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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..24cc7e9 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #50212 (https://www.gutenberg.org/ebooks/50212) diff --git a/old/50212-0.txt b/old/50212-0.txt deleted file mode 100644 index a50022e..0000000 --- a/old/50212-0.txt +++ /dev/null @@ -1,22011 +0,0 @@ -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 -Proofreading Team at http://www.pgdp.net - - - - - -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 - more than one letter, combining overline U+0305 is used because it - gives a better result (e.g., κ̅δ̅). - - Since there is no precomposed Unicode character for omicron with - acute and diaeresis (e.g., το̈́ῦτοτε), this e-text uses U+0308 - combining diaeresis and U+0301 combining acute accent above the - omicron. - - The following additional character modifications used in the - original book are represented in the e-text as follows: - - o with breve above: ο̆ (U+0306) - o with macron above: ο̄ (U+0304) - θ with inverted breve above: θ̑ (U+0311) - - 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 - -[Page 39] - -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 - -[Page 40] - -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 - -[Page 41] - -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. - -[Page 290] - - - =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. - -[Page 291] - - - =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_. - -[Page 292] - - - =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. - -[Page 293] - - - =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_. - -[Page 294] - - - =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_. - -[Page 295] - - - =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. - -[Page 296] - - - =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. - -[Page 297] - - - =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_. - -[Page 298] - - - =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_. - -[Page 299] - - - =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_). - -[Page 300] - - - =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. - -[Page 301] - - - =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_. - -[Page 302] - - - =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_. - -[Page 303] - - - =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. - -[Page 304] - - - =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. - -[Page 305] - - - =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?’ - -[Page 306] - - - =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). - -[Page 307] - - - =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_. - -[Page 308] - - - =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. - -[Page 309] - - - =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. - -[Page 310] - - - =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. - -[Page 317] - - - =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. - -[Page 318] - - - =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. - -[Page 319] - - - =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._ - -[Page 320] - - - =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.” - -[Page 321] - - - =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. - -[Page 322] - - - =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.’ - -[Page 323] - - - =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’? - -[Page 324] - - - =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.” - -[Page 325] - - - =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. - -[Page 326] - - - =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_. - -[Page 330] - - - =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_. - -[Page 331] - - - =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. - -[Page 332] - - - =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_. - -[Page 333] - - - =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. - -[Page 334] - - - =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_. - -[Page 335] - - - - -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 - -[Page 336] - -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 - -[Page 337] - -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 - -*** END OF THIS PROJECT GUTENBERG EBOOK DIONYSIUS OF HALICARNASSUS *** - -***** This file should be named 50212-0.txt or 50212-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/2/1/50212/ - -Produced by David Garcia, Jim Dishington, Ted Garvin, Laura -J. 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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 -Proofreading Team at http://www.pgdp.net - - - - - - -</pre> - - -<div class="transnote"> -<p class="center"><a name="tn-top"></a><b>Transcriber’s Note</b></p> - -<p>Special Characters</p> - -<div class="blockquot"> - -<p>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:</p></div> - -<p class="indent8"> -metrical short: ᴗ (U+1D17)<br /> -metrical long: – (U+2013)<br /> -metrical short over long: ⏓ (U+23D3)<br /> -metrical long over short: ⏒ (U+23D2)<br /> -</p> - -<div class="blockquot"> - -<p>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 more than one letter, -combining overline U+0305 is used because it gives a better result -(e.g., κ̅δ̅).</p> - -<p>Since there is no precomposed Unicode character for omicron with acute -and diaeresis (e.g., το̈́ῦτοτε), this e-text uses U+0308 combining -diaeresis and U+0301 combining acute accent above the omicron.</p> - -<p>The following additional character modifications used in the original -book are represented in the e-text as follows:</p></div> - -<p class="indent8"> -o with breve above: ο̆ (U+0306)<br /> -o with macron above: ο̄ (U+0304)<br /> -θ with inverted breve above: θ̑ (U+0311)<br /> -</p> - -<div class="blockquot"> - -<p>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.</p> -</div> - -<p>Parallel Display of Greek and English Pages</p> - -<div class="blockquot"> - -<p>The Greek text of Dionysius and the English translation, which -appear on opposing pages in the original, are displayed in side-by-side -columns in the HTML and e-book versions. All common browsers and some -hand-held e-readers manage this parallel presentation well, even on -a fairly small display. At the time that this e-book was produced, -however, many e-readers do not, and the English page may be shown -following the Greek instead of parallel to it. </p> -</div> - -<p>Page images of a different copy, but the same edition, of the original book can -be viewed at The Internet Archive:<br /> http://www.archive.org/details/cu31924026465165 -</p> - -<p> - The cover image that appears in e-book versions was created by the transcriber and is placed in the public domain. -</p> - -<p> -Errata: -</p> - -<div class="blockquot"> - -Page 40: ὠδῇ -> ᾠδῇ<br /> -Page 108, note 16: οὐδεμίας -> οὐδεμιᾶς<br /> -Page 109, line 21: μηδεμίας -> μηδεμιᾶς<br /> -Page 112, note 14: διάνοιας -> διανοίας<br /> -Page 182, note 9: Διά -> Δία<br /> -Page 188, critical apparatus to line 5: συγκαμφθείς -> συγκαμφθεὶς<br /> -Page 204, line 11: ἀλλ -> ἀλλ’<br /> -Page 232, line 1: οὐχι -> οὐχὶ<br /> -Page 334, s.v. ᾠδή: ὠδικός -> ᾠδικός<br /> -</div> -</div> - -<p><span class="pagenum"><a name="Page_iii" id="Page_iii">[iii]</a></span></p> - -<h1>Dionysius of Halicarnassus<br /><br /> - -<span class="center smallerfont">On Literary Composition</span><br /><br /></h1> - -<p class="center">BEING THE GREEK TEXT OF THE<br /></p> - -<p class="center largefont"><i>DE COMPOSITIONE VERBORVM<br /><br /><br /></i></p> - - -<p class="center">EDITED WITH INTRODUCTION, TRANSLATION, NOTES<br /></p> - -<p class="center">GLOSSARY, AND APPENDICES<br /><br /><br /></p> - -<p class="center smallerfont">BY</p> - -<p class="center largerfont">W. RHYS ROBERTS</p> - -<p class="center xsmallfont"><span class="smcap">Litt.D. (Cambridge), Hon. Ll.D. (St. Andrews)</span></p> - -<p class="center xsmallfont">PROFESSOR OF CLASSICS IN THE UNIVERSITY OF LEEDS</p> - -<p class="center xsmallfont">FORMERLY FELLOW OF KING’S COLLEGE, CAMBRIDGE</p> - -<p class="center xsmallfont">EDITOR OF ‘DIONYSIUS OF HALICARNASSUS: THE THREE LITERARY LETTERS,’ ETC.<br /><br /><br /><br /></p> - -<p class="center">MACMILLAN AND CO., LIMITED</p> - -<p class="center">ST. MARTIN’S STREET, LONDON</p> - -<p class="center">1910 -</p> - -<hr class="chap"/> - -<p><span class="pagenum"><a name="Page_v" id="Page_v">[v]</a></span><br /><br /><br /><br /><br /><br /><br /></p> - -<p class="center">EQVITI INSIGNI</p> - -<p class="center"><b>NATHAN BODINGTON</b></p> - -<p class="center">VNIVERSITATIS LOIDENSIS VICE-CANCELLARIO PRIMO</p> - -<p class="center">HVNC LIBRVM DAT DICAT DEDICAT</p> - -<p class="center">EDITOR COLLEGA AMICVS<br /><br /><br /><br /><br /><br /><br /> -</p> - -<hr class="chap"/> - -<p><span class="pagenum"><a name="Page_vi" id="Page_vi">[vi]</a></span></p> -<div class="centered-block"> -<p><br /><br /><br /><br /><br /><br /><br /><br /> -<span class="marginleft4"><i>Tantum series iuncturaque pollet,</i></span><br /> -<i>Tantum de medio sumptis accedit honoris.</i><br /> -</p> - -<p class="align-right"> -<span class="smcap">Horace</span> <i>Ars Poetica</i> 242, 243.<br /><br /><br /><br /> -</p> - -<p> -<i>See Dionysius Homer’s thoughts refine,<br /> -And call new beauties forth from every line.</i><br /> -</p> - -<p class="align-right"> -<span class="smcap">Pope</span> <i>Essay on Criticism</i> 665, 666.<br /><br /><br /><br /><br /><br /><br /><br /> -</p> -</div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span></p> - - - - -<h2 id="PREFACE">PREFACE</h2> - - -<p><i>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.</i><a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p> - -<p><i>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 <a href="#Page_10">10</a> of the Introduction.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> 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’</i> (ὀνόματα μαλακὰ καὶ παρθενωπά), <i>to describe Homer as -‘of all poets the most many-voiced’</i> (πολυφωνότατος ἁπάντων τῶν -ποιητῶν), <i>and to attribute to Thucydides ‘an old-world and</i> -<span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span> -<i>masterful nobility of style’</i> (ἀρχαϊκόν τι καὶ αὔθαδες κάλλος). -<i>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.</i></p> - -<p><i>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 <a href="#Page_41">41</a>) that noble -style is but the reflection of those noble thoughts and feelings which -should inspire a nation’s life. Nevertheless, the</i> de Compositione -<i>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</i> sounds <i>of which human speech primarily consists.</i> -<span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span></p> - -<p><i>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</i> <b>φιλοτεχνεῖ</b>. <i>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 <a href="#Page_262">262</a>-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</i> Paradise -Lost <i>or</i> Lycidas <i>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</i> Hamlet <i>or</i> The Two Gentlemen of Verona <i>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.</i></p> - -<p><i>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</i> -<span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span> -de Compositione <i>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</i> Rhetoric <i>and</i> Poetics, <i>Demetrius</i> de Elocutione, -<i>Dionysius</i> de Compositione Verborum <i>and</i> Ep. ii. ad Amm., <i>etc.), -and that he has explained on pages <a href="#Page_56">56</a>-60 his views with regard -to some of the textual problems presented by the treatise.</i></p> - -<p><i>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.</i></p> - -<p><i>It may perhaps not be out of place to state in conclusion that</i> -<span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span> -<i>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</i> Rhetoric <i>of -Aristotle. The</i> Rhetoric <i>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</i> Rhetorica ad Alexandrum. <i>In this book—for -whose date the antiquity of a recently-discovered manuscript (published -in the</i> Hibeh Papyri i. 114 ff.) <i>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</i> Phaedrus <i>and the</i> Gorgias, -<i>and of Aristotle in the</i> Rhetoric. <i>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</i> -<span class="pagenum"><a name="Page_xii" id="Page_xii">[xii]</a></span> -<i>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.</i></p> - -<p> -<i><span class="smcap">The University, Leeds</span></i>,<br /> -<i><span class="marginleft2">December 6, 1909.</span></i><br /> -</p> - -<hr class="chap" /> - - -<div class="center break-before"> -<table id="toc" border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td class="tdl"><h2 id="CONTENTS">CONTENTS</h2></td><td><span class="pagenum"><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></td></tr> -<tr><td class="tdl"></td><td>PAGE</td><td></td></tr> -<tr><td class="tdl">INTRODUCTION—</td><td></td></tr> -<tr><td class="tdl"><span class="marginleft1">I. <span class="smcap">Summary of the ‘de Compositione’</span></span></td><td><a href="#Page_1">1</a></td></tr> -<tr><td class="tdl"><span style="margin-left: .7em;">II. <span class="smcap">The Order of Words in Greek</span>—</span></td><td></td></tr> -<tr><td class="tdl"><span class="marginleft2">A. <span class="smcap">Freedom and Elasticity</span></span></td><td><a href="#Page_11">11</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">B. <span class="smcap">Normal Order</span></span></td><td><a href="#Page_14">14</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">C. <span class="smcap">Lucidity</span></span></td><td><a href="#Page_15">15</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">D. <span class="smcap">Emphasis</span></span></td><td><a href="#Page_17">17</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">E. <span class="smcap">Euphony</span></span></td><td><a href="#Page_27">27</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">F. <span class="smcap">Greek and Latin and Modern Languages</span></span></td><td><a href="#Page_29">29</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">G. <span class="smcap">Prose and Poetry: Rhythm and Metre</span></span></td><td><a href="#Page_33">33</a></td></tr> -<tr><td class="tdl"><span style="margin-left: .4em;">III. <span class="smcap">Other Matters arising in the ‘de Compositione’—</span></span></td><td></td></tr> -<tr><td class="tdl"><span class="marginleft2">A. <span class="smcap">Greek Music: in relation to the Greek Language</span></span></td><td><a href="#Page_39">39</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">B. <span class="smcap">Accent in Ancient Greek</span></span></td><td><a href="#Page_41">41</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">C. <span class="smcap">Pronunciation of Ancient Greek</span></span></td><td><a href="#Page_43">43</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">D. <span class="smcap">Greek Grammar</span></span></td><td><a href="#Page_46">46</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">E. <span class="smcap">Sources of the Treatise</span></span></td><td><a href="#Page_47">47</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">F. <span class="smcap">Quotations and Literary References in it</span></span></td><td><a href="#Page_49">49</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">G. <span class="smcap">Manuscripts and Text of it</span></span></td><td><a href="#Page_56">56</a></td></tr> -<tr><td class="tdl"><span class="marginleft2">H. <span class="smcap">Recent Writings connected with it</span></span></td><td><a href="#Page_59">59</a></td></tr> -<tr><td class="tdl">TEXT, <span class="smcap">Translation, and Notes (Critical and Explanatory)</span></td><td><a href="#Page_64">64</a></td></tr> -<tr><td class="tdl"><span class="smcap">Glossary</span></td><td><a href="#Page_285">285</a></td></tr> -<tr><td class="tdl"><span class="smcap">Appendices</span>—</td><td></td></tr> -<tr><td class="tdl"><span class="marginleft1">A. <span class="smcap">Obscurity in Greek</span></span></td><td><a href="#Page_335">335</a></td></tr> -<tr><td class="tdl"><span class="marginleft1">B. <span class="smcap">Illustrations of Word-Order in Greek and Modern Languages</span></span></td><td><a href="#Page_342">342</a></td></tr> -<tr><td class="tdl"><span class="marginleft1">C. <span class="smcap">Greek Pronunciation: Scheme of the Classical Association</span></span></td><td><a href="#Page_348">348</a></td></tr> -<tr><td class="tdl"><span class="smcap">Indices</span>—</td></tr> -<tr><td class="tdl"><span class="marginleft1">A. <span class="smcap">Passages quoted in the ‘de Compositione’</span></span></td><td><a href="#Page_353">353</a></td></tr> -<tr><td class="tdl"><span class="marginleft1">B. <span class="smcap">Names and Matters</span></span></td><td><a href="#Page_354">354</a></td></tr> -</table></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span></p> - - - - -<h2 id="INTRODUCTION">INTRODUCTION</h2> - - -<h3>I<br /><br /> - -<span class="smcap">Summary of the <i>de Compositione</i></span></h3> - - -<p><span class="smcap">A general</span> account of the life and literary activities of Dionysius -will be found in the volume entitled <i>Dionysius of Halicarnassus: -the Three Literary Letters</i>, where the <i>de Compositione Verborum</i> 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.</p> - -<p>The date of the <i>de Compositione</i> is not known, but may be -conjectured to lie between the years 20 and 10 <span class="smallerfont">B.C.</span> The book -is a birthday offering from Dionysius, as a teacher of rhetoric -in Rome, to his pupil Rufus Metilius.</p> - - -<div class="smallerfont"> <!-- begin long stretch of smaller font --> -<p><b>c. 1.</b> 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 <i>composition</i> -of words is to be treated now: the <i>choice</i> 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:—</p> - -<div class="blockquot"> - -<p>(1) The nature of composition, and its effect;</p> - -<p>(2) Its aims, and how it attains them;</p> - -<p>(3) Its varieties, with their characteristic features and the -author’s preferences among them;</p> - -<p>(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.</p></div> -<p><span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span></p> - -<p><b>c. 2.</b> “<i>Composition</i> 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 <i>cola</i> (‘members,’ ‘clauses’). The union of <i>cola</i> 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 <i>cola</i>, and to divide the discourse carefully -into periods.</p> - -<p>In its effects, though not in order of time, the composition of -words comes before the choice of words.</p> - -<p><b>c. 3.</b> 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 <i>Odyssey</i>, 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.</p> - -<p><b>c. 4.</b> 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 <i>Iliad</i> 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.</p> - -<p><b>c. 5.</b> It had occurred to him that, in a natural order, verbs would -<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span> -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.</p> - -<p><b>c. 6.</b> 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.</p> - -<p><b>c. 7.</b> In the case of the <i>cola</i>, the processes are two. (1) The -<i>cola</i> 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 <i>de Corona</i> § 119.</p> - -<p><b>c. 8.</b> (2) The right “turn,” or “shaping,” must be given to the -<i>cola</i>, so that they may faithfully reflect the various aims and moods -of the speaker or writer. A good example will be found in -Demosthenes <i>de Corona</i> § 179.</p> - -<p><b>c. 9.</b> Under (2) it is to be noted that the <i>cola</i> 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 <i>cola</i>. Further, the art of -composition must determine when it is fitting to employ periods and -when not.</p> - -<p><b>c. 10.</b> 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.</p> - -<p><b>c. 11.</b> 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 -<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span> -(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.</p> - -<p><b>c. 12.</b> 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.</p> - -<p><b>c. 13.</b> 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.</p> - -<p><b>c. 14.</b> 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 (<i>tenues</i>) κ, π, τ; δασέα -(<i>aspiratae</i>) χ, φ, θ; and μέσα (<i>mediae</i>) γ, β, δ. Or they may be -arranged according to the part chiefly concerned in their production: -whether it is the <i>lip</i>,—π, φ, β; the <i>teeth</i>,—τ, θ, δ; or the <i>throat</i>,—κ, -χ, γ. That is to say, Dionysius recognizes (though he does not use -the technical adjectives) a division into <i>labials</i>, <i>dentals</i>, and <i>gutturals</i>. -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 -<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span> -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.</p> - -<p><b>c. 15.</b> <i>Syllables</i>, 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 <i>Odyss.</i> ix. 415, 416, -and in <i>Il.</i> xvii. 265, xxii. 220, 221, 476, xviii. 225.</p> - -<p><b>c. 16.</b> 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 <i>Cratylus</i>.</p> - -<p>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—<i>Odyssey</i> -xvii. 36, 37, vi. 162, 163, etc. Theophrastus, in his work -on <i>Style</i>, 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 (<i>Il.</i> ii. 494-501) in his enumeration of the Boeotian towns.</p> - -<p><b>c. 17.</b> Rhythm, also, is an important element in good composition. -For our present purpose, a <i>rhythm</i> and a <i>foot</i> may be regarded as -synonymous. Of disyllabic and trisyllabic feet the following descriptive -list is given:—</p> - -<p><span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span></p> - -<div> -<table border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><td align="left"></td></tr> -<tr><td></td><td class="center"><i>A. Disyllabic Feet.</i></td></tr> -<tr><td class="center"> Name.</td><td class="center tdquantity">Quantities.</td><td class="center"> Qualities.</td></tr> -<tr><td align="left">1. ἡγεμών, πυρρίχιος.</td><td class="center tdquantity"> ᴗ ᴗ</td><td align="left"> Wanting in seriousness and dignity.</td></tr> -<tr><td align="left">2. σπονδεῖος.</td><td class="center tdquantity"> – –</td><td align="left"> Full of dignity.</td></tr> -<tr><td align="left">3. ἴαμβος.</td><td class="center tdquantity"> ᴗ –</td><td align="left"> Not lacking in nobility.</td></tr> -<tr><td align="left">4. τροχαῖος.</td><td class="center tdquantity"> – ᴗ</td><td align="left"> Less manly and noble than the iambus.</td></tr> -<tr><td></td><td class="center"><br /><i>B. Trisyllabic Feet</i></td></tr> -<tr><td class="center"> Name.</td><td class="center tdquantity">Quantities.</td><td class="center"> Qualities.</td></tr> -<tr><td align="left">1. χορεῖος, τρίβραχυς.</td><td class="center tdquantity"> ᴗ ᴗ ᴗ</td><td align="left"> Mean and unimpressive.</td></tr> -<tr><td align="left">2. μολοττός.</td><td class="center tdquantity"> – – –</td><td align="left"> Dignified and far-striding.</td></tr> -<tr><td align="left">3. ἀμφίβραχυς.</td><td class="center tdquantity"> ᴗ – ᴗ</td><td align="left"> Effeminate and unattractive.</td></tr> -<tr><td align="left">4. ἀνάπαιστος.</td><td class="center tdquantity"> ᴗ ᴗ –</td><td align="left"> Stately.</td></tr> -<tr><td align="left">5. δάκτυλος.</td><td class="center tdquantity"> – ᴗ ᴗ</td><td align="left"> Contributes greatly to beauty of style.</td></tr> -<tr><td align="left">6. κρητικός.</td><td class="center tdquantity"> – ᴗ –</td><td align="left"> Not lacking in nobility.</td></tr> -<tr><td align="left">7. βακχεῖος.</td><td class="center tdquantity"> – – ᴗ</td><td align="left"> Virile and grave.</td></tr> -<tr><td align="left">8. ὑποβακχεῖος.</td><td class="center tdquantity"> ᴗ – –</td><td align="left"> Virile and grave.</td></tr> -<tr><td align="left"></td></tr> -</table></div> - -<p>Various lines are quoted from the poets in order to illustrate the -effect of these several feet.</p> - -<p><b>c. 18.</b> 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 -<i>Menexenus</i> (236 <span class="smcap">D</span>); 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 <i>Crown</i>, with its -careful avoidance of all ignoble rhythms, will prove his pre-eminence. -Deficiency in this respect can be illustrated just as conspicuously -<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span> -by the writings of Hegesias, who would seem to have shunned good -rhythms out of sheer wilfulness. A passage is quoted from Hegesias’ -<i>History</i>—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 <i>Iliad</i> (xxii. 395-411) which, we -are told, owe their nobility largely to the beauty of their rhythms.</p> - -<p><b>c. 19.</b> 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.</p> - -<p><b>c. 20.</b> 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 -(<i>Odyssey</i> 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.</p> - -<p><b>c. 21.</b> After these theoretical and technical discussions there arises -the question: what are the different kinds of composition or arrangement,—what -are the different <i>harmonies</i>? The answer given is that -there are three: (1) the austere (αὐστηρά), (2) the smooth (γλαφυρά), -(3) the harmoniously blended (εὔκρατος) or intermediate (κοινή).</p> - -<p><b>c. 22.</b> 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’ <i>History</i> 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.]</p> - -<p><b>c. 23.</b> Smooth composition is next characterized in a similar -<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span> -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 <i>Hymn to -Aphrodite</i> and the introductory passage from Isocrates’ <i>Areopagiticus</i>.</p> - -<p><b>c. 24.</b> “The third, the mean of the two kinds already mentioned, -which I call <i>harmoniously blended</i> (or <i>intermediate</i>) 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.</p> - -<p><b>c. 25.</b> 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 <i>in</i> metre or <i>in</i> -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 <i>Aristocrates</i> and the <i>Crown</i> 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 <i>Republic</i>. 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.</p> - -<p><b>c. 26.</b> 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 -<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span> -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 <i>Odyssey</i>, the <i>Telephus</i> of Euripides, and -the <i>Danaë</i> of Simonides.</p> - -<p>The following Tabular Analysis may help to make the general -structure of the treatise still clearer:—</p> - - -<p>I. <span class="smcap">Chapters 1-5. Introductory.</span> 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.</p> - - -<p>II. <span class="smcap">Chapters 6-20. General Theory and Technique of -Composition</span>:—</p> - -<div> - -<p class="hangingindent4b">1. cc. 6-9:</p></div> - -<p class="indent12"> -(α) Three processes in the art of composition, c. 6.<br /> -(β) Grouping of clauses, c. 7.<br /> -(γ) Shaping of clauses, c. 8.<br /> -(δ) Lengthening and shortening of clauses and periods, c. 9.<br /> -</p> - -<div> - -<p class="hangingindent4b">2. cc. 10-20: Charm and beauty of composition, and the four -means of attaining these qualities:—</p></div> - -<p class="indent12"> -(α) Preliminary remarks, cc. 10-13.<br /> -(β) Four means:<br /> -<span class="marginleft8">(1) μέλος, cc. 14-16.</span><br /> -<span class="marginleft8">(2) ῥυθμός, cc. 17, 18.</span><br /> -<span class="marginleft8">(3) μεταβολή, c. 19.</span><br /> -<span class="marginleft8">(4) τὸ πρέπον, c. 20.</span><br /> -</p> - - -<p>III. <span class="smcap">Chapters 21-24. Three Modes of Composition</span>:—</p> - -<p class="indent20"> -(1) σύνθεσις αὐστηρά, c. 22.<br /> -(2) σύνθεσις γλαφυρά, c. 23.<br /> -(3) σύνθεσις εὔκρατος (or κοινή), c. 24.<br /> -</p> - - -<p>IV. <span class="smcap">Chapters 25, 26. Relation of Prose to Poetry, and -of Poetry to Prose.</span></p> - -<p><span class="smcap">Note.</span>—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. -<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span></p> - -<p>The Greek Epitome is about one-third the length of the original. -It is of early but uncertain date (cp. Usener <i>de Dionysii Halicarnassensis -Libris Manuscriptis</i> 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. -<br /></p> -</div> <!-- end long stretch of smaller font --> - - - -<h3 id="II">II<br /><br /> - -<span class="smcap">The Order of Words in Greek</span></h3> - -<p>The strong and the weak points of the <i>de Compositione -Verborum</i> 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 <i>On Literary -Composition</i> seems to fit the contents of the work.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> - -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 -<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span> -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.”<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> -And though, in the <i>de -Compositione</i>, 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.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a> 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.</p> - - -<h4>A. <i>Freedom and Elasticity</i></h4> - -<p>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 <i>a priori</i> 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.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> - -<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span> -</p> - -<p>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 <i>Iliad</i> -and the <i>Odyssey</i> 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 <i>Frogs</i> 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,—</p> - -<p class="indent8"> -εἰ δ’ ἐγὼ ὀρθὸς ἰδεῖν βίον ἀνέρος ἢ τρόπον ὅστις ἔτ’ οἰμώξεται,<br /> -οὐ <b>πολὺν</b> οὐδ’ ὁ πίθηκος οὗτος ὁ νῦν ἐνοχλῶν,<br /> -Κλειγένης ὁ μικρός,<br /> -ὁ πονηρότατος βαλανεὺς ὁπόσοι κρατοῦσι κυκησιτέφρου<br /> -ψευδολίτρου κονίας<br /> -καὶ Κιμωλίας γῆς,<br /> -<b>χρόνον</b> ἐνδιατρίψει.<br /> -</p> - -<p class="align-right"> -Aristophanes <i>Ranae</i> 706-13.<br /> -</p> - -<p>Here as many as twenty-one words divide an adjective from -its noun, though noun and adjective are usually placed close -together.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> But, even in serious poetry, the same thing is to be -noticed, though on a less surprising scale. For example:</p> - -<p class="indent8"> -ἦν δ’ οὐδὲν αὐτοῖς οὔτε χείματος <b>τέκμαρ</b><br /> -οὔτ’ ἀνθεμώδους ἦρος οὔτε καρπίμου<br /> -θέρους <b>βέβαιον</b>.<br /> -</p> - -<p class="align-right"> -Aeschylus <i>Prometheus Vinctus</i> 454-6.<br /> -</p> - -<p>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: -<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span> -</p> - -<p class="indent8"> -ἐν δὲ <b>νομὸν</b> ποίησε περικλυτὸς ἀμφιγυήεις<br /> -ἐν καλῇ βήσσῃ <b>μέγαν</b> οἰῶν ἀργεννάων.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><br /> -</p> - -<p class="align-right"> -Homer <i>Iliad</i> xviii. 587, 588.<br /> -</p> - -<p>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.</p> - -<div> - -<p class="hangingindent4b"><b>τῶν μὲν οὖν λόγων</b>, οὓς οὗτος ἄνω καὶ κάτω διακυκῶν ἔλεγε -περὶ τῶν παραγεγραμμένων νόμων, οὔτε μὰ τοὺς θεοὺς -οἶμαι ὑμᾶς μανθάνειν οὔτ’ αὐτὸς ἐδυνάμην συνεῖναι -<b>τοὺς πολλούς</b>.</p></div> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 111 (cp. § 57).<br /> -</p> - -<p>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:—</p> - -<div> - -<p class="hangingindent4b">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.</p></div> - -<p class="align-right"> -Thucydides vi. 76.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a><br /> -</p> - -<p>The following sentence of Demosthenes, with its carefully -chosen position for the main subject Φίλιππος and the main -verb ἐπηγγείλατο, shows how well <i>suspense</i> and the <i>period</i> can be -worked in such a language:—</p> - -<div> - -<p class="hangingindent4b">ὡς δὲ ταλαιπωρούμενοι τῷ μήκει τοῦ πολέμου οἱ τότε μὲν -βαρεῖς νῦν δ’ ἀτυχεῖς Θηβαῖοι φανεροὶ πᾶσιν ἦσαν -ἀναγκασθησόμενοι καταφεύγειν ἐφ’ ὑμᾶς, <b>Φίλιππος</b>, ἵνα μὴ -τοῦτο γένοιτο μηδὲ συνέλθοιεν αἱ πόλεις, ὑμῖν μὲν εἰρήνην -ἐκείνοις δὲ βοήθειαν <b>ἐπηγγείλατο</b>.</p></div> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 19.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a><br /> -</p> - -<p>In an analytical language such as English a separate introductory -<span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span> -sentence<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> would be almost necessary in order to bring out -the point of a familiar passage in the <i>Cyropaedia</i>:—</p> - -<div> - -<p class="hangingindent4b">παῖς μέγας μικρὸν ἔχων χιτῶνα ἕτερον παῖδα μικρὸν -μέγαν ἔχοντα χιτῶνα, ἐκδύσας αὐτόν, τὸν μὲν ἑαυτοῦ -ἐκεῖνον ἠμφίεσε, τὸν δὲ ἐκείνου αὐτὸς ἐνέδυ.</p></div> - -<p class="align-right"> -Xenophon <i>Cyropaedia</i> i. 3. 17.<br /> -</p> - -<p>And the force and variety gained by juxtaposition, or by -chiastic arrangement, is obvious in such examples as:—</p> - -<p class="indent8"> -(1) τίπτε με, Πηλέος υἱέ, ποσὶν ταχέεσσι διώκεις,<br /> -<span style="margin-left: 4%;"><b>αὐτὸς θνητὸς ἐὼν θεὸν ἄμβροτον</b>;</span><br /> -</p> - -<p class="align-right"> -Homer <i>Iliad</i> xxii. 8, 9.<br /> -</p> - -<div> - -<p class="hangingindent4b">(2) τί δῆτα, ὦ Μέλητε; τοσοῦτον <b>σὺ ἐμοῦ</b> σοφώτερος εἶ -<b>τηλικούτου ὄντος τηλικόσδε ὤν</b>;</p></div> - -<p class="align-right"> -Plato <i>Apology</i> 25 <span class="smcap">D.</span><br /> -</p> - -<div> - -<p class="hangingindent4b">(3) οὐ γὰρ ἐπὶ κρίσει μέν τις δικασθεὶς οὐκ ἂν ἐπὶ τῶν -<b>δικαίων καὶ καλῶν</b> ἐλεύθερος καὶ ὑγιὴς ἂν κριτὴς -γένοιτο· ἀνάγκη γὰρ τῷ δωροδόκῳ τὰ οἰκεῖα μὲν -φαίνεσθαι <b>καλὰ καὶ δίκαια</b>.</p></div> - -<p class="align-right"> -Longinus <i>de Sublimitate</i> c. xliv.<br /> -</p> - -<div> - -<p class="hangingindent4b">(4) καὶ τῶν κώλων ... <b>ἀνίσων τε ὄντων καὶ ἀνομοίων</b> ἀλλήλοις -<b>ἀνομοίους τε καὶ ἀνίσους</b> ποιούμενοι τὰς διαιρέσεις.</p></div> - -<p class="align-right"> -Dionys. Halic. <i>de Comp. Verb.</i> c. xxvi.<br /> -</p> - -<p>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.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> -</p> - - -<h4>B. <i>Normal Order</i></h4> - -<p>Though Dionysius does right to deny the existence of a -<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span> -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.</p> - - -<h4>C. <i>Lucidity</i></h4> - -<p>It might easily be concluded, by a reader who knew the <i>de -Compositione</i> 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. -<i>Poet.</i> xxii. 1: cp. <i>Rhet.</i> iii. 2. 1). Similarly Cicero puts clearness -(<i>sermo dilucidus</i>) before ornament, asking how it is possible, “qui -non dicat quod intellegamus, hunc posse quod admiremur dicere” -(Cic. <i>de Orat.</i> iii. 9. 38). Horace’s approving reference to <i>lucidus -ordo</i> has become proverbial.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> And Quintilian allots the primacy -<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span> -to the same great quality: “nobis prima sit virtus perspicuitas, -propria verba, rectus ordo, non in longum dilata conclusio; nihil -neque desit neque superfluat” (<i>Inst. Or.</i> 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” (<i>ibid.</i> -viii. 2. 24).</p> - -<p>If Dionysius in the present treatise says little about lucidity, -the sole reason is that he <i>assumes</i> it as a necessary and indispensable -quality of style. In the <i>de Thucydide</i> 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.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> 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 <i>de Lysia</i>, 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 <i>de Isaeo</i>: 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 -<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span> -do so without occasional recourse to a grammatical commentary.”<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a> -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.”<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> 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.<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p> - - -<h4>D. <i>Emphasis</i></h4> - -<p>Dionysius’ inadequate recognition of a normal order is naturally -attended by some uncertainty in his attitude towards that kind -of <i>emphasis</i> 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 (<b><a href="#Page_132">132</a></b> 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 -<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span> -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.”<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p> - -<p>Where it occurs in Dionysius, the word ἔμφασις bears the -sense of ‘hint,’ ‘suggestion,’ ‘soupçon’ (<i>de Thucyd.</i> 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. <i>Orat.</i> 40. 139; cp. Quintil. viii. 3. 83, ix. 2. 3, -64).<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> 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.</p> - -<p>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.<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> In delivery, it would seem that the Greeks found it -more natural to stress the beginning than the conclusion of a -<span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span> -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.<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p> - -<p>Allusion has already been made to the rhetorical emphasis -which falls upon the opening words of the <i>Iliad</i> and the <i>Odyssey</i>. -As with “arma virumque cano” in the <i>Aeneid</i>, 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 <i>Iliad</i>:—</p> - -<p class="indent8"> -<b>δυστήνων</b> δέ τε παῖδες ἐμῷ μένει ἀντιόωσιν.<br /> -</p> - -<p class="align-right"> -Homer <i>Iliad</i> vi. 127.<br /> -</p> - -<p>and</p> - -<p class="indent8"> -<b>πέπλον</b> δ’, ὅς τίς τοι χαριέστατος ἠδὲ μέγιστος<br /> -ἔστιν ἐνὶ μεγάρῳ καί τοι πολὺ φίλτατος αὐτῇ,<br /> -τὸν θὲς Ἀθηναίης ἐπὶ γούνασιν ἠϋκόμοιο, κτλ.<br /> -</p> - -<p class="align-right"> -Homer <i>Iliad</i> vi. 271.<br /> -</p> - -<p>Similarly with the following ten miscellaneous examples of -various emphasis, taken chiefly from Dionysius’ favourite speech:—</p> - -<p class="hangingindent4b">(1) ἐκεῖνος γὰρ πολλοὺς ἐπιθυμητὰς καὶ ἀστοὺς καὶ ξένους -λαβών, <b>οὐδένα</b> πώποτε μισθὸν τῆς συνουσίας ἐπράξατο, -ἀλλὰ πᾶσιν ἀφθόνως ἐπήρκει τῶν ἑαυτοῦ.</p> - -<p class="align-right"> -Xenophon <i>Memorabilia</i> i. 2. 60.<br /> -</p> - -<p class="hangingindent4b">(2) καὶ ταραχώδης ἦν ἡ ναυμαχία, ἐν ᾗ αἱ Ἀττικαὶ νῆες -παραγιγνόμεναι τοῖς Κερκυραίοις, εἴ πῃ πιέζοιντο, -<b>φόβον</b> μὲν παρεῖχον τοῖς ἐναντίοις, <b>μάχης</b> δὲ οὐκ -ἦρχον δεδιότες οἱ στρατηγοὶ τὴν πρόρρησιν τῶν -Ἀθηναίων.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p> - -<p class="align-right"> -Thucydides i. 49.<br /> -</p> - -<p class="hangingindent4b">(3) <b>Ἀναξαγόρου</b> οἴει κατηγορεῖν, ὦ φίλε Μέλητε, κτλ.</p> - -<p class="align-right"> -Plato <i>Apology</i> 26 <span class="smcap">D.</span><br /> -</p> -<p><span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span></p> - -<p class="hangingindent4b">(4) οὐ γὰρ <b>τὰ ῥήματα</b> τὰς οἰκειότητας ἔφη βεβαιοῦν, μάλα -σεμνῶς ὀνομάζων, ἀλλὰ τὸ ταὐτὰ συμφέρειν.</p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 35.<br /> -</p> - -<p class="hangingindent4b">(5) οἱ μὲν κατάπτυστοι Θετταλοὶ καὶ ἀναίσθητοι Θηβαῖοι -φίλον, εὐεργέτην, σωτῆρα τὸν Φίλιππον ἡγοῦντο· -<b>πάντ’</b> ἐκεῖνος ἦν αὐτοῖς· οὐδὲ φωνὴν ἤκουον εἴ τις -ἄλλο τι βούλοιτο λέγειν.</p> - -<p class="align-right"> -id. <i>ib.</i> § 43.<br /> -</p> - -<p class="hangingindent4b">(6) οὓς σὺ <b>ζῶντας μέν,</b> ὦ κίναδος, κολακεύων παρηκολούθεις, -<b>τεθνεώτων δ’</b> οὐκ αἰσθάνει κατηγορῶν.</p> - -<p class="align-right"> -id. <i>ib.</i> § 162.<br /> -</p> - -<p class="hangingindent4b">(7) καὶ τότ’ εὐθὺς ἐμοῦ διαμαρτυρομένου καὶ βοῶντος ἐν -τῇ ἐκκλησίᾳ “<b>πόλεμον</b> εἰς τὴν Ἀττικὴν εἰσάγεις, -Αἰσχίνη, πόλεμον Ἀμφικτυονικόν, κτλ.”</p> - -<p class="align-right"> -id. <i>ib.</i> § 143.<br /> -</p> - -<p class="hangingindent4b">(8) ὃς γὰρ <b>ἐμοῦ</b> φιλιππισμόν, ὦ γῆ καὶ θεοί, κατηγορεῖ, -τί οὗτος οὐκ ἂν εἴποι;</p> - -<p class="align-right"> -id. <i>ib.</i> § 294.<br /> -</p> - -<p class="hangingindent4b">(9) ἀλλ’ οἶμαι οὐ δυνάμεθα· <b>ἐλεεῖσθαι</b> οὖν ἡμᾶς πολὺ -μᾶλλον εἰκός ἐστίν που ὑπὸ ὑμῶν τῶν δεινῶν ἢ -χαλεπαίνεσθαι.</p> - -<p class="align-right"> -Plato <i>Republic</i> i. 336 <span class="smcap">E.</span><br /> -</p> - -<p class="indent8"> -(10) μηδ’ εἵμασι στρώσασ’ ἐπίφθονον πόρον<br /> -<span style="margin-left: 1.75em;">τίθει· <b>θεούς</b> τοι τοῖσδε τιμαλφεῖν χρεών.</span><br /> -</p> - -<p class="align-right"> -Aeschylus <i>Agamemnon</i> 921.<br /> -</p> - -<p>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:—</p> - -<p class="hangingindent4b">(1) καὶ ἐς Νικίαν τὸν Νικηράτου στρατηγὸν ὄντα ἀπεσήμαινεν, -ἐχθρὸς ὢν καὶ ἐπιτιμῶν, ῥᾴδιον εἶναι -παρασκευῇ, εἰ <b>ἄνδρες</b> εἶεν οἱ στρατηγοί, πλεύσαντας -λαβεῖν τοὺς ἐν τῇ νήσῳ, καὶ αὐτός γ’ ἄν, εἰ ἦρχε, -ποιῆσαι τοῦτο.</p> - -<p class="align-right"> -Thucydides iv. 27.<br /> -</p> -<p><span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span></p> - -<p class="hangingindent4b">(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 <b>ἀληθές γε</b>, ὡς ἔπος εἰπεῖν, -οὐδὲν εἰρήκασιν.</p> - -<p class="align-right"> -Plato <i>Apology</i> init.<br /> -</p> - -<p class="hangingindent4b">(3) ἀλλὰ μὴν τὸν τότε συμβάντα ἐν τῇ πόλει <b>θόρυβον</b> -ἴστε μὲν ἅπαντες, μικρὰ δ’ ἀκούσατε ὅμως, αὐτὰ -τἀναγκαιότατα ... οἱ δὲ τοὺς στρατηγοὺς μετεπέμποντο -καὶ τὸν σαλπιγκτὴν ἐκάλουν, καὶ <b>θορύβου</b> -πλήρης ἦν ἡ πόλις.</p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> §§ 168, 169.<br /> -</p> - -<p>Sometimes, however, emphatic words will be thrust right -to the front through such devices as the postponement of an -interrogative particle: e.g.</p> - -<p class="hangingindent4b"><b>ἑστάναι, εἶπον, καὶ κινεῖσθαι τὸ αὐτὸ ἅμα κατὰ τὸ αὐτὸ</b> ἆρα -δυνατόν;</p> - -<p class="align-right"> -Plato <i>Republic</i> iv. 436 <span class="smcap">C.</span><br /> -</p> - -<p>and</p> - -<p class="hangingindent4b"><b>οἷον δίψα ἐστὶ δίψα</b> ἆρά γε θερμοῦ ποτοῦ ἢ ψυχροῦ, ἢ -πολλοῦ ἢ ὀλίγου, ἢ καὶ ἑνὶ λόγῳ ποιοῦ τινος πώματος;</p> - -<p class="align-right"> -id. <i>ib.</i> iv. 437 <span class="smcap">D.</span><a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a><br /> -</p> - -<p>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:</p> - -<p class="indent8"> -Ζεῦ πάτερ, ἀλλὰ σὺ ῥῦσαι ὑπ’ ἠέρος υἷας Ἀχαιῶν,<br /> -ποίησον δ’ αἴθρην, δὸς δ’ ὀφθαλμοῖσιν ἰδέσθαι·<br /> -<b>ἐν δὲ φάει</b> καὶ ὄλεσσον, ἐπεί νύ τοι εὔαδεν οὕτως.<br /> -</p> - -<p class="align-right"> -Homer <i>Iliad</i> xvii. 645.<br /> -</p> - -<p class="indent8"> -<i>Me, me,</i> adsum qui feci, in me convertite ferrum,<br /> -O Rutuli.<br /> -</p> - -<p class="align-right"> -Virgil <i>Aeneid</i> ix. 427.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a><br /> -</p> -<p><span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span></p> - -<p>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 <i>Frogs</i>) 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</p> - -<p class="indent8"> -<b>τεθνᾶσ’</b> ἀδελφοὶ καὶ πατὴρ οὑμὸς γέρων.<br /> -</p> - -<p class="align-right"> -Euripides <i>Hercules Furens</i> 539.<br /> -</p> - -<p>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:—</p> - -<p class="hangingindent4b">οἶσθα δ’, ἦ δ’ ὅς, ὅτι <b>τὸν θάνατον</b> ἡγοῦνται πάντες οἱ ἄλλοι -τῶν μεγάλων κακῶν;—καὶ μάλ’, ἔφη.—οὐκοῦν φόβῳ -μειζόνων κακῶν ὑπομένουσιν αὐτῶν οἱ ἀνδρεῖοι τὸν -θάνατον, ὅταν ὑπομένωσιν;—ἔστι ταῦτα.</p> - -<p class="align-right"> -Plato <i>Phaedo</i> 68 <span class="smcap">D</span>.<br /> -</p> - -<p>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 <i>Frogs</i>:—</p> - -<p class="indent8"> -<b>θάνατον</b> γὰρ εἰσέθηκε βαρύτατον κακόν.<br /> -</p> - -<p class="align-right"> -Aristophanes <i>Ranae</i> 1394.<br /> -</p> - -<p>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: -<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span></p> - -<p class="hangingindent4b">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 <b>θάνατον</b>;</p> - -<p class="align-right"> -Plato <i>Republic</i> iii. 386 <span class="smcap">B</span>.<br /> -</p> - -<p>Here the θάνατον seems intended to repeat with emphasis -the preceding θανάτου to which, itself, a considerable degree of -prominence is assigned. So, perhaps,</p> - -<p class="hangingindent4b">ἀλλὰ νόμον δημοσίᾳ τὸν ταῦτα κωλύσοντα τέθεινται τουτονὶ -καὶ πολλοὺς ἤδη παραβάντας τὸν νόμον τοῦτον ἐζημιώκασιν -<b>θανάτῳ</b>.</p> - -<p class="align-right"> -Demosthenes <i>Midias</i> § 49.<br /> -</p> - -<p>and</p> - -<p class="hangingindent4b">... καὶ φοβερωτέρας ἡγήσεται τὰς ὕβρεις καὶ τὰς ἀτιμίας, -ἃς ἐν δουλευούσῃ τῇ πόλει φέρειν ἀνάγκη, <b>τοῦ θανάτου</b>.</p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 205.<br /> -</p> - -<p>Some miscellaneous examples of words coming emphatically -at the end of a clause or sentence are:—</p> - -<p class="hangingindent4b">(1) αἰτοῦμαι δ’ ὑμᾶς δοῦναι καὶ νῦν παισὶ μὲν καὶ γυναικὶ -καὶ φίλοις καὶ πατρίδι <b>εὐδαιμονίαν</b>, ἐμοὶ δὲ οἷόν περ -αἰῶνα δεδώκατε τοιαύτην καὶ τελευτὴν δοῦναι.</p> - -<p class="align-right"> -Xenophon <i>Cyropaedia</i> viii. 7.<br /> -</p> - -<p class="hangingindent4b">(2) ἀλλὰ καὶ τούτους κολυμβηταὶ δυόμενοι ἐξέπριον -<b>μισθοῦ</b>.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> - -<p class="align-right"> -Thucydides vii. 25.<br /> -</p> - -<p class="indent8"> -(3) ὑψοῦ δὲ θάσσων ὑψόθεν χαμαιπετὴς<br /> -<span style="margin-left: 1.6em;">πίπτει πρὸς οὖδας μυρίοις οἰμώγμασι</span><br /> -<span style="margin-left: 1.6em;"><b>Πενθεύς</b>.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></span><br /> -</p> - -<p class="align-right"> -Euripides <i>Bacchae</i> 1111.<br /> -</p> - -<p class="hangingindent4b">(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, <b>ἐχθροί</b>.</p> - -<p class="align-right"> -Demosthenes <i>Aristocrates</i> § 139.<br /> -</p> -<p><span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span></p> - -<p class="hangingindent4b">(5) δεῖ δὲ τοὺς ἀγαθοὺς ἄνδρας ἐγχειρεῖν μὲν ἅπασιν -ἀεὶ τοῖς καλοῖς, τὴν ἀγαθὴν προβαλλομένους ἐλπίδα, -φέρειν δ’ ἃν ὁ θεὸς διδῷ <b>γενναίως</b>.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 97.<br /> -</p> - -<p class="hangingindent4b">(6) εἶθ’ οὗτοι τὰ ὅπλα εἶχον ἐν ταῖς χερσὶν <b>ἀεί</b>.</p> - -<p class="align-right"> -id. <i>ib.</i> § 235.<br /> -</p> - -<p class="hangingindent4b">(7) εἰ γὰρ ταῦτα προεῖτ’ ἀκονιτεί, περὶ ὧν οὐδένα κίνδυνον -ὅντιν’ οὐχ ὑπέμειναν οἱ πρόγονοι, τίς οὐχὶ κατέπτυσεν -ἂν <b>σοῦ</b>; μὴ γὰρ τῆς πόλεώς γε, μηδ’ ἐμοῦ.</p> - -<p class="align-right"> -id. <i>ib.</i> § 200.<br /> -</p> - -<p class="hangingindent4b">(8) ... ἡμῖν δὲ τοῖς λοιποῖς τὴν ταχίστην ἀπαλλαγὴν -τῶν ἐπηρτημένων φόβων δότε καὶ <b>σωτηρίαν ἀσφαλῆ</b>.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p> - -<p class="align-right"> -id. <i>ib.</i> § 324.<br /> -</p> - -<p>It may be added that, occasionally, <i>both</i> the earlier and the -later positions are emphatic in the same clause or sentence: e.g.</p> - -<p class="indent8"> -(1) <span class="marginleft8"><b>τέκνα</b> γὰρ κατακτενῶ</span><br /> -<span class="marginleft1-5"><b>τἄμ’</b>.<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></span><br /> -</p> - -<p class="align-right"> -Euripides <i>Medea</i> 792.<br /> -</p> - -<p class="hangingindent4b">(2) <b>ὦτα</b> γὰρ τυγχάνει ἀνθρώποισι ἐόντα ἀπιστότερα <b>ὀφθαλμῶν</b>.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p> - -<p class="align-right"> -Herodotus i. 8.<br /> -</p> - -<p class="hangingindent4b">(3) νῦν δὲ τὸ μὲν παρὸν ἀεὶ προϊέμενοι, τὰ δὲ μέλλοντ’ -αὐτόματ’ οἰόμενοι σχήσειν καλῶς, <b>ηὐξήσαμεν</b>, ὦ ἄνδρες -Ἀθηναῖοι, Φίλιππον <b>ἡμεῖς</b>, καὶ κατεστήσαμεν τηλικοῦτον -ἡλίκος οὐδείς πω βασιλεὺς γέγονεν Μακεδονίας. -<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> - -<p><span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span></p> - -<p class="align-right"> -Demosthenes <i>Olynthiacs</i> i. § 9.<br /> -</p> - -<p class="hangingindent4b">(4) <b>πολλάκις</b> δὲ τοῦ κήρυκος ἐρωτῶντος οὐδὲν μᾶλλον -ἀνίστατ’ <b>οὐδείς</b>, ἁπάντων μὲν τῶν στρατηγῶν -παρόντων, κτλ.</p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 117.<br /> -</p> - -<p class="hangingindent4b">(5) καὶ μὴν καὶ <b>Φερὰς</b> πρώην ὡς φίλος καὶ σύμμαχος εἰς -Θετταλίαν ἐλθὼν ἔχει καταλαβών, καὶ τὰ τελευταῖα -τοῖς ταλαιπώροις Ὠρείταις τουτοισὶ ἐπισκεψομένους -ἔφη τοὺς στρατιώτας πεπομφέναι κατ’ <b>εὔνοιαν</b>· -πυνθάνεσθαι γὰρ αὐτοὺς ὡς νοσοῦσι καὶ στασιάζουσιν, -συμμάχων δ’ εἶναι καὶ φίλων ἀληθινῶν ἐν -τοῖς τοιούτοις καιροῖς παρεῖναι.</p> - -<p class="align-right"> -Demosthenes <i>Philippics</i> iii. § 12.<br /> -</p> - -<p class="hangingindent4b">(6) οὐ <b>λίθοις</b> ἐτείχισα τὴν πόλιν οὐδὲ πλίνθοις <b>ἐγώ</b>, -οὐδ’ ἐπὶ τούτοις μέγιστον τῶν ἐμαυτοῦ φρονῶ.</p> - -<p class="align-right"> -Demosthenes <i>de Corona</i> § 299.<br /> -</p> - -<p class="hangingindent4b">(7) <b>ὑπὲρ τῶν ἐχθρῶν</b> πεπολίτευσαι πάντα, ἐγὼ δ’ <b>ὑπὲρ τῆς -πατρίδος</b>.</p> - -<p class="align-right"> -id. <i>ib.</i> § 265.<br /> -</p> - -<p>In connexion with the imperfect appreciation which the -<i>de Compositione Verborum</i> shows of a normal order and of an -<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> -emphasis produced by departure from it, attention may be drawn -to the fact that the treatise contains no reference to the ‘figure’ -<i>hyperbaton</i>; 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 <i>Protag.</i> 343 <span class="smcap">E,</span> where the -reference is to a poem of Simonides). The author of the -<i>Rhetorica ad Alexandrum</i> (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 “<i>Hyperbaton</i> quoque, id est verbi -transgressionem, quoniam frequenter ratio comparationis et decor -poscit, non immerito inter virtutes habemus” (<i>Inst. Or.</i> viii. -6. 62).<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> The author of the <i>Treatise on the Sublime</i> describes -and defines it thus: ἔστι δὲ λέξεων ἢ νοήσεων ἐκ τοῦ κατ’ -ἀκολουθίαν κεκινημένη τάξις καὶ οἱονεὶ χαρακτὴρ ἐναγωνίου -πάθους ἀληθέστατος (Longinus <i>de Sublim.</i> c. 22).<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a> 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, <i>de Thucyd.</i> c. 52; cp. c. 31 <i>ibid.</i>) 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.</p> - -<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span></p> - -<h4>E. <i>Euphony</i></h4> - -<p>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” (<i>Inst. Or.</i> -viii. 3. 1).<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a> Dionysius, too, in the <i>de Compositione Verborum</i>, passes -more readily over the two qualities of clearness and emphasis -because he is not concerned with the πραγματικὸς τόπος.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> 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.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> - 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</p> - -<p> -<span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span> -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).<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> 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” (<i>Inst. Or.</i> ix. -4. 116). Naturally the ear in question must be the individual -ear (“aurem <i>tuam</i> interroga, quo quid loco conveniat dicere,” -Aulus Gellius <i>Noctes Att.</i> xiii. 21); the criterion is subjective, -not absolute.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> 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. <i>Orat.</i> 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 <i>de Compositione</i> 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.<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> They are what an -individual makes them. Hence, just as Cicero writes “qua re -sine, quaeso, sibi quemque scribere,</p> - -<p class="hangingindent4b">Suam quoíque sponsam, míhi meam; suum quoíque -amorem, míhi meum”:</p> - -<p>so Dionysius long ago anticipated the saying that the style is -the man.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a> -<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span></p> - -<p>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 <i>syllabic quantity</i> -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 <i>de Corona</i>: ἡμῖν δὲ τοῖς λοιποῖς -τὴν ταχίστην ἀπαλλαγὴν τῶν ἐπηρτημένων φόβων δότε καὶ -σωτηρίαν ἀσφαλῆ.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a> Further reference to these minutiae of -style may fitly be made later, when the topics of “rhythm” and -“music” are considered.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p> - - -<h4>F. <i>Greek and Latin compared with Modern Languages, -in regard to Word-Order</i></h4> - -<p>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.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a> -<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span></p> - -<p>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:—</p> - -<p class="hangingindent4b">(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.</p> - -<p class="align-right"> -Herodotus i. 6.<br /> -</p> - -<p class="hangingindent4b"><i>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.</i></p> - -<p class="hangingindent4b">(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.</p> - -<p class="hangingindent4b"><i>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.</i></p> - -<p class="hangingindent4b">(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.</p> - -<p class="hangingindent4b"><i>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.</i></p> -<p><span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span></p> - -<p>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.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p> - -<p>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?”<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a> These <i>finesses</i> are perhaps, as is here implied, -hardly communicable, even though an earlier French writer has -commended Malherbe as an author who</p> - -<div class="blockquot"> - -<p>D’un mot mis en sa place enseigna le pouvoir.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p></div> - -<p>It may well be that these matters, if not altogether the -<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span> -“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 -<i>Some Technical Elements of Style in Literature</i>.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> 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.</p> - -<p>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 <i>syntax</i>, <i>rhetoric</i>, -and <i>euphony</i>. In the course of a carefully reasoned exposition, -he corrects and supplements many of Weil’s observations.</p> - -<div class="smallerfont"> <!-- begin paragraph in smaller font --> -<p>The full title of Weil’s book is <i>De l’ordre des mots dans les langues -anciennes comparées aux langues modernes: question de grammaire générale</i> -(3rd edition, Paris, 1879). There is an English translation by C. W. -<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span> -Super (Boston, 1887), with notes and additions. Goodell’s paper -on “The Order of Words in Greek” is printed in the <i>Transactions of -the American Philological Association</i> 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 <i>English-Greek Lexicon</i>,—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 <i>Studies in Honour of Basil -Lanneau Gildersleeve</i>, 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 <i>Apology</i>), or various dissertations -such as Th. Harmsen <i>de verborum collocatione apud Aeschylum, Sophoclem, -Euripidem capita selecta</i>, Ph. Both <i>de Antiphontis et Thucydidis genere -dicendi</i>, J. J. Braun <i>de collocatione verborum apud Thucydidem observationes</i>, -F. Darpe <i>de verborum apud Thucydidem collocatione</i>; and in Latin -such elaborate studies as Hilberg’s <i>Die Gesetze der Wortstellung im -Pentameter des Ovid</i>. An interesting book which compares Cicero’s -Latin translations (prose and verse) with their Greek originals is -V. Clavel’s <i>de M. T. Cicerone Graecorum Interprete</i>. In <i>Harvard Studies -in Classical Philology</i> 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 <i>Mémoires de la Société de Linguistique de -Paris</i> 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.</p> -</div> <!-- end paragraph in smaller font --> - - -<h4>G. <i>Prose and Poetry: Rhythm and Metre</i></h4> - -<p>Readers of the <i>de Compositione</i> 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 -<span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span> -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, -<b>φιλοτεχνεῖ</b> (<b><a href="#Page_200">200</a></b> 18; cp. <b><a href="#Page_154">154</a></b> 20).</p> - -<p>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<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> 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.<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> 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.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> -<span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span></p> - -<p>In the <i>Rhetoric</i>, 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.”<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a> In the same way, Dionysius -(<i>C.V.</i> c. 25) declares that prose must not be manifestly metrical -or rhythmical, lest it should desert its own specific character. -It should simply <i>appear</i> 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.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a> 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:</p> - -<p class="hangingindent4b"> -Cut is the branch that might have grown full straight.<br /> -</p> - -<p class="align-right"> -Marlowe <i>Doctor Faustus</i>.<br /> -</p> -<p><span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span></p> - -<p class="hangingindent4b"> -Killed with report that old man eloquent.<br /> -</p> - -<p class="align-right"> -Milton <i>Sonnets</i>.<br /> -</p> - -<p class="hangingindent4b"> -Schön war ich auch, und das war mein Verderben.<br /> -</p> - -<p class="align-right"> -Goethe <i>Faust</i>.<br /> -</p> - -<p>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.”<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a> 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 <i>Aristocrates</i>, 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.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> 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 -<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span> -appears both in their rendering of the Bible and in the Book -of Common Prayer:—</p> - -<p class="indent8"> -How art thou | fallen from | Heaven, O | Lucifer, | son of the | morning.<br /> -How art | thou cut | down to the | ground, which didst | weaken the | nations.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a><br /> -Why do the | heathen | rage, and the | people im | agine a | vain thing?<br /> -(He) poureth con | tempt upon | princes and | weakeneth the | strength of the | mighty.<br /> -God is gone | up with a | shout, the | Lord with the | sound of a | trumpet.<br /> -(The) kings of the | earth stood | up, and the | rulers took | counsel to | gether.<br /> -Dearly be | loved | brethren, the | Scripture | moveth us |.<br /> -</p> - -<p>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.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a> 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.</p> - -<p>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. <i>C.V.</i> <b><a href="#Page_266">266</a></b> 13 ff., <b><a href="#Page_268">268</a></b> 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, <i>non astricte, sed</i> -<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span> -<i>remissius numerosam</i> esse oportere” (Cic. <i>de Orat.</i> iii. 48. 184).<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a> -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. -<i>Inst. Or.</i> ix. 4. 61 and 87).<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>On the subject of prose and poetry, Coleridge’s <i>Biographia -Literaria</i> (ed. Shawcross, Clarendon Press, 1907) is likely long to -hold its unique position. Theodore Watts-Dunton’s article on -“Poetry” in the <i>Encyclopaedia Britannica</i> contains an appreciative -estimate of the good service done to criticism by Dionysius in the <i>de -Compositione</i>. The article by Louis Havet on <i>La Prose métrique</i> (in -<i>La Grande Encyclopédie</i>, xxvii. 804-806) deals with what we should call -“rhythmical prose,” the French terminology differing here from our -own. Some account of <i>enjambement</i> (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.</p> - -<p>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 -<i>Script. Metr. Graeci</i> 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 -<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span> -back to the regular movements of the limbs in dancing. The views -of Blass on ancient prose rhythm are given in his <i>Die attische Beredsamkeit</i>, -<i>Die Rhythmen der attischen Kunstprosa</i> (<i>Isokrates, Demosthenes, -Platon</i>), and <i>Die Rhythmen der asianischen und römischen Kunstprosa</i> -(<i>Paulus, Hebräerbrief, Pausanias, Cicero, Seneca, Curtius, Apuleius</i>); -and some of them are summarized in an article which he contributed, -shortly before his death, to <i>Hermathena</i> (“On Attic Prose Rhythm” -<i>Hermathena</i> 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 -(<i>Rhet.</i> 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 (<i>de Demosth.</i> c. 39).</p> -</div> <!-- end smaller font --> - - - -<h3 id="III">III<br /><br /> - -<span class="smcap">Other Matters arising in the <i>de Compositione</i></span></h3> - -<h4>A. <i>Greek Music: in Relation to the Greek Language</i></h4> - -<p>For the modern student there is perhaps no more valuable -chapter of the <i>de Compositione</i> than that (c. 11) which treats of -the musical element in Greek speech. It helps to bring home -<span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span> -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, <b><a href="#Page_124">124</a></b> 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.”<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> 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 (<b><a href="#Page_252">252</a></b> 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.”<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> 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 -<span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span> -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?”<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>In addition to D. B. Monro’s book on Greek music, reference -may be made to such works as Rossbach and Westphal’s <i>Theorie der -musischen Künste der Hellenen</i>, H. S. Macran’s edition of Aristoxenus’ -<i>Harmonics</i> (from the Introduction to which a quotation of some -length will be found in the note on <b><a href="#Page_194">194</a></b> 7), and the edition of -Plutarch’s <i>de Musica</i> 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 <i>Dictionary of Music and Musicians</i> 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 <i>Studies in -Honour of Basil Lanneau Gildersleeve</i>. The close connexion between -music and verbal harmony is brought out in Longinus <i>de Sublim.</i> -cc. 39-41. In Grenfell and Hunt’s <i>Hibeh Papyri</i>, 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.</p> -</div> <!-- end smaller font --> - - -<h4>B. <i>Accent in Ancient Greek</i></h4> - -<p>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 -<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span> -be approximately the same as the musical interval of a fifth, or -(as he himself explains) three tones and a semitone. Similarly -Aristoxenus (<i>Harm.</i> 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, <b><a href="#Page_196">196</a></b> 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.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a> It would be hard to -believe that βαρύς could ever have indicated an <i>absence of stress</i>.</p> - -<p>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.”<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>A useful handbook on the general subject of Greek Accentuation -(including its musical character) is Vendryes’ <i>Traité d’accentuation -grecque</i>, which is prefaced by a bibliographical list. The volume is -noticed, in the <i>Classical Review</i> 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 -<i>Essays</i> pp. 110-127. As Monro (<i>Modes</i> 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 <i>Orestes</i>, in the <i>C.V.</i> 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 -<span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span> -corresponding neglect of syllabic quantity (<b><a href="#Page_128">128</a></b> 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 (<i>Modes</i> pp. 90, 91, 116, 141; -and <i>Classical Review</i> ix. 467-470). It is the hymns to Apollo -(belonging probably to the early part of the third century <span class="smallerfont">B.C.</span>), 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 <i>Greek Lyric Poetry</i> -pp. 41, 42. The chief surviving fragments of Greek music (including -the recent discoveries at Delphi) will be found in C. Jan’s <i>Musici -Scriptores Graeci</i> (with Supplement), as published by Teubner.</p> -</div> <!-- end smaller font --> - - -<h4>C. <i>Pronunciation of Ancient Greek</i></h4> - -<p>The <i>de Compositione</i> 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.</p> - -<p>One modern authority claims that, notwithstanding difficulties -in the interpretation of the <i>de Compositione</i> 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 <span class="smallerfont">A.D.</span><a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> It is, -further, maintained that, thanks to the general progress of philological -<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span> -research, we can in the main reproduce with certainty the -sounds (including even the aspirates) actually heard at Athens in -the fourth century <span class="smallerfont">B.C.</span>—with such certainty, at all events, as will -suffice for the practical purposes of the modern teacher.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p> - -<p>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.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a> 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 <b><a href="#Page_144">144</a></b> 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 <i>Hymn to Aphrodite</i> -(<b><a href="#Page_238">238</a></b> 9). The statement is not in any way contradicted by the -further statements in <b><a href="#Page_146">146</a></b> 5 and <b><a href="#Page_148">148</a></b> 6; and taken together with -other evidence (e.g. such forms as συρίσδειν = συρίζειν, κωμάσδειν -= κωμάζειν, Ἀθήναζε = Ἀθήνασδε), it seems to establish this as -<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span> -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 <b>zd</b> in the word ‘gla<b>z</b>e<b>d</b>,’ while in the fourth -century it roughly resembled <b>dz</b> in the word ‘a<b>dz</b>e’ (Arnold and -Conway, <i>op. cit.</i> pp. 6, 7).</p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>The book which deals most directly with the <i>de Compositione</i> -in relation to Greek pronunciation is A. J. Ellis’ <i>English, Dionysian, -and Hellenic Pronunciation of Greek, considered in reference to School and -College Use</i>. 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’ <i>Pronunciation -of Ancient Greek</i> (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 <i>Restored Pronunciation of -Greek and Latin</i>, and Giles’ <i>Manual of Comparative Philology</i> (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 <i>Journal of Philology</i> 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 -<i>Sylloge Scriptorum qui de linguae Graecae vera et recta pronuntiatione -commentarios reliquerunt, videlicet Adolphi Mekerchi, Theodori Bezae, -Jacobi Ceratini et Henrici Stephani</i> (Leyden, 1736), and his <i>Sylloge -Altera Scriptorum qui ... reliquerunt, videlicet Desiderii Erasmi, -Stephani Vintoniensis Episcopi, Cantabrigiensis Academiae Cancellarii, -Joannis Checi, Thomae Smith, Gregorii Martini, et Erasmi Schmidt</i> -(Leyden, 1740). Erasmus’ dialogue <i>de recta Latini Graecique sermonis -pronunciatione</i> (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 <i>The Erasmian Pronunciation -of Greek and its Precursors</i> 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 -<span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span> -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 <i>de recta et emendata linguae Graecae pronuntiatione</i> -(Havercamp, ii. 542), detected a lacuna in the text of <i>C.V.</i> <b><a href="#Page_140">140</a></b> 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 <i>Elder Brother</i> 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 <i>Essays</i> pp. 128-140, and Bendall in -<i>Journal of Philology</i> 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.</p> -</div> <!-- end smaller font --> - - -<h4>D. <i>Greek Grammar</i></h4> - -<p>Grammar, like phonetics, was by the ancients often regarded -as a part of “music.”<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a> It would not, therefore, seem unnatural -to his readers that, in a treatise on euphony, Dionysius should -continually be referring to the <i>parts of speech</i> (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 -<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span> -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 <i>de Compositione</i>, 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.</p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>The standard edition of <i>Dionysii Thracis Ars Grammatica</i> is that -by Uhlig (Leipzig, 1883). The whole question of ancient views on -grammar can be studied in Steinthal’s <i>Geschichte der Sprachwissenschaft -bei den Griechen und Römern, mit besonderer Rücksicht auf die Logik</i> -(2nd ed., Berlin, 1890-91).</p> -</div> <!-- end smaller font --> - - -<h4>E. <i>Sources of the</i> de Compositione</h4> - -<p>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.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a></p> - -<p>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 <i>de Compositione</i>, he mentions “Halicarnasseus -Dionysius” and (with special respect) “M. Tullius.”<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a> -<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span> -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 <i>de Sublimitate</i>, 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.<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a></p> - -<p>To his Greek predecessors Dionysius often refers in general -terms. For example, they are called οἱ πρὸ ἡμῶν in <b><a href="#Page_140">140</a></b> 7, οἱ -πρότερον in <b><a href="#Page_96">96</a></b> 7, and οἱ ἀρχαῖοι in <b><a href="#Page_68">68</a></b> 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.<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a> -And so it will be found that, though the <i>de Compositione Verborum</i> -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.<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> 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 <i>Rhetoric</i> of Aristotle.<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a></p> - -<p>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 -<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span> -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.</p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>Reference may be made to G. Ammon <i>de Dionysii Halicarnassensis -Librorum Rhetoricorum Fontibus</i> and to G. Mestwerdt <i>de Dionysii Halicarnassensis -in libro de Compositione Verborum Studiis</i>. 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 <i>American Journal of Philology</i> vols. xxv. and xxvi.; and in -H. P. Breitenbach’s dissertation on <i>The ‘De Compositione’ of Dionysius -of Halicarnassus considered with reference to the ‘Rhetoric’ of Aristotle</i>.</p> -</div> <!-- end smaller font --> - - -<h4>F. <i>Quotations and Literary References in the</i> de Compositione</h4> - -<p>The greatest of all the lyrical passages quoted in the treatise -is Sappho’s <i>Hymn to Aphrodite</i>. But great as this is, it does not -stand alone. It has companions, if not equals, in the <i>Danaë</i> -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.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a> 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:—</p> - -<p class="center"><span class="smcap"><br />Chronological Table of Authors quoted or mentioned in the <i>De Compositione</i></span><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span></p> - -<div class="center"> -<table id="t01" border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><th> B.C.</th><th> Epic<br /> Poetry.</th><th> Elegiac<br /> and<br /> Iambic.</th><th> Lyric.</th><th> Tragedy.</th><th> Comedy and<br /> Satire.</th></tr> -<tr><td>Before 700</td><td> Homer<br /> Hesiod</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td></tr> -<tr><td> 700-600</td><td> ...</td><td> Archi-<br /> lochus</td><td> Alcaeus<br /> Sappho<br /> Stesichorus</td><td> ...</td><td> ...</td></tr> -<tr><td> 600-500</td><td> ...</td><td> ...</td><td> Anacreon</td><td> ...</td><td> ...</td></tr> -<tr><td> 500-400</td><td> ...</td><td> ...</td><td> Simonides<br /> Pindar<br /> Bacchylides</td><td> Aeschylus<br /> Sophocles<br /> Euripides</td><td>Aristophanes</td></tr> -<tr><td> 400-300</td><td> Antimachus<br /> of<br /> Colophon</td><td> ...</td><td> Philoxenus<br /> Timotheus<br /> Telestes</td><td> ...</td><td> ...</td></tr> -<tr><td> 300-200</td><td> ...</td><td> [Calli-<br /> machus]</td><td> ...</td><td> ...</td><td> Euphorio<br /> Chersonesita</td></tr> -<tr><td></td><td></td><td></td><td></td><td></td><td> Sotades</td></tr> -<tr><td> 200-100</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td></tr> -</table></div> - -<p><br /></p> - -<div class="center"> -<table id="t02" border="0" cellpadding="4" cellspacing="0" summary=""> -<tr><th> B.C.</th><th> History.</th><th> Oratory and<br /> Rhetoric.</th><th> Philosophy.</th><th> Grammar;<br /> Musical and<br /> Metrical<br /> Science, etc.</th></tr> -<tr><td>Before 700</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td></tr> -<tr><td> 700-600</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td></tr> -<tr><td> 600-500</td><td> ...</td><td> ...</td><td> ...</td><td> ...</td></tr> -<tr><td> 500-400</td><td> Herodotus<br /> Thucydides</td><td> Gorgias<br /> Antiphon</td><td> Empedocles<br /> (verse)<br /> Democritus</td><td> ...</td></tr> -<tr><td> 400-300</td><td> Ctesias<br /> Xenophon<br /> Theopompus<br /> Ephorus</td><td> Isocrates<br /> Aeschines<br /> Demosthenes<br /> Theodectes<br /></td><td> Plato<br /> Aristotle<br /> Theophrastus</td><td> Aristoxenus</td></tr> -<tr><td> 300-200</td><td> ...</td><td> Hegesias</td><td> Epicurus<br /> and the<br /> Epicureans</td><td> Aristophanes<br /> of<br /> Byzantium</td></tr> -<tr><td></td><td></td><td></td><td> Chrysippus<br /> and the<br /> Stoics</td><td></td></tr> -<tr><td> 200-100</td><td> Polybius</td><td> ...</td><td> ...</td><td> ...</td></tr> -</table><br /></div> - -<p><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span></p> - -<p>To this list might be added the minor historians, of the third -and second centuries <span class="smallerfont">B.C.</span>, 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.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a></p> - -<p>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.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a> -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 -<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span> -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.”<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p> - -<p>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.’”</p> - -<p>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 <i>History</i>, he asks how it compares with Homer’s description -<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span> -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, <b><a href="#Page_92">92</a></b> 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 <i>cola</i> 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.<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a> 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, -<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span> -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 <i>Orator</i> (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 -(<i>ad Att.</i> 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.”<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a> Two further -specimens (not given by Dionysius) of Hegesias’ style will add -point to Cicero’s parody. The first is preserved by Strabo -(<i>Geogr.</i> 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 (<i>Bibl.</i> 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.<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a></p> - -<p>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 -<i>de Sublimitate</i> has in view when he writes: τά γε μὴν Ἀμφικράτους -<span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span> -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 (<b><a href="#Page_90">90</a></b> 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.</p> - -<p>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 <i>Geogr.</i> xiv. 1. 41).<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a> 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. -<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span></p> - -<div class="smallerfont"> <!-- begin smaller font --> -<p>For Dionysius in relation to contemporary Romans, and to the -struggle between Asianism and Atticism, reference may be made to -<i>Dionysius of Halicarnassus: the Three Literary Letters</i> pp. 34-49.</p> -</div> <!-- end smaller font --> - - -<h4>G. <i>Manuscripts and Text</i></h4> - -<p>The chief authorities for the text of the <i>de Compositione</i> are -indicated in the following list of abbreviations employed in the -apparatus criticus of the present edition:—</p> - -<p class="center"><i>Siglorum in notulis criticis adhibitorum Index</i></p> - -<div class="blockquot"> - -<p> -F = cod. Florentinus Laurentianus lix. 15. saec. xii.<br /> -P = cod. Parisinus bibl. nat. 1741. saec. xi. (x.).<br /> -M = cod. Venetus Marcianus 508. saec. xv.<br /> -V = cod. Vergetii Parisiensis bibl. nat. 1798. saec. xvi.<br /> -</p> - -<p>E = Διονυσίου Ἁλικαρνασέως τοῦ περὶ Συνθέσεως Ὀνομάτων <b>Ἐπιτομή</b>. saec. inc.</p> - -<p>R = Rhetor Graecus (Scholiasta Hermogenis περὶ ἰδεῶν, i. 6). saec. inc.</p> - -<p> -a = editio princeps Aldi Manutii (Aldi Manutii Rhetores Graeci, tom. i.), Venetiis. 1508.<br /> -s = editio Roberti Stephani, Lutetiae. 1547.<br /> -r = exemplum Reiskianum, Lipsiae. 1775.<br /> -Us = exemplum ab Usenero et Radermachero Lipsiae nuper editum. -</p></div> - -<p>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 <i>de Compositione Verborum</i> (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 <i>de Comp. Verb.</i>, but also Aristotle’s <i>Rhetoric</i> and -<i>Poetics</i>, Demetrius <i>de Elocutione</i>, Dionysius Halic. <i>Ep. ad Amm. II.</i>, -<i>De Vet. Scr.</i>, etc. Some notes upon the manuscript are given in -<i>Demetrius on Style</i> 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. -<span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span> -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 <i>Journal of Philology</i> 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 <i>variae -lectiones</i> 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.”</p> - -<p>The dates of the Epitome and of the <i>Rhetor Graecus</i> 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 <i>Rhetor</i> 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.</p> - -<p>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.<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a> -<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span> -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.<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a></p> - -<p>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 -<i>Areopagiticus</i> 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.<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p> - -<p>Usener’s text of the <i>de Compositione</i> 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 -<span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span> -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. <b><a href="#Page_124">124</a></b> 13, <b><a href="#Page_132">132</a></b> 23, <b><a href="#Page_250">250</a></b> 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: <b><a href="#Page_64">64</a></b> 11 (σοὶ -omitted), <b><a href="#Page_70">70</a></b> 5 (εὖ τί), <b><a href="#Page_78">78</a></b> 17 (παλαιαί), <b><a href="#Page_80">80</a></b> 13 (παιδικόν), <b><a href="#Page_94">94</a></b> 13 -(προβαῖεν), <b><a href="#Page_94">94</a></b> 16 (σπουδάζεσθαι), <b><a href="#Page_98">98</a></b> 20 (οἷά τινα), <b><a href="#Page_106">106</a></b> 13 -(εὖ ἢ), <b><a href="#Page_132">132</a></b> 20 (θηρᾶν), <b><a href="#Page_142">142</a></b> 9 (σπανίζει), etc.</p> - - -<h4>H. <i>Recent Writings connected with the</i> de Compositione</h4> - -<p>A full bibliography, covering not only the <i>de Compositione</i> of -Dionysius but his rhetorical and critical works generally, is given -in the present editor’s <i>Dionysius of Halicarnassus: the Three -Literary Letters</i> (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 <i>de Compositione</i>: -Aldus Manutius (<i>editio princeps</i>), Robertus Stephanus, F. Sylburg, -J. Upton, J. J. Reiske, G. H. Schaefer, and F. Goeller. Much -interest still attaches to C. Batteux’ publication (1788): <i>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</i>. The translation is too free and based on too poor a -text to meet the needs of exact scholarship. But the <i>Réflexions</i> -(which accompany the translation, in vol. vi. of the author’s -<i>Principes de littérature</i>) are full of suggestive remarks. Another -excellent literary study of Dionysius is that of Max. Egger: -<i>Denys d’Halicarnasse: essai sur la critique littéraire et la -rhétorique chez les Grecs au siècle d’Auguste</i> (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 <i>Realencyclopädie</i> vol. v.</p> - -<p>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 <i>de Compositione</i> and -<span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span> -some other critical writings of Dionysius (<i>Dionysii Halicarnasei -opuscula ediderunt Hermannus Usener et Ludovicus Radermacher. -Voluminis sec. fasc. prior.</i> <i>Lipsiae</i>, 1904). The second volume -is on a par with the first, which was welcomed, as a notable -achievement, in the <i>Classical Review</i> xiv. pp. 452-455, where -also attention was drawn (p. 454 <i>a</i>) to a questionable emendation -previously introduced by Usener into the text of the <i>de Imitatione</i>. -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, <i>De Compositione Verborum</i>” (<i>Journal -of Philology</i> xxvii. pp. 70-99), and “Oxford MSS. of the <i>Opuscula</i> -of Dionysius of Halicarnassus” (<i>Journal of Philology</i> xxviii. -pp. 162-185). Among other useful <i>subsidia</i> lately published -may be mentioned: W. Kroll’s “Randbemerkungen” in <i>Rhein. -Mus.</i> lxii. pp. 86-101, and Larue van Hook’s <i>Metaphorical -Terminology of Greek Rhetoric and Literary Criticism</i> (Chicago, -1905). R. H. Tukey (<i>Classical Review</i>, September 1909, p. 188) -makes the interesting suggestion that “the <i>De Compositione</i> belongs -chronologically between the two parts of the <i>De Demosthene</i>.” -The use of the present tense δηλοῦται, in <i>C.V.</i> <b><a href="#Page_182">182</a></b> 8 may be held -to countenance this view.</p> - -<p>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 -<i>Companion to Greek Studies</i> 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 <i>Histoire de la littérature grecque</i> -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 -<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span> -<i>Die griechische Literatur des Altertums</i> 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 <i>History of Classical Scholarship</i> 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 <i>Rhetoric</i> of Aristotle -and the treatise <i>On the Sublime</i>.” G. Saintsbury <i>History of -Criticism</i> 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 <i>de Compositione</i>], 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 <i>Harvard -Lectures on Greek Subjects</i> 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 -<i>Spectator</i> 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.” -<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span></p> - - - - -<p> -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. <b>80</b> 7 = page -<b>80</b> line 7 of the <i>De Compositione</i>.—The following abbreviations are used in referring -to volumes already issued by the editor:— -</p> - -<p class="indent4"> -D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’<br /> -Long. = ‘Longinus on the Sublime.’<br /> -Demetr. = ‘Demetrius on Style.’<br /> -</p> - -<hr class="chap" /> -<p><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span></p> - -<h2 id="TEXT">ΔΙΟΝΥΣΙΟΥ ΑΛΙΚΑΡΝΑΣΕΩΣ</h2> -<p class="center"><i>ΠΕΡΙ ΣΥΝΘΕΣΕΩΣ ΟΝΟΜΑΤΩΝ</i></p> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> -<!-- NB: Each pair of parallel Greek and English pages is wrapped in a <div> to prevent epub maker - from generating a page break somewhere in the middle --> - -<p><span class="pagenum"><a name="Page_64" id="Page_64">[64-5]</a></span></p> -<p class="center">ΔΙΟΝΥΣΙΟΥ ΑΛΙΚΑΡΝΑΣΕΩΣ</p> - -<p class="center"><i>ΠΕΡΙ ΣΥΝΘΕΣΕΩΣ ΟΝΟΜΑΤΩΝ</i></p> - -<h3>I</h3> - -<p class="center"> -“Δῶρόν τοι καὶ ἐγώ, τέκνον φίλε, τοῦτο δίδωμι,”<br /> -</p> - -<p> -καθάπερ ἡ παρ’ Ὁμήρῳ φησὶν Ἑλένη ξενίζουσα τὸν Τηλέμαχον, 5<br /> -πρώτην ἡμέραν ἄγοντι ταύτην γενέθλιον, ἀφ’ οὗ παραγέγονας<br /> -εἰς ἀνδρὸς ἡλικίαν, ἡδίστην καὶ τιμιωτάτην ἑορτῶν ἐμοί· πλὴν<br /> -οὔτε <em class="gesperrt">χειρῶν</em> δημιούργημα πέμπω σοι τῶν ἐμῶν, ὡς ἐκείνη<br /> -φησὶ διδοῦσα τῷ μειρακίῳ τὸν πέπλον, οὔτ’ <em class="gesperrt">ἐς γάμου</em> μόνον<br /> -<em class="gesperrt">ὥραν</em> καὶ <em class="gesperrt">γαμετῆς</em> χάριν εὔθετον, ἀλλὰ ποίημα μὲν καὶ γέννημα 10<br /> -παιδείας καὶ ψυχῆς τῆς ἐμῆς, κτῆμα δὲ σοὶ τὸ αὐτὸ<br /> -καὶ χρῆμα πρὸς ἁπάσας τὰς ἐν τῷ βίῳ χρείας ὁπόσαι γίνονται<br /> -διὰ λόγων ὠφέλιμον, ἀναγκαιότατον ἁπάντων χρημάτων,<br /> -εἴ τι κἀγὼ τυγχάνω τῶν δεόντων φρονῶν, ἅπασι μὲν ὁμοίως<br /> -τοῖς ἀσκοῦσι τοὺς πολιτικοὺς λόγους, ἐν ᾗ ποτ’ ἂν ἡλικίᾳ 15<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p class="center">DIONYSIUS OF HALICARNASSUS<span class="pagenum2"><a name="Page_65" id="Page_65">[65]</a></span></p> - -<p class="center">ON</p> - -<p class="center">LITERARY COMPOSITION</p> - - -<h4>CHAPTER I<br /><br /> - -OCCASION AND PURPOSE OF THE TREATISE</h4> - -<p>To you, Rufus Metilius, whose worthy father is my most -honoured friend, “I also offer this gift, dear child,”<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a> 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 -<i>hands</i> (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.”<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a> 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, -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἁλικαρνασσέως PV<sup>2</sup> 4 καὶ om. V 6 ταυτηνὶ PMV 7 ἡδίστην om. -P 8 χεῖρον PV<sup>1</sup> 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</p> - -<p>2. For the meaning and rendering of -<b>σύνθεσις</b> see Glossary, p. <a href="#Page_326">326</a> <i>infra</i>.</p> - -<p>5. In ll. 5, 8, 9, 10, the reference is to -<i>Odyssey</i> xv. 123-127:—</p> - -<p class="indent8"> -<span class="marginleft3">Ἑλένη δὲ παρίστατο καλλιπάρῃος</span><br /> -πέπλον ἔχουσ’ ἐν χερσίν, ἔπος τ’ ἔφατ’ ἐκ τ’ ὀνόμαζε·<br /> -Δῶρον τοι καὶ ἐγώ, τέκνον φίλε, τοῦτο δίδωμι,<br /> -μνῆμ’ Ἑλένης χειρῶν, πολυηράτου ἐς γάμου ὥρην,<br /> -σῇ ἀλόχῳ φορέειν.<br /> -</p> - -<p>10. The word <b>γαμετή</b> is used by -Dionysius in the interesting and highly -characteristic passage which opens the -<i>de Antiq. Oratoribus</i> (c. 2).—Here -Sauppe conjectures γαμετῇ for γαμετῆς.—For -<b>εὔθετος</b> cf. <i>de Thucyd.</i> 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.</p> - -<p>11. <b>κτῆμα ... χρῆμα</b>, ‘a treasure and -a tool,’ ‘a compliment and an implement’: -similarly <b><a href="#Page_264">264</a></b> 14 φθόνῳ καὶ χρόνῳ -(the reading of PMV), and <b><a href="#Page_268">268</a></b> 9 χρόνῳ -τε πολλῷ καὶ πόνῳ, <b><a href="#Page_184">184</a></b> 25 ἀγνοίας ... -προνοίας. Cp. the jingles found in the -fragments of Gorgias, or in Aristophanes -(ῥώμῃ ... γνώμῃ, <i>Av.</i> 637, 638; σχῆμα -... λῆμα, <i>Ran.</i> 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. <i>ad Demonicum</i> -28, Cic. <i>ad Fam.</i> vii. 29, 30, Lucr. -<i>de Rer. Nat.</i> iii. 971.</p> - -<p>The Epitome (except E<sup>r</sup>) omits -<b>σοι</b>, thus securing brevity at the price -of rhythm, antithesis, and point. Cp. -<b><a href="#Page_66">66</a></b> 13, where E omits οἰκειοτέρα.</p> - -<p>14. <b>κἀγώ</b>: the καί gives a modest -tone, as in Soph. <i>Philoct.</i> 192 εἴπερ κἀγώ -τι φρονῶ (Jebb).</p> - -<p>15. <b>πολιτικούς</b>: see <b>Glossary</b>, s.v.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_66" id="Page_66">[66-7]</a></span></p> - -<p> -τε καὶ ἕξει τυγχάνωσιν ὄντες· μάλιστα δὲ τοῖς μειρακίοις τε<br /> -καὶ νεωστὶ τοῦ μαθήματος ἁπτομένοις ὑμῖν, ὦ Ῥοῦφε Μετίλιε<br /> -πατρὸς ἀγαθοῦ, κἀμοὶ τιμιωτάτου φίλων.<br /> -<br /> -διττῆς γὰρ οὔσης ἀσκήσεως περὶ πάντας ὡς εἰπεῖν τοὺς<br /> -λόγους, τῆς περὶ τὰ νοήματα καὶ τῆς περὶ τὰ ὀνόματα, ὧν ἡ 5<br /> -μὲν τοῦ πραγματικοῦ τόπου μᾶλλον ἐφάπτεσθαι δόξειεν ἄν,<br /> -ἡ δὲ τοῦ λεκτικοῦ, καὶ πάντων ὅσοι τοῦ λέγειν εὖ στοχάζονται<br /> -περὶ ἀμφοτέρας τὰς θεωρίας τοῦ λόγου ταύτας σπουδαζόντων<br /> -ἐξ ἴσου, ἡ μὲν ἐπὶ τὰ πράγματα καὶ τὴν ἐν τούτοις<br /> -φρόνησιν ἄγουσα ἡμᾶς ἐπιστήμη βραδεῖά ἐστι καὶ χαλεπὴ 10<br /> -νέοις, μᾶλλον δὲ ἀδύνατος εἰς ἀγενείων καὶ μειρακίων πεσεῖν<br /> -ἡλικίαν· ἀκμαζούσης γὰρ ἤδη συνέσεώς ἐστι καὶ πολιαῖς<br /> -κατηρτυμένης ἡλικίας ἡ τούτων κατάληψις οἰκειοτέρα, πολλῇ<br /> -μὲν ἱστορίᾳ λόγων τε καὶ ἔργων, πολλῇ δὲ πείρᾳ καὶ συμφορᾷ<br /> -παθῶν οἰκείων τε καὶ ἀλλοτρίων συναυξομένη· τὸ δὲ περὶ 15<br /> -τὰς λέξεις φιλόκαλον καὶ ταῖς νεαραῖς πέφυκε συνανθεῖν<br /> -οὐχ ἧττον ἡλικίαις. ἐπτόηται γὰρ ἅπασα νέου ψυχὴ περὶ<br /> -τὸν τῆς ἑρμηνείας ὡραϊσμόν, ἀλόγους τινὰς καὶ ὥσπερ ἐνθουσιώδεις<br /> -ἐπὶ τοῦτο λαμβάνουσα τὰς ὁρμάς· οἷς πολλῆς πάνυ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_67" id="Page_67">[67]</a></span></p> - -<p> -whatever their age and temperament, but especially to youths -like you who are just beginning to take up the study.</p> - -<p>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 -</p> - -</div> <!-- end english-page --> - -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> 11 καὶ EFMV: ἢ P - 12 ἀγμαζούσης F<sup>1</sup> || πολιαῖς κατηρτυμένης FMVs: κεκοσμημένης P 13 -ἡλικίαις M<sup>2</sup> (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<sup>2</sup>: ἐπὶ τοῦτον F<sup>1</sup>MV: om. P || -τὰς EFM: om. PV</p> - -<p>2. For the plural <b>ὑμῖν</b> cp. Long. -xii. 5 ἀλλὰ ταῦτα μὲν ὑμεῖς [‘you -Romans’] ἂν ἄμεινον ἐπικρίνοιτε.</p> - -<p><b>Ῥοῦφε Μετίλιε</b>: reference may -be made to the editor’s article on ‘The -Literary Circle of Dionysius of Halicarnassus’ -in the <i>Classical Review</i> 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</p> - -<p class="indent8"> -Ἀντίπατρος Πείσωνι γενέθλιον ὤπασε βίβλον<br /> -<span class="marginleft1">μικρήν, ἐν δὲ μιῇ νυκτὶ πονησάμενος.</span><br /> -ἵλαος ἀλλὰ δέχοιτο, καὶ αἰνήσειεν ἀοιδόν,<br /> -<span class="marginleft1">Ζεὺς μέγας ὡς ὀλίγῳ πειθόμενος λιβάνῳ.</span><br /> -</p> - -<p class="align-right"> -Antipater Thessalonic.<br /> -<i>Epigr. Anthol. Pal.</i> ix. 93.<br /> -</p> - -<p class="indent8"> -θύει σοὶ τόδε γράμμα γενεθλιακαῖσιν ἐν ὥραις,<br /> -<span class="marginleft1">Καῖσαρ, Νειλαίη Μοῦσα Λεωνιδέω.</span><br /> -Καλλιόπης γὰρ ἄκαπνον ἀεὶ θύος· εἰς δὲ νέωτα,<br /> -<span class="marginleft1">ἢν ἐθέλῃς, θύσει τοῦδε περισσότερα.</span><br /> -</p> - -<p class="align-right"> -Leonidas Alexandr. <i>ib.</i> vi. 321.<br /> -</p> - -<p>3. Reiske’s conjecture ‹παῖ› is plausible -rather than necessary: cp. <i>Il.</i> xxi. -109 πατρὸς δ’ εἴμ’ ἀγαθοῖο and <i>Odyss.</i> -iv. 611 αἵματος εἶς ἀγαθοῖο.—In the -words <b>κἀμοὶ τιμιωτάτου φίλων</b> Dionysius -illustrates his own contention (in c. 25) -that fragments of metrical lines are -occasionally found in prose writings. -[F, however, has καὶ ἐμοί.]</p> - -<p>6. <b>πραγματικοῦ ... λεκτικοῦ</b>: see -Gloss., s.v.</p> - -<p>13. <b>κατηρτυμένης</b>: cp. the sense of -‘break in,’ as in Soph. <i>Antig.</i> 477 σμικρῷ -χαλινῷ δ’ οἶδα τοὺς θυμουμένους | ἵππους -καταρτυθέντας and Plut. <i>Vit. Themist.</i> c. -2 καὶ τοὺς τραχυτάτους πώλους ἀρίστους -ἵππους γίνεσθαι φάσκων, ὅταν ἧς προσήκει -τύχωσι παιδείας καὶ καταρτύσεως. So -Plato <i>Legg.</i> 808 <span class="smcap">D</span> (of a child regarded as -‘the most intractable of animals’) ὅσῳ -μάλιστα ἔχει πηγὴν τοῦ φρονεῖν μήπω -κατηρτυμένην.—On <b>πολιαῖς</b> (although -supported by FMV) Usener candidly -remarks “fort. πολιαῖς interpolatum.”—Against -<b>κατάληψις</b> (notwithstanding its -strong manuscript support) must be -weighed: (1) Dionysius’ anti-Stoicism, -(2) the likely intrusion of a comparatively -late word.</p> - -<p>14. <b>συμφορᾷ</b>: perhaps the meaning -is ‘comparison of,’ as (according to a -possible interpretation) τὰς ξυμφορὰς ... -τῶν βουλευμάτων in Soph. <i>Oed. Tyr.</i> 44, -45.</p> - -<p>15. <b>συναυξομένη</b>: the form αὐξάνω -(and its compounds) does not seem to be -used by Dionysius.</p> - -<p>17. <b>οὐχ ἧττον</b> (EFMV) should be -retained: cp. n. on line 13. The words -can hardly be regarded as a gloss on <b>καὶ</b> -ταῖς νεαραῖς, though εἴωθεν (see critical -notes) is probably a gloss on πέφυκε, -which would subsequently be changed -to πεφυκός.</p> - -<p><b>ἐπτόηται</b>: not infrequent in earlier -and in later Greek. Aesch. <i>Prom. V.</i> -856 ἐπτοημένοι φρένας (‘with their hearts -wildly beating’), Plato <i>Phaedo</i> 68 <span class="smcap">C</span> περὶ -τὰς ἐπιθυμίας μὴ ἐπτοῆσθαι (so <i>Rep.</i> 439 <span class="smcap">D</span>), -Plut. <i>Mor.</i> 40 <span class="smcap">F</span> βλὰξ ἄνθρωπος ἐπὶ παντὶ -λόγῳ φιλεῖ ἐπτοῆσθαι (quoted from -Heracleitus), id. <i>ib.</i> 1128 <span class="smcap">B</span> ἐπτοημένους -περὶ τὰ ὄψα, Chrysostom <i>de Sacerdotio</i> c. -1 περὶ τὰς ἐν τῇ σκηνῇ (i.e. the theatre) -τέρψεις ἐπτοημένον.—For youth in relation -to the arts of style cp. Plut. <i>Vit. -Demosth.</i> c. 2 (last sentence).</p> - -<p>18. <b>ἑρμηνείας</b>: see Gloss., s.v.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_68" id="Page_68">[68-9]</a></span></p> -<p>καὶ ἔμφρονος δεῖ τῆς πρώτης ἐπιστάσεώς τε καὶ ἀγωγῆς, εἰ<br /> -μέλλουσι μὴ πᾶν “ὅ τι κεν ἐπ’ ἀκαιρίμαν γλῶσσαν ἔπος ἔλθῃ”<br /> -λέγειν μηδ’ εἰκῇ συνθήσειν τὰ προστυχόντα ἀλλήλοις, ἀλλ’<br /> -ἐκλογῇ τε χρήσεσθαι καθαρῶν ἅμα καὶ γενναίων ὀνομάτων καὶ<br /> -συνθέσει ταῦτα κοσμήσειν μεμιγμένον ἐχούσῃ τῷ σεμνῷ τὸ 5<br /> -ἡδύ. εἰς δὴ τοῦτο τὸ μέρος, ὃ δεῖ πρῶτον νέοις ἀσκεῖσθαι,<br /> -“συμβάλλομαί σοι μέλος εἰς ἔρωτα” τὴν περὶ τῆς συνθέσεως<br /> -τῶν ὀνομάτων πραγματείαν ὀλίγοις μὲν ἐπὶ νοῦν ἐλθοῦσαν,<br /> -ὅσοι τῶν ἀρχαίων ῥητορικὰς ἢ διαλεκτικὰς συνέγραψαν τέχνας,<br /> -οὐδενὶ δ’ ἀκριβῶς οὐδ’ ἀποχρώντως μέχρι τοῦ παρόντος ἐξειργασμένην, 10<br /> -ὡς ἐγὼ πείθομαι. ἐὰν δ’ ἐγγένηταί μοι σχολή, καὶ<br /> -περὶ τῆς ἐκλογῆς τῶν ὀνομάτων ἑτέραν ἐξοίσω σοι γραφήν,<br /> -ἵνα τὸν λεκτικὸν τόπον τελείως ἐξειργασμένον ἔχῃς. ἐκείνην<br /> -μὲν οὖν τὴν πραγματείαν εἰς νέωτα πάλιν ὥραις ταῖς αὐταῖς<br /> -προσδέχου θεῶν ἡμᾶς φυλαττόντων ἀσινεῖς τε καὶ ἀνόσους, εἰ 15<br /> -δήποτε ἡμῖν ἄρα τούτου πέπρωται βεβαίως τυχεῖν· νυνὶ δὲ<br /> -ἣν τὸ δαιμόνιον ἐπὶ νοῦν ἤγαγέ μοι πραγματείαν δέχου.<br /> -<br /> -κεφάλαια δ’ αὐτῆς ἐστιν ἃ πρόκειταί μοι δεῖξαι ταῦτα,<br /> -τίς τε ἐστὶν ἡ τῆς συνθέσεως φύσις καὶ τίνα ἰσχὺν ἔχει, καὶ<br /> -τίνων στοχάζεται καὶ πῶς αὐτῶν τυγχάνει, καὶ τίνες αἱ γενικώταται 20<br /> -αὐτῆς εἰσι διαφοραὶ καὶ τίς ἑκάστης χαρακτὴρ καὶ ποίαν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p>inspiration. Young people need, at the beginning, much prudent<span class="pagenum2"><a name="Page_69" id="Page_69">[69]</a></span> -oversight and guidance, if they are not to utter</p> - -<p class="indent8"> -What word soe’er may have sprung<br /> -To the tip of an ill-timed tongue,<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a><br /> -</p> - -<p>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,”<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a> 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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἐπιστάσεως EF: ἐπιστασίας PMV 3 μηδὲ PF<sup>1</sup>V || εἰκῆ sine iota PF<sup>2</sup>: -εἰκεῖ F<sup>1</sup> || 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</p> - -<p>2. The reference is to the indiscretions -of an impertinent tongue,—‘Whatever, -without rhyme and reason, | Occurs to -the tongue out of season’: Lat. <i>quicquid -in buccam</i>. Cp. Lucian <i>de conscrib. hist.</i> -c. 32 ἀναπλάττοντες ὅ τι κεν ἐπ’ ἀκαιρίμαν -γλῶσσαν, φασίν, ἔλθῃ.</p> - -<p>4. The κεχρῆσθαι of EF perhaps -points to τε χρῆσθαι as the right reading. -We should then have λέγειν ... συν<em class="gesperrt">θήσειν</em>, -χρῆσθαι ... κοσ<em class="gesperrt">μήσειν</em>: a -combination of present and future infinitives -which would be in keeping with -Dionysius’ love of <i>variety</i> (μεταβολή).</p> - -<p>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 <i>Classical Review</i> xix. 252.</p> - -<p>7. M. Schmidt’s conjecture <b>μέλος</b> (M. -Schmidt <i>Diatribe in Dithyrambum</i>, -Berol. 1845) seems to be established by -Athenaeus xv. 692 <span class="smcap">D</span> ἐπεὶ δ’ ἐνταῦθα τοῦ -λόγου ἐσμέν, συμβαλοῦμαί τι μέλος ὑμῖν εἰς -ἔρωτα, κατὰ τὸν Κυθήριον ποιητήν: cp. -<i>ib.</i> vi. 271 <span class="smcap">B</span> συμβαλοῦμαί τι καὶ αὐτὸς -μέλος εἰς ἔρωτα τῷ σοφῷ καὶ φιλτάτῳ -Δημοκρίτῳ.—In itself, however, συμβάλλομαι -μέρος gives good sense (cp. Plato <i>Legg.</i> 836 <span class="smcap">D</span> 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.</p> - -<p>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 -<b>συνθέσεως</b> see Gloss., s.v.</p> - -<p>11. Either (1) ἐὰν δ’ ἐγγένηταί μοι -(without σχολή), or (2) ἐὰν δὲ γένηταί μοι -σχολή, would be more natural. Cp. H. -Richards in <i>Classical Review</i>, l.c.</p> - -<p>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.</p> - -<p>14. <b>εἰς νέωτα</b>: Hesychius, εἰς τὸ ἐπιὸν -ἢ νέον ἔτος. Cp. Theophr. <i>de c. Pl.</i> iii. -16. 2 τὸν εἰς νέωτα καρπόν.</p> - -<p>17. <b>τὸ δαιμόνιον</b>: cp. <i>de Demosth.</i> c. -58 ad f. ἐὰν δὲ σῴζῃ τὸ δαιμόνιον ἡμᾶς -κτλ.</p> - -<p>18. <b>ταῦτα</b>: compare <b><a href="#Page_86">86</a></b> 4, <b><a href="#Page_90">90</a></b> 15, <b><a href="#Page_100">100</a></b> -12, 27, <b><a href="#Page_106">106</a></b> 5, and contrast <b><a href="#Page_98">98</a></b> 20, 21, -<b><a href="#Page_100">100</a></b> 16, 17, 18. -</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_70" id="Page_70">[70-1]</a></span></p> - -<p> -κρατίστην αὐτῶν εἶναι πείθομαι, καὶ ἔτι πρὸς τούτοις, τί ποτ’<br /> -ἐστὶ τὸ ποιητικὸν ἐκεῖνο καὶ εὔγλωσσον καὶ μελιχρὸν ἐν ταῖς<br /> -ἀκοαῖς, ὃ πέφυκε τῇ συνθέσει τῆς πεζῆς λέξεως παρακολουθεῖν,<br /> -ποιητικῆς τε κατασκευῆς τὸν ἀποίητον ἐκμιμουμένης λόγον καὶ<br /> -σφόδρα ἐν τῇ μιμήσει κατορθούσης ποῦ τὸ κράτος, καὶ διὰ 5<br /> -ποίας ἂν ἐπιτηδεύσεως ἐγγένοιτο ἑκάτερον αὐτῶν. τοιαυτὶ<br /> -μὲν δή τινά ἐστιν ὡς τύπῳ περιλαβεῖν ὑπὲρ ὧν μέλλω λέγειν,<br /> -ἄρχεται δὲ ἐνθένδ’ ἡ πραγματεία.<br /> -</p> - -<h3>II</h3> - -<p> -ἡ σύνθεσις ἔστι μέν, ὥσπερ καὶ αὐτὸ δηλοῖ τοὔνομα,<br /> -ποιά τις θέσις παρ’ ἄλληλα τῶν τοῦ λόγου μορίων, ἃ δὴ καὶ 10<br /> -στοιχεῖά τινες τῆς λέξεως καλοῦσιν. ταῦτα δὲ Θεοδέκτης μὲν<br /> -καὶ Ἀριστοτέλης καὶ οἱ κατ’ ἐκείνους φιλοσοφήσαντες τοὺς<br /> -χρόνους ἄχρι τριῶν προήγαγον, ὀνόματα καὶ ῥήματα καὶ<br /> -συνδέσμους πρῶτα μέρη τῆς λέξεως ποιοῦντες. οἱ δὲ μετὰ<br /> -τούτους γενόμενοι, καὶ μάλιστα οἱ τῆς Στωικῆς αἱρέσεως 15<br /> -ἡγεμόνες, ἕως τεττάρων προὐβίβασαν, χωρίσαντες ἀπὸ τῶν<br /> -συνδέσμων τὰ ἄρθρα. εἶθ’ οἱ μεταγενέστεροι τὰ προσηγορικὰ<br /> -διελόντες ἀπὸ τῶν ὀνοματικῶν πέντε ἀπεφήναντο τὰ πρῶτα<br /> -μέρη. ἕτεροι δὲ καὶ τὰς ἀντονομασίας ἀποζεύξαντες ἀπὸ τῶν<br /> -ὀνομάτων ἕκτον στοιχεῖον τοῦτ’ ἐποίησαν. οἱ δὲ καὶ τὰ 20<br /> -ἐπιρρήματα διεῖλον ἀπὸ τῶν ῥημάτων καὶ τὰς προθέσεις ἀπὸ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_71" id="Page_71">[71]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER II<br /><br /> - -COMPOSITION DEFINED</h4> - -<p><i>Composition</i> 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 εἶναι F: om PMV 4 ποιητικῆς τε om. P || ἐκμημουμένης P<sup>1</sup> 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<sup>2</sup>: ἐντεῦθεν F<sup>1</sup>MV - 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</p> - -<p>4. <b>κατασκευῆς</b>: see Gloss., s.v.</p> - -<p>5. Usener’s conjecture εὖ τί may -derive some colour from the manuscript -readings in <b><a href="#Page_72">72</a></b> 10. But <b><a href="#Page_270">270</a></b> 11 shows -that εὖ is not necessary here, and ποῦ is -nearer the manuscript tradition. Cp. -also <b><a href="#Page_250">250</a></b> 3 (κατορθουμένοις), <b><a href="#Page_198">198</a></b> 11 (κατόρθωμα), -<i>de Thucyd.</i> c. 1 (τῆς δυνάμεως οὐκ -ἐν ἅπασι τοῖς ἔργοις κατορθούσης). Other -examples are quoted in Long. p. 202.</p> - -<p>7. <b>ὑπέρ</b>: cp. <b><a href="#Page_72">72</a></b> 3, 17: περί, <b><a href="#Page_68">68</a></b> 12.</p> - -<p>10. <i>de Demosth.</i> 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 <i>de C.V.</i> 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. <i>Poet.</i> c. 20.</p> - -<p>13. The Arabic grammarians in the -same way reckon ‘verbs,’ ‘nouns,’ and -‘particles.’</p> - -<p>15. Cp. <b><a href="#Page_96">96</a></b> 8, 12 <i>infra</i>.</p> - -<p>17. <b>τὰ προσηγορικὰ διελόντες</b>: cp. -Dionysius Thrax <i>Ars Gramm.</i> 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.</p> - -<p>21. This seems to imply that adverbs -were originally included in verbs—that, -for example, εὖ ποιεῖν (like <i>bene facere</i> -in Plautus) was regarded as a quasi-compound. -It is to be remembered that the -division of words in writing is a later -invention.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_72" id="Page_72">[72-3]</a></span></p> -<p> -τῶν συνδέσμων καὶ τὰς μετοχὰς ἀπὸ τῶν προσηγορικῶν, οἱ δὲ<br /> -καὶ ἄλλας τινὰς προσαγαγόντες τομὰς πολλὰ τὰ πρῶτα μόρια<br /> -τῆς λέξεως ἐποίησαν· ὑπὲρ ὧν οὐ μικρὸς ἂν εἴη λόγος. πλὴν<br /> -ἥ γε τῶν πρῶτων εἴτε τριῶν ἢ τεττάρων εἴθ’ ὅσων δήποτε<br /> -ὄντων μερῶν πλοκὴ καὶ παράθεσις τὰ λεγόμενα ποιεῖ 5<br /> -κῶλα, ἔπειθ’ ἡ τούτων ἁρμονία τὰς καλουμένας συμπληροῖ<br /> -περιόδους, αὗται δὲ τὸν σύμπαντα τελειοῦσι λόγον. ἔστι δὴ<br /> -τῆς συνθέσεως ἔργα τά τε ὀνόματα οἰκείως θεῖναι παρ’ ἄλληλα<br /> -καὶ τοῖς κώλοις ἀποδοῦναι τὴν προσήκουσαν ἁρμονίαν καὶ ταῖς<br /> -περιόδοις διαλαβεῖν εὖ τὸν λόγον. 10<br /> -<br /> -δευτέρα δ’ οὖσα μοῖρα τῶν περὶ τὸν λεκτικὸν τόπον<br /> -θεωρημάτων κατὰ γοῦν τὴν τάξιν (ἡγεῖται γὰρ ἡ τῶν<br /> -ὀνομάτων ἐκλογὴ καὶ προϋφίσταται ταύτης κατὰ φύσιν)<br /> -ἡδονὴν καὶ πειθὼ καὶ κράτος ἐν τοῖς λόγοις οὐκ ὀλίγῳ<br /> -κρεῖττον ἐκείνης ἔχει. καὶ μηδεὶς ἡγήσηται παράδοξον, εἰ 15<br /> -πολλῶν καὶ μεγάλων ὄντων θεωρημάτων περὶ τὴν ἐκλογήν,<br /> -ὑπὲρ ὧν πολὺς ἐγένετο φιλοσόφοις τε καὶ πολιτικοῖς ἀνδράσι<br /> -λόγος, ἡ σύνθεσις δευτέραν ἔχουσα χώραν τῇ τάξει καὶ λόγων<br /> -οὐδέ, πολλοῦ δεῖ, τῶν ἴσων ἐκείνῃ τυχοῦσα τοσαύτην ἰσχὺν<br /> -ἔχει καὶ δύναμιν ὥστε περιεῖναι πάντων τῶν ἐκείνης ἔργων 20<br /> -καὶ κρατεῖν, ἐνθυμούμενος ὅτι καὶ ἐπὶ τῶν ἄλλων τεχνῶν,<br /> -ὅσαι διαφόρους ὕλας λαμβάνουσαι συμφορητὸν ἐκ τούτων<br /> -ποιοῦσι τὸ τέλος, ὡς οἰκοδομική τε καὶ τεκτονικὴ καὶ ποικιλτικὴ<br /> -καὶ ὅσαι ταῖς τοιαύταις εἰσὶν ὁμοιογενεῖς, αἱ συνθετικαὶ<br /> -δυνάμεις τῇ μὲν τάξει δεύτεραι τῶν ἐκλεκτικῶν εἰσι, τῇ δὲ 25<br /> -δυνάμει πρότεραι· ὥστ’ εἰ καὶ τῷ λόγῳ τὸ αὐτὸ συμβέβηκεν,<br /> -οὐκ ἄτοπον ἡγητέον. οὐδὲν δὲ κωλύει καὶ πίστεις παρασχεῖν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_73" id="Page_73">[73]</a></span></p> -<p>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.</p> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>2 προσαγαγόντες F: εἰσάγοντες PVa: προεισαγαγόντες M 3 οὐ μικρὸς -PMV: πολλὺς sic F 4 τῶν τριῶν PMV: * * * τριῶν * * * * F 5 -καὶ om. P<sup>1</sup> 8 οἰκείως θεῖναι τά τε ὀνόματα (verbis in hunc modum -dispositis) PMV || παράλληλα PM, corr. F<sup>1</sup> 9 ἀποδιδόναι F || -ἀρμονίαν FP: sic passim 10 λαβεῖν F<sup>1</sup> || 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<sup>1</sup> 19 ἐκείνη (sine iota) FP 21 ἐπὶ EF: αἱ περὶ PMV - 22 δ(ια)αφόρους P<sup>1</sup> || λαμβάνουσιν F: λαμβάνουσι M 23 τε om. EF -|| πολιτικὴ E 24 ταῖς τοιαύταις PMV: ταύτης F || ὁμοιογενεῖς P: -ὁμογενεῖς FMV 25 τῶν λεκτικῶν E</p> - -<p>6. <b>ἁρμονία</b>: see Gloss., s.v.</p> - -<p>8. Cic. <i>de Orat.</i> 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:</p> - -<p class="indent8"> -quam lepide λέξεις compostae! ut tesserulae omnes<br /> -arte pavimento atque emblemate vermiculato.”<br /> -</p> - -<p>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 <b><a href="#Page_118">118</a></b> 15.</p> - -<p>12. κατανοοῦντι (the more difficult -and better supported reading) may be -right, cp. <b><a href="#Page_90">90</a></b> 12 εἰσπλέοντι (from Thucydides).</p> - -<p>13. Cic. <i>Brut.</i> 72. 253 “primoque in -libro dixerit (Caesar) verborum dilectum -originem esse eloquentiae.”</p> - -<p>25. For the antithesis cp. Demosth. -<i>Olynth.</i> iii. 15 τὸ γὰρ πράττειν τοῦ λέγειν -καὶ χειροτονεῖν ὕστερον ὂν τῇ τάξει, πρότερον -τῇ δυνάμει καὶ κρεῖττόν ἐστιν.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_74" id="Page_74">[74-5]</a></span></p> -<p>τοῦ προκειμένου, μή τι δόξωμεν ἐξ ἑτοίμου λαμβάνειν τῶν -ἀμφισβήτησιν ἐχόντων λόγων.</p> - -<h3>III</h3> - -<p> -ἔστι τοίνυν πᾶσα λέξις ᾗ σημαίνομεν τὰς νοήσεις ἡ μὲν<br /> -ἔμμετρος, ἡ δὲ ἄμετρος· ὧν ἑκατέρα καλῆς μὲν ἁρμονίας<br /> -τυχοῦσα καλὸν οἵα τ’ ἐστὶ ποιεῖν καὶ τὸ μέτρον καὶ τὸν 5<br /> -λόγον, ἀνεπιστάτως δὲ καὶ ὡς ἔτυχεν ῥιπτομένη προσαπόλλυσι<br /> -καὶ τὸ ἐν τῇ διανοίᾳ χρήσιμον. πολλοὶ γοῦν καὶ<br /> -ποιηταὶ καὶ συγγραφεῖς φιλόσοφοί τε καὶ ῥήτορες λέξεις<br /> -πάνυ καλὰς καὶ πρεπούσας τοῖς ὑποκειμένοις ἐκλέξαντες<br /> -ἐπιμελῶς, ἁρμονίαν δὲ αὐταῖς ἀποδόντες εἰκαίαν τινὰ καὶ 10<br /> -ἄμουσον οὐδὲν χρηστὸν ἀπέλαυσαν ἐκείνου τοῦ πόνου. ἕτεροι<br /> -δ’ εὐκαταφρόνητα καὶ ταπεινὰ λαβόντες ὀνόματα, συνθέντες<br /> -δ’ αὐτὰ ἡδέως καὶ περιττῶς πολλὴν τὴν ἀφροδίτην τῷ λόγῳ<br /> -περιέθηκαν. καὶ σχεδὸν ἀνάλογόν τι πεπονθέναι δόξειεν ἂν<br /> -ἡ σύνθεσις πρὸς τὴν ἐκλογήν, ὃ πάσχει τὰ ὀνόματα πρὸς 15<br /> -τὰ νοήματα. ὥσπερ γὰρ οὐδὲν ὄφελος διανοίας ἐστὶ χρηστῆς,<br /> -εἰ μή τις αὐτῇ κόσμον ἀποδώσει καλῆς ὀνομασίας, οὕτω<br /> -κἀνταῦθα οὐδέν ἐστι προὔργου λέξιν εὑρεῖν καθαρὰν καὶ καλλιρήμονα,<br /> -εἰ μὴ καὶ κόσμον αὐτῇ τις ἁρμονίας τὸν προσήκοντα<br /> -περιθήσει. 20<br /> -<br /> -ἵνα δὲ μὴ δόξω φάσιν ἀναπόδεικτον λέγειν, ἐξ ὧν<br /> -ἐπείσθην κρεῖττον εἶναι καὶ τελειότερον ἄσκημα τῆς ἐκλογῆς<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_75" id="Page_75">[75]</a></span></p> -<p>that we may not be thought to assume off-hand the truth of a -doubtful proposition.</p> - - -<h4>CHAPTER III<br /><br /> - -THE MAGICAL EFFECT OF COMPOSITION, OR WORD-ORDER</h4> - -<p>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.</p> - -<p>But to guard myself against the appearance of making an -unsupported assertion, I will try to show by an appeal to facts</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> || -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<sup>1</sup> || -ἰδίως EFM<sup>1</sup>: ἡδέως ex ἱδίως P<sup>1</sup>: ἰδέως M<sup>2</sup> || 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<sup>1</sup> (ρ suprascr. -P<sup>2</sup>): προὔργον V || καλλιῥήμονα FM,P: καλλιῤῥήμονα V 19 τίς F: τ(ῆς) -P,MV 21 φασὶν libri: corr. Krueger || ἀναπόδεικτον P: ἀναπόδεικτα -F<sup>2</sup>MV: ἀπόδεικτα F<sup>1</sup> 22 κρεῖττον] καὶ κρεῖττον F || τελεώτερον M</p> - -<p>1. <b>ἐξ ἑτοίμου λαμβάνειν</b>: cp. <b><a href="#Page_78">78</a></b> 13 -ἐξ ἑτοίμου λαβὼν ἐχρήσατο.</p> - -<p>9. There is much similarity, both in -thought and in expression, between this -passage and the <i>de Sublimitate</i> 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 <i>de Subl.</i> -had, as he himself tells us, dealt with -the subject of composition ἐν δυσὶν συντάγμασιν -(xxxix. 1 <i>ibid.</i>).</p> - -<p>13. ἰδίως may be right, meaning with -περιττῶς ‘in a special and distinctive -manner.’</p> - -<p>14. The Aristotelian ἀναλογία is before -the author’s mind here, just as is the -Aristotelian doctrine of τὸ μέσον later -in the treatise (<b><a href="#Page_246">246</a></b> 16).</p> - -<p>17. <i>de Demosth.</i> 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.</p> - -<p>18. <b>προὔργου</b>: cp. Plato <i>Alcib. II.</i> -149 <span class="smcap">E</span> ὥστε οὐδὲν αὐτοῖς ἦν προὔργου -θύειν τε καὶ δῶρα τελεῖν μάτην.</p> - -<p>21. MS. Canon. 45 has φάσιν, ἀναπόδεικτον, -as reported (<i>Journal of Philology</i> -xxvii. 84) by A. B. Poynton, who compares -Aristot. <i>Eth. Nic.</i> 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 <i>Rhet. ad Alex.</i> 1432 a -33, an <i>oath</i> is defined as: μετὰ θείας -παραλήψεως φάσις ἀναπόδεικτος.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_76" id="Page_76">[76-7]</a></span></p> -<p> -τὴν σύνθεσιν, ἔργῳ πειράσομαι δεικνύναι, ἐμμέτρων τε καὶ<br /> -πεζῶν λόγων ἀπαρχὰς ὀλίγας προχειρισάμενος. λαμβανέσθω<br /> -δὲ ποιητῶν μὲν Ὅμηρος, συγγραφέων δὲ Ἡρόδοτος· ἀπόχρη<br /> -γὰρ ἐκ τούτων καὶ περὶ τῶν ἄλλων εἰκάσαι. ἔστι δὴ παρ’<br /> -Ὁμήρῳ μὲν ὁ παρὰ τῷ συβώτῃ καταγόμενος Ὀδυσσεὺς περὶ 5<br /> -τὴν ἑωθινὴν ὥραν ἀκρατίζεσθαι μέλλων, ὡς τοῖς παλαιοῖς<br /> -ἔθος ἦν· ἔπειτα ὁ Τηλέμαχος αὐτοῖς ἐπιφαινόμενος ἐκ τῆς εἰς<br /> -Πελοπόννησον ἀποδημίας· πραγμάτια λιτὰ καὶ βιωτικὰ<br /> -ἡρμηνευμένα ὑπέρευ. ποῦ δ’ ἐστὶν ἡ τῆς ἑρμηνείας ἀρετή;<br /> -τὰ ποιήματα δηλώσει παρατεθέντα αὐτά· 10<br /> -</p> - -<p class="indent8"> -τὼ δ’ αὖτ’ ἐν κλισίῃς Ὀδυσεὺς καὶ δῖος ὑφορβὸς<br /> -ἐντύνοντ’ ἄριστον ἅμ’ ἠοῖ κειαμένω πῦρ<br /> -ἔκπεμψάν τε νομῆας ἅμ’ ἀγρομένοισι σύεσσι.<br /> -Τηλέμαχον δὲ περίσσαινον κύνες ὑλακόμωροι<br /> -οὐδ’ ὕλαον προσιόντα. νόησε δὲ δῖος Ὀδυσσεὺς 15<br /> -σαίνοντάς τε κύνας, ὑπὸ δὲ κτύπος ἦλθε ποδοῖιν·<br /> -αἶψα δ’ ἄρ’ Εὔμαιον προσεφώνεεν ἐγγὺς ἐόντα·<br /> -<span class="marginleft1">Εὔμαι’, ἦ μάλα τίς τοι ἐλεύσεται ἐνθάδ’ ἑταῖρος</span><br /> -ἢ καὶ γνώριμος ἄλλος, ἐπεὶ κύνες οὐχ ὑλάουσιν,<br /> -ἀλλὰ περισσαίνουσι· ποδῶν δ’ ὑπὸ δοῦπον ἀκούω. 20<br /> -<span class="marginleft1">οὔπω πᾶν εἴρητο ἔπος, ὅτε οἱ φίλος υἱὸς</span><br /> -ἔστη ἐνὶ προθύροισι. ταφὼν δ’ ἀνόρουσε συβώτης·<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_77" id="Page_77">[77]</a></span></p> - -<p>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.</p> - -<p>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:—</p> - -<p class="indent8"> -As anigh came Telemachus’ feet, the king and the swineherd wight<br /> -Made ready the morning meat, and by this was the fire alight;—<br /> -They had sent the herdmen away with the pasturing swine at the dawning;—<br /> -Lo, the dogs have forgotten to bay, and around the prince are they fawning!<br /> -And Odysseus the godlike marked the leap and the whine of the hounds<br /> -That ever at strangers barked; and his ear caught footfall-sounds.<br /> -Straightway he spake, for beside him was sitting the master of swine:<br /> -“Of a surety, Eumaeus, hitherward cometh a comrade of thine,<br /> -Or some one the bandogs know, and not with barking greet,<br /> -But they fawn upon him; moreover I hear the treading of feet.”<br /> -Not yet were the words well done, when the porchway darkened: a face<br /> -Was there in the door,—his son! and Eumaeus sprang up in amaze.<br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἔργω F || δεικνῦναι F || ἐνμέτρων F 4 εἰκᾶσαι F 5 ὁμήρ(ω) P || -τῳ om. P || σϊβώτηι P: corr. in margine P<sup>2</sup> || 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<sup>2</sup>M<sup>1</sup>V - 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</p> - -<p>5. The extract from the <i>Odyssey</i> 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.</p> - -<p>6. On <i>Odyss.</i> 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.</p> - -<p>9. The charm of a simple scene, simply -but beautifully described, is seen in -Virg. <i>Ecl.</i> vii. 1-15; <i>Georg.</i> ii. 385-9; -<i>Aen.</i> v. 328-30, 357-60. (The Latin -illustrations, here and elsewhere, are -for the most part the <i>exempla Latina</i> -suggested by Simon Bircov (Bircovius), -a Polish scholar who lived early in the -seventeenth century.)</p> - -<p>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 -<b><a href="#Page_76">76</a></b> 17, and πέσεν in <b><a href="#Page_78">78</a></b> 1.</p> - -<p>14. Monro (<i>Odyss.</i> 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 <i>Iliad</i> ii. 692.</p> - -<p>20. The construction must be ὑπὸ -ποδῶν: cp. <i>Il.</i> 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).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_78" id="Page_78">[78-9]</a></span></p> - -<p class="indent8"> -ἐκ δ’ ἄρα οἱ χειρῶν πέσεν ἄγγεα, τοῖς ἐπονεῖτο<br /> -κιρνὰς αἴθοπα οἶνον. ὁ δ’ ἀντίος ἔδραμ’ ἄνακτος·<br /> -κύσσε δέ μιν κεφαλήν τε καὶ ἄμφω φάεα καλὰ<br /> -χεῖράς τ’ ἀμφοτέρας· θαλερὸν δέ οἱ ἔκπεσε δάκρυ.<br /> -</p> - -<p> -ταῦθ’ ὅτι μὲν ἐπάγεται καὶ κηλεῖ τὰς ἀκοὰς ποιημάτων 5<br /> -τε τῶν πάνυ ἡδίστων οὐδενὸς ἥττω μοῖραν ἔχει, πάντες ἂν<br /> -οἶδ’ ὅτι μαρτυρήσειαν. ποῦ δὴ αὐτῶν ἐστιν ἡ πειθὼ καὶ<br /> -διὰ τί τοιαῦτά ἐστι, πότερον διὰ τὴν ἐκλογὴν τῶν ὀνομάτων<br /> -ἢ διὰ τὴν σύνθεσιν; οὐδεὶς ἂν εἴποι διὰ τὴν ἐκλογήν, ὡς<br /> -ἐγὼ πείθομαι· διὰ γὰρ τῶν εὐτελεστάτων καὶ ταπεινοτάτων 10<br /> -ὀνομάτων πέπλεκται πᾶσα ἡ λέξις, οἷς ἂν καὶ γεωργὸς καὶ<br /> -θαλαττουργὸς καὶ χειροτέχνης καὶ πᾶς ὁ μηδεμίαν ὤραν τοῦ<br /> -λέγειν εὖ ποιούμενος ἐξ ἑτοίμου λαβὼν ἐχρήσατο. λυθέντος<br /> -γοῦν τοῦ μέτρου φαῦλα φανήσεται τὰ αὐτὰ ταῦτα καὶ ἄζηλα·<br /> -οὔτε γὰρ μεταφοραί τινες ἐν αὐτοῖς εὐγενεῖς ἔνεισιν οὔτε 15<br /> -ὑπαλλαγαὶ οὔτε καταχρήσεις οὔτ’ ἄλλη τροπικὴ διάλεκτος<br /> -οὐδεμία, οὐδὲ δὴ γλῶτται πολλαί τινες οὐδὲ ξένα ἢ πεποιημένα<br /> -ὀνόματα. τί οὖν λείπεται μὴ οὐχὶ τὴν σύνθεσιν τοῦ<br /> -κάλλους τῆς ἑρμηνείας αἰτιᾶσθαι; τοιαῦτα δ’ ἐστὶ παρὰ τῷ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_79" id="Page_79">[79]</a></span></p> - -<p class="indent8"> -Dropped from his hands to the floor the bowls, wherein erst he began<br /> -The flame-flushed wine to pour, and to meet his lord he ran;<br /> -And he kissed that dear-loved head, and both his beautiful eyes;<br /> -And he kissed his hands, and he shed warm tears in his glad surprise.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a><br /> -</p> - -<p>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 <i>hypallages</i> nor <i>catachreses</i> 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> || ἥττων F 7 εὖ ante οἶδ’ habet F 8 τοιαύτη F<sup>1</sup> || -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<sup>2</sup> 19 τοιαῦτ(α) (εστι) P,MV</p> - -<p>7. Perhaps ποῦ δὲ δή: cp. <b><a href="#Page_116">116</a></b> 9.</p> - -<p>9. Cp. Hor. <i>Ars P.</i> 47 “dixeris egregie -notum si callida verbum | reddiderit -iunctura novum.”</p> - -<p>On the other hand, the importance -of ἐκλογή is illustrated by Aristotle’s -comparison (<i>Poetics</i> xxii. 7) of νῦν δέ μ’ -ἐὼν ὀλίγος τε καὶ οὐτιδανὸς καὶ ἀεικής with -νῦν δέ μ’ ἐὼν μικρός τε καὶ ἀσθενικὸς καὶ -ἀειδής.</p> - -<p>10. Cp. J. W. Mackail in <i>Class. Rev.</i> -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. <i>Rhet.</i> -iii. 2, 4: cp. Long. p. 146). So “tantum -series iuncturaque pollet, | tantum <i>de -medio sumptis</i> accedit honoris” (Hor. -<i>Ars P.</i> 242-3).</p> - -<p>13. <b>λυθέντος γοῦν</b>, κτλ. Cp. Isocr. -<i>Evag.</i> 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.</p> - -<p>14. <b>ἄζηλα</b>: this adjective occurs also -in the <i>de Demosth.</i> c. 28, and more than -once in the <i>Antiqq. Rom.</i></p> - -<p>16. <b>ὑπαλλαγαί, καταχρήσεις</b>: see -Glossary, s. vv.</p> - -<p>17. Usener reads γλῶτται παλαιαί τινες. -But (1) γλῶτται are usually παλαιαί (cp. -Galen <i>Gloss. Hipp.</i> 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. <i>de Lysia</i> c. 1 οὔτε πολλοῖς -τισι κατέλιπεν ὑπερβολήν, κτλ.</p> - -<p>18, 19. An interesting modern parallel -is that passage in Coleridge’s <i>Biographia -Literaria</i> (c. 18) which touches on the -stanza (in Wordsworth’s <i>Lyrical Ballads</i>) -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 <i>order</i> in which -the rustic would have placed the words? -I am grievously deceived, if the following -less <i>compact</i> 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’ <i>Wordsworth</i>, pp. 106 ff., for the -<i>music</i> in Wordsworth’s <i>Affliction of -Margaret</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_80" id="Page_80">[80-1]</a></span></p> - -<p> -ποιητῇ μυρία, ὡς εὖ οἶδ’ ὅτι πάντες ἴσασιν· ἐμοὶ δ’ ὑπομνήσεως<br /> -ἕνεκα λέγοντι ἀρκεῖ ταῦτα μόνα εἰρῆσθαι.<br /> -<br /> -φέρε δὴ μεταβῶμεν καὶ ἐπὶ τὴν πεζὴν διάλεκτον καὶ<br /> -σκοπῶμεν, εἰ κἀκείνῃ τοῦτο συμβέβηκε τὸ πάθος, ὥστε περὶ<br /> -μικρὰ καὶ φαῦλα πράγματά τε καὶ ὀνόματα συνταχθέντα 5<br /> -καλῶς μεγάλας γίνεσθαι τὰς χάριτας. ἔστι δὴ παρὰ τῷ<br /> -Ἡροδότῳ βασιλεύς τις Λυδῶν, ὃν ἐκεῖνος Κανδαύλην ‹καλεῖ,<br /> -Μυρσίλον δὲ› καλεῖσθαί φησιν ὑφ’ Ἑλλήνων, τῆς ἑαυτοῦ<br /> -γυναικὸς ἐρῶν, ἔπειτα ἀξιῶν τινα τῶν ἑταίρων αὐτοῦ γυμνὴν<br /> -τὴν ἄνθρωπον ἰδεῖν, ὁ δὲ ἀπομαχόμενος μὴ ἀναγκασθῆναι, ὡς 10<br /> -δὲ οὐκ ἔπειθεν, ὑπομένων τε καὶ θεώμενος αὐτήν—πρᾶγμα<br /> -οὐχ ὅτι σεμνὸν ἢ καλλιλογεῖσθαι ἐπιτήδειον, ἀλλὰ καὶ<br /> -ταπεινὸν καὶ ἐπικίνδυνον καὶ τοῦ αἰσχροῦ μᾶλλον ἢ τοῦ καλοῦ<br /> -ἐγγυτέρω· ἀλλ’ εἴρηται σφόδρα δεξιῶς, καὶ κρεῖττον γέγονεν<br /> -ἀκουσθῆναι λεγόμενον ἢ ὀφθῆναι γινόμενον. ἵνα δὲ μή τις 15<br /> -ὑπολάβῃ τὴν διάλεκτον εἶναι τῆς ἡδονῆς αἰτίαν τῇ λέξει,<br /> -μεταθεὶς αὐτῆς τὸν χαρακτῆρα εἰς τὴν Ἀτθίδα γλῶτταν καὶ<br /> -οὐδὲν ἄλλο περιεργασάμενος οὕτως ἐξοίσω τὸν διάλογον.<br /> -<br /> -“Γύνη, οὐ γάρ σε δοκῶ πείθεσθαί μοι λέγοντι περὶ τοῦ<br /> -εἴδους τῆς γυναικός· ὦτα γὰρ τυγχάνει ἀνθρώποις ὄντα 20<br /> -ἀπιστότερα ὀφθαλμῶν· ποίει ὅπως ἐκείνην θεάσῃ γυμνήν. ὁ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_81" id="Page_81">[81]</a></span></p> - -<p>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.</p> - -<p>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:—</p> - -<p>“‘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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>4. Usener’s conjecture παρὰ (for περὶ) -may be held to find some support from -<b><a href="#Page_92">92</a></b> 21 and <b><a href="#Page_256">256</a></b> 10, but on the other hand -Dionysius’ love of μεταβολή has always -to be remembered.</p> - -<p>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.</p> - -<p>9. <b>γυμνήν</b>: 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 <i>Menex.</i> 236 <span class="smcap">D</span>, -Herod. i. 10 (ad f.). As to the women -of Sparta cp. Gardner and Jevons <i>Greek -Antiquities</i> pp. 352, 353.</p> - -<p>10. For the participles cp. p. 76 ll. 5-7.</p> - -<p>12. <b>οὐχ ὅτι</b> (in a context which gives -it the meaning of <i>non solum non</i>) occurs -elsewhere in Dionysius: e.g. <i>Antiqq. -Rom.</i> ii. c. 18 καὶ οὐχ ὅτι θεῶν ἀλλ’ οὐδ’ -ἀνθρώπων ἀγαθῶν ἀξίους.</p> - -<p>13. <b>ταπεινόν</b> (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. <i>Rhet.</i> iii. 11 fin. εἰσὶ δὲ ὑπερβολαὶ -μειρακιώδεις ... διὸ πρεσβυτέρῳ -λέγειν ἀπρεπές.</p> - -<p>17. So, in <i>de Demosth.</i> 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.”</p> - -<p>18. <b>οὐδὲν ἄλλο περιεργασάμενος</b>: notwithstanding -this undertaking, the -variations from the traditional text of -Herodotus are (as will be seen on -reference to the critical footnotes) considerable.</p> - -<p>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 -<span class="smcap">MSS.</span> of Herodotus) show that its unsupported -testimony must be received -with much reserve.</p> - -<p>20. This passage of Herodotus may -have been before Horace’s mind (<i>Ars P.</i> -180): “segnius irritant animos demissa -per aurem | quam quae sunt oculis -subiecta fidelibus et quae | ipse sibi -tradit spectator.” Cp. also Shakespeare -<i>Coriolanus</i> 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. <a href="#Page_19">19</a>-25, for emphasis -at the end and at the beginning of -clauses.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_82" id="Page_82">[82-3]</a></span></p> - -<p> -δ’ ἀναβοήσας εἶπε· Δέσποτα, τίνα λόγον λέγεις οὐχ ὑγιᾶ,<br /> -κελεύων με δέσποιναν τὴν ἐμὴν θεάσασθαι γυμνήν; ἅμα δὲ<br /> -χιτῶνι ἐκδυομένῳ συνεκδύεται καὶ τὴν αἰδῶ γυνή. πάλαι<br /> -δὲ τὰ καλὰ ἀνθρώποις ἐξεύρηται, ἐξ ὧν μανθάνειν δεῖ· ἐν οἷς<br /> -ἓν τόδ’ ἐστίν, ὁρᾶν τινα τὰ ἑαυτοῦ. ἐγὼ δὲ πείθομαι ἐκείνην 5<br /> -εἶναι πασῶν γυναικῶν καλλίστην, καὶ σοῦ δέομαι μὴ<br /> -δεῖσθαι ἀνόμων. ὁ μὲν δὴ λέγων ταῦτα ἀπεμάχετο, ὁ δ’<br /> -ἠμείβετο τοῖσδε· Θάρσει Γύγη, καὶ μὴ φοβοῦ μήτ’ ἐμέ, ὡς<br /> -πειρώμενόν σου λέγω λόγον τόνδε, μήτε γυναῖκα τὴν ἐμήν,<br /> -μή τί σοι ἐξ αὐτῆς γένηται βλάβος. ἀρχὴν γὰρ ἐγὼ μηχανήσομαι 10<br /> -οὕτως, ὥστε μηδὲ μαθεῖν αὐτὴν ὀφθεῖσαν ὑπὸ σοῦ.<br /> -ἀγαγὼν γάρ σε εἰς τὸ οἴκημα, ἐν ᾧ κοιμώμεθα, ὄπισθε τῆς<br /> -ἀνοιγομένης θύρας στήσω· μετὰ δὲ ἐμὲ εἰσελθόντα παρέσται<br /> -καὶ ἡ γυνὴ ἡ ἐμὴ εἰς κοίτην. κεῖται δ’ ἐγγὺς τῆς εἰσόδου<br /> -θρόνος· ἐπὶ τοῦτον τῶν ἱματίων καθ’ ἓν ἕκαστον ἐκδῦσα 15<br /> -θήσει, καὶ καθ’ ἡσυχίαν πολλὴν παρέσται σοι θεάσασθαι.<br /> -ὅταν δ’ ἀπὸ τοῦ θρόνου πορεύηται ἐπὶ τὴν εὐνὴν κατὰ νώτου<br /> -τε αὐτῆς γένῃ, σοὶ μελέτω τὸ ἐντεῦθεν, ὅπως μή σε ὄψεται<br /> -ἀπιόντα διὰ θυρῶν. ὁ μὲν δὴ ὡς οὐκ ἐδύνατο διαφυγεῖν,<br /> -ἕτοιμος ἦν [ποιεῖν ταῦτα].” 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_83" id="Page_83">[83]</a></span></p> - -<p>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.”<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a></p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>, 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<sup>2</sup> - 10 τ[ι] σοι cum litura F: τισ P 12 ἄγων P: ἐγὼ Her. || ἐσ P,M || -ὄπισθεν PMV 13 θυραστήσω P<sup>1</sup> 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.</p> - -<p>3. Cp. Diog. Laert. <i>Vit. Pythag.</i> § 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.</p> - -<p>14. εἰς κοίτην and ἐγγὺς τῆς εἰσόδου are -Dionysius’ Attic equivalents for ἐς κοῖτον -and ἀγχοῦ τῆς ἐσόδου.</p> - -<p>15. <b>καθ’ ἓν ἕκαστον</b>: cp. Herod. viii. -113 ἐκ δὲ τῶν ἄλλων συμμάχων ἐξελέγετο -κατ’ ὀλίγους.</p> - -<p>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 <i>The Famous History of -Herodotus</i>, 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.]</p> - -<p>If Dionysius does not quote the -<i>sequel</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_84" id="Page_84">[84-5]</a></span></p> - -<p> -οὐκ ἂν ἔχοι τις οὐδὲ ἐνταῦθα εἰπεῖν, ὅτι τὸ ἀξίωμα καὶ<br /> -ἡ σεμνότης τῶν ὀνομάτων εὔμορφον πεποίηκε τὴν φράσιν·<br /> -ἀνεπιτήδευτα γάρ ἐστι καὶ ἀνέκλεκτα, οἷα ἡ φύσις τέθεικεν<br /> -σύμβολα τοῖς πράγμασιν· οὐδὲ γὰρ ἥρμοττεν ἴσως κρείττοσι<br /> -χρήσασθαι ἑτέροις. ἀνάγκη δὲ δήπου, ὅταν τοῖς κυριωτάτοις 5<br /> -τε καὶ προσεχεστάτοις ὀνόμασιν ἐκφέρηται τὰ νοήματα, μηδὲν<br /> -σεμνότερον εἶναι, ἢ οἷά ἐστιν. ὅτι δὲ οὐδὲν ἐν αὐτοῖς ἐστι<br /> -σεμνὸν οὐδὲ περιττόν, ὁ βουλόμενος εἴσεται μεταθεὶς οὐδὲν<br /> -ὅτι μὴ τὴν ἁρμονίαν. πολλὰ δὲ καὶ παρὰ τούτῳ τῷ ἀνδρὶ<br /> -τοιαῦτά ἐστιν, ἐξ ὧν ἄν τις τεκμήραιτο, ὅτι οὐκ ἐν τῷ κάλλει 10<br /> -τῶν ὀνομάτων ἡ πειθὼ τῆς ἑρμηνείας ἦν, ἀλλ’ ἐν τῇ συζυγίᾳ.<br /> -καὶ περὶ μὲν τούτων ἱκανὰ ταῦτα.<br /> -</p> - -<h3>IV</h3> - -<p> -ἵνα δὲ πολὺ μᾶλλον αἴσθηταί τις, ὅσην ἔχει ῥώμην ἡ<br /> -συνθετικὴ δύναμις ἔν τε ποιήμασι καὶ λόγοις, λήψομαί τινας<br /> -εὖ ἔχειν δοκούσας λέξεις, ὧν τὰς ἁρμονίας μεταθεὶς ἀλλοῖα 15<br /> -φαίνεσθαι ποιήσω καὶ τὰ μέτρα καὶ τοὺς λόγους. λαμβανέσθω<br /> -δὲ πρῶτον μὲν ἐκ τῶν Ὁμηρικῶν ταυτί·<br /> -</p> - -<p class="indent8"> -ἀλλ’ ἔχεν ὥστε τάλαντα γυνὴ χερνῆτις ἀληθής,<br /> -ἥ τε σταθμὸν ἔχουσα καὶ εἴριον ἀμφὶς ἀνέλκει<br /> -ἰσάζουσ’, ἵνα παισὶν ἀεικέα μισθὸν ἄροιτο. 20<br /> -</p> - -<p> -τοῦτο τὸ μέτρον ἡρωϊκόν ἐστιν ἑξάπουν τέλειον, κατὰ δάκτυλον<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_85" id="Page_85">[85]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER IV<br /><br /> - -TO CHANGE ORDER IS TO DESTROY BEAUTY</h4> - -<p>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:—</p> - -<p class="indent8"> -But with them was it as with a toil-bowed woman righteous-souled—<br /> -In her scales be the weights and the wool, and the balance on high doth she hold<br /> -Poised level, that so may the hard-earned bread to her babes be doled.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a><br /> -</p> - -<p>This metre is the complete heroic metre of six feet, the basis</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. P gives ἀφηκέναι in <b><a href="#Page_262">262</a></b> 22, and -τέθηκεν may possibly be right here. The --η- forms are found in some <span class="smcap">MSS.</span> of -Eurip. <i>Hel.</i> 1059 and Demosth. <i>Chers.</i> -34. But cp. <b><a href="#Page_108">108</a></b> 13.</p> - -<p>9. <b>καὶ παρὰ τούτῳ</b>: perhaps ‘in -Herodotus <i>as well as in Homer</i>.’ Reiske, -πολλὰ δὲ καὶ ‹ἄλλα› παρὰ τούτῳ τῷ -ἀνδρὶ τοιαῦτά ἐστιν.</p> - -<p>10. Dionysius seems to allow too little -for the charming <i>naïveté</i> 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.</p> - -<p>18. The verse illustrations used on pp. -84, 86 are similarly treated by Hermogenes -(Walz <i>Rhett. Gr.</i> iii. 230, 231; cp. p. -715 <i>ibid.</i>).</p> - -<p>21. It seems better to read <b>ἡρωϊκόν</b> -here (with PMV) rather than ἡρῷον -(with F), as the form ἡρωϊκός is found -consistently elsewhere (<b><a href="#Page_86">86</a></b> 3, <b><a href="#Page_88">88</a></b> 7, <b><a href="#Page_172">172</a></b> -17, <b><a href="#Page_206">206</a></b> 10).</p> - -<p>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 -(<i>Life</i> i. 469, 470) so effectively parodies.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_86" id="Page_86">[86-7]</a></span></p> - -<p> -πόδα βαινόμενον. ἐγὼ δὴ τῶν ὀνομάτων τούτων μετακινήσας<br /> -τὴν σύνθεσιν τοὺς αὐτοὺς στίχους ἀντὶ μὲν ἑξαμέτρων ποιήσω<br /> -τετραμέτρους, ἀντὶ δὲ ἡρωϊκῶν προσοδιακοὺς τὸν τρόπον<br /> -τοῦτον·<br /> -</p> - -<p class="indent8"> -ἀλλ’ ἔχεν ὥστε γυνὴ χερνῆτις τάλαντ’ ἀληθής, 5<br /> -ἥ τ’ εἴριον ἀμφὶς καὶ σταθμὸν ἔχουσ’ ἀνέλκει<br /> -ἰσάζουσ’, ἵν’ ἀεικέα παισὶν ἄροιτο μισθόν.<br /> -</p> - -<p> -τοιαῦτά ἐστι τὰ πριάπεια, ὑπό τινων δ’ ἰθυφάλλια λεγόμενα,<br /> -ταυτί·<br /> -</p> - -<p class="indent8"> -οὐ βέβηλος, ὦ τελέται τοῦ νέου Διονύσου, 10<br /> -κἀγὼ δ’ ἐξ εὐεργεσίης ὠργιασμένος ἥκω.<br /> -</p> - -<p> -ἄλλους πάλιν λαβὼν στίχους Ὁμηρικούς, οὔτε προσθεὶς<br /> -αὐτοῖς οὐδὲν οὔτε ἀφελών, τὴν δὲ σύνθεσιν ἀλλάξας μόνον<br /> -ἕτερον ἀποδώσω γένος τὸ τετράμετρον καλούμενον Ἰωνικόν·<br /> -</p> - -<p class="indent8"> -ὣς ὁ πρόσθ’ ἵππων καὶ δίφρου κεῖτο τανυσθείς, 15<br /> -βεβρυχώς, κόνιος δεδραγμένος αἱματοέσσης.<br /><br /> -ὣς ὁ πρόσθ’ ἵππων καὶ δίφρου κεῖτο τανυσθείς,<br /> -αἱματοέσσης κόνιος δεδραγμένος, βεβρυχώς.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_87" id="Page_87">[87]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -But it was with them as with a righteous-souled woman toil-bowed,<br /> -In her scales weights and wool lie, on high doth she hold the balance<br /> -Level-poised, so that bread hardly-earned may be doled to her babes.<br /> -</p> - -<p>Such are the following Priapean, or (as some call them) -ithyphallic, lines:—</p> - -<p class="indent8"> -I am no profane one, O young Dionysus’ votaries;<br /> -By his favour come I too initiate as one of his.<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -So there outstretched was he lying, his steeds and his chariot before,<br /> -Groaning, convulsively clutching the dust that was red with his gore.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a><br /><br /> -So there outstretched was he lying, his steeds and his chariot before,<br /> -At the dust that was red with his gore clutching convulsively, groaning.<br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. Maximus Planudes (Walz <i>Rhett. -Gr.</i> 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 <i>prosodia</i> (προσόδια, sc. -ᾄσματα: also called προσοδιακοί), or processional -songs, see Weir Smyth’s <i>Greek -Melic Poets</i> p. xxxiii.; and for the various -metres employed see pp. xxxiv., xxxv. -<i>ibid.</i> It is clear that Dionysius is not -here thinking specially of the so-called -προσοδιακὸς πούς (– – ᴗ). Cp. Bacchyl. -<i>Fragm.</i> 19 (Bergk: 7, Jebb).—Reading -προσῳδικοὺς (with the inferior <span class="smcap">MSS.</span>), and -translating by ‘accentual,’ A. J. Ellis -(<i>English, Dionysian, and Hellenic Pronunciation -of Greek</i> 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 -(<i>Journal of Philology</i> 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 <i>French Verse</i> -p. 70.</p> - -<p>5. The metrical difficulties presented -by these sections of the <i>C. V.</i> are discussed -in Amsel’s <i>de Vi atque Indole -Rhythmorum quid Veteres Iudicaverint</i> -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 <i>Il.</i> 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 (<i>ad loc.</i>) 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 -<i>Callimachea</i> ii. 777).</p> - -<p>10. For the author of these Priapean -verses—Euphorion (or Euphronius) ‘of -the Chersonese’—see the long discussion -in Susemihl’s <i>Gesch. d. griech. Litt. in -der Alexandrinerzeit</i> i. 281, 283. It -is Hephaestion (<i>de Metris Enchiridion</i> -c. 16, ed. Westphal) who attributes the -lines Εὐφορίωνι τῷ Χερρονησιώτῃ.</p> - -<p>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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_88" id="Page_88">[88-9]</a></span></p> - -<p> -τοιαῦτ’ ἐστὶ τὰ Σωτάδεια ταυτί·<br /> -</p> - -<p class="indent8"> -ἔνθ’ οἱ μὲν ἐπ’ ἄκραισι πυραῖς νέκυες ἔκειντο<br /> -γῆς ἐπὶ ξένης, ὀρφανὰ τείχεα προλιπόντες<br /> -Ἑλλάδος ἱερῆς καὶ μυχὸν ἑστίης πατρῴης,<br /> -ἥβην τ’ ἐρατὴν καὶ καλὸν ἡλίου πρόσωπον. 5<br /> -</p> - -<p> -δυναίμην δ’ ἂν ἔτι πολλὰς ἰδέας μέτρων καὶ διαφόρους εἰς τὸν<br /> -ἡρωϊκὸν ἐμπιπτούσας στίχον ἐπιδεικνύναι, τὸ δ’ αὐτὸ καὶ τοῖς<br /> -ἄλλοις ὀλίγου δεῖν πᾶσι συμβεβηκὸς μέτροις τε καὶ ῥυθμοῖς<br /> -ἀποφαίνειν, ὥστε τῆς μὲν ἐκλογῆς τῶν ὀνομάτων τῆς αὐτῆς<br /> -μενούσης, τῆς δὲ συνθέσεως μόνης μεταπεσούσης τά τε 10<br /> -μέτρα μεταρρυθμίζεσθαι καὶ συμμεταπίπτειν αὐτοῖς τὰ<br /> -σχήματα, τὰ χρώματα, τὰ ἤθη, τὰ πάθη, τὴν ὅλην τῶν<br /> -ποιημάτων ἀξίωσιν· ἀλλ’ ἀναγκασθήσομαι πλειόνων ἅψασθαι<br /> -θεωρημάτων, ὧν ἔνια ὀλίγοις πάνυ ἐστὶ γνώριμα. ἐπὶ πολλῶν<br /> -δ’ ἴσως καὶ οὐχ ἥκιστα ἐπὶ τῶν τοιούτων καλῶς ἂν ἔχοι 15<br /> -τὰ Εὐριπίδεια ταῦτα ἐπενεγκεῖν·<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10.5em;">μή μοι</span><br /> -λεπτῶν θίγγανε μύθων, ψυχή·<br /> -τί περισσὰ φρονεῖς; εἰ μὴ μέλλεις<br /> -σεμνύνεσθαι παρ’ ὁμοίοις. 20<br /> -</p> - -<p> -ταῦτα μὲν οὖν ἐάσειν μοι δοκῶ κατὰ τὸ παρόν. ὅτι δὲ<br /> -καὶ ἡ πεζὴ λέξις τὸ αὐτὸ δύναται παθεῖν τῇ ἐμμέτρῳ μενόντων<br /> -μὲν τῶν ὀνομάτων, ἀλλαττομένης δὲ τῆς συνθέσεως,<br /> -πάρεστι τῷ βουλομένῳ σκοπεῖν. λήψομαι δ’ ἐκ τῆς Ἡροδότου<br /> -λέξεως τὴν ἀρχὴν τῆς ἱστορίας, ἐπειδὴ καὶ γνώριμός ἐστι 25<br /> -τοῖς πολλοῖς, μεταθεὶς τὸν χαρακτῆρα τῆς διαλέκτου μόνον.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_89" id="Page_89">[89]</a></span></p> - -<p>Such are the following Sotadean lines:—</p> - -<p class="indent8"> -There upon the summit of the burning pyres their corpses lay<br /> -In an alien land, the widowed walls forsaken far away,<br /> -Walls of sacred Hellas; and the hearths upon the homeland shore,<br /> -Winsome youth, the sun’s fair face—forsaken all for evermore!<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -With subtleties meddle not thou, O soul of mine:<br /> -Wherefore be overwise, except in thy fellows’ eyes<br /> -Thou lookest to be revered as for wisdom divine?<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 τοιαῦτα PMV || Σωτάδεια Planudes: σωτάδια libri 2 ἄκραισι FM: -ἄκραις PV || ἔγκειντο F 5 ἥβη, suprascr. ν P<sup>1</sup> || 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<sup>1</sup> 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<sup>1</sup> 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 <b><a href="#Page_90">90</a></b> 1 25 ἐπειδὴ F: ἐπεὶ PMV</p> - -<p>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. <b>Σωτάδειος</b>.</p> - -<p>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 <i>Crat.</i> 398 <span class="smcap">B</span>) is not parallel.</p> - -<p>12. Quintil. <i>Inst. Or.</i> 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.”</p> - -<p>21. <b>ἐάσειν μοι δοκῶ</b> = <i>omittere mihi -placet</i>; cp. Aristoph. <i>Plut.</i> 1186, <i>Aves</i> -671, <i>Vespae</i> 177.</p> - -<p>22. Compare the interesting passage in -Cic. <i>Orat.</i> 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.]</p> - -<p>23. The Epitome here has μενόντων -γὰρ τῶν αὐτῶν ὀνομάτων, ἀλλαττομένης δὲ -τῆς συνθέσεως, <em class="gesperrt">καταφανὲς τὸ ἐν αὐτῇ -ἄμουσόν τε καὶ ἀκαλλώπιστον</em>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_90" id="Page_90">[90-1]</a></span></p> - -<p> -“Κροῖσος ἦν Λυδὸς μὲν γένος, παῖς δ’ Ἀλυάττου, τύραννος δ’<br /> -ἐθνῶν τῶν ἐντὸς Ἅλυος ποταμοῦ· ὃς ῥέων ἀπὸ μεσημβρίας<br /> -μεταξὺ Σύρων τε καὶ Παφλαγόνων ἐξίησι πρὸς βορέαν ἄνεμον<br /> -εἰς τὸν Εὔξεινον καλούμενον πόντον.” μετατίθημι τῆς λέξεως<br /> -ταύτης τὴν ἁρμονίαν, καὶ γενήσεταί μοι οὐκέτι ὑπαγωγικὸν 5<br /> -τὸ πλάσμα οὐδ’ ἱστορικόν, ἀλλ’ ὀρθὸν μᾶλλον καὶ ἐναγώνιον·<br /> -“Κροῖσος ἦν υἱὸς μὲν Ἀλυάττου, γένος δὲ Λυδός, τύραννος δὲ<br /> -τῶν ἐντὸς Ἅλυος ποταμοῦ ἐθνῶν· ὃς ἀπὸ μεσημβρίας ῥέων<br /> -μεταξὺ Σύρων καὶ Παφλαγόνων εἰς τὸν Εὔξεινον καλούμενον<br /> -πόντον ἐκδίδωσι πρὸς βορέαν ἄνεμον.” οὗτος ὁ χαρακτὴρ οὐ 10<br /> -πολὺ ἀπέχειν ἂν δόξειεν τῶν Θουκυδίδου τούτων· “Ἐπίδαμνός<br /> -ἐστι πόλις ἐν δεξιᾷ εἰσπλέοντι τὸν Ἰόνιον κόλπον· προσοικοῦσι<br /> -δ’ αὐτὴν Ταυλάντιοι βάρβαροι, Ἰλλυρικὸν ἔθνος.”<br /> -πάλιν δὲ ἀλλάξας τὴν αὐτὴν λέξιν ἑτέραν αὐτῇ μορφὴν ἀποδώσω<br /> -τὸν τρόπον τοῦτον· “Ἀλυάττου μὲν υἱὸς ἦν Κροῖσος, 15<br /> -γένος δὲ Λυδός, τῶν δ’ ἐντὸς Ἅλυος ποταμοῦ τύραννος ἐθνῶν·<br /> -ὃς ἀπὸ μεσημβρίας ῥέων Σύρων τε καὶ Παφλαγόνων μεταξὺ<br /> -πρὸς βορέαν ἐξίησιν ἄνεμον ἐς τὸν καλούμενον πόντον<br /> -Εὔξεινον.” Ἡγησιακὸν τὸ σχῆμα τοῦτο τῆς συνθέσεως,<br /> -μικρόκομψον, ἀγεννές, μαλθακόν· τούτων γὰρ τῶν λήρων 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_91" id="Page_91">[91]</a></span></p> - -<p>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.”<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a> 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.”<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a> -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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> || 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<sup>1</sup> 11 δόξειε F - 12 (εστι) * * P || πρ(οσ)οικοῦσιν P 13 δὲ PV 14 δὲ ἀλλάξας F: -διαλλάξας PMV || αὐτῆι add. in margine F<sup>1</sup>: αὐτὴν PM 16 δ’ om. PV - 18 ἐξίησιν FM: ἔξεισιν PV || ἐς F: εἰς PMV ut supra 20 ἀγεννες -P,V: ἀγενὲς FMa</p> - -<p>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.</p> - -<p>10. This rugged re-writing of Herodotus -shows a real appreciation of style -and should be compared with the remarks -which Demetrius (<i>de Eloc.</i> § 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 <i>Rhett. Gr.</i> 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.</p> - -<p>11. From this point onwards, the less -important of the manuscript variants are -not recorded in the <i>critical apparatus</i>, -except in the case of P which the editor -has examined personally.</p> - -<p>12. Demetrius (<i>de Eloc.</i> § 199), in -quoting this passage, reads ἐσπλέοντι -εἰς: and this may be correct reading -in Thucyd. i. 24.</p> - -<p>19. Hegesias, in the eyes of Dionysius, -was a writer whose originality displayed -itself in unnatural contortions of language; -cp. Introduction, pp. <a href="#Page_52">52</a>-55 -<i>supra</i>. The merits of a natural, untutored -prose-order have been indicated -once for all by Molière (<i>Le Bourgeois -Gentilhomme</i> ii. 4): “<span class="smcap">Monsieur Jourdan.</span> -Je voudrais donc lui mettre -dans un billet: <i>Belle Marquise, vos -beaux yeux me font mourir d’amour</i>; -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.—<span class="smcap">Maître -de Philosophie.</span> On les peut -mettre premièrement comme vous avez -dit: <i>Belle Marquise, vos beaux yeux me -font mourir d’amour.</i> Ou bien: <i>D’amour -mourir me font, belle Marquise, vos beaux -yeux</i>. Ou bien: <i>Vos yeux beaux d’amour -me font, belle Marquise, mourir</i>. Ou -bien: <i>Mourir vos beaux yeux, belle Marquise, d'amour me font</i>. Ou bien: <i>Me font vos yeux beaux mourir, belle -Marquise, d’amour</i>. [This is, apparently -the crowning absurdity.]—<span class="smcap">M. Jourdain.</span> -Mais de toutes ces façons-là, laquelle est -la meilleure?—<span class="smcap">Maître de Philosophie.</span> -Celle que vous avez dite: <i>Belle Marquise, -vos beaux yeux me font mourir d’amour</i>.—<span class="smcap">M. -Jourdain.</span> <b>Cependant je n’ai point -étudié, et j’ai fait cela tout du premier -coup.</b>”</p> - -<p>20. The phrase is perhaps suggested -by Aristoph. <i>Nub.</i> 359 σύ τε, λεπτοτάτων -λήρων ἱερεῦ, φράζε πρὸς ἡμᾶς ὅ τι χρῄζεις. -Cp. Cic. <i>pro Sestio</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_92" id="Page_92">[92-3]</a></span></p> - -<p> -ἱερεὺς ἐκεῖνος ἀνὴρ τοιαῦτα γράφων· “Ἐξ ἀγαθῆς ἑορτῆς<br /> -ἀγαθὴν ἄγομεν ἄλλην.” “Ἀπὸ Μαγνησίας εἰμὶ τῆς μεγάλης<br /> -Σιπυλεύς.” “Οὐ γὰρ μικρὰν εἰς Θηβαίων ὕδωρ ἔπτυσεν ὁ<br /> -Διόνυσος· ἡδὺς μὲν γάρ ἐστι, ποιεῖ δὲ μαίνεσθαι.”<br /> -<br /> -ἅλις ἔστω παραδειγμάτων. ἱκανῶς γὰρ οἴομαι πεποιηκέναι 5<br /> -φανερὸν ὃ προὔκειτό μοι, ὅτι μείζονα ἰσχὺν ἔχει τῆς<br /> -ἐκλογῆς ἡ σύνθεσις. καί μοι δοκεῖ τις οὐκ ἂν ἁμαρτεῖν<br /> -εἰκάσας αὐτὴν τῇ Ὁμηρικῇ Ἀθηνᾷ· ἐκείνη τε γὰρ τὸν<br /> -Ὀδυσσέα τὸν αὐτὸν ὄντα ἄλλοτε ἀλλοῖον ἐποίει φαίνεσθαι,<br /> -τοτὲ μὲν μικρὸν καὶ ῥυσὸν καὶ αἰσχρὸν 10<br /> -</p> - -<p class="indent8"> -πτωχῷ λευγαλέῳ ἐναλίγκιον ἠδὲ γέροντι,<br /> -</p> - -<p> -τοτὲ δὲ τῇ αὐτῇ ῥάβδῳ πάλιν ἐφαψαμένη<br /> -</p> - -<p class="indent8"> -μείζονά τ’ εἰσιδέειν καὶ πάσσονα θῆκεν ἰδέσθαι, κὰδ δὲ κάρητος<br /> -οὔλας ἧκε κόμας ὑακινθίνῳ ἄνθει ὁμοίας, 15<br /> -</p> - -<p> -αὕτη τε τὰ αὐτὰ λαμβάνουσα ὀνόματα τοτὲ μὲν ἄμορφα καὶ<br /> -πτωχὰ καὶ ταπεινὰ ποιεῖ φαίνεσθαι τὰ νοήματα, τοτὲ δ’<br /> -ὑψηλὰ καὶ πλούσια [καὶ ἁδρὰ] καὶ καλά. καὶ τοῦτ’ ἦν<br /> -σχεδὸν ᾧ μάλιστα διαλλάττει ποιητής τε ποιητοῦ καὶ ῥήτωρ<br /> -ῥήτορος, τὸ συντιθέναι δεξιῶς τὰ ὀνόματα. τοῖς μὲν οὖν 20<br /> -ἀρχαίοις ὀλίγου δεῖν πᾶσι πολλὴ ἐπιτήδευσις ἦν αὐτοῦ, παρ’<br /> -ὃ καὶ καλά ἐστιν αὐτῶν τά τε μέτρα καὶ τὰ μέλη καὶ οἱ<br /> -λόγοι· τοῖς δὲ μεταγενεστέροις οὐκέτι πλὴν ὀλίγων· χρόνῳ δ’<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_93" id="Page_93">[93]</a></span></p> - -<p>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.”<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a></p> - -<p>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,</p> - -<p class="indent8"> -In semblance like to a beggar wretched and eld-forlorn,<a name="FNanchor_99_99" id="FNanchor_99_99"></a><a href="#Footnote_99_99" class="fnanchor">[99]</a><br /> -</p> - -<p>at another time, by a fresh touch of the selfsame wand,</p> - -<p class="indent8"> -She moulded him taller to see, and broader: his wavy hair<br /> -She caused o’er his shoulders to fall as the hyacinth’s purple rare.<a name="FNanchor_100_100" id="FNanchor_100_100"></a><a href="#Footnote_100_100" class="fnanchor">[100]</a><br /> -</p> - -<p>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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἀνὴρ libri: cf. D.H. p. 169 5 ἅλις F: ἂν P || ἔστω F: ἔστω τῶν -PMV || ἱκαν(ῶς) P<sup>1</sup> 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</p> - -<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.</p> - -<p>3. <b>μικράν</b>: understand ψακάδα or -λιβάδα. Casaubon conjectured μιαρὰν: -Reiske, μικρὰν ‹χολὴν›.</p> - -<p>4. <b>ἡδύς</b>: 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.</p> - -<p>13. Vettori suggested the omission -here of θῆκεν ἰδέσθαι.</p> - -<p>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.</p> - -<p>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. <i>de Demosth.</i> -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.</p> - -<p>18. <b>ἦν</b>, ‘was all the time,’ ‘is after -all’ (cp. <b><a href="#Page_192">192</a></b> 8, etc.).</p> - -<p>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. <i>de Demosth.</i> 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.</p> - -<p>21. The conjecture <b>ἐπιτήδευσις</b> may -be illustrated by <b><a href="#Page_70">70</a></b> 6, <b><a href="#Page_212">212</a></b> 19, <b><a href="#Page_256">256</a></b> 18, -and also by <i>de Demosth.</i> 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 -<i>de Demosth.</i> cc. 18, 48, 51.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_94" id="Page_94">[94-5]</a></span></p> - -<p> -ὕστερον παντάπασιν ἠμελήθη καὶ οὐδεὶς ᾤετο δεῖν ἀναγκαῖον<br /> -αὐτὸ εἶναι οὐδὲ συμβάλλεσθαί τι τῷ κάλλει τῶν λόγων·<br /> -τοιγάρτοι τοιαύτας συντάξεις κατέλιπον οἵας οὐδεὶς ὑπομένει<br /> -μέχρι κορωνίδος διελθεῖν, Φύλαρχον λέγω καὶ Δοῦριν καὶ<br /> -Πολύβιον καὶ Ψάωνα καὶ τὸν Καλλατιανὸν Δημήτριον 5<br /> -Ἱερώνυμόν τε καὶ Ἀντίγονον καὶ Ἡρακλείδην καὶ Ἡγησιάνακτα<br /> -καὶ ἄλλους μυρίους· ὧν ἁπάντων εἰ τὰ ὀνόματα<br /> -βουλοίμην λέγειν, ἐπιλείψει με ὁ τῆς ἡμέρας χρόνος. καὶ τί<br /> -δεῖ τούτους θαυμάζειν, ὅπου γε καὶ οἱ φιλοσοφίαν ἐπαγγελλόμενοι<br /> -καὶ τὰς διαλεκτικὰς ἐκφέροντες τέχνας οὕτως εἰσὶν 10<br /> -ἄθλιοι περὶ τὴν σύνθεσιν τῶν ὀνομάτων ὥστε αἰδεῖσθαι καὶ<br /> -λέγειν; ἀπόχρη δὲ τεκμηρίῳ χρήσασθαι τοῦ λόγου Χρυσίππῳ<br /> -τῷ Στωϊκῷ (περαιτέρω γὰρ οὐκ ἂν προβαίην)· τούτου γὰρ<br /> -οὔτ’ ἄμεινον οὐδεὶς τὰς διαλεκτικὰς τέχνας ἠκρίβωσεν οὔτε<br /> -ἁρμονίᾳ χείρονι συνταχθέντας ἐξήνεγκε λόγους τῶν γοῦν 15<br /> -ὀνόματος καὶ δόξης ἀξιωθέντων. καίτοι σπουδάζειν γέ τινες<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_95" id="Page_95">[95]</a></span></p> - -<p>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.<a name="FNanchor_101_101" id="FNanchor_101_101"></a><a href="#Footnote_101_101" class="fnanchor">[101]</a> 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 οὐδεῖσ P 2 τι om. P || τ(ω) P 3 κατέλειπον P 4 φύταρχον PM - 5 σάωνα PMV: -σ<span class="interlined"><span class="interlinear">φ</span><span class="base">τ</span></span>ατωνα 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<sup>2</sup>P: om. F<sup>1</sup>: 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</p> - -<p>1. <b>ᾤετο δεῖν ἀναγκαῖον αὐτὸ εἶναι</b>: -pleonasm. Perhaps ᾤετ’ ἀσκεῖν ἀναγκαῖον -αὐτὸ εἶναι, or the like.</p> - -<p>4. <b>Phylarchus</b>: a native of Athens, -or (acc. to some ancient authorities) of -Naucratis in Egypt. He flourished -under Ptolemy Euergetes (247-222 <span class="smallerfont">B.C.</span>), -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 <span class="smallerfont">B.C.</span>). Remains in -C. Müller <i>Fragm. Hist. Gr.</i> i. 334-58.</p> - -<p><b>Duris of Samos</b>: a pupil of Theophrastus. -Flourished under Ptolemy -Philadelphus (285-247 <span class="smallerfont">B.C.</span>); 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. -<i>ad Att.</i> vi. 1. 18: “num idcirco Duris -Samius, homo in historia diligens, quod -cum multis erravit, irridetur?”</p> - -<p>5. <b>Polybius</b>: see Introduction, pp. <a href="#Page_51">51</a>, <a href="#Page_52">52</a> <i>supra</i>.</p> - -<p><b>Psaon</b>, of Plataea: a third-century -historian, who wrote in thirty books. -Cp. C. Müller iii. 198 (and ii. 360).</p> - -<p><b>Demetrius</b> (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.</p> - -<p>6. <b>Hieronymus</b>, of Cardia: wrote, in -the third century, a history of the -Diadochi and the Epigoni. Fragments -in C. Müller ii. 450-61.</p> - -<p><b>Antigonus</b>: 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 -<i>Antiqq. Rom.</i> 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.</p> - -<p><b>Heracleides</b>: a historian who probably -flourished during the reign of -Ptolemy Philometor (181-146 <span class="smallerfont">B.C.</span>).</p> - -<p><b>Hegesianax</b>: a second-century -historian, who seems to have written -on the history and legends of Troy -(Τρωϊκά). Cp. C. Müller iii. 68-70.</p> - -<p>8. Cp. Demosth. <i>de Cor.</i> § 296 -ἐπιλείψει με λέγοντα ἡ ἡμέρα τὰ τῶν -προδοτῶν ὀνόματα, and <i>Epist. ad. Hebr.</i> -xi. 32 καὶ τί ἔτι λέγω; ἐπιλείψει με γὰρ -διηγούμενον ὁ χρόνος περὶ Γεδεών, κτλ. -So Cic. <i>Rosc. Am.</i> 32. 89 “tempus, -hercule, te citius quam oratio deficeret,” -and <i>Verr.</i> ii. 2, 21, 52 “nam me dies, -vox, latera deficiant, si hoc nunc -vociferari velim, quam miserum indignumque -sit,” etc.</p> - -<p>9. <b>ὅπου γε</b>: cp. Long. <i>de Subl.</i> 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;</p> - -<p>12. The reading τῷ λόγῳ Χρυσίππου -τοῦ Στωικοῦ (PMV) would mean “to -point, in proof, to the style (τῷ λόγῳ = -‘discourse,’ ‘writing,’ ‘style’; cp. <b><a href="#Page_96">96</a></b> 2) -of Chrysippus.” With the general -estimate compare Cic. <i>de Fin.</i> iv. 3. 7 -“quamquam scripsit artem rhetoricam -Cleanthes, Chrysippus etiam, sed sic, ut, -si quis obmutescere concupierit, nihil -aliud legere debeat.”</p> - -<p>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. <i>Prom. -V.</i> 247 μή πού τι προὔβης τῶνδε καὶ περαιτέρω—words -which Dionysius may have -had in mind; and Plato <i>Phaedr.</i> 239 <span class="smcap">D</span> ἃ -δῆλα καὶ οὐκ ἄξιον περαιτέρω προβαίνειν.</p> - -<p>16. <b>σπουδάζειν</b>: 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, -<b><a href="#Page_66">66</a></b> 8 <i>supra</i>). 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 <i>future</i>, -σπουδάσομαι, occurs in Plato <i>Euthyphro</i> -3 <span class="smcap">B</span> and in Demosth. <i>Mid.</i> 213; but the -<i>future</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_96" id="Page_96">[96-7]</a></span></p> - -<p> -προσεποιήθησαν αὐτῶν καὶ περὶ τοῦτο τὸ μέρος ὡς ἀναγκαῖον<br /> -ὂν τῷ λόγῳ καὶ τέχνας γέ τινας ἔγραψαν ὑπὲρ τῆς συντάξεως<br /> -τῶν τοῦ λόγου μορίων· ἀλλὰ πολύ τι πάντες ἀπὸ τῆς<br /> -ἀληθείας ἀπεπλάγχθησαν καὶ οὐδ’ ὄναρ εἶδον, τί ποτ’ ἐστὶ<br /> -τὸ ποιοῦν ἡδεῖαν καὶ καλὴν τὴν σύνθεσιν. ἐγὼ γοῦν ὅτε 5<br /> -διέγνων συντάττεσθαι ταύτην τὴν ὑπόθεσιν, ἐζήτουν εἴ τι<br /> -τοῖς πρότερον εἴρηται περὶ αὐτῆς καὶ μάλιστα τοῖς ἀπὸ τῆς<br /> -Στοᾶς φιλοσόφοις, εἰδὼς τοὺς ἄνδρας οὐ μικρὰν φροντίδα τοῦ<br /> -λεκτικοῦ τόπου ποιουμένους· δεῖ γὰρ αὐτοῖς τἀληθῆ μαρτυρεῖν.<br /> -οὐδαμῇ δ’ οὐδὲν εἰρημένον ὑπ’ οὐδενὸς ὁρῶν τῶν γοῦν 10<br /> -ὀνόματος ἠξιωμένων οὔτε μεῖζον οὔτ’ ἔλαττον εἰς ἣν ἐγὼ<br /> -προῄρημαι πραγματείαν, ἃς δὲ Χρύσιππος καταλέλοιπε<br /> -συντάξεις διττὰς ἐπιγραφὴν ἐχούσας “περὶ τῆς συντάξεως<br /> -τῶν τοῦ λόγου μερῶν” οὐ ῥητορικὴν θεωρίαν ἐχούσας ἀλλὰ<br /> -διαλεκτικήν, ὡς ἴσασιν οἱ τὰς βίβλους ἀνεγνωκότες, ὑπὲρ 15<br /> -ἀξιωμάτων συντάξεως ἀληθῶν τε καὶ ψευδῶν καὶ δυνατῶν<br /> -καὶ ἀδυνάτων ἐνδεχομένων τε καὶ μεταπιπτόντων καὶ ἀμφιβόλων<br /> -καὶ ἄλλων τινῶν τοιουτοτρόπων, οὐδεμίαν οὔτ’ ὠφέλειαν<br /> -οὔτε χρείαν τοῖς πολιτικοῖς λόγοις συμβαλλομένας εἰς γοῦν<br /> -ἡδονὴν καὶ κάλλος ἑρμηνείας, ὧν δεῖ στοχάζεσθαι τὴν 20<br /> -σύνθεσιν· ταύτης μὲν τῆς πραγματείας ἀπέστην, ἐσκόπουν<br /> -δ’ αὐτὸς ἐπ’ ἐμαυτοῦ γενόμενος, εἴ τινα δυναίμην εὑρεῖν<br /> -φυσικὴν ἀφορμήν, ἐπειδὴ παντὸς πράγματος καὶ πάσης ζητήσεως<br /> -αὕτη δοκεῖ κρατίστη εἶναι ἀρχή. ἁψάμενος δέ τινων<br /> -θεωρημάτων καὶ δόξας ὁδῷ μοι τὸ πρᾶγμα χωρεῖν ὡς ἔμαθον 25<br /> -ἑτέρωσέ ποι ταύτην ἄγουσαν ἐμὲ τὴν ὁδόν, οὐχ ὅποι προὐθέμην<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_97" id="Page_97">[97]</a></span></p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> -|| 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</p> - -<p>4. <b>οὐδ’ ὄναρ εἶδον</b> = ‘ne somnio quidem -viderunt,’ ‘ne per somnia quidem -viderunt.’</p> - -<p>6. For <b>ἔγνων</b> (as a v.l. for διέγνων) -<b>συντάττεσθαι</b> cp. <i>Antiqq. Rom.</i> 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 <i>Dialectica</i> in von Arnim’s -<i>Stoicorum Veterum Fragmenta</i> ii. 67.</p> - -<p>9 ff. Cic. <i>Brut.</i> 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.”</p> - -<p>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′.</p> - -<p>23. <b>φυσικὴν ἀφορμήν</b>: this suggests -the Stoic point of view.</p> - -<p>26. The reading of F looks like an -attempt to gloss προὐθέμην.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_98" id="Page_98">[98-9]</a></span></p> - -<p> -καὶ ἀναγκαῖον ἦν ἐλθεῖν, ἀπέστην. κωλύσει δ’ οὐδὲν<br /> -ἴσως κἀκείνης ἅψασθαι τῆς θεωρίας καὶ τὰς αἰτίας εἰπεῖν δι’<br /> -ἃς ἐξέλιπον αὐτήν, ἵνα μή με δόξῃ τις ἀγνοίᾳ παρελθεῖν<br /> -αὐτὴν ἀλλὰ προαιρέσει.<br /> -</p> - -<h3>V</h3> - -<p> -ἐδόκει δή μοι τῇ φύσει μάλιστα ἡμᾶς ἑπομένους οὕτω 5<br /> -δεῖν ἁρμόττειν τὰ μόρια τοῦ λόγου, ὡς ἐκείνη βούλεται.<br /> -αὐτίκα τὰ ὀνόματα πρῶτα ἡγούμην τάττειν τῶν ῥημάτων (τὰ<br /> -μὲν γὰρ τὴν οὐσίαν δηλοῦν, τὰ δὲ τὸ συμβεβηκός, πρότερον<br /> -δ’ εἶναι τῇ φύσει τὴν οὐσίαν τῶν συμβεβηκότων), ὡς τὰ<br /> -Ὁμηρικὰ ἔχει ταυτί· 10<br /> -</p> - -<p class="indent8"> -ἄνδρα μοι ἔννεπε, Μοῦσα, πολύτροπον<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -μῆνιν ἄειδε, θεά<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -ἠέλιος δ’ ἀνόρουσε λιπών 15<br /> -</p> - -<p> -καὶ τὰ παραπλήσια τούτοις· ἡγεῖται μὲν γὰρ ἐν τούτοις τὰ<br /> -ὀνόματα, ἕπεται δὲ τὰ ῥήματα. πιθανὸς ὁ λόγος, ἀλλ’ οὐκ<br /> -ἀληθὴς ἔδοξεν εἶναί μοι. ἕτερα γοῦν παράσχοιτ’ ἄν τις παραδείγματα<br /> -παρὰ τῷ αὐτῷ ποιητῇ κείμενα ἐναντίως συντεταγμένα<br /> -ἢ ταῦτα συντέτακται, καλὰ δὲ οὐχ ἧττον καὶ πιθανά. τίνα 20<br /> -οὖν ἐστι ταῦτα;<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_99" id="Page_99">[99]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER V<br /><br /> - -NO GRAMMATICAL ORDER PRESCRIBED BY NATURE</h4> - -<p>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:—</p> - -<p class="indent8"> -The hero to me chant thou, Song-queen, the resourceful man;<a name="FNanchor_102_102" id="FNanchor_102_102"></a><a href="#Footnote_102_102" class="fnanchor">[102]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -The Wrath sing, Goddess, thou;<a name="FNanchor_103_103" id="FNanchor_103_103"></a><a href="#Footnote_103_103" class="fnanchor">[103]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -The sun leapt up, as he left;<a name="FNanchor_104_104" id="FNanchor_104_104"></a><a href="#Footnote_104_104" class="fnanchor">[104]</a><br /> -</p> - -<p>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?</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>5. There seems to be a touch of -quiet humour in Dionysius’ retrospection -(during this <i>causerie</i> of his) on the -simplicity which had led him to think -that he could frame <i>a priori</i> rules as to -Nature’s Order. Cp. <b><a href="#Page_102">102</a></b> 15 in particular.</p> - -<p>7. F’s reading, πρῶτα τῶν ῥημάτων, -receives some support from <b><a href="#Page_174">174</a></b> 18 <i>infra</i>. -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.</p> - -<p>The following passage of Quintilian -(ix. 4. 23-27) illustrates this chapter in -many ways: “est et alius naturalis ordo, -ut <i>viros ac feminas, diem ac noctem, -ortum et occasum</i> dicas potius quam -retrorsum. quaedam ordine permutato -fiunt supervacua, ut <i>fratres gemini</i>; nam -si <i>gemini</i> praecesserint, <i>fratres</i> 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.”</p> - -<p>8. <b>πρότερον</b>: probably adverbial; cp. -Hom. <i>Il.</i> vii. 424 and ix. 551.</p> - -<p>15. The completed line (<i>Odyss.</i> iii. 1) -is: ἠέλιος δ’ ἀνόρουσε, λιπὼν περικαλλέα -λίμνην κτλ.</p> - -<p>18. <b>παράσχοιτ’ ἄν τις</b>: for the middle -voice cp. <b><a href="#Page_214">214</a></b> 6 and <b><a href="#Page_122">122</a></b> 14.</p> - -<p>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 <b><a href="#Page_100">100</a></b> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_100" id="Page_100">[100-1]</a></span></p> - -<p class="indent8"> -κλῦθί μευ, αἰγιόχοιο Διὸς τέκος Ἀτρυτώνη<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -ἔσπετε νῦν μοι, Μοῦσαι, Ὀλύμπια δώματ’ ἔχουσαι ...<br /> -μνῆσαι πατρὸς σεῖο, θεοῖς ἐπιείκελ’ Ἀχιλλεῦ.<br /> -</p> - -<p> -ἐν γὰρ τούτοις ἡγεῖται μὲν τὰ ῥήματα, ὑποτέτακται δὲ τὰ 5<br /> -ὀνόματα· καὶ οὐδεὶς ἂν αἰτιάσαιτο τὴν σύνταξιν αὐτῶν ὡς<br /> -ἀηδῆ.<br /> -<br /> -ἔτι πρὸς τούτοις ἄμεινον ἐδόκουν εἶναι τὰ ῥήματα πρότερα<br /> -τάττειν τῶν ἐπιρρημάτων, ἐπειδὴ πρότερόν ἐστι τῇ φύσει τὸ<br /> -ποιοῦν ἢ πάσχον τῶν συνεδρευόντων αὐτοῖς, τρόπου λέγω καὶ 10<br /> -τόπου καὶ χρόνου καὶ τῶν παραπλησίων, ἃ δὴ καλοῦμεν<br /> -ἐπιρρήματα, παραδείγμασι χρώμενος τούτοις·<br /> -</p> - -<p class="indent8"> -τύπτε δ’ ἐπιστροφάδην, τῶν δὲ στόνος ὤρνυτ’ ἀεικής ...<br /> -ἤριπε δ’ ἐξοπίσω, ἀπὸ δὲ ψυχὴν ἐκάπυσσεν ...<br /> -ἐκλίνθη δ’ ἑτέρωσε, δέπας δέ οἱ ἔκπεσε χειρός. 15<br /> -</p> - -<p> -ἐν ἅπασι γὰρ δὴ τούτοις ὕστερα τέτακται [ἅμα] τῶν ῥημάτων<br /> -τὰ ἐπιρρήματα. καὶ τοῦτο πιθανὸν μὲν ὡς τὸ πρῶτον, οὐκ<br /> -ἀληθὲς δὲ ὡς οὐδ’ ἐκεῖνο. τάδε γὰρ δὴ παρὰ τῷ αὐτῷ ποιητῇ<br /> -ἐναντίως ἢ ἐκεῖνα εἴρηται·<br /> -</p> - -<p class="indent8"> -βοτρυδὸν δὲ πέτονται ἐπ’ ἄνθεσιν εἰαρινοῖσι ... 20<br /> -σήμερον ἄνδρα φάοσδε μογοστόκος Εἰλείθυια<br /> -ἐκφανεῖ.<br /> -</p> - -<p> -ἆρ’ οὖν τι χείρω γέγονε τὰ ποιήματα ὑποταχθέντων ἐνταῦθα<br /> -τοῖς ἐπιρρήμασι τῶν ῥημάτων; οὐδεὶς ἂν εἴποι.<br /> -<br /> -ἔτι καὶ τόδε ᾤμην δεῖν μὴ παρέργως φυλάττειν, ὅπως τὰ 25<br /> -πρότερα τοῖς χρόνοις καὶ τῇ τάξει πρότερα λαμβάνηται· οἷά<br /> -ἐστι ταυτί·<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_101" id="Page_101">[101]</a></span></p> - -<p class="indent8"> -Hear me, thou Child of the Aegis-bearer, unwearied Power;<a name="FNanchor_105_105" id="FNanchor_105_105"></a><a href="#Footnote_105_105" class="fnanchor">[105]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -Tell to me, Muses, now in Olympian halls that abide;<a name="FNanchor_106_106" id="FNanchor_106_106"></a><a href="#Footnote_106_106" class="fnanchor">[106]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -Remember thy father, Achilles, thou godlike glorious man.<a name="FNanchor_107_107" id="FNanchor_107_107"></a><a href="#Footnote_107_107" class="fnanchor">[107]</a><br /> -</p> - -<p>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.</p> - -<p>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:—</p> - -<p class="indent8"> -Smote them on this side and on that, and arose the ghastly groan;<a name="FNanchor_108_108" id="FNanchor_108_108"></a><a href="#Footnote_108_108" class="fnanchor">[108]</a><br /> -Fell she backward-reeling, and gasped her spirit away;<a name="FNanchor_109_109" id="FNanchor_109_109"></a><a href="#Footnote_109_109" class="fnanchor">[109]</a><br /> -Reeled he backward: the cup from his hand-grasp fell to the floor.<a name="FNanchor_110_110" id="FNanchor_110_110"></a><a href="#Footnote_110_110" class="fnanchor">[110]</a><br /> -</p> - -<p>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:</p> - -<p class="indent8"> -Clusterwise hover they ever above the flowers of spring;<a name="FNanchor_111_111" id="FNanchor_111_111"></a><a href="#Footnote_111_111" class="fnanchor">[111]</a><br /> -To-day shall Eileithyia the Queen of Travail bring<br /> -A man to the light.<a name="FNanchor_112_112" id="FNanchor_112_112"></a><a href="#Footnote_112_112" class="fnanchor">[112]</a><br /> -</p> - -<p>Well, are the lines at all inferior because the verbs are placed -after the adverbs? No one can say so.</p> - -<p>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:—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> 12 παραδείγμασιν P 13 ὄρνυτ’ PMV - 16 γὰρ δὴ F: γὰρ PMV || ἅμα τῶν FPM: καὶ τῶν V<sup>1</sup>: τῶν V<sup>2</sup> 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</p> - -<p>8. <b>πρότερα</b> τάττειν ... ἐπειδὴ <b>πρότερον</b> -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.</p> - -<p>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 <b><a href="#Page_106">106</a></b> 5. So in Plato <i>Rep.</i> vi. 510 -ῥᾷον γὰρ τούτων προειρημένων μαθήσει, -and Xen. <i>Anab.</i> 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 <b><a href="#Page_100">100</a></b> 16-<b><a href="#Page_102">102</a></b> 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. <b><a href="#Page_100">100</a></b> 24 with -<b><a href="#Page_112">112</a></b> 5.</p> - -<p>26. Cp. Ter. <i>Andr.</i> i. 1. 100 -“funus interim | procedit: sequimur; -ad sepulcrum venimus; | in ignem impositast; -fletur.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_102" id="Page_102">[102-3]</a></span></p> - -<p class="indent8"> -αὖ ἔρυσαν μὲν πρῶτα καὶ ἔσφαξαν καὶ ἔδειραν<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -λίγξε βιός, νευρὴ δὲ μέγ’ ἴαχεν, ἆλτο δ’ ὀϊστός<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -σφαῖραν ἔπειτ’ ἔρριψε μετ’ ἀμφίπολον βασίλεια· 5<br /> -ἀμφιπόλου μὲν ἅμαρτε, βαθείῃ δ’ ἔμβαλε δίνῃ.<br /> -</p> - -<p> -νὴ Δία, φαίη τις ἄν, εἴ γε μὴ καὶ ἄλλα ἦν πολλὰ οὐχ οὕτω<br /> -συντεταγμένα ποιήματα οὐδὲν ἧττον ἢ ταῦτα καλά·<br /> -</p> - -<p class="indent8"> -πλῆξε δ’ ἀνασχόμενος σχίζῃ δρυός, ἣν λίπε κείων.<br /> -</p> - -<p> -πρότερον γὰρ δήπου τὸ ἐπανατείνασθαί ἐστι τοῦ πλῆξαι. καὶ 10<br /> -ἔτι<br /> -</p> - -<p class="indent8"> -ἤλασεν ἄγχι στάς, πέλεκυς δ’ ἀπέκοψε τένοντας<br /> -αὐχενίους.<br /> -</p> - -<p> -πρῶτον γὰρ δήπου προσῆκεν τῷ μέλλοντι τὸν πέλεκυν<br /> -ἐμβάλλειν εἰς τοὺς τένοντας τοῦ ταύρου τὸ στῆναι αὐτοῦ 15<br /> -πλησίον. ἔτι πρὸς τούτοις ἠξίουν τὰ μὲν ὀνοματικὰ προτάττειν<br /> -τῶν ἐπιθέτων, τὰ δὲ προσηγορικὰ τῶν ὀνοματικῶν,<br /> -τὰς δ’ ἀντονομασίας τῶν προσηγορικῶν, ἔν τε τοῖς ῥήμασι<br /> -φυλάττειν, ἵνα τὰ ὀρθὰ τῶν ἐγκλινομένων ἡγῆται καὶ τὰ<br /> -παρεμφατικὰ τῶν ἀπαρεμφάτων, καὶ ἄλλα τοιαῦτα πολλά. 20<br /> -πάντα δὲ ταῦτα διεσάλευεν ἡ πεῖρα καὶ τοῦ μηδενὸς ἄξια<br /> -ἀπέφαινε. τοτὲ μὲν γὰρ ἐκ τούτων ἐγίνετο καὶ τῶν ὁμοίων<br /> -αὐτοῖς ἡδεῖα ἡ σύνθεσις καὶ καλή, τοτὲ δ’ ἐκ τῶν μὴ τοιούτων<br /> -ἀλλ’ ἐναντίων. διὰ ταύτας μὲν δὴ τὰς αἰτίας τῆς τοιαύτης<br /> -θεωρίας ἀπέστην. ἐμνήσθην δ’ αὐτῶν καὶ νῦν οὐχ ὡς σπουδῆς 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_103" id="Page_103">[103]</a></span></p> - -<p class="indent8"> -They drew back the beasts’ necks first, then severed the throats and flayed;<a name="FNanchor_113_113" id="FNanchor_113_113"></a><a href="#Footnote_113_113" class="fnanchor">[113]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -Clangeth the horn, loud singeth the sinew, and leapeth the shaft;<a name="FNanchor_114_114" id="FNanchor_114_114"></a><a href="#Footnote_114_114" class="fnanchor">[114]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -The ball by the princess was tossed thereafter to one of her girls;<br /> -But it missed the maid, and was lost in the river’s eddying swirls.<a name="FNanchor_115_115" id="FNanchor_115_115"></a><a href="#Footnote_115_115" class="fnanchor">[115]</a><br /> -</p> - -<p>“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</p> - -<p class="indent8"> -And he smote it, upstrained to the stroke, with an oak-billet cloven apart.<a name="FNanchor_116_116" id="FNanchor_116_116"></a><a href="#Footnote_116_116" class="fnanchor">[116]</a> -<br /> -</p> - -<p>Surely the arms must be raised <i>before</i> the blow is dealt! And -further:—</p> - -<p class="indent8"> -He struck as he stood hard by, and the axe through the sinews shore<br /> -Of the neck.<a name="FNanchor_117_117" id="FNanchor_117_117"></a><a href="#Footnote_117_117" class="fnanchor">[117]</a><br /> -</p> - -<p>Surely a man who is about to drive his axe into a bull’s sinews -should take his stand near it <i>first</i>!”</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>3 ἆλτο P 5 ἔρριψεν P 7 εἴ γε μὴ F: εἰ PM || καὶ ἄλλα PMV: οὐχ * -F<sup>1</sup>: ἄλλα suprascr. F<sup>2</sup> || ἦν πολλὰ F: πολλὰ ἦν PMa || οὕτως FP<sup>1</sup> 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<sup>2</sup>M<sup>2</sup>: ὠνομασίας M<sup>1</sup>: -ἀντωνυμίας F<sup>1</sup>V || 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</p> - -<p>1. In Homer αὖ ἔρυσαν should -probably be printed as one word, -αὐέρυσαν. Cp. note on <b><a href="#Page_71">71</a></b> 21 <i>supra</i>.</p> - -<p>7. All this passage is in close correspondence -with Quintil. ix. 4. 24, as -quoted in the note on <b><a href="#Page_98">98</a></b> 7 <i>supra</i>.</p> - -<p>9. Homer’s line actually begins with -κόψε δ’ ἀνασχόμενος. Here Dionysius -gives πλῆξε δ’ ἀνασχόμενος, while in -<i>Antiqq. Rom.</i> vii. 62 he has κόψε δ’ -ἀπαρχόμενος. In both cases he is, -doubtless, quoting from memory.</p> - -<p>10. The order actually adopted by -Homer in these passages is that which -the rhetoricians describe as πρωθύστερον, -ὕστερον πρότερον, ὑστερολογία.</p> - -<p>16. <b>ἠξίουν τὰ μὲν ὀνοματικὰ προτάττειν -τῶν ἐπιθέτων</b>: 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_104" id="Page_104">[104-5]</a></span></p> - -<p> -ἀξίων, καὶ τὰς διαλεκτικὰς παρεθέμην τέχνας οὐχ ὡς ἀναγκαίας,<br /> -ἀλλ’ ἵνα μηδεὶς δοκῶν ἔχειν τι αὐτὰς χρήσιμον εἰς τὴν<br /> -παροῦσαν θεωρίαν περὶ πολλοῦ ποιῆται εἰδέναι, θηρευθεὶς ταῖς<br /> -ἐπιγραφαῖς τῶν πραγματειῶν ὁμοιότητά τινα ἐχούσαις καὶ τῇ<br /> -δόξῃ τῶν συνταξαμένων αὐτάς. 5<br /> -<br /> -ἐπάνειμι δ’ ἐπὶ τὴν ἐξ ἀρχῆς ὑπόθεσιν ἀφ’ ἧς εἰς ταῦτ’<br /> -ἐξέβην, ὅτι πολλὴ πρόνοια τοῖς ἀρχαίοις ἦν καὶ ποιηταῖς καὶ<br /> -συγγραφεῦσι φιλοσόφοις τε καὶ ῥήτορσι τῆς ἰδέας ταύτης, καὶ<br /> -οὔτε τὰ ὀνόματα τοῖς ὀνόμασιν οὔτε τὰ κῶλα τοῖς κώλοις<br /> -οὔτε τὰς περιόδους ἀλλήλαις εἰκῇ συνάπτειν ᾤοντο δεῖν, τέχνη 10<br /> -δέ τις ἦν παρ’ αὐτοῖς καὶ θεωρήματα οἷς χρώμενοι συνετίθεσαν<br /> -εὖ. τίνα δ’ ἦν τὰ θεωρήματα ταῦτα, ἐγὼ πειράσομαι διδάσκειν,<br /> -ὡς ἂν οἷός τε ὦ, ὅσα μοι δύναμις ἐγένετο συνεξευρεῖν,<br /> -οὐχ ἅπαντα λέγων ἀλλ’ αὐτὰ τὰ ἀναγκαιότατα.<br /> -</p> - -<h3>VI</h3> - -<p> -δοκεῖ μοι τῆς συνθετικῆς ἐπιστήμης τρία ἔργα εἶναι· ἓν 15<br /> -μὲν ἰδεῖν, τί μετὰ τίνος ἁρμοττόμενον πέφυκε καλὴν καὶ<br /> -ἡδεῖαν λήψεσθαι συζυγίαν· ἕτερον δὲ γνῶναι τῶν ἁρμόττεσθαι<br /> -μελλόντων πρὸς ἄλληλα πῶς ἂν ἕκαστον σχηματισθὲν κρείττονα<br /> -ποιήσειε φαίνεσθαι τὴν ἁρμονίαν· τρίτον δ’ εἴ τι δεῖται μετασκευῆς<br /> -τῶν λαμβανομένων, ἀφαιρέσεως λέγω καὶ προσθέσεως 20<br /> -καὶ ἀλλοιώσεως, γνῶναί τε καὶ πρὸς τὴν μέλλουσαν χρείαν<br /> -οἰκείως ἐξεργάσασθαι. ὅ τι δὲ τούτων ἕκαστον δύναται, σαφέστερον<br /> -ἐρῶ χρησάμενος εἰκόσι τῶν δημιουργικῶν τεχνῶν τισιν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_105" id="Page_105">[105]</a></span></p> - -<p>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.</p> - -<p>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.</p> - - -<h4>CHAPTER VI<br /><br /> - -THREE PROCESSES IN THE ART OF COMPOSITION</h4> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>V</p> - -<p>3. <b>θηρευθείς</b>: cp. Eur. <i>Hippol.</i> 957 -θηρεύουσι γὰρ | σεμνοῖς λόγοισιν αἰσχρὰ -μηχανώμενοι, and Xen. <i>Cyrop.</i> viii. 2. 2 -τούτοις ἐπειρᾶτο τὴν φιλίαν θηρεύειν.</p> - -<p>4. <b>ἐπιγραφαῖς</b>: cp. the excerpt from -Diog. Laert., <b><a href="#Page_96">96</a></b> 13 <i>supra</i>, and Cic. <i>de -Or.</i> 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.”</p> - -<p>5. <b>τῶν συνταξαμένων αὐτάς</b>: Zeno and -Chrysippus in particular.</p> - -<p>6. The statement in <b><a href="#Page_92">92</a></b> 21 is here -resumed.</p> - -<p>13. <b>συνεξευρεῖν</b>: perhaps, ‘to investigate -<i>together</i>,’ i.e. by a comparative -method.</p> - -<p>14. <b>αὐτὰ τὰ ἀναγκαιότατα</b>: as in -Demosthenes, e.g. <i>de Cor.</i> §§ 126, 168.</p> - -<p>16. Probably <b>ἁρμοττόμενον</b> (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. <b><a href="#Page_98">98</a></b> 6, <b><a href="#Page_106">106</a></b> 6, 7, <b><a href="#Page_110">110</a></b> 6, 13, <b><a href="#Page_112">112</a></b> -2, 4, <b><a href="#Page_124">124</a></b> 19, <b><a href="#Page_198">198</a></b> 23, <b><a href="#Page_230">230</a></b> 22. Perhaps -<b><a href="#Page_106">106</a></b> 7 should be changed accordingly.</p> - -<p>17. <b>λήψεσθαι</b> after πέφυκε = μέλλει.—<b>συζυγίαν</b>: -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.</p> - -<p>20. <b>προσθέσεως</b> (cp. <b><a href="#Page_116">116</a></b> 16) seems -right. But προσθήκη, though generally -used of the part added (<b><a href="#Page_114">114</a></b> 11, <b><a href="#Page_150">150</a></b> 13, -<b><a href="#Page_152">152</a></b> 12), may (in <b><a href="#Page_212">212</a></b> 14, <b><a href="#Page_274">274</a></b> 22) refer to -the process: cp. N.T. use of βάπτισμα.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_106" id="Page_106">[106-7]</a></span></p> - -<p> -ἃς ἅπαντες ἴσασιν, οἰκοδομικῇ λέγω καὶ ναυπηγικῇ καὶ ταῖς<br /> -παραπλησίαις· ὅ τε γὰρ οἰκοδόμος ὅταν πορίσηται τῆν ὕλην<br /> -ἐξ ἧς μέλλει κατασκευάζειν τὴν οἰκίαν, λίθους καὶ ξύλα καὶ<br /> -κέραμον καὶ τἆλλα πάντα, συντίθησιν ἐκ τούτων ἤδη τὸ<br /> -ἔργον τρία ταῦτα πραγματευόμενος, ποίῳ δεῖ λίθῳ τε καὶ ξύλῳ 5<br /> -καὶ πλίνθῳ ποῖον ἁρμόσαι λίθον ἢ ξύλον ἢ πλίνθον, ἔπειτα πῶς<br /> -τῶν ἁρμοζομένων ἕκαστον καὶ ἐπὶ ποίας πλευρᾶς ἑδράσαι, καὶ<br /> -τρίτον, εἴ τι δύσεδρόν ἐστιν, ἀποκροῦσαι καὶ περικόψαι καὶ<br /> -αὐτὸ τοῦτο εὔεδρον ποιῆσαι· ὅ τε ναυπηγὸς τὰ αὐτὰ ταῦτα<br /> -πραγματεύεται. τὰ δὴ παραπλήσιά φημι δεῖν ποιεῖν καὶ τοὺς 10<br /> -μέλλοντας εὖ συνθήσειν τὰ τοῦ λόγου μόρια, πρῶτον μὲν<br /> -σκοπεῖν, ποῖον ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι μορίων ποίῳ<br /> -συνταχθὲν ἐπιτηδείως ἔσται κείμενον καὶ πῶς οὐκ ἄμεινον<br /> -(οὐ γὰρ δὴ πάντα γε μετὰ πάντων τιθέμενα πέφυκεν ὁμοίως διατιθέναι<br /> -τὰς ἀκοάς)· ἔπειτα διακρίνειν, πῶς σχηματισθὲν τοὔνομα 15<br /> -ἢ τὸ ῥῆμα ἢ τῶν ἄλλων ὅ τι δήποτε χαριέστερον ἱδρυθήσεται<br /> -καὶ πρὸς τὰ ὑποκείμενα πρεπωδέστερον· λέγω δὲ ἐπὶ μὲν τῶν<br /> -ὀνομάτων, πότερον ἑνικῶς ἢ πληθυντικῶς λαμβανόμενα κρείττω<br /> -λήψεται συζυγίαν, καὶ πότερον κατὰ τὴν ὀρθὴν ἐκφερόμενα<br /> -πτῶσιν ἢ κατὰ τῶν πλαγίων τινά, καὶ εἴ τινα πέφυκεν ἐξ 20<br /> -ἀρρενικῶν γίνεσθαι θηλυκὰ ἢ ἐκ θηλυκῶν ἀρρενικὰ ἢ οὐδέτερα<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_107" id="Page_107">[107]</a></span></p> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> || καὶ τὸ αὐτὸ EF 9 ἑδραῖον P 10 -τὰ δὴ] τὰ F: δή PMV ||ποιεῖν om. F 12 ποί(ω) P 14 μετα -πά<span class="interlined"><span class="interlinear">τ</span><span class="base">ν</span></span> -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</p> - -<p>2. For comparisons between literary -composition and civil or marine architecture -cp. <i>C.V.</i> c. 22, Quintil. <i>Inst. -Or.</i> vii. 1 (proem.), Cic. <i>de Or.</i> 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.</p> - -<p>5. <b>ταῦτα</b> refers forward here, cp. <b><a href="#Page_112">112</a></b> -8 with <b><a href="#Page_112">112</a></b> 4. In <b><a href="#Page_110">110</a></b> 9 ἥδε refers backward—‘the -foregoing.’</p> - -<p>7. <b>ἐπὶ ποίας πλευρᾶς</b>, ‘on what side,’ -i.e. ‘with what attention to stratification -or grain.’ A builder likes to place stone -in courses <i>as it lay in the quarry</i>: 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.</p> - -<p>10. If <b>ποιεῖν</b> be omitted with F, it -must be mentally supplied from the -general sense of the verbs that follow. -Cp. Plato <i>Gorg.</i> 491 <span class="smcap">D</span> ἢ τοῦτο μὲν οὐδὲν -δεῖ, αὐτὸν ἑαυτοῦ ἄρχειν, τῶν δὲ ἄλλων; -Demosth. <i>de Cor.</i> § 139 καίτοι δυοῖν αὐτὸν -ἀνάγκη θάτερον, ἢ μηδὲν ἐγκαλεῖν κτλ., -Soph. <i>Philoct.</i> 310 ἐκεῖνο δ’ οὐδείς, ἡνίκ’ -ἂν μνησθῶ, θέλει | σῶσαί μ’ ἐς οἴκους, id. -<i>Antig.</i> 497 θέλεις τι μεῖζον ἢ κατακτεῖναί -μ’ ἑλών;</p> - -<p>13. For <i>οὐκ ἄμεινον</i> 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.</p> - -<p>15. <b>σχηματισθέν</b>: grammatical form, -or <i>construction</i>, is clearly meant here.</p> - -<p>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 <i>Ep. ad Amm. II.</i>, 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 <i>Ep. -ad Amm. II.</i> shows, Dionysius is fully -alive to the dangers of this continual -straining of language. Absolutely interchangeable -expressions are not common.</p> - -<p>18. <b>πληθυντικῶς</b>: cp. the use of the -plural in Virg. <i>Aen.</i> 155 “vos arae -ensesque nefandi, | quos fugi.”</p> - -<p>21. <b>ἐκ θηλυκῶν ἀρρενικά</b>: cf. Quintil. -<i>Inst. Or.</i> ix. 3. 6 “fiunt ergo et circa -genus figurae in nominibus, nam et -<i>oculis capti talpae</i> [Virg. <i>Georg.</i> i. 183] -et <i>timidi damae</i> [Virg. <i>Ecl.</i> viii. 28, -<i>Georg.</i> 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 -<i>Ep. ad Amm. II.</i> 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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_108" id="Page_108">[108-9]</a></span></p> - -<p> -ἐκ τούτων, πῶς ἂν ἄμεινον σχηματισθείη, καὶ πάντα τὰ<br /> -τοιαῦτα· ἐπὶ δὲ τῶν ῥημάτων, πότερα κρείττω λαμβανόμενα<br /> -ἔσται, τὰ ὀρθὰ ἢ τὰ ὕπτια, καὶ κατὰ ποίας ἐγκλίσεις ἐκφερόμενα,<br /> -ἃς δή τινες πτώσεις ῥηματικὰς καλοῦσι, κρατίστην ἕδραν<br /> -λήψεται, καὶ ποίας παρεμφαίνοντα διαφορὰς χρόνων καὶ εἴ 5<br /> -τινα τοῖς ῥήμασιν ἄλλα παρακολουθεῖν πέφυκε (τὰ δ’ αὐτὰ<br /> -ταῦτα καὶ ἐπὶ τῶν ἄλλων τοῦ λόγου μερῶν φυλακτέον, ἵνα<br /> -μὴ καθ’ ἓν ἕκαστον λέγω)· ἐπὶ δὲ τούτοις τὰ ληφθέντα<br /> -διακρίνειν, εἴ τι δεῖται μετασκευῆς ὄνομα ἢ ῥῆμα, πῶς ἂν<br /> -ἐναρμονιώτερόν τε καὶ εὐεδρότερον γένοιτο· τοῦτο τὸ στοιχεῖον 10<br /> -ἐν μὲν ποιητικῇ δαψιλέστερόν ἐστιν, ἐν δὲ λόγοις πεζοῖς<br /> -σπανιώτερον· πλὴν γίνεταί γε καὶ ἐν τούτοις ἐφ’ ὅσον ἂν<br /> -ἐγχωρῇ· ὅ τε γὰρ λέγων “εἰς τουτονὶ τὸν ἀγῶνα” προστέθεικέ<br /> -τι τῇ ἀντωνυμίᾳ γράμμα τῆς συνθέσεως στοχαζόμενος· ἄρτιον<br /> -γὰρ ἦν “εἰς τοῦτον τὸν ἀγῶνα” εἰπεῖν· καὶ πάλιν ὁ λέγων 15<br /> -“κατιδὼν Νεοπτόλεμον τὸν ὑποκριτήν” τῇ προθέσει παρηύξηκεν<br /> -τοὔνομα, τὸ γὰρ ἰδὼν ἀπέχρη· καὶ ὁ γράφων “μήτ’ ἰδίας<br /> -ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν” ταῖς συναλοιφαῖς ἠλάττωκε τὰ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_109" id="Page_109">[109]</a></span></p> - -<p>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 -<i>verbal cases</i>, 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”<a name="FNanchor_118_118" id="FNanchor_118_118"></a><a href="#Footnote_118_118" class="fnanchor">[118]</a> -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”<a name="FNanchor_119_119" id="FNanchor_119_119"></a><a href="#Footnote_119_119" class="fnanchor">[119]</a> 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”<a name="FNanchor_120_120" id="FNanchor_120_120"></a><a href="#Footnote_120_120" class="fnanchor">[120]</a> -the writer has cut off some of the letters, and has condensed the</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>2 τε EFMV<sup>1</sup> || 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<sup>1</sup>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<sup>1</sup>, V || -συναλειφαῖς F: συναλιφαῖς P</p> - -<p>8. Cp. Batteux <i>Réflexions</i> 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.”</p> - -<p>9. For Usener’s correction <b>πῶς</b> cp. -<b><a href="#Page_106">106</a></b> 15, <b><a href="#Page_108">108</a></b> 1; and for F’s δεῖται cp. -<b><a href="#Page_104">104</a></b> 19.</p> - -<p>11. Examples in Latin poetry would -be ‘gnatus’ for ‘natus,’ or ‘amarunt’ -and ‘amavere’ for ‘amaverunt.’</p> - -<p>13. We have an English parallel in -the dialect form ‘thik’ and ‘thikky,’ -both of which stand for <i>this</i>; or ‘the -forthcoming’ and ‘the coming’ might -be employed in the translation, and -‘syllable’ be substituted for ‘letter.’</p> - -<p>14. <b>ἄρτιον</b>: for the meaning cp. -ἀπέχρη <b><a href="#Page_108">108</a></b> 17. The implication is -that τουτονί (as compared with τοῦτον) -is περισσόν.</p> - -<p>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 <i>synonyms</i>, -but rather that the shorter form would -have <i>sufficed</i>.</p> - -<p>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 <i>C.V.</i> c. 25.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_110" id="Page_110">[110-1]</a></span></p> - -<p> -μόρια τοῦ λόγου κἀποκέκρουκέ τινα τῶν γραμμάτων· καὶ ὁ<br /> -ἀντὶ τοῦ ἐποίησεν “ἐποίησε” λέγων χωρὶς τοῦ ν̄ καὶ “ἔγραψε”<br /> -ἀντὶ τοῦ ἔγραψεν λέγων καὶ “ἀφαιρήσομαι” ἀντὶ τοῦ ἀφαιρεθήσομαι<br /> -καὶ πάντα τὰ τοιαῦτα, ὅ τ’ “ἐχωροφίλησε” λέγων τὸ<br /> -ἐφιλοχώρησε καὶ “λελύσεται” τὸ λυθήσεται καὶ τὰ τοιουτότροπα 5<br /> -μετασκευάζει τὰς λέξεις, ἵν’ αὐτῷ γένοιντο ἁρμοσθῆναι καλλίους<br /> -καὶ ἐπιτηδειότεραι.<br /> -</p> - -<h3>VII</h3> - -<p> -μία μὲν δὴ θεωρία τῆς συνθετικῆς ἐπιστήμης ἡ περὶ<br /> -αὐτὰ τὰ πρῶτα μόρια καὶ στοιχεῖα τῆς λέξεως ἥδε· ἑτέρα<br /> -δέ, ὥσπερ καὶ κατ’ ἀρχὰς ἔφην, ἡ περὶ τὰ καλούμενα κῶλα, 10<br /> -ποικιλωτέρας τε δεομένη πραγματείας καὶ μείζονος, ὑπὲρ ἧς<br /> -αὐτίκα δὴ πειράσομαι λέγειν ὡς ἔχω γνώμης. καὶ γὰρ<br /> -ταῦτα ἁρμόσαι πρὸς ἄλληλα δεῖ ὥστ’ οἰκεῖα φαίνεσθαι καὶ<br /> -φίλα καὶ σχηματίσαι ὡς ἂν ἐνδέχηται κράτιστα προσκατασκευάσαι<br /> -τε, εἴ πού τι δέοι, μειώσει καὶ πλεονασμῷ καὶ εἰ 15<br /> -δή τιν’ ἄλλην μετασκευὴν δέχεται τὰ κῶλα· τούτων δ’<br /> -ἕκαστον ἡ πεῖρα αὐτὴ διδάσκει· πολλάκις γὰρ τουτὶ τὸ<br /> -κῶλον τούτου μὲν προτεθὲν ἢ ἐπὶ τούτῳ τεθὲν εὐστομίαν<br /> -τινὰ ἐμφαίνει καὶ σεμνότητα, ἑτέραν δέ τινα συζυγίαν λαβὸν<br /> -ἄχαρι φαίνεται καὶ ἄσεμνον. ὃ δὲ λέγω, σαφέστερον ἔσται, 20<br /> -εἴ τις αὐτὸ ἐπὶ παραδείγματος ἴδοι. ἔστι δή τις παρὰ τῷ<br /> -Θουκυδίδῃ λέξις ἐν τῇ Πλαταιέων δημηγορίᾳ πάνυ χαριέντως<br /> -συγκειμένη καὶ μεστὴ πάθους ἥδε· “ὑμεῖς τε, ὦ Λακεδαιμόνιοι,<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_111" id="Page_111">[111]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER VII<br /><br /> - -GROUPING OF CLAUSES</h4> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. <b>χωρὶς τοῦ ν̄</b>: 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.</p> - -<p>Usener brackets the words <b>ἔγραψε -... καί</b>. 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.</p> - -<p>4. <b>φιλοχωρεῖν</b> and <b>χωροφιλεῖν</b>: see -Glossary, under φιλοχωρεῖν.</p> - -<p>5. Cp. Demosth. περὶ τῶν Συμμοριῶν -§ 2, πᾶς ὁ παρὼν φόβος λελύσεται.</p> - -<p>9. <b>ἥδε</b> = ‘the foregoing,’ cp. n. on -ταῦτα p. <a href="#Page_106">106</a> <i>supra</i>.</p> - -<p>10. <b>ὥσπερ καὶ κατ’ ἀρχὰς ἔφην</b>: <b><a href="#Page_72">72</a></b> -9, <b><a href="#Page_104">104</a></b> 9. The reading ἔφην (rather -than ἔφαμεν) accords best with Dionysius’ -usage.</p> - -<p>23. Cp. Cic. <i>Orat.</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_112" id="Page_112">[112-3]</a></span></p> - -<p> -ἡ μόνη ἐλπίς, δέδιμεν μὴ οὐ βέβαιοι ἦτε.” φέρε δή τις<br /> -λύσας τὴν συζυγίαν ταύτην μεθαρμοσάτω τὰ κῶλα οὕτως·<br /> -“ὑμεῖς τε, ὦ Λακεδαιμόνιοι, δέδιμεν μὴ οὐ βέβαιοι ἦτε, ἡ<br /> -μόνη ἐλπίς.” ἆρ’ ἔτι μένει τοῦτον τὸν τρόπον ἡρμοσμένων τῶν<br /> -κώλων ἡ αὐτὴ χάρις ἢ τὸ αὐτὸ πάθος; οὐδεὶς ἂν εἴποι. τί 5<br /> -δ’ εἰ τὴν Δημοσθένους λέξιν ταύτην “τὸ λαβεῖν οὖν τὰ<br /> -διδόμενα ὁμολογῶν ἔννομον εἶναι, τὸ χάριν τούτων ἀποδοῦναι<br /> -παρανόμων γράφῃ” λύσας τις καὶ μεταθεὶς τὰ κῶλα τουτονὶ<br /> -τὸν τρόπον ἐξενέγκαι· “ὁμολογῶν οὖν ἔννομον εἶναι τὸ λαβεῖν<br /> -τὰ διδόμενα, παρανόμων γράφῃ τὸ τούτων χάριν ἀποδοῦναι,” 10<br /> -ἆρ’ ὁμοίως ἔσται δικανικὴ καὶ στρογγύλη; ἐγὼ μὲν οὐκ<br /> -οἴομαι.<br /> -</p> - -<h3>VIII</h3> - -<p> -ἡ μὲν δὴ περὶ τὴν ἁρμογὴν τῶν κώλων θεωρία τοιαύτη,<br /> -ἡ δὲ περὶ τὸν σχηματισμὸν ποδαπή; οὐκ ἔστιν εἷς τρόπος<br /> -τῆς ἐκφορᾶς ἁπάντων τῶν νοημάτων, ἀλλὰ τὰ μὲν ὡς 15<br /> -ἀποφαινόμενοι λέγομεν, τὰ δ’ ὡς πυνθανόμενοι, τὰ δ’ ὡς<br /> -εὐχόμενοι, τὰ δ’ ὡς ἐπιτάττοντες, τὰ δ’ ὡς διαποροῦντες, τὰ<br /> -δ’ ὡς ὑποτιθέμενοι, τὰ δὲ ἄλλως πως σχηματίζοντες, οἷς<br /> -ἀκολούθως καὶ τὴν λέξιν πειρώμεθα σχηματίζειν. πολλοὶ δὲ<br /> -δήπου σχηματισμοὶ καὶ τῆς λέξεώς εἰσιν ὥσπερ καὶ τῆς 20<br /> -διανοίας, οὓς οὐχ οἷόν τε κεφαλαιωδῶς περιλαβεῖν, ἴσως δὲ<br /> -καὶ ἄπειροι· περὶ ὧν καὶ πολὺς ὁ λόγος καὶ βαθεῖα ἡ θεωρία.<br /> -οὐ δὴ τὸ αὐτὸ δύναται ποιεῖν τὸ αὐτὸ κῶλον οὕτω σχηματισθὲν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_113" id="Page_113">[113]</a></span></p> - -<p>fail in steadfastness.”<a name="FNanchor_121_121" id="FNanchor_121_121"></a><a href="#Footnote_121_121" class="fnanchor">[121]</a> 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.”<a name="FNanchor_122_122" id="FNanchor_122_122"></a><a href="#Footnote_122_122" class="fnanchor">[122]</a> 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.</p> - - -<h4>CHAPTER VIII<br /><br /> - -SHAPING OF CLAUSES</h4> - -<p>The principles governing the arrangement of clauses have -now been stated. What principles govern their shaping?</p> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἡ μόνη ἐλπίς add. in marg. F || ἡ μόνη] ἡμῶν ἡ EF<sup>1</sup>M<sup>1</sup> || 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</p> - -<p>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. <a href="#Page_17">17</a> ff. <i>supra</i> (under Emphasis). A -striking instance of effective emphasis -in English is Macduff’s passionate out-burst:—</p> - -<p class="indent8"> -<span class="marginleft8">Not in the legions</span><br /> -Of horrid hell can come a devil more damn’d<br /> -In ills to top Macbeth.<br /> -</p> - -<p>“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 <i>Philosophy of Rhetoric</i> -p. 496. Biblical instances are: (1) -“Nevertheless even him did outlandish -women cause to sin” (<i>Nehem.</i> xiii. 26); -(2) “Your fathers, where are they? and -the prophets, do they live for ever?” -(<i>Zech.</i> i. 5).</p> - -<p>8. Sometimes the manuscript testimony -is quite clear as between such -forms as τουτονί and τοῦτον: cp. <b><a href="#Page_116">116</a></b> -9 n. In doubtful cases the -ί form -might be adopted—in <b><a href="#Page_64">64</a></b> 6 and <b><a href="#Page_84">84</a></b> 17 -as well as in <b><a href="#Page_112">112</a></b> 8 and <b><a href="#Page_178">178</a></b> 10.</p> - -<p>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. <i>Ars. P.</i> -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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_114" id="Page_114">[114-5]</a></span></p> - -<p> -ἢ οὕτως. ἐρῶ δὲ ἐπὶ παραδείγματος· εἰ τοῦτον ἐξήνεγκε<br /> -τὸν τρόπον ὁ Δημοσθένης τὴν λέξιν ταύτην “ταῦτ’ εἰπὼν<br /> -ἔγραψα, γράψας δ’ ἐπρέσβευσα, πρεσβεύσας δ’ ἔπεισα Θηβαίους,”<br /> -ἆρ’ οὕτως ἂν συνέκειτο χαριέντως, ὡς νῦν σύγκειται;<br /> -“οὐκ εἶπον μὲν ταῦτα, οὐκ ἔγραψα δέ· οὐδ’ ἔγραψα μέν, οὐκ 5<br /> -ἐπρέσβευσα δέ· οὐδ’ ἐπρέσβευσα μέν, οὐκ ἔπεισα δὲ Θηβαίους.”<br /> -πολὺς δ’ ἂν εἴη μοι λόγος, εἰ περὶ πάντων βουλοίμην λέγειν<br /> -τῶν σχηματισμῶν ὅσους τὰ κῶλα ἐπιδέχεται. ἀπόχρη δὲ<br /> -εἰσαγωγῆς ἕνεκα τοσαῦτα εἰρῆσθαι.<br /> -</p> - -<h3>IX</h3> - -<p> -ἀλλὰ μὴν ὅτι γε καὶ μετασκευὰς δέχεται τῶν κώλων ἔνια 10<br /> -τοτὲ μὲν προσθήκας λαμβάνοντα οὐκ ἀναγκαίας ὡς πρὸς τὸν<br /> -νοῦν, τοτὲ δὲ ἀφαιρέσεις ἀτελῆ ποιούσας τὴν διάνοιαν, ἃς οὐκ<br /> -ἄλλου τινὸς ἕνεκα ποιοῦσι ποιηταί τε καὶ συγγραφεῖς ἢ τῆς<br /> -ἁρμονίας, ἵν’ ἡδεῖα καὶ καλὴ γένηται, πάνυ ὀλίγου δεῖν οἴομαι<br /> -λόγου. τίς γὰρ οὐκ ἂν ὁμολογήσαι τήνδε τὴν λέξιν ἣν ὁ 15<br /> -Δημοσθένης εἴρηκε προσθήκῃ πλεονάζειν οὐκ ἀναγκαίᾳ τῆς<br /> -ἁρμονίας ἕνεκα; “ὁ γὰρ οἷς ἂν ἐγὼ ληφθείην, ταῦτα πράττων<br /> -καὶ κατασκευαζόμενος, οὗτος ἐμοὶ πολεμεῖ, κἂν μήπω βάλλῃ<br /> -μηδὲ τοξεύῃ.” ἐνταῦθα γὰρ οὐχὶ τοῦ ἀναγκαίου χάριν πρόσκειται<br /> -τὸ τοξεύειν, ἀλλ’ ἵνα τὸ τελευταῖον κῶλον τὸ “κἂν 20<br /> -μήπω βάλλῃ” τραχύτερον τοῦ δέοντος ὂν καὶ οὐχ ἡδὺ ἀκουσθῆναι<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_115" id="Page_115">[115]</a></span></p> - -<p>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”?<a name="FNanchor_123_123" id="FNanchor_123_123"></a><a href="#Footnote_123_123" class="fnanchor">[123]</a> 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.</p> - - -<h4>CHAPTER IX<br /><br /> - -LENGTHENING AND SHORTENING OF CLAUSES AND PERIODS</h4> - -<p>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.”<a name="FNanchor_124_124" id="FNanchor_124_124"></a><a href="#Footnote_124_124" class="fnanchor">[124]</a> -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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. Cicero (<i>Philipp.</i> 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.”</p> - -<p>2. With <b>εἰπών</b> (rather than εἴπας) cp. -line 5 (εἶπον, not εἶπα), though P gives -προεῖπα in <b><a href="#Page_280">280</a></b> 19. In the Epitome εἴπας -is found in V only, the other three -<span class="smcap">MSS.</span> 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.</p> - -<p>4. Cp. Demetr. <i>de Eloc.</i> § 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.</p> - -<p>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 <i>de Demosth.</i> 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.</p> - -<p>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).</p> - -<p>16. <b>προσθήκῃ οὐκ ἀναγκαίᾳ</b>: compare, -for example, such harmonious redundancies -as οἱ δ’ ἐπεὶ οὖν ἤγερθεν ὁμηγερέες -τ’ ἐγένοντο (<i>Il.</i> i. 57) and “when we -assemble and meet together” (Book of -Common Prayer).</p> - -<p>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: -<i>Familiaris coeperat esse balneatori</i>, et -<i>Non minimum dura archipiratae</i>. Nam -<i>balneatori</i> et <i>archipiratae</i> idem finis est -qui πᾶσι καὶ πάσαις et qui μηδὲ τοξεύῃ: -sed priora sunt severiora.”</p> - -<p>21. In <b>τραχύτερον</b> 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 <i>shorter</i> than -it ought to be can be improved (cp. <b><a href="#Page_114">114</a></b> -16) by extension.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_116" id="Page_116">[116-7]</a></span></p> - -<p> -τῇ προσθήκῃ ταύτῃ γένηται χαριέστερον. καὶ ἔτι τὴν<br /> -Πλατωνικὴν ἐκείνην περίοδον, ἣν ἐν τῷ ἐπιταφίῳ ὁ ἀνὴρ<br /> -γράφει, τίς οὐκ ἂν φαίη παραπληρώματι λέξεως οὐκ ἀναγκαίῳ<br /> -προσηρανίσθαι; “ἔργων γὰρ εὖ πραχθέντων λόγῳ καλῶς<br /> -ῥηθέντι μνήμη καὶ κόσμος γίνεται τοῖς πράξασι παρὰ τῶν 5<br /> -ἀκουσάντων.” ἐνταυθοῖ γὰρ τὸ “παρὰ τῶν ἀκουσάντων” πρὸς<br /> -οὐδὲν ἀναγκαῖον λέγεται, ἀλλ’ ἵνα τὸ τελευταῖον κῶλον τὸ<br /> -“τοῖς πράξασι” πάρισόν τε καὶ ἐφάμιλλον τοῖς πρὸ αὐτοῦ<br /> -γένηται. τί δὲ δὴ τὸ παρ’ Αἰσχίνῃ λεγόμενον τουτί “ἐπὶ<br /> -σαυτὸν καλεῖς, ἐπὶ τοὺς νόμους καλεῖς, ἐπὶ τὴν δημοκρατίαν 10<br /> -καλεῖς,” τρίκωλον ἐν τοῖς πάνυ ἐπαινούμενον, οὐχὶ τῆς αὐτῆς<br /> -ἰδέας ἔχεται; ὃ γὰρ οἷόν τε ἦν ἑνὶ κώλῳ περιληφθῆναι τόνδε<br /> -τὸν τρόπον “ἐπὶ σεαυτὸν καὶ τοὺς νόμους καὶ τὴν δημοκρατίαν<br /> -καλεῖς,” τοῦτο εἰς τρία διῄρηται, τῆς αὐτῆς λέξεως οὐ τοῦ<br /> -ἀναγκαίου ἕνεκα, τοῦ δὲ ἡδίω ποιῆσαι τὴν ἁρμονίαν πολλάκις 15<br /> -τεθείσης [καὶ προσέτι πάθος τῷ λόγῳ]. τῆς μὲν δὴ προσθέσεως<br /> -ἣ γίνεται τοῖς κώλοις οὗτος ὁ τρόπος· τῆς ἀφαιρέσεως<br /> -δὲ τίς; ὅταν τῶν ἀναγκαίων τι λέγεσθαι λυπεῖν μέλλῃ καὶ<br /> -διοχλεῖν τὴν ἀκρόασιν, ἀφαιρεθὲν δὲ χαριεστέραν ποιῇ τὴν<br /> -ἁρμονίαν· οἷά ἐστιν ἐν μὲν τοῖς μέτροις τὰ Σοφόκλεια ταυτί· 20<br /> -</p> - -<p class="indent8"> -μύω τε καὶ δέδορκα κἀξανίσταμαι<br /> -πλέον φυλάσσων αὐτὸς ἢ φυλάσσομαι·<br /> -</p> - -<p> -ἐνταυθοῖ γὰρ ὁ δεύτερος στίχος ἐκ δυεῖν σύγκειται κώλων οὐχ<br /> -ὅλων· τελεία γὰρ ἂν ἡ λέξις ἦν οὕτως ἐξενεχθεῖσα “πλεῖον<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_117" id="Page_117">[117]</a></span></p> - -<p>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.”<a name="FNanchor_125_125" id="FNanchor_125_125"></a><a href="#Footnote_125_125" class="fnanchor">[125]</a> 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,”<a name="FNanchor_126_126" id="FNanchor_126_126"></a><a href="#Footnote_126_126" class="fnanchor">[126]</a> 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.</p> - -<p>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:—</p> - -<p class="indent8"> -I close mine eyes, I open them, I rise—<br /> -Myself the warder rather than the warded.<a name="FNanchor_127_127" id="FNanchor_127_127"></a><a href="#Footnote_127_127" class="fnanchor">[127]</a><br /> -</p> - -<p>Here the second line is composed of two imperfect clauses. -The expression would have been complete if it had run thus,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. <b>ὁ ἀνήρ</b> is used by Dionysius with -various shades of meaning,—‘the author,’ -‘the Master,’ ‘the worthy,’ etc. Cp. -<b><a href="#Page_96">96</a></b> 8, <b><a href="#Page_182">182</a></b> 2, <b><a href="#Page_184">184</a></b> 12, <b><a href="#Page_186">186</a></b> 2, <b><a href="#Page_198">198</a></b> 4, <b><a href="#Page_228">228</a></b> -15, <b><a href="#Page_264">264</a></b> 25.</p> - -<p>5. In the actual text of <i>Menex.</i> 236 -<span class="smcap">E</span> there is a slight difference of order, -viz. τοῖς πράξασι γίγνεται instead of -γίνεται τοῖς πράξασι (as Dionysius gives -it).</p> - -<p>6. The Epitome makes the meaning -quite plain by inserting παραπλήρωμα -τῆς λέξεως between ἀκουσάντων and πρὸς -οὐδέν.</p> - -<p>9. Here all <span class="smcap">MSS.</span> agree in giving the -form <b>τουτί</b>. The same agreement will -be found in <b><a href="#Page_86">86</a></b> 9, <b><a href="#Page_110">110</a></b> 17, <b><a href="#Page_116">116</a></b> 20, <b><a href="#Page_120">120</a></b> -24, <b><a href="#Page_156">156</a></b> 15, <b><a href="#Page_158">158</a></b> 5, etc.</p> - -<p>10. Demetrius, <i>de Eloc.</i> § 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. <i>pro Milone</i> -22. 59).</p> - -<p>11. <b>τῆς αὐτῆς ἰδέας</b>, ‘the same form -of expression,’ i.e. the effectively pleonastic.</p> - -<p>16. If the words <b>καὶ προσέτι πάθος -τῷ λόγῳ</b> 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.</p> - -<p>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 (<i>Il.</i> ii. 24). The ‘elliptical’ -effect (an ellipse being implied by ἀφαίρεσις, -cp. <b><a href="#Page_116">116</a></b> 17) is produced by the -presence of αὐτός, which suggests that -ἑτέρους and ὑφ’ ἑτέρων are to be mentally -supplied.—Cp. Cic. <i>in Q. Caec. Divin.</i> -18. 58 “hic tu, si laesum te a Verre esse -dices, patiar et concedam: si iniuriam -tibi factam quereris, <i>defendam et negabo</i>”; -and Racine <i>Andromaque</i> iv. 5 -“Je t’aimais inconstant; <i>qu’aurais-je -fait fidèle</i>?”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_118" id="Page_118">[118-9]</a></span></p> - -<p> -φυλάσσων αὐτὸς ἑτέρους ἢ φυλασσόμενος ὑφ’ ἑτέρων,” τὸ δὲ<br /> -μέτρον ἠδίκητο καὶ οὐκ ἂν ἔσχεν ἣν νυνὶ χάριν ἔχει. ἐν δὲ<br /> -τοῖς πεζοῖς λόγοις τὰ τοιαῦτα· “ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦντα<br /> -πάντας ἀφαιρεῖσθαι τὴν ἀτέλειαν τῶν ἀδίκων ἐστίν,<br /> -ἐάσω.” μεμείωται γὰρ κἀνταῦθα τῶν πρώτων δυεῖν κώλων 5<br /> -ἑκάτερον· αὐτοτελῆ δ’ ἂν ἦν, εἴ τις αὐτὰ οὕτως ἐξήνεγκεν·<br /> -“ἐγὼ δ’ ὅτι μὲν τινῶν κατηγοροῦντα ὡς οὐκ ἐπιτηδείων ἔχειν<br /> -τὴν ἀτέλειαν πάντας ἀφαιρεῖσθαι καὶ τοὺς δικαίως αὐτῆς<br /> -τυχόντας τῶν ἀδίκων ἐστίν, ἐάσω.” ἀλλ’ οὐκ ἐδόκει τῷ<br /> -Δημοσθένει πλείονα ποιεῖσθαι πρόνοιαν τῆς ἀκριβείας τῶν 10<br /> -κώλων ἢ τῆς εὐρυθμίας.<br /> -<br /> -τὰ δ’ αὐτὰ εἰρήσθω μοι καὶ περὶ τῶν καλουμένων περιόδων·<br /> -καὶ γὰρ ταύτας χρὴ τάς τε προηγουμένας καὶ τὰς ἑπομένας<br /> -οἰκείως συναρμόττειν, ὅταν ἐν περιόδοις προσήκῃ τὸν λόγον<br /> -ἐκφέρειν· οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον χρήσιμον. 15<br /> -καὶ αὐτὸ δὲ τοῦτο τὸ θεώρημα τῆς συνθετικῆς ἐπιστήμης ἴδιον,<br /> -πότε δεῖ χρῆσθαι περιόδοις καὶ μέχρι πόσου καὶ πότε μή.<br /> -</p> - -<h3>X</h3> - -<p> -διωρισμένων δή μοι τούτων ἀκόλουθον ἂν εἴη τὸ λέγειν,<br /> -τίνα ἐστὶν ὧν δεῖ στοχάζεσθαι τὸν βουλόμενον συντιθέναι τὴν<br /> -λέξιν εὖ καὶ διὰ τίνων θεωρημάτων τυγχάνοι τις ἂν ὧν 20<br /> -βούλεται. δοκεῖ δέ μοι δύο ταῦτ’ εἶναι ‹τὰ› γενικώτατα, ὧν<br /> -ἐφίεσθαι δεῖ τοὺς συντιθέντας μέτρα τε καὶ λόγους, ἥ τε ἡδονὴ<br /> -καὶ τὸ καλόν· ἀμφότερα γὰρ ἐπιζητεῖ ταῦτα ἡ ἀκοή, ὅμοιόν<br /> -τι πάσχουσα τῇ ὁράσει· καὶ γὰρ ἐκείνη πλάσματα καὶ γραφὰς<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_119" id="Page_119">[119]</a></span></p> - -<p>“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.”<a name="FNanchor_128_128" id="FNanchor_128_128"></a><a href="#Footnote_128_128" class="fnanchor">[128]</a> 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.</p> - -<p>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.</p> - - -<h4>CHAPTER X<br /><br /> - -AIMS AND METHODS OF GOOD COMPOSITION</h4> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>V 22 μέτρα FP: εὖ -μέτρα MV</p> - -<p>4. Dionysius does not appear to feel -that <b>τῶν ἀδίκων</b> 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. <a href="#Page_337">337</a> <i>infra</i>) precedes -the noun on which it depends; -and, in any case, the speaker would -here pause slightly between τὴν ἀτέλειαν -and τῶν ἀδίκων.</p> - -<p>15. <b>οὐ γὰρ δὴ πανταχῇ γε τὸ ἐμπερίοδον -χρήσιμον.</b> 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. <i>Rhet.</i> 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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_120" id="Page_120">[120-1]</a></span></p> - -<p> -καὶ γλυφὰς καὶ ὅσα δημιουργήματα χειρῶν ἐστιν ἀνθρωπίνων<br /> -ὁρῶσα ὅταν εὑρίσκῃ τό τε ἡδὺ ἐνὸν ἐν αὐτοῖς καὶ τὸ καλόν,<br /> -ἀρκεῖται καὶ οὐδὲν ἔτι ποθεῖ. καὶ μὴ παράδοξον ἡγήσηταί<br /> -τις, εἰ δύο ποιῶ τέλη καὶ χωρίζω τὸ καλὸν ἀπὸ τῆς ἡδονῆς,<br /> -μηδ’ ἄτοπον εἶναι νομίσῃ, εἴ τινα ἡγοῦμαι λέξιν ἡδέως μὲν 5<br /> -συγκεῖσθαι, μὴ καλῶς δέ, ἢ καλῶς μέν, οὐ μὴν καὶ ἡδέως·<br /> -φέρει γὰρ ἡ ἀλήθεια τὸ τοιοῦτον καὶ οὐδὲν ἀξιῶ καινόν· ἥ<br /> -γε τοι Θουκυδίδου λέξις καὶ ἡ Ἀντιφῶντος τοῦ Ῥαμνουσίου<br /> -καλῶς μὲν σύγκειται νὴ Δία, εἴπερ τινὲς καὶ ἄλλαι, καὶ<br /> -οὐκ ἄν τις αὐτὰς ἔχοι μέμψασθαι κατὰ τοῦτο, οὐ μὴν ἡδέως 10<br /> -γε πάνυ· ἡ δέ γε τοῦ Κνιδίου συγγραφέως Κτησίου καὶ ἡ<br /> -τοῦ Σωκρατικοῦ Ξενοφῶντος ἡδέως μὲν ὡς ἔνι μάλιστα, οὐ<br /> -μὴν καλῶς γ’ ἐφ’ ὅσον ἔδει· λέγω δὲ κοινότερον, ἀλλ’ οὐχὶ<br /> -καθάπαξ, ἐπεὶ καὶ παρ’ ἐκείνοις ἥρμοσταί τινα ἡδέως καὶ<br /> -παρὰ τούτοις καλῶς. ἡ δὲ Ἡροδότου σύνθεσις ἀμφότερα 15<br /> -ταῦτα ἔχει, καὶ γὰρ ἡδεῖά ἐστι καὶ καλή.<br /> -</p> - -<h3>XI</h3> - -<p> -ἐξ ὧν δ’ οἶμαι γενήσεσθαι λέξιν ἡδεῖαν καὶ καλήν, τέτταρά<br /> -ἐστι ταῦτα τὰ κυριώτατα καὶ κράτιστα, μέλος καὶ ῥυθμὸς καὶ<br /> -μεταβολὴ καὶ τὸ παρακολουθοῦν τοῖς τρισὶ τούτοις πρέπον.<br /> -τάττω δὲ ὑπὸ μὲν τὴν ἡδονὴν τήν τε ὥραν καὶ τὴν χάριν καὶ 20<br /> -τὴν εὐστομίαν καὶ τὴν γλυκύτητα καὶ τὸ πιθανὸν καὶ πάντα<br /> -τὰ τοιαῦτα, ὑπὸ δὲ τὸ καλὸν τήν τε μεγαλοπρέπειαν καὶ τὸ<br /> -βάρος καὶ τὴν σεμνολογίαν καὶ τὸ ἀξίωμα καὶ τὸν πίνον καὶ<br /> -τὰ τούτοις ὅμοια. ταυτὶ γάρ μοι δοκεῖ κυριώτατα εἶναι καὶ<br /> -ὥσπερ κεφάλαια τῶν ἄλλων ἐν ἑκατέρῳ. ὧν μὲν οὖν στοχάζονται 25<br /> -πάντες οἱ σπουδῇ γράφοντες μέτρον ἢ μέλος ἢ τὴν<br /> -λεγομένην πεζὴν λέξιν, ταῦτ’ ἐστὶ καὶ οὐκ οἶδ’ εἴ τι παρὰ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_121" id="Page_121">[121]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER XI<br /><br /> - -GENERAL DISCUSSION OF THE SOURCES OF CHARM AND BEAUTY -IN COMPOSITION</h4> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>V: πῖνος suprascr. M 26 μέτρον ἡ μέλος P, MV: μέλος ἢ μέτρον F</p> - -<p>2. <b>τὸ καλόν</b>: see Glossary, s.v. καλός.</p> - -<p>11. For <b>Ctesias</b> cp. Demetr. <i>de Eloc.</i> -§§ 213-16, where a fine passage is -quoted from him; also p. 247 <i>ibid.</i> -Photius (<i>Bibl. Cod.</i> 72) says of Ctesias: -ἔστι δὲ οὗτος ὁ συγγραφεὺς σαφής τε καὶ -ἀφελὴς λίαν· διὸ καὶ ἡδονῇ αὐτῷ σύγκρατός -ἐστιν ὁ λόγος.</p> - -<p>12. <b>Ξενοφῶντος</b>: cp. Diog. Laert. ii. -6. 57 ἐκαλεῖτο δὲ καὶ Ἀττικὴ Μοῦσα -γλυκύτητι τῆς ἑρμηνείας, and Cic. <i>Orat.</i> -19. 63 “et Xenophontis voce Musas -quasi locutas ferunt.”—For <b>τοῦ Σωκρατικοῦ</b> -cp. Quintil. x. 1. 75 “Xenophon -non excidit mihi sed inter philosophos -reddendus est.”</p> - -<p>14. <b>καθάπαξ</b>, ‘absolutely,’ ‘universally,’ -‘exclusively.’ So in <b><a href="#Page_132">132</a></b> 16.</p> - -<p>18. Cp <i>de Demosth.</i> 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.</p> - -<p>25. <b>ἑκάτερον</b> means (here and in <b><a href="#Page_122">122</a></b> 1) -ἥ τε ἡδονὴ καὶ τὸ καλόν.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_122" id="Page_122">[122-3]</a></span></p> - -<p> -ταῦθ’ ἕτερον· οἱ δὲ πρωτεύσαντες ἐν ἑκατέρῳ τε τούτων καὶ<br /> -ἐν ἀμφοτέροις πολλοί τε καὶ ἀγαθοὶ ἄνδρες· παραδείγματα δὲ<br /> -αὐτῶν ἑκάστου φέρειν ἐν τῷ παρόντι οὐκ ἐγχωρεῖ, ἵνα μὴ<br /> -περὶ ταῦτα κατατρίψω τὸν λόγον· καὶ ἅμα εἴ τι λεχθῆναι<br /> -περί τινος αὐτῶν καθήκει καὶ δεήσει που μαρτυριῶν, ἕτερος 5<br /> -αὐτοῖς ἔσται καιρὸς ἐπιτηδειότερος, ὅταν τοὺς χαρακτῆρας τῶν<br /> -ἁρμονιῶν ὑπογράφω. νῦν δὲ ταῦτ’ εἰρῆσθαι περὶ αὐτῶν<br /> -ἀπόχρη. ἐπάνειμι δὲ πάλιν ἐπὶ τὰς διαιρέσεις, ἃς ἐποιησάμην<br /> -τῆς θ’ ἡδείας συνθέσεως καὶ τῆς καλῆς, ἵνα μοι καὶ καθ’ ὁδόν,<br /> -ὥς φασι, χωρῇ ὁ λόγος. 10<br /> -<br /> -ἔφην δὴ τὴν ἀκοὴν ἥδεσθαι πρώτοις μὲν τοῖς μέλεσιν,<br /> -ἔπειτα τοῖς ῥυθμοῖς, τρίτον ταῖς μεταβολαῖς, ἐν δὲ τούτοις<br /> -ἅπασι τῷ πρέποντι. ὅτι δὲ ἀληθῆ λέγω, τὴν πεῖραν αὐτὴν<br /> -παρέξομαι μάρτυρα, ἣν οὐχ οἷόν τε διαβάλλειν τοῖς κοινοῖς<br /> -πάθεσιν ὁμολογουμένην· τίς γάρ ἐστιν ὃς οὐχ ὑπὸ μὲν ταύτης 15<br /> -τῆς μελῳδίας ἄγεται καὶ γοητεύεται, ὑφ’ ἑτέρας δέ τινος οὐδὲν<br /> -πάσχει τοιοῦτον, καὶ ὑπὸ μὲν τούτων τῶν ῥυθμῶν οἰκειοῦται,<br /> -ὑπὸ δὲ τούτων διοχλεῖται; ἤδη δ’ ἔγωγε καὶ ἐν τοῖς πολυανθρωποτάτοις<br /> -θεάτροις, ἃ συμπληροῖ παντοδαπὸς καὶ ἄμουσος<br /> -ὄχλος, ἔδοξα καταμαθεῖν, ὡς φυσική τις ἁπάντων ἐστὶν ἡμῶν 20<br /> -οἰκειότης πρὸς ἐμμέλειάν τε καὶ εὐρυθμίαν, κιθαριστήν τε<br /> -ἀγαθὸν σφόδρα εὐδοκιμοῦντα ἰδὼν θορυβηθέντα ὑπὸ τοῦ<br /> -πλήθους, ὅτι μίαν χορδὴν ἀσύμφωνον ἔκρουσε καὶ διέφθειρεν<br /> -τὸ μέλος, καὶ αὐλητὴν ἀπὸ τῆς ἄκρας ἕξεως χρώμενον τοῖς<br /> -ὀργάνοις τὸ αὐτὸ τοῦτο παθόντα, ὅτι σομφὸν ἐμπνεύσας ἢ μὴ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_123" id="Page_123">[123]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>V</p> - -<p>9. <b>καθ’ ὁδόν, ὥς φασι, χωρῇ ὁ λόγος.</b> -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 <i>ratione -et via procedat oratio</i>” (<i>de Finibus</i> i. 9. -29). <i>Ratione et via</i> (‘rationally and -methodically,’ ‘on scientific principles’) -often corresponds to μεθόδῳ in Greek. -In <b><a href="#Page_96">96</a></b> 25 ὁδῷ χωρεῖν is found, and ὁδοῦ -τε καὶ τέχνης χωρίς in <b><a href="#Page_262">262</a></b> 21.</p> - -<p>13. A clearer rendering might be -“the appropriateness which these three -require.”</p> - -<p>19. <b>παντοδαπός</b>: cp. Hor. <i>Ars P.</i> -212 “indoctus quid enim saperet liberque -laborum | rusticus urbano confusus, -turpis honesto?”</p> - -<p>20. Probably Dionysius has in mind -a Greek theatre. But Roman theatres -also contained sensitive hearers: cp. -Cic. <i>de Orat.</i> 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. <i>ibid.</i> 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. <i>Parad.</i> 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. <i>Ran.</i> 303, 304).</p> - -<p>25. ἀσύμφωνον (found in P and in other -<span class="smcap">MSS</span>.) is probably an echo from line 23.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_124" id="Page_124">[124-5]</a></span></p> - -<p> -πιέσας τὸ στόμα θρυλιγμὸν ἢ τὴν καλουμένην ἐκμέλειαν<br /> -ηὔλησε. καίτοι γ’ εἴ τις κελεύσειε τὸν ἰδιώτην τούτων τι ὧν<br /> -ἐνεκάλει τοῖς τεχνίταις ὡς ἡμαρτημένων, αὐτὸν ποιῆσαι λαβόντα<br /> -τὰ ὄργανα, οὐκ ἂν δύναιτο. τί δήποτε; ὅτι τοῦτο μὲν<br /> -ἐπιστήμης ἐστίν, ἧς οὐ πάντες μετειλήφαμεν, ἐκεῖνο δὲ πάθους 5<br /> -ὃ πᾶσιν ἀπέδωκεν ἡ φύσις. τὸ δ’ αὐτὸ καὶ ἐπὶ τῶν ῥυθμῶν<br /> -γινόμενον ἐθεασάμην, ἅμα πάντας ἀγανακτοῦντας καὶ δυσαρεστουμένους,<br /> -ὅτε τις ἢ κροῦσιν ἢ κίνησιν ἢ φωνὴν ἐν ἀσυμμέτροις<br /> -ποιήσαιτο χρόνοις καὶ τοὺς ῥυθμοὺς ἀφανίσειεν. καὶ<br /> -οὐχὶ τὰ μὲν ἐμμελῆ καὶ εὔρυθμα ἡδονῆς ἀγωγά ἐστι καὶ 10<br /> -πάντες ὑπ’ αὐτῶν κηλούμεθα, αἱ μεταβολαὶ δὲ καὶ τὸ πρέπον<br /> -οὐκ ἔχουσι τὴν αὐτὴν ὥραν καὶ χάριν οὐδ’ ὑπὸ πάντων<br /> -ὁμοίως διακούονται· ἀλλὰ κἀκεῖνα πάνυ κηλεῖ πάντας ἡμᾶς<br /> -κατορθούμενα καὶ εἰς πολλὴν ὄχλησιν ἄγει διαμαρτανόμενα·<br /> -τίς γὰρ οὐκ ἂν ὁμολογήσειεν; τεκμαίρομαι δέ, ὅτι καὶ τῆς 15<br /> -ὀργανικῆς μούσης καὶ τῆς ἐν ᾠδῇ καὶ τῆς ἐν ὀρχήσει χάριτος<br /> -‹μὲν› ἐν ἅπασι διευστοχούσης, μεταβολὰς δὲ μὴ ποιησαμένης<br /> -εὐκαίρους ἢ τοῦ πρέποντος ἀποπλανηθείσης βαρὺς μὲν ὁ κόρος,<br /> -ἀηδὲς δὲ τὸ μὴ τοῖς ὑποκειμένοις ἁρμόττον φαίνεται. καὶ οὐκ<br /> -ἀλλοτρίᾳ κέχρημαι τοῦ πράγματος εἰκόνι. μουσικὴ γάρ τις 20<br /> -ἦν καὶ ἡ τῶν πολιτικῶν λόγων ἐπιστήμη τῷ ποσῷ διαλλάττουσα<br /> -τῆς ἐν ᾠδῇ καὶ ὀργάνοις, οὐχὶ τῷ ποιῷ· καὶ γὰρ ἐν<br /> -ταύτῃ καὶ μέλος ἔχουσιν αἱ λέξεις καὶ ῥυθμὸν καὶ μεταβολὴν<br /> -καὶ πρέπον, ὥστε καὶ ἐπὶ ταύτης ἡ ἀκοὴ τέρπεται μὲν τοῖς<br /> -μέλεσιν, ἄγεται δὲ τοῖς ῥυθμοῖς, ἀσπάζεται δὲ τὰς μεταβολάς, 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_125" id="Page_125">[125]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>3 ἐγκαλεῖ F 5 πάθους PMV: πᾶθος F 8 φωνὴν PMV: μορφὴν F 10 -εὐμελῆ PMV || ἀγωγά F, suprascr. M: μεστὰ PM<sup>1</sup>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</p> - -<p>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.’</p> - -<p>5. <b>ἐπιστήμης</b>: cp. Ov. <i>ex Ponto</i> iii. -9. 15 “non eadem ratio est sentire et -demere morbos: | sensus inest cunctis, -tollitur arte malum,” and Cic. <i>de Orat.</i> -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.”</p> - -<p>If πάθος be read, the meaning will -be ‘the other is an instinct imparted to -all by nature.’</p> - -<p>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.’</p> - -<p>14. <b>διαμαρτανόμενα</b>, <i>manqué</i>: cp. ἡμαρτημέναι -πολιτεῖαι, and the like, in Plato.</p> - -<p>16. <b>χάριτος</b> depends on <b>διευστοχούσης</b> -(the same construction as with the uncompounded -verb εὐστοχεῖν).</p> - -<p>20. This passage (<b>μουσικὴ γάρ ... -οἰκεῖον</b>) is quoted (after Syrianus) in -Walz <i>Rhett. Gr.</i> v. 474.</p> - -<p>21. ἦν, ‘was all along,’ ‘is after all’: -cp. <b><a href="#Page_92">92</a></b> 18.</p> - -<p>22. For the passage that follows cp. -Aristoxenus <i>Harmonics</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_126" id="Page_126">[126-7]</a></span></p> - -<p> -ποθεῖ δ’ ἐπὶ πάντων τὸ οἰκεῖον, ἡ δὲ διαλλαγὴ κατὰ τὸ<br /> -μᾶλλον καὶ τὸ ἧττον.<br /> -<br /> -διαλέκτου μὲν οὖν μέλος ἑνὶ μετρεῖται διαστήματι τῷ<br /> -λεγομένῳ διὰ πέντε ὡς ἔγγιστα, καὶ οὔτε ἐπιτείνεται πέρα<br /> -τῶν τριῶν τόνων καὶ ἡμιτονίου ἐπὶ τὸ ὀξὺ οὔτ’ ἀνίεται τοῦ 5<br /> -χωρίου τούτου πλέον ἐπὶ τὸ βαρύ. οὐ μὴν ἅπασα λέξις ἡ<br /> -καθ’ ἓν μόριον λόγου ταττομένη ἐπὶ τῆς αὐτῆς λέγεται τάσεως,<br /> -ἀλλ’ ἡ μὲν ἐπὶ τῆς ὀξείας, ἡ δ’ ἐπὶ τῆς βαρείας, ἡ δ’ ἐπ’<br /> -ἀμφοῖν. τῶν δὲ ἀμφοτέρας τὰς τάσεις ἐχουσῶν αἱ μὲν κατὰ<br /> -μίαν συλλαβὴν συνεφθαρμένον ἔχουσι τῷ ὀξεῖ τὸ βαρύ, ἃς 10<br /> -δὴ περισπωμένας καλοῦμεν· αἱ δὲ ἐν ἑτέρᾳ τε καὶ ἑτέρᾳ<br /> -χωρὶς ἑκάτερον ἐφ’ ἑαυτοῦ τὴν οἰκείαν φυλάττον φύσιν. καὶ<br /> -ταῖς μὲν δισυλλάβοις οὐδὲν τὸ διὰ μέσου χωρίον βαρύτητός<br /> -τε καὶ ὀξύτητος· ταῖς δὲ πολυσυλλάβοις, ἡλίκαι ποτ’ ἂν<br /> -ὦσιν, ἡ τὸν ὀξὺν τόνον ἔχουσα μία ἐν πολλαῖς ταῖς ἄλλαις 15<br /> -βαρείαις ἔνεστιν. ἡ δὲ ὀργανική τε καὶ ᾠδικὴ μοῦσα διαστήμασί<br /> -τε χρῆται πλείοσιν, οὐ τῷ διὰ πέντε μόνον, ἀλλ’ ἀπὸ<br /> -τοῦ διὰ πασῶν ἀρξαμένη καὶ τὸ διὰ πέντε μελῳδεῖ καὶ τὸ διὰ<br /> -τεττάρων καὶ τὸ διὰ ‹τριῶν καὶ τὸν› τόνον καὶ τὸ ἡμιτόνιον,<br /> -ὡς δέ τινες οἴονται, καὶ τὴν δίεσιν αἰσθητῶς· τάς τε λέξεις 20<br /> -τοῖς μέλεσιν ὑποτάττειν ἀξιοῖ καὶ οὐ τὰ μέλη ταῖς λέξεσιν,<br /> -ὡς ἐξ ἄλλων τε πολλῶν δῆλον καὶ μάλιστα ἐκ τῶν Εὐριπίδου<br /> -μέλων, ἃ πεποίηκεν τὴν Ἠλέκτραν λέγουσαν ἐν Ὀρέστῃ πρὸς<br /> -τὸν χορόν·<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_127" id="Page_127">[127]</a></span></p> - -<p>what is in keeping with the occasion. The distinction between -oratory and music is simply one of degree.</p> - -<p>Now, the melody of spoken language is measured by a single -interval, which is approximately that termed a <i>fifth</i>. 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 <i>Orestes</i>:—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. <b>μετρεῖται</b>, ‘is measured,’ ‘is confined,’—<i>terminatur</i>, -<i>coërcetur</i>.—For -various points in this chapter see Introduction, -pp. <a href="#Page_39">39</a>-43 <i>supra</i>. 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] --> -<span class="figcenter" style="width: 70px;"> -<img src="images/e_above_middle_c.png" width="70" height="34" alt="e above middle c" title="e above middle c" /> -</span>, -generally ending on -<!-- [**TN: image of G-sharp below middle C] --> -<span class="figcenter" style="width: 70px;"> -<img src="images/g_sharp_below_middle_c.png" width="70" height="24" alt="g sharp below middle c" title="g sharp below middle c" /> -</span>, -but sometimes falling the -full octave to <!-- [**TN: image of E below middle C] --> -<span class="figcenter" style="width: 70px;"> -<img src="images/e_below_middle_c.png" width="70" height="23" alt="e below middle c" title="e below middle c" /> -</span>.”</p> - -<p>4. <b>ὡς ἔγγιστα</b>, ‘as nearly as possible,’ -‘approximately.’</p> - -<p>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 -<i>English, Dionysian, and Hellenic Pronunciations -of Greek</i>, 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.)</p> - -<p>10. “That is, the voice <i>glides</i> from the -high to the low pitch, and does not <i>jump</i> -from high to low,” A. J. E.</p> - -<p>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.</p> - -<p>20. <b>δίεσιν</b>: see Gloss., s.v. δίεσις.</p> - -<p>23. Line 140 of the <i>Orestes</i> 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 <b>λευκὸν</b> -(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.</p> - -<p>24. Reference may be made to Ruelle’s -“Note sur la musique d’une passage -d’Euripide” in the <i>Annuaire de l’Association -des Études grecques</i>, 1882, pp. 96 ff.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_128" id="Page_128">[128-9]</a></span></p> - -<p class="indent8"> -σῖγα σῖγα, λευκὸν ἴχνος ἀρβύλης<br /> -τίθετε, μὴ κτυπεῖτ’·<br /> -ἀποπρόβατ’ ἐκεῖσ’, ἀποπρό μοι κοίτας.<br /> -</p> - -<p> -ἐν γὰρ δὴ τούτοις τὸ “σῖγα σῖγα λευκὸν” ἐφ’ ἑνὸς φθόγγου<br /> -μελῳδεῖται, καίτοι τῶν τριῶν λέξεων ἑκάστη βαρείας τε τάσεις 5<br /> -ἔχει καὶ ὀξείας. καὶ τὸ “ἀρβύλης” τῇ μέσῃ συλλαβῇ τὴν<br /> -τρίτην ὁμότονον ἔχει, ἀμηχάνου ὄντος ἓν ὄνομα δύο λαβεῖν<br /> -ὀξείας. καὶ τοῦ “τίθετε” βαρυτέρα μὲν ἡ πρώτη γίνεται,<br /> -δύο δ’ αἱ μετ’ αὐτὴν ὀξύτονοί τε καὶ ὁμόφωνοι. τοῦ τε<br /> -“κτυπεῖτε” ὁ περισπασμὸς ἠφάνισται· μιᾷ γὰρ αἱ δύο συλλαβαὶ 10<br /> -λέγονται τάσει. καὶ τὸ “ἀποπρόβατε” οὐ λαμβάνει τὴν τῆς<br /> -μέσης συλλαβῆς προσῳδίαν ὀξεῖαν, ἀλλ’ ἐπὶ τὴν τετάρτην<br /> -συλλαβὴν μεταβέβηκεν ἡ τάσις ἡ τῆς τρίτης. τὸ δ’ αὐτὸ<br /> -γίνεται καὶ περὶ τοὺς ῥυθμούς. ἡ μὲν γὰρ πεζὴ λέξις<br /> -οὐδενὸς οὔτε ὀνόματος οὔτε ῥήματος βιάζεται τοὺς χρόνους 15<br /> -οὐδὲ μετατίθησιν, ἀλλ’ οἵας παρείληφεν τῇ φύσει τὰς συλλαβὰς<br /> -τάς τε μακρὰς καὶ τὰς βραχείας, τοιαύτας φυλάττει· ἡ δὲ<br /> -μουσική τε καὶ ῥυθμικὴ μεταβάλλουσιν αὐτὰς μειοῦσαι καὶ<br /> -παραύξουσαι, ὥστε πολλάκις εἰς τἀναντία μεταχωρεῖν· οὐ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_129" id="Page_129">[129]</a></span></p> - -<p class="indent8"> -Hush ye, O hush ye! light be the tread<br /> -Of the sandal; no jar let there be!<br /> -Afar step ye thitherward, far from his bed.<a name="FNanchor_129_129" id="FNanchor_129_129"></a><a href="#Footnote_129_129" class="fnanchor">[129]</a><br /> -</p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 σῖγα σῖγα M<sup>2</sup>: σίγα σίγα cett. (necnon codd. Eur.) || λευκὸν codd. -Dionys.: λεπτὸν Eurip. 2 τίθετ(αι) P<sup>1</sup>: τιθεῖτ(αι) P<sup>2</sup>: τιθεῖτε -FEMV || κτυπῆτε P<sup>1</sup>: 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</p> - -<p>2. <b>τίθετε</b> is clearly right, notwithstanding -the strong manuscript evidence -(FEMV) for τιθεῖτε.</p> - -<p>4. The general sense is that <b>σῖγα</b> 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 <i>Essays</i> p. 113).</p> - -<p>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.</p> - -<p>14. D. B. Monro <i>Modes of Ancient -Greek Music</i> 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 <i>Greek Metric</i>.</p> - -<p>16. <b>τῇ φύσει</b>: cp. Cic. <i>Orat.</i> 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. <i>ib.</i> 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.”</p> - -<p>17 ff. Cp. Goodell <i>Chapters on Greek -Metric</i> 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.”</p> - -<p>19. The compound <b>παραύξουσαι</b>, as -given by EF, may be compared with -παραυξηθεῖσα in <b><a href="#Page_152">152</a></b> 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.</p> - -<p><b>εἰς τἀναντία μεταχωρεῖν</b>: e.g., a -short syllable will sometimes be treated -as if it were long and were circumflexed.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_130" id="Page_130">[130-1]</a></span></p> - -<p> -γὰρ ταῖς συλλαβαῖς ἀπευθύνουσι τοὺς χρόνους, ἀλλὰ τοῖς<br /> -χρόνοις τὰς συλλαβάς.<br /> -<br /> -δεδειγμένης δὴ τῆς διαφορᾶς ᾗ διαφέρει μουσικὴ λογικῆς,<br /> -λοιπὸν ἂν εἴη κἀκεῖνα λέγειν, ὅτι τὸ μὲν τῆς φωνῆς μέλος,<br /> -λέγω δὲ οὐ τῆς ᾠδικῆς ἀλλὰ τῆς ψιλῆς, ἐὰν ἡδέως διατιθῇ 5<br /> -τὴν ἀκοήν, εὐμελὲς λέγοιτ’ ἄν, ἀλλ’ οὐκ ἐμμελές· ἡ δ’ ἐν τοῖς<br /> -χρόνοις τῶν μορίων συμμετρία σῴζουσα τὸ μελικὸν σχῆμα<br /> -εὔρυθμος, ἀλλ’ οὐκ ἔνρυθμος· πῇ δὲ διαφέρει ταῦτα ἀλλήλων,<br /> -κατὰ τὸν οἰκεῖον καιρὸν ἐρῶ. νυνὶ δὲ τἀκόλουθ’ ἀποδοῦναι<br /> -πειράσομαι, πῶς ἂν γένοιτο λέξις πολιτικὴ παρ’ αὐτὴν τὴν 10<br /> -σύνθεσιν ἡδύνουσα τὴν ἀκρόασιν κατά τε τὰ μέλη τῶν<br /> -φθόγγων καὶ κατὰ τὰς συμμετρίας τῶν ῥυθμῶν καὶ κατὰ τὰς<br /> -ποικιλίας τῶν μεταβολῶν καὶ κατὰ τὸ πρέπον τοῖς ὑποκειμένοις,<br /> -ἐπειδὴ ταῦθ’ ὑπεθέμην τὰ κεφάλαια.<br /> -</p> - -<h3>XII</h3> - -<p> -οὐχ ἅπαντα πέφυκε τὰ μέρη τῆς λέξεως ὁμοίως διατιθέναι 15<br /> -τὴν ἀκοήν, ὥσπερ οὐδὲ τὴν ὁρατικὴν αἴσθησιν τὰ ὁρατὰ<br /> -πάντα οὐδὲ τὴν γευστικὴν τὰ γευστὰ οὐδὲ τὰς ἄλλας αἰσθήσεις<br /> -τὰ κινοῦντα ἑκάστην· ἀλλὰ καὶ γλυκαίνουσιν αὐτήν τινες<br /> -ἦχοι καὶ πικραίνουσι, καὶ τραχύνουσι καὶ λεαίνουσι, καὶ<br /> -πολλὰ ἄλλα πάθη ποιοῦσι περὶ αὐτήν. αἰτία δὲ ἥ τε 20<br /> -τῶν γραμμάτων φύσις ἐξ ὧν ἡ φωνὴ συνέστηκεν, πολλὰς<br /> -καὶ διαφόρους ἔχουσα δυνάμεις, καὶ ἡ τῶν συλλαβῶν πλοκὴ<br /> -παντοδαπῶς σχηματιζομένη. τοιαύτην δὴ δύναμιν ἐχόντων<br /> -τῶν τῆς λέξεως μορίων ἐπειδὴ μεταθεῖναι τὴν ἑκάστου φύσιν<br /> -οὐχ οἷόν τε, λείπεται τὸ τῇ μίξει καὶ κράσει καὶ παραθέσει 25<br /> -συγκρύψαι τὴν παρακολουθοῦσαν αὐτῶν τισιν ἀτοπίαν, τραχέσι<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_131" id="Page_131">[131]</a></span></p> - -<p>quantity of the syllables, but the quantity of the syllables is -regulated by the time.</p> - -<p>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.</p> - - -<h4>CHAPTER XII<br /><br /> - -HOW TO RENDER COMPOSITION CHARMING</h4> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. The subject of <b>ἀπευθύνουσι</b> is, of -course, ἡ μουσική τε καὶ ῥυθμική.</p> - -<p>7. <b>συμμετρία</b>: cp. l. 12 τὰς συμμετρίας -τῶν ῥυθμῶν, and <b><a href="#Page_254">254</a></b> 10 τεταγμένους -σῴζουσα ῥυθμούς.</p> - -<p>9. <b>κατὰ τὸν οἰκεῖον καιρόν</b>: i.e. in -cc. 25, 26.</p> - -<p>10. <b>παρ’ αὐτὴν τὴν σύνθεσιν.</b> With -this use of παρά cp. <b><a href="#Page_156">156</a></b> 12 παρ’ οὐδὲν -οὕτως ἕτερον ἢ τὰς τῶν συλλαβῶν κατασκευάς, -<b><a href="#Page_160">160</a></b> 9 παρὰ τὰς τῶν γραμμάτων -συμπλοκάς κτλ., <b><a href="#Page_202">202</a></b> 11 καὶ παρὰ τί γέγονε -τούτων ἕκαστον;—In αὐτὴν τὴν σύνθεσιν -the contrast implied is with ἡ ἐκλογὴ -τῶν ὀνομάτων: cp. <b><a href="#Page_252">252</a></b> 21 κατὰ γοῦν τὴν -σύνθεσιν αὐτήν· ἐπεὶ καὶ ἡ ἐκλογὴ τῶν -ὀνομάτων μέγα τι δύναται.</p> - -<p>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 <i>schon</i>.</p> - -<p>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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_132" id="Page_132">[132-3]</a></span></p> - -<p> -λεῖα μίσγοντα καὶ σκληροῖς μαλακὰ καὶ κακοφώνοις εὔφωνα<br /> -καὶ δυσεκφόροις εὐπρόφορα καὶ βραχέσι μακρά, καὶ τἆλλα<br /> -τὸν αὐτὸν τρόπον εὐκαίρως συντιθέντα καὶ μήτ’ ὀλιγοσύλλαβα<br /> -πολλὰ ἑξῆς λαμβάνοντα (κόπτεται γὰρ ἡ ἀκρόασις) μήτε<br /> -πολυσύλλαβα πλείω τῶν ἱκανῶν, μήδε δὴ ὁμοιότονα παρ’ 5<br /> -ὁμοιοτόνοις μήδ’ ὁμοιόχρονα παρ’ ὁμοιοχρόνοις. χρὴ δὲ καὶ<br /> -τὰς πτώσεις τῶν ὀνοματικῶν ταχὺ μεταλαμβάνειν (μηκυνόμεναι<br /> -γὰρ ἔξω τοῦ μετρίου πάνυ προσίστανται ταῖς ἀκοαῖς) καὶ<br /> -τὴν ὁμοιότητα διαλύειν συνεχῶς ὀνομάτων τε τῶν ἑξῆς<br /> -τιθεμένων πολλῶν καὶ ῥημάτων καὶ τῶν ἄλλων μερῶν τὸν 10<br /> -κόρον φυλαττομένους, σχήμασί τε μὴ ἐπὶ τοῖς αὐτοῖς ἀεὶ<br /> -μένειν ἀλλὰ θαμινὰ μεταβάλλειν καὶ τρόπους μὴ τοὺς αὐτοὺς<br /> -ἐπεισφέρειν, ἀλλὰ ποικίλλειν, μηδὲ δὴ ἄρχεσθαι πολλάκις ἀπὸ<br /> -τῶν αὐτῶν μηδὲ λήγειν εἰς τὰ αὐτὰ ὑπερτείνοντας τὸν ἑκατέρου<br /> -καιρόν. 15<br /> -<br /> -καὶ μηδεὶς οἰηθῇ με καθάπαξ ταῦτα παραγγέλλειν ὡς<br /> -ἡδονῆς αἴτια διὰ παντὸς ἐσόμενα ἢ τἀναντία ὀχλήσεως· οὐχ<br /> -οὕτως ἀνόητός εἰμι· οἶδα γὰρ ἐξ ἀμφοῖν γινομένην πολλάκις<br /> -ἡδονήν, τοτὲ μὲν ἐκ τῶν ὁμοιογενῶν, τοτὲ δὲ ἐκ τῶν ἀνομοιογενῶν·<br /> -ἀλλ’ ἐπὶ πάντων οἴομαι δεῖν τὸν καιρὸν ὁρᾶν· οὗτος 20<br /> -γὰρ ἡδονῆς καὶ ἀηδίας κράτιστον μέτρον. καιροῦ δὲ οὔτε<br /> -ῥήτωρ οὐδεὶς οὔτε φιλόσοφος εἰς τόδε χρόνου τέχνην ὥρισεν,<br /> -οὐδ’ ὅσπερ πρῶτος ἐπεχείρησε περὶ αὐτοῦ γράφειν Γοργίας<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_133" id="Page_133">[133]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<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 <i>Rhett. Gr.</i> v. 520).</p> - -<p>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.</p> - -<p>14. <b>ὑπερτείνοντας ... καιρόν</b>: 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 -<span class="smcap">MSS.</span> have ὑπερτείνοντα, (2) the singular -has been used in ll. 1, 3, 4 <i>supra</i>, and -so might as well be maintained to the end, -while φυλαττομένους (instead of φυλαττόμενον) -might arise from the initial σ of -σχήμασι.</p> - -<p>20. <b>τὸν καιρὸν ὁρᾶν</b>, ‘to have an eye -to (or observe) the rules of good taste,’ -is a natural and appropriate expression. -The use of θηρατός in <b><a href="#Page_134">134</a></b> 3 is no argument -for reading θηρᾶν here, but rather -tells against the anticipation of so pronounced -a metaphor. Moreover, the -<i>middle</i> voice is found in this sense in -<i>de Demosth.</i> c. 40 τὴν εὐφωνίαν θηρωμένη -καὶ τὴν εὐμέλειαν. With ὁρᾶν cp. <i>de -Demosth.</i> c. 49 ἄλλως τε καὶ τοῦ καιροῦ τὰ -μέτρα ὁρῶν and <i>de Thucyd.</i> c. 1 τῆς -προαιρέσεως οὐχ ἅπαντα κατὰ τὸν ἀκριβέστατον -λογισμὸν ὁρώσης (where θηρώσης -is given in Usener-Radermacher’s text).</p> - -<p>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.”</p> - -<p>22. <b>τόδε χρόνου</b>: 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 <i>Antiqq. Rom.</i> i. 16. Cp. i. 38 -<i>ibid.</i> καὶ παρὰ Κελτοῖς εἰς τόδε χρόνου -γίνεται: also i. 61, 68, iii. 31, vi. 13.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_134" id="Page_134">[134-5]</a></span></p> - -<p> -ὁ Λεοντῖνος οὐδὲν ὅ τι καὶ λόγου ἄξιον ἔγραψεν· οὐδ’ ἔχει<br /> -φύσιν τὸ πρᾶγμα εἰς καθολικὴν καὶ ἔντεχνόν τινα περίληψιν<br /> -πεσεῖν, οὐδ’ ὅλως ἐπιστήμῃ θηρατός ἐστιν ὁ καιρὸς ἀλλὰ<br /> -δόξῃ. ταύτην δ’ οἱ μὲν ἐπὶ πολλῶν καὶ πολλάκις γυμνάσαντες<br /> -ἄμεινον τῶν ἄλλων εὑρίσκουσιν αὐτόν, οἱ δ’ 5<br /> -ἀγύμναστον ἀφέντες σπανιώτερον καὶ ὥσπερ ἀπὸ τύχης.<br /> -<br /> -ἵνα δὲ καὶ περὶ τῶν ἄλλων εἴπω, ταῦτ’ οἴομαι χρῆναι<br /> -φυλάττειν ἐν τῇ συνθέσει τὸν μέλλοντα διαθήσειν τὴν ἀκοὴν<br /> -ἡδέως· ἢ τὰ εὐμελῆ καὶ εὔρυθμα καὶ εὔφωνα ὀνόματα, ὑφ’<br /> -ὧν γλυκαίνεταί τε καὶ ἐκμαλάττεται καὶ τὸ ὅλον οἰκείως 10<br /> -διατίθεται ἡ αἴσθησις, ταῦτα ἀλλήλοις συναρμόττειν, ἢ τὰ<br /> -μὴ τοιαύτην ἔχοντα φύσιν ἐγκαταπλέκειν τε καὶ συνυφαίνειν<br /> -τοῖς δυναμένοις αὐτὴν γοητεύειν, ὥστε ὑπὸ τῆς ἐκείνων χάριτος<br /> -ἐπισκοτεῖσθαι τὴν τούτων ἀηδίαν· οἷόν τι ποιοῦσιν οἱ<br /> -φρόνιμοι στρατηλάται κατὰ τὰς συντάξεις τῶν στρατευμάτων· 15<br /> -καὶ γὰρ ἐκεῖνοι ἐπικρύπτουσι τοῖς ἰσχυροῖς τὰ ἀσθενῆ, καὶ<br /> -γίνεται αὐτοῖς οὐδὲν τῆς δυνάμεως ἄχρηστον. διαναπαύειν<br /> -δὲ τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους εἰσφέροντα·<br /> -καὶ γὰρ ἡ μεταβολὴ παντὸς ἔργου χρῆμα ἡδύ. τελευταῖον<br /> -δὲ ὃ δὴ καὶ πάντων κράτιστον, οἰκείαν ἀποδιδόναι τοῖς 20<br /> -ὑποκειμένοις καὶ πρέπουσαν ἁρμονίαν. δυσωπεῖσθαι δ’ οὐδὲν<br /> -οἴομαι δεῖν οὔτε ὄνομα οὔτε ῥῆμα, ὅ τι καὶ τέτριπται, μὴ<br /> -σὺν αἰσχύνῃ λέγεσθαι μέλλον· οὐδὲν γὰρ οὕτω ταπεινὸν ἢ<br /> -ῥυπαρὸν ἢ ἄλλην τινὰ δυσχέρειαν ἔχον ἔσεσθαί φημι λόγου<br /> -μόριον, ᾧ σημαίνεταί τι σῶμα ἢ πρᾶγμα, ὃ μηδεμίαν ἕξει 25<br /> -χώραν ἐπιτηδείαν ἐν λόγοις. παρακελεύομαι δὲ τῇ συνθέσει<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_135" id="Page_135">[135]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 οὐδὲν F: οὐδ’ MV: om. P || καὶ F: om. PMV 5 αὐτόν FM: om. PV 6 -ἀγύμναστον F, γρ M: ἀνάσκητον PM<sup>1</sup>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</p> - -<p>1. For οὐδ’ ὅτι (as read by Schaefer) -Dobree suggested a number of alternatives,—οἶδ’ -(= οἶδα), οὐδὲν, οὐδ’ ὁτιοῦν.</p> - -<p>7. The passage that begins here is, -itself, a good example of rhythmical and -melodious writing.</p> - -<p>10. <b>τὸ ὅλον</b>: cp. Long. p. 207, s.v. -σύνολον.</p> - -<p>15. The description in <i>Iliad</i> iv. 297-300 -may be in Dionysius’ mind. Cp. -Cic. <i>Brut.</i> 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. <i>Cyrop.</i> vii. 5. 5 ἀναπτυχθείσης -δ’ οὕτω τῆς φάλαγγος ἀνάγκη τοὺς -πρώτους ἀρίστους εἶναι καὶ τοὺς τελευταίους, -ἐν μέσῳ δὲ τοὺς κακίστους τετάχθαι.</p> - -<p>19. Cp. Dionys. Hal. <i>Ep. ad Cn. -Pompeium</i> c. 3 ὡς ἡδὺ χρῆμα ἐν ἱστορίας -γραφῇ μεταβολὴ καὶ ποικίλον: Aristot. -<i>Eth.</i> vii. 1154 b μεταβολὴ δὲ πάντων -γλυκύ, κατὰ τὸν ποιητήν: Eurip. <i>Orest.</i> -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 <i>As You Like It</i>; -and this though our language is almost -wholly analytical. And the words that -fall from Lear in his madness (<i>King -Lear</i> iv. 6) are full of the most moving -μεταβολαί, as well as of the most pathetic -variations from τὸ εὐμελὲς to τὸ ἐμμελές.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_136" id="Page_136">[136-7]</a></span></p> - -<p> -πιστεύοντας ἀνδρείως πάνυ καὶ τεθαρρηκότως αὐτὰ ἐκφέρειν<br /> -Ὁμήρῳ τε παραδείγματι χρωμένους, παρ’ ᾧ καὶ τὰ<br /> -εὐτελέστατα κεῖται τῶν ὀνομάτων, καὶ Δημοσθένει καὶ<br /> -Ἡροδότῳ καὶ τοῖς ἄλλοις, ὧν ὀλίγῳ ὕστερον μνησθήσομαι<br /> -καθ’ ὅ τι ἂν ἁρμόττῃ περὶ ἑκάστου. ταῦτά μοι περὶ τῆς 5<br /> -ἡδείας εἰρήσθω συνθέσεως, ὀλίγα μὲν ὑπὲρ πολλῶν θεωρημάτων,<br /> -ἱκανὰ δὲ ὡς κεφάλαια εἶναι.<br /> -</p> - -<h3>XIII</h3> - -<p> -εἶἑν. καλὴ δ’ ἁρμονία πῶς γένοιτ’ ἂν εἴ τις ἔροιτό με<br /> -καὶ ἐκ ποίων θεωρημάτων, οὐκ ἄλλως πως μὰ Δία φαίην ἂν<br /> -οὐδ’ ἐξ ἄλλων τινῶν ἢ ἐξ ὧνπερ ἡ ἡδεῖα· τὰ γὰρ αὐτὰ 10<br /> -ποιητικὰ ἀμφοῖν, μέλος εὐγενές, ῥυθμὸς ἀξιωματικός, μεταβολὴ<br /> -μεγαλοπρεπής, τὸ πᾶσι τούτοις παρακολουθοῦν πρέπον.<br /> -ὥσπερ γὰρ ἡδεῖά τις γίνεται λέξις, οὕτω καὶ γενναία τις<br /> -ἑτέρα, καὶ ῥυθμὸς ὥσπερ γλαφυρός τις, οὕτω καὶ σεμνός τις<br /> -ἕτερος, καὶ τὸ μεταβάλλειν ὥσπερ χάριν ἔχει, οὕτω καὶ 15<br /> -πίνον· τὸ δὲ δὴ πρέπον εἰ μὴ τοῦ καλοῦ πλεῖστον ἕξει<br /> -μέρος, σχολῇ γ’ ἂν ἄλλου τινός. ἐξ ἁπάντων δή φημι<br /> -τούτων ἐπιτηδεύεσθαι δεῖν τὸ καλὸν ἐν ἁρμονίᾳ λέξεως ἐξ<br /> -ὧνπερ καὶ τὸ ἡδύ. αἰτία δὲ κἀνταῦθα ἥ τε τῶν γραμμάτων<br /> -φύσις καὶ ἡ τῶν συλλαβῶν δύναμις, ἐξ ὧν πλέκεται τὰ ὀνόματα· 20<br /> -ὑπὲρ ὧν καιρὸς ἂν εἴη λέγειν, ὥσπερ ὑπεσχόμην.<br /> -</p> - -<h3>XIV</h3> - -<p> -ἀρχαὶ μὲν οὖν εἰσι τῆς ἀνθρωπίνης φωνῆς καὶ ἐνάρθρου<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_137" id="Page_137">[137]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER XIII<br /><br /> - -HOW TO RENDER COMPOSITION BEAUTIFUL</h4> - -<p>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.</p> - - -<h4>CHAPTER XIV<br /><br /> - -THE LETTERS: THEIR CLASSIFICATION, QUALITIES, AND -MODE OF PRODUCTION</h4> - -<p>There are in human and articulate speech a number of first-beginnings</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>2 χρωμένους EFMV: χρ(ω)μεν(ος) P 4 ὀλίγον F: sed cf. <b><a href="#Page_154">154</a></b> 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</p> - -<p>6. <b>ὑπέρ</b> = περί: l. 21 <i>infra</i>, <b><a href="#Page_96">96</a></b> 2, etc. -Reiske’s ἀπό is attractive; but does -ὀλίγα really = ὀλίγα θεωρήματα?</p> - -<p>8. <b>εἶἑν</b> = “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.</p> - -<p>9. In a negative sentence, <b>μὰ Δία</b> is -to be preferred to νὴ Δία.</p> - -<p>13. <b>λέξις</b>: μέλος (cp. l. 11 <i>supra</i>) 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. <b><a href="#Page_124">124</a></b> 22 καὶ γὰρ ἐν ταύτῃ καὶ -μέλος ἔχουσιν αἱ λέξεις (‘the words’) καὶ -ῥυθμὸν καὶ μεταβολὴν καὶ πρέπον, and -contrast <b><a href="#Page_126">126</a></b> 20-1.</p> - -<p>16. <b>πίνον</b>, ‘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.</p> - -<p>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 (<b><a href="#Page_252">252</a></b> 17) mentions with aversion. -In <i>Le Bourgeois Gentilhomme</i> -(ii. 4) there is much that could serve for -a parody of the <i>C. V.</i>—the Maître de -Philosophie with his “Sans la science, -la vie est presque une image de la mort” -(<i>nam sine doctrina vita est quasi mortis -imago</i>), 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 <i>l’orthographie</i>: “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 <i>Discours physique de la -parole</i>, 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!”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_138" id="Page_138">[138-9]</a></span></p> - -<p> -μηκέτι δεχόμεναι διαίρεσιν, ἃ καλοῦμεν στοιχεῖα καὶ γράμματα·<br /> -γράμματα μὲν ὅτι γραμμαῖς τισι σημαίνεται, στοιχεῖα δὲ ὅτι<br /> -πᾶσα φωνὴ τὴν γένεσιν ἐκ τούτων λαμβάνει πρώτων καὶ τὴν<br /> -διάλυσιν εἰς ταῦτα ποιεῖται τελευταῖα. τῶν δὴ στοιχείων τε<br /> -καὶ γραμμάτων οὐ μία πάντων φύσις, διαφορὰ δὲ αὐτῶν 5<br /> -πρώτη μέν, ὡς Ἀριστόξενος ὁ μουσικὸς ἀποφαίνεται, καθ’ ἣν<br /> -τὰ μὲν φωνὰς ἀποτελεῖ, τὰ δὲ ψόφους· φωνὰς μὲν τὰ<br /> -λεγόμενα φωνήεντα, ψόφους δὲ τὰ λοιπὰ πάντα. δευτέρα δὲ<br /> -καθ’ ἣν τῶν μὴ φωνηέντων ἃ μὲν καθ’ ἑαυτὰ ψόφους ὁποίους<br /> -δή τινας ἀποτελεῖν πέφυκε, ῥοῖζον ἢ σιγμὸν ἢ μυγμὸν ἢ 10<br /> -τοιούτων τινῶν ἄλλων ἤχων δηλωτικούς· ἃ δ’ ἐστὶν ἁπάσης<br /> -ἄμοιρα φωνῆς καὶ ψόφου καὶ οὐχ οἷά τε ἠχεῖσθαι καθ’ ἑαυτά·<br /> -διὸ δὴ ταῦτα μὲν ἄφωνα τινὲς ἐκάλεσαν, θάτερα δὲ ἡμίφωνα.<br /> -οἱ δὲ τριχῇ νείμαντες τὰς πρώτας τε καὶ στοιχειώδεις τῆς<br /> -φωνῆς δυνάμεις φωνήεντα μὲν ἐκάλεσαν, ὅσα καὶ καθ’ ἑαυτὰ 15<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_139" id="Page_139">[139]</a></span></p> - -<p>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 <i>voiced</i> (<i>vowels</i>) -to all letters which can be uttered, either by themselves or</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἃ R: ἃς libri 3 πρώτων F: -πρ<span class="interlined"><span class="interlinear">τ</span><span class="base">ω</span></span> -P: πρῶτον RMVs 4 τελευταῖα P: τελευταῖον R: τελευταῖαν FVs: τελευταίαν -M 9 μὴ φωνηέντων REFM: μὲν φωνηέντων PR<sup>b</sup>: 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</p> - -<p>1. The following note, given in Usener-Radermacher -ii. 1, p. 48, is important -for its bearing on the text of the <i>C. V.</i>: -“Scholiasta Hermogenis Περὶ ἰδεῶν I 6 -in Walzii rhet. gr. VII. p. 964, 23 (correctus -ex codd. Paris. 1983 = R<sup>a</sup> et 2977 = -R<sup>b</sup>) 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· <em class="gesperrt">Ἀρχαὶ μὲν ... εἶναι -ἐκεῖνα</em> (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.”</p> - -<p>2. Dionysius Thrax <i>Ars Gramm.</i> § 6 -(Uhlig p. 9) γράμματα δὲ λέγεται διὰ τὸ -γραμμαῖς καὶ ξυσμαῖς τυποῦσθαι· γράψαι -γὰρ τὸ ξῦσαι παρὰ τοῖς παλαιοῖς.</p> - -<p>3. With this passage generally cp. -Aristot. <i>Poet.</i> 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.</p> - -<p>6. <b>Aristoxenus</b>, of Tarentum, the -great musical theorist of Greece, lived -during the times of Alexander the Great. -Dionysius refers to him also in <i>de -Demosth.</i> c. 48.</p> - -<p>9. Cp. Sext. Empir. <i>adv. Math.</i> i. 102 -καὶ ἡμίφωνα μὲν ὅσα δι’ αὑτῶν ῥοῖζον ἢ -σιγμὸν ἢ μυγμὸν ἤ τινα παραπλήσιον ἦχον -κατὰ τὴν ἐκφώνησιν ἀποτελεῖν πεφυκότα, -κτλ.</p> - -<p>10. ποππυσμόν, the reading of P, might -mean ‘a popping sound.’</p> - -<p>13. The division into vowels, consonants, -and mutes appears in Plato -<i>Cratyl.</i> 424 <span class="smcap">C</span> 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 -<i>Philebus</i> 18 <span class="smcap">D</span> the originator of an ‘art -of grammar’ is attributed to the Egyptian</p> -Theuth. - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_140" id="Page_140">[140-1]</a></span></p> - -<p> -φωνεῖται καὶ μεθ’ ἑτέρων καὶ ἔστιν αὐτοτελῆ· ἡμίφωνα δ’ ὅσα<br /> -μετὰ μὲν φωνηέντων αὐτὰ ἑαυτῶν κρεῖττον ἐκφέρεται, καθ’<br /> -ἑαυτὰ δὲ χεῖρον καὶ οὐκ αὐτοτελῶς· ἄφωνα δ’ ὅσα οὔτε τὰς<br /> -τελείας οὔτε τὰς ἡμιτελεῖς φωνὰς ἔχει καθ’ ἑαυτά, μεθ’<br /> -ἑτέρων δ’ ἐκφωνεῖται. 5<br /> -<br /> -ἀριθμὸς δὲ αὐτῶν ὅστις ἐστίν, οὐ ῥᾴδιον εἰπεῖν ἀκριβῶς,<br /> -ἐπεὶ πολλὴν παρέσχε καὶ τοῖς πρὸ ἡμῶν ἀπορίαν τὸ πρᾶγμα·<br /> -οἱ μὲν γὰρ ᾠήθησαν εἶναι τριακαίδεκα τὰ πάντα τῆς φωνῆς<br /> -στοιχεῖα, κατεσκευάσθαι δὲ τὰ λοιπὰ ἐκ τούτων· οἱ δὲ καὶ<br /> -τῶν εἰκοσιτεσσάρων οἷς χρώμεθα νῦν πλείω. ἡ μὲν οὖν ὑπὲρ 10<br /> -τούτων θεωρία γραμματικῆς τε καὶ μετρικῆς, εἰ δὲ βούλεταί<br /> -τις, καὶ φιλοσοφίας οἰκειοτέρα· ἡμῖν δὲ ἀπόχρη μήτ’ ἐλάττους<br /> -τῶν κ̅δ̅ μήτε πλείους ὑποθεμένοις εἶναι τὰς τῆς φωνῆς ἀρχὰς<br /> -τὰ συμβεβηκότα αὐτοῖς λέγειν, τὴν ἀρχὴν ἀπὸ τῶν φωνηέντων<br /> -ποιησαμένοις. 15<br /> -<br /> -ἔστι δὴ ταῦτα τὸν ἀριθμὸν ζ̄, δύο μὲν βραχέα τό τε ε̄<br /> -καὶ τὸ ο̄, δύο δὲ μακρὰ τό τε η̄ καὶ τὸ ω̄, τρία δὲ δίχρονα<br /> -τό τε ᾱ καὶ τὸ ῑ καὶ τὸ ῡ, καὶ γὰρ ἐκτείνεται ταῦτα καὶ<br /> -συστέλλεται· καὶ αὐτὰ οἱ μὲν δίχρονα, ὥσπερ ἔφην, οἱ δὲ<br /> -μεταπτωτικὰ καλοῦσιν. φωνεῖται δὲ ταῦτα πάντα παρὰ τῆς 20<br /> -ἀρτηρίας συνηχούσης τῷ πνεύματι καὶ τοῦ στόματος ἁπλῶς<br /> -σχηματισθέντος τῆς τε γλώττης οὐδὲν πραγματευομένης ἀλλ’<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_141" id="Page_141">[141]</a></span></p> - -<p>together with others, and are self-sufficing; <i>semi-vowels</i> to all -which are pronounced better in combination with vowels, worse -and imperfectly when taken singly; <i>mutes</i> to all which by themselves -admit of neither perfect nor half-perfect utterance, but -are pronounced only in combination with others.</p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>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 <i>infra</i>.]</p> - -<p>14. <b>αὐτοῖς</b>: 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. <i>Ran.</i> -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 <b><a href="#Page_198">198</a></b> -18 <i>infra</i>.</p> - -<p>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.</p> - -<p>16. See Introduction, p. <a href="#Page_46">46</a> <i>supra</i>, 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?”</p> - -<p>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. <i>Hist. An.</i> ix. 4 -τὰ μὲν οὖν φωνήεντα ἡ φωνὴ καὶ ὁ λάρυγξ -ἀφίησιν, τὰ δ’ ἄφωνα ἡ γλῶττα καὶ τὰ χείλη.</p> - -<p><b>ἁπλῶς σχηματισθέντος</b>: “meaning -perhaps that the mouth is not continually -varied in shape,” A. J. E.</p> - -<p>22. <b>οὐδὲν πραγματευομένης</b>: “that is, -it does not move about, though it directs -the breath,” A. J. E.</p> - -<p><b>ἀλλ’ ἠρεμούσης</b>: “meaning that it -does not vibrate as for λ and ρ,” A. J. E.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_142" id="Page_142">[142-3]</a></span></p> - -<p> -ἠρεμούσης. πλὴν τὰ μὲν μακρὰ καὶ τῶν διχρόνων ἃ μακρῶς<br /> -λέγεται τεταμένον λαμβάνει καὶ διηνεκῆ τὸν αὐλὸν τοῦ πνεύματος,<br /> -τὰ δὲ βραχέα ἢ βραχέως λεγόμενα ἐξ ἀποκοπῆς τε καὶ<br /> -μιᾷ πληγῇ πνεύματος καὶ τῆς ἀρτηρίας ἐπὶ βραχὺ κινηθείσης<br /> -ἐκφέρεται. τούτων δὴ κράτιστα μέν ἐστι καὶ φωνὴν ἡδίστην 5<br /> -ἀποτελεῖ τά τε μακρὰ καὶ τῶν διχρόνων ὅσα μηκύνεται κατὰ<br /> -τὴν ἐκφοράν, ὅτι πολὺν ἠχεῖται χρόνον καὶ τὸν τοῦ πνεύματος<br /> -οὐκ ἀποκόπτει τόνον· χείρω δὲ τὰ βραχέα ἢ βραχέως λεγόμενα,<br /> -ὅτι μικρόφωνά τ’ ἐστὶ καὶ σπαδονίζει τὸν ἦχον. αὐτῶν<br /> -δὲ τῶν μακρῶν πάλιν εὐφωνότατον μὲν τὸ ᾱ, ὅταν ἐκτείνηται· 10<br /> -λέγεται γὰρ ἀνοιγομένου τε τοῦ στόματος ἐπὶ πλεῖστον καὶ<br /> -τοῦ πνεύματος ἄνω φερομένου πρὸς τὸν οὐρανόν. δεύτερον δὲ<br /> -τὸ η̄, διότι κάτω τε περὶ τὴν βάσιν τῆς γλώττης ἐρείδει τὸν<br /> -ἦχον ἀλλ’ οὐκ ἄνω, καὶ μετρίως ἀνοιγομένου τοῦ στόματος.<br /> -τρίτον δὲ τὸ ω̄· στρογγυλίζεται γὰρ ἐν αὐτῷ τὸ στόμα καὶ 15<br /> -περιστέλλεται τὰ χείλη τήν τε πληγὴν τὸ πνεῦμα περὶ τὸ<br /> -ἀκροστόμιον ποιεῖται. ἔτι δ’ ἧττον τούτου τὸ ῡ· περὶ γὰρ<br /> -αὐτὰ τὰ χείλη συστολῆς γινομένης ἀξιολόγου πνίγεται καὶ<br /> -στενὸς ἐκπίπτει ὁ ἦχος. ἔσχατον δὲ πάντων τὸ ῑ· περὶ τοὺς<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_143" id="Page_143">[143]</a></span></p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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. <b><a href="#Page_138">138</a></b> 1) EF 10 πάλιν REF: om. PMs 12 ἄνω φερομένου -R<sup>a</sup>PMVs: ἀναφερομένου R<sup>b</sup>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</p> - -<p>5. With regard to the euphoniousness -of the <i>Egyptian</i> vowels there is an interesting -passage in Demetr. <i>de Eloc.</i> § 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.”</p> - -<p>9. <b>σπαδονίζει</b>: see Gloss., s.v.</p> - -<p>10. For the effect of the <i>a</i> sound in -Latin cp. Cic. <i>Tusc. Disp.</i> 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. <i>Trach.</i> 1094-99).</p> - -<p>11. Cp. <i>Le Bourg. Gent.</i> 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.</p> - -<p>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 <i>a</i> in ‘father,’ or, with a still -more depressed tongue, the French <i>a</i> in -‘passer,’ which is a common Scotch pronunciation -of the vowel <i>a</i>,” A. J. E.</p> - -<p>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 <i>Pronunciation of Ancient Greek</i> -p. 36 (Purton’s translation).</p> - -<p>14. The <b>καί</b> introduces a specification -which is parallel to those which follow κάτω.</p> - -<p>15. For the effect of the <i>o</i> sound (notwithstanding -any differences in the two -languages) cp. Cic. <i>Cat.</i> 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 <b><a href="#Page_154">154</a></b> 23, <b><a href="#Page_156">156</a></b> 4 -<i>infra</i>.—The question whether ω = ‘open’ -or ‘closed’ <i>o</i> depends upon what position -of the lips Dionysius’ description is taken -to indicate.</p> - -<p>17. <b>ἧττον</b>, ‘less,’ might mean inferior -either in quality of tone or in the degree -of opening of the mouth (A. J. E.).</p> - -<p><b>τὸ ῡ</b>: this vowel can, as in Aristoph. -<i>Plut.</i> 895, be so pronounced as to convey -the sensations of a sycophant in the -presence of roasted meats:—</p> - -<p class="indent8"> -ἀρνεῖσθον; ἔνδον ἐστίν, ὦ μιαρωτάτω,<br /> -πολὺ χρῆμα τεμαχῶν καὶ κρεῶν ὠπτημένων.<br /> -ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ ὒ ὗ,<br /> -</p> - -<p>where B. B. Rogers remarks: “This -line [ὒ ὗ etc.], as Bentley pointed out, -is <i>naso, non ore, efferendus</i>. It represents -a succession of sniffings, produced by the -nose; and not words or inarticulate -sounds spoken with the mouth.”</p> - -<p>18. Cp. scholium on Dionysius Thrax -p. 691. 27 <span class="smcap">B</span>: 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.</p> - -<p>19. “So far as the lips are concerned, -this description would suit either the -French <i>u</i> or the English <i>oo</i>, but the -latter part of the description is better -suited to French <i>u</i>, 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 <i>oo</i>), we -may feel sure that the sound was not -English <i>oo</i>, and, if not, that it was most -probably French <i>u</i>, as we know that it -was so subsequently,” A. J. E.</p> - -<p><b>τοὺς ὀδόντας</b>: “as the lips are not -closed, there are only the teeth to limit -the aperture,” A. J. E.—The position -(<b>ἔσχατον πάντων</b>) assigned to iota is to -be noticed: cp. Hermog. π. ἰδ. p. 225 -(Walz <i>Rhett. Gr.</i> vol. iii.) τὸ ῑ ... ἥκιστα -σεμνὴν ποιεῖ τὴν λέξιν πλεονάσαν.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_144" id="Page_144">[144-5]</a></span></p> - -<p> -ὀδόντας τε γὰρ ἡ κροῦσις τοῦ πνεύματος γίνεται μικρὸν<br /> -ἀνοιγομένου τοῦ στόματος καὶ οὐκ ἐπιλαμπρυνόντων τῶν<br /> -χειλῶν τὸν ἦχον. τῶν δὲ βραχέων οὐδέτερον μὲν εὔμορφον,<br /> -ἧττον δὲ δυσειδὲς τοῦ ε̄ τὸ ο̄· διίστησι γὰρ τὸ στόμα κρεῖττον<br /> -θατέρου καὶ τὴν πληγὴν λαμβάνει περὶ τὴν ἀρτηρίαν 5<br /> -μᾶλλον.<br /> -<br /> -φωνηέντων μὲν οὖν γραμμάτων αὕτη φύσις· ἡμιφώνων δὲ<br /> -τοιάδε· ὀκτὼ τὸν ἀριθμὸν ὄντων αὐτῶν πέντε μέν ἐστιν ἁπλᾶ<br /> -τό τε λ̄ καὶ τὸ μ̄ καὶ τὸ ν̄ καὶ τὸ ρ̄ καὶ τὸ σ̄· διπλᾶ δὲ<br /> -τρία τό τε ζ̄ καὶ τὸ ξ̄ καὶ τὸ ψ̄. διπλᾶ δὲ λέγουσιν αὐτὰ 10<br /> -ἤτοι διὰ τὸ σύνθετα εἶναι, τὸ μὲν ζ̄ διὰ τοῦ σ̄ καὶ δ̄, τὸ δὲ<br /> -ξ̄ διὰ τοῦ κ̄ καὶ σ̄, τὸ δὲ ψ̄ διὰ τοῦ π̄ καὶ σ̄ συνεφθαρμένων<br /> -ἀλλήλοις ἰδίαν φωνὴν λαμβάνοντα, ἢ διὰ τὸ χώραν ἐπέχειν<br /> -δυεῖν γραμμάτων ἐν ταῖς συλλαβαῖς παραλαμβανόμενον ἕκαστον.<br /> -τούτων δὴ κρείττω μέν ἐστι τὰ διπλᾶ τῶν ἁπλῶν, 15<br /> -ἐπειδὴ μείζονά ἐστι τῶν ἑτέρων καὶ μᾶλλον ἐγγίζειν δοκεῖ<br /> -τοῖς τελείοις· ἥττω δὲ τὰ ἁπλᾶ διὰ τὸ εἰς βραχυτέρους<br /> -τόπους συνάγεσθαι τὸν ἦχον. φωνεῖται δ’ αὐτῶν ἕκαστον<br /> -τοιόνδε τινὰ τρόπον· τὸ μὲν λ̄ τῆς γλώττης πρὸς τὸν οὐρανὸν<br /> -ἱσταμένης καὶ τῆς ἀρτηρίας συνηχούσης· τὸ δὲ μ̄ τοῦ μὲν 20<br /> -στόματος τοῖς χείλεσι πιεσθέντος, τοῦ δὲ πνεύματος διὰ τῶν<br /> -ῥωθώνων μεριζομένου· τὸ δὲ ν̄ τῆς γλώττης τὴν φορὰν τοῦ<br /> -πνεύματος ἀποκλειούσης καὶ μεταφερούσης ἐπὶ τοὺς ῥώθωνας<br /> -τὸν ἦχον· τὸ δὲ ρ̄ τῆς γλώττης ἄκρας ἀπορριπιζούσης τὸ<br /> -πνεῦμα καὶ πρὸς τὸν οὐρανὸν ἐγγὺς τῶν ὀδόντων ἀνισταμένης· 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_145" id="Page_145">[145]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>b</sup>E: διπλᾶ δὲ καὶ τρία R<sup>a</sup>: τρία (γ̄ P) δὲ διπλᾶ PMVs 11 τοῦ -δ̄ καὶ τοῦ σ̄ R<sup>a</sup>: τοῦ δ̄ καὶ σ̄ R<sup>b</sup> 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<sup>2</sup>: -τόνους EPM<sup>1</sup>Vs 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</p> - -<p>1. <b>μικρὸν ἀνοιγομένου</b>: “no limitation -is necessary, the lips may be as open -for our <i>ee</i> as for our <i>ah</i>, but they may -also be slightly open from the centre to -the corners, no part being in contact,” -A. J. E.</p> - -<p>2. “There can be no doubt that our -<i>ee</i> 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 <i>oo</i>, the -result, which will be French <i>u</i>, is much -more musical. Whatever doubt may -remain from this description of the -precise shades of sound, <i>there can be -none that η, υ, ι had different sounds</i>, -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 <span class="smallerfont">A.D.</span>, -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.</p> - -<p>5. “This would best suit our <i>aw</i> in -<i>awn</i> shortened, that is, very nearly our -<i>o</i> in <i>on</i>. Short ε is not referred to, nor -the short sounds of α, ι, υ,” A. J. E.</p> - -<p>11. For the pronunciation of <b>ζ</b> see -Introduction, p. 44, and cp. Dionysius -Thrax <i>Ars Gramm.</i> § 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 -<b>διά</b> (with the genitive) of the means or -material by or of which a thing is composed -cp. <b><a href="#Page_154">154</a></b> 10 and <b><a href="#Page_180">180</a></b> 6; also <i>Antiqq. -Rom.</i> i. ἐν ὄρεσι τὰ πολλὰ πηξαμένοις διὰ -ξύλων καὶ καλάμων σκηνὰς αὐτορόφους.</p> - -<p>17. <b>ἥττω ... ἦχον</b>: a true phonetic -explanation.</p> - -<p>20. For <i>m</i> and <i>n</i> in Greek and Latin -(especially at the end of clauses) cp. -Quintil. xii. 10. 31 “Quid? quod pleraque -nos illa quasi mugiente littera cludimus -<b>M</b>, 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.”</p> - -<p>25. <b>οὐρανὸν ... ὀδόντων.</b> Demosthenes’ -difficulty in pronouncing this letter (the -trilled palato-dental <i>r</i>) is well known: -e.g. Quintil. i. 11. 5 “(rho littera), qua -Demosthenes quoque laboravit.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_146" id="Page_146">[146-7]</a></span></p> - -<p> -τὸ δὲ σ̄ τῆς μὲν γλώττης προσαγομένης ἄνω πρὸς τὸν οὐρανὸν<br /> -ὅλης, τοῦ δὲ πνεύματος διὰ μέσων αὐτῶν φερομένου καὶ περὶ<br /> -τοὺς ὀδόντας λεπτὸν καὶ στενὸν ἐξωθοῦντος τὸ σύριγμα. τρία<br /> -δὲ τὰ λοιπὰ ἡμίφωνα μικτὸν λαμβάνει τὸν ψόφον ἐξ ἑνὸς μὲν<br /> -τῶν ἡμιφώνων τοῦ σ̄, τριῶν δὲ ἀφώνων τοῦ τε δ̄ καὶ τοῦ κ̄ 5<br /> -καὶ τοῦ π̄.<br /> -<br /> -οὗτοι σχηματισμοὶ γραμμάτων ἡμιφώνων. δύναται δ’<br /> -οὐχ ὁμοίως κινεῖν τὴν ἀκοὴν ἅπαντα· ἡδύνει μὲν γὰρ αὐτὴν<br /> -τὸ λ̄, καὶ ἔστι τὼν ἡμιφώνων γλυκύτατον· τραχύνει δὲ τὸ ρ̄<br /> -καὶ ἔστι τῶν ὁμογενῶν γενναιότατον· μέσως δέ πως διατίθησι 10<br /> -τὰ διὰ τῶν ῥωθώνων συνηχούμενα τό τε μ̄ καὶ τὸ ν̄<br /> -κερατοειδεῖς ἀποτελοῦντα τοὺς ἤχους. ἄχαρι δὲ καὶ ἀηδὲς<br /> -τὸ σ̄ καὶ πλεονάσαν σφόδρα λυπεῖ· θηριώδους γὰρ καὶ<br /> -ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ φωνῆς ὁ συριγμός·<br /> -τῶν γοῦν παλαιῶν τινες σπανίως ἐχρῶντο αὐτῷ καὶ 15<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_147" id="Page_147">[147]</a></span></p> - -<p>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).</p> - -<p>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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. Perhaps the variations in the readings -here (cp. also <b><a href="#Page_148">148</a></b> 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.’</p> - -<p>9. As in Virgil (<i>Aen.</i> viii. 140: cp. v. -217), “at Maiam, auditis si quicquam -credimus, Atlas, | idem Atlas generat -caeli qui sidera tollit.”—The same view of -<i>l</i> is expressed in Demetr. <i>de Eloc.</i> § 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 -<i>l</i> and <i>n</i> cp. such words as ‘bella’ and -‘donna’ in Italian).</p> - -<p>12. It is well known that the Comic -Poets make fun of Euripides’ line ἔσωσά σ’, -ὡς ἴσασιν Ἑλλήνων ὅσοι (<i>Med.</i> 476: with -Porson’s note). Pericles is said to have -led the way in substituting ττ for the -less pleasing σσ (see Lucian’s <i>Iudicium -Vocalium</i> for the substitution itself). -On the other hand, it has been observed -(with reference to <i>de Corona</i> § 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. <i>de Cor.</i> p. 148). -There is also an interesting article on -“Sigmatism in Greek Dramatic Poetry” -in the <i>American Journal of Philology</i> -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 <span class="smcap">c</span>], 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 <i>Hymn to Aphrodite</i> -(<i>C. V.</i> 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 <i>Report of Classical Association -on Greek Pronunciation</i>, p. <a href="#Page_349">349</a> <i>infra</i>, and -Giles’ <i>Comparative Philology</i> p. 115).—Instances -of not unpleasant accumulations -of the <i>s</i> sound in Latin are to be -found in Virg. <i>Aen.</i> v. 46 “annuus -exactis completur mensibus orbis”; Virg. -<i>Georg.</i> i. 389 “et sola in sicca secum -spatiatur harena”; Cic. <i>Topic.</i> 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 <i>s</i> ultima cum <i>x</i> proxima -confligat; quarum tristior etiam, si -binae collidantur, stridor est, ut <i>ars -studiorum</i>. quae fuit causa et Servio, -ut dixi, subtrahendae <i>s</i> litterae, quotiens -ultima esset aliaque consonante susciperetur; -quod reprehendit Luranius, -Messala defendit.” An example of the -recurrence of the <i>s</i> sound in English -poetry is:—</p> - -<p class="indent8"> -O the golden <i>sh</i>eaf, the ne<i>s</i>tling trea<i>s</i>ure-armful!<br /> -<span class="marginleft1">O the nutbrown tre<i>ss</i>es nodding interla<i>c</i>ed!</span><br /> -</p> - -<p class="align-right"> -George Meredith,<br /> -<i>Love in the Valley</i>;<br /> -</p> - -<p>or Shakespeare’s</p> - -<p class="indent8"> -“Thi<i>s</i> pre<i>c</i>iou<i>s</i> <i>s</i>tone <i>s</i>et in the <i>s</i>ilver <i>s</i>ea;”<br /> -</p> - -<p>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 -<i>English Song without a Sibilant</i>, entitled -“The Empire of the Mind,” in which -the last of the four stanzas runs:—</p> - -<p class="indent8"> -But when to radiant form and feature,<br /> -<span class="marginleft1">Internal worth and feeling join</span><br /> -With temper mild and gay goodnature,—<br /> -<span class="marginleft1">Around the willing heart, they twine</span><br /> -<span class="marginleft4">The empire of the mind.</span><br /> -</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_148" id="Page_148">[148-9]</a></span></p> - -<p> -πεφυλαγμένως, εἰσὶ δ’ οἳ καὶ ἀσίγμους ὅλας ᾠδὰς ἐποίουν·<br /> -δηλοῖ δὲ τοῦτο καὶ Πίνδαρος ἐν οἷς φησι·<br /> -</p> - -<p class="indent8"> -πρὶν μὲν εἷρπε σχοινότενειά τ’ ἀοιδὰ διθυράμβω<br /> -καὶ τὸ σὰν κίβδηλον ἀνθρώποις.<br /> -</p> - -<p> -τριῶν δὲ τῶν ἄλλων γραμμάτων ἃ δὴ διπλᾶ καλεῖται τὸ ζ̄ 5<br /> -μᾶλλον ἡδύνει τὴν ἀκοὴν τῶν ἑτέρων· τὸ μὲν γὰρ ξ̄ διὰ τοῦ<br /> -κ̄ καὶ τὸ ψ̄ διὰ τοῦ π̄ τὸν συριγμὸν ἀποδίδωσι ψιλῶν ὄντων<br /> -ἀμφοτέρων, τοῦτο δ’ ἡσυχῇ τῷ πνεύματι δασύνεται καὶ ἔστι<br /> -τῶν ὁμογενῶν γενναιότατον. καὶ περὶ μὲν τῶν ἡμιφώνων<br /> -τοσαῦτα. 10<br /> -<br /> -τῶν δὲ καλουμένων ἀφώνων ἐννέα ὄντων τρία μέν ἐστι<br /> -ψιλά, τρία δὲ δασέα, τρία δὲ μεταξὺ τούτων· ψιλὰ μὲν τὸ<br /> -κ̄ καὶ τὸ π̄ καὶ τὸ τ̄, δασέα δὲ τὸ θ̄ καὶ τὸ φ̄ καὶ τὸ χ̄,<br /> -κοινὰ δὲ ἀμφοῖν τὸ β̄ καὶ τὸ γ̄ καὶ τὸ δ̄. φωνεῖται δὲ<br /> -αὐτῶν ἕκαστον τρόπον τόνδε· τρία μὲν ἀπὸ τῶν χειλῶν 15<br /> -ἄκρων, ὅταν τοῦ στόματος πιεσθέντος τὸ προβαλλόμενον<br /> -ἐκ τῆς ἀρτηρίας πνεῦμα λύσῃ τὸν δεσμὸν αὐτοῦ. καὶ<br /> -ψιλὸν μέν ἐστιν αὐτῶν τὸ π̄, δασὺ δὲ τὸ φ̄, μέσον δὲ ἀμφοῖν<br /> -τὸ β̄· τοῦ μὲν γὰρ ψιλότερόν ἐστι, τοῦ δὲ δασύτερον. μία<br /> -μὲν αὕτη συζυγία τριῶν γραμμάτων ἀφώνων ὁμοίῳ σχήματι 20<br /> -λεγομένων, ψιλότητι δὲ καὶ δασύτητι διαφερόντων. τρία δὲ<br /> -ἄλλα λέγεται τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένης<br /> -κατὰ τοὺς μετεώρους ὀδόντας, ἔπειθ’ ὑπὸ τοῦ πνεύματος<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_149" id="Page_149">[149]</a></span></p> - -<p>There are writers who used actually to compose entire odes without -a sigma. Pindar shows the same feeling when he writes:—</p> - -<p class="indent8"> -Ere then crept in the long-drawn dithyrambic song,<br /> -And <i>san</i> that rang false on the speaker’s tongue.<a name="FNanchor_130_130" id="FNanchor_130_130"></a><a href="#Footnote_130_130" class="fnanchor">[130]</a><br /> -</p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. Athenaeus quotes the lines of Pindar -(ll. 3, 4 <i>infra</i>) in x. 455 <span class="smcap">C</span> and in xi. -467 <span class="smcap">B</span>. 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·</p> - -<p class="indent8"> -πρὶν μὲν εἷρπε σχοινοτένειά τ’ ἀοιδὰ<br /> -καὶ τὸ σὰν κίβδηλον ἀνθρώποις.<br /> -</p> - -<p>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·</p> - -<p class="indent8"> -Δάματρα μέλπω Κόραν τε Κλυμένοι’ ἄλοχον.<br /> -</p> - -<p>In Pindar’s own text the right reading -possibly is:—</p> - -<p class="indent8"> -πρὶν μὲν ἕρπε σχοινοτένειά τ’ ἀοιδὰ<br /> -διθυράμβων καὶ τὸ σὰν κίβδηλον ἀνθρώποισιν ἀπὸ στομάτων.<br /> -</p> - -<p>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.</p> - -<p>3. <b>σχοινοτένεια</b>: unusual feminine of -σχοινοτενής, ‘stretched out like a measuring -line.’</p> - -<p>5. “That the σ in σδ meant <i>z</i> 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 <i>ibid.</i>) that -<i>dz</i> was probably an impossible initial -combination to a Greek may be -compared with <i>Classical Review</i> xix. 441 as -well as with more ancient evidence.</p> - -<p>13. Dionysius’ various statements as -to the aspirates are discussed in E. A. -Dawes’ <i>Pronunciation of the Greek -Aspirates</i> pp. 29 ff. (as well as in Blass’s -<i>Ancient Greek Pronunciation</i>).</p> - -<p>15. Dionysius does not actually use -Greek equivalents for the adjectives -<i>labial</i>, <i>dental</i>, and <i>guttural</i>; but he -clearly knows the physiological facts in -which those terms have their origin.</p> - -<p>18. As illustrating Dionysius’ own love -of variety, compare <b>μέσον ἀμφοῖν</b> here -with κοινὰ ἀμφοῖν (l. 14), μεταξὺ τούτων -(l. 12), μετρίως καὶ μεταξὺ ἀμφοῖν (<b><a href="#Page_150">150</a></b> 9), -μέσον δὲ καὶ ἐπίκοινον (<b><a href="#Page_150">150</a></b> 4).</p> - -<p>23. <b>κατὰ τοὺς μετεώρους ὀδόντας.</b> “The -pronunciation of the Greek and Roman -<i>t</i> 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,</p> - -<p class="indent8"> -O <i>T</i>i<i>t</i>e <i>t</i>u<i>t</i>e <i>T</i>a<i>t</i>i <i>t</i>ibi <i>t</i>an<i>t</i>a <i>t</i>yranne <i>t</i>ulis<i>t</i>i,<br /> -</p> - -<p>as of Sophocles,</p> - -<p class="indent8"> -<b>τ</b>υφλὸς <b>τ</b>ά <b>τ</b>’ ὦ<b>τ</b>α <b>τ</b>όν <b>τ</b>ε νοῦν <b>τ</b>ά <b>τ</b>’ ὄμμα<b>τ</b>’ εἶ,<br /> -</p> - -<p>lose a good deal of their effect if the <i>t</i>’s -are muffled behind the gums instead of -being hurled out from the rampart of -the teeth,” J. P. Postgate <i>How to -pronounce Latin</i> p. 11.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_150" id="Page_150">[150-1]</a></span></p> - -<p> -ἀπορριπιζομένης καὶ τὴν διέξοδον αὐτῷ κάτω περὶ τοὺς<br /> -ὀδόντας ἀποδιδούσης· διαλλάττει δὲ ταῦτα δασύτητι καὶ<br /> -ψιλότητι· ψιλὸν μὲν γὰρ αὐτῶν ἐστι τὸ τ̄, δασὺ δὲ τὸ θ̄,<br /> -μέσον δὲ καὶ ἐπίκοινον τὸ δ̄. αὕτη δευτέρα συζυγία τριῶν<br /> -γραμμάτων ἀφώνων. τρία δὲ τὰ λοιπὰ τῶν ἀφώνων λέγεται 5<br /> -μὲν τῆς γλώττης ἀνισταμένης πρὸς τὸν οὐρανὸν ἐγγὺς τοῦ<br /> -φάρυγγος καὶ τῆς ἀρτηρίας ὑπηχούσης τῷ πνεύματι, οὐδὲν<br /> -οὐδὲ ταῦτα διαφέροντα τῷ σχήματι ἀλλήλων, πλὴν ὅτι τὸ<br /> -μὲν κ̄ ψιλῶς λέγεται, τὸ δὲ χ̄ δασέως, τὸ δὲ γ̄ μετρίως καὶ<br /> -μεταξὺ ἀμφοῖν. τούτων κράτιστα μέν ἐστιν ὅσα τῷ πνεύματι 10<br /> -πολλῷ λέγεται, δεύτερα δὲ ὅσα μέσῳ, κάκιστα δὲ ὅσα ψιλῷ·<br /> -ταῦτα μὲν γὰρ τὴν αὑτῶν δύναμιν ἔχει μόνην, τὰ δὲ δασέα<br /> -καὶ τὴν τοῦ πνεύματος προσθήκην, ὥστ’ ἐγγύς που τελειότερα<br /> -εἶναι ἐκείνων.<br /> -</p> - -<h3>XV</h3> - -<p> -ἐκ δὴ τῶν γραμμάτων τοσούτων τε ὄντων καὶ δυνάμεις 15<br /> -τοιαύτας ἐχόντων αἱ καλούμεναι γίνονται συλλαβαί. τούτων<br /> -δὲ εἰσὶ μακραὶ μὲν ὅσαι συνεστήκασιν ἐκ τῶν φωνηέντων<br /> -τῶν μακρῶν ἢ τῶν διχρόνων ὅταν μακρῶς ἐκφέρηται, καὶ<br /> -ὅσαι λήγουσιν εἰς μακρὸν ἢ μακρῶς λεγόμενον γράμμα ἢ εἴς<br /> -τι τῶν ἡμιφώνων τε καὶ ἀφώνων· βραχεῖαι δὲ ὅσαι συνεστήκασιν 20<br /> -ἐκ βραχέος φωνήεντος ἢ βραχέως λαμβανομένου,<br /> -καὶ ὅσαι λήγουσιν εἰς ταῦτα. μήκους δὲ καὶ βραχύτητος<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_151" id="Page_151">[151]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER XV<br /><br /> - -SYLLABLES AND THEIR QUALITIES</h4> - -<p>Such is the number of the letters, and such are their properties. -From them are formed the so-called <i>syllables</i>. 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>a</sup>: ψιλά R<sup>b</sup> - 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</p> - -<p>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.</p> - -<p>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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_152" id="Page_152">[152-3]</a></span></p> - -<p> -συλλαβῶν οὐ μία φύσις, ἀλλὰ καὶ μακρότεραί τινές εἰσι τῶν<br /> -μακρῶν καὶ βραχύτεραι τῶν βραχειῶν. ἔσται δὲ τοῦτο<br /> -φανερὸν ἐπὶ τῶν παραδειγμάτων.<br /> -<br /> -ὁμολογεῖται δὴ βραχεῖα εἶναι συλλαβή, ἣν ποιεῖ φωνῆεν<br /> -γράμμα βραχὺ τὸ ο̄, ὡς λέγεται <em class="gesperrt">ὁδός</em>. ταύτῃ προστεθήτω 5<br /> -γράμμα ἓν τῶν ἡμιφώνων τὸ ρ̄ καὶ γενέσθω <em class="gesperrt">Ῥόδος</em>· μένει<br /> -μὲν ἔτι βραχεῖα ἡ συλλαβή, πλὴν οὐχ ὁμοίως, ἀλλ’ ἕξει τινὰ<br /> -παραλλαγὴν ἀκαρῆ παρὰ τὴν προτέραν. ἔτι προστεθήτω<br /> -ταύτῃ τῶν ἀφώνων γραμμάτων ἓν τὸ τ̄ καὶ γενέσθω <em class="gesperrt">τρόπος</em>·<br /> -μείζων αὕτη τῶν προτέρων ἔσται συλλαβῶν καὶ ἔτι βραχεῖα 10<br /> -μένει. τρίτον ἔτι γράμμα τῇ αὐτῇ συλλαβῇ προστεθήτω τὸ<br /> -σ̄ καὶ γενέσθω <em class="gesperrt">στρόφος</em>· τρισὶν αὕτη προσθήκαις ἀκουσταῖς<br /> -μακροτέρα γενήσεται τῆς βραχυτάτης μένουσα ἔτι βραχεῖα.<br /> -οὐκοῦν τέτταρες αὗται βραχείας συλλαβῆς διαφοραὶ τὴν<br /> -ἄλογον αἴσθησιν ἔχουσαι τῆς παραλλαγῆς μέτρον. ὁ δ’ αὐτὸς 15<br /> -λόγος καὶ ἐπὶ τῆς μακρᾶς. ἡ γὰρ ἐκ τοῦ η̄ γινομένη συλλαβὴ<br /> -μακρὰ τὴν φύσιν οὖσα τεττάρων γραμμάτων προσθήκαις<br /> -παραυξηθεῖσα τριῶν μὲν προταττομένων, ἑνὸς δὲ ὑποταττομένου,<br /> -καθ’ ἣν λέγεται <em class="gesperrt">σπλήν</em>, μείζων ἂν δήπου λέγοιτο εἶναι<br /> -τῆς προτέρας ἐκείνης τῆς μονογραμμάτου· μειουμένη γοῦν 20<br /> -αὖθις καθ’ ἓν ἕκαστον τῶν προστεθέντων γραμμάτων τὰς<br /> -ἐπὶ τοὔλαττον παραλλαγὰς αἰσθητὰς ἂν ἔχοι. αἰτία δὲ τίς<br /> -ἐστι τοῦ μήτε τὰς μακρὰς ἐκβαίνειν τὴν αὑτῶν φύσιν μέχρι<br /> -γραμμάτων πέντε μηκυνομένας μήτε τὰς βραχείας εἰς ἓν ἀπὸ<br /> -πολλῶν γραμμάτων συστελλομένας ἐκπίπτειν τῆς βραχύτητος, 25<br /> -ἀλλὰ κἀκείνας ἐν διπλασίῳ λόγῳ θεωρεῖσθαι τῶν βραχειῶν<br /> -καὶ ταύτας ἐν ἡμίσει τῶν μακρῶν, οὐκ ἀναγκαῖον ἐν τῷ<br /> -παρόντι σκοπεῖν. ἀρκεῖ γὰρ ὅσον εἰς τὴν παροῦσαν ὑπόθεσιν<br /> -ἥρμοττεν εἰρῆσθαι, ὅτι διαλλάττει καὶ βραχεῖα συλλαβὴ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_153" id="Page_153">[153]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>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.”</p> - -<p>8. <b>ἀκαρῆ</b>: cp. <i>de Isocr.</i> c. 20 ἀκαρῆ δέ -τινα ... ἐνθυμήματα.</p> - -<p>12. <b>τρισὶν ... προσθήκαις</b>: 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 <b>στρόφ-</b>.</p> - -<p>22. <b>ἐπὶ τοὔλαττον</b>: cp. Aristot. <i>Eth. -Nic.</i> 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. <i>de Sublim.</i> -c. 38 αἱ δ’ ὑπερβολαὶ καθάπερ ἐπὶ τὸ -μεῖζον, οὕτως καὶ ἐπὶ τοὔλαττον.</p> - -<p>26. <b>θεωρεῖσθαι</b> here (and in <b><a href="#Page_204">204</a></b> 3, <b><a href="#Page_210">210</a></b> -9) may perhaps supply a parallel (though -not a complete one) of the kind desired -in <i>Classical Quarterly</i> i. 41 n. 1.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_154" id="Page_154">[154-5]</a></span></p> - -<p> -βραχείας καὶ μακρὰ μακρᾶς καὶ οὐ τὴν αὐτὴν ἔχει δύναμιν<br /> -οὔτ’ ἐν λόγοις ψιλοῖς οὔτ’ ἐν ποιήμασιν ἢ μέλεσιν διὰ μέτρων<br /> -ἢ ῥυθμῶν κατασκευαζομένοις πᾶσα βραχεῖα καὶ πᾶσα μακρά.<br /> -<br /> -πρῶτον μὲν δὴ θεώρημα τοῦτο τῶν ἐν ταῖς συλλαβαῖς<br /> -παθῶν· ἕτερον δὲ τοιόνδε· τῶν γραμμάτων πολλὰς ἐχόντων 5<br /> -διαφορὰς οὐ μόνον περὶ τὰ μήκη καὶ τὰς βραχύτητας ἀλλὰ<br /> -καὶ περὶ τοὺς ἤχους, ὑπὲρ ὧν ὀλίγῳ πρότερον εἴρηκα, πᾶσα<br /> -ἀνάγκη καὶ τὰς ἐκ τούτων συνισταμένας συλλαβὰς ἢ διὰ<br /> -τούτων πλεκομένας ἅμα τήν τε ἰδίαν ἑκάστου σῴζειν δύναμιν<br /> -καὶ τὴν κοινὴν ἁπάντων, ἣ γίνεται διὰ τῆς κράσεώς τε καὶ 10<br /> -παραθέσεως αὐτῶν· ἐξ ὧν μαλακαί τε φωναὶ γίνονται καὶ<br /> -σκληραὶ καὶ λεῖαι καὶ τραχεῖαι, γλυκαίνουσαί τε τὴν ἀκοὴν<br /> -καὶ πικραίνουσαι, καὶ στύφουσαι καὶ διαχέουσαι, καὶ πᾶσαν<br /> -ἄλλην κατασκευάζουσαι διάθεσιν φυσικήν· αὗται δ’ εἰσὶ μυρίαι<br /> -τὸ πλῆθος ὅσαι. 15<br /> -<br /> -ταῦτα δὴ καταμαθόντες οἱ χαριέστατοι ποιητῶν τε καὶ<br /> -συγγραφέων τὰ μὲν αὐτοὶ κατασκευάζουσιν ὀνόματα συμπλέκοντες<br /> -ἐπιτηδείως ἀλλήλοις, τὰ δὲ γράμματα καὶ τὰς συλλαβὰς<br /> -οἰκείας οἷς ἂν βούλωνται παραστῆσαι πάθεσιν ποικίλως<br /> -φιλοτεχνοῦσιν, ὡς ποιεῖ πολλάκις Ὅμηρος, ἐπὶ μὲν τῶν 20<br /> -προσηνέμων αἰγιαλῶν τῇ παρεκτάσει τῶν συλλαβῶν τὸν<br /> -ἄπαυστον ἐκφαίνειν βουλόμενος ἦχον<br /> -</p> - -<p class="indent8"> -ἠϊόνες βοόωσιν ἐρευγομένης ἁλὸς ἔξω·<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_155" id="Page_155">[155]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>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:—</p> - -<p class="indent8"> -Echo the cliffs, as bursteth the sea-surge down on the strand.<a name="FNanchor_131_131" id="FNanchor_131_131"></a><a href="#Footnote_131_131" class="fnanchor">[131]</a><br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. H. Richards (<i>Classical Review</i> xix. -252) suggests οὔτι, in place of the οὔτε -of PMV and the οὐ of F.</p> - -<p>3. If this passage (from <b><a href="#Page_152">152</a></b> 4 up to -this point) be taken in connexion with -one from the scholia to Hephaestion and -another from Marius Victorinus (see -Goodell’s <i>Greek Metric</i> pp. 6, 7), we find -the following difference indicated as -between the school of the <i>metrici</i> and -that of the <i>rhythmici</i>: “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. (<i>C. V.</i> c. 17 -οἱ δ’ ἀπὸ τῆς μακρᾶς ... τῶν πάνυ καλῶν -οἱ ῥυθμοί: cp. c. 20 <i>ibid.</i>). 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 <i>Greek Metric</i> pp. 8, 9.</p> - -<p>20. Cp. the use of the long <i>o</i> in such -passages as Virg. <i>Aen.</i> 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.”</p> - -<p>23. Aristotle (<i>Poetics</i> c. 22) points out -that it would be disastrous to substitute -the trivial κράζουσιν for <b>βοόωσιν</b> in this -passage.—With regard to the sound of -the line cp. schol. on <i>Il.</i> 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 -<em class="gesperrt">βοόωσιν</em>. 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_156" id="Page_156">[156-7]</a></span></p> - -<p> -ἐπὶ δὲ τοῦ τετυφλωμένου Κύκλωπος τό τε τῆς ἀλγηδόνος<br /> -μέγεθος καὶ τὴν διὰ τῶν χειρῶν βραδεῖαν ἔρευναν τῆς τοῦ<br /> -σπηλαίου θύρας<br /> -</p> - -<p class="indent8"> -Κύκλωψ δὲ στενάχων τε καὶ ὠδίνων ὀδύνῃσιν,<br /> -χερσὶ ψηλαφόων· 5<br /> -</p> - -<p> -καὶ ἄλλοθί που δέησιν ἐνδείξασθαι βουλόμενος πολλὴν καὶ<br /> -κατεσπουδασμένην<br /> -</p> - -<p class="indent8"> -οὐδ’ εἴ κεν μάλα πολλὰ πάθῃ ἑκάεργος Ἀπόλλων,<br /> -προπροκυλινδόμενος πατρὸς Διὸς αἰγιόχοιο.<br /> -</p> - -<p> -μυρία ἔστιν εὑρεῖν παρ’ αὐτῷ τοιαῦτα, χρόνου μῆκος ἢ 10<br /> -σώματος μέγεθος ἢ πάθους ὑπερβολὴν ἢ στάσεως ἠρεμίαν ἢ<br /> -τῶν παραπλησίων τι δηλοῦντα παρ’ οὐδὲν οὕτως ἕτερον ἢ τὰς<br /> -τῶν συλλαβῶν κατασκευάς· καὶ ἄλλα τούτοις ἐναντίως εἰργασμένα<br /> -εἰς βραχύτητα καὶ τάχος καὶ σπουδὴν καὶ τὰ τούτοις<br /> -ὁμοιογενῆ, ὡς ἔχει ταυτί 15<br /> -</p> - -<p class="indent8"> -ἀμβλήδην γοόωσα μετὰ δμωῇσιν ἔειπεν<br /> -</p> - -<p> -καὶ<br /> -</p> - -<p class="indent8"> -ἡνίοχοι δ’ ἔκπληγεν, ἐπεὶ ἴδον ἀκάματον πῦρ.<br /> -</p> - -<p> -ἐφ’ ἧς μὲν γὰρ ἡ τοῦ πνεύματος δηλοῦται συγκοπὴ καὶ τὸ<br /> -τῆς φωνῆς ἄτακτον, ἐφ’ ὧν δ’ ἡ τῆς διανοίας ἔκστασις καὶ τὸ 20<br /> -τοῦ δείματος ἀπροσδόκητον· ποιεῖ δὲ τούτων ἑκάτερον ἡ τῶν<br /> -συλλαβῶν τε καὶ γραμμάτων ἐλάττωσις.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_157" id="Page_157">[157]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -The Cyclops, with groan on groan and throes of anguish sore,<br /> -With hands slow-groping.<a name="FNanchor_132_132" id="FNanchor_132_132"></a><a href="#Footnote_132_132" class="fnanchor">[132]</a><br /> -</p> - -<p>And when in another place he wishes to indicate a long impassioned -prayer:—</p> - -<p class="indent8"> -Not though in an agony Phoebus the Smiter from Far should entreat<br /> -Low-grovelling at Father Zeus the Aegis-bearer’s feet.<a name="FNanchor_133_133" id="FNanchor_133_133"></a><a href="#Footnote_133_133" class="fnanchor">[133]</a><br /> -</p> - -<p>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,</p> - -<p class="indent8"> -Wailing with broken sobs amidst of her handmaids she cried,<a name="FNanchor_134_134" id="FNanchor_134_134"></a><a href="#Footnote_134_134" class="fnanchor">[134]</a><br /> -</p> - -<p>and</p> - -<p class="indent8"> -And scared were the charioteers, that tireless flame to behold.<a name="FNanchor_135_135" id="FNanchor_135_135"></a><a href="#Footnote_135_135" class="fnanchor">[135]</a><br /> -</p> - -<p>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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>ἀλγηδών</b>: 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 <i>de Sublim.</i> iv. 7 καὶ τὸ Ἡροδότειον -οὐ πόρρω, τὸ φάναι τὰς καλὰς γυναῖκας -“ἀλγηδόνας ὀφθαλμῶν.”</p> - -<p>4. In these lines, and in <b><a href="#Page_154">154</a></b> 23, the -reiteration of the long ω, and of the -long η, is particularly to be noted.</p> - -<p>9. <b>προπροκυλινδόμενος</b>: imitated by -Ap. Rhod. <i>Argon.</i> i. 386 προπροβιαζόμενοι, -and ii. 595 προπροκαταΐγδην. Cp. -<i>Odyss.</i> xvii. 524 ἔνθεν δὴ νῦν δεῦρο τόδ’ -ἵκετο πήματα πάσχων, | προπροκυλινδόμενος.</p> - -<p>10. <b>χρόνου μῆκος</b>: cp. Virg. <i>Aen.</i> i. -272 “hic iam ter centum totos regnabitur -annos,” and iii. 284 “interea magnum -sol circumvolvitur annum.”</p> - -<p>11. <b>σώματος μέγεθος</b>: cp. Virg. <i>Aen.</i> -vii. 783 “ipse inter primos praestanti -corpore Turnus.”—<b>πάθους ὑπερβολήν</b>: -cp. Virg. <i>Aen.</i> ix. 475 “at subitus -miserae calor ossa reliquit, | excussi -manibus radii revolutaque pensa.”</p> - -<p>12. A blending of (1) παρ’ οὐδὲν οὕτως -ὡς, (2) παρ’ οὐδὲν ἕτερον ἤ.</p> - -<p>16. Cp. Virg. <i>Aen.</i> ix. 477 “evolat -infelix et femineo ululatu | scissa comam -muros amens atque agmina cursu | prima -petit,” etc.</p> - -<p>18. Batteux (<i>Réflexions</i> pp. 219-21) -quotes and analyzes the well-known -passage of Racine’s <i>Phèdre</i> (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: <i>sorti du fond des -flots; notre sang s’est glacé; L’onde -approche, se brise; Son front large est -armé</i>. Des mots qui se heurtent: -<i>effroyable cri; cri redoutable; le crin -s’est hérissé</i>. D’autres mots larges et -spacieux: <i>Cependant, sur le dos de la -plaine liquide, S’élève à gros bouillons</i> -(<i>S’élève</i> rejeté à l’autre vers comme -celui-ci de Despréaux, <i>S’élève un lit de -plume</i>) <i>une montaigne humide; cornes -menaçantes; écailles jaunissantes; Indomptable -taureau, dragon impétueux</i>. -Des syllabes qui se renversent les unes -sur le autres: <i>Sa croupe se recourbe en -replis tortueux</i>. Ce vers, dans un poëme -ancient, eût été célébré de siècle en -siècle.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_158" id="Page_158">[158-9]</a></span></p> - - -<h3>XVI</h3> - -<p> -καὶ αὐτοὶ μὲν δὴ κατασκευάζουσιν οἱ ποιηταὶ καὶ λογογράφοι<br /> -πρὸς χρῆμα ὁρῶντες οἰκεῖα καὶ δηλωτικὰ τῶν ὑποκειμένων<br /> -τὰ ὀνόματα, ὥσπερ ἔφην· πολλὰ δὲ καὶ παρὰ τῶν<br /> -ἔμπροσθεν λαμβάνουσιν ὡς ἐκεῖνοι κατεσκεύασαν, ὅσα μιμητικὰ<br /> -τῶν πραγμάτων ἐστίν· ὡς ἔχει ταυτί 5<br /> -</p> - -<p class="indent8"> -ῥόχθει γὰρ μέγα κῦμα ποτὶ ξερὸν ἠπείροιο. -</p> - -<p class="indent8"> -αὐτὸς δὲ κλάγξας πέτετο πνοιῇς ἀνέμοιο. -</p> - -<p class="indent8"> -αἰγιαλῷ μεγάλῳ βρέμεται, σμαραγεῖ δέ τε πόντος. -</p> - -<p class="indent8"> -σκέπτετ’ ὀιστῶν τε ῥοῖζον καὶ δοῦπον ἀκόντων. -</p> - -<p> -μεγάλη δὲ τούτων ἀρχὴ καὶ διδάσκαλος ἡ φύσις ἡ ποιοῦσα 10<br /> -μιμητικοὺς καὶ θετικοὺς ἡμᾶς τῶν ὀνομάτων, οἷς δηλοῦται τὰ<br /> -πράγματα κατά τινας εὐλόγους καὶ κινητικὰς τῆς διανοίας<br /> -ὁμοιότητας· ὑφ’ ἧς ἐδιδάχθημεν ταύρων τε μυκήματα λέγειν<br /> -καὶ χρεμετισμοὺς ἵππων καὶ φριμαγμοὺς τράγων πυρός τε<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_159" id="Page_159">[159]</a></span></p> - -<h4>CHAPTER XVI<br /><br /> - -POETIC SKILL IN THE CHOICE AND IN THE -COMBINATION OF WORDS</h4> - -<p>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:—</p> - -<p class="indent8"> -For the vast sea-swell on the beach crashed down with a thunder-shock.<a name="FNanchor_136_136" id="FNanchor_136_136"></a><a href="#Footnote_136_136" class="fnanchor">[136]</a><br /> -</p> - -<p class="indent8"> -And adown the blasts of the wind he darted with one wild scream.<a name="FNanchor_137_137" id="FNanchor_137_137"></a><a href="#Footnote_137_137" class="fnanchor">[137]</a><br /> -</p> - -<p class="indent8"> -Even as when the surge of the seething sea falls dashing<br /> -(On a league-long strand, with the roar of the rollers thunderous-crashing).<a name="FNanchor_138_138" id="FNanchor_138_138"></a><a href="#Footnote_138_138" class="fnanchor">[138]</a><br /> -</p> - -<p class="indent8"> -And his eyes for the hiss of the arrows, the hurtling of lances, were keen.<a name="FNanchor_139_139" id="FNanchor_139_139"></a><a href="#Footnote_139_139" class="fnanchor">[139]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. <b>πρὸς χρῆμα ὁρῶντες</b>: for χρῆμα cp. -<b><a href="#Page_160">160</a></b> 4. The writer must, in Matthew -Arnold’s phrase, have his “eye on the -object.” Cp. Aristot. <i>Poet.</i> 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. <i>de -Sublim.</i> 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.</p> - -<p>4. <b>μιμητικά</b>: cp. Aristot. <i>Poet.</i> 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.</p> - -<p>6. For the repeated <i>r</i> sound cp. the -passage of the <i>Aeneid</i> (i. 108) which -begins “talia iactanti stridens Aquilone -procella,” and schol. on <i>Odyss.</i> v. 402 -τῶν δὲ πεποιημένων ἡ λέξις (sc. ῥόχθει)· -τραχὺ γὰρ τὸ ρ, τὸ θ, τὸ χ.</p> - -<p>8. Cp. schol. ad <i>Il.</i> ii. 210 συμφυῶς -τῷ ὑποκειμένῳ τετράχυνται τὸ ἔπος ταῖς -ὀνοματοποιΐαις.—In this line F’s reading -μεγάλα accords with a conjecture of -Bentley’s.</p> - -<p>9. Cp. Virg. <i>Aen.</i> v. 437 “stat -gravis Entellus nisuque immotus eodem | -corpore tela modo atque oculis vigilantibus -exit.”</p> - -<p>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 <i>balare</i> quidem aut -<i>hinnire</i> fortiter diceremus, nisi iudicio -vetustatis niterentur” (Quintilian has -just before, §§ 67 and 70, referred to -Pacuvius’ <i>repandirostrum</i> and <i>incurvicervicum</i>: -which may be compared with -Ἑρμοκαϊκόξανθος, Aristot. <i>Poet.</i> 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 <i>Sullaturit</i> -et <i>proscripturit</i>.” 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 <i>ibid.</i>). -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.</p> - -<p>13. In giving the singular, P seems -clearly right here, and as clearly wrong -when giving the plural in <b><a href="#Page_156">156</a></b> 19. -</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_160" id="Page_160">[160-1]</a></span></p> - -<p> -βρόμον καὶ πάταγον ἀνέμων καὶ συριγμὸν κάλων καὶ ἄλλα<br /> -τούτοις ὅμοια παμπληθῆ τὰ μὲν φωνῆς μιμήματα, τὰ δὲ<br /> -μορφῆς, τὰ δὲ ἔργου, τὰ δὲ πάθους, τὰ δὲ κινήσεως, τὰ δ’<br /> -ἠρεμίας, τὰ δ’ ἄλλου χρήματος ὅτου δήποτε· περὶ ὧν εἴρηται<br /> -πολλὰ τοῖς πρὸ ἡμῶν, τὰ κράτιστα δ’ ὡς πρώτῳ τὸν ὑπὲρ 5<br /> -ἐτυμολογίας εἰσαγαγόντι λόγον, Πλάτωνι τῷ Σωκρατικῷ, πολλαχῇ<br /> -μὲν καὶ ἄλλῃ μάλιστα δ’ ἐν τῷ Κρατύλῳ.<br /> -<br /> -τί δὴ τὸ κεφάλαιόν ἐστί μοι τούτου τοῦ λόγου; ὅτι<br /> -παρὰ μὲν τὰς τῶν γραμμάτων συμπλοκὰς ἡ τῶν συλλαβῶν<br /> -γίνεται δύναμις ποικίλη, παρὰ δὲ τὴν τῶν συλλαβῶν σύνθεσιν 10<br /> -ἡ τῶν ὀνομάτων φύσις παντοδαπή, παρὰ δὲ τὰς τῶν ὀνομάτων<br /> -ἁρμονίας πολύμορφος ὁ λόγος· ὥστε πολλὴ ἀνάγκη καλὴν<br /> -μὲν εἶναι λέξιν ἐν ᾗ καλά ἐστιν ὀνόματα, κάλλους δὲ ὀνομάτων<br /> -συλλαβάς τε καὶ γράμματα καλὰ αἴτια εἶναι, ἡδεῖαν δὲ διάλεκτον<br /> -ἐκ τῶν ἡδυνόντων τὴν ἀκοὴν γίνεσθαι κατὰ τὸ παραπλήσιον 15<br /> -ὀνομάτων τε καὶ συλλαβῶν καὶ γραμμάτων, τάς τε<br /> -κατὰ μέρος ἐν τούτοις διαφοράς, καθ’ ἃς δηλοῦται τά τε ἤθη<br /> -καὶ τὰ πάθη καὶ αἱ διαθέσεις καὶ τὰ ἔργα τῶν προσώπων<br /> -καὶ τὰ συνεδρεύοντα τούτοις, ἀπὸ τῆς πρώτης κατασκευῆς τῶν<br /> -γραμμάτων γίνεσθαι τοιαύτας. 20<br /> -<br /> -χρήσομαι δ’ ὀλίγοις παραδείγμασι τοῦ λόγου τοῦδε τῆς<br /> -σαφηνείας ἕνεκα· τὰ γὰρ ἄλλα πολλὰ ὄντα ἐπὶ σαυτοῦ συμβαλλόμενος<br /> -εὑρήσεις. ὁ δὴ πολυφωνότατος ἁπάντων τῶν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_161" id="Page_161">[161]</a></span></p> - -<p>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 <i>Cratylus</i> especially, -but in many other places as well.</p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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. <b><a href="#Page_158">158</a></b> 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</p> - -<p>1. Cp. Virg. <i>Aen.</i> i. 87 “insequitur -clamorque virum stridorque rudentum”; -Ap. Rhod. <i>Argon.</i> i. 725 ὑπὸ πνοιῇ δὲ -κάλωες | ὅπλα τε νήια πάντα τινάσσετο -νισσομένοισιν.</p> - -<p>5. So Diog. Laert. (auctore Favorino -in octavo libro Omnigenae historiae): -καὶ πρῶτος ἐθεώρησε τῆς γραμματικῆς -τὴν δύναμιν (<i>Vit. Plat.</i> 25).</p> - -<p>8. The following passage (from <b>ὅτι</b> to -<b>καλὰ αἴτια</b>) is quoted in schol. anon. in -Hermog. (Walz <i>Rhett. Gr.</i> vii. 1049), -with the prefatory words ἀλλὰ καὶ ἐν -τῷ περὶ συνθέσεως ὀνομάτων περὶ λέξεως -διαλαμβάνων λέγει ὅτι κτλ.</p> - -<p>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.</p> - -<p>12. “This sentence (<b>ὥστε πολλὴ -ἀνάγκη ... γράμματα καλὰ αἴτια εἶναι</b>) -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 <i>History of Criticism</i> i. 130).</p> - -<p>21. <b>παραδείγμασι</b> is perhaps to be preferred -to δείγμασι here: cp. <b><a href="#Page_164">164</a></b> 16.</p> - -<p>22. <b>ἐπὶ σαυτοῦ</b> = <i>per te ipsum</i>, <i>tuopte -Marte</i>: cp. <b><a href="#Page_96">96</a></b> 21 ἐσκόπουν δ’ αὐτὸς ἐπ’ -ἐμαυτοῦ γενόμενος.</p> - -<p>23. <b>πολυφωνότατος</b> 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 <i>Types of Tragic Drama</i> -p. 165).—The passage of Dionysius which -follows might be endlessly illustrated -from Shakespeare; e.g. from Sonnet civ., -<i>Romeo and Juliet</i> ii. 2 and v. 3, <i>Antony -and Cleopatra</i> ii. 2 (speeches of Enobarbus), -<i>Tempest</i> iii. 1. In the scene -of the <i>Tempest</i>, 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,</p> - -<p class="indent8"> -<span style="margin-left: 11em;">But you, O you,</span><br /> -So <i>p</i>erfect and so <i>p</i>eerless, are created<br /> -Of every creature’s best;<br /> -</p> - -<p>and, in the other,</p> - -<p class="indent8"> -<span style="margin-left: 13em;">But I <i>p</i>rattle</span><br /> -Something too wildly, and my father’s <i>p</i>recepts<br /> -I therein do forget.<br /> -</p> - -<p>In the same scene the lines—</p> - -<p class="indent8"> -<span style="margin-left: 15em;">O, she is</span><br /> -Ten times more gentle than her father’s crabbed,<br /> -And he’s composed of harshness,<br /> -</p> - -<p>would have a very different effect (cp. -quotation from Aristotle’s <i>Poetics</i> on <b><a href="#Page_78">78</a></b> -9 <i>supra</i>) if written as follows:—</p> - -<p class="indent8"> -<span style="margin-left: 15em;">O, she is</span><br /> -Ten times more <i>gracious</i> than her <i>sire</i> is <i>stern</i>,<br /> -And he is <i>merely cruel</i><br /> -</p> - -<p>(‘merely’ being understood, of course, in -the Shakespearian sense of ‘absolutely’).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_162" id="Page_162">[162-3]</a></span></p> - -<p> -ποιητῶν Ὅμηρος, ὅταν μὲν ὥραν ὄψεως εὐμόρφου καὶ κάλλος<br /> -ἡδονῆς ἐπαγωγὸν ἐπιδείξασθαι βούληται, τῶν τε φωνηέντων<br /> -τοῖς κρατίστοις χρήσεται καὶ τῶν ἡμιφώνων τοῖς μαλακωτάτοις,<br /> -καὶ οὐ καταπυκνώσει τοῖς ἀφώνοις τὰς συλλαβὰς οὐδὲ συγκόψει<br /> -τοὺς ἤχους παρατιθεὶς ἀλλήλοις τὰ δυσέκφορα, πραεῖαν δέ 5<br /> -τινα ποιήσει τὴν ἁρμονίαν τῶν γραμμάτων καὶ ῥέουσαν ἀλύπως<br /> -διὰ τῆς ἀκοῆς, ὡς ἔχει ταυτί<br /> -</p> - -<p class="indent8"> -ἡ δ’ ἴεν ἐκ θαλάμοιο περίφρων Πηνελόπεια<br /> -Ἀρτέμιδι ἰκέλη ἠὲ χρυσῇ Ἀφροδίτῃ.<br /> -</p> - -<p class="indent8"> -Δήλῳ δήποτε τοῖον Ἀπόλλωνος παρὰ βωμῷ 10<br /> -φοίνικος νέον ἔρνος ἀνερχόμενον ἐνόησα.<br /> -</p> - -<p class="indent8"> -καὶ Χλῶριν εἶδον περικαλλέα, τήν ποτε Νηλεὺς<br /> -γῆμεν ἑὸν μετὰ κάλλος, ἐπεὶ πόρε μυρία ἕδνα.<br /> -</p> - -<p> -ὅταν δ’ οἰκτρὰν ἢ φοβερὰν ἢ ἀγέρωχον ὄψιν εἰσάγῃ, τῶν τε<br /> -φωνηέντων οὐ τὰ κράτιστα θήσει ἀλλὰ τῶν ψοφοειδῶν ἢ 15<br /> -ἀφώνων τὰ δυσεκφορώτατα λήψεται καὶ καταπυκνώσει τούτοις<br /> -τὰς συλλαβάς, οἷά ἐστι ταυτί<br /> -</p> - -<p class="indent8"> -σμερδαλέος δ’ αὐτῇσι φάνη κεκακωμένος ἅλμῃ.<br /> -</p> - -<p class="indent8"> -τῇ δ’ ἐπὶ μὲν Γοργὼ βλοσυρῶπις ἐστεφάνωτο<br /> -δεινὸν δερκομένη, περὶ δὲ Δεῖμός τε Φόβος τε. 20<br /> -</p> - -<p> -ποταμῶν δέ γε σύρρυσιν εἰς χωρίον ἓν καὶ πάταγον ὑδάτων<br /> -ἀναμισγομένων ἐκμιμήσασθαι τῇ λέξει βουλόμενος οὐκ ἐργάσεται<br /> -λείας συλλαβὰς ἀλλ’ ἰσχυρὰς καὶ ἀντιτύπους<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_163" id="Page_163">[163]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -Now forth of her bower hath gone Penelope passing-wise<br /> -Lovely as Artemis, or as Aphrodite the Golden.<a name="FNanchor_140_140" id="FNanchor_140_140"></a><a href="#Footnote_140_140" class="fnanchor">[140]</a><br /> -</p> - -<p class="indent8"> -Only once by the Sun-god’s altar in Delos I chanced to espy<br /> -So stately a shaft of a palm that gracefully grew thereby.<a name="FNanchor_141_141" id="FNanchor_141_141"></a><a href="#Footnote_141_141" class="fnanchor">[141]</a><br /> -</p> - -<p class="indent8"> -Rose Chloris, fair beyond word, whom Nereus wedded of old,<br /> -For her beauty his heart had stirred, and he wooed her with gifts untold.<a name="FNanchor_142_142" id="FNanchor_142_142"></a><a href="#Footnote_142_142" class="fnanchor">[142]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -But dreadful he burst on their sight, with the sea-scum all fouled o’er.<a name="FNanchor_143_143" id="FNanchor_143_143"></a><a href="#Footnote_143_143" class="fnanchor">[143]</a><br /> -</p> - -<p class="indent8"> -And thereon was embossed the Gorgon-demon, with stony gaze<br /> -Grim-glaring, and Terror and Panic encompassed the Fearful Face.<a name="FNanchor_144_144" id="FNanchor_144_144"></a><a href="#Footnote_144_144" class="fnanchor">[144]</a><br /> -</p> - -<p>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:—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>κάλλος</b>: cp. scholium in P, ση(μείωσαι) -πῶς κάλλος ἡδο(νῆς) ἐπαγωγὸν -δείκνυ(σιν) Ὅμ(η)ρ(ος).</p> - -<p>3. <b>χρήσεται ... καταπυκνώσει ... -συγκόψει ... ποιήσει</b>: general truths -expressed by means of the future tense.</p> - -<p>8. Cp. Virg. <i>Aen.</i> 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 <i>Aen.</i> xii. 67 “Indum sanguineo -veluti violaverit ostro | si quis ebur, aut -mixta rubent ubi lilia multa | alba rosa: -tales virgo dabat ore colores.”</p> - -<p>13. In <i>Odyss.</i> xi. 282 the textual -evidence is reported as follows: “διὰ -FHJK, ss. XTU<sup>2</sup>, Dion. Hal. comp. -verb. 16; δια P; μετὰ XDSTUW, An. -Ox. iv. 310. 5, Bekker An. 1158, Eust.; -μετα G” (Ludwich <i>ad loc.</i>).—In the -present passage of Dionysius the reading -μετά gives an additional <b>μ</b> in the -line: γῆ<b>μ</b>εν ἑὸν <b>μ</b>ετὰ κάλλος, ἐπεὶ πόρε -<b>μ</b>υρία ἕδνα. For some instances in which -the authorities vary between μετά and -κατά see Ebeling’s <i>Lexicon Homericum</i>, -s.v. μετά.</p> - -<p>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 -<b>ἀγέρωχος</b> so closely follows the quotations -from Homer, it is natural to -suppose that Dionysius uses the word -in the Homeric sense of <i>lordly, august</i>, -rather than in the later (bad) sense of -<i>haughty, insolent</i>.</p> - -<p>15. Sauppe would insert τὰ δυσηχέστατα -καὶ between ἀλλὰ and τῶν ψοφοειδῶν.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_164" id="Page_164">[164-5]</a></span></p> - -<p class="indent8"> -ὡς δ’ ὅτε χείμαρροι ποταμοὶ κατ’ ὄρεσφι ῥέοντες<br /> -ἐς μισγάγκειαν συμβάλλετον ὄβριμον ὕδωρ.<br /> -</p> - -<p> -βιαζόμενον δέ τινα πρὸς ἐναντίον ῥεῦμα ποταμοῦ μετὰ τῶν<br /> -ὅπλων καὶ τὰ μὲν ἀντέχοντα, τὰ δ’ ὑποφερόμενον εἰσάγων<br /> -ἀνακοπάς τε ποιήσει συλλαβῶν καὶ ἀναβολὰς χρόνων καὶ 5<br /> -ἀντιστηριγμοὺς γραμμάτων<br /> -</p> - -<p class="indent8"> -δεινὸν δ’ ἀμφ’ Ἀχιλῆα κυκώμενον ἵστατο κῦμα,<br /> -ὤθει δ’ ἐν σάκεϊ πίπτων ῥόος, οὐδὲ πόδεσσιν<br /> -εἶχε στηρίξασθαι.<br /> -</p> - -<p> -ἀραττομένων δὲ περὶ πέτρας ἀνθρώπων ψόφον τε καὶ μόρον 10<br /> -οἰκτρὸν ἐπιδεικνύμενος, ἐπὶ τῶν ἀηδεστάτων τε καὶ κακοφωνοτάτων<br /> -χρονιεῖ γραμμάτων, οὐδαμῇ λεαίνων τὴν κατασκευὴν<br /> -οὐδὲ ἡδύνων·<br /> -</p> - -<p class="indent8"> -σύν τε δύω μάρψας ὥστε σκύλακας ποτὶ γαίῃ<br /> -κόπτ’· ἐκ δ’ ἐγκέφαλος χαμάδις ῥέε, δεῦε δὲ γαῖαν. 15<br /> -</p> - -<p> -πολὺ ἂν ἔργον εἴη λέγειν, εἰ πάντων παραδείγματα βουλοίμην<br /> -φέρειν ὧν ἄν τις ἀπαιτήσειε κατὰ τὸν τόπον τόνδε· ὥστε ἀρκεσθεὶς<br /> -τοῖς εἰρημένοις ἐπὶ τὰ ἑξῆς μεταβήσομαι. φημὶ δὴ τὸν<br /> -βουλόμενον ἐργάσασθαι λέξιν καλὴν ἐν τῷ συντιθέναι τὰς<br /> -φωνάς, ὅσα καλλιλογίαν ἢ μεγαλοπρέπειαν ἢ σεμνότητα περιείληφεν 20<br /> -ὀνόματα, εἰς ταὐτὸ συνάγειν. εἴρηται δέ τινα περὶ<br /> -τούτων καὶ Θεοφράστῳ τῷ φιλοσόφῳ κοινότερον ἐν τοῖς περὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_165" id="Page_165">[165]</a></span></p> - -<p class="indent8"> -And even as Wintertide torrents down-rushing from steep hill-sides<br /> -Hurl their wild waters in one where a cleft of the mountain divides.<a name="FNanchor_145_145" id="FNanchor_145_145"></a><a href="#Footnote_145_145" class="fnanchor">[145]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -Round Achilles the terrible surge towered seething on every side,<br /> -And a cataract dashed and crashed on his shield: all vainly he sought<br /> -Firm ground for his feet.<a name="FNanchor_146_146" id="FNanchor_146_146"></a><a href="#Footnote_146_146" class="fnanchor">[146]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -And together laid hold on twain, and dashed them against the ground<br /> -Like whelps: down gushed the brain, and bespattered the rock-floor round.<a name="FNanchor_147_147" id="FNanchor_147_147"></a><a href="#Footnote_147_147" class="fnanchor">[147]</a><br /> -</p> - -<p>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.</p> - -<p>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 <i>Style</i>, where he</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>2 ὄβριμον FP: ὄμβριμον EM<sup>2</sup>V 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. <b><a href="#Page_202">202</a></b> 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</p> - -<p>1. Cp. Virg. <i>Aen.</i> 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.”</p> - -<p>7. Cp. Virg. <i>Aen.</i> x. 305 “solvitur -(sc. puppis Tarchontis) atque viros mediis -exponit in undis, | fragmina remorum -quos et fluitantia transtra | impediunt -retrahitque pedes simul unda relabens.”</p> - -<p>14. Cp. Virg. <i>Aen.</i> v. 478, “durosque -reducta | libravit dextra media inter -cornua caestus | arduus, effractoque illisit -in ossa cerebro.”—Demetr. (<i>de Eloc.</i> § 219), -in quoting this passage of Homer, couples -with it <i>Il.</i> xxiii. 116 πολλὰ δ’ ἄναντα -κάταντα πάραντά τε δόχμιά τ’ ἦλθον -(Virgil’s “quadripedante putrem sonitu -quatit ungula campum,” <i>Aen.</i> viii. 596).—Another -good Virgilian instance of -adaptation of sound to sense is <i>Georg.</i> -iv. 174 “illi inter sese magna vi bracchia -tollunt | in numerum, versantque tenaci -forcipe ferrum.”</p> - -<p>18. <b>φημί</b> seems (cp. the legal use of -<i>aio</i>) to approximate to the sense of κελεύω -(as in Pind. <i>Nem.</i> iii. 28, Soph. <i>Aj.</i> -1108). Either so, or (as Upton suggested) -we may insert δεῖν, or the sense -may simply be, “I say that the man -who aims ... <i>does</i> combine, etc. (i.e. -when he knows his own business).”</p> - -<p>19. For the construction <b>λέξιν καλὴν -ἐν τῷ συντιθέναι τὰς φωνάς</b> cp. <i>Fragm.</i> -of Duris of Samos, Ἔφορος δὲ καὶ -Θεόπομπος τῶν γενομένων πλεῖστον ἀπελείφθησαν, -οὔτε γὰρ μιμήσεως μετέλαβον -οὐδεμίας οὔτε <em class="gesperrt">ἡδονῆς ἐν τῷ φράσαι</em>, -αὐτοῦ δὲ τοῦ γράφειν μόνον ἐπεμελήθησαν.</p> - -<p>20. Here, again, the Aristotelian -‘mean’ may possibly be intended.</p> - -<p>22. <b>Theophrastus</b>: for other references -to Theophrastus in the <i>Scripta Rhetorica</i> -of Dionysius see <i>de Lysia</i> cc. 6, 14; -<i>de Isocr.</i> c. 3; <i>de Din.</i> c. 2; <i>de Demosth.</i> -c. 3. The passage of Theophrastus which -Dionysius has in mind here is no doubt -that mentioned by Demetr. <i>de Eloc.</i> § 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_166" id="Page_166">[166-7]</a></span></p> - -<p> -λέξεως, ἔνθα ὁρίζει, τίνα ὀνόματα φύσει καλά· παραδείγματος<br /> -ἕνεκα, ὧν συντιθεμένων καλὴν οἴεται καὶ μεγαλοπρεπῆ γενήσεσθαι<br /> -τὴν φράσιν, καὶ αὖθις ἕτερα μικρὰ καὶ ταπεινά, ἐξ ὧν<br /> -οὔτε ποίημα χρηστὸν ἔσεσθαί φησιν οὔτε λόγον. καὶ μὰ<br /> -Δία οὐκ ἀπὸ σκοποῦ ταῦτα εἴρηται τῷ ἀνδρί. εἰ μὲν οὖν 5<br /> -ἐγχωροίη πάντ’ εἶναι τὰ μόρια τῆς λέξεως ὑφ’ ὧν μέλλει<br /> -δηλοῦσθαι τὸ πρᾶγμα εὔφωνά τε καὶ καλλιρήμονα, μανίας<br /> -ἔργον ζητεῖν τὰ χείρω· εἰ δὲ ἀδύνατον εἴη τοῦτο, ὥσπερ ἐπὶ<br /> -πολλῶν ἔχει, τῇ πλοκῇ καὶ μίξει καὶ παραθέσει πειρατέον<br /> -ἀφανίζειν τὴν τῶν χειρόνων φύσιν, ὅπερ Ὅμηρος εἴωθεν ἐπὶ 10<br /> -πολλῶν ποιεῖν. εἰ γάρ τις ἔροιτο ὅντιν’ οὖν ἢ ποιητῶν ἢ<br /> -ῥητόρων, τίνα σεμνότητα ἢ καλλιλογίαν ταῦτ’ ἔχει τὰ ὀνόματα<br /> -ἃ ταῖς Βοιωτίαις κεῖται πόλεσιν Ὑρία καὶ Μυκαλησσὸς καὶ<br /> -Γραῖα καὶ Ἐτεωνὸς καὶ Σκῶλος καὶ Θίσβη καὶ Ὀγχηστὸς<br /> -καὶ Εὔτρησις καὶ τἆλλ’ ἐφεξῆς ὧν ὁ ποιητὴς μέμνηται, οὐδεὶς 15<br /> -ἂν εἰπεῖν οὐδ’ ἥντιν’ οὖν ἔχοι· ἀλλ’ οὕτως αὐτὰ καλῶς<br /> -ἐκεῖνος συνύφαγκεν καὶ παραπληρώμασιν εὐφώνοις διείληφεν<br /> -ὥστε μεγαλοπρεπέστατα φαίνεσθαι πάντων ὀνόματα·<br /> -</p> - -<p class="indent8"> -Βοιωτῶν μὲν Πηνέλεως καὶ Λήϊτος ἦρχον<br /> -Ἀρκεσίλαός τε Προθοήνωρ τε Κλονίος τε, 20<br /> -οἵ θ’ Ὑρίην ἐνέμοντο καὶ Αὐλίδα πετρήεσσαν<br /> -Σχοῖνόν τε Σκῶλόν τε πολύκνημόν τ’ Ἐτεωνόν,<br /> -Θέσπειαν Γραῖάν τε καὶ εὐρύχορον Μυκαλησσόν,<br /> -οἵ τ’ ἀμφ’ Ἅρμ’ ἐνέμοντο καὶ Εἰλέσιον καὶ Ἐρυθράς,<br /> -οἵ τ’ Ἐλεῶν’ εἶχον ἠδ’ Ὕλην καὶ Πετεῶνα, 25<br /> -Ὠκαλέην Μεδεῶνά τ’ ἐυκτίμενον πτολίεθρον.<br /> -</p> - -<p> -ἐν εἰδόσι λέγων οὐκ οἴομαι πλειόνων δεῖν παραδειγμάτων.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_167" id="Page_167">[167]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -Lords of Boeotia’s host came Leitus, Peneleos,<br /> -Prothoenor and Arcesilaus and Clonius for battle uprose,<br /> -With the folk that in Hyrie dwelt, and by Aulis’s crag-fringed steep,<br /> -And in Schoinus and Scolus, and midst Eteonus’ hill-clefts deep,<br /> -In Thespeia and Graia, and green Mycalessus the land broad-meadowed,<br /> -And in Harma and Eilesius, and Erythrae the mountain-shadowed,<br /> -And they that in Eleon abode, and in Hyle and Peteon withal,<br /> -And in Ocalee and in Medeon, burg of the stately wall.<a name="FNanchor_148_148" id="FNanchor_148_148"></a><a href="#Footnote_148_148" class="fnanchor">[148]</a><br /> -</p> - -<p>As I am addressing men who know their Homer, I do not</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>παραδείγματος ἕνεκα</b> 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.</p> - -<p>4. For the distinction between poetry -and prose cp. Aristot. <i>Rhet.</i> 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.</p> - -<p>5. <b>οὐκ ἀπὸ σκοποῦ</b> = ‘haud ab re.’</p> - -<p>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 <b><a href="#Page_164">164</a></b> 17) -the verb at the end of the sentence is -noteworthy.</p> - -<p>18. Cp. Virg. <i>Georg.</i> iv. 334-44; -<i>Aen.</i> vii. 710-21; Milton <i>Par. Lost</i> -i. 351-5. 396-414, 464-9, 576-87 -(especially 583-7); and see Matthew -Arnold (<i>On translating Homer: Last -Words</i> p. 29) as to Hom. <i>Il.</i> xvii. 216 ff.</p> - -<p>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.</p> - -<p>27. <b>ἐν εἰδόσι</b>: this expressive phrase is -as old as Homer himself (<i>Il.</i> x. 250 εἰδόσι -γάρ τοι ταῦτα μετ’ Ἀργείοις ἀγορεύεις). It -occurs also in Thucyd. (ii. 36. 4 μακρηγορεῖν -ἐν εἰδόσιν οὐ βουλόμενος ἐάσω).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_168" id="Page_168">[168-69]</a></span></p> - -<p>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.</p> - - -<h3>XVII</h3> - -<p> -ἐπεὶ δὲ καὶ τοὺς ῥυθμοὺς ἔφην οὐ μικρὰν μοῖραν ἔχειν 5<br /> -τῆς ἀξιωματικῆς καὶ μεγαλοπρεποῦς συνθέσεως, ἵνα μηδεὶς<br /> -εἰκῇ με δόξῃ λέγειν ῥυθμοὺς καὶ μέτρα μουσικῆς οἰκεῖα θεωρίας<br /> -εἰς οὐ ῥυθμικὴν οὐδ’ ἔμμετρον εἰσάγοντα διάλεκτον, ἀποδώσω<br /> -καὶ τὸν ὑπὲρ τούτων λόγον. ἔχει δ’ οὕτως·<br /> -<br /> -πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως, ὅ τι μὴ 10<br /> -μονοσύλλαβόν ἐστιν, ἐν ῥυθμῷ τινι λέγεται· τὸ δ’ αὐτὸ καλῶ<br /> -πόδα καὶ ῥυθμόν. δισυλλάβου μὲν οὖν λέξεως διαφοραὶ τρεῖς.<br /> -ἢ γὰρ ἐξ ἀμφοτέρων ἔσται βραχειῶν ἢ ἐξ ἀμφοτέρων μακρῶν<br /> -ἢ τῆς μὲν βραχείας, τῆς δὲ μακρᾶς. τοῦ δὲ τρίτου τούτου<br /> -ῥυθμοῦ διττὸς ὁ τρόπος· ὁ μέν τις ἀπὸ βραχείας ἀρχόμενος 15<br /> -καὶ λήγων εἰς μακράν, ὁ δ’ ἀπὸ μακρᾶς καὶ λήγων εἰς βραχεῖαν.<br /> -ὁ μὲν οὖν βραχυσύλλαβος ἡγεμών τε καὶ πυρρίχιος<br /> -καλεῖται, καὶ οὔτε μεγαλοπρεπής ἐστιν οὔτε σεμνός· σχῆμα<br /> -δ’ αὐτοῦ τοιόνδε<br /> -</p> - -<p class="indent8"> -λέγε δὲ σὺ κατὰ πόδα νεόχυτα μέλεα. 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_169" id="Page_169">[169]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER XVII<br /><br /> - -ON RHYTHMS, OR FEET</h4> - -<p>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.</p> - -<p>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 <i>hegemon</i> or <i>pyrrhich</i>, and -is neither impressive nor solemn. Its character is as follows:—</p> - -<p class="indent8"> -Pick up the limbs at thy feet newly-scattered.<a name="FNanchor_149_149" id="FNanchor_149_149"></a><a href="#Footnote_149_149" class="fnanchor">[149]</a><br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 αὐτῷ Toupius: αὐτῶν libri 6 μηδεὶς EF: μή κέ (καὶ M<sup>2</sup>) 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</p> - -<p>1. Usener’s <b>αὐτῷ</b> (“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 (<b><a href="#Page_166">166</a></b> 13). Usener’s -suggestion has, it should be pointed -out, been anticipated by Toup (ad -Longin. p. 296).</p> - -<p>5. In this chapter Dionysius seems to -have specially in view Aristotle’s <i>Rhetoric</i> -iii. 8 (cp. note on <b><a href="#Page_255">255</a></b> 25 <i>infra</i>) 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.</p> - -<p>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 <i>ibid.</i> ὅτι μὲν οὖν -ἐξ ἑνὸς χρόνου ποὺς οὐκ ἂν εἴη φανερόν, -κτλ.</p> - -<p>17. See Introduction (p. <a href="#Page_6">6</a> <i>supra</i>) 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.”</p> - -<p>20. <b>λέγε δὲ σύ</b> 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 -<i>Ars Gramm.</i> iii. 1.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_170" id="Page_170">[170-1]</a></span></p> - -<p> -ὁ δ’ ἀμφοτέρας τὰς συλλαβὰς μακρὰς ἔχων κέκληται μὲν<br /> -σπονδεῖος, ἀξίωμα δ’ ἔχει μέγα καὶ σεμνότητα πολλήν·<br /> -παράδειγμα δ’ αὐτοῦ τόδε<br /> -</p> - -<p class="indent8"> -ποίαν δῆθ’ ὁρμάσω, ταύταν<br /> -ἢ κείναν, κείναν ἢ ταύταν; 5<br /> -</p> - -<p> -ὁ δ’ ἐκ βραχείας τε καὶ μακρᾶς συγκείμενος ἐὰν μὲν τὴν<br /> -ἡγουμένην λάβῃ βραχεῖαν, ἴαμβος καλεῖται, καὶ ἔστιν οὐκ<br /> -ἀγεννής· ἐὰν δ’ ἀπὸ τῆς μακρᾶς ἄρχηται, τροχαῖος, καὶ ἔστι<br /> -μαλακώτερος θατέρου καὶ ἀγεννέστερος· παράδειγμα δὲ τοῦ<br /> -μὲν προτέρου τοιόνδε 10<br /> -</p> - -<p class="indent8"> -ἐπεὶ σχολὴ πάρεστι, παῖ Μενοιτίου.<br /> -</p> - -<p> -τοῦ δ’ ἑτέρου<br /> -</p> - -<p class="indent8"> -θυμέ, θύμ’ ἀμηχάνοισι κήδεσιν κυκώμενε.<br /> -</p> - -<p> -δισυλλάβων μὲν δὴ μορίων λέξεως διαφοραί τε καὶ ῥυθμοὶ<br /> -καὶ σχήματα τοσαῦτα· τρισυλλάβων δ’ ἕτερα πλείω τῶν 15<br /> -εἰρημένων καὶ ποικιλωτέραν ἔχοντα θεωρίαν. ὁ μὲν γὰρ ἐξ<br /> -ἁπασῶν βραχείων συνεστώς, καλούμενος δὲ ὑπό τινων χορεῖος<br /> -[τρίβραχυς πούς], οὗ παράδειγμα τοιόνδε<br /> -</p> - -<p class="indent8"> -Βρόμιε, δορατοφόρ’, ἐνυάλιε, πολεμοκέλαδε,<br /> -</p> - -<p> -ταπεινός τε καὶ ἄσεμνός ἐστι καὶ ἀγεννής, καὶ οὐδὲν ἂν ἐξ 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_171" id="Page_171">[171]</a></span></p> - -<p>That which has both its syllables long is called a <i>spondee</i>, and -possesses great dignity and much stateliness. Here is an example -of it:—</p> - -<p class="indent8"> -Ah, which way must I haste?—had I best flee<br /> -By this path? or by that path shall it be?<a name="FNanchor_150_150" id="FNanchor_150_150"></a><a href="#Footnote_150_150" class="fnanchor">[150]</a><br /> -</p> - -<p>That which is composed of a short and a long is called <i>iambus</i> if -it has the first syllable short; it is not ignoble. If it begins -with the long syllable, it is called a <i>trochee</i>, and is less manly -than the other and more ignoble. The following is an example -of the former:—</p> - -<p class="indent8"> -My leisure serves me now, Menoetius’ son.<a name="FNanchor_151_151" id="FNanchor_151_151"></a><a href="#Footnote_151_151" class="fnanchor">[151]</a><br /> -</p> - -<p>Of the other:—</p> - -<p class="indent8"> -Heart of mine, O heart in turmoil with a throng of crushing cares!<a name="FNanchor_152_152" id="FNanchor_152_152"></a><a href="#Footnote_152_152" class="fnanchor">[152]</a><br /> -</p> - -<p>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 <i>choree</i> (or <i>tribrach</i>), of which the -following is an example:—</p> - -<p class="indent8"> -Bromius, wielder of spears,<br /> -Lord of war and the onset-cheers.<a name="FNanchor_153_153" id="FNanchor_153_153"></a><a href="#Footnote_153_153" class="fnanchor">[153]</a><br /> -</p> - -<p>This foot is mean and wanting in dignity and nobility, and</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. The high rank assigned to the -spondee is noted in schol. anon. ad -Hermog. II. ἰδ. (Walz <i>Rhett. Gr.</i> 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.</p> - -<p>4. Euripides’ <i>Hec.</i> 162-4 runs thus -in G. G. A. Murray’s text:—</p> - -<p class="indent8"> -ποίαν ἢ ταύταν ἢ κείναν<br /> -<span class="marginleft1">στείχω; †ποῖ δ’ ἥσω; †ποῦ τις θεῶν</span><br /> -<span style="margin-left: 2.5em;">†ἢ δαιμόνων †ἐπαρωγός;</span><br /> -</p> - -<p>As the editor remarks later, “metrum -nec in se perfectum,” etc. See also -Porson’s note on the same passage of -the <i>Hecuba</i>.—For a Latin spondaic line -cp. Ennius “olli respondit rex Albai -longai” (<i>Annal. Reliq.</i> i. 31 Vahlen).</p> - -<p>7. The iambus and the trochee abound -in ordinary speech, and must therefore -be used in oratory with moderation: cp. -Cic. <i>de Oratore</i> 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”; -<i>Orator</i> 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. <i>Rhet.</i> iii. 8. 4 ὁ δ’ ἴαμβος αὐτή -ἐστιν ἡ λέξις ἡ τῶν πολλῶν· διὸ μάλιστα -πάντων τῶν μέτρων ἰαμβεῖα φθέγγονται -λέγοντες: <i>Poet.</i> 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. <i>de Eloc.</i> § 43 ὁ δὲ -ἴαμβος εὐτελὴς καὶ τῇ τῶν πολλῶν λέξει -ὅμοιος. πολλοὶ γοῦν μέτρα ἰαμβικὰ λαλοῦσιν -οὐκ εἰδότες.</p> - -<p>9. Cp. Aristot. <i>Rhet.</i> iii. 8 ὁ δὲ -τροχαῖος κορδακικώτερος· δηλοῖ δὲ τὰ -τετράμετρα· ἔστι γὰρ ῥυθμὸς τροχαῖος τὰ -τετράμετρα.</p> - -<p>11. As in Hor. <i>Epod.</i> ii. 1 “Beatus -ille, qui procul negotiis.”</p> - -<p>13. This line of Archilochus is preserved -(together with the six that follow -it) in Stobaeus <i>Florileg.</i> i. 207 (Meineke). -For a similar Latin trochaic verse see -Marius Victorinus i. 12 “Roma, Roma -cerne, quanta sit Deum benignitas.”</p> - -<p>18. For the effect of tribrachs in Latin -cp. Marius Victorinus i. 12 “nemus ave -reticuit, ager homine sonat.”</p> - -<p>20. <b>καὶ ἀγεννής</b>: these words are -absent from P; perhaps rightly. They -do not sort well with καὶ οὐδὲν ... -γενναῖον.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_172" id="Page_172">[172-3]</a></span></p> - -<p> -αὐτοῦ γένοιτο γενναῖον. ὁ δ’ ἐξ ἁπασῶν μακρῶν, μολοττὸν δ’<br /> -αὐτὸν οἱ μετρικοὶ καλοῦσιν, ὑψηλός τε καὶ ἀξιωματικός ἐστι<br /> -καὶ διαβεβηκὼς ἐπὶ πολύ· παράδειγμα δὲ αὐτοῦ τοιόνδε<br /> -</p> - -<p class="indent8"> -ὦ Ζηνὸς καὶ Λήδας κάλλιστοι σωτῆρες.<br /> -</p> - -<p> -ὁ δ’ ἐκ μακρᾶς καὶ δυεῖν βραχειῶν μέσην μὲν λαβὼν τὴν 5<br /> -μακρὰν ἀμφίβραχυς ὠνόμασται, καὶ οὐ σφόδρα τῶν εὐσχήμων<br /> -ἐστὶ ῥυθμῶν ἀλλὰ διακέκλασταί τε καὶ πολὺ τὸ θῆλυ καὶ<br /> -ἀγεννὲς ἔχει, οἷά ἐστι ταυτί<br /> -</p> - -<p class="indent8"> -Ἴακχε θρίαμβε, σὺ τῶνδε χοραγέ.<br /> -</p> - -<p>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</p> - -<p class="indent8"> -βαρύ μοι κεφαλᾶς ἐ πίκρανον ἔχειν.<br /> -</p> - -<p> -ὁ δὲ ἀπὸ τῆς μακρᾶς ἀρχόμενος, λήγων δὲ εἰς τὰς βραχείας 15<br /> -δάκτυλος μὲν καλεῖται, πάνυ δ’ ἐστὶ σεμνὸς καὶ εἰς τὸ κάλλος<br /> -τῆς ἑρμηνείας ἀξιολογώτατος, καὶ τό γε ἡρωϊκὸν μέτρον ἀπὸ<br /> -τούτου κοσμεῖται ὡς ἐπὶ τὸ πολύ· παράδειγμα δὲ αὐτοῦ τόδε<br /> -</p> - -<p class="indent8"> -Ἰλιόθεν με φέρων ἄνεμος Κικόνεσσι πέλασσεν.<br /> -</p> - -<p> -οἱ μέντοι ῥυθμικοὶ τούτου τοῦ ποδὸς τὴν μακρὰν βραχυτέραν 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_173" id="Page_173">[173]</a></span></p> - -<p>nothing noble can be made out of it. But that which consists -entirely of long syllables—<i>molossus</i>, as the metrists call it—is -elevated and dignified, and has a mighty stride. The following -is an example of it:—</p> - -<p class="indent8"> -O glorious saviours, Zeus’ and Leda’s sons.<a name="FNanchor_154_154" id="FNanchor_154_154"></a><a href="#Footnote_154_154" class="fnanchor">[154]</a><br /> -</p> - -<p>That which consists of a long and two shorts, with the long in -the middle, bears the name of <i>amphibrachys</i>, 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.—</p> - -<p class="indent8"> -Triumphant Iacchus that leadest this chorus.<a name="FNanchor_155_155" id="FNanchor_155_155"></a><a href="#Footnote_155_155" class="fnanchor">[155]</a><br /> -</p> - -<p>That which commences with two shorts is called an <i>anapaest</i>, -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—</p> - -<p class="indent8"> -Ah, the coif on mine head all too heavily weighs.<a name="FNanchor_156_156" id="FNanchor_156_156"></a><a href="#Footnote_156_156" class="fnanchor">[156]</a><br /> -</p> - -<p>That which begins with the long and ends with the shorts is -called a <i>dactyl</i>; 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:—</p> - -<p class="indent8"> -Sped me from Ilium the breeze, and anigh the Ciconians brought me.<a name="FNanchor_157_157" id="FNanchor_157_157"></a><a href="#Footnote_157_157" class="fnanchor">[157]</a><br /> -</p> - -<p>The rhythmists, however, say that the long syllable in this foot</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>3 διαβεβηκῶς (ῶ suprascripto) P: διαβέβηκεν ὡς M<sup>1</sup>: διαβεβηκὼς ὡς -M<sup>2</sup>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</p> - -<p>2. <b>ἀξιωματικός</b>: 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 <i>Love in -the Valley</i>—</p> - -<p class="indent8"> -Thicker crowd the shades as the <i>grave East</i> deepens<br /> -<span class="marginleft1">Glowing, and with crimson a <i>long cloud</i> swells.</span><br /> -Maiden still the morn is; and strange she is, and secret;<br /> -<span class="marginleft1"><i>Strange her eyes</i>; her cheeks are cold as <i>cold sea-shells</i>.</span><br /> -</p> - -<p>Here the long syllables in italics may -be contrasted with:</p> - -<div class="wspw indent8"> -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. -</div> - -<p>9. Virg. <i>Ecl.</i> viii. 68 might be fancifully -divided in such a way as to present several feet of this kind:</p> - -<div class="wspw indent8"> - ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ ᴗ – ᴗ -“[ducite] ab urbe | domum me|a carmin|a, ducit|e Daphnim.” -</div> - -<p>16. Cp. Long. <i>de Sublim.</i> xxxix. 4 -ὅλον τε γὰρ ἐπὶ τῶν δακτυλικῶν εἴρηται -ῥυθμῶν· εὐγενέστατοι δ’ οὗτοι καὶ μεγεθοποιοί, -διὸ καὶ τὸ ἡρῷον, ὧν ἴσμεν κάλλιστον, -μέτρον συνιστᾶσιν.</p> - -<p>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. <i>Aen.</i> ix. 503 “at tuba terribilem -sonitum procul aere canoro [increpuit, -etc.]”; <i>Georg.</i> iii. 284 “sed fugit interea, -fugit irreparabile tempus.”</p> - -<p>20. <b>τούτου τοῦ ποδός.</b> “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 <i>Greek -Metric</i> p. 172.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_174" id="Page_174">[174-5]</a></span></p> - -<p> -εἶναί φασι τῆς τελείας, οὐκ ἔχοντες δ’ εἰπεῖν ὅσῳ, καλοῦσιν<br /> -αὐτὴν ἄλογον. ἕτερός ἐστιν ἀντίστροφον ἔχων τούτῳ ῥυθμόν,<br /> -ὃς ἀπὸ τῶν βραχειῶν ἀρξάμενος ἐπὶ τὴν ἄλογον τελευτᾷ·<br /> -τοῦτον χωρίσαντες ἀπὸ τῶν ἀναπαίστων κυκλικὸν καλοῦσι<br /> -παράδειγμα αὐτοῦ φέροντες τοιόνδε 5<br /> -</p> - -<p class="indent8"> -κέχυται πόλις ὑψίπυλος κατὰ γᾶν.<br /> -</p> - -<p> -περὶ ὧν ἂν ἕτερος εἴη λόγος· πλὴν ἀμφότεροί γε τῶν πάνυ<br /> -καλῶν οἱ ῥυθμοί. ἓν ἔτι λείπεται τρισυλλάβων ῥυθμῶν γένος,<br /> -ὃ συνέστηκεν ἐκ δύο μακρῶν καὶ βραχείας, τρία δὲ ποιεῖ<br /> -σχήματα· μέσης μὲν γὰρ γινομένης τῆς βραχείας, ἄκρων δὲ 10<br /> -τῶν μακρῶν κρητικός τε λέγεται καὶ ἔστιν οὐκ ἀγεννής.<br /> -ὑπόδειγμα δὲ αὐτοῦ τοιοῦτον<br /> -</p> - -<p class="indent8"> -οἱ δ’ ἐπείγοντο πλωταῖς ἀπήναισι χαλκεμβόλοις.<br /> -</p> - -<p> -ἂν δὲ τὴν ἀρχὴν αἱ δύο μακραὶ κατάσχωσιν, τὴν δὲ τελευτὴν<br /> -ἡ βραχεῖα, οἷά ἐστι ταυτί 15<br /> -</p> - -<p class="indent8"> -σοὶ Φοῖβε Μοῦσαί τε σύμβωμοι,<br /> -</p> - -<p> -ἀνδρῶδες πάνυ ἐστὶ τὸ σχῆμα καὶ εἰς σεμνολογίαν ἐπιτήδειον.<br /> -τὸ δ’ αὐτὸ συμβήσεται κἂν ἡ βραχεῖα πρώτη τεθῇ τῶν<br /> -μακρῶν· καὶ γὰρ οὗτος ὁ ῥυθμὸς ἀξίωμα ἔχει καὶ μέγεθος·<br /> -παράδειγμα δὲ αὐτοῦ τόδε 20<br /> -</p> - -<p class="indent8"> -τίν’ ἀκτάν, τίν’ ὕλαν δράμω; ποῖ πορευθῶ;<br /> -</p> - -<p> -τούτοις ἀμφοτέροις ὀνόματα κεῖται τοῖς ποσὶν ὑπὸ τῶν μετρικῶν<br /> -βακχεῖος μὲν τῷ προτέρῳ, θατέρῳ δὲ ὑποβάκχειος. οὗτοι<br /> -δώδεκα ῥυθμοί τε καὶ πόδες εἰσὶν οἱ πρῶτοι καταμετροῦντες<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_175" id="Page_175">[175]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -On the earth is the high-gated city laid low.<a name="FNanchor_158_158" id="FNanchor_158_158"></a><a href="#Footnote_158_158" class="fnanchor">[158]</a><br /> -</p> - -<p>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 <i>cretic</i> and has no lack of nobility. -A sample of it is:—</p> - -<p class="indent8"> -On they sped, borne on sea-wains with prows brazen-beaked.<a name="FNanchor_159_159" id="FNanchor_159_159"></a><a href="#Footnote_159_159" class="fnanchor">[159]</a><br /> -</p> - -<p>But if the two long syllables occupy the beginning, and the short -one the end, as in the line</p> - -<p class="indent8"> -Phoebus, to thee and the Muses worshipped with thee,<a name="FNanchor_160_160" id="FNanchor_160_160"></a><a href="#Footnote_160_160" class="fnanchor">[160]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -To what shore, to what grove shall I flee for refuge?<a name="FNanchor_161_161" id="FNanchor_161_161"></a><a href="#Footnote_161_161" class="fnanchor">[161]</a><br /> -</p> - -<p>To the former of these two feet the name of <i>bacchius</i> is assigned -by the metrists, to the other that of <i>hypobacchius</i>. These are -the twelve fundamental rhythms and feet which measure all</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ὅσω F: πόσω PMV 2 ἕτερός ἐστιν F: ἕτερον δὲ PMV || ἔχων F: τινα -PMV 3 ἐπὶ τὴν ἄλογον FP<sup>1</sup>V: ἐπί τιν’ ἄλογον P<sup>2</sup>: ἐπί τινα λόγον -M || τελευτᾶι τοῦτον FM: τοῦτον τελευτᾷ V: τελευτᾶι P 4 κυκλικὸν -FM<sup>2</sup>: κύκλον PM<sup>1</sup>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<sup>2</sup> || 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</p> - -<p>1. <b>ὅσῳ</b>: cp. <b><a href="#Page_190">190</a></b> 9, where there is the -same divergence between F and PMV.</p> - -<p>2, 4. See Glossary under <b>ἄλογος</b> and -<b>κυκλικός</b>.</p> - -<p>13. Usener suggests that this line -may possibly come from the <i>Persae</i> -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” (<i>Andr.</i> -iv. 1).</p> - -<p>16.</p> - -<div class="wspw indent8"> - – – ᴗ – – ᴗ – – ᴗ - “O Phoebus | O Muses | co-worshipped” -</div> - -<p>might give the metrical -effect, in a rough and uncouth way. In -Latin cp. “baccare, laetare praesente -Frontone” (Rufinus <i>de Metris Comicorum</i>).</p> - -<p>18. <b>πρώτη τεθῇ τῶν μακρῶν</b>, ‘at the -head of’; cp. note on <b><a href="#Page_98">98</a></b> 7 <i>supra</i>.</p> - -<p>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).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_176" id="Page_176">[176-7]</a></span></p> - -<p> -ἅπασαν ἔμμετρόν τε καὶ ἄμετρον λέξιν, ἐξ ὧν γίνονται στίχοι<br /> -τε καὶ κῶλα· οἱ γὰρ ἄλλοι πόδες καὶ ῥυθμοὶ πάντες ἐκ<br /> -τούτων εἰσὶ σύνθετοι. ἁπλοῦς δὲ ῥυθμὸς ἢ ποὺς οὔτ’ ἐλάττων<br /> -ἔσται δύο συλλαβῶν οὔτε μείζων τριῶν. καὶ περὶ μὲν τούτων<br /> -οὐκ οἶδ’ ὅτι δεῖ τὰ πλείω λέγειν. 5<br /> -</p> - -<h3>XVIII</h3> - -<p> -ὧν δ’ ἕνεκα νῦν ὑπήχθην ταῦτα προειπεῖν (οὐ γὰρ δὴ τὴν<br /> -ἄλλως γέ μοι προὔκειτο μετρικῶν καὶ ῥυθμικῶν ἅπτεσθαι<br /> -θεωρημάτων, ἀλλὰ τοῦ ἀναγκαίου ἕνεκα), ταῦτ’ ἐστίν, ὅτι διὰ<br /> -μὲν τῶν γενναίων καὶ ἀξιωματικῶν καὶ μέγεθος ἐχόντων<br /> -ῥυθμῶν ἀξιωματικὴ γίνεται σύνθεσις καὶ γενναία καὶ μεγαλοπρεπής, 10<br /> -διὰ δὲ τῶν ἀγεννῶν τε καὶ ταπεινῶν ἀμεγέθης τις<br /> -καὶ ἄσεμνος, ἐάν τε καθ’ ἑαυτοὺς ἕκαστοι τούτων λαμβάνωνται<br /> -τῶν ῥυθμῶν, ἐάν τε ἀλλήλοις κατὰ τὰς ὁμοζυγίας<br /> -συμπλέκωνται. εἰ μὲν οὖν ἔσται δύναμις ἐξ ἁπάντων τῶν<br /> -κρατίστων ῥυθμῶν συνθεῖναι τὴν λέξιν, ἔχοι ἂν ἡμῖν κατ’ 15<br /> -εὐχήν· εἰ δ’ ἀναγκαῖον εἴη μίσγειν τοῖς κρείττοσι τοὺς<br /> -χείρονας, ὡς ἐπὶ πολλῶν γίνεται (τὰ γὰρ ὀνόματα κεῖται τοῖς<br /> -πράγμασιν ὡς ἔτυχεν), οἰκονομεῖν αὐτὰ χρὴ φιλοτέχνως καὶ<br /> -διακλέπτειν τῇ χάριτι τῆς συνθέσεως τὴν ἀνάγκην ἄλλως τε<br /> -καὶ πολλὴν τὴν ἄδειαν ἔχοντας· οὐ γὰρ ἀπελαύνεται ῥυθμὸς 20<br /> -οὐδεὶς ἐκ τῆς ἀμέτρου λέξεως, ὥσπερ ἐκ τῆς ἐμμέτρου.<br /> -<br /> -μαρτύρια δὲ ὧν εἴρηκα παραθεῖναι λοιπόν, ἵνα μοι καὶ<br /> -πίστιν ὁ λόγος λάβῃ. ἔσται δ’ ὀλίγα περὶ πολλῶν. φέρε<br /> -δή, τίς οὐκ ἂν ὁμολογήσειεν ἀξιωματικῶς τε συγκεῖσθαι καὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_177" id="Page_177">[177]</a></span></p> - -<p>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.</p> - - -<h4>CHAPTER XVIII<br /><br /> - -EFFECT OF VARIOUS RHYTHMS</h4> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. <b>ἁπλοῦς δὲ ... μείζων τριῶν.</b> 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.”</p> - -<p>5. On the subject of metrical feet -Aristotle (<i>Rhet.</i> iii. 8) is brief; Cicero -(<i>Orator</i> 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. <i>de Eloc.</i> §§ 38 ff.</p> - -<p>6. This passage (down to l. 21) brings -out clearly the importance of rhythm -in prose-writing.</p> - -<p>16. <b>εἴη</b>: the less agreeable alternative -is pleasantly treated as though it were -the more remote. Cp. εἴη on <b><a href="#Page_166">166</a></b> 8 -(though there ἐγχωροίη stands in the -earlier clause, <b><a href="#Page_166">166</a></b> 6).</p> - -<p>17. H. Richards (<i>Classical Review</i> xix. -252) suggests ἐπίκειται (or σύγκειται), in -order to account for the ἔκκειται of PM -and the ἔγκειται of V.</p> - -<p>21. Would not ὥσπερ <b>οὐδὲ</b> ἐκ τῆς -ἐμμέτρου (or the like: cp. <b><a href="#Page_100">100</a></b> 18) be -required if the meaning were “any -more than from the metrical”? The -author’s point is brought out more -clearly in <b><a href="#Page_192">192</a></b> 21, <b><a href="#Page_196">196</a></b> 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. <a href="#Page_169">169</a> <i>supra</i>).</p> - -<p>23. <b>περί</b>: no change in the reading is -necessary; cp. <b><a href="#Page_200">200</a></b> 4 ὀλίγα περὶ πολλῶν, -and <b><a href="#Page_136">136</a></b> 6 ὀλίγα ὑπὲρ πολλῶν θεωρημάτων.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_178" id="Page_178">[178-9]</a></span></p> - -<p> -μεγαλοπρεπῶς τὴν Θουκυδίδου λέξιν τὴν ἐν τῷ ἐπιταφίῳ<br /> -ταύτην· “Οἱ μὲν πολλοὶ τῶν ἐνθάδε ἤδη εἰρηκότων ἐπαινοῦσι<br /> -τὸν προσθέντα τῷ νόμῳ τὸν λόγον τόνδε, ὡς καλὸν ἐπὶ τοῖς<br /> -ἐκ τῶν πολέμων θαπτομένοις ἀγορεύεσθαι αὐτόν.” τί οὖν<br /> -ἐστιν ὃ πεποίηκε ταύτην μεγαλοπρεπῆ τὴν σύνθεσιν; τὸ ἐκ 5<br /> -τοιούτων συγκεῖσθαι ῥυθμῶν τὰ κῶλα. τρεῖς μὲν γὰρ οἱ τοῦ<br /> -πρώτου προηγούμενοι κώλου σπονδεῖοι πόδες εἰσίν, ὁ δὲ<br /> -τέταρτος ἀνάπαιστος, ὁ δὲ μετὰ τοῦτον αὖθις σπονδεῖος, ἔπειτα<br /> -κρητικός, ἅπαντες ἀξιωματικοί. καὶ τὸ μὲν πρῶτον κῶλον<br /> -διὰ ταῦτ’ ἐστὶ σεμνόν· τὸ δὲ ἑξῆς τουτί “<em class="gesperrt">ἐπαινοῦσι τὸν 10<br /> -προσθέντα τῷ νόμῳ τὸν λόγον τόνδε</em>” δύο μὲν ὑποβακχείους<br /> -ἔχει τοὺς πρώτους πόδας, κρητικὸν δὲ τὸν τρίτον, εἶτ’<br /> -αὖθις ὑποβακχείους δύο καὶ συλλαβὴν ὑφ’ ἧς τελειοῦται τὸ<br /> -κῶλον· ὥστ’ εἰκότως σεμνόν ἐστι καὶ τοῦτο ἐκ τῶν εὐγενεστάτων<br /> -τε καὶ καλλίστων ῥυθμῶν συγκείμενον. τὸ δὲ δὴ 15<br /> -τρίτον κῶλον “<em class="gesperrt">ὡς καλὸν ἐπὶ τοῖς ἐκ τῶν πολέμων θαπτομένοις<br /> -ἀγορεύεσθαι αὐτόν</em>” ἄρχεται μὲν ἀπὸ τοῦ κρητικοῦ<br /> -ποδός, δεύτερον δὲ λαμβάνει τὸν ἀνάπαιστον καὶ τρίτον<br /> -σπονδεῖον καὶ τέταρτον αὖθις ἀνάπαιστον, εἶτα δύο τοὺς ἑξῆς<br /> -δακτύλους, καὶ σπονδείους δύο τοὺς τελευταίους, εἶτα κατάληξιν. 20<br /> -εὐγενὲς δὴ καὶ τοῦτο διὰ τοὺς πόδας γέγονεν. τὰ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_179" id="Page_179">[179]</a></span></p> - -<p>that the following passage in the <i>Funeral Speech</i> 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.”<a name="FNanchor_162_162" id="FNanchor_162_162"></a><a href="#Footnote_162_162" class="fnanchor">[162]</a> 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,”<a name="FNanchor_163_163" id="FNanchor_163_163"></a><a href="#Footnote_163_163" class="fnanchor">[163]</a> has two <i>hypobacchii</i> as its first -feet, a cretic as its third, then again two <i>hypobacchii</i>, 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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. <b>τὸν προσθέντα</b> κτλ.: viz. τὸν -νομοθέτην, δηλονότι τὸν Σόλωνα (schol. -ad Thucyd. ii. 35). Dionysius has this -passage of Thucydides in view when he -writes (<i>Antiqq. Rom.</i> 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 <i>History</i>, “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.”</p> - -<p>6. The first clause is clearly meant -to be divided as follows:</p> - -<div class="wspw indent8"> - – – – – – – ᴗ ᴗ – – – – ᴗ – -οἱ μὲν | πολλοὶ | τῶν ἐν|θάδε ἤ|δη εἰ|ρηκότων. -</div> - -<p>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 <b><a href="#Page_180">180</a></b> 8. [Here and elsewhere, no -attempt has been made to secure metrical -equivalence between the Greek original -and the English version.]</p> - -<p>Goodell (<i>Chapters on Greek Metric</i> -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.”</p> - -<p>9. Cp. the metrical effect of</p> - -<div class="wspw indent8"> - – ᴗ – ᴗ – ᴗ ᴗ – ᴗ ᴗ – – ᴗ – – -“Who is this | that cometh | from Edom | with dyed garm(ents) | from Bozrah?” -</div> - -<p>10. Second clause:</p> - -<div class="wspw indent8"> -ᴗ – – ᴗ – – – ᴗ – ᴗ – – ᴗ – – -ἐπαινοῦ|σι τὸν προσ|θέντα τῷ | νόμῳ τὸν | λόγον τόν|δε. -</div> - -<p>16. Third clause:</p> - -<div class="wspw indent8"> -– ᴗ – ᴗ ᴗ – – – ᴗ ᴗ – – ᴗ ᴗ – ᴗ ᴗ –– – – -ὡς καλὸν | ἐπὶ τοῖς | ἐκ τῶν | πολέμων | θαπτομέ|νοις ἀγο|ρεύε|σθαι αὐ|τόν. -</div> - -<p>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 <i>or</i> short): cp. Cic. -<i>Orat.</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_180" id="Page_180">[180-1]</a></span></p> - -<p> -πλεῖστα δ’ ἐστὶ παρὰ Θουκυδίδῃ τοιαῦτα, μᾶλλον δὲ ὀλίγα<br /> -τὰ μὴ οὕτως ἔχοντα, ὥστ’ εἰκότως ὑψηλὸς εἶναι δοκεῖ καὶ<br /> -καλλιεπὴς ὡς εὐγενεῖς ἐπάγων ῥυθμούς.<br /> -<br /> -τὴν δὲ δὴ Πλατωνικὴν λέξιν ταυτηνὶ τίνι ποτὲ ἄλλῳ<br /> -κοσμηθεῖσαν οὕτως ἀξιωματικὴν εἶναι φαίη τις ἂν καὶ καλήν, 5<br /> -εἰ μὴ τῷ συγκεῖσθαι διὰ τῶν καλλίστων τε καὶ ἀξιολογωτάτων<br /> -ῥυθμῶν; ἔστι γὰρ δὴ τῶν πάνυ φανερῶν καὶ περιβοήτων,<br /> -ᾗ κέχρηται ὁ ἀνὴρ κατὰ τὴν τοῦ ἐπιταφίου ἀρχήν· “ἔργῳ<br /> -μὲν ἡμῖν οἵδε ἔχουσιν τὰ προσήκοντα σφίσιν αὐτοῖς· ὧν<br /> -τυχόντες πορεύονται τὴν εἱμαρμένην πορείαν.” ἐν τούτοις δύο 10<br /> -μέν ἐστιν ἃ συμπληροῖ τὴν περίοδον κῶλα, ῥυθμοὶ δὲ οἱ<br /> -ταῦτα διαλαμβάνοντες οἵδε· βακχεῖος μὲν ὁ πρῶτος· οὐ γὰρ<br /> -δή γε ὡς ἰαμβικὸν ἀξιώσαιμ’ ἂν ἔγωγε τὸ κῶλον τουτὶ ῥυθμίζειν<br /> -ἐνθυμούμενος ὅτι οὐκ ἐπιτροχάλους καὶ ταχεῖς ἀλλ’<br /> -ἀναβεβλημένους καὶ βραδεῖς τοῖς οἰκτιζομένοις προσῆκεν ἀποδίδοσθαι 15<br /> -τοὺς χρόνους· σπονδεῖος δ’ ὁ δεύτερος· ὁ δ’ ἑξῆς<br /> -δάκτυλος διαιρουμένης τῆς συναλοιφῆς· εἶθ’ ὁ μετὰ τοῦτον<br /> -σπονδεῖος· ὁ δ’ ἑξῆς μᾶλλον κρητικὸς ἢ ἀνάπαιστος· ἔπειθ’,<br /> -ὡς ἐμὴ δόξα, σπονδεῖος· ὁ δὲ τελευταῖος ὑποβάκχειος, εἰ δὲ<br /> -βούλεταί τις, ἀνάπαιστος· εἶτα κατάληξις. τούτων τῶν 20<br /> -ῥυθμῶν οὐδεὶς ταπεινὸς οὐδὲ ἀγεννής. τοῦ δὲ ἑξῆς κώλου<br /> -τουδί “<em class="gesperrt">ὧν τυχόντες πορεύονται τὴν εἱμαρμένην πορείαν</em>”<br /> -δύο μέν εἰσιν οἱ πρῶτοι πόδες κρητικοί, σπονδεῖοι δὲ<br /> -οἱ μετὰ τούτους δύο· μεθ’ οὓς αὖθις κρητικός, ἔπειτα τελευταῖος<br /> -ὑποβάκχειος. ἀνάγκη δὴ τὸν ἐξ ἁπάντων συγκείμενον 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_181" id="Page_181">[181]</a></span></p> - -<p>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.</p> - -<p>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 <i>Funeral Speech</i>: -“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.”<a name="FNanchor_164_164" id="FNanchor_164_164"></a><a href="#Footnote_164_164" class="fnanchor">[164]</a> Here there are two clauses -which constitute the period, and the feet into which the clauses -fall are as follows:—The first is a <i>bacchius</i>, 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 <i>hypobacchius</i> -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 <i>hypobacchius</i>. Thus the discourse is composed entirely -of beautiful rhythms, and it necessarily follows that it is itself</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>4. The passage from the <i>Menexenus</i> -is quoted by Dionysius in the <i>de -Demosth.</i> 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 <i>periphrasis</i>, -in the <i>de Sublimitate</i> 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 -(<i>Bell. Catilin.</i> 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.”</p> - -<p>8. First clause:</p> - -<div class="wspw indent8"> -– – ᴗ – – – ᴗ ᴗ – – ⏓ ᴗ – – – ᴗ ⏓ – -ἔργῳ μὲν | ἡμῖν | οἵδε ἔ|χουσιν | τὰ προσή|κοντα | σφίσιν αὐ|τοῖς. -</div> - -<p>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. <b><a href="#Page_178">178</a></b> 17, -<b><a href="#Page_184">184</a></b> 2, 8).</p> - -<p>13. We have a considerable part of an -iambic line if we scan thus:</p> - -<div class="wspw indent8"> -– – ᴗ – – – ᴗ – ᴗ -ἔργῳ | μὲν ἡ|μῖν οἵδ’ | ἔχου|σι. -</div> - -<p>19. For <b>ὡς ἐμὴ δόξα</b> cp. <i>de Demosth.</i> -c. 39.</p> - -<p>22. Second clause:</p> - -<div class="wspw indent8"> -– ᴗ – – ᴗ – – – – – – ᴗ – ᴗ –– -ὧν τυχόν|τες πορεύ|ονται | τὴν εἱ|μαρμένην | πορείαν. -</div> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_182" id="Page_182">[182-3]</a></span></p> - -<p> -καλῶν ῥυθμῶν καλὸν εἶναι λόγον. μυρία τοιαῦτ’ ἔστιν εὑρεῖν<br /> -καὶ παρὰ Πλάτωνι. ὁ γὰρ ἀνὴρ ἐμμέλειάν τε καὶ εὐρυθμίαν<br /> -συνιδεῖν δαιμονιώτατος, καὶ εἴ γε δεινὸς ἦν οὕτως ἐκλέξαι τὰ<br /> -ὀνόματα ὡς συνθεῖναι περιττός, <em class="gesperrt">καί νύ κεν ἢ παρέλασσεν</em><br /> -τὸν Δημοσθένη κάλλους ἑρμηνείας ἕνεκεν, <em class="gesperrt">ἢ ἀμφήριστον 5<br /> -ἔθηκεν</em>. νῦν δὲ περὶ μὲν τὴν ἐκλογὴν ἔστιν ὅτε διαμαρτάνει,<br /> -καὶ μάλιστα ἐν οἷς ἂν τὴν ὑψηλὴν καὶ περιττὴν καὶ ἐγκατάσκευον<br /> -διώκῃ φράσιν, ὑπὲρ ὧν ἑτέρωθί μοι δηλοῦται σαφέστερον.<br /> -συντίθησι δὲ τὰ ὀνόματα καὶ ἡδέως καὶ καλῶς νὴ<br /> -Δία, καὶ οὐκ ἄν τις αὐτὸν ἔχοι κατὰ τοῦτο μέμψασθαι τὸ 10<br /> -μέρος.<br /> -<br /> -ἑνὸς ἔτι παραθήσομαι λέξιν, ᾧ τὰ ἀριστεῖα τῆς ἐν λόγοις<br /> -δεινότητος ἀποδίδωμι. ὅρος γὰρ δή τίς ἐστιν ἐκλογῆς τε<br /> -ὀνομάτων καὶ κάλλους συνθέσεως ὁ Δημοσθένης. ἐν δὴ τῷ<br /> -περὶ τοῦ στεφάνου λόγῳ τρία μέν ἐστιν ἃ τὴν πρώτην 15<br /> -περίοδον συμπληροῖ κῶλα, οἱ δὲ ταῦτα καταμετροῦντες οἵδε<br /> -εἰσὶν ῥυθμοί· “<em class="gesperrt">πρῶτον μέν, ὦ ἄνδρες Ἀθηναῖοι, τοῖς<br /> -θεοῖς εὔχομαι πᾶσι καὶ πάσαις</em>.” ἄρχει δὲ τοῦδε τοῦ<br /> -κώλου βακχεῖος ῥυθμός, ἔπειθ’ ἕπεται σπονδεῖος, εἶτ’ ἀνάπαιστός 20<br /> -τε καὶ μετὰ τούτον ἕτερος σπονδεῖος, εἶθ’ ἑξῆς<br /> -κρητικοὶ τρεῖς, σπονδεῖος δ’ ὁ τελευταῖος. τοῦ δὲ δευτέρου<br /> -κώλου τοῦδε “<em class="gesperrt">ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ τῇ τε</em><br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_183" id="Page_183">[183]</a></span></p> - -<p>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.”<a name="FNanchor_165_165" id="FNanchor_165_165"></a><a href="#Footnote_165_165" class="fnanchor">[165]</a> 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.</p> - -<p>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 <i>Speech on the Crown</i> -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.”<a name="FNanchor_166_166" id="FNanchor_166_166"></a><a href="#Footnote_166_166" class="fnanchor">[166]</a> A -<i>bacchius</i> 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. <b>ἐμμέλειαν</b>: cp. <b><a href="#Page_122">122</a></b> 21, unless <b><a href="#Page_130">130</a></b> 6 -should seem to support the reading -εὐμέλειαν in the present passage.</p> - -<p>5. For Δημοσθένην (as given by some -manuscripts) cp. Demetr. <i>de Eloc.</i> § 175 -καὶ ὅλως τὸ νῦ δι’ εὐφωνίαν ἐφέλκονται οἱ -Ἀττικοί, “Δημοσθένην” λέγοντες καὶ -“Σωκράτην.”</p> - -<p>7. Cp. Long. <i>de Sublim.</i> 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 (<i>Rhet.</i> iii. 7. 11) -says in reference to the <i>Phaedrus</i>.</p> - -<p>8. <b>ἑτέρωθι</b>: cp. <i>de Demosth.</i> cc. 6, 7, -24-29, and <i>Ep. ad Cn. Pomp.</i> cc. 1, 2.—For -the probable order in which the -‘Scripta Rhetorica’ appeared see D.H. -pp. 5-7. The <i>de Comp. Verb.</i> is referred -to twice in the <i>de Demosth.</i> (cc. 49, 50).—With -<b>δηλοῦται</b> (not δεδήλωται, <i>de Din.</i> -c. 13, <i>de Demosth.</i> c. 49; nor δηλωθήσεται, -<i>de Lysia</i> cc. 12, 14) cp. <i>de Isaeo</i> c. 2, <i>de -Demosth.</i> c. 57.</p> - -<p>9. Dionysius is fond of the asseveration -νὴ Δία, ‘mehercule.’</p> - -<p>17. First clause:</p> - -<div class="wspw indent8"> - – – ᴗ – – ᴗ ᴗ – – – – ᴗ – – ᴗ – – ᴗ – – – -πρῶτον μέν, | ὦ ἄνδρ|ες Ἀθη|ναῖοι, | τοῖς θεοῖς | εὔχομαι | πᾶσι καὶ | πάσαις. -</div> - -<p>—The expression -καταμετροῦντες may indicate that -Dionysius himself wrote marks of -quantity over the syllables in question: -such marks are given by F in <b><a href="#Page_178">178</a></b> 2-4, -10, 11, 16, 17, and are also found in -the Paris Manuscript (1741) of Demetr. -<i>de Eloc.</i> §§ 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. <i>Post Reditum in Senatu -Oratio</i> init.).</p> - -<p>22. Second clause:</p> - -<div class="wspw indent8"> -ᴗ – – –⏓ ᴗ – ᴗ – ᴗᴗ ᴗ – – ᴗ ᴗ ⏓ – – ⏓ – – -ὅσην εὔ|νοιαν ἔ|χων ἐγὼ | διατελῶ | τῇ τε πόλει | καὶ πᾶσιν | ὑμῖν. -</div> - -<p>—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 <b><a href="#Page_180">180</a></b> 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 <i>molossus</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_184" id="Page_184">[184-5]</a></span></p> - -<p> -<em class="gesperrt">πόλει καὶ πᾶσιν ὑμῖν</em>” πρῶτος μὲν ὑποβάκχειός ἐστι πούς,<br /> -εἶτα βακχεῖος, εἰ δὲ βούλεταί τις, δάκτυλος· εἶτα κρητικός·<br /> -μεθ’ οὕς εἰσι δύο σύνθετοι πόδες οἱ καλούμενοι παιᾶνες· οἷς<br /> -ἕπεται μολοττὸς ἢ βακχεῖος, ἐγχωρεῖ γὰρ ἑκατέρως αὐτὸν<br /> -διαιρεῖν· τελευταῖος δὲ ὁ σπονδεῖος. τοῦ δὲ τρίτου κώλου τοῦδε 5<br /> -“<em class="gesperrt">τοσαύτην ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν<br /> -ἀγῶνα</em>” ἄρχουσι μὲν ὑποβάκχειοι δύο, ἕπεται δὲ κρητικός,<br /> -ᾧ συνῆπται σπονδεῖος· εἶτ’ αὖθις βακχεῖος ἢ κρητικός, καὶ<br /> -τελευταῖος πάλιν κρητικός, εἶτα κατάληξις. τί οὖν ἐκώλυε<br /> -καλὴν ἁρμονίαν εἶναι λέξεως, ἐν ᾗ μήτε πυρρίχιός ἐστι ποὺς 10<br /> -μήτε ἰαμβικὸς μήτε ἀμφίβραχυς μήτε τῶν χορείων ἢ τροχαίων<br /> -μηδείς; καὶ οὐ λέγω τοῦτο, ὅτι τῶν ἀνδρῶν ἐκείνων ἕκαστος<br /> -οὐ κέχρηταί ποτε καὶ τοῖς ἀγεννεστέροις ῥυθμοῖς. κέχρηται<br /> -γάρ· ἀλλ’ εὖ συγκεκρύφασιν αὐτοὺς καὶ συνυφάγκασι διαλαβόντες<br /> -τοῖς κρείττοσι τοὺς χείρονας. 15<br /> -<br /> -οἷς δὲ μὴ ἐγένετο πρόνοια τούτου τοῦ μέρους, οἱ μὲν ταπεινάς,<br /> -οἱ δὲ κατακεκλασμένας, οἱ δ’ ἄλλην τινὰ αἰσχύνην καὶ<br /> -ἀμορφίαν ἐχούσας ἐξήνεγκαν τὰς γραφάς. ὧν ἐστι πρῶτός τε<br /> -καὶ μέσος καὶ τελευταῖος ὁ Μάγνης ὁ σοφιστὴς Ἡγησίας·<br /> -ὑπὲρ οὗ μὰ τὸν Δία καὶ τοὺς ἄλλους θεοὺς ἅπαντας οὐκ οἶδα τί 20<br /> -χρὴ λέγειν, πότερα τοσαύτη περὶ αὐτὸν ἀναισθησία καὶ παχύτης<br /> -ἦν ὥστε μὴ συνορᾶν, οἵτινές εἰσιν ἀγεννεῖς ἢ εὐγενεῖς ῥυθμοί,<br /> -ἢ τοσαύτη θεοβλάβεια καὶ διαφθορὰ τῶν φρενῶν ὥστ’ εἰδότα<br /> -τοὺς κρείττους ἔπειτα αἱρεῖσθαι τοὺς χείρονας, ὃ καὶ μᾶλλον<br /> -πείθομαι· ἀγνοίας μὲν γάρ ἐστι καὶ τὸ κατορθοῦν πολλαχῇ, 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_185" id="Page_185">[185]</a></span></p> - -<p>city and all of you,”<a name="FNanchor_167_167" id="FNanchor_167_167"></a><a href="#Footnote_167_167" class="fnanchor">[167]</a> first comes a <i>hypobacchius</i>; then a <i>bacchius</i> -or, if you prefer to take it so, a dactyl; then a cretic; after which -there are two composite feet called <i>paeons</i>. Next follows a -<i>molossus</i> or a <i>bacchius</i>, 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,”<a name="FNanchor_167b_167b" id="FNanchor_167b_167b"></a><a href="#Footnote_167_167" class="fnanchor">[167b]</a> is opened by two <i>hypobacchii</i>. -A cretic follows, to which a spondee is attached. Then again a -<i>bacchius</i> 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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>: ἀγεννεῖς MV<sup>2</sup> 25 πολλαχῆι -FP, M: πολλαχοῦ V</p> - -<p>4. <b>ἐγχωρεῖ γὰρ ἑκατέρως αὐτὸν -διαιρεῖν</b>: this statement should be -noted, together with the <i>a priori</i> grounds -on which Dionysius elsewhere (e.g. <b><a href="#Page_180">180</a></b> -12-16) makes his choice between the -alternatives which present themselves.</p> - -<p>6. Third clause:</p> - -<div class="wspw indent8"> - ᴗ – – ᴗ – – – ᴗ – – – – ᴗ – ⏓ ᴗ – -τοσαύτην | ὑπάρξαι | μοι παρ’ ὑ|μῶν εἰς | τουτονὶ | τὸν ἀγῶ|να. -</div> - -<p>—If τουτονὶ is a bacchius, it must -be scanned</p> - -<div class="wspw indent8"> - – – ⏓ -τουτονὶ: -</div> - -<p>and if τὸν ἀγῶν(α) -is a cretic, it must be scanned</p> - -<div class="wspw indent8"> - – ᴗ – -τὸν ἀγῶν|α! -</div> - -<p>There are, no doubt, many cases of -abnormal lengthening in Homeric versification -(e.g. φίλε κασίγνητε at the beginning -of a line, <i>Il.</i> 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. <i>Poet.</i> c. xxii.).</p> - -<p>11. <b>μήτε ἰαμβικὸς ... τροχαίων -μηδείς</b>: 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. <i>pro Milone</i> -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.</p> - -<div class="wspw indent8"> - – 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? -</div> - -<p>And so with -several other possible scansions (cp. -Laurand <i>Études sur le style de Cicéron</i> -p. 138).</p> - -<p>19. For <b>Hegesias</b> cp. Introduction, -pp. <a href="#Page_52">52</a>-5 <i>supra</i>.</p> - -<p>20. <b>μὰ τὸν Δία ... λέγειν</b>: reminiscent -of Demosth. <i>Philipp.</i> iii. 54, <i>Fals. Leg.</i> -220.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_186" id="Page_186">[186-7]</a></span></p> - -<p> -προνοίας δὲ τὸ μηδέποτε. ἐν γοῦν ταῖς τοσαύταις γραφαῖς,<br /> -αἷς καταλέλοιπεν ὁ ἀνήρ, μίαν οὐκ ἂν εὕροι τις σελίδα<br /> -συγκειμένην εὐτυχῶς. ἔοικεν δὴ ταῦτα ὑπολαβεῖν ἐκείνων<br /> -κρείττω καὶ μετὰ σπουδῆς αὐτὰ ποιεῖν, εἰς ἃ δι’ ἀνάγκην ἄν<br /> -τις ἐμπεσὼν ἐν λόγῳ σχεδίῳ δι’ αἰσχύνης θεῖτο φρόνημα ἔχων 5<br /> -ἀνήρ. θήσω δὲ καὶ τούτου λέξιν ἐκ τῆς ἱστορίας, ἵνα σοι<br /> -γένηται δῆλον ἐκ τῆς ἀντιπαραθέσεως, ὅσην μὲν ἀξίωσιν ἔχει<br /> -τὸ εὐγενὲς ἐν ῥυθμοῖς, ὅσην δ’ αἰσχύνην τὸ ἀγεννές. ἔστιν δ’<br /> -ὃ λαμβάνει πρᾶγμα ὁ σοφιστὴς τοιόνδε. Ἀλέξανδρος πολιορκῶν<br /> -Γάζαν χωρίον τι τῆς Συρίας πάνυ ἐχυρὸν τραυματίας 10<br /> -τε γίνεται κατὰ τὴν προσβολὴν καὶ τὸ χωρίον αἱρεῖ χρόνῳ.<br /> -φερόμενος δ’ ὑπ’ ὀργῆς τούς τ’ ἐγκαταληφθέντας ἀποσφάττει<br /> -πάντας, ἐπιτρέψας τοῖς Μακεδόσι τὸν ἐντυχόντα κτείνειν, καὶ<br /> -τὸν ἡγεμόνα αὐτῶν αἰχμάλωτον λαβών, ἄνδρα ἐν ἀξιώματι<br /> -καὶ τύχης καὶ εἴδους, ἐξ ἁρματείου δίφρου δῆσαι κελεύσας 15<br /> -ζῶντα καὶ τοὺς ἵππους ἐλαύνειν ἀνὰ κράτος ἐν τῇ πάντων<br /> -ὄψει διαφθείρει. τούτων οὐκ ἂν ἔχοι τις εἰπεῖν δεινότερα<br /> -πάθη οὐδ’ ὄψει φοβερώτερα. πῶς δὴ ταῦτα ἡρμήνευκεν ὁ<br /> -σοφιστής, ἄξιον ἰδεῖν, πότερα σεμνῶς καὶ ὑψηλῶς ἢ ταπεινῶς<br /> -καὶ καταγελάστως. 20<br /> -<br /> -“ὁ δὲ βασιλεὺς ἔχων τὸ σύνταγμα προηγεῖτο. καί πως<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_187" id="Page_187">[187]</a></span></p> - -<p>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 <i>History</i>, 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:—</p> - -<p>“The King advanced, at the head of his division. It seems</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1-3. Cp. Dryden <i>Mac Flecknoe</i> ll. 19, -20, “The rest to some faint meaning -make pretence, | But Shadwell <i>never -deviates</i> into sense.” The <i>wilfulness</i> and -<i>malice prepense</i> (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 <i>Life of -Johnson</i> i. 453).</p> - -<p>4. The reading of PMV seems preferable, -since ἄν is not infrequently attached -to adverbs or adverbial phrases such as -δι’ ἀνάγκην.</p> - -<p>5. <b>θεῖτο</b>: τίθεμαι used for ἡγοῦμαι, as -in <b><a href="#Page_208">208</a></b> 13 and <b><a href="#Page_232">232</a></b> 25.—Contrast the active -θήσω in the next line.</p> - -<p>9. Arrian (<i>Exped. Alexandri</i> ii. 25. 4) -thus describes the commencement of -Alexander’s siege, and Batis’ defence, -of Gaza (332 <span class="smallerfont">B.C.</span>): 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 -(<i>Vit. Alex.</i> c. 25), and so is Diodorus -Siculus xvii. 48. 7. The obviously -rhetorical cast of Hegesias’ narrative, -and of that of Curtius (<i>Histor. Alexandri -Magni</i> 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 <i>Scriptores -Rerum Alexandri Magni</i> pp. 75, 142; -and for his bombast cp. Long. <i>de Sublim.</i> -iii. 2 and Demetr. <i>de Eloc.</i> § 304.</p> - -<p>11. <b>χρόνῳ</b>: 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.</p> - -<p>14. <b>ἡγεμόνα</b>: Curtius iv. 6. 7 “praeerat -ei Betis, eximiae in regem suum -fidei.” Josephus (<i>Ant. Iud.</i> xi. 8. 3 -Naber) gives the name of the governor -as Βαβημήσης. Arrian gives Batis. -‘Baetis’ seems the right form in <b><a href="#Page_188">188</a></b> 13, -and so perhaps in Curtius.</p> - -<p>15. <b>εἴδους</b>. It must have been from -the point of view of his countrymen -that Batis possessed εἶδος (cp. <b><a href="#Page_188">188</a></b> 16). -Usener suggests ἤθους.</p> - -<p><b>ἐξ ἁρματείου δίφρου</b>: cp. Xen. -<i>Cyrop.</i> vi. 4. 9 ταῦτ’ εἰπὼν κατὰ τὰς -θύρας τοῦ ἁρματείου δίφρου ἀνέβαινεν ἐπὶ -τὸ ἅρμα, where (as here) δίφρος = <i>sella -aurigae</i>.</p> - -<p>21. <b>τὸ σύνταγμα</b>: 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_188" id="Page_188">[188-9]</a></span></p> - -<p> -ἐβεβούλευτο τῶν πολεμίων τοῖς ἀρίστοις ἀπαντᾶν ἐπιόντι·<br /> -τοῦτο γὰρ ἔγνωστο, κρατήσασιν ἑνὸς συνεκβαλεῖν καὶ τὸ<br /> -πλῆθος. ἡ μὲν οὖν ἐλπὶς αὕτη συνέδραμεν εἰς τὸ τολμᾶν,<br /> -ὥστ’ Ἀλέξανδρον μηδέποτε κινδυνεῦσαι πρότερον οὕτως. ἀνὴρ<br /> -γὰρ τῶν πολεμίων εἰς γόνατα συγκαμφθεὶς ἔδοξε τοῦτ’ Ἀλεξάνδρῳ 5<br /> -τῆς ἱκετείας ἕνεκα πρᾶξαι. προσέμενος δ’ ἐγγὺς μικρὸν<br /> -ἐκνεύει τὸ ξίφος ἐνέγκαντος ὑπὸ τὰ πτερύγια τοῦ θώρακος,<br /> -ὥστε γενέσθαι τὴν πληγὴν οὐ καιριωτάτην. ἀλλὰ τὸν μὲν<br /> -αὐτὸς ἀπώλεσεν κατὰ κεφαλῆς τύπτων τῇ μαχαίρᾳ, τοὺς δ’<br /> -ἄλλους ὀργὴ πρόσφατος ἐπίμπρα. οὕτως ἄρα ἑκάστου τὸν 10<br /> -ἔλεον ἐξέστησεν ἡ τοῦ τολμήματος ἀπόνοια τῶν μὲν ἰδόντων,<br /> -τῶν δ’ ἀκουσάντων, ὥσθ’ ἑξακισχιλίους ὑπὸ τὴν σάλπιγγα<br /> -ἐκείνην τῶν βαρβάρων κατακοπῆναι. τὸν μέντοι Βαῖτιν αὐτὸν<br /> -ἀνήγαγον ζῶντα Λεόνατος καὶ Φιλωτᾶς. ἰδὼν δὲ πολύσαρκον<br /> -καὶ μέγαν καὶ βλοσυρώτατον (μέλας γὰρ ἦν καὶ τὸ χρῶμα), 15<br /> -μισήσας ἐφ’ οἷς ἐβεβούλευτο καὶ τὸ εἶδος ἐκέλευσεν διὰ τῶν<br /> -ποδῶν χαλκοῦν ψάλιον διείραντας ἕλκειν κύκλῳ γυμνόν.<br /> -πιλούμενος δὲ κακοῖς περὶ πολλὰς τραχύτητας ἔκραζεν. αὐτὸ<br /> -δ’ ἦν, ὃ λέγω, τὸ συνάγον ἀνθρώπους. ἐπέτεινε μὲν γὰρ ὁ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_189" id="Page_189">[189]</a></span></p> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. Blass (<i>Rhythm. Asian.</i> p. 19) -would read εἰσιόντι, comparing <i>intravit</i> -in Curtius iv. 6. 23.</p> - -<p>3. <b>συνέδραμεν</b>: cp. Propert. iii. 9. 17 -“est quibus Eleae concurrit palma -quadrigae; | est quibus in celeres gloria -nata pedes.”</p> - -<p>6. <b>τῆς ἱκετείας</b>: Hegesias may have -used the article in order to avoid the -hiatus Ἀλεξάνδρῳ ἱκετείας. F omits it -(as unnecessary).</p> - -<p>7. <b>τὰ πτερύγια τοῦ θώρακος</b>: cp. -Schol. Venet. B ad Hom. <i>Il.</i> 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 <i>Il.</i> 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, <i>gladium clipeo tegens</i>, -quasi transfuga genibus regis advolvitur. -ille adsurgere supplicem, recipique inter -suos iussit. at barbarus gladio strenue -in dextram translato <i>cervicem adpetiit -regis</i>: qui exigua corporis declinatione -evitato ictu in vanum manum barbari -lapsam amputat gladio.”</p> - -<p>10. <b>ἐπίμπρα</b>: cp. Curtius iv. 6. 24 -“inter primores dimicat; ira quoque -<i>accensus</i>, 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.</p> - -<p>12. The number, as given by Curtius -(iv. 6. 30), was “circa decem milia.”</p> - -<p><b>ὑπὸ τὴν σάλπιγγα ἐκείνην</b> = ὑπὸ -τὸ σάλπισμα ἐκεῖνο: cp. Aristot. <i>Rhet.</i> -iii. 6 οἷον τὸ φάναι τὴν σάλπιγγα εἶναι -μέλος ἄλυρον.</p> - -<p>15. <b>βλοσυρώτατον</b>: cp. Curtius iv. 6. -27 “non interrito modo sed contumaci -quoquo vultu intuens regem.” Usener -conjectures βλοσυρωπόν, with considerable -probability: cp. <b><a href="#Page_162">162</a></b> 19 <i>supra</i>.</p> - -<p>17. <b>ψάλιον</b>: cp. Hesych. ψάλια· κρίκοι, -δακτύλιοι, and <i>Antiq. Rom.</i> 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. <i>Aen.</i> 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 (<b><a href="#Page_190">190</a></b> 13).</p> - -<p>18. <b>πιλεῖν</b> (‘to pound,’ ‘to knead’) is -one of the many forced metaphors in -this excerpt from Hegesias.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_190" id="Page_190">[190-1]</a></span></p> - -<p> -πόνος, βάρβαρον δ’ ἐβόα, δεσπότην καθικετεύων· γελᾶν δὲ ὁ<br /> -σολοικισμὸς ἐποίει. τὸ δὲ στέαρ καὶ τὸ κύτος τῆς σαρκὸς<br /> -ἐνέφαινε Βαβυλώνιον ζῷον ἕτερον ἁδρόν. ὁ μὲν οὖν ὄχλος<br /> -ἐνέπαιζε, στρατιωτικὴν ὕβριν ὑβρίζων εἰδεχθῆ καὶ τῷ τρόπῳ<br /> -σκαιὸν ἐχθρόν.” 5<br /> -<br /> -ἆρά γε ὅμοια ταῦτ’ ἐστὶ τοῖς Ὁμηρικοῖς ἐκείνοις, ἐν οἷς<br /> -Ἀχιλλεύς ἐστιν αἰκιζόμενος Ἕκτορα μετὰ τὴν τελευτήν; καίτοι<br /> -τό γε πάθος ἐκεῖνο ἔλαττον· εἰς ἀναίσθητον γὰρ σῶμα ἡ<br /> -ὕβρις· ἀλλ’ ὅμως ἄξιόν ἐστιν ἰδεῖν, ὅσῳ διενήνοχεν ὁ ποιητὴς<br /> -τοῦ σοφιστοῦ· 10<br /> -</p> - -<p class="indent8"> -ἦ ῥα, καὶ Ἕκτορα δῖον ἀεικέα μήδετο ἔργα·<br /> -ἀμφοτέρων μετόπισθε ποδῶν τέτρηνε τένοντε<br /> -ἐς σφυρὸν ἐκ πτέρνης, βοέους δ’ ἐξῆπτεν ἱμάντας,<br /> -ἐκ δίφροιο δ’ ἔδησε· κάρη δ’ ἕλκεσθαι ἔασεν·<br /> -ἐς δίφρον δ’ ἀναβὰς ἀνά τε κλυτὰ τεύχε’ ἀείρας 15<br /> -μάστιξεν δ’ ἐλάαν, τὼ δ’ οὐκ ἀέκοντε πετέσθην.<br /> -τοῦ δ’ ἦν ἑλκομένοιο κονίσαλος· ἀμφὶ δὲ χαῖται<br /> -κυάνεαι πίμπλαντο, κάρη δ’ ἅπαν ἐν κονίῃσι<br /> -κεῖτο πάρος χαρίεν· τότε δὲ Ζεὺς δυσμενέεσσι<br /> -δῶκεν ἀεικίσσασθαι ἑῇ ἐν πατρίδι γαίῃ. 20<br /> -ὣς τοῦ μὲν κεκόνιτο κάρη ἅπαν· ἡ δέ νυ μήτηρ<br /> -τίλλε κόμην, ἀπὸ δὲ λιπαρὴν ἔρριψε καλύπτρην<br /> -τηλόσε, κώκυσεν δὲ μάλα μέγα παῖδ’ ἐσιδοῦσα·<br /> -ᾤμωξεν δ’ ἐλεεινὰ πατὴρ φίλος, ἀμφὶ δὲ λαοὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_191" id="Page_191">[191]</a></span></p> - -<p>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.”<a name="FNanchor_168_168" id="FNanchor_168_168"></a><a href="#Footnote_168_168" class="fnanchor">[168]</a></p> - -<p>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:—</p> - -<p class="indent8"> -He spake, and a shameful mishandling devised he for Hector slain;<br /> -For behind each foot did he sunder therefrom the sinews twain<br /> -From the ankle-joint to the heel: hide-bands through the gashes he thrust;<br /> -To his chariot he bound them, and left the head to trail in the dust.<br /> -He hath mounted his car, and the glorious armour thereon hath he cast,<br /> -And he lashed the horses, and they with eager speed flew fast.<br /> -And a dust from the haling of Hector arose, and tossed wide-spread<br /> -His dark locks: wholly in dust his head lay low—that head<br /> -Once comely: ah then was the hero delivered over of Zeus<br /> -In his very fatherland for his foes to despitefully use.<br /> -So dust-besprent was his head; but his mother was rending her hair<br /> -The while, and she flung therefrom her head-veil glistering-fair<br /> -Afar, and with wild loud shriek as she looked on her son she cried;<br /> -And in piteous wise did his father wail, and on every side<br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 καθικετεύων Schaefer: καὶ ἱκετεύων libri 2 κοῖτος F: κῦτος MV || -σαρκὸς F: γαστρὸς PMV 3 ἐνέφαινε MV<sup>2</sup>: 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</p> - -<p>1. It is not clear whether the strict -distinction between βαρβαρισμός (wrong -vocabulary, spelling, or pronunciation) -and <b>σολοικισμός</b> (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 -<i>History of Classical Scholarship</i> 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.</p> - -<p>3. <b>Βαβυλώνιον ζῷον</b>: a comparison -suggests itself with the Assyrian bulls -represented in reliefs (cp. Tennyson’s -<i>Maud</i>, “That oil’d and curl’d Assyrian -Bull”).—The reading of P, ἕτερον ἀνδρός, -might mean ‘far different from a <i>man</i>’ -(<i>viri</i>: not ἀνθρώπου, <i>hominis</i>).</p> - -<p>4. Hegesias’ use of <b>στρατιωτικός</b> may -be compared with <i>de Lys.</i> c. 12 (of -Iphicrates) ἥ τε λέξις πολὺ τὸ φορτικὸν -καὶ στρατιωτικὸν ἔχει καὶ οὐχ οὕτως -ἐμφαίνει ῥητορικὴν ἀγχίνοιαν ὡς στρατιωτικὴν -αὐθάδειαν καὶ ἀλαζονείαν.</p> - -<p>7. <b>ἐστιν αἰκιζόμενος</b>: not simply a -periphrasis for αἰκίζεται.</p> - -<p>8. For Hector’s insensibility cp. -Murray’s <i>Rise of the Greek Epic</i> 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.</p> - -<p>11. Cp. Virg. <i>Aen.</i> ii. 268 ff. (the -vision of the mangled Hector).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_192" id="Page_192">[192-3]</a></span></p> - -<p class="indent8"> -κωκυτῷ τ’ εἴχοντο καὶ οἰμωγῇ κατὰ ἄστυ.<br /> -τῷ δὲ μάλιστ’ ἂρ ἔην ἐναλίγκιον, ὡς εἰ ἅπασα<br /> -Ἴλιος ὀφρυόεσσα πυρὶ σμύχοιτο κατ’ ἄκρης.<br /> -</p> - -<p> -οὕτως εὐγενὲς σῶμα καὶ δεινὰ πάθη λέγεσθαι προσῆκεν ὑπ’<br /> -ἀνδρῶν φρόνημα καὶ νοῦν ἐχόντων. ὡς δὲ ὁ Μάγνης εἴρηκεν, 5<br /> -ὑπὸ γυναικῶν ἢ κατεαγότων ἀνθρώπων λέγοιτ’ ἂν καὶ οὐδὲ<br /> -τούτων μετὰ σπουδῆς, ἀλλ’ ἐπὶ χλευασμῷ καὶ καταγέλωτι.<br /> -τί οὖν αἴτιον ἦν ἐκείνων μὲν τῶν ποιημάτων τῆς εὐγενείας,<br /> -τούτων δὲ τῶν φλυαρημάτων τῆς ταπεινότητος; ἡ τῶν<br /> -ῥυθμῶν διαφορὰ πάντων μάλιστα, καὶ εἰ μὴ μόνη. ἐν 10<br /> -ἐκείνοις μὲν γὰρ οὐδὲ εἷς ἄσεμνος στίχος οὐδ’ ἀδόκιμος,<br /> -ἐνταῦθα δὲ οὐδεμία περίοδος ἥτις οὐ λυπήσει.<br /> -<br /> -εἰρηκὼς δὴ καὶ περὶ τῶν ῥυθμῶν ὅσην δύναμιν ἔχουσιν,<br /> -ἐπὶ τὰ λειπόμενα μεταβήσομαι.<br /> -</p> - -<h3>XIX</h3> - -<p> -ἦν δέ μοι τρίτον θεώρημα τῶν ποιούντων καλὴν ἁρμονίαν 15<br /> -ἡ μεταβολή. λέγω δὲ οὐ τὴν ἐκ τῶν κρειττόνων ἐπὶ τὰ<br /> -χείρω (πάνυ γὰρ εὔηθες), οὐδέ γε τὴν ἐκ τῶν χειρόνων ἐπὶ<br /> -τὰ κρείττω, ἀλλὰ τὴν ἐν τοῖς ὁμοειδέσι ποικιλίαν. κόρον γὰρ<br /> -ἔχει καὶ τὰ καλὰ πάντα, ὥσπερ καὶ τὰ ἡδέα, μένοντα ἐν τῇ<br /> -ταυτότητι· ποικιλλόμενα δὲ ταῖς μεταβολαῖς ἀεὶ καινὰ μένει. 20<br /> -τοῖς μὲν οὖν τὰ μέτρα καὶ τὰ μέλη γράφουσιν οὐχ ἅπαντα<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_193" id="Page_193">[193]</a></span></p> - -<p class="indent8"> -Through the city the folk brake forth into shriek and wail at the sight.<br /> -It was like unto this above all things, as though, from her topmost height<br /> -To the ground, all beetling Troy in flame and in smoke were rolled.<a name="FNanchor_169_169" id="FNanchor_169_169"></a><a href="#Footnote_169_169" class="fnanchor">[169]</a><br /> -</p> - -<p>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.</p> - -<p>Having now discussed the importance of rhythm, I will pass -on to the topics that remain.</p> - - - -<h4>CHAPTER XIX<br /><br /> - -ON VARIETY</h4> - - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>5. <b>φρόνημα</b>, ‘pride,’ ‘spirit,’ ‘mettle,’ -‘feeling,’ ‘self-respect’: cp. <b><a href="#Page_186">186</a></b> 5.</p> - -<p>6. <b>κατεαγότων</b>, ‘enervated,’ ‘effeminate’ -(Lat. <i>fractus</i>): cp. Philo Jud. i. -262 (Mangey) ἄνανδροι καὶ κατεαγότες -καὶ θηλυδρίαι τὰ φρονήματα, i. 273 πάθεσι -τοῖς κατεαγόσι καὶ τεθηλυμμένοις.</p> - -<p>8, 9. <b>ἐκείνων</b> refers to the passage -last quoted, <b>τούτων</b> 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.</p> - -<p>10. The reading εἰ καὶ (‘although’) -would perhaps be preferable in sense, if -only it had better manuscript attestation. -[In <b><a href="#Page_198">198</a></b> 15 there is a similar fluctuation -between καὶ εἰ and εἰ καί.]</p> - -<p>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.</p> - -<p>16. For the importance of <i>variety</i> -(especially in relation to rhythm) cp. -a well-known fragment of Isocrates’ <i>Art -of Rhetoric</i>: 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. <i>de Orat.</i> 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.</p> - -<p>18. <b>κόρον</b>: cp. <i>Ep. ad Cn. Pomp.</i> c. 3 -κόρον δ’ ἔχει, φησὶν ὁ Πίνδαρος [<i>Nem.</i> vii. -52], καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ ἀφροδίσια, -and Hom. <i>Il.</i> xiii. 636 πάντων μὲν κόρος -ἐστί, κτλ.</p> - -<p>19. <b>μένοντα</b> 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 -(<b><a href="#Page_106">106</a></b> 18).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_194" id="Page_194">[194-5]</a></span></p> - -<p> -ἔξεστι μεταβάλλειν ἢ οὐχ ἅπασιν οὐδ’ ἐφ’ ὅσον βούλονται.<br /> -αὐτίκα τοῖς μὲν ἐποποιοῖς μέτρον οὐκ ἔξεστι μεταβάλλειν,<br /> -ἀλλ’ ἀνάγκη πάντας εἶναι τοὺς στίχους ἑξαμέτρους· οὐδέ<br /> -γε ῥυθμόν, ἀλλὰ τοῖς ἀπὸ μακρᾶς ἀρχομένοις συλλαβῆς<br /> -χρήσονται καὶ οὐδὲ τούτοις ἅπασι. τοῖς δὲ τὰ μέλη γράφουσιν 5<br /> -τὸ μὲν τῶν στροφῶν τε καὶ ἀντιστρόφων οὐχ οἷόν τε<br /> -ἀλλάξαι μέλος, ἀλλ’ ἐάν τ’ ἐναρμονίους ἐάν τε χρωματικὰς<br /> -ἐάν τε διατόνους ὑποθῶνται μελῳδίας, ἐν πάσαις δεῖ ταῖς<br /> -στροφαῖς τε καὶ ἀντιστρόφοις τὰς αὐτὰς ἀγωγὰς φυλάττειν·<br /> -οὐδέ γε τοὺς περιέχοντας ὅλας τὰς στροφὰς ῥυθμοὺς καὶ 10<br /> -τὰς ἀντιστρόφους, ἀλλὰ δεῖ καὶ τούτους τοὺς αὐτοὺς διαμένειν·<br /> -περὶ δὲ τὰς καλουμένας ἐπῳδοὺς ἀμφότερα κινεῖν ταῦτα<br /> -ἔξεστι τό τε μέλος καὶ τὸν ῥυθμόν. τά τε κῶλα ἐξ ὧν<br /> -ἑκάστη συνέστηκε περίοδος ἐπὶ πολλῆς ἐξουσίας δέδοται<br /> -αὐτοῖς ποικίλως διαιρεῖν ἄλλοτε ἄλλα μεγέθη καὶ σχήματα 15<br /> -αὐταῖς περιτιθέντας, ἕως ἂν ἀπαρτίσωσι τὴν στροφήν· ἔπειτα<br /> -πάλιν δεῖ τὰ αὐτὰ μέτρα καὶ κῶλα ποιεῖν. οἱ μὲν οὖν<br /> -ἀρχαῖοι μελοποιοί, λέγω δὲ Ἀλκαῖόν τε καὶ Σαπφώ, μικρὰς<br /> -ἐποιοῦντο στροφάς, ὥστ’ ἐν ὀλίγοις τοῖς κώλοις οὐ πολλὰς<br /> -εἰσῆγον τὰς μεταβολάς, ἐπῳδοῖς τε πάνυ ἐχρῶντο ὀλίγοις· οἱ 20<br /> -δὲ περὶ Στησίχορόν τε καὶ Πίνδαρον μείζους ἐργασάμενοι τὰς<br /> -περιόδους εἰς πολλὰ μέτρα καὶ κῶλα διένειμαν αὐτὰς οὐκ<br /> -ἄλλου τινὸς ἢ τῆς μεταβολῆς ἔρωτι. οἱ δέ γε διθυραμβοποιοὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_195" id="Page_195">[195]</a></span></p> - -<p>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 -<i>epodes</i> 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 <i>modes</i> also,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>5. <b>οὐδὲ τούτοις ἅπασι</b>: e.g. not the -cretic, and (strictly) not the trochee.</p> - -<p>7. <b>ἐναρμονίους ... χρωματικὰς ... -διατόνους</b>: the distinction between -these scales is indicated in Macran’s -<i>Harmonics of Aristoxenus</i> 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.”</p> - -<p>18. <b>ἀρχαῖοι</b>: as compared, say, with -Pindar.</p> - -<p>20. <b>οἱ δὲ περὶ Στησίχορόν τε καὶ -Πίνδαρον</b>: 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 <i>Vit. Demosth.</i> 28. 2); (2) the -man himself, e.g. τοὺς περὶ Αἰσχίνην καὶ -Φιλοκράτην (<i>ibid.</i> 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. <i>Carm.</i> -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.”</p> - -<p>21. Such long periods are particularly -effective (cp. <b><a href="#Page_196">196</a></b> 13) when they include -clauses of various lengths and end with -an impressive one: e.g. Cic. <i>Catil.</i> 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 <i>Oraison funèbre -de Henriette-Marie de France</i>: “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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_196" id="Page_196">[196-7]</a></span></p> - -<p> -καὶ τοὺς τρόπους μετέβαλλον, Δωρίους τε καὶ Φρυγίους καὶ<br /> -Λυδίους ἐν τῷ αὐτῷ ᾄσματι ποιοῦντες, καὶ τὰς μελῳδίας<br /> -ἐξήλλαττον, τοτὲ μὲν ἐναρμονίους ποιοῦντες, τοτὲ δὲ χρωματικάς,<br /> -τοτὲ δὲ διατόνους, καὶ τοῖς ῥυθμοῖς κατὰ πολλὴν<br /> -ἄδειαν ἐνεξουσιάζοντες διετέλουν, οἵ γε δὴ κατὰ Φιλόξενον καὶ 5<br /> -Τιμόθεον καὶ Τελεστήν, ἐπεὶ παρά γε τοῖς ἀρχαίοις τεταγμένος<br /> -ἦν καὶ ὁ διθύραμβος.<br /> -<br /> -ἡ δὲ πεζὴ λέξις ἅπασαν ἐλευθερίαν ἔχει καὶ ἄδειαν<br /> -ποικίλλειν ταῖς μεταβολαῖς τὴν σύνθεσιν, ὅπως βούλεται.<br /> -καὶ ἔστι λέξις κρατίστη πασῶν, ἥτις ἂν ἔχῃ πλείστας 10<br /> -ἀναπαύλας τε καὶ μεταβολὰς ἐναρμονίους, ὅταν τουτὶ μὲν ἐν<br /> -περιόδῳ λέγηται, τουτὶ δ’ ἔξω περιόδου, καὶ ἥδε μὲν ἡ<br /> -περίοδος ἐκ πλειόνων πλέκηται κώλων, ἥδε δ’ ἐξ ἐλαττόνων,<br /> -αὐτῶν δὲ τῶν κώλων τὸ μὲν βραχύτερον ᾖ, τὸ δὲ μακρότερον,<br /> -καὶ τὸ μὲν αὐτουργότερον, τὸ δὲ ἀκριβέστερον, ῥυθμοί τε 15<br /> -ἄλλοτε ἄλλοι καὶ σχήματα παντοῖα καὶ τάσεις φωνῆς αἱ<br /> -καλούμεναι προσῳδίαι διάφοροι κλέπτουσαι τῇ ποικιλίᾳ τὸν<br /> -κόρον. ἔχει δέ τινα χάριν ἐν τοῖς τοιούτοις καὶ τὸ οὕτω<br /> -συγκείμενον ὥστε μὴ συγκεῖσθαι δοκεῖν. καὶ οὐ πολλῶν δεῖν<br /> -οἶμαι λόγων εἰς τοῦτο τὸ μέρος· ὅτι γὰρ ἥδιστόν τε καὶ 20<br /> -κάλλιστον ἐν λόγοις μεταβολή, πάντας εἰδέναι πείθομαι.<br /> -παράδειγμα δὲ αὐτῆς ποιοῦμαι πᾶσαν μὲν τὴν Ἡροδότου<br /> -λέξιν, πᾶσαν δὲ τὴν Πλάτωνος, πᾶσαν δὲ τὴν Δημοσθένους·<br /> -ἀμήχανον γὰρ εὑρεῖν τούτων ἑτέρους ἐπεισοδίοις τε πλείοσι<br /> -καὶ ποικιλίαις εὐκαιροτέραις καὶ σχήμασι πολυειδεστέροις 25<br /> -χρησαμένους· λέγω δὲ τὸν μὲν ὡς ἐν ἱστορίας σχήματι, τὸν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_197" id="Page_197">[197]</a></span></p> - -<p>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.</p> - -<p>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,</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>2</sup>MV: ἐτι P<sup>1</sup>: 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</p> - -<p>1. For the characteristics of the various -modes cp. (besides the <i>Republic</i> and the -<i>Politics</i>) Lucian <i>Harmonides</i> 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.</p> - -<p>3. <b>τοτὲ μὲν ... τοτὲ δέ</b>: cp. <b><a href="#Page_132">132</a></b> 19, -where (as here) F and P have τότε.</p> - -<p>5. <b>ἐνεξουσιάζοντες</b>, ‘using full liberty,’ -‘showing their independence.’ Cp. <i>de -Thucyd.</i> 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 <i>ibid.</i> 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. <i>Carm.</i> iv. -2. 10 “seu per audaces nova dithyrambos | -verba devolvit numerisque fertur | lege -solutis.”</p> - -<p><b>οἱ κατά</b> may refer simply to the -individuals mentioned, or to them and -their contemporaries: cp. note on <b><a href="#Page_194">194</a></b> 20.</p> - -<p>For <b>Philoxenus</b>, <b>Timotheus</b> (including -the newly discovered <i>Persae</i>), -and <b>Telestes</b> see Jebb’s <i>Bacchylides</i> pp. -47-55; Weir Smyth’s <i>Greek Melic Poets</i> -pp. 460-7; W. von Christ <i>Gesch. der -Griech. Litt.</i><sup>3</sup> pp. 188, 189.</p> - -<p>8. <b>ἐλευθερίαν ἔχει καὶ ἄδειαν</b>: 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. <i>Timocr.</i> -§ 205 εἰ δέ τις εἰσφέρει νόμον ἐξ οὗ τοῖς -ὑμᾶς βουλομένοις ἀδικεῖν ἡ πᾶσ’ <em class="gesperrt">ἐξουσία -καὶ ἄδεια</em> γενήσεται, οὗτος ὅλην ἀδικεῖ -τὴν πόλιν καὶ καταισχύνει πάντας. The -word ἄδεια is found also in l. 5 <i>supra</i> -and <b><a href="#Page_176">176</a></b> 20. The repetition within a -few sentences is not inconsistent with -Dionysius’ practice in such matters: -cp. note on <b><a href="#Page_192">192</a></b> 19 <i>supra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_198" id="Page_198">[198-9]</a></span></p> - -<p> -δ’ ὡς ἐν διαλόγων χάριτι, τὸν δ’ ὡς ἐν λόγων ἐναγωνίων<br /> -χρείᾳ. ἀλλ’ οὐχ ἥ γε Ἰσοκράτους καὶ τῶν ἐκείνου γνωρίμων<br /> -αἵρεσις ὁμοία ταύταις ἦν, ἀλλὰ καίπερ ἡδέως καὶ μεγαλοπρεπῶς<br /> -πολλὰ συνθέντες οἱ ἄνδρες οὗτοι περὶ τὰς μεταβολὰς καὶ τὴν<br /> -ποικιλίαν οὐ πάνυ εὐτυχοῦσιν· ἀλλ’ ἔστι παρ’ αὐτοῖς εἷς 5<br /> -περίοδου κύκλος, ὁμοειδὴς σχημάτων τάξις, φυλακὴ συμπλοκῆς<br /> -φωνηέντων ἡ αὐτή, ἄλλα πολλὰ τοιαῦτα κόπτοντα τὴν<br /> -ἀκρόασιν. οὐ δὴ ἀποδέχομαι τὴν αἵρεσιν ἐκείνην κατὰ τοῦτο<br /> -τὸ μέρος. καὶ αὐτῷ μὲν ἴσως τῷ Ἰσοκράτει πολλαὶ χάριτες<br /> -ἐπήνθουν ἄλλαι ταύτην ἐπικρύπτουσαι τὴν ἀμορφίαν, παρὰ 10<br /> -δὲ τοῖς μετ’ ἐκεῖνον ἀπ’ ἐλαττόνων τῶν ἄλλων κατορθωμάτων<br /> -περιφανέστερον γίνεται τοῦτο τὸ ἁμάρτημα.<br /> -</p> - -<h3>XX</h3> - -<p> -εἷς ἔτι καταλείπεταί μοι λόγος ὁ περὶ τοῦ πρέποντος.<br /> -καὶ γὰρ τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι δεῖ τὸ πρέπον,<br /> -καὶ εἴ τι ἄλλο ἔργον ἀτυχεῖ τούτου τοῦ μέρους, καὶ εἰ μὴ 15<br /> -τοῦ παντός, τοῦ κρατίστου γε ἀτυχεῖ. περὶ μὲν οὖν ὅλης τῆς<br /> -ἰδέας ταύτης οὐχ οὗτος ὁ καιρὸς ἀνασκοπεῖν· βαθεῖα γάρ τις<br /> -αὐτοῦ καὶ πολλῶν πάνυ δεομένη λόγων ἡ θεωρία. ὅσα δὲ εἰς<br /> -τοῦτο συντείνει τὸ μέρος ὑπὲρ οὗ τυγχάνω ποιούμενος τὸν<br /> -λόγον, εἰ μὴ καὶ τὰ πάντα, μηδὲ τὰ πλεῖστα, ὅσα γε οὖν 20<br /> -ἐγχωρεῖ, λεγέσθω.<br /> -<br /> -ὁμολογουμένου δὴ παρὰ πᾶσιν ὅτι πρέπον ἐστὶ τὸ τοῖς<br /> -ὑποκειμένοις ἁρμόττον προσώποις τε καὶ πράγμασιν, ὥσπερ<br /> -ἐκλογὴ τῶν ὀνομάτων εἴη τις ἂν ἡ μὲν πρέπουσα τοῖς ὑποκειμένοις<br /> -ἡ δὲ ἀπρεπής, οὕτω δήπου καὶ σύνθεσις. παράδειγμα 25<br /> -δὲ τούτου χρὴ λαμβάνειν τὴν ἀλήθειαν. ὃ δὲ λέγω, τοιοῦτόν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_199" id="Page_199">[199]</a></span></p> - -<p>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.</p> - - - -<h4>CHAPTER XX<br /><br /> - -ON APPROPRIATENESS</h4> - - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. The following passage emphasizes -in a striking way the supreme importance -of variety as an element in excellence -of style.</p> - -<p>6. <b>φυλακή</b>: P’s reading λέξις may, -as Usener suggests, be a relic of φύλαξις.</p> - -<p>14. The manuscript reading ὡς suggests -the possibility that some such words -as εἴρηται πρότερον have been lost after -ἀτυχεῖ in l. 16.</p> - -<p>18. <b>αὐτοῦ</b>, ‘the matter,’ ‘the question.’ -Cp. Eurip. <i>Phoen.</i> 626 αὐτὸ σημανεῖ (<i>res -ipsa declarabit</i>). See also note on <b><a href="#Page_140">140</a></b> -14 <i>supra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_200" id="Page_200">[200-1]</a></span></p> - -<p> -ἐστιν· οὐχ ὁμοίᾳ συνθέσει χρώμεθα ὀργιζόμενοι καὶ χαίροντες,<br /> -οὐδὲ ὀλοφυρόμενοι καὶ φοβούμενοι, οὐδ’ ἐν ἄλλῳ τινὶ πάθει ἢ<br /> -κακῷ ὄντες, ὥσπερ ὅταν ἐνθυμώμεθα μηδὲν ὅλως ἡμᾶς ταράττειν<br /> -μηδὲ παραλυπεῖν. δείγματος ἕνεκα ταῦτ’ εἴρηκα ὀλίγα<br /> -περὶ πολλῶν, ἐπεὶ μυρία ὅσα τις ἂν εἰπεῖν ἔχοι τὰς ἰδέας 5<br /> -ἁπάσας ἐκλογίζεσθαι βουλόμενος τοῦ πρέποντος· ἓν δὲ ὃ<br /> -προχειρότατον ἔχω καὶ κοινότατον εἰπεῖν ὑπὲρ αὐτοῦ, τοῦτ’<br /> -ἐρῶ. οἱ αὐτοὶ ἄνθρωποι ἐν τῇ αὐτῇ καταστάσει τῆς ψυχῆς<br /> -ὄντες ὅταν ἀπαγγέλλωσι πράγματα οἷς ἂν παραγενόμενοι<br /> -τύχωσιν, οὐχ ὁμοίᾳ χρῶνται συνθέσει περὶ πάντων, ἀλλὰ 10<br /> -μιμητικοὶ γίνονται τῶν ἀπαγγελλομένων καὶ ἐν τῷ συντιθέναι<br /> -τὰ ὀνόματα, οὐδὲν ἐπιτηδεύοντες ἀλλὰ φυσικῶς ἐπὶ τοῦτο<br /> -ἀγόμενοι. ταῦτα δὴ παρατηροῦντα δεῖ τὸν ἀγαθὸν ποιητὴν<br /> -καὶ ῥήτορα μιμητικὸν εἶναι τῶν πραγμάτων ὑπὲρ ὧν ἂν τοὺς<br /> -λόγους ἐκφέρῃ, μὴ μόνον κατὰ τὴν ἐκλογὴν τῶν ὀνομάτων 15<br /> -ἀλλὰ καὶ κατὰ τὴν σύνθεσιν. ὃ ποιεῖν εἴωθεν ὁ δαιμονιώτατος<br /> -Ὅμηρος καίπερ μέτρον ἔχων ἓν ὡς καὶ ῥυθμοὺς ὀλίγους, ἀλλ’<br /> -ὅμως ἀεί τι καινουργῶν ἐν αὐτοῖς καὶ φιλοτεχνῶν, ὥστε μηδὲν<br /> -ἡμῖν διαφέρειν γινόμενα τὰ πράγματα ἢ λεγόμενα ὁρᾶν. ἐρῶ<br /> -δὲ ὀλίγα, οἷς ἄν τις δύναιτο παραδείγμασι χρῆσθαι πολλῶν. 20<br /> -ἀπαγγέλλων δὴ πρὸς τοὺς Φαίακας Ὀδυσσεὺς τὴν ἑαυτοῦ<br /> -πλάνην καὶ τὴν εἰς ᾅδου κατάβασιν εἰπὼν τὰς ὄψεις τῶν<br /> -ἐκεῖ κακῶν ἀποδίδωσιν. ἐν δὴ τούτοις καὶ τὰ περὶ τὸν<br /> -Σίσυφον διηγεῖται πάθη, ᾧ φασι τοὺς καταχθονίους θεοὺς<br /> -ὅρον πεποιῆσθαι τῆς τῶν δεινῶν ἀπαλλαγῆς, ὅταν ὑπὲρ ὄχθου 25<br /> -τινὸς ἀνακυλίσῃ πέτρον· τοῦτο δὲ ἀμήχανον εἶναι καταπίπτοντος<br /> -ὅταν εἰς ἄκρον ἔλθῃ πάλιν τοῦ πέτρου. πῶς οὖν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_201" id="Page_201">[201]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>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. <i>Ars P.</i> 105-7.</p> - -<p>3. An early reading may have been -ὥσπερ εὐθυμούμεθα ὅταν μηδὲν ὅλως ἡμᾶς -ταράττῃ μηδὲ παραλυπῇ.</p> - -<p>7. <b>προχειρότατον</b>: lit. ‘readiest to -hand.’—The verb προχειρίζεσθαι is -used often by Dionysius (<b><a href="#Page_76">76</a></b> 2, <b><a href="#Page_236">236</a></b> 21, -<b><a href="#Page_250">250</a></b> 13) in the meaning ‘to select.’</p> - -<p>13. <b>ταῦτα δὴ παρατηροῦντα</b>: Dionysius -would (as the trend of his argument -throughout the treatise shows) have an -author not only observe, but <i>improve -upon</i>, the methods of ordinary people. -There is no real discrepancy between -this passage and that quoted (<b><a href="#Page_78">78</a></b> 18 -<i>supra</i>) from Coleridge’s <i>Biographia -Literaria</i>.</p> - -<p>17. <b>ῥυθμοὺς ὀλίγους</b>: 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 <b><a href="#Page_206">206</a></b> 11) or the -molossus; but such divisions are not -natural.</p> - -<p>18. <b>καινουργῶν ... καὶ φιλοτεχνῶν</b>: -see D.H. p. 46.</p> - -<p>26. Here, and in <b><a href="#Page_202">202</a></b> 8, <b>πέτρος</b> is used -to represent Homer’s λᾶας: in <b><a href="#Page_202">202</a></b> 10, 13, -πέτρα. ὄχθος (<b><a href="#Page_202">202</a></b> 9) = Homer’s λόφος.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_202" id="Page_202">[202-3]</a></span></p> - -<p> -δηλώσει ταῦτα μιμητικῶς καὶ κατ’ αὐτὴν τὴν σύνθεσιν τῶν<br /> -ὀνομάτων, ἄξιον ἰδεῖν·<br /> -</p> - -<p class="indent8"> -καὶ μὴν Σίσυφον εἰσεῖδον κρατέρ’ ἄλγε’ ἔχοντα,<br /> -λᾶαν βαστάζοντα πελώριον ἀμφοτέρῃσιν·<br /> -ἦ τοι ὁ μὲν σκηριπτόμενος χερσίν τε ποσίν τε 5<br /> -λᾶαν ἄνω ὤθεσκε ποτὶ λόφον·<br /> -</p> - -<p> -ἐνταῦθα ἡ σύνθεσίς ἐστιν ἡ δηλοῦσα τῶν γινομένων ἕκαστον,<br /> -τὸ βάρος τοῦ πέτρου, τὴν ἐπίπονον ἐκ τῆς γῆς κίνησιν, τὸν<br /> -διερειδόμενον τοῖς κώλοις, τὸν ἀναβαίνοντα πρὸς τὸν ὄχθον,<br /> -τὴν μόλις ἀνωθουμένην πέτραν· οὐδεὶς ἂν ἄλλως εἴποι. καὶ 10<br /> -παρὰ τί γέγονε τούτων ἕκαστον; οὐ μὰ Δί’ εἰκῇ γε οὐδ’<br /> -ἀπὸ ταὐτομάτου. πρῶτον μὲν ἐν τοῖς δυσὶ στίχοις οἷς<br /> -ἀνακυλίει τὴν πέτραν, ἔξω δυεῖν ῥημάτων τὰ λοιπὰ τῆς λέξεως<br /> -μόρια πάντ’ ἐστὶν ἤτοι δισύλλαβα ἢ μονοσύλλαβα· ἔπειτα<br /> -τῷ ἡμίσει πλείους εἰσὶν αἱ μακραὶ συλλαβαὶ τῶν βραχειῶν 15<br /> -ἐν ἑκατέρῳ τῶν στίχων· ἔπειτα πᾶσαι διαβεβήκασιν αἱ τῶν<br /> -ὀνομάτων ἁρμονίαι διαβάσεις εὐμεγέθεις καὶ διεστήκασι πάνυ<br /> -αἰσθητῶς, ἢ τῶν φωνηέντων γραμμάτων συγκρουομένων ἢ τῶν<br /> -ἡμιφώνων τε καὶ ἀφώνων συναπτομένων· ῥυθμοῖς τε δακτύλοις<br /> -καὶ σπονδείοις τοῖς μηκίστοις καὶ πλείστην ἔχουσι διάβασιν 20<br /> -ἅπαντα σύγκειται. τί δή ποτ’ οὖν τούτων ἕκαστον δύναται;<br /> -αἱ μὲν μονοσύλλαβοί τε καὶ δισύλλαβοι λέξεις, πολλοὺς τοὺς<br /> -μεταξὺ χρόνους ἀλλήλων ἀπολείπουσαι, τὸ χρόνιον ἐμιμήσαντο<br /> -τοῦ ἔργου· αἱ δὲ μακραὶ συλλαβαί, στηριγμούς τινας ἔχουσαι<br /> -καὶ ἐγκαθίσματα, τὴν ἀντιτυπίαν καὶ τὸ βαρὺ καὶ τὸ μόλις· 25<br /> -τὸ δὲ μεταξὺ τῶν ὀνομάτων ψῦγμα καὶ ἡ τῶν τραχυνόντων<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_203" id="Page_203">[203]</a></span></p> - -<p>worth while to observe how Homer will express this by a -mimicry which the very arrangement of his words produces:—</p> - -<p class="indent8"> -There Sisyphus saw I receiving his guerdon of mighty pain:<br /> -A monster rock upheaving with both hands aye did he strain;<br /> -With feet firm-fixed, palms pressed, with gasps, with toil most sore,<br /> -That rock to a high hill’s crest heaved he.<a name="FNanchor_170_170" id="FNanchor_170_170"></a><a href="#Footnote_170_170" class="fnanchor">[170]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>2</sup>V: βραδὺ PM<sup>1</sup> || μόλις EF: μόγις PMV</p> - -<p>6. Cp. Demetr. <i>de Eloc.</i> § 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 <i>Essay on Criticism</i>, -“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” (<i>Georg.</i> i. 282).</p> - -<p>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.</p> - -<p>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 <i>first</i>: μὴν -Σίσυφον, εἰσεῖδον κρατερά, λᾶαν βαστάζοντα].’—In -<b><a href="#Page_204">204</a></b> 15 the words πέδονδε -κυλίνδετο may be taken to express the -‘bumps’ of the stone as it rolls down.</p> - -<p>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. <i>pro Milone</i> 11. 28 -“paulisper, <i>dum se uxor, ut fit,</i> comparat, -commoratus est.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_204" id="Page_204">[204-5]</a></span></p> - -<p> -γραμμάτων παράθεσις τὰ διαλείμματα τῆς ἐνεργείας καὶ τὰς<br /> -ἐποχὰς καὶ τὸ τοῦ μόχθου μέγεθος· οἱ ῥυθμοὶ δ’ ἐν μήκει<br /> -θεωρούμενοι τὴν ἔκτασιν τῶν μελῶν καὶ τὸν διελκυσμὸν τοῦ<br /> -κυλίοντος καὶ τὴν τοῦ πέτρου ἔρεισιν. καὶ ὅτι ταῦτα οὐ<br /> -φύσεώς ἐστιν αὐτοματιζούσης ἔργα ἀλλὰ τέχνης μιμήσασθαι 5<br /> -πειρωμένης τὰ γινόμενα, τὰ τούτοις ἑξῆς λεγόμενα δηλοῖ. τὴν<br /> -γὰρ ἀπὸ τῆς κορυφῆς ἐπιστρέφουσαν πάλιν καὶ κατακυλιομένην<br /> -πέτραν οὐ τὸν αὐτὸν ἡρμήνευκε τρόπον, ἀλλ’ ἐπιταχύνας τε<br /> -καὶ συστρέψας τὴν σύνθεσιν· προειπὼν γὰρ ἐν τῷ αὐτῷ<br /> -σχήματι 10<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 9em;">ἀλλ’ ὅτε μέλλοι</span><br /> -ἄκρον ὑπερβαλέειν<br /> -</p> - -<p> -ἐπιτίθησι τοῦτο<br /> -</p> - -<p class="indent8"> -<span class="marginleft8">τότ’ ἐπιστρέψασκε κραταιίς·</span><br /> -αὖτις ἔπειτα πέδονδε κυλίνδετο λᾶας ἀναιδής. 15<br /> -</p> - -<p> -οὐχὶ συγκατακεκύλισται τῷ βάρει τῆς πέτρας ἡ τῶν ὀνομάτων<br /> -σύνθεσις, μᾶλλον δὲ ἔφθακε τὴν τοῦ λίθου φορὰν τὸ<br /> -τῆς ἀπαγγελίας τάχος; ἔμοιγε δοκεῖ. καὶ τίς ἐνταῦθα πάλιν<br /> -αἰτία; καὶ γὰρ ταύτην ἄξιον ἰδεῖν· ὁ τὴν καταφορὰν δηλῶν<br /> -τοῦ πέτρου στίχος μονοσύλλαβον μὲν οὐδεμίαν, δισυλλάβους 20<br /> -δὲ δύο μόνας ἔχει λέξεις. τοῦτ’ οὖν καὶ πρῶτον οὐ διίστησι<br /> -τοὺς χρόνους ἀλλ’ ἐπιταχύνει· ἔπειθ’ ἑπτακαίδεκα συλλαβῶν<br /> -οὐσῶν ἐν τῷ στίχῳ δέκα μέν εἰσι βραχεῖαι συλλαβαί, ἑπτὰ<br /> -δὲ μακραί, οὐδ’ αὗται τέλειοι· ἀνάγκη δὴ κατασπᾶσθαι καὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_205" id="Page_205">[205]</a></span></p> - -<p>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,</p> - -<p class="indent8"> -<span style="margin-left: 12em;">but a little more,</span><br /> -And atop of the ridge would it rest<a name="FNanchor_171_171" id="FNanchor_171_171"></a><a href="#Footnote_171_171" class="fnanchor">[171]</a>—<br /> -</p> - -<p>he adds to this,</p> - -<p class="indent8"> -<span style="margin-left: 10em;">some Power back turned it again:</span><br /> -Rushing the pitiless boulder went rolling adown to the plain.<a name="FNanchor_172_172" id="FNanchor_172_172"></a><a href="#Footnote_172_172" class="fnanchor">[172]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 καὶ τὰς ἐποχὰς EF: ἐποχάς τε PMV 6 τὴν ... ἐπιστρέφουσαν ... -κατακυλιομένην πέτραν EF: τὸν ... ἐπιστρέφοντα ... κατακυλιόμενον -πέτρον PMV 13 τοῦτο EFM<sup>1</sup>: τούτω PM<sup>2</sup>V 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</p> - -<p>15. “Downward anon to the valley -rebounded the boulder remorseless” -(Sandys, in Jebb’s <i>Rhetoric of Aristotle</i> 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. <i>Aen.</i> vi. 616 “saxum -ingens volvunt alii, radiisque rotarum | -districti pendent”; id. <i>ib.</i> viii. 596 -“quadripedante putrem sonitu quatit -ungula campum” (in imitation of <i>Il.</i> -xxiii. 116); id. <i>ib.</i> v. 481 “sternitur -exanimisque tremens procumbit humi -bos”; id. <i>ib.</i> ii. 304-8 “in segetem -... de vertice pastor”; Racine <i>Phèdre</i> -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” (<i>Odyss.</i> xi.) or his -“That like a wounded snake drags its -slow length along” (<i>Essay on Criticism</i>), -as compared with his “Thunders impetuous -down, and smokes along the -ground” (<i>Odyss.</i> 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, <b><a href="#Page_200">200</a></b> 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.</p> - -<p>19. <b>ταύτην</b>: Usener reads ταῦτ’ ἦν: -but (1) ταύτην refers naturally to αἰτία; -(2) with ἄξιον the verb is often omitted, -e.g. <b><a href="#Page_186">186</a></b> 19, <b><a href="#Page_202">202</a></b> 2; (3) if there were -a verb, ἐστίν would here be more natural -than ἦν.</p> - -<p>22. The meaning is that the absence -of short words implies the absence of -frequent breaks, and this absence contributes -to rapid utterance.</p> - -<p>24. <b>τέλειοι</b>, ‘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 <i>Greek Metric</i> p. -175). Compare <b><a href="#Page_150">150</a></b> 22-<b><a href="#Page_154">154</a></b> 3, and see also -Gloss., s.v. τέλειος.—M here has τέλειαι -(not τέλειοι): cp. τελείας in <b><a href="#Page_174">174</a></b> 1.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_206" id="Page_206">[206-7]</a></span></p> - -<p> -συστέλλεσθαι τὴν φράσιν τῇ βραχύτητι τῶν συλλαβῶν ἐφελκομένην.<br /> -ἔτι πρὸς τούτοις οὐδ’ ὄνομα ἀπὸ ὀνόματος ἀξιόλογον<br /> -εἴληφεν διάστασιν· οὔτε γὰρ φωνήεντι φωνῆεν οὔτε ἡμιφώνῳ<br /> -ἡμίφωνον ἢ ἄφωνον, ἃ δὴ τραχύνειν πέφυκεν καὶ διιστάναι<br /> -τὰς ἁρμονίας, οὐδέν ἐστι παρακείμενον. οὐ δὴ γίνεται διάστασις 5<br /> -αἰσθητὴ μὴ διηρτημένων τῶν λέξεων, ἀλλὰ συνολισθαίνουσιν<br /> -ἀλλήλαις καὶ συγκαταφέρονται καὶ τρόπον τινὰ μία<br /> -ἐξ ἁπασῶν γίνεται διὰ τὴν τῶν ἁρμονιῶν ἀκρίβειαν. ὃ δὲ<br /> -μάλιστα τῶν ἄλλων θαυμάζειν ἄξιον, ῥυθμὸς οὐδεὶς τῶν<br /> -μακρῶν οἳ φύσιν ἔχουσιν πίπτειν εἰς μέτρον ἡρωϊκόν, οὔτε 10<br /> -σπονδεῖος οὔτε βακχεῖος ἐγκαταμέμικται τῷ στίχῳ, πλὴν ἐπὶ<br /> -τῆς τελευτῆς· οἱ δ’ ἄλλοι πάντες εἰσὶ δάκτυλοι, καὶ οὗτοι<br /> -παραδεδιωγμένας ἔχοντες τὰς ἀλόγους, ὥστε μὴ πολὺ διαφέρειν<br /> -ἐνίους τῶν τροχαίων. οὐδὲν δὴ τὸ ἀντιπρᾶττον ἐστὶν εὔτροχον<br /> -καὶ περιφερῆ καὶ καταρρέουσαν εἶναι τὴν φράσιν ἐκ τοιούτων 15<br /> -συγκεκροτημένην ῥυθμῶν. πολλά τις ἂν ἔχοι τοιαῦτα δεῖξαι<br /> -παρ’ Ὁμήρῳ λεγόμενα· ἐμοὶ δὲ ἀποχρῆν δοκεῖ καὶ ταῦτα, ἵν’<br /> -ἐγγένηταί μοι καὶ περὶ τῶν ἄλλων εἰπεῖν.<br /> -<br /> -ὧν μὲν οὖν δεῖ στοχάζεσθαι τοὺς μέλλοντας ἡδεῖαν καὶ<br /> -καλὴν ποιήσειν σύνθεσιν ἔν τε ποιητικῇ καὶ λόγοις ἀμέτροις, 20<br /> -ταῦτα κατ’ ἐμὴν δόξαν ἐστὶ τὰ γοῦν κυριώτατα καὶ κράτιστα.<br /> -ὅσα δὲ οὐχ οἷά τε ἦν, ἐλάττω τε ὄντα τούτων καὶ ἀμυδρότερα<br /> -καὶ διὰ πλῆθος δυσπερίληπτα μιᾷ γραφῇ, ταῦτ’ ἐν ταῖς καθ’<br /> -ἡμέραν γυμνασίαις προσυποθήσομαί σοι, καὶ πολλῶν καὶ ἀγαθῶν<br /> -ποιητῶν τε καὶ συγγραφέων καὶ ῥητόρων μαρτυρίοις χρήσομαι. 25<br /> -νυνὶ δὲ τὰ καταλειπόμενα ὧν ὑπεσχόμην καὶ οὐδενὸς ἧττον<br /> -ἀναγκαῖα εἰρῆσθαι, ταῦτ’ ἔτι προσθεὶς τῷ λόγῳ παύσομαι<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_207" id="Page_207">[207]</a></span></p> - -<p>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 -<i>bacchius</i>—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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>τῇ βραχύτητι</b> κτλ.: i.e. the utterance -must necessarily be rapid when the -syllables are short and trip along.</p> - -<p>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 <i>Greek Metric</i> -p. 175).</p> - -<p>11. <b>βακχεῖος</b>: see note on <b><a href="#Page_200">200</a></b> 17 <i>supra</i>.</p> - -<p>13. <b>τὰς ἀλόγους</b> [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.”</p> - -<p>14. <b>τροχαίων</b>: Schaefer suggests τριβραχέων, -Sauppe χορείων.</p> - -<p>18. <b>ἐγγένηται</b>: cp. <i>Antiqq. Rom.</i> vi. -9 ὦ μακάριοι μέν, οἷς ἂν ἐγγένηται τὸν ἐκ -τοῦδε τοῦ πολέμου θρίαμβον καταγαγεῖν. -In <b><a href="#Page_68">68</a></b> 11 σχολή is added, ἐὰν δ’ ἐγγένηταί -μοι σχολή: and in <b><a href="#Page_224">224</a></b> 22 χρόνος is found -in P and V.</p> - -<p>23. <b>ἐν ταῖς καθ’ ἡμέραν γυμνασίαις</b>: -this is one of the incidental references -which show that Dionysius taught -rhetoric at Rome.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_208" id="Page_208">[208-9]</a></span></p> - -<p> -* * * τίνες εἰσὶ διαφοραὶ τῆς συνθέσεως καὶ τίς ἑκάστης<br /> -χαρακτὴρ ὡς ἐπὶ τὸ πολύ, τῶν τε πρωτευσάντων ἐν αὐταῖς<br /> -μνησθῆναι καὶ δείγματα ἑκάστου παρασχεῖν, ὅταν δὲ ταῦτα<br /> -λάβῃ μοι τέλος, τότε κἀκεῖνα διευκρινῆσαι τὰ παρὰ τοῖς<br /> -πολλοῖς ἀπορούμενα, τί ποτ’ ἐστὶν ὃ ποιεῖ τὴν μὲν πεζὴν 5<br /> -λέξιν ὁμοίαν ποιήματι φαίνεσθαι μένουσαν ἐν τῷ τοῦ λόγου<br /> -σχήματι, τὴν δὲ ποιητικὴν φράσιν ἐμφερῆ τῷ πεζῷ λόγῳ<br /> -φυλάττουσαν τὴν ποιητικὴν σεμνότητα· σχεδὸν γὰρ οἱ<br /> -κράτιστα διαλεχθέντες ἢ ποιήσαντες ταῦτ’ ἔχουσιν ἐν τῇ<br /> -λέξει τἀγαθά. πειρατέον δὴ καὶ περὶ τούτων, ἃ φρονῶ, 10<br /> -λέγειν. ἄρξομαι δ’ ἀπὸ τοῦ πρώτου.<br /> -</p> - -<h3>XXI</h3> - -<p> -ἐγὼ τῆς συνθέσεως εἰδικὰς μὲν διαφορὰς πολλὰς σφόδρα<br /> -εἶναι τίθεμαι καὶ οὔτ’ εἰς σύνοψιν ἐλθεῖν δυναμένας οὔτ’ εἰς<br /> -λογισμὸν ἀκριβῆ, οἴομαί τε ἴδιον ἡμῶν ἑκάστῳ χαρακτῆρα<br /> -ὥσπερ ὄψεως, οὕτω καὶ συνθέσεως ὀνομάτων παρακολουθεῖν, 15<br /> -οὐ φαύλῳ παραδείγματι χρώμενος ζῳγραφίᾳ· ὥσπερ γὰρ ἐν<br /> -ἐκείνῃ τὰ αὐτὰ φάρμακα λαμβάνοντες ἅπαντες οἱ τὰ ζῷα<br /> -γράφοντες οὐδὲν ἐοικότα ποιοῦσιν ἀλλήλοις τὰ μίγματα, τὸν<br /> -αὐτὸν τρόπον ἐν ποιητικῇ τε διαλέκτῳ καὶ τῇ ἄλλῃ πάσῃ<br /> -τοῖς αὐτοῖς ὀνόμασι χρώμενοι πάντες οὐχ ὁμοίως αὐτὰ συντίθεμεν. 20<br /> -τὰς μέντοι γενικὰς αὐτῆς διαφορὰς ταύτας εἶναι<br /> -πείθομαι μόνας τὰς τρεῖς, αἷς ὁ βουλόμενος ὀνόματα θήσεται<br /> -τὰ οἰκεῖα, ἐπειδὰν τούς τε χαρακτῆρας αὐτῶν καὶ τὰς διαφορὰς<br /> -ἀκούσῃ. ἐγὼ μέντοι κυρίοις ὀνόμασιν οὐκ ἔχων αὐτὰς προσαγορεῦσαι<br /> -ὡς ἀκατονομάστους μεταφορικοῖς ὀνόμασι καλῶ τὴν<br /> -μὲν αὐστηράν, τὴν δὲ γλαφυράν [ἢ ἀνθηράν], τὴν δὲ τρίτην<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_209" id="Page_209">[209]</a></span></p> - -<p>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.</p> - - - -<h4>CHAPTER XXI<br /><br /> - -THREE MODES, OR STYLES, OF COMPOSITION</h4> - - -<p>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 <i>austere</i>, the second <i>smooth</i> (or <i>florid</i>), the third</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<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.</p> - -<p>7. Dionysius’ practice of variety in -his own style is shown by his use of -ἐμφερῆ here, as compared with ὁμοίαν in -l. 6.</p> - -<p>12. This and the following chapters -should be compared carefully with <i>de -Demosth.</i> cc. 36 ff.</p> - -<p>21. For Greek views as to types of -style in general (not simply ἁρμονίαι) -reference may be made to Demetr. pp. -28 ff.</p> - -<p>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.</p> - -<p>26. <b>ἢ ἀνθηράν</b>: cp. <b><a href="#Page_232">232</a></b> 25 (where P -again omits the second epithet) and <b><a href="#Page_248">248</a></b> -9 (with critical note).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_210" id="Page_210">[210-1]</a></span></p> - -<p> -εὔκρατον· ἣν ὅπως ποτὲ γίνεσθαι φαίην ἄν, ἔγωγε ἀπορῶ,<br /> -καὶ “δίχα μοι νόος ἀτρέκειαν εἰπεῖν,” εἴτε κατὰ στέρησιν<br /> -τῶν ἄκρων ἑκατέρας εἴτε κατὰ μῖξιν· οὐ γὰρ ῥᾴδιον<br /> -εἰκάσαι τὸ σαφές. μή ποτ’ οὖν κρεῖττον ᾖ λέγειν, ὅτι κατὰ<br /> -τὴν ἄνεσίν τε καὶ τὴν ἐπίτασιν τῶν ἐσχάτων ὅρων οἱ διὰ 5<br /> -μέσου γίνονται πολλοὶ πάνυ ὄντες· οὐ γὰρ ὥσπερ ἐν μουσικῇ<br /> -τὸ ἴσον ἀπέχει τῆς νήτης καὶ τῆς ὑπάτης ἡ μέση, τὸν αὐτὸν<br /> -τρόπον καὶ ἐν λόγοις ὁ μέσος χαρακτὴρ ἑκατέρου τῶν ἄκρων<br /> -ἴσον ἀφέστηκεν, ἀλλ’ ἔστι τῶν ἐν πλάτει θεωρουμένων ὡς<br /> -ἀγέλη τε καὶ σωρὸς καὶ ἄλλα πολλά. ἀλλὰ γὰρ οὐχ οὗτος 10<br /> -ὁ καιρὸς ἁρμόττων τῇ θεωρίᾳ ταύτῃ· λεκτέον δ’, ὥσπερ ὑπεθέμην,<br /> -καὶ περὶ τῶν χαρακτήρων οὐχ ἅπανθ’ ὅσ’ ἂν εἰπεῖν<br /> -ἔχοιμι (μακρῶν γὰρ ἄν μοι πάνυ δεήσειε λόγων), ἀλλ’ αὐτὰ<br /> -τὰ φανερώτατα.<br /> -</p> - -<h3>XXII</h3> - -<p> -τῆς μὲν οὖν αὐστηρᾶς ἁρμονίας τοιόσδε ὁ χαρακτήρ· 15<br /> -ἐρείδεσθαι βούλεται τὰ ὀνόματα ἀσφαλῶς καὶ στάσεις λαμβάνειν<br /> -ἰσχυράς, ὥστ’ ἐκ περιφανείας ἕκαστον ὄνομα ὁρᾶσθαι,<br /> -ἀπέχειν τε ἀπ’ ἀλλήλων τὰ μόρια διαστάσεις ἀξιολόγους<br /> -αἰσθητοῖς χρόνοις διειργόμενα· τραχείαις τε χρῆσθαι πολλαχῇ<br /> -καὶ ἀντιτύποις ταῖς συμβολαῖς οὐδὲν αὐτῇ διαφέρει, οἷαι 20<br /> -γίνονται τῶν λογάδην συντιθεμένων ἐν οἰκοδομίαις λίθων αἱ<br /> -μὴ εὐγώνιοι καὶ μὴ συνεξεσμέναι βάσεις, ἀργαὶ δέ τινες καὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_211" id="Page_211">[211]</a></span></p> - -<p><i>harmoniously blended</i>. How I am to say the third is formed I am -at a loss to know—“my mind is too divided to utter truth”<a name="FNanchor_173_173" id="FNanchor_173_173"></a><a href="#Footnote_173_173" class="fnanchor">[173]</a>: 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.</p> - - - -<h4>CHAPTER XXII<br /><br /> - -AUSTERE COMPOSITION</h4> - - -<p>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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. Here (and in <b><a href="#Page_246">246</a></b> 11) it is open to -question whether κοινήν does not fit the -context better than εὔκρατον.</p> - -<p>2. The passage of Pindar is quoted -in Cic. <i>Ep. ad Att.</i> 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.”</p> - -<p>3. <b>κατὰ μῖξιν</b>: sc. τῶν ἄκρων. —Cp. -<i>de Demosth.</i> c. 36 οἱ δὲ συνθέντες ἀφ’ -ἑκατέρας τὰ χρησιμώτατα τὴν μικτὴν καὶ -μέσην ἐζήλωσαν ἀγωγήν.</p> - -<p>4. <b>μή ποτ’ ... ᾖ</b>: a favourite Platonic -usage, e.g. <i>Gorgias</i> 462 <span class="smcap">E</span> μὴ ἀγροικότερον -ᾖ τὸ ἀληθὲς εἰπεῖν, <i>Apol.</i> 39 <span class="smcap">A</span> ἀλλὰ μὴ -οὐ τοῦτ’ ᾖ χαλεπόν, ὦ ἄνδρες, θάνατον -ἐκφυγεῖν, ἀλλὰ πολὺ χαλεπώτερον πονηρίαν.</p> - -<p>5. The intermediate, or eclectic, styles -are numerous and differ greatly according -as they relax or strain the extreme, or -pronounced, styles: cp. <i>de Demosth.</i> c. 37 -init.</p> - -<p>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.</p> - -<p>10. <b>σωρός</b>: cp. σωρείτης (Lat. <i>acervalis</i>, -Cic. <i>de Div.</i> ii. 4. 11), in the sense -which it bears in Hor. <i>Ep.</i> ii. 1. 45-47 -and Cic. <i>Academ.</i> ii. 16. 49.</p> - -<p>15. Batteux (p. 249) would illustrate -the austere style from Rousseau’s <i>Ode</i> -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 <i>C.V.</i> should be compared, -throughout, cc. 38, 39 of the <i>de Demosth.</i></p> - -<p>18. <b>ἀπέχειν τε</b> κτλ.: i.e. it (the austere -style) aims at dividing its clauses from -one another by appreciable pauses.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_212" id="Page_212">[212-3]</a></span></p> - -<p> -αὐτοσχέδιοι· μεγάλοις τε καὶ διαβεβηκόσιν εἰς πλάτος ὀνόμασιν<br /> -ὡς τὰ πολλὰ μηκύνεσθαι φιλεῖ· τὸ γὰρ εἰς βραχείας συλλαβὰς<br /> -συνάγεσθαι πολέμιον αὐτῇ, πλὴν εἴ ποτε ἀνάγκη βιάζοιτο.<br /> -<br /> -ἐν μὲν δὴ τοῖς ὀνόμασι ταῦτα πειρᾶται διώκειν καὶ<br /> -τούτων γλίχεται· ἐν δὲ τοῖς κώλοις ταῦτά τε ὁμοίως ἐπιτηδεύει 5<br /> -καὶ τοὺς ῥυθμοὺς τοὺς ἀξιωματικοὺς καὶ μεγαλοπρεπεῖς,<br /> -καὶ οὔτε πάρισα βούλεται τὰ κῶλα ἀλλήλοις εἶναι οὔτε<br /> -παρόμοια οὔτε ἀναγκαίᾳ δουλεύοντα ἀκολουθίᾳ, ἀλλ’ εὐγενῆ<br /> -καὶ λαμπρὰ καὶ ἐλεύθερα, φύσει τ’ ἐοικέναι μᾶλλον αὐτὰ<br /> -βούλεται ἢ τέχνῃ, καὶ κατὰ πάθος λέγεσθαι μᾶλλον ἢ κατ’ 10<br /> -ἦθος. περιόδους δὲ συντιθέναι συναπαρτιζούσας ἑαυταῖς τὸν<br /> -νοῦν τὰ πολλὰ μὲν οὐδὲ βούλεται· εἰ δέ ποτ’ αὐτομάτως ἐπὶ<br /> -τοῦτο κατενεχθείη, τὸ ἀνεπιτήδευτον ἐμφαίνειν θέλει καὶ<br /> -ἀφελές, οὔτε προσθήκαις τισὶν ὀνομάτων, ἵνα ὁ κύκλος<br /> -ἐκπληρωθῇ, μηδὲν ὠφελούσαις τὸν νοῦν χρωμένη, οὔτε ὅπως αἱ 15<br /> -βάσεις αὐτῶν γένοιντο θεατρικαί τινες ἢ γλαφυραί, σπουδὴν<br /> -ἔχουσα, οὐδ’ ἵνα τῷ πνεύματι τοῦ λέγοντος ὦσιν αὐτάρκεις<br /> -συμμετρουμένη μὰ Δία, οὐδ’ ἄλλην τινὰ [πραγματείαν] τοιαύτην<br /> -ἔχουσα ἐπιτήδευσιν οὐδεμίαν. ἔτι τῆς τοιαύτης ἐστὶν<br /> -ἁρμονίας καὶ ταῦτα ἴδια· ἀγχίστροφός ἐστι περὶ τὰς πτώσεις, 20<br /> -ποικίλη περὶ τοὺς σχηματισμούς, ὀλιγοσύνδεσμος, ἄναρθρος,<br /> -ἐν πολλοῖς ὑπεροπτικὴ τῆς ἀκολουθίας, ἥκιστ’ ἀνθηρά,<br /> -μεγαλόφρων, αὐθέκαστος, ἀκόμψευτος, τὸν ἀρχαϊσμὸν καὶ τὸν<br /> -πίνον ἔχουσα κάλλος.<br /> -<br /> -ταύτης δὲ τῆς ἁρμονίας πολλοὶ μὲν ἐγένοντο ζηλωταὶ κατά 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_213" id="Page_213">[213]</a></span></p> - -<p>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.</p> - -<p>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.</p> - -<p>This mode of composition was once zealously practised by</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>8. Perhaps ἀνάγκῃ δουλεύοντα, ἀνακόλουθα -δὲ καί: with ἐπὶ (‘in the case -of’) retained in l. 19.</p> - -<p>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.</p> - -<p>18. <b>μὰ Δία</b>: cp. (for the order) νὴ Δία -<b><a href="#Page_120">120</a></b> 9. μά is here used because of the -preceding negatives.</p> - -<p>22. <b>ἐν πολλοῖς ὑπεροπτική</b> κτλ.: in -other words, such a style delights in -anacolutha.</p> - -<p>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 <i>Cor</i> d’Alf. de Vigny:</p> - -<p> -Roncevaux! Roncevaux! dans ta sombre vallée<br /> -L’ombre du grand Roland n’est donc pas consolée!<br /> -</p> - -<p>Le son <i>on</i> y revient six fois, le son <i>an</i> -trois fois, le son <i>au</i> deux fois; ils sont -tous trois sourds et la rime en <i>ée</i> 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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_214" id="Page_214">[214-5]</a></span></p> - -<p> -τε ποίησιν καὶ ἱστορίαν καὶ λόγους πολιτικούς, διαφέροντες<br /> -δὲ τῶν ἄλλων ἐν μὲν ἐπικῇ ποιήσει ὅ τε Κολοφώνιος Ἀντίμαχος<br /> -καὶ Ἐμπεδοκλῆς ὁ φυσικός, ἐν δὲ μελοποιίᾳ Πίνδαρος,<br /> -ἐν τραγῳδίᾳ δ’ Αἰσχύλος, ἐν ἱστορίᾳ δὲ Θουκυδίδης, ἐν δὲ<br /> -πολιτικοῖς λόγοις Ἀντιφῶν. ἐνταῦθα ἡ μὲν ὑπόθεσις ἀπῄτει 5<br /> -πολλὰ παρασχέσθαι τῶν εἰρημένων ἑκάστου παραδείγματα,<br /> -καὶ ἴσως οὐκ ἀηδὴς ἂν ὁ λόγος ἐγένετο πολλοῖς ὥσπερ ἄνθεσι<br /> -διαποικιλλόμενος τοῖς ἐαρινοῖς· ἀλλ’ ὑπέρμετρον ἔμελλε φανήσεσθαι<br /> -τὸ σύνταγμα καὶ σχολικὸν μᾶλλον ἢ παραγγελματικόν·<br /> -οὐ μὲν δὴ οὐδ’ ἀνεξέλεγκτα παραλιπεῖν τὰ ῥηθέντα ἥρμοττεν, 10<br /> -ὡς δὴ φανερὰ καὶ οὐ δεόμενα μαρτυρίας· ἔδει δέ πως τὸ<br /> -μέτριον ἀμφοῖν λαβεῖν καὶ μήτε πλεονάσαι τοῦ καιροῦ μήτ’<br /> -ἐλλιπεῖν τῆς πίστεως. τοῦτο δὴ πειράσομαι ποιῆσαι δείγματα<br /> -λαβὼν ὀλίγα παρὰ τῶν ἐπιφανεστάτων ἀνδρῶν. ποιητῶν μὲν<br /> -οὖν Πίνδαρος ἀρκέσει παραληφθείς, συγγραφέων δὲ Θουκυδίδης· 15<br /> -κράτιστοι γὰρ οὗτοι ποιηταὶ τῆς αὐστηρᾶς ἁρμονίας. ἀρχέτω<br /> -δὲ Πίνδαρος, καὶ τούτου διθύραμβός τις οὗ ἐστιν ἡ ἀρχή·<br /> -</p> - -<p class="indent8"> -δεῦτ’ ἐν χορόν, Ὀλύμπιοι,<br /> -ἐπί τε κλυτὰν πέμπετε χάριν, θεοί,<br /> -πολύβατον οἵ τ’ ἄστεος ὀμφαλὸν θυόεντα 20<br /> -ἐν ταῖς ἱεραῖς Ἀθάναις<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_215" id="Page_215">[215]</a></span></p> - -<p>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—</p> - -<p class="indent8"> -Shed o’er our choir, Olympian Dominations,<br /> -<span class="marginleft3">The glory of your grace,</span><br /> -O ye who hallow with your visitations<br /> -<span class="marginleft3">The curious-carven place,</span><br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>2</sup>V: -ΐδετ’ P, M<sup>1</sup> || ἐν χορὸν EFV: ἐν σχορ(ὸν) P 19 πέμπεται P 20 οἵ -τ’] οἳ F || ἄστεως F (ἄστεος praestat idem <b><a href="#Page_222">222</a></b> 14) 21 ἀθήναις -libri: sed cf. n. crit. ad <b><a href="#Page_222">222</a></b> 14</p> - -<p>2. For <b>Antimachus of Colophon</b> cp. -<i>de Imitat.</i> 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.</p> - -<p>3. For <b>Empedocles</b> as being a physicist -rather than a poet see Aristot. <i>Poet.</i> 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.</p> - -<p>3, 4. The μεγαλοπρέπεια of <b>Pindar</b> is -emphasized in the <i>de Imitat.</i> B. vi. 2.—Similarly, -<i>ibid.</i>, as to <b>Aeschylus</b>: ὁ δ’ -οὖν Αἰσχύλος πρῶτος ὑψηλός τε καὶ τῆς -μεγαλοπρεπείας ἐχόμενος, κτλ.</p> - -<p>5. For other references to <b>Antiphon</b> -see <i>de Isaeo</i> c. 20, <i>de Thucyd.</i> c. 51, -<i>de Demosth.</i> c. 8, <i>Ep. i. ad Amm.</i> c. 2, -and <i>C.V.</i> 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 -<b>Thucydides</b> himself see D.H. -<i>passim</i> (especially pp. 30-34, 104 ff., -130 ff.).</p> - -<p>17. G. S. Farnell <i>Greek Lyric Poetry</i> -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.”</p> - -<p>18. <b>δεῦτ’ ἐν χορόν</b>, ‘come ye to the -dance.’ “ἐν <i>cum accus.</i> (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 <i>in</i>. 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. <i>ab-s</i>), which, before a vowel, became -εἰς, before a consonant, ἐς” (Weir Smyth -<i>Greek Melic Poets</i> p. 359). P’s curious -reading ἐν σχορ(ὸν) is to be noticed.</p> - -<p>20. <b>ὀμφαλόν</b>: the reference is to the -Athenian Acropolis, and the passage -suggested a fitting motto to Otto Jahn -for his <i>Pausaniae Descriptio Arcis -Athenarum</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_216" id="Page_216">[216-7]</a></span></p> - -<p class="indent8"> -οἰχνεῖτε πανδαίδαλόν τ’ εὐκλέ’ ἀγοράν,<br /> -ἰοδέτων λάχετε στεφάνων τᾶν τ’ ἐαριδρόπων ἀοιδᾶν·<br /> -Διόθεν τέ με σὺν ἀγλαΐᾳ<br /> -ἴδετε πορευθέντ’ ἀοιδᾶν δεύτερον<br /> -ἐπὶ τὸν κισσοδέταν θεόν, 5<br /> -τὸν Βρόμιον ἐριβόαν τε βροτοὶ καλέομεν,<br /> -γόνον ὑπάτων μὲν πατέρων μέλπομεν<br /> -γυναικῶν τε Καδμεϊᾶν [ἔμολον].<br /> -ἐναργέα τελέων σάματ’ οὐ λανθάνει,<br /> -φοινικοεάνων ὁπότ’ οἰχθέντος Ὡρᾶν θαλάμου 10<br /> -εὔοδμον ἐπάγῃσιν ἔαρ φυτὰ νεκτάρεα·<br /> -τότε βάλλεται, τότ’ ἐπ’ ἄμβροτον χέρσον ἐραταὶ<br /> -ἴων φόβαι, ῥόδα τε κόμαισι μίγνυται<br /> -ἀχεῖ τ’ ὀμφαὶ μελέων σὺν αὐλοῖς,<br /> -ἀχεῖ τε Σεμέλαν ἑλικάμπυκα χοροί. 15<br /> -</p> - -<p> -ταῦθ’ ὅτι μέν ἐστιν ἰσχυρὰ καὶ στιβαρὰ καὶ ἀξιωματικὰ καὶ<br /> -πολὺ τὸ αὐστηρὸν ἔχει τραχύνει τε ἀλύπως καὶ πικραίνει<br /> -μετρίως τὰς ἀκοὰς ἀναβέβληταί τε τοῖς χρόνοις καὶ διαβέβηκεν<br /> -ἐπὶ πολὺ ταῖς ἁρμονίαις καὶ οὐ τὸ θεατρικὸν δὴ<br /> -τοῦτο καὶ γλαφυρὸν ἐπιδείκνυται κάλλος ἀλλὰ τὸ ἀρχαϊκὸν 20<br /> -ἐκεῖνο καὶ αὐστηρόν, ἅπαντες ἂν εὖ οἶδ’ ὅτι μαρτυρήσειαν οἱ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_217" id="Page_217">[217]</a></span></p> - -<p class="indent8"> -The heart of Athens, steaming with oblations,<br /> -<span class="marginleft2">Wide-thronged with many a face.</span><br /> -Come, take your due of garlands violet-woven,<br /> -Of songs that burst forth when the buds are cloven.<br /> -<br /> -Look on me—linked with music’s heaven-born glamour<br /> -<span class="marginleft2">Again have I drawn nigh</span><br /> -The Ivy-wreathed, on earth named Lord of Clamour,<br /> -<span class="marginleft2">Of the soul-thrilling cry.</span><br /> -We hymn the Babe that of the Maid Kadmeian<br /> -Sprang to the Sire throned in the empyrean.<br /> -<br /> -By surest tokens is he manifested:—<br /> -<span class="marginleft2">What time the bridal bowers</span><br /> -Of Earth and Sun are by their crimson-vested<br /> -<span class="marginleft2">Warders flung wide, the Hours.</span><br /> -Then Spring, led on by flowers nectar-breathing,<br /> -<span class="marginleft2">O’er Earth the deathless flings</span><br /> -Violet and rose their love-locks interwreathing:<br /> -<span class="marginleft2">The voice of song outrings</span><br /> -An echo to the flutes; the dance his story<br /> -Echoes, and circlet-crowned Semele’s glory.<a name="FNanchor_174_174" id="FNanchor_174_174"></a><a href="#Footnote_174_174" class="fnanchor">[174]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>2 ιοδέτ(ων) P, MV: ἰαδέτων E: ὅδ’ ἐγὼν F || λαχετε P, EMV: λάχει F -(cp. <b><a href="#Page_224">224</a></b> 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</p> - -<p>2. λαχεῖν would be infinitive for imperative, -or (rather) infinitive of purpose -after a verb of motion (just as Boeckh, -in l. 7 <i>infra</i>, reads μελπέμεν).</p> - -<p>λοιβᾶν (λοιβάν PM) might be taken -to refer to honey, or to ‘drink-offerings -of spring-gathered herbs.’</p> - -<p>4. <b>δεύτερον</b>: “post Iovem patrem -<i>secundo loco</i> ad Bacchum filium,” Boeckh. -Or the reference may be to a previous -visit of Pindar to Athens.</p> - -<p>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. <i>Nub.</i> 311 (Weir Smyth).</p> - -<p>12. <b>βάλλεται ... ἀχεῖ ... ἀχεῖ</b>: <i>schema -Pindaricum.</i></p> - -<p>15. “Metre: paeonic-logaoedic as <i>Ol.</i> -10, <i>Pyth.</i> 5. Schmidt (<i>Eurythmie</i> 428) -regards the metre as logaoedic throughout. -The fragment belongs to the ἀπολελυμένα -μέλη, that is, it is not divided -into strophes,” Weir Smyth.</p> - -<p>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 (<b><a href="#Page_218">218</a></b> 1) is strictly ‘discourse’ -rather than ‘literature.’</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_218" id="Page_218">[218-9]</a></span></p> - -<p> -μετρίαν ἔχοντες αἴσθησιν περὶ λόγους. τίνι δὲ κατασκευασθέντα<br /> -ἐπιτηδεύσει τοιαῦτα γέγονεν (οὐ γὰρ ἄνευ γε τέχνης<br /> -καὶ λόγου τινός, αὐτοματισμῷ δὲ καὶ τύχῃ χρησάμενα τοῦτον<br /> -εἴληφε τὸν χαρακτῆρα), ἐγὼ πειράσομαι δεικνύναι.<br /> -<br /> -τὸ πρῶτον αὐτῷ κῶλον ἐκ τεττάρων σύγκειται λέξεως 5<br /> -μορίων, ῥήματος καὶ συνδέσμου καὶ δυεῖν προσηγορικῶν· τὸ<br /> -μὲν οὖν ῥῆμα καὶ ὁ σύνδεσμος συναλοιφῇ κερασθέντα οὐκ<br /> -ἀηδῆ πεποίηκε τὴν ἁρμονίαν· τὸ δὲ προσηγορικὸν τῷ συνδέσμῳ<br /> -συντιθέμενον ἀποτετράχυκεν ἀξιολόγως τὴν ἁρμογήν· τὸ γὰρ<br /> -<em class="gesperrt">ἐν χορὸν</em> καὶ ἀντίτυπον καὶ οὐκ εὐεπές, τοῦ μὲν συνδέσμου 10<br /> -λήγοντος εἰς ἡμίφωνον στοιχεῖον τὸ ν̄, τοῦ δὲ προσηγορικοῦ<br /> -τὴν ἀρχὴν λαμβάνοντος ἀφ’ ἑνὸς τῶν ἀφώνων τοῦ χ̄· ἀσύμμικτα<br /> -δὲ τῇ φύσει ταῦτα τὰ στοιχεῖα καὶ ἀκόλλητα· οὐ γὰρ<br /> -πέφυκε κατὰ μίαν συλλαβὴν τοῦ χ̄ προτάττεσθαι τὸ ν̄,<br /> -ὥστε οὐδὲ συλλαβῶν ὅρια γινόμενα συνάπτει τὸν ἦχον, ἀλλ’ 15<br /> -ἀνάγκη σιωπήν τινα γενέσθαι μέσην ἀμφοῖν τὴν διορίζουσαν<br /> -ἑκατέρου τῶν γραμμάτων τὰς δυνάμεις. τὸ μὲν δὴ πρῶτον<br /> -κῶλον οὕτω τραχύνεται τῇ συνθέσει. κῶλα δέ με δέξαι<br /> -λέγειν οὐχ οἷς Ἀριστοφάνης ἢ τῶν ἄλλων τις μετρικῶν<br /> -διεκόσμησε τὰς ᾠδάς, ἀλλ’ οἷς ἡ φύσις ἀξιοῖ διαιρεῖν τὸν 20<br /> -λόγον καὶ ῥητόρων παῖδες τὰς περιόδους διαιροῦσι.<br /> -<br /> -τὸ δὲ τούτῳ παρακείμενον κῶλον τὸ “<em class="gesperrt">ἐπί τε κλυτὰν<br /> -πέμπετε χάριν θεοί</em>” διαβέβηκεν ἀπὸ τοῦ προτέρου διάβασιν<br /> -ἀξιόλογον καὶ περιείληφεν ἐν αὑτῷ πολλὰς ἁρμονίας ἀντιτύπους.<br /> -ἄρχει μὲν γὰρ αὐτοῦ στοιχεῖον ἓν τῶν φωνηέντων τὸ 25<br /> -ε̄ καὶ παράκειται ἑτέρῳ φωνήεντι τῷ ῑ· εἰς τοῦτο γὰρ ἔληγε<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_219" id="Page_219">[219]</a></span></p> - -<p>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.</p> - -<p>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.)</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>: 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</p> - -<p>5. <b>αὐτῷ</b>: sc. in this author, or in this -passage. Cp. <b><a href="#Page_168">168</a></b> 1, <b><a href="#Page_230">230</a></b> 29.</p> - -<p>13. Dionysius’ general object is to -show that there is a kind of intentional -discord or clash in Pindar’s dithyramb.</p> - -<p>17. ‘If each of the letters is uttered -with its proper quality,’ viz. if we say ἐν -χορόν and not ἐγ χορόν.</p> - -<p>19. <b>Ἀριστοφάνης</b>: not, of course, the -comic poet of Athens, but the grammarian -of Byzantium.—From this passage, -and from <b><a href="#Page_278">278</a></b> 5 <i>infra</i>, it would -appear that Aristophanes divided the -text of Pindar and other lyric poets -into metrical <i>cola</i>. Such <i>cola</i> are found -in the recently-discovered Bacchylides -papyrus (written probably in Dionysius’ -own century—the first century <span class="smallerfont">B.C.</span>), -which is also the earliest manuscript in -which accents are used.</p> - -<p>21. <b>ῥητόρων παῖδες</b>: cp. <b><a href="#Page_266">266</a></b> 8 ζωγράφων -τε καὶ τορευτῶν παισίν, ‘the -generation of painters and sculptors.’ -So ζωγράφων παῖδες Plato <i>Legg.</i> 769 <span class="smcap">B</span>, -παῖδες ῥητόρων Luc. <i>Anach.</i> 19. The -term will include pupils or apprentices, -as well as sons: cp. Plato <i>Rep.</i> v. 467 <span class="smcap">A</span> -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 <b><a href="#Page_194">194</a></b> 20 <i>supra</i>).</p> - -<p>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 <i>ea</i> in -<i>each</i>, <i>great</i> 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 <b><a href="#Page_230">230</a></b> 19 <i>infra.</i>]</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_220" id="Page_220">[220-1]</a></span></p> - -<p> -τὸ πρὸ αὐτοῦ. οὐ συναλείφεται δὲ οὐδὲ ταῦτ’ ἀλλήλοις, οὐδὲ<br /> -προτάττεται κατὰ μίαν συλλαβὴν τὸ ῑ τοῦ ε̄· σιωπὴ δέ τις<br /> -μεταξὺ ἀμφοῖν γίνεται, διερείδουσα τῶν μορίων ἑκάτερον καὶ<br /> -τὴν βάσιν αὐτοῖς ἀποδιδοῦσα ἀσφαλῆ. ἐν δὲ τῇ κατὰ μέρος<br /> -συνθέσει τοῦ κώλου τοῖς μὲν <em class="gesperrt">ἐπί τε</em> συνδέσμοις ἀφ’ ὧν 5<br /> -ἄρχεται τὸ κῶλον, εἴτε ἄρα πρόθεσιν αὐτῶν δεῖ τὸ ἡγούμενον<br /> -καλεῖν, τὸ προσηγορικὸν ἐπικείμενον μόριον τὸ <em class="gesperrt">κλυτὰν</em><br /> -ἀντίτυπον πεποίηκε καὶ τραχεῖαν τὴν σύνθεσιν· κατὰ τί<br /> -ποτε; ὅτι βούλεται μὲν εἶναι βραχεῖα ἡ πρώτη συλλαβὴ<br /> -τοῦ <em class="gesperrt">κλυτάν</em>, μακροτέρα δ’ ἐστὶ τῆς βραχείας ἐξ ἀφώνου τε 10<br /> -καὶ ἡμιφώνου καὶ φωνήεντος συνεστῶσα. τὸ δὲ μὴ εἰλικρινῶς<br /> -αὐτῆς βραχὺ καὶ ἅμα τὸ ἐν τῇ κράσει τῶν γραμμάτων<br /> -δυσεκφόρητον ἀναβολήν τε ποιεῖ καὶ ἐγκοπὴν τῆς ἁρμονίας.<br /> -εἰ γοῦν τὸ κ̄ τις ἀφέλοι τῆς συλλαβῆς καὶ ποιήσειεν <em class="gesperrt">ἐπί<br /> -τε λυτάν</em>, λυθήσεται καὶ τὸ βραδὺ καὶ τὸ τραχὺ τῆς 15<br /> -ἁρμονίας. πάλιν τῷ <em class="gesperrt">κλυτὰν</em> προσηγορικῷ τὸ <em class="gesperrt">πέμπετε</em><br /> -ῥηματικὸν ἐπικείμενον οὐκ ἔχει συνῳδὸν οὐδ’ εὐκέραστον τὸν<br /> -ἦχον, ἀλλ’ ἀνάγκη στηριχθῆναι τὸ ν̄ καὶ πιεσθέντος ἱκανῶς<br /> -τοῦ στόματος τότε ἀκουστὸν γενέσθαι τὸ π̄· οὐ γὰρ ὑποτακτικὸν<br /> -τῷ ν̄ τὸ π̄. τούτου δ’ αἴτιον ὁ τοῦ στόματος 20<br /> -σχηματισμὸς οὔτε κατὰ τὸν αὐτὸν τόπον οὔτε τῷ αὐτῷ<br /> -τρόπῳ τῶν γραμμάτων ἐκφέρων ἑκάτερον· τοῦ μὲν γὰρ ν̄<br /> -περὶ τὸν οὐρανὸν γίνεται ὁ ἦχος καὶ τῆς γλώττης ἄκροις<br /> -τοῖς ὀδοῦσι προσανισταμένης καὶ τοῦ πνεύματος διὰ τῶν<br /> -ῥωθώνων μεριζομένου, τοῦ δὲ π̄ μύσαντός τε τοῦ στόματος 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_221" id="Page_221">[221]</a></span></p> - -<p>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 <i>preposition</i>) 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>15. <b>λυτάν</b>, <b>λυθήσεται</b>: possibly an intentional -play on words.</p> - -<p>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.’</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_222" id="Page_222">[222-3]</a></span></p> - -<p> -καὶ οὐδὲν τῆς γλώττης συνεργούσης τοῦ τε πνεύματος κατὰ<br /> -τὴν ἄνοιξιν τῶν χειλῶν τὸν ψόφον λαμβάνοντος ἀθροῦν, ὡς<br /> -καὶ πρότερον εἴρηταί μοι· ἐν δὲ τῷ μεταλαμβάνειν τὸ στόμα<br /> -σχηματισμὸν ἕτερον ἐξ ἑτέρου μήτε συγγενῆ μήτε παρόμοιον<br /> -ἐμπεριλαμβάνεταί τις χρόνος, ἐν ᾧ διίσταται τὸ λεῖόν τε 5<br /> -καὶ εὐεπὲς τῆς ἁρμονίας. καὶ ἅμα οὐδ’ ἡ προηγουμένη τοῦ<br /> -<em class="gesperrt">πέμπετε</em> συλλαβὴ μαλακὸν ἔχει τὸν ἦχον ἀλλ’ ὑποτραχύνει<br /> -τὴν ἀκοὴν ἀρχομένη τε ἐξ ἀφώνου καὶ λήγουσα εἰς ἡμίφωνον.<br /> -τῷ τε <em class="gesperrt">χάριν</em> τὸ <em class="gesperrt">θεοὶ</em> παρακείμενον ἀνακόπτει τὸν ἦχον καὶ<br /> -ποιεῖ διερεισμὸν ἀξιόλογον τῶν μορίων, τοῦ μὲν εἰς ἡμίφωνον 10<br /> -λήγοντος τὸ ν̄, τοῦ δὲ ἄφωνον ἔχοντος ἡγούμενον τὸ θ̄·<br /> -οὐδενὸς δὲ πέφυκε προτάττεσθαι τῶν ἀφώνων τὰ ἡμίφωνα.<br /> -<br /> -τούτοις ἐπιφέρεται τρίτον κῶλον τουτί “<em class="gesperrt">πολύβατον οἵ<br /> -τ’ ἄστεος ὀμφαλὸν θυόεντα ἐν ταῖς ἱεραῖς Ἀθάναις<br /> -οἰχνεῖτε</em>.” ἐνταῦθα τῷ τε <em class="gesperrt">ὀμφαλὸν</em> εἰς τὸ ν̄ λήγοντι τὸ 15<br /> -<em class="gesperrt">θυόεντα</em> παρακείμενον ἀπὸ τοῦ θ̄ ἀρχόμενον ὁμοίαν ἀποδίδωσιν<br /> -ἀντιτυπίαν τῇ πρότερον, καὶ τῷ <em class="gesperrt">θυόεντα</em> εἰς φωνῆεν<br /> -τὸ ᾱ λήγοντι ζευγνύμενον τὸ “<em class="gesperrt">ἐν ταῖς ἱεραῖς</em>” ἀπὸ<br /> -φωνήεντος τοῦ ε̄ λαμβάνον τὴν ἀρχὴν διέσπακε τῷ μεταξὺ<br /> -χρόνῳ τὸν ἦχον οὐκ ὄντι ὀλίγῳ. τούτοις ἐκεῖνα ἕπεται 20<br /> -“<em class="gesperrt">πανδαίδαλόν τ’ εὐκλέ’ ἀγοράν</em>”· τραχεῖα κἀνταῦθα καὶ<br /> -ἀντίτυπος ἡ συζυγία· ἡμιφώνῳ γὰρ ἄφωνον συνάπτεται τῷ<br /> -ν̄ τὸ τ̄ καὶ διαβέβηκεν ἀξιόλογον διάβασιν ὁ μεταξὺ τοῦ τε<br /> -προσηγορικοῦ τοῦ <em class="gesperrt">πανδαίδαλον</em> καὶ τῆς συναλοιφῆς τῆς<br /> -συναπτομένης αὐτῷ χρόνος· μακραὶ μὲν γὰρ ἀμφότεραι, 25<br /> -μείζων δὲ οὐκ ὀλίγῳ τῆς μετρίας ἡ συναλείφουσα τὰ δύο<br /> -συλλαβή, ἐξ ἀφώνου τε καὶ δυεῖν συνεστῶσα φωνηέντων· εἰ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_223" id="Page_223">[223]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>: διάστασιν PVM<sup>2</sup> 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</p> - -<p>2. <b>ὡς καὶ πρότερον εἴρηταί μοι</b>: the -passages which seem to be meant (<b><a href="#Page_144">144</a></b> 22 -and <b><a href="#Page_148">148</a></b> 15) do not exactly tally with the -present one.</p> - -<p>12. We must supply κατὰ μίαν συλλαβήν, -which words are found in <b><a href="#Page_218">218</a></b> 14 -and <b><a href="#Page_220">220</a></b> 2 (cp. <b><a href="#Page_230">230</a></b> 4): otherwise we -are confronted with such examples to -the contrary as ἔνθα and (in this immediate -context) μεταλαμβάνειν, ἀρχόμενον, etc.</p> - -<p>21. <b>τ’ εὐ-</b> are treated as one syllable. -So in <b><a href="#Page_218">218</a></b> 22, Dionysius probably intends -us to divide as follows:</p> - -<div class="wspw indent8"> -ᴗ ᴗ – -ἐπιτε|κλυτάν, -</div> - -<p>etc.</p> - -<p>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. <a href="#Page_12">12</a> <i>supra</i>.</p> - -<p>24. <b>τῆς συναλοιφῆς</b>: the fused or -blended syllable—τ’ εὐ-.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_224" id="Page_224">[224-5]</a></span></p> - -<p> -γοῦν τις αὐτῆς ἀφέλοι τὸ τ̄ καὶ ποιήσειε <em class="gesperrt">πανδαίδαλον<br /> -εὐκλέ’ ἀγοράν</em>, εἰς τὸ δίκαιον ἐλθοῦσα μέτρον εὐεπεστέραν<br /> -ποιήσει τὴν ἁρμονίαν.<br /> -<br /> -ὅμοια τούτοις ἐστὶ κἀκεῖνα “<em class="gesperrt">ἰοδέτων λάχετε στεφάνων</em>.”<br /> -παράκειται γὰρ ἡμίφωνα δύο ἀλλήλοις τὸ ν̄ καὶ τὸ λ̄, φυσικὴν 5<br /> -οὐκ ἔχοντα συζυγίαν τῷ μήτε κατὰ τοὺς αὐτοὺς ‹τόπους μήτε<br /> -καθ’› ὁμοίους σχηματισμοὺς τοῦ στόματος ἐκφέρεσθαι. καὶ τὰ<br /> -ἐπὶ τούτοις λεγόμενα μηκύνεταί τε ταῖς συλλαβαῖς καὶ διέστηκε<br /> -ταῖς ἁρμονίαις ἐπὶ πολύ “<em class="gesperrt">στεφάνων τᾶν τ’ ἐαριδρόπων</em>”·<br /> -μακραὶ γὰρ καὶ δεῦρο συγκρούονται συλλαβαὶ τὸ δίκαιον 10<br /> -ὑπεραίρουσαι μέτρον, ἥ τε λήγουσα τοῦ <em class="gesperrt">στεφάνων</em> μορίου δυσὶ<br /> -περιλαμβάνουσα ἡμιφώνοις φωνῆεν γράμμα φύσει μακρὸν καὶ<br /> -ἡ συναπτομένη ταύτῃ τρισὶ μηκυνομένη γράμμασιν ἀφώνῳ καὶ<br /> -φωνήεντι μακρῶς λεγομένῳ καὶ ἡμιφώνῳ· διερεισμός τε οὖν<br /> -γέγονε τοῖς μήκεσι τῶν συλλαβῶν, καὶ ἀντιτυπία τῇ παραθέσει 15<br /> -τῶν γραμμάτων, οὐκ ἔχοντος τοῦ τ̄ συνῳδὸν τῷ ν̄ τὸν ἦχον,<br /> -ὃ καὶ πρότερον εἴρηκα. παράκειται δὲ καὶ τῷ <em class="gesperrt">ἀοιδᾶν</em> εἰς τὸ<br /> -ν̄ λήγοντι ἀπὸ τοῦ δ̄ ἀρχόμενον ἀφώνου τὸ <em class="gesperrt">Διόθεν</em> τε καὶ<br /> -τῷ <em class="gesperrt">σὺν ἀγλαΐᾳ</em> εἰς τὸ ῑ λήγοντι τὸ <em class="gesperrt">ἴδετε πορευθέντ’<br /> -ἀοιδᾶν</em> ἀρχόμενον ἀπὸ τοῦ ῑ. πολλά τις ἂν εὕροι τοιαῦτα 20<br /> -ὅλην τὴν ᾠδὴν σκοπῶν.<br /> -<br /> -ἵνα δὲ καὶ περὶ τῶν λοιπῶν εἰπεῖν ἐγγένηταί μοι,<br /> -Πινδάρου μὲν ἅλις ἔστω, Θουκυδίδου δὲ λαμβανέσθω λέξις ἡ<br /> -ἐκ τοῦ προοιμίου ἥδε·<br /> -</p> - -<p class="indent8"> -Θουκυδίδης Ἀθηναῖος ξυνέγραψε τὸν πόλεμον τῶν 25<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_225" id="Page_225">[225]</a></span></p> - -<p>be removed and πανδαίδαλον εὐκλέ’ ἀγοράν be read, the syllable, -falling into the normal measure, will make the composition more -euphonious.</p> - -<p>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.</p> - -<p>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:—</p> - -<p class="indent8">“Thucydides, an Athenian, composed this history of the war</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἀφέλοι Us. (coll. <b><a href="#Page_220">220</a></b> 14): ἀφέλοιτο libri 2 εὐπετεστέραν -PM<sup>1</sup>V: εὐεπεστέραν M<sup>2</sup>: 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<sup>2</sup>: μηκυνθεῖσα PM<sup>1</sup>V 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</p> - -<p>1. <b>ποιήσειε ... ποιήσει</b>: cp. <b><a href="#Page_220">220</a></b> 14, -<b><a href="#Page_256">256</a></b> 23.</p> - -<p>6. If Usener’s supplement be not -accepted, we might read τῷ μηδὲ κατὰ -τοὺς ὁμοίους σχηματισμούς, κτλ.</p> - -<p>10. <b>δεῦρο συγκρούονται</b>, ‘meet here -with a clash,’ as it were.</p> - -<p>17. <b>παράκειται</b> 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 <i>and</i> (where the <i>d</i> -is often slurred in pronunciation) and, -on the other hand, English <i>sound</i> (where -the <i>d</i> is not original).</p> - -<p>19. The ι at the end of <b>ἀγλαΐᾳ</b> 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 <i>e</i> 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).</p> - -<p>22. <b>ἐγγένηταί μοι</b>: cp. <i>de Lysia</i> c. 16 -ἵνα δὲ καὶ περὶ τῶν ἰδεῶν ἐγγένηταί μοι -τὰ προσήκοντα εἰπεῖν, κτλ.</p> - -<p>23. Bircovius compares, with the -following passage of Thucydides, the -opening of Sallust’s <i>Bell. Iug.</i> 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.”</p> - -<p>24. <b>τοῦ προοιμίου</b>: probably the first -twenty-three chapters are meant—as -far as the word Ἐπίδαμνός ἐστι πόλις -κτλ.</p> - -<p>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 -(<i>Considerations touching a War with -Spain</i> iii. 516, in <i>Harleian Miscellany</i> -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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_226" id="Page_226">[226-7]</a></span></p> - -<p class="indent8"> -Πελοποννησίων καὶ Ἀθηναίων ὡς ἐπολέμησαν πρὸς ἀλλήλους,<br /> -ἀρξάμενος εὐθὺς καθισταμένου καὶ ἐλπίσας μέγαν<br /> -τε ἔσεσθαι καὶ ἀξιολογώτατον τῶν προγεγενημένων,<br /> -τεκμαιρόμενος ὅτι ἀκμάζοντές τε ᾖσαν ἐς αὐτὸν ἀμφότεροι<br /> -παρασκευῇ τῇ πάσῃ, καὶ τὸ ἄλλο Ἑλληνικὸν ὁρῶν 5<br /> -ξυνιστάμενον πρὸς ἑκατέρους, τὸ μὲν εὐθύς, τὸ δὲ καὶ<br /> -διανοούμενον. κίνησις γὰρ αὕτη μεγίστη δὴ τοῖς Ἕλλησιν<br /> -ἐγένετο καὶ μέρει τινὶ τῶν βαρβάρων, ὡς δ’ εἰπεῖν καὶ<br /> -ἐπὶ πλεῖστον ἀνθρώπων. τὰ γὰρ πρὸ αὐτῶν καὶ τὰ ἔτι<br /> -παλαιότερα σαφῶς μὲν εὑρεῖν διὰ χρόνου πλῆθος ἀδύνατα 10<br /> -ἦν· ἐκ δὲ τεκμηρίων, ὧν ἐπὶ μακρότατον σκοποῦντί μοι<br /> -πιστεῦσαι ξυμβαίνει, οὐ μεγάλα νομίζω γενέσθαι οὔτε<br /> -κατὰ τοὺς πολέμους οὔτε ἐς τὰ ἄλλα. φαίνεται γὰρ ἡ<br /> -νῦν Ἑλλὰς καλουμένη οὐ πάλαι βεβαίως οἰκουμένη, ἀλλὰ<br /> -μεταναστάσεις τε οὖσαι τὰ πρότερα καὶ ῥᾳδίως ἕκαστοι 15<br /> -τὴν ἑαυτῶν ἀπολείποντες βιαζόμενοι ὑπό τινων ἀεὶ<br /> -πλειόνων. τῆς γὰρ ἐμπορίας οὐκ οὔσης οὐδ’ ἐπιμιγνύντες<br /> -ἀδεῶς ἀλλήλοις οὔτε κατὰ γῆν οὔτε διὰ θαλάσσης,<br /> -νεμόμενοί τε τὰ ἑαυτῶν ἕκαστοι ὅσον ἀποζῆν καὶ περιουσίαν<br /> -χρημάτων οὐκ ἔχοντες οὐδὲ γῆν φυτεύοντες, ἄδηλον 20<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_227" id="Page_227">[227]</a></span></p> - -<p class="indent8">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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 καὶ] τε καὶ P 4 τε om. EF || ἦσαν libri: sed apud Thucydidem lectio -potior ᾖσαν [“ᾖσαν F g Schol. Plat. <i>Rep.</i> 449 <span class="smcap">A</span> 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</p> - -<p>4. <b>ᾖσαν</b>: cp. schol. ad Thucyd. i. 1 -ᾖσαν] μετὰ σπουδῆς ἐπορεύοντο.</p> - -<p>9. <b>τά</b> (before ἔτι) is omitted by the -Palatine and the Ambrosian <span class="smcap">MSS.</span> in -<i>de Thucyd.</i> c. 20.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_228" id="Page_228">[228-9]</a></span></p> - -<p class="indent8"> -ὂν ὁπότε τις ἐπελθὼν καὶ ἀτειχίστων ἅμα ὄντων ἄλλος<br /> -ἀφαιρήσεται, τῆς τε καθ’ ἡμέραν ἀναγκαίου τροφῆς πανταχοῦ<br /> -ἂν ἡγούμενοι ἐπικρατεῖν οὐ χαλεπῶς ἀνίσταντο.<br /> -</p> - -<p> -αὕτη ἡ λέξις ὅτι μὲν οὐκ ἔχει λείας οὐδὲ συνεξεσμένας<br /> -ἀκριβῶς τὰς ἁρμονίας οὐδ’ ἔστιν εὐεπὴς καὶ μαλακὴ καὶ 5<br /> -λεληθότως ὀλισθάνουσα διὰ τῆς ἀκοῆς ἀλλὰ πολὺ τὸ ἀντίτυπον<br /> -καὶ τραχὺ καὶ στρυφνὸν ἐμφαίνει, καὶ ὅτι πανηγυρικῆς<br /> -μὲν ἢ θεατρικῆς οὐδὲ κατὰ μικρὸν ἐφάπτεται χάριτος, ἀρχαϊκὸν<br /> -δέ τι καὶ αὔθαδες ἐπιδείκνυται κάλλος, ὡς πρὸς εἰδότας<br /> -ὁμοίως τοὺς εὐπαιδεύτους ἅπαντας οὐδὲν δέομαι λέγειν, ἄλλως 10<br /> -τε καὶ αὐτοῦ τοῦτό γε τοῦ συγγραφέως ὁμολογήσαντος, ὅτι<br /> -εἰς μὲν ἀκρόασιν ἧττον ἐπιτερπὴς ἡ γραφή ἐστι, “<em class="gesperrt">κτῆμα δ’<br /> -εἰσαεὶ μᾶλλον ἢ ἀγώνισμα εἰς τὸ παραυτίκα ἀκούειν<br /> -σύγκειται</em>.” τίνα δ’ ἐστὶ τὰ θεωρήματα οἷς χρησάμενος ὁ<br /> -ἀνὴρ οὕτως ἀπηνῆ καὶ αὐστηρὰν πεποίηκε τὴν ἁρμονίαν, δι’ 15<br /> -ὀλίγων σοι σημανῶ· ῥᾴδιον γὰρ ἔσται μικρὰ μεγάλων εἶναι<br /> -δείγματα τοῖς μὴ χαλεπῶς ἐπὶ τὴν τοῦ ὁμοίου τε καὶ ἀκολούθου<br /> -μεταβαίνουσιν θεωρίαν.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_229" id="Page_229">[229]</a></span></p> - -<p class="indent8">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.”<a name="FNanchor_175_175" id="FNanchor_175_175"></a><a href="#Footnote_175_175" class="fnanchor">[175]</a></p> - -<p>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.”<a name="FNanchor_176_176" id="FNanchor_176_176"></a><a href="#Footnote_176_176" class="fnanchor">[176]</a> 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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup> 16 σοι σημανῶ PM: σημανῶ EFV || ῥᾴδιον -Us.: ῥαιδία F: ῥαῖον P, MV || ἐσται F: ἐστι PMV 18 μεταβαίνουσαι F: -μεταβαίνουσι MV</p> - -<p>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 <i>Ep. -ii. ad Amm.</i>, together with notes and -some references to Marcellinus); Croiset -<i>Thucydide: Livres i.-ii.</i> pp. 102 ff. and -<i>Histoire de la littérature grecque</i> iv. -pp. 155 ff.; Girard <i>Essai sur Thucydide</i> -pp. 210-19; Blass <i>Att. Bereds.</i> i. pp. -203-44; Norden <i>Kunstprosa</i> i. pp. 96-101; -Jebb in <i>Hellenica</i> pp. 306 ff.</p> - -<p>4. This long sentence (Il. 4-14) is, -itself, a good example of Greek word-order -and the lucidity possible to it.</p> - -<p>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 <i>Oraison -funèbre de Henriette Anne d’ Angleterre, -duchesse d’Orléans</i>), 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. <i>Malgré ce grand cœur</i> est dur. -<i>Cette princesse si</i> est sifflant: <i>si admirée -et si</i>; choc de voyelles. <i>La voilà telle -que la mort nous l’a faite</i>: mots jetés -plutôt que placés. <i>Encore ce reste tel -quel va-t-il dis</i>: pointes de rochers. <i>De -cette triste décoration</i> n’est guère plus -doux. Et ces trois monosyllables brefs -et rocailleux, <i>comme parle Job</i>, etc.</p> - -<p>9. <b>αὔθαδες ... κάλλος</b>: this happy -description of Thucydides’ style shows -that Dionysius saw in style a mirror of -the man (cp. ἀνδρὸς χαρακτὴρ ἐκ λόγου -γνωρίζεται, Menand. <i>Fragm.</i> 72, and -Dionys. H. <i>Antiqq. Rom.</i> 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. <b><a href="#Page_120">120</a></b> 8, -9) mean ‘but such beauty as it (Thucydides’ -style) displays is archaic and -perverse.’</p> - -<p>12. These well-known words of Thucydides -(i. 22. 4) are quoted also in <i>de -Thucyd.</i> c. 7.—A scholium on Thucyd. -(<i>l.c.</i>) 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 -<i>de conscribenda historica</i> 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 <i>Ep.</i> v. 8 “nam plurimum -refert, ut Thucydides ait, κτῆμα -sit an ἀγώνισμα: quorum alterum oratio, -alterum historia est.”</p> - -<p>13. <b>εἰσαεί</b>: 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.</p> - -<p>14. <b>ὁ ἀνὴρ</b> (<i>divisim</i>) should probably -be read: cp. <b><a href="#Page_230">230</a></b> 23.</p> - -<p>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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_230" id="Page_230">[230-1]</a></span></p> - -<p> -αὐτίκα ἐν ἀρχῇ τῷ <em class="gesperrt">Ἀθηναῖος</em> προσηγορικῷ τὸ <em class="gesperrt">ξυνέγραψε</em><br /> -ῥῆμα ἐφαρμοττόμενον διίστησιν ἀξιολόγως τὴν ἁρμονίαν·<br /> -οὐ γὰρ προτάττεται τὸ σ̄ τοῦ ξ̄ κατὰ συνεκφορὰν<br /> -τὴν ἐν μιᾷ συλλαβῇ γινομένην· δεῖ δὲ τοῦ σ̄ σιωπῇ καταληφθέντος<br /> -τότε ἀκουστὸν γενέσθαι τὸ ξ̄. τοῦτο δὲ τραχύτητα 5<br /> -ἐργάζεται καὶ ἀντιτυπίαν τὸ πάθος. ἔπειθ’ αἱ μετὰ τοῦτο<br /> -γινόμεναι συγκοπαὶ τῶν ἤχων, τοῦ τε ν̄ ‹καὶ τοῦ π̄› καὶ τοῦ<br /> -τ̄ καὶ τοῦ π̄ καὶ τοῦ κ̄ τετράκις ἑξῆς ἀλλήλοις παρακειμένων,<br /> -χαράττουσιν εὖ μάλα τὴν ἀκοὴν καὶ διασαλεύουσιν ἀξιολόγως<br /> -τὰς ἁρμονίας, ὅταν φῇ “<em class="gesperrt">τὸν πόλεμον τῶν Πελοποννησίων 10<br /> -καὶ Ἀθηναίων</em>”· τούτων γὰρ τῶν μορίων τῆς λέξεως οὐδὲν<br /> -ὅ τι οὐ καταληφθῆναί τε δεῖ καὶ πιεσθῆναι πρότερον ὑπὸ<br /> -τοῦ στόματος περὶ τὸ τελευταῖον γράμμα, ἵνα τὸ συναπτόμενον<br /> -αὐτῷ τρανὴν καὶ καθαρὰν τὴν ἑαυτοῦ λάβῃ δύναμιν.<br /> -ἔτι πρὸς τούτοις ἡ τῶν φωνηέντων παράθεσις ἡ κατὰ τὴν 15<br /> -τελευταίαν τοῦ κώλου τοῦδε γενομένη ἐν τῷ <em class="gesperrt">καὶ Ἀθηναίων</em><br /> -διακέκρουκε τὸ συνεχὲς τῆς ἁρμονίας καὶ διέστακεν πάνυ<br /> -αἰσθητὸν τὸν μεταξὺ λαβοῦσα χρόνον· ἀκέραστοι γὰρ αἱ<br /> -φωναὶ τοῦ τε ῑ καὶ τοῦ ᾱ καὶ ἀποκόπτουσαι τὸν ἦχον· τὸ<br /> -δ’ εὐεπὲς οἱ συνεχεῖς τε καὶ οἱ συλλεαινόμενοι ποιοῦσιν ἦχοι. 20<br /> -<br /> -καὶ αὖθις ἐν τῇ δευτέρᾳ περιόδῳ τὸ προηγούμενον κῶλον<br /> -τουτί “<em class="gesperrt">ἀρξάμενος εὐθὺς καθισταμένου</em>” μετρίως ἁρμόσας<br /> -ὁ ἀνὴρ ὡς ἂν εὔφωνόν τε μάλιστα φαίνοιτο καὶ μαλακόν, τὸ<br /> -μετὰ τοῦτο πάλιν ἀποτραχύνει καὶ διασπᾷ τοῖς διαχαλάσμασι<br /> -τῶν ἁρμονιῶν· “<em class="gesperrt">καὶ ἐλπίσας μέγαν τε ἔσεσθαι καὶ 25<br /> -ἀξιολογώτατον τῶν προγεγενημένων</em>.” τρὶς γὰρ ἀλλήλοις<br /> -ἑξῆς οὐ διὰ μακροῦ παράκειται τὰ φωνήεντα συγκρούσεις<br /> -ἐργαζόμενα καὶ ἀνακοπὰς καὶ οὐκ ἐῶντα τὴν ἀκρόασιν ἑνὸς<br /> -κώλου συνεχοῦς λαβεῖν φαντασίαν· ἥ τε περίοδος αὐτῷ<br /> -λήγουσα εἰς τὸ “<em class="gesperrt">τῶν προγεγενημένων</em>” οὐκ ἔχει τὴν 30<br /> -βάσιν εὔγραμμον καὶ περιφερῆ, ἀλλ’ ἀκόρυφός τις φαίνεται<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_231" id="Page_231">[231]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>9. Perhaps an effect analogous to that -of syncopation in music is meant.</p> - -<p>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.</p> - -<p>16. <b>τελευταίαν</b>: it may be that some -word like συγκοπήν is to be supplied. -Or τελευτὴν may be read: or -τελευταῖα.</p> - -<p>19. The present passage (lines 15-19) -shows, as Blass (<i>Ancient Greek Pronunciation</i> -p. 66) remarks, that the -educated pronunciation of the Augustan -period did not confuse αι with ε.</p> - -<p>22-5. Here, again, the author would -hardly have much <i>choice</i> in the arrangement -of the words in question.</p> - -<p>26. <b>τρίς</b>: viz. in the words καὶ ἐλπίσας, -τε ἔσεσθαι, καὶ ἀξιολογώτατον.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_232" id="Page_232">[232-3]</a></span></p> - -<p> -καὶ ἀκατάστροφος, ὥσπερ μέρος οὖσα τῆς δευτέρας ἀλλ’ οὐχὶ<br /> -[τῆς πρώτης] τέλος.<br /> -<br /> -τὸ δ’ αὐτὸ πέπονθε καὶ ἡ τρίτη περίοδος· καὶ γὰρ ἐκείνης<br /> -ἀπερίγραφός ἐστι καὶ ἀνέδραστος ἡ βάσις τελευταῖον ἐχούσης<br /> -μόριον “<em class="gesperrt">τὸ δὲ καὶ διανοούμενον</em>”· πολλὰς ἅμα καὶ αὐτὴ 5<br /> -περιέχουσα φωνηέντων τε πρὸς φωνήεντα ἀντιτυπίας καὶ<br /> -ἡμιφώνων πρὸς ἡμίφωνα καὶ ἄφωνα, ἅσπερ ἐργάζεται τὰ μὴ<br /> -συνῳδὰ τῇ φύσει τραχύτητας. ἵνα δὲ συνελὼν εἴπω, δώδεκά<br /> -που περιόδων οὐσῶν ἃς παρεθέμην, εἴ τις αὐτὰς συμμέτρως<br /> -μερίζοι πρὸς τὸ πνεῦμα, κώλων δὲ περιλαμβανομένων ἐν 10<br /> -ταύταις οὐκ ἐλαττόνων ἢ τριάκοντα, τὰ μὲν εὐεπῶς συγκείμενα<br /> -καὶ συνεξεσμένα ταῖς ἁρμονίαις οὐκ ἂν εὕροι τις ἓξ ἢ ἑπτὰ<br /> -τὰ πάντα κῶλα, φωνηέντων δὲ συμβολὰς ἐν ταῖς δώδεκα<br /> -περιόδοις ὀλίγου δεῖν τριάκοντα, ἡμιφώνων τε καὶ ἀφώνων<br /> -ἀντιτύπων καὶ πικρῶν καὶ δυσεκφόρων παραβολάς, ἐξ ὧν αἵ 15<br /> -τε ἀνακοπαὶ καὶ τὰ πολλὰ ἐγκαθίσματα τῇ λέξει γέγονε,<br /> -τοσαύτας τὸ πλῆθος ὥστε ὀλίγου δεῖν καθ’ ἕκαστον αὐτῆς<br /> -μόριον εἶναί τι τῶν τοιούτων. πολλὴ δὲ καὶ ἡ τῶν κώλων<br /> -ἀσυμμετρία πρὸς ἄλληλα καὶ ἡ τῶν περιόδων ἀνωμαλία καὶ<br /> -ἡ τῶν σχημάτων καινότης καὶ τὸ τῆς ἀκολουθίας ὑπεροπτικὸν 20<br /> -καὶ τὰ ἄλλα ὅσα χαρακτηρικὰ τῆς ἀκομψεύτου τε καὶ<br /> -αὐστηρᾶς ἐπελογισάμην ὄντα ἁρμονίας. ἅπαντα γὰρ διεξιέναι<br /> -πάλιν ἐπὶ τῶν παραδειγμάτων καὶ καταδαπανᾶν εἰς ταῦτα<br /> -τὸν χρόνον οὐκ ἀναγκαῖον ἡγοῦμαι.<br /> -</p> -<h3>XXIII</h3> - -<p> -ἡ δὲ γλαφυρὰ [καὶ ἀνθηρὰ] σύνθεσις, ἣν δευτέραν ἐτιθέμην<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_233" id="Page_233">[233]</a></span></p> - -<p>conclusion, as if it were part of the second period and not its -termination.</p> - -<p>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.</p> - - - -<h4>CHAPTER XXIII<br /><br /> - -SMOOTH COMPOSITION</h4> - - -<p>The smooth (or florid) mode of composition, which I regarded</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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. <b><a href="#Page_160">160</a></b> 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<sup>2</sup>: -ἐπελογησάμην M<sup>1</sup>V || διεξιέναι F: ἐπεξιέναι PMV 25 καὶ ἀνθηρὰ om. P -|| ἐτιθέμην F: ἐθέμην PMV</p> - -<p>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.’</p> - -<p>4. Usener’s <b>ἐχούσης</b> seems likely, -though the words καὶ γὰρ ... ἡ βάσις -might be regarded as parenthetical and -ἔχουσα as in agreement with περίοδος.</p> - -<p>18. <b>πολλὴ δὲ καί</b> κτλ.: cp. Cic. <i>Orat.</i> -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.”</p> - -<p>25. For <b>ἀνθηρά</b> cp. n. on <b><a href="#Page_208">208</a></b> 26 <i>supra</i>.—The -whole chapter should be compared -with <i>de Demosth.</i> c. 40. In c. 49 of -that treatise Dionysius refers expressly -to his previously written <i>de Compositione</i>: -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 <i>ibid.</i>).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_234" id="Page_234">[234-5]</a></span></p> - -<p> -τῇ τάξει, χαρακτῆρα τοιόνδε ἔχει· οὐ ζητεῖ καθ’ ἓν<br /> -ἕκαστον ὄνομα ἐκ περιφανείας ὁρᾶσθαι οὐδὲ ἐν ἕδρᾳ πάντα<br /> -βεβηκέναι πλατείᾳ τε καὶ ἀσφαλεῖ οὐδὲ μακροὺς τοὺς μεταξὺ<br /> -αὐτῶν εἶναι χρόνους, οὐδ’ ὅλως τὸ βραδὺ καὶ σταθερὸν τοῦτο<br /> -φίλον αὐτῇ, ἀλλὰ κεκινῆσθαι βούλεται τὴν ὀνομασίαν καὶ 5<br /> -φέρεσθαι θάτερα κατὰ τῶν ἑτέρων ὀνομάτων καὶ ὀχεῖσθαι<br /> -τὴν ἀλληλουχίαν λαμβάνοντα βάσιν ὥσπερ τὰ ῥέοντα καὶ<br /> -μηδέποτε ἀτρεμοῦντα· συνηλεῖφθαί τε ἀλλήλοις ἀξιοῖ καὶ<br /> -συνυφάνθαι τὰ μόρια ὡς μιᾶς λέξεως ὄψιν ἀποτελοῦντα εἰς<br /> -δύναμιν. τοῦτο δὲ ποιοῦσιν αἱ τῶν ἁρμονιῶν ἀκρίβειαι, 10<br /> -χρόνον αἰσθητὸν οὐδένα τὸν μεταξὺ τῶν ὀνομάτων περιλαμβάνουσαι·<br /> -ἔοικέ τε κατὰ τοῦτο τὸ μέρος εὐητρίοις ὕφεσιν ἢ<br /> -γραφαῖς συνεφθαρμένα τὰ φωτεινὰ τοῖς σκιεροῖς ἐχούσαις.<br /> -εὔφωνά τε εἶναι βούλεται πάντα τὰ ὀνόματα καὶ λεῖα καὶ<br /> -μαλακὰ καὶ παρθενωπά, τραχείαις δὲ συλλαβαῖς καὶ ἀντιτύποις 15<br /> -ἀπέχθεταί που· τὸ δὲ θρασὺ πᾶν καὶ παρακεκινδυνευμένον<br /> -δι’ εὐλαβείας ἔχει.<br /> -<br /> -οὐ μόνον δὲ τὰ ὀνόματα τοῖς ὀνόμασιν ἐπιτηδείως<br /> -συνηρμόσθαι βούλεται καὶ συνεξέσθαι, ἀλλὰ καὶ τὰ κῶλα<br /> -τοῖς κώλοις εὖ συνυφάνθαι καὶ πάντα εἰς περίοδον τελευτᾶν, 20<br /> -ὁρίζουσα κώλου τε μῆκος, ὃ μὴ βραχύτερον ἔσται μηδὲ μεῖζον<br /> -τοῦ μετρίου, καὶ περιόδου μέτρον, οὗ πνεῦμα τέλειον ἀνδρὸς<br /> -κρατήσει· ἀπερίοδον δὲ λέξιν ἢ περίοδον ἀκώλιστον ἢ κῶλον<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_235" id="Page_235">[235]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. ‘It does not expect its words to -be looked at individually, and from -every side, like statues.’ Cp. <b><a href="#Page_210">210</a></b> 17 -<i>supra</i>.</p> - -<p>7. More literally, ‘finding firmness -in mutual support.’</p> - -<p>9. Cp. <i>de Demosth.</i> 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.</p> - -<p>14, 15. That is to say: the words it -uses must be beautiful in sound and -smoothly syllabled.</p> - -<p>20. <b>εὖ</b>, which Usener adopts from E, -helps to balance ἐπιτηδείως <i>supra</i>. 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 <i>supra</i>, the ὡς which E -gives (together with the <i>infinitive</i> διατελεῖν, -as it should be noticed) cannot -be regarded as indispensable.</p> - -<p>22. <b>μέτρον</b>: the reading of PMV -(περιόδου χρόνον) may be right, in the -sense of <i>periodi ambitum</i>. 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.</p> - -<p><b>οὗ πνεῦμα τέλειον ἀνδρὸς κρατήσει</b>: -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 <b><a href="#Page_232">232</a></b> 1 <i>supra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_236" id="Page_236">[236-7]</a></span></p> - -<p> -ἀσύμμετρον οὐκ ἂν ὑπομείνειεν ἐργάσασθαι. χρῆται δὲ καὶ<br /> -ῥυθμοῖς οὐ τοῖς μεγίστοις ἀλλὰ τοῖς μέσοις τε καὶ βραχυτέροις·<br /> -καὶ τῶν περιόδων τὰς τελευτὰς εὐρύθμους εἶναι<br /> -βούλεται καὶ βεβηκυίας ὡς ἂν ἀπὸ στάθμης, τἀναντία<br /> -ποιοῦσα ἐν ταῖς τούτων ἁρμογαῖς ἢ ταῖς τῶν ὀνομάτων· 5<br /> -ἐκεῖνα μὲν γὰρ συναλείφει, ταύτας δὲ διίστησι καὶ ὥσπερ ἐκ<br /> -περιόπτου βούλεται φανερὰς εἶναι. σχήμασί τε οὐ τοῖς<br /> -ἀρχαιοπρεπεστάτοις οὐδ’ ὅσοις σεμνότης τις ἢ βάρος ἢ πίνος<br /> -πρόσεστιν, ἀλλὰ τοῖς τρυφεροῖς τε καὶ κολακικοῖς ὡς τὰ<br /> -πολλὰ χρῆσθαι φιλεῖ, ἐν οἷς πολὺ τὸ ἀπατηλόν ἐστι καὶ 10<br /> -θεατρικόν. ἵνα δὲ καὶ κοινότερον εἴπω, τοὐναντίον ἔχει σχῆμα<br /> -τῆς προτέρας κατὰ τὰ μέγιστα καὶ κυριώτατα, ὑπὲρ ὧν οὐδὲν<br /> -δέομαι πάλιν λέγειν.<br /> -<br /> -ἀκόλουθον δ’ ἂν εἴη καὶ τοὺς ἐν ταύτῃ πρωτεύσαντας<br /> -καταριθμήσασθαι. ἐποποιῶν μὲν οὖν ἔμοιγε κάλλιστα τουτονὶ 15<br /> -δοκεῖ τὸν χαρακτῆρα ἐξεργάσασθαι Ἡσίοδος, μελοποιῶν δὲ<br /> -Σαπφὼ καὶ μετ’ αὐτὴν Ἀνακρέων τε καὶ Σιμωνίδης, τραγῳδοποιῶν<br /> -δὲ μόνος Εὐριπίδης, συγγραφέων δὲ ἀκριβῶς μὲν<br /> -οὐδείς, μᾶλλον δὲ τῶν πολλῶν Ἔφορός τε καὶ Θεόπομπος,<br /> -ῥητόρων δὲ Ἰσοκράτης. θήσω δὲ καὶ ταύτης παραδείγματα 20<br /> -τῆς ἁρμονίας, ποιητῶν μὲν προχειρισάμενος Σαπφώ, ῥητόρων<br /> -δὲ Ἰσοκράτην. ἄρξομαι δὲ ἀπὸ τῆς μελοποιοῦ.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_237" id="Page_237">[237]</a></span></p> - -<p>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.</p> - -<p>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:—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>6. <b>ἐκ περιόπτου</b>, ‘ex edito loco,’ -‘undique.’</p> - -<p>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 -<b>Hesiod</b> cp. <i>de Imitat.</i> 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 <i>de -Demosth.</i> c. 40 Hesiod, Sappho, Anacreon, -and Isocrates are (as here) considered -to be examples of the ἁρμονία -γλαφυρά.</p> - -<p>17. <b>Simonides</b> is thus characterized in -<i>de Imitat.</i> 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 <i>Danaë</i> (quoted in c. 26) -will illustrate the concluding clause of -this estimate.</p> - -<p>18. <b>Euripides:</b> cp. Aristot. <i>Rhet.</i> iii. -2 κλέπτεται δ’ εὖ, ἐάν τις ἐκ τῆς εἰωθυίας -διαλέκτου ἐκλέγων συντιθῇ· ὅπερ Εὐριπίδης -ποιεῖ καὶ ὑπέδειξε πρῶτος, and Long. <i>de -Subl.</i> c. xl. διότι τῆς συνθέσεως ποιητὴς -ὁ Εὐριπίδης μᾶλλόν ἐστιν ἢ τοῦ νοῦ.</p> - -<p>19. With respect to <b>Ephorus</b> 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.</p> - -<p><b>Theopompus:</b> cp. an article, by the -present writer, in the <i>Classical Review</i> -xxii. 118 ff. on “Theopompus in the -Greek Literary Critics: with special -reference to the newly discovered Greek -historian (Grenfell & Hunt <i>Oxyrhynchus -Papyri</i> part v. pp. 110-242).” Reference -may also be made to D.H. pp. -18, 96, 120-6, etc. Gibbon (<i>Decline -and Fall</i> 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.”</p> - -<p>20. <b>Isokrates</b>: see D.H. pp. 18, 20-22, -41, etc., and Demetr. pp. 8-11, 47, etc.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_238" id="Page_238">[238-9]</a></span></p> - -<p class="indent8"> -Ποικιλόθρον’, ἀθάνατ’ Ἀφροδίτα,<br /> -παῖ Δίος, δολόπλοκε, λίσσομαί σε,<br /> -μή μ’ ἄσαισι μηδ’ ὀνίαισι δάμνα,<br /> -<span style="margin-left: 10em;">πότνια, θῦμον·</span><br /> -<br /> -ἀλλὰ τυῖδ’ ἔλθ’, αἴ ποτα κἀτέρωτα 5<br /> -τᾶς ἔμας αὔδως ἀίοισα πήλυι<br /> -ἔκλυες, πάτρος δὲ δόμον λίποισα<br /> -<span style="margin-left: 10em;">χρύσιον ἦλθες</span><br /> -<br /> -ἄρμ’ ὐπασδεύξαισα. κάλοι δέ σ’ ἆγον<br /> -ὠκέες στροῦθοι περὶ γᾶς μελαίνας 10<br /> -πύκνα διννῆντες πτέρ’ ἀπ’ ὠράνω αἴθε-<br /> -<span style="margin-left: 10em;">ρος διὰ μέσσω.</span><br /> -<br /> -αἶψα δ’ ἐξίκοντο· τὺ δ’, ὦ μάκαιρα,<br /> -μειδιάσαισ’ ἀθανάτῳ προσώπῳ,<br /> -ἤρε’, ὄττι δηὖτε πέπονθα κὤττι 15<br /> -<span style="margin-left: 10em;">δηὖτε κάλημι·</span><br /> -<br /> -κὤττι ἔμῳ μάλιστα θέλω γένεσθαι<br /> -μαινόλᾳ θύμῳ· τίνα δηὖτε πείθω<br /> -μαῖς ἄγην ἐς σὰν φιλότατα, τίς σ’, ὦ<br /> -<span style="margin-left: 10em;">Ψάπφ’, ἀδικήει; 20</span><br /> -<br /> -καὶ γὰρ αἰ φεύγει, ταχέως διώξει,<br /> -αἰ δὲ δῶρα μὴ δέκετ’, ἀλλὰ δώσει,<br /> -αἰ δὲ μὴ φίλει, ταχέως φιλήσει<br /> -<span style="margin-left: 9.5em;">κωὐκ ἐθέλοισα.</span><br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_239" id="Page_239">[239]</a></span></p> - -<p class="indent8"> -Rainbow-throned immortal one, Aphrodite,<br /> -Child of Zeus, spell-weaver, I bow before thee—<br /> -Harrow not my spirit with anguish, mighty<br /> -<span class="marginleft3">Queen, I implore thee!</span><br /> -<br /> -Nay, come hither, even as once thou, bending<br /> -Down from far to hearken my cry, didst hear me,<br /> -From thy Father’s palace of gold descending<br /> -<span class="marginleft3">Drewest anear me</span><br /> -<br /> -Chariot-wafted: far over midnight-sleeping<br /> -Earth, thy fair fleet sparrows, through cloudland riven<br /> -Wide by multitudinous wings, came sweeping<br /> -<span class="marginleft3">Down from thine heaven,</span><br /> -<br /> -Swiftly came: thou, smiling with those undying<br /> -Lips and star-eyes, Blessed One, smiling me-ward,<br /> -Said’st, “What ails thee?—wherefore uprose thy crying<br /> -<span class="marginleft3">Calling me thee-ward?</span><br /> -<br /> -Say for what boon most with a frenzied longing<br /> -Yearns thy soul—say whom shall my glamour chaining<br /> -Hale thy love’s thrall, Sappho—and who is wronging<br /> -<span class="marginleft3">Thee with disdaining?</span><br /> -<br /> -Who avoids thee soon shall be thy pursuer:<br /> -Aye, the gift-rejecter the giver shall now be:<br /> -Aye, the loveless now shall become the wooer,<br /> -<span class="marginleft3">Scornful shalt thou be!”</span><br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. To Dionysius here, and to the <i>de -Sublimitate</i> c. x., we owe the preservation -of the two most considerable extant -fragments of <b>Sappho’s</b> poetry. The <i>Ode -to Anactoria</i> is quoted by ‘Longinus’ -as a picture of παθῶν σύνοδος: it is -imitated in Catullus li. <i>Ad Lesbiam</i> -(“Ille mi par esse deo videtur”). The -<i>Hymn to Aphrodite</i> has been rendered -repeatedly into English: some eight -versions are printed in H. T. Wharton’s -<i>Sappho</i> 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 <i>Book of Greek Verse</i> 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.</p> - -<p>24. “Bloomfeld’s ἐθέλοισαν was strenuously -defended by Welcker <i>RM</i> 11. -266, who held that the subject of φιλήσει -was a man. No <span class="smcap">MS.</span> whose readings -were known before 1892 settled the -dispute. Now Piccolomini’s <i>VL</i> show -ἐθέλουσα (<i>Hermes</i> 27),” Weir Smyth -<i>Greek Lyric Poets</i> p. 233. Notes on -the entire ode will be found in Weir -Smyth <i>op. cit.</i> pp. 230-3, and in G. S. -Farnell’s <i>Greek Lyric Poetry</i> pp. 327-9, -and a few also in W. G. Headlam’s <i>Book -of Greek Verse</i> pp. 265-7.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_240" id="Page_240">[240-1]</a></span></p> - -<p class="indent8"> -ἔλθε μοι καὶ νῦν, χαλεπᾶν δὲ λῦσον<br /> -ἐκ μεριμνᾶν, ὄσσα δέ μοι τέλεσσαι<br /> -θῦμος ἰμμέρρει, τέλεσον· σὺ δ’ αὔτα<br /> -<span style="margin-left: 10em;">σύμμαχος ἔσσο.</span><br /> -</p> - -<p> -ταύτης τῆς λέξεως ἡ εὐέπεια καὶ ἡ χάρις ἐν τῇ συνεχείᾳ καὶ 5<br /> -λειότητι γέγονε τῶν ἁρμονιῶν· παράκειται γὰρ ἀλλήλοις τὰ<br /> -ὀνόματα καὶ συνύφανται κατὰ τινας οἰκειότητας καὶ συζυγίας<br /> -φυσικὰς τῶν γραμμάτων· τὰ γὰρ φωνήεντα τοῖς ἀφώνοις τε<br /> -καὶ ἡμιφώνοις συνάπτεται μικροῦ διὰ πάσης τῆς ᾠδῆς, ὅσα<br /> -προτάττεσθαί τε καὶ ὑποτάττεσθαι πέφυκεν ἀλλήλοις κατὰ 10<br /> -μίαν συλλαβὴν συνεκφερόμενα· ἡμιφώνων δὲ πρὸς ἡμίφωνα ἢ<br /> -ἄφωνα ‹καὶ ἀφώνων› καὶ φωνηέντων πρὸς ἄλληλα συμπτώσεις<br /> -αἱ διασαλεύουσαι τοὺς ἤχους ὀλίγαι πάνυ ἔνεισιν· ἐγὼ<br /> -γοῦν ὅλην τὴν ᾠδὴν ἀνασκοπούμενος πέντε ἢ ἓξ ἴσως ἐν τοῖς<br /> -τοσούτοις ὀνόμασι καὶ ῥήμασι καὶ τοῖς ἄλλοις μορίοις ἡμιφώνων 15<br /> -τε καὶ ἀφώνων γραμμάτων συμπλοκὰς τῶν μὴ πεφυκότων<br /> -ἀλλήλοις κεράννυσθαι καὶ οὐδὲ ταύτας ἐπὶ πολὺ τραχυνούσας<br /> -τὴν εὐέπειαν εὑρίσκω, φωνηέντων δὲ παραθέσεις τὰς μὲν ἐν<br /> -τοῖς κώλοις αὐτοῖς γινομένας ἔτι ἐλάττους ἢ τοσαύτας, τὰς δὲ<br /> -συναπτούσας ἀλλήλοις τὰ κῶλα ὀλίγῳ τινὶ τούτων πλείονας. 20<br /> -εἰκότως δὴ γέγονεν εὔρους τις ἡ λέξις καὶ μαλακή, τῆς ἁρμονίας<br /> -τῶν ὀνομάτων μηδὲν ἀποκυματιζούσης τὸν ἦχον.<br /> -<br /> -ἔλεγον δ’ ἂν καὶ τὰ λοιπὰ τῆς συνθέσεως ταύτης ἰδιώματα,<br /> -καὶ ἀπεδείκνυον ἐπὶ τῶν παραδειγμάτων τοιαῦτα ὄντα οἷα<br /> -ἐγώ φημι, εἰ μὴ μακρὸς ἔμελλεν ὁ λόγος γενήσεσθαι καὶ 25<br /> -ταυτολογίας τινὰ παρέξειν δόξαν. ἐξέσται γὰρ σοὶ καὶ παντὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_241" id="Page_241">[241]</a></span></p> - -<p class="indent8"> -Once again come! Come, and my chains dissever,<br /> -Chains of heart-ache! Passionate longings rend me—<br /> -Oh fulfil them! Thou in the strife be ever<br /> -<span class="marginleft3">Near, to defend me.<a name="FNanchor_177_177" id="FNanchor_177_177"></a><a href="#Footnote_177_177" class="fnanchor">[177]</a></span><br /> -</p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>5. W. G. Headlam (<i>Book of Greek -Verse</i> 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:</p> - -<p> -My blood was hot wan wine of love,<br /> -And my song’s sound the sound thereof,<br /> -<span class="marginleft2">The sound of the delight of it.”</span><br /> -</p> - - -<p>22. Dionysius shows good judgement -in not subjecting Sappho’s <i>Hymn</i> to a -detailed analysis, letter by letter.</p> - -<p>24. <b>ἐπὶ τῶν παραδειγμάτων</b>, ‘in the -light of the appropriate examples.’ Cp. -<b><a href="#Page_152">152</a></b> 3, <b><a href="#Page_232">232</a></b> 23. The phrase sometimes -indicates ‘familiar,’ ‘stock,’ or ‘previous’ -examples; cp. <i>de Demosth.</i> c. 40 -ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας, -τοὺς ἀναγινώσκοντας ἐπὶ τὰ ἐν ἀρχαῖς -ῥηθέντα παραδείγματα κελεύοντες ἀναστρέφειν, -κτλ.—In <b><a href="#Page_242">242</a></b> 2 <i>infra</i>, ‘with -illustrations’ (no article in PMV, though -F has τῶν).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_242" id="Page_242">[242-3]</a></span></p> - -<p> -ἄλλῳ καθ’ ἓν ἕκαστον τῶν ἐξηριθμημένων ὑπ’ ἐμοῦ κατὰ τὴν<br /> -προέκθεσιν τοῦ χαρακτῆρος ἐπιλέγεσθαί τε καὶ σκοπεῖν ἐπὶ<br /> -παραδειγμάτων κατὰ πολλὴν εὐκαιρίαν καὶ σχολήν· ἐμοὶ δ’<br /> -οὐκ ἐγχωρεῖ τοῦτο ποιεῖν, ἀλλ’ ἀπόχρη παραδεῖξαι μόνον<br /> -ἀρκούντως ἃ βούλομαι τοῖς δυνησομένοις παρακολουθῆσαι. 5<br /> -<br /> -ἑνὸς ἔτι παραθήσομαι λέξιν ἀνδρὸς εἰς τὸν αὐτὸν κατεσκευασμένου<br /> -χαρακτῆρα, Ἰσοκράτους τοῦ ῥήτορος, ὃν ἐγὼ<br /> -μάλιστα πάντων οἴομαι τῶν πεζῇ λέξει χρησαμένων ταύτην<br /> -ἀκριβοῦν τὴν ἁρμονίαν. ἔστι δὲ ἡ λέξις ἐκ τοῦ Ἀρεοπαγιτικοῦ<br /> -ἥδε· 10<br /> -</p> - -<p class="indent8"> -πολλοὺς ὑμῶν οἴομαι θαυμάζειν, ἥντινά ποτε γνώμην<br /> -ἔχων περὶ σωτηρίας τὴν πρόσοδον ἐποιησάμην, ὥσπερ<br /> -τῆς πόλεως ἐν κινδύνοις οὔσης ἢ σφαλερῶς αὐτῇ τῶν<br /> -πραγμάτων καθεστώτων, ἀλλ’ οὐ πλείους μὲν τριήρεις ἢ<br /> -διακοσίας κεκτημένης, εἰρήνην δὲ καὶ τὰ περὶ τὴν χώραν 15<br /> -ἀγούσης καὶ τῶν κατὰ θάλατταν ἀρχούσης, ἔτι δὲ συμμάχους<br /> -ἐχούσης πολλοὺς μὲν τοὺς ἑτοίμους ἡμῖν ἤν τι<br /> -δέῃ βοηθήσοντας, πολὺ δὲ πλείους τοὺς τὰς συντάξεις<br /> -ὑποτελοῦντας καὶ τὸ προσταττόμενον ποιοῦντας. ὧν<br /> -ὑπαρχόντων ἡμᾶς μὲν ἄν τις φήσειεν εἰκὸς εἶναι θαρρεῖν 20<br /> -ὡς πόρρω τῶν κινδύνων ὄντας, τοῖς δ’ ἐχθροῖς τοῖς ἡμετέροις<br /> -προσήκειν δεδιέναι καὶ βουλεύεσθαι περὶ σωτηρίας.<br /> -ὑμεῖς μὲν οὖν οἶδ’ ὅτι τούτῳ χρώμενοι τῷ λογισμῷ καὶ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_243" id="Page_243">[243]</a></span></p> - -<p>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.</p> - -<p>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 <i>Areopagiticus</i>, as -follows:—</p> - -<p class="indent8">“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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>6. <b>παραθήσομαι</b>: the Middle, as given -by F, is to be preferred (cp. <b><a href="#Page_182">182</a></b> 12). -In <b><a href="#Page_122">122</a></b> 14, on the other hand, F gives -παρέξω, where the other MSS. supply the -right reading παρέξομαι.</p> - -<p>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. <i>pro Caecina</i>: -“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.</p> - -<p>13. <b>ἢ σφαλερῶς</b>: Koraes would read καὶ -σφαλερῶς. His note (<i>Isocr.</i> 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.”</p> - -<p>18. <b>συντάξεις</b>: Koraes <i>l.c.</i> 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, -<i>Taxe</i> ὠνόμασε τὴν σύνταξιν, τὴν τοῖς -Ἰταλοῖς καλουμένην <i>Tassa</i>, καὶ ῥῆμα -ἐποίησε <i>Taxer</i> (Ἰταλ. <i>Tassare</i>), ἐπὶ τοῦ -τάσσειν καὶ ἐπιβάλλειν τοὺς φόρους· ὅθεν -ἡ τῶν Γραικῶν φωνή, τὰ ἴδια παρὰ τῶν -ἀλλοτρίων λαμβάνουσα, ἐσχημάτισε τὰ -χυδαῖα, <em class="gesperrt">Τάσσα</em> καὶ <em class="gesperrt">Τασσάρω</em>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_244" id="Page_244">[244-5]</a></span></p> - -<p class="indent8"> -τῆς ἐμῆς προσόδου καταφρονεῖτε καὶ πᾶσαν ἐλπίζετε τὴν<br /> -Ἑλλάδα ταύτῃ τῇ δυνάμει κατασχήσειν· ἐγὼ δὲ δι’<br /> -αὐτὰ ταῦτα τυγχάνω δεδιώς. ὁρῶ γὰρ τῶν πόλεων τὰς<br /> -ἄριστα πράττειν οἰομένας κάκιστα βουλευομένας, καὶ τὰς<br /> -μάλιστα θαρρούσας εἰς πλείστους κινδύνους καθισταμένας. 5<br /> -αἴτιον δὲ τούτων ἐστίν, ὅτι τῶν ἀγαθῶν καὶ τῶν κακῶν<br /> -οὐδὲν αὐτὸ καθ’ αὑτὸ παραγίνεται τοῖς ἀνθρώποις, ἀλλὰ<br /> -συντέτακται καὶ συνακολουθεῖ τοῖς μὲν πλούτοις καὶ ταῖς<br /> -δυναστείαις ἄνοια καὶ μετὰ ταύτης ἀκολασία, ταῖς δὲ<br /> -ἐνδείαις καὶ ταῖς ταπεινότησιν σωφροσύνη καὶ πολλὴ 10<br /> -μετριότης. ὥστε χαλεπὸν εἶναι διαγνῶναι, ποτέραν ἄν<br /> -τις δέξαιτο τῶν μερίδων τούτων τοῖς παισὶ τοῖς αὑτοῦ<br /> -καταλιπεῖν· ἴδοιμεν γὰρ ἂν ἐκ μὲν τῆς φαυλοτέρας εἶναι<br /> -δοκούσης ἐπὶ τὸ βέλτιον ὡς ἐπὶ τὸ πολὺ τὰς πράξεις<br /> -ἐπιδιδούσας, ἐκ δὲ τῆς κρείττονος φαινομένης ἐπὶ τὸ 15<br /> -χεῖρον εἰθισμένας μεταπίπτειν.<br /> -</p> - -<p> -ταῦθ’ ὅτι συνήλειπταί τε καὶ συγκέχρωσται, καὶ οὐ καθ’<br /> -ἓν ἕκαστον ὄνομα ἐν ἕδρᾳ περιφανεῖ καὶ πλατείᾳ βέβηκεν<br /> -οὐδὲ μακροῖς τοῖς μεταξὺ χρόνοις διείργεται καὶ διαβέβηκεν<br /> -ἀπ’ ἀλλήλων, ἀλλ’ ἐν κινήσει τε ὄντα φαίνεται καὶ φορᾷ καὶ 20<br /> -ῥύσει συνεχεῖ, πραεῖαί τε αὐτῶν εἰσι καὶ μαλακαὶ καὶ<br /> -προπετεῖς αἱ συνάπτουσαι τὴν λέξιν ἁρμονίαι, τὸ ἄλογον<br /> -ἐπιμαρτυρεῖ τῆς ἀκοῆς πάθος. ὅτι δ’ οὐκ ἄλλα τινὰ τούτων<br /> -ἐστὶν αἴτια ἢ τὰ προειρημένα ὑπ’ ἐμοῦ περὶ τῆς ἀγωγῆς<br /> -ταύτης τῶν λόγων, ῥᾴδιον ἰδεῖν. φωνηέντων μὲν γὰρ ἀντιτυπίαν 25<br /> -οὐκ ἂν εὕροι τις οὐδεμίαν ἐν γοῦν οἷς παρεθέμην<br /> -ἀριθμοῖς, οἴομαι δ’ οὐδ’ ἐν ὅλῳ τῷ λόγῳ, πλὴν εἴ τί με<br /> -διαλέληθεν· ἡμιφώνων δὲ καὶ ἀφώνων ὀλίγας καὶ οὐ πάνυ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_245" id="Page_245">[245]</a></span></p> - -<div class="blockquot"> - -<p class="indent8">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.”<a name="FNanchor_178_178" id="FNanchor_178_178"></a><a href="#Footnote_178_178" class="fnanchor">[178]</a></p></div> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>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 <i>de Antiq. Or.</i>); -Jebb <i>Att. Or.</i> ii. 54 ff.; Blass <i>Att. -Bereds.</i> ii. 131 ff.</p> - -<p>19. The reading οὐδ’ ἐν is possibly -right, viz. ‘at long time-intervals’; cp. -<b><a href="#Page_222">222</a></b> 5.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_246" id="Page_246">[246-7]</a></span></p> - -<p> -ἐκφανεῖς οὐδὲ συνεχεῖς. ταῦτα δὲ τῆς εὐεπείας αἴτια τῇ λέξει<br /> -γέγονε καὶ ἡ τῶν κώλων συμμετρία πρὸς ἄλληλα, τῶν τε<br /> -περιόδων ὁ κύκλος ἔχων τι περιφερὲς καὶ εὔγραμμον καὶ<br /> -τεταμιευμένον ἄκρως ταῖς συμμετρίαις. ὑπὲρ ἅπαντα δὲ<br /> -ταῦτα οἱ σχηματισμοὶ πολὺ τὸ νεαρὸν ἔχοντες· εἰσὶ γὰρ 5<br /> -ἀντίθετοι καὶ παρόμοιοι καὶ πάρισοι καὶ οἱ παραπλήσιοι<br /> -τούτοις, ἐξ ὧν ἡ πανηγυρικὴ διάλεκτος ἀποτελεῖται. οὐκ<br /> -ἀναγκαῖον εἶναι δοκῶ μηκύνειν καὶ τὰ λοιπὰ διεξιών· ἱκανῶς<br /> -γὰρ εἴρηται καὶ περὶ ταύτης τῆς συνθέσεως ὅσα γε ἥρμοττεν.<br /> -</p> - -<h3>XXIV</h3> - -<p> -ἡ δὲ τρίτη καὶ μέση τῶν εἰρημένων δυεῖν ἁρμονιῶν, ἣν 10<br /> -εὔκρατον καλῶ σπάνει κυρίου τε καὶ κρείττονος ὀνόματος,<br /> -σχῆμα μὲν ἴδιον οὐδὲν ἔχει, κεκέρασται δέ πως ἐξ ἐκείνων<br /> -μετρίως καὶ ἔστιν ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων.<br /> -αὕτη δοκεῖ μοι τὰ πρωτεῖα ἐπιτηδεία εἶναι φέρεσθαι, ἐπειδὴ<br /> -μεσότης μέν τίς ἐστι (μεσότης δὲ ἡ ἀρετὴ καὶ βίων καὶ 15<br /> -ἔργων [καὶ τεχνῶν], ὡς Ἀριστοτέλει τε δοκεῖ καὶ τοῖς ἄλλοις<br /> -ὅσοι κατ’ ἐκείνην τὴν αἵρεσιν φιλοσοφοῦσιν), ὁρᾶται δ’,<br /> -ὥσπερ ἔφην καὶ πρότερον, οὐ κατὰ ἀπαρτισμὸν ἀλλ’ ἐν<br /> -πλάτει, καὶ τὰς εἰδικὰς ἔχει διαφορὰς πολλάς· οἵ τε χρησάμενοι<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_247" id="Page_247">[247]</a></span></p> - -<p>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: <i>antithesis</i>, <i>parallelism in sound</i>, <i>parallelism -in structure</i>, 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.</p> - - - -<h4>CHAPTER XXIV<br /><br /> - -HARMONIOUSLY-BLENDED, OR INTERMEDIATE, COMPOSITION</h4> - - -<p>The third kind of composition is the mean between the two -already mentioned. I call it <i>harmoniously blended</i> 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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>8. <b>καὶ</b>: i.e. ‘by going through details -as well (as by taking this general view).’</p> - -<p>9. This chapter (c. 23) should be -compared throughout with chapter 40 -of the <i>de Demosth.</i>, which begins ἡ δὲ -μετὰ ταύτην ἡ γλαφυρὰ καὶ θεατρικὴ καὶ -τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη, -κτλ.</p> - -<p>10. The treatment of the <i>third harmony</i> -in this chapter seems somewhat -curt and vague.</p> - -<p>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. <i>Eth. -Nic.</i> ii. 5, 1106 b 27 μεσότης τις ἄρα -ἐστὶν ἡ ἀρετή, στοχαστική γε οὖσα τοῦ -μέσου).</p> - -<p>13. <b>ἐκλογή τις τῶν ἐν ἑκατέρᾳ κρατίστων</b>: -it is interesting to find Homer -represented (<b><a href="#Page_248">248</a></b> 8-10) as a kind of <i>eclectic</i> -in style. There are many indications -that Dionysius regards him as a diligent -literary craftsman. See generally <i>de -Demosth.</i> c. 41 init. τῆς δὲ τρίτης -ἁρμονίας ... ῥήτορες.</p> - -<p>16. <b>καὶ τεχνῶν</b>: 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. <i>Eth. -Nic.</i> 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 <i>Politics</i> iii. 13, 1284 b -7-13, and to <i>Eth. Eud.</i> 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.</p> - -<p>18. <b>πρότερον</b>: cp. <b><a href="#Page_210">210</a></b> 6-10.</p> - -<p>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.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_248" id="Page_248">[248-9]</a></span></p> - -<p> -αὐτῇ οὐ τὰ αὐτὰ πάντες οὐδ’ ὁμοίως ἐπετήδευσαν, ἀλλ’<br /> -οἱ μὲν ταῦτα μᾶλλον, οἱ δ’ ἐκεῖνα, ἐπέτεινάν τε καὶ ἀνῆκαν<br /> -ἄλλως ἄλλοι τὰ αὐτά, καὶ πάντες ἐγένοντο λόγου ἄξιοι κατὰ<br /> -πάσας τὰς ἰδέας τῶν λόγων. κορυφὴ μὲν οὖν ἁπάντων καὶ<br /> -σκοπός, 5<br /> -</p> - -<p class="indent8"> -ἐξ οὗ περ πάντες ποταμοὶ καὶ πᾶσα θάλασσα<br /> -καὶ πᾶσαι κρῆναι,<br /> -</p> - -<p> -δικαίως ἂν Ὅμηρος λέγοιτο. πᾶς γὰρ αὐτῷ τόπος, ὅτου τις<br /> -ἂν ἅψηται, ταῖς τε αὐστηραῖς καὶ ταῖς γλαφυραῖς ἁρμονίαις<br /> -εἰς ἄκρον διαπεποίκιλται. τῶν δ’ ἄλλων ὅσοι τὴν αὐτὴν 10<br /> -μεσότητα ἐπετήδευσαν, ὕστεροι μὲν Ὁμήρου μακρῷ παρ’<br /> -ἐκεῖνον ἐξεταζόμενοι φαίνοιντ’ ἄν, καθ’ ἑαυτοὺς δὲ εἰ θεωροίη<br /> -τις αὐτούς, ἀξιοθέατοι, μελοποιῶν μὲν Στησίχορός τε καὶ<br /> -Ἀλκαῖος, τραγῳδοποιῶν δὲ Σοφοκλῆς, συγγραφέων δὲ Ἡρόδοτος,<br /> -ῥητόρων δὲ Δημοσθένης, φιλοσόφων δὲ κατ’ ἐμὴν δόξαν Δημόκριτός 15<br /> -τε καὶ Πλάτων καὶ Ἀριστοτέλης· τούτων γὰρ<br /> -ἑτέρους εὑρεῖν ἀμήχανον ἄμεινον κεράσαντας τοὺς λόγους. καὶ<br /> -περὶ μὲν τῶν χαρακτήρων ταῦθ’ ἱκανά. παραδείγματα γὰρ<br /> -τούτων οὐκ οἴομαι δεῖν φέρειν, φανερῶν πάνυ ὄντων καὶ οὐδὲν<br /> -δεομένων λόγου. 20<br /> -<br /> -εἰ δέ τινι δοκεῖ καὶ πόνου πολλοῦ ταῦτα καὶ πραγματείας<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_249" id="Page_249">[249]</a></span></p> - -<p>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,</p> - -<p class="indent8"> -Out of whose fulness all rivers, and every sea, have birth,<br /> -And all upleaping fountains,<a name="FNanchor_179_179" id="FNanchor_179_179"></a><a href="#Footnote_179_179" class="fnanchor">[179]</a><br /> -</p> - -<p>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.</p> - -<p>Now if any one thinks that these things are worth much toil</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<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 <i>ab Iove incipiendum</i> putat, ita -nos rite coepturi ab Homero videmur. -hic enim, quemadmodum <i>ex Oceano</i> dicit -ipse <i>amnium fontiumque cursus initium -capere</i>, omnibus eloquentiae partibus -exemplum et ortum dedit.”</p> - -<p>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 -<i>Classical Quarterly</i> ii. 87.</p> - -<p>13. <b>Stesichorus</b>: cp. <i>de Imitat.</i> B. vi. 2 -ὅρα δὲ καὶ Στησίχορον ἔν τε τοῖς ἑκατέρων -τῶν προειρημένων πλεονεκτήμασι κατορθοῦντα, -κτλ.; Long. <i>de Sublim.</i> 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.</p> - -<p>14. <b>Alcaeus</b>: <i>de Imitat.</i> B. vi. 2 -Ἀλκαίου δὲ σκόπει τὸ μεγαλοφυὲς καὶ -βραχὺ καὶ ἡδὺ μετὰ δεινότητος κτλ.; -Quintil. x. 1. 63 “Alcaeus in parte -operis <i>aureo plectro</i> 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.”</p> - -<p><b>Sophocles</b>: Σοφοκλῆς δὲ ἔν τε τοῖς -ἤθεσι καὶ τοῖς πάθεσι κτλ. (<i>de Imitat.</i>, <i>ut -supra</i>).</p> - -<p><b>Herodotus</b>: cp. D.H. pp. 10, 11, -12, etc.</p> - -<p>15. <b>Demosthenes</b>: cp. D.H. pp. 13, -15, 16, 19, 22, 23, etc., and Demetr. pp. -11, 12, etc.</p> - -<p><b>Democritus</b>: cp. Cic. <i>Orat.</i> 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. <i>de Orat.</i> 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. <i>ib.</i> i. 42 -“Democritii ... ornati homines in -dicendo et graves.”</p> - -<p>16. <b>Plato</b>: cp. D.H. pp. 16, 19, 27-30, -36, etc. and Demetr. pp. 12, 13, 14, -etc.</p> - -<p><b>Aristotle</b>: cp. <i>de Imitat.</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_250" id="Page_250">[250-1]</a></span></p> - -<p> -μεγάλης ἄξια εἶναι, καὶ μάλα ὀρθῶς δοκεῖ κατὰ τὸν<br /> -Δημοσθένην· ἀλλ’ ἐὰν λογίσηται τοὺς ἐξακολουθοῦντας αὐτοῖς<br /> -κατορθουμένοις ἐπαίνους καὶ τὸν καρπὸν τὸν ἀπ’ αὐτῶν ὡς<br /> -γλυκύς, εὐπαθείας ἡγήσεται τοὺς πόνους. Ἐπικουρείων δὲ<br /> -χορόν, οἷς οὐδὲν μέλει τούτων, παραιτοῦμαι· τὸ γὰρ “οὐκ 5<br /> -ἐπιπόνου τοῦ γράφειν ὄντος,” ὡς αὐτὸς Ἐπίκουρος λέγει, “τοῖς<br /> -μὴ στοχαζομένοις τοῦ πυκνὰ μεταπίπτοντος κριτηρίου” πολλῆς<br /> -ἀργίας ἦν καὶ σκαιότητος ἀλεξιφάρμακον.<br /> -</p> - -<h3>XXV</h3> - -<p> -τούτων δή μοι τέλος ἐχόντων, ἐκεῖνά σε οἴομαι ποθεῖν ἔτι<br /> -ἀκοῦσαι, πῶς γίνεται λέξις ἄμετρος ὁμοία καλῷ ποιήματι ἢ 10<br /> -μέλει, καὶ πῶς ποίημά γε ἢ μέλος πεζῇ λέξει καλῇ παραπλήσιον.<br /> -ἄρξομαι δὲ πρῶτον ἀπὸ τῆς ψιλῆς λέξεως, ἕνα<br /> -τῶν ἀνδρῶν προχειρισάμενος ὃν ἐν τοῖς μάλιστα οἶμαι τὴν<br /> -ποιητικὴν ἐκμεμάχθαι φράσιν, βουλόμενος μὲν καὶ πλείους,<br /> -οὐκ ἔχων δὲ χρόνον ἱκανὸν ἅπασι. φέρε δὴ τίς οὐκ ἂν 15<br /> -ὁμολογήσειεν τοῖς κρατίστοις ἐοικέναι ποιήμασί τε καὶ μέλεσι<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_251" id="Page_251">[251]</a></span></p> - -<p>and great effort, he is, according to Demosthenes, decidedly in -the right.<a name="FNanchor_180_180" id="FNanchor_180_180"></a><a href="#Footnote_180_180" class="fnanchor">[180]</a> 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”<a name="FNanchor_181_181" id="FNanchor_181_181"></a><a href="#Footnote_181_181" class="fnanchor">[181]</a> was meant to forestall the charge -of gross laziness and stupidity.</p> - - - -<h4>CHAPTER XXV<br /><br /> - -HOW PROSE CAN RESEMBLE VERSE</h4> - - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>κατὰ τὸν Δημοσθένην</b>: cp. <i>de -Demosth.</i> 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. <i>Chers.</i> § 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.</p> - -<p>4. For the general attitude of <b>Epicurus</b> -cp. Quintil. ii. 17. 15 “nam de Epicuro, -qui disciplinas omnes fugit, nihil miror,” -and <i>ib.</i> xii. 2. 24 “nam in primis nos -Epicurus a se ipse dimittit, qui fugere -omnem disciplinam navigatione quam -velocissima iubet [Diog. Laert. <i>Vit. Epic.</i> -6 παιδείαν δὲ πᾶσαν (i.e. τὴν ἐγκύκλιον -παιδείαν), μακάριε, φεῦγε τὸ ἀκάτιον ἀράμενος]”; -Cic. <i>de Finibus</i> 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 (<i>de -Thucyd.</i> c. 2).</p> - -<p>5-8. Usener (<i>Epicurea</i>, 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.</p> - -<p>5. <b>οὐκ ἐπιπόνου</b>: cp. Sheridan <i>Clio’s -Protest</i>: “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.”</p> - -<p>7. <b>κριτηρίου</b>: for κριτήριον as an -Epicurean term cp. Diog. Laert. <i>Vit. -Epic.</i> 147 ὥστε τὸ κριτήριον ἅπαν ἐκβαλεῖς. -The ‘variable criterion’ or ‘shifting -standard,’ in Dionysius’ quotation, is -either the <i>judgment of the ear</i> (regarded -as a part of <i>sensation</i> generally) or the -<i>literary fashion of the day</i>.</p> - -<p>8. Chapter 24 may be compared -throughout with <i>de Demosth.</i> c. 41.</p> - -<p>9. For the relations of Prose to Verse -see Introduction, pp. <a href="#Page_33">33</a>-9.</p> - -<p>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: <i>latent</i> lines cannot be -expected to be obvious. <i>Ad Quirites post -reditum</i> 16 “sed etiam rerum mearum -gestarum <i>auctores, testes, laudatoresque -fuere</i>” [but the better reading here is -<i>laudatores fuerunt</i>]. <i>Pro Archia Poëta</i> -i. 1 “si quid est in me ingenii, iudices, -quod sentio quam sit exiguum, aut si -qua exercitatio dicendi, <i>in qua me non -infiteor mediocriter esse</i> versatum,” etc. -<i>Tusc. Disp.</i> iv. 14. 31 “illud animorum -corporumque dissimile, quod animi -valentes <i>morbo temptari possunt, ut corpora -possunt</i>.” <i>Pro Roscio Amer.</i> i. 1 -“credo ego vos, iudices, mirari quid <i>sit -quod, cum tot summi oratores hominesque</i> -nobilissimi sedeant, ego potissimum -surrexerim.” Cp. Livy xxi. 9 “nec -tuto eos adituros inter tot tam effrenatarum -gentium <i>arma, nec Hannibali -in tanto discrimine rerum</i> operae esse -legationes audire,” and Tacitus <i>Ann.</i> i. -1 “<i>urbem Romam a principio reges -habuere</i>.” 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 <i>de Sacerdotio</i> -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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_252" id="Page_252">[252-3]</a></span></p> - -<p> -τοὺς Δημοσθένους λόγους, καὶ μάλιστα τάς τε κατὰ Φιλίππου<br /> -δημηγορίας καὶ τοὺς δικανικοὺς ἀγῶνας τοὺς δημοσίους; ὧν<br /> -ἐξ ἑνὸς ἀρκέσει λαβεῖν τὸ προοίμιον τουτί·<br /> -</p> - -<p class="indent8"> -“Μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με μήτ’<br /> -ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’ ἥκειν Ἀριστοκράτους κατηγορήσοντα 5<br /> -τουτουί, μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον<br /> -ἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ προάγειν ἐμαυτὸν εἰς<br /> -ἀπέχθειαν· ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι καὶ<br /> -σκοπῶ, περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ<br /> -μὴ παρακρουσθέντας ἀποστερηθῆναι πάλιν αὐτῆς, περὶ 10<br /> -τούτου ἐστί μοι ἅπασα ἡ σπουδή.”<br /> -</p> - -<p> -πειρατέον δὴ καὶ περὶ τούτων λέγειν ἃ φρονῶ. μυστηρίοις<br /> -μὲν οὖν ἔοικεν ἤδη ταῦτα καὶ οὐκ εἰς πολλοὺς οἷά τε ἐστὶν<br /> -ἐκφέρεσθαι, ὥστ’ οὐκ ἂν εἴην φορτικός, εἰ παρακαλοίην “<em class="gesperrt">οἷς<br /> -θέμις ἐστὶν</em>” ἥκειν ἐπὶ τὰς τελετὰς τοῦ λόγου, “<em class="gesperrt">θύρας δ’ 15<br /> -ἐπιθέσθαι</em>” λέγοιμι ταῖς ἀκοαῖς τοὺς “<em class="gesperrt">βεβήλους</em>.” εἰς γέλωτα<br /> -γὰρ ἔνιοι λαμβάνουσι τὰ σπουδαιότατα δι’ ἀπειρίαν, καὶ ἴσως<br /> -οὐδὲν ἄτοπον πάσχουσιν. ἃ δ’ οὖν βούλομαι λέγειν, τοιάδε<br /> -ἐστί.<br /> -<br /> -πᾶσα λέξις ἡ δίχα μέτρου συγκειμένη ποιητικὴν μοῦσαν 20<br /> -ἢ μελικὴν χάριν οὐ δύναται προσλαβεῖν κατὰ γοῦν τὴν σύνθεσιν<br /> -αὐτήν· ἐπεὶ καὶ ἡ ἐκλογὴ τῶν ὀνομάτων μέγα τι<br /> -δύναται, καὶ ἔστι τις ὀνομασία ποιητικὴ γλωττηματικῶν τε<br /> -καὶ ξένων καὶ τροπικῶν καὶ πεποιημένων, οἷς ἡδύνεται ποίησις,<br /> -εἰς κόρον ἐγκαταμιγέντων τῇ ἀμέτρῳ λέξει, ὃ ποιοῦσιν ἄλλοι 25<br /> -τε πολλοὶ καὶ οὐχ ἥκιστα Πλάτων· οὐ δὴ λέγω περὶ τῆς<br /> -ἐκλογῆς, ἀλλ’ ἀφείσθω κατὰ τὸ παρὸν ἡ περὶ ταῦτα σκέψις.<br /> -περὶ τῆς συνθέσεως αὐτῆς ἔστω ἡ θεωρία τῆς ἐν τοῖς κοινοῖς<br /> -ὀνόμασι καὶ τετριμμένοις καὶ ἥκιστα ποιητικοῖς τὰς ποιητικὰς<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_253" id="Page_253">[253]</a></span></p> - -<p>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:—</p> - -<div class="blockquot"> - -<p class="indent8">“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.”<a name="FNanchor_182_182" id="FNanchor_182_182"></a><a href="#Footnote_182_182" class="fnanchor">[182]</a></p></div> - -<p>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.”<a name="FNanchor_183_183" id="FNanchor_183_183"></a><a href="#Footnote_183_183" class="fnanchor">[183]</a> 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:—</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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<sup>1</sup>: χερρόνησον -FMV<sup>2</sup> || 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</p> - -<p>4-11. In Butcher’s and in Weil’s texts -(which are here identical) the opening -of the <i>Aristocrates</i> 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 <i>de Cor.</i> § 147.</p> - -<p>12. Here, with the word φρονῶ, the -codex Florentinus Laurentianus (F) unfortunately -ends.</p> - -<p>24. It is hardly necessary to insert -ὀνομάτων before οἷς, since the word may -be supplied from l. 22 <i>supra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_254" id="Page_254">[254-5]</a></span></p> - -<p> -χάριτας ἐπιδεικνυμένης. ὅπερ οὖν ἔφην, οὐ δύναται ψιλὴ<br /> -λέξις ὁμοία γενέσθαι τῇ ἐμμέτρῳ καὶ ἐμμελεῖ, ἐὰν μὴ περιέχῃ<br /> -μέτρα καὶ ῥυθμούς τινας ἐγκατατεταγμένους ἀδήλως. οὐ μέντοι<br /> -προσήκει γε ἔμμετρον οὐδ’ ἔρρυθμον αὐτὴν εἶναι δοκεῖν (ποίημα<br /> -γὰρ οὕτως ἔσται καὶ μέλος ἐκβήσεταί τε ἁπλῶς τὸν αὑτῆς 5<br /> -χαρακτῆρα), ἀλλ’ εὔρυθμον αὐτὴν ἀπόχρη καὶ εὔμετρον φαίνεσθαι<br /> -μόνον· οὕτως γὰρ ἂν εἴη ποιητικὴ μέν, οὐ μὴν ποίημά<br /> -γε, καὶ ἐμμελὴς μέν, οὐ μέλος δέ.<br /> -<br /> -τίς δ’ ἐστὶν ἡ τούτων διαφορά, πάνυ ῥᾴδιον ἰδεῖν. ἡ μὲν<br /> -ὅμοια περιλαμβάνουσα μέτρα καὶ τεταγμένους σῴζουσα ῥυθμοὺς 10<br /> -καὶ κατὰ στίχον ἢ περίοδον ἢ στροφὴν διὰ τῶν αὐτῶν σχημάτων<br /> -περαινομένη κἄπειτα πάλιν τοῖς αὐτοῖς ῥυθμοῖς καὶ μέτροις<br /> -ἐπὶ τῶν ἑξῆς στίχων ἢ περιόδων ἢ στροφῶν χρωμένη καὶ<br /> -τοῦτο μέχρι πολλοῦ ποιοῦσα ἔρρυθμός ἐστι καὶ ἔμμετρος, καὶ<br /> -ὀνόματα κεῖται τῇ τοιαύτῃ λέξει μέτρον καὶ μέλος· ἡ δὲ 15<br /> -πεπλανημένα μέτρα καὶ ἀτάκτους ῥυθμοὺς ἐμπεριλαμβάνουσα<br /> -καὶ μήτε ἀκολουθίαν ἐμφαίνουσα αὐτῶν μήτε ὁμοζυγίαν μήτε<br /> -ἀντιστροφὴν εὔρυθμος μέν ἐστιν, ἐπειδὴ διαπεποίκιλταί τισιν<br /> -ῥυθμοῖς, οὐκ ἔρρυθμος δέ, ἐπειδὴ οὐχὶ τοῖς αὐτοῖς οὐδὲ κατὰ<br /> -τὸ αὐτό. τοιαύτην δή φημι πᾶσαν εἶναι λέξιν ἄμετρον, ἥτις 20<br /> -ἐμφαίνει τὸ ποιητικὸν καὶ μελικόν· ᾗ δὴ καὶ τὸν Δημοσθένη<br /> -κεχρῆσθαί φημι. καὶ ὅτι ἀληθῆ ταῦτ’ ἐστὶ καὶ οὐδὲν ἐγὼ<br /> -καινοτομῶ, λάβοι μὲν ἄν τις καὶ ἐκ τῆς Ἀριστοτέλους μαρτυρίας<br /> -τὴν πίστιν· εἴρηται γὰρ τῷ φιλοσόφῳ τά τε ἄλλα<br /> -περὶ τῆς λέξεως τῆς πολιτικῆς ἐν τῇ τρίτῃ βίβλῳ τῶν ῥητορικῶν 25<br /> -τεχνῶν οἵαν αὐτὴν εἶναι προσῆκεν, καὶ δὴ καὶ περὶ τῆς<br /> -εὐρυθμίας ἐξ ὧν ἂν τοιαύτη γένοιτο· ἐν ᾗ τοὺς ἐπιτηδειοτάτους<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_255" id="Page_255">[255]</a></span></p> - -<p>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 <i>in</i> metre or <i>in</i> 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.</p> - -<p>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 <i>in</i> rhythm and <i>in</i> 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 <i>Rhetoric</i> the philosopher, -speaking of the various requisites of style in civil oratory, has -described the good rhythm which should contribute to it.<a name="FNanchor_184_184" id="FNanchor_184_184"></a><a href="#Footnote_184_184" class="fnanchor">[184]</a> He -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. Cp. Coleridge <i>Biogr. Lit.</i> c. 18: -“Whatever is combined with metre -must, though it be not itself essentially -poetic, have nevertheless some property -in common with poetry.”</p> - -<p>3. So <i>de Demosth.</i> 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.</p> - -<p>4. Cp. Aristot. <i>Rhet.</i> 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. <i>Orat.</i> 56. 187 “perspicuum est -igitur numeris astrictam orationem esse -debere, carere versibus,” and 57. 195 -<i>ibid.</i> “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 <i>Rhett. Gr.</i> vi. 156) -ὅλως δὲ ὁ λόγος μὴ λόγος ἔστω· ξηρὸν -γάρ· μηδὲ ἔμμετρος· καταφανὲς γάρ. -ἀλλὰ μεμίχθω παντὶ ῥυθμῷ, μάλιστα -ἰαμβικῷ καὶ τροχαϊκῷ (Isocr. <i>Tech.</i> fr. 6 -Benseler-Blass).</p> - -<p>5. <b>ἐκβήσεται ... τὸν αὑτῆς χαρακτῆρα</b>: -cp. the construction of <i>excedere</i> -and <i>egredi</i> with the accusative.</p> - -<p>6. ἔμμετρον is given not only by E -but by Joannes Sicel. (Walz <i>Rhett. Gr.</i> -vi. 165. 28) and by Maximus Planudes -(<i>ibid.</i> v. 473. 4) καὶ Διονύσιος δέ φησιν, -ἀπόχρη τὴν πολιτικὴν λέξιν εὔρυθμον εἶναι -καὶ ἔμμετρον.</p> - -<p>17. Cp. Cic. <i>de Orat.</i> 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.”</p> - -<p>25. The reference is to Aristot. <i>Rhet.</i> -iii. 8 (the passage of which part is -quoted in the note on l. 4 <i>supra</i>).</p> - -<p>27. <b>τοιαύτη</b>: 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 = <i>talis fere</i>).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_256" id="Page_256">[256-7]</a></span></p> - -<p> -ὀνομάζει ῥυθμοὺς καὶ πῇ χρήσιμος ἕκαστος αὐτῶν καταφαίνεται,<br /> -καὶ λέξεις παρατίθησί τινας αἷς πειρᾶται βεβαιοῦν<br /> -τὸν λόγον. χωρὶς δὲ τῆς Ἀριστοτέλους μαρτυρίας, ὅτι ἀναγκαῖόν<br /> -ἐστιν ἐμπεριλαμβάνεσθαί τινας τῇ πεζῇ λέξει ῥυθμούς,<br /> -εἰ μέλλοι τὸ ποιητικὸν ἐπανθήσειν αὐτῇ κάλλος, ἐκ τῆς πείρας 5<br /> -τις αὐτῆς γνώσεται.<br /> -<br /> -αὐτίκα ὁ κατὰ Ἀριστοκράτους λόγος οὗ καὶ μικρῷ πρότερον<br /> -ἐμνήσθην ἄρχεται μὲν ἀπὸ κωμικοῦ στίχου τετραμέτρου δι’<br /> -ἀναπαίστων τῶν ῥυθμῶν ἐγκειμένου, λείπεται δὲ ποδὶ τοῦ<br /> -τελείου, παρ’ ὃ καὶ λέληθεν· “<em class="gesperrt">μηδεὶς ὑμῶν, ὦ ἄνδρες 10<br /> -Ἀθηναῖοι, νομίσῃ με</em>”· τοῦτο γὰρ εἰ προσλάβοι τὸ μέτρον<br /> -πόδα ἤτοι κατ’ ἀρχὰς ἢ διὰ μέσου ἢ ἐπὶ τελευτῆς, τέλειον<br /> -ἔσται τετράμετρον ἀναπαιστικόν, ὃ καλοῦσίν τινες Ἀριστοφάνειον·<br /> -</p> - -<p class="indent8"> -μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με παρεῖναι, 15<br /> -</p> - -<p> -ἴσον δὲ τῷ<br /> -</p> - -<p class="indent8"> -λέξω τοίνυν τὴν ἀρχαίαν παιδείαν ὡς διέκειτο.<br /> -</p> - -<p> -τάχα τις ἐρεῖ πρὸς ταῦτα, ὅτι οὐκ ἐξ ἐπιτηδεύσεως τοῦτο<br /> -ἀλλ’ ἐκ ταὐτομάτου ἐγένετο· πολλὰ γὰρ αὐτοσχεδιάζει μέτρα<br /> -ἡ φύσις. ἔστω τοῦτο ἀληθὲς εἶναι. ἀλλὰ καὶ τὸ συναπτόμενον 20<br /> -τούτῳ κῶλον, εἰ διαλύσειέ τις αὐτοῦ τὴν δευτέραν<br /> -συναλοιφὴν ἣ πεποίηκεν αὐτὸ ἄσημον ἐπισυνάπτουσα τῷ<br /> -τρίτῳ κώλῳ, πεντάμετρον ἐλεγειακὸν ἔσται συντετελεσμένον<br /> -τουτί<br /> -</p> - -<p class="indent8"> -μήτ’ ἰδίας ἔχθρας μηδεμιᾶς ἕνεκα<br /> -</p> - -<p> -ὅμοιον τούτοις<br /> -</p> - -<p class="indent8"> -κοῦραι ἐλαφρὰ ποδῶν ἴχνι’ ἀειράμεναι.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_257" id="Page_257">[257]</a></span></p> - -<p>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.</p> - -<p>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.”</p> - -<p class="indent8"> -Let none of you, O ye Athenians, think that I am standing before you,<br /> -</p> - -<p>corresponds to the line</p> - -<p class="indent8"> -Now then shall be told what in days of old was the fashion of boys’ education.<a name="FNanchor_185_185" id="FNanchor_185_185"></a><a href="#Footnote_185_185" class="fnanchor">[185]</a><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -Come with intent to indulge personal hate of my own,<br /> -</p> - -<p>similar to these words:—</p> - -<p class="indent8"> -Maidens whose feet in the dance lightly were lifted on high.<a name="FNanchor_186_186" id="FNanchor_186_186"></a><a href="#Footnote_186_186" class="fnanchor">[186]</a><br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>3 ἀναγκαῖον V γρ M: ἂν δίκαιον PM<sup>1</sup> 6 τ(ις) P, V: τῆς M 8 δι’ -MV: δι<sup>ς</sup> 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</p> - -<p>7. <b>πρότερον</b>: viz. <b><a href="#Page_252">252</a></b> 3 <i>supra.</i></p> - -<p>9. ἀναπαιστικῶν has been suggested -here and in <b><a href="#Page_260">260</a></b> 2; but cp. δάκτυλον πόδα -<b><a href="#Page_84">84</a></b> 21 and ῥυθμοῖς δακτύλοις <b><a href="#Page_202">202</a></b> 19.</p> - -<p>10. <b>παρ’ ὅ</b>: cp. note on <b><a href="#Page_80">80</a></b> 4 <i>supra.</i></p> - -<p>11. <b>νομίσῃ με</b>: this (together with -the other remarks that follow) confirms -the reading adopted in <b><a href="#Page_252">252</a></b> 4 -<i>supra.</i>—Dionysius’ metrical arrangement -of the clauses may be indicated -thus:—</p> - -<p class="indent8"> -μηδεὶς ὑμῶν, ὦ ἄνδρες Ἀθηναῖοι, νομίσῃ με<br /> -μήτ’ ἰδίας ἔχθρας μηδεμιᾶς ἕνεχ’<br /> -[ἥκειν Ἀριστοκράτους κατηγορήσοντα τουτουΐ,]<br /> -μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον ἁμάρτημα ἑτοίμως οὕτως ἐπὶ τούτῳ<br /> -προάγειν ἐμαυτὸν εἰς ἀπέχθειαν·<br /> -ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι [καὶ σκοπῶ,]<br /> -περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς<br /> -<span style="margin-left: 2.5em;">καὶ μὴ παρακρουσθέντας</span><br /> -<span style="margin-left: 4.5em;">ἀποστερηθῆναι πάλιν αὐτῆς,</span><br /> -[περὶ τούτου ἐστί μοι ἅπασα ἡ σπουδή.]<br /> -</p> - -<p>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.</p> - -<p>21. <b>διαλύσειε</b>: from this it is clear -that ἕνεχ’ (rather than ἕνεκα) should -be read in <b><a href="#Page_252">252</a></b> 5. The verse-arrangement -in line 25 <i>infra</i> shows the same -thing and also that we must not follow -F in reading μήτε (without elision) in -<b><a href="#Page_252">252</a></b> 4.</p> - -<p>27. For this line cp. Schneider’s <i>Callimachea</i> -pp. 789, 790, where it is classed -among the <i>Fragmenta Anonyma</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_258" id="Page_258">[258-9]</a></span></p> - -<p> -καὶ τοῦτ’ ἔτι κατὰ τὸν αὐτὸν ὑπολάβωμεν αὐτοματισμὸν ἄνευ<br /> -γνώμης γεγονέναι. ἀλλ’ ἑνὸς τοῦ μεταξὺ κώλου συγκειμένου<br /> -λεκτικῶς τοῦ “<em class="gesperrt">ἥκειν Ἀριστοκράτους κατηγορήσοντα<br /> -τουτουί</em>” τὸ συμπλεκόμενον τούτῳ πάλιν κῶλον ἐκ δυεῖν συνέστηκεν<br /> -μέτρων· “<em class="gesperrt">μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον 5<br /> -ἁμάρτημα, ἑτοίμως οὕτως ἐπὶ τούτῳ</em>”· εἰ γὰρ τὸ<br /> -Σαπφικόν τις ἐπιθαλάμιον τουτί<br /> -</p> - -<p class="indent8"> -οὐ γὰρ ἦν ἀτέρα πάϊς, ὦ γαμβρέ, τοιαύτα ‹ποτα›<br /> -</p> - -<p> -καὶ τοῦ κωμικοῦ τετραμέτρου, λεγομένου δὲ Ἀριστοφανείου<br /> -τουδί 10<br /> -</p> - -<p class="indent8"> -ὅτ’ ἐγὼ τὰ δίκαια λέγων ἦνθουν καὶ σωφροσύνη ’νενόμιστο<br /> -</p> - -<p> -τοὺς τελευταίους πόδας τρεῖς καὶ τὴν κατάληξιν ἐκλαβὼν<br /> -συνάψειε τοῦτον τὸν τρόπον<br /> -</p> - -<p class="indent8"> -οὐ γὰρ ἦν ἀτέρα πάϊς, ὦ γαμβρέ, τοιαύτα ‹ποτα› καὶ 15<br /> -<span class="marginleft4">σωφροσύνη ’νενόμιστο·</span><br /> -</p> - -<p> -οὐδὲν διοίσει τοῦ “<em class="gesperrt">μήτε μικρὸν ὁρῶντά τι καὶ φαῦλον<br /> -ἁμάρτημα, ἑτοίμως οὕτως ἐπὶ τούτῳ</em>.” τὸ δ’ ἀκόλουθον<br /> -ἴσον ἐστὶν ἰαμβικῷ τριμέτρῳ τὸν ἔσχατον ἀφῃρημένῳ πόδα<br /> -“<em class="gesperrt">προάγειν ἐμαυτὸν εἰς ἀπέχθειαν</em>”· τέλειον γὰρ ἔσται 20<br /> -πόδα προσλαβὸν καὶ γενόμενον τοιοῦτο<br /> -</p> - -<p class="indent8"> -προάγειν ἐμαυτὸν εἰς ἀπέχθειάν τινα.<br /> -</p> - -<p> -παρίδωμεν ἔτι καὶ ταῦτα ὡς οὐκ ἐξ ἐπιτηδεύσεως ἀλλ’<br /> -αὐτοματισμῷ γενόμενα; τί οὖν βούλεται πάλιν τὸ προσεχὲς<br /> -τούτῳ κῶλον; ἰαμβεῖον γάρ ἐστι καὶ τοῦτο τρίμετρον ὀρθόν 25<br /> -</p> - -<p class="indent8"> -ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὼ λογίζομαι,<br /> -</p> - -<p> -τοῦ <em class="gesperrt">ἄρα</em> συνδέσμου μακρὰν λαμβάνοντος τὴν πρότεραν συλλαβήν,<br /> -καὶ ἔτι γε, νὴ Δία, μέσου παρεμπεσόντος τοῦ “<em class="gesperrt">καὶ</em><br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_259" id="Page_259">[259]</a></span></p> - -<p>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—</p> - -<p class="indent8"> -For never another maiden there was, O son-in-law, like unto<br /> -<span class="marginleft4">this one,<a name="FNanchor_187_187" id="FNanchor_187_187"></a><a href="#Footnote_187_187" class="fnanchor">[187]</a></span><br /> -</p> - -<p>and were also to take the last three feet and the termination of -the following comic tetrameter, the so-called “Aristophanic”</p> - -<p class="indent8"> -When of righteousness I was the popular preacher, and temperance<br /> -<span class="marginleft4">was in fashion,<a name="FNanchor_188_188" id="FNanchor_188_188"></a><a href="#Footnote_188_188" class="fnanchor">[188]</a></span><br /> -</p> - -<p>and then were to unite them thus—</p> - -<p class="indent8"> -οὐ γὰρ ἦν ἀτέρα πάις, ὦ γαμβρέ, τοιαύτα ‹ποτα› καὶ σωφροσύνη<br /> -<span class="marginleft4">’νενόμιστο,</span><br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -προάγειν ἐμαυτὸν εἰς ἀπέχθειάν τινα.<br /> -</p> - -<p>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—</p> - -<p class="indent8"> -ἀλλ’ εἴπερ ἆρ’ ὀρθῶς ἐγὸ λογίζομαι,<br /> -</p> - -<p>if the connective ἄρα has its first syllable made long, and if -further—by your leave!—the words καὶ σκοπῶ are regarded as</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>8. ‘For no other girl, O bridegroom, -was like unto her.’—Usener’s insertion -of <b>ποτα</b>, here and in l. 15 <i>infra</i>, 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.</p> - -<p>26. The scansion here supports those -manuscripts which give ἆρ’ in <b><a href="#Page_252">252</a></b> 8.</p> - -<p>For <b>ἆρα</b> as being “in Poets sometimes -much like ἄρα” see L. & S. s.v. -(with the examples there quoted).</p> - -<p>28. <b>νὴ Δία</b>: cp. μὰ Δία in <b><a href="#Page_260">260</a></b> 25. -The general sense of the passage is well -brought out in the Epitome: καὶ ἔτι τὸ -“καὶ σκοπῶ” παρεμπεσὸν ἐπισκοτούμενον -τὸ μέτρον ἠφάνισε.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_260" id="Page_260">[260-1]</a></span></p> - -<p> -<em class="gesperrt">σκοπῶ</em>,” ὑφ’ οὗ δὴ τὸ μέτρον ἐπισκοτούμενον ἠφάνισται. τὸ<br /> -δ’ ἐπὶ τούτῳ παραλαμβανόμενον κῶλον ἐξ ἀναπαίστων σύγκειται<br /> -ῥυθμῶν καὶ προάγει μέχρι ποδῶν ὀκτὼ τὸ αὐτὸ σχῆμα<br /> -διασῷζον<br /> -</p> - -<p class="indent8"> -περὶ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ μὴ παρακρουσθέντας, 5<br /> -</p> - -<p> -ὁμοίον τῷ παρ’ Εὐριπίδῃ τῷδε<br /> -</p> - -<p class="indent8"> -βασιλεῦ χώρας τῆς πολυβώλου<br /> -Κισσεῦ, πεδίον πυρὶ μαρμαίρει.<br /> -</p> - -<p> -καὶ τὸ μετὰ τοῦτο πάλιν κείμενον τοῦ αὐτοῦ κώλου μέρος 10<br /> -τουτί “<em class="gesperrt">ἀποστερηθῆναι πάλιν αὐτῆς</em>” ἰαμβικὸν τρίμετρόν<br /> -ἐστι ποδὶ καὶ ἡμίσει λειπόμενον· ἐγένετο δ’ ἂν τέλειον οὕτως<br /> -</p> - -<p class="indent8"> -ἀποστερηθῆναι πάλιν αὐτῆς ἐν μέρει.<br /> -</p> - -<p> -ταῦτ’ ἔτι φῶμεν αὐτοσχέδια εἶναι καὶ ἀνεπιτήδευτα, οὕτω<br /> -ποικίλα καὶ πολλὰ ὄντα; ἐγὼ μὲν οὐκ ἀξιῶ· καὶ γὰρ τὰ 15<br /> -ἑξῆς τούτοις ὅμοια εὑρεῖν ἔστι, πολλῶν καὶ παντοδαπῶν<br /> -ἀνάμεστα μέτρων τε καὶ ῥυθμῶν.<br /> -<br /> -ἀλλ’ ἵνα μὴ τοῦτον ὑπολάβῃ τις μόνον οὕτως αὐτῷ<br /> -κατεσκευάσθαι τὸν λόγον, ἑτέρου πάλιν ἅψομαι τοῦ πάνυ<br /> -ἡρμηνεῦσθαι δαιμονίως δοκοῦντος, τοῦ ὑπὲρ Κτησιφῶντος, ὃν 20<br /> -ἐγὼ κράτιστον ἀποφαίνομαι πάντων λόγων· ὁρῶ δὴ κἀν<br /> -τούτῳ μετὰ τὴν προσαγόρευσιν τῶν Ἀθηναίων εὐθέως τὸν<br /> -κρητικὸν ῥυθμόν, εἴτε ἄρα παιᾶνά τις αὐτὸν βούλεται καλεῖν<br /> -(διοίσει γὰρ οὐδέν), τὸν ἐκ πέντε συγκείμενον χρόνων, οὐκ<br /> -αὐτοσχεδίως μὰ Δία ἀλλ’ ὡς οἷόν τε μάλιστα ἐπιτετηδευμένως 25<br /> -δι’ ὅλου τοῦ κώλου πλεκόμενον τούτου<br /> -</p> - -<p class="indent8"> -<em class="gesperrt">τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις.</em><br /> -</p> - -<p> -οὐ τοιοῦτος μέντοι κἀκεῖνός ἐστιν ὁ ῥυθμός<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_261" id="Page_261">[261]</a></span></p> - -<p>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:—</p> - -<p class="indent8"> -πρὸ τοῦ Χερόνησον ἔχειν ἀσφαλῶς ὑμᾶς καὶ μὴ παρακρουσθέντας,<br /> -</p> - -<p>like to this in Euripides—</p> - -<p class="indent8"> -O King of the country with harvests teeming,<br /> -O Cisseus, the plain with a fire is gleaming.<a name="FNanchor_189_189" id="FNanchor_189_189"></a><a href="#Footnote_189_189" class="fnanchor">[189]</a><br /> -</p> - -<p>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—</p> - -<p class="indent8"> -ἀποστερηθῆναι πάλιν αὐτῆς ἐν μέρει.<br /> -</p> - -<p>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.</p> - -<p>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 <i>paeon</i> 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—</p> - -<p class="indent8"> -τοῖς θεοῖς εὔχομαι πᾶσι καὶ πάσαις.<a name="FNanchor_190_190" id="FNanchor_190_190"></a><a href="#Footnote_190_190" class="fnanchor">[190]</a><br /> -</p> - -<p>Is not the following rhythm of the same kind—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>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 <b><a href="#Page_258">258</a></b> 8 <i>supra</i>, -and also the reading λιποῦσ’ ἀνδρότητα -καὶ ἥβην in <i>Il.</i> 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.</p> - -<p>12. A comparison of this line with -<b><a href="#Page_256">256</a></b> 9 seems to confirm the conjecture -<b>λειπόμενον</b>, though λείπω is sometimes -intransitive.</p> - -<p>13. A rude iambic trimeter of the -colloquial kind: cp. <b><a href="#Page_258">258</a></b> 26 <i>supra</i>.</p> - -<p>26. The metrical analysis of the following -passage of Demosthenes should -be compared and contrasted with its -previous division into feet—on <b><a href="#Page_182">182</a></b> 17 ff.</p> - -<p>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 <b><a href="#Page_114">114</a></b> 20 -<i>supra</i>).—Demosthenes’ much-admired -exordium in the <i>Crown</i> may be compared -with the Homeric invocation—</p> - -<p class="indent8"> -κέκλυτέ μευ πάντες τε θεοί, πᾶσαί τε θέαιναι.<br /> -</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_262" id="Page_262">[262-3]</a></span></p> - -<p class="indent8"> -Κρησίοις ἐν ῥυθμοῖς παῖδα μέλψωμεν;<br /> -</p> - -<p> -ἐμοὶ γοῦν δοκεῖ· ἔξω γὰρ τοῦ τελευταίου ποδὸς τά γε ἄλλα<br /> -παντάπασιν ἴσα. ἔστω καὶ τοῦτο, εἰ βούλεταί τις, αὐτοσχέδιον·<br /> -ἀλλὰ καὶ τὸ συναπτόμενον τούτῳ κῶλον ἰαμβεῖόν<br /> -ἐστιν ὀρθόν, συλλαβῇ τοῦ τελείου δέον, ἵνα δὴ κἀνταῦθα 5<br /> -ἄσημον γένηται τὸ μέτρον, ἐπεὶ μιᾶς γε συλλαβῆς προστεθείσης<br /> -τέλειον ἔσται<br /> -</p> - -<p class="indent8"> -“<em class="gesperrt">ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ.</em>”<br /> -</p> - -<p> -κἄπειτα ὁ παιὰν ἢ ὁ κρητικὸς ἐκεῖνος ὁ πεντάχρονος ἥξει<br /> -ῥυθμὸς ἐν τοῖς ἑξῆς τούτοις “<em class="gesperrt">τῇ πόλει καὶ πᾶσιν ὑμῖν 10<br /> -τοσαύτην ὑπάρξαι μοι παρ’ ὑμῶν εἰς τουτονὶ τὸν<br /> -ἀγῶνα</em>.” τοῦτο γοῦν ἔοικεν, ὅ τι μὴ κατακλωμένους ἔχει<br /> -δύο πόδας ἐν ἀρχαῖς, κατὰ γοῦν τὰ ἄλλα πάντα τῷ παρὰ<br /> -Βακχυλίδῃ<br /> -</p> - -<p class="indent8"> -οὐχ ἕδρας ἔργον οὐδ’ ἀμβολᾶς, 15<br /> -<span class="marginleft1">ἀλλὰ χρυσαίγιδος Ἰτωνίας</span><br /> -χρὴ παρ’ εὐδαίδαλον ναὸν ἐλ-<br /> -<span class="marginleft1">θόντας ἁβρόν τι δεῖξαι.</span><br /> -</p> - -<p> -ὑφορῶμαί τινα πρὸς ταῦτα καταδρομὴν ἀνθρώπων τῆς<br /> -μὲν ἐγκυκλίου παιδείας ἀπείρων, τὸ δὲ ἀγοραῖον τῆς ῥητορικῆς 20<br /> -μέρος ὁδοῦ τε καὶ τέχνης χωρὶς ἐπιτηδευόντων, πρὸς οὓς<br /> -ἀναγκαῖον ἀπολογήσασθαι, μὴ δόξωμεν ἔρημον ἀφεικέναι τὸν<br /> -ἀγῶνα. ἐροῦσι δὴ ταῦτα· ὁ Δημοσθένης οὖν οὕτως ἄθλιος<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_263" id="Page_263">[263]</a></span></p> - -<p class="indent8"> -Cretan strains practising, Zeus’s son sing we?<a name="FNanchor_191_191" id="FNanchor_191_191"></a><a href="#Footnote_191_191" class="fnanchor">[191]</a><br /> -</p> - -<p>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—</p> - -<p class="indent8"> -ὅσην εὔνοιαν ἔχων ἐγὼ διατελῶ.<br /> -</p> - -<p>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:—</p> - -<p class="indent8"> -This is no time to sit still nor wait:<br /> -Unto yon carven shrine let us go,<br /> -Even gold-aegis’d Queen Pallas’ shrine,<br /> -And the rich vesture there show.<a name="FNanchor_192_192" id="FNanchor_192_192"></a><a href="#Footnote_192_192" class="fnanchor">[192]</a><br /> -</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>1. <b>ῥυθμοῖς</b>: with the first syllable -short, as (e.g.) in Aristoph. Nub. 638. -As already pointed out, the <i>lengthening</i> -of such syllables would be abnormal in -prose. Cp. <i>mediocriter</i> in the passage of -Cicero on p. <a href="#Page_251">251</a> <i>supra</i>.</p> - -<p>7. Dionysius can surely only mean -that we have here the <i>materials</i>, 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 <b><a href="#Page_182">182</a></b> 22 <i>supra</i> (see -note <i>ad loc.</i>), where the last, but not -the first, syllable of εὔνοιαν is represented -as doubtful.</p> - -<p>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-.</p> - -<p>14. See Long. <i>de Sublim.</i> xxxiii. 3 -for an estimate of <b>Bacchylides’</b> poetry -which has been confirmed by the general -character of the newly discovered poems -(first published by Kenyon in 1897).</p> - -<p>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 <i>ibid.</i>) may be consulted.</p> - -<p>19. <b>καταδρομήν</b>, ‘vehement attack,’ -‘invective.’ Used in this sense by -Aeschines and Polybius, as well as by -Dionysius (e.g. <i>de Thucyd.</i> 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.’</p> - -<p>22. <b>ἔρημον</b>: cp. <i>de Antiqq. Rom.</i> iv. 4 -ἐὰν δὲ ἐρήμους ἀφῶσιν (τὰς κρίσεις), and -iv. 11 <i>ibid.</i> τάς τε δίκας ἐρήμους ἐκλιπόντας.</p> - -<p>23. With this and the following pages -should be compared the later version -found in the <i>de Demosth.</i> cc. 51, 52. -There ἄθλιος (which in itself as a good -prose word, used frequently by Demosthenes -himself as well as by Dionysius -<b><a href="#Page_94">94</a></b> 11 <i>supra</i>) 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. <i>Vit. Demosth.</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_264" id="Page_264">[264-5]</a></span></p> - -<p> -ἦν, ὥσθ’, ὅτε γράφοι τοὺς λόγους, μέτρα καὶ ῥυθμοὺς ὥσπερ<br /> -οἱ πλάσται παρατιθέμενος, ἐναρμόττειν ἐπειρᾶτο τούτοις τοῖς<br /> -τύποις τὰ κῶλα, στρέφων ἄνω καὶ κάτω τὰ ὀνόματα, καὶ<br /> -παραφυλάττων τὰ μήκη καὶ τοὺς χρόνους, καὶ τὰς πτώσεις<br /> -τῶν ὀνομάτων καὶ τὰς ἐγκλίσεις τῶν ῥημάτων καὶ πάντα τὰ 5<br /> -συμβεβηκότα τοῖς μορίοις τοῦ λόγου πολυπραγμονῶν; ἠλίθιος<br /> -μέντἂν εἴη εἰς τοσαύτην σκευωρίαν καὶ φλυαρίαν ὁ τηλικοῦτος<br /> -ἀνὴρ ἑαυτὸν διδούς. ταῦτα δὴ καὶ τὰ τούτοις παραπλήσια<br /> -κωμῳδοῦντας αὐτοὺς καὶ καταχλευάζοντας οὐ χαλεπῶς ἄν<br /> -τις ἀποκρούσαιτο ταῦτα εἰπών· πρῶτον μὲν ὅτι οὐδὲν ἄτοπον 10<br /> -ἦν, εἰ ‹ὁ› τοσαύτης δόξης ἠξιωμένος ἀνὴρ ὅσης οὐδεὶς τῶν<br /> -πρότερον ὀνομασθέντων ἐπὶ δεινότητι λόγων, ἔργα συνταττόμενος<br /> -αἰώνια καὶ διδοὺς ἑαυτὸν ὑπεύθυνον τῷ πάντα βασανίζοντι<br /> -φθόνῳ καὶ χρόνῳ ἐβουλήθη μηδὲν εἰκῇ μήτε πρᾶγμα παραλαμβάνειν<br /> -μήτ’ ὄνομα, πολλὴν δ’ ἀμφοῖν ἔχειν τούτων 15<br /> -πρόνοιαν τῆς τε ἐν τοῖς νοήμασιν οἰκονομίας καὶ τῆς εὐμορφίας<br /> -τῆς περὶ τὰ ὀνόματα, ἄλλως τε καὶ τῶν τότε ἀνθρώπων οὐ<br /> -γραπτοῖς ἀλλὰ γλυπτοῖς καὶ τορευτοῖς ἐοικότας ἐκφερόντων<br /> -λόγους, λέγω δὲ Ἰσοκράτους καὶ Πλάτωνος τῶν σοφιστῶν·<br /> -ὁ μὲν γὰρ τὸν πανηγυρικὸν λόγον, ὡς οἱ τὸν ἐλάχιστον 20<br /> -χρόνον γράφοντες ἀποφαίνουσιν, ἐν ἔτεσι δέκα συνετάξατο, ὁ<br /> -δὲ Πλάτων τοὺς ἑαυτοῦ διαλόγους κτενίζων καὶ βοστρυχίζων<br /> -καὶ πάντα τρόπον ἀναπλέκων οὐ διέλειπεν ὀγδοήκοντα<br /> -γεγονὼς ἔτη· πᾶσι γὰρ δήπου τοῖς φιλολόγοις γνώριμα τὰ<br /> -περὶ τῆς φιλοπονίας τἀνδρὸς ἱστορούμενα τά τε ἄλλα καὶ 25<br /> -δὴ καὶ τὰ περὶ τὴν δέλτον, ἣν τελευτήσαντος αὐτοῦ λέγουσιν<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_265" id="Page_265">[265]</a></span></p> - -<p>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 <i>Panegyric</i>, -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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>4. <b>τὰ μήκη</b>: 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.</p> - -<p>6. <b>ἠλίθιος</b>: a slight word-play on -ἄθλιος in <b><a href="#Page_262">262</a></b> 23 <i>supra</i> may be intended.</p> - -<p>14. <b>φθόνῳ καὶ χρόνῳ</b>: 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 <i>C.V.</i> (cp. note on <b><a href="#Page_64">64</a></b> 11 -<i>supra</i>). 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.</p> - -<p>18. <b>γραπτοῖς</b>, ‘mere mechanical writing,’ -‘scratching,’ ‘scribbling.’</p> - -<p>21. For this period of ten years cp. -Long. <i>de Sublim.</i> 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 <i>C.V.</i> in mind.</p> - -<p>26. <b>δέλτον</b>, ‘tablet’: originally so -called because of its delta-like, or triangular, -shape.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_266" id="Page_266">[266-7]</a></span></p> - -<p> -εὑρεθῆναι ποικίλως μετακειμένην τὴν ἀρχὴν τῆς Πολιτείας<br /> -ἔχουσαν τήνδε “Κατέβην χθὲς εἰς Πειραιᾶ μετὰ Γλαύκωνος<br /> -τοῦ Ἀρίστωνος.” τί οὖν ἦν ἄτοπον, εἰ καὶ Δημοσθένει<br /> -φροντὶς εὐφωνίας τε καὶ ἐμμελείας ἐγένετο καὶ τοῦ μηδὲν<br /> -εἰκῇ καὶ ἀβασανίστως τιθέναι μήτε ὄνομα μήτε νόημα; πολύ 5<br /> -τε γὰρ μᾶλλον ἐμοὶ δοκεῖ προσήκειν ἀνδρὶ κατασκευάζοντι<br /> -λόγους πολιτικοὺς μνημεῖα τῆς ἑαυτοῦ δυνάμεως αἰώνια μηδενὸς<br /> -τῶν ἐλαχίστων ὀλιγωρεῖν, ἢ ζῳγράφων τε καὶ τορευτῶν<br /> -παισὶν ἐν ὕλῃ φθαρτῇ χειρῶν εὐστοχίας καὶ πόνους ἀποδεικνυμένοις<br /> -περὶ τὰ φλέβια καὶ τὰ πτίλα καὶ τὸν χνοῦν καὶ 10<br /> -τὰς τοιαύτας μικρολογίας κατατρίβειν τῆς τέχνης τὴν ἀκρίβειαν.<br /> -τούτοις τε δὴ τοῖς λόγοις χρώμενος δοκεῖ μοί τις ἂν οὐδὲν<br /> -ἔξω τοῦ εἰκότος ἀξιοῦν καὶ ἔτι ἐκεῖνα εἰπών, ὅτι μειράκιον<br /> -μὲν ὄντα καὶ νεωστὶ τοῦ μαθήματος ἁπτόμενον αὐτὸν οὐκ<br /> -ἄλογον πάντα περισκοπεῖν, ὅσα δυνατὰ ἦν εἰς ἐπιτήδευσιν 15<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_267" id="Page_267">[267]</a></span></p> - -<p>death, with the beginning of the <i>Republic</i> (“I went down -yesterday to the Piraeus together with Glaucon the son of -Ariston”<a name="FNanchor_193_193" id="FNanchor_193_193"></a><a href="#Footnote_193_193" class="fnanchor">[193]</a>) 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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>3 Ἀρίστωνος] κεφάλου P 4 εὐμελείας M<sup>1</sup> 5 εἰκῆι P || νόημα -Schaeferus (dittographiam suspicatus et coll. <b><a href="#Page_264">264</a></b> 16, <b><a href="#Page_66">66</a></b> -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</p> - -<p>2. Demetrius (<i>de Eloc.</i> § 21) calls -attention to the studied ease and intentional -laxity of the opening period -of the <i>Republic</i>: “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 <i>ibid.</i>). -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’ <i>Arma virum</i>, and -Cicero’s <i>O Tite</i>, i.e. the <i>De Senectute</i>, 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 -(<i>Inst. Or.</i> 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 [<i>ad Att.</i> vii. -3], ab eo doceri, an esset scribendum, -<i>ad Piraeea</i>, <i>in Piraeea</i>, an <i>in Piraeum</i>, -an <i>Piraeum sine praepositione</i>, impensius -rogabat. quae res etsi levior, et grammaticis -propria, patrem eloquentiae -temporibus etiam periculosissimis adeo -exercuit, ut haec verba, quae amicum -exstimularent, addiderit: <i>Si hoc mihi -ζήτημα persolveris, magna me molestia -liberaris.</i>” 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 <i>Letters</i> (ed. -Prothero) Nos. 247-255 and passim, and -Antoine Albalat’s <i>Le Travail du style -enseigné par les corrections manuscrites -des grands écrivains</i>, passim.</p> - -<p>8. <b>τῶν ἐλαχίστων</b>: an interesting -addition is made in the <i>de Demosth.</i> -c. 51 πολιτικὸς δ’ ἄρα δημιουργός, πάντας -ὑπεράρας τοὺς καθ’ αὑτὸν φύσει τε καὶ -πόνῳ, τῶν ἐλαχίστων τινὸς εἰς τὸ εὖ λέγειν, -<em class="gesperrt">εἰ δὴ καὶ ταῦτα ἐλάχιστα</em>, ὠλιγώρησε.</p> - -<p>9. ἐνδεικνυμένοις may perhaps be suggested -in place of <b>ἀποδεικνυμένοις</b>: cp. <i>de -Demosth.</i> 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. <i>Troad.</i> 811.</p> - -<p>10. <b>τὸν χνοῦν</b>: cp. Hor. <i>Ars P.</i> 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. <i>de Demosth.</i> -c. 38 χνοῦς ἀρχαιοπινής.</p> - -<p>11. <b>κατατρίβειν</b> κτλ. = κατατήκειν εἰς -ταῦτα τὰς τέχνας, <i>de Demosth.</i> c. 51.</p> - -<p>15. After <b>ἄλογον</b>, ἦν may be inserted -with Sauppe, who compares <i>de Demosth.</i> -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 -<i>C.V.</i> in order to avoid its repetition -with ὅσα δυνατὰ ἦν.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_268" id="Page_268">[268-9]</a></span></p> - -<p> -ἀνθρωπίνην πεσεῖν· ἐπειδὴ δὲ ἡ χρόνιος ἄσκησις ἰσχὺν<br /> -πολλὴν λαβοῦσα τύπους τινὰς ἐν τῇ διανοίᾳ παντὸς τοῦ<br /> -μελετωμένου καὶ σφραγῖδας ἐνεποίησεν, ἐκ τοῦ ῥᾴστου τε<br /> -καὶ ἀπὸ τῆς ἕξεως αὐτὰ ἤδη ποιεῖν. οἷόν τι γίνεται κἀν<br /> -ταῖς ἄλλαις τέχναις, ὧν ἐνέργειά τις ἢ ποίησις τὸ τέλος· 5<br /> -αὐτίκα οἱ κιθαρίζειν τε καὶ ψάλλειν καὶ αὐλεῖν ἄκρως εἰδότες<br /> -ὅταν κρούσεως ἀκούσωσιν ἀσυνήθους, οὐ πολλὰ πραγματευθέντες<br /> -ἀπαριθμοῦσιν αὐτὴν εὐθὺς ἐπὶ τῶν ὀργάνων ἅμα<br /> -νοήσει· μανθάνοντες δέ γε χρόνῳ τε πολλῷ καὶ πόνῳ τὰς<br /> -δυνάμεις τῶν φθόγγων ἀναλαμβάνουσιν, καὶ οὐκ εὐθὺς αἱ 10<br /> -χεῖρες αὐτῶν ἐν ἕξει τοῦ δρᾶν τὰ παραγγελλόμενα ἦσαν, ὀψὲ<br /> -δέ ποτε καὶ ὅτε ἡ πολλὴ ἄσκησις αὐταῖς εἰς φύσεως ἰσχὺν<br /> -κατέστησε τὸ ἔθος, τότε τῶν ἔργων ἐγένοντο ἐπιτυχεῖς. καὶ<br /> -τί δεῖ περὶ τῶν ἄλλων λέγειν; ὃ γὰρ ἅπαντες ἴσμεν, ἀπόχρη<br /> -καὶ πᾶσαν αὐτῶν διακόψαι τὴν φλυαρίαν. τί δ’ ἐστὶ τοῦτο; 15<br /> -τὰ γράμματα ὅταν παιδευώμεθα, πρῶτον μὲν τὰ ὀνόματα<br /> -αὐτῶν ἐκμανθάνομεν, ἔπειτα τοὺς τύπους καὶ τὰς δυνάμεις,<br /> -εἶθ’ οὕτω τὰς συλλαβὰς καὶ τὰ ἐν ταύταις πάθη, καὶ μετὰ<br /> -τοῦτο ἤδη τὰς λέξεις καὶ τὰ συμβεβηκότα αὐταῖς, ἐκτάσεις<br /> -τε λέγω καὶ συστολὰς καὶ προσῳδίας καὶ τὰ παραπλήσια 20<br /> -τούτοις· ὅταν δὲ τὴν τούτων ἐπιστήμην λάβωμεν, τότε<br /> -ἀρχόμεθα γράφειν τε καὶ ἀναγινώσκειν, κατὰ συλλαβὴν<br /> -‹μὲν› καὶ βραδέως τὸ πρῶτον· ἐπειδὰν δὲ ὁ χρόνος ἀξιόλογος<br /> -προσελθὼν τύπους ἰσχυροὺς αὐτῶν ἐν ταῖς ψυχαῖς<br /> -ἡμῶν ἐμποιήσῃ, τότε ἀπὸ τοῦ ῥᾴστου δρῶμεν αὐτὰ καὶ πᾶν 25<br /> -ὅ τι ἂν ἐπιδῷ τις βιβλίον ἀπταίστως διερχόμεθα ἕξει τε<br /> -καὶ τάχει ἀπίστῳ. τοιοῦτο δὴ καὶ περὶ τὴν σύνθεσιν τῶν<br /> -ὀνομάτων καὶ περὶ τὴν εὐέπειαν τῶν κώλων ὑποληπτέον<br /> -γίνεσθαι παρὰ τοῖς ἀθληταῖς τοῦ ἔργου. τοὺς δὲ τούτου<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_269" id="Page_269">[269]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 πεσεῖν EP: ἐλθεῖν MV 3 σφαγίδας P: σφραγίδας V 4 ᾔδει ποιεῖν E - 8 ἅμα Us.: ἀλλὰ PMV<sup>1</sup>: ἀλλὰ καὶ V<sup>2</sup> 21 δὲ EM: τε PV 23 μὲν inseruit -Sadaeus coll. comment. de Demosth. c. 52 || ἐπειδὰν E: ἐπεὶ PV: ἔπειτα -M 25 ποιήση EM<sup>1</sup>: ποιήσει PM<sup>2</sup>V 27 τοιοῦτο EM: τοιούτω P: τοιοῦτον -V 29 τοὺς ... ἀπείρους E: τοῖς ... ἀπείροις PMV</p> - -<p>3. <b>ἐκ τοῦ ῥᾴστου</b>: cp. ἀπὸ τοῦ ῥᾴστου -l. 25 <i>infra</i>.</p> - -<p>5. Dionysius is thinking of Aristot. -<i>Eth. Nic.</i> 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.</p> - -<p>8. If ἀλλὰ νοήσει be retained, the -meaning will be ‘not with much trouble, -but by means of their acquired skill.’ -But <b>ἅμα νοήσει</b> derives support from -the parallel passages in <i>de Demosth.</i> -c. 52 ἅμα νοήσει [νοήσει Sylburg, for -the manuscript reading νοήσεις] and -ὥστε ἅμα νοήσει κεκριμένον τε καὶ ἄπταιστον -αὐτῆς εἶναι τὸ ἔργον.</p> - -<p>16. Referring to this description in the -<i>Cambridge Companion to Greek Studies</i> -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.”</p> - -<p>26. <b>ἀπταίστως</b>: Usener reads ἀπταίστῳ. -But the adverb goes better with -διερχόμεθα than the adjective would with -ἕξει τε καὶ τάχει. Cp. <i>de Demosth.</i> c. 51 -(the later version of the present passage) -ἀπταίστως τε καὶ κατὰ πολλὴν εὐπέτειαν, -and Plato <i>Theaet.</i> 144 <span class="smcap">B</span> 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 <i>de Demosth.</i> c. 20).</p> - -<p>29. <b>ἀθληταῖς</b>: cp. <i>de Demosth.</i> c. 18 -καίτοι γε τοῖς ἀθληταῖς τῆς ἀληθινῆς λέξεως -ἰσχυρὰς τὰς ἁφὰς προσεῖναι δεῖ καὶ ἀφύκτους -τὰς λαβάς, and <i>de Isocr.</i> c. 11 fin.; -also δεινοὺς ἀγωνιστάς <b><a href="#Page_282">282</a></b> 3 <i>infra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_270" id="Page_270">[270-1]</a></span></p> - -<p> -ἀπείρους ἢ ἀτριβεῖς ἔργου ὁτουοῦν θαυμάζειν καὶ ἀπιστεῖν,<br /> -εἴ τι κεκρατημένως ὑφ’ ἑτέρου γίνεται διὰ τέχνης, οὐκ ἄλογον.<br /> -πρὸς μὲν οὖν τοὺς εἰωθότας χλευάζειν τὰ παραγγέλματα τῶν<br /> -τεχνῶν ταῦτα εἰρήσθω.<br /> -</p> - -<h3>XXVI</h3> - -<p> -περὶ δὲ τῆς ἐμμελοῦς τε καὶ ἐμμέτρου συνθέσεως τῆς 5<br /> -ἐχούσης πολλὴν ὁμοιότητα πρὸς τὴν πεζὴν λέξιν τοιαῦτά<br /> -τινα λέγειν ἔχω, ὡς πρώτη μέν ἐστιν αἰτία κἀνταῦθα τὸν<br /> -αὐτὸν τρόπον ὅνπερ ἐπὶ τῆς ἀμέτρου ποιητικῆς ἡ τῶν ὀνομάτων<br /> -αὐτῶν ἁρμογή, δευτέρα δὲ ἡ τῶν κώλων σύνθεσις, τρίτη<br /> -δὲ ἡ τῶν περιόδων συμμετρία. τὸν δὴ βουλόμενον ἐν τούτῳ 10<br /> -τῷ μέρει κατορθοῦν τὰ τῆς λέξεως μόρια δεῖ πολυειδῶς στρέφειν<br /> -τε καὶ συναρμόττειν καὶ τὰ κῶλα ἐν διαστήμασι ποιεῖν<br /> -συμμέτρως, μὴ συναπαρτίζοντα τοῖς στίχοις ἀλλὰ διατέμνοντα<br /> -τὸ μέτρον, ἄνισά τε ποιεῖν αὐτὰ καὶ ἀνόμοια, πολλάκις δὲ<br /> -καὶ εἰς κόμματα συνάγειν βραχύτερα κώλων, τάς τε περιόδους 15<br /> -μήτε ἰσομεγέθεις μήτε ὁμοιοσχήμονας τὰς γοῦν παρακειμένας<br /> -ἀλλήλαις ἐργάζεσθαι· ἔγγιστα γὰρ φαίνεται λόγοις<br /> -τὸ περὶ τοὺς ῥυθμοὺς καὶ τὰ μέτρα πεπλανημένον. τοῖς μὲν<br /> -οὖν τὰ ἔπη καὶ τοὺς ἰάμβους καὶ τὰ ἄλλα τὰ ὁμοειδῆ μέτρα<br /> -κατασκευάζουσιν οὐκ ἔξεστι πολλοῖς διαλαμβάνειν μέτροις ἢ 20<br /> -ῥυθμοῖς τὰς ποιήσεις, ἀλλ’ ἀνάγκη μένειν ἀεὶ ἐπὶ τοῦ αὐτοῦ<br /> -σχήματος· τοῖς δὲ μελοποιοῖς ἔξεστι πολλὰ μέτρα καὶ<br /> -ῥυθμοὺς εἰς μίαν ἐμβαλεῖν περίοδον· ὥσθ’ οἱ μὲν τὰ μονόμετρα<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_271" id="Page_271">[271]</a></span></p> - -<p>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.</p> - - - -<h4>CHAPTER XXVI<br /><br /> - -HOW VERSE CAN RESEMBLE PROSE</h4> - - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 ἀτριβεῖς Reiskius: ἀτριβέσιν libri 2 κεκρατημένως PM: κεκροτημένως -V 5 συνθήκης M 10 συμμετρία M: ἐμμετρία EPV 17 ἀλλήλαις EM: -ἀλλήλοις PV</p> - -<p>2. <b>κεκρατημένως</b>, ‘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.’</p> - -<p>5. For the relation of Verse to Prose -see Introduction, pp. <a href="#Page_33">33</a>-9.</p> - -<p>8. Other references to poetical prose -occur in <b><a href="#Page_208">208</a></b> 5, <b><a href="#Page_250">250</a></b> 10, 16 <i>supra</i>.</p> - -<p>13. <b>μὴ συναπαρτίζοντα τοῖς στίχοις</b>, -‘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 <i>enjambement</i>, 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 -<i>Athalie</i> 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 <b><a href="#Page_272">272</a></b> 4 <i>infra</i> -and, in English, Tennyson’s <i>Dora</i> and -Wordsworth’s <i>Michael</i>. 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 <i>Dora</i>: -“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” (<i>Odyss.</i> xv. 427-9) might -almost be an extract from a speech of -Lysias. Some remarkable examples of -<i>enjambement</i> (or ‘overflow’) might also -be quoted from Swinburne’s recent poem, -<i>The Duke of Gandia</i>.</p> - -<p>17. Cp. Cic. <i>de Orat.</i> i. 16. 70 “est -enim finitimus oratori poëta, numeris -astrictor paulo, verborum autem licentia -liberior, multis vero ornandi generibus -socius, ac paene par.”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_272" id="Page_272">[272-3]</a></span></p> - -<p> -συντιθέντες ὅταν διαλύσωσι τοὺς στίχους τοῖς κώλοις<br /> -διαλαμβάνοντες ἄλλοτε ἄλλως, διαχέουσι καὶ ἀφανίζουσι τὴν<br /> -ἀκρίβειαν τοῦ μέτρου, καὶ ὅταν τὰς περιόδους μεγέθει τε καὶ<br /> -σχήματι ποικίλας ποιῶσιν, εἰς λήθην ἐμβάλλουσιν ἡμᾶς τοῦ<br /> -μέτρου· οἱ δὲ μελοποιοὶ πολυμέτρους τὰς στροφὰς ἐργαζόμενοι 5<br /> -καὶ τῶν κώλων ἑκάστοτε πάλιν ἀνίσων τε ὄντων καὶ ἀνομοίων<br /> -ἀλλήλοις ἀνομοίους τε καὶ ἀνίσους ποιούμενοι τὰς διαιρέσεις,<br /> -δι’ ἄμφω δὲ ταῦτα οὐκ ἐῶντες, ἡμᾶς ὁμοειδοῦς ἀντίληψιν<br /> -λαβεῖν ῥυθμοῦ πολλὴν τὴν πρὸς τοὺς λόγους ὁμοιότητα κατασκευάζουσιν<br /> -ἐν τοῖς μέλεσιν, ἔνεστί τε καὶ τροπικῶν καὶ 10<br /> -ξένων καὶ γλωττηματικῶν καὶ τῶν ἄλλων ποιητικῶν ὀνομάτων<br /> -μενόντων ἐν τοῖς ποιήμασιν μηδὲν ἧττον αὐτὰ φαίνεσθαι<br /> -λόγῳ παραπλήσια.<br /> -<br /> -μηδεὶς δὲ ὑπολαμβανέτω με ἀγνοεῖν ὅτι κακία ποιήματος<br /> -ἡ καλουμένη λογοείδεια δοκεῖ τις εἶναι, μηδὲ καταγινωσκέτω 15<br /> -μου ταύτην τὴν ἀμαθίαν, ὡς ἄρα ἐγὼ κακίαν τινὰ ἐν ἀρεταῖς<br /> -τάττω ποιημάτων ἢ λόγων· ὡς δὲ ἀξιῶ διαιρεῖν κἀν τούτοις<br /> -τὰ σπουδαῖα ἀπὸ τῶν μηδενὸς ἀξίων, ἀκούσας μαθέτω. ἐγὼ<br /> -τοὺς λόγους τὸν μὲν ἰδιώτην ἐπιστάμενος ὄντα, τὸν ἀδολέσχην<br /> -τοῦτον λέγω καὶ φλύαρον, τὸν δὲ πολιτικόν, ἐν ᾧ τὸ πολὺ 20<br /> -κατεσκευασμένον ἐστὶ καὶ ἔντεχνον, ὅ τι μὲν ἂν τῶν ποιημάτων<br /> -ὅμοιον εὑρίσκω τῷ φλυάρῳ καὶ ἀδολέσχῃ, γέλωτος ἄξιον<br /> -τίθεμαι, ὅ τι δ’ ἂν τῷ κατεσκευασμένῳ καὶ ἐντέχνῳ, ζήλου<br /> -καὶ σπουδῆς ἐπιτήδειον τυχάνειν οἴομαι. εἰ μὲν οὖν<br /> -διαφόρου προσηγορίας τῶν λόγων ἑκάτερος ἐτύγχανεν, ἀκόλουθον 25<br /> -ἦν ἂν καὶ τῶν ποιημάτων ἃ τούτοις ἔοικεν διαφόροις<br /> -ὀνόμασι καλεῖν ἑκάτερον· ἐπειδὴ δὲ ὅ τε σπουδαῖος καὶ ὁ<br /> -τοῦ μηδενὸς ἄξιος ὁμοίως καλεῖται λόγος, οὐκ ἂν ἁμαρτάνοι<br /> -τις τὰ μὲν ἐοικότα τῷ καλῷ λόγῳ ποιήματα καλὰ ἡγούμενος,<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_273" id="Page_273">[273]</a></span></p> - -<p>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.</p> - -<p>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</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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. <b><a href="#Page_278">278</a></b> 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</p> - -<p>4. <b>εἰς λήθην ἐμβάλλουσιν</b>: the following -Epigram of Callimachus will illustrate -Dionysius’ meaning:—</p> - -<p class="indent8"> -ἠῷοι Μελάνιππον ἐθάπτομεν, ἠελίου δέ<br /> -<span class="marginleft1">δυομένου Βασιλὼ κάτθανε παρθενική</span><br /> -αὐτοχερί· ζώειν γὰρ ἀδελφεὸν ἐν πυρὶ θεῖσα<br /> -<span class="marginleft1">οὐκ ἔτλη. δίδυμον δ’ οἶκος ἐσεῖδε κακόν</span><br /> -πατρὸς Ἀριστίπποιο, κατήφησεν δὲ Κυρήνη<br /> -<span class="marginleft1">πᾶσα τὸν εὔτεκνον χῆρον ἰδοῦσα δόμον.</span><br /> -</p> - -<p>(The text is that of Wilamowitz-Moellendorff -<i>Callimachi Hymni et -Epigrammata</i> 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 <i>Eleg.</i> ii.)</p> - -<p>6. <b>ἑκάστοτε</b>: Upton here conjectures -ἑκάστης, Schaefer ἑκάστων.</p> - -<p>15. <b>τις</b> to be connected with κακία. -In the next line κακίαν τινά come close -together.</p> - -<p>19. <b>μαθέτω</b>: supply πᾶς τις, or the -like, from μηδείς in l. 14. Cp. Hor. -<i>Serm.</i> i. 1. 1 “qui fit, Maecenas, ut -nemo, quam sibi sortem | seu ratio -dederit seu fors obiecerit, illa | contentus -vivat, laudet diversa sequentes?”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_274" id="Page_274">[274-5]</a></span></p> - -<p> -τὰ δὲ τῷ μοχθηρῷ πονηρά, οὐδὲν ὑπὸ τῆς τοῦ λόγου ὁμοειδείας<br /> -ταραττόμενος. κωλύσει γὰρ οὐδὲν ἡ τῆς ὀνομασίας ὁμοιότης<br /> -κατὰ διαφόρων ταττομένης πραγμάτων τὴν ἑκατέρου φύσιν<br /> -ὁρᾶν.<br /> -<br /> -εἰρηκὼς δὴ καὶ περὶ τούτων, παραδείγματά σοι τῶν 5<br /> -εἰρημένων ὀλίγα θεὶς αὐτοῦ κατακλείσω τὸν λόγον. ἐκ μὲν<br /> -οὖν τῆς ἐπικῆς ποιήσεως ταῦτα ἀπόχρη·<br /> -</p> - -<p class="indent8"> -αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπόν·<br /> -</p> - -<p> -ἓν μὲν δὴ τοῦτο κῶλον. ἕτερον δὲ<br /> -</p> - -<p class="indent8"> -χῶρον ἀν’ ὑλήεντα 10<br /> -</p> - -<p> -ἔλαττόν τε τοῦ προτέρου καὶ δίχα τέμνον τὸν στίχον. τρίτον<br /> -δὲ τουτί<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10em;">δι’ ἄκριας</span><br /> -</p> - -<p> -ἔλαττον κώλου κομμάτιον. τέταρτον δὲ<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10em;">ᾗ οἱ Ἀθήνη 15</span><br /> -πέφραδε δῖον ὑφορβόν<br /> -</p> - -<p> -ἐξ ἡμιστιχίων δύο συγκείμενον καὶ τοῖς προτέροις οὐδὲν<br /> -ἐοικός. ἔπειτα τὸ τελευταῖον<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10em;">ὅ οἱ βιότοιο μάλιστα</span><br /> -κήδετο οἰκήων οὓς κτήσατο δῖος Ὀδυσσεύς 20<br /> -</p> - -<p> -ἀτελῆ μὲν τὸν τρίτον ποιοῦν στίχον, τοῦ δὲ τετάρτου τῇ<br /> -προσθήκῃ τὴν ἀκρίβειαν ἀφῃρημένον. ἔπειτ’ αὖθις<br /> -</p> - -<p class="indent8"> -τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον<br /> -</p> - -<p> -οὐ συνεκτρέχον οὐδὲ τοῦτο τῷ στίχῳ.<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10em;">ἔνθα οἱ αὐλὴ 25</span><br /> -ὑψηλὴ δέδμητο<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_275" id="Page_275">[275]</a></span></p> - -<p>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.</p> - -<p>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:—</p> - -<p class="indent8"> -But he from the haven went where the rugged pathway led.<a name="FNanchor_194_194" id="FNanchor_194_194"></a><a href="#Footnote_194_194" class="fnanchor">[194]</a><br /> -</p> - -<p>Here we have one clause. Observe the next—</p> - -<p class="indent8"> -Up the wooded land.<br /> -</p> - -<p>It is shorter than the other, and cuts the line in two. The -third is—</p> - -<p class="indent8"> -<span style="margin-left: 9.5em;">through the hills:</span><br /> -</p> - -<p>a segment still shorter than a clause. The fourth—</p> - -<p class="indent8"> -<span style="margin-left: 14.5em;">unto where Athene had said</span><br /> -That he should light on the goodly swineherd—<br /> -</p> - -<p>consists of two half-lines and is in no way like the former. Then -the conclusion—</p> - -<p class="indent8"> -<span style="margin-left: 14.5em;">the man who best</span><br /> -Gave heed to the goods of his lord, of the thralls that Odysseus<br /> -<span class="marginleft4">possessed,</span><br /> -</p> - -<p>which leaves the third line unfinished, while by the addition of -the fourth it loses all undue uniformity. Then again—</p> - -<p class="indent8"> -By the house-front sitting he found him,<br /> -</p> - -<p>where once more the words do not run out the full course of the -line.</p> - -<p class="indent8"> -<span style="margin-left: 10.5em;">there where the courtyard wall</span><br /> -Was builded tall.<br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>3. <b>κατὰ ... ταττομένης</b>: cp. Ven. A -Schol. on <i>Il.</i> xv. 347 ὅτι Ζηνόδοτος -γράφει <em class="gesperrt">ἐπισσεύεσθον</em>. συγχεῖται δὲ τὸ -δυϊκὸν κατὰ πλειόνων τασσόμενον.</p> - -<p>6. <b>αὐτοῦ</b>, ‘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 <b>κατακλείσω</b> cp. <i>Antiq. -Rom.</i> vii. 14 τελευτῶν δ’ ὁ Βροῦτος, εἰς -ἀπειλήν τινα τοιάνδε κατέκλεισε τὸν λόγον, -ὡς κτλ.</p> - -<p>7. In Latin, Bircovius well compares -Virg. <i>Aen.</i> i. 180-91.</p> - -<p>8. Dionysius’ point will be better -appreciated if the passage of the <i>Odyssey</i> -(xiv. 1-7) be given not bit by bit but -as a whole:—</p> - -<p class="indent8"> -αὐτὰρ ὅ γ’ ἐκ λιμένος προσέβη τρηχεῖαν ἀταρπὸν<br /> -χῶρον ἀν’ ὑλήεντα δι’ ἄκριας, ᾗ οἱ Ἀθήνη<br /> -πέφραδε δῖον ὑφορβόν, ὅ οἱ βιότοιο μάλιστα<br /> -κήδετο οἰκήων, οὓς κτήσατο δῖος Ὀδυσσεύς.<br /> -τὸν δ’ ἄρ’ ἐνὶ προδόμῳ εὗρ’ ἥμενον, ἔνθα οἱ αὐλὴ<br /> -ὑψηλὴ δέδμητο, περισκέπτῳ ἐνὶ χώρῳ,<br /> -καλή τε μεγάλῃ τε, περίδρομος.<br /> -</p> - - -<p>15. Compare (in Latin) the opening -of Terence’s <i>Phormio</i>, 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!”</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_276" id="Page_276">[276-7]</a></span></p> - -<p> -ἄνισον καὶ τοῦτο τῷ πρότερῳ. κἄπειτα ὁ ἑξῆς νοῦς ἀπερίοδος<br /> -ἐν κώλοις τε καὶ κόμμασι λεγόμενος· ἐπιθεὶς γὰρ<br /> -</p> - -<p class="indent8"> -περισκέπτῳ ἐνὶ χώρῳ,<br /> -</p> - -<p> -πάλιν ἐποίσει<br /> -</p> - -<p class="indent8"> -καλή τε μεγάλη τε 5<br /> -</p> - -<p> -βραχύτερον κώλου κομμάτιον, εἶτα<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10em;">περίδρομος</span><br /> -</p> - -<p> -ὄνομα καθ’ ἑαυτὸ νοῦν τινα ἔχον. εἶθ’ ἑξῆς τὰ ἄλλα τὸν<br /> -αὐτὸν κατασκευάσει τρόπον· τί γὰρ δεῖ μηκύνειν;<br /> -<br /> -ἐκ δὲ τῆς ποιήσεως τῆς ἰαμβικῆς τὰ παρ’ Εὐριπίδου 10<br /> -ταυτί<br /> -</p> - -<p class="indent8"> -Ὦ γαῖα πατρὶς ἣν Πέλοψ ὁρίζεται,<br /> -χαῖρ’,<br /> -</p> - -<p> -τὸ πρῶτον ἄχρι τούτου κῶλον.<br /> -</p> - -<p class="indent8"> -<span class="marginleft3">ὅς τε πέτραν Ἀρκάδων δυσχείμερον 15</span><br /> -‹Πὰν› ἐμβατεύεις<br /> -</p> - -<p> -τὸ δεύτερον μέχρι τοῦδε.<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10.5em;">ἔνθεν εὔχομαι γένος.</span><br /> -</p> - -<p> -τοῦτο τρίτον. τὰ μὲν πρότερα μείζονα στίχου, τοῦτο δὲ<br /> -ἔλαττον. 20<br /> -</p> - -<p class="indent8"> -Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ<br /> -τίκτει λαθραίως Ἡρακλεῖ·<br /> -</p> - -<p> -μετὰ τοῦτο<br /> -</p> - -<p class="indent8"> -<span style="margin-left: 10.5em;">ξύνοιδ’ ὄρος</span><br /> -Παρθένιον, 25<br /> -</p> - -<p> -οὐθέτερον αὐτῶν στίχῳ συμμετρούμενον. εἶτ’ αὖθις ἕτερον<br /> -στίχου τε ἔλαττον καὶ στίχου μεῖζον<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_277" id="Page_277">[277]</a></span></p> - -<p>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</p> - -<p class="indent8"> -In a place with a clear view round about,<br /> -</p> - -<p>we shall find him subjoining:</p> - -<p class="indent8"> -Massy and fair to behold,<br /> -</p> - -<p>which is a segment shorter than a clause. Next we find</p> - -<p class="indent8"> -Free on every side,<br /> -</p> - -<p>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?</p> - -<p>From iambic poetry may be taken these lines of Euripides:—</p> - -<p class="indent8"> -Fatherland, ta’en by Pelops in possession,<br /> -Hail!<a name="FNanchor_195_195" id="FNanchor_195_195"></a><a href="#Footnote_195_195" class="fnanchor">[195]</a><br /> -</p> - -<p>Thus far the first clause extends.</p> - -<p class="indent8"> -And thou, Pan, who haunt’st the stormy steeps<br /> -Of Arcady.<a href="#Footnote_195_195" class="fnanchor">[195]</a><br /> -</p> - -<p>So far the second extends.</p> - -<p class="indent8"> -Whereof I boast my birth.<a href="#Footnote_195_195" class="fnanchor">[195]</a><br /> -</p> - -<p>That is the third. The former are longer than a line; the last -is shorter.</p> - -<p class="indent8"> -Me Auge, Aleus’ daughter, not of wedlock<br /> -Bare to Tirynthian Heracles.<a href="#Footnote_195_195" class="fnanchor">[195]</a><br /> -</p> - -<p>And afterwards—</p> - -<p class="indent8"> -<span style="margin-left: 13em;">This knows</span><br /> -Yon hill Parthenian.<a href="#Footnote_195_195" class="fnanchor">[195]</a><br /> -</p> - -<p>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—</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 καὶ V: κατὰ PM 4 ἐποίει P 5 καλήν τε μεγάλην τε PM 9 μηκύνειν -P: μηκύνειν τὸν λόγον MV 10 παρ’ -εὐριπ<span class="interlined"><span class="interlinear">δ</span><span class="base">ι</span></span> -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: -στ<span class="interlined"><span class="interlinear">χ</span><span class="base">ι</span></span> -P: στίχον s 21 αὐγὴ M: αὐτὴ PV 24 ξύνοιδ’ s: ξύνοιδε P: ξυνοὶδὲ MV - 26 οὔθ’ ἕτερον PM: οὐδέτερον V</p> - -<p>12. <b>ὁρίζεται</b>: <i>sibi vindicat</i>, ‘annexes.’—The -fragment of Euripides, taken as a -whole, runs thus in Nauck’s collection:—</p> - -<p class="indent8"> -ὦ γαῖα πατρίς, ἣν Πέλοψ ὁρίζεται,<br /> -χαῖρ’, ὅς τε πέτρον Ἀρκάδων δυσχείμερον<br /> -‹Πὰν› ἐμβατεύεις, ἔνθεν εὔχομαι γένος.<br /> -Αὔγη γὰρ Ἀλέου παῖς με τῷ Τιρυνθίῳ<br /> -τίκτει λαθραίως Ἡρακλεῖ· ξύνοιδ’ ὄρος<br /> -Παρθένιον, ἔνθα μητέρ’ ὠδίνων ἐμὴν<br /> -ἔλυσεν Εἰλείθυια.<br /> -</p> - -<p>25. <b>Παρθένιον</b>: cp. Callim. <i>Hymn. in -Delum</i> 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.</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_278" id="Page_278">[278-9]</a></span></p> - -<p class="indent8"> -<span style="margin-left: 6em;">ἔνθα μητέρ’ ὠδίνων ἐμὴν</span><br /> -ἔλυσεν Εἰλείθυια<br /> -</p> - -<p> -καὶ τὰ ἑξῆς τούτοις παραπλήσια.<br /> -<br /> -ἐκ δὲ τῆς μελικῆς τὰ Σιμωνίδεια ταῦτα· γέγραπται δὲ<br /> -κατὰ διαστολὰς οὐχ ὧν Ἀριστοφάνης ἢ ἄλλος τις κατεσκεύασε 5<br /> -κώλων ἀλλ’ ὧν ὁ πεζὸς λόγος ἀπαιτεῖ. πρόσεχε δὴ τῷ μέλει<br /> -καὶ ἀναγίνωσκε κατὰ διαστολάς, καὶ εὖ ἴσθ’ ὅτι λήσεταί σε ὁ<br /> -ῥυθμὸς τῆς ᾠδῆς καὶ οὐχ ἕξεις συμβαλεῖν οὔτε στροφὴν οὔτε<br /> -ἀντίστροφον οὔτ’ ἐπῳδόν, ἀλλὰ φανήσεταί σοι λόγος εἷς<br /> -εἰρόμενος. ἔστι δὲ ἡ διὰ πελάγους φερομένη Δανάη τὰς 10<br /> -ἑαυτῆς ἀποδυρομένη τύχας·<br /> -</p> - -<p class="indent8"> -<span class="marginleft2">ὅτε λάρνακι ἐν δαιδαλέᾳ</span><br /> -ἄνεμός τε μιν πνέων ‹ἐφόρει›<br /> -κινηθεῖσά τε λίμνα,<br /> -δείματι ἤριπεν οὐκ ἀδιάντοισι παρειαῖς 15<br /> -ἀμφί τε Περσέϊ βάλλε φίλαν χέρα<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_279" id="Page_279">[279]</a></span></p> - -<p class="indent8"> -<span style="margin-left: 10.5em;">where the Travail-queen</span><br /> -From birth-pangs set my mother free.<a name="FNanchor_196_196" id="FNanchor_196_196"></a><a href="#Footnote_196_196" class="fnanchor">[196]</a><br /> -</p> - -<p>And similarly with the lines which follow these.</p> - -<p>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:—</p> - -<p class="indent8"> -<span class="marginleft1">And when, in the carved ark lying,</span><br /> -<span class="marginleft2">She felt it through darkness drifting</span><br /> -<span class="marginleft1">Before the drear wind’s sighing</span><br /> -<span class="marginleft2">And the great sea-ridges lifting,</span><br /> -She shuddered with terror, she brake into weeping,<br /> -And she folded her arms round Perseus sleeping;<br /> -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>4. Bircovius points out that Hor. -<i>Carm.</i> 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 <i>Rugby Chapel</i> 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, <i>gloom</i>, 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.</p> - -<p>5. <b>Aristophanes</b>: cp. note on <b><a href="#Page_218">218</a></b> 19 -<i>supra</i>.</p> - -<p>8. Compare, for example, the last -two stanzas, printed continuously, of -Tennyson’s <i>In Memoriam</i> 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.”</p> - -<p>11. <b>ἀποδυρομένη</b>: probably the <i>Danaë</i> -was a θρῆνος, and in any case it illustrates, -to the full, the “maestius lacrimis -Simonideis” of Catullus (<i>Carm.</i> xxxviii. -8), or Wordsworth’s “one precious, -tender-hearted scroll | Of pure <b>Simonides</b>.” -Cp. also <i>de Imitat.</i> 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.”</p> - -<p>12. Verse-translations of the <i>Danaë</i> will -be found also in J. A. Symonds’ <i>Studies -of the Greek Poets</i> i. 160, and in Walter -Headlam’s <i>Book of Greek Verse</i> pp. 49-51. -Headlam observes that the <i>Danaë</i> -is a passage extracted from a longer -poem, and that the best commentary on -it is Lucian’s <i>Dialogues of the Sea</i> 12. -Weir Smyth (<i>Greek Lyric Poetry</i> 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 (<i>Isyllos</i> -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, <i>R. M.</i> 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’ (<i>Philol.</i> 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 (<i>Jahresber. des -Lyceums zu Hannover</i>, 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.”</p> - -<p>15. <b>ἤριπεν</b> = ἐξεπλάγη (same sense as -Usener’s conjecture φρίττεν).</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_280" id="Page_280">[280-1]</a></span></p> - -<p class="indent8"> -εἶπέν τ’· ὦ τέκος,<br /> -οἷον ἔχω πόνον, σὺ δ’ ἀωτεῖς·<br /> -γαλαθηνῷ δ’ ἤθεϊ κνοώσσεις<br /> -ἐν ἀτερπέι δούρατι χαλκεογόμφῳ δίχα νυκτὸς ἀλαμπεῖ<br /> -κυανέῳ τε δνόφῳ σταλείς. 5<br /> -ἅλμαν δ’ ὕπερθεν τεᾶν κομᾶν βαθεῖαν<br /> -παριόντος κύματος οὐκ ἀλέγεις<br /> -οὐδ’ ἀνέμου φθόγγον, πορφυρέᾳ<br /> -κείμενος ἐν χλανίδι πρὸς κόλπῳ καλὸν πρόσωπον.<br /> -εἰ δέ τοι δεινὸν τό γε δεινὸν ἦν, 10<br /> -καί κεν ἐμῶν ῥημάτων λεπτὸν ὑπεῖχες οὖας·<br /> -κέλομαι, εὗδε βρέφος,<br /> -εὑδέτω δὲ πόντος, εὑδέτω ἄμετρον κακόν.<br /> -μεταβουλία δέ τις φανείη,<br /> -Ζεῦ πάτερ, ἐκ σέο· 15<br /> -ὅ τι δὴ θαρσαλέον ἔπος εὔχομαι<br /> -νόσφι δίκας, σύγγνωθί μοι.<br /> -</p> - -<p> -τοιαῦτά ἐστι τὰ ὅμοια τοῖς καλοῖς λόγοις μέτρα καὶ μέλη,<br /> -διὰ ταύτας γινόμενα τὰς αἰτίας ἃς προεῖπόν σοι.<br /> -<br /> -τοῦθ’ ἕξεις δῶρον ἡμέτερον, ὦ Ῥοῦφε, “πολλῶν ἀντάξιον 20<br /> -ἄλλων,” εἰ βουληθείης ἐν ταῖς χερσί τε αὐτὸ συνεχῶς ὥσπερ<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_281" id="Page_281">[281]</a></span></p> - -<p class="indent8"> -<span class="marginleft1">And “Oh my baby,” she moaned, “for my lot</span><br /> -<span class="marginleft1">Of anguish!—but thou, thou carest not:</span><br /> -Adown sleep’s flood is thy child-soul sweeping,<br /> -<span class="marginleft1">Though beams brass-welded on every side</span><br /> -<span class="marginleft1">Make a darkness, even had the day not died</span><br /> -<span class="marginleft1">When they launched thee forth at gloaming-tide.</span><br /> -<span class="marginleft1">And the surf-crests fly o’er thy sunny hair</span><br /> -<span class="marginleft1">As the waves roll past—thou dost not care:</span><br /> -<span class="marginleft1">Neither carest thou for the wind’s shrill cry,</span><br /> -<span class="marginleft1">As lapped in my crimson cloak thou dost lie</span><br /> -<span class="marginleft1">On my breast, little face so fair—so fair!</span><br /> -<span class="marginleft1">Ah, were these sights, these sounds of fear</span><br /> -<span class="marginleft1">Fearsome to thee, that dainty ear</span><br /> -<span class="marginleft1">Would hearken my words—nay, nay, my dear,</span><br /> -<span class="marginleft1">Hear them not thou! Sleep, little one, sleep;</span><br /> -<span class="marginleft1">And slumber thou, O unrestful deep!</span><br /> -<span class="marginleft1">Sleep, measureless wrongs; let the past suffice:</span><br /> -<span class="marginleft1">And oh, may a new day’s dawn arise</span><br /> -<span class="marginleft1">On thy counsels, Zeus! O change them now!</span><br /> -<span class="marginleft1">But if aught be presumptuous in this my prayer,</span><br /> -<span class="marginleft1">If aught, O Father, of sin be there,</span><br /> -<span style="margin-left: 12.5em;">Forgive it thou.”<a name="FNanchor_197_197" id="FNanchor_197_197"></a><a href="#Footnote_197_197" class="fnanchor">[197]</a></span><br /> -</p> - -<p>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.</p> - -<p>Here, then, Rufus, is my gift to you, which you will find -“outweigh a multitude of others,”<a name="FNanchor_198_198" id="FNanchor_198_198"></a><a href="#Footnote_198_198" class="fnanchor">[198]</a> if only you will keep it in -</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>1 τέκος Athen. ix. 396 <span class="smcap">E</span>: 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. <b><a href="#Page_90">90</a></b> 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</p> - -<p>4. <b>δίχα νυκτός</b>: cp. δίχα μελέτης τε -καὶ γυμνασίας (<b><a href="#Page_282">282</a></b> 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 <i>seeing</i> the waves, nor -of the wind ruffling the child’s hair, but -only of ἀνέμου φθόγγον—she <i>heard</i> 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).</p> - -<p>5. Schneidewin reads ταθείς.</p> - -<p>7. <b>ἀλέγεις</b>: rarely constructed with -the accusative case.</p> - -<p>11. <b>ἐμῶν ῥημάτων</b>: <i>constructio ad sensum</i> -with ὑπεῖχες οὖας (= ὑπήκουες).</p> - -<p>12. <b>εὗδε βρέφος</b>: 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—</p> - -<p class="indent8"> -εὕδετ’ ἐμὰ βρέφεα γλυκερὸν καὶ ἐγέρσιμον ὕπνον·<br /> -εὕδετ’ ἐμὰ ψυχά, δύ’ ἀδελφεώ, εὔσοα τέκνα·<br /> -ὄλβιοι εὐνάζοισθε καὶ ὄλβιοι ἀῶ ἵκοισθε.<br /> -</p> - -<p>20. From Hom. <i>Il.</i> xi. 514, 515—</p> - -<p class="indent8"> -ἰητρὸς γὰρ ἀνὴρ πολλῶν ἀντάξιος ἄλλων<br /> -ἰούς τ’ ἐκτάμνειν ἐπί τ’ ἤπια φάρμακα πάσσειν.<br /> -</p> - -<p class="indent8"> -‘For more than a multitude availeth the leech for our need,<br /> -When the shaft sticketh deep in the flesh, when the healing salve must be spread.’<br /> -</p> - -</div> <!-- end notes --> - -<hr /> - -<div class="new-parallel-page"><div class="greek-page" lang="grc" xml:lang="grc"> - -<p><span class="pagenum"><a name="Page_282" id="Page_282">[282-3]</a></span></p> - -<p> -τι καὶ ἄλλο τῶν πάνυ χρησίμων ἔχειν καὶ συνασκεῖν αὑτὸν<br /> -ταῖς καθ’ ἡμέραν γυμνασίαις. οὐ γὰρ αὐτάρκη τὰ παραγγέλματα<br /> -τῶν τεχνῶν ἐστι δεινοὺς ἀγωνιστὰς ποιῆσαι τοὺς βουλομένους<br /> -γε δίχα μελέτης τε καὶ γυμνασίας· ἀλλ’ ἐπὶ τοῖς<br /> -πονεῖν καὶ κακοπαθεῖν βουλομένοις κεῖται σπουδαῖα εἶναι τὰ 5<br /> -παραγγέλματα καὶ λόγου ἄξια ἢ φαῦλα καὶ ἄχρηστα.<br /> -</p> - -</div> <!-- end greek-page --> - -<div class="english-page"> - -<p><span class="pagenum2"><a name="Page_283" id="Page_283">[283]</a></span></p> - -<p>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.</p> - -</div> <!-- end english-page --> -</div> <!-- end new-parallel-page --> - -<div class="notes"> - -<p>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</p> - -<p>2. The training meant would consist -chiefly in that general reading of Greek -authors which is indicated in this treatise -or in the <i>de Imitatione</i>, 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.</p> - -<p>3. <b>ἀγωνιστάς</b>: cp. note on <b><a href="#Page_268">268</a></b> 29 -<i>supra</i> and Plato <i>Phaedr.</i> 269 <span class="smcap">D</span> 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.</p> - -<p>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 <i>Phaedrus</i>) Soph. <i>El.</i> 945 ὅρα· πόνου -τοι χωρὶς οὐδὲν εὐτυχεῖ: Eurip. <i>Fragm.</i> -432 τῷ γὰρ πονοῦντι χὠ θεὸς συλλαμβάνει: -Aristoph. <i>Ran.</i> 1370 ἐπίπονοί γ’ οἱ δεξιοί: -Cic. <i>de Offic.</i> i. 18. 60 “nec medici, nec -imperatores, nec oratores, quamvis artis -praecepta perceperint, quidquam magna -laude dignum sine usu et exercitatione -consequi possunt”: Quintil. <i>Inst. Or.</i> -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 <b><a href="#Page_264">264</a></b> -<i>supra</i>.</p> - -</div> <!-- end notes --> - -<hr /> - -<p><span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span></p> - -<h2 id="GLOSSARY">GLOSSARY</h2> - -<p>(<span class="smcap">Including Terms of Rhetoric, Grammar, Prosody, Music, -Phonetics, and Literary Criticism</span>)</p> - - -<p>In the Glossary, as in the Notes, the following abbreviations are used:—</p> - -<p> -Long. = ‘Longinus on the Sublime.’<br /> -D.H. = ‘Dionysius of Halicarnassus: the Three Literary Letters.’<br /> -Demetr. = ‘Demetrius on Style.’<br /> -</p> - - -<p class="hangingindent4a"><b>ἀγεννής.</b> <b><a href="#Page_90">90</a></b> 20, <b><a href="#Page_170">170</a></b> 9, etc. <i>Ignoble</i>, <i>mean</i>: in -reference to style. Lat. <i>ignobilis</i>, <i>degener</i>.</p> - -<p class="hangingindent4a"><b>ἀγοραῖος.</b> <b><a href="#Page_262">262</a></b> 20. <i>Vulgar</i>, <i>colloquial</i>, <i>mechanical</i>. Lat. <i>circumforaneus</i>, -<i>circulatorius</i>. Cp. Lucian <i>de conscrib. hist.</i> § 44 μήτε ἀπορρήτοις καὶ -ἔξω πάτου ὀνόμασι μήτε τοῖς ἀγοραίοις τούτοις καὶ καπηλικοῖς.</p> - -<p class="hangingindent4a"><b>ἀγχίστροφος.</b> <b><a href="#Page_212">212</a></b> 20. <i>Quick-changing</i>, <i>flexible</i>. Lat. <i>mutabilis</i>. 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.</p> - -<p class="hangingindent4a"><b>ἀγωγή.</b> <b><a href="#Page_68">68</a></b> 1, <i>training</i>. <b><a href="#Page_194">194</a></b> 9, <i>sequence</i>, <i>movement</i>. <b><a href="#Page_244">244</a></b> 24, <i>cast</i>, or -<i>tendency</i>. Cp. some uses of Lat. <i>ductus</i>. Other examples in D.H. -p. 184: to which may be added <i>de Isocr.</i> c. 12 and <i>de Thucyd.</i> c. 27; -Macran’s <i>Harmonics of Aristoxenus</i> 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 <b><a href="#Page_124">124</a></b> 10 the adjective <b>ἀγωγός</b> is used (as in Eurip. <i>Hec.</i> -536, <i>Troad.</i> 1131) with the genitive in the sense <i>provocative of</i>, -<i>conducive to</i>: cp. <i>de Demosth.</i> c. 55 ἃ δὴ τῶν τοιούτων ἔσται παθῶν -ἀγωγά. [In <i>Troad.</i> 1131 Dindorf, ed. v., gives ἀρωγός without -comment, against the <span class="smcap">MSS.</span>]</p> - -<p class="hangingindent4a"><b>ἀγών.</b> <b><a href="#Page_252">252</a></b> 2, <b><a href="#Page_262">262</a></b> 23. <i>Contest</i>, <i>pleading</i>, <i>trial</i>. Lat. <i>certamen</i>, <i>actio</i>. Cp. -Long. p. 194, D.H. p. 184, Demetr. p. 263.</p> - -<p class="hangingindent4a"><b>ἀδολέσχης.</b> <b><a href="#Page_272">272</a></b> 19, 22. <i>Garrulous.</i> Lat. <i>loquax</i>. Cp. Demetr. p. 263.</p> - -<p class="hangingindent4a"><b>ἀηδής.</b> <b><a href="#Page_100">100</a></b> 7, <b><a href="#Page_124">124</a></b> 19, etc. <i>Unpleasant</i>, <i>disagreeable</i>. Lat. <i>iniucundus</i>, -<i>molestus</i>. Similarly <b>ἀηδία</b>, <b><a href="#Page_132">132</a></b> 21, <b><a href="#Page_134">134</a></b> 14.</p> - -<p class="hangingindent4a"><b>ἀθρόος.</b> <b><a href="#Page_222">222</a></b> 2. <i>Compressed</i>, <i>concentrated</i>. Lat. <i>consertus</i>, <i>stipatus</i>. 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 <i>crowded together</i>. The sound of <i>p</i>, which is under discussion, -approaches whistling; and that is the maximum of breath-compression.</p> -<p><span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span></p> - -<p class="hangingindent4a"><b>αἵρεσις.</b> <b><a href="#Page_70">70</a></b> 15, <b><a href="#Page_198">198</a></b> 3, 8, <b><a href="#Page_246">246</a></b> 17. <i>School</i>, <i>following</i>. Lat. <i>secta</i>.</p> - -<p class="hangingindent4a"><b>αἴσθησις.</b> <b><a href="#Page_130">130</a></b> 17, <b><a href="#Page_134">134</a></b> 11, <b><a href="#Page_152">152</a></b> 15, <b><a href="#Page_218">218</a></b> 1. <i>Sense</i>, <i>perception</i>. Lat. <i>sensus</i>. -So <b>αἰσθητός</b>, <i>perceptible</i>, <b><a href="#Page_152">152</a></b> 22, <b><a href="#Page_206">206</a></b> 6, etc.; and <b>αἰσθητῶς</b>, <i>perceptibly</i>, -<b><a href="#Page_126">126</a></b> 20, <b><a href="#Page_202">202</a></b> 18.</p> - -<p class="hangingindent4a"><b>ἀκατάστροφος.</b> <b><a href="#Page_232">232</a></b> 1. <i>Without rounding or conclusion.</i> Lat. <i>idonei -exitus expers</i>. Used of a period which does not turn back upon itself—which -is, in fact, <i>not</i> a περίοδος. Cp. the use of εὐκαταστρόφως in -Demetr. <i>de Eloc.</i> § 10.</p> - -<p class="hangingindent4a"><b>ἀκατονόμαστος.</b> <b><a href="#Page_208">208</a></b> 25. <i>Unnamed</i>, <i>nameless</i>. Lat. <i>appellationis expers</i>.</p> - -<p class="hangingindent4a"><b>ἀκέραστος.</b> <b><a href="#Page_230">230</a></b> 18. <i>Unmixed</i>, or <i>incapable of mixture</i>. Lat. <i>non permixtus</i>, -<i>s. qui permisceri non potest</i>.</p> - -<p class="hangingindent4a"><b>ἀκοή.</b> <b><a href="#Page_70">70</a></b> 3, <b><a href="#Page_118">118</a></b> 23, <b><a href="#Page_146">146</a></b> 8, etc. <i>The sense of hearing</i>: ‘<i>the ear</i>.’ Lat. -<i>auditus</i>. So <b>ἀκρόασις</b>, <b><a href="#Page_116">116</a></b> 19, <b><a href="#Page_198">198</a></b> 8, etc.</p> - -<p class="hangingindent4a"><b>ἀκόλλητος.</b> <b><a href="#Page_218">218</a></b> 13. <i>Uncompacted</i>, or <i>incapable of being compacted</i>. Lat. -<i>non compactus</i>, <i>s. qui compingi non potest</i>.</p> - -<p class="hangingindent4a"><b>ἀκολουθία.</b> <b><a href="#Page_212">212</a></b> 22, <b><a href="#Page_232">232</a></b> 20, <b><a href="#Page_254">254</a></b> 17. <i>Sequence</i>, <i>the orderly progression -of words</i>. Lat. <i>consecutio</i>, <i>ordo</i>, <i>series</i>. ἐν πολλοῖς ὑπεροπτικὴ τῆς -ἀκολουθίας, <b><a href="#Page_212">212</a></b> 22 = <i>prone to anacolouthon</i>. Cp. Long. p. 102, D.H. -p. 184, Demetr. p. 263. Similarly <b>ἀκόλουθος</b> is used of <i>what follows -naturally</i>, <b><a href="#Page_130">130</a></b> 9, <b><a href="#Page_228">228</a></b> 17, etc.</p> - -<p class="hangingindent4a"><b>ἀκόμψευτος.</b> <b><a href="#Page_212">212</a></b> 23, <b><a href="#Page_232">232</a></b> 21. <i>Unadorned.</i> Lat. <i>incomptus</i>. Used of a -style which is <i>sans recherche</i>, <i>sans parure</i>. Cp. Cic. <i>Orat.</i> 24. 78 “nam -ut mulieres esse dicuntur non nullae inornatae, quas id ipsum deceat, -sic haec subtilis oratio etiam incompta delectat.”</p> - -<p class="hangingindent4a"><b>ἀκόρυφος.</b> <b><a href="#Page_230">230</a></b> 31. <i>Without a capital or beginning.</i> Lat. <i>sine fastigio</i>, <i>sine -initio</i>. Used of a period without a proper beginning and therefore -imperfectly rounded: whereas true periods are εὐκόρυφοι καὶ στρογγύλαι -ὥσπερ ἀπὸ τόρνου (<i>de Demosth.</i> c. 43).</p> - -<p class="hangingindent4a"><b>ἀκρίβεια.</b> <b><a href="#Page_118">118</a></b> 10, <b><a href="#Page_206">206</a></b> 8, <b><a href="#Page_266">266</a></b> 11, etc. <i>Exactitude</i>, <i>precision</i>, <i>finish</i>. Lat. -<i>perfectio</i>, <i>absolutio</i>, <i>subtilitas</i>. Used of an <i>ars exquisita</i>, a <i>style soigné</i>. -So <b>ἀκριβής</b> <b><a href="#Page_196">196</a></b> 15, and <b>ἀκριβοῦν</b> <b><a href="#Page_94">94</a></b> 14 and <b><a href="#Page_242">242</a></b> 9. Cp. D.H. p. -184, and Demetr. p. 264 (where the slightly depreciatory sense of -‘correctness,’ ‘nicety,’ is also illustrated: cp. <i>C.V.</i> <b><a href="#Page_274">274</a></b> 22).</p> - -<p class="hangingindent4a"><b>ἀκροστόμιον.</b> <b><a href="#Page_142">142</a></b> 17. <i>The edge of the mouth or lips.</i> Lat. <i>summum os</i>, -<i>labrorum margo</i>. Cp. <b><a href="#Page_148">148</a></b> 22 τῆς γλώττης ἄκρῳ τῷ στόματι προσερειδομένης -κατὰ τοὺς μετεώρους ὀδόντας.</p> - -<p class="hangingindent4a"><b>ἀκώλιστος.</b> <b><a href="#Page_234">234</a></b> 23. <i>Without members or clauses.</i> Lat. <i>sine membris</i>. Used -of a period not divided, or jointed, into clauses.</p> - -<p class="hangingindent4a"><b>ἀλήθεια.</b> <b><a href="#Page_198">198</a></b> 26. <i>Human experience.</i> Lat. <i>veritas vitae</i>, <i>usus rerum</i>, <i>vita</i>, -<i>usus</i>. The actual facts of life are meant, as opposed to the theories of -the schools. Cp. <i>de Isaeo</i> c. 18 ὅτι μοι δοκεῖ Λυσίας μὲν τὴν ἀλήθειαν -(‘the truth of nature,’ ‘a natural simplicity’) διώκειν μᾶλλον, Ἰσαῖος -δὲ τὴν τέχνην.</p> -<p><span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span></p> - -<p class="hangingindent4a"><b>ἄλογος.</b> <b><a href="#Page_66">66</a></b> 18, <b><a href="#Page_146">146</a></b> 14, <b><a href="#Page_152">152</a></b> 15, <b><a href="#Page_174">174</a></b> 2, 3, <b><a href="#Page_206">206</a></b> 13, <b><a href="#Page_244">244</a></b> 22. -<i>Irrational</i>; <i>unguided by reason</i>; <i>subconscious</i>; <i>incalculable</i>; <i>instinctive</i>; -<i>spontaneous</i>. Lat. <i>rationis expers</i>. With the use in <b><a href="#Page_146">146</a></b> 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 <b><a href="#Page_152">152</a></b> 15 and <b><a href="#Page_244">244</a></b> 22 cp. the use of “tacitus sensus” in -Cic. <i>de Orat.</i> iii. 195 “omnes enim tacito quodam sensu sine ulla -arte aut ratione quae sint in artibus ac rationibus recta ac prava -diiudicant” and <i>Orat.</i> 60. 203 “aures ipsae tacito eum (modum) -sensu sine arte definiunt”: see also <i>de Lysia</i> c. 11, <i>de Demosth.</i> -c. 24, <i>de Thucyd.</i> c. 27. For the doctrine of ἀλογία in relation -to metre see p. <a href="#Page_154">154</a> <i>supra</i> and Goodell <i>Greek Metric</i> pp. 109 ff. (with -references to Aristoxenus, Westphal, etc., pp. 150 ff.). The notion -of <i>incommensurability</i> 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.”</p> - -<p class="hangingindent4a"><b>ἀμεγέθης.</b> <b><a href="#Page_176">176</a></b> 11. <i>Wanting in size or dignity.</i> Lat. <i>exilis</i>. Cp. Long. -<i>de Sublim.</i> xl. 2 οὐκ ὄντες ὑψηλοὶ φύσει, μήποτε δὲ καὶ ἀμεγέθεις.</p> - -<p class="hangingindent4a"><b>ἄμετρος.</b> <b><a href="#Page_74">74</a></b> 4, <b><a href="#Page_176">176</a></b> 1, 21, etc. <i>Unmetred</i>, <i>unmetrical</i>. Lat. (<i>oratio</i>) <i>soluta</i>. -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 (<b><a href="#Page_272">272</a></b> 9, 13), δίχα μέτρου -(<b><a href="#Page_252">252</a></b> 20), λεκτικῶς (<b><a href="#Page_258">258</a></b> 3), etc. Cp. Plato <i>Rep.</i> 366 <span class="smcap">E</span>, 390 <span class="smcap">A</span>, etc.</p> - -<p class="hangingindent4a"><b>ἀμορφία.</b> <b><a href="#Page_184">184</a></b> 18, <b><a href="#Page_198">198</a></b> 10. <i>Unsightliness.</i> Lat. <i>deformitas</i>. So <b>ἄμορφος</b> -<b><a href="#Page_92">92</a></b> 16.</p> - -<p class="hangingindent4a"><b>ἄμουσος.</b> <b><a href="#Page_74">74</a></b> 11, <b><a href="#Page_122">122</a></b> 19. <i>Rude</i>, <i>uncultured</i>. Lat. <i>insulsus</i>, <i>illiteratus</i>, -<i>infacetus</i>.</p> - -<p class="hangingindent4a"><b>ἀμυδρός.</b> <b><a href="#Page_206">206</a></b> 22. <i>Faint</i>, <i>obscure</i>. Lat. <i>subobscurus</i>.</p> - -<p class="hangingindent4a"><b>ἀμφίβολος.</b> <b><a href="#Page_96">96</a></b> 17. <i>Ambiguous.</i> Lat. <i>dubius</i>, <i>ambiguus</i>, <i>qui in duos -pluresve sensus verti potest</i>.</p> - -<p class="hangingindent4a"><b>ἀμφίβραχυς.</b> <b><a href="#Page_172">172</a></b> 6, <b><a href="#Page_184">184</a></b> 11. <i>Amphibrachys.</i> The metrical foot ᴗ – ᴗ.</p> - -<p class="hangingindent4a"><b>ἀναβολή.</b> <b><a href="#Page_164">164</a></b> 5, <b><a href="#Page_220">220</a></b> 13. <i>Retardation.</i> Lat. <i>mora</i>, <i>intervallum</i>. So <b>ἀναβάλλειν</b> -<b><a href="#Page_180">180</a></b> 15, <b><a href="#Page_216">216</a></b> 18: cp. <i>de Demosth.</i> c. 54 (ταῦτ’ ἐσπευσμένως -εἰπέ, ταῦτ’ ἀναβεβλημένως), and c. 43.</p> - -<p class="hangingindent4a"><b>ἀναισθησία.</b> <b><a href="#Page_184">184</a></b> 21. <i>Insensibility</i>, <i>stupidity</i>. Lat. <i>stupor</i>. Compare -<b>ἀναίσθητος</b> <b><a href="#Page_190">190</a></b> 8, and see the editor’s <i>Ancient Boeotians</i> pp. 4-8.</p> - -<p class="hangingindent4a"><b>ἀνακοπή.</b> <b><a href="#Page_164">164</a></b> 5, <b><a href="#Page_230">230</a></b> 28, <b><a href="#Page_232">232</a></b> 16. <i>Stoppage</i>, <i>clashing</i>. Lat. <i>impedimentum</i>, -<i>offensio</i>. Fr. <i>refoulement</i>. Cp. <i>de Demosth.</i> c. 38, and also the verb -<b>ἀνακόπτειν</b> <b><a href="#Page_222">222</a></b> 9.</p> - -<p class="hangingindent4a"><b>ἀνάπαιστος.</b> <b><a href="#Page_172">172</a></b> 10, etc. <i>Anapaest.</i> The metrical foot ᴗ ᴗ –.</p> - -<p class="hangingindent4a"><b>ἀνάπαυλα.</b> <b><a href="#Page_196">196</a></b> 11. <i>Rest</i>, <i>pause</i>. Lat. <i>mora</i>, <i>intermissio</i>. The ‘reliefs’ -afforded by variety of structure, etc., are meant.</p> - -<p class="hangingindent4a"><b>ἀναπλέκειν.</b> <b><a href="#Page_264">264</a></b> 23. <i>To bind up the hair.</i> Lat. <i>caesariem reticulo colligere</i>.</p> - -<p class="hangingindent4a"><b>ἄναρθρος.</b> <b><a href="#Page_212">212</a></b> 21. <i>Without joints or articles.</i> Lat. <i>sine articulis</i>.</p> -<p><span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p> - -<p class="hangingindent4a"><b>ἀνδρώδης.</b> <b><a href="#Page_174">174</a></b> 17. <i>Manly, virile.</i> Lat. <i>virilis.</i> Cp. <i>de Demosth.</i> cc. 39, -43, and Quintil. v. 12. 18.</p> - -<p class="hangingindent4a"><b>ἀνέδραστος.</b> <b><a href="#Page_232">232</a></b> 4. <i>Unsteady.</i> Lat. <i>instabilis.</i> Used of a period which -has no proper base or termination. The opposite of ἑδραῖος (Demetr. -p. 277).</p> - -<p class="hangingindent4a"><b>ἀνεπιτήδευτος.</b> <b><a href="#Page_84">84</a></b> 3, <b><a href="#Page_212">212</a></b> 13, <b><a href="#Page_260">260</a></b> 14. <i>Unsought, unstudied.</i> Lat. <i>nullo -studio delectus, non exquisitus.</i> So <b>ἀνέκλεκτος</b> <b><a href="#Page_84">84</a></b> 3: <i>not picked with -care.</i></p> - -<p class="hangingindent4a"><b>ἄνεσις.</b> <b><a href="#Page_210">210</a></b> 5. <i>Loosening.</i> Lat. <i>remissio.</i> Cp. Plato <i>Rep.</i> i. 349 <span class="smcap">E</span> ἐν τῇ -ἐπιτάσει καὶ ἀνέσει τῶν χορδῶν πλεονεκτεῖν, and <b>ἀνίεται</b> <b><a href="#Page_126">126</a></b> 5.</p> - -<p class="hangingindent4a"><b>ἀνθηρός.</b> <b><a href="#Page_212">212</a></b> 22 (cp. <b><a href="#Page_208">208</a></b> 26, <b><a href="#Page_232">232</a></b> 25). <i>Florid.</i> Lat. <i>floridus.</i> Fr. -<i>fleuri.</i> 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.’</p> - -<p class="hangingindent4a"><b>ἀντίθετος.</b> <b><a href="#Page_246">246</a></b> 6. <i>Antithetic</i> (σχηματισμοὶ ... ἀντίθετοι). Cp. Demetr. -pp. 266, 267, s.v. ἀντίθεσις.</p> - -<p class="hangingindent4a"><b>ἀντιστηριγμός.</b> <b><a href="#Page_164">164</a></b> 6. <i>Resistance, stumbling-block.</i> Lat. <i>impedimentum, -obstaculum.</i> Cp. <i>de Demosth.</i> c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς -λαμβάνειν καὶ τραχύτητας ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων ἐπιστυφούσας -τὴν ἀκοὴν ἡσυχῇ [ἡ αὐστῆρα ἁρμονία] βούλεται.</p> - -<p class="hangingindent4a"><b>ἀντίστροφος.</b> <b><a href="#Page_174">174</a></b> 2, <b><a href="#Page_194">194</a></b> 6, 9, 11, <b><a href="#Page_278">278</a></b> 9. <i>Corresponding, counterpart.</i> -Lat. <i>respondens.</i> Frequently used by Dionysius of the second stanza -(ἀντιστροφή, <b><a href="#Page_254">254</a></b> 18), sung by the Chorus in its counter-movement. -Cp. schol. ad Aristoph. <i>Plut.</i> 253 μεταξὺ τῆς τε στροφῆς καὶ τῆς -ἀντιστρόφου: and <i>de Demosth.</i> c. 50 κἄπειτα πάλιν τοῖς αὐτοῖς -ῥυθμοῖς καὶ μέτροις ἐπὶ τῶν αὐτῶν στίχων ἢ περίοδων, ἃς ἀντιστρόφους -ὀνομάζουσι, χρωμένη.</p> - -<p class="hangingindent4a"><b>ἀντιτυπία.</b> <b><a href="#Page_202">202</a></b> 25, <b><a href="#Page_222">222</a></b> 17, <b><a href="#Page_224">224</a></b> 15, <b><a href="#Page_230">230</a></b> 6, 232 6, <b><a href="#Page_244">244</a></b> 25. <i>Repulsion, -clashing, dissonance.</i> Lat. <i>conflictio, asperitas.</i> So the adjective <b>ἀντίτυπος</b> -in <b><a href="#Page_162">162</a></b> 23, <b><a href="#Page_210">210</a></b> 20, etc. Hesychius, ἀντιτύποις· σκληροῖς.</p> - -<p class="hangingindent4a"><b>ἀντονομασία.</b> <b><a href="#Page_70">70</a></b> 19, <b><a href="#Page_102">102</a></b> 18. <i>Pronoun.</i> Lat. <i>pronomen.</i> In <b><a href="#Page_108">108</a></b> 14 -ἀντωνυμία is found; and this (the more usual) form should perhaps -be read throughout.</p> - -<p class="hangingindent4a"><b>ἀνωμαλία.</b> <b><a href="#Page_232">232</a></b> 19. <i>Unevenness.</i> Lat. <i>inaequalitas.</i> Fr. <i>inégalité.</i></p> - -<p class="hangingindent4a"><b>ἀξίωμα.</b> <b><a href="#Page_84">84</a></b> 1, <b><a href="#Page_120">120</a></b> 23, <b><a href="#Page_170">170</a></b> 2, <b><a href="#Page_174">174</a></b> 19. <i>Dignity.</i> Lat. <i>dignitas.</i> Fr. -<i>dignité.</i> In <b><a href="#Page_96">96</a></b> 16 the sense is <i>a proposition (pronuntiatum,</i> Cic. <i>Tusc.</i> -i. 7. 14; <i>enuntiatio,</i> Cic. <i>de Fato</i> 10. 20).—The adjective <b>ἀξιωματικός</b> -(‘dignified’) occurs in <b><a href="#Page_136">136</a></b> 11, <b><a href="#Page_168">168</a></b> 6, etc., and the adverb <b>ἀξιωματικῶς</b> -in <b><a href="#Page_176">176</a></b> 24.—In <b><a href="#Page_88">88</a></b> 13, <b><a href="#Page_186">186</a></b> 7, <b>ἀξίωσις</b> = <i>reputation, excellence.</i></p> - -<p class="hangingindent4a"><b>ἀπαγγελία.</b> <b><a href="#Page_204">204</a></b> 18. <i>Narration.</i> Lat. <i>narratio.</i> Sometimes the word is -used, like ἑρμηνεία, of style (<i>elocutio</i>) in general: cp. <i>de Demosth.</i> -c. 25, and Chrysostom (in a passage which, as revealing the pupil of -Libanius and as illustrating many things in the <i>C.V.</i>, 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 (<i>de Sacerdotio</i> iv. 6).—The verb -<b>ἀπαγγέλλειν</b> occurs in <b><a href="#Page_200">200</a></b> 9, 11.</p> -<p><span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span></p> - -<p class="hangingindent4a"><b>ἀπαρέμφατος.</b> <b><a href="#Page_102">102</a></b> 20. <i>Infinitive.</i> Lat. <i>infinitivus</i> (sc. <i>modus</i>). [The -infinitive, unlike the indicative and other moods, <i>does not indicate</i> -difference of meaning by means of inflexions denoting number and -person. Whence the Greek name: cp. παρεμφατικός, p. <a href="#Page_315">315</a> <i>infra.</i>]</p> - -<p class="hangingindent4a"><b>ἀπαριθμεῖν.</b> <b><a href="#Page_268">268</a></b> 8. <i>To recount</i>, <i>to run over</i>. Lat. <i>percensere</i>.</p> - -<p class="hangingindent4a"><b>ἀπαρτίζειν.</b> <b><a href="#Page_194">194</a></b> 16. <i>To round off</i>, <i>to complete</i>. Lat. <i>adaequare</i>, <i>absolvere</i>. -Cp. <i>de Demosth.</i> c. 50 καὶ μέτρα τὰ μὲν ἀπηρτισμένα καὶ τέλεια, τὰ δ’ -ἀτελῆ: <i>Ev. Luc.</i> xiv. 28 τίς γὰρ ἐξ ὑμῶν, θέλων πύργον οἰκοδομῆσαι, -οὐχὶ πρῶτον καθίσας ψηφίζει τὴν δαπάνην, εἰ ἔχει τὰ πρὸς ἀπαρτισμόν -(<i>completion</i>); So κατὰ ἀπαρτισμόν, in <b><a href="#Page_246">246</a></b> 18, means <i>completely, -absolutely, narrowly</i>. In <i>Classical Review</i> xxiii. 82, the present writer -has suggested that κατὰ ἀπαρτισμόν are the words missing in -<i>Oxyrhynchus Papyri</i> vi. 116, where Grenfell and Hunt give ἐν πλάτει -καὶ οὐ κ[.............]ν. θεωρητέα ἐστίν, or the like, may -have preceded: cp. <b><a href="#Page_152">152</a></b> 26 <i>supra</i> (and note).</p> - -<p class="hangingindent4a"><b>ἀπαρχαί.</b> <b><a href="#Page_76">76</a></b> 2. <i>Firstfruits.</i> Lat. <i>primitiae</i>. Used here in connexion with -the verb προχειρισάμενος, <i>cum delibavero</i>.</p> - -<p class="hangingindent4a"><b>ἀπατηλός.</b> <b><a href="#Page_236">236</a></b> 10. <i>Seductive.</i> Lat. <i>suavis et oblectans</i>, <i>illecebrosus</i>.</p> - -<p class="hangingindent4a"><b>ἀπερίγραφος.</b> <b><a href="#Page_232">232</a></b> 4. <i>Not circumscribed.</i> Lat. <i>nullis limitibus circumscriptus</i>.</p> - -<p class="hangingindent4a"><b>ἀπερίοδος.</b> <b><a href="#Page_234">234</a></b> 23, <b><a href="#Page_276">276</a></b> 1. <i>Without a period.</i> Lat. <i>periodo non absolutus</i>.</p> - -<p class="hangingindent4a"><b>ἀπευθύνειν.</b> <b><a href="#Page_130">130</a></b> 1. <i>To regulate.</i> Lat. <i>tamquam ad regulam dirigere</i>.</p> - -<p class="hangingindent4a"><b>ἀπηνής.</b> <b><a href="#Page_228">228</a></b> 15. <i>Crabbed</i>, <i>rugged</i>. Lat. <i>durus</i>.</p> - -<p class="hangingindent4a"><b>ἁπλοῦς.</b> <b><a href="#Page_144">144</a></b> 8, 17, <b><a href="#Page_176">176</a></b> 3. <i>Simple</i>, <i>uncompounded</i>. Lat. <i>simplex</i>.</p> - -<p class="hangingindent4a"><b>ἀποίητος.</b> <b><a href="#Page_70">70</a></b> 4. <i>In plain prose.</i> Lat. <i>prosaicus</i>. Cp. s.v. ἄμετρος.</p> - -<p class="hangingindent4a"><b>ἀποκλείειν.</b> <b><a href="#Page_144">144</a></b> 23. <i>To shut off</i>, <i>to intercept</i>. Lat. <i>intercludere</i>.</p> - -<p class="hangingindent4a"><b>ἀποκόπτειν.</b> <b><a href="#Page_142">142</a></b> 8, <b><a href="#Page_230">230</a></b> 19. <i>To cut short.</i> Lat. <i>rescindere</i>. So ἐξ -<b>ἀποκοπῆς</b> (<b><a href="#Page_142">142</a></b> 3) = <i>with a snap</i>, <i>abruptly</i>. See the exx. given, s.v. -ἀποκοπή, in Demetr. p. 268.</p> - -<p class="hangingindent4a"><b>ἀποκυματίζειν.</b> <b><a href="#Page_240">240</a></b> 22. <i>To ruffle.</i> Lat. <i>reddere inquietum</i>, <i>fluctibus agitare</i>.</p> - -<p class="hangingindent4a"><b>ἀπορριπίζειν.</b> <b><a href="#Page_144">144</a></b> 24, <b><a href="#Page_150">150</a></b> 1. <i>To blow away.</i> Lat. <i>flatu abigere</i>. In both -these passages there is some manuscript support for ἀπορραπίζειν. In -<b><a href="#Page_144">144</a></b> 24 the sense (with ἀπορραπιζούσης) would be ‘to send out the -breath in beats,’ ‘to cause the breath to vibrate.’</p> - -<p class="hangingindent4a"><b>ἀποτραχύνειν.</b> <b><a href="#Page_218">218</a></b> 9, <b><a href="#Page_230">230</a></b> 24. <b>To roughen.</b> Lat. <i>exasperare</i>.</p> - -<p class="hangingindent4a"><b>ἀργός.</b> <b><a href="#Page_210">210</a></b> 22. <i>Unwrought.</i> Lat. <i>rudis</i>. In <b><a href="#Page_250">250</a></b> 8 <b>ἀργία</b> is used for -‘idleness,’ with reference to the Epicurean attitude towards the refinements -of style.</p> - -<p class="hangingindent4a"><b>ἄρθρον.</b> <b><a href="#Page_70">70</a></b> 17. <i>Article.</i> Lat. <i>articulus</i>. See D.H. pp. 185, 186; -Demetr. p. 269. ἄρθρον (‘joint’) and σύνδεσμος (‘sinew’ or ‘ligament’) -are terms borrowed from anatomy.</p> -<p><span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span></p> - -<p class="hangingindent4a"><b>ἀριθμοί.</b> <b><a href="#Page_244">244</a></b> 27. <i>Numbers</i>, <i>cadences</i>. Lat. <i>numeri</i>, <i>numeri oratorii</i>. Cp. -<i>de Demosth.</i> c. 53 φέρε γὰρ ἐπιχειρείτω τις προφέρεσθαι τούσδε τοὺς -ἀριθμούς· Ὄλυνθον μὲν δὴ καὶ Μεθώνην κτλ. As Aristotle (<i>Rhet.</i> -iii. 8. 2) says, περαίνεται δὲ ἀριθμῷ πάντα· ὁ δὲ τοῦ σχήματος τῆς -λέξεως ἀριθμὸς ῥυθμός ἐστιν, οὗ καὶ τὰ μέτρα τμητά.</p> - -<p class="hangingindent4a"><b>ἀριστεῖα.</b> <b><a href="#Page_182">182</a></b> 12. <i>Lead</i>, <i>supremacy</i>. Lat. <i>primas</i> (<i>dare</i>).</p> - -<p class="hangingindent4a"><b>Ἀριστοφάνειος.</b> <b><a href="#Page_256">256</a></b> 13, <b><a href="#Page_258">258</a></b> 9. <i>Aristophanic.</i> Lat. <i>Aristophaneus</i>. The -reference is to the anapaestic tetrameter called ‘Aristophanic.’ -Hephaestion (<i>Ench.</i> c. 8) explains the term thus: κέκληται δὲ -Ἀριστοφάνειον, οὐκ Ἀριστοφάνους αὐτὸ εὑρόντος πρῶτον, ἐπεὶ καὶ -παρὰ Κρατίνῳ ἐστί·</p> - -<p class="indent8"> -<span class="marginleft8">χαίρετε δαίμονες οἳ Λεβάδειαν Βοιώτιον οὖθαρ ἀρούρης·</span><br /> - -ἀλλὰ διὰ τὸ τὸν Ἀριστοφάνην πολλῷ αὐτῷ κεχρῆσθαι.</p> - -<p class="hangingindent4a"><b>ἁρμογή.</b> <b><a href="#Page_112">112</a></b> 13, <b><a href="#Page_218">218</a></b> 9, <b><a href="#Page_236">236</a></b> 5, <b><a href="#Page_270">270</a></b> 9. <i>Junction</i>, <i>combination</i>. Lat. -<i>coagmentatio</i>.</p> - -<p class="hangingindent4a"><b>ἁρμονία.</b> <b><a href="#Page_72">72</a></b> 6, 9, <b><a href="#Page_74">74</a></b> 4, 10, 19, <b><a href="#Page_84">84</a></b> 9, 15, <b><a href="#Page_90">90</a></b> 5, <b><a href="#Page_94">94</a></b> 15, <b><a href="#Page_104">104</a></b> 19, <b><a href="#Page_114">114</a></b> 14, -17, <b><a href="#Page_116">116</a></b> 15, 20, <i>passim</i>. <i>Adjustment</i>, <i>arrangement</i>, <i>balance</i>, <i>harmonious -composition</i>. Lat. <i>apta structura</i>, <i>concinna orationis compositio</i>, <i>aptus -ordo partium inter se cohaerentium</i>. Fr. <i>enchaînement</i>. 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. <i>Rhet.</i> 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 (<i>Geogr.</i> 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. <a href="#Page_326">326</a> <i>infra</i>, and compare one of the -definitions of ‘harmony’ in the <i>New English Dictionary</i>: “pleasing -combination or arrangement of sounds, as in poetry or in speaking: -sweet or melodious sound.”—The verb ἁρμόττειν is found in <b><a href="#Page_98">98</a></b> 6, -<b><a href="#Page_104">104</a></b> 17, etc.</p> - -<p class="hangingindent4a"><b>ἀρρενικός.</b> <b><a href="#Page_106">106</a></b> 21. <i>Of the masculine gender.</i> Lat. <i>masculinus</i>.</p> - -<p class="hangingindent4a"><b>ἀρτηρία.</b> <b><a href="#Page_140">140</a></b> 21, <b><a href="#Page_142">142</a></b> 4, <b><a href="#Page_144">144</a></b> 5, 20, <b><a href="#Page_148">148</a></b> 17. <i>Windpipe.</i> Lat. <i>arteria</i>.</p> - -<p class="hangingindent4a"><b>ἀρχαϊσμός.</b> <b><a href="#Page_212">212</a></b> 23. <i>A touch of antiquity.</i> Lat. <i>sermonis prisci imitatio</i>. -Cp. <b>ἀρχαϊκός</b>, <b><a href="#Page_216">216</a></b> 20, <b><a href="#Page_228">228</a></b> 8. So <b>ἀρχαιοπρεπῆ</b> σχήματα (<b><a href="#Page_236">236</a></b> 8) = -<i>figurae orationis quae vetustatem redolent</i>. 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 <i>de Demosth.</i> c. 48.</p> -<p><span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span></p> - -<p class="hangingindent4a"><b>ἀρχαί.</b> <b><a href="#Page_136">136</a></b> 22, <b><a href="#Page_140">140</a></b> 13. <i>First beginnings.</i> Lat. <i>principia</i>.</p> - -<p class="hangingindent4a"><b>ἄσεμνος.</b> <b><a href="#Page_110">110</a></b> 20, <b><a href="#Page_170">170</a></b> 20, <b><a href="#Page_176">176</a></b> 12, <b><a href="#Page_192">192</a></b> 11. <i>Undignified.</i> Lat. <i>dignitatis -expers</i>, <i>minime venerandus</i>. Cp. D.H. p. 269.</p> - -<p class="hangingindent4a"><b>ἄσημος.</b> <b><a href="#Page_256">256</a></b> 22, <b><a href="#Page_262">262</a></b> 6. <i>Unnoticed.</i> Lat. <i>obscurus</i>.</p> - -<p class="hangingindent4a"><b>ἄσιγμος.</b> <b><a href="#Page_148">148</a></b> 1. <i>Without a sigma.</i> Lat. <i>carens littera sigma</i>.</p> - -<p class="hangingindent4a"><b>ᾆσμα.</b> <b><a href="#Page_196">196</a></b> 2. <i>Song</i>, <i>lay</i>. Lat. <i>carmen</i>, <i>canticum</i>.</p> - -<p class="hangingindent4a"><b>ἀσύμμετρος.</b> <b><a href="#Page_124">124</a></b> 8, <b><a href="#Page_236">236</a></b> 1. <i>Incommensurable</i>, <i>disproportionate</i>, <i>incorrect</i>. -Lat. <i>incommensurabilis</i>, <i>sine iusta proportione</i>, <i>inconcinnus</i>. So <b>ἀσυμμετρία</b> -<b><a href="#Page_232">232</a></b> 19. Some good illustrations (drawn from Cicero) of -<i>constructions symétriques</i> will be found in Laurand’s <i>Études sur le style -des discours de Cicéron</i> pp. 118-21.</p> - -<p class="hangingindent4a"><b>ἀσύμμικτος.</b> <b><a href="#Page_218">218</a></b> 12. <i>Unblended</i>, or <i>incapable of being blended</i>. Lat. <i>non -permixtus</i>, <i>s. qui permisceri non potest</i>.</p> - -<p class="hangingindent4a"><b>ἀσύμφωνος.</b> <b><a href="#Page_122">122</a></b> 23. <i>Out of tune.</i> Lat. <i>dissonus</i>.</p> - -<p class="hangingindent4a"><b>ἄτακτος.</b> <b><a href="#Page_156">156</a></b> 20, <b><a href="#Page_254">254</a></b> 16. <i>Disordered</i>, <i>irregular</i>. Lat. <i>perturbatus</i>, <i>nullo -ordine compositus</i>, <i>incompositus</i>.</p> - -<p class="hangingindent4a"><b>ἀτοπία.</b> <b><a href="#Page_130">130</a></b> 26. <i>Awkwardness</i>, <i>clumsiness</i>. Lat. <i>rusticitas</i>, <i>ineptia</i>.</p> - -<p class="hangingindent4a"><b>αὐθάδης.</b> <b><a href="#Page_228">228</a></b> 9. <i>Wilful</i>, <i>headstrong</i>, <i>unbending</i>. Lat. <i>ferox</i>, <i>pertinax</i>. Cp. -Long. <i>de Subl.</i> xxxii. 3 ὁ δὲ Δημοσθένης οὐχ οὕτως μὲν αὐθάδης -ὥσπερ οὗτος (sc. ὁ Θουκυδίδης), κτλ.</p> - -<p class="hangingindent4a"><b>αὐθέκαστος.</b> <b><a href="#Page_212">212</a></b> 23. <i>Outspoken</i>, <i>downright</i>. Lat. <i>rigidus</i>. In Plutarch’s -<i>Cato</i> c. 6 Cato is described as ἀπαραίτητος ὢν ἐν τῷ δικαίῳ καὶ τοῖς -ὑπὲρ τῆς ἡγεμονίας προστάγμασιν ὄρθιος καὶ αὐθέκαστος (cp. the -<i>rigida innocentia</i> attributed to him by Livy xxxix. 40. 10). In -Aristotle (<i>Eth. Nic.</i> iv. 7. 4) the αὐθέκαστος hits the mean between -the ἀλαζών and the εἴρων.</p> - -<p class="hangingindent4a"><b>αὐλός.</b> <b><a href="#Page_142">142</a></b> 2. <i>Passage</i>, <i>channel</i>. Lat. <i>meatus</i>.</p> - -<p class="hangingindent4a"><b>αὐστηρός.</b> <b><a href="#Page_208">208</a></b> 26, <b><a href="#Page_210">210</a></b> 15, <b><a href="#Page_216">216</a></b> 17, 21, <b><a href="#Page_228">228</a></b> 15, <b><a href="#Page_232">232</a></b> 22, <b><a href="#Page_248">248</a></b> 9. <i>Austere</i>, -<i>severe</i>. Lat. <i>severus</i> (cp. Quintil. ix. 4. 97, 120, 128). Compare the -antithetic expressions quoted from Dionysius in D.H. p. 186, and add -<i>de Demosth.</i> c. 38 init. Also see s.v. στρυφνός, p. <a href="#Page_323">323</a> <i>infra</i>.</p> - -<p class="hangingindent4a"><b>αὐτάρκης.</b> <b><a href="#Page_212">212</a></b> 17, <b><a href="#Page_282">282</a></b> 2. <i>Sufficient</i>, <i>self-sufficing</i>. Lat. <i>sufficiens</i>, <i>per se -sufficiens</i>.</p> - -<p class="hangingindent4a"><b>αὐτίκα.</b> <b><a href="#Page_98">98</a></b> 7, <b><a href="#Page_194">194</a></b> 2, <b><a href="#Page_256">256</a></b> 7, <b><a href="#Page_268">268</a></b> 6. <i>To begin with</i>, <i>for example</i>. Lat. -<i>exempli gratia</i>.</p> - -<p class="hangingindent4a"><b>αὐτόματος.</b> <b><a href="#Page_256">256</a></b> 19. <i>Self-acting</i>, <i>spontaneous</i>. Lat. <i>spontaneus</i>, <i>ultroneus</i>. -Cp. <b>αὐτομάτως</b> <b><a href="#Page_212">212</a></b> 12; <b>αὐτοματίζειν</b> <b><a href="#Page_204">204</a></b> 5; <b>αὐτοματισμός</b> <b><a href="#Page_218">218</a></b> 3, -<b><a href="#Page_258">258</a></b> 1, 24. In <b><a href="#Page_256">256</a></b> 19 ἐκ τοῦ αὐτομάτου = <i>sponte sua</i>, <i>fortuito</i>.</p> - -<p class="hangingindent4a"><b>αὐτοσχέδιος.</b> <b><a href="#Page_212">212</a></b> 1, <b><a href="#Page_260">260</a></b> 14, <b><a href="#Page_262">262</a></b> 3. <i>Improvised.</i> Lat. <i>fortuitus</i>, <i>extemporalis</i>, -<i>inelaboratus</i>, <i>tumultuarius</i>. So <b>αὐτοσχεδίως</b> <b><a href="#Page_260">260</a></b> 25, and -<b>αὐτοσχεδιάζειν</b> <b><a href="#Page_256">256</a></b> 19 (πολλὰ γὰρ αὐτοσχεδιάζει μέτρα ἡ φύσις = -<i>multos versus sponte solet natura effundere</i>). Cp. Demetr. p. 270 -s.v. αὐτοσχεδιάζειν, and see σχέδιος p. <a href="#Page_327">327</a> <i>infra</i>.</p> -<p><span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span></p> - -<p class="hangingindent4a"><b>αὐτοτελής.</b> <b><a href="#Page_118">118</a></b> 6, <b><a href="#Page_140">140</a></b> 1. <i>Complete in itself</i>, <i>absolute</i>. Lat. <i>perfectus</i>, -<i>absolutus</i>. So <b>αὐτοτελῶς</b> <b><a href="#Page_140">140</a></b> 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.</p> - -<p class="hangingindent4a"><b>αὐτουργός.</b> <b><a href="#Page_196">196</a></b> 15. <i>Self-wrought</i>, <i>rudely wrought</i>. Lat. <i>rudis</i>. Cp. <i>de -Demosth.</i> c. 39 (as quoted s.v. συναπαρτίζειν, p. <a href="#Page_325">325</a> <i>infra</i>).—The <i>active</i> -sense of αὐτουργός finds a good illustration in Euripides’ well-known -line: αὐτουργός, οἵπερ καὶ μόνοι σῴζουσι γῆν (<i>Orest.</i> 920).</p> - -<p class="hangingindent4a"><b>ἀφαίρεσις.</b> <b><a href="#Page_104">104</a></b> 20, <b><a href="#Page_114">114</a></b> 12, <b><a href="#Page_116">116</a></b> 17. <i>Deduction</i>, <i>abridgment</i>. Lat. -<i>detractio</i>. In <b><a href="#Page_116">116</a></b> 17 τῆς ἀφαιρέσεως δὲ τίς (τρόπος) almost = ‘what -is the nature of <i>ellipsis</i>?’ As line 18 shows, something <i>necessary to -the sense</i> is supposed to be omitted: e.g. the presence of αὐτός in <b><a href="#Page_116">116</a></b> 22 -implies a contrast with ἕτερος (<b><a href="#Page_118">118</a></b> 1).</p> - -<p class="hangingindent4a"><b>ἀφανίζειν.</b> <b><a href="#Page_166">166</a></b> 10, <b><a href="#Page_260">260</a></b> 1, <b><a href="#Page_272">272</a></b> 2. <i>To put out of sight.</i> Lat. <i>abscondere</i>.</p> - -<p class="hangingindent4a"><b>ἀφελής.</b> <b><a href="#Page_212">212</a></b> 14. <i>Simple</i>, <i>plain</i>. Lat. <i>simplex</i>, <i>subtilis</i>. Cp. D.H. p. 187.</p> - -<p class="hangingindent4a"><b>ἀφορμή.</b> <b><a href="#Page_96">96</a></b> 23. <i>Starting-point.</i> Lat. <i>initium</i>, <i>principium</i>. Cp. Dionys. -Hal. <i>Antiq. Rom.</i> i. 4 τῆς ἀοιδίμου γενομένης καθ’ ἡμᾶς πόλεως, -ἀδόξους πάνυ καὶ ταπεινὰς τὰς πρώτας ἀφορμὰς λαβούσης.</p> - -<p class="hangingindent4a"><b>ἀφροδίτη.</b> <b><a href="#Page_74">74</a></b> 13. <i>Beauty.</i> Lat. <i>venustas</i>, <i>venus</i>. Cp. <i>de Lysia</i> 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 <i>ibid.</i></p> - -<p class="hangingindent4a"><b>ἄφωνος.</b> <b><a href="#Page_138">138</a></b> 13, <b><a href="#Page_140">140</a></b> 3, <b><a href="#Page_146">146</a></b> 5, <b><a href="#Page_148">148</a></b> 11, 20, <b><a href="#Page_220">220</a></b> 10. <i>Voiceless</i>, <i>mute</i>. -Lat. <i>vocis expers</i>, <i>mutus</i>. 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.’</p> - -<p class="hangingindent4a"><b>ἄχαρις.</b> <b><a href="#Page_110">110</a></b> 20, <b><a href="#Page_146">146</a></b> 12. <i>Graceless.</i> Lat. <i>invenustus</i>.</p> - - -<p class="hangingindent4a"><b>βαίνειν.</b> <b><a href="#Page_86">86</a></b> 1. <i>To scan.</i> Lat. <i>scandere</i>. Cp. Aristot. <i>Metaph.</i> xiii. 6, -1093 a 30 βαίνεται δὲ [τὸ ἔπος] ἐν μὲν τῷ δεξιῷ ἐννέα συλλαβαῖς, -ἐν δὲ τῷ ἀριστερῷ ὀκτώ.—In <b><a href="#Page_236">236</a></b> 4 βεβηκώς is used of a firm, -regular tread: Lat. <i>incedere</i>.</p> - -<p class="hangingindent4a"><b>βακχεῖος.</b> <b><a href="#Page_174">174</a></b> 23, <b><a href="#Page_180">180</a></b> 12, <b><a href="#Page_182">182</a></b> 19. <i>Bacchius.</i> The metrical foot – – ᴗ.</p> - -<p class="hangingindent4a"><b>βαρύς.</b> <b><a href="#Page_126">126</a></b> 6, 8, 10, 16, <b><a href="#Page_128">128</a></b> 5, 8. <i>Grave</i> (accent), <i>low</i> (pitch). Lat. <i>gravis</i>. -Cp. Monro <i>Modes of Ancient Greek Music</i> 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 <b>βαρύτης</b> <b><a href="#Page_126">126</a></b> 13 -= ‘low pitch.’—In <b><a href="#Page_120">120</a></b> 23 and <b><a href="#Page_236">236</a></b> 8 <b>βάρος</b> = ‘gravity’ (in the sense -of ‘dignity’), Fr. <i>gravité</i>.</p> - -<p class="hangingindent4a"><b>βάσις.</b> <b><a href="#Page_142">142</a></b> 13, <b><a href="#Page_210">210</a></b> 22, <b><a href="#Page_212">212</a></b> 16, <b><a href="#Page_220">220</a></b> 4, <b><a href="#Page_230">230</a></b> 31, <b><a href="#Page_232">232</a></b> 4, <b><a href="#Page_234">234</a></b> 7. <i>Base.</i> -Lat. <i>basis</i>, <i>fundamentum</i>.—The word is specially used of a measured -step or metrical movement,—of a <i>rhythmical clause</i> in a period and -particularly of its <i>rhythmical close</i> (Lat. <i>clausula</i>). In <b><a href="#Page_230">230</a></b> 30 and <b><a href="#Page_232">232</a></b> 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, <i>de Demosth.</i> -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 <i>chutes</i> of the periods should be -<i>nombreuses</i>.—Further light on the meaning of βάσις will be found -in <i>de Demosth.</i> cc. 24, 39, 43, 45.</p> -<p><span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span></p> - -<p class="hangingindent4a"><b>βοστρυχίζειν.</b> <b><a href="#Page_264">264</a></b> 22. <i>To curl</i>, <i>to dress the hair</i>. Lat. <i>crines calamistro -convertere</i>. Cp. the use of <i>concinni</i> in Cic. <i>de Orat.</i> iii. 25. 100.</p> - -<p class="hangingindent4a"><b>βούλεσθαι.</b> <b><a href="#Page_220">220</a></b> 9, <b><a href="#Page_234">234</a></b> 5, 14, 19, <b><a href="#Page_236">236</a></b> 4, 7, etc. <i>To aim</i>, <i>to aspire</i>. -Lat. <i>studere</i>. Cp. D.H. p. 187, Demetr. p. 271. This meaning -(‘aims at being,’ ‘tends to be’) is, of course, Platonic and Aristotelian.</p> - -<p class="hangingindent4a"><b>βραχυσύλλαβος.</b> <b><a href="#Page_168">168</a></b> 17. <i>Consisting of short syllables.</i> Lat. <i>brevibus syllabis -constans</i>.</p> - -<p class="hangingindent4a"><b>βραχύτης.</b> <b><a href="#Page_150">150</a></b> 22, <b><a href="#Page_154">154</a></b> 6. <i>Shortness.</i> Lat. <i>brevitas</i>.</p> - - -<p class="hangingindent4a"><b>γένεσις.</b> <b><a href="#Page_138">138</a></b> 3. <i>Origin.</i> τὴν γένεσιν λαμβάνει = Lat. <i>originem sumit</i>.</p> - -<p class="hangingindent4a"><b>γενικός.</b> <b><a href="#Page_68">68</a></b> 20, <b><a href="#Page_118">118</a></b> 21, <b><a href="#Page_208">208</a></b> 21. <i>General</i>, <i>generic</i>. Lat. <i>generalis</i>.</p> - -<p class="hangingindent4a"><b>γενναῖος.</b> <b><a href="#Page_68">68</a></b> 4, <b><a href="#Page_136">136</a></b> 13, <b><a href="#Page_146">146</a></b> 10, <b><a href="#Page_148">148</a></b> 9, <b><a href="#Page_172">172</a></b> 1, <b><a href="#Page_176">176</a></b> 9, 10. <i>Noble.</i> -Lat. <i>generosus</i>. Such English renderings as ‘virile,’ ‘robust,’ ‘gallant,’ -‘splendid,’ ‘high-spirited’ may also be suggested. In Plato <i>Rep.</i> ii. -372 <span class="smcap">B</span> μάζας γενναίας = ‘lordly cakes’; in Long. <i>de Subl.</i> xv. 7 οἱ -γενναῖοι = ‘fine, grand, gallant fellows.’ Cp. <i>C.V.</i> <b><a href="#Page_170">170</a></b> 9 <b>μαλακώτερος</b> -θατέρου <b>καὶ ἀγεννέστερος</b>.</p> - -<p class="hangingindent4a"><b>γλαφυρός.</b> <b><a href="#Page_136">136</a></b> 14, <b><a href="#Page_208">208</a></b> 26, <b><a href="#Page_212">212</a></b> 16, <b><a href="#Page_216">216</a></b> 20, <b><a href="#Page_232">232</a></b> 25, <b><a href="#Page_248">248</a></b> 9. <i>Smooth</i>, -<i>polished</i>, <i>elegant</i>. Lat. <i>politus</i>, <i>ornatus</i>, <i>elegans</i>. Fr. <i>élégant</i>, <i>orné</i>, <i>poli</i>. -Cp. Demetr. p. 272, and <i>de Isocr.</i> c. 2 ὁ γὰρ ἀνὴρ οὕτος τὴν εὐέπειαν -ἐκ παντὸς διώκει καὶ τοῦ <b>γλαφυρῶς</b> λέγειν στοχάζεται μᾶλλον ἢ τοῦ -<b>ἀφελῶς</b>, and <i>de Demosth.</i> c. 40 ἡ δὲ μετὰ ταύτην ἡ γλαφυρὰ καὶ -θεατρικὴ καὶ τὸ κομψὸν αἱρουμένη πρὸ τοῦ σεμνοῦ τοιαύτη.</p> - -<p class="hangingindent4a"><b>γλυκαίνειν.</b> <b><a href="#Page_130">130</a></b> 18, <b><a href="#Page_134">134</a></b> 10, <b><a href="#Page_154">154</a></b> 12. <i>To touch with sweetness.</i> Lat. -<i>delenire</i>, <i>voluptate perfundere</i>. Cp. γλυκύτης <b><a href="#Page_120">120</a></b> 21, γλυκύς <b><a href="#Page_146">146</a></b> 9.</p> - -<p class="hangingindent4a"><b>γλυπτός.</b> <b><a href="#Page_264">264</a></b> 18. <i>Carven</i>, <i>chiselled</i>. Lat. <i>caelatus</i>. So <b>γλυφή</b>, <i>carving</i>, -<b><a href="#Page_120">120</a></b> 1.</p> - -<p class="hangingindent4a"><b>γλῶττα.</b> <b><a href="#Page_78">78</a></b> 17. <i>An unfamiliar term.</i> Lat. <i>vocabulum inusitatum</i>. So -<b>γλωττηματικός</b>, <b><a href="#Page_252">252</a></b> 23, <b><a href="#Page_272">272</a></b> 11, and D.H. p. 187, s.v. <i>Obsolete</i>, or -<i>obsolescent</i>, words (<i>mots surannés</i>) are often meant.—In <b><a href="#Page_80">80</a></b> 17 γλῶττα = -διάλεκτος (<b><a href="#Page_88">88</a></b> 26).</p> - -<p class="hangingindent4a"><b>γοητεύειν.</b> <b><a href="#Page_122">122</a></b> 16, <b><a href="#Page_134">134</a></b> 13. <i>To entice.</i> Lat. <i>pellicere</i>.</p> - -<p class="hangingindent4a"><b>γράμμα.</b> <b><a href="#Page_130">130</a></b> 21, <b><a href="#Page_138">138</a></b> 5, etc. <i>Letter of the alphabet.</i> Lat. <i>littera</i>. <b>ἡ -γραμματική</b> (<b><a href="#Page_140">140</a></b> 11) = <i>grammar</i>; <b>γραμμαί</b> (<b><a href="#Page_138">138</a></b> 2) = the <i>lines</i>, or -<i>strokes</i>, from which γράμματα are formed. In <b><a href="#Page_264">264</a></b> 18 γραπτός = -<i>written</i>.</p> - -<p class="hangingindent4a"><b>γραφή.</b> <b><a href="#Page_68">68</a></b> 12, <b><a href="#Page_184">184</a></b> 18, <b><a href="#Page_186">186</a></b> 1, <b><a href="#Page_206">206</a></b> 23, <b><a href="#Page_228">228</a></b> 12. <i>Writing</i>, <i>composition</i> -(in the wider sense). In <b><a href="#Page_118">118</a></b> 24 and <b><a href="#Page_234">234</a></b> 13 γραφαί = <i>pictures</i>.</p> -<p><span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p> - -<p class="hangingindent4a"><b>γυμνασία.</b> <b><a href="#Page_206">206</a></b> 24, <b><a href="#Page_282">282</a></b> 2, 4. <i>Exercise</i>, <i>lesson</i>. Lat. <i>exercitatio</i>. So <b>γυμνάζειν</b> -(<b><a href="#Page_134">134</a></b> 4), <i>to practise</i>, <i>to train</i>.</p> - - -<p class="hangingindent4a"><b>δάκτυλος.</b> <b><a href="#Page_84">84</a></b> 21, <b><a href="#Page_172">172</a></b> 16, <b><a href="#Page_202">202</a></b> 19. <i>Dactyl.</i> The metrical foot – ᴗ ᴗ.</p> - -<p class="hangingindent4a"><b>δασύς.</b> <b><a href="#Page_148">148</a></b> 12, 13, 18, 19, <b><a href="#Page_150">150</a></b> 3, 12. <i>Rough</i>, <i>aspirated</i>. Lat. <i>asper</i>. -So <b>δασύτης</b> <b><a href="#Page_148">148</a></b> 21, <b><a href="#Page_150">150</a></b> 2 and <b>δασύνειν</b> <b><a href="#Page_148">148</a></b> 8. Cp. Aristot. <i>Poet.</i> c. 20 -for δασύτης and ψιλότης, and see A. J. Ellis <i>English, Dionysian, and -Hellenic Pronunciations of Greek</i> 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 (<i>De audibilibus</i> 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.</p> - -<p class="hangingindent4a"><b>δαψιλής.</b> <b><a href="#Page_108">108</a></b> 11. <i>Plentiful.</i> Lat. <i>abundans</i>.</p> - -<p class="hangingindent4a"><b>δεῖγμα.</b> <b><a href="#Page_200">200</a></b> 4, <b><a href="#Page_208">208</a></b> 3, <b><a href="#Page_214">214</a></b> 13, <b><a href="#Page_228">228</a></b> 17. <i>Sample.</i> Lat. <i>exemplum</i>.</p> - -<p class="hangingindent4a"><b>δεινότης.</b> <b><a href="#Page_182">182</a></b> 13, <b><a href="#Page_264">264</a></b> 12. <i>Oratorical mastery.</i> Lat. <i>facultas dicendi</i>, -<i>eloquentia</i>. So <b>δεινός</b> <b><a href="#Page_282">282</a></b> 3: see also <b><a href="#Page_182">182</a></b> 3. Cp. D.H. pp. 187, 188; -Demetr. pp. 273, 274.</p> - -<p class="hangingindent4a"><b>δεξιῶς.</b> <b><a href="#Page_80">80</a></b> 14, <b><a href="#Page_92">92</a></b> 20. <i>Deftly.</i> Lat. <i>sollerter</i>, <i>feliciter</i>. In <b><a href="#Page_80">80</a></b> 14 σφόδρα -δεξιῶς = ‘with great dexterity, or adroitness,’ ‘with great delicacy of -touch.’</p> - -<p class="hangingindent4a"><b>δεσμός.</b> <b><a href="#Page_148">148</a></b> 17. <i>Fastening.</i> Lat. <i>vinculum</i>.</p> - -<p class="hangingindent4a"><b>δηλωτικός.</b> <b><a href="#Page_158">158</a></b> 2. <i>Indicative of.</i> Lat. <i>significans</i>.</p> - -<p class="hangingindent4a"><b>δημηγορία.</b> <b><a href="#Page_110">110</a></b> 22, <b><a href="#Page_252">252</a></b> 2. <i>A public discourse</i>, or <i>harangue</i>. Lat. <i>contio</i>. -Cp. D.H. p. 188.</p> - -<p class="hangingindent4a"><b>δημιούργημα.</b> <b><a href="#Page_64">64</a></b> 8, <b><a href="#Page_120">120</a></b> 1. <i>A piece of workmanship.</i> Lat. <i>opus</i>, <i>opificium</i>. -So δημιουργικός (‘industrial’) <b><a href="#Page_104">104</a></b> 23. Cp. D.H. p. 274. Quintil. -(ii. 15. 4) translates πειθοῦς δημιουργός by <i>persuadendi opifex</i>.</p> - -<p class="hangingindent4a"><b>διαβεβηκέναι.</b> <b><a href="#Page_172">172</a></b> 3, <b><a href="#Page_202">202</a></b> 16, <b><a href="#Page_212">212</a></b> 1, <b><a href="#Page_216">216</a></b> 18, <b><a href="#Page_218">218</a></b> 23, <b><a href="#Page_222">222</a></b> 23, <b><a href="#Page_244">244</a></b> 19. -<i>To have a mighty stride</i>, <i>to be planted wide apart</i>. Lat. <i>latis passibus -incedere</i>. Fr. <i>marcher à grands pas</i>. In <b><a href="#Page_202">202</a></b> 17, 20, <b><a href="#Page_218">218</a></b> 23, and <b><a href="#Page_222">222</a></b> -23 the noun <b>διάβασις</b> 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 <b><a href="#Page_212">212</a></b> 1 are <i>les grands mots à larges allures</i>.</p> - -<p class="hangingindent4a"><b>διάθεσις.</b> <b><a href="#Page_154">154</a></b> 14, <b><a href="#Page_160">160</a></b> 18. <i>Condition</i>, <i>arrangement</i>. Lat. <i>affectus</i>, <i>dispositio</i>.</p> - -<p class="hangingindent4a"><b>διαιρεῖν.</b> <b><a href="#Page_180">180</a></b> 17, <b><a href="#Page_184">184</a></b> 5, <b><a href="#Page_194">194</a></b> 15, <b><a href="#Page_218">218</a></b> 20, 21, <b><a href="#Page_272">272</a></b> 17. <i>To divide</i>, <i>to -resolve</i>. Lat. <i>seiungere</i>, <i>resolvere</i>. So <b>διαίρεσις</b> <b><a href="#Page_122">122</a></b> 8, <b><a href="#Page_138">138</a></b> 1, <b><a href="#Page_272">272</a></b> 7.</p> - -<p class="hangingindent4a"><b>διακεκλάσθαι.</b> <b><a href="#Page_172">172</a></b> 7. <i>To be broken</i> or <i>enervated</i>. Lat. <i>frangi</i>, <i>corrumpi</i>, <i>in -delicias effundi</i>. Cp. similar uses of διαθρύπτεσθαι. In <i>de Demosth.</i> -c. 43 ῥυθμοὶ διακλώμενοι are opposed to ῥυθμοὶ ἀνδρώδεις.</p> - -<p class="hangingindent4a"><b>διακλέπτειν.</b> <b><a href="#Page_176">176</a></b> 19. <i>To disguise.</i> Lat. <i>obscurare</i>, <i>occulere</i>.</p> - -<p class="hangingindent4a"><b>διακόπτειν.</b> <b><a href="#Page_268">268</a></b> 15. <i>To cut short</i>, <i>to silence</i>. Lat. <i>praecidere</i>.</p> - -<p class="hangingindent4a"><b>διακοσμεῖν.</b> <b><a href="#Page_218">218</a></b> 20. <i>To arrange.</i> Lat. <i>ordinare</i>.</p> - -<p class="hangingindent4a"><b>διακρούειν.</b> <b><a href="#Page_230">230</a></b> 17. <i>To break into.</i> Lat. <i>interrumpere</i>.</p> -<p><span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p> - -<p class="hangingindent4a"><b>διαλαμβάνειν.</b> <b><a href="#Page_72">72</a></b> 10, <b><a href="#Page_166">166</a></b> 17, <b><a href="#Page_180">180</a></b> 12, <b><a href="#Page_184">184</a></b> 14, <b><a href="#Page_270">270</a></b> 20, <b><a href="#Page_272">272</a></b> 2. <i>To -divide</i>, <i>to diversify</i>. Lat. <i>distinguere</i>.</p> - -<p class="hangingindent4a"><b>διαλέγεσθαι.</b> <b><a href="#Page_208">208</a></b> 9. <i>To write in prose.</i> Lat. <i>soluta oratione uti</i>.</p> - -<p class="hangingindent4a"><b>διάλειμμα.</b> <b><a href="#Page_204">204</a></b> 1. <i>A pause.</i> Lat. <i>intermissio</i>.</p> - -<p class="hangingindent4a"><b>διάλεκτος.</b> <b><a href="#Page_78">78</a></b> 16, <b><a href="#Page_80">80</a></b> 3, 16, <b><a href="#Page_88">88</a></b> 26, <b><a href="#Page_126">126</a></b> 3, <b><a href="#Page_160">160</a></b> 14, <b><a href="#Page_168">168</a></b> 8, <b><a href="#Page_208">208</a></b> 19, <b><a href="#Page_246">246</a></b> 7. -<i>Language.</i> Lat. <i>sermo</i>. Sometimes used with special reference to a -‘dialect,’ as in <b><a href="#Page_80">80</a></b> 16, <b><a href="#Page_88">88</a></b> 26 (so τὴν Ἀτθίδα γλῶτταν <b><a href="#Page_80">80</a></b> 17 = τὴν -Ἀτθίδα διάλεκτον <i>de Demosth.</i> c. 41); and in other passages, with much -the same sense as λέξις (<i>elocutio</i>).—In <b><a href="#Page_68">68</a></b> 9, <b><a href="#Page_94">94</a></b> 10, 14, <b><a href="#Page_96">96</a></b> 15, <b><a href="#Page_104">104</a></b> 1, -the adjective <b>διαλεκτικός</b> means ‘pertaining to dialectic.’</p> - -<p class="hangingindent4a"><b>διαλλαγή.</b> <b><a href="#Page_126">126</a></b> 1. <i>Difference.</i> Lat. <i>differentia</i>. So <b>διαλλάττειν</b>, <b><a href="#Page_92">92</a></b> 19, -<b><a href="#Page_150">150</a></b> 2, <b><a href="#Page_152">152</a></b> 29.</p> - -<p class="hangingindent4a"><b>διάλογος.</b> <b><a href="#Page_198">198</a></b> 1, <b><a href="#Page_264">264</a></b> 22. <i>Dialogue.</i> Lat. <i>dialogus</i>. Cp. Demetr. p. 274.</p> - -<p class="hangingindent4a"><b>διαλύειν.</b> <b><a href="#Page_132">132</a></b> 9, <b><a href="#Page_272">272</a></b> 1. <i>To break up</i>, <i>to resolve</i>. Lat. <i>dissolvere</i>. So -<b>διάλυσις</b> <b><a href="#Page_138">138</a></b> 4.</p> - -<p class="hangingindent4a"><b>διαναπαύειν.</b> <b><a href="#Page_134">134</a></b> 17. <i>To relieve</i>, <i>to break up</i>. Lat. <i>diluere</i>.</p> - -<p class="hangingindent4a"><b>διάνοια.</b> <b><a href="#Page_74">74</a></b> 7, 16, <b><a href="#Page_112">112</a></b> 21. <i>Mind</i>, <i>thought</i>. Lat. <i>mens</i>, <i>cogitatio</i>.</p> - -<p class="hangingindent4a"><b>διὰ πέντε.</b> <b><a href="#Page_126">126</a></b> 4, 17. <i>The interval of a fifth.</i> Lat. <i>diapente</i>, <i>quinque -tonorum intervallum</i>. So <b>διὰ πασῶν</b> <b><a href="#Page_126">126</a></b> 18, of the <i>octave</i>.</p> - -<p class="hangingindent4a"><b>διαποικίλλειν.</b> <b><a href="#Page_214">214</a></b> 8, <b><a href="#Page_248">248</a></b> 10, <b><a href="#Page_254">254</a></b> 18. <i>To variegate.</i> Lat. <i>depingere</i>, -<i>distinguere</i>.</p> - -<p class="hangingindent4a"><b>διαρτᾶν.</b> <b><a href="#Page_206">206</a></b> 6. <i>To separate</i>, <i>to break up</i>. Lat. <i>seiungere</i>. Cp. <i>de Demosth.</i> -c. 40 ἵνα δὲ μὴ δόξωμεν διαρτᾶν τὰς ἀκολουθίας.</p> - -<p class="hangingindent4a"><b>διασαλεύειν.</b> <b><a href="#Page_102">102</a></b> 21, <b><a href="#Page_230">230</a></b> 9, <b><a href="#Page_240">240</a></b> 13. <i>To shake</i> (as by storm), <i>to disturb</i>. -Lat. <i>perturbare</i>, <i>concutere</i>. In <b><a href="#Page_230">230</a></b> 9 and <b><a href="#Page_240">240</a></b> 13 the reference is -to troubling the smooth waters of the cadences by sounds that jolt -and jar.</p> - -<p class="hangingindent4a"><b>διασπᾶν.</b> <b><a href="#Page_222">222</a></b> 19, <b><a href="#Page_230">230</a></b> 24. <i>To dislocate.</i> Lat. <i>divellere</i>. 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.”</p> - -<p class="hangingindent4a"><b>διάστασις.</b> <b><a href="#Page_206">206</a></b> 3, 5, <b><a href="#Page_210">210</a></b> 18. <i>Distance.</i> Lat. <i>distantia</i>.</p> - -<p class="hangingindent4a"><b>διάστημα.</b> <b><a href="#Page_126">126</a></b> 3, 16, <b><a href="#Page_270">270</a></b> 12. <i>Interval.</i> Lat. <i>spatium</i>, <i>intervallum</i>.</p> - -<p class="hangingindent4a"><b>διαστολή.</b> <b><a href="#Page_278">278</a></b> 5, 7. <i>Division.</i> Lat. <i>divisio</i>. 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 <i>punctuation</i>, as we should say.</p> - -<p class="hangingindent4a"><b>διατέμνειν.</b> <b><a href="#Page_270">270</a></b> 13. <i>To cut up.</i> Lat. <i>discindere</i>, <i>concidere</i>.</p> - -<p class="hangingindent4a"><b>διατιθέναι.</b> <b><a href="#Page_130">130</a></b> 5, 15, <b><a href="#Page_134">134</a></b> 8, 11. <i>To affect.</i> Lat. <i>adficere</i>.</p> - -<p class="hangingindent4a"><b>διάτονος.</b> <b><a href="#Page_194">194</a></b> 8, <b><a href="#Page_196">196</a></b> 4. <i>Diatonic.</i> Lat. <i>diatonicus</i>. For the diatonic -scale see n. on <b><a href="#Page_194">194</a></b> 8.</p> - -<p class="hangingindent4a"><b>διαφορά.</b> <b><a href="#Page_68">68</a></b> 21, <b><a href="#Page_152">152</a></b> 14, etc. <i>Difference</i>, <i>variety</i>. Lat. <i>differentia</i>.</p> - -<p class="hangingindent4a"><b>διαχάλασμα.</b> <b><a href="#Page_230">230</a></b> 24. <i>Loosening.</i> Lat. <i>resolutio</i>. Cp. Epicrates (ap. -Athen. xiii. 570 <span class="smcap">B</span>) on Lais in her old age: ἐπεὶ δὲ δολιχὸν τοῖς -ἔτεσιν ἤδη τρέχει | τὰς ἁρμονίας τε διαχαλᾷ τοῦ σώματος.</p> -<p><span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span></p> - -<p class="hangingindent4a"><b>διελκυσμός.</b> <b><a href="#Page_204">204</a></b> 3. <i>Struggle</i>, <i>tussle</i>. Lat. <i>luctatio</i>. Cp. argum. Aristoph. -<i>Acharn.</i> 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.”</p> - -<p class="hangingindent4a"><b>διέξοδος.</b> <b><a href="#Page_150">150</a></b> 1. <i>Outlet</i>, <i>egress</i>. Lat. <i>exitus</i>.</p> - -<p class="hangingindent4a"><b>διερείδειν.</b> <b><a href="#Page_220">220</a></b> 3. <i>To thrust apart.</i> Lat. <i>disiungere</i>. 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 <i>Classical Review</i> xxii. 144-147). -So <b>διερεισμός</b> <b><a href="#Page_222">222</a></b> 10, <b><a href="#Page_224">224</a></b> 14. In <b><a href="#Page_202">202</a></b> 9 <b>διερείδεσθαι</b> = <i>conniti</i>.</p> - -<p class="hangingindent4a"><b>δίεσις.</b> <b><a href="#Page_126">126</a></b> 20. <i>A quarter-tone</i>, or <i>any interval smaller than a semitone</i>. -Lat. <i>diesis</i>. As to the reason for the disappearance of the quarter-tone -from our modern musical system see n. on <b><a href="#Page_194">194</a></b> 7 (extract from -Macran’s <i>Harmonics of Aristoxenus</i>). See, further, L. and S., s.v. -δίεσις and λεῖμμα. The word occurs also in <i>de Lys.</i> c. 11 ὥστε μηδὲ -τὴν ἐλαχίστην ἐν τοῖς διαστήμασι δίεσιν ἀγνοεῖν. Suidas defines -δίεσις as τὸ ἐλάχιστον μέτρον τῶν ἐναρμονίων διαστημάτων. Cp. -Vitruv. <i>de Arch.</i> v. 3.</p> - -<p class="hangingindent4a"><b>διευκρινεῖν.</b> <b><a href="#Page_208">208</a></b> 4. <i>To determine.</i> Lat. <i>diiudicare</i>.</p> - -<p class="hangingindent4a"><b>διευστοχεῖν.</b> <b><a href="#Page_124">124</a></b> 17. <i>To go straight to the mark.</i> Lat. <i>recta ad scopum -tendere</i>. For the genitive cp. Polyb. ii. 45 (of Aratus) ἄνδρα δυνάμενον -πάσης εὐστοχεῖν περιστάσεως.</p> - -<p class="hangingindent4a"><b>διηνεκής.</b> <b><a href="#Page_142">142</a></b> 2. <i>Unbroken</i>, <i>uninterrupted</i>. Lat. <i>continuus</i>, <i>perpetuus</i>.</p> - -<p class="hangingindent4a"><b>διθυραμβοποιός.</b> <b><a href="#Page_194">194</a></b> 23. <i>Writer of dithyrambs.</i> Lat. <i>dithyrambicus poëta</i>. -Cp. D.H. p. 188, s.v. διθύραμβος.</p> - -<p class="hangingindent4a"><b>διιστάναι.</b> <b><a href="#Page_144">144</a></b> 4, <b><a href="#Page_202">202</a></b> 17, <b><a href="#Page_204">204</a></b> 21, <b><a href="#Page_206">206</a></b> 4, <b><a href="#Page_222">222</a></b> 5, <b><a href="#Page_224">224</a></b> 8, <b><a href="#Page_236">236</a></b> 6. <i>To keep -apart.</i> Lat. <i>diducere</i>. Cp. Diog. Laert. iv. 6 ἦν δὲ [ὁ Ἀρκεσίλαος] -ἐν τῇ λαλιᾷ διαστατικὸς τῶν ὀνομάτων, i.e. distinct in his enunciation. -In <b><a href="#Page_230">230</a></b> 17 διέστακεν = διέσπακεν.</p> - -<p class="hangingindent4a"><b>δίκαιος.</b> <b><a href="#Page_224">224</a></b> 2, 10. <i>Legitimate</i>, <i>regular</i>. Lat. <i>iustus</i>. The normal -measure of a long syllable is meant.</p> - -<p class="hangingindent4a"><b>δικανικός.</b> <b><a href="#Page_112">112</a></b> 11, <b><a href="#Page_252">252</a></b> 2. <i>Forensic.</i> Lat. <i>iudicialis</i>, <i>forensis</i>.</p> - -<p class="hangingindent4a"><b>διορίζειν.</b> <b><a href="#Page_218">218</a></b> 16. <i>To separate by a boundary.</i> Lat. <i>disterminare</i>.</p> - -<p class="hangingindent4a"><b>διοχλεῖν.</b> <b><a href="#Page_116">116</a></b> 19, <b><a href="#Page_122">122</a></b> 18. <i>To distress.</i> Lat. <i>sollicitare</i>.</p> - -<p class="hangingindent4a"><b>διπλοῦς.</b> <b><a href="#Page_144">144</a></b> 9, 10, 15. <i>Double</i>, <i>compound</i>. Lat. <i>duplex</i>. Cp. Demetr. -p. 276.</p> - -<p class="hangingindent4a"><b>δισύλλαβος.</b> <b><a href="#Page_126">126</a></b> 13, <b><a href="#Page_168">168</a></b> 12, <b><a href="#Page_170">170</a></b> 14, <b><a href="#Page_202">202</a></b> 14. <i>Disyllabic.</i> Lat. <i>disyllabus</i>. -αἱ δισύλλαβοι (λέξεις) = <i>disyllables</i>.</p> - -<p class="hangingindent4a"><b>δίχρονος.</b> <b><a href="#Page_140">140</a></b> 17, 19, <b><a href="#Page_142">142</a></b> 1, 6, <b><a href="#Page_150">150</a></b> 18. <i>Double-timed</i>, <i>doubtful</i>, <i>common</i>. -Lat. <i>communis</i>, <i>anceps</i>.</p> - -<p class="hangingindent4a"><b>δόξα.</b> <b><a href="#Page_134">134</a></b> 4. <i>Opinion</i>, <i>personal judgment</i>. Lat. <i>opinio</i>. Opposed to -ἐπιστήμη.</p> - -<p class="hangingindent4a"><b>δύναμις.</b> <b><a href="#Page_72">72</a></b> 25, 26, <b><a href="#Page_130">130</a></b> 22, 23, <b><a href="#Page_134">134</a></b> 17, <b><a href="#Page_136">136</a></b> 20, etc. <i>Power</i>, <i>faculty</i>, -<i>function</i>. Lat. <i>potentia</i>, <i>facultas</i>. Used, more than once in this treatise, -of ‘phonetic value’ or ‘effect.’ Fr. <i>valeur</i>. In <b><a href="#Page_266">266</a></b> 7 τῆς ἑαυτοῦ -δυνάμεως denotes ‘mental powers,’ τῆς ἑαυτοῦ διανοίας being used -in the parallel passage of <i>de Demosth.</i> c. 51.</p> -<p><span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span></p> - -<p class="hangingindent4a"><b>δυσειδής.</b> <b><a href="#Page_144">144</a></b> 4. <i>Ungraceful.</i> Lat. <i>deformis</i>.</p> - -<p class="hangingindent4a"><b>δυσέκφορος.</b> <b><a href="#Page_132">132</a></b> 2, <b><a href="#Page_162">162</a></b> 5, 16, <b><a href="#Page_232">232</a></b> 15. <i>Hard to pronounce.</i> Lat. <i>difficilis -pronuntiatu</i>. Cp. <b>δυσεκφόρητος</b> in <b><a href="#Page_220">220</a></b> 13.</p> - -<p class="hangingindent4a"><b>δυσηχής.</b> <b><a href="#Page_162">162</a></b> 15. <i>Ill-sounding.</i> Lat. <i>ingratus auditu</i>. [According to -Sauppe’s conjecture on p. 163 n.: cp. δυσηχές <b><a href="#Page_144">144</a></b> 4, as given by PMV.]</p> - -<p class="hangingindent4a"><b>δυσπερίληπτος.</b> <b><a href="#Page_206">206</a></b> 23. <i>Not easily included.</i> Lat. <i>qui facile includi nequit</i>.</p> - -<p class="hangingindent4a"><b>δυσχέρεια.</b> <b><a href="#Page_134">134</a></b> 24, <b><a href="#Page_168">168</a></b> 3. <i>Offensiveness.</i> Lat. <i>molestia</i>.</p> - -<p class="hangingindent4a"><b>δυσωπεῖσθαι.</b> <b><a href="#Page_134">134</a></b> 21. <i>To be shy of.</i> Lat. <i>prae pudore reformidare</i>. The -active voice is found in <i>de Lys.</i> c. 11.</p> - -<p class="hangingindent4a"><b>Δώριος.</b> <b><a href="#Page_196">196</a></b> 1. <i>Dorian.</i> Lat. <i>Dorius</i>, <i>Doricus</i>. Cp. Monro’s <i>Modes of -Ancient Greek Music</i>, passim.</p> - - -<p class="hangingindent4a"><b>ἐγγίζειν.</b> <b><a href="#Page_144">144</a></b> 16. <i>To approach.</i> Lat. <i>appropinquare</i>.</p> - -<p class="hangingindent4a"><b>ἐγκάθισμα.</b> <b><a href="#Page_202">202</a></b> 25, <b><a href="#Page_232">232</a></b> 16. <i>Dwelling on a syllable</i>, <i>prolongation</i>. Lat. -<i>sessio</i>, <i>mora vocis tamquam considentis</i>. Fr. <i>temps d’arrêt</i>. Cp. <i>de -Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>ἐγκαταπλέκειν.</b> <b><a href="#Page_134">134</a></b> 12. <i>To interweave.</i> Lat. <i>innectere</i>. The uncompounded -<b>πλέκειν</b> occurs in <b><a href="#Page_154">154</a></b> 9.</p> - -<p class="hangingindent4a"><b>ἐγκατάσκευος.</b> <b><a href="#Page_182">182</a></b> 7. <i>Highly-wrought.</i> Lat. <b>elaboratus</b>. Cp. Demetr. <i>de -Eloc.</i> § 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.</p> - -<p class="hangingindent4a"><b>ἔγκλισις.</b> <b><a href="#Page_108">108</a></b> 3, <b><a href="#Page_264">264</a></b> 5. <i>Mood</i> (of verb). Lat. <i>modus</i>. Cp. <i>de Demosth.</i> -c. 52 γένη, πτώσεις, ἀριθμούς, ἐγκλίσεις. In <b><a href="#Page_102">102</a></b> 19 τῶν ἐγκλινομένων -= ‘derivative, or secondary, forms.’</p> - -<p class="hangingindent4a"><b>ἐγκοπή.</b> <b><a href="#Page_220">220</a></b> 13. <i>Hindrance</i>, <i>interruption</i>. Lat. <i>impedimentum</i>. Cp. <i>Ep. -i. ad Cor.</i> ix. 12 ἵνα μὴ ἐγκοπήν τινα δῶμεν τῷ εὐαγγελίῳ τοῦ -Χριστοῦ. [In Long. <i>de Subl.</i> xli. 3 κατ’ ἐγκοπάς seems to refer to -notches or incisions as made by carpenters in dovetailing.]</p> - -<p class="hangingindent4a"><b>ἐγκύκλιος.</b> <b><a href="#Page_262">262</a></b> 20. <i>Broad</i>, <i>general</i> (of education). Lat. <i>orbis doctrinae</i>. -(Quintil. i. 10. 1.) Wilamowitz-Moellendorff <i>Greek Historical Writing</i> -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.”</p> - -<p class="hangingindent4a"><b>ἕδρα.</b> <b><a href="#Page_108">108</a></b> 4, <b><a href="#Page_234">234</a></b> 2, <b><a href="#Page_244">244</a></b> 18. <i>Position</i>, <i>foundation</i>. Lat. <i>sedes</i>. Cp. -Demetr. p. 277. So <b>ἑδράσαι</b> <b><a href="#Page_106">106</a></b> 7, <b>ἀνέδραστος</b> <b><a href="#Page_232">232</a></b> 4, <b>δύσεδρος</b> <b><a href="#Page_106">106</a></b> -8, <b>εὔεδρος</b> <b><a href="#Page_106">106</a></b> 9.</p> - -<p class="hangingindent4a"><b>εἰδικός.</b> <b><a href="#Page_208">208</a></b> 12, <b><a href="#Page_246">246</a></b> 19. <i>Specific.</i> Lat. <i>specialis</i>.</p> - -<p class="hangingindent4a"><b>εἰκαῖος.</b> <b><a href="#Page_74">74</a></b> 10. <i>Random</i>, <i>casual</i>. Lat. <i>temerarius</i>.</p> - -<p class="hangingindent4a"><b>εἰκών.</b> <b><a href="#Page_124">124</a></b> 20. <i>Illustration.</i> Lat. <i>similitudo</i>.</p> - -<p class="hangingindent4a"><b>εἰλικρινῶς.</b> <b><a href="#Page_220">220</a></b> 11. <i>Completely</i>, <i>with no alloy</i>. Lat. <i>sincere</i>.</p> - -<p class="hangingindent4a"><b>εἰσαγωγή.</b> <b><a href="#Page_114">114</a></b> 9. <i>Introduction.</i> Lat. <i>praefatio</i>.</p> -<p><span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span></p> - -<p class="hangingindent4a"><b>ἐκλογή.</b> <b><a href="#Page_68">68</a></b> 4, 12, <b><a href="#Page_74">74</a></b> 15, <b><a href="#Page_78">78</a></b> 8, <b><a href="#Page_182">182</a></b> 6, <b><a href="#Page_200">200</a></b> 15, <b><a href="#Page_246">246</a></b> 13, <b><a href="#Page_252">252</a></b> 27. -<i>Choice.</i> Lat. <i>delectus</i>. The ἐκλογή of words is constantly contrasted -with their σύνθεσις. Cp. <b>ἐκλέγειν</b> <b><a href="#Page_74">74</a></b> 9, <b><a href="#Page_182">182</a></b> 3.</p> - -<p class="hangingindent4a"><b>ἐκλογίζεσθαι.</b> <b><a href="#Page_200">200</a></b> 6. <i>To consider fully.</i> Lat. <i>expendere</i>, <i>percensere</i>.</p> - -<p class="hangingindent4a"><b>ἐκμαλάττειν.</b> <b><a href="#Page_134">134</a></b> 10. <i>To soften.</i> Lat. <i>emollire</i>, <i>mulcere</i>.</p> - -<p class="hangingindent4a"><b>ἐκμάττεσθαι.</b> <b><a href="#Page_250">250</a></b> 14. <i>To take the impress of.</i> Lat. <i>exprimere</i>, <i>imitari</i>. Cp. -<i>de Demosth.</i> c. 4 τὴν ἐπίθετον καὶ κατεσκευασμένην φράσιν τῶν περὶ -Γοργίαν ἐκμέμακται, and c. 13 τὸν Λυσιακὸν χαρακτῆρα ἐκμέμακται -εἰς ὄνυχα (i.e. <i>ad unguem</i>, <i>ad amussim</i>).</p> - -<p class="hangingindent4a"><b>ἐκμέλεια.</b> <b><a href="#Page_124">124</a></b> 1. <i>False note.</i> Lat. <i>dissonantia</i>.</p> - -<p class="hangingindent4a"><b>ἐκμιμεῖσθαι.</b> <b><a href="#Page_70">70</a></b> 4. <i>To copy.</i> Lat. <i>imitari</i>, <i>imitando effingere</i>.</p> - -<p class="hangingindent4a"><b>ἐκπληροῦν.</b> <b><a href="#Page_212">212</a></b> 15. <i>To fill out</i>, <i>to round off</i>. Lat. <i>orbem orationis implere</i>.</p> - -<p class="hangingindent4a"><b>ἔκστασις.</b> <b><a href="#Page_156">156</a></b> 20. <i>Astonishment.</i> Lat. <i>stupor</i>. Cp. <i>Ev. Marc.</i> xvi. 8 -εἶχε δὲ αὐτὰς τρόμος καὶ ἔκστασις.</p> - -<p class="hangingindent4a"><b>ἔκτασις.</b> <b><a href="#Page_204">204</a></b> 3, <b><a href="#Page_268">268</a></b> 19. <i>Stretching</i>, <i>lengthening</i>. Lat. <i>productio</i>. Cp. -Demetr. p. 277.</p> - -<p class="hangingindent4a"><b>ἐκτείνειν.</b> <b><a href="#Page_140">140</a></b> 18, <b><a href="#Page_142">142</a></b> 10. <i>To lengthen</i>, <i>to prolong</i>. Lat. <i>producere</i>.</p> - -<p class="hangingindent4a"><b>ἐκφαίνειν.</b> <b><a href="#Page_154">154</a></b> 22. <i>To reproduce.</i> Lat. <i>referre</i>.</p> - -<p class="hangingindent4a"><b>ἐκφανής.</b> <b><a href="#Page_246">246</a></b> 1. <i>Prominent.</i> Lat. <i>conspicuus</i>.</p> - -<p class="hangingindent4a"><b>ἐκφέρειν.</b> <b><a href="#Page_68">68</a></b> 12, <b><a href="#Page_84">84</a></b> 6, <b><a href="#Page_94">94</a></b> 10, 15, <b><a href="#Page_106">106</a></b> 19, <b><a href="#Page_108">108</a></b> 3, <b><a href="#Page_112">112</a></b> 9, <b><a href="#Page_114">114</a></b> 1, <b><a href="#Page_116">116</a></b> 24, -<b><a href="#Page_118">118</a></b> 6, 15, etc. <i>To utter</i>, <i>to produce</i>: with various cognate meanings. -Lat. <i>edere</i>, <i>promere</i>.</p> - -<p class="hangingindent4a"><b>ἐκφορά.</b> <b><a href="#Page_112">112</a></b> 15, <b><a href="#Page_142">142</a></b> 7. <i>Utterance.</i> Lat. <i>pronuntiatio</i>.</p> - -<p class="hangingindent4a"><b>ἐκφωνεῖν.</b> <b><a href="#Page_140">140</a></b> 5. <i>To pronounce.</i> Lat. <i>pronuntiare</i>. Cp. Demetr. p. 278.</p> - -<p class="hangingindent4a"><b>ἐλάττωσις.</b> <b><a href="#Page_156">156</a></b> 22. <i>Curtailment.</i> Lat. <i>imminutio</i>.</p> - -<p class="hangingindent4a"><b>ἐλεγειακός.</b> <b><a href="#Page_256">256</a></b> 23. <i>Elegiac.</i> Lat. <i>elegiacus</i>. Coupled with πεντάμετρον.</p> - -<p class="hangingindent4a"><b>ἐλεύθερος.</b> <b><a href="#Page_212">212</a></b> 9. <i>Unfettered.</i> Lat. <i>liber</i>. Epithet applied to κῶλα.</p> - -<p class="hangingindent4a"><b>ἐμπερίοδος.</b> <b><a href="#Page_118">118</a></b> 15. <i>In periods</i>, <i>periodic</i>. Lat. <i>periodo inclusus</i>.</p> - -<p class="hangingindent4a"><b>ἐμφαίνειν.</b> <b><a href="#Page_110">110</a></b> 19, <b><a href="#Page_212">212</a></b> 13, <b><a href="#Page_228">228</a></b> 7, <b><a href="#Page_254">254</a></b> 17, 21. <i>To indicate.</i> Lat. -<i>indicare</i>, <i>ostendere</i>.</p> - -<p class="hangingindent4a"><b>ἐναγώνιος.</b> <b><a href="#Page_90">90</a></b> 6, <b><a href="#Page_198">198</a></b> 1. <i>Forensic.</i> Lat. <i>forensis</i>. With some notion of -<i>combative</i>, <i>incisive</i>, <i>vehement</i>. Cp. δικανικός, p. <a href="#Page_196">196</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>ἔναρθρος.</b> <b><a href="#Page_136">136</a></b> 22. <i>Articulate.</i> Lat. <i>articulatus</i>.</p> - -<p class="hangingindent4a"><b>ἐναρμόνιος.</b> <b><a href="#Page_194">194</a></b> 7, <b><a href="#Page_196">196</a></b> 3, 11. <i>Enharmonic.</i> Lat. <i>enarmonicus</i>. For the -enharmonic scale see note on <b><a href="#Page_194">194</a></b> 7.—In <b><a href="#Page_108">108</a></b> 10 and <b><a href="#Page_196">196</a></b> 11 the word -is used in a less restricted sense. Cp. <i>de Demosth.</i> c. 24 νῦν μὲν γὰρ -δυσὶ περιλαμβανομένη κώλοις σύμμετρός ἐστι [ἡ περίοδος] καὶ -ἐναρμόνιος καὶ στρογγύλη καὶ βάσιν εἴληφεν ἀσφαλῆ.</p> - -<p class="hangingindent4a"><b>ἐνδεχομένων.</b> <b><a href="#Page_96">96</a></b> 17. <i>Admissible.</i> Lat. <i>licitus</i>.</p> - -<p class="hangingindent4a"><b>ἐνεξουσιάζειν.</b> <b><a href="#Page_196">196</a></b> 5: see n. <i>ad loc.</i></p> - -<p class="hangingindent4a"><b>ἐνέργεια.</b> <b><a href="#Page_204">204</a></b> 1, <b><a href="#Page_268">268</a></b> 5. <i>Activity.</i> Lat. <i>actio</i>.</p> - -<p class="hangingindent4a"><b>ἑνικῶς.</b> <b><a href="#Page_106">106</a></b> 18. <i>In the singular number.</i> Lat. <i>singulariter</i>.</p> - -<p class="hangingindent4a"><b>ἔντεχνος.</b> <b><a href="#Page_134">134</a></b> 2, <b><a href="#Page_272">272</a></b> 21, 23. <i>According to the rules of art</i>, <i>artistic</i>, -<i>systematic</i>. Lat. <i>artificiosus</i>.</p> -<p><span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span></p> - -<p class="hangingindent4a"><b>ἑξάμετρος.</b> <b><a href="#Page_194">194</a></b> 3. <i>Of six measures</i>, <i>hexameter</i> (line: στίχος). Lat. -<i>hexameter</i>.</p> - -<p class="hangingindent4a"><b>ἑξάπους.</b> <b><a href="#Page_84">84</a></b> 21. <i>Of six feet.</i> Lat. <i>sex constans pedibus</i>.</p> - -<p class="hangingindent4a"><b>ἕξις.</b> <b><a href="#Page_66">66</a></b> 1, <b><a href="#Page_122">122</a></b> 24, <b><a href="#Page_268">268</a></b> 4, 11, 26. <i>State</i> or <i>habit</i> (<i>of body</i> or <i>mind</i>); -<i>skill based on practice</i>. Lat. <i>habitus</i>, <i>habilitas</i>, <i>peritia</i>.</p> - -<p class="hangingindent4a"><b>ἐπαγγέλλεσθαι.</b> <b><a href="#Page_94">94</a></b> 9. <i>To profess to teach a subject.</i> Lat. <i>profiteri</i>.</p> - -<p class="hangingindent4a"><b>ἐπαγωγός.</b> <b><a href="#Page_162">162</a></b> 2. <i>Conducive to.</i> Lat. <i>aptus ad inducendum</i>. For the -genitive cp. s.v. ἀγωγή, p. <a href="#Page_285">285</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>ἐπανθεῖν.</b> <b><a href="#Page_198">198</a></b> 10. <i>To bloom.</i> Lat. <i>efflorescere</i>.</p> - -<p class="hangingindent4a"><b>ἐπεισόδιον.</b> <b><a href="#Page_196">196</a></b> 24. <i>Pleasure-giving addition</i>, <i>episode</i>. Lat. <i>episodium</i>.</p> - -<p class="hangingindent4a"><b>ἐπιγραφή.</b> <b><a href="#Page_96">96</a></b> 13, <b><a href="#Page_104">104</a></b> 4. <i>Title.</i> Lat. <i>inscriptio</i>.</p> - -<p class="hangingindent4a"><b>ἐπιδείκνυσθαι.</b> <b><a href="#Page_162">162</a></b> 2, <b><a href="#Page_228">228</a></b> 9, <b><a href="#Page_254">254</a></b> 1. <i>To make a display of.</i> Lat. <i>prae -se ferre</i>, <i>ostentare</i>.</p> - -<p class="hangingindent4a"><b>ἐπιθαλάμιον</b> (sc. ποίημα). <b><a href="#Page_258">258</a></b> 7. <i>Bridal song.</i> Lat. <i>epithalamium</i>.</p> - -<p class="hangingindent4a"><b>ἐπίθετον.</b> <b><a href="#Page_102">102</a></b> 17. <i>An addition</i>, <i>epithet</i>, <i>adjective</i> (‘the qualifier,’ Puttenham’s -sixteenth-century <i>Arte of English Poesie</i>). Lat. <i>ad nomen -adiunctum</i>, <i>appositum</i> (Quintil. viii. 3. 43; 6. 29). The ἐπίθετον -seems to be regarded by Dionysius as a separate part of speech: cp. -Steinthal <i>Geschichte der Sprachwissenschaft bei den Griechen und Römern</i> -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.”</p> - -<p class="hangingindent4a"><b>ἐπικίνδυνος.</b> <b><a href="#Page_80">80</a></b> 13. <i>Hazardous.</i> Lat. <i>periculosus</i>. <i>Aventuré</i> would -perhaps be a better French equivalent, in this context, than <i>risqué</i>.</p> - -<p class="hangingindent4a"><b>ἐπίκοινος.</b> <b><a href="#Page_150">150</a></b> 4. <i>Common</i> (i.e. belonging equally to both). Lat. -<i>communis</i>.</p> - -<p class="hangingindent4a"><b>ἐπικός.</b> <b><a href="#Page_214">214</a></b> 2, <b><a href="#Page_274">274</a></b> 7. <i>Epic.</i> Lat. <i>epicus</i>. ἐπικὴ ποίησις = <i>epic poetry</i>.</p> - -<p class="hangingindent4a"><b>ἐπικρύπτειν.</b> <b><a href="#Page_134">134</a></b> 16, <b><a href="#Page_198">198</a></b> 10. <i>To hide</i>, <i>to veil</i>. Lat. <i>occultare</i>.</p> - -<p class="hangingindent4a"><b>ἐπιλαμπρύνειν.</b> <b><a href="#Page_144">144</a></b> 2. <i>To make crisp and clear.</i> Lat. <i>clarum reddere</i>. Cp. -Plut. <i>Mor.</i> 912 <span class="smcap">C</span> καὶ οἱ βάτραχοι, προσδοκῶντες ὄμβρον, ἐπιλαμπρύνουσι -τὴν φωνὴν ὑπὸ χαρᾶς.</p> - -<p class="hangingindent4a"><b>ἐπίρρημα.</b> <b><a href="#Page_70">70</a></b> 21. <i>Adverb.</i> Lat. <i>adverbium</i>.</p> - -<p class="hangingindent4a"><b>ἐπισκοτεῖν.</b> <b><a href="#Page_134">134</a></b> 14, <b><a href="#Page_260">260</a></b> 1. <i>To overshadow.</i> Lat. <i>obscurare</i>.</p> - -<p class="hangingindent4a"><b>ἐπίστασις.</b> <b><a href="#Page_68">68</a></b> 1. <i>Attention.</i> Lat. <i>cura</i>. Cp. ἀνεπιστάτως, <i>heedlessly</i>, -<b><a href="#Page_74">74</a></b> 6: so Long. <i>de Subl.</i> xxxiii. 4 ὑπὸ μεγαλοφυΐας ἀνεπιστάτως -παρενηνεγμένα, ‘introduced with all the heedlessness of genius.’</p> - -<p class="hangingindent4a"><b>ἐπιστήμη.</b> <b><a href="#Page_104">104</a></b> 15, <b><a href="#Page_110">110</a></b> 8, <b><a href="#Page_124">124</a></b> 5, 21, <b><a href="#Page_134">134</a></b> 3. <i>Knowledge</i>, <i>science</i>. Lat. -<i>scientia</i>.</p> - -<p class="hangingindent4a"><b>ἐπίτασις.</b> <b><a href="#Page_210">210</a></b> 5. <i>Tightening.</i> Lat. <i>intentio</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτάφιος.</b> <b><a href="#Page_116">116</a></b> 2, <b><a href="#Page_178">178</a></b> 1, <b><a href="#Page_180">180</a></b> 8. <i>Funeral speech</i> (sub. λόγος). Lat. <i>oratio -funebris</i>.</p> - -<p class="hangingindent4a"><b>ἐπιταχύνειν.</b> <b><a href="#Page_204">204</a></b> 8, 22. <i>To quicken.</i> Lat. <i>accelerare</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτείνειν.</b> <b><a href="#Page_126">126</a></b> 4. <i>To raise the pitch.</i> Lat. <i>intendere</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτερπής.</b> <b><a href="#Page_228">228</a></b> 12. <i>Delightful.</i> Lat. <i>iucundus</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτετηδευμένως.</b> <b><a href="#Page_260">260</a></b> 25. <i>Deliberately.</i> Lat. <i>de industria</i>. Cp. ἐπιτηδεύειν -<b><a href="#Page_136">136</a></b> 18, and ἀνεπιτήδευτος (p. <a href="#Page_288">288</a> <i>supra</i>).</p> -<p><span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span></p> - -<p class="hangingindent4a"><b>ἐπιτήδευσις.</b> <b><a href="#Page_70">70</a></b> 6, <b><a href="#Page_212">212</a></b> 19. <i>Pains</i>, <i>study</i>. Lat. <i>studium</i>, <i>industria</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτρόχαλος.</b> <b><a href="#Page_180">180</a></b> 14. <i>Running</i>, <i>tripping</i>. Lat. <i>velox</i>, <i>volubilis</i>. Cp. <i>de -Demosth.</i> c. 40 ἐπιτρόχαλος δή τις γίνεται καὶ καταφερὴς ἡ ῥύσις -τῆς λέξεως, ὥσπερ κατὰ πρανοῦς φερόμενα χωρίου νάματα μηδενὸς -αὐτοῖς ἀντικρούοντος.—In Hom. <i>Il.</i> iii. 213 ἐπιτροχάδην = <i>trippingly</i>, -<i>unfalteringly</i>.</p> - -<p class="hangingindent4a"><b>ἐπιτυχής.</b> <b><a href="#Page_268">268</a></b> 13. <i>Successful.</i> Lat. <i>voti compos</i>.</p> - -<p class="hangingindent4a"><b>ἐπιφέρειν.</b> <b><a href="#Page_88">88</a></b> 16. <i>To quote.</i> Lat. <i>citare</i>, <i>laudare</i>, <i>proferre</i>. Cp. Demetr. -p. 281.</p> - -<p class="hangingindent4a"><b>ἐποποιός.</b> <b><a href="#Page_194">194</a></b> 2, <b><a href="#Page_236">236</a></b> 15. <i>Epic poet.</i> Lat. <i>poëta epicus</i>. So τὰ ἔπη (<b><a href="#Page_270">270</a></b> -19) = <i>versus epici</i>.</p> - -<p class="hangingindent4a"><b>ἐποχή.</b> <b><a href="#Page_204">204</a></b> 2. <i>Delay</i>, <i>suspense</i>. Lat. <i>impedimentum</i>, <i>retentio</i>.</p> - -<p class="hangingindent4a"><b>ἐπῳδός.</b> <b><a href="#Page_194">194</a></b> 12, <b><a href="#Page_278">278</a></b> 9. <i>After-song</i>, <i>coda</i>, <i>epode</i>. In this sense (that of the -part of a lyric ode which is sung after the strophe and antistrophe) -the word is feminine. In <b><a href="#Page_194">194</a></b> 20, if the masculine ὀλίγοις is rightly -read, the special meaning of ἐπῳδός will be <i>refrain</i>, <i>burden</i>: a meaning -somewhat nearer that of the Latin <i>epodos</i>.</p> - -<p class="hangingindent4a"><b>ἐρείδειν.</b> <b><a href="#Page_142">142</a></b> 13. <i>To thrust.</i> Lat. <i>trudere</i>. So ἔρεισις <b><a href="#Page_204">204</a></b> 4. In <b><a href="#Page_210">210</a></b> 16 -ἐρείδεσθαι = <i>to be firmly planted</i>.</p> - -<p class="hangingindent4a"><b>ἑρμηνεία.</b> <b><a href="#Page_66">66</a></b> 18, <b><a href="#Page_76">76</a></b> 9, <b><a href="#Page_78">78</a></b> 19, <b><a href="#Page_84">84</a></b> 11, <b><a href="#Page_172">172</a></b> 17, <b><a href="#Page_182">182</a></b> 5. <i>Expression</i>, <i>style</i>. -Lat. <i>elocutio</i>. The word appears in the title of the treatise περὶ -ἑρμηνείας which passes under the name of Demetrius. So <b>ἑρμηνεύειν</b> -(<i>to express</i>) in <b><a href="#Page_76">76</a></b> 9, <b><a href="#Page_186">186</a></b> 18, <b><a href="#Page_204">204</a></b> 8, <b><a href="#Page_260">260</a></b> 20. Cp. Demetr. p. 282 -(s.v. ἑρμηνεία and ἑρμηνεύειν).</p> - -<p class="hangingindent4a"><b>ἐτυμολογία.</b> <b><a href="#Page_160">160</a></b> 6. <i>Etymology</i>: with reference to Plato’s <i>Cratylus</i>. For -Latin equivalents cp. Quintil. i. 6. 28 “<i>etymologia</i>, quae verborum -originem inquirit, a Cicerone dicta est <i>notatio</i>, quia nomen eius apud -Aristotelem invenitur σύμβολον, quod est <i>nota</i>; nam verbum ex -verbo ductum, id est <i>veriloquium</i>, ipse Cicero, qui finxit, reformidat. -sunt qui vim potius intuiti <i>originationem</i> vocent.”</p> - -<p class="hangingindent4a"><b>εὐγενής.</b> <b><a href="#Page_136">136</a></b> 11, <b><a href="#Page_178">178</a></b> 14, 21, <b><a href="#Page_180">180</a></b> 3. <i>Well-born</i>, <i>noble</i>. Lat. <i>generosus</i>. -So <b>εὐγενεία</b> <b><a href="#Page_192">192</a></b> 8. The εὐγενής is not necessarily γενναῖος (Aristot. -<i>Rhet.</i> ii. 15. 3).</p> - -<p class="hangingindent4a"><b>εὔγλωσσος.</b> <b><a href="#Page_70">70</a></b> 2. <i>Pleasant on the tongue.</i> Lat. <i>suavis</i>.</p> - -<p class="hangingindent4a"><b>εὔγραμμος.</b> <b><a href="#Page_230">230</a></b> 31, <b><a href="#Page_246">246</a></b> 3. <i>Well-drawn</i>, <i>well-defined</i>. Lat. <i>definitus</i>.</p> - -<p class="hangingindent4a"><b>εὐγώνιος.</b> <b><a href="#Page_210">210</a></b> 22. <i>Four-square.</i> Lat. <i>qui angulis rectis constat</i>, <i>quadratus</i>.</p> - -<p class="hangingindent4a"><b>εὐέπεια.</b> <b><a href="#Page_240">240</a></b> 5, 18, <b><a href="#Page_246">246</a></b> 1, <b><a href="#Page_268">268</a></b> 28. <i>Beauty of language.</i> Lat. -<i>verborum elegantia</i>. In this treatise Dionysius clearly uses the word -with special reference to his main subject—<i>beauty of sound</i>, <i>euphony</i>. -So also εὐεπής <b><a href="#Page_218">218</a></b> 10, <b><a href="#Page_222">222</a></b> 6, <b><a href="#Page_224">224</a></b> 2, <b><a href="#Page_228">228</a></b> 5, <b><a href="#Page_230">230</a></b> 20; and εὐεπῶς -<b><a href="#Page_232">232</a></b> 11. In the <i>Classical Review</i> xviii. 19 the present writer has tried -to show that, even in an author so early as Sophocles (<i>Oed. Tyr.</i> 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.</p> -<p><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span></p> - -<p class="hangingindent4a"><b>εὐήτριος.</b> <b><a href="#Page_234">234</a></b> 12. <i>With fine thread</i>, <i>well-woven</i>. Lat. <i>bene textus</i>.</p> - -<p class="hangingindent4a"><b>εὔκαιρος.</b> <b><a href="#Page_134">134</a></b> 18, <b><a href="#Page_196">196</a></b> 25. <i>Timely</i>. Lat. <i>opportunus</i>, <i>tempestivus</i>. So -<b>εὐκαίρως</b> <b><a href="#Page_132">132</a></b> 3, <b>εὐκαιρίαν</b> <b><a href="#Page_242">242</a></b> 3.</p> - -<p class="hangingindent4a"><b>εὐκαταφρόνητος.</b> <b><a href="#Page_74">74</a></b> 12. <i>Contemptible</i>. Lat. <i>abiectus</i>, <i>humilis</i>.</p> - -<p class="hangingindent4a"><b>εὔκρατος.</b> <b><a href="#Page_210">210</a></b> 1, <b><a href="#Page_246">246</a></b> 11. <i>Well-blended</i>. Lat. <i>temperatus</i>. Cp. <i>de Demosth.</i> -c. 3 ἡ Θρασυμάχειος ἑρμηνεία, μέση τοῖν δυεῖν καὶ εὔκρατος: Cic. -<i>Orat.</i> 6. 21 “est autem quidam interiectus inter hos medius et quasi -temperatus,” etc.—Both in <b><a href="#Page_210">210</a></b> 1 and in <b><a href="#Page_246">246</a></b> 11 the well-supported -variant κοινήν is to be noted: it may conceivably have originated in -a gloss on εὔκρατον.—In <b><a href="#Page_220">220</a></b> 17 the similar adjective εὐκέραστος is -used, though not in reference to the three ἁρμονίαι.</p> - -<p class="hangingindent4a"><b>εὐλάβεια.</b> <b><a href="#Page_234">234</a></b> 17. <i>Caution</i>. Lat. <i>cautio</i>. Used in the phrase δι’ εὐλαβείας -ἔχει.</p> - -<p class="hangingindent4a"><b>εὔλογος.</b> <b><a href="#Page_158">158</a></b> 12. <i>Reasonable</i>. Lat. <i>rationi consentaneus</i>. The reference -is to resemblances which are not ἄλογοι, but have a natural basis and -are grounded in reason.</p> - -<p class="hangingindent4a"><b>εὐμελής.</b> <b><a href="#Page_130">130</a></b> 6, <b><a href="#Page_134">134</a></b> 9. <i>Melodious</i>. Lat. <i>canorus</i>.—On the other hand, -<b>ἐμμελής</b> = <i>in melody</i>, <i>set to music</i>: <b><a href="#Page_124">124</a></b> 10, <b><a href="#Page_130">130</a></b> 6, <b><a href="#Page_254">254</a></b> 2, 8, <b><a href="#Page_270">270</a></b> 5; -and so <b>ἐμμέλεια</b> <b><a href="#Page_122">122</a></b> 21, <b><a href="#Page_182">182</a></b> 2, <b><a href="#Page_266">266</a></b> 4.</p> - -<p class="hangingindent4a"><b>εὔμετρος.</b> <b><a href="#Page_254">254</a></b> 6. <i>Metrical</i>; <i>possessing good metrical qualities</i>. Lat. <i>metricus</i>.—On -the other hand, <b>ἔμμετρος</b> = <i>in metre</i>: <b><a href="#Page_74">74</a></b> 4, <b><a href="#Page_76">76</a></b> 1, <b><a href="#Page_168">168</a></b> 8, <b><a href="#Page_176">176</a></b> -1, 21, <b><a href="#Page_254">254</a></b> 2, 4, 14, <b><a href="#Page_270">270</a></b> 5. In <b><a href="#Page_270">270</a></b> 10 ἐμμετρία has good manuscript -authority. Cp. Aristot. <i>Rhet.</i> iii. 8. 1 τὸ δὲ σχῆμα τῆς λέξεως δεῖ -μήτε ἔμμετρον εἶναι μήτε ἄρρυθμον.</p> - -<p class="hangingindent4a"><b>εὔμορφος.</b> <b><a href="#Page_84">84</a></b> 2, <b><a href="#Page_144">144</a></b> 3, <b><a href="#Page_162">162</a></b> 1. <i>Of beautiful form</i>. Lat. <i>formosus</i>. So -εὐμορφία <b><a href="#Page_168">168</a></b> 4, <b><a href="#Page_264">264</a></b> 16.</p> - -<p class="hangingindent4a"><b>εὐπάθεια.</b> <b><a href="#Page_250">250</a></b> 4. <i>Pleasure</i>. Lat. <i>voluptas</i>. Plur. εὐπάθειαι = Lat. -<i>deliciae</i>.</p> - -<p class="hangingindent4a"><b>εὐπαίδευτος.</b> <b><a href="#Page_228">228</a></b> 10. <i>Scholarly</i>, <i>cultured</i>. Lat. <i>doctus</i>.</p> - -<p class="hangingindent4a"><b>εὐπετής.</b> <b><a href="#Page_218">218</a></b> 10, <b><a href="#Page_222">222</a></b> 6. <i>Flowing easily</i>. Lat. <i>volubilis</i>. [According to -the reading of P in each passage. But εὐεπές should probably be -read.] Cp. εὔρους in <b><a href="#Page_240">240</a></b> 21 and (according to P) in <b><a href="#Page_196">196</a></b> 25.</p> - -<p class="hangingindent4a"><b>εὐπρόφορος.</b> <b><a href="#Page_132">132</a></b> 2. <i>Easy to pronounce</i>. Lat. <i>facilis pronuntiatu</i>.</p> - -<p class="hangingindent4a"><b>εὔρους.</b> <b><a href="#Page_240">240</a></b> 21. <i>Flowing</i>, <i>copious</i>. Lat. <i>copiosus</i>. See also s.v. εὐπετής, -<i>supra</i>.</p> - -<p class="hangingindent4a"><b>εὔρυθμος.</b> <b><a href="#Page_124">124</a></b> 10, <b><a href="#Page_130">130</a></b> 8, <b><a href="#Page_134">134</a></b> 9, <b><a href="#Page_236">236</a></b> 3, <b><a href="#Page_254">254</a></b> 6, 18. <i>Rhythmical</i>. Lat. -<i>numerosus</i>, <i>moderatus</i> (Cic. <i>de Orat.</i> iii. 48. 184; ii. 8. 34). So <b>εὐρυθμία</b> -<b><a href="#Page_118">118</a></b> 11, <b><a href="#Page_122">122</a></b> 21, <b><a href="#Page_182">182</a></b> 2, <b><a href="#Page_254">254</a></b> 27: cp. Cic. <i>Orat.</i> 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 <b>ἔνρυθμος</b> see <b><a href="#Page_130">130</a></b> 8.</p> - -<p class="hangingindent4a"><b>εὐστομία.</b> <b><a href="#Page_110">110</a></b> 18, <b><a href="#Page_120">120</a></b> 21. <i>Beauty of sound</i>. Lat. <i>soni suavitas</i>. Cp. -Plato <i>Crat.</i> 405 <span class="smcap">D</span>, 412 <span class="smcap">E</span>.</p> - -<p class="hangingindent4a"><b>εὔσχημος.</b> <b><a href="#Page_172">172</a></b> 6. <i>Graceful</i>. Lat. <i>decorus</i>, <i>speciosus</i>.</p> -<p><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span></p> - -<p class="hangingindent4a"><b>εὐτελής.</b> <b><a href="#Page_78">78</a></b> 10, <b><a href="#Page_136">136</a></b> 3. <i>Commonplace</i>, <i>cheap</i>, <i>vulgar</i>. Lat. <i>vilis</i>. Cp. -D.H. p. 193, and Aristot. <i>Rhet.</i> iii. 7. 2.</p> - -<p class="hangingindent4a"><b>εὔτροχος.</b> <b><a href="#Page_206">206</a></b> 14. <i>Running easily.</i> Lat. <i>celer</i>, <i>volubilis</i>. Cp. γλῶσσα -εὔτροχος = <i>a glib tongue</i> (Eur. Bacch. 268).</p> - -<p class="hangingindent4a"><b>εὐτυχῶς.</b> <b><a href="#Page_186">186</a></b> 3. <i>Happily</i>, <i>successfully</i>. Lat. <i>feliciter</i>. Cp. <b>εὐτυχοῦσιν</b> -<b><a href="#Page_198">198</a></b> 5, and <b>ἀτυχεῖ</b> <b><a href="#Page_198">198</a></b> 16.</p> - -<p class="hangingindent4a"><b>εὐφωνία.</b> <b><a href="#Page_266">266</a></b> 4. <i>Euphony</i>, <i>musical sound</i>. Lat. <i>vocis dulcedo s. suavitas</i>. -So <b>εὔφωνος</b> <b><a href="#Page_132">132</a></b> 1, <b><a href="#Page_134">134</a></b> 9, <b><a href="#Page_142">142</a></b> 10, <b><a href="#Page_166">166</a></b> 7, 17, <b><a href="#Page_230">230</a></b> 23, <b><a href="#Page_234">234</a></b> 14. For -a modern view of the effect of euphony cp. the words of Jowett -(<i>Dialogues of Plato</i> 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 -<i>Notes and Sayings</i>: “If I were a professor of English, I would teach -my men that prose writing is a kind of poetry.”</p> - -<p class="hangingindent4a"><b>ἐφάμιλλος.</b> <b><a href="#Page_116">116</a></b> 8. <i>Rivalling</i>, <i>a match for</i>. Lat. <i>aemulus</i>, <i>haud impar</i>.</p> - -<p class="hangingindent4a"><b>ἡγεμών.</b> <b><a href="#Page_168">168</a></b> 17. <i>Hegemon.</i> The metrical foot ᴗ ᴗ. Cp. <i>de Demosth.</i> -c. 47 ὥσπερ οἴονταί τινες καὶ καλοῦσι τὸν οὕτως κατασκευασθέντα -ῥυθμὸν ἡγεμόνα.</p> - -<p class="hangingindent4a"><b>Ἡγησιακός.</b> <b><a href="#Page_90">90</a></b> 19. <i>Hegesian</i>, <i>recalling Hegesias</i>. Lat. <i>Hegesiacus</i>. For -Hegesias see Introduction, pp. <a href="#Page_52">52</a>-55 <i>supra</i>.</p> - -<p class="hangingindent4a"><b>ἡδονή.</b> <b><a href="#Page_80">80</a></b> 16, <b><a href="#Page_118">118</a></b> 22, <b><a href="#Page_120">120</a></b> 20, <b><a href="#Page_132">132</a></b> 19, 21. <i>Charm.</i> Lat. <i>iucunditas</i>, -<i>dulcedo</i>. Fr. <i>charme</i>, <i>agrément</i>, <i>attrait</i>. Cp. <b><a href="#Page_120">120</a></b> 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 <b>ἡδύς</b> (<i>suavis</i>, <i>iucundus</i>; <i>sweet</i>, <i>pleasing</i>, <i>agreeable</i>, -<i>attractive</i>, <i>charming</i>), <b><a href="#Page_68">68</a></b> 6, <b><a href="#Page_74">74</a></b> 13, etc.</p> - -<p class="hangingindent4a"><b>ἡδύνειν.</b> <b><a href="#Page_130">130</a></b> 11, <b><a href="#Page_146">146</a></b> 8, <b><a href="#Page_148">148</a></b> 6, <b><a href="#Page_160">160</a></b> 15, <b><a href="#Page_164">164</a></b> 13. <i>To sweeten</i>; <i>to delight</i>, <i>to -charm</i>. Lat. <i>dulce reddere</i>; <i>demulcere</i>.</p> - -<p class="hangingindent4a"><b>ἦθος.</b> <b><a href="#Page_88">88</a></b> 12, <b><a href="#Page_160">160</a></b> 17, <b><a href="#Page_212">212</a></b> 11. <i>Character</i>. Lat. <i>mos</i>, <i>indoles</i>. Cp. Demetr. -p. 284, D.H. p. 193. See Jebb’s <i>Attic Orators</i> i. 30, 31 for <i>pathos</i> -and <i>ethos</i> in Antiphon (with reference to <i>C.V.</i> <b><a href="#Page_212">212</a></b> 10). According -to Aristotle’s <i>Rhetoric</i>, a speech may be in, or out of, <i>character</i> in -reference to (1) speaker, (2) audience, (3) subject.</p> - -<p class="hangingindent4a"><b>ἡμιστίχιον.</b> <b><a href="#Page_274">274</a></b> 17. <i>A half-line</i>, <i>half-verse</i>. Lat. <i>hemistichium</i>. Cp. -Demetr. p. 284, s.v. ἡμίμετρον.</p> - -<p class="hangingindent4a"><b>ἡμιτελής.</b> <b><a href="#Page_140">140</a></b> 4. <i>Half-perfect.</i> Lat. <i>semiperfectus</i>.</p> - -<p class="hangingindent4a"><b>ἡμιτόνιον.</b> <b><a href="#Page_126">126</a></b> 5, 19. <i>A half-tone</i>, <i>semitone</i>. Lat. <i>hemitonium</i>.</p> - -<p class="hangingindent4a"><b>ἡμίφωνος.</b> <b><a href="#Page_138">138</a></b> 13, <b><a href="#Page_140">140</a></b> 1, <b><a href="#Page_144">144</a></b> 7, <b><a href="#Page_146">146</a></b> 5, <b><a href="#Page_220">220</a></b> 11. <i>Semi-voiced</i>, <i>semi-vocal</i>. -Lat. <i>semivocalis</i>. ἡμίφωνα γράμματα = <i>litterae semivocales</i>. Cp. -s.v. ἄφωνος, p. <a href="#Page_292">292</a> <i>supra</i>.</p> -<p><span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span></p> - -<p class="hangingindent4a"><b>ἠρεμία.</b> <b><a href="#Page_156">156</a></b> 11, <b><a href="#Page_160">160</a></b> 4. <i>Rest</i>, <i>immobility</i>. Lat. <i>quies</i>, <i>tranquillitas</i>. So -<b>ἠρεμεῖν</b> <b><a href="#Page_142">142</a></b> 1.</p> - -<p class="hangingindent4a"><b>ἡρωϊκός.</b> <b><a href="#Page_84">84</a></b> 21, <b><a href="#Page_86">86</a></b> 3, <b><a href="#Page_88">88</a></b> 7, <b><a href="#Page_172">172</a></b> 17, <b><a href="#Page_206">206</a></b> 10. <i>Heroic</i> (sc. στίχος: the -hexameter line). Lat. <i>heroicus</i>. In <b><a href="#Page_172">172</a></b> 17 and <b><a href="#Page_206">206</a></b> 10, with μέτρον.</p> - -<p class="hangingindent4a"><b>ἡσυχῇ.</b> <b><a href="#Page_148">148</a></b> 8. <i>Softly</i>, <i>gently</i>. Lat. <i>sensim</i>.</p> - -<p class="hangingindent4a"><b>ἠχεῖσθαι.</b> <b><a href="#Page_138">138</a></b> 12, <b><a href="#Page_142">142</a></b> 7. <i>To be sounded.</i> Lat. <i>pronuntiari</i>, <i>sonare</i>.</p> - -<p class="hangingindent4a"><b>ἦχος.</b> <b><a href="#Page_130">130</a></b> 19, <b><a href="#Page_138">138</a></b> 11, <b><a href="#Page_142">142</a></b> 14, 19, etc. <i>Sound.</i> Lat. <i>sonus</i>.</p> - - -<p class="hangingindent4a"><b>θεατρικός.</b> <b><a href="#Page_212">212</a></b> 16, <b><a href="#Page_216">216</a></b> 19, <b><a href="#Page_228">228</a></b> 8, <b><a href="#Page_236">236</a></b> 11. <i>Theatrical</i>, <i>showy</i>. Lat. -<i>theatralis</i>. Cp. <i>de Demosth.</i> c. 25 ἐπὶ τὰ θεατρικὰ τὰ Γοργίεια ταυτὶ -παραγίνεται, τὰς ἀντιθέσεις καὶ τὰς παρισώσεις λέγω.</p> - -<p class="hangingindent4a"><b>θεοβλάβεια.</b> <b><a href="#Page_184">184</a></b> 23. <i>Madness</i>, <i>blindness</i>. Lat. <i>mens divinitus laesa</i>.</p> - -<p class="hangingindent4a"><b>θεώρημα.</b> <b><a href="#Page_72">72</a></b> 12, 16, <b><a href="#Page_88">88</a></b> 14, <b><a href="#Page_96">96</a></b> 25, <b><a href="#Page_104">104</a></b> 11, etc. <i>Investigation</i>, <i>speculation</i>; -<i>rule</i>. Lat. <i>quaestio</i>; <i>praeceptum artis</i>. Cp. <b>θεωρία</b> <b><a href="#Page_66">66</a></b> 8, <b><a href="#Page_96">96</a></b> 14, -<b><a href="#Page_98">98</a></b> 2, <b><a href="#Page_102">102</a></b> 25, <b><a href="#Page_104">104</a></b> 3, etc., and <b>θεωρεῖν</b> <b><a href="#Page_152">152</a></b> 26, <b><a href="#Page_204">204</a></b> 3, <b><a href="#Page_210">210</a></b> 9.</p> - -<p class="hangingindent4a"><b>θηλυκός.</b> <b><a href="#Page_106">106</a></b> 21. <i>Of the feminine gender.</i> Lat. <i>femininus</i>.</p> - -<p class="hangingindent4a"><b>θῆλυς.</b> <b><a href="#Page_172">172</a></b> 7. <i>Effeminate.</i> Lat. <i>muliebris</i>, <i>effeminatus</i>. Cp. Larue van -Hook <i>Metaphorical Terminology of Greek Rhetoric</i>, p. 26, s.v. ἀνδρώδης.</p> - -<p class="hangingindent4a"><b>θηριώδης.</b> <b><a href="#Page_146">146</a></b> 13. <i>Beast-like.</i> Lat. <i>ferinus</i>. The term will, of course, -apply to vipers as well as other animals: cp. τὸ θηρίον in <i>Acta Apost</i>. -xxviii. 4, and ἡ θηριακή (‘antidote against a poisonous bite’), whence -the word <i>treacle</i>.</p> - -<p class="hangingindent4a"><b>θορυβεῖν.</b> <b><a href="#Page_122">122</a></b> 22. <i>To hiss off the stage.</i> Lat. <i>explodere</i>.</p> - -<p class="hangingindent4a"><b>θρυλιγμός.</b> <b><a href="#Page_124">124</a></b> 1. <i>Harsh sound</i>, <i>false note</i>. Lat. <i>murmur inconcinnum</i>, -<i>dissonantia</i>. Cp. <i>Hymn. Hom. in Merc.</i> 486 ὃς δέ κεν αὐτὴν | νῆϊς -ἐὼν τὸ πρῶτον ἐπιζαφελῶς ἐρεείνῃ, | μὰψ αὔτως κεν ἔπειτα μετήορά -τε θρυλίζοι.</p> - - -<p class="hangingindent4a"><b>ἰαμβεῖον.</b> <b><a href="#Page_258">258</a></b> 25, <b><a href="#Page_262">262</a></b> 4. <i>Iambic line.</i> Lat. <i>versus iambicus</i>.</p> - -<p class="hangingindent4a"><b>ἴαμβος.</b> <b><a href="#Page_170">170</a></b> 7, <b><a href="#Page_270">270</a></b> 19. <i>Iambus.</i> The metrical foot ᴗ –. The adjective -<b>ἰαμβικός</b> in <b><a href="#Page_184">184</a></b> 11, <b><a href="#Page_258">258</a></b> 19, <b><a href="#Page_276">276</a></b> 10.</p> - -<p class="hangingindent4a"><b>ἰδέα.</b> <b><a href="#Page_88">88</a></b> 6, <b><a href="#Page_104">104</a></b> 8, <b><a href="#Page_116">116</a></b> 12, <b><a href="#Page_198">198</a></b> 17, <b><a href="#Page_200">200</a></b> 5, <b><a href="#Page_248">248</a></b> 4. <i>Kind, aspect.</i> Lat. -<i>genus</i>, <i>aspectus</i>.</p> - -<p class="hangingindent4a"><b>ἰδίωμα.</b> <b><a href="#Page_240">240</a></b> 23. <i>Peculiarity.</i> Lat. <i>proprietas</i>. Cp. Long. p. 278, D.H. -p. 193.</p> - -<p class="hangingindent4a"><b>ἰδιώτης.</b> <b><a href="#Page_124">124</a></b> 2, <b><a href="#Page_272">272</a></b> 19. <i>Amateur</i>, <i>uncultivated</i>. Lat. <i>imperitus</i>. <i>Idiots</i> -long bore this meaning of ‘ordinary persons’ in English: cp. Jeremy -Taylor, “humility is a duty in great ones as well as in idiots.”</p> - -<p class="hangingindent4a"><b>ἰθυφάλλιον.</b> <b><a href="#Page_86">86</a></b> 8. <i>Ithyphallic poem.</i> Lat. <i>carmen ithyphallicum</i>. A -poem composed in the measure of the hymns to Priapus. Cp. -Masqueray <i>Abriss der griechischen Metrik</i> pp. 191, 192.</p> - -<p class="hangingindent4a"><b>ἰσομεγέθης.</b> <b><a href="#Page_270">270</a></b> 16. <i>Equal in size.</i> Lat. <i>par magnitudine</i>.</p> - -<p class="hangingindent4a"><b>ἱστορία.</b> <b><a href="#Page_214">214</a></b> 1. <i>History.</i> Lat. <i>historia</i>. So <b>ἱστορικός</b>, <i>suited to narrative</i>, -<b><a href="#Page_90">90</a></b> 6. In <b><a href="#Page_66">66</a></b> 14 ἱστορία = <i>inquiry</i>, <i>investigation</i>.</p> - -<p class="hangingindent4a"><b>ἰσχυρός.</b> <b><a href="#Page_162">162</a></b> 23, <b><a href="#Page_210">210</a></b> 17, <b><a href="#Page_216">216</a></b> 16. <i>Strong</i>, <i>vigorous</i>. Lat. <i>firmus</i>, <i>robustus</i>. -In <b><a href="#Page_216">216</a></b> 16 there may be some sense of <i>nerveux</i>.—ἰσχύς occurs in <b><a href="#Page_68">68</a></b> 19, -<b><a href="#Page_72">72</a></b> 19, etc.; ῥώμη in <b><a href="#Page_84">84</a></b> 13; κράτος in <b><a href="#Page_72">72</a></b> 14.</p> -<p><span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span></p> - -<p class="hangingindent4a"><b>Ἰωνικός.</b> <b><a href="#Page_86">86</a></b> 14. <i>Ionic.</i> Lat. <i>Ionicus</i>. The Ionic tetrameter is meant. -Cp. Masqueray, <i>op. cit.</i> pp. 137 ff.</p> - - -<p class="hangingindent4a"><b>καθαρός.</b> <b><a href="#Page_68">68</a></b> 4, <b><a href="#Page_74">74</a></b> 18, <b><a href="#Page_230">230</a></b> 14. <i>Pure.</i> Lat. <i>purus</i>. For Greek and -Latin authors as conscious purists, cp. Terence’s “in hac est pura -oratio,” or Dionysius’ τὸ καθαρεύειν τὴν διάλεκτον (<i>de Lysia</i> c. 2). -See C. N. Smiley’s dissertation on <i>Latinitas and Ἑλληνισμός</i>, and L. -Laurand’s <i>Études sur le style des discours de Cicéron</i> pp. 19 ff. (the -section headed “Pureté de la langue”).</p> - -<p class="hangingindent4a"><b>καθολικός.</b> <b><a href="#Page_134">134</a></b> 2. <i>General.</i> Lat. <i>universalis</i>.</p> - -<p class="hangingindent4a"><b>καινότης.</b> <b><a href="#Page_232">232</a></b> 20. <i>Novelty.</i> Lat. <i>novitas</i>. Used in a condemnatory -sense: ‘innovation,’ ‘singularity,’ ‘eccentricity.’</p> - -<p class="hangingindent4a"><b>καινοτομεῖν.</b> <b><a href="#Page_254">254</a></b> 23. <i>To break new ground.</i> Lat. <i>novare</i>. It is a mining -metaphor—from the opening of a new vein. Cp. <i>de Thucyd.</i> c. 2.</p> - -<p class="hangingindent4a"><b>καινουργεῖν.</b> <b><a href="#Page_200">200</a></b> 18. <i>To introduce new features.</i> Lat. <i>novitati studere</i>.</p> - -<p class="hangingindent4a"><b>καιρός.</b> <b><a href="#Page_132">132</a></b> 15, 20, 21. <i>Sense of measure</i>, <i>tact</i>, <i>taste</i>. See S. H. Butcher’s -<i>Harvard Lectures on Greek Subjects</i>, pp. 117-120, for καιρός as a word -without any single or precise equivalent in any other language. Cp. -<b>εὔκαιρος</b> <b><a href="#Page_134">134</a></b> 18, <b><a href="#Page_196">196</a></b> 25; <b>εὐκαίρως</b> <b><a href="#Page_132">132</a></b> 3; <b>εὐκαιρία</b> <b><a href="#Page_242">242</a></b> 3.</p> - -<p class="hangingindent4a"><b>κακόφωνος.</b> <b><a href="#Page_132">132</a></b> 1, <b><a href="#Page_164">164</a></b> 11. <i>Ill-sounding.</i> Lat. <i>male sonans</i>. Cp. Demetr. -p. 286.</p> - -<p class="hangingindent4a"><b>καλλιεπής.</b> <b><a href="#Page_180">180</a></b> 3. <i>Choice in diction.</i> Lat. <i>suaviloquens</i>. It is the word -used of Agathon in Aristoph. <i>Thesm.</i> 49 (<i>Classical Review</i> xviii. 20). -Cp. D.H. p. 193, with the passages there quoted: to which may be -added Plato <i>Apol.</i> 17 <span class="smcap">B</span> κεκαλλιεπημένους λόγους, and (for ἔπος only) -Thucyd. iii. 67 λόγοι ἔπεσι κοσμηθέντες and ii. 41 ὅστις ἔπεσι μὲν -τὸ αὐτίκα τέρψει.</p> - -<p class="hangingindent4a"><b>καλλιλογία.</b> <b><a href="#Page_164">164</a></b> 20, <b><a href="#Page_166">166</a></b> 12. <i>Elegant language.</i> Lat. <i>venusta elocutio</i>. -So καλλιλογεῖν of ‘verbal embellishment,’ <b><a href="#Page_80">80</a></b> 12.</p> - -<p class="hangingindent4a"><b>καλλιρήμων.</b> <b><a href="#Page_74">74</a></b> 18, <b><a href="#Page_166">166</a></b> 7. <i>Couched in elegant phrase.</i> Lat. <i>elegantibus -ornatus verbis</i>.</p> - -<p class="hangingindent4a"><b>κάλλος.</b> <b><a href="#Page_78">78</a></b> 19, <b><a href="#Page_84">84</a></b> 10, <b><a href="#Page_94">94</a></b> 2, <b><a href="#Page_160">160</a></b> 13, <b><a href="#Page_172">172</a></b> 16, <b><a href="#Page_182">182</a></b> 5, <b><a href="#Page_256">256</a></b> 5. <i>Beauty</i> (of -language). Lat. <i>pulchritude</i>. Cp. Aristot. <i>Rhet.</i> iii. 2. 13.</p> - -<p class="hangingindent4a"><b>καλός.</b> <b><a href="#Page_118">118</a></b> 23, <b><a href="#Page_120">120</a></b> 22, <b><a href="#Page_136">136</a></b> 8, <b><a href="#Page_160">160</a></b> 13, 14, <b><a href="#Page_178">178</a></b> 15, <i>passim</i>. <i>Beautiful.</i> -Lat. <i>pulcher</i>. 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. <b><a href="#Page_136">136</a></b> 13, <b><a href="#Page_178">178</a></b> 15, etc.). -In English we lack a single word to denote that <i>noble beauty</i> 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 <b><a href="#Page_68">68</a></b> 5 (τῷ σεμνῷ τὸ ἡδύ) and <b><a href="#Page_120">120</a></b> 22-24 (see under ἡδονή, p. <a href="#Page_302">302</a> -<i>supra</i>). The antithesis is not, as has sometimes been thought, that -of pleasure to the <i>ear</i> and beauty to the <i>mind</i>. 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. <i>Rhet.</i> iii. 1405 b and Demetr. <i>de Eloc.</i> § 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, <i>gravitas</i>)(<i>suavitas</i>, Cic. <i>Or.</i> §§ 62, 182; <i>honestus</i>)(<i>iucundus</i>, -Quintil. ix. 4. 146; ἡδεῖαν καὶ μεγαλοπρεπῆ Aristot. <i>Rhet.</i> iii. 12.</p> -<p><span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span></p> - -<p class="hangingindent4a"><b>κατακεκλασμένος.</b> <b><a href="#Page_184">184</a></b> 17. <i>Broken</i>, <i>nerveless</i>. Lat. <i>fractus</i>, <i>mollis</i>. Fr. -<i>faible</i>, <i>maigre</i>, <i>rompu</i>. Cp. κατακλωμένους, <b><a href="#Page_262">262</a></b> 12, where Dionysius -seems to indicate the broken (but by no means nerveless) foot</p> - -<div class="wspw indent8"> - – ᴗ – – -(τοσαύ)την ὑπάρξαι. -</div> - -<p class="indent8">So Long. <i>de Subl.</i> 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.</p> - -<p class="hangingindent4a"><b>καταλαμβάνειν.</b> <b><a href="#Page_230">230</a></b> 4, 12. <i>To check.</i> Lat. <i>cohibere</i>, <i>premere</i>. Usener’s -insertion of σιωπῇ in <b><a href="#Page_230">230</a></b> 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.</p> - -<p class="hangingindent4a"><b>κατάληξις.</b> <b><a href="#Page_178">178</a></b> 20, <b><a href="#Page_184">184</a></b> 9, <b><a href="#Page_258">258</a></b> 13. <i>Final syllable.</i> Lat. <i>syllaba terminalis</i>. -With <b><a href="#Page_178">178</a></b> 20 cp. <b><a href="#Page_178">178</a></b> 13 καὶ συλλαβὴν ὑφ’ ἧς τελειοῦται τὸ -κῶλον. See also Long. <i>de Subl.</i> xli. 2 τὰς ὀφειλομένας καταλήξεις, -and Demetr. p. 287 (s.v. καταληκτικός).</p> - -<p class="hangingindent4a"><b>κατάλογος.</b> <b><a href="#Page_168">168</a></b> 1. <i>Catalogue.</i> Lat. <i>enumeratio</i>. The Homeric ‘Catalogue’ -(in <i>Il.</i> ii.) is meant.</p> - -<p class="hangingindent4a"><b>καταμετρεῖν.</b> <b><a href="#Page_174">174</a></b> 24, <b><a href="#Page_182">182</a></b> 16. <i>To measure.</i> Lat. <i>emetiri</i>. Cp. <i>de Demosth.</i> -c. 39.</p> - -<p class="hangingindent4a"><b>καταπυκνοῦν.</b> <b><a href="#Page_162">162</a></b> 4, 16. <i>To pack.</i> Lat. <i>stipare</i>. Fr. <i>charger</i>.</p> - -<p class="hangingindent4a"><b>κατασκευή.</b> <b><a href="#Page_70">70</a></b> 4, <b><a href="#Page_156">156</a></b> 13, <b><a href="#Page_160">160</a></b> 19, <b><a href="#Page_164">164</a></b> 12. <i>Artistic treatment.</i> Lat. -<i>ornatus</i>. The Latin <i>apparatus</i>, and French <i>apprêt</i>, will also give something -of the meaning. Cp. <b>κατασκευάζειν</b> <b><a href="#Page_106">106</a></b> 3, <b><a href="#Page_140">140</a></b> 9, <b><a href="#Page_154">154</a></b> 3, 14, -17, <b><a href="#Page_158">158</a></b> 1, 4, etc. See also D.H. p. 194, under κατασκευή (with -the passages there quoted) and κατασκευάζειν.</p> - -<p class="hangingindent4a"><b>κατασπᾶν.</b> <b><a href="#Page_204">204</a></b> 24. <i>To pull down.</i> Lat. <i>detrahere</i>. Cp. the use of κατεσπευσμένα -and κατεσπεῦσθαι in Long. <i>de Subl.</i> xix. 2, xl. 4. [It is -possible that κατεσπεῦσθαι should be read in <i>C.V.</i> <b><a href="#Page_204">204</a></b> 24.]</p> - -<p class="hangingindent4a"><b>κατάστασις.</b> <b><a href="#Page_200">200</a></b> 8. <i>State.</i> Lat. <i>condicio</i>.</p> - -<p class="hangingindent4a"><b>καταφορά.</b> <b><a href="#Page_204">204</a></b> 19. <i>Downrush.</i> Lat. <i>decursus</i>.</p> - -<p class="hangingindent4a"><b>καταχλευάζειν.</b> <b><a href="#Page_264">264</a></b> 9. <i>To jeer.</i> Lat. <i>cavillari</i>, <i>irridere</i>.</p> - -<p class="hangingindent4a"><b>κατάχρησις.</b> <b><a href="#Page_78">78</a></b> 16. <i>Catachresis.</i> Lat. <i>abusio</i>. A definition is given by -Quintil. viii. 6. 34 “eo magis necessaria κατάχρησις, quam recte -dicimus <i>abusionem</i>, quae non habentibus nomen suum accommodat, quod -in proximo est: sic <i>Equum divina Palladis arte Aedificant</i>.” Cp. Cic. -<i>Orat.</i> 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. <i>Auct. ad Her.</i> iv. -c. 33). In Cic. <i>Acad.</i> 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?’</p> -<p><span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span></p> - -<p class="hangingindent4a"><b>κατεσπουδασμένος.</b> <b><a href="#Page_156">156</a></b> 7. <i>Earnest.</i> Lat. <i>anxius</i>, <i>instans</i>. Cp. Herod. ii. -174.</p> - -<p class="hangingindent4a"><b>κεραννύναι.</b> <b><a href="#Page_218">218</a></b> 7, <b><a href="#Page_240">240</a></b> 17, <b><a href="#Page_246">246</a></b> 12, <b><a href="#Page_248">248</a></b> 17, etc. <i>To mix</i>, <i>to temper</i>. -Lat. <i>commiscere</i>, <i>temperare</i>. Cp. the adjectives εὔκρατος and εὐκέραστος, -p. <a href="#Page_301">301</a> <i>supra</i>. The general sense in <b><a href="#Page_248">248</a></b> 17 is, ‘qui aient su mieux -qu’eux faire un heureux mélange des couleurs.’</p> - -<p class="hangingindent4a"><b>κερατοειδής.</b> <b><a href="#Page_146">146</a></b> 12. <i>Sounding like a horn.</i> Lat. <i>sonus veluti corneus</i>. -κερατοειδεῖς ἤχους = ‘sounds like (the sounds of) a horn’: cp. <i>Hymn. -Hom. in Merc.</i> 81 μυρσινοειδέας ὄζους, ‘branches like (the branches -of) myrtle.’</p> - -<p class="hangingindent4a"><b>κεφάλαιον.</b> <b><a href="#Page_68">68</a></b> 18, <b><a href="#Page_120">120</a></b> 25, <b><a href="#Page_130">130</a></b> 14, <b><a href="#Page_136">136</a></b> 7, <b><a href="#Page_160">160</a></b> 8. <i>Heading</i>, <i>topic</i>, <i>sum and -substance</i>. Lat. <i>caput</i>, <i>summa</i>. So <b>κεφαλαιωδῶς</b>, <b><a href="#Page_112">112</a></b> 21, <i>under heads</i>.</p> - -<p class="hangingindent4a"><b>κηλεῖν.</b> <b><a href="#Page_124">124</a></b> 13. <i>To charm.</i> Lat. <i>permulcere</i>.</p> - -<p class="hangingindent4a"><b>κινεῖν.</b> <b><a href="#Page_146">146</a></b> 8, <b><a href="#Page_194">194</a></b> 12. <i>To excite</i>, <i>to disturb</i>. Lat. <i>movere</i>. So κίνησις, -<i>movement</i>, <b><a href="#Page_124">124</a></b> 8, <b><a href="#Page_160">160</a></b> 3, <b><a href="#Page_244">244</a></b> 20; and <b>κινητικός</b>, <b><a href="#Page_158">158</a></b> 12.</p> - -<p class="hangingindent4a"><b>κλέπτειν.</b> <b><a href="#Page_196">196</a></b> 17. <i>To cheat</i>, <i>to disguise</i>. Lat. <i>dissimulare</i>, <i>obtegere</i>. Cp. -Demetr. p. 288.</p> - -<p class="hangingindent4a"><b>κοινός.</b> <b><a href="#Page_120">120</a></b> 13, <b><a href="#Page_122">122</a></b> 14, <b><a href="#Page_148">148</a></b> 14, <b><a href="#Page_164">164</a></b> 22, <b><a href="#Page_200">200</a></b> 7, <b><a href="#Page_210">210</a></b> 1 (according to one -reading), <b><a href="#Page_236">236</a></b> 11, <b><a href="#Page_252">252</a></b> 28. <i>Common</i>, <i>mixed</i>, <i>general</i>. Lat. <i>communis</i>. -For the meaning ‘in general terms’ cp. <i>de Dinarcho</i> c. 8 λέγω δὲ -ταῦτα οὐκ ἐν τῷ καθόλου τρόπῳ, ὡς μηδὲν τούτων κατορθοῦντος, -ἀλλ’ ἐν τῷ κοινοτέρῳ καὶ ὡς ἐπὶ τὸ πολύ.</p> - -<p class="hangingindent4a"><b>κολακικός.</b> <b><a href="#Page_236">236</a></b> 9. <i>Alluring.</i> Lat. <i>blandus</i>.</p> - -<p class="hangingindent4a"><b>κόμμα.</b> <b><a href="#Page_270">270</a></b> 15, <b><a href="#Page_276">276</a></b> 2. <i>Short clause</i>, <i>phrase</i>. Lat. <i>incisum</i> (Cic. <i>Orat.</i> -62. 211; Quintil. ix. 4. 22). Fr. <i>incise</i>. Cp. Demetr. p. 288; -Quintil, ix. 4. 122 “<i>incisum</i> (quantum mea fert opinio) erit sensus -non expleto numero conclusus, plerisque pars membri”; <i>C.V.</i> <b><a href="#Page_270">270</a></b> 15 -κόμματα ... βραχύτερα κώλων. So κομμάτιον <b><a href="#Page_274">274</a></b> 14, <b><a href="#Page_276">276</a></b> 6. -[The terms <i>comma</i>, <i>colon</i>, and <i>period</i> are now specially applied to -punctuation.] For illustrations of κῶλα and κόμματα drawn from -Cicero see Laurand’s <i>Études</i> p. 128. In <i>de Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>κόπτειν.</b> <b><a href="#Page_132">132</a></b> 4, <b><a href="#Page_198">198</a></b> 7. <i>To smite upon</i>, <i>to weary</i>. Lat. <i>obtundere</i>. Used -in reference to the ear, when it receives ‘hammer-strokes of sound.’</p> - -<p class="hangingindent4a"><b>κόρος.</b> <b><a href="#Page_124">124</a></b> 18, <b><a href="#Page_132">132</a></b> 11, <b><a href="#Page_192">192</a></b> 18, <b><a href="#Page_196">196</a></b> 18, <b><a href="#Page_252">252</a></b> 25. <i>Satiety.</i> Lat. <i>satietas</i> -(Cic. <i>Orat.</i> 65. 219). In using this word Dionysius often has in mind -Pindar <i>Nem.</i> vii. 52 (κόρον δ’ ἔχει καὶ μέλι καὶ τὰ τέρπν’ ἄνθε’ -ἀφροδίσια): a passage which he quotes in <i>Ep. ad Pomp.</i> c. 3.</p> - -<p class="hangingindent4a"><b>κορυφή.</b> <b><a href="#Page_248">248</a></b> 4. <i>Top</i>, <i>head</i>. Lat. <i>caput</i>. Cp. κορυφαῖος (<i>headman</i>) -and ἀκόρυφος (<b><a href="#Page_230">230</a></b> 31).</p> -<p><span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span></p> - -<p class="hangingindent4a"><b>κορωνίς.</b> <b><a href="#Page_94">94</a></b> 4. <i>Colophon</i>, <i>finis</i>. Lat. <i>coronis</i>. μέχρι κορωνίδος διελθεῖν -= ‘usque ad calcem perlegere,’ ‘from title to colophon.’</p> - -<p class="hangingindent4a"><b>κρᾶσις.</b> <b><a href="#Page_130">130</a></b> 25, <b><a href="#Page_154">154</a></b> 10, <b><a href="#Page_220">220</a></b> 12. <i>A mixing</i>, <i>blending</i>. Lat. <i>mistura</i>.</p> - -<p class="hangingindent4a"><b>κράτιστος.</b> <b><a href="#Page_70">70</a></b> 1, <b><a href="#Page_120">120</a></b> 18, <b><a href="#Page_134">134</a></b> 20, <b><a href="#Page_142">142</a></b> 5, <b><a href="#Page_150">150</a></b> 10, <b><a href="#Page_160">160</a></b> 5, <b><a href="#Page_162">162</a></b> 3, 15, -<b><a href="#Page_176">176</a></b> 15, <b><a href="#Page_196">196</a></b> 10, <b><a href="#Page_206">206</a></b> 21, <b><a href="#Page_214">214</a></b> 16, <b><a href="#Page_250">250</a></b> 16, <b><a href="#Page_260">260</a></b> 21. <i>Strongest</i>, <i>finest</i>, -<i>best</i>. Lat. <i>fortissimus</i>, <i>optimus</i>. It is not always easy to determine -in these passages whether the meaning is general or special. But in -<b><a href="#Page_162">162</a></b> 3 κρατίστοις is opposed to μαλακωτάτοις. When he wishes to be -quite explicit, Dionysius can use ἰσχυρός (<b><a href="#Page_162">162</a></b> 23), or βέλτιστος.</p> - -<p class="hangingindent4a"><b>κράτος.</b> <b><a href="#Page_70">70</a></b> 5, <b><a href="#Page_72">72</a></b> 14, etc. <i>Force</i>, <i>power</i>. Lat. <i>vis</i>, <i>robur</i>.</p> - -<p class="hangingindent4a"><b>κρητικός.</b> <b><a href="#Page_174">174</a></b> 11, <b><a href="#Page_260">260</a></b> 23, <b><a href="#Page_262">262</a></b> 9. <i>Cretic.</i> The metrical foot – ᴗ –. For -the cretic foot cp. Cic. <i>de Orat.</i> iii. 47. 183 and <i>Or.</i> 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 <i>Classical Quarterly</i> ii. 173.</p> - -<p class="hangingindent4a"><b>κριτήριον.</b> <b><a href="#Page_250">250</a></b> 7. <i>Criterion.</i> Lat. <i>iudicium</i>.</p> - -<p class="hangingindent4a"><b>κροῦσις.</b> <b><a href="#Page_124">124</a></b> 8, <b><a href="#Page_144">144</a></b> 1, <b><a href="#Page_268">268</a></b> 7. <i>Stroke</i>; <i>note</i> (<i>of an instrument</i>). Lat. -<i>pulsus</i>.</p> - -<p class="hangingindent4a"><b>κτενίζειν.</b> <b><a href="#Page_264">264</a></b> 22. <i>To comb.</i> Lat. <i>pectere</i>. Parallel metaphors from -Latin literature are quoted in Larue van Hook’s <i>Metaphorical Terminology -of Greek Rhetoric</i> p. 23.</p> - -<p class="hangingindent4a"><b>κυκλικός.</b> <b><a href="#Page_174">174</a></b> 4. <i>Cyclic.</i> Lat. <i>cyclicus</i>. Goodell (<i>Greek Metric</i> pp. 168 -ff.) points out that the much-debated question of ‘cyclic’ or ‘three-timed’ -anapaests and dactyls hinges on this passage (<b><a href="#Page_174">174</a></b> 4), together -with part of c. 20 (<b><a href="#Page_204">204</a></b> 16-<b><a href="#Page_206">206</a></b> 16). As he says (p. 175 <i>ibid.</i>), “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 (<i>op. cit.</i>), and also in L. Vernier <i>Traité de métrique grecque et -latine</i> c. 14 pp. 169 ff.</p> - -<p class="hangingindent4a"><b>κύκλος.</b> <b><a href="#Page_198">198</a></b> 6, <b><a href="#Page_212">212</a></b> 14, <b><a href="#Page_246">246</a></b> 3. <i>A circle</i>, <i>a round</i>. Lat. <i>orbis</i>, <i>ambitus</i>.</p> - -<p class="hangingindent4a"><b>κύριος.</b> <b><a href="#Page_84">84</a></b> 5, <b><a href="#Page_208">208</a></b> 24, <b><a href="#Page_246">246</a></b> 11. <i>Accredited</i>, <i>regular</i>, <i>proper</i>. Lat. <i>proprius</i>. -Fr. <i>propre</i> (in <i>le mot propre</i>). Cp. D.H. p. 195, Demetr. p. 289; -and (in addition to the passages there quoted) Quintil. i. 5. 71 “<i>propria</i> -sunt verba, cum id significant, in quod primo denominata sunt: <i>translata</i>, -cum alium natura intellectum, alium loco praebent.” The meaning -‘proper,’ ‘literal,’ is well illustrated by <b><a href="#Page_208">208</a></b> 24, where κυρίοις (‘used -in the ordinary sense’) is opposed to μεταφορικοῖς.</p> - -<p class="hangingindent4a"><b>κῶλον.</b> <b><a href="#Page_72">72</a></b> 6, 9, <b><a href="#Page_104">104</a></b> 9, <b><a href="#Page_110">110</a></b> 10, <b><a href="#Page_176">176</a></b> 2, <b><a href="#Page_178">178</a></b> 6, 7, <b><a href="#Page_194">194</a></b> 13, 22, <b><a href="#Page_218">218</a></b> 18, -<b><a href="#Page_230">230</a></b> 16, <b><a href="#Page_234">234</a></b> 20, 21, <b><a href="#Page_276">276</a></b> 2, 6, 14, <b><a href="#Page_278">278</a></b> 6, etc., <i>passim</i>. <i>Member</i>, <i>clause</i>, -<i>group of words</i>. Lat. <i>membrum</i>. Fr. <i>membre de phrase</i>. Cp. Demetr. -p. 289, and Aristot. <i>Rhet.</i> iii. 9. 5 κῶλον δ’ ἐστὶν τὸ ἕτερον μόριον -ταύτης [sc. περιόδου], Quintil. ix. 4. 22 “<i>membra</i>, quae κῶλα -(dicuntur),” Long, <i>de Subl.</i> xl. 1 ἡ τῶν μελῶν [this illustrates the -metaphor in κῶλον] ἐπισύνθεσις. For the length of the κῶλον cp. -Sandys’ <i>Orator of Cicero</i> p. 222 and Laurand’s <i>Études</i> pp. 127-9; -and see, generally, A. du Mesnil <i>Über die rhetorischen Kunstformen, -Komma, Kolon, Periode</i>.</p> -<p><span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></p> - -<p class="hangingindent4a"><b>κωμῳδεῖν.</b> <b><a href="#Page_264">264</a></b> 9. <i>To scoff.</i> Lat. <i>iocari</i>, <i>illudere</i>.</p> - - -<p class="hangingindent4a"><b>λαμβάνειν.</b> <b><a href="#Page_100">100</a></b> 26, <b><a href="#Page_104">104</a></b> 17, 20, <b><a href="#Page_106">106</a></b> 18, 19, <b><a href="#Page_108">108</a></b> 2, 5, 8, <i>passim</i>. <i>To -take</i>, <i>to employ</i>. Lat. <i>sumere</i>, <i>adhibere</i>.</p> - -<p class="hangingindent4a"><b>λεαίνειν.</b> <b><a href="#Page_130">130</a></b> 19, <b><a href="#Page_164">164</a></b> 12. <i>To smooth</i>, <i>to fall softly on</i>. Lat. <i>polire</i>, <i>mulcere</i>.</p> - -<p class="hangingindent4a"><b>λεῖος.</b> <b><a href="#Page_132">132</a></b> 1, <b><a href="#Page_154">154</a></b> 12, <b><a href="#Page_162">162</a></b> 23, <b><a href="#Page_222">222</a></b> 5, <b><a href="#Page_228">228</a></b> 4, <b><a href="#Page_234">234</a></b> 14. <i>Smooth.</i> Lat. -<i>levis</i>. So <b>λειότης</b> (<i>douceur</i>) <b><a href="#Page_240">240</a></b> 6. Cp. Demetr. <i>de Eloc.</i> § 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.</p> - -<p class="hangingindent4a"><b>λεκτικός.</b> <b><a href="#Page_66">66</a></b> 7, <b><a href="#Page_96">96</a></b> 9. <i>Relating to style or expression.</i> Lat. <i>qui ad elocutionem -spectat</i>. ὁ λεκτικὸς τόπος = the province of expression, as distinguished -from ὁ πραγματικὸς τόπος.—<b>λεκτικῶς</b>, <b><a href="#Page_258">258</a></b> 3, = <i>after the manner of -prose</i>.</p> - -<p class="hangingindent4a"><b>λέξις.</b> <b><a href="#Page_66">66</a></b> 16, <b><a href="#Page_70">70</a></b> 3, 11, 14, <b><a href="#Page_74">74</a></b> 3, 8, <b><a href="#Page_84">84</a></b> 15 (‘passages’), <b><a href="#Page_88">88</a></b> 22, 25, -<b><a href="#Page_90">90</a></b> 4, <b><a href="#Page_110">110</a></b> 9, <b><a href="#Page_112">112</a></b> 6, <i>passim</i>. <i>Speech or language</i>; <i>utterance</i>; <i>diction</i>; -<i>style</i>; <i>word</i>, <i>expression</i>, <i>passage</i>. Lat. <i>dictio</i>, <i>elocutio</i>, <i>verbum s. locutio</i>. -For the broad meaning ‘word’ or ‘phrase,’ common in Greek writers -of the later periods, cp. <b><a href="#Page_66">66</a></b> 16, <b><a href="#Page_124">124</a></b> 23, <b><a href="#Page_128">128</a></b> 5, <b><a href="#Page_168">168</a></b> 10, <b><a href="#Page_202">202</a></b> 22, <b><a href="#Page_206">206</a></b> 6, -<b><a href="#Page_268">268</a></b> 19.</p> - -<p class="hangingindent4a"><b>λῆρος.</b> <b><a href="#Page_90">90</a></b> 20. <i>Trumpery.</i> Lat. <i>ineptiae</i>. Cp. <i>de Demosth.</i> c. 25 καὶ διὰ -τῶν λήρων τούτων κοσμεῖ τὴν φράσιν.</p> - -<p class="hangingindent4a"><b>λιτός.</b> <b><a href="#Page_76">76</a></b> 8. <i>Trifling.</i> Lat. <i>exiguus</i>, <i>humilis</i>. For λιτός = <i>plain</i>, <i>simple</i>, -cp. Aristot. <i>Rhet.</i> iii. 16 ποικίλος καὶ οὐ λιτός.</p> - -<p class="hangingindent4a"><b>λογάδην.</b> <b><a href="#Page_210">210</a></b> 21. <i>Casually.</i> Lat. <i>fortuito</i>. Dionysius has in mind not -<i>selected</i> stones, but stones <i>collected</i> (picked up) as they lie. Cp. Joseph. -<i>Antiqq. Iud.</i> iv. 8. 5 (Naber) καὶ βωμὸς εἷς ἐκ λίθων μὴ κατειργασμένων -ἀλλὰ λογάδην συγκειμένων (i.e. <i>collecticiis</i>), 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.</p> - -<p class="hangingindent4a"><b>λογικός.</b> <b><a href="#Page_146">146</a></b> 14. <i>Rational.</i> Lat. <i>rationalis</i>. This passage (θηριώδους γὰρ -καὶ ἀλόγου μᾶλλον ἢ λογικῆς ἐφάπτεσθαι δοκεῖ φωνῆς ὁ συριγμός) -helps to illustrate the use of λογικός in <b><a href="#Page_130">130</a></b> 3 (δεδειγμένης τῆς διαφορᾶς -ᾗ διαφέρει μουσικὴ λογικῆς), where singing and ordinary speech (the -sounds of music and those of spoken language) are contrasted.</p> - -<p class="hangingindent4a"><b>λογογράφος.</b> <b><a href="#Page_158">158</a></b> 1. <i>Prose-writer.</i> Lat. <i>solutae orationis scriptor</i>. So -perhaps Aristot. <i>Rhet.</i> 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. <i>Rhet.</i> iii. 12. 2. -In <i>C.V.</i> <b><a href="#Page_154">154</a></b> 17 συγγραφέων is found in the same sense (‘prose-writers’) -as λογογράφοι in <b><a href="#Page_158">158</a></b> 1.</p> -<p><span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span></p> - -<p class="hangingindent4a"><b>λογοείδεια.</b> <b><a href="#Page_272">272</a></b> 15. <i>Prose-character.</i> Lat. <i>color prosaicus</i>. Fr. <i>la couleur -prosaïque</i>. The word is well explained and illustrated by a scholiast -on Hephaestion (Westphal <i>Scriptores Metrici Graeci</i> i. 167): πολιτικὸν -δέ ἐστι τὸ ἄνευ πάθους ἢ τρόπου πεποιημένον, οἷον</p> - -<p class="indent12"> -ἵππους τε ξανθὰς ἑκατὸν καὶ πεντήκοντα [<i>Il.</i> xi. 680],<br /> -</p> - -<p class="indent8">ὅπερ ταὐτόν ἐστι τῷ λογοειδεῖ.—In Demetr. <i>de Eloc.</i> § 41 τὸ λογικόν -is found in the same sense.</p> - -<p class="hangingindent4a"><b>λόγος.</b> <b><a href="#Page_64">64</a></b> 13, <b><a href="#Page_66">66</a></b> 5, 8, <b><a href="#Page_70">70</a></b> 10, <b><a href="#Page_72">72</a></b> 7, 10, 14, <b><a href="#Page_74">74</a></b> 6, <b><a href="#Page_76">76</a></b> 2, <b><a href="#Page_84">84</a></b> 14, 16, -<b><a href="#Page_92">92</a></b> 23, <b><a href="#Page_94">94</a></b> 2, <i>passim</i>. <i>Discourse</i>, <i>language</i>. Lat. <i>oratio</i>, <i>sermo</i>. Often -used of <i>prose</i>, as opposed to poetry: cp. <b><a href="#Page_84">84</a></b> 14, 16, <b><a href="#Page_108">108</a></b> 11 (λόγοις -πεζοῖς), <b><a href="#Page_118">118</a></b> 22, <b><a href="#Page_154">154</a></b> 2 (λόγοις ψιλοῖς), <b><a href="#Page_166">166</a></b> 4, <b><a href="#Page_208">208</a></b> 6, <b><a href="#Page_270">270</a></b> 17, -<b><a href="#Page_272">272</a></b> 9, 13, 17, 19, 28, <b><a href="#Page_278">278</a></b> 6, 9 (where the meaning probably is ‘a -piece of continuous prose’), <b><a href="#Page_280">280</a></b> 18; so καὶ ἐν ποιήσει καὶ ἐν λόγοις -(Aristot. <i>Rhet.</i> iii. 2. 7; further references in Bonitz’ <i>Index Aristotelicus</i> -p. 433). In many passages (e.g. <b><a href="#Page_66">66</a></b> 5, <b><a href="#Page_210">210</a></b> 8, <b><a href="#Page_218">218</a></b> 1, <b><a href="#Page_248">248</a></b> 4) ‘writing’ -or ‘literature’ (cp. ἡ τῶν λόγων φιλοσοφία = ‘the study of literature,’ -<i>Rhet. ad Alex.</i> 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. <a href="#Page_287">287</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>Λύδιος.</b> <b><a href="#Page_196">196</a></b> 2. <i>Lydian.</i> Lat. <i>Lydius</i>. Cp. Monro’s <i>Modes of Ancient -Greek Music</i>, passim.</p> - - -<p class="hangingindent4a"><b>μαλακός.</b> <b><a href="#Page_132">132</a></b> 1, <b><a href="#Page_154">154</a></b> 11, <b><a href="#Page_162">162</a></b> 3, etc. <i>Soft.</i> Lat. <i>mollis</i>. So <b>μαλθακός</b> -<b><a href="#Page_90">90</a></b> 20. In some passages (<b><a href="#Page_90">90</a></b> 20, <b><a href="#Page_170">170</a></b> 9) the word suggests the -idea of ‘lacking in backbone,’ ‘unmanly,’ ‘effeminate.’ Fr. <i>délicat</i>, or -(rather) <i>mou</i>.</p> - -<p class="hangingindent4a"><b>μεγαλοπρεπής.</b> <b><a href="#Page_136">136</a></b> 12, <b><a href="#Page_166">166</a></b> 2, 18, etc. <i>Grand</i>, <i>impressive</i>, <i>splendid</i>. -Lat. <i>magnificus</i>. Fr. <i>magnifique</i>. So μεγαλοπρέπεια (<i>la grandeur</i>), -<b><a href="#Page_120">120</a></b> 22, <b><a href="#Page_164">164</a></b> 20.</p> - -<p class="hangingindent4a"><b>μέγεθος.</b> <b><a href="#Page_172">172</a></b> 11, <b><a href="#Page_174">174</a></b> 19. <i>Grandeur</i>, <i>elevation</i>. Lat. <i>magnitudo</i>, <i>sublimitas</i>. -Fr. <i>ampleur</i>. Cp. Demetr. p. 292.</p> - -<p class="hangingindent4a"><b>μεθαρμόζειν.</b> <b><a href="#Page_112">112</a></b> 2. <i>To arrange differently</i>, <i>to re-arrange</i>. Lat. <i>aliter -componere</i>.</p> - -<p class="hangingindent4a"><b>μειοῦν.</b> <b><a href="#Page_128">128</a></b> 18, <b><a href="#Page_152">152</a></b> 20. <i>To lessen</i>, <i>to curtail</i>. Lat. <i>minuere</i>. Fr. <i>retrancher</i>. -So <b>μείωσις</b> <b><a href="#Page_110">110</a></b> 15. The word does not, in the <i>C.V.</i>, bear -the special sense of <i>extenuare</i>.</p> - -<p class="hangingindent4a"><b>μελικός.</b> <b><a href="#Page_130">130</a></b> 7, <b><a href="#Page_252">252</a></b> 21, <b><a href="#Page_254">254</a></b> 21, <b><a href="#Page_278">278</a></b> 4. <i>Melodious</i>, <i>lyric</i>. Lat. <i>lyricus</i>. -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 <i>Greek Melic Poets</i> pp. xvii, xviii. Apparently -the <i>adjectives</i> μελικός and λυρικός are both late.</p> -<p><span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span></p> - -<p class="hangingindent4a"><b>μελιχρός.</b> <b><a href="#Page_70">70</a></b> 2. <i>Honey-sweet.</i> Lat. <i>mellitus</i>. Cp. <i>de Demosth.</i> c. 48 ἔν τε -ταῖς μεταβολαῖς τοτὲ μὲν τὸ ἀρχαιοπρεπὲς καὶ αὐστηρόν, τοτὲ δὲ -τὸ μελιχρὸν καὶ φιλόκαινον ἐμφαινόμενον.</p> - -<p class="hangingindent4a"><b>μέλος.</b> <b><a href="#Page_204">204</a></b> 3, <i>limb</i>: <b><a href="#Page_122">122</a></b> 24, <b><a href="#Page_126">126</a></b> 21 (<i>bis</i>), <b><a href="#Page_194">194</a></b> 7, 13, <i>tune</i>, <i>melody</i>: <b><a href="#Page_120">120</a></b> -18, <b><a href="#Page_122">122</a></b> 11, <b><a href="#Page_130">130</a></b> 4, 11, <i>melodious effect</i>, <i>tunefulness</i>: <b><a href="#Page_92">92</a></b> 22, <b><a href="#Page_120">120</a></b> 26, -<b><a href="#Page_126">126</a></b> 23, <b><a href="#Page_154">154</a></b> 2, <b><a href="#Page_192">192</a></b> 21, <b><a href="#Page_194">194</a></b> 5, <b><a href="#Page_250">250</a></b> 11, 16, <b><a href="#Page_254">254</a></b> 5, 8, 15, <b><a href="#Page_272">272</a></b> 10, -<b><a href="#Page_278">278</a></b> 6, <b><a href="#Page_280">280</a></b> 18, <i>words set to music</i>, <i>song</i>, <i>aria</i>, <i>chant</i>, <i>lay</i>, <i>lyric</i>. Lat. -<i>cantus</i>, <i>carmen</i>, etc. Similarly also <b>μελοποιία</b> <b><a href="#Page_214">214</a></b> 3: <b>μελοποιός</b> <b><a href="#Page_194">194</a></b> -18, <b><a href="#Page_236">236</a></b> 16, 22, <b><a href="#Page_248">248</a></b> 13, <b><a href="#Page_270">270</a></b> 22, <b><a href="#Page_272">272</a></b> 5: <b>μελῳδεῖν</b> <b><a href="#Page_126">126</a></b> 18, <b><a href="#Page_128">128</a></b> 5: -μελῳδία <b><a href="#Page_122">122</a></b> 16, <b><a href="#Page_194">194</a></b> 8, <b><a href="#Page_196">196</a></b> 2.</p> - -<p class="hangingindent4a"><b>μερίζειν.</b> <b><a href="#Page_144">144</a></b> 22, <b><a href="#Page_220">220</a></b> 25. <i>To divide.</i> Lat. <i>distribuere</i>.</p> - -<p class="hangingindent4a"><b>μέρος.</b> <b><a href="#Page_68">68</a></b> 6, <b><a href="#Page_70">70</a></b> 14, <b><a href="#Page_96">96</a></b> 1, etc. <i>Part.</i> Lat. <i>pars</i>. τὰ τῆς λέξεως μέρη = -‘the parts of speech,’ <b><a href="#Page_70">70</a></b> 14, <b><a href="#Page_96">96</a></b> 14, etc. See also μόριον, p. <a href="#Page_311">311</a>.</p> - -<p class="hangingindent4a"><b>μέσος.</b> <b><a href="#Page_148">148</a></b> 18, <b><a href="#Page_150">150</a></b> 11, <b><a href="#Page_210">210</a></b> 6, 7, 8, <b><a href="#Page_236">236</a></b> 2, <b><a href="#Page_246">246</a></b> 10. <i>Middle</i>, <i>intermediate</i>, -<i>average</i>. Lat. <i>medius</i>. So <b>μέσως</b> <b><a href="#Page_146">146</a></b> 10, and <b>μεσότης</b> <b><a href="#Page_246">246</a></b> 15 (<i>bis</i>) -(with reference to Aristotle’s use of the word for <i>le juste milieu</i>), <b><a href="#Page_248">248</a></b> 11.</p> - -<p class="hangingindent4a"><b>μεταβάλλειν.</b> <b><a href="#Page_194">194</a></b> 1, 2. <i>To change</i>, <i>to vary</i>. Lat. <i>mutare</i>. As its passive, -<b>μετακειμένην</b> <b><a href="#Page_266">266</a></b> 1.</p> - -<p class="hangingindent4a"><b>μεταβολή.</b> <b><a href="#Page_120">120</a></b> 19, <b><a href="#Page_122">122</a></b> 12, <b><a href="#Page_124">124</a></b> 11, 25, <b><a href="#Page_134">134</a></b> 18, 19. <i>Variety.</i> Lat. -<i>varietas</i>, <i>diversitas</i>. 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.</p> - -<p class="hangingindent4a"><b>μεταλαμβάνειν.</b> <b><a href="#Page_132">132</a></b> 7. <i>To interchange.</i> Lat. <i>commutare</i>.</p> - -<p class="hangingindent4a"><b>μεταπτωτικός.</b> <b><a href="#Page_140">140</a></b> 20. <i>Variable.</i> Lat. <i>mutabilis</i>. So <b>μεταπίπτειν</b> <b><a href="#Page_96">96</a></b> -17, <b><a href="#Page_250">250</a></b> 7.</p> - -<p class="hangingindent4a"><b>μετασκευή.</b> <b><a href="#Page_104">104</a></b> 19, <b><a href="#Page_108">108</a></b> 9, <b><a href="#Page_110">110</a></b> 16 (e coni. Schaef.), <b><a href="#Page_114">114</a></b> 10. <i>Modification.</i> -Lat. <i>mutatio</i>. So <b>μετασκευάζειν</b> <b><a href="#Page_110">110</a></b> 6. Cp. text in <b><a href="#Page_110">110</a></b> 16 with <b><a href="#Page_104">104</a></b> -19, <b><a href="#Page_108">108</a></b> 9.</p> - -<p class="hangingindent4a"><b>μεταφορά.</b> <b><a href="#Page_78">78</a></b> 15. <i>Transference</i>, <i>metaphor</i>. “The figure of transport,” -Puttenham. Lat. <i>translatio</i>.</p> - -<p class="hangingindent4a"><b>μετέωρος.</b> <b><a href="#Page_148">148</a></b> 23. <i>Upper.</i> Lat. <i>superior</i> (τοὺς μετεώρους ὀδόντας = <i>dentes -superiores</i>).</p> - -<p class="hangingindent4a"><b>μετοχή.</b> <b><a href="#Page_72">72</a></b> 1. <i>Participle.</i> Lat. <i>participium</i>. Cp. D.H. p. 196.</p> - -<p class="hangingindent4a"><b>μετρικός.</b> <b><a href="#Page_140">140</a></b> 11, <b><a href="#Page_172">172</a></b> 2, <b><a href="#Page_174">174</a></b> 22, <b><a href="#Page_176">176</a></b> 7, <b><a href="#Page_218">218</a></b> 19. <i>Metrical.</i> Lat. <i>metricus</i>. -<b><a href="#Page_172">172</a></b> 2 and <b><a href="#Page_174">174</a></b> 22 οἱ μετρικοί = ‘the metrists,’ ‘the theorists on -metre’: cp. οἱ ῥυθμικοί <b><a href="#Page_172">172</a></b> 20.</p> - -<p class="hangingindent4a"><b>μέτριος.</b> <b><a href="#Page_132">132</a></b> 8, <b><a href="#Page_150">150</a></b> 9, <b><a href="#Page_214">214</a></b> 12, <b><a href="#Page_222">222</a></b> 26, <b><a href="#Page_230">230</a></b> 22, <b><a href="#Page_234">234</a></b> 22, <b><a href="#Page_246">246</a></b> 13. <i>Moderate</i>, -<i>fair</i>. Lat. <i>aequus</i>.</p> - -<p class="hangingindent4a"><b>μέτρον.</b> <b><a href="#Page_74">74</a></b> 5, <b><a href="#Page_84">84</a></b> 16, <b><a href="#Page_88">88</a></b> 6, 8, <b><a href="#Page_92">92</a></b> 22, <b><a href="#Page_118">118</a></b> 22, <b><a href="#Page_120">120</a></b> 26, <b><a href="#Page_172">172</a></b> 17, <i>passim</i>. -<i>Measure</i>, <i>metre</i>, <i>verse</i>, <i>line</i>. Lat. <i>metrum</i>, <i>versus</i>. In Aristot. <i>Poet.</i> 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 -<i>Introduction to Aristotle’s Rhetoric</i> p. 387). When contrasted with -μέλη (cp. Plato <i>Gorg.</i> 502 <span class="smcap">C</span> 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 <b><a href="#Page_92">92</a></b> 22, <b><a href="#Page_120">120</a></b> 26, <b><a href="#Page_192">192</a></b> -21, and especially <b><a href="#Page_270">270</a></b> 18-23.</p> -<p><span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span></p> - -<p class="hangingindent4a"><b>μῆκος.</b> <b><a href="#Page_150">150</a></b> 22, <b><a href="#Page_154">154</a></b> 6, <b><a href="#Page_204">204</a></b> 2, <b><a href="#Page_224">224</a></b> 15, <b><a href="#Page_264">264</a></b> 4. <i>Length.</i> Lat. <i>longitudo</i>. -So <b>μηκύνειν</b> (<i>to lengthen</i>) <b><a href="#Page_132">132</a></b> 7, <b><a href="#Page_152">152</a></b> 24, <b><a href="#Page_224">224</a></b> 8, 13, <b><a href="#Page_246">246</a></b> 8. In <b><a href="#Page_246">246</a></b> 8 -(and also in <b><a href="#Page_276">276</a></b> 9, where P gives μηκύνειν and MV give μηκύνειν -τὸν λόγον) μηκύνειν is used absolutely (= μακρηγορεῖν: cp. Aristoph. -<i>Lys.</i> 1131 πόσους εἴποιμ’ ἂν ἄλλους, εἴ με μηκύνειν δέοι;). In -<b><a href="#Page_132">132</a></b> 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 <b><a href="#Page_132">132</a></b> 9, 10.</p> - -<p class="hangingindent4a"><b>μῖγμα.</b> <b><a href="#Page_208">208</a></b> 18. <i>Mixture</i>, <i>blend</i>. Lat. <i>mistura</i>. Cp. <b>μῖξις</b> <b><a href="#Page_130">130</a></b> 25, <b><a href="#Page_166">166</a></b> 9; -and also D.H. p. 197. It is possible that Dionysius may have written -μεῖγμα, as in earlier Greek: in <i>Ep. ad Pomp.</i> c. 2 it is to be noticed -that the manuscripts give δεῖγμα, where the sense clearly calls for -μεῖγμα.</p> - -<p class="hangingindent4a"><b>μικρόκομψος.</b> <b><a href="#Page_90">90</a></b> 20. <i>Affected</i>, <i>finical</i>. Lat. <i>bellulus</i>.</p> - -<p class="hangingindent4a"><b>μικρολογία.</b> <b><a href="#Page_266">266</a></b> 11. <i>Trifling</i>, <i>pettiness</i>. Lat. <i>rerum minutarum cura</i>. In -Theophrastus’ <i>Characters</i> 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.</p> - -<p class="hangingindent4a"><b>μικρόφωνος.</b> <b><a href="#Page_142">142</a></b> 9. <i>Small-voiced</i>, <i>non-resonant</i>. Lat. <i>qui vocem habet -exiguam</i>, <i>sonum exiliorem</i>.</p> - -<p class="hangingindent4a"><b>μίμημα.</b> <b><a href="#Page_160">160</a></b> 2. <i>Imitation.</i> Lat. <i>imitamentum</i>. [F.’s reading here is -μηνύματα, ‘expressions which indicate’: cp. <i>de Demosth.</i> c. 51 init.]</p> - -<p class="hangingindent4a"><b>μιμητικός.</b> <b><a href="#Page_158">158</a></b> 4, 11, <b><a href="#Page_200">200</a></b> 11. <i>Imitative.</i> Lat. <i>ad imitandum aptus</i>. So -<b>μιμητικῶς</b> <b><a href="#Page_202">202</a></b> 1.</p> - -<p class="hangingindent4a"><b>μνημεῖον.</b> <b><a href="#Page_266">266</a></b> 7. <i>Memorial.</i> Lat. <i>monumentum</i>.</p> - -<p class="hangingindent4a"><b>μολοττός.</b> <b><a href="#Page_172">172</a></b> 1, <b><a href="#Page_184">184</a></b> 4. <i>Molossus.</i> Lat. <i>molossus</i>. The metrical foot -– – –.</p> - -<p class="hangingindent4a"><b>μονογράμματος.</b> <b><a href="#Page_152">152</a></b> 20. <i>Consisting of a single letter.</i> Lat. <i>qui unius est -litterae</i>.</p> - -<p class="hangingindent4a"><b>μονόμετρος.</b> <b><a href="#Page_270">270</a></b> 23. <i>Consisting of one metre.</i> Lat. <i>monometer</i>. Applicable -to poems, like the <i>Iliad</i> and the <i>Aeneid</i>, which are written throughout -in a single metre.</p> - -<p class="hangingindent4a"><b>μονοσύλλαβος.</b> <b><a href="#Page_168">168</a></b> 11, <b><a href="#Page_202">202</a></b> 14. <i>Monosyllabic.</i> Lat. <i>monosyllabus</i>.</p> - -<p class="hangingindent4a"><b>μόριον.</b> <b><a href="#Page_70">70</a></b> 10, <b><a href="#Page_96">96</a></b> 3, <b><a href="#Page_98">98</a></b> 6, <b><a href="#Page_106">106</a></b> 11, 12, <i>passim</i>. <i>Part</i>, especially <i>part of -speech</i>. Lat. <i>pars</i>, <i>pars orationis</i>. The meaning ‘part of speech’ -appears in such passages as ποῖον ὄνομα ἢ ῥῆμα ἢ τῶν ἄλλων τι -μορίων (<b><a href="#Page_106">106</a></b> 12), τὰ μόρια τοῦ λόγου (<b><a href="#Page_110">110</a></b> 1), ἓν μόριον λόγου (<b><a href="#Page_126">126</a></b> 7), -πᾶν ὄνομα καὶ ῥῆμα καὶ ἄλλο μόριον λέξεως (<b><a href="#Page_168">168</a></b> 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 <b><a href="#Page_232">232</a></b> 18 the meaning may be ‘in -every word’: so <b><a href="#Page_130">130</a></b> 7, <b><a href="#Page_134">134</a></b> 25, <b><a href="#Page_220">220</a></b> 3, <b><a href="#Page_222">222</a></b> 10, <b><a href="#Page_224">224</a></b> 11.</p> -<p><span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span></p> - -<p class="hangingindent4a"><b>μοῦσα.</b> <b><a href="#Page_126">126</a></b> 16, <b><a href="#Page_252">252</a></b> 20. <i>Music</i>, <i>melody</i>. Lat. <i>musica concinnitas</i>. So -<b>μουσική</b> <b><a href="#Page_124">124</a></b> 20, <b><a href="#Page_128">128</a></b> 18; <b>ὁ μουσικός</b> <b><a href="#Page_138">138</a></b> 6.</p> - -<p class="hangingindent4a"><b>μυγμός.</b> <b><a href="#Page_138">138</a></b> 10. <i>A moaning</i>, <i>muttering</i>, <i>murmur</i>, <i>humming</i>. Lat. <i>gemitus</i>. -Cp. Demetr. p. 294, and Aesch. <i>Eum.</i> 117, 120.</p> - -<p class="hangingindent4a"><b>μύκημα.</b> <b><a href="#Page_158">158</a></b> 13. <i>Bellowing.</i> Lat. <i>mugitus</i>.</p> - - -<p class="hangingindent4a"><b>νεαρός.</b> <b><a href="#Page_66">66</a></b> 16, <b><a href="#Page_246">246</a></b> 5. <i>Youthful.</i> Lat. <i>iuvenilis</i>. Cp. note on μειρακιώδης -in D.H. p. 196.</p> - -<p class="hangingindent4a"><b>νήτη.</b> <b><a href="#Page_210">210</a></b> 7. <i>Lowest note.</i> Lat. <i>ima chorda</i>. See L. & S. s.v. νεάτη.</p> - -<p class="hangingindent4a"><b>νόημα.</b> <b><a href="#Page_66">66</a></b> 5, <b><a href="#Page_74">74</a></b> 16, <b><a href="#Page_84">84</a></b> 6, <b><a href="#Page_92">92</a></b> 17, <b><a href="#Page_112">112</a></b> 15, <b><a href="#Page_264">264</a></b> 16. <i>Idea.</i> Lat. <i>sententia</i>. -Cp. νόησις (<i>thought</i>, <i>perception</i>) <b><a href="#Page_74">74</a></b> 3, <b><a href="#Page_268">268</a></b> 9; and D.H. p. 197.</p> - -<p class="hangingindent4a"><b>νοῦς.</b> <b><a href="#Page_212">212</a></b> 15, <b><a href="#Page_276">276</a></b> 1, 8. <i>Meaning.</i> Lat. <i>sententia</i>. Fr. <i>sens</i>, <i>pensée</i>.</p> - - -<p class="hangingindent4a"><b>ξένος.</b> <b><a href="#Page_78">78</a></b> 17, <b><a href="#Page_252">252</a></b> 24, <b><a href="#Page_272">272</a></b> 11. <i>Foreign</i>, <i>strange</i>, <i>unfamiliar</i>. Lat. <i>peregrinus</i>, -<i>inusitatus</i>, <i>arcessitus</i>. Cp. D.H. p. 197, Demetr. p. 294, and -<i>Classical Review</i> xviii. 20 (as to ξενικός).</p> - - -<p class="hangingindent4a"><b>οἰκεῖος.</b> <b><a href="#Page_110">110</a></b> 13, <b><a href="#Page_126">126</a></b> 1, <b><a href="#Page_134">134</a></b> 20, <b><a href="#Page_140">140</a></b> 12, <b><a href="#Page_154">154</a></b> 19, <b><a href="#Page_158">158</a></b> 2, <b><a href="#Page_168">168</a></b> 7. <i>Akin</i>, -<i>appropriate</i>, <i>fitting</i>. Lat. <i>cognatus</i>, <i>domesticus</i>, <i>decorus</i>. So <b>οἰκείως</b> <b><a href="#Page_72">72</a></b> 8, -<b><a href="#Page_118">118</a></b> 14, <b><a href="#Page_134">134</a></b> 10: <b>οἰκειότης</b> <b><a href="#Page_122">122</a></b> 21, <b><a href="#Page_240">240</a></b> 7: <b>οἰκειοῦν</b> <b><a href="#Page_122">122</a></b> 17. If the -metaphors are to be fully pressed, we might render οἰκεῖα καὶ φίλα -in <b><a href="#Page_110">110</a></b> 13 by ‘to seem loving members of the same family,’ and οἰκείως -in <b><a href="#Page_118">118</a></b> 14 by ‘in harmony with their inner significance.’ In <b><a href="#Page_122">122</a></b> 21 -οἰκειότης is ‘a natural inclination or instinct.’ On <b><a href="#Page_122">122</a></b> 17 there is the -following scholium in M: οἰκειοῦται ἀντὶ τοῦ εὐσταθῶς ἥδεται. In -<b><a href="#Page_126">126</a></b> 1 τὸ οἰκεῖον (<i>appropriateness</i>) 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 -<i>Metaphorical Terminology, etc.</i> p. 8).</p> - -<p class="hangingindent4a"><b>οἰκονομεῖν.</b> <b><a href="#Page_176">176</a></b> 18. <i>To manage.</i> Lat. <i>administrare</i>, <i>tractare</i>. So <b>οἰκονομία</b> -<b><a href="#Page_264">264</a></b> 16. Cp. Aristot. <i>Poet.</i> xiii. 6 καὶ ὁ Εὐριπίδης, εἰ καὶ τὰ ἄλλα -μὴ εὖ οἰκονομεῖ, ἀλλὰ τραγικώτατός γε τῶν ποιητῶν φαίνεται: -Long. <i>de Subl.</i> i. 4 καὶ τὴν τῶν πραγμάτων τάξιν καὶ οἰκονομίαν: -Quintil. <i>Inst. Or.</i> iii. 3. 9 “<i>oeconomiae</i>, quae Graece appellata ex cura -rerum domesticarum et hic per abusionem posita nomine Latino caret.”</p> - -<p class="hangingindent4a"><b>ὀλιγοσύλλαβος.</b> <b><a href="#Page_132">132</a></b> 3. <i>Consisting of few syllables.</i> Lat. <i>qui paucis constat -syllabis</i>.</p> - -<p class="hangingindent4a"><b>ὀλιγοσύνδεσμος.</b> <b><a href="#Page_212">212</a></b> 21. <i>Sparing in connectives.</i> Lat. <i>qui paucis utitur -convinctionibus</i>.</p> - -<p class="hangingindent4a"><b>ὁμογενής.</b> <b><a href="#Page_146">146</a></b> 10, <b><a href="#Page_148">148</a></b> 9. <i>Of the same race or family.</i> Lat. <i>congener</i>. Cp. -<b>ὁμοιογενής</b> (<i>of like kind</i>) <b><a href="#Page_72">72</a></b> 24, <b><a href="#Page_132">132</a></b> 19, <b><a href="#Page_156">156</a></b> 15; also <b>ἀνομοιογενής</b> -<b><a href="#Page_132">132</a></b> 19.</p> -<p><span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span></p> - -<p class="hangingindent4a"><b>ὁμοειδής.</b> <b><a href="#Page_192">192</a></b> 18, <b><a href="#Page_198">198</a></b> 6, <b><a href="#Page_270">270</a></b> 19. <i>Of the same species or kind.</i> Lat. <i>uniformis</i>. -So <b>ὁμοείδεια</b> <b><a href="#Page_274">274</a></b> 1. Cp. Cic. <i>ad Att.</i> ii. 6 “etenim γεωγραφικά -quae constitueram magnum opus est ... et hercule sunt res -difficiles ad explicandum et ὁμοειδεῖς nec tam possunt ἀνθηρογραφεῖσθαι -quam videbantur.”</p> - -<p class="hangingindent4a"><b>ὁμοζυγία.</b> <b><a href="#Page_176">176</a></b> 13, <b><a href="#Page_254">254</a></b> 17. <i>Connexion</i>, <i>affinity</i>. Lat. <i>coniugatio</i>.</p> - -<p class="hangingindent4a"><b>ὁμοιοσχήμων.</b> <b><a href="#Page_270">270</a></b> 16. <i>Like in shape.</i> Lat. <i>forma consimilis</i>.</p> - -<p class="hangingindent4a"><b>ὁμοιότονος.</b> <b><a href="#Page_132">132</a></b> 6. <i>Similarly accented.</i> Lat. <i>qui similis est toni</i>.</p> - -<p class="hangingindent4a"><b>ὁμοιόχρονος.</b> <b><a href="#Page_132">132</a></b> 6 (<i>bis</i>). <i>Of like quantity.</i> Lat. <i>qui similia habet tempora</i>.</p> - -<p class="hangingindent4a"><b>ὁμότονος.</b> <b><a href="#Page_128">128</a></b> 7. <i>Of the same pitch or accent.</i> Lat. <i>eiusdem toni s. accentus</i>.</p> - -<p class="hangingindent4a"><b>ὁμόφωνος.</b> <b><a href="#Page_128">128</a></b> 9. <i>With the same note.</i> Lat. <i>eiusdem chordae s. soni</i>.</p> - -<p class="hangingindent4a"><b>ὄνομα.</b> <b><a href="#Page_66">66</a></b> 5, <b><a href="#Page_70">70</a></b> 9, 13, 20, <b><a href="#Page_74">74</a></b> 12, <b><a href="#Page_84">84</a></b> 6 <i>passim</i>. <i>Word</i>, <i>noun</i>. Lat. -<i>vocabulum</i>, <i>nomen</i>. In <b><a href="#Page_168">168</a></b> 10, <b><a href="#Page_264">264</a></b> 5, etc., the meaning is ‘noun’; in -<b><a href="#Page_264">264</a></b> 3, etc., ‘word.’</p> - -<p class="hangingindent4a"><b>ὀνομασία.</b> <b><a href="#Page_74">74</a></b> 17, <b><a href="#Page_234">234</a></b> 5, <b><a href="#Page_252">252</a></b> 23, <b><a href="#Page_274">274</a></b> 2. <i>Wording</i>, <i>naming</i>, <i>language</i>. -Lat. <i>elocutio</i>, <i>appellatio</i>. Cp. <i>Rhet. ad Alex.</i> c. 27 ἀντίθετον μὲν οὖν ἐστι -τὸ ἐναντίαν τὴν ὀνομασίαν ἅμα καὶ τὴν δύναμιν τοῖς ἀντικειμένοις -ἔχον, ἢ τὸ ἕτερον τούτων: Aristot. <i>Poet.</i> vi. 18 λέγω δέ, ὥσπερ πρότερον -εἴρηται, λέξιν εἶναι τὴν διὰ τῆς ὀνομασίας ἑρμηνείαν: Dionys. -Hal. <i>de Demosth.</i> cc. 18, 34, 40: Demetr. <i>de Eloc.</i> §§ 91, 304.</p> - -<p class="hangingindent4a"><b>ὀνοματικά, τά.</b> <b><a href="#Page_70">70</a></b> 18, <b><a href="#Page_102">102</a></b> 16, 17, <b><a href="#Page_132">132</a></b> 7. <i>Nouns substantive.</i> Lat. <i>nomina -substantiva</i>.</p> - -<p class="hangingindent4a"><b>ὀξύς.</b> <b><a href="#Page_126">126</a></b> 5, 8, 10, <b><a href="#Page_128">128</a></b> 6, 8. <i>Acute</i> (accent), <i>high</i> (pitch). Lat. <i>acutus</i>. -So <b>ὀξύτης</b> <b><a href="#Page_126">126</a></b> 14. Cp. s.v. βαρύς, p. <a href="#Page_292">292</a> <i>supra</i>. In Aristot. <i>Poet.</i> -c. 20 ὀξύτητι καὶ βαρύτητι καὶ τῷ μέσῳ = ‘according as they [the -letters] are acute, grave, or of an intermediate tone.’</p> - -<p class="hangingindent4a"><b>ὀξύτονος.</b> <b><a href="#Page_128">128</a></b> 9. <i>With high pitch or acute accent.</i> Lat. <i>qui acutum tonum -s. accentum habet</i>.</p> - -<p class="hangingindent4a"><b>ὅρασις.</b> <b><a href="#Page_118">118</a></b> 24. <i>Seeing</i>, <i>the act of sight</i>. Lat. <i>visus</i>.</p> - -<p class="hangingindent4a"><b>ὄργανον.</b> <b><a href="#Page_122">122</a></b> 25, <b><a href="#Page_124">124</a></b> 4, 22. <i>Musical instrument.</i> Lat. <i>instrumentum</i>. -So the adjective <b>ὀργανικός</b> (<i>instrumental</i>) in <b><a href="#Page_124">124</a></b> 16, <b><a href="#Page_126">126</a></b> 16.</p> - -<p class="hangingindent4a"><b>ὀρθός.</b> <b><a href="#Page_106">106</a></b> 19. <i>Nominative.</i> Lat. <i>rectus</i> (<i>casus</i>): viz. ‘uninflected.’ In -<b><a href="#Page_102">102</a></b> 19 ‘primary,’ as opposed to ‘secondary’; in <b><a href="#Page_108">108</a></b> 3 ‘active,’ as opposed -to ‘passive.’ In <b><a href="#Page_258">258</a></b> 25 and <b><a href="#Page_262">262</a></b> 5 the meaning is ‘correct’; in -<b><a href="#Page_90">90</a></b> 6 perhaps ‘tense’ (see the exx. given in L. & S. under the heading -‘excited’), the opposite of ὕπτιος (<i>supinus</i>).</p> - -<p class="hangingindent4a"><b>ὁρίζειν.</b> <b><a href="#Page_132">132</a></b> 22, <b><a href="#Page_166">166</a></b> 1, <b><a href="#Page_234">234</a></b> 21. <i>To define</i>, <i>to limit</i>. Lat. <i>definire</i>.</p> - -<p class="hangingindent4a"><b>ὅρος.</b> <b><a href="#Page_182">182</a></b> 13, <b><a href="#Page_200">200</a></b> 25, <b><a href="#Page_210">210</a></b> 5. <i>Standard</i>, <i>condition</i>, <i>boundary</i>. Lat. <i>regula</i>, -<i>condicio</i>, <i>finis</i>. With the sense <i>norma et regula</i> in <b><a href="#Page_182">182</a></b> 13 cp. Long. -<i>de Subl.</i> xxxii. 1 ὁ γὰρ Δημοσθένης ὅρος καὶ τῶν τοιούτων, Dionys. -H. <i>de Demosth.</i> c. 1 ἧς (λέξεως) ὅρος καὶ κανὼν ὁ Θουκυδίδης.</p> - -<p class="hangingindent4a"><b>οὐδέτερος.</b> <b><a href="#Page_106">106</a></b> 21. <i>Neuter.</i> Lat. <i>qui neutri generis est</i>. Cp. D.H. p. 198.</p> - -<p class="hangingindent4a"><b>οὐρανός.</b> <b><a href="#Page_142">142</a></b> 12, <b><a href="#Page_144">144</a></b> 19, <b><a href="#Page_150">150</a></b> 6, <b><a href="#Page_220">220</a></b> 23. <i>Palate.</i> Lat. <i>palatum</i>. In the -margin of R (with reference to <b><a href="#Page_142">142</a></b> 12) there is the note: τὴν ὑπερῴαν -φησίν. This sense of οὐρανός is found several times in Aristotle (see -Bonitz’ <i>Index</i>), and not (as has sometimes been supposed) for the first -time in Dionysius. Cp. the converse <i>caeli palatum</i> in Ennius <i>apud</i> Cic. <i>de</i> -<i>Nat. Deor.</i> ii. 18. 48 “sed dum, palato quid sit optimum, iudicat -[Epicurus], caeli palatum (ut ait Ennius) non suspexit.”</p> -<p><span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span></p> - -<p class="hangingindent4a"><b>οὐσία.</b> <b><a href="#Page_98">98</a></b> 8. <i>Substance</i>, <i>essence</i>. Lat. <i>substantia</i>.</p> - -<p class="hangingindent4a"><b>ὄχλησις.</b> <b><a href="#Page_132">132</a></b> 17. <i>Annoyance</i>, <i>disgust</i>. Lat. <i>molestia</i>.</p> - -<p class="hangingindent4a"><b>ὄψις.</b> <b><a href="#Page_162">162</a></b> 1, 14, <b><a href="#Page_234">234</a></b> 9. <i>Appearance</i>, <i>visage</i>. Lat. <i>vultus</i>, <i>aspectus</i>.</p> - - -<p class="hangingindent4a"><b>πάθος.</b> <b><a href="#Page_66">66</a></b> 15, <b><a href="#Page_88">88</a></b> 12, <b><a href="#Page_110">110</a></b> 23, <b><a href="#Page_112">112</a></b> 5, <b><a href="#Page_122">122</a></b> 15, <i>passim</i>. <i>Feeling</i>, <i>experience</i>, -<i>emotion</i>, <i>affection</i>, <i>passion</i>. Lat. <i>affectus</i> (Quintil. vi. 2. 8), <i>animi motus</i> -(Cic. <i>de Or.</i> i. 5. 17), <i>perturbatio</i> (id. <i>Tusc.</i> iv. 5. 10). Cp. D.H. pp. -198, 199.—In <b><a href="#Page_154">154</a></b> 5, <b><a href="#Page_268">268</a></b> 18 πάθη = ‘properties,’ ‘modifications,’ -‘differences.’</p> - -<p class="hangingindent4a"><b>παιάν.</b> <b><a href="#Page_184">184</a></b> 3, <b><a href="#Page_260">260</a></b> 23, <b><a href="#Page_262">262</a></b> 9. <i>Paeon.</i> Lat. <i>paeon</i>. 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 <i>first</i>, <i>second</i>, <i>third</i>, and <i>fourth</i> paeon -respectively. Cp. Aristot. <i>Rhet.</i> iii. 8. 4-6, Cic. <i>de Orat.</i> 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 <b><a href="#Page_182">182</a></b> 22 <i>supra</i>.</p> - -<p class="hangingindent4a"><b>παιδεία.</b> <b><a href="#Page_64">64</a></b> 11, <b><a href="#Page_262">262</a></b> 20. <i>Culture.</i> Lat. <i>doctrina</i>, <i>humanitas</i>.</p> - -<p class="hangingindent4a"><b>πανηγυρικός.</b> <b><a href="#Page_228">228</a></b> 7, <b><a href="#Page_246">246</a></b> 7. <i>Festal</i>, <i>panegyrical</i>. Lat. <i>panegyricus</i>. With -the notion of <i>ornate</i>: cp. <i>de Demosth.</i> c. 8 (διάλεκτον) μεγαλοπρεπῆ λιτήν, -περιττὴν ἀπέριττον, ἐξηλλαγμένην συνήθη, πανηγυρικὴν ἀληθινήν, -αὐστηρὰν ἱλαράν, σύντονον ἀνειμένην, ἡδεῖαν πικράν, ἠθικὴν παθητικήν.</p> - -<p class="hangingindent4a"><b>παραβολή.</b> <b><a href="#Page_232">232</a></b> 15. <i>Meeting</i>, <i>juxtaposition</i>. Lat. <i>concursus</i>.</p> - -<p class="hangingindent4a"><b>παράγγελμα.</b> <b><a href="#Page_270">270</a></b> 3, <b><a href="#Page_282">282</a></b> 2, 7. <i>Rule</i>, <i>precept</i>. Lat. <i>artis praeceptum</i>. -Cp. Long. <i>de Subl.</i> c. 2 τεχνικὰ παραγγέλματα, c. 6 ὡς εἰπεῖν ἐν -παραγγέλματι (‘if I must speak in the way of precept’). So <b>παραγγέλλειν</b> -<b><a href="#Page_132">132</a></b> 16, <b><a href="#Page_268">268</a></b> 11 (cp. <i>de Lysia</i> c. 24 ταῦτα μὲν δὴ παραγγέλλουσι -ποιεῖν οἱ τεχνογράφοι), and <b>παραγγελματικός</b> <b><a href="#Page_214">214</a></b> 9 (= <i>plenus -praeceptis</i>, <i>doctrinis</i>, <i>regulis</i>).</p> - -<p class="hangingindent4a"><b>παράδειγμα.</b> <b><a href="#Page_92">92</a></b> 5, <b><a href="#Page_136">136</a></b> 2, <b><a href="#Page_152">152</a></b> 3, <b><a href="#Page_214">214</a></b> 6, <b><a href="#Page_232">232</a></b> 23, <b><a href="#Page_240">240</a></b> 24, etc. <i>Instance.</i> -Lat. <i>exemplum</i>. τὰ παραδείγματα is often used of appropriate -(perhaps customary, or stock) examples: cp. <i>de Isocr.</i> cc. 10, 15, -<i>de Demosth.</i> cc. 13 (middle), 53, and contrast <i>de Lysia</i> c. 34 and <i>de -Demosth.</i> cc. 13 (end), 20.</p> - -<p class="hangingindent4a"><b>παραδιώκειν.</b> <b><a href="#Page_206">206</a></b> 13. <i>To hurry along.</i> Lat. <i>abripere</i>. Cp. the use of -συνδεδιωγμένον in Long. <i>de Subl.</i> c. 21, and of κατεσπευσμένα c. 19 -<i>ibid.</i>—Usener adopts, in this passage, his own conjecture παραμεμιγμένας.</p> - -<p class="hangingindent4a"><b>παράθεσις.</b> <b><a href="#Page_130">130</a></b> 25, <b><a href="#Page_154">154</a></b> 11, <b><a href="#Page_166">166</a></b> 9, etc. <i>Placing.</i> Lat. <i>collocatio</i>.</p> - -<p class="hangingindent4a"><b>παρακεκινδυνευμένος.</b> <b><a href="#Page_234">234</a></b> 16. <i>Daring</i>, <i>bold</i>, <i>venturesome</i>. Lat. <i>audax</i> -(as in Hor. <i>Carm.</i> iv. 2. 10). Fr. <i>aventuré</i>. Cp. Aristoph. <i>Ran.</i> 99 -τοιουτονί τι παρακεκινδυνευμένον, | αἰθέρα Διὸς δωμάτιον, ἢ χρόνου -πόδα: and see s.v. ἐπικίνδυνος p. <a href="#Page_299">299</a> <i>supra</i>. The word is used also in -<i>de Lys.</i> c. 13, <i>de Isocr.</i> c. 13, <i>Ep. ad Pomp.</i> c. 2.</p> - -<p class="hangingindent4a"><b>παρακολουθεῖν.</b> <b><a href="#Page_108">108</a></b> 6, <b><a href="#Page_130">130</a></b> 26, <b><a href="#Page_136">136</a></b> 12. <i>To accompany.</i> Lat. <i>accidere</i>, -<i>consequi</i>.</p> -<p><span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span></p> - -<p class="hangingindent4a"><b>παραλαμβάνειν.</b> <b><a href="#Page_144">144</a></b> 14, <b><a href="#Page_172">172</a></b> 12, <b><a href="#Page_260">260</a></b> 2, <b><a href="#Page_264">264</a></b> 14. <i>To introduce</i>, <i>to employ</i>. -Lat. <i>assumere</i>, <i>adhibere</i>.</p> - -<p class="hangingindent4a"><b>παραλλαγή.</b> <b><a href="#Page_152">152</a></b> 8, 15, 22. <i>Divergence.</i> Lat. <i>discrimen</i>, <i>permutatio</i>.</p> - -<p class="hangingindent4a"><b>παραπλήρωμα.</b> <b><a href="#Page_116">116</a></b> 3, <b><a href="#Page_166">166</a></b> 17. <i>Supplement</i>, <i>expletive</i>. Lat. <i>explementum</i>, -<i>complementum</i>. Cp. Cic. <i>Or.</i> 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: <i>de -Isocr.</i> c. 3, <i>de Demosth.</i> cc. 19, 39.</p> - -<p class="hangingindent4a"><b>παρατιθέναι.</b> <b><a href="#Page_104">104</a></b> 1. <i>To bring forward</i>, <i>to cite</i>. Lat. <i>apponere</i>, <i>in medium -adducere</i>.</p> - -<p class="hangingindent4a"><b>παραυξάνειν (παραύξειν).</b> <b><a href="#Page_128">128</a></b> 19, <b><a href="#Page_152">152</a></b> 18. <i>To lengthen</i>, <i>to augment</i>. Lat. -<i>augere</i>.</p> - -<p class="hangingindent4a"><b>παρέκτασις.</b> <b><a href="#Page_154">154</a></b> 21. <i>Prolongation.</i> Lat. <i>extensio</i>.</p> - -<p class="hangingindent4a"><b>παρεμφαίνειν.</b> <b><a href="#Page_108">108</a></b> 5. <i>To hint at</i>, <i>to indicate</i>. Lat. <i>obiter indicare</i>. Cp. -Demetr. p. 297.</p> - -<p class="hangingindent4a"><b>παρεμφατικός.</b> <b><a href="#Page_102">102</a></b> 20. <i>Indicative.</i> Lat. <i>indicativus</i>. Cp. ἀπαρέμφατος -p. <a href="#Page_289">289</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>παρέργως.</b> <b><a href="#Page_100">100</a></b> 25. <i>By the way</i>, <i>cursorily</i>. Lat. <i>obiter</i>.</p> - -<p class="hangingindent4a"><b>παρθενωπός.</b> <b><a href="#Page_234">234</a></b> 15. <i>Of maiden aspect.</i> Lat. <i>qui virgineo vultu est</i>. The -word seems to occur elsewhere only in Eurip. <i>El.</i> 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. <i>Orat.</i> 19. -64 “nihil iratum habet [oratio philosophorum], nihil invidum, nihil -atrox, nihil miserabile, nihil astutum; casta, verecunda, <i>virgo incorrupta</i> -quodam modo.”</p> - -<p class="hangingindent4a"><b>πάρισος.</b> <b><a href="#Page_116">116</a></b> 8, <b><a href="#Page_212">212</a></b> 7, <b><a href="#Page_246">246</a></b> 6. <i>Parallel in structure.</i> Lat. <i>qui constat -similibus membris</i>. Cp. Aristot. <i>Rhet.</i> 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).</p> - -<p class="hangingindent4a"><b>παριστάναι.</b> <b><a href="#Page_154">154</a></b> 19. <i>To represent</i>, <i>to describe</i>. Lat. <i>depingere</i>. Cp. Long. -p. 282.</p> - -<p class="hangingindent4a"><b>παρόμοιος.</b> <b><a href="#Page_212">212</a></b> 8, <b><a href="#Page_246">246</a></b> 6. <i>Parallel in sound.</i> Lat. <i>qui constat similibus -sonis</i>.</p> - -<p class="hangingindent4a"><b>παχύτης.</b> <b><a href="#Page_184">184</a></b> 21. <i>Stupidity</i>, <i>fat-headedness</i>. Lat. <i>stupor</i>, <i>ingenium crassum</i>. -Cp. D.H. p. 200, s.v. παχύς.</p> - -<p class="hangingindent4a"><b>πεζός.</b> <b><a href="#Page_70">70</a></b> 3, <b><a href="#Page_76">76</a></b> 2, <b><a href="#Page_80">80</a></b> 3, <b><a href="#Page_108">108</a></b> 11, etc. <i>In prose</i>, <i>prosaic</i>. Lat. <i>pedester</i>. -πεζὴ λέξις, πεζὴ διάλεκτος, πεζὸς λόγος, πεζοὶ λόγοι = <i>oratio soluta</i>. -Cp. Quintil. x. 1. 81 “multum enim supra prosam orationem et quam -pedestrem Graeci vocant surgit [Plato].” In <b><a href="#Page_120">120</a></b> 27 the metaphor -seems still to be strongly felt—‘marching on foot,’ ‘pedestrian.’</p> - -<p class="hangingindent4a"><b>πειθώ.</b> <b><a href="#Page_84">84</a></b> 11. <i>Persuasiveness.</i> Lat. <i>persuadendi vis</i>.</p> - -<p class="hangingindent4a"><b>πεῖρα.</b> <b><a href="#Page_66">66</a></b> 14, <b><a href="#Page_102">102</a></b> 21, <b><a href="#Page_256">256</a></b> 5, etc. <i>Experience.</i> Lat. <i>experientia</i>.</p> - -<p class="hangingindent4a"><b>πεντάμετρος.</b> <b><a href="#Page_256">256</a></b> 23. <i>Consisting of five metrical feet.</i> Lat. <i>pentameter</i>.</p> - -<p class="hangingindent4a"><b>πεντάχρονος.</b> <b><a href="#Page_262">262</a></b> 9. <i>Consisting of five times.</i> Lat. <i>qui constat temporibus -quinque</i>. See s.v. χρόνοι p. <a href="#Page_333">333</a> <i>infra</i>.</p> -<p><span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span></p> - -<p class="hangingindent4a"><b>πεποιημένος.</b> <b><a href="#Page_78">78</a></b> 17, <b><a href="#Page_252">252</a></b> 24. <i>Invented</i>, <i>original</i>, <i>newly-coined</i>. Lat. -<i>factus</i>, <i>novatus</i> (Cic. <i>de Orat.</i> iii. 38. 154; i. 34. 155). Fr. <i>forgé -tout exprès</i>. Cp. Aristot. <i>Poet.</i> 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 -<i>Sullaturit</i> et <i>proscripturit</i>.”</p> - -<p class="hangingindent4a"><b>περιβόητος.</b> <b><a href="#Page_180">180</a></b> 7. <i>Notorious</i>, <i>celebrated</i>. Lat. <i>decantatus</i>, <i>celebratus</i>.</p> - -<p class="hangingindent4a"><b>περίοδος.</b> <b><a href="#Page_72">72</a></b> 7, 10, <b><a href="#Page_104">104</a></b> 10, <b><a href="#Page_116">116</a></b> 2, etc. <i>Period.</i> Lat. <i>periodus</i>, <i>comprehensio</i>, -<i>verborum ambitus</i>, etc. See Demetr. p. 298 for various references -and equivalents, and also p. 323 (Index); Sandys’ <i>Orator</i> p. 217; -Laurand’s <i>Études</i> pp. 126, 128.—According to Dionysius, the period -should not be used to excess [see n. on <b><a href="#Page_118">118</a></b> 15]. Another weakness of -the periodic construction is elsewhere noted by him: τοῦτο δὲ [sc. -τὸ παθητικὸν] ἥκιστα δέχεται περίοδος (<i>de Isocr.</i> c. 2).</p> - -<p class="hangingindent4a"><b>περισπασμός.</b> <b><a href="#Page_128">128</a></b> 10. <i>The circumflex accent.</i> Lat. <i>circumflexio</i>, <i>accentus -circumflexus</i>. Cp. <b>περισπωμένας</b> <b><a href="#Page_126">126</a></b> 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. <i>Rhet.</i> iii. 1. 4).</p> - -<p class="hangingindent4a"><b>περιστέλλειν.</b> <b><a href="#Page_142">142</a></b> 16. <i>To contract</i>, <i>to pucker up</i>. Lat. <i>contrahere</i>.</p> - -<p class="hangingindent4a"><b>περιττός.</b> <b><a href="#Page_74">74</a></b> 13, <b><a href="#Page_84">84</a></b> 8, <b><a href="#Page_182">182</a></b> 4, 7. <i>Extraordinary</i>, <i>richly wrought</i>; <i>exceedingly -good</i>, <i>unsurpassed</i>. Lat. <i>excellens</i>, <i>curiosus</i>, <i>elaboratus</i>. Cp. -Long. <i>de Subl.</i> xl. 2 (where the word is opposed to κοινὸς καὶ δημώδης), -iii. 4, xxxv. 3. See also <i>de Isocr.</i> c. 3, <i>de Demosth.</i> cc. 8, 56, <i>Ep. ad -Pomp.</i> c. 2 (περιττολογία): also Demetr. p. 298 (περισσοτεχνία).</p> - -<p class="hangingindent4a"><b>περιφανής.</b> <b><a href="#Page_244">244</a></b> 18. <i>Seen on every side.</i> Lat. <i>conspicuus</i>. So <b>περιφάνεια</b> -<b><a href="#Page_210">210</a></b> 17, <b><a href="#Page_234">234</a></b> 2 (‘so that each word should admit an all-round view -of it’).—PMV give περιφανές (not περιφερές) in <b><a href="#Page_246">246</a></b> 3.</p> - -<p class="hangingindent4a"><b>περιφερής.</b> <b><a href="#Page_206">206</a></b> 15, <b><a href="#Page_230">230</a></b> 31, <b><a href="#Page_246">246</a></b> 3. <i>Circular</i>, <i>rounded</i>. Lat. <i>rotundus</i>. -Cp. [Dionys. Hal.] <i>Ars Rhet.</i> x. 13 τὰ στρογγύλα καὶ τὰ περιφερῆ -λέγειν προοίμια. In Demetr. <i>de Eloc.</i> § 13 περιφερεῖς στέγαι = -<i>vaulted roofs</i>.</p> - -<p class="hangingindent4a"><b>πεφυκέναι</b> (c. infin.). <b><a href="#Page_66">66</a></b> 16, <b><a href="#Page_70">70</a></b> 3, <b><a href="#Page_104">104</a></b> 16, etc. <i>To have a gift for</i>, <i>a -liking for</i>. Lat. <i>solere</i>, <i>amare</i>.</p> - -<p class="hangingindent4a"><b>πεφυλαγμένως.</b> <b><a href="#Page_148">148</a></b> 1. <i>Guardedly.</i> Lat. <i>caute</i>. The word is used in -the Attic period by Xenophon and Isocrates.</p> - -<p class="hangingindent4a"><b>πιέζειν.</b> <b><a href="#Page_144">144</a></b> 21, <b><a href="#Page_148">148</a></b> 16, <b><a href="#Page_220">220</a></b> 18, <b><a href="#Page_230">230</a></b> 12. <i>To close tight</i>, <i>to compress</i>. -Lat. <i>comprimere</i>.</p> - -<p class="hangingindent4a"><b>πιθανός.</b> <b><a href="#Page_98">98</a></b> 17, 20, <b><a href="#Page_100">100</a></b> 17, <b><a href="#Page_120">120</a></b> 21. <i>Attractive</i>, <i>plausible</i>. Lat. <i>probabilis</i>, -<i>verisimilis</i>.</p> - -<p class="hangingindent4a"><b>πικρός.</b> <b><a href="#Page_232">232</a></b> 15. <i>Bitter</i>, <i>harsh</i>. Lat. <i>acerbus</i>. So <b>πικραίνειν</b> <b><a href="#Page_130">130</a></b> 19, -<b><a href="#Page_154">154</a></b> 13, <b><a href="#Page_216">216</a></b> 17.</p> - -<p class="hangingindent4a"><b>πίνος.</b> <b><a href="#Page_120">120</a></b> 23, <b><a href="#Page_136">136</a></b> 16, <b><a href="#Page_212">212</a></b> 24, <b><a href="#Page_236">236</a></b> 8. <i>Mellowing deposit</i>, <i>tinge of antiquity</i>, -<i>flavour of archaism</i>. Lat. <i>antiquitas</i>, <i>antiquitas impexa</i> (Tac. <i>Dial.</i> c. 20), -<i>nitor obsoletus</i> (<i>Auct. ad Her.</i> iv. 4. 46). There is a suggestion of <i>négligé</i> -or <i>abandon</i> about the word, but on the whole it is not uncomplimentary: -cp. <i>Ep. ad Pomp.</i> c. 2 ὅ τε πίνος ὁ τῆς ἀρχαιότητος ἠρέμα αὐτῇ καὶ -λεληθότως ἐπιτρέχει, and <i>de Demosth.</i> c. 38 ἀλλ’ [ἵνα] ἐπανθῇ τις αὐταῖς -χνοῦς ἀρχαιοπινὴς καὶ χάρις ἀβίαστος. The compound εὐπίνεια is -found in Long. <i>de Subl.</i> xxx. 1. There is a scholium (preserved in M) -on <b><a href="#Page_120">120</a></b> 23, which is, unfortunately, vague and uncertain: <b>πῖνος</b> 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.</p> -<p><span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span></p> - -<p class="hangingindent4a"><b>πλάγιος.</b> <b><a href="#Page_106">106</a></b> 20. <i>Oblique.</i> Lat. <i>obliquus</i> (<i>casus</i>).</p> - -<p class="hangingindent4a"><b>πλανᾶσθαι.</b> <b><a href="#Page_254">254</a></b> 16, <b><a href="#Page_270">270</a></b> 18. <i>To wander</i>, <i>to be irregular</i>. Lat. <i>vagari</i>. -Used in reference to vague, elastic metre. So περιπεπλανημένα μέτρα -in <i>de Demosth.</i> c. 50.</p> - -<p class="hangingindent4a"><b>πλάσμα.</b> <b><a href="#Page_90">90</a></b> 6, <b><a href="#Page_118">118</a></b> 24. <i>Cast</i>, <i>form</i>. Lat. <i>imago</i>, <i>forma dicendi</i>. Cp. <i>Ep. -ad Pomp.</i> 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. <i>de Subl.</i> xv. 8 ποιητικὸν τοῦ λόγου καὶ μυθῶδες -τὸ πλάσμα (the ‘form’). In <i>de Demosth.</i> c. 34 πλάσμα seems to have -the same meaning as χαρακτῆρ in c. 33 <i>ibid.</i> [The musical meaning -of <i>moulded delivery</i>, <i>modulation</i> does not emerge in the <i>C.V.</i>]</p> - -<p class="hangingindent4a"><b>πλάστης.</b> <b><a href="#Page_264">264</a></b> 2. <i>Modeller, in clay or wax.</i> Lat. <i>fictor</i>.</p> - -<p class="hangingindent4a"><b>πλάτος.</b> <b><a href="#Page_210">210</a></b> 9, <b><a href="#Page_212">212</a></b> 1, <b><a href="#Page_246">246</a></b> 19. <i>Breadth.</i> Lat. <i>latitudo</i>. So <b>πλατύς</b> <b><a href="#Page_244">244</a></b> -18. In <b><a href="#Page_210">210</a></b> 9 the meaning is, ‘belongs to the class of ideas which are -regarded with a wide indefiniteness.’ So in Latin <i>platice</i> = πλατικῶς = -‘broadly,’ ‘generally’: cp. Usener <i>Rhein. Mus.</i> xxiv. 311. See also -under ἀπαρτίζειν, p. <a href="#Page_289">289</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>πλεονάζειν.</b> <b><a href="#Page_146">146</a></b> 13, <b><a href="#Page_214">214</a></b> 12. <i>To exceed due bounds.</i> Lat. <i>redundare</i>. So -<b>πλεονασμός</b>, <i>redundantia</i>, <b><a href="#Page_110">110</a></b> 15.</p> - -<p class="hangingindent4a"><b>πληγή.</b> <b><a href="#Page_142">142</a></b> 4, 16, <b><a href="#Page_144">144</a></b> 5. <i>Stroke</i>, <i>impact</i>. Lat. <i>ictus</i>, <i>percussio</i>.</p> - -<p class="hangingindent4a"><b>πληθυντικῶς.</b> <b><a href="#Page_106">106</a></b> 18. <i>In the plural number.</i> Lat. <i>pluraliter</i>.</p> - -<p class="hangingindent4a"><b>πλοκή.</b> <b><a href="#Page_72">72</a></b> 5, <b><a href="#Page_130">130</a></b> 22, <b><a href="#Page_166">166</a></b> 9. <i>Combination.</i> Lat. <i>copulatio</i>.</p> - -<p class="hangingindent4a"><b>πλούσιος.</b> <b><a href="#Page_92">92</a></b> 18. <i>Rich.</i> Lat. <i>opulentus</i>. The word is contrasted with -<b>πτωχός</b> (<b><a href="#Page_92">92</a></b> 17), <i>beggarly</i>, <i>mendicus</i>: for which cp. the expression -τῇ λέξει πτωχεύειν in the passage quoted, from Chrysostom, under -ἀπαγγελία p. <a href="#Page_288">288</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>πνίγειν.</b> <b><a href="#Page_142">142</a></b> 18. <i>To stifle</i>, <i>to smother</i>. Lat. <i>suffocare</i>.</p> - -<p class="hangingindent4a"><b>ποίημα.</b> <b><a href="#Page_76">76</a></b> 10, <b><a href="#Page_78">78</a></b> 5, <b><a href="#Page_100">100</a></b> 23, <b><a href="#Page_154">154</a></b> 2, <b><a href="#Page_166">166</a></b> 4, <b><a href="#Page_192">192</a></b> 8, <b><a href="#Page_250">250</a></b> 10, 16, <b><a href="#Page_254">254</a></b> -4, 7, <b><a href="#Page_272">272</a></b> 14. <i>Poem</i>; <i>line of a poem</i> (in this sense, more commonly -στίχος or ἔπος). Lat. <i>poëma</i>, <i>versus</i>. So <b>ποιεῖν</b> <b><a href="#Page_208">208</a></b> 9, ‘to write -poetry,’ and <b>ποιητής</b> <b><a href="#Page_74">74</a></b> 8 (but in <b><a href="#Page_214">214</a></b> 16 ποιηταί means ‘writers’ -generally: cp. <i>de Demosth.</i> 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 <b><a href="#Page_64">64</a></b> 10 the meaning is ‘product’ -simply. For ‘poetry’ <b>ποίησις</b> is found: <b><a href="#Page_214">214</a></b> 1, 2, <b><a href="#Page_252">252</a></b> 24, <b><a href="#Page_270">270</a></b> -21, <b><a href="#Page_274">274</a></b> 7, <b><a href="#Page_276">276</a></b> 10.</p> -<p><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span></p> - -<p class="hangingindent4a"><b>ποιητικός.</b> <b><a href="#Page_70">70</a></b> 2, 4, <b><a href="#Page_108">108</a></b> 11, <b><a href="#Page_206">206</a></b> 20, <b><a href="#Page_208">208</a></b> 8, 19, <b><a href="#Page_252">252</a></b> 20, 23, 29, etc. -<i>Poetical.</i> Lat. <i>poëticus</i>. In <b><a href="#Page_136">136</a></b> 11 the meaning is ‘productive of.’</p> - -<p class="hangingindent4a"><b>ποικιλία.</b> <b><a href="#Page_130">130</a></b> 13, <b><a href="#Page_192">192</a></b> 18, <b><a href="#Page_196">196</a></b> 17, 25, <b><a href="#Page_198">198</a></b> 5. <i>Variety</i>, <i>decoration</i>. Lat. -<i>varietas</i>. So <b>ποικίλλειν</b> <b><a href="#Page_132">132</a></b> 13, <b><a href="#Page_192">192</a></b> 20, <b><a href="#Page_196">196</a></b> 9; and <b>ποικίλος</b> <b><a href="#Page_110">110</a></b> 11, -<b><a href="#Page_154">154</a></b> 19, <b><a href="#Page_160">160</a></b> 10, etc. ποικίλος may be rendered by such adjectives -as ‘elaborate,’ ‘curious,’ ‘laborious,’ ‘multifarious,’ ‘kaleidoscopic,’ -‘ever-varying.’</p> - -<p class="hangingindent4a"><b>πολιτικός.</b> <b><a href="#Page_64">64</a></b> 15, <b><a href="#Page_72">72</a></b> 17, <b><a href="#Page_124">124</a></b> 21, <b><a href="#Page_130">130</a></b> 10, <b><a href="#Page_214">214</a></b> 1, 5, <b><a href="#Page_254">254</a></b> 25, <b><a href="#Page_266">266</a></b> 7, <b><a href="#Page_272">272</a></b> -20. <i>Civil</i>, <i>parliamentary</i>, <i>political</i>, <i>public</i>. Lat. <i>civilis</i>. See D.H. p. -203 for an explanatory note on πολιτικός. In <b><a href="#Page_72">72</a></b> 17, P has ῥητορικοῖς -ἀνδράσι, which is an unlikely periphrasis for ῥήτορσι (<b><a href="#Page_104">104</a></b> 8), but -may well indicate the <i>general meaning</i> of πολιτικοῖς ἀνδράσι: cp. <i>de -Demosth.</i> c. 23 ταῦτα δὲ πολιτικοῖς καὶ ῥήτορσιν ἀνδράσι μελήσει. -Compare generally, in Aristot. <i>Poet.</i> c. vi., the words τῆς πολιτικῆς καὶ -ῥητορικῆς ἔργον ἐστίν, and οἱ μὲν γὰρ ἀρχαῖοι πολιτικῶς ἐποίουν -λέγοντας, οἱ δὲ νῦν ῥητορικῶς.</p> - -<p class="hangingindent4a"><b>πολύμετρος.</b> <b><a href="#Page_272">272</a></b> 5. <i>Of many measures or metres.</i> Lat. <i>qui multis constat -metris</i>.</p> - -<p class="hangingindent4a"><b>πολύμορφος.</b> <b><a href="#Page_160">160</a></b> 12. <i>Of many forms.</i> Lat. <i>multiformis</i>. Cp. <b>πολυειδής</b> -<b><a href="#Page_196">196</a></b> 25, <b>πολυειδῶς</b> <b><a href="#Page_270">270</a></b> 11.</p> - -<p class="hangingindent4a"><b>πολυπραγμονεῖν.</b> <b><a href="#Page_264">264</a></b> 6. <i>To bother about.</i> Lat. <i>summa cura elaborare</i>.</p> - -<p class="hangingindent4a"><b>πολυσύλλαβος.</b> <b><a href="#Page_126">126</a></b> 14, <b><a href="#Page_132">132</a></b> 5. <i>With many syllables.</i> Lat. <i>qui syllabis -pluribus constat</i>.</p> - -<p class="hangingindent4a"><b>πολύφωνος.</b> <b><a href="#Page_160">160</a></b> 23. <i>Of many voices.</i> Lat. <i>qui multas voces emittit</i>. Used -of the variety of tones in Homer’s ‘composition.’ In the <i>de Sublim.</i> 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.</p> - -<p class="hangingindent4a"><b>πούς.</b> <b><a href="#Page_86">86</a></b> 1, <b><a href="#Page_168">168</a></b> 12, <b><a href="#Page_172">172</a></b> 20, <b><a href="#Page_174">174</a></b> 22, 24, <b><a href="#Page_178">178</a></b> 7, <b><a href="#Page_184">184</a></b> 1, <b><a href="#Page_256">256</a></b> 9, 12, <b><a href="#Page_258">258</a></b> -19, <b><a href="#Page_260">260</a></b> 3. <i>Metrical foot.</i> Lat. <i>pes</i>. τὸ δ’ αὐτὸ καλῶ πόδα καὶ -ῥυθμόν <b><a href="#Page_168">168</a></b> 11. Aristoxenus, Ῥυθμικὰ στοιχεῖα ii. 16, writes: ᾧ -σημαινόμεθα τὸν ῥυθμὸν καὶ γνώριμον ποιοῦμεν τῇ αἰσθήσει, πούς -ἐστιν εἷς ἢ πλείους. Cope (<i>Introduction to Aristotle’s Rhetoric</i> p. 383) -thinks that Dionysius neglects the important distinction between -βάσις, the unit of rhythm, and πούς, the unit of metre. Goodell -(<i>Greek Metric</i> 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.]</p> - -<p class="hangingindent4a"><b>πραγματεία.</b> <b><a href="#Page_68">68</a></b> 8, 14, 17, <b><a href="#Page_70">70</a></b> 8, etc. <i>Inquiry</i>, <i>treatise</i>, <i>work</i>. Lat. <i>studium</i>, -<i>commentatio</i>, <i>opus</i>. So <b>πραγματεύεσθαι</b> <b><a href="#Page_106">106</a></b> 5, 10, <b><a href="#Page_140">140</a></b> 22, <b><a href="#Page_268">268</a></b> 7.</p> - -<p class="hangingindent4a"><b>πραγματικός.</b> <b><a href="#Page_66">66</a></b> 6. <i>Pertaining to subject matter or invention.</i> Lat. <i>negotialis</i>. -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.</p> - -<p class="hangingindent4a"><b>πραΰς.</b> <b><a href="#Page_162">162</a></b> 5, <b><a href="#Page_244">244</a></b> 21. <i>Gentle.</i> Lat. <i>lenis</i>. Cp. Demetr. p. 299.</p> - -<p class="hangingindent4a"><b>πρέπον, τό.</b> <b><a href="#Page_120">120</a></b> 19, <b><a href="#Page_122">122</a></b> 13, <b><a href="#Page_124">124</a></b> 11, <b><a href="#Page_136">136</a></b> 12, <b><a href="#Page_198">198</a></b> 13, 14. <i>Propriety</i>, -<i>appropriateness</i>, <i>fitness</i>. Lat. <i>decorum</i>. Fr. <i>la convenance</i>. Cp. Cic. -<i>Orat.</i> 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. <i>Rhet.</i> iii. 7. 1 τὸ δὲ πρέπον -ἕξει ἡ λέξις, ἐὰν ᾖ παθητική τε καὶ ἠθικὴ καὶ τοῖς ὑποκειμένοις -πράγμασιν ἀνάλογον. So <b>πρεπώδης</b> <b><a href="#Page_106">106</a></b> 17.</p> -<p><span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span></p> - -<p class="hangingindent4a"><b>πριάπειος.</b> <b><a href="#Page_86">86</a></b> 8. <i>Priapean</i>: as a metrical term. Lat. <i>Priapeius</i>. Effeminate -and ribald verse, written in honour of Priapus, and involving a -mutilation of the heroic line.</p> - -<p class="hangingindent4a"><b>προέκθεσις.</b> <b><a href="#Page_242">242</a></b> 2. <i>A prefatory account.</i> Lat. <i>expositio antea data</i>.</p> - -<p class="hangingindent4a"><b>πρόθεσις.</b> <b><a href="#Page_70">70</a></b> 21, <b><a href="#Page_108">108</a></b> 16, <b><a href="#Page_220">220</a></b> 6. <i>Preposition.</i> Lat. <i>praepositio</i>.</p> - -<p class="hangingindent4a"><b>πρόνοια.</b> <b><a href="#Page_184">184</a></b> 16, <b><a href="#Page_186">186</a></b> 1. <i>Deliberation.</i> Lat. <i>consilium</i>.</p> - -<p class="hangingindent4a"><b>προοίμιον.</b> <b><a href="#Page_224">224</a></b> 24, <b><a href="#Page_252">252</a></b> 3. <i>Introduction.</i> Lat. <i>exordium</i>.</p> - -<p class="hangingindent4a"><b>προπετής.</b> <b><a href="#Page_244">244</a></b> 22. <i>Flowing.</i> Lat. <i>volubilis</i>, <i>profluens</i>.</p> - -<p class="hangingindent4a"><b>προσαγόρευσις.</b> <b><a href="#Page_260">260</a></b> 22. <i>Address.</i> Lat. <i>allocutio</i>, <i>compellatio</i>.</p> - -<p class="hangingindent4a"><b>προσερανίζειν.</b> <b><a href="#Page_116">116</a></b> 4. <i>To augment.</i> Lat. <i>cumulare</i>. The period in question -has been aided (so to say) by the alms of expletives. For the metaphor -cp. συνερανιζόμενα <i>de Isocr.</i> c. 3 and ἔρανον <i>de Imitat.</i> B. vi. 2.</p> - -<p class="hangingindent4a"><b>προσερείδειν.</b> <b><a href="#Page_148">148</a></b> 22. <i>To drive against.</i> Lat. <i>impingere</i>, <i>allidere</i>. In <b><a href="#Page_220">220</a></b> -24 προσανίστασθαι is similarly used of ‘rising against.’</p> - -<p class="hangingindent4a"><b>προσεχής.</b> <b><a href="#Page_84">84</a></b> 6. <i>Obvious</i>, <i>natural</i>, <i>allied</i>, <i>appropriate</i>. Lat. <i>proximus</i>, -<i>cognatus</i> (<i>cum re coniunctus</i>). In <b><a href="#Page_258">258</a></b> 24 the sense is ‘adjoining.’</p> - -<p class="hangingindent4a"><b>προσηγορικός.</b> <b><a href="#Page_70">70</a></b> 17, <b><a href="#Page_102">102</a></b> 17, 18, <b><a href="#Page_218">218</a></b> 6, 11, <b><a href="#Page_220">220</a></b> 7, 16, <b><a href="#Page_222">222</a></b> 24, -<b><a href="#Page_230">230</a></b> 1. <i>Appellative.</i> Lat. <i>appellativus</i>. ὄνομα προσηγορικόν = -<i>common noun</i>, Lat. <i>nomen appellativum</i>. It would appear from Dionysius -Thrax (<i>Ars Grammatica</i> 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 (<i>ibid.</i> pp. 33, 34): κύριον μὲν οὖν ἐστι τὸ -τὴν ἰδίαν οὐσίαν, σημαῖνον, οἷον <b>Ὅμηρος</b>, <b>Σωκράτης</b>. προσηγορικὸν -δέ ἐστι τὸ τὴν κοινὴν οὐσίαν σημαῖνον, οἷον <b>ἄνθρωπος</b>, <b>ἵππος</b>. In -such passages as <b><a href="#Page_222">222</a></b> 24 and <b><a href="#Page_230">230</a></b> 1 ‘adjective’ would be an appropriate -modern rendering. Quintil. i. 4. 21 “<i>vocabulum</i> an <i>appellatio</i> dicenda -sit προσηγορία et subicienda nomini necne, quia parvi refert, liberum -opinaturis relinquo.” In <b><a href="#Page_272">272</a></b> 25 <b>προσηγορία</b> = <i>appellation.</i></p> - -<p class="hangingindent4a"><b>προσίστασθαι.</b> <b><a href="#Page_132">132</a></b> 8. <i>To offend.</i> Lat. <i>obstrepere</i>. Cp. <i>de Isocr.</i> c. 2 -προσιστάμενος ταῖς ἀκοαῖς, c. 14 <i>ibid.</i> τῷ γὰρ μὴ ἐν καιρῷ γίνεσθαι, -μηδ’ ἐν ὥρᾳ, προσίστασθαί φημι ταῖς ἀκοαῖς, <i>Antiqq. Rom.</i> i. 8 -μονοειδεῖς γὰρ ἐκεῖναί τε καὶ ταχὺ προσιστάμεναι (= <i>cito offendunt</i>) -τοῖς ἀκούουσιν.</p> - -<p class="hangingindent4a"><b>προσκατασκευάζειν.</b> <b><a href="#Page_110">110</a></b> 14 (v.l. προκατασκευάζειν). <i>To model further</i>, -<i>remodel</i>. Lat. <i>insuper instruere</i>.</p> - -<p class="hangingindent4a"><b>προσοδιακός.</b> <b><a href="#Page_86">86</a></b> 3. <i>Processional</i>: see n. <i>ad loc.</i></p> -<p><span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span></p> - -<p class="hangingindent4a"><b>προσῳδία.</b> <b><a href="#Page_128">128</a></b> 12, <b><a href="#Page_196">196</a></b> 17, <b><a href="#Page_268">268</a></b> 20. <i>Accent.</i> Lat. <i>accentus</i>. The word -is defined in <b><a href="#Page_196">196</a></b> 17 τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. See -further s.v. τόνος p. <a href="#Page_329">329</a> <i>infra</i>, and compare Bywater <i>Aristotle on the -Art of Poetry</i> 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.</p> - -<p class="hangingindent4a"><b>πρόσωπον.</b> <b><a href="#Page_160">160</a></b> 18, <b><a href="#Page_198">198</a></b> 23. <i>Person</i>, <i>character</i>. Lat. <i>persona</i>. Cp. Demetr. -p. 300.</p> - -<p class="hangingindent4a"><b>πτῶσις.</b> <b><a href="#Page_106">106</a></b> 20, <b><a href="#Page_108">108</a></b> 4, <b><a href="#Page_132">132</a></b> 7, <b><a href="#Page_212">212</a></b> 20, <b><a href="#Page_264">264</a></b> 4. <i>Grammatical case.</i> Lat. -<i>casus</i>. ‘<i>Verbal</i> cases’ are mentioned in <b><a href="#Page_108">108</a></b> 4; in Aristotle the term -πτῶσις includes inflexions in general.</p> - -<p class="hangingindent4a"><b>πυρρίχιος.</b> <b><a href="#Page_168">168</a></b> 17. <i>Pyrrhic.</i> Lat. <i>pyrrhichius</i>. The metrical foot ᴗ ᴗ.</p> - - -<p class="hangingindent4a"><b>ῥῆμα.</b> <b><a href="#Page_70">70</a></b> 13, 21, <b><a href="#Page_168">168</a></b> 10, <b><a href="#Page_218">218</a></b> 6, 7, <b><a href="#Page_264">264</a></b> 5. <i>Verb.</i> Lat. <i>verbum</i>. So -<b>ῥηματικός</b> <b><a href="#Page_108">108</a></b> 4 (<i>verbal</i>), <b><a href="#Page_220">220</a></b> 17 (<i>verbal form</i>).</p> - -<p class="hangingindent4a"><b>ῥήτωρ.</b> <b><a href="#Page_74">74</a></b> 8, <b><a href="#Page_132">132</a></b> 22, <b><a href="#Page_166">166</a></b> 12, <b><a href="#Page_200">200</a></b> 14, <b><a href="#Page_206">206</a></b> 25, <b><a href="#Page_218">218</a></b> 21, <b><a href="#Page_236">236</a></b> 20, <b><a href="#Page_242">242</a></b> 7, -<b><a href="#Page_248">248</a></b> 15. <i>Orator</i>, <i>rhetorician</i>. Lat. <i>orator</i>, <i>rhetor</i>. 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 <b>ῥητορικός</b> -<b><a href="#Page_68">68</a></b> 9, <b><a href="#Page_254">254</a></b> 25, <b><a href="#Page_262">262</a></b> 20.</p> - -<p class="hangingindent4a"><b>ῥοῖζος.</b> <b><a href="#Page_138">138</a></b> 10. <i>A whizzing.</i> Lat. <i>stridor</i>.</p> - -<p class="hangingindent4a"><b>ῥυθμίζειν.</b> <b><a href="#Page_180">180</a></b> 13. <i>To bring into rhythm</i>, <i>to scan</i>. Lat. <i>scandere</i>. Cp. -the use of βαίνειν and διαιρεῖν.</p> - -<p class="hangingindent4a"><b>ῥυθμός.</b> <b><a href="#Page_120">120</a></b> 18, <b><a href="#Page_122">122</a></b> 12, <b><a href="#Page_124">124</a></b> 6, 9, <i>passim</i>. <i>Rhythm</i>, <i>harmonious movement -of speech</i>. Lat. <i>numerus</i>. For <i>le nombre oratoire</i> in Cicero (whose -prose, however, like Roman prose generally, must not be taken to follow -exclusively Attic standards) see Laurand’s <i>Études</i> pp. 109-11, and -cp. Cic. <i>Orat.</i> 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. <i>Inst. Or.</i> -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 (<b><a href="#Page_168">168</a></b> 11; cp. <b><a href="#Page_176">176</a></b> 2, 3), we may translate -ῥυθμός by ‘foot’ in <b><a href="#Page_180">180</a></b> 11, <b><a href="#Page_182">182</a></b> 19 (cp. σπονδεῖος πούς <b><a href="#Page_178">178</a></b> 7), -<b><a href="#Page_200">200</a></b> 17, <b><a href="#Page_206">206</a></b> 9, etc.—Cp. Aristot. <i>Rhet.</i> 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 <b>ῥυθμικός</b> <b><a href="#Page_128">128</a></b> 18 (where the reference is to lyric metres), <b><a href="#Page_168">168</a></b> 8, -<b><a href="#Page_172">172</a></b> 20 (cp. οἱ μετρικοί), <b><a href="#Page_176">176</a></b> 7. Quintilian (ix. 4. 68) provides a good -example of the divisions recognized by the <i>rhythmici</i>: “quis enim -dubitet, unum sensum in hoc et unum spiritum esse: <i>animadverti, -iudices, omnem accusatoris orationem in duas divisam esse partes?</i> tamen -et duo prima verba et tria proxima et deinceps duo rursus ac tria -suos quasi numeros habent spiritum sustinentes, sicut apud rhythmicos -aestimantur.”</p> -<p><span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span></p> - -<p class="hangingindent4a"><b>ῥυπαρός.</b> <b><a href="#Page_134">134</a></b> 24. <i>Filthy</i>, <i>sordid</i>. Lat. <i>sordidus</i>.</p> - -<p class="hangingindent4a"><b>ῥύσις.</b> <b><a href="#Page_244">244</a></b> 21. <i>Flow.</i> Lat. <i>fluxus</i>.</p> - -<p class="hangingindent4a"><b>ῥυσός.</b> <b><a href="#Page_92">92</a></b> 10. <i>Wrinkled.</i> Lat. <i>rugosus</i>.</p> - -<p class="hangingindent4a"><b>ῥώθωνες.</b> <b><a href="#Page_144">144</a></b> 22, 23, <b><a href="#Page_146">146</a></b> 11, <b><a href="#Page_220">220</a></b> 25. <i>Nostrils.</i> Lat. <i>nares</i>. In <b><a href="#Page_146">146</a></b> 11 -διὰ τῶν ῥωθώνων συνηχούμενα = <i>nasal</i>.</p> - - -<p class="hangingindent4a"><b>Σαπφικός.</b> <b><a href="#Page_258">258</a></b> 7. <i>Of Sappho.</i> Lat. <i>Sapphicus</i>.</p> - -<p class="hangingindent4a"><b>σαφήνεια.</b> <b><a href="#Page_160">160</a></b> 22. <i>Clearness</i>, <i>lucidity</i>. Lat. <i>perspicuitas</i>. Fr. <i>clarté</i>, -<i>netteté</i>. The adjective <b>σαφής</b> occurs in <b><a href="#Page_210">210</a></b> 4.</p> - -<p class="hangingindent4a"><b>σελίς.</b> <b><a href="#Page_186">186</a></b> 2. <i>Page.</i> Lat. <i>pagina libri</i>.</p> - -<p class="hangingindent4a"><b>σεμνότης.</b> <b><a href="#Page_84">84</a></b> 2, <b><a href="#Page_110">110</a></b> 19, <b><a href="#Page_164">164</a></b> 20, <b><a href="#Page_166">166</a></b> 12, <b><a href="#Page_170">170</a></b> 2, <b><a href="#Page_172">172</a></b> 11, <b><a href="#Page_236">236</a></b> 8. -<i>Gravity</i>, <i>majesty</i>. Lat. <i>granditas</i>, <i>dignitas</i>, <i>gravitas</i>. Fr. <i>majesté</i>. So -<b>σεμνολογία</b> <b><a href="#Page_120">120</a></b> 23, <b><a href="#Page_174">174</a></b> 17; <b>σεμνός</b> <b><a href="#Page_68">68</a></b> 5, <b><a href="#Page_80">80</a></b> 12, <b><a href="#Page_84">84</a></b> 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.</p> - -<p class="hangingindent4a"><b>σημαίνειν.</b> <b><a href="#Page_74">74</a></b> 3, <b><a href="#Page_134">134</a></b> 25. <i>To betoken</i>, <i>to express</i>. Lat. <i>significare</i>.</p> - -<p class="hangingindent4a"><b>σιγμός.</b> <b><a href="#Page_138">138</a></b> 10. <i>A hissing.</i> Lat. <i>sibilus</i>. Fr. <i>sifflement</i>.</p> - -<p class="hangingindent4a"><b>σιωπή.</b> <b><a href="#Page_218">218</a></b> 16, <b><a href="#Page_220">220</a></b> 2, <b><a href="#Page_230">230</a></b> 4. <i>Silence</i>, <i>interval</i>, <i>pause</i>. Lat. <i>silentium</i>, -<i>intermissio</i>. 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” (<i>Tempest</i> v. 1).</p> - -<p class="hangingindent4a"><b>σκαιότης.</b> <b><a href="#Page_250">250</a></b> 8. <i>Clumsiness</i>, <i>stupidity</i>. Lat. <i>rusticitas</i>, <i>imperitia</i>. Fr. -<i>gaucherie</i>: cp. the editor’s <i>Ancient Boeotians</i> p. 6.</p> - -<p class="hangingindent4a"><b>σκευωρία.</b> <b><a href="#Page_264">264</a></b> 7. <i>Elaboration</i>. Lat. <i>cura artificiosa</i>. Cp. <i>de Thucyd.</i> -c. 5 σκευωρίαν τεχνικήν, c. 29 μᾶλλον δὲ διθυραμβικῆς σκευωρίας -οἰκειότερον: Hesych. σκευωρία· κατασκευή.</p> - -<p class="hangingindent4a"><b>σκιερός.</b> <b><a href="#Page_234">234</a></b> 13. <i>Shady</i>, <i>dark</i>. Lat. <i>obscurus</i>.</p> - -<p class="hangingindent4a"><b>σκληρός.</b> <b><a href="#Page_132">132</a></b> 1, <b><a href="#Page_154">154</a></b> 12. <i>Hard.</i> Lat. <i>durus</i>. Cp. D.H. p. 205.</p> - -<p class="hangingindent4a"><b>σομφός.</b> <b><a href="#Page_122">122</a></b> 25. <i>Thick</i>, <i>husky</i>. Lat. <i>subraucus</i>, <i>fuscus</i>. Cp. Schol. in M, -σομφὸν ἤγουν θρυλιγμὸν καὶ ἐκμέλειαν. Some of the <span class="smcap">MSS.</span> give -ἀσύμφωνον, thus repeating a word used a few lines earlier.</p> - -<p class="hangingindent4a"><b>σοφιστής.</b> <b><a href="#Page_190">190</a></b> 10, <b><a href="#Page_264">264</a></b> 19. <i>Sophist.</i> Lat. <i>sophista</i>. 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 <i>de Demosth.</i> (c. 51) ὁρῶν γε δὴ τούτους -τοὺς <b>θαυμαζομένους ἐπὶ σοφίᾳ</b> καὶ κρατίστων λόγων ποιητὰς νομιζομένους -Ἰσοκράτην καὶ Πλάτωνα γλυπτοῖς καὶ τορευτοῖς ἐοικότας -ἐκφέροντας λόγους. Cp. Demetr. p. 301.</p> -<p><span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span></p> - -<p class="hangingindent4a"><b>σπαδονίζειν.</b> <b><a href="#Page_142">142</a></b> 9. <i>To emasculate</i>, <i>to cramp</i>. Lat. <i>spadonium sonum -reddere</i>. 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 (<b><a href="#Page_162">162</a></b> 4 ‘and will not -impede the voice’); (3) σπανίζειν (intransitive: cp. <i>de Demosth.</i> c. -32, <i>de Thucyd.</i> 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 <i>de Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>σπονδεῖος.</b> <b><a href="#Page_170">170</a></b> 2, <b><a href="#Page_178">178</a></b> 7 (with πόδες), <b><a href="#Page_202">202</a></b> 20. <i>Spondee.</i> 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. <i>Ars Poet.</i> 255 “tardior ut paulo graviorque veniret ad aures, -| spondeos stabiles in iura paterna recepit [sc. iambus],” and Cic. <i>Orat.</i> -64. 216.</p> - -<p class="hangingindent4a"><b>σπουδάζειν.</b> <b><a href="#Page_66">66</a></b> 8, <b><a href="#Page_94">94</a></b> 16. <i>To be eager.</i> Lat. <i>studere</i>, <i>sedulo operam navare</i>. -For the middle voice of this verb see note on p. <a href="#Page_95">95</a> <i>supra</i>. The noun -<b>σπουδή</b> occurs in <b><a href="#Page_156">156</a></b> 14, <b><a href="#Page_186">186</a></b> 4, <b><a href="#Page_192">192</a></b> 7, <b><a href="#Page_212">212</a></b> 16.</p> - -<p class="hangingindent4a"><b>σταθερός.</b> <b><a href="#Page_234">234</a></b> 4. <i>Steadfast.</i> Lat. <i>stabilis</i>. τὸ σταθερόν = <i>la lenteur grave</i>.</p> - -<p class="hangingindent4a"><b>στάθμη.</b> <b><a href="#Page_236">236</a></b> 4. <i>A carpenter’s line or rule.</i> Lat. <i>amussis</i>. ἀπὸ στάθμης -= <i>velut ad amussim</i>, ‘regulated by line and rule, by square and -level.”</p> - -<p class="hangingindent4a"><b>στενός.</b> <b><a href="#Page_142">142</a></b> 19, <b><a href="#Page_146">146</a></b> 3. <i>Narrow.</i> Lat. <i>angustus</i>. In <b><a href="#Page_146">146</a></b> 3 it is coupled -with λεπτός.</p> - -<p class="hangingindent4a"><b>στηριγμός.</b> <b><a href="#Page_202">202</a></b> 24. <i>A sustaining</i> (of the voice on certain syllables), <i>a pause</i>. -Lat. <i>mora</i>. See under ἐγκάθισμα, p. <a href="#Page_297">297</a> <i>supra</i>; and under ἀντιστηριγμός, -p. <a href="#Page_288">288</a> <i>supra</i>. So <b>στηριχθῆναι</b> <b><a href="#Page_220">220</a></b> 18, ‘to be firmly planted,’ -‘to be sustained.’</p> - -<p class="hangingindent4a"><b>στιβαρός.</b> <b><a href="#Page_216">216</a></b> 16. <i>Hardy</i>, <i>robust</i>. Lat. <i>robustus</i>. The word occurs also -in <i>de Thucyd.</i> c. 24. Cp. the French <i>nerveux</i>. Hesych. στιβαρόν· -εὔρωστον, βαρύ, εὔτονον, στεῤῥόν, ἰσχυρόν. As is pointed out by -Larue van Hook (<i>Metaphorical Terminology of Greek Rhetoric</i> p. 20), -both Latin and English abound in similar terms of style drawn from -good physical condition: <i>nervi</i>, <i>vires</i>, <i>vigor</i>, <i>lacerti</i>, <i>ossa</i>, <i>robur</i>: <i>full-blooded</i>, -<i>hearty</i>, <i>lively</i>, <i>lusty</i>, <i>muscular</i>, <i>nervous</i>, <i>robust</i>, <i>sinewy</i>, <i>supple</i>, -<i>strenuous</i>, <i>vigorous</i>, etc.</p> - -<p class="hangingindent4a"><b>στίχος.</b> <b><a href="#Page_86">86</a></b> 2, 12, <b><a href="#Page_88">88</a></b> 7, etc. <i>A line of poetry.</i> Lat. <i>versus</i>. In <i>de -Thucyd.</i> c. 19 the word is used with reference to prose: ὅτι πολλὰ -καὶ μεγάλα πράγματα παραλιπών, τὸ προοίμιον τῆς ἱστορίας μέχρι -πεντακοσίων ἐκμηκύνει στίχων.</p> - -<p class="hangingindent4a"><b>στοιχεῖον.</b> <b><a href="#Page_70">70</a></b> 11, 20, <b><a href="#Page_108">108</a></b> 10, <b><a href="#Page_110">110</a></b> 9, <b><a href="#Page_138">138</a></b> 1, etc. <i>Element.</i> Lat. <i>elementum</i>. -So <b>στοιχειώδης</b> <b><a href="#Page_138">138</a></b> 14. With the use of στοιχεῖον in c. 14 cp. -Aristot. <i>Poet.</i> c. 20, where the word is defined as φωνὴ ἀδιαίρετος, οὐ -πᾶσα δέ, ἀλλ’ ἐξ ἧς πέφυκε συνετὴ γίγνεσθαι φωνή. In <b><a href="#Page_108">108</a></b> 10 -the meaning practically is ‘principle,’ ‘rule.’</p> -<p><span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span></p> - -<p class="hangingindent4a"><b>στρέφειν.</b> <b><a href="#Page_264">264</a></b> 3, <b><a href="#Page_270">270</a></b> 11. <i>To turn</i>, <i>to twist</i>. Lat. <i>torquere</i>. In <b><a href="#Page_270">270</a></b> 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.’</p> - -<p class="hangingindent4a"><b>στρογγύλος.</b> <b><a href="#Page_112">112</a></b> 11. <i>Compact</i>, <i>rounded</i>, <i>terse</i>. Lat. <i>rotundus</i>. Fr. <i>arrondi</i>. -See the examples quoted in D.H. p. 205, and add <i>de Lys.</i> c. 9 -στρογγύλη καὶ πυκνή, <i>de Isaeo</i> c. 3 στρογγύλη τε καὶ δικανικὴ -οὐχ ἧττόν ἐστιν ἡ Ἰσαίου λέξις τῆς Λυσίου. So <b>στρογγυλίζειν</b> -<b><a href="#Page_142">142</a></b> 15. Latin equivalents, or parallels, may be found in Horace’s <i>ore -rotundo</i> (<i>Ars P.</i> 323), Cicero’s <i>contortus</i> (<i>Orat.</i> 20. 66), Quintilian’s -<i>corrotundare</i> (xi. 3. 102). “στρογγύλος is used of the new stylistic -artifices of the sophistical rhetoric by Aristophanes <i>Acharn.</i> 686 -(στρογγύλοις τοῖς ῥήμασι), and by Plato <i>Phaedr.</i> 234 <span class="smcap">E</span>. In later -usage it is constantly used of periodic composition” (G. L. Hendrickson -in <i>American Journal of Philology</i> xxv. 138).</p> - -<p class="hangingindent4a"><b>στροφή.</b> <b><a href="#Page_194">194</a></b> 6, 9, 10, 16, 19, <b><a href="#Page_254">254</a></b> 13, <b><a href="#Page_272">272</a></b> 5, <b><a href="#Page_278">278</a></b> 8. <i>Strophe</i>, -<i>stanza</i>. Lat. <i>stropha</i>.</p> - -<p class="hangingindent4a"><b>στρυφνός.</b> <b><a href="#Page_228">228</a></b> 7. <i>Harsh</i>, <i>astringent</i>. Lat. <i>acerbus</i>. See D.H. p. 205 -(s.v. στριφνός: in <i>C.V.</i> <b><a href="#Page_228">228</a></b> 7 F has στριφνόν), with the reference to -Jebb’s equivalent ‘biting flavour’ (<i>Att. Orr.</i> i. 35).</p> - -<p class="hangingindent4a"><b>στύφειν.</b> <b><a href="#Page_154">154</a></b> 13. <i>To draw up the mouth.</i> Lat. <i>astringere</i>. Used of sounds -that make the hearer pull a wry face and screw up his lips. Cp. <i>de -Demosth.</i> c. 38 ἀνακοπὰς καὶ ἀντιστηριγμοὺς λαμβάνειν καὶ τραχύτητας -ἐν ταῖς συμπλοκαῖς τῶν ὀνομάτων ἐπιστυφούσας τὴν ἀκοὴν -ἡσυχῇ βούλεται.</p> - -<p class="hangingindent4a"><b>συγγραφεύς.</b> <b><a href="#Page_74">74</a></b> 8, <b><a href="#Page_76">76</a></b> 3, <b><a href="#Page_154">154</a></b> 17, <b><a href="#Page_206">206</a></b> 25, <b><a href="#Page_214">214</a></b> 15, <b><a href="#Page_228">228</a></b> 11, <b><a href="#Page_236">236</a></b> 18, <b><a href="#Page_248">248</a></b> -14. <i>Prose-writer</i>, <i>historian</i>. Lat. <i>scriptor</i> (<i>prosaicus</i>); (<i>scriptor</i>) <i>historicus</i>. -ἱστοριογράφος (<i>de Thucyd.</i> c. 2) is a less ambiguous expression than -συγγραφεύς (c. 5 <i>ibid.</i>) or than λογογράφος (c. 20 <i>ibid.</i>).—In <b><a href="#Page_68">68</a></b> 9 -<b>συγγράφειν</b> = <i>to compose</i> (a treatise).</p> - -<p class="hangingindent4a"><b>συγκοπή.</b> <b><a href="#Page_156">156</a></b> 19, <b><a href="#Page_230">230</a></b> 7. <i>Stoppage.</i> Lat. <i>impeditio</i>. So <b>συγκόπτειν</b> -(‘impede the voice,’ ‘check the utterance’) <b><a href="#Page_162">162</a></b> 4. [This meaning -seems to bring the three passages fairly into line: otherwise συγκοπαὶ -τῶν ἤχων, in <b><a href="#Page_230">230</a></b> 7, might well mean ‘durae sonorum collisiones et -concursiones.’]</p> - -<p class="hangingindent4a"><b>συγκροτεῖν.</b> <b><a href="#Page_206">206</a></b> 16. <i>To weld together.</i> Lat. <i>compingere</i>, <i>coagmentare</i>.</p> - -<p class="hangingindent4a"><b>σύγκρουσις.</b> <b><a href="#Page_230">230</a></b> 27. <i>Collision</i>, <i>concurrence</i>, <i>consonance</i>. Lat. <i>concursus</i>. -Fr. <i>rencontre</i>. So <b>συγκρούειν</b> <b><a href="#Page_202">202</a></b> 18, <b><a href="#Page_224">224</a></b> 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. <i>de Demosth.</i> c. 43. Cicero’s opinion of the ‘concourse -of vowels’ (quoted by Quintil. ix. 4. 37) is given in <i>Orat.</i> 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 (<i>Essay on Criticism</i>) states and -exemplifies the weak side of hiatus by means of the line, ‘Tho’ oft the -ear the open vowels tire’; and Cicero himself (<i>Orat.</i> 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 -‘<i>an</i> historian’ and ‘<i>an</i> historical book,’ on the ground that the initial -aspirate is evanescent when the accent falls on the second syllable; -and similarly ‘<i>an</i> united family’ but ‘<i>a</i> union of hearts’?</p> -<p><span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span></p> - -<p class="hangingindent4a"><b>συγκρύπτειν.</b> <b><a href="#Page_130">130</a></b> 26. <i>To hide</i>, <i>to disguise</i>. Lat. <i>occulere</i>.</p> - -<p class="hangingindent4a"><b>συγξεῖν.</b> <b><a href="#Page_210">210</a></b> 22, <b><a href="#Page_228">228</a></b> 4, <b><a href="#Page_232">232</a></b> 12, <b><a href="#Page_234">234</a></b> 19. <i>To polish.</i> Lat. <i>expolire</i>. Cp. <i>de -Demosth.</i> c. 40 πολλὴν σφόδρα ποιουμένη φροντίδα τοῦ συνεξέσθαι -καὶ συνηλεῖφθαι καὶ προπετεῖς ἁπάντων αὐτῶν εἶναι τὰς ἁρμονίας.</p> - -<p class="hangingindent4a"><b>συγχρώζεσθαι.</b> <b><a href="#Page_244">244</a></b> 17. <i>To be closely joined.</i> Lat. <i>cohaerere</i>, <i>mutuo se -contingere</i>.</p> - -<p class="hangingindent4a"><b>συζυγία.</b> <b><a href="#Page_84">84</a></b> 11, <b><a href="#Page_104">104</a></b> 17, <b><a href="#Page_106">106</a></b> 19, etc. <i>Coupling</i>, <i>grouping</i>, <i>combination</i>. Lat. -<i>coniunctio</i>. Fr. <i>liaison</i>. So <i>de Demosth.</i> c. 40 (the passage quoted s.v. -συμβολή, <i>infra</i>).</p> - -<p class="hangingindent4a"><b>συλλαβή.</b> <b><a href="#Page_150">150</a></b> 16. <i>Syllable.</i> Lat. <i>syllaba</i>. Words like this serve to -remind us how much of our modern rhetorical and grammatical -terminology is taken direct from the Greek.</p> - -<p class="hangingindent4a"><b>συλλεαίνειν.</b> <b><a href="#Page_230">230</a></b> 20. <i>To rub smooth</i>, <i>to polish</i>. Lat. <i>levigare</i>, <i>polire</i>. -Cp. <i>de Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>συμβεβηκότα, τά.</b> <b><a href="#Page_98">98</a></b> 8, 9, <b><a href="#Page_140">140</a></b> 14, <b><a href="#Page_264">264</a></b> 6, <b><a href="#Page_268">268</a></b> 19. <i>The accidental, non-essential, -qualities of a thing.</i> Lat. <i>accidentia</i>. In <b><a href="#Page_268">268</a></b> 19 the reference -is to the changes which words undergo in the way of contraction, -expansion, acute or grave accentuation, etc.</p> - -<p class="hangingindent4a"><b>συμβολή.</b> <b><a href="#Page_210">210</a></b> 20, <b><a href="#Page_232">232</a></b> 13. <i>Clashing.</i> Lat. <i>concursus</i>. In <b><a href="#Page_232">232</a></b> 13 the -reference is to <i>les chocs des voyelles</i>. Cp. <i>de Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>σύμβολον.</b> <b><a href="#Page_84">84</a></b> 4. <i>Token</i>, <i>label</i>. Lat. <i>signum</i>.</p> - -<p class="hangingindent4a"><b>συμμετρία.</b> <b><a href="#Page_130">130</a></b> 7, 12, <b><a href="#Page_246">246</a></b> 2, 4, <b><a href="#Page_270">270</a></b> 10. <i>Due proportion.</i> Lat. <i>iusta -mensura</i>. In <b><a href="#Page_270">270</a></b> 10 συμμετρία would seem to mean <i>the arrangement of -the periods within the lines or verses</i> (μέτρα: the variant ἐμμετρία is to -be noticed); and with it should be compared συμμέτρως in <b><a href="#Page_270">270</a></b> 13, -though there Upton suggests ἀσυμμέτρως and Schaefer συμμέτροις. -<b>συμμέτρως</b> occurs also in <b><a href="#Page_232">232</a></b> 9; and <b>συμμετρεῖν</b> in <b><a href="#Page_212">212</a></b> 18, <b><a href="#Page_276">276</a></b> 26. -Cp. <i>de Demosth.</i> c. 43 ὥστε συμμετρηθῆναι πρὸς ἀνδρὸς πνεῦμα.</p> - -<p class="hangingindent4a"><b>συμπληροῦν.</b> <b><a href="#Page_180">180</a></b> 11, <b><a href="#Page_182">182</a></b> 16. <i>To complete</i>, <i>to constitute</i>. Lat. <i>absolvere</i>.</p> - -<p class="hangingindent4a"><b>συμπλοκή.</b> <b><a href="#Page_160">160</a></b> 9, <b><a href="#Page_198">198</a></b> 6, <b><a href="#Page_240">240</a></b> 16. <i>Intertwining</i>, <i>blending</i>. Lat. <i>implicatio</i>. -So <b>συμπλέκειν</b> <b><a href="#Page_154">154</a></b> 17, <b><a href="#Page_258">258</a></b> 4. For the metaphor from weaving cp. -ῥάπτειν and ὑφαίνειν: Pindar <i>Nem.</i> iv. 153 ῥήματα πλέκων: -Swinburne <i>Erechtheus</i> 1487 “I have no will to weave too fine or far, | -O queen, the weft of sweet with bitter speech.”</p> -<p><span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span></p> - -<p class="hangingindent4a"><b>σύμπτωσις.</b> <b><a href="#Page_240">240</a></b> 12. <i>Concurrence.</i> Lat. <i>concursus</i>.</p> - -<p class="hangingindent4a"><b>συμφορητός.</b> <b><a href="#Page_72">72</a></b> 22. <i>Collected promiscuously</i>, <i>miscellaneous</i>. Lat. <i>collatus</i>, -<i>collecticius</i>.</p> - -<p class="hangingindent4a"><b>συνάγειν.</b> <b><a href="#Page_144">144</a></b> 18, <b><a href="#Page_212">212</a></b> 3. <i>To contract.</i> Lat. <i>contrahere</i>, <i>coarctare</i>.</p> - -<p class="hangingindent4a"><b>συναλοιφή.</b> <b><a href="#Page_108">108</a></b> 18, <b><a href="#Page_180">180</a></b> 17, <b><a href="#Page_218">218</a></b> 7, <b><a href="#Page_222">222</a></b> 24, <b><a href="#Page_256">256</a></b> 22. <i>Blending</i>, <i>fusion</i>, -<i>amalgamation</i>. Lat. <i>coitus</i>, <i>vocalium elisio</i>. Fr. <i>synalèphe</i> (<i>contraction, -ou jonction de plusieurs voyelles</i>). So <b>συναλείφειν</b> <b><a href="#Page_220">220</a></b> 1, <b><a href="#Page_222">222</a></b> 26, <b><a href="#Page_234">234</a></b> -8, <b><a href="#Page_236">236</a></b> 6, <b><a href="#Page_244">244</a></b> 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’ <i>Orator</i> pp. 160 ff. and Laurand’s <i>Études</i> pp. 114-6. Cp. -<i>de Demosth.</i> 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. <a href="#Page_324">324</a> <i>supra</i>).</p> - -<p class="hangingindent4a"><b>συναπαρτίζειν.</b> <b><a href="#Page_212">212</a></b> 11, <b><a href="#Page_270">270</a></b> 13. <i>To complete</i> (<i>the sense</i>) <i>simultaneously</i>. Cp. -Demetr. <i>de Eloc.</i> §§ 2, 10 (together with ἀπαρτίζειν in Glossary p. 267 -<i>ibid.</i>), and also the note on pp. <a href="#Page_270">270</a>, 271 <i>supra</i>. Cp. <i>de Demosth.</i> 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.</p> - -<p class="hangingindent4a"><b>συνάπτειν.</b> <b><a href="#Page_202">202</a></b> 19, <b><a href="#Page_240">240</a></b> 20, <b><a href="#Page_262">262</a></b> 4. <i>To link together.</i> Lat. <i>adiungere</i>, <i>connectere</i>. -Dionysius’ love of variety may be seen by comparing together -<b><a href="#Page_262">262</a></b> 4, <b><a href="#Page_258">258</a></b> 4, <b><a href="#Page_256">256</a></b> 20, 22, <b><a href="#Page_258">258</a></b> 24.</p> - -<p class="hangingindent4a"><b>συναρμόττειν.</b> <b><a href="#Page_118">118</a></b> 14, <b><a href="#Page_134">134</a></b> 11, <b><a href="#Page_234">234</a></b> 19. <i>To adapt one thing to another.</i> -Lat. <i>accommodare</i>. Used with reference to adjusting, dovetailing, -interlinking.</p> - -<p class="hangingindent4a"><b>συνασκεῖν.</b> <b><a href="#Page_282">282</a></b> 1. <i>To practise simultaneously.</i> Lat. <i>simul exercere</i>.</p> - -<p class="hangingindent4a"><b>σύνδεσμος.</b> <b><a href="#Page_70">70</a></b> 14, 17, <b><a href="#Page_72">72</a></b> 1, <b><a href="#Page_218">218</a></b> 7, <b><a href="#Page_220">220</a></b> 5, <b><a href="#Page_258">258</a></b> 27. <i>Conjunction</i>, <i>connective</i>, -<i>connecting word</i>. Lat. <i>copula</i>, <i>coniunctio</i>. ‘Particle,’ or ‘connecting-particle,’ -will sometimes be a suitable rendering, as the term includes -particles like ἄρα (<b><a href="#Page_258">258</a></b> 27) and μέν and δή (Demetr. <i>de Eloc.</i> §§ 55, 56, -196), and may even be applied to prepositions (<b><a href="#Page_220">220</a></b> 5, 6). In a -difficult passage of Aristot. <i>Poetics</i> (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 <i>Introduction to Aristotle’s Rhetoric</i> -pp. 371-4, 392-7. See further Quintil. i. 4. 18; Aristot. <i>Rhet.</i> -iii. 6. 6.</p> - -<p class="hangingindent4a"><b>συνεδρεύειν.</b> <b><a href="#Page_100">100</a></b> 10, <b><a href="#Page_160">160</a></b> 19. <i>To attend</i>, <i>to accompany</i>. Lat. <i>assidere</i>, -<i>adiungi</i>. Used, in <b><a href="#Page_100">100</a></b> 10, of the accompanying relations (mode, -place, time, etc.), which adverbs denote in reference to verbs.</p> -<p><span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span></p> - -<p class="hangingindent4a"><b>συνεκτρέχειν.</b> <b><a href="#Page_274">274</a></b> 24. <i>To run out together</i>, <i>to be of the same length</i>. -Lat. <i>aequis passibus concurrere</i>.</p> - -<p class="hangingindent4a"><b>συνεκφέρειν.</b> <b><a href="#Page_240">240</a></b> 11. <i>To pronounce concurrently.</i> Lat. <i>simul pronuntiare</i>. -Cp. <b>συνεκφορά</b> <b><a href="#Page_230">230</a></b> 3.</p> - -<p class="hangingindent4a"><b>συνεφθαρμένος.</b> <b><a href="#Page_126">126</a></b> 10, <b><a href="#Page_144">144</a></b> 12, <b><a href="#Page_234">234</a></b> 13. <i>Imperceptibly blended</i>, <i>melting -into each other</i>. Lat. <i>commistus</i>. φθορά is the technical term for the -mixing of colours in painting: e.g. Plut. <i>Mor.</i> 346 <span class="smcap">A</span> 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.’</p> - -<p class="hangingindent4a"><b>συνεχής.</b> <b><a href="#Page_230">230</a></b> 17, 20, <b><a href="#Page_244">244</a></b> 21, <b><a href="#Page_246">246</a></b> 1. <i>Continuous</i>, <i>unbroken</i>. Lat. <i>continuus</i>. -So <b>συνεχῶς</b> <b><a href="#Page_132">132</a></b> 9, <b><a href="#Page_230">230</a></b> 29, <b><a href="#Page_280">280</a></b> 21. <b>συνέχεια</b> (<b><a href="#Page_240">240</a></b> 5) = <i>coherence</i>, -‘continuus compositionis tenor.’</p> - -<p class="hangingindent4a"><b>συνηχεῖν.</b> <b><a href="#Page_140">140</a></b> 21, <b><a href="#Page_144">144</a></b> 20, <b><a href="#Page_146">146</a></b> 11. <i>To sound at the same time.</i> Lat. -<i>consonare</i>. In <b><a href="#Page_140">140</a></b> 21 the translation of the manuscript reading -συνεχούσης may be “while all these are pronounced, the windpipe -constricts the breath,” A. J. Ellis <i>op. cit.</i> p. 41 (with the note, -“probably this is what Dionysius considered the cause of voice”).</p> - -<p class="hangingindent4a"><b>σύνθεσις.</b> <b><a href="#Page_68">68</a></b> 5, 7, 19, <b><a href="#Page_70">70</a></b> 3, 9, <b><a href="#Page_72">72</a></b> 8, <b><a href="#Page_74">74</a></b> 15, <b><a href="#Page_78">78</a></b> 9, <b><a href="#Page_86">86</a></b> 2, 13, <b><a href="#Page_90">90</a></b> 19, <b><a href="#Page_134">134</a></b> -26 etc., <b><a href="#Page_200">200</a></b> 10, 16, <b><a href="#Page_202">202</a></b> 1, 7, <b><a href="#Page_204">204</a></b> 9, <b><a href="#Page_232">232</a></b> 25, <b><a href="#Page_240">240</a></b> 23, <b><a href="#Page_270">270</a></b> 9. <i>Composition.</i> -Lat. <i>compositio</i>. ‘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 <i>order</i>, -<i>ordonnance</i>) 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. <a href="#Page_11">11</a> <i>supra</i>) some danger of ‘literary composition’ -seeming to promise a treatment of the πραγματικὸς τόπος. One of the -definitions of composition in the <i>New English Dictionary</i> will apply very -fairly to the <i>de Compositione Verborum</i>: “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 <i>Arte of -Rhetorique</i> of T. Wilson (1553 <span class="smallerfont">A.D.</span>): “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 <i>Epitome</i> c. 3; in Lucian <i>de conscrib. hist.</i> c. 46 καὶ -μὴν καὶ συνθήκῃ τῶν ὀνομάτων εὐκράτῳ καὶ μέσῃ χρηστέον; and in -Chrysostom <i>de Sacerdotio</i> iv. 6 (quoted under ἀπαγγελία p. <a href="#Page_288">288</a> <i>supra</i>). -As Latin equivalents (in addition to ‘de Compositione Verborum’), ‘de -Collocatione Verborum’ or ‘de Constructione Verborum’ might be -supported out of Cicero’s <i>Orator</i> and <i>de Oratore</i>; and something might -be said, too, in favour of ‘de Structura Orationis’ or (more fully) -‘de compositione, seu orationis partium apta inter se collocatione.’—<b>συνθετικός</b> -occurs in <b><a href="#Page_104">104</a></b> 15, and <b>σύνθετος</b> in <b><a href="#Page_144">144</a></b> 11, <b><a href="#Page_176">176</a></b> 3, <b><a href="#Page_184">184</a></b> 3.</p> -<p><span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span></p> - -<p class="hangingindent4a"><b>σύνοψις.</b> <b><a href="#Page_208">208</a></b> 13. <i>A general view.</i> Lat. <i>conspectus</i>. εἰς σύνοψιν ἐλθεῖν -δυνάμενος would, in Aristotle’s conciser phrase, be: εὐσύνοπτος.—The -verb <b>συνορᾶν</b> occurs in <b><a href="#Page_184">184</a></b> 22, <b>συνιδεῖν</b> <b><a href="#Page_182">182</a></b> 3.</p> - -<p class="hangingindent4a"><b>συντάττεσθαι.</b> <b><a href="#Page_80">80</a></b> 5, <b><a href="#Page_94">94</a></b> 15, <b><a href="#Page_96">96</a></b> 6, <b><a href="#Page_98">98</a></b> 19, 20, <b><a href="#Page_104">104</a></b> 5, <b><a href="#Page_106">106</a></b> 13, <b><a href="#Page_264">264</a></b> 21. <i>To -put together</i>, <i>to compose</i>, <i>to treat of</i>. Lat. <i>componere</i>, <i>tractare</i>. So <b>σύνταγμα</b> -<b><a href="#Page_214">214</a></b> 9, and <b>σύνταξις</b> (‘arrangement,’ ‘co-ordination,’ ‘treatise’) <b><a href="#Page_94">94</a></b> 3, -<b><a href="#Page_96">96</a></b> 2, 13, 16, etc.</p> - -<p class="hangingindent4a"><b>συντιθέναι.</b> <b><a href="#Page_68">68</a></b> 3, <b><a href="#Page_74">74</a></b> 12, <b><a href="#Page_106">106</a></b> 11, etc. <i>To arrange words or sounds</i>, <i>to -compose</i>. Lat. <i>componere</i>.</p> - -<p class="hangingindent4a"><b>συνυφαίνειν.</b> <b><a href="#Page_134">134</a></b> 12, <b><a href="#Page_166">166</a></b> 17, <b><a href="#Page_184">184</a></b> 14, <b><a href="#Page_234">234</a></b> 9, 20, <b><a href="#Page_240">240</a></b> 7. <i>To weave together.</i> -Lat. <i>contexere</i>. Lucian (<i>de conscrib. hist.</i> 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. <a href="#Page_333">333</a> <i>infra</i>.]</p> - -<p class="hangingindent4a"><b>συνῳδός.</b> <b><a href="#Page_220">220</a></b> 17, <b><a href="#Page_224">224</a></b> 16, <b><a href="#Page_232">232</a></b> 8. <i>In harmony with</i>, <i>accordant</i>. Lat. -<i>concors</i>.</p> - -<p class="hangingindent4a"><b>συριγμός.</b> <b><a href="#Page_146">146</a></b> 14, <b><a href="#Page_148">148</a></b> 7, <b><a href="#Page_160">160</a></b> 1. <i>A hissing.</i> Lat. <i>sibilus</i>. So <b>σύριγμα</b> <b><a href="#Page_146">146</a></b> -3. In <b><a href="#Page_160">160</a></b> 1 the reference is to the ‘whistling of ropes,’ the ‘shrieking -of tackle’: cp. Virg. <i>Aen.</i> i. 87 “insequitur clamorque virum -<i>stridorque rudentum</i>.”</p> - -<p class="hangingindent4a"><b>σύρρυσις.</b> <b><a href="#Page_162">162</a></b> 21. <i>A flowing together</i>, <i>conflux</i>. Lat. <i>concursus</i>. Two forms -of the word are found: σύρρευσις and (as here) σύρρυσις.</p> - -<p class="hangingindent4a"><b>συστέλλειν.</b> <b><a href="#Page_140">140</a></b> 19, <b><a href="#Page_152">152</a></b> 25, <b><a href="#Page_206">206</a></b> 1. <i>To compress.</i> Lat. <i>contrahere</i>, -<i>corripere</i>. So <b>συστολή</b> <b><a href="#Page_142">142</a></b> 18, <b><a href="#Page_268">268</a></b> 20.</p> - -<p class="hangingindent4a"><b>συστρέφειν.</b> <b><a href="#Page_204">204</a></b> 9. <i>To abbreviate.</i> Lat. <i>contrahere</i>. Cp. D.H. p. 206, -and Demetr. p. 305 (s.v. συστροφή). The condensation indicated in -<b><a href="#Page_204">204</a></b> 9 consists in the fact that the rolling <i>down</i> of the stone is described -in a single line, whereas the rolling <i>up</i> takes four lines.</p> - -<p class="hangingindent4a"><b>σφραγίς.</b> <b><a href="#Page_268">268</a></b> 3. <i>Seal</i>, <i>impression of a seal</i>. Lat. <i>signum</i>.</p> - -<p class="hangingindent4a"><b>σχέδιος.</b> <b><a href="#Page_186">186</a></b> 5. <i>Sudden</i>, <i>off-hand</i>, <i>impromptu</i>. Lat. <i>extemporalis</i>. Cp. -αὐτοσχέδιος p. <a href="#Page_291">291</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>σχῆμα.</b> <b><a href="#Page_88">88</a></b> 12, <b><a href="#Page_90">90</a></b> 19, <b><a href="#Page_130">130</a></b> 7, <b><a href="#Page_132">132</a></b> 11, <b><a href="#Page_148">148</a></b> 20 etc., <b><a href="#Page_196">196</a></b> 25, 26, <b><a href="#Page_198">198</a></b> 6, -<i>passim</i>. <i>Figure</i>, <i>attitude</i>. Lat. <i>figura</i>. See D.H. p. 206, and Demetr. -p. 305, for various quotations and references (to which may be added -Causeret <i>La Langue de la rhétorique et de la critique littéraire dans -Ciceron</i> pp. 176 ff.). Sometimes ‘construction’ will be a good rendering -(e.g. <i>de Isocr.</i> c. 3), or ‘form’ (<i>de Thucyd.</i> c. 37): cp. Cic. <i>Brut.</i> 17. 69 -(‘sententiarum orationisque formae’). ‘Turns of expression’ (<i>tours de -phrase</i>) will also serve occasionally.</p> - -<p class="hangingindent4a"><b>σχηματίζειν.</b> <b><a href="#Page_104">104</a></b> 18, <b><a href="#Page_106">106</a></b> 15, <b><a href="#Page_108">108</a></b> 1, <b><a href="#Page_110">110</a></b> 14, <b><a href="#Page_112">112</a></b> 18, 19, etc. <i>To use a -figure</i>, <i>to shape</i>, <i>to construct</i>. Lat. <i>figurare</i>. Cp. D.H. p. 206, Demetr. -p. 305.</p> - -<p class="hangingindent4a"><b>σχηματισμός.</b> <b><a href="#Page_112">112</a></b> 14, 20, <b><a href="#Page_146">146</a></b> 7, <b><a href="#Page_212">212</a></b> 21, etc. <i>Configuration</i>, <i>construction</i>; -<i>the employment of figures or turns of phrase</i>. Lat. <i>conformatio</i>, <i>figuratio</i>.</p> -<p><span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span></p> - -<p class="hangingindent4a"><b>σχολικός.</b> <b><a href="#Page_214">214</a></b> 9. <i>After the manner of lectures</i>, <i>tedious</i>. Lat. <i>longus</i>. -Dionysius has in mind treatises which are ‘academic’ rather than -practical. Cp. Long. <i>de Sublim.</i> iii. 5 πολλὰ γὰρ ὥσπερ ἐκ μέθης τινὲς -εἰς τὰ μηκέτι τοῦ πράγματος, ἴδια ἑαυτῶν καὶ σχολικὰ παραφέρονται -πάθη.</p> - -<p class="hangingindent4a"><b>σῶμα.</b> <b><a href="#Page_134">134</a></b> 25. <i>Person.</i> Lat. <i>persona</i>. Same sense as πρόσωπον: compare, -in <i>Ep.</i> ii. <i>ad Amm.</i> c. 14, πρόσωπα δὲ παρ’ αὐτῷ τὰ πράγματα -γίνεται with πράγματα δὲ ἀντὶ σωμάτων τὰ τοιαῦτα ὑπ’ αὐτοῦ -γίνεται.</p> - -<p class="hangingindent4a"><b>Σωτάδειος.</b> <b><a href="#Page_88">88</a></b> 1. <i>Sotadean.</i> Lat. <i>Sotadeus</i>. 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 -<i>Abriss der griechischen Metrik</i> pp. 141-4. For some further references -see Demetr. p. 244.</p> - - -<p class="hangingindent4a"><b>ταμιεύειν.</b> <b><a href="#Page_246">246</a></b> 4. <i>To regulate</i>, <i>to manage</i>. Lat. <i>temperare</i>, <i>dispensare</i>.</p> - -<p class="hangingindent4a"><b>τάξις.</b> <b><a href="#Page_72">72</a></b> 12, 18, <b><a href="#Page_198">198</a></b> 6, etc. <i>Order.</i> Lat. <i>dispositio</i>. Not identical in -sense with σύνθεσις, which (in <b><a href="#Page_72">72</a></b> 18) forms part of one and the same -sentence as τάξις. τάξις often (e.g. Aristot. <i>Rhet.</i> iii. 12. 6) refers to -the marshalling of the subject matter of a speech.—The verb <b>τάττειν</b> -occurs (with various senses) in <b><a href="#Page_126">126</a></b> 7, <b><a href="#Page_196">196</a></b> 6, <b><a href="#Page_254">254</a></b> 10, etc.</p> - -<p class="hangingindent4a"><b>ταπεινός.</b> <b><a href="#Page_74">74</a></b> 12, <b><a href="#Page_78">78</a></b> 10, <b><a href="#Page_80">80</a></b> 13, <b><a href="#Page_92">92</a></b> 17, <b><a href="#Page_134">134</a></b> 23, <b><a href="#Page_166">166</a></b> 3, <b><a href="#Page_176">176</a></b> 11, <b><a href="#Page_186">186</a></b> 19. -<i>Low</i>, <i>mean</i>, <i>vulgar</i>. Lat. <i>humilis</i>, <i>abiectus</i>. So <b>ταπεινότης</b> <b><a href="#Page_192">192</a></b> 9.</p> - -<p class="hangingindent4a"><b>τάσις.</b> <b><a href="#Page_126">126</a></b> 7, 9, <b><a href="#Page_128">128</a></b> 5, 11, <b><a href="#Page_196">196</a></b> 16. <i>Tension</i>, <i>pitch</i>, <i>accent</i>. Lat. <i>intentio</i> -(<i>vocis</i>), <i>accentus</i>. Cp. προσῳδία p. <a href="#Page_320">320</a> <i>supra</i>, and τόνος p. <a href="#Page_329">329</a> <i>infra</i>. -Definition in <b><a href="#Page_196">196</a></b> 16: τάσεις φωνῆς αἱ καλούμεναι προσῳδίαι. -Quintil. i. 5. 22 “adhuc difficilior observatio est per <i>tenores</i>, (quos -quidem ab antiquis dictos <i>tonores</i> comperi, videlicet declinato a Graecis -verbo, qui τόνους dicunt) vel <i>accentus</i>, quas Graeci προσῳδίας vocant,” -etc.</p> - -<p class="hangingindent4a"><b>ταυτολογία.</b> <b><a href="#Page_240">240</a></b> 26. <i>Verbal reiteration</i>, <i>tautology</i>. Lat. <i>eiusdem verbi iteratio</i>. -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, <i>Non solum igitur illud iudicium iudicii simile, iudices, non -fuit.</i>” The English word <i>tautology</i> must have been unfamiliar when -Philemon Holland translated the <i>Morals</i> of Plutarch, since it is one of -the terms included in the “explanation of certain obscure words” -appended to Holland’s volume.</p> - -<p class="hangingindent4a"><b>ταυτότης.</b> <b><a href="#Page_134">134</a></b> 18, <b><a href="#Page_192">192</a></b> 20. <i>Sameness</i>, <i>monotony</i>. Lat. <i>rerum earundem -iteratio</i>. Contrasted with μεταβολή: as in <b><a href="#Page_134">134</a></b> 18 διαναπαύειν δὲ -τὴν ταυτότητά φημι δεῖν μεταβολὰς εὐκαίρους εἰσφέροντα.—Aristotle -uses the word several times, in the sense of ‘identity.’</p> - -<p class="hangingindent4a"><b>τέλειος.</b> <b><a href="#Page_84">84</a></b> 21, <b><a href="#Page_116">116</a></b> 24, <b><a href="#Page_144">144</a></b> 17, <b><a href="#Page_150">150</a></b> 13, etc. <i>Complete</i>, <i>perfect</i>. Lat. -<i>absolutus</i>, <i>perfectus</i>. See, further, note on <b><a href="#Page_204">204</a></b> 24.—So <b>τελειοῦν</b> <b><a href="#Page_178">178</a></b> -13.—In <b><a href="#Page_120">120</a></b> 4, <b><a href="#Page_268">268</a></b> 5, <b>τέλος</b> = ‘end,’ ‘object.’</p> -<p><span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span></p> - -<p class="hangingindent4a"><b>τελεταί.</b> <b><a href="#Page_252">252</a></b> 15. <i>Rites</i>, <i>mysteries</i>. Lat. <i>sacra arcana</i>, <i>ritus et caerimoniae</i>. -αἱ τελεταὶ τοῦ λόγου = <i>sacra eloquentiae</i>.</p> - -<p class="hangingindent4a"><b>τετράμετρος.</b> <b><a href="#Page_86">86</a></b> 3, 14, <b><a href="#Page_256">256</a></b> 8, 13. <i>Consisting of four metres or measures.</i> -Lat. <i>tetrametrus</i> (sc. <i>versus</i>: στίχος).</p> - -<p class="hangingindent4a"><b>τετριμμένος.</b> <b><a href="#Page_252">252</a></b> 29. <i>Homely</i>, <i>ordinary</i>. Lat. <i>tritus</i>. Fr. <i>ordinaire</i>. The -word sometimes inclines to the sense ‘vulgar,’ ‘hackneyed,’ ‘<i>banal</i>,’ -‘<i>rebattu</i>’: cp. τέτριπται <b><a href="#Page_134">134</a></b> 22.</p> - -<p class="hangingindent4a"><b>τέχνη.</b> <b><a href="#Page_68">68</a></b> 9, <b><a href="#Page_94">94</a></b> 10, 14, <b><a href="#Page_96">96</a></b> 2, <b><a href="#Page_104">104</a></b> 10, <b><a href="#Page_132">132</a></b> 22, etc. <i>Art</i>, <i>handbook</i>. Lat. -<i>ars</i>. αἱ τέχναι in Dionysius (cp. αἱ τέχναι τῶν λόγων, Aristot. <i>Rhet.</i> i. -1. 3) refers specially to rhetorical handbooks: e.g. <b><a href="#Page_270">270</a></b> 4, <b><a href="#Page_282">282</a></b> 3. αἱ -ῥητορικαὶ τέχναι is often used to designate the <i>Rhetoric</i> of Aristotle: -e.g. <b><a href="#Page_254">254</a></b> 25, and <i>Ep. i. ad Amm.</i> cc. 1, 2, etc.—In <b><a href="#Page_124">124</a></b> 3 τεχνίτης = -‘craftsman,’ ‘professional.’</p> - -<p class="hangingindent4a"><b>τὴν ἄλλως.</b> <b><a href="#Page_176">176</a></b> 6. <i>To no purpose.</i> Lat. <i>temere</i>. Coupled here with a -negative: cp. Suidas, τηνάλλως. μάτην. καὶ οὐ τηνάλλως μετὰ τῆς -ἀποφάσεως λέγεται.</p> - -<p class="hangingindent4a"><b>τομή.</b> <b><a href="#Page_72">72</a></b> 2. <i>Division.</i> Lat. <i>partitio</i>. Fr. <i>partie</i>, <i>subdivision</i>.</p> - -<p class="hangingindent4a"><b>τόνος.</b> <b><a href="#Page_126">126</a></b> 5, 15, 19, <b><a href="#Page_142">142</a></b> 8. <i>Tone</i>, <i>tension</i>, <i>pitch</i>, <i>accent</i>. Lat. <i>tonus</i>, -<i>intentio</i> (<i>vocis</i>), <i>accentus</i>. If τόνον be read in <b><a href="#Page_136">136</a></b> 16 and τόνος in -<b><a href="#Page_236">236</a></b> 8, the meaning will be <i>energy</i>: cp. D.H. p. 207. See also under -τάσις p. <a href="#Page_328">328</a> <i>supra</i>, and under περισπασμός p. <a href="#Page_316">316</a> <i>supra</i> (for a passage -of Aristot <i>Rhet.</i> iii. 1. 4).</p> - -<p class="hangingindent4a"><b>τόπος.</b> <b><a href="#Page_66">66</a></b> 6, <b><a href="#Page_96">96</a></b> 9, <b><a href="#Page_144">144</a></b> 18, <b><a href="#Page_164">164</a></b> 17, <b><a href="#Page_248">248</a></b> 8. <i>Place</i>, <i>heading</i>, <i>department</i>. -Lat. <i>locus</i>. The πραγματικὸς τόπος (<b><a href="#Page_66">66</a></b> 6) is the <i>locus rerum</i>, as opposed -to the λεκτικὸς τόπος (<b><a href="#Page_96">96</a></b> 9). In this connexion not only τόπος, but -τρόπος, τύπος, χαρακτήρ and μέρος are sometimes used by Dionysius.</p> - -<p class="hangingindent4a"><b>τορευτός.</b> <b><a href="#Page_264">264</a></b> 18. <i>Worked in relief</i>, <i>chased</i>. Lat. <i>caelatus</i>. So τορευτής -= <i>caelator</i>, <b><a href="#Page_266">266</a></b> 8.</p> - -<p class="hangingindent4a"><b>τραγῳδοποιός.</b> <b><a href="#Page_236">236</a></b> 17, <b><a href="#Page_248">248</a></b> 14. <i>Tragic poet</i>, <i>tragedian</i>. Lat. <i>tragicus poëta</i>. -[For the Greek expressions used to denote tragic and comic poets see -H. Richards in the <i>Classical Review</i> xiv. 211.]</p> - -<p class="hangingindent4a"><b>τρανός.</b> <b><a href="#Page_230">230</a></b> 14. <i>Clear</i>, <i>distinct</i>. Lat. <i>perspicuus</i>. In earlier Greek the -form τρανής is used: cp. Soph. <i>Ajax</i> 23 ἴσμεν γὰρ οὐδὲν τρανές, ἀλλ’ -ἀλώμεθα.</p> - -<p class="hangingindent4a"><b>τραχύτης.</b> <b><a href="#Page_230">230</a></b> 5, <b><a href="#Page_232">232</a></b> 8. <i>Roughness.</i> Lat. <i>asperitas</i>. Fr. <i>âpreté</i>, <i>dureté</i>. -So <b>τραχύς</b> <b><a href="#Page_130">130</a></b> 26, <b><a href="#Page_154">154</a></b> 12, <b><a href="#Page_228">228</a></b> 7, <b><a href="#Page_234">234</a></b> 15, etc.; and <b>τραχύνειν</b> <b><a href="#Page_130">130</a></b> -19, <b><a href="#Page_146">146</a></b> 9, <b><a href="#Page_202">202</a></b> 26, <b><a href="#Page_206">206</a></b> 4, <b><a href="#Page_216">216</a></b> 17, <b><a href="#Page_218">218</a></b> 18, <b><a href="#Page_240">240</a></b> 17. By ‘rough’ -letters, in <b><a href="#Page_202">202</a></b> 26, Dionysius may probably mean the following letters -found in the four lines quoted in <b><a href="#Page_202">202</a></b> 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.’</p> - -<p class="hangingindent4a"><b>τρίκωλον.</b> <b><a href="#Page_116">116</a></b> 11. <i>A sentence consisting of three members or clauses.</i> Lat. -<i>oratio trimembris</i>. τὸ τρίκωλον is here a noun: on the same -principle as, for example, ἡ τρίοδος (= <i>trivium</i>).</p> - -<p class="hangingindent4a"><b>τρίμετρος.</b> <b><a href="#Page_258">258</a></b> 19, 25. <i>Consisting of three metres or measures.</i> Lat. -<i>trimetrus</i> (sc. <i>versus</i>: στίχος).</p> - -<p class="hangingindent4a"><b>τρισύλλαβος.</b> <b><a href="#Page_170">170</a></b> 15, <b><a href="#Page_174">174</a></b> 8. <i>Consisting of three syllables.</i> Lat. <i>trisyllabus</i>.</p> -<p><span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span></p> - -<p class="hangingindent4a"><b>τρόπος.</b> <b><a href="#Page_196">196</a></b> 1. <i>Mode</i> (in music). Lat. <i>modus</i>. Cp. Monro’s <i>Modes of -Ancient Greek Music</i> p. 2. In <b><a href="#Page_132">132</a></b> 12 the word means <i>trope</i> (<i>metaphor</i> -particularly: cp. Quintil. viii. 6. 4): so <b>τροπικός</b> (<i>figurative</i>; Fr. -<i>figuré</i>) <b><a href="#Page_78">78</a></b> 16, <b><a href="#Page_252">252</a></b> 24, <b><a href="#Page_272">272</a></b> 10.</p> - -<p class="hangingindent4a"><b>τροχαῖος.</b> <b><a href="#Page_170">170</a></b> 8, <b><a href="#Page_184">184</a></b> 11. <i>Trochee.</i> The metrical foot – ᴗ.</p> - -<p class="hangingindent4a"><b>τρυφερός.</b> <b><a href="#Page_236">236</a></b> 9. <i>Delicate</i>, <i>dainty</i>. Lat. <i>delicatus</i>, <i>nitidus</i>.</p> - -<p class="hangingindent4a"><b>τύπος.</b> <b><a href="#Page_70">70</a></b> 7, <b><a href="#Page_268">268</a></b> 2, 17, 24. <i>Outline</i>, <i>form</i>. Lat. <i>forma</i>, <i>figura</i>.</p> - - -<p class="hangingindent4a"><b>ὕλη.</b> <b><a href="#Page_266">266</a></b> 9. <i>Material.</i> Lat. <i>materia</i>. Fr. <i>matière</i>.</p> - -<p class="hangingindent4a"><b>ὑπαγωγικός.</b> <b><a href="#Page_90">90</a></b> 5. <i>Drawn slowly out</i>, <i>prolonged</i>. Lat. <i>dilatatus</i>. Cp. <i>de -Demosth.</i> 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 <i>de Comp. Verb.</i> -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.’</p> - -<p class="hangingindent4a"><b>ὑπαλλαγή.</b> <b><a href="#Page_78">78</a></b> 16. <i>Hypallage.</i> Lat. <i>hypallage</i>. 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 <i>Cererem corruptam undis</i>, et <i>receptus Terra Neptunus classes Aquilonibus -arcet</i>.” Cp. Cic. <i>Orat.</i> 27. 93 “hanc ὑπαλλαγήν rhetores, quia quasi -summutantur verba pro verbis, μετωνυμίαν grammatici vocant, quod -nomina transferuntur.”</p> - -<p class="hangingindent4a"><b>ὑπάτη.</b> <b><a href="#Page_210">210</a></b> 7. <i>Top note.</i> Lat. <i>chorda suprema</i>. See L. & S. <i>s.v.</i></p> - -<p class="hangingindent4a"><b>ὑπεραίρειν.</b> <b><a href="#Page_224">224</a></b> 11. <i>To exceed.</i> Lat. <i>transgredi</i>.</p> - -<p class="hangingindent4a"><b>ὑπερβολή.</b> <b><a href="#Page_156">156</a></b> 11. <i>Excess</i>, <i>violence</i>. Lat. <i>impetus</i>, <i>ardor</i>. [Not here used -in the technical sense of <i>superlatio</i>, <i>traiectio</i>.]</p> - -<p class="hangingindent4a"><b>ὑπέρμετρος.</b> <b><a href="#Page_214">214</a></b> 8. <i>Exceeding due measure</i>, <i>excessively long</i>. Lat. <i>excedens -mensuram</i>. [Not here used in the technical sense of passing beyond -the bounds of metre: Demetr. <i>de Eloc.</i> § 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.’]</p> - -<p class="hangingindent4a"><b>ὑπεροπτικός.</b> <b><a href="#Page_232">232</a></b> 20. <i>Disdainful.</i> Lat. <i>ad contemnendum pronus</i>.</p> - -<p class="hangingindent4a"><b>ὑπερτείνειν.</b> <b><a href="#Page_132">132</a></b> 14. <i>To exceed.</i> Lat. <i>transcendere</i>.</p> - -<p class="hangingindent4a"><b>ὑπηχεῖν.</b> <b><a href="#Page_150">150</a></b> 7. <i>To sound in answer to</i>, <i>to re-echo</i>. Lat. <i>resonare</i>.</p> - -<p class="hangingindent4a"><b>ὑποβάκχειος.</b> <b><a href="#Page_174">174</a></b> 23, <b><a href="#Page_178">178</a></b> 11, 13. <i>Hypobacchius.</i> The metrical foot -ᴗ – –. The <i>Epitome</i> (c. 17) gives παλιμβάκχειος in the same sense -as ὑποβάκχειος.</p> - -<p class="hangingindent4a"><b>ὑπογράφειν.</b> <b><a href="#Page_122">122</a></b> 7. <i>To sketch.</i> Lat. <i>adumbrare</i>. Fr. <i>esquisser</i>.</p> - -<p class="hangingindent4a"><b>ὑπόδειγμα.</b> <b><a href="#Page_174">174</a></b> 12. <i>Pattern</i>, <i>specimen</i>. Lat. <i>documentum</i>, <i>exemplum</i>.</p> - -<p class="hangingindent4a"><b>ὑπόθεσις.</b> <b><a href="#Page_104">104</a></b> 6. <i>Subject</i>, <i>theme</i>. Lat. <i>argumentum operis</i>. So <b>τὰ ὑποκείμενα</b> -(<i>the subject matter</i>) <b><a href="#Page_74">74</a></b> 9, <b><a href="#Page_106">106</a></b> 17, <b><a href="#Page_130">130</a></b> 13, <b><a href="#Page_134">134</a></b> 21, <b><a href="#Page_158">158</a></b> 2.</p> - -<p class="hangingindent4a"><b>ὑπόμνησις.</b> <b><a href="#Page_80">80</a></b> 1. <i>Reminder.</i> Lat. <i>admonitio</i>. ὑπομνήσεως ἕνεκα = -<i>memoriae causa</i>.</p> -<p><span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span></p> - -<p class="hangingindent4a"><b>ὑποτακτικός.</b> <b><a href="#Page_220">220</a></b> 19. <i>Subordinate.</i> Lat. <i>subditus</i>. 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 <b>ὑποτάττειν</b> occurs in <b><a href="#Page_100">100</a></b> 23 and <b><a href="#Page_126">126</a></b> 21.</p> - -<p class="hangingindent4a"><b>ὑποτίθεσθαι.</b> <b><a href="#Page_194">194</a></b> 8. <i>To take as a subject.</i> Lat. <i>argumentum sibi sumere</i>. -This (rather than ‘to postulate’) seems to be the meaning.</p> - -<p class="hangingindent4a"><b>ὑποτραχύνειν.</b> <b><a href="#Page_222">222</a></b> 7. <i>To grate slightly on the ear.</i> Lat. <i>leni horrore -aures afficere</i>.</p> - -<p class="hangingindent4a"><b>ὕπτιος.</b> <b><a href="#Page_108">108</a></b> 3. <i>Passive.</i> Lat. <i>supinus</i>.</p> - -<p class="hangingindent4a"><b>ὕφος.</b> <b><a href="#Page_234">234</a></b> 12. <i>Woven stuff</i>, <i>a web</i>. Lat. <i>tela</i>. The word is used -metaphorically in Long. <i>de Subl.</i> i. 4 τοῦ ὅλου τῶν λόγων ὕφους.</p> - -<p class="hangingindent4a"><b>ὑψηλός.</b> <b><a href="#Page_92">92</a></b> 18, <b><a href="#Page_172">172</a></b> 2, <b><a href="#Page_180">180</a></b> 2, <b><a href="#Page_182">182</a></b> 7. <i>Lofty</i>, <i>elevated</i>. Lat. <i>sublimis</i>.</p> - - -<p class="hangingindent4a"><b>φαντασία.</b> <b><a href="#Page_230">230</a></b> 29. <i>Representation</i>, <i>image</i>. Lat. <i>imago</i>.</p> - -<p class="hangingindent4a"><b>φάρμακον.</b> <b><a href="#Page_208">208</a></b> 17. <i>Colour</i> (for painting). Lat. <i>pigmentum</i>. For φάρμακα (= βάμματα, χρώματα) cp. Horace’s “lana Tarentino violas imitata -veneno” (<i>Ep.</i> ii. 1. 207).</p> - -<p class="hangingindent4a"><b>φάρυγξ.</b> <b><a href="#Page_150">150</a></b> 7. <i>Throat.</i> Lat. <i>guttur</i>. Here used in the masculine -gender, according to the best-supported reading. Galen (on Hippocr. -<i>Progn.</i> p. 45), ὅτι φάρυγγα τὴν προκειμένην χώραν στομάχου τε καὶ -λάρυγγος ὀνομάζει δῆλόν ἐστι.</p> - -<p class="hangingindent4a"><b>φθαρτός.</b> <b><a href="#Page_266">266</a></b> 9. <i>Perishable.</i> Lat. <i>mortalis</i>, <i>periturus</i>.</p> - -<p class="hangingindent4a"><b>φθόγγος.</b> <b><a href="#Page_128">128</a></b> 4, <b><a href="#Page_130">130</a></b> 12, <b><a href="#Page_268">268</a></b> 10. <i>Sound</i>, <i>note</i>. Lat. <i>sonus</i>.</p> - -<p class="hangingindent4a"><b>φιλόκαλος.</b> <b><a href="#Page_66">66</a></b> 16. <i>Loving beauty</i>, <i>artistic</i>. Lat. <i>pulchritudinis studiosus</i>.</p> - -<p class="hangingindent4a"><b>φιλόλογος.</b> <b><a href="#Page_264">264</a></b> 24. <i>Loving literature</i>, <i>literary</i>; <i>a scholar</i>. Lat. <i>litterarum -studiosus</i>; <i>litteratus</i>, <i>philologus</i>.</p> - -<p class="hangingindent4a"><b>φιλοπονία.</b> <b><a href="#Page_264">264</a></b> 25. <i>Loving care</i>; <i>industry</i>. Lat. <i>diligentia</i>: which -(etymologically) contains the same suggestion of ‘work done <i>con amore</i>.’</p> - -<p class="hangingindent4a"><b>φιλόσοφος.</b> <b><a href="#Page_74">74</a></b> 8, <b><a href="#Page_132">132</a></b> 22, <b><a href="#Page_164">164</a></b> 22, <b><a href="#Page_248">248</a></b> 15. <i>Philosopher.</i> Lat. <i>philosophus</i>. -The comprehensive sense in which philosophy is understood may be -illustrated from <b>φιλοσοφία</b> (<b><a href="#Page_140">140</a></b> 12) and <b>φιλοσοφεῖν</b> (<b><a href="#Page_70">70</a></b> 12). Cp. in -modern times such academic vestiges of ancient usage as ‘Natural -Philosophy’ or ‘Ph. D.’ In <i>Le Bourgeois Gentilhomme</i> (ii. 4) rhetoric -is taught by the <i>Maître de Philosophie</i>; 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.</p> - -<p class="hangingindent4a"><b>φιλοτεχνεῖν.</b> <b><a href="#Page_154">154</a></b> 20, <b><a href="#Page_200">200</a></b> 18. <i>To practise an art lovingly</i>, <i>to be devoted to -it</i>. Lat. <i>artem amare</i>, <i>in artem incumbere</i>. So <b>φιλοτέχνως</b> <b><a href="#Page_176">176</a></b> 18. -φιλοτεχνεῖν, φιλότεχνος and φιλοτεχνία are all used by Plato in -reference to art pursued <i>con amore</i>; and Cicero (<i>ad Att.</i> xiii. 40. 1) -uses φιλοτέχνημα of an elaborate work of art—a <i>chef-d’œuvre</i>: -“Ubi igitur φιλοτέχνημα illud tuum quod vidi in Parthenone, Ahalam -et Brutum?”</p> - -<p class="hangingindent4a"><b>φιλοχωρεῖν.</b> <b><a href="#Page_110">110</a></b> 5. <i>To cling to a place</i>, <i>to haunt it</i>. Lat. <i>libenter in loco -commorari</i>. φιλοχωρεῖν is used repeatedly by Dionysius in the <i>Antiqq.</i> -<i>Rom.</i> (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. <i>Demosth.</i> c. 2). The form -<b>χωροφιλεῖν</b> seems to occur twice only in good Greek authors: (1) -Antiphon <i>de Caede Herodis</i> § 78 εἰ δ’ ἐν Αἴνῳ χωροφιλεῖ [probably it -is to this passage that Dionysius here refers]; (2) <i>Ep. Thaletis ap. -Diog. L.</i> i. 44 σὺ μέντοι χωροφιλέων ὀλίγα φοιτέεις ἐς Ἰωνίην.</p> -<p><span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span></p> - -<p class="hangingindent4a"><b>φλυαρία.</b> <b><a href="#Page_264">264</a></b> 7, <b><a href="#Page_268">268</a></b> 15. <i>Nonsense</i>, <i>foolery</i>. Lat. <i>nugae</i>, <i>ineptiae</i>. So -<b>φλυάρημα</b> (<i>futility</i>) <b><a href="#Page_192">192</a></b> 9. Notwithstanding the remarks in Stephanus, -it would seem more natural to take <b>φλύαρος</b> as an adjective (than -as a noun) in <b><a href="#Page_272">272</a></b> 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 (<i>Maccab.</i> iv. 5, 10) and καὶ ὅλως -ἀποδείκνυσι τὸν Πυθαγόρου λόγον φλύαρον in Plut. <i>Mor.</i> 169 <span class="smcap">E</span>.</p> - -<p class="hangingindent4a"><b>φορά.</b> <b><a href="#Page_144">144</a></b> 22, <b><a href="#Page_204">204</a></b> 17, <b><a href="#Page_244">244</a></b> 20. <i>Current</i>, <i>rush</i>. Lat. <i>cursus</i>, <i>impetus</i>.</p> - -<p class="hangingindent4a"><b>φορτικός.</b> <b><a href="#Page_252">252</a></b> 14. <i>Coarse</i>, <i>rude</i>. Lat. <i>insolens</i>, <i>importunus</i>, <i>insulsus</i>.</p> - -<p class="hangingindent4a"><b>φράσις.</b> <b><a href="#Page_84">84</a></b> 2, <b><a href="#Page_166">166</a></b> 3, <b><a href="#Page_182">182</a></b> 8, <b><a href="#Page_206">206</a></b> 1, 15, <b><a href="#Page_208">208</a></b> 7, <b><a href="#Page_250">250</a></b> 14. <i>Style</i>, <i>expression</i>. -Lat. <i>elocutio</i>. Cp. Quintil. viii. 1. 1 “igitur, quam Graeci -φράσιν vocant, Latine dicimus <i>elocutionem</i>. ea spectatur verbis aut -singulis aut coniunctis.”</p> - -<p class="hangingindent4a"><b>φριμαγμός.</b> <b><a href="#Page_158">158</a></b> 14. <i>Snorting.</i> Lat. <i>fremitus</i>. It is hardly likely that -the word here means no more than βληχή, <i>bleating</i>.</p> - -<p class="hangingindent4a"><b>Φρύγιος.</b> <b><a href="#Page_196">196</a></b> 1. <i>Phrygian.</i> Lat. <i>Phrygius</i>. Cp. Monro’s <i>Modes of Ancient -Greek Music</i>, passim.</p> - -<p class="hangingindent4a"><b>φυλακή.</b> <b><a href="#Page_198">198</a></b> 6. <i>Preservation.</i> Lat. <i>conservatio</i>.—In the <i>de Imitat.</i> B. vi. -3 the reading φυλακή (if correct) will correspond to the middle -φυλάττεσθαι (not to φυλάττειν).</p> - -<p class="hangingindent4a"><b>φυσικός.</b> <b><a href="#Page_96">96</a></b> 23, <b><a href="#Page_214">214</a></b> 3, <b><a href="#Page_224">224</a></b> 5, <b><a href="#Page_240">240</a></b> 8, etc. <i>Natural.</i> Lat. <i>naturalis</i>. So -<b>φυσικῶς</b> <b><a href="#Page_200">200</a></b> 12. ὁ φυσικός, in <b><a href="#Page_214">214</a></b> 3, = ‘the natural philosopher,’ -‘the physicist’ (of Empedocles). In <b><a href="#Page_134">134</a></b> 2 οὐδ’ ἔχει φύσιν τὸ πρᾶγμα -... πεσεῖν the meaning is ‘nor is the subject of such a nature that -it can fall.’</p> - -<p class="hangingindent4a"><b>φωνή.</b> <b><a href="#Page_130">130</a></b> 4, 21, <b><a href="#Page_136">136</a></b> 22, <b><a href="#Page_138">138</a></b> 7, etc. <i>Voice</i>, <i>sound</i>. Lat. <i>vox</i>, <i>sonus</i>, <i>sonus -vocalis</i>. Cp. <b>φωνεῖν</b> (‘to pronounce,’ etc.) <b><a href="#Page_140">140</a></b> 1, 20, <b><a href="#Page_144">144</a></b> 18, <b><a href="#Page_148">148</a></b> 14.</p> - -<p class="hangingindent4a"><b>φωνήεις.</b> <b><a href="#Page_138">138</a></b> 8, 9, 15, <b><a href="#Page_140">140</a></b> 2, <b><a href="#Page_144">144</a></b> 7, <b><a href="#Page_150">150</a></b> 17, <b><a href="#Page_152">152</a></b> 4, <b><a href="#Page_220">220</a></b> 11. <i>Voiced.</i> -Lat. <i>vocalis</i>. φωνήεντα γράμματα = <i>litterae vocales</i> = <i>vowels</i>. For the -term ‘voiced’ see s.v. ἄφωνος p. <a href="#Page_292">292</a> <i>supra</i>. Cp. Dionys. Thrax <i>Ars -Gramm.</i> p. 9 (ed. Uhlig) φωνήεντα δὲ λέγεται, ὅτι φωνὴν ἀφ’ -ἑαυτῶν ἀποτελεῖ.</p> - -<p class="hangingindent4a"><b>φωτεινός.</b> <b><a href="#Page_234">234</a></b> 13. <i>Full of light.</i> Lat. <i>lucidus</i>, <i>luminosus</i>.</p> -<p><span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span></p> - -<p class="hangingindent4a"><b>χαρακτήρ.</b> <b><a href="#Page_68">68</a></b> 21, <b><a href="#Page_80">80</a></b> 17, <b><a href="#Page_90">90</a></b> 10, etc. <i>Characteristic stamp</i>, <i>type</i>. Lat. -<i>forma</i>, <i>nota</i>. So the adjective <b>χαρακτηρικός</b> in <b><a href="#Page_232">232</a></b> 21 (cp. <i>de -Demosth.</i> c. 39 init.). See further in D.H. p. 208, Demetr. p. 308.—In -<b><a href="#Page_230">230</a></b> 9 the verb <b>χαράττειν</b> = ‘to irritate.’</p> - -<p class="hangingindent4a"><b>χάρις.</b> <b><a href="#Page_112">112</a></b> 5, <b><a href="#Page_120">120</a></b> 20, <b><a href="#Page_124">124</a></b> 12, etc. <i>Charm</i>, <i>grace</i>. Lat. <i>venustas</i>, <i>lepor</i>. -Fr. <i>grâce</i>. Cp. Demetr. p. 308. So <b>χαρίεις</b> (‘refined,’ ‘elegant,’ -‘accomplished,’ ‘consummate’) <b><a href="#Page_106">106</a></b> 16, <b><a href="#Page_116">116</a></b> 1, <b><a href="#Page_154">154</a></b> 16; <b>χαριέντως</b> -<b><a href="#Page_110">110</a></b> 22.</p> - -<p class="hangingindent4a"><b>χλευασμός.</b> <b><a href="#Page_192">192</a></b> 7. <i>Scoffing</i>, <i>satire</i>. Lat. <i>derisio</i>, <i>illusio</i>. <b>χλευάζειν</b> <b><a href="#Page_270">270</a></b> 3.</p> - -<p class="hangingindent4a"><b>χορδή.</b> <b><a href="#Page_122">122</a></b> 23. <i>String</i>, <i>note</i>. Lat. <i>chorda</i>.</p> - -<p class="hangingindent4a"><b>χορεῖος.</b> <b><a href="#Page_170">170</a></b> 17, <b><a href="#Page_184">184</a></b> 11. <i>Choree.</i> Lat. <i>choreus</i>. The metrical foot ᴗ ᴗ ᴗ. -In <b><a href="#Page_170">170</a></b> 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).</p> - -<p class="hangingindent4a"><b>χρεία.</b> <b><a href="#Page_104">104</a></b> 21, <b><a href="#Page_198">198</a></b> 2. <i>Use</i>, <i>practical work</i>. Lat. <i>usus</i>. Cp. <i>de Demosth.</i> -c. 45, <i>de Thucyd.</i> c. 55. There may also be some notion of <i>practical -need</i>, <i>stress</i>: cp. ἐν χρείᾳ δορός (Soph. <i>Aj.</i> 963) and ὑπὸ τῆς χρείας -αὐτῆς (schol. on Hom. <i>Odyss.</i> viii. 163).</p> - -<p class="hangingindent4a"><b>χρεμετισμός.</b> <b><a href="#Page_158">158</a></b> 14. <i>Neighing</i>, <i>whinnying</i>. Lat. <i>hinnitus</i>.</p> - -<p class="hangingindent4a"><b>χρῆμα.</b> <b><a href="#Page_158">158</a></b> 2. <i>Object.</i> Lat. <i>res ipsa</i>. Cp. note on p. <a href="#Page_158">158</a> <i>supra</i>.</p> - -<p class="hangingindent4a"><b>χρόνοι.</b> <b><a href="#Page_130">130</a></b> 1, <b><a href="#Page_164">164</a></b> 5, <b><a href="#Page_204">204</a></b> 22 (lit. ‘does not divide the times’), <b><a href="#Page_210">210</a></b> 19, -<b><a href="#Page_216">216</a></b> 18, <b><a href="#Page_234">234</a></b> 4, <b><a href="#Page_244">244</a></b> 19, <b><a href="#Page_264">264</a></b> 4. <i>Times</i>, <i>time-intervals</i>, <i>time-spaces</i>, -<i>rests</i>, <i>pauses</i>. Lat. <i>tempora</i>, <i>morae</i>. So in <b><a href="#Page_128">128</a></b> 15 χρόνους = ‘the -length of syllables,’ and in <b><a href="#Page_130">130</a></b> 7 ἐν τοῖς χρόνοις τῶν μορίων = ‘in -the duration of words,’ ‘in quantity.’ χρόνων = ‘tenses,’ <b><a href="#Page_108">108</a></b> 5; -χρόνιος = <i>diuturnus</i>, <b><a href="#Page_202">202</a></b> 23; χρονίζειν = <i>immorari</i>, <b><a href="#Page_164">164</a></b> 12.</p> - -<p class="hangingindent4a"><b>χρῶμα.</b> <b><a href="#Page_88">88</a></b> 12, <b><a href="#Page_198">198</a></b> 14. <i>Colour.</i> Lat. <i>color</i>. In <b><a href="#Page_198">198</a></b> 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 (<b><a href="#Page_136">136</a></b> 11, where compare τὸ πᾶσι τούτοις -παρακολουθοῦν πρέπον with τοῖς ἄλλοις χρώμασιν ἅπασι παρεῖναι -δεῖ τὸ πρέπον in <b><a href="#Page_198">198</a></b> 14). Compare too <i>de Demosth.</i> c. 22 κοσμοῦντος -ἅπαντα καὶ χρωματίζοντος τῇ πρεπούσῃ ὑποκρίσει ἧς δεινότατος -ἀσκητὴς ἐγένετο, and the use of χρῶμα (or χρώματα) in <i>de Isaeo</i> c. 4 -and <i>de Thucyd.</i> c. 42. Photius (<i>Bibl. Cod.</i> 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 <i>color</i> in -Quintil. x. 1. 116, and Cic. <i>de Orat.</i> iii. 25. 100. The stage at which -the χρῶμα would best be introduced in a historical work is suggested -in a passage of Lucian (<i>de conscrib. hist.</i> 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.</p> -<p><span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span></p> - -<p class="hangingindent4a"><b>χρωματικός.</b> <b><a href="#Page_194">194</a></b> 7, <b><a href="#Page_196">196</a></b> 3. <i>Chromatic.</i> Lat. <i>chromaticus</i>. For the -chromatic scale see note on <b><a href="#Page_194">194</a></b> 7.</p> - -<p class="hangingindent4a"><b>χώρα.</b> <b><a href="#Page_144">144</a></b> 13. <i>Room</i>, <i>space</i>. Lat. <i>locus</i>, <i>spatium</i>. χωρίον in <b><a href="#Page_126">126</a></b> 6 = -‘distance,’ ‘interval.’</p> - - -<p class="hangingindent4a"><b>ψιλός.</b> <b><a href="#Page_130">130</a></b> 5, <b><a href="#Page_148">148</a></b> 7, 12 (<i>bis</i>), 18, 19, <b><a href="#Page_150">150</a></b> 3, 9, <b><a href="#Page_154">154</a></b> 2, <b><a href="#Page_250">250</a></b> 12, <b><a href="#Page_254">254</a></b> 1. -<i>Bare</i>, <i>smooth</i>, <i>unaspirated</i>. Lat. <i>lenis</i>. So <b>ψιλότης</b> <b><a href="#Page_148">148</a></b> 21. See s.v. -δασύς p. <a href="#Page_294">294</a> <i>supra</i>, with the reference there given to A. J. Ellis’ -pamphlet. In <b><a href="#Page_148">148</a></b> 7 Ellis takes ‘smooth’ to mean ‘unaccompanied -by voice, but in this case possibly not mute.’ In <b><a href="#Page_130">130</a></b> 5 the ‘ordinary’ -voice, the voice ‘pure and simple’ (or ‘without addition’), is meant: -cp. <b><a href="#Page_154">154</a></b> 2, <b><a href="#Page_250">250</a></b> 12, <b><a href="#Page_254">254</a></b> 1. So ἐν τοῖς ψιλοῖς λόγοις Aristot. <i>Rhet.</i> -iii. 2. 3, and “nuda oratio” Cic. <i>Orat.</i> 55. 183.</p> - -<p class="hangingindent4a"><b>ψοφοειδής.</b> <b><a href="#Page_162">162</a></b> 15. <i>Sounding.</i> Lat. <i>sonans</i>. If the term is technical, it -may perhaps be translated by <i>fricative</i>; it can hardly be so wide as -<i>consonantal</i>.</p> - -<p class="hangingindent4a"><b>ψόφος.</b> <b><a href="#Page_138">138</a></b> 7, 8, 9, 12, <b><a href="#Page_146">146</a></b> 4, <b><a href="#Page_222">222</a></b> 2. <i>A sound</i>, <i>a noise</i>. Lat. <i>sonus</i>, -<i>strepitus</i>. The consonants (<i>litterae consonantes</i>) are called ψόφοι, as -contrasted with the φωνήεντα γράμματα.</p> - -<p class="hangingindent4a"><b>ψῦγμα.</b> <b><a href="#Page_202">202</a></b> 26. <i>Inhalation.</i> Lat. <i>respiratio</i>. Used particularly of the -‘catch of the breath’ (<i>interspiratio</i>) between one word and another. -[ψῦγμα must, of course, be distinguished from ψῆγμα: cp. Long. -p. 174.]</p> - - -<p class="hangingindent4a"><b>ᾠδή.</b> <b><a href="#Page_124">124</a></b> 16, 22, <b><a href="#Page_148">148</a></b> 1, <b><a href="#Page_224">224</a></b> 21, <b><a href="#Page_278">278</a></b> 8. <i>Song</i>, <i>lay</i>, <i>ode</i>. Lat. <i>cantus</i>, -<i>carmen</i>. So <b>ᾠδικός</b> = <i>vocal</i> (of the voice accompanied by music), -<b><a href="#Page_126">126</a></b> 16, <b><a href="#Page_130">130</a></b> 5.</p> - -<p class="hangingindent4a"><b>ὤρα.</b> <b><a href="#Page_78">78</a></b> 12. <i>Care</i>, <i>heed</i>. Lat. <i>cura</i>. Cp. Hesychius: ὥρα ... ψιλῶς δὲ -φροντίς, ἐπιμέλεια· ὅθεν ὀλίγωρον (i.e. ‘a <i>poco curante</i>,’ ‘a Hippocleides’) -λέγομεν τὸν ὀλίγην ἔχοντα φροντίδα. In <b><a href="#Page_78">78</a></b> 12 M has γρ -φροντίδα in the margin.</p> - -<p class="hangingindent4a"><b>ὥρα.</b> <b><a href="#Page_120">120</a></b> 20, <b><a href="#Page_124">124</a></b> 12, <b><a href="#Page_162">162</a></b> 1. <i>Freshness</i>, <i>bloom</i>, <i>beauty</i>. Lat. <i>venustas</i>, <i>flos</i>. -Fr. <i>fraîcheur</i>. Cp. <i>Ep. ad Cn. Pomp.</i> c. 2 (quoted from <i>de Demosth.</i> 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 <b><a href="#Page_68">68</a></b> 14 and <b><a href="#Page_76">76</a></b> 6 ὥρα = ‘time,’ ‘season.’</p> - -<p class="hangingindent4a"><b>ὡραϊσμός.</b> <b><a href="#Page_66">66</a></b> 18. <i>Adornment</i>, <i>elegance</i>. Lat. <i>elegantia</i>.</p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span></p> - - - - -<h2 id="APPENDIX_A">APPENDIX A</h2> - -<h3>OBSCURITY IN GREEK</h3> - - -<p>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<a name="FNanchor_199_199" id="FNanchor_199_199"></a><a href="#Footnote_199_199" class="fnanchor">[199]</a> 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. <i>Vita Thucyd.</i> §§ 35, 50, 56). An epigram in the Greek Anthology -is pitched in the same key:—</p> - -<p class="indent8"> -ὦ φίλος, εἰ σοφὸς εἶ, λάβε μ’ ἐς χέρας· εἰ δέ γε πάμπαν<br /> -<span class="marginleft3">νῆϊς ἔφυς Μουσέων, ῥίψον ἃ μὴ νοέεις.</span><br /> -εἰμὶ δέ γ’ οὐ πάντεσσι βατός· παῦροι δ’ ἀγάσαντο<br /> -<span class="marginleft3">Θουκυδίδην Ὀλόρου, Κεκροπίδην τὸ γένος.</span><br /> -</p> - -<p class="align-right"> -<i>Anth. Pal.</i> ix. 583.<br /> -</p> - -<p>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. <i>Orat.</i> 9. 30).</p> - -<p>Obscurity in matter and obscurity in expression are intimately allied. -Euripides, in the <i>Frogs</i>, says of Aeschylus that he was obscure in setting -forth his plots (ἀσαφὴς γὰρ ἦν ἐν τῇ φράσει τῶν πραγμάτων, Aristoph. -<i>Ran.</i> 1122). Dionysius attributes to Lysias, as compared with Thucydides -<span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span> -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 (<i>de Lysia</i>, 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.</p> - -<p>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, <i>de Thucyd.</i> c. 24 and <i>Ep. ii. ad Amm.</i> c. 2). At the same time, he -does not seem to concede enough to the claims of brevity in <i>C.V.</i> <b><a href="#Page_118">118</a></b> 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.<a name="FNanchor_200_200" id="FNanchor_200_200"></a><a href="#Footnote_200_200" class="fnanchor">[200]</a></p> - -<p>But too many words may be just as fatal to clearness as too few. As -Aristotle says (<i>Rhet.</i> 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 (<i>de Eloc.</i> § 192); and Dionysius (<i>Ep. ii. ad Amm.</i> -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).<a name="FNanchor_201_201" id="FNanchor_201_201"></a><a href="#Footnote_201_201" class="fnanchor">[201]</a></p> - -<p>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 <i>Chremetem -audivi percussisse Demean</i>,<a name="FNanchor_202_202" id="FNanchor_202_202"></a><a href="#Footnote_202_202" class="fnanchor">[202]</a> sed illa quoque, quae, etiamsi turbare non -potest sensum, in idem tamen verborum vitium incidit, ut si quis dicat, -<i>visum a se hominem librum scribentem</i>. 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 -<span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span> -attain it in Latin or in Greek. The freedom of the classical word-order, -so desirable on other grounds, stands in the way here.</p> - -<p>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 <i>before</i> the -noun on which it depends.<a name="FNanchor_203_203" id="FNanchor_203_203"></a><a href="#Footnote_203_203" class="fnanchor">[203]</a> 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:—</p> - -<div class="blockquot"> - -<p>(1) καὶ μετὰ τῆς ἥσσονος ἅμα ἐλπίδος ὀλίγων ἡμερῶν ἕνεκα μεγάλου μισθοῦ δόσεως -ἐκείνοις ξυναγωνίζεσθαι, Thucyd. i. 143.</p></div> - -<div class="blockquot"> - -<p>(2) εἴ τις ὑπομένοι καὶ μὴ φόβῳ ῥοθίου καὶ νεῶν δεινότητος κατάπλου ὑποχωροίη, -iv. 10.</p></div> - -<div class="blockquot"> - -<p>(3) Κερκυραῖοι δὲ μετὰ τῆς ξυμμαχίας τῆς αἰτήσεως καὶ ταῦτα πιστεύοντες ἐχυρὰ -ὑμῖν παρέξεσθαι ἀπέστειλαν ἡμᾶς, i. 32.</p></div> - -<div class="blockquot"> - -<p>(4) οἵπερ τῶν ὁλκάδων ἕνεκα τῆς ἐς Σικελίαν κομιδῆς ἀνθώρμουν πρὸς τὰς ἐν -Ναυπάκτῳ ναῦς, vii. 34.</p></div> - -<div class="blockquot"> - -<p>(5) ἄπιστα μὲν ἴσως, ὥσπερ καὶ ἄλλοι τινές, δόξω ὑμῖν περὶ τοῦ ἐπίπλου τῆς -ἀληθείας λέγειν, vi. 33.</p></div> - -<div class="blockquot"> - -<p>(6) τά τε τῆς ἀντιμιμήσεως αὐτῶν τῆς παρασκευῆς ἡμῶν τῷ μὲν ἡμετέρῳ τρόπῳ -ξυνήθη τέ ἐστι κτλ., vii. 67.</p></div> - -<div class="blockquot"> - -<p>(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.</p></div> - -<div class="blockquot"> - -<p>(8) καὶ τοῦ Κλέωνος καίπερ μανιώδης οὖσα ἡ ὑπόσχεσις ἀπέβη, iv. 39.</p></div> - -<div class="blockquot"> - -<p>(9) καὶ τριήρης τῇ αὐτῇ ἡμέρᾳ ἁλίσκεται τῶν Ἀθηναίων ὑπὸ τῶν Συρακοσίων -ἐφορμοῦσα τῷ λιμένι, vii. 3.<a name="FNanchor_204_204" id="FNanchor_204_204"></a><a href="#Footnote_204_204" class="fnanchor">[204]</a></p></div> - -<p>Similarly in other authors: e.g. καὶ δὴ καὶ τότε τοῦ Θρασυμάχου τὴν -ἀπόρρησιν οὐκ ἀπεδέξατο, Plato <i>Rep.</i> ii. 357 <span class="smcap">A</span> (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. <i>Il.</i> xxiv. 507; and</p> - -<p class="indent8"> -<b>τούτων</b> ἐγὼ οὐκ ἔμελλον, ἀνδρὸς οὐδενὸς<br /> -φρόνημα δείσασ’, ἐν θεοῖσι <b>τὴν δίκην</b><br /> -δώσειν.<br /> -</p> - -<p class="align-right"> -Soph. <i>Antig.</i> 458-60.<a name="FNanchor_205_205" id="FNanchor_205_205"></a><a href="#Footnote_205_205" class="fnanchor">[205]</a><br /> -</p> - -<p>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.<a name="FNanchor_206_206" id="FNanchor_206_206"></a><a href="#Footnote_206_206" class="fnanchor">[206]</a> -<span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span> -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 -<i>anagnostes</i>; 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 <i>Crown</i> 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 <i>de Corona</i> are grouped together:—</p> - -<p class="indent8"> -(1) καί μοι τὸν υἱόν, εἰ μεμάθηκε τὸν λόγον<br /> -<span class="marginleft1-5">ἐκεῖνον, εἴφ’, <b>ὃν</b> ἀρτίως εἰσήγαγες.</span><br /> -</p> - -<p class="align-right"> -Aristoph. <i>Nub.</i> 1148.<br /> -</p> - -<p class="indent8"> -(2) <span class="marginleft4">ἀλλά <b>μιν</b> αὖτις ἀναρπάξασα θύελλα</span><br /> -<span class="marginleft1-5">πόντον ἐπ’ ἰχθυόεντα φέρεν βαρέα <b>στενάχοντα</b>.</span><br /> -</p> - -<p class="align-right"> -Hom. <i>Odyss.</i> xxiii. 316.<a name="FNanchor_207_207" id="FNanchor_207_207"></a><a href="#Footnote_207_207" class="fnanchor">[207]</a><br /> -</p> - -<p class="indent8"> -(3) ἠδ’ ὡς εἰς Ἀίδεω δόμον <b>ἤλυθεν</b> εὐρώεντα,<br /> -<span class="marginleft1-5">ψυχῇ χρησόμενος Θηβαίου Τειρεσίαο,</span><br /> -<span class="marginleft1-5"><b>νηῒ πολυκλήιδι</b>.</span><br /> -</p> - -<p class="align-right"> -id. <i>ib.</i> xxiii. 322.<a href="#Footnote_207_207" class="fnanchor">[207]</a><br /> -</p> - -<p class="hangingindent4b">(4) ὅτι Ἱππίας μὲν πρεσβύτατος ὢν ἦρχε τῶν Πεισιστράτου υἱέων.</p> - -<p class="align-right"> -Thucyd. i. 20.<br /> -</p> - -<p>Here τῶν Πεισιστράτου υἱέων depends on πρεσβύτατος ὤν, not on ἦρχε.</p> - -<p class="indent8"> -(5) κράτιστα τοίνυν τῶν παρόντων ἐστὶ νῷν<br /> -<span class="marginleft1-5">θεῶν ἰόντε προσπεσεῖν του πρὸς βρέτας.</span><br /> -</p> - -<p class="align-right"> -Aristoph. <i>Eq.</i> 30, 31.<br /> -</p> - -<p>Here the actor would pause slightly after νῷν, at the end of the metrical -line.</p> - -<p class="indent8"> -(6) τοῦτ’ οὖν ἔβλαψα τί δράσας;<br /> -</p> - -<p class="align-right"> -id. <i>Ran.</i> 1064.<br /> -</p> - -<p><span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span></p> - -<p>Careful delivery would make it quite plain that the meaning is: τί οὖν -ἔβλαψα, δράσας τοῦτο;</p> - -<p class="hangingindent4b">(7) σαφῶς γὰρ ἄν, εἰ πείθοιμι ὑμᾶς καὶ τῷ δεῖσθαι βιαζοίμην ὀμωμοκότας, <b>θεοὺς -ἂν διδάσκοιμι μὴ ἡγεῖσθαι ὑμᾶς εἶναι</b>.</p> - -<p class="align-right"> -Plato <i>Apol.</i> c. 24.<br /> -</p> - -<p class="hangingindent4b">(8) καὶ ἐς τύχας <b>πρὸς πολλῷ δυνατωτέρους</b> ἀγωνιζόμενοι καταστῆναι.</p> - -<p class="align-right"> -Thucyd. i. 69.<br /> -</p> - -<p class="hangingindent4b">(9) οὐδ’ ἐκλογίσασθαι πώποτε πρὸς οἵους <b>ὑμῖν</b> Ἀθηναίους ὄντας καὶ ὅσον ὑμῶν -καὶ ὡς πᾶν διαφέροντας ὁ ἀγὼν ἔσται.</p> - -<p class="align-right"> -id. i. 70.<br /> -</p> - -<p>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<b>ους</b> -Ἀθηναί<b>ους</b> ὄντ<b>ας</b>. 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.</p> - -<p class="hangingindent4b">(10) ῥηθήσεται δὲ οὐ παραιτήσεως μᾶλλον ἕνεκα ἢ μαρτυρίου καὶ δηλώσεως πρὸς -οἵαν <b>ὑμῖν</b> πόλιν μὴ εὖ βουλευομένοις ὁ ἀγὼν καταστήσεται.</p> - -<p class="align-right"> -id. i. 73.<br /> -</p> - -<p>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.</p> - -<p class="indent8"> -(11) ἔνθ’ ὅ γε τοὺς <b>ἐλεεινὰ</b> κατήσθεε τετριγῶτας·<br /> -<span class="marginleft2">μήτηρ δ’ ἀμφεποτᾶτο ὀδυρομένη <b>φίλα τέκνα</b>.</span><br /> -</p> - -<p class="align-right"> -Hom. <i>Il.</i> ii. 314-15.<br /> -</p> - -<p>Connect ἐλεεινὰ τετριγῶτας, and ἀμφεποτᾶτο φίλα τέκνα.</p> - -<p class="indent8"> -(12) ὡς οὖν δεινὰ πέλωρα <b>θεῶν</b> εἰσῆλθ’ ἑκατόμβας.<br /> -</p> - -<p class="align-right"> -id. <i>ib.</i> ii. 321.<br /> -</p> - -<p>Connect θεῶν ἑκατόμβας.</p> - -<p class="indent8"> -(13) καίτοι σ’ ἐγὼ ’τίμησα τοῖς φρονοῦσιν <b>εὖ</b>.<br /> -</p> - -<p class="align-right"> -Soph. <i>Antig.</i> 904.<br /> -</p> - -<p>εὖ with ἐτίμησα. The line occurs in the suspected portion of the -<i>Antigone</i>. But, so far as this particular point is concerned, cp. the order of -μόνος in—</p> - -<p class="indent8"> -τὰ κοινὰ χαίρων οὐ δίκαια δρᾷ <b>μόνος</b>.<br /> -</p> - -<p class="align-right"> -Eurip. <i>Ion</i> 358.<br /> -</p> - -<p class="indent8"> -(14) <b>τίνος</b> δ’ Ἀτρεῖδαι τοῦδ’ ἄγαν οὕτω χρόνῳ<br /> -<span class="marginleft2">τοσῷδ’ ἐπεστέφοντο πράγματος χάριν,</span><br /> -<span class="marginleft2">ὅν γ’ εἶχον ἤδη χρόνιον ἐκβεβληκότες;</span><br /> -</p> - -<p class="align-right"> -Soph. <i>Philoct.</i> 598.<br /> -</p> - -<p>Here strict lucidity is sacrificed to emphasis. τίνος must be joined -with πράγματος (not with τοῦδε).</p> - -<p class="indent8"> -(15) στέμματ’ ἔχων ἐν χερσὶν <b>ἑκηβόλου Ἀπόλλωνος</b><br /> -<span class="marginleft2">χρυσέῳ ἀνὰ σκήπτρῳ.</span><br /> -</p> - -<p class="align-right"> -Hom. <i>Il.</i> i. 14.<br /> -</p> - -<p class="hangingindent4b">(16) περὶ τούτων δ’ ὄντος τουτουὶ τοῦ ἀγῶνος, ἀξιῶ καὶ δέομαι πάντων ὁμοίως ὑμῶν -ἀκοῦσαί μου περὶ τῶν κατηγορημένων ἀπολογουμένου <b>δικαίως</b>, ὥσπερ οἱ νόμοι κελεύουσιν, -οὓς ὁ τιθεὶς ἐξ ἀρχῆς Σόλων κτλ.</p> - -<p class="align-right"> -Demosth. <i>de Cor.</i> § 6.<br /> -</p> - -<p><span class="pagenum"><a name="Page_340" id="Page_340">[340]</a></span></p> - -<p>δικαίως qualifies ἀκοῦσαι: cp. the position of γενναίως in <i>de Cor.</i> § 97 -(quoted in Introduction p. <a href="#Page_24">24</a> <i>supra</i>). 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.</p> - -<p class="hangingindent4b">(17) σκέψασθ’ ὦ ἄνδρες Ἀθηναῖοι καὶ θεωρήσατε ὅσῳ καὶ ἀληθέστερον καὶ ἀνθρωπινώτερον -ἐγὼ περὶ τῆς τύχης <b>τούτου</b> διαλεχθήσομαι.</p> - -<p class="align-right"> -Demosth. <i>de Cor.</i> § 252.<br /> -</p> - -<p class="hangingindent4b">(18) τὸ μὲν τοίνυν προελέσθαι τὰ κάλλιστα καὶ <b>τὸ</b> τῶν οἰηθέντων Ἑλλήνων, εἰ -πρόοιντο ἡμᾶς, ἐν εὐδαιμονίᾳ διάξειν, <b>αὐτῶν</b> ἄμεινον πράττειν τῆς ἀγαθῆς τύχης τῆς -πόλεως εἶναι τίθημι.</p> - -<p class="align-right"> -id. <i>ib.</i> § 254.<br /> -</p> - -<p class="hangingindent4b">(19) <b>τοῦ μὲν οὖν γράψαι</b> 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 <b>τὴν κρίσιν</b> εἶναι νομίζω.</p> - -<p class="align-right"> -id. <i>ib.</i> § 56.<br /> -</p> - -<p class="hangingindent4b">(20) οὐ γὰρ ἂν ἥψατ’ αὐτῶν | παρόντων ἡμῶν, κτλ.</p> - -<p class="align-right"> -id. <i>ib.</i> § 30.<br /> -</p> - -<p>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.</p> - -<p class="align-right"> -Aristot. <i>Rhet.</i> iii. 5.<br /> -</p> - -<p class="hangingindent4b">(21) λοιπὸν τοίνυν ἦν καὶ ἀναγκαῖον ἅμα | πᾶσιν οἷς ἐκεῖνος ἔπραττ’ ἀδικῶν ὑμᾶς -ἐναντιοῦσθαι δικαίως.</p> - -<p class="align-right"> -Demosth. <i>de Cor.</i> § 69.<br /> -</p> - -<p class="hangingindent4b">(22) ταῦτα τοίνυν εἰδὼς Αἰσχίνης οὐδὲν ἧττον ἐμοῦ | πομπεύειν ἀντὶ τοῦ κατηγορεῖν -εἵλετο.</p> - -<p class="align-right"> -id. <i>ib.</i> § 124.<br /> -</p> - -<p class="hangingindent4b">(23) συνέβαινε δ’ αὐτῷ | τῷ πολέμῳ κρατοῦντι, κτλ.</p> - -<p class="align-right"> -id. <i>ib.</i> § 146.<br /> -</p> - -<p class="hangingindent4b">(24) τότε τοίνυν κατ’ ἐκεῖνον τὸν καιρὸν ὁ Παιανεὺς ἐγὼ Βάτταλος Οἰνομάου τοῦ -Κοθωκίδου σοῦ | πλείονος ἄξιος ὢν ἐφάνην τῇ πατρίδι.</p> - -<p class="align-right"> -id. <i>ib.</i> § 180.<br /> -</p> - -<p class="hangingindent4b">(25) εἰ γὰρ ὡς οὐ τὰ βέλτιστα ἐμοῦ πολιτευσαμένου | τουδὶ καταψηφιεῖσθε, -ἡμαρτηκέναι δόξετε, οὐ τῇ τῆς τύχης ἀγνωμοσύνῃ τὰ συμβάντα παθεῖν.</p> - -<p class="align-right"> -id. <i>ib.</i> § 207.<br /> -</p> - -<p class="hangingindent4b">(26) οὐκ ἂν οἷα σὺ νῦν ἔλεγες, τοιαῦτα κατηγόρει, παραδείγματα πλάττων | καὶ -ῥήματα καὶ σχήματα μιμούμενος κτλ.</p> - -<p class="align-right"> -id. <i>ib.</i> § 232.<br /> -</p> - -<p class="hangingindent4b">(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.</p> - -<p class="align-right"> -id. <i>ib.</i> § 272.<br /> -</p> - -<p>Here may be added, from R. Y. Tyrrell’s edition of Eurip. <i>Bacchae</i> p. 36, -an interesting note suggested by the distance which parts μόσχων from -ἀγελαῖα βοσκήματα in <i>Bacch.</i> 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. <i>Oed. R.</i> 1251 χὤπως -μὲν ἐκ τῶνδ’ οὐκέτ’ οἶδ’ <b>ἀπόλλυται</b>; <i>O.C.</i> 1427 τίς δὲ τολμήσει κλύων | τὰ -<span class="pagenum"><a name="Page_341" id="Page_341">[341]</a></span> -τοῦδ’ <b>ἕπεσθαι</b> τἀνδρός; Perhaps the best instance in Greek of a violent -<i>hyperbaton</i> is Ar. <i>Thesm.</i> 811 οὐδ’ ἂν <b>κλέψασα</b> γυνὴ <b>ζεύγει</b> κατὰ πεντήκοντα -τάλαντα | ἐς πόλιν <b>ἔλθοι τῶν δημοσίων</b> ‘nor would a lady <i>ride in -her chariot</i> to the town after <i>pilfering the public exchequer</i> 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 <i>Thesmophoriazusae</i> there seems to be a touch of -intentional comedy.</p> - -<p>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 (<i>Oxyrhynchus Papyri</i> 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 <span class="smcap">MSS.</span> 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.”</p> - -<p>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.</p> - -<hr /> - -<p><span class="pagenum"><a name="Page_342" id="Page_342">[342]</a></span></p> - -<h2 id="APPENDIX_B">APPENDIX B</h2> - -<p class="center largefont">ILLUSTRATIONS OF WORD-ORDER IN GREEK AND -MODERN LANGUAGES</p> - - -<p>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. <a href="#Page_266">266</a> <i>supra</i>) refers to the -opening of Plato’s <i>Republic</i>, 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 <i>de Corona</i> (which Dionysius -regards as the greatest of all speeches), the opening, the conclusion, and a -famous piece of narrative.</p> - - -<p class="center largefont">MODERN TRANSLATIONS</p> - - -<p class="center largefont"><span class="smcap">I. Opening of Plato’s <i>Republic</i></span></p> - -<p>(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.</p> - -<p>(2) <i>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</i> -<span class="pagenum"><a name="Page_343" id="Page_343">[343]</a></span> -<i>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.</i></p> - -<p class="align-right"> -<span class="smcap">Victor Cousin.</span><br /> -</p> - -<p>(3) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">Friedrich Schleiermacher.</span><br /> -</p> - -<p>(4) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">Davies</span> and <span class="smcap">Vaughan</span>.<br /> -</p> - -<p>(5) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">B. Jowett.</span><br /> -</p> - -<p>(6) <i>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</i> -<span class="pagenum"><a name="Page_344" id="Page_344">[344]</a></span> -<i>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.</i></p> - -<p class="align-right"> -<span class="smcap">A. D. Lindsay.</span><br /> -</p> - - -<p class="center largefont"><span class="smcap">II. Opening of Demosthenes’ Speech on the Crown</span></p> - -<p>(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.</p> - -<p>(2) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">Rodolphe Dareste.</span><br /> -</p> - -<p>(3) <i>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</i> -<span class="pagenum"><a name="Page_345" id="Page_345">[345]</a></span> -<i>diejenige Anordnung und Vertheidigungsart zu gestatten, die er gut gefunden -und gewählt hat.</i></p> - -<p class="align-right"> -<span class="smcap">Friedrich Jacobs.</span><br /> -</p> - -<p>(4) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">C. R. Kennedy.</span><br /> -</p> - - -<p class="center largefont"><span class="smcap">III. Conclusion of Demosthenes’ Speech on the Crown</span></p> - -<p>(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.</p> - -<p>(2) <i>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!</i></p> - -<p class="align-right"> -<span class="smcap">R. Dareste.</span><br /> -</p> - -<p>(3) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">F. Jacobs.</span><br /> -</p> - -<p>(4) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">R. C. Jebb.</span><br /> -</p> - -<p>(5) <i>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</i> -<span class="pagenum"><a name="Page_346" id="Page_346">[346]</a></span> -<i>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!</i></p> - -<p class="align-right"> -<span class="smcap">S. H. Butcher.</span><br /> -</p> - - -<p class="center largefont"><span class="smcap">IV. Narrative Passage from Demosthenes’ Speech on the Crown</span></p> - -<p>(§§ 169, 170)</p> - -<p>(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.</p> - -<p>(2) <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">R. Dareste.</span><br /> -</p> - -<p>(3) <i>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</i> -<span class="pagenum"><a name="Page_347" id="Page_347">[347]</a></span> -<i>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.</i></p> - -<p class="align-right"> -<span class="smcap">F. Jacobs.</span><br /> -</p> - -<p>(4) <i>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,</i> Who wishes to speak? <i>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.</i></p> - -<p class="align-right"> -<span class="smcap">R. C. Jebb.</span><br /> -</p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_348" id="Page_348">[348]</a></span></p> - - - - -<h2 id="APPENDIX_C">APPENDIX C</h2> - - -<p class="center largerfont"><br />GREEK PRONUNCIATION: SCHEME OF THE CLASSICAL -ASSOCIATION</p> - - - -<p><br />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 <span class="smallerfont">B.C.</span>) 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 <a href="#Page_126">126</a>-130, <a href="#Page_136">136</a>-150, <a href="#Page_218">218</a>-224, <a href="#Page_230">230</a> above. The following -are the suggestions made by the Classical Association:—</p> - - - -<p class="center largefont"><span class="smcap"><br />Vowels</span></p> - -<p>ᾱ and α, ῑ and ι, ε and ο, η and ω may be pronounced as the corresponding -vowels in Latin, i.e.</p> - -<p class="indent8"> -ᾱ, as <b>a</b> in <i>f</i><b>a</b><i>ther</i>,<br /> -<br /> -α, as <b>a</b> in <b>a</b><i>ha</i>.<br /> -<br /> -ῑ, as <b>ee</b> in <i>f</i><b>ee</b><i>d</i>.<br /> -<br /> -ι, as <b>i</b> in Fr. <i>p</i><b>i</b><i>quet</i>, nearly as Eng. <b>i</b> in <i>f</i><b>i</b><i>t</i>.<br /> -<br /> -ε, as <b>e</b> in <i>fr</i><b>e</b><i>t</i>.<br /> -<br /> -ο, as <b>o</b> in <i>n</i><b>o</b><i>t</i>.<br /> -<br /> -η (long <i>e</i>), as <b>e</b> in Lat. <i>m</i><b>ē</b><i>ta</i>, Eng. <b>a</b> in <i>m</i><b>a</b><i>te</i>.<br /> -<br /> -ω (long <i>o</i>), as <b>o</b> in Lat. <i>R</i><b>ō</b><i>ma</i>, Eng. <i>h</i><b>o</b><i>me</i>.<br /> -</p> -<p><span class="pagenum"><a name="Page_349" id="Page_349">[349]</a></span></p> - -<p>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 <b>è</b> and <b>é</b>, the Committee feels that the open sound (of <b>è</b> in <i>il -mène</i>), 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 <span class="smallerfont">B.C.</span> was the open -sound of <i>oa</i> in Eng. <i>broad</i>, not that of the ordinary English <i>ō</i>. 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 <i>ō</i>. For both Greek and -Latin the diphthongal character of the English vowels in <i>m</i><b>a</b><i>te</i> and <i>h</i><b>o</b><i>me</i>, i.e. the -slight <i>ĭ</i> sound in <i>mate</i> and the slight <i>ŭ</i> sound in <i>home</i>, <i>own</i>, 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.</p> - -<p class="indent8"> -υ as French <b>ŭ</b> in <i>d</i><b>u</b> <i>pain</i>.<br /> -ῡ as French <b>ū</b> in <i>r</i><b>u</b><i>e</i> or Germ. <b>ü</b> in <i>gr</i><b>ü</b><i>n</i>.<br /> -</p> - -<p>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 <i>u</i> (short as <i>oo</i> in Eng. <i>took</i>, long as <i>oo</i> in Eng. <i>loose</i>), -though this obscures the distinction between words like λύω and λούω.</p> - - - -<p class="center largefont"><span class="smcap"><br />Diphthongs</span></p> - -<p>αι = α + ι nearly as <b>ai</b> in <i>Is</i><b>ai</b><i>ah</i> (broadly pronounced), Fr. <i>ém</i><b>ai</b><i>l</i>.</p> - -<p>οι = ο + ι as Eng. <b>oi</b> in <b>oi</b><i>l</i>.</p> - -<p>υι = υ + ι as Fr. <b>ui</b> in <i>l</i><b>ui</b>.</p> - -<p>In ᾳ, ῃ, ῳ the first vowel was long, and the second only faintly heard.</p> - -<p>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. <i>eye</i>, though in fact it must have been nearer to Fr. <i>ée</i> in <i>passée</i>, Eng. -<i>ey</i> in <i>grey</i>. The Greek Ἀλφειός is Latin <i>Alphēus</i>.</p> - -<p>αυ = <i>au</i>, as Germ. <b>au</b> in <i>H</i><b>au</b><i>s</i>, nearly as Eng. <b>ow</b> in <i>g</i><b>ow</b><i>n</i>.</p> - -<p>ευ = <i>eu</i>, nearly as Eng. <b>ew</b> in <i>f</i><b>ew</b>, <b>u</b> in <i>t</i><b>u</b><i>ne</i>.</p> - -<p>ου as Eng. <b>oo</b> in <i>m</i><b>oo</b><i>n</i>, Fr. <b>ou</b> in <i>r</i><b>ou</b><i>e</i>.</p> - - - -<p class="center largefont"><span class="smcap"><br />Consonants</span></p> - -<p>π, β, τ, δ, κ, and γ as <i>p</i>, <i>b</i>, <i>t</i>, <i>d</i>, <i>k</i>, and <i>g</i> respectively in Latin; except -that γ (before γ, κ, and χ) is used to denote the nasal sound heard in Eng. -<i>ankle</i>, <i>anger</i>.</p> - -<p>ρ, λ, μ, ν as Lat. <i>r</i>, <i>l</i>, <i>m</i>, <i>n</i>.</p> - -<p>σ, ς always as Lat. <b>s</b> (Eng. <b>s</b> in <i>mou</i><b>s</b><i>e</i>), except before β, γ and μ, where -the sound was as in Eng. <i>has been</i>, <i>has gone</i>, <i>has made</i>: e.g. ἄσβεστος, -φάσγανον, ἑσμός.</p> - -<p>ξ as Eng. <b>x</b> in <i>wa</i><b>x</b>, and ψ as Eng. <b>ps</b> in <i>la</i><b>ps</b><i>e</i>.</p> - -<p>ζ as Eng. <b>dz</b> in <i>a</i><b>dz</b><i>e</i>, <b>ds</b> in <i>trea</i><b>ds</b> <i>on</i>.</p> - -<p><span class="pagenum"><a name="Page_350" id="Page_350">[350]</a></span></p> -<p class="center largefont"><span class="smcap"><br />Aspirates</span></p> - -<p>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 <b>k.h</b>, <b>t.h</b>, <b>p.h</b>, that is as <b>k</b>, <b>t</b>, <b>p</b> 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<i>h</i>αίνω, it is readily understood why the reduplicated perfect is πεπ<i>h</i>ηνα; -but if it be pronounced <i>f</i>αινω, the perfect, pronounced πε<i>f</i>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 <b>h</b>-sound. This advantage seems to be one of the reasons why it has -been adopted in practice by a certain number of English teachers.</p> - -<p>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 <b>f</b>, θ pronounced as <b>th</b>, in English <b>th</b><i>in</i>, and χ acquiring -the sound of the German <b>ch</b>.<a name="FNanchor_208_208" id="FNanchor_208_208"></a><a href="#Footnote_208_208" class="fnanchor">[208]</a></p> - -<p>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 <b>kh</b>, or of German <b>ch</b>, as in au<b>ch</b>. The Committee would, on the whole, recommend -the latter alternative as being more familiar in German, Scotch, and Irish -place-names.<a name="FNanchor_209_209" id="FNanchor_209_209"></a><a href="#Footnote_209_209" class="fnanchor">[209]</a></p> - -<p>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.</p> - - -<p class="center largefont"><span class="smcap"><br />Accentuation</span></p> - -<p>There is no doubt that in the Classical period of Greek the accented -syllables were marked by a <i>higher pitch</i> or <i>note</i> than the unaccented, and -not by more <i>stress</i>, not, that is, with a stronger current of breath and more -muscular effort. Therefore, unless the student is capable of giving a -<i>musical</i> value to the Greek signs of accent, it is doubtful whether he should -<span class="pagenum"><a name="Page_351" id="Page_351">[351]</a></span> -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 <i>stress</i> 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.<a name="FNanchor_210_210" id="FNanchor_210_210"></a><a href="#Footnote_210_210" class="fnanchor">[210]</a> 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.<a name="FNanchor_211_211" id="FNanchor_211_211"></a><a href="#Footnote_211_211" class="fnanchor">[211]</a><br /></p> - - - - -<hr class="chap" /> - -<h2><span class="smcap"><br />Footnotes</span></h2> - -<div class="footnote"> - -<p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a> <i>Regarded from this point of view, the Chronological Table given on page <a href="#Page_50">50</a> is full -of interest.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2">[2]</a> <i>Reference may also be made to pages <a href="#Page_27">27</a>-29, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_40">40</a>-55, <a href="#Page_74">74</a>-85, <a href="#Page_92">92</a>-95, <a href="#Page_98">98</a> ff., -<a href="#Page_122">122</a>-127, <a href="#Page_134">134</a>-137, <a href="#Page_154">154</a>-167, <a href="#Page_184">184</a>-193, <a href="#Page_200">200</a>-207, <a href="#Page_236">236</a>-241, <a href="#Page_264">264</a>-281. Especially to be -noticed is that warm praise of simplicity (pp. <a href="#Page_76">76</a>-85, <a href="#Page_134">134</a>-137) which should suffice to -prove that Dionysius is not a ‘rhetorician’ in any invidious sense.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3">[3]</a> See Glossary, s.v. σύνθεσις.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4">[4]</a> <i>de Isocrate</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5">[5]</a> The Greek word (κεφάλαια, <i>capita</i>) -corresponding to ‘chapters’ occurs several -times in the <i>C.V.</i> (see Glossary, s.v.); -and one (περιοχή) of the words corresponding -to ‘paragraph’ is found in the -<i>de Thucyd.</i> c. 25. The paramount importance -and dignity of the πραγματικὸς -τόπος is indicated in the <i>C.V.</i> <b><a href="#Page_66">66</a></b> 9-15, -and in the <i>de Demosth.</i> c. 58 fin.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6">[6]</a> Quintilian (<i>Inst. Or.</i> ix. 4. 23) -applies the term <i>naturalis ordo</i> to -such collocations as <i>viros ac feminas</i>, -<i>diem ac noctem</i>, <i>ortum et occasum</i>. But -even here the order, though perhaps -natural, is certainly not necessary.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7">[7]</a> A good example of the severance of -χρόνος from its <i>article</i> by an adjectival -phrase will be found in the <i>C. V.</i> itself, -<b><a href="#Page_222">222</a></b> 22: ἡμιφώνῳ γὰρ ἄφωνον συνάπτεται -τῷ ν̄ τὸ τ̄ καὶ διαβέβηκεν ἀξιόλογον -διάβασιν <b>ὁ</b> μεταξὺ τοῦ τε προσηγορικοῦ τοῦ -“πανδαίδαλον” καὶ τῆς συναλοιφῆς τῆς -συναπτομένης αὐτῷ <b>χρόνος</b>. The convenience -of this articular bracket is -obvious.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8">[8]</a> Cp. ὀρνίθων ... προκαθιζόντων, Hom. -<i>Il.</i> ii. 459-63.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9">[9]</a> 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 <i>Lexicon</i> on the position of -εἰς.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10">[10]</a> In Caesar <i>B.G.</i> ii. 25 more than a -hundred words come between the subject, -<i>Caesar</i> and the main verb <i>processit</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11">[11]</a> e.g. ‘A quarrel had arisen between -a big and a little boy about a big and a -little coat.’</p></div> - -<div class="footnote"> - -<p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12">[12]</a> 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 -<i>Correspondence of Richard Porson</i> pp. -91, 92.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13">[13]</a> Horace <i>Ars Poetica</i> 40, -</p> -<p class="indent8"> -<span style="margin-left: 5em;">cui lecta potenter erit res,</span><br /> -nec facundia deseret hunc nec lucidus ordo.<br /> -</p> -<p> -Can the obscure <i>potenter</i> 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?</p></div> - -<div class="footnote"> - -<p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14">[14]</a> 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 <i>Demetrius on Style</i> 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 (<i>de Eloc.</i> §§ 191 ff.). -For Herodotus as compared with Thucydides -cp. <i>de Imit.</i> ii. 3. 1 τῆς σαφηνείας -δὲ ἀναμφισβήτως Ἡροδότῳ τὸ κατόρθωμα -δέδοται (quoted in the editor’s <i>Dionysius -of Halicarnassus: the Three Literary -Letters</i> p. 173).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15">[15]</a> εὐαρίθμητοι γάρ τινές εἰσιν οἷοι πάντα -τὰ Θουκυδίδου συμβαλεῖν, καὶ οὐδ’ οὗτοι -χωρὶς ἐξηγήσεως γραμματικῆς ἔνια, <i>de Thucyd.</i> c. 51.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16">[16]</a> 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, <i>de Thucyd.</i> -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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17">[17]</a> See, further, the Appendix headed -“Obscurity in Greek.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18">[18]</a> In the same way, Dionysius must -surely feel the loss both of clearness and -of emphasis involved in transferring -ἡ μόνη ἐλπίς (<b><a href="#Page_112">112</a></b> 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.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19">[19]</a> Cp. <i>Demetrius on Style</i> p. 278 -(Glossary, s.v. ἔμφασις).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20">[20]</a> Cp. Lewis Campbell in the <i>Classical -Review</i> iv. 301, and Goodell in the paper -named on p. <a href="#Page_33">33</a> <i>infra</i>. In the matter of -emphasis, Greek sentences are usually -constructed on a diminuendo, English -sentences on a crescendo principle. The -English of μὴ ’φευρεθῇς <b>ἄνους τε καὶ -γέρων</b> ἅμα (Soph. <i>Antig.</i> 281) is, as -Jebb gives it, “lest thou be found at -once <i>an old man and foolish</i>.” As fuller -examples, in prose and verse, Mr. -L. H. G. Greenwood suggests the -<i>Phaedrus</i> 230 <span class="smcap">B, C</span> (Νὴ τὴν Ἥραν ... -Φαῖδρε) and the <i>Rhesus</i> 78-85, 119-130.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21">[21]</a> 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 -(<i>de Eloc.</i> § 39) πάντες γοῦν ἰδίως τῶν τε -πρώτων μνημονεύομεν καὶ τῶν ὑστάτων, -καὶ ὑπὸ τούτων κινούμεθα, ὑπὸ δὲ τῶν -μεταξὺ ἔλαττον ὥσπερ ἐγκρυπτομένων ἢ -ἐναφανιζομένων.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22">[22]</a> The initial emphasis is here reinforced -by μέν and δέ: elsewhere by the -chiastic arrangement, as in (10).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23">[23]</a> Compare the occasional postponement -of a relative pronoun with the same -object: e.g. Thucyd. i. 77 <b>βιάζεσθαι</b> γὰρ -οἷς ἂν ἐξῇ, δικάζεσθαι οὐδὲν προσδέονται.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24">[24]</a> 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. -<i>Il.</i> i. 52, κόπτ’ in <i>Odyss.</i> ix. 290, and -<i>haesit</i> in Virg. <i>Aen.</i> xi. 803):— -</p> -<p class="indent8"> -And over them triumphant Death his dart<br /> -Shook, but delayed to strike.<br /> -</p> -<p class="align-right"> -<span class="smcap">Milton</span> <i>Paradise Lost</i> xi. 491. -</p> -<p class="indent8"> -Or (still nearer to the ‘me, me, adsum,’ -of Virgil):— -</p> -<p class="indent8"> -<i>Me</i>, though just right, and the fixed laws of Heaven,<br /> -Did first create your leader—next, free choice,<br /> -With what besides in council or in fight<br /> -Hath been achieved of merit—yet this loss,<br /> -Thus far at least recovered, hath much more<br /> -Established in a safe, unenvied throne,<br /> -Yielded with full consent. -</p> -<p class="align-right"> -<span class="smcap">Milton</span> <i>Paradise Lost</i> ii. 18-24.<br /> -</p></div> - -<div class="footnote"> - -<p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25">[25]</a> 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 <i>postridie</i>.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26">[26]</a> For the rhetorical and metrical effect -Sandys (<i>ad loc.</i>) compares Milton -<i>Paradise Lost</i> vi. 912, “Firm they -might have stood, | Yet fell.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27">[27]</a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28">[28]</a> The order here (1) avoids the juxtaposition -of too many accusative-terminations; -(2) provides a conclusion which -satisfies ear and mind alike.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29">[29]</a> The position of τἄμ’ here may be -compared with that of ἐμούς in Eurip. -<i>Med.</i> 1045 ἄξω παῖδας ἐκ γαίας <b>ἐμούς</b> -(‘for they are mine’). In English, too, -both the end and the beginning may be -emphatic: e.g. “<i>silver and gold</i> have I -<i>none</i>.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30">[30]</a> Quoted by Dionysius (<i>C.V.</i> c. 3), -though without any special reference to -the point of <i>emphasis</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31">[31]</a> Quoted by T. D. Goodell <i>School -Grammar of Attic Greek</i> 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 <i>Caesar Labienum -laudat</i>. I may ask, <i>Quem laudat -Caesar?</i> Answer: <i>Labienum laudat -Caesar.</i> Question: <i>Quid facit Caesar?</i> -Answer: <i>Laudat Labienum Caesar.</i> 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” (<i>Classical Review</i> -xxi. 130; cp. also W. H. S. Jones <i>The -Teaching of Latin</i> p. 33). An instructive -contrast might be drawn, with -reference to the context in either case, -between <i>Romanus sum civis</i> in Livy ii. -12, and <i>Civis Romanus sum</i> in Cicero -<i>Verr.</i> <span class="smcap">II.</span> v. 65, 66.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32">[32]</a> With “verbi transgressio” cp. “verborum -concinna transgressio” in Cic. -<i>de Orat.</i> iii. 54. 207.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33">[33]</a> 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 -<i>hyperbata</i> the <i>Treatise on the Sublime</i> -itself greatly abounds, being much influenced -(in this as in other ways) by Plato. -For examples of <i>hyperbaton</i> in Plato -see Riddell’s edition of the <i>Apology</i>, -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” <i>hyperbaton</i> (cp. <i>de Sublim.</i> -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” (<i>Life and -Letters of Sir Richard Claverhouse Jebb</i> -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”).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34">[34]</a> 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 <i>heightening</i> of style) -that best reveal the orator’s power: ἐξ -ὧν μάλιστα διάδηλος ἡ τοῦ ῥήτορος γίνεται -δύναμις (<i>de Thucyd.</i> 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 -<i>écrire trop bien</i>, which, according to -M. Anatole France, is the worst of all -literary vices.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35">[35]</a> 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)</p></div> - -<div class="footnote"> - -<p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36">[36]</a> The lines quoted from Homer in -c. 16 are particularly telling.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37">[37]</a> <i>C.V.</i> <b><a href="#Page_244">244</a></b> 23. Perhaps ‘spontaneous’ -or ‘subconscious’ would be -a better translation than ‘instinctive.’ -Dionysius certainly does not intend to -exclude <i>training</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38">[38]</a> The judgment of the ear appears to -be indicated by the words τοῦ πυκνὰ -μεταπίπτοντος κριτηρίου at the end of -c. 24.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39">[39]</a> Cp. <i>C.V.</i> c. 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40">[40]</a> Cic. <i>ad Att.</i> xiv. 20. Dionysius -Halic. <i>Ant. Rom.</i> i. 1 ἐπιεικῶς γὰρ -ἅπαντες νομίζουσιν εἰκόνας εἶναι τῆς -ἑκάστου ψυχῆς τοὺς λόγους. Buffon -<i>Discours de réception à l’Académie</i>, 1753: -“le style est l’homme même.” Cp. -Plato <i>Rep.</i> iii. 400 <span class="smcap">D</span> τί δ’ ὁ τρόπος τῆς -λέξεως, ἦν δ’ ἐγώ, καὶ ὁ λόγος; οὐ τῷ -τῆς ψυχῆς ἤθει ἕπεται;</p></div> - -<div class="footnote"> - -<p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41">[41]</a> Cp. p. <a href="#Page_24">24</a> <i>supra</i>. 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42">[42]</a> 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 <i>Hellenica</i>; -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” (<i>Oxyrhynchus Papyri</i> v. 124).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43">[43]</a> 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, <i>hyperbaton</i>, 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 <i>Sermo Latinus</i> -p. 7).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44">[44]</a> 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 <i>Laocoon</i> 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 -<i>Nid dros y byd yr wyf yn gweddio, ond -dros y rhai a roddaist i mi; canys eiddot -ti ydynt.</i> And Plato <i>Apol.</i> c. 33 καὶ -ἐὰν ταῦτα ποιῆτε, δίκαια πεπονθὼς ἐγὼ -ἔσομαι ὑφ’ ὑμῶν, αὐτός τε καὶ οἱ υἱεῖς: -Welsh, <i>Ac os hyn a wnewch, yr hyn sydd -gyfiawn fyddaf fi wedi ei dderbyn oddiar -eich llaw, myfi a’m meibion.</i> [These -Welsh instances are given on p. 38 -of the present editor’s chapter on the -Teaching of Greek, in F. Spencer’s -<i>Aims and Practice of Teaching</i>.] 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45">[45]</a> Lemaître <i>Les Contemporains</i> i. -205.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46">[46]</a> Boileau <i>L’Art poétique</i> i. 133.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47">[47]</a> Edinburgh edition of Stevenson’s -works, iii. 236-61 (<i>Miscellanies</i>). “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 <i>Life -of Robert Louis Stevenson</i> ii. 11). S. H. -Butcher (<i>Harvard Lectures</i> 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 (<i>C.V.</i> 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. <a href="#Page_40">40</a> <i>infra</i> as -to the music of sounds; and see -<i>Demetrius on Style</i> p. 43, as to Stevenson -and other English writers on style.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48">[48]</a> Compare especially the speeches in -<i>Il.</i> 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’ <i>versification</i> of -Demosthenes, and <i>prosification</i> 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 <i>prose</i> and <i>verse</i>, or in <i>literature</i> -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. <i>Poet.</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49">[49]</a> Of Thucydides: ποιητοῦ τρόπον ἐνεξουσιάζων -(<i>de Thucyd.</i> 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 (<i>Ep. ad Cn. Pomp.</i> -c. 2; <i>de Demosth.</i> c. 6. See further in -<i>Demetrius on Style</i> p. 14, n. 1).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50">[50]</a> 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 <i>Poetics</i>) on the associations of -ποιητής than on those of ἀοιδός. It is in -connexion with <i>prose</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51">[51]</a> Aristot. <i>Rhet.</i> iii. 1. 9; 8. 1 and -3; 2. 1. Cp. Cic. <i>Orat.</i> 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 -<i>ibid.</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52">[52]</a> <i>C.V.</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53">[53]</a> 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 <i>Biographia Literaria</i> -in the notes, p. <a href="#Page_79">79</a> <i>infra</i>. Coleridge -was fond of offering, as a rough definition -of poetry, “the best words in the best -order.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54">[54]</a> See the notes on c. 25; particularly -that on <b><a href="#Page_256">256</a></b> 11.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55">[55]</a> The words “How art thou” are, it -will be noticed, differently divided in -these two lines with a kind of Dionysian -freedom.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56">[56]</a> Ruskin continually, and Carlyle -often (e.g. <i>Sartor Resartus</i> bk. iii. c. 8), -provides examples of iambic rhythm. -So George Eliot <i>Mill on the Floss</i> -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 <i>Lorna Doone</i> 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.”]</p></div> - -<div class="footnote"> - -<p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57">[57]</a> 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 <i>Cat.</i> -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 <i>Cat.</i> 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) <i>Classical -Review</i> xix. 172.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58">[58]</a> Cp. <i>C.V.</i> <b><a href="#Page_176">176</a></b> 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, <b><a href="#Page_256">256</a></b> 19), -rather than one which recognizes μέτρα -καὶ ῥυθμούς τινας <b>ἐγκατατεταγμένους -ἀδήλως</b> (<b><a href="#Page_254">254</a></b> 3).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59">[59]</a> D. B. Monro <i>Modes of Ancient Greek -Music</i> p. 118.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60">[60]</a> From the essay (already mentioned) -on <i>Style in Literature</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61">[61]</a> <i>de Demosth.</i> c. 22.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62">[62]</a> So that, in <b><a href="#Page_126">126</a></b> 15, τὸν ὀξὺν τόνον = -‘the high pitch’ = ‘the acute accent.’</p></div> - -<div class="footnote"> - -<p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63">[63]</a> W. H. D. Rouse’s edition of <i>Matthew -Arnold on translating Homer</i> Introd. p. 7.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64">[64]</a> A. J. Ellis and F. Blass (in the publications mentioned later).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65">[65]</a> Arnold and Conway <i>Restored Pronunciation -of Greek and Latin</i> pp. iv. -3, 7, 20-26. Cp. also the pamphlet on -the <i>Pronunciation of Greek</i> issued by -the Classical Association in 1908 (pp. -<a href="#Page_348">348</a>-51 <i>infra</i>). In the <i>Contemporary -Review</i> of March 1897 the history of -Greek pronunciation in England is ably -sketched by J. Gennadius.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66">[66]</a> Even the pronunciation of the poet’s -name has changed with the lapse of -centuries; and the spelling <i>Shakspere</i> 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 <i>Shahk-spare</i>, with -the <i>a</i> of father in <i>Shahk</i>, and with the -French <i>e</i> (our <i>a</i>) in <i>spare</i>” (Furnivall).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67">[67]</a> Quintil. i. 10. 17 “siquidem Archytas atque Aristoxenus etiam subiectam -grammaticen musicae putaverunt,” etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68">[68]</a> <i>C.V.</i> <b><a href="#Page_68">68</a></b> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69">[69]</a> Some reference to Quintilian’s own -apparent indebtedness to the <i>de Imitatione</i> -of Dionysius will be found in <i>Demetrius -on Style</i> p. 25.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70">[70]</a> <i>de Sublim.</i> xxxix. 1. In the editor’s -article on the “Literary Circle of Dionysius -of Halicarnassus” (<i>Classical Review</i> -xiv. 439-42), an endeavour is made to -view the literary life of Dionysius in -relation to its Roman surroundings.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71">[71]</a> The more recent writers on rhetoric -(οἱ νέοι τεχνογράφοι, <i>de Isaeo</i> c. 14) would -not greatly appeal to Dionysius.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72">[72]</a> Cp. <b><a href="#Page_254">254</a></b> 23, <b><a href="#Page_256">256</a></b> 3, <b><a href="#Page_164">164</a></b> 22, <b><a href="#Page_138">138</a></b> 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73">[73]</a> The quotations from Aristotle and -other writers in the Notes will serve -to indicate roughly the obligations of -Dionysius to his predecessors.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74">[74]</a> Among the shorter fragments preserved -by him are one of Bacchylides -(in c. 25), and another from the <i>Telephus</i> -of Euripides (in c. 26). Two lines of -the <i>Danaë</i> are, it should in strict -accuracy be stated, quoted as follows by -Athenaeus ix. 396 <span class="smcap">E</span>:— -</p> -<p class="indent8"> -ὦ τέκος, οἷον ἔχω πόνον·<br /> -σὺ δ’ ἀωτεῖς, γαλαθηνῷ δ’ ἤτορι κνώσσεις. -</p></div> - -<div class="footnote"> - -<p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75">[75]</a> <i>de C.V.</i> <b><a href="#Page_214">214</a></b> 7. There is, perhaps, -room for a book or dissertation on -<i>Quotation in Classical Antiquity</i>: 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’ (<i>Classical Review</i> -xiv. 244-246); and such quotations as -that from <i>Odyss.</i> xvi. 1-16 in c. 3 of -the present treatise might be critically -examined from the same point of view. -A similar study of <i>Translation in -Classical Antiquity</i> would also be a -useful piece of work.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76">[76]</a> <i>de C.V.</i> <b><a href="#Page_94">94</a></b> 4. Of Phylarchus as a -historian Polybius himself gives an unflattering -account.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77">[77]</a> S. H. Butcher <i>Harvard Lectures on -Greek Subjects</i> p. 114. Cp. J. L. Strachan -Davidson in <i>Hellenica</i> 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 <i>Ancient -Greek Historians</i>, e.g. pp. 196, 218, 220.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78">[78]</a> Cicero (<i>Or.</i> 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: <i>Patris dictum -sapiens temeritas fili comprobavit</i>.” The -dichoree is condemned also in the <i>de -Sublim.</i> 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 <i>constant recurrence</i> of -the same feet that is to be deprecated -(cp. Aristot. <i>Rhet.</i> iii. 8. 1, and Theon. -<i>Progymn.</i> in Walz <i>Rhet. Gr.</i> i. 169); a -single dichoree would not be avoided -even by Dionysius himself, e.g. νοῦν -ἐχόντων (<b><a href="#Page_192">192</a></b> 5). Cicero’s appreciation of -Carbo’s <i>patris dictum sapiens temeritas -fili comprobavit</i> 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. <i>comprobavit</i>) -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. <i>Orat.</i> 63. 214). Hegesias’ -lack of ear seems, further, to be shown in -the awkward accumulation of disyllables; -e.g. διὰ τῶν <b>ποδῶν χαλκοῦν</b> ψάλιον -διείραντας <b>ἕλκειν κύκλῳ γυμνόν</b> (<b><a href="#Page_188">188</a></b> 17), -and <b>τρόπῳ σκαιὸν ἐχθρόν</b> (<b><a href="#Page_190">190</a></b> 5). Cp. -<b><a href="#Page_132">132</a></b> 3 μήτ’ ὀλιγοσύλλαβα πολλὰ ἑξῆς -λαμβάνοντα.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79">[79]</a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80">[80]</a> In this last extract, all the sentences -end in dichorees. The fragments of -Hegesias have been collected by C. Müller -<i>Scriptores Rerum Alexandri Magni</i> pp. -138-144.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81">[81]</a> With παραφθείρας cp. Cic. <i>Brut.</i> 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 -<i>Pausanias</i> i. lxix. lxx., and Blass <i>Die -Rhythmen der asianischen und römischen -Kunstprosa</i> pp. 91 ff.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82">[82]</a> e.g. καθάπερ <b><a href="#Page_138">138</a></b> 13; ἀναίσθιος, ὑποδεκτική, -ἀκόμψευστον, ἔχοντα <b><a href="#Page_212">212</a></b> 21-24; see -also <b><a href="#Page_196">196</a></b> 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 -<i>both</i> readings must be recorded <i>either</i> in -the text or in the critical footnotes. -For the <i>strong points</i> of F see such passages -as pp. <a href="#Page_182">182</a>, <a href="#Page_184">184</a> in c. 18.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83">[83]</a> Other examples of these <i>variae lectiones</i>, -pointing perhaps sometimes to a -sort of double recension, are such as -οὐδέτερον μὲν εὔμορφον, ἧττον δὲ δυσειδὲς -τὸ ε̄ (<b><a href="#Page_144">144</a></b> 4: REF), compared with -οὐδέτερον μὲν εὔηχον, ἧττον δὲ δυσηχὲς -τὸ ο̄ (<b><a href="#Page_144">144</a></b> 4: PMV), <b><a href="#Page_66">66</a></b> 2 νεωστὶ PMV, -ἄρτι F; <b><a href="#Page_100">100</a></b> 23 ἐνταῦθα PMV, ἐνθάδε F; -<b><a href="#Page_198">198</a></b> 18 and <b><a href="#Page_244">244</a></b> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84">[84]</a> F’s πλεῖστον κίνδυνον for πλείστους -κινδύνους in <b><a href="#Page_244">244</a></b> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85">[85]</a> Homer <i>Odyssey</i> xv. 125.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86">[86]</a> Homer <i>Odyssey</i> xv. 126, 127.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87">[87]</a> Bergk <i>Poetae Lyrici Graeci</i>, <i>Fragm. Adesp.</i> 85.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88">[88]</a> Bergk <i>ibid.</i>; Philoxenus <i>Fragm.</i> 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89">[89]</a> Homer <i>Odyssey</i> xvi. 1-16. The verse-translations, here and throughout, -are from the hand of Mr. A. S. Way.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90">[90]</a> Herodotus i. 8-10.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91">[91]</a> Homer <i>Iliad</i> xii. 433-5.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92">[92]</a> Euphorio Chersonesita; cp. Hephaest. c. 16.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93">[93]</a> Homer <i>Iliad</i> xiii. 392, 393.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94">[94]</a> Sotades <i>Fragm.</i></p></div> - -<div class="footnote"> - -<p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95">[95]</a> Euripides <i>Fragm.</i> 924 (Nauck).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96">[96]</a> Herodotus i. 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97">[97]</a> Thucydides i. 24.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98">[98]</a> Hegesias <i>Fragm.</i>; cp. C. Müller <i>Scriptores Rerum Alexandri Magni</i> -p. 138.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_99_99" id="Footnote_99_99"></a><a href="#FNanchor_99_99">[99]</a> Homer <i>Odyssey</i> xvi. 273, xvii. 202, xxiv. 157.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_100_100" id="Footnote_100_100"></a><a href="#FNanchor_100_100">[100]</a> Cp. Homer <i>Odyssey</i> vi. 230, 231; viii. 20; xxiii. 157, 158; xxiv. -369.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_101_101" id="Footnote_101_101"></a><a href="#FNanchor_101_101">[101]</a> Cp. Demosthenes <i>de Corona</i> 296.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_102_102" id="Footnote_102_102"></a><a href="#FNanchor_102_102">[102]</a> Homer <i>Odyssey</i> i. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_103_103" id="Footnote_103_103"></a><a href="#FNanchor_103_103">[103]</a> Homer <i>Iliad</i> i. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_104_104" id="Footnote_104_104"></a><a href="#FNanchor_104_104">[104]</a> Homer <i>Odyssey</i> iii. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_105_105" id="Footnote_105_105"></a><a href="#FNanchor_105_105">[105]</a> Homer <i>Iliad</i> v. 115; <i>Odyssey</i> iv. 762, vi. 324.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_106_106" id="Footnote_106_106"></a><a href="#FNanchor_106_106">[106]</a> Homer <i>Iliad</i> ii. 484.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_107_107" id="Footnote_107_107"></a><a href="#FNanchor_107_107">[107]</a> Homer <i>Iliad</i> xxiv. 486.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_108_108" id="Footnote_108_108"></a><a href="#FNanchor_108_108">[108]</a> Homer <i>Iliad</i> xxi. 20.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_109_109" id="Footnote_109_109"></a><a href="#FNanchor_109_109">[109]</a> Homer <i>Iliad</i> xxii. 467.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_110_110" id="Footnote_110_110"></a><a href="#FNanchor_110_110">[110]</a> Homer <i>Odyssey</i> xxii. 17.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_111_111" id="Footnote_111_111"></a><a href="#FNanchor_111_111">[111]</a> Homer <i>Iliad</i> ii. 89.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_112_112" id="Footnote_112_112"></a><a href="#FNanchor_112_112">[112]</a> Homer <i>Iliad</i> xix. 103-4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_113_113" id="Footnote_113_113"></a><a href="#FNanchor_113_113">[113]</a> Homer <i>Iliad</i> i. 459, ii. 422 etc.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_114_114" id="Footnote_114_114"></a><a href="#FNanchor_114_114">[114]</a> Homer <i>Iliad</i> iv. 125.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_115_115" id="Footnote_115_115"></a><a href="#FNanchor_115_115">[115]</a> Homer <i>Odyssey</i> vi. 115-6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_116_116" id="Footnote_116_116"></a><a href="#FNanchor_116_116">[116]</a> Homer <i>Odyssey</i> xiv. 425.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_117_117" id="Footnote_117_117"></a><a href="#FNanchor_117_117">[117]</a> Homer <i>Odyssey</i> iii. 449-50.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_118_118" id="Footnote_118_118"></a><a href="#FNanchor_118_118">[118]</a> Demosthenes <i>de Corona</i>, init.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_119_119" id="Footnote_119_119"></a><a href="#FNanchor_119_119">[119]</a> Demosthenes <i>de Pace</i> 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_120_120" id="Footnote_120_120"></a><a href="#FNanchor_120_120">[120]</a> Demosthenes <i>Aristocr.</i> 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_121_121" id="Footnote_121_121"></a><a href="#FNanchor_121_121">[121]</a> Thucydides iii. 57.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_122_122" id="Footnote_122_122"></a><a href="#FNanchor_122_122">[122]</a> Demosthenes <i>de Corona</i> 119.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_123_123" id="Footnote_123_123"></a><a href="#FNanchor_123_123">[123]</a> Demosthenes <i>de Corona</i> 179.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_124_124" id="Footnote_124_124"></a><a href="#FNanchor_124_124">[124]</a> Demosthenes <i>Philipp.</i> iii. 17.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_125_125" id="Footnote_125_125"></a><a href="#FNanchor_125_125">[125]</a> Plato <i>Menex.</i> 236 <span class="smcap">E</span>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_126_126" id="Footnote_126_126"></a><a href="#FNanchor_126_126">[126]</a> Aeschines <i>c. Ctes.</i> 202.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_127_127" id="Footnote_127_127"></a><a href="#FNanchor_127_127">[127]</a> Sophocles <i>Fragm.</i> 706 (Nauck).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_128_128" id="Footnote_128_128"></a><a href="#FNanchor_128_128">[128]</a> Demosthenes <i>Lept.</i> 2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_129_129" id="Footnote_129_129"></a><a href="#FNanchor_129_129">[129]</a> Euripides <i>Orestes</i> 140-2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_130_130" id="Footnote_130_130"></a><a href="#FNanchor_130_130">[130]</a> Pindar <i>Fragm.</i> 79 (Schroeder).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_131_131" id="Footnote_131_131"></a><a href="#FNanchor_131_131">[131]</a> Homer <i>Iliad</i> xvii. 265.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_132_132" id="Footnote_132_132"></a><a href="#FNanchor_132_132">[132]</a> Homer <i>Odyssey</i> ix. 415-16.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_133_133" id="Footnote_133_133"></a><a href="#FNanchor_133_133">[133]</a> Homer <i>Iliad</i> xxii. 220-1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_134_134" id="Footnote_134_134"></a><a href="#FNanchor_134_134">[134]</a> Homer <i>Iliad</i> xxii. 476.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_135_135" id="Footnote_135_135"></a><a href="#FNanchor_135_135">[135]</a> Homer <i>Iliad</i> xviii. 225.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_136_136" id="Footnote_136_136"></a><a href="#FNanchor_136_136">[136]</a> Homer <i>Odyssey</i> v. 402.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_137_137" id="Footnote_137_137"></a><a href="#FNanchor_137_137">[137]</a> Homer <i>Iliad</i> xii. 207.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_138_138" id="Footnote_138_138"></a><a href="#FNanchor_138_138">[138]</a> Homer <i>Iliad</i> ii. 209 (and 210).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_139_139" id="Footnote_139_139"></a><a href="#FNanchor_139_139">[139]</a> Homer <i>Iliad</i> xvi. 361.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_140_140" id="Footnote_140_140"></a><a href="#FNanchor_140_140">[140]</a> Homer <i>Odyssey</i> xvii. 36-7; xix. 53-4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_141_141" id="Footnote_141_141"></a><a href="#FNanchor_141_141">[141]</a> Homer <i>Odyssey</i> vi. 162-3.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_142_142" id="Footnote_142_142"></a><a href="#FNanchor_142_142">[142]</a> Homer <i>Odyssey</i> xi. 281-2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_143_143" id="Footnote_143_143"></a><a href="#FNanchor_143_143">[143]</a> Homer <i>Odyssey</i> vi. 137.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_144_144" id="Footnote_144_144"></a><a href="#FNanchor_144_144">[144]</a> Homer <i>Odyssey</i> xi. 36-7.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_145_145" id="Footnote_145_145"></a><a href="#FNanchor_145_145">[145]</a> Homer <i>Iliad</i> iv. 452-3.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_146_146" id="Footnote_146_146"></a><a href="#FNanchor_146_146">[146]</a> Homer <i>Iliad</i> xxi. 240-2.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_147_147" id="Footnote_147_147"></a><a href="#FNanchor_147_147">[147]</a> Homer <i>Odyssey</i> ix. 289-90.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_148_148" id="Footnote_148_148"></a><a href="#FNanchor_148_148">[148]</a> Homer <i>Iliad</i> ii. 494-501.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_149_149" id="Footnote_149_149"></a><a href="#FNanchor_149_149">[149]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 112; Nauck <i>T.G.F., Fragm. Adesp.</i> 136.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_150_150" id="Footnote_150_150"></a><a href="#FNanchor_150_150">[150]</a> Cp. Euripides <i>Hecuba</i> 163-4.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_151_151" id="Footnote_151_151"></a><a href="#FNanchor_151_151">[151]</a> Nauck <i>T.G.F., Fragm. Adesp.</i> 138.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_152_152" id="Footnote_152_152"></a><a href="#FNanchor_152_152">[152]</a> Archilochus <i>Fragm.</i> 66 (Bergk <i>P.L.G.</i>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_153_153" id="Footnote_153_153"></a><a href="#FNanchor_153_153">[153]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 108.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_154_154" id="Footnote_154_154"></a><a href="#FNanchor_154_154">[154]</a> Nauck <i>T.G.F., Fragm. Adesp.</i> 139.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_155_155" id="Footnote_155_155"></a><a href="#FNanchor_155_155">[155]</a> Nauck <i>T.G.F., Fragm. Adesp.</i> 140.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_156_156" id="Footnote_156_156"></a><a href="#FNanchor_156_156">[156]</a> Euripides <i>Hippolytus</i> 201.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_157_157" id="Footnote_157_157"></a><a href="#FNanchor_157_157">[157]</a> Homer <i>Odyssey</i> ix. 39.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_158_158" id="Footnote_158_158"></a><a href="#FNanchor_158_158">[158]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 111; Nauck <i>T.G.F., Fragm. Adesp.</i> 141.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_159_159" id="Footnote_159_159"></a><a href="#FNanchor_159_159">[159]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 117; Nauck <i>T.G.F., Fragm. Adesp.</i> 142.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_160_160" id="Footnote_160_160"></a><a href="#FNanchor_160_160">[160]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 110; Nauck <i>T.G.F., Fragm. Adesp.</i> 143.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_161_161" id="Footnote_161_161"></a><a href="#FNanchor_161_161">[161]</a> Bergk <i>P.L.G., Fragm. Adesp.</i> 116; Nauck <i>T.G.F., Fragm. Adesp.</i> 144.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_162_162" id="Footnote_162_162"></a><a href="#FNanchor_162_162">[162]</a> Thucydides ii. 35.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_163_163" id="Footnote_163_163"></a><a href="#FNanchor_163_163">[163]</a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_164_164" id="Footnote_164_164"></a><a href="#FNanchor_164_164">[164]</a> Plato <i>Menexenus</i> 236 D.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_165_165" id="Footnote_165_165"></a><a href="#FNanchor_165_165">[165]</a> Homer <i>Iliad</i> xxiii. 382.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_166_166" id="Footnote_166_166"></a><a href="#FNanchor_166_166">[166]</a> Demosthenes <i>de Corona</i> init.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_167_167" id="Footnote_167_167"></a><a href="#FNanchor_167_167">[167]</a> Demosthenes <i>de Corona</i> init.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_168_168" id="Footnote_168_168"></a><a href="#FNanchor_168_168">[168]</a> C. Müller <i>Scriptores Rerum Alexandri Magni</i> p. 141 (<i>Hegesiae Fragmenta</i>).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_169_169" id="Footnote_169_169"></a><a href="#FNanchor_169_169">[169]</a> Homer <i>Iliad</i> xxii. 395-411.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_170_170" id="Footnote_170_170"></a><a href="#FNanchor_170_170">[170]</a> Homer <i>Odyssey</i> xi. 593-6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_171_171" id="Footnote_171_171"></a><a href="#FNanchor_171_171">[171]</a> Homer <i>Odyssey</i> xi. 596-7.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_172_172" id="Footnote_172_172"></a><a href="#FNanchor_172_172">[172]</a> Homer <i>Odyssey</i> xi. 597-8.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_173_173" id="Footnote_173_173"></a><a href="#FNanchor_173_173">[173]</a> Pindar <i>Fragm.</i> 213 (Schroeder).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_174_174" id="Footnote_174_174"></a><a href="#FNanchor_174_174">[174]</a> Pindar <i>Fragm.</i> 75 (Schroeder).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_175_175" id="Footnote_175_175"></a><a href="#FNanchor_175_175">[175]</a> Thucydides i. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_176_176" id="Footnote_176_176"></a><a href="#FNanchor_176_176">[176]</a> Thucydides i. 22.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_177_177" id="Footnote_177_177"></a><a href="#FNanchor_177_177">[177]</a> Sappho <i>Fragm.</i> i. (Bergk): translated by A. S. Way.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_178_178" id="Footnote_178_178"></a><a href="#FNanchor_178_178">[178]</a> Isocrates <i>Areopagiticus</i> §§ 1-5.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_179_179" id="Footnote_179_179"></a><a href="#FNanchor_179_179">[179]</a> Homer <i>Iliad</i> xxi. 196-7.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_180_180" id="Footnote_180_180"></a><a href="#FNanchor_180_180">[180]</a> cp. Demosthenes <i>Chers.</i> 48.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_181_181" id="Footnote_181_181"></a><a href="#FNanchor_181_181">[181]</a> Epicurus <i>Fragm.</i> 230 (Usener).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_182_182" id="Footnote_182_182"></a><a href="#FNanchor_182_182">[182]</a> Demosthenes <i>Aristocr.</i> 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_183_183" id="Footnote_183_183"></a><a href="#FNanchor_183_183">[183]</a> <i>Fragm. Orphica</i>, Mullach i. 166.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_184_184" id="Footnote_184_184"></a><a href="#FNanchor_184_184">[184]</a> Aristot. <i>Rhet.</i> iii. 8.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_185_185" id="Footnote_185_185"></a><a href="#FNanchor_185_185">[185]</a> Aristophanes <i>Nubes</i> 961.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_186_186" id="Footnote_186_186"></a><a href="#FNanchor_186_186">[186]</a> Callimachus <i>Fragm.</i> 391 (Schneider).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_187_187" id="Footnote_187_187"></a><a href="#FNanchor_187_187">[187]</a> Sappho <i>Fragm.</i> 106 (Bergk).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_188_188" id="Footnote_188_188"></a><a href="#FNanchor_188_188">[188]</a> Aristophanes <i>Nubes</i> 962.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_189_189" id="Footnote_189_189"></a><a href="#FNanchor_189_189">[189]</a> Euripides <i>Archelaus</i>; Nauck <i>T.G.F.</i>, <i>Eurip. Fragm.</i> 229.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_190_190" id="Footnote_190_190"></a><a href="#FNanchor_190_190">[190]</a> Demosthenes <i>de Corona</i> § 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_191_191" id="Footnote_191_191"></a><a href="#FNanchor_191_191">[191]</a> Bergk <i>P.L.G.</i>, <i>Fragm. Adesp.</i> 118.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_192_192" id="Footnote_192_192"></a><a href="#FNanchor_192_192">[192]</a> Bacchylides <i>Fragm.</i> 11 (Jebb).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_193_193" id="Footnote_193_193"></a><a href="#FNanchor_193_193">[193]</a> Plato <i>Republic</i> i. 1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_194_194" id="Footnote_194_194"></a><a href="#FNanchor_194_194">[194]</a> Homer <i>Odyssey</i> xiv. 1-7.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_195_195" id="Footnote_195_195"></a><a href="#FNanchor_195_195">[195]</a> Euripides <i>Telephus</i>; Nauck <i>T.G.F., Eurip. Fragm.</i> 696.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_196_196" id="Footnote_196_196"></a><a href="#FNanchor_196_196">[196]</a> Euripides <i>Telephus</i>; Nauck <i>T.G.F., Eurip. Fragm.</i> 696.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_197_197" id="Footnote_197_197"></a><a href="#FNanchor_197_197">[197]</a> Simonides <i>Fragm.</i> 37 (Bergk): translated by A. S. Way.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_198_198" id="Footnote_198_198"></a><a href="#FNanchor_198_198">[198]</a> Homer <i>Iliad</i> xi. 514.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_199_199" id="Footnote_199_199"></a><a href="#FNanchor_199_199">[199]</a> ὁ σκοτεινός: cp. Dionys. Hal. <i>de Thucyd.</i> c. 46, Demetr. <i>de Eloc.</i> § 192, Aristot. -<i>Rhet.</i> iii. 5. 6.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_200_200" id="Footnote_200_200"></a><a href="#FNanchor_200_200">[200]</a> A good practical recipe for brevity combined with clearness is given in the <i>Rhet. -ad Alex.</i> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_201_201" id="Footnote_201_201"></a><a href="#FNanchor_201_201">[201]</a> He illustrates from the Introduction (προοίμιον) of Thucydides—the passage quoted -in <i>C.V.</i> 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. <a href="#Page_119">119</a> <i>supra</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_202_202" id="Footnote_202_202"></a><a href="#FNanchor_202_202">[202]</a> 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 (<i>Rhet.</i> iii. 5. 4).</p></div> - -<div class="footnote"> - -<p><a name="Footnote_203_203" id="Footnote_203_203"></a><a href="#FNanchor_203_203">[203]</a> In a passage of Aristotle (<i>Eth. Nic.</i> 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 <i>Classical Review</i> xix. 18, and the same writer’s translation -(<i>Aristotle Nicomachean Ethics Book Six</i> p. 111), “But deliberative excellence is -rightness in deliberation.”</p></div> - -<div class="footnote"> - -<p><a name="Footnote_204_204" id="Footnote_204_204"></a><a href="#FNanchor_204_204">[204]</a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_205_205" id="Footnote_205_205"></a><a href="#FNanchor_205_205">[205]</a> Aristotle (<i>Rhet.</i> i. 15), in quoting the first line only, gives ταῦτ’ οὖν ἐγὼ κτλ.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_206_206" id="Footnote_206_206"></a><a href="#FNanchor_206_206">[206]</a> 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.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_207_207" id="Footnote_207_207"></a><a href="#FNanchor_207_207">[207]</a> The authenticity of these portions of the <i>Odyssey</i> was suspected in antiquity. -But compare <i>Iliad</i> xviii. 587-8 (quoted in Introduction p. <a href="#Page_13">13</a> <i>supra</i>) or <i>Odyss.</i> xi. 160-1.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_208_208" id="Footnote_208_208"></a><a href="#FNanchor_208_208">[208]</a> 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 <b>h</b> was heard in all these sounds long after the -fourth century <span class="smallerfont">B.C.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_209_209" id="Footnote_209_209"></a><a href="#FNanchor_209_209">[209]</a> 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 <i>ch</i> and English <i>f</i>.</p></div> - -<div class="footnote"> - -<p><a name="Footnote_210_210" id="Footnote_210_210"></a><a href="#FNanchor_210_210">[210]</a> This had actually happened in spoken Greek by the second century <span class="smallerfont">A.D.</span></p></div> - -<div class="footnote"> - -<p><a name="Footnote_211_211" id="Footnote_211_211"></a><a href="#FNanchor_211_211">[211]</a> This paragraph is taken from <i>The Restored Pronunciation of Greek and Latin</i>, -4th edition, Cambridge, 1908.</p></div> - -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_353" id="Page_353">[353]</a></span></p> - -<h2 id="A_INDEX_OF_PASSAGES_QUOTED"><i>A.</i> INDEX OF PASSAGES QUOTED IN THE -<i>DE COMPOSITIONE</i></h2> - -<p class="center">The thick numerals indicate the pages on which the quotations are found.</p> - - -<p class="hangingindent4a"><b>Aeschines</b> <i>Ctes.</i> 202, <b><a href="#Page_116">116</a></b></p> - -<p class="hangingindent4a"><b>Archilochus</b> <i>Fragm.</i> 66, <b><a href="#Page_170">170</a></b></p> - -<p class="hangingindent4a"><b>Aristophanes</b> <i>Nubes</i> 961, <b><a href="#Page_256">256</a></b>; -<i>ib.</i> 962, <b><a href="#Page_258">258</a></b></p> - -<p class="hangingindent4a"><b>Aristotle</b> <i>Rhet.</i> iii. 8, <b><a href="#Page_254">254</a></b></p> - - -<p class="hangingindent4a"><b>Bacchylides</b> <i>Fragm.</i> 11, <b><a href="#Page_262">262</a></b></p> - - -<p class="hangingindent4a"><b>Callimachus</b> <i>Fragm.</i> 391, <b><a href="#Page_256">256</a></b></p> - - -<p class="hangingindent4a"><b>Demosthenes</b> <i>Aristocr.</i> 1, <b><a href="#Page_108">108</a></b>, <b><a href="#Page_252">252</a></b>. -<i>Chers.</i> 48, <b><a href="#Page_250">250</a></b>. -<i>De Cor.</i> 1, <b><a href="#Page_108">108</a></b>, <b><a href="#Page_182">182</a></b>, <b><a href="#Page_184">184</a></b>, <b><a href="#Page_260">260</a></b>; -119, <b><a href="#Page_112">112</a></b>; -179, <b><a href="#Page_114">114</a></b>. -<i>Lept.</i> 2, <b><a href="#Page_118">118</a></b>. -<i>De Pace</i> 6, <b><a href="#Page_108">108</a></b>. -<i>Philipp.</i> iii. 17, <b><a href="#Page_114">114</a></b></p> - - -<p class="hangingindent4a"><b>Epicurus</b> <i>Fragm.</i> 230, <b><a href="#Page_250">250</a></b>.</p> - -<p class="hangingindent4a"><b>Euphorio Chersonesita</b> <i>Fragm.</i>, <b><a href="#Page_86">86</a></b></p> - -<p class="hangingindent4a"><b>Euripides</b> <i>Hecuba</i> 163-4, <b><a href="#Page_170">170</a></b>. -<i>Hippolytus</i> 201, <b><a href="#Page_172">172</a></b>. -<i>Orestes</i> 140-2, <b><a href="#Page_128">128</a></b>. -<i>Fragm.</i> 229 (<i>Archelaus</i>), <b><a href="#Page_260">260</a></b>; -696 (<i>Telephus</i>), <b><a href="#Page_276">276</a>-8</b>; -924, <b><a href="#Page_88">88</a></b></p> - - -<p class="hangingindent4a"><b>Hegesias</b> <i>Fragm.</i>, <b><a href="#Page_92">92</a></b>; -<b><a href="#Page_186">186</a>-90</b></p> - -<p class="hangingindent4a"><b>Herodotus</b> i. 6, <b><a href="#Page_90">90</a></b>; -i. 8-10, <b><a href="#Page_80">80</a>-82</b>.</p> - -<p class="hangingindent4a"><b>Homer</b> <i>Iliad</i> i. 1, <b><a href="#Page_98">98</a></b>; -i. 459, <b><a href="#Page_102">102</a></b>; -ii. 89, <b><a href="#Page_100">100</a></b>; -ii. 209, <b><a href="#Page_158">158</a></b>; -ii. 422, <b><a href="#Page_102">102</a></b>; -ii. 484, <b><a href="#Page_100">100</a></b>; -ii. 494-501, <b><a href="#Page_166">166</a></b>; -iv. 125, <b><a href="#Page_102">102</a></b>; -iv. 452-3, <b><a href="#Page_164">164</a></b>; -v. 115, <b><a href="#Page_100">100</a></b>; -xi. 514, <b><a href="#Page_280">280</a></b>; -xii. 207, <b><a href="#Page_158">158</a></b>; -xii. 433-5, <b><a href="#Page_84">84</a></b>; -xiii. 392-3, <b><a href="#Page_86">86</a></b>; -xvi. 361, <b><a href="#Page_158">158</a></b>; -xvii. 265, <b><a href="#Page_154">154</a></b>; -xviii. 225, <b><a href="#Page_156">156</a></b>; -xix. 103-4, <b><a href="#Page_100">100</a></b>; -xxi. 20, <b><a href="#Page_100">100</a></b>; -xxi. 196-7, <b><a href="#Page_248">248</a></b>; -xxi. 240-2, <b><a href="#Page_164">164</a></b>; -xxii. 220-1, <b><a href="#Page_156">156</a></b>; -xxii. 395-411, <b><a href="#Page_190">190</a>-2</b>; -xxii. 467, <b><a href="#Page_100">100</a></b>; -xxii. 476, <b><a href="#Page_156">156</a></b>; -xxiii. 382, <b><a href="#Page_182">182</a></b>; -xxiv. 486, <b><a href="#Page_100">100</a></b>. -<i>Odyssey</i> i. 1, <b><a href="#Page_98">98</a></b>; -iii. 1, <b><a href="#Page_98">98</a></b>; -iii. 449-50, <b><a href="#Page_102">102</a></b>; -v. 402, <b><a href="#Page_158">158</a></b>; -vi. 115-6, <b><a href="#Page_102">102</a></b>; -vi. 137, <b><a href="#Page_162">162</a></b>; -vi. 162-3, <b><a href="#Page_162">162</a></b>; -vi. 230-1, <b><a href="#Page_92">92</a></b>; -ix. 39, <b><a href="#Page_172">172</a></b>; -ix. 289-90, <b><a href="#Page_164">164</a></b>; -ix. 415-6, <b><a href="#Page_156">156</a></b>; -xi. 36-7, <b><a href="#Page_162">162</a></b>; -xi. 281-2, <b><a href="#Page_162">162</a></b>; -xi. 593-8, <b><a href="#Page_202">202</a>-4</b>; -xiv. 1-8, <b><a href="#Page_274">274</a>-6</b>; -xiv. 425, <b><a href="#Page_102">102</a></b>; -xv. 125-7, <b><a href="#Page_64">64</a></b>; -xvi. 1-16, <b><a href="#Page_76">76</a>-78</b>; -xvi. 273, <b><a href="#Page_92">92</a></b>; -xvii. 36, 37, <b><a href="#Page_162">162</a></b>; -xix. 53, 54, <b><a href="#Page_162">162</a></b>; -xxii. 17, <b><a href="#Page_100">100</a></b></p> - - -<p class="hangingindent4a"><b>Isocrates</b> <i>Areop.</i> 1-5, <b><a href="#Page_242">242</a>-4</b></p> - - -<p class="hangingindent4a"><b>Orphica</b> <i>Fragm.</i>, <b><a href="#Page_252">252</a></b></p> - - -<p class="hangingindent4a"><b>Philoxenus</b> <i>Fragm.</i> 6, <b><a href="#Page_68">68</a></b></p> - -<p class="hangingindent4a"><b>Pindar</b> <i>Fragm.</i> 75, <b><a href="#Page_214">214</a>-6</b>; -79, <b><a href="#Page_148">148</a></b>; -213, <b><a href="#Page_210">210</a></b></p> - -<p class="hangingindent4a"><b>Plato</b> <i>Menex.</i> 236 <span class="smcap">D</span>, <b><a href="#Page_180">180</a></b>; -236 <span class="smcap">E</span>, <b><a href="#Page_116">116</a></b>; -<i>Rep.</i> i. 1, <b><a href="#Page_266">266</a></b></p> - - -<p class="hangingindent4a"><b>Sappho</b> <i>Fragm.</i> 1 (<i>Hymn to Aphrodite</i>), <b><a href="#Page_238">238</a>-40</b>; -106, <b><a href="#Page_258">258</a></b></p> - -<p class="hangingindent4a"><b>Simonides</b> <i>Fragm.</i> 37 (<i>Danaë</i>), <b><a href="#Page_278">278</a>-80</b></p> - -<p class="hangingindent4a"><b>Sophocles</b> <i>Fragm.</i> 706, <b><a href="#Page_116">116</a></b></p> - -<p class="hangingindent4a"><b>Sotades</b> <i>Fragm.</i>, <b><a href="#Page_88">88</a></b></p> - - -<p class="hangingindent4a"><b>Thucydides</b> i. 1, <b><a href="#Page_224">224</a>-28</b>; -i. 22, <b><a href="#Page_228">228</a></b>; -i. 24, <b><a href="#Page_90">90</a></b>; -ii. 35, <b><a href="#Page_178">178</a></b>; -iii. 57, <b><a href="#Page_110">110</a></b></p> - - -<p class="hangingindent4a"><b>Anonymous Fragments</b> (<b>chiefly Lyrical</b>) on pages <b><a href="#Page_68">68</a></b> (Bergk 85), <b><a href="#Page_168">168</a></b> (Bergk 112, Nauck 136), <b><a href="#Page_170">170</a></b> (N. 138; B. 108); -<b><a href="#Page_172">172</a></b> (N. 139, 140); -<b><a href="#Page_174">174</a></b> (B. 110, N. 143; B. 111, N. 141; B. 116, N. 144; B. 117, N. 142); -<b><a href="#Page_262">262</a></b> (B. 118)</p> -<hr class="chap" /> - -<p><span class="pagenum"><a name="Page_354" id="Page_354">[354]</a></span></p> - -<h2 id="B_INDEX_OF_NAMES_AND_MATTERS"><i>B.</i> INDEX OF NAMES AND MATTERS</h2> - -<p>The numerals indicate the pages to which reference is made. As the contents of the Greek -text are fully summarized on pp. <a href="#Page_1">1</a>-9 <i>supra</i>, 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.</p> - - -<p class="hangingindent4a"><b>Accent</b> <a href="#Page_41">41</a>-43, <a href="#Page_126">126</a> ff., <a href="#Page_196">196</a>, <a href="#Page_292">292</a>, <a href="#Page_320">320</a>, <a href="#Page_328">328</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Adjective</b> <a href="#Page_102">102</a>, <a href="#Page_103">103</a>, <a href="#Page_299">299</a></p> - -<p class="hangingindent4a"><b>Adverb</b> <a href="#Page_70">70</a>, <a href="#Page_100">100</a>, <a href="#Page_299">299</a></p> - -<p class="hangingindent4a"><b>Aeschines</b> <a href="#Page_116">116</a></p> - -<p class="hangingindent4a"><b>Aeschylus</b> <a href="#Page_12">12</a>, <a href="#Page_20">20</a>, <a href="#Page_214">214</a>, <a href="#Page_215">215</a></p> - -<p class="hangingindent4a"><b>Agathon</b> <a href="#Page_304">304</a></p> - -<p class="hangingindent4a"><b>Alcaeus</b> <a href="#Page_194">194</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a></p> - -<p class="hangingindent4a"><b>Alexander of Macedon</b> <a href="#Page_186">186</a>, <a href="#Page_187">187</a></p> - -<p class="hangingindent4a"><b>Amphibrachys</b> <a href="#Page_172">172</a>, <a href="#Page_184">184</a>, <a href="#Page_287">287</a></p> - -<p class="hangingindent4a"><b>Anacreon</b> <a href="#Page_236">236</a></p> - -<p class="hangingindent4a"><b>Anagnostes</b> <a href="#Page_338">338</a></p> - -<p class="hangingindent4a"><b>Anapaest</b> <a href="#Page_172">172</a>, <a href="#Page_287">287</a></p> - -<p class="hangingindent4a"><b>Anaximenes</b> <a href="#Page_xi">xi</a> (Preface). See also under ‘Rhetorica ad Alexandrum,’ p. <a href="#Page_357">357</a> <i>infra</i></p> - -<p class="hangingindent4a"><b>Anthology</b>, epigrams from <a href="#Page_66">66</a>, <a href="#Page_335">335</a></p> - -<p class="hangingindent4a"><b>Antigonus</b> <a href="#Page_94">94</a></p> - -<p class="hangingindent4a"><b>Antimachus</b> <a href="#Page_214">214</a></p> - -<p class="hangingindent4a"><b>Antiphon</b> <a href="#Page_29">29</a>, <a href="#Page_120">120</a>, <a href="#Page_332">332</a></p> - -<p class="hangingindent4a"><b>Antithesis</b> <a href="#Page_247">247</a>, <a href="#Page_288">288</a></p> - -<p class="hangingindent4a"><b>Aphrodite, Sappho’s Hymn to</b> <a href="#Page_238">238</a>-41</p> - -<p class="hangingindent4a"><b>Apollonius Rhodius</b> <a href="#Page_156">156</a></p> - -<p class="hangingindent4a"><b>Appellative</b> <a href="#Page_71">71</a>, <a href="#Page_319">319</a></p> - -<p class="hangingindent4a"><b>Archaism</b> <a href="#Page_212">212</a>, <a href="#Page_290">290</a></p> - -<p class="hangingindent4a"><b>Archilochus</b> <a href="#Page_171">171</a></p> - -<p class="hangingindent4a"><b>Architecture in relation to literary composition</b> <a href="#Page_28">28</a>, <a href="#Page_106">106</a></p> - -<p class="hangingindent4a"><b>Aristophanes</b> <a href="#Page_12">12</a>, <a href="#Page_22">22</a>, <a href="#Page_123">123</a>, <a href="#Page_143">143</a>, <a href="#Page_290">290</a>, <a href="#Page_304">304</a>, <a href="#Page_311">311</a>, <a href="#Page_314">314</a>, <a href="#Page_335">335</a></p> - -<p class="hangingindent4a"><b>Aristophanes of Byzantium</b> <a href="#Page_218">218</a>, <a href="#Page_278">278</a>, <a href="#Page_320">320</a></p> - -<p class="hangingindent4a"><b>Aristotle</b> <a href="#Page_x">x</a>-xii (Preface), <a href="#Page_15">15</a>, <a href="#Page_34">34</a>, <a href="#Page_35">35</a>, <a href="#Page_39">39</a>, <a href="#Page_40">40</a>, <a href="#Page_48">48</a>, <a href="#Page_71">71</a>, <a href="#Page_75">75</a>, <a href="#Page_139">139</a>, <a href="#Page_153">153</a>, <a href="#Page_155">155</a>, <a href="#Page_163">163</a>, <a href="#Page_165">165</a>, <a href="#Page_166">166</a>, <a href="#Page_168">168</a>, <a href="#Page_171">171</a>, <a href="#Page_176">176</a>, <a href="#Page_189">189</a>, <a href="#Page_214">214</a>, <a href="#Page_246">246</a>, <a href="#Page_247">247</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a>, <a href="#Page_254">254</a>, <a href="#Page_255">255</a>, <a href="#Page_268">268</a>, <a href="#Page_290">290</a>, <a href="#Page_291">291</a>, <a href="#Page_292">292</a>, <a href="#Page_301">301</a>, <a href="#Page_308">308</a>, <a href="#Page_309">309</a>, <a href="#Page_310">310</a>, <a href="#Page_312">312</a>, <a href="#Page_313">313</a>, <a href="#Page_315">315</a>, <a href="#Page_316">316</a>, <a href="#Page_318">318</a>, <a href="#Page_319">319</a>, <a href="#Page_320">320</a>, <a href="#Page_325">325</a>, <a href="#Page_329">329</a>, <a href="#Page_334">334</a>, <a href="#Page_336">336</a>, <a href="#Page_337">337</a>, <a href="#Page_340">340</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Aristoxenus</b> <a href="#Page_42">42</a>, <a href="#Page_43">43</a>, <a href="#Page_48">48</a>, <a href="#Page_125">125</a>, <a href="#Page_138">138</a>, <a href="#Page_168">168</a>, <a href="#Page_287">287</a>, <a href="#Page_318">318</a></p> - -<p class="hangingindent4a"><b>Arnold, Matthew</b> <a href="#Page_26">26</a>, <a href="#Page_158">158</a>, <a href="#Page_167">167</a>, <a href="#Page_278">278</a></p> - -<p class="hangingindent4a"><b>Arrian</b> <a href="#Page_186">186</a>, <a href="#Page_187">187</a></p> - -<p class="hangingindent4a"><b>Article</b> <a href="#Page_70">70</a>, <a href="#Page_289">289</a></p> - -<p class="hangingindent4a"><b>Aspirates</b> <a href="#Page_149">149</a>, <a href="#Page_294">294</a>, <a href="#Page_350">350</a></p> - -<p class="hangingindent4a"><b>Athenaeus</b> <a href="#Page_148">148</a>, etc.</p> - -<p class="hangingindent4a"><b>Auctor ad Herennium</b> <a href="#Page_316">316</a></p> - -<p class="hangingindent4a"><b>Audiences</b>, their sensitiveness to the music of sounds <a href="#Page_40">40</a>, <a href="#Page_120">120</a> ff.</p> - -<p class="hangingindent4a"><b>Austere composition or harmony</b> <a href="#Page_210">210</a> ff.</p> - - -<p class="hangingindent4a"><b>Bacchius</b> <a href="#Page_174">174</a>, <a href="#Page_292">292</a></p> - -<p class="hangingindent4a"><b>Bacchylides</b> <a href="#Page_49">49</a>, <a href="#Page_219">219</a>, <a href="#Page_262">262</a>, <a href="#Page_263">263</a></p> - -<p class="hangingindent4a"><b>Bacon, Francis</b> <a href="#Page_225">225</a></p> - -<p class="hangingindent4a"><b>Beauty of style.</b> See under ‘nobility’</p> - -<p class="hangingindent4a"><b>Biblical illustrations</b> <a href="#Page_24">24</a>, <a href="#Page_31">31</a>, <a href="#Page_36">36</a>, <a href="#Page_37">37</a>, <a href="#Page_113">113</a>, <a href="#Page_178">178</a>, <a href="#Page_289">289</a>, <a href="#Page_297">297</a>, <a href="#Page_298">298</a>, <a href="#Page_303">303</a>, <a href="#Page_332">332</a>, etc.</p> - -<p class="hangingindent4a"><b>Blackmore, R. D.</b> <a href="#Page_37">37</a></p> - -<p class="hangingindent4a"><b>Boeotian towns</b> <a href="#Page_166">166</a>-68</p> - -<p class="hangingindent4a"><b>Boileau</b> <a href="#Page_31">31</a></p> - -<p class="hangingindent4a"><b>Bossuet</b> <a href="#Page_195">195</a>, <a href="#Page_228">228</a></p> - -<p class="hangingindent4a"><b>Buchanan, George</b> <a href="#Page_46">46</a></p> - -<p class="hangingindent4a"><b>Buffon</b> <a href="#Page_29">29</a></p> - - -<p class="hangingindent4a"><b>Caesar, Julius</b> <a href="#Page_13">13</a>, <a href="#Page_267">267</a>, <a href="#Page_296">296</a></p> - -<p class="hangingindent4a"><b>Callimachus</b> <a href="#Page_87">87</a>, <a href="#Page_256">256</a> (attribution doubtful), <a href="#Page_272">272</a>, <a href="#Page_277">277</a></p> - -<p class="hangingindent4a"><b>Candaules</b>, story of <a href="#Page_81">81</a></p> - -<p class="hangingindent4a"><b>Carlyle</b> <a href="#Page_37">37</a></p> - -<p class="hangingindent4a"><b>Case</b> <a href="#Page_320">320</a>, with references there given</p> - -<p class="hangingindent4a"><b>Catullus</b> <a href="#Page_239">239</a>, <a href="#Page_278">278</a></p> - -<p class="hangingindent4a"><b>Chapters</b>, division into <a href="#Page_9">9</a>, <a href="#Page_11">11</a></p> - -<p class="hangingindent4a"><b>Charm of style</b> <a href="#Page_120">120</a> ff., <a href="#Page_130">130</a> ff.</p> - -<p class="hangingindent4a"><b>Cheke, Sir John</b> <a href="#Page_45">45</a>, <a href="#Page_46">46</a></p> - -<p class="hangingindent4a"><b>Chiastic arrangement</b> <a href="#Page_14">14</a>, <a href="#Page_19">19</a></p> - -<p class="hangingindent4a"><b>Choice, or selection, of words</b> <a href="#Page_69">69</a>, <a href="#Page_73">73</a>, <a href="#Page_79">79</a>, etc.</p> - -<p class="hangingindent4a"><b>Choree</b> <a href="#Page_170">170</a>, <a href="#Page_333">333</a></p> - -<p class="hangingindent4a"><b>Chromatic scale</b> <a href="#Page_194">194</a></p> - -<p class="hangingindent4a"><b>Chronological table</b> of authors quoted or mentioned in the <i>C.V.</i> <a href="#Page_50">50</a></p> - -<p class="hangingindent4a"><b>Chrysippus</b> <a href="#Page_94">94</a>, <a href="#Page_95">95</a>, <a href="#Page_96">96</a>, <a href="#Page_97">97</a></p> - -<p class="hangingindent4a"><b>Chrysostom</b> <a href="#Page_67">67</a>, <a href="#Page_251">251</a>, <a href="#Page_288">288</a></p> - -<p class="hangingindent4a"><b>Cicero</b> <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_25">25</a>, <a href="#Page_26">26</a>, <a href="#Page_28">28</a>, <a href="#Page_35">35</a>, <a href="#Page_37">37</a>, <a href="#Page_38">38</a>, <a href="#Page_48">48</a>, <a href="#Page_53">53</a>, <a href="#Page_54">54</a>, <a href="#Page_55">55</a>, <a href="#Page_72">72</a>, <a href="#Page_73">73</a>, <a href="#Page_89">89</a>, <a href="#Page_114">114</a>, <a href="#Page_124">124</a>, <a href="#Page_159">159</a>, <a href="#Page_203">203</a>, <a href="#Page_266">266</a>, <a href="#Page_271">271</a>, <a href="#Page_286">286</a>, <a href="#Page_301">301</a>, <a href="#Page_305">305</a>, <a href="#Page_306">306</a>, <a href="#Page_315">315</a>, <a href="#Page_316">316</a>, <a href="#Page_319">319</a>, <a href="#Page_330">330</a>, <a href="#Page_331">331</a>, <a href="#Page_334">334</a>, <a href="#Page_335">335</a>, <i>passim</i></p> -<p><span class="pagenum"><a name="Page_355" id="Page_355">[355]</a></span></p> - -<p class="hangingindent4a"><b>Circumflex accent</b> <a href="#Page_126">126</a> ff.</p> - -<p class="hangingindent4a"><b>Clearness in Greek word-order</b> <a href="#Page_12">12</a>-13, <a href="#Page_15">15</a>-17. -See also under ‘Obscurity,’ p. <a href="#Page_356">356</a> <i>infra</i></p> - -<p class="hangingindent4a"><b>Cleitarchus</b> <a href="#Page_187">187</a></p> - -<p class="hangingindent4a"><b>Climax</b> <a href="#Page_114">114</a></p> - -<p class="hangingindent4a"><b>Coleridge, S. T.</b> <a href="#Page_36">36</a>, <a href="#Page_38">38</a>, <a href="#Page_79">79</a>, <a href="#Page_254">254</a></p> - -<p class="hangingindent4a"><b>Colon.</b> See under ‘Member’</p> - -<p>‘<b>Comma</b>’ <a href="#Page_306">306</a>, with references there given</p> - -<p class="hangingindent4a"><b>Common vowels.</b> See under ‘Doubtful’</p> - -<p class="hangingindent4a"><b>Comparative Method</b> (in relation to literary study) <a href="#Page_48">48</a></p> - -<p class="hangingindent4a"><b>Composition</b> <a href="#Page_10">10</a>, <a href="#Page_71">71</a> ff., <a href="#Page_208">208</a> ff., <a href="#Page_326">326</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Conjunctions or connectives</b> <a href="#Page_71">71</a>, <a href="#Page_325">325</a></p> - -<p class="hangingindent4a"><b>Coray</b> <a href="#Page_243">243</a></p> - -<p class="hangingindent4a"><b>Cousin, Victor</b> <a href="#Page_343">343</a></p> - -<p>‘<b>Cratylus</b>’ of Plato <a href="#Page_160">160</a></p> - -<p class="hangingindent4a"><b>Cretic</b> <a href="#Page_174">174</a>, <a href="#Page_307">307</a></p> - -<p class="hangingindent4a"><b>Ctesias</b> <a href="#Page_120">120</a></p> - -<p class="hangingindent4a"><b>Curtius</b> <a href="#Page_187">187</a>, <a href="#Page_188">188</a>, <a href="#Page_189">189</a></p> - -<p>‘<b>Cyclic</b>’ <a href="#Page_174">174</a>, <a href="#Page_307">307</a></p> - - -<p class="hangingindent4a"><b>Dactyl</b> <a href="#Page_172">172</a>, <a href="#Page_173">173</a></p> - -<p>‘<b>Danaë</b>’ of Simonides <a href="#Page_278">278</a>-81</p> - -<p class="hangingindent4a"><b>Dareste, Rodolphe</b> <a href="#Page_344">344</a>, <a href="#Page_345">345</a>, <a href="#Page_346">346</a></p> - -<p class="hangingindent4a"><b>Date of the</b> ‘<b>de Compositione</b>’ <a href="#Page_1">1</a>, <a href="#Page_60">60</a></p> - -<p class="hangingindent4a"><b>Delphi</b>, hymns found at <a href="#Page_43">43</a></p> - -<p class="hangingindent4a"><b>Demetrius</b> of Callatis <a href="#Page_94">94</a></p> - -<p class="hangingindent4a"><b>Demetrius</b>, the supposed author of the -<i>De Elocutione</i> <a href="#Page_16">16</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_90">90</a>, <a href="#Page_91">91</a>, <a href="#Page_286">286</a>, <a href="#Page_305">305</a>, <a href="#Page_308">308</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Democritus</b> <a href="#Page_248">248</a>, <a href="#Page_249">249</a></p> - -<p class="hangingindent4a"><b>Demosthenes</b> <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_20">20</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_39">39</a>, <a href="#Page_41">41</a>, <a href="#Page_146">146</a>, <a href="#Page_182">182</a>, <a href="#Page_196">196</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a>, <a href="#Page_339">339</a>, <a href="#Page_340">340</a>, <i>passim</i>. -See also Index A</p> - -<p class="hangingindent4a"><b>Dentals</b> <a href="#Page_149">149</a></p> - -<p class="hangingindent4a"><b>Dependent genitive</b>, order of <a href="#Page_337">337</a></p> - -<p class="hangingindent4a"><b>Dialectic</b> <a href="#Page_69">69</a>, <a href="#Page_94">94</a>, <a href="#Page_104">104</a></p> - -<p class="hangingindent4a"><b>Diatonic scale</b> <a href="#Page_194">194</a></p> - -<p class="hangingindent4a"><b>Diodorus Siculus</b> <a href="#Page_187">187</a>, <a href="#Page_237">237</a>, <a href="#Page_274">274</a></p> - -<p class="hangingindent4a"><b>Diogenes Laertius</b> <a href="#Page_82">82</a>, <a href="#Page_97">97</a>, <a href="#Page_251">251</a></p> - -<p class="hangingindent4a"><b>Dionysius of Halicarnassus</b> <a href="#Page_1">1</a>, <a href="#Page_10">10</a>, <a href="#Page_11">11</a>, <a href="#Page_15">15</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_29">29</a>, <a href="#Page_48">48</a>, <a href="#Page_207">207</a>, <a href="#Page_229">229</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Dionysius Thrax</b> <a href="#Page_47">47</a>, <a href="#Page_71">71</a>, <a href="#Page_139">139</a>, <a href="#Page_145">145</a>, <a href="#Page_319">319</a>, <a href="#Page_332">332</a></p> - -<p class="hangingindent4a"><b>Diphthongs</b> <a href="#Page_219">219</a></p> - -<p class="hangingindent4a"><b>Dithyramb</b> <a href="#Page_214">214</a></p> - -<p class="hangingindent4a"><b>Dorian mode</b> <a href="#Page_196">196</a></p> - -<p class="hangingindent4a"><b>Doubtful vowels</b> <a href="#Page_296">296</a>, with references there given (s.v. δίχρονος)</p> - -<p class="hangingindent4a"><b>Dryden</b> <a href="#Page_186">186</a></p> - -<p class="hangingindent4a"><b>Duris</b> <a href="#Page_94">94</a></p> - - -<p class="hangingindent4a"><b>Eliot, George</b> <a href="#Page_37">37</a></p> - -<p class="hangingindent4a"><b>Empedocles</b> <a href="#Page_34">34</a>, <a href="#Page_214">214</a>, <a href="#Page_332">332</a></p> - -<p class="hangingindent4a"><b>Emphasis</b> <a href="#Page_17">17</a>-26</p> - -<p class="hangingindent4a"><b>English language</b> <a href="#Page_31">31</a>, <a href="#Page_35">35</a>, <a href="#Page_36">36</a>, <a href="#Page_342">342</a> ff., <i>passim</i></p> - -<p class="hangingindent4a"><b>Enharmonic scale</b> <a href="#Page_194">194</a></p> - -<p>‘<b>Enjambement</b>’ <a href="#Page_270">270</a>-73, <a href="#Page_275">275</a>, <a href="#Page_278">278</a>, <a href="#Page_325">325</a></p> - -<p class="hangingindent4a"><b>Ennius</b> <a href="#Page_170">170</a>, <a href="#Page_314">314</a></p> - -<p class="hangingindent4a"><b>Ephorus</b> <a href="#Page_236">236</a>, <a href="#Page_237">237</a></p> - -<p class="hangingindent4a"><b>Epic Cycle</b>, poets of the <a href="#Page_248">248</a></p> - -<p class="hangingindent4a"><b>Epic poetry</b> <a href="#Page_214">214</a>, <a href="#Page_274">274</a>, <i>passim</i>. -See also under ‘Homer,’ p. <a href="#Page_356">356</a> <i>infra</i></p> - -<p class="hangingindent4a"><b>Epicurus</b> <a href="#Page_250">250</a>, <a href="#Page_251">251</a></p> - -<p class="hangingindent4a"><b>Epitome</b>: Greek Epitome of <i>C.V.</i> <a href="#Page_10">10</a>, <a href="#Page_57">57</a>, <a href="#Page_65">65</a>, <a href="#Page_89">89</a>, <a href="#Page_116">116</a>, <a href="#Page_197">197</a>, <a href="#Page_209">209</a></p> - -<p class="hangingindent4a"><b>Epode</b> <a href="#Page_300">300</a>, with references there given</p> - -<p class="hangingindent4a"><b>Erasmus</b> <a href="#Page_45">45</a>, <a href="#Page_159">159</a></p> - -<p class="hangingindent4a"><b>Etymology</b> <a href="#Page_160">160</a>, <a href="#Page_300">300</a></p> - -<p class="hangingindent4a"><b>Euphony</b> <a href="#Page_27">27</a>-29, <a href="#Page_338">338</a>, etc.</p> - -<p class="hangingindent4a"><b>Euphorio Chersonesita</b> <a href="#Page_87">87</a></p> - -<p class="hangingindent4a"><b>Euripides</b> <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_24">24</a>, <a href="#Page_146">146</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a>. -See also Index A</p> - -<p class="hangingindent4a"><b>Eustathius</b> <a href="#Page_202">202</a></p> - - -<p class="hangingindent4a"><b>Fifth</b>, the musical interval so called <a href="#Page_126">126</a></p> - -<p class="hangingindent4a"><b>Flaubert, Gustav</b> <a href="#Page_28">28</a></p> - -<p class="hangingindent4a"><b>Fléchier</b> <a href="#Page_243">243</a></p> - -<p class="hangingindent4a"><b>Fletcher</b> <a href="#Page_46">46</a> (‘Elder Brother’)</p> - -<p class="hangingindent4a"><b>Florentine manuscript of the C.V.</b> <a href="#Page_56">56</a>-58</p> - -<p class="hangingindent4a"><b>Foot</b>, metrical <a href="#Page_168">168</a></p> - -<p class="hangingindent4a"><b>France, Anatole</b> <a href="#Page_27">27</a></p> - -<p class="hangingindent4a"><b>Freedom of Greek word-order</b> <a href="#Page_11">11</a>-14</p> - -<p class="hangingindent4a"><b>French language</b> <a href="#Page_31">31</a>, <a href="#Page_36">36</a>, <a href="#Page_270">270</a>, <a href="#Page_342">342</a> ff., <i>passim</i></p> - - -<p class="hangingindent4a"><b>Galen</b> <a href="#Page_331">331</a></p> - -<p class="hangingindent4a"><b>Gardiner, Stephen</b> <a href="#Page_46">46</a></p> - -<p class="hangingindent4a"><b>Gellius, Aulus</b> <a href="#Page_28">28</a></p> - -<p class="hangingindent4a"><b>Gender</b> <a href="#Page_106">106</a>, <a href="#Page_107">107</a></p> - -<p class="hangingindent4a"><b>German language</b> <a href="#Page_33">33</a>, <a href="#Page_36">36</a>, <a href="#Page_342">342</a> ff., <i>passim</i></p> - -<p class="hangingindent4a"><b>Gibbon, Edward</b> <a href="#Page_46">46</a>, <a href="#Page_86">86</a>, <a href="#Page_237">237</a></p> - -<p class="hangingindent4a"><b>Gladstone, William Ewart</b> <a href="#Page_126">126</a>, <a href="#Page_235">235</a></p> - -<p class="hangingindent4a"><b>Glossary</b> <a href="#Page_285">285</a>-334 (cp. Preface <a href="#Page_ix">ix</a>, <a href="#Page_x">x</a>)</p> - -<p class="hangingindent4a"><b>Goethe</b> <a href="#Page_36">36</a></p> - -<p class="hangingindent4a"><b>Gorgias</b> <a href="#Page_132">132</a></p> - -<p class="hangingindent4a"><b>Grammar</b> <a href="#Page_46">46</a>, <a href="#Page_47">47</a></p> - -<p class="hangingindent4a"><b>Grave accent</b> <a href="#Page_126">126</a> ff.</p> - -<p class="hangingindent4a"><b>Gutturals</b> <a href="#Page_149">149</a></p> - - -<p>‘<b>Harmony</b>’ <a href="#Page_290">290</a>, with references there given</p> - -<p class="hangingindent4a"><b>Havercamp</b> <a href="#Page_45">45</a></p> - -<p class="hangingindent4a"><b>Hector and Achilles</b> <a href="#Page_190">190</a>, <a href="#Page_191">191</a></p> - -<p class="hangingindent4a"><b>Hegemon</b> <a href="#Page_168">168</a></p> - -<p class="hangingindent4a"><b>Hegesianax</b> <a href="#Page_94">94</a>, <a href="#Page_95">95</a></p> - -<p class="hangingindent4a"><b>Hegesias</b> <a href="#Page_52">52</a>-55, <a href="#Page_90">90</a>, <a href="#Page_184">184</a>-92</p> - -<p class="hangingindent4a"><b>Heracleides</b> <a href="#Page_94">94</a>, <a href="#Page_95">95</a></p> - -<p class="hangingindent4a"><b>Heracleitus</b> <a href="#Page_335">335</a>, <a href="#Page_340">340</a></p> - -<p class="hangingindent4a"><b>Hermogenes</b> <a href="#Page_26">26</a>, <a href="#Page_85">85</a>, <a href="#Page_87">87</a>, <a href="#Page_90">90</a></p> - -<p class="hangingindent4a"><b>Herodotus</b> <a href="#Page_16">16</a>, <a href="#Page_24">24</a>, <a href="#Page_26">26</a>, <a href="#Page_30">30</a>, <a href="#Page_80">80</a> ff., <a href="#Page_90">90</a>, <a href="#Page_120">120</a>, <a href="#Page_196">196</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a></p> - -<p class="hangingindent4a"><b>Hesiod</b> <a href="#Page_236">236</a>, <a href="#Page_237">237</a></p> - -<p class="hangingindent4a"><b>Hesychius</b>, <a href="#Page_69">69</a>, <a href="#Page_189">189</a>, <a href="#Page_288">288</a>, <a href="#Page_322">322</a>, <a href="#Page_332">332</a></p> - -<p class="hangingindent4a"><b>Hexameter</b> <a href="#Page_85">85</a>, <a href="#Page_87">87</a></p> - -<p class="hangingindent4a"><b>Hiatus</b> <a href="#Page_39">39</a>, <a href="#Page_323">323</a></p> - -<p class="hangingindent4a"><b>Hibeh Papyri</b> <a href="#Page_xi">xi</a> (Preface), <a href="#Page_41">41</a></p> -<p><span class="pagenum"><a name="Page_356" id="Page_356">[356]</a></span></p> - -<p class="hangingindent4a"><b>Hickes, Francis</b> <a href="#Page_226">226</a></p> - -<p class="hangingindent4a"><b>Hieronymus</b> <a href="#Page_94">94</a></p> - -<p class="hangingindent4a"><b>Hobbes, Thomas</b> <a href="#Page_226">226</a></p> - -<p class="hangingindent4a"><b>Holland, Philemon</b> <a href="#Page_328">328</a></p> - -<p class="hangingindent4a"><b>Homer</b> <a href="#Page_vii">vii</a>-ix (Preface), <a href="#Page_13">13</a>, <a href="#Page_14">14</a>, <a href="#Page_19">19</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_76">76</a> ff., <a href="#Page_136">136</a>, <a href="#Page_248">248</a>, <a href="#Page_274">274</a>, <a href="#Page_337">337</a>, <i>passim</i>. -See also Index A</p> - -<p class="hangingindent4a"><b>Horace</b> <a href="#Page_ix">ix</a> (Preface), <a href="#Page_15">15</a>, <a href="#Page_48">48</a>, <a href="#Page_78">78</a>, <a href="#Page_81">81</a>, <a href="#Page_113">113</a>, <a href="#Page_195">195</a>, <a href="#Page_197">197</a>, <a href="#Page_200">200</a>, <a href="#Page_267">267</a>, <a href="#Page_273">273</a>, <a href="#Page_278">278</a>, <a href="#Page_322">322</a>, <a href="#Page_323">323</a>, <a href="#Page_336">336</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Hypallage</b> <a href="#Page_78">78</a>, <a href="#Page_330">330</a></p> - -<p class="hangingindent4a"><b>Hyperbaton</b> <a href="#Page_26">26</a>, <a href="#Page_340">340</a></p> - -<p class="hangingindent4a"><b>Hypobacchius</b> <a href="#Page_174">174</a></p> - -<p class="hangingindent4a"><b>Hysteron proteron</b> <a href="#Page_102">102</a></p> - - -<p class="hangingindent4a"><b>Iambus</b> <a href="#Page_170">170</a></p> - -<p class="hangingindent4a"><b>Intermediate or harmoniously blended composition</b> <a href="#Page_246">246</a> ff., <a href="#Page_301">301</a></p> - -<p class="hangingindent4a"><b>Invention</b> (of subject matter) <a href="#Page_1">1</a>, <a href="#Page_67">67</a>, <a href="#Page_318">318</a>, etc.</p> - -<p class="hangingindent4a"><b>Ionic tetrameter</b> <a href="#Page_86">86</a>, <a href="#Page_304">304</a></p> - -<p>‘<b>Irrational</b>’ <a href="#Page_154">154</a>, <a href="#Page_174">174</a>, <a href="#Page_207">207</a>, <a href="#Page_286">286</a>, <a href="#Page_287">287</a></p> - -<p class="hangingindent4a"><b>Isocrates</b> <a href="#Page_11">11</a>, <a href="#Page_29">29</a>, <a href="#Page_78">78</a>, <a href="#Page_92">92</a>, <a href="#Page_192">192</a>, <a href="#Page_198">198</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a>, <a href="#Page_242">242</a> ff., <a href="#Page_264">264</a></p> - -<p class="hangingindent4a"><b>Ithyphallic poem</b> <a href="#Page_86">86</a>, <a href="#Page_303">303</a></p> - - -<p class="hangingindent4a"><b>Jacobs, Friedrich</b> <a href="#Page_345">345</a>, <a href="#Page_346">346</a></p> - -<p class="hangingindent4a"><b>James I., King</b> <a href="#Page_46">46</a></p> - -<p class="hangingindent4a"><b>Johnson, Samuel</b> <a href="#Page_186">186</a></p> - -<p class="hangingindent4a"><b>Josephus</b> <a href="#Page_187">187</a>, <a href="#Page_308">308</a></p> - - -<p class="hangingindent4a"><b>Labials</b> <a href="#Page_149">149</a></p> - -<p class="hangingindent4a"><b>Latin</b> (especially Latin word-order, as compared with that of Greek and the modern languages) <a href="#Page_13">13</a>, <a href="#Page_21">21</a>, <a href="#Page_25">25</a>, <a href="#Page_29">29</a>-33, <a href="#Page_48">48</a>, etc.</p> - -<p class="hangingindent4a"><b>Lemaître, Jules</b> <a href="#Page_31">31</a></p> - -<p class="hangingindent4a"><b>Lessing</b> <a href="#Page_31">31</a></p> - -<p class="hangingindent4a"><b>Letters</b> <a href="#Page_138">138</a> ff.</p> - -<p>‘<b>Literature</b>’ <a href="#Page_34">34</a>, <a href="#Page_217">217</a>, <a href="#Page_309">309</a></p> - -<p class="hangingindent4a"><b>Livy</b> <a href="#Page_178">178</a></p> - -<p>‘<b>Longinus</b>’ <b>de Sublimitate</b> <a href="#Page_14">14</a>, <a href="#Page_26">26</a>, <a href="#Page_48">48</a>, <a href="#Page_74">74</a>, <a href="#Page_239">239</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Lucian</b> <a href="#Page_68">68</a>, <a href="#Page_196">196</a>, <a href="#Page_229">229</a>, <a href="#Page_279">279</a>, <a href="#Page_327">327</a>, <a href="#Page_333">333</a></p> - -<p class="hangingindent4a"><b>Lucidity.</b> See under ‘Clearness’</p> - -<p class="hangingindent4a"><b>Lucretius</b> <a href="#Page_204">204</a>, <a href="#Page_214">214</a></p> - -<p class="hangingindent4a"><b>Luther</b> <a href="#Page_267">267</a></p> - -<p class="hangingindent4a"><b>Lydian mode</b> <a href="#Page_196">196</a></p> - -<p class="hangingindent4a"><b>Lysias</b> <a href="#Page_16">16</a>, <a href="#Page_55">55</a></p> - - -<p class="hangingindent4a"><b>Malherbe</b> <a href="#Page_31">31</a></p> - -<p class="hangingindent4a"><b>Manuscripts of the C.V.</b> <a href="#Page_x">x</a> (Preface), <a href="#Page_56">56</a>-59</p> - -<p class="hangingindent4a"><b>Marcellinus</b> <a href="#Page_228">228</a>, <a href="#Page_229">229</a>, <a href="#Page_335">335</a></p> - -<p class="hangingindent4a"><b>Marlowe</b> <a href="#Page_35">35</a>, <a href="#Page_147">147</a></p> - -<p class="hangingindent4a"><b>Maximus Planudes</b> <a href="#Page_86">86</a></p> - -<p class="hangingindent4a"><b>Melic poetry</b> <a href="#Page_309">309</a>, with references there given</p> - -<p class="hangingindent4a"><b>Member</b> (<b>clause</b>, ‘<b>colon</b>’) <a href="#Page_73">73</a>, <a href="#Page_110">110</a> ff., <a href="#Page_307">307</a></p> - -<p class="hangingindent4a"><b>Menander</b> <a href="#Page_229">229</a></p> - -<p class="hangingindent4a"><b>Meredith, George</b> <a href="#Page_147">147</a>, <a href="#Page_172">172</a></p> - -<p class="hangingindent4a"><b>Metaphor</b> <a href="#Page_54">54</a>, <a href="#Page_310">310</a></p> - -<p class="hangingindent4a"><b>Metre</b> <a href="#Page_33">33</a>-39, <a href="#Page_310">310</a></p> - -<p class="hangingindent4a"><b>Metrici</b> <a href="#Page_154">154</a>, <a href="#Page_172">172</a>, <a href="#Page_174">174</a>, <a href="#Page_218">218</a>, <a href="#Page_310">310</a></p> - -<p class="hangingindent4a"><b>Milton</b> <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_36">36</a>, <a href="#Page_167">167</a></p> - -<p class="hangingindent4a"><b>Mimnermus</b> <a href="#Page_273">273</a></p> - -<p class="hangingindent4a"><b>Modern languages</b> (especially in relation to word-order) <a href="#Page_12">12</a>, <a href="#Page_29">29</a>-33, <a href="#Page_103">103</a>, etc.; -<a href="#Page_342">342</a>-47</p> - -<p class="hangingindent4a"><b>Modes</b>, musical <a href="#Page_196">196</a></p> - -<p class="hangingindent4a"><b>Molière</b> <a href="#Page_91">91</a>, <a href="#Page_138">138</a></p> - -<p class="hangingindent4a"><b>Molossus</b> <a href="#Page_172">172</a></p> - -<p class="hangingindent4a"><b>Music</b> <a href="#Page_39">39</a>-41, <a href="#Page_124">124</a> ff.</p> - -<p class="hangingindent4a"><b>Mute letters</b> <a href="#Page_138">138</a> ff., <a href="#Page_292">292</a></p> - - -<p class="hangingindent4a"><b>Natural order of words</b> <a href="#Page_98">98</a> ff.</p> - -<p class="hangingindent4a"><b>Neoptolemus</b> <a href="#Page_15">15</a></p> - -<p class="hangingindent4a"><b>Nobility of style</b> <a href="#Page_120">120</a> ff., <a href="#Page_136">136</a></p> - -<p class="hangingindent4a"><b>Normal word-order in Greek</b> <a href="#Page_14">14</a>, <a href="#Page_15">15</a></p> - -<p class="hangingindent4a"><b>Noun</b> <a href="#Page_71">71</a>, <a href="#Page_98">98</a>-100, <a href="#Page_313">313</a></p> - -<p class="hangingindent4a"><b>Number</b>, grammatical <a href="#Page_106">106</a>, <a href="#Page_107">107</a></p> - - -<p class="hangingindent4a"><b>Obscurity</b> <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_335">335</a>-41. -See also under ‘Clearness,’ p. <a href="#Page_355">355</a> <i>supra</i></p> - -<p class="hangingindent4a"><b>Onomatopoeia</b> <a href="#Page_158">158</a>, <a href="#Page_159">159</a>, <a href="#Page_316">316</a></p> - -<p class="hangingindent4a"><b>Order of words in Greek and other languages</b> <a href="#Page_11">11</a>-39, <a href="#Page_98">98</a> ff., <i>passim</i></p> - -<p class="hangingindent4a"><b>Orphic fragments</b> <a href="#Page_252">252</a></p> - -<p class="hangingindent4a"><b>Ovid</b> <a href="#Page_33">33</a>, <a href="#Page_124">124</a></p> - -<p class="hangingindent4a"><b>Oxyrhynchus Papyri</b> <a href="#Page_29">29</a>, <a href="#Page_237">237</a>, <a href="#Page_289">289</a></p> - - -<p class="hangingindent4a"><b>Paeon</b> <a href="#Page_314">314</a>, with references there given</p> - -<p class="hangingindent4a"><b>Painting in relation to literary composition</b> <a href="#Page_208">208</a></p> - -<p class="hangingindent4a"><b>Paris Manuscript of the C.V.</b> <a href="#Page_x">x</a> (Preface), <a href="#Page_56">56</a>-58</p> - -<p class="hangingindent4a"><b>Participle</b> <a href="#Page_72">72</a>, <a href="#Page_310">310</a></p> - -<p class="hangingindent4a"><b>Parts of speech</b> <a href="#Page_71">71</a> ff.</p> - -<p class="hangingindent4a"><b>Passion</b> <a href="#Page_314">314</a>, with references there given</p> - -<p class="hangingindent4a"><b>Pentameter</b> <a href="#Page_256">256</a>, <a href="#Page_315">315</a></p> - -<p class="hangingindent4a"><b>Period</b> <a href="#Page_13">13</a>, <a href="#Page_73">73</a>, <a href="#Page_118">118</a></p> - -<p class="hangingindent4a"><b>Peripatetics</b> <a href="#Page_48">48</a>. -See also under ‘Aristotle’ (p. <a href="#Page_354">354</a> <i>supra</i>), and ‘Theophrastus’ (p. <a href="#Page_357">357</a> <i>infra</i>)</p> - -<p class="hangingindent4a"><b>Philo Judaeus</b> <a href="#Page_192">192</a></p> - -<p>‘<b>Philosophy</b>’ <a href="#Page_331">331</a></p> - -<p class="hangingindent4a"><b>Philoxenus</b> <a href="#Page_196">196</a>, <a href="#Page_197">197</a></p> - -<p class="hangingindent4a"><b>Phonetics</b> <a href="#Page_43">43</a>, <a href="#Page_44">44</a>, <a href="#Page_140">140</a> ff.</p> - -<p class="hangingindent4a"><b>Photius</b> <a href="#Page_333">333</a></p> - -<p>‘<b>Phrase</b>’ <a href="#Page_306">306</a>, with references there given</p> - -<p class="hangingindent4a"><b>Phrygian mode</b> <a href="#Page_196">196</a></p> - -<p class="hangingindent4a"><b>Phylarchus</b> <a href="#Page_94">94</a></p> - -<p class="hangingindent4a"><b>Pindar</b> <a href="#Page_49">49</a>, <a href="#Page_194">194</a>, <a href="#Page_214">214</a> ff. -See also under Index A</p> - -<p class="hangingindent4a"><b>Plato</b> <a href="#Page_14">14</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_22">22</a>, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#Page_29">29</a>, <a href="#Page_31">31</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_139">139</a>, <a href="#Page_180">180</a>, <a href="#Page_182">182</a>, <a href="#Page_196">196</a>, <a href="#Page_248">248</a>, <a href="#Page_249">249</a>, <a href="#Page_264">264</a> ff., <i>passim</i>. -See also under Index A</p> - -<p class="hangingindent4a"><b>Pliny the Younger</b> <a href="#Page_229">229</a></p> - -<p class="hangingindent4a"><b>Plural</b> <a href="#Page_106">106</a>, <a href="#Page_107">107</a></p> - -<p class="hangingindent4a"><b>Plutarch</b> <a href="#Page_67">67</a>, <a href="#Page_187">187</a>, <a href="#Page_264">264</a>, <a href="#Page_299">299</a>, <a href="#Page_326">326</a>, <a href="#Page_330">330</a>, <a href="#Page_332">332</a></p> -<p><span class="pagenum"><a name="Page_357" id="Page_357">[357]</a></span></p> - -<p class="hangingindent4a"><b>Poetry</b> (in relation to prose) <a href="#Page_33">33</a>-39, <a href="#Page_250">250</a> ff., etc.</p> - -<p class="hangingindent4a"><b>Polybius</b> <a href="#Page_51">51</a>, <a href="#Page_52">52</a>, <a href="#Page_94">94</a>, <a href="#Page_296">296</a></p> - -<p class="hangingindent4a"><b>Pope, Alexander</b> <a href="#Page_vii">vii</a> (Preface), <a href="#Page_202">202</a>, <a href="#Page_205">205</a>, <a href="#Page_324">324</a></p> - -<p class="hangingindent4a"><b>Porson, Richard</b> <a href="#Page_14">14</a>, <a href="#Page_146">146</a></p> - -<p class="hangingindent4a"><b>Preposition</b> <a href="#Page_71">71</a>, <a href="#Page_319">319</a></p> - -<p class="hangingindent4a"><b>Pronoun</b> <a href="#Page_70">70</a>, <a href="#Page_102">102</a>, <a href="#Page_288">288</a></p> - -<p class="hangingindent4a"><b>Pronunciation</b> <a href="#Page_43">43</a>-46, <a href="#Page_140">140</a> ff., <a href="#Page_348">348</a>-51, <i>passim</i></p> - -<p class="hangingindent4a"><b>Propertius</b> <a href="#Page_188">188</a></p> - -<p>‘<b>Propriety</b>’ <a href="#Page_39">39</a>, <a href="#Page_198">198</a> ff., <a href="#Page_318">318</a>, <a href="#Page_319">319</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Prose</b> (in relation to poetry) <a href="#Page_33">33</a>-39, <a href="#Page_250">250</a> ff., <a href="#Page_287">287</a> (ἄμετρος), <a href="#Page_309">309</a> (λόγος), etc.</p> - -<p class="hangingindent4a"><b>Prosodiacs</b> <a href="#Page_86">86</a></p> - -<p class="hangingindent4a"><b>Psaon</b> <a href="#Page_94">94</a></p> - -<p class="hangingindent4a"><b>Punctuation</b> <a href="#Page_306">306</a>, <a href="#Page_340">340</a></p> - -<p class="hangingindent4a"><b>Puttenham</b> <a href="#Page_299">299</a></p> - -<p class="hangingindent4a"><b>Pyrrhic</b> <a href="#Page_168">168</a></p> - - -<p class="hangingindent4a"><b>Quantity</b>, effect of syllabic quantity in prose <a href="#Page_29">29</a></p> - -<p class="hangingindent4a"><b>Quintilian</b> <a href="#Page_11">11</a>, <a href="#Page_15">15</a>, <a href="#Page_18">18</a>, <a href="#Page_19">19</a>, <a href="#Page_23">23</a>, <a href="#Page_26">26</a>, <a href="#Page_27">27</a>, <a href="#Page_28">28</a>, <a href="#Page_30">30</a>, <a href="#Page_34">34</a>, <a href="#Page_38">38</a>, <a href="#Page_46">46</a>, <a href="#Page_47">47</a>, <a href="#Page_53">53</a>, <a href="#Page_70">70</a>, <a href="#Page_71">71</a>, <a href="#Page_81">81</a>, <a href="#Page_89">89</a>, <a href="#Page_93">93</a>, <a href="#Page_98">98</a>, <a href="#Page_145">145</a>, <a href="#Page_152">152</a>, <a href="#Page_168">168</a>, <a href="#Page_195">195</a>, <a href="#Page_203">203</a>, <a href="#Page_248">248</a>, <a href="#Page_250">250</a>, <a href="#Page_265">265</a>, <a href="#Page_266">266</a>, <a href="#Page_300">300</a>, <a href="#Page_301">301</a>, <a href="#Page_305">305</a>, <a href="#Page_306">306</a>, <a href="#Page_315">315</a>-21, <a href="#Page_325">325</a>, <a href="#Page_328">328</a>, <a href="#Page_330">330</a>, <a href="#Page_332">332</a>, <a href="#Page_336">336</a>, <i>passim</i></p> - -<p class="hangingindent4a"><b>Quotations in the C.V.</b> <a href="#Page_49">49</a>-56. -See also Index A</p> - - -<p class="hangingindent4a"><b>Racine</b> <a href="#Page_118">118</a>, <a href="#Page_157">157</a>, <a href="#Page_205">205</a>, <a href="#Page_270">270</a></p> - -<p class="hangingindent4a"><b>Reading</b> (learning to read) <a href="#Page_268">268</a>, <a href="#Page_269">269</a></p> - -<p class="hangingindent4a"><b>Renan, Ernest</b> <a href="#Page_31">31</a></p> - -<p>‘<b>Rhetor Graecus</b>’ <a href="#Page_57">57</a>, <a href="#Page_138">138</a></p> - -<p class="hangingindent4a"><b>Rhetorica ad Alexandrum</b> <a href="#Page_xi">xi</a> (Preface), <a href="#Page_26">26</a>, <a href="#Page_75">75</a>, <a href="#Page_313">313</a>, <a href="#Page_336">336</a></p> - -<p class="hangingindent4a"><b>Rhetorical Handbooks</b> <a href="#Page_270">270</a>, <a href="#Page_282">282</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Rhyme or jingle</b> <a href="#Page_64">64</a>, <a href="#Page_65">65</a>, <a href="#Page_315">315</a></p> - -<p class="hangingindent4a"><b>Rhythm</b> <a href="#Page_33">33</a>-39, <a href="#Page_168">168</a> ff., <a href="#Page_176">176</a> ff., <a href="#Page_320">320</a></p> - -<p class="hangingindent4a"><b>Rhythmici</b> <a href="#Page_154">154</a>, <a href="#Page_172">172</a></p> - -<p class="hangingindent4a"><b>Rich, Barnaby</b> <a href="#Page_82">82</a></p> - -<p class="hangingindent4a"><b>Rousseau</b> <a href="#Page_211">211</a></p> - -<p class="hangingindent4a"><b>Rufus Metilius</b> <a href="#Page_xii">xii</a> (Preface), <a href="#Page_1">1</a>, <a href="#Page_66">66</a></p> - -<p class="hangingindent4a"><b>Ruskin</b> <a href="#Page_37">37</a></p> - - -<p class="hangingindent4a"><b>Sallust</b> <a href="#Page_38">38</a>, <a href="#Page_180">180</a>, <a href="#Page_225">225</a></p> - -<p class="hangingindent4a"><b>San</b> <a href="#Page_148">148</a>, <a href="#Page_149">149</a></p> - -<p class="hangingindent4a"><b>Sappho</b> <a href="#Page_vii">vii</a>-viii (Preface), <a href="#Page_49">49</a>, <a href="#Page_194">194</a>, <a href="#Page_236">236</a> ff., <a href="#Page_258">258</a>. -See also Index A</p> - -<p class="hangingindent4a"><b>Scales</b>, musical <a href="#Page_194">194</a></p> - -<p class="hangingindent4a"><b>Schema Pindaricum</b> <a href="#Page_217">217</a></p> - -<p class="hangingindent4a"><b>Schleiermacher, Friedrich</b> <a href="#Page_343">343</a></p> - -<p class="hangingindent4a"><b>Scholia</b> (to Homer and other authors) <a href="#Page_76">76</a>, <a href="#Page_132">132</a>, <a href="#Page_155">155</a>, <a href="#Page_158">158</a>, <a href="#Page_170">170</a>, <a href="#Page_188">188</a>, <a href="#Page_191">191</a>, <a href="#Page_229">229</a>, <a href="#Page_274">274</a>, <a href="#Page_277">277</a>, <a href="#Page_288">288</a>, <a href="#Page_333">333</a>, etc.</p> - -<p class="hangingindent4a"><b>Semivowels</b> <a href="#Page_138">138</a> ff., <a href="#Page_302">302</a></p> - -<p class="hangingindent4a"><b>Sextus Empiricus</b> <a href="#Page_139">139</a></p> - -<p class="hangingindent4a"><b>Shakespeare</b> <a href="#Page_44">44</a>, <a href="#Page_81">81</a>, <a href="#Page_112">112</a>, <a href="#Page_135">135</a>, <a href="#Page_147">147</a>, <a href="#Page_161">161</a>, <a href="#Page_321">321</a></p> - -<p class="hangingindent4a"><b>Sheridan</b> <a href="#Page_250">250</a></p> - -<p class="hangingindent4a"><b>Sigmatism</b> <a href="#Page_146">146</a>, <a href="#Page_147">147</a></p> - -<p class="hangingindent4a"><b>Simonides</b> <a href="#Page_vii">vii</a>-viii (Preface), <a href="#Page_49">49</a>, <a href="#Page_236">236</a>, <a href="#Page_278">278</a> ff.</p> - -<p class="hangingindent4a"><b>Simplicity of diction illustrated and commended</b> <a href="#Page_75">75</a>-85, <a href="#Page_134">134</a>-37</p> - -<p class="hangingindent4a"><b>Smith, Sir Thomas</b> <a href="#Page_45">45</a>, <a href="#Page_46">46</a>, <a href="#Page_141">141</a></p> - -<p class="hangingindent4a"><b>Smooth composition or harmony</b> <a href="#Page_232">232</a> ff., <a href="#Page_293">293</a></p> - -<p class="hangingindent4a"><b>Socrates</b> <a href="#Page_120">120</a>, <a href="#Page_160">160</a></p> - -<p class="hangingindent4a"><b>Solecism</b> <a href="#Page_190">190</a></p> - -<p class="hangingindent4a"><b>Sophist</b> <a href="#Page_184">184</a>, <a href="#Page_264">264</a>, <a href="#Page_321">321</a></p> - -<p class="hangingindent4a"><b>Sophocles</b> <a href="#Page_248">248</a>, <a href="#Page_249">249</a>, <a href="#Page_337">337</a>. -See also Index A</p> - -<p class="hangingindent4a"><b>Sotades</b> <a href="#Page_88">88</a>, <a href="#Page_328">328</a></p> - -<p class="hangingindent4a"><b>Sound an echo to the sense</b> <a href="#Page_156">156</a> ff., <a href="#Page_200">200</a> ff.</p> - -<p class="hangingindent4a"><b>Sources of the C.V.</b> <a href="#Page_47">47</a>-49</p> - -<p class="hangingindent4a"><b>Spondee</b> <a href="#Page_170">170</a>, <a href="#Page_322">322</a></p> - -<p class="hangingindent4a"><b>Stesichorus</b> <a href="#Page_194">194</a>, <a href="#Page_195">195</a>, <a href="#Page_248">248</a></p> - -<p class="hangingindent4a"><b>Stevenson, Robert Louis</b> <a href="#Page_32">32</a>, <a href="#Page_40">40</a></p> - -<p class="hangingindent4a"><b>Stoics</b> <a href="#Page_48">48</a>, <a href="#Page_71">71</a>, <a href="#Page_94">94</a>-97, <a href="#Page_104">104</a></p> - -<p class="hangingindent4a"><b>Strabo</b> <a href="#Page_55">55</a>, <a href="#Page_285">285</a>, <a href="#Page_290">290</a></p> - -<p class="hangingindent4a"><b>Strophe</b> <a href="#Page_194">194</a> etc., <a href="#Page_323">323</a></p> - -<p class="hangingindent4a"><b>Styles of composition</b> <a href="#Page_208">208</a> ff.</p> - -<p class="hangingindent4a"><b>Substance and Form</b> <a href="#Page_viii">viii</a> (Preface); -cp. Demetr. pp. <a href="#Page_34">34</a> ff.</p> - -<p class="hangingindent4a"><b>Suidas</b> <a href="#Page_237">237</a>, <a href="#Page_296">296</a></p> - -<p class="hangingindent4a"><b>Summary of the C.V.</b> <a href="#Page_1">1</a>-9</p> - -<p>‘<b>Suspense</b>’ <a href="#Page_13">13</a></p> - -<p class="hangingindent4a"><b>Swinburne, Algernon Charles</b> <a href="#Page_271">271</a>, <a href="#Page_325">325</a></p> - -<p class="hangingindent4a"><b>Syllables</b> <a href="#Page_150">150</a> ff., <a href="#Page_324">324</a></p> - -<p class="hangingindent4a"><b>Synaloepha</b> <a href="#Page_108">108</a> etc., <a href="#Page_325">325</a></p> - - -<p class="hangingindent4a"><b>Tacitus</b> <a href="#Page_316">316</a></p> - -<p class="hangingindent4a"><b>Taste</b> <a href="#Page_132">132</a>, <a href="#Page_134">134</a>, <a href="#Page_304">304</a></p> - -<p>‘<b>Tautology</b>’ <a href="#Page_240">240</a>, <a href="#Page_328">328</a></p> - -<p class="hangingindent4a"><b>Taylor, Jeremy</b> <a href="#Page_303">303</a></p> - -<p class="hangingindent4a"><b>Telestes</b> <a href="#Page_196">196</a>, <a href="#Page_197">197</a></p> - -<p class="hangingindent4a"><b>Tennyson</b> <a href="#Page_86">86</a>, <a href="#Page_190">190</a>, <a href="#Page_271">271</a>, <a href="#Page_278">278</a></p> - -<p class="hangingindent4a"><b>Tense</b> <a href="#Page_108">108</a>, <a href="#Page_333">333</a></p> - -<p class="hangingindent4a"><b>Terence</b> <a href="#Page_101">101</a>, <a href="#Page_275">275</a></p> - -<p class="hangingindent4a"><b>Tetrameters</b> <a href="#Page_87">87</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Text of the C.V.</b> <a href="#Page_x">x</a> (Preface), <a href="#Page_56">56</a>-59, <i>passim</i></p> - -<p class="hangingindent4a"><b>Thelwall, John</b> <a href="#Page_147">147</a></p> - -<p class="hangingindent4a"><b>Theocritus</b> <a href="#Page_281">281</a></p> - -<p class="hangingindent4a"><b>Theodectes</b> <a href="#Page_47">47</a>, <a href="#Page_71">71</a></p> - -<p class="hangingindent4a"><b>Theophrastus</b> <a href="#Page_34">34</a>, <a href="#Page_37">37</a>, <a href="#Page_48">48</a>, <a href="#Page_164">164</a>, <a href="#Page_165">165</a>, <a href="#Page_193">193</a>, <a href="#Page_305">305</a>, etc.</p> - -<p class="hangingindent4a"><b>Theopompus</b> <a href="#Page_29">29</a>, <a href="#Page_236">236</a>, <a href="#Page_237">237</a></p> - -<p class="hangingindent4a"><b>Thucydides</b> <a href="#Page_13">13</a>, <a href="#Page_16">16</a>, <a href="#Page_17">17</a>, <a href="#Page_19">19</a>, <a href="#Page_20">20</a>, <a href="#Page_21">21</a>, <a href="#Page_23">23</a>, <a href="#Page_33">33</a>, <a href="#Page_34">34</a>, <a href="#Page_120">120</a>, <a href="#Page_178">178</a>, <a href="#Page_214">214</a>, <a href="#Page_224">224</a> ff., <a href="#Page_335">335</a>-7, <i>passim</i>. -See also Index A</p> - -<p class="hangingindent4a"><b>Timotheus</b> <a href="#Page_175">175</a>, <a href="#Page_196">196</a>, <a href="#Page_197">197</a></p> - -<p class="hangingindent4a"><b>Title of the C.V.</b> <a href="#Page_10">10</a>, <a href="#Page_326">326</a></p> - -<p class="hangingindent4a"><b>Tragic poets</b> <a href="#Page_236">236</a>, <a href="#Page_248">248</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Tribrach</b> <a href="#Page_170">170</a>. -See also under ‘Choree,’ p. <a href="#Page_354">354</a> <i>supra</i></p> - -<p class="hangingindent4a"><b>Trimeter</b> <a href="#Page_258">258</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Trisyllable</b> <a href="#Page_170">170</a>, <a href="#Page_329">329</a></p> - -<p class="hangingindent4a"><b>Trochee</b> <a href="#Page_170">170</a>, <a href="#Page_330">330</a></p> - -<p class="hangingindent4a"><b>Types of style</b> <a href="#Page_208">208</a> ff.</p> - -<p><span class="pagenum"><a name="Page_358" id="Page_358">[358]</a></span></p> - - -<p class="hangingindent4a"><b>Usage as the sovereign arbiter</b> <a href="#Page_102">102</a></p> - - -<p class="hangingindent4a"><b>Variety</b> <a href="#Page_29">29</a>, <a href="#Page_39">39</a>, <a href="#Page_192">192</a> ff., <a href="#Page_310">310</a></p> - -<p class="hangingindent4a"><b>Vedic Sanskrit</b> <a href="#Page_42">42</a></p> - -<p class="hangingindent4a"><b>Verbs</b> <a href="#Page_71">71</a>, <a href="#Page_98">98</a>-100, <a href="#Page_108">108</a>, <a href="#Page_320">320</a></p> - -<p class="hangingindent4a"><b>Vigny, Alfred de</b> <a href="#Page_213">213</a></p> - -<p class="hangingindent4a"><b>Virgil</b> <a href="#Page_19">19</a>, <a href="#Page_21">21</a>, <a href="#Page_156">156</a>, <a href="#Page_157">157</a>, <a href="#Page_164">164</a>, <a href="#Page_173">173</a>, <a href="#Page_204">204</a>, <a href="#Page_327">327</a>, etc.</p> - -<p class="hangingindent4a"><b>Vowels</b> <a href="#Page_138">138</a> ff., <a href="#Page_332">332</a></p> - - -<p class="hangingindent4a"><b>Welsh language</b> <a href="#Page_31">31</a></p> - -<p class="hangingindent4a"><b>Wilson, Thomas</b> [of Eton and King’s College, Cambridge; earliest translator of any part of Demosthenes into English] <a href="#Page_326">326</a></p> - -<p class="hangingindent4a"><b>Wordsworth</b> <a href="#Page_viii">viii</a> (Preface), <a href="#Page_79">79</a>, <a href="#Page_271">271</a></p> - - -<p class="hangingindent4a"><b>Xenophon</b> <a href="#Page_14">14</a>, <a href="#Page_19">19</a>, <a href="#Page_23">23</a>, <a href="#Page_120">120</a></p> - - -<p class="hangingindent4a"><b>Zeta</b>, pronunciation of <a href="#Page_44">44</a>, <a href="#Page_45">45</a></p> - - - -<p class="center largefont"><br /><br /><br /><br />THE END<br /><br /><br /><br /></p> - - - -<p class="center"><i>Printed by</i> <span class="smcap">R. & R. Clark, Limited</span>, <i>Edinburgh</i>. -</p> - - -<hr class="chap" /> - -<p class="center xlargefont break-before">Cambridge University Press.</p> - - -<p class="center largerfont"><span class="smcap"><br />By Professor W. RHYS ROBERTS.</span></p> - -<p>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.<br /></p> - - -<p class="hangingindent4a"><b>THE ANCIENT BOEOTIANS</b>: their Character and Culture, and -their Reputation. With a Map, a Table of Dates, and a List of -Authorities. Demy 8vo. 5s.</p> - -<p class="hangingindent4a"><b>STUDY OF GREEK.</b> A Chapter in Frederic Spencer’s <i>Chapters -on the Aims and Practice of Teaching</i>. Third Impression, 1903. -Crown 8vo. 6s.</p> - -<p class="hangingindent4a"><b>LONGINUS ON THE SUBLIME.</b> The Greek Text edited after -the Paris Manuscript, with Translation, Facsimiles, and Appendices -(Textual, Linguistic, Literary, and Bibliographical). Second Edition, -1907. Demy 8vo. 9s.</p> - -<p class="hangingindent4a"><b>DIONYSIUS OF HALICARNASSUS: The Three Literary -Letters.</b> 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.</p> - -<p class="hangingindent4a"><b>DEMETRIUS ON STYLE.</b> The Greek Text of Demetrius -<i>de Elocutione</i>. Edited after the Paris Manuscript, with Translation, -Facsimiles, Glossary, etc., and Introductory Essay on the Greek Study -of Prose Style. Demy 8vo. 9s. net.</p> - - -<p class="center largerfont"><br />EXTRACTS FROM REVIEWS OF <i>DEMETRIUS ON STYLE</i>.<br /></p> - -<p>Professor <span class="smcap">B. L. Gildersleeve</span> in the <i>AMERICAN JOURNAL OF PHILOLOGY</i>.—“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 <i>Longinus on the -Sublime</i> and of <i>The Three Literary Letters of Dionysius of Halicarnassus</i>, to which -he has now added <i>Demetrius on Style</i>.... 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 <i>De Compositione</i> by so -competent a hand as Mr. Roberts, if indeed we may construe his suggestion as a -promise.”</p> - -<p><i>ATHENÆUM.</i>—“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 <i>Longinus</i> and <i>The Three Literary Letters of -Dionysius</i>.... 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.”</p> - -<p><i>TIMES.</i>—“Dr. Roberts has introduced to English readers some choice literary -morsels. His <i>Longinus on the Sublime</i>, 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.... <i>Demetrius on Style</i> 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.”</p> - -<p><i>SPECTATOR.</i>—“Dr. Roberts is to be congratulated upon the accomplishment -of a worthy task. His edition of the famous treatise known as <i>Demetrius on Style</i> -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.”</p> - -<p><i>GUARDIAN.</i>—“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.”</p> - -<p><i>WESTMINSTER REVIEW.</i>—“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 <i>Longinus on the Sublime</i>, which was followed, two -years later, by an admirable edition of <i>The Three Literary Letters of Dionysius of -Halicarnassus</i>. He has now laid English scholarship under a further obligation by -his even more admirable edition of <i>Demetrius on Style</i>. Each of these three texts is -accompanied by a translation at once accurate, terse, lucid, and idiomatic.”</p> - -<p><i>JOURNAL OF EDUCATION.</i>—“We make no doubt that Professor Roberts’s -earlier books—<i>Longinus on the Sublime</i> and <i>The Three Literary Letters of Dionysius</i>—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.”</p> - -<p>Professor <span class="smcap">R. Y. Tyrrell</span> in <i>HERMATHENA</i>.—“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 <i>De Elocutione</i> 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.”</p> - - -<p><br />The volume has also been favourably reviewed by the following -Continental scholars: Dr. <span class="smcap">Ph. Weber</span> (<i>Neue Philologische Rundschau</i>), -<span class="smcap">M. Théodore Reinach</span> (<i>Revue des Études Grecques</i>), Professor <span class="smcap">Amédée -Hauvette</span> (<i>Revue Critique d’histoire et de littérature</i>), Professor <span class="smcap">Ch. Michel</span> -(<i>Revue de l’Instruction publique en Belgique</i>), and Professor <span class="smcap">Giovanni Setti</span> -(<i>La Cultura</i>).</p> - - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of Dionysius of Halicarnassus On Literary -Composition, by Dionysius of Halicarnassus - -*** END OF THIS PROJECT GUTENBERG EBOOK DIONYSIUS OF HALICARNASSUS *** - -***** This file should be named 50212-h.htm or 50212-h.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/5/0/2/1/50212/ - -Produced by David Garcia, Jim Dishington, Ted Garvin, Laura -J. 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