre and rhythm, there is not
-a little suggestiveness in the saying of the historical Longinus:
-μέτρου δὲ πατὴρ ῥυθμὸς καὶ θεός (Proleg. in Heph. Ench.; Westphal
-_Script. Metr. Graeci_ i. 82). There is also, in our day, an increasing
-recognition of the intimate alliance between Greek poetry and Greek
-music; it is more and more seen that lyric stanzas are formed out of
-figures and phrases, rather than from mere mechanical feet. Nor is it
-to be forgotten that poetic rhythm may probably be traced
-
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-
-back to the regular movements of the limbs in dancing. The views
-of Blass on ancient prose rhythm are given in his _Die attische
-Beredsamkeit_, _Die Rhythmen der attischen Kunstprosa_ (_Isokrates,
-Demosthenes, Platon_), and _Die Rhythmen der asianischen und
-römischen Kunstprosa_ (_Paulus, Hebräerbrief, Pausanias, Cicero,
-Seneca, Curtius, Apuleius_); and some of them are summarized in an
-article which he contributed, shortly before his death, to _Hermathena_
-(“On Attic Prose Rhythm” _Hermathena_ No. xxxii., 1906). Probably his
-tendency was to seek after too much uniformity in such matters as
-the avoidance of hiatus and of successive short syllables, or as the
-symmetrical correspondences between clauses within the period. The
-best Attic orators were here guided, more or less consciously, by two
-principles to which Dionysius constantly refers: (1) μεταβολή, or the
-love of variety; (2) τὸ πρέπον, or the sense of propriety. This sense
-of propriety rejected all such obvious and systematic art as should
-cause a speech to seem, in Aristotle’s words, πεπλασμένος and ἀπίθανος
-(_Rhet._ iii. 2. 4; 8. 1). Still, Demosthenes’ greatest speeches were
-no doubt carefully revised before they were given to the world; and
-so the blade may have been cold-polished, after leaving the forge of
-the imagination. It is to be noticed that, in the matter of hiatus,
-for example, some of the best manuscripts of Demosthenes do seem to
-observe a strict parsimony; and this careful avoidance of open vowels
-may be due ultimately rather to Demosthenes himself than to an early
-scholar-editor. Whatever the final judgment on Blass’s work may be,
-he will have done good service by directing attention anew to a point
-so hard for the modern ear to appreciate as the great part played in
-artistic Greek prose by the subtle use of time,—of long and short
-syllables arranged in a kind of general equipoise rather than in any
-regular and definite succession. How singularly important that part was
-reckoned to be, such passages of Dionysius as the following help to
-indicate: οὐ γὰρ δὴ φαῦλόν τι πρᾶγμα ῥυθμὸς ἐν λόγοις οὐδὲ προσθήκης
-τινὸς μοῖραν ἔχον οὐκ ἀναγκαίας, ἀλλ’ εἰ δεῖ τἀληθές, ὡς ἐμὴ δόξα,
-εἰπεῖν, ἁπάντων κυριώτατον τῶν γοητεύειν δυναμένων καὶ κηλεῖν τὰς ἀκοάς
-(_de Demosth._ c. 39).
-
-
-
-
-III
-
-OTHER MATTERS ARISING IN THE _DE COMPOSITIONE_
-
-A. _Greek Music: in Relation to the Greek Language_
-
-For the modern student there is perhaps no more valuable chapter of the
-_de Compositione_ than that (c. 11) which treats of the musical element
-in Greek speech. It helps to bring home
-
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-
-the fact that, among the ancient Greeks, “the science of public
-oratory was a musical science, differing from vocal and instrumental
-music in degree, not in kind” (μουσικὴ γάρ τις ἦν καὶ ἡ τῶν πολιτικῶν
-λόγων ἐπιστήμη τῷ ποσῷ διαλλάττουσα τῆς ἐν ᾠδῇ καὶ ὀργάνοις, οὐχὶ τῷ
-ποιῷ, =124= 20). The extraordinary sensitiveness of Greek audiences
-to the music of sounds is described by Dionysius, who also indicates
-the musical intervals observed in singing and in speaking, and
-touches on the relation borne by the words to the music in a song.
-His statements, further, give countenance to the view that “the chief
-elements of utterance—pitch, time, and stress—were independent in
-ancient Greek speech, just as they are in music. And the fact that
-they were independent goes a long way to prove our main contention,
-viz. that ancient Greek speech had a peculiar quasi-musical character,
-and consequently that the difficulty which modern scholars feel in
-understanding the ancient statements on such matters as accent and
-quantity is simply the difficulty of conceiving a form of utterance
-of which no examples can now be observed.”[59] Even Aristotle, Greek
-though he was, seems to have felt imperfectly those harmonies of
-balanced cadence which come from the poet, or artistic prose-writer,
-to whom words are as notes to the musician. And if Aristotle, a Greek
-though not an Athenian, shows himself not fully alive to the music of
-the most musical of languages, it is hardly matter for wonder that
-writers of our own rough island prose should be far from feeling that
-they are musicians playing on an instrument of many strings, and should
-be ready, as Dionysius might have said in his most serious vein, εἰς
-γέλωτα λαμβάνειν τὰ σπουδαιότατα δι’ ἀπειρίαν (=252= 16). It is true
-that, on the other side, we have R. L. Stevenson, who writes: “Each
-phrase of each sentence, like an air or recitative in music, should be
-so artfully compounded out of longs and shorts, out of accented and
-unaccented syllables, as to gratify the sensual ear. And of this the
-ear is the sole judge.”[60] Dionysius and Stevenson are, admittedly,
-slight names to set against that of Aristotle. But this is no reason
-why they should not be allowed to supplement his statements when he is
-too deeply concerned with matter and substance to say much about manner
-and the niceties and enchantments
-
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-
-of form. And Dionysius is—it must in justice be conceded—no mere
-word-taster but a man genuinely alive to the great issues that dignify
-and ennoble style. He can, for example, thus describe the effect,
-subsequent and immediate, of Demosthenes’ speeches: “When I take up
-one of his speeches, I am entranced and am carried hither and thither,
-stirred now by one emotion, now by another. I feel distrust, anxiety,
-fear, disdain, hatred, pity, good-will, anger, jealousy. I am agitated
-by every passion in turn that can sway the human heart, and am like
-those who are being initiated into wild mystic rites.... When we who
-are centuries removed from that time, and are in no way affected by
-the matters at issue, are thus swept off our feet and mastered and
-borne wherever the discourse leads us, what must have been the feelings
-excited by the speaker in the minds of the Athenians and the Greeks
-generally, when living interests of their own were at stake, and when
-the great orator, whose reputation stood so high, spoke from the heart
-and revealed the promptings of his inmost soul?”[61]
-
-In addition to D. B. Monro’s book on Greek music, reference may be made
-to such works as Rossbach and Westphal’s _Theorie der musischen Künste
-der Hellenen_, H. S. Macran’s edition of Aristoxenus’ _Harmonics_ (from
-the Introduction to which a quotation of some length will be found in
-the note on =194= 7), and the edition of Plutarch’s _de Musica_ by H.
-Weil and Th. Reinach. The articles, by W. H. Frere and H. S. Macran,
-on Greek Music in the new edition of Grove’s _Dictionary of Music and
-Musicians_ should also be consulted, as well as the essay, by H. R.
-Fairclough, on “The Connexion between Music and Poetry in Early Greek
-Literature” in _Studies in Honour of Basil Lanneau Gildersleeve_. The
-close connexion between music and verbal harmony is brought out in
-Longinus _de Sublim._ cc. 39-41. In Grenfell and Hunt’s _Hibeh Papyri_,
-Part i. (1906), p. 45, there is a short “Discourse on Music” which the
-editors are inclined to attribute to Hippias of Elis, the contemporary
-of Socrates.
-
-
-B. _Accent in Ancient Greek_
-
-If there were any doubt that the Greek accent was an affair of pitch
-rather than of stress, the eleventh chapter of this treatise would go
-far to remove it. It is clear that Dionysius describes the difference
-between the acute and the grave accent as a variation of pitch, and
-that he considers this variation to
-
-[Page 42]
-
-be approximately the same as the musical interval of a fifth, or (as
-he himself explains) three tones and a semitone. Similarly Aristoxenus
-(_Harm._ i. 18) writes λέγεται γὰρ δὴ καὶ λογῶδές τι μέλος, τὸ
-συγκείμενον ἐκ τῶν προσῳδιῶν τῶν ἐν τοῖς ὀνόμασιν· φυσικὸν γὰρ τὸ
-ἐπιτείνειν καὶ ἀνιέναι ἐν τῷ διαλέγεσθαι (‘for there is a kind of
-melody in speech which depends upon the accent of words, as the voice
-in speaking rises and sinks by a natural law,’ Macran). The expression
-προσῳδία itself (cp. τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι, =196= 16)
-implies a melodic character, and the adjectives (ὀξύς and βαρύς) which
-denote ‘acute’ and ‘grave’ are used regularly in Greek music for what
-we call ‘high’ and ‘low’ pitch.[62] It would be hard to believe that
-βαρύς could ever have indicated an _absence of stress_.
-
-That such a musical pitch—such a rising or falling of tone—can be
-quite independent of quantity seems to be proved by the analogy of
-Vedic Sanskrit, inasmuch as, when reciting verses in that language,
-the native priests are said to succeed in keeping quantity and musical
-accent altogether distinct. “We cannot now say exactly how Homer’s
-verse sounded in the ears of the Greeks themselves; and yet we can tell
-even this more nearly than Matthew Arnold imagined. Sanskrit verse,
-like Greek, had both quantity and musical accent; and the recitation
-of the Vedic poems, as handed down by immemorial tradition, and as it
-may be heard to-day, keeps both these elements clear. It is a sort of
-intoned recitative, most impressive and agreeable to the sensitive
-ear.”[63]
-
-A useful handbook on the general subject of Greek Accentuation
-(including its musical character) is Vendryes’ _Traité d’accentuation
-grecque_, which is prefaced by a bibliographical list. The volume is
-noticed, in the _Classical Review_ xix. 363-367, by J. P. Postgate, who
-supplements it in some important directions. There is also a discussion
-of the nature and theory of the Greek accent in Hadley’s _Essays_ pp.
-110-127. As Monro (_Modes_ p. 113) remarks, it is our habit of using
-Latin translations of the terms of Greek grammar that has tended to
-obscure the fact that those terms belong in almost every case to the
-ordinary vocabulary of music. The point of the illustration drawn from
-the _Orestes_, in the _C.V._ c. 11, is that the musical setting in
-question neglected entirely the natural tune, or accent, of the words.
-It is not to be assumed that Dionysius approved (except within narrow
-limits) of this practice or of the
-
-[Page 43]
-
-corresponding neglect of syllabic quantity (=128= 19). He probably
-regarded such excesses as innovations due to inferior schools of music
-and rhythm. In the hymns found at Delphi (and also in an inscription
-discovered by W. M. Ramsay) there is a remarkable correspondence
-between the musical notes and the accentuation of the words, as was
-pointed out by Monro (_Modes_ pp. 90, 91, 116, 141; and _Classical
-Review_ ix. 467-470). It is the hymns to Apollo (belonging probably to
-the early part of the third century B.C.), in which the acute accents
-usually coincide with a rise of pitch, that Dionysius would doubtless
-have regarded as embodying the classical practice. In early times, it
-must be remembered, words and music were written by the same man; cp.
-G. S. Farnell _Greek Lyric Poetry_ pp. 41, 42. The chief surviving
-fragments of Greek music (including the recent discoveries at Delphi)
-will be found in C. Jan’s _Musici Scriptores Graeci_ (with Supplement),
-as published by Teubner.
-
-
-C. _Pronunciation of Ancient Greek_
-
-The _de Compositione_ is not a treatise on Greek Pronunciation, or
-even on Greek Phonetics. The sections which touch upon these subjects
-are strictly subsidiary to the main theme; they are literary rather
-than philological in aim. There was, in fact, no independent study of
-phonetics in Greek antiquity; the subject was simply a handmaid in the
-service of music and rhetoric. Hence the reference early in c. 14 to
-the authority of Aristoxenus “the musician,” and the constant endeavour
-to rank the letters according to standards of beautiful sound. Still,
-though Dionysius’ object in describing the way in which the different
-letters are produced is not scientific but aesthetic and euphonic, much
-praise is due to the rigorous thoroughness which led him to undertake
-such an investigation at all. And it has had important incidental
-results.
-
-One modern authority claims that, notwithstanding difficulties in
-the interpretation of the _de Compositione_ due either to vague
-statements in the text or to defective knowledge on our own part, it
-is possible to reconstruct, with essential accuracy, the “Dionysian
-Pronunciation of Greek,” or (in other words) the pronunciation current
-among cultivated Greeks during the fifty years preceding the birth of
-Christ; while another authority has given a transliteration of the
-Lord’s Prayer, according to the original text, in the Hellenistic
-pronunciation of the first century A.D.[64] It is, further, maintained
-that, thanks to the general progress of philological
-
-[Page 44]
-
-research, we can in the main reproduce with certainty the sounds
-(including even the aspirates) actually heard at Athens in the fourth
-century B.C.—with such certainty, at all events, as will suffice for
-the practical purposes of the modern teacher.[65]
-
-Two circumstances render it unsafe to lean unduly on Dionysius’
-evidence in determining the pronunciation of the earlier Greek period.
-Although he studied with enthusiasm the literature produced by Greece
-in her prime, and would certainly desire to read it to his pupils in
-the same tones as might have been used by its original authors, it
-is hardly likely that the pronunciation of the language had changed
-less in three or four hundred years than that (say) of English has
-changed since the days of Shakespeare.[66] The other circumstance is
-the uncertainty which attends some of his statements, quite apart
-from any question of the period which they may be supposed to cover.
-This uncertainty is due to the fact that there was no science of
-phonetics in his day, and that consequently his explanations are
-sometimes obscure, either in themselves or at all events to their
-modern interpreters. But in many other cases he is, fortunately,
-explicit and easily understood. One example only shall be given, but
-that an important one: the pronunciation of ζ. In =144= 9-12, it is
-clearly indicated that ζ is a double letter, and that it is composed
-of σ and δ (in that order): διπλᾶ δὲ τρία τό τε ζ̄ καὶ τὸ ξ̄ καὶ
-τὸ ψ̄. διπλᾶ δὲ λέγουσιν αὐτὰ ἤτοι διὰ τὸ σύνθετα εἶναι τὸ μὲν ζ̄
-διὰ τοῦ σ̄ καὶ δ̄, τὸ δὲ ξ̄ διὰ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ διὰ τοῦ π̄
-καὶ σ̄, κτλ. The manuscript testimony is here in favour of σ̄ καὶ
-δ̄ (rather than the reverse order), and it may be noticed that the
-similar reading, ὐπασ̅δ̅εύξαισα, is well supported in Sappho’s _Hymn to
-Aphrodite_ (=238= 9). The statement is not in any way contradicted by
-the further statements in =146= 5 and =148= 6; and taken together with
-other evidence (e.g. such forms as συρίσδειν = συρίζειν, κωμάσδειν =
-κωμάζειν, Ἀθήναζε = Ἀθήνασδε), it seems to establish this as
-
-[Page 45]
-
-at least one pronunciation of ζ. The actual pronunciation may well have
-varied at different times and in different places. Some authorities
-think that in fifth-century Greece the sound was like that of English
-=zd= in the word ‘gla=z=e=d=,’ while in the fourth century it roughly
-resembled =dz= in the word ‘a=dz=e’ (Arnold and Conway, _op. cit._ pp.
-6, 7).
-
-The book which deals most directly with the _de Compositione_ in
-relation to Greek pronunciation is A. J. Ellis’ _English, Dionysian,
-and Hellenic Pronunciation of Greek, considered in reference to
-School and College Use_. In applying great phonetic skill to the
-interpretation of Dionysius’ statements, the author of this pamphlet
-has done much service; but he abandons too lightly any attempt to
-recover a still earlier pronunciation, and shows an uncritical spirit
-in so readily believing (p. 4) that Erasmus could be hoaxed in the
-matter of Greek pronunciation. A more trustworthy work is F. Blass’
-_Pronunciation of Ancient Greek_ (translated by W. J. Purton), in which
-the scientific aids towards a reconstruction of the old pronunciation
-are marshalled with much force. Arnold and Conway’s _Restored
-Pronunciation of Greek and Latin_, and Giles’ _Manual of Comparative
-Philology_ (pp. 114-118: especially p. 115 for ζ), contain a succinct
-statement of probable results. There is also a good article, by W.
-G. Clark, on Greek Pronunciation and Accentuation in the _Journal of
-Philology_ i. pp. 98-108; with which should be compared the papers
-by Wratislaw and Geldart in vol. ii. of the same journal. The entire
-conflict on the subject of Greek pronunciation, as waged by the early
-combatants in England and Holland, is reflected in Havercamp’s two
-volumes entitled _Sylloge Scriptorum qui de linguae Graecae vera et
-recta pronuntiatione commentarios reliquerunt, videlicet Adolphi
-Mekerchi, Theodori Bezae, Jacobi Ceratini et Henrici Stephani_ (Leyden,
-1736), and his _Sylloge Altera Scriptorum qui ... reliquerunt,
-videlicet Desiderii Erasmi, Stephani Vintoniensis Episcopi,
-Cantabrigiensis Academiae Cancellarii, Joannis Checi, Thomae Smith,
-Gregorii Martini, et Erasmi Schmidt_ (Leyden, 1740). Erasmus’ dialogue
-_de recta Latini Graecique sermonis pronunciatione_ (Basle, 1528) was,
-in its way, a true work of science in that it laid stress on the fact
-that variety of symbols implied variety of sounds, and that diphthongal
-writing implied a diphthongal pronunciation. Attention has lately
-been directed to the fact that Erasmus claims no originality for his
-views on this subject, and that he had been anticipated, in varying
-degrees, by Jerome Aleander in France, by Aldus Manutius in Italy, and
-(earlier still) by the Spanish humanist, Antonio of Lebrixa (Bywater
-_The Erasmian Pronunciation of Greek and its Precursors_ Oxford, 1908).
-It may be noted, in passing, that when enumerating the errors of his
-Byzantine contemporaries, Antonio mentions that they pronounced Ζ “as a
-single letter, whereas
-
-[Page 46]
-
-it was really composite, and stood for SD” (Bywater, p. 20). Among the
-immediate successors of Erasmus in this field the most interesting,
-perhaps, is Sir Thomas Smith (1513-1577), who, like Cheke, was one of
-the “etists” and so incurred the wrath of Stephen Gardiner and drew
-out that edict which threatened various penalties (including corporal
-punishment for boys) against the practice of unlawful innovations in
-the province of Greek pronunciation. It was Smith who, in his treatise
-_de recta et emendata linguae Graecae pronuntiatione_ (Havercamp, ii.
-542), detected a lacuna in the text of _C.V._ =140= 16 as current
-in his time, and secured the right sense by the insertion of δύο δὲ
-βραχέα τό τε ε̄ καὶ τὸ ο̄ after τὸ ω̄ (in l. 17). Echoes, more or
-less distinct, of the long dispute as to the pronunciation of the
-ancient classical languages may be heard in such various quarters as:
-(1) [Beaumont and] Fletcher’s _Elder Brother_ ii. 1, “Though I can
-speak no Greek, I love the sound on’t; it goes so thundering as it
-conjur’d devils”; (2) King James I. (in an address to the University of
-Edinburgh, delivered at Stirling), “I follow his [George Buchanan’s]
-pronunciation, both of his Latin and Greek, and am sorry that my people
-of England do not the like; for certainly their pronunciation utterly
-fails the grace of these two learned languages”; and (3) Gibbon’s
-reference to “our most corrupt and barbarous mode of uttering Latin.”
-In modern times a constant effort is being made to get nearer to the
-true pronunciation of the two classical languages; and (to speak of
-Greek alone) some interesting side-lights have been shed on the subject
-by the discovery of Anglo-Saxon or Oriental transliterations (cp.
-Hadley _Essays_ pp. 128-140, and Bendall in _Journal of Philology_
-xxix. 199-201). The application of well-ascertained results to the
-teaching of Greek pronunciation could be injurious only if it were
-allowed to impede the principal object of Greek study—contact with the
-great minds of the past. But an attempt to recapture some part of the
-music of the Greek language is hardly likely to have this disastrous
-effect.
-
-
-D. _Greek Grammar_
-
-Grammar, like phonetics, was by the ancients often regarded as a
-part of “music.”[67] It would not, therefore, seem unnatural to his
-readers that, in a treatise on euphony, Dionysius should continually
-be referring to the _parts of speech_ (τὰ μόρια τοῦ λόγου). He also
-uses freely such technical terms of grammar as: πτῶσις, ἔγκλισις,
-ἀπαρέμφατος, πληθυντικῶς, ὕπτιος, ἀρρενικός, θηλυκός, οὐδέτερος,
-ἄρθρον, ὄνομα, πρόθεσις, σύνδεσμος, etc. Though himself concerned more
-immediately with the euphonic relations
-
-[Page 47]
-
-of words, he is fully alive to the phenomena of their syntactical
-relations. His remarks on grammatical points show, as might have been
-expected, many points of contact with the brief treatise of another
-Dionysius—Dionysius Thrax, who was born a full century earlier than
-himself. Dionysius Thrax was a pupil of Aristarchus, and produced
-the earliest formal Greek Grammar. Some interesting hints as to the
-successive steps in grammatical analysis which had made such a Grammar
-possible may be found in the second chapter of the _de Compositione_,
-where special mention is made of Theodectes, Aristotle, and “the
-leaders of the Stoic School.” In c. 5, a useful protest is raised
-against the tyranny of grammar, which so often seeks to control by iron
-“rules” the infinite variety and living flexibility of language.
-
-The standard edition of _Dionysii Thracis Ars Grammatica_ is that by
-Uhlig (Leipzig, 1883). The whole question of ancient views on grammar
-can be studied in Steinthal’s _Geschichte der Sprachwissenschaft bei
-den Griechen und Römern, mit besonderer Rücksicht auf die Logik_ (2nd
-ed., Berlin, 1890-91).
-
-
-E. _Sources of the_ de Compositione
-
-It must strike every reader of the treatise, that Dionysius
-combines some assertion of originality with many acknowledgments
-of indebtedness to predecessors. In this there is, of course, no
-necessary inconsistency. The work covers a wide field, and implies an
-acquaintance with many special studies. While referring with gratitude
-and respect to the admitted authorities in these various branches of
-learning or science, Dionysius claims for himself a certain originality
-of idea and of treatment. He is among the first to have written a
-separate treatise on this particular subject, and he is the first to
-have attempted an adequate treatment of it.[68]
-
-In making these acknowledgments, Dionysius does not specify any Latin
-writers, nor indeed any recent writers whatsoever. When Quintilian, in
-the fourth chapter of his Ninth Book, is himself writing a short _de
-Compositione_, he mentions “Halicarnasseus Dionysius” and (with special
-respect) “M. Tullius.”[69]
-
-[Page 48]
-
-But Dionysius says not a word about Cicero or Horace, although the
-former was partly and the latter fully contemporary with himself, and
-although they, like himself, were students of literary composition. As
-his work on early Roman history shows, Dionysius was not ignorant of
-Latin; and it is unfortunate that he did not think of comparing Greek
-writers with Latin. But the comparative method of literary criticism
-hardly existed in Greek antiquity, notwithstanding the reference to
-Cicero and Demosthenes in the _de Sublimitate_, whose author (it may
-be added here) not only treats of σύνθεσις in two of his chapters,
-but also tells us that he had already dealt with the subject in two
-separate treatises.[70]
-
-To his Greek predecessors Dionysius often refers in general terms.
-For example, they are called οἱ πρὸ ἡμῶν in =140= 7, οἱ πρότερον
-in =96= 7, and οἱ ἀρχαῖοι in =68= 9. The last term best suggests
-Dionysius’ habitual attitude, which was that of looking to the past
-for the finest work in criticism as well as in literature.[71] And
-so it will be found that, though the _de Compositione Verborum_
-contains incidental references to the Stoics and to other leaders of
-thought, its highest respect seems to be reserved for Aristotle and
-his disciples Theophrastus and Aristoxenus.[72] But the question of
-Dionysius’ obligations to his predecessors (and to the Peripatetics
-particularly) is so large and far-reaching that it must be treated
-separately elsewhere. Meanwhile, let it be noted how considerably his
-various writings illustrate, and are illustrated by, the _Rhetoric_ of
-Aristotle.[73]
-
-As to its originality, the book may well be left to answer for itself.
-It does not read like a dull compilation. The learning is there, but it
-is lightly borne, and none can doubt that the writer has long thought
-over his subject and can give to others the fruits of his reflexions
-with verve and a contagious enthusiasm. The work has an easy flow of
-its own, as though it had been rapidly (but not carelessly) written,
-out of a well-stored mind, while its author was busy
-
-[Page 49]
-
-with his teaching and with the many literary enterprises to which he so
-often refers. It must be conceded that a literary critic who deals with
-so difficult, many-sided, and elusive a subject as that of composition
-can hardly avoid some errors of detail, since he cannot hope to be a
-master in all the accessory sciences upon which he has to lean. But
-we may well be content if he preserves for later ages much invaluable
-literature and teaching which would otherwise have been lost,—if he
-himself maintains (amid corrupting influences) high standards in his
-literary preferences and in his own writing,—and if he sheds a ray of
-light upon many a hidden beauty of Greek style which would but for him
-be shrouded in darkness.
-
-Reference may be made to G. Ammon _de Dionysii Halicarnassensis
-Librorum Rhetoricorum Fontibus_ and to G. Mestwerdt _de Dionysii
-Halicarnassensis in libro de Compositione Verborum Studiis_. One
-section of the subject is also treated in G. L. Hendrickson’s valuable
-papers on the ‘Peripatetic Mean of Style and the Three Stylistic
-Characters’ and on the ‘Origin and Meaning of the Ancient Characters
-of Style’ in the _American Journal of Philology_ vols. xxv. and xxvi.;
-and in H. P. Breitenbach’s dissertation on _The ‘De Compositione’ of
-Dionysius of Halicarnassus considered with reference to the ‘Rhetoric’
-of Aristotle_.
-
-
-F. _Quotations and Literary References in the_ de Compositione
-
-The greatest of all the lyrical passages quoted in the treatise is
-Sappho’s _Hymn to Aphrodite_. But great as this is, it does not stand
-alone. It has companions, if not equals, in the _Danaë_ of Simonides
-and in the opening of a Pindaric dithyramb. The very preservation of
-these splendid relics, as of some slighter ones, we owe to Dionysius
-alone.[74] The total extent of the quotations made in the course of the
-treatise may be judged from the references given at the foot of the
-translation: these illustrative extracts form a substantial part of the
-work they illustrate. The width of Dionysius’ literary outlook may also
-be inferred from the following roughly-drawn Chronological Table, which
-(for the sake of completeness) includes some authors who are mentioned
-but not actually quoted:—
-
-[Page 50]
-
-
-CHRONOLOGICAL TABLE OF AUTHORS QUOTED OR MENTIONED IN THE _DE
-COMPOSITIONE_
-
-+----------+------------+---------+-------------+-----------+------------+
-|          |  Epic      | Elegiac |             |           | Comedy and |
-|   B.C.   | Poetry.    |   and   |   Lyric.    |  Tragedy. | Satire.    |
-|          |            | Iambic. |             |           |            |
-|          |            |         |             |           |            |
-+----------+------------+---------+-------------+-----------+------------+
-|Before 700|  Homer     |   ...   |     ...     |   ...     |    ...     |
-|          |  Hesiod    |         |             |           |            |
-|          |            |         |             |           |            |
-| 700-600  |    ...     |  Archi- | Alcaeus     |   ...     |    ...     |
-|          |            |  lochus | Sappho      |           |            |
-|          |            |         | Stesichorus |           |            |
-|          |            |         |             |           |            |
-| 600-500  |    ...     |   ...   | Anacreon    |   ...     |    ...     |
-|          |            |         |             |           |            |
-| 500-400  |    ...     |   ...   | Simonides   | Aeschylus |Aristophanes|
-|          |            |         | Pindar      | Sophocles |            |
-|          |            |         | Bacchylides | Euripides |            |
-|          |            |         |             |           |            |
-| 400-300  | Antimachus |   ...   | Philoxenus  |   ...     |    ...     |
-|          |    of      |         | Timotheus   |           |            |
-|          |  Colophon  |         | Telestes    |           |            |
-|          |            |         |             |           |            |
-|          |            |         |             |           |            |
-|          |            |         |             |           |            |
-| 300-200  |    ...     | [Calli- |     ...     |   ...     |  Euphorio  |
-|          |            | machus] |             |           |Chersonesita|
-|          |            |         |             |           |            |
-|          |            |         |             |           |  Sotades   |
-|          |            |         |             |           |            |
-|          |            |         |             |           |            |
-|          |            |         |             |           |            |
-| 200-100  |    ...     |   ...   |     ...     |    ...    |    ...     |
-+----------+------------+---------+-------------+-----------+------------+
-
-+----------+------------+-------------+------------+---------------+
-|          |            |             |            | Grammar;      |
-|   B.C.   |  History.  | Oratory and | Philosophy.| Musical and   |
-|          |            |  Rhetoric.  |            | Metrical      |
-|          |            |             |            | Science, etc. |
-+----------+------------+-------------+------------+---------------+
-|Before 700|    ...     |     ...     |    ...     |      ...      |
-|          |            |             |            |               |
-|          |            |             |            |               |
-| 700-600  |    ...     |     ...     |    ...     |      ...      |
-|          |            |             |            |               |
-|          |            |             |            |               |
-|          |            |             |            |               |
-| 600-500  |    ...     |     ...     |    ...     |      ...      |
-|          |            |             |            |               |
-| 500-400  | Herodotus  | Gorgias     | Empedocles |      ...      |
-|          | Thucydides | Antiphon    |   (verse)  |               |
-|          |            |             | Democritus |               |
-|          |            |             |            |               |
-| 400-300  | Ctesias    | Isocrates   | Plato      | Aristoxenus   |
-|          | Xenophon   | Aeschines   | Aristotle  |               |
-|          | Theopompus | Demosthenes |Theophrastus|               |
-|          | Ephorus    | Theodectes  |            |               |
-|          |            |             |            |               |
-| 300-200  |    ...     | Hegesias    | Epicurus   | Aristophanes  |
-|          |            |             |  and the   |      of       |
-|          |            |             | Epicureans |  Byzantium    |
-|          |            |             |            |               |
-|          |            |             | Chrysippus |               |
-|          |            |             |  and the   |               |
-|          |            |             |  Stoics    |               |
-|          |            |             |            |               |
-| 200-100  | Polybius   |     ...     |   ...      |      ...      |
-+----------+------------+-------------+------------+---------------+
-
-[Page 51]
-
-
-To this list might be added the minor historians, of the third and
-second centuries B.C., who are mentioned together with Polybius in c.
-4, and of whom some account will be found in the notes on that chapter:
-Phylarchus, Duris, Psaon, Demetrius of Callatis, Hieronymus, Antigonus,
-Heracleides, and Hegesianax. And it will be noticed, further, that the
-treatise contains a large number of unassigned verse-fragments, which
-can only be referred, vaguely, to some lyric poet or to the lyric
-portions of some tragic poet. By such anonymous fragments, as well as
-by the poems quoted under the names of Sappho and Simonides, we are
-reminded of the many lost works of Greek literature and of the happy
-surprises which Egypt or Herculaneum or the Sultan’s Library may still
-have in store for us. If the quotations as a whole—identified and
-unidentified, previously known and previously unknown—are passed in
-review, it will be found that Dionysius has given us a small Anthology
-of Greek prose and verse. While strictly relevant to the main theme,
-his illustrations are chosen with so much taste, and from so wide a
-field of study, that (to adapt his own words) οὐκ ἀηδὴς ὁ λόγος ἐγένετο
-πολλοῖς ὥσπερ ἄνθεσι διαποικιλλόμενος τοῖς ἐαρινοῖς.[75]
-
-Two prose-writers mentioned by Dionysius seem to invite special
-comment: Polybius and Hegesias. It is not without a kind of shock that
-we find the great historian Polybius classed, along with Phylarchus and
-the rest, among writers whose works no man can bring himself to read
-from cover to cover.[76] But we have to remember that the judgment is
-passed solely from the standpoint of style; and from this restricted
-standpoint, it can hardly be said that subsequent critics have ventured
-to reverse it and to maintain that Polybius is (to use the modern
-expression) an eminently “readable” author. Let one modern estimate be
-quoted, and that from a writer who appreciates fully the greatness of
-Polybius’ theory of history, and
-
-[Page 52]
-
-who, on the other hand, is not concerned to vindicate the soundness
-of Dionysius’ judgment: “Unfortunately, his [Polybius’] style is a
-serious deterrent to the reader. We long for the ease, the finished
-grace, the flowing simplicity of Herodotus; or again, for the terse
-and rapid phrase of Thucydides, the energy, the precision of each
-single word, the sentence packed with thought. Polybius has lost the
-Greek artistic feeling for writing, the delicate sense of proportion,
-the faculty of reserve. The freshness and distinction of the Attic
-idiom are gone. He writes with an insipid and colourless monotony.
-In arranging his materials he is equally inartistic. He is always
-anticipating objections and digressing; he wearies you with dilating on
-the excellence of his own method; he even assures you that the size and
-price of his book ought not to keep people from buying it. Admirable
-as is the substance of his writing, he pays the penalty attaching to
-neglect of form—he is read by the few.”[77]
-
-Hegesias is not only mentioned, but quoted, in the treatise. A few
-detached sentences are given from his writings, and one longer passage.
-In c. 4 Dionysius rewrites a brief extract from Herodotus in utter
-defiance of the customary rules (or practices) of Greek word-order, and
-then exclaims, “This form of composition resembles that of Hegesias:
-it is affected, degenerate, enervated.” He proceeds: “In such trumpery
-arts the man is a hierophant. He writes, for instance, ‘After a
-goodly festival another goodly one keep we.’ ‘Of Magnesia am I, the
-mighty land, a man of Sipylus I.’ ‘No little drop into the Theban
-waters spewed Dionysus: O yea, sweet is the stream, but madness it
-engendereth.’”
-
-In c. 18 Dionysius illustrates the beauty of prose-rhythm from
-Thucydides, Plato, and Demosthenes. He then assigns to Hegesias a bad
-pre-eminence among writers who have neglected this essential of their
-art. Quoting a passage of some length from his _History_, he asks how
-it compares with Homer’s description
-
-[Page 53]
-
-of a similar scene; and he holds the vast superiority of the latter to
-be due ‘chiefly, if not entirely, to the difference in the rhythms.’
-In the words just cited there is obviously much exaggeration. But we
-must allow for Dionysius’ preoccupation in this treatise (cp. τοῦτ’ ἦν
-σχεδὸν ᾧ μάλιστα διαλλάττει ποιητής τε ποιητοῦ καὶ ῥήτωρ ῥήτορος, τὸ
-συντιθέναι δεξιῶς τὰ ὀνόματα, =92= 18-20), and must, at any rate, try
-to discover wherein the main defect of Hegesias’ rhythms is supposed
-to lie. It is probable that no single thing in the passage offends the
-ear of Dionysius so much as the double trochees (or their metrical
-equivalent) which are found at the end of so many of the clauses. This
-double trochee, or dichoree, is found in its normal form (– ᴗ – ⏒) at
-the end of such _cola_ as those which terminate in: τοῖς ἀρίστοις, καὶ
-τὸ πλῆθος, εἰς τὸ τολμᾶν, τῇ μαχαίρᾳ, καὶ Φιλωτᾶς, καὶ τὸ χρῶμα, σκαιὸν
-ἐχθρόν. The metrical equivalent ᴗ ᴗ ᴗ – ⏒ occurs in such instances
-as: πρότερον οὕτως, ἕνεκα πρᾶξαι, κατακοπῆναι, καθικετεύων. It is
-interesting to observe that this final dichoree is regarded both by
-Cicero and by Quintilian as characteristic of the Asiatic orators.[78]
-Let it be added that, in the extract from Hegesias, the dichorees
-are not confined to the close of clauses but occur freely in other
-positions,
-
-[Page 54]
-
-while many of the sentences are short and the reverse of periodic; and
-it will be granted that Cicero has good ground for calling attention
-to the jerky, or staccato, character of the style in question. In the
-_Orator_ (67. 226) the effect of Hegesias’ writing is thus described:
-“quam (sc. numerosam comprehensionem) perverse fugiens Hegesias, dum
-ille quoque imitari Lysiam volt, alterum paene Demosthenem, saltat
-incidens particulas.” And his manner is amusingly parodied in one of
-the letters to Atticus (_ad Att._ xii. 6): “de Caelio vide, quaeso, ne
-quae lacuna sit in auro: | ego ista non novi; | sed certe in collubo
-est detrimenti satis. | huc aurum si accedit |—sed quid loquor? | tu
-videbis. | habes Hegesiae genus! quod Varro laudat.”[79] Two further
-specimens (not given by Dionysius) of Hegesias’ style will add point to
-Cicero’s parody. The first is preserved by Strabo (_Geogr._ 396): ὁρῶ
-τὴν ἀκρόπολιν | καὶ τὸ περιττῆς τριαίνης | ἐκεῖθι σημεῖον· | ὁρῶ τὴν
-Ἐλευσῖνα, | καὶ τῶν ἱερῶν γέγονα μύστης· | ἐκεῖνο Λεωκόριον· | τοῦτο
-Θησεῖον· | οὐ δύναμαι δηλῶσαι | καθ’ ἓν ἕκαστον. The other specimen is
-quoted by Photius (_Bibl._ cod. 250) from Agatharchides, the geographer
-of Cnidus: ὅμοιον πεποίηκας, Ἀλέξανδρε, Θήβας κατασκάψας, ὡς ἂν εἰ ὁ
-Ζεὺς ἐκ τῆς κατ’ οὐρανὸν μερίδος ἐκβάλλοι τὴν σελήνην. ὑπολείπομαι γὰρ
-τὸν ἥλιον ταῖς Ἀθήναις. δύο γὰρ αὗται πόλεις τῆς Ἑλλάδος ἦσαν ὄψεις.
-διὸ καὶ περὶ τῆς ἑτέρας ἀγωνιῶ νῦν. ὁ μὲν γὰρ εἷς αὐτῶν ὀφθαλμὸς ἡ
-Θηβαίων ἐκκέκοπται πόλις.[80]
-
-It is quite clear, from his express statements, that Dionysius, in his
-criticisms, has in view, mainly if not entirely, the bad rhythms of
-Hegesias. But the passages which he quotes seem open to criticism on
-other grounds as well. The long extract in c. 18 contains metaphors
-which might well seem violent to the Greeks, who allowed themselves
-less licence than the moderns do in this direction (e.g. ἡ μὲν οὖν
-ἐλπὶς αὕτη συνέδραμεν εἰς τὸ τολμᾶν, and τοὺς δ’ ἄλλους ὀργὴ πρόσφατος
-ἐπίμπρα); and it is high-flown expressions of this kind which the
-author of the _de Sublimitate_ has in view when he writes: τά γε μὴν
-Ἀμφικράτους
-
-[Page 55]
-
-τοιαῦτα καὶ Ἡγησίου καὶ Ματρίδος· πολλαχοῦ γὰρ ἐνθουσιᾶν ἑαυτοῖς
-δοκοῦντες οὐ βακχεύουσιν ἀλλὰ παίζουσιν (iii. 2). False emphasis,
-too, and a general desire to purchase notoriety by the cheap method
-of eccentric word-order, would appear to be implied in Dionysius’ own
-parody in c. 4 (=90= 15-19). For example, Ἀλυάττου and ἐθνῶν, though
-not in themselves important, are assigned prominent positions at the
-beginning and the end of the sentence. But the greatest of all the
-defects of Hegesias—especially when compared with Homer—is a certain
-vulgarity of tone.
-
-The contrast drawn between Hegesias and Homer may seem overstrained,
-but it is eminently characteristic of Dionysius. Homer was to him the
-great pure fount of Greek, and his own constant desire was “antiquos
-accedere fontes.” Hegesias, on the other hand, typifies to him the
-decline in Greek literature which followed the death of Alexander,
-whose exploits he records with so feeble a magniloquence. And yet the
-curious thing is that Hegesias, who lived probably in the earlier part
-of the third century, aspires (as Cicero tells us) to copy Lysias. But
-while endeavouring thus to imitate one of the most Attic of the Attic
-writers, he came, by the irony of fate, to be regarded as the founder
-of the degenerate Asiatic school: Ἡγησίας ὁ ῥήτωρ, ὃς ἦρξε μάλιστα τοῦ
-Ἀσιανοῦ λεγομένου ζήλου, παραφθείρας τὸ καθεστηκὸς ἔθος τὸ Ἀττικόν
-(Strabo _Geogr._ xiv. 1. 41).[81] In the terms “Attic” and “Asiatic”
-there often lurks some confusion of thought, as well as no little
-prejudice and rhetorical animosity. But of Dionysius, as compared with
-Hegesias, it is clearly within the mark to say that, though he lived
-two centuries later, he has vastly more of the true Attic feeling for
-purity of style; and that, though he may himself have cherished wild
-dreams of turning back the tide of language, yet in league with some
-leading Romans of his day he did good service by showing how the best
-Attic models may hold out to future ages shining examples of the skill
-and beauty which all men should strive after in handling the language
-of their birth.
-
-[Page 56]
-
-
-For Dionysius in relation to contemporary Romans, and to the struggle
-between Asianism and Atticism, reference may be made to _Dionysius of
-Halicarnassus: the Three Literary Letters_ pp. 34-49.
-
-
-G. _Manuscripts and Text_
-
-The chief authorities for the text of the _de Compositione_ are
-indicated in the following list of abbreviations employed in the
-apparatus criticus of the present edition:—
-
-_Siglorum in notulis criticis adhibitorum Index_
-
-  F = cod. Florentinus Laurentianus lix. 15. saec. xii.
-  P = cod. Parisinus bibl. nat. 1741. saec. xi. (x.).
-  M = cod. Venetus Marcianus 508. saec. xv.
-  V = cod. Vergetii Parisiensis bibl. nat. 1798. saec. xvi.
-
-  E = Διονυσίου Ἁλικαρνασέως τοῦ περὶ Συνθέσεως Ὀνομάτων =Ἐπιτομή=.
-          saec. inc.
-
-  R = Rhetor Graecus (Scholiasta Hermogenis περὶ ἰδεῶν, i. 6).
-          saec. inc.
-
-  a = editio princeps Aldi Manutii (Aldi Manutii Rhetores Graeci,
-          tom. i.), Venetiis. 1508.
-  s = editio Roberti Stephani, Lutetiae. 1547.
-  r = exemplum Reiskianum, Lipsiae. 1775.
- Us = exemplum ab Usenero et Radermachero Lipsiae nuper editum.
-
-The Florentine manuscript (F) contains, besides certain writings of
-other authors, the following works of Dionysius: (1) the essays on
-Lysias, Isocrates, Isaeus, and Dinarchus: and (2) the _de Compositione
-Verborum_ (as far as the words πειρατέον δὴ καὶ περὶ τούτων λέγειν ἃ
-φρονῶ in c. 25). The Paris manuscript 1741 (P) is the famous codex
-which contains not only the _de Comp. Verb._, but also Aristotle’s
-_Rhetoric_ and _Poetics_, Demetrius _de Elocutione_, Dionysius
-Halic. _Ep. ad Amm. II._, _De Vet. Scr._, etc. Some notes upon the
-manuscript are given in _Demetrius on Style_ pp. 209-11; and the editor
-has examined it once more at Paris for the purposes of the present
-recension. The remaining manuscripts are considerably later than F and
-P.
-
-[Page 57]
-
-M belongs to the fifteenth century, and V was copied by the Cretan
-calligrapher Ange Vergèce (as he was called in France) in the sixteenth
-century. The edition of Robert Stephens is based upon V. In the
-_Journal of Philology_ xxvii. pp. 83 ff., there is a careful collation,
-by A. B. Poynton, of “Some Readings of MS. Canonici 45” (C: sixteenth
-century) in the Bodleian Library, with regard to which the collator
-says: “Despite the care with which the work is done, the manuscript is
-not of much value as a presentation of the Florentine tradition, since
-F exists and the writer of C is rather a διασκευαστής than a copyist.
-The interest of the manuscript is antiquarian and bibliographical....
-It is a copy made at some time in the sixteenth century, probably after
-1560. It is based on the Florentine MS. with _variae lectiones_ and
-marginal notes. It has not the appearance of being a mechanical copy:
-rather it seems to be the work of a scholar who was conversant with the
-MSS. of the treatise and, while he was aware of the importance of the
-Florentine MS., saw that in many cases it needed to be corrected.”
-
-The dates of the Epitome and of the _Rhetor Graecus_ are uncertain.
-But both are early and highly important authorities. The latter quotes
-c. 14 only of the treatise, but the quotation enabled Usener to show
-that the text of F agreed in the main with that of the _Rhetor_ and
-of the Epitome. The result was to enhance greatly the authority of
-F, with which earlier editors had merely an indirect and imperfect
-acquaintance. But by a not unnatural reaction against the excessive
-attention paid to what may be called the P group (PMV: though M and V
-sometimes coincide with F against P), Usener is inclined too readily
-to follow F, or even E, when standing alone. Still, while the readings
-supported only by F, or E, or P should be carefully scrutinized and
-independently judged, the concurrent testimony of FE and any other MS.
-is very strong indeed.
-
-Two passages taken almost at a venture (say, the first twenty lines
-of c. 12 and the last twenty of c. 19) would be enough to show that
-neither F nor P can be exclusively followed, and that Usener himself is
-often (more often than is indicated in this edition) driven to desert
-F, which in fact contains, in these or other places, a large number of
-impossible or even absurd readings.[82]
-
-[Page 58]
-
-Where, however, there are genuine instances of various readings (as
-εὐκαιροτέραις: εὐροωτέραις in the last of the passages just specified),
-it seems best to follow F (especially when supported by other
-authorities), even though the hand of an ingenious early scholar may
-sometimes with reason be suspected.[83]
-
-One reason for accepting with reserve the unsupported testimony of F is
-that its evidence is sometimes far from sound in regard to quotations
-from authors whose text is well established from other sources. In the
-principal quotations from Pindar and Thucydides this defect is not so
-manifest; and it may even be claimed that its text of the Pindaric
-dithyramb, and of the Herodotus extract on p. 82, is distinguished by
-many excellent features, though not so many as Usener was at first
-inclined to claim in the case of the Pindar. But in the extract
-from the _Areopagiticus_ of Isocrates which is given in c. 23, the
-text presented by F (as compared with that presented by P) seems to
-suggest that, in dealing with Dionysius’ own words as well as with his
-quotations, the transcriber may have felt entitled to make rather free
-alterations on his own account. In order to provide readers with the
-means of judging for themselves, the critical apparatus has been made
-specially full at this point.[84]
-
-Usener’s text of the _de Compositione_ deserves the highest respect:
-it is the last undertaking of one of the greatest philologists of the
-nineteenth century, and every succeeding editor must find himself deep
-in its debt. Its record of readings is full to exhaustiveness. In the
-present edition less wealth of detail is attempted (especially in
-regard to F and R), though all really
-
-[Page 59]
-
-important and typical variations have, it is hoped, been duly
-registered, and particular attention has been paid to the minute
-collation of P. But apart from the correction of misprints (as on
-pp. =124= 13, =132= 23, =250= 7), it is hoped that the following
-among other readings will commend themselves (on an examination of
-the sections of the Notes or Glossary in which they are defended) as
-superior to those adopted by Usener (and indicated here in brackets)
-from conjecture or on manuscript authority: =64= 11 (σοὶ omitted), =70=
-5 (εὖ τί), =78= 17 (παλαιαί), =80= 13 (παιδικόν), =94= 13 (προβαῖεν),
-=94= 16 (σπουδάζεσθαι), =98= 20 (οἷά τινα), =106= 13 (εὖ ἢ), =132= 20
-(θηρᾶν), =142= 9 (σπανίζει), etc.
-
-
-H. _Recent Writings connected with the_ de Compositione
-
-A full bibliography, covering not only the _de Compositione_ of
-Dionysius but his rhetorical and critical works generally, is given in
-the present editor’s _Dionysius of Halicarnassus: the Three Literary
-Letters_ (published in January 1901), pp. 209-219. The following are
-(in chronological order) the early editors who have done most to
-further the study of the _de Compositione_: Aldus Manutius (_editio
-princeps_), Robertus Stephanus, F. Sylburg, J. Upton, J. J. Reiske,
-G. H. Schaefer, and F. Goeller. Much interest still attaches to C.
-Batteux’ publication (1788): _Traité de l’arrangement des mots:
-traduit du grec de Denys d’Halicarnasse; avec des réflexions sur la
-langue française, comparée avec la langue grecque_. The translation
-is too free and based on too poor a text to meet the needs of exact
-scholarship. But the _Réflexions_ (which accompany the translation,
-in vol. vi. of the author’s _Principes de littérature_) are full of
-suggestive remarks. Another excellent literary study of Dionysius
-is that of Max. Egger: _Denys d’Halicarnasse: essai sur la critique
-littéraire et la rhétorique chez les Grecs au siècle d’Auguste_
-(Paris, 1902). As its title indicates, this volume takes a wide
-range; and it reveals that full competence in these matters which it
-is natural to expect from the son of Émile Egger. A short general
-account, by Radermacher, of Dionysius’ critical essays will be found in
-Pauly-Wissowa’s _Realencyclopädie_ vol. v.
-
-The first volume of Usener and Radermacher’s text was included in the
-bibliographical list mentioned above. In 1904 appeared the second
-volume, containing the _de Compositione_ and
-
-[Page 60]
-
-some other critical writings of Dionysius (_Dionysii Halicarnasei
-opuscula ediderunt Hermannus Usener et Ludovicus Radermacher. Voluminis
-sec. fasc. prior._ _Lipsiae_, 1904). The second volume is on a par
-with the first, which was welcomed, as a notable achievement, in the
-_Classical Review_ xiv. pp. 452-455, where also attention was drawn (p.
-454 _a_) to a questionable emendation previously introduced by Usener
-into the text of the _de Imitatione_. This emendation is withdrawn
-in Usener’s second volume—a fact which may be mentioned as one proof
-among many that his tendency was to grow more conservative and, in
-particular, more attentive to the testimony of P 1741. The titles of
-A. B. Poynton’s articles on Dionysius are: “Oxford MSS. of Dionysius
-Halicarnasseus, _De Compositione Verborum_” (_Journal of Philology_
-xxvii. pp. 70-99), and “Oxford MSS. of the _Opuscula_ of Dionysius
-of Halicarnassus” (_Journal of Philology_ xxviii. pp. 162-185).
-Among other useful _subsidia_ lately published may be mentioned: W.
-Kroll’s “Randbemerkungen” in _Rhein. Mus._ lxii. pp. 86-101, and
-Larue van Hook’s _Metaphorical Terminology of Greek Rhetoric and
-Literary Criticism_ (Chicago, 1905). R. H. Tukey (_Classical Review_,
-September 1909, p. 188) makes the interesting suggestion that “the _De
-Compositione_ belongs chronologically between the two parts of the _De
-Demosthene_.” The use of the present tense δηλοῦται, in _C.V._ =182= 8
-may be held to countenance this view.
-
-In some recent books of larger scope it is pleasant to notice an
-increased appreciation of the high value of the work done by Dionysius
-in the field of literary criticism. Certain of these estimates may be
-quoted in conclusion. R. C. Jebb, in the _Companion to Greek Studies_
-p. 137: “The maturity of the ‘Attic revival’ is represented at Rome, in
-the Augustan age, by the best literary critic of antiquity, Dionysius
-of Halicarnassus.” A. and M. Croiset _Histoire de la littérature
-grecque_ v. p. 371: “Les uns et les autres [les contemporains et les
-rhéteurs des âges suivants] appréciaient avec raison l’érudition de
-Denys, la justesse de son esprit, sa finesse dans le discernement des
-ressemblances et des différences, la solidité de sa doctrine, son
-goût dans le choix des exemples. De plus, ils se sentaient touchés,
-comme nous et plus que nous, par la vivacité de ses admirations, par
-cette sorte de foi communicative, qui faisait de lui le défenseur des
-traditions classiques.” Wilamowitz-Moellendorff
-
-[Page 61]
-
-_Die griechische Literatur des Altertums_ pp. 102 and 148: “Von
-unbestreitbar hohem und dauerndem Werte ist die andere Seite der
-rhetorischen Theorie und Praxis, die sich auf den Ausdruck erstreckt,
-die Stilistik.... Es ist ein hohes Lob, dass er (Dionysios von
-Halikarnass) im Grunde dieselbe stilistische Überzeugung vertritt wie
-Cicero, und wir sind ihm für die Erhaltung von ungemein viel Wichtigem
-zu Dank verpflichtet; seine Schriften über die attischen Redner und
-über die Wortfügung sind auch eine nicht nur belehrende, sondern
-gefällige Lekture.” J. E. Sandys _History of Classical Scholarship_ i.
-p. 279: “In the minute and technical criticism of the art and craft
-of Greek literature, the works of Dionysius stand alone in all the
-centuries that elapsed between the _Rhetoric_ of Aristotle and the
-treatise _On the Sublime_.” G. Saintsbury _History of Criticism_ i.
-pp. 136, 137, 132: “Dionysius is a very considerable critic, and one
-to whom justice has not usually, if at all, yet been done.... A critic
-who saw far, and for the most part truly, into the proper province of
-literary criticism.... This treatise [sc. the _de Compositione_], if
-studied carefully, must raise some astonishment that Dionysius should
-have been spoken of disrespectfully by anyone who himself possesses
-competence in criticism. From more points of view than one, the piece
-gives Dionysius no mean rank as a critic.” S. H. Butcher _Harvard
-Lectures on Greek Subjects_ pp. 236, 239: “Of his fine perception of
-the harmonies of Greek speech we can entertain no reasonable doubt....
-We cannot dismiss his general criticism as unsound or fanciful. The
-whole history of the evolution of Greek prose, and the practice of the
-great masters of the art, support his main contention.” With these
-extracts may be coupled one from the _Spectator_ of March 23, 1901:
-“In this treatise Dionysius reviews and attempts to explain the art of
-literature. It is a brilliant effort to analyse the sensuous emotions
-produced by the harmonious arrangement of beautiful words. Its eternal
-truth might make it a textbook for to-day.”
-
-[Page 62]
-
-
-
-
-In the Notes and Glossary, as in the Introduction, references are
-usually given to the lines, as well as the pages, of the Greek
-text here printed: e.g. =80= 7 = page =80= line 7 of the _De
-Compositione_.—The following abbreviations are used in referring to
-volumes already issued by the editor:—
-
-    D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’
-    Long. = ‘Longinus on the Sublime.’
-    Demetr. = ‘Demetrius on Style.’
-
-[Page 63]
-
-
-
-
-  ΔΙΟΝΥΣΙΟΥ ΑΛΙΚΑΡΝΑΣΕΩΣ
-
-  _ΠΕΡΙ ΣΥΝΘΕΣΕΩΣ ΟΝΟΜΑΤΩΝ_
-
-[Page 64]
-
-
-
-
-ΔΙΟΝΥΣΙΟΥ ΑΛΙΚΑΡΝΑΣΕΩΣ
-
-_ΠΕΡΙ ΣΥΝΘΕΣΕΩΣ ΟΝΟΜΑΤΩΝ_
-
-
-I
-
-      “Δῶρόν τοι καὶ ἐγώ, τέκνον φίλε, τοῦτο δίδωμι,”
-
-καθάπερ ἡ παρ’ Ὁμήρῳ φησὶν Ἑλένη ξενίζουσα τὸν Τηλέμαχον,      5
-πρώτην ἡμέραν ἄγοντι ταύτην γενέθλιον, ἀφ’ οὗ παραγέγονας
-εἰς ἀνδρὸς ἡλικίαν, ἡδίστην καὶ τιμιωτάτην ἑορτῶν ἐμοί· πλὴν
-οὔτε #χειρῶν# δημιούργημα πέμπω σοι τῶν ἐμῶν, ὡς ἐκείνη
-φησὶ διδοῦσα τῷ μειρακίῳ τὸν πέπλον, οὔτ’ #ἐς γάμου# μόνον
-#ὥραν# καὶ #γαμετῆς# χάριν εὔθετον, ἀλλὰ ποίημα μὲν καὶ γέννημα      10
-παιδείας καὶ ψυχῆς τῆς ἐμῆς, κτῆμα δὲ σοὶ τὸ αὐτὸ
-καὶ χρῆμα πρὸς ἁπάσας τὰς ἐν τῷ βίῳ χρείας ὁπόσαι γίνονται
-διὰ λόγων ὠφέλιμον, ἀναγκαιότατον ἁπάντων χρημάτων,
-εἴ τι κἀγὼ τυγχάνω τῶν δεόντων φρονῶν, ἅπασι μὲν ὁμοίως
-τοῖς ἀσκοῦσι τοὺς πολιτικοὺς λόγους, ἐν ᾗ ποτ’ ἂν ἡλικίᾳ      15
-
-1 ἁλικαρνασσέως PV^2   4 καὶ om. V   6 ταυτηνὶ PMV   7 ἡδίστην om. P
-8 χεῖρον PV^1   9 ἔφη PV || οὔτε εἰς PMV   11 σοὶ om. E   12 πάσας EF
-13 ὠφέλιμον V: ὠφελίμων EFM: ὠφέλιμοι P   14 τι] τι δὴ MV
-
-2. For the meaning and rendering of =σύνθεσις= see Glossary, p. 326
-_infra_.
-
-5. In ll. 5, 8, 9, 10, the reference is to _Odyssey_ xv. 123-127:—
-
-          Ἑλένη δὲ παρίστατο καλλιπάρῃος
-    πέπλον ἔχουσ’ ἐν χερσίν, ἔπος τ’ ἔφατ’ ἐκ τ’ ὀνόμαζε·
-    Δῶρον τοι καὶ ἐγώ, τέκνον φίλε, τοῦτο δίδωμι,
-    μνῆμ’ Ἑλένης χειρῶν, πολυηράτου ἐς γάμου ὥρην,
-    σῇ ἀλόχῳ φορέειν.
-
-10. The word =γαμετή= is used by Dionysius in the interesting and
-highly characteristic passage which opens the _de Antiq. Oratoribus_
-(c. 2).—Here Sauppe conjectures γαμετῇ for γαμετῆς.—For =εὔθετος=
-cf. _de Thucyd._ c. 55 τὸ διηγηματικὸν μέρος αὐτῆς πλὴν ὀλίγων
-πάνυ θαυμαστῶς ἔχειν καὶ εἰς πάσας εἶναι τὰς χρείας εὔθετον, τὸ δὲ
-δημηγορικὸν οὐχ ἅπαν εἰς μίμησιν ἐπιτήδειον εἶναι.
-
-11. =κτῆμα ... χρῆμα=, ‘a treasure and a tool,’ ‘a compliment and an
-implement’: similarly =264= 14 φθόνῳ καὶ χρόνῳ (the reading of PMV),
-and =268= 9 χρόνῳ τε πολλῷ καὶ πόνῳ, =184= 25 ἀγνοίας ... προνοίας.
-Cp. the jingles found in the fragments of Gorgias, or in Aristophanes
-(ῥώμῃ ... γνώμῃ, _Av._ 637, 638; σχῆμα ... λῆμα, _Ran._ 463). Such
-rhyming tendencies (frequent in the orations of Cicero) are condemned
-in prose-writing by modern taste, though they have, in the course of
-centuries, found much acceptance in poetry.—For the antithesis in κτῆμα
-... χρῆμα cp. Isocr. _ad Demonicum_ 28, Cic. _ad Fam._ vii. 29, 30,
-Lucr. _de Rer. Nat._ iii. 971.
-
-The Epitome (except E^r) omits =σοι=, thus securing brevity at the
-price of rhythm, antithesis, and point. Cp. =66= 13, where E omits
-οἰκειοτέρα.
-
-14. =κἀγώ=: the καί gives a modest tone, as in Soph. _Philoct._ 192
-εἴπερ κἀγώ τι φρονῶ (Jebb).
-
-15. =πολιτικούς=: see =Glossary=, s.v.
-
-[Page 65]
-
-
-
-
-DIONYSIUS OF HALICARNASSUS
-
-ON
-
-LITERARY COMPOSITION
-
-
-
-
-CHAPTER I
-
-OCCASION AND PURPOSE OF THE TREATISE
-
-
-To you, Rufus Metilius, whose worthy father is my most honoured
-friend, “I also offer this gift, dear child,”[85] as Helen, in Homer,
-says while entertaining Telemachus. To-day you are keeping your first
-birthday after your arrival at man’s estate; and of all feasts this is
-to me the most welcome and most precious. I am not, however, sending
-you the work of my own _hands_ (to quote Helen’s words when she offers
-the robe to her young guest), nor what is fitted only for the season
-of marriage and “meet to pleasure a bride withal.”[86] No, it is the
-product and the child of my studies and my brain, and also something
-for you to keep and use in all the business of life which is effected
-through speech: an aid most necessary, if my estimate is of any
-account, to all alike who practise civil oratory,
-
-[Page 66]
-
-
-τε καὶ ἕξει τυγχάνωσιν ὄντες· μάλιστα δὲ τοῖς μειρακίοις τε
-καὶ νεωστὶ τοῦ μαθήματος ἁπτομένοις ὑμῖν, ὦ Ῥοῦφε Μετίλιε
-πατρὸς ἀγαθοῦ, κἀμοὶ τιμιωτάτου φίλων.
-
-διττῆς γὰρ οὔσης ἀσκήσεως περὶ πάντας ὡς εἰπεῖν τοὺς
-λόγους, τῆς περὶ τὰ νοήματα καὶ τῆς περὶ τὰ ὀνόματα, ὧν ἡ      5
-μὲν τοῦ πραγματικοῦ τόπου μᾶλλον ἐφάπτεσθαι δόξειεν ἄν,
-ἡ δὲ τοῦ λεκτικοῦ, καὶ πάντων ὅσοι τοῦ λέγειν εὖ στοχάζονται
-περὶ ἀμφοτέρας τὰς θεωρίας τοῦ λόγου ταύτας σπουδαζόντων
-ἐξ ἴσου, ἡ μὲν ἐπὶ τὰ πράγματα καὶ τὴν ἐν τούτοις
-φρόνησιν ἄγουσα ἡμᾶς ἐπιστήμη βραδεῖά ἐστι καὶ χαλεπὴ      10
-νέοις, μᾶλλον δὲ ἀδύνατος εἰς ἀγενείων καὶ μειρακίων πεσεῖν
-ἡλικίαν· ἀκμαζούσης γὰρ ἤδη συνέσεώς ἐστι καὶ πολιαῖς
-κατηρτυμένης ἡλικίας ἡ τούτων κατάληψις οἰκειοτέρα, πολλῇ
-μὲν ἱστορίᾳ λόγων τε καὶ ἔργων, πολλῇ δὲ πείρᾳ καὶ συμφορᾷ
-παθῶν οἰκείων τε καὶ ἀλλοτρίων συναυξομένη· τὸ δὲ περὶ      15
-τὰς λέξεις φιλόκαλον καὶ ταῖς νεαραῖς πέφυκε συνανθεῖν
-οὐχ ἧττον ἡλικίαις. ἐπτόηται γὰρ ἅπασα νέου ψυχὴ περὶ
-τὸν τῆς ἑρμηνείας ὡραϊσμόν, ἀλόγους τινὰς καὶ ὥσπερ ἐνθουσιώδεις
-ἐπὶ τοῦτο λαμβάνουσα τὰς ὁρμάς· οἷς πολλῆς πάνυ
-
-1 τε καὶ PV: ἢ FM || τε om. F   2 νεωστὶ PMV: ἄρτι F || μετίλιε FP:
-μελίτιε EMV   3 καμοὶ P,MV: καὶ ἐμοὶ F   4 ἀσκήσεως EPMV: ὑποθέσεως F
-  5 νοήματα καὶ τὴν λέξιν ὧν EF   6 μᾶλλον ἐφάπτεσθαι om. M   9 τούτοις
-EPMV: αὐτοῖς F   10 ἐπιστημηι F^1   11 καὶ EFMV: ἢ P   12 ἀγμαζούσης F^1
-|| πολιαῖς κατηρτυμένης FMVs: κεκοσμημένης P   13 ἡλικίαις M^2 (cf.
-v. 17 infra) || ἡ τούτων κατάληψις F γρ M: ἐστὶν ἡ τούτων κατάληψις
-E: ἡ τούτων γνῶσις ἐστὶν PMV || οἰκει[ο]τέρα cum litura F,PMV: om. E
-  15 συναυξανομένη PMV   16 φιλόκαλον EFP: φιλότιμον καὶ φιλόκαλον MV
-|| πέφυκε συνανθεῖν Reiskius: πεφυκὸς συνανθεῖν P: συνανθεῖν εἴωθεν
-οὐχ ἧττον EF: πεφυκὸς συνανθεῖν (εἴωθεν addit M) οὐχ ἧττον MV   19 ἐπὶ
-τοῦτο EF^2: ἐπὶ τοῦτον F^1MV: om. P || τὰς EFM: om. PV
-
-2. For the plural =ὑμῖν= cp. Long. xii. 5 ἀλλὰ ταῦτα μὲν ὑμεῖς [‘you
-Romans’] ἂν ἄμεινον ἐπικρίνοιτε.
-
-=Ῥοῦφε Μετίλιε=: reference may be made to the editor’s article on
-‘The Literary Circle of Dionysius of Halicarnassus’ in the _Classical
-Review_ xiv. (year 1900), pp. 439-442. Dionysius clearly numbered many
-Romans among his friends and pupils. Dedicatory books, or poems, were
-not uncommon gifts on birthdays: compare
-
-    Ἀντίπατρος Πείσωνι γενέθλιον ὤπασε βίβλον
-      μικρήν, ἐν δὲ μιῇ νυκτὶ πονησάμενος.
-    ἵλαος ἀλλὰ δέχοιτο, καὶ αἰνήσειεν ἀοιδόν,
-      Ζεὺς μέγας ὡς ὀλίγῳ πειθόμενος λιβάνῳ.
-
-                              Antipater Thessalonic.
-                              _Epigr. Anthol. Pal._ ix. 93.
-
-    θύει σοὶ τόδε γράμμα γενεθλιακαῖσιν ἐν ὥραις,
-      Καῖσαρ, Νειλαίη Μοῦσα Λεωνιδέω.
-    Καλλιόπης γὰρ ἄκαπνον ἀεὶ θύος· εἰς δὲ νέωτα,
-      ἢν ἐθέλῃς, θύσει τοῦδε περισσότερα.
-
-                              Leonidas Alexandr. _ib._ vi. 321.
-
-3. Reiske’s conjecture <παῖ> is plausible rather than necessary: cp.
-_Il._ xxi. 109 πατρὸς δ’ εἴμ’ ἀγαθοῖο and _Odyss._ iv. 611 αἵματος εἶς
-ἀγαθοῖο.—In the words =κἀμοὶ τιμιωτάτου φίλων= Dionysius illustrates
-his own contention (in c. 25) that fragments of metrical lines are
-occasionally found in prose writings. [F, however, has καὶ ἐμοί.]
-
-6. =πραγματικοῦ ... λεκτικοῦ=: see Gloss., s.v.
-
-13. =κατηρτυμένης=: cp. the sense of ‘break in,’ as in Soph. _Antig._
-477 σμικρῷ χαλινῷ δ’ οἶδα τοὺς θυμουμένους | ἵππους καταρτυθέντας and
-Plut. _Vit. Themist._ c. 2 καὶ τοὺς τραχυτάτους πώλους ἀρίστους ἵππους
-γίνεσθαι φάσκων, ὅταν ἧς προσήκει τύχωσι παιδείας καὶ καταρτύσεως. So
-Plato _Legg._ 808 D (of a child regarded as ‘the most intractable of
-animals’) ὅσῳ μάλιστα ἔχει πηγὴν τοῦ φρονεῖν μήπω κατηρτυμένην.—On
-=πολιαῖς= (although supported by FMV) Usener candidly remarks “fort.
-πολιαῖς interpolatum.”—Against =κατάληψις= (notwithstanding its strong
-manuscript support) must be weighed: (1) Dionysius’ anti-Stoicism, (2)
-the likely intrusion of a comparatively late word.
-
-14. =συμφορᾷ=: perhaps the meaning is ‘comparison of,’ as (according to
-a possible interpretation) τὰς ξυμφορὰς ... τῶν βουλευμάτων in Soph.
-_Oed. Tyr._ 44, 45.
-
-15. =συναυξομένη=: the form αὐξάνω (and its compounds) does not seem to
-be used by Dionysius.
-
-17. =οὐχ ἧττον= (EFMV) should be retained: cp. n. on line 13. The
-words can hardly be regarded as a gloss on =καὶ= ταῖς νεαραῖς, though
-εἴωθεν (see critical notes) is probably a gloss on πέφυκε, which would
-subsequently be changed to πεφυκός.
-
-=ἐπτόηται=: not infrequent in earlier and in later Greek. Aesch. _Prom.
-V._ 856 ἐπτοημένοι φρένας (‘with their hearts wildly beating’), Plato
-_Phaedo_ 68 C περὶ τὰς ἐπιθυμίας μὴ ἐπτοῆσθαι (so _Rep._ 439 D), Plut.
-_Mor._ 40 F βλὰξ ἄνθρωπος ἐπὶ παντὶ λόγῳ φιλεῖ ἐπτοῆσθαι (quoted from
-Heracleitus), id. _ib._ 1128 B ἐπτοημένους περὶ τὰ ὄψα, Chrysostom
-_de Sacerdotio_ c. 1 περὶ τὰς ἐν τῇ σκηνῇ (i.e. the theatre) τέρψεις
-ἐπτοημένον.—For youth in relation to the arts of style cp. Plut. _Vit.
-Demosth._ c. 2 (last sentence).
-
-18. =ἑρμηνείας=: see Gloss., s.v.
-
-[Page 67]
-
-whatever their age and temperament, but especially to youths like you
-who are just beginning to take up the study.
-
-We may say that in practically all speaking two things must have
-unremitting attention: the ideas and the words. In the former case,
-the sphere of subject matter is chiefly concerned; in the latter, that
-of expression; and all who aim at becoming good speakers give equally
-earnest attention to both these aspects of discourse. But the science
-which guides us to selection of matter, and to judgment in handling
-it, is hampered with difficulties for the young; indeed, for beardless
-striplings, its difficulties are insurmountable. The perfect grasp of
-things in all their bearings belongs rather to a matured understanding,
-and to an age that is disciplined by grey hairs,—an age whose powers
-are developed by prolonged investigation of discourse and action, and
-by many experiences of its own and much sharing in the fortunes of
-others. But the love of literary beauty flourishes naturally in the
-days of youth as much as in later life. For elegance of expression has
-a fascination for all young minds, making them feel impulses that are
-instinctive and akin to
-
-[Page 68]
-
-
-καὶ ἔμφρονος δεῖ τῆς πρώτης ἐπιστάσεώς τε καὶ ἀγωγῆς, εἰ
-μέλλουσι μὴ πᾶν “ὅ τι κεν ἐπ’ ἀκαιρίμαν γλῶσσαν ἔπος ἔλθῃ”
-λέγειν μηδ’ εἰκῇ συνθήσειν τὰ προστυχόντα ἀλλήλοις, ἀλλ’
-ἐκλογῇ τε χρήσεσθαι καθαρῶν ἅμα καὶ γενναίων ὀνομάτων καὶ
-συνθέσει ταῦτα κοσμήσειν μεμιγμένον ἐχούσῃ τῷ σεμνῷ τὸ      5
-ἡδύ. εἰς δὴ τοῦτο τὸ μέρος, ὃ δεῖ πρῶτον νέοις ἀσκεῖσθαι,
-“συμβάλλομαί σοι μέλος εἰς ἔρωτα” τὴν περὶ τῆς συνθέσεως
-τῶν ὀνομάτων πραγματείαν ὀλίγοις μὲν ἐπὶ νοῦν ἐλθοῦσαν,
-ὅσοι τῶν ἀρχαίων ῥητορικὰς ἢ διαλεκτικὰς συνέγραψαν τέχνας,
-οὐδενὶ δ’ ἀκριβῶς οὐδ’ ἀποχρώντως μέχρι τοῦ παρόντος ἐξειργασμένην,   10
-ὡς ἐγὼ πείθομαι. ἐὰν δ’ ἐγγένηταί μοι σχολή, καὶ
-περὶ τῆς ἐκλογῆς τῶν ὀνομάτων ἑτέραν ἐξοίσω σοι γραφήν,
-ἵνα τὸν λεκτικὸν τόπον τελείως ἐξειργασμένον ἔχῃς. ἐκείνην
-μὲν οὖν τὴν πραγματείαν εἰς νέωτα πάλιν ὥραις ταῖς αὐταῖς
-προσδέχου θεῶν ἡμᾶς φυλαττόντων ἀσινεῖς τε καὶ ἀνόσους, εἰ      15
-δήποτε ἡμῖν ἄρα τούτου πέπρωται βεβαίως τυχεῖν· νυνὶ δὲ
-ἣν τὸ δαιμόνιον ἐπὶ νοῦν ἤγαγέ μοι πραγματείαν δέχου.
-
-κεφάλαια δ’ αὐτῆς ἐστιν ἃ πρόκειταί μοι δεῖξαι ταῦτα,
-τίς τε ἐστὶν ἡ τῆς συνθέσεως φύσις καὶ τίνα ἰσχὺν ἔχει, καὶ
-τίνων στοχάζεται καὶ πῶς αὐτῶν τυγχάνει, καὶ τίνες αἱ γενικώταται     20
-αὐτῆς εἰσι διαφοραὶ καὶ τίς ἑκάστης χαρακτὴρ καὶ ποίαν
-
-1 ἐπιστάσεως EF: ἐπιστασίας PMV   3 μηδὲ PF^1V || εἰκῆ sine iota PF^2:
-εἰκεῖ F^1 || ἀλλὰ PMV   4 τε χρήσεσθαι s: τε χρήσασθαι PMV: κεχρῆσθαι
-sine τε EF   5 τῶ σεμνῶ sine iota P: σεμνῶ[ι] cum litura F   6 ἐσ F
-  7 συμβάλλομέν F || μέλος M. Schmidt: μέρος libri || εἰς F: εἰς τὸν
-PMV || τὴν (ex τῆς) F,M: τὸν P,V in marg.: τὸ r || τῆς F: om. PMV   8
-ὀλίγοις] οὐκ ὀλίγοις V in marg. || ἐλθοῦσαν ἐπινοῦν F   9 ἀρχομένων M
-|| διαλεκτικὰς F: καὶ λεκτικὰς P: καὶ διαλεκτικὰς MV   10 et 11 δὲ PMV
-  10 ἀποχρώντως οὐδ’ ἀκριβῶς F || οὐδὲ PMV   12 σοι om. F   13 ἔχης P
-sine iota   15 ἀνούσους P   16 ἄρα om. F   17 δέχου F: προσδέχου PMV
-18 δὲ PMV || ταῦτα δεῖξαι F   19 τε om. M   21 τίνες ἑκάστης χαρακτῆρες
-F
-
-2. The reference is to the indiscretions of an impertinent
-tongue,—‘Whatever, without rhyme and reason, | Occurs to the tongue out
-of season’: Lat. _quicquid in buccam_. Cp. Lucian _de conscrib. hist._
-c. 32 ἀναπλάττοντες ὅ τι κεν ἐπ’ ἀκαιρίμαν γλῶσσαν, φασίν, ἔλθῃ.
-
-4. The κεχρῆσθαι of EF perhaps points to τε χρῆσθαι as the right
-reading. We should then have λέγειν ... συν#θήσειν#, χρῆσθαι ...
-κοσ#μήσειν#: a combination of present and future infinitives which
-would be in keeping with Dionysius’ love of _variety_ (μεταβολή).
-
-6. “Write νέους. The dative with the passive present, though of course
-possible, is unlikely in Dionysius. ἀσκῶ can take two accusatives,” H.
-Richards in _Classical Review_ xix. 252.
-
-7. M. Schmidt’s conjecture =μέλος= (M. Schmidt _Diatribe in
-Dithyrambum_, Berol. 1845) seems to be established by Athenaeus xv. 692
-D ἐπεὶ δ’ ἐνταῦθα τοῦ λόγου ἐσμέν, συμβαλοῦμαί τι μέλος ὑμῖν εἰς ἔρωτα,
-κατὰ τὸν Κυθήριον ποιητήν: cp. _ib._ vi. 271 B συμβαλοῦμαί τι καὶ αὐτὸς
-μέλος εἰς ἔρωτα τῷ σοφῷ καὶ φιλτάτῳ Δημοκρίτῳ.—In itself, however,
-συμβάλλομαι μέρος gives good sense (cp. Plato _Legg._ 836 D τί μέρος
-ἡμῖν ξυμβάλλοιτ’ ἂν πρὸς ἀρετήν;); and the repetition of μέρος might
-be deliberate,—‘to this part of the subject ... I contribute as my
-part.’—ἔρανον [corrupted into ἔρον, ἔρων, ἔρωτα] might be conjectured
-in place of ἔρωτα, if any considerable change were needed.
-
-8. In estimating Dionysius’ obligations to his predecessors, it should
-be noticed that the correct reading here is not οὐκ ὀλίγοις (as in
-the editions of Reiske and Schaefer) but ὀλίγοις.—For =συνθέσεως= see
-Gloss., s.v.
-
-11. Either (1) ἐὰν δ’ ἐγγένηταί μοι (without σχολή), or (2) ἐὰν δὲ
-γένηταί μοι σχολή, would be more natural. Cp. H. Richards in _Classical
-Review_, l.c.
-
-12. Either Dionysius did not fulfil his design, or this treatise on the
-‘choice of words’ has been lost. For other lost works of Dionysius see
-D.H. p. 7.
-
-14. =εἰς νέωτα=: Hesychius, εἰς τὸ ἐπιὸν ἢ νέον ἔτος. Cp. Theophr. _de
-c. Pl._ iii. 16. 2 τὸν εἰς νέωτα καρπόν.
-
-17. =τὸ δαιμόνιον=: cp. _de Demosth._ c. 58 ad f. ἐὰν δὲ σῴζῃ τὸ
-δαιμόνιον ἡμᾶς κτλ.
-
-18. =ταῦτα=: compare =86= 4, =90= 15, =100= 12, 27, =106= 5, and
-contrast =98= 20, 21, =100= 16, 17, 18.
-
-[Page 69]
-
-inspiration. Young people need, at the beginning, much prudent
-oversight and guidance, if they are not to utter
-
-            What word soe’er may have sprung
-            To the tip of an ill-timed tongue,[87]
-
-nor to form at random any chance combinations, but to select pure
-and noble words, and to place them in the beautiful setting of a
-composition that unites charm to dignity. So in this department, the
-first in which the young should exercise themselves, “for love’s
-service I lend you a strain,”[88] in the shape of this treatise on
-literary composition. The subject has occurred to but few of all the
-ancients who have composed manuals of rhetoric or dialectic, and by
-none has it been, to the best of my belief, accurately or adequately
-treated up to the present time. If I find leisure, I will produce
-another book for you—one on the choice of words, in order that you may
-have the subject of expression exhaustively treated. You may expect
-that treatise next year at the same festive season, the gods guarding
-us from accident and disease, if it so be that our destiny has reserved
-for us the secure attainment of this blessing. But now accept the
-treatise which my good genius has suggested to me.
-
-The chief heads under which I propose to treat the subject are the
-following: what is the nature of composition, and where its strength
-lies; what are its aims and how it attains them; what are its principal
-varieties, what is the distinctive
-
-[Page 70]
-
-
-κρατίστην αὐτῶν εἶναι πείθομαι, καὶ ἔτι πρὸς τούτοις, τί ποτ’
-ἐστὶ τὸ ποιητικὸν ἐκεῖνο καὶ εὔγλωσσον καὶ μελιχρὸν ἐν ταῖς
-ἀκοαῖς, ὃ πέφυκε τῇ συνθέσει τῆς πεζῆς λέξεως παρακολουθεῖν,
-ποιητικῆς τε κατασκευῆς τὸν ἀποίητον ἐκμιμουμένης λόγον καὶ
-σφόδρα ἐν τῇ μιμήσει κατορθούσης ποῦ τὸ κράτος, καὶ διὰ      5
-ποίας ἂν ἐπιτηδεύσεως ἐγγένοιτο ἑκάτερον αὐτῶν. τοιαυτὶ
-μὲν δή τινά ἐστιν ὡς τύπῳ περιλαβεῖν ὑπὲρ ὧν μέλλω λέγειν,
-ἄρχεται δὲ ἐνθένδ’ ἡ πραγματεία.
-
-
-II
-
-ἡ σύνθεσις ἔστι μέν, ὥσπερ καὶ αὐτὸ δηλοῖ τοὔνομα,
-ποιά τις θέσις παρ’ ἄλληλα τῶν τοῦ λόγου μορίων, ἃ δὴ καὶ      10
-στοιχεῖά τινες τῆς λέξεως καλοῦσιν. ταῦτα δὲ Θεοδέκτης μὲν
-καὶ Ἀριστοτέλης καὶ οἱ κατ’ ἐκείνους φιλοσοφήσαντες τοὺς
-χρόνους ἄχρι τριῶν προήγαγον, ὀνόματα καὶ ῥήματα καὶ
-συνδέσμους πρῶτα μέρη τῆς λέξεως ποιοῦντες. οἱ δὲ μετὰ
-τούτους γενόμενοι, καὶ μάλιστα οἱ τῆς Στωικῆς αἱρέσεως      15
-ἡγεμόνες, ἕως τεττάρων προὐβίβασαν, χωρίσαντες ἀπὸ τῶν
-συνδέσμων τὰ ἄρθρα. εἶθ’ οἱ μεταγενέστεροι τὰ προσηγορικὰ
-διελόντες ἀπὸ τῶν ὀνοματικῶν πέντε ἀπεφήναντο τὰ πρῶτα
-μέρη. ἕτεροι δὲ καὶ τὰς ἀντονομασίας ἀποζεύξαντες ἀπὸ τῶν
-ὀνομάτων ἕκτον στοιχεῖον τοῦτ’ ἐποίησαν. οἱ δὲ καὶ τὰ      20
-ἐπιρρήματα διεῖλον ἀπὸ τῶν ῥημάτων καὶ τὰς προθέσεις ἀπὸ
-
-1 εἶναι F: om PMV   4 ποιητικῆς τε om. P || ἐκμημουμένης P^1   5 ποῦ]
-αὐτοῦ PV: τοῦτο FM: αὐτῷ s   6 ἐγγένοιτο F: γένοιτο PMV   8 ἄρχεται
-δὲ ἐνθένδ’ ἡ πραγματεία om. s || δὲ om. V || ἔνθεν PF^2: ἐντεῦθεν
-F^1MV   9 ἔστι μὲν EFM: ἐστιν PV   13 προῆγον F   14 μετὰ τούτους F:
-μετ’ αὐτοὺς PMV   16 τεσσάρων F   19 ἀντωνυμίας V   20 τοῦτο PMV   21
-ἐπ[ι]ρρήματα cum litura P || διεῖλον PMV: διελόντες F
-
-4. =κατασκευῆς=: see Gloss., s.v.
-
-5. Usener’s conjecture εὖ τί may derive some colour from the manuscript
-readings in =72= 10. But =270= 11 shows that εὖ is not necessary
-here, and ποῦ is nearer the manuscript tradition. Cp. also =250= 3
-(κατορθουμένοις), =198= 11 (κατόρθωμα), _de Thucyd._ c. 1 (τῆς δυνάμεως
-οὐκ ἐν ἅπασι τοῖς ἔργοις κατορθούσης). Other examples are quoted in
-Long. p. 202.
-
-7. =ὑπέρ=: cp. =72= 3, 17: περί, =68= 12.
-
-10. _de Demosth._ c. 48 τοῖς πρώτοις μορίοις τῆς λέξεως, ἃ δὴ στοιχεῖα
-ὑπό τινων καλεῖται, εἴτε τρία ταῦτ’ ἐστίν, ὡς Θεοδέκτῃ τε καὶ
-Ἀριστοτέλει δοκεῖ, ὀνόματα καὶ ῥήματα καὶ σύνδεσμοι, εἴτε τέτταρα, ὡς
-τοῖς περὶ Ζήνωνα τὸν Στωικόν, εἴτε πλείω, δύο ταῦτα ἀκολουθεῖ μέλος καὶ
-χρόνος ἴσα. Quintil. i. 4. 18, 19 “tum videbit, ad quem hoc pertinet,
-quot et quae partes orationis; quamquam de numero parum convenit.
-veteres enim, quorum fuerunt Aristoteles quoque atque Theodectes, verba
-modo et nomina et convinctiones tradiderunt; videlicet quod in verbis
-vim sermonis, in nominibus materiam (quia alterum est quod loquimur,
-alterum de quo loquimur), in convinctionibus autem complexus eorum
-esse iudicaverunt; quas coniunctiones a plerisque dici scio, sed haec
-videtur ex συνδέσμῳ magis propria translatio. paulatim a philosophis ac
-maxime Stoicis auctus est numerus, ac primum convinctionibus articuli
-adiecti, post praepositiones: nominibus appellatio, deinde pronomen,
-deinde mixtum verbo participium, ipsis verbis adverbia. noster sermo
-articulos non desiderat, ideoque in alias partes orationis sparguntur.”
-Quintilian elsewhere (ii. 15. 10) writes: “a quo non dissentit
-Theodectes, sive ipsius id opus est, quod de rhetorice nomine eius
-inscribitur, sive ut creditum est Aristotelis.” It is hardly likely
-that in i. 4. 18 Quintilian is translating from the _de C.V._ c. 2; the
-coincidences are, rather, due to the use of common sources.—Dionysius
-does not mention Dionysius Thrax, the author of the first Greek
-Grammar, nor does he seem to take account of Aristot. _Poet._ c. 20.
-
-13. The Arabic grammarians in the same way reckon ‘verbs,’ ‘nouns,’ and
-‘particles.’
-
-15. Cp. =96= 8, 12 _infra_.
-
-17. =τὰ προσηγορικὰ διελόντες=: cp. Dionysius Thrax _Ars Gramm._ p.
-23 (Uhlig) τοῦ δὲ λόγου μέρη ἐστὶν ὀκτώ· ὄνομα, ῥῆμα, μετοχή, ἄρθρον,
-ἀντωνυμία, πρόθεσις, ἐπίρρημα, σύνδεσμος· ἡ γὰρ προσηγορία ὡς εἶδος τῷ
-ὀνόματι ὑποβέβληται.
-
-21. This seems to imply that adverbs were originally included in
-verbs—that, for example, εὖ ποιεῖν (like _bene facere_ in Plautus) was
-regarded as a quasi-compound. It is to be remembered that the division
-of words in writing is a later invention.
-
-[Page 71]
-
-feature of each, and which of them I believe to be the most effective;
-and still further, what is that poetical element, so pleasant on the
-tongue and so sweet to the ear, which naturally accompanies composition
-in prose, and wherein lies the effectiveness of that poetical art
-which imitates plain prose and succeeds excellently in doing so, and
-by what method each of those two results may be attained. Such, in
-broad outline, are the topics with which I intend to deal, and on this
-programme my treatise is based.
-
-
-CHAPTER II
-
-COMPOSITION DEFINED
-
-_Composition_ is, as the very name indicates, a certain arrangement
-of the parts of speech, or elements of diction, as some call them.
-These were reckoned as three only by Theodectes and Aristotle and the
-philosophers of those times, who regarded nouns, verbs and connectives
-as the primary parts of speech. Their successors, particularly the
-leaders of the Stoic school, raised the number to four, separating the
-articles from the connectives. Then the later inquirers divided the
-appellatives from the substantives, and represented the primary parts
-of speech as five. Others detached the pronouns from the nouns, and so
-introduced a sixth element. Others, again, divided the adverbs from the
-verbs, the prepositions
-
-[Page 72]
-
-
-τῶν συνδέσμων καὶ τὰς μετοχὰς ἀπὸ τῶν προσηγορικῶν, οἱ δὲ
-καὶ ἄλλας τινὰς προσαγαγόντες τομὰς πολλὰ τὰ πρῶτα μόρια
-τῆς λέξεως ἐποίησαν· ὑπὲρ ὧν οὐ μικρὸς ἂν εἴη λόγος. πλὴν
-ἥ γε τῶν πρῶτων εἴτε τριῶν ἢ τεττάρων εἴθ’ ὅσων δήποτε
-ὄντων μερῶν πλοκὴ καὶ παράθεσις τὰ λεγόμενα ποιεῖ      5
-κῶλα, ἔπειθ’ ἡ τούτων ἁρμονία τὰς καλουμένας συμπληροῖ
-περιόδους, αὗται δὲ τὸν σύμπαντα τελειοῦσι λόγον. ἔστι δὴ
-τῆς συνθέσεως ἔργα τά τε ὀνόματα οἰκείως θεῖναι παρ’ ἄλληλα
-καὶ τοῖς κώλοις ἀποδοῦναι τὴν προσήκουσαν ἁρμονίαν καὶ ταῖς
-περιόδοις διαλαβεῖν εὖ τὸν λόγον.      10
-
-δευτέρα δ’ οὖσα μοῖρα τῶν περὶ τὸν λεκτικὸν τόπον
-θεωρημάτων κατὰ γοῦν τὴν τάξιν (ἡγεῖται γὰρ ἡ τῶν
-ὀνομάτων ἐκλογὴ καὶ προϋφίσταται ταύτης κατὰ φύσιν)
-ἡδονὴν καὶ πειθὼ καὶ κράτος ἐν τοῖς λόγοις οὐκ ὀλίγῳ
-κρεῖττον ἐκείνης ἔχει. καὶ μηδεὶς ἡγήσηται παράδοξον, εἰ      15
-πολλῶν καὶ μεγάλων ὄντων θεωρημάτων περὶ τὴν ἐκλογήν,
-ὑπὲρ ὧν πολὺς ἐγένετο φιλοσόφοις τε καὶ πολιτικοῖς ἀνδράσι
-λόγος, ἡ σύνθεσις δευτέραν ἔχουσα χώραν τῇ τάξει καὶ λόγων
-οὐδέ, πολλοῦ δεῖ, τῶν ἴσων ἐκείνῃ τυχοῦσα τοσαύτην ἰσχὺν
-ἔχει καὶ δύναμιν ὥστε περιεῖναι πάντων τῶν ἐκείνης ἔργων      20
-καὶ κρατεῖν, ἐνθυμούμενος ὅτι καὶ ἐπὶ τῶν ἄλλων τεχνῶν,
-ὅσαι διαφόρους ὕλας λαμβάνουσαι συμφορητὸν ἐκ τούτων
-ποιοῦσι τὸ τέλος, ὡς οἰκοδομική τε καὶ τεκτονικὴ καὶ ποικιλτικὴ
-καὶ ὅσαι ταῖς τοιαύταις εἰσὶν ὁμοιογενεῖς, αἱ συνθετικαὶ
-δυνάμεις τῇ μὲν τάξει δεύτεραι τῶν ἐκλεκτικῶν εἰσι, τῇ δὲ      25
-δυνάμει πρότεραι· ὥστ’ εἰ καὶ τῷ λόγῳ τὸ αὐτὸ συμβέβηκεν,
-οὐκ ἄτοπον ἡγητέον. οὐδὲν δὲ κωλύει καὶ πίστεις παρασχεῖν
-
-2 προσαγαγόντες F: εἰσάγοντες PVa: προεισαγαγόντες M   3 οὐ μικρὸς
-PMV: πολλὺς sic F   4 τῶν τριῶν PMV: * * * τριῶν * * * * F   5 καὶ om.
-P^1   8 οἰκείως θεῖναι τά τε ὀνόματα (verbis in hunc modum dispositis)
-PMV || παράλληλα PM, corr. F^1   9 ἀποδιδόναι F || ἀρμονίαν FP: sic
-passim   10 λαβεῖν F^1 || εὖ τὸν EF: αὐτὸν ὅλον τὸν PMV   11 δὲ PMV
-12 κατὰ γοὖν F: κατανοοῦντι EPMV   14 τοῖς EF: om. PMV || ὀλίγον M   15
-κρεῖττον EFM: κρείττω PV || ἡγήσεται F  17 καὶ ῥητορικοῖς PMV || ἀνδρᾶσι
-F: ἀνδράσιν P   18 χώραν ἔχουσα F || συντάξει F^1   19 ἐκείνη (sine
-iota) FP   21 ἐπὶ EF: αἱ περὶ PMV   22 δ(ια)αφόρους P^1 || λαμβάνουσιν
-F: λαμβάνουσι M   23 τε om. EF || πολιτικὴ E   24 ταῖς τοιαύταις PMV:
-ταύτης F || ὁμοιογενεῖς P: ὁμογενεῖς FMV   25 τῶν λεκτικῶν E
-
-6. =ἁρμονία=: see Gloss., s.v.
-
-8. Cic. _de Orat._ iii. 43. 171 “sequitur continuatio verborum, quae
-duas res maxime, collocationem primum, deinde modum quendam formamque
-desiderat. collocationis est componere et struere verba sic, ut neve
-asper eorum concursus neve hiulcus sit, sed quodam modo coagmentatus et
-levis; in quo lepide soceri mei persona lusit is, qui elegantissime id
-facere potuit, Lucilius:
-
-    quam lepide λέξεις compostae! ut tesserulae omnes
-    arte pavimento atque emblemate vermiculato.”
-
-9. In the actual contents of his treatise Dionysius pays more attention
-to the ὀνόματα than to the κῶλα and περίοδοι. The importance of
-employing periods judiciously is indicated in =118= 15.
-
-12. κατανοοῦντι (the more difficult and better supported reading) may
-be right, cp. =90= 12 εἰσπλέοντι (from Thucydides).
-
-13. Cic. _Brut._ 72. 253 “primoque in libro dixerit (Caesar) verborum
-dilectum originem esse eloquentiae.”
-
-25. For the antithesis cp. Demosth. _Olynth._ iii. 15 τὸ γὰρ πράττειν
-τοῦ λέγειν καὶ χειροτονεῖν ὕστερον ὂν τῇ τάξει, πρότερον τῇ δυνάμει καὶ
-κρεῖττόν ἐστιν.
-
-[Page 73]
-
-from the connectives and the participles from the appellatives; while
-others introduced still further subdivisions, and so multiplied the
-primary parts of speech. The subject would afford scope for quite a
-long discussion. Enough to say that the combination or juxtaposition
-of these primary parts, be they three, or four, or whatever may be
-their number, forms the so-called “members” (or clauses) of a sentence.
-Further, the fitting together of these clauses constitutes what are
-termed the “periods,” and these make up the complete discourse. The
-function of composition is to put words together in an appropriate
-order, to assign a suitable connexion to clauses, and to distribute the
-whole discourse properly into periods.
-
-Although in logical order arrangement of words occupies the second
-place when the department of expression is under investigation, since
-the selection of them naturally takes precedence and is assumed to be
-already made; yet it is upon arrangement, far more than upon selection,
-that persuasion, charm, and literary power depend. And let no one deem
-it strange that, whereas many serious investigations have been made
-regarding the choice of words,—investigations which have given rise
-to much debate among philosophers and political orators,—composition,
-though it holds the second place in order, and has been the subject
-of far fewer discussions than the other, yet possesses so much solid
-strength, so much active energy, that it triumphantly outstrips all the
-other’s achievements. It must be remembered that, in the case of all
-the other arts which employ various materials and produce from them a
-composite result,—arts such as building, carpentry, embroidery, and the
-like,—the faculties of composition are second in order of time to those
-of selection, but are nevertheless of greater importance. Hence it must
-not be thought abnormal that the same principle obtains with respect to
-discourse. But we may as well submit proofs of this statement,
-
-[Page 74]
-
-
-τοῦ προκειμένου, μή τι δόξωμεν ἐξ ἑτοίμου λαμβάνειν τῶν ἀμφισβήτησιν
-ἐχόντων λόγων.
-
-
-III
-
-ἔστι τοίνυν πᾶσα λέξις ᾗ σημαίνομεν τὰς νοήσεις ἡ μὲν
-ἔμμετρος, ἡ δὲ ἄμετρος· ὧν ἑκατέρα καλῆς μὲν ἁρμονίας
-τυχοῦσα καλὸν οἵα τ’ ἐστὶ ποιεῖν καὶ τὸ μέτρον καὶ τὸν      5
-λόγον, ἀνεπιστάτως δὲ καὶ ὡς ἔτυχεν ῥιπτομένη προσαπόλλυσι
-καὶ τὸ ἐν τῇ διανοίᾳ χρήσιμον. πολλοὶ γοῦν καὶ
-ποιηταὶ καὶ συγγραφεῖς φιλόσοφοί τε καὶ ῥήτορες λέξεις
-πάνυ καλὰς καὶ πρεπούσας τοῖς ὑποκειμένοις ἐκλέξαντες
-ἐπιμελῶς, ἁρμονίαν δὲ αὐταῖς ἀποδόντες εἰκαίαν τινὰ καὶ      10
-ἄμουσον οὐδὲν χρηστὸν ἀπέλαυσαν ἐκείνου τοῦ πόνου. ἕτεροι
-δ’ εὐκαταφρόνητα καὶ ταπεινὰ λαβόντες ὀνόματα, συνθέντες
-δ’ αὐτὰ ἡδέως καὶ περιττῶς πολλὴν τὴν ἀφροδίτην τῷ λόγῳ
-περιέθηκαν. καὶ σχεδὸν ἀνάλογόν τι πεπονθέναι δόξειεν ἂν
-ἡ σύνθεσις πρὸς τὴν ἐκλογήν, ὃ πάσχει τὰ ὀνόματα πρὸς      15
-τὰ νοήματα. ὥσπερ γὰρ οὐδὲν ὄφελος διανοίας ἐστὶ χρηστῆς,
-εἰ μή τις αὐτῇ κόσμον ἀποδώσει καλῆς ὀνομασίας, οὕτω
-κἀνταῦθα οὐδέν ἐστι προὔργου λέξιν εὑρεῖν καθαρὰν καὶ καλλιρήμονα,
-εἰ μὴ καὶ κόσμον αὐτῇ τις ἁρμονίας τὸν προσήκοντα
-περιθήσει.      20
-
-ἵνα δὲ μὴ δόξω φάσιν ἀναπόδεικτον λέγειν, ἐξ ὧν
-ἐπείσθην κρεῖττον εἶναι καὶ τελειότερον ἄσκημα τῆς ἐκλογῆς
-
-4 ἄμετρος ἣ δ’ (ex ἥδ’ corr.) ἔμμετρος F,E || καλ(ῶς) P || μὲν om. M
-  5 οἵα τ’ M: οἷά τ’ PV: οἷά τε F,E || καὶ τὸ FE: τὸ PMV   6 ἔτυχεν]
-ἔοικε M || ῥιπτομένη PMVE: ῥιπτουμένη F   7 τὸ om. F^1 || γοὖν καὶ F,E:
-γοῦν PMV   10 ἀποδόντες E γρ M: [ἀποδόν]τες cum litura F: περιθέντες
-PV: παραθέντες M   12 δὲ PMV   13 δε PV || ἀντὰ P^1 || ἰδίως EFM^1:
-ἡδέως ex ἱδίως P^1: ἰδέως M^2 || τ(ῶ) λόγ(ω) P: τῶν λόγων M   14 ἂν om.
-M   16 ἐστὶ ante διανοίας ponunt EF   17 κόσμον * * * * * P || ἀποδώσῃ
-F   18 καὶ ἐνταῦθα EF || πούργου P^1 (ρ suprascr. P^2): προὔργον V ||
-καλλιῥήμονα FM,P: καλλιῤῥήμονα V   19 τίς F: τ(ῆς) P,MV   21 φασὶν
-libri: corr. Krueger || ἀναπόδεικτον P: ἀναπόδεικτα F^2MV: ἀπόδεικτα
-F^1   22 κρεῖττον] καὶ κρεῖττον F || τελεώτερον M
-
-1. =ἐξ ἑτοίμου λαμβάνειν=: cp. =78= 13 ἐξ ἑτοίμου λαβὼν ἐχρήσατο.
-
-9. There is much similarity, both in thought and in expression, between
-this passage and the _de Sublimitate_ xl. 2: ἀλλὰ μὴν ὅτι γε πολλοὶ
-καὶ συγγραφέων καὶ ποιητῶν οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ
-ἀμεγέθεις, ὅμως κοινοῖς καὶ δημώδεσι τοῖς ὀνόμασι καὶ οὐδὲν ἐπαγομένοις
-περιττὸν ὡς τὰ πολλὰ συγχρώμενοι, διὰ μόνου τοῦ συνθεῖναι καὶ ἁρμόσαι
-ταῦτα δ’ ὅμως ὄγκον καὶ διάστημα καὶ τὸ μὴ ταπεινοὶ δοκεῖν εἶναι
-περιεβάλοντο, καθάπερ ἄλλοι τε πολλοὶ καὶ Φίλιστος, Ἀριστοφάνης ἔν
-τισιν, ἐν τοῖς πλείστοις Εὐριπίδης, ἱκανῶς ἡμῖν δεδήλωται. The author
-of the _de Subl._ had, as he himself tells us, dealt with the subject
-of composition ἐν δυσὶν συντάγμασιν (xxxix. 1 _ibid._).
-
-13. ἰδίως may be right, meaning with περιττῶς ‘in a special and
-distinctive manner.’
-
-14. The Aristotelian ἀναλογία is before the author’s mind here, just as
-is the Aristotelian doctrine of τὸ μέσον later in the treatise (=246=
-16).
-
-17. _de Demosth._ c. 18 οὐχ ἅπαντα δέ γε τὰ πράγματα τὴν αὐτὴν ἀπαιτεῖ
-διάλεκτον, ἀλλ’ ἔστιν ὥσπερ σώμασι πρέπουσά τις ἐσθής, οὕτως καὶ
-νοήμασιν ἁρμόττουσά τις ὀνομασία.
-
-18. =προὔργου=: cp. Plato _Alcib. II._ 149 E ὥστε οὐδὲν αὐτοῖς ἦν
-προὔργου θύειν τε καὶ δῶρα τελεῖν μάτην.
-
-21. MS. Canon. 45 has φάσιν, ἀναπόδεικτον, as reported (_Journal of
-Philology_ xxvii. 84) by A. B. Poynton, who compares Aristot. _Eth.
-Nic._ 1143 b 12 ὥστε δεῖ προσέχειν τῶν ἐμπείρων καὶ πρεσβυτέρων ἢ
-φρονίμων ταῖς ἀναποδείκτοις φάσεσι καὶ δόξαις οὐχ ἧττον τῶν ἀποδείξεων.
-διὰ γὰρ τὸ ἔχειν ἐκ τῆς ἐμπειρίας ὄμμα ὁρῶσιν ὀρθῶς. Probably Dionysius
-has this passage of Aristotle in his mind, and wishes it to be
-understood that he does not mean to dogmatize simply on the score of
-being an old and experienced teacher. In the _Rhet. ad Alex._ 1432 a
-33, an _oath_ is defined as: μετὰ θείας παραλήψεως φάσις ἀναπόδεικτος.
-
-[Page 75]
-
-that we may not be thought to assume off-hand the truth of a doubtful
-proposition.
-
-
-CHAPTER III
-
-THE MAGICAL EFFECT OF COMPOSITION, OR WORD-ORDER
-
-Every utterance, then, by which we express our thoughts is either in
-metre or not in metre. Whichever it be, it can, when aided by beautiful
-arrangement, attain beauty whether of verse or prose. But speech, if
-flung out carelessly at random, at the same time spoils the value of
-the thought. Many poets, and prose-writers (philosophers and orators),
-have carefully chosen expressions that are distinctly beautiful and
-appropriate to the subject matter, but have reaped no benefit from
-their trouble because they have given them a rude and haphazard sort of
-arrangement: whereas others have invested their discourse with great
-beauty by taking humble, unpretending words, and arranging them with
-charm and distinction. It may well be thought that composition is to
-selection what words are to ideas. For just as a fine thought is of
-no avail unless it be clothed in beautiful language, so here too pure
-and elegant expression, is useless unless it be attired in the right
-vesture of arrangement.
-
-But to guard myself against the appearance of making an unsupported
-assertion, I will try to show by an appeal to facts
-
-[Page 76]
-
-
-τὴν σύνθεσιν, ἔργῳ πειράσομαι δεικνύναι, ἐμμέτρων τε καὶ
-πεζῶν λόγων ἀπαρχὰς ὀλίγας προχειρισάμενος. λαμβανέσθω
-δὲ ποιητῶν μὲν Ὅμηρος, συγγραφέων δὲ Ἡρόδοτος· ἀπόχρη
-γὰρ ἐκ τούτων καὶ περὶ τῶν ἄλλων εἰκάσαι. ἔστι δὴ παρ’
-Ὁμήρῳ μὲν ὁ παρὰ τῷ συβώτῃ καταγόμενος Ὀδυσσεὺς περὶ      5
-τὴν ἑωθινὴν ὥραν ἀκρατίζεσθαι μέλλων, ὡς τοῖς παλαιοῖς
-ἔθος ἦν· ἔπειτα ὁ Τηλέμαχος αὐτοῖς ἐπιφαινόμενος ἐκ τῆς εἰς
-Πελοπόννησον ἀποδημίας· πραγμάτια λιτὰ καὶ βιωτικὰ
-ἡρμηνευμένα ὑπέρευ. ποῦ δ’ ἐστὶν ἡ τῆς ἑρμηνείας ἀρετή;
-τὰ ποιήματα δηλώσει παρατεθέντα αὐτά·      10
-
-        τὼ δ’ αὖτ’ ἐν κλισίῃς Ὀδυσεὺς καὶ δῖος ὑφορβὸς
-        ἐντύνοντ’ ἄριστον ἅμ’ ἠοῖ κειαμένω πῦρ
-        ἔκπεμψάν τε νομῆας ἅμ’ ἀγρομένοισι σύεσσι.
-        Τηλέμαχον δὲ περίσσαινον κύνες ὑλακόμωροι
-        οὐδ’ ὕλαον προσιόντα. νόησε δὲ δῖος Ὀδυσσεὺς      15
-        σαίνοντάς τε κύνας, ὑπὸ δὲ κτύπος ἦλθε ποδοῖιν·
-        αἶψα δ’ ἄρ’ Εὔμαιον προσεφώνεεν ἐγγὺς ἐόντα·
-          Εὔμαι’, ἦ μάλα τίς τοι ἐλεύσεται ἐνθάδ’ ἑταῖρος
-        ἢ καὶ γνώριμος ἄλλος, ἐπεὶ κύνες οὐχ ὑλάουσιν,
-        ἀλλὰ περισσαίνουσι· ποδῶν δ’ ὑπὸ δοῦπον ἀκούω.      20
-          οὔπω πᾶν εἴρητο ἔπος, ὅτε οἱ φίλος υἱὸς
-        ἔστη ἐνὶ προθύροισι. ταφὼν δ’ ἀνόρουσε συβώτης·
-
-1 ἔργω F || δεικνῦναι F || ἐνμέτρων F   4 εἰκᾶσαι F   5 ὁμήρ(ω) P ||
-τῳ om. P || σϊβώτηι P: corr. in margine P^2 || ὀδυσεὺς P   8 πραγμάτια
-λιτὰ καὶ PV: πραγμάτια ἅττα F: πραγματιάττα λιτὰ καὶ M   9 δ’ ἔστιν F:
-δέ (ἐστιν) P   11 κλισίησ’ EFV: κλισίῃ Hom. || ὀδυσσεὺς FP^2M^1V   12
-ἐντύνοντ(ες) P,V   13 ἐκπέμψαντε EFPM || ἀγρομένοισ(ιν) P  14 περίσαινον
-FEV   15 ὀδυσεὺς P   16 περί τε κτύπος Hom.   17 ἂρ sic FP || ἔπεα
-πτερόεντα προσηύδα Hom.   18 ἐῦμαι’ P: εὔμαιε V   20 περισαίνουσι FV
-22 ἐπὶ F || προθύροισ(ιν) P
-
-5. The extract from the _Odyssey_ well illustrates that Homeric
-nobleness which pervades even the homeliest scenes; and Dionysius
-is right in pointing out that this nobleness does not depend on any
-striking choice of phrase, since Homer’s language is usually quite
-plain and straightforward.
-
-6. On _Odyss._ xvi. 2 (ἄριστον) there is the following scholium, ὅτι
-καὶ ἐν τῇ Ἰλιάδι ἅμα τῇ ἀνατολῇ ἐσθίουσιν: and similarly on Theocr.
-i. 50, πρωΐας ἔτι οὔσης ὀλίγον τινὰ ἐσθίομεν ἄρτον καὶ ἄκρατον οἶνον
-πίνομεν.
-
-9. The charm of a simple scene, simply but beautifully described, is
-seen in Virg. _Ecl._ vii. 1-15; _Georg._ ii. 385-9; _Aen._ v. 328-30,
-357-60. (The Latin illustrations, here and elsewhere, are for the most
-part the _exempla Latina_ suggested by Simon Bircov (Bircovius), a
-Polish scholar who lived early in the seventeenth century.)
-
-11. By “Hom.” in the critical notes is meant the best attested reading
-in the text of Homer. κλισίῃς, however, has some support among the
-manuscripts of Homer; and so has the form ἂρ in =76= 17, and πέσεν in
-=78= 1.
-
-14. Monro (_Odyss._ xiv. 29) regards ὑλακόμωρος as a kind of parody of
-the heroic epithets ἐγχεσίμωρος and ἰόμωρος, and thinks that we cannot
-tell what precise meaning (if any) was conveyed by the latter part of
-the compound. See, further, his note on _Iliad_ ii. 692.
-
-20. The construction must be ὑπὸ ποδῶν: cp. _Il._ ii. 465 ὑπὸ χθὼν
-σμερδαλέον κονάβιζε ποδῶν. The force of ὑπό is half-way between the
-literal sense of ‘under’ and the derived sense of ‘caused by’ (Monro).
-
-[Page 77]
-
-the reasons which have convinced me that composition is a more
-important and effective art than mere selection of words. I will first
-examine a few specimen passages in prose and verse. Among poets let
-Homer be taken, among prose-writers Herodotus: from these may be formed
-an adequate notion of the rest.
-
-Well, in Homer we find Odysseus tarrying in the swineherd’s hut and
-about to break his fast at dawn, as they used to do in ancient days.
-Telemachus then appears in sight, returning from his sojourn in the
-Peloponnese. Trifling incidents of everyday life as these are, they are
-inimitably portrayed. But wherein lies the excellence of expression? I
-shall quote the lines, and they will speak for themselves:—
-
-    As anigh came Telemachus’ feet, the king and the swineherd wight
-    Made ready the morning meat, and by this was the fire alight;—
-    They had sent the herdmen away with the pasturing swine at the dawning;—
-    Lo, the dogs have forgotten to bay, and around the prince are they fawning!
-    And Odysseus the godlike marked the leap and the whine of the hounds
-    That ever at strangers barked; and his ear caught footfall-sounds.
-    Straightway he spake, for beside him was sitting the master of swine:
-    “Of a surety, Eumaeus, hitherward cometh a comrade of thine,
-    Or some one the bandogs know, and not with barking greet,
-    But they fawn upon him; moreover I hear the treading of feet.”
-    Not yet were the words well done, when the porchway darkened: a face
-    Was there in the door,—his son! and Eumaeus sprang up in amaze.
-
-[Page 78]
-
-
-        ἐκ δ’ ἄρα οἱ χειρῶν πέσεν ἄγγεα, τοῖς ἐπονεῖτο
-        κιρνὰς αἴθοπα οἶνον. ὁ δ’ ἀντίος ἔδραμ’ ἄνακτος·
-        κύσσε δέ μιν κεφαλήν τε καὶ ἄμφω φάεα καλὰ
-        χεῖράς τ’ ἀμφοτέρας· θαλερὸν δέ οἱ ἔκπεσε δάκρυ.
-
-ταῦθ’ ὅτι μὲν ἐπάγεται καὶ κηλεῖ τὰς ἀκοὰς ποιημάτων      5
-τε τῶν πάνυ ἡδίστων οὐδενὸς ἥττω μοῖραν ἔχει, πάντες ἂν
-οἶδ’ ὅτι μαρτυρήσειαν. ποῦ δὴ αὐτῶν ἐστιν ἡ πειθὼ καὶ
-διὰ τί τοιαῦτά ἐστι, πότερον διὰ τὴν ἐκλογὴν τῶν ὀνομάτων
-ἢ διὰ τὴν σύνθεσιν; οὐδεὶς ἂν εἴποι διὰ τὴν ἐκλογήν, ὡς
-ἐγὼ πείθομαι· διὰ γὰρ τῶν εὐτελεστάτων καὶ ταπεινοτάτων      10
-ὀνομάτων πέπλεκται πᾶσα ἡ λέξις, οἷς ἂν καὶ γεωργὸς καὶ
-θαλαττουργὸς καὶ χειροτέχνης καὶ πᾶς ὁ μηδεμίαν ὤραν τοῦ
-λέγειν εὖ ποιούμενος ἐξ ἑτοίμου λαβὼν ἐχρήσατο. λυθέντος
-γοῦν τοῦ μέτρου φαῦλα φανήσεται τὰ αὐτὰ ταῦτα καὶ ἄζηλα·
-οὔτε γὰρ μεταφοραί τινες ἐν αὐτοῖς εὐγενεῖς ἔνεισιν οὔτε      15
-ὑπαλλαγαὶ οὔτε καταχρήσεις οὔτ’ ἄλλη τροπικὴ διάλεκτος
-οὐδεμία, οὐδὲ δὴ γλῶτται πολλαί τινες οὐδὲ ξένα ἢ πεποιημένα
-ὀνόματα. τί οὖν λείπεται μὴ οὐχὶ τὴν σύνθεσιν τοῦ
-κάλλους τῆς ἑρμηνείας αἰτιᾶσθαι; τοιαῦτα δ’ ἐστὶ παρὰ τῷ
-
-1 πέσον Hom.   2 αἴθωπα PM || ἔδραμ(εν) F: ἔδραμ’ E: ἦλθεν PMV Hom.
-  3 καὶ φαλήν P   5 ἐπάγεταί τε καὶ F   6 τῶν F: καὶ τῶν PMV || οὐδ’
-ἑνὸς F^1 || ἥττων F   7 εὖ ante οἶδ’ habet F   8 τοιαύτη F^1 || πότερα
-F   9 ἐκλογ[ὴ]ν cum litura P || ὡς ἐγὼ πείθομαι om. F   10 καὶ FE: τε
-καὶ PMV   12 ὤραν Sylburgius: ὥραν PMV: ὧραν F γρ φροντίδα in marg. M
-  13 λαβῶν P   14 γοὖν F: γ’ οὖν P   15 ἐν αὐτοῖς (αὐταῖς P) εὐγενεῖς
-ἔνεισιν PMV: εἰσὶν εὐγενεῖς ἐν αὐτοῖς EF   16 οὔτε ἄλλη PV || οὐδεμία
-διάλεκτος F   17 οὐδεδὴ P: οὔτε δὴ FMV || γλῶσσαι F || οὐδὲ Sauppius:
-οὔτε PMV: ἢ in rasura F^2   19 τοιαῦτ(α) (εστι) P,MV
-
-7. Perhaps ποῦ δὲ δή: cp. =116= 9.
-
-9. Cp. Hor. _Ars P._ 47 “dixeris egregie notum si callida verbum |
-reddiderit iunctura novum.”
-
-On the other hand, the importance of ἐκλογή is illustrated by
-Aristotle’s comparison (_Poetics_ xxii. 7) of νῦν δέ μ’ ἐὼν ὀλίγος τε
-καὶ οὐτιδανὸς καὶ ἀεικής with νῦν δέ μ’ ἐὼν μικρός τε καὶ ἀσθενικὸς καὶ
-ἀειδής.
-
-10. Cp. J. W. Mackail in _Class. Rev._ xxii. 70, “A quality of the
-finest Greek poetry, from Homer to the late anthologists, is its power
-of taking common language and transforming it into poetry by an all but
-imperceptible touch.” The quality is exemplified in Euripides, though
-it did not originate with him (κλέπτεται δ’ εὖ, ἐάν τις ἐκ τῆς εἰωθυίας
-διαλέκτου ἐκλέγων συντιθῇ· ὅπερ Εὐριπίδης ποιεῖ καὶ ὑπέδειξε πρῶτος,
-Aristot. _Rhet._ iii. 2, 4: cp. Long. p. 146). So “tantum series
-iuncturaque pollet, | tantum _de medio sumptis_ accedit honoris” (Hor.
-_Ars P._ 242-3).
-
-13. =λυθέντος γοῦν=, κτλ. Cp. Isocr. _Evag._ 10 οἱ μὲν (sc. ποιηταὶ)
-μετὰ μέτρων καὶ ῥυθμῶν ἅπαντα ποιοῦσιν ... ἃ τοσαύτην ἔχει χάριν,
-ὥστ’ ἂν καὶ τῇ λέξει καὶ τοῖς ἐνθυμήμασιν ἔχῃ κακῶς, ὅμως αὐταῖς ταῖς
-εὐρυθμίαις καὶ ταῖς συμμετρίαις ψυχαγωγοῦσι τοὺς ἀκούοντας. γνοίη
-δ’ ἄν τις ἐκεῖθεν τὴν δύναμιν αὐτῶν· ἢν γάρ τις τῶν ποιημάτων τῶν
-εὐδοκιμούντων τὰ μὲν ὀνόματα καὶ τὰς διανοίας καταλίπῃ, τὸ δὲ μέτρον
-διαλύσῃ, φανήσεται πολὺ καταδεέστερα τῆς δόξης ἧς νῦν ἔχομεν περὶ αὐτῶν.
-
-14. =ἄζηλα=: this adjective occurs also in the _de Demosth._ c. 28, and
-more than once in the _Antiqq. Rom._
-
-16. =ὑπαλλαγαί, καταχρήσεις=: see Glossary, s. vv.
-
-17. Usener reads γλῶτται παλαιαί τινες. But (1) γλῶτται are usually
-παλαιαί (cp. Galen _Gloss. Hipp._ xix. 63 ὅσα τοίνυν τῶν ὀνομάτων ἐν
-μὲν τοῖς πάλαι χρόνοις ἦν συνήθη, νῦν δὲ οὐκέτι ἐστί, τὰ μὲν τοιαῦτα
-γλώττας καλοῦσι, κτλ.): (2) the phrase πολλοί τινες is elsewhere
-used by Dionysius, e.g. _de Lysia_ c. 1 οὔτε πολλοῖς τισι κατέλιπεν
-ὑπερβολήν, κτλ.
-
-18, 19. An interesting modern parallel is that passage in Coleridge’s
-_Biographia Literaria_ (c. 18) which touches on the stanza (in
-Wordsworth’s _Lyrical Ballads_) beginning “In distant countries I have
-been.” Coleridge remarks, “The words here are doubtless such as are
-current in all ranks of life; and of course not less so in the hamlet
-and cottage than in the shop, manufactory, college, or palace. But
-is this the _order_ in which the rustic would have placed the words?
-I am grievously deceived, if the following less _compact_ mode of
-commencing the same tale be not a far more faithful copy, ‘I have been
-in many parts, far and near, and I don’t know that I ever saw before
-a man crying by himself in the public road; a grown man I mean that
-was neither sick nor hurt,’” etc.—In this connexion see also F. W.
-H. Myers’ _Wordsworth_, pp. 106 ff., for the _music_ in Wordsworth’s
-_Affliction of Margaret_.
-
-[Page 79]
-
-
-    Dropped from his hands to the floor the bowls, wherein erst he began
-    The flame-flushed wine to pour, and to meet his lord he ran;
-    And he kissed that dear-loved head, and both his beautiful eyes;
-    And he kissed his hands, and he shed warm tears in his glad surprise.[89]
-
-Everybody would, I am sure, testify that these lines cast a spell
-of enchantment on the ear, and rank second to no poetry whatsoever,
-however exquisite it may be. But what is the secret of their
-fascination, and what causes them to be what they are? Is it the
-selection of words, or the composition? No one will say “the
-selection”: of that I am convinced. For the diction consists, warp and
-woof, of the most ordinary, the humblest words, such as might have
-been used off-hand by a farmer, a seaman, an artisan, or anybody else
-who takes no account of elegant speech. You have only to break up the
-metre, and these very same lines will seem commonplace and unworthy of
-admiration. For they contain neither noble metaphors nor _hypallages_
-nor _catachreses_ nor any other figurative language; nor yet many
-unusual terms, nor foreign or new-coined words. What alternative, then,
-is left but to attribute the beauty of the style to the composition?
-There are countless
-
-[Page 80]
-
-
-ποιητῇ μυρία, ὡς εὖ οἶδ’ ὅτι πάντες ἴσασιν· ἐμοὶ δ’ ὑπομνήσεως
-ἕνεκα λέγοντι ἀρκεῖ ταῦτα μόνα εἰρῆσθαι.
-
-φέρε δὴ μεταβῶμεν καὶ ἐπὶ τὴν πεζὴν διάλεκτον καὶ
-σκοπῶμεν, εἰ κἀκείνῃ τοῦτο συμβέβηκε τὸ πάθος, ὥστε περὶ
-μικρὰ καὶ φαῦλα πράγματά τε καὶ ὀνόματα συνταχθέντα      5
-καλῶς μεγάλας γίνεσθαι τὰς χάριτας. ἔστι δὴ παρὰ τῷ
-Ἡροδότῳ βασιλεύς τις Λυδῶν, ὃν ἐκεῖνος Κανδαύλην <καλεῖ,
-Μυρσίλον δὲ> καλεῖσθαί φησιν ὑφ’ Ἑλλήνων, τῆς ἑαυτοῦ
-γυναικὸς ἐρῶν, ἔπειτα ἀξιῶν τινα τῶν ἑταίρων αὐτοῦ γυμνὴν
-τὴν ἄνθρωπον ἰδεῖν, ὁ δὲ ἀπομαχόμενος μὴ ἀναγκασθῆναι, ὡς      10
-δὲ οὐκ ἔπειθεν, ὑπομένων τε καὶ θεώμενος αὐτήν—πρᾶγμα
-οὐχ ὅτι σεμνὸν ἢ καλλιλογεῖσθαι ἐπιτήδειον, ἀλλὰ καὶ
-ταπεινὸν καὶ ἐπικίνδυνον καὶ τοῦ αἰσχροῦ μᾶλλον ἢ τοῦ καλοῦ
-ἐγγυτέρω· ἀλλ’ εἴρηται σφόδρα δεξιῶς, καὶ κρεῖττον γέγονεν
-ἀκουσθῆναι λεγόμενον ἢ ὀφθῆναι γινόμενον. ἵνα δὲ μή τις      15
-ὑπολάβῃ τὴν διάλεκτον εἶναι τῆς ἡδονῆς αἰτίαν τῇ λέξει,
-μεταθεὶς αὐτῆς τὸν χαρακτῆρα εἰς τὴν Ἀτθίδα γλῶτταν καὶ
-οὐδὲν ἄλλο περιεργασάμενος οὕτως ἐξοίσω τὸν διάλογον.
-
-“Γύνη, οὐ γάρ σε δοκῶ πείθεσθαί μοι λέγοντι περὶ τοῦ
-εἴδους τῆς γυναικός· ὦτα γὰρ τυγχάνει ἀνθρώποις ὄντα      20
-ἀπιστότερα ὀφθαλμῶν· ποίει ὅπως ἐκείνην θεάσῃ γυμνήν. ὁ
-
-1 δε P,MV   2 εἰρεῖσθαι P   3 μ[ε]ταβῶμεν cum litura P || ἤδη ante
-καὶ ἐπὶ add. F || διάλεξιν F   4 καὶ ἐκείνη F || τοῦτο F: τὸ αὐτὸ PV:
-τοῦτο αὐτὸ M || τὸ F: om. PMV   6 ἡδονὰς post μεγάλας add. F || τὰς
-PMV: καὶ F   7 καλεῖ Μυρσίλον δὲ om. FM: καλεῖ Μυρσίλον δὲ καλεῖσθαι
-om. PV: supplevit Sylburgius coll. Herod. i. 7   9 τινα post αὐτοῦ
-ponit F   10 ὁ δὲ PMV: ὃσ F   11 δὲ om. F || αὐτὴν· πρᾶγμα F: αὐτὴν τὸ
-πρᾶγμα P: αὐτὴν ἦν· τὸ δὲ πρᾶγμα MV   12 ἐπιτήδειον] δυνάμενον E   13
-ταπεινὸν EPMV: παιδικὸν F   14 ἀλλὰ PM   16 τηῖ P   17 γλῶσσαν F   18
-περιειργασμένος P || τὸν λόγον F   19 περὶ] τ(ους) περι P: τὰ περὶ Va
-20 τυγχάνει] ὑπάρχει F
-
-4. Usener’s conjecture παρὰ (for περὶ) may be held to find some support
-from =92= 21 and =256= 10, but on the other hand Dionysius’ love of
-μεταβολή has always to be remembered.
-
-6. F’s reading ἡδονὰς γίνεσθαι καὶ adds still another καί to the four
-already used in this sentence. The two nouns ἡδονὰς ... χάριτας are
-superficially attractive, but the plural ἡδοναί is not common in this
-sense.
-
-9. =γυμνήν=: some light is thrown on various phases of Greek and
-non-Greek feeling with regard to any exposure of the person by such
-passages as Thucyd. i. 6, Plato _Menex._ 236 D, Herod. i. 10 (ad f.).
-As to the women of Sparta cp. Gardner and Jevons _Greek Antiquities_
-pp. 352, 353.
-
-10. For the participles cp. p. 76 ll. 5-7.
-
-12. =οὐχ ὅτι= (in a context which gives it the meaning of _non solum
-non_) occurs elsewhere in Dionysius: e.g. _Antiqq. Rom._ ii. c. 18 καὶ
-οὐχ ὅτι θεῶν ἀλλ’ οὐδ’ ἀνθρώπων ἀγαθῶν ἀξίους.
-
-13. =ταπεινόν= (which is weightily supported) seems to correspond
-better than παιδικόν to σεμνόν.—F’s reading παιδικὸν might perhaps
-be translated ‘sportive’ or ‘freakish’ (with a reference to boyish
-pranks); cp. D.H. p. 196 (s.v. μειρακιώδης) and p. 199 (s.v.
-παιδιώδης), and Aristot. _Rhet._ iii. 11 fin. εἰσὶ δὲ ὑπερβολαὶ
-μειρακιώδεις ... διὸ πρεσβυτέρῳ λέγειν ἀπρεπές.
-
-17. So, in _de Demosth._ c. 41, μετακεκόμισται δ’ εἰς τὴν Ἀτθίδα
-διάλεκτον ἡ λέξις (the passage in question being Herod. vii. 8). For
-the charm of the Ionic dialect cp. Quintil. ix. 4. 18 “in Herodoto vero
-cum omnia (ut ego quidem sentio) lenitur fluunt, tum ipsa διάλεκτος
-habet eam iucunditatem, ut latentes etiam numeros complexa videatur.”
-
-18. =οὐδὲν ἄλλο περιεργασάμενος=: notwithstanding this undertaking, the
-variations from the traditional text of Herodotus are (as will be seen
-on reference to the critical footnotes) considerable.
-
-It is no doubt possible that F’s reading τὸν λόγον (‘the story’) is
-original, and was changed to τὸν διάλογον (‘the conversation’) because
-the whole story is not quoted. But such readings of F as ὑπάρχει
-(for τυγχάνει l. 20: against the MSS. of Herodotus) show that its
-unsupported testimony must be received with much reserve.
-
-20. This passage of Herodotus may have been before Horace’s mind (_Ars
-P._ 180): “segnius irritant animos demissa per aurem | quam quae sunt
-oculis subiecta fidelibus et quae | ipse sibi tradit spectator.” Cp.
-also Shakespeare _Coriolanus_ iii. 2 “the eyes of the ignorant | (are)
-more learned than the ears.” In the Greek the emphatic position of both
-ὦτα and ὀφθαλμῶν is to be noticed; cp. Introduction, pp. 19-25, for
-emphasis at the end and at the beginning of clauses.
-
-[Page 81]
-
-passages of this kind in Homer, as everybody of course is well aware.
-It is enough to quote this single instance by way of reminder.
-
-Let us now pass on to the language of prose and see if the same
-principle holds good of it too—that great graces invest trifling and
-commonplace acts and words, when they are cast into the mould of
-beautiful composition. For instance, there is in Herodotus a certain
-Lydian king whom he calls Candaules, adding that he was called Myrsilus
-by the Greeks. Candaules is represented as infatuated with admiration
-of his wife, and then as insisting on one of his friends seeing the
-poor woman naked. The friend struggled hard against the constraint
-put upon him; but failing to shake the king’s resolve, he submitted,
-and viewed her. The incident, as an incident, is not only lacking in
-dignity and, for the purpose of embellishment, intractable, but is
-also vulgar and hazardous and more akin to the repulsive than to the
-beautiful. But it has been related with great dexterity: it has been
-made something far better to hear told than it was to see done. And,
-that no one may imagine that it is to the dialect that the charm of
-the story is due, I will change its distinctive forms into Attic,
-and without any further meddling with the language will give the
-conversation as it stands:—
-
-“‘Of a truth, Gyges, I think that thou dost not believe what I say
-concerning the beauty of my wife; indeed, men trust their ears less
-fully than their eyes. Contrive, therefore, to see her
-
-[Page 82]
-
-
-δ’ ἀναβοήσας εἶπε· Δέσποτα, τίνα λόγον λέγεις οὐχ ὑγιᾶ,
-κελεύων με δέσποιναν τὴν ἐμὴν θεάσασθαι γυμνήν; ἅμα δὲ
-χιτῶνι ἐκδυομένῳ συνεκδύεται καὶ τὴν αἰδῶ γυνή. πάλαι
-δὲ τὰ καλὰ ἀνθρώποις ἐξεύρηται, ἐξ ὧν μανθάνειν δεῖ· ἐν οἷς
-ἓν τόδ’ ἐστίν, ὁρᾶν τινα τὰ ἑαυτοῦ. ἐγὼ δὲ πείθομαι ἐκείνην      5
-εἶναι πασῶν γυναικῶν καλλίστην, καὶ σοῦ δέομαι μὴ
-δεῖσθαι ἀνόμων. ὁ μὲν δὴ λέγων ταῦτα ἀπεμάχετο, ὁ δ’
-ἠμείβετο τοῖσδε· Θάρσει Γύγη, καὶ μὴ φοβοῦ μήτ’ ἐμέ, ὡς
-πειρώμενόν σου λέγω λόγον τόνδε, μήτε γυναῖκα τὴν ἐμήν,
-μή τί σοι ἐξ αὐτῆς γένηται βλάβος. ἀρχὴν γὰρ ἐγὼ μηχανήσομαι      10
-οὕτως, ὥστε μηδὲ μαθεῖν αὐτὴν ὀφθεῖσαν ὑπὸ σοῦ.
-ἀγαγὼν γάρ σε εἰς τὸ οἴκημα, ἐν ᾧ κοιμώμεθα, ὄπισθε τῆς
-ἀνοιγομένης θύρας στήσω· μετὰ δὲ ἐμὲ εἰσελθόντα παρέσται
-καὶ ἡ γυνὴ ἡ ἐμὴ εἰς κοίτην. κεῖται δ’ ἐγγὺς τῆς εἰσόδου
-θρόνος· ἐπὶ τοῦτον τῶν ἱματίων καθ’ ἓν ἕκαστον ἐκδῦσα      15
-θήσει, καὶ καθ’ ἡσυχίαν πολλὴν παρέσται σοι θεάσασθαι.
-ὅταν δ’ ἀπὸ τοῦ θρόνου πορεύηται ἐπὶ τὴν εὐνὴν κατὰ νώτου
-τε αὐτῆς γένῃ, σοὶ μελέτω τὸ ἐντεῦθεν, ὅπως μή σε ὄψεται
-ἀπιόντα διὰ θυρῶν. ὁ μὲν δὴ ὡς οὐκ ἐδύνατο διαφυγεῖν,
-ἕτοιμος ἦν [ποιεῖν ταῦτα].”      20
-
-1 δ’ F: δὲ PMV: δὲ μέγα Her. (exc. ACP) || λέγεις λόγον Her.   3
-ἐκδυομένῳ F, Her.: ἐκδυομένη PMV   5 ἐν τώδε (τῶδε corr.) F, MV: ἐν τωῖ
-δε P || ἔνεστιν corr. F^1, M   6 εἶναι post γυναικῶν traiciunt PMV
-7 δεῖσθαι F, Her.: χρήιζειν P, MV || ἀνομῶν P || ταῦτα] τοιαῦτα Her.
-|| post ἀπεμάχετο haec verba habet Her., ἀρρωδέων μή τί οἱ ἐξ αὐτῶν
-γένηται κακόν || δὲ P   8 ὡς σέο πειρώμενον (vel πειρώμενος) Her.
-9 λόγον λέγω PMV || τόνδε ... ἐγὼ om. add. in marg. P^2   10 τ[ι] σοι
-cum litura F: τισ P   12 ἄγων P: ἐγὼ Her. || ἐσ P,M || ὄπισθεν PMV
-13 θυραστήσω P^1   14 καὶ post παρέσται om F || ἐς PMV || δὲ PMV   15
-ἐκδῦσα ante καθ’ ponunt PMV || ἐκδύνουσα Her.   16 παρέξει Her.   17 ὅτ’
-ἂν FP ut solent: ἐπεὰν Her. || δε P, MV 18 μελέτω σοι F   19 ἰόντα Her.
-|| δ[ι]α cum litura P || ἐδύνατο F, Her. (exc. RSVb): ἠδύνατο PMV ||
-διαφεύγειν P   20 ἦν ἕτοιμος Her. || ποιεῖν ταῦτα (τά γ’ αὐτά P) om.
-Her.
-
-3. Cp. Diog. Laert. _Vit. Pythag._ § 43 τῇ δὲ πρὸς τὸν ἴδιον ἄνδρα
-μελλούσῃ πορεύεσθαι παρῄνει (sc. Θεανὼ) ἅμα τοῖς ἐνδύμασι καὶ τὴν
-αἰσχύνην ἀποτίθεσθαι, ἀνισταμένην τε πάλιν ἅμ’ αὐτοῖσιν ἀναλαμβάνειν.
-
-14. εἰς κοίτην and ἐγγὺς τῆς εἰσόδου are Dionysius’ Attic equivalents
-for ἐς κοῖτον and ἀγχοῦ τῆς ἐσόδου.
-
-15. =καθ’ ἓν ἕκαστον=: cp. Herod. viii. 113 ἐκ δὲ τῶν ἄλλων συμμάχων
-ἐξελέγετο κατ’ ὀλίγους.
-
-20. Perhaps the effect of Herodotus’ style is best conveyed by the
-Elizabethan translation (published in 1584) of Barnaby Rich, which
-is, however, confined to books i. and ii. In _The Famous History of
-Herodotus_, by B. R. (i.e., probably, Barnaby Rich), Dionysius’ extract
-from Herod. i. 8 is freely Englished thus: “My faithful servant Gyges,
-whereas thou seemest not to credit the large vaunts and often brags
-which I make of my lady’s beauty and comeliness (the ears of men
-being much more incredulous than their eyes), behold I will so bring
-to pass that thou shalt see her naked. Whereat the poor gentleman
-greatly abashed, and in no wise willing to assent thereto, made answer
-as followeth, My lord (quoth he) what manner of speech is this which
-unadvisedly you use in persuading me to behold my lady’s secrets, for
-a woman, you know, the more in sight the less in shame: who together
-with her garments layeth aside her modesty. Honest precepts have been
-devised by our elders which we ought to remember, whereof this is one,
-that every man ought to behold his own. For mine own part I easily
-believe you that of all women in the world there is none comparable
-unto her in beauty. Wherefore I beseech your grace to have me excused,
-if in a case so heinous and unlawful I somewhat refuse to obey your
-will. Gyges having in this sort acquitted himself, fearing the danger
-that might ensue, the king began afresh to reply, saying, My good
-Gyges, take heart at grace, and fear not, lest either myself do go
-about to examine and feel thy meaning by the coloured glose of feigned
-speech, or that the queen my lady take occasion to work thy displeasure
-hereby. Pull up thy spirits, and leave all to me: it is I that will
-work the means, whereby she shall never know any part of herself to
-have been seen by any creature living. Listen then awhile and give ear
-to my counsel:—When night is come, the door of the chamber wherein we
-lie being wide set open, I will covertly place thee behind the same:
-straight at my entrance thereinto, her custom is not to be long
-after me, directly at her coming in, there standeth a bench, whereat
-unclothing herself, she accustometh to lay her garments upon it,
-propounding her divine and angelical body, to be seen and viewed for
-a long space. This done, as she turns from the bench to bedward, her
-back being toward thee, have care to slip privily out of the doors lest
-haply she espy thee.—The gentleman seeing himself taken in a trap, that
-in no wise he could escape without performance of his lord’s folly,
-gave his assent.” [From the rare copy in the British Museum, with the
-spelling modernized.]
-
-If Dionysius does not quote the _sequel_ of the story, the reason may
-well be that he expects his readers to find it, or to have found it, in
-the pages of Herodotus himself.
-
-[Page 83]
-
-naked.’ But he cried out and said: ‘My lord, what is this foolish word
-thou sayest, bidding me look upon my lady naked? for a woman, when she
-puts off her dress, puts off her shamefastness also. Men of old time
-have found out excellent precepts, which it behoves us to learn and
-observe; and among them is this—“Let a man keep his eyes on his own.”
-As for me, I am fully persuaded that she is the fairest of all women,
-and I beseech thee not to require of me aught that is unlawful.’ Thus
-he spoke, and strove with him. But the other answered and said: ‘Be of
-good cheer, Gyges, and fear not that I say this to prove thee, or that
-harm will come to thee from my wife. For, in the first place, I will
-contrive after such a fashion that she shall not even know that she has
-been seen by thee. I will bring thee into the room where we sleep, and
-set thee behind the door that stands ajar; and after I have entered, my
-wife will come to bed. Now, near the entrance there is a seat; and on
-this she will place each of her garments as she puts them off, so that
-thou wilt have time enough to behold. But when she passes from the seat
-to the couch, and thou art behind her back, then take heed that she see
-thee not as thou goest away through the door.’ Forasmuch, then, as he
-could not escape, he consented to do after this manner.”[90]
-
-[Page 84]
-
-
-οὐκ ἂν ἔχοι τις οὐδὲ ἐνταῦθα εἰπεῖν, ὅτι τὸ ἀξίωμα καὶ
-ἡ σεμνότης τῶν ὀνομάτων εὔμορφον πεποίηκε τὴν φράσιν·
-ἀνεπιτήδευτα γάρ ἐστι καὶ ἀνέκλεκτα, οἷα ἡ φύσις τέθεικεν
-σύμβολα τοῖς πράγμασιν· οὐδὲ γὰρ ἥρμοττεν ἴσως κρείττοσι
-χρήσασθαι ἑτέροις. ἀνάγκη δὲ δήπου, ὅταν τοῖς κυριωτάτοις      5
-τε καὶ προσεχεστάτοις ὀνόμασιν ἐκφέρηται τὰ νοήματα, μηδὲν
-σεμνότερον εἶναι, ἢ οἷά ἐστιν. ὅτι δὲ οὐδὲν ἐν αὐτοῖς ἐστι
-σεμνὸν οὐδὲ περιττόν, ὁ βουλόμενος εἴσεται μεταθεὶς οὐδὲν
-ὅτι μὴ τὴν ἁρμονίαν. πολλὰ δὲ καὶ παρὰ τούτῳ τῷ ἀνδρὶ
-τοιαῦτά ἐστιν, ἐξ ὧν ἄν τις τεκμήραιτο, ὅτι οὐκ ἐν τῷ κάλλει      10
-τῶν ὀνομάτων ἡ πειθὼ τῆς ἑρμηνείας ἦν, ἀλλ’ ἐν τῇ συζυγίᾳ.
-καὶ περὶ μὲν τούτων ἱκανὰ ταῦτα.
-
-
-IV
-
-ἵνα δὲ πολὺ μᾶλλον αἴσθηταί τις, ὅσην ἔχει ῥώμην ἡ
-συνθετικὴ δύναμις ἔν τε ποιήμασι καὶ λόγοις, λήψομαί τινας
-εὖ ἔχειν δοκούσας λέξεις, ὧν τὰς ἁρμονίας μεταθεὶς ἀλλοῖα      15
-φαίνεσθαι ποιήσω καὶ τὰ μέτρα καὶ τοὺς λόγους. λαμβανέσθω
-δὲ πρῶτον μὲν ἐκ τῶν Ὁμηρικῶν ταυτί·
-
-        ἀλλ’ ἔχεν ὥστε τάλαντα γυνὴ χερνῆτις ἀληθής,
-        ἥ τε σταθμὸν ἔχουσα καὶ εἴριον ἀμφὶς ἀνέλκει
-        ἰσάζουσ’, ἵνα παισὶν ἀεικέα μισθὸν ἄροιτο.      20
-
-τοῦτο τὸ μέτρον ἡρωϊκόν ἐστιν ἑξάπουν τέλειον, κατὰ δάκτυλον
-
-1 οὐδὲν F   2 πεποίηκεν P   3 ἡ om. PV || τέθεικεν FP: τέθεικε EMV 4
-κρείττοσ(ιν) P   5 δὲ δὴ [που] FM: δε P: δὴ Vs   8 περιττὸν οὐδὲ σεμνὸν
-F   9 τοῦτο (-τω corr.) τ(ω) P   11 ἦν * * ἀλλ’ P   12 καὶ] ἦν καὶ M: ἦ
-καὶ V   13 τις FM: om. PV   14 ποιήμασιν P   15 ἀλλοίας P   17 μὲν om.
-PMV || ταυτί PMV: ταῦτα F   18 ἔχεν FM: ἔχον PV Hom.   19 εἰριον deleto
-accentu P   20 ἄρηται Hom.   21 ἡρωϊκόν PMV: ἡρῷόν F
-
-3. P gives ἀφηκέναι in =262= 22, and τέθηκεν may possibly be right
-here. The -η- forms are found in some MSS. of Eurip. _Hel._ 1059 and
-Demosth. _Chers._ 34. But cp. =108= 13.
-
-9. =καὶ παρὰ τούτῳ=: perhaps ‘in Herodotus _as well as in Homer_.’
-Reiske, πολλὰ δὲ καὶ <ἄλλα> παρὰ τούτῳ τῷ ἀνδρὶ τοιαῦτά ἐστιν.
-
-10. Dionysius seems to allow too little for the charming _naïveté_ of
-Herodotus’ mental attitude, which is surely characteristic, whether
-or no Herodotus was the first to tell the story. Cp. D.H. p. 11 n.
-1. The narrative which opens in Livy xxxix. c. 9 may be compared and
-contrasted.
-
-18. The verse illustrations used on pp. 84, 86 are similarly treated by
-Hermogenes (Walz _Rhett. Gr._ iii. 230, 231; cp. p. 715 _ibid._).
-
-21. It seems better to read =ἡρωϊκόν= here (with PMV) rather than ἡρῷον
-(with F), as the form ἡρωϊκός is found consistently elsewhere (=86= 3,
-=88= 7, =172= 17, =206= 10).
-
-Dionysius tends to regard the Homeric hexameter as the original
-and perfect metre, from which all others are inferior deflexions.
-Metres, after all, have their associations; the associations of the
-Homeric hexameter were eminently noble; and so even the choral odes
-of Aeschylus gain where the heroic line is most employed. So much, at
-any rate, may be conceded to Dionysius’ point of view, prone though he
-is to the kind of exaggeration which Tennyson (_Life_ i. 469, 470) so
-effectively parodies.
-
-[Page 85]
-
-
-Here again no one can say that the grace of the style is due to the
-impressiveness and the dignity of the words. These have not been
-picked and chosen with studious care; they are simply the labels
-affixed to things by Nature. Indeed, it would perhaps have been
-out of place to use other and grander words. I take it, in fact,
-to be always necessary, whenever ideas are expressed in proper and
-appropriate language, that no word should be more dignified than the
-nature of the ideas. That there is no stately or grandiose word in the
-present passage, any one who likes may prove by simply changing the
-arrangement. There are many similar passages in this author, from which
-it can be seen that the fascination of his style does not after all
-lie in the beauty of the words but in their combination. We need not
-discuss this question further.
-
-
-CHAPTER IV
-
-TO CHANGE ORDER IS TO DESTROY BEAUTY
-
-To show yet more conclusively the great force wielded by the faculty of
-composition both in poetry and prose, I will quote some passages which
-are universally regarded as fine, and show what a different air is
-imparted to both verse and prose by a mere change in their arrangement.
-First let these lines be taken from the Homeric poems:—
-
-    But with them was it as with a toil-bowed woman righteous-souled—
-    In her scales be the weights and the wool, and the balance on high doth
-        she hold
-    Poised level, that so may the hard-earned bread to her babes be doled.[91]
-
-This metre is the complete heroic metre of six feet, the basis
-
-[Page 86]
-
-
-πόδα βαινόμενον. ἐγὼ δὴ τῶν ὀνομάτων τούτων μετακινήσας
-τὴν σύνθεσιν τοὺς αὐτοὺς στίχους ἀντὶ μὲν ἑξαμέτρων ποιήσω
-τετραμέτρους, ἀντὶ δὲ ἡρωϊκῶν προσοδιακοὺς τὸν τρόπον
-τοῦτον·
-
-        ἀλλ’ ἔχεν ὥστε γυνὴ χερνῆτις τάλαντ’ ἀληθής,      5
-        ἥ τ’ εἴριον ἀμφὶς καὶ σταθμὸν ἔχουσ’ ἀνέλκει
-        ἰσάζουσ’, ἵν’ ἀεικέα παισὶν ἄροιτο μισθόν.
-
-τοιαῦτά ἐστι τὰ πριάπεια, ὑπό τινων δ’ ἰθυφάλλια λεγόμενα,
-ταυτί·
-
-        οὐ βέβηλος, ὦ τελέται τοῦ νέου Διονύσου,      10
-        κἀγὼ δ’ ἐξ εὐεργεσίης ὠργιασμένος ἥκω.
-
-ἄλλους πάλιν λαβὼν στίχους Ὁμηρικούς, οὔτε προσθεὶς
-αὐτοῖς οὐδὲν οὔτε ἀφελών, τὴν δὲ σύνθεσιν ἀλλάξας μόνον
-ἕτερον ἀποδώσω γένος τὸ τετράμετρον καλούμενον Ἰωνικόν·
-
-        ὣς ὁ πρόσθ’ ἵππων καὶ δίφρου κεῖτο τανυσθείς,      15
-        βεβρυχώς, κόνιος δεδραγμένος αἱματοέσσης.
-
-        ὣς ὁ πρόσθ’ ἵππων καὶ δίφρου κεῖτο τανυσθείς,
-        αἱματοέσσης κόνιος δεδραγμένος, βεβρυχώς.
-
-1 πόδα δάκτυλον PMV || τῶν] τῶν αὐτῶν PV   3 προσωιδιακοὺς FP:
-προσῳδικοὺς MV   5 ἔχεν FMV: ἔχον P scholl. Hermogenis || τάλαντ’ F:
-τάλαντα PMV   6 ἥ τ’ FM: ἣ PV || ἐχ(ων)ουσ’ P: ἔχουσα F || ἄνελκει
-P: ἕλκει F   8 [ὑ]πό τινων δὲ ἰθυφάλλια cum litura F, MV: διφίλια P
-  10 συμβέβηλος F || τελεταί (sic) P: λέγεται FMV || δρονύσου P   11
-εὐεργεσίης P: ἐργασίης MV: ἐργασίας F || ὀργιασμένος F: ὡργια*σμένος P
-  13 οὐδὲν αὐτοῖς PV   14 γένος τὸ F: μέλος PMV || τὸ ante καλούμενον
-dant PMV   16, 17 om. F   16 αἱματοσέσ(η)ς P: αἱματοέσης V
-
-3. Maximus Planudes (Walz _Rhett. Gr._ v. 491), referring to this
-passage, says: ἃ πῶς ἂν εἶεν προσῳδικὰ (v. προσῳδιακὰ) καὶ προσόμοια
-τοῖς πριαπείοις, ἢ πάλιν πῶς ταῦτα πριάπεια, οὐδαμῶς ἔχω συνορᾶν. For
-the _prosodia_ (προσόδια, sc. ᾄσματα: also called προσοδιακοί), or
-processional songs, see Weir Smyth’s _Greek Melic Poets_ p. xxxiii.;
-and for the various metres employed see pp. xxxiv., xxxv. _ibid._
-It is clear that Dionysius is not here thinking specially of the
-so-called προσοδιακὸς πούς (– – ᴗ). Cp. Bacchyl. _Fragm._ 19 (Bergk: 7,
-Jebb).—Reading προσῳδικοὺς (with the inferior MSS.), and translating
-by ‘accentual,’ A. J. Ellis (_English, Dionysian, and Hellenic
-Pronunciation of Greek_ p. 37) thinks that Dionysius means “verses in
-which the effect of high pitch was increased by superadding stress,
-so as to give it preponderance over mere quantity”; and he points out
-that E. M. Geldart shows (_Journal of Philology_ 1869, vol. ii. p. 160)
-that these transformed lines of Homer, if read as modern Greek, would
-give rather rough στίχοι πολιτικοί, or the usual modern accentual verse
-[the ‘city verses’ referred to by Gibbon, c. 53]. Though it is perhaps
-unlikely that Dionysius makes any direct reference to such a change, a
-stress-accent may, even in his day, have gradually been triumphing over
-that pitch-accent which was consistent with the observance of metrical
-quantity. Cp. F. Spencer _French Verse_ p. 70.
-
-5. The metrical difficulties presented by these sections of the _C. V._
-are discussed in Amsel’s _de Vi atque Indole Rhythmorum quid Veteres
-Iudicaverint_ pp. 32 ff. The unprofitably ingenious efforts of some
-ancient writers to derive every kind of metre from the heroic hexameter
-and the iambic trimeter might be capped, and parodied, by an attempt
-to turn such a line as _Il._ xxiii. 644 (ἔργων τοιούτων. ἐμὲ δὲ χρὴ
-γήραϊ λυγρῷ) into an iambic trimeter: the only thing needed being that
-the ι of γήραϊ should be not adscript but subscript. So Schol. Ven. A
-(_ad loc._) ὅτι ὁ στίχος οὗτος καὶ ἑξάμετρος γίνεται καὶ τρίμετρος παρὰ
-τὴν ἀγωγὴν τῆς προφορᾶς, and Schol. Townl. ἐπιτέτευκται ὁ στίχος ταῖς
-κοιναῖς, ὥστ’ ἢν θέλωμεν καὶ ἴαμβος ἔσται, ὡς τὸ “σμύρνης ἀκράτου καὶ
-κέδρου νηλεῖ καπνῷ” (for the doubtful ascription of this last line to
-Callimachus see Schneider’s _Callimachea_ ii. 777).
-
-10. For the author of these Priapean verses—Euphorion (or Euphronius)
-‘of the Chersonese’—see the long discussion in Susemihl’s _Gesch. d.
-griech. Litt. in der Alexandrinerzeit_ i. 281, 283. It is Hephaestion
-(_de Metris Enchiridion_ c. 16, ed. Westphal) who attributes the lines
-Εὐφορίωνι τῷ Χερρονησιώτῃ.
-
-15. The commentators on Hermogenes secure trochees by changing the
-order of the words in this line—ἔκειτο καὶ δίφρου τανυσθείς, or
-τανυσθεὶς κεῖτο καὶ δίφρου.
-
-[Page 87]
-
-of which is the dactyl. I will change the order of the words, and
-will turn the same lines into tetrameters instead of hexameters, into
-prosodiacs instead of heroics. Thus:—
-
-    But it was with them as with a righteous-souled woman toil-bowed,
-    In her scales weights and wool lie, on high doth she hold the balance
-    Level-poised, so that bread hardly-earned may be doled to her babes.
-
-Such are the following Priapean, or (as some call them) ithyphallic,
-lines:—
-
-    I am no profane one, O young Dionysus’ votaries;
-    By his favour come I too initiate as one of his.[92]
-
-Taking again other lines of Homer, and neither adding nor withdrawing
-anything, but simply varying the order, I will produce another kind of
-verse, the so-called Ionic tetrameter:—
-
-    So there outstretched was he lying, his steeds and his chariot before,
-    Groaning, convulsively clutching the dust that was red with his gore.[93]
-
-    So there outstretched was he lying, his steeds and his chariot before,
-    At the dust that was red with his gore clutching convulsively, groaning.
-
-[Page 88]
-
-
-τοιαῦτ’ ἐστὶ τὰ Σωτάδεια ταυτί·
-
-        ἔνθ’ οἱ μὲν ἐπ’ ἄκραισι πυραῖς νέκυες ἔκειντο
-        γῆς ἐπὶ ξένης, ὀρφανὰ τείχεα προλιπόντες
-        Ἑλλάδος ἱερῆς καὶ μυχὸν ἑστίης πατρῴης,
-        ἥβην τ’ ἐρατὴν καὶ καλὸν ἡλίου πρόσωπον.      5
-
-δυναίμην δ’ ἂν ἔτι πολλὰς ἰδέας μέτρων καὶ διαφόρους εἰς τὸν
-ἡρωϊκὸν ἐμπιπτούσας στίχον ἐπιδεικνύναι, τὸ δ’ αὐτὸ καὶ τοῖς
-ἄλλοις ὀλίγου δεῖν πᾶσι συμβεβηκὸς μέτροις τε καὶ ῥυθμοῖς
-ἀποφαίνειν, ὥστε τῆς μὲν ἐκλογῆς τῶν ὀνομάτων τῆς αὐτῆς
-μενούσης, τῆς δὲ συνθέσεως μόνης μεταπεσούσης τά τε      10
-μέτρα μεταρρυθμίζεσθαι καὶ συμμεταπίπτειν αὐτοῖς τὰ
-σχήματα, τὰ χρώματα, τὰ ἤθη, τὰ πάθη, τὴν ὅλην τῶν
-ποιημάτων ἀξίωσιν· ἀλλ’ ἀναγκασθήσομαι πλειόνων ἅψασθαι
-θεωρημάτων, ὧν ἔνια ὀλίγοις πάνυ ἐστὶ γνώριμα. ἐπὶ πολλῶν
-δ’ ἴσως καὶ οὐχ ἥκιστα ἐπὶ τῶν τοιούτων καλῶς ἂν ἔχοι      15
-τὰ Εὐριπίδεια ταῦτα ἐπενεγκεῖν·
-
-                             μή μοι
-        λεπτῶν θίγγανε μύθων, ψυχή·
-        τί περισσὰ φρονεῖς; εἰ μὴ μέλλεις
-        σεμνύνεσθαι παρ’ ὁμοίοις.      20
-
-ταῦτα μὲν οὖν ἐάσειν μοι δοκῶ κατὰ τὸ παρόν. ὅτι δὲ
-καὶ ἡ πεζὴ λέξις τὸ αὐτὸ δύναται παθεῖν τῇ ἐμμέτρῳ μενόντων
-μὲν τῶν ὀνομάτων, ἀλλαττομένης δὲ τῆς συνθέσεως,
-πάρεστι τῷ βουλομένῳ σκοπεῖν. λήψομαι δ’ ἐκ τῆς Ἡροδότου
-λέξεως τὴν ἀρχὴν τῆς ἱστορίας, ἐπειδὴ καὶ γνώριμός ἐστι      25
-τοῖς πολλοῖς, μεταθεὶς τὸν χαρακτῆρα τῆς διαλέκτου μόνον.
-
-1 τοιαῦτα PMV || Σωτάδεια Planudes: σωτάδια libri   2 ἄκραισι FM:
-ἄκραις PV || ἔγκειντο F   5 ἥβη, suprascr. ν P^1 || ἐρατὴν Hermannus:
-ἐραστὴν F: ἐρατεινὴν PMV   6 δυναίμην PV: ἐδυνάμην FM   7 δὲ PMV ||
-καὶ P: κἂν F: κἀν MV   8 τε om. F   9 ὀμάτων, suprascr. νο P^1   10
-μεταπιπτούσης (πεσούσης in marg.) F: μεταπεσούσης M: μάλιστα πεσούσης
-PV   12 τὰ πάθη om. P   13 ἀλλ’ ἀναγκασθήσομαι] ἀναγκασθήσομαι δὲ F:
-ἀλλ’ ἀν(αν)κασθήσομαι P || ἅπτεσθαι P   14 γνώρισμα F^1   15 δὲ PMV
-|| καὶ om. P   19 μέλλοις F   21 οὗν F   22 ἐμμέτρω ὄντων PMV   23
-τῶν F: τῶν αὐτῶν E: om. PMV || ἀλλασομένης P: ἀλλασσομένης MV   24 τῶ
-βουλομέν(ω) P || δὲ PMV et =90= 1   25 ἐπειδὴ F: ἐπεὶ PMV
-
-1. These lines of Sotades are quoted by two of the commentators on
-Hermogenes—by John of Sicily (Walz vi. 243) and by an anonymous
-scholiast (Walz vii. 985). See further in Glossary, s.v. =Σωτάδειος=.
-
-7. Palaeographically κἀν (MV) is tempting, since the other readings
-(κἂν and καὶ) could easily be derived from it. But the difficulty is
-that Dionysius seems elsewhere to use the simple dative with συμβαίνω,
-and would probably have expressed the meaning ‘in the case of’ by ἐπί
-with the genitive. καὶ ἔν γε τῇ ἀρχαίᾳ τῇ ἡμετέρᾳ φωνῇ αὐτὸ συμβαίνει
-τὸ ὄνομα (Plato _Crat._ 398 B) is not parallel.
-
-12. Quintil. _Inst. Or._ ix. 4. 14, 15 “nam quaedam et sententiis
-parva et elocutione modica virtus haec sola commendat. denique quod
-cuique visum erit vehementer, dulciter, speciose dictum, solvat et
-turbet: aberit omnis vis, iucunditas, decor ... illud notasse satis
-habeo, quo pulchriora et sensu et elocutione dissolveris, hoc orationem
-magis deformem fore, quia neglegentia collocationis ipsa verborum luce
-deprehenditur.”
-
-21. =ἐάσειν μοι δοκῶ= = _omittere mihi placet_; cp. Aristoph. _Plut._
-1186, _Aves_ 671, _Vespae_ 177.
-
-22. Compare the interesting passage in Cic. _Orat._ 70. 232 “Quantum
-autem sit apte dicere, experire licet, si aut compositi oratoris bene
-structam collocationem dissolvas permutatione verborum; corrumpatur
-enim tota res ... perierit tota res ... videsne, ut ordine verborum
-paululum commutato, eisdem tamen verbis stante sententia, ad nihilum
-omnia recidant, cum sint ex aptis dissoluta?” [Various examples are
-given in the course of the section.]
-
-23. The Epitome here has μενόντων γὰρ τῶν αὐτῶν ὀνομάτων,
-ἀλλαττομένης δὲ τῆς συνθέσεως, #καταφανὲς τὸ ἐν αὐτῇ ἄμουσόν τε καὶ
-ἀκαλλώπιστον#.
-
-[Page 89]
-
-
-Such are the following Sotadean lines:—
-
-    There upon the summit of the burning pyres their corpses lay
-    In an alien land, the widowed walls forsaken far away,
-    Walls of sacred Hellas; and the hearths upon the homeland shore,
-    Winsome youth, the sun’s fair face—forsaken all for evermore![94]
-
-I could, if I wished, adduce many more different types of measures
-all belonging to the class of the heroic line, and show that the same
-thing is true of almost all the other metres and rhythms, namely that,
-when the choice of words remains unaltered and only the arrangement is
-changed, the verses invariably lose their rhythm, while their formation
-is ruined, together with the complexion, the character, the feeling,
-and the whole effectiveness of the lines. But in so doing I should be
-obliged to touch on a number of speculations, with some of which very
-few are familiar. To many speculations, perhaps, and particularly to
-those bearing on the matter in hand, the lines of Euripides may fitly
-be applied:—
-
-    With subtleties meddle not thou, O soul of mine:
-    Wherefore be overwise, except in thy fellows’ eyes
-    Thou lookest to be revered as for wisdom divine?[95]
-
-So I think it wise to leave this ground unworked for the present. But
-anyone who cares may satisfy himself that the diction of prose can be
-affected in the same way as that of verse when the words are retained
-but the order is changed. I will take from the writings of Herodotus
-the opening of his History, since it is familiar to most people, simply
-changing the
-
-[Page 90]
-
-
-“Κροῖσος ἦν Λυδὸς μὲν γένος, παῖς δ’ Ἀλυάττου, τύραννος δ’
-ἐθνῶν τῶν ἐντὸς Ἅλυος ποταμοῦ· ὃς ῥέων ἀπὸ μεσημβρίας
-μεταξὺ Σύρων τε καὶ Παφλαγόνων ἐξίησι πρὸς βορέαν ἄνεμον
-εἰς τὸν Εὔξεινον καλούμενον πόντον.” μετατίθημι τῆς λέξεως
-ταύτης τὴν ἁρμονίαν, καὶ γενήσεταί μοι οὐκέτι ὑπαγωγικὸν      5
-τὸ πλάσμα οὐδ’ ἱστορικόν, ἀλλ’ ὀρθὸν μᾶλλον καὶ ἐναγώνιον·
-“Κροῖσος ἦν υἱὸς μὲν Ἀλυάττου, γένος δὲ Λυδός, τύραννος δὲ
-τῶν ἐντὸς Ἅλυος ποταμοῦ ἐθνῶν· ὃς ἀπὸ μεσημβρίας ῥέων
-μεταξὺ Σύρων καὶ Παφλαγόνων εἰς τὸν Εὔξεινον καλούμενον
-πόντον ἐκδίδωσι πρὸς βορέαν ἄνεμον.” οὗτος ὁ χαρακτὴρ οὐ      10
-πολὺ ἀπέχειν ἂν δόξειεν τῶν Θουκυδίδου τούτων· “Ἐπίδαμνός
-ἐστι πόλις ἐν δεξιᾷ εἰσπλέοντι τὸν Ἰόνιον κόλπον· προσοικοῦσι
-δ’ αὐτὴν Ταυλάντιοι βάρβαροι, Ἰλλυρικὸν ἔθνος.”
-πάλιν δὲ ἀλλάξας τὴν αὐτὴν λέξιν ἑτέραν αὐτῇ μορφὴν ἀποδώσω
-τὸν τρόπον τοῦτον· “Ἀλυάττου μὲν υἱὸς ἦν Κροῖσος,      15
-γένος δὲ Λυδός, τῶν δ’ ἐντὸς Ἅλυος ποταμοῦ τύραννος ἐθνῶν·
-ὃς ἀπὸ μεσημβρίας ῥέων Σύρων τε καὶ Παφλαγόνων μεταξὺ
-πρὸς βορέαν ἐξίησιν ἄνεμον ἐς τὸν καλούμενον πόντον
-Εὔξεινον.” Ἡγησιακὸν τὸ σχῆμα τοῦτο τῆς συνθέσεως,
-μικρόκομψον, ἀγεννές, μαλθακόν· τούτων γὰρ τῶν λήρων      20
-
-1 κροῖσσος P || ἀλυάττεω E   2 ἄλυος FMV ut 8, 16 infra FPMV   3 ἐξίησιν
-P   4 μαιτατίθημι P: μάρτυρα τίθημι M   5 γενησετέμοι suprascr. αί P^1
-|| ὑπαγωγικὸν F: ἐπαγ(ω)γικον suprascr. ϋ P: ἐπαγωγικὸν MV   6 οὐδε
-P,MV   7 ἦν Ἀλυάττου μὲν παῖς E || ἀλυ*άττου P   9 παφλαγόνων καὶ σύρων
-F   10 ὁ suprascr. P^1   11 δόξειε F 12 (εστι) * * P || πρ(οσ)οικοῦσιν
-P   13 δὲ PV   14 δὲ ἀλλάξας F: διαλλάξας PMV || αὐτῆι add. in margine
-F^1: αὐτὴν PM   16 δ’ om. PV   18 ἐξίησιν FM: ἔξεισιν PV || ἐς F: εἰς
-PMV ut supra   20 ἀγεννες P,V: ἀγενὲς FMa
-
-3. Hude (following Dionysius) conjecturally restores τε in the text
-of Herodotus. Usener, on the other hand, thinks that Dionysius has
-deliberately inserted τε here and in l. 17 while omitting it in l. 9.
-
-10. This rugged re-writing of Herodotus shows a real appreciation of
-style and should be compared with the remarks which Demetrius (_de
-Eloc._ § 48) makes on Thucydides’ avoidance of smoothness and evenness
-of composition, and on his liking for jolting rhythms (e.g. “from
-other maladies this year, by common consent, was free,” rather than
-“by common consent, this year was free from other maladies”): καὶ ὁ
-Θουκυδίδης δὲ πανταχοῦ σχεδὸν φεύγει τὸ λεῖον καὶ ὁμαλὲς τῆς συνθέσεως,
-καὶ ἀεὶ μᾶλλόν τι προσκρούοντι ἔοικεν, ὥσπερ οἱ τὰς τραχείας ὁδοὺς
-πορευόμενοι, ἐπὰν λέγῃ ὅτι “τὸ μὲν δὴ ἔτος, ὡς ὡμολόγητο, ἄνοσον ἐς τὰς
-ἄλλας ἀσθενείας ἐτύγχανεν ὄν.” ῥᾷον μὲν γὰρ καὶ ἥδιον ὧδ’ ἄν τις εἶπεν,
-ὅτι “ἄνοσον ἐς τὰς ἄλλας ἀσθενείας ὂν ἐτύγχανεν,” ἀφῄρητο δ’ αὐτοῦ τὴν
-μεγαλοπρέπειαν.—Hermogenes (Walz _Rhett. Gr._ iii. 206) shows how the
-passage would be changed for the worse by such a πλαγιασμός as the use
-of a genitive absolute at the start: e.g. Κροίσου ὄντος κτλ.
-
-11. From this point onwards, the less important of the manuscript
-variants are not recorded in the _critical apparatus_, except in the
-case of P which the editor has examined personally.
-
-12. Demetrius (_de Eloc._ § 199), in quoting this passage, reads
-ἐσπλέοντι εἰς: and this may be correct reading in Thucyd. i. 24.
-
-19. Hegesias, in the eyes of Dionysius, was a writer whose originality
-displayed itself in unnatural contortions of language; cp.
-Introduction, pp. 52-55 _supra_. The merits of a natural, untutored
-prose-order have been indicated once for all by Molière (_Le Bourgeois
-Gentilhomme_ ii. 4): “MONSIEUR JOURDAN. Je voudrais donc lui mettre
-dans un billet: _Belle Marquise, vos beaux yeux me font mourir
-d’amour_; mais je voudrais que cela fût mis d’une manière galante,
-que cela fût tourné gentiment ... Non, vous dis-je, je ne veux que
-ces seules paroles-là dans le billet; mais tournées à la mode, bien
-arrangées comme il faut. Je vous prie de me dire un peu, pour voir,
-les diverses manières dont on les peut mettre.—MAÎTRE DE PHILOSOPHIE.
-On les peut mettre premièrement comme vous avez dit: _Belle Marquise,
-vos beaux yeux me font mourir d’amour._ Ou bien: _D’amour mourir me
-font, belle Marquise, vos beaux yeux_. Ou bien: _Vos yeux beaux d’amour
-me font, belle Marquise, mourir_. Ou bien: _Mourir vos beaux yeux,
-belle Marquise, d'amour me font_. Ou bien: _Me font vos yeux beaux
-mourir, belle Marquise, d’amour_. [This is, apparently the crowning
-absurdity.]—M. JOURDAIN. Mais de toutes ces façons-là, laquelle
-est la meilleure?—MAÎTRE DE PHILOSOPHIE. Celle que vous avez dite:
-_Belle Marquise, vos beaux yeux me font mourir d’amour_.—M. JOURDAIN.
-=Cependant je n’ai point étudié, et j’ai fait cela tout du premier
-coup.=”
-
-20. The phrase is perhaps suggested by Aristoph. _Nub._ 359 σύ τε,
-λεπτοτάτων λήρων ἱερεῦ, φράζε πρὸς ἡμᾶς ὅ τι χρῄζεις. Cp. Cic. _pro
-Sestio_ 17. 39 “stuprorum sacerdos,” and also D.H. p. 169 (note on
-καὶ πολὺς ὁ τελέτης ἐστὶν ἐν τοῖς τοιούτοις παρ’ αὐτῷ). ‘Hierophant,’
-‘adept,’ ‘past master,’ will give something of the idea.
-
-[Page 91]
-
-nature of the dialect: “Croesus was a Lydian by birth and the son of
-Alyattes. He was lord over all the nations on this side of the river
-Halys, which flows from the south between Syria and Paphlagonia, and
-falls, towards the north, into the sea which is called the Euxine.”[96]
-I change the order here, and the cast of the passage will become no
-longer that of a spacious narrative, but tense rather and forensic:
-“Croesus was the son of Alyattes, and by birth a Lydian. He was lord,
-on this side of the river Halys, over all nations; which river from the
-south flowing between Syria and Paphlagonia runs into the sea which
-is called the Euxine and debouches towards the north.” This style
-would seem not to differ widely from that of Thucydides in the words:
-“Epidamnus is a city on the right as you enter the Ionian Gulf: its
-next neighbours are barbarians, the Taulantii, an Illyrian race.”[97]
-Once more I will recast the same passage and give a new form to it as
-follows: “Alyattes’ son was Croesus, by birth a Lydian. Lord over all
-nations he was, on this side of the river Halys; which river, from the
-south flowing between Syria and Paphlagonia, falls, with northward run,
-into the Euxine-called sea.” This affected, degenerate, emasculate way
-of arranging words resembles that of Hegesias, the high-priest of this
-kind of nonsense. He
-
-[Page 92]
-
-
-ἱερεὺς ἐκεῖνος ἀνὴρ τοιαῦτα γράφων· “Ἐξ ἀγαθῆς ἑορτῆς
-ἀγαθὴν ἄγομεν ἄλλην.” “Ἀπὸ Μαγνησίας εἰμὶ τῆς μεγάλης
-Σιπυλεύς.” “Οὐ γὰρ μικρὰν εἰς Θηβαίων ὕδωρ ἔπτυσεν ὁ
-Διόνυσος· ἡδὺς μὲν γάρ ἐστι, ποιεῖ δὲ μαίνεσθαι.”
-
-ἅλις ἔστω παραδειγμάτων. ἱκανῶς γὰρ οἴομαι πεποιηκέναι      5
-φανερὸν ὃ προὔκειτό μοι, ὅτι μείζονα ἰσχὺν ἔχει τῆς
-ἐκλογῆς ἡ σύνθεσις. καί μοι δοκεῖ τις οὐκ ἂν ἁμαρτεῖν
-εἰκάσας αὐτὴν τῇ Ὁμηρικῇ Ἀθηνᾷ· ἐκείνη τε γὰρ τὸν
-Ὀδυσσέα τὸν αὐτὸν ὄντα ἄλλοτε ἀλλοῖον ἐποίει φαίνεσθαι,
-τοτὲ μὲν μικρὸν καὶ ῥυσὸν καὶ αἰσχρὸν      10
-
-        πτωχῷ λευγαλέῳ ἐναλίγκιον ἠδὲ γέροντι,
-
-τοτὲ δὲ τῇ αὐτῇ ῥάβδῳ πάλιν ἐφαψαμένη
-
-        μείζονά τ’ εἰσιδέειν καὶ πάσσονα θῆκεν ἰδέσθαι, κὰδ δὲ κάρητος
-        οὔλας ἧκε κόμας ὑακινθίνῳ ἄνθει ὁμοίας,      15
-
-αὕτη τε τὰ αὐτὰ λαμβάνουσα ὀνόματα τοτὲ μὲν ἄμορφα καὶ
-πτωχὰ καὶ ταπεινὰ ποιεῖ φαίνεσθαι τὰ νοήματα, τοτὲ δ’
-ὑψηλὰ καὶ πλούσια [καὶ ἁδρὰ] καὶ καλά. καὶ τοῦτ’ ἦν
-σχεδὸν ᾧ μάλιστα διαλλάττει ποιητής τε ποιητοῦ καὶ ῥήτωρ
-ῥήτορος, τὸ συντιθέναι δεξιῶς τὰ ὀνόματα. τοῖς μὲν οὖν      20
-ἀρχαίοις ὀλίγου δεῖν πᾶσι πολλὴ ἐπιτήδευσις ἦν αὐτοῦ, παρ’
-ὃ καὶ καλά ἐστιν αὐτῶν τά τε μέτρα καὶ τὰ μέλη καὶ οἱ
-λόγοι· τοῖς δὲ μεταγενεστέροις οὐκέτι πλὴν ὀλίγων· χρόνῳ δ’
-
-1 ἀνὴρ libri: cf. D.H. p. 169   5 ἅλις F: ἂν P || ἔστω F: ἔστω τῶν
-PMV || ἱκαν(ῶς) P^1   7 δοκεῖ τις οὐκ ἂν PV: οὐ δοκεῖ τις EFM ||
-ἁμαρτάνειν PMV   10 μὲν μικρὸν καὶ ῥυσὸν EF: μὲν ῥυσὸν καὶ μικρὸν PMV
-11 ἠδὲ] ἠδὲ καὶ F || γέροντα P   12 ῥάβδω P   15 ὑακινθίν(ω) P   16 αὕτη
-Sylburgius: αὐτή libri   17 πτωχὰ καὶ ταπεινὰ PMV: ταπεινὰ καὶ πτωχὰ EF
-|| δὲ PMV   18 καὶ ἁδρὰ delevit Sadaeus || τοῦτ’ ἦν σχεδὸν ὧι PE: τοῦτ’
-ἦν ὃ (ᾧ M) FM: τούτῳ V   19 διαλάττει P   20 τὸ EFP: τῷ MV   21 πᾶσιν P
-|| ἐπιτήδευσις Sylburgius: ἐπίδοσις libri   22 τε om. PV   23 οὐκ ἔστι
-P || χρον(ω) P
-
-2. Possibly Hegesias began one of his books in this grandiloquent
-fashion, referring to his birth in Magnesia at the foot of Mount
-Sipylus.
-
-3. =μικράν=: understand ψακάδα or λιβάδα. Casaubon conjectured μιαρὰν:
-Reiske, μικρὰν <χολὴν>.
-
-4. =ἡδύς=: sc. ὁ ποταμός. An easy course would be to change ἡδύς to ἡδύ
-with Reiske; but there is no manuscript variant, and the ambiguity and
-awkward ellipse may be part of Hegesias’ offence.
-
-13. Vettori suggested the omission here of θῆκεν ἰδέσθαι.
-
-16. Cp. Isocr. Paneg. § 8 ἐπειδὴ δ’ οἱ λόγοι τοιαύτην ἔχουσι τὴν φύσιν,
-ὥσθ’ οἷον τ’ εἶναι περὶ τῶν αὐτῶν πολλαχῶς ἐξηγήσασθαι, καὶ τά τε
-μεγάλα ταπεινὰ ποιῆσαι καὶ τοῖς μικροῖς περιθεῖναι, κτλ.
-
-17. The antitheses are ὑψηλά)(ταπεινά, πλούσια)(πτωχά, καλά)(ἄμορφα.
-The order πτωχὰ καὶ ταπεινά in PMV gives a chiasmus. ἁδρά is the gloss
-of some rhetorician on ὑψηλά (cp. _de Demosth._ c. 34, where this gloss
-actually occurs in one of the manuscripts). The word ἁδρός does not
-belong to Dionysius’ rhetorical terminology; cp. Long. p. 194.
-
-18. =ἦν=, ‘was all the time,’ ‘is after all’ (cp. =192= 8, etc.).
-
-20. Quintil. ix. 4. 16 “itaque ut confiteor, paene ultimam oratoribus
-artem compositionis, quae quidem perfecta sit, contigisse: ita illis
-quoque priscis habitam inter curas, in quantum adhuc profecerant, puto.
-neque enim mihi quamlibet magnus auctor Cicero persuaserit, Lysian,
-Herodotum, Thucydiden parum studiosos eius fuisse”; Dionys. Hal. _de
-Demosth._ c. 36 πολλή τις ἐγένετο ἐν τοῖς ἀρχαίοις ἐπιθυμία καὶ πρόνοια
-τοῦ καλῶς ἁρμόττειν τὰ ὀνόματα ἔν τε μέτροις καὶ δίχα μέτρων, καὶ
-πάντες, ὅσοι σπουδαίας ἐβουλήθησαν ἐξενεγκεῖν γραφάς, οὐ μόνον ἐζήτησαν
-ὀνομάσαι τὰ νοήματα καλῶς, ἀλλὰ καὶ αὐτὰ <τὰ ὀνόματα> εὐκόσμῳ συνθέσει
-περιλαβεῖν.
-
-21. The conjecture =ἐπιτήδευσις= may be illustrated by =70= 6, =212=
-19, =256= 18, and also by _de Demosth._ c. 36 (the sentence preceding
-that just quoted).—The manuscript reading ἐπίδοσις might possibly be
-retained and translated “made numerous contributions to it.” Disselbeck
-suggests δόσις, and compares _de Demosth._ cc. 18, 48, 51.
-
-[Page 93]
-
-writes, for instance, “After a goodly festival another goodly one keep
-we.” “Of Magnesia am I, the mighty land, a man of Sipylus I.” “No
-little drop into the Theban waters spewed Dionysus: Oh yea, sweet it
-is, but madness it engendereth.”[98]
-
-Enough of examples. I think I have I sufficiently proved my point
-that composition is more effective than selection. In fact, it seems
-to me that one might fairly compare the former to Athena in Homer.
-For she used to make the same Odysseus appear now in one form, now in
-another,—at one time puny and wrinkled and ugly,
-
-    In semblance like to a beggar wretched and eld-forlorn,[99]
-
-at another time, by a fresh touch of the selfsame wand,
-
-    She moulded him taller to see, and broader: his wavy hair
-    She caused o’er his shoulders to fall as the hyacinth’s purple rare.[100]
-
-So, too, composition takes the same words, and makes the ideas they
-convey appear at one time unlovely, beggarly and mean; at another,
-exalted, rich and beautiful. A main difference between poet and poet,
-orator and orator, really does lie in the aptness with which they
-arrange their words. Almost all the ancients made a special study of
-this; and consequently their poems, their lyrics, and their prose are
-things of beauty. But among their successors, with few exceptions, this
-was no longer so.
-
-[Page 94]
-
-
-ὕστερον παντάπασιν ἠμελήθη καὶ οὐδεὶς ᾤετο δεῖν ἀναγκαῖον
-αὐτὸ εἶναι οὐδὲ συμβάλλεσθαί τι τῷ κάλλει τῶν λόγων·
-τοιγάρτοι τοιαύτας συντάξεις κατέλιπον οἵας οὐδεὶς ὑπομένει
-μέχρι κορωνίδος διελθεῖν, Φύλαρχον λέγω καὶ Δοῦριν καὶ
-Πολύβιον καὶ Ψάωνα καὶ τὸν Καλλατιανὸν Δημήτριον      5
-Ἱερώνυμόν τε καὶ Ἀντίγονον καὶ Ἡρακλείδην καὶ Ἡγησιάνακτα
-καὶ ἄλλους μυρίους· ὧν ἁπάντων εἰ τὰ ὀνόματα
-βουλοίμην λέγειν, ἐπιλείψει με ὁ τῆς ἡμέρας χρόνος. καὶ τί
-δεῖ τούτους θαυμάζειν, ὅπου γε καὶ οἱ φιλοσοφίαν ἐπαγγελλόμενοι
-καὶ τὰς διαλεκτικὰς ἐκφέροντες τέχνας οὕτως εἰσὶν      10
-ἄθλιοι περὶ τὴν σύνθεσιν τῶν ὀνομάτων ὥστε αἰδεῖσθαι καὶ
-λέγειν; ἀπόχρη δὲ τεκμηρίῳ χρήσασθαι τοῦ λόγου Χρυσίππῳ
-τῷ Στωϊκῷ (περαιτέρω γὰρ οὐκ ἂν προβαίην)· τούτου γὰρ
-οὔτ’ ἄμεινον οὐδεὶς τὰς διαλεκτικὰς τέχνας ἠκρίβωσεν οὔτε
-ἁρμονίᾳ χείρονι συνταχθέντας ἐξήνεγκε λόγους τῶν γοῦν      15
-ὀνόματος καὶ δόξης ἀξιωθέντων. καίτοι σπουδάζειν γέ τινες
-
-1 οὐδεῖσ P   2 τι om. P || τ(ω) P   3 κατέλειπον P   4 φύταρχον PM
-  5 σάωνα PMV: στατωνα [**TN: φ written above first τ of στατωνα]
-F || καλατιανὸν P: καλαντιανὸν MV: καλανδιανὸν F   6 ἀντίγονον F:
-ἀντίλογον PMV || ἡγησι(α)νακτα P,F: ἡγησίννακτα M: ἡγησίαν μάγνητα V
-  7 εἰ post ὀνόματα ponunt PMV   9 οἱ F^2P: om. F^1: οἱ τὴν MV   12 τῶι
-λόγωι χρυσίππου τοῦ στωικοῦ PMV   13 τοῦτο F   14 οὔτε (ante ἄμεινον)
-PMV   15 χείρονι ante ἁρμονίᾳ habent PMV || γ’ οὖν F,M: om. PV   16
-σπουδάζειν PMV: σπουδάζεσθαι F
-
-1. =ᾤετο δεῖν ἀναγκαῖον αὐτὸ εἶναι=: pleonasm. Perhaps ᾤετ’ ἀσκεῖν
-ἀναγκαῖον αὐτὸ εἶναι, or the like.
-
-4. =Phylarchus=: a native of Athens, or (acc. to some ancient
-authorities) of Naucratis in Egypt. He flourished under Ptolemy
-Euergetes (247-222 B.C.), and continued (in 28 books) the historical
-works of Hieronymus and Duris. The period covered was that from
-Pyrrhus’ invasion of the Peloponnese to the death of Cleomenes (272-220
-B.C.). Remains in C. Müller _Fragm. Hist. Gr._ i. 334-58.
-
-=Duris of Samos=: a pupil of Theophrastus. Flourished under Ptolemy
-Philadelphus (285-247 B.C.); wrote a history which extended from the
-battle of Leuctra to the year 281 or later. Among his other writings
-was a Life of Agathocles. Fragments in C. Müller ii. 466-88. He is
-mentioned in Cic. _ad Att._ vi. 1. 18: “num idcirco Duris Samius, homo
-in historia diligens, quod cum multis erravit, irridetur?”
-
-5. =Polybius=: see Introduction, pp. 51, 52 _supra_.
-
-=Psaon=, of Plataea: a third-century historian, who wrote in thirty
-books. Cp. C. Müller iii. 198 (and ii. 360).
-
-=Demetrius= (of Callatis, Calatis, Callatia, or Callantia: the town
-appears under all these names): wrote thirty books of history in the
-third century. Cp. C. Müller iv. 380, 381.
-
-6. =Hieronymus=, of Cardia: wrote, in the third century, a history of
-the Diadochi and the Epigoni. Fragments in C. Müller ii. 450-61.
-
-=Antigonus=: of uncertain date (probably second century) and country,
-but apparently identical with the Antigonus mentioned, among writers
-who had touched on early Roman history, in _Antiqq. Rom._ i. 6 πρῶτον
-μέν, ὅσα κἀμὲ εἰδέναι, τὴν Ῥωμαϊκὴν ἀρχαιολογίαν ἐπιδραμόντος Ἱερωνύμου
-τοῦ Καρδιανοῦ συγγραφέως, ἐν τῇ περὶ τῶν Ἐπιγόνων πραγματείᾳ· ἔπειτα
-Τιμαίου τοῦ Σικελιώτου, τὰ μὲν ἀρχαῖα τῶν ἱστοριῶν ἐν ταῖς κοιναῖς
-ἱστορίαις ἀφηγησαμένου, τοὺς δὲ πρὸς Πύρρον τὸν Ἠπειρώτην πολέμους
-εἰς ἰδίαν καταχωρίσαντος πραγματείαν· ἅμα δὲ τούτοις Ἀντιγόνου τε καὶ
-Πολυβίου, καὶ Σιληνοῦ, καὶ μυρίων ἄλλων τοῖς αὐτοῖς πράγμασιν οὐχ
-ὁμοίως ἐπιβαλόντων· ὧν ἕκαστος ὀλίγα, καὶ οὐδὲ αὐτὰ διεσπουδασμένως
-οὐδὲ ἀκριβῶς, ἀλλ’ ἐκ τῶν ἐπιτυχόντων ἀκουσμάτων συνθείς, ἀνέγραψεν.—In
-the present passage Ἀντίλογον, Ἀντίλοχον, Ἀντίοχον, and Ἀμφίλοχον are
-also read or conjectured.
-
-=Heracleides=: a historian who probably flourished during the reign of
-Ptolemy Philometor (181-146 B.C.).
-
-=Hegesianax=: a second-century historian, who seems to have written on
-the history and legends of Troy (Τρωϊκά). Cp. C. Müller iii. 68-70.
-
-8. Cp. Demosth. _de Cor._ § 296 ἐπιλείψει με λέγοντα ἡ ἡμέρα τὰ τῶν
-προδοτῶν ὀνόματα, and _Epist. ad. Hebr._ xi. 32 καὶ τί ἔτι λέγω;
-ἐπιλείψει με γὰρ διηγούμενον ὁ χρόνος περὶ Γεδεών, κτλ. So Cic. _Rosc.
-Am._ 32. 89 “tempus, hercule, te citius quam oratio deficeret,” and
-_Verr._ ii. 2, 21, 52 “nam me dies, vox, latera deficiant, si hoc nunc
-vociferari velim, quam miserum indignumque sit,” etc.
-
-9. =ὅπου γε=: cp. Long. _de Subl._ iv. 4 τί δεῖ περὶ Τιμαίου λέγειν,
-ὅπου γε καὶ οἱ ἥρωες ἐκεῖνοι, Ξενοφῶντα λέγω καὶ Πλάτωνα, καίτοιγε ἐκ
-τῆς Σωκράτους ὄντες παλαίστρας, ὅμως διὰ τὰ οὕτως μικροχαρῆ ποτε ἑαυτῶν
-ἐπιλανθάνονται;
-
-12. The reading τῷ λόγῳ Χρυσίππου τοῦ Στωικοῦ (PMV) would mean “to
-point, in proof, to the style (τῷ λόγῳ = ‘discourse,’ ‘writing,’
-‘style’; cp. =96= 2) of Chrysippus.” With the general estimate compare
-Cic. _de Fin._ iv. 3. 7 “quamquam scripsit artem rhetoricam Cleanthes,
-Chrysippus etiam, sed sic, ut, si quis obmutescere concupierit, nihil
-aliud legere debeat.”
-
-13. The manuscript reading προβαίην should be retained, as against
-Usener’s conjecture προβαῖεν, which perhaps could hardly mean ‘none
-could sink to greater depths than he,’—if that is the sense intended
-by Usener. Cp. Aesch. _Prom. V._ 247 μή πού τι προὔβης τῶνδε καὶ
-περαιτέρω—words which Dionysius may have had in mind; and Plato
-_Phaedr._ 239 D ἃ δῆλα καὶ οὐκ ἄξιον περαιτέρω προβαίνειν.
-
-16. =σπουδάζειν=: Usener adopts F’s reading σπουδάζεσθαι, with the
-remark “medii rari vestigium servandum erat.” But he quotes no
-examples; and Dionysius elsewhere uses the active (e.g. σπουδαζόντων,
-=66= 8 _supra_). The verb is so frequently found in a passive form and
-signification, that it seems unlikely that forms common to passive
-and middle would be used in the middle when the active was available.
-A middle _future_, σπουδάσομαι, occurs in Plato _Euthyphro_ 3 B and
-in Demosth. _Mid._ 213; but the _future_ middle in many verbs stands
-quite by itself, and in the passage of Demosthenes we have σπουδάσεται
-... σπουδάσατε, while in the passage of Plato there is an important
-variation in the reading.
-
-[Page 95]
-
-
-At last, in later times, it was utterly neglected; no one thought
-it absolutely indispensable, or that it contributed anything to the
-beauty of discourse. Consequently they left behind them lucubrations
-that no one has the patience to read from beginning to end. I mean
-men like Phylarchus, Duris, Polybius, Psaon, Demetrius of Callatis,
-Hieronymus, Antigonus, Heracleides, Hegesianax, and countless others:
-a whole day would not be enough if I tried to repeat the bare names
-of them all.[101] But why wonder at these, when even those who call
-themselves professors of philosophy and publish manuals of dialectic
-fail so wretchedly in the arrangement of their words that I shrink from
-even mentioning their names? It is quite enough to point, in proof of
-my statement, to Chrysippus the Stoic: for farther I will not go. Among
-writers who have achieved any name or distinction, none have written
-their treatises on dialectic with greater accuracy, and none have
-published discourses which are worse specimens of composition. And yet
-some of them claimed
-
-[Page 96]
-
-
-προσεποιήθησαν αὐτῶν καὶ περὶ τοῦτο τὸ μέρος ὡς ἀναγκαῖον
-ὂν τῷ λόγῳ καὶ τέχνας γέ τινας ἔγραψαν ὑπὲρ τῆς συντάξεως
-τῶν τοῦ λόγου μορίων· ἀλλὰ πολύ τι πάντες ἀπὸ τῆς
-ἀληθείας ἀπεπλάγχθησαν καὶ οὐδ’ ὄναρ εἶδον, τί ποτ’ ἐστὶ
-τὸ ποιοῦν ἡδεῖαν καὶ καλὴν τὴν σύνθεσιν. ἐγὼ γοῦν ὅτε      5
-διέγνων συντάττεσθαι ταύτην τὴν ὑπόθεσιν, ἐζήτουν εἴ τι
-τοῖς πρότερον εἴρηται περὶ αὐτῆς καὶ μάλιστα τοῖς ἀπὸ τῆς
-Στοᾶς φιλοσόφοις, εἰδὼς τοὺς ἄνδρας οὐ μικρὰν φροντίδα τοῦ
-λεκτικοῦ τόπου ποιουμένους· δεῖ γὰρ αὐτοῖς τἀληθῆ μαρτυρεῖν.
-οὐδαμῇ δ’ οὐδὲν εἰρημένον ὑπ’ οὐδενὸς ὁρῶν τῶν γοῦν      10
-ὀνόματος ἠξιωμένων οὔτε μεῖζον οὔτ’ ἔλαττον εἰς ἣν ἐγὼ
-προῄρημαι πραγματείαν, ἃς δὲ Χρύσιππος καταλέλοιπε
-συντάξεις διττὰς ἐπιγραφὴν ἐχούσας “περὶ τῆς συντάξεως
-τῶν τοῦ λόγου μερῶν” οὐ ῥητορικὴν θεωρίαν ἐχούσας ἀλλὰ
-διαλεκτικήν, ὡς ἴσασιν οἱ τὰς βίβλους ἀνεγνωκότες, ὑπὲρ      15
-ἀξιωμάτων συντάξεως ἀληθῶν τε καὶ ψευδῶν καὶ δυνατῶν
-καὶ ἀδυνάτων ἐνδεχομένων τε καὶ μεταπιπτόντων καὶ ἀμφιβόλων
-καὶ ἄλλων τινῶν τοιουτοτρόπων, οὐδεμίαν οὔτ’ ὠφέλειαν
-οὔτε χρείαν τοῖς πολιτικοῖς λόγοις συμβαλλομένας εἰς γοῦν
-ἡδονὴν καὶ κάλλος ἑρμηνείας, ὧν δεῖ στοχάζεσθαι τὴν      20
-σύνθεσιν· ταύτης μὲν τῆς πραγματείας ἀπέστην, ἐσκόπουν
-δ’ αὐτὸς ἐπ’ ἐμαυτοῦ γενόμενος, εἴ τινα δυναίμην εὑρεῖν
-φυσικὴν ἀφορμήν, ἐπειδὴ παντὸς πράγματος καὶ πάσης ζητήσεως
-αὕτη δοκεῖ κρατίστη εἶναι ἀρχή. ἁψάμενος δέ τινων
-θεωρημάτων καὶ δόξας ὁδῷ μοι τὸ πρᾶγμα χωρεῖν ὡς ἔμαθον      25
-ἑτέρωσέ ποι ταύτην ἄγουσαν ἐμὲ τὴν ὁδόν, οὐχ ὅποι προὐθέμην
-
-1 αὐτῶι F,M   2 ὂν F: om. P || τ(ω) λογ(ω) P || γε om. PMV || ἔγραψαν
-PM: ἔγραψεν F: ἐπέγραψαν V || ὑπερ * * P   4 ἀπεπλανήθησαν PMV || οὐδε
-P, MV   5 ἐγὼ γ’ οὖν F: ἔγωγ’ οὖν PMV || ὅτε διέγνων PMV: ὅτ’ ἔγνων F
-  9 τόπου] λόγου F || τε ποιημένους P   10 οὐδαμεῖ (suprascr. ηι) P^1
-|| δ’ om. P || εἰρημένον om. PMV || γοῦν om. PV   13 περὶ] οὐ περὶ PM
-14 οὐ] καὶ P   16 τε] δὲ PMV   17 ἀμφιλόβων P   18 οὔτ’ ὠφέλειαν om. P
-  19 συμβαλλομένων PMV   20 καὶ F: ἢ PMV   22 δὲ PMV   24 δοκεῖ] δοκεῖ
-καὶ P   25 μοι FP: τινι MV || τὰ πράγματα προχωρεῖν F   26 ἐμὲ om. F ||
-προὐθέμην PMV: πρ[ου]θέμην ‘πορευοίμην cum litura F
-
-4. =οὐδ’ ὄναρ εἶδον= = ‘ne somnio quidem viderunt,’ ‘ne per somnia
-quidem viderunt.’
-
-6. For =ἔγνων= (as a v.l. for διέγνων) =συντάττεσθαι= cp. _Antiqq.
-Rom._ i. 1 ... οὔτε διαβολὰς καθ’ ἑτέρων ἐγνωκὼς ποιεῖσθαι συγγραφέων.
-The passage which begins here and ends with the words πραγματείας
-ἀπέστην is quoted under the head _Dialectica_ in von Arnim’s _Stoicorum
-Veterum Fragmenta_ ii. 67.
-
-9 ff. Cic. _Brut._ 31. 118 “Tum Brutus: Quam hoc idem in nostris
-contingere intellego quod in Graecis, ut omnes fere Stoici
-prudentissimi in disserendo sint et id arte faciant sintque architecti
-paene verborum, idem traducti a disputando ad dicendum inopes
-reperiantur.”
-
-13. Diogenes Laertius (vii. 192. 3), in enumerating Chrysippus’ logical
-works, writes: σύνταξις δευτέρα· περὶ τῶν στοιχείων τοῦ λόγου καὶ τῶν
-λεγομένων ε′, περὶ τῆς συντάξεως τῶν λεγομένων δ′, περὶ τῆς συντάξεως
-καὶ στοιχείων τῶν λεγομένων πρὸς Φίλιππον γ′, περὶ τῶν στοιχείων τοῦ
-λόγου πρὸς Νικίαν α′, περὶ τοῦ πρὸς ἕτερα λεγομένου α′.
-
-23. =φυσικὴν ἀφορμήν=: this suggests the Stoic point of view.
-
-26. The reading of F looks like an attempt to gloss προὐθέμην.
-
-[Page 97]
-
-to make a serious study of this department also, as being absolutely
-essential to good writing, and wrote some manuals on the grouping
-of the parts of speech. But they all went far astray from the truth
-and never even dreamt what it is that makes composition attractive
-and beautiful. At any rate, when I resolved to treat of this subject
-methodically, I tried to find out whether anything at all had been
-said about it by earlier writers, and particularly by the philosophers
-of the Porch, because I knew that these worthies were accustomed to
-pay no little attention to the department of discourse: one must
-give them their due. But in no single instance did I light upon any
-contribution, great or small, made by any author, of any reputation
-at all events, to the subject of my choice. As for the two treatises
-which Chrysippus has bequeathed to us, entitled “on the grouping of the
-parts of speech,” they contain, as those who have read the books are
-aware, not a rhetorical but a dialectical investigation, dealing with
-the grouping of propositions, true and false, possible and impossible,
-admissible and variable, ambiguous, and so forth. These contribute no
-assistance or benefit to civil oratory, so far at any rate as charm and
-beauty of style are concerned; and yet these qualities should be the
-chief aim of composition. So I desisted from this inquiry, and falling
-back upon my own resources proceeded to consider whether I could
-find some starting-point indicated by nature itself, since nature is
-generally accepted as the best first principle in every operation and
-every inquiry. So applying myself to certain lines of investigation,
-I was beginning to think that the plan was making fair progress, when
-I became aware that my path of progress was leading me in a quite
-different direction, and not towards the goal which I
-
-[Page 98]
-
-
-καὶ ἀναγκαῖον ἦν ἐλθεῖν, ἀπέστην. κωλύσει δ’ οὐδὲν
-ἴσως κἀκείνης ἅψασθαι τῆς θεωρίας καὶ τὰς αἰτίας εἰπεῖν δι’
-ἃς ἐξέλιπον αὐτήν, ἵνα μή με δόξῃ τις ἀγνοίᾳ παρελθεῖν
-αὐτὴν ἀλλὰ προαιρέσει.
-
-
-V
-
-ἐδόκει δή μοι τῇ φύσει μάλιστα ἡμᾶς ἑπομένους οὕτω      5
-δεῖν ἁρμόττειν τὰ μόρια τοῦ λόγου, ὡς ἐκείνη βούλεται.
-αὐτίκα τὰ ὀνόματα πρῶτα ἡγούμην τάττειν τῶν ῥημάτων (τὰ
-μὲν γὰρ τὴν οὐσίαν δηλοῦν, τὰ δὲ τὸ συμβεβηκός, πρότερον
-δ’ εἶναι τῇ φύσει τὴν οὐσίαν τῶν συμβεβηκότων), ὡς τὰ
-Ὁμηρικὰ ἔχει ταυτί·      10
-
-        ἄνδρα μοι ἔννεπε, Μοῦσα, πολύτροπον
-
-καὶ
-
-        μῆνιν ἄειδε, θεά
-
-καὶ
-
-        ἠέλιος δ’ ἀνόρουσε λιπών      15
-
-καὶ τὰ παραπλήσια τούτοις· ἡγεῖται μὲν γὰρ ἐν τούτοις τὰ
-ὀνόματα, ἕπεται δὲ τὰ ῥήματα. πιθανὸς ὁ λόγος, ἀλλ’ οὐκ
-ἀληθὴς ἔδοξεν εἶναί μοι. ἕτερα γοῦν παράσχοιτ’ ἄν τις παραδείγματα
-παρὰ τῷ αὐτῷ ποιητῇ κείμενα ἐναντίως συντεταγμένα
-ἢ ταῦτα συντέτακται, καλὰ δὲ οὐχ ἧττον καὶ πιθανά. τίνα      20
-οὖν ἐστι ταῦτα;
-
-1 δὲ PV   3 ἀγνοία F   6 ἐκείνηι βεβούληται P   7 πρῶτα post ὀνόματα
-om. PMV || ἡγούμην PMV: ἠξίουν F || πρὸ ante τῶν add. PMV   8 οὐσίαν
-FV: αἰτίαν PM || δηλοῖ F   9 δε P, V || τῇ φύσει om. F   10 ταυτί om.
-PMV   18 παράσχοιτ’ ἄν τις PMV: παράσχοι τις ἂν F   19 τ(ω) αυτ(ω) P
-  20 δὲ Sauppius: τε libri
-
-5. There seems to be a touch of quiet humour in Dionysius’
-retrospection (during this _causerie_ of his) on the simplicity which
-had led him to think that he could frame _a priori_ rules as to
-Nature’s Order. Cp. =102= 15 in particular.
-
-7. F’s reading, πρῶτα τῶν ῥημάτων, receives some support from =174= 18
-_infra_. But cp. Steph. s.v. πρῶτος.—F’s reading ἠξίουν is probably
-due to some corrector who was unaware that there is good classical
-authority for ἡγοῦμαι = ἡγοῦμαι δεῖν.
-
-The following passage of Quintilian (ix. 4. 23-27) illustrates this
-chapter in many ways: “est et alius naturalis ordo, ut _viros ac
-feminas, diem ac noctem, ortum et occasum_ dicas potius quam retrorsum.
-quaedam ordine permutato fiunt supervacua, ut _fratres gemini_; nam si
-_gemini_ praecesserint, _fratres_ addere non est necesse. illa nimia
-quorundam fuit observatio, ut vocabula verbis, verba rursus adverbiis,
-nomina appositis et pronominibus essent priora. nam fit contra quoque
-frequenter non indecore. nec non et illud nimiae superstitionis,
-uti quaeque sint tempore, ita facere etiam ordine priora; non quin
-frequenter sit hoc melius, sed quia interim plus valent ante gesta
-ideoque levioribus superponenda sunt. verbo sensum cludere, multo, si
-compositio patiatur, optimum est. in verbis enim sermonis vis est. si
-id asperum erit, cedet haec ratio numeris, ut fit apud summos Graecos
-Latinosque oratores frequentissime. sine dubio erit omne, quod non
-cludet, hyperbaton, et ipsum hoc inter tropos vel figuras, quae sunt
-virtutes, receptum est. non enim ad pedes verba dimensa sunt, ideoque
-ex loco transferuntur in locum, ut iungantur, quo congruunt maxime.
-sicut in structura saxorum rudium etiam ipsa enormitas invenit, cui
-applicari et in quo possit insistere. felicissimus tamen sermo est, cui
-et rectus ordo et apta iunctura et cum his numerus opportune cadens
-contigit.”
-
-8. =πρότερον=: probably adverbial; cp. Hom. _Il._ vii. 424 and ix. 551.
-
-15. The completed line (_Odyss._ iii. 1) is: ἠέλιος δ’ ἀνόρουσε, λιπὼν
-περικαλλέα λίμνην κτλ.
-
-18. =παράσχοιτ’ ἄν τις=: for the middle voice cp. =214= 6 and =122= 14.
-
-20. Usener’s οἷά τινα seems a needless and somewhat violent change
-for the manuscript reading τίνα οὖν. No doubt οἷά ἐστι ταῦτα is found
-in =100= 27; but (1) Dionysius’ love of μεταβολή in style should
-be remembered, (2) οἷά τινα is not a usual phrase, (3) the lively
-rhetorical question is characteristic.
-
-[Page 99]
-
-sought and which I felt I must attain; and so I gave up the attempt. I
-may as well, perhaps, touch on that inquiry also, and state the reasons
-which led me to abandon it, so that I may not be open to the suspicion
-of having passed it by in ignorance, and not of deliberate choice.
-
-
-CHAPTER V
-
-NO GRAMMATICAL ORDER PRESCRIBED BY NATURE
-
-Well, my notion was that we ought to follow mother nature to the
-utmost, and to link together the parts of speech according to her
-promptings. For example, I thought I must place nouns before verbs:
-the former, you see, indicate the substance, the latter the accident,
-and in the nature of things the substance takes precedence of its
-accidents! Thus we find in Homer:—
-
-    The hero to me chant thou, Song-queen, the resourceful man;[102]
-
-and
-
-    The Wrath sing, Goddess, thou;[103]
-
-and
-
-    The sun leapt up, as he left;[104]
-
-and other lines of the same kind, where the nouns lead the way and the
-verbs follow. The principle is attractive, but I came to the conclusion
-that it was not sound. At any rate, a reader might confront me with
-other instances in the same poet where the arrangement is the opposite
-of this, and yet the lines are no less beautiful and attractive. What
-are the instances in point?
-
-[Page 100]
-
-
-        κλῦθί μευ, αἰγιόχοιο Διὸς τέκος Ἀτρυτώνη
-
-καὶ
-
-        ἔσπετε νῦν μοι, Μοῦσαι, Ὀλύμπια δώματ’ ἔχουσαι ...
-        μνῆσαι πατρὸς σεῖο, θεοῖς ἐπιείκελ’ Ἀχιλλεῦ.
-
-ἐν γὰρ τούτοις ἡγεῖται μὲν τὰ ῥήματα, ὑποτέτακται δὲ τὰ      5
-ὀνόματα· καὶ οὐδεὶς ἂν αἰτιάσαιτο τὴν σύνταξιν αὐτῶν ὡς
-ἀηδῆ.
-
-ἔτι πρὸς τούτοις ἄμεινον ἐδόκουν εἶναι τὰ ῥήματα πρότερα
-τάττειν τῶν ἐπιρρημάτων, ἐπειδὴ πρότερόν ἐστι τῇ φύσει τὸ
-ποιοῦν ἢ πάσχον τῶν συνεδρευόντων αὐτοῖς, τρόπου λέγω καὶ      10
-τόπου καὶ χρόνου καὶ τῶν παραπλησίων, ἃ δὴ καλοῦμεν
-ἐπιρρήματα, παραδείγμασι χρώμενος τούτοις·
-
-        τύπτε δ’ ἐπιστροφάδην, τῶν δὲ στόνος ὤρνυτ’ ἀεικής ...
-        ἤριπε δ’ ἐξοπίσω, ἀπὸ δὲ ψυχὴν ἐκάπυσσεν ...
-        ἐκλίνθη δ’ ἑτέρωσε, δέπας δέ οἱ ἔκπεσε χειρός.      15
-
-ἐν ἅπασι γὰρ δὴ τούτοις ὕστερα τέτακται [ἅμα] τῶν ῥημάτων
-τὰ ἐπιρρήματα. καὶ τοῦτο πιθανὸν μὲν ὡς τὸ πρῶτον, οὐκ
-ἀληθὲς δὲ ὡς οὐδ’ ἐκεῖνο. τάδε γὰρ δὴ παρὰ τῷ αὐτῷ ποιητῇ
-ἐναντίως ἢ ἐκεῖνα εἴρηται·
-
-        βοτρυδὸν δὲ πέτονται ἐπ’ ἄνθεσιν εἰαρινοῖσι ...      20
-        σήμερον ἄνδρα φάοσδε μογοστόκος Εἰλείθυια
-        ἐκφανεῖ.
-
-ἆρ’ οὖν τι χείρω γέγονε τὰ ποιήματα ὑποταχθέντων ἐνταῦθα
-τοῖς ἐπιρρήμασι τῶν ῥημάτων; οὐδεὶς ἂν εἴποι.
-
-ἔτι καὶ τόδε ᾤμην δεῖν μὴ παρέργως φυλάττειν, ὅπως τὰ      25
-πρότερα τοῖς χρόνοις καὶ τῇ τάξει πρότερα λαμβάνηται· οἷά
-ἐστι ταυτί·
-
-3 ἕσπετε F || ἔχουσαι. καὶ M   4 σοῖο Hom.   5 τὰ prius om. PMV   6
-αὐτῶν PMV: ταύτην F   8 πρότερα τάττειν PMV: προτάττειν F   9 ἐστι
-πρότερον F   10 πάσχειν F^1   12 παραδείγμασιν P   13 ὄρνυτ’ PMV  16 γὰρ
-δὴ F: γὰρ PMV || ἅμα τῶν FPM: καὶ τῶν V^1: τῶν V^2   18 οὐδὲ PMV ||
-τάδε γὰρ δὴ F: καὶ γὰρ δὴ καὶ ταῦτα PMV || αὐτῶι F: om. PMV  19 ἢ ἐκεῖνα
-PMV: ἐκείνοις F   21 φάος δὲ F: φάωσδε P || εἰλήθυια PM   23 χείρω τι
-PMV || γέγονεν P || ἐνταῦθα PMV: ἐνθάδε F   24 οὐδεὶς ἂν εἴποι F: om.
-PMV   25 τόδε Sylburgius: τάδε libri || ὠιμην F, M: ὠιόμην P, V   26
-τῆι τάξει καὶ τοῖς χρόνοις F   27 ταυτί PMV: ταῦτα F
-
-8. =πρότερα= τάττειν ... ἐπειδὴ =πρότερον= ἐστι: probably this pointed
-repetition is intentional on the part of Dionysius. πρότερα τάττειν
-might afterwards be changed to προτάττειν for the sake of brevity.
-
-18. ταῦτα (PMV) may be right, as ταῦτα in Dionysius can be used of
-what follows as well as of what precedes; cp. n. on =106= 5. So in
-Plato _Rep._ vi. 510 ῥᾷον γὰρ τούτων προειρημένων μαθήσει, and Xen.
-_Anab._ iii. 1. 41 ὡς μὴ τοῦτο μόνον ἐννοῶνται τί πείσονται ἀλλὰ καὶ
-τί ποιήσουσι. For Thucydides’ usage cp. Shilleto’s note on Thucyd. i.
-31 § 4. In =100= 16-=102= 25 (and further) there are several instances
-in which F’s readings (though given in the text) may emanate from some
-early Greek editor rather than from Dionysius himself: cp. =100= 24
-with =112= 5.
-
-26. Cp. Ter. _Andr._ i. 1. 100 “funus interim | procedit: sequimur; ad
-sepulcrum venimus; | in ignem impositast; fletur.”
-
-[Page 101]
-
-
-    Hear me, thou Child of the Aegis-bearer, unwearied Power;[105]
-
-and
-
-    Tell to me, Muses, now in Olympian halls that abide;[106]
-
-and
-
-    Remember thy father, Achilles, thou godlike glorious man.[107]
-
-In these lines the verbs are in the front rank, and the nouns stationed
-behind them. Yet no one would impugn the arrangement of the words as
-unpleasant.
-
-Moreover, I imagined it was better to place verbs in front of adverbs,
-since in the nature of things what acts or is acted upon takes
-precedence of those auxiliaries, modal, local, temporal, and the like,
-which we call adverbs. I relied on the following as examples:—
-
-    Smote them on this side and on that, and arose the ghastly groan;[108]
-    Fell she backward-reeling, and gasped her spirit away;[109]
-    Reeled he backward: the cup from his hand-grasp fell to the floor.[110]
-
-In all these cases the adverbs are placed after the verbs. This
-principle, like the other, is attractive; but it is equally unsound.
-For here are passages in the same poet expressed in the opposite way:
-
-    Clusterwise hover they ever above the flowers of spring;[111]
-    To-day shall Eileithyia the Queen of Travail bring
-    A man to the light.[112]
-
-Well, are the lines at all inferior because the verbs are placed after
-the adverbs? No one can say so.
-
-Once more, I imagined that I ought always most scrupulously to observe
-the principle that things earlier in time should be inserted earlier in
-the sentence. The following are examples:—
-
-[Page 102]
-
-
-        αὖ ἔρυσαν μὲν πρῶτα καὶ ἔσφαξαν καὶ ἔδειραν
-
-καὶ
-
-        λίγξε βιός, νευρὴ δὲ μέγ’ ἴαχεν, ἆλτο δ’ ὀϊστός
-
-καὶ
-
-        σφαῖραν ἔπειτ’ ἔρριψε μετ’ ἀμφίπολον βασίλεια·      5
-        ἀμφιπόλου μὲν ἅμαρτε, βαθείῃ δ’ ἔμβαλε δίνῃ.
-
-νὴ Δία, φαίη τις ἄν, εἴ γε μὴ καὶ ἄλλα ἦν πολλὰ οὐχ οὕτω
-συντεταγμένα ποιήματα οὐδὲν ἧττον ἢ ταῦτα καλά·
-
-        πλῆξε δ’ ἀνασχόμενος σχίζῃ δρυός, ἣν λίπε κείων.
-
-πρότερον γὰρ δήπου τὸ ἐπανατείνασθαί ἐστι τοῦ πλῆξαι. καὶ      10
-ἔτι
-
-        ἤλασεν ἄγχι στάς, πέλεκυς δ’ ἀπέκοψε τένοντας
-        αὐχενίους.
-
-πρῶτον γὰρ δήπου προσῆκεν τῷ μέλλοντι τὸν πέλεκυν
-ἐμβάλλειν εἰς τοὺς τένοντας τοῦ ταύρου τὸ στῆναι αὐτοῦ      15
-πλησίον. ἔτι πρὸς τούτοις ἠξίουν τὰ μὲν ὀνοματικὰ προτάττειν
-τῶν ἐπιθέτων, τὰ δὲ προσηγορικὰ τῶν ὀνοματικῶν,
-τὰς δ’ ἀντονομασίας τῶν προσηγορικῶν, ἔν τε τοῖς ῥήμασι
-φυλάττειν, ἵνα τὰ ὀρθὰ τῶν ἐγκλινομένων ἡγῆται καὶ τὰ
-παρεμφατικὰ τῶν ἀπαρεμφάτων, καὶ ἄλλα τοιαῦτα πολλά.      20
-πάντα δὲ ταῦτα διεσάλευεν ἡ πεῖρα καὶ τοῦ μηδενὸς ἄξια
-ἀπέφαινε. τοτὲ μὲν γὰρ ἐκ τούτων ἐγίνετο καὶ τῶν ὁμοίων
-αὐτοῖς ἡδεῖα ἡ σύνθεσις καὶ καλή, τοτὲ δ’ ἐκ τῶν μὴ τοιούτων
-ἀλλ’ ἐναντίων. διὰ ταύτας μὲν δὴ τὰς αἰτίας τῆς τοιαύτης
-θεωρίας ἀπέστην. ἐμνήσθην δ’ αὐτῶν καὶ νῦν οὐχ ὡς σπουδῆς      25
-
-3 ἆλτο P   5 ἔρριψεν P   7 εἴ γε μὴ F: εἰ PM || καὶ ἄλλα PMV: οὐχ *
-F^1: ἄλλα suprascr. F^2 || ἦν πολλὰ F: πολλὰ ἦν PMa || οὕτως FP^1   8
-ἢ FV: ἦ M: ἦν P   9 πλῆξε δ’ F: πλῆξεν PMV: κόψε δ’ Hom. || ἣν λίπε]
-κάλλιπε P || κιών libri   14 προσῆκεν F: προσήκει PMV   16 τούτοις καὶ
-MVs || ἠξίου P   18 δὲ PMV || ἀντωνομασίας PF^2M^2: ὠνομασίας M^1:
-ἀντωνυμίας F^1V || ῥήμασιν P   19 ἐγκεκλιμένων PMV   20 ἀπαρεμφατικὰ PV
-|| παρεμφατικῶν P   21 διεσάλευσεν MV   22 ἀπέφαινεν P: ἀπέφηνε MV   23
-τότε δ’ F: τοτὲ δὲ PV: τὸ δὲ M   24 ἀλλ’] μηδ’ F || τοιαύτης F: om. PMV
-  25 δὲ PMV
-
-1. In Homer αὖ ἔρυσαν should probably be printed as one word, αὐέρυσαν.
-Cp. note on =71= 21 _supra_.
-
-7. All this passage is in close correspondence with Quintil. ix. 4. 24,
-as quoted in the note on =98= 7 _supra_.
-
-9. Homer’s line actually begins with κόψε δ’ ἀνασχόμενος. Here
-Dionysius gives πλῆξε δ’ ἀνασχόμενος, while in _Antiqq. Rom._ vii. 62
-he has κόψε δ’ ἀπαρχόμενος. In both cases he is, doubtless, quoting
-from memory.
-
-10. The order actually adopted by Homer in these passages is that which
-the rhetoricians describe as πρωθύστερον, ὕστερον πρότερον, ὑστερολογία.
-
-16. =ἠξίουν τὰ μὲν ὀνοματικὰ προτάττειν τῶν ἐπιθέτων=: the Greek
-adjective (unless emphatic) is usually placed after the noun. But it
-could easily be shown from the varying usage of the modern European
-nations that there is no ‘law of nature,’ one way or the other, on the
-subject. In general, however, these logical notions of grammatical
-order which Dionysius felt himself prompted to reject on behalf of
-Greek (which is synthetic in character) tally with the actual practice
-of the modern analytical languages.
-
-[Page 103]
-
-
-    They drew back the beasts’ necks first, then severed the throats and
-        flayed;[113]
-
-and
-
-    Clangeth the horn, loud singeth the sinew, and leapeth the shaft;[114]
-
-and
-
-    The ball by the princess was tossed thereafter to one of her girls;
-    But it missed the maid, and was lost in the river’s eddying swirls.[115]
-
-“Certainly,” a reader might reply,—“if it were not for the fact that
-there are plenty of other lines not arranged in this order of yours,
-and yet as fine as those you have quoted; as
-
-    And he smote it, upstrained to the stroke, with an oak-billet cloven
-        apart.[116]
-
-Surely the arms must be raised _before_ the blow is dealt! And further:—
-
-    He struck as he stood hard by, and the axe through the sinews shore
-    Of the neck.[117]
-
-Surely a man who is about to drive his axe into a bull’s sinews should
-take his stand near it _first_!”
-
-Still further: I imagined it the correct thing to put my substantives
-before my adjectives, appellatives before substantives, pronouns
-before appellatives; and with verbs, to be very careful that primary
-should precede secondary forms, and indicatives infinitives,—and so
-on. But trial invariably wrecked these views and revealed their utter
-worthlessness. At one time charm and beauty of composition did result
-from these and similar collocations,—at other times from collocations
-not of this sort but the opposite. And so for these reasons I abandoned
-all such speculations as the above. Nor is it for any serious value it
-
-[Page 104]
-
-
-ἀξίων, καὶ τὰς διαλεκτικὰς παρεθέμην τέχνας οὐχ ὡς ἀναγκαίας,
-ἀλλ’ ἵνα μηδεὶς δοκῶν ἔχειν τι αὐτὰς χρήσιμον εἰς τὴν
-παροῦσαν θεωρίαν περὶ πολλοῦ ποιῆται εἰδέναι, θηρευθεὶς ταῖς
-ἐπιγραφαῖς τῶν πραγματειῶν ὁμοιότητά τινα ἐχούσαις καὶ τῇ
-δόξῃ τῶν συνταξαμένων αὐτάς.      5
-
-ἐπάνειμι δ’ ἐπὶ τὴν ἐξ ἀρχῆς ὑπόθεσιν ἀφ’ ἧς εἰς ταῦτ’
-ἐξέβην, ὅτι πολλὴ πρόνοια τοῖς ἀρχαίοις ἦν καὶ ποιηταῖς καὶ
-συγγραφεῦσι φιλοσόφοις τε καὶ ῥήτορσι τῆς ἰδέας ταύτης, καὶ
-οὔτε τὰ ὀνόματα τοῖς ὀνόμασιν οὔτε τὰ κῶλα τοῖς κώλοις
-οὔτε τὰς περιόδους ἀλλήλαις εἰκῇ συνάπτειν ᾤοντο δεῖν, τέχνη      10
-δέ τις ἦν παρ’ αὐτοῖς καὶ θεωρήματα οἷς χρώμενοι συνετίθεσαν
-εὖ. τίνα δ’ ἦν τὰ θεωρήματα ταῦτα, ἐγὼ πειράσομαι διδάσκειν,
-ὡς ἂν οἷός τε ὦ, ὅσα μοι δύναμις ἐγένετο συνεξευρεῖν,
-οὐχ ἅπαντα λέγων ἀλλ’ αὐτὰ τὰ ἀναγκαιότατα.
-
-
-VI
-
-δοκεῖ μοι τῆς συνθετικῆς ἐπιστήμης τρία ἔργα εἶναι· ἓν      15
-μὲν ἰδεῖν, τί μετὰ τίνος ἁρμοττόμενον πέφυκε καλὴν καὶ
-ἡδεῖαν λήψεσθαι συζυγίαν· ἕτερον δὲ γνῶναι τῶν ἁρμόττεσθαι
-μελλόντων πρὸς ἄλληλα πῶς ἂν ἕκαστον σχηματισθὲν κρείττονα
-ποιήσειε φαίνεσθαι τὴν ἁρμονίαν· τρίτον δ’ εἴ τι δεῖται μετασκευῆς
-τῶν λαμβανομένων, ἀφαιρέσεως λέγω καὶ προσθέσεως      20
-καὶ ἀλλοιώσεως, γνῶναί τε καὶ πρὸς τὴν μέλλουσαν χρείαν
-οἰκείως ἐξεργάσασθαι. ὅ τι δὲ τούτων ἕκαστον δύναται, σαφέστερον
-ἐρῶ χρησάμενος εἰκόσι τῶν δημιουργικῶν τεχνῶν τισιν
-
-8 συγγραφεῦσιν et ῥήτορσιν P || φιλοσόφοις τε] καὶ φιλοσόφοις F   10
-εἰκῆι sic FP   12 ἐγὼ πειράσομαι FM: πειράσομαι PV   13 ἐξευρεῖν P
-  16 μετά τινος P || ἁρμοττόμενον PMV: ἁρμοζόμενον EF   19 φαίνεσθαι
-ποιήσειεν P, V || εἴ τι P: δὲ τί EFMV || κατασκευ(ης) P   20
-ἀφαιρέσ(ως) P || λέγω ... ἀλλοιώσεως om. P || προσθέσεως EF: προσθήκης
-PMV   21 τε F: τε πῶς PMV   22 ὅτι F: τί PMV   23 δημιουργῶν PM^1V
-
-3. =θηρευθείς=: cp. Eur. _Hippol._ 957 θηρεύουσι γὰρ | σεμνοῖς λόγοισιν
-αἰσχρὰ μηχανώμενοι, and Xen. _Cyrop._ viii. 2. 2 τούτοις ἐπειρᾶτο τὴν
-φιλίαν θηρεύειν.
-
-4. =ἐπιγραφαῖς=: cp. the excerpt from Diog. Laert., =96= 13 _supra_,
-and Cic. _de Or._ ii. 14. 61 “in philosophos vestros si quando incidi,
-deceptus indicibus librorum, qui sunt fere inscripti de rebus notis
-et illustribus, de virtute, de iustitia, de honestate, de voluptate,
-verbum prorsus nullum intellego; ita sunt angustiis et concisis
-disputationibus illigati.”
-
-5. =τῶν συνταξαμένων αὐτάς=: Zeno and Chrysippus in particular.
-
-6. The statement in =92= 21 is here resumed.
-
-13. =συνεξευρεῖν=: perhaps, ‘to investigate _together_,’ i.e. by a
-comparative method.
-
-14. =αὐτὰ τὰ ἀναγκαιότατα=: as in Demosthenes, e.g. _de Cor._ §§ 126,
-168.
-
-16. Probably =ἁρμοττόμενον= (rather than ἁρμοζόμενον) should be
-preferred here, as ἁρμόττεσθαι is used in the next line but one. It
-seems likely that Dionysius would use the Attic form ἁρμόττω with
-aorist ἥρμοσα, ἡρμόσθην, etc.; cp. =98= 6, =106= 6, 7, =110= 6, 13,
-=112= 2, 4, =124= 19, =198= 23, =230= 22. Perhaps =106= 7 should be
-changed accordingly.
-
-17. =λήψεσθαι= after πέφυκε = μέλλει.—=συζυγίαν=: Dionysius rightly
-recognizes that a word-order, already settled in the writer’s mind, may
-influence both his choice of language and grammatical forms he adopts.
-
-20. =προσθέσεως= (cp. =116= 16) seems right. But προσθήκη, though
-generally used of the part added (=114= 11, =150= 13, =152= 12), may
-(in =212= 14, =274= 22) refer to the process: cp. N.T. use of βάπτισμα.
-
-
-[Page 105]
-
-possesses that I recall this mental process now. I have cited those
-manuals on dialectic not because I think it necessary to have them, but
-in order to prevent anyone from supposing that they contain anything
-of real service for the present inquiry, and from regarding it as
-important to study them. It is easy to be inveigled by their titles,
-which suggest some affinity with the subject; or by the reputation of
-their compilers.
-
-I will now revert to the original proposition, from which I have
-strayed into these digressions. It was that the ancients (poets and
-historians, philosophers and rhetoricians) were greatly preoccupied
-with this branch of inquiry. They never thought that words, clauses, or
-periods should be combined at haphazard. They had rules and principles
-of their own; and it was by following these that they composed so well.
-What these principles were, I shall try to explain so far as I can;
-stating, not all, but just the most essential, of those that I have
-been able to investigate.
-
-
-CHAPTER VI
-
-THREE PROCESSES IN THE ART OF COMPOSITION
-
-My view is that the science of composition has three functions. The
-first is that of observing the combinations which are naturally adapted
-to produce a beautiful and agreeable united effect; the second is
-that of perceiving how to improve the harmonious appearance of the
-whole by fashioning properly the several parts which we intend to fit
-together; the third is that of perceiving what is required in the
-way of modification of the material—I mean abridgment, expansion and
-transformation—and of carrying out such changes in a manner appropriate
-to the end in view. The effect of each of these processes I will
-explain more clearly by means of illustrations drawn from industrial
-arts
-
-[Page 106]
-
-
-ἃς ἅπαντες ἴσασιν, οἰκοδομικῇ λέγω καὶ ναυπηγικῇ καὶ ταῖς
-παραπλησίαις· ὅ τε γὰρ οἰκοδόμος ὅταν πορίσηται τῆν ὕλην
-ἐξ ἧς μέλλει κατασκευάζειν τὴν οἰκίαν, λίθους καὶ ξύλα καὶ
-κέραμον καὶ τἆλλα πάντα, συντίθησιν ἐκ τούτων ἤδη τὸ
-ἔργον τρία ταῦτα πραγματευόμενος, ποίῳ δεῖ λίθῳ τε καὶ ξύλῳ      5
-καὶ πλίνθῳ ποῖον ἁρμόσαι λίθον ἢ ξύλον ἢ πλίνθον, ἔπειτα πῶς
-τῶν ἁρμοζομένων ἕκαστον καὶ ἐπὶ ποίας πλευρᾶς ἑδράσαι, καὶ
-τρίτον, εἴ τι δύσεδρόν ἐστιν, ἀποκροῦσαι καὶ περικόψαι καὶ
-αὐτὸ τοῦτο εὔεδρον ποιῆσαι· ὅ τε ναυπηγὸς τὰ αὐτὰ ταῦτα
-πραγματεύεται. τὰ δὴ παραπλήσιά φημι δεῖν ποιεῖν καὶ τοὺς      10
-μέλλοντας εὖ συνθήσειν τὰ τοῦ λόγου μόρια, πρῶτον μὲν
-σκοπεῖν, ποῖον ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι μορίων ποίῳ
-συνταχθὲν ἐπιτηδείως ἔσται κείμενον καὶ πῶς οὐκ ἄμεινον
-(οὐ γὰρ δὴ πάντα γε μετὰ πάντων τιθέμενα πέφυκεν ὁμοίως διατιθέναι
-τὰς ἀκοάς)· ἔπειτα διακρίνειν, πῶς σχηματισθὲν τοὔνομα      15
-ἢ τὸ ῥῆμα ἢ τῶν ἄλλων ὅ τι δήποτε χαριέστερον ἱδρυθήσεται
-καὶ πρὸς τὰ ὑποκείμενα πρεπωδέστερον· λέγω δὲ ἐπὶ μὲν τῶν
-ὀνομάτων, πότερον ἑνικῶς ἢ πληθυντικῶς λαμβανόμενα κρείττω
-λήψεται συζυγίαν, καὶ πότερον κατὰ τὴν ὀρθὴν ἐκφερόμενα
-πτῶσιν ἢ κατὰ τῶν πλαγίων τινά, καὶ εἴ τινα πέφυκεν ἐξ      20
-ἀρρενικῶν γίνεσθαι θηλυκὰ ἢ ἐκ θηλυκῶν ἀρρενικὰ ἢ οὐδέτερα
-
-1 ναυτικῆι P, MV   3 λίθοις F   5 δεῖ EV: ex δηῖ P: δὴ FM || ξύλ(ω) et
-πλίνθ(ω) P   8 κα(τα)κροῦσαι P^1 || καὶ τὸ αὐτὸ EF   9 ἑδραῖον P   10
-τὰ δὴ] τὰ F: δή PMV ||ποιεῖν om. F   12 ποί(ω) P   14 μετα πάν[**TN: τ
-written above ν of πάν] sic P   16 ϊδρυθήσεται P: ϊδρυνθήσεται F, EMV
-  18 πληθυντικῶς] π suprascripto θ̑ P || κρείτω P: κρείττονα E: κρείττο
-F   19 πότερα FE   20 καὶ τίνα F   21 ἀρρενι(κων) P, M: ἀρ’ ἐνικῶν V:
-ἀρρενων F, E: ἀρσενικῶν s
-
-2. For comparisons between literary composition and civil or marine
-architecture cp. _C.V._ c. 22, Quintil. _Inst. Or._ vii. 1 (proem.),
-Cic. _de Or._ iii. 171. A metaphor from building underlies the
-rhetorical use in all or most of such words as: κανών, γόμφος,
-πυργοῦν, ἀντερείδειν, στηριγμός, ἀντιστηριγμός, ἕδρα, τέκτων, ὕλη,
-κατασκευάζειν, ἐγκατάσκευος.
-
-5. =ταῦτα= refers forward here, cp. =112= 8 with =112= 4. In =110= 9
-ἥδε refers backward—‘the foregoing.’
-
-7. =ἐπὶ ποίας πλευρᾶς=, ‘on what side,’ i.e. ‘with what attention to
-stratification or grain.’ A builder likes to place stone in courses _as
-it lay in the quarry_: he knows that, if what lay horizontally is set
-perpendicularly, it will not last so well. Or the reference here may be
-simply to the difference in general appearance made by laying a stone
-in one of several possible ways.
-
-10. If =ποιεῖν= be omitted with F, it must be mentally supplied from
-the general sense of the verbs that follow. Cp. Plato _Gorg._ 491 D ἢ
-τοῦτο μὲν οὐδὲν δεῖ, αὐτὸν ἑαυτοῦ ἄρχειν, τῶν δὲ ἄλλων; Demosth. _de
-Cor._ § 139 καίτοι δυοῖν αὐτὸν ἀνάγκη θάτερον, ἢ μηδὲν ἐγκαλεῖν κτλ.,
-Soph. _Philoct._ 310 ἐκεῖνο δ’ οὐδείς, ἡνίκ’ ἂν μνησθῶ, θέλει | σῶσαί
-μ’ ἐς οἴκους, id. _Antig._ 497 θέλεις τι μεῖζον ἢ κατακτεῖναί μ’ ἑλών;
-
-13. For _οὐκ ἄμεινον_ Usener substitutes εὖ ἢ ἄμεινον. The corruption
-of εὖ ἢ to οὐκ might easily happen in uncial writing, and the reading
-οὐκ is as old as the Epitome. But the εὖ comes unexpectedly after
-ἐπιτηδείως, and the emendation is not convincing. The manuscript
-reading has, therefore, been kept, though οὐκ ἄμεινον is a difficult
-litotes.
-
-15. =σχηματισθέν=: grammatical form, or _construction_, is clearly
-meant here.
-
-16. From here to the end of the chapter the general sense is: We must,
-in the interests of harmonious composition, make the fullest possible
-use of alternative forms—now a noun, now a verb; now a singular, now
-a plural; now a nominative, now an oblique case; now a masculine, and
-then a feminine or neuter; and so with voices, moods, and tenses—with
-forms such as τουτονί and τοῦτον, ἰδών and κατιδών, χωροφιλῆσαι and
-φιλοχωρῆσαι, λελύσεται and λυθήσεται,—and with elision, hiatus, and
-the employment of νῦ ἐφελκυστικόν. Many of these points will be found
-illustrated in _Ep. ad Amm. II._, where the subject of some of the
-characters is as follows: c. 5 use of noun for verb, c. 6 use of
-verb for noun, c. 7 substitution of passive for active voice, c. 9
-interchange of singular and plural number, c. 10 interchange of the
-three genders, c. 11 use of cases, c. 12 use of tenses. See D.H. pp.
-138-49, together with the notes added on pp. 178-81. As _Ep. ad Amm.
-II._ shows, Dionysius is fully alive to the dangers of this continual
-straining of language. Absolutely interchangeable expressions are not
-common.
-
-18. =πληθυντικῶς=: cp. the use of the plural in Virg. _Aen._ 155 “vos
-arae ensesque nefandi, | quos fugi.”
-
-21. =ἐκ θηλυκῶν ἀρρενικά=: cf. Quintil. _Inst. Or._ ix. 3. 6 “fiunt
-ergo et circa genus figurae in nominibus, nam et _oculis capti talpae_
-[Virg. _Georg._ i. 183] et _timidi damae_ [Virg. _Ecl._ viii. 28,
-_Georg._ iii. 539] dicuntur a Vergilio; sed subest ratio, quia sexus
-uterque altero significatur, tamque mares esse talpas damasque quam
-feminas, certum est.” Besides the reason given by Quintilian, the
-desire to avoid monotony of termination (excessive ὁμοιοτέλευτον) also
-counts.—The present passage may further be illustrated by Dionysius’
-own words in _Ep. ad Amm. II._ c. 10: “Examples of the interchange of
-masculines, feminines and neuters, in contravention of the ordinary
-rules of language, are such as the following. He [Thucydides] uses
-τάραχος in the masculine for ταραχή in the feminine, and similarly
-ὄχλος for ὄχλησις. In place of τὴν βούλησιν and τὴν δύναμιν he uses τὸ
-βουλόμενον and τὸ δυνάμενον.”
-
-[Page 107]
-
-familiar to all—house-building, ship-building, and the like. When a
-builder has provided himself with the material from which he intends
-to construct a house—stones, timbers, tiling, and all the rest—he then
-puts together the structure from these, studying the following three
-things: what stone, timber and brick can be united with what other
-stone, timber and brick; next, how each piece of the material that is
-being so united should be set, and on which of its faces; thirdly,
-if anything fits badly, how that particular thing can be chipped and
-trimmed and made to fit exactly. And the shipwright proceeds in just
-the same way. A like course should, I affirm, be followed by those who
-are to succeed in literary composition. They should first consider
-in what groupings with one another nouns, verbs, or other parts of
-speech, will be placed appropriately, and how not so well; for surely
-every possible combination cannot affect the ear in the same way—it
-is not in the nature of things that it should be so. Next they should
-decide the form in which the noun or verb, or whatever else it may be,
-will occupy its place most gracefully and most in harmony with the
-ground-scheme. I mean, in the case of nouns, whether they will offer
-a better combination if used in the singular or the plural; whether
-they should be put in the nominative or in one of the oblique cases; or
-which gender should be chosen if they admit of a feminine instead of a
-masculine form,
-
-[Page 108]
-
-
-ἐκ τούτων, πῶς ἂν ἄμεινον σχηματισθείη, καὶ πάντα τὰ
-τοιαῦτα· ἐπὶ δὲ τῶν ῥημάτων, πότερα κρείττω λαμβανόμενα
-ἔσται, τὰ ὀρθὰ ἢ τὰ ὕπτια, καὶ κατὰ ποίας ἐγκλίσεις ἐκφερόμενα,
-ἃς δή τινες πτώσεις ῥηματικὰς καλοῦσι, κρατίστην ἕδραν
-λήψεται, καὶ ποίας παρεμφαίνοντα διαφορὰς χρόνων καὶ εἴ      5
-τινα τοῖς ῥήμασιν ἄλλα παρακολουθεῖν πέφυκε (τὰ δ’ αὐτὰ
-ταῦτα καὶ ἐπὶ τῶν ἄλλων τοῦ λόγου μερῶν φυλακτέον, ἵνα
-μὴ καθ’ ἓν ἕκαστον λέγω)· ἐπὶ δὲ τούτοις τὰ ληφθέντα
-διακρίνειν, εἴ τι δεῖται μετασκευῆς ὄνομα ἢ ῥῆμα, πῶς ἂν
-ἐναρμονιώτερόν τε καὶ εὐεδρότερον γένοιτο· τοῦτο τὸ στοιχεῖον      10
-ἐν μὲν ποιητικῇ δαψιλέστερόν ἐστιν, ἐν δὲ λόγοις πεζοῖς
-σπανιώτερον· πλὴν γίνεταί γε καὶ ἐν τούτοις ἐφ’ ὅσον ἂν
-ἐγχωρῇ· ὅ τε γὰρ λέγων “εἰς τουτονὶ τὸν ἀγῶνα” προστέθεικέ
-τι τῇ ἀντωνυμίᾳ γράμμα τῆς συνθέσεως στοχαζόμενος· ἄρτιον
-γὰρ ἦν “εἰς τοῦτον τὸν ἀγῶνα” εἰπεῖν· καὶ πάλιν ὁ λέγων      15
-“κατιδὼν Νεοπτόλεμον τὸν ὑποκριτήν” τῇ προθέσει παρηύξηκεν
-τοὔνομα, τὸ γὰρ ἰδὼν ἀπέχρη· καὶ ὁ γράφων “μήτ’ ἰδίας
-ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν” ταῖς συναλοιφαῖς ἠλάττωκε τὰ
-
-2 τε EFMV^1 || κρείττω EF: κρείττονα PMV || λαβόμενα ἔσται F: ἔσται
-λαμβανόμενα EPMV   4 καλοῦσιν P   6 πέφυκεν P || δὲ PMV   8 ἓν om. F
-  9 δεῖται F: δεῖ PMV || μετὰ κα(τα)σκευ(ης) P, M || πῶς Usener: ὡς
-libri   12 πλὴν EF: om. PMV || τε PV: om. F^{1}EM || ὅσο*ν F, E: ὁπόσον
-PMV   14 ἀντ(ω)νυμία P   17 ἀπέχρη καὶ ὁ F: ἀπέχρηκεν ὅ τε P   18
-ἔχθρας] ἔχθρας ἐμὲ Demosth. || ἔνεχ’ F: ἕνεκ’ PV || εικειν P^1, V ||
-συναλειφαῖς F: συναλιφαῖς P
-
-8. Cp. Batteux _Réflexions_ p. 181: “Cette opération [sc. μετασκευή]
-ne peut pas avoir lieu en français, parce que nos mots sont faits et
-consacrés dans leur forme par un usage que les écrivains ne peuvent ni
-changer ni altérer: la poésie n’a pas sur ce point plus de privilége
-que la prose; mais cela n’empêche pas que nous ne fassions dans notre
-langue une grande partie des opérations qu’indique Denys d’Halicarnasse
-dans le chapitre vi. Nous mettons dans nos verbes un temps pour un
-autre, l’actif pour le passif, le passif pour l’actif; nous prenons les
-substantifs adjectivement, les adjectifs substantivement, quelquefois
-adverbialement, les singuliers pour les pluriels, les pluriels pour les
-singuliers; nous changeons les personnes; nous varions les finales,
-tantôt masculines, tantôt féminines; nous renversons les constructions,
-nous faisons des ellipses hardies, etc. etc. Tous ceux qui font
-des vers savent de combien de manières on tourne et retourne les
-expressions d’une pensée qui résiste; ceux qui travaillent leur prose
-le savent de même que les poëtes.”
-
-9. For Usener’s correction =πῶς= cp. =106= 15, =108= 1; and for F’s
-δεῖται cp. =104= 19.
-
-11. Examples in Latin poetry would be ‘gnatus’ for ‘natus,’ or
-‘amarunt’ and ‘amavere’ for ‘amaverunt.’
-
-13. We have an English parallel in the dialect form ‘thik’ and
-‘thikky,’ both of which stand for _this_; or ‘the forthcoming’ and
-‘the coming’ might be employed in the translation, and ‘syllable’ be
-substituted for ‘letter.’
-
-14. =ἄρτιον=: for the meaning cp. ἀπέχρη =108= 17. The implication is
-that τουτονί (as compared with τοῦτον) is περισσόν.
-
-16. Demosth. περὶ τῆς Εἰρήνης § 6, πάλιν τοίνυν, ὦ ἄνδρες Ἀθηναῖοι,
-κατιδὼν Νεοπτόλεμον τὸν ὑποκριτὴν τῷ μὲν τῆς τέχνης προσχήματι
-τυγχάνοντ’ ἀδείας, κακὰ δ’ ἐργαζόμενον τὰ μέγιστα τὴν πόλιν καὶ τὰ
-παρ’ ὑμῶν διοικοῦντα Φιλίππῳ καὶ πρυτανεύοντα, παρελθὼν εἶπον εἰς
-ὑμᾶς, οὐδεμιᾶς ἰδίας οὔτ’ ἔχθρας οὔτε συκοφαντίας ἕνεκεν, ὡς ἐκ τῶν
-μετὰ ταῦτ’ ἔργων γέγονε δῆλον. If κατιδών here means little or nothing
-more than ἰδών, we might compare ‘entreat’ in the sense of ‘treat’,
-or Chaucer’s use of ‘apperceive’ for ‘perceive.’ Dionysius’ meaning,
-however, probably is not that τουτονί and τοῦτον, κατιδών and ἰδών,
-are actual _synonyms_, but rather that the shorter form would have
-_sufficed_.
-
-17. Demosth. κατὰ Ἀριστοκράτους § 1, μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι,
-νομίσῃ μήτ’ ἰδίας ἔχθρας ἐμὲ μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους
-κατηγορήσοντα τουτουΐ, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημ’
-ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς ἀπέχθειαν, ἀλλ’ εἴπερ ἄρ’
-ὀρθῶς ἐγὼ λογίζομαι καὶ σκοπῶ, ὑπὲρ τοῦ Χερρόνησον ἔχειν ὑμᾶς ἀσφαλῶς
-καὶ μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ τούτου μοί ἐστιν
-ἅπασ’ ἡ σπουδή. The passage is fully discussed (from the rhythmical, or
-metrical, point of view) in _C.V._ c. 25.
-
-[Page 109]
-
-or a masculine instead of a feminine, or a neuter instead of either:
-and so on. With reference to verbs, again: which form it will be
-best to adopt, the active or the passive, and in what moods (or
-_verbal cases_, as some call them) they should be presented so as to
-receive the best setting, as also what differences of tense should be
-indicated; and so with all the other natural accidents of verbs. These
-same methods must be followed in regard to the other parts of speech
-also; there is no need to go into details. Further, with respect to the
-words thus selected, if any noun or verb requires a modification of its
-form, it must be decided how it can be brought into better harmony and
-symmetry with its neighbours. This principle can be applied more freely
-in poetry than in prose. Still, in prose also, it is applied, where
-opportunity offers. The speaker who says “εἰς τουτονὶ τὸν ἀγῶνα”[118]
-has added a letter to the pronoun with an eye to the effect of the
-composition. The bare meaning would have been sufficiently conveyed by
-saying “εἰς τοῦτον τὸν ἀγῶνα”. So in the words “κατιδὼν Νεοπτόλεμον
-τὸν ὑποκριτήν”[119] the addition of the preposition has merely
-expanded the word into κατιδών, since ἰδών alone would have conveyed
-the meaning. So, too, in the expression “μήτ’ ἰδίας ἔχθρας μηδεμιᾶς
-ἕνεχ’ ἥκειν”[120] the writer has cut off some of the letters, and has
-condensed the
-
-[Page 110]
-
-
-μόρια τοῦ λόγου κἀποκέκρουκέ τινα τῶν γραμμάτων· καὶ ὁ
-ἀντὶ τοῦ ἐποίησεν “ἐποίησε” λέγων χωρὶς τοῦ ν̄ καὶ “ἔγραψε”
-ἀντὶ τοῦ ἔγραψεν λέγων καὶ “ἀφαιρήσομαι” ἀντὶ τοῦ ἀφαιρεθήσομαι
-καὶ πάντα τὰ τοιαῦτα, ὅ τ’ “ἐχωροφίλησε” λέγων τὸ
-ἐφιλοχώρησε καὶ “λελύσεται” τὸ λυθήσεται καὶ τὰ τοιουτότροπα      5
-μετασκευάζει τὰς λέξεις, ἵν’ αὐτῷ γένοιντο ἁρμοσθῆναι καλλίους
-καὶ ἐπιτηδειότεραι.
-
-
-VII
-
-μία μὲν δὴ θεωρία τῆς συνθετικῆς ἐπιστήμης ἡ περὶ
-αὐτὰ τὰ πρῶτα μόρια καὶ στοιχεῖα τῆς λέξεως ἥδε· ἑτέρα
-δέ, ὥσπερ καὶ κατ’ ἀρχὰς ἔφην, ἡ περὶ τὰ καλούμενα κῶλα,      10
-ποικιλωτέρας τε δεομένη πραγματείας καὶ μείζονος, ὑπὲρ ἧς
-αὐτίκα δὴ πειράσομαι λέγειν ὡς ἔχω γνώμης. καὶ γὰρ
-ταῦτα ἁρμόσαι πρὸς ἄλληλα δεῖ ὥστ’ οἰκεῖα φαίνεσθαι καὶ
-φίλα καὶ σχηματίσαι ὡς ἂν ἐνδέχηται κράτιστα προσκατασκευάσαι
-τε, εἴ πού τι δέοι, μειώσει καὶ πλεονασμῷ καὶ εἰ      15
-δή τιν’ ἄλλην μετασκευὴν δέχεται τὰ κῶλα· τούτων δ’
-ἕκαστον ἡ πεῖρα αὐτὴ διδάσκει· πολλάκις γὰρ τουτὶ τὸ
-κῶλον τούτου μὲν προτεθὲν ἢ ἐπὶ τούτῳ τεθὲν εὐστομίαν
-τινὰ ἐμφαίνει καὶ σεμνότητα, ἑτέραν δέ τινα συζυγίαν λαβὸν
-ἄχαρι φαίνεται καὶ ἄσεμνον. ὃ δὲ λέγω, σαφέστερον ἔσται,      20
-εἴ τις αὐτὸ ἐπὶ παραδείγματος ἴδοι. ἔστι δή τις παρὰ τῷ
-Θουκυδίδῃ λέξις ἐν τῇ Πλαταιέων δημηγορίᾳ πάνυ χαριέντως
-συγκειμένη καὶ μεστὴ πάθους ἥδε· “ὑμεῖς τε, ὦ Λακεδαιμόνιοι,
-
-1 κἀποκέκρουκέ Us.: καὶ π(ερι)κέκρ(ου)κέ P,EFM: καὶ παρακέκρουκε V ||
-ὁ ἀντὶ τοῦ ἐποίησεν ἐποίησε F: ὁ ἐποίησε ἀντὶ τοῦ ἐποίησεν P: ὃ (τὸ V)
-ἐποίησεν ἀντὶ τοῦ ἐποίησε M, V   2 ἔγραψε ἀντὶ τοῦ ἔγραψεν λέγων καὶ
-om. EF   4 ἐχωροφίλησε E: χωροφίλησε F: χωροφιλῆσαι PMV   5 φιλοχωρῆσαι
-PMV || τὸ F: λέγων τὸ PMV   6 ΐνα P, MV || ἁρμοσθεῖσαι PMV || καλλίονες
-EF   8 συνθετικῆς] συνθέσεως F   9 πρῶτα om. F || καὶ] καὶ τὰ EF ||
-ἥδε EFM: om. PV   10 δέ om. P || ὥπερ P || καὶ κατ’] κατ’ F || ἔφην
-F: ἔφαμεν PMV   13 ὥστ’ P: ὥστε F: ὡς MV   14 προκατασκευάσαι E   16
-μετασκευὴν Schaefer: κατασκευὴν libri   17 ἕκαστα EF   23 ἡμεῖς EF
-
-2. =χωρὶς τοῦ ν̄=: Dionysius implies that, in his opinion, the
-so-called νῦ ἐφελκυστικόν is, or has become, an integral part of the
-verbal termination and is not reserved for use before vowels only. His
-view has some support in the usage of the best manuscripts.
-
-Usener brackets the words =ἔγραψε ... καί=. But πάντα τὰ τοιαῦτα
-suggests their retention, and their omission in an epitome (E) is
-natural. Dionysius wishes to indicate that his statement is general and
-does not apply simply to the particular verb ἐποίησε.
-
-4. =φιλοχωρεῖν= and =χωροφιλεῖν=: see Glossary, under φιλοχωρεῖν.
-
-5. Cp. Demosth. περὶ τῶν Συμμοριῶν § 2, πᾶς ὁ παρὼν φόβος λελύσεται.
-
-9. =ἥδε= = ‘the foregoing,’ cp. n. on ταῦτα p. 106 _supra_.
-
-10. =ὥσπερ καὶ κατ’ ἀρχὰς ἔφην=: =72= 9, =104= 9. The reading ἔφην
-(rather than ἔφαμεν) accords best with Dionysius’ usage.
-
-23. Cp. Cic. _Orat._ cc. 63, 66 for similar Latin instances of the
-effect of a change in word-order.—The complete sentence in Thucyd.
-iii. 57 runs: καὶ οὔτε τῶν τότε ξυμμάχων ὠφελεῖ οὐδείς, ὑμεῖς τε, ὦ
-Λακεδαιμόνιοι, ἡ μόνη ἐλπίς, δέδιμεν μὴ οὐ βέβαιοι ἦτε.
-
-[Page 111]
-
-discourse through the elisions. So again by using “ἐποίησε” (without
-the ν) in place of ἐποίησεν, and “ἔγραψε” in place of ἔγραψεν, and
-“ἀφαιρήσομαι” in place of ἀφαιρεθήσομαι, and all instances of the
-kind; and by saying “ἐχωροφίλησε” for ἐφιλοχώρησε and “λελύσεται” for
-λυθήσεται, and things of that sort:—by such devices an author puts his
-words into a new shape, in order that he may fit them together more
-beautifully and appropriately.
-
-
-CHAPTER VII
-
-GROUPING OF CLAUSES
-
-The foregoing, then, is one branch of the art of composition which
-requires consideration: namely, that which relates to the primary
-parts and elements of speech. But there is another, as I said at the
-beginning, which is concerned with the so-called “members” (“clauses”),
-and this requires fuller and more elaborate treatment. My views on this
-topic I will try to express forthwith.
-
-The clauses must be fitted to one another so as to present an aspect
-of harmony and concord; they must be given the best form which they
-admit of; they must further be remodelled if necessary by shortening,
-lengthening, and any other change of form which clauses admit. As to
-each of these details experience itself must be your teacher. It will
-often happen that the placing of one clause before or after another
-brings out a certain euphony and dignity, while a different grouping
-sounds unpleasing and undignified. My meaning will be clearer if
-illustrated by an example. There is a well-known passage of Thucydides
-in the speech of the Plataeans, a delightfully arranged sentence full
-of deep feeling, which is as follows: “And we fear, men of Sparta, lest
-you, our only hope, should
-
-[Page 112]
-
-
-ἡ μόνη ἐλπίς, δέδιμεν μὴ οὐ βέβαιοι ἦτε.” φέρε δή τις
-λύσας τὴν συζυγίαν ταύτην μεθαρμοσάτω τὰ κῶλα οὕτως·
-“ὑμεῖς τε, ὦ Λακεδαιμόνιοι, δέδιμεν μὴ οὐ βέβαιοι ἦτε, ἡ
-μόνη ἐλπίς.” ἆρ’ ἔτι μένει τοῦτον τὸν τρόπον ἡρμοσμένων τῶν
-κώλων ἡ αὐτὴ χάρις ἢ τὸ αὐτὸ πάθος; οὐδεὶς ἂν εἴποι. τί      5
-δ’ εἰ τὴν Δημοσθένους λέξιν ταύτην “τὸ λαβεῖν οὖν τὰ
-διδόμενα ὁμολογῶν ἔννομον εἶναι, τὸ χάριν τούτων ἀποδοῦναι
-παρανόμων γράφῃ” λύσας τις καὶ μεταθεὶς τὰ κῶλα τουτονὶ
-τὸν τρόπον ἐξενέγκαι· “ὁμολογῶν οὖν ἔννομον εἶναι τὸ λαβεῖν
-τὰ διδόμενα, παρανόμων γράφῃ τὸ τούτων χάριν ἀποδοῦναι,”      10
-ἆρ’ ὁμοίως ἔσται δικανικὴ καὶ στρογγύλη; ἐγὼ μὲν οὐκ
-οἴομαι.
-
-
-VIII
-
-ἡ μὲν δὴ περὶ τὴν ἁρμογὴν τῶν κώλων θεωρία τοιαύτη,
-ἡ δὲ περὶ τὸν σχηματισμὸν ποδαπή; οὐκ ἔστιν εἷς τρόπος
-τῆς ἐκφορᾶς ἁπάντων τῶν νοημάτων, ἀλλὰ τὰ μὲν ὡς      15
-ἀποφαινόμενοι λέγομεν, τὰ δ’ ὡς πυνθανόμενοι, τὰ δ’ ὡς
-εὐχόμενοι, τὰ δ’ ὡς ἐπιτάττοντες, τὰ δ’ ὡς διαποροῦντες, τὰ
-δ’ ὡς ὑποτιθέμενοι, τὰ δὲ ἄλλως πως σχηματίζοντες, οἷς
-ἀκολούθως καὶ τὴν λέξιν πειρώμεθα σχηματίζειν. πολλοὶ δὲ
-δήπου σχηματισμοὶ καὶ τῆς λέξεώς εἰσιν ὥσπερ καὶ τῆς      20
-διανοίας, οὓς οὐχ οἷόν τε κεφαλαιωδῶς περιλαβεῖν, ἴσως δὲ
-καὶ ἄπειροι· περὶ ὧν καὶ πολὺς ὁ λόγος καὶ βαθεῖα ἡ θεωρία.
-οὐ δὴ τὸ αὐτὸ δύναται ποιεῖν τὸ αὐτὸ κῶλον οὕτω σχηματισθὲν
-
-1 ἡ μόνη ἐλπίς add. in marg. F || ἡ μόνη] ἡμῶν ἡ EF^{1}M^1 || φέρε
-... (4) ἦτε add. in marg. F   6 δ’ F: δὲ M: δαὶ PV   8 παρανόμον P:
-παράνομον F || γράφηι· F: γράφηι· εἰ P, MV | τοῦτον PMV   10 παράνομον
-FP: παρανόμῳ V || ἀποδιδόναι P   14 ποταπή PMV   15 τῆς om. P ||
-ἁπάντων EF: om. PMV: τῶν om. F || ὀνομάτων PMV
-
-2. It is impossible to give real English equivalents in cases like
-this,—partly because of the fundamental differences between the two
-languages, and partly because we do not know Dionysius’ own estimate of
-the exact effect which the changes he introduces have upon the rhythm,
-emphasis, and clearness of the sentence. The same considerations
-apply in lines 6-10, where the English principle of emphasis makes it
-necessary to depart widely from the Greek order in both the original
-and the re-written form. See Introduction, pp. 17 ff. _supra_ (under
-Emphasis). A striking instance of effective emphasis in English is
-Macduff’s passionate out-burst:—
-
-                    Not in the legions
-    Of horrid hell can come a devil more damn’d
-    In ills to top Macbeth.
-
-“If you dispose the words in the usual manner, and say, ‘A more damned
-devil in the legions of horrid hell cannot come to top Macbeth in
-ills,’ we shall scarcely be persuaded that the thought is the same,”
-Campbell _Philosophy of Rhetoric_ p. 496. Biblical instances are: (1)
-“Nevertheless even him did outlandish women cause to sin” (_Nehem._
-xiii. 26); (2) “Your fathers, where are they? and the prophets, do they
-live for ever?” (_Zech._ i. 5).
-
-8. Sometimes the manuscript testimony is quite clear as between such
-forms as τουτονί and τοῦτον: cp. =116= 9 n. In doubtful cases the -ί
-form might be adopted—in =64= 6 and =84= 17 as well as in =112= 8 and
-=178= 10.
-
-14. Cp. Quintil. vi. 3. 70 “figuras quoque montis, quae σχήματα
-διανοίας dicuntur, res eadem recipit omnes, in quas nonnulli diviserunt
-species dictorum. nam et interrogamus et dubitamus et affirmamus et
-minamur et optamus, quaedam ut miserantes, quaedam ut irascentes
-dicimus,” and Hor. _Ars. P._ 108 “format enim natura prius nos intus ad
-omnem | fortunarum habitum; iuvat aut impellit ad iram | aut ad humum
-maerore gravi deducit et angit; | post effert animi motus interprete
-lingua.”
-
-[Page 113]
-
-fail in steadfastness.”[121] Now let this order be disturbed and the
-clauses be re-arranged as follows: “And we fear, men of Sparta, lest
-you should fail in steadfastness, that are our only hope.” When the
-clauses are arranged in this way, does the same fine charm remain,
-or the same deep feeling? Plainly not. Again, take this passage of
-Demosthenes, “So you admit as constitutional the acceptance of the
-offerings; you indict as unconstitutional the rendering of thanks for
-them.”[122] Let the order be disturbed, and the clauses interchanged
-and presented in the following form: “So the acceptance of the
-offerings you admit as constitutional; the rendering of thanks for them
-you indict as unconstitutional.” Will the sentence be equally neat and
-effective? I, for my part, do not think so.
-
-
-CHAPTER VIII
-
-SHAPING OF CLAUSES
-
-The principles governing the arrangement of clauses have now been
-stated. What principles govern their shaping?
-
-The complete utterance of our thoughts takes more than one form. We
-throw them at one time into the shape of an assertion, at another
-into that of an inquiry, or a prayer, or a command, or a doubt, or a
-supposition, or some other shape of the kind; and into conformity with
-these we try to mould the diction itself. There are, in fact, many
-figures of diction, just as there are of thought. It is not possible to
-classify them exhaustively; indeed, they are perhaps innumerable. Their
-treatment would require a long disquisition and profound investigation.
-But that the same clause is not equally telling in all its various
-modes of presentation,
-
-[Page 114]
-
-
-ἢ οὕτως. ἐρῶ δὲ ἐπὶ παραδείγματος· εἰ τοῦτον ἐξήνεγκε
-τὸν τρόπον ὁ Δημοσθένης τὴν λέξιν ταύτην “ταῦτ’ εἰπὼν
-ἔγραψα, γράψας δ’ ἐπρέσβευσα, πρεσβεύσας δ’ ἔπεισα Θηβαίους,”
-ἆρ’ οὕτως ἂν συνέκειτο χαριέντως, ὡς νῦν σύγκειται;
-“οὐκ εἶπον μὲν ταῦτα, οὐκ ἔγραψα δέ· οὐδ’ ἔγραψα μέν, οὐκ      5
-ἐπρέσβευσα δέ· οὐδ’ ἐπρέσβευσα μέν, οὐκ ἔπεισα δὲ Θηβαίους.”
-πολὺς δ’ ἂν εἴη μοι λόγος, εἰ περὶ πάντων βουλοίμην λέγειν
-τῶν σχηματισμῶν ὅσους τὰ κῶλα ἐπιδέχεται. ἀπόχρη δὲ
-εἰσαγωγῆς ἕνεκα τοσαῦτα εἰρῆσθαι.
-
-
-IX
-
-ἀλλὰ μὴν ὅτι γε καὶ μετασκευὰς δέχεται τῶν κώλων ἔνια      10
-τοτὲ μὲν προσθήκας λαμβάνοντα οὐκ ἀναγκαίας ὡς πρὸς τὸν
-νοῦν, τοτὲ δὲ ἀφαιρέσεις ἀτελῆ ποιούσας τὴν διάνοιαν, ἃς οὐκ
-ἄλλου τινὸς ἕνεκα ποιοῦσι ποιηταί τε καὶ συγγραφεῖς ἢ τῆς
-ἁρμονίας, ἵν’ ἡδεῖα καὶ καλὴ γένηται, πάνυ ὀλίγου δεῖν οἴομαι
-λόγου. τίς γὰρ οὐκ ἂν ὁμολογήσαι τήνδε τὴν λέξιν ἣν ὁ      15
-Δημοσθένης εἴρηκε προσθήκῃ πλεονάζειν οὐκ ἀναγκαίᾳ τῆς
-ἁρμονίας ἕνεκα; “ὁ γὰρ οἷς ἂν ἐγὼ ληφθείην, ταῦτα πράττων
-καὶ κατασκευαζόμενος, οὗτος ἐμοὶ πολεμεῖ, κἂν μήπω βάλλῃ
-μηδὲ τοξεύῃ.” ἐνταῦθα γὰρ οὐχὶ τοῦ ἀναγκαίου χάριν πρόσκειται
-τὸ τοξεύειν, ἀλλ’ ἵνα τὸ τελευταῖον κῶλον τὸ “κἂν      20
-μήπω βάλλῃ” τραχύτερον τοῦ δέοντος ὂν καὶ οὐχ ἡδὺ ἀκουσθῆναι
-
-2 εἰπ(ων) P, MV: εἴπ(ας) F, E   5 οὐκ prim. Dem.: καὶ οὐκ libri   6
-δὲ alt om. F   7 δ’ F: om. PMV   14 γένοιτο PMV   15 ὁμολογῆσαι PV:
-ὁμολογήσηι F || μὲν post τήνδε habet F   19 ἐνταῦθα ... (21) βάλλῃ
-servarunt FM   21 βραχύτερον V: βραχυτέρα ex βραχύτερα P
-
-1. Cicero (_Philipp._ xii. 3. 7) has the following climax: “Quid enim
-potest, per deos immortales! rei publicae prodesse nostra legatio?
-Prodesse dico? quid, si etiam obfutura est? Obfutura? quid, si iam
-nocuit atque obfuit?” Obviously it would be fatal to re-write this
-passage thus: “nostra legatio non poterit prodesse rei publicae, immo
-obfutura est, et iam nocuit.”
-
-2. With =εἰπών= (rather than εἴπας) cp. line 5 (εἶπον, not εἶπα),
-though P gives προεῖπα in =280= 19. In the Epitome εἴπας is found in
-V only, the other three MSS. giving εἰπών.—In Hellenistic times the
-non-sigmatic aorists constantly occur with the -α of the sigmatic
-aorists; but it is hardly likely that so good an Atticist as Dionysius
-would attribute εἴπας to Demosthenes, and introduce cacophony.
-
-4. Cp. Demetr. _de Eloc._ § 270 λαμβάνοιτ’ ἂν καὶ ἡ κλῖμαξ καλουμένη,
-ὥσπερ Δημοσθένει τὸ “οὐκ εἶπον μὲν ταῦτα, οὐκ ἔγραψα δέ· οὐδ’ ἔγραψα
-μέν, οὐκ ἔπεισα δὲ Θηβαίους”· σχεδὸν γὰρ ἐπαναβαίνοντι ὁ λόγος ἔοικεν
-ἐπὶ μειζόνων μείζονα· εἰ δὲ οὕτως εἴποι τις ταῦτα, “εἰπὼν ἐγὼ καὶ
-γράψας ἐπρέσβευσά τε καὶ ἔπεισα Θηβαίους,” διήγημα ἐρεῖ μόνον, δεινὸν
-δὲ οὐδέν.
-
-8. Dionysius seems subsequently to have written a special treatise περὶ
-σχημάτων: cp. Quintil. ix. 3. 89 “haec omnia copiosius sunt exsecuti,
-qui non ut partem operis transcurrerunt sed proprie libros huic operi
-dedicaverunt, sicut Caecilius, Dionysius, Rutilius, Cornificius,
-Visellius aliique non pauci.” The use of νῦν in _de Demosth._ c.
-39 seems to point to an intention of the kind on Dionysius’ part:
-ἐξαριθμεῖσθαι δὲ νῦν, ὅσα γένη σχηματισμῶν ἐστι τῶν τε κατωνομασμένων
-καὶ τῶν ἀκατονομάστων, καὶ τίσιν αὐτῶν ἡ τοιαύτη μάλιστα πέφυκεν
-ἁρμονία χαίρειν, οὐκ ἔχω καιρόν.
-
-10. This sentence of Dionysius himself may serve to show how
-successfully and conveniently Greek, as compared with English, can make
-a conjunction depend on words which came long after (viz. πάνυ ὀλίγου
-δεῖν οἴομαι λόγου in line 14).
-
-16. =προσθήκῃ οὐκ ἀναγκαίᾳ=: compare, for example, such harmonious
-redundancies as οἱ δ’ ἐπεὶ οὖν ἤγερθεν ὁμηγερέες τ’ ἐγένοντο (_Il._ i.
-57) and “when we assemble and meet together” (Book of Common Prayer).
-
-20. Quintil. ix. 4. 63 “namque eo fit ut, cum Demosthenis severa
-videatur compositio, πρῶτον μέν, ὦ ἄνδρες Ἀθηναῖοι, τοῖς θεοῖς εὔχομαι
-πᾶσι καὶ πάσαις, et illa (quae ab uno, quod sciam, Bruto minus
-probatur, ceteris placet) κἂν μήπω βάλλῃ μηδὲ τοξεύῃ, Ciceronem carpant
-in his: _Familiaris coeperat esse balneatori_, et _Non minimum dura
-archipiratae_. Nam _balneatori_ et _archipiratae_ idem finis est qui
-πᾶσι καὶ πάσαις et qui μηδὲ τοξεύῃ: sed priora sunt severiora.”
-
-21. In =τραχύτερον= Dionysius is apparently referring to the sound of
-two spondees (each forming a separate word) at the end of a sentence,
-and to the improvement effected by the addition of a cretic followed
-by a spondee.—P and V give βραχύτερον, which is perhaps right, since a
-clause that is _shorter_ than it ought to be can be improved (cp. =114=
-16) by extension.
-
-[Page 115]
-
-I will show by an example. If Demosthenes had expressed himself thus
-in the following passage, “Having spoken thus, I moved a resolution;
-and having moved a resolution, I joined the embassy; and having joined
-the embassy, I convinced the Thebans,” would the sentence have been
-composed with the charm of its actual arrangement,—“I did not speak
-thus, and then fail to move a resolution; I did not move a resolution,
-and then fail to join the embassy; I did not join the embassy, and then
-fail to convince the Thebans”?[123] It would take me a long time to
-deal with all the modes of expression which clauses admit. It is enough
-to say thus much by way of introduction.
-
-
-CHAPTER IX
-
-LENGTHENING AND SHORTENING OF CLAUSES AND PERIODS
-
-I think I can in a very few words show that some clauses admit changes
-which take the form now of additions not necessary to the sense, now of
-curtailments rendering the sense incomplete; and that these changes are
-introduced by poets and prose-writers simply in order to add charm and
-beauty to the rhythm. Thus the following expression used by Demosthenes
-indisputably contains a pleonastic addition made for the sake of the
-rhythm: “He who contrives and prepares means whereby I may be captured
-is at war with me, though not yet shooting javelins or arrows.”[124]
-Here the reference to “arrows” is added not out of necessity, but in
-order that the last clause “though not yet shooting javelins,” being
-rougher than it ought to be and not pleasant to
-
-[Page 116]
-
-
-τῇ προσθήκῃ ταύτῃ γένηται χαριέστερον. καὶ ἔτι τὴν
-Πλατωνικὴν ἐκείνην περίοδον, ἣν ἐν τῷ ἐπιταφίῳ ὁ ἀνὴρ
-γράφει, τίς οὐκ ἂν φαίη παραπληρώματι λέξεως οὐκ ἀναγκαίῳ
-προσηρανίσθαι; “ἔργων γὰρ εὖ πραχθέντων λόγῳ καλῶς
-ῥηθέντι μνήμη καὶ κόσμος γίνεται τοῖς πράξασι παρὰ τῶν      5
-ἀκουσάντων.” ἐνταυθοῖ γὰρ τὸ “παρὰ τῶν ἀκουσάντων” πρὸς
-οὐδὲν ἀναγκαῖον λέγεται, ἀλλ’ ἵνα τὸ τελευταῖον κῶλον τὸ
-“τοῖς πράξασι” πάρισόν τε καὶ ἐφάμιλλον τοῖς πρὸ αὐτοῦ
-γένηται. τί δὲ δὴ τὸ παρ’ Αἰσχίνῃ λεγόμενον τουτί “ἐπὶ
-σαυτὸν καλεῖς, ἐπὶ τοὺς νόμους καλεῖς, ἐπὶ τὴν δημοκρατίαν      10
-καλεῖς,” τρίκωλον ἐν τοῖς πάνυ ἐπαινούμενον, οὐχὶ τῆς αὐτῆς
-ἰδέας ἔχεται; ὃ γὰρ οἷόν τε ἦν ἑνὶ κώλῳ περιληφθῆναι τόνδε
-τὸν τρόπον “ἐπὶ σεαυτὸν καὶ τοὺς νόμους καὶ τὴν δημοκρατίαν
-καλεῖς,” τοῦτο εἰς τρία διῄρηται, τῆς αὐτῆς λέξεως οὐ τοῦ
-ἀναγκαίου ἕνεκα, τοῦ δὲ ἡδίω ποιῆσαι τὴν ἁρμονίαν πολλάκις      15
-τεθείσης [καὶ προσέτι πάθος τῷ λόγῳ]. τῆς μὲν δὴ προσθέσεως
-ἣ γίνεται τοῖς κώλοις οὗτος ὁ τρόπος· τῆς ἀφαιρέσεως
-δὲ τίς; ὅταν τῶν ἀναγκαίων τι λέγεσθαι λυπεῖν μέλλῃ καὶ
-διοχλεῖν τὴν ἀκρόασιν, ἀφαιρεθὲν δὲ χαριεστέραν ποιῇ τὴν
-ἁρμονίαν· οἷά ἐστιν ἐν μὲν τοῖς μέτροις τὰ Σοφόκλεια ταυτί·      20
-
-        μύω τε καὶ δέδορκα κἀξανίσταμαι
-        πλέον φυλάσσων αὐτὸς ἢ φυλάσσομαι·
-
-ἐνταυθοῖ γὰρ ὁ δεύτερος στίχος ἐκ δυεῖν σύγκειται κώλων οὐχ
-ὅλων· τελεία γὰρ ἂν ἡ λέξις ἦν οὕτως ἐξενεχθεῖσα “πλεῖον
-
-1 γεγένηται PMV || χαριέστερα F   6 ἐνταυθοῖ ... ἀκουσάντων F, E: om.
-PMV   7 τὸ ante τοῖς om. EF   11 ἐπαινουμένοις F   15 ἡδείαν F, M 16
-καὶ ... λόγῳ secl. Us.: προσἔτι F, M: πρόσεστι PV   19 ποιῆι P, M:
-ποιεῖ EFV: ποιεῖν coni. Reiskius   20 ἁρμονίαν F: ἐρμηνείαν P, MV ||
-οἵα F: οἷάπέρ PMV || μὲν F: om. PMV   21 καὶ ξυνίσταμαι P   22 πλέον
-... (24) ἐξενεχθεῖσα om. P
-
-2. =ὁ ἀνήρ= is used by Dionysius with various shades of meaning,—‘the
-author,’ ‘the Master,’ ‘the worthy,’ etc. Cp. =96= 8, =182= 2, =184=
-12, =186= 2, =198= 4, =228= 15, =264= 25.
-
-5. In the actual text of _Menex._ 236 E there is a slight difference of
-order, viz. τοῖς πράξασι γίγνεται instead of γίνεται τοῖς πράξασι (as
-Dionysius gives it).
-
-6. The Epitome makes the meaning quite plain by inserting παραπλήρωμα
-τῆς λέξεως between ἀκουσάντων and πρὸς οὐδέν.
-
-9. Here all MSS. agree in giving the form =τουτί=. The same agreement
-will be found in =86= 9, =110= 17, =116= 20, =120= 24, =156= 15, =158=
-5, etc.
-
-10. Demetrius, _de Eloc._ § 268, regards this sentence as an example
-of three ‘figures,’—anaphora, asyndeton, and homoeoteleuton. He
-adds, “Were we to write ‘you summon him against yourself and the
-laws and the democracy,’ the force would vanish together with the
-figures.”—Similarly, “Appius eos [servos] postulavit et produxit” would
-be less telling than “Quis eos postulavit? Appius. Quis produxit?
-Appius. Unde? ab Appio” (Cic. _pro Milone_ 22. 59).
-
-11. =τῆς αὐτῆς ἰδέας=, ‘the same form of expression,’ i.e. the
-effectively pleonastic.
-
-16. If the words =καὶ προσέτι πάθος τῷ λόγῳ= are retained, ποιῆσαι (in
-a slightly different sense) must be repeated in order to govern πάθος:
-unless some such word as γίγνεται can be supplied.
-
-21. The context of these lines of Sophocles is not known, but the idea
-may well be that of ‘uneasy lies the head’ or οὐ χρὴ παννύχιον εὕδειν
-βουληφόρον ἄνδρα (_Il._ ii. 24). The ‘elliptical’ effect (an ellipse
-being implied by ἀφαίρεσις, cp. =116= 17) is produced by the presence
-of αὐτός, which suggests that ἑτέρους and ὑφ’ ἑτέρων are to be mentally
-supplied.—Cp. Cic. _in Q. Caec. Divin._ 18. 58 “hic tu, si laesum te a
-Verre esse dices, patiar et concedam: si iniuriam tibi factam quereris,
-_defendam et negabo_”; and Racine _Andromaque_ iv. 5 “Je t’aimais
-inconstant; _qu’aurais-je fait fidèle_?”
-
-[Page 117]
-
-the ear, may be made more attractive by this addition. Again, the
-famous period of Plato which that author inserts in the Funeral
-Speech has beyond dispute been extended by a supplement not necessary
-to the sense: “When deeds have been nobly done, then through speech
-finely uttered there come honour and remembrance to the doers from
-the hearers.”[125] Here the words “from the hearers” are not at all
-necessary to the sense; they are added in order that the last clause,
-“to the doers,” may correspond with and balance what has preceded it.
-Again, take these words found in Aeschines, “you summon him against
-yourself; you summon him against the laws; you summon him against
-the democracy,”[126] a sentence of great celebrity, formed of three
-clauses: does it not belong to the class we are considering? What could
-have been embraced in one clause as follows, “you summon him against
-yourself and the laws and the democracy,” has been divided into three,
-the same expression being repeated not from any necessity but in order
-to make the rhythm more agreeable.
-
-In such ways, then, may clauses be expanded: how can they be abridged?
-This comes about when something necessary to the sense is likely to
-offend and jar on the ear, and when, consequently, its removal adds
-to the charm of the rhythm. An example, in verse, is afforded by the
-following lines of Sophocles:—
-
-        I close mine eyes, I open them, I rise—
-        Myself the warder rather than the warded.[127]
-
-Here the second line is composed of two imperfect clauses. The
-expression would have been complete if it had run thus,
-
-[Page 118]
-
-
-φυλάσσων αὐτὸς ἑτέρους ἢ φυλασσόμενος ὑφ’ ἑτέρων,” τὸ δὲ
-μέτρον ἠδίκητο καὶ οὐκ ἂν ἔσχεν ἣν νυνὶ χάριν ἔχει. ἐν δὲ
-τοῖς πεζοῖς λόγοις τὰ τοιαῦτα· “ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦντα
-πάντας ἀφαιρεῖσθαι τὴν ἀτέλειαν τῶν ἀδίκων ἐστίν,
-ἐάσω.” μεμείωται γὰρ κἀνταῦθα τῶν πρώτων δυεῖν κώλων      5
-ἑκάτερον· αὐτοτελῆ δ’ ἂν ἦν, εἴ τις αὐτὰ οὕτως ἐξήνεγκεν·
-“ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦντα ὡς οὐκ ἐπιτηδείων ἔχειν
-τὴν ἀτέλειαν πάντας ἀφαιρεῖσθαι καὶ τοὺς δικαίως αὐτῆς
-τυχόντας τῶν ἀδίκων ἐστίν, ἐάσω.” ἀλλ’ οὐκ ἐδόκει τῷ
-Δημοσθένει πλείονα ποιεῖσθαι πρόνοιαν τῆς ἀκριβείας τῶν      10
-κώλων ἢ τῆς εὐρυθμίας.
-
-τὰ δ’ αὐτὰ εἰρήσθω μοι καὶ περὶ τῶν καλουμένων περιόδων·
-καὶ γὰρ ταύτας χρὴ τάς τε προηγουμένας καὶ τὰς ἑπομένας
-οἰκείως συναρμόττειν, ὅταν ἐν περιόδοις προσήκῃ τὸν λόγον
-ἐκφέρειν· οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον.      15
-καὶ αὐτὸ δὲ τοῦτο τὸ θεώρημα τῆς συνθετικῆς ἐπιστήμης ἴδιον,
-πότε δεῖ χρῆσθαι περιόδοις καὶ μέχρι πόσου καὶ πότε μή.
-
-
-X
-
-διωρισμένων δή μοι τούτων ἀκόλουθον ἂν εἴη τὸ λέγειν,
-τίνα ἐστὶν ὧν δεῖ στοχάζεσθαι τὸν βουλόμενον συντιθέναι τὴν
-λέξιν εὖ καὶ διὰ τίνων θεωρημάτων τυγχάνοι τις ἂν ὧν      20
-βούλεται. δοκεῖ δέ μοι δύο ταῦτ’ εἶναι <τὰ> γενικώτατα, ὧν
-ἐφίεσθαι δεῖ τοὺς συντιθέντας μέτρα τε καὶ λόγους, ἥ τε ἡδονὴ
-καὶ τὸ καλόν· ἀμφότερα γὰρ ἐπιζητεῖ ταῦτα ἡ ἀκοή, ὅμοιόν
-τι πάσχουσα τῇ ὁράσει· καὶ γὰρ ἐκείνη πλάσματα καὶ γραφὰς
-
-2 νυνὶ χάριν ἔχει EPMV: νῦν ἔχει χάριν F   4 ἀτέλειαν] δωρειὰν Demosth.
-  6 ἀτελῆ δὲ F   12 τὰ δ’ αὐτὰ F: ταῦτα δὲ MV: ταῦ(τα) δι’ P   13
-ταύτας E: ταῦτα F: ταύταις PMV || ταῖς τε προηγουμέναις καὶ ταῖς
-ταύταις (ταύταις om. E) ἑπομέναις EPMV   14 ἐν FE: ἐν ταῖς PMV   17
-περιόδωι P   18 ὡρισμένων P || τὸ λέγειν PMV: λέγειν F   21 τὰ add.
-Sauppius || γενικώτατα F, M: τελικ(ω)τατα P, M^{1}V   22 μέτρα FP: εὖ
-μέτρα MV
-
-4. Dionysius does not appear to feel that =τῶν ἀδίκων= is in any
-way ambiguous,—that it might, at first sight, seem to depend on τὴν
-ἀτέλειαν. In Greek a dependent genitive usually (at any rate in
-Thucydides; see p. 337 _infra_) precedes the noun on which it depends;
-and, in any case, the speaker would here pause slightly between τὴν
-ἀτέλειαν and τῶν ἀδίκων.
-
-15. =οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον.= For an instance of
-the ‘running’ style, interspersed with the periodic, see Thucyd. i.
-9. 2, where Shilleto remarks: “This paragraph seems to me to convey
-far more than any other which I have read an exemplification of the
-εἰρομένη λέξις of Aristot. _Rhet._ iii. 9. 2 (λέγω δὲ εἰρομένην, ἣ
-οὐδὲν ἔχει τέλος καθ’ αὑτήν, ἂν μὴ τὸ πρᾶγμα λεγόμενον τελειωθῇ). How
-Thukydides, so great a master of the κατεστραμμένη, ἐν περιόδοις,
-λέξις, should have written it, is to me a marvel.”
-
-[Page 119]
-
-“myself warding others rather than being warded by others.” But
-violence would have been done to the metre, and the line would not
-have acquired the charm which it actually has. In prose there are such
-instances as: “I will pass by the fact that it is a piece of injustice,
-simply because a man brings charges against some individuals, to
-attempt to withhold exemption from every one.”[128] Here, too, each
-of the two first clauses is abbreviated. They would have been each
-complete in itself if worded thus: “I will pass by the fact that it
-is a piece of injustice, simply because a man brings charges against
-some individuals and declares them unfit for exemption, to attempt
-to withhold that privilege from every one—even those who are justly
-entitled to it.” But Demosthenes did not approve of paying more heed to
-the exactitude of the clauses than to the beauty of the rhythm.
-
-I wish what I have just said to be understood as applying also to
-what are called “periods.” For, when it is fitting to express one’s
-meaning in periods, these too must be arranged so as to precede or
-follow each other appropriately. It must, of course, be understood that
-the periodic style is not suitable everywhere: and the question when
-periods should be used and to what extent, and when not, is precisely
-one of those with which the science of composition deals.
-
-
-CHAPTER X
-
-AIMS AND METHODS OF GOOD COMPOSITION
-
-Now that I have laid down these broad outlines, the next step will be
-to state what should be the aims kept in view by the man who wishes to
-compose well, and by what methods his object can be attained. It seems
-to me that the two essentials to be aimed at by those who compose in
-verse and prose are charm and beauty. The ear craves for both of these.
-It is affected in somewhat the same way as the sense of sight which,
-
-[Page 120]
-
-
-καὶ γλυφὰς καὶ ὅσα δημιουργήματα χειρῶν ἐστιν ἀνθρωπίνων
-ὁρῶσα ὅταν εὑρίσκῃ τό τε ἡδὺ ἐνὸν ἐν αὐτοῖς καὶ τὸ καλόν,
-ἀρκεῖται καὶ οὐδὲν ἔτι ποθεῖ. καὶ μὴ παράδοξον ἡγήσηταί
-τις, εἰ δύο ποιῶ τέλη καὶ χωρίζω τὸ καλὸν ἀπὸ τῆς ἡδονῆς,
-μηδ’ ἄτοπον εἶναι νομίσῃ, εἴ τινα ἡγοῦμαι λέξιν ἡδέως μὲν      5
-συγκεῖσθαι, μὴ καλῶς δέ, ἢ καλῶς μέν, οὐ μὴν καὶ ἡδέως·
-φέρει γὰρ ἡ ἀλήθεια τὸ τοιοῦτον καὶ οὐδὲν ἀξιῶ καινόν· ἥ
-γε τοι Θουκυδίδου λέξις καὶ ἡ Ἀντιφῶντος τοῦ Ῥαμνουσίου
-καλῶς μὲν σύγκειται νὴ Δία, εἴπερ τινὲς καὶ ἄλλαι, καὶ
-οὐκ ἄν τις αὐτὰς ἔχοι μέμψασθαι κατὰ τοῦτο, οὐ μὴν ἡδέως      10
-γε πάνυ· ἡ δέ γε τοῦ Κνιδίου συγγραφέως Κτησίου καὶ ἡ
-τοῦ Σωκρατικοῦ Ξενοφῶντος ἡδέως μὲν ὡς ἔνι μάλιστα, οὐ
-μὴν καλῶς γ’ ἐφ’ ὅσον ἔδει· λέγω δὲ κοινότερον, ἀλλ’ οὐχὶ
-καθάπαξ, ἐπεὶ καὶ παρ’ ἐκείνοις ἥρμοσταί τινα ἡδέως καὶ
-παρὰ τούτοις καλῶς. ἡ δὲ Ἡροδότου σύνθεσις ἀμφότερα      15
-ταῦτα ἔχει, καὶ γὰρ ἡδεῖά ἐστι καὶ καλή.
-
-
-XI
-
-ἐξ ὧν δ’ οἶμαι γενήσεσθαι λέξιν ἡδεῖαν καὶ καλήν, τέτταρά
-ἐστι ταῦτα τὰ κυριώτατα καὶ κράτιστα, μέλος καὶ ῥυθμὸς καὶ
-μεταβολὴ καὶ τὸ παρακολουθοῦν τοῖς τρισὶ τούτοις πρέπον.
-τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν χάριν καὶ      20
-τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ πάντα
-τὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸ
-βάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶ
-τὰ τούτοις ὅμοια. ταυτὶ γάρ μοι δοκεῖ κυριώτατα εἶναι καὶ
-ὥσπερ κεφάλαια τῶν ἄλλων ἐν ἑκατέρῳ. ὧν μὲν οὖν στοχάζονται      25
-πάντες οἱ σπουδῇ γράφοντες μέτρον ἢ μέλος ἢ τὴν
-λεγομένην πεζὴν λέξιν, ταῦτ’ ἐστὶ καὶ οὐκ οἶδ’ εἴ τι παρὰ
-
-1 ἐστιν F: εἰσιν M: om. PV   2 ἐνὸν ἐν αὐτοῖς F: ἐνὸν αὐτοῖς PMV   8
-καὶ ἡ PMV: καὶ EF   9 καὶ οὐκ ... τοῦτο F: om. PMV   14 ἐπεὶ κἀκείνοις
-P || καὶ posterius] ὡς καὶ EF: ὡς M   17 γενέσθαι FE   18 κράτιστα PMV:
-τὰ κράτιστα F   20 τήν τε EFM: τὴν PV   23 τὸν πίνον] τοπι(θα)ν(ον) P,
-EFM^{1}V: πῖνος suprascr. M   26 μέτρον ἡ μέλος P, MV: μέλος ἢ μέτρον F
-
-2. =τὸ καλόν=: see Glossary, s.v. καλός.
-
-11. For =Ctesias= cp. Demetr. _de Eloc._ §§ 213-16, where a fine
-passage is quoted from him; also p. 247 _ibid._ Photius (_Bibl. Cod._
-72) says of Ctesias: ἔστι δὲ οὗτος ὁ συγγραφεὺς σαφής τε καὶ ἀφελὴς
-λίαν· διὸ καὶ ἡδονῇ αὐτῷ σύγκρατός ἐστιν ὁ λόγος.
-
-12. =Ξενοφῶντος=: cp. Diog. Laert. ii. 6. 57 ἐκαλεῖτο δὲ καὶ Ἀττικὴ
-Μοῦσα γλυκύτητι τῆς ἑρμηνείας, and Cic. _Orat._ 19. 63 “et Xenophontis
-voce Musas quasi locutas ferunt.”—For =τοῦ Σωκρατικοῦ= cp. Quintil. x.
-1. 75 “Xenophon non excidit mihi sed inter philosophos reddendus est.”
-
-14. =καθάπαξ=, ‘absolutely,’ ‘universally,’ ‘exclusively.’ So in =132=
-16.
-
-18. Cp _de Demosth._ c. 47 εὕρισκε δὴ τὰ μὲν αὐτὰ ἀμφοτέρων ὄντα αἴτια,
-τὰ μέλη καὶ τοὺς ῥυθμοὺς καὶ τὰς μεταβολὰς καὶ τὸ παρακολουθοῦν ἅπασιν
-αὐτοῖς πρέπον, οὐ μὴν κατὰ τὸν αὐτὸν τρόπον ἑκάτερα σχηματιζόμενα.
-
-25. =ἑκάτερον= means (here and in =122= 1) ἥ τε ἡδονὴ καὶ τὸ καλόν.
-
-[Page 121]
-
-when it looks upon moulded figures, pictures, carvings, or any other
-works of human hands, and finds both charm and beauty residing in
-them, is satisfied and longs for nothing more. And let not anyone be
-surprised at my assuming that there are two distinct objects in style,
-and at my separating beauty from charm; nor let him think it strange if
-I hold that a piece of composition may possess charm but not beauty, or
-beauty without charm. Such is the verdict of actual experience; I am
-introducing no novel axiom. The styles of Thucydides and of Antiphon
-of Rhamnus are surely examples of beautiful composition, if ever there
-were any, and are beyond all possible cavil from this point of view,
-but they are not remarkable for their charm. On the other hand, the
-style of the historian Ctesias of Cnidus, and that of Xenophon the
-disciple of Socrates, are charming in the highest possible degree, but
-not as beautiful as they should have been. I am speaking generally, not
-absolutely; I admit that in the former authors there are instances of
-charming, in the latter of beautiful arrangement. But the composition
-of Herodotus has both these qualities; it is at once charming and
-beautiful.
-
-
-CHAPTER XI
-
-GENERAL DISCUSSION OF THE SOURCES OF CHARM AND BEAUTY IN COMPOSITION
-
-Among the sources of charm and beauty in style there are, I conceive,
-four which are paramount and essential,—melody, rhythm, variety, and
-the appropriateness demanded by these three. Under “charm” I class
-freshness, grace, euphony, sweetness, persuasiveness, and all similar
-qualities; and under “beauty” grandeur, impressiveness, solemnity,
-dignity, mellowness, and the like. For these seem to me the most
-important—the main heads, so to speak, in either case. The aims set
-before themselves by all serious writers in epic, dramatic, or lyric
-poetry, or in the so-called “language of prose,” are those specified,
-and I think
-
-[Page 122]
-
-
-ταῦθ’ ἕτερον· οἱ δὲ πρωτεύσαντες ἐν ἑκατέρῳ τε τούτων καὶ
-ἐν ἀμφοτέροις πολλοί τε καὶ ἀγαθοὶ ἄνδρες· παραδείγματα δὲ
-αὐτῶν ἑκάστου φέρειν ἐν τῷ παρόντι οὐκ ἐγχωρεῖ, ἵνα μὴ
-περὶ ταῦτα κατατρίψω τὸν λόγον· καὶ ἅμα εἴ τι λεχθῆναι
-περί τινος αὐτῶν καθήκει καὶ δεήσει που μαρτυριῶν, ἕτερος      5
-αὐτοῖς ἔσται καιρὸς ἐπιτηδειότερος, ὅταν τοὺς χαρακτῆρας τῶν
-ἁρμονιῶν ὑπογράφω. νῦν δὲ ταῦτ’ εἰρῆσθαι περὶ αὐτῶν
-ἀπόχρη. ἐπάνειμι δὲ πάλιν ἐπὶ τὰς διαιρέσεις, ἃς ἐποιησάμην
-τῆς θ’ ἡδείας συνθέσεως καὶ τῆς καλῆς, ἵνα μοι καὶ καθ’ ὁδόν,
-ὥς φασι, χωρῇ ὁ λόγος.      10
-
-ἔφην δὴ τὴν ἀκοὴν ἥδεσθαι πρώτοις μὲν τοῖς μέλεσιν,
-ἔπειτα τοῖς ῥυθμοῖς, τρίτον ταῖς μεταβολαῖς, ἐν δὲ τούτοις
-ἅπασι τῷ πρέποντι. ὅτι δὲ ἀληθῆ λέγω, τὴν πεῖραν αὐτὴν
-παρέξομαι μάρτυρα, ἣν οὐχ οἷόν τε διαβάλλειν τοῖς κοινοῖς
-πάθεσιν ὁμολογουμένην· τίς γάρ ἐστιν ὃς οὐχ ὑπὸ μὲν ταύτης      15
-τῆς μελῳδίας ἄγεται καὶ γοητεύεται, ὑφ’ ἑτέρας δέ τινος οὐδὲν
-πάσχει τοιοῦτον, καὶ ὑπὸ μὲν τούτων τῶν ῥυθμῶν οἰκειοῦται,
-ὑπὸ δὲ τούτων διοχλεῖται; ἤδη δ’ ἔγωγε καὶ ἐν τοῖς πολυανθρωποτάτοις
-θεάτροις, ἃ συμπληροῖ παντοδαπὸς καὶ ἄμουσος
-ὄχλος, ἔδοξα καταμαθεῖν, ὡς φυσική τις ἁπάντων ἐστὶν ἡμῶν      20
-οἰκειότης πρὸς ἐμμέλειάν τε καὶ εὐρυθμίαν, κιθαριστήν τε
-ἀγαθὸν σφόδρα εὐδοκιμοῦντα ἰδὼν θορυβηθέντα ὑπὸ τοῦ
-πλήθους, ὅτι μίαν χορδὴν ἀσύμφωνον ἔκρουσε καὶ διέφθειρεν
-τὸ μέλος, καὶ αὐλητὴν ἀπὸ τῆς ἄκρας ἕξεως χρώμενον τοῖς
-ὀργάνοις τὸ αὐτὸ τοῦτο παθόντα, ὅτι σομφὸν ἐμπνεύσας ἢ μὴ
-
-1 τε om. M || τούτων om. PV   3 αὐτῶν FM: αὐτὴν P || ἑκάστου FM: καθ’
-ἕκαστον PV || ἐν τῷ παρόντι om. P   4 εἴ τι V: εἴ τινα F: καὶ εἴ τι P:
-καὶ εἴ τινα M   6 ἐπιτήδειος F   7 νυνὶ F   9 καὶ καθ’ ὁδόν] καὶ om.
-PMV   11 δὴ F: δὲ PMV   12 ἐν F: ἐπὶ PMV   14 παρέξω F   18 τούτων δὲ
-EF   20 ἐστὶν ἁπάντων PMV   24 ἀπὸ F: κα(τὰ) P, MV   25 τὸ αὐτὸ F: καὶ
-αὐτὸ PV: καὶ αὐτὸν M || σομφὸν F γρ M: ἀσύμφων(ον) P, M^{1}V
-
-9. =καθ’ ὁδόν, ὥς φασι, χωρῇ ὁ λόγος.= The metaphor here may be
-rendered ‘keep to the track’ or ‘keep to the path prescribed.’ But
-possibly it is not felt much more strongly than in Cicero’s “non quo
-ignorare vos arbitrer, sed ut _ratione et via procedat oratio_” (_de
-Finibus_ i. 9. 29). _Ratione et via_ (‘rationally and methodically,’
-‘on scientific principles’) often corresponds to μεθόδῳ in Greek. In
-=96= 25 ὁδῷ χωρεῖν is found, and ὁδοῦ τε καὶ τέχνης χωρίς in =262= 21.
-
-13. A clearer rendering might be “the appropriateness which these three
-require.”
-
-19. =παντοδαπός=: cp. Hor. _Ars P._ 212 “indoctus quid enim saperet
-liberque laborum | rusticus urbano confusus, turpis honesto?”
-
-20. Probably Dionysius has in mind a Greek theatre. But Roman theatres
-also contained sensitive hearers: cp. Cic. _de Orat._ iii. 196 “quotus
-enim quisque est qui teneat artem numerorum ac modorum? at in eis
-si paulum modo offensum est, ut aut contractione brevius fieret aut
-productione longius, theatra tota reclamant. quid, hoc non idem fit in
-vocibus, ut a multitudine et populo non modo catervae atque concentus,
-sed etiam ipsi sibi singuli discrepantes eiciantur? mirabile est,
-cum plurimum in faciendo intersit inter doctum et rudem, quam non
-multum differat in iudicando”; id. _ibid._ iii. 98 “quanto molliores
-sunt et delicatiores in cantu flexiones et falsae voculae quam certae
-et severae! quibus tamen non modo austeri, sed, si saepius fiunt,
-multitudo ipsa reclamat”; id. _Parad._ iii. 26 “histrio si paulum se
-movit extra numerum aut si versus pronuntiatus est syllaba una brevior
-aut longior, exsibilatur, exploditur.” In modern Italy (so it is
-sometimes stated) the least slip on the part of a singer excites the
-audience to howls of derision and execration. At Athens, an actor’s
-false articulation was as fatal as a singer’s false note: cp. the case
-of Hegelochus (Aristoph. _Ran._ 303, 304).
-
-25. ἀσύμφωνον (found in P and in other MSS.) is probably an echo from
-line 23.
-
-[Page 123]
-
-these are all. There are many excellent authors who have been
-distinguished in one or both of these qualities. It is not possible
-at present to adduce examples from the writings of each one of them;
-I must not waste time over such details; and besides, if it seems
-incumbent on me to say something about some of them individually, and
-to quote from them anywhere in support of my views, I shall have a more
-suitable opportunity for doing so, when I sketch the various types
-of literary arrangement. For the present, what I have said of them
-is quite sufficient. So I will now return to the division I made of
-composition into charming and beautiful, in order that my discourse may
-“keep to the track,” as the saying is.
-
-Well, I said that the ear delighted first of all in melody, then in
-rhythm, thirdly in variety, and finally in appropriateness as applied
-to these other qualities. As a witness to the truth of my words I will
-bring forward experience itself, for it cannot be challenged, confirmed
-as it is by the general sentiment of mankind. Who is there that is not
-enthralled by the spell of one melody while he remains unaffected in
-any such way by another,—that is not captivated by this rhythm while
-that does but jar upon him? Ere now I myself, even in the most popular
-theatres, thronged by a mixed and uncultured multitude, have seemed to
-observe that all of us have a sort of natural appreciation for correct
-melody and good rhythm. I have seen an accomplished harpist, of high
-repute, hissed by the public because he struck a single false note and
-so spoilt the melody. I have seen, too, a flute-player, who handled his
-instrument with the practised skill of a master, suffer the same fate
-because he blew thickly or, through
-
-[Page 124]
-
-
-πιέσας τὸ στόμα θρυλιγμὸν ἢ τὴν καλουμένην ἐκμέλειαν
-ηὔλησε. καίτοι γ’ εἴ τις κελεύσειε τὸν ἰδιώτην τούτων τι ὧν
-ἐνεκάλει τοῖς τεχνίταις ὡς ἡμαρτημένων, αὐτὸν ποιῆσαι λαβόντα
-τὰ ὄργανα, οὐκ ἂν δύναιτο. τί δήποτε; ὅτι τοῦτο μὲν
-ἐπιστήμης ἐστίν, ἧς οὐ πάντες μετειλήφαμεν, ἐκεῖνο δὲ πάθους      5
-ὃ πᾶσιν ἀπέδωκεν ἡ φύσις. τὸ δ’ αὐτὸ καὶ ἐπὶ τῶν ῥυθμῶν
-γινόμενον ἐθεασάμην, ἅμα πάντας ἀγανακτοῦντας καὶ δυσαρεστουμένους,
-ὅτε τις ἢ κροῦσιν ἢ κίνησιν ἢ φωνὴν ἐν ἀσυμμέτροις
-ποιήσαιτο χρόνοις καὶ τοὺς ῥυθμοὺς ἀφανίσειεν. καὶ
-οὐχὶ τὰ μὲν ἐμμελῆ καὶ εὔρυθμα ἡδονῆς ἀγωγά ἐστι καὶ      10
-πάντες ὑπ’ αὐτῶν κηλούμεθα, αἱ μεταβολαὶ δὲ καὶ τὸ πρέπον
-οὐκ ἔχουσι τὴν αὐτὴν ὥραν καὶ χάριν οὐδ’ ὑπὸ πάντων
-ὁμοίως διακούονται· ἀλλὰ κἀκεῖνα πάνυ κηλεῖ πάντας ἡμᾶς
-κατορθούμενα καὶ εἰς πολλὴν ὄχλησιν ἄγει διαμαρτανόμενα·
-τίς γὰρ οὐκ ἂν ὁμολογήσειεν; τεκμαίρομαι δέ, ὅτι καὶ τῆς      15
-ὀργανικῆς μούσης καὶ τῆς ἐν ᾠδῇ καὶ τῆς ἐν ὀρχήσει χάριτος
-<μὲν> ἐν ἅπασι διευστοχούσης, μεταβολὰς δὲ μὴ ποιησαμένης
-εὐκαίρους ἢ τοῦ πρέποντος ἀποπλανηθείσης βαρὺς μὲν ὁ κόρος,
-ἀηδὲς δὲ τὸ μὴ τοῖς ὑποκειμένοις ἁρμόττον φαίνεται. καὶ οὐκ
-ἀλλοτρίᾳ κέχρημαι τοῦ πράγματος εἰκόνι. μουσικὴ γάρ τις      20
-ἦν καὶ ἡ τῶν πολιτικῶν λόγων ἐπιστήμη τῷ ποσῷ διαλλάττουσα
-τῆς ἐν ᾠδῇ καὶ ὀργάνοις, οὐχὶ τῷ ποιῷ· καὶ γὰρ ἐν
-ταύτῃ καὶ μέλος ἔχουσιν αἱ λέξεις καὶ ῥυθμὸν καὶ μεταβολὴν
-καὶ πρέπον, ὥστε καὶ ἐπὶ ταύτης ἡ ἀκοὴ τέρπεται μὲν τοῖς
-μέλεσιν, ἄγεται δὲ τοῖς ῥυθμοῖς, ἀσπάζεται δὲ τὰς μεταβολάς,      25
-
-3 ἐγκαλεῖ F   5 πάθους PMV: πᾶθος F   8 φωνὴν PMV: μορφὴν F   10
-εὐμελῆ PMV || ἀγωγά F, suprascr. M: μεστὰ PM^{1}V   13 διακούονται
-V: διοικοῦνται FPM   14 ἁμαρτανόμενα PMV   16 ὠιδῆι F, E: ὠιδαῖς
-γοητείας P, MV   17 μὲν ins. Us. ex E   19 φαίνεται EF: ἐφάνη PMV   21
-διαλλάττουσι τοῖς F   22 ὠιδῆι F: ὠιδαῖς EPMV Syrianus   23 ῥυθμὸν PMV
-Syrianus: ῥυθμοὺς EF
-
-3. It would weaken the argument to add (as has been suggested) ὀρθῶς or
-ἄμεινον. The critic may be right, even if he cannot play at all; and
-the player may retort, ‘Play it yourself, then,’ without adding ‘right’
-or ‘better.’
-
-5. =ἐπιστήμης=: cp. Ov. _ex Ponto_ iii. 9. 15 “non eadem ratio est
-sentire et demere morbos: | sensus inest cunctis, tollitur arte malum,”
-and Cic. _de Orat._ iii. 195 “omnes enim tacito quodam sensu sine ulla
-arte aut ratione quae sint in artibus ac rationibus recta ac prava
-diiudicant; idque cum faciunt in picturis et in signis et in aliis
-operibus, ad quorum intellegentiam a natura minus habent instrumenti,
-tum multo ostendunt magis in verborum, numerorum vocumque iudicio; quod
-ea sunt in communibus infixa sensibus nec earum rerum quemquam funditus
-natura esse voluit expertem. itaque non solum verbis arte positis
-moventur omnes, verum etiam numeris ac vocibus.”
-
-If πάθος be read, the meaning will be ‘the other is an instinct
-imparted to all by nature.’
-
-8. With μορφήν the translation will run: ‘when a note on an instrument,
-a step in dancing, or a gesture (pose, attitude) in dancing, is
-rendered by a performer out of time, and so the rhythm is lost.’
-
-14. =διαμαρτανόμενα=, _manqué_: cp. ἡμαρτημέναι πολιτεῖαι, and the
-like, in Plato.
-
-16. =χάριτος= depends on =διευστοχούσης= (the same construction as with
-the uncompounded verb εὐστοχεῖν).
-
-20. This passage (=μουσικὴ γάρ ... οἰκεῖον=) is quoted (after Syrianus)
-in Walz _Rhett. Gr._ v. 474.
-
-21. ἦν, ‘was all along,’ ‘is after all’: cp. =92= 18.
-
-22. For the passage that follows cp. Aristoxenus _Harmonics_ i. 3
-πρῶτον μὲν οὖν ἁπάντων τὴν τῆς φωνῆς κίνησιν διοριστέον τῷ μέλλοντι
-πραγματεύεσθαι περὶ μέλους αὐτὴν τὴν κατὰ τόπον. οὐ γὰρ εἷς τρόπος
-αὐτῆς ὢν τυγχάνει· κινεῖται μὲν γὰρ καὶ διαλεγομένων ἡμῶν καὶ
-μελῳδούντων τὴν εἰρημένην κίνησιν, ὀξὺ γὰρ καὶ βαρὺ δῆλον ὡς ἐν
-ἀμφοτέροις τούτοις ἔνεστιν—αὕτη δ’ ἐστὶν ἡ κατὰ τόπον καθ’ ἣν ὀξύ τε
-καὶ βαρὺ γίγνεται—ἀλλ’ οὐ ταὐτὸν εἶδος τῆς κινήσεως ἑκατέρας ἐστίν.
-
-[Page 125]
-
-not compressing his lips, produced a harsh sound or so-called “broken
-note” as he played. Nevertheless, if the amateur critic were summoned
-to take up the instrument and himself to render any of the pieces
-with whose performance by professionals he was just now finding
-fault, he would be unable to do it. Why so? Because this is an affair
-of technical skill, in which we are not all partakers; the other of
-feeling, which is nature’s universal gift to man. I have noticed the
-same thing occur in the case of rhythms. Everybody is vexed and annoyed
-when a performer strikes an instrument, takes a step, or sings a note,
-out of time, and so destroys the rhythm.
-
-Again, it must not be supposed that, while melody and rhythm excite
-pleasure, and we are all enchanted by them, variety and appropriateness
-have less freshness and grace, or less effect on any of their hearers.
-No, these too fairly enchant us all when they are really attained,
-just as their absence jars upon us intensely. This is surely beyond
-dispute. I may refer, in confirmation, to the case of instrumental
-music, whether it accompanies singing or dancing; if it attains grace
-perfectly and throughout, but fails to introduce variety in due season
-or deviates from what is appropriate, the effect is dull satiety and
-that disagreeable impression which is made by anything out of harmony
-with the subject. Nor is my illustration foreign to the matter in
-hand. The science of public oratory is, after all, a sort of musical
-science, differing from vocal and instrumental music in degree, not in
-kind. In oratory, too, the words involve melody, rhythm, variety, and
-appropriateness; so that, in this case also, the ear delights in the
-melodies, is fascinated by the rhythms, welcomes the variations, and
-craves always
-
-[Page 126]
-
-
-ποθεῖ δ’ ἐπὶ πάντων τὸ οἰκεῖον, ἡ δὲ διαλλαγὴ κατὰ τὸ
-μᾶλλον καὶ τὸ ἧττον.
-
-διαλέκτου μὲν οὖν μέλος ἑνὶ μετρεῖται διαστήματι τῷ
-λεγομένῳ διὰ πέντε ὡς ἔγγιστα, καὶ οὔτε ἐπιτείνεται πέρα
-τῶν τριῶν τόνων καὶ ἡμιτονίου ἐπὶ τὸ ὀξὺ οὔτ’ ἀνίεται τοῦ      5
-χωρίου τούτου πλέον ἐπὶ τὸ βαρύ. οὐ μὴν ἅπασα λέξις ἡ
-καθ’ ἓν μόριον λόγου ταττομένη ἐπὶ τῆς αὐτῆς λέγεται τάσεως,
-ἀλλ’ ἡ μὲν ἐπὶ τῆς ὀξείας, ἡ δ’ ἐπὶ τῆς βαρείας, ἡ δ’ ἐπ’
-ἀμφοῖν. τῶν δὲ ἀμφοτέρας τὰς τάσεις ἐχουσῶν αἱ μὲν κατὰ
-μίαν συλλαβὴν συνεφθαρμένον ἔχουσι τῷ ὀξεῖ τὸ βαρύ, ἃς      10
-δὴ περισπωμένας καλοῦμεν· αἱ δὲ ἐν ἑτέρᾳ τε καὶ ἑτέρᾳ
-χωρὶς ἑκάτερον ἐφ’ ἑαυτοῦ τὴν οἰκείαν φυλάττον φύσιν. καὶ
-ταῖς μὲν δισυλλάβοις οὐδὲν τὸ διὰ μέσου χωρίον βαρύτητός
-τε καὶ ὀξύτητος· ταῖς δὲ πολυσυλλάβοις, ἡλίκαι ποτ’ ἂν
-ὦσιν, ἡ τὸν ὀξὺν τόνον ἔχουσα μία ἐν πολλαῖς ταῖς ἄλλαις      15
-βαρείαις ἔνεστιν. ἡ δὲ ὀργανική τε καὶ ᾠδικὴ μοῦσα διαστήμασί
-τε χρῆται πλείοσιν, οὐ τῷ διὰ πέντε μόνον, ἀλλ’ ἀπὸ
-τοῦ διὰ πασῶν ἀρξαμένη καὶ τὸ διὰ πέντε μελῳδεῖ καὶ τὸ διὰ
-τεττάρων καὶ τὸ διὰ <τριῶν καὶ τὸν> τόνον καὶ τὸ ἡμιτόνιον,
-ὡς δέ τινες οἴονται, καὶ τὴν δίεσιν αἰσθητῶς· τάς τε λέξεις      20
-τοῖς μέλεσιν ὑποτάττειν ἀξιοῖ καὶ οὐ τὰ μέλη ταῖς λέξεσιν,
-ὡς ἐξ ἄλλων τε πολλῶν δῆλον καὶ μάλιστα ἐκ τῶν Εὐριπίδου
-μέλων, ἃ πεποίηκεν τὴν Ἠλέκτραν λέγουσαν ἐν Ὀρέστῃ πρὸς
-τὸν χορόν·
-
-2 καὶ τὸ EF: καὶ PMV   4 πέρα] παρα F   5 τόνων om. P || ἡμιτόνιον P:
-ἡμιτονίων M   7 ἐπὶ om. PMV   10 συνδιεφθαρμένον FE   11 ἐν ἑτέρῳ τε
-καὶ ἑτέρῳ MV: ἕτεραί τε καὶ ἕτεραι P   14 ἡλίκαι ποτ’ ἂν Us.: ἡλίκαι ἂν
-E: εἰ καί ποτ’ ἂν PM: εἰ καί ποτ’ ἡλικἂν F: οἷαί ποτ’ ἂν V   15 ταῖς
-ἄλλαις EFM: om. PV   19 τὸ διὰ <τριῶν καὶ τὸν> τόνον Radermacher: τόνον
-F: διάτονον P: διὰ τόνον M: τὸ διάτονον EV   22 ἐκ τῶν EF: τῶν PMV
-
-3. =μετρεῖται=, ‘is measured,’ ‘is confined,’—_terminatur_,
-_coërcetur_.—For various points in this chapter see Introduction, pp.
-39-43 _supra_. With regard to the late Mr. W. E. Gladstone’s oratorical
-delivery, on a special occasion, Sir Walter Parratt obligingly makes
-the following communication to the editor: “I heard him make his famous
-‘Upas tree’ speech at Wigan, in a wooden erection, and watched with
-some care the inflection of his voice. Addressing so large a crowd I
-think he put more tone into the voice than usual. Roughly I found that
-he began his sentences on [**TN: image of E above middle C] generally
-ending on [**TN: image of G-sharp below middle C], but sometimes
-falling the full octave to [**TN: image of E below middle C].”
-
-4. =ὡς ἔγγιστα=, ‘as nearly as possible,’ ‘approximately.’
-
-5. “Which measure a Fifth, C to D one Tone, D to E one Tone, E to F
-half a Tone, F to G one Tone,—total C to G, or a Fifth, three Tones
-and half. In Norwegian the interval is said by Professor Storm to
-be usually a Fourth, and in Swedish it is said by Weste to be about
-a Third or less,” A. J. Ellis _English, Dionysian, and Hellenic
-Pronunciations of Greek_, p. 38. (Under the initial “A. J. E.”
-occasional quotations will be made from this pamphlet, to which the
-phonetic studies of its author lend special interest, even when his
-conclusions cannot be accepted.)
-
-10. “That is, the voice _glides_ from the high to the low pitch, and
-does not _jump_ from high to low,” A. J. E.
-
-12. “That is, one pitch does not glide into the other, but each is
-distinctly separated, as the notes on a piano.” A. J. E.
-
-20. =δίεσιν=: see Gloss., s.v. δίεσις.
-
-23. Line 140 of the _Orestes_ is assigned to Electra (rather than to
-the Chorus) not only by Dionysus but seemingly also by Diogenes Laert.
-vii. 5 (Cleanthes). 172 ἐρομένου τινὸς τί ὑποτίθεσθαι δεῖ τῷ υἱῷ, “τὸ
-τῆς Ἠλέκτρας, ἔφη: σῖγα σῖγα, λεπτὸν ἴχνος.”—If the reading =λευκὸν=
-(rather than λεπτὸν) is right, the word may possibly be understood
-(like ἀργός) of swift, glancing feet, though the notion of rest rather
-than of movement is prominent here.
-
-24. Reference may be made to Ruelle’s “Note sur la musique d’une
-passage d’Euripide” in the _Annuaire de l’Association des Études
-grecques_, 1882, pp. 96 ff.
-
-[Page 127]
-
-what is in keeping with the occasion. The distinction between oratory
-and music is simply one of degree.
-
-Now, the melody of spoken language is measured by a single interval,
-which is approximately that termed a _fifth_. When the voice rises
-towards the acute, it does not rise more than three tones and a
-semitone; and, when it falls towards the grave, it does not fall more
-than this interval. Further, the entire utterance during one word is
-not delivered at the same pitch of the voice throughout but one part
-of it at the acute pitch, another at the grave, another at both. Of
-the words that have both pitches, some have the grave fused with the
-acute on one and the same syllable—those which we call circumflexed;
-others have both pitches falling on separate syllables, each retaining
-its own quality. Now in disyllables there is no space intermediate
-between low pitch and high pitch; while in polysyllabic words, whatever
-their number of syllables, there is but one syllable that has the acute
-accent (high pitch) among the many remaining grave ones. On the other
-hand, instrumental and vocal music uses a great number of intervals,
-not the fifth only; beginning with the octave, it uses also the fifth,
-the fourth, the third, the tone, the semitone, and, as some think,
-even the quarter-tone in a distinctly perceptible way. Music, further,
-insists that the words should be subordinate to the tune, and not
-the tune to the words. Among many examples in proof of this, let me
-especially instance those lyrical lines which Euripides has represented
-Electra as addressing to the Chorus in the _Orestes_:—
-
-[Page 128]
-
-
-        σῖγα σῖγα, λευκὸν ἴχνος ἀρβύλης
-        τίθετε, μὴ κτυπεῖτ’·
-        ἀποπρόβατ’ ἐκεῖσ’, ἀποπρό μοι κοίτας.
-
-ἐν γὰρ δὴ τούτοις τὸ “σῖγα σῖγα λευκὸν” ἐφ’ ἑνὸς φθόγγου
-μελῳδεῖται, καίτοι τῶν τριῶν λέξεων ἑκάστη βαρείας τε τάσεις      5
-ἔχει καὶ ὀξείας. καὶ τὸ “ἀρβύλης” τῇ μέσῃ συλλαβῇ τὴν
-τρίτην ὁμότονον ἔχει, ἀμηχάνου ὄντος ἓν ὄνομα δύο λαβεῖν
-ὀξείας. καὶ τοῦ “τίθετε” βαρυτέρα μὲν ἡ πρώτη γίνεται,
-δύο δ’ αἱ μετ’ αὐτὴν ὀξύτονοί τε καὶ ὁμόφωνοι. τοῦ τε
-“κτυπεῖτε” ὁ περισπασμὸς ἠφάνισται· μιᾷ γὰρ αἱ δύο συλλαβαὶ      10
-λέγονται τάσει. καὶ τὸ “ἀποπρόβατε” οὐ λαμβάνει τὴν τῆς
-μέσης συλλαβῆς προσῳδίαν ὀξεῖαν, ἀλλ’ ἐπὶ τὴν τετάρτην
-συλλαβὴν μεταβέβηκεν ἡ τάσις ἡ τῆς τρίτης. τὸ δ’ αὐτὸ
-γίνεται καὶ περὶ τοὺς ῥυθμούς. ἡ μὲν γὰρ πεζὴ λέξις
-οὐδενὸς οὔτε ὀνόματος οὔτε ῥήματος βιάζεται τοὺς χρόνους      15
-οὐδὲ μετατίθησιν, ἀλλ’ οἵας παρείληφεν τῇ φύσει τὰς συλλαβὰς
-τάς τε μακρὰς καὶ τὰς βραχείας, τοιαύτας φυλάττει· ἡ δὲ
-μουσική τε καὶ ῥυθμικὴ μεταβάλλουσιν αὐτὰς μειοῦσαι καὶ
-παραύξουσαι, ὥστε πολλάκις εἰς τἀναντία μεταχωρεῖν· οὐ
-
-1 σῖγα σῖγα M^2: σίγα σίγα cett. (necnon codd. Eur.) || λευκὸν codd.
-Dionys.: λεπτὸν Eurip.   2 τίθετ(αι) P^1: τιθεῖτ(αι) P^2: τιθεῖτε FEMV
-|| κτυπῆτε P^1: κτυπεῖτε cett.   3 ἀποπρόβατ’ V: ἄπο προβᾶτ’ PM: ἄπο
-πρόβατ’ FE || ἐκεῖσε libri || ἀποπρόμοι F, EPM: ἀπόπροθι Vs   6 τῆι F,
-E: ἐπὶ PMV   8 τίθεται FP: τιθεῖτε EMV   9 δ’ αἱ Us.: δὲ libri   11
-ἀποπρόβατ’ V: ἄπο*προβᾶτε P: ἄπο πρόβατε EF: ἄπο προβᾶτ’ ἐκεῖσε M   13
-καταβέβηκεν PMV   18 καὶ αὔξουσαι PMV
-
-2. =τίθετε= is clearly right, notwithstanding the strong manuscript
-evidence (FEMV) for τιθεῖτε.
-
-4. The general sense is that =σῖγα= is sung upon a monotone, though the
-spoken word had two tones or pitches (the acute and the grave, the high
-and the low), and, “indeed, both of them combined in the circumflex
-accent of its first syllable” (Hadley _Essays_ p. 113).
-
-7. Dionysius clearly means “in speaking,” and “on two successive
-syllables.” Without the latter addition, the case of an enclitic
-throwing back its accent on a proparoxytone word seems to be left out
-of account.
-
-14. D. B. Monro _Modes of Ancient Greek Music_ p. 117 writes: “In
-English the time or quantity of syllables is as little attended to as
-the pitch. But in Greek the distinction of long and short furnished
-a prose rhythm which was a serious element in their rhetoric. In the
-rhythm of music, according to Dionysius, the quantity of syllables
-could be neglected, just as the accent was neglected in the melody.
-This, however, does not mean that the natural time of the syllables
-could be treated with the freedom which we see in a modern composition.
-The regularity of lyric metres is sufficient to prove that the increase
-or diminution of natural quantity referred to by Dionysius was kept
-within narrow limits, the nature of which is to be gathered from the
-remains of the ancient system of Rhythmic. From these sources we learn
-with something like certainty that the rhythm of ordinary speech, as
-determined by the succession of long or short syllables, was the basis
-of metres not only intended for recitation, such as the hexameter and
-the iambic trimeter, but also of lyrical rhythm of every kind.” With
-this statement should be compared the extract (given below, l. 17) from
-Goodell’s _Greek Metric_.
-
-16. =τῇ φύσει=: cp. Cic. _Orat._ 51. 173 “et tamen omnium longitudinum
-et brevitatum in sonis sicut acutarum graviumque vocum iudicium ipsa
-natura in auribus nostris collocavit.” And with regard to accentuation
-as well as quantities: id. _ib._ 18. 57 “est autem etiam in dicendo
-quidam cantus obscurior ... in quo illud etiam notandum mihi videtur
-ad studium persequendae suavitatis in vocibus: ipsa enim natura, quasi
-modularetur hominum orationem, in omni verbo posuit acutam vocem nec
-una plus nec a postrema syllaba citra tertiam; quo magis naturam ducem
-ad aurium voluptatem sequatur industria.”
-
-17 ff. Cp. Goodell _Chapters on Greek Metric_ p. 52: “We find ample
-recognition [sc. in these two sentences] of the fact that in Greek
-lyric metres, so far as they come under what we have seen called μέλη
-and ῥυθμοί or ‘rhythmi,’ long and short syllables alike were more or
-less variable. In some way the reader knew in what rhythmical scheme or
-pattern the poet intended the verses to be rendered. To reproduce the
-rhythmical pattern which the poet had in mind, the singer, if not also
-the reader, made some long syllables longer and others shorter than two
-χρόνοι πρῶτοι, and made some short syllables longer than one χρόνος
-πρῶτος. It seemed to Dionysius in those cases that one did not so much
-regulate the times by the syllables, but rather regulated the syllables
-by the times.”
-
-19. The compound =παραύξουσαι=, as given by EF, may be compared with
-παραυξηθεῖσα in =152= 18. Dionysius does not avoid hiatus after καί,
-and so he would not prefer παραύξουσαι to αὔξουσαι on this account,
-though an early reviser of his text might do so.
-
-=εἰς τἀναντία μεταχωρεῖν=: e.g., a short syllable will sometimes be
-treated as if it were long and were circumflexed.
-
-[Page 129]
-
-
-        Hush ye, O hush ye! light be the tread
-        Of the sandal; no jar let there be!
-        Afar step ye thitherward, far from his bed.[129]
-
-In these lines the words σῖγα σῖγα λευκόν are sung to one note; and yet
-each of the three words has both low pitch and high pitch. And the word
-ἀρβύλης has its third syllable sung at the same pitch as its middle
-syllable, although it is impossible for a single word to take two acute
-accents. The first syllable of τίθετε is sung to a lower note, while
-the two that follow it are sung to the same high note. The circumflex
-accent of κτυπεῖτε has disappeared, for the two syllables are uttered
-at one and the same pitch. And the word ἀποπρόβατε does not receive
-the acute accent on the middle syllable; but the pitch of the third
-syllable has been transferred to the fourth.
-
-The same thing happens in rhythm. Ordinary prose speech does not
-violate or interchange the quantities in any noun or verb. It keeps the
-syllables long or short as it has received them by nature. But the arts
-of rhythm and music alter them by shortening or lengthening, so that
-often they pass into their opposites: the time of production is not
-regulated by the
-
-[Page 130]
-
-
-γὰρ ταῖς συλλαβαῖς ἀπευθύνουσι τοὺς χρόνους, ἀλλὰ τοῖς
-χρόνοις τὰς συλλαβάς.
-
-δεδειγμένης δὴ τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς,
-λοιπὸν ἂν εἴη κἀκεῖνα λέγειν, ὅτι τὸ μὲν τῆς φωνῆς μέλος,
-λέγω δὲ οὐ τῆς ᾠδικῆς ἀλλὰ τῆς ψιλῆς, ἐὰν ἡδέως διατιθῇ      5
-τὴν ἀκοήν, εὐμελὲς λέγοιτ’ ἄν, ἀλλ’ οὐκ ἐμμελές· ἡ δ’ ἐν τοῖς
-χρόνοις τῶν μορίων συμμετρία σῴζουσα τὸ μελικὸν σχῆμα
-εὔρυθμος, ἀλλ’ οὐκ ἔνρυθμος· πῇ δὲ διαφέρει ταῦτα ἀλλήλων,
-κατὰ τὸν οἰκεῖον καιρὸν ἐρῶ. νυνὶ δὲ τἀκόλουθ’ ἀποδοῦναι
-πειράσομαι, πῶς ἂν γένοιτο λέξις πολιτικὴ παρ’ αὐτὴν τὴν      10
-σύνθεσιν ἡδύνουσα τὴν ἀκρόασιν κατά τε τὰ μέλη τῶν
-φθόγγων καὶ κατὰ τὰς συμμετρίας τῶν ῥυθμῶν καὶ κατὰ τὰς
-ποικιλίας τῶν μεταβολῶν καὶ κατὰ τὸ πρέπον τοῖς ὑποκειμένοις,
-ἐπειδὴ ταῦθ’ ὑπεθέμην τὰ κεφάλαια.
-
-
-XII
-
-οὐχ ἅπαντα πέφυκε τὰ μέρη τῆς λέξεως ὁμοίως διατιθέναι      15
-τὴν ἀκοήν, ὥσπερ οὐδὲ τὴν ὁρατικὴν αἴσθησιν τὰ ὁρατὰ
-πάντα οὐδὲ τὴν γευστικὴν τὰ γευστὰ οὐδὲ τὰς ἄλλας αἰσθήσεις
-τὰ κινοῦντα ἑκάστην· ἀλλὰ καὶ γλυκαίνουσιν αὐτήν τινες
-ἦχοι καὶ πικραίνουσι, καὶ τραχύνουσι καὶ λεαίνουσι, καὶ
-πολλὰ ἄλλα πάθη ποιοῦσι περὶ αὐτήν. αἰτία δὲ ἥ τε      20
-τῶν γραμμάτων φύσις ἐξ ὧν ἡ φωνὴ συνέστηκεν, πολλὰς
-καὶ διαφόρους ἔχουσα δυνάμεις, καὶ ἡ τῶν συλλαβῶν πλοκὴ
-παντοδαπῶς σχηματιζομένη. τοιαύτην δὴ δύναμιν ἐχόντων
-τῶν τῆς λέξεως μορίων ἐπειδὴ μεταθεῖναι τὴν ἑκάστου φύσιν
-οὐχ οἷόν τε, λείπεται τὸ τῇ μίξει καὶ κράσει καὶ παραθέσει      25
-συγκρύψαι τὴν παρακολουθοῦσαν αὐτῶν τισιν ἀτοπίαν, τραχέσι
-
-3 δὴ τῆς PMV: τῆς F   4 τὸ μὲν] μὲν τὸ F   5 ἐὰν Us.: κἂν PV: ὃ μὲν FM
-|| διατίθησι FM   6 εὐμενὲς P   7 συμμετρία σώζουσα FPM: συμμετριάζουσα
-V   8 πῆ F: τῆι P || ἀλλήλων om. P   14 ἐπειδὴ δὲ ταῦθ’ F   18 αὐτὴν
-τινὲς EF: τινες αὐτὴν PMV   20 ἥ τε] ἡ EF   23 δὴ] ἤδη F: δὲ ἤδη E 25
-τὸ τῆι F, E: τῆι P, MV   25 καὶ τῆι κράσει F   26 συγκρύπτειν EF ||
-ἀτοπίαν om. F
-
-1. The subject of =ἀπευθύνουσι= is, of course, ἡ μουσική τε καὶ ῥυθμική.
-
-7. =συμμετρία=: cp. l. 12 τὰς συμμετρίας τῶν ῥυθμῶν, and =254= 10
-τεταγμένους σῴζουσα ῥυθμούς.
-
-9. =κατὰ τὸν οἰκεῖον καιρόν=: i.e. in cc. 25, 26.
-
-10. =παρ’ αὐτὴν τὴν σύνθεσιν.= With this use of παρά cp. =156= 12
-παρ’ οὐδὲν οὕτως ἕτερον ἢ τὰς τῶν συλλαβῶν κατασκευάς, =160= 9 παρὰ
-τὰς τῶν γραμμάτων συμπλοκάς κτλ., =202= 11 καὶ παρὰ τί γέγονε τούτων
-ἕκαστον;—In αὐτὴν τὴν σύνθεσιν the contrast implied is with ἡ ἐκλογὴ
-τῶν ὀνομάτων: cp. =252= 21 κατὰ γοῦν τὴν σύνθεσιν αὐτήν· ἐπεὶ καὶ ἡ
-ἐκλογὴ τῶν ὀνομάτων μέγα τι δύναται.
-
-23. If ἤδη be read (with F and E) the meaning will be, “the data being
-the letters with their invariable qualities.” Cp. the German _schon_.
-
-25. Quintil. ix. 91 “miscendi ergo sunt, curandumque, ut sint plures,
-qui placent, et circumfusi bonis deteriores lateant. nec vero in
-litteris syllabisque natura mutatur, sed refert, quae cum quaque optime
-coeat.”
-
-[Page 131]
-
-quantity of the syllables, but the quantity of the syllables is
-regulated by the time.
-
-The difference between music and speech having thus been shown, some
-other points remain to be mentioned. If the melody of the voice—not the
-singing voice, I mean, but the ordinary voice—has a pleasant effect
-upon the ear, it will be called melodious rather than in melody. So
-also symmetry in the quantities of words, when it preserves a lyrical
-effect, is rhythmical rather than in rhythm. On the precise bearing of
-these distinctions I will speak at the proper time. For the present I
-will pass on to the next question, and try to show how a style of civil
-oratory can be attained which, simply by means of the composition,
-charms the ear with its melody of sound, its symmetry of rhythm, its
-elaborate variety, and its appropriateness to the subject. These are
-the headings which I have set before myself.
-
-
-CHAPTER XII
-
-HOW TO RENDER COMPOSITION CHARMING
-
-It is not in the nature of all the words in a sentence to affect the
-ear in the same way, any more than all visible objects produce the
-same impression on the sense of sight, things tasted on that of taste,
-or any other set of stimuli upon the sense to which they correspond.
-No, different sounds affect the ear with many different sensations of
-sweetness, harshness, roughness, smoothness, and so on. The reason is
-to be found partly in the many different qualities of the letters which
-make up speech, and partly in the extremely various forms in which
-syllables are put together. Now since words have these properties, and
-since it is impossible to change the fundamental nature of any single
-one of them, we can only mask the uncouthness which is inseparable from
-some of them, by means of
-
-[Page 132]
-
-
-λεῖα μίσγοντα καὶ σκληροῖς μαλακὰ καὶ κακοφώνοις εὔφωνα
-καὶ δυσεκφόροις εὐπρόφορα καὶ βραχέσι μακρά, καὶ τἆλλα
-τὸν αὐτὸν τρόπον εὐκαίρως συντιθέντα καὶ μήτ’ ὀλιγοσύλλαβα
-πολλὰ ἑξῆς λαμβάνοντα (κόπτεται γὰρ ἡ ἀκρόασις) μήτε
-πολυσύλλαβα πλείω τῶν ἱκανῶν, μήδε δὴ ὁμοιότονα παρ’      5
-ὁμοιοτόνοις μήδ’ ὁμοιόχρονα παρ’ ὁμοιοχρόνοις. χρὴ δὲ καὶ
-τὰς πτώσεις τῶν ὀνοματικῶν ταχὺ μεταλαμβάνειν (μηκυνόμεναι
-γὰρ ἔξω τοῦ μετρίου πάνυ προσίστανται ταῖς ἀκοαῖς) καὶ
-τὴν ὁμοιότητα διαλύειν συνεχῶς ὀνομάτων τε τῶν ἑξῆς
-τιθεμένων πολλῶν καὶ ῥημάτων καὶ τῶν ἄλλων μερῶν τὸν      10
-κόρον φυλαττομένους, σχήμασί τε μὴ ἐπὶ τοῖς αὐτοῖς ἀεὶ
-μένειν ἀλλὰ θαμινὰ μεταβάλλειν καὶ τρόπους μὴ τοὺς αὐτοὺς
-ἐπεισφέρειν, ἀλλὰ ποικίλλειν, μηδὲ δὴ ἄρχεσθαι πολλάκις ἀπὸ
-τῶν αὐτῶν μηδὲ λήγειν εἰς τὰ αὐτὰ ὑπερτείνοντας τὸν ἑκατέρου
-καιρόν.      15
-
-καὶ μηδεὶς οἰηθῇ με καθάπαξ ταῦτα παραγγέλλειν ὡς
-ἡδονῆς αἴτια διὰ παντὸς ἐσόμενα ἢ τἀναντία ὀχλήσεως· οὐχ
-οὕτως ἀνόητός εἰμι· οἶδα γὰρ ἐξ ἀμφοῖν γινομένην πολλάκις
-ἡδονήν, τοτὲ μὲν ἐκ τῶν ὁμοιογενῶν, τοτὲ δὲ ἐκ τῶν ἀνομοιογενῶν·
-ἀλλ’ ἐπὶ πάντων οἴομαι δεῖν τὸν καιρὸν ὁρᾶν· οὗτος      20
-γὰρ ἡδονῆς καὶ ἀηδίας κράτιστον μέτρον. καιροῦ δὲ οὔτε
-ῥήτωρ οὐδεὶς οὔτε φιλόσοφος εἰς τόδε χρόνου τέχνην ὥρισεν,
-οὐδ’ ὅσπερ πρῶτος ἐπεχείρησε περὶ αὐτοῦ γράφειν Γοργίας
-
-2 εὐπρόφορα] εὔφορα F   3 συντεθέντα F   4 πολλὰ ... (5) πολυσύλλαβα
-om. P.   7 μηκυνόμενά τε γὰρ F: μηκυνόμεναί τε γὰρ M   8 προίστανται
-F   9 τε τῶν Us.: τέ τινων F, E: τινῶν PMV   11 φυλασσομένους EF:
-φυλαττόμενον s || ἐπὶ FE: om. PMV || ἀεὶ μένειν EF: διαμένειν PMV   14
-ὑπερτείνοντας Us.: ὑπερτείνοντα libri   17 τἀναντία FE: τοὐναντίον PMV
-  19 ὁμοιογενῶν EM: ὁμοίων γενῶν F: ἀνομοίων PV || ἀνομοιογενῶν EFM:
-ὁμογενῶν PV   22 τόδε χρόνου FMV: τὸ λέγειν P   23 πρῶτον P
-
-2. Compare the scholia of Maximus Planudes on the π. ἰδ. of Hermogenes:
-τοῦτο γάρ φησι καὶ Διονύσιος, ὅτι δεῖ μιγνύειν βραχέσι μακρὰ καὶ
-πολυσυλλάβοις ὀλιγοσύλλαβα, τοῦτο γὰρ ἡδέως διατίθησι τὴν ἀκοήν (Walz
-_Rhett. Gr._ v. 520).
-
-12. Cp. Anonymi scholia on Hermog. π. ἰδ. (Walz vii. 1049), διὰ τοῦτο
-κάλλους ἴδιον ὁ ῥυθμός, εἴτε βέβηκεν εἴτε μή· ἐπειδὴ κατὰ Διονύσιον
-ἡδύνει τὴν ἀκοὴν καὶ ποικίλλει, καὶ μὴ ἄρχεσθαι ἀπὸ τῶν αὐτῶν, μηδὲ
-λήγειν εἰς αὐτά, ἀλλὰ τὸ ἐξ ἁπάντων καλῶν ῥυθμῶν, τουτέστι ποδῶν,
-συγκεῖσθαι τὸν λόγον· ἀνάγκη γὰρ αὐτὸν οὕτω καλὸν εἶναι· τάττει δὲ τὸν
-σπονδεῖον μετ’ αὐτῶν.
-
-14. =ὑπερτείνοντας ... καιρόν=: lit. ‘exceeding due measure in either
-case.’ On the whole, Usener is perhaps right in reading the plural here
-and in l. 11; clearness, and variety of termination, recommend the
-change. But (1) all MSS. have ὑπερτείνοντα, (2) the singular has been
-used in ll. 1, 3, 4 _supra_, and so might as well be maintained to the
-end, while φυλαττομένους (instead of φυλαττόμενον) might arise from the
-initial σ of σχήμασι.
-
-20. =τὸν καιρὸν ὁρᾶν=, ‘to have an eye to (or observe) the rules of
-good taste,’ is a natural and appropriate expression. The use of
-θηρατός in =134= 3 is no argument for reading θηρᾶν here, but rather
-tells against the anticipation of so pronounced a metaphor. Moreover,
-the _middle_ voice is found in this sense in _de Demosth._ c. 40 τὴν
-εὐφωνίαν θηρωμένη καὶ τὴν εὐμέλειαν. With ὁρᾶν cp. _de Demosth._ c.
-49 ἄλλως τε καὶ τοῦ καιροῦ τὰ μέτρα ὁρῶν and _de Thucyd._ c. 1 τῆς
-προαιρέσεως οὐχ ἅπαντα κατὰ τὸν ἀκριβέστατον λογισμὸν ὁρώσης (where
-θηρώσης is given in Usener-Radermacher’s text).
-
-21. Quintil. xi. 1. 1 “parata, sicut superiore libro continetur,
-facultate scribendi cogitandique et ex tempore etiam, cum res poscet,
-orandi, proxima est cura, ut dicamus apte; quam virtutem quartam
-elocutionis Cicero demonstrat, quaeque est meo quidem iudicio maxime
-necessaria. nam cum sit ornatus orationis varius et multiplex
-conveniatque alius alii: nisi fuerit accommodatus rebus atque personis,
-non modo non illustrabit eam sed etiam destruet et vim rerum in
-contrarium vertet.”
-
-22. =τόδε χρόνου=: Usener reads τόδε γε (without χρόνου), in view of
-P’s τὸ λέγειν. But τόδε γε is unusual in this sense, whereas ἔτι καὶ
-εἰς τόδε χρόνου is found in _Antiqq. Rom._ i. 16. Cp. i. 38 _ibid._ καὶ
-παρὰ Κελτοῖς εἰς τόδε χρόνου γίνεται: also i. 61, 68, iii. 31, vi. 13.
-
-[Page 133]
-
-mingling and fusion and juxtaposition,—by mingling smooth with rough,
-soft with hard, cacophonous with melodious, easy to pronounce with hard
-to pronounce, long with short; and generally by happy combinations
-of the same kind. Many words of few syllables must not be used in
-succession (for this jars upon the ear), nor an excessive number of
-polysyllabic words; and we must avoid the monotony of setting side by
-side words similarly accented or agreeing in their quantities. We must
-quickly vary the cases of substantives (since, if continued unduly,
-they greatly offend the ear); and in order to guard against satiety,
-we must constantly break up the effect of sameness entailed by placing
-many nouns, or verbs, or other parts of speech, in close succession. We
-must not always adhere to the same figures, but change them frequently;
-we must not re-introduce the same metaphors, but vary them; we must not
-exceed due measure by beginning or ending with the same words too often.
-
-Still, let no one think that I am proclaiming these as universal
-rules—that I suppose keeping them will always produce pleasure, or
-breaking them always produce annoyance. I am not so foolish. I know
-that pleasure often arises from both sources—from similarity at one
-time, from dissimilarity at another. In every case we must, I think,
-keep in view good taste, for this is the best criterion of charm and
-its opposite. But about good taste no rhetorician or philosopher has,
-so far, produced a definite treatise. The man who first undertook to
-write on the subject, Gorgias of Leontini, achieved nothing
-
-[Page 134]
-
-
-ὁ Λεοντῖνος οὐδὲν ὅ τι καὶ λόγου ἄξιον ἔγραψεν· οὐδ’ ἔχει
-φύσιν τὸ πρᾶγμα εἰς καθολικὴν καὶ ἔντεχνόν τινα περίληψιν
-πεσεῖν, οὐδ’ ὅλως ἐπιστήμῃ θηρατός ἐστιν ὁ καιρὸς ἀλλὰ
-δόξῃ. ταύτην δ’ οἱ μὲν ἐπὶ πολλῶν καὶ πολλάκις γυμνάσαντες
-ἄμεινον τῶν ἄλλων εὑρίσκουσιν αὐτόν, οἱ δ’      5
-ἀγύμναστον ἀφέντες σπανιώτερον καὶ ὥσπερ ἀπὸ τύχης.
-
-ἵνα δὲ καὶ περὶ τῶν ἄλλων εἴπω, ταῦτ’ οἴομαι χρῆναι
-φυλάττειν ἐν τῇ συνθέσει τὸν μέλλοντα διαθήσειν τὴν ἀκοὴν
-ἡδέως· ἢ τὰ εὐμελῆ καὶ εὔρυθμα καὶ εὔφωνα ὀνόματα, ὑφ’
-ὧν γλυκαίνεταί τε καὶ ἐκμαλάττεται καὶ τὸ ὅλον οἰκείως      10
-διατίθεται ἡ αἴσθησις, ταῦτα ἀλλήλοις συναρμόττειν, ἢ τὰ
-μὴ τοιαύτην ἔχοντα φύσιν ἐγκαταπλέκειν τε καὶ συνυφαίνειν
-τοῖς δυναμένοις αὐτὴν γοητεύειν, ὥστε ὑπὸ τῆς ἐκείνων χάριτος
-ἐπισκοτεῖσθαι τὴν τούτων ἀηδίαν· οἷόν τι ποιοῦσιν οἱ
-φρόνιμοι στρατηλάται κατὰ τὰς συντάξεις τῶν στρατευμάτων·      15
-καὶ γὰρ ἐκεῖνοι ἐπικρύπτουσι τοῖς ἰσχυροῖς τὰ ἀσθενῆ, καὶ
-γίνεται αὐτοῖς οὐδὲν τῆς δυνάμεως ἄχρηστον. διαναπαύειν
-δὲ τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους εἰσφέροντα·
-καὶ γὰρ ἡ μεταβολὴ παντὸς ἔργου χρῆμα ἡδύ. τελευταῖον
-δὲ ὃ δὴ καὶ πάντων κράτιστον, οἰκείαν ἀποδιδόναι τοῖς      20
-ὑποκειμένοις καὶ πρέπουσαν ἁρμονίαν. δυσωπεῖσθαι δ’ οὐδὲν
-οἴομαι δεῖν οὔτε ὄνομα οὔτε ῥῆμα, ὅ τι καὶ τέτριπται, μὴ
-σὺν αἰσχύνῃ λέγεσθαι μέλλον· οὐδὲν γὰρ οὕτω ταπεινὸν ἢ
-ῥυπαρὸν ἢ ἄλλην τινὰ δυσχέρειαν ἔχον ἔσεσθαί φημι λόγου
-μόριον, ᾧ σημαίνεταί τι σῶμα ἢ πρᾶγμα, ὃ μηδεμίαν ἕξει      25
-χώραν ἐπιτηδείαν ἐν λόγοις. παρακελεύομαι δὲ τῇ συνθέσει
-
-1 οὐδὲν F: οὐδ’ MV: om. P || καὶ F: om. PMV   5 αὐτόν FM: om. PV   6
-ἀγύμναστον F, γρ M: ἀνάσκητον PM^{1}V || σπανιωτέρ(αν) P, MV   9 ἢ EFM:
-om. PV   10 ἐκμαλάττεται F: μαλάττεται PMV   15 συντάξεις FM: τάξ[ει]ς
-cum litura P, V   16 ἐπικρύπτουσι EF: συγκρύπτουσιν P, MV   17 ἄχρηστον
-FE: μέρος ἄχρηστον PMV   20 κράτιστον EF: ἐστὶ κράτιστον PMV   21 καὶ
-πρέπουσαν om. F   22 δεῖν om. F || ὅτι καὶ τέτριπται EF: ὅτ’ (οὔτ’ V)
-ἐπιτέτραπται PMV   23 μέλλον EF: om. PMV   24 ῥυπαρὸν EF: ῥυπαρὸν ἢ
-μιαρὸν PV: μιαρὸν M || ἔχον om. F   26 δὲ EF: δὲ ἐν PMV
-
-1. For οὐδ’ ὅτι (as read by Schaefer) Dobree suggested a number of
-alternatives,—οἶδ’ (= οἶδα), οὐδὲν, οὐδ’ ὁτιοῦν.
-
-7. The passage that begins here is, itself, a good example of
-rhythmical and melodious writing.
-
-10. =τὸ ὅλον=: cp. Long. p. 207, s.v. σύνολον.
-
-15. The description in _Iliad_ iv. 297-300 may be in Dionysius’ mind.
-Cp. Cic. _Brut._ 36. 139 “omnia veniebant Antonio in mentem; eaque
-suo quaeque loco, ubi plurimum proficere et valere possent, ut ab
-imperatore equites pedites levis armatura, sic ab illo in maxime
-opportunis orationis partibus collocabantur”; Xen. _Cyrop._ vii. 5. 5
-ἀναπτυχθείσης δ’ οὕτω τῆς φάλαγγος ἀνάγκη τοὺς πρώτους ἀρίστους εἶναι
-καὶ τοὺς τελευταίους, ἐν μέσῳ δὲ τοὺς κακίστους τετάχθαι.
-
-19. Cp. Dionys. Hal. _Ep. ad Cn. Pompeium_ c. 3 ὡς ἡδὺ χρῆμα ἐν
-ἱστορίας γραφῇ μεταβολὴ καὶ ποικίλον: Aristot. _Eth._ vii. 1154 b
-μεταβολὴ δὲ πάντων γλυκύ, κατὰ τὸν ποιητήν: Eurip. _Orest._ 234
-μεταβολὴ πάντων γλυκύ. Dionysius’ whole-hearted faith in the virtues
-of μεταβολή (considered in its widest bearings) rests on a basis of
-permanent truth. If we open Shakespeare at random, we can see how the
-verbal forms (‘remember,’ ‘bequeathed,’ ‘sayest,’ ‘charged,’ ‘begins’)
-are varied in the opening sentence of _As You Like It_; and this though
-our language is almost wholly analytical. And the words that fall from
-Lear in his madness (_King Lear_ iv. 6) are full of the most moving
-μεταβολαί, as well as of the most pathetic variations from τὸ εὐμελὲς
-to τὸ ἐμμελές.
-
-[Page 135]
-
-worth mentioning. The nature of the subject, indeed, is not such that
-it can fall under any comprehensive and systematic treatment, nor can
-good taste in general be apprehended by science, but only by personal
-judgment. Those who have continually trained this latter faculty in
-many connexions are more successful than others in attaining good
-taste, while those who leave it untrained are rarely successful, and
-only by a sort of lucky stroke.
-
-To proceed. I think the following rules should be observed in
-composition by a writer who looks to please the ear. Either he should
-link to one another melodious, rhythmical, euphonious words, by which
-the sense of hearing is touched with a feeling of sweetness and
-softness,—those which, to put it broadly, come home to it most; or
-he should intertwine and interweave those which have no such natural
-effect with those that can so bewitch the ear that the unattractiveness
-of the one set is overshadowed by the grace of the other. We may
-compare the practice of good tacticians when marshalling their armies:
-they mask the weak portions by means of the strong, and so no part of
-their force proves useless. In the same way I maintain we ought to
-relieve monotony by the tasteful introduction of variety, since variety
-is an element of pleasure in everything we do. And last, and certainly
-most important of all, the setting which is assigned to the subject
-matter must be appropriate and becoming to it. And, in my opinion, we
-ought not to feel shy of using any noun or verb, however hackneyed,
-unless it carries with it some shameful association; for I venture to
-assert that no part of speech which signifies a person or a thing will
-prove so mean, squalid, or otherwise offensive as to have no fitting
-place in discourse. My advice is that, trusting to the
-
-[Page 136]
-
-
-πιστεύοντας ἀνδρείως πάνυ καὶ τεθαρρηκότως αὐτὰ ἐκφέρειν
-Ὁμήρῳ τε παραδείγματι χρωμένους, παρ’ ᾧ καὶ τὰ
-εὐτελέστατα κεῖται τῶν ὀνομάτων, καὶ Δημοσθένει καὶ
-Ἡροδότῳ καὶ τοῖς ἄλλοις, ὧν ὀλίγῳ ὕστερον μνησθήσομαι
-καθ’ ὅ τι ἂν ἁρμόττῃ περὶ ἑκάστου. ταῦτά μοι περὶ τῆς      5
-ἡδείας εἰρήσθω συνθέσεως, ὀλίγα μὲν ὑπὲρ πολλῶν θεωρημάτων,
-ἱκανὰ δὲ ὡς κεφάλαια εἶναι.
-
-
-XIII
-
-εἶἑν. καλὴ δ’ ἁρμονία πῶς γένοιτ’ ἂν εἴ τις ἔροιτό με
-καὶ ἐκ ποίων θεωρημάτων, οὐκ ἄλλως πως μὰ Δία φαίην ἂν
-οὐδ’ ἐξ ἄλλων τινῶν ἢ ἐξ ὧνπερ ἡ ἡδεῖα· τὰ γὰρ αὐτὰ      10
-ποιητικὰ ἀμφοῖν, μέλος εὐγενές, ῥυθμὸς ἀξιωματικός, μεταβολὴ
-μεγαλοπρεπής, τὸ πᾶσι τούτοις παρακολουθοῦν πρέπον.
-ὥσπερ γὰρ ἡδεῖά τις γίνεται λέξις, οὕτω καὶ γενναία τις
-ἑτέρα, καὶ ῥυθμὸς ὥσπερ γλαφυρός τις, οὕτω καὶ σεμνός τις
-ἕτερος, καὶ τὸ μεταβάλλειν ὥσπερ χάριν ἔχει, οὕτω καὶ      15
-πίνον· τὸ δὲ δὴ πρέπον εἰ μὴ τοῦ καλοῦ πλεῖστον ἕξει
-μέρος, σχολῇ γ’ ἂν ἄλλου τινός. ἐξ ἁπάντων δή φημι
-τούτων ἐπιτηδεύεσθαι δεῖν τὸ καλὸν ἐν ἁρμονίᾳ λέξεως ἐξ
-ὧνπερ καὶ τὸ ἡδύ. αἰτία δὲ κἀνταῦθα ἥ τε τῶν γραμμάτων
-φύσις καὶ ἡ τῶν συλλαβῶν δύναμις, ἐξ ὧν πλέκεται τὰ ὀνόματα·      20
-ὑπὲρ ὧν καιρὸς ἂν εἴη λέγειν, ὥσπερ ὑπεσχόμην.
-
-
-XIV
-
-ἀρχαὶ μὲν οὖν εἰσι τῆς ἀνθρωπίνης φωνῆς καὶ ἐνάρθρου
-
-2 χρωμένους EFMV: χρ(ω)μεν(ος) P   4 ὀλίγον F: sed cf. =154= 7 7 εἶναι·
-εἶἑν sic P, FM: εἶεν V   8 με καὶ F: ἢ PMV   9 μὰ PMV: νὴ F   10 οὐδ’]
-οὐκ PV || ἡ F: om. PMV   13 οὕτω καὶ PMV: οὕτω F   14 ἑτέρα PMV: ἄρα F
-|| σεμνός τις F: σεμνὸς PMV   15 ἔχει P: ἔχει (ἔχειν V) τινὰ FMV   16
-πινόν (θ suprascripto) P: πιθανόν V: τὸ πῖνον M: πόνον F   18 δεῖν] δὴ
-F   20 ὀνόματα PE: ὀνόματα ταῦτα FMV   22 φωνῆς καὶ ἐνάρθρου REF: καὶ
-ἐνάρθρου φωνῆς αἱ PMVs
-
-6. =ὑπέρ= = περί: l. 21 _infra_, =96= 2, etc. Reiske’s ἀπό is
-attractive; but does ὀλίγα really = ὀλίγα θεωρήματα?
-
-8. =εἶἑν= = “So!” The breathing on the last syllable (as given by the
-best manuscripts, here and in other authors) helps to distinguish this
-word from the third pers. plur. optat. of εἰμί.
-
-9. In a negative sentence, =μὰ Δία= is to be preferred to νὴ Δία.
-
-13. =λέξις=: μέλος (cp. l. 11 _supra_) is here in question. Hence
-Usener suggests μέλισις. Perhaps λέξις (‘the words,’ ‘the libretto’) is
-here felt to include the music,—‘a passage set to music’: cp. =124= 22
-καὶ γὰρ ἐν ταύτῃ καὶ μέλος ἔχουσιν αἱ λέξεις (‘the words’) καὶ ῥυθμὸν
-καὶ μεταβολὴν καὶ πρέπον, and contrast =126= 20-1.
-
-16. =πίνον=, ‘mellowness,’ ‘ripeness’ (see Gloss.). The readings of
-FPMV seem all to point in this direction. πόνον (F’s reading) might
-possibly mean either ‘involve trouble’ (to the author) or ‘suggest
-painstaking’ (to the reader). Usener conjectures τόνον.
-
-22. Chapter xiv., which in some respects is the most interesting in
-the treatise, might easily be ridiculed by one of those scoffers whom
-Dionysius elsewhere (=252= 17) mentions with aversion. In _Le Bourgeois
-Gentilhomme_ (ii. 4) there is much that could serve for a parody of the
-_C. V._—the Maître de Philosophie with his “Sans la science, la vie
-est presque une image de la mort” (_nam sine doctrina vita est quasi
-mortis imago_), his “tout ce qui n’est point prose est vers; et tout
-ce qui n’est point vers est prose,” and (particularly) his remarks
-on _l’orthographie_: “Pour bien suivre votre pensée et traiter cette
-matière en philosophe, il faut commencer selon l’ordre des choses, par
-une exacte connaissance de la nature des lettres, et de la différente
-manière de les prononcer toutes. Et là-dessus j’ai à vous dire que les
-lettres sont divisées en voyelles, ainsi dites voyelles parce qu’elles
-expriment les voix; et en consonnes, ainsi appelées consonnes parce
-qu’elles sonnent avec les voyelles, et ne font que marquer les diverses
-articulations des voix.” These remarks include descriptions (many of
-which are taken almost verbatim from De Cordemoy’s _Discours physique
-de la parole_, published in 1668) of the mode in which various letters
-are formed, and (incidentally) M. Jourdain’s exclamation, “A, E, I, I,
-I, I. Cela est vrai. Vive la science!”
-
-[Page 137]
-
-effect of the composition, we should bring out such expressions with a
-bold and manly confidence, following the example of Homer, in whom the
-most commonplace words are found, and of Demosthenes and Herodotus and
-others, whom I will mention a little later so far as is suitable in
-each case. I think I have now spoken at sufficient length on charm of
-style. My treatment has been but a brief survey of a wide field, but
-will furnish the main heads of the study.
-
-
-CHAPTER XIII
-
-HOW TO RENDER COMPOSITION BEAUTIFUL
-
-So far, so good. But, if some one were to ask me in what way, and by
-attention to what principles, literary structure can be made beautiful,
-I should reply: In no other way, believe me, and by no other means,
-than those by which it is made charming, since the same elements
-contribute to both, namely noble melody, stately rhythm, imposing
-variety, and the appropriateness which all these need. For as there
-is a charming diction, so there is another that is noble; as there
-is a polished rhythm, so also is there another that is dignified; as
-variety in one passage adds grace, so in another it adds mellowness;
-and as for appropriateness, it will prove the chief source of beauty,
-or else the source of nothing at all. I repeat, the study of beauty in
-composition should follow the same lines throughout as the study of
-charm. The prime cause, here as before, is to be found in the nature
-of the letters and the phonetic effect of the syllables, which are the
-raw material out of which the fabric of words is woven. The time may
-perhaps now have come for redeeming my promise to discuss these.
-
-
-CHAPTER XIV
-
-THE LETTERS: THEIR CLASSIFICATION, QUALITIES, AND MODE OF PRODUCTION
-
-There are in human and articulate speech a number of first-beginnings
-
-[Page 138]
-
-
-μηκέτι δεχόμεναι διαίρεσιν, ἃ καλοῦμεν στοιχεῖα καὶ γράμματα·
-γράμματα μὲν ὅτι γραμμαῖς τισι σημαίνεται, στοιχεῖα δὲ ὅτι
-πᾶσα φωνὴ τὴν γένεσιν ἐκ τούτων λαμβάνει πρώτων καὶ τὴν
-διάλυσιν εἰς ταῦτα ποιεῖται τελευταῖα. τῶν δὴ στοιχείων τε
-καὶ γραμμάτων οὐ μία πάντων φύσις, διαφορὰ δὲ αὐτῶν      5
-πρώτη μέν, ὡς Ἀριστόξενος ὁ μουσικὸς ἀποφαίνεται, καθ’ ἣν
-τὰ μὲν φωνὰς ἀποτελεῖ, τὰ δὲ ψόφους· φωνὰς μὲν τὰ
-λεγόμενα φωνήεντα, ψόφους δὲ τὰ λοιπὰ πάντα. δευτέρα δὲ
-καθ’ ἣν τῶν μὴ φωνηέντων ἃ μὲν καθ’ ἑαυτὰ ψόφους ὁποίους
-δή τινας ἀποτελεῖν πέφυκε, ῥοῖζον ἢ σιγμὸν ἢ μυγμὸν ἢ      10
-τοιούτων τινῶν ἄλλων ἤχων δηλωτικούς· ἃ δ’ ἐστὶν ἁπάσης
-ἄμοιρα φωνῆς καὶ ψόφου καὶ οὐχ οἷά τε ἠχεῖσθαι καθ’ ἑαυτά·
-διὸ δὴ ταῦτα μὲν ἄφωνα τινὲς ἐκάλεσαν, θάτερα δὲ ἡμίφωνα.
-οἱ δὲ τριχῇ νείμαντες τὰς πρώτας τε καὶ στοιχειώδεις τῆς
-φωνῆς δυνάμεις φωνήεντα μὲν ἐκάλεσαν, ὅσα καὶ καθ’ ἑαυτὰ      15
-
-1 ἃ R: ἃς libri   3 πρώτων F: πρω[**TN: τ written above ω of πρω] P:
-πρῶτον RMVs   4 τελευταῖα P: τελευταῖον R: τελευταῖαν FVs: τελευταίαν
-M   9 μὴ φωνηέντων REFM: μὲν φωνηέντων PR^b: φωνηέντων Vs   10 σιγμὸν
-REF: συριγμὸν PMVs || μυγμὸν RE: μιγμὸν F: ποππυσμὸν P: ἀποπτυσμὸν Vs:
-ποππυσμὸν ἢ μυγμὸν M   11 δηλωτικούς RF: δηλωτικά EPMVs   13 διὸ δὴ
-REF: om. PMVs || θάτερα] καθάπερ F   14 τῆς φωνῆς RFM: φωνῆς PVs
-
-1. The following note, given in Usener-Radermacher ii. 1, p. 48, is
-important for its bearing on the text of the _C. V._: “Scholiasta
-Hermogenis Περὶ ἰδεῶν I 6 in Walzii rhet. gr. VII. p. 964, 23
-(correctus ex codd. Paris. 1983 = R^a et 2977 = R^b) ἀλλὰ περὶ μὲν
-στοιχείων ἄριστα παραδίδωσιν ὁ Διονύσιος ἐν τῷ περὶ συνθήκης ὀνομάτων
-συγγράμματι· λέγει γὰρ τί συμβέβηκεν ἑκάστῳ τῶν στοιχείων καὶ ποίαν μὲν
-δύναμιν ἔχει τὰ φωνήεντα, ποίαν δὲ τὰ σύμφωνα καὶ πάλιν αὖ τὰ ἡμίφωνα·
-πλὴν ἵνα τι καὶ θαυμάσωμεν τὸν ἄνδρα τῆς δεξιότητος, αὐτὴν παραθώμεθα
-τὴν λέξιν· #Ἀρχαὶ μὲν ... εἶναι ἐκεῖνα# (p. 969. 18 W.). καὶ ταῦτα
-μὲν ὁ Διονύσιος· οἷς προσέχων οὐκ ἂν διαμάρτοις τοῦ προσήκοντος. εἰ γὰρ
-σεμνὸν ποιεῖν ἐθέλεις (sic b: ἐθέλοις a Walzius) τὸν λόγον, ἐκλεξάμενος
-τὰ μακρὰ καὶ ὅσα τεταμένον (τεταγμένον W) λαμβάνει καὶ διηνεκῆ τὸν
-αὐλὸν τοῦ πνεύματος λάμβανε· φεῦγε δὲ τὰ βραχέως ἐξ ἀποκοπῆς τε
-λεγόμενα καὶ μιᾷ πληγῇ πνεύματος καὶ τῆς ἀρτηρίας ἐπὶ βραχὺ κινηθείσης
-ἐκφερόμενα· τὰ γὰρ μακρὰ τῶν φωνηέντων τῷ σεμνῷ μᾶλλον ἁρμόττει ἅτε (εἴ
-τε b) μηκυνόμενα κατὰ τὴν ἐκφορὰν καὶ πολὺν ἠχοῦντα χρόνον· ἀνοίκεια
-(Walzius: ἀνοίκειον a b) δὲ τὰ βραχέως λεγόμενα καὶ σπαδονίζοντα
-(σπαδωνίζοντα b σπανίζοντα Walzius) τὸν ἦχον. ἀλλ’ οὐχ ἁπλῶς οὐδὲ (οὔτε
-libri) τὰ μακρὰ δεῖ λαμβάνειν, ἀλλὰ τὰ κατὰ τὴν ἐκφορὰν διογκοῦντα
-τὸ στόμα καὶ ὅσα λέγεται τοῦ στόματος ἐπὶ πλεῖστον ἀνοιγομένου καὶ
-τοῦ πνεύματος ἄνω φερομένου (ἀναφερομένου b) πρὸς τὸν οὐρανόν, ἢ ὅσα
-περιστέλλει τὰ χείλη καὶ τὸ πνεῦμα ποιεῖ περὶ τὸ ἀκροστόμιον. ὥστε δεῖ
-μάλιστα χρῆσθαι ταῖς λέξεσιν ὅσαι πλεονάζουσι τῷ τε ᾱ καὶ τῷ ω̄.”
-
-2. Dionysius Thrax _Ars Gramm._ § 6 (Uhlig p. 9) γράμματα δὲ λέγεται
-διὰ τὸ γραμμαῖς καὶ ξυσμαῖς τυποῦσθαι· γράψαι γὰρ τὸ ξῦσαι παρὰ τοῖς
-παλαιοῖς.
-
-3. With this passage generally cp. Aristot. _Poet._ c. 20 στοιχεῖον
-μὲν οὖν ἐστιν φωνὴ ἀδιαίρετος, οὐ πᾶσα δὲ ἀλλ’ ἐξ ἧς πέφυκε συνετὴ
-γίγνεσθαι φωνή· καὶ γὰρ τῶν θηρίων εἰσὶν ἀδιαίρετοι φωναί, ὧν οὐδεμίαν
-λέγω στοιχεῖον· ταύτης δὲ μέρη τό τε φωνῆεν καὶ τὸ ἡμίφωνον καὶ ἄφωνον.
-ἔστιν δὲ φωνῆεν μὲν <τὸ> ἄνευ προσβολῆς ἔχον φωνὴν ἀκουστήν, οἷον τὸ
-Σ καὶ τὸ Ρ, ἄφωνον δὲ τὸ μετὰ προσβολῆς καθ’ αὑτὸ μὲν οὐδεμίαν ἔχον
-φωνήν, μετὰ δὲ τῶν ἐχόντων τινὰ φωνὴν γιγνόμενον ἀκουστόν, οἷον τὸ Γ
-καὶ τὸ Δ. ταῦτα δὲ διαφέρει σχήμασίν τε τοῦ στόματος καὶ τόποις καὶ
-δασύτητι καὶ ψιλότητι καὶ μήκει καὶ βραχύτητι, ἔτι δὲ ὀξύτητι καὶ
-βαρύτητι καὶ τῷ μέσῳ· περὶ ὧν καθ’ ἕκαστον ἐν τοῖς μετρικοῖς προσήκει
-θεωρεῖν.
-
-6. =Aristoxenus=, of Tarentum, the great musical theorist of Greece,
-lived during the times of Alexander the Great. Dionysius refers to him
-also in _de Demosth._ c. 48.
-
-9. Cp. Sext. Empir. _adv. Math._ i. 102 καὶ ἡμίφωνα μὲν ὅσα δι’ αὑτῶν
-ῥοῖζον ἢ σιγμὸν ἢ μυγμὸν ἤ τινα παραπλήσιον ἦχον κατὰ τὴν ἐκφώνησιν
-ἀποτελεῖν πεφυκότα, κτλ.
-
-10. ποππυσμόν, the reading of P, might mean ‘a popping sound.’
-
-13. The division into vowels, consonants, and mutes appears in Plato
-_Cratyl._ 424 C ἆρ’ οὖν καὶ ἡμᾶς οὕτω δεῖ πρῶτον μὲν τὰ φωνήεντα
-(‘vowels’) διελέσθαι, ἔπειτα τῶν ἑτέρων κατὰ εἴδη τά τε ἄφωνα
-(‘consonants’) καὶ ἄφθογγα (‘mutes’); ἄφωνα seems in this passage to
-mean ‘consonants’; in later times σύμφωνα was often so used. In the
-_Philebus_ 18 D the originator of an ‘art of grammar’ is attributed to
-the Egyptian Theuth.
-
-[Page 139]
-
-admitting no further division which we call elements and letters:
-“letters” (γράμματα) because they are denoted by certain lines
-(γραμμαί), and “elements” (στοιχεῖα) because every sound made by the
-voice originates in these, and is ultimately resolvable into them. The
-elements and letters are not all of the same nature. Of the differences
-between them, the first is, as Aristoxenus the musician makes clear,
-that some represent vocal sounds, while others represent noises: the
-former being represented by the so-called “vowels,” the latter by all
-the other letters. A second difference is that some of the non-vowels
-by their nature give rise to some noise or other,—a whizzing, a
-hissing, a murmur, or suggestions of some such sounds, whereas others
-are devoid of all voice or noise and cannot be sounded by themselves.
-Hence some writers have called the latter “voiceless” (“mutes”),
-the others “semi-voiced” (“semi-vowels”). Those writers who make a
-threefold division of the first or elemental powers of the voice give
-the name of _voiced_ (_vowels_) to all letters which can be uttered,
-either by themselves or
-
-[Page 140]
-
-
-φωνεῖται καὶ μεθ’ ἑτέρων καὶ ἔστιν αὐτοτελῆ· ἡμίφωνα δ’ ὅσα
-μετὰ μὲν φωνηέντων αὐτὰ ἑαυτῶν κρεῖττον ἐκφέρεται, καθ’
-ἑαυτὰ δὲ χεῖρον καὶ οὐκ αὐτοτελῶς· ἄφωνα δ’ ὅσα οὔτε τὰς
-τελείας οὔτε τὰς ἡμιτελεῖς φωνὰς ἔχει καθ’ ἑαυτά, μεθ’
-ἑτέρων δ’ ἐκφωνεῖται.      5
-
-ἀριθμὸς δὲ αὐτῶν ὅστις ἐστίν, οὐ ῥᾴδιον εἰπεῖν ἀκριβῶς,
-ἐπεὶ πολλὴν παρέσχε καὶ τοῖς πρὸ ἡμῶν ἀπορίαν τὸ πρᾶγμα·
-οἱ μὲν γὰρ ᾠήθησαν εἶναι τριακαίδεκα τὰ πάντα τῆς φωνῆς
-στοιχεῖα, κατεσκευάσθαι δὲ τὰ λοιπὰ ἐκ τούτων· οἱ δὲ καὶ
-τῶν εἰκοσιτεσσάρων οἷς χρώμεθα νῦν πλείω. ἡ μὲν οὖν ὑπὲρ      10
-τούτων θεωρία γραμματικῆς τε καὶ μετρικῆς, εἰ δὲ βούλεταί
-τις, καὶ φιλοσοφίας οἰκειοτέρα· ἡμῖν δὲ ἀπόχρη μήτ’ ἐλάττους
-τῶν κ̅δ̅ μήτε πλείους ὑποθεμένοις εἶναι τὰς τῆς φωνῆς ἀρχὰς
-τὰ συμβεβηκότα αὐτοῖς λέγειν, τὴν ἀρχὴν ἀπὸ τῶν φωνηέντων
-ποιησαμένοις.      15
-
-ἔστι δὴ ταῦτα τὸν ἀριθμὸν ζ̄, δύο μὲν βραχέα τό τε ε̄
-καὶ τὸ ο̄, δύο δὲ μακρὰ τό τε η̄ καὶ τὸ ω̄, τρία δὲ δίχρονα
-τό τε ᾱ καὶ τὸ ῑ καὶ τὸ ῡ, καὶ γὰρ ἐκτείνεται ταῦτα καὶ
-συστέλλεται· καὶ αὐτὰ οἱ μὲν δίχρονα, ὥσπερ ἔφην, οἱ δὲ
-μεταπτωτικὰ καλοῦσιν. φωνεῖται δὲ ταῦτα πάντα παρὰ τῆς      20
-ἀρτηρίας συνηχούσης τῷ πνεύματι καὶ τοῦ στόματος ἁπλῶς
-σχηματισθέντος τῆς τε γλώττης οὐδὲν πραγματευομένης ἀλλ’
-
-2 αὐτὰ ἑαυτῶν REF: om. PMVs   4 ἡμιτελεῖς REF: ἡμιτελείας PMVs   5 δὲ
-ἐκφωνεῖται REFMVs: δὲ καὶ φωνεῖται P   6 ἀριθμὸς RFM: ὁ ἀριθμὸς PVs 11
-εἰ δὲ RF: εἰ PMVs   14 τὰ RF: καὶ τὰ PMVs || αὐτοῖς RF: αὐτὴι P, MVs
-  16 μὲν βραχέα τότε (τὸ R) έ καὶ τὸ ό, δύο δὲ μακρὰ F, ER: μὲν μακρὰ
-PMVs   18 καὶ γὰρ ἐκτείνεται ταῦτα RFE: ἃ καὶ ἐκτείνεται PMVs   19 καὶ
-αὐτὰ RF: ἃ PMVs || μὲν] μὲν ἤδη R   20 φωνεῖται RF: ἐκφωνεῖται EPMVs ||
-παρὰ τῆς EF: ἀπὸ τῆς M: τῆς RPVs   21 συνηχούσης R: συνεχούσης libri ||
-τῶι πνεύματι R: τὸ π̅ν̅ι̅ F: τὸ πνεῦμα EPMVs || στόματος] σώματος R
-
-5. “On referring to the treatise of Aristotle περὶ ἀκουστῶν, the notion
-which underlies all Greek phonetics will be seen to be as follows.
-Breath is expelled by the lungs through the windpipe into the mouth,
-whence it passes out. The chief differences of speech-sounds are
-effected by ‘the strokes of the air’ (αἱ τοῦ ἀέρος πληγαί) and the
-configurations of the mouth (οἱ τοῦ στόματος σχηματισμοί). On the
-state of the lungs, their hardness, dryness, thickness, or softness,
-moistness, freedom, much stress is laid; and also on the amount and
-strength of the ‘stroke,’ which drives out the air forcibly (ἐκθλίβῃ
-τὸν ἀέρα βιαίως). Much is said of a long and short windpipe. ‘All that
-have long necks speak forcibly, as geese, cranes, and cocks. When the
-windpipe is short, the breath necessarily falls out quickly, and the
-stroke of the air becomes stronger, and all such persons must speak
-sharper (ὀξύτερον) because of the rapidity with which the breath is
-borne on.’ But there is not the least reference to the larynx or vocal
-chords, to the real organ by which voice proper is formed. No doubt
-Dionysius was not wiser than Aristotle in these matters. This must be
-well borne in mind for the full appreciation of what follows,” A. J. E.
-[But for λάρυγξ cp. the note on l. 21 _infra_.]
-
-14. =αὐτοῖς=: στοιχεῖα (cp. ll. 9 and 10), rather than αἱ τῆς φωνῆς
-ἀρχαί, seems to determine the grammar here. The reference of αὐτά,
-αὐτό, τοῦτο, etc., is often very general; e.g. Aristoph. _Ran._ 1025
-ἀλλ’ ὑμῖν αὔτ’ [sc. τὰ πολεμικά, to be supplied from τὸν πόλεμον in
-the previous line] ἐξῆν ἀσκεῖν, ἀλλ’ οὐκ ἐπὶ τοῦτ’ [sc. τὸ ἀσκεῖν]
-ἐτράπεσθε, and 1464 εὖ, πλήν γ’ ὁ δικαστὴς αὐτὰ [sc. τὰ χρήματα,
-implied in πόρος] καταπίνει μόνος; Thucyd. vii. 55 2 τὰ πρὸ αὐτῶν
-(‘before the late events’). Cp. also note on =198= 18 _infra_.
-
-Dionysius makes no specific reference, here or elsewhere in his
-treatise, to the diphthongs. The probable inference is that he
-regarded them as true diphthongs, formed from the simple vowels whose
-pronunciation is separately described by him.
-
-16. See Introduction, p. 46 _supra_, as to Sir Thomas Smith on this
-passage.—It is interesting also to notice the praise which Smith,
-in the same treatise on Greek pronunciation (Havercamp ii. p. 537),
-lavishes on Dionysius’ description of various vowels: “Quis Apelles
-aut Parrhasius faciem hominis penicillo vel coloribus exprimere potuit
-felicius, differentiamque constituere inter diversos vultus, quam hic
-verbis vocalium naturam distinxit ac separavit?”
-
-21. With συνεχούσης τὸ πνεῦμα the meaning would be ‘while the windpipe
-constricts the breath.’ But the reading given by R represents the facts
-with a fair degree of accuracy, and it may be compared with Aristot.
-_Hist. An._ ix. 4 τὰ μὲν οὖν φωνήεντα ἡ φωνὴ καὶ ὁ λάρυγξ ἀφίησιν, τὰ
-δ’ ἄφωνα ἡ γλῶττα καὶ τὰ χείλη.
-
-=ἁπλῶς σχηματισθέντος=: “meaning perhaps that the mouth is not
-continually varied in shape,” A. J. E.
-
-22. =οὐδὲν πραγματευομένης=: “that is, it does not move about, though
-it directs the breath,” A. J. E.
-
-=ἀλλ’ ἠρεμούσης=: “meaning that it does not vibrate as for λ and ρ,” A.
-J. E.
-
-[Page 141]
-
-together with others, and are self-sufficing; _semi-vowels_ to all
-which are pronounced better in combination with vowels, worse and
-imperfectly when taken singly; _mutes_ to all which by themselves admit
-of neither perfect nor half-perfect utterance, but are pronounced only
-in combination with others.
-
-It is not easy to say exactly what the number of these elements is,
-and our predecessors also have felt much doubt upon the question. Some
-have held that there are only thirteen elements of speech all told,
-and that the rest are but combinations of these; others that there are
-more than even the twenty-four which we now recognize. The discussion
-of this point belongs more properly to grammar and prosody, or even,
-perhaps, to philosophy. It is enough for us to assume the elements of
-speech to be neither more nor less than twenty-four, and to specify the
-properties of each, beginning with the vowels.
-
-These are seven in number: two short, viz. ε and ο; two long, viz. η
-and ω; and three common, viz. α, ι and υ. These last can be either long
-or short, and some call them “common,” as I have just done, others
-“variable.” All these sounds are produced from the windpipe, which
-resounds to the breath, while the mouth assumes a simple shape; the
-tongue takes no part
-
-[Page 142]
-
-
-ἠρεμούσης. πλὴν τὰ μὲν μακρὰ καὶ τῶν διχρόνων ἃ μακρῶς
-λέγεται τεταμένον λαμβάνει καὶ διηνεκῆ τὸν αὐλὸν τοῦ πνεύματος,
-τὰ δὲ βραχέα ἢ βραχέως λεγόμενα ἐξ ἀποκοπῆς τε καὶ
-μιᾷ πληγῇ πνεύματος καὶ τῆς ἀρτηρίας ἐπὶ βραχὺ κινηθείσης
-ἐκφέρεται. τούτων δὴ κράτιστα μέν ἐστι καὶ φωνὴν ἡδίστην      5
-ἀποτελεῖ τά τε μακρὰ καὶ τῶν διχρόνων ὅσα μηκύνεται κατὰ
-τὴν ἐκφοράν, ὅτι πολὺν ἠχεῖται χρόνον καὶ τὸν τοῦ πνεύματος
-οὐκ ἀποκόπτει τόνον· χείρω δὲ τὰ βραχέα ἢ βραχέως λεγόμενα,
-ὅτι μικρόφωνά τ’ ἐστὶ καὶ σπαδονίζει τὸν ἦχον. αὐτῶν
-δὲ τῶν μακρῶν πάλιν εὐφωνότατον μὲν τὸ ᾱ, ὅταν ἐκτείνηται·      10
-λέγεται γὰρ ἀνοιγομένου τε τοῦ στόματος ἐπὶ πλεῖστον καὶ
-τοῦ πνεύματος ἄνω φερομένου πρὸς τὸν οὐρανόν. δεύτερον δὲ
-τὸ η̄, διότι κάτω τε περὶ τὴν βάσιν τῆς γλώττης ἐρείδει τὸν
-ἦχον ἀλλ’ οὐκ ἄνω, καὶ μετρίως ἀνοιγομένου τοῦ στόματος.
-τρίτον δὲ τὸ ω̄· στρογγυλίζεται γὰρ ἐν αὐτῷ τὸ στόμα καὶ      15
-περιστέλλεται τὰ χείλη τήν τε πληγὴν τὸ πνεῦμα περὶ τὸ
-ἀκροστόμιον ποιεῖται. ἔτι δ’ ἧττον τούτου τὸ ῡ· περὶ γὰρ
-αὐτὰ τὰ χείλη συστολῆς γινομένης ἀξιολόγου πνίγεται καὶ
-στενὸς ἐκπίπτει ὁ ἦχος. ἔσχατον δὲ πάντων τὸ ῑ· περὶ τοὺς
-
-7 ἠχεῖ R (ut videtur)   8 οὐκ ἀποκόπτει τόνον RF: οὐκ ἀποκόπτει
-χρόνον E: οὐ κατακόπτει τὸν τόνον PMVs   9 σπαδονίζει PMVs: σπανίζει
-R (sed vid. n. =138= 1) EF   10 πάλιν REF: om. PMs   12 ἄνω φερομένου
-R^{a}PMVs: ἀναφερομένου R^{b}EF   13 διότι REF: ὅτι PMVs || κάτω τε F:
-τε κάτω R: κάτω EPMVs   14 ἀλλ’ οὐκ REF: ἀκόλουθον ἀλλ’ οὐκ PMVs || τοῦ
-στόματος REFM: om. PVs   16 περιστέλλεται REF: περιστέλλει PMVs   17
-ἔτι RF: ἔστι EPMVs   18 γινομένης REF: γενομένης PMVs
-
-5. With regard to the euphoniousness of the _Egyptian_ vowels there
-is an interesting passage in Demetr. _de Eloc._ § 71: “In Egypt the
-priests, when singing hymns in praise of the gods, employ the seven
-vowels, which they utter in due succession; and the sound of these
-letters is so euphonious that men listen to it in preference to flute
-and lyre.”
-
-9. =σπαδονίζει=: see Gloss., s.v.
-
-10. For the effect of the _a_ sound in Latin cp. Cic. _Tusc. Disp._
-ii. 9. 22 “haec dextra Lernam taetram, mactata excetra, | placavit:
-haec bicorporem afflixit manum: | Erymanthiam haec vastificam abiecit
-beluam: | haec e Tartarea tenebrica abstractum plaga | tricipitem
-eduxit Hydra generatum canem” (a translation of Soph. _Trach._ 1094-99).
-
-11. Cp. _Le Bourg. Gent._ ii. 4 “la voix A se forme en ouvrant fort
-la bouche”; and the rest of Molière’s comic phonetics furnish similar
-points of coincidence with this chapter of Dionysius.
-
-12. “The position of the tongue has to be inferred from the presumed
-direction of the breath, on which many other writers besides Dionysius
-have laid stress; for A probably the tongue was depressed, so as to
-allow the breath to enter the mouth freely, and the sound was either
-_a_ in ‘father,’ or, with a still more depressed tongue, the French _a_
-in ‘passer,’ which is a common Scotch pronunciation of the vowel _a_,”
-A. J. E.
-
-13. “The description which Dionysius gives of the production of η and
-of ε is unfortunately not of such a kind that we can with any certainty
-infer the distinction of an open or closed sound,” Blass _Pronunciation
-of Ancient Greek_ p. 36 (Purton’s translation).
-
-14. The =καί= introduces a specification which is parallel to those
-which follow κάτω.
-
-15. For the effect of the _o_ sound (notwithstanding any differences in
-the two languages) cp. Cic. _Cat._ iv. init. “video, patres conscripti,
-in me omnium vestra ora atque oculos conversos. video, vos non solum de
-vestro ac reipublicae, verum etiam, si id depulsum sit, de meo periculo
-esse sollicitos.” And in Greek, the Homeric lines quoted on =154=
-23, =156= 4 _infra_.—The question whether ω = ‘open’ or ‘closed’ _o_
-depends upon what position of the lips Dionysius’ description is taken
-to indicate.
-
-17. =ἧττον=, ‘less,’ might mean inferior either in quality of tone or
-in the degree of opening of the mouth (A. J. E.).
-
-=τὸ ῡ=: this vowel can, as in Aristoph. _Plut._ 895, be so pronounced
-as to convey the sensations of a sycophant in the presence of roasted
-meats:—
-
-    ἀρνεῖσθον; ἔνδον ἐστίν, ὦ μιαρωτάτω,
-    πολὺ χρῆμα τεμαχῶν καὶ κρεῶν ὠπτημένων.
-    ὒ  ὗ  ὒ  ὗ  ὒ  ὗ  ὒ  ὗ  ὒ  ὗ  ὒ  ὗ,
-
-where B. B. Rogers remarks: “This line [ὒ ὗ etc.], as Bentley pointed
-out, is _naso, non ore, efferendus_. It represents a succession of
-sniffings, produced by the nose; and not words or inarticulate sounds
-spoken with the mouth.”
-
-18. Cp. scholium on Dionysius Thrax p. 691. 27 B: τὸ ῡ τὰ χείλη
-συστέλλει κατὰ τὴν ἐκφώνησιν. φησὶ γὰρ Διονύσιος ὁ Ἁλικαρνασσεὺς ἐν
-τῷ περὶ στοιχείων καὶ συλλαβῶν λόγῳ ὅτι περὶ αὐτὰ τὰ χείλη συστολῆς
-γινομένης ἀξιολόγου πνίγεται καὶ στενὸς ἐκπίπτει ὁ ἦχος.
-
-19. “So far as the lips are concerned, this description would suit
-either the French _u_ or the English _oo_, but the latter part of the
-description is better suited to French _u_, and from the Latins having
-at this time represented this sound by their new sign Y (the usual form
-of Greek Υ in inscriptions) in place of their own V (which was our
-_oo_), we may feel sure that the sound was not English _oo_, and, if
-not, that it was most probably French _u_, as we know that it was so
-subsequently,” A. J. E.
-
-=τοὺς ὀδόντας=: “as the lips are not closed, there are only the teeth
-to limit the aperture,” A. J. E.—The position (=ἔσχατον πάντων=)
-assigned to iota is to be noticed: cp. Hermog. π. ἰδ. p. 225 (Walz
-_Rhett. Gr._ vol. iii.) τὸ ῑ ... ἥκιστα σεμνὴν ποιεῖ τὴν λέξιν
-πλεονάσαν.
-
-[Page 143]
-
-in the process but remains at rest. But the long vowels, and those
-common vowels that are pronounced long, have an extended and continuous
-passage of breath, while those that are short or pronounced as short
-are uttered abruptly, with one burst of breath, the movement of the
-windpipe being but brief. Of these the strongest, which also produce
-the most pleasing sound, are the long ones and those common ones which
-are lengthened in utterance, the reason being that they are sounded
-for a long time, and do not cut short the tension of the breath. The
-short ones, or those pronounced short, are inferior, because they
-lack sonorousness and curtail the sound. Again, of the long vowels
-themselves the most euphonious is α, when prolonged; for it is
-pronounced with the mouth open to the fullest extent, and with the
-breath forced upwards to the palate. η holds the second place, inasmuch
-as it drives the sound down against the base of the tongue and not
-upwards, and the mouth is fairly open. Third comes ω: in pronouncing
-this the mouth is rounded, the lips are contracted, and the impact of
-the breath is on the edge of the mouth. Still inferior to this is υ;
-for, through a marked contraction taking place right round the lips,
-the sound is strangled and comes out thin. Last of
-
-[Page 144]
-
-
-ὀδόντας τε γὰρ ἡ κροῦσις τοῦ πνεύματος γίνεται μικρὸν
-ἀνοιγομένου τοῦ στόματος καὶ οὐκ ἐπιλαμπρυνόντων τῶν
-χειλῶν τὸν ἦχον. τῶν δὲ βραχέων οὐδέτερον μὲν εὔμορφον,
-ἧττον δὲ δυσειδὲς τοῦ ε̄ τὸ ο̄· διίστησι γὰρ τὸ στόμα κρεῖττον
-θατέρου καὶ τὴν πληγὴν λαμβάνει περὶ τὴν ἀρτηρίαν      5
-μᾶλλον.
-
-φωνηέντων μὲν οὖν γραμμάτων αὕτη φύσις· ἡμιφώνων δὲ
-τοιάδε· ὀκτὼ τὸν ἀριθμὸν ὄντων αὐτῶν πέντε μέν ἐστιν ἁπλᾶ
-τό τε λ̄ καὶ τὸ μ̄ καὶ τὸ ν̄ καὶ τὸ ρ̄ καὶ τὸ σ̄· διπλᾶ δὲ
-τρία τό τε ζ̄ καὶ τὸ ξ̄ καὶ τὸ ψ̄. διπλᾶ δὲ λέγουσιν αὐτὰ      10
-ἤτοι διὰ τὸ σύνθετα εἶναι, τὸ μὲν ζ̄ διὰ τοῦ σ̄ καὶ δ̄, τὸ δὲ
-ξ̄ διὰ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ διὰ τοῦ π̄ καὶ σ̄ συνεφθαρμένων
-ἀλλήλοις ἰδίαν φωνὴν λαμβάνοντα, ἢ διὰ τὸ χώραν ἐπέχειν
-δυεῖν γραμμάτων ἐν ταῖς συλλαβαῖς παραλαμβανόμενον ἕκαστον.
-τούτων δὴ κρείττω μέν ἐστι τὰ διπλᾶ τῶν ἁπλῶν,      15
-ἐπειδὴ μείζονά ἐστι τῶν ἑτέρων καὶ μᾶλλον ἐγγίζειν δοκεῖ
-τοῖς τελείοις· ἥττω δὲ τὰ ἁπλᾶ διὰ τὸ εἰς βραχυτέρους
-τόπους συνάγεσθαι τὸν ἦχον. φωνεῖται δ’ αὐτῶν ἕκαστον
-τοιόνδε τινὰ τρόπον· τὸ μὲν λ̄ τῆς γλώττης πρὸς τὸν οὐρανὸν
-ἱσταμένης καὶ τῆς ἀρτηρίας συνηχούσης· τὸ δὲ μ̄ τοῦ μὲν      20
-στόματος τοῖς χείλεσι πιεσθέντος, τοῦ δὲ πνεύματος διὰ τῶν
-ῥωθώνων μεριζομένου· τὸ δὲ ν̄ τῆς γλώττης τὴν φορὰν τοῦ
-πνεύματος ἀποκλειούσης καὶ μεταφερούσης ἐπὶ τοὺς ῥώθωνας
-τὸν ἦχον· τὸ δὲ ρ̄ τῆς γλώττης ἄκρας ἀπορριπιζούσης τὸ
-πνεῦμα καὶ πρὸς τὸν οὐρανὸν ἐγγὺς τῶν ὀδόντων ἀνισταμένης·      25
-
-1 κροῦσις R: κρίσις EF: κρότησις PVs   2 οὐκ ἐπιλαμπρυνόντων] οὐκέτι
-λαμπρυνόντων P   3 εὔμορφον REF: εὔηχον PMVs   4 δυσειδὲς REF: δυσηχὲς
-PMVs || τοῦ ε̄ τὸ ο̄ Us.: τὸ ε̄ REFMV, τὸ ο̄ Ps   5 καὶ τὴν REF: τὴν
-δὲ PMVs   8 ὀκτὼ RF: ὀκτὼ γὰρ EPMVs || πέντε] ε̄ PVs   9 διπλὰ δὲ τρία
-F, R^bE: διπλᾶ δὲ καὶ τρία R^a: τρία (γ̄ P) δὲ διπλᾶ PMVs   11 τοῦ
-δ̄ καὶ τοῦ σ̄ R^a: τοῦ δ̄ καὶ σ̄ R^b   13 ἰδίαν RF: καὶ ἰδίαν PMVs
-  14 παραλαμβανόμενον ἕκαστον RF: παραλαμβανόμενα. ἑκάστου PMVs   17
-βραχυτέρους F: βαρυτέρους R: βραχυτέρους αὐτῶν E, PM   18 τόπους RFM^2:
-τόνους EPM^1Vs   20 ἱσταμένης REF: ἀνισταμένης PMVs || συνηχούσης REF:
-συνηχούσης τὸ πνεῦμα M: συνεχούσης τὸ πνεῦμα PVs   21 διὰ τῶν ... (23)
-πνεύματος REFM: om. P   22 ν̄] π̄ R   23 τοὺς ῥώθωνας RPMs: τὸν ῥώθωνα
-FE   24 ἀπορριπιζούσης RF: ἀπορραπιζούσης EVs: ἀποραπιζούσης (ρ alt.
-suprascr.) P, M
-
-1. =μικρὸν ἀνοιγομένου=: “no limitation is necessary, the lips may be
-as open for our _ee_ as for our _ah_, but they may also be slightly
-open from the centre to the corners, no part being in contact,” A. J. E.
-
-2. “There can be no doubt that our _ee_ is meant, and, although this
-is usually considered to be a ‘bright’ sound, it will be found that
-if, while singing it, and without moving the tongue, the lips be as
-much closed as for _oo_, the result, which will be French _u_, is much
-more musical. Whatever doubt may remain from this description of the
-precise shades of sound, _there can be none that η, υ, ι had different
-sounds_, as indeed transcripts of Greek into Latin letters and Latin
-into Greek letters shew that they had, partially at least, down to the
-12th century A.D., although the confusion was complete in the 15th, as
-it has since remained. Dionysius does not describe the diphthongs ΑΥ,
-ΕΥ, or the digraphs ΑΙ, ΕΙ, ΟΙ, ΟΥ,” A. J. E.
-
-5. “This would best suit our _aw_ in _awn_ shortened, that is, very
-nearly our _o_ in _on_. Short ε is not referred to, nor the short
-sounds of α, ι, υ,” A. J. E.
-
-11. For the pronunciation of =ζ= see Introduction, p. 44, and cp.
-Dionysius Thrax _Ars Gramm._ § 7 (Uhlig p. 14): ἔτι δὲ τῶν συμφώνων
-διπλᾶ μέν ἐστι τρία· ζ̄, ξ̄, ψ̄. διπλᾶ δὲ εἴρηται, ὅτι ἓν ἕκαστον αὐτῶν
-ἐκ δύο συμφώνων σύγκειται, τὸ μὲν ζ̄ ἐκ τοῦ σ̄ καὶ δ̄, τὸ δὲ ξ̄ ἐκ
-τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ ἐκ τοῦ π̄ καὶ σ̄.—For the late use of =διά=
-(with the genitive) of the means or material by or of which a thing is
-composed cp. =154= 10 and =180= 6; also _Antiqq. Rom._ i. ἐν ὄρεσι τὰ
-πολλὰ πηξαμένοις διὰ ξύλων καὶ καλάμων σκηνὰς αὐτορόφους.
-
-17. =ἥττω ... ἦχον=: a true phonetic explanation.
-
-20. For _m_ and _n_ in Greek and Latin (especially at the end of
-clauses) cp. Quintil. xii. 10. 31 “Quid? quod pleraque nos illa quasi
-mugiente littera cludimus =M=, in quam nullum Graece verbum cadit: at
-illi ny iucundam et in fine praecipue quasi tinnientem illius loco
-ponunt, quae est apud nos rarissima in clausulis.”
-
-25. =οὐρανὸν ... ὀδόντων.= Demosthenes’ difficulty in pronouncing this
-letter (the trilled palato-dental _r_) is well known: e.g. Quintil. i.
-11. 5 “(rho littera), qua Demosthenes quoque laboravit.”
-
-[Page 145]
-
-all stands ι: for the impact of the breath is on the teeth as the mouth
-is slightly open and the lips do not clarify the sound. Of the short
-vowels none has beauty, but ο is less ugly than ε: for the former parts
-the lips better than the latter, and receives the impact more in the
-region of the windpipe.
-
-So much for the nature of the vowels. The semi-vowels are as follows.
-They are eight in number, and five of them are simple, viz. λ, μ,
-ν, ρ, and σ, while three are double, viz. ζ, ξ, ψ. They are called
-double either because they are composite, receiving a distinctive
-sound through the coalescence respectively of σ and δ into ζ, of κ
-and σ into ξ, and of π and σ into ψ; or because they each occupy the
-room of two letters in the syllables where they are found. Of these
-semi-vowels, the double are superior to the single, since they are
-ampler than the others and seem to approximate more to perfect letters.
-The simple ones are inferior because their sounds are confined within
-smaller spaces. They are severally pronounced somewhat as follows: λ
-by the tongue rising to the palate, and by the windpipe helping the
-sound; μ by the mouth being closed tight by means of the lips, while
-the breath is divided and passes through the nostrils; ν by the tongue
-intercepting the current of the breath, and diverting the sound towards
-the nostrils; ρ by the tip of the tongue sending forth the breath in
-puffs and rising to the palate
-
-[Page 146]
-
-
-τὸ δὲ σ̄ τῆς μὲν γλώττης προσαγομένης ἄνω πρὸς τὸν οὐρανὸν
-ὅλης, τοῦ δὲ πνεύματος διὰ μέσων αὐτῶν φερομένου καὶ περὶ
-τοὺς ὀδόντας λεπτὸν καὶ στενὸν ἐξωθοῦντος τὸ σύριγμα. τρία
-δὲ τὰ λοιπὰ ἡμίφωνα μικτὸν λαμβάνει τὸν ψόφον ἐξ ἑνὸς μὲν
-τῶν ἡμιφώνων τοῦ σ̄, τριῶν δὲ ἀφώνων τοῦ τε δ̄ καὶ τοῦ κ̄      5
-καὶ τοῦ π̄.
-
-οὗτοι σχηματισμοὶ γραμμάτων ἡμιφώνων. δύναται δ’
-οὐχ ὁμοίως κινεῖν τὴν ἀκοὴν ἅπαντα· ἡδύνει μὲν γὰρ αὐτὴν
-τὸ λ̄, καὶ ἔστι τὼν ἡμιφώνων γλυκύτατον· τραχύνει δὲ τὸ ρ̄
-καὶ ἔστι τῶν ὁμογενῶν γενναιότατον· μέσως δέ πως διατίθησι      10
-τὰ διὰ τῶν ῥωθώνων συνηχούμενα τό τε μ̄ καὶ τὸ ν̄
-κερατοειδεῖς ἀποτελοῦντα τοὺς ἤχους. ἄχαρι δὲ καὶ ἀηδὲς
-τὸ σ̄ καὶ πλεονάσαν σφόδρα λυπεῖ· θηριώδους γὰρ καὶ
-ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ φωνῆς ὁ συριγμός·
-τῶν γοῦν παλαιῶν τινες σπανίως ἐχρῶντο αὐτῷ καὶ      15
-
-1 προσαγομένης R: προαγομένης EF: προσἀναγομένης P, Vs: προανοιγομένης
-M   2 ὅλης REF: ὅλως δὲ M: om. PVs || μέσων αὐτῶν R: μέσον αὐτῶν F:
-μέσουν αὐτοῦ M: μέσου αὐτοῦ EPVs   5 δ̄ καὶ τοῦ κ̄ REF: κ̄ καὶ τοῦ δ̄
-PMVs   13 καὶ πλεονάσαν REF: καὶ εἰ πλεονάσαι PM: καὶ εἰ πλεονάσειε Vs
-  14 ἀλόγου RPMVs: ἀλάλου EF
-
-2. Perhaps the variations in the readings here (cp. also =148= 16)
-indicate that one or two of the words originally stood in the dual
-number.—διὰ μέσου αὐτοῦ (EPV) would mean ‘through the middle of the
-palate.’
-
-9. As in Virgil (_Aen._ viii. 140: cp. v. 217), “at Maiam, auditis
-si quicquam credimus, Atlas, | idem Atlas generat caeli qui sidera
-tollit.”—The same view of _l_ is expressed in Demetr. _de Eloc._ § 174
-πρὸς δὲ τὴν ἀκοὴν (sc. ἡδέα ἐστι) “Καλλίστρατος, Ἀννοῶν.” ἥ τε γὰρ
-τῶν λάμβδα σύγκρουσις ἠχῶδές τι ἔχει, καὶ ἡ τῶν νῦ γραμμάτων (for the
-effect of the double _l_ and _n_ cp. such words as ‘bella’ and ‘donna’
-in Italian).
-
-12. It is well known that the Comic Poets make fun of Euripides’ line
-ἔσωσά σ’, ὡς ἴσασιν Ἑλλήνων ὅσοι (_Med._ 476: with Porson’s note).
-Pericles is said to have led the way in substituting ττ for the less
-pleasing σσ (see Lucian’s _Iudicium Vocalium_ for the substitution
-itself). On the other hand, it has been observed (with reference to
-_de Corona_ § 208 ἀλλ’ οὐκ ἔστιν, οὐκ ἔστιν ὅπως ἡμάρτετε, ἄνδρες
-Ἀθηναῖοι, τὸν ὑπὲρ τῆς ἁπάντων ἐλευθερίας καὶ σωτηρίας κίνδυνον
-ἀράμενοι, μὰ τοὺς Μαραθῶνι προκινδυνεύσαντας τῶν προγόνων καὶ τοὺς
-ἐν Πλαταιαῖς παραταξαμένους καὶ τοὺς ἐν Σαλαμῖνι ναυμαχήσαντας καὶ
-τοὺς ἐπ’ Ἀρτεμισίῳ καὶ πολλοὺς ἑτέρους τοὺς ἐν τοῖς δημοσίοις μνήμασι
-κειμένους, ἀγαθοὺς ἄνδρας, οὓς ἅπαντας ὁμοίως ἡ πόλις τῆς αὐτῆς
-ἀξιώσασα τιμῆς ἔθαψεν, Αἰσχίνη, οὐχὶ τοὺς κατορθώσαντας αὐτῶν οὐδὲ
-τοὺς κρατήσαντας μόνους): “in defence of English we may note that
-this renowned passage, perhaps the most effective ever spoken by an
-orator, has no less than fifty sigmas in sixty-seven words” (Goodwin’s
-edition of Demosth. _de Cor._ p. 148). There is also an interesting
-article on “Sigmatism in Greek Dramatic Poetry” in the _American
-Journal of Philology_ xxix. 1 (cp. xxxi. 1). Mr. J. A. Scott there
-proves by means of examples that Homer, Pindar, Aeschylus, Sophocles,
-Euripides, Aristophanes and the Comic Poets, do not avoid recurrent
-sigmas; and he adds that “the phrases ὁ φιλοσίγματος and ‘Euripidean
-sigmatism,’ which rest on the assumption that Euripides in a peculiar
-way marred his style by an excessive use of sigma, have no basis of
-truth to support them.” He further remarks, “It is Lasus of Hermione
-[Athen. 455 C], the so-called teacher of Pindar, who won a certain
-kind of fame by producing asigmatic verses; but it was evidently a
-species of poetic gymnastics such as was later achieved by the poets
-of the Ἰλιὰς λειπογράμματος and the Ὀδύσσεια λειπογράμματος, where
-the trick was to write the first book of each poem without α, the
-second without β, and so on.” In Sappho’s _Hymn to Aphrodite_ (_C. V._
-c. 23) there is no lack of sigmas. But we may be sure that neither
-Demosthenes, nor any good reader of Sappho, would be guilty of undue
-sibilation in the actual delivery of the speech or of the lines: it is
-the continual hissing that, as in English, has to be avoided. (For the
-pronunciation of σ, σβ, σγ, σμ, σσ see _Report of Classical Association
-on Greek Pronunciation_, p. 349 _infra_, and Giles’ _Comparative
-Philology_ p. 115).—Instances of not unpleasant accumulations of the _s_
-sound in Latin are to be found in Virg. _Aen._ v. 46 “annuus exactis
-completur mensibus orbis”; Virg. _Georg._ i. 389 “et sola in sicca
-secum spatiatur harena”; Cic. _Topic._ i. 1 “maiores nos res scribere
-ingressos, C. Trebati, et iis libris, quos brevi tempore satis multos
-edidimus, digniores e cursu ipso revocavit voluntas tua.” Cp. Quintil.
-ix. 4. 37 “ceterum consonantes quoque, earumque praecipue quae sunt
-asperiores, in commissura verborum rixantur, ut si _s_ ultima cum
-_x_ proxima confligat; quarum tristior etiam, si binae collidantur,
-stridor est, ut _ars studiorum_. quae fuit causa et Servio, ut dixi,
-subtrahendae _s_ litterae, quotiens ultima esset aliaque consonante
-susciperetur; quod reprehendit Luranius, Messala defendit.” An example
-of the recurrence of the _s_ sound in English poetry is:—
-
-    O the golden _sh_eaf, the ne_s_tling trea_s_ure-armful!
-      O the nutbrown tre_ss_es nodding interla_c_ed!
-
-                              George Meredith,
-                              _Love in the Valley_;
-
-or Shakespeare’s
-
-    “Thi_s_ pre_c_iou_s_ _s_tone _s_et in the _s_ilver _s_ea;”
-
-or many of the lines in Marlowe’s ‘smooth song’ “Come live with me, and
-be my love.” Of its deliberate elimination an instance is furnished by
-John Thelwall’s _English Song without a Sibilant_, entitled “The Empire
-of the Mind,” in which the last of the four stanzas runs:—
-
-    But when to radiant form and feature,
-      Internal worth and feeling join
-    With temper mild and gay goodnature,—
-      Around the willing heart, they twine
-            The empire of the mind.
-
-[Page 147]
-
-near the teeth; and σ by the entire tongue being carried up to the
-palate and by the breath passing between tongue and palate, and
-emitting, round about the teeth, a light, thin hissing. The sound of
-the three remaining semi-voiced letters is of a mixed character, being
-formed of one of the semi-voiced letters (σ) and three of the voiceless
-letters (δ, κ and π).
-
-Such are the formations of the semi-vowels. They cannot all affect the
-sense of hearing in the same way. λ falls pleasurably on it, and is the
-sweetest of the semi-vowels; while ρ has a rough quality, and is the
-noblest of its class. The ear is affected in a sort of intermediate
-way by μ and ν, which are pronounced with nasal resonance, and produce
-sounds similar to those of a horn. σ is an unattractive, disagreeable
-letter, positively offensive when used to excess. A hiss seems a sound
-more suited to a brute beast than to a rational being. At all events,
-some of the ancients used it sparingly and guardedly.
-
-[Page 148]
-
-
-πεφυλαγμένως, εἰσὶ δ’ οἳ καὶ ἀσίγμους ὅλας ᾠδὰς ἐποίουν·
-δηλοῖ δὲ τοῦτο καὶ Πίνδαρος ἐν οἷς φησι·
-
-        πρὶν μὲν εἷρπε σχοινότενειά τ’ ἀοιδὰ διθυράμβω
-        καὶ τὸ σὰν κίβδηλον ἀνθρώποις.
-
-τριῶν δὲ τῶν ἄλλων γραμμάτων ἃ δὴ διπλᾶ καλεῖται τὸ ζ̄      5
-μᾶλλον ἡδύνει τὴν ἀκοὴν τῶν ἑτέρων· τὸ μὲν γὰρ ξ̄ διὰ τοῦ
-κ̄ καὶ τὸ ψ̄ διὰ τοῦ π̄ τὸν συριγμὸν ἀποδίδωσι ψιλῶν ὄντων
-ἀμφοτέρων, τοῦτο δ’ ἡσυχῇ τῷ πνεύματι δασύνεται καὶ ἔστι
-τῶν ὁμογενῶν γενναιότατον. καὶ περὶ μὲν τῶν ἡμιφώνων
-τοσαῦτα.      10
-
-τῶν δὲ καλουμένων ἀφώνων ἐννέα ὄντων τρία μέν ἐστι
-ψιλά, τρία δὲ δασέα, τρία δὲ μεταξὺ τούτων· ψιλὰ μὲν τὸ
-κ̄ καὶ τὸ π̄ καὶ τὸ τ̄, δασέα δὲ τὸ θ̄ καὶ τὸ φ̄ καὶ τὸ χ̄,
-κοινὰ δὲ ἀμφοῖν τὸ β̄ καὶ τὸ γ̄ καὶ τὸ δ̄. φωνεῖται δὲ
-αὐτῶν ἕκαστον τρόπον τόνδε· τρία μὲν ἀπὸ τῶν χειλῶν      15
-ἄκρων, ὅταν τοῦ στόματος πιεσθέντος τὸ προβαλλόμενον
-ἐκ τῆς ἀρτηρίας πνεῦμα λύσῃ τὸν δεσμὸν αὐτοῦ. καὶ
-ψιλὸν μέν ἐστιν αὐτῶν τὸ π̄, δασὺ δὲ τὸ φ̄, μέσον δὲ ἀμφοῖν
-τὸ β̄· τοῦ μὲν γὰρ ψιλότερόν ἐστι, τοῦ δὲ δασύτερον. μία
-μὲν αὕτη συζυγία τριῶν γραμμάτων ἀφώνων ὁμοίῳ σχήματι      20
-λεγομένων, ψιλότητι δὲ καὶ δασύτητι διαφερόντων. τρία δὲ
-ἄλλα λέγεται τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένης
-κατὰ τοὺς μετεώρους ὀδόντας, ἔπειθ’ ὑπὸ τοῦ πνεύματος
-
-1 καὶ REF: om. PMVs || ὅλας [ὠιδὰ]ς cum litura F, E: ὅλας αὐδὰς R:
-ὠιδὰς ὅλας P, MVs   2 δηλοῖ ... (4) ἀνθρώποις om. R || τοῦτο καὶ EF:
-τοῦτο PVs   3 ἧρπε F: ἦρχε MV: ἤριπε EPs || σχοινοτενεῖ[ατα] οἶδα cum
-rasura F: σχοινοτονει [-τενὴς ἀδα M] φωνήεντα P, V: σχοινοτενῆ φωνήεντα
-Es || διθυράμβου F: διθυράμβων EPMVs: om. Athenaeus   4 κίβδηλον EF
-Athenaeus: κίβδαλον PMVs || ἀνθρώποις EFM: ἄνθρωποι PVs   7 καὶ τὸ
-ψ̄ RE: τὸ δὲ ψ̄ FPMVs   11 καλουμένων RPMVs: om. EF   14 ἐκφωνεῖται
-MVs   16 ἄκρων RFM: ἄκρων τὸ π̄ καὶ τὸ φ̄ καὶ τὸ β̄ EPVs || τό τε P
-  17 τὸ πνεῦμα P || θεσμὸν R   18 αὐτῶν] αὐτοῦ P   23 μετεώρους REF:
-μετεωροτέρους PMVs
-
-1. Athenaeus quotes the lines of Pindar (ll. 3, 4 _infra_) in x. 455
-C and in xi. 467 B. The former passage closely illustrates Dionysius’
-remarks: Πίνδαρος δὲ πρὸς τὴν ἀσιγμοποιηθεῖσαν ᾠδήν, ὡς ὁ αὐτός φησι
-Κλέαρχος, οἱονεὶ γρίφου τινὸς ἐν μελοποιίᾳ προβληθέντος, ὡς πολλῶν
-τούτῳ προσκρουόντων διὰ τὸ ἀδύνατον εἶναι ἀποσχέσθαι τοῦ σίγμα καὶ διὰ
-τὸ μὴ δοκιμάζειν, ἐποίησε·
-
-        πρὶν μὲν εἷρπε σχοινοτένειά τ’ ἀοιδὰ
-        καὶ τὸ σὰν κίβδηλον ἀνθρώποις.
-
-ταῦτα σημειώσαιτ’ ἄν τις πρὸς τοὺς νοθεύοντας Λάσου τοῦ Ἑρμιονέως τὴν
-ἄσιγμον ᾠδήν, ἥτις ἐπιγράφεται Κένταυροι, καὶ ὁ εἰς τὴν Δήμητρα δὲ τὴν
-ἐν Ἑρμιόνῃ ποιηθεὶς τῷ Λάσῳ ὕμνος ἄσιγμός ἐστιν, ὥς φησιν Ἡρακλείδης ὁ
-Ποντικὸς ἐν τρίτῳ περὶ μουσικῆς, οὗ ἐστιν ἀρχή·
-
-        Δάματρα μέλπω Κόραν τε Κλυμένοι’ ἄλοχον.
-
-In Pindar’s own text the right reading possibly is:—
-
-        πρὶν μὲν ἕρπε σχοινοτένειά τ’ ἀοιδὰ
-        διθυράμβων καὶ τὸ σὰν κίβδηλον ἀνθρώποισιν ἀπὸ στομάτων.
-
-Mr. P. N. Ure suggests that Pindar’s real reference was not to
-the sound of san but to its form, and that κίβδηλον means either
-‘misleading’ with reference to the similarity in form of san to mu, or
-‘spurious,’ as not being the form for the sibilant employed at Thebes,
-where letters were introduced into Greece.
-
-3. =σχοινοτένεια=: unusual feminine of σχοινοτενής, ‘stretched out like
-a measuring line.’
-
-5. “That the σ in σδ meant _z_ appears from what Dionysius presently
-says, that ζ is ‘quietly roughened by the breath,’ implying that it was
-voiced,” A. J. E. p. 44. The statement (p. 43 _ibid._) that _dz_ was
-probably an impossible initial combination to a Greek may be compared
-with _Classical Review_ xix. 441 as well as with more ancient evidence.
-
-13. Dionysius’ various statements as to the aspirates are discussed in
-E. A. Dawes’ _Pronunciation of the Greek Aspirates_ pp. 29 ff. (as well
-as in Blass’s _Ancient Greek Pronunciation_).
-
-15. Dionysius does not actually use Greek equivalents for the
-adjectives _labial_, _dental_, and _guttural_; but he clearly knows the
-physiological facts in which those terms have their origin.
-
-18. As illustrating Dionysius’ own love of variety, compare =μέσον
-ἀμφοῖν= here with κοινὰ ἀμφοῖν (l. 14), μεταξὺ τούτων (l. 12), μετρίως
-καὶ μεταξὺ ἀμφοῖν (=150= 9), μέσον δὲ καὶ ἐπίκοινον (=150= 4).
-
-23. =κατὰ τοὺς μετεώρους ὀδόντας.= “The pronunciation of the Greek and
-Roman _t_ by placing the tongue against the roots of the gums in lieu
-of the upper teeth is not one of the more serious errors [in the modern
-pronunciation of Greek and Latin], at least it does not strike our ears
-as such. But it has always seemed to me that the taunting verses of
-Ennius,
-
-    O _T_i_t_e _t_u_t_e _T_a_t_i _t_ibi _t_an_t_a _t_yranne _t_ulis_t_i,
-
-as of Sophocles,
-
-    =τ=υφλὸς =τ=ά =τ=’ ὦ=τ=α =τ=όν =τ=ε νοῦν =τ=ά =τ=’ ὄμμα=τ=’ εἶ,
-
-lose a good deal of their effect if the _t_’s are muffled behind the
-gums instead of being hurled out from the rampart of the teeth,” J. P.
-Postgate _How to pronounce Latin_ p. 11.
-
-[Page 149]
-
-
-There are writers who used actually to compose entire odes without a
-sigma. Pindar shows the same feeling when he writes:—
-
-        Ere then crept in the long-drawn dithyrambic song,
-        And _san_ that rang false on the speaker’s tongue.[130]
-
-Of the three other letters which are called “double,” ζ falls more
-pleasurably on the ear than the others. For ξ and ψ give the hiss
-in combination with κ and π respectively, both of which letters are
-smooth, whereas ζ is softly rippled by the breath and is the noblest of
-its class. So much with regard to the semi-vowels.
-
-Of the so-called “voiceless letters,” which are nine in number, three
-are smooth, three rough, and three between these. The smooth are κ, π,
-τ; the rough θ, φ, χ; the intermediate, β, γ, δ. They are severally
-pronounced as follows: three of them (π, θ, β) from the edge of the
-lips, when the mouth is compressed and the breath, being driven forward
-from the windpipe, breaks through the obstruction. Among these π is
-smooth, φ rough, and β comes between the two, being smoother than the
-latter and rougher than the former. This is one set of three mutes, all
-three spoken with a like configuration of our organs, but differing in
-smoothness and roughness. The next three are pronounced by the tongue
-being pressed hard against the extremity of the mouth near the upper
-teeth, then being blown
-
-[Page 150]
-
-
-ἀπορριπιζομένης καὶ τὴν διέξοδον αὐτῷ κάτω περὶ τοὺς
-ὀδόντας ἀποδιδούσης· διαλλάττει δὲ ταῦτα δασύτητι καὶ
-ψιλότητι· ψιλὸν μὲν γὰρ αὐτῶν ἐστι τὸ τ̄, δασὺ δὲ τὸ θ̄,
-μέσον δὲ καὶ ἐπίκοινον τὸ δ̄. αὕτη δευτέρα συζυγία τριῶν
-γραμμάτων ἀφώνων. τρία δὲ τὰ λοιπὰ τῶν ἀφώνων λέγεται      5
-μὲν τῆς γλώττης ἀνισταμένης πρὸς τὸν οὐρανὸν ἐγγὺς τοῦ
-φάρυγγος καὶ τῆς ἀρτηρίας ὑπηχούσης τῷ πνεύματι, οὐδὲν
-οὐδὲ ταῦτα διαφέροντα τῷ σχήματι ἀλλήλων, πλὴν ὅτι τὸ
-μὲν κ̄ ψιλῶς λέγεται, τὸ δὲ χ̄ δασέως, τὸ δὲ γ̄ μετρίως καὶ
-μεταξὺ ἀμφοῖν. τούτων κράτιστα μέν ἐστιν ὅσα τῷ πνεύματι      10
-πολλῷ λέγεται, δεύτερα δὲ ὅσα μέσῳ, κάκιστα δὲ ὅσα ψιλῷ·
-ταῦτα μὲν γὰρ τὴν αὑτῶν δύναμιν ἔχει μόνην, τὰ δὲ δασέα
-καὶ τὴν τοῦ πνεύματος προσθήκην, ὥστ’ ἐγγύς που τελειότερα
-εἶναι ἐκείνων.
-
-
-XV
-
-ἐκ δὴ τῶν γραμμάτων τοσούτων τε ὄντων καὶ δυνάμεις      15
-τοιαύτας ἐχόντων αἱ καλούμεναι γίνονται συλλαβαί. τούτων
-δὲ εἰσὶ μακραὶ μὲν ὅσαι συνεστήκασιν ἐκ τῶν φωνηέντων
-τῶν μακρῶν ἢ τῶν διχρόνων ὅταν μακρῶς ἐκφέρηται, καὶ
-ὅσαι λήγουσιν εἰς μακρὸν ἢ μακρῶς λεγόμενον γράμμα ἢ εἴς
-τι τῶν ἡμιφώνων τε καὶ ἀφώνων· βραχεῖαι δὲ ὅσαι συνεστήκασιν      20
-ἐκ βραχέος φωνήεντος ἢ βραχέως λαμβανομένου,
-καὶ ὅσαι λήγουσιν εἰς ταῦτα. μήκους δὲ καὶ βραχύτητος
-
-1 ἀποῤῥιπιζομένης RF: ἀπορραπιζομένης E: ἀποραπιζομένης P:
-ὑποραπιζομένης M: ὑπορραπιζομένης Vs || αὐτῶν κάτω E: κάτω RF: αὐτῶν
-PM: αὐτῷ Vs   2 ἀποδιδούσης RF: ἀποδιδούσης τὸ τ̄ καὶ τὸ θ̄ καὶ τὸ δ̄
-PMVs   4 τριῶν RFM: om. PVs   6 πρὸς REF: κατὰ PMVs || τοῦ φάρυγγος
-REF: τῆς φάρυγγος PMVs   7 πνεύματι RF: πνεύματι τὸ κ̄ καὶ τὸ χ̄ καὶ τὸ
-γ̄ EPMVs || οὐδὲν οὐδὲ Us.: οὐδὲν δὲ οὐδὲ R: οὐδὲν δὲ οὐ F: οὐδενὶ PMVs
-  10 ἀμφοῖν. τούτων κράτιστα μέν ἐστιν F [E]: ἀμφοῖν τούτοιν (τούτων
-b)· κράτιστα μὲν οὖν ἐστιν R: τούτων. κράτιστα μὲν οὖν ἐστιν PMVs   11
-δὲ REPMVs: δ’ F || μέσω EPMV,s: μ[έσωι] cum rasura F: μέσα R || κάκιστα
-REF: κακίω PMVs || ψιλῷ] ψιλῶι P, EMVs: ψιλῶ F: ψιλῶς R^a: ψιλά R^b
-  13 ἐγγύς που R: ἐγγὺς τοῦ libri || τελειότερα REF: τελειότερον P:
-τελειότατα MVs   14 ἐκείνων P: ἐκεῖνα RFMs, V: om. E   19 ἢ εἴς τι] εἴς
-τι F: ἤ τι EP: ἤτοι MV   20 τε καὶ EF: ἢ PMV   21 ἢ βραχέος V
-
-11. Usener seems to carry his faith in F to excess when, in one and
-the same line, he prints δ’ ὅσα and δὲ ὅσα. Dionysius can hardly have
-extended his love for μεταβολή so far as that.
-
-20. Batteaux (p. 208), when comparing French with the ancient languages
-in relations to long and short syllables, has the following interesting
-remarks: “Il n’est pas question de prouver ici que nous avons des
-syllabes brèves: nous sommes presque persuadés que toutes nos syllabes
-le sont, tant nous sommes pressés quand nous parlons. Nous traitons
-de même les syllabes latines; nous les faisons presque toutes brèves,
-quand nous lisons: il n’y a guère que le ω et les η grecs que nous
-allongions en lisant. Selon toute apparence, les Grecs and les Italiens
-anciens, qui, à en juger par les modernes, n’étaient pas moins vifs
-que nous, ne devaient guère se donner plus de temps pour peser sur
-leurs syllabes longues. Aussi n’était-ce pas dans la conversation
-qu’ils mesuraient leurs syllabes; c’était dans les discours oratoires,
-et encore plus dans leurs vers; c’était là qu’on pouvait observer les
-longues et les brèves, et c’est là aussi que nous les devons observer
-dans notre langue.”
-
-[Page 151]
-
-back by the breath, and affording it an outlet downwards round the
-teeth. These differ in roughness and smoothness, τ being the smoothest
-of them, θ the roughest, and δ medial or common. This is the second set
-of three mutes. The three remaining mutes are spoken with the tongue
-rising to the palate near the throat, and the windpipe echoing to the
-breath. These, again, differ in no way from one another as regards
-formation; but κ is pronounced smoothly, χ roughly, γ moderately and
-between the two. Of these the best are those which are uttered with
-a full breath; next those with moderate breath; worst those with
-smooth breath, since they have their own force alone, while the rough
-letters have the breath also added, so that they are somewhere nearer
-perfection than the others.
-
-
-CHAPTER XV
-
-SYLLABLES AND THEIR QUALITIES
-
-Such is the number of the letters, and such are their properties. From
-them are formed the so-called _syllables_. Of these syllables, those
-are long which contain long vowels or variable vowels when pronounced
-long, and those which end in a long letter or a letter pronounced long,
-or in one of the semi-vowels and one of the mutes. Those are short
-which contain a short vowel or one taken as short, and those which end
-in such vowels. There is
-
-[Page 152]
-
-
-συλλαβῶν οὐ μία φύσις, ἀλλὰ καὶ μακρότεραί τινές εἰσι τῶν
-μακρῶν καὶ βραχύτεραι τῶν βραχειῶν. ἔσται δὲ τοῦτο
-φανερὸν ἐπὶ τῶν παραδειγμάτων.
-
-ὁμολογεῖται δὴ βραχεῖα εἶναι συλλαβή, ἣν ποιεῖ φωνῆεν
-γράμμα βραχὺ τὸ ο̄, ὡς λέγεται #ὁδός#. ταύτῃ προστεθήτω      5
-γράμμα ἓν τῶν ἡμιφώνων τὸ ρ̄ καὶ γενέσθω #Ῥόδος#· μένει
-μὲν ἔτι βραχεῖα ἡ συλλαβή, πλὴν οὐχ ὁμοίως, ἀλλ’ ἕξει τινὰ
-παραλλαγὴν ἀκαρῆ παρὰ τὴν προτέραν. ἔτι προστεθήτω
-ταύτῃ τῶν ἀφώνων γραμμάτων ἓν τὸ τ̄ καὶ γενέσθω #τρόπος#·
-μείζων αὕτη τῶν προτέρων ἔσται συλλαβῶν καὶ ἔτι βραχεῖα      10
-μένει. τρίτον ἔτι γράμμα τῇ αὐτῇ συλλαβῇ προστεθήτω τὸ
-σ̄ καὶ γενέσθω #στρόφος#· τρισὶν αὕτη προσθήκαις ἀκουσταῖς
-μακροτέρα γενήσεται τῆς βραχυτάτης μένουσα ἔτι βραχεῖα.
-οὐκοῦν τέτταρες αὗται βραχείας συλλαβῆς διαφοραὶ τὴν
-ἄλογον αἴσθησιν ἔχουσαι τῆς παραλλαγῆς μέτρον. ὁ δ’ αὐτὸς      15
-λόγος καὶ ἐπὶ τῆς μακρᾶς. ἡ γὰρ ἐκ τοῦ η̄ γινομένη συλλαβὴ
-μακρὰ τὴν φύσιν οὖσα τεττάρων γραμμάτων προσθήκαις
-παραυξηθεῖσα τριῶν μὲν προταττομένων, ἑνὸς δὲ ὑποταττομένου,
-καθ’ ἣν λέγεται #σπλήν#, μείζων ἂν δήπου λέγοιτο εἶναι
-τῆς προτέρας ἐκείνης τῆς μονογραμμάτου· μειουμένη γοῦν      20
-αὖθις καθ’ ἓν ἕκαστον τῶν προστεθέντων γραμμάτων τὰς
-ἐπὶ τοὔλαττον παραλλαγὰς αἰσθητὰς ἂν ἔχοι. αἰτία δὲ τίς
-ἐστι τοῦ μήτε τὰς μακρὰς ἐκβαίνειν τὴν αὑτῶν φύσιν μέχρι
-γραμμάτων πέντε μηκυνομένας μήτε τὰς βραχείας εἰς ἓν ἀπὸ
-πολλῶν γραμμάτων συστελλομένας ἐκπίπτειν τῆς βραχύτητος,      25
-ἀλλὰ κἀκείνας ἐν διπλασίῳ λόγῳ θεωρεῖσθαι τῶν βραχειῶν
-καὶ ταύτας ἐν ἡμίσει τῶν μακρῶν, οὐκ ἀναγκαῖον ἐν τῷ
-παρόντι σκοπεῖν. ἀρκεῖ γὰρ ὅσον εἰς τὴν παροῦσαν ὑπόθεσιν
-ἥρμοττεν εἰρῆσθαι, ὅτι διαλλάττει καὶ βραχεῖα συλλαβὴ
-
-4 δὴ] δεῖ P || βραχεῖα EM: βραχέα F: βραχεῖαν PV || συλλαβὴν PV   5
-γράμμα βραχὺ EF: βραχὺ γράμμα V: γράμμα P || προστεθήτω EPV: προστιθέτω
-M: τίς προσθέτω F   8 ἀκαρὴ P: ἀκαρεὶ MV: om. EF || προστεθήτω EPMV:
-προσθέτω F   9 ἓν EF: om. PMV   15 ἄλογον EFV: ἀνάλογον PM   19 μείζονα
-ἂν F   20 μειουμένη] μειουμένης P: μειουμένων M || γ’ οὖν αὖθις P, M:
-τε οὖν αὖθις F: τε αὖ πάλιν E: δ’ αὖ πάλιν V   21 ἓν PMV: om. EF   22
-τοὔλαττον] τὸ λεῖπον PM || τίς ex τί corr. F: ἣ τίς PM, V   23 αὐτῶν
-F: ἑαυτῶν PMV   24 ε̄ μηκυνομένας ... (25) γραμμάτων om. F || πέντε
-Uptonus, ε̄ Us.: ἑπτὰ PM: δ̄ V
-
-2. Cp. Quintil. ix. 4. 84 “sit in hoc quoque aliquid fortasse momenti,
-quod et longis longiores et brevibus sunt breviores syllabae; ut,
-quamvis neque plus duobus temporibus neque uno minus habere videantur,
-ideoque in metris omnes breves longaeque inter sese sint pares, lateat
-tamen nescio quid, quod supersit aut desit. nam versuum propria
-condicio est, ideoque in his quaedam etiam communes.”
-
-8. =ἀκαρῆ=: cp. _de Isocr._ c. 20 ἀκαρῆ δέ τινα ... ἐνθυμήματα.
-
-12. =τρισὶν ... προσθήκαις=: the meaning apparently is that the first
-prefix increases the length by one augmentation; the second, by two;
-the third, by three. αὕτη = ἡ συλλαβή =στρόφ-=.
-
-22. =ἐπὶ τοὔλαττον=: cp. Aristot. _Eth. Nic._ ii. 7. 12 ἡ δὲ
-προσποίησις ἡ μὲν ἐπὶ τὸ μεῖζον ἀλαζονεία καὶ ὁ ἔχων αὐτὴν ἀλαζών, ἡ
-δ’ ἐπὶ τὸ ἔλαττον εἰρωνεία καὶ εἴρων [ὁ ἔχων], iv. 7. 14 οἱ δ’ εἴρωνες
-ἐπὶ τὸ ἔλαττον λέγοντες χαριέστεροι μὲν τὰ ἤθη φαίνονται; and Long. _de
-Sublim._ c. 38 αἱ δ’ ὑπερβολαὶ καθάπερ ἐπὶ τὸ μεῖζον, οὕτως καὶ ἐπὶ
-τοὔλαττον.
-
-26. =θεωρεῖσθαι= here (and in =204= 3, =210= 9) may perhaps supply a
-parallel (though not a complete one) of the kind desired in _Classical
-Quarterly_ i. 41 n. 1.
-
-[Page 153]
-
-more than one kind of length and shortness of syllables: some are
-longer than the long and some shorter than the short. And this will be
-made clear by consideration of the examples which I am about to adduce.
-
-It will be admitted that a syllable is short which is formed by the
-short vowel ο, as, for example, in the word ὁδός. To this let the
-semi-vowel ρ be prefixed and Ῥόδος be formed. The syllable still
-remains short; but not equally so, for it will show some slight
-difference when compared with the former. Further, let one of the
-mutes, τ, be prefixed and τρόπος be formed. This again will be longer
-than the former syllables; yet it still remains short. Let still a
-third letter, σ, be prefixed to the same syllable and στρόφος be
-formed. This will have become longer than the shortest syllable by
-three audible prefixes; and yet it still remains short. So, then,
-here are four grades of short syllables, with only our instinctive
-feeling for quantity as a measure of the difference. The same principle
-applies to the long syllable. The syllable formed from η, though long
-by nature, yet when augmented by the addition of four letters, three
-prefixed and one suffixed, as in the word σπλήν, would surely be said
-to be ampler than that syllable, in its original form, that consisted
-of a single letter. At all events, if it were in turn deprived, one by
-one, of the added letters, it would show perceptible changes in the way
-of diminution. As to the reason why long syllables do not transcend
-their natural quality when lengthened to five letters, nor short
-syllables drop from their shortness when reduced from many letters to
-one, the former being still regarded as double the shorts, and the
-latter as half the longs,—this does not at present demand examination.
-It is sufficient to say what is really germane to the present subject,
-namely, that one short syllable
-
-[Page 154]
-
-
-βραχείας καὶ μακρὰ μακρᾶς καὶ οὐ τὴν αὐτὴν ἔχει δύναμιν
-οὔτ’ ἐν λόγοις ψιλοῖς οὔτ’ ἐν ποιήμασιν ἢ μέλεσιν διὰ μέτρων
-ἢ ῥυθμῶν κατασκευαζομένοις πᾶσα βραχεῖα καὶ πᾶσα μακρά.
-
-πρῶτον μὲν δὴ θεώρημα τοῦτο τῶν ἐν ταῖς συλλαβαῖς
-παθῶν· ἕτερον δὲ τοιόνδε· τῶν γραμμάτων πολλὰς ἐχόντων      5
-διαφορὰς οὐ μόνον περὶ τὰ μήκη καὶ τὰς βραχύτητας ἀλλὰ
-καὶ περὶ τοὺς ἤχους, ὑπὲρ ὧν ὀλίγῳ πρότερον εἴρηκα, πᾶσα
-ἀνάγκη καὶ τὰς ἐκ τούτων συνισταμένας συλλαβὰς ἢ διὰ
-τούτων πλεκομένας ἅμα τήν τε ἰδίαν ἑκάστου σῴζειν δύναμιν
-καὶ τὴν κοινὴν ἁπάντων, ἣ γίνεται διὰ τῆς κράσεώς τε καὶ      10
-παραθέσεως αὐτῶν· ἐξ ὧν μαλακαί τε φωναὶ γίνονται καὶ
-σκληραὶ καὶ λεῖαι καὶ τραχεῖαι, γλυκαίνουσαί τε τὴν ἀκοὴν
-καὶ πικραίνουσαι, καὶ στύφουσαι καὶ διαχέουσαι, καὶ πᾶσαν
-ἄλλην κατασκευάζουσαι διάθεσιν φυσικήν· αὗται δ’ εἰσὶ μυρίαι
-τὸ πλῆθος ὅσαι.      15
-
-ταῦτα δὴ καταμαθόντες οἱ χαριέστατοι ποιητῶν τε καὶ
-συγγραφέων τὰ μὲν αὐτοὶ κατασκευάζουσιν ὀνόματα συμπλέκοντες
-ἐπιτηδείως ἀλλήλοις, τὰ δὲ γράμματα καὶ τὰς συλλαβὰς
-οἰκείας οἷς ἂν βούλωνται παραστῆσαι πάθεσιν ποικίλως
-φιλοτεχνοῦσιν, ὡς ποιεῖ πολλάκις Ὅμηρος, ἐπὶ μὲν τῶν      20
-προσηνέμων αἰγιαλῶν τῇ παρεκτάσει τῶν συλλαβῶν τὸν
-ἄπαυστον ἐκφαίνειν βουλόμενος ἦχον
-
-        ἠϊόνες βοόωσιν ἐρευγομένης ἁλὸς ἔξω·
-
-1 οὐ F: οὔτε PMV   2 μέτρων ἢ ῥυθμῶν F: ῥυθμῶν ἢ μέτρων PMV   8 καὶ EF:
-om. PMV   10 καὶ (posterius) EF: καὶ τῆς PMV   13 πᾶσαν EFM: πᾶσαν τὴν
-PV   16 δὴ PMV: ἤδη EF   17 αὐτοὶ EF: αὐτοί τε PMV   18 τὰ δὲ FM: τὰ
-EPV   19 οἰκείας F: δὲ οἰκείας E: οἰκείως PM: δὲ οἰκείως V   20 τῶν EF:
-om. PMV   21 τὸν om. P   22 ἐκφαίνειν EF: ἐμφαίνειν PMV
-
-1. H. Richards (_Classical Review_ xix. 252) suggests οὔτι, in place of
-the οὔτε of PMV and the οὐ of F.
-
-3. If this passage (from =152= 4 up to this point) be taken in
-connexion with one from the scholia to Hephaestion and another from
-Marius Victorinus (see Goodell’s _Greek Metric_ pp. 6, 7), we find the
-following difference indicated as between the school of the _metrici_
-and that of the _rhythmici_: “The metrici considered the long syllable
-as always twice the length of the short; whatever variation from this
-ratio the varying constitution of syllables produced was treated as
-too slight to affect the general flow of verse. The rhythmici, on the
-other hand, held that long syllables differed greatly from each other
-in quantity, and that short syllables differed from each other in
-some degree, apart from variations in tempo. The doctrine of ἀλογία
-or irrationality, whereby some syllables were longer or shorter by a
-small undefined amount than the complete long, was associated by some
-with this theory, as in a passage of Dionysius Halic. (_C. V._ c. 17
-οἱ δ’ ἀπὸ τῆς μακρᾶς ... τῶν πάνυ καλῶν οἱ ῥυθμοί: cp. c. 20 _ibid._).
-Some, at least, affirmed also that a single consonant required half the
-time of a short vowel, and that two consonants or a double consonant
-required the same time as a short vowel; those writers accordingly set
-up a scale of measurement for syllables, simply counting the number
-of time-units required, on this theory, by the constituent vowels and
-consonants,” Goodell _Greek Metric_ pp. 8, 9.
-
-20. Cp. the use of the long _o_ in such passages as Virg. _Aen._ iii.
-670 ff. “verum ubi nulla datur dextra adfectare potestas | nec potis
-Ionios fluctus aequare sequendo, | clamorem immensum tollit, quo
-pontus et omnes | contremuere undae”; v. 244 ff. “tum satus Anchisa
-cunctis ex more vocatis | victorem magna praeconis voce Cloanthum |
-declarat viridique advelat tempora lauro, | muneraque in navis ternos
-optare iuvencos | vinaque et argenti magnum dat ferre talentum.” See
-also Demetr. p. 42 for A. C. Bradley’s comments on Virgil’s line
-“tendebantque manus ripae ulterioris amore.”
-
-23. Aristotle (_Poetics_ c. 22) points out that it would be disastrous
-to substitute the trivial κράζουσιν for =βοόωσιν= in this passage.—With
-regard to the sound of the line cp. schol. on _Il._ xvii. 265 καὶ
-ἔστιν ἰδεῖν κῦμα μέγα θαλάσσης ἐπιφερόμενον ποταμοῦ ῥεύματι καὶ τῷ
-ἀνακόπτεσθαι βρυχώμενον, καὶ τὰς ἑκατέρωθεν τοῦ ποταμοῦ θαλασσίας
-ἠϊόνας ἠχούσας, ὃ ἐμιμήσατο διὰ τῆς ἐπεκτάσεως τοῦ #βοόωσιν#. αὕτη
-ἡ εἰκὼν Πλάτωνος ἔκαυσε τὰ ποιήματα· οὕτως ἐναργέστερον τοῦ ὁρωμένου τὸ
-ἀκουόμενον παρέστησεν ... τῆς γὰρ ἐπαλλήλου τῶν ὑδάτων ἐκβολῆς ἡ τοῦ
-“βοόωσιν” ἀναδίπλωσις ὁμοίαν ἀπετέλεσε συνῳδίαν.
-
-[Page 155]
-
-may differ from another short, and one long from another long, and that
-every short and every long syllable has not the same quality either
-in prose, or in poems, or in songs, whether these be metrically or
-rhythmically constructed.
-
-The foregoing is the first aspect under which we view the different
-qualities of syllables. The next is as follows. As letters have
-many points of difference, not only in length and shortness, but
-also in sound—points of which I have spoken a little while ago—it
-must necessarily follow that the syllables, which are combinations
-or interweavings of letters, preserve at once both the individual
-properties of each component, and the joint properties of all, which
-spring from their fusion and juxtaposition. The sounds thus formed are
-soft or hard, smooth or rough, sweet to the ear or harsh to it; they
-make us pull a wry face, or cause our mouths to water, or bring about
-any of the countless other physical conditions that are possible.
-
-These facts the greatest poets and prose-writers have carefully noted,
-and not only do they deliberately arrange their words and weave them
-into appropriate patterns, but often, with curious and loving skill,
-they adapt the very syllables and letters to the emotions which
-they wish to represent. This is Homer’s way when he is describing a
-wind-swept beach and wishes to express the ceaseless reverberation by
-the prolongation of syllables:—
-
-    Echo the cliffs, as bursteth the sea-surge down on the strand.[131]
-
-[Page 156]
-
-
-ἐπὶ δὲ τοῦ τετυφλωμένου Κύκλωπος τό τε τῆς ἀλγηδόνος
-μέγεθος καὶ τὴν διὰ τῶν χειρῶν βραδεῖαν ἔρευναν τῆς τοῦ
-σπηλαίου θύρας
-
-        Κύκλωψ δὲ στενάχων τε καὶ ὠδίνων ὀδύνῃσιν,
-        χερσὶ ψηλαφόων·      5
-
-καὶ ἄλλοθί που δέησιν ἐνδείξασθαι βουλόμενος πολλὴν καὶ
-κατεσπουδασμένην
-
-        οὐδ’ εἴ κεν μάλα πολλὰ πάθῃ ἑκάεργος Ἀπόλλων,
-        προπροκυλινδόμενος πατρὸς Διὸς αἰγιόχοιο.
-
-μυρία ἔστιν εὑρεῖν παρ’ αὐτῷ τοιαῦτα, χρόνου μῆκος ἢ      10
-σώματος μέγεθος ἢ πάθους ὑπερβολὴν ἢ στάσεως ἠρεμίαν ἢ
-τῶν παραπλησίων τι δηλοῦντα παρ’ οὐδὲν οὕτως ἕτερον ἢ τὰς
-τῶν συλλαβῶν κατασκευάς· καὶ ἄλλα τούτοις ἐναντίως εἰργασμένα
-εἰς βραχύτητα καὶ τάχος καὶ σπουδὴν καὶ τὰ τούτοις
-ὁμοιογενῆ, ὡς ἔχει ταυτί      15
-
-        ἀμβλήδην γοόωσα μετὰ δμωῇσιν ἔειπεν
-
-καὶ
-
-        ἡνίοχοι δ’ ἔκπληγεν, ἐπεὶ ἴδον ἀκάματον πῦρ.
-
-ἐφ’ ἧς μὲν γὰρ ἡ τοῦ πνεύματος δηλοῦται συγκοπὴ καὶ τὸ
-τῆς φωνῆς ἄτακτον, ἐφ’ ὧν δ’ ἡ τῆς διανοίας ἔκστασις καὶ τὸ      20
-τοῦ δείματος ἀπροσδόκητον· ποιεῖ δὲ τούτων ἑκάτερον ἡ τῶν
-συλλαβῶν τε καὶ γραμμάτων ἐλάττωσις.
-
-1 τετυφλωμένου E: τετυφωμένου F: τυφλουμένου PMV   2 τὴν διὰ EMV: διὰ
-τὴν FP   8 πάθῃ EF: πάθοι PMV Hom.   10 εὑρεῖν om. F   11 ἠρεμίαν]
-ὁμιλίαν FM   15 ὁμοιογενῆ F: ὁμο*γενῆ P: ὁμογενῆ MV   16 δμωιῆισιν P:
-Τρῴῃσιν Hom.   18 ἔκπληγον PMV   19 ἧς F: ὧν PMV   20 ἔκστασις FM:
-ἔκτασις PV   21 δείγματος PV
-
-1. =ἀλγηδών=: a somewhat poetical word, though used by Herodotus and
-Plato. Its use in a highly figurative passage of Herodotus (v. 18) is
-censured in the _de Sublim._ iv. 7 καὶ τὸ Ἡροδότειον οὐ πόρρω, τὸ φάναι
-τὰς καλὰς γυναῖκας “ἀλγηδόνας ὀφθαλμῶν.”
-
-4. In these lines, and in =154= 23, the reiteration of the long ω, and
-of the long η, is particularly to be noted.
-
-9. =προπροκυλινδόμενος=: imitated by Ap. Rhod. _Argon._ i. 386
-προπροβιαζόμενοι, and ii. 595 προπροκαταΐγδην. Cp. _Odyss._ xvii. 524
-ἔνθεν δὴ νῦν δεῦρο τόδ’ ἵκετο πήματα πάσχων, | προπροκυλινδόμενος.
-
-10. =χρόνου μῆκος=: cp. Virg. _Aen._ i. 272 “hic iam ter centum totos
-regnabitur annos,” and iii. 284 “interea magnum sol circumvolvitur
-annum.”
-
-11. =σώματος μέγεθος=: cp. Virg. _Aen._ vii. 783 “ipse inter primos
-praestanti corpore Turnus.”—=πάθους ὑπερβολήν=: cp. Virg. _Aen._ ix.
-475 “at subitus miserae calor ossa reliquit, | excussi manibus radii
-revolutaque pensa.”
-
-12. A blending of (1) παρ’ οὐδὲν οὕτως ὡς, (2) παρ’ οὐδὲν ἕτερον ἤ.
-
-16. Cp. Virg. _Aen._ ix. 477 “evolat infelix et femineo ululatu |
-scissa comam muros amens atque agmina cursu | prima petit,” etc.
-
-18. Batteux (_Réflexions_ pp. 219-21) quotes and analyzes the
-well-known passage of Racine’s _Phèdre_ (v. 6) which begins: “Un
-effroyable cri, sorti du fond des flots, | Des airs en ce moment a
-troublé le repos.” He says: “Dans le dernier morceau de Racine qui
-peint l’objet terrible, il n’y a pas un vers qui n’ait le caractère
-de la chose exprimée. Ce sont des sons aigus et perçans, des syllabes
-chargée de consonnes, et de consonnes épaisses: _sorti du fond des
-flots; notre sang s’est glacé; L’onde approche, se brise; Son front
-large est armé_. Des mots qui se heurtent: _effroyable cri; cri
-redoutable; le crin s’est hérissé_. D’autres mots larges et spacieux:
-_Cependant, sur le dos de la plaine liquide, S’élève à gros bouillons_
-(_S’élève_ rejeté à l’autre vers comme celui-ci de Despréaux, _S’élève
-un lit de plume_) _une montaigne humide; cornes menaçantes; écailles
-jaunissantes; Indomptable taureau, dragon impétueux_. Des syllabes qui
-se renversent les unes sur le autres: _Sa croupe se recourbe en replis
-tortueux_. Ce vers, dans un poëme ancient, eût été célébré de siècle en
-siècle.”
-
-[Page 157]
-
-Or again when, after the Cyclops has been blinded, Homer desires to
-express the greatness of his anguish, and his hands’ slow search for
-the door of the cavern:—
-
-    The Cyclops, with groan on groan and throes of anguish sore,
-    With hands slow-groping.[132]
-
-And when in another place he wishes to indicate a long impassioned
-prayer:—
-
-    Not though in an agony Phoebus the Smiter from Far should entreat
-    Low-grovelling at Father Zeus the Aegis-bearer’s feet.[133]
-
-Such lines are to be found without number in Homer, representing length
-of time, hugeness of body, stress of emotion, immobility of position,
-or similar effects, simply by the manipulation of the syllables.
-Conversely, others are framed to give the impression of abruptness,
-speed, hurry, and the like. For instance,
-
-    Wailing with broken sobs amidst of her handmaids she cried,[134]
-
-and
-
-    And scared were the charioteers, that tireless flame to behold.[135]
-
-In the first passage the stoppage of Andromache’s breath is indicated,
-and the tremor of her voice; in the second, the startled dismay of the
-charioteers, and the unexpectedness of the terror. The effect in both
-cases is due to the docking of syllables and letters.
-
-[Page 158]
-
-
-
-
-XVI
-
-καὶ αὐτοὶ μὲν δὴ κατασκευάζουσιν οἱ ποιηταὶ καὶ λογογράφοι
-πρὸς χρῆμα ὁρῶντες οἰκεῖα καὶ δηλωτικὰ τῶν ὑποκειμένων
-τὰ ὀνόματα, ὥσπερ ἔφην· πολλὰ δὲ καὶ παρὰ τῶν
-ἔμπροσθεν λαμβάνουσιν ὡς ἐκεῖνοι κατεσκεύασαν, ὅσα μιμητικὰ
-τῶν πραγμάτων ἐστίν· ὡς ἔχει ταυτί      5
-
-        ῥόχθει γὰρ μέγα κῦμα ποτὶ ξερὸν ἠπείροιο.
-
-        αὐτὸς δὲ κλάγξας πέτετο πνοιῇς ἀνέμοιο.
-
-        αἰγιαλῷ μεγάλῳ βρέμεται, σμαραγεῖ δέ τε πόντος.
-
-        σκέπτετ’ ὀιστῶν τε ῥοῖζον καὶ δοῦπον ἀκόντων.
-
-μεγάλη δὲ τούτων ἀρχὴ καὶ διδάσκαλος ἡ φύσις ἡ ποιοῦσα      10
-μιμητικοὺς καὶ θετικοὺς ἡμᾶς τῶν ὀνομάτων, οἷς δηλοῦται τὰ
-πράγματα κατά τινας εὐλόγους καὶ κινητικὰς τῆς διανοίας
-ὁμοιότητας· ὑφ’ ἧς ἐδιδάχθημεν ταύρων τε μυκήματα λέγειν
-καὶ χρεμετισμοὺς ἵππων καὶ φριμαγμοὺς τράγων πυρός τε
-
-1 μὲν F: τε PMV   2 πρὸς χρῆμα PV: πρόσχημα PM   4 μιμητικὰ EF:
-μιμητικώτατα PMV   5 πραγμάτων] γραμμάτων PM   6 ῥόγχθει F: ῥοχθεῖ PMV
-  8 μεγάλωι P, EM Hom.: μεγάλα F   11 καὶ θετικοὺς ἡμᾶς EF: ἡμᾶς καὶ
-θετικοὺς V: καὶ θετικοὺς M: ἡμᾶς P   12 τῆς EF: om. PMV   13 ἧς P:
-ὧν EFMV   14 φριμαγμοὺς EF: φριγμοὺς P: φρυαγμοὺς V: φρυμαγμοὺς M ||
-τράγων] ταύρων F
-
-2. =πρὸς χρῆμα ὁρῶντες=: for χρῆμα cp. =160= 4. The writer must,
-in Matthew Arnold’s phrase, have his “eye on the object.” Cp.
-Aristot. _Poet._ c. xvii. δεῖ δὲ τοὺς μύθους συνιστάναι καὶ τῇ
-λέξει συναπεργάζεσθαι ὅτι μάλιστα πρὸ ὀμμάτων τιθέμενον· οὕτω γὰρ
-ἂν ἐναργέστατα ὁρῶν ὥσπερ παρ’ αὐτοῖς γιγνόμενος τοῖς πραττομένοις
-εὑρίσκοι τὸ πρέπον καὶ ἥκιστα ἂν λανθάνοι τὰ ὑπεναντία: and Long.
-_de Sublim._ c. xv. ἆρ’ οὐκ ἂν εἴποις, ὅτι ἡ ψυχὴ τοῦ γράφοντος
-συνεπιβαίνει τοῦ ἅρματος, καὶ συγκινδυνεύουσα τοῖς ἵπποις συνεπτέρωται;
-οὐ γὰρ ἄν, εἰ μὴ τοῖς οὐρανίοις ἐκείνοις ἔργοις ἰσοδρομοῦσα ἐφέρετο,
-τοιαῦτ’ ἄν ποτε ἐφαντάσθη.
-
-4. =μιμητικά=: cp. Aristot. _Poet._ c. iv. τό τε γὰρ μιμεῖσθαι σύμφυτον
-τοῖς ἀνθρώποις ἐκ παίδων ἐστί (καὶ τούτῳ διαφέρουσι τῶν ἄλλων ζῴων ὅτι
-μιμητικώτατόν ἐστι καὶ τὰς μαθήσεις ποιεῖται διὰ μιμήσεως τὰς πρώτας),
-καὶ τὸ χαίρειν τοῖς μιμήμασι πάντας.
-
-6. For the repeated _r_ sound cp. the passage of the _Aeneid_ (i. 108)
-which begins “talia iactanti stridens Aquilone procella,” and schol. on
-_Odyss._ v. 402 τῶν δὲ πεποιημένων ἡ λέξις (sc. ῥόχθει)· τραχὺ γὰρ τὸ
-ρ, τὸ θ, τὸ χ.
-
-8. Cp. schol. ad _Il._ ii. 210 συμφυῶς τῷ ὑποκειμένῳ τετράχυνται τὸ
-ἔπος ταῖς ὀνοματοποιΐαις.—In this line F’s reading μεγάλα accords with
-a conjecture of Bentley’s.
-
-9. Cp. Virg. _Aen._ v. 437 “stat gravis Entellus nisuque immotus eodem
-| corpore tela modo atque oculis vigilantibus exit.”
-
-11. Not all languages, however, have the same powers in this direction:
-cp. Quintil. i. 5. 72 “sed minime nobis concessa est ὀνοματοποιΐα;
-quis enim ferat, si quid simile illis merito laudatis λίγξε βιός et
-σίζε ὀφθαλμός fingere audeamus? Iam ne _balare_ quidem aut _hinnire_
-fortiter diceremus, nisi iudicio vetustatis niterentur” (Quintilian has
-just before, §§ 67 and 70, referred to Pacuvius’ _repandirostrum_ and
-_incurvicervicum_: which may be compared with Ἑρμοκαϊκόξανθος, Aristot.
-_Poet._ c. 21); and viii. 6. 31 “ὀνοματοποιΐα quidem, id est fictio
-nominis, Graecis inter maxima habita virtutes, nobis vix permittitur
-... vix illa, quae πεποιημένα vocant, quae ex vocibus in usum receptis
-quocunque modo declinantur, nobis permittimus, qualia sunt _Sullaturit_
-et _proscripturit_.” Greek, English and German admit onomatopoeia more
-readily than Latin and French. Any undue restriction (such as that
-indicated by Quintilian when defining πεποιημένα) hampers the life of a
-language. Words should serve their apprenticeship, no doubt; but there
-should be no lack of probationers. We feel that the language itself
-is growing when Cicero uses ‘dulcescit’ of the growing and ripening
-grape, or when Erasmus uses the same word to indicate that England
-‘grew’ upon him the more he knew it.—For the general question of the
-right of coining new words or reviving disused words see Demetr. pp.
-255, 297, 298 (and cp. §§ 94, 220 _ibid._). Many of Dionysius’ remarks,
-here and elsewhere, seem to concern the choice or the manufacture of
-words rather than their arrangement; but, from the nature of the case,
-he clearly finds it hard to draw a strict dividing-line either in this
-direction or in regard to the entire λεκτικὸς τόπος as distinguished
-from the πραγματικὸς τόπος.
-
-13. In giving the singular, P seems clearly right here, and as clearly
-wrong when giving the plural in =156= 19.
-
-[Page 159]
-
-
-
-
-CHAPTER XVI
-
-POETIC SKILL IN THE CHOICE AND IN THE COMBINATION OF WORDS
-
-The poets and prose-writers themselves, then, with their eye on each
-object in turn, frame—as I said—words which seem made for, and are
-pictures of, the things they connote. But they also borrow many words
-from earlier writers, in the very form in which those writers fashioned
-them—when such words are imitative of things, as in the following
-instances:—
-
-    For the vast sea-swell on the beach crashed down with a thunder-shock.[136]
-
-    And adown the blasts of the wind he darted with one wild scream.[137]
-
-    Even as when the surge of the seething sea falls dashing
-    (On a league-long strand, with the roar of the rollers
-        thunderous-crashing).[138]
-
-    And his eyes for the hiss of the arrows, the hurtling of lances, were
-        keen.[139]
-
-The great originator and teacher in these matters is Nature, who
-prompts us to imitate and to assign words by which things are pictured,
-in virtue of certain resemblances which are founded in reason and
-appeal to our intelligence. It is by her that we have been taught to
-speak of the bellowing of bulls, the whinnying of horses, the snorting
-of goats, the roar of fire, the
-
-[Page 160]
-
-
-βρόμον καὶ πάταγον ἀνέμων καὶ συριγμὸν κάλων καὶ ἄλλα
-τούτοις ὅμοια παμπληθῆ τὰ μὲν φωνῆς μιμήματα, τὰ δὲ
-μορφῆς, τὰ δὲ ἔργου, τὰ δὲ πάθους, τὰ δὲ κινήσεως, τὰ δ’
-ἠρεμίας, τὰ δ’ ἄλλου χρήματος ὅτου δήποτε· περὶ ὧν εἴρηται
-πολλὰ τοῖς πρὸ ἡμῶν, τὰ κράτιστα δ’ ὡς πρώτῳ τὸν ὑπὲρ      5
-ἐτυμολογίας εἰσαγαγόντι λόγον, Πλάτωνι τῷ Σωκρατικῷ, πολλαχῇ
-μὲν καὶ ἄλλῃ μάλιστα δ’ ἐν τῷ Κρατύλῳ.
-
-τί δὴ τὸ κεφάλαιόν ἐστί μοι τούτου τοῦ λόγου; ὅτι
-παρὰ μὲν τὰς τῶν γραμμάτων συμπλοκὰς ἡ τῶν συλλαβῶν
-γίνεται δύναμις ποικίλη, παρὰ δὲ τὴν τῶν συλλαβῶν σύνθεσιν      10
-ἡ τῶν ὀνομάτων φύσις παντοδαπή, παρὰ δὲ τὰς τῶν ὀνομάτων
-ἁρμονίας πολύμορφος ὁ λόγος· ὥστε πολλὴ ἀνάγκη καλὴν
-μὲν εἶναι λέξιν ἐν ᾗ καλά ἐστιν ὀνόματα, κάλλους δὲ ὀνομάτων
-συλλαβάς τε καὶ γράμματα καλὰ αἴτια εἶναι, ἡδεῖαν δὲ διάλεκτον
-ἐκ τῶν ἡδυνόντων τὴν ἀκοὴν γίνεσθαι κατὰ τὸ παραπλήσιον      15
-ὀνομάτων τε καὶ συλλαβῶν καὶ γραμμάτων, τάς τε
-κατὰ μέρος ἐν τούτοις διαφοράς, καθ’ ἃς δηλοῦται τά τε ἤθη
-καὶ τὰ πάθη καὶ αἱ διαθέσεις καὶ τὰ ἔργα τῶν προσώπων
-καὶ τὰ συνεδρεύοντα τούτοις, ἀπὸ τῆς πρώτης κατασκευῆς τῶν
-γραμμάτων γίνεσθαι τοιαύτας.      20
-
-χρήσομαι δ’ ὀλίγοις παραδείγμασι τοῦ λόγου τοῦδε τῆς
-σαφηνείας ἕνεκα· τὰ γὰρ ἄλλα πολλὰ ὄντα ἐπὶ σαυτοῦ συμβαλλόμενος
-εὑρήσεις. ὁ δὴ πολυφωνότατος ἁπάντων τῶν
-
-2 μιμήματα EPM: μιμητικὰ V: μηνύματα F   3 ἔργων E: ἔργα M   4 ἐρημίας
-F || δήποτε FMV: δὴ P   5 δ’ ὡς F: δε νέμω (νέμων M) ὡς PMV   9, 10,
-11 παρὰ] περὶ R || γραμμάτων] πραγμάτων F: cf. =158= 5   10 δύναμις
-RF: σύνθεσις EPV || σύνθεσιν EF: συνθέσεις PMV: θέσεις R   12 λόγος
-REF: λόγος [γ]ίνεται cum litura P, MV   13 κάλλους REF: καλῶν PV   14
-αἴτια RMV: αἰτίαν F: αἴτιον EP   15 κατὰ F: καὶ PMV   20 τοιαύτας Us.:
-τοιαύτα F, PMV   21 παραδείγμασι F: δείγμασιν P, MV   23 ἁπάντων τῶν
-MV: ἁπάντων FP
-
-1. Cp. Virg. _Aen._ i. 87 “insequitur clamorque virum stridorque
-rudentum”; Ap. Rhod. _Argon._ i. 725 ὑπὸ πνοιῇ δὲ κάλωες | ὅπλα τε νήια
-πάντα τινάσσετο νισσομένοισιν.
-
-5. So Diog. Laert. (auctore Favorino in octavo libro Omnigenae
-historiae): καὶ πρῶτος ἐθεώρησε τῆς γραμματικῆς τὴν δύναμιν (_Vit.
-Plat._ 25).
-
-8. The following passage (from =ὅτι= to =καλὰ αἴτια=) is quoted in
-schol. anon. in Hermog. (Walz _Rhett. Gr._ vii. 1049), with the
-prefatory words ἀλλὰ καὶ ἐν τῷ περὶ συνθέσεως ὀνομάτων περὶ λέξεως
-διαλαμβάνων λέγει ὅτι κτλ.
-
-10. The endless possibilities of these syllabic, verbal, and other
-permutations had evidently impressed the imagination of Dionysius:
-together with their climax in literature itself, and in all the great
-types of literature.
-
-12. “This sentence (=ὥστε πολλὴ ἀνάγκη ... γράμματα καλὰ αἴτια εἶναι=)
-puts boldly the truth which Aristotle had evaded or pooh-poohed in
-his excessive devotion to the philosophy of literature rather than to
-literature itself” (Saintsbury _History of Criticism_ i. 130).
-
-21. =παραδείγμασι= is perhaps to be preferred to δείγμασι here: cp.
-=164= 16.
-
-22. =ἐπὶ σαυτοῦ= = _per te ipsum_, _tuopte Marte_: cp. =96= 21 ἐσκόπουν
-δ’ αὐτὸς ἐπ’ ἐμαυτοῦ γενόμενος.
-
-23. =πολυφωνότατος= In this respect Homer’s great compeer is
-Shakespeare, in whose dramas “few things are more remarkable than
-the infinite range of style, speech, dialect they unfold before us”
-(Vaughan _Types of Tragic Drama_ p. 165).—The passage of Dionysius
-which follows might be endlessly illustrated from Shakespeare;
-e.g. from Sonnet civ., _Romeo and Juliet_ ii. 2 and v. 3, _Antony
-and Cleopatra_ ii. 2 (speeches of Enobarbus), _Tempest_ iii. 1. In
-the scene of the _Tempest_, correspondence and variety are alike
-conspicuous. Ferdinand’s address (beginning “Admired Miranda!”)
-tallies—to the line and even to the half-line—with Miranda’s reply, and
-the concluding lines are, in the one case,
-
-                          But you, O you,
-    So _p_erfect and so _p_eerless, are created
-    Of every creature’s best;
-
-and, in the other,
-
-                              But I _p_rattle
-    Something too wildly, and my father’s _p_recepts
-    I therein do forget.
-
-In the same scene the lines—
-
-                                  O, she is
-    Ten times more gentle than her father’s crabbed,
-    And he’s composed of harshness,
-
-would have a very different effect (cp. quotation from Aristotle’s
-_Poetics_ on =78= 9 _supra_) if written as follows:—
-
-                                  O, she is
-    Ten times more _gracious_ than her _sire_ is _stern_,
-    And he is _merely cruel_
-
-(‘merely’ being understood, of course, in the Shakespearian sense of
-‘absolutely’).
-
-[Page 161]
-
-rushing of winds, the creaking of hawsers, and numerous other similar
-imitations of sound, form, action, emotion, movement, stillness, and
-anything else whatsoever. On these points much has been said by our
-predecessors, the most important contributions being by the first of
-them to introduce the subject of etymology, Plato the disciple of
-Socrates, in his _Cratylus_ especially, but in many other places as
-well.
-
-What is the sum and substance of my argument? It is that it is due
-to the interweaving of letters that the quality of syllables is so
-multifarious; to the combination of syllables that the nature of words
-has such wide diversity; to the arrangement of words that discourse
-takes on so many forms. The conclusion is inevitable—that style is
-beautiful when it contains beautiful words,—that beauty of words is
-due to beautiful syllables and letters,—that language is rendered
-charming by the things that charm the ear in virtue of affinities in
-words, syllables, and letters; and that the differences in detail
-between these, through which are indicated the characters, emotions,
-dispositions, actions and so forth of the persons described, are made
-what they are through the original grouping of the letters.
-
-To set the matter in a clearer light, I will illustrate my argument by
-a few examples. Other instances—and there are plenty of them—you will
-find for yourself in the course of your own investigations. When Homer,
-the poet above all others
-
-[Page 162]
-
-
-ποιητῶν Ὅμηρος, ὅταν μὲν ὥραν ὄψεως εὐμόρφου καὶ κάλλος
-ἡδονῆς ἐπαγωγὸν ἐπιδείξασθαι βούληται, τῶν τε φωνηέντων
-τοῖς κρατίστοις χρήσεται καὶ τῶν ἡμιφώνων τοῖς μαλακωτάτοις,
-καὶ οὐ καταπυκνώσει τοῖς ἀφώνοις τὰς συλλαβὰς οὐδὲ συγκόψει
-τοὺς ἤχους παρατιθεὶς ἀλλήλοις τὰ δυσέκφορα, πραεῖαν δέ      5
-τινα ποιήσει τὴν ἁρμονίαν τῶν γραμμάτων καὶ ῥέουσαν ἀλύπως
-διὰ τῆς ἀκοῆς, ὡς ἔχει ταυτί
-
-        ἡ δ’ ἴεν ἐκ θαλάμοιο περίφρων Πηνελόπεια
-        Ἀρτέμιδι ἰκέλη ἠὲ χρυσῇ Ἀφροδίτῃ.
-
-        Δήλῳ δήποτε τοῖον Ἀπόλλωνος παρὰ βωμῷ      10
-        φοίνικος νέον ἔρνος ἀνερχόμενον ἐνόησα.
-
-        καὶ Χλῶριν εἶδον περικαλλέα, τήν ποτε Νηλεὺς
-        γῆμεν ἑὸν μετὰ κάλλος, ἐπεὶ πόρε μυρία ἕδνα.
-
-ὅταν δ’ οἰκτρὰν ἢ φοβερὰν ἢ ἀγέρωχον ὄψιν εἰσάγῃ, τῶν τε
-φωνηέντων οὐ τὰ κράτιστα θήσει ἀλλὰ τῶν ψοφοειδῶν ἢ      15
-ἀφώνων τὰ δυσεκφορώτατα λήψεται καὶ καταπυκνώσει τούτοις
-τὰς συλλαβάς, οἷά ἐστι ταυτί
-
-        σμερδαλέος δ’ αὐτῇσι φάνη κεκακωμένος ἅλμῃ.
-
-        τῇ δ’ ἐπὶ μὲν Γοργὼ βλοσυρῶπις ἐστεφάνωτο
-        δεινὸν δερκομένη, περὶ δὲ Δεῖμός τε Φόβος τε.      20
-
-ποταμῶν δέ γε σύρρυσιν εἰς χωρίον ἓν καὶ πάταγον ὑδάτων
-ἀναμισγομένων ἐκμιμήσασθαι τῇ λέξει βουλόμενος οὐκ ἐργάσεται
-λείας συλλαβὰς ἀλλ’ ἰσχυρὰς καὶ ἀντιτύπους
-
-2 ἐπαγαγὼν F   3 χρήσεται ... μαλακωτάτοις om. F   4 συγκόπτει P   6
-ποιεῖ P   12 χλωρὴν F || ἴδον PMV || ἥν F   13 γῆμεν ἑὸν] τημέναιον
-F || μετα P, M: κατα F: διὰ EV   19 γοργῶι sic F: γοργὼ ceteri ||
-βλοσυρώπις F (metri, ut videtur, gratia)   22 ἐργάσεται Us.: ἐργάζεται
-F: ἔτι EPMV   23 ἀντιτύπους F: ἀντιτύπους θήσει EPMV
-
-1. =κάλλος=: cp. scholium in P, ση(μείωσαι) πῶς κάλλος ἡδο(νῆς)
-ἐπαγωγὸν δείκνυ(σιν) Ὅμ(η)ρ(ος).
-
-3. =χρήσεται ... καταπυκνώσει ... συγκόψει ... ποιήσει=: general truths
-expressed by means of the future tense.
-
-8. Cp. Virg. _Aen._ i. 496 “regina ad templum, forma pulcherrima Dido,
-| incessit magna iuvenum stipante caterva. | qualis in Eurotae ripis
-aut per iuga Cynthi | exercet Diana choros,” etc.; and _Aen._ xii. 67
-“Indum sanguineo veluti violaverit ostro | si quis ebur, aut mixta
-rubent ubi lilia multa | alba rosa: tales virgo dabat ore colores.”
-
-13. In _Odyss._ xi. 282 the textual evidence is reported as follows:
-“διὰ FHJK, ss. XTU^2, Dion. Hal. comp. verb. 16; δια P; μετὰ XDSTUW,
-An. Ox. iv. 310. 5, Bekker An. 1158, Eust.; μετα G” (Ludwich _ad
-loc._).—In the present passage of Dionysius the reading μετά gives
-an additional =μ= in the line: γῆ=μ=εν ἑὸν =μ=ετὰ κάλλος, ἐπεὶ πόρε
-=μ=υρία ἕδνα. For some instances in which the authorities vary between
-μετά and κατά see Ebeling’s _Lexicon Homericum_, s.v. μετά.
-
-14. In his selection of tragic qualities Dionysius seems perhaps to
-have in view, once more, the Aristotelian doctrine of two extremes and
-a mean.—As the epithet =ἀγέρωχος= so closely follows the quotations
-from Homer, it is natural to suppose that Dionysius uses the word in
-the Homeric sense of _lordly, august_, rather than in the later (bad)
-sense of _haughty, insolent_.
-
-15. Sauppe would insert τὰ δυσηχέστατα καὶ between ἀλλὰ and τῶν
-ψοφοειδῶν.
-
-[Page 163]
-
-many-voiced, wishes to depict the young bloom of a lovely countenance
-and a beauty that brings delight, he will use the finest of the vowels
-and the softest of the semi-vowels; he will not pack his syllables with
-mute letters, nor impede the utterance by putting next to one another
-words hard to pronounce. He will make the harmony of the letters strike
-softly and pleasingly upon the ear, as in the following lines:—
-
-    Now forth of her bower hath gone Penelope passing-wise
-    Lovely as Artemis, or as Aphrodite the Golden.[140]
-
-    Only once by the Sun-god’s altar in Delos I chanced to espy
-    So stately a shaft of a palm that gracefully grew thereby.[141]
-
-    Rose Chloris, fair beyond word, whom Nereus wedded of old,
-    For her beauty his heart had stirred, and he wooed her with gifts
-        untold.[142]
-
-But when he introduces a sight that is pitiable, or terrifying, or
-august, he will not employ the finest of the vowels. He will take the
-hardest to utter of the fricatives or of the mutes, and will pack his
-syllables with these. For instance:—
-
-    But dreadful he burst on their sight, with the sea-scum all fouled
-        o’er.[143]
-
-    And thereon was embossed the Gorgon-demon, with stony gaze
-    Grim-glaring, and Terror and Panic encompassed the Fearful Face.[144]
-
-When he wishes to reproduce in his language the rush of meeting
-torrents and the roar of confluent waters, he will not employ smooth
-syllables, but strong and resounding ones:—
-
-[Page 164]
-
-
-        ὡς δ’ ὅτε χείμαρροι ποταμοὶ κατ’ ὄρεσφι ῥέοντες
-        ἐς μισγάγκειαν συμβάλλετον ὄβριμον ὕδωρ.
-
-βιαζόμενον δέ τινα πρὸς ἐναντίον ῥεῦμα ποταμοῦ μετὰ τῶν
-ὅπλων καὶ τὰ μὲν ἀντέχοντα, τὰ δ’ ὑποφερόμενον εἰσάγων
-ἀνακοπάς τε ποιήσει συλλαβῶν καὶ ἀναβολὰς χρόνων καὶ      5
-ἀντιστηριγμοὺς γραμμάτων
-
-        δεινὸν δ’ ἀμφ’ Ἀχιλῆα κυκώμενον ἵστατο κῦμα,
-        ὤθει δ’ ἐν σάκεϊ πίπτων ῥόος, οὐδὲ πόδεσσιν
-        εἶχε στηρίξασθαι.
-
-ἀραττομένων δὲ περὶ πέτρας ἀνθρώπων ψόφον τε καὶ μόρον      10
-οἰκτρὸν ἐπιδεικνύμενος, ἐπὶ τῶν ἀηδεστάτων τε καὶ κακοφωνοτάτων
-χρονιεῖ γραμμάτων, οὐδαμῇ λεαίνων τὴν κατασκευὴν
-οὐδὲ ἡδύνων·
-
-        σύν τε δύω μάρψας ὥστε σκύλακας ποτὶ γαίῃ
-        κόπτ’· ἐκ δ’ ἐγκέφαλος χαμάδις ῥέε, δεῦε δὲ γαῖαν.      15
-
-πολὺ ἂν ἔργον εἴη λέγειν, εἰ πάντων παραδείγματα βουλοίμην
-φέρειν ὧν ἄν τις ἀπαιτήσειε κατὰ τὸν τόπον τόνδε· ὥστε ἀρκεσθεὶς
-τοῖς εἰρημένοις ἐπὶ τὰ ἑξῆς μεταβήσομαι. φημὶ δὴ τὸν
-βουλόμενον ἐργάσασθαι λέξιν καλὴν ἐν τῷ συντιθέναι τὰς
-φωνάς, ὅσα καλλιλογίαν ἢ μεγαλοπρέπειαν ἢ σεμνότητα περιείληφεν      20
-ὀνόματα, εἰς ταὐτὸ συνάγειν. εἴρηται δέ τινα περὶ
-τούτων καὶ Θεοφράστῳ τῷ φιλοσόφῳ κοινότερον ἐν τοῖς περὶ
-
-2 ὄβριμον FP: ὄμβριμον EM^2V   9 στηρίξασθαι F Hom.: στηρίζεσθαι PMV
-  10 δραττομένων F || περι F, V: παρα P, M   11 ἐπιδεικνύμενος F:
-ἐνδεικνύμενος PMV   14 ποτι F, MV: προτὶ P: cf. =202= 6 infra.   17 κατὰ
-τὸν τόπον τόνδε ὧν ἄν τις ἀπαιτήσειε (hoc verborum ordine) PV || κατὰ
-F: καὶ κατὰ PV   20 καλλιλογίαν ἢ F: καλλιλογίαν καὶ PMV   21 τὸ αὐτὸ
-F: τοῦτο PMV
-
-1. Cp. Virg. _Aen._ ii. 496 “non sic, aggeribus ruptis cum spumeus
-amnis | exiit oppositasque evicit gurgite moles, | fertur in arva
-furens cumulo camposque per omnes | cum stabulis armenta trahit.”
-
-7. Cp. Virg. _Aen._ x. 305 “solvitur (sc. puppis Tarchontis) atque
-viros mediis exponit in undis, | fragmina remorum quos et fluitantia
-transtra | impediunt retrahitque pedes simul unda relabens.”
-
-14. Cp. Virg. _Aen._ v. 478, “durosque reducta | libravit dextra
-media inter cornua caestus | arduus, effractoque illisit in ossa
-cerebro.”—Demetr. (_de Eloc._ § 219), in quoting this passage of Homer,
-couples with it _Il._ xxiii. 116 πολλὰ δ’ ἄναντα κάταντα πάραντά
-τε δόχμιά τ’ ἦλθον (Virgil’s “quadripedante putrem sonitu quatit
-ungula campum,” _Aen._ viii. 596).—Another good Virgilian instance of
-adaptation of sound to sense is _Georg._ iv. 174 “illi inter sese magna
-vi bracchia tollunt | in numerum, versantque tenaci forcipe ferrum.”
-
-18. =φημί= seems (cp. the legal use of _aio_) to approximate to the
-sense of κελεύω (as in Pind. _Nem._ iii. 28, Soph. _Aj._ 1108). Either
-so, or (as Upton suggested) we may insert δεῖν, or the sense may simply
-be, “I say that the man who aims ... _does_ combine, etc. (i.e. when he
-knows his own business).”
-
-19. For the construction =λέξιν καλὴν ἐν τῷ συντιθέναι τὰς φωνάς= cp.
-_Fragm._ of Duris of Samos, Ἔφορος δὲ καὶ Θεόπομπος τῶν γενομένων
-πλεῖστον ἀπελείφθησαν, οὔτε γὰρ μιμήσεως μετέλαβον οὐδεμίας οὔτε
-#ἡδονῆς ἐν τῷ φράσαι#, αὐτοῦ δὲ τοῦ γράφειν μόνον ἐπεμελήθησαν.
-
-20. Here, again, the Aristotelian ‘mean’ may possibly be intended.
-
-22. =Theophrastus=: for other references to Theophrastus in the
-_Scripta Rhetorica_ of Dionysius see _de Lysia_ cc. 6, 14; _de Isocr._
-c. 3; _de Din._ c. 2; _de Demosth._ c. 3. The passage of Theophrastus
-which Dionysius has in mind here is no doubt that mentioned by Demetr.
-_de Eloc._ § 173 ποιεῖ δὲ εὔχαριν τὴν ἑρμηνείαν καὶ τὰ λεγόμενα καλὰ
-ὀνόματα. ὡρίσατο δ’ αὐτὰ Θεόφραστος οὕτως· κάλλος ὀνόματός ἐστι τὸ πρὸς
-τὴν ἀκοὴν ἢ πρὸς τὴν ὄψιν ἡδύ, ἢ τὸ τῇ διανοίᾳ ἔντιμον.
-
-[Page 165]
-
-
-    And even as Wintertide torrents down-rushing from steep hill-sides
-    Hurl their wild waters in one where a cleft of the mountain divides.[145]
-
-When he depicts a hero, though heavy with his harness, putting forth
-all his energies against an opposing stream, and now holding his own,
-now being carried off his feet, he will contrive counter-buffetings of
-syllables, arresting pauses, and letters that block the way:—
-
-    Round Achilles the terrible surge towered seething on every side,
-    And a cataract dashed and crashed on his shield: all vainly he sought
-    Firm ground for his feet.[146]
-
-When men are being dashed against rocks, and he is portraying the
-noise and their pitiable fate, he will linger on the harshest and most
-ill-sounding letters, altogether avoiding smoothness or prettiness in
-the structure:—
-
-    And together laid hold on twain, and dashed them against the ground
-    Like whelps: down gushed the brain, and bespattered the rock-floor
-        round.[147]
-
-It would be a long task to attempt to adduce specimens of all the
-artistic touches of which examples might be demanded in this one field.
-So, contenting myself with what has been said, I will pass to the next
-point.
-
-I hold that those who wish to fashion a style which is beautiful in
-the collocation of sounds must combine in it words which all carry the
-impression of elegance, grandeur, or dignity. Something has been said
-about these matters, in a general way, by the philosopher Theophrastus
-in his work on _Style_, where he
-
-[Page 166]
-
-
-λέξεως, ἔνθα ὁρίζει, τίνα ὀνόματα φύσει καλά· παραδείγματος
-ἕνεκα, ὧν συντιθεμένων καλὴν οἴεται καὶ μεγαλοπρεπῆ γενήσεσθαι
-τὴν φράσιν, καὶ αὖθις ἕτερα μικρὰ καὶ ταπεινά, ἐξ ὧν
-οὔτε ποίημα χρηστὸν ἔσεσθαί φησιν οὔτε λόγον. καὶ μὰ
-Δία οὐκ ἀπὸ σκοποῦ ταῦτα εἴρηται τῷ ἀνδρί. εἰ μὲν οὖν      5
-ἐγχωροίη πάντ’ εἶναι τὰ μόρια τῆς λέξεως ὑφ’ ὧν μέλλει
-δηλοῦσθαι τὸ πρᾶγμα εὔφωνά τε καὶ καλλιρήμονα, μανίας
-ἔργον ζητεῖν τὰ χείρω· εἰ δὲ ἀδύνατον εἴη τοῦτο, ὥσπερ ἐπὶ
-πολλῶν ἔχει, τῇ πλοκῇ καὶ μίξει καὶ παραθέσει πειρατέον
-ἀφανίζειν τὴν τῶν χειρόνων φύσιν, ὅπερ Ὅμηρος εἴωθεν ἐπὶ      10
-πολλῶν ποιεῖν. εἰ γάρ τις ἔροιτο ὅντιν’ οὖν ἢ ποιητῶν ἢ
-ῥητόρων, τίνα σεμνότητα ἢ καλλιλογίαν ταῦτ’ ἔχει τὰ ὀνόματα
-ἃ ταῖς Βοιωτίαις κεῖται πόλεσιν Ὑρία καὶ Μυκαλησσὸς καὶ
-Γραῖα καὶ Ἐτεωνὸς καὶ Σκῶλος καὶ Θίσβη καὶ Ὀγχηστὸς
-καὶ Εὔτρησις καὶ τἆλλ’ ἐφεξῆς ὧν ὁ ποιητὴς μέμνηται, οὐδεὶς      15
-ἂν εἰπεῖν οὐδ’ ἥντιν’ οὖν ἔχοι· ἀλλ’ οὕτως αὐτὰ καλῶς
-ἐκεῖνος συνύφαγκεν καὶ παραπληρώμασιν εὐφώνοις διείληφεν
-ὥστε μεγαλοπρεπέστατα φαίνεσθαι πάντων ὀνόματα·
-
-        Βοιωτῶν μὲν Πηνέλεως καὶ Λήϊτος ἦρχον
-        Ἀρκεσίλαός τε Προθοήνωρ τε Κλονίος τε,      20
-        οἵ θ’ Ὑρίην ἐνέμοντο καὶ Αὐλίδα πετρήεσσαν
-        Σχοῖνόν τε Σκῶλόν τε πολύκνημόν τ’ Ἐτεωνόν,
-        Θέσπειαν Γραῖάν τε καὶ εὐρύχορον Μυκαλησσόν,
-        οἵ τ’ ἀμφ’ Ἅρμ’ ἐνέμοντο καὶ Εἰλέσιον καὶ Ἐρυθράς,
-        οἵ τ’ Ἐλεῶν’ εἶχον ἠδ’ Ὕλην καὶ Πετεῶνα,      25
-        Ὠκαλέην Μεδεῶνά τ’ ἐυκτίμενον πτολίεθρον.
-
-ἐν εἰδόσι λέγων οὐκ οἴομαι πλειόνων δεῖν παραδειγμάτων.
-
-1 ἔνθα] καθ’ ὃ F   2 γενήσεσθαι] γίνεσθαι F   3 αὖθις om. F   4
-χρηστὸν ἔσεσθαι] χρήσιμον F   5 ἄπο FPMV || εἴρηται τῷ ἀνδρὶ F: τῷ
-ἀνδρὶ εἴρηται PMV   7 καλλιρρήμονα s   11 ἢ ποιητῶν P: ποιητῶν FM 13
-βοιωτίαις PV: βοιωτικαῖς F: βοιωτίας M   15 τᾶλλ’ ἐφεξῆς F: τἄλλα
-ἑξῆς PM, V   17 συνὕφαγκεν F, EP: συνύφαγγε M: συνύφανεν V   18
-μεγαλοπρεπέστερα E || πάντων] τούτων V || ὀνόματα PMV: ὀνομάτων EF   25
-ἥδ’ F: οἵδ’ M: ἰδ’ V
-
-1. =παραδείγματος ἕνεκα= looks like an adscript (possibly on ὁρίζει:
-to indicate that there were many other topics in Theophrastus’ book),
-which has found its way into the text.
-
-4. For the distinction between poetry and prose cp. Aristot. _Rhet._
-iii. 3 (1406 a) ἐν μὲν γὰρ ποιήσει πρέπει γάλα λευκὸν εἰπεῖν, ἐν δὲ
-λόγῳ τὰ μὲν ἀπρεπέστερα, τὰ δέ, ἂν ᾖ κατακορῆ, ἐξελέγχει καὶ ποιεῖ
-φανερὸν ὅτι ποίησίς ἐστιν, ἐπεὶ δεῖ γε χρῆσθαι αὐτοῖς, and iii. 4 (1406
-b) χρήσιμον δὲ ἡ εἰκὼν καὶ ἐν λόγῳ, ὀλιγάκις δέ· ποιητικὸν γάρ.
-
-5. =οὐκ ἀπὸ σκοποῦ= = ‘haud ab re.’
-
-The minute variations in word-order between F and P are not usually
-given in the critical footnotes. But the fact that P places (here and
-in =164= 17) the verb at the end of the sentence is noteworthy.
-
-18. Cp. Virg. _Georg._ iv. 334-44; _Aen._ vii. 710-21; Milton _Par.
-Lost_ i. 351-5. 396-414, 464-9, 576-87 (especially 583-7); and see
-Matthew Arnold (_On translating Homer: Last Words_ p. 29) as to Hom.
-_Il._ xvii. 216 ff.
-
-26. Dionysius (here as elsewhere) doubtless intended his remarks to
-apply to the lines that follow his quotation, as well as to those
-actually quoted.
-
-27. =ἐν εἰδόσι=: this expressive phrase is as old as Homer himself
-(_Il._ x. 250 εἰδόσι γάρ τοι ταῦτα μετ’ Ἀργείοις ἀγορεύεις). It occurs
-also in Thucyd. (ii. 36. 4 μακρηγορεῖν ἐν εἰδόσιν οὐ βουλόμενος ἐάσω).
-
-[Page 167]
-
-distinguishes two classes of words—those which are naturally beautiful
-(whose collocation, for example, in composition will, he thinks, make
-the phrasing beautiful and grand), and those, again, which are paltry
-and ignoble, of which he says neither good poetry can be constructed
-nor good prose. And, really and truly, our author is not far from
-the mark in saying this. If, then, it were possible that all the
-parts of speech by which a given subject is to be expressed should be
-euphonious and elegant, it would be madness to seek out the inferior
-ones. But if this be out of the question, as in many cases it is,
-then we must endeavour to mask the natural defects of the inferior
-letters by interweaving and mingling and juxtaposition, and this is
-just what Homer is accustomed to do in many passages. For instance, if
-any poet or rhetorician whatsoever were to be asked what grandeur or
-elegance there is in the names which have been given to the Boeotian
-towns,—Hyria, Mycalessus, Graia, Eteonus, Scolus, Thisbe, Onchestus,
-Eutresis, and the rest of the series which the poet enumerates,—no one
-would be able to point to any trace of such qualities. But Homer has
-interwoven and interspersed them with pleasant-sounding supplementary
-words into so beautiful a texture that they appear the most magnificent
-of all names:—
-
-    Lords of Boeotia’s host came Leitus, Peneleos,
-    Prothoenor and Arcesilaus and Clonius for battle uprose,
-    With the folk that in Hyrie dwelt, and by Aulis’s crag-fringed steep,
-    And in Schoinus and Scolus, and midst Eteonus’ hill-clefts deep,
-    In Thespeia and Graia, and green Mycalessus the land broad-meadowed,
-    And in Harma and Eilesius, and Erythrae the mountain-shadowed,
-    And they that in Eleon abode, and in Hyle and Peteon withal,
-    And in Ocalee and in Medeon, burg of the stately wall.[148]
-
-As I am addressing men who know their Homer, I do not
-
-[Page 168]
-
-
-ἅπας γάρ ἐστιν ὁ κατάλογος αὐτῷ τοιοῦτος καὶ πολλὰ ἄλλα, ἐν οἷς
-ἀναγκασθεὶς ὀνόματα λαμβάνειν οὐ καλὰ τὴν φύσιν ἑτέροις αὐτὰ κοσμεῖ
-καλοῖς καὶ λύει τὴν ἐκείνων δυσχέρειαν τῇ τούτων εὐμορφίᾳ. καὶ περὶ μὲν
-τούτων ἅλις.
-
-
-XVII
-
-ἐπεὶ δὲ καὶ τοὺς ῥυθμοὺς ἔφην οὐ μικρὰν μοῖραν ἔχειν      5
-τῆς ἀξιωματικῆς καὶ μεγαλοπρεποῦς συνθέσεως, ἵνα μηδεὶς
-εἰκῇ με δόξῃ λέγειν ῥυθμοὺς καὶ μέτρα μουσικῆς οἰκεῖα θεωρίας
-εἰς οὐ ῥυθμικὴν οὐδ’ ἔμμετρον εἰσάγοντα διάλεκτον, ἀποδώσω
-καὶ τὸν ὑπὲρ τούτων λόγον. ἔχει δ’ οὕτως·
-
-πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως, ὅ τι μὴ      10
-μονοσύλλαβόν ἐστιν, ἐν ῥυθμῷ τινι λέγεται· τὸ δ’ αὐτὸ καλῶ
-πόδα καὶ ῥυθμόν. δισυλλάβου μὲν οὖν λέξεως διαφοραὶ τρεῖς.
-ἢ γὰρ ἐξ ἀμφοτέρων ἔσται βραχειῶν ἢ ἐξ ἀμφοτέρων μακρῶν
-ἢ τῆς μὲν βραχείας, τῆς δὲ μακρᾶς. τοῦ δὲ τρίτου τούτου
-ῥυθμοῦ διττὸς ὁ τρόπος· ὁ μέν τις ἀπὸ βραχείας ἀρχόμενος      15
-καὶ λήγων εἰς μακράν, ὁ δ’ ἀπὸ μακρᾶς καὶ λήγων εἰς βραχεῖαν.
-ὁ μὲν οὖν βραχυσύλλαβος ἡγεμών τε καὶ πυρρίχιος
-καλεῖται, καὶ οὔτε μεγαλοπρεπής ἐστιν οὔτε σεμνός· σχῆμα
-δ’ αὐτοῦ τοιόνδε
-
-        λέγε δὲ σὺ κατὰ πόδα νεόχυτα μέλεα.      20
-
-1 αὐτῷ Toupius: αὐτῶν libri   6 μηδεὶς EF: μή κέ (καὶ M^2) τις PM:
-μή μέ τις V   7 με om. PMV   10 καὶ ῥῆμα om. P   12 τέσσαρες E   13
-βραχέων FM   20 νεόχυτα EF: νεόλυτα PMV
-
-1. Usener’s =αὐτῷ= (“all his Catalogue is on the same high level”) is
-perhaps preferable to the manuscript reading αὐτῶν, which, however, may
-be taken to refer to πόλεσιν (=166= 13). Usener’s suggestion has, it
-should be pointed out, been anticipated by Toup (ad Longin. p. 296).
-
-5. In this chapter Dionysius seems to have specially in view
-Aristotle’s _Rhetoric_ iii. 8 (cp. note on =255= 25 _infra_) and the
-Ῥυθμικὰ στοιχεῖα of Aristoxenus. But his general standpoint probably
-comes nearer to that of Aristophanes of Byzantium and Dionysius Thrax:
-he is, that is to say, primarily a metrist and a grammarian, and at
-times looks upon the rhythmists and musicians with some distrust.
-
-11, 12. Dionysius agrees here with Aristoxenus, Ῥυθμικὰ στοιχεῖα ii.
-16 ᾧ δὲ σημαινόμεθα τὸν ῥυθμὸν καὶ γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς
-ἐστιν εἷς ἢ πλείους ἑνός: and § 18 _ibid._ ὅτι μὲν οὖν ἐξ ἑνὸς χρόνου
-ποὺς οὐκ ἂν εἴη φανερόν, κτλ.
-
-17. See Introduction (p. 6 _supra_) for a classified list of the
-metrical feet mentioned in this chapter. Voss says as to the πυρρίχιος,
-“nullum ex eo alicuius momenti constitui potest carmen, cum numero et
-pondere paene careat. aptus dumtaxat ad celeres motus exprimendos,
-cuius modi erant armati saltus Corybantum apud Graecos, et Saliorum
-apud Romanos”; see also Hermog. II. ἰδ. i. (Walz iii. p. 293, lines
-1-11). Some sensible remarks on the whole question are made by Quintil.
-ix. 4. 87: “miror autem in hac opinione doctissimos homines fuisse, ut
-alios pedes ita eligerent aliosque damnarent, quasi ullus esset, quem
-non sit necesse in oratione deprehendi. licet igitur paeona sequatur
-Ephorus, inventum a Thrasymacho, probatum ab Aristotele, dactylumque,
-ut temperatos brevibus ac longis; fugiat molossum et trochaeum,
-alterius tarditate alterius celeritate damnata; herous, qui est idem
-dactylus, Aristoteli amplior, iambus humanior videatur; trochaeum ut
-nimis currentem damnet eique cordacis nomen imponat; eademque dicant
-Theodectes ac Theophrastus, similia post eos Halicarnasseus Dionysius:
-irrumpent etiam ad invitos, nec semper illis heroo aut paeone suo,
-quem, quia versum raro facit, maxime laudant, uti licebit. ut sint
-tamen aliis alii crebriores, non verba facient, quae neque augeri
-nec minui nec sicuti modulatione produci aut corripi possint, sed
-transmutatio et collocatio.”
-
-20. =λέγε δὲ σύ= κτλ.: source unknown; perhaps the reference is to the
-tearing of Pentheus limb from limb.—A similar line in Latin would be:
-“id agite peragite celeriter,” Marius Victorinus _Ars Gramm._ iii. 1.
-
-[Page 169]
-
-think there is need to multiply examples. All his Catalogue of the
-towns is on the same high level, and so are many other passages in
-which, being compelled to take words not naturally beautiful, he
-places them in a setting of beautiful ones, and neutralizes their
-offensiveness by the shapeliness of the others. On this branch of my
-subject I have now said enough.
-
-
-CHAPTER XVII
-
-ON RHYTHMS, OR FEET
-
-I have mentioned that rhythm contributes in no small degree to
-dignified and impressive composition; and I will treat of this point
-also. Let no one suppose that rhythm and metre belong to the science of
-song only; that ordinary speech is neither rhythmical nor metrical; and
-that I am going astray in introducing those subjects here.
-
-In point of fact, every noun, verb, or other part of speech, which
-does not consist of a single syllable only, is uttered in some sort of
-rhythm. (I am here using “rhythm” and “foot” as convertible terms.)
-A disyllabic word may take three different forms. It may have both
-syllables short, or both long, or one short and the other long. Of this
-third rhythm there are two forms: one beginning in a short and ending
-in a long, the other beginning in a long and ending in a short. The one
-which consists of two shorts is called _hegemon_ or _pyrrhich_, and is
-neither impressive nor solemn. Its character is as follows:—
-
-        Pick up the limbs at thy feet newly-scattered.[149]
-
-[Page 170]
-
-
-ὁ δ’ ἀμφοτέρας τὰς συλλαβὰς μακρὰς ἔχων κέκληται μὲν
-σπονδεῖος, ἀξίωμα δ’ ἔχει μέγα καὶ σεμνότητα πολλήν·
-παράδειγμα δ’ αὐτοῦ τόδε
-
-        ποίαν δῆθ’ ὁρμάσω, ταύταν
-        ἢ κείναν, κείναν ἢ ταύταν;      5
-
-ὁ δ’ ἐκ βραχείας τε καὶ μακρᾶς συγκείμενος ἐὰν μὲν τὴν
-ἡγουμένην λάβῃ βραχεῖαν, ἴαμβος καλεῖται, καὶ ἔστιν οὐκ
-ἀγεννής· ἐὰν δ’ ἀπὸ τῆς μακρᾶς ἄρχηται, τροχαῖος, καὶ ἔστι
-μαλακώτερος θατέρου καὶ ἀγεννέστερος· παράδειγμα δὲ τοῦ
-μὲν προτέρου τοιόνδε      10
-
-        ἐπεὶ σχολὴ πάρεστι, παῖ Μενοιτίου.
-
-τοῦ δ’ ἑτέρου
-
-        θυμέ, θύμ’ ἀμηχάνοισι κήδεσιν κυκώμενε.
-
-δισυλλάβων μὲν δὴ μορίων λέξεως διαφοραί τε καὶ ῥυθμοὶ
-καὶ σχήματα τοσαῦτα· τρισυλλάβων δ’ ἕτερα πλείω τῶν      15
-εἰρημένων καὶ ποικιλωτέραν ἔχοντα θεωρίαν. ὁ μὲν γὰρ ἐξ
-ἁπασῶν βραχείων συνεστώς, καλούμενος δὲ ὑπό τινων χορεῖος
-[τρίβραχυς πούς], οὗ παράδειγμα τοιόνδε
-
-        Βρόμιε, δορατοφόρ’, ἐνυάλιε, πολεμοκέλαδε,
-
-ταπεινός τε καὶ ἄσεμνός ἐστι καὶ ἀγεννής, καὶ οὐδὲν ἂν ἐξ      20
-
-5 ἢ κείναν κείναν ἢ ταύταν PMV: ἢ κείναν ἢ ταύταν E, F   10 μὲν om. PMV
-  11 ἐπεὶ σχολὴ EMV: ἐπὶ σχολῆι FP   13 κήδεσι κεκυκώμενε sic F   14 μὲν
-EPMV: om. F   17 χορεῖος MV: om. FP   18 τρίβραχυς] τροχαῖος F. uncinis
-includendum vel τρίβραχυς πούς vel χορεῖος tamquam glossema quod,
-margini olim adscriptum, in textum postea irrepserit   20 καὶ ἀγεννής
-om. P
-
-2. The high rank assigned to the spondee is noted in schol. anon. ad
-Hermog. II. ἰδ. (Walz _Rhett. Gr._ vii. 1049): τάττει (sc. Διονύσιος)
-δὲ τὸν σπονδεῖον μετ’ αὐτῶν (sc. μετὰ τῶν καλῶν ῥυθμῶν).—For Dionysius’
-view of the spondee and other feet see also Walz viii. 980 Διονύσιος
-μὲν ἐν τῷ περὶ συνθέσεως ὀνομάτων φησὶν ὅτι ὁ δάκτυλος κτλ.
-
-4. Euripides’ _Hec._ 162-4 runs thus in G. G. A. Murray’s text:—
-
-        ποίαν ἢ ταύταν ἢ κείναν
-          στείχω; †ποῖ δ’ ἥσω; †ποῦ τις θεῶν
-             †ἢ δαιμόνων †ἐπαρωγός;
-
-As the editor remarks later, “metrum nec in se perfectum,” etc. See
-also Porson’s note on the same passage of the _Hecuba_.—For a Latin
-spondaic line cp. Ennius “olli respondit rex Albai longai” (_Annal.
-Reliq._ i. 31 Vahlen).
-
-7. The iambus and the trochee abound in ordinary speech, and must
-therefore be used in oratory with moderation: cp. Cic. _de Oratore_
-iii. 47 “nam cum sint numeri plures, iambum et trochaeum frequentem
-segregat ab oratore Aristoteles, Catule, vester, qui natura tamen
-incurrunt ipsi in orationem sermonemque nostrum; sed sunt insignes
-percussiones eorum numerorum et minuti pedes”; _Orator_ 56. 189 “versus
-saepe in oratione per imprudentiam dicimus; quod vehementer est
-vitiosum, sed non attendimus neque exaudimus nosmet ipsos; senarios
-vero et Hipponacteos effugere vix possumus; magnam enim partem ex
-iambis nostra constat oratio”; Aristot. _Rhet._ iii. 8. 4 ὁ δ’ ἴαμβος
-αὐτή ἐστιν ἡ λέξις ἡ τῶν πολλῶν· διὸ μάλιστα πάντων τῶν μέτρων ἰαμβεῖα
-φθέγγονται λέγοντες: _Poet._ iv. 14 μάλιστα γὰρ λεκτικὸν τῶν μέτρων τὸ
-ἰαμβεῖόν ἐστιν· σημεῖον δὲ τούτου· πλεῖστα γὰρ ἰαμβεῖα λέγομεν ἐν τῇ
-διαλέκτῳ τῇ πρὸς ἀλλήλους, ἑξάμετρα δὲ ὀλιγάκις καὶ ἐκβαίνοντες τῆς
-λεκτικῆς ἁρμονίας: Demetr. _de Eloc._ § 43 ὁ δὲ ἴαμβος εὐτελὴς καὶ τῇ
-τῶν πολλῶν λέξει ὅμοιος. πολλοὶ γοῦν μέτρα ἰαμβικὰ λαλοῦσιν οὐκ εἰδότες.
-
-9. Cp. Aristot. _Rhet._ iii. 8 ὁ δὲ τροχαῖος κορδακικώτερος· δηλοῖ δὲ
-τὰ τετράμετρα· ἔστι γὰρ ῥυθμὸς τροχαῖος τὰ τετράμετρα.
-
-11. As in Hor. _Epod._ ii. 1 “Beatus ille, qui procul negotiis.”
-
-13. This line of Archilochus is preserved (together with the six that
-follow it) in Stobaeus _Florileg._ i. 207 (Meineke). For a similar
-Latin trochaic verse see Marius Victorinus i. 12 “Roma, Roma cerne,
-quanta sit Deum benignitas.”
-
-18. For the effect of tribrachs in Latin cp. Marius Victorinus i. 12
-“nemus ave reticuit, ager homine sonat.”
-
-20. =καὶ ἀγεννής=: these words are absent from P; perhaps rightly. They
-do not sort well with καὶ οὐδὲν ... γενναῖον.
-
-[Page 171]
-
-
-That which has both its syllables long is called a _spondee_, and
-possesses great dignity and much stateliness. Here is an example of it:—
-
-    Ah, which way must I haste?—had I best flee
-    By this path? or by that path shall it be?[150]
-
-That which is composed of a short and a long is called _iambus_ if it
-has the first syllable short; it is not ignoble. If it begins with the
-long syllable, it is called a _trochee_, and is less manly than the
-other and more ignoble. The following is an example of the former:—
-
-    My leisure serves me now, Menoetius’ son.[151]
-
-Of the other:—
-
-    Heart of mine, O heart in turmoil with a throng of crushing cares![152]
-
-These are all the varieties, rhythms, and forms of disyllabic words.
-Those of the trisyllabic are distinct; they are more numerous than
-those mentioned, and the study of them is more complicated. First comes
-that which consists entirely of short syllables, and is called by some
-_choree_ (or _tribrach_), of which the following is an example:—
-
-    Bromius, wielder of spears,
-    Lord of war and the onset-cheers.[153]
-
-This foot is mean and wanting in dignity and nobility, and
-
-[Page 172]
-
-
-αὐτοῦ γένοιτο γενναῖον. ὁ δ’ ἐξ ἁπασῶν μακρῶν, μολοττὸν δ’
-αὐτὸν οἱ μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστι
-καὶ διαβεβηκὼς ἐπὶ πολύ· παράδειγμα δὲ αὐτοῦ τοιόνδε
-
-        ὦ Ζηνὸς καὶ Λήδας κάλλιστοι σωτῆρες.
-
-ὁ δ’ ἐκ μακρᾶς καὶ δυεῖν βραχειῶν μέσην μὲν λαβὼν τὴν      5
-μακρὰν ἀμφίβραχυς ὠνόμασται, καὶ οὐ σφόδρα τῶν εὐσχήμων
-ἐστὶ ῥυθμῶν ἀλλὰ διακέκλασταί τε καὶ πολὺ τὸ θῆλυ καὶ
-ἀγεννὲς ἔχει, οἷά ἐστι ταυτί
-
-        Ἴακχε θρίαμβε, σὺ τῶνδε χοραγέ.
-
-ὁ δὲ προλαμβάνων τὰς δύο βραχείας ἀνάπαιστος μὲν καλεῖται, 10 σεμνότητα
-δ’ ἔχει πολλήν· καὶ ἔνθα δεῖ μέγεθός τι περιτιθέναι τοῖς πράγμασιν ἢ
-πάθος, ἐπιτήδειός ἐστι παραλαμβάνεσθαι· τούτου τὸ σχῆμα τοιόνδε
-
-        βαρύ μοι κεφαλᾶς ἐ πίκρανον ἔχειν.
-
-ὁ δὲ ἀπὸ τῆς μακρᾶς ἀρχόμενος, λήγων δὲ εἰς τὰς βραχείας      15
-δάκτυλος μὲν καλεῖται, πάνυ δ’ ἐστὶ σεμνὸς καὶ εἰς τὸ κάλλος
-τῆς ἑρμηνείας ἀξιολογώτατος, καὶ τό γε ἡρωϊκὸν μέτρον ἀπὸ
-τούτου κοσμεῖται ὡς ἐπὶ τὸ πολύ· παράδειγμα δὲ αὐτοῦ τόδε
-
-        Ἰλιόθεν με φέρων ἄνεμος Κικόνεσσι πέλασσεν.
-
-οἱ μέντοι ῥυθμικοὶ τούτου τοῦ ποδὸς τὴν μακρὰν βραχυτέραν      20
-
-3 διαβεβηκῶς (ῶ suprascripto) P: διαβέβηκεν ὡς M^1: διαβεβηκὼς ὡς
-M^{2}V: διαβέβηκεν F || τοιόνδε F: τόδε PMV   5 δυεῖν P: δυοῖν MV:
-β F   6 μακρὰν F: μακρὰν ἑκατέρας τῶν βραχειῶν PMV || εὐσχήμων EF:
-εὐσχημόνων PMV   7 διακεκόλασται F: κέκλασται E   8 ἀγεννες P, M:
-ἀγενὲς V: ἀηδὲς F   9 θρίαμβε L. Dindorfius: διθύραμβε libri   11
-μέγεθός τι F: μέγεθος PV: μεγέθη M || περιτιθέναι F: περιθεῖναι PMV   12
-περιλαμβάνεσθαι F   14 κεφαλᾶς E: κεφαλὰς F: κεφαλῆς PMV || ἔχειν P:
-ἔχει EFMV   16 δάκτυλος EFM: δακτ̑ P: δακτυλικὸς V || τὸ κάλλος τῆς
-ἑρμηνείας EF: κάλλος ἁρμονίας PMV   17 ὑπὸ R
-
-2. =ἀξιωματικός=: various modern examples of the rhythmical effect of
-long and short syllables will be found in Demetr., e.g. p. 219. Here
-may be added, from George Meredith’s _Love in the Valley_—
-
-    Thicker crowd the shades as the _grave East_ deepens
-      Glowing, and with crimson a _long cloud_ swells.
-    Maiden still the morn is; and strange she is, and secret;
-      _Strange her eyes_; her cheeks are cold as _cold sea-shells_.
-
-Here the long syllables in italics may be contrasted with:
-
-    Deals she an unkindness, ’tis but her rapid measure,
-    – ᴗ  ᴗ  ᴗ  ᴗ
-    Even as in a dance; and her smile can heal no less.
-
-9. Virg. _Ecl._ viii. 68 might be fancifully divided in such a way as
-to present several feet of this kind:
-
-              ᴗ  –  ᴗ    ᴗ –   ᴗ ᴗ  –  ᴗ  ᴗ   – ᴗ  ᴗ  –   ᴗ
-    “[ducite] ab urbe | domum me|a carmin|a, ducit|e Daphnim.”
-
-16. Cp. Long. _de Sublim._ xxxix. 4 ὅλον τε γὰρ ἐπὶ τῶν δακτυλικῶν
-εἴρηται ῥυθμῶν· εὐγενέστατοι δ’ οὗτοι καὶ μεγεθοποιοί, διὸ καὶ τὸ
-ἡρῷον, ὧν ἴσμεν κάλλιστον, μέτρον συνιστᾶσιν.
-
-19. This is of course the very start of Odysseus’ adventures as
-recounted by himself. He sails away from Ilium on as many dactyls as
-possible.—For dactyls freely used in the Virgilian hexameter cp. _Aen._
-ix. 503 “at tuba terribilem sonitum procul aere canoro [increpuit,
-etc.]”; _Georg._ iii. 284 “sed fugit interea, fugit irreparabile
-tempus.”
-
-20. =τούτου τοῦ ποδός.= “Unless a lacuna be assumed, a rather violent
-assumption, the phrase [i.e. τούτου τοῦ ποδός] must simply resume the
-αὐτοῦ just before the hexameter, the τούτου just before that, and the
-δάκτυλος two lines earlier, which immediately follows the phrase of
-description,” Goodell _Greek Metric_ p. 172.
-
-[Page 173]
-
-nothing noble can be made out of it. But that which consists entirely
-of long syllables—_molossus_, as the metrists call it—is elevated and
-dignified, and has a mighty stride. The following is an example of it:—
-
-    O glorious saviours, Zeus’ and Leda’s sons.[154]
-
-That which consists of a long and two shorts, with the long in the
-middle, bears the name of _amphibrachys_, and has no strong claim to
-rank with the graceful rhythms, but is enervated and has about it much
-that is feminine and ignoble, e.g.—
-
-    Triumphant Iacchus that leadest this chorus.[155]
-
-That which commences with two shorts is called an _anapaest_, and
-possesses much dignity. Where it is necessary to invest a subject with
-grandeur or pathos, this foot may be appropriately used. Its form may
-be illustrated by—
-
-    Ah, the coif on mine head all too heavily weighs.[156]
-
-That which begins with the long and ends with the shorts is called a
-_dactyl_; it is decidedly impressive, and remarkable for its power to
-produce beauty of style. It is to this that the heroic line is mainly
-indebted for its grace. Here is an example:—
-
-    Sped me from Ilium the breeze, and anigh the Ciconians brought me.[157]
-
-The rhythmists, however, say that the long syllable in this foot
-
-[Page 174]
-
-
-εἶναί φασι τῆς τελείας, οὐκ ἔχοντες δ’ εἰπεῖν ὅσῳ, καλοῦσιν
-αὐτὴν ἄλογον. ἕτερός ἐστιν ἀντίστροφον ἔχων τούτῳ ῥυθμόν,
-ὃς ἀπὸ τῶν βραχειῶν ἀρξάμενος ἐπὶ τὴν ἄλογον τελευτᾷ·
-τοῦτον χωρίσαντες ἀπὸ τῶν ἀναπαίστων κυκλικὸν καλοῦσι
-παράδειγμα αὐτοῦ φέροντες τοιόνδε      5
-
-        κέχυται πόλις ὑψίπυλος κατὰ γᾶν.
-
-περὶ ὧν ἂν ἕτερος εἴη λόγος· πλὴν ἀμφότεροί γε τῶν πάνυ
-καλῶν οἱ ῥυθμοί. ἓν ἔτι λείπεται τρισυλλάβων ῥυθμῶν γένος,
-ὃ συνέστηκεν ἐκ δύο μακρῶν καὶ βραχείας, τρία δὲ ποιεῖ
-σχήματα· μέσης μὲν γὰρ γινομένης τῆς βραχείας, ἄκρων δὲ      10
-τῶν μακρῶν κρητικός τε λέγεται καὶ ἔστιν οὐκ ἀγεννής.
-ὑπόδειγμα δὲ αὐτοῦ τοιοῦτον
-
-        οἱ δ’ ἐπείγοντο πλωταῖς ἀπήναισι χαλκεμβόλοις.
-
-ἂν δὲ τὴν ἀρχὴν αἱ δύο μακραὶ κατάσχωσιν, τὴν δὲ τελευτὴν
-ἡ βραχεῖα, οἷά ἐστι ταυτί      15
-
-        σοὶ Φοῖβε Μοῦσαί τε σύμβωμοι,
-
-ἀνδρῶδες πάνυ ἐστὶ τὸ σχῆμα καὶ εἰς σεμνολογίαν ἐπιτήδειον.
-τὸ δ’ αὐτὸ συμβήσεται κἂν ἡ βραχεῖα πρώτη τεθῇ τῶν
-μακρῶν· καὶ γὰρ οὗτος ὁ ῥυθμὸς ἀξίωμα ἔχει καὶ μέγεθος·
-παράδειγμα δὲ αὐτοῦ τόδε      20
-
-        τίν’ ἀκτάν, τίν’ ὕλαν δράμω; ποῖ πορευθῶ;
-
-τούτοις ἀμφοτέροις ὀνόματα κεῖται τοῖς ποσὶν ὑπὸ τῶν μετρικῶν
-βακχεῖος μὲν τῷ προτέρῳ, θατέρῳ δὲ ὑποβάκχειος. οὗτοι
-δώδεκα ῥυθμοί τε καὶ πόδες εἰσὶν οἱ πρῶτοι καταμετροῦντες
-
-1 ὅσω F: πόσω PMV   2 ἕτερός ἐστιν F: ἕτερον δὲ PMV || ἔχων F: τινα
-PMV   3 ἐπὶ τὴν ἄλογον FP^{1}V: ἐπί τιν’ ἄλογον P^2: ἐπί τινα λόγον M
-|| τελευτᾶι τοῦτον FM: τοῦτον τελευτᾷ V: τελευτᾶι P   4 κυκλικὸν FM^2:
-κύκλον PM^{1}V   6 ὑψί*πολος cum rasura F: ὑψίπυλον PMV   8 τρισύλλαβον
-F   9 συνέστηκεν F: συνέστηκε μὲν PMV || δὲ ποιεῖ F: δὲ ἔχει PV   12
-τοιοῦτον PM: τοιόνδε FV   13 πρώταις FM^2 || ἀπήναισι EP: ἀπήνεσι
-MV: ἀπήνεσσι F || χαλκεμβόλοις EF: χαλκεμβόλοισιν PMV   14 ἂν F: ἐὰν
-PMV   15 ἡ F: om. PMV   16 σοὶ EPMV: σὺ F || σύμβωμοι EFMV: συμβῶμεν
-Ps   17 πάνυ ἐστὶ τὸ EF: δὲ πάνυ τοῦτο PMV || εἰσ σεμνότητα (σ pr.
-suprascripto) λογίαν P   18 πρώτη τεθῆι P, MV: συντεθῆι F   21 τίν’
-ἀκτάν, τίν’ ὕλαν] τίνα γᾶν τινυδἂν F   22 τοῖς ποσὶν FPM: ῥυθμοῖς V   23
-παλιμβάκχειος E
-
-1. =ὅσῳ=: cp. =190= 9, where there is the same divergence between F and
-PMV.
-
-2, 4. See Glossary under =ἄλογος= and =κυκλικός=.
-
-13. Usener suggests that this line may possibly come from the _Persae_
-of Timotheus, some newly-discovered fragments of which were issued by
-Wilamowitz-Moellendorff in 1903.—Similarly, in Latin, cretics may be
-found in such lines of Terence as “tum coacti necessario se aperiunt”
-(_Andr._ iv. 1).
-
-16.
-
-  –    – ᴗ    –  – ᴗ     –  –   ᴗ
- “O Phoebus | O Muses | co-worshipped”
-
-might give the metrical effect, in a rough and uncouth way. In
-Latin cp. “baccare, laetare praesente Frontone” (Rufinus _de Metris
-Comicorum_).
-
-18. =πρώτη τεθῇ τῶν μακρῶν=, ‘at the head of’; cp. note on =98= 7
-_supra_.
-
-21. After πορευθῶ P has a gap which would contain a dozen letters,
-and in the middle of the gap the original copyist has written οὐδ(ὲν)
-λείπ(ει).
-
-[Page 175]
-
-is shorter than the perfect long. Not being able to say by how much,
-they call it “irrational.” There is another foot having a rhythm
-corresponding to this, which starts with the short syllables and ends
-with the “irrational” one. This they distinguish from the anapaest and
-call it “cyclic,” adducing the following line as an example of it:—
-
-    On the earth is the high-gated city laid low.[158]
-
-This question cannot be discussed here; but both rhythms are of the
-distinctly beautiful sort. One class of trisyllabic rhythms still
-remains, which is composed of two longs and a short. It takes three
-shapes. When the short is in the middle and the longs at the ends, it
-is called a _cretic_ and has no lack of nobility. A sample of it is:—
-
-    On they sped, borne on sea-wains with prows brazen-beaked.[159]
-
-But if the two long syllables occupy the beginning, and the short one
-the end, as in the line
-
-    Phoebus, to thee and the Muses worshipped with thee,[160]
-
-the structure is exceptionally virile, and is appropriate for solemn
-language. The effect will be the same if the short be placed before the
-longs; for this foot also has dignity and grandeur. Here is an example
-of it:—
-
-    To what shore, to what grove shall I flee for refuge?[161]
-
-To the former of these two feet the name of _bacchius_ is assigned by
-the metrists, to the other that of _hypobacchius_. These are the twelve
-fundamental rhythms and feet which measure all
-
-[Page 176]
-
-
-ἅπασαν ἔμμετρόν τε καὶ ἄμετρον λέξιν, ἐξ ὧν γίνονται στίχοι
-τε καὶ κῶλα· οἱ γὰρ ἄλλοι πόδες καὶ ῥυθμοὶ πάντες ἐκ
-τούτων εἰσὶ σύνθετοι. ἁπλοῦς δὲ ῥυθμὸς ἢ ποὺς οὔτ’ ἐλάττων
-ἔσται δύο συλλαβῶν οὔτε μείζων τριῶν. καὶ περὶ μὲν τούτων
-οὐκ οἶδ’ ὅτι δεῖ τὰ πλείω λέγειν.      5
-
-
-XVIII
-
-ὧν δ’ ἕνεκα νῦν ὑπήχθην ταῦτα προειπεῖν (οὐ γὰρ δὴ τὴν
-ἄλλως γέ μοι προὔκειτο μετρικῶν καὶ ῥυθμικῶν ἅπτεσθαι
-θεωρημάτων, ἀλλὰ τοῦ ἀναγκαίου ἕνεκα), ταῦτ’ ἐστίν, ὅτι διὰ
-μὲν τῶν γενναίων καὶ ἀξιωματικῶν καὶ μέγεθος ἐχόντων
-ῥυθμῶν ἀξιωματικὴ γίνεται σύνθεσις καὶ γενναία καὶ μεγαλοπρεπής,      10
-διὰ δὲ τῶν ἀγεννῶν τε καὶ ταπεινῶν ἀμεγέθης τις
-καὶ ἄσεμνος, ἐάν τε καθ’ ἑαυτοὺς ἕκαστοι τούτων λαμβάνωνται
-τῶν ῥυθμῶν, ἐάν τε ἀλλήλοις κατὰ τὰς ὁμοζυγίας
-συμπλέκωνται. εἰ μὲν οὖν ἔσται δύναμις ἐξ ἁπάντων τῶν
-κρατίστων ῥυθμῶν συνθεῖναι τὴν λέξιν, ἔχοι ἂν ἡμῖν κατ’      15
-εὐχήν· εἰ δ’ ἀναγκαῖον εἴη μίσγειν τοῖς κρείττοσι τοὺς
-χείρονας, ὡς ἐπὶ πολλῶν γίνεται (τὰ γὰρ ὀνόματα κεῖται τοῖς
-πράγμασιν ὡς ἔτυχεν), οἰκονομεῖν αὐτὰ χρὴ φιλοτέχνως καὶ
-διακλέπτειν τῇ χάριτι τῆς συνθέσεως τὴν ἀνάγκην ἄλλως τε
-καὶ πολλὴν τὴν ἄδειαν ἔχοντας· οὐ γὰρ ἀπελαύνεται ῥυθμὸς      20
-οὐδεὶς ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου.
-
-μαρτύρια δὲ ὧν εἴρηκα παραθεῖναι λοιπόν, ἵνα μοι καὶ
-πίστιν ὁ λόγος λάβῃ. ἔσται δ’ ὀλίγα περὶ πολλῶν. φέρε
-δή, τίς οὐκ ἂν ὁμολογήσειεν ἀξιωματικῶς τε συγκεῖσθαι καὶ
-
-4 ἔσται EF: ἐστὶ PMV || δύο EF: δυεῖν P: δυοῖν MV   5 τὰ πλείω FM:
-πλείω PV   7 μετρικῶν καὶ ῥυθμικῶν F: ῥυθμικῶν (ῥυθμῶν MV) τε καὶ
-μετρικῶν PMV   10 γενναία F: βεβαία PMV   14 δῆλον post συμπλέκωνται
-praestant FMV: om. P || ἁπάντων τῶν PMV: ἁπάντων F   17 κεῖται F:
-ἔκκειται PM: ἔγκειται V   20 οὐ FP: οὐδὲ MV   23 ἔσται FPM: ἔστι V
-
-3. =ἁπλοῦς δὲ ... μείζων τριῶν.= A. J. Ellis (p. 48) says, “This
-gives a simple and convenient rule for practising the quantitative
-pronunciation of words of more than three syllables.... The effect
-of quantity in prose is the most difficult thing for moderns to
-appreciate. Hence the only easy pronunciation of Greek is the modern,
-where quantity is entirely neglected, and a force-accent used precisely
-as in English.”
-
-5. On the subject of metrical feet Aristotle (_Rhet._ iii. 8) is brief;
-Cicero (_Orator_ cc. 63, 64) is fuller; while Dionysius in this chapter
-enters into still further details. Reference may also be made to
-Quintil. ix. 4. 45 ff. and to Demetr. _de Eloc._ §§ 38 ff.
-
-6. This passage (down to l. 21) brings out clearly the importance of
-rhythm in prose-writing.
-
-16. =εἴη=: the less agreeable alternative is pleasantly treated as
-though it were the more remote. Cp. εἴη on =166= 8 (though there
-ἐγχωροίη stands in the earlier clause, =166= 6).
-
-17. H. Richards (_Classical Review_ xix. 252) suggests ἐπίκειται (or
-σύγκειται), in order to account for the ἔκκειται of PM and the ἔγκειται
-of V.
-
-21. Would not ὥσπερ =οὐδὲ= ἐκ τῆς ἐμμέτρου (or the like: cp. =100= 18)
-be required if the meaning were “any more than from the metrical”?
-The author’s point is brought out more clearly in =192= 21, =196= 8,
-etc. Cp. Quintil. ix. 4. 87, “miror autem in hac opinione doctissimos
-homines fuisse, ut alios pedes ita eligerent aliosque damnarent, quasi
-ullus esset, quem non sit necesse in oratione deprehendi” (the passage
-is more fully quoted on p. 169 _supra_).
-
-23. =περί=: no change in the reading is necessary; cp. =200= 4 ὀλίγα
-περὶ πολλῶν, and =136= 6 ὀλίγα ὑπὲρ πολλῶν θεωρημάτων.
-
-[Page 177]
-
-language, metrical or unmetrical, and from them are formed lines and
-clauses. All other feet and rhythms are but combinations of these. A
-simple rhythm, or foot, will not be less than two syllables, nor will
-it exceed three. I do not know that more need be said on this subject.
-
-
-CHAPTER XVIII
-
-EFFECT OF VARIOUS RHYTHMS
-
-The reason why I have been led to make these preliminary remarks (for
-certainly it was no part of my design to touch without due cause on
-metrical and rhythmical questions, but only so far as it was really
-necessary) is this, that it is through rhythms which are noble and
-dignified, and contain an element of greatness, that composition
-becomes dignified, noble, and splendid, while it is made a paltry and
-unimpressive sort of thing by the use of those rhythms that are ignoble
-and mean, whether they are taken severally by themselves, or are woven
-together according to their mutual affinities. If, then, it is within
-human capacity to frame the style entirely from the finest rhythms,
-our aspirations will be realized; but if it should prove necessary to
-blend the worse with the better, as happens in many cases (for names
-have been attached to things in a haphazard way), we must manage
-our material artistically. We must disguise our compulsion by the
-gracefulness of the composition: the more so that we have full liberty
-of action, since no rhythm is banished from non-metrical language, as
-some are from metrical.
-
-It remains for me to produce proofs of my statements, in order that my
-argument may carry conviction. Wide as the field is, a few proofs will
-suffice. Thus it is surely beyond dispute
-
-[Page 178]
-
-
-μεγαλοπρεπῶς τὴν Θουκυδίδου λέξιν τὴν ἐν τῷ ἐπιταφίῳ
-ταύτην· “Οἱ μὲν πολλοὶ τῶν ἐνθάδε ἤδη εἰρηκότων ἐπαινοῦσι
-τὸν προσθέντα τῷ νόμῳ τὸν λόγον τόνδε, ὡς καλὸν ἐπὶ τοῖς
-ἐκ τῶν πολέμων θαπτομένοις ἀγορεύεσθαι αὐτόν.” τί οὖν
-ἐστιν ὃ πεποίηκε ταύτην μεγαλοπρεπῆ τὴν σύνθεσιν; τὸ ἐκ      5
-τοιούτων συγκεῖσθαι ῥυθμῶν τὰ κῶλα. τρεῖς μὲν γὰρ οἱ τοῦ
-πρώτου προηγούμενοι κώλου σπονδεῖοι πόδες εἰσίν, ὁ δὲ
-τέταρτος ἀνάπαιστος, ὁ δὲ μετὰ τοῦτον αὖθις σπονδεῖος, ἔπειτα
-κρητικός, ἅπαντες ἀξιωματικοί. καὶ τὸ μὲν πρῶτον κῶλον
-διὰ ταῦτ’ ἐστὶ σεμνόν· τὸ δὲ ἑξῆς τουτί “#ἐπαινοῦσι τὸν      10
-προσθέντα τῷ νόμῳ τὸν λόγον τόνδε#” δύο μὲν ὑποβακχείους
-ἔχει τοὺς πρώτους πόδας, κρητικὸν δὲ τὸν τρίτον, εἶτ’
-αὖθις ὑποβακχείους δύο καὶ συλλαβὴν ὑφ’ ἧς τελειοῦται τὸ
-κῶλον· ὥστ’ εἰκότως σεμνόν ἐστι καὶ τοῦτο ἐκ τῶν εὐγενεστάτων
-τε καὶ καλλίστων ῥυθμῶν συγκείμενον. τὸ δὲ δὴ      15
-τρίτον κῶλον “#ὡς καλὸν ἐπὶ τοῖς ἐκ τῶν πολέμων θαπτομένοις
-ἀγορεύεσθαι αὐτόν#” ἄρχεται μὲν ἀπὸ τοῦ κρητικοῦ
-ποδός, δεύτερον δὲ λαμβάνει τὸν ἀνάπαιστον καὶ τρίτον
-σπονδεῖον καὶ τέταρτον αὖθις ἀνάπαιστον, εἶτα δύο τοὺς ἑξῆς
-δακτύλους, καὶ σπονδείους δύο τοὺς τελευταίους, εἶτα κατάληξιν.      20
-εὐγενὲς δὴ καὶ τοῦτο διὰ τοὺς πόδας γέγονεν. τὰ
-
-2 ἤδη εἰρηκότων EP: ἤδη om. MV: εἰρηκότων ἤδη F (perperam: cf. vv. 6,
-7)   3 τὸν (ante λόγον) om. F   9 κριτικός PM || πρῶτον FM: πρῶτον αὐτῶ
-PV   10 τοῦτο PMV   11 ὑποβακχείους ... αὖθις om. P   14 συγγενεστάτων
-P   21 δὴ PV: δὲ FM
-
-3. =τὸν προσθέντα= κτλ.: viz. τὸν νομοθέτην, δηλονότι τὸν Σόλωνα
-(schol. ad Thucyd. ii. 35). Dionysius has this passage of Thucydides
-in view when he writes (_Antiqq. Rom._ v. 17) ὀψὲ γάρ ποτ’ Ἀθηναῖοι
-προσέθεσαν τὸν ἐπιτάφιον ἔπαινον τῷ νόμῳ, εἴτ’ ἀπὸ τῶν ἐπ’ Ἀρτεμισίῳ
-καὶ περὶ Σαλαμῖνα καὶ ἐν Πλαταιαῖς ὑπὲρ τῆς πατρίδος ἀποθανόντων
-ἀρξάμενοι, εἴτ’ ἀπὸ τῶν περὶ Μαραθῶνα ἔργων.—Bircovius illustrates the
-rhythmical effect of the Greek by a similar analysis of the exordium
-of Livy’s _History_, “facturusne operae pretium sim, si a primordio
-urbis res populi Romani perscripserim, nec satis scio nec, si sciam,
-dicere ausim, quippe qui cum veterem tum vulgatam esse rem videam, dum
-novi semper scriptores aut in rebus certius aliquid allaturos se aut
-scribendi arte rudem vetustatem superaturos credunt.”
-
-6. The first clause is clearly meant to be divided as follows:
-
-     –  –     –   –    –  –   ᴗ ᴗ –  –  –  – ᴗ –
-    οἱ μὲν | πολλοὶ | τῶν ἐν|θάδε ἤ|δη εἰ|ρηκότων.
-
-The formation of the anapaest is noticeable, and in other ways the
-metrical division seems rather arbitrary. For ἐνθάδε ἤδη (without
-elision of the final ε) cp. n. on =180= 8. [Here and elsewhere, no
-attempt has been made to secure metrical equivalence between the Greek
-original and the English version.]
-
-Goodell (_Chapters on Greek Metric_ p. 42) says of the analysis
-which begins here: “It is incredible that the rhetor supposed he was
-describing the actual spoken rhythm, in the sense of Aristoxenus; he
-was giving the quantities of the syllables in the conventional way, and
-his readers so understood him.”
-
-9. Cp. the metrical effect of
-
-     – ᴗ    –      ᴗ   – ᴗ       ᴗ  – ᴗ     ᴗ    –    –             ᴗ   –  –
-  “Who is this | that cometh | from Edom | with dyed garm(ents) | from Bozrah?”
-
-10. Second clause:
-
-  ᴗ  –  –  ᴗ  –    –   –  ᴗ  –    ᴗ –  –     ᴗ –   –
-  ἐπαινοῦ|σι τὸν προσ|θέντα τῷ | νόμῳ τὸν | λόγον τόν|δε.
-
-16. Third clause:
-
-  –   ᴗ –    ᴗ ᴗ   –    –   –     ᴗ ᴗ –     –  ᴗ ᴗ   –  ᴗ ᴗ   ––    –  –
-  ὡς καλὸν | ἐπὶ τοῖς | ἐκ τῶν | πολέμων | θαπτομέ|νοις ἀγο|ρεύε|σθαι αὐ|τόν.
-
-It is to be noticed that Dionysius treats the final syllable of
-ἀγορεύεσθαι as long before αὐτόν, and (more unaccountably) the final
-syllable of καλὸν as long before ἐπί. The length of the diphthong
--αι might, no doubt, be maintained in prose utterance; but it is not
-easy to see on what principle -ο̆ν could be pronounced -ο̄ν before
-ἐπί. It might indeed be urged that the final syllable of a rhythmical
-phrase must (like that of a metrical line) be regarded as indifferent
-(long _or_ short): cp. Cic. _Orat._ 63. 214 “persolutas;—dichoreus;
-nihil enim ad rem, extrema illa longa sit an brevis.” But this is to
-remind us once more that, though there is a sound general basis for
-the observations of Dionysius, it is easy for both ancient and modern
-theorists to frame rules more definite than the facts warrant.
-
-[Page 179]
-
-that the following passage in the _Funeral Speech_ of Thucydides is
-composed with dignity and grandeur: “Former speakers on these occasions
-have usually commended the statesman who caused an oration to form
-part of this funeral ceremony: they have felt it a fitting tribute to
-men who were brought home for burial from the fields of battle where
-they fell.”[162] What has made the composition here so impressive?
-The fact that the clauses are composed of impressive rhythms. For the
-three feet which usher in the first clause are spondees, the fourth is
-an anapaest, the next a spondee once more, then a cretic,—all stately
-feet. Hence the dignity of the first clause. The next clause, “have
-usually commended the statesman who caused an oration to form part of
-this funeral ceremony,”[163] has two _hypobacchii_ as its first feet,
-a cretic as its third, then again two _hypobacchii_, and a syllable by
-which the clause is completed; so that this clause too is naturally
-dignified, formed as it is of the noblest and most beautiful rhythms.
-
-The third clause, “they have felt it a fitting tribute to men who were
-brought home for burial from the fields of battle where they fell,”
-begins with the cretic foot, has an anapaest in the second place, a
-spondee in the third, in the fourth an anapaest again, then two dactyls
-in succession, closing with two spondees and the terminal syllable. So
-this passage also owes its noble ring to its rhythmical structure; and
-most of the
-
-[Page 180]
-
-
-πλεῖστα δ’ ἐστὶ παρὰ Θουκυδίδῃ τοιαῦτα, μᾶλλον δὲ ὀλίγα
-τὰ μὴ οὕτως ἔχοντα, ὥστ’ εἰκότως ὑψηλὸς εἶναι δοκεῖ καὶ
-καλλιεπὴς ὡς εὐγενεῖς ἐπάγων ῥυθμούς.
-
-τὴν δὲ δὴ Πλατωνικὴν λέξιν ταυτηνὶ τίνι ποτὲ ἄλλῳ
-κοσμηθεῖσαν οὕτως ἀξιωματικὴν εἶναι φαίη τις ἂν καὶ καλήν,      5
-εἰ μὴ τῷ συγκεῖσθαι διὰ τῶν καλλίστων τε καὶ ἀξιολογωτάτων
-ῥυθμῶν; ἔστι γὰρ δὴ τῶν πάνυ φανερῶν καὶ περιβοήτων,
-ᾗ κέχρηται ὁ ἀνὴρ κατὰ τὴν τοῦ ἐπιταφίου ἀρχήν· “ἔργῳ
-μὲν ἡμῖν οἵδε ἔχουσιν τὰ προσήκοντα σφίσιν αὐτοῖς· ὧν
-τυχόντες πορεύονται τὴν εἱμαρμένην πορείαν.” ἐν τούτοις δύο      10
-μέν ἐστιν ἃ συμπληροῖ τὴν περίοδον κῶλα, ῥυθμοὶ δὲ οἱ
-ταῦτα διαλαμβάνοντες οἵδε· βακχεῖος μὲν ὁ πρῶτος· οὐ γὰρ
-δή γε ὡς ἰαμβικὸν ἀξιώσαιμ’ ἂν ἔγωγε τὸ κῶλον τουτὶ ῥυθμίζειν
-ἐνθυμούμενος ὅτι οὐκ ἐπιτροχάλους καὶ ταχεῖς ἀλλ’
-ἀναβεβλημένους καὶ βραδεῖς τοῖς οἰκτιζομένοις προσῆκεν ἀποδίδοσθαι      15
-τοὺς χρόνους· σπονδεῖος δ’ ὁ δεύτερος· ὁ δ’ ἑξῆς
-δάκτυλος διαιρουμένης τῆς συναλοιφῆς· εἶθ’ ὁ μετὰ τοῦτον
-σπονδεῖος· ὁ δ’ ἑξῆς μᾶλλον κρητικὸς ἢ ἀνάπαιστος· ἔπειθ’,
-ὡς ἐμὴ δόξα, σπονδεῖος· ὁ δὲ τελευταῖος ὑποβάκχειος, εἰ δὲ
-βούλεταί τις, ἀνάπαιστος· εἶτα κατάληξις. τούτων τῶν      20
-ῥυθμῶν οὐδεὶς ταπεινὸς οὐδὲ ἀγεννής. τοῦ δὲ ἑξῆς κώλου
-τουδί “#ὧν τυχόντες πορεύονται τὴν εἱμαρμένην πορείαν#”
-δύο μέν εἰσιν οἱ πρῶτοι πόδες κρητικοί, σπονδεῖοι δὲ
-οἱ μετὰ τούτους δύο· μεθ’ οὓς αὖθις κρητικός, ἔπειτα τελευταῖος
-ὑποβάκχειος. ἀνάγκη δὴ τὸν ἐξ ἁπάντων συγκείμενον      25
-
-1 ὀλίγα τὰ F: ὀλίγα PMV   3 καλλίστης P || ὡς] καὶ FMV: om. P ||
-εὐγενείας P: εὐγενὴς MV || ἐπάγων F: ὡς ἐκλέγων τοὺς PMV   4 ταυτηνὶ
-Us.: ταύτην εἰ F: ταύτην PMV   7 φανερὸν καὶ περιβόητον F   9 οἵδ’
-ἔχουσιν P: οἵδ’ ἔχουσι FMV   13 ἰαμβικὸν FP: ἴαμβον MV   15 προσήκει F
-  16 δ ὁ δεύτερος F: δε ἕτερος P, V: δ’ ἕτερος M   17 εἴθ’ ὁ F: εἶτα
-PMV   19 ὡς F: ὡς ἡ PMV   25 δὴ] δεῖ F
-
-4. The passage from the _Menexenus_ is quoted by Dionysius in the _de
-Demosth._ c. 24, with the remark ἡ μὲν εἰσβολὴ θαυμαστὴ καὶ πρέπουσα
-τοῖς ὑποκειμένοις πράγμασι κάλλους τε ὀνομάτων ἕνεκα καὶ σεμνότητος
-καὶ ἁρμονίας, τὰ δ’ ἐπιλεγόμενα οὐκέθ’ ὅμοια τοῖς πρώτοις κτλ. It is
-also given, as an illustration of the musical and other effects of
-_periphrasis_, in the _de Sublimitate_ c. 28: ἆρα δὴ τούτοις μετρίως
-ὤγκωσε τὴν νόησιν, ἢ ψιλὴν λαβὼν τὴν λέξιν ἐμελοποίησε, καθάπερ
-ἁρμονίαν τινὰ τὴν ἐκ τῆς περιφράσεως περιχεάμενος εὐμέλειαν;—A somewhat
-similar period in Latin is that of Sallust (_Bell. Catilin._ i. 1),
-“omnes homines, qui sese student praestare ceteris animalibus, summa
-ope niti decet, ne vitam silentio transeant veluti pecora, quae natura
-prona atque ventri oboedientia finxit.”
-
-8. First clause:
-
-  –  –  ᴗ    – –     – ᴗ ᴗ   – –     ⏓   ᴗ –  –  –     ᴗ ⏓   –
-  ἔργῳ μὲν | ἡμῖν | οἵδε ἔ|χουσιν | τὰ προσή|κοντα | σφίσιν αὐ|τοῖς.
-
-Here three points call for comment: (1) οἵδε ἔχουσιν (and not οἵδ’
-ἔχουσιν with FPMV) was clearly (cp. l. 16) read by Dionysius: so in
-the text of Plato himself; (2) the lengthening of τά before προσήκοντα
-(although the usage of Comedy would seem to show that such lengthening
-was uncommon in the language of ordinary life) is preferred as giving
-a cretic; (3) very strangely, it is thought possible to scan the final
-syllable of σφίσιν as long (cp. =178= 17, =184= 2, 8).
-
-13. We have a considerable part of an iambic line if we scan thus:
-
-  –  –    ᴗ  –  –   –     ᴗ  –  ᴗ
-  ἔργῳ | μὲν ἡ|μῖν οἵδ’ | ἔχου|σι.
-
-19. For =ὡς ἐμὴ δόξα= cp. _de Demosth._ c. 39.
-
-22. Second clause:
-
-  –   ᴗ –   –   ᴗ  – –   –    –   –  –  ᴗ –     ᴗ  ––
-  ὧν τυχόν|τες πορεύ|ονται | τὴν εἱ|μαρμένην | πορείαν.
-
-[Page 181]
-
-passages in Thucydides are of this stamp; indeed, there are few that
-are not so framed. So he thoroughly deserves his reputation for
-loftiness and beauty of language, since he habitually introduces noble
-rhythms.
-
-Again, take the following passage of Plato. What can be the device that
-produces its perfect dignity and beauty, if it is not the beautiful
-and striking rhythms that compose it? The passage is one of the best
-known and most often quoted, and it is found near the beginning of
-our author’s _Funeral Speech_: “In very truth these men are receiving
-at our hands their fitting tribute: and when they have gained this
-guerdon, they journey on, along the path of destiny.”[164] Here there
-are two clauses which constitute the period, and the feet into which
-the clauses fall are as follows:—The first is a _bacchius_, for
-certainly I should not think it correct to scan this clause as an
-iambic line, bearing in mind that not swift, tripping movements, but
-retarded and slow times are appropriate to those over whom we make
-mourning. The second is a spondee; the next is a dactyl, the vowels
-which might coalesce being kept distinct; after that, a spondee; next,
-what I should call a cretic rather than an anapaest; then, according
-to my view, a spondee; in the last place a _hypobacchius_ or, if you
-prefer to take it so, an anapaest; then the terminal syllable. Of these
-rhythms none is mean nor ignoble. In the next clause, “when they have
-gained this guerdon, they journey on, along the path of destiny,” the
-two first feet are cretics, and next after them two spondees; after
-which once more a cretic, then lastly a _hypobacchius_. Thus the
-discourse is composed entirely of beautiful rhythms, and it necessarily
-follows that it is itself
-
-[Page 182]
-
-
-καλῶν ῥυθμῶν καλὸν εἶναι λόγον. μυρία τοιαῦτ’ ἔστιν εὑρεῖν
-καὶ παρὰ Πλάτωνι. ὁ γὰρ ἀνὴρ ἐμμέλειάν τε καὶ εὐρυθμίαν
-συνιδεῖν δαιμονιώτατος, καὶ εἴ γε δεινὸς ἦν οὕτως ἐκλέξαι τὰ
-ὀνόματα ὡς συνθεῖναι περιττός, #καί νύ κεν ἢ παρέλασσεν#
-τὸν Δημοσθένη κάλλους ἑρμηνείας ἕνεκεν, #ἢ ἀμφήριστον      5
-ἔθηκεν#. νῦν δὲ περὶ μὲν τὴν ἐκλογὴν ἔστιν ὅτε διαμαρτάνει,
-καὶ μάλιστα ἐν οἷς ἂν τὴν ὑψηλὴν καὶ περιττὴν καὶ ἐγκατάσκευον
-διώκῃ φράσιν, ὑπὲρ ὧν ἑτέρωθί μοι δηλοῦται σαφέστερον.
-συντίθησι δὲ τὰ ὀνόματα καὶ ἡδέως καὶ καλῶς νὴ
-Δία, καὶ οὐκ ἄν τις αὐτὸν ἔχοι κατὰ τοῦτο μέμψασθαι τὸ      10
-μέρος.
-
-ἑνὸς ἔτι παραθήσομαι λέξιν, ᾧ τὰ ἀριστεῖα τῆς ἐν λόγοις
-δεινότητος ἀποδίδωμι. ὅρος γὰρ δή τίς ἐστιν ἐκλογῆς τε
-ὀνομάτων καὶ κάλλους συνθέσεως ὁ Δημοσθένης. ἐν δὴ τῷ
-περὶ τοῦ στεφάνου λόγῳ τρία μέν ἐστιν ἃ τὴν πρώτην      15
-περίοδον συμπληροῖ κῶλα, οἱ δὲ ταῦτα καταμετροῦντες οἵδε
-εἰσὶν ῥυθμοί· “#πρῶτον μέν, ὦ ἄνδρες Ἀθηναῖοι, τοῖς
-θεοῖς εὔχομαι πᾶσι καὶ πάσαις#.” ἄρχει δὲ τοῦδε τοῦ
-κώλου βακχεῖος ῥυθμός, ἔπειθ’ ἕπεται σπονδεῖος, εἶτ’ ἀνάπαιστός      20
-τε καὶ μετὰ τούτον ἕτερος σπονδεῖος, εἶθ’ ἑξῆς
-κρητικοὶ τρεῖς, σπονδεῖος δ’ ὁ τελευταῖος. τοῦ δὲ δευτέρου
-κώλου τοῦδε “#ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ τῇ τε#
-
-1 ἐστιν εὑρεῖν F, E: ἐστι PMV   2 ἐμμέλειαν EFM: εὐμέλειαν PV   3 οὕτως
-EF: οὗτος PMV   5 δημοσθένην EPV: δημοσθένεα M || κάλλους FMV: καὶ
-ἄλλους P: κάλλος E   6 ὅτε EF: ἃ PV: ἃ καὶ M   9 συντίθησι δὲ EF: δὲ
-συντίθησιν P, MV   12 ἑνὸς] ἐν οἷς P   13 ἀποδίδωμι F: καταδίδωμι PMV
-  16 ταῦτα] κατὰ ταῦτα PV   17 ῥυθμοί F: οἱ ῥυθμοί PMV   18 δὲ τοῦδε V:
-τοῦδε PM: δὲ F
-
-2. =ἐμμέλειαν=: cp. =122= 21, unless =130= 6 should seem to support the
-reading εὐμέλειαν in the present passage.
-
-5. For Δημοσθένην (as given by some manuscripts) cp. Demetr. _de Eloc._
-§ 175 καὶ ὅλως τὸ νῦ δι’ εὐφωνίαν ἐφέλκονται οἱ Ἀττικοί, “Δημοσθένην”
-λέγοντες καὶ “Σωκράτην.”
-
-7. Cp. Long. _de Sublim._ c. iii. ὀλισθαίνουσι δ’ εἰς τοῦτο τὸ γένος
-ὀρεγόμενοι μὲν τοῦ περιττοῦ καὶ πεποιημένου καὶ μάλιστα τοῦ ἡδέος,
-ἐποκέλλοντες δὲ εἰς τὸ ῥωπικὸν καὶ κακόζηλον.—Dionysius perhaps fails
-to see that a high-pitched style may sometimes be used μετ’ εἰρωνείας,
-as Aristotle (_Rhet._ iii. 7. 11) says in reference to the _Phaedrus_.
-
-8. =ἑτέρωθι=: cp. _de Demosth._ cc. 6, 7, 24-29, and _Ep. ad Cn. Pomp._
-cc. 1, 2.—For the probable order in which the ‘Scripta Rhetorica’
-appeared see D.H. pp. 5-7. The _de Comp. Verb._ is referred to twice
-in the _de Demosth._ (cc. 49, 50).—With =δηλοῦται= (not δεδήλωται, _de
-Din._ c. 13, _de Demosth._ c. 49; nor δηλωθήσεται, _de Lysia_ cc. 12,
-14) cp. _de Isaeo_ c. 2, _de Demosth._ c. 57.
-
-9. Dionysius is fond of the asseveration νὴ Δία, ‘mehercule.’
-
-17. First clause:
-
-    – –   ᴗ     – –    ᴗ  ᴗ –   – –      –   ᴗ –     – ᴗ  –    – ᴗ   –    –  –
-  πρῶτον μέν, | ὦ ἄνδρ|ες Ἀθη|ναῖοι, | τοῖς θεοῖς | εὔχομαι | πᾶσι καὶ | πάσαις.
-
-—The expression καταμετροῦντες may indicate that Dionysius himself
-wrote marks of quantity over the syllables in question: such marks
-are given by F in =178= 2-4, 10, 11, 16, 17, and are also found in
-the Paris Manuscript (1741) of Demetr. _de Eloc._ §§ 38, 39.—With the
-rhythmical effect of this passage of Demosthenes, Bircovius compares
-“Si, patres conscripti, pro vestris immortalibus in me fratremque
-meum liberosque nostros meritis parum vobis cumulate gratias egero,
-quaeso obtestorque, ne meae naturae potius, quam magnitudini vestrorum
-beneficiorum, id tribuendum putetis” (Cic. _Post Reditum in Senatu
-Oratio_ init.).
-
-22. Second clause:
-
-  ᴗ –   –   –⏓  ᴗ  –  ᴗ –    ᴗᴗ ᴗ –    –  ᴗ  ᴗ  ⏓     –  – ⏓    – –
-  ὅσην εὔ|νοιαν ἔ|χων ἐγὼ | διατελῶ | τῇ τε πόλει | καὶ πᾶσιν | ὑμῖν.
-
-—There are fresh difficulties in the “scansion” here. Dionysius speaks
-as if the last syllable of εὔνοιαν may (and indeed preferably) be
-counted long: this involves the lengthening of a short vowel before a
-single consonant, cp. n. on =180= 8.—With regard to the paeons, διατελῶ
-will form a “catalectic” paeon (ᴗ ᴗ ᴗ –), but τῇ τε πόλει will not
-form a “procatarctic” paeon (– ᴗ ᴗ ᴗ) unless the final syllable of
-πόλει is reckoned short.—To extract a _molossus_ from καὶ πᾶσιν, the
-last syllable of πᾶσιν must be lengthened. Strange as it appears, the
-cumulative evidence seems (if our text is sound) to show that Dionysius
-would (at any rate, for the purpose of prose rhythm) lengthen a short
-vowel before a single consonant.
-
-[Page 183]
-
-beautiful. Countless instances of this kind are to be found in Plato
-as well as in Thucydides. For this author has a perfect genius for
-discovering true melody and fine rhythm, and if he had only been as
-able in the choice of words as he is unrivalled in the art of combining
-them, he “had even outstript” Demosthenes, so far as beauty of style
-is concerned, or “had left the issue in doubt.”[165] As it is, he is
-sometimes quite at fault in his choice of words; most of all when he is
-aiming at a lofty, unusual, elaborate style of expression. With respect
-to this I explain myself more explicitly elsewhere. But he does most
-assuredly put his words together with beauty as well as charm; and from
-this point of view no one could find any fault with him.
-
-I will cite a passage of one other writer,—the one to whom I assign the
-palm for oratorical mastery. Demosthenes most certainly forms a sort of
-standard alike for choice of words and for beauty in their arrangement.
-In the _Speech on the Crown_ there are three clauses which constitute
-the first period; and the rhythms by which they are measured are as
-follows: “first of all, men of Athens, I pray to all the gods and
-goddesses.”[166] A _bacchius_ begins this first clause; then follows a
-spondee; next an anapaest, and after this another spondee; then three
-cretics in succession, and a spondee as the last foot. In the second
-clause, “that all the loyal affection I bear my whole life through to
-the
-
-[Page 184]
-
-
-#πόλει καὶ πᾶσιν ὑμῖν#” πρῶτος μὲν ὑποβάκχειός ἐστι πούς,
-εἶτα βακχεῖος, εἰ δὲ βούλεταί τις, δάκτυλος· εἶτα κρητικός·
-μεθ’ οὕς εἰσι δύο σύνθετοι πόδες οἱ καλούμενοι παιᾶνες· οἷς
-ἕπεται μολοττὸς ἢ βακχεῖος, ἐγχωρεῖ γὰρ ἑκατέρως αὐτὸν
-διαιρεῖν· τελευταῖος δὲ ὁ σπονδεῖος. τοῦ δὲ τρίτου κώλου τοῦδε      5
-“#τοσαύτην ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν
-ἀγῶνα#” ἄρχουσι μὲν ὑποβάκχειοι δύο, ἕπεται δὲ κρητικός,
-ᾧ συνῆπται σπονδεῖος· εἶτ’ αὖθις βακχεῖος ἢ κρητικός, καὶ
-τελευταῖος πάλιν κρητικός, εἶτα κατάληξις. τί οὖν ἐκώλυε
-καλὴν ἁρμονίαν εἶναι λέξεως, ἐν ᾗ μήτε πυρρίχιός ἐστι ποὺς      10
-μήτε ἰαμβικὸς μήτε ἀμφίβραχυς μήτε τῶν χορείων ἢ τροχαίων
-μηδείς; καὶ οὐ λέγω τοῦτο, ὅτι τῶν ἀνδρῶν ἐκείνων ἕκαστος
-οὐ κέχρηταί ποτε καὶ τοῖς ἀγεννεστέροις ῥυθμοῖς. κέχρηται
-γάρ· ἀλλ’ εὖ συγκεκρύφασιν αὐτοὺς καὶ συνυφάγκασι διαλαβόντες
-τοῖς κρείττοσι τοὺς χείρονας.      15
-
-οἷς δὲ μὴ ἐγένετο πρόνοια τούτου τοῦ μέρους, οἱ μὲν ταπεινάς,
-οἱ δὲ κατακεκλασμένας, οἱ δ’ ἄλλην τινὰ αἰσχύνην καὶ
-ἀμορφίαν ἐχούσας ἐξήνεγκαν τὰς γραφάς. ὧν ἐστι πρῶτός τε
-καὶ μέσος καὶ τελευταῖος ὁ Μάγνης ὁ σοφιστὴς Ἡγησίας·
-ὑπὲρ οὗ μὰ τὸν Δία καὶ τοὺς ἄλλους θεοὺς ἅπαντας οὐκ οἶδα τί      20
-χρὴ λέγειν, πότερα τοσαύτη περὶ αὐτὸν ἀναισθησία καὶ παχύτης
-ἦν ὥστε μὴ συνορᾶν, οἵτινές εἰσιν ἀγεννεῖς ἢ εὐγενεῖς ῥυθμοί,
-ἢ τοσαύτη θεοβλάβεια καὶ διαφθορὰ τῶν φρενῶν ὥστ’ εἰδότα
-τοὺς κρείττους ἔπειτα αἱρεῖσθαι τοὺς χείρονας, ὃ καὶ μᾶλλον
-πείθομαι· ἀγνοίας μὲν γάρ ἐστι καὶ τὸ κατορθοῦν πολλαχῇ,      25
-
-2 εἶτα κρητικός F: ἔπειτα κρητικός PMV   3 παιᾶνες F: παίωνες PMV   4
-ἐκατέρως F: ἑκατέρους PMV || αὐτὸν PV: αὐτῶν FM   5 τοῦδε F: τοῦ PMV
-  7 ἔπεται δὲ F: ἔπειτα δε P, M: ἔπειτα V   8 καὶ F: καὶ ὁ PMV   11
-ἴαμβος F || τροχαίων F: τῶν τροχαίων PMV   17 κατακεκλεισμένας F || καὶ
-F: ἢ PMV   19 μέσος καὶ τελευταῖος F: τελευταῖος καὶ μέσος PMV || ὁ
-σοφιστὴς F: σοφιστὴς PMV   20 οἶδα τί F: οἶδ’ ὅ τι PMV   22 ἀγεννεῖς F:
-εὐγενεῖς PMV || εὐγενεῖς F: ἀγενεῖς PV^1: ἀγεννεῖς MV^2   25 πολλαχῆι
-FP, M: πολλαχοῦ V
-
-4. =ἐγχωρεῖ γὰρ ἑκατέρως αὐτὸν διαιρεῖν=: this statement should
-be noted, together with the _a priori_ grounds on which Dionysius
-elsewhere (e.g. =180= 12-16) makes his choice between the alternatives
-which present themselves.
-
-6. Third clause:
-
-   ᴗ  – –    ᴗ –   –     –  ᴗ   –  –   –      – ᴗ –    ⏓  ᴗ –
-  τοσαύτην | ὑπάρξαι | μοι παρ’ ὑ|μῶν εἰς | τουτονὶ | τὸν ἀγῶ|να.
-
-—If τουτονὶ is a bacchius, it must be scanned
-
-    – – ⏓
-  τουτονὶ:
-
-and if τὸν ἀγῶν(α) is a cretic, it must be scanned
-
-   –  ᴗ –
-  τὸν ἀγῶν|α!
-
-There are, no doubt, many cases of abnormal lengthening in Homeric
-versification (e.g. φίλε κασίγνητε at the beginning of a line, _Il._
-iv. 155), but not to such an extent as would satisfy ‘Eucleides the
-elder’: οἷον Εὐκλείδης ὁ ἀρχαῖος, ὡς ῥᾴδιον ποιεῖν, εἴ τις δώσει
-ἐκτείνειν ἐφ’ ὁπόσον βούλεται, ἰαμβοποιήσας ἐν αὐτῇ τῇ λέξει,—“Ἐπιχάρην
-εἶδον Μαραθῶνάδε βαδίζοντα” (Aristot. _Poet._ c. xxii.).
-
-11. =μήτε ἰαμβικὸς ... τροχαίων μηδείς=: it is obvious that we could
-discover some of these feet in the passage if we were to choose our
-own way of dividing it. If in Latin, for example, we were to take
-such a sentence as quonam igitur pacto probari potest insidias Miloni
-fecisse Clodium? (Cic. _pro Milone_ 12. 32), we could extract dactyls,
-spondees, trochees, iambi, cretics, anapaests, etc. from the various
-section into which we chose to divide it: e.g.
-
-        –    ᴗ ᴗ  –   –   –   ᴗ  – –    ᴗ –     –  ᴗ  ᴗ–     ᴗ –  –  –  –  ᴗ     – ᴗ⏓
-  (1) quonam igi|tur pac|to pro|bari | potest | insi|dias | Milo|ni fe|cisse | Clodium?
-
-        –    ᴗ  ᴗ –     –  –     ᴗ –  –  ᴗ  –   –   ᴗ ᴗ–     ᴗ –  –  –  –  ᴗ   –  ᴗ⏓
-  (2) quonam i|gitur | pacto | proba|ri po|test in|sidias | Milo|ni fe|cisse Clo|dium?
-
-        –    ᴗ ᴗ  –   –   –   ᴗ –  –  ᴗ –     –  ᴗ ᴗ –   ᴗ –  –  –  –  ᴗ   –  ᴗ⏓
-  (3) quonam igi|tur pac|to proba|ri potest | insidi|as Milo|ni fe|cisse Clo|dium?
-
-And so with several other possible scansions (cp. Laurand _Études sur
-le style de Cicéron_ p. 138).
-
-19. For =Hegesias= cp. Introduction, pp. 52-5 _supra_.
-
-20. =μὰ τὸν Δία ... λέγειν=: reminiscent of Demosth. _Philipp._ iii.
-54, _Fals. Leg._ 220.
-
-[Page 185]
-
-city and all of you,”[167] first comes a _hypobacchius_; then a
-_bacchius_ or, if you prefer to take it so, a dactyl; then a cretic;
-after which there are two composite feet called _paeons_. Next follows
-a _molossus_ or a _bacchius_, for it can be scanned either way. Last
-comes the spondee. The third clause, “may as fully be accorded by you
-to support me in this trial,”[167] is opened by two _hypobacchii_. A
-cretic follows, to which a spondee is attached. Then again a _bacchius_
-or a cretic; last a cretic once more; then the terminal syllable. Is
-not a beautiful cadence inevitable in a passage which contains neither
-a pyrrhic, nor an iamb, nor an amphibrachys, nor a single choree
-or trochee? Still, I do not affirm that none of those writers ever
-uses the more ignoble rhythms also. They do use them; but they have
-artistically masked them, and have only introduced them at intervals,
-interweaving the inferior with the superior.
-
-Those authors who have not given heed to this branch of their art have
-published writings which are either mean, or flabby, or have some other
-blemish or deformity. Among them the first and midmost and the last is
-the Magnesian, the sophist Hegesias. Concerning him, I swear by Zeus
-and all the other gods, I do not know what to say. Was he so dense, and
-so devoid of artistic feeling, as not to see which the ignoble or noble
-rhythms are? or was he smitten with such soul-destroying lunacy, that
-though he knew the better, he nevertheless invariably chose the worse?
-It is to this latter view that I incline. Ignorance often blunders into
-the right path: only wilfulness
-
-[Page 186]
-
-
-προνοίας δὲ τὸ μηδέποτε. ἐν γοῦν ταῖς τοσαύταις γραφαῖς,
-αἷς καταλέλοιπεν ὁ ἀνήρ, μίαν οὐκ ἂν εὕροι τις σελίδα
-συγκειμένην εὐτυχῶς. ἔοικεν δὴ ταῦτα ὑπολαβεῖν ἐκείνων
-κρείττω καὶ μετὰ σπουδῆς αὐτὰ ποιεῖν, εἰς ἃ δι’ ἀνάγκην ἄν
-τις ἐμπεσὼν ἐν λόγῳ σχεδίῳ δι’ αἰσχύνης θεῖτο φρόνημα ἔχων      5
-ἀνήρ. θήσω δὲ καὶ τούτου λέξιν ἐκ τῆς ἱστορίας, ἵνα σοι
-γένηται δῆλον ἐκ τῆς ἀντιπαραθέσεως, ὅσην μὲν ἀξίωσιν ἔχει
-τὸ εὐγενὲς ἐν ῥυθμοῖς, ὅσην δ’ αἰσχύνην τὸ ἀγεννές. ἔστιν δ’
-ὃ λαμβάνει πρᾶγμα ὁ σοφιστὴς τοιόνδε. Ἀλέξανδρος πολιορκῶν
-Γάζαν χωρίον τι τῆς Συρίας πάνυ ἐχυρὸν τραυματίας      10
-τε γίνεται κατὰ τὴν προσβολὴν καὶ τὸ χωρίον αἱρεῖ χρόνῳ.
-φερόμενος δ’ ὑπ’ ὀργῆς τούς τ’ ἐγκαταληφθέντας ἀποσφάττει
-πάντας, ἐπιτρέψας τοῖς Μακεδόσι τὸν ἐντυχόντα κτείνειν, καὶ
-τὸν ἡγεμόνα αὐτῶν αἰχμάλωτον λαβών, ἄνδρα ἐν ἀξιώματι
-καὶ τύχης καὶ εἴδους, ἐξ ἁρματείου δίφρου δῆσαι κελεύσας      15
-ζῶντα καὶ τοὺς ἵππους ἐλαύνειν ἀνὰ κράτος ἐν τῇ πάντων
-ὄψει διαφθείρει. τούτων οὐκ ἂν ἔχοι τις εἰπεῖν δεινότερα
-πάθη οὐδ’ ὄψει φοβερώτερα. πῶς δὴ ταῦτα ἡρμήνευκεν ὁ
-σοφιστής, ἄξιον ἰδεῖν, πότερα σεμνῶς καὶ ὑψηλῶς ἢ ταπεινῶς
-καὶ καταγελάστως.      20
-
-“ὁ δὲ βασιλεὺς ἔχων τὸ σύνταγμα προηγεῖτο. καί πως
-
-2 αἷς F: ἃς PMV   3 δὴ F: δε P, MV   4 ἄν τις ἐμπεσὼν PMV: ἐμπεσὼν ἄν
-τις F   5 θεῖτο F: ἔθετο PMV   6 ἐκ τῆς F: ἐξ PMV   8 ἔστιν δ’ F: τί δὲ
-PMV   10 ἐχυρὸν] εὐχερῶς F   11 χρόνῳ φερόμενος δ’ F: χρόνῳ φερόμενος ὁ
-δ’ PMV   12 τε ἐγκαταληφθέντας PMV: τε καταλειφθέντας F   14 αὐτὸν PMV
-  16 ἐλαύνων MV   17 τούτων F: τοῦτον PMV   18 οὐδὲ ὄψεις φοβεροτέρας
-(-ωτ- M) PMV   19 πότερα F: πότερον PMV   21 καὶ πῶς F
-
-1-3. Cp. Dryden _Mac Flecknoe_ ll. 19, 20, “The rest to some faint
-meaning make pretence, | But Shadwell _never deviates_ into sense.” The
-_wilfulness_ and _malice prepense_ (πρόνοια) of Hegesias’ stupidity
-may be illustrated by Dr. Johnson’s remark about Thomas Sheridan:
-“Why, Sir, Sherry is dull, naturally dull; but it must have taken him
-a great deal of pains to become what we now see him. Such an access of
-stupidity, Sir, is not in nature” (Boswell’s _Life of Johnson_ i. 453).
-
-4. The reading of PMV seems preferable, since ἄν is not infrequently
-attached to adverbs or adverbial phrases such as δι’ ἀνάγκην.
-
-5. =θεῖτο=: τίθεμαι used for ἡγοῦμαι, as in =208= 13 and =232=
-25.—Contrast the active θήσω in the next line.
-
-9. Arrian (_Exped. Alexandri_ ii. 25. 4) thus describes the
-commencement of Alexander’s siege, and Batis’ defence, of Gaza (332
-B.C.): Ἀλέξανδρος δὲ ἐπ’ Αἰγύπτου ἔγνω ποιεῖσθαι τὸν στόλον. καὶ ἦν
-αὐτῷ τὰ μὲν ἄλλα τῆς Παλαιστίνης καλουμένης Συρίας προσκεχωρηκότα
-ἤδη· εὐνοῦχος δέ τις, ᾧ ὄνομα ἦν Βάτις, κρατῶν τῆς Γαζαίων πόλεως, οὐ
-προσεῖχεν Ἀλεξάνδρῳ, ἀλλὰ Ἄραβάς τε μισθωτοὺς ἐπαγόμενος καὶ σῖτον
-ἐκ πολλοῦ παρεσκευακὼς διαρκῆ ἐς χρόνιον πολιορκίαν καὶ τῷ χωρίῳ
-πιστεύων, μήποτε ἂν βίᾳ ἁλῶναι, ἔγνω μὴ δέχεσθαι τῇ πόλει Ἀλέξανδρον.
-In continuing and completing (cc. 26, 27) his narrative of the siege,
-Arrian makes no mention of the fate of Batis. On this point Plutarch,
-too, is silent (_Vit. Alex._ c. 25), and so is Diodorus Siculus xvii.
-48. 7. The obviously rhetorical cast of Hegesias’ narrative, and
-of that of Curtius (_Histor. Alexandri Magni_ iv. 6, 7-30), should
-cause it to be accepted with greater reserve than Grote (xi. 469 n.
-1) thinks needful to maintain.—For the probable share of Cleitarchus
-in propagating this story about Alexander see C. Müller _Scriptores
-Rerum Alexandri Magni_ pp. 75, 142; and for his bombast cp. Long. _de
-Sublim._ iii. 2 and Demetr. _de Eloc._ § 304.
-
-11. =χρόνῳ=: viz. after a two months’ siege (Ἀλέξανδρος δὲ στρατεύσας
-ἐπὶ Γάζαν φρουρουμένην ὑπὸ Περσῶν καὶ δίμηνον προσεδρεύσας εἷλε κατὰ
-κράτος τὴν πόλιν, Diod. Sic. xvii. 48. 7).—Batis was supported by only
-a small force: “modico praesidio muros ingentis operis tuebatur,”
-Curtius iv. 6. 7.
-
-14. =ἡγεμόνα=: Curtius iv. 6. 7 “praeerat ei Betis, eximiae in regem
-suum fidei.” Josephus (_Ant. Iud._ xi. 8. 3 Naber) gives the name of
-the governor as Βαβημήσης. Arrian gives Batis. ‘Baetis’ seems the right
-form in =188= 13, and so perhaps in Curtius.
-
-15. =εἴδους=. It must have been from the point of view of his
-countrymen that Batis possessed εἶδος (cp. =188= 16). Usener suggests
-ἤθους.
-
-=ἐξ ἁρματείου δίφρου=: cp. Xen. _Cyrop._ vi. 4. 9 ταῦτ’ εἰπὼν κατὰ
-τὰς θύρας τοῦ ἁρματείου δίφρου ἀνέβαινεν ἐπὶ τὸ ἅρμα, where (as here)
-δίφρος = _sella aurigae_.
-
-21. =τὸ σύνταγμα=: no doubt the ὑπασπισταί are meant: Alexander is
-represented as advancing at the head of his Guards.—In the English
-translation of the passage that follows no attempt has been made to
-reproduce all the peculiarities of Hegesias’ style.
-
-[Page 187]
-
-never does. At all events, in the host of writings which the man
-has left behind him, you will not find one single page successfully
-put together. He seems, indeed, to have regarded his own methods as
-better than those of his predecessors, and to have followed them
-with enthusiasm; and yet anybody else, if he were to be driven into
-such errors in an impromptu speech, would blush for them, were he a
-man of any self-respect. Well, I will quote a passage from him also,
-taken from his _History_, in order to make clear to you, by means of
-a comparison, how splendid noble rhythms are, and how disgraceful are
-their opposites. The following is the subject treated by the sophist.
-Alexander when besieging Gaza, an unusually strong position in Syria,
-is wounded during the assault and takes the position after some delay.
-In a transport of anger he massacres all the prisoners, permitting the
-Macedonians to slay all who fall in their way. Having captured their
-commandant, a man of distinction for his high station and good looks,
-he gives orders that he should be bound alive to a war-chariot and
-that the horses should be driven at full speed before the eyes of all;
-and in this way he kills him. No one could have a story of more awful
-suffering to narrate, nor one suggesting a more horrible picture. It
-is worth while to observe in what style our sophist has represented
-this scene—whether with gravity and elevation or with vulgarity and
-absurdity:—
-
-“The King advanced, at the head of his division. It seems
-
-[Page 188]
-
-
-ἐβεβούλευτο τῶν πολεμίων τοῖς ἀρίστοις ἀπαντᾶν ἐπιόντι·
-τοῦτο γὰρ ἔγνωστο, κρατήσασιν ἑνὸς συνεκβαλεῖν καὶ τὸ
-πλῆθος. ἡ μὲν οὖν ἐλπὶς αὕτη συνέδραμεν εἰς τὸ τολμᾶν,
-ὥστ’ Ἀλέξανδρον μηδέποτε κινδυνεῦσαι πρότερον οὕτως. ἀνὴρ
-γὰρ τῶν πολεμίων εἰς γόνατα συγκαμφθεὶς ἔδοξε τοῦτ’ Ἀλεξάνδρῳ      5
-τῆς ἱκετείας ἕνεκα πρᾶξαι. προσέμενος δ’ ἐγγὺς μικρὸν
-ἐκνεύει τὸ ξίφος ἐνέγκαντος ὑπὸ τὰ πτερύγια τοῦ θώρακος,
-ὥστε γενέσθαι τὴν πληγὴν οὐ καιριωτάτην. ἀλλὰ τὸν μὲν
-αὐτὸς ἀπώλεσεν κατὰ κεφαλῆς τύπτων τῇ μαχαίρᾳ, τοὺς δ’
-ἄλλους ὀργὴ πρόσφατος ἐπίμπρα. οὕτως ἄρα ἑκάστου τὸν      10
-ἔλεον ἐξέστησεν ἡ τοῦ τολμήματος ἀπόνοια τῶν μὲν ἰδόντων,
-τῶν δ’ ἀκουσάντων, ὥσθ’ ἑξακισχιλίους ὑπὸ τὴν σάλπιγγα
-ἐκείνην τῶν βαρβάρων κατακοπῆναι. τὸν μέντοι Βαῖτιν αὐτὸν
-ἀνήγαγον ζῶντα Λεόνατος καὶ Φιλωτᾶς. ἰδὼν δὲ πολύσαρκον
-καὶ μέγαν καὶ βλοσυρώτατον (μέλας γὰρ ἦν καὶ τὸ χρῶμα),      15
-μισήσας ἐφ’ οἷς ἐβεβούλευτο καὶ τὸ εἶδος ἐκέλευσεν διὰ τῶν
-ποδῶν χαλκοῦν ψάλιον διείραντας ἕλκειν κύκλῳ γυμνόν.
-πιλούμενος δὲ κακοῖς περὶ πολλὰς τραχύτητας ἔκραζεν. αὐτὸ
-δ’ ἦν, ὃ λέγω, τὸ συνάγον ἀνθρώπους. ἐπέτεινε μὲν γὰρ ὁ
-
-1 ἐβεβούλευτο PMV: ἐβουλεύετο F || ἀπαντᾶν om. F || ἐπιόντι
-Radermacher: ἐπιών F: εἰσιῶν P, MV   2 συνεκβαλεῖν FMV: συνεκβάλλειν
-Ps   3 εἰς τὸ τολμᾶν PMV: om. F   4 πρότερον ἢ οὕτως F   5 συγκαμφθεὶς
-PMV: συγκαθίσας F   6 ἰκετείας F || προσέμενος F: προέμενος PMV   7 ὑπὸ
-PMV: ἐπὶ F   8 τὴν F: καὶ τὴν PMV   10 ἐπίμπρα F: ἐπίμπρατο MV: ἐπὶ
-παλαιαῖς P || οὕτως ἄρα F: οὕτως γὰρ PMV   11 ἐξέστησεν] ἐξήτασεν F ||
-τολμήματος F: τολμήσαντος PMV   12 εξακισχιλίους F, MV: τετρακισχιλίους
-P   13 βαῖστ[ϊ]ν cum litura P: βασιλέα FMV || αὐτὸν] Sylburgius: αὐτῶν
-FM: αὐτοῦ PV   15 καὶ (ante βλοσυρώτατον) F: ὡς PMV || βροσυρώτατον
-P: βδελυρώτατον FMV || καὶ τὸ χρῶμα PMV: τὸ σῶμα F   17 ψαλ(ιον) P:
-ψαλλίον V: ψέλιον F: ψέλλιον M   18 ἔκραξεν F
-
-1. Blass (_Rhythm. Asian._ p. 19) would read εἰσιόντι, comparing
-_intravit_ in Curtius iv. 6. 23.
-
-3. =συνέδραμεν=: cp. Propert. iii. 9. 17 “est quibus Eleae concurrit
-palma quadrigae; | est quibus in celeres gloria nata pedes.”
-
-6. =τῆς ἱκετείας=: Hegesias may have used the article in order to avoid
-the hiatus Ἀλεξάνδρῳ ἱκετείας. F omits it (as unnecessary).
-
-7. =τὰ πτερύγια τοῦ θώρακος=: cp. Schol. Venet. B ad Hom. _Il._ iv.
-132 ἵνα μὴ χαλεπὴ γένηται ἡ πληγή, εἰς τοῦτο τὸ μέρος ἄγει, καθ’
-ὃ ἀλλήλοις ἐπιφερόμενα τὰ πτερύγια τοῦ θώρακος ἐσφίγγετο ὑπὸ τοῦ
-ζωστῆρος. See also the references given under πτέρυξ in L. & S., and
-in Stephanus.—Perhaps Hegesias has _Il._ iv. 132 directly in mind. The
-meaning will then be (with F’s reading ἐπί), “as his assailant had
-struck it [the sword] against the skirts of Alexander’s corselet.”
-But the account in Curtius iv. 6. 15 seems to confirm ὑπό: “quo
-conspecto, Arabs quidam, Darei miles, maius fortuna sua facinus ausus,
-_gladium clipeo tegens_, quasi transfuga genibus regis advolvitur.
-ille adsurgere supplicem, recipique inter suos iussit. at barbarus
-gladio strenue in dextram translato _cervicem adpetiit regis_: qui
-exigua corporis declinatione evitato ictu in vanum manum barbari lapsam
-amputat gladio.”
-
-10. =ἐπίμπρα=: cp. Curtius iv. 6. 24 “inter primores dimicat; ira
-quoque _accensus_, quod duo in obsidione urbis eius vulnera acceperat.”
-The reading of P, ἐπὶ παλαιαῖς, apparently means ‘over and above the
-ancient ὀργαί,’ and it is possible that Hegesias wrote both this and
-ἐπίμπρα: or ἐπὶ παλαιαῖς may gloss πρόσφατος.
-
-12. The number, as given by Curtius (iv. 6. 30), was “circa decem
-milia.”
-
-=ὑπὸ τὴν σάλπιγγα ἐκείνην= = ὑπὸ τὸ σάλπισμα ἐκεῖνο: cp. Aristot.
-_Rhet._ iii. 6 οἷον τὸ φάναι τὴν σάλπιγγα εἶναι μέλος ἄλυρον.
-
-15. =βλοσυρώτατον=: cp. Curtius iv. 6. 27 “non interrito modo sed
-contumaci quoquo vultu intuens regem.” Usener conjectures βλοσυρωπόν,
-with considerable probability: cp. =162= 19 _supra_.
-
-17. =ψάλιον=: cp. Hesych. ψάλια· κρίκοι, δακτύλιοι, and _Antiq. Rom._
-ii. 38 καὶ αὐτὴν (Τάρπειαν) ἔρως εἰσέρχεται τῶν ψαλίων, ἃ περὶ τοῖς
-ἀριστεροῖς βραχίοσιν ἐφόρουν (οἱ Σαβῖνοι), καὶ τῶν δακτυλίων.—Probably
-here a large curb-chain is meant, rather than a cheek-ring, which
-would be too small. So Curtius iv. 6. 29 “per talos enim spirantis
-lora traiecta sunt [cp. Virg. _Aen._ ii. 273], religatumque ad currum
-traxere circa urbem equi gloriante rege, Achillen, a quo genus ipse
-deduceret, imitatum se esse poena in hostem capienda.” In Homer ἱμάντες
-are employed (=190= 13).
-
-18. =πιλεῖν= (‘to pound,’ ‘to knead’) is one of the many forced
-metaphors in this excerpt from Hegesias.
-
-[Page 189]
-
-that the leaders of the enemy had formed the design of meeting him
-as he approached. For they had come to the conclusion that, if they
-overcame him personally, they would be able to drive out all his host
-in a body. Now this hope ran with them on the path of daring, so that
-never before had Alexander been in such danger. One of the enemy fell
-on his knees, and seemed to Alexander to have done so in order to ask
-for mercy. Having allowed him to approach, he eluded (not without
-difficulty) the thrust of a sword which he had brought under the skirts
-of his corselet, so that the thrust was not mortal. Alexander himself
-slew his assailant with a blow of his sabre upon the head, while the
-king’s followers were inflamed with a sudden fury. So utterly was pity,
-in the breasts of those who saw and those who heard of the attempt,
-banished by the desperate daring of the man, that six thousand of the
-barbarians were cut down at the trumpet-call which forthwith rang out.
-Baetis himself, however, was brought before the king alive by Leonatus
-and Philotas. And Alexander seeing that he was corpulent and huge and
-most grim (for he was black in colour too), was seized with loathing
-for his very looks as well as for his design upon his life, and ordered
-that a ring of bronze should be passed through his feet and that he
-should be dragged round a circular course, naked. Harrowed by pain, as
-his body passed over many a rough piece of ground, he began to scream.
-And it was just this detail which I now mention that brought people
-together. The torment racked him,
-
-[Page 190]
-
-
-πόνος, βάρβαρον δ’ ἐβόα, δεσπότην καθικετεύων· γελᾶν δὲ ὁ
-σολοικισμὸς ἐποίει. τὸ δὲ στέαρ καὶ τὸ κύτος τῆς σαρκὸς
-ἐνέφαινε Βαβυλώνιον ζῷον ἕτερον ἁδρόν. ὁ μὲν οὖν ὄχλος
-ἐνέπαιζε, στρατιωτικὴν ὕβριν ὑβρίζων εἰδεχθῆ καὶ τῷ τρόπῳ
-σκαιὸν ἐχθρόν.”      5
-
-ἆρά γε ὅμοια ταῦτ’ ἐστὶ τοῖς Ὁμηρικοῖς ἐκείνοις, ἐν οἷς
-Ἀχιλλεύς ἐστιν αἰκιζόμενος Ἕκτορα μετὰ τὴν τελευτήν; καίτοι
-τό γε πάθος ἐκεῖνο ἔλαττον· εἰς ἀναίσθητον γὰρ σῶμα ἡ
-ὕβρις· ἀλλ’ ὅμως ἄξιόν ἐστιν ἰδεῖν, ὅσῳ διενήνοχεν ὁ ποιητὴς
-τοῦ σοφιστοῦ·      10
-
-        ἦ ῥα, καὶ Ἕκτορα δῖον ἀεικέα μήδετο ἔργα·
-        ἀμφοτέρων μετόπισθε ποδῶν τέτρηνε τένοντε
-        ἐς σφυρὸν ἐκ πτέρνης, βοέους δ’ ἐξῆπτεν ἱμάντας,
-        ἐκ δίφροιο δ’ ἔδησε· κάρη δ’ ἕλκεσθαι ἔασεν·
-        ἐς δίφρον δ’ ἀναβὰς ἀνά τε κλυτὰ τεύχε’ ἀείρας      15
-        μάστιξεν δ’ ἐλάαν, τὼ δ’ οὐκ ἀέκοντε πετέσθην.
-        τοῦ δ’ ἦν ἑλκομένοιο κονίσαλος· ἀμφὶ δὲ χαῖται
-        κυάνεαι πίμπλαντο, κάρη δ’ ἅπαν ἐν κονίῃσι
-        κεῖτο πάρος χαρίεν· τότε δὲ Ζεὺς δυσμενέεσσι
-        δῶκεν ἀεικίσσασθαι ἑῇ ἐν πατρίδι γαίῃ.      20
-        ὣς τοῦ μὲν κεκόνιτο κάρη ἅπαν· ἡ δέ νυ μήτηρ
-        τίλλε κόμην, ἀπὸ δὲ λιπαρὴν ἔρριψε καλύπτρην
-        τηλόσε, κώκυσεν δὲ μάλα μέγα παῖδ’ ἐσιδοῦσα·
-        ᾤμωξεν δ’ ἐλεεινὰ πατὴρ φίλος, ἀμφὶ δὲ λαοὶ
-
-1 καθικετεύων Schaefer: καὶ ἱκετεύων libri   2 κοῖτος F: κῦτος MV ||
-σαρκὸς F: γαστρὸς PMV   3 ἐνέφαινε MV^2: ἀνέφαινε F: ἐνεφαίνετο P ||
-ἀδρὸν F: ἁδρόν MV: ἀνδρος P   9 ἐστιν om. P || ὅσω F: πόσω PMV   12
-τένοντε F: τένοντας PMV   14 ἔασεν] ἔδησεν F   16 μάστιξέν ῥ’ Hom. ||
-ἀέκοντε FMV Hom.: ἄκοντε P   18 πίμπλαντο] πίτναντο Hom.   22 τίλλε F
-Hom.: τῆλε PM: τεῖλε V
-
-1. It is not clear whether the strict distinction between βαρβαρισμός
-(wrong vocabulary, spelling, or pronunciation) and =σολοικισμός=
-(wrong syntax) is here maintained. Possibly Batis may have offended
-(1) by using a word (δεσπότης) abhorrent to all free men of Greek
-blood, or (2) by using it in the wrong case, or (3) by mispronouncing
-it: cp. Sandys _History of Classical Scholarship_ i. 148, for the
-comprehensiveness of the term σολοικισμός. But if it be held that
-σολοικισμός cannot occur in one isolated word (cp. Quintil. i. 5. 36),
-then it may be supposed that the reference here is to grammatical
-blunders in other words ejaculated by the unhappy Batis.
-
-3. =Βαβυλώνιον ζῷον=: a comparison suggests itself with the Assyrian
-bulls represented in reliefs (cp. Tennyson’s _Maud_, “That oil’d and
-curl’d Assyrian Bull”).—The reading of P, ἕτερον ἀνδρός, might mean
-‘far different from a _man_’ (_viri_: not ἀνθρώπου, _hominis_).
-
-4. Hegesias’ use of =στρατιωτικός= may be compared with _de Lys._ c. 12
-(of Iphicrates) ἥ τε λέξις πολὺ τὸ φορτικὸν καὶ στρατιωτικὸν ἔχει καὶ
-οὐχ οὕτως ἐμφαίνει ῥητορικὴν ἀγχίνοιαν ὡς στρατιωτικὴν αὐθάδειαν καὶ
-ἀλαζονείαν.
-
-7. =ἐστιν αἰκιζόμενος=: not simply a periphrasis for αἰκίζεται.
-
-8. For Hector’s insensibility cp. Murray’s _Rise of the Greek Epic_
-pp. 118, 132.—The savagery of Achilles was, nevertheless, generally
-felt to need extenuation, as may be seen from the curious explanations
-proffered in the scholia: e.g. ὁ δὲ Καλλίμαχός φησιν ὅτι πάτριόν ἐστι
-Θεσσαλοῖς τοὺς τῶν φιλτάτων φονέας σύρειν περὶ τοὺς τῶν φονευθέντων
-τάφους, κτλ.
-
-11. Cp. Virg. _Aen._ ii. 268 ff. (the vision of the mangled Hector).
-
-[Page 191]
-
-and he kept uttering outlandish yells, asking mercy of Alexander as
-‘my lord’; and his jargon made them laugh. His fat and his bulging
-corpulence suggested to them another creature, a huge-bodied Babylonian
-animal. So the multitude scoffed at him, mocking with the coarse
-mockery of the camp an enemy who was so repulsive of feature and so
-uncouth in his ways.”[168]
-
-Is this description, I ask, comparable with those lines of Homer in
-which Achilles is represented as maltreating Hector after his death?
-And yet the suffering in the latter case is less, for it is on a mere
-senseless body that the outrage is inflicted. But it is worth while,
-nevertheless, to note the vast difference between the poet and the
-sophist:—
-
-    He spake, and a shameful mishandling devised he for Hector slain;
-    For behind each foot did he sunder therefrom the sinews twain
-    From the ankle-joint to the heel: hide-bands through the gashes he thrust;
-    To his chariot he bound them, and left the head to trail in the dust.
-    He hath mounted his car, and the glorious armour thereon hath he cast,
-    And he lashed the horses, and they with eager speed flew fast.
-    And a dust from the haling of Hector arose, and tossed wide-spread
-    His dark locks: wholly in dust his head lay low—that head
-    Once comely: ah then was the hero delivered over of Zeus
-    In his very fatherland for his foes to despitefully use.
-    So dust-besprent was his head; but his mother was rending her hair
-    The while, and she flung therefrom her head-veil glistering-fair
-    Afar, and with wild loud shriek as she looked on her son she cried;
-    And in piteous wise did his father wail, and on every side
-
-[Page 192]
-
-
-        κωκυτῷ τ’ εἴχοντο καὶ οἰμωγῇ κατὰ ἄστυ.
-        τῷ δὲ μάλιστ’ ἂρ ἔην ἐναλίγκιον, ὡς εἰ ἅπασα
-        Ἴλιος ὀφρυόεσσα πυρὶ σμύχοιτο κατ’ ἄκρης.
-
-οὕτως εὐγενὲς σῶμα καὶ δεινὰ πάθη λέγεσθαι προσῆκεν ὑπ’
-ἀνδρῶν φρόνημα καὶ νοῦν ἐχόντων. ὡς δὲ ὁ Μάγνης εἴρηκεν,      5
-ὑπὸ γυναικῶν ἢ κατεαγότων ἀνθρώπων λέγοιτ’ ἂν καὶ οὐδὲ
-τούτων μετὰ σπουδῆς, ἀλλ’ ἐπὶ χλευασμῷ καὶ καταγέλωτι.
-τί οὖν αἴτιον ἦν ἐκείνων μὲν τῶν ποιημάτων τῆς εὐγενείας,
-τούτων δὲ τῶν φλυαρημάτων τῆς ταπεινότητος; ἡ τῶν
-ῥυθμῶν διαφορὰ πάντων μάλιστα, καὶ εἰ μὴ μόνη. ἐν      10
-ἐκείνοις μὲν γὰρ οὐδὲ εἷς ἄσεμνος στίχος οὐδ’ ἀδόκιμος,
-ἐνταῦθα δὲ οὐδεμία περίοδος ἥτις οὐ λυπήσει.
-
-εἰρηκὼς δὴ καὶ περὶ τῶν ῥυθμῶν ὅσην δύναμιν ἔχουσιν,
-ἐπὶ τὰ λειπόμενα μεταβήσομαι.
-
-
-
-
-XIX
-
-
-ἦν δέ μοι τρίτον θεώρημα τῶν ποιούντων καλὴν ἁρμονίαν      15
-ἡ μεταβολή. λέγω δὲ οὐ τὴν ἐκ τῶν κρειττόνων ἐπὶ τὰ
-χείρω (πάνυ γὰρ εὔηθες), οὐδέ γε τὴν ἐκ τῶν χειρόνων ἐπὶ
-τὰ κρείττω, ἀλλὰ τὴν ἐν τοῖς ὁμοειδέσι ποικιλίαν. κόρον γὰρ
-ἔχει καὶ τὰ καλὰ πάντα, ὥσπερ καὶ τὰ ἡδέα, μένοντα ἐν τῇ
-ταυτότητι· ποικιλλόμενα δὲ ταῖς μεταβολαῖς ἀεὶ καινὰ μένει.      20
-τοῖς μὲν οὖν τὰ μέτρα καὶ τὰ μέλη γράφουσιν οὐχ ἅπαντα
-
-2 ἂρ FP: ἄρ’ MV   4 εὐγενὲς σῶμα F: εὐγενῶς ἅμα PMV || δεινὰ FPM:
-δεινῶς V   6 ὑπὸ F: ὡς ὑπὸ PMV   8 ἦν F: om. PMV   10 πάντων FM: om. PV
-|| καὶ εἰ FPM: εἰ καὶ V || ἐν om. P   11 οὐδὲ εἷς P, MV: οὐδεὶς F ||
-οὐδὲ (οὐδ’ V) ἀδόκιμος MV: ἢ ἀδόκιμος F: om. P   12 ἥτις οὐ λυπήσει om.
-F   13 δὴ F: δὲ PMV   15 δέ] δή F   19 μένοντα PMV: ὄντα EF   20 δὲ EF:
-δ’ ἐν PMV || ἀεὶ EF: ὡς ἀεὶ MV: om. P   21 τοῖς EF: ἐν τοῖς PV: ἐν οἷς M
-
-5. =φρόνημα=, ‘pride,’ ‘spirit,’ ‘mettle,’ ‘feeling,’ ‘self-respect’:
-cp. =186= 5.
-
-6. =κατεαγότων=, ‘enervated,’ ‘effeminate’ (Lat. _fractus_): cp.
-Philo Jud. i. 262 (Mangey) ἄνανδροι καὶ κατεαγότες καὶ θηλυδρίαι τὰ
-φρονήματα, i. 273 πάθεσι τοῖς κατεαγόσι καὶ τεθηλυμμένοις.
-
-8, 9. =ἐκείνων= refers to the passage last quoted, =τούτων= to
-that quoted first. The remoteness implied in ἐκείνων is here that
-of greatness and antiquity; the nearness in τούτων, that of the
-commonplace and recent.
-
-10. The reading εἰ καὶ (‘although’) would perhaps be preferable in
-sense, if only it had better manuscript attestation. [In =198= 15 there
-is a similar fluctuation between καὶ εἰ and εἰ καί.]
-
-13. For various points of rhythm and metre raised in cc. 18, 19, and
-elsewhere, reference may be made to the Introduction, pp. 33-9.
-
-16. For the importance of _variety_ (especially in relation to rhythm)
-cp. a well-known fragment of Isocrates’ _Art of Rhetoric_: ὅλως δὲ ὁ
-λόγος μὴ λόγος ἔστω, ξηρὸν γάρ· μηδὲ ἔμμετρος, καταφανὲς γάρ. ἀλλὰ
-μεμίχθω παντὶ ῥυθμῷ, μάλιστα ἰαμβικῷ ἢ τροχαϊκῷ (“prose must not be
-merely prose, or it will be dry; nor metrical, or its art will be
-undisguised; but it should be compounded with every sort of rhythm,
-particularly iambic or trochaic”). The views of Theophrastus on the
-point are reported in Cic. _de Orat._ iii. 48. 184 ff. “namque ego
-illud adsentior Theophrasto, qui putat orationem, quae quidem sit
-polita atque facta quodam modo, non astricte, sed remissius numerosam
-esse oportere,” etc.
-
-18. =κόρον=: cp. _Ep. ad Cn. Pomp._ c. 3 κόρον δ’ ἔχει, φησὶν ὁ
-Πίνδαρος [_Nem._ vii. 52], καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ ἀφροδίσια, and
-Hom. _Il._ xiii. 636 πάντων μὲν κόρος ἐστί, κτλ.
-
-19. =μένοντα= avoids the awkward hiatus ἡδέα ὄντα. The fact that μένει
-follows shortly is not a conclusive objection, since Dionysius, and
-Greek authors generally, were free from the bad taste which avoids, at
-all costs, repetitions of this kind: cp. λαμβανόμενα ... λήψεται (=106=
-18).
-
-[Page 193]
-
-
-    Through the city the folk brake forth into shriek and wail at the sight.
-    It was like unto this above all things, as though, from her topmost height
-    To the ground, all beetling Troy in flame and in smoke were rolled.[169]
-
-That is the way in which a noble corpse and terrible sufferings should
-be described by men of feeling and understanding. But after the fashion
-of this Magnesian they could be described by women only or effeminate
-men, and even by them not in earnest, but in a spirit of derision and
-mockery. To what, then, is due the nobility of these lines, as compared
-with the miserable absurdities of the other passage? Chiefly, if not
-entirely, to the difference in the rhythms. In the quotation from Homer
-there is not one unimpressive or unworthy verse, while in that from
-Hegesias every single sentence will prove offensive.
-
-Having now discussed the importance of rhythm, I will pass on to the
-topics that remain.
-
-
-
-
-CHAPTER XIX
-
-ON VARIETY
-
-
-The third cause of beautiful arrangement that was to be examined is
-variety. I do not mean the change from the better to the worse (that
-would be too foolish), nor yet that from the worse to the better, but
-variety among things that are similar. For satiety can be caused by all
-beautiful things, just as by things sweet to the taste, when there is
-an unvarying sameness about them; but if diversified by changes, they
-always remain new. Now writers in metre and in lyric measures cannot
-introduce
-
-[Page 194]
-
-
-ἔξεστι μεταβάλλειν ἢ οὐχ ἅπασιν οὐδ’ ἐφ’ ὅσον βούλονται.
-αὐτίκα τοῖς μὲν ἐποποιοῖς μέτρον οὐκ ἔξεστι μεταβάλλειν,
-ἀλλ’ ἀνάγκη πάντας εἶναι τοὺς στίχους ἑξαμέτρους· οὐδέ
-γε ῥυθμόν, ἀλλὰ τοῖς ἀπὸ μακρᾶς ἀρχομένοις συλλαβῆς
-χρήσονται καὶ οὐδὲ τούτοις ἅπασι. τοῖς δὲ τὰ μέλη γράφουσιν      5
-τὸ μὲν τῶν στροφῶν τε καὶ ἀντιστρόφων οὐχ οἷόν τε
-ἀλλάξαι μέλος, ἀλλ’ ἐάν τ’ ἐναρμονίους ἐάν τε χρωματικὰς
-ἐάν τε διατόνους ὑποθῶνται μελῳδίας, ἐν πάσαις δεῖ ταῖς
-στροφαῖς τε καὶ ἀντιστρόφοις τὰς αὐτὰς ἀγωγὰς φυλάττειν·
-οὐδέ γε τοὺς περιέχοντας ὅλας τὰς στροφὰς ῥυθμοὺς καὶ      10
-τὰς ἀντιστρόφους, ἀλλὰ δεῖ καὶ τούτους τοὺς αὐτοὺς διαμένειν·
-περὶ δὲ τὰς καλουμένας ἐπῳδοὺς ἀμφότερα κινεῖν ταῦτα
-ἔξεστι τό τε μέλος καὶ τὸν ῥυθμόν. τά τε κῶλα ἐξ ὧν
-ἑκάστη συνέστηκε περίοδος ἐπὶ πολλῆς ἐξουσίας δέδοται
-αὐτοῖς ποικίλως διαιρεῖν ἄλλοτε ἄλλα μεγέθη καὶ σχήματα      15
-αὐταῖς περιτιθέντας, ἕως ἂν ἀπαρτίσωσι τὴν στροφήν· ἔπειτα
-πάλιν δεῖ τὰ αὐτὰ μέτρα καὶ κῶλα ποιεῖν. οἱ μὲν οὖν
-ἀρχαῖοι μελοποιοί, λέγω δὲ Ἀλκαῖόν τε καὶ Σαπφώ, μικρὰς
-ἐποιοῦντο στροφάς, ὥστ’ ἐν ὀλίγοις τοῖς κώλοις οὐ πολλὰς
-εἰσῆγον τὰς μεταβολάς, ἐπῳδοῖς τε πάνυ ἐχρῶντο ὀλίγοις· οἱ      20
-δὲ περὶ Στησίχορόν τε καὶ Πίνδαρον μείζους ἐργασάμενοι τὰς
-περιόδους εἰς πολλὰ μέτρα καὶ κῶλα διένειμαν αὐτὰς οὐκ
-ἄλλου τινὸς ἢ τῆς μεταβολῆς ἔρωτι. οἱ δέ γε διθυραμβοποιοὶ
-
-8 ὑποθῶνται FE: ὑπόθωνται PMV   9 τε καὶ PMV (cf. l. 6 supra): καὶ EF
-  11 τὰς ἀντιστροφὰς PM: τοὺς ἀντιστρόφους F: ἀντιστροφὰς V   12 ἐπῳδὰς
-V || ταῦτά ἐστιν F   14 ἑκάστη συνέστηκεν περίοδος PMV: συνέστηκε
-περίοδος ἑκάστη E: συνέστηκε περίοδος F   15 αὐτοῖς secl. Usener   16
-αὐταῖς PMV: αὐτοῖς EF || ἂν om. F   18 δὲ om. EF   20 εἰσῆγον τὰς PMV:
-εἰσῆγον EF
-
-5. =οὐδὲ τούτοις ἅπασι=: e.g. not the cretic, and (strictly) not the
-trochee.
-
-7. =ἐναρμονίους ... χρωματικὰς ... διατόνους=: the distinction between
-these scales is indicated in Macran’s _Harmonics of Aristoxenus_ p.
-6: “Was it then possible to determine for practical purposes the
-smallest musical interval? To this question the Greek theorists gave
-the unanimous reply, supporting it by a direct appeal to facts,
-that the voice can sing, and the ear perceive, a quarter-tone; but
-that any smaller interval lies beyond the power of ear and voice
-alike. Disregarding then the order of the intervals, and considering
-only their magnitudes, we can see that one possible division of the
-tetrachord was into two quarter-tones and a ditone, or space of two
-tones; the employment of these intervals characterized a scale as of
-the Enharmonic genus. Or again, employing larger intervals one might
-divide the tetrachord into, say, two-thirds of a tone, and the space of
-a tone and five-sixths: or into two semitones, and the space of a tone
-and a half. The employment of these divisions or any lying between them
-marked a scale as Chromatic. Or finally, by the employment of two tones
-one might proceed to the familiar Diatonic genus, which divided the
-tetrachord into two tones and a semitone. Much wonder and admiration
-has been wasted on the Enharmonic scale by persons who have missed
-the true reason for the disappearance of the quarter-tone from our
-modern musical system. Its disappearance is due not to the dulness or
-coarseness of modern ear or voice, but to the fact that the more highly
-developed unity of our system demands the accurate determination of all
-sound-relations by direct or indirect resolution into concords; and
-such a determination of quarter-tones is manifestly impossible.”
-
-18. =ἀρχαῖοι=: as compared, say, with Pindar.
-
-20. =οἱ δὲ περὶ Στησίχορόν τε καὶ Πίνδαρον=: the two possible senses
-of this and similar phrases may be illustrated from Plutarch, viz.
-(1) the man and his followers, e.g. οἱ περὶ Δημοσθένην (Plutarch _Vit
-Demosth._ 28. 2); (2) the man himself, e.g. τοὺς περὶ Αἰσχίνην καὶ
-Φιλοκράτην (_ibid._ 16. 2: cp. 30. 2) = ‘Aeschines and Philocrates.’ So
-with οἱ ἀμφί and οἱ κατά. But sense (2) needs careful scrutiny wherever
-it seems to occur; the meaning may simply be ‘men like Aeschines,’
-etc.—For the ‘graves Camenae’ of Stesichorus cp. Hor. _Carm._ iv. 9. 8,
-and Quintil. x. 1. 62 “Stesichorus quam sit ingenio validus, materiae
-quoque ostendunt, maxima bella et clarissimos canentem duces et epici
-carminis onera lyra sustinentem.”
-
-21. Such long periods are particularly effective (cp. =196= 13) when
-they include clauses of various lengths and end with an impressive
-one: e.g. Cic. _Catil._ ii. 1. 1 “Tandem aliquando, Quirites, L.
-Catilinam, | furentem audacia, | scelus anhelantem, | pestem patriae
-nefarie molientem, | vobis atque huic urbi ferro flammaque minitantem,
-| ex urbe vel eiecimus, | vel emisimus, | vel ipsum egredientem
-verbis prosecuti sumus”; and similarly Bossuet _Oraison funèbre de
-Henriette-Marie de France_: “Celui qui règne dans les cieux | et de qui
-relèvent tous les empires, | à qui seul appartient la gloire, la majesté
-et l’indépendance | est aussi le seul qui se glorifie de faire la loi
-aux rois, | et de leur donner, quand il lui plaît, de grandes et de
-terribles leçons.”
-
-[Page 195]
-
-change everywhere; or rather, I should say, cannot all introduce
-change, and none as much as they wish. For instance, epic writers
-cannot vary their metre, for all the lines must necessarily be
-hexameters; nor yet the rhythm, for they must use those feet that begin
-with a long syllable, and not all even of these. The writers of lyric
-verse cannot vary the melodies of strophe and antistrophe, but whether
-they adopt enharmonic melodies, or chromatic, or diatonic, in all the
-strophes and antistrophes the same sequences must be observed. Nor,
-again, must the rhythms be changed in which the entire strophes and
-antistrophes are written, but these too must remain unaltered. But in
-the so-called _epodes_ both the tune and the rhythm may be changed.
-Great freedom, too, is allowed to an author in varying and elaborating
-the clauses of which each period is composed by giving them different
-lengths and forms in different instances, until they complete a
-strophe; but after that, similar metres and clauses must be composed
-for the antistrophe. Now the ancient writers of lyric poetry—I refer
-to Alcaeus and Sappho—made their strophes short, so that they did not
-introduce many variations in the clauses, which were few in number,
-while the use they made of the epode was very slight. Stesichorus and
-Pindar and their schools framed their periods on a larger scale, and
-divided them into many measures and clauses, simply from the love of
-variety. The dithyrambic poets used to change the _modes_ also,
-
-[Page 196]
-
-
-καὶ τοὺς τρόπους μετέβαλλον, Δωρίους τε καὶ Φρυγίους καὶ
-Λυδίους ἐν τῷ αὐτῷ ᾄσματι ποιοῦντες, καὶ τὰς μελῳδίας
-ἐξήλλαττον, τοτὲ μὲν ἐναρμονίους ποιοῦντες, τοτὲ δὲ χρωματικάς,
-τοτὲ δὲ διατόνους, καὶ τοῖς ῥυθμοῖς κατὰ πολλὴν
-ἄδειαν ἐνεξουσιάζοντες διετέλουν, οἵ γε δὴ κατὰ Φιλόξενον καὶ      5
-Τιμόθεον καὶ Τελεστήν, ἐπεὶ παρά γε τοῖς ἀρχαίοις τεταγμένος
-ἦν καὶ ὁ διθύραμβος.
-
-ἡ δὲ πεζὴ λέξις ἅπασαν ἐλευθερίαν ἔχει καὶ ἄδειαν
-ποικίλλειν ταῖς μεταβολαῖς τὴν σύνθεσιν, ὅπως βούλεται.
-καὶ ἔστι λέξις κρατίστη πασῶν, ἥτις ἂν ἔχῃ πλείστας      10
-ἀναπαύλας τε καὶ μεταβολὰς ἐναρμονίους, ὅταν τουτὶ μὲν ἐν
-περιόδῳ λέγηται, τουτὶ δ’ ἔξω περιόδου, καὶ ἥδε μὲν ἡ
-περίοδος ἐκ πλειόνων πλέκηται κώλων, ἥδε δ’ ἐξ ἐλαττόνων,
-αὐτῶν δὲ τῶν κώλων τὸ μὲν βραχύτερον ᾖ, τὸ δὲ μακρότερον,
-καὶ τὸ μὲν αὐτουργότερον, τὸ δὲ ἀκριβέστερον, ῥυθμοί τε      15
-ἄλλοτε ἄλλοι καὶ σχήματα παντοῖα καὶ τάσεις φωνῆς αἱ
-καλούμεναι προσῳδίαι διάφοροι κλέπτουσαι τῇ ποικιλίᾳ τὸν
-κόρον. ἔχει δέ τινα χάριν ἐν τοῖς τοιούτοις καὶ τὸ οὕτω
-συγκείμενον ὥστε μὴ συγκεῖσθαι δοκεῖν. καὶ οὐ πολλῶν δεῖν
-οἶμαι λόγων εἰς τοῦτο τὸ μέρος· ὅτι γὰρ ἥδιστόν τε καὶ      20
-κάλλιστον ἐν λόγοις μεταβολή, πάντας εἰδέναι πείθομαι.
-παράδειγμα δὲ αὐτῆς ποιοῦμαι πᾶσαν μὲν τὴν Ἡροδότου
-λέξιν, πᾶσαν δὲ τὴν Πλάτωνος, πᾶσαν δὲ τὴν Δημοσθένους·
-ἀμήχανον γὰρ εὑρεῖν τούτων ἑτέρους ἐπεισοδίοις τε πλείοσι
-καὶ ποικιλίαις εὐκαιροτέραις καὶ σχήμασι πολυειδεστέροις      25
-χρησαμένους· λέγω δὲ τὸν μὲν ὡς ἐν ἱστορίας σχήματι, τὸν
-
-7 καὶ F: om. PMV   8 ἔχει καὶ ἄδειαν PMV: καὶ ἄδειαν ἔχει F: ἔχει E   10
-ἔχη F: ἔχει P: ἔχοι EMV   11 ἐναρμονίους EF: ἁρμονίας PMV   14 ᾖ] τι F
-  15 αὐτουργότερον F: αὐτῶν (om. E) γοργότερον τὸ δὲ βραδύτερον EPMV
-|| τὸ δὲ ἀκριβέστερον om. EF   18 ἐν P^2MV: ἐτι P^1: om. F   19 καὶ
-F: om. PMV || δεῖν οἶμαι F: δὲ οἴομαι δεῖν PMV   20 τοῦτο PMV: τουτὶ
-F   21 μεταβολή FP: ἡ μεταβολή MV   24 ἀμήχανον PMV: ἀδύνατον EF   25
-ποικίλαις F || εὐκαιροτέροις EF: εὐροωτέραις PMV   26 μὲν ὡς] μὲν P ||
-ἱστορίαις PMV || σχήματι EF: σχηματισμὸν PM: σχηματισμῷ V
-
-1. For the characteristics of the various modes cp. (besides the
-_Republic_ and the _Politics_) Lucian _Harmonides_ i. 1 καὶ τῆς
-ἁρμονίας ἑκάστης διαφυλάττειν τὸ ἴδιον, τῆς Φρυγίου τὸ ἔνθεον, τῆς
-Λυδίου τὸ Βακχικόν, τῆς Δωρίου τὸ σεμνόν, τῆς Ἰωνικῆς τὸ γλαφυρόν.
-
-3. =τοτὲ μὲν ... τοτὲ δέ=: cp. =132= 19, where (as here) F and P have
-τότε.
-
-5. =ἐνεξουσιάζοντες=, ‘using full liberty,’ ‘showing their
-independence.’ Cp. _de Thucyd._ c. 8 ... οὔτε προστιθεὶς τοῖς πράγμασιν
-οὐδὲν ὃ μὴ δίκαιον οὔτε ἀφαιρῶν, οὐδὲ ἐνεξουσιάζων τῇ γραφῇ, ἀνέγκλητον
-δὲ καὶ καθαρὰν τὴν προαίρεσιν ἀπὸ παντὸς φθόνου καὶ πάσης κολακείας
-φυλάττων, and c. 24 _ibid._ ἐν δὲ τοῖς συνθετικοῖς καὶ τοῖς προθετικοῖς
-μορίοις καὶ ἔτι μᾶλλον ἐν τοῖς διαρθροῦσι τὰς τῶν ὀνομάτων δυνάμεις
-ποιητοῦ τρόπον ἐνεξουσιάζων (translated in D.H. p. 135). So Hor.
-_Carm._ iv. 2. 10 “seu per audaces nova dithyrambos | verba devolvit
-numerisque fertur | lege solutis.”
-
-=οἱ κατά= may refer simply to the individuals mentioned, or to them and
-their contemporaries: cp. note on =194= 20.
-
-For =Philoxenus=, =Timotheus= (including the newly discovered
-_Persae_), and =Telestes= see Jebb’s _Bacchylides_ pp. 47-55; Weir
-Smyth’s _Greek Melic Poets_ pp. 460-7; W. von Christ _Gesch. der
-Griech. Litt._^3 pp. 188, 189.
-
-8. =ἐλευθερίαν ἔχει καὶ ἄδειαν=: it is a mistake to cut out καὶ ἄδειαν
-on the authority of E alone. An Epitomizer would naturally omit the
-words, while Dionysius’ liking for amplitude and rhythm would as
-naturally lead him to use them. Cp. Demosth. _Timocr._ § 205 εἰ δέ τις
-εἰσφέρει νόμον ἐξ οὗ τοῖς ὑμᾶς βουλομένοις ἀδικεῖν ἡ πᾶσ’ #ἐξουσία
-καὶ ἄδεια# γενήσεται, οὗτος ὅλην ἀδικεῖ τὴν πόλιν καὶ καταισχύνει
-πάντας. The word ἄδεια is found also in l. 5 _supra_ and =176= 20. The
-repetition within a few sentences is not inconsistent with Dionysius’
-practice in such matters: cp. note on =192= 19 _supra_.
-
-[Page 197]
-
-introducing Dorian and Phrygian and Lydian modes in the same song; and
-they varied the melodies, making them now enharmonic, now chromatic,
-now diatonic; and in the rhythms they continually showed the boldest
-independence,—I mean Philoxenus, Timotheus, Telestes, and men of their
-stamp,—since among the ancients even the dithyramb had been subject to
-strict metrical laws.
-
-Prose-writing has full liberty and permission to diversify composition
-by whatever changes it pleases. A style is finest of all when it has
-the most frequent rests and changes of harmony; when one thing is
-said within a period, another without it; when one period is formed
-by the interweaving of a larger number of clauses, another by that of
-a smaller; when among the clauses themselves one is short, another
-longer, one roughly wrought, another more finished; when the rhythms
-take now one form, now another, and the figures are of all kinds, and
-the voice-pitches—the so-called “accents”—are various, and skilfully
-avoid satiety by their diversity. There is considerable charm, among
-efforts of this kind, in what is so composed that it does not seem
-to be artificially composed at all. I do not think that many words
-are needed on this point. Everybody, I believe, is aware that, in
-prose, variety is full of charm and beauty. And as examples of it I
-reckon all the writings of Herodotus, all those of Plato, and all
-those of Demosthenes. It is impossible to find other writers who have
-introduced more episodes than these, or better-timed variations, or
-more multiform figures: the first in the narrative form, the second in
-graceful dialogue,
-
-[Page 198]
-
-
-δ’ ὡς ἐν διαλόγων χάριτι, τὸν δ’ ὡς ἐν λόγων ἐναγωνίων
-χρείᾳ. ἀλλ’ οὐχ ἥ γε Ἰσοκράτους καὶ τῶν ἐκείνου γνωρίμων
-αἵρεσις ὁμοία ταύταις ἦν, ἀλλὰ καίπερ ἡδέως καὶ μεγαλοπρεπῶς
-πολλὰ συνθέντες οἱ ἄνδρες οὗτοι περὶ τὰς μεταβολὰς καὶ τὴν
-ποικιλίαν οὐ πάνυ εὐτυχοῦσιν· ἀλλ’ ἔστι παρ’ αὐτοῖς εἷς      5
-περίοδου κύκλος, ὁμοειδὴς σχημάτων τάξις, φυλακὴ συμπλοκῆς
-φωνηέντων ἡ αὐτή, ἄλλα πολλὰ τοιαῦτα κόπτοντα τὴν
-ἀκρόασιν. οὐ δὴ ἀποδέχομαι τὴν αἵρεσιν ἐκείνην κατὰ τοῦτο
-τὸ μέρος. καὶ αὐτῷ μὲν ἴσως τῷ Ἰσοκράτει πολλαὶ χάριτες
-ἐπήνθουν ἄλλαι ταύτην ἐπικρύπτουσαι τὴν ἀμορφίαν, παρὰ      10
-δὲ τοῖς μετ’ ἐκεῖνον ἀπ’ ἐλαττόνων τῶν ἄλλων κατορθωμάτων
-περιφανέστερον γίνεται τοῦτο τὸ ἁμάρτημα.
-
-
-
-
-XX
-
-
-εἷς ἔτι καταλείπεταί μοι λόγος ὁ περὶ τοῦ πρέποντος.
-καὶ γὰρ τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι δεῖ τὸ πρέπον,
-καὶ εἴ τι ἄλλο ἔργον ἀτυχεῖ τούτου τοῦ μέρους, καὶ εἰ μὴ      15
-τοῦ παντός, τοῦ κρατίστου γε ἀτυχεῖ. περὶ μὲν οὖν ὅλης τῆς
-ἰδέας ταύτης οὐχ οὗτος ὁ καιρὸς ἀνασκοπεῖν· βαθεῖα γάρ τις
-αὐτοῦ καὶ πολλῶν πάνυ δεομένη λόγων ἡ θεωρία. ὅσα δὲ εἰς
-τοῦτο συντείνει τὸ μέρος ὑπὲρ οὗ τυγχάνω ποιούμενος τὸν
-λόγον, εἰ μὴ καὶ τὰ πάντα, μηδὲ τὰ πλεῖστα, ὅσα γε οὖν      20
-ἐγχωρεῖ, λεγέσθω.
-
-ὁμολογουμένου δὴ παρὰ πᾶσιν ὅτι πρέπον ἐστὶ τὸ τοῖς
-ὑποκειμένοις ἁρμόττον προσώποις τε καὶ πράγμασιν, ὥσπερ
-ἐκλογὴ τῶν ὀνομάτων εἴη τις ἂν ἡ μὲν πρέπουσα τοῖς ὑποκειμένοις
-ἡ δὲ ἀπρεπής, οὕτω δήπου καὶ σύνθεσις. παράδειγμα      25
-δὲ τούτου χρὴ λαμβάνειν τὴν ἀλήθειαν. ὃ δὲ λέγω, τοιοῦτόν
-
-1 ὡς ἐναγωνίων (om. ἐν λόγων) F   2 οὐχ ἥ γε PMV: οὐχ ἡ E: οὐχὶ ἡ F
-|| ἐκείνου EF: ἐκείνω PM: ἐκείνων V   3 ἀλλὰ καὶ περιδεῶσ P   5 εἷς
-περιόδου om. FE   6 τις post κύκλος add. E (vocabulis εἷς περιόδου
-omissis) || φυλακὴ EF: φυσικὴ M: λέξις P: om. V   7 ἀλλὰ F   8 αἴρεσιν
-F: διαίρεσιν P   10 ἄλλαι EF: om. PMV   11 ἀπ’ EPV: οὐκ ἀπ’ F, M ||
-τῶν ἄλλων om. F   12 γίνεται om. F   13 εἷς ἔτι PMV: ἔτι τις F: ἔτι E
-  14 καὶ Schaefer: ὡς libri || χρώμασι F: σχήμασιν PMV || ἅπασι om. F
-  15 ἄλλο om. P || καὶ εἰ F: εἰ καὶ PMV   18 αὐτοῦ P: αὕτη FMV || πάνυ
-δεομένη PMV: δεομένη σφόδρα F   20 τὰ πάντα PMV: πάντα F   21 λεγέσθω]
-γενέσθω F   23 ἀρμόττον F, E: ἁρμόζον PMV || ὥσπερ F: ὥσπερ ἡ PMV   25
-καὶ E: καὶ ἡ FPMV   26 λαμβάνειν F: παραλαμβάνειν PMV
-
-2. The following passage emphasizes in a striking way the supreme
-importance of variety as an element in excellence of style.
-
-6. =φυλακή=: P’s reading λέξις may, as Usener suggests, be a relic of
-φύλαξις.
-
-14. The manuscript reading ὡς suggests the possibility that some such
-words as εἴρηται πρότερον have been lost after ἀτυχεῖ in l. 16.
-
-18. =αὐτοῦ=, ‘the matter,’ ‘the question.’ Cp. Eurip. _Phoen._ 626 αὐτὸ
-σημανεῖ (_res ipsa declarabit_). See also note on =140= 14 _supra_.
-
-[Page 199]
-
-the third in the practical work of forensic oratory. As for the methods
-of Isocrates and his followers, they are not to be compared with the
-styles of those writers. The Isocratic authors have composed much with
-charm and distinction; but in regard to change and diversity they
-are anything but happy. We find in them one continually recurring
-period, a monotonous order of figures, the invariable observance of
-vowel-blending, and many other similar things which fatigue the ear.
-I cannot approve that school on this side. In Isocrates himself, it
-may be conceded, many charms were displayed which helped to hide this
-blemish. But among his successors, by reason of their fewer redeeming
-excellences, the fault mentioned stands out more glaringly.
-
-
-
-
-CHAPTER XX
-
-ON APPROPRIATENESS
-
-
-It still remains for me to speak about appropriateness. All the other
-ornaments of speech must be associated with what is appropriate;
-indeed, if any other quality whatever fails to attain this, it fails to
-attain the main essential,—perhaps fails altogether. Into the question
-as a whole this is not the right time to go; it is a profound study,
-and would need a long treatise. But let me say what bears on the
-special department which I am actually discussing; or if not all that
-bears on it, nor even the largest part, at all events as much as is
-possible.
-
-It is admitted among all critics that appropriateness is that treatment
-which suits the actors and actions concerned. Just as the choice of
-words may be either appropriate or inappropriate to the subject matter,
-so also surely must the composition be. This statement I had best
-illustrate from actual life. I refer to
-
-[Page 200]
-
-
-ἐστιν· οὐχ ὁμοίᾳ συνθέσει χρώμεθα ὀργιζόμενοι καὶ χαίροντες,
-οὐδὲ ὀλοφυρόμενοι καὶ φοβούμενοι, οὐδ’ ἐν ἄλλῳ τινὶ πάθει ἢ
-κακῷ ὄντες, ὥσπερ ὅταν ἐνθυμώμεθα μηδὲν ὅλως ἡμᾶς ταράττειν
-μηδὲ παραλυπεῖν. δείγματος ἕνεκα ταῦτ’ εἴρηκα ὀλίγα
-περὶ πολλῶν, ἐπεὶ μυρία ὅσα τις ἂν εἰπεῖν ἔχοι τὰς ἰδέας      5
-ἁπάσας ἐκλογίζεσθαι βουλόμενος τοῦ πρέποντος· ἓν δὲ ὃ
-προχειρότατον ἔχω καὶ κοινότατον εἰπεῖν ὑπὲρ αὐτοῦ, τοῦτ’
-ἐρῶ. οἱ αὐτοὶ ἄνθρωποι ἐν τῇ αὐτῇ καταστάσει τῆς ψυχῆς
-ὄντες ὅταν ἀπαγγέλλωσι πράγματα οἷς ἂν παραγενόμενοι
-τύχωσιν, οὐχ ὁμοίᾳ χρῶνται συνθέσει περὶ πάντων, ἀλλὰ      10
-μιμητικοὶ γίνονται τῶν ἀπαγγελλομένων καὶ ἐν τῷ συντιθέναι
-τὰ ὀνόματα, οὐδὲν ἐπιτηδεύοντες ἀλλὰ φυσικῶς ἐπὶ τοῦτο
-ἀγόμενοι. ταῦτα δὴ παρατηροῦντα δεῖ τὸν ἀγαθὸν ποιητὴν
-καὶ ῥήτορα μιμητικὸν εἶναι τῶν πραγμάτων ὑπὲρ ὧν ἂν τοὺς
-λόγους ἐκφέρῃ, μὴ μόνον κατὰ τὴν ἐκλογὴν τῶν ὀνομάτων      15
-ἀλλὰ καὶ κατὰ τὴν σύνθεσιν. ὃ ποιεῖν εἴωθεν ὁ δαιμονιώτατος
-Ὅμηρος καίπερ μέτρον ἔχων ἓν ὡς καὶ ῥυθμοὺς ὀλίγους, ἀλλ’
-ὅμως ἀεί τι καινουργῶν ἐν αὐτοῖς καὶ φιλοτεχνῶν, ὥστε μηδὲν
-ἡμῖν διαφέρειν γινόμενα τὰ πράγματα ἢ λεγόμενα ὁρᾶν. ἐρῶ
-δὲ ὀλίγα, οἷς ἄν τις δύναιτο παραδείγμασι χρῆσθαι πολλῶν.      20
-ἀπαγγέλλων δὴ πρὸς τοὺς Φαίακας Ὀδυσσεὺς τὴν ἑαυτοῦ
-πλάνην καὶ τὴν εἰς ᾅδου κατάβασιν εἰπὼν τὰς ὄψεις τῶν
-ἐκεῖ κακῶν ἀποδίδωσιν. ἐν δὴ τούτοις καὶ τὰ περὶ τὸν
-Σίσυφον διηγεῖται πάθη, ᾧ φασι τοὺς καταχθονίους θεοὺς
-ὅρον πεποιῆσθαι τῆς τῶν δεινῶν ἀπαλλαγῆς, ὅταν ὑπὲρ ὄχθου      25
-τινὸς ἀνακυλίσῃ πέτρον· τοῦτο δὲ ἀμήχανον εἶναι καταπίπτοντος
-ὅταν εἰς ἄκρον ἔλθῃ πάλιν τοῦ πέτρου. πῶς οὖν
-
-3 μηδὲν ὅλως ἡμᾶς F: καὶ μηδὲν ἡμᾶς ὅλως PMV || πράττειν μηδὲ
-παραλυπεῖν F: ταράττηι μηδὲ παραλυπηῖ P, MV   4 δείγματος F: δείγματος
-ἢ παραδείγματος PMV   5 ἐπεὶ μυρία PMV: μυρία ἄλλα ἐστὶν F || ἂν F:
-αἴτια PMV   10 ἀλλὰ PMV: ἀλλὰ καὶ EF   13 δὴ F: δὲ PMV   17 καίπερ EF:
-καί τοι P, MV || ἓν ὡς] ἑν(ως) P: ἐν ᾧ M: ἓν V: om. EF   18 αὐτοῖς EF:
-τούτοις PV: τούτω M   20 παράδειγμα P: παραδείγματι V || πολλῶν F: ἐπὶ
-πολλῶν PMV   21 δὴ FP: οὖν MV   26 πέτρον F: πέτρον τινά PMV   27 τοῦ
-πέτρου om. F
-
-1. It is implied that no general rules can be laid down on this point,
-but we must trust to nature,—to the aesthetic perceptions of the
-individual author,—on the principle that “tristia maestum | vultum
-verba decent, iratum plena minarum, | ludentem lasciva, severum seria
-dictu,” Hor. _Ars P._ 105-7.
-
-3. An early reading may have been ὥσπερ εὐθυμούμεθα ὅταν μηδὲν ὅλως
-ἡμᾶς ταράττῃ μηδὲ παραλυπῇ.
-
-7. =προχειρότατον=: lit. ‘readiest to hand.’—The verb προχειρίζεσθαι is
-used often by Dionysius (=76= 2, =236= 21, =250= 13) in the meaning ‘to
-select.’
-
-13. =ταῦτα δὴ παρατηροῦντα=: Dionysius would (as the trend of his
-argument throughout the treatise shows) have an author not only
-observe, but _improve upon_, the methods of ordinary people. There
-is no real discrepancy between this passage and that quoted (=78= 18
-_supra_) from Coleridge’s _Biographia Literaria_.
-
-17. =ῥυθμοὺς ὀλίγους=: the two feet (dactyl and spondee) apparently
-are meant. Of course, the hexameter line can be so divided as to yield
-longer feet such as the βακχεῖος (see =206= 11) or the molossus; but
-such divisions are not natural.
-
-18. =καινουργῶν ... καὶ φιλοτεχνῶν=: see D.H. p. 46.
-
-26. Here, and in =202= 8, =πέτρος= is used to represent Homer’s λᾶας:
-in =202= 10, 13, πέτρα. ὄχθος (=202= 9) = Homer’s λόφος.
-
-[Page 201]
-
-the fact that we do not put our words together in the same way when
-angry as when glad, nor when mourning as when afraid, nor when under
-the influence of any other emotion or calamity as when conscious that
-there is nothing at all to agitate or annoy us.
-
-These few words on a wide subject are merely examples of the countless
-other things which could be added if one wished to treat fully all
-the aspects of appropriateness. But I have one obvious remark to make
-of a general nature. When the same men in the same state of mind
-report occurrences which they have actually witnessed, they do not
-use a similar style in describing all of them, but in their very way
-of putting their words together imitate the things they report, not
-purposely, but carried away by a natural impulse. Keeping an eye on
-this principle, the good poet and orator should be ready to imitate
-the things of which he is giving a verbal description, and to imitate
-them not only in the choice of words but also in the composition. This
-is the practice of Homer, that surpassing genius, although he has but
-one metre and few rhythms. Within these limits, nevertheless, he is
-continually producing new effects and artistic refinements, so that
-actually to see the incidents taking place would give no advantage over
-our having them thus described. I will give a few instances, which the
-reader may take as representative of many. When Odysseus is telling the
-Phaeacians the story of his wanderings and of his descent into Hades,
-he brings the miseries of the place before our eyes. Among them, he
-describes the torments of Sisyphus, for whom they say that the gods of
-the nether world have made it a condition of release from his awful
-sufferings to have rolled a stone over a certain hill, and that this is
-impossible, as the stone invariably falls down again just as it reaches
-the top. Now it is
-
-[Page 202]
-
-
-δηλώσει ταῦτα μιμητικῶς καὶ κατ’ αὐτὴν τὴν σύνθεσιν τῶν
-ὀνομάτων, ἄξιον ἰδεῖν·
-
-        καὶ μὴν Σίσυφον εἰσεῖδον κρατέρ’ ἄλγε’ ἔχοντα,
-        λᾶαν βαστάζοντα πελώριον ἀμφοτέρῃσιν·
-        ἦ τοι ὁ μὲν σκηριπτόμενος χερσίν τε ποσίν τε      5
-        λᾶαν ἄνω ὤθεσκε ποτὶ λόφον·
-
-ἐνταῦθα ἡ σύνθεσίς ἐστιν ἡ δηλοῦσα τῶν γινομένων ἕκαστον,
-τὸ βάρος τοῦ πέτρου, τὴν ἐπίπονον ἐκ τῆς γῆς κίνησιν, τὸν
-διερειδόμενον τοῖς κώλοις, τὸν ἀναβαίνοντα πρὸς τὸν ὄχθον,
-τὴν μόλις ἀνωθουμένην πέτραν· οὐδεὶς ἂν ἄλλως εἴποι. καὶ      10
-παρὰ τί γέγονε τούτων ἕκαστον; οὐ μὰ Δί’ εἰκῇ γε οὐδ’
-ἀπὸ ταὐτομάτου. πρῶτον μὲν ἐν τοῖς δυσὶ στίχοις οἷς
-ἀνακυλίει τὴν πέτραν, ἔξω δυεῖν ῥημάτων τὰ λοιπὰ τῆς λέξεως
-μόρια πάντ’ ἐστὶν ἤτοι δισύλλαβα ἢ μονοσύλλαβα· ἔπειτα
-τῷ ἡμίσει πλείους εἰσὶν αἱ μακραὶ συλλαβαὶ τῶν βραχειῶν      15
-ἐν ἑκατέρῳ τῶν στίχων· ἔπειτα πᾶσαι διαβεβήκασιν αἱ τῶν
-ὀνομάτων ἁρμονίαι διαβάσεις εὐμεγέθεις καὶ διεστήκασι πάνυ
-αἰσθητῶς, ἢ τῶν φωνηέντων γραμμάτων συγκρουομένων ἢ τῶν
-ἡμιφώνων τε καὶ ἀφώνων συναπτομένων· ῥυθμοῖς τε δακτύλοις
-καὶ σπονδείοις τοῖς μηκίστοις καὶ πλείστην ἔχουσι διάβασιν      20
-ἅπαντα σύγκειται. τί δή ποτ’ οὖν τούτων ἕκαστον δύναται;
-αἱ μὲν μονοσύλλαβοί τε καὶ δισύλλαβοι λέξεις, πολλοὺς τοὺς
-μεταξὺ χρόνους ἀλλήλων ἀπολείπουσαι, τὸ χρόνιον ἐμιμήσαντο
-τοῦ ἔργου· αἱ δὲ μακραὶ συλλαβαί, στηριγμούς τινας ἔχουσαι
-καὶ ἐγκαθίσματα, τὴν ἀντιτυπίαν καὶ τὸ βαρὺ καὶ τὸ μόλις·      25
-τὸ δὲ μεταξὺ τῶν ὀνομάτων ψῦγμα καὶ ἡ τῶν τραχυνόντων
-
-8 μέτρου F   9 ὄχλον F   10 μόλις EF: μόγις PMV || ἄλλος F   11 οὐ μὰ
-Δί’ Radermacher: οὐκ ἂν F: οὐ γὰρ PMV   12 μὲν ἐν Schaefer: μὲν FMV: ἐν
-P, E   13 ἀνακυλίει EF: ἀνακινεῖ PV   15 μακραὶ om. F   16 ἔπειτα πᾶσαι
-F: ἔπειθ’ ἅπασαι PMV || διαβεβλήκασιν F   18 γραμμάτων FP: om. EMV   19
-τε (post ῥυθμοῖς) F: τε καὶ EPMV   21 ποτ’ οὖν F: om. PMV   22 τοὺς EF:
-om. PMV   25 βαρὺ EFM^2V: βραδὺ PM^1 || μόλις EF: μόγις PMV
-
-6. Cp. Demetr. _de Eloc._ § 72 ἐν δὲ τῷ μεγαλοπρεπεῖ χαρακτῆρι
-σύγκρουσις παραλαμβάνοιτ’ ἂν πρέπουσα ἤτοι διὰ μακρῶν, ὡς τὸ “λᾶαν
-ἄνω ὤθεσκε.” καὶ γὰρ ὁ στίχος μῆκός τι ἔσχεν ἐκ τῆς συγκρούσεως, καὶ
-μεμίμηται τοῦ λίθου τὴν ἀναφορὰν καὶ βίαν. So Eustathius: τὸ δὲ “λᾶαν
-ἄνω ὤθεσκε ποτὶ λόφον” ἐπαινεῖται χάριν τῆς συνθήκης. ἐμφαίνει γὰρ
-τὴν δυσχέρειαν τοῦ τῆς ὠθήσεως ἔργου τῇ τῶν φωνηέντων ἐπαλληλίᾳ, δι’
-ὧν ὀγκούντων τὸ στόμα οὐκ ἐᾶται τρέχειν ὁ λόγος, ἀλλ’ ὀκνηρὰ βαίνει
-συνεξομοιούμενος τῇ ἐργωδίᾳ τοῦ ἄνω ὠθεῖν. The Homeric passage is
-imitated in Pope’s _Essay on Criticism_, “When Ajax strives some rock’s
-vast weight to throw, | The line too labours, and the words move
-slow.”—For the effect of the long unblended vowels cp. the first of
-Virgil’s two well-known lines, “ter sunt conati imponere Pelio Ossam |
-scilicet, atque Ossae frondosum involvere Olympum” (_Georg._ i. 282).
-
-15. It is not easy to see how this result is reached. Perhaps in l.
-5 the last syllable of ἤτοι is counted long for the purpose of the
-argument. A perception of the difficulty may have led to the omission
-of μακραί in F.
-
-18. The meaning is: ‘either by repetition of vowels [ἄλγε’ ἔχοντα,
-λᾶαν] or by the juxtaposition of semi-vowels and mutes [with
-the semi-vowels _first_: μὴν Σίσυφον, εἰσεῖδον κρατερά, λᾶαν
-βαστάζοντα].’—In =204= 15 the words πέδονδε κυλίνδετο may be taken to
-express the ‘bumps’ of the stone as it rolls down.
-
-22. Cp. Quintil. ix. 4. 98 “est enim quoddam in ipsa divisione verborum
-latens tempus, ut in pentametri medio spondeo, qui nisi alterius verbi
-fine alterius initio constat, versum non efficit.”—The effect of the
-short syllables in counterfeiting delay may be illustrated by Cic. _pro
-Milone_ 11. 28 “paulisper, _dum se uxor, ut fit,_ comparat, commoratus
-est.”
-
-[Page 203]
-
-worth while to observe how Homer will express this by a mimicry which
-the very arrangement of his words produces:—
-
-    There Sisyphus saw I receiving his guerdon of mighty pain:
-    A monster rock upheaving with both hands aye did he strain;
-    With feet firm-fixed, palms pressed, with gasps, with toil most sore,
-    That rock to a high hill’s crest heaved he.[170]
-
-Here it is the composition that brings out each of the details—the
-weight of the stone, the laborious movement of it from the ground,
-the straining of the man’s limbs, his slow ascent towards the ridge,
-the difficulty of thrusting the rock upwards. No one will deny the
-effect produced. And on what does the execution of each detail depend?
-Certainly the results do not come by chance or of themselves. To begin
-with: in the two lines in which Sisyphus rolls up the rock, with the
-exception of two verbs all the component words of the passage are
-either disyllables or monosyllables. Next, the long syllables are
-half as numerous again as the short ones in each of the two lines.
-Then, all the words are so arranged as to advance, as it were, with
-giant strides, and the gaps between them are distinctly perceptible,
-in consequence of the concurrence of vowels or the juxtaposition of
-semi-vowels and mutes; and the dactylic and spondaic rhythms of which
-the lines are composed are the longest possible and take the longest
-possible stride. Now, what is the effect of these several details? The
-monosyllabic and disyllabic words, leaving many intervals between each
-other, suggest the duration of the action; while the long syllables,
-which require a kind of pause and prolongation, reproduce the
-resistance, the heaviness, the difficulty. The inhalation between the
-words and the juxtaposition
-
-[Page 204]
-
-
-γραμμάτων παράθεσις τὰ διαλείμματα τῆς ἐνεργείας καὶ τὰς
-ἐποχὰς καὶ τὸ τοῦ μόχθου μέγεθος· οἱ ῥυθμοὶ δ’ ἐν μήκει
-θεωρούμενοι τὴν ἔκτασιν τῶν μελῶν καὶ τὸν διελκυσμὸν τοῦ
-κυλίοντος καὶ τὴν τοῦ πέτρου ἔρεισιν. καὶ ὅτι ταῦτα οὐ
-φύσεώς ἐστιν αὐτοματιζούσης ἔργα ἀλλὰ τέχνης μιμήσασθαι      5
-πειρωμένης τὰ γινόμενα, τὰ τούτοις ἑξῆς λεγόμενα δηλοῖ. τὴν
-γὰρ ἀπὸ τῆς κορυφῆς ἐπιστρέφουσαν πάλιν καὶ κατακυλιομένην
-πέτραν οὐ τὸν αὐτὸν ἡρμήνευκε τρόπον, ἀλλ’ ἐπιταχύνας τε
-καὶ συστρέψας τὴν σύνθεσιν· προειπὼν γὰρ ἐν τῷ αὐτῷ
-σχήματι      10
-
-                          ἀλλ’ ὅτε μέλλοι
-        ἄκρον ὑπερβαλέειν
-
-ἐπιτίθησι τοῦτο
-
-                        τότ’ ἐπιστρέψασκε κραταιίς·
-        αὖτις ἔπειτα πέδονδε κυλίνδετο λᾶας ἀναιδής.      15
-
-οὐχὶ συγκατακεκύλισται τῷ βάρει τῆς πέτρας ἡ τῶν ὀνομάτων
-σύνθεσις, μᾶλλον δὲ ἔφθακε τὴν τοῦ λίθου φορὰν τὸ
-τῆς ἀπαγγελίας τάχος; ἔμοιγε δοκεῖ. καὶ τίς ἐνταῦθα πάλιν
-αἰτία; καὶ γὰρ ταύτην ἄξιον ἰδεῖν· ὁ τὴν καταφορὰν δηλῶν
-τοῦ πέτρου στίχος μονοσύλλαβον μὲν οὐδεμίαν, δισυλλάβους      20
-δὲ δύο μόνας ἔχει λέξεις. τοῦτ’ οὖν καὶ πρῶτον οὐ διίστησι
-τοὺς χρόνους ἀλλ’ ἐπιταχύνει· ἔπειθ’ ἑπτακαίδεκα συλλαβῶν
-οὐσῶν ἐν τῷ στίχῳ δέκα μέν εἰσι βραχεῖαι συλλαβαί, ἑπτὰ
-δὲ μακραί, οὐδ’ αὗται τέλειοι· ἀνάγκη δὴ κατασπᾶσθαι καὶ
-
-1 καὶ τὰς ἐποχὰς EF: ἐποχάς τε PMV   6 τὴν ... ἐπιστρέφουσαν ...
-κατακυλιομένην πέτραν EF: τὸν ... ἐπιστρέφοντα ... κατακυλιόμενον
-πέτρον PMV   13 τοῦτο EFM^1: τούτω PM^2V   14 ἐπιστρέψασ κε P, E:
-ἐπιστέψασ (ρ suprascr.) καὶ F, MV: ἀποστρέψασκε Hom. || κραταὶ· ἲσ P:
-κραταις F: κραταιὴ ἴς MV   15 αὖθις PMV   16 συγκατακεκύλισται PMV:
-συγκυλίεται EF   18 ἐμοί τε PM: ἐμοὶ F   19 ταύτην PMV: ταύτης F ||
-ἄξιον ἰδεῖν PV: ἰδεῖν ἄξιόν ἐστιν F   21 οὖν καὶ F(E): οὐκ ἐᾶι P, MV ||
-οὐ διίστησι E: οὐδ’ ἵστησι F: διεστηκέναι PMV   24 δὲ F: δὲ μόναι PMV
-|| οὐδ’ F: καὶ οὐδ’ PMV || αὗται F: αὐταὶ PMV || τέλειοι FPV: τέλειαι M
-|| δὴ F: οὖν PMV || κατασπᾶσθαι F: κατεσπάσθαι PM: κατεσπᾶσθαι V
-
-15. “Downward anon to the valley rebounded the boulder remorseless”
-(Sandys, in Jebb’s _Rhetoric of Aristotle_ p. 172). Voss marks the
-contrast between the slow and the rapid line by translating the one by
-“Eines Marmors Schwere mit grosser Gewalt fortheben,” and the other by
-“Hurtig mit Donnergepolter entrollte der tückische Marmor.”—For similar
-adaptations of sound to sense cp. Lucret. iii. 1000 “hoc est adverso
-nixantem trudere monte | saxum quod tamen e summo iam vertice rursum
-| volvitur et plani raptim petit aequora campi”; Virg. _Aen._ vi. 616
-“saxum ingens volvunt alii, radiisque rotarum | districti pendent”; id.
-_ib._ viii. 596 “quadripedante putrem sonitu quatit ungula campum” (in
-imitation of _Il._ xxiii. 116); id. _ib._ v. 481 “sternitur exanimisque
-tremens procumbit humi bos”; id. _ib._ ii. 304-8 “in segetem ... de
-vertice pastor”; Racine _Phèdre_ v. 6 “L’essieu crie et se rompt:
-l’intrépide Hippolyte | Voit voler en éclats tout son char fracassé;
-| Dans les rênes lui-même il tombe embarrassé”; Pope’s “Up a high
-hill he heaves a huge round stone” (_Odyss._ xi.) or his “That like
-a wounded snake drags its slow length along” (_Essay on Criticism_),
-as compared with his “Thunders impetuous down, and smokes along the
-ground” (_Odyss._ xi.).—It is an interesting question whether Dionysius
-overstates his case when he makes ‘Homer’ as conscious and sedulous
-an artist (ἀεί τι καινουργῶν καὶ φιλοτεχνῶν, =200= 18) as any later
-imitator. It is, however, unlikely that even the earliest poets who
-were late enough to produce consummate music were insensible to the
-effect of the music they produced. But great poets in all ages have had
-their ear so attuned by long use and practice to the music of sounds as
-to choose the right letters, syllables, and words almost unconsciously.
-
-19. =ταύτην=: Usener reads ταῦτ’ ἦν: but (1) ταύτην refers naturally to
-αἰτία; (2) with ἄξιον the verb is often omitted, e.g. =186= 19, =202=
-2; (3) if there were a verb, ἐστίν would here be more natural than ἦν.
-
-22. The meaning is that the absence of short words implies the absence
-of frequent breaks, and this absence contributes to rapid utterance.
-
-24. =τέλειοι=, ‘perfect longs.’ The diphthongs in αὖτις, ἔπειτα, and
-ἀναιδής, are simply long by nature; they are not long by position as
-well. The ο in πέδονδε, and the ι in κυλίνδετο, are long by position
-but not by nature. The ᾶ in λᾶας, and the η in ἀναιδής, are long by
-nature but not (in the former case) by position. “Of the seven long
-syllables not one—except the last—contains more elements than are
-needful to make it pass for long and at the same time avoid hiatus;
-that is, no long vowel or diphthong is followed by more than one
-consonant; two consonants occur only where required to extend a short
-vowel to a long syllable” (Goodell _Greek Metric_ p. 175). Compare
-=150= 22-=154= 3, and see also Gloss., s.v. τέλειος.—M here has τέλειαι
-(not τέλειοι): cp. τελείας in =174= 1.
-
-[Page 205]
-
-of rough letters indicate the pauses in his efforts, the delays,
-the vastness of the toil. The rhythms, when it is observed how
-long-drawn-out they are, betoken the straining of his limbs, the
-struggle of the man as he rolls his burden, and the upheaving of the
-stone. And that this is not the work of Nature improvising, but of art
-attempting to reproduce a scene, is proved by the words that follow
-these. For the poet has represented the return of the rock from the
-summit and its rolling downward in quite another fashion; he quickens
-and abbreviates his composition. Having first said, in the same form as
-the foregoing,
-
-                            but a little more,
-    And atop of the ridge would it rest[171]—
-
-he adds to this,
-
-                        some Power back turned it again:
-    Rushing the pitiless boulder went rolling adown to the plain.[172]
-
-Do not the words thus arranged roll downhill together with the impetus
-of the rock? Indeed, does not the speed of the narration outstrip the
-rush of the stone? I certainly think so. And what is the reason here
-again? It is worth noticing. The line which described the downrush of
-the stone has no monosyllabic words, and only two disyllabic. Now this,
-in the first place, does not break up the phrases but hurries them on.
-In the second place, of the seventeen syllables in the line ten are
-short, seven long, and not even these seven are perfect. So
-
-[Page 206]
-
-
-συστέλλεσθαι τὴν φράσιν τῇ βραχύτητι τῶν συλλαβῶν ἐφελκομένην.
-ἔτι πρὸς τούτοις οὐδ’ ὄνομα ἀπὸ ὀνόματος ἀξιόλογον
-εἴληφεν διάστασιν· οὔτε γὰρ φωνήεντι φωνῆεν οὔτε ἡμιφώνῳ
-ἡμίφωνον ἢ ἄφωνον, ἃ δὴ τραχύνειν πέφυκεν καὶ διιστάναι
-τὰς ἁρμονίας, οὐδέν ἐστι παρακείμενον. οὐ δὴ γίνεται διάστασις      5
-αἰσθητὴ μὴ διηρτημένων τῶν λέξεων, ἀλλὰ συνολισθαίνουσιν
-ἀλλήλαις καὶ συγκαταφέρονται καὶ τρόπον τινὰ μία
-ἐξ ἁπασῶν γίνεται διὰ τὴν τῶν ἁρμονιῶν ἀκρίβειαν. ὃ δὲ
-μάλιστα τῶν ἄλλων θαυμάζειν ἄξιον, ῥυθμὸς οὐδεὶς τῶν
-μακρῶν οἳ φύσιν ἔχουσιν πίπτειν εἰς μέτρον ἡρωϊκόν, οὔτε      10
-σπονδεῖος οὔτε βακχεῖος ἐγκαταμέμικται τῷ στίχῳ, πλὴν ἐπὶ
-τῆς τελευτῆς· οἱ δ’ ἄλλοι πάντες εἰσὶ δάκτυλοι, καὶ οὗτοι
-παραδεδιωγμένας ἔχοντες τὰς ἀλόγους, ὥστε μὴ πολὺ διαφέρειν
-ἐνίους τῶν τροχαίων. οὐδὲν δὴ τὸ ἀντιπρᾶττον ἐστὶν εὔτροχον
-καὶ περιφερῆ καὶ καταρρέουσαν εἶναι τὴν φράσιν ἐκ τοιούτων      15
-συγκεκροτημένην ῥυθμῶν. πολλά τις ἂν ἔχοι τοιαῦτα δεῖξαι
-παρ’ Ὁμήρῳ λεγόμενα· ἐμοὶ δὲ ἀποχρῆν δοκεῖ καὶ ταῦτα, ἵν’
-ἐγγένηταί μοι καὶ περὶ τῶν ἄλλων εἰπεῖν.
-
-ὧν μὲν οὖν δεῖ στοχάζεσθαι τοὺς μέλλοντας ἡδεῖαν καὶ
-καλὴν ποιήσειν σύνθεσιν ἔν τε ποιητικῇ καὶ λόγοις ἀμέτροις,      20
-ταῦτα κατ’ ἐμὴν δόξαν ἐστὶ τὰ γοῦν κυριώτατα καὶ κράτιστα.
-ὅσα δὲ οὐχ οἷά τε ἦν, ἐλάττω τε ὄντα τούτων καὶ ἀμυδρότερα
-καὶ διὰ πλῆθος δυσπερίληπτα μιᾷ γραφῇ, ταῦτ’ ἐν ταῖς καθ’
-ἡμέραν γυμνασίαις προσυποθήσομαί σοι, καὶ πολλῶν καὶ ἀγαθῶν
-ποιητῶν τε καὶ συγγραφέων καὶ ῥητόρων μαρτυρίοις χρήσομαι.      25
-νυνὶ δὲ τὰ καταλειπόμενα ὧν ὑπεσχόμην καὶ οὐδενὸς ἧττον
-ἀναγκαῖα εἰρῆσθαι, ταῦτ’ ἔτι προσθεὶς τῷ λόγῳ παύσομαι
-
-1 συστέλεσθαι P: συντελεῖσθαι F   4 διιστάναι F: διιστάνειν PMV   5
-διάτασις F   6 διηρτημένη F   10 ἡρωϊκὸν F: ἡρῶιον P, MV   12 οὗτοι F:
-οὗτοί γε PMV   17 δοκεῖ καὶ FM: ἐδόκει P: εἰδοκεῖ V   19 ἡδεῖαν καὶ
-καλὴν F: καλὴν καὶ ἡδεῖαν PMV   23 μιᾶι F: μὴ PM: om. V   24 σοι καὶ
-PMV: καὶ F || ἀγαθῶν καὶ ποιητῶν τε (τε om. M) καὶ P, M   25 μαρτυρίοις
-F: μαρτυρι(ας) P: μαρτυρίαις MV   26 νυνὶ F: νῦν PMV
-
-1. =τῇ βραχύτητι= κτλ.: i.e. the utterance must necessarily be rapid
-when the syllables are short and trip along.
-
-2. “Again, as between words, there is no hiatus, no semi-vowel or mute
-meets a semi-vowel, there is no rhetorical pause and no elision, the
-words almost run together into one” (Goodell _Greek Metric_ p. 175).
-
-11. =βακχεῖος=: see note on =200= 17 _supra_.
-
-13. =τὰς ἀλόγους= [συλλαβάς]: i.e. the long syllables in πέδονδε and
-κυλίνδετο.—With Usener’s conjecture παραμεμιγμένας the meaning will be
-“and these too are such as have irrational syllables incorporated with
-them.”
-
-14. =τροχαίων=: Schaefer suggests τριβραχέων, Sauppe χορείων.
-
-18. =ἐγγένηται=: cp. _Antiqq. Rom._ vi. 9 ὦ μακάριοι μέν, οἷς ἂν
-ἐγγένηται τὸν ἐκ τοῦδε τοῦ πολέμου θρίαμβον καταγαγεῖν. In =68= 11
-σχολή is added, ἐὰν δ’ ἐγγένηταί μοι σχολή: and in =224= 22 χρόνος is
-found in P and V.
-
-23. =ἐν ταῖς καθ’ ἡμέραν γυμνασίαις=: this is one of the incidental
-references which show that Dionysius taught rhetoric at Rome.
-
-[Page 207]
-
-the line has to go tumbling down-hill in a heap, dragged forward by
-the shortness of the syllables. Moreover, one word is not divided from
-another by any appreciable interval, for vowel does not meet vowel,
-nor semi-vowel or mute meet semi-vowel—conjunctions the natural effect
-of which is to make the connexions harsher and less close-fitting.
-There is, in fact, no perceptible division if the words are not forced
-asunder, but they slip into one another and are swept along, and a
-sort of great single word is formed out of all owing to the closeness
-of the junctures. And what is most surprising of all, not one of the
-long feet which naturally fit into the heroic metre—whether spondee or
-_bacchius_—has been introduced into the line, except at the end. All
-the rest are dactyls, and these with their irrational syllables hurried
-along, so that some of the feet do not differ much from trochees.
-Accordingly nothing hinders the line from being rapid, rounded and
-swift-flowing, welded together as it is from such rhythms as this. Many
-such passages could be pointed out in Homer. But I think the foregoing
-lines amply sufficient, and I must leave myself time to discuss the
-remaining points.
-
-The aims, then, which should be steadily kept in view by those who
-mean to form a charming and noble style, alike in poetry and in prose,
-are in my opinion those already mentioned. These, at all events, are
-the most essential and effective. But those which I have been unable
-to mention, as being more minute and more obscure than these, and,
-owing to their number, hard to embrace in a single treatise, I will
-bring before you in our daily lessons, and I will draw illustrations
-in support of my views from many good poets, historians, and orators.
-But now I will go on to add to this work, before concluding it,
-the remainder of the points which I promised to treat of, and the
-discussion of which is as indispensable as any: viz. what
-
-[Page 208]
-
-
-* * *  τίνες εἰσὶ διαφοραὶ τῆς συνθέσεως καὶ τίς ἑκάστης
-χαρακτὴρ ὡς ἐπὶ τὸ πολύ, τῶν τε πρωτευσάντων ἐν αὐταῖς
-μνησθῆναι καὶ δείγματα ἑκάστου παρασχεῖν, ὅταν δὲ ταῦτα
-λάβῃ μοι τέλος, τότε κἀκεῖνα διευκρινῆσαι τὰ παρὰ τοῖς
-πολλοῖς ἀπορούμενα, τί ποτ’ ἐστὶν ὃ ποιεῖ τὴν μὲν πεζὴν      5
-λέξιν ὁμοίαν ποιήματι φαίνεσθαι μένουσαν ἐν τῷ τοῦ λόγου
-σχήματι, τὴν δὲ ποιητικὴν φράσιν ἐμφερῆ τῷ πεζῷ λόγῳ
-φυλάττουσαν τὴν ποιητικὴν σεμνότητα· σχεδὸν γὰρ οἱ
-κράτιστα διαλεχθέντες ἢ ποιήσαντες ταῦτ’ ἔχουσιν ἐν τῇ
-λέξει τἀγαθά. πειρατέον δὴ καὶ περὶ τούτων, ἃ φρονῶ,      10
-λέγειν. ἄρξομαι δ’ ἀπὸ τοῦ πρώτου.
-
-
-XXI
-
-ἐγὼ τῆς συνθέσεως εἰδικὰς μὲν διαφορὰς πολλὰς σφόδρα
-εἶναι τίθεμαι καὶ οὔτ’ εἰς σύνοψιν ἐλθεῖν δυναμένας οὔτ’ εἰς
-λογισμὸν ἀκριβῆ, οἴομαί τε ἴδιον ἡμῶν ἑκάστῳ χαρακτῆρα
-ὥσπερ ὄψεως, οὕτω καὶ συνθέσεως ὀνομάτων παρακολουθεῖν,      15
-οὐ φαύλῳ παραδείγματι χρώμενος ζῳγραφίᾳ· ὥσπερ γὰρ ἐν
-ἐκείνῃ τὰ αὐτὰ φάρμακα λαμβάνοντες ἅπαντες οἱ τὰ ζῷα
-γράφοντες οὐδὲν ἐοικότα ποιοῦσιν ἀλλήλοις τὰ μίγματα, τὸν
-αὐτὸν τρόπον ἐν ποιητικῇ τε διαλέκτῳ καὶ τῇ ἄλλῃ πάσῃ
-τοῖς αὐτοῖς ὀνόμασι χρώμενοι πάντες οὐχ ὁμοίως αὐτὰ συντίθεμεν.      20
-τὰς μέντοι γενικὰς αὐτῆς διαφορὰς ταύτας εἶναι
-πείθομαι μόνας τὰς τρεῖς, αἷς ὁ βουλόμενος ὀνόματα θήσεται
-τὰ οἰκεῖα, ἐπειδὰν τούς τε χαρακτῆρας αὐτῶν καὶ τὰς διαφορὰς
-ἀκούσῃ. ἐγὼ μέντοι κυρίοις ὀνόμασιν οὐκ ἔχων αὐτὰς προσαγορεῦσαι
-ὡς ἀκατονομάστους μεταφορικοῖς ὀνόμασι καλῶ τὴν
-μὲν αὐστηράν, τὴν δὲ γλαφυράν [ἢ ἀνθηράν], τὴν δὲ τρίτην
-
-1 hiatum indicavit Schottius   2 τε om. F   4 κακεῖνα P, MV: καὶ ταῦτα
-F || διευκρινήσω V || τοῖς FM: om. PV   5 μὲν F: om. PMV   7 λόγῳ om.
-PV   9 ἢ om. P   11 δὲ ἀπὸ MV: δὲ κατὰ P   12 εἰδικὰς F (E): ἰδικὰς PMV
-|| διαφορὰς πολλὰς F: πολλὰς διαφορὰς PMV   13 εἰς συλλογισμὸν F   14
-ἴδιον ἡμῶν ἑκάστῳ χαρακτῆρα] ἰδιώματα ἑκάστῳ χαρακτῆρι F   16 φαύλω F:
-φαύλως PMV || ζωγραφία F: ζωγραφιαίω PM   19 πάσῃ Us.: ἁπάση libri   20
-ἅπαντες F   22 μόνας EF: om. PMV   25 ἀκατονομάστοις PV   26 ἢ ἀνθηράν
-om. P
-
-3. As the sentence stands, the infinitives μνησθῆναι, παρασχεῖν and
-διευκρινῆσαι are without regular government. βουλόμενος may be inserted
-after μνησθῆναι, or (as Usener prefers to think) something like
-ἀναγκαῖον γὰρ ἡγοῦμαι πρῶτον μὲν παραστῆσαι may be supposed to have
-fallen out between παύσομαι and τίνες.
-
-7. Dionysius’ practice of variety in his own style is shown by his use
-of ἐμφερῆ here, as compared with ὁμοίαν in l. 6.
-
-12. This and the following chapters should be compared carefully with
-_de Demosth._ cc. 36 ff.
-
-21. For Greek views as to types of style in general (not simply
-ἁρμονίαι) reference may be made to Demetr. pp. 28 ff.
-
-24. At this point in the Epitome, the Darmstadt codex has (in the
-margin) ὁ δὲ Πλούταρχος τὸ μὲν τῆς συνθέσεως ἁδρόν, τὸ δὲ ἰσχνόν, τὸ δὲ
-μέσον καλεῖ.
-
-26. =ἢ ἀνθηράν=: cp. =232= 25 (where P again omits the second epithet)
-and =248= 9 (with critical note).
-
-[Page 209]
-
-are the different styles of composition and what the usual
-distinguishing mark of each is. I will include some mention of those
-who have been eminent in them, and will also add examples from each
-author. When the treatment of these points is completed, I must proceed
-to dispose of certain difficulties very generally felt: what it can be
-that makes prose appear like a poem though retaining the form of prose,
-and verse like prose though maintaining the loftiness of poetry; for
-almost all the best writers of prose or poetry have these excellences
-in their style. I must do my best, then, to set forth my views on these
-matters also. I will begin with the first.
-
-
-
-
-CHAPTER XXI
-
-THREE MODES, OR STYLES, OF COMPOSITION
-
-
-I assert without any hesitation that there are many specific
-differences of composition, and that they cannot be brought into a
-comprehensive view or within a precise enumeration; I think too that,
-as in personal appearance, so also in literary composition, each of us
-has an individual character. I find not a bad illustration in painting.
-As in that art all painters from life take the same pigments but mix
-them in the most diverse ways, so in poetry and in prose, though we all
-use the same words, we do not put them together in the same manner. I
-hold, however, that the essentially different varieties of composition
-are the three following only, to which any one who likes may assign the
-appropriate names, when he has heard their characteristics and their
-differences. For my own part, since I cannot find recognized names for
-them, inasmuch as none exist, I call them by metaphorical terms—the
-first _austere_, the second _smooth_ (or _florid_), the third
-
-[Page 210]
-
-
-εὔκρατον· ἣν ὅπως ποτὲ γίνεσθαι φαίην ἄν, ἔγωγε ἀπορῶ,
-καὶ “δίχα μοι νόος ἀτρέκειαν εἰπεῖν,” εἴτε κατὰ στέρησιν
-τῶν ἄκρων ἑκατέρας εἴτε κατὰ μῖξιν· οὐ γὰρ ῥᾴδιον
-εἰκάσαι τὸ σαφές. μή ποτ’ οὖν κρεῖττον ᾖ λέγειν, ὅτι κατὰ
-τὴν ἄνεσίν τε καὶ τὴν ἐπίτασιν τῶν ἐσχάτων ὅρων οἱ διὰ      5
-μέσου γίνονται πολλοὶ πάνυ ὄντες· οὐ γὰρ ὥσπερ ἐν μουσικῇ
-τὸ ἴσον ἀπέχει τῆς νήτης καὶ τῆς ὑπάτης ἡ μέση, τὸν αὐτὸν
-τρόπον καὶ ἐν λόγοις ὁ μέσος χαρακτὴρ ἑκατέρου τῶν ἄκρων
-ἴσον ἀφέστηκεν, ἀλλ’ ἔστι τῶν ἐν πλάτει θεωρουμένων ὡς
-ἀγέλη τε καὶ σωρὸς καὶ ἄλλα πολλά. ἀλλὰ γὰρ οὐχ οὗτος      10
-ὁ καιρὸς ἁρμόττων τῇ θεωρίᾳ ταύτῃ· λεκτέον δ’, ὥσπερ ὑπεθέμην,
-καὶ περὶ τῶν χαρακτήρων οὐχ ἅπανθ’ ὅσ’ ἂν εἰπεῖν
-ἔχοιμι (μακρῶν γὰρ ἄν μοι πάνυ δεήσειε λόγων), ἀλλ’ αὐτὰ
-τὰ φανερώτατα.
-
-
-
-
-XXII
-
-
-τῆς μὲν οὖν αὐστηρᾶς ἁρμονίας τοιόσδε ὁ χαρακτήρ·      15
-ἐρείδεσθαι βούλεται τὰ ὀνόματα ἀσφαλῶς καὶ στάσεις λαμβάνειν
-ἰσχυράς, ὥστ’ ἐκ περιφανείας ἕκαστον ὄνομα ὁρᾶσθαι,
-ἀπέχειν τε ἀπ’ ἀλλήλων τὰ μόρια διαστάσεις ἀξιολόγους
-αἰσθητοῖς χρόνοις διειργόμενα· τραχείαις τε χρῆσθαι πολλαχῇ
-καὶ ἀντιτύποις ταῖς συμβολαῖς οὐδὲν αὐτῇ διαφέρει, οἷαι      20
-γίνονται τῶν λογάδην συντιθεμένων ἐν οἰκοδομίαις λίθων αἱ
-μὴ εὐγώνιοι καὶ μὴ συνεξεσμέναι βάσεις, ἀργαὶ δέ τινες καὶ
-
-1 εὔκρατον EF: κοινὴν PMV   2 κατὰ E: κατὰ τὴν FPMV   3 μίξιν F   4
-ἦι P: ἦν F || κατὰ τὴν FPMV: κατὰ E   5 τε καὶ τὴν PMV: τε καὶ F: καὶ
-E   6 ἐν om. P   7 νήτης F: νεάτης PMV   8 χαρακτὴρ om. PV   9 ἴσως F
-  11 ὥσπερ F: ὡς PMV   12 καὶ F: om. PMV || ὅσα εἰπεῖν codd.: ἂν ins.
-Schaeferus   13 ἄν μοι F: ἂν οἶμαι PMV || δεήσειε F: δεήσει P: δεήσειν
-MV   17 περιφερίας F   18 διατάσεις F   20 οἷαι F: οἳ P: οἷον MV   21
-αἱ μη F: αἱ μὴτε P, MV   22 καὶ μὴ F: μὴδε P || ἀργαὶ δὲ] γὰρ αἷδε F
-
-1. Here (and in =246= 11) it is open to question whether κοινήν does
-not fit the context better than εὔκρατον.
-
-2. The passage of Pindar is quoted in Cic. _Ep. ad Att._ xiii. 38 “nunc
-me iuva, mi Attice, consilio, ‘πότερον δίκᾳ τεῖχος ὕψιον,’ id est utrum
-aperte hominem asperner et respuam, ‘ἢ σκολιαῖς ἀπάταις.’ ut enim
-Pindaro sic ‘δίχα μοι νόος ἀτρέκειαν εἰπεῖν.’ omnino moribus meis illud
-aptius, sed hoc fortasse temporibus.”
-
-3. =κατὰ μῖξιν=: sc. τῶν ἄκρων. —Cp. _de Demosth._ c. 36 οἱ δὲ
-συνθέντες ἀφ’ ἑκατέρας τὰ χρησιμώτατα τὴν μικτὴν καὶ μέσην ἐζήλωσαν
-ἀγωγήν.
-
-4. =μή ποτ’ ... ᾖ=: a favourite Platonic usage, e.g. _Gorgias_ 462 E
-μὴ ἀγροικότερον ᾖ τὸ ἀληθὲς εἰπεῖν, _Apol._ 39 A ἀλλὰ μὴ οὐ τοῦτ’ ᾖ
-χαλεπόν, ὦ ἄνδρες, θάνατον ἐκφυγεῖν, ἀλλὰ πολὺ χαλεπώτερον πονηρίαν.
-
-5. The intermediate, or eclectic, styles are numerous and differ
-greatly according as they relax or strain the extreme, or pronounced,
-styles: cp. _de Demosth._ c. 37 init.
-
-8. A point worth considering is how far this may seem to make for or
-against the view that the Dionysian doctrine of styles is Peripatetic
-in origin, being derived from Theophrastus.
-
-10. =σωρός=: cp. σωρείτης (Lat. _acervalis_, Cic. _de Div._ ii. 4.
-11), in the sense which it bears in Hor. _Ep._ ii. 1. 45-47 and Cic.
-_Academ._ ii. 16. 49.
-
-15. Batteux (p. 249) would illustrate the austere style from Rousseau’s
-_Ode_ i. 2 (tirée du Psaume xviii.), “Les cieux instruisent la terre
-| À révérer leur auteur; | Tout ce que leur globe enserre | Célèbre
-un Dieu créateur,” etc.—With c. 22 of the _C.V._ should be compared,
-throughout, cc. 38, 39 of the _de Demosth._
-
-18. =ἀπέχειν τε= κτλ.: i.e. it (the austere style) aims at dividing its
-clauses from one another by appreciable pauses.
-
-[Page 211]
-
-_harmoniously blended_. How I am to say the third is formed I am at a
-loss to know—“my mind is too divided to utter truth”[173]: I cannot
-see whether it is formed by eliminating the two extremes or by fusing
-them—it is not easy to hit on any clear answer. Perhaps, then, it is
-better to say that it is by relaxation and tension of the extremes
-that the means, which are very numerous, arise. The case is not as in
-music, where the middle note is equally removed from the lowest and the
-highest. The middle style in writing does not in the same way stand
-at an equal distance from each of the two extremes; “middle” is here
-a vague general term, like “herd,” “heap,” and many others. But the
-present is not the right time for the investigation of this particular
-point. I must say what I undertook to say with regard to the several
-styles—not all that I could (I should need a very long treatise to do
-that), but just the most salient points.
-
-
-
-
-CHAPTER XXII
-
-AUSTERE COMPOSITION
-
-
-The characteristic feature of the austere arrangement is this:—It
-requires that the words should be like columns firmly planted and
-placed in strong positions, so that each word should be seen on every
-side, and that the parts should be at appreciable distances from one
-another, being separated by perceptible intervals. It does not in the
-least shrink from using frequently harsh sound-clashings which jar on
-the ear; like blocks of building stone that are laid together unworked,
-blocks that are not square and smooth, but preserve their natural
-roughness and irregularity.
-
-[Page 212]
-
-
-αὐτοσχέδιοι· μεγάλοις τε καὶ διαβεβηκόσιν εἰς πλάτος ὀνόμασιν
-ὡς τὰ πολλὰ μηκύνεσθαι φιλεῖ· τὸ γὰρ εἰς βραχείας συλλαβὰς
-συνάγεσθαι πολέμιον αὐτῇ, πλὴν εἴ ποτε ἀνάγκη βιάζοιτο.
-
-ἐν μὲν δὴ τοῖς ὀνόμασι ταῦτα πειρᾶται διώκειν καὶ
-τούτων γλίχεται· ἐν δὲ τοῖς κώλοις ταῦτά τε ὁμοίως ἐπιτηδεύει      5
-καὶ τοὺς ῥυθμοὺς τοὺς ἀξιωματικοὺς καὶ μεγαλοπρεπεῖς,
-καὶ οὔτε πάρισα βούλεται τὰ κῶλα ἀλλήλοις εἶναι οὔτε
-παρόμοια οὔτε ἀναγκαίᾳ δουλεύοντα ἀκολουθίᾳ, ἀλλ’ εὐγενῆ
-καὶ λαμπρὰ καὶ ἐλεύθερα, φύσει τ’ ἐοικέναι μᾶλλον αὐτὰ
-βούλεται ἢ τέχνῃ, καὶ κατὰ πάθος λέγεσθαι μᾶλλον ἢ κατ’      10
-ἦθος. περιόδους δὲ συντιθέναι συναπαρτιζούσας ἑαυταῖς τὸν
-νοῦν τὰ πολλὰ μὲν οὐδὲ βούλεται· εἰ δέ ποτ’ αὐτομάτως ἐπὶ
-τοῦτο κατενεχθείη, τὸ ἀνεπιτήδευτον ἐμφαίνειν θέλει καὶ
-ἀφελές, οὔτε προσθήκαις τισὶν ὀνομάτων, ἵνα ὁ κύκλος
-ἐκπληρωθῇ, μηδὲν ὠφελούσαις τὸν νοῦν χρωμένη, οὔτε ὅπως αἱ      15
-βάσεις αὐτῶν γένοιντο θεατρικαί τινες ἢ γλαφυραί, σπουδὴν
-ἔχουσα, οὐδ’ ἵνα τῷ πνεύματι τοῦ λέγοντος ὦσιν αὐτάρκεις
-συμμετρουμένη μὰ Δία, οὐδ’ ἄλλην τινὰ [πραγματείαν] τοιαύτην
-ἔχουσα ἐπιτήδευσιν οὐδεμίαν. ἔτι τῆς τοιαύτης ἐστὶν
-ἁρμονίας καὶ ταῦτα ἴδια· ἀγχίστροφός ἐστι περὶ τὰς πτώσεις,      20
-ποικίλη περὶ τοὺς σχηματισμούς, ὀλιγοσύνδεσμος, ἄναρθρος,
-ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, ἥκιστ’ ἀνθηρά,
-μεγαλόφρων, αὐθέκαστος, ἀκόμψευτος, τὸν ἀρχαϊσμὸν καὶ τὸν
-πίνον ἔχουσα κάλλος.
-
-ταύτης δὲ τῆς ἁρμονίας πολλοὶ μὲν ἐγένοντο ζηλωταὶ κατά      25
-
-1 εἰς F: ἐκ PMV   2 συλλαβὰς F: συλλαβῆς PMV   3 ποτε καὶ ἡ ἀνάγκη F
-  5 ὁμοίως Us.: ὁμοίως ἢ οὐχ ἧττον P: οὐχ ἧττον ὁμοίως F: οὐχ ἧττον
-MV   6 καὶ (alt.) EF: καὶ τοὺς PMV   7 καὶ οὔτε EF: ἐκλέγεται καὶ
-οὔτε PMV || εἶναι om. P   8 παρ’ ὅμοια F || ἀναγκαίαι P, M: ἀνάγκηι
-F, E: ἀναγκαῖα V || ἀκολουθίαι ἀλλ’ P, MV: ἀκόλουθα δὲ καὶ EF   9
-λαμπρὰ EF: ἁπλᾶ PMV   10 ἡ τέχνη F || λέγεται EF   11 συναπαρτιζούσας
-E: συναπαρτιζούσαις F: συναρτιζούσας PM: συναρμοζούσας V || ἑαυταῖς
-EF (coniecerat Uptonus): om. PMV   12 οὐδὲ EF: οὔτε PMV   17 ἔχουσα
-Sylburgius: ἔχουσαι libri || τοῦ δέοντος P   18 συμμετρουμένη
-Schaeferus: συμμετρούμεναι libri || πραγματείαν secl. Usenerus   19
-ἔχουσα P: ἔχουσαν FM: om. V || ἐπίτηδ’ οὐδεμι(αν) P: ἐπιτηδεύει οὐδὲ
-FMV || ἔτι Uptonus: ἐπὶ libri || ἐστὶν F: om. PMV   20 καὶ FP: κατὰ MV
-|| ἴδια] δὲ MV || ἀγχίστροφός PM: ἀντίρροπός F   21 ἄναρθρος] ἀναίσθιος
-F   22 ὑπεροπτικὴ] ὑποδεκτικὴ F   23 ἀκόμψευστον F || τὸν EF: τὸ PMV 24
-πῖνον libri || ἔχοντα F || κάλλος om. F   25 δὲ om. EF
-
-8. Perhaps ἀνάγκῃ δουλεύοντα, ἀνακόλουθα δὲ καί: with ἐπὶ (‘in the case
-of’) retained in l. 19.
-
-11. The meaning is that the austere style does not seek for periods
-containing a complete thought, and that, if accidentally it stumbles
-into them, it wishes to emphasize (by means of careful abstention from
-all artificial means of rounding off the sentence) the absence of
-premeditation.—With regard to Upton’s conjecture ἑαυταῖς it should be
-noticed that this is only one of many instances in which his acuteness
-has since been confirmed by manuscript authority.
-
-18. =μὰ Δία=: cp. (for the order) νὴ Δία =120= 9. μά is here used
-because of the preceding negatives.
-
-22. =ἐν πολλοῖς ὑπεροπτική= κτλ.: in other words, such a style delights
-in anacolutha.
-
-19-24. It is to be noticed, in this and other sentences, that Dionysius
-often so writes as to reflect the character of the style he is for the
-moment describing.—Baudat (p. 58) illustrates the style in question by
-quotations from Malherbe and Boileau, and adds: “Chacun connaît ces
-vers du _Cor_ d’Alf. de Vigny:
-
-    Roncevaux! Roncevaux! dans ta sombre vallée
-    L’ombre du grand Roland n’est donc pas consolée!
-
-Le son _on_ y revient six fois, le son _an_ trois fois, le son _au_
-deux fois; ils sont tous trois sourds et la rime en _ée_ seule est
-sonore. La succession de ces sons produit une harmonie dure, qui a
-quelque chose de voilé et de funèbre; on croit entendre le grondement
-de l’orage.”
-
-[Page 213]
-
-It is prone for the most part to expansion by means of great spacious
-words. It objects to being confined to short syllables, except under
-occasional stress of necessity.
-
-In respect of the words, then, these are the aims which it strives to
-attain, and to these it adheres. In its clauses it pursues not only
-these objects but also impressive and stately rhythms, and tries to
-make its clauses not parallel in structure or sound, nor slaves to a
-rigid sequence, but noble, brilliant, free. It wishes them to suggest
-nature rather than art, and to stir emotion rather than to reflect
-character. And as to periods, it does not, as a rule, even attempt
-to compose them in such a way that the sense of each is complete in
-itself: if it ever drifts into this accidentally, it seeks to emphasize
-its own unstudied and simple character, neither using any supplementary
-words which in no way aid the sense, merely in order that the period
-may be fully rounded off, nor being anxious that the periods should
-move smoothly or showily, nor nicely calculating them so as to be just
-sufficient (if you please) for the speaker’s breath, nor taking pains
-about any other such trifles. Further, the arrangement in question
-is marked by flexibility in its use of the cases, variety in the
-employment of figures, few connectives; it lacks articles, it often
-disregards natural sequence; it is anything rather than florid, it
-is aristocratic, plain-spoken, unvarnished; an old-world mellowness
-constitutes its beauty.
-
-This mode of composition was once zealously practised by
-
-[Page 214]
-
-
-τε ποίησιν καὶ ἱστορίαν καὶ λόγους πολιτικούς, διαφέροντες
-δὲ τῶν ἄλλων ἐν μὲν ἐπικῇ ποιήσει ὅ τε Κολοφώνιος Ἀντίμαχος
-καὶ Ἐμπεδοκλῆς ὁ φυσικός, ἐν δὲ μελοποιίᾳ Πίνδαρος,
-ἐν τραγῳδίᾳ δ’ Αἰσχύλος, ἐν ἱστορίᾳ δὲ Θουκυδίδης, ἐν δὲ
-πολιτικοῖς λόγοις Ἀντιφῶν. ἐνταῦθα ἡ μὲν ὑπόθεσις ἀπῄτει      5
-πολλὰ παρασχέσθαι τῶν εἰρημένων ἑκάστου παραδείγματα,
-καὶ ἴσως οὐκ ἀηδὴς ἂν ὁ λόγος ἐγένετο πολλοῖς ὥσπερ ἄνθεσι
-διαποικιλλόμενος τοῖς ἐαρινοῖς· ἀλλ’ ὑπέρμετρον ἔμελλε φανήσεσθαι
-τὸ σύνταγμα καὶ σχολικὸν μᾶλλον ἢ παραγγελματικόν·
-οὐ μὲν δὴ οὐδ’ ἀνεξέλεγκτα παραλιπεῖν τὰ ῥηθέντα ἥρμοττεν,      10
-ὡς δὴ φανερὰ καὶ οὐ δεόμενα μαρτυρίας· ἔδει δέ πως τὸ
-μέτριον ἀμφοῖν λαβεῖν καὶ μήτε πλεονάσαι τοῦ καιροῦ μήτ’
-ἐλλιπεῖν τῆς πίστεως. τοῦτο δὴ πειράσομαι ποιῆσαι δείγματα
-λαβὼν ὀλίγα παρὰ τῶν ἐπιφανεστάτων ἀνδρῶν. ποιητῶν μὲν
-οὖν Πίνδαρος ἀρκέσει παραληφθείς, συγγραφέων δὲ Θουκυδίδης·      15
-κράτιστοι γὰρ οὗτοι ποιηταὶ τῆς αὐστηρᾶς ἁρμονίας. ἀρχέτω
-δὲ Πίνδαρος, καὶ τούτου διθύραμβός τις οὗ ἐστιν ἡ ἀρχή·
-
-        δεῦτ’ ἐν χορόν, Ὀλύμπιοι,
-        ἐπί τε κλυτὰν πέμπετε χάριν, θεοί,
-        πολύβατον οἵ τ’ ἄστεος ὀμφαλὸν θυόεντα      20
-        ἐν ταῖς ἱεραῖς Ἀθάναις
-
-1 ποιητικοὺς F   2 ἐπικῇ Sylburgius: ἐπιεικη F: ἐπιεικεῖ PMV: om. E   5
-ποιητικοῖς F   8 ἐαρινοῖς] ἀριθμ(οις) P   10 οὐδ’ ἀνεξέλεγκτα P: οὐδ’
-ἀνεξέλεκτα M: οὐδ’ ἂν ἐξέλεγκτα F   12 μέτριον PV: μέτρον FM   13 δὴ
-F   17 τίς οὖν ἐστιν ἀρχῆι P || ἡ ἀρχὴ E: ἀρχὴ FMV   18 δεῦτ’ EFM^2V:
-ΐδετ’ P, M^1 || ἐν χορὸν EFV: ἐν σχορ(ὸν) P   19 πέμπεται P   20 οἵ τ’]
-οἳ F || ἄστεως F (ἄστεος praestat idem =222= 14)   21 ἀθήναις libri:
-sed cf. n. crit. ad =222= 14
-
-2. For =Antimachus of Colophon= cp. _de Imitat._ ii. 6 Ἀντίμαχος δὲ
-εὐτονίας [ἐφρόντισεν] καὶ ἀγωνιστικῆς τραχύτητος καὶ τοῦ συνήθους τῆς
-ἐξαλλαγῆς: Catullus xcv. 20 “at populus tumido gaudeat Antimacho”:
-Quintil. x. 1. 53 “contra in Antimacho vis et gravitas et minime
-vulgare eloquendi genus habet laudem. sed quamvis ei secundas fere
-grammaticorum consensus deferat, et affectibus et iucunditate et
-dispositione et omnino arte deficitur, ut plane manifesto appareat,
-quanto sit aliud proximum esse, aliud parem.” Plato’s admiration for
-his poetry is said to have been great.
-
-3. For =Empedocles= as being a physicist rather than a poet see
-Aristot. _Poet._ i. 9 καὶ γὰρ ἂν ἰατρικὸν ἢ φυσικόν τι διὰ τῶν μέτρων
-ἐκφέρωσιν, οὕτω καλεῖν εἰώθασιν, οὐδὲν δὲ κοινόν ἐστιν Ὁμήρῳ καὶ
-Ἐμπεδοκλεῖ πλὴν τὸ μέτρον, διὸ τὸν μὲν ποιητὴν δίκαιον καλεῖν, τὸν δὲ
-φυσιολόγον μᾶλλον ἢ ποιητήν. But on the other side cp. Lucret. i. 731
-“carmina quin etiam divini pectoris eius | vociferantur et exponunt
-praeclara reperta, | ut vix humana videatur stirpe creatus.” The
-fragments of Empedocles go far to justify Lucretius’ opinion; and the
-true poetic gifts of Empedocles, as of Lucretius himself, may have been
-seen in his work as a whole, even more than in its parts.
-
-3, 4. The μεγαλοπρέπεια of =Pindar= is emphasized in the _de Imitat._
-B. vi. 2.—Similarly, _ibid._, as to =Aeschylus=: ὁ δ’ οὖν Αἰσχύλος
-πρῶτος ὑψηλός τε καὶ τῆς μεγαλοπρεπείας ἐχόμενος, κτλ.
-
-5. For other references to =Antiphon= see _de Isaeo_ c. 20, _de
-Thucyd._ c. 51, _de Demosth._ c. 8, _Ep. i. ad Amm._ c. 2, and _C.V._
-c. 10. Also Thucyd. viii. 68 Ἀντιφῶν ἀνὴρ Ἀθηναίων τῶν καθ’ ἑαυτὸν
-ἀρετῇ τε οὐδενὸς δεύτερος καὶ κράτιστος ἐνθυμηθῆναι γενόμενος καὶ ἃ
-γνοίη εἰπεῖν.—For =Thucydides= himself see D.H. _passim_ (especially
-pp. 30-34, 104 ff., 130 ff.).
-
-17. G. S. Farnell _Greek Lyric Poetry_ p. 417: “The excited nature of
-the rhythm throughout, and the rapturous enthusiasm with which the
-approach of spring is described, are eminently characteristic of the
-dithyramb at its best; and it is easy to understand how such a style,
-in the hands of inferior poets, degenerated into the florid inanity
-which characterizes the later dithyrambic poets.”
-
-18. =δεῦτ’ ἐν χορόν=, ‘come ye to the dance.’ “ἐν _cum accus._ (eight
-times in Pindar, chiefly in the Aeolic odes) is a relic of the original
-stage of the language when this preposition had the functions of the
-Latin _in_. It is preserved in Boeotian, Thessalian, North-West Greek,
-Eleian, Arcadian, Cyprian, and perhaps even in the Attic ἔμβραχυ. The
-accusative use was abandoned on the rise of ἐν-ς (cf. _ab-s_), which,
-before a vowel, became εἰς, before a consonant, ἐς” (Weir Smyth _Greek
-Melic Poets_ p. 359). P’s curious reading ἐν σχορ(ὸν) is to be noticed.
-
-20. =ὀμφαλόν=: the reference is to the Athenian Acropolis, and the
-passage suggested a fitting motto to Otto Jahn for his _Pausaniae
-Descriptio Arcis Athenarum_.
-
-[Page 215]
-
-many authors in poetry, history, and civil oratory; pre-eminently
-in epic poetry by Antimachus of Colophon and Empedocles the natural
-philosopher, in lyric poetry by Pindar, in tragedy by Aeschylus, in
-history by Thucydides, and in civil oratory by Antiphon. At this point
-the subject would naturally call for the presentation of numerous
-examples of each author cited, and possibly the discourse would have
-been rendered not unattractive if bedecked with many such flowers of
-spring. But then the treatise would probably be felt to be excessively
-long—more like a course of lectures than a manual. On the other hand,
-it would not be fitting to leave the statements unsubstantiated, as
-though they were obvious and not in need of proof. The right thing,
-no doubt, is after all to take a sort of middle course, neither to
-exceed all measure, nor yet to fall short of carrying conviction.
-I will endeavour to do so by selecting a few samples from the most
-distinguished authors. Among poets it will be enough to cite Pindar,
-among prose-writers Thucydides; for these are the best writers in the
-austere style of composition. Let Pindar come first, and from him I
-take a dithyramb which begins—
-
-    Shed o’er our choir, Olympian Dominations,
-          The glory of your grace,
-    O ye who hallow with your visitations
-          The curious-carven place,
-
-[Page 216]
-
-
-        οἰχνεῖτε πανδαίδαλόν τ’ εὐκλέ’ ἀγοράν,
-        ἰοδέτων λάχετε στεφάνων τᾶν τ’ ἐαριδρόπων ἀοιδᾶν·
-        Διόθεν τέ με σὺν ἀγλαΐᾳ
-        ἴδετε πορευθέντ’ ἀοιδᾶν δεύτερον
-        ἐπὶ τὸν κισσοδέταν θεόν,      5
-        τὸν Βρόμιον ἐριβόαν τε βροτοὶ καλέομεν,
-        γόνον ὑπάτων μὲν πατέρων μέλπομεν
-        γυναικῶν τε Καδμεϊᾶν [ἔμολον].
-        ἐναργέα τελέων σάματ’ οὐ λανθάνει,
-        φοινικοεάνων ὁπότ’ οἰχθέντος Ὡρᾶν θαλάμου      10
-        εὔοδμον ἐπάγῃσιν ἔαρ φυτὰ νεκτάρεα·
-        τότε βάλλεται, τότ’ ἐπ’ ἄμβροτον χέρσον ἐραταὶ
-        ἴων φόβαι, ῥόδα τε κόμαισι μίγνυται
-        ἀχεῖ τ’ ὀμφαὶ μελέων σὺν αὐλοῖς,
-        ἀχεῖ τε Σεμέλαν ἑλικάμπυκα χοροί.      15
-
-ταῦθ’ ὅτι μέν ἐστιν ἰσχυρὰ καὶ στιβαρὰ καὶ ἀξιωματικὰ καὶ
-πολὺ τὸ αὐστηρὸν ἔχει τραχύνει τε ἀλύπως καὶ πικραίνει
-μετρίως τὰς ἀκοὰς ἀναβέβληταί τε τοῖς χρόνοις καὶ διαβέβηκεν
-ἐπὶ πολὺ ταῖς ἁρμονίαις καὶ οὐ τὸ θεατρικὸν δὴ
-τοῦτο καὶ γλαφυρὸν ἐπιδείκνυται κάλλος ἀλλὰ τὸ ἀρχαϊκὸν      20
-ἐκεῖνο καὶ αὐστηρόν, ἅπαντες ἂν εὖ οἶδ’ ὅτι μαρτυρήσειαν οἱ
-
-2 ιοδέτ(ων) P, MV: ἰαδέτων E: ὅδ’ ἐγὼν F || λαχετε P, EMV: λάχει F (cp.
-=224= 4) || τᾶν τ’ ἐαριδρόπων Us.: ἄντε ἀριδρόπων F: τ’ ἀντ’ ἐαριδρέπων
-P: τάν τε ἀριδρέπτων E: τ’ ἀντ’ ἐπαριδρέπων M: τῶν ἐαριδρέπτων V ||
-ἀοιδάν EFV: λοιβάν PM   3 Διόθεν τέ με] διατεθέντε F   4 πορευθέντα·
-οἱ δἂν F: πορευθέντες ἀοιδαὶ (ἀοιδαῖς EV) ceteri   5 κισσοδέταν s:
-κισσοδόνταν deleto ν priore P (κισσοδόταν leg. Us.): κισσοδαη F, EMV
-  6 τὸν P: ὃν ceteri || βρόμιον ὃν EFMV: βρόμι(ον). τ(ον) P   7 μὲν
-P: τε EV: μέν τε FM || μέλπε P: μέλπομεν ceteri   8 ἔμολον P: σεμέλαν
-EV: σεμέλην FM   9 ἐναργέα τελέων Us.: ἐναργεα νεμέω P, E: ἐν ἄλγεα
-τεμεῶι F: ἐν ἀργέα νεμέα MV || σάματ’ Us.: τεμάντιν F: μάντιν cett.
-  10 φοινικοεάνων Kock: φοινικοεάων F: φοίνικος ἐανῶν cett. || οἰχθόντες
-F || ὧραν F: ὥραν cett. || θάλαμοι F   11 εὐόαμον F || ἐπάγοισιν
-F: ἐπαΐωσιν cett.   12 τότε om. F || ἄμβροτον χέρσον EFV: ἀμβρόταν
-(αμσβρόταν P) χθόν’ PM   12-13 ἐραταὶ (ἐρατὰς V) ἴων φόβαι ῥόδατε
-EV: ἐρατέων φοβερόδατε F: ἐρατὰν· ΐον φοβεράτε P, M   13 κόμισι F ||
-μίγνυται PM: μίγνυνται EFV   14 ἀχεῖ τε F: οἰχνεῖ τ’ EPM: οἰχνεῖτε V:
-ὑμνεῖτε s || ὀμφᾶι F: ὀμφᾶ E: ὀμφα V: ὀμφαῖς PM   15 ἀχεῖ τε Hermannus:
-οἰχνεῖ τε libri: ὑμνεῖτε s   18 ἀναβέβληται F: ἀνακέκληται PMV   19 ἐπὶ
-F: ἐπὶ τὸ PMV || καὶ οὐ τὸ Us.: καὶ οὔτε PMV: οὐ τὸ F   21 καὶ FM: καὶ
-τὸ PV || εὖ F: om. PMV
-
-2. λαχεῖν would be infinitive for imperative, or (rather) infinitive of
-purpose after a verb of motion (just as Boeckh, in l. 7 _infra_, reads
-μελπέμεν).
-
-λοιβᾶν (λοιβάν PM) might be taken to refer to honey, or to
-‘drink-offerings of spring-gathered herbs.’
-
-4. =δεύτερον=: “post Iovem patrem _secundo loco_ ad Bacchum filium,”
-Boeckh. Or the reference may be to a previous visit of Pindar to Athens.
-
-9. ‘The clear-seen tokens of his rites are not unnoticed.’ In other
-words, the return of spring indicates to the god that his festival is
-at hand: cp. Aristoph. _Nub._ 311 (Weir Smyth).
-
-12. =βάλλεται ... ἀχεῖ ... ἀχεῖ=: _schema Pindaricum._
-
-15. “Metre: paeonic-logaoedic as _Ol._ 10, _Pyth._ 5. Schmidt
-(_Eurythmie_ 428) regards the metre as logaoedic throughout. The
-fragment belongs to the ἀπολελυμένα μέλη, that is, it is not divided
-into strophes,” Weir Smyth.
-
-21. It is convenient to use ‘readers’ occasionally in the translation.
-But ‘hearers’ (οἱ ἀκούοντες) would more naturally be used by a
-Greek: just as λόγους (=218= 1) is strictly ‘discourse’ rather than
-‘literature.’
-
-[Page 217]
-
-
-    The heart of Athens, steaming with oblations,
-        Wide-thronged with many a face.
-    Come, take your due of garlands violet-woven,
-    Of songs that burst forth when the buds are cloven.
-
-    Look on me—linked with music’s heaven-born glamour
-        Again have I drawn nigh
-    The Ivy-wreathed, on earth named Lord of Clamour,
-        Of the soul-thrilling cry.
-    We hymn the Babe that of the Maid Kadmeian
-    Sprang to the Sire throned in the empyrean.
-
-    By surest tokens is he manifested:—
-        What time the bridal bowers
-    Of Earth and Sun are by their crimson-vested
-        Warders flung wide, the Hours.
-    Then Spring, led on by flowers nectar-breathing,
-        O’er Earth the deathless flings
-    Violet and rose their love-locks interwreathing:
-        The voice of song outrings
-    An echo to the flutes; the dance his story
-    Echoes, and circlet-crowned Semele’s glory.[174]
-
-That these lines are vigorous, weighty and dignified, and possess much
-austerity; that, though rugged, they are not unpleasantly so, and
-though harsh to the ear, are but so in due measure; that they are slow
-in their time-movement, and present broad effects of harmony; and that
-they exhibit not the showy and decorative prettiness of our day, but
-the austere beauty of a distant past: this will, I am sure, be attested
-by all readers
-
-[Page 218]
-
-
-μετρίαν ἔχοντες αἴσθησιν περὶ λόγους. τίνι δὲ κατασκευασθέντα
-ἐπιτηδεύσει τοιαῦτα γέγονεν (οὐ γὰρ ἄνευ γε τέχνης
-καὶ λόγου τινός, αὐτοματισμῷ δὲ καὶ τύχῃ χρησάμενα τοῦτον
-εἴληφε τὸν χαρακτῆρα), ἐγὼ πειράσομαι δεικνύναι.
-
-τὸ πρῶτον αὐτῷ κῶλον ἐκ τεττάρων σύγκειται λέξεως      5
-μορίων, ῥήματος καὶ συνδέσμου καὶ δυεῖν προσηγορικῶν· τὸ
-μὲν οὖν ῥῆμα καὶ ὁ σύνδεσμος συναλοιφῇ κερασθέντα οὐκ
-ἀηδῆ πεποίηκε τὴν ἁρμονίαν· τὸ δὲ προσηγορικὸν τῷ συνδέσμῳ
-συντιθέμενον ἀποτετράχυκεν ἀξιολόγως τὴν ἁρμογήν· τὸ γὰρ
-#ἐν χορὸν# καὶ ἀντίτυπον καὶ οὐκ εὐεπές, τοῦ μὲν συνδέσμου      10
-λήγοντος εἰς ἡμίφωνον στοιχεῖον τὸ ν̄, τοῦ δὲ προσηγορικοῦ
-τὴν ἀρχὴν λαμβάνοντος ἀφ’ ἑνὸς τῶν ἀφώνων τοῦ χ̄· ἀσύμμικτα
-δὲ τῇ φύσει ταῦτα τὰ στοιχεῖα καὶ ἀκόλλητα· οὐ γὰρ
-πέφυκε κατὰ μίαν συλλαβὴν τοῦ χ̄ προτάττεσθαι τὸ ν̄,
-ὥστε οὐδὲ συλλαβῶν ὅρια γινόμενα συνάπτει τὸν ἦχον, ἀλλ’      15
-ἀνάγκη σιωπήν τινα γενέσθαι μέσην ἀμφοῖν τὴν διορίζουσαν
-ἑκατέρου τῶν γραμμάτων τὰς δυνάμεις. τὸ μὲν δὴ πρῶτον
-κῶλον οὕτω τραχύνεται τῇ συνθέσει. κῶλα δέ με δέξαι
-λέγειν οὐχ οἷς Ἀριστοφάνης ἢ τῶν ἄλλων τις μετρικῶν
-διεκόσμησε τὰς ᾠδάς, ἀλλ’ οἷς ἡ φύσις ἀξιοῖ διαιρεῖν τὸν      20
-λόγον καὶ ῥητόρων παῖδες τὰς περιόδους διαιροῦσι.
-
-τὸ δὲ τούτῳ παρακείμενον κῶλον τὸ “#ἐπί τε κλυτὰν
-πέμπετε χάριν θεοί#” διαβέβηκεν ἀπὸ τοῦ προτέρου διάβασιν
-ἀξιόλογον καὶ περιείληφεν ἐν αὑτῷ πολλὰς ἁρμονίας ἀντιτύπους.
-ἄρχει μὲν γὰρ αὐτοῦ στοιχεῖον ἓν τῶν φωνηέντων τὸ      25
-ε̄ καὶ παράκειται ἑτέρῳ φωνήεντι τῷ ῑ· εἰς τοῦτο γὰρ ἔληγε
-
-1 λόγους ... τέχνης καὶ om. F || τινὶ δε P   3 δὲ καὶ F: καὶ PMV ||
-χρησάμενον F   4 ἐγὼ PMV: ὃν ἐγὼ F   5 αὐτὸ F   10 καὶ ἀντίτυπον EF:
-ἀντίτυπόν τε PMV || εὐεπὲς EF: εὐπετὲς PMV   13 τῆι φύσει P, M in marg.
-F: om. F^1: τῆ ῥύσει V   14 προτάττεσθαι F: προτετάχθε P, MV   15 οὐδὲ
-PMV: οὔτε F || ὅρια] ὄρια F: δύο (β̄ P) μόρια EPM: δύο τὰ μόρια V ||
-συνάπτει] τύπτει F   16 γενέσθαι EF: γίγνεσθαι P: γίνεσθαι MV || μέσοιν
-EM   17 ἑκατέρων EF   18 με δέξαι PV: μ’ ἔδοξε FM   19 λέγειν F: νυνὶ
-λέγειν PMV   22 δὲ τούτω PV: δ’ επι τούτων F, M   23 θεοὶ FM: om. PV ||
-διαβέβηκεν F: βέβηκέ τε PMV   24 αὑτῷ] Sch., αὐτῷ libri   26 ἔληγεν ὁ
-F: ἔληξεν τὸ P, MV
-
-5. =αὐτῷ=: sc. in this author, or in this passage. Cp. =168= 1, =230=
-29.
-
-13. Dionysius’ general object is to show that there is a kind of
-intentional discord or clash in Pindar’s dithyramb.
-
-17. ‘If each of the letters is uttered with its proper quality,’ viz.
-if we say ἐν χορόν and not ἐγ χορόν.
-
-19. =Ἀριστοφάνης=: not, of course, the comic poet of Athens, but the
-grammarian of Byzantium.—From this passage, and from =278= 5 _infra_,
-it would appear that Aristophanes divided the text of Pindar and
-other lyric poets into metrical _cola_. Such _cola_ are found in the
-recently-discovered Bacchylides papyrus (written probably in Dionysius’
-own century—the first century B.C.), which is also the earliest
-manuscript in which accents are used.
-
-21. =ῥητόρων παῖδες=: cp. =266= 8 ζωγράφων τε καὶ τορευτῶν παισίν, ‘the
-generation of painters and sculptors.’ So ζωγράφων παῖδες Plato _Legg._
-769 B, παῖδες ῥητόρων Luc. _Anach._ 19. The term will include pupils or
-apprentices, as well as sons: cp. Plato _Rep._ v. 467 A ἢ οὐκ ᾔσθησαι
-τὰ περὶ τὰς τέχνας, οἷον τοὺς τῶν κεραμέων παῖδας, ὡς πολὺν χρόνον
-διακονοῦντες θεωροῦσι πρὶν ἅπτεσθαι τοῦ κεραμεύειν; Earlier still we
-have the schools of the bards—the Ὁμηρίδαι or Ὁμήρου παῖδες, like ‘the
-sons of the prophets’ in the Old Testament. As used by later writers,
-the periphrasis with παῖδες may be compared with οἱ περί, οἱ ἀμφί (cp.
-note on =194= 20 _supra_).
-
-26. “The passages relating to Ὀλύμπιοι ἐπί, and καὶ Ἀθηναίων (Thuc.
-i. 1), where the word in each case is said to end in ι, have led
-some persons to suppose that Dionysius pronounced οι and αι as real
-diphthongs of two vowels ending in ι. We know, however, that at this
-time αι was a single vowel ε prolonged, and that it was only called a
-diphthong because written with two letters, just as _ea_ in _each_,
-_great_ are often spoken of as a diphthong, in place of a digraph.
-We know also that ι subscript was not pronounced, and yet Dionysius
-speaks of ἀγλαΐᾳ as ending with ι. Consequently there is no need to
-suppose that οι was a real diphthong either. The language is merely
-orthographical. As to the amount of pause, we find similar combinations
-within the same Greek word: οι and ε in οἴεται, ν and δ in ἄνδρα, αι
-and α in Αἴας; while ν before τ is quite common as in ὄντων, and ν
-before π, κ becomes μ, γ, as in ἔμπορος, ἐγκρατής. Hence much of this
-criticism may be fanciful. But it is certain that there is a different
-feeling respecting the collision of letters which end and begin a word,
-and those which come together in the same word. Thus in French poetry
-open vowels are entirely forbidden. It is impossible to say ‘cela ira’
-in serious French verse. Yet ‘haïr’ is quite admissible. Hence there
-may be some foundation for the preceding observations, which, however,
-like many others in the treatise, ride a theory very hard,” A. J. E.
-[The observations of the critic, himself, must obviously be accepted
-with considerable reserve: see, for example, the note on =230= 19
-_infra._]
-
-[Page 219]
-
-whose literary sense has been tolerably developed. I will attempt to
-show by what method such results have been achieved, since it is not by
-spontaneous accident, but by some kind of artistic design, that this
-passage has acquired its characteristic form.
-
-The first clause consists of four words—a verb, a connective, and two
-appellatives. Now the mingling and the amalgamation of the verb and the
-connective have produced a rhythm which is not without its charm; but
-the combination of the connective with the appellative has resulted
-in a junction of considerable roughness. For the words ἐν χορόν are
-jarring and uneuphonious, since the connective ends with the semivowel
-ν, while the appellative begins with one of the mutes, χ. These letters
-by their very nature cannot be blended and compacted, since it is
-unnatural for the combination νχ to form part of a single syllable; and
-so, when ν and χ are the boundaries of adjacent syllables, the voice
-cannot be continuous, but there must necessarily be a pause separating
-the letters if each of them is uttered with its proper sound. So, then,
-the first clause is roughened thus by the arrangement of its words.
-(You must understand me to mean by “clauses” not those into which
-Aristophanes or any of the other metrists has arranged the odes, but
-those into which Nature insists on dividing the discourse and into
-which the disciples of the rhetoricians divide their periods.)
-
-The next clause to this—ἐπί τε κλυτὰν πέμπετε χάριν θεοί—is separated
-from the former by a considerable interval and includes within itself
-many dissonant collocations. It begins with one of the vowels, ε, in
-close proximity to which is another vowel, ι—the letter which came at
-the end of the preceding
-
-[Page 220]
-
-
-τὸ πρὸ αὐτοῦ. οὐ συναλείφεται δὲ οὐδὲ ταῦτ’ ἀλλήλοις, οὐδὲ
-προτάττεται κατὰ μίαν συλλαβὴν τὸ ῑ τοῦ ε̄· σιωπὴ δέ τις
-μεταξὺ ἀμφοῖν γίνεται, διερείδουσα τῶν μορίων ἑκάτερον καὶ
-τὴν βάσιν αὐτοῖς ἀποδιδοῦσα ἀσφαλῆ. ἐν δὲ τῇ κατὰ μέρος
-συνθέσει τοῦ κώλου τοῖς μὲν #ἐπί τε# συνδέσμοις ἀφ’ ὧν      5
-ἄρχεται τὸ κῶλον, εἴτε ἄρα πρόθεσιν αὐτῶν δεῖ τὸ ἡγούμενον
-καλεῖν, τὸ προσηγορικὸν ἐπικείμενον μόριον τὸ #κλυτὰν#
-ἀντίτυπον πεποίηκε καὶ τραχεῖαν τὴν σύνθεσιν· κατὰ τί
-ποτε; ὅτι βούλεται μὲν εἶναι βραχεῖα ἡ πρώτη συλλαβὴ
-τοῦ #κλυτάν#, μακροτέρα δ’ ἐστὶ τῆς βραχείας ἐξ ἀφώνου τε      10
-καὶ ἡμιφώνου καὶ φωνήεντος συνεστῶσα. τὸ δὲ μὴ εἰλικρινῶς
-αὐτῆς βραχὺ καὶ ἅμα τὸ ἐν τῇ κράσει τῶν γραμμάτων
-δυσεκφόρητον ἀναβολήν τε ποιεῖ καὶ ἐγκοπὴν τῆς ἁρμονίας.
-εἰ γοῦν τὸ κ̄ τις ἀφέλοι τῆς συλλαβῆς καὶ ποιήσειεν #ἐπί
-τε λυτάν#, λυθήσεται καὶ τὸ βραδὺ καὶ τὸ τραχὺ τῆς      15
-ἁρμονίας. πάλιν τῷ #κλυτὰν# προσηγορικῷ τὸ #πέμπετε#
-ῥηματικὸν ἐπικείμενον οὐκ ἔχει συνῳδὸν οὐδ’ εὐκέραστον τὸν
-ἦχον, ἀλλ’ ἀνάγκη στηριχθῆναι τὸ ν̄ καὶ πιεσθέντος ἱκανῶς
-τοῦ στόματος τότε ἀκουστὸν γενέσθαι τὸ π̄· οὐ γὰρ ὑποτακτικὸν
-τῷ ν̄ τὸ π̄. τούτου δ’ αἴτιον ὁ τοῦ στόματος      20
-σχηματισμὸς οὔτε κατὰ τὸν αὐτὸν τόπον οὔτε τῷ αὐτῷ
-τρόπῳ τῶν γραμμάτων ἐκφέρων ἑκάτερον· τοῦ μὲν γὰρ ν̄
-περὶ τὸν οὐρανὸν γίνεται ὁ ἦχος καὶ τῆς γλώττης ἄκροις
-τοῖς ὀδοῦσι προσανισταμένης καὶ τοῦ πνεύματος διὰ τῶν
-ῥωθώνων μεριζομένου, τοῦ δὲ π̄ μύσαντός τε τοῦ στόματος      25
-
-2 προτάττεται] παρ’ οἷς τάττεται F || τις FM: τις ἡ PV   4 ἀσφαλῆι· ἐν
-δὴ P   5 τοῦ κώλου F: τῶν κώλων PMV || σύνδεσμον F   6 δεῖ] δὴ F   8
-κατα τί ποτε· ὅτι F: κατά τι δήποτε PMV   9 μὲν εἶναι] μένειν F   11
-καὶ ἡμιφώνου om. P || ἑστῶσα P   13 δυσεκφόρητον F: δυσεκφώνητον E:
-δυσέκφορον PMV   14 ποιήσει EF   17 τὸν om. EF   18 ἀνάγκηι P   19 τοῦ
-στόματος τότε E: το̈́ῦτοτε et in margine στομ(ατος) F: τοῦ π̄ τότε M:
-τότε V: τούτου Ps   20 αἴτιον EF: αἴτιος PMV || στόματος] σχήματος V.
-  22 ἐκφέρον F || ἑκάτερον F: ἑκάτερον τὸ π̄ καὶ τὸ ν̄ PMV || νῦ FM:
-om. PV   23 γίνεται F: τε γίνεται PMV || γλώττης F: γλώσσης PMV   24
-προἀνισταμένης F, M   25 τε τοῦ στόματος om. F
-
-15. =λυτάν=, =λυθήσεται=: possibly an intentional play on words.
-
-18. Clearly Dionysius does not believe that, in this passage, final ν
-before initial π was pronounced as μ—κλυτάν as κλυτάμ: though final ν
-sometimes appears under this form in inscriptions, as also does medial
-ν in such compounds as συμπόσιον. The literal meaning of the passage
-seems to be, ‘The ν must be firmly planted [pronounced distinctly,
-dwelt upon], and κλυτὰν πέμπετε cannot be run together in one word, as
-κλυταμπέμπετε or the like might be.’
-
-[Page 221]
-
-clause. These letters, again, do not coalesce with one another, nor
-can ι stand before ε in the same syllable. There is a certain silence
-between the two letters, which thrusts apart the two elements and
-gives each a firm position. In the detailed arrangement of the clause
-the postposition of the appellative part of speech κλυτάν to the
-connectives ἐπί τε with which the phrase opens (though perhaps the
-first of these connectives should rather be called a _preposition_) has
-made the composition dissonant and harsh. For what reason? Because the
-first syllable of κλυτάν is ostensibly short, but actually longer than
-the ordinary short, since it is composed of a mute, a semi-vowel, and
-a vowel. It is the want of unalloyed brevity in it, combined with the
-difficulty of pronunciation involved in the combination of the letters,
-that causes retardation and interruption in the harmony. At all events,
-if you were to remove the κ from the syllable and to make it ἐπί τε
-λυτάν, there would be an end to both the slowness and the roughness of
-the arrangement. Further: the verbal form πέμπετε, subjoined to the
-appellative κλυτάν, does not produce a harmonious or well-tempered
-sound. The ν must be firmly planted and the π be heard only when the
-lips have been quite pressed together, for the π cannot be tacked on to
-the ν. The reason of this is the configuration of the mouth, which does
-not produce the two letters either at the same spot or in the same way.
-ν is sounded on the arch of the palate, with the tongue rising towards
-the edge of the teeth and with the breath passing in separate currents
-through the nostrils; π with the lips closed, the tongue
-
-[Page 222]
-
-
-καὶ οὐδὲν τῆς γλώττης συνεργούσης τοῦ τε πνεύματος κατὰ
-τὴν ἄνοιξιν τῶν χειλῶν τὸν ψόφον λαμβάνοντος ἀθροῦν, ὡς
-καὶ πρότερον εἴρηταί μοι· ἐν δὲ τῷ μεταλαμβάνειν τὸ στόμα
-σχηματισμὸν ἕτερον ἐξ ἑτέρου μήτε συγγενῆ μήτε παρόμοιον
-ἐμπεριλαμβάνεταί τις χρόνος, ἐν ᾧ διίσταται τὸ λεῖόν τε      5
-καὶ εὐεπὲς τῆς ἁρμονίας. καὶ ἅμα οὐδ’ ἡ προηγουμένη τοῦ
-#πέμπετε# συλλαβὴ μαλακὸν ἔχει τὸν ἦχον ἀλλ’ ὑποτραχύνει
-τὴν ἀκοὴν ἀρχομένη τε ἐξ ἀφώνου καὶ λήγουσα εἰς ἡμίφωνον.
-τῷ τε #χάριν# τὸ #θεοὶ# παρακείμενον ἀνακόπτει τὸν ἦχον καὶ
-ποιεῖ διερεισμὸν ἀξιόλογον τῶν μορίων, τοῦ μὲν εἰς ἡμίφωνον      10
-λήγοντος τὸ ν̄, τοῦ δὲ ἄφωνον ἔχοντος ἡγούμενον τὸ θ̄·
-οὐδενὸς δὲ πέφυκε προτάττεσθαι τῶν ἀφώνων τὰ ἡμίφωνα.
-
-τούτοις ἐπιφέρεται τρίτον κῶλον τουτί “#πολύβατον οἵ
-τ’ ἄστεος ὀμφαλὸν θυόεντα ἐν ταῖς ἱεραῖς Ἀθάναις
-οἰχνεῖτε#.” ἐνταῦθα τῷ τε #ὀμφαλὸν# εἰς τὸ ν̄ λήγοντι τὸ      15
-#θυόεντα# παρακείμενον ἀπὸ τοῦ θ̄ ἀρχόμενον ὁμοίαν ἀποδίδωσιν
-ἀντιτυπίαν τῇ πρότερον, καὶ τῷ #θυόεντα# εἰς φωνῆεν
-τὸ ᾱ λήγοντι ζευγνύμενον τὸ “#ἐν ταῖς ἱεραῖς#” ἀπὸ
-φωνήεντος τοῦ ε̄ λαμβάνον τὴν ἀρχὴν διέσπακε τῷ μεταξὺ
-χρόνῳ τὸν ἦχον οὐκ ὄντι ὀλίγῳ. τούτοις ἐκεῖνα ἕπεται      20
-“#πανδαίδαλόν τ’ εὐκλέ’ ἀγοράν#”· τραχεῖα κἀνταῦθα καὶ
-ἀντίτυπος ἡ συζυγία· ἡμιφώνῳ γὰρ ἄφωνον συνάπτεται τῷ
-ν̄ τὸ τ̄ καὶ διαβέβηκεν ἀξιόλογον διάβασιν ὁ μεταξὺ τοῦ τε
-προσηγορικοῦ τοῦ #πανδαίδαλον# καὶ τῆς συναλοιφῆς τῆς
-συναπτομένης αὐτῷ χρόνος· μακραὶ μὲν γὰρ ἀμφότεραι,      25
-μείζων δὲ οὐκ ὀλίγῳ τῆς μετρίας ἡ συναλείφουσα τὰ δύο
-συλλαβή, ἐξ ἀφώνου τε καὶ δυεῖν συνεστῶσα φωνηέντων· εἰ
-
-1 γλώττης F: γλώσσης PMV || συνεργούσης] μεριζομένη συνεργούσης F:
-ἐνεργούσης PV   2 ὡς F: ὡς δὴ PMV   3 δὲ F: δὴ PMV || τὸ στόμα PMV: τὸν
-F   5 εν ὧι διίσταται P: δι’ οὗ συνίσταται FMV || λεῖόν τε F: λεῖον
-PMV   6 εὐεπὲς F: εὐπετὲς PV: εὐτελὲς M   7 μακρὸν P   8 ἀρχομένη F:
-ἄρχουσά PMV   10 ποιεῖ F: ποιεῖ τὸν PMV || διερεισμὸν Us.: ἐρισμὸν
-P: διορισμὸν FMV   11 τὸ ν̄ Sylburgius: τοῦ ν̄ (νῦ F) FMV: om. P ||
-θῆτα F   14 ἀθάναις F: ἀθήναις PMV   16 θῆτα F   18 ζευγνύμενον F:
-ἐπεζευγμένον PMV   19 λαμβάνοντος F   20 ἦχον] χρόνον F   21 τραχεῖα
-κἀνταῦθα om. F   22 συνάπτεται F: συνάπτεται γράμμα PMV   23 διάβασιν
-FM^1: διάστασιν PVM^2   25 συναπτομένης F: ἐπισυναπτομένης PMV ||
-χρόνος F: om. PMV || μακρὰ et ἀμφότερα F || μὲν γὰρ] μὲν P: γὰρ F: γάρ
-εἰσιν MV   26 μετρίας F: συμμετρίας PMV || τὰ δύο συλλαβή Us.: τὰς δύο
-(β̄ P) συλλαβὰς libri   27 δυεῖν FP: δυοῖν MV
-
-2. =ὡς καὶ πρότερον εἴρηταί μοι=: the passages which seem to be meant
-(=144= 22 and =148= 15) do not exactly tally with the present one.
-
-12. We must supply κατὰ μίαν συλλαβήν, which words are found in =218=
-14 and =220= 2 (cp. =230= 4): otherwise we are confronted with such
-examples to the contrary as ἔνθα and (in this immediate context)
-μεταλαμβάνειν, ἀρχόμενον, etc.
-
-21. =τ’ εὐ-= are treated as one syllable. So in =218= 22, Dionysius
-probably intends us to divide as follows:
-
-ᴗ ᴗ –
-ἐπιτε|κλυτάν,
-
-etc.
-
-23. In Dionysius’ own words, it might be said that the interval between
-the article ὁ and the noun χρόνος with which it agrees is quite an
-‘appreciable gap.’ Cp. Introduction, p. 12 _supra_.
-
-24. =τῆς συναλοιφῆς=: the fused or blended syllable—τ’ εὐ-.
-
-[Page 223]
-
-doing none of the work, and the breath forming a concentrated noise
-when the lips are opened, as I have said before. While the mouth is
-taking one after another shapes that are neither akin nor alike, some
-time is consumed, during which the smoothness and euphony of the
-arrangement is interrupted. Moreover, the first syllable of πέμπετε has
-not a soft sound either, but is rather rough to the ear, as it begins
-with a mute and ends with a semi-vowel. θεοί coming next to χάριν pulls
-the sound up short and makes an appreciable interval between the words,
-the one ending with the semi-vowel ν, the other beginning with the mute
-θ. And it is unnatural for a semi-vowel to stand before any mute.
-
-Next follows this third clause, πολύβατον οἵ τ’ ἄστεος ὀμφαλὸν θυόεντα
-ἐν ταῖς ἱεραῖς Ἀθάναις οἰχνεῖτε. Here θυόεντα which begins with θ,
-being placed next to ὀμφαλὸν which ends in ν, produces a dissonance
-similar to that previously mentioned; and ἐν ταῖς ἱεραῖς which opens
-with the vowel ε, being linked to θυόεντα which ends with the vowel
-α, interrupts the voice by the considerable interval of time there is
-between them. Following these come the words πανδαίδαλόν τ’ εὐκλέ’
-ἀγοράν. Here, too, the combination is rough and dissonant. For the
-mute τ is joined to the semi-vowel ν; and the interval between the
-appellative πανδαίδαλον and the elided syllable which follows it is
-quite an appreciable gap; for both syllables are long, but the syllable
-which unites the two letters ε and υ, consisting as it does of a mute
-and two vowels, is considerably longer than the average. At any rate,
-if the τ in the syllable
-
-[Page 224]
-
-
-γοῦν τις αὐτῆς ἀφέλοι τὸ τ̄ καὶ ποιήσειε #πανδαίδαλον
-εὐκλέ’ ἀγοράν#, εἰς τὸ δίκαιον ἐλθοῦσα μέτρον εὐεπεστέραν
-ποιήσει τὴν ἁρμονίαν.
-
-ὅμοια τούτοις ἐστὶ κἀκεῖνα “#ἰοδέτων λάχετε στεφάνων#.”
-παράκειται γὰρ ἡμίφωνα δύο ἀλλήλοις τὸ ν̄ καὶ τὸ λ̄, φυσικὴν      5
-οὐκ ἔχοντα συζυγίαν τῷ μήτε κατὰ τοὺς αὐτοὺς <τόπους μήτε
-καθ’> ὁμοίους σχηματισμοὺς τοῦ στόματος ἐκφέρεσθαι. καὶ τὰ
-ἐπὶ τούτοις λεγόμενα μηκύνεταί τε ταῖς συλλαβαῖς καὶ διέστηκε
-ταῖς ἁρμονίαις ἐπὶ πολύ “#στεφάνων τᾶν τ’ ἐαριδρόπων#”·
-μακραὶ γὰρ καὶ δεῦρο συγκρούονται συλλαβαὶ τὸ δίκαιον      10
-ὑπεραίρουσαι μέτρον, ἥ τε λήγουσα τοῦ #στεφάνων# μορίου δυσὶ
-περιλαμβάνουσα ἡμιφώνοις φωνῆεν γράμμα φύσει μακρὸν καὶ
-ἡ συναπτομένη ταύτῃ τρισὶ μηκυνομένη γράμμασιν ἀφώνῳ καὶ
-φωνήεντι μακρῶς λεγομένῳ καὶ ἡμιφώνῳ· διερεισμός τε οὖν
-γέγονε τοῖς μήκεσι τῶν συλλαβῶν, καὶ ἀντιτυπία τῇ παραθέσει      15
-τῶν γραμμάτων, οὐκ ἔχοντος τοῦ τ̄ συνῳδὸν τῷ ν̄ τὸν ἦχον,
-ὃ καὶ πρότερον εἴρηκα. παράκειται δὲ καὶ τῷ #ἀοιδᾶν# εἰς τὸ
-ν̄ λήγοντι ἀπὸ τοῦ δ̄ ἀρχόμενον ἀφώνου τὸ #Διόθεν# τε καὶ
-τῷ #σὺν ἀγλαΐᾳ# εἰς τὸ ῑ λήγοντι τὸ #ἴδετε πορευθέντ’
-ἀοιδᾶν# ἀρχόμενον ἀπὸ τοῦ ῑ. πολλά τις ἂν εὕροι τοιαῦτα      20
-ὅλην τὴν ᾠδὴν σκοπῶν.
-
-ἵνα δὲ καὶ περὶ τῶν λοιπῶν εἰπεῖν ἐγγένηταί μοι,
-Πινδάρου μὲν ἅλις ἔστω, Θουκυδίδου δὲ λαμβανέσθω λέξις ἡ
-ἐκ τοῦ προοιμίου ἥδε·
-
-    Θουκυδίδης Ἀθηναῖος ξυνέγραψε τὸν πόλεμον τῶν      25
-
-1 ἀφέλοι Us. (coll. =220= 14): ἀφέλοιτο libri   2 εὐπετεστέραν PM^1V:
-εὐεπεστέραν M^2: εὐεπεστάτην F   4 ἰωδέτων M: ὃ δ’ ἐγὼν F || λάχετε
-στεφάνων PMV: λάχει F   5 γὰρ F: om. PMV   6 αὐτοὺς ὁμοίους F: ὁμοίους
-PMV: τόπους μήτε καθ’ ins. Usenerus   9 τᾶν τ’] τ’ αὖτ’ P: τ’ αὖ M: ἄν
-τ’ F: τῶν τ’ V || ἐαριδρόπων F: ἔαριδρέπων PM: ἐἀριδρέπτων V   13 ἡ] μὴ
-F || μηκυνομένη FM^2: μηκυνθεῖσα PM^1V   14 διερισμός M: διορισμός V
-  17 ὃ F: ὡς PMV || δὲ] τε F || ἀοιδὰν codd.: λοιβὰν s   18 ἀφώνου FM:
-ἄφωνον PV || διατεθὲν τε F: διόθεν τέ με PMV   19 πορευθέντα· οἱ δε F:
-πορευθέντες ἀοιδαν (-δὰν M, -δανὶ V) PMV   20 ἀρχόμενον] ἀρχαῖοι μόνον
-F   22 μοι F: μοι χρόνος PV: μοι χρόνων M   25 τῶν] τὸν P
-
-1. =ποιήσειε ... ποιήσει=: cp. =220= 14, =256= 23.
-
-6. If Usener’s supplement be not accepted, we might read τῷ μηδὲ κατὰ
-τοὺς ὁμοίους σχηματισμούς, κτλ.
-
-10. =δεῦρο συγκρούονται=, ‘meet here with a clash,’ as it were.
-
-17. =παράκειται= κτλ.: viz. the ν of ἀοιδᾶν comes next to the δ in
-διόθεν, and the ι at the end of ἀγλαΐᾳ precedes the ι in ἴδετε.—For
-ν and δ in juxtaposition cp. English _and_ (where the _d_ is often
-slurred in pronunciation) and, on the other hand, English _sound_
-(where the _d_ is not original).
-
-19. The ι at the end of =ἀγλαΐᾳ= seems, therefore, to have been
-regarded by Dionysius as a separate letter, and not as an ι
-ἀνεκφώνητον. Perhaps it was sounded in music; cp. the final _e_ in
-French. In Dionysius’ time it was not uncommon to omit it even in
-writing: πολλοὶ γὰρ χωρὶς τοῦ ι γράφουσι τὰς δοτικάς, καὶ ἐκβάλλουσι δὲ
-τὸ ἔθος φυσικὴν αἰτίαν οὐκ ἔχον (Strabo xiv. 1. 50).
-
-22. =ἐγγένηταί μοι=: cp. _de Lysia_ c. 16 ἵνα δὲ καὶ περὶ τῶν ἰδεῶν
-ἐγγένηταί μοι τὰ προσήκοντα εἰπεῖν, κτλ.
-
-23. Bircovius compares, with the following passage of Thucydides, the
-opening of Sallust’s _Bell. Iug._ v. 1: “Bellum scripturus sum, quod
-populus Romanus cum Iugurtha rege Numidarum gessit, primum quia magnum
-et atrox variaque victoria fuit, dehinc quia tum primum superbiae
-nobilitatis obviam itum est; quae contentio divina et humana cuncta
-permiscuit eoque vecordiae processit ut studiis civilibus bellum atque
-vastitas Italiae finem faceret.”
-
-24. =τοῦ προοιμίου=: probably the first twenty-three chapters are
-meant—as far as the word Ἐπίδαμνός ἐστι πόλις κτλ.
-
-25. In the English translation no attempt has been made to reproduce
-the style of the original Greek. For this purpose the long sentences
-employed in early English prose-writers are most suitable; e.g. Francis
-Bacon’s rendering (_Considerations touching a War with Spain_ iii. 516,
-in _Harleian Miscellany_ v. 84) of Thucyd. i. 23: “The truest cause
-of this war, though least voiced, I conceive to have been this: that
-the Athenians being grown great, to the terror of the Lacedemonians,
-did impose upon them the necessity of a war; but the causes that went
-abroad in speeches were these,” etc. Thomas Hobbes’ translation of the
-opening of the History keeps close to the sentence-structure of the
-original: “Thucydides, an Athenian, wrote the war of the Peloponnesians
-and the Athenians as they warred against each other, beginning to write
-as soon as the war was on foot; with expectation it should prove a
-great one, and most worthy the relation of all that had been before
-it: conjecturing so much, both from this, that they flourished on both
-sides in all manner of provision; and also because he saw the rest of
-Greece siding with the one or the other faction, some then presently
-and some intending so to do,” etc. Hobbes’ version is well known; but
-the unpublished translation of Francis Hickes [1566-1631], from which
-the following extract has been taken by the courtesy of the Librarian
-of Christ Church, Oxford, is also of much interest: “Thucydides the
-Athenian hath written the warres of the Peloponnesians and Athenians,
-with all the manner and fashion of their fight, and tooke in hande
-to put the same in writinge, as soone as ever the said warres weare
-begone, for a hope he had, that they would be great, and more worthy of
-memorie, than all the warres of former tyme have been: conjecturinge so
-much, because he sawe them both so richlie abound with all provisions
-thereunto belonginge, and all the rest of the Grecian nations, readie
-to joyne themselves to the one side or the other; some, presentlie
-upon their fallinge out, and the rest intendinge to do the like. This,
-no doubt, was the greatest stirre, that ever was amonge the Grecians,
-consistinge likewise partly of the Barbarians, and to speake in a word,
-of many and sundrie nations. As for the acts achieved by them before
-the tyme of this warre, or former matters yet of more antiquitie, it
-is impossible to finde out any certaintie, because the tyme is so long
-past, since they weare performed: but, by these conjectures, which upon
-due examination of former tymes, I believe to be true, I must thinke
-they weare of no great moment, either for the course of warre, or any
-other respect. Now it is most probable, that the country which we now
-call Grece, had not in old tyme any settled inhabitants, but did often
-change her dwellers, who weare still easie to be removed from their
-possessions if they weare urged by any greater forces, for when there
-was as yet no trade of Merchandise amongst men: no free entercourse of
-traffique one with another, either by land or sea: none that tilled any
-more ground, than what would serve to sustaine their present lives:
-none that had any money in this purse nor any that planted the earth
-with fruits for they knewe not how soone others would come and bereave
-them of it, their cities beinge all unwalled and bearing the mind, that
-they should everie where finde enough to serve their turnes for their
-dailie sustenance, they weare therefore easie to be driven out of any
-place; and for that cause, did nether strengthen themselves with great
-cities, nor warlike furniture for defence.”
-
-[Page 225]
-
-be removed and πανδαίδαλον εὐκλέ’ ἀγοράν be read, the syllable, falling
-into the normal measure, will make the composition more euphonious.
-
-The words ἰοδέτων λάχετε στεφάνων are open to the same criticism as
-those already mentioned. For here two semi-vowels, ν and λ, come
-together, although they do not naturally admit of amalgamation owing
-to the fact that they are not pronounced <at the same regions nor>
-with the same configurations of the mouth. The words that follow
-these have their syllables lengthened and are widely divided from one
-another in arrangement: στεφάνων τᾶν τ’ ἐαριδρόπων. For here also
-there is a concurrence of long syllables which exceed the normal
-measure,—the final syllable of the word στεφάνων which embraces between
-two semi-vowels a vowel naturally long, and the syllable linked with
-it, which is lengthened by means of three letters, a mute, a vowel
-pronounced long, and a semi-vowel. Separation is produced by the
-lengths of the syllables, and dissonance by the juxtaposition of the
-letters, since the sound of τ does not accord with that of ν, as I have
-said before. Next to ἀοιδᾶν, which ends in ν, comes Διόθεν τε, which
-begins with the mute δ, and next to σὺν ἀγλαΐᾳ, which ends in ι, comes
-ἴδετε πορευθέντ’ ἀοιδᾶν, which begins with ι. Many such features may be
-found on a critical examination of the whole ode.
-
-But in order to leave myself time for dealing with what remains,
-no more of Pindar. From Thucydides let us take this passage of the
-Introduction:—
-
-    “Thucydides, an Athenian, composed this history of the war
-
-[Page 226]
-
-
-    Πελοποννησίων καὶ Ἀθηναίων ὡς ἐπολέμησαν πρὸς ἀλλήλους,
-    ἀρξάμενος εὐθὺς καθισταμένου καὶ ἐλπίσας μέγαν
-    τε ἔσεσθαι καὶ ἀξιολογώτατον τῶν προγεγενημένων,
-    τεκμαιρόμενος ὅτι ἀκμάζοντές τε ᾖσαν ἐς αὐτὸν ἀμφότεροι
-    παρασκευῇ τῇ πάσῃ, καὶ τὸ ἄλλο Ἑλληνικὸν ὁρῶν      5
-    ξυνιστάμενον πρὸς ἑκατέρους, τὸ μὲν εὐθύς, τὸ δὲ καὶ
-    διανοούμενον. κίνησις γὰρ αὕτη μεγίστη δὴ τοῖς Ἕλλησιν
-    ἐγένετο καὶ μέρει τινὶ τῶν βαρβάρων, ὡς δ’ εἰπεῖν καὶ
-    ἐπὶ πλεῖστον ἀνθρώπων. τὰ γὰρ πρὸ αὐτῶν καὶ τὰ ἔτι
-    παλαιότερα σαφῶς μὲν εὑρεῖν διὰ χρόνου πλῆθος ἀδύνατα      10
-    ἦν· ἐκ δὲ τεκμηρίων, ὧν ἐπὶ μακρότατον σκοποῦντί μοι
-    πιστεῦσαι ξυμβαίνει, οὐ μεγάλα νομίζω γενέσθαι οὔτε
-    κατὰ τοὺς πολέμους οὔτε ἐς τὰ ἄλλα. φαίνεται γὰρ ἡ
-    νῦν Ἑλλὰς καλουμένη οὐ πάλαι βεβαίως οἰκουμένη, ἀλλὰ
-    μεταναστάσεις τε οὖσαι τὰ πρότερα καὶ ῥᾳδίως ἕκαστοι      15
-    τὴν ἑαυτῶν ἀπολείποντες βιαζόμενοι ὑπό τινων ἀεὶ
-    πλειόνων. τῆς γὰρ ἐμπορίας οὐκ οὔσης οὐδ’ ἐπιμιγνύντες
-    ἀδεῶς ἀλλήλοις οὔτε κατὰ γῆν οὔτε διὰ θαλάσσης,
-    νεμόμενοί τε τὰ ἑαυτῶν ἕκαστοι ὅσον ἀποζῆν καὶ περιουσίαν
-    χρημάτων οὐκ ἔχοντες οὐδὲ γῆν φυτεύοντες, ἄδηλον      20
-
-1 καὶ] τε καὶ P   4 τε om. EF || ἦσαν libri: sed apud Thucydidem lectio
-potior ᾖσαν [“ᾖσαν F g Schol. Plat. _Rep._ 449 A Suid. Phot.: ἦσαν
-cett.”]   6 πρὸς ... διανοούμενον om. P   9 πλεῖστον EF: πλεῖστων sic
-P: πλείστων MV || καὶ τὰ EFs: καὶ PMV   10 ἐρεῖν P   11 μακρότερον F
-  13 πολεμίους P || τὰ ἄλλα PMV: τ’ ἄλλα F   16 ἀπολιπόντες F   17
-ἐπιμιγνῦντες ἀλλήλοις (om. ἀδεῶς) F   20 οὐδὲ γῆν φυτεύοντες om. F
-
-4. =ᾖσαν=: cp. schol. ad Thucyd. i. 1 ᾖσαν] μετὰ σπουδῆς ἐπορεύοντο.
-
-9. =τά= (before ἔτι) is omitted by the Palatine and the Ambrosian MSS.
-in _de Thucyd._ c. 20.
-
-[Page 227]
-
-
-    which the Peloponnesians and the Athenians waged against one
-    another. He began as soon as the war broke out, in the expectation
-    that it would be great and memorable above all previous wars. This
-    he inferred from the fact that both parties were entering upon it
-    at the height of their military power, and from noticing that the
-    rest of the Greek races were ranging themselves on this side or on
-    that, or were intending to do so before long. No commotion ever
-    troubled the Greeks so greatly: it affected also a considerable
-    section of the barbarians, and one may even say the greater part
-    of mankind. Events previous to this, and events still more remote,
-    could not be clearly ascertained owing to lapse of time. But
-    from such evidence as I find I can trust however far back I go,
-    I conclude that they were not of great importance either from a
-    military or from any other point of view. It is clear that the
-    country now called Hellas was not securely settled in ancient
-    times, but that there were migrations in former days, various
-    peoples without hesitation leaving their own land when hard pressed
-    by superior numbers of successive invaders. Commerce did not exist,
-    nor did men mix freely with one another on land or by sea. Each
-    tribe aimed at getting a bare living out of the lands it occupied.
-    They had no reserve of capital, nor did they plant the ground with
-    fruit-trees, since it was uncertain, especially as they had
-
-[Page 228]
-
-
-    ὂν ὁπότε τις ἐπελθὼν καὶ ἀτειχίστων ἅμα ὄντων ἄλλος
-    ἀφαιρήσεται, τῆς τε καθ’ ἡμέραν ἀναγκαίου τροφῆς πανταχοῦ
-    ἂν ἡγούμενοι ἐπικρατεῖν οὐ χαλεπῶς ἀνίσταντο.
-
-αὕτη ἡ λέξις ὅτι μὲν οὐκ ἔχει λείας οὐδὲ συνεξεσμένας
-ἀκριβῶς τὰς ἁρμονίας οὐδ’ ἔστιν εὐεπὴς καὶ μαλακὴ καὶ      5
-λεληθότως ὀλισθάνουσα διὰ τῆς ἀκοῆς ἀλλὰ πολὺ τὸ ἀντίτυπον
-καὶ τραχὺ καὶ στρυφνὸν ἐμφαίνει, καὶ ὅτι πανηγυρικῆς
-μὲν ἢ θεατρικῆς οὐδὲ κατὰ μικρὸν ἐφάπτεται χάριτος, ἀρχαϊκὸν
-δέ τι καὶ αὔθαδες ἐπιδείκνυται κάλλος, ὡς πρὸς εἰδότας
-ὁμοίως τοὺς εὐπαιδεύτους ἅπαντας οὐδὲν δέομαι λέγειν, ἄλλως      10
-τε καὶ αὐτοῦ τοῦτό γε τοῦ συγγραφέως ὁμολογήσαντος, ὅτι
-εἰς μὲν ἀκρόασιν ἧττον ἐπιτερπὴς ἡ γραφή ἐστι, “#κτῆμα δ’
-εἰσαεὶ μᾶλλον ἢ ἀγώνισμα εἰς τὸ παραυτίκα ἀκούειν
-σύγκειται#.” τίνα δ’ ἐστὶ τὰ θεωρήματα οἷς χρησάμενος ὁ
-ἀνὴρ οὕτως ἀπηνῆ καὶ αὐστηρὰν πεποίηκε τὴν ἁρμονίαν, δι’      15
-ὀλίγων σοι σημανῶ· ῥᾴδιον γὰρ ἔσται μικρὰ μεγάλων εἶναι
-δείγματα τοῖς μὴ χαλεπῶς ἐπὶ τὴν τοῦ ὁμοίου τε καὶ ἀκολούθου
-μεταβαίνουσιν θεωρίαν.
-
-3 ἀνίστατο F: ἀπανίσταντο Thucyd.   4 αὕτη EF: αὕτη πάλιν PMV ||
-συνεζευγμένας EV   5 καὶ μαλακὴ EFM: om. PV   6 ὀλισθάνουσα P:
-ὀλισθαίνουσα FMV   7 καὶ τραχὺ om. EF || στριφνὸν F   11 αὐτοῦ τοῦτό γε
-PMV: αὐτοῦ τε F: αὐτοῦ E   14 ὁ ἀνὴρ EF: ἀνὴρ PMV   15 ἀπηνῆ M: ἀπεινῆ
-F: εὐπινῆ PV || διαλόγων F^1   16 σοι σημανῶ PM: σημανῶ EFV || ῥᾴδιον
-Us.: ῥαιδία F: ῥαῖον P, MV || ἐσται F: ἐστι PMV   18 μεταβαίνουσαι F:
-μεταβαίνουσι MV
-
-3. For estimates of Thucydides’ style in general cp. not only this
-passage of Dionysius but also D.H. pp. 131-59, 175-82 (Text and
-Translation of _Ep. ii. ad Amm._, together with notes and some
-references to Marcellinus); Croiset _Thucydide: Livres i.-ii._ pp. 102
-ff. and _Histoire de la littérature grecque_ iv. pp. 155 ff.; Girard
-_Essai sur Thucydide_ pp. 210-19; Blass _Att. Bereds._ i. pp. 203-44;
-Norden _Kunstprosa_ i. pp. 96-101; Jebb in _Hellenica_ pp. 306 ff.
-
-4. This long sentence (Il. 4-14) is, itself, a good example of Greek
-word-order and the lucidity possible to it.
-
-7. Batteux (pp. 250-3) maintains, in detail, that these comments on the
-style of Thucydides would also apply to a passage of Bossuet (in the
-_Oraison funèbre de Henriette Anne d’ Angleterre, duchesse d’Orléans_),
-which “a tous les caractères d’une composition austère; c’est partout
-un style robuste, nerveux, âpre même quelquefois, et presque rustique.”
-The passage is that which describes the abasement of all human
-grandeur by Death: “La voilà, malgré ce grand cœur, cette princesse
-si admirée et si chérie; la voilà, telle que la mort nous l’a faite.
-Encore ce reste tel quel va-t-il disparaître; cette ombre de gloire
-va s’évanouir, et nous l’allons voir dépouillée même de cette triste
-décoration. Elle va descendre à ces sombres lieux, à ces demeures
-souterraines, pour y dormir dans la poussière avec les grands de la
-terre, comme parle Job; avec ces rois et ces princes anéantis, parmi
-lesquels à peine peut-on la placer, tant les rangs y sont pressés,
-tant la mort est prompte à remplir ces places,” etc. Batteux begins
-his careful and interesting analysis as follows: “Nul choix des sons.
-_Malgré ce grand cœur_ est dur. _Cette princesse si_ est sifflant: _si
-admirée et si_; choc de voyelles. _La voilà telle que la mort nous l’a
-faite_: mots jetés plutôt que placés. _Encore ce reste tel quel va-t-il
-dis_: pointes de rochers. _De cette triste décoration_ n’est guère plus
-doux. Et ces trois monosyllables brefs et rocailleux, _comme parle
-Job_, etc.
-
-9. =αὔθαδες ... κάλλος=: this happy description of Thucydides’ style
-shows that Dionysius saw in style a mirror of the man (cp. ἀνδρὸς
-χαρακτὴρ ἐκ λόγου γνωρίζεται, Menand. _Fragm._ 72, and Dionys. H.
-_Antiqq. Rom._ i. 1 ἐπιεικῶς γὰρ ἅπαντες νομίζουσιν εἰκόνας εἶναι τῆς
-ἑκάστου ψυχῆς τοὺς λόγους).—The general drift of Dionysius’ phrase is,
-of course, commendatory: he does not (cp. =120= 8, 9) mean ‘but such
-beauty as it (Thucydides’ style) displays is archaic and perverse.’
-
-12. These well-known words of Thucydides (i. 22. 4) are quoted also
-in _de Thucyd._ c. 7.—A scholium on Thucyd. (_l.c._) runs: κτῆμα]
-κέρδος. κτῆμα, τὴν ἀλήθειαν· ἀγώνισμα, τὸν γλυκὺν λόγον. αἰνίττεται
-δὲ τὰ μυθικὰ Ἡροδότου. The passage is well elucidated by Lucian, and
-by Pliny the Younger: (1) Lucian _de conscribenda historica_ c. 42
-ὁ δ’ οὖν Θουκυδίδης εὖ μάλα τοῦτ’ ἐνομοθέτησε, καὶ διέκρινεν ἀρετὴν
-καὶ κακίαν συγγραφικήν, ὁρῶν μάλιστα θαυμαζόμενον τὸν Ἡρόδοτον, ἄχρι
-τοῦ καὶ Μούσας κληθῆναι αὐτοῦ τὰ βιβλία. κτῆμα γάρ φησι μᾶλλον ἐς ἀεὶ
-συγγράφειν ἤπερ ἐς τὸ παρὸν ἀγώνισμα, καὶ μὴ τὸ μυθῶδες ἀσπάζεσθαι,
-ἀλλὰ τὴν ἀλήθειαν τῶν γεγενημένων ἀπολείπειν τοῖς ὕστερον, (2) Pliny
-_Ep._ v. 8 “nam plurimum refert, ut Thucydides ait, κτῆμα sit an
-ἀγώνισμα: quorum alterum oratio, alterum historia est.”
-
-13. =εἰσαεί=: Thucydides himself no doubt wrote ἐς αἰεί: see
-Marcellinus § 52 for αἰεί (rather than ἀεί) as constituting a mark of ἡ
-ἀρχαία Ἀτθίς in Thucydides.
-
-14. =ὁ ἀνὴρ= (_divisim_) should probably be read: cp. =230= 23.
-
-17. The meaning possibly is, “you can easily proceed with the same line
-of observation right through work which is consistently of a similar
-character to this.”
-
-[Page 229]
-
-
-    no fortifications, when some invader would come and rob them of
-    their property. They also thought that they could command the bare
-    necessities of daily life anywhere; and so, for all these reasons,
-    they made no difficulty about giving up their land.”[175]
-
-There is no need for me to say, when all educated people know it
-as well as I, that this passage is not smooth or nicely finished in
-its verbal arrangement, and is not euphonious and soft, and does not
-glide imperceptibly through the ear, but shows many features that are
-discordant and rough and harsh; that it does not make the slightest
-approach to attaining the grace appropriate to an oration delivered
-at a public festival or to a speech on the stage, but is marked by a
-sort of antique and self-willed beauty. Indeed, the historian himself
-admits that his narrative is but little calculated to give pleasure
-when heard: “it has been composed as a possession for all time rather
-than as an essay to be recited at some particular competition.”[176]
-I will briefly point out to you the principles by following which the
-author has made the arrangement so rugged and austere. Small things
-will readily serve you as samples of great: you can easily go on noting
-resemblances and making comparisons for yourself.
-
-[Page 230]
-
-
-αὐτίκα ἐν ἀρχῇ τῷ #Ἀθηναῖος# προσηγορικῷ τὸ #ξυνέγραψε#
-ῥῆμα ἐφαρμοττόμενον διίστησιν ἀξιολόγως τὴν ἁρμονίαν·
-οὐ γὰρ προτάττεται τὸ σ̄ τοῦ ξ̄ κατὰ συνεκφορὰν
-τὴν ἐν μιᾷ συλλαβῇ γινομένην· δεῖ δὲ τοῦ σ̄ σιωπῇ καταληφθέντος
-τότε ἀκουστὸν γενέσθαι τὸ ξ̄. τοῦτο δὲ τραχύτητα      5
-ἐργάζεται καὶ ἀντιτυπίαν τὸ πάθος. ἔπειθ’ αἱ μετὰ τοῦτο
-γινόμεναι συγκοπαὶ τῶν ἤχων, τοῦ τε ν̄ <καὶ τοῦ π̄> καὶ τοῦ
-τ̄ καὶ τοῦ π̄ καὶ τοῦ κ̄ τετράκις ἑξῆς ἀλλήλοις παρακειμένων,
-χαράττουσιν εὖ μάλα τὴν ἀκοὴν καὶ διασαλεύουσιν ἀξιολόγως
-τὰς ἁρμονίας, ὅταν φῇ “#τὸν πόλεμον τῶν Πελοποννησίων      10
-καὶ Ἀθηναίων#”· τούτων γὰρ τῶν μορίων τῆς λέξεως οὐδὲν
-ὅ τι οὐ καταληφθῆναί τε δεῖ καὶ πιεσθῆναι πρότερον ὑπὸ
-τοῦ στόματος περὶ τὸ τελευταῖον γράμμα, ἵνα τὸ συναπτόμενον
-αὐτῷ τρανὴν καὶ καθαρὰν τὴν ἑαυτοῦ λάβῃ δύναμιν.
-ἔτι πρὸς τούτοις ἡ τῶν φωνηέντων παράθεσις ἡ κατὰ τὴν      15
-τελευταίαν τοῦ κώλου τοῦδε γενομένη ἐν τῷ #καὶ Ἀθηναίων#
-διακέκρουκε τὸ συνεχὲς τῆς ἁρμονίας καὶ διέστακεν πάνυ
-αἰσθητὸν τὸν μεταξὺ λαβοῦσα χρόνον· ἀκέραστοι γὰρ αἱ
-φωναὶ τοῦ τε ῑ καὶ τοῦ ᾱ καὶ ἀποκόπτουσαι τὸν ἦχον· τὸ
-δ’ εὐεπὲς οἱ συνεχεῖς τε καὶ οἱ συλλεαινόμενοι ποιοῦσιν ἦχοι.      20
-
-καὶ αὖθις ἐν τῇ δευτέρᾳ περιόδῳ τὸ προηγούμενον κῶλον
-τουτί “#ἀρξάμενος εὐθὺς καθισταμένου#” μετρίως ἁρμόσας
-ὁ ἀνὴρ ὡς ἂν εὔφωνόν τε μάλιστα φαίνοιτο καὶ μαλακόν, τὸ
-μετὰ τοῦτο πάλιν ἀποτραχύνει καὶ διασπᾷ τοῖς διαχαλάσμασι
-τῶν ἁρμονιῶν· “#καὶ ἐλπίσας μέγαν τε ἔσεσθαι καὶ      25
-ἀξιολογώτατον τῶν προγεγενημένων#.” τρὶς γὰρ ἀλλήλοις
-ἑξῆς οὐ διὰ μακροῦ παράκειται τὰ φωνήεντα συγκρούσεις
-ἐργαζόμενα καὶ ἀνακοπὰς καὶ οὐκ ἐῶντα τὴν ἀκρόασιν ἑνὸς
-κώλου συνεχοῦς λαβεῖν φαντασίαν· ἥ τε περίοδος αὐτῷ
-λήγουσα εἰς τὸ “#τῶν προγεγενημένων#” οὐκ ἔχει τὴν      30
-βάσιν εὔγραμμον καὶ περιφερῆ, ἀλλ’ ἀκόρυφός τις φαίνεται
-
-2 ἐφαμαρτόμεν(ον) F: ἐπαγόμενον E   6 μετὰ τούτων F   7 καὶ τοῦ π̄
-(post ν̄) ins. Uptonus   8 παρακειμένων Us.: παρακείμεναι libri   11
-οὐδὲν PMV: οὐθὲν EF   12 οὖν F: οὐχὶ EPMV: οὐ <σιωπῇ> Us.   13 ὑπὸ] ἐπὶ
-P || τελευταῖαν F, MV: om. P   17 διέστακεν P, MV: διέστηκε EF   18
-γὰρ EF: τε γὰρ PMV   21 καὶ αὖτις F: αὖθις PMV || τὸ F: om. PMV   24
-ἀποτραχύνει PV: ἐπιτραχύνει FM || διαχαλάσμασιν P: ἀπὸχαλασμασι F   26
-τρὶς Sauppe: τρία libri   27 ἑξῆς οὐ] ἐξ ἴσου P   29 λαβεῖν φαντασίαν
-F: φαντασίαν λαμβάνειν PMV
-
-9. Perhaps an effect analogous to that of syncopation in music is meant.
-
-10, 11. Different words, and a different order, seem hardly possible
-here. If πόλεμον were put after Ἀθηναίων, the juxtaposed letters would
-be much the same as in the existing arrangement.
-
-16. =τελευταίαν=: it may be that some word like συγκοπήν is to be
-supplied. Or τελευτὴν may be read: or τελευταῖα.
-
-19. The present passage (lines 15-19) shows, as Blass (_Ancient Greek
-Pronunciation_ p. 66) remarks, that the educated pronunciation of the
-Augustan period did not confuse αι with ε.
-
-22-5. Here, again, the author would hardly have much _choice_ in the
-arrangement of the words in question.
-
-26. =τρίς=: viz. in the words καὶ ἐλπίσας, τε ἔσεσθαι, καὶ
-ἀξιολογώτατον.
-
-[Page 231]
-
-
-At the very beginning the verb ξυνέγραψε, being appended to the
-appellative Ἀθηναῖος, makes an appreciable break in the verbal
-structure, since σ is never placed before ξ with a view to being
-pronounced in the same syllable with it. The sound of σ must be
-sharply arrested by an interval of silence before the ξ is heard;
-and this circumstance causes roughness and dissonance. Moreover, the
-interruptions of the voice in what follows, in consequence of the four
-successive juxtapositions νπ, ντ, νπ, νκ, grate violently upon the ear,
-and cause a remarkable succession of jolts when he says τὸν πόλεμον τῶν
-Πελοποννησίων καὶ Ἀθηναίων. Of these words there is not one that must
-not first be checked by the mouth with a stress on the last letter, in
-order that the next letter to it may be uttered clearly and purely with
-its own proper quality. Furthermore, the juxtaposition of vowels which
-is found at the end of this clause in the words καὶ Ἀθηναίων has broken
-and made a gap in the continuity of the arrangement, by demanding quite
-an appreciable interval, since the sounds of ι and α are unmingled and
-there is an interruption of the voice between them: whereas euphony is
-caused by sounds which are continuous and smoothly blended.
-
-Again, in the second period the first clause ἀρξάμενος εὐθὺς
-καθισταμένου has been pretty successfully arranged by the author in the
-way in which it would produce the most smooth and euphonious effect.
-But he roughens and dislocates the very next clause by sundering
-its joints: καὶ ἐλπίσας μέγαν τε ἔσεσθαι καὶ ἀξιολογώτατον τῶν
-προγεγενημένων. For thrice in close succession vowels are juxtaposed
-which cause clashings and obstructed utterance, and make it impossible
-for the ear to take in the impression of one continuous clause; and
-the period which he ends with the words τῶν προγεγενημένων has no
-well-defined and rounded close, but seems to be without beginning or
-
-[Page 232]
-
-
-καὶ ἀκατάστροφος, ὥσπερ μέρος οὖσα τῆς δευτέρας ἀλλ’ οὐχὶ
-[τῆς πρώτης] τέλος.
-
-τὸ δ’ αὐτὸ πέπονθε καὶ ἡ τρίτη περίοδος· καὶ γὰρ ἐκείνης
-ἀπερίγραφός ἐστι καὶ ἀνέδραστος ἡ βάσις τελευταῖον ἐχούσης
-μόριον “#τὸ δὲ καὶ διανοούμενον#”· πολλὰς ἅμα καὶ αὐτὴ      5
-περιέχουσα φωνηέντων τε πρὸς φωνήεντα ἀντιτυπίας καὶ
-ἡμιφώνων πρὸς ἡμίφωνα καὶ ἄφωνα, ἅσπερ ἐργάζεται τὰ μὴ
-συνῳδὰ τῇ φύσει τραχύτητας. ἵνα δὲ συνελὼν εἴπω, δώδεκά
-που περιόδων οὐσῶν ἃς παρεθέμην, εἴ τις αὐτὰς συμμέτρως
-μερίζοι πρὸς τὸ πνεῦμα, κώλων δὲ περιλαμβανομένων ἐν      10
-ταύταις οὐκ ἐλαττόνων ἢ τριάκοντα, τὰ μὲν εὐεπῶς συγκείμενα
-καὶ συνεξεσμένα ταῖς ἁρμονίαις οὐκ ἂν εὕροι τις ἓξ ἢ ἑπτὰ
-τὰ πάντα κῶλα, φωνηέντων δὲ συμβολὰς ἐν ταῖς δώδεκα
-περιόδοις ὀλίγου δεῖν τριάκοντα, ἡμιφώνων τε καὶ ἀφώνων
-ἀντιτύπων καὶ πικρῶν καὶ δυσεκφόρων παραβολάς, ἐξ ὧν αἵ      15
-τε ἀνακοπαὶ καὶ τὰ πολλὰ ἐγκαθίσματα τῇ λέξει γέγονε,
-τοσαύτας τὸ πλῆθος ὥστε ὀλίγου δεῖν καθ’ ἕκαστον αὐτῆς
-μόριον εἶναί τι τῶν τοιούτων. πολλὴ δὲ καὶ ἡ τῶν κώλων
-ἀσυμμετρία πρὸς ἄλληλα καὶ ἡ τῶν περιόδων ἀνωμαλία καὶ
-ἡ τῶν σχημάτων καινότης καὶ τὸ τῆς ἀκολουθίας ὑπεροπτικὸν      20
-καὶ τὰ ἄλλα ὅσα χαρακτηρικὰ τῆς ἀκομψεύτου τε καὶ
-αὐστηρᾶς ἐπελογισάμην ὄντα ἁρμονίας. ἅπαντα γὰρ διεξιέναι
-πάλιν ἐπὶ τῶν παραδειγμάτων καὶ καταδαπανᾶν εἰς ταῦτα
-τὸν χρόνον οὐκ ἀναγκαῖον ἡγοῦμαι.
-
-
-
-
-XXIII
-
-
-ἡ δὲ γλαφυρὰ [καὶ ἀνθηρὰ] σύνθεσις, ἣν δευτέραν ἐτιθέμην
-
-2 τῆς πρώτης uncis inclusit Usenerus   4 ἐχούσης Us.: ἔχουσα libri 7
-καὶ ... ἐργάζεται om. F || καὶ ἄφωνα P: om. FMV || ἅσπερ] ἅπερ PMV
-  8 τραχύτητας F: καὶ τραχύτητας PMV   9 εἴ τις] εἴπερ F   10 δὲ F: δὲ
-τῶν PMV || περιλαμβανομένων F: ἐμπεριλαμβανομένων PMV   11 ταύταις F:
-αὐταῖς PMV   12 τις ἑξῆς ἢ πάντα ταῦτα κῶλα F   13 συλλαβὰς F   14 καὶ
-ἀφώνων καὶ ἀντιτύπων P   17 τοσαύτας Uptonus: τοσαῦτα libri (cf. =160=
-20)   20 σχημάτων F: σχηματισμῶν PMV   21 τὰ ἄλλα PMV: τἆλλα F ||
-χαρακτηρικὰ F: χαρακτηριστικὰ PV: χαρακτηριστικὰ καὶ M || ἀκομψεύστου
-FMV   22 αὐστηρᾶς] ἰσχυρᾶς F || ἀπελογησάμην PM^2: ἐπελογησάμην M^1V ||
-διεξιέναι F: ἐπεξιέναι PMV   25 καὶ ἀνθηρὰ om. P || ἐτιθέμην F: ἐθέμην
-PMV
-
-1. Dionysius seems to discern three periods in the first sentence
-of Thucydides, viz. (1) Θουκυδίδης ... ἀλλήλους (2) ἀρξάμενος ...
-προσγεγενημένων, (3) τεκμαιρόμενος ... διανοούμενον. The general sense
-here is: ‘as there is no connexion between ἀρξάμενος and τεκμαιρόμενος,
-we must take the latter as beginning a new period, and yet logically
-ἀρξάμενος belongs to it.’ If the words τῆς πρώτης are to be retained at
-all, they might possibly be transported with τῆς δευτέρας: ‘as though
-it were a part of the first period and not the end of the second.’
-
-4. Usener’s =ἐχούσης= seems likely, though the words καὶ γὰρ ... ἡ
-βάσις might be regarded as parenthetical and ἔχουσα as in agreement
-with περίοδος.
-
-18. =πολλὴ δὲ καί= κτλ.: cp. Cic. _Orat._ ix. 32. 33 “itaque numquam
-est (Thucydides) numeratus orator ... sed, cum mutila quaedam et
-hiantia locuti sunt, quae vel sine magistro facere potuerunt, germanos
-se putant esse Thucydidas.”
-
-25. For =ἀνθηρά= cp. n. on =208= 26 _supra_.—The whole chapter
-should be compared with _de Demosth._ c. 40. In c. 49 of that
-treatise Dionysius refers expressly to his previously written _de
-Compositione_: εἰ δέ τις ἀπαιτήσει καὶ ταῦτ’ ἔτι μαθεῖν ὅπῃ ποτ’ ἔχει,
-τοὺς ὑπομνηματισμοὺς ἡμῶν λαβών, οὓς περὶ τῆς συνθέσεως τῶν ὀνομάτων
-πεπραγματεύμεθα, πάντα ὅσα ποθεῖ τῶν ἐνθάδε παραλειπομένων εἴσεται (cp.
-c. 50 _ibid._).
-
-[Page 233]
-
-conclusion, as if it were part of the second period and not its
-termination.
-
-The third period has the same characteristics. There is a lack of
-roundness and stability in its foundation, since it has for its
-concluding portion τὸ δὲ καὶ διανοούμενον. Further, it too contains
-many clashings of vowel against vowel and of semi-vowels against
-semi-vowels and mutes—discords produced by things in their very nature
-inharmonious. To sum up, here are some twelve periods adduced by me—if
-the breathing-space be taken as the criterion for the division of
-period from period; and they contain no fewer than thirty clauses.
-Yet of these not six or seven clauses in all will be found to be
-euphoniously composed and finished in their structure; while of hiatus
-between vowels in the twelve periods there are almost thirty instances,
-together with meetings of semi-vowels and mutes which are dissonant,
-harsh, and hard to pronounce. It is to this that the stoppages and the
-many retardations in the passage are due; and so numerous are these
-concurrences that there is one of the kind in almost every single
-section of it. There is a great lack of symmetry in the clauses, great
-unevenness in the periods, much innovation in the figures, disregard
-of sequence, and all the other marks which I have already noted as
-characteristic of the unadorned and austere style. I do not consider it
-necessary to waste our time by going over the whole ground once more
-with the illustrative passages.
-
-
-
-
-CHAPTER XXIII
-
-SMOOTH COMPOSITION
-
-
-The smooth (or florid) mode of composition, which I regarded
-
-[Page 234]
-
-
-τῇ τάξει, χαρακτῆρα τοιόνδε ἔχει· οὐ ζητεῖ καθ’ ἓν
-ἕκαστον ὄνομα ἐκ περιφανείας ὁρᾶσθαι οὐδὲ ἐν ἕδρᾳ πάντα
-βεβηκέναι πλατείᾳ τε καὶ ἀσφαλεῖ οὐδὲ μακροὺς τοὺς μεταξὺ
-αὐτῶν εἶναι χρόνους, οὐδ’ ὅλως τὸ βραδὺ καὶ σταθερὸν τοῦτο
-φίλον αὐτῇ, ἀλλὰ κεκινῆσθαι βούλεται τὴν ὀνομασίαν καὶ      5
-φέρεσθαι θάτερα κατὰ τῶν ἑτέρων ὀνομάτων καὶ ὀχεῖσθαι
-τὴν ἀλληλουχίαν λαμβάνοντα βάσιν ὥσπερ τὰ ῥέοντα καὶ
-μηδέποτε ἀτρεμοῦντα· συνηλεῖφθαί τε ἀλλήλοις ἀξιοῖ καὶ
-συνυφάνθαι τὰ μόρια ὡς μιᾶς λέξεως ὄψιν ἀποτελοῦντα εἰς
-δύναμιν. τοῦτο δὲ ποιοῦσιν αἱ τῶν ἁρμονιῶν ἀκρίβειαι,      10
-χρόνον αἰσθητὸν οὐδένα τὸν μεταξὺ τῶν ὀνομάτων περιλαμβάνουσαι·
-ἔοικέ τε κατὰ τοῦτο τὸ μέρος εὐητρίοις ὕφεσιν ἢ
-γραφαῖς συνεφθαρμένα τὰ φωτεινὰ τοῖς σκιεροῖς ἐχούσαις.
-εὔφωνά τε εἶναι βούλεται πάντα τὰ ὀνόματα καὶ λεῖα καὶ
-μαλακὰ καὶ παρθενωπά, τραχείαις δὲ συλλαβαῖς καὶ ἀντιτύποις      15
-ἀπέχθεταί που· τὸ δὲ θρασὺ πᾶν καὶ παρακεκινδυνευμένον
-δι’ εὐλαβείας ἔχει.
-
-οὐ μόνον δὲ τὰ ὀνόματα τοῖς ὀνόμασιν ἐπιτηδείως
-συνηρμόσθαι βούλεται καὶ συνεξέσθαι, ἀλλὰ καὶ τὰ κῶλα
-τοῖς κώλοις εὖ συνυφάνθαι καὶ πάντα εἰς περίοδον τελευτᾶν,      20
-ὁρίζουσα κώλου τε μῆκος, ὃ μὴ βραχύτερον ἔσται μηδὲ μεῖζον
-τοῦ μετρίου, καὶ περιόδου μέτρον, οὗ πνεῦμα τέλειον ἀνδρὸς
-κρατήσει· ἀπερίοδον δὲ λέξιν ἢ περίοδον ἀκώλιστον ἢ κῶλον
-
-1 ἓν EPM: om. FV   5 κεκινῆσθαι EF: κ[αὶ] κινῆσθαι cum rasura P: καὶ
-κινεῖσθαι MV   6 φέρεσθαι EFM: φέρεσθαι καὶ PV || τῶν ἑτέρων PMV: τῶν
-θατέρων F: θατέρων E || καὶ FMV: om. P || ὀχλεῖσθαι F   7 βάσιν om. F
-|| τὰ ῥέοντα EF: τὰ ῥέοντα νάματα PMV   8 συνηλεῖφθαι F: συνειλῆφθ[αι]
-cum rasura P, MV   9 ὡς E: om. FPMV || μιᾶς EF: τῆς PMV || ἀποτελοῦντα
-PMV: διατελεῖν E: διατελοῦντα F   11 περιλαμβάνουσαι EFM: λαμβάνουσαι
-PV   12 τοῦτο τὸ om. EF || εὐκτρίοις PM || ὑφέσιν F: ὑφαίσιν M: ὑφαῖσιν
-cum rasura P, V: ὑφαῖς Es   13 τάφω τινα (sed suprascripto ε) P ||
-σκιαροις P   14 τὰ EF: om. PMV   16 που ... παρακεκινδυνευμένον om. P
-  17 δι’ EF: καὶ δι’ PMV   20 εὖ E: om. FPMV   21 ὁρίζουσα Schaefer:
-ὁρίζουσαν EFPM   22 μέτρον EF: χρόνον PMV
-
-1. ‘It does not expect its words to be looked at individually, and from
-every side, like statues.’ Cp. =210= 17 _supra_.
-
-7. More literally, ‘finding firmness in mutual support.’
-
-9. Cp. _de Demosth._ c. 40 τὸ γὰρ ὅλον ἐστὶν αὐτῆς βούλημα καὶ ἡ πολλὴ
-πραγματεία περὶ τὸ συσπασθῆναί τε καὶ συνυφάνθαι πάντα τὰ μόρια τῆς
-περιόδου, μιᾶς λέξεως ἀποτελοῦντα φαντασίαν, καὶ ἔτι πρὸς τούτῳ περὶ τὸ
-πᾶσαν εἶναι τὴν λέξιν, ὥσπερ ἐν ταῖς μουσικαῖς συμφωνίαις, ἡδεῖαν καὶ
-λιγυράν. τούτων δὲ τὸ μὲν αἱ τῶν ἁρμονιῶν ἀκρίβειαι ποιοῦσι, κτλ.
-
-14, 15. That is to say: the words it uses must be beautiful in sound
-and smoothly syllabled.
-
-20. =εὖ=, which Usener adopts from E, helps to balance ἐπιτηδείως
-_supra_. At the same time, it could be spared and may have arisen from
-a dittography of the first two letters in συνυφάνθαι. Similarly, in
-l. 9 _supra_, the ὡς which E gives (together with the _infinitive_
-διατελεῖν, as it should be noticed) cannot be regarded as indispensable.
-
-22. =μέτρον=: the reading of PMV (περιόδου χρόνον) may be right, in the
-sense of _periodi ambitum_. In the Epitome, μέτρον has possibly been
-substituted (as a clearer word) for χρόνον. F’s reading is μέτρον οὐκ
-ἂν ὑπομείνειεν ἐργάσασθαι, with all the four last words dotted out as
-having been written in error: which suggests that μέτρον may be no more
-than the last syllable of ἀσύμμετρον.
-
-=οὗ πνεῦμα τέλειον ἀνδρὸς κρατήσει=: much will, clearly, depend on
-the person in question, since some men (as Lord Rosebery once said of
-Mr. Gladstone) have lungs which can utter sentences like “Biscayan
-rollers.” The Greeks were so rhetorical that they tended to look at a
-written passage constantly from the rhetorical point of view, and if a
-‘period’ was too long for one breath they would try to analyze it into
-two periods if they could: cp. note on =232= 1 _supra_.
-
-[Page 235]
-
-as second in order, has the following features. It does not intend that
-each word should be seen on every side, nor that all its parts should
-stand on broad, firm bases, nor that the time-intervals between them
-should be long; nor in general is this slow and deliberate movement
-congenial to it. It demands free movement in its diction; it requires
-words to come sweeping along one on top of another, each supported
-by that which follows, like the onflow of a never-resting stream. It
-tries to combine and interweave its component parts, and thus give, as
-far as possible, the effect of one continuous utterance. This result
-is produced by so nicely adjusting the junctures that they admit no
-appreciable time-interval between the words. From this point of view
-the style resembles finely woven stuffs, or pictures in which the
-lights melt insensibly into the shadows. It requires that all its words
-shall be melodious, smooth, soft as a maiden’s face; and it shrinks
-from harsh, clashing syllables, and carefully avoids everything rash
-and hazardous.
-
-It requires not only that its words should be properly dove-tailed and
-fitted together, but also that the clauses should be carefully inwoven
-with one another and all issue in a period. It limits the length of a
-clause so that it is neither shorter nor longer than the right mean,
-and the compass of the period so that a man’s full breath will be
-able to cover it. It could not endure to construct a passage without
-periods, nor a period
-
-[Page 236]
-
-
-ἀσύμμετρον οὐκ ἂν ὑπομείνειεν ἐργάσασθαι. χρῆται δὲ καὶ
-ῥυθμοῖς οὐ τοῖς μεγίστοις ἀλλὰ τοῖς μέσοις τε καὶ βραχυτέροις·
-καὶ τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι
-βούλεται καὶ βεβηκυίας ὡς ἂν ἀπὸ στάθμης, τἀναντία
-ποιοῦσα ἐν ταῖς τούτων ἁρμογαῖς ἢ ταῖς τῶν ὀνομάτων·      5
-ἐκεῖνα μὲν γὰρ συναλείφει, ταύτας δὲ διίστησι καὶ ὥσπερ ἐκ
-περιόπτου βούλεται φανερὰς εἶναι. σχήμασί τε οὐ τοῖς
-ἀρχαιοπρεπεστάτοις οὐδ’ ὅσοις σεμνότης τις ἢ βάρος ἢ πίνος
-πρόσεστιν, ἀλλὰ τοῖς τρυφεροῖς τε καὶ κολακικοῖς ὡς τὰ
-πολλὰ χρῆσθαι φιλεῖ, ἐν οἷς πολὺ τὸ ἀπατηλόν ἐστι καὶ      10
-θεατρικόν. ἵνα δὲ καὶ κοινότερον εἴπω, τοὐναντίον ἔχει σχῆμα
-τῆς προτέρας κατὰ τὰ μέγιστα καὶ κυριώτατα, ὑπὲρ ὧν οὐδὲν
-δέομαι πάλιν λέγειν.
-
-ἀκόλουθον δ’ ἂν εἴη καὶ τοὺς ἐν ταύτῃ πρωτεύσαντας
-καταριθμήσασθαι. ἐποποιῶν μὲν οὖν ἔμοιγε κάλλιστα τουτονὶ      15
-δοκεῖ τὸν χαρακτῆρα ἐξεργάσασθαι Ἡσίοδος, μελοποιῶν δὲ
-Σαπφὼ καὶ μετ’ αὐτὴν Ἀνακρέων τε καὶ Σιμωνίδης, τραγῳδοποιῶν
-δὲ μόνος Εὐριπίδης, συγγραφέων δὲ ἀκριβῶς μὲν
-οὐδείς, μᾶλλον δὲ τῶν πολλῶν Ἔφορός τε καὶ Θεόπομπος,
-ῥητόρων δὲ Ἰσοκράτης. θήσω δὲ καὶ ταύτης παραδείγματα      20
-τῆς ἁρμονίας, ποιητῶν μὲν προχειρισάμενος Σαπφώ, ῥητόρων
-δὲ Ἰσοκράτην. ἄρξομαι δὲ ἀπὸ τῆς μελοποιοῦ.
-
-1 χρήσεται P   2 ῥυθμοῖς EFM: ῥυθμῶν PV || μεγίστοις EF: μηκίστοις PMV
-  3 καὶ om. P   4 ἂν EF: om. PMV   6 ταύτας EV: ταῦτα F: τας αυτας P,
-M   7 φανεροὺς F   8 ὅσοις F: ὅσοις ἢ PMV || πῖνος PV: τὸ πῖνος M:
-τόνος F   9 πρόσεστιν PMV: πάρεστιν F || κολακικοῖς FPM: μαλακοῖς V:
-θεατρικοῖς E   11 δὲ καὶ F: δὲ PMV   12 τῆς προτέρας EFM: τῆι προτέρα
-P, V || καὶ κυριώτατα FM: om. PV   14 ταύτη F: αυτῆι P, MV   15 ἔμοιγε
-EF: ἔγωγε PMV || κάλλιστα EFP: κάλλιστα νομίζω M: μάλιστα νομίζω V   16
-δοκεῖ EFP: om. MV   17 μετ’ αὐτὴν EF: μετὰ ταύτην PMV   20 ταύτης EF:
-ταῦτα PMV
-
-6. =ἐκ περιόπτου=, ‘ex edito loco,’ ‘undique.’
-
-16-20. The list that follows may seem somewhat ill-assorted if it be
-not remembered that the point of contact between the authors mentioned
-is simply smoothness of word-arrangement.—For =Hesiod= cp. _de Imitat._
-B. vi. 2 Ἡσίοδος μὲν γὰρ ἐφρόντισεν ἡδονῆς δι’ ὀνομάτων λειότητος καὶ
-συνθέσεως ἐμμελοῦς: and Quintil. x. 1. 52 “raro assurgit Hesiodus,
-magnaque pars eius in nominibus est occupata; tamen utiles circa
-praecepta sententiae levitasque verborum et compositionis probabilis,
-daturque ei palma in illo medio genere dicendi.”—In _de Demosth._ c. 40
-Hesiod, Sappho, Anacreon, and Isocrates are (as here) considered to be
-examples of the ἁρμονία γλαφυρά.
-
-17. =Simonides= is thus characterized in _de Imitat._ B. vi. 2:
-Σιμωνίδου δὲ παρατήρει τὴν ἐκλογὴν τῶν ὀνομάτων, τῆς συνθέσεως τὴν
-ἀκρίβειαν· πρὸς τούτοις, καθ’ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ
-οἰκτίζεσθαι μὴ μεγαλοπρεπῶς ἀλλὰ παθητικῶς. The _Danaë_ (quoted in c.
-26) will illustrate the concluding clause of this estimate.
-
-18. =Euripides:= cp. Aristot. _Rhet._ iii. 2 κλέπτεται δ’ εὖ, ἐάν
-τις ἐκ τῆς εἰωθυίας διαλέκτου ἐκλέγων συντιθῇ· ὅπερ Εὐριπίδης ποιεῖ
-καὶ ὑπέδειξε πρῶτος, and Long. _de Subl._ c. xl. διότι τῆς συνθέσεως
-ποιητὴς ὁ Εὐριπίδης μᾶλλόν ἐστιν ἢ τοῦ νοῦ.
-
-19. With respect to =Ephorus= the opinions of Diodorus and of Suidas
-are somewhat at variance: (1) Diodorus Sic. v. 1 Ἔφορος δὲ τὰς κοινὰς
-πράξεις ἀναγράφων οὐ μόνον κατὰ τὴν λέξιν, ἀλλὰ καὶ κατὰ τὴν οἰκονομίαν
-ἐπιτέτευχεν, (2) Suidas ὁ μὲν γὰρ Ἔφορος ἦν τὸ ἦθος ἁπλοῦς, τὴν δὲ
-ἑρμηνείαν τῆς ἱστορίας ὕπτιος καὶ νωθρὸς καὶ μηδεμίαν ἔχων ἐπίτασιν.
-
-=Theopompus:= cp. an article, by the present writer, in the _Classical
-Review_ xxii. 118 ff. on “Theopompus in the Greek Literary Critics:
-with special reference to the newly discovered Greek historian
-(Grenfell & Hunt _Oxyrhynchus Papyri_ part v. pp. 110-242).” Reference
-may also be made to D.H. pp. 18, 96, 120-6, etc. Gibbon (_Decline
-and Fall_ c. 53) classes Theopompus in high company: “we must envy
-the generation that could still peruse the history of Theopompus,
-the orations of Hyperides, the comedies of Menander, and the odes of
-Alcaeus and Sappho.”
-
-20. =Isokrates=: see D.H. pp. 18, 20-22, 41, etc., and Demetr. pp.
-8-11, 47, etc.
-
-[Page 237]
-
-without clauses, nor a clause without symmetry. The rhythms it uses
-are not the longest, but the intermediate, or shorter than these. It
-requires its periods to march as with steps regulated by line and rule,
-and to close with a rhythmical fall. Thus, in fitting together its
-periods and its words respectively, it employs two different methods.
-The latter it runs together; the former it keeps apart, wishing that
-they may be seen as it were from every side. As for figures, it is
-wont to employ not the most time-honoured sort, nor those marked by
-stateliness, gravity, or mellowness, but rather for the most part those
-which are dainty and alluring, and contain much that is seductive and
-fanciful. To speak generally: its attitude is directly opposed to that
-of the former variety in the principal and most essential points. I
-need not go over these points again.
-
-Our next step will be to enumerate those who have attained eminence in
-this style. Well, among epic poets Hesiod, I think, has best developed
-the type; among lyric poets, Sappho, and, after her, Anacreon and
-Simonides; of tragedians, Euripides alone; of historians, none exactly,
-but Ephorus and Theopompus more than most; of orators, Isocrates. I
-will quote examples of this style also, selecting among poets Sappho,
-and among orators Isocrates. And I will begin with the lyric poetess:—
-
-[Page 238]
-
-
-        Ποικιλόθρον’, ἀθάνατ’ Ἀφροδίτα,
-        παῖ Δίος, δολόπλοκε, λίσσομαί σε,
-        μή μ’ ἄσαισι μηδ’ ὀνίαισι δάμνα,
-                            πότνια, θῦμον·
-
-        ἀλλὰ τυῖδ’ ἔλθ’, αἴ ποτα κἀτέρωτα      5
-        τᾶς ἔμας αὔδως ἀίοισα πήλυι
-        ἔκλυες, πάτρος δὲ δόμον λίποισα
-                            χρύσιον ἦλθες
-
-        ἄρμ’ ὐπασδεύξαισα. κάλοι δέ σ’ ἆγον
-        ὠκέες στροῦθοι περὶ γᾶς μελαίνας      10
-        πύκνα διννῆντες πτέρ’ ἀπ’ ὠράνω αἴθε-
-                            ρος διὰ μέσσω.
-
-        αἶψα δ’ ἐξίκοντο· τὺ δ’, ὦ μάκαιρα,
-        μειδιάσαισ’ ἀθανάτῳ προσώπῳ,
-        ἤρε’, ὄττι δηὖτε πέπονθα κὤττι      15
-                            δηὖτε κάλημι·
-
-        κὤττι ἔμῳ μάλιστα θέλω γένεσθαι
-        μαινόλᾳ θύμῳ· τίνα δηὖτε πείθω
-        μαῖς ἄγην ἐς σὰν φιλότατα, τίς σ’, ὦ
-                            Ψάπφ’, ἀδικήει;      20
-
-        καὶ γὰρ αἰ φεύγει, ταχέως διώξει,
-        αἰ δὲ δῶρα μὴ δέκετ’, ἀλλὰ δώσει,
-        αἰ δὲ μὴ φίλει, ταχέως φιλήσει
-                           κωὐκ ἐθέλοισα.
-
-2 διὸς δολοπλόκε FP   4 θυμὸν FP   5 τυδ’ ἐλθε ποκα κατ ἔρωτα P: τὺ δ’
-ὲ|||λ’|||θε||| ποτὲ κατ’ έρωτα F   6 ἀΐοισ ἀπόλυ P   8 χρύσειον FP   9
-ἀρμύ πᾶσδευξαισα F: ἁρμα ὑποζεύξασα P   10 γ(ας) P: τὰς F   11 διννῆν
-τεσ F: δινῆντες P || πτερα· πτωρανω θερος F: πτὲρ’ ἀπ’ ὠρανὼ· θέρο σ
-P   12 διαμέσω F: δ’ άμεσ πω P   13 αἶψαδ’ F: ἀῖψ’ ἄλλ’ P || τὺ δ’ ὦ
-μάκαιρα P: συ δῶμα καιρα F   14 ἀθανάτω προσώπω FP sine iota (item
-vv. 17, 18 F)   15 ἤρε’ ὅττι δ ῆυ (ἦν E) τὸ P, E   16 δ’ ηυτε καλημμι
-P: δευρο καλλημμι F   17 κωττε μω F: κ’ όττ’ ἐμῶι P   18 μαινολαθυμῶι
-P: λαιθυμω F || δηϋτε πειθω F: δ’ ἐυτεπεί θω P   19 μαι (βαι corr.)
-σαγηνεσσαν P: καὶ σαγήνεσσαν FE: μαῖς Bergkius   20 ἀδικήει Gaisfordius
-ex Etym. Magn. 485. 41: τισ σωψαπφα δίκη· P: τισ ω ψαπφα δίκησ· F   24
-κωϋ κεθέλουσα F: κ’ ώυ κ’ ἐθέλοισ, P
-
-1. To Dionysius here, and to the _de Sublimitate_ c. x., we owe
-the preservation of the two most considerable extant fragments of
-=Sappho’s= poetry. The _Ode to Anactoria_ is quoted by ‘Longinus’ as a
-picture of παθῶν σύνοδος: it is imitated in Catullus li. _Ad Lesbiam_
-(“Ille mi par esse deo videtur”). The _Hymn to Aphrodite_ has been
-rendered repeatedly into English: some eight versions are printed in H.
-T. Wharton’s _Sappho_ pp. 51-64. Two recent English translations are
-of special interest: (1) that of the late Dr. Walter Headlam—immatura
-eheu morte praerepti—in his _Book of Greek Verse_ pp. 6-9; (2) that of
-Dr. Arthur Way, which is printed in the present volume. Dr. Way has, it
-will be observed, succeeded in maintaining a double rhyme throughout.
-
-24. “Bloomfeld’s ἐθέλοισαν was strenuously defended by Welcker _RM_
-11. 266, who held that the subject of φιλήσει was a man. No MS. whose
-readings were known before 1892 settled the dispute. Now Piccolomini’s
-_VL_ show ἐθέλουσα (_Hermes_ 27),” Weir Smyth _Greek Lyric Poets_ p.
-233. Notes on the entire ode will be found in Weir Smyth _op. cit._ pp.
-230-3, and in G. S. Farnell’s _Greek Lyric Poetry_ pp. 327-9, and a few
-also in W. G. Headlam’s _Book of Greek Verse_ pp. 265-7.
-
-[Page 239]
-
-
-    Rainbow-throned immortal one, Aphrodite,
-    Child of Zeus, spell-weaver, I bow before thee—
-    Harrow not my spirit with anguish, mighty
-          Queen, I implore thee!
-
-    Nay, come hither, even as once thou, bending
-    Down from far to hearken my cry, didst hear me,
-    From thy Father’s palace of gold descending
-          Drewest anear me
-
-    Chariot-wafted: far over midnight-sleeping
-    Earth, thy fair fleet sparrows, through cloudland riven
-    Wide by multitudinous wings, came sweeping
-          Down from thine heaven,
-
-    Swiftly came: thou, smiling with those undying
-    Lips and star-eyes, Blessed One, smiling me-ward,
-    Said’st, “What ails thee?—wherefore uprose thy crying
-          Calling me thee-ward?
-
-    Say for what boon most with a frenzied longing
-    Yearns thy soul—say whom shall my glamour chaining
-    Hale thy love’s thrall, Sappho—and who is wronging
-          Thee with disdaining?
-
-    Who avoids thee soon shall be thy pursuer:
-    Aye, the gift-rejecter the giver shall now be:
-    Aye, the loveless now shall become the wooer,
-          Scornful shalt thou be!”
-
-[Page 240]
-
-
-        ἔλθε μοι καὶ νῦν, χαλεπᾶν δὲ λῦσον
-        ἐκ μεριμνᾶν, ὄσσα δέ μοι τέλεσσαι
-        θῦμος ἰμμέρρει, τέλεσον· σὺ δ’ αὔτα
-                            σύμμαχος ἔσσο.
-
-ταύτης τῆς λέξεως ἡ εὐέπεια καὶ ἡ χάρις ἐν τῇ συνεχείᾳ καὶ      5
-λειότητι γέγονε τῶν ἁρμονιῶν· παράκειται γὰρ ἀλλήλοις τὰ
-ὀνόματα καὶ συνύφανται κατὰ τινας οἰκειότητας καὶ συζυγίας
-φυσικὰς τῶν γραμμάτων· τὰ γὰρ φωνήεντα τοῖς ἀφώνοις τε
-καὶ ἡμιφώνοις συνάπτεται μικροῦ διὰ πάσης τῆς ᾠδῆς, ὅσα
-προτάττεσθαί τε καὶ ὑποτάττεσθαι πέφυκεν ἀλλήλοις κατὰ      10
-μίαν συλλαβὴν συνεκφερόμενα· ἡμιφώνων δὲ πρὸς ἡμίφωνα ἢ
-ἄφωνα <καὶ ἀφώνων> καὶ φωνηέντων πρὸς ἄλληλα συμπτώσεις
-αἱ διασαλεύουσαι τοὺς ἤχους ὀλίγαι πάνυ ἔνεισιν· ἐγὼ
-γοῦν ὅλην τὴν ᾠδὴν ἀνασκοπούμενος πέντε ἢ ἓξ ἴσως ἐν τοῖς
-τοσούτοις ὀνόμασι καὶ ῥήμασι καὶ τοῖς ἄλλοις μορίοις ἡμιφώνων      15
-τε καὶ ἀφώνων γραμμάτων συμπλοκὰς τῶν μὴ πεφυκότων
-ἀλλήλοις κεράννυσθαι καὶ οὐδὲ ταύτας ἐπὶ πολὺ τραχυνούσας
-τὴν εὐέπειαν εὑρίσκω, φωνηέντων δὲ παραθέσεις τὰς μὲν ἐν
-τοῖς κώλοις αὐτοῖς γινομένας ἔτι ἐλάττους ἢ τοσαύτας, τὰς δὲ
-συναπτούσας ἀλλήλοις τὰ κῶλα ὀλίγῳ τινὶ τούτων πλείονας.      20
-εἰκότως δὴ γέγονεν εὔρους τις ἡ λέξις καὶ μαλακή, τῆς ἁρμονίας
-τῶν ὀνομάτων μηδὲν ἀποκυματιζούσης τὸν ἦχον.
-
-ἔλεγον δ’ ἂν καὶ τὰ λοιπὰ τῆς συνθέσεως ταύτης ἰδιώματα,
-καὶ ἀπεδείκνυον ἐπὶ τῶν παραδειγμάτων τοιαῦτα ὄντα οἷα
-ἐγώ φημι, εἰ μὴ μακρὸς ἔμελλεν ὁ λόγος γενήσεσθαι καὶ      25
-ταυτολογίας τινὰ παρέξειν δόξαν. ἐξέσται γὰρ σοὶ καὶ παντὶ
-
-3 ϊμαρερερει F: ϊμέρει P   4 ἔσο F: ἔστω compendio F   5 συνεχεία EF:
-συνεπεία PMV   8 τε καὶ ἡμιφώνους om. EF   9 διὰ πάσης EF: δεῖν δι’
-ὅλης PMV   10 πέφυκεν ... συνεκφερόμενα EF: om. PMV   11 συνεκφερόμενα
-E: συνεκφέρεσθαι F || ἢ ἄφωνα PM: καὶ ἀφώνων FE   13 ἔνεισιν EF: εἰσίν
-PMV   14 ἐν F: εὗρον ἐν PMV   15 τοσούτοις Sylburgius: τοιούτοις PMV 16
-καὶ ἀφώνων F: om. PMV   18 εὑρίσκω MV: εὑρίσκων F: om. P   19 ἔτι] ὅτι
-F   21 εὔνους τις F   23 δὲ ἂν F   24 ἀπεδείκνυ F   25 ἐιμιμακρ(ῶς) P
-  26 παρέξειν δόξαν F: δόξαν παρέχειν PMV
-
-5. W. G. Headlam (_Book of Greek Verse_ p. 265) well says that
-Dionysius’ comments on the smooth style (especially in relation to
-Sappho) are worth the attention of those who would gather the effect
-which Sappho’s language made upon a Greek ear practised in the minute
-study of expression; and he proceeds: “There is always in the verse of
-Sappho a directness and unlaboured ease of language, as if every lovely
-sentence came by nature from the mouth at once; as though she spoke in
-song, and what she sang were the expression of her very soul, the voice
-of languorous enjoyment and desire of beauty:
-
-        My blood was hot wan wine of love,
-        And my song’s sound the sound thereof,
-            The sound of the delight of it.”
-
-
-22. Dionysius shows good judgement in not subjecting Sappho’s _Hymn_ to
-a detailed analysis, letter by letter.
-
-24. =ἐπὶ τῶν παραδειγμάτων=, ‘in the light of the appropriate
-examples.’ Cp. =152= 3, =232= 23. The phrase sometimes indicates
-‘familiar,’ ‘stock,’ or ‘previous’ examples; cp. _de Demosth._ c. 40
-ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας, τοὺς ἀναγινώσκοντας ἐπὶ τὰ
-ἐν ἀρχαῖς ῥηθέντα παραδείγματα κελεύοντες ἀναστρέφειν, κτλ.—In =242= 2
-_infra_, ‘with illustrations’ (no article in PMV, though F has τῶν).
-
-[Page 241]
-
-
-    Once again come! Come, and my chains dissever,
-    Chains of heart-ache! Passionate longings rend me—
-    Oh fulfil them! Thou in the strife be ever
-          Near, to defend me.[177]
-
-Here the euphonious effect and the grace of the language arise from
-the coherence and smoothness of the junctures. The words nestle close
-to one another and are woven together according to certain affinities
-and natural attractions of the letters. Almost throughout the entire
-ode vowels are joined to mutes and semi-vowels, all those in fact
-which are naturally prefixed or affixed to one another when pronounced
-together in one syllable. There are very few clashings of semi-vowels
-with semi-vowels or mutes, and of mutes and vowels with one another,
-such as cause the sound to oscillate. When I review the entire ode, I
-find, in all those nouns and verbs and other kinds of words, only five
-or perhaps six unions of semi-vowels and mutes which do not naturally
-blend with one another, and even they do not disturb the smoothness of
-the language to any great extent. As for juxtaposition of vowels, I
-find that those which occur in the clauses themselves are still fewer,
-while those which join the clauses to one another are only a little
-more numerous. As a natural consequence the language has a certain easy
-flow and softness; the arrangement of the words in no way ruffles the
-smooth waves of sound.
-
-I would go on to mention the remaining characteristics of this kind
-of composition, and would show as before by means of appropriate
-illustrations that they are such as I say, were it not that my treatise
-would become too long and would create an impression of needless
-repetition. It will be open to you, as to
-
-[Page 242]
-
-
-ἄλλῳ καθ’ ἓν ἕκαστον τῶν ἐξηριθμημένων ὑπ’ ἐμοῦ κατὰ τὴν
-προέκθεσιν τοῦ χαρακτῆρος ἐπιλέγεσθαί τε καὶ σκοπεῖν ἐπὶ
-παραδειγμάτων κατὰ πολλὴν εὐκαιρίαν καὶ σχολήν· ἐμοὶ δ’
-οὐκ ἐγχωρεῖ τοῦτο ποιεῖν, ἀλλ’ ἀπόχρη παραδεῖξαι μόνον
-ἀρκούντως ἃ βούλομαι τοῖς δυνησομένοις παρακολουθῆσαι.      5
-
-ἑνὸς ἔτι παραθήσομαι λέξιν ἀνδρὸς εἰς τὸν αὐτὸν κατεσκευασμένου
-χαρακτῆρα, Ἰσοκράτους τοῦ ῥήτορος, ὃν ἐγὼ
-μάλιστα πάντων οἴομαι τῶν πεζῇ λέξει χρησαμένων ταύτην
-ἀκριβοῦν τὴν ἁρμονίαν. ἔστι δὲ ἡ λέξις ἐκ τοῦ Ἀρεοπαγιτικοῦ
-ἥδε·      10
-
-        πολλοὺς ὑμῶν οἴομαι θαυμάζειν, ἥντινά ποτε γνώμην
-        ἔχων περὶ σωτηρίας τὴν πρόσοδον ἐποιησάμην, ὥσπερ
-        τῆς πόλεως ἐν κινδύνοις οὔσης ἢ σφαλερῶς αὐτῇ τῶν
-        πραγμάτων καθεστώτων, ἀλλ’ οὐ πλείους μὲν τριήρεις ἢ
-        διακοσίας κεκτημένης, εἰρήνην δὲ καὶ τὰ περὶ τὴν χώραν      15
-        ἀγούσης καὶ τῶν κατὰ θάλατταν ἀρχούσης, ἔτι δὲ συμμάχους
-        ἐχούσης πολλοὺς μὲν τοὺς ἑτοίμους ἡμῖν ἤν τι
-        δέῃ βοηθήσοντας, πολὺ δὲ πλείους τοὺς τὰς συντάξεις
-        ὑποτελοῦντας καὶ τὸ προσταττόμενον ποιοῦντας. ὧν
-        ὑπαρχόντων ἡμᾶς μὲν ἄν τις φήσειεν εἰκὸς εἶναι θαρρεῖν      20
-        ὡς πόρρω τῶν κινδύνων ὄντας, τοῖς δ’ ἐχθροῖς τοῖς ἡμετέροις
-        προσήκειν δεδιέναι καὶ βουλεύεσθαι περὶ σωτηρίας.
-        ὑμεῖς μὲν οὖν οἶδ’ ὅτι τούτῳ χρώμενοι τῷ λογισμῷ καὶ
-
-1 τὴν] τ(ων) P   2 πρόθεσιν F   3 παραδειγμάτων PMV: τῶν παραδειγμάτων
-F || δὲ F   4 ποιεῖ P || παραδεῖξαι Us.: πᾶσι δεῖξαι FM: δεῖξαι PV
-  5 ἀρκοῦντος F   6 παραθήσομαι F: παραθήσω PMV || αὐτὸν om. F ||
-κατεσκευασμένου P: κατεσκευασμένον FV: κατεσκευασμένην M   7 ὃν] ἡ F
-  8 πεζῆ F: πεζῆι τῆι P, MV   9 ἀρεοπαγητικου ἡδε F   11 ὑμῶν] τούτων F
-|| οἴομαι] οἶμαι Isocratis libri   12 ὥσπερ EPMV Isocr.: ὡς περὶ εἰ F
-  14 καθεστηκότων Isocr.   15 εἰρήνης F || καὶ τὰ PMV Isocr.: τὰ EF   16
-[ἐ]χούσης cum litura P, MV || ἔτι ... ἐχούσης om. F   17 τοὺς om. E 18
-τοὺς om. PM   19 ὑποτελοῦντας PMV Isocr.: ἐπιτελοῦντας EF   20 ἡμᾶς PMV
-Isocr.: ὑμᾶς EF   21 ὑμετέροις F   23 ἡμεῖς PV || οἶδ’] οἵ δ’ F
-
-6. =παραθήσομαι=: the Middle, as given by F, is to be preferred (cp.
-=182= 12). In =122= 14, on the other hand, F gives παρέξω, where the
-other MSS. supply the right reading παρέξομαι.
-
-11. In the English translation of this passage of Isocrates no attempt
-has been made to reproduce the effects to which Dionysius calls
-attention: to do so would involve sacrificing equivalence of meaning to
-equivalence of letter-combinations.—Bircovius compares, in Latin, the
-opening passage of Cic. _pro Caecina_: “si, quantum in agro locisque
-desertis audacia potest, tantum in foro atque in iudiciis impudentia
-valeret, non minus nunc in caussa cederet A. Caecina Sex. Aebutii
-impudentiae, quam tum in vi facienda cessit audaciae. verum et illud
-considerati hominis esse putavit, qua de re iure decertare oporteret,
-armis non contendere: et hoc constantis, quicum vi et armis certare
-noluisset, eum iure iudicioque superare.” Batteux (p. 253) quotes from
-Fléchier’s oratorical picture of M. de Turenne: “Soit qu’il fallût
-préparer les affaires ou les décider; chercher la victoire avec ardeur,
-ou l’attendre avec patience; soit qu’il fallût prévenir les desseins
-des ennemis par la hardiesse, ou dissiper les craintes et les jalousies
-des alliés par la prudence; soit qu’il fallût se modérer dans les
-prospérités, ou se soutenir dans les malheurs de la guerre, son âme
-fut toujours égale. Il ne fit que changer vertus, quand la fortune
-changeait de face; heureux sans orgueil, malheureux avec dignité...
-Si la licence fut réprimée; si les haines publiques et particulières
-furent assoupies; si les lois reprirent leur ancienne vigueur; si
-l’ordre et le repos furent rétablis dans les villes et dans les
-provinces; si les membres furent heureusement réunis à leur chef; c’est
-à lui, France, que tu le dois.” Batteux maintains that this passage
-shows the same qualities of style as Dionysius’ extract from Isocrates.
-
-13. =ἢ σφαλερῶς=: Koraes would read καὶ σφαλερῶς. His note (_Isocr._
-ii. 102) runs: “οὐκ ἀλόγως ὑπενόησεν ὁ Λάγγιος γραπτέον εἶναι,
-Καὶ σφαλερῶς· ἔοικε δὲ καὶ ὁ Ἰταλὸς μεταφραστής, συμπλεκτικῶς, οὐ
-διαζευκτικῶς, ἀνεγνωκέναι, ἢ ἀναγνωστέον εἶναι κεκρικέναι, Quasi che
-la città in alcun pericolo si trovasse, et le cose sue in pessima
-conditione fossero.”
-
-18. =συντάξεις=: Koraes _l.c._ κακῶς τὸ ἐμὸν ἀντίγραφον, Συνάξεις.
-Συντάξεις δὲ λέγει, κατ’ εὐφημισμὸν Ἀττικόν, τοὺς φόρους, ἐπειδή, ὥς
-φησιν Ἁρποκρατίων (λέξ. Σύνταξις), χαλεπῶς ἔφερον οἱ Ἕλληνες τὸ τῶν
-φόρων ὄνομα. ὡσαύτως ἡ τῶν Γαλλῶν φωνή, τὴν πρόθεσιν παραλιποῦσα,
-_Taxe_ ὠνόμασε τὴν σύνταξιν, τὴν τοῖς Ἰταλοῖς καλουμένην _Tassa_, καὶ
-ῥῆμα ἐποίησε _Taxer_ (Ἰταλ. _Tassare_), ἐπὶ τοῦ τάσσειν καὶ ἐπιβάλλειν
-τοὺς φόρους· ὅθεν ἡ τῶν Γραικῶν φωνή, τὰ ἴδια παρὰ τῶν ἀλλοτρίων
-λαμβάνουσα, ἐσχημάτισε τὰ χυδαῖα, #Τάσσα# καὶ #Τασσάρω#.
-
-[Page 243]
-
-any one else, at your full leisure and convenience, to take each single
-point enumerated by me in describing the type, and to examine and
-review them with illustrations. But I really have no time to do this.
-It is quite enough simply to give an adequate indication of my views to
-all who will be able to follow in my steps.
-
-I will quote a passage of one more writer who has fashioned himself
-into the same mould—Isocrates the orator. Of all prose-writers he is,
-I think, the most finished master of this style of composition. The
-passage is from the _Areopagiticus_, as follows:—
-
-    “Many of you, I imagine, are wondering what can be my view in
-    coming before you to speak on the question of the public safety,
-    as though the State were actually in danger, or its interests
-    imperilled, and as though it did not as a matter of fact possess
-    more than two hundred warships, and were not at peace throughout
-    its borders and supreme at sea, and had not many allies ready
-    to help us in case of need, and many more who regularly pay
-    their contributions and perform their obligation. Under these
-    circumstances it might be said that we have every reason for
-    confidence on the ground that all danger is remote; and that it
-    is our enemies who have reason to be afraid and to form plans for
-    self-preservation. Now you, I know, are inclined on this account
-
-
-[Page 244]
-
-
-        τῆς ἐμῆς προσόδου καταφρονεῖτε καὶ πᾶσαν ἐλπίζετε τὴν
-        Ἑλλάδα ταύτῃ τῇ δυνάμει κατασχήσειν· ἐγὼ δὲ δι’
-        αὐτὰ ταῦτα τυγχάνω δεδιώς. ὁρῶ γὰρ τῶν πόλεων τὰς
-        ἄριστα πράττειν οἰομένας κάκιστα βουλευομένας, καὶ τὰς
-        μάλιστα θαρρούσας εἰς πλείστους κινδύνους καθισταμένας.      5
-        αἴτιον δὲ τούτων ἐστίν, ὅτι τῶν ἀγαθῶν καὶ τῶν κακῶν
-        οὐδὲν αὐτὸ καθ’ αὑτὸ παραγίνεται τοῖς ἀνθρώποις, ἀλλὰ
-        συντέτακται καὶ συνακολουθεῖ τοῖς μὲν πλούτοις καὶ ταῖς
-        δυναστείαις ἄνοια καὶ μετὰ ταύτης ἀκολασία, ταῖς δὲ
-        ἐνδείαις καὶ ταῖς ταπεινότησιν σωφροσύνη καὶ πολλὴ      10
-        μετριότης. ὥστε χαλεπὸν εἶναι διαγνῶναι, ποτέραν ἄν
-        τις δέξαιτο τῶν μερίδων τούτων τοῖς παισὶ τοῖς αὑτοῦ
-        καταλιπεῖν· ἴδοιμεν γὰρ ἂν ἐκ μὲν τῆς φαυλοτέρας εἶναι
-        δοκούσης ἐπὶ τὸ βέλτιον ὡς ἐπὶ τὸ πολὺ τὰς πράξεις
-        ἐπιδιδούσας, ἐκ δὲ τῆς κρείττονος φαινομένης ἐπὶ τὸ      15
-        χεῖρον εἰθισμένας μεταπίπτειν.
-
-ταῦθ’ ὅτι συνήλειπταί τε καὶ συγκέχρωσται, καὶ οὐ καθ’
-ἓν ἕκαστον ὄνομα ἐν ἕδρᾳ περιφανεῖ καὶ πλατείᾳ βέβηκεν
-οὐδὲ μακροῖς τοῖς μεταξὺ χρόνοις διείργεται καὶ διαβέβηκεν
-ἀπ’ ἀλλήλων, ἀλλ’ ἐν κινήσει τε ὄντα φαίνεται καὶ φορᾷ καὶ      20
-ῥύσει συνεχεῖ, πραεῖαί τε αὐτῶν εἰσι καὶ μαλακαὶ καὶ
-προπετεῖς αἱ συνάπτουσαι τὴν λέξιν ἁρμονίαι, τὸ ἄλογον
-ἐπιμαρτυρεῖ τῆς ἀκοῆς πάθος. ὅτι δ’ οὐκ ἄλλα τινὰ τούτων
-ἐστὶν αἴτια ἢ τὰ προειρημένα ὑπ’ ἐμοῦ περὶ τῆς ἀγωγῆς
-ταύτης τῶν λόγων, ῥᾴδιον ἰδεῖν. φωνηέντων μὲν γὰρ ἀντιτυπίαν      25
-οὐκ ἂν εὕροι τις οὐδεμίαν ἐν γοῦν οἷς παρεθέμην
-ἀριθμοῖς, οἴομαι δ’ οὐδ’ ἐν ὅλῳ τῷ λόγῳ, πλὴν εἴ τί με
-διαλέληθεν· ἡμιφώνων δὲ καὶ ἀφώνων ὀλίγας καὶ οὐ πάνυ
-
-2 ταύτηι (ταύτην M) τῆι δυνάμει P, MV Isocr.: τῆι δυνάμει ταύτη F,
-E   5 πλείστους κινδύνους PM Isocr.: πλείους κινδύνους V: πλεῖστον
-κίνδυνον EF   8 πλουσίοις F (cum Isocratis codd. quibusdam)   9 ἄνοια
-... ἐνδείαις om. F || ἀκολασίαι PMV   10 σωφροσύνη EPMV Isocr.: καὶ
-σωφροσύνη F   12 δέξαιτο PMV Isocr.: εὔξαιτο EF || τῶν μερίδων τούτων
-PMV Isocr.: τούτων τῶν μερίδων EF || αὐτοῦ libri   13 καταλιπεῖν PMV
-Isocr.: om. EF || ἴδοιμεν PV Isocr.: ἴδοι μὲν M: ἴδοι EF || ἂν om. F:
-ἄν τις E || εἶναι δοκούσης PMV Isocr.: om. EF   17 συνείληπταί τε EPMV:
-συνήλειπτέται F || οὐ καθ’ ἓν PMV: οὐδὲν EF   18 ἕδρα ... πλατεία (sine
-iota) P   19 οὐδὲ EF: οὐδ’ ἐν PMV   20 φορᾶι P   21 τε ... μαλακαὶ om.
-F   22 προπετεῖς PV: προσφυεῖς FM γρ V   25 ῥαίδιον P   26 εὕροι F: om.
-PM, post οὐδεμίαν ponit V   27 οὐθ F || ὅλωι τωῖ λόγωι P   28 πάνυ PMV:
-σφόδρα F
-
-17 ff. When expressing admiration, Dionysius often tends (as here) to
-reproduce the style admired.—For further estimates of Isokrates’s style
-reference may be made to Dionysius’ separate essay on Isokrates (in his
-_de Antiq. Or._); Jebb _Att. Or._ ii. 54 ff.; Blass _Att. Bereds._ ii.
-131 ff.
-
-19. The reading οὐδ’ ἐν is possibly right, viz. ‘at long
-time-intervals’; cp. =222= 5.
-
-[Page 245]
-
-    to make light of my appeal; you expect to maintain supremacy over
-    the whole of Greece by means of your existing forces. But it is
-    precisely on these grounds that I really am alarmed. I observe
-    that it is those States which think they are at the height of
-    prosperity that adopt the worst policy, and that it is the most
-    confident that incur the greatest danger. The reason is that no
-    good or evil fortune comes to men entirely by itself: folly and its
-    mate intemperance have been appointed to wait on wealth and power,
-    self-restraint and great moderation to attend on poverty and low
-    estate. So that it is hard to decide which of these two lots a man
-    would desire to bequeath to his children, since we can see that
-    from what is popularly regarded as the inferior condition men’s
-    fortunes commonly improve, while from that which is apparently the
-    better they usually decline and fall.”[178]
-
-The instinctive perception of the ear testifies that these words are
-run and blended together; that they do not individually stand on a
-broad foundation which gives an all-round view of each; and that they
-are not separated by long time-intervals and planted far apart from one
-another, but are plainly in a state of motion, being borne onwards in
-an unbroken stream, while the links which bind the passage together are
-gentle and soft and flowing. And it is easy to see that the sole cause
-lies in the character of this style as I have previously described
-it. For no dissonance of vowels will be found, at any rate in the
-harmonious clauses which I have quoted, nor any, I think, in the entire
-speech, unless some instance has escaped my notice. There are also few
-dissonances of semi-vowels and mutes, and those not very glaring or
-
-[Page 246]
-
-
-ἐκφανεῖς οὐδὲ συνεχεῖς. ταῦτα δὲ τῆς εὐεπείας αἴτια τῇ λέξει
-γέγονε καὶ ἡ τῶν κώλων συμμετρία πρὸς ἄλληλα, τῶν τε
-περιόδων ὁ κύκλος ἔχων τι περιφερὲς καὶ εὔγραμμον καὶ
-τεταμιευμένον ἄκρως ταῖς συμμετρίαις. ὑπὲρ ἅπαντα δὲ
-ταῦτα οἱ σχηματισμοὶ πολὺ τὸ νεαρὸν ἔχοντες· εἰσὶ γὰρ      5
-ἀντίθετοι καὶ παρόμοιοι καὶ πάρισοι καὶ οἱ παραπλήσιοι
-τούτοις, ἐξ ὧν ἡ πανηγυρικὴ διάλεκτος ἀποτελεῖται. οὐκ
-ἀναγκαῖον εἶναι δοκῶ μηκύνειν καὶ τὰ λοιπὰ διεξιών· ἱκανῶς
-γὰρ εἴρηται καὶ περὶ ταύτης τῆς συνθέσεως ὅσα γε ἥρμοττεν.
-
-
-
-
-XXIV
-
-
-ἡ δὲ τρίτη καὶ μέση τῶν εἰρημένων δυεῖν ἁρμονιῶν, ἣν      10
-εὔκρατον καλῶ σπάνει κυρίου τε καὶ κρείττονος ὀνόματος,
-σχῆμα μὲν ἴδιον οὐδὲν ἔχει, κεκέρασται δέ πως ἐξ ἐκείνων
-μετρίως καὶ ἔστιν ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων.
-αὕτη δοκεῖ μοι τὰ πρωτεῖα ἐπιτηδεία εἶναι φέρεσθαι, ἐπειδὴ
-μεσότης μέν τίς ἐστι (μεσότης δὲ ἡ ἀρετὴ καὶ βίων καὶ      15
-ἔργων [καὶ τεχνῶν], ὡς Ἀριστοτέλει τε δοκεῖ καὶ τοῖς ἄλλοις
-ὅσοι κατ’ ἐκείνην τὴν αἵρεσιν φιλοσοφοῦσιν), ὁρᾶται δ’,
-ὥσπερ ἔφην καὶ πρότερον, οὐ κατὰ ἀπαρτισμὸν ἀλλ’ ἐν
-πλάτει, καὶ τὰς εἰδικὰς ἔχει διαφορὰς πολλάς· οἵ τε χρησάμενοι
-
-1 δὲ PMV: δὴ F || εὐπρεπείας P   2 τε om. P   3 ἔχων τι] ἔχοντι P ||
-περιφερὲς F: περιφανὲς PMV || καὶ εὐθύγραμμον F   4 ἄκρως F: ἄκραις PMV
-  5 πολὺ F: οἱ πολὺ PM: οἱ πολλοὶ V   7 συντελεῖται cum rasura P   8
-δοκῶ FP: μοι δοκῶ MV   9 συνθέσεως FP: θέσεως MV   10 τρίτη EF: τρίτη
-τε PMV || δυεῖν FPM: δυοῖν V   11 εὔκρατον F: κοινὴν PMV || σπάνει τε
-PMV: ἐγὼ ἀντὶ F: τε delevit Usenerus || τε F: om. PMV   12 δή P ||
-πως PMV: ὡς EF || ἐκείνων] ἐκείνου F   13 ἑκατέραι P || κρατίστων]
-κρατίστη· ὧν F: κρατίστων· ὧν E   14 αὐτὴ PV   15 τις ἐστὶ E: τις F:
-ἐστι PMV   16 καὶ τεχνῶν om. FE   17 ὅσοι] οἳ F || αἴρεσιν FP || δὲ
-PMVE   19 εἰδικὰς EF: ἰδίας PMV
-
-8. =καὶ=: i.e. ‘by going through details as well (as by taking this
-general view).’
-
-9. This chapter (c. 23) should be compared throughout with chapter
-40 of the _de Demosth._, which begins ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ
-θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη, κτλ.
-
-10. The treatment of the _third harmony_ in this chapter seems somewhat
-curt and vague.
-
-12. The third style (Dionysius means) has no special character of its
-own: it is a combination of the best things in the two others: this,
-in fact, constitutes its superiority, since, according to Aristotle,
-virtue is a mean (Aristot. _Eth. Nic._ ii. 5, 1106 b 27 μεσότης τις ἄρα
-ἐστὶν ἡ ἀρετή, στοχαστική γε οὖσα τοῦ μέσου).
-
-13. =ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων=: it is interesting to find
-Homer represented (=248= 8-10) as a kind of _eclectic_ in style. There
-are many indications that Dionysius regards him as a diligent literary
-craftsman. See generally _de Demosth._ c. 41 init. τῆς δὲ τρίτης
-ἁρμονίας ... ῥήτορες.
-
-16. =καὶ τεχνῶν=: it may possibly be better to bracket these words,
-as they are omitted by F as well as by E. But their retention would
-not be inconsistent with Aristotelian doctrine. Cp. _Eth. Nic._ ii.
-5, 1106 b 8 εἰ δὴ πᾶσα ἐπιστήμη οὕτω τὸ ἔργον εὖ ἐπιτελεῖ, πρὸς τὸ
-μέσον βλέπουσα καὶ εἰς τοῦτο ἄγουσα τὰ ἔργα (ὅθεν εἰώθασιν ἐπιλέγειν
-τοῖς εὖ ἔχουσιν ἔργοις ὅτι οὔτ’ ἀφελεῖν ἔστιν οὔτε προσθεῖναι, ὡς τῆς
-μὲν ὑπερβολῆς καὶ τῆς ἐλλείψεως φθειρούσης τὸ εὖ, τῆς δὲ μεσότητος
-σῳζούσης, οἱ δ’ ἀγαθοὶ τεχνῖται, ὡς λέγομεν, πρὸς τοῦτο βλέποντες
-ἐργάζονται), ἡ δ’ ἀρετὴ πάσης τέχνης ἀκριβεστέρα καὶ ἀμείνων ἐστίν,
-ὥσπερ καὶ ἡ φύσις, τοῦ μέσου ἂν εἴη στοχαστική. Reference may also be
-made to _Politics_ iii. 13, 1284 b 7-13, and to _Eth. Eud._ ii. 1220 b
-21 ἐν ἅπαντι συνεχεῖ καὶ διαιρετῷ ἐστιν ὑπεροχὴ καὶ ἔλλειψις καὶ μέσον,
-καὶ ταῦτα ἢ πρὸς ἄλληλα ἢ πρὸς ἡμᾶς, οἷον ἐν γυμναστικῇ, ἐν ἰατρικῇ, ἐν
-οἰκοδομικῇ, ἐν κυβερνητικῇ, καὶ ἐν ὁποιᾳοῦν πράξει, καὶ ἐπιστημονικῇ
-καὶ ἀνεπιστημονικῇ, καὶ τεχνικῇ καὶ ἀτέχνῳ, κτλ.
-
-18. =πρότερον=: cp. =210= 6-10.
-
-19. Batteux (p. 257) well explains Dionysius’ meaning, and suggests
-the names of certain French authors who may be held to exemplify and
-adorn the ‘mean’ (‘middle’) style: “Denys d’Halicarnasse observe
-avec justesse que le mélange des deux extrêmes dans la composition
-mixte ne se fait pas dans un milieu précis, mais avec une certaine
-latitude; qu’on ne pouvait être plus près et plus loin de l’un des deux
-extrêmes; que le même auteur pouvait l’être plus dans une partie de
-son ouvrage, et l’être moins dans une autre partie. C’est ce que nous
-venons d’observer dans l’oraison funèbre de M. de Turenne, et qu’ainsi
-il n’est pas aisé de fixer avec précision la place des auteurs qui
-tiennent le milieu entre les deux compositions. Avec cette restriction,
-nous pouvons placer dans le milieu Fénelon, Racine, Despréaux, Molière,
-La Fontaine, Voltaire, qui ont les deux mérites de la force et de
-l’élégance, qui ont les nerfs et la grâce, les fruits et les fleurs.”
-
-[Page 247]
-
-continuous. The euphonious flow of the passage is due to these
-circumstances, combined with the balance of the clauses and the cycle
-of the periods which has about it something rounded and well-defined
-and perfectly regulated in respect of symmetrical adjustment. Above
-all there are the rhetorical figures, full of youthful exuberance:
-_antithesis_, _parallelism in sound_, _parallelism in structure_, and
-others like these, by which the language of panegyric is brought to
-its highest perfection. I do not think it necessary to lengthen the
-book by dealing with the points that are still untouched. This kind
-of composition also has now received adequate treatment on all points
-where it was appropriate.
-
-
-
-
-CHAPTER XXIV
-
-HARMONIOUSLY-BLENDED, OR INTERMEDIATE, COMPOSITION
-
-
-The third kind of composition is the mean between the two already
-mentioned. I call it _harmoniously blended_ for lack of a proper
-and better name. It has no form peculiar to itself, but is a sort
-of judicious blend of the two others and a selection from the most
-effective features of each. This kind, it seems to me, deserves to win
-the first prize; for it is a sort of mean, and excellence in life and
-conduct [and the arts] is a mean, according to Aristotle and the other
-philosophers of his school. As I said before, it is to be viewed not
-narrowly but broadly. It has many specific varieties. Those who have
-adopted it have not all had the same
-
-[Page 248]
-
-
-αὐτῇ οὐ τὰ αὐτὰ πάντες οὐδ’ ὁμοίως ἐπετήδευσαν, ἀλλ’
-οἱ μὲν ταῦτα μᾶλλον, οἱ δ’ ἐκεῖνα, ἐπέτεινάν τε καὶ ἀνῆκαν
-ἄλλως ἄλλοι τὰ αὐτά, καὶ πάντες ἐγένοντο λόγου ἄξιοι κατὰ
-πάσας τὰς ἰδέας τῶν λόγων. κορυφὴ μὲν οὖν ἁπάντων καὶ
-σκοπός,      5
-
-        ἐξ οὗ περ πάντες ποταμοὶ καὶ πᾶσα θάλασσα
-        καὶ πᾶσαι κρῆναι,
-
-δικαίως ἂν Ὅμηρος λέγοιτο. πᾶς γὰρ αὐτῷ τόπος, ὅτου τις
-ἂν ἅψηται, ταῖς τε αὐστηραῖς καὶ ταῖς γλαφυραῖς ἁρμονίαις
-εἰς ἄκρον διαπεποίκιλται. τῶν δ’ ἄλλων ὅσοι τὴν αὐτὴν      10
-μεσότητα ἐπετήδευσαν, ὕστεροι μὲν Ὁμήρου μακρῷ παρ’
-ἐκεῖνον ἐξεταζόμενοι φαίνοιντ’ ἄν, καθ’ ἑαυτοὺς δὲ εἰ θεωροίη
-τις αὐτούς, ἀξιοθέατοι, μελοποιῶν μὲν Στησίχορός τε καὶ
-Ἀλκαῖος, τραγῳδοποιῶν δὲ Σοφοκλῆς, συγγραφέων δὲ Ἡρόδοτος,
-ῥητόρων δὲ Δημοσθένης, φιλοσόφων δὲ κατ’ ἐμὴν δόξαν Δημόκριτός      15
-τε καὶ Πλάτων καὶ Ἀριστοτέλης· τούτων γὰρ
-ἑτέρους εὑρεῖν ἀμήχανον ἄμεινον κεράσαντας τοὺς λόγους. καὶ
-περὶ μὲν τῶν χαρακτήρων ταῦθ’ ἱκανά. παραδείγματα γὰρ
-τούτων οὐκ οἴομαι δεῖν φέρειν, φανερῶν πάνυ ὄντων καὶ οὐδὲν
-δεομένων λόγου.      20
-
-εἰ δέ τινι δοκεῖ καὶ πόνου πολλοῦ ταῦτα καὶ πραγματείας
-
-8 ἂν om. F || ὅτου EF: ὅπου M: τὸ οὗ P   9 ἅψοιτο EF || ταῖς γλαφυραῖς]
-ἀνθηραῖς EF   10 αὐτὴν EF: αὐτὴν ἐκείνωι P, MV   11 μὲν] μέντοι EF   13
-Στησίχορος ... τραγῳδοποιῶν δὲ om. F   16 γὰρ F: δὲ PMV   19 φέρειν om.
-F   21 τινι MV (τῳ Demosth.): τι μοι F: τις P
-
-5. Homer is a beacon (a watchtower) set upon a hill.—The close
-correspondence between Dionysius and Quintilian has often been
-illustrated in these notes; and with the present page should be
-compared Quintil. x. 1. 46 “igitur, ut Aratus _ab Iove incipiendum_
-putat, ita nos rite coepturi ab Homero videmur. hic enim, quemadmodum
-_ex Oceano_ dicit ipse _amnium fontiumque cursus initium capere_,
-omnibus eloquentiae partibus exemplum et ortum dedit.”
-
-10. Neither here nor elsewhere does Dionysius say anything about the
-poets of the Epic Cycle. Attention is called to his silence by T. W.
-Allen in the _Classical Quarterly_ ii. 87.
-
-13. =Stesichorus=: cp. _de Imitat._ B. vi. 2 ὅρα δὲ καὶ Στησίχορον
-ἔν τε τοῖς ἑκατέρων τῶν προειρημένων πλεονεκτήμασι κατορθοῦντα,
-κτλ.; Long. _de Sublim._ xiii. 3 (as to Stesichorus, Herodotus and
-Plato, in relation to Homer) μόνος Ἡρόδοτος Ὁμηρικώτατος ἐγένετο;
-Στησίχορος ἔτι πρότερον ὅ τε Ἀρχίλοχος, πάντων τε τούτων μάλιστα ὁ
-Πλάτων ἀπὸ τοῦ Ὁμηρικοῦ κείνου νάματος εἰς αὑτὸν μυρίας ὅσας παρατροπὰς
-ἀποχετευσάμενος.
-
-14. =Alcaeus=: _de Imitat._ B. vi. 2 Ἀλκαίου δὲ σκόπει τὸ μεγαλοφυὲς
-καὶ βραχὺ καὶ ἡδὺ μετὰ δεινότητος κτλ.; Quintil. x. 1. 63 “Alcaeus in
-parte operis _aureo plectro_ merito donatur, qua tyrannos insectatus
-multum etiam moribus confert; in eloquendo quoque brevis et magnificus
-et diligens et plerumque oratori similis: sed et lusit et in amores
-descendit, maioribus tamen aptior.”
-
-=Sophocles=: Σοφοκλῆς δὲ ἔν τε τοῖς ἤθεσι καὶ τοῖς πάθεσι κτλ. (_de
-Imitat._, _ut supra_).
-
-=Herodotus=: cp. D.H. pp. 10, 11, 12, etc.
-
-15. =Demosthenes=: cp. D.H. pp. 13, 15, 16, 19, 22, 23, etc., and
-Demetr. pp. 11, 12, etc.
-
-=Democritus=: cp. Cic. _Orat._ 20, 67 “itaque video visum esse
-nonnullis, Platonis et Democriti locutionem, etsi absit a versu, tamen,
-quod incitatius feratur et clarissimis verborum luminibus utatur,
-potius poëma putandum quam comicorum poëtarum”; id. _de Orat._ i. 49
-“quam ob rem, si ornate locutus est, sicut et fertur et mihi videtur,
-physicus ille Demokritus, materies illa fuit physici, de qua dixit,
-ornatus vero ipse verborum oratoris putandus est”; id. _ib._ i. 42
-“Democritii ... ornati homines in dicendo et graves.”
-
-16. =Plato=: cp. D.H. pp. 16, 19, 27-30, 36, etc. and Demetr. pp. 12,
-13, 14, etc.
-
-=Aristotle=: cp. _de Imitat._ B. vi. 4 παραληπτέον δὲ καὶ Ἀριστοτέλην
-εἰς μίμησιν τῆς τε περὶ τὴν ἑρμηνείαν δεινότητος καὶ τῆς σαφηνείας, καὶ
-τοῦ ἡδέος καὶ πολυμαθοῦς· τοῦτο γὰρ ἔστι μάλιστα παρὰ τοῦ ἀνδρὸς τούτου
-λαβεῖν.
-
-[Page 249]
-
-aims nor the same methods; some have made more use of this method,
-others of that; while the same methods have been pursued with less or
-greater vigour by different writers, who have yet all achieved eminence
-in the various walks of literature. Now he who towers conspicuous above
-them all,
-
-    Out of whose fulness all rivers, and every sea, have birth,
-    And all upleaping fountains,[179]
-
-is, we must admit, Homer. For whatever passage you like to take in him
-has had its manifold charms brought to perfection by a union of the
-severe and the polished forms of arrangement. Of the other writers
-who have cultivated the same golden mean, all will be found to be far
-inferior to Homer when measured by his standard, but still men of
-eminence when regarded in themselves: among lyric poets Stesichorus and
-Alcaeus, among tragedians Sophocles, among historians Herodotus, among
-orators Demosthenes, and among philosophers (in my opinion) Democritus,
-Plato, and Aristotle. It is impossible to find authors who have
-succeeded better in blending their writings into harmonious wholes. As
-regards types of composition the foregoing remarks will suffice. I do
-not think it necessary to quote specimen passages from the authors just
-mentioned, since they are known to all and need no illustration.
-
-Now if any one thinks that these things are worth much toil
-
-[Page 250]
-
-
-μεγάλης ἄξια εἶναι, καὶ μάλα ὀρθῶς δοκεῖ κατὰ τὸν
-Δημοσθένην· ἀλλ’ ἐὰν λογίσηται τοὺς ἐξακολουθοῦντας αὐτοῖς
-κατορθουμένοις ἐπαίνους καὶ τὸν καρπὸν τὸν ἀπ’ αὐτῶν ὡς
-γλυκύς, εὐπαθείας ἡγήσεται τοὺς πόνους. Ἐπικουρείων δὲ
-χορόν, οἷς οὐδὲν μέλει τούτων, παραιτοῦμαι· τὸ γὰρ “οὐκ      5
-ἐπιπόνου τοῦ γράφειν ὄντος,” ὡς αὐτὸς Ἐπίκουρος λέγει, “τοῖς
-μὴ στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου” πολλῆς
-ἀργίας ἦν καὶ σκαιότητος ἀλεξιφάρμακον.
-
-
-
-
-XXV
-
-
-τούτων δή μοι τέλος ἐχόντων, ἐκεῖνά σε οἴομαι ποθεῖν ἔτι
-ἀκοῦσαι, πῶς γίνεται λέξις ἄμετρος ὁμοία καλῷ ποιήματι ἢ      10
-μέλει, καὶ πῶς ποίημά γε ἢ μέλος πεζῇ λέξει καλῇ παραπλήσιον.
-ἄρξομαι δὲ πρῶτον ἀπὸ τῆς ψιλῆς λέξεως, ἕνα
-τῶν ἀνδρῶν προχειρισάμενος ὃν ἐν τοῖς μάλιστα οἶμαι τὴν
-ποιητικὴν ἐκμεμάχθαι φράσιν, βουλόμενος μὲν καὶ πλείους,
-οὐκ ἔχων δὲ χρόνον ἱκανὸν ἅπασι. φέρε δὴ τίς οὐκ ἂν      15
-ὁμολογήσειεν τοῖς κρατίστοις ἐοικέναι ποιήμασί τε καὶ μέλεσι
-
-3 τὸν ἀπ’ αὐτῶν F: τῶν ἁπάντων PMV   5 οὐκἐπὶ πόνου P, MV   6 ἐπίπονον
-F   10 λέξις ἄμετρος] πεζὴ λέξις F || ἄμετρος ... πεζῇ om. F   13 ὃν
-... βουλόμενος om. P
-
-1. =κατὰ τὸν Δημοσθένην=: cp. _de Demosth._ c. 52 εἰ δὲ τῷ δοκεῖ ταῦτα
-καὶ πόνου πολλοῦ καὶ πραγματείας μεγάλης εἶναι, καὶ μάλα ὀρθῶς δοκεῖ
-κατὰ τὸν Δημοσθένην· οὐδὲν γὰρ τῶν μεγάλων μικρῶν ἐστι πόνων ὤνιον.
-ἀλλ’ ἐὰν ἐπιλογίσηται τοὺς ἀκολουθοῦντας αὐτοῖς καρπούς, μᾶλλον δ’ ἐὰν
-ἕνα μόνον τὸν ἔπαινον, ὃν ἀποδίδωσιν ὁ χρόνος καὶ ζῶσι καὶ μετὰ τὴν
-τελευτήν, πᾶσαν ἡγήσεται τήν [τε] πραγματείαν ἐλάττω τῆς προσηκούσης.
-The reference in both cases is to Demosth. _Chers._ § 48 εἰ δέ τῳ δοκεῖ
-ταῦτα καὶ δαπάνης μεγάλης καὶ πόνων πολλῶν καὶ πραγματείας εἶναι, καὶ
-μάλ’ ὀρθῶς δοκεῖ· ἀλλ’ ἐὰν λογίσηται τὰ τῇ πόλει μετὰ ταῦτα γενησόμενα,
-ἂν ταῦτα μὴ ’θέλῃ, εὑρήσει λυσιτελοῦν τὸ ἑκόντας ποιεῖν τὰ δέοντα.
-
-4. For the general attitude of =Epicurus= cp. Quintil. ii. 17. 15
-“nam de Epicuro, qui disciplinas omnes fugit, nihil miror,” and _ib._
-xii. 2. 24 “nam in primis nos Epicurus a se ipse dimittit, qui fugere
-omnem disciplinam navigatione quam velocissima iubet [Diog. Laert.
-_Vit. Epic._ 6 παιδείαν δὲ πᾶσαν (i.e. τὴν ἐγκύκλιον παιδείαν),
-μακάριε, φεῦγε τὸ ἀκάτιον ἀράμενος]”; Cic. _de Finibus_ i. 5. 14 “sed
-existimo te minus ab eo [sc. Epicuro] delectari, quod ista Platonis,
-Aristotelis, Theophrasti orationis ornamenta neglexerit.”—Probably the
-Epicurean philosopher Philodemus is among those who are criticized in
-the πραγματεία ἣν συνεταξάμην ὑπὲρ τῆς πολιτικῆς φιλοσοφίας πρὸς τοὺς
-κατατρέχοντας αὐτῆς ἀδίκως (_de Thucyd._ c. 2).
-
-5-8. Usener (_Epicurea_, fragm. 230) gave this passage as follows:
-τὸ γὰρ ἐπίπονον τοῦ γράφειν ὄντως, ὡς αὐτὸς Ἐπίκουρος λέγει, τοῖς μὴ
-στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου πολλῆς ἀργίας ἦν καὶ
-σκαιότητος ἀλεξιφάρμακον.
-
-5. =οὐκ ἐπιπόνου=: cp. Sheridan _Clio’s Protest_: “You write with
-ease, to shew your breeding; | But easy writing’s vile hard reading”;
-Quintil. x. 3. 10 “summa haec est rei: cito scribendo non fit, ut bene
-scribatur; bene scribendo fit, ut cito.”
-
-7. =κριτηρίου=: for κριτήριον as an Epicurean term cp. Diog. Laert.
-_Vit. Epic._ 147 ὥστε τὸ κριτήριον ἅπαν ἐκβαλεῖς. The ‘variable
-criterion’ or ‘shifting standard,’ in Dionysius’ quotation, is either
-the _judgment of the ear_ (regarded as a part of _sensation_ generally)
-or the _literary fashion of the day_.
-
-8. Chapter 24 may be compared throughout with _de Demosth._ c. 41.
-
-9. For the relations of Prose to Verse see Introduction, pp. 33-9.
-
-16. The metrical lines which Dionysius thinks he detects in Demosthenes
-are not more (nor less) convincing than the rude hexameters which have
-been pointed out in Cicero: _latent_ lines cannot be expected to be
-obvious. _Ad Quirites post reditum_ 16 “sed etiam rerum mearum gestarum
-_auctores, testes, laudatoresque fuere_” [but the better reading here
-is _laudatores fuerunt_]. _Pro Archia Poëta_ i. 1 “si quid est in me
-ingenii, iudices, quod sentio quam sit exiguum, aut si qua exercitatio
-dicendi, _in qua me non infiteor mediocriter esse_ versatum,” etc.
-_Tusc. Disp._ iv. 14. 31 “illud animorum corporumque dissimile, quod
-animi valentes _morbo temptari possunt, ut corpora possunt_.” _Pro
-Roscio Amer._ i. 1 “credo ego vos, iudices, mirari quid _sit quod, cum
-tot summi oratores hominesque_ nobilissimi sedeant, ego potissimum
-surrexerim.” Cp. Livy xxi. 9 “nec tuto eos adituros inter tot tam
-effrenatarum gentium _arma, nec Hannibali in tanto discrimine rerum_
-operae esse legationes audire,” and Tacitus _Ann._ i. 1 “_urbem Romam a
-principio reges habuere_.” In most of these passages except the last,
-the natural pauses in delivery would destroy any real hexameter effect.
-See further in Quintil. ix. 4. 72 ff.—Among later Greek writers, St.
-John Chrysostom, in his _de Sacerdotio_ iii. 14 and 16, is supposed
-to yield one entire hexameter and part of another: [ἀπ’ ἐκείνου] τοῦ
-καπνοῦ προέφλεξε καὶ ἠμαύρωσεν ἅπασαν, and βιάζωνται διὰ τὴν τῆς
-γαστρὸς ἀνάγκην.
-
-[Page 251]
-
-and great effort, he is, according to Demosthenes, decidedly in the
-right.[180] Nay, if he considers the credit which attends success in
-them and the sweetness of the fruit they yield, he will count the
-toil a pleasure. I beg pardon of the Epicurean choir who care nothing
-for these things. The doctrine that “writing,” as Epicurus himself
-says, “is no trouble to those who do not aim at the ever-varying
-standard”[181] was meant to forestall the charge of gross laziness and
-stupidity.
-
-
-
-
-CHAPTER XXV
-
-HOW PROSE CAN RESEMBLE VERSE
-
-
-Now that I have finished this part of the subject, I think you must
-be eager for information on the next point—how unmetrical language is
-made to resemble a beautiful poem or lyric, and how a poem or lyric is
-brought into close likeness to beautiful prose. I will begin with the
-language of prose, choosing by preference an author who has, I think,
-in a pre-eminent degree taken the impress of poetical style. I could
-wish to mention a larger number, but have not time for all. Who, then,
-will not admit that the speeches of Demosthenes
-
-[Page 252]
-
-
-τοὺς Δημοσθένους λόγους, καὶ μάλιστα τάς τε κατὰ Φιλίππου
-δημηγορίας καὶ τοὺς δικανικοὺς ἀγῶνας τοὺς δημοσίους; ὧν
-ἐξ ἑνὸς ἀρκέσει λαβεῖν τὸ προοίμιον τουτί·
-
-    “Μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με μήτ’
-    ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα      5
-    τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον
-    ἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς
-    ἀπέχθειαν· ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι καὶ
-    σκοπῶ, περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ
-    μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ      10
-    τούτου ἐστί μοι ἅπασα ἡ σπουδή.”
-
-πειρατέον δὴ καὶ περὶ τούτων λέγειν ἃ φρονῶ. μυστηρίοις
-μὲν οὖν ἔοικεν ἤδη ταῦτα καὶ οὐκ εἰς πολλοὺς οἷά τε ἐστὶν
-ἐκφέρεσθαι, ὥστ’ οὐκ ἂν εἴην φορτικός, εἰ παρακαλοίην “#οἷς
-θέμις ἐστὶν#” ἥκειν ἐπὶ τὰς τελετὰς τοῦ λόγου, “#θύρας δ’      15
-ἐπιθέσθαι#” λέγοιμι ταῖς ἀκοαῖς τοὺς “#βεβήλους#.” εἰς γέλωτα
-γὰρ ἔνιοι λαμβάνουσι τὰ σπουδαιότατα δι’ ἀπειρίαν, καὶ ἴσως
-οὐδὲν ἄτοπον πάσχουσιν. ἃ δ’ οὖν βούλομαι λέγειν, τοιάδε
-ἐστί.
-
-πᾶσα λέξις ἡ δίχα μέτρου συγκειμένη ποιητικὴν μοῦσαν      20
-ἢ μελικὴν χάριν οὐ δύναται προσλαβεῖν κατὰ γοῦν τὴν σύνθεσιν
-αὐτήν· ἐπεὶ καὶ ἡ ἐκλογὴ τῶν ὀνομάτων μέγα τι
-δύναται, καὶ ἔστι τις ὀνομασία ποιητικὴ γλωττηματικῶν τε
-καὶ ξένων καὶ τροπικῶν καὶ πεποιημένων, οἷς ἡδύνεται ποίησις,
-εἰς κόρον ἐγκαταμιγέντων τῇ ἀμέτρῳ λέξει, ὃ ποιοῦσιν ἄλλοι      25
-τε πολλοὶ καὶ οὐχ ἥκιστα Πλάτων· οὐ δὴ λέγω περὶ τῆς
-ἐκλογῆς, ἀλλ’ ἀφείσθω κατὰ τὸ παρὸν ἡ περὶ ταῦτα σκέψις.
-περὶ τῆς συνθέσεως αὐτῆς ἔστω ἡ θεωρία τῆς ἐν τοῖς κοινοῖς
-ὀνόμασι καὶ τετριμμένοις καὶ ἥκιστα ποιητικοῖς τὰς ποιητικὰς
-
-3 ἀρκέσει] ἀρμόσει F   4 με om. P, Demosth. || μήτε F   5 ἔχθρας ἐμὲ
-Demosth. || μηδεμιᾶς om. F || ἕνεκα PMV   7 ἐπὶ τούτῳ om. EF   8 ἆρ’
-E: ἆρα P: ἄρα M: οὖν V: om. F || ὀρθῶς ἐγὼ EFM: ἐγὼ ὀρθῶς PV   9 περὶ]
-ὑπὲρ Demosth. || τοῦ EFPM: τοῦ τὴν V || χερόνησον PV^1: χερρόνησον
-FMV^2 || ἀσφαλῶς ὑμᾶς PMV: ὑμᾶς ἀσφαλῶς EF, D   11 τούτου] τούτων EF
-|| ἔστι μοι M: νῦν ἐστί μοι P: τοίνυν ἔστι μοι V: ἔστι μοι νῦν E:
-ἐστὶν F: μοί ἐστιν D || ἡ EPM D.: ἡ ἐμὴ F: om. V   12 cum φρονῶ voce
-deficit codex Florentinus (F)   16 ἐπίθεσθε PM: ἐπίθεσθαι V || μέλωτ(α)
-P: γελοῖα MV   18 οὐδὲν] οὐδ’ P   20 συγκειμένη EP: ἐγκειμένη MV ||
-μοῦσαν MV: οὖσαν P: om. E   23 τις ὀνομασίας P: τὴν ὀνομασίαν MV   25
-ἐγκατατεταγμένους EPM: ἐγκαταμεμιγμένους V
-
-4-11. In Butcher’s and in Weil’s texts (which are here identical)
-the opening of the _Aristocrates_ runs as follows: μηδεὶς ὑμῶν, ὦ
-ἄνδρες Ἀθηναῖοι, νομίσῃ μήτ’ ἰδίας ἔχθρας ἐμὲ μηδεμιᾶς ἕνεχ’ ἥκειν
-Ἀριστοκράτους κατηγορήσοντα τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον
-ἁμάρτημ’ ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς ἀπέχθειαν, ἀλλ’
-εἴπερ ἄρ’ ὀρθῶς ἐγὼ λογίζομαι καὶ σκοπῶ, ὑπὲρ τοῦ Χερρόνησον ἔχειν ὑμᾶς
-ἀσφαλῶς καὶ μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ τούτου
-μοί ἐστιν ἅπασ’ ἡ σπουδή. The minute differences between this text and
-that presented with metrical comments by Dionysius deserve careful
-notice.—The collocation τῆς ἰδίας ἕνεκ’ ἔχθρας is found in _de Cor._ §
-147.
-
-12. Here, with the word φρονῶ, the codex Florentinus Laurentianus (F)
-unfortunately ends.
-
-24. It is hardly necessary to insert ὀνομάτων before οἷς, since the
-word may be supplied from l. 22 _supra_.
-
-[Page 253]
-
-are like the finest poems and lyrics: particularly his harangues
-against Philip and his pleadings in public law-suits? It will be enough
-to take the following exordium from one of these:—
-
-    “Let none of you, O ye Athenians, think that I have come forward to
-    accuse the defendant Aristocrates with intent to indulge personal
-    hate of my own, or that it is because I have got my eye on some
-    small and petty error that I am thrusting myself with a light heart
-    in the path of his enmity. No, if my calculations and point of view
-    be right, my one aim and object is that you should securely hold
-    the Chersonese, and should not again be deprived of it by political
-    chicanery.”[182]
-
-I must endeavour, here again, to state my views. But the subject we
-have now reached is like the Mysteries: it cannot be divulged to people
-in masses. I shall not, therefore, be discourteous in inviting those
-only “for whom it is lawful” to approach the rites of style, while
-bidding the “profane” to “close the gates of their ears.”[183] There
-are some who, through ignorance, turn the most serious things into
-ridicule, and no doubt their attitude is natural enough. Well, my views
-are in effect as follows:—
-
-No passage which is composed absolutely without metre can be invested
-with the melody of poetry or lyric grace, at any rate from the point of
-view of the word-arrangement considered in itself. No doubt, the choice
-of words goes a long way, and there is a poetical vocabulary consisting
-of rare, foreign, figurative and coined words in which poetry takes
-delight. These are sometimes mingled with prose-writing to excess: many
-writers do so, Plato particularly. But I am not speaking of the choice
-of words: let the consideration of that subject be set aside for the
-present. Let our inquiry deal exclusively with word-arrangement, which
-can reveal possibilities of poetic grace in common everyday
-
-[Page 254]
-
-
-χάριτας ἐπιδεικνυμένης. ὅπερ οὖν ἔφην, οὐ δύναται ψιλὴ
-λέξις ὁμοία γενέσθαι τῇ ἐμμέτρῳ καὶ ἐμμελεῖ, ἐὰν μὴ περιέχῃ
-μέτρα καὶ ῥυθμούς τινας ἐγκατατεταγμένους ἀδήλως. οὐ μέντοι
-προσήκει γε ἔμμετρον οὐδ’ ἔρρυθμον αὐτὴν εἶναι δοκεῖν (ποίημα
-γὰρ οὕτως ἔσται καὶ μέλος ἐκβήσεταί τε ἁπλῶς τὸν αὑτῆς      5
-χαρακτῆρα), ἀλλ’ εὔρυθμον αὐτὴν ἀπόχρη καὶ εὔμετρον φαίνεσθαι
-μόνον· οὕτως γὰρ ἂν εἴη ποιητικὴ μέν, οὐ μὴν ποίημά
-γε, καὶ ἐμμελὴς μέν, οὐ μέλος δέ.
-
-τίς δ’ ἐστὶν ἡ τούτων διαφορά, πάνυ ῥᾴδιον ἰδεῖν. ἡ μὲν
-ὅμοια περιλαμβάνουσα μέτρα καὶ τεταγμένους σῴζουσα ῥυθμοὺς      10
-καὶ κατὰ στίχον ἢ περίοδον ἢ στροφὴν διὰ τῶν αὐτῶν σχημάτων
-περαινομένη κἄπειτα πάλιν τοῖς αὐτοῖς ῥυθμοῖς καὶ μέτροις
-ἐπὶ τῶν ἑξῆς στίχων ἢ περιόδων ἢ στροφῶν χρωμένη καὶ
-τοῦτο μέχρι πολλοῦ ποιοῦσα ἔρρυθμός ἐστι καὶ ἔμμετρος, καὶ
-ὀνόματα κεῖται τῇ τοιαύτῃ λέξει μέτρον καὶ μέλος· ἡ δὲ      15
-πεπλανημένα μέτρα καὶ ἀτάκτους ῥυθμοὺς ἐμπεριλαμβάνουσα
-καὶ μήτε ἀκολουθίαν ἐμφαίνουσα αὐτῶν μήτε ὁμοζυγίαν μήτε
-ἀντιστροφὴν εὔρυθμος μέν ἐστιν, ἐπειδὴ διαπεποίκιλταί τισιν
-ῥυθμοῖς, οὐκ ἔρρυθμος δέ, ἐπειδὴ οὐχὶ τοῖς αὐτοῖς οὐδὲ κατὰ
-τὸ αὐτό. τοιαύτην δή φημι πᾶσαν εἶναι λέξιν ἄμετρον, ἥτις      20
-ἐμφαίνει τὸ ποιητικὸν καὶ μελικόν· ᾗ δὴ καὶ τὸν Δημοσθένη
-κεχρῆσθαί φημι. καὶ ὅτι ἀληθῆ ταῦτ’ ἐστὶ καὶ οὐδὲν ἐγὼ
-καινοτομῶ, λάβοι μὲν ἄν τις καὶ ἐκ τῆς Ἀριστοτέλους μαρτυρίας
-τὴν πίστιν· εἴρηται γὰρ τῷ φιλοσόφῳ τά τε ἄλλα
-περὶ τῆς λέξεως τῆς πολιτικῆς ἐν τῇ τρίτῃ βίβλῳ τῶν ῥητορικῶν      25
-τεχνῶν οἵαν αὐτὴν εἶναι προσῆκεν, καὶ δὴ καὶ περὶ τῆς
-εὐρυθμίας ἐξ ὧν ἂν τοιαύτη γένοιτο· ἐν ᾗ τοὺς ἐπιτηδειοτάτους
-
-3 ἀδήλως MV: ἀδήλους EP   5 αὐτῆς PV   6 ἔμμετρον E   9 ῥάιδιον P   10
-σωίζουσα P   20 ἄμετρον EPM: ἔμμετρον V   21 μελιχρὸν M || δημοσθένην
-EM   25 τρίτω P   26 προσηκ(εν) P: προσήκει MV   27 ἂν MV: τίσ P
-
-1. Cp. Coleridge _Biogr. Lit._ c. 18: “Whatever is combined with metre
-must, though it be not itself essentially poetic, have nevertheless
-some property in common with poetry.”
-
-3. So _de Demosth._ c. 50 οὐ γὰρ ἂν ἄλλως γένοιτο πολιτικὴ λέξις παρ’
-αὐτὴν τὴν σύνθεσιν ἐμφερὴς ποιήμασιν, ἂν μὴ περιέχῃ μέτρα καὶ ῥυθμούς
-τινας ἐγκατακεχωρισμένους ἀδήλως. οὐ μέντοι γε προσήκει αὐτὴν ἔμμετρον
-οὐδ’ ἔρρυθμον εἶναι δοκεῖν, ἵνα μὴ γένηται ποίημα ἢ μέλος, ἐκβᾶσα τὸν
-αὑτῆς χαρακτῆρα, ἀλλ’ εὔρυθμον αὐτὴν ἀπόχρη φαίνεσθαι καὶ εὔμετρον.
-οὕτω γὰρ ἂν εἴη ποιητικὴ μέν, οὐ μὴν ποίημά γε, καὶ μελίζουσα μέν, οὐ
-μὴν μέλος.
-
-4. Cp. Aristot. _Rhet._ iii. 8 τὸ δὲ σχῆμα τῆς λέξεως δεῖ μήτε ἔμμετρον
-εἶναι μήτε ἄρρυθμον ... διὸ ῥυθμὸν δεῖ ἔχειν τὸν λόγον, μέτρον δὲ μή·
-ποίημα γὰρ ἔσται: and Cic. _Orat._ 56. 187 “perspicuum est igitur
-numeris astrictam orationem esse debere, carere versibus,” and 57.
-195 _ibid._ “quia nec numerosa esse, ut poëma, neque extra numerum,
-ut sermo vulgi, esse debet oratio.” So Isocr. (fragm. of his τέχνη
-preserved by Joannes Siceliotes, Walz _Rhett. Gr._ vi. 156) ὅλως δὲ
-ὁ λόγος μὴ λόγος ἔστω· ξηρὸν γάρ· μηδὲ ἔμμετρος· καταφανὲς γάρ. ἀλλὰ
-μεμίχθω παντὶ ῥυθμῷ, μάλιστα ἰαμβικῷ καὶ τροχαϊκῷ (Isocr. _Tech._ fr. 6
-Benseler-Blass).
-
-5. =ἐκβήσεται ... τὸν αὑτῆς χαρακτῆρα=: cp. the construction of
-_excedere_ and _egredi_ with the accusative.
-
-6. ἔμμετρον is given not only by E but by Joannes Sicel. (Walz _Rhett.
-Gr._ vi. 165. 28) and by Maximus Planudes (_ibid._ v. 473. 4) καὶ
-Διονύσιος δέ φησιν, ἀπόχρη τὴν πολιτικὴν λέξιν εὔρυθμον εἶναι καὶ
-ἔμμετρον.
-
-17. Cp. Cic. _de Orat._ iii. 44. 176 “nam cum [orator] vinxit
-[sententiam] forma et modis, relaxat et liberat immutatione ordinis,
-ut verba neque alligata sint quasi certa aliqua lege versus neque ita
-soluta, ut vagentur.”
-
-25. The reference is to Aristot. _Rhet._ iii. 8 (the passage of which
-part is quoted in the note on l. 4 _supra_).
-
-27. =τοιαύτη=: i.e. εὔρυθμος, the subject to γένοιτο being ἡ πολιτικὴ
-λέξις. The τίσ of P may be due to a dittography of the first syllable
-of τοιαύτη: or it may originally have stood with τοιαύτη (τοιαύτη τις =
-_talis fere_).
-
-[Page 255]
-
-words that are by no means reserved for the poets’ vocabulary. Well, as
-I said, simple prose cannot become like metrical and lyrical writing,
-unless it contains metres and rhythms unobtrusively introduced into
-it. It does not, however, do for it to be manifestly _in_ metre or
-_in_ rhythm (for in that case it will be a poem or a lyric piece, and
-will absolutely desert its own specific character); it is enough that
-it should simply appear rhythmical and metrical. In this way it may be
-poetical, although not a poem; lyrical, although not a lyric.
-
-The difference between the two things is easy enough to see. That which
-embraces within its compass similar metres and preserves definite
-rhythms, and is produced by a repetition of the same forms, line
-for line, period for period, or strophe for strophe, and then again
-employs the same rhythms and metres for the succeeding lines, periods
-or strophes, and does this at any considerable length, is _in_ rhythm
-and _in_ metre, and the names of “verse” and “song” are applied to
-such writing. On the other hand, that which contains casual metres and
-irregular rhythms, and in these shows neither sequence nor connexion
-nor correspondence of stanza with stanza, is rhythmical, since it is
-diversified by rhythms of a sort, but not in rhythm, since they are
-not the same nor in corresponding positions. This is the character
-I attribute to all language which, though destitute of metre, yet
-shows markedly the poetical or lyrical element; and this is what I
-mean that Demosthenes among others has adopted. That this is true,
-that I am advancing no new theory, any one can convince himself from
-the testimony of Aristotle; for in the third book of his _Rhetoric_
-the philosopher, speaking of the various requisites of style in civil
-oratory, has described the good rhythm which should contribute to
-it.[184] He
-
-[Page 256]
-
-
-ὀνομάζει ῥυθμοὺς καὶ πῇ χρήσιμος ἕκαστος αὐτῶν καταφαίνεται,
-καὶ λέξεις παρατίθησί τινας αἷς πειρᾶται βεβαιοῦν
-τὸν λόγον. χωρὶς δὲ τῆς Ἀριστοτέλους μαρτυρίας, ὅτι ἀναγκαῖόν
-ἐστιν ἐμπεριλαμβάνεσθαί τινας τῇ πεζῇ λέξει ῥυθμούς,
-εἰ μέλλοι τὸ ποιητικὸν ἐπανθήσειν αὐτῇ κάλλος, ἐκ τῆς πείρας      5
-τις αὐτῆς γνώσεται.
-
-αὐτίκα ὁ κατὰ Ἀριστοκράτους λόγος οὗ καὶ μικρῷ πρότερον
-ἐμνήσθην ἄρχεται μὲν ἀπὸ κωμικοῦ στίχου τετραμέτρου δι’
-ἀναπαίστων τῶν ῥυθμῶν ἐγκειμένου, λείπεται δὲ ποδὶ τοῦ
-τελείου, παρ’ ὃ καὶ λέληθεν· “#μηδεὶς ὑμῶν, ὦ ἄνδρες      10
-Ἀθηναῖοι, νομίσῃ με#”· τοῦτο γὰρ εἰ προσλάβοι τὸ μέτρον
-πόδα ἤτοι κατ’ ἀρχὰς ἢ διὰ μέσου ἢ ἐπὶ τελευτῆς, τέλειον
-ἔσται τετράμετρον ἀναπαιστικόν, ὃ καλοῦσίν τινες Ἀριστοφάνειον·
-
-        μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με παρεῖναι,      15
-
-ἴσον δὲ τῷ
-
-        λέξω τοίνυν τὴν ἀρχαίαν παιδείαν ὡς διέκειτο.
-
-τάχα τις ἐρεῖ πρὸς ταῦτα, ὅτι οὐκ ἐξ ἐπιτηδεύσεως τοῦτο
-ἀλλ’ ἐκ ταὐτομάτου ἐγένετο· πολλὰ γὰρ αὐτοσχεδιάζει μέτρα
-ἡ φύσις. ἔστω τοῦτο ἀληθὲς εἶναι. ἀλλὰ καὶ τὸ συναπτόμενον      20
-τούτῳ κῶλον, εἰ διαλύσειέ τις αὐτοῦ τὴν δευτέραν
-συναλοιφὴν ἣ πεποίηκεν αὐτὸ ἄσημον ἐπισυνάπτουσα τῷ
-τρίτῳ κώλῳ, πεντάμετρον ἐλεγειακὸν ἔσται συντετελεσμένον
-τουτί
-
-        μήτ’ ἰδίας ἔχθρας μηδεμιᾶς ἕνεκα
-
-ὅμοιον τούτοις
-
-        κοῦραι ἐλαφρὰ ποδῶν ἴχνι’ ἀειράμεναι.
-
-3 ἀναγκαῖον V γρ M: ἂν δίκαιον PM^1   6 τ(ις) P, V: τῆς M   8 δι’
-MV: δι^ς sic P   11 με παρεῖναι M   15 μηδεὶς] μηδε P   18 τουτω M,
-E: τοῦτο PV   24 τουτί EP: ἀκριβῶς τουτί MV   27 ἐλαφροποδῶν sic P:
-ἐλαφροπόδων MV || ἴχνι’ PM: ἴχνεα V
-
-7. =πρότερον=: viz. =252= 3 _supra._
-
-9. ἀναπαιστικῶν has been suggested here and in =260= 2; but cp.
-δάκτυλον πόδα =84= 21 and ῥυθμοῖς δακτύλοις =202= 19.
-
-10. =παρ’ ὅ=: cp. note on =80= 4 _supra._
-
-11. =νομίσῃ με=: this (together with the other remarks that follow)
-confirms the reading adopted in =252= 4 _supra._—Dionysius’ metrical
-arrangement of the clauses may be indicated thus:—
-
-    μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με
-    μήτ’ ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’
-    [ἥκειν Ἀριστοκράτους κατηγορήσοντα τουτουΐ,]
-    μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ
-    προάγειν ἐμαυτὸν εἰς ἀπέχθειαν·
-    ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι [καὶ σκοπῶ,]
-    περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς
-         καὶ μὴ παρακρουσθέντας
-             ἀποστερηθῆναι πάλιν αὐτῆς,
-    [περὶ τούτου ἐστί μοι ἅπασα ἡ σπουδή.]
-
-Lines, or truncated lines, of verse are thus interspersed with pieces
-of pure prose,—those here inclosed in brackets. In constituting the
-verse-lines Dionysius has damaged a rather strong case by overstating
-it.
-
-21. =διαλύσειε=: from this it is clear that ἕνεχ’ (rather than ἕνεκα)
-should be read in =252= 5. The verse-arrangement in line 25 _infra_
-shows the same thing and also that we must not follow F in reading μήτε
-(without elision) in =252= 4.
-
-27. For this line cp. Schneider’s _Callimachea_ pp. 789, 790, where it
-is classed among the _Fragmenta Anonyma_.
-
-[Page 257]
-
-names the most suitable rhythms, shows where each of them is clearly
-serviceable, and adduces some passages by which he endeavours to
-establish his statement. But apart from the testimony of Aristotle,
-experience itself will show that some rhythms must be included in
-prose-writing if there is to be upon it the bloom of poetical beauty.
-
-For example, the speech against Aristocrates which I mentioned a moment
-ago begins with a comic tetrameter line (set there with its anapaestic
-rhythms), but it is a foot short of completion and in consequence
-escapes detection: μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με. If this
-line had an additional foot either at the beginning, in the middle, or
-at the end, it would be a perfect anapaestic tetrameter, to which some
-give the name “Aristophanic.”
-
-    Let none of you, O ye Athenians, think that I am standing before you,
-
-corresponds to the line
-
-    Now then shall be told what in days of old was the fashion of boys’
-        education.[185]
-
-It will perhaps be said in reply that this has happened not from
-design, but accidentally, since a natural tendency in us often
-improvises metrical fragments. Let the truth of this be granted. Yet
-the next clause as well, if you resolve the second elision, which has
-obscured its true character by linking it on to the third clause, will
-be a complete elegiac pentameter as follows:—
-
-    Come with intent to indulge personal hate of my own,
-
-similar to these words:—
-
-    Maidens whose feet in the dance lightly were lifted on high.[186]
-
-[Page 258]
-
-
-καὶ τοῦτ’ ἔτι κατὰ τὸν αὐτὸν ὑπολάβωμεν αὐτοματισμὸν ἄνευ
-γνώμης γεγονέναι. ἀλλ’ ἑνὸς τοῦ μεταξὺ κώλου συγκειμένου
-λεκτικῶς τοῦ “#ἥκειν Ἀριστοκράτους κατηγορήσοντα
-τουτουί#” τὸ συμπλεκόμενον τούτῳ πάλιν κῶλον ἐκ δυεῖν συνέστηκεν
-μέτρων· “#μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον      5
-ἁμάρτημα, ἑτοίμως οὕτως ἐπὶ τούτῳ#”· εἰ γὰρ τὸ
-Σαπφικόν τις ἐπιθαλάμιον τουτί
-
-        οὐ γὰρ ἦν ἀτέρα πάϊς, ὦ γαμβρέ, τοιαύτα <ποτα>
-
-καὶ τοῦ κωμικοῦ τετραμέτρου, λεγομένου δὲ Ἀριστοφανείου
-τουδί      10
-
-        ὅτ’ ἐγὼ τὰ δίκαια λέγων ἦνθουν καὶ σωφροσύνη ’νενόμιστο
-
-τοὺς τελευταίους πόδας τρεῖς καὶ τὴν κατάληξιν ἐκλαβὼν
-συνάψειε τοῦτον τὸν τρόπον
-
-        οὐ γὰρ ἦν ἀτέρα πάϊς, ὦ γαμβρέ, τοιαύτα <ποτα> καὶ      15
-                σωφροσύνη ’νενόμιστο·
-
-οὐδὲν διοίσει τοῦ “#μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον
-ἁμάρτημα, ἑτοίμως οὕτως ἐπὶ τούτῳ#.” τὸ δ’ ἀκόλουθον
-ἴσον ἐστὶν ἰαμβικῷ τριμέτρῳ τὸν ἔσχατον ἀφῃρημένῳ πόδα
-“#προάγειν ἐμαυτὸν εἰς ἀπέχθειαν#”· τέλειον γὰρ ἔσται      20
-πόδα προσλαβὸν καὶ γενόμενον τοιοῦτο
-
-        προάγειν ἐμαυτὸν εἰς ἀπέχθειάν τινα.
-
-παρίδωμεν ἔτι καὶ ταῦτα ὡς οὐκ ἐξ ἐπιτηδεύσεως ἀλλ’
-αὐτοματισμῷ γενόμενα; τί οὖν βούλεται πάλιν τὸ προσεχὲς
-τούτῳ κῶλον; ἰαμβεῖον γάρ ἐστι καὶ τοῦτο τρίμετρον ὀρθόν      25
-
-        ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι,
-
-τοῦ #ἄρα# συνδέσμου μακρὰν λαμβάνοντος τὴν πρότεραν συλλαβήν,
-καὶ ἔτι γε, νὴ Δία, μέσου παρεμπεσόντος τοῦ “#καὶ#
-
-1 καὶ P: εἰ δὲ καὶ M: ἐὰν καὶ V   4 δυεῖν P: δυοῖν MV   5 μέτρων V et
-suprascr. ῥυθμῶν M: μερῶν P   6 εἰ γὰρ τὸ Sauppius: εἰ γέ τοι P: καὶ τὸ
-M: γάρ τοι V   7 τις PV: om. M   8 ἦν ἀτέρα] ἑτέρα νῦν PM: ἑτέραν ὗν V:
-correxit Blomfieldius: ἀτέρα Seidlerus || ποτα add. Usenerus   10-11
-τοῦδε τοτ’ P, i.e. τουδεί ὅτ’: τοῦδε ὅτ’ MV   13 τοὺς PM: τούς τε V ||
-ἐκλαβὼν Sauppius: ἐκβαλῶν P: ἐμβαλὼν MV   15 ἑτέρα νῦν PM: ἑτέραν ϋν V:
-cf. adnot. ad l. 8 supra   21 πόδα προσλαβὸν PM: προσλαβὸν πόδα V ||
-τοιοῦτο P: τοιοῦτον MV   22 τινά PM: τινι V   24 γενόμεν(ον); P   25
-ἰάμβιων P: ἰάμβειον MV   26 ἄρ’ P, V: ἄρα M   27 ἄρα compendio P
-
-8. ‘For no other girl, O bridegroom, was like unto her.’—Usener’s
-insertion of =ποτα=, here and in l. 15 _infra_, will secure metrical
-correspondence between this passage and that of Demosthenes. Blass
-would attain the same result by reading ἁμάρτημ’ ἰταμῶς in the passage
-of Demosthenes. If ἁμάρτημ’ ἑτοίμως be read (as in the best texts of
-Demosthenes), then the choice will be to suppose either (1) that the
-first syllable of ἑτοίμως is to be suppressed in the ‘scansion’, or
-(2) that Dionysius has pressed his case too far and that it is just
-by means of this extra syllable that Demosthenes escapes any unduly
-poetical rhythm.
-
-26. The scansion here supports those manuscripts which give ἆρ’ in
-=252= 8.
-
-For =ἆρα= as being “in Poets sometimes much like ἄρα” see L. & S. s.v.
-(with the examples there quoted).
-
-28. =νὴ Δία=: cp. μὰ Δία in =260= 25. The general sense of the passage
-is well brought out in the Epitome: καὶ ἔτι τὸ “καὶ σκοπῶ” παρεμπεσὸν
-ἐπισκοτούμενον τὸ μέτρον ἠφάνισε.
-
-[Page 259]
-
-Let us suppose that this, too, has happened once more in the same
-spontaneous way without design. Still, after one intermediate clause
-arranged in a prose order, viz. ἥκειν Ἀριστοκράτους κατηγορήσοντα
-τουτουί, the clause which is joined to this consists of two metrical
-lines, viz. μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημα ἑτοίμως οὕτως ἐπὶ
-τούτῳ. For if we were to take this line from Sappho’s Bridal Song—
-
-    For never another maiden there was, O son-in-law, like unto
-            this one,[187]
-
-and were also to take the last three feet and the termination of the
-following comic tetrameter, the so-called “Aristophanic”
-
-    When of righteousness I was the popular preacher, and temperance
-            was in fashion,[188]
-
-and then were to unite them thus—
-
-    οὐ γὰρ ἦν ἀτέρα πάις, ὦ γαμβρέ, τοιαύτα <ποτα> καὶ σωφροσύνη
-            ’νενόμιστο,
-
-it will precisely correspond to μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον
-ἁμάρτημα, ἑτοίμως οὕτως ἐπὶ τούτῳ. What follows is like an iambic
-trimeter docked of its final foot, προάγειν ἐμαυτὸν εἰς ἀπέχθειαν. It
-will be complete if a foot is added and it takes this shape:—
-
-    προάγειν ἐμαυτὸν εἰς ἀπέχθειάν τινα.
-
-Are we once more to neglect these facts as if they were brought about
-not on purpose but by accident? What, then, is the significance of the
-next clause to this? For this too is a correct iambic trimeter line—
-
-    ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὸ λογίζομαι,
-
-if the connective ἄρα has its first syllable made long, and if
-further—by your leave!—the words καὶ σκοπῶ are regarded as
-
-[Page 260]
-
-
-#σκοπῶ#,” ὑφ’ οὗ δὴ τὸ μέτρον ἐπισκοτούμενον ἠφάνισται. τὸ
-δ’ ἐπὶ τούτῳ παραλαμβανόμενον κῶλον ἐξ ἀναπαίστων σύγκειται
-ῥυθμῶν καὶ προάγει μέχρι ποδῶν ὀκτὼ τὸ αὐτὸ σχῆμα
-διασῷζον
-
-    περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ μὴ παρακρουσθέντας,      5
-
-ὁμοίον τῷ παρ’ Εὐριπίδῃ τῷδε
-
-        βασιλεῦ χώρας τῆς πολυβώλου
-        Κισσεῦ, πεδίον πυρὶ μαρμαίρει.
-
-καὶ τὸ μετὰ τοῦτο πάλιν κείμενον τοῦ αὐτοῦ κώλου μέρος      10
-τουτί “#ἀποστερηθῆναι πάλιν αὐτῆς#” ἰαμβικὸν τρίμετρόν
-ἐστι ποδὶ καὶ ἡμίσει λειπόμενον· ἐγένετο δ’ ἂν τέλειον οὕτως
-
-        ἀποστερηθῆναι πάλιν αὐτῆς ἐν μέρει.
-
-ταῦτ’ ἔτι φῶμεν αὐτοσχέδια εἶναι καὶ ἀνεπιτήδευτα, οὕτω
-ποικίλα καὶ πολλὰ ὄντα; ἐγὼ μὲν οὐκ ἀξιῶ· καὶ γὰρ τὰ      15
-ἑξῆς τούτοις ὅμοια εὑρεῖν ἔστι, πολλῶν καὶ παντοδαπῶν
-ἀνάμεστα μέτρων τε καὶ ῥυθμῶν.
-
-ἀλλ’ ἵνα μὴ τοῦτον ὑπολάβῃ τις μόνον οὕτως αὐτῷ
-κατεσκευάσθαι τὸν λόγον, ἑτέρου πάλιν ἅψομαι τοῦ πάνυ
-ἡρμηνεῦσθαι δαιμονίως δοκοῦντος, τοῦ ὑπὲρ Κτησιφῶντος, ὃν      20
-ἐγὼ κράτιστον ἀποφαίνομαι πάντων λόγων· ὁρῶ δὴ κἀν
-τούτῳ μετὰ τὴν προσαγόρευσιν τῶν Ἀθηναίων εὐθέως τὸν
-κρητικὸν ῥυθμόν, εἴτε ἄρα παιᾶνά τις αὐτὸν βούλεται καλεῖν
-(διοίσει γὰρ οὐδέν), τὸν ἐκ πέντε συγκείμενον χρόνων, οὐκ
-αὐτοσχεδίως μὰ Δία ἀλλ’ ὡς οἷόν τε μάλιστα ἐπιτετηδευμένως      25
-δι’ ὅλου τοῦ κώλου πλεκόμενον τούτου
-
-        #τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις.#
-
-οὐ τοιοῦτος μέντοι κἀκεῖνός ἐστιν ὁ ῥυθμός
-
-4 διασωῖζον P   5 χερόνησον P: χερρόνησον MV   7 τῷδε Us.: τῶι P, M: ὦ
-V   8 βασιλεῦ MV: βασιλεῖ P   9 πεδίον MV: παιδι(ον) P   10 μέρος om.
-P   11 τρίμετρον MV: μέτρον P   12 λειπόμενον Us.: λεῖπον libri   14
-ταῦτ’ ἔτι Us.: ταῦτα τί PMV: ταυτὶ s   15 καὶ πολλὰ om. P   17 ἀνάμεστα
-MV: ἀναλύεσθαι P   18 οὕτως αὐτῷ Us.: οὕτω MV: αὐτ(ω) P   23 βούλεται
-αὐτὸν PV   26 τούτου Us.: τοῦτον libri
-
-5. Here, again, is a serious metrical difficulty. We can hardly
-believe that Dionysius scanned ἀσφαλῶς (or βεβαίως) as an anapaest:
-it is more likely that he regarded the middle syllable of ἀσφαλῶς as
-slurred (compare note on =258= 8 _supra_, and also the reading λιποῦσ’
-ἀνδρότητα καὶ ἥβην in _Il._ xvi. 857).—If (against the manuscripts) we
-should omit ἀσφαλῶς and read περὶ τοῦ τὴν Χερρόννησον ἔχειν ὑμᾶς καὶ μὴ
-παρακρουσθέντας, the metre would be comparatively normal.
-
-12. A comparison of this line with =256= 9 seems to confirm the
-conjecture =λειπόμενον=, though λείπω is sometimes intransitive.
-
-13. A rude iambic trimeter of the colloquial kind: cp. =258= 26 _supra_.
-
-26. The metrical analysis of the following passage of Demosthenes
-should be compared and contrasted with its previous division into
-feet—on =182= 17 ff.
-
-27. A rough metrical equivalent in English might be: ‘Hear me, each god
-on high, hear me, each goddess.’ Cp. Quintil. ix. 4. 63 (as quoted on
-=114= 20 _supra_).—Demosthenes’ much-admired exordium in the _Crown_
-may be compared with the Homeric invocation—
-
-        κέκλυτέ μευ πάντες τε θεοί, πᾶσαί τε θέαιναι.
-
-[Page 261]
-
-an intermediate excrescence by means of which the metre is obscured
-and vanishes from sight. The clause placed next to this is composed
-of anapaestic feet, and extends to eight feet, still keeping the same
-form:—
-
-        πρὸ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ μὴ παρακρουσθέντας,
-
-like to this in Euripides—
-
-        O King of the country with harvests teeming,
-        O Cisseus, the plain with a fire is gleaming.[189]
-
-And the part of the same clause which comes next to it—ἀποστερηθῆναι
-πάλιν αὐτῆς—is an iambic trimeter short of a foot and a half. It would
-have been complete in this form—
-
-        ἀποστερηθῆναι πάλιν αὐτῆς ἐν μέρει.
-
-Are we to say that these effects too are spontaneous and unstudied,
-many and various as they are? I cannot think so; for it is easy to see
-that the clauses which follow are similarly full of many metres and
-rhythms of all kinds.
-
-But lest it be thought that he has constructed this speech alone in
-this way, I will touch on another where the style is admitted to show
-astonishing genius, that on behalf of Ctesiphon, which I pronounce to
-be the finest of all speeches. In this, too, immediately after the
-address to the Athenians, I notice that the cretic foot, or the _paeon_
-if you like to call it so (for it will make no difference),—the one
-which consists of five time-units,—is interwoven, not fortuitously
-(save the mark!) but with the utmost deliberation right through the
-clause—
-
-        τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις.[190]
-
-Is not the following rhythm of the same kind—
-
-[Page 262]
-
-
-        Κρησίοις ἐν ῥυθμοῖς παῖδα μέλψωμεν;
-
-ἐμοὶ γοῦν δοκεῖ· ἔξω γὰρ τοῦ τελευταίου ποδὸς τά γε ἄλλα
-παντάπασιν ἴσα. ἔστω καὶ τοῦτο, εἰ βούλεταί τις, αὐτοσχέδιον·
-ἀλλὰ καὶ τὸ συναπτόμενον τούτῳ κῶλον ἰαμβεῖόν
-ἐστιν ὀρθόν, συλλαβῇ τοῦ τελείου δέον, ἵνα δὴ κἀνταῦθα      5
-ἄσημον γένηται τὸ μέτρον, ἐπεὶ μιᾶς γε συλλαβῆς προστεθείσης
-τέλειον ἔσται
-
-        “#ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ.#”
-
-κἄπειτα ὁ παιὰν ἢ ὁ κρητικὸς ἐκεῖνος ὁ πεντάχρονος ἥξει
-ῥυθμὸς ἐν τοῖς ἑξῆς τούτοις “#τῇ πόλει καὶ πᾶσιν ὑμῖν      10
-τοσαύτην ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν
-ἀγῶνα#.” τοῦτο γοῦν ἔοικεν, ὅ τι μὴ κατακλωμένους ἔχει
-δύο πόδας ἐν ἀρχαῖς, κατὰ γοῦν τὰ ἄλλα πάντα τῷ παρὰ
-Βακχυλίδῃ
-
-        οὐχ ἕδρας ἔργον οὐδ’ ἀμβολᾶς,      15
-          ἀλλὰ χρυσαίγιδος Ἰτωνίας
-        χρὴ παρ’ εὐδαίδαλον ναὸν ἐλ-
-          θόντας ἁβρόν τι δεῖξαι.
-
-ὑφορῶμαί τινα πρὸς ταῦτα καταδρομὴν ἀνθρώπων τῆς
-μὲν ἐγκυκλίου παιδείας ἀπείρων, τὸ δὲ ἀγοραῖον τῆς ῥητορικῆς      20
-μέρος ὁδοῦ τε καὶ τέχνης χωρὶς ἐπιτηδευόντων, πρὸς οὓς
-ἀναγκαῖον ἀπολογήσασθαι, μὴ δόξωμεν ἔρημον ἀφεικέναι τὸν
-ἀγῶνα. ἐροῦσι δὴ ταῦτα· ὁ Δημοσθένης οὖν οὕτως ἄθλιος
-
-3 παντάπασιν Us.: ἐν ἁπάση PM: ἐν πᾶσιν V || ἴσα ἔστω· PM: ἴσα ὥρισται
-V   4 ἀλλὰ] μάλα P || ἰαμβι(ον) P: ἰαμβικὸν MV   10 τῇ τε πόλει
-Demosth.   11 ὑπάρξαί μοι P   12 κατ(α)κλ(ω)μεν(ως) P: κατακλώμενος M:
-κατακεκλωμένους V: κατακεκλασμένους Sylburgius   13 τῷ V: τὸ PM   15
-ἀμβολας P: ἀμβολὰς V   22 ἀναγκαίωνον P: ἀναγκαῖόν μοι M || δόξομ(εν) P
-|| ἀφεικέναι MV: ἀφηκέναι P
-
-1. =ῥυθμοῖς=: with the first syllable short, as (e.g.) in Aristoph.
-Nub. 638. As already pointed out, the _lengthening_ of such syllables
-would be abnormal in prose. Cp. _mediocriter_ in the passage of Cicero
-on p. 251 _supra_.
-
-7. Dionysius can surely only mean that we have here the _materials_,
-so to say, for an iambic line, and that but one additional syllable is
-needed (e.g. the substitution of διατελέω for διατελῶ). He can hardly
-have intended to retain εὔνοιαν in its present position, but must
-have had in mind some such order as ὅσην ἔχων εὔνοιαν. His language,
-however, has subjected him to grave suspicion, and Usener reads ἔγωγε
-in place of ἐγώ, remarking that “Dionysius numerorum in verbo εὔνοιαν
-vitium non sensit.” This particular insensibility of Dionysius does
-not seem borne out by =182= 22 _supra_ (see note _ad loc._), where the
-last, but not the first, syllable of εὔνοιαν is represented as doubtful.
-
-12. Here, too, there are metrical difficulties. The close
-correspondence of which Dionysius speaks is not obvious; and, in
-particular, the reference of ἐν ἀρχαῖς is far from clear. According to
-Usener, “Dionysius pedes τῇ πόλει καὶ et (τοσαύ)την ὑπάρξαι dicit.”
-Perhaps the ἀρχαί rather are: (1) τῇ [τε] πόλει (if the τε be added, in
-l. 10, from Demosthenes), and (2) [καὶ] πᾶσιν ὑμ-.
-
-14. See Long. _de Sublim._ xxxiii. 3 for an estimate of =Bacchylides’=
-poetry which has been confirmed by the general character of the newly
-discovered poems (first published by Kenyon in 1897).
-
-15. The prose translation of this hyporcheme, as given in Jebb’s
-edition (p. 416), is: “This is no time for sitting still or tarrying:
-we must go to the richly-wrought temple of Itona [viz. Athena Itonia]
-with golden aegis, and show forth some choice strain of song”: δεῖξαι
-<μέλος>. Jebb’s notes (pp. 415, 416 _ibid._) may be consulted.
-
-19. =καταδρομήν=, ‘vehement attack,’ ‘invective.’ Used in this sense by
-Aeschines and Polybius, as well as by Dionysius (e.g. _de Thucyd._ c.
-3 ἔστι δὴ τὸ βούλημά μου τῆς πραγματείας οὐ καταδρομὴ τῆς Θουκυδίδου
-προαιρέσεώς τε καὶ δυνάμεως). Cp. the verb κατατρέχειν, and D.H. p.
-194; and our own use of ‘run down.’
-
-22. =ἔρημον=: cp. _de Antiqq. Rom._ iv. 4 ἐὰν δὲ ἐρήμους ἀφῶσιν (τὰς
-κρίσεις), and iv. 11 _ibid._ τάς τε δίκας ἐρήμους ἐκλιπόντας.
-
-23. With this and the following pages should be compared the later
-version found in the _de Demosth._ cc. 51, 52. There ἄθλιος (which in
-itself as a good prose word, used frequently by Demosthenes himself as
-well as by Dionysius =94= 11 _supra_) is represented by κακοδαίμων.
-The Philistine critics of Dionysius’ day, and indeed of that of
-Demosthenes, regarded the capacity for taking pains as anything but a
-necessary adjunct of genius: cp. Plut. _Vit. Demosth._ c. 8 ἐκ τούτου
-δόξαν ἔσχεν ὡς οὐκ εὐφυὴς ὤν, ἀλλ’ ἐκ πόνου συγκειμένῃ δεινότητι καὶ
-δυνάμει χρώμενος. ἐδόκει δὲ τούτου σημεῖον εἶναι μέγα τὸ μὴ ῥᾳδίως
-ἀκοῦσαί τινα Δημοσθένους ἐπὶ καιροῦ λέγοντος, ἀλλὰ καθήμενον ἐν
-ἐκκλησίᾳ πολλάκις τοῦ δήμου καλοῦντος ὀνομαστὶ μὴ παρελθεῖν, εἰ μὴ
-τύχοι πεφροντικὼς καὶ παρεσκευασμένος. εἰς τοῦτο δ’ ἄλλοι τε πολλοὶ τῶν
-δημαγωγῶν ἐχλεύαζον αὐτὸν καὶ Πυθέας ἐπισκώπτων ἐλλυχνίων ἔφησεν ὄζειν
-αὐτοῦ τὰ ἐνθυμήματα. The really artistic Athens had, as Dionysius so
-forcibly indicates in this passage, always considered as a crime not
-preparation, but the want of preparation.
-
-[Page 263]
-
-
-        Cretan strains practising, Zeus’s son sing we[191]?
-
-In my judgment, at all events, it is; for with the exception of the
-final foot there is complete correspondence. But suppose this too, if
-you will have it so, to be accidental. Well, the adjacent clause is a
-correct iambic line, falling one syllable short of completion, with
-the object (here again) of obscuring the metre. With the addition of a
-single syllable the line will be complete—
-
-        ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ.
-
-Further, that paeon or cretic rhythm of five beats will appear in the
-words which follow: τῇ πόλει καὶ πᾶσιν ὑμῖν τοσαύτην ὑπάρξαι μοι παρ’
-ὑμῶν εἰς τουτονὶ τὸν ἀγῶνα. This, except that it has two broken feet at
-the beginnings, resembles in all respects the passage in Bacchylides:—
-
-        This is no time to sit still nor wait:
-        Unto yon carven shrine let us go,
-        Even gold-aegis’d Queen Pallas’ shrine,
-        And the rich vesture there show.[192]
-
-I have a presentiment that an onslaught will be made on these
-statements by people who are destitute of general culture and practise
-the mechanical parts of rhetoric unmethodically and unscientifically.
-Against these I am bound to defend my position, lest I should seem to
-let the case go by default. Their argument will doubtless be: “Was
-Demosthenes, then, so poor a creature
-
-[Page 264]
-
-
-ἦν, ὥσθ’, ὅτε γράφοι τοὺς λόγους, μέτρα καὶ ῥυθμοὺς ὥσπερ
-οἱ πλάσται παρατιθέμενος, ἐναρμόττειν ἐπειρᾶτο τούτοις τοῖς
-τύποις τὰ κῶλα, στρέφων ἄνω καὶ κάτω τὰ ὀνόματα, καὶ
-παραφυλάττων τὰ μήκη καὶ τοὺς χρόνους, καὶ τὰς πτώσεις
-τῶν ὀνομάτων καὶ τὰς ἐγκλίσεις τῶν ῥημάτων καὶ πάντα τὰ      5
-συμβεβηκότα τοῖς μορίοις τοῦ λόγου πολυπραγμονῶν; ἠλίθιος
-μέντἂν εἴη εἰς τοσαύτην σκευωρίαν καὶ φλυαρίαν ὁ τηλικοῦτος
-ἀνὴρ ἑαυτὸν διδούς. ταῦτα δὴ καὶ τὰ τούτοις παραπλήσια
-κωμῳδοῦντας αὐτοὺς καὶ καταχλευάζοντας οὐ χαλεπῶς ἄν
-τις ἀποκρούσαιτο ταῦτα εἰπών· πρῶτον μὲν ὅτι οὐδὲν ἄτοπον      10
-ἦν, εἰ <ὁ> τοσαύτης δόξης ἠξιωμένος ἀνὴρ ὅσης οὐδεὶς τῶν
-πρότερον ὀνομασθέντων ἐπὶ δεινότητι λόγων, ἔργα συνταττόμενος
-αἰώνια καὶ διδοὺς ἑαυτὸν ὑπεύθυνον τῷ πάντα βασανίζοντι
-φθόνῳ καὶ χρόνῳ ἐβουλήθη μηδὲν εἰκῇ μήτε πρᾶγμα παραλαμβάνειν
-μήτ’ ὄνομα, πολλὴν δ’ ἀμφοῖν ἔχειν τούτων      15
-πρόνοιαν τῆς τε ἐν τοῖς νοήμασιν οἰκονομίας καὶ τῆς εὐμορφίας
-τῆς περὶ τὰ ὀνόματα, ἄλλως τε καὶ τῶν τότε ἀνθρώπων οὐ
-γραπτοῖς ἀλλὰ γλυπτοῖς καὶ τορευτοῖς ἐοικότας ἐκφερόντων
-λόγους, λέγω δὲ Ἰσοκράτους καὶ Πλάτωνος τῶν σοφιστῶν·
-ὁ μὲν γὰρ τὸν πανηγυρικὸν λόγον, ὡς οἱ τὸν ἐλάχιστον      20
-χρόνον γράφοντες ἀποφαίνουσιν, ἐν ἔτεσι δέκα συνετάξατο, ὁ
-δὲ Πλάτων τοὺς ἑαυτοῦ διαλόγους κτενίζων καὶ βοστρυχίζων
-καὶ πάντα τρόπον ἀναπλέκων οὐ διέλειπεν ὀγδοήκοντα
-γεγονὼς ἔτη· πᾶσι γὰρ δήπου τοῖς φιλολόγοις γνώριμα τὰ
-περὶ τῆς φιλοπονίας τἀνδρὸς ἱστορούμενα τά τε ἄλλα καὶ      25
-δὴ καὶ τὰ περὶ τὴν δέλτον, ἣν τελευτήσαντος αὐτοῦ λέγουσιν
-
-1 ὥσθ’] ὥστ’ ἔστιν M || ὅτε compendio P: ὅταν MV || γράφη MV   4 τὰ
-μήκη ... ὀνομάτων om. P   8 διδουσα· P   10 ᾱ μὲν P   11 ὁ inseruit
-Sadaeus (coll. commentario de adm. vi dic. in Dem. c. 51)   13
-διδοῦσ(ιν) P || ἑαυτὸν EM: αὐτὸν PV   14 φθόνω καὶ χρόνω PMV: χρόνῳ
-E || ἠβουλήθη E: om. PMV || εἰκῆι P   20 μὲν γὰρ MV: μέν γε EP   21
-ἀποφαίνουσιν, ἐν MV: om. EP || συνετάξαντο V   23 διέλειπεν PM:
-διέλιπεν EV   24 γνώριμα PV: γνώρισμα E: γνωρίσματα M
-
-4. =τὰ μήκη=: we cannot (for example) imagine Thucydides as anxiously
-counting the long syllables that find a place in his striking dictum
-οὕτως ἀταλαίπωρος τοῖς πολλοῖς ἡ ζήτησις τῆς ἀληθείας (i. 20). But
-they are there, all the same, and add greatly to the dignity of the
-utterance.
-
-6. =ἠλίθιος=: a slight word-play on ἄθλιος in =262= 23 _supra_ may be
-intended.
-
-14. =φθόνῳ καὶ χρόνῳ=: the word-play might be represented in English
-by some such rendering as “submitting himself to the revision of those
-scrutineers of all immortality, the tooth of envy and the tooth of
-time,” or (simply) “envious tongues and envious time.” To such jingles
-Dionysius shows himself partial in the _C.V._ (cp. note on =64= 11
-_supra_). It may be that, in his essay on Demosthenes, he omits the
-words φθόνῳ καί deliberately and on the grounds of taste; but the later
-version differs so greatly from the earlier that not much significance
-can be attached to slight variations of this kind.
-
-18. =γραπτοῖς=, ‘mere mechanical writing,’ ‘scratching,’ ‘scribbling.’
-
-21. For this period of ten years cp. Long. _de Sublim._ iv. 2, and also
-Quintil. x. 4. 4. Quintilian writes: “temporis quoque esse debet modus.
-nam quod Cinnae Smyrnam novem annis accepimus scriptam, et Panegyricum
-Isokratis, qui parcissime, decem annis dicunt elaboratum, ad oratorem
-nihil pertinet, cuius nullum erit, si tam tardum fuerit, auxilium.” In
-using the words “qui parcissime” Quintilian may have had the present
-passage of the _C.V._ in mind.
-
-26. =δέλτον=, ‘tablet’: originally so called because of its delta-like,
-or triangular, shape.
-
-[Page 265]
-
-that, whenever he was writing his speeches, he would work in metres
-and rhythms after the fashion of clay-modellers, and would try to fit
-his clauses into these moulds, shifting the words to and fro, keeping
-an anxious eye on his longs and shorts, and fretting himself about
-cases of nouns, moods of verbs, and all the accidents of the parts of
-speech? So great a man would be a fool indeed were he to stoop to all
-this niggling and peddling.” If they scoff and jeer in these or similar
-terms, they may easily be countered by the following reply: First,
-it is not surprising after all that a man who is held to deserve a
-greater reputation than any of his predecessors who were distinguished
-for eloquence was anxious, when composing eternal works and submitting
-himself to the scrutiny of all-testing envy and time, not to admit
-either subject or word at random, and to attend carefully to both
-arrangement of ideas and beauty of words: particularly as the authors
-of that day were producing discourses which suggested not writing but
-carving and chasing—those, I mean, of the sophists Isocrates and Plato.
-For the former spent ten years over the composition of his _Panegyric_,
-according to the lowest recorded estimate of the time; while Plato did
-not cease, when eighty years old, to comb and curl his dialogues and
-reshape them in every way. Surely every scholar is acquainted with the
-stories of Plato’s passion for taking pains, especially that of the
-tablet which they say was found after his
-
-[Page 266]
-
-
-εὑρεθῆναι ποικίλως μετακειμένην τὴν ἀρχὴν τῆς Πολιτείας
-ἔχουσαν τήνδε “Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνος
-τοῦ Ἀρίστωνος.” τί οὖν ἦν ἄτοπον, εἰ καὶ Δημοσθένει
-φροντὶς εὐφωνίας τε καὶ ἐμμελείας ἐγένετο καὶ τοῦ μηδὲν
-εἰκῇ καὶ ἀβασανίστως τιθέναι μήτε ὄνομα μήτε νόημα; πολύ      5
-τε γὰρ μᾶλλον ἐμοὶ δοκεῖ προσήκειν ἀνδρὶ κατασκευάζοντι
-λόγους πολιτικοὺς μνημεῖα τῆς ἑαυτοῦ δυνάμεως αἰώνια μηδενὸς
-τῶν ἐλαχίστων ὀλιγωρεῖν, ἢ ζῳγράφων τε καὶ τορευτῶν
-παισὶν ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας καὶ πόνους ἀποδεικνυμένοις
-περὶ τὰ φλέβια καὶ τὰ πτίλα καὶ τὸν χνοῦν καὶ      10
-τὰς τοιαύτας μικρολογίας κατατρίβειν τῆς τέχνης τὴν ἀκρίβειαν.
-τούτοις τε δὴ τοῖς λόγοις χρώμενος δοκεῖ μοί τις ἂν οὐδὲν
-ἔξω τοῦ εἰκότος ἀξιοῦν καὶ ἔτι ἐκεῖνα εἰπών, ὅτι μειράκιον
-μὲν ὄντα καὶ νεωστὶ τοῦ μαθήματος ἁπτόμενον αὐτὸν οὐκ
-ἄλογον πάντα περισκοπεῖν, ὅσα δυνατὰ ἦν εἰς ἐπιτήδευσιν      15
-
-3 Ἀρίστωνος] κεφάλου P   4 εὐμελείας M^1   5 εἰκῆι P || νόημα
-Schaeferus (dittographiam suspicatus et coll. =264= 16, =66= 5): μήτ’
-(μήτε V) ἐννόημα MV: om. P   9 ἀποδεικνομένοις Us.: ὑποδεικνυμένοις
-libri   10 φλέβια PMV: φλεβία E   12 τούτοις τε PM: τούτοις V || τις ἂν
-PM: τις V
-
-2. Demetrius (_de Eloc._ § 21) calls attention to the studied ease
-and intentional laxity of the opening period of the _Republic_: “The
-period of dialogue is one which remains lax, and is also simpler than
-the historical. It scarcely betrays the fact that it is a period. For
-instance: ‘I went down to the Piraeus,’ as far as the words ‘since
-they were now celebrating it for the first time.’ Here the clauses are
-flung one upon the other as in the disjointed style, and when we reach
-the end we hardly realize that the words form a period” (see also §
-205 _ibid._). In the passage of Dionysius it may well be meant that
-the words whose order was changed by Plato were not merely κατέβην
-... Ἀρίστωνος, but the sentence, or sentences, which these introduce.
-(Usener suggests that P’s reading Κεφάλου points to a longer quotation
-than that actually found in existing manuscripts; and Persius’ _Arma
-virum_, and Cicero’s _O Tite_, i.e. the _De Senectute_, may be
-recalled.) Quintilian, however, seems to think that the first four
-words only, or chiefly, are meant: though the possible permutations of
-these are few and would hardly need to be written down. He says (_Inst.
-Or._ viii. 6. 64): “nec aliud potest sermonem facere numerosum quam
-opportuna ordinis permutatio; neque alio ceris Platonis inventa sunt
-quattuor illa verba, quibus in illo pulcherrimo operum in Piraeeum se
-descendisse significat, plurimis modis scripta, quam quod eum quoque
-maxime facere experiretur.” Diog. Laert. iii. 37 makes a more general
-statement: Εὐφορίων δὲ καὶ Παναίτιος εἰρήκασι πολλάκις ἐστραμμένην
-εὑρῆσθαι τὴν ἀρχὴν τῆς Πολιτείας. But be the words few or many, the
-main point is that trouble of this kind was reckoned an artistic (and
-even a patriotic) duty. Upton has stated the case well, in reference to
-Cicero’s anxiety to express the words ‘to the Piraeus’ in good Latin:
-“Quod si Platonis haec industria quibusdam curiosa nimis et sollicita
-videtur, ut quae nec aetati tanti viri, nec officio congruat: quid
-Cicero itidem fecerit, quantum latinitatis curam gravissimis etiam
-reipublicae negotiis districtus habuerit, in memoriam revocent. is
-annum iam agens sexagesimum, inter medios civilium bellorum tumultus,
-qui a Caesare Pompeioque excitarentur, cum nesciret, quo mittenda
-esset uxor, quo liberi; quem ad locum se reciperet, missis ad Atticum
-litteris [_ad Att._ vii. 3], ab eo doceri, an esset scribendum,
-_ad Piraeea_, _in Piraeea_, an _in Piraeum_, an _Piraeum sine
-praepositione_, impensius rogabat. quae res etsi levior, et grammaticis
-propria, patrem eloquentiae temporibus etiam periculosissimis adeo
-exercuit, ut haec verba, quae amicum exstimularent, addiderit: _Si hoc
-mihi ζήτημα persolveris, magna me molestia liberaris._” Nor was Julius
-Caesar less scrupulous in such matters than Cicero himself: their
-styles, different as they are, agree in exhibiting the fastidiousness
-of literary artists. Compare the modern instances mentioned in Long. p.
-33, to which may be added that of Luther as described by Spalding: “non
-dubito narrare in Bibliotheca nostrae urbis regia servari chirographum
-Martini Lutheri, herois nostri, in quo exstat initium versionis
-Psalmorum mirifice et ipsum immutatum et subterlitum, ad conciliandos
-orationi, quamquam salutae, numeros.” See also Byron’s _Letters_ (ed.
-Prothero) Nos. 247-255 and passim, and Antoine Albalat’s _Le Travail du
-style enseigné par les corrections manuscrites des grands écrivains_,
-passim.
-
-8. =τῶν ἐλαχίστων=: an interesting addition is made in the _de
-Demosth._ c. 51 πολιτικὸς δ’ ἄρα δημιουργός, πάντας ὑπεράρας τοὺς καθ’
-αὑτὸν φύσει τε καὶ πόνῳ, τῶν ἐλαχίστων τινὸς εἰς τὸ εὖ λέγειν, #εἰ δὴ
-καὶ ταῦτα ἐλάχιστα#, ὠλιγώρησε.
-
-9. ἐνδεικνυμένοις may perhaps be suggested in place of
-=ἀποδεικνυμένοις=: cp. _de Demosth._ c. 51 οὐ γὰρ δή τοι πλάσται μὲν
-καὶ γραφεῖς ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας ἐνδεικνύμενοι τοσούτους
-εἰσφέρονται πόνους, ὥστε κτλ. If, on the other hand, ὑποδεικνυμένοις
-be retained, we may perhaps translate ‘pupils who have exercises in
-manual dexterity, and studies of veins, etc., given them to copy (cp.
-ὑπόδειγμα).’—With χειρῶν εὐστοχίας cp. χερὸς εὐστοχίαν (‘well-aimed
-shafts’) in Eurip. _Troad._ 811.
-
-10. =τὸν χνοῦν=: cp. Hor. _Ars P._ 32 “Aemilium circa ludum faber imus
-et ungues | exprimet et molles imitabitur aere capillos, | infelix
-operis summa, quia ponere totum | nesciet.” χνοῦς is the ‘lanugo
-plumea.’ Cp. _de Demosth._ c. 38 χνοῦς ἀρχαιοπινής.
-
-11. =κατατρίβειν= κτλ. = κατατήκειν εἰς ταῦτα τὰς τέχνας, _de Demosth._
-c. 51.
-
-15. After =ἄλογον=, ἦν may be inserted with Sauppe, who compares _de
-Demosth._ c. 52 ὅτι μειράκιον μὲν ἔτι ὄντα καὶ νεωστὶ τοῦ μαθήματος
-ἁπτόμενον αὐτὸν οὐκ ἄλογον ἦν καὶ ταῦτα καὶ τἆλλα πάντα διὰ πολλῆς
-ἐπιμελείας τε καὶ φροντίδος ἔχειν. But the verb may have been omitted
-in the _C.V._ in order to avoid its repetition with ὅσα δυνατὰ ἦν.
-
-[Page 267]
-
-death, with the beginning of the _Republic_ (“I went down yesterday to
-the Piraeus together with Glaucon the son of Ariston”[193]) arranged
-in elaborately varying orders. What wonder, then, if Demosthenes also
-was careful to secure euphony and melody and to employ no random or
-untested word or thought? For it appears to me far more reasonable for
-a man who is composing public speeches, eternal memorials of his own
-powers, to attend even to the slightest details, than it is for the
-disciples of painters and workers in relief, who display the dexterity
-and industry of their hands in a perishable medium, to expend the
-finished resources of their art on veins and down and bloom and similar
-minutiae.
-
-These arguments seem to me to make no unreasonable claim; and we
-may further add that though when Demosthenes was a lad, and had but
-recently taken up the study of rhetoric, he naturally had to ask
-himself consciously what the effects attainable
-
-[Page 268]
-
-
-ἀνθρωπίνην πεσεῖν· ἐπειδὴ δὲ ἡ χρόνιος ἄσκησις ἰσχὺν
-πολλὴν λαβοῦσα τύπους τινὰς ἐν τῇ διανοίᾳ παντὸς τοῦ
-μελετωμένου καὶ σφραγῖδας ἐνεποίησεν, ἐκ τοῦ ῥᾴστου τε
-καὶ ἀπὸ τῆς ἕξεως αὐτὰ ἤδη ποιεῖν. οἷόν τι γίνεται κἀν
-ταῖς ἄλλαις τέχναις, ὧν ἐνέργειά τις ἢ ποίησις τὸ τέλος·      5
-αὐτίκα οἱ κιθαρίζειν τε καὶ ψάλλειν καὶ αὐλεῖν ἄκρως εἰδότες
-ὅταν κρούσεως ἀκούσωσιν ἀσυνήθους, οὐ πολλὰ πραγματευθέντες
-ἀπαριθμοῦσιν αὐτὴν εὐθὺς ἐπὶ τῶν ὀργάνων ἅμα
-νοήσει· μανθάνοντες δέ γε χρόνῳ τε πολλῷ καὶ πόνῳ τὰς
-δυνάμεις τῶν φθόγγων ἀναλαμβάνουσιν, καὶ οὐκ εὐθὺς αἱ      10
-χεῖρες αὐτῶν ἐν ἕξει τοῦ δρᾶν τὰ παραγγελλόμενα ἦσαν, ὀψὲ
-δέ ποτε καὶ ὅτε ἡ πολλὴ ἄσκησις αὐταῖς εἰς φύσεως ἰσχὺν
-κατέστησε τὸ ἔθος, τότε τῶν ἔργων ἐγένοντο ἐπιτυχεῖς. καὶ
-τί δεῖ περὶ τῶν ἄλλων λέγειν; ὃ γὰρ ἅπαντες ἴσμεν, ἀπόχρη
-καὶ πᾶσαν αὐτῶν διακόψαι τὴν φλυαρίαν. τί δ’ ἐστὶ τοῦτο;      15
-τὰ γράμματα ὅταν παιδευώμεθα, πρῶτον μὲν τὰ ὀνόματα
-αὐτῶν ἐκμανθάνομεν, ἔπειτα τοὺς τύπους καὶ τὰς δυνάμεις,
-εἶθ’ οὕτω τὰς συλλαβὰς καὶ τὰ ἐν ταύταις πάθη, καὶ μετὰ
-τοῦτο ἤδη τὰς λέξεις καὶ τὰ συμβεβηκότα αὐταῖς, ἐκτάσεις
-τε λέγω καὶ συστολὰς καὶ προσῳδίας καὶ τὰ παραπλήσια      20
-τούτοις· ὅταν δὲ τὴν τούτων ἐπιστήμην λάβωμεν, τότε
-ἀρχόμεθα γράφειν τε καὶ ἀναγινώσκειν, κατὰ συλλαβὴν
-<μὲν> καὶ βραδέως τὸ πρῶτον· ἐπειδὰν δὲ ὁ χρόνος ἀξιόλογος
-προσελθὼν τύπους ἰσχυροὺς αὐτῶν ἐν ταῖς ψυχαῖς
-ἡμῶν ἐμποιήσῃ, τότε ἀπὸ τοῦ ῥᾴστου δρῶμεν αὐτὰ καὶ πᾶν      25
-ὅ τι ἂν ἐπιδῷ τις βιβλίον ἀπταίστως διερχόμεθα ἕξει τε
-καὶ τάχει ἀπίστῳ. τοιοῦτο δὴ καὶ περὶ τὴν σύνθεσιν τῶν
-ὀνομάτων καὶ περὶ τὴν εὐέπειαν τῶν κώλων ὑποληπτέον
-γίνεσθαι παρὰ τοῖς ἀθληταῖς τοῦ ἔργου. τοὺς δὲ τούτου
-
-1 πεσεῖν EP: ἐλθεῖν MV   3 σφαγίδας P: σφραγίδας V   4 ᾔδει ποιεῖν E 8
-ἅμα Us.: ἀλλὰ PMV^1: ἀλλὰ καὶ V^2   21 δὲ EM: τε PV   23 μὲν inseruit
-Sadaeus coll. comment. de Demosth. c. 52 || ἐπειδὰν E: ἐπεὶ PV: ἔπειτα
-M   25 ποιήση EM^1: ποιήσει PM^2V   27 τοιοῦτο EM: τοιούτω P: τοιοῦτον
-V   29 τοὺς ... ἀπείρους E: τοῖς ... ἀπείροις PMV
-
-3. =ἐκ τοῦ ῥᾴστου=: cp. ἀπὸ τοῦ ῥᾴστου l. 25 _infra_.
-
-5. Dionysius is thinking of Aristot. _Eth. Nic._ i. 1 διαφορὰ δέ τις
-φαίνεται τῶν τελῶν· τὰ μὲν γάρ εἰσιν ἐνέργειαι, τὰ δὲ παρ’ αὐτὰς ἔργα
-τινά. ὧν δ’ εἰσὶ τέλη τινὰ παρὰ τὰς πράξεις, ἐν τούτοις βελτίω πέφυκε
-τῶν ἐνεργείων τὰ ἔργα.
-
-8. If ἀλλὰ νοήσει be retained, the meaning will be ‘not with much
-trouble, but by means of their acquired skill.’ But =ἅμα νοήσει=
-derives support from the parallel passages in _de Demosth._ c. 52 ἅμα
-νοήσει [νοήσει Sylburg, for the manuscript reading νοήσεις] and ὥστε
-ἅμα νοήσει κεκριμένον τε καὶ ἄπταιστον αὐτῆς εἶναι τὸ ἔργον.
-
-16. Referring to this description in the _Cambridge Companion to
-Greek Studies_ p. 507, the late Dr. A. S. Wilkins remarks: “Some have
-supposed that Dionysius here describes the method of acquiring the
-power of reading, not by learning the names of the letters first, but
-by learning their powers, so combining them at once into syllables.
-But this is hardly consistent with his language, and is directly
-contradicted by a passage in Athenaeus, which tells how there was
-a kind of chant used in schools:—βῆτα ἄλφα βα, βῆτα εἶ βε, etc. A
-terracotta plate found in Attica, doubtless intended for use in
-schools, contains a number of syllables αρ βαρ γαρ δαρ ερ βερ γερ δερ
-κτλ.”
-
-26. =ἀπταίστως=: Usener reads ἀπταίστῳ. But the adverb goes better with
-διερχόμεθα than the adjective would with ἕξει τε καὶ τάχει. Cp. _de
-Demosth._ c. 51 (the later version of the present passage) ἀπταίστως τε
-καὶ κατὰ πολλὴν εὐπέτειαν, and Plato _Theaet._ 144 B ὁ δὲ οὕτω λείως
-τε καὶ ἀπταίστως καὶ ἀνυσίμως ἔρχεται ἐπὶ τὰς μαθήσεις τε καὶ ζητήσεις
-μετὰ πολλῆς πρᾳότητος, οἷον ἐλαίου ῥεῦμα ἀψοφητὶ ῥέοντος (these last
-words are echoed in the _de Demosth._ c. 20).
-
-29. =ἀθληταῖς=: cp. _de Demosth._ c. 18 καίτοι γε τοῖς ἀθληταῖς τῆς
-ἀληθινῆς λέξεως ἰσχυρὰς τὰς ἁφὰς προσεῖναι δεῖ καὶ ἀφύκτους τὰς λαβάς,
-and _de Isocr._ c. 11 fin.; also δεινοὺς ἀγωνιστάς =282= 3 _infra_.
-
-[Page 269]
-
-by human skill were, yet when long training had issued in perfect
-mastery, and had graven on his mind forms and impressions of all
-that he had practised, he henceforth produced his effects with the
-utmost ease from sheer force of habit. Something similar occurs in
-the other arts whose end is activity or production. For example, when
-accomplished players on the lyre, the harp, or the flute hear an
-unfamiliar tune, they no sooner grasp it than with little trouble they
-run over it on the instrument themselves. They have mastered the values
-of the notes after much toiling and moiling, and so can reproduce them.
-Their hands were not at the outset in condition to do what was bidden
-them; they attained command of this accomplishment only after much
-time, when ample training had converted custom into second nature.
-
-Why pursue the subject? A fact familiar to all of us is enough to
-silence these quibblers. What may this be? When we are taught to read,
-first we learn off the names of the letters, then their forms and their
-values, then in due course syllables and their modifications, and
-finally words and their properties, viz. lengthenings and shortenings,
-accents, and the like. After acquiring the knowledge of these things,
-we begin to write and read, syllable by syllable and slowly at first.
-And when the lapse of a considerable time has implanted the forms of
-words firmly in our minds, then we deal with them without the least
-difficulty, and whenever any book is placed in our hands we go through
-it without stumbling, and with incredible facility and speed. We must
-suppose that something of this kind happens in the case of the trained
-exponent of the literary profession as regards the arrangement of words
-and the euphony of clauses. And it is not unnatural that those who
-
-[Page 270]
-
-
-ἀπείρους ἢ ἀτριβεῖς ἔργου ὁτουοῦν θαυμάζειν καὶ ἀπιστεῖν,
-εἴ τι κεκρατημένως ὑφ’ ἑτέρου γίνεται διὰ τέχνης, οὐκ ἄλογον.
-πρὸς μὲν οὖν τοὺς εἰωθότας χλευάζειν τὰ παραγγέλματα τῶν
-τεχνῶν ταῦτα εἰρήσθω.
-
-
-
-
-XXVI
-
-
-περὶ δὲ τῆς ἐμμελοῦς τε καὶ ἐμμέτρου συνθέσεως τῆς      5
-ἐχούσης πολλὴν ὁμοιότητα πρὸς τὴν πεζὴν λέξιν τοιαῦτά
-τινα λέγειν ἔχω, ὡς πρώτη μέν ἐστιν αἰτία κἀνταῦθα τὸν
-αὐτὸν τρόπον ὅνπερ ἐπὶ τῆς ἀμέτρου ποιητικῆς ἡ τῶν ὀνομάτων
-αὐτῶν ἁρμογή, δευτέρα δὲ ἡ τῶν κώλων σύνθεσις, τρίτη
-δὲ ἡ τῶν περιόδων συμμετρία. τὸν δὴ βουλόμενον ἐν τούτῳ      10
-τῷ μέρει κατορθοῦν τὰ τῆς λέξεως μόρια δεῖ πολυειδῶς στρέφειν
-τε καὶ συναρμόττειν καὶ τὰ κῶλα ἐν διαστήμασι ποιεῖν
-συμμέτρως, μὴ συναπαρτίζοντα τοῖς στίχοις ἀλλὰ διατέμνοντα
-τὸ μέτρον, ἄνισά τε ποιεῖν αὐτὰ καὶ ἀνόμοια, πολλάκις δὲ
-καὶ εἰς κόμματα συνάγειν βραχύτερα κώλων, τάς τε περιόδους      15
-μήτε ἰσομεγέθεις μήτε ὁμοιοσχήμονας τὰς γοῦν παρακειμένας
-ἀλλήλαις ἐργάζεσθαι· ἔγγιστα γὰρ φαίνεται λόγοις
-τὸ περὶ τοὺς ῥυθμοὺς καὶ τὰ μέτρα πεπλανημένον. τοῖς μὲν
-οὖν τὰ ἔπη καὶ τοὺς ἰάμβους καὶ τὰ ἄλλα τὰ ὁμοειδῆ μέτρα
-κατασκευάζουσιν οὐκ ἔξεστι πολλοῖς διαλαμβάνειν μέτροις ἢ      20
-ῥυθμοῖς τὰς ποιήσεις, ἀλλ’ ἀνάγκη μένειν ἀεὶ ἐπὶ τοῦ αὐτοῦ
-σχήματος· τοῖς δὲ μελοποιοῖς ἔξεστι πολλὰ μέτρα καὶ
-ῥυθμοὺς εἰς μίαν ἐμβαλεῖν περίοδον· ὥσθ’ οἱ μὲν τὰ μονόμετρα
-
-1 ἀτριβεῖς Reiskius: ἀτριβέσιν libri   2 κεκρατημένως PM: κεκροτημένως
-V   5 συνθήκης M   10 συμμετρία M: ἐμμετρία EPV   17 ἀλλήλαις EM:
-ἀλλήλοις PV
-
-2. =κεκρατημένως=, ‘vigorously’: cp. Sext. Empir. p. 554 (Bekker)
-οὐ κεκρατημένως ὑπέγραψαν οἱ δογματικοὶ τὴν ἐπίνοιαν τοῦ τε ἀγαθοῦ
-καὶ κακοῦ. The other reading κεκροτημένως would mean ‘with tumult of
-applause’; or perhaps ‘in a welded, well-wrought way.’
-
-5. For the relation of Verse to Prose see Introduction, pp. 33-9.
-
-8. Other references to poetical prose occur in =208= 5, =250= 10, 16
-_supra_.
-
-13. =μὴ συναπαρτίζοντα τοῖς στίχοις=, ‘not allowing the sense of
-the clauses to be self-contained in separate lines,’ lit. ‘not
-completing the clauses together with the lines.’ Dionysius means that
-verse-writers must (for the sake of variety) practise _enjambement_,
-i.e. the completion of the sense in another line. It is the neglect
-of this principle that makes the language of French classical tragedy
-[with exceptions, of course; e.g. Racine _Athalie_ i. 1 “Celui qui met
-un frein,” etc.] so monotonous when compared with that of the Greek
-or Shakespearian tragedy. Besides the examples adduced by Dionysius,
-compare that quoted from Callimachus in the note on =272= 4 _infra_
-and, in English, Tennyson’s _Dora_ and Wordsworth’s _Michael_. Such
-English poems without rhyme might be written out as continuous prose,
-and their true character would pass unsuspected by many readers, pauses
-at the ends of lines being often studiously avoided; e.g. the opening
-of Tennyson’s _Dora_: “With farmer Allen at the farm abode William
-and Dora. William was his son, and she his niece. He often look’d at
-them, and often thought, ‘I’ll make them man and wife.’ Now Dora felt
-her uncle’s will in all, and yearn’d toward William; but the youth,
-because he had been always with her in the house, thought not of Dora.”
-Similarly Homer’s “ἀλλά μ’ ἀνήρπαξαν Τάφιοι ληίστορες ἄνδρες ἀγρόθεν
-ἐρχομένην, περάσαν δέ με δεῦρ’ ἀγαγόντες τοῦδ’ ἀνδρὸς πρὸς δώμαθ’· ὁ
-δ’ ἄξιον ὦνον ἔδωκε” (_Odyss._ xv. 427-9) might almost be an extract
-from a speech of Lysias. Some remarkable examples of _enjambement_ (or
-‘overflow’) might also be quoted from Swinburne’s recent poem, _The
-Duke of Gandia_.
-
-17. Cp. Cic. _de Orat._ i. 16. 70 “est enim finitimus oratori poëta,
-numeris astrictor paulo, verborum autem licentia liberior, multis vero
-ornandi generibus socius, ac paene par.”
-
-[Page 271]
-
-are ignorant of this or unversed in any profession whatsoever should
-be surprised and incredulous when they hear that anything is executed
-with such mastery by another as a result of artistic training. This
-may suffice as a rejoinder to those who are accustomed to scoff at the
-rules of the rhetorical manuals.
-
-
-
-
-CHAPTER XXVI
-
-HOW VERSE CAN RESEMBLE PROSE
-
-
-Concerning melodious metrical composition which bears a close affinity
-to prose, my views are of the following kind. The prime factor here
-too, just as in the case of poetical prose, is the collocation of the
-words themselves; next, the composition of the clauses; third, the
-arrangement of the periods. He who wishes to succeed in this department
-must change the words about and connect them with each other in
-manifold ways, and make the clauses begin and end at various places
-within the lines, not allowing their sense to be self-contained in
-separate verses, but breaking up the measure. He must make the clauses
-vary in length and form, and will often also reduce them to phrases
-which are shorter than clauses, and will make the periods—those at
-any rate which adjoin one another—neither equal in size nor alike in
-construction; for an elastic treatment of rhythms and metres seems to
-bring verse quite near to prose. Now those authors who compose in epic
-or iambic verse, or use the other regular metres, cannot diversify
-their poetical works with many metres or rhythms, but must always
-adhere to the same metrical form. But the lyric poets can include many
-metres and rhythms in a single period. So that when the writers of
-monometers break up
-
-[Page 272]
-
-
-συντιθέντες ὅταν διαλύσωσι τοὺς στίχους τοῖς κώλοις
-διαλαμβάνοντες ἄλλοτε ἄλλως, διαχέουσι καὶ ἀφανίζουσι τὴν
-ἀκρίβειαν τοῦ μέτρου, καὶ ὅταν τὰς περιόδους μεγέθει τε καὶ
-σχήματι ποικίλας ποιῶσιν, εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦ
-μέτρου· οἱ δὲ μελοποιοὶ πολυμέτρους τὰς στροφὰς ἐργαζόμενοι      5
-καὶ τῶν κώλων ἑκάστοτε πάλιν ἀνίσων τε ὄντων καὶ ἀνομοίων
-ἀλλήλοις ἀνομοίους τε καὶ ἀνίσους ποιούμενοι τὰς διαιρέσεις,
-δι’ ἄμφω δὲ ταῦτα οὐκ ἐῶντες, ἡμᾶς ὁμοειδοῦς ἀντίληψιν
-λαβεῖν ῥυθμοῦ πολλὴν τὴν πρὸς τοὺς λόγους ὁμοιότητα κατασκευάζουσιν
-ἐν τοῖς μέλεσιν, ἔνεστί τε καὶ τροπικῶν καὶ      10
-ξένων καὶ γλωττηματικῶν καὶ τῶν ἄλλων ποιητικῶν ὀνομάτων
-μενόντων ἐν τοῖς ποιήμασιν μηδὲν ἧττον αὐτὰ φαίνεσθαι
-λόγῳ παραπλήσια.
-
-μηδεὶς δὲ ὑπολαμβανέτω με ἀγνοεῖν ὅτι κακία ποιήματος
-ἡ καλουμένη λογοείδεια δοκεῖ τις εἶναι, μηδὲ καταγινωσκέτω      15
-μου ταύτην τὴν ἀμαθίαν, ὡς ἄρα ἐγὼ κακίαν τινὰ ἐν ἀρεταῖς
-τάττω ποιημάτων ἢ λόγων· ὡς δὲ ἀξιῶ διαιρεῖν κἀν τούτοις
-τὰ σπουδαῖα ἀπὸ τῶν μηδενὸς ἀξίων, ἀκούσας μαθέτω. ἐγὼ
-τοὺς λόγους τὸν μὲν ἰδιώτην ἐπιστάμενος ὄντα, τὸν ἀδολέσχην
-τοῦτον λέγω καὶ φλύαρον, τὸν δὲ πολιτικόν, ἐν ᾧ τὸ πολὺ      20
-κατεσκευασμένον ἐστὶ καὶ ἔντεχνον, ὅ τι μὲν ἂν τῶν ποιημάτων
-ὅμοιον εὑρίσκω τῷ φλυάρῳ καὶ ἀδολέσχῃ, γέλωτος ἄξιον
-τίθεμαι, ὅ τι δ’ ἂν τῷ κατεσκευασμένῳ καὶ ἐντέχνῳ, ζήλου
-καὶ σπουδῆς ἐπιτήδειον τυχάνειν οἴομαι. εἰ μὲν οὖν
-διαφόρου προσηγορίας τῶν λόγων ἑκάτερος ἐτύγχανεν, ἀκόλουθον      25
-ἦν ἂν καὶ τῶν ποιημάτων ἃ τούτοις ἔοικεν διαφόροις
-ὀνόμασι καλεῖν ἑκάτερον· ἐπειδὴ δὲ ὅ τε σπουδαῖος καὶ ὁ
-τοῦ μηδενὸς ἄξιος ὁμοίως καλεῖται λόγος, οὐκ ἂν ἁμαρτάνοι
-τις τὰ μὲν ἐοικότα τῷ καλῷ λόγῳ ποιήματα καλὰ ἡγούμενος,
-
-1 διαλύσωσι P: διαλείπωσι M: διαλίπωσι V   3 μεγέθη P   5 τὰσ τροφὰς
-P   6 ἑκάστοτε Us.: ἑκάστου libri || τε ὄντων M: ὄντων PV   8 ἄμφω δὲ
-M: ἄμφω PV   11 τῶν ἄλλων Us.: τῶν ἄλλων τῶν libri   15 καλουμένη om.
-M || τις] τησ P || καταγινωσκέτω MV: καταγιγνωσκέτω P (sed cf. =278= 7
-et alibi)   17 κ’ ἂν P   19 τοὺς λόγους Schaeferus: τοῦ λόγου libri ||
-ἁδολέσχην P   20 τὸ πολὺ PM: πολὺ τὸ V   21 ποιημάτων PM: ποιητῶν V   22
-ἁδολέσχηι P || ἄξιον P: ἄξιον αὐτὸ MV   28 ὁμοίως compendio P: om. MV
-
-4. =εἰς λήθην ἐμβάλλουσιν=: the following Epigram of Callimachus will
-illustrate Dionysius’ meaning:—
-
-        ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέ
-          δυομένου Βασιλὼ κάτθανε παρθενική
-        αὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσα
-          οὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόν
-        πατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνη
-          πᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.
-
-(The text is that of Wilamowitz-Moellendorff _Callimachi Hymni et
-Epigrammata_ p. 59. Upton, who quotes the epigram, adds: “En tibi
-ea omnia, quae tradit Dionysius, accurate praestita: sententiae
-inaequales, disparia membra: ipsi adeo versus dissecti, nec sensu, nec
-verborum structura, nisi in sequentem usque progrediatur, absoluta.
-quibus factum est, ut prosaicae orationi, salva tamen dignitate, quam
-proxime accedatur.” Compare also the first eight lines of Mimnermus
-_Eleg._ ii.)
-
-6. =ἑκάστοτε=: Upton here conjectures ἑκάστης, Schaefer ἑκάστων.
-
-15. =τις= to be connected with κακία. In the next line κακίαν τινά come
-close together.
-
-19. =μαθέτω=: supply πᾶς τις, or the like, from μηδείς in l. 14. Cp.
-Hor. _Serm._ i. 1. 1 “qui fit, Maecenas, ut nemo, quam sibi sortem |
-seu ratio dederit seu fors obiecerit, illa | contentus vivat, laudet
-diversa sequentes?”
-
-[Page 273]
-
-the lines by distributing them into clauses now one way now another,
-they dissolve and efface the regularity of the metre; and when they
-diversify the periods in size and form, they make us forget the metre.
-On the other hand, the lyric poets compose their strophes in many
-metres; and again, from the fact that the clauses vary from time to
-time in length and form, they make the divisions unlike in form and
-size. From both these causes they hinder our apprehension of any
-uniform rhythm, and so they produce, as by design, in lyric poems a
-great likeness to prose. It is quite possible, moreover, for the poems
-to retain many figurative, unfamiliar, exceptional, and otherwise
-poetical words, and none the less to show a close resemblance to prose.
-
-And let no one think me ignorant of the fact that the so-called
-“pedestrian character” is commonly regarded as a vice in poetry, or
-impute to me, of all persons, the folly of ranking any bad quality
-among the virtues of poetry or prose. Let my critic rather pay
-attention and learn how here once more I claim to distinguish what
-merits serious consideration from what is worthless. I observe that,
-among prose styles, there is on the one side the uncultivated style, by
-which I mean the prevailing frivolous gabble, and on the other side the
-language of public life which is, in the main, studied and artistic;
-and so, whenever I find any poetry which resembles the frivolous gabble
-I have referred to, I regard it as beneath criticism. I think that
-alone to be fit for serious imitation which resembles the studied and
-artistic kind. Now, if each sort of prose had a different appellation,
-it would have been only consistent to call the corresponding sorts
-of poetry also by different names. But since both the good and the
-worthless are called “prose,” it may not be wrong to regard as noble
-and bad “poetry” that which
-
-[Page 274]
-
-
-τὰ δὲ τῷ μοχθηρῷ πονηρά, οὐδὲν ὑπὸ τῆς τοῦ λόγου ὁμοειδείας
-ταραττόμενος. κωλύσει γὰρ οὐδὲν ἡ τῆς ὀνομασίας ὁμοιότης
-κατὰ διαφόρων ταττομένης πραγμάτων τὴν ἑκατέρου φύσιν
-ὁρᾶν.
-
-εἰρηκὼς δὴ καὶ περὶ τούτων, παραδείγματά σοι τῶν      5
-εἰρημένων ὀλίγα θεὶς αὐτοῦ κατακλείσω τὸν λόγον. ἐκ μὲν
-οὖν τῆς ἐπικῆς ποιήσεως ταῦτα ἀπόχρη·
-
-        αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·
-
-ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲ
-
-        χῶρον ἀν’ ὑλήεντα      10
-
-ἔλαττόν τε τοῦ προτέρου καὶ δίχα τέμνον τὸν στίχον. τρίτον
-δὲ τουτί
-
-        δι’ ἄκριας
-
-ἔλαττον κώλου κομμάτιον. τέταρτον δὲ
-
-                            ᾗ οἱ Ἀθήνη      15
-        πέφραδε δῖον ὑφορβόν
-
-ἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲν
-ἐοικός. ἔπειτα τὸ τελευταῖον
-
-                            ὅ οἱ βιότοιο μάλιστα
-        κήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς      20
-
-ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇ
-προσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθις
-
-        τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον
-
-οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.
-
-                            ἔνθα οἱ αὐλὴ      25
-        ὑψηλὴ δέδμητο
-
-1 οὐδὲν ... ταραττόμενος MV: om. P   3 ταττομένης Sauppius: ταττομένη
-libri   5 εἰρηκὼς ... θεὶς Us.: καὶ περὶ τούτων [μὲν add. MV] ἅλις. ὧν
-δὲ προυθέμην τὰ παραδείγματα θεὶς PMV   8 ὅ γ’] ὁ Hom.   11 τέμνον EV:
-τέμνοντος PM   14 τέταρτον δὲ E: om. PMV   15 ᾗ Hom.: ἧ V: οἷ [fort.
-οἷ] PM, E   22 ἔπειτ’ ... ἥμενον om. P   25 ἔνθά οἱ PM
-
-3. =κατὰ ... ταττομένης=: cp. Ven. A Schol. on _Il._ xv. 347 ὅτι
-Ζηνόδοτος γράφει #ἐπισσεύεσθον#. συγχεῖται δὲ τὸ δυϊκὸν κατὰ
-πλειόνων τασσόμενον.
-
-6. =αὐτοῦ=, ‘here,’ ‘on the spot.’ Cp. Diod. Sic. ii. 60 ἡμεῖς δὲ
-τὴν ἐν ἀρχῇ τῆς βίβλου γεγενημένην ἐπαγγελίαν τετελεκότες αὐτοῦ
-περιγράψομεν τήνδε τὴν βίβλον.—With =κατακλείσω= cp. _Antiq. Rom._
-vii. 14 τελευτῶν δ’ ὁ Βροῦτος, εἰς ἀπειλήν τινα τοιάνδε κατέκλεισε τὸν
-λόγον, ὡς κτλ.
-
-7. In Latin, Bircovius well compares Virg. _Aen._ i. 180-91.
-
-8. Dionysius’ point will be better appreciated if the passage of the
-_Odyssey_ (xiv. 1-7) be given not bit by bit but as a whole:—
-
-        αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸν
-        χῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνη
-        πέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστα
-        κήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς.
-        τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴ
-        ὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ,
-        καλή τε μεγάλῃ τε, περίδρομος.
-
-
-15. Compare (in Latin) the opening of Terence’s _Phormio_, if written
-continuously: “Amicus summus meus et popularis Geta heri ad me venit.
-erat ei de ratiuncula iam pridem apud me relicuom pauxillulum nummorum:
-id ut conficerem. confeci: adfero. nam erilem filium eius duxisse audio
-uxorem: ei credo munus hoc corraditur. quam inique comparatumst. ei qui
-minus habent ut semper aliquid addant ditioribus!”
-
-[Page 275]
-
-resembles noble and contemptible prose respectively, and not to be in
-any way disturbed by mere identity of terms. The application of similar
-names to different things will not prevent us from discerning the true
-nature of the things in either case.
-
-As I have gone so far as to deal with this subject, I will end by
-subjoining a few examples of the features in question. From epic poetry
-it will be enough to quote the following lines:—
-
-    But he from the haven went where the rugged pathway led.[194]
-
-Here we have one clause. Observe the next—
-
-    Up the wooded land.
-
-It is shorter than the other, and cuts the line in two. The third is—
-
-    through the hills:
-
-a segment still shorter than a clause. The fourth—
-
-                                 unto where Athene had said
-    That he should light on the goodly swineherd—
-
-consists of two half-lines and is in no way like the former. Then the
-conclusion—
-
-                                             the man who best
-    Gave heed to the goods of his lord, of the thralls that Odysseus
-            possessed,
-
-which leaves the third line unfinished, while by the addition of the
-fourth it loses all undue uniformity. Then again—
-
-    By the house-front sitting he found him,
-
-where once more the words do not run out the full course of the line.
-
-                         there where the courtyard wall
-    Was builded tall.
-
-[Page 276]
-
-
-ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδος
-ἐν κώλοις τε καὶ κόμμασι λεγόμενος· ἐπιθεὶς γὰρ
-
-        περισκέπτῳ ἐνὶ χώρῳ,
-
-πάλιν ἐποίσει
-
-        καλή τε μεγάλη τε      5
-
-βραχύτερον κώλου κομμάτιον, εἶτα
-
-        περίδρομος
-
-ὄνομα καθ’ ἑαυτὸ νοῦν τινα ἔχον. εἶθ’ ἑξῆς τὰ ἄλλα τὸν
-αὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;
-
-ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου      10
-ταυτί
-
-        Ὦ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται,
-        χαῖρ’,
-
-τὸ πρῶτον ἄχρι τούτου κῶλον.
-
-              ὅς τε πέτραν Ἀρκάδων δυσχείμερον      15
-        <Πὰν> ἐμβατεύεις
-
-τὸ δεύτερον μέχρι τοῦδε.
-
-        ἔνθεν εὔχομαι γένος.
-
-τοῦτο τρίτον. τὰ μὲν πρότερα μείζονα στίχου, τοῦτο δὲ
-ἔλαττον.      20
-
-        Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ
-        τίκτει λαθραίως Ἡρακλεῖ·
-
-μετὰ τοῦτο
-
-                             ξύνοιδ’ ὄρος
-        Παρθένιον,      25
-
-οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερον
-στίχου τε ἔλαττον καὶ στίχου μεῖζον
-
-1 καὶ V: κατὰ PM   4 ἐποίει P   5 καλήν τε μεγάλην τε PM   9 μηκύνειν
-P: μηκύνειν τὸν λόγον MV   10 παρ’ εὐριπι [**TN: δ written above final
-ι of εὐριπι] sic P: εὐριπίδου MV   15 ὅς τε s: ὥστε PMV || δυσχείμερον
-ἀρκάδων PMV: transposuit Sylburgius   16 Πὰν inseruit Musgravius   19
-μείζονα om. P || στίχου MV: στι [**TN: χ written above ι of στι] P:
-στίχον s   21 αὐγὴ M: αὐτὴ PV   24 ξύνοιδ’ s: ξύνοιδε P: ξυνοὶδὲ MV 26
-οὔθ’ ἕτερον PM: οὐδέτερον V
-
-12. =ὁρίζεται=: _sibi vindicat_, ‘annexes.’—The fragment of Euripides,
-taken as a whole, runs thus in Nauck’s collection:—
-
-        ὦ γαῖα πατρίς, ἣν Πέλοψ ὁρίζεται,
-        χαῖρ’, ὅς τε πέτρον Ἀρκάδων δυσχείμερον
-        <Πὰν> ἐμβατεύεις, ἔνθεν εὔχομαι γένος.
-        Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ
-        τίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄρος
-        Παρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴν
-        ἔλυσεν Εἰλείθυια.
-
-25. =Παρθένιον=: cp. Callim. _Hymn. in Delum_ 70 φεῦγε μὲν Ἀρκαδίη,
-φεῦγεν δ’ ὄρος ἱερὸν Αὔγης | Παρθένιον, together with the scholium ὄρος
-Ἀρκαδίας τὸ Παρθένιον, ἔνθα τὴν Αὔγην τὴν Ἀλεοῦ θυγατέρα, ἱέρειαν τῆς
-Ἀθηνᾶς, ἔφθειρεν Ἡρακλῆς.
-
-[Page 277]
-
-
-This, too, does not balance the former. Further, the order of ideas in
-the continuation of the passage is unperiodic, though the words are
-cast into the form of clauses and sections. For, after adding
-
-        In a place with a clear view round about,
-
-we shall find him subjoining:
-
-        Massy and fair to behold,
-
-which is a segment shorter than a clause. Next we find
-
-        Free on every side,
-
-where the one Greek word (περίδρομος) by itself carries a certain
-meaning. And so on: we shall find him elaborating everything that
-follows in the same way. Why go into unnecessary detail?
-
-From iambic poetry may be taken these lines of Euripides:—
-
-        Fatherland, ta’en by Pelops in possession,
-        Hail![195]
-
-Thus far the first clause extends.
-
-        And thou, Pan, who haunt’st the stormy steeps
-        Of Arcady.[195]
-
-So far the second extends.
-
-        Whereof I boast my birth.[195]
-
-That is the third. The former are longer than a line; the last is
-shorter.
-
-        Me Auge, Aleus’ daughter, not of wedlock
-        Bare to Tirynthian Heracles.[195]
-
-And afterwards—
-
-                                  This knows
-        Yon hill Parthenian.[195]
-
-Not one of these corresponds exactly to a line. Then once more we find
-another clause which is from one point of view less than a line and
-from the other longer—
-
-[Page 278]
-
-
-                    ἔνθα μητέρ’ ὠδίνων ἐμὴν
-        ἔλυσεν Εἰλείθυια
-
-καὶ τὰ ἑξῆς τούτοις παραπλήσια.
-
-ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲ
-κατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε      5
-κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλει
-καὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁ
-ῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτε
-ἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷς
-εἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς      10
-ἑαυτῆς ἀποδυρομένη τύχας·
-
-            ὅτε λάρνακι ἐν δαιδαλέᾳ
-        ἄνεμός τε μιν πνέων <ἐφόρει>
-        κινηθεῖσά τε λίμνα,
-        δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς      15
-        ἀμφί τε Περσέϊ βάλλε φίλαν χέρα
-
-5 ἄλλός τις P || κατεστεύασε P   6 ἀπετεῖ P || δὴ PM: δὲ V   7 κατὰ P:
-ταῦτα κατὰ MV   9 ἀντίστροφον PM: ἀντιστροφὴν V || λόγος εἰσειρόμενος
-P: λόγος οὑτωσὶ διειρόμενος MV   10 Δανάη] δ’ ἀν ἡ P   13 τέ μιν
-Schneidewinus: τε μὴν PM: τ’ ἐμῇ V || ἐφόρει ante μιν Bergkius
-inseruit, post πνέων Usenerus   14 τε Brunckius: δὲ PMV   15 ἤριπεν
-Brunckius: ἔριπεν P: ἔρειπεν MV || οὐκ Thierschius: οὐτ’ P: οὔτ’ MV
-
-4. Bircovius points out that Hor. _Carm._ iii. 27. 33 ff. might be
-printed as continuous prose, thus: “quae simul centum tetigit potentem
-oppidis Creten: ‘Pater, o relictae filiae nomen, pietasque’ dixit
-‘victa furore! unde quo veni? levis una mors est virginum culpae.
-vigilansne ploro turpe commissum, an vitiis carentem ludit imago vana,
-quae porta fugiens eburna somnium ducit?’” etc. The short rhymeless
-lines of Matthew Arnold’s _Rugby Chapel_ might be run together in
-the same way, e.g. “There thou dost lie, in the gloom of the autumn
-evening. But ah! that word, _gloom_, to my mind brings thee back, in
-the light of thy radiant vigour, again; in the gloom of November we
-pass’d days not dark at thy side; seasons impair’d not the ray of thy
-buoyant cheerfulness clear. Such thou wast! and I stand in the autumn
-evening, and think of by-gone evenings with thee.” The word-arrangement
-from line to line is such that this passage might almost be read as
-prose, except for a certain rhythm and for an occasional departure from
-the word-order of ordinary prose.
-
-5. =Aristophanes=: cp. note on =218= 19 _supra_.
-
-8. Compare, for example, the last two stanzas, printed continuously, of
-Tennyson’s _In Memoriam_ cxv.: “Where now the seamew pipes, or dives in
-yonder greening gleam, and fly the happy birds, that change their sky
-to build and brood, that live their lives from land to land; and in my
-breast spring wakens too; and my regret becomes an April violet, and
-buds and blossoms like the rest.”
-
-11. =ἀποδυρομένη=: probably the _Danaë_ was a θρῆνος, and in any
-case it illustrates, to the full, the “maestius lacrimis Simonideis”
-of Catullus (_Carm._ xxxviii. 8), or Wordsworth’s “one precious,
-tender-hearted scroll | Of pure =Simonides=.” Cp. also _de Imitat._
-ii. 6. 2 καθ’ ὃ βελτίων εὑρίσκεται καὶ Πινδάρου, τὸ οἰκτίζεσθαι μὴ
-μεγαλοπρεπῶς ἀλλὰ παθητικῶς: and Quintil. x. 1. 64 “Simonides, tenuis
-alioqui, sermone proprio et iucunditate quadam commendari potest;
-praecipua tamen eius in commovenda miseratione virtus, ut quidam in hac
-eum parte omnibus eius operis auctoribus praeferant.”
-
-12. Verse-translations of the _Danaë_ will be found also in J. A.
-Symonds’ _Studies of the Greek Poets_ i. 160, and in Walter Headlam’s
-_Book of Greek Verse_ pp. 49-51. Headlam observes that the _Danaë_ is
-a passage extracted from a longer poem, and that the best commentary
-on it is Lucian’s _Dialogues of the Sea_ 12. Weir Smyth (_Greek Lyric
-Poetry_ p. 321) remarks: “It must be confessed that, if we have all
-that Dionysius transcribed, he has proved his point [viz. that by an
-arrangement into διαστολαί the poetical rhythm can be so obscured that
-the reader will be unable to recognize strophe, antistrophe, or epode]
-so successfully that no one has been able to demonstrate the existence
-of all three parts of the triad. Wilamowitz (_Isyllos_ 144) claims to
-have restored strophe (ἄνεμος ... δούρατι), epode (χαλκεογόμφῳ ...
-δεινὸν ἦν), and antistrophe (καὶ ἐμῶν ...); ὅτε ... δαιδαλέᾳ belonging
-to another triad. To accept this adjustment one must have faith in
-the extremely elastic ionics of the German scholar. Nietzsche, _R.
-M._ 23. 481, thought that 1-3 formed the end of the strophe, 4-12 the
-antistrophe (1-3 = 10-12). In v. 1 he omitted ἐν and read τ’ ἐμάνη
-πνείων with ἀλεγίζεις in 10, but even then the dactyls vary with
-spondees over frequently. By a series of reckless conjectures Hartung
-extricated strophe and antistrophe out of the lines, while Blass’
-(_Philol._ 32. 140) similar conclusion is reached by conjectures only
-less hazardous than those of Hartung. Schneidewin and Bergk, adopting
-the easier course, which refuses all credence to Dionysius, found only
-antistrophe and epode; and so, doubtfully, Michelangeli; while Ahrens
-(_Jahresber. des Lyceums zu Hannover_, 1853), in despair, classed the
-fragment among the ἀπολελυμένα. Since verses 2-3 may = 11-12, I have
-followed Nietzsche, though with much hesitation. The last seven verses
-suit the character of a concluding epode.”
-
-15. =ἤριπεν= = ἐξεπλάγη (same sense as Usener’s conjecture φρίττεν).
-
-[Page 279]
-
-
-                             where the Travail-queen
-        From birth-pangs set my mother free.[196]
-
-And similarly with the lines which follow these.
-
-From lyric poetry the subjoined lines of Simonides may be taken. They
-are written according to divisions: not into those clauses for which
-Aristophanes or some other metrist laid down his canons, but into
-those which are required by prose. Please read the piece carefully
-by divisions: you may rest assured that the rhythmical arrangement
-of the ode will escape you, and you will be unable to guess which is
-the strophe or which the antistrophe or which the epode, but you will
-think it all one continuous piece of prose. The subject is Danaë, borne
-across the sea lamenting her fate:—
-
-          And when, in the carved ark lying,
-            She felt it through darkness drifting
-          Before the drear wind’s sighing
-            And the great sea-ridges lifting,
-        She shuddered with terror, she brake into weeping,
-        And she folded her arms round Perseus sleeping;
-
-[Page 280]
-
-
-        εἶπέν τ’· ὦ τέκος,
-        οἷον ἔχω πόνον, σὺ δ’ ἀωτεῖς·
-        γαλαθηνῷ δ’ ἤθεϊ κνοώσσεις
-        ἐν ἀτερπέι δούρατι χαλκεογόμφῳ δίχα νυκτὸς ἀλαμπεῖ
-        κυανέῳ τε δνόφῳ σταλείς.      5
-        ἅλμαν δ’ ὕπερθεν τεᾶν κομᾶν βαθεῖαν
-        παριόντος κύματος οὐκ ἀλέγεις
-        οὐδ’ ἀνέμου φθόγγον, πορφυρέᾳ
-        κείμενος ἐν χλανίδι πρὸς κόλπῳ καλὸν πρόσωπον.
-        εἰ δέ τοι δεινὸν τό γε δεινὸν ἦν,      10
-        καί κεν ἐμῶν ῥημάτων λεπτὸν ὑπεῖχες οὖας·
-        κέλομαι, εὗδε βρέφος,
-        εὑδέτω δὲ πόντος, εὑδέτω ἄμετρον κακόν.
-        μεταβουλία δέ τις φανείη,
-        Ζεῦ πάτερ, ἐκ σέο·      15
-        ὅ τι δὴ θαρσαλέον ἔπος εὔχομαι
-        νόσφι δίκας, σύγγνωθί μοι.
-
-τοιαῦτά ἐστι τὰ ὅμοια τοῖς καλοῖς λόγοις μέτρα καὶ μέλη,
-διὰ ταύτας γινόμενα τὰς αἰτίας ἃς προεῖπόν σοι.
-
-τοῦθ’ ἕξεις δῶρον ἡμέτερον, ὦ Ῥοῦφε, “πολλῶν ἀντάξιον      20
-ἄλλων,” εἰ βουληθείης ἐν ταῖς χερσί τε αὐτὸ συνεχῶς ὥσπερ
-
-1 τέκος Athen. ix. 396 E: τέκνον PMV   2 σὺ δ’ ἀωτεῖς Casaubonus: οὐδ’
-αυταις P: σὺ δ’ αὖτε εἷς Athen. (l.c.)   3 ἐγαλαθηνωδει θει P, V:
-γαλαθηνῷ δ’ ἤτορι Athen.: corr. Bergkius || κνοώσσεισ P, V: κνώσσεις
-Athen.   4 δούρατι Guelf.: δούνατι PM: δούναντι V || δίχα νυκτὸς
-ἀλαμπεῖ Us.: δενυκτι λαμπεῖ P, MV   5 σταλείς Bergkius: ταδ’ εἰσ P,
-MV   6 ἅλμαν δ’ Bergkius: αὐλεαν δ’ P, V: αὐλαίαν δ’ M   9 πρὸς κόλπῳ
-κ. πρ. Us.: πρόσωπον καλον πρόσωπον P: πρόσωπον καλὸν MV   10 ἦν
-Sylburgius: ἦι P: ἦ M: ἢ V   11 καί M: κἀί V: κε cum litura P || λεπτὸν
-s: λεπτῶν PMV   14 μαιτ(α)βουλία (i.e. μεταβουλία: cp. =90= 4 supra)
-P: μαιτ(α)βουλίου M: ματαιοβουλία V   17 νόσφι δίκας Victorius: ηνοφι
-δικασ P: ἣν ὀφειδίασ MV   19 προεῖπά PMV (cf. εἴπειεν P, Aristot. Rhet.
-1408 a 32)   21 αὐτὸ Sylburgius: αὐτὰ PMV
-
-4. =δίχα νυκτός=: cp. δίχα μελέτης τε καὶ γυμνασίας (=282= 4), which
-may be an unconscious echo of this passage. “To me the expression seems
-to indicate that Simonides took a view of the story different from the
-ordinary one, and imagined that the chest was not open or boat-like
-but closed over,—a ‘Noah’s ark.’ This would not have suited the
-vase-painters, but there is nothing inconsistent with it in the poem.
-Danaë does not speak of _seeing_ the waves, nor of the wind ruffling
-the child’s hair, but only of ἀνέμου φθόγγον—she _heard_ it. Hence I
-think the words imply—‘which, even apart from its being night, would be
-gloomy, and thou wert so launched forth in the darksome gloaming.’ She
-makes no reference to seeing the stars” (A. S. Way).
-
-5. Schneidewin reads ταθείς.
-
-7. =ἀλέγεις=: rarely constructed with the accusative case.
-
-11. =ἐμῶν ῥημάτων=: _constructio ad sensum_ with ὑπεῖχες οὖας (=
-ὑπήκουες).
-
-12. =εὗδε βρέφος=: the βαυκάλημα (‘cradle-song, lullaby’) was familiar
-to the Greeks, and the mother does not forget it amid the perils of the
-sea. Cp. Theocr. xxiv. 7-9—
-
-        εὕδετ’ ἐμὰ βρέφεα γλυκερὸν καὶ ἐγέρσιμον ὕπνον·
-        εὕδετ’ ἐμὰ ψυχά, δύ’ ἀδελφεώ, εὔσοα τέκνα·
-        ὄλβιοι εὐνάζοισθε καὶ ὄλβιοι ἀῶ ἵκοισθε.
-
-20. From Hom. _Il._ xi. 514, 515—
-
-        ἰητρὸς γὰρ ἀνὴρ πολλῶν ἀντάξιος ἄλλων
-        ἰούς τ’ ἐκτάμνειν ἐπί τ’ ἤπια φάρμακα πάσσειν.
-
-        ‘For more than a multitude availeth the leech for our need,
-        When the shaft sticketh deep in the flesh, when the healing salve
-            must be spread.’
-
-[Page 281]
-
-
-          And “Oh my baby,” she moaned, “for my lot
-          Of anguish!—but thou, thou carest not:
-        Adown sleep’s flood is thy child-soul sweeping,
-          Though beams brass-welded on every side
-          Make a darkness, even had the day not died
-          When they launched thee forth at gloaming-tide.
-          And the surf-crests fly o’er thy sunny hair
-          As the waves roll past—thou dost not care:
-          Neither carest thou for the wind’s shrill cry,
-          As lapped in my crimson cloak thou dost lie
-          On my breast, little face so fair—so fair!
-          Ah, were these sights, these sounds of fear
-          Fearsome to thee, that dainty ear
-          Would hearken my words—nay, nay, my dear,
-          Hear them not thou! Sleep, little one, sleep;
-          And slumber thou, O unrestful deep!
-          Sleep, measureless wrongs; let the past suffice:
-          And oh, may a new day’s dawn arise
-          On thy counsels, Zeus! O change them now!
-          But if aught be presumptuous in this my prayer,
-          If aught, O Father, of sin be there,
-                                 Forgive it thou.”[197]
-
-Such are the verses and lyrics which resemble beautiful prose; and they
-owe this resemblance to the causes which I have already set forth to
-you.
-
-Here, then, Rufus, is my gift to you, which you will find “outweigh a
-multitude of others,”[198] if only you will keep it in
-
-[Page 282]
-
-
-τι καὶ ἄλλο τῶν πάνυ χρησίμων ἔχειν καὶ συνασκεῖν αὑτὸν
-ταῖς καθ’ ἡμέραν γυμνασίαις. οὐ γὰρ αὐτάρκη τὰ παραγγέλματα
-τῶν τεχνῶν ἐστι δεινοὺς ἀγωνιστὰς ποιῆσαι τοὺς βουλομένους
-γε δίχα μελέτης τε καὶ γυμνασίας· ἀλλ’ ἐπὶ τοῖς
-πονεῖν καὶ κακοπαθεῖν βουλομένοις κεῖται σπουδαῖα εἶναι τὰ      5
-παραγγέλματα καὶ λόγου ἄξια ἢ φαῦλα καὶ ἄχρηστα.
-
-1 αὑτὸν ταῖς Us.: αὐτὸν ταῖσ P: αὐτὸ ταῖς M: αὐταῖς V   3 ἀγωνιστὰς
-Sylburgius: δεινοῦσ αν ταγωνιστασ sic P: ἀνταγωνιστὰς etiam MV   4 γε
-Us.: τε P: om. MV   5 βουλομένοις PM: om. V || σπουδαῖαν εἶναι (sic)
-P: ἢ σπουδαῖα εἶναι MV   6 Διονυσίου αλικαρνα(σεως) πε(ρὶ) συνθέσεως
-ὀνομάτων: ~ litteris maiusculis subscripsit P
-
-2. The training meant would consist chiefly in that general reading
-of Greek authors which is indicated in this treatise or in the _de
-Imitatione_, and in Quintilian’s Tenth Book: it would carry out the
-precept “vos exemplaria Graeca | nocturna versate manu, versate
-diurna.” Afterwards would follow the technical and systematic study of
-style or eloquence, regarded as a preparation for public life.
-
-3. =ἀγωνιστάς=: cp. note on =268= 29 _supra_ and Plato _Phaedr._ 269 D
-τὸ μὲν δύνασθαι, ὦ Φαῖδρε, ὥστε ἀγωνιστὴν τέλεον γενέσθαι, εἰκός—ἴσως
-δὲ καὶ ἀναγκαῖον—ἔχειν ὥσπερ τἆλλα· εἰ μέν σοι ὑπάρχει φύσει ῥητορικῷ
-εἶναι, ἔσῃ ῥήτωρ ἐλλόγιμος, προσλαβὼν ἐπιστήμην τε καὶ μελέτην, ὅτου δ’
-ἂν ἐλλείπῃς τούτων, ταύτῃ ἀτελὴς ἔσῃ.
-
-4. The best Greeks and Romans at all times believed in work, and in
-genius as including the capacity for taking pains. Compare (in addition
-to the passage of the _Phaedrus_) Soph. _El._ 945 ὅρα· πόνου τοι χωρὶς
-οὐδὲν εὐτυχεῖ: Eurip. _Fragm._ 432 τῷ γὰρ πονοῦντι χὠ θεὸς συλλαμβάνει:
-Aristoph. _Ran._ 1370 ἐπίπονοί γ’ οἱ δεξιοί: Cic. _de Offic._ i. 18.
-60 “nec medici, nec imperatores, nec oratores, quamvis artis praecepta
-perceperint, quidquam magna laude dignum sine usu et exercitatione
-consequi possunt”: Quintil. _Inst. Or._ Prooem. § 27 “sicut et haec
-ipsa (bona ingenii) sine doctore perito, studio pertinaci, scribendi,
-legendi, dicendi multa et continua exercitatione per se nihil prosunt.”
-See also note on page =264= _supra_.
-
-[Page 283]
-
-your hands constantly like any other really useful thing, and exercise
-yourself in its lessons daily. No rules contained in rhetorical manuals
-can suffice to make experts of those who are determined to dispense
-with study and practice. They who are ready to undergo toil and
-hardship can alone decide whether such rules are trivial and useless,
-or worthy of serious consideration.
-
-[Page 285]
-
-
-
-
-GLOSSARY
-
-(INCLUDING TERMS OF RHETORIC, GRAMMAR, PROSODY, MUSIC, PHONETICS, AND
-LITERARY CRITICISM)
-
-
-In the Glossary, as in the Notes, the following abbreviations are used:—
-
-        Long. = ‘Longinus on the Sublime.’
-        D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’
-        Demetr. = ‘Demetrius on Style.’
-
-
- =ἀγεννής.= =90= 20, =170= 9, etc. _Ignoble_, _mean_: in reference to
-         style. Lat. _ignobilis_, _degener_.
-
- =ἀγοραῖος.= =262= 20. _Vulgar_, _colloquial_, _mechanical_. Lat.
-         _circumforaneus_, _circulatorius_. Cp. Lucian _de conscrib.
-         hist._ § 44 μήτε ἀπορρήτοις καὶ ἔξω πάτου ὀνόμασι μήτε τοῖς
-         ἀγοραίοις τούτοις καὶ καπηλικοῖς.
-
- =ἀγχίστροφος.= =212= 20. _Quick-changing_, _flexible_. Lat.
-         _mutabilis_. Instances of its rhetorical use are cited in Long.
-         p. 194. The word has more warrant as a term of rhetoric than
-         ἀντίρροπος, which is given by F.
-
- =ἀγωγή.= =68= 1, _training_. =194= 9, _sequence_, _movement_. =244= 24,
-         _cast_, or _tendency_. Cp. some uses of Lat. _ductus_. Other
-         examples in D.H. p. 184: to which may be added _de Isocr._ c.
-         12 and _de Thucyd._ c. 27; Macran’s _Harmonics of Aristoxenus_
-         pp. 121, 143; Strabo xiv. 1. 41 παραφθείρας τὴν τῶν προτέρων
-         μελοποιῶν ἀγωγήν, and (later) ἀπεμιμήσατο τὴν ἀγωγὴν τῶν
-         παρὰ τοῖς κιναίδοις διαλέκτων καὶ τῆς ἠθοποιΐας.—In =124=
-         10 the adjective =ἀγωγός= is used (as in Eurip. _Hec._ 536,
-         _Troad._ 1131) with the genitive in the sense _provocative of_,
-         _conducive to_: cp. _de Demosth._ c. 55 ἃ δὴ τῶν τοιούτων ἔσται
-         παθῶν ἀγωγά. [In _Troad._ 1131 Dindorf, ed. v., gives ἀρωγός
-         without comment, against the MSS.]
-
- =ἀγών.= =252= 2, =262= 23. _Contest_, _pleading_, _trial_. Lat.
-         _certamen_, _actio_. Cp. Long. p. 194, D.H. p. 184, Demetr. p.
-         263.
-
- =ἀδολέσχης.= =272= 19, 22. _Garrulous._ Lat. _loquax_. Cp. Demetr. p.
-         263.
-
- =ἀηδής.= =100= 7, =124= 19, etc. _Unpleasant_, _disagreeable_. Lat.
-         _iniucundus_, _molestus_. Similarly =ἀηδία=, =132= 21, =134= 14.
-
- =ἀθρόος.= =222= 2. _Compressed_, _concentrated_. Lat. _consertus_,
-         _stipatus_. In the passage specified it would seem that
-         Dionysius compares the issue of the breath to the exit of
-         people through a narrow door, whereby they are _crowded
-         together_. The sound of _p_, which is under discussion,
-         approaches whistling; and that is the maximum of
-         breath-compression.
-
-[Page 286]
-
-
- =αἵρεσις.= =70= 15, =198= 3, 8, =246= 17. _School_, _following_. Lat.
-         _secta_.
-
- =αἴσθησις.= =130= 17, =134= 11, =152= 15, =218= 1. _Sense_,
-         _perception_. Lat. _sensus_. So =αἰσθητός=, _perceptible_,
-         =152= 22, =206= 6, etc.; and =αἰσθητῶς=, _perceptibly_, =126=
-         20, =202= 18.
-
- =ἀκατάστροφος.= =232= 1. _Without rounding or conclusion._ Lat. _idonei
-         exitus expers_. Used of a period which does not turn back upon
-         itself—which is, in fact, _not_ a περίοδος. Cp. the use of
-         εὐκαταστρόφως in Demetr. _de Eloc._ § 10.
-
- =ἀκατονόμαστος.= =208= 25. _Unnamed_, _nameless_. Lat. _appellationis
-         expers_.
-
- =ἀκέραστος.= =230= 18. _Unmixed_, or _incapable of mixture_. Lat. _non
-         permixtus_, _s. qui permisceri non potest_.
-
- =ἀκοή.= =70= 3, =118= 23, =146= 8, etc. _The sense of hearing_: ‘_the
-         ear_.’ Lat. _auditus_. So =ἀκρόασις=, =116= 19, =198= 8, etc.
-
- =ἀκόλλητος.= =218= 13. _Uncompacted_, or _incapable of being
-         compacted_. Lat. _non compactus_, _s. qui compingi non potest_.
-
- =ἀκολουθία.= =212= 22, =232= 20, =254= 17. _Sequence_, _the orderly
-         progression of words_. Lat. _consecutio_, _ordo_, _series_.
-         ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, =212= 22 = _prone to
-         anacolouthon_. Cp. Long. p. 102, D.H. p. 184, Demetr. p. 263.
-         Similarly =ἀκόλουθος= is used of _what follows naturally_,
-         =130= 9, =228= 17, etc.
-
- =ἀκόμψευτος.= =212= 23, =232= 21. _Unadorned._ Lat. _incomptus_. Used
-         of a style which is _sans recherche_, _sans parure_. Cp. Cic.
-         _Orat._ 24. 78 “nam ut mulieres esse dicuntur non nullae
-         inornatae, quas id ipsum deceat, sic haec subtilis oratio etiam
-         incompta delectat.”
-
- =ἀκόρυφος.= =230= 31. _Without a capital or beginning._ Lat. _sine
-         fastigio_, _sine initio_. Used of a period without a proper
-         beginning and therefore imperfectly rounded: whereas true
-         periods are εὐκόρυφοι καὶ στρογγύλαι ὥσπερ ἀπὸ τόρνου (_de
-         Demosth._ c. 43).
-
- =ἀκρίβεια.= =118= 10, =206= 8, =266= 11, etc. _Exactitude_,
-         _precision_, _finish_. Lat. _perfectio_, _absolutio_,
-         _subtilitas_. Used of an _ars exquisita_, a _style soigné_.
-         So =ἀκριβής= =196= 15, and =ἀκριβοῦν= =94= 14 and =242= 9.
-         Cp. D.H. p. 184, and Demetr. p. 264 (where the slightly
-         depreciatory sense of ‘correctness,’ ‘nicety,’ is also
-         illustrated: cp. _C.V._ =274= 22).
-
- =ἀκροστόμιον.= =142= 17. _The edge of the mouth or lips._ Lat. _summum
-         os_, _labrorum margo_. Cp. =148= 22 τῆς γλώττης ἄκρῳ τῷ στόματι
-         προσερειδομένης κατὰ τοὺς μετεώρους ὀδόντας.
-
- =ἀκώλιστος.= =234= 23. _Without members or clauses._ Lat. _sine
-         membris_. Used of a period not divided, or jointed, into
-         clauses.
-
- =ἀλήθεια.= =198= 26. _Human experience._ Lat. _veritas vitae_, _usus
-         rerum_, _vita_, _usus_. The actual facts of life are meant, as
-         opposed to the theories of the schools. Cp. _de Isaeo_ c. 18
-         ὅτι μοι δοκεῖ Λυσίας μὲν τὴν ἀλήθειαν (‘the truth of nature,’
-         ‘a natural simplicity’) διώκειν μᾶλλον, Ἰσαῖος δὲ τὴν τέχνην.
-
-[Page 287]
-
-
- =ἄλογος.= =66= 18, =146= 14, =152= 15, =174= 2, 3, =206= 13, =244=
-         22. _Irrational_; _unguided by reason_; _subconscious_;
-         _incalculable_; _instinctive_; _spontaneous_. Lat. _rationis
-         expers_. With the use in =146= 14 (where the Epitome has
-         ἀλάλου) may be compared the process by which ἄλογον in Modern
-         Greek has come to mean ‘horse.’ With ἄλογος αἴσθησις in =152=
-         15 and =244= 22 cp. the use of “tacitus sensus” in Cic. _de
-         Orat._ iii. 195 “omnes enim tacito quodam sensu sine ulla arte
-         aut ratione quae sint in artibus ac rationibus recta ac prava
-         diiudicant” and _Orat._ 60. 203 “aures ipsae tacito eum (modum)
-         sensu sine arte definiunt”: see also _de Lysia_ c. 11, _de
-         Demosth._ c. 24, _de Thucyd._ c. 27. For the doctrine of ἀλογία
-         in relation to metre see p. 154 _supra_ and Goodell _Greek
-         Metric_ pp. 109 ff. (with references to Aristoxenus, Westphal,
-         etc., pp. 150 ff.). The notion of _incommensurability_ is, of
-         course, present in the term: cp. Aristox. p. 292 ὥρισται δὲ τῶν
-         ποδῶν ἕκαστος ἤτοι λόγῳ τινὶ ἢ ἀλογίᾳ τοιαύτῃ, ἥτις δύο λόγων
-         γνωρίμων τῇ αἰσθήσει ἀνὰ μέσον ἔσται, which Goodell (p. 110)
-         translates, “each of the feet is determined and defined either
-         by a precise ratio or by an incommensurable ratio such that it
-         will be between two ratios recognizable by the sense.”
-
- =ἀμεγέθης.= =176= 11. _Wanting in size or dignity._ Lat. _exilis_. Cp.
-         Long. _de Sublim._ xl. 2 οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ
-         ἀμεγέθεις.
-
- =ἄμετρος.= =74= 4, =176= 1, 21, etc. _Unmetred_, _unmetrical_. Lat.
-         (_oratio_) _soluta_. It is interesting to note the variety of
-         Dionysius’ expressions for ‘prose’ or ‘in prose’—λέξις ἄμετρος,
-         λέξις πεζή, λέξις ψιλή, λόγος ἀποίητος, λόγοι ἄμετροι, λόγοι or
-         λόγος simply (=272= 9, 13), δίχα μέτρου (=252= 20), λεκτικῶς
-         (=258= 3), etc. Cp. Plato _Rep._ 366 E, 390 A, etc.
-
- =ἀμορφία.= =184= 18, =198= 10. _Unsightliness._ Lat. _deformitas_. So
-         =ἄμορφος= =92= 16.
-
- =ἄμουσος.= =74= 11, =122= 19. _Rude_, _uncultured_. Lat. _insulsus_,
-         _illiteratus_, _infacetus_.
-
- =ἀμυδρός.= =206= 22. _Faint_, _obscure_. Lat. _subobscurus_.
-
- =ἀμφίβολος.= =96= 17. _Ambiguous._ Lat. _dubius_, _ambiguus_, _qui in
-         duos pluresve sensus verti potest_.
-
- =ἀμφίβραχυς.= =172= 6, =184= 11. _Amphibrachys._ The metrical foot ᴗ –
-         ᴗ.
-
- =ἀναβολή.= =164= 5, =220= 13. _Retardation._ Lat. _mora_,
-         _intervallum_. So =ἀναβάλλειν= =180= 15, =216= 18: cp. _de
-         Demosth._ c. 54 (ταῦτ’ ἐσπευσμένως εἰπέ, ταῦτ’ ἀναβεβλημένως),
-         and c. 43.
-
- =ἀναισθησία.= =184= 21. _Insensibility_, _stupidity_. Lat. _stupor_.
-         Compare =ἀναίσθητος= =190= 8, and see the editor’s _Ancient
-         Boeotians_ pp. 4-8.
-
- =ἀνακοπή.= =164= 5, =230= 28, =232= 16. _Stoppage_, _clashing_.
-         Lat. _impedimentum_, _offensio_. Fr. _refoulement_. Cp. _de
-         Demosth._ c. 38, and also the verb =ἀνακόπτειν= =222= 9.
-
- =ἀνάπαιστος.= =172= 10, etc. _Anapaest._ The metrical foot ᴗ ᴗ –.
-
- =ἀνάπαυλα.= =196= 11. _Rest_, _pause_. Lat. _mora_, _intermissio_. The
-         ‘reliefs’ afforded by variety of structure, etc., are meant.
-
- =ἀναπλέκειν.= =264= 23. _To bind up the hair._ Lat. _caesariem reticulo
-         colligere_.
-
- =ἄναρθρος.= =212= 21. _Without joints or articles._ Lat. _sine
-         articulis_.
-
-[Page 288]
-
-
- =ἀνδρώδης.= =174= 17. _Manly, virile._ Lat. _virilis._ Cp. _de
-         Demosth._ cc. 39, 43, and Quintil. v. 12. 18.
-
- =ἀνέδραστος.= =232= 4. _Unsteady._ Lat. _instabilis._ Used of a period
-         which has no proper base or termination. The opposite of
-         ἑδραῖος (Demetr. p. 277).
-
- =ἀνεπιτήδευτος.= =84= 3, =212= 13, =260= 14. _Unsought, unstudied._
-         Lat. _nullo studio delectus, non exquisitus._ So =ἀνέκλεκτος=
-         =84= 3: _not picked with care._
-
- =ἄνεσις.= =210= 5. _Loosening._ Lat. _remissio._ Cp. Plato _Rep._ i.
-         349 E ἐν τῇ ἐπιτάσει καὶ ἀνέσει τῶν χορδῶν πλεονεκτεῖν, and
-         =ἀνίεται= =126= 5.
-
- =ἀνθηρός.= =212= 22 (cp. =208= 26, =232= 25). _Florid._ Lat.
-         _floridus._ Fr. _fleuri._ Cp. Quintil. xii. 10. 58 “namque unum
-         [dicendi genus] subtile, quod ἰσχνόν vocant, alterum grande
-         atque robustum, quod ἁδρόν dicunt, constituunt; tertium alii
-         medium ex duobus, alii floridum (namque id ἀνθηρόν appellant)
-         addiderunt.” ‘Florid’ (like ‘flowery’) has acquired rather a
-         bad sense, whereas the Greek word suggests ‘flower-like,’ ‘full
-         of colour,’ ‘with delicate touches and associations.’
-
- =ἀντίθετος.= =246= 6. _Antithetic_ (σχηματισμοὶ ... ἀντίθετοι). Cp.
-         Demetr. pp. 266, 267, s.v. ἀντίθεσις.
-
- =ἀντιστηριγμός.= =164= 6. _Resistance, stumbling-block._ Lat.
-         _impedimentum, obstaculum._ Cp. _de Demosth._ c. 38 ἀνακοπὰς
-         καὶ ἀντιστηριγμοὺς λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς
-         τῶν ὀνομάτων ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ [ἡ αὐστῆρα ἁρμονία]
-         βούλεται.
-
- =ἀντίστροφος.= =174= 2, =194= 6, 9, 11, =278= 9. _Corresponding,
-         counterpart._ Lat. _respondens._ Frequently used by Dionysius
-         of the second stanza (ἀντιστροφή, =254= 18), sung by the Chorus
-         in its counter-movement. Cp. schol. ad Aristoph. _Plut._ 253
-         μεταξὺ τῆς τε στροφῆς καὶ τῆς ἀντιστρόφου: and _de Demosth._ c.
-         50 κἄπειτα πάλιν τοῖς αὐτοῖς ῥυθμοῖς καὶ μέτροις ἐπὶ τῶν αὐτῶν
-         στίχων ἢ περίοδων, ἃς ἀντιστρόφους ὀνομάζουσι, χρωμένη.
-
- =ἀντιτυπία.= =202= 25, =222= 17, =224= 15, =230= 6, 232 6, =244=
-         25. _Repulsion, clashing, dissonance._ Lat. _conflictio,
-         asperitas._ So the adjective =ἀντίτυπος= in =162= 23, =210= 20,
-         etc. Hesychius, ἀντιτύποις· σκληροῖς.
-
- =ἀντονομασία.= =70= 19, =102= 18. _Pronoun._ Lat. _pronomen._ In =108=
-         14 ἀντωνυμία is found; and this (the more usual) form should
-         perhaps be read throughout.
-
- =ἀνωμαλία.= =232= 19. _Unevenness._ Lat. _inaequalitas._ Fr.
-         _inégalité._
-
- =ἀξίωμα.= =84= 1, =120= 23, =170= 2, =174= 19. _Dignity._ Lat.
-         _dignitas._ Fr. _dignité._ In =96= 16 the sense is _a
-         proposition (pronuntiatum,_ Cic. _Tusc._ i. 7. 14;
-         _enuntiatio,_ Cic. _de Fato_ 10. 20).—The adjective
-         =ἀξιωματικός= (‘dignified’) occurs in =136= 11, =168= 6, etc.,
-         and the adverb =ἀξιωματικῶς= in =176= 24.—In =88= 13, =186= 7,
-         =ἀξίωσις= = _reputation, excellence._
-
- =ἀπαγγελία.= =204= 18. _Narration._ Lat. _narratio._ Sometimes the word
-         is used, like ἑρμηνεία, of style (_elocutio_) in general: cp.
-         _de Demosth._ c. 25, and Chrysostom (in a passage which, as
-         revealing the pupil of Libanius and as illustrating many things
-         in the _C.V._, may be quoted at some length): ἐγὼ δὲ εἰ μὲν τὴν
-         λειότητα Ἰσοκράτους ἀπῄτουν, καὶ τὸν Δημοσθένους ὄγκον, καὶ τὴν
-         Θουκυδίδου σεμνότητα, καὶ τὸ Πλάτωνος ὕψος, ἔδει φέρειν εἰς
-         μέσον ταύτην τοῦ Παύλου τὴν μαρτυρίαν. νῦν δὲ ἐκεῖνα μὲν πάντα
-         ἀφίημι, καὶ τὸν περίεργον τῶν ἔξωθεν καλλωπισμόν, καὶ οὐδέν
-         μοι φράσεως, οὐδὲ ἀπαγγελίας μέλει· ἀλλ’ ἐξέστω καὶ τῆ λέξει
-         πτωχεύειν, καὶ τὴν συνθήκην τῶν ὀνομάτων ἁπλῆν τινα εἶναι καὶ
-         ἀσφαλῆ, μόνον μὴ τῇ γνώσει τις καὶ τῇ τῶν δογμάτων ἀκριβείᾳ
-         ἰδιώτης ἔστω (_de Sacerdotio_ iv. 6).—The verb =ἀπαγγέλλειν=
-         occurs in =200= 9, 11.
-
-[Page 289]
-
-
- =ἀπαρέμφατος.= =102= 20. _Infinitive._ Lat. _infinitivus_ (sc.
-         _modus_). [The infinitive, unlike the indicative and other
-         moods, _does not indicate_ difference of meaning by means of
-         inflexions denoting number and person. Whence the Greek name:
-         cp. παρεμφατικός, p. 315 _infra._]
-
- =ἀπαριθμεῖν.= =268= 8. _To recount_, _to run over_. Lat. _percensere_.
-
- =ἀπαρτίζειν.= =194= 16. _To round off_, _to complete_. Lat.
-         _adaequare_, _absolvere_. Cp. _de Demosth._ c. 50 καὶ μέτρα τὰ
-         μὲν ἀπηρτισμένα καὶ τέλεια, τὰ δ’ ἀτελῆ: _Ev. Luc._ xiv. 28
-         τίς γὰρ ἐξ ὑμῶν, θέλων πύργον οἰκοδομῆσαι, οὐχὶ πρῶτον καθίσας
-         ψηφίζει τὴν δαπάνην, εἰ ἔχει τὰ πρὸς ἀπαρτισμόν (_completion_);
-         So κατὰ ἀπαρτισμόν, in =246= 18, means _completely,
-         absolutely, narrowly_. In _Classical Review_ xxiii. 82, the
-         present writer has suggested that κατὰ ἀπαρτισμόν are the words
-         missing in _Oxyrhynchus Papyri_ vi. 116, where Grenfell and
-         Hunt give ἐν πλάτει καὶ οὐ κ[.............]ν. θεωρητέα ἐστίν,
-         or the like, may have preceded: cp. =152= 26 _supra_ (and note).
-
- =ἀπαρχαί.= =76= 2. _Firstfruits._ Lat. _primitiae_. Used here in
-         connexion with the verb προχειρισάμενος, _cum delibavero_.
-
- =ἀπατηλός.= =236= 10. _Seductive._ Lat. _suavis et oblectans_,
-         _illecebrosus_.
-
- =ἀπερίγραφος.= =232= 4. _Not circumscribed._ Lat. _nullis limitibus
-         circumscriptus_.
-
- =ἀπερίοδος.= =234= 23, =276= 1. _Without a period._ Lat. _periodo non
-         absolutus_.
-
- =ἀπευθύνειν.= =130= 1. _To regulate._ Lat. _tamquam ad regulam
-         dirigere_.
-
- =ἀπηνής.= =228= 15. _Crabbed_, _rugged_. Lat. _durus_.
-
- =ἁπλοῦς.= =144= 8, 17, =176= 3. _Simple_, _uncompounded_. Lat.
-         _simplex_.
-
- =ἀποίητος.= =70= 4. _In plain prose._ Lat. _prosaicus_. Cp. s.v.
-         ἄμετρος.
-
- =ἀποκλείειν.= =144= 23. _To shut off_, _to intercept_. Lat.
-         _intercludere_.
-
- =ἀποκόπτειν.= =142= 8, =230= 19. _To cut short._ Lat. _rescindere_. So
-         ἐξ =ἀποκοπῆς= (=142= 3) = _with a snap_, _abruptly_. See the
-         exx. given, s.v. ἀποκοπή, in Demetr. p. 268.
-
- =ἀποκυματίζειν.= =240= 22. _To ruffle._ Lat. _reddere inquietum_,
-         _fluctibus agitare_.
-
- =ἀπορριπίζειν.= =144= 24, =150= 1. _To blow away._ Lat. _flatu
-         abigere_. In both these passages there is some manuscript
-         support for ἀπορραπίζειν. In =144= 24 the sense (with
-         ἀπορραπιζούσης) would be ‘to send out the breath in beats,’ ‘to
-         cause the breath to vibrate.’
-
- =ἀποτραχύνειν.= =218= 9, =230= 24. =To roughen.= Lat. _exasperare_.
-
- =ἀργός.= =210= 22. _Unwrought._ Lat. _rudis_. In =250= 8 =ἀργία= is
-         used for ‘idleness,’ with reference to the Epicurean attitude
-         towards the refinements of style.
-
- =ἄρθρον.= =70= 17. _Article._ Lat. _articulus_. See D.H. pp. 185, 186;
-         Demetr. p. 269. ἄρθρον (‘joint’) and σύνδεσμος (‘sinew’ or
-         ‘ligament’) are terms borrowed from anatomy.
-
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-
-
- =ἀριθμοί.= =244= 27. _Numbers_, _cadences_. Lat. _numeri_, _numeri
-         oratorii_. Cp. _de Demosth._ c. 53 φέρε γὰρ ἐπιχειρείτω τις
-         προφέρεσθαι τούσδε τοὺς ἀριθμούς· Ὄλυνθον μὲν δὴ καὶ Μεθώνην
-         κτλ. As Aristotle (_Rhet._ iii. 8. 2) says, περαίνεται δὲ
-         ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως ἀριθμὸς ῥυθμός
-         ἐστιν, οὗ καὶ τὰ μέτρα τμητά.
-
- =ἀριστεῖα.= =182= 12. _Lead_, _supremacy_. Lat. _primas_ (_dare_).
-
- =Ἀριστοφάνειος.= =256= 13, =258= 9. _Aristophanic._ Lat.
-         _Aristophaneus_. The reference is to the anapaestic tetrameter
-         called ‘Aristophanic.’ Hephaestion (_Ench._ c. 8) explains the
-         term thus: κέκληται δὲ Ἀριστοφάνειον, οὐκ Ἀριστοφάνους αὐτὸ
-         εὑρόντος πρῶτον, ἐπεὶ καὶ παρὰ Κρατίνῳ ἐστί·
-
-             χαίρετε δαίμονες οἳ Λεβάδειαν Βοιώτιον οὖθαρ ἀρούρης·
-         ἀλλὰ διὰ τὸ τὸν Ἀριστοφάνην πολλῷ αὐτῷ κεχρῆσθαι.
-
- =ἁρμογή.= =112= 13, =218= 9, =236= 5, =270= 9. _Junction_,
-         _combination_. Lat. _coagmentatio_.
-
- =ἁρμονία.= =72= 6, 9, =74= 4, 10, 19, =84= 9, 15, =90= 5, =94= 15,
-         =104= 19, =114= 14, 17, =116= 15, 20, _passim_. _Adjustment_,
-         _arrangement_, _balance_, _harmonious composition_. Lat.
-         _apta structura_, _concinna orationis compositio_, _aptus
-         ordo partium inter se cohaerentium_. Fr. _enchaînement_. But,
-         as distinguished from ἁρμογή or from σύνθεσις, ἁρμονία seems
-         usually to connote ‘harmony’ in the more restricted (musical)
-         sense of notes in fitting sequence: cp. our ‘arrangement’ of
-         a song or piece of music. In fact, Dionysius’ three ἁρμονίαι
-         might well be described as three ‘modes of composition,’ and
-         ‘tune’ (the meaning which ἁρμονία bears in Aristot. _Rhet._
-         iii. 1. 4) might sometimes serve as a suitable rendering even
-         in reference to literary composition or oratorical rhythm. The
-         original use of the word in Greek carpentry (which employed
-         dovetailing in preference to nails) finds an excellent
-         illustration in the words of a contemporary of Dionysius,
-         Strabo (_Geogr._ iv. 4): διόπερ οὐ συνάγουσι τὰς ἁρμονίας
-         τῶν σανίδων, ἀλλ’ ἀραιώματα καταλείπουσιν. We have perhaps
-         no single English word which can, like ἁρμονία, incline,
-         according to the context, to the literal sense (‘a fitting,’
-         ‘a juncture’), or to the metaphorical meaning (‘harmony,’ as
-         ‘harmony’ was understood by the Greeks); but see T. Wilson’s
-         definition of ‘composition’ under σύνθεσις, p. 326 _infra_, and
-         compare one of the definitions of ‘harmony’ in the _New English
-         Dictionary_: “pleasing combination or arrangement of sounds, as
-         in poetry or in speaking: sweet or melodious sound.”—The verb
-         ἁρμόττειν is found in =98= 6, =104= 17, etc.
-
- =ἀρρενικός.= =106= 21. _Of the masculine gender._ Lat. _masculinus_.
-
- =ἀρτηρία.= =140= 21, =142= 4, =144= 5, 20, =148= 17. _Windpipe._ Lat.
-         _arteria_.
-
- =ἀρχαϊσμός.= =212= 23. _A touch of antiquity._ Lat. _sermonis prisci
-         imitatio_. Cp. =ἀρχαϊκός=, =216= 20, =228= 8. So =ἀρχαιοπρεπῆ=
-         σχήματα (=236= 8) = _figurae orationis quae vetustatem
-         redolent_. As Quintilian (viii. 3. 27) says, “quaedam tamen
-         adhuc vetera vetustate ipsa gratius nitent.” Cp. D.H. p. 186
-         (s.v. ἀρχαιοπρεπής) and Demetr. p. 269 (s.v. ἀρχαιοειδής): also
-         _de Demosth._ c. 48.
-
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-
-
- =ἀρχαί.= =136= 22, =140= 13. _First beginnings._ Lat. _principia_.
-
- =ἄσεμνος.= =110= 20, =170= 20, =176= 12, =192= 11. _Undignified._ Lat.
-         _dignitatis expers_, _minime venerandus_. Cp. D.H. p. 269.
-
- =ἄσημος.= =256= 22, =262= 6. _Unnoticed._ Lat. _obscurus_.
-
- =ἄσιγμος.= =148= 1. _Without a sigma._ Lat. _carens littera sigma_.
-
- =ᾆσμα.= =196= 2. _Song_, _lay_. Lat. _carmen_, _canticum_.
-
- =ἀσύμμετρος.= =124= 8, =236= 1. _Incommensurable_, _disproportionate_,
-         _incorrect_. Lat. _incommensurabilis_, _sine iusta
-         proportione_, _inconcinnus_. So =ἀσυμμετρία= =232= 19. Some
-         good illustrations (drawn from Cicero) of _constructions
-         symétriques_ will be found in Laurand’s _Études sur le style
-         des discours de Cicéron_ pp. 118-21.
-
- =ἀσύμμικτος.= =218= 12. _Unblended_, or _incapable of being blended_.
-         Lat. _non permixtus_, _s. qui permisceri non potest_.
-
- =ἀσύμφωνος.= =122= 23. _Out of tune._ Lat. _dissonus_.
-
- =ἄτακτος.= =156= 20, =254= 16. _Disordered_, _irregular_. Lat.
-         _perturbatus_, _nullo ordine compositus_, _incompositus_.
-
- =ἀτοπία.= =130= 26. _Awkwardness_, _clumsiness_. Lat. _rusticitas_,
-         _ineptia_.
-
- =αὐθάδης.= =228= 9. _Wilful_, _headstrong_, _unbending_. Lat. _ferox_,
-         _pertinax_. Cp. Long. _de Subl._ xxxii. 3 ὁ δὲ Δημοσθένης οὐχ
-         οὕτως μὲν αὐθάδης ὥσπερ οὗτος (sc. ὁ Θουκυδίδης), κτλ.
-
- =αὐθέκαστος.= =212= 23. _Outspoken_, _downright_. Lat. _rigidus_. In
-         Plutarch’s _Cato_ c. 6 Cato is described as ἀπαραίτητος ὢν ἐν
-         τῷ δικαίῳ καὶ τοῖς ὑπὲρ τῆς ἡγεμονίας προστάγμασιν ὄρθιος καὶ
-         αὐθέκαστος (cp. the _rigida innocentia_ attributed to him by
-         Livy xxxix. 40. 10). In Aristotle (_Eth. Nic._ iv. 7. 4) the
-         αὐθέκαστος hits the mean between the ἀλαζών and the εἴρων.
-
- =αὐλός.= =142= 2. _Passage_, _channel_. Lat. _meatus_.
-
- =αὐστηρός.= =208= 26, =210= 15, =216= 17, 21, =228= 15, =232= 22, =248=
-         9. _Austere_, _severe_. Lat. _severus_ (cp. Quintil. ix. 4.
-         97, 120, 128). Compare the antithetic expressions quoted from
-         Dionysius in D.H. p. 186, and add _de Demosth._ c. 38 init.
-         Also see s.v. στρυφνός, p. 323 _infra_.
-
- =αὐτάρκης.= =212= 17, =282= 2. _Sufficient_, _self-sufficing_. Lat.
-         _sufficiens_, _per se sufficiens_.
-
- =αὐτίκα.= =98= 7, =194= 2, =256= 7, =268= 6. _To begin with_, _for
-         example_. Lat. _exempli gratia_.
-
- =αὐτόματος.= =256= 19. _Self-acting_, _spontaneous_. Lat. _spontaneus_,
-         _ultroneus_. Cp. =αὐτομάτως= =212= 12; =αὐτοματίζειν= =204=
-         5; =αὐτοματισμός= =218= 3, =258= 1, 24. In =256= 19 ἐκ τοῦ
-         αὐτομάτου = _sponte sua_, _fortuito_.
-
- =αὐτοσχέδιος.= =212= 1, =260= 14, =262= 3. _Improvised._ Lat.
-         _fortuitus_, _extemporalis_, _inelaboratus_, _tumultuarius_. So
-         =αὐτοσχεδίως= =260= 25, and =αὐτοσχεδιάζειν= =256= 19 (πολλὰ
-         γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις = _multos versus sponte solet
-         natura effundere_). Cp. Demetr. p. 270 s.v. αὐτοσχεδιάζειν, and
-         see σχέδιος p. 327 _infra_.
-
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-
-
- =αὐτοτελής.= =118= 6, =140= 1. _Complete in itself_, _absolute_.
-         Lat. _perfectus_, _absolutus_. So =αὐτοτελῶς= =140= 3. The
-         meaning of the word is well illustrated by Diodorus Siculus
-         xii. 1 init. οὔτε γὰρ τῶν νομιζομένων ἀγαθῶν οὐδὲν ὁλόκληρον
-         εὑρίσκεται δεδομένον τοῖς ἀνθρώποις οὔτε τῶν κακῶν αὐτοτελὲς
-         ἄνευ εὐχρηστίας.
-
- =αὐτουργός.= =196= 15. _Self-wrought_, _rudely wrought_. Lat. _rudis_.
-         Cp. _de Demosth._ c. 39 (as quoted s.v. συναπαρτίζειν, p.
-         325 _infra_).—The _active_ sense of αὐτουργός finds a good
-         illustration in Euripides’ well-known line: αὐτουργός, οἵπερ
-         καὶ μόνοι σῴζουσι γῆν (_Orest._ 920).
-
- =ἀφαίρεσις.= =104= 20, =114= 12, =116= 17. _Deduction_, _abridgment_.
-         Lat. _detractio_. In =116= 17 τῆς ἀφαιρέσεως δὲ τίς (τρόπος)
-         almost = ‘what is the nature of _ellipsis_?’ As line 18 shows,
-         something _necessary to the sense_ is supposed to be omitted:
-         e.g. the presence of αὐτός in =116= 22 implies a contrast with
-         ἕτερος (=118= 1).
-
- =ἀφανίζειν.= =166= 10, =260= 1, =272= 2. _To put out of sight._ Lat.
-         _abscondere_.
-
- =ἀφελής.= =212= 14. _Simple_, _plain_. Lat. _simplex_, _subtilis_. Cp.
-         D.H. p. 187.
-
- =ἀφορμή.= =96= 23. _Starting-point._ Lat. _initium_, _principium_.
-         Cp. Dionys. Hal. _Antiq. Rom._ i. 4 τῆς ἀοιδίμου γενομένης
-         καθ’ ἡμᾶς πόλεως, ἀδόξους πάνυ καὶ ταπεινὰς τὰς πρώτας ἀφορμὰς
-         λαβούσης.
-
- =ἀφροδίτη.= =74= 13. _Beauty._ Lat. _venustas_, _venus_. Cp. _de Lysia_
-         c. 11 ἐὰν δὲ μηδεμίαν ἡδονὴν μηδὲ ἀφροδίτην ὁ τῆς λέξεως
-         χαρακτὴρ ἔχῃ, δυσωπῶ καὶ ὑποπτεύω μήποτ’ οὐ Λυσίου ὁ λόγος, καὶ
-         οὐκέτι βιάζομαι τὴν ἄλογον αἴσθησιν: also c. 18 _ibid._
-
- =ἄφωνος.= =138= 13, =140= 3, =146= 5, =148= 11, 20, =220= 10.
-         _Voiceless_, _mute_. Lat. _vocis expers_, _mutus_. From the
-         standpoint of the modern science of phonetics, in which
-         the term ‘voiceless’ is reserved for sounds that are not
-         accompanied by a vibration of the vocal chords, it might
-         be well in the translation of this word to substitute
-         ‘non-vocalic’ for ‘voiceless,’ and ‘vocalic’ for ‘voiced.’
-
- =ἄχαρις.= =110= 20, =146= 12. _Graceless._ Lat. _invenustus_.
-
-
- =βαίνειν.= =86= 1. _To scan._ Lat. _scandere_. Cp. Aristot. _Metaph._
-         xiii. 6, 1093 a 30 βαίνεται δὲ [τὸ ἔπος] ἐν μὲν τῷ δεξιῷ ἐννέα
-         συλλαβαῖς, ἐν δὲ τῷ ἀριστερῷ ὀκτώ.—In =236= 4 βεβηκώς is used
-         of a firm, regular tread: Lat. _incedere_.
-
- =βακχεῖος.= =174= 23, =180= 12, =182= 19. _Bacchius._ The metrical foot
-         – – ᴗ.
-
- =βαρύς.= =126= 6, 8, 10, 16, =128= 5, 8. _Grave_ (accent), _low_
-         (pitch). Lat. _gravis_. Cp. Monro _Modes of Ancient Greek
-         Music_ p. 113: “Our habit of using Latin translations of the
-         terms of Greek grammar has tended to obscure the fact that
-         they belong in almost every case to the ordinary vocabulary
-         of music. The word for ‘accent’ (τόνος) is simply the musical
-         term for ‘pitch’ or ‘key.’ The words ‘acute’ (ὀξύς) and ‘grave’
-         (βαρύς) mean nothing more than ‘high’ and ‘low’ in pitch. A
-         syllable may have two accents, just as in music a syllable may
-         be sung with more than one note.” So =βαρύτης= =126= 13 = ‘low
-         pitch.’—In =120= 23 and =236= 8 =βάρος= = ‘gravity’ (in the
-         sense of ‘dignity’), Fr. _gravité_.
-
- =βάσις.= =142= 13, =210= 22, =212= 16, =220= 4, =230= 31, =232= 4,
-         =234= 7. _Base._ Lat. _basis_, _fundamentum_.—The word is
-         specially used of a measured step or metrical movement,—of
-         a _rhythmical clause_ in a period and particularly of its
-         _rhythmical close_ (Lat. _clausula_). In =230= 30 and =232= 5
-         it is the iambic endings προγεγενημένων and διανοούμενον that
-         are considered objectionable (ἀνέδραστοι, ἀπερίγραφοι: endings
-         such as πορείαν and ἀκουσάντων would be regarded as ἀσφαλεῖς,
-         _de Demosth._ cc. 24, 26). Terminations of this kind will be
-         avoided in a style (like the γλαφυρὰ σύνθεσις) which desires
-         τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι,—desires that the
-         _chutes_ of the periods should be _nombreuses_.—Further light
-         on the meaning of βάσις will be found in _de Demosth._ cc. 24,
-         39, 43, 45.
-
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-
-
- =βοστρυχίζειν.= =264= 22. _To curl_, _to dress the hair_. Lat. _crines
-         calamistro convertere_. Cp. the use of _concinni_ in Cic. _de
-         Orat._ iii. 25. 100.
-
- =βούλεσθαι.= =220= 9, =234= 5, 14, 19, =236= 4, 7, etc. _To aim_, _to
-         aspire_. Lat. _studere_. Cp. D.H. p. 187, Demetr. p. 271.
-         This meaning (‘aims at being,’ ‘tends to be’) is, of course,
-         Platonic and Aristotelian.
-
- =βραχυσύλλαβος.= =168= 17. _Consisting of short syllables._ Lat.
-         _brevibus syllabis constans_.
-
- =βραχύτης.= =150= 22, =154= 6. _Shortness._ Lat. _brevitas_.
-
-
- =γένεσις.= =138= 3. _Origin._ τὴν γένεσιν λαμβάνει = Lat. _originem
-         sumit_.
-
- =γενικός.= =68= 20, =118= 21, =208= 21. _General_, _generic_. Lat.
-         _generalis_.
-
- =γενναῖος.= =68= 4, =136= 13, =146= 10, =148= 9, =172= 1, =176= 9, 10.
-         _Noble._ Lat. _generosus_. Such English renderings as ‘virile,’
-         ‘robust,’ ‘gallant,’ ‘splendid,’ ‘high-spirited’ may also be
-         suggested. In Plato _Rep._ ii. 372 B μάζας γενναίας = ‘lordly
-         cakes’; in Long. _de Subl._ xv. 7 οἱ γενναῖοι = ‘fine, grand,
-         gallant fellows.’ Cp. _C.V._ =170= 9 =μαλακώτερος= θατέρου =καὶ
-         ἀγεννέστερος=.
-
- =γλαφυρός.= =136= 14, =208= 26, =212= 16, =216= 20, =232= 25, =248= 9.
-         _Smooth_, _polished_, _elegant_. Lat. _politus_, _ornatus_,
-         _elegans_. Fr. _élégant_, _orné_, _poli_. Cp. Demetr. p. 272,
-         and _de Isocr._ c. 2 ὁ γὰρ ἀνὴρ οὕτος τὴν εὐέπειαν ἐκ παντὸς
-         διώκει καὶ τοῦ =γλαφυρῶς= λέγειν στοχάζεται μᾶλλον ἢ τοῦ
-         =ἀφελῶς=, and _de Demosth._ c. 40 ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ
-         καὶ θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη.
-
- =γλυκαίνειν.= =130= 18, =134= 10, =154= 12. _To touch with sweetness._
-         Lat. _delenire_, _voluptate perfundere_. Cp. γλυκύτης =120= 21,
-         γλυκύς =146= 9.
-
- =γλυπτός.= =264= 18. _Carven_, _chiselled_. Lat. _caelatus_. So
-         =γλυφή=, _carving_, =120= 1.
-
- =γλῶττα.= =78= 17. _An unfamiliar term._ Lat. _vocabulum inusitatum_.
-         So =γλωττηματικός=, =252= 23, =272= 11, and D.H. p. 187, s.v.
-         _Obsolete_, or _obsolescent_, words (_mots surannés_) are often
-         meant.—In =80= 17 γλῶττα = διάλεκτος (=88= 26).
-
- =γοητεύειν.= =122= 16, =134= 13. _To entice._ Lat. _pellicere_.
-
- =γράμμα.= =130= 21, =138= 5, etc. _Letter of the alphabet._ Lat.
-         _littera_. =ἡ γραμματική= (=140= 11) = _grammar_; =γραμμαί=
-         (=138= 2) = the _lines_, or _strokes_, from which γράμματα are
-         formed. In =264= 18 γραπτός = _written_.
-
- =γραφή.= =68= 12, =184= 18, =186= 1, =206= 23, =228= 12. _Writing_,
-         _composition_ (in the wider sense). In =118= 24 and =234= 13
-         γραφαί = _pictures_.
-
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-
-
- =γυμνασία.= =206= 24, =282= 2, 4. _Exercise_, _lesson_. Lat.
-         _exercitatio_. So =γυμνάζειν= (=134= 4), _to practise_, _to
-         train_.
-
-
- =δάκτυλος.= =84= 21, =172= 16, =202= 19. _Dactyl._ The metrical foot –
-         ᴗ ᴗ.
-
- =δασύς.= =148= 12, 13, 18, 19, =150= 3, 12. _Rough_, _aspirated_. Lat.
-         _asper_. So =δασύτης= =148= 21, =150= 2 and =δασύνειν= =148=
-         8. Cp. Aristot. _Poet._ c. 20 for δασύτης and ψιλότης, and see
-         A. J. Ellis _English, Dionysian, and Hellenic Pronunciations
-         of Greek_ pp. 45, 46, where δασύς and ψιλός are translated by
-         ‘rough’ and ‘smooth,’ which seems the safest course to follow
-         when (as here) the terminology of Dionysius’ phonetics is full
-         of difficulties. Aristotle (_De audibilibus_ 804 b 8) defines
-         thus: δασεῖαι δ’ εἰσὶ τῶν φωνῶν ὅσαις ἔσωθεν τὸ πνεῦμα εὐθέως
-         συνεκβάλλομεν μετὰ τῶν φθόγγων, ψιλαὶ δ’ εἰσὶ τοὐναντίον ὅσαι
-         γίγνονται χωρὶς τῆς τοῦ πνεύματος ἐκβολῆς.
-
- =δαψιλής.= =108= 11. _Plentiful._ Lat. _abundans_.
-
- =δεῖγμα.= =200= 4, =208= 3, =214= 13, =228= 17. _Sample._ Lat.
-         _exemplum_.
-
- =δεινότης.= =182= 13, =264= 12. _Oratorical mastery._ Lat. _facultas
-         dicendi_, _eloquentia_. So =δεινός= =282= 3: see also =182= 3.
-         Cp. D.H. pp. 187, 188; Demetr. pp. 273, 274.
-
- =δεξιῶς.= =80= 14, =92= 20. _Deftly._ Lat. _sollerter_, _feliciter_. In
-         =80= 14 σφόδρα δεξιῶς = ‘with great dexterity, or adroitness,’
-         ‘with great delicacy of touch.’
-
- =δεσμός.= =148= 17. _Fastening._ Lat. _vinculum_.
-
- =δηλωτικός.= =158= 2. _Indicative of._ Lat. _significans_.
-
- =δημηγορία.= =110= 22, =252= 2. _A public discourse_, or _harangue_.
-         Lat. _contio_. Cp. D.H. p. 188.
-
- =δημιούργημα.= =64= 8, =120= 1. _A piece of workmanship._ Lat. _opus_,
-         _opificium_. So δημιουργικός (‘industrial’) =104= 23. Cp. D.H.
-         p. 274. Quintil. (ii. 15. 4) translates πειθοῦς δημιουργός by
-         _persuadendi opifex_.
-
- =διαβεβηκέναι.= =172= 3, =202= 16, =212= 1, =216= 18, =218= 23, =222=
-         23, =244= 19. _To have a mighty stride_, _to be planted
-         wide apart_. Lat. _latis passibus incedere_. Fr. _marcher
-         à grands pas_. In =202= 17, 20, =218= 23, and =222= 23 the
-         noun =διάβασις= is used with reference to the intervals which
-         long syllables and clashing consonants make in pronunciation
-         by retarding the utterance. The μεγάλα τε καὶ διαβεβηκότα
-         εἰς πλάτος ὀνόματα of =212= 1 are _les grands mots à larges
-         allures_.
-
- =διάθεσις.= =154= 14, =160= 18. _Condition_, _arrangement_. Lat.
-         _affectus_, _dispositio_.
-
- =διαιρεῖν.= =180= 17, =184= 5, =194= 15, =218= 20, 21, =272= 17. _To
-         divide_, _to resolve_. Lat. _seiungere_, _resolvere_. So
-         =διαίρεσις= =122= 8, =138= 1, =272= 7.
-
- =διακεκλάσθαι.= =172= 7. _To be broken_ or _enervated_. Lat. _frangi_,
-         _corrumpi_, _in delicias effundi_. Cp. similar uses of
-         διαθρύπτεσθαι. In _de Demosth._ c. 43 ῥυθμοὶ διακλώμενοι are
-         opposed to ῥυθμοὶ ἀνδρώδεις.
-
- =διακλέπτειν.= =176= 19. _To disguise._ Lat. _obscurare_, _occulere_.
-
- =διακόπτειν.= =268= 15. _To cut short_, _to silence_. Lat. _praecidere_.
-
- =διακοσμεῖν.= =218= 20. _To arrange._ Lat. _ordinare_.
-
- =διακρούειν.= =230= 17. _To break into._ Lat. _interrumpere_.
-
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-
-
- =διαλαμβάνειν.= =72= 10, =166= 17, =180= 12, =184= 14, =270= 20, =272=
-         2. _To divide_, _to diversify_. Lat. _distinguere_.
-
- =διαλέγεσθαι.= =208= 9. _To write in prose._ Lat. _soluta oratione uti_.
-
- =διάλειμμα.= =204= 1. _A pause._ Lat. _intermissio_.
-
- =διάλεκτος.= =78= 16, =80= 3, 16, =88= 26, =126= 3, =160= 14, =168= 8,
-         =208= 19, =246= 7. _Language._ Lat. _sermo_. Sometimes used
-         with special reference to a ‘dialect,’ as in =80= 16, =88=
-         26 (so τὴν Ἀτθίδα γλῶτταν =80= 17 = τὴν Ἀτθίδα διάλεκτον _de
-         Demosth._ c. 41); and in other passages, with much the same
-         sense as λέξις (_elocutio_).—In =68= 9, =94= 10, 14, =96= 15,
-         =104= 1, the adjective =διαλεκτικός= means ‘pertaining to
-         dialectic.’
-
- =διαλλαγή.= =126= 1. _Difference._ Lat. _differentia_. So
-         =διαλλάττειν=, =92= 19, =150= 2, =152= 29.
-
- =διάλογος.= =198= 1, =264= 22. _Dialogue._ Lat. _dialogus_. Cp. Demetr.
-         p. 274.
-
- =διαλύειν.= =132= 9, =272= 1. _To break up_, _to resolve_. Lat.
-         _dissolvere_. So =διάλυσις= =138= 4.
-
- =διαναπαύειν.= =134= 17. _To relieve_, _to break up_. Lat. _diluere_.
-
- =διάνοια.= =74= 7, 16, =112= 21. _Mind_, _thought_. Lat. _mens_,
-         _cogitatio_.
-
- =διὰ πέντε.= =126= 4, 17. _The interval of a fifth._ Lat.
-         _diapente_, _quinque tonorum intervallum_. So =διὰ πασῶν= =126=
-         18, of the _octave_.
-
- =διαποικίλλειν.= =214= 8, =248= 10, =254= 18. _To variegate._ Lat.
-         _depingere_, _distinguere_.
-
- =διαρτᾶν.= =206= 6. _To separate_, _to break up_. Lat. _seiungere_. Cp.
-         _de Demosth._ c. 40 ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας.
-
- =διασαλεύειν.= =102= 21, =230= 9, =240= 13. _To shake_ (as by storm),
-         _to disturb_. Lat. _perturbare_, _concutere_. In =230= 9 and
-         =240= 13 the reference is to troubling the smooth waters of the
-         cadences by sounds that jolt and jar.
-
- =διασπᾶν.= =222= 19, =230= 24. _To dislocate._ Lat. _divellere_. Cp.
-         Demetr. p. 274, s.v. διασπασμός, and Quintil. ix. 4. 33 “tum
-         vocalium concursus; qui cum accidit, hiat et intersistit et
-         quasi laborat oratio.”
-
- =διάστασις.= =206= 3, 5, =210= 18. _Distance._ Lat. _distantia_.
-
- =διάστημα.= =126= 3, 16, =270= 12. _Interval._ Lat. _spatium_,
-         _intervallum_.
-
- =διαστολή.= =278= 5, 7. _Division._ Lat. _divisio_. By διαστολαί (which
-         he opposes to metrical cola) Dionysius means the natural
-         divisions, or pauses, observed in prose in order to bring out
-         the sense and to secure good delivery, in accordance with the
-         requirements of grammar and rhetoric. Cp. the later use of
-         διαστολή for division by means of a comma—for _punctuation_, as
-         we should say.
-
- =διατέμνειν.= =270= 13. _To cut up._ Lat. _discindere_, _concidere_.
-
- =διατιθέναι.= =130= 5, 15, =134= 8, 11. _To affect._ Lat. _adficere_.
-
- =διάτονος.= =194= 8, =196= 4. _Diatonic._ Lat. _diatonicus_. For the
-         diatonic scale see n. on =194= 8.
-
- =διαφορά.= =68= 21, =152= 14, etc. _Difference_, _variety_. Lat.
-         _differentia_.
-
- =διαχάλασμα.= =230= 24. _Loosening._ Lat. _resolutio_. Cp. Epicrates
-         (ap. Athen. xiii. 570 B) on Lais in her old age: ἐπεὶ δὲ
-         δολιχὸν τοῖς ἔτεσιν ἤδη τρέχει | τὰς ἁρμονίας τε διαχαλᾷ τοῦ
-         σώματος.
-
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-
-
- =διελκυσμός.= =204= 3. _Struggle_, _tussle_. Lat. _luctatio_.
-         Cp. argum. Aristoph. _Acharn._ εἶτα γενομένου διελκυσμοῦ
-         κατενεχθεὶς ὁ χορὸς ἀπολύει τὸν Δικαιόπολιν, i.e. “a tussle
-         (wrangle) arises, in which the Chorus is overborne and lets go
-         Dicaeopolis.”
-
- =διέξοδος.= =150= 1. _Outlet_, _egress_. Lat. _exitus_.
-
- =διερείδειν.= =220= 3. _To thrust apart._ Lat. _disiungere_. The object
-         of the thrusting apart (or separation) is to give each word
-         a firm position (as with the combination of strut and tie in
-         Caesar’s bridge over the Rhine, for which see E. Kitson Clark
-         in _Classical Review_ xxii. 144-147). So =διερεισμός= =222= 10,
-         =224= 14. In =202= 9 =διερείδεσθαι= = _conniti_.
-
- =δίεσις.= =126= 20. _A quarter-tone_, or _any interval smaller
-         than a semitone_. Lat. _diesis_. As to the reason for the
-         disappearance of the quarter-tone from our modern musical
-         system see n. on =194= 7 (extract from Macran’s _Harmonics of
-         Aristoxenus_). See, further, L. and S., s.v. δίεσις and λεῖμμα.
-         The word occurs also in _de Lys._ c. 11 ὥστε μηδὲ τὴν ἐλαχίστην
-         ἐν τοῖς διαστήμασι δίεσιν ἀγνοεῖν. Suidas defines δίεσις as τὸ
-         ἐλάχιστον μέτρον τῶν ἐναρμονίων διαστημάτων. Cp. Vitruv. _de
-         Arch._ v. 3.
-
- =διευκρινεῖν.= =208= 4. _To determine._ Lat. _diiudicare_.
-
- =διευστοχεῖν.= =124= 17. _To go straight to the mark._ Lat. _recta ad
-         scopum tendere_. For the genitive cp. Polyb. ii. 45 (of Aratus)
-         ἄνδρα δυνάμενον πάσης εὐστοχεῖν περιστάσεως.
-
- =διηνεκής.= =142= 2. _Unbroken_, _uninterrupted_. Lat. _continuus_,
-         _perpetuus_.
-
- =διθυραμβοποιός.= =194= 23. _Writer of dithyrambs._ Lat. _dithyrambicus
-         poëta_. Cp. D.H. p. 188, s.v. διθύραμβος.
-
- =διιστάναι.= =144= 4, =202= 17, =204= 21, =206= 4, =222= 5, =224= 8,
-         =236= 6. _To keep apart._ Lat. _diducere_. Cp. Diog. Laert. iv.
-         6 ἦν δὲ [ὁ Ἀρκεσίλαος] ἐν τῇ λαλιᾷ διαστατικὸς τῶν ὀνομάτων,
-         i.e. distinct in his enunciation. In =230= 17 διέστακεν =
-         διέσπακεν.
-
- =δίκαιος.= =224= 2, 10. _Legitimate_, _regular_. Lat. _iustus_. The
-         normal measure of a long syllable is meant.
-
- =δικανικός.= =112= 11, =252= 2. _Forensic._ Lat. _iudicialis_,
-         _forensis_.
-
- =διορίζειν.= =218= 16. _To separate by a boundary._ Lat. _disterminare_.
-
- =διοχλεῖν.= =116= 19, =122= 18. _To distress._ Lat. _sollicitare_.
-
- =διπλοῦς.= =144= 9, 10, 15. _Double_, _compound_. Lat. _duplex_. Cp.
-         Demetr. p. 276.
-
- =δισύλλαβος.= =126= 13, =168= 12, =170= 14, =202= 14. _Disyllabic._
-         Lat. _disyllabus_. αἱ δισύλλαβοι (λέξεις) = _disyllables_.
-
- =δίχρονος.= =140= 17, 19, =142= 1, 6, =150= 18. _Double-timed_,
-         _doubtful_, _common_. Lat. _communis_, _anceps_.
-
- =δόξα.= =134= 4. _Opinion_, _personal judgment_. Lat. _opinio_. Opposed
-         to ἐπιστήμη.
-
- =δύναμις.= =72= 25, 26, =130= 22, 23, =134= 17, =136= 20, etc. _Power_,
-         _faculty_, _function_. Lat. _potentia_, _facultas_. Used, more
-         than once in this treatise, of ‘phonetic value’ or ‘effect.’
-         Fr. _valeur_. In =266= 7 τῆς ἑαυτοῦ δυνάμεως denotes ‘mental
-         powers,’ τῆς ἑαυτοῦ διανοίας being used in the parallel passage
-         of _de Demosth._ c. 51.
-
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-
-
- =δυσειδής.= =144= 4. _Ungraceful._ Lat. _deformis_.
-
- =δυσέκφορος.= =132= 2, =162= 5, 16, =232= 15. _Hard to pronounce._ Lat.
-         _difficilis pronuntiatu_. Cp. =δυσεκφόρητος= in =220= 13.
-
- =δυσηχής.= =162= 15. _Ill-sounding._ Lat. _ingratus auditu_. [According
-         to Sauppe’s conjecture on p. 163 n.: cp. δυσηχές =144= 4, as
-         given by PMV.]
-
- =δυσπερίληπτος.= =206= 23. _Not easily included._ Lat. _qui facile
-         includi nequit_.
-
- =δυσχέρεια.= =134= 24, =168= 3. _Offensiveness._ Lat. _molestia_.
-
- =δυσωπεῖσθαι.= =134= 21. _To be shy of._ Lat. _prae pudore
-         reformidare_. The active voice is found in _de Lys._ c. 11.
-
- =Δώριος.= =196= 1. _Dorian._ Lat. _Dorius_, _Doricus_. Cp. Monro’s
-         _Modes of Ancient Greek Music_, passim.
-
-
- =ἐγγίζειν.= =144= 16. _To approach._ Lat. _appropinquare_.
-
- =ἐγκάθισμα.= =202= 25, =232= 16. _Dwelling on a syllable_,
-         _prolongation_. Lat. _sessio_, _mora vocis tamquam
-         considentis_. Fr. _temps d’arrêt_. Cp. _de Demosth._ c. 43 ἐν
-         τούτοις γὰρ δὴ τά τε φωνήεντα πολλαχῇ συγκρουόμενα δῆλά ἐστι
-         καὶ τὰ ἡμίφωνα καὶ ἄφωνα, ἐξ ὧν στηριγμούς τε καὶ ἐγκαθισμοὺς
-         αἱ ἁρμονίαι λαμβάνουσι καὶ τραχύτητας αἱ φωναὶ συχνάς.
-
- =ἐγκαταπλέκειν.= =134= 12. _To interweave._ Lat. _innectere_. The
-         uncompounded =πλέκειν= occurs in =154= 9.
-
- =ἐγκατάσκευος.= =182= 7. _Highly-wrought._ Lat. =elaboratus=. Cp.
-         Demetr. _de Eloc._ § 15 οὕτω γὰρ καὶ ἐγκατάσκευος ἔσται (ὁ
-         λόγος) καὶ ἁπλοῦς ἅμα, καὶ ἐξ ἀμφοῖν ἡδύς, καὶ οὔτε μάλα
-         ἰδιωτικὸς οὔτε μάλα σοφιστικός. See, further, D.H. pp. 189,
-         194, and Demetr. p. 276.
-
- =ἔγκλισις.= =108= 3, =264= 5. _Mood_ (of verb). Lat. _modus_. Cp. _de
-         Demosth._ c. 52 γένη, πτώσεις, ἀριθμούς, ἐγκλίσεις. In =102= 19
-         τῶν ἐγκλινομένων = ‘derivative, or secondary, forms.’
-
- =ἐγκοπή.= =220= 13. _Hindrance_, _interruption_. Lat. _impedimentum_.
-         Cp. _Ep. i. ad Cor._ ix. 12 ἵνα μὴ ἐγκοπήν τινα δῶμεν τῷ
-         εὐαγγελίῳ τοῦ Χριστοῦ. [In Long. _de Subl._ xli. 3 κατ’ ἐγκοπάς
-         seems to refer to notches or incisions as made by carpenters in
-         dovetailing.]
-
- =ἐγκύκλιος.= =262= 20. _Broad_, _general_ (of education). Lat. _orbis
-         doctrinae_. (Quintil. i. 10. 1.) Wilamowitz-Moellendorff
-         _Greek Historical Writing_ p. 15: “At latest in the school of
-         Posidonius—and I think a little earlier—the so-called ἐγκύκλιος
-         παιδεία, or ‘universal instruction,’ was formed into a system
-         which has continued to our own Universities in the form of ‘the
-         seven liberal arts.’ The study of history has no place in it;
-         astronomy, architecture, and medicine have.”
-
- =ἕδρα.= =108= 4, =234= 2, =244= 18. _Position_, _foundation_. Lat.
-         _sedes_. Cp. Demetr. p. 277. So =ἑδράσαι= =106= 7, =ἀνέδραστος=
-         =232= 4, =δύσεδρος= =106= 8, =εὔεδρος= =106= 9.
-
- =εἰδικός.= =208= 12, =246= 19. _Specific._ Lat. _specialis_.
-
- =εἰκαῖος.= =74= 10. _Random_, _casual_. Lat. _temerarius_.
-
- =εἰκών.= =124= 20. _Illustration._ Lat. _similitudo_.
-
- =εἰλικρινῶς.= =220= 11. _Completely_, _with no alloy_. Lat. _sincere_.
-
- =εἰσαγωγή.= =114= 9. _Introduction._ Lat. _praefatio_.
-
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-
-
- =ἐκλογή.= =68= 4, 12, =74= 15, =78= 8, =182= 6, =200= 15, =246= 13,
-         =252= 27. _Choice._ Lat. _delectus_. The ἐκλογή of words is
-         constantly contrasted with their σύνθεσις. Cp. =ἐκλέγειν= =74=
-         9, =182= 3.
-
- =ἐκλογίζεσθαι.= =200= 6. _To consider fully._ Lat. _expendere_,
-         _percensere_.
-
- =ἐκμαλάττειν.= =134= 10. _To soften._ Lat. _emollire_, _mulcere_.
-
- =ἐκμάττεσθαι.= =250= 14. _To take the impress of._ Lat. _exprimere_,
-         _imitari_. Cp. _de Demosth._ c. 4 τὴν ἐπίθετον καὶ
-         κατεσκευασμένην φράσιν τῶν περὶ Γοργίαν ἐκμέμακται, and c. 13
-         τὸν Λυσιακὸν χαρακτῆρα ἐκμέμακται εἰς ὄνυχα (i.e. _ad unguem_,
-         _ad amussim_).
-
- =ἐκμέλεια.= =124= 1. _False note._ Lat. _dissonantia_.
-
- =ἐκμιμεῖσθαι.= =70= 4. _To copy._ Lat. _imitari_, _imitando effingere_.
-
- =ἐκπληροῦν.= =212= 15. _To fill out_, _to round off_. Lat. _orbem
-         orationis implere_.
-
- =ἔκστασις.= =156= 20. _Astonishment._ Lat. _stupor_. Cp. _Ev. Marc._
-         xvi. 8 εἶχε δὲ αὐτὰς τρόμος καὶ ἔκστασις.
-
- =ἔκτασις.= =204= 3, =268= 19. _Stretching_, _lengthening_. Lat.
-         _productio_. Cp. Demetr. p. 277.
-
- =ἐκτείνειν.= =140= 18, =142= 10. _To lengthen_, _to prolong_. Lat.
-         _producere_.
-
- =ἐκφαίνειν.= =154= 22. _To reproduce._ Lat. _referre_.
-
- =ἐκφανής.= =246= 1. _Prominent._ Lat. _conspicuus_.
-
- =ἐκφέρειν.= =68= 12, =84= 6, =94= 10, 15, =106= 19, =108= 3, =112= 9,
-         =114= 1, =116= 24, =118= 6, 15, etc. _To utter_, _to produce_:
-         with various cognate meanings. Lat. _edere_, _promere_.
-
- =ἐκφορά.= =112= 15, =142= 7. _Utterance._ Lat. _pronuntiatio_.
-
- =ἐκφωνεῖν.= =140= 5. _To pronounce._ Lat. _pronuntiare_. Cp. Demetr. p.
-         278.
-
- =ἐλάττωσις.= =156= 22. _Curtailment._ Lat. _imminutio_.
-
- =ἐλεγειακός.= =256= 23. _Elegiac._ Lat. _elegiacus_. Coupled with
-         πεντάμετρον.
-
- =ἐλεύθερος.= =212= 9. _Unfettered._ Lat. _liber_. Epithet applied to
-         κῶλα.
-
- =ἐμπερίοδος.= =118= 15. _In periods_, _periodic_. Lat. _periodo
-         inclusus_.
-
- =ἐμφαίνειν.= =110= 19, =212= 13, =228= 7, =254= 17, 21. _To indicate._
-         Lat. _indicare_, _ostendere_.
-
- =ἐναγώνιος.= =90= 6, =198= 1. _Forensic._ Lat. _forensis_. With some
-         notion of _combative_, _incisive_, _vehement_. Cp. δικανικός,
-         p. 196 _supra_.
-
- =ἔναρθρος.= =136= 22. _Articulate._ Lat. _articulatus_.
-
- =ἐναρμόνιος.= =194= 7, =196= 3, 11. _Enharmonic._ Lat. _enarmonicus_.
-         For the enharmonic scale see note on =194= 7.—In =108= 10 and
-         =196= 11 the word is used in a less restricted sense. Cp.
-         _de Demosth._ c. 24 νῦν μὲν γὰρ δυσὶ περιλαμβανομένη κώλοις
-         σύμμετρός ἐστι [ἡ περίοδος] καὶ ἐναρμόνιος καὶ στρογγύλη καὶ
-         βάσιν εἴληφεν ἀσφαλῆ.
-
- =ἐνδεχομένων.= =96= 17. _Admissible._ Lat. _licitus_.
-
- =ἐνεξουσιάζειν.= =196= 5: see n. _ad loc._
-
- =ἐνέργεια.= =204= 1, =268= 5. _Activity._ Lat. _actio_.
-
- =ἑνικῶς.= =106= 18. _In the singular number._ Lat. _singulariter_.
-
- =ἔντεχνος.= =134= 2, =272= 21, 23. _According to the rules of art_,
-         _artistic_, _systematic_. Lat. _artificiosus_.
-
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-
-
- =ἑξάμετρος.= =194= 3. _Of six measures_, _hexameter_ (line: στίχος).
-         Lat. _hexameter_.
-
- =ἑξάπους.= =84= 21. _Of six feet._ Lat. _sex constans pedibus_.
-
- =ἕξις.= =66= 1, =122= 24, =268= 4, 11, 26. _State_ or _habit_ (_of
-         body_ or _mind_); _skill based on practice_. Lat. _habitus_,
-         _habilitas_, _peritia_.
-
- =ἐπαγγέλλεσθαι.= =94= 9. _To profess to teach a subject._ Lat.
-         _profiteri_.
-
- =ἐπαγωγός.= =162= 2. _Conducive to._ Lat. _aptus ad inducendum_. For
-         the genitive cp. s.v. ἀγωγή, p. 285 _supra_.
-
- =ἐπανθεῖν.= =198= 10. _To bloom._ Lat. _efflorescere_.
-
- =ἐπεισόδιον.= =196= 24. _Pleasure-giving addition_, _episode_. Lat.
-         _episodium_.
-
- =ἐπιγραφή.= =96= 13, =104= 4. _Title._ Lat. _inscriptio_.
-
- =ἐπιδείκνυσθαι.= =162= 2, =228= 9, =254= 1. _To make a display of._
-         Lat. _prae se ferre_, _ostentare_.
-
- =ἐπιθαλάμιον= (sc. ποίημα). =258= 7. _Bridal song._ Lat. _epithalamium_.
-
- =ἐπίθετον.= =102= 17. _An addition_, _epithet_, _adjective_ (‘the
-         qualifier,’ Puttenham’s sixteenth-century _Arte of English
-         Poesie_). Lat. _ad nomen adiunctum_, _appositum_ (Quintil.
-         viii. 3. 43; 6. 29). The ἐπίθετον seems to be regarded
-         by Dionysius as a separate part of speech: cp. Steinthal
-         _Geschichte der Sprachwissenschaft bei den Griechen und Römern_
-         ii. p. 251 “Was das ἐπίθετον, das Adjectivum betrifft: so ist
-         es im Alterthum vielleicht von Niemandem, höchstens aber nur
-         von dem einen oder andren Grammatiker zum besonderen Redetheil
-         gemacht.”
-
- =ἐπικίνδυνος.= =80= 13. _Hazardous._ Lat. _periculosus_. _Aventuré_
-         would perhaps be a better French equivalent, in this context,
-         than _risqué_.
-
- =ἐπίκοινος.= =150= 4. _Common_ (i.e. belonging equally to both). Lat.
-         _communis_.
-
- =ἐπικός.= =214= 2, =274= 7. _Epic._ Lat. _epicus_. ἐπικὴ ποίησις =
-         _epic poetry_.
-
- =ἐπικρύπτειν.= =134= 16, =198= 10. _To hide_, _to veil_. Lat.
-         _occultare_.
-
- =ἐπιλαμπρύνειν.= =144= 2. _To make crisp and clear._ Lat. _clarum
-         reddere_. Cp. Plut. _Mor._ 912 C καὶ οἱ βάτραχοι, προσδοκῶντες
-         ὄμβρον, ἐπιλαμπρύνουσι τὴν φωνὴν ὑπὸ χαρᾶς.
-
- =ἐπίρρημα.= =70= 21. _Adverb._ Lat. _adverbium_.
-
- =ἐπισκοτεῖν.= =134= 14, =260= 1. _To overshadow._ Lat. _obscurare_.
-
- =ἐπίστασις.= =68= 1. _Attention._ Lat. _cura_. Cp. ἀνεπιστάτως,
-         _heedlessly_, =74= 6: so Long. _de Subl._ xxxiii. 4 ὑπὸ
-         μεγαλοφυΐας ἀνεπιστάτως παρενηνεγμένα, ‘introduced with all the
-         heedlessness of genius.’
-
- =ἐπιστήμη.= =104= 15, =110= 8, =124= 5, 21, =134= 3. _Knowledge_,
-         _science_. Lat. _scientia_.
-
- =ἐπίτασις.= =210= 5. _Tightening._ Lat. _intentio_.
-
- =ἐπιτάφιος.= =116= 2, =178= 1, =180= 8. _Funeral speech_ (sub. λόγος).
-         Lat. _oratio funebris_.
-
- =ἐπιταχύνειν.= =204= 8, 22. _To quicken._ Lat. _accelerare_.
-
- =ἐπιτείνειν.= =126= 4. _To raise the pitch._ Lat. _intendere_.
-
- =ἐπιτερπής.= =228= 12. _Delightful._ Lat. _iucundus_.
-
- =ἐπιτετηδευμένως.= =260= 25. _Deliberately._ Lat. _de industria_. Cp.
-         ἐπιτηδεύειν =136= 18, and ἀνεπιτήδευτος (p. 288 _supra_).
-
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-
-
- =ἐπιτήδευσις.= =70= 6, =212= 19. _Pains_, _study_. Lat. _studium_,
-         _industria_.
-
- =ἐπιτρόχαλος.= =180= 14. _Running_, _tripping_. Lat. _velox_,
-         _volubilis_. Cp. _de Demosth._ c. 40 ἐπιτρόχαλος δή τις γίνεται
-         καὶ καταφερὴς ἡ ῥύσις τῆς λέξεως, ὥσπερ κατὰ πρανοῦς φερόμενα
-         χωρίου νάματα μηδενὸς αὐτοῖς ἀντικρούοντος.—In Hom. _Il._ iii.
-         213 ἐπιτροχάδην = _trippingly_, _unfalteringly_.
-
- =ἐπιτυχής.= =268= 13. _Successful._ Lat. _voti compos_.
-
- =ἐπιφέρειν.= =88= 16. _To quote._ Lat. _citare_, _laudare_, _proferre_.
-         Cp. Demetr. p. 281.
-
- =ἐποποιός.= =194= 2, =236= 15. _Epic poet._ Lat. _poëta epicus_. So τὰ
-         ἔπη (=270= 19) = _versus epici_.
-
- =ἐποχή.= =204= 2. _Delay_, _suspense_. Lat. _impedimentum_, _retentio_.
-
- =ἐπῳδός.= =194= 12, =278= 9. _After-song_, _coda_, _epode_. In this
-         sense (that of the part of a lyric ode which is sung after the
-         strophe and antistrophe) the word is feminine. In =194= 20, if
-         the masculine ὀλίγοις is rightly read, the special meaning of
-         ἐπῳδός will be _refrain_, _burden_: a meaning somewhat nearer
-         that of the Latin _epodos_.
-
- =ἐρείδειν.= =142= 13. _To thrust._ Lat. _trudere_. So ἔρεισις =204= 4.
-         In =210= 16 ἐρείδεσθαι = _to be firmly planted_.
-
- =ἑρμηνεία.= =66= 18, =76= 9, =78= 19, =84= 11, =172= 17, =182= 5.
-         _Expression_, _style_. Lat. _elocutio_. The word appears in the
-         title of the treatise περὶ ἑρμηνείας which passes under the
-         name of Demetrius. So =ἑρμηνεύειν= (_to express_) in =76= 9,
-         =186= 18, =204= 8, =260= 20. Cp. Demetr. p. 282 (s.v. ἑρμηνεία
-         and ἑρμηνεύειν).
-
- =ἐτυμολογία.= =160= 6. _Etymology_: with reference to Plato’s
-         _Cratylus_. For Latin equivalents cp. Quintil. i. 6. 28
-         “_etymologia_, quae verborum originem inquirit, a Cicerone
-         dicta est _notatio_, quia nomen eius apud Aristotelem invenitur
-         σύμβολον, quod est _nota_; nam verbum ex verbo ductum, id est
-         _veriloquium_, ipse Cicero, qui finxit, reformidat. sunt qui
-         vim potius intuiti _originationem_ vocent.”
-
- =εὐγενής.= =136= 11, =178= 14, 21, =180= 3. _Well-born_, _noble_.
-         Lat. _generosus_. So =εὐγενεία= =192= 8. The εὐγενής is not
-         necessarily γενναῖος (Aristot. _Rhet._ ii. 15. 3).
-
- =εὔγλωσσος.= =70= 2. _Pleasant on the tongue._ Lat. _suavis_.
-
- =εὔγραμμος.= =230= 31, =246= 3. _Well-drawn_, _well-defined_. Lat.
-         _definitus_.
-
- =εὐγώνιος.= =210= 22. _Four-square._ Lat. _qui angulis rectis constat_,
-         _quadratus_.
-
- =εὐέπεια.= =240= 5, 18, =246= 1, =268= 28. _Beauty of language._ Lat.
-         _verborum elegantia_. In this treatise Dionysius clearly uses
-         the word with special reference to his main subject—_beauty
-         of sound_, _euphony_. So also εὐεπής =218= 10, =222= 6, =224=
-         2, =228= 5, =230= 20; and εὐεπῶς =232= 11. In the _Classical
-         Review_ xviii. 19 the present writer has tried to show that,
-         even in an author so early as Sophocles (_Oed. Tyr._ 928),
-         the word εὐέπεια is to be understood in a rhetorical sense
-         (‘elegant language,’ ‘neatly-turned phrase’: with direct
-         reference to the employment of a ‘figure’ of rhetoric). But,
-         later, the word was used of ‘eloquence’ generally (as in
-         the well-known epigram of Simmias on the tomb of Sophocles
-         himself); and to this wider meaning Dionysius here gives a
-         special turn of his own.
-
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-
-
- =εὐήτριος.= =234= 12. _With fine thread_, _well-woven_. Lat. _bene
-         textus_.
-
- =εὔκαιρος.= =134= 18, =196= 25. _Timely_. Lat. _opportunus_,
-         _tempestivus_. So =εὐκαίρως= =132= 3, =εὐκαιρίαν= =242= 3.
-
- =εὐκαταφρόνητος.= =74= 12. _Contemptible_. Lat. _abiectus_, _humilis_.
-
- =εὔκρατος.= =210= 1, =246= 11. _Well-blended_. Lat. _temperatus_. Cp.
-         _de Demosth._ c. 3 ἡ Θρασυμάχειος ἑρμηνεία, μέση τοῖν δυεῖν
-         καὶ εὔκρατος: Cic. _Orat._ 6. 21 “est autem quidam interiectus
-         inter hos medius et quasi temperatus,” etc.—Both in =210= 1 and
-         in =246= 11 the well-supported variant κοινήν is to be noted:
-         it may conceivably have originated in a gloss on εὔκρατον.—In
-         =220= 17 the similar adjective εὐκέραστος is used, though not
-         in reference to the three ἁρμονίαι.
-
- =εὐλάβεια.= =234= 17. _Caution_. Lat. _cautio_. Used in the phrase δι’
-         εὐλαβείας ἔχει.
-
- =εὔλογος.= =158= 12. _Reasonable_. Lat. _rationi consentaneus_. The
-         reference is to resemblances which are not ἄλογοι, but have a
-         natural basis and are grounded in reason.
-
- =εὐμελής.= =130= 6, =134= 9. _Melodious_. Lat. _canorus_.—On the other
-         hand, =ἐμμελής= = _in melody_, _set to music_: =124= 10, =130=
-         6, =254= 2, 8, =270= 5; and so =ἐμμέλεια= =122= 21, =182= 2,
-         =266= 4.
-
- =εὔμετρος.= =254= 6. _Metrical_; _possessing good metrical qualities_.
-         Lat. _metricus_.—On the other hand, =ἔμμετρος= = _in metre_:
-         =74= 4, =76= 1, =168= 8, =176= 1, 21, =254= 2, 4, 14, =270=
-         5. In =270= 10 ἐμμετρία has good manuscript authority. Cp.
-         Aristot. _Rhet._ iii. 8. 1 τὸ δὲ σχῆμα τῆς λέξεως δεῖ μήτε
-         ἔμμετρον εἶναι μήτε ἄρρυθμον.
-
- =εὔμορφος.= =84= 2, =144= 3, =162= 1. _Of beautiful form_. Lat.
-         _formosus_. So εὐμορφία =168= 4, =264= 16.
-
- =εὐπάθεια.= =250= 4. _Pleasure_. Lat. _voluptas_. Plur. εὐπάθειαι =
-         Lat. _deliciae_.
-
- =εὐπαίδευτος.= =228= 10. _Scholarly_, _cultured_. Lat. _doctus_.
-
- =εὐπετής.= =218= 10, =222= 6. _Flowing easily_. Lat. _volubilis_.
-         [According to the reading of P in each passage. But εὐεπές
-         should probably be read.] Cp. εὔρους in =240= 21 and (according
-         to P) in =196= 25.
-
- =εὐπρόφορος.= =132= 2. _Easy to pronounce_. Lat. _facilis pronuntiatu_.
-
- =εὔρους.= =240= 21. _Flowing_, _copious_. Lat. _copiosus_. See also
-         s.v. εὐπετής, _supra_.
-
- =εὔρυθμος.= =124= 10, =130= 8, =134= 9, =236= 3, =254= 6, 18.
-         _Rhythmical_. Lat. _numerosus_, _moderatus_ (Cic. _de Orat._
-         iii. 48. 184; ii. 8. 34). So =εὐρυθμία= =118= 11, =122= 21,
-         =182= 2, =254= 27: cp. Cic. _Orat._ 65. 220 “multum interest
-         utrum numerosa sit, id est, similis numerorum, an plane e
-         numeris constet oratio,” and Quintil. ix. 4. 56 “idque Cicero
-         optime videt, ac testatur frequenter, se, quod numerosum sit,
-         quaerere; ut magis non ἄρρυθμον, quod esset inscitum atque
-         agreste, quam ἔνρυθμον, quod poëticum est, esse compositionem
-         velit.” For =ἔνρυθμος= see =130= 8.
-
- =εὐστομία.= =110= 18, =120= 21. _Beauty of sound_. Lat. _soni
-         suavitas_. Cp. Plato _Crat._ 405 D, 412 E.
-
- =εὔσχημος.= =172= 6. _Graceful_. Lat. _decorus_, _speciosus_.
-
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-
-
- =εὐτελής.= =78= 10, =136= 3. _Commonplace_, _cheap_, _vulgar_. Lat.
-         _vilis_. Cp. D.H. p. 193, and Aristot. _Rhet._ iii. 7. 2.
-
- =εὔτροχος.= =206= 14. _Running easily._ Lat. _celer_, _volubilis_. Cp.
-         γλῶσσα εὔτροχος = _a glib tongue_ (Eur. Bacch. 268).
-
- =εὐτυχῶς.= =186= 3. _Happily_, _successfully_. Lat. _feliciter_. Cp.
-         =εὐτυχοῦσιν= =198= 5, and =ἀτυχεῖ= =198= 16.
-
- =εὐφωνία.= =266= 4. _Euphony_, _musical sound_. Lat. _vocis dulcedo
-         s. suavitas_. So =εὔφωνος= =132= 1, =134= 9, =142= 10, =166=
-         7, 17, =230= 23, =234= 14. For a modern view of the effect
-         of euphony cp. the words of Jowett (_Dialogues of Plato_ i.
-         310): “In all the higher uses of language the sound is the
-         echo of the sense, especially in poetry, in which beauty and
-         expressiveness are given to human thoughts by the harmonious
-         composition of the words, syllables, letters, accents,
-         quantities, rhythms, rhymes, varieties and contrasts of all
-         sorts.” Hence, though no lover of the vicious style sometimes
-         termed “poetic prose,” Jowett says in his _Notes and Sayings_:
-         “If I were a professor of English, I would teach my men that
-         prose writing is a kind of poetry.”
-
- =ἐφάμιλλος.= =116= 8. _Rivalling_, _a match for_. Lat. _aemulus_, _haud
-         impar_.
-
- =ἡγεμών.= =168= 17. _Hegemon._ The metrical foot ᴗ ᴗ. Cp. _de Demosth._
-         c. 47 ὥσπερ οἴονταί τινες καὶ καλοῦσι τὸν οὕτως κατασκευασθέντα
-         ῥυθμὸν ἡγεμόνα.
-
- =Ἡγησιακός.= =90= 19. _Hegesian_, _recalling Hegesias_. Lat.
-         _Hegesiacus_. For Hegesias see Introduction, pp. 52-55 _supra_.
-
- =ἡδονή.= =80= 16, =118= 22, =120= 20, =132= 19, 21. _Charm._ Lat.
-         _iucunditas_, _dulcedo_. Fr. _charme_, _agrément_, _attrait_.
-         Cp. =120= 20-24 τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν
-         χάριν καὶ τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ
-         πάντα τὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸ
-         βάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶ τὰ
-         τούτοις ὅμοια. See also Demetr. p. 284. So =ἡδύς= (_suavis_,
-         _iucundus_; _sweet_, _pleasing_, _agreeable_, _attractive_,
-         _charming_), =68= 6, =74= 13, etc.
-
- =ἡδύνειν.= =130= 11, =146= 8, =148= 6, =160= 15, =164= 13. _To
-         sweeten_; _to delight_, _to charm_. Lat. _dulce reddere_;
-         _demulcere_.
-
- =ἦθος.= =88= 12, =160= 17, =212= 11. _Character_. Lat. _mos_,
-         _indoles_. Cp. Demetr. p. 284, D.H. p. 193. See Jebb’s _Attic
-         Orators_ i. 30, 31 for _pathos_ and _ethos_ in Antiphon (with
-         reference to _C.V._ =212= 10). According to Aristotle’s
-         _Rhetoric_, a speech may be in, or out of, _character_ in
-         reference to (1) speaker, (2) audience, (3) subject.
-
- =ἡμιστίχιον.= =274= 17. _A half-line_, _half-verse_. Lat.
-         _hemistichium_. Cp. Demetr. p. 284, s.v. ἡμίμετρον.
-
- =ἡμιτελής.= =140= 4. _Half-perfect._ Lat. _semiperfectus_.
-
- =ἡμιτόνιον.= =126= 5, 19. _A half-tone_, _semitone_. Lat. _hemitonium_.
-
- =ἡμίφωνος.= =138= 13, =140= 1, =144= 7, =146= 5, =220= 11.
-         _Semi-voiced_, _semi-vocal_. Lat. _semivocalis_. ἡμίφωνα
-         γράμματα = _litterae semivocales_. Cp. s.v. ἄφωνος, p. 292
-         _supra_.
-
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-
-
- =ἠρεμία.= =156= 11, =160= 4. _Rest_, _immobility_. Lat. _quies_,
-         _tranquillitas_. So =ἠρεμεῖν= =142= 1.
-
- =ἡρωϊκός.= =84= 21, =86= 3, =88= 7, =172= 17, =206= 10. _Heroic_ (sc.
-         στίχος: the hexameter line). Lat. _heroicus_. In =172= 17 and
-         =206= 10, with μέτρον.
-
- =ἡσυχῇ.= =148= 8. _Softly_, _gently_. Lat. _sensim_.
-
- =ἠχεῖσθαι.= =138= 12, =142= 7. _To be sounded._ Lat. _pronuntiari_,
-         _sonare_.
-
- =ἦχος.= =130= 19, =138= 11, =142= 14, 19, etc. _Sound._ Lat. _sonus_.
-
-
- =θεατρικός.= =212= 16, =216= 19, =228= 8, =236= 11. _Theatrical_,
-         _showy_. Lat. _theatralis_. Cp. _de Demosth._ c. 25 ἐπὶ τὰ
-         θεατρικὰ τὰ Γοργίεια ταυτὶ παραγίνεται, τὰς ἀντιθέσεις καὶ τὰς
-         παρισώσεις λέγω.
-
- =θεοβλάβεια.= =184= 23. _Madness_, _blindness_. Lat. _mens divinitus
-         laesa_.
-
- =θεώρημα.= =72= 12, 16, =88= 14, =96= 25, =104= 11, etc.
-         _Investigation_, _speculation_; _rule_. Lat. _quaestio_;
-         _praeceptum artis_. Cp. =θεωρία= =66= 8, =96= 14, =98= 2, =102=
-         25, =104= 3, etc., and =θεωρεῖν= =152= 26, =204= 3, =210= 9.
-
- =θηλυκός.= =106= 21. _Of the feminine gender._ Lat. _femininus_.
-
- =θῆλυς.= =172= 7. _Effeminate._ Lat. _muliebris_, _effeminatus_. Cp.
-         Larue van Hook _Metaphorical Terminology of Greek Rhetoric_, p.
-         26, s.v. ἀνδρώδης.
-
- =θηριώδης.= =146= 13. _Beast-like._ Lat. _ferinus_. The term will, of
-         course, apply to vipers as well as other animals: cp. τὸ θηρίον
-         in _Acta Apost_. xxviii. 4, and ἡ θηριακή (‘antidote against a
-         poisonous bite’), whence the word _treacle_.
-
- =θορυβεῖν.= =122= 22. _To hiss off the stage._ Lat. _explodere_.
-
- =θρυλιγμός.= =124= 1. _Harsh sound_, _false note_. Lat. _murmur
-         inconcinnum_, _dissonantia_. Cp. _Hymn. Hom. in Merc._ 486 ὃς
-         δέ κεν αὐτὴν | νῆϊς ἐὼν τὸ πρῶτον ἐπιζαφελῶς ἐρεείνῃ, | μὰψ
-         αὔτως κεν ἔπειτα μετήορά τε θρυλίζοι.
-
-
- =ἰαμβεῖον.= =258= 25, =262= 4. _Iambic line._ Lat. _versus iambicus_.
-
- =ἴαμβος.= =170= 7, =270= 19. _Iambus._ The metrical foot ᴗ –. The
-         adjective =ἰαμβικός= in =184= 11, =258= 19, =276= 10.
-
- =ἰδέα.= =88= 6, =104= 8, =116= 12, =198= 17, =200= 5, =248= 4. _Kind,
-         aspect._ Lat. _genus_, _aspectus_.
-
- =ἰδίωμα.= =240= 23. _Peculiarity._ Lat. _proprietas_. Cp. Long. p. 278,
-         D.H. p. 193.
-
- =ἰδιώτης.= =124= 2, =272= 19. _Amateur_, _uncultivated_. Lat.
-         _imperitus_. _Idiots_ long bore this meaning of ‘ordinary
-         persons’ in English: cp. Jeremy Taylor, “humility is a duty in
-         great ones as well as in idiots.”
-
- =ἰθυφάλλιον.= =86= 8. _Ithyphallic poem._ Lat. _carmen ithyphallicum_.
-         A poem composed in the measure of the hymns to Priapus. Cp.
-         Masqueray _Abriss der griechischen Metrik_ pp. 191, 192.
-
- =ἰσομεγέθης.= =270= 16. _Equal in size._ Lat. _par magnitudine_.
-
- =ἱστορία.= =214= 1. _History._ Lat. _historia_. So =ἱστορικός=,
-         _suited to narrative_, =90= 6. In =66= 14 ἱστορία = _inquiry_,
-         _investigation_.
-
- =ἰσχυρός.= =162= 23, =210= 17, =216= 16. _Strong_, _vigorous_. Lat.
-         _firmus_, _robustus_. In =216= 16 there may be some sense of
-         _nerveux_.—ἰσχύς occurs in =68= 19, =72= 19, etc.; ῥώμη in =84=
-         13; κράτος in =72= 14.
-
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-
-
- =Ἰωνικός.= =86= 14. _Ionic._ Lat. _Ionicus_. The Ionic tetrameter is
-         meant. Cp. Masqueray, _op. cit._ pp. 137 ff.
-
-
- =καθαρός.= =68= 4, =74= 18, =230= 14. _Pure._ Lat. _purus_. For
-         Greek and Latin authors as conscious purists, cp. Terence’s
-         “in hac est pura oratio,” or Dionysius’ τὸ καθαρεύειν τὴν
-         διάλεκτον (_de Lysia_ c. 2). See C. N. Smiley’s dissertation
-         on _Latinitas and Ἑλληνισμός_, and L. Laurand’s _Études sur le
-         style des discours de Cicéron_ pp. 19 ff. (the section headed
-         “Pureté de la langue”).
-
- =καθολικός.= =134= 2. _General._ Lat. _universalis_.
-
- =καινότης.= =232= 20. _Novelty._ Lat. _novitas_. Used in a condemnatory
-         sense: ‘innovation,’ ‘singularity,’ ‘eccentricity.’
-
- =καινοτομεῖν.= =254= 23. _To break new ground._ Lat. _novare_. It is
-         a mining metaphor—from the opening of a new vein. Cp. _de
-         Thucyd._ c. 2.
-
- =καινουργεῖν.= =200= 18. _To introduce new features._ Lat. _novitati
-         studere_.
-
- =καιρός.= =132= 15, 20, 21. _Sense of measure_, _tact_, _taste_. See S.
-         H. Butcher’s _Harvard Lectures on Greek Subjects_, pp. 117-120,
-         for καιρός as a word without any single or precise equivalent
-         in any other language. Cp. =εὔκαιρος= =134= 18, =196= 25;
-         =εὐκαίρως= =132= 3; =εὐκαιρία= =242= 3.
-
- =κακόφωνος.= =132= 1, =164= 11. _Ill-sounding._ Lat. _male sonans_. Cp.
-         Demetr. p. 286.
-
- =καλλιεπής.= =180= 3. _Choice in diction._ Lat. _suaviloquens_.
-         It is the word used of Agathon in Aristoph. _Thesm._ 49
-         (_Classical Review_ xviii. 20). Cp. D.H. p. 193, with the
-         passages there quoted: to which may be added Plato _Apol._ 17
-         B κεκαλλιεπημένους λόγους, and (for ἔπος only) Thucyd. iii. 67
-         λόγοι ἔπεσι κοσμηθέντες and ii. 41 ὅστις ἔπεσι μὲν τὸ αὐτίκα
-         τέρψει.
-
- =καλλιλογία.= =164= 20, =166= 12. _Elegant language._ Lat. _venusta
-         elocutio_. So καλλιλογεῖν of ‘verbal embellishment,’ =80= 12.
-
- =καλλιρήμων.= =74= 18, =166= 7. _Couched in elegant phrase._ Lat.
-         _elegantibus ornatus verbis_.
-
- =κάλλος.= =78= 19, =84= 10, =94= 2, =160= 13, =172= 16, =182= 5, =256=
-         5. _Beauty_ (of language). Lat. _pulchritude_. Cp. Aristot.
-         _Rhet._ iii. 2. 13.
-
- =καλός.= =118= 23, =120= 22, =136= 8, =160= 13, 14, =178= 15, _passim_.
-         _Beautiful._ Lat. _pulcher_. The word is inadequately
-         translated by ‘beautiful’; and ‘fine’ has unfortunate
-         associations of its own, especially in relation to writing.
-         ‘Noble’ would often be nearer the mark, but that rendering
-         is needed for γενναῖος and εὐγενής (cp. =136= 13, =178= 15,
-         etc.). In English we lack a single word to denote that _noble
-         beauty_ which is sometimes seen in a human face, and which
-         suggests an ultimate harmony of things. The meaning of καλός,
-         as distinguished from ἡδύς (in reference to composition), may
-         be gathered from such passages as =68= 5 (τῷ σεμνῷ τὸ ἡδύ) and
-         =120= 22-24 (see under ἡδονή, p. 302 _supra_). The antithesis
-         is not, as has sometimes been thought, that of pleasure to the
-         _ear_ and beauty to the _mind_. In this treatise Dionysius is
-         dealing not with subject matter (ὁ πραγματικὸς τόπος) but with
-         expression, and that chiefly from the euphonic point of view.
-         καλός includes certain forms of pleasure—of the ear as well as
-         of the mind: cp. Aristot. _Rhet._ iii. 1405 b and Demetr. _de
-         Eloc._ § 177 ὡρίσατο δ’ αὐτὰ (καλὰ ὀνόματα) Θεόφραστος οὕτως·
-         κάλλος ὀνόματός ἐστι τὸ πρὸς τὴν ἀκοὴν ἢ πρὸς τὴν ὄψιν ἡδύ, ἢ
-         τὸ τῇ διανοίᾳ ἔντιμον. Cp., further, _gravitas_)(_suavitas_,
-         Cic. _Or._ §§ 62, 182; _honestus_)(_iucundus_, Quintil. ix. 4.
-         146; ἡδεῖαν καὶ μεγαλοπρεπῆ Aristot. _Rhet._ iii. 12.
-
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-
-
- =κατακεκλασμένος.= =184= 17. _Broken_, _nerveless_. Lat. _fractus_,
-         _mollis_. Fr. _faible_, _maigre_, _rompu_. Cp. κατακλωμένους,
-         =262= 12, where Dionysius seems to indicate the broken (but by
-         no means nerveless) foot
-
-         –  ᴗ –   –
- (τοσαύ)την ὑπάρξαι.
-
- So Long. _de Subl._ xli. 1 μικροποιοῦν δ’ οὐδὲν οὕτως ἐν τοῖς
-         ὑψηλοῖς, ὡς ῥυθμὸς κεκλασμένος λόγων καὶ σεσοβημένος, οἷον δὴ
-         πυρρίχιοι καὶ τροχαῖοι καὶ διχόρειοι, τέλεον εἰς ὀρχηστικὸν
-         συνεκπίπτοντες. Cp. Demetr. p. 287.
-
- =καταλαμβάνειν.= =230= 4, 12. _To check._ Lat. _cohibere_, _premere_.
-         Usener’s insertion of σιωπῇ in =230= 12 is perhaps unnecessary.
-         Herod. v. 21 ὁ τῶν Περσέων θάνατος οὕτω καταλαμφθεὶς ἐσιγήθη
-         (i.e. “Persarum caedes ita silentio compressa est”) does not
-         decide the point.
-
- =κατάληξις.= =178= 20, =184= 9, =258= 13. _Final syllable._ Lat.
-         _syllaba terminalis_. With =178= 20 cp. =178= 13 καὶ συλλαβὴν
-         ὑφ’ ἧς τελειοῦται τὸ κῶλον. See also Long. _de Subl._ xli.
-         2 τὰς ὀφειλομένας καταλήξεις, and Demetr. p. 287 (s.v.
-         καταληκτικός).
-
- =κατάλογος.= =168= 1. _Catalogue._ Lat. _enumeratio_. The Homeric
-         ‘Catalogue’ (in _Il._ ii.) is meant.
-
- =καταμετρεῖν.= =174= 24, =182= 16. _To measure._ Lat. _emetiri_. Cp.
-         _de Demosth._ c. 39.
-
- =καταπυκνοῦν.= =162= 4, 16. _To pack._ Lat. _stipare_. Fr. _charger_.
-
- =κατασκευή.= =70= 4, =156= 13, =160= 19, =164= 12. _Artistic
-         treatment._ Lat. _ornatus_. The Latin _apparatus_, and French
-         _apprêt_, will also give something of the meaning. Cp.
-         =κατασκευάζειν= =106= 3, =140= 9, =154= 3, 14, 17, =158= 1, 4,
-         etc. See also D.H. p. 194, under κατασκευή (with the passages
-         there quoted) and κατασκευάζειν.
-
- =κατασπᾶν.= =204= 24. _To pull down._ Lat. _detrahere_. Cp. the use of
-         κατεσπευσμένα and κατεσπεῦσθαι in Long. _de Subl._ xix. 2, xl.
-         4. [It is possible that κατεσπεῦσθαι should be read in _C.V._
-         =204= 24.]
-
- =κατάστασις.= =200= 8. _State._ Lat. _condicio_.
-
- =καταφορά.= =204= 19. _Downrush._ Lat. _decursus_.
-
- =καταχλευάζειν.= =264= 9. _To jeer._ Lat. _cavillari_, _irridere_.
-
- =κατάχρησις.= =78= 16. _Catachresis._ Lat. _abusio_. A definition is
-         given by Quintil. viii. 6. 34 “eo magis necessaria κατάχρησις,
-         quam recte dicimus _abusionem_, quae non habentibus nomen suum
-         accommodat, quod in proximo est: sic _Equum divina Palladis
-         arte Aedificant_.” Cp. Cic. _Orat._ 27. 94, where the same
-         Latin equivalent is given, though not the same description
-         of the figure: “Aristoteles autem translationi et haec ipsa
-         subiungit et abusionem, quam κατάχρησιν vocant, ut cum minutum
-         dicimus animum pro parvo, et abutimur verbis propinquis, si
-         opus est, vel quod delectat vel quod decet” (cp. _Auct. ad
-         Her._ iv. c. 33). In Cic. _Acad._ ii. 47. 143, “Quid ergo
-         Academici appellamur? an abutimur gloria nominis?” the meaning
-         probably is: ‘do we use the glorious name of ‘Academic’ in an
-         unnatural way?’
-
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-
-
- =κατεσπουδασμένος.= =156= 7. _Earnest._ Lat. _anxius_, _instans_. Cp.
-         Herod. ii. 174.
-
- =κεραννύναι.= =218= 7, =240= 17, =246= 12, =248= 17, etc. _To mix_, _to
-         temper_. Lat. _commiscere_, _temperare_. Cp. the adjectives
-         εὔκρατος and εὐκέραστος, p. 301 _supra_. The general sense
-         in =248= 17 is, ‘qui aient su mieux qu’eux faire un heureux
-         mélange des couleurs.’
-
- =κερατοειδής.= =146= 12. _Sounding like a horn._ Lat. _sonus veluti
-         corneus_. κερατοειδεῖς ἤχους = ‘sounds like (the sounds of)
-         a horn’: cp. _Hymn. Hom. in Merc._ 81 μυρσινοειδέας ὄζους,
-         ‘branches like (the branches of) myrtle.’
-
- =κεφάλαιον.= =68= 18, =120= 25, =130= 14, =136= 7, =160= 8. _Heading_,
-         _topic_, _sum and substance_. Lat. _caput_, _summa_. So
-         =κεφαλαιωδῶς=, =112= 21, _under heads_.
-
- =κηλεῖν.= =124= 13. _To charm._ Lat. _permulcere_.
-
- =κινεῖν.= =146= 8, =194= 12. _To excite_, _to disturb_. Lat. _movere_.
-         So κίνησις, _movement_, =124= 8, =160= 3, =244= 20; and
-         =κινητικός=, =158= 12.
-
- =κλέπτειν.= =196= 17. _To cheat_, _to disguise_. Lat. _dissimulare_,
-         _obtegere_. Cp. Demetr. p. 288.
-
- =κοινός.= =120= 13, =122= 14, =148= 14, =164= 22, =200= 7, =210= 1
-         (according to one reading), =236= 11, =252= 28. _Common_,
-         _mixed_, _general_. Lat. _communis_. For the meaning ‘in
-         general terms’ cp. _de Dinarcho_ c. 8 λέγω δὲ ταῦτα οὐκ ἐν
-         τῷ καθόλου τρόπῳ, ὡς μηδὲν τούτων κατορθοῦντος, ἀλλ’ ἐν τῷ
-         κοινοτέρῳ καὶ ὡς ἐπὶ τὸ πολύ.
-
- =κολακικός.= =236= 9. _Alluring._ Lat. _blandus_.
-
- =κόμμα.= =270= 15, =276= 2. _Short clause_, _phrase_. Lat. _incisum_
-         (Cic. _Orat._ 62. 211; Quintil. ix. 4. 22). Fr. _incise_.
-         Cp. Demetr. p. 288; Quintil, ix. 4. 122 “_incisum_ (quantum
-         mea fert opinio) erit sensus non expleto numero conclusus,
-         plerisque pars membri”; _C.V._ =270= 15 κόμματα ...
-         βραχύτερα κώλων. So κομμάτιον =274= 14, =276= 6. [The terms
-         _comma_, _colon_, and _period_ are now specially applied to
-         punctuation.] For illustrations of κῶλα and κόμματα drawn from
-         Cicero see Laurand’s _Études_ p. 128. In _de Demosth._ c. 39
-         the adjective κομματικῶς is found: ἀποιήτως δέ πως καὶ ἀφελῶς
-         καὶ τὰ πλείω κομματικῶς (i.e. per brevia commata et incisa)
-         κατεσκευάσθαι βούλεται.
-
- =κόπτειν.= =132= 4, =198= 7. _To smite upon_, _to weary_. Lat.
-         _obtundere_. Used in reference to the ear, when it receives
-         ‘hammer-strokes of sound.’
-
- =κόρος.= =124= 18, =132= 11, =192= 18, =196= 18, =252= 25. _Satiety._
-         Lat. _satietas_ (Cic. _Orat._ 65. 219). In using this word
-         Dionysius often has in mind Pindar _Nem._ vii. 52 (κόρον δ’
-         ἔχει καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ ἀφροδίσια): a passage which
-         he quotes in _Ep. ad Pomp._ c. 3.
-
- =κορυφή.= =248= 4. _Top_, _head_. Lat. _caput_. Cp. κορυφαῖος
-         (_headman_) and ἀκόρυφος (=230= 31).
-
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-
-
- =κορωνίς.= =94= 4. _Colophon_, _finis_. Lat. _coronis_. μέχρι κορωνίδος
-         διελθεῖν = ‘usque ad calcem perlegere,’ ‘from title to
-         colophon.’
-
- =κρᾶσις.= =130= 25, =154= 10, =220= 12. _A mixing_, _blending_. Lat.
-         _mistura_.
-
- =κράτιστος.= =70= 1, =120= 18, =134= 20, =142= 5, =150= 10, =160= 5,
-         =162= 3, 15, =176= 15, =196= 10, =206= 21, =214= 16, =250= 16,
-         =260= 21. _Strongest_, _finest_, _best_. Lat. _fortissimus_,
-         _optimus_. It is not always easy to determine in these passages
-         whether the meaning is general or special. But in =162= 3
-         κρατίστοις is opposed to μαλακωτάτοις. When he wishes to be
-         quite explicit, Dionysius can use ἰσχυρός (=162= 23), or
-         βέλτιστος.
-
- =κράτος.= =70= 5, =72= 14, etc. _Force_, _power_. Lat. _vis_, _robur_.
-
- =κρητικός.= =174= 11, =260= 23, =262= 9. _Cretic._ The metrical foot
-         – ᴗ –. For the cretic foot cp. Cic. _de Orat._ iii. 47. 183
-         and _Or._ 64. 218; Quintil. ix. 4. 81, 97, 104, 107. In the
-         Epitome c. 17 the equivalent term ἀμφίμακρος is used instead
-         of κρητικός. For the excessive use in prose of the cretic (as,
-         indeed, of any other distinctly metrical) rhythm cp. Walter C.
-         Summers in _Classical Quarterly_ ii. 173.
-
- =κριτήριον.= =250= 7. _Criterion._ Lat. _iudicium_.
-
- =κροῦσις.= =124= 8, =144= 1, =268= 7. _Stroke_; _note_ (_of an
-         instrument_). Lat. _pulsus_.
-
- =κτενίζειν.= =264= 22. _To comb._ Lat. _pectere_. Parallel metaphors
-         from Latin literature are quoted in Larue van Hook’s
-         _Metaphorical Terminology of Greek Rhetoric_ p. 23.
-
- =κυκλικός.= =174= 4. _Cyclic._ Lat. _cyclicus_. Goodell (_Greek Metric_
-         pp. 168 ff.) points out that the much-debated question of
-         ‘cyclic’ or ‘three-timed’ anapaests and dactyls hinges on this
-         passage (=174= 4), together with part of c. 20 (=204= 16-=206=
-         16). As he says (p. 175 _ibid._), “It is clear that Dionysius
-         does not regard even these irrational dactyls as three-timed
-         merely; the nearest approach to that view is in the remark that
-         some are not much longer than trochees. But that implies that
-         even the briefest are somewhat longer than trochees.” Goodell
-         also suggests (p. 181) that κυκλικός in Dionysius corresponds
-         to στρογγύλος in a passage of Aristides Quintilianus. Clearly
-         the elaborate structure of the ‘cyclic dactyl’ cannot stand
-         securely upon so slight a foundation as these statements of
-         Dionysius. See further in Goodell (_op. cit._), and also in L.
-         Vernier _Traité de métrique grecque et latine_ c. 14 pp. 169 ff.
-
- =κύκλος.= =198= 6, =212= 14, =246= 3. _A circle_, _a round_. Lat.
-         _orbis_, _ambitus_.
-
- =κύριος.= =84= 5, =208= 24, =246= 11. _Accredited_, _regular_,
-         _proper_. Lat. _proprius_. Fr. _propre_ (in _le mot propre_).
-         Cp. D.H. p. 195, Demetr. p. 289; and (in addition to the
-         passages there quoted) Quintil. i. 5. 71 “_propria_ sunt verba,
-         cum id significant, in quod primo denominata sunt: _translata_,
-         cum alium natura intellectum, alium loco praebent.” The
-         meaning ‘proper,’ ‘literal,’ is well illustrated by =208= 24,
-         where κυρίοις (‘used in the ordinary sense’) is opposed to
-         μεταφορικοῖς.
-
- =κῶλον.= =72= 6, 9, =104= 9, =110= 10, =176= 2, =178= 6, 7, =194= 13,
-         22, =218= 18, =230= 16, =234= 20, 21, =276= 2, 6, 14, =278=
-         6, etc., _passim_. _Member_, _clause_, _group of words_. Lat.
-         _membrum_. Fr. _membre de phrase_. Cp. Demetr. p. 289, and
-         Aristot. _Rhet._ iii. 9. 5 κῶλον δ’ ἐστὶν τὸ ἕτερον μόριον
-         ταύτης [sc. περιόδου], Quintil. ix. 4. 22 “_membra_, quae
-         κῶλα (dicuntur),” Long, _de Subl._ xl. 1 ἡ τῶν μελῶν [this
-         illustrates the metaphor in κῶλον] ἐπισύνθεσις. For the
-         length of the κῶλον cp. Sandys’ _Orator of Cicero_ p. 222 and
-         Laurand’s _Études_ pp. 127-9; and see, generally, A. du Mesnil
-         _Über die rhetorischen Kunstformen, Komma, Kolon, Periode_.
-
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-
-
- =κωμῳδεῖν.= =264= 9. _To scoff._ Lat. _iocari_, _illudere_.
-
-
- =λαμβάνειν.= =100= 26, =104= 17, 20, =106= 18, 19, =108= 2, 5, 8,
-         _passim_. _To take_, _to employ_. Lat. _sumere_, _adhibere_.
-
- =λεαίνειν.= =130= 19, =164= 12. _To smooth_, _to fall softly on_. Lat.
-         _polire_, _mulcere_.
-
- =λεῖος.= =132= 1, =154= 12, =162= 23, =222= 5, =228= 4, =234= 14.
-         _Smooth._ Lat. _levis_. So =λειότης= (_douceur_) =240= 6. Cp.
-         Demetr. _de Eloc._ § 176 παρὰ δὲ τοῖς μουσικοῖς λέγεταί τι
-         ὄνομα λεῖον, καὶ ἕτερον τὸ τραχύ, καὶ ἄλλο εὐπαγές, καὶ ἄλλ’
-         ὀγκηρόν. λεῖον μὲν οὖν ἐστιν ὄνομα τὸ διὰ φωνηέντων ἢ πάντων ἢ
-         διὰ πλειόνων, οἷον Αἴας, τραχὺ δὲ οἷον βέβρωκεν.
-
- =λεκτικός.= =66= 7, =96= 9. _Relating to style or expression._
-         Lat. _qui ad elocutionem spectat_. ὁ λεκτικὸς τόπος = the
-         province of expression, as distinguished from ὁ πραγματικὸς
-         τόπος.—=λεκτικῶς=, =258= 3, = _after the manner of prose_.
-
- =λέξις.= =66= 16, =70= 3, 11, 14, =74= 3, 8, =84= 15 (‘passages’),
-         =88= 22, 25, =90= 4, =110= 9, =112= 6, _passim_. _Speech
-         or language_; _utterance_; _diction_; _style_; _word_,
-         _expression_, _passage_. Lat. _dictio_, _elocutio_, _verbum
-         s. locutio_. For the broad meaning ‘word’ or ‘phrase,’ common
-         in Greek writers of the later periods, cp. =66= 16, =124= 23,
-         =128= 5, =168= 10, =202= 22, =206= 6, =268= 19.
-
- =λῆρος.= =90= 20. _Trumpery._ Lat. _ineptiae_. Cp. _de Demosth._ c. 25
-         καὶ διὰ τῶν λήρων τούτων κοσμεῖ τὴν φράσιν.
-
- =λιτός.= =76= 8. _Trifling._ Lat. _exiguus_, _humilis_. For λιτός =
-         _plain_, _simple_, cp. Aristot. _Rhet._ iii. 16 ποικίλος καὶ οὐ
-         λιτός.
-
- =λογάδην.= =210= 21. _Casually._ Lat. _fortuito_. Dionysius has in mind
-         not _selected_ stones, but stones _collected_ (picked up) as
-         they lie. Cp. Joseph. _Antiqq. Iud._ iv. 8. 5 (Naber) καὶ βωμὸς
-         εἷς ἐκ λίθων μὴ κατειργασμένων ἀλλὰ λογάδην συγκειμένων (i.e.
-         _collecticiis_), and Thucyd. iv. 31 καὶ γάρ τι καὶ ἔρυμα αὐτόθι
-         ἦν παλαιὸν λίθων λογάδην πεποιημένον, vi. 66 καὶ ἐπὶ τῷ Δάσκωνι
-         ἔρυμά τι, ᾗ εὐεφοδώτατον ἦν τοῖς πολεμίοις, λίθοις λογάδην καὶ
-         ξύλοις διὰ ταχέων ὤρθωσαν.
-
- =λογικός.= =146= 14. _Rational._ Lat. _rationalis_. This passage
-         (θηριώδους γὰρ καὶ ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ
-         φωνῆς ὁ συριγμός) helps to illustrate the use of λογικός in
-         =130= 3 (δεδειγμένης τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς),
-         where singing and ordinary speech (the sounds of music and
-         those of spoken language) are contrasted.
-
- =λογογράφος.= =158= 1. _Prose-writer._ Lat. _solutae orationis
-         scriptor_. So perhaps Aristot. _Rhet._ ii. 11 καὶ ὧν ἔπαινοι
-         καὶ ἐγκώμια λέγονται ἢ ὑπὸ ποιητῶν ἢ λογογράφων, and Thucyd.
-         i. 21 καὶ οὔτε ὡς ποιηταὶ ὑμνήκασι ... οὔτε ὡς λογογράφοι
-         ξυνέθεσαν κτλ.: though in both these passages ‘chroniclers’
-         may be specially meant. For the meaning ‘professional
-         speech-writer’ cp. Aristot. _Rhet._ iii. 12. 2. In _C.V._ =154=
-         17 συγγραφέων is found in the same sense (‘prose-writers’) as
-         λογογράφοι in =158= 1.
-
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-
-
- =λογοείδεια.= =272= 15. _Prose-character._ Lat. _color prosaicus_.
-         Fr. _la couleur prosaïque_. The word is well explained and
-         illustrated by a scholiast on Hephaestion (Westphal _Scriptores
-         Metrici Graeci_ i. 167): πολιτικὸν δέ ἐστι τὸ ἄνευ πάθους ἢ
-         τρόπου πεποιημένον, οἷον
-
-             ἵππους τε ξανθὰς ἑκατὸν καὶ πεντήκοντα [_Il._ xi. 680],
-
-         ὅπερ ταὐτόν ἐστι τῷ λογοειδεῖ.—In Demetr. _de Eloc._ § 41 τὸ
-         λογικόν is found in the same sense.
-
- =λόγος.= =64= 13, =66= 5, 8, =70= 10, =72= 7, 10, 14, =74= 6, =76=
-         2, =84= 14, 16, =92= 23, =94= 2, _passim_. _Discourse_,
-         _language_. Lat. _oratio_, _sermo_. Often used of _prose_, as
-         opposed to poetry: cp. =84= 14, 16, =108= 11 (λόγοις πεζοῖς),
-         =118= 22, =154= 2 (λόγοις ψιλοῖς), =166= 4, =208= 6, =270=
-         17, =272= 9, 13, 17, 19, 28, =278= 6, 9 (where the meaning
-         probably is ‘a piece of continuous prose’), =280= 18; so καὶ
-         ἐν ποιήσει καὶ ἐν λόγοις (Aristot. _Rhet._ iii. 2. 7; further
-         references in Bonitz’ _Index Aristotelicus_ p. 433). In many
-         passages (e.g. =66= 5, =210= 8, =218= 1, =248= 4) ‘writing’
-         or ‘literature’ (cp. ἡ τῶν λόγων φιλοσοφία = ‘the study of
-         literature,’ _Rhet. ad Alex._ c. 1) will be a possible modern
-         equivalent, though we must always bear in mind the Greek point
-         of view, that what we call ‘literature’ was something conveyed
-         by the living voice,—something spoken or read aloud.—See also
-         s.v. ἄμετρος p. 287 _supra_.
-
- =Λύδιος.= =196= 2. _Lydian._ Lat. _Lydius_. Cp. Monro’s _Modes of
-         Ancient Greek Music_, passim.
-
-
- =μαλακός.= =132= 1, =154= 11, =162= 3, etc. _Soft._ Lat. _mollis_. So
-         =μαλθακός= =90= 20. In some passages (=90= 20, =170= 9) the
-         word suggests the idea of ‘lacking in backbone,’ ‘unmanly,’
-         ‘effeminate.’ Fr. _délicat_, or (rather) _mou_.
-
- =μεγαλοπρεπής.= =136= 12, =166= 2, 18, etc. _Grand_, _impressive_,
-         _splendid_. Lat. _magnificus_. Fr. _magnifique_. So
-         μεγαλοπρέπεια (_la grandeur_), =120= 22, =164= 20.
-
- =μέγεθος.= =172= 11, =174= 19. _Grandeur_, _elevation_. Lat.
-         _magnitudo_, _sublimitas_. Fr. _ampleur_. Cp. Demetr. p. 292.
-
- =μεθαρμόζειν.= =112= 2. _To arrange differently_, _to re-arrange_. Lat.
-         _aliter componere_.
-
- =μειοῦν.= =128= 18, =152= 20. _To lessen_, _to curtail_. Lat.
-         _minuere_. Fr. _retrancher_. So =μείωσις= =110= 15. The word
-         does not, in the _C.V._, bear the special sense of _extenuare_.
-
- =μελικός.= =130= 7, =252= 21, =254= 21, =278= 4. _Melodious_, _lyric_.
-         Lat. _lyricus_. In English ‘lyric’ is a more generally
-         intelligible rendering than ‘melic,’ though less exact. “To
-         the writers of the Alexandrian age, who introduced and gave
-         currency to the expression, ‘lyric’ meant primarily what the
-         name imports—poetry sung to the accompaniment of the lyre....
-         More appropriate than ‘lyric,’ as an exact and comprehensive
-         designation of all poetry that was sung to a musical
-         accompaniment, is ‘melic,’ the term in vogue among the Greeks
-         of the classic ages,” Weir Smyth _Greek Melic Poets_ pp. xvii,
-         xviii. Apparently the _adjectives_ μελικός and λυρικός are both
-         late.
-
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-
-
- =μελιχρός.= =70= 2. _Honey-sweet._ Lat. _mellitus_. Cp. _de Demosth._
-         c. 48 ἔν τε ταῖς μεταβολαῖς τοτὲ μὲν τὸ ἀρχαιοπρεπὲς καὶ
-         αὐστηρόν, τοτὲ δὲ τὸ μελιχρὸν καὶ φιλόκαινον ἐμφαινόμενον.
-
- =μέλος.= =204= 3, _limb_: =122= 24, =126= 21 (_bis_), =194= 7, 13,
-         _tune_, _melody_: =120= 18, =122= 11, =130= 4, 11, _melodious
-         effect_, _tunefulness_: =92= 22, =120= 26, =126= 23, =154=
-         2, =192= 21, =194= 5, =250= 11, 16, =254= 5, 8, 15, =272=
-         10, =278= 6, =280= 18, _words set to music_, _song_, _aria_,
-         _chant_, _lay_, _lyric_. Lat. _cantus_, _carmen_, etc.
-         Similarly also =μελοποιία= =214= 3: =μελοποιός= =194= 18, =236=
-         16, 22, =248= 13, =270= 22, =272= 5: =μελῳδεῖν= =126= 18, =128=
-         5: μελῳδία =122= 16, =194= 8, =196= 2.
-
- =μερίζειν.= =144= 22, =220= 25. _To divide._ Lat. _distribuere_.
-
- =μέρος.= =68= 6, =70= 14, =96= 1, etc. _Part._ Lat. _pars_. τὰ τῆς
-         λέξεως μέρη = ‘the parts of speech,’ =70= 14, =96= 14, etc. See
-         also μόριον, p. 311.
-
- =μέσος.= =148= 18, =150= 11, =210= 6, 7, 8, =236= 2, =246= 10.
-         _Middle_, _intermediate_, _average_. Lat. _medius_. So =μέσως=
-         =146= 10, and =μεσότης= =246= 15 (_bis_) (with reference to
-         Aristotle’s use of the word for _le juste milieu_), =248= 11.
-
- =μεταβάλλειν.= =194= 1, 2. _To change_, _to vary_. Lat. _mutare_. As
-         its passive, =μετακειμένην= =266= 1.
-
- =μεταβολή.= =120= 19, =122= 12, =124= 11, 25, =134= 18, 19. _Variety._
-         Lat. _varietas_, _diversitas_. The object of μεταβολή, as
-         conceived by Dionysius, is to diversify style in order to avoid
-         a monotonous uniformity. Variety is one of the chief essentials
-         of good writing, not only in Greek but in all other languages.
-
- =μεταλαμβάνειν.= =132= 7. _To interchange._ Lat. _commutare_.
-
- =μεταπτωτικός.= =140= 20. _Variable._ Lat. _mutabilis_. So
-         =μεταπίπτειν= =96= 17, =250= 7.
-
- =μετασκευή.= =104= 19, =108= 9, =110= 16 (e coni. Schaef.), =114= 10.
-         _Modification._ Lat. _mutatio_. So =μετασκευάζειν= =110= 6. Cp.
-         text in =110= 16 with =104= 19, =108= 9.
-
- =μεταφορά.= =78= 15. _Transference_, _metaphor_. “The figure of
-         transport,” Puttenham. Lat. _translatio_.
-
- =μετέωρος.= =148= 23. _Upper._ Lat. _superior_ (τοὺς μετεώρους ὀδόντας
-         = _dentes superiores_).
-
- =μετοχή.= =72= 1. _Participle._ Lat. _participium_. Cp. D.H. p. 196.
-
- =μετρικός.= =140= 11, =172= 2, =174= 22, =176= 7, =218= 19. _Metrical._
-         Lat. _metricus_. =172= 2 and =174= 22 οἱ μετρικοί = ‘the
-         metrists,’ ‘the theorists on metre’: cp. οἱ ῥυθμικοί =172= 20.
-
- =μέτριος.= =132= 8, =150= 9, =214= 12, =222= 26, =230= 22, =234= 22,
-         =246= 13. _Moderate_, _fair_. Lat. _aequus_.
-
- =μέτρον.= =74= 5, =84= 16, =88= 6, 8, =92= 22, =118= 22, =120= 26,
-         =172= 17, _passim_. _Measure_, _metre_, _verse_, _line_.
-         Lat. _metrum_, _versus_. In Aristot. _Poet._ iv. 7 metres
-         are described as sections of rhythm (τὰ γὰρ μέτρα ὅτι μόρια
-         τῶν ῥυθμῶν ἐστι φανερόν): that is, they are ‘measures,’ or
-         ‘verses’; ‘parts of rhythm,’ which is indefinite and never
-         comes to an end—μέτρον being rhythm cut, as it were, into
-         definite lengths (Cope _Introduction to Aristotle’s Rhetoric_
-         p. 387). When contrasted with μέλη (cp. Plato _Gorg._ 502 C
-         τό τε μέλος—‘the music’—καὶ τὸν ῥυθμὸν καὶ τὸ μέτρον), μέτρα
-         seems to denote the non-lyrical metres generally (hexameters,
-         iambic trimeters, etc.): see =92= 22, =120= 26, =192= 21, and
-         especially =270= 18-23.
-
-[Page 311]
-
-
- =μῆκος.= =150= 22, =154= 6, =204= 2, =224= 15, =264= 4. _Length._ Lat.
-         _longitudo_. So =μηκύνειν= (_to lengthen_) =132= 7, =152= 24,
-         =224= 8, 13, =246= 8. In =246= 8 (and also in =276= 9, where
-         P gives μηκύνειν and MV give μηκύνειν τὸν λόγον) μηκύνειν is
-         used absolutely (= μακρηγορεῖν: cp. Aristoph. _Lys._ 1131
-         πόσους εἴποιμ’ ἂν ἄλλους, εἴ με μηκύνειν δέοι;). In =132= 7
-         the meaning is ‘to prolong, or continue, in the same case with
-         similar terminations’: just as Dionysius himself, inadvertently
-         no doubt, repeats -ων in =132= 9, 10.
-
- =μῖγμα.= =208= 18. _Mixture_, _blend_. Lat. _mistura_. Cp. =μῖξις=
-         =130= 25, =166= 9; and also D.H. p. 197. It is possible that
-         Dionysius may have written μεῖγμα, as in earlier Greek: in _Ep.
-         ad Pomp._ c. 2 it is to be noticed that the manuscripts give
-         δεῖγμα, where the sense clearly calls for μεῖγμα.
-
- =μικρόκομψος.= =90= 20. _Affected_, _finical_. Lat. _bellulus_.
-
- =μικρολογία.= =266= 11. _Trifling_, _pettiness_. Lat. _rerum minutarum
-         cura_. In Theophrastus’ _Characters_ the word is used of
-         attention to trifles on the part of the mean or parsimonious
-         man. Cp. also Demetr. p. 293, s.v. μικρολογεῖν.
-
- =μικρόφωνος.= =142= 9. _Small-voiced_, _non-resonant_. Lat. _qui vocem
-         habet exiguam_, _sonum exiliorem_.
-
- =μίμημα.= =160= 2. _Imitation._ Lat. _imitamentum_. [F.’s reading here
-         is μηνύματα, ‘expressions which indicate’: cp. _de Demosth._ c.
-         51 init.]
-
- =μιμητικός.= =158= 4, 11, =200= 11. _Imitative._ Lat. _ad imitandum
-         aptus_. So =μιμητικῶς= =202= 1.
-
- =μνημεῖον.= =266= 7. _Memorial._ Lat. _monumentum_.
-
- =μολοττός.= =172= 1, =184= 4. _Molossus._ Lat. _molossus_. The metrical
-         foot – – –.
-
- =μονογράμματος.= =152= 20. _Consisting of a single letter._ Lat. _qui
-         unius est litterae_.
-
- =μονόμετρος.= =270= 23. _Consisting of one metre._ Lat. _monometer_.
-         Applicable to poems, like the _Iliad_ and the _Aeneid_, which
-         are written throughout in a single metre.
-
- =μονοσύλλαβος.= =168= 11, =202= 14. _Monosyllabic._ Lat. _monosyllabus_.
-
- =μόριον.= =70= 10, =96= 3, =98= 6, =106= 11, 12, _passim_. _Part_,
-         especially _part of speech_. Lat. _pars_, _pars orationis_.
-         The meaning ‘part of speech’ appears in such passages as ποῖον
-         ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι μορίων (=106= 12), τὰ μόρια τοῦ
-         λόγου (=110= 1), ἓν μόριον λόγου (=126= 7), πᾶν ὄνομα καὶ ῥῆμα
-         καὶ ἄλλο μόριον λέξεως (=168= 10). ‘Words’ simply might serve
-         as a rendering in many cases, except that it is usually well
-         to preserve Dionysius’ idea of ‘words in their syntactical
-         relations,’ ‘words in a sentence.’ In =232= 18 the meaning may
-         be ‘in every word’: so =130= 7, =134= 25, =220= 3, =222= 10,
-         =224= 11.
-
-[Page 312]
-
-
- =μοῦσα.= =126= 16, =252= 20. _Music_, _melody_. Lat. _musica
-         concinnitas_. So =μουσική= =124= 20, =128= 18; =ὁ μουσικός=
-         =138= 6.
-
- =μυγμός.= =138= 10. _A moaning_, _muttering_, _murmur_, _humming_. Lat.
-         _gemitus_. Cp. Demetr. p. 294, and Aesch. _Eum._ 117, 120.
-
- =μύκημα.= =158= 13. _Bellowing._ Lat. _mugitus_.
-
-
- =νεαρός.= =66= 16, =246= 5. _Youthful._ Lat. _iuvenilis_. Cp. note on
-         μειρακιώδης in D.H. p. 196.
-
- =νήτη.= =210= 7. _Lowest note._ Lat. _ima chorda_. See L. & S. s.v.
-         νεάτη.
-
- =νόημα.= =66= 5, =74= 16, =84= 6, =92= 17, =112= 15, =264= 16. _Idea._
-         Lat. _sententia_. Cp. νόησις (_thought_, _perception_) =74= 3,
-         =268= 9; and D.H. p. 197.
-
- =νοῦς.= =212= 15, =276= 1, 8. _Meaning._ Lat. _sententia_. Fr. _sens_,
-         _pensée_.
-
-
- =ξένος.= =78= 17, =252= 24, =272= 11. _Foreign_, _strange_,
-         _unfamiliar_. Lat. _peregrinus_, _inusitatus_, _arcessitus_.
-         Cp. D.H. p. 197, Demetr. p. 294, and _Classical Review_ xviii.
-         20 (as to ξενικός).
-
-
- =οἰκεῖος.= =110= 13, =126= 1, =134= 20, =140= 12, =154= 19, =158= 2,
-         =168= 7. _Akin_, _appropriate_, _fitting_. Lat. _cognatus_,
-         _domesticus_, _decorus_. So =οἰκείως= =72= 8, =118= 14, =134=
-         10: =οἰκειότης= =122= 21, =240= 7: =οἰκειοῦν= =122= 17. If
-         the metaphors are to be fully pressed, we might render οἰκεῖα
-         καὶ φίλα in =110= 13 by ‘to seem loving members of the same
-         family,’ and οἰκείως in =118= 14 by ‘in harmony with their
-         inner significance.’ In =122= 21 οἰκειότης is ‘a natural
-         inclination or instinct.’ On =122= 17 there is the following
-         scholium in M: οἰκειοῦται ἀντὶ τοῦ εὐσταθῶς ἥδεται. In =126=
-         1 τὸ οἰκεῖον (_appropriateness_) seems almost to stand for
-         τὸ πρέπον and to be an illustration of Dionysius’ own love
-         for variety. It is this unusually copious vocabulary of his
-         that does much to relieve the dull monotony of a technical
-         treatise. “In the works of Dionysius, the great representative
-         of a later school of criticism [sc. than that of Aristotle],
-         we meet for the first time a wealth of rhetorical terminology.
-         In his numerous writings we find freely used a fully developed
-         vocabulary, which is completely adequate for the purposes of
-         the professional rhetorician and the broad literary critic”
-         (Larue van Hook _Metaphorical Terminology, etc._ p. 8).
-
- =οἰκονομεῖν.= =176= 18. _To manage._ Lat. _administrare_, _tractare_.
-         So =οἰκονομία= =264= 16. Cp. Aristot. _Poet._ xiii. 6 καὶ ὁ
-         Εὐριπίδης, εἰ καὶ τὰ ἄλλα μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός
-         γε τῶν ποιητῶν φαίνεται: Long. _de Subl._ i. 4 καὶ τὴν τῶν
-         πραγμάτων τάξιν καὶ οἰκονομίαν: Quintil. _Inst. Or._ iii. 3. 9
-         “_oeconomiae_, quae Graece appellata ex cura rerum domesticarum
-         et hic per abusionem posita nomine Latino caret.”
-
- =ὀλιγοσύλλαβος.= =132= 3. _Consisting of few syllables._ Lat. _qui
-         paucis constat syllabis_.
-
- =ὀλιγοσύνδεσμος.= =212= 21. _Sparing in connectives._ Lat. _qui paucis
-         utitur convinctionibus_.
-
- =ὁμογενής.= =146= 10, =148= 9. _Of the same race or family._ Lat.
-         _congener_. Cp. =ὁμοιογενής= (_of like kind_) =72= 24, =132=
-         19, =156= 15; also =ἀνομοιογενής= =132= 19.
-
-[Page 313]
-
-
- =ὁμοειδής.= =192= 18, =198= 6, =270= 19. _Of the same species or kind._
-         Lat. _uniformis_. So =ὁμοείδεια= =274= 1. Cp. Cic. _ad Att._
-         ii. 6 “etenim γεωγραφικά quae constitueram magnum opus est ...
-         et hercule sunt res difficiles ad explicandum et ὁμοειδεῖς nec
-         tam possunt ἀνθηρογραφεῖσθαι quam videbantur.”
-
- =ὁμοζυγία.= =176= 13, =254= 17. _Connexion_, _affinity_. Lat.
-         _coniugatio_.
-
- =ὁμοιοσχήμων.= =270= 16. _Like in shape._ Lat. _forma consimilis_.
-
- =ὁμοιότονος.= =132= 6. _Similarly accented._ Lat. _qui similis est
-         toni_.
-
- =ὁμοιόχρονος.= =132= 6 (_bis_). _Of like quantity._ Lat. _qui similia
-         habet tempora_.
-
- =ὁμότονος.= =128= 7. _Of the same pitch or accent._ Lat. _eiusdem toni
-         s. accentus_.
-
- =ὁμόφωνος.= =128= 9. _With the same note._ Lat. _eiusdem chordae s.
-         soni_.
-
- =ὄνομα.= =66= 5, =70= 9, 13, 20, =74= 12, =84= 6 _passim_. _Word_,
-         _noun_. Lat. _vocabulum_, _nomen_. In =168= 10, =264= 5, etc.,
-         the meaning is ‘noun’; in =264= 3, etc., ‘word.’
-
- =ὀνομασία.= =74= 17, =234= 5, =252= 23, =274= 2. _Wording_, _naming_,
-         _language_. Lat. _elocutio_, _appellatio_. Cp. _Rhet. ad Alex._
-         c. 27 ἀντίθετον μὲν οὖν ἐστι τὸ ἐναντίαν τὴν ὀνομασίαν ἅμα
-         καὶ τὴν δύναμιν τοῖς ἀντικειμένοις ἔχον, ἢ τὸ ἕτερον τούτων:
-         Aristot. _Poet._ vi. 18 λέγω δέ, ὥσπερ πρότερον εἴρηται,
-         λέξιν εἶναι τὴν διὰ τῆς ὀνομασίας ἑρμηνείαν: Dionys. Hal. _de
-         Demosth._ cc. 18, 34, 40: Demetr. _de Eloc._ §§ 91, 304.
-
- =ὀνοματικά, τά.= =70= 18, =102= 16, 17, =132= 7. _Nouns substantive._
-         Lat. _nomina substantiva_.
-
- =ὀξύς.= =126= 5, 8, 10, =128= 6, 8. _Acute_ (accent), _high_ (pitch).
-         Lat. _acutus_. So =ὀξύτης= =126= 14. Cp. s.v. βαρύς, p. 292
-         _supra_. In Aristot. _Poet._ c. 20 ὀξύτητι καὶ βαρύτητι καὶ τῷ
-         μέσῳ = ‘according as they [the letters] are acute, grave, or of
-         an intermediate tone.’
-
- =ὀξύτονος.= =128= 9. _With high pitch or acute accent._ Lat. _qui
-         acutum tonum s. accentum habet_.
-
- =ὅρασις.= =118= 24. _Seeing_, _the act of sight_. Lat. _visus_.
-
- =ὄργανον.= =122= 25, =124= 4, 22. _Musical instrument._ Lat.
-         _instrumentum_. So the adjective =ὀργανικός= (_instrumental_)
-         in =124= 16, =126= 16.
-
- =ὀρθός.= =106= 19. _Nominative._ Lat. _rectus_ (_casus_): viz.
-         ‘uninflected.’ In =102= 19 ‘primary,’ as opposed to
-         ‘secondary’; in =108= 3 ‘active,’ as opposed to ‘passive.’
-         In =258= 25 and =262= 5 the meaning is ‘correct’; in =90=
-         6 perhaps ‘tense’ (see the exx. given in L. & S. under the
-         heading ‘excited’), the opposite of ὕπτιος (_supinus_).
-
- =ὁρίζειν.= =132= 22, =166= 1, =234= 21. _To define_, _to limit_. Lat.
-         _definire_.
-
- =ὅρος.= =182= 13, =200= 25, =210= 5. _Standard_, _condition_,
-         _boundary_. Lat. _regula_, _condicio_, _finis_. With the sense
-         _norma et regula_ in =182= 13 cp. Long. _de Subl._ xxxii. 1 ὁ
-         γὰρ Δημοσθένης ὅρος καὶ τῶν τοιούτων, Dionys. H. _de Demosth._
-         c. 1 ἧς (λέξεως) ὅρος καὶ κανὼν ὁ Θουκυδίδης.
-
- =οὐδέτερος.= =106= 21. _Neuter._ Lat. _qui neutri generis est_. Cp.
-         D.H. p. 198.
-
- =οὐρανός.= =142= 12, =144= 19, =150= 6, =220= 23. _Palate._ Lat.
-         _palatum_. In the margin of R (with reference to =142= 12)
-         there is the note: τὴν ὑπερῴαν φησίν. This sense of οὐρανός is
-         found several times in Aristotle (see Bonitz’ _Index_), and
-         not (as has sometimes been supposed) for the first time in
-         Dionysius. Cp. the converse _caeli palatum_ in Ennius _apud_
-         Cic. _de_ _Nat. Deor._ ii. 18. 48 “sed dum, palato quid sit
-         optimum, iudicat [Epicurus], caeli palatum (ut ait Ennius) non
-         suspexit.”
-
-[Page 314]
-
-
- =οὐσία.= =98= 8. _Substance_, _essence_. Lat. _substantia_.
-
- =ὄχλησις.= =132= 17. _Annoyance_, _disgust_. Lat. _molestia_.
-
- =ὄψις.= =162= 1, 14, =234= 9. _Appearance_, _visage_. Lat. _vultus_,
-         _aspectus_.
-
-
- =πάθος.= =66= 15, =88= 12, =110= 23, =112= 5, =122= 15, _passim_.
-         _Feeling_, _experience_, _emotion_, _affection_, _passion_.
-         Lat. _affectus_ (Quintil. vi. 2. 8), _animi motus_ (Cic. _de
-         Or._ i. 5. 17), _perturbatio_ (id. _Tusc._ iv. 5. 10). Cp.
-         D.H. pp. 198, 199.—In =154= 5, =268= 18 πάθη = ‘properties,’
-         ‘modifications,’ ‘differences.’
-
- =παιάν.= =184= 3, =260= 23, =262= 9. _Paeon._ Lat. _paeon_. The
-         metrical foot so called, consisting of three short syllables
-         and one long in four possible orders—(1) –ᴗᴗᴗ, (2) ᴗ–ᴗᴗ, (3)
-         ᴗᴗ–ᴗ, (4) ᴗᴗᴗ–. These four varieties are sometimes called the
-         _first_, _second_, _third_, and _fourth_ paeon respectively.
-         Cp. Aristot. _Rhet._ iii. 8. 4-6, Cic. _de Orat._ iii. 47.
-         183, Quintil. ix. 4. 47; and see Demetr. p. 296, s.v. παιών.
-         Demetrius (§§ 38, 39) refers to two varieties only: cp. the
-         note on =182= 22 _supra_.
-
- =παιδεία.= =64= 11, =262= 20. _Culture._ Lat. _doctrina_, _humanitas_.
-
- =πανηγυρικός.= =228= 7, =246= 7. _Festal_, _panegyrical_. Lat.
-         _panegyricus_. With the notion of _ornate_: cp. _de Demosth._
-         c. 8 (διάλεκτον) μεγαλοπρεπῆ λιτήν, περιττὴν ἀπέριττον,
-         ἐξηλλαγμένην συνήθη, πανηγυρικὴν ἀληθινήν, αὐστηρὰν ἱλαράν,
-         σύντονον ἀνειμένην, ἡδεῖαν πικράν, ἠθικὴν παθητικήν.
-
- =παραβολή.= =232= 15. _Meeting_, _juxtaposition_. Lat. _concursus_.
-
- =παράγγελμα.= =270= 3, =282= 2, 7. _Rule_, _precept_. Lat. _artis
-         praeceptum_. Cp. Long. _de Subl._ c. 2 τεχνικὰ παραγγέλματα,
-         c. 6 ὡς εἰπεῖν ἐν παραγγέλματι (‘if I must speak in the way of
-         precept’). So =παραγγέλλειν= =132= 16, =268= 11 (cp. _de Lysia_
-         c. 24 ταῦτα μὲν δὴ παραγγέλλουσι ποιεῖν οἱ τεχνογράφοι), and
-         =παραγγελματικός= =214= 9 (= _plenus praeceptis_, _doctrinis_,
-         _regulis_).
-
- =παράδειγμα.= =92= 5, =136= 2, =152= 3, =214= 6, =232= 23, =240= 24,
-         etc. _Instance._ Lat. _exemplum_. τὰ παραδείγματα is often used
-         of appropriate (perhaps customary, or stock) examples: cp. _de
-         Isocr._ cc. 10, 15, _de Demosth._ cc. 13 (middle), 53, and
-         contrast _de Lysia_ c. 34 and _de Demosth._ cc. 13 (end), 20.
-
- =παραδιώκειν.= =206= 13. _To hurry along._ Lat. _abripere_. Cp. the
-         use of συνδεδιωγμένον in Long. _de Subl._ c. 21, and of
-         κατεσπευσμένα c. 19 _ibid._—Usener adopts, in this passage, his
-         own conjecture παραμεμιγμένας.
-
- =παράθεσις.= =130= 25, =154= 11, =166= 9, etc. _Placing._ Lat.
-         _collocatio_.
-
- =παρακεκινδυνευμένος.= =234= 16. _Daring_, _bold_, _venturesome_. Lat.
-         _audax_ (as in Hor. _Carm._ iv. 2. 10). Fr. _aventuré_. Cp.
-         Aristoph. _Ran._ 99 τοιουτονί τι παρακεκινδυνευμένον, | αἰθέρα
-         Διὸς δωμάτιον, ἢ χρόνου πόδα: and see s.v. ἐπικίνδυνος p. 299
-         _supra_. The word is used also in _de Lys._ c. 13, _de Isocr._
-         c. 13, _Ep. ad Pomp._ c. 2.
-
- =παρακολουθεῖν.= =108= 6, =130= 26, =136= 12. _To accompany._ Lat.
-         _accidere_, _consequi_.
-
-[Page 315]
-
-
- =παραλαμβάνειν.= =144= 14, =172= 12, =260= 2, =264= 14. _To introduce_,
-         _to employ_. Lat. _assumere_, _adhibere_.
-
- =παραλλαγή.= =152= 8, 15, 22. _Divergence._ Lat. _discrimen_,
-         _permutatio_.
-
- =παραπλήρωμα.= =116= 3, =166= 17. _Supplement_, _expletive_. Lat.
-         _explementum_, _complementum_. Cp. Cic. _Or._ 69. 230 “apud
-         alios autem et Asiaticos maxime numero servientes inculcata
-         reperias inania quaedam verba quasi complementa numerorum”; and
-         also Demetr. p. 296, s.v. παραπληρωματικός. The word occurs
-         elsewhere in Dionysius: _de Isocr._ c. 3, _de Demosth._ cc. 19,
-         39.
-
- =παρατιθέναι.= =104= 1. _To bring forward_, _to cite_. Lat. _apponere_,
-         _in medium adducere_.
-
- =παραυξάνειν (παραύξειν).= =128= 19, =152= 18. _To lengthen_, _to
-         augment_. Lat. _augere_.
-
- =παρέκτασις.= =154= 21. _Prolongation._ Lat. _extensio_.
-
- =παρεμφαίνειν.= =108= 5. _To hint at_, _to indicate_. Lat. _obiter
-         indicare_. Cp. Demetr. p. 297.
-
- =παρεμφατικός.= =102= 20. _Indicative._ Lat. _indicativus_. Cp.
-         ἀπαρέμφατος p. 289 _supra_.
-
- =παρέργως.= =100= 25. _By the way_, _cursorily_. Lat. _obiter_.
-
- =παρθενωπός.= =234= 15. _Of maiden aspect._ Lat. _qui virgineo vultu
-         est_. The word seems to occur elsewhere only in Eurip. _El._
-         948 ἀλλ’ ἔμοιγ’ εἴη πόσις | μὴ παρθενωπός, ἀλλὰ τἀνδρείου
-         τρόπου [Gilbert Murray: “Ah, that girl-like face! | God grant
-         not that, not that, but some plain grace | Of manhood to the
-         man who brings me love”]. Cp. Cic. _Orat._ 19. 64 “nihil iratum
-         habet [oratio philosophorum], nihil invidum, nihil atrox, nihil
-         miserabile, nihil astutum; casta, verecunda, _virgo incorrupta_
-         quodam modo.”
-
- =πάρισος.= =116= 8, =212= 7, =246= 6. _Parallel in structure._ Lat.
-         _qui constat similibus membris_. Cp. Aristot. _Rhet._ iii. 9.
-         9 παρίσωσις δ’ ἐὰν ἴσα τὰ κῶλα, παρομοίωσις δ’ ἐὰν ὅμοια τὰ
-         ἔσχατα ἔχῃ ἑκάτερον τὸ κῶλον (where ὅμοια τὰ ἔσχατα indicates
-         final letters that rhyme).
-
- =παριστάναι.= =154= 19. _To represent_, _to describe_. Lat.
-         _depingere_. Cp. Long. p. 282.
-
- =παρόμοιος.= =212= 8, =246= 6. _Parallel in sound._ Lat. _qui constat
-         similibus sonis_.
-
- =παχύτης.= =184= 21. _Stupidity_, _fat-headedness_. Lat. _stupor_,
-         _ingenium crassum_. Cp. D.H. p. 200, s.v. παχύς.
-
- =πεζός.= =70= 3, =76= 2, =80= 3, =108= 11, etc. _In prose_, _prosaic_.
-         Lat. _pedester_. πεζὴ λέξις, πεζὴ διάλεκτος, πεζὸς λόγος, πεζοὶ
-         λόγοι = _oratio soluta_. Cp. Quintil. x. 1. 81 “multum enim
-         supra prosam orationem et quam pedestrem Graeci vocant surgit
-         [Plato].” In =120= 27 the metaphor seems still to be strongly
-         felt—‘marching on foot,’ ‘pedestrian.’
-
- =πειθώ.= =84= 11. _Persuasiveness._ Lat. _persuadendi vis_.
-
- =πεῖρα.= =66= 14, =102= 21, =256= 5, etc. _Experience._ Lat.
-         _experientia_.
-
- =πεντάμετρος.= =256= 23. _Consisting of five metrical feet._ Lat.
-         _pentameter_.
-
- =πεντάχρονος.= =262= 9. _Consisting of five times._ Lat. _qui constat
-         temporibus quinque_. See s.v. χρόνοι p. 333 _infra_.
-
-[Page 316]
-
-
- =πεποιημένος.= =78= 17, =252= 24. _Invented_, _original_,
-         _newly-coined_. Lat. _factus_, _novatus_ (Cic. _de Orat._ iii.
-         38. 154; i. 34. 155). Fr. _forgé tout exprès_. Cp. Aristot.
-         _Poet._ xxi. 9; Demetr. p. 297; Quintil. viii. 6. 32 “vix
-         illa, quae πεποιημένα vocant, quae ex vocibus in usum receptis
-         quocunque modo declinantur, nobis permittimus, qualia sunt
-         _Sullaturit_ et _proscripturit_.”
-
- =περιβόητος.= =180= 7. _Notorious_, _celebrated_. Lat. _decantatus_,
-         _celebratus_.
-
- =περίοδος.= =72= 7, 10, =104= 10, =116= 2, etc. _Period._ Lat.
-         _periodus_, _comprehensio_, _verborum ambitus_, etc. See
-         Demetr. p. 298 for various references and equivalents, and also
-         p. 323 (Index); Sandys’ _Orator_ p. 217; Laurand’s _Études_
-         pp. 126, 128.—According to Dionysius, the period should not be
-         used to excess [see n. on =118= 15]. Another weakness of the
-         periodic construction is elsewhere noted by him: τοῦτο δὲ [sc.
-         τὸ παθητικὸν] ἥκιστα δέχεται περίοδος (_de Isocr._ c. 2).
-
- =περισπασμός.= =128= 10. _The circumflex accent._ Lat. _circumflexio_,
-         _accentus circumflexus_. Cp. =περισπωμένας= =126= 11: ‘drawn
-         around,’ ‘twisted,’ ‘circumflexed.’ Aristotle denotes the
-         circumflex accent by the term ‘middle’: ἔστιν δὲ αὐτὴ μὲν ἐν τῇ
-         φωνῇ, πῶς αὐτῇ δεῖ χρῆσθαι πρὸς ἕκαστον πάθος, οἷον πότε μεγάλῃ
-         καὶ πότε μικρᾷ καὶ μέσῃ, καὶ πῶς τοῖς τόνοις, οἷον ὀξείᾳ καὶ
-         βαρείᾳ καὶ μέσῃ, καὶ ῥυθμοῖς τίσι πρὸς ἕκαστα (Aristot. _Rhet._
-         iii. 1. 4).
-
- =περιστέλλειν.= =142= 16. _To contract_, _to pucker up_. Lat.
-         _contrahere_.
-
- =περιττός.= =74= 13, =84= 8, =182= 4, 7. _Extraordinary_, _richly
-         wrought_; _exceedingly good_, _unsurpassed_. Lat. _excellens_,
-         _curiosus_, _elaboratus_. Cp. Long. _de Subl._ xl. 2 (where the
-         word is opposed to κοινὸς καὶ δημώδης), iii. 4, xxxv. 3. See
-         also _de Isocr._ c. 3, _de Demosth._ cc. 8, 56, _Ep. ad Pomp._
-         c. 2 (περιττολογία): also Demetr. p. 298 (περισσοτεχνία).
-
- =περιφανής.= =244= 18. _Seen on every side._ Lat. _conspicuus_. So
-         =περιφάνεια= =210= 17, =234= 2 (‘so that each word should admit
-         an all-round view of it’).—PMV give περιφανές (not περιφερές)
-         in =246= 3.
-
- =περιφερής.= =206= 15, =230= 31, =246= 3. _Circular_, _rounded_. Lat.
-         _rotundus_. Cp. [Dionys. Hal.] _Ars Rhet._ x. 13 τὰ στρογγύλα
-         καὶ τὰ περιφερῆ λέγειν προοίμια. In Demetr. _de Eloc._ § 13
-         περιφερεῖς στέγαι = _vaulted roofs_.
-
- =πεφυκέναι= (c. infin.). =66= 16, =70= 3, =104= 16, etc. _To have a
-         gift for_, _a liking for_. Lat. _solere_, _amare_.
-
- =πεφυλαγμένως.= =148= 1. _Guardedly._ Lat. _caute_. The word is used in
-         the Attic period by Xenophon and Isocrates.
-
- =πιέζειν.= =144= 21, =148= 16, =220= 18, =230= 12. _To close tight_,
-         _to compress_. Lat. _comprimere_.
-
- =πιθανός.= =98= 17, 20, =100= 17, =120= 21. _Attractive_, _plausible_.
-         Lat. _probabilis_, _verisimilis_.
-
- =πικρός.= =232= 15. _Bitter_, _harsh_. Lat. _acerbus_. So =πικραίνειν=
-         =130= 19, =154= 13, =216= 17.
-
- =πίνος.= =120= 23, =136= 16, =212= 24, =236= 8. _Mellowing deposit_,
-         _tinge of antiquity_, _flavour of archaism_. Lat. _antiquitas_,
-         _antiquitas impexa_ (Tac. _Dial._ c. 20), _nitor obsoletus_
-         (_Auct. ad Her._ iv. 4. 46). There is a suggestion of
-         _négligé_ or _abandon_ about the word, but on the whole it
-         is not uncomplimentary: cp. _Ep. ad Pomp._ c. 2 ὅ τε πίνος ὁ
-         τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ λεληθότως ἐπιτρέχει, and _de
-         Demosth._ c. 38 ἀλλ’ [ἵνα] ἐπανθῇ τις αὐταῖς χνοῦς ἀρχαιοπινὴς
-         καὶ χάρις ἀβίαστος. The compound εὐπίνεια is found in Long.
-         _de Subl._ xxx. 1. There is a scholium (preserved in M) on
-         =120= 23, which is, unfortunately, vague and uncertain: =πῖνος=
-         κυρίως ὁ ῥύπος, ἀφ’ οὗ πιναρὰ ῥάκη. λέγεται δὲ καὶ τὸ ἐπανθοῦν
-         τισὶ χνοῶδες ὡς ἐπὶ μήλων καὶ ἀπίων. ἀπὸ τούτου καὶ ἐπὶ τοῦ
-         λόγου τὸ ἐπιφαινόμενον αὐτῷ ἐν τῇ συνθήκῃ τῆς λέξεως ποιὸν
-         πίνον ὀνομάζει. ἔστι δὲ πῖνος καὶ ὄνομα τόπου.
-
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-
-
- =πλάγιος.= =106= 20. _Oblique._ Lat. _obliquus_ (_casus_).
-
- =πλανᾶσθαι.= =254= 16, =270= 18. _To wander_, _to be irregular_.
-         Lat. _vagari_. Used in reference to vague, elastic metre. So
-         περιπεπλανημένα μέτρα in _de Demosth._ c. 50.
-
- =πλάσμα.= =90= 6, =118= 24. _Cast_, _form_. Lat. _imago_, _forma
-         dicendi_. Cp. _Ep. ad Pomp._ c. 4 ὕψος δὲ καὶ κάλλος καὶ
-         μεγαλοπρέπειαν καὶ τὸ λεγόμενον ἰδίως πλάσμα ἱστορικὸν Ἡρόδοτος
-         ἔχει (viz. “elevation, beauty, stateliness, and what is
-         specifically called the ‘historical vein’”); Long. _de Subl._
-         xv. 8 ποιητικὸν τοῦ λόγου καὶ μυθῶδες τὸ πλάσμα (the ‘form’).
-         In _de Demosth._ c. 34 πλάσμα seems to have the same meaning
-         as χαρακτῆρ in c. 33 _ibid._ [The musical meaning of _moulded
-         delivery_, _modulation_ does not emerge in the _C.V._]
-
- =πλάστης.= =264= 2. _Modeller, in clay or wax._ Lat. _fictor_.
-
- =πλάτος.= =210= 9, =212= 1, =246= 19. _Breadth._ Lat. _latitudo_. So
-         =πλατύς= =244= 18. In =210= 9 the meaning is, ‘belongs to the
-         class of ideas which are regarded with a wide indefiniteness.’
-         So in Latin _platice_ = πλατικῶς = ‘broadly,’ ‘generally’: cp.
-         Usener _Rhein. Mus._ xxiv. 311. See also under ἀπαρτίζειν, p.
-         289 _supra_.
-
- =πλεονάζειν.= =146= 13, =214= 12. _To exceed due bounds._ Lat.
-         _redundare_. So =πλεονασμός=, _redundantia_, =110= 15.
-
- =πληγή.= =142= 4, 16, =144= 5. _Stroke_, _impact_. Lat. _ictus_,
-         _percussio_.
-
- =πληθυντικῶς.= =106= 18. _In the plural number._ Lat. _pluraliter_.
-
- =πλοκή.= =72= 5, =130= 22, =166= 9. _Combination._ Lat. _copulatio_.
-
- =πλούσιος.= =92= 18. _Rich._ Lat. _opulentus_. The word is contrasted
-         with =πτωχός= (=92= 17), _beggarly_, _mendicus_: for which cp.
-         the expression τῇ λέξει πτωχεύειν in the passage quoted, from
-         Chrysostom, under ἀπαγγελία p. 288 _supra_.
-
- =πνίγειν.= =142= 18. _To stifle_, _to smother_. Lat. _suffocare_.
-
- =ποίημα.= =76= 10, =78= 5, =100= 23, =154= 2, =166= 4, =192= 8, =250=
-         10, 16, =254= 4, 7, =272= 14. _Poem_; _line of a poem_ (in this
-         sense, more commonly στίχος or ἔπος). Lat. _poëma_, _versus_.
-         So =ποιεῖν= =208= 9, ‘to write poetry,’ and =ποιητής= =74= 8
-         (but in =214= 16 ποιηταί means ‘writers’ generally: cp. _de
-         Demosth._ c. 37 παρ’ οὐδενὶ οὔτε ἐμμέτρων οὔτε πεζῶν ποιητῇ
-         λόγων). ποίημα sometimes refers specially to epic and dramatic
-         poetry (in contrast to song-poetry). In =64= 10 the meaning is
-         ‘product’ simply. For ‘poetry’ =ποίησις= is found: =214= 1, 2,
-         =252= 24, =270= 21, =274= 7, =276= 10.
-
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-
-
- =ποιητικός.= =70= 2, 4, =108= 11, =206= 20, =208= 8, 19, =252= 20, 23,
-         29, etc. _Poetical._ Lat. _poëticus_. In =136= 11 the meaning
-         is ‘productive of.’
-
- =ποικιλία.= =130= 13, =192= 18, =196= 17, 25, =198= 5. _Variety_,
-         _decoration_. Lat. _varietas_. So =ποικίλλειν= =132= 13, =192=
-         20, =196= 9; and =ποικίλος= =110= 11, =154= 19, =160= 10, etc.
-         ποικίλος may be rendered by such adjectives as ‘elaborate,’
-         ‘curious,’ ‘laborious,’ ‘multifarious,’ ‘kaleidoscopic,’
-         ‘ever-varying.’
-
- =πολιτικός.= =64= 15, =72= 17, =124= 21, =130= 10, =214= 1, 5, =254=
-         25, =266= 7, =272= 20. _Civil_, _parliamentary_, _political_,
-         _public_. Lat. _civilis_. See D.H. p. 203 for an explanatory
-         note on πολιτικός. In =72= 17, P has ῥητορικοῖς ἀνδράσι, which
-         is an unlikely periphrasis for ῥήτορσι (=104= 8), but may well
-         indicate the _general meaning_ of πολιτικοῖς ἀνδράσι: cp.
-         _de Demosth._ c. 23 ταῦτα δὲ πολιτικοῖς καὶ ῥήτορσιν ἀνδράσι
-         μελήσει. Compare generally, in Aristot. _Poet._ c. vi., the
-         words τῆς πολιτικῆς καὶ ῥητορικῆς ἔργον ἐστίν, and οἱ μὲν γὰρ
-         ἀρχαῖοι πολιτικῶς ἐποίουν λέγοντας, οἱ δὲ νῦν ῥητορικῶς.
-
- =πολύμετρος.= =272= 5. _Of many measures or metres._ Lat. _qui multis
-         constat metris_.
-
- =πολύμορφος.= =160= 12. _Of many forms._ Lat. _multiformis_. Cp.
-         =πολυειδής= =196= 25, =πολυειδῶς= =270= 11.
-
- =πολυπραγμονεῖν.= =264= 6. _To bother about._ Lat. _summa cura
-         elaborare_.
-
- =πολυσύλλαβος.= =126= 14, =132= 5. _With many syllables._ Lat. _qui
-         syllabis pluribus constat_.
-
- =πολύφωνος.= =160= 23. _Of many voices._ Lat. _qui multas voces
-         emittit_. Used of the variety of tones in Homer’s
-         ‘composition.’ In the _de Sublim._ c. xxxiv. the term is
-         applied to Hypereides, who οὐ πάντα ἑξῆς καὶ μονοτόνως [i.e. at
-         one sustained high pitch] ὡς ὁ Δημοσθένης λέγει.
-
- =πούς.= =86= 1, =168= 12, =172= 20, =174= 22, 24, =178= 7, =184=
-         1, =256= 9, 12, =258= 19, =260= 3. _Metrical foot._ Lat.
-         _pes_. τὸ δ’ αὐτὸ καλῶ πόδα καὶ ῥυθμόν =168= 11. Aristoxenus,
-         Ῥυθμικὰ στοιχεῖα ii. 16, writes: ᾧ σημαινόμεθα τὸν ῥυθμὸν καὶ
-         γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς ἐστιν εἷς ἢ πλείους. Cope
-         (_Introduction to Aristotle’s Rhetoric_ p. 383) thinks that
-         Dionysius neglects the important distinction between βάσις,
-         the unit of rhythm, and πούς, the unit of metre. Goodell
-         (_Greek Metric_ p. 47) thus paraphrases a passage of Marius
-         Victorinus (p. 44 K.): “Between foot and ‘rhythmus’ there is
-         this difference, that a foot cannot exist without rhythm, but
-         a ‘rhythmus’ moves rhythmically without being divisible into
-         feet.” [It is this kind of ‘rhythmus’ that counts in rhythmical
-         prose.]
-
- =πραγματεία.= =68= 8, 14, 17, =70= 8, etc. _Inquiry_, _treatise_,
-         _work_. Lat. _studium_, _commentatio_, _opus_. So
-         =πραγματεύεσθαι= =106= 5, 10, =140= 22, =268= 7.
-
- =πραγματικός.= =66= 6. _Pertaining to subject matter or invention._
-         Lat. _negotialis_. Cp. Quintil. iii. 7. 1 “a parte negotiali,
-         hoc est πραγματικῇ.” The πραγματικὸς τόπος (“tractatio rerum
-         et sententiarum”) covers subject matter, things, thoughts; the
-         λεκτικὸς τόπος includes expression, form, style.
-
- =πραΰς.= =162= 5, =244= 21. _Gentle._ Lat. _lenis_. Cp. Demetr. p. 299.
-
- =πρέπον, τό.= =120= 19, =122= 13, =124= 11, =136= 12, =198= 13, 14.
-         _Propriety_, _appropriateness_, _fitness_. Lat. _decorum_. Fr.
-         _la convenance_. Cp. Cic. _Orat._ 21. 70 “ut enim in vita, sic
-         in oratione nihil est difficilius quam quid deceat videre.
-         πρέπον appellant hoc Graeci; nos dicamus sane decorum; de
-         quo praeclare et multa praecipiuntur et res est cognitione
-         dignissima: huius ignoratione non modo in vita, sed saepissime
-         et in poëmatis et in oratione peccatur.” The Greek rhetoricians
-         drew the term from the language of ethics. Aristot. _Rhet._
-         iii. 7. 1 τὸ δὲ πρέπον ἕξει ἡ λέξις, ἐὰν ᾖ παθητική τε καὶ
-         ἠθικὴ καὶ τοῖς ὑποκειμένοις πράγμασιν ἀνάλογον. So =πρεπώδης=
-         =106= 17.
-
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-
-
- =πριάπειος.= =86= 8. _Priapean_: as a metrical term. Lat. _Priapeius_.
-         Effeminate and ribald verse, written in honour of Priapus, and
-         involving a mutilation of the heroic line.
-
- =προέκθεσις.= =242= 2. _A prefatory account._ Lat. _expositio antea
-         data_.
-
- =πρόθεσις.= =70= 21, =108= 16, =220= 6. _Preposition._ Lat.
-         _praepositio_.
-
- =πρόνοια.= =184= 16, =186= 1. _Deliberation._ Lat. _consilium_.
-
- =προοίμιον.= =224= 24, =252= 3. _Introduction._ Lat. _exordium_.
-
- =προπετής.= =244= 22. _Flowing._ Lat. _volubilis_, _profluens_.
-
- =προσαγόρευσις.= =260= 22. _Address._ Lat. _allocutio_, _compellatio_.
-
- =προσερανίζειν.= =116= 4. _To augment._ Lat. _cumulare_. The period in
-         question has been aided (so to say) by the alms of expletives.
-         For the metaphor cp. συνερανιζόμενα _de Isocr._ c. 3 and ἔρανον
-         _de Imitat._ B. vi. 2.
-
- =προσερείδειν.= =148= 22. _To drive against._ Lat. _impingere_,
-         _allidere_. In =220= 24 προσανίστασθαι is similarly used of
-         ‘rising against.’
-
- =προσεχής.= =84= 6. _Obvious_, _natural_, _allied_, _appropriate_. Lat.
-         _proximus_, _cognatus_ (_cum re coniunctus_). In =258= 24 the
-         sense is ‘adjoining.’
-
- =προσηγορικός.= =70= 17, =102= 17, 18, =218= 6, 11, =220= 7, 16,
-         =222= 24, =230= 1. _Appellative._ Lat. _appellativus_. ὄνομα
-         προσηγορικόν = _common noun_, Lat. _nomen appellativum_.
-         It would appear from Dionysius Thrax (_Ars Grammatica_ p.
-         23 Uhlig) that ὄνομα might include προσηγορία (= ὄνομα
-         προσηγορικόν), while προσηγορία could cover participles
-         (μετοχαί) and adjectives (ἐπίθετα) as well as common nouns.
-         But the strict division is that of proper names and general
-         terms, as given by Dionysius Thrax (_ibid._ pp. 33, 34): κύριον
-         μὲν οὖν ἐστι τὸ τὴν ἰδίαν οὐσίαν, σημαῖνον, οἷον =Ὅμηρος=,
-         =Σωκράτης=. προσηγορικὸν δέ ἐστι τὸ τὴν κοινὴν οὐσίαν σημαῖνον,
-         οἷον =ἄνθρωπος=, =ἵππος=. In such passages as =222= 24 and
-         =230= 1 ‘adjective’ would be an appropriate modern rendering.
-         Quintil. i. 4. 21 “_vocabulum_ an _appellatio_ dicenda sit
-         προσηγορία et subicienda nomini necne, quia parvi refert,
-         liberum opinaturis relinquo.” In =272= 25 =προσηγορία= =
-         _appellation._
-
- =προσίστασθαι.= =132= 8. _To offend._ Lat. _obstrepere_. Cp. _de
-         Isocr._ c. 2 προσιστάμενος ταῖς ἀκοαῖς, c. 14 _ibid._ τῷ γὰρ
-         μὴ ἐν καιρῷ γίνεσθαι, μηδ’ ἐν ὥρᾳ, προσίστασθαί φημι ταῖς
-         ἀκοαῖς, _Antiqq. Rom._ i. 8 μονοειδεῖς γὰρ ἐκεῖναί τε καὶ ταχὺ
-         προσιστάμεναι (= _cito offendunt_) τοῖς ἀκούουσιν.
-
- =προσκατασκευάζειν.= =110= 14 (v.l. προκατασκευάζειν). _To model
-         further_, _remodel_. Lat. _insuper instruere_.
-
- =προσοδιακός.= =86= 3. _Processional_: see n. _ad loc._
-
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-
-
- =προσῳδία.= =128= 12, =196= 17, =268= 20. _Accent._ Lat. _accentus_.
-         The word is defined in =196= 17 τάσεις φωνῆς αἱ καλούμεναι
-         προσῳδίαι. See further s.v. τόνος p. 329 _infra_, and compare
-         Bywater _Aristotle on the Art of Poetry_ p. 336 “προσῳδία
-         with Aristotle comprises accent, breathing, and quantity—all
-         the elements in the spoken word which in the ancient mode of
-         writing were left to be supplied by the reader.” The symbols
-         used in accentuation are supposed to have been introduced
-         by Aristophanes of Byzantium, if not by some still earlier
-         scholar, in order to recall to Greeks and teach foreign
-         learners the true intonation of the language, which was in
-         danger of being corrupted and forgotten when the Greek world
-         grew vast and came to include so many foreign elements.
-
- =πρόσωπον.= =160= 18, =198= 23. _Person_, _character_. Lat. _persona_.
-         Cp. Demetr. p. 300.
-
- =πτῶσις.= =106= 20, =108= 4, =132= 7, =212= 20, =264= 4. _Grammatical
-         case._ Lat. _casus_. ‘_Verbal_ cases’ are mentioned in =108= 4;
-         in Aristotle the term πτῶσις includes inflexions in general.
-
- =πυρρίχιος.= =168= 17. _Pyrrhic._ Lat. _pyrrhichius_. The metrical foot
-         ᴗ ᴗ.
-
-
- =ῥῆμα.= =70= 13, 21, =168= 10, =218= 6, 7, =264= 5. _Verb._ Lat.
-         _verbum_. So =ῥηματικός= =108= 4 (_verbal_), =220= 17 (_verbal
-         form_).
-
- =ῥήτωρ.= =74= 8, =132= 22, =166= 12, =200= 14, =206= 25, =218= 21,
-         =236= 20, =242= 7, =248= 15. _Orator_, _rhetorician_. Lat.
-         _orator_, _rhetor_. As in English we have no similarly
-         two-sided word, it is often hard to decide between the
-         renderings, ‘speaker’ and ‘teacher of speaking.’ So =ῥητορικός=
-         =68= 9, =254= 25, =262= 20.
-
- =ῥοῖζος.= =138= 10. _A whizzing._ Lat. _stridor_.
-
- =ῥυθμίζειν.= =180= 13. _To bring into rhythm_, _to scan_. Lat.
-         _scandere_. Cp. the use of βαίνειν and διαιρεῖν.
-
- =ῥυθμός.= =120= 18, =122= 12, =124= 6, 9, _passim_. _Rhythm_,
-         _harmonious movement of speech_. Lat. _numerus_. For _le
-         nombre oratoire_ in Cicero (whose prose, however, like Roman
-         prose generally, must not be taken to follow exclusively
-         Attic standards) see Laurand’s _Études_ pp. 109-11, and cp.
-         Cic. _Orat._ 20. 67 “quicquid est enim, quod sub aurium
-         mensuram aliquam cadat, etiamsi abest a versu—nam id quidem
-         orationis est vitium—numerus vocatur, qui Graece ῥυθμός
-         dicitur.” Quintil. _Inst. Or._ ix. 4. 45 “omnis structura
-         ac dimensio et copulatio vocum constat aut numeris (numeros
-         ῥυθμούς accipi volo) aut μέτροις, id est dimensione quadam.”
-         It was a suggestive saying of Scaliger’s that metre gives
-         the exact ‘measure’ of the line, rhythm its ‘temperament.’
-         As Dionysius identifies ῥυθμός and πούς (=168= 11; cp. =176=
-         2, 3), we may translate ῥυθμός by ‘foot’ in =180= 11, =182=
-         19 (cp. σπονδεῖος πούς =178= 7), =200= 17, =206= 9, etc.—Cp.
-         Aristot. _Rhet._ iii. 8. 2 τὸ δὲ ἄρρυθμον ἀπέραντον, δεῖ δὲ
-         πεπεράνθαι μέν, μὴ μέτρῳ δέ· ἀηδὲς γὰρ καὶ ἄγνωστον τὸ ἄπειρον.
-         περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς λέξεως
-         ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά· διὸ ῥυθμὸν δεῖ
-         ἔχειν τὸν λόγον, μέτρον δὲ μή· ποίημα γὰρ ἔσται. ῥυθμὸν δὲ μὴ
-         ἀκριβῶς· τοῦτο δὲ ἔσται ἐὰν μέχρι του ᾖ. So =ῥυθμικός= =128=
-         18 (where the reference is to lyric metres), =168= 8, =172= 20
-         (cp. οἱ μετρικοί), =176= 7. Quintilian (ix. 4. 68) provides a
-         good example of the divisions recognized by the _rhythmici_:
-         “quis enim dubitet, unum sensum in hoc et unum spiritum esse:
-         _animadverti, iudices, omnem accusatoris orationem in duas
-         divisam esse partes?_ tamen et duo prima verba et tria proxima
-         et deinceps duo rursus ac tria suos quasi numeros habent
-         spiritum sustinentes, sicut apud rhythmicos aestimantur.”
-
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-
-
- =ῥυπαρός.= =134= 24. _Filthy_, _sordid_. Lat. _sordidus_.
-
- =ῥύσις.= =244= 21. _Flow._ Lat. _fluxus_.
-
- =ῥυσός.= =92= 10. _Wrinkled._ Lat. _rugosus_.
-
- =ῥώθωνες.= =144= 22, 23, =146= 11, =220= 25. _Nostrils._ Lat. _nares_.
-         In =146= 11 διὰ τῶν ῥωθώνων συνηχούμενα = _nasal_.
-
-
- =Σαπφικός.= =258= 7. _Of Sappho._ Lat. _Sapphicus_.
-
- =σαφήνεια.= =160= 22. _Clearness_, _lucidity_. Lat. _perspicuitas_. Fr.
-         _clarté_, _netteté_. The adjective =σαφής= occurs in =210= 4.
-
- =σελίς.= =186= 2. _Page._ Lat. _pagina libri_.
-
- =σεμνότης.= =84= 2, =110= 19, =164= 20, =166= 12, =170= 2, =172= 11,
-         =236= 8. _Gravity_, _majesty_. Lat. _granditas_, _dignitas_,
-         _gravitas_. Fr. _majesté_. So =σεμνολογία= =120= 23, =174=
-         17; =σεμνός= =68= 5, =80= 12, =84= 8, etc. It is not easy to
-         find a good equivalent for σεμνός, as ‘dignified’ comes nearer
-         to ἀξιωματικός; ‘impressive’ (or the like) to μεγαλοπρεπής;
-         ‘lofty,’ ‘elevated,’ or ‘sublime,’ to ὑψηλός. ‘Solemn,’
-         ‘majestic,’ ‘august,’ or ‘stately’ will sometimes serve.
-
- =σημαίνειν.= =74= 3, =134= 25. _To betoken_, _to express_. Lat.
-         _significare_.
-
- =σιγμός.= =138= 10. _A hissing._ Lat. _sibilus_. Fr. _sifflement_.
-
- =σιωπή.= =218= 16, =220= 2, =230= 4. _Silence_, _interval_, _pause_.
-         Lat. _silentium_, _intermissio_. Modern metrists who
-         confine their attention to syllables are apt to neglect the
-         interrelations of silence and sound. Dionysius would, on
-         the contrary, have recognized that the pauses denoted by
-         punctuation are the key to the metre in such lines as “Thy
-         rankest fault; all of them; and require” (_Tempest_ v. 1).
-
- =σκαιότης.= =250= 8. _Clumsiness_, _stupidity_. Lat. _rusticitas_,
-         _imperitia_. Fr. _gaucherie_: cp. the editor’s _Ancient
-         Boeotians_ p. 6.
-
- =σκευωρία.= =264= 7. _Elaboration_. Lat. _cura artificiosa_. Cp. _de
-         Thucyd._ c. 5 σκευωρίαν τεχνικήν, c. 29 μᾶλλον δὲ διθυραμβικῆς
-         σκευωρίας οἰκειότερον: Hesych. σκευωρία· κατασκευή.
-
- =σκιερός.= =234= 13. _Shady_, _dark_. Lat. _obscurus_.
-
- =σκληρός.= =132= 1, =154= 12. _Hard._ Lat. _durus_. Cp. D.H. p. 205.
-
- =σομφός.= =122= 25. _Thick_, _husky_. Lat. _subraucus_, _fuscus_. Cp.
-         Schol. in M, σομφὸν ἤγουν θρυλιγμὸν καὶ ἐκμέλειαν. Some of the
-         MSS. give ἀσύμφωνον, thus repeating a word used a few lines
-         earlier.
-
- =σοφιστής.= =190= 10, =264= 19. _Sophist._ Lat. _sophista_. The
-         comprehensiveness of the term is well illustrated by the fact
-         that in the former passage it is applied to Hegesias, in the
-         latter to Isocrates and Plato. In the parallel passage of the
-         _de Demosth._ (c. 51) ὁρῶν γε δὴ τούτους τοὺς =θαυμαζομένους
-         ἐπὶ σοφίᾳ= καὶ κρατίστων λόγων ποιητὰς νομιζομένους Ἰσοκράτην
-         καὶ Πλάτωνα γλυπτοῖς καὶ τορευτοῖς ἐοικότας ἐκφέροντας λόγους.
-         Cp. Demetr. p. 301.
-
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-
-
- =σπαδονίζειν.= =142= 9. _To emasculate_, _to cramp_. Lat. _spadonium
-         sonum reddere_. This reading seems preferable on several
-         grounds: (1) it is the more difficult of the two; (2) the sense
-         of ‘choke the voice’ seems to agree well with οὐδὲ συγκόψει
-         τοὺς ἤχους (=162= 4 ‘and will not impede the voice’); (3)
-         σπανίζειν (intransitive: cp. _de Demosth._ c. 32, _de Thucyd._
-         c. 19) τοῦ ἤχου would be more common than σπανίζειν τὸν ἦχον:
-         (4) σπαδονισμοὺς τῶν ἤχων (‘impediments to sound,’ ‘arrested
-         sounds’) occurs, without variant, in _de Demosth._ c. 40,
-         and is adopted by U.-R. as well as by other editors; (5) the
-         authority of R seems to support σπαδονίζει rather than (as
-         U.-R. think) σπανίζει.
-
- =σπονδεῖος.= =170= 2, =178= 7 (with πόδες), =202= 20. _Spondee._ The
-         metrical foot – –. Vossius thus describes the effect of the
-         spondee: “hic pes incessum habet tardum et magnificum; itaque
-         rebus gravibus, et maxime sacris, vel ipso attestante vocabulo,
-         imprimis adhibetur.” Cp. Hor. _Ars Poet._ 255 “tardior ut
-         paulo graviorque veniret ad aures, | spondeos stabiles in iura
-         paterna recepit [sc. iambus],” and Cic. _Orat._ 64. 216.
-
- =σπουδάζειν.= =66= 8, =94= 16. _To be eager._ Lat. _studere_, _sedulo
-         operam navare_. For the middle voice of this verb see note on
-         p. 95 _supra_. The noun =σπουδή= occurs in =156= 14, =186= 4,
-         =192= 7, =212= 16.
-
- =σταθερός.= =234= 4. _Steadfast._ Lat. _stabilis_. τὸ σταθερόν = _la
-         lenteur grave_.
-
- =στάθμη.= =236= 4. _A carpenter’s line or rule._ Lat. _amussis_. ἀπὸ
-         στάθμης = _velut ad amussim_, ‘regulated by line and rule, by
-         square and level.”
-
- =στενός.= =142= 19, =146= 3. _Narrow._ Lat. _angustus_. In =146= 3 it
-         is coupled with λεπτός.
-
- =στηριγμός.= =202= 24. _A sustaining_ (of the voice on certain
-         syllables), _a pause_. Lat. _mora_. See under ἐγκάθισμα,
-         p. 297 _supra_; and under ἀντιστηριγμός, p. 288 _supra_.
-         So =στηριχθῆναι= =220= 18, ‘to be firmly planted,’ ‘to be
-         sustained.’
-
- =στιβαρός.= =216= 16. _Hardy_, _robust_. Lat. _robustus_. The word
-         occurs also in _de Thucyd._ c. 24. Cp. the French _nerveux_.
-         Hesych. στιβαρόν· εὔρωστον, βαρύ, εὔτονον, στεῤῥόν, ἰσχυρόν.
-         As is pointed out by Larue van Hook (_Metaphorical Terminology
-         of Greek Rhetoric_ p. 20), both Latin and English abound in
-         similar terms of style drawn from good physical condition:
-         _nervi_, _vires_, _vigor_, _lacerti_, _ossa_, _robur_:
-         _full-blooded_, _hearty_, _lively_, _lusty_, _muscular_,
-         _nervous_, _robust_, _sinewy_, _supple_, _strenuous_,
-         _vigorous_, etc.
-
- =στίχος.= =86= 2, 12, =88= 7, etc. _A line of poetry._ Lat. _versus_.
-         In _de Thucyd._ c. 19 the word is used with reference to prose:
-         ὅτι πολλὰ καὶ μεγάλα πράγματα παραλιπών, τὸ προοίμιον τῆς
-         ἱστορίας μέχρι πεντακοσίων ἐκμηκύνει στίχων.
-
- =στοιχεῖον.= =70= 11, 20, =108= 10, =110= 9, =138= 1, etc. _Element._
-         Lat. _elementum_. So =στοιχειώδης= =138= 14. With the use of
-         στοιχεῖον in c. 14 cp. Aristot. _Poet._ c. 20, where the word
-         is defined as φωνὴ ἀδιαίρετος, οὐ πᾶσα δέ, ἀλλ’ ἐξ ἧς πέφυκε
-         συνετὴ γίγνεσθαι φωνή. In =108= 10 the meaning practically is
-         ‘principle,’ ‘rule.’
-
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-
-
- =στρέφειν.= =264= 3, =270= 11. _To turn_, _to twist_. Lat. _torquere_.
-         In =270= 11 the meaning may be conveyed by ‘to change the words
-         about,’ ‘to permute or vary the order of the words,’ ‘to give a
-         new turn to the sentence.’
-
- =στρογγύλος.= =112= 11. _Compact_, _rounded_, _terse_. Lat. _rotundus_.
-         Fr. _arrondi_. See the examples quoted in D.H. p. 205, and add
-         _de Lys._ c. 9 στρογγύλη καὶ πυκνή, _de Isaeo_ c. 3 στρογγύλη
-         τε καὶ δικανικὴ οὐχ ἧττόν ἐστιν ἡ Ἰσαίου λέξις τῆς Λυσίου. So
-         =στρογγυλίζειν= =142= 15. Latin equivalents, or parallels, may
-         be found in Horace’s _ore rotundo_ (_Ars P._ 323), Cicero’s
-         _contortus_ (_Orat._ 20. 66), Quintilian’s _corrotundare_ (xi.
-         3. 102). “στρογγύλος is used of the new stylistic artifices
-         of the sophistical rhetoric by Aristophanes _Acharn._ 686
-         (στρογγύλοις τοῖς ῥήμασι), and by Plato _Phaedr._ 234 E. In
-         later usage it is constantly used of periodic composition” (G.
-         L. Hendrickson in _American Journal of Philology_ xxv. 138).
-
- =στροφή.= =194= 6, 9, 10, 16, 19, =254= 13, =272= 5, =278= 8.
-         _Strophe_, _stanza_. Lat. _stropha_.
-
- =στρυφνός.= =228= 7. _Harsh_, _astringent_. Lat. _acerbus_. See D.H. p.
-         205 (s.v. στριφνός: in _C.V._ =228= 7 F has στριφνόν), with the
-         reference to Jebb’s equivalent ‘biting flavour’ (_Att. Orr._ i.
-         35).
-
- =στύφειν.= =154= 13. _To draw up the mouth._ Lat. _astringere_. Used
-         of sounds that make the hearer pull a wry face and screw up
-         his lips. Cp. _de Demosth._ c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς
-         λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων
-         ἐπιστυφούσας τὴν ἀκοὴν ἡσυχῇ βούλεται.
-
- =συγγραφεύς.= =74= 8, =76= 3, =154= 17, =206= 25, =214= 15, =228=
-         11, =236= 18, =248= 14. _Prose-writer_, _historian_. Lat.
-         _scriptor_ (_prosaicus_); (_scriptor_) _historicus_.
-         ἱστοριογράφος (_de Thucyd._ c. 2) is a less ambiguous
-         expression than συγγραφεύς (c. 5 _ibid._) or than λογογράφος
-         (c. 20 _ibid._).—In =68= 9 =συγγράφειν= = _to compose_ (a
-         treatise).
-
- =συγκοπή.= =156= 19, =230= 7. _Stoppage._ Lat. _impeditio_. So
-         =συγκόπτειν= (‘impede the voice,’ ‘check the utterance’) =162=
-         4. [This meaning seems to bring the three passages fairly into
-         line: otherwise συγκοπαὶ τῶν ἤχων, in =230= 7, might well mean
-         ‘durae sonorum collisiones et concursiones.’]
-
- =συγκροτεῖν.= =206= 16. _To weld together._ Lat. _compingere_,
-         _coagmentare_.
-
- =σύγκρουσις.= =230= 27. _Collision_, _concurrence_, _consonance_. Lat.
-         _concursus_. Fr. _rencontre_. So =συγκρούειν= =202= 18, =224=
-         10. Cp. Demetr. p. 302. The reference is to a succession of
-         two vowels which do not form a diphthong, either in the same
-         word (e.g. λᾶαν) or with hiatus between two words (e.g. ἄλγε’
-         ἔχοντα: or καὶ ἐλπίσας, τε ἔσεσθαι, καὶ ἀξιολογώτατον). Cp.
-         _de Demosth._ c. 43. Cicero’s opinion of the ‘concourse of
-         vowels’ (quoted by Quintil. ix. 4. 37) is given in _Orat._
-         23. 77 “verba etiam verbis quasi coagmentare neglegat; habet
-         enim ille tamquam hiatus et concursus vocalium molle quiddam
-         et quod indicet non ingratam neglegentiam de re hominis magis
-         quam de verbis laborantis.” On the other hand, Pope (_Essay on
-         Criticism_) states and exemplifies the weak side of hiatus by
-         means of the line, ‘Tho’ oft the ear the open vowels tire’; and
-         Cicero himself (_Orat._ 44. 150) writes, “quod quidem Latina
-         lingua sic observat, nemo ut tam rusticus sit qui vocales nolit
-         coniungere.” In English, the question of hiatus raises sundry
-         points of an interesting kind. Should we, for example, say
-         ‘_an_ historian’ and ‘_an_ historical book,’ on the ground that
-         the initial aspirate is evanescent when the accent falls on the
-         second syllable; and similarly ‘_an_ united family’ but ‘_a_
-         union of hearts’?
-
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-
-
- =συγκρύπτειν.= =130= 26. _To hide_, _to disguise_. Lat. _occulere_.
-
- =συγξεῖν.= =210= 22, =228= 4, =232= 12, =234= 19. _To polish._ Lat.
-         _expolire_. Cp. _de Demosth._ c. 40 πολλὴν σφόδρα ποιουμένη
-         φροντίδα τοῦ συνεξέσθαι καὶ συνηλεῖφθαι καὶ προπετεῖς ἁπάντων
-         αὐτῶν εἶναι τὰς ἁρμονίας.
-
- =συγχρώζεσθαι.= =244= 17. _To be closely joined._ Lat. _cohaerere_,
-         _mutuo se contingere_.
-
- =συζυγία.= =84= 11, =104= 17, =106= 19, etc. _Coupling_, _grouping_,
-         _combination_. Lat. _coniunctio_. Fr. _liaison_. So _de
-         Demosth._ c. 40 (the passage quoted s.v. συμβολή, _infra_).
-
- =συλλαβή.= =150= 16. _Syllable._ Lat. _syllaba_. Words like this serve
-         to remind us how much of our modern rhetorical and grammatical
-         terminology is taken direct from the Greek.
-
- =συλλεαίνειν.= =230= 20. _To rub smooth_, _to polish_. Lat. _levigare_,
-         _polire_. Cp. _de Demosth._ c. 43 ἐν δὲ τῇ δευτέρᾳ περιόδῳ
-         τραχύνεται μὲν ἡ σύνθεσις ἐν τῷ “μεγάλη γὰρ ῥοπή” διὰ τὸ μὴ
-         συναλείφεσθαι τὰ δύο ρ ρ, καὶ ἐν τῷ “ἀνθρώπων πράγματα” διὰ τὸ
-         μὴ συλλεαίνεσθαι <τὸ ν> τῷ ἑξῆς.
-
- =συμβεβηκότα, τά.= =98= 8, 9, =140= 14, =264= 6, =268= 19. _The
-         accidental, non-essential, qualities of a thing._ Lat.
-         _accidentia_. In =268= 19 the reference is to the changes which
-         words undergo in the way of contraction, expansion, acute or
-         grave accentuation, etc.
-
- =συμβολή.= =210= 20, =232= 13. _Clashing._ Lat. _concursus_. In
-         =232= 13 the reference is to _les chocs des voyelles_. Cp.
-         _de Demosth._ c. 40 καὶ διὰ τοῦτο φεύγει μὲν ἁπάσῃ σπουδῇ
-         τὰς τῶν φωνηέντων συμβολὰς ὡς τὴν λειότητα καὶ τὴν εὐέπειαν
-         διασπώσας, φεύγει δέ, ὅση δύναμις αὐτῇ, τῶν ἡμιφώνων τε καὶ
-         ἀφώνων γραμμάτων τὰς συζυγίας, ὅσαι τραχύνουσι τοὺς ἤχους καὶ
-         ταράττειν δύνανται τὰς ἀκοάς.
-
- =σύμβολον.= =84= 4. _Token_, _label_. Lat. _signum_.
-
- =συμμετρία.= =130= 7, 12, =246= 2, 4, =270= 10. _Due proportion._ Lat.
-         _iusta mensura_. In =270= 10 συμμετρία would seem to mean _the
-         arrangement of the periods within the lines or verses_ (μέτρα:
-         the variant ἐμμετρία is to be noticed); and with it should be
-         compared συμμέτρως in =270= 13, though there Upton suggests
-         ἀσυμμέτρως and Schaefer συμμέτροις. =συμμέτρως= occurs also
-         in =232= 9; and =συμμετρεῖν= in =212= 18, =276= 26. Cp. _de
-         Demosth._ c. 43 ὥστε συμμετρηθῆναι πρὸς ἀνδρὸς πνεῦμα.
-
- =συμπληροῦν.= =180= 11, =182= 16. _To complete_, _to constitute_. Lat.
-         _absolvere_.
-
- =συμπλοκή.= =160= 9, =198= 6, =240= 16. _Intertwining_, _blending_.
-         Lat. _implicatio_. So =συμπλέκειν= =154= 17, =258= 4. For the
-         metaphor from weaving cp. ῥάπτειν and ὑφαίνειν: Pindar _Nem._
-         iv. 153 ῥήματα πλέκων: Swinburne _Erechtheus_ 1487 “I have no
-         will to weave too fine or far, | O queen, the weft of sweet
-         with bitter speech.”
-
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-
-
- =σύμπτωσις.= =240= 12. _Concurrence._ Lat. _concursus_.
-
- =συμφορητός.= =72= 22. _Collected promiscuously_, _miscellaneous_. Lat.
-         _collatus_, _collecticius_.
-
- =συνάγειν.= =144= 18, =212= 3. _To contract._ Lat. _contrahere_,
-         _coarctare_.
-
- =συναλοιφή.= =108= 18, =180= 17, =218= 7, =222= 24, =256= 22.
-         _Blending_, _fusion_, _amalgamation_. Lat. _coitus_, _vocalium
-         elisio_. Fr. _synalèphe_ (_contraction, ou jonction de
-         plusieurs voyelles_). So =συναλείφειν= =220= 1, =222= 26, =234=
-         8, =236= 6, =244= 17. Compare Demetr. p. 303, together with
-         the passage there quoted from Quintil. ix. 4. 35-7 (including
-         the words “coëuntes litterae, quae συναλοιφαί dicuntur”), and
-         see (as to hiatus) Sandys’ _Orator_ pp. 160 ff. and Laurand’s
-         _Études_ pp. 114-6. Cp. _de Demosth._ c. 43 καὶ κατ’ ἄλλους δύο
-         τόπους ἢ τρεῖς τὰ ἡμίφωνα <καὶ ἄφωνα> παραπίπτοντα ἀλλήλοις τὰ
-         φύσιν οὐκ ἔχοντα συναλείφεσθαι ἔν τε τῷ “τὸν Φίλιππον” καὶ ἐν
-         τῷ “ταύτῃ φοβερὸν προσπολεμῆσαι” ταράττει τοὺς ἤχους μετρίως
-         καὶ οὐκ ἐᾷ φαίνεσθαι μαλακούς· ἐν δὲ τῇ δευτέρᾳ περιόδῳ κτλ.
-         (the remainder of the passage is given under συλλεαίνειν, p.
-         324 _supra_).
-
- =συναπαρτίζειν.= =212= 11, =270= 13. _To complete_ (_the sense_)
-         _simultaneously_. Cp. Demetr. _de Eloc._ §§ 2, 10 (together
-         with ἀπαρτίζειν in Glossary p. 267 _ibid._), and also the
-         note on pp. 270, 271 _supra_. Cp. _de Demosth._ c. 39 ἔτι τῆς
-         ἁρμονίας ταύτης οἰκεῖόν ἐστι καὶ τὸ τὰς περιόδους αὐτουργούς
-         τινας εἶναι καὶ ἀφελεῖς καὶ μήτε συναπαρτιζούσας ἑαυταῖς
-         τὸν νοῦν μήτε συμμεμετρημένας τῷ πνεύματι τοῦ λέγοντος μηδέ
-         γε παραπληρώμασι τῶν ὀνομάτων οὐκ ἀναγκαίοις ὡς πρὸς τὴν
-         ὑποκειμένην διάνοιαν χρωμένας μηδ’ εἰς θεατρικούς τινας καὶ
-         γλαφυροὺς καταληγούσας ῥυθμούς.
-
- =συνάπτειν.= =202= 19, =240= 20, =262= 4. _To link together._ Lat.
-         _adiungere_, _connectere_. Dionysius’ love of variety may be
-         seen by comparing together =262= 4, =258= 4, =256= 20, 22,
-         =258= 24.
-
- =συναρμόττειν.= =118= 14, =134= 11, =234= 19. _To adapt one thing to
-         another._ Lat. _accommodare_. Used with reference to adjusting,
-         dovetailing, interlinking.
-
- =συνασκεῖν.= =282= 1. _To practise simultaneously._ Lat. _simul
-         exercere_.
-
- =σύνδεσμος.= =70= 14, 17, =72= 1, =218= 7, =220= 5, =258= 27.
-         _Conjunction_, _connective_, _connecting word_. Lat. _copula_,
-         _coniunctio_. ‘Particle,’ or ‘connecting-particle,’ will
-         sometimes be a suitable rendering, as the term includes
-         particles like ἄρα (=258= 27) and μέν and δή (Demetr. _de
-         Eloc._ §§ 55, 56, 196), and may even be applied to prepositions
-         (=220= 5, 6). In a difficult passage of Aristot. _Poetics_ (xx.
-         6), among the examples offered of σύνδεσμος are ἀμφί, περί,
-         μέν, ἤτοι, as well as δέ. A good account of the word will be
-         found in Cope’s _Introduction to Aristotle’s Rhetoric_ pp.
-         371-4, 392-7. See further Quintil. i. 4. 18; Aristot. _Rhet._
-         iii. 6. 6.
-
- =συνεδρεύειν.= =100= 10, =160= 19. _To attend_, _to accompany_. Lat.
-         _assidere_, _adiungi_. Used, in =100= 10, of the accompanying
-         relations (mode, place, time, etc.), which adverbs denote in
-         reference to verbs.
-
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-
-
- =συνεκτρέχειν.= =274= 24. _To run out together_, _to be of the same
-         length_. Lat. _aequis passibus concurrere_.
-
- =συνεκφέρειν.= =240= 11. _To pronounce concurrently._ Lat. _simul
-         pronuntiare_. Cp. =συνεκφορά= =230= 3.
-
- =συνεφθαρμένος.= =126= 10, =144= 12, =234= 13. _Imperceptibly blended_,
-         _melting into each other_. Lat. _commistus_. φθορά is the
-         technical term for the mixing of colours in painting: e.g.
-         Plut. _Mor._ 346 A καὶ γὰρ Ἀπολλόδωρος ὁ ζωγράφος, ἀνθρώπων
-         πρῶτος ἐξευρὼν φθορὰν καὶ ἀπόχρωσιν σκιᾶς, Ἀθηναῖος ἦν. Perhaps
-         it is this sense of ‘fusion’ that led to φθορά being used, in
-         Byzantine music, in some such sense as ‘modulation.’
-
- =συνεχής.= =230= 17, 20, =244= 21, =246= 1. _Continuous_, _unbroken_.
-         Lat. _continuus_. So =συνεχῶς= =132= 9, =230= 29, =280= 21.
-         =συνέχεια= (=240= 5) = _coherence_, ‘continuus compositionis
-         tenor.’
-
- =συνηχεῖν.= =140= 21, =144= 20, =146= 11. _To sound at the same time._
-         Lat. _consonare_. In =140= 21 the translation of the manuscript
-         reading συνεχούσης may be “while all these are pronounced, the
-         windpipe constricts the breath,” A. J. Ellis _op. cit._ p. 41
-         (with the note, “probably this is what Dionysius considered the
-         cause of voice”).
-
- =σύνθεσις.= =68= 5, 7, 19, =70= 3, 9, =72= 8, =74= 15, =78= 9, =86=
-         2, 13, =90= 19, =134= 26 etc., =200= 10, 16, =202= 1, 7,
-         =204= 9, =232= 25, =240= 23, =270= 9. _Composition._ Lat.
-         _compositio_. ‘Composition’ (with the addition of ‘literary,’
-         to mark it off from other kinds of composition) seems the least
-         inadequate English rendering of σύνθεσις, and comes nearest
-         to the usual Latin title. To judge by the actual contents
-         of the treatise (which go beyond Dionysius’ occasional and
-         fragmentary definitions), the term ‘putting-together’ can be
-         applied not only to ὀνόματα, but (on the one side) to γράμματα
-         and συλλαβαί and (on the other) to κῶλα and περίοδοι, and to a
-         poem of Sappho or the proem of Thucydides. Hence ‘arrangement
-         (or _order_, _ordonnance_) of words’ proves, in practice, too
-         narrow a title, though the euphonic and symphonic arrangement
-         of words and the elements of words is the main theme, and
-         though there is (as has been pointed out in the Introduction,
-         p. 11 _supra_) some danger of ‘literary composition’ seeming
-         to promise a treatment of the πραγματικὸς τόπος. One of the
-         definitions of composition in the _New English Dictionary_
-         will apply very fairly to the _de Compositione Verborum_: “the
-         due arrangement of words into sentences, and of sentences into
-         periods; the art of constructing sentences and of writing
-         prose or verse,” while ἁρμονία (which is σύνθεσις in special
-         reference to skilful and melodious combination) might well be
-         defined in the words there quoted from the _Arte of Rhetorique_
-         of T. Wilson (1553 A.D.): “composition ... is an apt joyning
-         together of wordes in such order, that neither the eare shall
-         espie any jerre, nor yet any man shalbe dulled with overlong
-         drawing out of a sentence.” The form συνθήκη is found, in
-         practically the same sense as σύνθεσις, in the _Epitome_ c.
-         3; in Lucian _de conscrib. hist._ c. 46 καὶ μὴν καὶ συνθήκῃ
-         τῶν ὀνομάτων εὐκράτῳ καὶ μέσῃ χρηστέον; and in Chrysostom _de
-         Sacerdotio_ iv. 6 (quoted under ἀπαγγελία p. 288 _supra_). As
-         Latin equivalents (in addition to ‘de Compositione Verborum’),
-         ‘de Collocatione Verborum’ or ‘de Constructione Verborum’
-         might be supported out of Cicero’s _Orator_ and _de Oratore_;
-         and something might be said, too, in favour of ‘de Structura
-         Orationis’ or (more fully) ‘de compositione, seu orationis
-         partium apta inter se collocatione.’—=συνθετικός= occurs in
-         =104= 15, and =σύνθετος= in =144= 11, =176= 3, =184= 3.
-
-[Page 327]
-
-
- =σύνοψις.= =208= 13. _A general view._ Lat. _conspectus_. εἰς σύνοψιν
-         ἐλθεῖν δυνάμενος would, in Aristotle’s conciser phrase, be:
-         εὐσύνοπτος.—The verb =συνορᾶν= occurs in =184= 22, =συνιδεῖν=
-         =182= 3.
-
- =συντάττεσθαι.= =80= 5, =94= 15, =96= 6, =98= 19, 20, =104= 5, =106=
-         13, =264= 21. _To put together_, _to compose_, _to treat of_.
-         Lat. _componere_, _tractare_. So =σύνταγμα= =214= 9, and
-         =σύνταξις= (‘arrangement,’ ‘co-ordination,’ ‘treatise’) =94= 3,
-         =96= 2, 13, 16, etc.
-
- =συντιθέναι.= =68= 3, =74= 12, =106= 11, etc. _To arrange words or
-         sounds_, _to compose_. Lat. _componere_.
-
- =συνυφαίνειν.= =134= 12, =166= 17, =184= 14, =234= 9, 20, =240= 7. _To
-         weave together._ Lat. _contexere_. Lucian (_de conscrib. hist._
-         48) uses the word: καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα,
-         πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν κτλ. [The passage is
-         given in full under χρῶμα, p. 333 _infra_.]
-
- =συνῳδός.= =220= 17, =224= 16, =232= 8. _In harmony with_, _accordant_.
-         Lat. _concors_.
-
- =συριγμός.= =146= 14, =148= 7, =160= 1. _A hissing._ Lat. _sibilus_.
-         So =σύριγμα= =146= 3. In =160= 1 the reference is to the
-         ‘whistling of ropes,’ the ‘shrieking of tackle’: cp. Virg.
-         _Aen._ i. 87 “insequitur clamorque virum _stridorque rudentum_.”
-
- =σύρρυσις.= =162= 21. _A flowing together_, _conflux_. Lat.
-         _concursus_. Two forms of the word are found: σύρρευσις and (as
-         here) σύρρυσις.
-
- =συστέλλειν.= =140= 19, =152= 25, =206= 1. _To compress._ Lat.
-         _contrahere_, _corripere_. So =συστολή= =142= 18, =268= 20.
-
- =συστρέφειν.= =204= 9. _To abbreviate._ Lat. _contrahere_. Cp. D.H.
-         p. 206, and Demetr. p. 305 (s.v. συστροφή). The condensation
-         indicated in =204= 9 consists in the fact that the rolling
-         _down_ of the stone is described in a single line, whereas the
-         rolling _up_ takes four lines.
-
- =σφραγίς.= =268= 3. _Seal_, _impression of a seal_. Lat. _signum_.
-
- =σχέδιος.= =186= 5. _Sudden_, _off-hand_, _impromptu_. Lat.
-         _extemporalis_. Cp. αὐτοσχέδιος p. 291 _supra_.
-
- =σχῆμα.= =88= 12, =90= 19, =130= 7, =132= 11, =148= 20 etc., =196= 25,
-         26, =198= 6, _passim_. _Figure_, _attitude_. Lat. _figura_. See
-         D.H. p. 206, and Demetr. p. 305, for various quotations and
-         references (to which may be added Causeret _La Langue de la
-         rhétorique et de la critique littéraire dans Ciceron_ pp. 176
-         ff.). Sometimes ‘construction’ will be a good rendering (e.g.
-         _de Isocr._ c. 3), or ‘form’ (_de Thucyd._ c. 37): cp. Cic.
-         _Brut._ 17. 69 (‘sententiarum orationisque formae’). ‘Turns of
-         expression’ (_tours de phrase_) will also serve occasionally.
-
- =σχηματίζειν.= =104= 18, =106= 15, =108= 1, =110= 14, =112= 18, 19,
-         etc. _To use a figure_, _to shape_, _to construct_. Lat.
-         _figurare_. Cp. D.H. p. 206, Demetr. p. 305.
-
- =σχηματισμός.= =112= 14, 20, =146= 7, =212= 21, etc. _Configuration_,
-         _construction_; _the employment of figures or turns of phrase_.
-         Lat. _conformatio_, _figuratio_.
-
-[Page 328]
-
-
- =σχολικός.= =214= 9. _After the manner of lectures_, _tedious_. Lat.
-         _longus_. Dionysius has in mind treatises which are ‘academic’
-         rather than practical. Cp. Long. _de Sublim._ iii. 5 πολλὰ γὰρ
-         ὥσπερ ἐκ μέθης τινὲς εἰς τὰ μηκέτι τοῦ πράγματος, ἴδια ἑαυτῶν
-         καὶ σχολικὰ παραφέρονται πάθη.
-
- =σῶμα.= =134= 25. _Person._ Lat. _persona_. Same sense as πρόσωπον:
-         compare, in _Ep._ ii. _ad Amm._ c. 14, πρόσωπα δὲ παρ’ αὐτῷ τὰ
-         πράγματα γίνεται with πράγματα δὲ ἀντὶ σωμάτων τὰ τοιαῦτα ὑπ’
-         αὐτοῦ γίνεται.
-
- =Σωτάδειος.= =88= 1. _Sotadean._ Lat. _Sotadeus_. So called from
-         Sotades, a native of Maroneia or of Crete, who lived under
-         the early Ptolemies. The structure of the Sotadean verse is
-         analyzed in P. Masqueray’s _Abriss der griechischen Metrik_ pp.
-         141-4. For some further references see Demetr. p. 244.
-
-
- =ταμιεύειν.= =246= 4. _To regulate_, _to manage_. Lat. _temperare_,
-         _dispensare_.
-
- =τάξις.= =72= 12, 18, =198= 6, etc. _Order._ Lat. _dispositio_. Not
-         identical in sense with σύνθεσις, which (in =72= 18) forms
-         part of one and the same sentence as τάξις. τάξις often (e.g.
-         Aristot. _Rhet._ iii. 12. 6) refers to the marshalling of the
-         subject matter of a speech.—The verb =τάττειν= occurs (with
-         various senses) in =126= 7, =196= 6, =254= 10, etc.
-
- =ταπεινός.= =74= 12, =78= 10, =80= 13, =92= 17, =134= 23, =166= 3,
-         =176= 11, =186= 19. _Low_, _mean_, _vulgar_. Lat. _humilis_,
-         _abiectus_. So =ταπεινότης= =192= 9.
-
- =τάσις.= =126= 7, 9, =128= 5, 11, =196= 16. _Tension_, _pitch_,
-         _accent_. Lat. _intentio_ (_vocis_), _accentus_. Cp. προσῳδία
-         p. 320 _supra_, and τόνος p. 329 _infra_. Definition in =196=
-         16: τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. Quintil. i. 5. 22
-         “adhuc difficilior observatio est per _tenores_, (quos quidem
-         ab antiquis dictos _tonores_ comperi, videlicet declinato a
-         Graecis verbo, qui τόνους dicunt) vel _accentus_, quas Graeci
-         προσῳδίας vocant,” etc.
-
- =ταυτολογία.= =240= 26. _Verbal reiteration_, _tautology_. Lat.
-         _eiusdem verbi iteratio_. This is, apparently, the earliest
-         recorded use of the word, though Polybius employs the verb
-         ταυτολογεῖν. Quintil. viii. 3. 50 “sicut ταυτολογία, id est
-         eiusdem verbi aut sermonis iteratio. haec enim quamquam non
-         magnopere a summis auctoribus vitata, interim vitium videri
-         potest, in quod saepe incidit etiam Cicero, securus tam
-         parvae observationis: sicut hoc loco, _Non solum igitur illud
-         iudicium iudicii simile, iudices, non fuit._” The English word
-         _tautology_ must have been unfamiliar when Philemon Holland
-         translated the _Morals_ of Plutarch, since it is one of the
-         terms included in the “explanation of certain obscure words”
-         appended to Holland’s volume.
-
- =ταυτότης.= =134= 18, =192= 20. _Sameness_, _monotony_. Lat. _rerum
-         earundem iteratio_. Contrasted with μεταβολή: as in =134= 18
-         διαναπαύειν δὲ τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους
-         εἰσφέροντα.—Aristotle uses the word several times, in the sense
-         of ‘identity.’
-
- =τέλειος.= =84= 21, =116= 24, =144= 17, =150= 13, etc. _Complete_,
-         _perfect_. Lat. _absolutus_, _perfectus_. See, further, note on
-         =204= 24.—So =τελειοῦν= =178= 13.—In =120= 4, =268= 5, =τέλος=
-         = ‘end,’ ‘object.’
-
-[Page 329]
-
-
- =τελεταί.= =252= 15. _Rites_, _mysteries_. Lat. _sacra arcana_, _ritus
-         et caerimoniae_. αἱ τελεταὶ τοῦ λόγου = _sacra eloquentiae_.
-
- =τετράμετρος.= =86= 3, 14, =256= 8, 13. _Consisting of four metres or
-         measures._ Lat. _tetrametrus_ (sc. _versus_: στίχος).
-
- =τετριμμένος.= =252= 29. _Homely_, _ordinary_. Lat. _tritus_. Fr.
-         _ordinaire_. The word sometimes inclines to the sense ‘vulgar,’
-         ‘hackneyed,’ ‘_banal_,’ ‘_rebattu_’: cp. τέτριπται =134= 22.
-
- =τέχνη.= =68= 9, =94= 10, 14, =96= 2, =104= 10, =132= 22, etc. _Art_,
-         _handbook_. Lat. _ars_. αἱ τέχναι in Dionysius (cp. αἱ τέχναι
-         τῶν λόγων, Aristot. _Rhet._ i. 1. 3) refers specially to
-         rhetorical handbooks: e.g. =270= 4, =282= 3. αἱ ῥητορικαὶ
-         τέχναι is often used to designate the _Rhetoric_ of Aristotle:
-         e.g. =254= 25, and _Ep. i. ad Amm._ cc. 1, 2, etc.—In =124= 3
-         τεχνίτης = ‘craftsman,’ ‘professional.’
-
- =τὴν ἄλλως.= =176= 6. _To no purpose._ Lat. _temere_. Coupled here
-         with a negative: cp. Suidas, τηνάλλως. μάτην. καὶ οὐ τηνάλλως
-         μετὰ τῆς ἀποφάσεως λέγεται.
-
- =τομή.= =72= 2. _Division._ Lat. _partitio_. Fr. _partie_,
-         _subdivision_.
-
- =τόνος.= =126= 5, 15, 19, =142= 8. _Tone_, _tension_, _pitch_,
-         _accent_. Lat. _tonus_, _intentio_ (_vocis_), _accentus_. If
-         τόνον be read in =136= 16 and τόνος in =236= 8, the meaning
-         will be _energy_: cp. D.H. p. 207. See also under τάσις p. 328
-         _supra_, and under περισπασμός p. 316 _supra_ (for a passage of
-         Aristot _Rhet._ iii. 1. 4).
-
- =τόπος.= =66= 6, =96= 9, =144= 18, =164= 17, =248= 8. _Place_,
-         _heading_, _department_. Lat. _locus_. The πραγματικὸς τόπος
-         (=66= 6) is the _locus rerum_, as opposed to the λεκτικὸς τόπος
-         (=96= 9). In this connexion not only τόπος, but τρόπος, τύπος,
-         χαρακτήρ and μέρος are sometimes used by Dionysius.
-
- =τορευτός.= =264= 18. _Worked in relief_, _chased_. Lat. _caelatus_. So
-         τορευτής = _caelator_, =266= 8.
-
- =τραγῳδοποιός.= =236= 17, =248= 14. _Tragic poet_, _tragedian_. Lat.
-         _tragicus poëta_. [For the Greek expressions used to denote
-         tragic and comic poets see H. Richards in the _Classical
-         Review_ xiv. 211.]
-
- =τρανός.= =230= 14. _Clear_, _distinct_. Lat. _perspicuus_. In earlier
-         Greek the form τρανής is used: cp. Soph. _Ajax_ 23 ἴσμεν γὰρ
-         οὐδὲν τρανές, ἀλλ’ ἀλώμεθα.
-
- =τραχύτης.= =230= 5, =232= 8. _Roughness._ Lat. _asperitas_. Fr.
-         _âpreté_, _dureté_. So =τραχύς= =130= 26, =154= 12, =228= 7,
-         =234= 15, etc.; and =τραχύνειν= =130= 19, =146= 9, =202= 26,
-         =206= 4, =216= 17, =218= 18, =240= 17. By ‘rough’ letters, in
-         =202= 26, Dionysius may probably mean the following letters
-         found in the four lines quoted in =202= 3-6: Σ, σ, φ (?), σ, γ,
-         χ, στ, ζ, σ, σκ, πτ, σχ, σκ, φ (?); and among these, σκ, σχ and
-         πτ may be regarded as ‘juxtapositions of rough letters.’
-
- =τρίκωλον.= =116= 11. _A sentence consisting of three members or
-         clauses._ Lat. _oratio trimembris_. τὸ τρίκωλον is here a noun:
-         on the same principle as, for example, ἡ τρίοδος (= _trivium_).
-
- =τρίμετρος.= =258= 19, 25. _Consisting of three metres or measures._
-         Lat. _trimetrus_ (sc. _versus_: στίχος).
-
- =τρισύλλαβος.= =170= 15, =174= 8. _Consisting of three syllables._ Lat.
-         _trisyllabus_.
-
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-
-
- =τρόπος.= =196= 1. _Mode_ (in music). Lat. _modus_. Cp. Monro’s _Modes
-         of Ancient Greek Music_ p. 2. In =132= 12 the word means
-         _trope_ (_metaphor_ particularly: cp. Quintil. viii. 6. 4):
-         so =τροπικός= (_figurative_; Fr. _figuré_) =78= 16, =252= 24,
-         =272= 10.
-
- =τροχαῖος.= =170= 8, =184= 11. _Trochee._ The metrical foot – ᴗ.
-
- =τρυφερός.= =236= 9. _Delicate_, _dainty_. Lat. _delicatus_, _nitidus_.
-
- =τύπος.= =70= 7, =268= 2, 17, 24. _Outline_, _form_. Lat. _forma_,
-         _figura_.
-
-
- =ὕλη.= =266= 9. _Material._ Lat. _materia_. Fr. _matière_.
-
- =ὑπαγωγικός.= =90= 5. _Drawn slowly out_, _prolonged_. Lat.
-         _dilatatus_. Cp. _de Demosth._ c. 4 διώκει δ’ ἐκ παντὸς τρόπου
-         τὴν περίοδον οὐδὲ ταύτην στρογγύλην καὶ πυκνὴν ἀλλ’ ὑπαγωγικήν
-         τινα καὶ πλατεῖαν καὶ πολλοὺς ἀγκῶνας, ὥσπερ οἱ μὴ κατ’ εὐθείας
-         ῥέοντες ποταμοὶ ποιοῦσιν, ἐγκολπιζομένην. It is possible,
-         however, that in the _de Comp. Verb._ the word has an active
-         meaning similar to that of ἐπαγωγικός, in which case the
-         rendering will be ‘the effect of the passage will no longer be
-         that of a narrative which gently carries the reader on.’
-
- =ὑπαλλαγή.= =78= 16. _Hypallage._ Lat. _hypallage_. Quintil. ix. 6. 23
-         “nec procul ab hoc genere discedit μετωνυμία, quae est nominis
-         pro nomine positio. cuius vis est, pro eo, quod dicitur,
-         causam, propter quam dicitur, ponere; sed, ut ait Cicero,
-         ὑπαλλαγήν rhetores dicunt. haec inventas ab inventore et
-         subiectas res ab obtinentibus significat: ut _Cererem corruptam
-         undis_, et _receptus Terra Neptunus classes Aquilonibus
-         arcet_.” Cp. Cic. _Orat._ 27. 93 “hanc ὑπαλλαγήν rhetores,
-         quia quasi summutantur verba pro verbis, μετωνυμίαν grammatici
-         vocant, quod nomina transferuntur.”
-
- =ὑπάτη.= =210= 7. _Top note._ Lat. _chorda suprema_. See L. & S. _s.v._
-
- =ὑπεραίρειν.= =224= 11. _To exceed._ Lat. _transgredi_.
-
- =ὑπερβολή.= =156= 11. _Excess_, _violence_. Lat. _impetus_, _ardor_.
-         [Not here used in the technical sense of _superlatio_,
-         _traiectio_.]
-
- =ὑπέρμετρος.= =214= 8. _Exceeding due measure_, _excessively long_.
-         Lat. _excedens mensuram_. [Not here used in the technical sense
-         of passing beyond the bounds of metre: Demetr. _de Eloc._ § 118
-         ποίημα γὰρ ἄκαιρον ψυχρόν, ὥσπερ καὶ τὸ ὑπέρμετρον, ‘a bit of
-         verse out of place is just as inartistic as the disregard of
-         metrical rules in poetry.’]
-
- =ὑπεροπτικός.= =232= 20. _Disdainful._ Lat. _ad contemnendum pronus_.
-
- =ὑπερτείνειν.= =132= 14. _To exceed._ Lat. _transcendere_.
-
- =ὑπηχεῖν.= =150= 7. _To sound in answer to_, _to re-echo_. Lat.
-         _resonare_.
-
- =ὑποβάκχειος.= =174= 23, =178= 11, 13. _Hypobacchius._ The metrical
-         foot ᴗ – –. The _Epitome_ (c. 17) gives παλιμβάκχειος in the
-         same sense as ὑποβάκχειος.
-
- =ὑπογράφειν.= =122= 7. _To sketch._ Lat. _adumbrare_. Fr. _esquisser_.
-
- =ὑπόδειγμα.= =174= 12. _Pattern_, _specimen_. Lat. _documentum_,
-         _exemplum_.
-
- =ὑπόθεσις.= =104= 6. _Subject_, _theme_. Lat. _argumentum operis_. So
-         =τὰ ὑποκείμενα= (_the subject matter_) =74= 9, =106= 17, =130=
-         13, =134= 21, =158= 2.
-
- =ὑπόμνησις.= =80= 1. _Reminder._ Lat. _admonitio_. ὑπομνήσεως ἕνεκα =
-         _memoriae causa_.
-
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-
-
- =ὑποτακτικός.= =220= 19. _Subordinate._ Lat. _subditus_. Dionysius
-         seems to mean that π is not apt to be amalgamated with,
-         or absorbed in, a preceding ν. [The second vowel in a
-         diphthong could be described as ὑποτακτικὸν φωνῆεν.] The verb
-         =ὑποτάττειν= occurs in =100= 23 and =126= 21.
-
- =ὑποτίθεσθαι.= =194= 8. _To take as a subject._ Lat. _argumentum sibi
-         sumere_. This (rather than ‘to postulate’) seems to be the
-         meaning.
-
- =ὑποτραχύνειν.= =222= 7. _To grate slightly on the ear._ Lat. _leni
-         horrore aures afficere_.
-
- =ὕπτιος.= =108= 3. _Passive._ Lat. _supinus_.
-
- =ὕφος.= =234= 12. _Woven stuff_, _a web_. Lat. _tela_. The word is used
-         metaphorically in Long. _de Subl._ i. 4 τοῦ ὅλου τῶν λόγων
-         ὕφους.
-
- =ὑψηλός.= =92= 18, =172= 2, =180= 2, =182= 7. _Lofty_, _elevated_. Lat.
-         _sublimis_.
-
-
- =φαντασία.= =230= 29. _Representation_, _image_. Lat. _imago_.
-
- =φάρμακον.= =208= 17. _Colour_ (for painting). Lat. _pigmentum_. For
-         φάρμακα (= βάμματα, χρώματα) cp. Horace’s “lana Tarentino
-         violas imitata veneno” (_Ep._ ii. 1. 207).
-
- =φάρυγξ.= =150= 7. _Throat._ Lat. _guttur_. Here used in the masculine
-         gender, according to the best-supported reading. Galen (on
-         Hippocr. _Progn._ p. 45), ὅτι φάρυγγα τὴν προκειμένην χώραν
-         στομάχου τε καὶ λάρυγγος ὀνομάζει δῆλόν ἐστι.
-
- =φθαρτός.= =266= 9. _Perishable._ Lat. _mortalis_, _periturus_.
-
- =φθόγγος.= =128= 4, =130= 12, =268= 10. _Sound_, _note_. Lat. _sonus_.
-
- =φιλόκαλος.= =66= 16. _Loving beauty_, _artistic_. Lat. _pulchritudinis
-         studiosus_.
-
- =φιλόλογος.= =264= 24. _Loving literature_, _literary_; _a scholar_.
-         Lat. _litterarum studiosus_; _litteratus_, _philologus_.
-
- =φιλοπονία.= =264= 25. _Loving care_; _industry_. Lat. _diligentia_:
-         which (etymologically) contains the same suggestion of ‘work
-         done _con amore_.’
-
- =φιλόσοφος.= =74= 8, =132= 22, =164= 22, =248= 15. _Philosopher._ Lat.
-         _philosophus_. The comprehensive sense in which philosophy
-         is understood may be illustrated from =φιλοσοφία= (=140= 12)
-         and =φιλοσοφεῖν= (=70= 12). Cp. in modern times such academic
-         vestiges of ancient usage as ‘Natural Philosophy’ or ‘Ph. D.’
-         In _Le Bourgeois Gentilhomme_ (ii. 4) rhetoric is taught by the
-         _Maître de Philosophie_; and Dionysius is fond of contrasting
-         the philosophical, or scientific, rhetoric (ἡ φιλόσοφος
-         ῥητορική) of the best Attic times with the later and purely
-         empirical Asiatic rhetoric, to which he applies the epithet
-         ἀμαθής. See further in D.H. p. 208.
-
- =φιλοτεχνεῖν.= =154= 20, =200= 18. _To practise an art lovingly_, _to
-         be devoted to it_. Lat. _artem amare_, _in artem incumbere_. So
-         =φιλοτέχνως= =176= 18. φιλοτεχνεῖν, φιλότεχνος and φιλοτεχνία
-         are all used by Plato in reference to art pursued _con amore_;
-         and Cicero (_ad Att._ xiii. 40. 1) uses φιλοτέχνημα of an
-         elaborate work of art—a _chef-d’œuvre_: “Ubi igitur φιλοτέχνημα
-         illud tuum quod vidi in Parthenone, Ahalam et Brutum?”
-
- =φιλοχωρεῖν.= =110= 5. _To cling to a place_, _to haunt it_. Lat.
-         _libenter in loco commorari_. φιλοχωρεῖν is used repeatedly
-         by Dionysius in the _Antiqq._ _Rom._ (e.g. i. 13 Ἀρκαδικὸν
-         γὰρ τὸ φιλοχωρεῖν ὄρεσιν and v. 63 παρεκελεύοντο ἀλλήλοις μὴ
-         φιλοχωρεῖν ἐν πόλει μηδενὸς αὐτοῖς ἀγαθοῦ μεταδιδούσῃ) and
-         φιλοχωρία in i. 27 (ὑπὸ τῆς φιλοχωρίας κρατουμένους). Plutarch
-         uses the word in reference to his birthplace Chaeroneia,
-         telling us that he ‘clung fondly to the spot,’ lest by leaving
-         it he should make a small place, but one which had witnessed
-         thrilling scenes, ‘smaller yet’ (ἡμεῖς δὲ μικρὰν οἰκοῦντες
-         πόλιν, καὶ ἵνα μὴ μικροτέρα γένηται φιλοχωροῦντες, Plut.
-         _Demosth._ c. 2). The form =χωροφιλεῖν= seems to occur twice
-         only in good Greek authors: (1) Antiphon _de Caede Herodis_ §
-         78 εἰ δ’ ἐν Αἴνῳ χωροφιλεῖ [probably it is to this passage that
-         Dionysius here refers]; (2) _Ep. Thaletis ap. Diog. L._ i. 44
-         σὺ μέντοι χωροφιλέων ὀλίγα φοιτέεις ἐς Ἰωνίην.
-
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-
-
- =φλυαρία.= =264= 7, =268= 15. _Nonsense_, _foolery_. Lat. _nugae_,
-         _ineptiae_. So =φλυάρημα= (_futility_) =192= 9. Notwithstanding
-         the remarks in Stephanus, it would seem more natural to take
-         =φλύαρος= as an adjective (than as a noun) in =272= 20, 22,
-         and this for two reasons: (1) the form φλυαρία has been
-         used shortly before; (2) the adjectival use is sufficiently
-         established by Hesychius’ note (φαῦλος, εὐήθης) and by that of
-         Thom. M. p. 376 Ritschl (πολύλογος), while ἡ φλύαρος φιλοσοφία
-         occurs in the Septuagint (_Maccab._ iv. 5, 10) and καὶ ὅλως
-         ἀποδείκνυσι τὸν Πυθαγόρου λόγον φλύαρον in Plut. _Mor._ 169 E.
-
- =φορά.= =144= 22, =204= 17, =244= 20. _Current_, _rush_. Lat. _cursus_,
-         _impetus_.
-
- =φορτικός.= =252= 14. _Coarse_, _rude_. Lat. _insolens_, _importunus_,
-         _insulsus_.
-
- =φράσις.= =84= 2, =166= 3, =182= 8, =206= 1, 15, =208= 7, =250= 14.
-         _Style_, _expression_. Lat. _elocutio_. Cp. Quintil. viii.
-         1. 1 “igitur, quam Graeci φράσιν vocant, Latine dicimus
-         _elocutionem_. ea spectatur verbis aut singulis aut coniunctis.”
-
- =φριμαγμός.= =158= 14. _Snorting._ Lat. _fremitus_. It is hardly likely
-         that the word here means no more than βληχή, _bleating_.
-
- =Φρύγιος.= =196= 1. _Phrygian._ Lat. _Phrygius_. Cp. Monro’s _Modes of
-         Ancient Greek Music_, passim.
-
- =φυλακή.= =198= 6. _Preservation._ Lat. _conservatio_.—In the _de
-         Imitat._ B. vi. 3 the reading φυλακή (if correct) will
-         correspond to the middle φυλάττεσθαι (not to φυλάττειν).
-
- =φυσικός.= =96= 23, =214= 3, =224= 5, =240= 8, etc. _Natural._ Lat.
-         _naturalis_. So =φυσικῶς= =200= 12. ὁ φυσικός, in =214= 3, =
-         ‘the natural philosopher,’ ‘the physicist’ (of Empedocles). In
-         =134= 2 οὐδ’ ἔχει φύσιν τὸ πρᾶγμα ... πεσεῖν the meaning is
-         ‘nor is the subject of such a nature that it can fall.’
-
- =φωνή.= =130= 4, 21, =136= 22, =138= 7, etc. _Voice_, _sound_. Lat.
-         _vox_, _sonus_, _sonus vocalis_. Cp. =φωνεῖν= (‘to pronounce,’
-         etc.) =140= 1, 20, =144= 18, =148= 14.
-
- =φωνήεις.= =138= 8, 9, 15, =140= 2, =144= 7, =150= 17, =152= 4, =220=
-         11. _Voiced._ Lat. _vocalis_. φωνήεντα γράμματα = _litterae
-         vocales_ = _vowels_. For the term ‘voiced’ see s.v. ἄφωνος p.
-         292 _supra_. Cp. Dionys. Thrax _Ars Gramm._ p. 9 (ed. Uhlig)
-         φωνήεντα δὲ λέγεται, ὅτι φωνὴν ἀφ’ ἑαυτῶν ἀποτελεῖ.
-
- =φωτεινός.= =234= 13. _Full of light._ Lat. _lucidus_, _luminosus_.
-
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-
-
- =χαρακτήρ.= =68= 21, =80= 17, =90= 10, etc. _Characteristic stamp_,
-         _type_. Lat. _forma_, _nota_. So the adjective =χαρακτηρικός=
-         in =232= 21 (cp. _de Demosth._ c. 39 init.). See further in
-         D.H. p. 208, Demetr. p. 308.—In =230= 9 the verb =χαράττειν= =
-         ‘to irritate.’
-
- =χάρις.= =112= 5, =120= 20, =124= 12, etc. _Charm_, _grace_. Lat.
-         _venustas_, _lepor_. Fr. _grâce_. Cp. Demetr. p. 308. So
-         =χαρίεις= (‘refined,’ ‘elegant,’ ‘accomplished,’ ‘consummate’)
-         =106= 16, =116= 1, =154= 16; =χαριέντως= =110= 22.
-
- =χλευασμός.= =192= 7. _Scoffing_, _satire_. Lat. _derisio_, _illusio_.
-         =χλευάζειν= =270= 3.
-
- =χορδή.= =122= 23. _String_, _note_. Lat. _chorda_.
-
- =χορεῖος.= =170= 17, =184= 11. _Choree._ Lat. _choreus_. The metrical
-         foot ᴗ ᴗ ᴗ. In =170= 18 the reading τρίβραχυς πούς (τροχαῖος
-         πούς F) seems to be a gloss. The term χορεῖος is applied to the
-         trochee more commonly than to the tribrach. The Epitome (c. 17)
-         gives χορεῖος (without addition).
-
- =χρεία.= =104= 21, =198= 2. _Use_, _practical work_. Lat. _usus_. Cp.
-         _de Demosth._ c. 45, _de Thucyd._ c. 55. There may also be some
-         notion of _practical need_, _stress_: cp. ἐν χρείᾳ δορός (Soph.
-         _Aj._ 963) and ὑπὸ τῆς χρείας αὐτῆς (schol. on Hom. _Odyss._
-         viii. 163).
-
- =χρεμετισμός.= =158= 14. _Neighing_, _whinnying_. Lat. _hinnitus_.
-
- =χρῆμα.= =158= 2. _Object._ Lat. _res ipsa_. Cp. note on p. 158 _supra_.
-
- =χρόνοι.= =130= 1, =164= 5, =204= 22 (lit. ‘does not divide the
-         times’), =210= 19, =216= 18, =234= 4, =244= 19, =264= 4.
-         _Times_, _time-intervals_, _time-spaces_, _rests_, _pauses_.
-         Lat. _tempora_, _morae_. So in =128= 15 χρόνους = ‘the length
-         of syllables,’ and in =130= 7 ἐν τοῖς χρόνοις τῶν μορίων = ‘in
-         the duration of words,’ ‘in quantity.’ χρόνων = ‘tenses,’ =108=
-         5; χρόνιος = _diuturnus_, =202= 23; χρονίζειν = _immorari_,
-         =164= 12.
-
- =χρῶμα.= =88= 12, =198= 14. _Colour._ Lat. _color_. In =198= 14
-         χρώμασιν should be retained (in place of Usener’s χρήμασιν)
-         in the sense of ‘ornaments’; the ornaments in question being
-         μέλος εὐγενές, ῥυθμὸς ἀξιωματικός, μεταβολὴ μεγαλοπρεπής (=136=
-         11, where compare τὸ πᾶσι τούτοις παρακολουθοῦν πρέπον with
-         τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι δεῖ τὸ πρέπον in =198=
-         14). Compare too _de Demosth._ c. 22 κοσμοῦντος ἅπαντα καὶ
-         χρωματίζοντος τῇ πρεπούσῃ ὑποκρίσει ἧς δεινότατος ἀσκητὴς
-         ἐγένετο, and the use of χρῶμα (or χρώματα) in _de Isaeo_ c. 4
-         and _de Thucyd._ c. 42. Photius (_Bibl. Cod._ 214) has ἔστι
-         δὲ ἡ φράσις τῷ ἀνδρὶ σαφὴς μὲν καὶ καθαρὰ καὶ σπουδῇ φιλοσόφῳ
-         πρέπουσα, οὐ μήν γε τοῖς κεκαλλωπισμένοις καὶ περιττοῖς
-         ἐξωραϊζομένη χρώμασι καὶ ποικίλμασι τῆς ῥητορείας. Similarly
-         _color_ in Quintil. x. 1. 116, and Cic. _de Orat._ iii. 25.
-         100. The stage at which the χρῶμα would best be introduced in
-         a historical work is suggested in a passage of Lucian (_de
-         conscrib. hist._ 48): καὶ ἐπειδὰν ἀθροίσῃ ἅπαντα ἢ τὰ πλεῖστα,
-         πρῶτα μὲν ὑπόμνημά τι συνυφαινέτω αὐτῶν καὶ σῶμα ποιείτω
-         ἀκαλλὲς ἔτι καὶ ἀδιάρθρωτον· εἶτα ἐπιθεὶς τὴν τάξιν ἐπαγέτω τὸ
-         κάλλος καὶ χρωννύτω (i.e. ‘tinge’) τῇ λέξει καὶ σχηματιζέτω καὶ
-         ῥυθμιζέτω. But might it not be more truly said that a great
-         historian like Gibbon has his χρῶμα from the beginning, —from
-         the moment when he stands in the Forum and conceives his vast
-         theme? It is in fact one aspect of his inspiration.
-
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-
-
- =χρωματικός.= =194= 7, =196= 3. _Chromatic._ Lat. _chromaticus_. For
-         the chromatic scale see note on =194= 7.
-
- =χώρα.= =144= 13. _Room_, _space_. Lat. _locus_, _spatium_. χωρίον in
-         =126= 6 = ‘distance,’ ‘interval.’
-
-
- =ψιλός.= =130= 5, =148= 7, 12 (_bis_), 18, 19, =150= 3, 9, =154= 2,
-         =250= 12, =254= 1. _Bare_, _smooth_, _unaspirated_. Lat.
-         _lenis_. So =ψιλότης= =148= 21. See s.v. δασύς p. 294 _supra_,
-         with the reference there given to A. J. Ellis’ pamphlet. In
-         =148= 7 Ellis takes ‘smooth’ to mean ‘unaccompanied by voice,
-         but in this case possibly not mute.’ In =130= 5 the ‘ordinary’
-         voice, the voice ‘pure and simple’ (or ‘without addition’), is
-         meant: cp. =154= 2, =250= 12, =254= 1. So ἐν τοῖς ψιλοῖς λόγοις
-         Aristot. _Rhet._ iii. 2. 3, and “nuda oratio” Cic. _Orat._ 55.
-         183.
-
- =ψοφοειδής.= =162= 15. _Sounding._ Lat. _sonans_. If the term is
-         technical, it may perhaps be translated by _fricative_; it can
-         hardly be so wide as _consonantal_.
-
- =ψόφος.= =138= 7, 8, 9, 12, =146= 4, =222= 2. _A sound_, _a noise_.
-         Lat. _sonus_, _strepitus_. The consonants (_litterae
-         consonantes_) are called ψόφοι, as contrasted with the φωνήεντα
-         γράμματα.
-
- =ψῦγμα.= =202= 26. _Inhalation._ Lat. _respiratio_. Used particularly
-         of the ‘catch of the breath’ (_interspiratio_) between one word
-         and another. [ψῦγμα must, of course, be distinguished from
-         ψῆγμα: cp. Long. p. 174.]
-
-
- =ᾠδή.= =124= 16, 22, =148= 1, =224= 21, =278= 8. _Song_, _lay_, _ode_.
-         Lat. _cantus_, _carmen_. So =ᾠδικός= = _vocal_ (of the voice
-         accompanied by music), =126= 16, =130= 5.
-
- =ὤρα.= =78= 12. _Care_, _heed_. Lat. _cura_. Cp. Hesychius: ὥρα ...
-         ψιλῶς δὲ φροντίς, ἐπιμέλεια· ὅθεν ὀλίγωρον (i.e. ‘a _poco
-         curante_,’ ‘a Hippocleides’) λέγομεν τὸν ὀλίγην ἔχοντα
-         φροντίδα. In =78= 12 M has γρ φροντίδα in the margin.
-
- =ὥρα.= =120= 20, =124= 12, =162= 1. _Freshness_, _bloom_, _beauty_.
-         Lat. _venustas_, _flos_. Fr. _fraîcheur_. Cp. _Ep. ad Cn.
-         Pomp._ c. 2 (quoted from _de Demosth._ c. 5: in reference to
-         Plato’s style ὅ τε πίνος ὁ τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ
-         λεληθότως ἐπιτρέχει ἱλαρόν τέ τι καὶ τεθηλὸς καὶ μεστὸν ὥρας
-         ἄνθος ἀναδίδωσι, καὶ ὥσπερ ἀπὸ τῶν εὐωδεστάτων λειμώνων αὔρα
-         τις ἡδεῖα ἐξ αὐτῆς φέρεται).—In =68= 14 and =76= 6 ὥρα =
-         ‘time,’ ‘season.’
-
- =ὡραϊσμός.= =66= 18. _Adornment_, _elegance_. Lat. _elegantia_.
-
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-
-
-
-
-APPENDIX A
-
-OBSCURITY IN GREEK
-
-
-The natural lucidity of the Greek language is sometimes assumed by
-its modern admirers to extend to all the writings of Greek authors.
-But the ancients themselves made no such extravagant claims. They
-might praise Lysias as a model of clearness; but they knew well the
-difficulties, of subject matter or expression, to be met with not only
-in Heracleitus[199] or Lycophron, but in masters so great as Pindar,
-Aeschylus, Thucydides, and the author of that excellent definition
-which sees in lucidity a fundamental virtue of style—Aristotle himself.
-Thucydides (to take one writer only out of this group of four) is taxed
-with obscurity by critics other than Dionysius. Marcellinus, although
-not otherwise in entire agreement with Dionysius, attributes this
-particular defect to Thucydides and regards it as deliberate: ἀσαφῶς
-δὲ λέγων ἐπίτηδες, ἵνα μὴ πᾶσιν εἴη βατὸς μηδὲ εὐτελὴς φαίνηται παντὶ
-τῷ βουλομένῳ νοούμενος εὐχερῶς, ἀλλὰ τοῖς λίαν σοφοῖς δοκιμαζόμενος
-παρὰ τούτοις θαυμάζηται ... τὸ δὲ τῆς συνθέσεως τραχύτητος μεστὸν καὶ
-ἐμβριθὲς καὶ ὑπερβατικόν, ἐνίοτε δὲ ἀσαφές ... ἀσαφὴς τὴν διάνοιαν
-διὰ τὸ ὑπερβατοῖς χαίρειν (Marcell. _Vita Thucyd._ §§ 35, 50, 56). An
-epigram in the Greek Anthology is pitched in the same key:—
-
-        ὦ φίλος, εἰ σοφὸς εἶ, λάβε μ’ ἐς χέρας· εἰ δέ γε πάμπαν
-              νῆϊς ἔφυς Μουσέων, ῥίψον ἃ μὴ νοέεις.
-        εἰμὶ δέ γ’ οὐ πάντεσσι βατός· παῦροι δ’ ἀγάσαντο
-              Θουκυδίδην Ὀλόρου, Κεκροπίδην τὸ γένος.
-
-                                    _Anth. Pal._ ix. 583.
-
-And Cicero, in a more uncompromising way, condemns the Speeches as
-scarcely intelligible: “ipsae illae contiones ita multas habent
-obscuras abditasque sententias, vix ut intellegantur; quod est in
-oratione civili vitium vel maximum” (Cic. _Orat._ 9. 30).
-
-Obscurity in matter and obscurity in expression are intimately allied.
-Euripides, in the _Frogs_, says of Aeschylus that he was obscure in
-setting forth his plots (ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων,
-Aristoph. _Ran._ 1122). Dionysius attributes to Lysias, as compared
-with Thucydides
-
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-
-and Demosthenes, a lucidity which embraces matter as well as expression
-and treats words as the servants of thought: τρίτην ἀρετὴν ἀποφαίνομαι
-περὶ τὸν ἄνδρα τὴν σαφήνειαν, οὐ μόνον τὴν ἐν τοῖς ὀνόμασιν, ἀλλὰ
-καὶ τὴν ἐν τοῖς πράγμασιν· ἔστι γάρ τις καὶ πραγματικὴ σαφήνεια οὐ
-πολλοῖς γνώριμος. τεκμαίρομαι δέ, ὅτι τῆς μὲν Θουκυδίδου λέξεως καὶ
-Δημοσθένους, οἳ δεινότατοι πράγματα ἐξειπεῖν ἐγένοντο, πολλὰ δυσείκαστά
-ἐστιν ἡμῖν καὶ ἀσαφῆ καὶ δεόμενα ἐξηγητῶν ... τούτου δὲ αἴτιον, ὅτι
-οὐ τοῖς ὀνόμασι δουλεύει τὰ πράγματα παρ’ αὐτῷ [sc. Λυσίᾳ], τοῖς δὲ
-πράγμασιν ἀκολουθεῖ τὰ ὀνόματα (_de Lysia_, c. 4). So far as the two
-can be separated, it is with wording rather than with subject matter
-that the present appendix is concerned.
-
-One principal cause of obscurity is the anxious search for brevity.
-Dionysius sees this, especially in regard to Thucydides; and “brevis
-esse laboro, | obscurus fio” has many an analogue in his critical pages
-(e.g. ἀσαφὲς γίνεται τὸ βραχύ and διὰ τὸ τάχος τῆς ἀπαγγελίας ἀσαφὴς ἡ
-λέξις γίνεται, _de Thucyd._ c. 24 and _Ep. ii. ad Amm._ c. 2). At the
-same time, he does not seem to concede enough to the claims of brevity
-in _C.V._ =118= 1, 2, where it is not simply a question of ‘offending
-the ear,’ or of ‘spoiling the metre,’ or even of ‘charm.’ The two lines
-there quoted from Sophocles have something of that πολύνους βραχυλογία
-which has been justly attributed to Thucydides.[200]
-
-But too many words may be just as fatal to clearness as too few. As
-Aristotle says (_Rhet._ iii. 12. 6), lucidity is imperilled when a
-style is prolix, no less than when it is condensed. A disjointed
-and rambling diffuseness is condemned by Demetrius (_de Eloc._ §
-192); and Dionysius (_Ep. ii. ad Amm._ c. 15) remarks that numerous
-parentheses make the meaning hard to follow (... αἱ μεταξὺ παρεμπτώσεις
-πολλαὶ γινόμεναι καὶ μόλις ἐπὶ τὸ τέλος ἀφικνούμεναι, δι’ ἃς ἡ φράσις
-δυσπαρακολούθητος γίνεται).[201]
-
-It is, however, the arrangement of words (even more than their
-number, large or small) that contributes to lucidity or its opposite.
-Quintilian (ix. 4. 32) says “amphiboliam quoque fieri vitiosa locatione
-verborum, nemo est qui nesciat”; and certainly the importance of a
-right order, in its bearing on clearness, is very great even in the
-highly inflected languages. Elsewhere (viii. 2. 16) Quintilian gives
-some good examples of ambiguities to be avoided: “vitanda est in
-primis ambiguitas, non haec solum, de cuius genere supra dictum est,
-quae incertum intellectum facit, ut _Chremetem audivi percussisse
-Demean_,[202] sed illa quoque, quae, etiamsi turbare non potest sensum,
-in idem tamen verborum vitium incidit, ut si quis dicat, _visum a se
-hominem librum scribentem_. nam etiamsi librum ab homine scribi patet,
-male tamen composuerit feceritque ambiguum, quantum in ipso fuit.”
-Quintilian’s ideal is a fine one, but it is not always possible to
-
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-
-attain it in Latin or in Greek. The freedom of the classical
-word-order, so desirable on other grounds, stands in the way here.
-
-Illustrations of a certain degree of ambiguity will be found in some
-instances of the dependent genitive in Greek, as used especially in
-Thucydides. Thucydides usually places the dependent genitive _before_
-the noun on which it depends.[203] As, however, his rule is not
-invariable, it cannot be said that in all the following examples (which
-are designedly of a promiscuous character) the reader is absolved, as
-Quintilian evidently thinks he should be, from making his conception of
-the general sense help in determining the grammatical construction:—
-
-(1) καὶ μετὰ τῆς ἥσσονος ἅμα ἐλπίδος ὀλίγων ἡμερῶν ἕνεκα μεγάλου μισθοῦ
-    δόσεως ἐκείνοις ξυναγωνίζεσθαι, Thucyd. i. 143.
-
-(2) εἴ τις ὑπομένοι καὶ μὴ φόβῳ ῥοθίου καὶ νεῶν δεινότητος κατάπλου
-    ὑποχωροίη, iv. 10.
-
-(3) Κερκυραῖοι δὲ μετὰ τῆς ξυμμαχίας τῆς αἰτήσεως καὶ ταῦτα πιστεύοντες
-    ἐχυρὰ ὑμῖν παρέξεσθαι ἀπέστειλαν ἡμᾶς, i. 32.
-
-(4) οἵπερ τῶν ὁλκάδων ἕνεκα τῆς ἐς Σικελίαν κομιδῆς ἀνθώρμουν πρὸς τὰς
-    ἐν Ναυπάκτῳ ναῦς, vii. 34.
-
-(5) ἄπιστα μὲν ἴσως, ὥσπερ καὶ ἄλλοι τινές, δόξω ὑμῖν περὶ τοῦ ἐπίπλου
-    τῆς ἀληθείας λέγειν, vi. 33.
-
-(6) τά τε τῆς ἀντιμιμήσεως αὐτῶν τῆς παρασκευῆς ἡμῶν τῷ μὲν ἡμετέρῳ
-    τρόπῳ ξυνήθη τέ ἐστι κτλ., vii. 67.
-
-(7) τοὺς γὰρ ἂν ψιλοὺς τοὺς σφῶν καὶ τὸν ὄχλον τῶν Συρακοσίων τοὺς
-    ἱππέας πολλοὺς ὄντας, σφίσι δ’ οὐ παρόντων ἱππέων, βλάπτειν ἂν
-    μεγάλα, vi. 64.
-
-(8) καὶ τοῦ Κλέωνος καίπερ μανιώδης οὖσα ἡ ὑπόσχεσις ἀπέβη, iv. 39.
-
-(9) καὶ τριήρης τῇ αὐτῇ ἡμέρᾳ ἁλίσκεται τῶν Ἀθηναίων ὑπὸ τῶν Συρακοσίων
-    ἐφορμοῦσα τῷ λιμένι, vii. 3.[204]
-
-Similarly in other authors: e.g. καὶ δὴ καὶ τότε τοῦ Θρασυμάχου τὴν
-ἀπόρρησιν οὐκ ἀπεδέξατο, Plato _Rep._ ii. 357 A (where, however, the
-meaning may be “would not accept from Thrasymachus his withdrawal”);
-and ὣς φάτο, τῷ δ’ ἄρα πατρὸς ὑφ’ ἵμερον ὦρσε γόοιο, Hom. _Il._ xxiv.
-507; and
-
-        =τούτων= ἐγὼ οὐκ ἔμελλον, ἀνδρὸς οὐδενὸς
-        φρόνημα δείσασ’, ἐν θεοῖσι =τὴν δίκην=
-        δώσειν.
-
-                              Soph. _Antig._ 458-60.[205]
-
-If in some of these instances the order is not absolutely unambiguous,
-still less is it so in other and more miscellaneous extracts about to
-be given. The writer of artistic prose, as of poetry, has to satisfy
-claims which are often hard to reconcile: those of clearness, of
-emphasis, and of euphony.[206]
-
-[Page 338]
-
-
-The result may often be a more or less unconscious compromise in which
-one of the elements prospers at the expense of the others. Euphony,
-to take that element alone, is expected to please the ear in many
-different ways—by the avoidance of harsh letters (found singly or in
-combination), of short syllables in close succession, of monotony in
-word-terminations, of monotony in every shape and form. Obscurity may
-well ensue, especially in a literature which does not aid the eye by
-means of punctuation, capital letters (to denote proper names or the
-beginning of a sentence), italic type, or division into paragraphs
-and chapters. To set against these deficiencies, there was the help
-provided by the reciter or the skilled _anagnostes_; and it is often
-interesting to speculate how, by a slight pause or modulation of the
-voice, a practised reader would be able to remove a seeming ambiguity.
-In poetry, again, metre would often be an aid to clear delivery, though
-its exigencies might on the other hand have led to some ambiguities
-in the actual writing. No careful modern student of a highly-wrought
-speech, like the _Crown_ of Demosthenes, can have failed to be arrested
-momentarily, here and there, by some slight ambiguity which, as far as
-he can judge, might have been removed by an equally slight change in
-the word-order; and he gains much in the appreciation of Demosthenes
-if he is thus led to consider what are the subtle laws of rhythm and
-melody to which an absolutely unimpeachable lucidity has (in however
-small a degree) given way. He will certainly be led to the conclusion
-that, in Greek, good order is by no means the simple thing it may seem
-when achieved, but rather is the highly complex result of the play of
-many forces. The following examples, drawn from various authors in
-poetry and in prose, may be found suggestive. They are of set purpose
-presented without any attempt at sequence or classification, except
-that a considerable number of extracts from the _de Corona_ are grouped
-together:—
-
-        (1) καί μοι τὸν υἱόν, εἰ μεμάθηκε τὸν λόγον
-        ἐκεῖνον, εἴφ’, =ὃν= ἀρτίως εἰσήγαγες.
-
-                              Aristoph. _Nub._ 1148.
-
-        (2)        ἀλλά =μιν= αὖτις ἀναρπάξασα θύελλα
-        πόντον ἐπ’ ἰχθυόεντα φέρεν βαρέα =στενάχοντα=.
-
-                              Hom. _Odyss._ xxiii. 316.[207]
-
-        (3) ἠδ’ ὡς εἰς Ἀίδεω δόμον =ἤλυθεν= εὐρώεντα,
-        ψυχῇ χρησόμενος Θηβαίου Τειρεσίαο,
-        =νηῒ πολυκλήιδι=.
-
-                              id. _ib._ xxiii. 322.[207]
-
-        (4) ὅτι Ἱππίας μὲν πρεσβύτατος ὢν ἦρχε τῶν Πεισιστράτου υἱέων.
-
-                              Thucyd. i. 20.
-
-Here τῶν Πεισιστράτου υἱέων depends on πρεσβύτατος ὤν, not on ἦρχε.
-
-        (5) κράτιστα τοίνυν τῶν παρόντων ἐστὶ νῷν
-        θεῶν ἰόντε προσπεσεῖν του πρὸς βρέτας.
-
-                              Aristoph. _Eq._ 30, 31.
-
-Here the actor would pause slightly after νῷν, at the end of the
-metrical line.
-
-        (6) τοῦτ’ οὖν ἔβλαψα τί δράσας;
-
-                              id. _Ran._ 1064.
-
-
-[Page 339]
-
-
-Careful delivery would make it quite plain that the meaning is: τί οὖν
-ἔβλαψα, δράσας τοῦτο;
-
-        (7) σαφῶς γὰρ ἄν, εἰ πείθοιμι ὑμᾶς καὶ τῷ δεῖσθαι βιαζοίμην
-        ὀμωμοκότας, =θεοὺς ἂν διδάσκοιμι μὴ ἡγεῖσθαι ὑμᾶς εἶναι=.
-
-                              Plato _Apol._ c. 24.
-
-        (8) καὶ ἐς τύχας =πρὸς πολλῷ δυνατωτέρους= ἀγωνιζόμενοι
-        καταστῆναι.
-
-                              Thucyd. i. 69.
-
-        (9) οὐδ’ ἐκλογίσασθαι πώποτε πρὸς οἵους =ὑμῖν= Ἀθηναίους ὄντας
-        καὶ ὅσον ὑμῶν καὶ ὡς πᾶν διαφέροντας ὁ ἀγὼν ἔσται.
-
-                              id. i. 70.
-
-ὑμῖν is probably to be connected with ὁ ἀγὼν ἔσται. Its present
-position has the effect of marking the contrast between ὑμῖν
-and Ἀθηναίους, and further of breaking the monotony of the
-accusative-endings οἵ=ους= Ἀθηναί=ους= ὄντ=ας=. It should, however,
-be remembered that in a highly inflected language like Greek a noun
-may stand in a vague general case relation (genitive, dative, or
-accusative) to the whole sentence in a way that is impossible in an
-uninflected language. This may be so here, and in some of the other
-passages quoted.
-
-        (10) ῥηθήσεται δὲ οὐ παραιτήσεως μᾶλλον ἕνεκα ἢ μαρτυρίου καὶ
-        δηλώσεως πρὸς οἵαν =ὑμῖν= πόλιν μὴ εὖ βουλευομένοις ὁ ἀγὼν
-        καταστήσεται.
-
-                              id. i. 73.
-
-Similarly ὑμῖν (‘you will find,’ etc.) is to be taken with ὁ ἀγὼν
-καταστήσεται. It is contrasted with πόλιν and paves the way for
-βουλευομένοις.
-
-        (11) ἔνθ’ ὅ γε τοὺς =ἐλεεινὰ= κατήσθεε τετριγῶτας·
-        μήτηρ δ’ ἀμφεποτᾶτο ὀδυρομένη =φίλα τέκνα=.
-
-                              Hom. _Il._ ii. 314-15.
-
-Connect ἐλεεινὰ τετριγῶτας, and ἀμφεποτᾶτο φίλα τέκνα.
-
-        (12) ὡς οὖν δεινὰ πέλωρα =θεῶν= εἰσῆλθ’ ἑκατόμβας.
-
-                              id. _ib._ ii. 321.
-
-Connect θεῶν ἑκατόμβας.
-
-        (13) καίτοι σ’ ἐγὼ ’τίμησα τοῖς φρονοῦσιν =εὖ=.
-
-                              Soph. _Antig._ 904.
-
-εὖ with ἐτίμησα. The line occurs in the suspected portion of the
-_Antigone_. But, so far as this particular point is concerned, cp. the
-order of μόνος in—
-
-        τὰ κοινὰ χαίρων οὐ δίκαια δρᾷ =μόνος=.
-
-                              Eurip. _Ion_ 358.
-
-        (14) =τίνος= δ’ Ἀτρεῖδαι τοῦδ’ ἄγαν οὕτω χρόνῳ
-        τοσῷδ’ ἐπεστέφοντο πράγματος χάριν,
-        ὅν γ’ εἶχον ἤδη χρόνιον ἐκβεβληκότες;
-
-                              Soph. _Philoct._ 598.
-
-Here strict lucidity is sacrificed to emphasis. τίνος must be joined
-with πράγματος (not with τοῦδε).
-
-        (15) στέμματ’ ἔχων ἐν χερσὶν =ἑκηβόλου Ἀπόλλωνος=
-        χρυσέῳ ἀνὰ σκήπτρῳ.
-
-                              Hom. _Il._ i. 14.
-
-        (16) περὶ τούτων δ’ ὄντος τουτουὶ τοῦ ἀγῶνος, ἀξιῶ καὶ
-        δέομαι πάντων ὁμοίως ὑμῶν ἀκοῦσαί μου περὶ τῶν κατηγορημένων
-        ἀπολογουμένου =δικαίως=, ὥσπερ οἱ νόμοι κελεύουσιν, οὓς ὁ
-        τιθεὶς ἐξ ἀρχῆς Σόλων κτλ.
-
-                              Demosth. _de Cor._ § 6.
-
-[Page 340]
-
-
-δικαίως qualifies ἀκοῦσαι: cp. the position of γενναίως in _de Cor._
-§ 97 (quoted in Introduction p. 24 _supra_). The present order is not
-only emphatic, but also serves to connect δικαίως closely with ὥσπερ
-κτλ., and thus to a certain extent actually to avoid ambiguity.
-
-        (17) σκέψασθ’ ὦ ἄνδρες Ἀθηναῖοι καὶ θεωρήσατε ὅσῳ καὶ
-        ἀληθέστερον καὶ ἀνθρωπινώτερον ἐγὼ περὶ τῆς τύχης =τούτου=
-        διαλεχθήσομαι.
-
-                              Demosth. _de Cor._ § 252.
-
-        (18) τὸ μὲν τοίνυν προελέσθαι τὰ κάλλιστα καὶ =τὸ= τῶν
-        οἰηθέντων Ἑλλήνων, εἰ πρόοιντο ἡμᾶς, ἐν εὐδαιμονίᾳ διάξειν,
-        =αὐτῶν= ἄμεινον πράττειν τῆς ἀγαθῆς τύχης τῆς πόλεως εἶναι
-        τίθημι.
-
-                              id. _ib._ § 254.
-
-        (19) =τοῦ μὲν οὖν γράψαι= πράττοντα καὶ λέγοντα τὰ βέλτιστά με
-        τῷ δήμῳ διατελεῖν καὶ πρόθυμον εἶναι ποιεῖν ὅ τι ἂν δύνωμαι
-        ἀγαθόν, καὶ ἐπαινεῖν ἐπὶ τούτοις, ἐν τοῖς πεπολιτευμένοις =τὴν
-        κρίσιν= εἶναι νομίζω.
-
-                              id. _ib._ § 56.
-
-        (20) οὐ γὰρ ἂν ἥψατ’ αὐτῶν | παρόντων ἡμῶν, κτλ.
-
-                              id. _ib._ § 30.
-
-The vertical stroke, here and elsewhere, may serve to indicate the
-possibility of a slight pause in utterance, and Aristotle’s remarks
-on the obscurity of Heracleitus may be recalled: τὰ γὰρ Ἡρακλείτου
-διαστίξαι (‘to punctuate’) ἔργον διὰ τὸ ἄδηλον εἶναι ποτέρῳ πρόσκειται,
-τῷ ὕστερον ἢ τῷ πρότερον, οἷον ἐν τῇ ἀρχῇ αὐτοῦ τοῦ συγγράμματος· φησὶ
-γὰρ “τοῦ λόγου τοῦδ’ ἐόντος ἀεὶ ἀξύνετοι ἄνθρωποι γίγνονται”· ἄδηλον
-γὰρ τὸ ἀεί, πρὸς ὁποτέρῳ <δεῖ> διαστίξαι.
-
-                              Aristot. _Rhet._ iii. 5.
-
-        (21) λοιπὸν τοίνυν ἦν καὶ ἀναγκαῖον ἅμα | πᾶσιν οἷς ἐκεῖνος
-        ἔπραττ’ ἀδικῶν ὑμᾶς ἐναντιοῦσθαι δικαίως.
-
-                              Demosth. _de Cor._ § 69.
-
-        (22) ταῦτα τοίνυν εἰδὼς Αἰσχίνης οὐδὲν ἧττον ἐμοῦ | πομπεύειν
-        ἀντὶ τοῦ κατηγορεῖν εἵλετο.
-
-                              id. _ib._ § 124.
-
-        (23) συνέβαινε δ’ αὐτῷ | τῷ πολέμῳ κρατοῦντι, κτλ.
-
-                              id. _ib._ § 146.
-
-        (24) τότε τοίνυν κατ’ ἐκεῖνον τὸν καιρὸν ὁ Παιανεὺς ἐγὼ
-        Βάτταλος Οἰνομάου τοῦ Κοθωκίδου σοῦ | πλείονος ἄξιος ὢν ἐφάνην
-        τῇ πατρίδι.
-
-                              id. _ib._ § 180.
-
-        (25) εἰ γὰρ ὡς οὐ τὰ βέλτιστα ἐμοῦ πολιτευσαμένου | τουδὶ
-        καταψηφιεῖσθε, ἡμαρτηκέναι δόξετε, οὐ τῇ τῆς τύχης ἀγνωμοσύνῃ
-        τὰ συμβάντα παθεῖν.
-
-                              id. _ib._ § 207.
-
-        (26) οὐκ ἂν οἷα σὺ νῦν ἔλεγες, τοιαῦτα κατηγόρει, παραδείγματα
-        πλάττων | καὶ ῥήματα καὶ σχήματα μιμούμενος κτλ.
-
-                              id. _ib._ § 232.
-
-        (27) σὺ τοίνυν ταῦτ’ ἀφεὶς ἐμὲ τὸν παρὰ τουτοισὶ πεπολιτευμένον
-        αἰτιᾷ, καὶ ταῦτ’ | εἰδὼς ὅτι, καὶ εἰ μὴ τὸ ὅλον, μέρος γ’
-        ἐπιβάλλει τῆς βλασφημίας ἅπασι, καὶ μάλιστα σοί.
-
-                              id. _ib._ § 272.
-
-Here may be added, from R. Y. Tyrrell’s edition of Eurip. _Bacchae_ p.
-36, an interesting note suggested by the distance which parts μόσχων
-from ἀγελαῖα βοσκήματα in _Bacch._ 678: “The Greek writers are not
-nearly so sensitive about the order of words as we are. Surely we have
-something at least as strange in the order of words in 684 where ἐλάτης
-certainly depends on φόβην not on νῶτα. See Comm. on 860 for more
-curious inversions of the natural order; and compare in Soph. _Oed. R._
-1251 χὤπως μὲν ἐκ τῶνδ’ οὐκέτ’ οἶδ’ =ἀπόλλυται=; _O.C._ 1427 τίς δὲ
-τολμήσει κλύων | τὰ
-
-[Page 341]
-
-τοῦδ’ =ἕπεσθαι= τἀνδρός; Perhaps the best instance in Greek of a
-violent _hyperbaton_ is Ar. _Thesm._ 811 οὐδ’ ἂν =κλέψασα= γυνὴ
-=ζεύγει= κατὰ πεντήκοντα τάλαντα | ἐς πόλιν =ἔλθοι τῶν δημοσίων= ‘nor
-would a lady _ride in her chariot_ to the town after _pilfering the
-public exchequer_ to the tune of 50 talents.’” Probably the Greek
-authors, in such instances, were not blind to the liberties they were
-taking with the natural and lucid order of words; but they trusted
-to delivery’s artful aid. And about the order adopted in the passage
-quoted from the _Thesmophoriazusae_ there seems to be a touch of
-intentional comedy.
-
-It is worth notice, in connexion with Thucydides and word-order, that
-the Vatican manuscript B, which is at its best from vi. 92 to the end
-of viii., frequently exhibits an order of words which is peculiar to it
-and may point to a reviser’s deliberate effort after greater lucidity.
-In reference to the text presented by the newly discovered Commentary
-on Thucydides ii., Grenfell and Hunt (_Oxyrhynchus Papyri_ vi. p. 113)
-say: “As usual, the text of the papyrus is of an eclectic character
-and does not consistently agree with either family [of the MSS. of
-Thucydides]; but it supports the ABEFM group seven times against only
-four agreements with the other [viz. CG]. Several new readings occur of
-which we append a list.”
-
-With regard to the 27 passages quoted above from various authors it
-may be remarked in general that, while in some of them there are
-real obscurities, in others the ambiguity is purely grammatical. And
-it might almost be laid down as a principle of Greek language that
-grammatical rules may be freely neglected where the neglect of them
-does not make the meaning seriously ambiguous, and is desirable in
-order to secure emphasis, euphony, or some similar object.
-
-[Page 342]
-
-
-
-
-APPENDIX B
-
-ILLUSTRATIONS OF WORD-ORDER IN GREEK AND MODERN LANGUAGES
-
-
-A few modern translations of some short Greek passages may be appended,
-in order to exemplify some of the leading differences, in regard to
-word-order, between ancient and modern languages. From these it will be
-seen how much English, French, and German differ among themselves; and,
-indeed, how great is the variety presented by good English versions
-of one and the same Greek passage. Dionysius himself (p. 266 _supra_)
-refers to the opening of Plato’s _Republic_, and that opening passage
-may here be given at sufficient length to illustrate sentence-order and
-clause-order as well as word-order. Then will be added, from the _de
-Corona_ (which Dionysius regards as the greatest of all speeches), the
-opening, the conclusion, and a famous piece of narrative.
-
-
-MODERN TRANSLATIONS
-
-
-I. OPENING OF PLATO’S _REPUBLIC_
-
-(1) Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνος τοῦ Ἀρίστωνος προσευξόμενός
-τε τῇ θεῷ καὶ ἅμα τὴν ἑορτὴν βουλόμενος θεάσασθαι τίνα τρόπον
-ποιήσουσιν ἅτε νῦν πρῶτον ἄγοντες. καλὴ μὲν οὖν μοι καὶ ἡ τῶν ἐπιχωρίων
-πομπὴ ἔδοξεν εἶναι, οὐ μέντοι ἧττον ἐφαίνετο πρέπειν ἣν οἱ Θρᾷκες
-ἔπεμπον. προσευξάμενοι δὲ καὶ θεωρήσαντες ἀπῇμεν πρὸς τὸ ἄστυ. κατιδὼν
-οὖν πόρρωθεν ἡμᾶς οἴκαδε ὡρμημένους Πολέμαρχος ὁ Κεφάλου ἐκέλευσε
-δραμόντα τὸν παῖδα περιμεῖναί ἑ κελεῦσαι. καί μου ὄπισθεν ὁ παῖς
-λαβόμενος τοῦ ἱματίου, Κελεύει ὑμᾶς, ἔφη, Πολέμαρχος περιμεῖναι. Καὶ
-ἐγὼ μετεστράφην τε καὶ ἠρόμην ὅπου αὐτὸς εἴη. Οὗτος, ἔφη, ὄπισθεν
-προσέρχεται· ἀλλὰ περιμένετε. Ἀλλὰ περιμενοῦμεν, ἦ δ’ ὃς ὁ Γλαύκων.
-
-(2) _J’étais descendu hier au Pirée avec Glaucon, fils d’Ariston, pour
-faire notre prière à la déesse et voir aussi comment se passerait la
-fête, car c’était la première fois qu’on la célébrait. La pompe, formée
-par nos compatriotes, me parut belle, et celle des Thraces ne l’était
-pas moins. Après avoir fait notre_
-
-[Page 343]
-
-_prière et vu la cérémonie, nous regagnâmes le chemin de la ville.
-Comme nous nous dirigions de ce côté, Polémarque, fils de Céphale, nous
-aperçut de loin, et dit à son esclave de courir après nous et de nous
-prier de l’attendre. Celui-ci m’arrêtant par derrière par mon manteau:
-Polémarque, dit-il, vous prie de l’attendre. Je me retourne et lui
-demande où est son maître: Le voilà qui me suit, attendez-le un moment.
-Eh bien, dit Glaucon, nous l’attendrons._
-
-                              VICTOR COUSIN.
-
-(3) _Ich ging gestern mit Glaukon, dem Sohne des Ariston, in den
-Peiraieus hinunter; theils um die Göttin anzubeten, dann aber wollte
-ich auch zugleich das Fest sehen, wie sie es feiern wollten, da sie
-es jetzt zum ersten Mal begehen. Schön nun dünkte mich auch unserer
-Einheimischen Aufzug zu sein; nicht minder vortrefflich jedoch nahm
-sich auch der aus, den die Thrakier geschickt hatten. Nachdem wir nun
-gebetet und die Feier mit angeschaut hatten, gingen wir fort nach der
-Stadt. Wie nun Polemarchos, der Sohn des Kephalos, uns von fern nach
-Hause zu steigen sah, hiess er seinen Knaben laufen und uns heissen,
-ihn erwarten. Der Knabe also fasste mich von hinten beim Mantel und
-sprach: Polemarchos heisst Euch, ihn erwarten. Ich wendete mich um und
-fragte, wo denn er selbst wäre. Hier, sprach er, kommt er hinter Euch,
-wartet nur. Nun ja, wir wollen warten, sagte Glaukon._
-
-                              FRIEDRICH SCHLEIERMACHER.
-
-(4) _I went down yesterday to the Piraeus with Glaucon the son of
-Ariston, to offer up prayer to the goddess, and also from a wish
-to see how the festival, then to be held for the first time, would
-be celebrated. I was very much pleased with the native Athenian
-procession; though that of the Thracians appeared to be no less
-brilliant. We had finished our prayers and satisfied our curiosity, and
-were returning to the city, when Polemarchus the son of Cephalus caught
-sight of us at a distance, as we were on our way towards home, and told
-his servant to run and bid us wait for him. The servant came behind me,
-took hold of my cloak, and said, ‘Polemarchus bids you wait.’ I turned
-round and asked him where his master was. ‘There he is,’ he replied,
-‘coming on behind: pray wait for him.’ ‘We will wait,’ answered
-Glaucon._
-
-                              DAVIES and VAUGHAN.
-
-(5) _I went down yesterday to the Piraeus with Glaucon the son of
-Ariston, that I might offer up my prayers to the goddess; and also
-because I wanted to see in what manner they would celebrate the
-festival, which was a new thing. I was delighted with the procession of
-the inhabitants; but that of the Thracians was equally, if not more,
-beautiful. When we had finished our prayers and viewed the spectacle,
-we turned in the direction of the city; and at that instant Polemarchus
-the son of Cephalus chanced to catch sight of us from a distance as
-we were starting on our way home, and told his servant to run and bid
-us wait for him. The servant took hold of me by the cloak behind, and
-said: Polemarchus desires you to wait. I turned round, and asked him
-where his master was. There he is, said the youth, coming after you, if
-you will only wait. Certainly we will, said Glaucon._
-
-                              B. JOWETT.
-
-(6) _I went down to the Peiraeus yesterday with Glaucon, the son of
-Ariston. As this was the first celebration of the festival, I wished to
-make my prayers_
-
-[Page 344]
-
-_to the goddess and see the ceremony. I liked the procession of the
-residents, but I thought that the Thracian ordered theirs quite as
-successfully. We had offered our prayers and finished our sight-seeing,
-and were leaving for the city, when from some way off, Polemarchus,
-the son of Cephalus, saw that we were starting homewards, and sent his
-slave to run after us and bid us wait. The lad caught my cloak from
-behind and said: ‘Polemarchus bids you wait.’ I turned round and asked
-him where his master was. ‘He is coming behind,’ he said; ‘but will you
-please wait?’ ‘Surely we will,’ said Glaucon._
-
-                              A. D. LINDSAY.
-
-
-II. OPENING OF DEMOSTHENES’ SPEECH ON THE CROWN
-
-(1) Πρῶτον μέν, ὦ ἄνδρες Ἀθηναῖοι, τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις,
-ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ τῇ τε πόλει καὶ πᾶσιν ὑμῖν, τοσαύτην
-ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν ἀγῶνα, ἔπειθ’ ὅπερ ἐστὶ μάλισθ’
-ὑπὲρ ὑμῶν καὶ τῆς ὑμετέρας εὐσεβείας τε καὶ δόξης, τοῦτο παραστῆσαι
-τοὺς θεοὺς ὑμῖν, μὴ τὸν ἀντίδικον σύμβουλον ποιήσασθαι περὶ τοῦ πῶς
-ἀκούειν ὑμᾶς ἐμοῦ δεῖ (σχέτλιον γὰρ ἂν εἴη τοῦτό γε), ἀλλὰ τοὺς
-νόμους καὶ τὸν ὅρκον, ἐν ᾧ πρὸς ἅπασι τοῖς ἄλλοις δικαίοις καὶ τοῦτο
-γέγραπται, τὸ ὁμοίως ἀμφοῖν ἀκροάσασθαι. τοῦτο δ’ ἐστὶν οὐ μόνον τὸ μὴ
-προκατεγνωκέναι μηδέν, οὐδὲ τὸ τὴν εὔνοιαν ἴσην ἀποδοῦναι, ἀλλὰ τὸ καὶ
-τῇ τάξει καὶ τῇ ἀπολογίᾳ, ὡς βεβούληται καὶ προῄρηται τῶν ἀγωνιζομένων
-ἕκαστος, οὕτως ἐᾶσαι χρήσασθαι.
-
-(2) _Athéniens, j’adresse d’abord une prière à tous les dieux, à toutes
-les déesses. Si j’ai toujours voulu le bien de la république et de vous
-tous, fassent ces dieux qu’aujourd’hui, dans cette lutte, je trouve en
-vous la même bienveillance! Puissent-ils vous persuader aussi, comme
-le veulent votre intérêt, votre religion, votre gloire, que, sur la
-manière de m’entendre, ce n’est pas mon adversaire qu’il est juste de
-consulter,—ma condition en deviendrait trop dure,—ce sont les lois et
-votre serment! Votre serment, où sont écrites ces paroles, pleines
-d’équité, comme tout le reste: écouter également les deux parties. Cela
-ne veut pas dire seulement: nous n’apporterons aucune prévention, et
-nous donnerons à tous deux une faveur égale. Cela veut dire aussi: nous
-ne contraindrons personne, ni dans la disposition de ses moyens ni dans
-l’ordre de sa défense; quel que soit le plan adopté par celui qui vient
-plaider sa cause, nous lui permettrons de le suivre en toute liberté._
-
-                              RODOLPHE DARESTE.
-
-(3) _Für das Erste, Ihr Männer Athens, flehe ich alle Götter und
-Göttinnen an, dass so viel Wohlwollen, als ich jederzeit der Stadt
-und Euch allen bewiesen, mir in gleichem Maasse von Euch für den
-gegenwärtigen Handel zu Theil werde; dann, dass die Götter Euch das
-in den Sinn geben, was Euch und Euerm Gewissen und Ansehn am meisten
-ziemt: nicht von dem Gegner Rath zu nehmen, wie Ihr mich anhören
-sollt—denn arg wäre das—sondern von den Gesetzen und dem Eide, in
-welchem, ausser allen andern Rechten, auch diess verordnet ist: beiden
-Parteien auf gleiche Weise Gehör zu geben. Diess heisst aber nicht
-bloss, keine Meinung vorher zu fassen; auch nicht, beiden gleiches
-Wohlwollen zu schenken; sondern ebenfalls, Jedem der Streitenden_
-
-[Page 345]
-
-_diejenige Anordnung und Vertheidigungsart zu gestatten, die er gut
-gefunden und gewählt hat._
-
-                              FRIEDRICH JACOBS.
-
-(4) _I begin, men of Athens, by praying to every God and Goddess, that
-the same goodwill, which I have ever cherished towards the commonwealth
-and all of you, may be requited to me on the present trial. I pray
-likewise—and this specially concerns yourselves, your religion, and
-your honour—that the Gods may put it in your minds, not to take counsel
-of my opponent touching the manner in which I am to be heard—that would
-indeed be cruel!—but of the laws and of your oath; wherein (besides
-the other obligations) it is prescribed that you shall hear both sides
-alike. This means, not only that you must pass no pre-condemnation, not
-only that you must extend your goodwill equally to both, but also that
-you must allow the parties to adopt such order and course of defence as
-they severally choose and prefer._
-
-                              C. R. KENNEDY.
-
-
-III. CONCLUSION OF DEMOSTHENES’ SPEECH ON THE CROWN
-
-(1) Μὴ δῆτ’, ὦ πάντες θεοί, μηδεὶς ταῦθ’ ὑμῶν ἐπινεύσειεν, ἀλλὰ μάλιστα
-μὲν καὶ τούτοις βελτίω τινὰ νοῦν καὶ φρένας ἐνθείητε, εἰ δ’ ἄρ’ ἔχουσιν
-ἀνιάτως, τούτους μὲν αὐτοὺς καθ’ ἑαυτοὺς ἐξώλεις καὶ προώλεις ἐν γῇ
-καὶ θαλάττῃ ποιήσατε, ἡμῖν δὲ τοῖς λοιποῖς τὴν ταχίστην ἀπαλλαγὴν τῶν
-ἐπηρτημένων φόβων δότε καὶ σωτηρίαν ἀσφαλῆ.
-
-(2) _Dieux puissants! n’écoutez pas ces vœux impies! inspirez plutôt
-à ces hommes un autre esprit et des pensées meilleures! Ou, si leur
-méchanceté est incurable, frappez-les, exterminez-les sur terre et
-sur mer. Pour nous, délivrez-nous au plus tôt des dangers qui nous
-menacent, sauvez-nous, protégez-nous à jamais!_
-
-                              R. DARESTE.
-
-(3) _Möchte doch, o all’ Ihr Götter! keiner von Euch dieses billigen,
-sondern Ihr vor allen Dingen auch diesen hier einen bessern Sinn und
-besseres Gemüth verleihen; wenn sie aber unheilbar sind, sie allein für
-sich dem Verderben überliefern, uns, den Übrigen, aber die schnellste
-Befreiung von den obschwebenden Besorgnissen und unerschütterte
-Wohlfahrt gewähren._
-
-                              F. JACOBS.
-
-(4) _Never, Powers of Heaven, may any brow of the Immortals be bent in
-approval of that prayer! Rather, if it may be, breathe even into these
-men a better mind and heart; but if so it is that to these can come no
-healing, then grant that these, and these alone, may perish utterly
-and early on land and on the deep: and to us, the remnant, send the
-swiftest deliverance from the terrors gathered above our heads, send us
-the salvation that stands fast perpetually._
-
-                              R. C. JEBB.
-
-(5) _Never, ye gods, vouchsafe assent to such a prayer! Rather, if it
-may be, inspire even these men with a better mind and heart; but, if
-they are indeed past healing, bring them, and them alone, to swift and
-utter ruin by_
-
-[Page 346]
-
-_land and sea; and to us who yet remain grant the speediest release
-from the terrors that hang over us; grant us a sure salvation!_
-
-                              S. H. BUTCHER.
-
-
-IV. NARRATIVE PASSAGE FROM DEMOSTHENES’ SPEECH ON THE CROWN
-
-(§§ 169, 170)
-
-(1) Ἑσπέρα μὲν γὰρ ἦν, ἧκε δ’ ἀγγέλλων τις ὡς τοὺς πρυτάνεις ὡς
-Ἐλάτεια κατείληπται. καὶ μετὰ ταῦθ’ οἱ μὲν εὐθὺς ἐξαναστάντες μεταξὺ
-δειπνοῦντες τοὺς τ’ ἐκ τῶν σκηνῶν τῶν κατὰ τὴν ἀγορὰν ἐξεῖργον καὶ
-τὰ γέρρ’ ἐνεπίμπρασαν, οἱ δὲ τοὺς στρατηγοὺς μετεπέμποντο καὶ τὸν
-σαλπιγκτὴν ἐκάλουν· καὶ θορύβου πλήρης ἦν ἡ πόλις. τῇ δ’ ὑστεραίᾳ, ἅμα
-τῇ ἡμέρᾳ, οἱ μὲν πρυτάνεις τὴν βουλὴν ἐκάλουν εἰς τὸ βουλευτήριον,
-ὑμεῖς δ’ εἰς τὴν ἐκκλησίαν ἐπορεύεσθε, καὶ πρὶν ἐκείνην χρηματίσαι καὶ
-προβουλεῦσαι πᾶς ὁ δῆμος ἄνω κάθητο. καὶ μετὰ ταῦτα ὡς ἦλθεν ἡ βουλὴ
-καὶ ἀπήγγειλαν οἱ πρυτάνεις τὰ προσηγγελμέν’ ἑαυτοῖς καὶ τὸν ἥκοντα
-παρήγαγον κἀκεῖνος εἶπεν, ἠρώτα μὲν ὁ κῆρυξ “τίς ἀγορεύειν βούλεται;”
-παρῄει δ’ οὐδείς. πολλάκις δὲ τοῦ κήρυκος ἐρωτῶντος οὐδὲν μᾶλλον
-ἀνίστατ’ οὐδείς, ἁπάντων μὲν τῶν στρατηγῶν παρόντων, ἁπάντων δὲ τῶν
-ῥητόρων, καλούσης δὲ τῆς κοινῆς τῆς πατρίδος φωνῆς τὸν ἐροῦνθ’ ὑπὲρ
-σωτηρίας· ἣν γὰρ ὁ κῆρυξ κατὰ τοὺς νόμους φωνὴν ἀφίησι, ταύτην κοινὴν
-τῆς πατρίδος δίκαιον ἡγεῖσθαι.
-
-(2) _C’était le soir. Arrive un homme qui annonce aux prytanes que
-l’Élatée est prise. Aussitôt les uns se lèvent de table, chassent les
-marchands de la place publique et brûlent leurs tentes; les autres
-mandent les stratéges, appellent le trompette; ce n’est que trouble
-dans toute la ville. Le lendemain, au point du jour, les prytanes
-convoquent le conseil. Vous, de votre côté, vous vous rendez à
-l’assemblée, et avant que le conseil eût rien agité, rien résolu, tout
-le peuple était rangé à ses places sur la colline. Bientôt après, les
-membres du conseil arrivent; les prytanes déclarent la nouvelle, et
-font paraître celui qui l’a apportée; cet homme parle lui-même. Le
-héraut demande: ‘Qui veut monter à la tribune?’ Personne ne se lève.
-Il recommence plusieurs fois. Personne encore. Et tous les stratéges,
-tous les orateurs étaient présents; et la patrie, de cette voix qui est
-la voix de tous, appelait un citoyen qui parlât pour la sauver; car la
-voix du héraut qui se fait entendre, quand les lois l’ordonnent, c’est
-la voix de la patrie._
-
-                              R. DARESTE.
-
-(3) _Es war Abend. Da kam Einer mit der Meldung zu den Prytanen,
-dass Elateia eingenommen sey. Hierauf standen diese sogleich von der
-Mahlzeit auf, trieben die Leute aus den Buden auf dem Markte fort,
-und steckten das Holzwerk davon in Brand; andere schickten nach den
-Strategen, und riefen den Trompeter herbei. Die Stadt war in grösster
-Bewegung. Am folgenden Morgen, bei Tages Anbruch, riefen die Prytanen
-den Senat auf das Stadthaus, Ihr aber begabt Euch in die Versammlung,
-und ehe der Senat noch sein Geschäft vollbracht und einen vorläufigen
-Beschluss gefasst hatte, sass das ganze Volk schon oben. Und als
-hierauf der Senat eintrat, und die Prytanen das, was ihnen gemeldet
-worden war, öffentlich bekannt machten, und den_
-
-[Page 347]
-
-_Überbringer der Nachricht vorführten, und auch dieser gesprochen
-hatte, fragte der Herold: Wer will sprechen? Niemand aber meldete sich.
-Wiewohl nun der Herold seine Frage oft wiederholte, trat darum, doch
-Keiner auf, obgleich alle Strategen gegenwärtig waren, und alle Redner
-und das Vaterland mit gemeinsamer Stimme einen Sprecher für seine
-Rettung aufrief; denn die Stimme, die der Herold dem Gesetze gemäss
-ertönen lässt, kann mit allem Rechte für die Stimme des gesammten
-Vaterlandes gehalten werden._
-
-                              F. JACOBS.
-
-(4) _It was evening when a courier came to the presidents of the
-assembly with the news that Elateia had been seized. The presidents
-instantly rose from table—they were supping at the moment: some of them
-hastened to clear the market-place of the shopmen, and to burn the
-wickerwork of the booths: others, to send for the generals and order
-the sounding of the call to the Assembly. The city was in a tumult. At
-dawn next day the presidents convoked the Senate, you hurried to the
-Ekklesia, and before the Senate could go through its forms or could
-report, the whole people were in assembly on the hill. Then, when the
-Senate had come in, when the presidents had reported the news that
-they had received, and had introduced the messenger, who told his
-tale, the herald repeatedly asked,_ Who wishes to speak? _But no
-one came forward. Again and again he put the question—in vain. No one
-would rise, though all the generals, though all the public speakers
-were present, though our Country was crying aloud, with the voice that
-comes home to all, for a champion of the commonwealth—if in the solemn
-invitation given by the herald we may truly deem that we hear our
-Country’s summons._
-
-                              R. C. JEBB.
-
-[Page 348]
-
-
-
-
-APPENDIX C
-
-GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL ASSOCIATION
-
-
-In October 1908 the Classical Association adopted a number of
-recommendations made by its Greek Pronunciation Committee, and has
-since published them for the use of teachers and others. They are
-put forward “not as constituting a complete scientific scheme, but
-as approximations which, for teaching purposes, may be regarded as
-practicable, and at the same time as a great advance on the present
-usage, both for clearness in teaching and for actual likeness to the
-ancient sounds.” The period (the early fourth century B.C.) to which
-they are intended mainly to apply is one whose literature Dionysius
-studied rather than that in which he lived (cp. pages 43-46 above).
-But his scattered hints are of great moment in the whole inquiry; and
-if they are read with care and with reference to their bearing, not
-only on disputed points, but on points which (largely through the
-evidence they furnish) are undisputed, it will be seen how much we owe
-to them when making any attempt to reconstruct the pronunciation of the
-classical period. The principal passages of Dionysius’ text which throw
-light upon the question of Greek pronunciation and accentuation will be
-found on pages 126-130, 136-150, 218-224, 230 above. The following are
-the suggestions made by the Classical Association:—
-
-
-VOWELS
-
-ᾱ and α, ῑ and ι, ε and ο, η and ω may be pronounced as the
-corresponding vowels in Latin, i.e.
-
-        ᾱ, as =a= in _f_=a=_ther_,
-
-        α, as =a= in =a=_ha_.
-
-        ῑ, as =ee= in _f_=ee=_d_.
-
-        ι, as =i= in Fr. _p_=i=_quet_, nearly as Eng. =i= in _f_=i=_t_.
-
-        ε, as =e= in _fr_=e=_t_.
-
-        ο, as =o= in _n_=o=_t_.
-
-        η (long _e_), as =e= in Lat. _m_=ē=_ta_, Eng. =a= in _m_=a=_te_.
-
-        ω (long _o_), as =o= in Lat. _R_=ō=_ma_, Eng. _h_=o=_me_.
-
-[Page 349]
-
-
-The pronunciation recommended for η and ω is dictated by practical
-considerations. But in any school where the pupils have been accustomed
-to distinguish the sounds of French =è= and =é=, the Committee feels
-that the open sound (of =è= in _il mène_), which is historically
-correct for η, may well be adopted. In the same way there is no doubt
-that the pronunciation of ω in the fifth century B.C. was the open
-sound of _oa_ in Eng. _broad_, not that of the ordinary English _ō_.
-But since the precise degree of openness varied at different epochs,
-the Committee, though preferring the open pronunciation, sees no
-sufficient reason for excluding the obviously convenient practice of
-sounding ω just as Latin _ō_. For both Greek and Latin the diphthongal
-character of the English vowels in _m_=a=_te_ and _h_=o=_me_, i.e. the
-slight _ĭ_ sound in _mate_ and the slight _ŭ_ sound in _home_, _own_,
-is incorrect. But the discrepancy is not one which any but fairly
-advanced students need be asked to notice, unless indeed they happen
-to be already familiar with the pure vowel sounds of modern Welsh or
-Italian.
-
-        υ as French =ŭ= in _d_=u= _pain_.
-        ῡ as French =ū= in _r_=u=_e_ or Germ. =ü= in _gr_=ü=_n_.
-
-In recommending this sound for the Greek υ, the Committee is partly
-guided by the fact that its correct production is now widely and
-successfully taught in English schools in early stages of instruction
-in French and German. But in any school where the sound is strange to
-the pupils at the stage at which Greek is begun, if it is felt that
-the effort to acquire the sound would involve a serious hindrance to
-progress, the Committee can only suggest that, for the time, the υ
-should be pronounced as Latin _u_ (short as _oo_ in Eng. _took_, long
-as _oo_ in Eng. _loose_), though this obscures the distinction between
-words like λύω and λούω.
-
-
-DIPHTHONGS
-
-αι = α + ι nearly as =ai= in _Is_=ai=_ah_ (broadly pronounced), Fr.
-_ém_=ai=_l_.
-
-οι = ο + ι as Eng. =oi= in =oi=_l_.
-
-υι = υ + ι as Fr. =ui= in _l_=ui=.
-
-In ᾳ, ῃ, ῳ the first vowel was long, and the second only faintly heard.
-
-ει. The precise sound of ει is difficult to determine, but in Attic
-Greek it was never confused with η till a late period, and to maintain
-the distinction clearly it is perhaps best for English students to
-pronounce it as Eng. _eye_, though in fact it must have been nearer to
-Fr. _ée_ in _passée_, Eng. _ey_ in _grey_. The Greek Ἀλφειός is Latin
-_Alphēus_.
-
-αυ = _au_, as Germ. =au= in _H_=au=_s_, nearly as Eng. =ow= in
-_g_=ow=_n_.
-
-ευ = _eu_, nearly as Eng. =ew= in _f_=ew=, =u= in _t_=u=_ne_.
-
-ου as Eng. =oo= in _m_=oo=_n_, Fr. =ou= in _r_=ou=_e_.
-
-
-CONSONANTS
-
-π, β, τ, δ, κ, and γ as _p_, _b_, _t_, _d_, _k_, and _g_ respectively
-in Latin; except that γ (before γ, κ, and χ) is used to denote the
-nasal sound heard in Eng. _ankle_, _anger_.
-
-ρ, λ, μ, ν as Lat. _r_, _l_, _m_, _n_.
-
-σ, ς always as Lat. =s= (Eng. =s= in _mou_=s=_e_), except before β,
-γ and μ, where the sound was as in Eng. _has been_, _has gone_, _has
-made_: e.g. ἄσβεστος, φάσγανον, ἑσμός.
-
-ξ as Eng. =x= in _wa_=x=, and ψ as Eng. =ps= in _la_=ps=_e_.
-
-ζ as Eng. =dz= in _a_=dz=_e_, =ds= in _trea_=ds= _on_.
-
-[Page 350]
-
-
-
-
-ASPIRATES
-
-The Committee has carefully considered the pronunciation of the
-aspirated consonants in Greek. It is certain that the primitive
-pronunciation of χ, θ, φ was as =k.h=, =t.h=, =p.h=, that is as =k=,
-=t=, =p= followed by a strong breath, and the Committee is not prepared
-to deny that this pronunciation lasted down into the classical period.
-Further, there is no doubt that the adoption of this pronunciation
-makes much in Greek accidence that is otherwise obscure perfectly
-comprehensible. If φαίνω be pronounced π_h_αίνω, it is readily
-understood why the reduplicated perfect is πεπ_h_ηνα; but if it be
-pronounced _f_αινω, the perfect, pronounced πε_f_ηνα, is anomalous.
-The relation of ἀφίστημι and the like to ἵστημι, of φροῦδος to ὁδός,
-of θρίξ to τρίχα becomes intelligible when it is seen that θ, φ, and χ
-contain a real =h=-sound. This advantage seems to be one of the reasons
-why it has been adopted in practice by a certain number of English
-teachers.
-
-In the course of time the pronunciation of the aspirates changed by
-degrees to that of fricatives, which is now current in most districts
-of Greece, φ becoming =f=, θ pronounced as =th=, in English =th=_in_,
-and χ acquiring the sound of the German =ch=.[208]
-
-If the later sounds are accepted, no change in the common pronunciation
-of θ and φ in England will be required, but it will remain desirable
-to distinguish between the sounds of κ and χ, which are at present
-confused: ἄκος and ἄχος, καίνω and χαίνω being now pronounced alike.
-This may be done by giving χ the sound of =kh=, or of German =ch=, as
-in au=ch=. The Committee would, on the whole, recommend the latter
-alternative as being more familiar in German, Scotch, and Irish
-place-names.[209]
-
-The Committee, though loath to do anything to discourage the primitive
-pronunciation of the aspirates, has not been able to satisfy itself
-that it would be easy to introduce this pronunciation into schools to
-which it is strange; and it is of opinion that it is not advisable
-to recommend anything at present that might increase the labour of
-the teacher or the student of Greek. It therefore abstains from
-recommending any change in the common pronunciation of the aspirates
-except in the case of χ.
-
-
-ACCENTUATION
-
-There is no doubt that in the Classical period of Greek the accented
-syllables were marked by a _higher pitch_ or _note_ than the
-unaccented, and not by more _stress_, not, that is, with a stronger
-current of breath and more muscular effort. Therefore, unless the
-student is capable of giving a _musical_ value to the Greek signs of
-accent, it is doubtful whether he should
-
-[Page 351]
-
-attempt to represent them in pronunciation; for in many cases we should
-make our pronunciation more, not less remote from that of the Greeks
-themselves if we gave to their accented syllables the same _stress_ as
-we do to the accented syllables in English; for example, in paroxytone
-dactyls (κεχρημένος) when the penult is stressed, the quantity of
-the long antepenult is apt to be shortened and its metrical value
-destroyed.[210] But where there is no conflict between accent and
-quantity (ἀγαθός), something may be said for stressing moderately the
-accented syllable, and so distinguishing e.g. καλῶς and κάλως, Διός and
-δῖος, ταὐτά and ταῦτα.[211]
-
-
-
-
-FOOTNOTES:
-
-[Footnote 1: _Regarded from this point of view, the Chronological Table
-given on page 50 is full of interest._]
-
-[Footnote 2: _Reference may also be made to pages 27-29, 33, 34, 40-55,
-74-85, 92-95, 98 ff., 122-127, 134-137, 154-167, 184-193, 200-207,
-236-241, 264-281. Especially to be noticed is that warm praise of
-simplicity (pp. 76-85, 134-137) which should suffice to prove that
-Dionysius is not a ‘rhetorician’ in any invidious sense._]
-
-[Footnote 3: See Glossary, s.v. σύνθεσις.]
-
-[Footnote 4: _de Isocrate_ c. 2, δουλεύει γὰρ ἡ διάνοια πολλάκις τῷ
-ῥυθμῷ τῆς λέξεως, καὶ τοῦ κομψοῦ λείπεται τὸ ἀληθινόν ... βούλεται δὲ ἡ
-φύσις τοῖς νοήμασιν ἕπεσθαι τὴν λέξιν, οὐ τῇ λέξει τὰ νοήματα.]
-
-[Footnote 5: The Greek word (κεφάλαια, _capita_) corresponding to
-‘chapters’ occurs several times in the _C.V._ (see Glossary, s.v.);
-and one (περιοχή) of the words corresponding to ‘paragraph’ is found
-in the _de Thucyd._ c. 25. The paramount importance and dignity of the
-πραγματικὸς τόπος is indicated in the _C.V._ =66= 9-15, and in the _de
-Demosth._ c. 58 fin.]
-
-[Footnote 6: Quintilian (_Inst. Or._ ix. 4. 23) applies the term
-_naturalis ordo_ to such collocations as _viros ac feminas_, _diem ac
-noctem_, _ortum et occasum_. But even here the order, though perhaps
-natural, is certainly not necessary.]
-
-[Footnote 7: A good example of the severance of χρόνος from its
-_article_ by an adjectival phrase will be found in the _C. V._ itself,
-=222= 22: ἡμιφώνῳ γὰρ ἄφωνον συνάπτεται τῷ ν̄ τὸ τ̄ καὶ διαβέβηκεν
-ἀξιόλογον διάβασιν =ὁ= μεταξὺ τοῦ τε προσηγορικοῦ τοῦ “πανδαίδαλον” καὶ
-τῆς συναλοιφῆς τῆς συναπτομένης αὐτῷ =χρόνος=. The convenience of this
-articular bracket is obvious.]
-
-[Footnote 8: Cp. ὀρνίθων ... προκαθιζόντων, Hom. _Il._ ii. 459-63.]
-
-[Footnote 9: Attention is called to the elaborate word-order by Mr.
-P. N. Ure in his edition of this portion of Thucydides. The extent to
-which prepositions can be parted from cases, in post-Homeric as well as
-in Homeric Greek, is worth notice as a somewhat different illustration
-of the freedom of Greek order. See, for example, the remarks in Liddell
-and Scott’s _Lexicon_ on the position of εἰς.]
-
-[Footnote 10: In Caesar _B.G._ ii. 25 more than a hundred words come
-between the subject, _Caesar_ and the main verb _processit_.]
-
-[Footnote 11: e.g. ‘A quarrel had arisen between a big and a little boy
-about a big and a little coat.’]
-
-[Footnote 12: A good illustration of the freedom of order possible
-(at any rate theoretically) in Greek, even within the limits of
-verse, is supplied in a letter from Richard Porson to Andrew Dalzel:
-“There is a passage of Sophocles three times quoted by Plutarch, and
-always in a different order, but so as in the three variations to
-remain a senarian. Now the fragment consists of five words, and the
-sense is this: ‘(The physicians) wash away bitter bile with bitter
-drugs [πικροῖς πικρὰν κλύζουσι φαρμάκοις χολήν].’ The five words,
-you know, will admit of one hundred and twenty permutations, and
-what is extremely odd, these words will admit twenty transpositions
-[which Porson proceeds to indicate], and still constitute a trimeter
-iambic.”—Luard’s _Correspondence of Richard Porson_ pp. 91, 92.]
-
-[Footnote 13: Horace _Ars Poetica_ 40,
-
-            cui lecta potenter erit res,
-  nec facundia deseret hunc nec lucidus ordo.
-
-Can the obscure _potenter_ here be a Latin translation of some such
-technical term (found by Horace or Neoptolemus in the Greek writers on
-literary criticism) as δυνατῶς or δεινῶς or πιθανῶς?]
-
-[Footnote 14: Demetrius, for example, evidently expects to find more
-lucidity in the plain style (the ἰσχνὸς χαρακτήρ) of a Lysias than in
-the elevated style (μεγαλοπρεπὴς χαρακτήρ) of a Thucydides: see the
-summary in _Demetrius on Style_ pp. 33, 34. And a principal reason
-for this is that the former keeps more closely than the latter to the
-normal order of words in Greek (_de Eloc._ §§ 191 ff.). For Herodotus
-as compared with Thucydides cp. _de Imit._ ii. 3. 1 τῆς σαφηνείας δὲ
-ἀναμφισβήτως Ἡροδότῳ τὸ κατόρθωμα δέδοται (quoted in the editor’s
-_Dionysius of Halicarnassus: the Three Literary Letters_ p. 173).]
-
-[Footnote 15: εὐαρίθμητοι γάρ τινές εἰσιν οἷοι πάντα τὰ Θουκυδίδου
-συμβαλεῖν, καὶ οὐδ’ οὗτοι χωρὶς ἐξηγήσεως γραμματικῆς ἔνια, _de
-Thucyd._ c. 51.]
-
-[Footnote 16: οὐ γὰρ ἀγοραίοις ἀνθρώποις οὐδ’ ἐπιδιφρίοις ἢ
-χειροτέχναις οὐδὲ τοῖς ἄλλοις οἳ μὴ μετέσχον ἀγωγῆς ἐλευθερίου ταύτας
-κατασκευάζεσθαι τὰς γραφάς, ἀλλ’ ἀνδράσι διὰ τῶν ἐγκυκλίων μαθημάτων
-ἐπὶ ῥητορικήν τε καὶ φιλοσοφίαν ἐληλυθόσιν, οἷς οὐδὲν φανήσεται τούτων
-ξένον, _de Thucyd._ c. 50. A comprehensive condemnation of ἀσάφεια is
-found in the same essay, c. 52: ἡ πάντα λυμαινομένη τὰ καλὰ καὶ σκότον
-παρέχουσα ταῖς ἀρεταῖς ἀσάφεια.]
-
-[Footnote 17: See, further, the Appendix headed “Obscurity in Greek.”]
-
-[Footnote 18: In the same way, Dionysius must surely feel the loss both
-of clearness and of emphasis involved in transferring ἡ μόνη ἐλπίς
-(=112= 1 and 4) from the middle to the end of the sentence. χάρις and
-πάθος may cover these cardinal points: “no clearness no charm,” he
-might well say,—“no emphatic order no full expression of feeling.”]
-
-[Footnote 19: Cp. _Demetrius on Style_ p. 278 (Glossary, s.v. ἔμφασις).]
-
-[Footnote 20: Cp. Lewis Campbell in the _Classical Review_ iv. 301, and
-Goodell in the paper named on p. 33 _infra_. In the matter of emphasis,
-Greek sentences are usually constructed on a diminuendo, English
-sentences on a crescendo principle. The English of μὴ ’φευρεθῇς =ἄνους
-τε καὶ γέρων= ἅμα (Soph. _Antig._ 281) is, as Jebb gives it, “lest thou
-be found at once _an old man and foolish_.” As fuller examples, in
-prose and verse, Mr. L. H. G. Greenwood suggests the _Phaedrus_ 230 B,
-C (Νὴ τὴν Ἥραν ... Φαῖδρε) and the _Rhesus_ 78-85, 119-130.]
-
-[Footnote 21: The views of Quintilian and Demetrius with regard to
-rhythm are applicable also to emphasis: Quintil. ix. 4. 67 “nam ut
-initia clausulaeque plurimum momenti habent, quotiens incipit sensus
-aut desinit: sic in mediis quoque sunt quidam conatus, iique leviter
-insistunt. currentium pes, etiamsi non moratur, tamen vestigium
-facit”; Demetrius (_de Eloc._ § 39) πάντες γοῦν ἰδίως τῶν τε πρώτων
-μνημονεύομεν καὶ τῶν ὑστάτων, καὶ ὑπὸ τούτων κινούμεθα, ὑπὸ δὲ τῶν
-μεταξὺ ἔλαττον ὥσπερ ἐγκρυπτομένων ἢ ἐναφανιζομένων.]
-
-[Footnote 22: The initial emphasis is here reinforced by μέν and δέ:
-elsewhere by the chiastic arrangement, as in (10).]
-
-[Footnote 23: Compare the occasional postponement of a relative pronoun
-with the same object: e.g. Thucyd. i. 77 =βιάζεσθαι= γὰρ οἷς ἂν ἐξῇ,
-δικάζεσθαι οὐδὲν προσδέονται.]
-
-[Footnote 24: Our poets can, and do, imitate the emphatic position
-of a word placed at the beginning of a line with a stop immediately
-following (as βάλλ’ in Hom. _Il._ i. 52, κόπτ’ in _Odyss._ ix. 290, and
-_haesit_ in Virg. _Aen._ xi. 803):—
-
-    And over them triumphant Death his dart
-    Shook, but delayed to strike.
-
-                              MILTON _Paradise Lost_ xi. 491.
-
-Or (still nearer to the ‘me, me, adsum,’ of Virgil):—
-
-    _Me_, though just right, and the fixed laws of Heaven,
-    Did first create your leader—next, free choice,
-    With what besides in council or in fight
-    Hath been achieved of merit—yet this loss,
-    Thus far at least recovered, hath much more
-    Established in a safe, unenvied throne,
-    Yielded with full consent.
-
-                              MILTON _Paradise Lost_ ii. 18-24.
-]
-
-[Footnote 25: Here τούτους is emphasized by καί as well as by its
-position well in front of the verb which governs it, while μισθοῦ
-depends for its emphasis on its position alone. ‘But even these hidden
-piles did divers (entering the water) saw off—for pay.’ Compare the
-analysis which Quintilian (ix. 4. 29) gives of Cicero’s “ut tibi
-necesse esset in conspectu populi Romani vomere _postridie_.”]
-
-[Footnote 26: For the rhetorical and metrical effect Sandys (_ad loc._)
-compares Milton _Paradise Lost_ vi. 912, “Firm they might have stood, |
-Yet fell.”]
-
-[Footnote 27: In this sentence the orator would probably pause slightly
-before γενναίως, and thus (1) emphasize it; (2) separate it from διδῷ.
-Other means (illustrated by various examples in this Introduction)
-of throwing a word into relief are: the interposition of a number of
-unemphatic words, the use of particles such as μέν and δέ, the placing
-of emphatic words in contrasted pairs near together or remote from one
-another.]
-
-[Footnote 28: The order here (1) avoids the juxtaposition of too many
-accusative-terminations; (2) provides a conclusion which satisfies ear
-and mind alike.]
-
-[Footnote 29: The position of τἄμ’ here may be compared with that of
-ἐμούς in Eurip. _Med._ 1045 ἄξω παῖδας ἐκ γαίας =ἐμούς= (‘for they
-are mine’). In English, too, both the end and the beginning may be
-emphatic: e.g. “_silver and gold_ have I _none_.”]
-
-[Footnote 30: Quoted by Dionysius (_C.V._ c. 3), though without any
-special reference to the point of _emphasis_.]
-
-[Footnote 31: Quoted by T. D. Goodell _School Grammar of Attic Greek_
-p. 296. ἡμεῖς seems to owe some at least of its emphasis to its late
-insertion. If placed immediately after ηὐξήσαμεν, it would, surely,
-lose a little in weight. Goodell does right to include some treatment
-of the question of Greek word-order in a Grammar intended primarily
-for use in schools. It should be pointed out even to beginners that
-so simple a sentence as οἱ δ’ Ἀθηναῖοι ἐνίκησαν τοὺς Λακεδαιμονίους
-can be arranged in half-a-dozen ways, each with its own separate shade
-of meaning. Compare the remarks of W. H. D. Rouse with regard to the
-teaching of Latin: “It is possible by question and answer to make clear
-from the first the essential structure of an inflected language, as
-depending for emphasis on the order of words; and this lies at the root
-of style. Thus a simple sentence may give matter for several questions.
-Take _Caesar Labienum laudat_. I may ask, _Quem laudat Caesar?_ Answer:
-_Labienum laudat Caesar._ Question: _Quid facit Caesar?_ Answer:
-_Laudat Labienum Caesar._ If all the texts read are treated in this
-way, the pupils become used to correct accidence, syntax, and order,
-and learn the elements of style” (_Classical Review_ xxi. 130; cp. also
-W. H. S. Jones _The Teaching of Latin_ p. 33). An instructive contrast
-might be drawn, with reference to the context in either case, between
-_Romanus sum civis_ in Livy ii. 12, and _Civis Romanus sum_ in Cicero
-_Verr._ II. v. 65, 66.]
-
-[Footnote 32: With “verbi transgressio” cp. “verborum concinna
-transgressio” in Cic. _de Orat._ iii. 54. 207.]
-
-[Footnote 33: A modern reader might be disposed to see an example of
-emphasis in the illustrative passage which “Longinus” here quotes from
-Herodotus vi. 11. In _hyperbata_ the _Treatise on the Sublime_ itself
-greatly abounds, being much influenced (in this as in other ways) by
-Plato. For examples of _hyperbaton_ in Plato see Riddell’s edition of
-the _Apology_, pp. 228 ff. Among modern English writers, Matthew Arnold
-had a curious and perhaps half-humorous trick of securing emphasis by
-a “bold and hazardous” _hyperbaton_ (cp. _de Sublim._ xxii. 4), which
-keeps back the verb till the end of the sentence: e.g. “And a good deal
-of ignorance about these there certainly, among English public men,
-is”; “the grand thing in teaching is to have faith that some aptitudes
-for this every one has”; “one thing that Protestants have, and that the
-Catholics think they have a right, where they are in great numbers, to
-have too, this thing to the Prussian Catholics Prussia has given.” Such
-oddities are, in English, usually of a playful and undress character:
-e.g. “it was really a party that one might feel proud of having been
-asked to; at least I might, and did, very” (_Life and Letters of Sir
-Richard Claverhouse Jebb_ p. 93; cp. J. D. Duff’s remarks, on the same
-page, with regard to the literary adequacy of the following English
-translation of a pathetic sentence in one of Demosthenes’ greatest
-speeches: “this woman in the first instance merely quietly to drink and
-eat dessert they tried to force, I should suppose”).]
-
-[Footnote 34: The immediately preceding sentence in Quintilian is
-“venio nunc ad ornatum, in quo sine dubio plus quam in ceteris dicendi
-partibus sibi indulget orator.” This may be compared with Dionysius’
-view that it is the accessory arts (such as the _heightening_ of style)
-that best reveal the orator’s power: ἐξ ὧν μάλιστα διάδηλος ἡ τοῦ
-ῥήτορος γίνεται δύναμις (_de Thucyd._ c. 23). In this attitude there
-is always some danger (unless, like Dionysius himself, a writer has a
-saving belief in the virtue of simplicity) of falling into that vice of
-_écrire trop bien_, which, according to M. Anatole France, is the worst
-of all literary vices.]
-
-[Footnote 35: If we were to say that in a Greek sentence there are two
-kinds of arrangement, viz. (1) grammatical arrangement which aims at
-clearness, and (2) rhetorical arrangement which aims at (α) emphasis,
-and (β) euphony; then it must be admitted that Dionysius’ real subject
-is (2) (β)]
-
-[Footnote 36: The lines quoted from Homer in c. 16 are particularly
-telling.]
-
-[Footnote 37: _C.V._ =244= 23. Perhaps ‘spontaneous’ or ‘subconscious’
-would be a better translation than ‘instinctive.’ Dionysius certainly
-does not intend to exclude _training_.]
-
-[Footnote 38: The judgment of the ear appears to be indicated by the
-words τοῦ πυκνὰ μεταπίπτοντος κριτηρίου at the end of c. 24.]
-
-[Footnote 39: Cp. _C.V._ c. 6.]
-
-[Footnote 40: Cic. _ad Att._ xiv. 20. Dionysius Halic. _Ant. Rom._ i.
-1 ἐπιεικῶς γὰρ ἅπαντες νομίζουσιν εἰκόνας εἶναι τῆς ἑκάστου ψυχῆς τοὺς
-λόγους. Buffon _Discours de réception à l’Académie_, 1753: “le style
-est l’homme même.” Cp. Plato _Rep._ iii. 400 D τί δ’ ὁ τρόπος τῆς
-λέξεως, ἦν δ’ ἐγώ, καὶ ὁ λόγος; οὐ τῷ τῆς ψυχῆς ἤθει ἕπεται;]
-
-[Footnote 41: Cp. p. 24 _supra_. The desire to avoid monotony of
-termination would seem to be the main explanation of such collocations
-as οὗ τοῖς ἄλλοις εἴργεσθαι προαγορεύουσι τοῖς τοῦ φόνου φεύγουσι
-τὰς δίκας and τῷ αὐτῷ χρῶνται νόμῳ τούτῳ [Antiphon v.]. Additional
-emphasis, too, falls on τοῖς ἄλλοις and τῷ αὐτῷ, as on σωτηρίαν ἀσφαλῆ
-in Demosthenes’ peroration.]
-
-[Footnote 42: In describing the smooth or elegant style of composition
-(as practised by Isocrates and his followers, including Theopompus),
-Dionysius notes, as one of its characteristics, the avoidance of
-hiatus. This avoidance is to be noticed in the recently discovered
-_Hellenica_; and without basing any positive conclusion on the fact,
-Grenfell and Hunt point out that the author usually avoids hiatus “even
-at the cost of producing an unnatural order of words, e.g. ἐπηρμένοι
-μισεῖν ἦσαν τοὺς Λακεδαιμονίους and ἴωμεν, ὦ ἄνδρες, ἔφη, πολῖται, ἐπὶ
-τοὺς τυράννους” (_Oxyrhynchus Papyri_ v. 124).]
-
-[Footnote 43: e.g. the greater tendency in Latin to place the principal
-verb at the end of the sentence. Cp. Quintil. ix. 4. 26 “verbo sensum
-cludere, multo, si compositio patiatur, optimum est. in verbis enim
-sermonis vis est. si id asperum erit, cedet haec ratio numeris, ut fit
-apud summos Graecos Latinosque oratores frequentissime. sine dubio
-erit omne quod non cludet, _hyperbaton_, et ipsum hoc inter tropos vel
-figuras, quae sunt virtutes, receptum est.” In Latin the words μετὰ δὲ
-ταῦτα οὐ πολλῷ ὕστερον Εὔβοια ἀπέστη ἀπ’ Ἀθηναίων would naturally run
-“haud multum postea Euboea ab Atheniensibus defecit” (J. P. Postgate
-_Sermo Latinus_ p. 7).]
-
-[Footnote 44: On the other side, the classical writers not seldom yield
-to the temptation to write long and rambling sentences, whereas the
-best English authors are stimulated by the very absence of inflexions
-to arrange their thoughts with great care and clearness within the
-sentence and the paragraph. By these and other means English prose
-becomes, in the hands of a great master, an instrument of surpassing
-force and beauty. As there are differences in word-order between
-Greek and Latin, so are there among the modern analytical languages,
-though (in a comparison) it may be legitimate to group those languages
-together. An order regarded as natural (i.e. customary) in one modern
-language will not be so regarded in another. Further, a language like
-German (though it is often unable to follow the Greek order without
-ambiguity: cp. Lessing’s _Laocoon_ c. 18) possesses a greater number of
-inflexions than English or French. Welsh, too, has certain syntactical
-features which enable it often to reproduce the Greek order more
-faithfully than English can do. For example: in St. John’s Gospel xvii.
-9 where the Greek has οὐ περὶ τοῦ κόσμου ἐρωτῶ, ἀλλὰ περὶ ὧν δέδωκάς
-μοι, ὅτι σοί εἰσιν, the Welsh version gives _Nid dros y byd yr wyf yn
-gweddio, ond dros y rhai a roddaist i mi; canys eiddot ti ydynt._ And
-Plato _Apol._ c. 33 καὶ ἐὰν ταῦτα ποιῆτε, δίκαια πεπονθὼς ἐγὼ ἔσομαι
-ὑφ’ ὑμῶν, αὐτός τε καὶ οἱ υἱεῖς: Welsh, _Ac os hyn a wnewch, yr hyn
-sydd gyfiawn fyddaf fi wedi ei dderbyn oddiar eich llaw, myfi a’m
-meibion._ [These Welsh instances are given on p. 38 of the present
-editor’s chapter on the Teaching of Greek, in F. Spencer’s _Aims and
-Practice of Teaching_.] In Appendix II. at the end of this volume will
-be found a few idiomatic modern renderings (in English, French, and
-German) from Greek prose originals.]
-
-[Footnote 45: Lemaître _Les Contemporains_ i. 205.]
-
-[Footnote 46: Boileau _L’Art poétique_ i. 133.]
-
-[Footnote 47: Edinburgh edition of Stevenson’s works, iii. 236-61
-(_Miscellanies_). “It is a singularly suggestive inquiry into a
-subject which has always been considered too vague and difficult for
-analysis, at any rate since the days of the classical writers on
-rhetoric, whom Stevenson had never read” (Graham Balfour’s _Life of
-Robert Louis Stevenson_ ii. 11). S. H. Butcher (_Harvard Lectures_
-pp. 242, 243) regards the essay as “a pretty precise modern parallel
-to the speculations of Dionysius,” and quotes some passages in proof.
-The following is an example of such points of contact. Stevenson:
-“Each phrase in literature is built of sounds, as each phrase in music
-consists of notes. One sound suggests, echoes, demands and harmonizes
-with another; and the art of rightly using these concordances is the
-final art in literature.” Dionysius (_C.V._ c. 16): ὥστε πολλὴ ἀνάγκη
-καλὴν μὲν εἶναι λέξιν ἐν ᾗ καλά ἐστιν ὀνόματα, καλῶν δὲ ὀνομάτων
-συλλαβάς τε καὶ γράμματα καλὰ αἴτια εἶναι, ἡδεῖάν τε διάλεκτον ἐκ τῶν
-ἡδυνόντων τὴν ἀκοὴν γίνεσθαι. Compare p. 40 _infra_ as to the music of
-sounds; and see _Demetrius on Style_ p. 43, as to Stevenson and other
-English writers on style.]
-
-[Footnote 48: Compare especially the speeches in _Il._ ix., and the
-warm eulogies they have drawn from Quintilian (x. 1. 47; cp. x. 1. 27,
-with reference to Theophrastus) and from many others since his time.
-Dionysius’ _versification_ of Demosthenes, and _prosification_ of
-Simonides, in c. 25 and c. 26, may not seem altogether happy, but one
-or two points should be remembered in his favour. He does not recognize
-merely mechanical conceptions of literature: such as are implied in the
-Latin-derived words _prose_ and _verse_, or in _literature_ itself. He
-would probably have agreed with Aristotle that “Homer and Empedocles
-have nothing in common but the metre, so that it would be right to call
-the one poet, the other physicist rather than poet” (Aristot. _Poet._
-i. 9, S. H. Butcher). He might probably have also maintained that, in
-essentials, Theognis is less of a poet than Plato. And in modern times,
-if he had known them, he might have called attention to the rhymed
-rhetoric which often passed as poetry in eighteenth-century England,
-and have asked whether the elevation of thought and the measured
-cadences of Demosthenes did not entitle him to a higher poetic rank
-than that.]
-
-[Footnote 49: Of Thucydides: ποιητοῦ τρόπον ἐνεξουσιάζων (_de Thucyd._
-c. 24). Of Plato: ᾔσθετο γὰρ τῆς ἰδίας ἀπειροκαλίας καὶ ὄνομα ἔθετο
-αὐτῇ τὸ διθύραμβον, ὃ νῦν ἂν ᾐδέσθην ἐγὼ λέγειν ἀληθὲς ὄν. τοῦτο δὲ
-παθεῖν ἔοικεν, ὡς ἐγὼ νομίζω, τραφεὶς μὲν ἐν τοῖς Σωκρατικοῖς διαλόγοις
-ἰσχνοτάτοις οὖσι καὶ ἀκριβεστάτοις, οὐ μείνας δ’ ἐν αὐτοῖς ἀλλὰ τῆς
-Γοργίου καὶ Θουκυδίδου κατασκευῆς ἐρασθείς (_Ep. ad Cn. Pomp._ c. 2;
-_de Demosth._ c. 6. See further in _Demetrius on Style_ p. 14, n. 1).]
-
-[Footnote 50: It will be noticed that the only question here is about
-differences of form. But it is one of Dionysius’ great merits to have
-proclaimed so clearly the leading part which beauty of form (not simply
-verse, but expression generally) plays in all high poetry. Aristotle
-was by no means insensible to this essential element, but he is apt to
-dwell more fully (though we must remember the fragmentary condition of
-the _Poetics_) on the associations of ποιητής than on those of ἀοιδός.
-It is in connexion with _prose_ rather than with poetry, that it seems
-necessary to lay most stress upon the intellectual and logical elements
-involved, and to pay heed not only to the nature of the subject matter
-itself but to the sustained argument in which it is presented. Reason
-in prose and emotion in poetry: these are perhaps the two leading
-elements, if any distinction of the kind is to be attempted.]
-
-[Footnote 51: Aristot. _Rhet._ iii. 1. 9; 8. 1 and 3; 2. 1. Cp. Cic.
-_Orat._ 56. 187 “perspicuum est igitur numeris astrictam orationem
-esse debere, carere versibus; sed ei numeri poëticine sint an ex alio
-genere quodam deinceps est videndum”; 57. 195 “ego autem sentio omnes
-in oratione esse quasi permixtos et confusos pedes; nec enim effugere
-possemus animadversionem, si semper eisdem uteremur, quia nec numerosa
-esse, ut poëma, neque extra numerum, ut sermo vulgi, esse debet oratio:
-alterum nimis est vinctum, ut de industria factum appareat, alterum
-nimis dissolutum, ut pervagatum ac vulgare videatur.” Also _ibid._ 51.
-172; 57. 194-196; 58. 198; 68. 227. Cicero’s correct attitude is the
-more noticeable that he is commonly supposed to have been swayed by
-Asiatic rather than by Attic influences.]
-
-[Footnote 52: _C.V._ c. 25 χωρὶς δὲ τῆς Ἀριστοτέλους μαρτυρίας, ὅτι
-ἀναγκαῖόν ἐστιν ἐμπεριλαμβάνεσθαί τινας τῇ πεζῇ λέξει ῥυθμούς, εἰ
-μέλλοι τὸ ποιητικὸν ἐπανθήσειν αὐτῇ κάλλος, ἐκ τῆς πείρας τις αὐτῆς
-γνώσεται.]
-
-[Footnote 53: The modern custom is to view with some suspicion these
-inversions when found in prose composition, though in German prose they
-are common enough. It would be interesting to take two such sentences
-of the New Testament as μεγάλη ἡ Ἄρτεμις Ἐφεσίων (Acts xix. 28, 34) and
-ἔπεσεν, ἔπεσεν Βαβυλὼν ἡ μεγάλη (Apoc. xiv. 8), and see how they have
-been rendered into various modern languages by translators generally
-(both in authorised and unauthorised versions). It would probably be
-found that the French language here has been true to what Dionysius
-would call its λογοείδεια, or essentially prose character. In English
-the justification of the inversion would be the emotional nature of the
-original passages, which may be held to raise them to the same plane as
-poetry. [It would, on the other hand, be not good but bad journalism
-to write, “Uproarious were the proceedings at yesterday’s meeting of
-the Grand Committee.”] For the effect of word-order in English verse
-see an extract from Coleridge’s _Biographia Literaria_ in the notes, p.
-79 _infra_. Coleridge was fond of offering, as a rough definition of
-poetry, “the best words in the best order.”]
-
-[Footnote 54: See the notes on c. 25; particularly that on =256= 11.]
-
-[Footnote 55: The words “How art thou” are, it will be noticed,
-differently divided in these two lines with a kind of Dionysian
-freedom.]
-
-[Footnote 56: Ruskin continually, and Carlyle often (e.g. _Sartor
-Resartus_ bk. iii. c. 8), provides examples of iambic rhythm. So
-George Eliot _Mill on the Floss_ bk. vii.: “living through again, in
-one supreme moment, the days when they had clasped their little hands
-in love, and roamed the daisied fields together.” And Blackmore, in
-_Lorna Doone_ c. 3: “The sullen hills were flanked with light, and the
-valleys chined with shadow, and all the sombrous moors between awoke
-in furrowed anger.” [Blackmore sometimes falls also into the hexameter
-rhythm, as in the same chapter: “And suddenly a strong red light, cast
-by the cloud-weight | downwards, | spread like | fingers | over the |
-moorland, || opened the | alleys of | darkness, and | hung on the |
-steel of the | riders.”]]
-
-[Footnote 57: Cicero’s conception of the requirements of rhythmical
-prose (as compared with those of verbal fidelity) is curiously
-illustrated by the way in which he is supposed to have recast the
-letter sent by Lentulus to Catiline. Sallust _Cat._ 44 “quis sim ex
-eo quem ad te misi cognosces: fac cogites in quanta calamitate sis
-et memineris te virum esse: consideres quid tuae rationes postulent:
-auxilium petas ab omnibus etiam ab infimis.” Cicero _Cat._ iii. 12
-“quis sim scies ex eo quem ad te misi: cura ut vir sis et cogita quem
-in locum sis progressus: vide ecquid tibi iam sit necesse et cura
-ut omnium tibi auxilia adiungas, etiam infimorum.” Cp. A. C. Clark
-(reviewing Zieliňski) _Classical Review_ xix. 172.]
-
-[Footnote 58: Cp. _C.V._ =176= 20 οὐ γὰρ ἀπελαύνεται ῥυθμὸς οὐδεὶς
-ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου. With regard to the
-occasional presence in prose of metrical or quasi-metrical lines, the
-likely explanation seems often to be one which Dionysius does not
-favour (πολλὰ γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις, =256= 19), rather than
-one which recognizes μέτρα καὶ ῥυθμούς τινας =ἐγκατατεταγμένους ἀδήλως=
-(=254= 3).]
-
-[Footnote 59: D. B. Monro _Modes of Ancient Greek Music_ p. 118.]
-
-[Footnote 60: From the essay (already mentioned) on _Style in
-Literature_.]
-
-[Footnote 61: _de Demosth._ c. 22.]
-
-[Footnote 62: So that, in =126= 15, τὸν ὀξὺν τόνον = ‘the high pitch’ =
-‘the acute accent.’]
-
-[Footnote 63: W. H. D. Rouse’s edition of _Matthew Arnold on
-translating Homer_ Introd. p. 7.]
-
-[Footnote 64: A. J. Ellis and F. Blass (in the publications mentioned
-later).]
-
-[Footnote 65: Arnold and Conway _Restored Pronunciation of Greek and
-Latin_ pp. iv. 3, 7, 20-26. Cp. also the pamphlet on the _Pronunciation
-of Greek_ issued by the Classical Association in 1908 (pp. 348-51
-_infra_). In the _Contemporary Review_ of March 1897 the history of
-Greek pronunciation in England is ably sketched by J. Gennadius.]
-
-[Footnote 66: Even the pronunciation of the poet’s name has changed
-with the lapse of centuries; and the spelling _Shakspere_ is preferred
-by some authorities not only because it has excellent manuscript
-authority, but because it may serve to remind us that “he and his
-fellows pronounced his name _Shahk-spare_, with the _a_ of father in
-_Shahk_, and with the French _e_ (our _a_) in _spare_” (Furnivall).]
-
-[Footnote 67: Quintil. i. 10. 17 “siquidem Archytas atque Aristoxenus
-etiam subiectam grammaticen musicae putaverunt,” etc.]
-
-[Footnote 68: _C.V._ =68= 7-11, ... τὴν περὶ τῆς συνθέσεως τῶν
-ὀνομάτων πραγματείαν ὀλίγοις μὲν ἐπὶ νοῦν ἐλθοῦσαν, ὅσοι τῶν ἀρχαίων
-ῥητορικὰς ἢ διαλεκτικὰς συνέγραψαν τέχνας, οὐδενὶ δ’ ἀκριβῶς οὐδ’
-ἀποχρώντως μέχρι τοῦ παρόντος ἐξειργασμένην, ὡς ἐγὼ πείθομαι.]
-
-[Footnote 69: Some reference to Quintilian’s own apparent indebtedness
-to the _de Imitatione_ of Dionysius will be found in _Demetrius on
-Style_ p. 25.]
-
-[Footnote 70: _de Sublim._ xxxix. 1. In the editor’s article on the
-“Literary Circle of Dionysius of Halicarnassus” (_Classical Review_
-xiv. 439-42), an endeavour is made to view the literary life of
-Dionysius in relation to its Roman surroundings.]
-
-[Footnote 71: The more recent writers on rhetoric (οἱ νέοι τεχνογράφοι,
-_de Isaeo_ c. 14) would not greatly appeal to Dionysius.]
-
-[Footnote 72: Cp. =254= 23, =256= 3, =164= 22, =138= 6.]
-
-[Footnote 73: The quotations from Aristotle and other writers in the
-Notes will serve to indicate roughly the obligations of Dionysius to
-his predecessors.]
-
-[Footnote 74: Among the shorter fragments preserved by him are one of
-Bacchylides (in c. 25), and another from the _Telephus_ of Euripides
-(in c. 26). Two lines of the _Danaë_ are, it should in strict accuracy
-be stated, quoted as follows by Athenaeus ix. 396 E:—
-
-    ὦ τέκος, οἷον ἔχω πόνον·
-    σὺ δ’ ἀωτεῖς, γαλαθηνῷ δ’ ἤτορι κνώσσεις.
-]
-
-[Footnote 75: _de C.V._ =214= 7. There is, perhaps, room for a book
-or dissertation on _Quotation in Classical Antiquity_: with reference
-to such points as the citation or non-citation of authorities, the
-employment of literary illustrations, the poetical quotations in the
-Orators or in the Ἀθηναίων Πολιτεία or in the Poets themselves; and
-so forth. On the question of verbal fidelity, something is said in
-the present editor’s brief article on ‘Dionysius of Halicarnassus as
-an authority for the Text of Thucydides’ (_Classical Review_ xiv.
-244-246); and such quotations as that from _Odyss._ xvi. 1-16 in c.
-3 of the present treatise might be critically examined from the same
-point of view. A similar study of _Translation in Classical Antiquity_
-would also be a useful piece of work.]
-
-[Footnote 76: _de C.V._ =94= 4. Of Phylarchus as a historian Polybius
-himself gives an unflattering account.]
-
-[Footnote 77: S. H. Butcher _Harvard Lectures on Greek Subjects_ p.
-114. Cp. J. L. Strachan Davidson in _Hellenica_ pp. 414, 416: “The
-Nemesis of his contempt for the form and style of his writing has come
-on Polybius in the neglect which he has experienced at the hands of the
-modern world.... He has not the genius, and will not take the trouble
-to acquire the trained sensitiveness of art which might have supplied
-its place; and thus his writing has no distinction and no charm, and we
-miss in reading him what gives half their value to great writers—the
-consciousness that we are in the hands of a master.” But, on the other
-hand, see J. B. Bury’s _Ancient Greek Historians_, e.g. pp. 196, 218,
-220.]
-
-[Footnote 78: Cicero (_Or._ 63. 212) says, with reference to the
-various ways of ending the period, “e quibus unum est secuta Asia
-maxime, qui dichoreus vocatur, cum duo extremi chorei sunt.” And
-Quintilian (ix. 4. 103) “claudet et dichoreus, id est idem pes sibi
-ipse iungetur, quo Asiani usi plurimum; cuius exemplum Cicero ponit:
-_Patris dictum sapiens temeritas fili comprobavit_.” The dichoree
-is condemned also in the _de Sublim._ c. 41 μικροποιοῦν δ’ οὐδὲν
-οὕτως ἐν τοῖς ὑψηλοῖς, ὡς ῥυθμὸς κεκλασμένος λόγων καὶ σεσοβημένος,
-οἷον δὴ πυρρίχιοι καὶ τροχαῖοι καὶ διχόρειοι, τέλεον εἰς ὀρχηστικὸν
-συνεκπίπτοντες ... ὡς ἐνίοτε προειδότας τὰς ὀφειλομένας καταλήξεις
-αὐτοὺς ὑποκρούειν τοῖς λέγουσι καὶ φθάνοντας ὡς ἐν χορῷ τινι
-προαποδιδόναι τὴν βάσιν. It is the _constant recurrence_ of the same
-feet that is to be deprecated (cp. Aristot. _Rhet._ iii. 8. 1, and
-Theon. _Progymn._ in Walz _Rhet. Gr._ i. 169); a single dichoree would
-not be avoided even by Dionysius himself, e.g. νοῦν ἐχόντων (=192= 5).
-Cicero’s appreciation of Carbo’s _patris dictum sapiens temeritas fili
-comprobavit_ may be instructively compared with Dionysius’ attitude
-towards the general question of good and bad rhythms. They both seem
-to allow too little for other considerations; one of them approves,
-and the other disapproves, the final dichoree; and both agree in the
-main point, that there should be plenty of variety: “hoc dichoreo (sc.
-_comprobavit_) tantus clamor contionis excitatus est, ut admirabile
-esset. quaero nonne id numerus effecerit? verborum ordinem immuta, fac
-sic: ‘comprobavit fili temeritas,’ iam nihil erit, etsi ‘temeritas’
-ex tribus brevibus et longa est, quam Aristoteles ut optimum probat,
-a quo dissentio. ‘at eadem verba, eadem sententia.’ animo istuc satis
-est, auribus non satis. sed id crebrius fieri non oportet; primum
-enim numerus agnoscitur, deinde satiat, postea cognita facilitate
-contemnitur” (Cic. _Orat._ 63. 214). Hegesias’ lack of ear seems,
-further, to be shown in the awkward accumulation of disyllables; e.g.
-διὰ τῶν =ποδῶν χαλκοῦν= ψάλιον διείραντας =ἕλκειν κύκλῳ γυμνόν= (=188=
-17), and =τρόπῳ σκαιὸν ἐχθρόν= (=190= 5). Cp. =132= 3 μήτ’ ὀλιγοσύλλαβα
-πολλὰ ἑξῆς λαμβάνοντα.]
-
-[Footnote 79: Modern parallels are dangerous, but the detractors of
-Macaulay might be disposed to compare his short detached sentences
-(so different from the elaborate periods of some earlier English
-prose-writers) with those of Hegesias.]
-
-[Footnote 80: In this last extract, all the sentences end in dichorees.
-The fragments of Hegesias have been collected by C. Müller _Scriptores
-Rerum Alexandri Magni_ pp. 138-144.]
-
-[Footnote 81: With παραφθείρας cp. Cic. _Brut._ 83. 286 “atque Charisi
-[an imitator of Lysias] vult Hegesias esse similis, isque se ita putat
-Atticum, ut veros illos prae se paene agrestes putet. at quid est tam
-fractum, tam minutum, tam in ipsa, quam tamen consequitur, concinnitate
-puerile?” For the influence which Hegesias had on style as late as the
-time of Pausanias cp. J. G. Frazer’s _Pausanias_ i. lxix. lxx., and
-Blass _Die Rhythmen der asianischen und römischen Kunstprosa_ pp. 91
-ff.]
-
-[Footnote 82: e.g. καθάπερ =138= 13; ἀναίσθιος, ὑποδεκτική,
-ἀκόμψευστον, ἔχοντα =212= 21-24; see also =196= 24, 25. The issue is
-often so perplexing that no editor can feel certain whether F’s reading
-or P’s should be placed in his text: he only knows that _both_ readings
-must be recorded _either_ in the text or in the critical footnotes. For
-the _strong points_ of F see such passages as pp. 182, 184 in c. 18.]
-
-[Footnote 83: Other examples of these _variae lectiones_, pointing
-perhaps sometimes to a sort of double recension, are such as οὐδέτερον
-μὲν εὔμορφον, ἧττον δὲ δυσειδὲς τὸ ε̄ (=144= 4: REF), compared with
-οὐδέτερον μὲν εὔηχον, ἧττον δὲ δυσηχὲς τὸ ο̄ (=144= 4: PMV), =66= 2
-νεωστὶ PMV, ἄρτι F; =100= 23 ἐνταῦθα PMV, ἐνθάδε F; =198= 18 and =244=
-28 πάνυ PMV, σφόδρα F. Continually F’s readings differ from P’s in such
-a way that either alternative is quite satisfactory and neither could
-well have originated in any manuscript corruption of the other. Under
-the same head will come minute variations (not always recorded in this
-edition) of word-order in the traditions represented by F and P. So,
-too, with such minutiae as the elision or non-elision of final vowels,
-and the insertion or non-insertion of ν ἐφελκυστικόν.]
-
-[Footnote 84: F’s πλεῖστον κίνδυνον for πλείστους κινδύνους in =244= 5
-seems due to a desire to diminish the number of sigmas in the sentence,
-while some minute changes in word-order look like deliberate attempts
-to improve the flow and sound of the passage. Such discrepancies in the
-word-order of F and P occur in other parts of the treatise, and not
-simply in the quotations.]
-
-[Footnote 85: Homer _Odyssey_ xv. 125.]
-
-[Footnote 86: Homer _Odyssey_ xv. 126, 127.]
-
-[Footnote 87: Bergk _Poetae Lyrici Graeci_, _Fragm. Adesp._ 85.]
-
-[Footnote 88: Bergk _ibid._; Philoxenus _Fragm._ 6.]
-
-[Footnote 89: Homer _Odyssey_ xvi. 1-16. The verse-translations, here
-and throughout, are from the hand of Mr. A. S. Way.]
-
-[Footnote 90: Herodotus i. 8-10.]
-
-[Footnote 91: Homer _Iliad_ xii. 433-5.]
-
-[Footnote 92: Euphorio Chersonesita; cp. Hephaest. c. 16.]
-
-[Footnote 93: Homer _Iliad_ xiii. 392, 393.]
-
-[Footnote 94: Sotades _Fragm._]
-
-[Footnote 95: Euripides _Fragm._ 924 (Nauck).]
-
-[Footnote 96: Herodotus i. 6.]
-
-[Footnote 97: Thucydides i. 24.]
-
-[Footnote 98: Hegesias _Fragm._; cp. C. Müller _Scriptores Rerum
-Alexandri Magni_ p. 138.]
-
-[Footnote 99: Homer _Odyssey_ xvi. 273, xvii. 202, xxiv. 157.]
-
-[Footnote 100: Cp. Homer _Odyssey_ vi. 230, 231; viii. 20; xxiii. 157,
-158; xxiv. 369.]
-
-[Footnote 101: Cp. Demosthenes _de Corona_ 296.]
-
-[Footnote 102: Homer _Odyssey_ i. 1.]
-
-[Footnote 103: Homer _Iliad_ i. 1.]
-
-[Footnote 104: Homer _Odyssey_ iii. 1.]
-
-[Footnote 105: Homer _Iliad_ v. 115; _Odyssey_ iv. 762, vi. 324.]
-
-[Footnote 106: Homer _Iliad_ ii. 484.]
-
-[Footnote 107: Homer _Iliad_ xxiv. 486.]
-
-[Footnote 108: Homer _Iliad_ xxi. 20.]
-
-[Footnote 109: Homer _Iliad_ xxii. 467.]
-
-[Footnote 110: Homer _Odyssey_ xxii. 17.]
-
-[Footnote 111: Homer _Iliad_ ii. 89.]
-
-[Footnote 112: Homer _Iliad_ xix. 103-4.]
-
-[Footnote 113: Homer _Iliad_ i. 459, ii. 422 etc.]
-
-[Footnote 114: Homer _Iliad_ iv. 125.]
-
-[Footnote 115: Homer _Odyssey_ vi. 115-6.]
-
-[Footnote 116: Homer _Odyssey_ xiv. 425.]
-
-[Footnote 117: Homer _Odyssey_ iii. 449-50.]
-
-[Footnote 118: Demosthenes _de Corona_, init.]
-
-[Footnote 119: Demosthenes _de Pace_ 6.]
-
-[Footnote 120: Demosthenes _Aristocr._ 1.]
-
-[Footnote 121: Thucydides iii. 57.]
-
-[Footnote 122: Demosthenes _de Corona_ 119.]
-
-[Footnote 123: Demosthenes _de Corona_ 179.]
-
-[Footnote 124: Demosthenes _Philipp._ iii. 17.]
-
-[Footnote 125: Plato _Menex._ 236 E.]
-
-[Footnote 126: Aeschines _c. Ctes._ 202.]
-
-[Footnote 127: Sophocles _Fragm._ 706 (Nauck).]
-
-[Footnote 128: Demosthenes _Lept._ 2.]
-
-[Footnote 129: Euripides _Orestes_ 140-2.]
-
-[Footnote 130: Pindar _Fragm._ 79 (Schroeder).]
-
-[Footnote 131: Homer _Iliad_ xvii. 265.]
-
-[Footnote 132: Homer _Odyssey_ ix. 415-16.]
-
-[Footnote 133: Homer _Iliad_ xxii. 220-1.]
-
-[Footnote 134: Homer _Iliad_ xxii. 476.]
-
-[Footnote 135: Homer _Iliad_ xviii. 225.]
-
-[Footnote 136: Homer _Odyssey_ v. 402.]
-
-[Footnote 137: Homer _Iliad_ xii. 207.]
-
-[Footnote 138: Homer _Iliad_ ii. 209 (and 210).]
-
-[Footnote 139: Homer _Iliad_ xvi. 361.]
-
-[Footnote 140: Homer _Odyssey_ xvii. 36-7; xix. 53-4.]
-
-[Footnote 141: Homer _Odyssey_ vi. 162-3.]
-
-[Footnote 142: Homer _Odyssey_ xi. 281-2.]
-
-[Footnote 143: Homer _Odyssey_ vi. 137.]
-
-[Footnote 144: Homer _Odyssey_ xi. 36-7.]
-
-[Footnote 145: Homer _Iliad_ iv. 452-3.]
-
-[Footnote 146: Homer _Iliad_ xxi. 240-2.]
-
-[Footnote 147: Homer _Odyssey_ ix. 289-90.]
-
-[Footnote 148: Homer _Iliad_ ii. 494-501.]
-
-[Footnote 149: Bergk _P.L.G., Fragm. Adesp._ 112; Nauck _T.G.F., Fragm.
-Adesp._ 136.]
-
-[Footnote 150: Cp. Euripides _Hecuba_ 163-4.]
-
-[Footnote 151: Nauck _T.G.F., Fragm. Adesp._ 138.]
-
-[Footnote 152: Archilochus _Fragm._ 66 (Bergk _P.L.G._).]
-
-[Footnote 153: Bergk _P.L.G., Fragm. Adesp._ 108.]
-
-[Footnote 154: Nauck _T.G.F., Fragm. Adesp._ 139.]
-
-[Footnote 155: Nauck _T.G.F., Fragm. Adesp._ 140.]
-
-[Footnote 156: Euripides _Hippolytus_ 201.]
-
-[Footnote 157: Homer _Odyssey_ ix. 39.]
-
-[Footnote 158: Bergk _P.L.G., Fragm. Adesp._ 111; Nauck _T.G.F., Fragm.
-Adesp._ 141.]
-
-[Footnote 159: Bergk _P.L.G., Fragm. Adesp._ 117; Nauck _T.G.F., Fragm.
-Adesp._ 142.]
-
-[Footnote 160: Bergk _P.L.G., Fragm. Adesp._ 110; Nauck _T.G.F., Fragm.
-Adesp._ 143.]
-
-[Footnote 161: Bergk _P.L.G., Fragm. Adesp._ 116; Nauck _T.G.F., Fragm.
-Adesp._ 144.]
-
-[Footnote 162: Thucydides ii. 35.]
-
-[Footnote 163: Here and elsewhere, no attempt has been made to secure
-metrical equivalence between the Greek original and the English
-version. A metrical analysis, or “scansion,” of the original Greek is
-given in the notes.]
-
-[Footnote 164: Plato _Menexenus_ 236 D.]
-
-[Footnote 165: Homer _Iliad_ xxiii. 382.]
-
-[Footnote 166: Demosthenes _de Corona_ init.]
-
-[Footnote 167: Demosthenes _de Corona_ init.]
-
-[Footnote 168: C. Müller _Scriptores Rerum Alexandri Magni_ p. 141
-(_Hegesiae Fragmenta_).]
-
-[Footnote 169: Homer _Iliad_ xxii. 395-411.]
-
-[Footnote 170: Homer _Odyssey_ xi. 593-6.]
-
-[Footnote 171: Homer _Odyssey_ xi. 596-7.]
-
-[Footnote 172: Homer _Odyssey_ xi. 597-8.]
-
-[Footnote 173: Pindar _Fragm._ 213 (Schroeder).]
-
-[Footnote 174: Pindar _Fragm._ 75 (Schroeder).]
-
-[Footnote 175: Thucydides i. 1.]
-
-[Footnote 176: Thucydides i. 22.]
-
-[Footnote 177: Sappho _Fragm._ i. (Bergk): translated by A. S. Way.]
-
-[Footnote 178: Isocrates _Areopagiticus_ §§ 1-5.]
-
-[Footnote 179: Homer _Iliad_ xxi. 196-7.]
-
-[Footnote 180: cp. Demosthenes _Chers._ 48.]
-
-[Footnote 181: Epicurus _Fragm._ 230 (Usener).]
-
-[Footnote 182: Demosthenes _Aristocr._ 1.]
-
-[Footnote 183: _Fragm. Orphica_, Mullach i. 166.]
-
-[Footnote 184: Aristot. _Rhet._ iii. 8.]
-
-[Footnote 185: Aristophanes _Nubes_ 961.]
-
-[Footnote 186: Callimachus _Fragm._ 391 (Schneider).]
-
-[Footnote 187: Sappho _Fragm._ 106 (Bergk).]
-
-[Footnote 188: Aristophanes _Nubes_ 962.]
-
-[Footnote 189: Euripides _Archelaus_; Nauck _T.G.F._, _Eurip. Fragm._
-229.]
-
-[Footnote 190: Demosthenes _de Corona_ § 1.]
-
-[Footnote 191: Bergk _P.L.G._, _Fragm. Adesp._ 118.]
-
-[Footnote 192: Bacchylides _Fragm._ 11 (Jebb).]
-
-[Footnote 193: Plato _Republic_ i. 1.]
-
-[Footnote 194: Homer _Odyssey_ xiv. 1-7.]
-
-[Footnote 195: Euripides _Telephus_; Nauck _T.G.F., Eurip. Fragm._ 696.]
-
-[Footnote 196: Euripides _Telephus_; Nauck _T.G.F., Eurip. Fragm._ 696.]
-
-[Footnote 197: Simonides _Fragm._ 37 (Bergk): translated by A. S. Way.]
-
-[Footnote 198: Homer _Iliad_ xi. 514.]
-
-[Footnote 199: ὁ σκοτεινός: cp. Dionys. Hal. _de Thucyd._ c. 46,
-Demetr. _de Eloc._ § 192, Aristot. _Rhet._ iii. 5. 6.]
-
-[Footnote 200: A good practical recipe for brevity combined with
-clearness is given in the _Rhet. ad Alex._ c. 30: συντόμως δὲ
-[δηλώσομεν], ἐὰν ἀπὸ τῶν πραγμάτων καὶ τῶν ὀνομάτων περιαιρῶμεν τὰ μὴ
-ἀναγκαῖα ῥηθῆναι, ταῦτα μόνα καταλείποντες, ὧν ἀφαιρεθέντων ἀσαφὴς
-ἔσται ὁ λόγος.]
-
-[Footnote 201: He illustrates from the Introduction (προοίμιον) of
-Thucydides—the passage quoted in _C.V._ c. 22. A good example of the
-εἰρομένη λέξις in Thucydides (who is an acknowledged master of the
-κατεστραμμένη λέξις) is furnished by Thucyd. i. 9. 2: cp. p. 119
-_supra_.]
-
-[Footnote 202: Earlier (vii. 9. 6) in his treatise, Quintilian has
-quoted ‘Aio te, Aeacida, Romanos vincere posse’; and these oracular
-ambiguities had been glanced at previously by Aristotle (_Rhet._ iii.
-5. 4).]
-
-[Footnote 203: In a passage of Aristotle (_Eth. Nic._ vi. 1142 b ἀλλ’
-ὀρθότης τίς ἐστιν ἡ εὐβουλία βουλῆς) βουλῆς seems to be emphatic
-because so far separated from ὀρθότης. Cp. L. H. G. Greenwood in
-the _Classical Review_ xix. 18, and the same writer’s translation
-(_Aristotle Nicomachean Ethics Book Six_ p. 111), “But deliberative
-excellence is rightness in deliberation.”]
-
-[Footnote 204: Short and simple as it is, this last sentence is a good
-example of effective word-order. τριήρης is put early, to contrast it
-with φρούριον in the previous sentence. Then the time is indicated.
-Next τῶν Ἀθηναίων (removed from Thucydides’ usual position for a
-dependent genitive) is put in expressive juxtaposition to ὑπὸ τῶν
-Συρακοσιών. Lastly, the reason or circumstance is given: ἐφορμοῦσα τῷ
-λιμένι. And the rhythm of the sentence is not unpleasant.]
-
-[Footnote 205: Aristotle (_Rhet._ i. 15), in quoting the first line
-only, gives ταῦτ’ οὖν ἐγὼ κτλ.]
-
-[Footnote 206: In English it would be interesting to test, by these
-criteria, such usages (for usages they may be called in so far as they
-rest on the authority of many good writers) as the ‘split infinitive,’
-or the preposition coming at the end of a sentence.]
-
-[Footnote 207: The authenticity of these portions of the _Odyssey_ was
-suspected in antiquity. But compare _Iliad_ xviii. 587-8 (quoted in
-Introduction p. 13 _supra_) or _Odyss._ xi. 160-1.]
-
-[Footnote 208: The dates and stages of these changes cannot as yet be
-settled with precision. But the practical choice seems to be between
-the earliest and the latest values, though there is no doubt whatever
-that a distinct =h= was heard in all these sounds long after the fourth
-century B.C.]
-
-[Footnote 209: It is not easy to determine precisely the sound of
-χθ, φθ (χθών, φθόνος) at the beginning of words, and the Committee
-therefore thinks it best to leave the option of (1) sounding the
-first consonants as κ and π respectively, and the θ as it is in other
-positions (this applies both to students who adopt the fricative and to
-those who adopt the primitive aspirate pronunciation of the letters in
-other positions), or (2) where the fricative pronunciation is adopted,
-of sounding χ and φ, in this position also, respectively as Scotch _ch_
-and English _f_.]
-
-[Footnote 210: This had actually happened in spoken Greek by the second
-century A.D.]
-
-[Footnote 211: This paragraph is taken from _The Restored Pronunciation
-of Greek and Latin_, 4th edition, Cambridge, 1908.]
-
-[Page 353]
-
-
-
-
-_A._ INDEX OF PASSAGES QUOTED IN THE _DE COMPOSITIONE_
-
-The thick numerals indicate the pages on which the quotations are found.
-
-
-=Aeschines= _Ctes._ 202, =116=
-
-=Archilochus= _Fragm._ 66, =170=
-
-=Aristophanes= _Nubes_ 961, =256=; _ib._ 962, =258=
-
-=Aristotle= _Rhet._ iii. 8, =254=
-
-
-=Bacchylides= _Fragm._ 11, =262=
-
-
-=Callimachus= _Fragm._ 391, =256=
-
-
-=Demosthenes= _Aristocr._ 1, =108=, =252=. _Chers._ 48, =250=. _De
-    Cor._ 1, =108=, =182=, =184=, =260=; 119, =112=; 179, =114=.
-    _Lept._ 2, =118=. _De Pace_ 6, =108=. _Philipp._ iii. 17, =114=
-
-
-=Epicurus= _Fragm._ 230, =250=.
-
-=Euphorio Chersonesita= _Fragm._, =86=
-
-=Euripides= _Hecuba_ 163-4, =170=. _Hippolytus_ 201, =172=. _Orestes_
-    140-2, =128=. _Fragm._ 229 (_Archelaus_), =260=; 696 (_Telephus_),
-    =276-8=; 924, =88=
-
-
-=Hegesias= _Fragm._, =92=; =186-90=
-
-=Herodotus= i. 6, =90=; i. 8-10, =80-82=.
-
-=Homer= _Iliad_ i. 1, =98=; i. 459, =102=; ii. 89, =100=; ii. 209,
-    =158=; ii. 422, =102=; ii. 484, =100=; ii. 494-501, =166=; iv. 125,
-    =102=; iv. 452-3, =164=; v. 115, =100=; xi. 514, =280=; xii. 207,
-    =158=; xii. 433-5, =84=; xiii. 392-3, =86=; xvi. 361, =158=; xvii.
-    265, =154=; xviii. 225, =156=; xix. 103-4, =100=; xxi. 20, =100=;
-    xxi. 196-7, =248=; xxi. 240-2, =164=; xxii. 220-1, =156=; xxii.
-    395-411, =190-2=; xxii. 467, =100=; xxii. 476, =156=; xxiii. 382,
-    =182=; xxiv. 486, =100=. _Odyssey_ i. 1, =98=; iii. 1, =98=; iii.
-    449-50, =102=; v. 402, =158=; vi. 115-6, =102=; vi. 137, =162=; vi.
-    162-3, =162=; vi. 230-1, =92=; ix. 39, =172=; ix. 289-90, =164=;
-    ix. 415-6, =156=; xi. 36-7, =162=; xi. 281-2, =162=; xi. 593-8,
-    =202-4=; xiv. 1-8, =274-6=; xiv. 425, =102=; xv. 125-7, =64=; xvi.
-    1-16, =76-78=; xvi. 273, =92=; xvii. 36, 37, =162=; xix. 53, 54,
-    =162=; xxii. 17, =100=
-
-
-=Isocrates= _Areop._ 1-5, =242-4=
-
-
-=Orphica= _Fragm._, =252=
-
-
-=Philoxenus= _Fragm._ 6, =68=
-
-=Pindar= _Fragm._ 75, =214-6=; 79, =148=; 213, =210=
-
-=Plato= _Menex._ 236 D, =180=; 236 E, =116=; _Rep._ i. 1, =266=
-
-
-=Sappho= _Fragm._ 1 (_Hymn to Aphrodite_), =238-40=; 106, =258=
-
-=Simonides= _Fragm._ 37 (_Danaë_), =278-80=
-
-=Sophocles= _Fragm._ 706, =116=
-
-=Sotades= _Fragm._, =88=
-
-
-=Thucydides= i. 1, =224-28=; i. 22, =228=; i. 24, =90=; ii. 35, =178=;
-    iii. 57, =110=
-
-
-=Anonymous Fragments= (=chiefly Lyrical=) on pages =68= (Bergk 85),
-    =168= (Bergk 112, Nauck 136), =170= (N. 138; B. 108); =172= (N.
-    139, 140); =174= (B. 110, N. 143; B. 111, N. 141; B. 116, N. 144;
-    B. 117, N. 142); =262= (B. 118)
-
-[Page 354]
-
-
-
-
-_B._ INDEX OF NAMES AND MATTERS
-
-The numerals indicate the pages to which reference is made. As the
-contents of the Greek text are fully summarized on pp. 1-9 _supra_,
-and as many of the more characteristic Greek words find a place in the
-Glossary, the brief entries in Index B will be found to refer mainly to
-the Introduction and the Notes.
-
-
-=Accent= 41-43, 126 ff., 196, 292, 320, 328, 329
-
-=Adjective= 102, 103, 299
-
-=Adverb= 70, 100, 299
-
-=Aeschines= 116
-
-=Aeschylus= 12, 20, 214, 215
-
-=Agathon= 304
-
-=Alcaeus= 194, 248, 249
-
-=Alexander of Macedon= 186, 187
-
-=Amphibrachys= 172, 184, 287
-
-=Anacreon= 236
-
-=Anagnostes= 338
-
-=Anapaest= 172, 287
-
-=Anaximenes= xi (Preface). See also under ‘Rhetorica ad Alexandrum,’ p.
-    357 _infra_
-
-=Anthology=, epigrams from 66, 335
-
-=Antigonus= 94
-
-=Antimachus= 214
-
-=Antiphon= 29, 120, 332
-
-=Antithesis= 247, 288
-
-=Aphrodite, Sappho’s Hymn to= 238-41
-
-=Apollonius Rhodius= 156
-
-=Appellative= 71, 319
-
-=Archaism= 212, 290
-
-=Archilochus= 171
-
-=Architecture in relation to literary composition= 28, 106
-
-=Aristophanes= 12, 22, 123, 143, 290, 304, 311, 314, 335
-
-=Aristophanes of Byzantium= 218, 278, 320
-
-=Aristotle= x-xii (Preface), 15, 34, 35, 39, 40, 48, 71, 75, 139, 153,
-    155, 163, 165, 166, 168, 171, 176, 189, 214, 246, 247, 248, 249,
-    254, 255, 268, 290, 291, 292, 301, 308, 309, 310, 312, 313, 315,
-    316, 318, 319, 320, 325, 329, 334, 336, 337, 340, _passim_
-
-=Aristoxenus= 42, 43, 48, 125, 138, 168, 287, 318
-
-=Arnold, Matthew= 26, 158, 167, 278
-
-=Arrian= 186, 187
-
-=Article= 70, 289
-
-=Aspirates= 149, 294, 350
-
-=Athenaeus= 148, etc.
-
-=Auctor ad Herennium= 316
-
-=Audiences=, their sensitiveness to the music of sounds 40, 120 ff.
-
-=Austere composition or harmony= 210 ff.
-
-
-=Bacchius= 174, 292
-
-=Bacchylides= 49, 219, 262, 263
-
-=Bacon, Francis= 225
-
-=Beauty of style.= See under ‘nobility’
-
-=Biblical illustrations= 24, 31, 36, 37, 113, 178, 289, 297, 298, 303,
-    332, etc.
-
-=Blackmore, R. D.= 37
-
-=Boeotian towns= 166-68
-
-=Boileau= 31
-
-=Bossuet= 195, 228
-
-=Buchanan, George= 46
-
-=Buffon= 29
-
-
-=Caesar, Julius= 13, 267, 296
-
-=Callimachus= 87, 256 (attribution doubtful), 272, 277
-
-=Candaules=, story of 81
-
-=Carlyle= 37
-
-=Case= 320, with references there given
-
-=Catullus= 239, 278
-
-=Chapters=, division into 9, 11
-
-=Charm of style= 120 ff., 130 ff.
-
-=Cheke, Sir John= 45, 46
-
-=Chiastic arrangement= 14, 19
-
-=Choice, or selection, of words= 69, 73, 79, etc.
-
-=Choree= 170, 333
-
-=Chromatic scale= 194
-
-=Chronological table= of authors quoted or mentioned in the _C.V._ 50
-
-=Chrysippus= 94, 95, 96, 97
-
-=Chrysostom= 67, 251, 288
-
-=Cicero= 15, 18, 25, 26, 28, 35, 37, 38, 48, 53, 54, 55, 72, 73, 89,
-    114, 124, 159, 203, 266, 271, 286, 301, 305, 306, 315, 316, 319,
-    330, 331, 334, 335, _passim_
-
-[Page 355]
-
-
-=Circumflex accent= 126 ff.
-
-=Clearness in Greek word-order= 12-13, 15-17. See also under
-    ‘Obscurity,’ p. 356 _infra_
-
-=Cleitarchus= 187
-
-=Climax= 114
-
-=Coleridge, S. T.= 36, 38, 79, 254
-
-=Colon.= See under ‘Member’
-
-‘=Comma=’ 306, with references there given
-
-=Common vowels.= See under ‘Doubtful’
-
-=Comparative Method= (in relation to literary study) 48
-
-=Composition= 10, 71 ff., 208 ff., 326, _passim_
-
-=Conjunctions or connectives= 71, 325
-
-=Coray= 243
-
-=Cousin, Victor= 343
-
-‘=Cratylus=’ of Plato 160
-
-=Cretic= 174, 307
-
-=Ctesias= 120
-
-=Curtius= 187, 188, 189
-
-‘=Cyclic=’ 174, 307
-
-
-=Dactyl= 172, 173
-
-‘=Danaë=’ of Simonides 278-81
-
-=Dareste, Rodolphe= 344, 345, 346
-
-=Date of the= ‘=de Compositione=’ 1, 60
-
-=Delphi=, hymns found at 43
-
-=Demetrius= of Callatis 94
-
-=Demetrius=, the supposed author of the _De Elocutione_ 16, 18, 19, 90,
-    91, 286, 305, 308, _passim_
-
-=Democritus= 248, 249
-
-=Demosthenes= 13, 16, 17, 20, 23, 24, 25, 29, 33, 34, 39, 41, 146, 182,
-    196, 248, 249, 339, 340, _passim_. See also Index A
-
-=Dentals= 149
-
-=Dependent genitive=, order of 337
-
-=Dialectic= 69, 94, 104
-
-=Diatonic scale= 194
-
-=Diodorus Siculus= 187, 237, 274
-
-=Diogenes Laertius= 82, 97, 251
-
-=Dionysius of Halicarnassus= 1, 10, 11, 15, 16, 17, 29, 48, 207, 229,
-    _passim_
-
-=Dionysius Thrax= 47, 71, 139, 145, 319, 332
-
-=Diphthongs= 219
-
-=Dithyramb= 214
-
-=Dorian mode= 196
-
-=Doubtful vowels= 296, with references there given (s.v. δίχρονος)
-
-=Dryden= 186
-
-=Duris= 94
-
-
-=Eliot, George= 37
-
-=Empedocles= 34, 214, 332
-
-=Emphasis= 17-26
-
-=English language= 31, 35, 36, 342 ff., _passim_
-
-=Enharmonic scale= 194
-
-‘=Enjambement=’ 270-73, 275, 278, 325
-
-=Ennius= 170, 314
-
-=Ephorus= 236, 237
-
-=Epic Cycle=, poets of the 248
-
-=Epic poetry= 214, 274, _passim_. See also under ‘Homer,’ p. 356 _infra_
-
-=Epicurus= 250, 251
-
-=Epitome=: Greek Epitome of _C.V._ 10, 57, 65, 89, 116, 197, 209
-
-=Epode= 300, with references there given
-
-=Erasmus= 45, 159
-
-=Etymology= 160, 300
-
-=Euphony= 27-29, 338, etc.
-
-=Euphorio Chersonesita= 87
-
-=Euripides= 22, 23, 24, 146, 236, 237. See also Index A
-
-=Eustathius= 202
-
-
-=Fifth=, the musical interval so called 126
-
-=Flaubert, Gustav= 28
-
-=Fléchier= 243
-
-=Fletcher= 46 (‘Elder Brother’)
-
-=Florentine manuscript of the C.V.= 56-58
-
-=Foot=, metrical 168
-
-=France, Anatole= 27
-
-=Freedom of Greek word-order= 11-14
-
-=French language= 31, 36, 270, 342 ff., _passim_
-
-
-=Galen= 331
-
-=Gardiner, Stephen= 46
-
-=Gellius, Aulus= 28
-
-=Gender= 106, 107
-
-=German language= 33, 36, 342 ff., _passim_
-
-=Gibbon, Edward= 46, 86, 237
-
-=Gladstone, William Ewart= 126, 235
-
-=Glossary= 285-334 (cp. Preface ix, x)
-
-=Goethe= 36
-
-=Gorgias= 132
-
-=Grammar= 46, 47
-
-=Grave accent= 126 ff.
-
-=Gutturals= 149
-
-
-‘=Harmony=’ 290, with references there given
-
-=Havercamp= 45
-
-=Hector and Achilles= 190, 191
-
-=Hegemon= 168
-
-=Hegesianax= 94, 95
-
-=Hegesias= 52-55, 90, 184-92
-
-=Heracleides= 94, 95
-
-=Heracleitus= 335, 340
-
-=Hermogenes= 26, 85, 87, 90
-
-=Herodotus= 16, 24, 26, 30, 80 ff., 90, 120, 196, 248, 249
-
-=Hesiod= 236, 237
-
-=Hesychius=, 69, 189, 288, 322, 332
-
-=Hexameter= 85, 87
-
-=Hiatus= 39, 323
-
-=Hibeh Papyri= xi (Preface), 41
-
-[Page 356]
-
-
-=Hickes, Francis= 226
-
-=Hieronymus= 94
-
-=Hobbes, Thomas= 226
-
-=Holland, Philemon= 328
-
-=Homer= vii-ix (Preface), 13, 14, 19, 33, 34, 76 ff., 136, 248, 274,
-    337, _passim_. See also Index A
-
-=Horace= ix (Preface), 15, 48, 78, 81, 113, 195, 197, 200, 267, 273,
-    278, 322, 323, 336, _passim_
-
-=Hypallage= 78, 330
-
-=Hyperbaton= 26, 340
-
-=Hypobacchius= 174
-
-=Hysteron proteron= 102
-
-
-=Iambus= 170
-
-=Intermediate or harmoniously blended composition= 246 ff., 301
-
-=Invention= (of subject matter) 1, 67, 318, etc.
-
-=Ionic tetrameter= 86, 304
-
-‘=Irrational=’ 154, 174, 207, 286, 287
-
-=Isocrates= 11, 29, 78, 92, 192, 198, 236, 237, 242 ff., 264
-
-=Ithyphallic poem= 86, 303
-
-
-=Jacobs, Friedrich= 345, 346
-
-=James I., King= 46
-
-=Johnson, Samuel= 186
-
-=Josephus= 187, 308
-
-
-=Labials= 149
-
-=Latin= (especially Latin word-order, as compared with that of Greek
-    and the modern languages) 13, 21, 25, 29-33, 48, etc.
-
-=Lemaître, Jules= 31
-
-=Lessing= 31
-
-=Letters= 138 ff.
-
-‘=Literature=’ 34, 217, 309
-
-=Livy= 178
-
-‘=Longinus=’ =de Sublimitate= 14, 26, 48, 74, 239, _passim_
-
-=Lucian= 68, 196, 229, 279, 327, 333
-
-=Lucidity.= See under ‘Clearness’
-
-=Lucretius= 204, 214
-
-=Luther= 267
-
-=Lydian mode= 196
-
-=Lysias= 16, 55
-
-
-=Malherbe= 31
-
-=Manuscripts of the C.V.= x (Preface), 56-59
-
-=Marcellinus= 228, 229, 335
-
-=Marlowe= 35, 147
-
-=Maximus Planudes= 86
-
-=Melic poetry= 309, with references there given
-
-=Member= (=clause=, ‘=colon=’) 73, 110 ff., 307
-
-=Menander= 229
-
-=Meredith, George= 147, 172
-
-=Metaphor= 54, 310
-
-=Metre= 33-39, 310
-
-=Metrici= 154, 172, 174, 218, 310
-
-=Milton= 22, 23, 36, 167
-
-=Mimnermus= 273
-
-=Modern languages= (especially in relation to word-order) 12, 29-33,
-    103, etc.; 342-47
-
-=Modes=, musical 196
-
-=Molière= 91, 138
-
-=Molossus= 172
-
-=Music= 39-41, 124 ff.
-
-=Mute letters= 138 ff., 292
-
-
-=Natural order of words= 98 ff.
-
-=Neoptolemus= 15
-
-=Nobility of style= 120 ff., 136
-
-=Normal word-order in Greek= 14, 15
-
-=Noun= 71, 98-100, 313
-
-=Number=, grammatical 106, 107
-
-
-=Obscurity= 16, 17, 335-41. See also under ‘Clearness,’ p. 355 _supra_
-
-=Onomatopoeia= 158, 159, 316
-
-=Order of words in Greek and other languages= 11-39, 98 ff., _passim_
-
-=Orphic fragments= 252
-
-=Ovid= 33, 124
-
-=Oxyrhynchus Papyri= 29, 237, 289
-
-
-=Paeon= 314, with references there given
-
-=Painting in relation to literary composition= 208
-
-=Paris Manuscript of the C.V.= x (Preface), 56-58
-
-=Participle= 72, 310
-
-=Parts of speech= 71 ff.
-
-=Passion= 314, with references there given
-
-=Pentameter= 256, 315
-
-=Period= 13, 73, 118
-
-=Peripatetics= 48. See also under ‘Aristotle’ (p. 354 _supra_), and
-    ‘Theophrastus’ (p. 357 _infra_)
-
-=Philo Judaeus= 192
-
-‘=Philosophy=’ 331
-
-=Philoxenus= 196, 197
-
-=Phonetics= 43, 44, 140 ff.
-
-=Photius= 333
-
-‘=Phrase=’ 306, with references there given
-
-=Phrygian mode= 196
-
-=Phylarchus= 94
-
-=Pindar= 49, 194, 214 ff. See also under Index A
-
-=Plato= 14, 19, 20, 21, 22, 23, 26, 29, 31, 33, 34, 139, 180, 182, 196,
-    248, 249, 264 ff., _passim_. See also under Index A
-
-=Pliny the Younger= 229
-
-=Plural= 106, 107
-
-=Plutarch= 67, 187, 264, 299, 326, 330, 332
-
-[Page 357]
-
-
-=Poetry= (in relation to prose) 33-39, 250 ff., etc.
-
-=Polybius= 51, 52, 94, 296
-
-=Pope, Alexander= vii (Preface), 202, 205, 324
-
-=Porson, Richard= 14, 146
-
-=Preposition= 71, 319
-
-=Pronoun= 70, 102, 288
-
-=Pronunciation= 43-46, 140 ff., 348-51, _passim_
-
-=Propertius= 188
-
-‘=Propriety=’ 39, 198 ff., 318, 319, _passim_
-
-=Prose= (in relation to poetry) 33-39, 250 ff., 287 (ἄμετρος), 309
-    (λόγος), etc.
-
-=Prosodiacs= 86
-
-=Psaon= 94
-
-=Punctuation= 306, 340
-
-=Puttenham= 299
-
-=Pyrrhic= 168
-
-
-=Quantity=, effect of syllabic quantity in prose 29
-
-=Quintilian= 11, 15, 18, 19, 23, 26, 27, 28, 30, 34, 38, 46, 47, 53,
-    70, 71, 81, 89, 93, 98, 145, 152, 168, 195, 203, 248, 250, 265,
-    266, 300, 301, 305, 306, 315-21, 325, 328, 330, 332, 336, _passim_
-
-=Quotations in the C.V.= 49-56. See also Index A
-
-
-=Racine= 118, 157, 205, 270
-
-=Reading= (learning to read) 268, 269
-
-=Renan, Ernest= 31
-
-‘=Rhetor Graecus=’ 57, 138
-
-=Rhetorica ad Alexandrum= xi (Preface), 26, 75, 313, 336
-
-=Rhetorical Handbooks= 270, 282, 329
-
-=Rhyme or jingle= 64, 65, 315
-
-=Rhythm= 33-39, 168 ff., 176 ff., 320
-
-=Rhythmici= 154, 172
-
-=Rich, Barnaby= 82
-
-=Rousseau= 211
-
-=Rufus Metilius= xii (Preface), 1, 66
-
-=Ruskin= 37
-
-
-=Sallust= 38, 180, 225
-
-=San= 148, 149
-
-=Sappho= vii-viii (Preface), 49, 194, 236 ff., 258. See also Index A
-
-=Scales=, musical 194
-
-=Schema Pindaricum= 217
-
-=Schleiermacher, Friedrich= 343
-
-=Scholia= (to Homer and other authors) 76, 132, 155, 158, 170, 188,
-    191, 229, 274, 277, 288, 333, etc.
-
-=Semivowels= 138 ff., 302
-
-=Sextus Empiricus= 139
-
-=Shakespeare= 44, 81, 112, 135, 147, 161, 321
-
-=Sheridan= 250
-
-=Sigmatism= 146, 147
-
-=Simonides= vii-viii (Preface), 49, 236, 278 ff.
-
-=Simplicity of diction illustrated and commended= 75-85, 134-37
-
-=Smith, Sir Thomas= 45, 46, 141
-
-=Smooth composition or harmony= 232 ff., 293
-
-=Socrates= 120, 160
-
-=Solecism= 190
-
-=Sophist= 184, 264, 321
-
-=Sophocles= 248, 249, 337. See also Index A
-
-=Sotades= 88, 328
-
-=Sound an echo to the sense= 156 ff., 200 ff.
-
-=Sources of the C.V.= 47-49
-
-=Spondee= 170, 322
-
-=Stesichorus= 194, 195, 248
-
-=Stevenson, Robert Louis= 32, 40
-
-=Stoics= 48, 71, 94-97, 104
-
-=Strabo= 55, 285, 290
-
-=Strophe= 194 etc., 323
-
-=Styles of composition= 208 ff.
-
-=Substance and Form= viii (Preface); cp. Demetr. pp. 34 ff.
-
-=Suidas= 237, 296
-
-=Summary of the C.V.= 1-9
-
-‘=Suspense=’ 13
-
-=Swinburne, Algernon Charles= 271, 325
-
-=Syllables= 150 ff., 324
-
-=Synaloepha= 108 etc., 325
-
-
-=Tacitus= 316
-
-=Taste= 132, 134, 304
-
-‘=Tautology=’ 240, 328
-
-=Taylor, Jeremy= 303
-
-=Telestes= 196, 197
-
-=Tennyson= 86, 190, 271, 278
-
-=Tense= 108, 333
-
-=Terence= 101, 275
-
-=Tetrameters= 87, 329
-
-=Text of the C.V.= x (Preface), 56-59, _passim_
-
-=Thelwall, John= 147
-
-=Theocritus= 281
-
-=Theodectes= 47, 71
-
-=Theophrastus= 34, 37, 48, 164, 165, 193, 305, etc.
-
-=Theopompus= 29, 236, 237
-
-=Thucydides= 13, 16, 17, 19, 20, 21, 23, 33, 34, 120, 178, 214, 224
-    ff., 335-7, _passim_. See also Index A
-
-=Timotheus= 175, 196, 197
-
-=Title of the C.V.= 10, 326
-
-=Tragic poets= 236, 248, 329
-
-=Tribrach= 170. See also under ‘Choree,’ p. 354 _supra_
-
-=Trimeter= 258, 329
-
-=Trisyllable= 170, 329
-
-=Trochee= 170, 330
-
-=Types of style= 208 ff.
-
-[Page 358]
-
-
-
-
-=Usage as the sovereign arbiter= 102
-
-
-=Variety= 29, 39, 192 ff., 310
-
-=Vedic Sanskrit= 42
-
-=Verbs= 71, 98-100, 108, 320
-
-=Vigny, Alfred de= 213
-
-=Virgil= 19, 21, 156, 157, 164, 173, 204, 327, etc.
-
-=Vowels= 138 ff., 332
-
-
-=Welsh language= 31
-
-=Wilson, Thomas= [of Eton and King’s College, Cambridge; earliest
-    translator of any part of Demosthenes into English] 326
-
-=Wordsworth= viii (Preface), 79, 271
-
-
-=Xenophon= 14, 19, 23, 120
-
-
-=Zeta=, pronunciation of 44, 45
-
-
-THE END
-
-
-_Printed by_ R. & R. CLARK, LIMITED, _Edinburgh_.
-
-[Page 359]
-
-
-
-
-Cambridge University Press.
-
-
-BY PROFESSOR W. RHYS ROBERTS.
-
-The following contributions made to Greek literary and
-literary-historical study by Dr. Roberts are published at the Cambridge
-University Press. The volumes are arranged in the order of their
-original appearance.
-
-=THE ANCIENT BOEOTIANS=: their Character and Culture, and their
-        Reputation. With a Map, a Table of Dates, and a List of
-        Authorities. Demy 8vo. 5s.
-
-=STUDY OF GREEK.= A Chapter in Frederic Spencer’s _Chapters on the
-        Aims and Practice of Teaching_. Third Impression, 1903. Crown
-        8vo. 6s.
-
-=LONGINUS ON THE SUBLIME.= The Greek Text edited after the Paris
-        Manuscript, with Translation, Facsimiles, and Appendices
-        (Textual, Linguistic, Literary, and Bibliographical). Second
-        Edition, 1907. Demy 8vo. 9s.
-
-=DIONYSIUS OF HALICARNASSUS: The Three Literary Letters.= The Greek
-        Text edited with Translation, Facsimile, Notes, Glossary of
-        Rhetorical Terms, Bibliography, and Introductory Essay on
-        Dionysius as a Literary Critic. Demy 8vo. 9s.
-
-=DEMETRIUS ON STYLE.= The Greek Text of Demetrius _de Elocutione_.
-        Edited after the Paris Manuscript, with Translation,
-        Facsimiles, Glossary, etc., and Introductory Essay on the Greek
-        Study of Prose Style. Demy 8vo. 9s. net.
-
-
-EXTRACTS FROM REVIEWS OF _DEMETRIUS ON STYLE_.
-
-    Professor B. L. GILDERSLEEVE in the _AMERICAN JOURNAL OF
- PHILOLOGY_.—“It is to me a welcome sign of the times that Mr. Roberts
- has attracted so much attention and gained so much reputation by his
- admirable editions of _Longinus on the Sublime_ and of _The Three
- Literary Letters of Dionysius of Halicarnassus_, to which he has now
- added _Demetrius on Style_.... As for Demetrius, nothing could be more
- timely than the revival of his admirable manual.... No wonder that
- one hails with satisfaction the prospect of a new edition of the _De
- Compositione_ by so competent a hand as Mr. Roberts, if indeed we may
- construe his suggestion as a promise.”
-
-    _ATHENÆUM._—“We have to congratulate Professor Roberts on the
- completion of another preliminary study for his projected work on
- ‘Ancient Literary Criticism,’ which is a worthy companion to his
- _Longinus_ and _The Three Literary Letters of Dionysius_.... These
- three books are indispensable to the student of Greek literature....
- In the translation Professor Roberts seems to have improved on his
- former versions; this is more easy and effective.”
-
-    _TIMES._—“Dr. Roberts has introduced to English readers some choice
- literary morsels. His _Longinus on the Sublime_, the first of the
- ancient works on literary criticism which he edited—we might almost
- say, to our shame, rescued from oblivion—is a most able and inspiring
- book.... _Demetrius on Style_ is edited equally well. The translation,
- indeed, is even better; idiomatic and pleasant to read, it is often
- most happy, and there are very few passages where we should differ in
- our rendering of the Greek.”
-
-[Page 360]
-
-
-    _SPECTATOR._—“Dr. Roberts is to be congratulated upon the
- accomplishment of a worthy task. His edition of the famous treatise
- known as _Demetrius on Style_ is a credit to our English learning.
- The editor is not merely a scholar, he is a man of letters as well;
- and in his notes he has applied the maxims of the ancient Greek to
- the literature of to-day with the utmost skill. Indeed, though Greek
- lies at this moment under a cloud of suspicion, we can none the less
- recommend this work without diffidence or fear, since no English
- writer can study Dr. Roberts’s translation and notes without purging
- his own composition of faults innumerable.”
-
-    _GUARDIAN._—“Dr. Rhys Roberts here gives us a third instalment of
- his work on the Greek literary critics, and the further he proceeds
- the greater becomes the benefit that he is conferring on classical
- scholars. It is much to have made the masterpieces of the later
- Greek criticism generally accessible, and especially to have rescued
- Dionysius of Halicarnassus from a neglect and contempt that were
- wholly undeserved, to have given him new utterance, to have shown that
- even for moderns his precepts are not obsolete. Nor is the chorus of
- approval with which Dr. Roberts’s work has been received, both at home
- and abroad, any louder than is warranted. His own style and taste are
- above reproach, and his learning is abundant.”
-
-    _WESTMINSTER REVIEW._—“Dr. W. Rhys Roberts has taken for his
- province the whole subject of Greek literary criticism. In 1899
- appeared his scholarly and exhaustive edition of _Longinus on the
- Sublime_, which was followed, two years later, by an admirable edition
- of _The Three Literary Letters of Dionysius of Halicarnassus_. He has
- now laid English scholarship under a further obligation by his even
- more admirable edition of _Demetrius on Style_. Each of these three
- texts is accompanied by a translation at once accurate, terse, lucid,
- and idiomatic.”
-
-    _JOURNAL OF EDUCATION._—“We make no doubt that Professor Roberts’s
- earlier books—_Longinus on the Sublime_ and _The Three Literary
- Letters of Dionysius_—are known to those of our readers who are
- serious students of Greek. We believe they have done a good deal
- already to restore ancient criticism to the place which it used to
- hold. The present volume is a worthy companion to the other two.”
-
-    Professor R. Y. TYRRELL in _HERMATHENA_.—“This edition is of wide
- scope and excellent design. It includes an Essay on Greek Prose Style,
- a full summary of the treatise itself, and a careful treatment of the
- difficult questions concerning its date and authorship. The fact that
- this is the first English text and the first English translation of
- a very valuable and interesting work gives it an added importance,
- and opens up what will be a new field for many scholars.... The
- translation, which is exceedingly vigorous, elegant and ingenious,
- has one other signal merit: it never ‘hedges’: the translator never
- hides a doubt about the meaning under ambiguous language; he leaves
- no uncertainty about the meaning which he attaches to the text; and
- in the few places where we may venture to take a different view we
- feel that there is always something to be said for the version which
- we reject.... Dr. Roberts has a very keen eye and ear for literary
- beauty; and the treatise affords ample scope for the employment of
- his wide and various knowledge of modern literature.... The _De
- Elocutione_ is a treatise full of interesting and suggestive comment;
- and all lovers of literature owe their best thanks to Professor
- Roberts for the edition of it which he has put in their hands.”
-
-The volume has also been favourably reviewed by the following
-Continental scholars: Dr. PH. WEBER (_Neue Philologische Rundschau_),
-M. THÉODORE REINACH (_Revue des Études Grecques_), Professor AMÉDÉE
-HAUVETTE (_Revue Critique d’histoire et de littérature_), Professor CH.
-MICHEL (_Revue de l’Instruction publique en Belgique_), and Professor
-GIOVANNI SETTI (_La Cultura_).
-
-
-
-
-
-End of the Project Gutenberg EBook of Dionysius of Halicarnassus On Literary
-Composition, by Dionysius of Halicarnassus
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